Drama Writer Research Articles

CONFLICT WITH SOCIETAL GENDER ROLES: A COMPARATIVE FEMINIST ANALYSIS OF EDNA PONTELLIER AND NORA HELMER

Kate Chopin, an American novelist and short story writer representing women’s revolt against patriarchal rule, positions women in the center of her works. She deals with women's experiences in the context of gender roles, their conflicts with society, their discovery of their own bodies and the following awakening. Henrik Ibsen is one of the most important writers of Norwegian drama. Similarly, Ibsen highlights the individual's conflict with society as a kind of alienation on the axis of individual-society antagonism. Edna Pontellier, the protagonist in Chopin's novel The Awakening (1899), and Nora Helmer in Henrik Ibsen's play A Doll's House (1879), do not fit into the gender roles imposed on them by their societies. Both characters gain self-awareness through the discovery of their uniqueness. Henrik Ibsen and Kate Chopin wrote realistically about the problems their female characters encountered in the patriarchal social structure and their conflicts with social codes. The lives and choices of Edna and Nora, who both have the duties of pleasing their spouses, meeting the needs of the house and taking care of their children within the encompassing structure of the institution of marriage, are similar to each other. In this article, the lives of Edna and Nora, who are the objects of the patriarchal structure in the triangular relationship of man - child - family, will be examined comparatively in terms of their contradictions with society, their journey to self-discovery, their alienation and choices.

SIMEON POLOTSKY’S DRAMA NEBUCHADNEZZAR THE TSAR AND ITS WESTERN-EUROPEAN DRAMA SOURCES

Тhis paper aims to reconsider the influences of Western-European drama of the XVII century on the creation of Russian baroque and the first drama writer in Russia Simeon Polotsky. During the initial period, Russian theatre, especially during the XVI and XVII centuries, was under the strong influences of Western theatre culture. This paper reconsiders the influence of German, French, English and Polish theatre plays. Plots of his playwright were popular and well known in Western European literature from the XII century. In this paper, we tried to reconsider those influences on the example of his drama Nebuchadnezzar the Tsar. This drama plot was well-known in Western European theatre, and Simeon Polotsky knew some of them.

평생직업교육 관점에서 본 TV드라마 작가 양성체제 분석 : 헐리우드 작가 시스템을 중심으로

평생직업교육 관점에서 본 TV드라마 작가 양성체제 분석 : 헐리우드 작가 시스템을 중심으로

Modernity and Difference: In the Context of India and Indian Literatures

ABSTRACT This article provides an overview of the seminar on India and Indian literature held in summer 2020 as part of the Redesigning Modernities project at Penn State. It summarizes the organization of the seminar, contextualizes its materials and goals, and discusses its principal outcomes. The main question that the seminar’s twenty-six faculty and graduate student participants sought to explore collectively, across multiple humanistic disciplines, was: Why does the modern world look so different in a geo-cultural location such as India or South Asia, as we look at it through the eyes of Indian writers of fiction, prose, poetry, and drama in several languages?

Teaching Culture of Others through English Literature

The diversity of the culture in the world is a given thing. Billions of people from different countries in the world have produced varieties of civilizations, ways of life, lifestyle, custom, heritage, habits, values, and traditions. It is hypothesized understanding the culture of different people can be valuable to the student’s character building. The comprehension of multicultural can be modality to be more aware of cultural dissimilarities. They can respect any variance of people whose backgrounds, minds, opinion and may behave in ways that are not the same. Besides, the possession of rich knowledge of diverse cultures can bridge them to take interpersonal communication in friendly ways. Nonfiction kinds of literature, science books as well as historical books are not the only sources to study multicultural. Doing literature reading comprehension is another method to open the horizon of the existing variability of culture. The paper presents descriptively the teaching experience of how the students of the University in Tulungagung, Indonesia got to practice learning the culture of people in different areas of the world through extensive reading. The teaching materials cope with the introduction of the theory of literature, how are the cultures told by the author, and why is it important to comprehend literature? How multicultural literacy has inspired the students 'live performance. The teaching goal aims to let the students learn something good or positive about the culture of people of others delivered by the writers of poems, novels, and drama. The broader insights of life experiences, religion, beliefs, and customs of other people can bridge the friendship of ethnicity, race, and social status across the world. Being not a closed mind human beings can appreciate or respect others, avoid underestimating, bullying, any violence, and being the right, the best, and the richest person.

A Study on the Imagery of Liu Bang (劉邦) in the Geumhwasa Mongyurok (金華寺夢遊錄)

As the founding emperor of the Han Dynasty, Liu Bang made outstanding contributions to the development of the Han nationality in China and the formation of a unified country. So, he has become a key character in many literary works, historical works, folk legends and traditional dramas. The Korean novel Geumhwasa Mongyurok depicts dozens of famous emperors in Chinese history, among which Liu Bang is the most important. When the author portrays the image of Liu Bang, he mainly uses three perspectives, namely, ‘the perspective of a scholar in the dream’, ‘the perspective of Liu Bang himself’ and ‘the perspective of the Emperor Taizu of the Ming Dynasty’. It can be seen from the comparison that the image of Liu Bang in the Geumhwasa Mongyurok demonstrates not only a direct acceptance of Chinese historical books by Korean writers, but also demonstrates unique creations of him by Korean writers. With regard to Liu Bang’s appearance, different versions of the Geumhwasa Mongyurok all take the Chinese historical book Records of the Historian as the basis. But when portraying Liu Bang’s temperament, because there was no specific historical book to refer to, Korean writers used the changing dragon to highlight Liu Bang’s noble temperament as an emperor according to the Chinese cultural tradition. In different versions of Geumhwasa Mongyurok, the authors expressed positive or negative attitudes towards Liu Bang, which is very similar to the way that Chinese drama writers in the Yuan and Ming dynasties used to portray the image of Liu Bang.

박재범 드라마 연구

Park Jaebum made his debut as a drama writer through <KBS Drama City> in 2003 and established a distinctive world of works starting from <Good Manager> (KBS2, 2017). <Good Manager>, <The Fiery Priest>, and <Vincenzo>. In conclusion, the anti-hero trilogy by Park Jaebum based on the primitive vengeance of the anti-hero and showed the characteristics of varied heroic narrative, and displayed similarity where the anti-hero and ordinary citizens are in unity and block out cartel, the antagonist. Moreover, the anti-hero trilogy by Park Jaebum contains the nature of crimes inference investigation, but it stands out from regular genre drama as comedy is actively applied. Especially, Park Jaebum’s anti-hero trilogy actualizes laughter through verbal humor, situational humor, and satire and parody and this shows similarity with entertainment effects and the relief of dramatic tension.

Treatment of Historical and Informational Events in Arab Drama

Drama writers have great importance in writing history in people's minds in contemporary societies, which makes historical drama an important source of information. This study aims to research how to present events and information in Arab historical drama in accordance to the directions of dealing with the information on which the dramas of Islamic history are based. The study used the descriptive-analytical approach and the two methods of content analysis and statistical analysis, it took the series of "Omar" as a case study to research in the treatment of historical information. The study concluded the importance of informational accuracy in the treatment of events in increasing audience confidence in the series, Therefore, the series of Omar benefited from specialists in history and Sharia to review texts and historical events. While the dramatist may use fantasy in details in which no texts were mentioned, relying on understanding the nature of life in this time that is being simulated, but relying on imagination is not correct in dealing with the history of sensitive personalities such as Sahaba, while this is possible with other characters and with a positive portrayal of them.

The Role of Akashvani Kozhikode in the Radio Broadcasting History of Kerala with Emphasis on the Contributions of Khan Kavil

The study examines the history of radio broadcasting in Kerala from the 1940s to the 21st century, focusing on the contributions of Akashvani Kozhikode. An attempt is made to search the social and cultural history of Akashvani Kozhikode and find out the contemporary relevance of Kozhikode station. The study's primary aim is to delve into the life history of Khan Kavil, who was an anchor, drama writer, actor, drama director, and broadcasting artist. Khan Kavil, born in a small village named Kavumthara in Kerala, was a voice artist who worked in Akashvani Kozhikode from 1978 to 1997 and carved a niche with his dynamic voice in the realm of radio broadcasting in Kerala. The study is trying to identify his contributions to the Akashvani Kozhikode and society. His life and contributions are recollected through popular memories, and an attempt is made to write a local and oral history based on this data gathered through the conversations with the eminent personalities of Khan Kavil's time who admired him and his colleagues. Further, the paper attempts to trace out why radio broadcasting still has a significant impact on ordinary people despite the advent of new forms of media. Magazines, newspapers, brochures, and interviews are used as the primary sources of this study.

Urdu-23 Critical Perspective of Meerza Adeeb’s Dramas on Islamic Historic Personalities

Meerza Adeeb is an eminent Urdu drama writer who wrote numerous one act plays, which highlights the heroic lives of Islamic historical personalities including Tariq Bin Zayad, Muhammad Bin Qasim, Sultan Mahmood Ghaznavi, Ahmad Shah Abdali, Syed Ahmad Shaheed and Fatima Bint e Abdullah to spotlight their exemplary lives .Actually ,his aim is to present the sensation of boldness, bravery, devotion and patriotism. In the result, his dramas are an important source to know about the glory of our Islamic history. This article is a study of Meerza Adeeb’s damas to analyze his presentation of Islamic historical personalities.

Kasım Tınıstanov’un Akademiyalık Keçeler (Akademi Geceleri) Eseri Üzerine Bir Bakış

Farkındalık sahibi olan, kendi kimliğini bilen ve kararlılıkla daima ileriye yürüyen insan, kendi kabuğunu kırarak evrenselleşmeye başlar. Evrenselleşen insan ise halkı için mücadele ederek halkının yükselmesini sağlar. Her halkın medeniyet temelini atan mimarları, yetenekli aydınları vardır. Bunlardan biri olan Kasım Tınıstanov, Kırgız yazılı edebiyatının temelini atan şair, yazar, dram yazarı, ilk Kırgız alfabesini oluşturan filolog, ilk Kırgız gramer kitaplarını yazan bilim adamı, Kırgız halk aydınlanmasının önderi, Kırgız Kültür Enstitüsü Müdürlüğü başta olmak üzere birçok kurumda yöneticilik yapan devlet adamı ve Kırgızların ilk profesörüdür. Tınıstanov, 37 yıllık kısa ömrünün on dokuz yıllık zaman diliminde Kırgızlar için asra bedel hizmetler yapmış ve hayatın gerçeklerini kendi vücudunun acıyan bir parçası gibi kabul ederek, gerçek bir yazar olduğunu ortaya koymuştur. Sanatta materyalist anlayışın kesin doğruluğunu, sanatın halkın silahı olduğunu ve sanatın içeriğini sahne yoluyla ulaştırmak düşüncesinde olan yazar tiyatroya da yönelmiştir. Kırgız millî tiyatrosunun edebî seviyesini yükseltme isteği ve bu yönde devlet tarafından ilan edilen yarışma, K. Tınıstanov’un dram eseri yazmasına sebep olmuştur. Ancak bu dram eseri, yazılıp sahnelenmesinden fazla zaman geçmeden ideolojik mücadelenin yıkıntıları altına gömülerek yazarın trajik sonunu hazırlamıştır
 Çalışmada, Sovyet Kırgız edebiyatının tanınmış şahsiyetlerinden biri olan Kasım Tınıstanov’un Akademiyalık Keceler adlı ilk tarihi drama eseri ele alınmaktadır. Bu çalışmada, Kırgız Sovyet edebiyatındaki tiyatro eserlerinin ilk örneklerinden biri olan Kasım Tınıstanov’un Akademiyalık Keceler adlı tarihî piyesindeki kahramanların iç dünyası psikolojik yönden ele alınarak “İşgal ve Ruslaştırma”, “Özgürlük İçin Başlatılan Mücadele”, “Sınıf Mücadelesi Çerçevesinde Uygulanan Baskı” başlıkları altında inceleme ve çözümleme yapılacaktır. Eser, tarihi bir kesit sunması ve yazılı Kırgız edebiyatının en çok bilinen ürünlerinden biri olması sebebiyle son derece önemlidir.

Gao Xingjian’s Dialogue with Literary and Visual Traditions

The paper is devoted to the contemporary Chinese prose and drama writer, painter,stage director and author of experimental art films, Gao Xingjian. My aim is topresent his innovative solutions in the field of different arts and media. I try toanalyze his works in a broad context of Eastern and Western culture and to showthe flexibility with which he crosses the narrow borders of arts, makes use of therich heritage of his native traditional culture, Chinese Taoist philosophy with itsprocessual understanding of reality. I also point at his interest in the aesthetics ofemptiness and artistic minimalism.

English Drama in the Late of Victorian Period (1880-1901): Realism in Drama Genre Revival

A progressive growth in literature was seen significantly during Victorian period. These decades also saw an overdue revival of drama, in which the existence of drama was started to improve when entering late of Victorian period. Along with that situation, Thomas William Robertson (1829-1871) emerged as a popular drama writer at that time besides the coming of Henrik Ibsen’s works in 1880’s. However, Robertson’s popularity was defeated by other dramatists during late of Victorian period (1880-1901), drama writer like Oscar Wilde (1854-1900). Beside Wilde, there were several well known dramatists during late of Victorian period. Dramatists as Shaw, Jones, and Pinero were also influential toward the development of drama at that time. In the discussion of English drama development, role of late Victorian period’s dramatists was really important toward the development of modern drama. Their works and efforts really influenced the triumph of realism and development of drama after Victorian period ended. Therefore, the development of drama during late of Victorian period is discussed in this particular writing, due to the important roles of dramatist such as Wilde, Shaw, Pinero, and Jones. Here, their roles to the revival of English drama and the trend of realism in the history of English literature are very important.

A Study of Wang Shifu and the Four Great Scholars of Yuan Drama

Wang Shifu and his Romance of the West Chamber have been highly valued and concerned since ancient times, but Wang Shifu had not been included in the "Four Great Scholars of Yuan Drama". There have been many controversies among the drama writers in Ming and Qing dynasties, and the reasons deserve further exploration. Nevertheless, Wang Shifu's position in the history of drama would not be questioned, nor would it prevent the Romance of the West Chamber from becoming classic. In this paper, by means of comparative study, the author combs the process of Wang Shifu becoming a classic in the context of the history of opera development, and the causes of the classicization of The Romance of the Western Chamber.

GENETIC STRUCTURALISM AND VALUE OF CHARACTER EDUCATION IN THE MONOLOGUE MATINYA TOEKANG KRITIK, THE DEATH OF CRITICIZERS BY AGUS NOOR

The aims of this research are to describe writer’s point of view of Agus Noor on monologue Matinya Toekang Kritik, the Death of Criticisers, text structure, social structure, and tolerance attitude as the character building values in the work. This research is the descriptive qualitative research. Data were validated using theory triangulation and data triangulation. The data were analyzed using interactive analysis techniques and content analysis. The results are: (1) Drama writer group’s point of view is social humanism, (2) Monolog text structure describes demonstrative life with Javanese values that found through structuralism analysis approach, (3) Monologue text structure is divided into harmony, honourability, the lifestyle of priyayi and wong cilik and also the relationship between priyayi and government, and (4) The most dominant character building is tolerance shown explicitly or implicitly by the players.

The limits of the law and literature movement: An example of Sophocles

The limits of the law and literature movement: An example of Sophocles

Life is Beautiful: Gay Representation, Moral Panics, and South Korean Television Drama Beyond Hallyu

Critical attention on Korean popular culture, particularly outside of Korea, has focused upon the Hallyu cultural phenomenon at the expense of sectors of the Korean creative industries that have sought to actively engage with their social and cultural environment and challenge the status quo. Politically charged, countercultural or just distinctive and/or original, non-Hallyu cultural artifacts have been and continue to be born out of a desire to be creative, to comment on or to create social change. This article focuses upon one such critically overlooked South Korean cultural artifact, the audacious and genuinely groundbreaking television drama Life is Beautiful (SBS 2010), which motivated an immense amount of critical and social reaction within Korea and yet has barely featured in English language analysis of Korean drama because it has not been classified as Hallyu. This is in spite of it being a finely produced and performed series and one written by the most prolific, longest serving and commercially successful of all Korean writers of Hallyu drama, Kim Soo-hyeon. In addition to its impressive production credentials, Life is Beautiful is also notable for being hugely controversial at the time of its broadcast due to its boldness in tackling the subject of Korean prejudice towards homosexuality.

김수현 대사의 바흐찐적 독해 1 바흐찐의 대화주의 이론을 중심으로

본 연구는 학문적 연구 대상에서 소외돼 온 텔레비전 드라마 작가에 관해 최초 시도되는 통합적이고 체계적인 지속적 연구 작업의 일환으로, 김수현 작가의 차별성, 작품성, 작가의식 연구를 목적으로 한다. 선행 연구들 다섯 편에 뒤이은 본고는 김수현 작가의 대사를 연구함으로써 통합적 연구 작업을 계속하는 한편 언어 창조에서 드러나는 작가의 차별성과 의식 저변 탐구를 목적으로 한다. 이를 위해 본 연구는 기존의 화법 연구 틀에서 벗어나 작가의 보다 근원적인 미학적, 인식론적 차별성의 탐구가 가능한 바흐찐의 대화주의 이론을 연구방법으로 적용한다. 이는 바흐찐이 예술언어를 다양한 사회 이념적 언어들 간 대화의 공존, 즉 다성성을 극대화하는 장으로 정의한 때문이다. 바흐찐은, 다성성의 구체적 지향점을 등장인물들과 작가의 관계에서 제시하여 '외재성'과 '경계이월성' '바라보기의 잉여성'을 작가에게 요구하며 이를 통하여 등장인물이 '총체' 형성에 이르도록 이끄는 역할자가 작가라고 말한다. 이는 작가와 등장인물간의 주체적인 상호간의 동등한 관계를 의미하는 것으로 '존재한다는 것은 소통한다는 것'이라는 바흐찐의 유명한 명제처럼 '총체 형성'을 위한 비종결적인 대화의 특성이 뒤따른다. 본고는 김수현 작가의 초기작 <말희>와 멜로드라마 <내 남자의 여자>, 홈드라마 <엄마가 뿔났다>의 대사 연구를 통해 이 같은 바흐찐의 대화주의 이론의 구현 여부를 탐구하고 있다. 본고의 연구 결과 김수현 작가는 초기부터 일관되게 주인공은 물론이고 등장인물들 모두와 상호 주체적인 동등한 관계를 맺음으로써, 등장인물들의 다양한 목소리, 다성성을 대사 구현에서 실현하고 있으며, 이는 등장인물들 간 대사는 물론이고 등장인물 내부 목소리 등의 다양한 형태로 나타남도 분석하고 있다. 또한 대화의 비종결성 역시 김수현 대사의 주된 특징으로 자리하고 있어 대사 자체 뿐만 아니라 오픈엔드의 극 마무리로까지 이어짐도 분석하고 있다. 연구 결과 김수현 작가에게 대사는 드라마를 이끌어 가기 위한 작가의 도구가 아니라 등장인물들 각각의 치열한 인식의 과정이고, 언어 자체 존재이며, 이는 초기부터 일관된 특성으로 작가의 차별성을 구축하고 있음을 보여준다. 본고는 김수현 작가론에서 차지하는 대사 연구의 중요성과 바흐찐 대화주의 이론의 방대함으로 바흐찐 대화주의 이론의 카니발적 요소를 다시 김수현 작가 대사 연구에 적용하는 후속 연구를 진행할 예정이다. This study is the one of the first full-scale subsequent research of a TV drama writer who has been out of scholarly pursuits. Along with the 5 advanced research, this study is to analyze Su-Hyeon Kim's difference and her underlying consciousness by applying the Bahktin's dialogism to the author's creating lines instead of existing speech research. Bahktin's dialogism, its core of polyphony, presents a definite purpose to a artistic creation of language. That is to require the author to have 'outsideness' 'boundary carried over' and 'excess of seeing' in a author relation with characters as it leads the characters to 'the whole'. It means an equal relations of mutual independency between the author and the characters. Also this relations accompany by 'unfinalizability of dialogue'. This study ascertains whether the dialogism actually being realized or not in her lines of <Malhee> of her early stage, <My Man's Woman> of melodrama, and <Mom's Dead Upset> of home-drama. The result of this study shows that the she creates 'polyphony', diverse voices of characters, with her mutual independent relations with characters, that is the voices of between characters, between characters' inside. This research also shows that she realizes 'unfinalizability of dialogue' in her drama work itself of open-end as well as in her lines. She has her own consistent distinction of creating lines to be a her drama work itself, that also means to explore language of human beings's existence, and language of perception, instead of using it as a simple tool of making a drama. This study is to explore a subsequent research of the author's lines with another Bahktin's carnivalesque as the lines's importance and the theory's vastness.

Byzantine tragedy in Restoration England: Joseph Simons's Zeno and Sir William Killigrew's The Imperial Tragedy

AbstractThe history of the Byzantine era is rich in dramatic potential, and was extensively exploited by writers of continental Catholic school and college drama in the early modern period. However, it was hardly ever drawn upon within Tudor and Stuart professional drama. One exception to this rule is Zeno, written by Joseph Simons SJ, freely adapted by Sir William Killigrew and printed in 1669 under the title The Imperial Tragedy. Killigrew's play is also unusual because plays written and performed in the English Catholic colleges on the continent during the sixteenth and seventeenth centuries were very seldom acknowledged, printed or adapted on the English mainland.The adaptation suggests a personal relationship between the two playwrights. Simons was attached to the London court at this period as Jesuit Provincial; Killigrew, a courtier, appears to have been on friendly terms with Simons in the late 1660s, and to have wanted to pay him a compliment by adapting his play. However, he printed it anonymously, not mentioning either Simons's name or his own. It is likely that he did this because Simons was a controversial associate: not least for his influence over the future James II, whom he converted to Roman Catholicism. Killigrew appended a tantalising title page to his work, suggesting that there was more to his anonymity than mere modesty, and came clean about his authorship to the semi‐private audience with which he also shared his revisions: an audience which included at least one individual with a pronounced interest in religious toleration.At this time, the gift of books could cement literary and personal alliances, and manuscript circulation could define friendship and patronage networks. The two surviving copies of The Imperial Tragedy annotated by Killigrew give us something in between: a case study of how an author's previously printed material could be personalized by religiously sensitive manuscript additions for an inner circle.

Original Serbian playwright

On the occasion of the anniversary of the birth of Jovan Sterija Popović, the authors of this paper describe the important events of his life, representing the great drama achievements of the famous writer and emphasizing the importance of Sterija's work for the theater in Serbia and Europe through nineteenth century. The paper points to the social context of Sterija's work, as well as the universality of individual achievements, and rather than a conclusion the authors set a parallel between the great Serbian drama writer and Aristophanes in the field of political comedy, which indicates the strength of contributions of Jovan Sterija Popović on Serbian cultural scene - from his time until today.