Drama Of Ideas Research Articles

Index of Shaw: The Annual of Bernard Shaw Studies from Volumes One to Twenty-One

Index of Shaw:The Annual of Bernard Shaw Studies from Volumes One to Twenty-One Gale K. Larson, Compiler The following Index of SHAW: The Annual of Bernard Shaw Studies, published by The Pennsylvania State University Press, University Park, PA, covers the past twenty-one volumes from 1981 to 2001. It contains the author, title, and pagination of each article for all the volumes in chronological order. Book reviews are also listed. Volume One: Shaw and Religion. Charles A. Berst, Editor R. F. Bosworth. "Shaydullah Sees Shaw." 3-4. Charles A. Berst. "In the Beginning: The Poetic Genesis of Shaw's God." 5-41. J. L. Wisenthal. "Shaw and Ra: Religion and Some History Plays." 45-56. Ina Rae Hark. "Lady Cicely, I Presume: Converting the Heathen, Shavian Style." 57-73. Charles A. Berst. "'Some Necessary Repairs to Religion': Resurrecting an Early Shavian 'Sermon.'" 77-97. Israel Cohen. "Superman and Jew: Mr. Bernard Shaw and Herr Brainin—A Notable Conversation." 99-104. Sidney P. Albert. "The Lord's Prayer and Major Barbara." 107-128. [End Page 211] David Matual. "Shaw's The Shewing-up of Blanco Posnet and Tolstoy's The Power of Darkness: Dramatic Kinship and Theological Opposition." 129-139. Valli Rao. "Back to Methuselah: A Blakean Interpretation." 141-181. Daniel Leary. "Too True to Be Good and Shaw's Romantic Synthesis: A Religion for Our Times." 183-203. Warren Sylvester Smith. "The Adventures of Shaw, the Nun, and the Black Girl." 205-222. Charles A. Carpenter. "Shaw and Religion/Philosophy: A Working Bibliography." 225-246. Reviews and Checklist Tony Stephenson. "Shaw's Women." Review of Shaw and the Actresses, by Margot Peters. New York: Doubleday, 1980. 249-251. Google Scholar Calvin G. Rand. "Money and Politics." Review of Money and Politics in Ibsen, Shaw and Brecht, by Bernard F. Dukore. Columbia: University of Missouri Press, 1980. 251-254. Google Scholar John R. Pfeiffer. "A Continuing Checklist of Shaviana." 255-258. Volume Two: Shaw. Stanley Weintraub, Editor Ray Bradbury. "GBS and the Loin of Pork." 1-2. Tony Jason Stafford. "Mrs Warren's Profession: In the Garden of Respectability." 3-11. Thomas P. Adler. "Candida as a 'Mystery.'" 13-15. Joseph M. Hassett. "Climate and Character in John Bull's Other Island." 17-25. Robert Coskren. "Siegfried Elements in the Plays of Bernard Shaw." 27-46. Robert Wexelblatt. "Epicurus and Aristotle—And Satan and Juan." 47-55. Thomas F. Hale. "Bernard Shaw—The Emergence of a Republican Royalist." 57-74. Philip Klass. "'The Lady Automation' by E. E. Kellett: A Pygmalion Source?" 75-100. [End Page 212] Edgar Rosenberg. "The Shaw/Dickens File: 1914 to 1950. An Annotated Checklist (Concluded)." 101-145. Cecil Lewis. "George Bernard Shaw. A Pen Study." 147-153. Christopher Hollis. "Mr Shaw's Saint Joan." 155-169. Susan Rusinko. "Rattigan versus Shaw: The 'Drama of Ideas' Debate." 171-178. Margot Peters, Charles Berst, Daniel Leary. "The State and Future of Shaw Research: The MLA Conference and Transcript." 179-193. Reviews and Checklist Stanley Weintraub. "Bernard Shaw, Film-Maker." Review of The Collected Screenplays of Bernard Shaw. Edited with an Introduction by Bernard F. Dukore. Athens: University of Georgia Press, 1980. 195-200. Google Scholar Alexander Seabrook. "Not by Shaw." Review of Lady, Wilt Thou Love Me? Eighteen Love Poems for Ellen Terry Attributed to George Bernard Shaw. Edited by Jack Werner. New York: Stein and Day, 1980. 200-201. Google Scholar Robert Chapman. "Tailoring Heartbreak House for the Stage." Review of Bernard Shaw, Heartbreak House: A Facsimile of the Revised Typescript. Edited by Stanley Weintraub and Anne Wright. (General Editor of the Early Texts: Play Manuscripts in Facsimile Series: Dan H. Laurence.) New York and London: Garland Publishing, 1981. 201-206. Google Scholar John R. Pfeiffer. "A Continuing Checklist of Shaviana." 207-217. Volume Three: Shaw's Plays in Performance. Daniel Leary, Editor. Daniel Leary. "From Page to Stage to Audience in Shaw." 1-23. Bernard Shaw. "Less Scenery Would Mean Better Drama." 25-27. Gladys M. Crane. "Directing Early Shaw: Acting and Meaning in Mrs Warren's Profession." 29-39. Charles A. Berst. "The Action of Shaw's Settings and Props." 41-65. Robert F. Whitman. "Shaw Listens to the Actors: The Completion of...

Fervaal, Parsifal, and French National Identity

This article is a discussion of Vincent d'Indy's opera Fervaal, which famously borrowed musical and dramatic ideas from Wagner's Parsifal. My purpose is, first, to provide a thick description of the nationalist contexts—cultural, intellectual, religious and ethnic—within which d'Indy's opera was composed and performed in the late 1890s; and, second, to show how these contexts contribute to a broader understanding of Wagner's influence in France.I begin by tracing connections between Fervaal and Parsifal, and by arguing that d'Indy's use of the Gregorian melody

Euripides and the Sophists: Some Dramatic Treatments of Philosophical Ideas

This work describes how Euripides provides, in specific plays, a variety of original treatments of well-known views of his contemporaries, the Sophists. The emphasis is on Euripides as the creative virtuoso of dramatic ideas rather than as a philosopher. Euripides' adaptation covers a range of dramatic styles and approaches, from the tragic treatment of the nature in Hippolytus, to the near parody of Sophistic views on sense-perception in Helen.

Retail Saturation, Retail Location, and Retail Competition: An Analysis of British Grocery Retailing

The appreciably dramatic idea that British grocery retailing is facing imminent saturation has attracted increasing attention particularly since the mid-1980s to late 1980s. In this paper we seek to review and attempt to sophisticate the debate over saturation by providing a detailed discussion and spatial analysis of current levels of retail provision. This analysis, in itself, offers a view of the potential for future retail expansion. We argue here, however, that spatial patterns of retail provision must be interpreted carefully, particularly given the profoundly different competitive conditions that characterise British grocery retailing in the 1990s as compared with the 1980s. In considering both the spatial patterns of, and competitive processes underlying, British food retailing, we offer an account of recent retail geography in a way that synthesises approaches that are all too frequently presented as antagonistic.

Aiding and Abetting: Refugee Politics in the Territories of the Former Yugoslavia

Probably the most vivid images in Western minds of the wars in Croatia and in Bosnia-Herzegovina are those of columns of people marching away from their burned-out villages, or of children leaving their parents and boarding buses to escape from their war-ravaged cities. These images are more than merely symbolic. Indeed, the massive movement of citizens of the former Yugoslavia away from their homes-whether a farm in a village caught in the crossfire, or a city apartment located on the wrong side of a bridge-is the central feature driving the war brought on by the collapse of the former Yugoslavia. One of the common features of the many political crises of the post-Cold War era has been intense conflict between members of ethnic groups that had formerly lived together in the same state. With the disintegration of the federal states of Czechoslovakia, the Soviet Union, and Yugoslavia, the idea of re-associating populations with territories seems to have remarkable appeal. Indeed, each successive war in Europe has shifted boundaries slightly newly formed political parties into in favour of conterminous territorial power and armies into war. Observers and demographic units. Thus, while of these crises, as well as participants, there is nothing essentially new in the debate the reasons for the dramatic idea itself, it has managedin an unusuresurgence of ethnic antagonisms, but ally short period of time to launch on one point there would surely be

A catch in the breath: Language and Consciousness in Samuel Beckett's ... but the clouds ...

In the latter part of his career, Samuel Beckett was increasingly attracted to television as a medium where he could realize certain dramatic ideas with a control and precision not possible in the theatre...In them he has ... Taken as a whole, Beckett's television drama does reveal an increasing concentration on the communicative force of the visual images. Yet in the teleplay, ... but the clouds. . ., the "pure coalescence of material and form" is achieved through a delicate and precise interaction between word and image. By alluding to W. B. Yeats's poem "The Tower" in both the verbal and visual levels of the play, Beckett shapes a fleeting moment of unified consciousness, making this play unique in Beckett's drama.

On "Soldier Boy, Soldier": The Development of an Opera

Music, Indiana University in 1979 offering a commission for a new opera, I was very surprised. Opera has not been a major involvement for composers of my generation. I remembered that two of the greatest composers of our century each wrote only one opera-Bela Bartok, Bluebeard's Castle, and Igor Stravinsky, The Rake's Progress. Although both composed a significant body of works for voice, the dramatic forum had seemingly not been of importance to them. I had observed the resemblance of style between Gounod, Meyerbeer, and Bizet. What musician has not heard Wagner's Ring cycle? Who has not been impressed by Berg's opera, Wozzeck, with its rich organic dramatic ideas; read books on the operas of Mozart; seen Boris Goldovsky's traveling production of Rigoletto; listened to arias by Luciano Pavarotti; or admired the divas Price, Home, Caballe, Scotto, and von Stade? It was not my familiarity with the scope of operatic history that was of major concern, but the fact that I had not contemplated opera as an outlet for my compositional skills. In his letter, Dean Webb suggested that perhaps the opera might be based on works such as Black Thunder by Ama Bontemps, Song of Solomon by Toni Morrison, Raisin in the Sun by Lorraine Hansberry, or Brian's Song, a popular TV show about the personal friendship of the late Brian Piccolo and Gale Sayers, two professional football players. He also suggested that I might build the opera around such historic figures as Crispus Attucks, Cinque, Frederick Douglass, Martin Luther King, Mary McLeod Bethune, Paul Robeson, Harriet Tubman, or others. These ideas were not without appeal. In fact, in 1966 I had been commissioned by Fisk University to write a work in celebration of its 100th anniversary. The result was Personals, a cantata for chorus, brass septet, and narrator based on a text by Arna Bontemps. Therefore, Bontemps's Black Thunder was indeed tempting. Also, since I have always had a picture of Paul Robeson in my home, the idea of this noble man as the subject of

Somerset Maugham: A Test Case for Popular Comedy

Popular comedy is generally a blind spot in dramatic criticism. It may provide a basis for sociological study, but hardly lends itself to intellectual discussion and seldom offers examples of stylistic innovation. In comparison even farce attracts attention in being frequently polemic, though critics normally focus on genres that reflect their own concepts of seriousness. As a result histories of modem theatre are normally surveys of minority drama that bear little relationship to what actually occupies nine-tenths of the stage. They focus on the drama of ideas or political theatre, as offering material for thematic analysis that has a significance beyond the work itself, on experimental staging for its theoretical significance, which tends to be in inverse proportion to popularity, or on poetic plays because of their clear literary value. Although each may use comic techniques or situations, these are seen as secondary.

Cahusac, Diderot, and Noverre: Three Revolutionary French Writers on the Eighteenth Century Dance

The highly formalized classical drama of the seventeenth century with its three unities advocated the use of one plot around which all scenes and actions revolved. Eighteenth century ballet inherited these ideas and also offered a moral message in the hope of touching or profoundly moving the spectator. The plots attempted to deal authentically with natural feelings in real-life situations, using exaggerated gestures, tableaux vivants, and pantomime to heighten moments of strong dramatic meaning. Thus, the dancing master or choreographer became an architect of complex theatrical elements. He designed the movements and at the same time sought to move the audiences to laughter and tears. These dramatic ideas were shared by three writers, Cahusac, Diderot, and Noverre, and can also be found in the writings of eighteenth century historians of dance such as Abbe du Bos and Charles Batteux. The aim of this study is to explore some of the striking elements of mid-eighteenth century French writings on the theatre and dance that prepared the way for late eighteenth and early nineteenth century ballet.

Superconducting Quantum Interference Devices and their Applications

H D Hahlbohm and H Lubbig 1981 Berlin: Walter de Gruyter xxviii + 990 pp price DM220 This volume contains the 74 papers given at SQUID '80, the second conference on superconducting quantum devices, held in Berlin last year. No dramatic new ideas appeared, but the technical progress made in the four years since SQUID '76 is impressive, and specialists will buy the volume for the sake of the substantial invited review papers, especially those by Clark on SQUID performance (now at the quantum limit) and Giffard on simplified SQUID circuit design; by the IBM and Bell groups on dazzling new manufacturing techniques; by Van Duzer on up to the minute computer applications; and by Pederson on most of the RF applications.

V. Ideas and Meanings

The ‘literary contest’ in Aristophanes’Frogshas Euripides say that poets should be admired if they show cleverness and give good advice, and make their fellow citizens better men (1008-10). The purpose of that headline to the comic contest is clear, for it concentrates on Euripides’ characters, and his intellectualism, as ‘moral’ influences on his audience; but we might have expected his contemporaries, like ourselves, to want tragic poets rather to illuminate universals from divine and heroic myth. The plays in fact seldom givedirect‘advice’, and only by emphasizing the moral of the stage-action with general imperatives, e.g.And. 622–3 ‘suitors, make sure you marry daughters of good mothers!’, 950,Supp. 917. Instead, Tragedy ‘taught’ by implication. Euripides’ meanings are very hard to see, because of the rich diversity and inconsistency of his work. He is constantly tensed between subscription to the mythic externals like story and ambience, and desire to create setting and persons immediate to the Athenians’ ready experience; he is so clearly uncomfortable with the traditional religious and moral values which tragic myth enshrined; so variable from play to play in dramatic conception and individual ideas; so obviously ‘modern’ in the intellectual experimentation of his poetic style.

Play school for professionals

Early autumn 1978 saw a dramatic new idea hit the universe — well perhaps not all that new or dramatic, and only the world of the chartered surveyor. But in effect a Royal Institution of Chartered Surveyors' educational policy committee came up with the unaccountably undigested recommendation that all members should undergo 20 hours of structured learning each year, starting in 1980. In the meantime dust has presumably settled, and as far as I am aware the suggestion is still being discreetly nibbled by the surveying establishment. If the Institution adopts the idea, its ramifications may well spread to other spheres of education and training and leave in its wake a wave of unacceptable problems. On the other hand, of course, the principle could have a practical answer to some problems outside the professions.

The Tragedy of Knowledge at the Time of the Renaissance

In our times, when the pace of economic, scientific and technological, social and cultural change calls to mind the relativist velocities of contemporary physics, Einstein's criterion begins to be applicable to the historical process itself; movement can be recorded (and consequently the notion of velocity acquire meaning) provided an adequate reference system is available. Where science is concerned, such systems have always existed: historians have brought out the increase in adequate knowledge in the past by comparing it with present knowledge, which then offered a system of absolute reference. But now, the theory of relativity, quantum mechanics, molecular biology and the radical transformation of standards of value in all cultural areas have made like absolutization of contemporary ideas impossible. Today ideas furnish no more than a point of departure for non-classical retrospection which, as Jaurès said, seeks the fire, not. the ashes, in the history of science. But: the fire of science, its dynamics, its movement, is inseparable from its value, its effect, its psychological ‘accompaniment.’ Contemporary science, with unprecedented dynamism, is distinguishable from classical science by its far more emotional coloring. It lays bare not only the logical collisions of knowledge but also the emotional collisions. Einstein called the history of science the ‘drama of ideas.’ A drama which sometimes turns into a tragedy. The tragic sense Lorentz was aware of in the crumbling of old conceptions is easily perceptible in the remark he made when he confessed he would have prefered to be dead before the structure of classical physics collapsed. For Erenfest the tormenting experience of a personal inability to understand the positive bases of non-classical physics was also tragic and, according to Einstein, was what drove him to suicide. Einstein's own dissatisfaction tor thirty years while he strove in the field theory alone to find a stable universal conception possessing more complete ‘internal perfection’ than the then existing solution, was again tragic. The real characteristic of the collisions of non-classical science, however, is their ambivalence: the tragic notes blend with the optimistic perception of irreversible general progress in knowledge. The collisions of knowledge and this optimistic perception together sound a very complex chord, major on the whole, but with minor harmonics.

Dramas of Testimony by August Strindberg

Reviews 181 Nevertheless, this collection of essays is well worth reading, if for nothing else than as a casebook on The Tempest. Also, each essay works towards a fresh interpretation of its play. There are many new ideas that could be fruitfully brought into the classroom because the essays are usually concerned with theme and larger ideas rather than the nasty little pedantic points that scholars too often pursue. Even Powlick’s essay, which I thought was the most wrong-headed (except for Frank’s), was stimulating because of its original point of view. Thus the essays as a whole reflect the broad interest of Crow’s humanistic approach to the plays—none of the essays treat trivia. The book demonstrates the permanent influence a great teacher can have on the critical approaches and attitudes of his students. STEPHANIE DEMETRAKOPOULOS Western Michigan University August Strindberg. Dramas of Testimony. Trans, and intro, by Walter Johnson. Seattle: University of Washington Press, 1975. Pp. vi + 329. $12.50. “Strindberg was the precursor of all the modernity in our present theatre,” wrote Eugene O’Neill. And he is right. Strindberg’s plays express the pain, conflict, and evil plaguing modern man. They make us privy to the dichotomy existing between the ideal world, for which contemporary man yearns, and the workaday domain of which he is part. Like Pascal, Strindberg experienced chaos within his soul; and like the seventeenthcentury philosopher, he longed to assuage his agony through some transcendental healing force. Strindberg’s theater is carved out of his very substance: it enacts a psychological dismemberment (the destruction of self and of others). Humiliation, sin, guilt, and sacrifice are the pro­ tagonists. An inner inferno is molded into dramatic form through sharp, bone-hard dialogue accompanied at times with raw and haunting images. Strindberg’s corrosive personal experience is fleshed out in each of his plays: the individual event taking on collective power; the mortal becoming immortal. The fact that his mother had been a servant, bar­ maid, housekeeper, that he had lived his youth in poverty, that he had been deprived of love and affection because of the number of children in the household, mortified him. His vision of life grew distorted and morbid. His marriages were equally unhappy. His jealousy of his first wife, Siri von Essen, whom he accused of having male and female lovers, became so obsessive that after fourteen years of distrust it ended in divorce (1891). The Father and Miss Julie were in part concretizations of his passionate hatreds. His second marriage to Frida Uhl, an Austrian journalist, terminated at a time when Strindberg was going through his most harrowing mental crises. His third marriage to Harriet Bosse (twenty-two years old) also ended in divorce (1904). Walter Johnson’s translations and introductions to Strindberg’s Dramas of Testimony (The Dance of Death I and 11, Advent, Easter, 182 Comparative Drama There are Crimes and Crimes) are excellent. His discussion of theatrical conventions, however, are at times wanting. When he writes of Strind­ berg’s use of “new dramatic techniques” he neglects to tell the reader what these are and how they manifest themselves in the plays under consideration. Also lacking are definitions of certain phrases: “highly Strindbergian,” when used in such sentences as “the transformation of medieval dramatic ideas and devices into techniques that became highly Strindbergian,” the reader—unless well versed in the theater—will fail to understand the ramifications involved. Strindberg’s fascination with the Middle Ages is implicit in all of the Dramas of Testimony, as Johnson explains. The Medieval “Dance of Death,” known in French as the “Dance Macabre,” is an allegorical representation of all human classes from the Pope to beggar as they join in a fantastic dance in which Death is the leader. Strindberg’s death syn­ drome is not physical, however, but spiritual and psychological. It is symptomatic of an inner corrosion which occurs to the man who becomes alienated from society and from himself—a situation felt most acutely by O’Neill and modern man in general. A victim of his own frustrations, Strindberg experienced a need to hurt and be hurt, to possess others and to reject them...

Strindberg And The Danse Macabre

WHILE STRINDBERG REMAINED as fascinated as ever by his own time after his Inferno years of 1894 to 1897, he became more intensely interested than ever before in the late Middle Ages as well. That two-fold interest helped lead to many developments, among them his creation of new dramatic techniques through (1) the extension of his superb realistic-naturalistic technical practices of the pre-Inferno period, (2) the transformation of medieval dramatic ideas and devices into techniques that became highly Strindbergian, and (3) the addition of modern technical elements that were essentially his own. All three matters, taken together, are frequently and loosely' spoken of as expressionistic by most scholars and critics.

Growth at adolescence. By J. M. Tanner. Pp. vii + 212. Blackwell Scientific Publications, Oxford. Publisher simultaneously by Charles C Thomas and the Ryerson Press. 1955

American Journal of Physical AnthropologyVolume 14, Issue 1 p. 120-122 Review Growth at adolescence. By J. M. Tanner. Pp. vii + 212. Blackwell Scientific Publications, Oxford. Publisher simultaneously by Charles C Thomas and the Ryerson Press. 1955 Stanley Marion Garn, Stanley Marion Garn Fels Research Institute, Antioch CollegeSearch for more papers by this author Stanley Marion Garn, Stanley Marion Garn Fels Research Institute, Antioch CollegeSearch for more papers by this author First published: March 1956 https://doi.org/10.1002/ajpa.1330140125Citations: 4AboutRelatedInformationPDFPDF ToolsRequest permissionExport citationAdd to favoritesTrack citation ShareShare Give accessShare full text accessClose modalShare full-text accessPlease review our Terms and Conditions of Use and check box below to share full-text version of article.I have read and accept the Wiley Online Library Terms and Conditions of UseShareable LinkUse the link below to share a full-text version of this article with your friends and colleagues. Learn more.Copy URL No abstract is available for this article.Citing Literature Citation StatementsbetaSmart citations by scite.ai include citation statements extracted from the full text of the citing article. The number of the statements may be higher than the number of citations provided by Wiley Online Library if one paper cites another multiple times or lower if scite has not yet processed some of the citing articles.SupportingSupporting0MentioningMentioning4ContrastingContrasting0Explore this article's citation statements on scite.aipowered by Volume14, Issue1March 1956Pages 120-122 Citation StatementsbetaSmart citations by scite.ai include citation statements extracted from the full text of the citing article. The number of the statements may be higher than the number of citations provided by Wiley Online Library if one paper cites another multiple times or lower if scite has not yet processed some of the citing articles.SupportingSupporting0MentioningMentioning4ContrastingContrasting0Explore this article's citation statements on scite.aipowered by RelatedInformation RecommendedHISTAMINE: ITS ROLE IN ANAPHYLAXIS AND ALLERGY. By M. Rocha E. Silva. No. 209, American Lecture Series. Oxford: Black‐well Scientific Publications Ltd. Illinois: Charles C. Thomas. Toronto: The Ryerson Press. 1955. Pp. xii + 248. £2, 14sH. M. Adam, Quarterly Journal of Experimental Physiology and Cognate Medical SciencesTheatre and Philosophy The Art of Theater, by James R. Hamilton. Oxford: Blackwell, 2007, xv + 226 pp. ISBN 978-1-4051-1353-3 hb £21.99 The Necessity of Theater, by Paul Woodruff. Oxford: Oxford University Press, 2008, xiii + 257 pp. ISBN 978-0-19-533200-1 hb £17.99; ISBN 978-0-19-539480-1 pb £10.99 The Drama of Ideas, by Martin Puchner. Oxford: Oxford University Press, 2010, xii + 254 pp. ISBN 978-0-19-973032-2 hb £19.99 Philosophers and Thespians: Thinking Performance, by Freddie Rokem. Stanford, CA: Stanford University Press, 2010, xi + 227 pp. ISBN 978-0-8047-6349-3 hb $60.00; ISBN 978-0-8047-6350-9 pb $21.95Tom Stern, European Journal of PhilosophyGrowth and Maturation during AdolescenceJames M. Tanner, Nutrition Reviews

II. The Position of the Soliloquy “to be or not to be” in Hamlet

Among the points of superiority which distinguish the plays of Shakespeare from those of most Elizabethan dramatists, none is more obvious and more easily demonstrable than the firmly built plan, the clear construction which sets in strong relief a dominant dramatic idea. In the poet's mature tragedies, this dominant idea is always a development of what Professor Dowden calls “the fatality of character.” The protagonist is hurried to the catastrophe, not so much by the irresistible force of external events, as by some defect, or some enfeebling excess in his own spiritual constitution. From the analogy of the other plays, therefore, we should expect in Hamlet to find little or no emphasis laid upon external hindrances to the execution of the prescribed revenge, but rather the accentuation of a purely subjective hesitancy inherent in the emotional and intellectual habits of the man himself.