A imagem no espelho: o drama de uma ficção

Esta dissertação se propõe a estudar o tema do duplo a partir da produção fílmica de Hanns Heinz Ewers, O estudante de Praga, e o conto de Mário de Sá-Carneiro, A confissão de Lúcio, ambos de 1913. Asduas narrativas se organizam em torno de um triângulo amoroso e compartilham o mesmo destino trágico. Tomando como suporte, inicial, de leitura os textos de Freud e Rank, de 1914, Sobre o narcisismo: uma introdução e O duplo, respectivamente, o artigo de Lacan, O estádio do espelho como formador da função do eu (1949) e seu seminário sobre a angústia, pretende-se estabelecer um diálogo entre literatura e psicanálise, considerando a questão do desdobramento do eu e suas variantes, a cisão do eu em múltiplos eus e o desaparecimento da imagem. A imagem no espelho, a princípio fonte de júbilo, escamoteia um drama: o drama de um sujeito que se constitui a partir de uma ficção

Performance: o desenrolar do drama em um grupo de Capoeira Angola

Este trabalho é um estudo de caso cujo objeto consiste em um grupo de capoeira angola que passava por um momento de transição. A partir do rompimento entre os dois principais líderes do grupo sem mestre, investigou-se as tensões existentes reveladoras de diferentes pontos de vista sobre a capoeira e a atuação do mesmo em suas redes de relacionamento. Estas diferenças são significativas uma vez que estão relacionadas com as transformações em torno das concepções sobre esta atividade e também se inserem no contexto de transformações em curso na cidade do Rio de Janeiro. Concebendo-se a capoeira angola como um estilo de vida, as diversas maneiras de pensá-la também geram diferentes maneiras de atuar na sociedade. A metodologia consiste na pesquisa qualitativa com observação participante. Escolheu-se a abordagem pela performance por se acreditar que os valores são comunicados também por meio das diferenças de movimentação. Ao final da pesquisa, concluiu-se que o grupo investigado passava por um momento de transição, que considero como uma passagem apoiada nas considerações de Victor Turner, já em vias de transição para a fase seguinte a partir da indicação do treinel que ficou responsável de se juntar a um grupo já estabelecido.

Telev?rit? Hits Britain: Documentary, Drama and the Growth of 16mm Filmmaking in British Television

Sexton, J. (2003). Telev?rit? Hits Britain: Documentary, Drama and the Growth of 16mm Filmmaking in British Television. Screen. 44(4), pp.429-444. RAE2008

Y Mudiad Drama, 1880-1940 : Y Meddwl Ar Dychymyg Cymreig

Williams, Ioan, Y Mudiad Drama yng Nghymru 1880-1940 (University of Wales Press, 2006), pp.vii+215

Daniel Owen a 'Gwir Gychwyn' y Mudiad Drama

Williams, I. (2005). Daniel Owen a 'Gwir Gychwyn' y Mudiad Drama. Ll?n Cymru. 28, pp.138-159.

The Place of the European Foreigner in Contemporary German Drama

Wilkinson, Jane, 'The Place of the European Foreigner in Contemporary German Drama', Third Text (2006) 20(6) pp.753-762 RAE2008 Special Issue: FORTRESS EUROPE: Migration, Culture and Representation

Holocaust w powieści Wasilija Grossmana "Życie i los"

Tematem artykułu jest książka bezpośrednio nie zaliczana do literatury Holocaustu, wybitna powieść Życie i los, rosyjskiego pisarza i dziennikarza Wasilija Grossmana, który dziś uznawany jest za jednego z najważniejszych twórców rosyjskich XX wieku. Życie i los okazuje się przykładem ujęcia dramatu Shoah na tle wojny jako części wielkiej Historii poddanej szaleństwom ideologii i polityki nazistów oraz terroru i rosnącego z drugiej strony antysemityzmu w państwie bolszewickim. Jednocześnie Zagłada pozostaje w tym utworze przede wszystkim tragedią konkretnych osób, widziana w porządku pojedynczej ludzkiej egzystencji, która nie daje się nigdy całkowicie sprowadzić do tego, co bezosobowe i masowe. Indywidualna perspektywa humanizuje obraz historii, ale też i go podważa w jego ogólnych strukturach i narracjach. Artykuł opisuje elementy, które składają się na żydowski wątek utworu. Dla jego odczytania ważny okazuje się szerszy kontekst biografii Grossmana i historia powstania oraz wydania powieści Życie i los. Jak widać – rosyjski pisarz dokonał dwóch znaczących gestów w odniesieniu do problemu reprezentacji Zagłady: z jednej strony zwrócił się ku konwencjom literackim, wykorzystał epicki rozmach, kompozycję wielowątkową i panoramiczne ujęcia wraz z ich koncepcją realizmu, wehikularności słowa, a jednocześnie wyszedł poza estetyczne ramy tekstu literackiego, wprowadził elementy lirycznych opisów i autobiograficzne akcenty oraz podkreślił etyczny wymiar całości – jako formy pamięci o tych niezliczonych ofiarach nie tylko Zagłady, ale i każdego XX wiecznego totalitaryzmu.

Drama Grammatik: Dramapädagogische Ansätze für den Grammatikunterricht Deutsch als Fremdsprache

This dissertation introduces and evaluates dramagrammar, a new concept for the teaching and learning of foreign language grammar. Grammar, traditionally taught in a predominantly cognitive, abstract mode, often fails to capture the minds of foreign language learners, who are then unable to integrate this grammatical knowledge into their use of the foreign language in a meaningful way. The consequences of this approach are manifested at university level in German departments in England and Ireland, where the outcomes are unconvincing at best, abysmal at worst. Language teaching research suggests that interaction plays an important role in foreign language acquisition. Recent studies also stress the significance of grammatical knowledge in the learning process. Dramagrammar combines both interactive negotiation of meaning and explicit grammar instruction in a holistic approach, taking up the concept of drama in foreign language education and applying it to the teaching and learning of grammar. Techniques from dramatic art forms allow grammar to be experienced not only cognitively but also in social, emotional, and bodily-kinaesthetic ways. Dramagrammar lessons confront the learner with fictitious situations in which grammar is experienced 'hands-on'. Learners have to use grammatical structures in a variety of contexts, reflect upon their use, and then enlarge and enrich the dramatic situations with their newly acquired or more finely nuanced knowledge. The initial hypothesis of this dissertation is that the drammagrammar approach is beneficial to the acquisition of foreign language grammar. This hypothesis is corroborated by research findings from language teaching pedagogy and drama in education. It is further confirmed by empirical data gained from specifically designed dramagrammar modules that have been put into practice in German departments at the University of Leicester (England), the University Colleges Cork and Dublin (Ireland), the University of Bologna (Italy), as well as the Goethe-Institute Bratislava (Slovenia). The data suggests that drammagrammar has positive effects on both understanding of and attitudes towards grammar.

序破急 Jo-Ha-Kyu: enticement - crux - consolidation. From study to learning: Process drama projects in the Japanese English language university classroom

This dissertation investigates how social issues can be explored through process drama projects in the Japanese university English as a Foreign Language classroom context. The trajectory of this dissertation moves along a traditional Noh three part macro-continuum, called Jo-Ha-Kyu, interpreted as enticement, crux and consolidation. Within these three parts, there are six further divisions. Part I consists of three sections: Section I, the introduction, sets the backdrop for the entire dissertation, that of Japan, and aims to draw the reader into its culturally unique and specific world. This section outlines the rationale for placing the ethnographer at the centre of the research, and presents Japan through the eyes of the writer. Section II outlines relevant Japanese cultural norms, mores and values, the English educational landscape of Japan and an overview of theatre in Japan and its possible influences on the Japanese university student today. Section III provides three literature reviews: second language acquisition, drama in education to process drama, and Content Language Integrated Learning. In Part 2, Sections IV and V respectively consist of the research methodology and the action research at the core of this dissertation. Section IV describes the case of Kwansei Gakuin University, then explains the design of the process drama curricula. Section V details the three-process drama projects based around the three social issues at the centre of this dissertation. There is also a description of an extra project that of the guest lecturer project. The ultimate goals of all four projects were to change motivation through English in a CLIL context, to develop linguistic spontaneity and to deepen emotional engagement with the themes. Part 3 serves to reflect upon the viability of using process drama in the Japanese university curriculum, and to critically self-reflect on the project as a whole.

Student voice in Irish post-primary schools: a drama of voices

This research is an exploration of the expression of student voice in Irish post-primary schools and how its affordance could impact on students’ and teachers’ experiences in the classroom, and at whole-school level through a student council. Student voice refers to the inclusion of students in decisions that shape their experiences in classrooms and schools, and is fundamental to a rights-based perspective that facilitates students to have a voice and a say in their education. Student voice is essential to the development of democratic principles, active citizenship, and learning and pedagogy. This qualitative research, based in three post-primary case-study schools, concerns teachers in eighteen classrooms engaging in dialogic consultation with their students over one school year. Teachers considered the students’ commentary and then adjusted their practice. The operation of student councils was also examined through the voices of council members, liaison teachers and school principals. Theorised within socio-cultural (social constructivist), social constructionist and poststructural frames, the complexity of student voice emerges from its conceptualisation and enactment. Affording students a voice in their classroom presented positive findings in the context of relationships, pedagogical change and students’ engagement, participation and achievement. The power and authority of the teacher and discordant student voices, particularly relating to examinations, presented challenges affecting teachers’ practice and students’ expectations. The functional redundancy of the student council as a construct for student voice at whole-school level, and its partial redundancy as a construct to reflect prefigurative democracy and active citizenship also emerge from the research. Current policy initiatives in Irish education situate student voice in pedagogy and as dialogic consultation at classroom and whole-school level. This work endorses the necessity for and benefit of such a positioning with the author further arguing that it should not become the instrumental student voice of data source, accountability and performativity.