scholarly journals Beyond the Modern-Anti-Modern Dilemma: Gaudium et spes and Theological Method in a Postmodern Context

Horizons ◽  
2007 ◽  
Vol 34 (2) ◽  
pp. 292-305
Author(s):  
Lieven Boeve
Keyword(s):  
Theological Method ◽  
Gaudium Et Spes ◽  
Dramatic Character ◽  
The World ◽  
To Come ◽  
The Times ◽  
The Church

ABSTRACTThe Church has the duty in every age of examining the signs of the times and interpreting them in the light of the gospel, so that it can offer in a manner appropriate to each generation replies to the continual human questionings on the meaning of this life and the life to come and on how they are related. There is a need, then, to be aware of, and to understand, the world in which we live, together with its expectations, its desires and its frequently dramatic character (Gaudium et spes 4).

Dialogism and the Theatre Event: Deborah Warner and Fiona Shaw's ‘Medea’, 2001

2004 ◽  
Vol 20 (3) ◽  
pp. 225-236
Author(s):  
Clara Armand
Keyword(s):  
Doctoral Student ◽  
Richard Ii ◽  
Abbey Theatre ◽  
Contemporary World ◽  
Dramatic Character ◽  
Artistic Collaboration ◽  
The University ◽  
Critical Social

The long-standing artistic collaboration between director Deborah Warner and actress Fiona Shaw has, argues Clara Armand, raised the powers of performance to a form of genuine authorship. Her article explores the distinctive qualities of their scenic writing as evident in the production of Medea which transferred from the Abbey Theatre to London's West End on 30 January 2001, and went on to play at the Queen's Theatre for over ten weeks. She makes comparisons between the production of Medea and those of the earlier Footfalls and Richard II, focusing on Warner's challenging ways of transforming pre-existing playtexts and theatrical spaces so as to enunciate statements about the contemporary world. Shaw's interpretation of Medea is explored with an emphasis on the actress's ability to maintain truthful identification with the dramatic character and make it reverberate with her own critical social stance as an artist. The discussion of Medea as seen at the Queen's Theatre is developed in the light of Bakhtin's concept of dialogism and related ideas. The article is complemented by the interview with Fiona Shaw which follows. Clara Armand teaches acting and directs at the Stratford Circus Theatre in Stratford East, and is currently a doctoral student at the University of Reading.

The Dramatic Character of the Fourth Gospel

1948 ◽  
Vol 67 (2) ◽  
pp. 159
Author(s):  
C. Milo Connick
Keyword(s):  
Fourth Gospel ◽  
Dramatic Character

“In that blocade years”: memories of T. A. Kozupeeva.

2020 ◽  
Vol 11 (1-2020) ◽  
pp. 162-173
Author(s):  
Antonina G. Samorukova ◽  
Keyword(s):  
Ussr Academy ◽  
Daily Life ◽  
Botanical Garden ◽  
Young Girl ◽  
Dramatic Character ◽  
Agricultural Sciences

The author of the memoirs «In thatblockade years» candidate of agricultural Sciences, Director of the Polar-Alpine Botanical garden of the Institute in 1962–1986 Tatyana Alekseevna Kozupeeva. She worked in the Kola branch of the USSR Academy of Sciencesfrom 1953 to 1986. In her memoirs, she tells about the Leningrad blockade, which she endured from the beginning to the end and was among those who endured all the horrors of hunger, bombing and shelling. Through the eyes of a young girl, a tragic period of her life is viewed with its difficulties, losses and belief in victory. She describes the workdays of the blockaders and their daily life, paying attention to what especially shocked and hurt her, remembered for its unusual and dramatic character. Her story is an answer to the question «How could we survive?»

Measuring Humans against Gods: on the Digression of Plato’s Theaetetus

2019 ◽  
Vol 101 (1) ◽  
pp. 1-29
Author(s):  
Jens Kristian Larsen
Keyword(s):  
The Political ◽  
Practical Orientation ◽  
Dramatic Character ◽  
The Ideal

Abstract The digression of Plato’s Theaetetus (172c2–177c2) is as celebrated as it is controversial. A particularly knotty question has been what status we should ascribe to the ideal of philosophy it presents, an ideal centered on the conception that true virtue consists in assimilating oneself as much as possible to god. For the ideal may seem difficult to reconcile with a Socratic conception of philosophy, and several scholars have accordingly suggested that it should be read as ironic and directed only at the dramatic character Theodorus. When interpreted with due attention to its dramatic context, however, the digression reveals that the ideal of godlikeness, while being directed at Theodorus, is essentially Socratic. The function of the passage is to introduce a contemplative aspect of the life of philosophy into the dialogue that contrasts radically with the political-practical orientation characteristic of Protagoras, an aspect Socrates is able to isolate as such precisely because he is conversing with the mathematician Theodorus.

Understanding Screen Franchising

2015 ◽  
Vol 156 (1) ◽  
pp. 50-59 ◽  
Author(s):  
Albert Moran
Keyword(s):  
Legal Protection ◽  
Trade Mark ◽  
Copyright Law ◽  
The Other ◽  
Dramatic Character ◽  
Ugly Betty ◽  
Trade Mark Law ◽  
The Media ◽  
The One ◽  
Media And Communication

Handbooks about the business practice of franchising do not seem to consider whether the practice occurs in television and other media industries. This lack of regard is replicated by media and communication scholars who fail to consider how this kind of media licensing works, even though the term franchising' is frequently adopted. To place the topic in a wider realm of critical inquiry, this article analyses a set of distinct economic, legal and cultural parameters that have to do with media intertext franchising on the one hand and television format franchising on the other. It finds that the two sets of practices operate under different regimes of legal protection, one concentrating on trade mark law and the other focusing on copyright law. In turn, this raises a question concerning the legal protectability of television program formats such as Ugly Betty under a legal shield associated with the media intertext rather than the television format. The presence of dramatic character would seem to be crucial to facilitating the building of a brand associated with a fictional character's aura or image.

The Problem of Morality and Power in the Politics of West Germany

1981 ◽  
Vol 16 (2) ◽  
pp. 131-148 ◽  
Author(s):  
Kenneth Dyson
Keyword(s):  
Political Process ◽  
Electoral Politics ◽  
West Germany ◽  
General Character ◽  
The Political ◽  
British Politics ◽  
The West ◽  
Dramatic Character ◽  
Executive Politics ◽  
Political Value

ELECTIONS HAVE ALWAYS CONSTITUTED A PARTICULARLY sharp rupture to the general character of the West German political process, which depends heavily on accommodation by elite negotiation. In the arenas of parliamentary and executive politics a pervasive style of amicable agreement exists at elite levels, and the political value of Sachlichkeit (objectivity) remains important. Hence, in the legislative period 1976–80 over 90 per cent of legislation passed the Bundestag unanimously. An inquisitorial, as opposed to adversary, style of politics plays an important role in the work of the powerful committees of the Bundestag and the Bundesrat, the two legislative chambers in Bonn. Accordingly, and by contrast, elections tend to take on a remarkably dramatic character, even if, as in 1980, there appears to be little polarization of opinion about concrete issues of policy. British politics is, of course, characterized by the influence of the arena of electoral politics, of the ‘cut-and-thrust’ of competitive adversary politics, on other arenas of politics.

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