Fundamentals of dramatic structure

2021 ◽  
pp. 148-150
Author(s):  
James Wallert
Keyword(s):  
Dramatic Structure

Politeness and social utopia in Friedrich Schiller’s Wilhelm Tell

2013 ◽  
Vol 3 (1) ◽  
pp. 34-55 ◽  
Author(s):  
Christel Björkstrand
Keyword(s):  
Common Ground ◽  
Initial Study ◽  
Minor Role ◽  
Politeness Theory ◽  
Dramatic Structure ◽  
German Philosopher ◽  
Social Visions ◽  
The One ◽  
A Minor ◽  
Social Utopia

This paper is an interdisciplinary analysis of Friedrich Schiller’s play Wilhelm Tell (1804). An initial study of its dramatic structure suggests a change in the relationship between the Swiss peasants and nobles. A further analysis, based on Brown’s and Levinson’s politeness theory confirms the development of a social utopia in the play, but also reveals that Wilhelm Tell plays a minor role in the social development described. The comparison of the play with earlier versions of the Tell legend highlights the roles of peasants and nobles in the establishment of the Swiss Confederation and suggests that Schiller elaborated extensively on the idea of a ‘common ground’ among the Swiss from different classes. The comparison between Schiller’s play and the contemporary German philosopher Johann Benjamin Erhard’s essay Über das Recht des Volks zu einer Revolution illustrates that Schiller’s social utopia develops in accordance with contemporary social visions. However, Tell’s act of murder separates him from the other Swiss protagonists in Schiller’s attempt to outline a righteous revolution, different from the one in France.

Divi pirmās personas stāstījumi Osvalda Zebra romānā „Māra”

2021 ◽  
pp. 197-208
Author(s):  
Daiga Zirnīte
Keyword(s):  
Young Woman ◽  
Personal Growth ◽  
Point Of View ◽  
The Other ◽  
Internal Conflict ◽  
Narrative Form ◽  
First Person ◽  
The Novel ◽  
Growth Path ◽  
Dramatic Structure

The aim of the study is to define how and to what effect the first-person narrative form is used in Oswald Zebris’s novel “Māra” (2019) and how the other elements of the narrative support it. The analysis of the novel employs both semiotic and narratological ideas, paying in-depth attention to those elements of the novel’s structure that can help the reader understand the growth path and power of the heroine Māra, a 16-year-old young woman entangled in external and internal conflict. As the novel is predominantly written from the title character’s point of view, as she is the first-person narrator in 12 of the 16 chapters of the novel, the article reveals the principle of chapter arrangement, the meaning of the second first-person narrator (in four novel chapters) and the main points of the dramatic structure of the story. Although in interviews after the publication of the novel, the author Zebris has emphasised that he has written the novel about a brave girl who at her 16 years is ready to make the decisions necessary for her personal growth, her open, candid, and emotionally narrated narrative creates inner resistance in readers, especially the heroine’s peers, and therefore makes it difficult to observe and appreciate her courage and the positive metamorphosis in the dense narrative of the heroine’s feelings, impressions, memories, imaginary scenes, various impulses and comments on the action. It can be explained by the form of narration that requires the reader to identify with the narrator; however, it is cumbersome if the narrator’s motives, details, and emotions, expressed openly and honestly, are unacceptable, incomprehensible, or somehow exaggerated.

Dramatic structure and cultural context in Plato's Laches

1999 ◽  
Vol 49 (1) ◽  
pp. 123-138 ◽  
Author(s):  
C. Emlyn-Jones
Keyword(s):  
Cultural Context ◽  
Fifth Century ◽  
Philosophical Argument ◽  
Recent Past ◽  
Contemporary World ◽  
Political World ◽  
Dramatic Structure ◽  
Meaning And Purpose

The characters in Plato's Socratic Dialogues and the sociocultural beliefs and assumptions they present have a historical dramatic setting which ranges over the last quarter of the fifth century b.c.—the period of activity of the historical Socrates. That this context is to an extent fictional is undeniable; yet this leaves open the question what the dramatic interplay of (mostly) dead politicians, sophists, and other Socratic associates—not forgetting Socrates himself—signifies for the overall meaning and purpose of individual Dialogues. Are we to assume, with a recent study, that Plato is entirely concerned with his contemporary world and is, as it were, borrowing his characters from the fifth century, or does the fiction reveal something of his real involvement in the values and debates of the recent past? The aim of this paper is to argue that a detailed study of the characterization and dramatic structure of one particular Dialogue, Laches, strongly suggests that Plato is using a perceived tension between past and present to generate not only a philosophical argument but also a commentary on the cultural and political world of late fifth-century Athens and in particular Socrates’ position within it.

scholarly journals A Comparative Study of Sadegh Hedayat’s The Blind Owl in the Light of the German Theory of Novella

2018 ◽  
Vol 9 (4) ◽  
pp. 98
Author(s):  
Ebrahim Estarami
Keyword(s):  
Comparative Study ◽  
Short Story ◽  
German Literature ◽  
Literary Genre ◽  
Literary Genres ◽  
Dramatic Structure ◽  
Human Trait ◽  
New Look

Using the novella as the European literary genre has divided the Iranian literary scholars due mostly to its unknown features. Lack of research in this area has caused many writers either to abandon this literary term or to opt for alternatives such as “novelette”,” long story”, “long short story” or “short story”. This article aims to introduce the theory and characteristics of the novella as a unique literary genre, based on German literature. Despite the Italian root of the novella, it reflects its Germanic roots as it was flourished in the 18th and 19th centuries Germany. In addition, the paper explores the concept of “long story” in Iranian literature as the synonym of the term novella. The Blind Owl clearly exhibits these characteristics of the genre, especially the dramatic structure and representing a new aspect of human trait. The analysis of The Blind Owl leads to a deeper understanding of one of the most important and well-formed European literary genres and a new look at Sadegh Hedayat’s ideology as a professional author in addition to familiarizing scholars with this genre.

scholarly journals Three Stories About the Exploitation of “Chocolate” Flint During the Stone Age in Central Poland

2018 ◽  
Vol 56 ◽  
pp. 56-65
Author(s):  
Dominik Kacper Płaza ◽  
Piotr Papiernik
Keyword(s):  
Physical Nature ◽  
Raw Material ◽  
Stone Age ◽  
Greek Literature ◽  
Central Poland ◽  
Works Of Art ◽  
Dramatic Structure ◽  
Similarities And Differences ◽  
Late Mesolithic ◽  
Blade Production

This paper argues that, despite the purely physical nature of the process of the creation of blades that later will be components of multi-material tools, this is also like an artistic act. If this is so, the manner in which we discuss the sequence of blade production can be analysed in much the same way as any other narrative works of art, like Greek literature or Shakespearean drama. The article presents three stories about cores that were used for production of blades for tools during the Stone Age, examining the systematic sequence of actions (like the choice of the raw material, core preparation, blade production, repairs of core and discarding of the exhausted core) in the form of a 5-act dramatic structure. We suggest that these five parts or acts of drama are similar to the manner in which, in Stone Age archaeology, we talk about the knapping sequence and goals of blade production. Observation of three blade cores connected with the late Mesolithic and the Early and Middle Neolithic from the central part of Poland provides an opportunity for discussion about the features of those pieces and searching for similarities and differences in the use of “chocolate” flint during the latter part of the Stone Age

scholarly journals STRUKTUR DRAMATIK PERTUNJUKAN DRAMA KLASIK SANGGAR TEATER MINI LAKON DEWA RUCI KAJIAN BENTUK DAN FUNGSI

WIDYANATYA ◽  
2019 ◽  
Vol 1 (1) ◽  
pp. 51-59
Author(s):  
I Made Rudita ◽  
Ni Luh Putu Wiwin Astari
Keyword(s):  
Character Education ◽  
Performing Arts ◽  
Cultural Transformation ◽  
Aesthetic Theory ◽  
Functional Theory ◽  
Classical Drama ◽  
Dramatic Structure ◽  
Depth Study ◽  
And Function

ABSTRAK   Pada dasarnya nilai pendidikan karakter mempunyai tiga bagian yang saling bekaitan, yaitu pengetahuan moral, penghayatan moral dan perilaku moral. Oleh karena itu seseorang dengan karakter yang baik, mengetahui, menginginkan, dan melakukan yang baik. Ketiganya merupakan syarat untuk menuntun hidup yang bermoral dan membangun kematangan moral. Dalam melakukan pendidikan karakter tidak harus dengan menambah program tersendiri, melainkan bisa melalui transformasi budaya, salah satunya nilai-nilai pendidikan karakter bisa disampaikan melalui seni pertunjukan drama, khususnya pertunjukan drama klasik. Untuk menjawab masalah di atas, dalam hal mengetahui nilai  pendidikan karakter melalui transformasi budaya Bali berupa pertunjukan drama klasik Sanggar Teater Mini, perlu dibuat suatu penelitian mengenai nilai pendidikan karakter dalam pertunjukan drama klasik Sanggar Teater  Mini dengan lakon Dewa Ruci. Penelitian ini berjudul “Struktur Dramatik  Pada Pertunjukan Drama Klasik Sanggar Teater Mini lakon Dewa Ruci”.Kajian  (Bentuk dan Fungsi)” adalah hasil studi yang mendalam struktur dramatik pada pertunjukan drama klasik. Penelitian ini mengangkat dua pokok masalah yaitu : 1) untuk mengetahui dan menganalisis bentuk struktur dramatik pertunjukan drama klasik Sanggar Teater Mini lakon Dewa Ruci ;  2) untuk mengetahui dan menganalisis fungsi pertunjukan drama klasik Sanggar Teater Mini lakon Dewa Ruci. Secara umum, penelitian ini bertujuan untuk mengetahui keberadaan dan peranan penting dari nilai-nilai pendidikan karakter dalam pertunjukan pertunjukan drama klasik Sanggar Teater Mini lakon Dewa Ruci . Secara khusus, penelitian ini bertujuan untuk menjelaskan bentuk struktur dramatik dan fungsi pertunjukan drama klasik Sanggar Teater Mini lakon Dewa Ruci. Penelitian ini dirancang sebagai penelitian kualitatif dengan menggunakan dua teori : teori estetika dan teori fungsional struktural. Metode-metode pengumpulan data yang digunakan meliputi observasi, wawancara, dokumentasi dan kepustakaan.Seluruh data diolah menggunakan tehnik deskriptif interpretatif. Hasil dari penelitian ini adalah sebagai berikut ; Bentuk struktur dramatik pertunjukan drama klasik Sanggar Teater Mini lakon Dewa Ruci  adalah sebagai berikut   : (1) tema, (2) alur,  (3) latar, (4) penokohan, (5) insiden dan (6) amanat. Sedangkan fungsi drama klasik Sanggar Teater Mini lakon Dewa Ruci  adalah sebagai  berikut : (1) fungsi ekonomi,   (2) fungsi hiburan, (3) fungsi promosi  dan (4) fungsi komunikasi.  ABSTRACT Basically, the value of character education has three interrelated parts, namely moral knowledge, moral appreciation and moral behavior. Therefore someone with good character, knows, wants, and does good. All three are conditions for guiding a moral life and building moral maturity. In doing character education does not have to add a separate program, but it can be through cultural transformation, one of which is the values ​​of character education can be conveyed through drama performing arts, especially classical drama performances. To answer the above problem, in terms of knowing the value of character education through the transformation of Balinese culture in the form of a classic Mini Theater studio performance, it is necessary to make a study of the value of character education in the performance of the Sanggar Teater Mini classic drama with Dewa Ruci play. This research entitled "Dramatic Structure of the Classical Drama Performance of Teater Mini lakon Dewa Ruci". Studies (Forms and Functions) "are the results of an in-depth study of the dramatic structure of classical drama performances. This research raises two main issues, namely: 1) to find out and analyze the dramatic structural forms of the Sanggar Teater Mini classical drama performance Dewa Ruci play; 2) to find out and analyze the function of the Sanggar Teater Mini lakon Dewa Ruci performance. In general, this study aims to find out the existence and important role of character education values ​​in the performance of the classic Sanggar Teater Mini lakon Dewa Ruci performance. Specifically, this study aims to explain the dramatic structure and function of the classical drama performances of Sanggar Teater Mini Dewa Ruci play. This research was designed as qualitative research using two theories: aesthetic theory and structural functional theory. Data collection methods used include observation, interviews, documentation and literature. All data are processed using interpretive descriptive techniques. The results of this study are as follows; The form of the dramatic structure of the Sanggar Teater Mini classical drama performances by Dewa Ruci are as follows: (1) theme, (2) plot, (3) background, (4) characterization, (5) incident and (6) mandate. While the function of the classical drama Sanggar Teater Mini lakon Dewa Ruci is as follows: (1) economic function, (2) entertainment function, (3) promotion function and (4) communication function.

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