Dramatic Character Research Articles

중국 소비자들의 한국 TV드라마 시청이 한국 패션제품 태도 형성에 미치는 영향 - 드라마 등장인물과의 유사성과 국민이미지 역할을 중심으로 -

As the popularity of Korean drama and celebrities in China, Korean fashion is becoming increasingly popular in the Chinese market. Although the effect of Korean drama on Chinse consumers` attitudes toward Korean products are known, little research has been conducted to understand the mechanisms underlying the impact of Korean drama on the development of consumer attitudes. Thus, this study examines how Chinese consumers` exposure to Korean dramas has influenced their attitudes towards Korean fashion products. Applying the similarity-attraction theory, the study explores the roles Chinese consumers` perceived similarities in appearance and values with Korean characters in TV dramas plays in the process of attitude development. Data was collected via an online survey and the responses of 317 Chinese consumers in their twenties were used for data analysis. The results of structural equation modeling show that exposure to Korean dramas has a direct impact on Chinese consumers` perceived appearance similarity, perceived value similarity, image of Korean people, and attitudes toward Korean fashion products―results that support the theory of mere exposure. In addition, the analysis demonstrates that perceived appearance similarity positively influences the image of Koreans among Chinese people, which, in turn, influences attitudes toward Korean fashion products, supporting the similarity-attraction theory. However, the effect of perceived value similarity on attitude toward Korean fashion products was not significant. The study concludes by describing its practical implications for the Korean fashion industry and presenting ideas for future research.

Поэтика имен собственных драматических персонажей в чешском театре абсурда

Поэтика имен собственных драматических персонажей в чешском театре абсурда

Ontologies of Play: Reconstructing the Relationship between Audience and Act in Early English Drama

Ontologies of Play:Reconstructing the Relationship between Audience and Act in Early English Drama Clare Wright In his contribution to Shakespeare's Globe: A Theatrical Experiment, Mark Rylance describes how the reconstructed Globe has affected modern performance practice. Shakespeare's plays, he suggests, only really come to life in the Globe when "there is a sense of dialogue with the audience," when actors "speak and move with [them] in the present" (106–7). As a director, therefore, it became paramount to say to the actors, "Don't speak to [the audience], don't speak for them, speak with them, play with them" … it was not just about speaking, it was about thinking of the audience as other actors, and not only when you were projecting onto them the role of the helpful crowd […] it was more about the fact that anything they did was like another player on the stage doing something. (Rylance 106–7) These comments are obviously valuable as evidence of a distinctive "Globe performativity" (Worthen 84), but they also, and perhaps more significantly, call into question a central critical paradigm: specifically, the ontological relationship between audience and play. This relationship is often figured in terms of the distinction between a "play world" and the "real world," implying that dramatic characters and events occupy a time and space (a reality) ontologically separate from that of the audience. Rylance's comments about the actor-audience relationship at Shakespeare's Globe, however, seem to contradict this paradigm, which underpins much of our thinking about early English dramatic form, technique, and effect. In this article, I want to explore further the potential disjunction between modern and early concepts of dramatic ontology and to test current [End Page 187] paradigms against the evidence from early English playtexts and records. In doing so, I will suggest that the continued use of the play-world-real-world paradigm in early drama studies is indicative of an enduring, if unconscious, conceptual bias towards post-nineteenth-century spatial and dramaturgical aesthetics and illustrate the incompatibility of this model with the extant evidence of early dramatic practice. Because early modern playwrights and players were building on an earlier performance tradition, I will, however, venture back into the dramatic heritage of early modern playhouses to explore late-medieval drama and its contexts. If the later commercial theaters were adapting earlier dramaturgical strategies, then it is also likely that they and their audiences similarly assumed earlier ideas about the relationship between audience and play. For the purposes of this discussion, I will focus on vernacular biblical plays, in part because of their frequent use as starting points for critics drawing connections between medieval and early modern dramatic praxis, but also because this is where the current paradigm most obviously breaks down, calling into question its use in other early dramatic modes. Modern Theatrical Paradigms In her landmark book Space in Performance, Gay McAuley proposes that the "space the spectator is watching during performance … is always both stage and somewhere else" to the extent that the stage fictionalizes "whatever is presented on it" (27–28). McAuley is here describing the supposed ontology of play in a "conventional" theater space; that is, a purpose-built, indoor theater with a clearly-defined stage, the majority of which projects back from the audience, perhaps behind a proscenium arch. Even though the "spectators are aware of their own reality" in such a space, McAuley writes, "they dismiss or relegate to a lower level of awareness of this knowledge in order to enter fully into the emotions of the fiction" (253). The architecture of many modern theaters, then, frames the action taking place on the stage as distinctly separate from that in the auditorium, its location and time, a conceptual relationship that seems to spill out into other modern spatial configurations, so that even when audiences are positioned spatially proximate to performers, for example, there is still a perceived separateness, an "audience/actor (us/them) relationship" (Machon 26).1 In recent years, this relationship has been questioned, challenged, and politicized by both critics and practitioners.2 My concern here, however, is not to engage with these debates, but to highlight the model's influence [End...

Four Women in the Woods: An Ecofeminist Look at the Forest as Home

Four Women in the Woods:An Ecofeminist Look at the Forest as Home Catherine Diamond (bio) In 2002, Futerra, a British media company advocating sustainability, launched "The Seasons Alter," a four-minute video of Titania's "bad weather" speech. Played by two actresses, Titania chides the surly Oberon, chasing him around the sparse modernist set dominated by an enormous clock. He responds to her recital of environmental disasters stemming from their quarrel by placing the onus on her: "Do you amend it then: it lies in you." She then repeats her own last line more forcefully: "We are their parents and original."1 Formerly, directors were wont to shorten this speech—the longest in the play—because its serious topicality broke the spell of comic fantasy. Futerra, by extracting its prescient relevance to the contemporary global warming crisis, thrust A Midsummer Night's Dream into the Anthropocene.2 By posing their fault equally, however, Futerra obscures the ethicality of their respective positions. It places Titania's commitments to rectifying the weather patterns upon which farmers depend and nurturing her votaress's child on the same level as Oberon's whim, an expression of power invested in him by a patriarchal hierarchy. Their debate also puts the Fairy Queen's concern for the world's inhabitants in conflict with her maternal affection for one particular child. She is not allowed by Oberon to love both. By trickery, he obtains the changeling, quells her rebellion, and reabsorbs her into his hierarchal order. However, Titania's challenge to his rule lingers from the image of her loving command over the forest dwellers, a delicate dream of an alternative relationship, of a possible something else. Titania's importance in the play and the expansive expression of her values and desires demonstrates one woman's conflict between her loyalty to nature and to her husband/king. Three other female characters in classical dramas also face similar dilemmas of having to choose between [End Page 71] their identities associated with forest life and their roles in patriarchal societies: Sakuntala in Kalidasa's eponymous fifth century Sanskrit play, Neang Seda (Sita) in the Reamker, the eighteenth century Cambodian version of the Sanskrit Ramayana,3 and Shakespeare's Rosalind in As You Like It. All four are unusual in that they are aristocratic women who spend the duration of their respective dramas in forests. Ecofeminism Their conflicts reprise one of the major concerns of ecofeminism that examines the "important connections between the oppression of women and the destruction and misuse of nonhuman nature within male-dominated cultures."4 This general formulation does not specify the important connections, but Karla Armbruster adds, "central to the ecofeminist agenda is the goal of individual, social, and ideological change—specifically, change that will improve the cultural standing of women and nature."5 She implies that the hierarchy of dualisms that divide the world and valorize the male side, such as nature/female and culture/male, has to be dissolved to allow more nuanced interconnections. These artificial divisions, with their concomitant ramifying dyads, were imposed not only to simplify, dominate, and unify the multiplicity of life forms, but also to justify that domination as the natural order. The mutual exclusivity of dualisms has been harmful to both halves, and ecofeminism challenges the gendered essentializing of qualities. It critiques those expected of women that perpetuate the notion that they are somehow physically and emotionally closer to nature, in contradistinction to mind, reason, and the scientific method, and that this association invalidates their environmental knowledge and concern. "Inherent in ecofeminism," writes Barbara Gates, "is a belief in the interconnectedness of all living things. Since all life is nature, no part of it can be closer than another to 'nature.'"6 At the same time, it must account for women's historical roles as nurturing caregivers and the current focus of agencies dedicated to poverty eradication by empowering poor women to protect their own environment. Moreover, ecofeminism challenges the cultural construction of "nature" within the humanist project of mapping the world as well as the aesthetic melding of women and landscape within a sexualizing gaze of Western art. Pleasures of the land and body have to...

Three Approaches to Modularity in Contemporary Music

THREE APPROACHES TO MODULARITY IN CONTEMPORARY MUSIC1 CHRISTOPHER GAINEY MODULAR ANALYSIS,” ACCORDING TO a recent study by Peter Schubert and Marcelle Lessoil-Daelman, “provides a high degree of descriptive precision . . . by showing which . . . ideas the composer thought worthy of repetition and how those repetitions are disposed.”2 Since these scholars focus on Renaissance music, they define a module as “two welldefined melodies in a specific relationship to one another.”3 However, modules may also be conceived more generally as musical elements that gain structural significance—from the perspective of both listeners and performers—through some form of repetition. Such a broad approach to modular analysis can “provide clues to unique aspects of . . . compositional process”4 across a broader stylistic range that includes recent post-tonal music. In this study, I adapt Schubert’s and LessoilDaelman ’s analytical method in order to develop “a narrative of compositional process based on the deployment of modules”5 in Figment No. 2 by Elliott Carter, the second of Thomas Adès’s Mazurkas Op. 27, and “Papillon II” from Sept Papillons by Kaija Saariaho. Prior to discussing these works, it is useful to consider the fundamental concepts of modular analysis and the challenges of applying this analytical perspective to stylistically diverse repertoire. The structural “ 132 Perspectives of New Music significance of modules is rooted in the formative processes of repetition. “All musical structure,” writes John Rahn, “derives from repetition . . . if structure, then repetition, and if no repetition, no structure.”6 Rahn qualifies these rather axiomatic statements by characterizing the most musically satisfying type of repetition as a germinal stage in the formation of a final cause (telos) that points “beyond the thing repeated to the thing being formed.”7 This cognitive framework applies even in the absence of exact repetitions. If a listener relates a series of musical events in some way to a single archetypal module, then there remains a sense that the overall structure of the passage results from repetition. Gretchen Horlacher has applied an analytical perspective to the music of Stravinsky that demonstrates this principle at work. She asserts that words like “block” (i.e., module) and “superimposition” do not necessarily imply interruptions to continuity, as “the contingency of a series of repetitions is paramount: how the series is set forth and plays out ‘shapes’ the quality of the time it inhabits.”8 Thus, by understanding the ways in which modules are deployed, a listener or performer can more fully appreciate the dramatic character of spans of musical time that feature repeating modules. From this perspective, the goal of a modular analytical approach is to highlight and describe a “process of continual transcendence”9 at the heart of the relationship between module, “the thing repeated,” and structure, “the thing being formed.” The fewer discrete modules, the more concise and efficient the analysis as each module contributes relatively more to the structure of the piece. This consideration is moot when comparing, as in Schubert and Lessoil-Daelman’s study, works that are part of an inherently modular and relatively well-defined stylistic tradition.10 When comparing works that are stylistically distinct from one another, however, their relative modularity is an essential factor in the comparison. For example, the structure of the well-known C Major Prelude from Book I of the Well-Tempered Clavier results from the interaction of fewer discrete modules than Terry Riley’s In C, and thus it can be said to be more highly modular—a quality separate from considerations of style. There is by necessity a retrospective element to parsing a continuous musical experience into structurally significant modules. Christopher Hasty, writing of the challenges inherent in identifying analytically significant pitch structures in post-tonal music, warns that “highly abstracted analytic objects,”11 such as pitch-class sets, are not necessarily important to a listener’s or performer’s experience of the music. Segmentation is the most basic level of structural formation and identifying perceptually salient structures in a piece of music is the first Three Approaches to Modularity in Contemporary Music 133 step toward an appreciation of the network of interactions that shape the music and produce significant formal articulations. “Segmentation,” writes Hasty, “can be understood not...

William Gerhardie: An English Writer with a Russian Accent ‒ on the Revolution and Civil War

The works of William Gerhardie, a witness of the two Russian revolutions and the Civil War, are the unique fruit of cultural interaction, and especially of Chekhovian influence on British culture. Gerhardie is a rare example of a person and writer on the Anglo-Russian cultural border. In the 1920s, he was well known in Britain and the USA, especially in literary circles: in the 1990s, after his books were published in English and translated into the main European languages, he received wide recognition. However, he is still poorly known in Russia, and his works have not been studied. The clash of two cultural and civilisational traditions – Russian and English – determined his double identity and the dramatic character of his life. However, in his works he synthesised and harmoniously combined the Chekhovian tradition with the English cultural tradition, rooted in the works of Sterne, English caricature (evolving from William Hogarth), Dickens, and Beckett, creating a vivid, modernist prose which gave a creative impulse to British writers of later generations – E. Waugh, G. Greene, O. Manning, A. Powell, W. Boyd, etc. Gerhardie, probably on more significant grounds than Katherine Mansfield, is often called an “English Chekhov” in literary criticism. It is a spectacular definition, but not quite accurate, since he was a writer of a different time and language who belonged to a different cultural and aesthetic tradition, which often led him to inner polemics with Chekhov. In this article, his early works are analysed from an imagological point of view, since it was between the 1920s and 1930s that he created an expressive image of Russia, Russians, and the English.

DRAMATIZATION OF CHARACTER IN SELECTED NIGERIAN SHORT STORIES

Characterization in the short story endears the short story genre more to the conventions of the stage because of its dramatization of character. By paying strict attention to the manipulation of action and dialogue, the short story writer creates dramatic characters who illuminate setting, promote the plot and ultimately realize the theme of the story. This principle and practice places great importance on characterization in the short story, thus making it an element of high utility in the creative endeavour of the writer as well as a vital aspect of illustration of incident. The relationship between the character and incident in the short story is quite an intricate one as it can be difficult to separate a character from an incident, and an incident from a character. This paper examines the dramatization of character in selected Nigerian short stories with a view to analyzing and assessing the efficacy of the Nigerian practitioners of the art. Key words: Dramatization, art, short stories, Nigeria

Two Psychotic Playwrights at Work: the Late Plays of August Strindberg and Tennessee Williams

August Strindberg and Tennessee Williams both became severely deranged during their playwriting careers. Both emerged from the most intense form of their derangement and wrote plays afterward. Strindberg, however, wrote his greatest plays after his psychosis; Williams, before his. Strindberg’s psychosis spurred his creativity; that of Williams severely damaged his. This paper proposes that Strindberg mastered his psychosis and that in his late plays he dramatically symbolized psychotic processes. Williams, on the other hand, could neither access nor master his, and his late plays embody the repeated, unsymbolized acting out of his psychosis within an aesthetic context. These differences between the two playwrights become clear not through analysis of dramatic characters, but through changes that each playwright made to the dramatic medium itself.

Biblical Motifs in Modern Donbass Poetry

This article studies biblical images found in the modern Russian-language poetry of Donbass, published in the collection An Hour of Courage (Moscow, 2015). The author tries to reconstruct the linguistic view of the world reflected in the civil poetry of the region. The biblical motifs of present-day Donbass are compositionally based on the main conceptual oppositions of the Scriptures, namely, the fight between good and evil, God and Devil, Heaven and Hell. The authors of the poetry collection demonstrate that a war tragedy is hell, an apocalypse that takes the lives of the innocent and, at the same time, is a test of people’s best qualities – staunchness, valour, mercy, and humanity. One of the dominating motifs is trust in God, which may be complicated by a close connection between the biblical and the mundane. The stylistic contest between “the high” and “the low” helps create a peculiar aesthetic expressivity, thus emphasising the dramatic character of the events. The motif of trust in God is connected with hope for pardon, and transforms into despair and even the sense of being godforsaken. What is even more tragic is the motifs of people perishing, which may be perceived as a kind of atonement or punishment for unbelief. In the poetic picture of the collection, it is faith in God that helps overcome the fear of death and grief, and also physical and moral suffering. The poets regard the confrontation with the forces of evil as an allusion to the biblical motif of Cain’s murder of Abel.

A Study on the Relationship between the Evaluation of Morality on the Korean Drama Characters and the Drama Enjoyment and Quality Evaluation by Foreign Audience

A Study on the Relationship between the Evaluation of Morality on the Korean Drama Characters and the Drama Enjoyment and Quality Evaluation by Foreign Audience

The Essence of the Problem of Elder Abuse through the Humanities and Social Sciences Convergence Approach

Background/Objectives: All over the world, “Elder abuse” has been at an escalation. Each of the countries is dealing with Elder abuse. Methods/Statistical Analysis: However there has not been any study in the past that utilized the convergence approach of humanities and social sciences as it was in this study. Here upon, this study is intended to analyze the causal factors and the essence of elder abuse through recognition of characters in drama“Ninkyo Helper”, showing problem of elder abuse of Japan which is top aging country. An analysis method was used for the content analysis of the TV drama. Findings: First of all, family orientation and reliance that Japanese society has, were shown at peripheral characters. Secondly, denial and avoidance of abuse from family orientation and reliance, defense on victim, and self-permissive attitude, etc. were shown among victims. Thirdly, excessive burden on the support and issue of family from abuse were identified among assailants. As a private counter measure, a social relationship network was developed to prevent abuse and to enable early recognition of abuse. The will for abuse prevention allowed the victims of elder abuse to understand the supporting load of the supporters. With the will to change the current situation, the elders showed the will to accept the public service. It was found that public counter measures taken by individual public servants or facilities have various limitations to positively intervene and provide solutions for elder abuse, because decisions about appropriate intervention are difficult to make due to the conflict among values, and those who are responsible are difficult to identify in an unpredictable problematic situation. Application/Improvements: As for this issue, legal measures for public intervention, furthermore, change recognition about elder abuse and to be required to prevent elder abuse by maintaining social relation network and also seek for solutions.

Orpheus and mousikê in Greek Tragedy

Abstract: Much as he is famous, Orpheus is only mentioned by name fourteen times in the Greek tragedies and tragic fragments that have survived the ravages of time. Furthermore he is never shown as a protagonist, but always evoked by a dramatic character as an example, a parallel, a peculiarity, or a fantasy. This legendary singer is mentioned every time, if not explicitly, at least implicitly, in conjunction with μουσική, the ‘art of the Muses’, namely ‘music’ in its fullest sense. Each of these allusions recalls and highlights his prodigious and superhuman musical qualities and abilities.

Of Personalities and Personae: A French Victory for Film Producers and Authors

The international medium of film poses many challenges for authors and copyright owners. So do the practices of the advertising industry. Each jurisdiction approaches these challenges differently. In a recent French decision three issues that are of interest in Australia were discussed – the copyright status of a literary or dramatic character, the use of such a persona in character merchandising, and the moral right of film directors to control the exploitation of the persona. This article examines the 2004 decision of the Paris Court of Appeal in the matter of the film ‘The Fifth Element’. It compares the protection offered to author and copyright owner under French law with the protection offered by Australian legislation and common law.

Shakespeare, Easter 1916, and the Theatre of the Empire of Great Britain

AbstractIt is a commonplace to speak of the dramatic qualities of the Easter Rising; the staging of rebellions inevitably attracts theatrical comparisons. In the case of 1916, the dramatic aspect has arguably been overplayed. Either the focus is on amateur dramatics and improvization, with the Rising itself as a piece of theatre, which plays down the history and politics as well as the rich theatrical traditions behind the Rising, or the emphasis is on a drama of martyrdom and grand gesture, a political passion‐play with Padraig Pearse at its centre, which erases many of the conflict's complexities. That 1916 also coincided with the three‐hundredth anniversary of Shakespeare's death – events in Dublin interrupted planned celebrations there by the English playwright's Irish admirers – prompts us to reflect on an approach to history as drama – and drama as history – that does not see theatre merely in terms of spectacle or violence, a theatricality that goes beyond caricature, character assassination, pantomime, or the politics of a Punch and Judy show. This article suggests that a reading of 1916 in the context of the ongoing critical debate around Shakespeare's dramatic depictions of the Irish has more to teach us than invocations of theatricality of a more limited kind.

Henry Lives! Learning from Lawson Fandom

In an age when many fan activities are undertaken via online networks, devotees of long-dead Australian author Henry Lawson are predominantly bound by face-to-face participation in shared commemorative events. Traditionally seen by fans and readers as 'the Mate of Australia', Lawson is a figure who has inspired a constellation of transformative fan practices ranging from impersonation to extreme outback pilgrimages. Based on interviews with fans and participant observation, this article will show Henry Lawson Society events are intrinsically interactive, encouraging all members to participate in a variety of modes, through visual art, music, poetry and theatre. I argue that Henry Lawson fans are productive rather than critical, circulating their homages within a well-defined community of interest. I argue that Henry Lawson fans re-deploy texts in creative ways in order to make sense of their own social experience. Through a study the fan activities of passionate amateurs - such as Henry Lawson Literary and Memorial Society members - 'nonauthorised' ways of interpreting texts may be discerned, providing alternatives to the 'suspicious reading' of critics.

Adapting Shakespeare – Converting Shylock in Michael Radford’s the Merchant of Venice

Abstract This article aims to explore the extension and evolution of Shakespeare’s The Merchant of Venice through Michael Radford’s 2004 cinematic adaptation. By investigating the concept of adaptation and the significance of intertextuality, Shakespeare’s source text is considered alongside Radford’s twenty-first century recreation to reimagine and redefine the construction of Shylock as both a comic and tragic device utilized across film and play. Issues of racial and religious prejudices alongside anti- Semitic views were particularly prominent in Elizabethan England and, by concentrating on recontextualisation, this article looks to expose Shakespeare’s characterization as a reflective commentary concerning societal discriminations at the time of the play’s performance. By focusing primarily on Shakespeare’s Jewish Usurer, Radford is able to reconstruct and reestablish the dramatic devices and characters within the cinematic version, metaphorically converting Shylock from comic villain to tragic victim. Finally, it argues that this dynamic shift inevitably metamorphoses Shylock from a spectator’s perspective and provides Michael Radford with an opportunity to offer a social commentary on social inequality in the twenty-first century.

Why has EU macroeconomic governance become more supranational?

While much of the literature on the Euro crisis has highlighted the intergovernmental features of the European Union response, it appears that in strategic areas, such as macroeconomic policy or banking regulation, supranational institutions have seen their discretionary powers significantly enhanced and that they have played an instrumental role in bringing about such a change. This is all the more remarkable considering the decline in support for integration among governments and the public. This article explains this paradox by the dramatic character of the crisis and the deep mistrust that existed between European states at the time. It also suggests that the process could be hard to reconcile with attempts at ‘politicizing’ EU public policy.

Cultural Distance and Foreign Drama Enjoyment: Perceived Novelty and Identification with Characters

This study employs a cross-cultural perspective to examine how local audiences perceive and enjoy foreign dramas and how this psychological process differs depending on the cultural distance between the media and the viewing audience. Using a convenience sample of young Korean college students, this study, as predicted by cultural discount theory, shows that cultural distance decreases Korean audiences’ perceived identification with dramatic characters, which erodes their enjoyment of foreign dramas. Unlike cultural discount theory, however, cultural distance arouses Korean audiences’ perception of novelty, which heightens their enjoyment of foreign dramas. This study discusses the theoretical and practical implications of these findings, as well as their potential limitations.

The Moral Law of Love Conservation

The article continues the search for the moral categories that reveal the raison dtre of literary and drama characters started in the authors other works. It also defines the code of the time which allowed the author to determine the formula of love and show how this feeling has changed in history.

‘A Comparison Similar to this’: Ossian and the Forms of Antiquity

AbstractThis article discusses the ways in which James Macpherson's Poems of Ossian engage with other literary texts within their footnotes, adopting David Hopkins's notion of ‘conversing with antiquity’ to articulate how Macpherson conveys meaning and seeks to establish poetic characteristics through this interaction with other forms of expression. Attention to this process leads to a discussion of the dramatic qualities of Ossian as discussed by Macpherson and Hugh Blair, concluding with a discussion of Ossian's contribution to an emerging understanding of primitive dramatic forms, comparing the ways in which criticism understands Ossian and Aeschylus during the 1760s and 1770s.