Daily Drama Research Articles

한국 TV드라마의 형성 과정과 특성에 관한 연구

This study examined the formation process and historical trends of Korean television dramas, particularly morning dramas, and explored the impact and characteristics of changes in the media and broadcasting environment. Soap opera, similar to other daily dramas, serve as a vivid documentation of modern Korean life. These dramas are composed of everyday events that are realized through personal narrative relationships. They have evolved through the reenactment of significant family-related rituals and private events, such as birth, death, romance, marriage, and divorce. However, by the end of October 2021, Soap opera had disappeared from Korean society. The reasons for this are: First, weakening revenue and low ratings for content distribution due to economic burdens from the mid-2010s; Second, production burden due to low profitability of Soap opera;; and Third, viewers' boredom and TV viewing platform for the unreasonable development of last-minute dramas. lack of competitiveness due to environmental changes. K-drama is a symbolic means to feel familiarity and liking for Korean society and culture, and this serves as an opportunity to look forward to a more contextual analysis and multi-layered thinking on the phenomenon of transnational cultural distribution.

MargaretCoombe (Ed. & Trans.): Reginald of Durham: The Life and Miracles of Saint Godric, Hermit of Finchale. Oxford: Clarendon Press, 2022; pp. 1072.

The Life of St Godric of Finchale is not well known. A small passage of that text was included in The Portable Medieval Reader (1979), edited by James Ross and Mary McLaughlin, because it describes how this twelfth-century hermit had once made his living “by learning how to gain in small bargains and things of insignificant price,” becoming in the process a successful merchant (p. 51). He travelled not just across England, but to Scotland, Denmark, and Flanders, in pursuit of profit. Through the efforts of Margaret Coombe, we now have access to both an edition and a highly readable translation of Reginald of Durham's Life of a rather unusual twelfth-century saint. This volume of more than 1,000 pages makes clear that there is much more to St Godric than presented in that compendium for students. Reginald, a monk of Durham, became a close friend of Godric, who maintained his independence from established religious life by living as a hermit. As we learn from Reginald's account, becoming a hermit provided a way for maintaining a way of life, free of the constraints of traditional monasticism. In her introduction, Coombe avoids going into excessive detail about Godric. She focuses on putting together what we know about Reginald of Durham, who tells us that he started to write this account during Godric's lifetime but completed it in the decade or so following his death on 21 May 1170. She explains how Reginald's core narrative about Godric and the miracles worked at his tomb survives in a single manuscript from Durham, but then generated a number of subsequent summaries in the later twelfth century. Though the introduction is informative about Reginald as a writer, there is much more that could be said about both his narrative, a challenge for any translator because of the richness of its detail, and the broader phenomenon of hermits in the twelfth century. As a genre, hagiography can become a wearisome compilation of how an individual conquered temptation for the sake of imitating the life of Christ. In this case, the reader gets a sense that though Reginald was clearly familiar with the genre, he was also fascinated by the many stories Godric could tell about his past life, as well as about his charismatic reputation in an English-speaking milieu, naturally suspicious of the Anglo-Norman elite which had established itself in the region of Durham. Reginald describes where Godric lived, next to a “fish-filled river” (the Wear), overlooked “by mountain peaks and vast banks of earth,” living austerely, initially without contact with the outside world (p. 133). Over time, however, Godric became known to the local population, acquiring a reputation for truth telling, and uncovering hypocrisy within those belonging to the aristocratic or clerical establishment. Reginald befriended Godric through being one of several monks who came to say mass for the hermit. The interaction between the two men provides a key thread throughout the narrative. Godric was clearly an individual who had travelled widely during his early life. His capacity for making astute judgements about kings and bishops suggests that he had a freedom of discourse that could not be regulated within a more conventional ecclesiastical milieu. There are many themes that deserve further study within this narrative. The reports of Godric's struggle with demons invite reflection on what was seen as an ongoing daily drama of temptation and redemption. His interactions with many senior figures in the monastic community at Durham suggests a capacity to communicate at the highest level, even though his primary language was that of English (in which he composed songs, we are told). In many ways, Godric can be seen as emulating the charismatic authority of Cuthbert, much revered at Durham. With such a large volume, it is perhaps to be regretted that the General Index is not more detailed. It is left to the reader to explore what this narrative has to offer. The volume is nonetheless a pleasure to read or simply dip into. This text deserves to become studied closely by all those interested in broadening our picture of religious life in twelfth-century England beyond the world of institutional monasticism.

From Poem Bitten By a Man

From Poem Bitten By a Man Brian Teare (bio) Keywords poetry, Brian, Teare, disability poetry, handwriting, poetics, arrows, drawing Little shrine or altar— box of papers, worship's structure— the notebook bound to household gods. There's some ceremony in opening it, adjacency to the sacred. Ephemeral, local divinities preside inside, a charged atmosphere my hand enacts at home here no single thought my thought some are found, some given, others bribed. Whether accident, intention, or opportunity, all gods require offerings, their acute narcissism a place in which I can hide—until my failures accumulate weight on the wrong side of favor autobiography one thing after another, seasons, weather, friends, awareness of existence & mortality. Agnes the god of empty forms, of transcendence, a personable classical impersonality. Johns the god of the given world, of assemblage, an austere romantic modernism. R the trickier intimacy, the failure of representation. Other gods come & go, trailing ions that elicit thought, neural cascades. Chronic aesthete I do love what I've found the possibility the privilege of being here, suffering the mortal together. [End Page 611] In the archives of abstraction I hold pages of Agnes' handwriting—on lined paper, her school-girl cursive round & very neat. I love artist's writings the way I love handwriting, its adjacency to drawing. Sincere open loops like her ruddy cheeks, her manuscript has the look of dictation, it bears so few corrections. Johns in his sketchbooks truly tries things out, betraying proximity to his own embodied life where events occur without permission. Though finished artworks try to hide it, "finish" is often predicated upon denying the interdependence of the object & the artist's body. For a long time I lie in pain on the doctor's examination table's awkward paper, afraid to rip it, to move my body/to move my mouth/to move the words/to leave a trace shifting the object drives form in a certain way 2 systems figure ground irregular [End Page 612] The way painters summon a color through touch, a feeling gathers in my gut, continuous gesture a little closer to yellow, each thought not a long brushstroke but rough, interrupted, moving toward fragment, notation, parataxis. A feeling of being cold from inside my body. Thoraco-lumbar core ache areas of red, y, blue ? fill (?) thespace loosely. I want a theory of embodied life that is also a poetics, "a personal technique for communicating that does not lead to violation of the central self." What I too often leave out: three part-time jobs, two side hustles, unpredictable pay. "You can't make life or art," R says, "You have to work in the gap between." Then I what. Begin with the possibilities of the materials & let them do what they can do → Space everywhere (objects, no objects) M O V E M E N T to accommodate the actual Depositing $185 from a freelance gig I'm still overdrawn. -$2.58 for the week's groceries. To finish the job I'd left everything else unfinished to be exact, I'd left everything in writing unfinished. At the ATM debt settles in again. Chronic shift at my center of gravity. Money resides in my body next to illness. Low-income art. Symptomatic art. Everything connected below the surface. [End Page 613] I break language at an angle to ordinary life, a little awkward, the way one leg of this thrift store chair is shorter than the others. The words rock as I write. My father a book that has slipped into the grass, I search for it everywhere: Agnes with her hand-drawn grids, the appropriated commonplaces of early Johns. What I'm looking for isn't parental, it's directional. Tactically adjectival, queer like when her grid's messy at its edges, like when his canvas incorporates domestic objects the image arrives what does it displace what does it bring this summer of the word quotidian its index of particulars, poetic or tragic murmurings, all the daily drama of the body, oil & charcoal on canvas with objects. Of illness there still remains little record in the literature: appearing to us as lost to us, its abstract states...

Breaking the Blockade: The Bahamas during the Civil War by Charles D. Ross

Reviewed by: Breaking the Blockade: The Bahamas during the Civil War by Charles D. Ross Stephen D. Engle Breaking the Blockade: The Bahamas during the Civil War. By Charles D. Ross. (Jackson: University Press of Mississippi, 2021. Pp. xviii, 235. Paper, $30.00, ISBN 978-1-4968-3135-4; cloth, $99.00, ISBN 978-1-4968-3134-7.) As the Union and Confederate governments scrambled to put people in the right places to win the Civil War, maintains Charles D. Ross, few could imagine that Nassau, the largest city and capital of the Bahamas, would become a "mixture of Sodom, Gomorrah, and the Dutch tulip craze of the 1600s" thanks [End Page 568] to the transformative wealth that poured into the tiny island between 1861 and 1865 (p. 5). Night and day, the ships rolled in and out of the harbor, generating an illicit trade between the British and the Confederates that not only made islanders richer than they could have imagined but also kept the Confederacy alive. In Breaking the Blockade: The Bahamas during the Civil War, Ross, whose works in the past have enlightened us about technology, acoustical shadows, and gunpowder, now brings forth an underexplored aspect of maritime trade in the Bahamas and its international implications. It is a wartime story that investigates the complex interplay (economic, social, and political) present in a tiny community nearly forgotten in Civil War lore. Torn between economic riches and political loyalty, residents motivated by profits often failed to interfere with a trade that was both lucrative and divisive. In this account, Ross singles out Nassau's pivotal role in participating in a trading system that sustained the Confederate war effort through most of the conflict. What contemporaries characterized as the "Great Carnival" became a wartime history rich in its significance to the people and place of the tiny islands (p. xi). He explores the motivations behind the appreciable growth that transformed into the great wealth that the war brought to these islands, which were ideally situated for the establishment of an oceanic transshipment point. The pro-Confederate population, Ross maintains, turned a blind eye to British neutrality, which allowed massive wealth into the city that not only generated significant internal improvements that left their mark on the local society but also brought crime and corruption. He explores in detail the daily drama that defined the changing culture and describes how local government and business merchants both cooperated and collided in establishing trade and commercial relationships. Yet, as the war endured, and yellow fever epidemics and changing governing structures went in a new direction, the new Bahamian governor was more committed to the United States than to the British, and more committed to following British and international law. However, the Union success by the end of 1864 brought the Great Carnival to an abrupt end, followed two years later by a devastating hurricane that destroyed the island and the wealth generated by the war. Beyond illuminating the international crossroads between the United States, the Bahamas, and the United Kingdom, Ross is perhaps best when he devotes his attention to exploring the daily life of those shaped by the war's transformative life and economic boom. In the streets and shops, he argues, Confederate sympathy existed among the commoners and merchants alike, and the Union's blockade further contributed to the political and cultural mindset that drove them into a greater hostility toward the Union. Deeply and impressively researched in several repositories in the United States, the Bahamas, and the United Kingdom, Breaking the Blockade uses a broad lens and a deft pen to capture an important and compelling story that sheds light on the perils and rewards of blockade-running in the Civil War. Students and enthusiasts alike will find Ross's book to be a model work in every regard, and readers will come away with a better understanding of how and why the Confederacy lasted as long as it did. [End Page 569] Stephen D. Engle Florida Atlantic University Copyright © 2022 The Southern Historical Association

The hermeneutic straightaway

This review article offers a critique of René Arcilla's theory of education as destiny in Wim Wenders's Road Movie Philosophy: Education Without Learning. After exploring Arcilla's long-standing interest in developing a dramatic approach to educational philosophy, one that avoids both bloodless theorising and melodramatic kitsch, it is contended that Arcilla's own interpretation of Wenders is melodramatic. Life is lived inside the hermeneutic circle. Breakthroughs are dogged by regret and fresh waves of contingency, uncertainty and disorientation. By contrast, in the destiny narrative articulated by Arcilla, we are released from this daily drama, suggesting the philosophical version of a Hollywood ending.

Pina Baush. Lo que el cuerpo sabe de la guerra y otros desastres

The choreographic work of Pina Bausch (Solingen, 1940-Wuppertal, 2009) supported by her childhood memories, talks us about terrifying tragedies such the war she lived and other daily dramas. A co-biography built collectively with her dancers, capable of mapping the most universal miseries and fears, in an unreasoned, but embodied way. The hopelessness and the anguish mounted on stage in a sort of rhythmic and shared catharsis from the body experience, seeking connection with the world, and support in others, to calm suffering and cure the trauma. Bausch universalizes the human drama, because what happens there binds us all together.

Television format as cultural technology transfer: importing a production format for daily drama

Since the 1990s, TV formats have become an essential part of the global trade on television programmes. While many of the most popular television programmes today are format adaptations, theorisations on television formats have remained few. This article introduces production format as a specific type of television format. While television formats usually trade both programme content and a mode of production, production format solely contains information on how production can be best managed and organised. Production format can thus be studied as cultural technology transfer. A Finnish daily drama titled Salatut elämät serves as an example of importing and adapting a production format created by the Australian-based Grundy company. The article first presents some theorisations on television formats and reviews technology transfer theory, then tracing the origin of Grundy’s production format and analysing the acquisition and adaptation of the format in Finland. Finally, the production format is evaluated in both industrial and scholarly terms. By establishing a new concept for analysing television formats, the study will contribute to format studies and production studies.

Realizing the Promise of the Affordable Care Act—January 1, 2014

Along the arduous, confusing, and contentious road to the enactment and implementation of the Affordable Care Act (ACA), no single date stands out as more consequential for the health and well-being of the US public as does January 1, 2014. Barring unforeseen circumstances, this date will stand out as transformational in the annals of US health care reform. On that day, 4 fundamental provisions of the ACA will take effect. First, extension of the “guaranteed issue” provision to all individual health insurance policies inclusive of the elimination of “medical underwriting” in the face of a preexisting condition. Second, implementation of the “individual shared responsibility” provision also known as the “individual mandate.” Third, provision of tax credits and cost-sharing subsidies to middle- and lower-income adults for the purchase of individual health insurance. And fourth, expansion of Medicaid coverage in participating states to include previously ineligible low-income adults. Most Americans, including physicians and other health care professionals, may not appreciate the profound nature of these new realities. This oversight could be attributable to the daily dramas and controversies of the government shutdown, the woes of the HealthCare.gov website, the cancelation of individual health insurance policies, and the establishment of limited physician networks. In this Viewpoint, we assess the significance of the reforms in question and the implications thereof for the US health care system.

Crystal ball – 2013

Crystal ball – 2013

The International Face of Australian Television

Australian television has always been part of an international cultural system. Programming, personnel, material resources, ideas and knowledge are among the elements that, historically, have moved between an audiovisual space, both here and elsewhere. Media executive Reg Grundy has been an important figure in this system. Over nearly 40 years, he built a television empire of considerable international significance. After sketching out this career, the article proceeds to outlines three moments in his company's development. The first occurred in the 1960s and early 1970s when it imported and remade many successful television game shows from the United States. A second occasion occurred in the mid-1970s when Reg Grundy Enterprises imported a small team from the United Kingdom who were highly experienced in the production of daily drama serials. The third moment happened in the very early 1990s, when Grundy World Wide began adapting drama serials that it had originally devised and produced in Australia to be remade elsewhere. These three occasions were important points where the national met the international. Collectively, they highlight not only the outwardlooking dimension of Australian television, but the need for home-based media historians to make such a perception central to their investigations of a pre ‘media globalisation’ past.

Migration, financial flows and development in the Euro-Mediterranean area

The migration issue in the Mediterranean region has been widely monitored and assessed in the last decade. Its various socioeconomic causes and impacts—demographic, social, political and economic—have been largely analysed, and, despite differences in the approaches, there has been broad consensus as to the conclusions: that by the turn of the twenty-first century migration would become an explosive issue for the Mediterranean region, and that today we are facing the consequences. The risk described as a ‘demographic bomb’ is no longer a risk; it has exploded and can be seen in the daily dramas along the Italian and Spanish coasts of the Mediterranean basin. The root of the issue can be mainly attributed to the impacts of globalisation: economic marginalisation of the peripheral areas and the political destabilisation of both the countries and the region at large. The failure of the Barcelona Process, followed by the decreasing influence of the EU, has distorted the regional development process from a process of Euro-Mediterranean ‘partnership’ for a ‘shared prosperity’ to the implementation of a ‘free trade area’ and neoliberal policies, with negative social impacts certain to follow. It is demonstrated that migrations from southern Mediterranean countries are the results of both push (marginalisation and destabilisation) and pull (economic concentration and wealth in the North) factors. This paper is part of a larger research project exploring the establishment of new economic–financial links through the actions of migrants between two European countries (Denmark and Italy) and two Arab countries (Morocco and Tunisia), and the problems and benefits that have arisen or have the potential to do so. This paper specifically presents the results for Morocco and focuses on: (i) the amount and direction of the remittances, (ii) their destination in the recipient areas, (iii) their role in local development and, finally, (iv) possible lessons to be learned for the Euro-Mediterranean Partnership. Though remittances represent a very important contribution to Morocco's balance of payments, their role at the microeconomic level is still little explored. By presenting original empirical material collected during a field study conducted by the author in two rural provinces, some important conclusions can be drawn regarding the microeconomic impact of remittances on local development. Qualitative research was used to identify the patterns of utilisation of remittances and the existing institutional framework that coordinates and/or hinders their use. This has enabled the author to pinpoint the existing bottlenecks and some areas of policy intervention to stimulate their productive use and increase capacity to accelerate economic growth. The relevance of these indications in light of the Euro-Mediterranean Partnership's co-development objectives is also presented.

A Soap of Our Own: New Zealand's Shortland Street

Shortland Street is a prime-time soap opera that launched on New Zealand television in 1992 and was created to meet a combination of commercial and ‘public service’ objectives. Shortland Street is institutionally and culturally significant as New Zealand's first attempt at daily drama production and one of the first major productions to follow New Zealand television's 1989 deregulation. Placing Shortland Street in the context of national television culture and within the genre of locally produced TV drama, this paper explores several key facets of the program, including: its creation as a co-production between public and private broadcasting institutions; its domestic role in a small television market; its relationships with New Zealand ‘identity and culture’; its application of genre conventions and foreign influences; and its progress — as a production that was co-developed by Grundy Television — in a range of export markets.

Newjack: Guarding Sing Sing (review)

Book Reviews265 something like this, something so tied to our lives, disappears. . . . We live on through our attachments to people, through our relationships with the ones we love." For me, fourteen years older than Stanton, it was Stan Musial, and the old Sportsman's Park on GrandAvenue in St. Louis. It wasJack Buck, Harry Caray and Joe Garagiola in the booth. It was my father driving me across IUinois to see the game, Pittsburgh v. St. Louis, 1957. I was 11, he was 37. In 1966 the big new concrete weU ofa stadium, the best ofthe bigAstroturf baUparks for both baseball and football, was finished, and now it is as old as Sportsman's Park was when I first went there. My sons know only this one, and the Cardinal website says yet another new one is on the drawing boards. Final Season is a detailed and interesting contemplation of the metaphor of life's circularity that (though we never seem to fully apprehend it and thus it always seems to surprise us) is baseball's metaphor. Because life is shaped like the diamond, three bases and home, around and around, Tom's sons wiU imprint on the new Tiger facility (no doubt hoUowly named after some corporation, as the St. Louis stadium, scandalously at the time, was named after beer!) as surely as Tom locked fiercely onto Tiger Stadium. Forty years hence, Tom, in his eighties, wiU sit with his sons there on the last night, dry-eyed, while the younger men, locked in mortal combat with the middle of their lives, do the crying. And it won't be only for baseball that they mourn. Reviewed by Philip F. Deaver Newjack: Guarding Sing Sing by Ted Conover Vintage, 2001 336 pages, paper, $14.00 Ted Conover is one of those rare hybrid species ofjournalists—half anthropologist , half muckraker—whose technique for getting the story is immersion . He has written four books using this often risky investigative style. His first book, Whiteout: Lost in Aspen, is a meditation on the culture of wealth and glamour in Aspen, Colorado, a very different milieu from that of the hobos with whom he traveled for Rolling Nowhere. For his third book, Coyotes: Afourney Through the Secret World ofAmerica's Illegal Aliens, Conover posed as a Mexican, crossing the border twice, then working alongside lowwage pickers in the citrus groves ofArizona and Florida. 266Fourth Genre In his latest book, Newjack: Guarding Sing Sing, Conover, deniedjournalistic access to the prison system, again went undercover, training and working as a prison guard (corrections officer or CO) at Sing Sing, in Ossining, NewYork, one the country's oldest and most decrepit maximum security prisons. Conover spent nearly a year as a guard, and so his book provides a comprehensive view of the inside, including training at the Academy, surviving the first frightening days on the job, and working on the specific units within the prison, such as the massive ceU blocks, solitary confinement , the "psych unit," and the family visitation room. But the title of this book belies aU that it contains. Newjack, which won the 2000 National Book Critics Circle award for nonfiction, offers more than a glimpse into the fife of a CO, more than a tour through the exotic territory of a prison. What makes Conover one of the best literary journalists working today is that he employs a broader array of tools than a traditional reporter. Beyond being a detached anthropologist, he makes of himself and others characters in the daily drama of prison life. By employing the fictionists tools—scene, dialogue, character—he embeds the otherwise flat facts in a swiftly moving and compelling narrative. In addition, Conover possesses the most essential element ofany worthy essayist: an itchy inquisitiveness. "I have been fascinated by prisons for a long time," he writes. "There is little, I think, that engages my imagination Uke a waU." This interrogative drive—which lands him behind prison waUs for the better part of a year—yields a richness of material, and earns the trust of the reader. It is clear that Conover delves deeper than the conventional wisdom: he is compelled to see for himself. Trust is...

Remembering Andre Racz

Arthur C. Danto The island of Vinalhaven, off the coast of Maine, where Andre Racz (1916-1994) spent his summers for many years, figured in his art in two different ways-as subject and as substance. Through drawings and watercolors, he addressed himself to the rocks and the fierce seas, to the plant and sea life, and to the cloud formations and the effects of weather. But he also endeavored to turn Vinalhaven directly into art by fitting together, into works of sculpture, things he found while walking the island's shores. For one series, assemblages of stones, he looked for correspondences between different rocks, seeking concavities to match convexities. It was as if he thought the stones were somehow meant for one another, as if they were separated parts of an original unity-the way Aristophanes, in Plato's Symposium, conjectured that humans are forever searching through love for our missing halves who will make us whole. In the other series, Andre fitted together bits of flotsam, such as brightly painted wooden buoy markers once used by fishermen but now broken away from their moorings and left on the rocky shores by the receding tides. These were, he wrote, reminder of man's struggle with nature, the surviving remains of a nautical disaster. The ideas of matching rocks and of the daily drama of fishermen struggling against natural forces exemplifies the extreme romanticism of Andre Racz's art and personality. It was also characteristic of him that he was indifferent to whether these works were ever sold or exhibited anywhere save to the islanders on Vinalhaven, to whom the floats had a meaning inseparable from their lives. He had an exhibition of these works in November 1981, when only the locals would have been likely to see it. It was, he wrote, a homage to the fishermen of Vinalhaven and to Arthur Danto, the author of The Transfiguration of the Commonplace: A Philosophy of Art. The dedication-which I had forgotten until I saw it again among some papers that surfaced recently-was an expression of friendship, but it was also an acknowledgment of what I had written about his work in The Transfiguration of the Commonplace, published earlier that year. I was not to become a practicing art critic for some years, but my interest had been especially piqued by the critical vocabulary employed in reviews of an exhibition of Andre's flower drawings at the Ruth White Gallery in New York in 1977. The reviews used such terms as powerful, swift, fluid, sharp, eloquent, and delicate to praise the drawings-words that truly characterized those large and passionate drawings, which I count among the greatest ever done. But as a philosopher, I was struck by the fact that none of the terms could be applied easily to flowers themselves: a powerful drawing of flowers is

The mouth trap: a play on words and things

Through a dialogue between various authors and an assumed yet uncertain readership, the compiler addresses issues of authorship and creativity in the stage-management of everyday life, as well as notions of fluency and humour across a range of languages. Doubling plays are also used extensively within the text, showing ambiguity to be equally a source of concern and delight wherever actors and audiences negotiate the scripting and performance of their particular daily dramas. By the same token, the presented paper is neither intended nor expected to be read as a self-contained whole but rather that some of the issues of speech and perception alluded to may be evoked, or recreated, through the acts of reading and recitation.

Journalese: the inside story

Popular journalism in Britain has a language all its own, shaped by the pressures of editorial deadlines and a perennial need for stereotyped characters performing in life's daily dramas

Radio’s Children

Most people over thirty-five in this country spent their childhood with radio as the chief supplier of daily drama: from the States, Soaps, Jack Benny, Copshows, Fibber Magee and Molly and, on the CBC, Just Mary, Jake and the Kid, Summer Fallow and The Craigs.1 For adults who had an appetite for more demanding fare, Andrew Allan’s famous Stage series provided imaginative food for thought. Allan, his technicians, composers, actors and band of playwrights learning their craft as they wrote, ‘Got the play on and answered for it afterwards,’ as Len Peterson once said.2 The result was that the Stage series was second only to Hockey Night in Canada in popularity.

Ionesco's "Approaches to Truth"

The cry of "Philistine" may soon be heard in the land. Eugene lonesco, long considered several steps removed, has partaken of coherence, has sampled and found it not altogether wanting. Basking in a newly discovered commercial success, he expresses concern; in the No Man's Land that separates The Bald Soprano from Rhinoceros,' he is, in his own Dialogue of Absurdity, either/neither nor traitor/converted. Just as the 1960-61 theatre season was arriving upon the scene, M. lonesco took over the daily drama columns on no less than three counts in little over a fortnight. As there has been an element of incongruity, of what he himself terms a "parody of the theatre," in much of his work, so the most recent reports of his future theatrical plans contain something of the duality which is perforce the lot of even the most rebellious of the dramatists of the sixties. Was it possible to reconcile the news of lonesco's writing a musical for Broadway with the work of an author who could say, "I have often chosen to write plays about nothing, rather than about secondary problems"? Or to conceive of the author of The Bald Soprano, a self-defined

Patient, doctor, drug and bug.

I AM honored to have been chosen by the program committee to deliver the first William Randall lecture. Much of Dr. Randall's professional life was dedicated to the attainment of objective measurement in the new and complex field of antibiotics. It might be a fitting tribute to his memory if I attempted to examine some relations and interactions of the four main participants in the daily drama: patient, doctor, drug and bug.At the outset it must be stated that, on the whole, the position of each participant is quite satisfactory. A large majority of bacterial infections can be treated . . .