Results for ' Drama'

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  1. Andrea peghinelli.Point in British Contemporary Drama - 2012 - Journal for Communication and Culture 2 (1):20-30.
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  2. Fascismo disfrazado de socialismo.de Araña de La la Tela, Corrupcion Del Psoe En Andalucia, Bfn-José Mourinho, Berto Y. Fuenafuente-Un Poco de & Humor Para Lidiar El Drama - forthcoming - Gnosis.
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  3.  9
    Postmodern/drama: Reading the Contemporary Stage.Stephen Watt - 1998 - University of Michigan Press.
    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.
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  4.  13
    The drama and the symbols.Gustaf Aulén - 1970 - Philadelphia,: Fortress Press.
    Gustav Aulen's starting point in this book is that God can only reveal himself in the form of symbols; in himself he remains beyond our comprehension. The symbols we use will determine our image of God. A bewildering variety of such images is to be found in modern literature, but the Christian image of God is inseparably linked with the drama of Christ.
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  5.  45
    The Drama of Ideas: Platonic Provocations in Theater and Philosophy.Martin Puchner - 2010 - Oxford University Press.
    Philosophy underwent a corresponding theatrical shift in the modern era, most importantly through the work of Kierkegaard, Nietzsche, Sartre, and Camus.
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  6.  37
    Double Vision: Moral Philosophy and Shakespearean Drama.Tzachi Zamir - 2011 - Princeton University Press.
    Hamlet tells Horatio that there are more things in heaven and earth than are dreamt of in his philosophy. In Double Vision, philosopher and literary critic Tzachi Zamir argues that there are more things in Hamlet than are dreamt of--or at least conceded--by most philosophers. Making an original and persuasive case for the philosophical value of literature, Zamir suggests that certain important philosophical insights can be gained only through literature. But such insights cannot be reached if literature is deployed merely (...)
  7.  13
    Drama and Feeling: An Aesthetic Theory.Richard Courtney - 1995 - McGill Queens University Press.
    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.
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  8.  13
    The philosophical stage: drama and dialectic in classical Athens.Joshua Billings - 2021 - Princeton: Princeton University Press.
    In this book, classicist Joshua Billings considers classical Greek drama as intellectual history. Developing an innovative approach to dramatic form as a mode of philosophical thought, Billings recasts early Greek intellectual history as a conversation across types of discourses and demonstrates the significance of dramatic reflections on widely-shared conceptual questions. He integrates evidence from tragedy, comedy, and satyr play into the development of early Greek philosophy in order to place poetry at the center of Greek thought. He thus offers (...)
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  9. Lukács y el drama moderno.José Ignacio López Soria - 1975 - Teorema: International Journal of Philosophy 5 (3):407-426.
    Lukacs participation in the establishment and running of the Theater Company Thalia will reflect on his reflection on the modern drama in his first book (History of the evolution of modern drama". Our study is based on the correspondence between Lukacs and his companions and analysis of the early writings of Lukács, usually in Hungarian.
     
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  10.  22
    Characterisation and Interpretation: The Importance of Drama in Plato's Sophist.Eugenio Benitez - 1996 - Literature & Aesthetics 6:27-39.
    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 (...)
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  11. Asian Drama. An Inquiry into the Poverty of Nations.Gunnar Myrdal, William J. Barber, Altti Majava, Alva Myrdal, Paul P. Streeten & David Wightman - 1968 - Science and Society 32 (4):421-440.
     
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  12. Music as narrative and music as drama.Jerrold Levinson - 2004 - Mind and Language 19 (4):428–441.
    In this paper I address the issue of narrativity in music. The central question is the extent to which pure instrumental music in the classical tradition can or should be understood as narrative, that is, as narrating a story of some kind. I am interested in the varying potential and aptness for narrative construal of different sorts of instrumental music, and in what the content of such narratives might plausibly be thought to be. But ultimately I explore, at greater length, (...)
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  13.  58
    Strengthening Verbal Skills through the Use of Classroom Drama: A Clear Link.Ann Podlozny - 2000 - Journal of Aesthetic Education 34 (3/4):239.
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  14.  15
    Drama and Intelligence: A Cognitive Theory.Richard Courtney - 1990 - McGill-Queen's Press - MQUP.
    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.
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  15. Drama.James R. Hamilton - 2009 - In Higgins Davies (ed.), Blackwell Companion to Aesthetics.
    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.
     
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  16. Eternal drama of souls, matter, and God.Jagdish Chander & K. B. - 1983 - Mount Abu, Rajasthan, India: Prajapati Brama Kumaris Ishwariya Vishwa-Vidyalaya.
    pt. 1. [without special title] -- pt. 2. The eternal world drama.
     
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  17.  14
    Dialogues, Dramas, and Emotions: Essays in Interactionist Sociology.Robert Perinbanayagam - 2023 - Lexington Books.
    Drawing from the works of George Herbert Mead, Kenneth Burke, and Mikhail Bakhtin, this work argues that everyday interactions are inescapably dramas, conducted through the use of dialogues in order to promote mutual understanding.
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  18.  35
    South Italian Vases and Attic Drama.A. W. Pickard-Cambridge - 1949 - Classical Quarterly 43 (1-2):57-.
    Professor Webster's attempt to prove that south Italian vases of the middle of the fourth century can be used as evidence of Athenian theatrical arrangements of half or three-quarters of a century earlier leaves me unconvinced. It, is true that, as he says, ‘the plays’ which the vases illustrate ‘come from Athens'— at least, most of them probably did: but a number of scenes on the vases are not scenes presented in the plays at all, but are scenes suggested to (...)
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  19.  12
    Platonic Drama and its Ancient Reception.Nikos G. Charalabopoulos - 2012 - Cambridge University Press.
    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 (...)
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  20.  16
    According To The British Consulate Reports Tobacco Cultivation And Trade In The Sanjak Of Drama During The Mid 19th Century.Arslan İsmail - 2009 - Journal of Turkish Studies 4:154-178.
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  21.  7
    A Study on the Characters in the Ipbeopgyepum of the Avatamsaka Sutra from a Perspective of Drama. 강기선 - 2019 - Journal of the New Korean Philosophical Association 96:37-60.
    인간의 내적 성찰은 감정이나 사상이 동작이나 행위 속에서 즉 객관적 · 외적 현실과의 눈에 보이는 상호작용 속에서만 드러날 수 있다. 인간의 감각적 지각의 양상은 인간의 전체적 존재양상에 따라 변하기 마련이다. 이러한 다양한 인간의 감정양상 등을 문학에서는 희곡적으로 다루고 있다. 기존의 극(劇)이라는 용어는 넓은 의미로 연극과 희곡을 포괄하는 개념이며 좁은 의미로 연극만을 의미하는 개념이다. 그러나 본 연구에서는 넓은 광의개념인 희곡으로 그 범주를 정하고 ‘극 양식으로 본 『화엄경』『입법계품』의 등장인물 연구’에 대하여 살펴보았다. 본 연구에서 중점적으로 다룬 연구내용은, 『화엄경』『입법계품』의 핵심사상과『입법계품』에 등장하는 53명의 인물들이 강조하고 (...)
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  22.  27
    Sex, Sin and Ideology: The Drama's Gift to the Genesis of the Novel.Paul Backscheider - 1993 - Lumen: Selected Proceedings From the Canadian Society for Eighteenth-Century Studies 12:1.
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  23.  27
    Snap shot of a dream drama.Thomas P. Bailey - 1906 - Journal of Philosophy, Psychology and Scientific Methods 3 (26):708-711.
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  24.  8
    Man's Search For Meaning In Modern French Drama. Stefano - 1964 - Renascence 16 (2):81-91.
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  25.  31
    The Ethos of Drama: Rhetorical Theory and Dramatic Worth.Robert L. King - 2010 - Catholic University of America Press.
    Rhetorical ethos and dramatic theory -- Syntax, style, and ethos -- The worth of words -- Memory and ethos -- Shaw, ethos, and rhetorical wit -- Athol Fugard's dramatic rhetoric -- Rhetoric and silence in Holocaust drama.
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  26.  13
    Enden på en ny begyndelse: Arv i nyere dansk film og tv-drama.Jakob Ladegaard - 2020 - Slagmark - Tidsskrift for Idéhistorie 82:91-109.
    Inheritance is about cold cash and warm emotions. On a macroeconomic level inherited wealth is a source of inequality, but on a personal level it is a gift between relatives that can involve gratitude, but also a sense of obligation and duty continuity, but also conflicts. These perspectives often clash in public discussions about inheritance law and taxation. This article discusses the implicit notions about inheritance and their relationship to positions in the public debate in three Danish filmic works: Per (...)
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  27.  10
    Tragic Divisions and Divine Justice: Comparing the Philosophical and Religious Underpinnings of Chinese and Western Drama in the Orphan of Zhao.Xuan Zhou & Mei Zhang - 2024 - European Journal for Philosophy of Religion 16 (2):174-189.
    The Orphan of Zhao" exemplifies a quintessential Chinese tragedy that encapsulates the values of loyalty and kindness, deeply rooted in Chinese cultural and philosophical traditions. This study embarks on an exploration of the ethnic and cultural nuances of this tragedy, contrasting it with Western dramatic forms to elucidate divergent philosophical foundations and religious influences. Central to this analysis is the comparison of cultural backgrounds, thematic focus, value systems, structural compositions, and narrative techniques that distinguish Chinese tragedies from their Western counterparts. (...)
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  28.  66
    Losses of face: Rembrandt, Masaccio, and the drama of shame.Martha Hollander - 2003 - Social Research: An International Quarterly 70 (4):1327-1350.
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  29.  30
    "La plus belle des histoires". Grotius' Drama on Joseph in Egypt in the Tradition of the Theme.Arthur Eyffinger - 1987 - Grotiana 8 (1):80-90.
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  30.  12
    The Fourth Man: Stoic Tradition in Grotian Drama.Arthur Eyffinger - 2001 - Grotiana 22 (1):117-156.
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  31.  41
    Structure and Spontaneity: the Process Drama of Cecily O’Neill- edited by Philip Taylor and Chris Warner.Jonothan Neelands - 2008 - British Journal of Educational Studies 56 (1):112-113.
  32.  31
    Double vision: Moral philosophy and Shakespearean drama by Zamir, Tzachi.Stephanie Patridge - 2008 - Journal of Aesthetics and Art Criticism 66 (2):208–210.
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  33.  86
    Sôphrosunê, Socratic Therapy, and Platonic Drama in Plato’s Charmides.Alan Pichanick - 2016 - Epoché: A Journal for the History of Philosophy 21 (1):47-66.
    Plato’s Charmides suggests that there are really four notions that are deeply connected with one another, and in order to understand sôphrosunê we need to get a proper hold on them and their relation: these four notions are Knowledge of Ignorance, Self-Knowledge, Knowledge of the Good, and Knowledge of the Whole. My aim is to explore these four notions in two stages. First, I will try to explain Socrates’s notion of knowledge of ignorance, so that the nature and coherence of (...)
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  34.  78
    "Play is the thing!": Shakespeare, Language Play and Drama Pedagogy in the Early Years.Joe Winston - 2013 - Journal of Aesthetic Education 47 (2):1-15.
    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 (...)
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  35.  8
    Historical bridge or cultural divide—English drama and theatre against contemporary Polish background.Marta Wiszniowska - 1995 - History of European Ideas 20 (1-3):53-57.
  36.  26
    The Poetic Function of the Stage Audience and Embedded Performance in Drama.Lorraine Wynne - 1980 - Semiotics:571-576.
  37.  16
    „Seelenstärke“ und „Gemütsfreiheit“. Stoisches Ethos in Schillers ästhetischen Schriften und in seinem Drama Maria Stuart.Bernhard Zimmermann, Jochen Schmidt & Barbara Neymeyr - 2008 - In Bernhard Zimmermann, Jochen Schmidt & Barbara Neymeyr (eds.), Stoizismus in der Europäischen Philosophie, Literatur, Kunst Und Politikstoicism in European Philosophy, Literature, Art, and Politics. A Cultural History From Antiquity to Modernity: Eine Kulturgeschichte von der Antike Bis Zur Moderne. Berlin: Walter de Gruyter.
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  38.  30
    Why Nietzsche Still?: Reflections on Drama, Culture, and Politics.Alan D. Schrift (ed.) - 2000 - University of California Press.
    These essays suggest a number of answers to the question: Why Nietzsche still? They show that Nietzsche still has a great deal to say to those who read him with an eye toward developing critical responses to the present and the future that will follow.
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  39.  26
    Forewarning of Graphic Portrayal of Violence and the Experience of Suspenseful Drama.Minet de Wied, Kathleen Hoffman & David R. Roskos-Ewoldsen - 1997 - Cognition and Emotion 11 (4):481-494.
  40.  57
    Lyric Metres - A. M. Dale: The Lyric Metres of Greek Drama, Pp. 220. Cambridge: University-Press, 1948. Cloth, 18s. net.J. D. Denniston - 1948 - The Classical Review 62 (3-4):118-122.
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  41.  16
    Radical Tragedy: Religion, Ideology and Power in the Drama of Shakespeare and his Contemporaries (review).Peter H. Greenfield - 1985 - Philosophy and Literature 9 (2):235-236.
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  42.  37
    Review. Speech in Speech: Studies in Incorporated Oratio Recta in Attic Drama and Oratory. V Bers.Andrew Laird - 1999 - The Classical Review 49 (2):417-418.
  43.  12
    Gesellschaftlicher Umbruch und Historie im zeitgenössischen Drama der islamischen WeltGesellschaftlicher Umbruch und Historie im zeitgenossischen Drama der islamischen Welt.Jacob M. Landau, Johann Christoph Bürgel, Stephan Guth & Johann Christoph Burgel - 1998 - Journal of the American Oriental Society 118 (1):110.
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  44.  23
    Freedom and Dignity: Barrie Stavis' Drama of Forged Character in an Age of Emptiness.Daniel Larner - 1990 - Cardozo Studies in Law and Literature 2 (2):259-277.
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  45.  30
    Socrates and Alcibiades: Plato’s Drama of Political Ambition and Philosophy by Ariel Helfer.Annie Larivée - 2018 - Journal of the History of Philosophy 56 (2):361-362.
    Helfer opens his book with a series of vigorous reflections that have the virtue of challenging some of the reader’s deeply seated beliefs concerning political emotions. While we moderns see political ambition mostly as a threat to the public good that needs to be checked, ancients, the author suggests, considered that passion in a positive light. Indeed, they regarded political ambition as the manifestation of a powerful desire to achieve noble deeds in the civic sphere, an aspiration they saw as (...)
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  46.  7
    The Lyric Metres of Greek Drama.Richmond Lattimore & A. M. Dale - 1951 - American Journal of Philology 72 (3):323.
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  47.  10
    The contribution of naturalised minorities to contemporary European drama currently performed in England.G. N. Lidstone - 1995 - History of European Ideas 20 (1-3):19-23.
  48.  23
    The semiotics of character names in the drama.Marvin Carlson - 1983 - Semiotica 44 (3-4).
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  49.  27
    The performance as an ’interpretant’ of the drama.Erika Fischer-Lichte - 1987 - Semiotica 64 (3-4):197-212.
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  50.  28
    The Doktor Faustus of Thomas Mann as a drama of iconicity.Claude Gandelman - 1984 - Semiotica 49 (1-2).
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