All the World's a Stage: Reaching English Language Learners through Drama

The use of drama with language instruction has long been considered a legitimate practice. A recent survey of the literature shows that English Language Learners (ELLs) may have even more to benefit from the use of drama in the classroom. Studies showed an increase in language and problem-solving ability, as well as student self-efficacy that was transferrable across activities. Following an analysis of the literature is a proposed curriculum based on the findings of the researchers cited. This unit is centered on dramatic activities that make use of all four language domains and includes the examination of plays in writing, on the stage, and as a playwright. In the end, students will be asked to combine all of their skills to put on a completely student-created production. An analysis of the factors surrounding the implementation of such a unit follows the unit itself.

THE HOUSE OF JOANA DARK: DRAMA AND PRODUCTION

While discussing images of Our Lady and of the mothers and women of the Garden of Flowers (or "Devils' Hole"), a peripheral district of a city in the interior of Sao Paulo state, this paper intends to explore the specificity of dramatic aesthetics. Rather than depend upon the aesthetics of social drama, as discussed in the works of Victor Turner, the present paper deals with a concept of montage that is inspired by the cinema of Sergei Eisenstein in order to illuminate a selection of field notes... and, along with Eisenstein, Julia Kristeva, Walter Benjamin, Michael Taussig and Antonin Artaud. Wit regards to those readers interested in hearing what these women may have to say, caution is suggested, for the words of these women may ring in our ears as the sounds of musket shots

PlayingCLIL, a new game-based methodology using drama pedagogy

[EN]Linguistic immersion programs are increasing nowadays. The concept of being bilingual, that started being used by schools for the elite in the 19th century, and that in the mid- 20th century became an educational option, has given raise to CLIL (Content and Language Integrated Learning), a methodology through which students work in a bilingual environment, acquiring knowledge of curricular subject and developing their competences in a foreign language. In this teaching context started a new European project called PlayingCLIL. Six partners from different European countries (Germany, United Kingdom, Spain and Romania) are working in this project. Our main aim is to develop a new methodology to learn a foreign language combining elements from the pedagogic drama (interactive games) with the CLIL classroom. At present we are testing the games in different schools and high schools and we are compiling the results to be collected in a handbook (printed and e-book).

Studi sull'epigramma scoptico greco

The dissertation is divided into two parts: the first synthesis focused on the definition of the epigram scoptico imperial age, the second analysis concerns the study of the minor poets of Book XI. In the Introduction (I), the attention focuses on the genesis of imperial scoptic epigram: here you try to draw a picture of the satirical Greek literature before the middle of the century AD to identify the debts of the scoptic epigram, especially Lucillius’, in respect of previous authors (from the Middle-up comedy to epigrams of the Crown of Philip), and to emphasize the remoteness of this literary phenomenon from other experiences of ironic and satirical poetry (Catullus). In the chapter on the Themes (II), the study was limited to professional groups and those most targeted (doctors, grammarians, etc..), to that particular type represented by the satire on ethnic groups. The study of minor poets is necessarily preceded by a general discussion on the authors most representative of the greek satiric poetry: Lucillius, Ammianus, Nicarchus and Palladas (III). All the minor poets of the eleventh book, which you can not provide a date, have been regarded by scholars as the ‘poets of Diogenian’: the chapter on Anthologion of Diogenian (IV), which is undergoing critical to the existence (assumed but never proven) of the lost source of Book XI, therefore, serves as an introduction to the commentary of the authors required minors. During the discussion they are not qualified as poets ‘poets of Diogenian’, but are divided into two categories: those included in the string of alphabetically ordered AP XI 388-436 (V), and those who are not part of (VI). Finally, a separate chapter (VII) is devoted to the age-old question of epigrams assigned to Lucian, both in the string of alphabetically ordered epigrams, as well as outside it.

Who can (not) be Greek? Citizenship, Identity and Belonging among youth of sub-Saharan African background in Athens

‘Who can be Greek?’ This was the question posed to the Greek society for the first time before the implementation of the Act 3838 in March 2010 which gave the right to access the Greek citizenship -under specific preconditions- to all children of legal migrants born or schooled in Greece. This change of the Nationality Code in order to include all those children was coincided by the economic crisis resulting into the rise of xenophobia, racism and extreme-right rhetoric. The outcome was the cancellation of the Act 3838 by the State Council in February 2013. Under this particular framework, the notions of identity and belonging formed among the youth of African background in Athens are explored. The ways those youngsters perceive not only themselves but also their peers, their countries of origin and the country they live in, are crucial elements of their self-identification. Researches have shown that the integration of the second generation is highly connected to their legal and social status. However, integration is a rather complex process, influenced and shaped by many variables and multiple factors. It is not linear; therefore, its outcomes are difficult to be predicted. Yet, I argue that citizenship acquisition facilitates the process as it transforms those children from ‘aliens’ to ‘citizens’. How these youngsters are perceived by the majority society and the State is one of the core questions of the research, focusing on the imposed dual ‘otherness’ they are subject to. On the one hand, they have to deal with the ‘otherness’ originating from the migrant status inherited to them by their parents, and on the other with the ‘otherness’ deriving from their different phenotypic characteristics. Race matters and becomes a means of discrimination against youth of African background who are perceived as inassimilable and ‘forever others’.

"Il carceriere di sé medesimo" di Lodovico Adimari e Alessandro Melani, Firenze 1681. Dalla «comedia» di Pedro Calderón de la Barca al «drama per musica» italiano di fine Seicento

Questo lavoro è imperniato sullo studio di uno dei melodrammi più interessanti della fine del XVII secolo: “Il carceriere di sé medesimo” di Lodovico Adimari (1644-1708) e Alessandro Melani (1639-1703), allestito per la prima volta a Firenze nel 1681, e ripreso nel giro di una ventina d’anni a Reggio (1684), a Bologna (1697) e a Vienna (1702). L’opera vanta un’origine drammatica di spicco: risale infatti alla commedia “Guardarse a sí mismo” di Pedro Calderón de la Barca (1600-1681) mediata dal “Geôlier de soi-mesme” di Thomas Corneille (1625-1709), e presenta qualità poetiche e musicali evidenti, assicurate dai nomi del poeta Lodovico Adimari e del compositore Alessandro Melani. A ciò si aggiungano una tradizione articolata in quattro allestimenti, nonché un elevato numero di testimoni superstiti: cinque edizioni del libretto (testimoniate da numerosi esemplari) e il numero fortunatissimo di tre partiture manoscritte, conservate a Parigi, Bologna e Modena. La tesi contiene l’edizione critica del “Carceriere di sé medesimo” di Adimari con tutte le varianti accumulatesi nella riedizione del libretto e nella copiatura della partitura, l’analisi del dramma, a partire dal confronto tra i testi di Calderón, Corneille e Adimari, e lo studio delle sue componenti drammatiche, formali e contenutistiche. Si aggiunge uno studio sul contesto storico-musicale degli allestimenti di Firenze, Reggio, Bologna e Vienna, nonché l’edizione dei restanti tre drammi di Adimari: la commedia “Le gare dell’amore e dell’amicizia” (1679), e il dramma per musica “L’amante di sua figlia” (1684).

Tradurre il multilinguismo al cinema: Lingue, identità culturali e loro rappresentazione sullo schermo

La presente ricerca ha un duplice obiettivo. Primo, individuare i modi in cui lingue e identità culturali diverse sono state rappresentate al cinema. Secondo, identificare le diverse strade imboccate dai professionisti del doppiaggio italiano quando si trovano a confrontarsi con un film in cui si parlano più lingue. La ricerca propone un approccio multidisciplinare che combina i contributi teorici sviluppati nel campo degli studi di traduzione audiovisiva con le modalità di analisi più comunemente utilizzate dalla semiotica del cinema. L'analisi si basa su un campione di 224 film multilingue prodotti dall'inizio degli anni Trenta alla fine degli anni Duemila. Particolare attenzione viene indirizzata al quadro teorico all'interno del quale viene interpretato il ruolo che il multilinguismo assume al cinema. Vengono identificate tre funzioni principali: conflitto, confusione e resa realistica. Un altro elemento chiave nell'analisi è costituito dal genere cinematografico prevalente a cui è possibile ricondurre ciascuno dei film selezionati. Sono individuati tre generi principali: il film drammatico, la commedia e il thriller. Nel film drammatico il multilinguismo agisce come un veicolo che produce e accentua il conflitto, mentre nella commedia esso di solito diventa un dispositivo comico che crea confusione e umorismo. Nel cinema thriller, invece, il multilinguismo funziona essenzialmente come un veicolo di suspense. Per quanto riguarda le soluzioni traduttive adottate nel doppiaggio italiano del cinema multilingue, sono rilevate tre macro-strategie: la conservazione, la neutralizzazione e la riduzione dell'originale dimensione multilingue. Ciascuna di queste tre strategie è passata a vaglio critico. Se nel primo caso si tratta di un tentativo di riprodurre fedelmente le originali situazioni multilingue rappresentate nel film, negli altri due casi si tratta di soluzioni che risentono fortemente delle specificità del doppiaggio come modalità di traduzione degli audiovisivi (fattori ideologici ed economici, nonché il problema tecnico dell'armonizzazione delle voci per i personaggi bilingue).

Ancient Greek harbours used as geo-archives for palaeotsunami research : case studies from Krane (Cefalonia), Lechaion (Gulf of Corinth) and Kyllini (Peloponnese)

Since historical times, coastal areas throughout the eastern Mediterranean are exposed to tsunami hazard. For many decades the knowledge about palaeotsunamis was solely based on historical accounts. However, results from timeline analyses reveal different characteristics affecting the quality of the dataset (i.e. distribution of data, temporal thinning backward of events, local periodization phenomena) that emphasize the fragmentary character of the historical data. As an increasing number of geo-scientific studies give convincing examples of well dated tsunami signatures not reported in catalogues, the non-existing record is a major problem to palaeotsunami research. While the compilation of historical data allows a first approach in the identification of areas vulnerable to tsunamis, it must not be regarded as reliable for hazard assessment. Considering the increasing economic significance of coastal regions (e.g. for mass tourism) and the constantly growing coastal population, our knowledge on the local, regional and supraregional tsunami hazard along Mediterranean coasts has to be improved. For setting up a reliable tsunami risk assessment and developing risk mitigation strategies, it is of major importance (i) to identify areas under risk and (ii) to estimate the intensity and frequency of potential events. This approach is most promising when based on the analysis of palaeotsunami research seeking to detect areas of high palaeotsunami hazard, to calculate recurrence intervals and to document palaeotsunami destructiveness in terms of wave run-up, inundation and long-term coastal change. Within the past few years, geo-scientific studies on palaeotsunami events provided convincing evidence that throughout the Mediterranean ancient harbours were subject to strong tsunami-related disturbance or destruction. Constructed to protect ships from storm and wave activity, harbours provide especially sheltered and quiescent environments and thus turned out to be valuable geo-archives for tsunamigenic high-energy impacts on coastal areas. Directly exposed to the Hellenic Trench and extensive local fault systems, coastal areas in the Ionian Sea and the Gulf of Corinth hold a considerably high risk for tsunami events, respectively.Geo-scientific and geoarcheaological studies carried out in the environs of the ancient harbours of Krane (Cefalonia Island), Lechaion (Corinth, Gulf of Corinth) and Kyllini (western Peloponnese) comprised on-shore and near-shore vibracoring and subsequent sedimentological, geochemical and microfossil analyses of the recovered sediments. Geophysical methods like electrical resistivity tomography and ground penetrating radar were applied in order to detect subsurface structures and to verify stratigraphical patterns derived from vibracores over long distances. The overall geochronological framework of each study area is based on radiocarbon dating of biogenic material and age determination of diagnostic ceramic fragments. Results presented within this study provide distinct evidence of multiple palaeotsunami landfalls for the investigated areas. Tsunami signatures encountered in the environs of Krane, Lechaion and Kyllini include (i) coarse-grained allochthonous marine sediments intersecting silt-dominated quiescent harbour deposits and/or shallow marine environments, (ii) disturbed microfaunal assemblages and/or (iii) distinct geochemical fingerprints as well as (iv) geo-archaeological destruction layers and (v) extensive units of beachrock-type calcarenitic tsunamites. For Krane, geochronological data yielded termini ad or post quem (maximum ages) for tsunami event generations dated to 4150 ± 60 cal BC, ~ 3200 ± 110 cal BC, ~ 650 ± 110 cal BC, and ~ 930 ± 40 cal AD, respectively. Results for Lechaion suggest that the harbour was hit by strong tsunami impacts in the 8th-6th century BC, the 1st-2nd century AD and in the 6th century AD. At Kyllini, the harbour site was affected by tsunami impact in between the late 7th and early 4th cent. BC and between the 4th and 6th cent. AD. In case of Lechaion and Kyllini, the final destruction of the harbour facilities also seems to be related to the tsunami impact. Comparing the tsunami signals obtained for each study areas with geo-scientific data from palaeotsunami events from other sites indicates that the investigated harbour sites represent excellent geo-archives for supra-regional mega-tsunamis.

Novaja drama e Teatr Praktika: uno sguardo al teatro russo contemporaneo. Proposta di traduzione della piéce di Natalija Mošina "Žara"

Questa tesi si pone come scopo quello di studiare la scena teatrale contemporanea russa, utilizzando come pretesto la traduzione della piéce “Žara” dell’autrice Natalija Mošina. Mošina fa parte del movimento teatrale chiamato ‘novaja drama’, che si è sviluppato in Russia a partire da fine anni Novanta. Nel primo capitolo tratteremo brevemente la storia del teatro russo del Novecento, per osservare come si è giunti alla formazione di questo nuovo movimento. Passeremo poi ad analizzare il movimento vero e proprio, concentrandoci sulle posizioni artistiche dei suoi membri e sul tipo di innovazione che vogliono portare al teatro russo. Proporremo poi una selezione dei luoghi che rinnovano la scena teatrale moscovita. Il secondo capitolo è interamente dedicato ad uno di questi luoghi, il Teatr Praktika, primo teatro statale ad occuparsi esclusivamente di testi contemporanei, di cui vedremo la storia dalla sua fondazione ai giorni nostri e analizzeremo il repertorio vedendo come gli spettacoli messi qui in scena riflettano le posizioni del novaja drama. Nel capitolo conclusivo parleremo più approfonditamente della pièce da noi tradotta vedendo come si colloca all’interno della produzione dell’autrice e del novaja drama, analizzandone la messa in scena al Praktika. Proporremo poi delle riflessioni sulla traduzione di testi teatrali facendo riferimento alla traduzione da noi svolta, che proporremo di seguito.

The Impact of Greek Affiliation on Students’ Educational Objectives: Longitudinal Change in Clark-Trow Educational Philosophies

Change in 4,119 students' freshman to senior ratings of four educational philosophies (vocational, academic, collegiate, and nonconformist) provided four measures of educational impact. Repeated measures analyses of variance compared changes in philosophy as a function of Greek affiliation, controlling for sex, historical era, major, parents' education, scholastic aptitude, and academic motivation. Small but significantly different degrees of change in the collegiate and nonconformist philosophies suggested that Greek affiliation increased social interests and inhibited some forms of intellectual interests. These small differences across all students masked the moderating effect of major. In the nonconformist philosophy, for example, the Greek × major interaction reflected substantial Greek–independent differences among humanities majors, and progressively smaller differences or reversals among social science, physical science, and engineering majors. Possible interpretations of this interaction are offered.