Hasil untuk "Drama"

W. Benjamin

P. Pessl, D. Gruss, Clémentine Maurice et al.

In cloud computing environments, multiple tenants are often co-located on the same multi-processor system. Thus, preventing information leakage between tenants is crucial. While the hypervisor enforces software isolation, shared hardware, such as the CPU cache or memory bus, can leak sensitive information. For security reasons, shared memory between tenants is typically disabled. Furthermore, tenants often do not share a physical CPU. In this setting, cache attacks do not work and only a slow cross-CPU covert channel over the memory bus is known. In contrast, we demonstrate a high-speed covert channel as well as the first side-channel attack working across processors and without any shared memory. To build these attacks, we use the undocumented DRAM address mappings. We present two methods to reverse engineer the mapping of memory addresses to DRAM channels, ranks, and banks. One uses physical probing of the memory bus, the other runs entirely in software and is fully automated. Using this mapping, we introduce DRAMA attacks, a novel class of attacks that exploit the DRAM row buffer that is shared, even in multi-processor systems. Thus, our attacks work in the most restrictive environments. First, we build a covert channel with a capacity of up to 2 Mbps, which is three to four orders of magnitude faster than memory-bus-based channels. Second, we build a side-channel template attack that can automatically locate and monitor memory accesses. Third, we show how using the DRAM mappings improves existing attacks and in particular enables practical Rowhammer attacks on DDR4.

Andrea PUSKÁS, Erika BERTÓK

The role of educational drama and the successful implementation of drama techniques in teaching foreign languages have been confirmed by various research findings. There is a growing need for English as a foreign language (EFL) teachers to find appropriate tools to improve the teaching and learning of EFL to satisfy learners with special educational needs (SEN). The paper focuses on the link between the incorporation of drama techniques and teaching learners with SEN in the higher level of primary school with close attention to special needs connected with cognition and learning (e.g. dyslexia, dysgraphia, etc.) and needs connected with social, emotional, and mental health (e.g. ADD, ADHD, etc.). The paper presents the findings of document analysis and semi-structured interviews with in-service EFL teachers at the higher level of primary schools with Hungarian language of instruction in Slovakia. The major aim of the interviews was to investigate EFL teachers’ attitudes and self-efficacy in implementing inclusive practices, their attitudes and experiences concerning teaching learners with SEN and using drama techniques. A secondary aim was to examine the current situation in schools and the support EFL teachers receive in their institution. Based on the findings, implications for management strategies, teacher education, and teacher training courses or trainings are discussed.

Desi Ratna Ayu, Rudi Adi Nugroho

Dalam kehidupan sosial selalu ada permasalahan yang terjadi, kehidupan sosial tersebut dapat digambarkan dalam sebuah drama. Tujuan dari penelitian ini ialah untuk mengkaji kritik sosial menggunakan pendekatan hermeneutika Hans George Gadamer dalam naskah drama “Mamas” karya Bode Riswandi. Metode penelitian yang digunakan adalah metode deskriptif kualitatif dengan menggunakan pendekatan hermeneutika Hans George Gadamer. Sumber data dalam penelitian ini ialah naskah drama “Mamas” karya Bode Riswandi. Teknik pengumpulan data yaitu dengan menentukan objek dan fokus penelitian, membaca dan memahami objek penelitian, mengidentifikasi objek penelitian dengan pendekatan dan teori, menganalisis dan menyusun hasil analisis. Teknik analisis data yaitu dengan teknik simak dan catat. Hasil penelitian menunjukkan naskah drama “Mamas” karya Bode Riswandi terdapat tujuh bentuk kritik sosial, antara lainpermasalahan pelaku profesi, permasalahan kenalakan, kejahatan dalam citra pemerintah, permasalahan penggunaan fasilitas kantor, permasalahan lalu lintas, perbedaan taraf kehidupan, dan permasalahan unjuk rasa. Naskah drama “Mamas” karya Bode Riswandi ini merupakan naskah drama yang isinya sangat kental dengan kehidupan sosial masyarakat masa kini.

Andrzej Dębski

Research on film culture in the General Government has not yet addressed the issue of Germans going to cinemas. This article aims to ll this gap. But the topic is particularly interesting from a comparative perspective, both in relation to the film offerings in cinemas for Germans and Poles and the film tastes of the two audience groups, which in the period before the outbreak of the World War II were characterized by distinct preference profiles. This article compares the film offer and film preferences of Germans and Poles in Krakow, which was the capital of the General Government. This issue is presented against the background of more recent research on the functioning of cinemas and film distribution in the Third Reich, as well as archival material relating to the General Government.

А. Ж. Саржанов

В статье раскрывается тема создания музыки в союзе композитора и балетмейстера. Рассматривается продуктивное творческое воздействие результата такой работы на казахскую мелодичность, традиционную этнокультуру. Автор изучает характер совместной работы казахстанских и зарубежных деятелей искусств над сочинением национальных балетов, результаты творческих объединенных проектов области танцевального и музыкального искусства Востока и Запада.

Manit Wongsa, Jeong-Bae Son

ABSTRACT The study reported in this article explores Thai secondary school students’ English as a foreign language (EFL) learning experiences and examines the effects of using drama-based activities and Facebook on the students’ English speaking skills, attitudes and motivation in learning EFL. The study employed a mixed methods approach to collect both quantitative and qualitative data. The study used Facebook together with drama-based activities to deliver English language lessons in EFL classrooms. A total of 40 students from two Grade 12 classes and two Thai EFL teachers at a high school in Thailand participated in the study. Data was collected through English speaking tests, Attitude and Motivation Test Battery (AMTB) questionnaires, classroom observations and interviews. The results of the study indicate that drama-based activities and Facebook had positive effects on the students’ speaking skills and increased their motivation and positive attitudes towards learning the English language; they also provided the students with an interactive and flexible learning environment where they could actively communicate and collaborate with their teachers and peers. Findings suggest that drama-based learning activities and Facebook can be creatively integrated to assist language learning in the EFL classroom.

Crystian Danny da Silva Castro, Mônica Corrêa de Borba Barboza, Odailso Sinvaldo Berté

Este trabalho apresenta reflexões acerca das possibilidades artístico-pedagógicas no campo das artes da cena, em específico a dança, voltadas para a formação de professoras(es). Tais discussões emergem do Projeto de Extensão “De terra seus corpos”, iniciado no ano de 2018 e vinculado ao Curso de Dança – Licenciatura da UFSM. Por meio de diferentes processos criativos, deu-se a remontagem do espetáculo Som e Luz em Corpos, que consiste na coreografia/encenação do tradicional espetáculo de Som e Luz, do Sítio Histórico de São Miguel Arcanjo. Essa obra tem sido apresentada por um elenco composto de estudantes indígenas da Aldeia Guarani Tekoá Koenjú e acadêmicas(os) Universidade Federal de Santa Maria. À luz das compreensões da Ecologia de Saberes (SANTOS, 2010), Epistemologias do Sul (SANTOS, 2019) e Pedagogia da Autonomia (FREIRE, 2015), buscou-se articular um fazer-pensar dança que promova diálogos horizontais entre as epistemologias que operam dentro das universidades e os diversos saberes que são produzidos pelos Mbya-Guarani. Com esse trabalho, percebe-se um enriquecimento na formação das(os) licenciandas(os), sobretudo no que tange à docência em Arte e a elaboração de práticas artístico-pedagógicas contemporâneas, alicerçadas em uma perspectiva de valorização da diversidade e reconhecimento da cultura Guarani na sua história e potencial criativo.   Palavras-chave Processos Artístico-Pedagógicos em Dança. Comunidade Tekoá Koenjú. Ecologia de Saberes. Epistemologias do Sul. Pedagogia da Autonomia.

K. Gallagher, C. Balt, Nancy Cardwell et al.

ABSTRACT This article engages with the sudden pivot to online learning and research in a Toronto high school drama classroom during the COVID pandemic, revealing a complex portrait of youth, connection, and the digital world at a time of physical distancing. In light of these shifting ‘personal geographies’, we reflect on what drama practices might be mobilised to invite intimacy into online learning.

S. Kim, Sangkyun Kim

ABSTRACT This study attempts to develop a drama consumption model in the context of film tourism and empirically test it using the mainland Chinese audience of Korean television dramas (K-dramas). Celebrity and dramatized characters strongly influenced the emotional involvement and referential reflection of this audience, whereas the effects of filming location and backdrops were relatively weak in this respect. It is worth noting that the perceived values of K-dramas did not have a direct effect on behavioral intention to visit film tourism locations. Rather, they are expected to lead to film tourism through a process of psychological and emotional involvement with the dramas. Further studies can beneficially apply this model to measure media value, audience involvement, and intention in different social and geographical settings.

P. Tam

ABSTRACT This response to COVID-19 introduces a Hong Kong drama education project that aims to support teachers' and children's return to school after the easing of COVID-19 pandemic. A pilot workshop has been conducted to explore and evaluate the approach of the project and to identify the needs of the teachers under the pandemic. Preliminary observations show that the integrated use of play, process drama and integrated arts education can enhance the teachers' resilience in a crisis situation. Apart from providing them with timely, practical and multi-pronged pedagogical support, the workshop methodology also promotes their personal wellbeing.

W. So, Chun-Ho Cheng, Wan-Yi Lam et al.

Bethan Hulse, Allan Owens

D. Johnson

Drama therapy is the systematic and intentional use of drama/theatre processes and products to achieve the therapeutic goals of symptom relief, emotional and physical integration, and personal growth. Drama therapy is an active, experiential approach that facilitates the client's ability to tell his/her story, solve problems, set goals, express feelings appropriately, achieve catharsis, extend the depth and breadth of inner experience, improve interpersonal skills and relationships, and strengthen the ability to perform personal life roles while increasing flexibility between roles.

Iddo Tavory

The ‘‘strong program’’ that Jeffrey Alexander promoted has long become mainstream. The idea that culture—as the study of meaning—is causally important is now part of our disciplinary common sense. But then, how do we analyze and conceive of meaning-making? Here, a thousand flowers bloom, most of them blithely ignoring each other. And while Alexander and his students made important contributions with their work on binary semiotic codes, this was only a first step in Alexander’s stream of research. The Drama of Social Life represents a second move in Alexander’s work, a performativedramaturgical turn. Thus, from the early 2000s, Alexander has increasingly emphasized that the binary codes he earlier wrote of need to be enacted and put in narrative motion; and, moreover, that the narrative and dramaturgical structure of such enactments is where the sociological action is. In that way, Alexander is fashioning a dramaturgical approach that seems to be quite distinct from Victor Turner’s or Erving Goffman’s—one where the exercise and performance of shared meaning is paramount, where Durkheimian moments of solidarity and emotion become potent not through interaction rituals, but through the meaningful fusion of text, actors, and audiences. The book exemplifies this approach. It is itself a performance. Bookended by two theoretical chapters, it provides case studies of this dramaturgical-cultural analysis, from political mobilization to the power of intellectuals. To set the stage, Alexander begins by tying his dramaturgical approach to a more general performative conceptualization of culture through what he terms the problem of defusion and refusion of cultural performance. Whereas performances in less differentiated societies were ‘‘fused’’—as ritual was enacted as an ongoing part of social life and spoke to the experiences of the group in a more or less unproblematic fashion—the increase of social differentiation became also a moment of performative defusion between audiences, texts, and actors. From this perspective, what we think of as heightened moments of dramatic performances are always-temporary ‘‘refusions’’ of texts, actors, and audiences, forming a powerful nexus of mobilization and emotion. The Drama mostly follows successful moments of modern performative refusion. From the Black Lives Matter movement through the Arab Spring, Mao’s ability to mobilize the Chinese peasantry, Obama’s presidential debate with Romney, or Frantz Fanon’s writing, Alexander’s chapters constantly reiterate the importance of actual dramatic performance for political mobilization and solidarity. But while the project is thus important, and the writing is superb throughout, making for an enjoyable read, the book also made this reader, at least, wonder about the theoretical distance the author still needs to cover in order to make good on his theoretical project. Time and again, I tried and failed to recreate his argument and to understand how a reader could use this work as a model that would allow her to recreate this kind of cultural sociology. Performance is important, but to which parts of the performance should I pay attention? What aspects of the structure of performance explain its power? Along which dimensions do they vary? As a way to understand this difficulty, it is useful to compare the approach to that of sociology’s other dramaturgist, Goffman. Like Alexander, Goffman was undoubtedly a brilliant observer of human life. But Goffman, often rather pedantically, parceled out the different ways in which performances can be understood. His work is strewn with technical language: ‘‘line,’’ ‘‘face-work,’’ ‘‘role distance,’’ the ‘‘interaction membrane,’’

Macarena-Paz Celume, M. Besançon, F. Zenasni

Drama Pedagogy Training (DPT), as other drama-based pedagogies, has been related to several outcomes, including creativity enhancement. This enhancement is commonly proven through the measurement of different creative processes. In our review we systematize characteristics, activities and techniques of DPT that are assumed to be related to creativity in order to have a more comprehensive framework to identify the specific DPT elements that are involved in the enhancement of some of the creative processes of children and adolescents. To this end, we identified five creative processes in experimental studies using DPT: divergent thinking, fantasy and imagination, associative thinking, symbolization, and problem solving. These processes were cross referenced with DPT characteristics, activities, and techniques that were argued to be related to creativity enhancement. Our review will propose a model with two main categories and six elements as follows: (1) technical drama phases which emphasizes the role of narrative and embodiment through (a) corporal and vocal training and (b) main drama techniques (e.g., storytelling and improvisation and role-play), and (2) psycho-pedagogical framework which emphasizes the role of a dialogic space through (c) playfulness and a (d) collaborative, safe space. We also identified (e) feedback as an important element of DPT which belongs to both drama technical phases and psycho-pedagogical framework categories. Along with the model, we explain the creative outcomes associated to each of these elements as a means to attire the attention to drama-based pedagogies for the development of creativity in the educational setting.

Keji Felix Faniran

From the onset, a linguistic feature is often one of the essential tools in analysing a literary work, and obviously it is sine qua non in translation studies. Many studies have been done on Osofisan’s Once Upon Four Robbers but the issue of translations made by non-Yoruba native speaker where the material contains Yoruba cultural items is a contentious one. Once Upon Four Robbers (1980) was translated by Nicole Medjigbodo (2003). The study employs descriptive and comparative research methods in analysing random data taken from the source and target texts. We adopt Seleskovitch and Lederer’s interpretative theory of translation (1970s). The theory postulates that the translation of a text should produce the same cognitive, affective and aesthetic effects on target readers as the original text does. The study, therefore, examines how to avoid translation loss or mistranslation and thus ensure that indigenous thoughts in African drama texts can be retained or translated with the use of illustrative devices. The study therefore concludes that the text is rich in Yoruba cultural features as the playwright is a Yoruba man, and the speech flow (intonation, accentuation and register) in the translated version is in line with the source text. This shows that the translated play can be performed in the same way and as effectively as the original.

Akinmameji Oluwayemisi Olusola

Literature abounds on the way gender issues are foregrounded in both literary and non-literary texts. Many of these studies, especially from the linguistic perspective, fail to pay attention to how proverbs and figurative expressions are used to expose feminist ideology in discourse. This study, therefore, considers the way these cultural elements are used to ex-press the feminist beliefs of Femi Osofisan in some of his drama texts to lend credence to the argument that every genre of text and talk is capable of bearing ideological nuances. The study deploys Norman Fairclough’s socio-cultural model of CDA which incorporates aspects of Systemic Functional Grammar (SFG) as theoretical model. Three of Osofisan’s drama texts, which mostly express his feminist tendencies; Morountodun, YungbaYungba and the Dance Contest and Tegonni: An African Antigone are purposively sampled to explain the expressive capabilities of women. Proverbs and figurative expressions are subjected to descriptive linguistic analysis to bring out the underlying gender rhetoric. Osofisan projects women’s ability to use proverbs and figures of speechto express power. There is the overrid-ing feminist ideology of women as expressive and dynamic in the texts.

Gheraldi Waskito Ajiprabowo, Handriyotopo Handriyotopo

Reog Ponorogo art is an Indonesian cultural heritage that must be preserved in the mid of current cultural competition nowadays. One of the ways to preserve Reog art is by introducing it to the wider community, especially the younger generation. The purpose of this design is to produce motion graphic media to introduce Reog Ponorogo traditional art. This design uses the 5W+1H approach, with the following stages: 1) reviewing the problems; 2) developing with the relevant questions; 3) developing the answers of those questions; 4) making the right solution. The result of this study shows that the design of Reog Ponorogo motion graphics can be the right media to provide information about Reog art to the public, especially millennial youth. This motion graphic media is quite comprehensive, because it is completed with supporting media such as posters, print ads, merchandise, and Instagram.