869 resultados para Biographical drama - History and criticism
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v. 1. Materialism in antiquity.--The period of transition.--The seventeenth century.--v. 2. The eighteenth century.--Modern philosophy.--The natural sciences.--v. 3. The natural sciences (continued).--Man and the soul.--Morality and religion.
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Mode of access: Internet.
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Pref. signed: S. Jefferson.
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Added t.-p., engr.
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Printed by Joshua Cushing
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This book explores the question, what can society learn about disability through the way it is portrayed in TV, films and plays? The text examines and analyses the way disability is portrayed in drama, and how that portrayal may be interpreted by young audiences. Investigating how disabilities have been represented on stage in the past, this book discusses what may be inferred from plays which feature disabled characters through a variety of critical approaches. The book provides an annotated chronology that traces the history of plays that have featured disabled characters. It analyses how disability is used as a dramatic metaphor and considers the ethics of dramatising a disabled character. Critical accounts of units of work in mainstream school seeking to raise disability awareness through engagement with practical drama and dramatic texts are given along with detailed discussions of the issues underpinning two previously unpublished playscripts written for young audiences and description and evaluation of a drama project in a special school. In tackling questions and issues that have not, hitherto, been well covered, Drama, Disability and Education will be of enormous interest to drama students, teachers, researchers and pedagogues who work with disabled people or are concerned with raising awareness and understanding of disability.
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Page [1] following p. 15 at front blank.
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Contains Grandfather's chair and Biographical stories.
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Vols. 4-5 contain biographical sketches.
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The Grafton Index of Historical, Geneaological and Biographical Books and Magazine Articles is pub. in installments in this magazine
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During the exploration and mapping of new caves in Serra do Ramalho karst area, southern Bahia state, cavers from the Grupo Bambuí de Pesquisas Espeleológicas - GBPE (Belo Horizonte) noticed the presence of troglomorphic catfishes (species with reduced eyes and/or melanic pigmentation), which we intensively investigated with regards to their ecology and behavior since 2005. Non-troglomorphic fishes regularly found in the studied caves were included in this investigation. We present here data on the natural history of two troglobitic (exclusively subterranean troglomorphic species) fishes - Rhamdia enfurnada Bichuette & Trajano, 2005 (Heptapteridae; Gruna do Enfurnado) and Trichomycterus undescribed species (Trichomycteridae; Lapa dos Peixes and Gruna da Água Clara), and non-troglomorphic Hoplias cf. malabaricus, probably a troglophile (able to form populations both in epigean and subterranean habitats) in the Gruna do Enfurnado, and Pimelodella sp., a species with a sink population in the Lapa dos Peixes.
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The mature larva and pupa of Fulgeochlizus bruchi (Candèze, 1896) are described and illustrated. Bioluminescent patterns are also given. Comments, new data on the first instar larva and natural history data are presented. The first instar larvae differ from the mature larvae mainly in their chaetotaxy, which is sparse and more symmetrically distributed.
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The objective of this article is to examine the presence of cinema in World Fairs between the 1893 World`s Columbian Exposition in Chicago and 1939 (the New York World`s Fair). As an integral part of a visual culture constructed by these spaces to celebrate capitalism, the trajectory of cinema is identified with these world fairs due to its ability to entertain and, at the same time, to educate. Cinema was established as a means of mass communication during the First World War and afterwards would participate more actively in the symbolic disputes of a world about to enter the second global conflict. It would reach a broader public, becoming the main `showcase` in which nations projected virtues to be celebrated. The new striking visual spectacle assumed, within this context, greater emphasis through films idealized as true cinematographic monuments.