Hasil untuk "Drama"

M. Callon

J. Wiens

Keir Elam

Weiwen Su, Yuhan Zhou, Zihan Wang et al.

Existing user simulation approaches focus on generating user-like responses in dialogue. They often assume that the provided persona is sufficient for producing such responses, without verifying whether critical personas are supplied. This raises concerns about the validity of simulation results. To address this issue, we study the task of identifying persona dimensions (e.g., "whether the user is price-sensitive") that are relevant but missing in simulating a user's reply for a given dialogue context. We introduce PICQ-drama (constructed from TVShowGuess), a benchmark of context-aware choice questions, annotated with missing persona dimensions whose absence leads to ambiguous user choices. We further design diverse evaluation criteria for missing persona identification. Benchmarking leading LLMs on our PICQ-drama dataset demonstrates the feasibility of this task. Evaluation across diverse criteria, along with further analyses, reveals cognitive differences between LLMs and humans and highlights the distinct roles of different persona categories in shaping responses.

Vivian Ching-Mei Chu, Ya-Wen Chin, Margot Meng-Cheng Chou et al.

IntroductionActing training focuses on improving actors’ emotion recognition and expression, and it has been used to strengthen individuals’ emotional skills in both artistic and non-artistic contexts. However, when examining the impact of this training on emotion recognition and expression in studies outside the arts, diverse research designs resulted in inconsistent findings or limitations for comparison across studies.MethodWe reviewed and evaluated the research design and evidence.ResultsThe 32 included articles show that acting-based interventions have been employed across diverse areas, including clinical, occupational and educational contexts, and these interventions could improve emotion recognition and expression. We examine the possible reasons for the inconsistency found in the literature, evaluating assessment tools and training content.DiscussionWe suggest addressing the underlying mechanism of the acting-based intervention’s impact on emotion recognition and expression skills and subsequently propose future research directions.Systematic review RegistrationDoi: https://doi.org/10.17605/OSF.IO/R2KTB.

Peer Trilcke, Ingo Börner, Henny Sluyter-Gäthje et al.

This paper reports on the implementation and evaluation of a Model Context Protocol (MCP) server for DraCor, enabling Large Language Models (LLM) to autonomously interact with the DraCor API. We conducted experiments focusing on tool selection and application by the LLM, employing a qualitative approach that includes systematic observation of prompts to understand how LLMs behave when using MCP tools, evaluating "Tool Correctness", "Tool-Calling Efficiency", and "Tool-Use Reliability". Our findings highlight the importance of "Docstring Engineering", defined as reflexively crafting tool documentation to optimize LLM-tool interaction. Our experiments demonstrate both the promise of agentic AI for research in Computational Literary Studies and the essential infrastructure development needs for reliable Digital Humanities infrastructures.

Xiangfeng Wang, Xiao Li, Yadong Wei et al.

The rapid growth of online video content, especially on short video platforms, has created a growing demand for efficient video editing techniques that can condense long-form videos into concise and engaging clips. Existing automatic editing methods predominantly rely on textual cues from ASR transcripts and end-to-end segment selection, often neglecting the rich visual context and leading to incoherent outputs. In this paper, we propose a human-inspired automatic video editing framework (HIVE) that leverages multimodal narrative understanding to address these limitations. Our approach incorporates character extraction, dialogue analysis, and narrative summarization through multimodal large language models, enabling a holistic understanding of the video content. To further enhance coherence, we apply scene-level segmentation and decompose the editing process into three subtasks: highlight detection, opening/ending selection, and pruning of irrelevant content. To facilitate research in this area, we introduce DramaAD, a novel benchmark dataset comprising over 800 short drama episodes and 500 professionally edited advertisement clips. Experimental results demonstrate that our framework consistently outperforms existing baselines across both general and advertisement-oriented editing tasks, significantly narrowing the quality gap between automatic and human-edited videos.

Yunsheng Ma, Amr Abdelraouf, Rohit Gupta et al.

Multimodal large language models (MLLMs) have demonstrated remarkable potential for enhancing scene understanding in autonomous driving systems through powerful logical reasoning capabilities. However, the deployment of these models faces significant challenges due to their substantial parameter sizes and computational demands, which often exceed the constraints of onboard computation. One major limitation arises from the large number of visual tokens required to capture fine-grained and long-context visual information, leading to increased latency and memory consumption. To address this issue, we propose Video Token Sparsification (VTS), a novel approach that leverages the inherent redundancy in consecutive video frames to significantly reduce the total number of visual tokens while preserving the most salient information. VTS employs a lightweight CNN-based proposal model to adaptively identify key frames and prune less informative tokens, effectively mitigating hallucinations and increasing inference throughput without compromising performance. We conduct comprehensive experiments on the DRAMA and LingoQA benchmarks, demonstrating the effectiveness of VTS in achieving up to a 33\% improvement in inference throughput and a 28\% reduction in memory usage compared to the baseline without compromising performance.

Dong Zhang, Zhaowei Li, Pengyu Wang et al.

Human communication is a complex and diverse process that not only involves multiple factors such as language, commonsense, and cultural backgrounds but also requires the participation of multimodal information, such as speech. Large Language Model (LLM)-based multi-agent systems have demonstrated promising performance in simulating human society. Can we leverage LLM-based multi-agent systems to simulate human communication? However, current LLM-based multi-agent systems mainly rely on text as the primary medium. In this paper, we propose SpeechAgents, a multi-modal LLM based multi-agent system designed for simulating human communication. SpeechAgents utilizes multi-modal LLM as the control center for individual agent and employes multi-modal signals as the medium for exchanged messages among agents. Additionally, we propose Multi-Agent Tuning to enhance the multi-agent capabilities of LLM without compromising general abilities. To strengthen and evaluate the effectiveness of human communication simulation, we build the Human-Communication Simulation Benchmark. Experimental results demonstrate that SpeechAgents can simulate human communication dialogues with consistent content, authentic rhythm, and rich emotions and demonstrate excellent scalability even with up to 25 agents, which can apply to tasks such as drama creation and audio novels generation. Code and models will be open-sourced at https://github. com/0nutation/SpeechAgents

Livingstone Njuba, Juan E. Gómez-Morantes, Andrea Herrera et al.

The HIV/AIDS pandemic is a global issue that has unequally affected several countries. Due to the complexity of this condition and the human drama it represents to those most affected by it, several fields have contributed to solving or at least alleviating this situation, and the information systems (IS) field has not been absent from these efforts. With the importance of antiretroviral therapy (ART) as a starting point, several initiatives in the IS field have focused on ways to improve the adherence and effectiveness of this therapy: mobile phone reminders (for pill intake and appointments), and mobile interfaces between patients and health workers are popular contributions. However, many of these solutions have been difficult to implement or deploy in some countries in the Global South, which are among the most affected by this pandemic. This paper presents one such case. Using a case-study approach with an extreme-case selection technique, the paper studies an m-health system for HIV patients in the Kalangala region of Uganda. Using Heeks' design-reality gap model for data analysis, the paper shows that the rich interaction between social context and technology should be considered a central concern when designing or deploying such systems.

Gaspard Michel, Elena V. Epure, Romain Hennequin et al.

Humans naturally attribute utterances of direct speech to their speaker in literary works. When attributing quotes, we process contextual information but also access mental representations of characters that we build and revise throughout the narrative. Recent methods to automatically attribute such utterances have explored simulating human logic with deterministic rules or learning new implicit rules with neural networks when processing contextual information. However, these systems inherently lack \textit{character} representations, which often leads to errors in more challenging examples of attribution: anaphoric and implicit quotes. In this work, we propose to augment a popular quotation attribution system, BookNLP, with character embeddings that encode global stylistic information of characters derived from an off-the-shelf stylometric model, Universal Authorship Representation (UAR). We create DramaCV (Code and data can be found at https://github.com/deezer/character_embeddings_qa ), a corpus of English drama plays from the 15th to 20th century that we automatically annotate for Authorship Verification of fictional characters utterances, and release two versions of UAR trained on DramaCV, that are tailored for literary characters analysis. Then, through an extensive evaluation on 28 novels, we show that combining BookNLP's contextual information with our proposed global character embeddings improves the identification of speakers for anaphoric and implicit quotes, reaching state-of-the-art performance.

Fazle Rabbi Rakib, Souhardya Saha Dip, Samiul Alam et al.

We present OOD-Speech, the first out-of-distribution (OOD) benchmarking dataset for Bengali automatic speech recognition (ASR). Being one of the most spoken languages globally, Bengali portrays large diversity in dialects and prosodic features, which demands ASR frameworks to be robust towards distribution shifts. For example, islamic religious sermons in Bengali are delivered with a tonality that is significantly different from regular speech. Our training dataset is collected via massively online crowdsourcing campaigns which resulted in 1177.94 hours collected and curated from $22,645$ native Bengali speakers from South Asia. Our test dataset comprises 23.03 hours of speech collected and manually annotated from 17 different sources, e.g., Bengali TV drama, Audiobook, Talk show, Online class, and Islamic sermons to name a few. OOD-Speech is jointly the largest publicly available speech dataset, as well as the first out-of-distribution ASR benchmarking dataset for Bengali.

Lana Bertoldo Rossato, Leonardo Boaventura Bombardelli, Anderson Rocha Tavares

Creating and evaluating games manually is an arduous and laborious task. Procedural content generation can aid by creating game artifacts, but usually not an entire game. Evolutionary game design, which combines evolutionary algorithms with automated playtesting, has been used to create novel board games with simple equipment; however, the original approach does not include complex tabletop games with dice, cards, and maps. This work proposes an extension of the approach for tabletop games, evaluating the process by generating variants of Risk, a military strategy game where players must conquer map territories to win. We achieved this using a genetic algorithm to evolve the chosen parameters, as well as a rules-based agent to test the games and a variety of quality criteria to evaluate the new variations generated. Our results show the creation of new variations of the original game with smaller maps, resulting in shorter matches. Also, the variants produce more balanced matches, maintaining the usual drama. We also identified limitations in the process, where, in many cases, where the objective function was correctly pursued, but the generated games were nearly trivial. This work paves the way towards promising research regarding the use of evolutionary game design beyond classic board games.

Mahnaz Rezai

. Introduction Theater, as one of the literary types, has created a link between literature and performing arts. There have been two types of theater, comedy and tragedy. In the past, the type of tragedy was superior to the type of comedy. In the seventeenth century in France, with the appearance of Molière, comedy flourished and a revolution took place in the classical theater. In Iran, playwriting does not have much history. But its traditional and religious forms have always existed. In this article, we have done a comparative study of two comedy plays, Molière's The Miser and Akhundzadeh's The Tale of the Miserly Man. In the two studied works, miserliness is shown as one of the biggest moral pests that not only affects family relationships, but also involves social relationships.In this article, we have benefited from the theories of Michel Viegnes in the field of theater and his classification of types of humor and the theories of Ménandre, the ancient Greek playwright, in the field of classification of the characters of classical plays, and by examining and comparing the content, character, we have discussed the structure of two works to see how and in what cases Akhundzadeh imitated Molière and what was his purpose in writing this play.In fact, the era of comedy flourishing can be considered the post-Renaissance era and the 17th century. With the emergence of playwrights such as Molière, it became possible to pass from the rule of tragedy to the flourishing era of comedy, and the kings and princes of tragedy gave way to trivial characters of comedy. Molière had a significant influence on the playwrights of the world and also influenced the Iranian theater during the constitutional period. The plays of Mirza Fath Ali Akhundzadeh (1228-1295), an Iranian writer, thinker and critic, were among the first plays written following European plays. The title, structure, characters, and content of his play The Tale of the Miserly Man also convey his impression of Molière's The Miser. Methodology Comparative literature arose in France in the nineteenth century. Researchers of French comparative literature or the "French school of comparative literature" emphasized the issue of "relationship" between literatures. According to Guyard, "the researcher of comparative literature should focus on the exchange of themes, opinions, books or feelings between two or more literatures." (Guyard, 1958:12) With Guyard and after him Pierre Brunel, comparative literature becomes more of a science than a type of literary criticism. In addition to the issue of historical investigation, Yves Chevrel also brings the issue of boutiques into this topic. In his opinion, "comparative literature should add comparative boutique studies to its studies." (Chevrel, 2016: 48) In the American school of comparative literature, which is led by René Wellek (1903-1995), the historical study is abandoned and the focus is placed on the works themselves: "Everything It should be examined from the perspective of a literary work." (Brunel & Chevrel, 1989: 189-190) As mentioned, Akhundzadeh was influenced by Molière and the similarity between these two works is not accidental. Therefore, in this article, our research will be comparative literature based on the French school and we will discuss the influence of thoughts and themes and the comparative style of two works. To examine the types of humor in these two plays, we will rely on the theories of Michel Viegnes, a French writer and researcher, and to examine the characters of the plays, we will rely on the theories of Ménandre, the ancient Greek playwright. Discussion  3-1. Content reviewAs one of the freedom-loving playwrights of the Qajar era, Akhundzadeh criticized the traditional customs of the society through theater. Moliere's theater can also be defined as a realistic reflection of the performance of the members of a society. In this section, we will discuss the socio-political content of the plays and the analysis of the characters.  3-1-1. Socio-political and anthropological satireMoliere's play The Miser and Akhundzadeh's play are both social comedies. Moliere's The Miser depicts the bourgeois society of Paris during the reign of Louis XIV. Harpagon is a typical example of the 17th century bourgeois, who later became a type of personality in such a way that today in France, a stingy person is called Harpagon. Akhundzadeh's story of the miserly man also portrays the society of Iran in the early 13th century. In their works, these two playwrights describe the characters with a realistic, anthropological and sociological perspective and thus study different human aspects. In the preface of Tartuffe, Molière clearly states that "comedy can be effective in reforming some customs and traditions." (Molière, 2016: 5) In fact, for both authors, the main purpose of art is to cultivate positive qualities in human beings. According to Akhundzadeh: "It should be known that what is meant by the art of "comedy" is moral refinement. It means knowing the ugly and beautiful of human nature by looking at the shape and resemblance" (Adamiyat, 1349: 63).3-1-2. Personality psychologyAccording to the theories of Ménandre, the ancient Greek dramatist, the characters of the classical drama belong to three categories of people: 1) young people who intend to get married but face obstacles; 2) A slave and servant who is very clever and cunning and removes obstacles to marriage; and 3) secondary funny characters that provide joy and happiness in the theater scene. (Blanchard, 2000: 22-24) The main characters of both plays under our study are miserly and domineering old men, young people in love and simple-hearted, clever and cunning servants, and wise women. The choice of such characters actually shows the classicity of these two plays.Boileau emphasizes that "in Molière's plays, humor is created due to the mocking aspect that is rooted in the psychology of the character" (Conesa, 1995: 146).3-2. Structural investigationAkhundzadeh, like Molière, is not only concerned with showing some social and moral problems, but also emphasizes the artistic aspect of writing. In his plays, although he maintained the "unity of action", Molière questioned the "unity of place" and "unity of time". In other words, he followed the principle of classical theater according to which the plot should revolve around a single event. But refuse to limit this event to one day and one place. Akhundzadeh also wrote his play The Tale of the Miserly Man in a classical style and in five chambers (curtains) and did not limit it to a fixed place and time of one day.3-2-1. Language and styleThe language of Akhundzadeh's play, like Molière, is close to reality and effective. The story of the play and the dialogues of the actors are told with sweet and attractive expressions. In that period, the written language and the spoken language were significantly different. In this play, Akhundzadeh tried to distance himself from the common prose of his era and use spoken language for the characters. Regarding the similarities of the language of the two plays in question, it can be pointed out that the language used is vernacular. In this play, Molière's language is a natural and spontaneous language that shows the reality of the present and is performed quickly and impromptu by the actors. Another characteristic of Molière's language is his writing rhythm, to the point where we sometimes see a special rhythm in consecutive sentences and answers (Attaque des répliques).3-2-2. A combination of humorWriters and theoreticians have always tried to classify its types since the emergence of comic theater. In this research, we try to explain the types of humor from Michel Viegnes’s point of view. Viegnes divides humor into three types: personality humor, verbal humor, and situational humor. (Viegnes, 1992: 88) Molière and Akhundzadeh have used all three types of humor in their plays.One of the theater techniques mentioned by Michel Viegnes is the monologue ou soliloque technique. With soliloque, in fact, the character "thinks out loud" (Viegnes, 1992: 60) and this issue provides reasons for laughter. Like Molière, Akhundzadeh used monologue to show the humor of a characterThe scope of comic language or verbal humor is very wide. And "Includes exaggeration and exaggeration, changes in the construction and shape of the language, playing with words." (Viegnes, 1992: 9) According to Michel Viegnes: "In all languages, people have laughed at people whose way of speaking is out of the norm." (Ibid.)According to Michel Viegnes, "situation comics go beyond speech and include all kinds of kicking, spinning jumps, spinning on heels, and...." (Viegnes, 1992: 98).  Conclusion These two playwrights, in fact, study different human types and their disadvantages from a sociological and anthropological point of view, and depict the complexity of the human spirit in order to force the society of their age to think about their weaknesses through a humorous language.The style of both authors is classic, but it has undergone many changes and innovations. In fact, they present a mixture of comedy and tragedy to the audience.In this research, we come to the conclusion that with the help of comparative study, we can identify the roots of the currents of thought that influence the literature of the interior. With the help of comparative study, from an aesthetic, content and even theoretical point of view, literature can be studied not individually, but in its relationship with foreign literature. The comparison of the studied works is to test their similarities and convergences in order to consider literary phenomena in their transnational reality. Akhundzadeh's acceptance of this foreign genre, drama, and its rules, is important. In fact, with the help of this comparative study, we examined the entry and acceptance of a style, a theory, a theme in the literature of the country. Akhundzadeh's play is actually a kind of rewriting and literary representation in a transnational perspective. The purpose of literature is not only to connect with its reader and accept the work by him, but it is the influence of languages and thoughts on each other and the influence and influence, and as a result, progress and innovation in literature.

Davide Berghi, Marco Volino, Philip J. B. Jackson

3D audio-visual production aims to deliver immersive and interactive experiences to the consumer. Yet, faithfully reproducing real-world 3D scenes remains a challenging task. This is partly due to the lack of available datasets enabling audio-visual research in this direction. In most of the existing multi-view datasets, the accompanying audio is neglected. Similarly, datasets for spatial audio research primarily offer unimodal content, and when visual data is included, the quality is far from meeting the standard production needs. We present "Tragic Talkers", an audio-visual dataset consisting of excerpts from the "Romeo and Juliet" drama captured with microphone arrays and multiple co-located cameras for light-field video. Tragic Talkers provides ideal content for object-based media (OBM) production. It is designed to cover various conventional talking scenarios, such as monologues, two-people conversations, and interactions with considerable movement and occlusion, yielding 30 sequences captured from a total of 22 different points of view and two 16-element microphone arrays. Additionally, we provide voice activity labels, 2D face bounding boxes for each camera view, 2D pose detection keypoints, 3D tracking data of the mouth of the actors, and dialogue transcriptions. We believe the community will benefit from this dataset as it can assist multidisciplinary research. Possible uses of the dataset are discussed.

Mario Alviano, Carmine Dodaro, Arnel Zamayla

The development of complex software requires tools promoting fail-fast approaches, so that bugs and unexpected behavior can be quickly identified and fixed. Tools for data validation may save the day of computer programmers. In fact, processing invalid data is a waste of resources at best, and a drama at worst if the problem remains unnoticed and wrong results are used for business. Answer Set Programming (ASP) is not an exception, but the quest for better and better performance resulted in systems that essentially do not validate data. Even under the simplistic assumption that input/output data are eventually validated by external tools, invalid data may appear in other portions of the program, and go undetected until some other module of the designed software suddenly breaks. This paper formalizes the problem of data validation for ASP programs, introduces a language to specify data validation, and presents \textsc{valasp}, a tool to inject data validation in ordinary programs. The proposed approach promotes fail-fast techniques at coding time without imposing any lag on the deployed system if data are pretended to be valid. Validation can be specified in terms of statements using YAML, ASP and Python. Additionally, the proposed approach opens the possibility to use ASP for validating data of imperative programming languages. Under consideration for acceptance in TPLP.

David Wilmot

Stories interest us not because they are a sequence of mundane and predictable events but because they have drama and tension. Crucial to creating dramatic and exciting stories are surprise and suspense. The thesis trains a series of deep learning models via only reading stories, a self-supervised (or unsupervised) system. Narrative theory methods (rules and procedures) are applied to the knowledge built into deep learning models to directly infer salience, surprise, and salience in stories. Extensions add memory and external knowledge from story plots and from Wikipedia to infer salience on novels such as Great Expectations and plays such as Macbeth. Other work adapts the models as a planning system for generating original stories. The thesis finds that applying the narrative theory to deep learning models can align with the typical reader. In follow-up work, the insights could help improve computer models for tasks such as automatic story writing and assistance for writing, summarising or editing stories. Moreover, the approach of applying narrative theory to the inherent qualities built in a system that learns itself (self-supervised) from reading from books, watching videos, and listening to audio is much cheaper and more adaptable to other domains and tasks. Progress is swift in improving self-supervised systems. As such, the thesis's relevance is that applying domain expertise with these systems may be a more productive approach for applying machine learning in many areas of interest.

Anabela Mendes

"Operação: Orfeo" e "Amduat: Uma Máquina de Oxigénio", as duas produções da companhia dinamarquesa Hotel Pro Forma que escolhemos ver, permitem-nos estabelecer, de diferentes maneiras, secções de correspondência que atribuem à morte real um caminho que sempre é anunciado na vida e ao seu golpe final. Ao mesmo tempo, é-nos oferecido um bilhete só de ida, que não nos impede de percorrer um caminho sem retorno - o da própria morte -, exceto pelo que habita a representação cênica e outras formas de arte. Chamamos a isso de morte cénica, assumindo que a sua orientação se estabelece principalmente entre as artes cénicas. Essa manifestação destaca o lugar do corpo e o corpo em si como o local da nossa interioridade, que começa com aquele que abandona este mundo para sempre e a quem sempre falhamos em reconhecer a expressividade.

Camille Vion

Theatre review of Henry VIII by William Shakespeare and John Fletcher, staged by Amy Hodge. Globe Theatre, London, May 19th-October 21st, 2022.

ZOLOTAIKO OLGA R. / ЗОЛОТАЙКО О.Р., KOSTIUCHENKO ANASTASIIA A. / КОСТЮЧЕНКО А.А.

Every year, the flow of migrants and foreign tourists arriving in South Korea is growing, and the proportion of foreigners appearing in the Korean media is increasing accordingly. However, the acceptance of multiculturalism in Korean society is dilatory since the country has long developed as a monoethnic state. The historical ethnic homogeneity of Korean society contributes to the distortion of how Koreans perceive migrants and foreigners, which is why the image of racial and ethnic minorities is often surrounded by a number of stereotypes that affect the way they are perceived in real life. Existing works on this topic are devoted to the representation of migrants, foreigners, and non-ethnic Koreans in various types of media content, but the ethnic scene of contemporary Korean dramas remains largely unexplored. At the same time, dramas occupy one of the most significant places in the cultural life of the Korean people: they serve as an agent of socialization and as a tool for the formation of values and stereotypes in Korean society. The otherness of ethnic and racial Others is constructed through various strategies of alienation, including depersonification, fragmentation, fetishization, exoticization, pathologization, and homogenization. In this study, we explore the ethnoscape of modern South Korean dramas, highlight such strategies, and identify the main features of the representation of racial and ethnic minorities in them. For these purposes, we analyze the two dramas—Descendants of the Sun (2016) and Itaewon Class (2020)—for the representation of the ethnic and racial Other, and identify the general representation strategies. This work also seeks to detect the dynamics of changes in the representation of ethnic minorities in South Korean media. C каждым годом поток мигрантов и иностранных туристов, прибывающих в Южную Корею, растет, и соответственно увеличивается доля иностранцев, появляющихся в корейских СМИ. Однако принятие ценностей мультикультурализма в обществе происходит постепенно в связи с тем, что страна долгое время развивалась как моноэтническое государство. Историческая этническая однородность корейского общества способствует искажению представления корейцев о мигрантах и иностранцах, из-за чего образ расовых и этнических меньшинств часто окружен рядом стереотипов, влияющих на их восприятие в реальной жизни. Существующие работы по этой теме посвящены изучению репрезентации мигрантов, иностранцев и неэтнических корейцев в различных типах медиаконтента, но этническая сцена современных корейских драм остается в значительной степени неизученной, в то время как драмы занимают одно из важнейших мест в культурной жизни корейского народа, являясь агентом социализации и выступая в качестве инструмента для формирования ценностей и стереотипов в корейском обществе. Конструирование инаковости этнических и расовых Других происходит через различные стратегии отчуждения, среди которых деперсонификация, фрагментация, фетишизация, экзотизация, патологизация и гомогенизация. Это исследование направлено на изучение этнического состава современных южнокорейских драм, выделение таких стратегий, выявление основных особенностей репрезентации в них расовых и этнических меньшинств, а также на отслеживание динамики изменения в репрезентации в медиасфере Южной Кореи. В исследовании были проанализированы две южнокорейские драмы — «Потомки солнца» (2016) и «Итхэвон класс» (2020) — на предмет репрезентации этнического и расового Другого, на их основе были выявлены общие стратегии репрезентации. Выбранные дорамы имеют непосредственную ценность для данного исследования, так как они транслировались на основных корейских телеканалах, KBS и JTBS, и крупном глобальном потоковом сервисе Netflix, а также имели высокий зрительский рейтинг, следовательно, в значительном степени отражали интересы аудитории.