Tragedy and Metatheatre: Essays on Dramatic Form (review)

2006 ◽  
Vol 58 (1) ◽  
pp. 165-166
Author(s):  
Jenn Stephenson
Keyword(s):  
Dramatic Form

The Chemical Effect in Medicine Interaction Determining the Form and Speed of Psychical Involution in the Prosthetic Restauration in the Edentulous

2018 ◽  
Vol 69 (8) ◽  
pp. 2306-2310
Author(s):  
Aureliana Caraiane ◽  
Razvan Leata ◽  
Veronica Toba ◽  
Doina Vesa ◽  
Luana Andreea Macovei ◽  
...  
Keyword(s):  
Practical Importance ◽  
Psychosocial Problems ◽  
Well Being ◽  
The Elderly ◽  
Chemical Effect ◽  
Special Importance ◽  
Dramatic Form ◽  
Specific Disorders ◽  
The Individual ◽  
Made In

The progress made in dentistry during the latest decades is due, conceptually, to the new, systemic vision of man, which has also taken place in this field of medicine. In this context, the link between organic and psychic is indestructible. Thus illness is understood as a drama in which the somatic process has a psychic value, and the mental one has a body value. It is known that the morphological and functional integrity of the dental system, health and vigorousness, gives the individual a state of well-being that affects his somatic and psychic health, as any disturbance at this level entails repercussions in psychological and social behavior. Such a disruption is the total edification that seriously alters not only the dental system but the whole organism, putting various biological and psychosocial problems to the practitioner. The total expression represents not only a physical disability but also a psychological one. A special importance in studying psychological changes at total edentulous presents the psychological aspects of senile involution. This is not only a theoretical but also a practical importance due to the increase in the number of elderly people. Through the researches of the present paper we intend to present the reality of the psychological manifestations in the total edentation, which is objectified on different methods of psychodiagnosis in the first part, in order for the second part to be addressed to problems of prosthetic psychotherapy.The study comprises a group of 43 patients, of whom 24 were men and 19 women with total uni or bimaxilar edentation. Total edentation can be and is responsible for somatopsychic alterations, along with other pathogens, general, local, social, which sometimes can take a dramatic form, converting, where the area is also favorable, a pure somatic disease, for those who are not in psychopathy or even psychosis, although these latter cases are extremely rare and especially in youngsters, which would disrupt not only the person�s behavior as an individual, but also their status, function and social integrity. The treatment of dental and psychological complex is mandatory for any patient, but especially for the elderly, where recovery is more difficult, with disease-specific disorders adding to those of senescence.

Shakespeare's Hamlet

2017 ◽  
Keyword(s):  
Literary Criticism ◽  
Literary Works ◽  
Dramatic Form

Hamlet has long been recognized as concerned with fundamental philosophical issues about identity, responsibility, intimacy, mourning, and agency. How is the play’s address to these issues structured by its distinctively powerful literary-dramatic form and language? What might philosophy have to learn from its mode of address? Is such learning affected by Hamlet being not merely literature, but literature designed to be embodied and voiced on a stage? And what light, in turn, might attention to philosophical themes cast on the play’s development and interest, in other words, does literary criticism gain or lose when tempted to employ literary works as gateways enabling abstract reflection? This book brings together a team of leading literary scholars and philosophers who were invited to probe philosophical dimensions of Shakespeare’s Hamlet. Authors diverge in what they focus on: what is shown by Hamlet’s words, what is shown by Hamlet (despite his words), what is shown by Hamlet, what is shown by Hamlet’s interpreters. “Philosophy in literature” does not, accordingly, possess a consistent meaning throughout this volume. Some essays inquire into Hamlet’s own insights. Others assess the significance of philosophy’s literary-dramatic framing by this play. Still others trace the philosophically relevant underpinnings exposed by historical transformations in Hamlet’s reception. Subjectivity, knowledge, sex, grief, self-theatricalization—these are but some of the topics examined in overlapping ways in the emerging symposium.

Duality Myths

2018 ◽  
Author(s):  
Elizabeth Schechter
Keyword(s):  
Narrative Art ◽  
Split Brain ◽  
Dramatic Form ◽  
Natural Way

This chapter addresses the intuitive fascination of the split-brain phenomenon. According to what I call the standard explanation, it is because we ordinarily assume that people are psychologically unified, while split-brain subjects are not psychologically unified, which suggests that we might not be unified either. I offer a different interpretation. One natural way of grappling with people’s failures to conform to various assumptions we make about them is to conceptualize them as having multiple minds. Such multiple-minds models take their most dramatic form in narrative art as duality myths. The split-brain cases grip people in part because the subjects strike them as living embodiments of such myths.

Prenatal Influences

PEDIATRICS ◽  
1962 ◽  
Vol 30 (5) ◽  
pp. 775-775
Author(s):  
DUNCAN E. REID
Keyword(s):  
Fetal Development ◽  
Placental Transport ◽  
Dramatic Form

This book, which comprises a discussion of the factors concerned with fetal development, is written evidently with the design of capturing both medical and lay readers. Hence, some of the statements that appear throughout the book might seem a bit trite and obvious to the physician. In a somewhat dramatic form, the book opens with a factual account of the development of the conceptus. This is followed by most complete chapters on placental transport and nutrition.

A Note on form and Meaning in the Oresteia

1964 ◽  
Vol 11 (2) ◽  
pp. 179-184
Author(s):  
C. W. Amerasinghe
Keyword(s):  
Social Issues ◽  
Point Of View ◽  
Scholarly Literature ◽  
Dramatic Form ◽  
Dramatic Technique

The volume of scholarly literature on Aeschylus is already so large that an attempt to make even the minutest addition to it may well appear rash. But the standard literature has most often dealt with the dramatic technique of Aeschylus and with the moral or social issues raised by him. This is true even of Kitto's work, Form and Meaning in Drama. Thus, in his preface, he states, ‘The presumption with Aeschylus, Sophocles and Shakespeare, when he wrote Hamlet, is that the dramatist was competent. If the dramatist had something to say and if he was a competent artist, the presumption is that he has said it and that we, by looking at the form which he has created, can find out what it is’; that is to say, he was thinking of dramatic form. This article is concerned with an aspect of form which does not appear to have received sufficient attention. I would call it the ‘poetic’ aspect of form. ‘Poetry’ is not easy to define, but one of the ‘tentative formulas’ given by Lattimore expresses what I mean. ‘What is directed’, he said, ‘neither to the emotion nor the intellect but to the imagination is the poetry of the plays.’ Aeschylus is a poet even more than he is a dramatic artist. One would naturally, therefore, expect to find in his plays much of the stuff that is directed towards the imagination. This ‘poetic’ element is to a large extent communicated through the form, which will enhance his meaning or will even be an image of his thought. It is from this point of view that I propose, in this note, to examine the Oresteia, in the hope that it may throw some light on many of the peculiarities of construction that are so prominent a feature of the trilogy.

The Liturgical Basis of The Towneley Mysteries

PMLA ◽  
1909 ◽  
Vol 24 (3) ◽  
pp. 419-469
Author(s):  
F. W. Cady
Keyword(s):  
York Cycle ◽  
Dramatic Form ◽  
The Relationship

The Towneley Mysteries have two remarkable characteristics which have attracted the attention of scholars: they contain a number of plays borrowed directly from the York cycle and they also contain a number of other plays so conspicuous for their highly dramatic form that the cycle may be said to have reached in them the highest point in the dramatic development of the English Mystery. Various theories have been advanced to account for the presence of these two sets of plays in Towneley and especially for the relationship, and its extent, of Towneley and York. The two theories of greatest interest are those of Professor Davidson and Professor Hohlfeld. A third, advanced by Mr. Pollard, is practically the same as Professor Hohlfeld's, with one or two slight modifications, which hardly concern us here.

scholarly journals Gruesomeness conveys formidability: Perpetrators of gratuitously grisly acts are conceptualized as larger, stronger, and more likely to win

2019 ◽  
Author(s):  
Coltan Scrivner ◽  
Colin Holbrook ◽  
Daniel M.T. Fessler ◽  
Dario Maestripieri
Keyword(s):  
Terrorist Organizations ◽  
Modern Times ◽  
Dramatic Form

While associated with extreme terrorist organizations in modern times, extensive accounts of grisly acts of violence exist in the archeological, historical, and ethnographic records. Though reasons for this dramatic form of violence are multifaceted and diverse, one possibility is that violence beyond what is required to win a conflict is a method by which violent actors communicate to others that they are formidable opponents. The Formidability Representation Hypothesis predicts that formidability is cognitively represented using the dimensions of envisioned bodily size and strength. We tested the informational ramifications of gruesome acts using two vignette studies depicting individuals who either did or did not grievously damage the corpse of a deceased foe. Participants rated the individual’s height, bodily size and strength, as well as his aggressiveness, motivation, and capacity to vanquish opponents in future conflicts. Results indicate that, as predicted, committing gruesome acts of violence enhances perceptions of formidability as measured both by envisioned bodily size and strength and expectations regarding the outcomes of agonistic conflicts. Moreover, the gruesome actor was perceived as more aggressive and more motivated to overcome his enemies, and this mediated the increase in conceptualized size and strength. These results both provide further evidence for the Formidability Representation Hypothesis and support the thesis that overtly grisly violence is tactically employed in part because it conveys information about the perpetrator’s formidability.

scholarly journals Tragedy and social drama in Arthur Miller's Death of a Salesman

2019 ◽  
Author(s):  
AWEJ-tls for Translation & Literary Studies ◽  
Tahar Bayouli ◽  
Imed Sammali
Keyword(s):  
Social Protest ◽  
Social Drama ◽  
Dramatic Form ◽  
Genre Classification ◽  
The Social ◽  
The Status ◽  
Death Of A Salesman

This paper examines the issue of genre classification in Death of a Salesman by focusing on the dialectic relation at the heart of the play’s structure between tragedy and social drama. It argues that the tragic resolution brought to the theme of social protest and the characterization of the protagonist is what gives the play its unique place as the quintessential modern tragedy. It is concluded that tragedy and the social theme are not mutually destructive in Death of a Salesman as some critics stated. Rather, they are combined to make an intense dramatic treatment of the modern American individual’s most pressing issues. Without being constrained by prescriptive standardized rules, Miller produced a dramatic form that rightly claims the status of what can be labeled a modern tragedy, appealing to modern audiences as rarely any other modern play did.

scholarly journals It’s Even Here! Two Rare Cases of Pyriformis Myocysticercus

2016 ◽  
Vol 55 (203) ◽  
pp. 29-32
Author(s):  
Mahesh Prakash ◽  
Pankaj Gupta ◽  
Ajay Gulati ◽  
Niranjan Khandelwal
Keyword(s):  
Magnetic Resonance Imaging ◽  
Central Nervous System ◽  
Case Reports ◽  
Taenia Solium ◽  
Central Nervous System Involvement ◽  
Resonance Imaging ◽  
Larval Form ◽  
Keywords Magnetic Resonance Imaging ◽  
Dramatic Form

Cysticercus, the larval form of Taenia Solium, a tapeworm, can infest various tissues in the human body. Though central nervous system involvement is the most dramatic form of infestation, several other uncommon sites of has been reported in the literature. One such involvement is that of the musculature. The most easily recalled manifestation of myocysticercus is that in the orbit where the patients present with painful proptosis. However, other less common muscular sites of involvement are documented in case reports. To the best of our knowledge, there are no documented cases of pyriformis muscle infestation with cysticercus. We came across two interesting cases, where imaging established the diagnosis of isolated pyriformis cysticercosis. Follow up after one month of anti-elminthic treatment imaging revealed disappearance of the lesions. Keywords: magnetic resonance imaging,myocysticercosis; pyriformis; ultrasound. | PubMed

Symphonic Imagery in Richard II

PMLA ◽  
1947 ◽  
Vol 62 (2) ◽  
pp. 339-365
Author(s):  
Richard D. Altick
Keyword(s):  
Small Group ◽  
Musical Composition ◽  
Walter Pater ◽  
Richard Ii ◽  
Antony And Cleopatra ◽  
Twelfth Night ◽  
Single Strain ◽  
The Tempest ◽  
Dramatic Form

Critics on occasion have remarked the peculiar unity of tone which distinguishes Richard II from most of Shakespeare's other plays. Walter Pater wrote that, like a musical composition, it possesses “a certain concentration of all its parts, a simple continuity, an evenness in execution, which are rare in the great dramatist. … It belongs to a small group of plays, where, by happy birth and consistent evolution, dramatic form approaches to something like the unity of a lyrical ballad, a lyric, a song, a single strain of music.” And J. Dover Wilson, in his edition of the play, has observed that “Richard II possesses a unity of tone and feeling greater than that attained in many of his greater plays, a unity found, I think, to the same degree elsewhere only in Twelfth Night, Antony and Cleopatra, and The Tempest.”

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