scholarly journals Playwriting and dialectical thought

1983 ◽  
Author(s):  
Μαρία Γερμανού
Keyword(s):  
Historical Materialism ◽  
Bertolt Brecht ◽  
Detailed Comparison ◽  
Dialectical Materialism ◽  
Theory And Practice ◽  
Raw Material ◽  
History Plays ◽  
Representation Of Women ◽  
The Spectator ◽  
Dramatic Practice

This thesis examines the use of dialectic in the work of John Arden and Margaretta D'Arcy, Edward Bond and Steve Gooch and arguesfor the possibility of applying the philosophy of historical and dialectical , materialism and the concept of political contradiction to the construction of meaning in playwriting. Bertolt Brecht who initiated such a dramatic theory and practice is not used as a constant point of reference nor is my focus on a detailed comparison between him and the other writers. Having located his historical and dramatic limitations for present-day practice and after a critical and historical account of his reception in England, my concern is to examine how his idea of a theatre of dialectical and historical materialism was ignored, distorted, adopted and developed by these four playwrights. Conceiving theatre writing not as an innocent reflection of "objective" reality but as a conscious political and aesthetic practice capable of transforming the raw material found in life, my focus is on the ways by which this transformation takes place and on the ends it serves. To fulfill this function I examine the position that the relationship between the texts and the writers' ideological, aesthetic and political views occupies within the dominant ones. Within this context what runs through the thesis is a criticism of certain dominant ideas: that of humanism and idealism, the ideological implications of classic realism and the use of class and gender reductionism as the most recurrent drawbacks of a theatre practice which, instead of reproducing the established aesthetic, and ideological framework, aims to question it and suggest different possibilities. The criticism aims to locate the potential or the limitations of certain dramatic practices and political positions, develop them, or, when possible, suggest alternatives. On this basis the main issues I deal with concern popular and workingclass theatre, the use of character and caricature, history plays,propaganda and agitation, the representation of women, the position of the spectator and the relationships that define the theatre apparatus. As such the thesis is intended as an initial effort to build a theory for a dramatic practice concerning certain central issues that theatre workers confront when they want to use theatre as an agent of social change.

Theaterpublikum – das unbekannte Wesen. Annäherungen an eine vernachlässigte Figur

2019 ◽  
Vol 3 ◽  
pp. 14-33
Author(s):  
Doris Kolesch
Keyword(s):  
Bertolt Brecht ◽  
Antonin Artaud ◽  
The Spectator

Nicht erst mit der Performance-Kunst seit den 1960er-Jahren findet eine künstlerische Befragung der Rolle und Funktion des Publikums statt. Das gesamte 20. Jahrhundert ist in den performativen Künsten gekennzeichnet durch eine Erprobung, eine Veränderung und Hinterfragung dessen, was ein Publikum ist und was ein Publikum tun sollte oder auch nicht. So forderte schon Bertolt Brecht eine neue »Zuschaukunst«, wollte Antonin Artaud die Zuschauer_innen in »ein elektrisches Seelenbad, drin der Intellekt periodisch gehärtet wird«, tauchen und transformierte die Performance-Kunst die Zuschauer_innen zu aktiven Teilnehmer_innen und Mitspieler_innen. Diese Erkundung ist noch längst nicht abgeschlossen, wie beispielsweise aktuelle immersive Aufführungsformate zeigen. Doch trotz der praktischen wie theoretischen Relevanz, die dem Publikum im Theater des 20. und beginnenden 21. Jahrhunderts zukommt, weiß die Theaterwissenschaft relativ wenig über das Publikum und konstruieren aufführungsanalytische Ansätze häufig eine idealisierte Zuschauinstanz. Noch immer gilt mithin für die Theaterwissenschaft, was Dennis Kennedy 2009 in seiner Studie The Spectator and the Spectacle. Audiences in Modernity and Postmodernityvermerkte: Der Zuschauende sei »a pale hypothetical inference in the commentator’s imagination.« Es ist an der Zeit, Theaterwissenschaft auch als Publikumsforschung zu verstehen. Der Beitrag skizziert an ausgewählten Beispielen aus der Theater- und Performancegeschichte vom 18. bis zum 21. Jahrhundert wesentliche Veränderungen des Verhältnisses zwischen theatralem Geschehen und Publikum sowie unterschiedliche Konzepte und Praktiken theatraler Wahrnehmung. Auf dieser Grundlage werden Perspektiven einer theaterwissenschaftlichen Publikumsforschung umrissen.

scholarly journals Improving the efficiency of leaching of metals from ore raw materials

2018 ◽  
pp. 45-57
Author(s):  
V.I. Lyashenko ◽  
F.F. Topolnyi ◽  
G.D. Kovalenko
Keyword(s):  
Underground Mining ◽  
Raw Materials ◽  
Residential Buildings ◽  
Practical Experience ◽  
Environmental Safety ◽  
Theory And Practice ◽  
Raw Material ◽  
Material Base ◽  
Seismic Safety ◽  
Industrial Buildings

Purpose. Improving the efficiency of leaching of metals from ore raw materials by justifying the parameters of underground mining and the introduction of integrated technology in combination with geotechnology, ensuring the rational use, protection of the subsurface and the environment during the development of reserves by combined geotechnological methods. Metology. The methods of generalization, analysis and evaluation of practical experience and scientific achievements in the field of geotechnology, theory and practice of explosive destruction of solid media, continuum mechanics, mathematical statistics, as well as research techniques of wave processes according to standard and new techniques of the leading experts of the world's advanced mining countries are described. Findings. The factors determining the leaching efficiency of metal ores, environmental and seismic safety are established and the parameters of the explosion are justified taking into account the size of an average linear piece of exploded ore mass, the area of an emanating surface and the seismic safety of protected objects (industrial buildings, residential buildings, the Ingul river underflow, Kropivnitsky, etc.). Originality. Recommended empirical dependence for the prediction of the oscillation speed on the reduced mass of charge per deceleration step in the explosive preparation of ore for underground leaching of metals for the field conditions of the form y = a ∙ b also the value of the permissible displacement rate of the soil at the base of the protected objects = 0.4 cm / s. Practical value. When non-conforming ores of deposits are involved in the production, their raw material base at operating mines can be increased 1.4–1.6 times. Keywords: mining technology, underground mining, metal leaching, environmental safety, efficiency.

Elicitive Dramaturgy

Tandem Dances ◽  
2020 ◽  
pp. 103-135
Author(s):  
Julia M. Ritter
Keyword(s):  
Theory And Practice ◽  
Ethical Concerns ◽  
The Spectator

Chapter 3 suggests that with the emergence of immersive productions, wherein spectators now constitute a component of performances, a novel form of dramaturgical thinking has developed to account for the spectator as a mobile entity with agency. Elicitive dramaturgy is proposed as a dance-driven theory and practice of composing immersive performance affords spectators agency while simultaneously managing their contributions through carefully designed choreographic parameters. Three specific considerations of elicitive dramaturgical thinking are identified and analyzed, including how practitioners attempt to manage the degree to which spectators participate, the possibility that spectators can participate outside of the structures designed for them, and lastly, the ethical concerns of choreographing participation.

Pictorial Art, Viewed from the Standpoint of Mental Organization As Revealed by the Excitatory Abreaction Techniques of Psychiatry

1953 ◽  
Vol 99 (414) ◽  
pp. 136-143 ◽  
Author(s):  
N. C. Colquhoun ◽  
Harold Palmer
Keyword(s):  
Raw Material ◽  
Artistic Expression ◽  
Creative Activity ◽  
Emotional Life ◽  
Work Of Art ◽  
External Appearance ◽  
Private World ◽  
The Spectator

The pictorial work of art bears witness, above all else, to the process of creation. Whatever it is that differentiates a work of art from mere skilled productivity—(and aesthetic theories rage about this issue)—it would appear that only in the case of the former is the spectator made conscious of that heightened scale of perception, at once purposive, integrated, and whole, which is the distinguishing feature of creative activity. And if we admit the principle of creativity in artistic expression, then we must seek in paintings something more than a reproduction of external appearance. The visible world indeed is the raw material of art, but it is moulded and fashioned by the artist according to his own purposes and, it is now suggested, by certain qualities of reminiscence. As a consequence of the relation which exists between his own emotional life and these qualities he creates in pictures a world of reality which has for him a compelling intensity—an irradiance in which he finds meaning and justification for his work. It is the embodiment of some new state of comprehension, bringing order, coherence and purpose to what otherwise would be formless and lacking in meaning. This world re-born, founded in experience, is invested with conviction and validity. The making of such an extra-sensory world is at the heart of creativity, for only so can the artist create the conditions for a communicable experience. A purely private world is mysterious and incommunicable, and does not provide the conditions in which schools of art can develop.

Theory and Practice in Newton’s Alchemical Experimentation

2020 ◽  
Author(s):  
William R. Newman
Keyword(s):  
Detailed Comparison ◽  
Theory And Practice ◽  
Laboratory Practice

Isaac Newton’s laboratory notebooks describe decades of experimentation in alchemy, extending from the late 1660s or early 1670s up until his departure for the Royal Mint in the 1690s. As they stand, however, the highly detailed experiments are extremely hard to decipher. Newton gives few clues about their purpose and the idiosyncratic character of the experiments when compared to those of other alchemists makes it difficult to interpret them in terms of protocols from contemporary chymistry. At other places in his extensive chymical corpus, however, Newton presents theoretical ruminations that may provide the key to his experimentation. This is the first article to attempt a detailed comparison of Newton’s alchemical theory with his laboratory practice.

scholarly journals Using mechanical experiments to study Ground Stone Tool use: exploring the formation of percussive and grinding wear traces on limestone tools

2021 ◽  
Author(s):  
Eduardo Paixao ◽  
Antonella Pedergnana ◽  
Joao Marreiros ◽  
Laure Dubreuil ◽  
Marion Prevost ◽  
...  
Keyword(s):  
Detailed Comparison ◽  
Raw Material ◽  
Stone Tool ◽  
Middle Paleolithic ◽  
Ground Stone ◽  
Use Wear ◽  
Animal Bone ◽  
Reference Collection ◽  
Anthropogenic Alterations ◽  
Tool Types

Ground Stone Tools (GST) have been identified in several Levantine archaeological sites dating to the Middle Paleolithic. These tools, frequently made of limestone, are often interpreted based on their morphology and damage as having been used for knapping flint, and sometimes for breaking animal bones or processing vegetal materials as well. However, the lack of experimental referential collections on limestone is a major obstacle for the identification of diagnostic traces on these types of tools and raw material. In this sense, the understanding of the specific function of these GST and the association between tool types and activity often remains unknown or merely speculative.Recent discoveries at the site of Nesher Ramla revealed one of the largest Middle Paleolithic assemblages of limestone GST. Our use-wear analysis has identified several types of both macro and micro-wear traces on different tools. Such diversity highlights the need for developing an experimental reference collection that can enable detailed comparison between experimental and archaeological use-wear evidence.In this paper, we present the results of mechanical experiments specially designed to understand and quantify major characteristics of macro and micro use-wear traces on limestone GST as a result of three main activities: 1) animal bone breaking, 2) flint knapping and 3) grinding acorns. This study pursues three main goals: a) improving our ability to distinguish natural from anthropogenic alterations on limestone; b) identifying and characterizing differences between wear-traces (macro and micro) produced by different activities, and c) building a reference collection for thorough comparisons of use-wear and residues on archaeological tools.Our results indicate that it is possible not only to identify anthropogenic alterations but also to specifically distinguish the use-wear traces formed on limestone as result of percussive activities of bone and flint. This is shown by controlled experiments allowing variables other than the worked material to remain constant. This study aims to contribute towards establishing an experimental and multi-scale library of use-wear traces on limestone.

scholarly journals What to Build the Theory of Upbringing for the “New Ukrainian School”

2017 ◽  
Vol 21 (2) ◽  
pp. 98-114
Author(s):  
Oleh Hirnyi
Keyword(s):  
Ethical Issues ◽  
Dialectical Materialism ◽  
School Education ◽  
Theory And Practice ◽  
Educational Systems ◽  
Ethical Implications ◽  
Whole School ◽  
Polish Experience ◽  
European Values ◽  
The Eu

The last decade, and especially the years after the Revolution of Dignity and the association of Ukraine with the EU, are marked by the rhetoric of the «European civilization choice» and «the return to European values». In the education system, it is reflected in the slogan «New Ukrainian School», built on values. The last slogan raises the question: is there a school (or certain type of school education), which is NOT built on values? Or, in other words: is it a school, which is not built on values, possible in general? The questions are obviously rhetorical, because without values education is impossible. It is the values that are the basis of any upbringing. Therefore, in the declared general sense, this slogan is not different from the former Soviet “datsi-bao”, such as “We will come to a victory of covictory of commmunist labour!”. We need to be much more concrete in these cases. It seems to me, . It seems to me, that the major-that to me, that the major-that the major-the majorthe major--ity of the failures in the reforms in our country arise from the lack of concretization of common slogans – an alive consequence of the communist methodological heritage in this area. Therefore, the article deals with the ideological, philosophical and methodological foundations of constructing formal and ethical (moral) requirements for the system of school education in the USSR, the system of education and upbringing which Ukraine had inherited. In particular, this applies to the so-called “cosmocentric” ontology, the methodology of “dialectical materialism” (in particular, the so-called “unity of theory and practice”) and the class (so-called “proletarian”) - absolutely relativistic – ethics, constructed on it.So, the problem is the lack of a rational explanation and concretization of common slogans, in particular educational ones, which are put forward as a leit­motif of reforms in the school, and appeals to the concept of “values” that has emerged. As a result, we have absence of a corresponding scientific (philosophical) theory of values in Ukraine and a kind of vacuum in the field of ethics. In my opinion, in this area, we should study the Polish experience, represented by a whole school of rational thinking in all branches of humanities, known as the Lviv-Warsaw School. Due to the traditions of this school, the Polish school system and society as a whole could resist the dialectical “brainwashing” and liberate itself from the dogmas of communist thinking, as far as carry out the necessary reforms, in particular, in the area of education, making it compatible with the educational systems of EU countries. As an example, logically connected, based on experience and open to criticism, is the presentation of ethical issues in the theory of values of one of the last repre­sentatives of the Lviv-Warsaw School, Andrzej Gzegorczyk, presented in his paper “An attempt to describe the world of values and its ethical implications”.

scholarly journals MATERIALISMO, IDEALISMO E AS RAÍZES ONTO-EPISTEMOLÓGICAS DA GEOGRAFIA

2017 ◽  
Vol 3 (8) ◽  
pp. 268
Author(s):  
Mikhael Lemos Paiva
Keyword(s):  
Present Article ◽  
Historical Materialism ◽  
Hard Core ◽  
Dialectical Materialism ◽  
Critical Geography ◽  
Philosophical Debate ◽  
Modern Geography ◽  
Epistemological Basis

MATERIALISM, IDEALISM AND THE ONTO-EPISTEMOLOGICAL ROOTS OF GEOGRAPHYMATERIALISMO, IDEALISMO E LAS RAÍCES ONTO-EPISTEMOLÓGICAS DE LA GEOGRAFÍAO presente artigo tem como proposta a discussão das categorias filosóficas de idealismo e materialismo no pensamento Geográfico. Partindo do pressuposto de que o conhecimento é um fato, explicitamos a nossa base onto-epistemológica por meio de um diálogo entre os principais representantes de cada polo da Filosofia, de Demócrito à Hegel, expondo logo após a suprassunção à metafísica realizada pelo materialismo dialético. Pela ponte com o núcleo duro da Geografia Crítica (Lefebvre, Harvey e Quaini), transmutamos o debate filosófico para o campo geográfico ao mostrar as tão ignoradas raízes, lógica e vícios da Geografia Moderna. Retomando ao fim o duelo entre idealismo e materialismo, apresentamos nossa tese de que a Crise da Geografia é, na verdade, apenas o resultado de um processo oriundo de sua incapacidade como disciplina de superar o resquício limitador de seu berço: A Metafísica.Palavras-chave: Filosofia da Geografia; Lefebvre; Materialismo Dialético; Crise da Geografia.ABTRACTThe present article has as proposal the discussion of the philosophical categories of Idealism and Materialism in the Geographical thought. Starting from the assumption that the knowledge is a fact, we explicit our onto-epistemological basis by a dialog between the main representatives of each Philosophy pole, from Democritus to Hegel, exposing after the sublation to the metaphysics done by the dialectical materialism. Using a bridge to the hard core of the Critical Geography (Lefebvre, Harvey and Quaini), we transmute the philosophical debate to the geographical field showing the often ignored roots, logic and addictions of the Modern Geography. Retaking in the end the duel between Idealism and Materialism, we present our thesis in which the Crisis of Geography is, in fact, just the result of a process originated from its incapacity as a discipline to overcome the limiter vestige of its birth: The Metaphysics.Keywords: Philosophy of Geography; Lefebvre; Historical Materialism; Geography’s Crisis.RESUMENEn este artículo se propone la discusión de las categorías filosóficas del idealismo y el materialismo en el pensamiento geográfico. En la hipótesis de que el conocimiento es un hecho, aclaramos nuestra base ontológica y epistemológica por medio de un diálogo entre los principales representantes de cada polo de la filosofía, Demócrito hasta Hegel, lo que sigue la supresión hacia la metafísica realizada por el materialismo dialéctico. Considerando los autores claves en la Geografía Crítica (Lefebvre, Harvey e Quaini), ubicamos el debate filosófico hacia el campo geográfico para indicar las raíces, por supuesto ignoradas, la lógica y los vicios de la Moderna Geografía. Pronto la retomada en el fin del artículo entre idealismo y materialismo, enseñaremos nuestra tesis de que la crisis de la Geografía es, en verdad, solamente el resultado de un proceso oriundo de su incapacidad, cómo disciplina, en superar el vestigio limitador de su cuna: la Metafísica.Palabras clave: Filosofía de la Geografía; Lefebvre; Materialismo Dialéctico; Crisis de la Geografía.

The tamṣīr of Epic Theatre: A Case-Study of Alfred Faraǧ

2021 ◽  
pp. 1-20
Author(s):  
Daniela Potenza
Keyword(s):  
Twentieth Century ◽  
Social Issues ◽  
Bertolt Brecht ◽  
Theory And Practice ◽  
Local Context ◽  
Left Wing ◽  
The World ◽  
The Sixties ◽  
Epic Theatre

Abstract Bertolt Brecht is generally regarded as the most influential and politically engaged left-wing playwright of the Twentieth century. Traces of his theory and practice are to be found around the world, including in the works of important Egyptian playwrights of the sixties such as Yūsuf Idrīs, Naǧīb Surūr and Alfred Faraǧ. Brecht’s work and ideas did permeate the theory and practice of the three Egyptian playwrights, though even if they all shared a commitment to social issues, critics agree that the Egyptians ignored the philosophical essence of Brecht’s devices or did not have a clear ideological grounding – thus concluding that their understanding of Brecht was partial. Through a study of epic aspects of Alfred Faraǧ’s theatre, this article aims instead to highlight the transformations operated by the playwright to mould epic theatre to fit his own ideology, his aesthetic and the local context in the logic of tamṣīr (Egyptianisation).

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