“We Are Not Trying to Make a Political Piece”

2019 ◽  
pp. 93-110
Author(s):  
Ryan Ebright
Keyword(s):  
Social Change ◽  
Narrative Structure ◽  
Fundamental Question ◽  
Political Subject ◽  
Steve Reich ◽  
The Family ◽  
First Intifada

Steve Reich and Beryl Korot’s 1993 video opera, The Cave, addresses a potent political subject: the Israeli-Palestinian conflict. Yet shortly after its premiere, they publicly disavowed art’s capacity to effect political or social change. This disavowal belies the explicitly political genesis of The Cave, the development of which throughout the 1980s coincided with rising Arab-Israeli tensions and the First Intifada. Early sketches, outlines, and descriptions of The Cave reveal that the pair initially viewed their quasi-opera as a step toward “reconciling the family of man.” By 1993, however, they instead adopted a seemingly apolitical stance, shying away from answering the fundamental question they had set out to answer: How can Jews and Muslims live together peacefully? This chapter argues that traces of this bid for peace remain in the opera’s music, text, and narrative structure, and that despite its purported neutrality, The Cave espouses an Americanized vision of Arab-Israeli reconciliation.

Buried Narratives: Exhuming the Mother's Story in Oliver Twist

2018 ◽  
Vol 8 (3) ◽  
pp. 247-266
Author(s):  
Michelle L. Wilson
Keyword(s):  
Social Change ◽  
Maternal Inheritance ◽  
The Novel ◽  
Poor Law ◽  
The Family ◽  
The Law ◽  
First Time ◽  
Critical Consideration

Initially, Oliver Twist (1839) might seem representative of the archetypal male social plot, following an orphan and finding him a place by discovering the father and settling the boy within his inheritance. But Agnes Fleming haunts this narrative, undoing its neat, linear transmission. This reconsideration of maternal inheritance and plot in the novel occurs against the backdrop of legal and social change. I extend the critical consideration of the novel's relationship to the New Poor Law by thinking about its reflection on the bastardy clauses. And here, of course, is where the mother enters. Under the bastardy clauses, the responsibility for economic maintenance of bastard children was, for the first time, legally assigned to the mother, relieving the father of any and all obligation. Oliver Twist manages to critique the bastardy clauses for their release of the father, while simultaneously embracing the placement of the mother at the head of the family line. Both Oliver and the novel thus suggest that it is the mother's story that matters, her name through which we find our own. And by containing both plots – that of the father and the mother – Oliver Twist reveals the violence implicit in traditional modes of inheritance in the novel and under the law.

The Family and Population Control: A Puerto Rican Experiment in Social Change.

1959 ◽  
Vol 24 (6) ◽  
pp. 901
Author(s):  
Jerry W. Combs ◽  
Reuben Hill ◽  
J. Mayone Stycos ◽  
Kurt W. Back
Keyword(s):  
Social Change ◽  
Puerto Rican ◽  
Population Control ◽  
The Family

scholarly journals FAMILY COMMUNICATION PORTRAIT IN THE MIDDLE OF SOCIAL CHANGE IN BOGOR

2019 ◽  
Vol 4 (1) ◽  
pp. 171
Author(s):  
Firdanianty Pramono ◽  
Djuara P Lubis ◽  
Herien Puspitawati ◽  
Djoko Susanto
Keyword(s):  
Social Change ◽  
Group Discussion ◽  
Personal Problems ◽  
Family Ties ◽  
Television Shows ◽  
The Family ◽  
Information And Communication ◽  
Opposite Sex ◽  
Negative Impacts

The advancement of information and communication technology have a positive and negative impacts on family ties and values. These developments also change the order of family life as the smallest unit in society. Family interaction and communication also change along with social change in society. The purposes of this study are: first, to explore the topics of conversation and interaction of adolescents with their families. Second, to depict four types of communication between adolescents and their families. This study was conducted for 6 months in 6 high schools in Bogor with qualitative methods. Data were obtained through focus group discussion (FGD) in each high school with a total of 12 FGDs. The number of informants involved in the FGD were 60 students aged 15-18 years old. The FGD results show that most of theadolescents shared their personal problems to peers than to parents. The topics presented by adolescents to parents included events at school (lessons, teachers, friends), television shows, ideals, sports, and politics. Some adolescents who had close relationships with parents did not hesitate to share their personal problems and interests of the opposite sex to their parents. Adolescents who had closeness to parents tend to be more open and were able to control their emotions. The findings of this study are expected to provide inputto the family as well as to improve the quality of communication between adolescents and parents.

scholarly journals A Study of Extra Marital Relations in Urdu Dramas: A Qualitative Analysis

2020 ◽  
Vol 20 (1) ◽  
pp. 251-271
Author(s):  
Yasar Arafat ◽  
Nauman Sial ◽  
Abid Zafar
Keyword(s):  
Qualitative Analysis ◽  
Structure Analysis ◽  
Married Couple ◽  
Narrative Structure ◽  
Electronic Media ◽  
Family Values ◽  
Marital Relations ◽  
Happy Life ◽  
The Family

It is highly perceived that most of the stories of Urdu televise dramas in Pakistan are revolving around the problems of wedded couple. It is point of discussion that plots of the contemporary Pakistani Urdu televise dramas is depicting more extramarital relations. Through narrative structure analysis, the current study revealed that drama serials start with a family and then a quarrel arises between married couple. At that point, a protagonist enters in the scene which also becomes as catalyst in making separation between the married spouses. The bad and harsh attitude of the husband appears to be the enough reason to bend toward extramarital relation. Divorce seems to be the only solution in case of incompatible relations between the spouses. Consequently, the divorced lady marries with her protagonist and starts living a happy life with her second husband. It is apparent that these dramas are promoting extramarital relations in positive ways. The current bombardment of such issues by electronic media seems to be trying to legitimize the illegitimate relation. The analyses depict that televise Urdu dramas of Pakistan are violating the family values and promoting the extramarital relations in positive ways.

FROM ELIZABETH GASKELL’S MARY BARTON TO HER NORTH AND SOUTH:PROGRESS OR DECLINE FOR WOMEN?

2000 ◽  
Vol 28 (2) ◽  
pp. 345-358 ◽  
Author(s):  
Pearl L. Brown
Keyword(s):  
Social Change ◽  
Social Problems ◽  
Narrative Structure ◽  
Self Awareness ◽  
The Novel ◽  
Social Conflicts ◽  
Social Purpose ◽  
The Social ◽  
Mature Work ◽  
North And South

ASSESSMENTS OF ELIZABETH GASKELL’S two novels of social purpose typically conclude that North and South, published in 1855, is a more mature work stylistically and ideologically than Mary Barton, published in 1848. North and South is said to integrate the narrative modes of romance and realism more effectively than Mary Barton (Felber 63, Horsman 284), and to provide a more complicated narrative structure (Schor, Scheherezade 122–23), a more complex depiction of social conflicts (Easson 59 and 93) and a more satisfactory resolution of them (Duthie 84, Kestner 170). North and South is also said to deal with “more complex intellectual issues” (Craik 31). And the novel’s heroine, Margaret Hale, has been seen as Gaskell’s most mature creation — a woman who grows in self-awareness as she adapts to an alien environment (Kestner 164–166) and, unlike Mary Barton, becomes an active mediator of class conflicts (Stoneman 120), the central consciousness that brings together “the lessons of social change and romance” (Schor, Scheherezade 127).1 The reconciliation of these conflicts she inspires through her influence over both mill owner and worker has been praised as a more effective and credible narrative resolution to the social problems depicted in the novel than the reconciliation between mill owner and worker in Mary Barton (David 36).

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