Hamilton explains why "drama" is a category of literature rather than of theater, even though it is appropriate to describe many theatrical performances as "dramatic." Consideration of the possibilities of theatrical performance are especially important to this category of literature, but need not be (and often are not) decisive in constraining interpretations of dramatic works.

Drama and Feeling makes a case for placing educational drama firmly within the curriculum and provides drama educators with new insight into the dramatic art form and process.

Scrutinizing the critical tendency to label texts or writers as "postmodern", scholar Stephen Watt argues that "reading post modernly" merely implies reading culture more broadly. In contemporary drama, Watt considers postmodernity less a question of genre or media than a mode of subjectivity shared by both playwright and audience. 6 illustrations.

The following is simultaneously an essay in sociological theory, in cultural sociology, and in the empirical reconstruction of postwar Western history. Per theory, it introduces and specifies a model of cultural trauma - a model that combines a strong cultural program with concern for institutional and power effects - and applies it to large-scale collectivities over extended periods of time. Per cultural sociology, the essay demonstrates that even the most calamitous and biological of social facts - the prototypical evil of (...) genocidal mass murder - can be understood only inside of symbolic codes and narratives; that these frames change substantially depending on social circumstances; and that this culture process is critical to establishing understandings of moral responsibility. Empirically, this essay documents, in social and cultural detail, using both secondary and primary sources, how it was that the `Holocaust' gradually became the dominant symbolic representation of evil in the late twentieth century, and what its consequences have been for the development of a supra-national moral universalism that may restrict genocidal acts in the future. (shrink)

Considering the overwhelming amount of media products that we are subjected to in the 21stcentury and the way in which those inevitably influence our perception of reality, this research pays specific attention to the role of the media in the construction and enhancement of stereotypes in everyday life, via the language or, more specifically, specialized languages. In particular, this paper aims to investigate an American legal TV series in order to analyze the way in which legal English is used in (...) dialogues. The major research questions are: to what extent such a kind of specialized discourse may be really understood by the greater audience? How does legal drama participate in the shaping of stereotypes relating to the legal environment in the country where it is produced, and cross-culturally, bearing in mind the prominence of “made in the USA” products in the television programming across the world? Ultimately, in the light of the previous questions, should the growing field of research in audiovisual translation extend its investigation into the area of legal English? Taking into consideration the seminal work of Pedersen and Diaz Cintas in the field of Audiovisual Translation, the study will examine the subtitling techniques employed for this atypical genre. Through the analysis of a corpus comprising several dialogues from a collection of episodes of the legal show Reckless, the paper will mostly focus on gender representations and their most common linguistically enhanced stereotypes. (shrink)

Philosophy underwent a corresponding theatrical shift in the modern era, most importantly through the work of Kierkegaard, Nietzsche, Sartre, and Camus.

Plato's Sophist is complex. Its themes are many and ambiguous. The early grammarians gave it the subtitle1tEp1. 'tau ov'to~ ('on being') and assigned it to Plato's logical investigations. The Neoplatonists prized it for a theory of ontological categories they preferred to Aristotle's. Modern scholars sometimes court paradox and refer to the Sophist as Plato's dialogue on not-being (because the question ofthe possibility of not-being occupies much of the dialogue). Whitehead took the Sophist to be primarily about ouvo.~t~ ('power') and found (...) in it many of the central ideas of process theology.2 Heidegger thought it articulated the 'average concept of being in general'.3 In Cornford's view the Sophist is mainly about truth and falsehood. Ackrill, Frede and most analytic philosophers think it is about predication.4 Stanley Rosen treats it as a metaphysico-aesthetic dialogue: in his view it is about the relation of images to originals.5 As far as the title of the dialogue goes, however, opinion is almost universal. Do not be misled: 'the definition of the sophist' observed Archer-Hind 'is simply a piece of pungent satire'6 and he added that 'we may be sure that (Plato] cared little about defining the sophist, but very much about the metaphysical questions to which the process of definition was to give rise'.7 The most spectacular case of agreement with this judgment can be found in Cornford, who omits to translate the sections on the definition of the sophist because, as he says 'the modern reader ... might be wearied'.8. (shrink)

[es] La muerte violenta del sabio Abū Marwān al-Ṭubnī en 457/1065 despertó una gran curiosidad dadas las circunstancias excepcionales en las que se produjo: al-Ṭubnī fue encontrado muerto en su lecho, atravesado por más de sesenta puñaladas, recayendo sobre los miembros de su propia familia, que vivían en diversas partes de la casa, las principales sospechas. Basado en una serie de fuentes historiográficas y jurídicas, este artículo reconstruye las investigaciones llevadas a cabo por las autoridades policiales así como las discusiones (...) de los juristas sobre los castigos a aplicar. Estos datos permiten analizar las relaciones en el seno de una familia, relaciones cuya complejidad podría explicar la violencia de la que fue objeto el patriarca.[fr] La mort violente du savant Abū Marwān al-Ṭubnī en 457/1065 éveilla la curiosité vu les circonstances exceptionnelles de son décès: on l'avait retrouvé dans son lit, percé de plus de soixante coups de poignard, et c'est vers les membres de sa famille, qui vivaient dans diverses parties de la maison, que se portèrent les soupçons. Basé sur un ensemble de sources historiographiques et juridiques, cet article reconstitue les enquêtes menées par les autorités policières et les discussions des juristes sur les peines à infliger. Ces données permettent d'analyser les relations au sein d'une famille, relations dont la complexité peuvent expliquer cette violence contre le patriarche. (shrink)

Although it can hardly be denied that BT is—as its first paragraph declares—centrally concerned to advance the science of aesthetics by coming to grips with the essence of Attic tragedy, it should not be forgotten that its author also characterizes the book (in its foreword) as being in constant conversation with Richard Wagner, and hence as a continuation of their joint struggle properly to grasp the true purpose and full value of Wagnerian opera, understood as aspiring to the status of (...) a Gesamtkunstwerk. One might say that BT is an attempt to make sense of the Wagner circle’s habit of referring to their leader as Aeschylus—to ground Nietzsche’s intuition that the work of both men embodies an enigmatic sublimity .. (shrink)

The Republic is widely recognized to be Plato’s masterpiece, but for centuries it has been the subject of much debate. Is it about the ideal state, or the soul, or art, or education, or something else altogether? Interpretations have been many and various, for two main reasons: studies have tended to concentrate on parts of this very long dialogue to the exclusion of other parts; and some of the opinions expressed in the dialogue are routinely regarded as being those of (...) Plato himself. This analysis treats the dialogue as a dialogue, a conversation between the characters presented in it, and examines the dialogue in its entirety. The result is a holistic interpretation making sense not only of the dialogue as a whole, but also its parts. Each character is a paradigm representing an aspect of the central theme of the dialogue (apparent good), and it is because of what they represent that the conversation takes the course that it does. (shrink)

The motif of the ‘drama of being’ is a dominant thread that spans the entirety of Levinas's six decades of authorship. As we will see, from the start of his writing career, Levinas consciously frames the tension between ontology and ethics in a dramatic form. A careful exposition of this motif and other related theatrical metaphors in his work–-such as ‘intrigue,’ ‘plot,’ and ‘scene’–-can offer us not only a better appreciation of the evolution of Levinas's thought, but also of his (...) proper place within the western philosophical tradition. Levinas accuses western philosophers of being exclusively attuned to what he calls the ‘drama of existence.’ And even then, philosophers have eluded the implications of the tragic fatalism that define this drama. Philosophers are generally unaware of an ‘other scene’ that radically alters the fatalistic logic of the ontological drama. Levinas calls this other scene the ‘ethical intrigue.’. (shrink)

The personal, political, and aesthetic ideals that Irish modernists found embodied in the figure of Charles Stewart Parnell—independence, self-mastery, and a capacity for radical self-fashioning—have been well attested in Irish literary historiography. What has been less often noted is the centrality of sexual health to the conception, articulation, and emulation of those virtues, particularly when attempting to translate Parnell’s public persona to the stage. This essay addresses this lacuna by tracing how a medicalized and politicized conception of sex informed Irish (...) modernist efforts to dramatize the Parnell myth at the Abbey Theatre. It begins by establishing the hitherto underexamined ways in which the Parnell myth informed the infamously divisive sexual politics of J. M. Synge’s The Playboy of the Western World (1907), in which the fallen leader and his career provide a template for Christy Mahon and the virile autonomy he is held to embody. Building on this analysis, the essay proceeds to explore the ways in which Synge’s restaging of the Parnell myth, and the medicalized and politicized model of sex which underpinned it, informed Lady Augusta Gregory’s efforts to resuscitate (and sanitize) Parnell for Abbey audiences in 1911’s The Deliverer. Finally, through a close reading of Lennox Robinson’s largely overlooked 1918 play, The Lost Leader, the essay charts how the organicist and hereditarian model of sexual health upon which earlier iterations of the Parnell myth had rested began to give place to a more psychoanalytic model. It then identifies the implications of this shift for Robinson’s reading of Irish politics in the wake of the 1916 Easter Rising. In doing so, the essay highlights the ways in which sexual health emerged as an extra-moral normative framework in Irish political discourse, and it demonstrates how a Medical Humanities approach and a sensitivity to the social history of medicine in Ireland can enrich critical understandings of the Parnell myth and its modernist afterlives. (shrink)

As time-shifting technologies and digital convergence are facilitating and encouraging increasingly individualized and personalized television viewing practices, the social role and function of traditional linear television might be changing as well. Through empirical audience research, using TV diaries and interviews, this article investigates the social dimensions of engaged viewers’ reception of TV drama and explores how audiences themselves experience contemporary television as a social medium. The qualitative analysis reveals three social dimensions in viewers’ engagement with TV drama and indicates that (...) television is generally still perceived as a social medium. Time-shifting technologies do not only fracture audiences, they also create new opportunities for social connections with peer viewers. (shrink)

En el siguiente artículo, nos proponemos indagar sobre la personalidad drámatica que Platón imprimió a alguno de sus personajes, a través del análisis de sus discursos. Junto a ello, se manifestará la aparición diferenciada del filósofo, y de cómo es que este elude los problemas dramáticos que envuelven a los no-filósofos, a partir del distinto interés, comportamiento y comprensión. Sostendremos nuesta interpretación sobre la base de que todos los discursos que conforman el Banquete son verdaderos, donde “verdad” será entendida tal (...) como Heidegger la comprendió dentro de su interpretación de la filosofía de Platón y Aristóteles, esto es, en tanto desocultamiento. (shrink)

This paper presents Álvares de Azevedo's ideas on dramaturgy which were expounded in a direct form mainly in Carta sobre a atualidade do teatro entre nós and in the preface to Macario. Then an analysis of Um cadáver de poeta is developed which attempts to illustrate the theory of the dramatic genre defended by Puff, the narrator o/Macario.Apresentam-se aqui as idéias sobre dramaturgia de Álvares de Azevedo expostas de forma direta principalmente em Carta sobre a atualidade do teatro entre nós (...) e no prefácio a Macário. Em seguida, desenvolve-se uma análise de Um cadáver de poeta procurando ilustrar a teoria do gênero dramático defendida por Puff, o narrador de Macário. (shrink)

This article discusses attempts of Russian philosophers of the 19th and 20th centuries (e.g. Vladimir Solovyev, Vladimir Ern, Nikolay Berdyaev) to suggest thegenre of “philosophical biography” as a special kind of philosophical work. So, philosophical biography is treated as an understanding of life. The most important features of philosophical biography in Russian thinkers’ interpretation are as follows: the focus on comprehension of life-drama, in which thoughts and senses act as personal events; the demand of spiritual affinity as a condition for (...) understanding; and the creation of spiritual image as the main task of biography. (shrink)

This article examines the technological construction of political power, as well as resistance to political power, by means of an "ideal-typical" model called a technolog ical drama. In technological regularization, a design constituency creates artifacts whose features reveal an intention to shape the distribution of wealth, power, or status in society. The design constituency also creates myths, social contexts, and rituals to legitimate its intention and constitute the artifact's political impact. In reply, the people adversely affected by regularization engage in (...) myth-, context-, or artifact-altering strate gies that represent an accommodation to the system or a conscious attempt to change it. A technological drama, in short, is a specifically technological form of political discourse. A key point is that throughout all three processes, political "intentions," no less than the facticity and hardness of the technology's "impact," are themselves constituted and constructed in reciprocal and discursive interaction with technological activities. Technology is not politics pursued by other means; it is politics constructed by technological means. (shrink)

In The Theatre of Dionysus in Athens Dr. Pickard-Cambridge includes a most useful and convenient collection of south Italian vase-paintings which have been held to throw light on the stage-settings of Greek tragedy. He concludes that they give no evidence for Athens in the fifth century and in particular do not justify the assumption that interior scenes were played in a porch in front of the central door. The second conclusion is true, but some of the vases do show that (...) the central doors could be thrown wide open to display an interior scene. The first conclusion is formally correct, but it should be remembered that the “plays came from Athens, and it is at least possible that the south Italian producers modelled themselves on Athenian producers. In any case these vases are worthy of further consideration. (shrink)

One of the greatest dramatists of all time, Shakespeare, recognized that dramatic action was not limited to the stage. Now, in Drama and Intelligence, a work firmly rooted in developmental drama, Richard Courtney is the first to examine dramatic action as an intellectual and cognitive activity. Courtney explores the nature of those experiences we live "through" and which involve us in what is termed "as if" thinking and action.

In Euripides' Bacchae Dionysos visits Thebes in disguise to establish his mysteries there. And so, given normal Euripidean practice, it is almost certain that in the lost part of his final speech Dionysos actually prescribed the establishment of his mysteries in Thebes. In the same way the Homeric Hymn to Demeter tells how the goddess came in disguise to Eleusis and finally established her mysteries there. After coming to Eleusis she performs certain actions in the house of king Celeus, for (...) example the drinking of the κυκεν, which have long been recognized as corresponding to ritual undergone by the initiands in the Eleusinian mysteries. It is the main thesis of this paper that just as elements of the Homeric Hymn to Demeter seem to derive from a ερς λγος of the Eleusinian mysteries, so certain elements of the Bacchae derive from a ερς λγος of the mysteries of Dionysos, and that furthermore Euripides consciously alludes to the Dionysiac mysteries for a dramatic effect dependent on the religiosity of his audience, rather as Aeschylus alludes in the Oresteia, on the principle μαθοσιν αδ, to the mysteries of Eleusis. This case will suffer from two drawbacks. Firstly there is the general scepticism about ritual patterns in drama arising as a reaction to the excesses of, for example, Murray and Cornford. This means that a far greater degree of probability seems to be required from suggestions of this kind than from the more traditional mode of speculation of, say, textual criticism. And secondly, it must be immediately and frankly admitted both that we do not know much about the mysteries of Dionysos and that most of what we do know is from the Hellenistic and Roman period. In the argument that follows recourse will sometimes be had to two assumptions. The first is to suppose a degree of continuity between the Dionysiac mysteries of the classical and later periods. This assumption is based firstly on the observable continuity of the mysteries: for example the antiquity of the Eleusinian ritual described by Plutarch, which will form an important part of my argument, is attested by Aristophanes and Plato. And it is based secondly on general considerations: conservatism is of the essence of those rituals in which a community such as a thiasos perpetuates itself by the transmission of a ritual treasured as originally taught by their god. The second assumption is to suppose, on the basis of numerous observable similarities, an essential similarity between the Dionysiac mysteries and the Eleusinian, about which we are well informed even for the classical period. (shrink)

As Headlam remarked more than thirty years ago, ‘It is a strange fact that the order of words in a Greek sentence has never been clearly appreciated.’ The emphatic word is placed at the beginning of the sentence, or as near it as the structure of the language permits. That is the general law, which I have discussed at length in my edition of the Oresteia. My object in this article is to make an exhaustive study of its operation in (...) a limited field. (shrink)

As prose dramatic texts Plato's dialogues would have been read by their original audience as an alternative type of theatrical composition. The 'paradox' of the dialogue form is explained by his appropriation of the discourse of theatre, the dominant public mode of communication of his time. The oral performance of his works is suggested both by the pragmatics of the publication of literary texts in the classical period and by his original role as a Sokratic dialogue-writer and the creator of (...) a fourth dramatic genre. Support comes from a number of pieces of evidence, from a statue of Sokrates in the Academy to a mosaic of Sokrates in Mytilene, which point to a centuries-old tradition of treating the dialogues in the context of performance literature and testify to the significance of the image of 'Plato the prose dramatist' for his original and subsequent audiences. (shrink)

The Drama of History plumbs the rich relationship between drama and philosophy. Kristin Gjesdal offers a lively and accessible discussion of the philosophical aspects of Henrik Ibsen's work. She shows how well-known nineteenth-century philosophers such as Hegel and Nietzsche develop their thoughts in interaction with the dramatic arts. At the heart of this interaction is a shared interest in exploring the existential condition of human life as lived andexperienced in history. In this sense, Gjesdal engages philosophy's capacity beyond its narrow (...) academic confines. (shrink)

Shakespeare wrote plays and young children are geniuses at playing. In March 2008 the Royal Shakespeare Company (RSC) launched Stand Up for Shakespeare, its manifesto for the teaching of Shakespeare in schools. Of its three stated principles—“Do it on your feet; see it live; start it earlier”—it is perhaps the third that is the most tantalizing. The company’s education department has done much over recent years to introduce key stage 2 children to a variety of his plays but has paid (...) less attention to children’s early years. In association with the University of Warwick, the company therefore commissioned a pilot project to introduce children as young as four and five years old to Shakespeare in order to .. (shrink)