Dramatic Genre Research Articles

A New Feminist Absurd?: Women’s Protest, Fury, and Futility in Contemporary American Theatre

Absurdism has long been associated with existentialist white male writers like the ones Martin Esslin analysed in The Theatre of the Absurd (1961), which coined the term that came to define a lasting dramatic genre. More recently, however, several female playwrights have begun to reinvent this movement with an uncanny brand of feminist absurdism in their intimate domestic tragicomedies. In this essay, a close reading of Sheila Callaghan’s Women Laughing Alone with Salad (2015) serves as a touchstone for analysing performances of ludic feminist futility in plays by diverse writers including Ruby Rae Spiegel, Jackie Sibblies Drury, Alice Birch, and others. In their festive moments of anti-structural and non-linear oscillation between rage and glee, these plays mark the messy implosion of an outdated feminist political project, first anticipating and later reflecting the political tensions and crises evidenced in women’s voting, activism, and protest practices since the 2016 US presidential election. Often confining their characters within domestic or interior feminized spaces like kitchens, bedrooms, hidden supermarket aisles, or girls’ locker rooms, these playwrights celebrate failure and madness in the lives and labour of their female characters. By transforming historically feminized sites into dynamic spaces of resistance as well as spectacular failure, these performances of excess, from dieting to devouring, precarity to privilege, force audiences to confront cultural blind spots and failed or incomplete work toward efficacious feminist intersectionality. Furthermore, by bridging contemporary women’s anger research with whiteness and affect studies, this essay identifies a nascent trend in US theatre with a growing international profile that engages an updated absurdist rubric within a larger feminist praxis of political revolt.

Introduction: Performance and the Paper Stage, 1640–1700

IntroductionPerformance and the Paper Stage, 1640–1700 Emma Depledge (bio) and Rachel Willie (bio) the second half of the seventeenth century was marked by attempts to limit access to the London theaters and by important developments in the trade in playbooks.1 The public theaters were closed when civil war broke out in 1642, and they remained closed for eighteen years. The punishments for performing plays during the ban were severe; as ordinances for theater closure state, punitive measures included the confiscation of profits and costumes, public whipping, arrests, and fines for audience members.2 The theaters were reopened shortly after the monarchy was restored in 1660, but only two playhouses were licensed for performance in London for most of the period 1660–1700, with their managers—William Davenant (Duke's Company) and Thomas Killigrew (King's Company)—to "suffer no rival companies."3 This was further reduced to just one theater from 1682 to 1695, and admission prices radically increased in comparison to the Elizabethan and Jacobean outdoor playhouses.4 Thus, although Restoration is used frequently to describe the supposedly simultaneous return of the monarchy and the theaters, for [End Page 1] many Londoners, the licensed theaters remained as inaccessible after 1660 as they had been during the ban on acting. As this special issue demonstrates, although state officials attempted to control when, where, and by whom theater could be produced and consumed, late seventeenth-century actors, managers, and audiences continuously sought out ways to defy the authorities and, in so doing, maintained a vibrant theatrical culture. Theater historians used to portray 1642–59 as a period in which theater became limited, elitist, and inert, but work by scholars including Janet Clare, Dale B. J. Randall, Rachel Willie, and Susan Wiseman has demonstrated that these years were instead marked by theatrical innovation, particularly in print culture as a dramatic form.5 Davenant (1606–1668) sought to circumvent the ban on stage plays by developing innovative methods of theatrical performance and by persuading the authorities to allow him to perform "moral entertainments," as exemplified by his Siege of Rhodes (1656), which contained recitative and other elements associated with the court masque and the development of English opera. An underground theater market also developed, in which new dramatic genres such as drolls, play ballads, play pamphlets, and dialogues, as well as the continued practice of dumb shows and dramatic commonplacing, helped to keep theatrical culture alive. These novel pieces were short and could be performed quickly to avoid detection by soldiers, or else they could be delivered privately without the need of professional actors or purposebuilt performance venues.6 There is evidence to suggest that these dramatic forms continued to flourish after 1660. In the early 1680s, the London-based playwright Elkanah Settle decided it would be expedient to take "one Coish [coach] & severall others to act some playes or Drolls in the citty of Yorke."7 As this example shows, performances took place beyond the capital, in York and also in places such as Norwich and "Sturbridge Fair" in Cambridge.8 Thus, it is important to recognize that [End Page 2] surreptitious performances took place during the midcentury ban on acting and that theater culture extended beyond the two patent theaters licensed to perform from the 1660s. Further, it is imperative to speak of theater histories in the plural to reflect the coexistence of state-sanctioned and underground theater culture as well as London and countrywide performances across the late seventeenth century. Actors and the Ban on Acting Prior to the ban on acting, in 1629, a French acting troupe performed at the Blackfriars playhouse. Their company followed Continental European practices and comprised female players, who met with a negative reception despite being admired at the English court.9 Evidently, English playgoers were not ready to experience women acting on the professional stage. Yet in 1656, Davenant obtained special permission to produce The Siege of Rhodes and cast Catherine Coleman to sing and act the part of Ianthe; it was first performed in the dining room of Davenant's home at Rutland House before transferring to the Cockpit theater in Drury Lane. Davenant was casting not only a female...

Teaching Haiti: Strategies for Creating New Narratives ed. by Cécile Accilien and Valérie K. Orlando

Reviewed by: Teaching Haiti: Strategies for Creating New Narratives ed. by Cécile Accilien and Valérie K. Orlando Darlène Dubuisson Teaching Haiti: Strategies for Creating New Narratives. Edited by Cécile Accilien and Valérie K. Orlando. Gainesville: University of Florida Press, 2021. ISBN 1683402103. 270 pp. $95 hardcover, $28 paper. Teaching Haiti: Strategies for Creating New Narratives is not only a pedagogical toolkit for university instructors but also an interdisciplinary survey of Haitian culture, society, language, art, and artistic forms that reorients readers to new ways of appreciating “Haiti in relation with and to others—their histories and their cultures” (1). The edited volume, which finds its conceptual framing in Édouard Glissant’s notion of relation en tout-monde (“a world in motion” or global interconnectedness) and bell hooks’s engaged pedagogy (student-centered, interactive, and peer-based teaching and learning), models a fruitful and reciprocal relationship between scholarship and teaching. [End Page 124] The editors group the book chapters in three sections based on teaching subject areas: 1. Teaching about Haitian Art, Literature, and Language 2. Teaching about Haitian History and Politics 3. Teaching about Haiti in American Studies, Latin American Studies, and General Studies Contexts Following Gina Athena Ulysse’s 2015 call for new narratives of Haiti, Teaching Haiti is the first book about Haiti that focuses exclusively on pedagogy—the method and practice of teaching. The book grapples with how instructors can employ critical pedagogy to foster narratives of Haiti that combat the exclusionary epistemologies that operate within higher education institutions in the Global North. But more than providing strategies and resources (including sample lesson plans and syllabi) for furthering new narratives, Teaching Haiti is itself a compilation of such narratives. The book is a direct engagement with Haitian proverbs, particularly Ayiti se tè glise (“Haiti is a slippery land”) (1). This adage points to Haiti’s complexity but does not suggest Haiti is unknowable. Instead, it challenges surface-level approaches to Haiti and demands deeper, layered analyses that refuse to reduce Haiti/Haitians to fixed, rigid stereotypes. Each chapter, therefore, follows the format of narrative/counternarrative, speaking to and against stereotypical approaches to Haiti while drawing readers toward more profound and complete understandings. Section 1, “Teaching about Haitian Art, Literature, and Language,” draws on Haitian creative, artistic, and scholarly production to dismantle hegemonic discourses and deconstruct disciplinary boundaries. The section begins with Régine Michelle Jean-Charles’s engagement with and challenge to the notion of Haitian women as poto mitan—that is, pillars of society. Jean-Charles offers an intersectional (Black feminist) approach that asks students to engage and analyze the interplay between discourse and counterdiscourse through film and texts written by Haitian women, among others. In chapter 2, Bonnie Thomas refers to historical and textual analyses of Rodney Saint-Éloi’s writings to reframe salient literary themes of exile, diaspora, home, and belonging. The chapter proposes ways to lead students in understanding how Saint-Éloi’s work as an écrivan engagé (engaged writer) “offers new insights into issues affecting Haiti and the wider world” (45). In the following chapter, Joubert Satyre discusses how to introduce students to modern Haitian theater, situating two dramatic genres: historical drama and comedy of manners. The lessons [End Page 125] Satyre provides use contextualized readings of Franck Fouché’s Bouqui au Paradis (Bouqui in Paradise) to combat misconceptions of Haitian Vodou and folklore. In chapter 4, Cécile Accilien, one of the co-editors of the volume, examines the intersection of art and religion, highlighting modes of teaching Vodou iconography in Haitian contemporary art. Section 1 ends with Don Walicek’s chapter on teaching Kreyòl using interdisciplinary and decolonial methods. Walicek’s contribution, like the others in the section, challenges derisive ways of (mis)comprehending Haiti, or in the case of Walicek’s chapter, Kreyòl. Section 2, “Teaching about Haitian History and Politics,” directly confronts misguided and racist depictions of Haitian history and politics in North American and European media. The section opens with a historical analysis of Haiti-US relations during the presidencies of John Adams and his son John Quincy Adams. In this chapter, Darren Staloff and Alessandra Benedicty-Kokken center Haiti...

Viewing the African Political Leadership Challenge through the Lens of Music Drama: Reflections on Duro Ladipo’s Ọba Kòso

In response to the question of the relevance of ‘classical’ African Studies to the contemporary need of the continent, this article explores the dynamics of leadership challenge as portrayed in Yorùbá music drama genre, using Duro Ladipo’s most popular folk opera: Ọba Kòso (The king did not hang) as a case study. Thematic exploration of the opera was carried out to establish the linkages between leaders’ (characters’) traits and styles as portrayed in the play, and Nigeria’s political leaders’ engagement and responses to social contracts with their citizens. By comparing the outcomes of the actions, inactions and (in) decisions of Nigeria’s political leaders and the attendant consequences on their subjects with those found in the opera. I argue that the African political leadership challenge is shaped by a combination of complex factors, including the leaders’ charisma and the quality of citizens’ engagements in the affairs of governance. These are largely occasioned by multiple effects of torrential and irresistible mob pressures on leaders. At the fringes of the debacle is a convergence of human fate and other coincidental elements within the various sites of the divide in the contestation for and utilization of power as a whole.

The MESSAGE OF MORAL VALUES IN THE FILM "GUBANG THE MOVIE"

Abstract
 
 Gubang is a traditional art of the Malay community on Jemaja Island. In the past, Gubang was a game played by the spirits of the Bunian people. The art of Gubang was later made into a film titled "Gubang The Movie" by Sarman Galang. This film was produced in 2015 by Tuah Production with a drama genre with a duration of 95 minutes. The film titled "Gubang The Movie" by Sarman Galang as a medium in conveying messages through story plots conveyed by the screenwriter to the audience. Film has a function to be able to convey messages in the form of information, education, and entertainment. This paper discusses the moral messages and values ​​in the film titled "Gubang The Movie" by Sarman Galang. The method used in this study is a descriptive method, namely describing the data by analyzing the data according to the reality as it is about the moral values ​​contained in a film titled "Gubang The Movie" by Sarman Galang. Based on the film "Gubang The Movie" there is a moral message that contains a symbol of identity consisting of the value of patience, the value of persistence, the value of courage, and the value of kindness.
 
 Keywords: Gubang, message, value, moral, symbol, identity

Поглиблена робота з міфонімами (на основі літературних творів шкільної програми для 10 класу)

Not common and not widespread in literary texts, such as anthroponymic or toponymic names, but quit functionally important can be considered mythonyms. Their role is revealed in the study of genre and stylistic features of some works of art of the school curriculum in Ukrainian literature for senior classes and worldviews of individual characters of those texts. The in-depth study of mythological artistic onyms is essential for tenth-grades. On the example of two works – Mykhailo Kotsyubynsky’s novel “Shadows og Forgotten Ancestors” and Lesya Ukrainka’s drama-extravaganza ‘Forest Song” – 10th grades can explore the role of the mythological names as one of the features of the drama genre, neo-romanticism style and ideology of cosmocentrism and paganism. That is why mythonyms need to be studied in depth within the genre, structural-stylistic and ideational-conceptual areas of research of a work of art. Like names of toponymic origin, mythological names combine both traditional etymological meanings and author’s additional meanings, which are valuable only in the context of a particular literary work. However, such names can often be symbolic. For example, Mavka is the heroine of Lesya Ukrainka’s neo-romantic drama-extravaganza “Forest Song”. The article outlines the optimal approach to the study of literary texts of the school curriculum in Ukrainian literature for 10th grade on the basis of genre, stylistic and ideological and conceptual analysis with in-depth study of mythological names. The paper identifies and proposes the basic requirements for the topics and objectives of the lessons devoted to the study of literary texts through involvement in the analysis of mythological names. The algorithm for constructing educational situations has been developed, the content of which corresponds to the proper names of methological characters and the author’s meanings contained in them.

РАДИОТЕАТР 1920-Х ГОДОВ: ПЕРВЫЕ ШАГИ ПО НЕЗРИМОЙ СЦЕНЕ

The article is devoted to the early years of the development of the Soviet radio theatre, when artistic broadcasting as a new and unexplored area of creative mastering of reality was at the forefront of the cultural process. The first attempts to broadcast dramatic performances are considered as a stage in the formation of the radio theatre genre. The materials illustrating the creative searches in the field of radio performance directing, its musical and sound design are given. An attempt has been made to identify the place of the Moscow and Leningrad Radio Theatres in the system of contemporary performing arts. The range of creative tasks that the actors of the first radio performances had to cope with by trial and error is outlined. The socio-cultural conflict between supporters and opponents of the original radio art is highlighted, which is important for the understanding of the issue. Some mutual influences of radio theatre with theatrical processes of the aforementioned period are followed. Several typical examples of early Soviet radio drama are briefly analyzed, in particular, radio plays "The Tale about Sphagnum" and "Glass" by A. A. Tarkovsky, the radio play "Ural-Kuzbass" based on the play by V. Gusev, "Dneprostroy" based on the script by A. N. Afinogenov are considered. Some tendencies in the development of radio drama genre in Soviet artistic broadcasting are traced. The mutual influences of radio theatre and radio journalism of the indicated period are also pointed out.

КЛАССИЧЕСКИЕ И НЕКЛАССИЧЕСКИЕ СТРУКТУРЫ ДРАМЫ

The article attempts to apply a structural approach to the existence and development of the dramatic genre. The au-thor proceeds from the position of two types of structures – classical (order structure) and non-classical (chaos struc-ture). The constant transformation of one structure into another throughout history demonstrates a certain stable mechanism of change, when the centripetal movements of the classical structure give way to centrifugal ones, which causes the classical structure to collapse. In the future, it opens, expands and transforms. Then this mechanism goes in reverse order. Thus, artistic culture, in particular, dramatic (as well as social, historical) processes of compression and expansion, closeness and openness take place over two large cycles. This is a constant «drawing» of the movement of cycles from the classical structure (order) to the non-classical (chaos) and becomes the key to unraveling the existence of the dramatic genre for large periods, perhaps for the period of the entire civilization, showing the «curve» of the course and transformations of the dramatic genre, which does not fit into the linear paradigm. At the same time, this «curve» also testifies to the transformations of social and historical structures. In connection with all this, it is possible to put forward some hypotheses that can be confirmed in related sciences – quantum physics, philosophy, etc. In gen-eral, this indicates the existence of some kind of supra-historical law or meta-law that operates in the universe. In order to understand the movement of genres, in this case, the dramatic, it is not enough to use only a historical descriptive approach. A kind of permanent, universal law of transformations of the existence and movement of the genre gives a structural approach

ВОЛОДИМИР РЄЗАНОВ – ІСТОРИК ДРАМАТУРГІЇ СТАРОУКРАЇНСЬКОЇ ДОБИ

The article outlines the main facts of the biography and analyzes V. Riezanov's research in the context of his textological work. It is emphasized that in his works the researcher consistently refers to the theory of arts, including the medieval poetics, actively researches and describes the relationships between the Ukrainian and Western European drama. Great achievement is the development of an established genre-stylistic approach to the analysis of school dramas. The evolution of the scholar’s methodology is traced: from theoretical studies to the collection, accumulation and publication of found texts, which led to years of discussions with V. Perets, which as a result revealed two principles of research in Ukrainian theater studies. Namely, (V. Perets) and deductive (V. Rieazanov). The methodological principles on which the scholar relied are summarized. In particular, the methodological basis of his research is the comparative and historical study of literature, taking into account the historical and cultural, and social context. It marks out the dominant methodological principles, which guided the scholar (object and subject, chronological boundaries, sources, methods of research). An attempt was made to substantiate the value of the multi-volume edition “Drama of Ukraine. Ancient Ukrainian Theatre” as a body of texts for further research in the field of philology. The scientific research on the ancient Ukrainian mystery “The Word about Harrowing of Hell, when the Christ Having Raised from Dead, Harrowed the Hell” and the Easter drama “The Kingdom of Human Nature by Seduction Destroyed, but Still of the Grace of Christ Made Up” have been analyzed. It was concluded that the ancient dramatic texts published by V. Rieazanov are important not only for theater studies, they are a valuable linguistic material, as they record the peculiarities of the Old Ukrainian language in its live colloquial expression. The published texts also allow tracing the development of dramatic genres of the 17–18 centuries determining their artistic character.

Особливості української антиколоніальної драматургії ХVIII – першої половини ХІХ ст.

The article deal the general patterns and main trends in the formation and development of dramatic genres as a self-sufficient genre in Ukrainian literature of the XVIII – first half of the XIX century, aimed at highlighting anti-imperial ideas in close connection with the requirements of general literary genre and national traditions. It was found that the anti-colonial national literature found its expression in such genres as historical drama, drama-morality, vaudeville, social-household drama and comedy. «Vladimir» by Feofan Prokopovich, «God’s Mercy ...» by an unknown author, «Resurrection of the Dead» by Georgy Konysky, «Muscovite Magician» by Ivan Kotlyarevsky and «The Simpleton» by Vasyl Gogol, which were the embodiment of baroque and classicist styles with a combination of elements of ancient Greek comedies and tragedies, European medieval mysteries, Ukrainian interludes, miracles, morals and dramas of the Easter cycle, contributed to bringing to the stage the realities of the time and gave them a dynamic anti-colonial embodiment.The harmonious combination of high and low styles by the authors became an innovation of these dramatic works. It was found that the features of Baroque, Classicism, Enlightenment realism, sentimentalism and romanticism, which appeared in the social-household drama “Natalka-Poltavka” by I. Kotlyarevsky, social-household comedies “Yabeda” by V. Kapnist, «Noble elections», «A visitor from the capital, or the commotion in the county town», «Shelmenko – volost clerk», «Clairvoyant», «Shelmenko – batman « by G. Kvitka-Osnovyanenko and “Inspector” M. Gogol, were aimed at covering colonial problems in Ukraine after the abolition of the Hetmanate. A feature of these genres was the synthesis of Ukrainian Christmas dramas and social and domestic interludes with European bourgeois drama, which provided an opportunity to raise national drama to the European level. It is investigated that dramatic works of anti-colonial orientation of the XVIII – first half of the XIX century approved deviations from the established traditions of a particular literary genre. Instead, they presented a synthesis of baroque-classicist-educational-romantic aesthetic values that interacted with the folklore traditions of our people.

Noir Than Ever: Crime Drama as the Popular Genre in Turkish Streaming Services

The article focuses on the original series of Turkish streaming services Blu TV and Puhu TV released between 2017 and 2020 in terms of genre, and aims to discover their differences from the traditional television series having highly conservative narratives. After identifying that the crime drama genre is primarily preferred by these services, the ideological approach of genre analysis is adopted to study four series which are Masum (Innocent), Bozkır (Steppe), Şahsiyet (Persona), and Dip (Base). It is found that all four of the series share a common pessimism in a social context which is created by representing the evil as omnipotent and all members of the society as more or less victims. In addition, depicting the status quo as unchangeable strengthens the emphasis on -no escape- in general. It is possible to criticize these narratives for normalizing dysfunctional legal system, and neutralizing the prospect for improvement. In conclusion, the article claims that what these new series offer are far from being progressive, despite the freedom of their medium

Semantic Field of Stres and Depression on Psychologycal Korean Drama

Korean dramas with the psychological genre are very popular nowadays. Through this psychological Korean drama genre, people begin to get to know some psychological terms, such as stress and depression. Unfortunately, there are many people who have not been able to interpret these two terms correctly. The aims of this study are to find out how the words stress and depressions influence the audience of psychological Korean dramas and to know the difference of semantic field between the word stress and depression. The method used in this study is a qualitative descriptive method. The steps taken are (1) data collection with interviews, surveys through questionnaires, and readings text in psychological Korean dramas genre; (2) see the relevance between the data available and the semantic field theory; (3) and draw conclusions from the results of the research. This study uses semantic studies by looking at semantic field of the words stress and depression in psychological Korean dramas and how these words influence the audience. The semantic field is part of semantic system which is looking at the meaning of lexical elements that relate to spoken language used in reality. The subject of this study is a psychology Korean drama and psychology Korean drama audience. The results of this study showed that some respondents who watched the Korean drama misinterpret the meaning of stress and depression. Semantic field of the term stress and depression is set semantic field. Set semantic field refers to paradigmatic relationships because words or elements are in the same set and can replace each other. These two words are still in the same set, namely psychic problems. The writers hoped that it can reduce public misunderstanding of the meaning of the words stress and depression

DEVELOPMENT OF THE KOREAN POETIC DRAMA AND THE SIGNIFICANCE OF THE POETIC DRAMA MOVEMENT

This paper deals with the definition and characteristics of poetic drama, and attempts to clarify the significance of poetic drama works during the time when the poetic drama movement took place. Unlike drama-poetry or plays, poetic drama is an independent art genre. It presents artistic vision through the conflict of poetics and dramas. The unity of poetic and dramatic things, which is facilitated through music, internal necessity, stage image, sound effect, and visual auditory indication, poetic drama is a part of complex art. The entire work functions as a poem and must be realized on the stage. For Choi Il-soo, in order to develop the characteristics of these poetry plays, the innatrhythm of the free verse should be embodied within these plays. He accepted Eliot’s theory and tried to establish the position that Western poetic drama works and theories are unique to Korea. This deepening perception of theory led to a poetic drama movement with the creators. In this paper, we classify its characteristics by focusing on approximately 18 poetic drama works. From 1920 to 1999, 18 representative works were classified, focusing on the completeness of the works and the remarkable artists. The characteristics of works can largely be divided into historical, narrative, reality, and philosophy. The meaning of this classification can serve as an opportunity for poetic dramas to advance into more diverse topics or forms. The poetic drama movement was dominated by critics and poets with the aim of pursuing independent Korean art works, and although it failed in performance and popularization, it was an achievement of the times to give a glimpse into the possibility of poetic drama. Poetic drama can act as a new element in the genre of poetry and drama that are losing original literary character, and there is a need to revive in Korean literature.

Verbalization of evaluation in prose and dramatic genres

The article deals with the study of the peculiarities of linguistic expression of the category of assessment, which as a universal language category operating at different language levels, plays an important role in the choice of native speakers and, consequently, culture, language means of information and is equally important for mental processes of perception, comprehension and acceptance or non-acceptance of this information. The publications in the scientific literature on various aspects of the study of the category of evaluation in terms of language have been reviewed. The analysis of the peculiarities of verbalization of the category of evaluation is carried out on the material of fictional and dramatic discourse, which is a productive language environment for studying the category of evaluation, because through verbalized national-cultural ideas and stereotypes are reflected the conceptual and linguistic pictures of the world. First of all, this category is manifested in the language and characteristics of the characters. Special attention is paid to the characters of a (chynovnyk, pan, a pani, a panna and a cossack, verbalized in the fictional and dramatic discourse of the XIX century. Evaluative characteristics, which are the elements of language modeling of fictional images, served as a basis for distinguishing the following types of evaluation: positive and negative evaluation in the structure of the text narrative, neutral evaluation, hidden positive evaluation, author's evaluation, evaluation by other characters. A positive evaluation in the language of fiction is shown by the linguistic means of creating the character of a cossack. Negative assessment was found in the linguistic means of creating the image of the pan (landlord), the images of the pani and panna are ambivalent. Evaluation is present both in the language of the characters and in the author's characteristics or comments. The object of evaluation in the fictional and dramatic genres can be both internal and external characteristics of the characters, and external characteristics are often marked by positive evaluation, while internal features have either negative or ambivalent evaluation characteristics. It was found that the ways of realization of positive or negative evaluation in the language of fiction are quite diverse. They depend on the literary and fictional methods, the creative manner of the writer and reflect his worldview.

PERSEPSI SISWA SMK AZ ZAHRA MLONGGO JEPARA TENTANG ASPEK PORNOGRAFI DALAM FILM DILAN 1991

The film Dilan 1991 is a sequel to the previous film Dilan 1990 with the highest number of viewers in 2019. This teen romance drama genre film was adopted from the novel entitled Dilan: Dia is Dilanku in 1991 by Pidi Baiq. This romance nuanced film makes pornographic elements very thick in it. This study was conducted to find out how the students of SMK Az Zahra Mlonggo's perception of the pornographic aspect of the 1991 film Dilan. This study used a qualitative method with a focus group discussion approach. Then analyzed using content analysis method. The data validity technique was carried out using a source triangulation technique with attribution theory by Fritz Haider. From the results of student perceptions, it shows that there are pornographic aspects in the 1991 film Dilan including action porn, sound porn and pornography. Student perceptions are divided into two, namely positive perceptions and negative perceptions. Positive perception is a natural, normal, and mediocre thing because it is influenced by association, knowledge, insight, needs, pleasures and student habits. Negative perception, an impression is not good because students judge from a religious point of view

LA PAIDEIA A TRAVÉS DE LA LITERATURA GRIEGA: DEL TRIUNFO INDIVIDUAL AL BIENESTAR SOCIAL

This work proposes a reflection on the integral formation of the human being, a problem in force to this day, in Greek civilization, since in it literature had to fulfill a privileged place. The success of a good education translates into personal and social achievement and recognition. The tragic contests, whose spectators did not have any economic impediment that prevented them from attending thanks to the the o rikón (public money destined to the payment of tickets to the theater), are proof of the presence of the dramatic genre in the representation of characters whose events had precipitated them to misfortune in the tragic genre but also success in comedy. The famous passage from Aristophanes Frogs 1053-6 places the teacher of children on a level of equality with the poet for adults. Lyric poetry is also a teaching tool for Theognis who advises his young lover Cyrnus how to adapt his behavior in order to achieve success in his life. Solon, a politician, anguished by the dangers that could loom over Athens, exhorts his fellow citizens to live according to criteria based on justice. Xenophon recreates an image of Cyrus as the ideal sovereign who has managed to forge a vast empire, thanks to his personal qualities, lineage and education. Ischomachus, main character of the story in the mouth of Socrates in the Oeconomicus also by Xenophon, owes much of his prosperity to the teachings that he has transmitted to his young wife. Ultimately, Herodas's Mime III " The Teacher " offers a real painting of education in antiquity in which blows were part of it.

Artistic features of the comedy “The Handsome Man” by Alexander Ostrovsky

The article analyses the plot and genre features of the comedy “The Handsome Man” by Alexander Ostrovsky. In particular, such features of comedy as a comic contradiction, a prosperous denouement, typification of heroes and such qualities of vaudeville as the rapid development of action, the motif of a joke, as well as of a deception, are highlighted. The special vaudeville character of the intrigue is emphasised, it is also occupied with dynamism – the heroes change masks, deceive, pretend. It is noted that the psychological complexity of the characters, the main conflict, characterised by depth and sharpness, bring the play closer to the genre of drama. The study uses materials from letters of drama, memories of it, as well as critical reviews of the play “The Handsome Man” – the presence of harsh, often contradictory assessments testifies to the topicality of the comedy. and values. Particular attention is paid to the image of the protagonist, Apollon Okoyomov, who belongs to the “handsome” type, certainly in many respects corresponding to the late-19th-century environment and era. It is concluded that in the play “The Handsome Man” by Alexander Ostrovsky organically combined comic and dramatic elements: this gives her brightness, dynamism, artistic persuasiveness.

On the autobiography of M. Y. Lermontov's dramaturgy of the early period (plats “Menschen und Leidenschaften” and “A Strange Man”)

This article is dedicated to the analysis of the two plays written by M. Y. Lermontov in the the early period – “Menschen und Leidenschaften” and “A Strange Man” form the perspective of manifestation of autobiographical context therein. These works are based on the dramatic events in Lermontov's biography that took place in 1830–1831, such as conflict between the poet's grandmother and father, death of his father, as well as Lermontov's relationship with N. F. Ivanova. Analysis is conducted on the texts of these two dramas, as well as on the biographical situation that encouraged Lermontov to create these plays. Special attention is given to determination of specificity of interrelation between the biographical and fictional in Lermontov's dramaturgy of the early period. Lermontov’s appeal to the drama genre is associated directly with the need for artistic mastering of the biographical context. The article analyzes the process of instilling life facts in the dramaturgical text, as well as the specificity of manifestation of the autobiographical in the plotline, images of the heroes, as well as ideological-thematic aspect of the work. The result of the conducted research lies in tracing the evolution of the image of the protagonist based on self-projection of the author's personality, as well as the peculiarities building a romantic conflict that has autobiographical grounds. The two compositions represent a different perspective upon the personality and behavior of a “strange” man; autobiographical accuracy in depicting a romantic conflict is associated with the possibility of conveying the history of relationships in the play, due to the closeness of this literary genre to empirical reality. This allows viewing the two plays as a system of artistic development of biographical events in the dramatic discourse.

Language, European identity and stereotypical diversity in trans-European crime dramas

Interrogating two transnational television dramas – Crossing Lines (2013, 2014, , the first season) and The Team (2015, , the second season) – and employing critical, textual and production perspectives, this article investigates representations of national and European identity in the series. In this article, I argue that the series on the one hand picture a diverse Europe uniting when challenges arise, embodying the dominant European narrative of ‘unity in diversity’ and, seen from a certain point of view, facilitate a mediated cultural encounter. On the other hand, the diversity depicted is based on the use of a wide range of well-known cultural stereotypes that may be familiar to the audience, and which may facilitate smooth storytelling, but that does little to broaden the actual cultural knowledge and understanding of the viewer, resulting in stereotypical diversity. The series have different strategies regarding representations of nation states, cultures and languages. The implications of these strategies are analysed. Common ground is often found in ‘American’ crime drama genre tropes associated with a team of often-antagonistic specialists who are put together to solve a problem, including such iconic US series as The A-Team (), the CSI: Crime Scene Investigation franchise (2000–15) and Scorpion (2014, 2015, 2016, ). The contribution ultimately finds that meaningful mediated cultural encounters are a challenge to transnational television drama, and that when it comes to television, ‘European’ and ‘transnational’ means little without ‘national’.

The Experience of Poetry: From Homer’s Listeners to Shakespeare’s Readers

The Experience of Poetry: From Homer’s Listeners to Shakespeare’s Readers