Social Space in Ancient Theatres

1993 ◽  
Vol 9 (36) ◽  
pp. 316-328 ◽  
Author(s):  
Leslie du S. Read

How do modern archeological discoveries mesh with and affect present views of ancient theatrical techniques – specifically, of the interrelationship between performers and audience? Looking especially at the ways in which the audience itself was able to interact through the construction of the areas devoted to its own accommodation and circulation, Leslie du S. Read here blends narrative comment and photographic illustration to create a picture of the essential sociability of ancient theatre spaces – an aspect usually ignored by scholars primarily concerned with dramaturgical techniques. Leslie du S. Read, who is presently Head of the Drama Department at the University of Exeter, has for a number of years been researching both visible and known remains of classical theatres, and writing on the social context of stagecraft. He has at present a collection of over 4,000 slides of some 300 theatres, and is in the final stage of completing a history and guide to ancient theatre sites. All photographs in the present article were also taken by the author.

Cadernos Pagu ◽  
2015 ◽  
pp. 199-228 ◽  
Author(s):  
Carolina Branco de Castro Ferreira

The present article seeks to understand the uses of the internet as a space for action and reflection among feminist groups in the Brazilian scene. It takes as its focus the relationships between new feminist generations and esthetics and the social space of the internet. Several feminist groups have emphasized the use of the internet and social networks as relevant platforms for organization, news and political expression. I thus take as my object of analysis one of the most important blogs in the Brazilian context: Blogueiras Feministas (Feminist Bloggers - BF), seeking to use this as an ethnographic resource in order to understand the set of actors and collectives working within this feminist scenario, as well as the spaces and social, political and cultural strategies that appear within it.


Author(s):  
Marcos Rafael Cañas Pelayo

Recientemente, la influencia del director Luis García Berlanga ha sido destacada por crítica y público. Generalmente asociado por su colaboración con el guionista Rafael Azcona, Berlanga fue un cineasta atípico cuyas películas han sido irónicas, pero serios exponentes de la evolución de la sociedad española durante el pasado siglo. En el presente artículo, intentaremos mostrar uno de sus más importantes trabajos, El Verdugo, analizando no solamente sus aspectos sociales, sino incluyendo un estudio del lenguaje cinematográfico empleado para ello y el particular estilo con el que el director abordó algunos de los temas más controvertidos de su tiempo.Abstract:The influential of the director Luis García Berlanga has been recently increased by critics and public. Generally associated with the script-player Rafael Azcona, Berlanga was an unusual artist which films have been and ironical but serious example of the changes and the evolution of the Spanish society during the last century. In the present article, we will try to show the social aspects of one of his most important masterpieces, El verdugo, analyzing not only the historical context, but also including his cinematographically language and particular style for translate to the big screen some controversial realities of their time.Palabras clave:Berlanga; Azcona; contexto social; ironía; El Verdugo.Keywords: Berlanga; Azona; Social Context; Irony; El Verdugo.


2016 ◽  
Vol 5 (4) ◽  
pp. 61-64
Author(s):  
Шишлова ◽  
E. Shishlova

The article discusses the concept of the hidden curriculum in terms of its institutional and communicative aspects. It deals with the reasons for the sustainability of gender stereotypes in the communicative environment of the university. The main mechanism of reproducing gender stereotypes and values is believed to be the social context of an educational organization. It is characterized by a level of teacher’s communicative competence. The article analyzes the characteristics of teacher’s verbal and non-verbal behavior and their impacts on the processes of gender socialization and identification of modern students. The transformation of gender relations is seen as an objective and global process caused by progressive socio-economic changes, whose influence on education requires careful analysis.


2010 ◽  
Vol 57 (2) ◽  
pp. 268-284 ◽  
Author(s):  
Francesc Núñez

Toward the end of the last century, particularly during the late 1960s and throughout the 1970s, hundreds of Catholic priests distanced themselves from the Church or decided to leave the ecclesiastical institution. This fact, unusual at that time, is the focal point of the present article, which is the result of an extensive investigation into the renunciation of the priesthood by a significant number of priests in the Barcelona diocese. The author addresses the question why such deeply committed members of an institution, as are the priests of the Catholic Church, decided to leave the institution at that moment. The author discusses some aspects of the social context in which this process took place and offers some explanations for these significant departures.


2018 ◽  
Vol 566 (1) ◽  
pp. 21-29 ◽  
Author(s):  
Adam Andrzejewski

The publication focuses on the connection between humans' personal identity and activity on social networks. Facebook and Instagram are a kind of (cyber-communication) sphere in which we are able to communicate with everyone who belongs to these (cyber-)communities. It allows us to publish our photos, memories, current activities, and videos while simultaneously allowing the portal’s other users to observe our life and expression of our Self. In this (cyber-)social space, people are able to create their image and (cyber-)identity in a psychological and social context, encounter a variety of (personal) experiences, but also gain popularity – sometimes at all cost, at the expense of their health and life. The following issues are discussed in the publication: 1. (People's cyber-)identity created on the social networks: Facebook and Instagram. 2. Self-esteem depending on the number of "likes." 3. "Ultimate selfie" - the popularity for which you pay with your life.


2010 ◽  
Vol 6 (3) ◽  
pp. 351-370 ◽  
Author(s):  
Miriam Erez ◽  
Rikki Nouri

The present article aims to answer the question of whether creativity is universal or culture-specific. We develop a conceptual framework that expands the existing knowledge in two ways. First, it distinguishes between the two dimensions of creativity – novelty and usefulness, and their relationship to culture. Second, it clarifies how the social context moderates the relationship between culture and creativity. We focus on the social context where cultural differences are likely to be more salient because of the presence of others, relative to the private work context where no one observes whether a person performs in a normative or a unique way. In addition, we propose that task structure, whether a task is tightly or loosely structured, is an important contextual characteristic that moderates the relationship between culture and creativity. Lastly, we offer several propositions to guide future research.


2011 ◽  
Vol 39 (2/4) ◽  
pp. 197-223 ◽  
Author(s):  
Ülle Pärli

The present article is divided into two parts. Its theoretical introductory part takes under scrutiny how proper name has been previously dealt with in linguistics, philosophy and semiotics. The purpose of this short overview is to synthesise different approaches that could be productive in the semiotic analysis of naming practices. Author proposes that proper names should not be seen as a linguistic element or a type of (indexical) signs, but rather as a function that can be carried by different linguistic units. This approach allows us to develop a transdisciplinary basis for a wider understanding of naming as a sociocultural practice. The empirical part of the article uses one certain village in Estonia in Lääne-Virumaa district as an example to demonstrate how toponyms structure the social space, how they carry the memory and how naming practice highlights such changes in the semiotic behaviour of the social life that otherwise could have remained hidden.


2018 ◽  
Vol 7 (5) ◽  
pp. 524
Author(s):  
Hasan Sankır

<p><strong>Abstract</strong></p><p>All products in the art field have a cultural character and reflect the characteristics of the social space in which they are situated. Objects have no meaning in their own rights and all objects, including art objects, acquire its meaning through social construction. In this respect, the meaning of artwork is symbolic and conceptual. The purpose of this work is to reveal how and by what conditions ordinary objects are transformed into artworks by artists. It is aimed to determine which social mechanisms take place in the process of artistic transformation of objects and what the role of social space and artists is in the construction and operation of these mechanisms. For this purpose, the study is composed of two parts. In the first part, how social context of an artwork is being constructed and according to this context how an object and space acquire artistic meaning have been set forth through semiotics approach. In the second part, an approach to the artistic transformation of an ordinary object through the role of artist and construction of social context with the examples selected from the art history have been put forward. In this section, the "bed" was chosen as the ordinary object and a discussion was made about the transformation process of the bed into a work of art through the work of Tracy Emin's "My Bed". As a result of the study, it was understood that ordinary objects have their own unique cultural spaces, and that they have an active role in the social context in which these objects have their meaning. Through the action of the artist towards an artistic goal, it has been specified that at the end of processes such as the removal of an ordinary object from the cultural space and its isolation from its functions, it is possible to change its social context and corresponding meaning. After this process, it has become possible to evaluate the object as an art work with the expansion of its meaning by turning it into an indicator.</p><p><strong>Öz</strong></p><p>Sanat alanındaki tüm üretimler kültürel bir nitelik taşır ve içerisinde yer aldığı sosyal alanın karakteristiklerini yansıtırlar. Nesnelerin kendi başına anlamları yoktur ve sanat nesneleri de dahil her türlü nesne anlamını toplumsal inşa süreciyle kazanır. Bu bakımdan sanat eserinin anlamı sembolik ve kavramsaldır. Bu çalışmanın amacı sıradan nesnelerin sanatçılar tarafından sanat eserine nasıl ve hangi koşullarda dönüştürüldüğünün ortaya konmasıdır. Nesnelerin sanatsal dönüşümü sürecinde hangi sosyal mekanizmaların yer aldığı ve bu mekanizmaların inşası ve işleyişinde sosyal mekânın ve sanatçının rolünün ne olduğunun belirlenmesine yöneliktir. Bu amaçla çalışma iki kısma ayrılmıştır. Birinci kısımda sanat alanında bir nesnenin sosyal bağlamının nasıl inşa edildiği ve bu bağlama göre nesnenin ve mekânın nasıl sanatsal bir anlam kazandığı göstergebilim yaklaşımı üzerinden ortaya konulmuştur. İkinci kısımda ise sanat tarihinden seçilen örneklerle sosyal bağlamın inşası ve sanatçının rolü üzerinden sıradan bir nesnenin sanatsal dönüşümüne yönelik bir yaklaşım ortaya konulmuştur. Bu kısımda sıradan nesne olarak “yatak” seçilmiş ve Tracy Emin’ in “My Bed” (benim yatağım) isimli çalışması üzerinden yatağın sanat eserine dönüşüm sürecine yönelik bir tartışma gerçekleştirilmiştir. Çalışmanın sonucunda sıradan nesnelerin kendilerine özgü kültürel mekânlarının olduğu ve bu mekânların nesnelere yönelik anlamın ortaya çıkmasını sağlayan sosyal bağlamın inşasında etkin bir role sahip olduğu anlaşılmıştır. Sanatsal bir hedefe yönelmiş olan sanatçının eylemselliği aracılığıyla sıradan bir nesnenin kültürel mekânı dışına çıkartılması ve işlevlerinden soyutlanması gibi süreçler sonucunda sosyal bağlamının ve buna bağlı olarak anlamının değiştirilmesinin mümkün olduğu belirlenmiştir. Bu süreç sonrasında nesnenin göstergeye dönüşerek anlamının genişlemesiyle birlikte sanat yapıtı olarak değerlendirilmesinin imkanlı hale geldiği görülmüştür.</p>


2020 ◽  
Vol 1 (1) ◽  
pp. 18-24
Author(s):  
Muhammad Ricky Saputra ◽  
Lisbet Situmorang

ABSTRACT: This article interprets the game of Billiards Gambling in Tengin Baru Village, Sepaku District, Penajam Paser Utara Regency which is done openly. The social context of the billiard gambling text can be said to be like being in a social space that is starting to open up by the influence of global economic culture, bound by the Anti-Gambling Law, average primary school education levels, the majority of followers of Islam and local tribal values ​​that also prohibit gambling. The Billiards Gambling Game is a combination of three elements, namely: (billiard sports, playing card gambling, buying and selling games). The sport of billiards gambling is used as a mode of outer settlement, art games are used as the core of the game, and both are packaged as entertainment businesses that are subject to buying and selling games. In the players' understanding, Billiards Gambling is transformed into various meanings according to subjectivity such as: hobbies, games, challenging games, professions, entertainment, fun, official games. In the text, the readers of the Biliary Gambling game get an articulation of new meanings that are not always in line with what the original author meant. ABSTRAK: Artikel ini menafsir permainan Judi Biliar di Desa Tengin Baru Kecamatan Sepaku Kabupaten Penajam Paser Utara yang di lakukan secara terang-terangan. Konteks sosial dari teks judi biliar ini bisa dikatakan seperti berada di ruang sosial yang mulai terbuka oleh pengaruh budaya ekonomi global, terikat oleh UU Anti Perjudian, tingkat pendidikan rata- rata sekolah dasar, mayoritas penganut islam dan nilai-nilai lokal suku yang juga melarang perjudian. Permainan Judi Biliar adalah perpaduan tiga elemen yaitu: (olahraga biliar, judi kartu remi, permainan jual beli). Olahraga judi biliar digunakan sebagai modus penapakan luar, permainan kartu remi digunakan sebagai inti permainan, dan keduanya dikemas sebagai bisnis hiburan yang tunduk pada permainan jual beli. Dalam pemahaman para pemain, Judi Biliar ini menjelma menjadi beragam makna menurut subyektifitas seperti: hobbi, game, permainan penuh tantangan, profesi, hiburan, iseng-isengan, permainan yang resmi. Di teks para pembaca permainan Judi Biliar mendapatkan artikulasi pemaknaan baru yang tidak selalu sejalan dengan apa maksud awal pengarangnya.


2021 ◽  
Vol 28 (2) ◽  
pp. 466
Author(s):  
Juliana Pereira de Araújo ◽  
Paulo Rogério dos Santos

Neste artigo socializamos os resultados de uma pesquisa que tomou como objeto a Ludoteca do Curso de Educação Física na Universidade Federal de Goiás - Regional Catalão (UFG/RC). A intenção foi compreendê-la a partir da tríplice visão de espaço de Henri Lefebvre (concebido, percebido e vivido). O percurso metodológico baseou-se na realização de uma pesquisa documental nos arquivos da Ludoteca e de entrevistas narrativas com duas ludotecárias, a quem chamamos de Ana e de Bia, e com a coordenadora, que denominamos Lua. Os dados foram analisados por meio da análise de conteúdo (BARDIN, 1997) e os resultados nos permitem compreender que os sentidos produzidos sobre a Ludoteca UFG possibilitam reconhecê-la como espaço que traz, na dimensão do concebido, marcas da universidade que a acolhe como política de extensão, mas que introjetam nela as possibilidades próprias do ensino e da pesquisa, enriquecendo-a e tornando-a espaço de formação. Pela dimensão do percebido o espaço da Ludoteca tem como marcas a coletividade, a partilha e a produção de subjetividades que transitam e exploram a reprodução do espaço social pela via da transmissão da cultura lúdica, das tradições e do repertório da infância quanto à produção do espaço que tem na transgressão, nas táticas e nas artes de fazer a chance de criação de novos roteiros de pessoa e de sociedade. Pela dimensão do vivido ela se estabelece como laboratório vivo, complexo, que tem em sua gênese a formação pela presença, pela memória, pela partilha e pela ludicidade que, incorporando os valores da universidade pública, alargam o entendimento da Ludoteca para muito além de ser meramente um “lugar em que criança brinca”.Palavras-chave: ludoteca universitária; espaço; educação.LOOKS ABOUT UNIVERSITY LODOTECA UFG/RC: more than where children place to playAbstractIn this article we socialized the results of a research that took place as a discipline of the Physical Education Course at the Federal University of Goias - Catalão. The intention was to understand from the vision of space of Henri Lefebvre (conceived, perceived and lived). The methodological course was based on the accomplishment of a documentary research in the archives of the Ludoteca and the accomplishment of narrative interviews with the playroom workers and the coordinator. The data were analyzed through content analysis (BARDIN, 1997) and the results allow us to perceive the senses produced on the UFG Playroom as a space that brings, in the dimension of the conceived, marks of the university that welcomes it as a extension policy, but which introduce in it the possibilities of teaching and research, enriching it and making it a space for formation. By the dimension of the perceived the space of the playroom has as collective marks the collective, the sharing and the production of subjectivities that transit and explore the reproduction of the social space by means of the transmission of the ludic culture, the traditions and the repertory of the childhood as the production of the space that has in the transgression, tactics and arts to make the chance to create new scripts of person and society. By the dimension of the lived it establishes itself as a living, complex laboratory that has in its genesis the formation by the presence, memory, sharing and playfulness that incorporating the values of the public university extend the understanding of the Labyrinth much more than merely being a "place in what a child plays. "Keywords: playroom; space; education.MIRADAS SOBRE LA LUDOTECA UNIVERSITARIA UFG \ RG: más que un lugar donde juegan los niñosResumenEn este artículo socializamos los resultados de una investigación que tomó como objeto la Ludoteca del Curso de Educación Física en la Universidad Federal de Goiás-Regional Catalán. La intención fue de comprenderla a partir de la triple visión de espacio de Henri Lefebvre (concebido, percibido y vivido). El recorrido metodológico se basó en la realización de una investigación documental en los archivos de la Ludoteca y en la realización de entrevistas narrativas con 02 ludotecas y la coordinadora. Los datos fueron analizados por medio del análisis de contenido (BARDIN, 1997) y los resultados nos permiten que los sentidos producidos sobre la Ludoteca UFG posibilitan reconocerla como espacio que trae, en la dimensión del concebido, marcas de la universidad que la acoge como política de extensión, pero que, introducen en ella las posibilidades propias de la enseñanza y de la investigación enriqueciéndola y haciéndola espacio de formación. Por la dimensión de lo percibido el espacio de la Ludoteca tiene como marcas la colectividad, el compartir y la producción de subjetividades que transitan y exploran la reproducción del espacio social por la vía de la transmisión de la cultura lúdica, de las tradiciones y del repertorio de la niñez en cuanto a la producción del espacio que tiene en la transgresión, en las tácticas y artes de hacer la oportunidad de crear nuevos itinerarios de persona y sociedad. Por la dimensión de lo vivido se establece como un laboratorio vivo, complejo, que tiene en su génesis la formación por la presencia, memoria, compartir y ludicidad que incorporando los valores de la universidad pública amplían el entendimiento de la Ludoteca para mucho más allá de ser meramente un "lugar en que niño juega ".Palabras clave: ludoteca universitaria; Espacio; educación.


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