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One of the best ways of learning English is using technology. Actually mobile phone plays the key role in learning English. Today, there are many applications are used for learning and teaching English. Viber is an instant messaging and Voice over IP (VoIP) application for smart phones developed by Viber Media. In addition to instant messaging, users can exchange images, video and audio media messages. Viber is a new software which is used for many purposes. Viber users communicate with each other through textual and oral messages. The aim of this study is to elaborate the exact relationship between using Viber and improvement of vocabualry knowledge. The researchers have chosen 15 male and female EFL University Students which were weak in vocabulary domain at first. Participants were gathered in a Viber group and communicate with each other under the professor's control. After one month, the results declared that there is a meaningful relationship between using Viber and Students' Vocabulary Learning. The results also showed that learners were more interested in learning English through Viber.
More...Where Sex and Memory Intertwine
This paper analyses pornographic representations of sex and attitudes with respect to homosexuality in Game of Thrones. By relying on what Astrid Erll calls a media conscious approach to cultural memory, I hope to link the pornographic conventions used when filming sex with the memory of the civilizing mission, and the stigmatization of homosexuality with the memory of the early modern negative stereotype about the regions around the Mediterranean. In the former case I am interested in the way the film repurposes pornography in order to shed light upon the shifts in the power relations between Kahl Drogo, the Dothraki leader and Daenerys Targaryen, his wife from Westeros, while in the latter I am interested in the way homosexuality is used as a marker of difference and decadence for Doren, the extreme southern part of Westeros.
More...Die Repolitisierung des Theaters. Das Dokumentarische als Erinnerungsstrategie im rumänischen Theater
The analysis focuses on contemporary Romanian political theatre exemplified by two plays: “Tipografic Majuscul” by Gianina Cărbunariu and “Capete infierbântate” by Mihaela Michailov. The two authors and directors make part of a young generation that revitalized the Romanian theatrical landscape in general and political theatre in particular. They work as a collective and critically treat political, social and historical topics. The analysed plays take a look back on events of the recent past that have long been a taboo and which they approach in the form of a political documentary theater. But they do not intend to only document the past, but they seek to play an active part in shaping the present and the future through their plays.
More...Reading Percival Everett through Sara Ahmed
Ahmed’s notion of comfort and discomfort between bodies and spaces helps to expand upon the purposes of movement and geography in Percival Everett’s Erasure. The constant rejection the protagonist Monk Ellison faces in public and private spaces, and manifests internally toward himself, requires that his body respond. When we track his geography, we see a man in constant motion who, because of his out-of-place-ness, is forced first to express himself through the creation of a pastiche that mocks prevailing notions of blackness. When this fiction is met with widespread commercial success and critical acclaim, Monk creates of himself and his character an avatar that exists between these two bodies. This avatar, Stagg R. Leigh, embodies the political dissent Ahmed describes as indicative of queer bodies that do not adhere to the behavioral governances of compulsory heterosexual spaces: by establishing himself as passably black according to hegemonic expectations, but then being revealed as a fiction, he upends and threatens social order by escaping its rubrics for functional black bodies. Through this Ahmedian-affective lens, one sees that black bodies in compulsorily racist environments, as queer bodies in compulsorily heteronormative environments, are forced to navigate expectations for their forms by glossing over, ignoring, suppressing, attempting to obscure, or having to acknowledge that which makes them different. A consequence of this interpellation is that society, for both black and queer bodies, rejects their forms and more readily accepts fictitious, derivative bodies in their stead, thus creating new forms to make invisible those stitches in the social skin that identify and alienate the individual from the space surrounding.
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This essay reads Charles Chesnutt’s final published novel The Colonel’s Dream as an early work of Afrofuturism because of its speculation of the South as the site of a possible utopia for African Americans. The novel’s protagonist, Colonel Henry French, dreams of creating a capitalist utopia in his hometown of Clarendon, North Carolina, where both white Americans and African Americans who are eugenically fit can rise both socially and economically. However, in the end, the Colonel’s dream fails because he finds that the South has not progressed from the psychological hold that racism has on the mindset of white southerners.
More...Eine „Botschaft symptomatischer Bedeutung“. Die Saisoneröffnung des Burgtheaters 1914
After the assassination of the successor to the Austrian-Hungarian throne and his wife on June 28th 1914, a mourning period was not imposed. The court theatres were instructed, however, to remain closed until the beginning of the holiday season. While after the declaration of war to Serbia (on 25th July), the court theatres were told to open regularly at the beginning of September. Emperor Franz Josef argued against the opening of the stage when in August the Allies entered war. Due to the “Kriegsparagraph” actors had to work for reduced fees, otherwise they would be dismissed and the theatres would remain closed. This produced a discourse concerning the value of theatres during times of crisis. – Finally both court theatres were reopened on October 18th which is a multiple date of remembrance: the Battle of the Nations near Leipzig and the birthday of Prince Eugene. Three persons of the cultural memory – Radetzky, Wallenstein and Prince Eugene – acted on the stage as a measure of confidence-building. The premier that the director had planned for the Burgtheater re-opening, Kleist’s Hermannsschlacht, was finally placed in the programme in December 1914. At a time when the general euphoria about war had already decreased the audience reacted in a differentiated manner. Next to patriotic enthusiasm the reviews already show doubts and concerns. In the following years the programme of the Burgtheater avoided any reference to the world events and offered besides classics a sort of escapism to the audience.
More...Russia in Translation. Zur Identitätskonstruktion in der Republik Moldau
The territory of today’s Republic of Moldova was claimed for centuries by both, Russia and Romania. Despite its independence in 1991 the country is caught in a position ‘in-between’, in a net of tensions between constructions of the ‘East’ and the ‘West’. Applying translational theory, the impact of the Soviet Union and its successor state Russia on identity construction as the former hegemonic power and its expression in contemporary Moldavian theatre will be analyzed and interpreted. Exemplified in Fuck You, Eu.ro.Pa! by Nicoleta Esinencu (2005) and DRUJBA by Ion Borş (2012) the depiction of ‘the Russian’ is studied. The alternating power dynamic and its corresponding staging are analyzed, and a resulting contemporary identity concept will be deduced.
More...Moral über All Studie zu Arthur Schnitzlers dramatischem Text Reigen
The paper describes in form of a diary the preparation stages of the performance of the play Reigen (La Ronde) written by Arthur Schnitzler, performed at the graduation exam by the students from the performing Arts Department in German language, West-University of Timisoara.
More...Dramatismul adolescenţei în Deşteptarea primăverii de Frank Wedekind
The paper “The Drama of Adolescence in Frank Wedekind’s Play Spring Awakening” follows the journey of an actor, from person to the character of Moritz Stiefel. The road proposed by this paper is traveled from two perspectives, that of an actor with the struggles of learning how to walk, finding the right path, choosing the best company, understanding the importance of the journey once completed. The second perspective is that of the theoretician trying to place the character in a universal time-line and hoping to find an explainable mechanism for all the theatrical processes that took place during the birth of the play.
More...Robert Wilsons Figurenästhetik in der Leonce und Lena-Inszenierung
Büchner’s drama Leonce and Lena becomes in the vision of Robert Wilson something in between a theatrical performance and a musical production, where two main aesthetic components occur: sound and visual component on the one side, composition of the dramatic figure on the other side. The dramatic figures move during the performance like “automates” resembling the Über-Marionette concept of Craig, the bodies revealing the specific Wilsonian slow motion rhythm, generating a kind of human-pictures, always present in his so called “theatre of images”.
More...Der Dramatiker und die Bühne. Der Schauspieler als wesentlicher Faktor der Dürrenmattschen Theaterarbeit
The syntagm „mit der Bühne dichten“ ("to write with the stage" – therefore more than "for the stage"), which is emblematic for Friedrich Dürrenmatt‘s theatre theory, reflects his conviction that, while working on the text, the playwright must constantly take into consideration the concrete possibilities of the stage as an acting space. This conviction leads implicitly to a special attention paid to the actor as an essential factor of the theatre. In this respect Dürrenmatt almost rules the intermediary figure of the director out of the relationship playwright-actor.
More...Un Shakespeare german în Franţa: opinii în presa germană şi franceză despre Othello şi Măsură pentru Măsură în viziunea scenică a lui Thomas Ostermeier
The paper compares German and French press reviews of two productions by the German director Thomas Ostermeier. It deals with his stagings of William Shakespeare’s Othello (2010) and Measure for Measure (2011), which were shown both in Germany and France. Reactions in these countries differed widely and the paper endeavours to explain these differences.
More...Ein deutscher Shakespeare in Frankreich: deutsche und französische Pressestimmen zu Thomas Ostermeiers Othello und Maß für Maß-Inszenierungen
The paper compares German and French press reviews of two productions by the German director Thomas Ostermeier. It deals with his stagings of William Shakespeare’s Othello (2010) and Measure for Measure (2011), which were shown both in Germany and France. Reactions in these countries differed widely and the paper endeavours to explain these differences.
More...Jean Anouilhs Theater im Lichte unserer Erfahrung
The paper deals with the plays Colombe and Le Nombril by the French playwright and director Jean Anouilh (1910-1987) and their stagings at the Comédie des Champs-Elysées by Michel Fagadau (2010 and 2011 respectively) on the occasion of the 100th birthday of the author. Anouilh’s place in French theatre history is briefly described and the question raised what plays can be of interest to a contemporary audience.
More...Ioana D'Arc a abatoarelor de Bertolt Brecht în viziunea lui Giorgio Strehler: o lecţie despre teatrul epic
The dialectical relation between the metatext of the staging and the author’s original, as discussed by Patrice Pavis, raises the issue of the production’s faithfulness to the source text. Though this issue is completely justified with regard to any mise-en-scène, there are particular cases where one would feel the need to redefine the term ‘faithfulness’. One such case is Giorgio Strehler’s production of Brecht’s Die Heilige Johanna der Schlachthöfe from 1970. The staging had not been conceived in terms of ‘poor theatre’, on the contrary: Strehler brings on stage a colourful mixture of circus, music-hall and cinema elements. The analysis of a key-scene (as based on Strehler’s prompt book which was published by Arturo Lazzari) shows to which extent and especially in which manner Strehler made use of the instruments of Brecht’s epic theatre and simultaneously points out the original aspects of his staging. Strehler’s Santa Giovanna dei macelli is not only an excellent example of how a director can be highly innovative and at the same time faithful to the intentions of the author (at least on the level of theatre aesthetics), but also an interesting questioning of the term ‘faithfulness’.
More...H. C. ARTMANNs poetisches Theater
The Austrian author H. C. Artmann is wellknown for his exotic texts and especially for his puns of words. The present study explores the dramatic texts, the so called “poetic theatre” that had been analysed very seldom. Artmann's theatre is due to its structure and items very close to the baroque literature, but has also similarities with surrealism and dadaism. The grotesque situations, present in his plays, can be identified as fantasy-plays, placed in exotic locations, with protagonists coming from the traditional theatre as Columbina or Pierrot, real persons as Lincoln or Jules Vernes, or fiction as Donald Duck or Dracula. The „poetic theatre“ is characterized by the mingling of different traditional poetic techniques with new elements, created by the author with the aim to find new ways of artistic expression.
More...Teatrul poetic al lui H. C. Artmann
The Austrian author H. C. Artmann is wellknown for his exotic texts and especially for his puns of words. The present study explores the dramatic texts, the so called “poetic theatre” that had been analysed very seldom. Artmann's theatre is due to its structure and items very close to the baroque literature, but has also similarities with surrealism and dadaism. The grotesque situations, present in his plays, can be identified as fantasy-plays, placed in exotic locations, with protagonists coming from the traditional theatre as Columbina or Pierrot, real persons as Lincoln or Jules Vernes, or fiction as Donald Duck or Dracula. The „poetic theatre“ is characterized by the mingling of different traditional poetic techniques with new elements, created by the author with the aim to find new ways of artistic expression.
More...Un nume nou în dramaturgia româneascǎ
This study centers on what a man, who was unknown by his contemporaries as writer, wrote for the stage. I. D. Vulcănescu was a mathematician, yoga practioner, philosopher and anticommunist. Not only his intellectual training, but also experiencing life and detention in the socialist society, brought him towards theatre.Known since ΄38 as a young promissing intellectual meant for a brilliant career, doctor in mathematics, professor, clerk in the Finance Department, partizan, yoghin, Ion D. Vulcănescu witnesses the abrupt changes 1944 meant. He was amog those who oposed the recently installed power, risking their career, freedom and life.All three presented plays are written by someone who knew the worse in the communist society: jail, material shortcoming, outcasting. The official state ideology, whose essence is the hypocrite care towards people, is ridiculed and attacked. The author shows a good knowledge of both the man that suddenly finds himself under new, unnatural laws, and of the one who persecutes as well. Characters are subtile, yet vividly portrayed. Their way of talking is colourful and particular. I. D. Vulcănescu proves to know how to built a scene, to essentialise, to show the wrongness of logic, to characterise, to bring the confrontation of ideas into life.
More...Despre cultura râsului bine drămuit
Communism is a topic well represented in the Matei Visniec’s writings. The victims of the regime, the depriving of liberty, the absurd reality are always topics to be dealt with in an attempt to preserve the memories. The hereby study focuses on De la sensation d'élasticité lorsqu'on marche sur des cadavres (On the Feeling of Elasticity while We’re Walking on Death Bodies), analysing the context, the construction, its rapports with other Visniec’s works.
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