En el context polític-econòmic del neoliberalisme actual, les llengües s’empren en moltes ocasions com a mercaderies comercialitzables, una mercantilització estretament lligada als processos de turistificació i gentrificació dels espais. És precisament la construcció del significat a través de l’ús i la col·locació dels signes en els espais públics el que explica que els estudis de paisatge lingüístic i semiòtic (PL) s’hagen convertit en fonamentals per observar les dinàmiques socials globals, ja que constitueixen indicadors fidels dels processos de canvi social i del caràcter dinàmic i fluid de les societats contemporànies de la globalització. Justament en aquest treball el nostre objectiu és analitzar de quina manera i amb quins efectes es mercantilitza i instrumentalitza “l’espanyol” en els establiments comercials (crematònims) de les ciutats d’Atenes i Drama, signes en espanyol recollits durant els estius de 2023 i 2024. Així doncs, des d’un enfocament semiòtic i etnogràfic explorem quins valors ideològics mobilitza el recurs de la llengua i la cultura en espanyol en aquests contextos, en què es converteixen en objectes de màrqueting, distribució i consum en l’economia grega. L’anàlisi dels signes i missatges comercials en espanyol a Grècia ha evidenciat que aquests han estat acuradament elaborats i produïts amb l’objectiu d’atraure, fonamentalment, el públic grec de classe social alta, fruit de l’acció de diferents agents de diverses procedències, tant locals com internacionals, que lliguen l’espanyol amb el cosmopolitisme i l’autenticitat.
French literature - Italian literature - Spanish literature - Portuguese literature
Panopticon surveillance is a concept that was first used by Jeremy Bentham, an English philosopher of the 18th century, in designing a fundamentally new type of prison. Michel Foucault, a French historian and thinker, returns to this concept in the 20th century and explains it as the new surveillance mechanisms of modern societies. Foucault believed that the disciplinary power to be applied should have a permanent, exhaustive and omnipresent means of surveillance that remains invisible while making everything visible. As a result, the new strategy of this power is based on hierarchical surveillance. In fact, Foucault reads the Panopticon as a generalizable model and a plan for the future that explains power relations in the daily life of people on a very macro level. From his point of view, omniscient supervision in Bentham's plan provides a central metaphor to describe the mechanisms of disciplinary power in modern societies. As a result, he believed that modern societies can be called disciplinary societies.During recent decades, this concept has transcended the framework of social studies and entered the field of cinema studies. By reviewing the works of early cinema, film scholars have confirmed the inherent links and affinities between surveillance and medium of cinema and have paid attention to thematic and structural ways of using it in films. This article seeks to analyze the way Panopticon surveillance is represented in the film The Invisible Trap (1979), borrowing from the ideas of Michel Foucault. The Invisible Trap is a lesser-known film in Iran's pre-revolutionary cinema, which was made by the order of SAVAK security organization in 1979. Following the developments of the year of its production and the reluctance of its actors to talk about it, the film was forgotten and joined the list of abandoned films in the history of Iranian cinema. The film narrates the true story of identifying, monitoring and arresting one of the spies of the imperial army of the Pahlavi regime, named Ahmad Moqrabi, who was cooperating with KGB officers for many years. To this end, first, the surveillance mechanisms in Panopticon are examined, and then, in order to explain the concept of the Panopticon surveillance, Foucault's views are borrowed. Then, the concept of surveillance cinema is analyzed from the perspective of important theoreticians of this field and finally the selected film in Iranian cinema is analyzed. At the end, a conclusion is drawn about the application of Panopticon surveillance in The Invisible Trap (1979). The current research, which was carried out with a descriptive-analytical method and using library sources, raises the argument that through this work, SAVAK had tried to represent itself as a Panopticon institution that is able to secretly monitor and take care of all citizens in their daily affairs. From this point of view, the film takes powerful steps in the aesthetic drawing of Pahlavi's disciplinary character and displays a completely calculated disciplinary maneuver for its audience; Creating a utopian image of the city under domination.
Il capitolo conclusivo della Seconda Parte e dell’intero volume è dedicato a riassumere i tratti caratteristici della riscoperta tipologia drammatica del ‘quarto dramma senza satiri’ che sono parsi emergere in corso d’opera: dalla relativa brevità in termini di numero di versi alla semplicità corale alla possibile maggiore libertà metrica del trimetro fino anche, e soprattutto, al carattere lieve dell’intreccio scelto e della gestione narrativa e scenica adottata per il medesimo. Si prospettano future vie di ricerca che partano dall’accettazione della tetralogia a-satiresca nella ricostruzione dei corpora dei tragici minori (ad es. Agatone) e, soprattutto, di Eschilo; anche per questo poeta manca ancora un catalogo unanimemente condiviso dei titoli satireschi: un riesame in questo senso del corpus del reputato ‘padre’ della struttura tetralogica in formato canonico alla ricerca di eventuali ‘quarti drammi senza satiri’ è un interessante banco di prova della proposta esegetica al centro del volume.
This article examines the Royal Shakespeare Company’s (RSC) recent focus on digital ‘innovation’ by analysing the relationship between their emerging digital-focused business practices and digital performance practice for The Tempest (2016). To assess this relationship, I first review the socioeconomic context of 21st century neoliberal UK economic policy that encourages arts organisations such as the RSC to participate in innovative digital production practices. I follow with a definition and deconstruction of ‘innovation’ as a key term in UK economic policy. I then demonstrate how the RSC has strategically become involved in innovation practices throughout the 2010s. I will then analyse the digital, motion-capture performance practices the RSC developed in partnership with Intel and motion-capture studio The Imaginarium for The Tempest. In doing so, I will demonstrate that The Tempest serves to legitimise the RSC’s status as a competitor and collaborator in the wider digital economy.
History of scholarship and learning. The humanities
This article seeks to entangle two current philosophic praxes: New Materialism, and Sensory Ethnography. Jane Bennett has become one of New Materialism's most prominent proponents since the release of her now-seminal text, Vibrant Matter in 2010. Due to the varied ground upon which New Materialism stands (often conflated with object-oriented ontology, post-humanism, and other general turns within nonhumanism), Bennett's work will be looked at idiosyncratically, then pushed into the realm of the cinematic via an analysis of the documentary, Leviathan. Directed by Lucien Castaing-Taylor and Véréna Paravel, this film was among the first exemplary works to emerge from the Sensory Ethnography Lab, based at Harvard University. In striving for a revitalization of ethnographic film practices, the Lab aligns itself with similarly non-anthropocentric, and non-discursive, aspects of experience to the New Materialism of Jane Bennett. By placing these two contemporary camps into conversation, this article intends to reposition them both: New Materialism as a vehicle for the Sensory Ethnographic, and the SEL as an exhibition of the kind of world Bennett's philosophy envisages. The article concludes with an assessment of the political and eco-political critiques and ramifications surrounding these works.
The letters written by Felicja Trapszo-Krywultówna to Leonia Jabłonkówna published here come from the archive ‘The correspondence and documents of artistic work of Leonia Jabłonkówna’ which is part of the Special Collections of the Art Institute of the Polish Academy of Sciences. Felicja Krywultówna, born in 1905, was an actress coming from the well known actor family of Trapszo. She performed in Wilno, Grodno, Łódź, and Kraków. She died of tuberculosis in 1937. Leonia Jabłonkówna, born in 1905, studied art history and Polish philology at the University of Warsaw; she wrote articles about art for Bluszcz and a column about film for Wiadomości Literackie; in the 1930s she studied at the Directing Art Department of the PIST (State Institute of Theatre Art) in Warsaw. The letters published here date from 1930–1936; they bring biographical information about the two correspondents, news about theatres in Grodno, Kraków, and Częstochowa, about theatre management and companies, about the repertories. They paint a picture of the theatrical community of the 1930s.
Dramatic representation. The theater, The performing arts. Show business
Cultural traumas are social, discursive and narrative processes where traumatic events, such as Hurricane Katrina in 2005, and their memories are described and interpreted. In fiction, in this case in HBO’s drama series Treme (2010-2013), trauma-related experiences are given meaning through narration, and in this mediation process collective memories are constructed. In this article, I analyze the ways in which the narration of Treme represents loss and remembering. I argue that by emphasizing sentimental nostalgia and the emotional reactions of the characters, the narration aims to create sympathy and empathy in the viewers, and in this way the drama series creates an emotional public sphere for the discussions over the rebuilding of post-Katrina New Orleans.
<p>Ma ma (2015) es una película de drama española dirigida por Julio Medem y producida por Morena Films. Esta película narra la historia de la vida de Magda cuyo personaje es interpretado por Penélope Cruz. Tras serle diagnosticado un cáncer de mama, Magda, una maestra en paro, no sabrá cómo actuar ni de qué manera cambiará esta enfermedad su vida, pero poco a poco sacará a la superficie toda su energía vital. El cáncer de mama representa el tipo de cáncer más frecuente en la mujer. Aunque la mayoría de los factores de riesgo identificados pueden ser modificables, los sistemas de salud se concentran en actividades que permiten fortalecer la prevención primaria y actividades de prevención secundaria y terciaria. La detección temprana y el tratamiento adecuado son indispensables para luchar contra esta enfermedad. El proceso emocional generado por la presencia de cáncer, conlleva un mecanismo de reconstitución psíquico que permite a la paciente conformar una respuesta a los desafíos orgánicos, cognitivos, sociales y emocionales a los cuales se ve enfrentada. Dicho proceso es favorecido entre otros factores por contar con una red de apoyo socio?familiar sólida.</p>
Este ensaio centra-se na genética de A Última Palavra É a Penúltima 2.0 [A Last Word Is the One Before the Last 2.0], uma performance criada pelo Teatro da Vertigem, em Outubro de 2014, para a Bienal de Arte de São Paulo, com base em Gilles o ensaio de Deleuze, The Depleted, inspirado na obra de Samuel Beckett. A performance, dirigida por Eliane Monteiro e Antônio Araújo, destaca-se das suas criações colectivas anteriores, uma vez que é a primeira vez que o grupo não utilizou um dramaturgo e rejeita a utilização de um texto. É por isso que estamos a tentar compreender e demonstrar como o conceito de esgotamento, sugerido por Deleuze, infiltra-se como um princípio activo na construção dramatúrgica da criação, rompendo com a função estrutural do texto e promovendo um desempenho coreográfico caracterizado. A abordagem genética será desenvolvido com base em entrevistas com os membros do grupo, bem como sobre a análise do livro de notas do director.
This research was aimed to increase motivation and writing skill of Javanese script’s students at XII IPA 3 SMA Negeri 1 Kramat, 2016/2017 academic years. This research was conduct in two circle using Contextual Teaching and Learning (CTL) strategy by audiovisual media. From the result of the research there was the rise of student’s learning motivation from the average 68,1 % in the first circle become 86,9 % in the second circle. Whereas the result of learning in writing drama script from 75 % in the first circle become 93,8 % in the second circle. It is proved that the use of CTL strategy by audiovisual media can increase student’s motivation and students’ writing skill of Javanese drama script
O trabalho reflete sobre as relações entre mídia, saúde e política, a partir da análise da cobertu- ra das epidemias de dengue em 1986, 1998 e 2008, realizada pelo principal telejornal brasileiro, o Jornal Nacional, da Rede Globo de Televisão. Distante das abordagens que veem o jornalismo como a transmissão de informações, mais ou menos acurada em função de seus interesses políticos, econômicos e editoriais, interrogamos os dispositivos midiáticos como coprodutores de sentidos sociais. A análise comparativa privilegia a historicidade das operações que tecem as causas, respon- sabilidades e as formas de narrar os sofrimentos, assim como a concepção de justiça social que os sustenta. Argumentamos que em 2008 há um expressivo deslocamento do posicionamento discur- sivo que o telejornal propõe para si e para o telespectador, baseado no binômio risco-segurança. No contexto de esvaziamento da ação política, percebe-se a individualização de responsabilidades e sofrimentos, a idealização do poder da ação do Estado e a hipertrofia do julgamento midiático.
The aim of this paper is, on the one hand, to make the readers acquainted with the
realities of the twentieth century American family, as perceived by the two American
playwrights, and, on the other hand, to underline the unusual phenomena that have
been brought by the changing dynamics of the family relationships. All the five plays
under discussion—All Over, A Delicate Balance, The American Dream, The
Sandbox by Edward Albee, and Oh Dad, Poor Dad, Mamma's Hung You in the
Closet and I'm Feelin’ So Sad by Arthur Kopit — present situations in which the
female characters seem to have become the leader, taking the place of the head of the
family, of the pater familias. They stop acting like loving mothers and wives, they forget
to take care of their families; instead, they lock away their hearts and assume the part of
some sort of tyrant: they control everyone and everything in the house, their word being
the equivalent of a rule. The female characters are endowed with masculine traits,
whereas the male characters are emasculated, effeminate, deprived of any kind of power.
The purpose of the paper is to demystify the myth of the ideal, perfect American family,
to make the readers realize that the image that has been presented to the non-American
public is, in the twentieth century, nothing but a disguise. Our goal is to display the
image of the new American family hoping that, in doing so, we will succeed in making
the readers realize the fact that human relationships, especially the ones within the
family, need to be re-established on a deeper and more meaningful level.
Fernanda Ariane Carrera, Thaiane Moreira de Oliveira
Este trabalho busca refletir sobre os regimes de espectatorialidade nas experiências ofertadas pela ciberpublicidade. A partir do conceito de publicidade pervasiva – aquela que se faz com a participação do corpo do indivíduo/consumidor e com a apropriação dos espaços urbanos – busca-se discutir este consumo de experiências como um fenômeno social, destacando a relevância simbólica que o comportamento dos consumidores oferece à estratégia publicitária. Discute-se também acerca dos conceitos de participação e de imersão neste fenômeno, tendo como ponto de partida a experiência do consumidor nas campanhas. Para isso, analisam-se duas ações publicitárias: “Push to add drama”, da emissora TNT, da Bégica, e “Reignite your Va Va Voom” da Renault Clio, do Reino Unido.
Ibsens Altersstück Wenn wir Toten erwachen (1899) gehört zu den faszinierendsten und am öftesten analysierten Werken des Autors. Der vorliegende Artikel ist eine Analyse der Kunstauffassung der Hauptfigur sowie ihres Verhältnisses zum Leben. Die Hauptfigur – der alternde Bildhauer Rubek – bewertet im Drama seine einstige Einstellung zum Künstlerberuf sowie zu Irene – dem Modell seines berühmtesten Werkes. Während seines Urlaubs in Norwegen trifft er Irene wieder, um schließlich in einer Art Liebesentflammung gemeinsam mit ihr unter Schneemassen zu sterben. Der vorliegende Aufsatz befasst sich vor allem mit der Deutung des Ausgangs des Dramas. Er versucht dabei Rubeks (sowie Ibsens) Beziehung zur Kunst bzw. zum Leben zu erläutern.
Germanic languages. Scandinavian languages, History of Northern Europe. Scandinavia
In this article, the authors argue that Nordic noir constitutes a set of production values utilised and conceptualised to make Danish television series attractive in the international market. The idea of production values is embedded in a media industrial context where market principles of target groups, sales, funding and marketing/branding are as important as aesthetic principles. The Killing and The Bridge are used to illustrate how features such as setting, climate, light and language serve strategic as well as aesthetic purposes in the production process. The authors conclude by relating the specific Nordic noir production values present in the two series to changing conditions in Danish television drama production, in particular the internationalisation of DR Drama Division.
History of scholarship and learning. The humanities