DOCSLIB.ORG

Bibliography

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
Bibliography Bibliography Abrahams, A. (2011a) Interviewed by Evi Tsirigotaki for ‘Simeio Art’. Greek Public Television NET. Available at: http://aabrahams.wordpress.com/tag/eve-tsirigotaki/; https://www.youtube.com/watch?v=0eE36dwhLgg (Both accessed: 31 January 2013). Abrahams, A. (2011b) ‘Trapped to reveal: on webcam mediated communication and collaboration’. Journal for Artistic Research. Available at: http://www. researchcatalogue.net/view/18236/18237 (Accessed: 11 June 2013). Abrahams, A. (2011–12) Angry Women: An Artistic Research Project. Available at: http://www.bram.org/angry/ women/ (Accessed: 17 January 2014). Abrahams, A. (2012) Interviewed by Christina Papagiannouli. 30 November. Available at: http:// etheatre.info/e_theatre/Annie_Abrahams.html (Accessed: 16 January 2014). Adams, M., Ball, M., Robertson, M., Thornbury, S. and Tims, C. (2010) ‘The digital democracy’. The LIFT Talks, 24 June. Available at: http://www.liftfest.com/events/ past-events/2010-lift-festival/the-lift-talks (Accessed: 15 January 2014). Andrews, B. (2001) ‘Brechtian V-effect updated: implications for poetic praxis’. Crayon, 3, pp. 1–12. Available at: http://fordhamenglish.squarespace. com/storage/Bruce%20Andrews%2022Brechtian%20 V-Effect%20Updated22.pdf (Accessed: 19 January 2014). Anstey, J. (2007) ‘Theater and virtual reality’. Noema, Special Section on Drama, Performance and Digital Multimedia, DOI: 10.1057/9781137577047.0009 Bibliography 19th Cairo International Festival for Experimental Theater, Special Arts. Available at: http://org.noemalab.eu/sections/specials/cairo_drama_ conference/Anstey_Cairo.pdf (Accessed: 26 January 2013). Anywhere (2013) Available at: http://anywherefest.com/ (Accessed: 18 January 2014). Aristotle (1981) [1962] The Politics. Translated by T. A. Sinclair. Revised and re-presented by Trevor J. Saunders. Penguin Classics Series. Middlesex: Penguin. Artaud, A. (1958) [1938] The Theater and Its Double. Translated by Mary Caroline Richards. New York: Grove Weidenfeld. Arts and Humanities Research Council. (2012) ‘Funding opportunities: digital research & development fund for the arts’. Arts and Humanities Research Council. Available at: http://www.ahrc.ac.uk/Funding- Opportunities/Pages/Digital-Research-Development-Fund-for-the- Arts.aspx (Accessed: 9 January 2014). Arts Council England (2012) Annual Review 2010/11. London: The Stationery Office. Available at: http://www.artscouncil.org.uk/ media/uploads/pdf/ACEannual_review201011_Accessible_PDF.pdf (Accessed: 9 June 2013). Ashcroft, B., Griffiths, G. and Tiffin, H. (2002)The Empire Writes Back: Theory and Practice in Post-Colonial Literatures, 2nd edn. London and New York: Routledge. Auslander, P. (1999) Liveness: Performance in a Mediatized Culture. Oxon, UK: Routledge. Bakhshi, H. and Throsby, D. (2010) ‘Culture of innovation: an economic analysis of innovation in arts and cultural organisations’. NESTA Research Report, 10 June. London: NESTA. Available at: http://www. nesta.org.uk/sites/default/files/culture_of_innovation.pdf (Accessed: 9 January 2014). Bakhtin, M. (1981) The Dialogic Imagination: Four Essays. Edited by M. Holquist. Translated by C. Emerson and M. Holquist. Austin: University of Texas Press. Ball, M. (2013) ‘Digital futures: “It’s the network, stupid” ‘. The Guardian, 19 February. Available at: http://www.theguardian.com/culture- professionals-network/culture-professionals-blog/2013/feb/19/ clore-essays-digital-arts-network (Accessed: 9 October 2013). Ban Ki-moon (2013) ‘[Message for] International Migrants Day: 18 December’. United Nations. Available at: http://www.un.org/en/ events/migrantsday/ (Accessed: 9 July 2014). DOI: 10.1057/9781137577047.0009 Bibliography Barnett, D. (2011) ‘Undogmatic Marxism: Brecht rehearses at the Berliner’, in Bradley, L. and Leeder, K. (eds) Brecht and the GDR: Politics, Culture, Posterity. Edinburgh German Yearbook: Volume 5. Rochester and New York: Camden House, pp. 25–44. Barnett, D. (2012) ‘Dusting off a lively corpse: excavating Brecht the director from the archive’. TaPRA Directing and Dramaturgy Working Group Paper, TaPRA 2012 Conference, 6 September. Canterbury: University of Kent. Abstract available at: http://tapra.org/category/ news-calls/tapra-conference-2012/ (Accessed: 19 January 2014). Barnett, D. (2013) ‘The Berliner Ensemble: Bertolt Brecht’s theories of theatrical collaboration as practice’, in Britton, J. (ed.) Encountering Ensemble. London and New York: Bloomsbury Methuen Drama, pp. 126–141. Barnett, D. (2015) Brecht in Practice: Theatre, Theory and Performance. London and New York: Bloomsbury Methuen Drama Engage. Beardshaw, T. (2012) ‘The next step to social networking is building your own online community’. The Guardian, 18 January. Available at: http://www.theguardian.com/culture-professionals-network/culture- professionals-blog/2012/jan/18/social-network-arts-wales-theatre (Accessed: 8 October 2013). Beaudry, J. and El Baroni, B. (2010) ‘Postscript’, in Miessen, M., The Nightmare of Participation (Crossbench Praxis as a Mode of Criticality). Berlin: Sternberg Press, pp. 253–256. Available at: http://www. boxwith.com/2010/11/02/a-postscript-to-the-nightmare-of- participation/ (Accessed: 4 January 2014). Beckley, R. (1962) ‘Adaptation as a feature of Brecht’s dramatic technique’. German Life and Letters, 15(4), pp. 274–284. Bennett, J. and Kennedy, R. (2003) ‘Introduction’, in Bennett, J. and Kennedy, R. (eds) World Memory: Personal Trajectories in Global Time. Hampshire: Palgrave Macmillan, pp. 1–15. Bhabha, H. K. (1995) ‘Cultural diversity and cultural differences’, in Ashcroft, B., Griffiths, G. and Tiffin, H. (eds)The Post-Colonial Studies Reader. London and New York: Routledge, pp. 155–157. Available at: http://www.everydayarchive.org/art500/wp-content/uploads/2011/08/ bhabha_cultural-diversity.pdf (Accessed: 20 January 2014). Bishop, C. (2006) ‘The social turn: collaboration and its discontents’. Artforum, February, pp. 178–183. Available at: http://www.gc.cuny.edu/ CUNY_GC/media/CUNY-Graduate-Center/PDF/Art%20History/ Claire%20Bishop/Social-Turn.pdf (Accessed: 18 January 2014). DOI: 10.1057/9781137577047.0009 Bibliography Bishop, C. (2012) Artificial Hells: Participatory Art and the Politics of Spectatorship. New York: Verso. Blandford, S. (2013) ‘Introduction’, in Blandford, S. (ed.) Theatre & Performance in Small Nations. Bristol: Intellect Ltd., pp. 1–18. Blast Theory (2014) ‘Our history and approach’. Blast Theory. Available at: http://www.blasttheory.co.uk/our-history-approach/ (Accessed: 11 January 2014). Bolter, J. D. and Grusin, R. (2000) Remediation: Understanding New Media. Cambridge, MA: MIT Press. Bradley, L. (2006) Brecht and Political Theatre: The Mother on Stage. Oxford, UK: Clarendon Press. Brager, Ø. U. (2012) Interviewed by Christina Papagiannouli. 29 April. Available at: http://etheatre.info/e_theatre/ystein_Ulsberg_Brager. html (Accessed: 16 January 2014). Brecht, B. (1930) He Said Yes / He Said No. Digitalized by RevSocialist for SocialistStories. Available at: http://socialiststories.net/liberate/ He%20Said%20Yes,%20He%20Said%20No%20-%20Bertolt%20 Brecht.pdf (Accessed: 20 January 2014). Brecht, B. (1964a) [1932] ‘An example of pedagogics’, in Willett, J. (ed. and transl.) Brecht on Theatre: The Development of an Aesthetic. New York: Hill and Wang, pp. 31–32. Brecht, B. (1964b) [1932] ‘The radio as an apparatus of communication’, in Willett, J. (ed. and transl.) Brecht on Theatre: The Development of an Aesthetic. New York: Hill and Wang, pp. 51–52. Brecht, B. (1964c) [1933] ‘New technique of acting’, in Willett, J. (ed. and transl.) Brecht on Theatre: The Development of an Aesthetic. New York: Hill and Wang, pp. 136–147. Brecht, B. (1964d) [1949] ‘A short organum for the theatre’, in Willett, J. (ed. and transl.) Brecht on Theatre: The Development of an Aesthetic. New York: Hill and Wang, pp. 179–208. Broadhurst, S. (2007) Digital Practices: Aesthetic and Neuroaesthetic Approaches to Performance and Technology. New York: Palgrave Macmillan. Brock, K., Cornwall, A. and Gaventa, J. (2001) ‘Power, knowledge and political spaces in the framing of poverty policy’. IDS Working Paper 143. Sussex: Institute of Development Studies (IDS). Available at: http://www.ids.ac.uk/idspublication/power-knowledge-and- political-spaces-in-the-framing-of-poverty-policy (Accessed: 5 December 2011). DOI: 10.1057/9781137577047.0009 Bibliography Brook, P. (1996) ‘Peter Brook’, in Delgado, M. M. and Heritage, P. (eds) In Contact with the Gods?: Directors Talk Theatre. Manchester and New York: Manchester University Press, pp. 36–54. Cardwell, S. (2002) Adaptation Revisited: Television and the Classic Novel. Manchester and New York: Manchester University Press. Carney, S. (2005) Brecht and Critical Theory: Dialectics and Contemporary Aesthetics. Oxon and New York: Routledge. Carpentier, N. and Cammaerts, B. (2006) ‘Hegemony, democracy, agonism and journalism: an interview with Chantal Mouffe’. Journalism Studies, 7(6), pp. 964–975 (PDF pp. 1–14). Available at: http://eprints.lse.ac.uk/3020/; http://eprints.lse. ac.uk/3020/1/Hegemony%2C_democracy%2C_agonism_and_ journalism_%28LSERO%29.pdf (Accessed: 22 November 2013). Cartledge, P. (1997) ‘ “Deep plays”: theatre as process in Greek civil life’, in Easterling, P. E. (ed.) The Cambridge Companion to Greek Tragedy. Cambridge: Cambridge University Press, pp. 3–35. Case, S. E. (2007) ‘Digital divas: sex and gender in cyberspace’, in Detsi-Diamanti, Z., Kitsi-Mitakou, K. and Yiannopoulou, E. (eds) The Flesh Made Text Made Flesh: Cultural and Theoretical
Load more

Recommended publications
  • Exploring Distancing in the Work of Dorothy Heathcote: Estrangement As Poetic Distortion
    ISSN 2040-2228 Vol. 5 No. 1 April 2014 Drama Research: international journal of drama in education Article 1 Exploring distancing in the work of Dorothy Heathcote: Estrangement as poetic distortion Stig A. Eriksson National Drama Publications www.dramaresearch.co.uk [email protected] www.nationaldrama.org.uk Drama Research Vol. 5 No. 1 April 2014 Exploring distancing in the work of Dorothy Heathcote: Estrangement as poetic distortion ____________________________________________________________________ Stig A. Eriksson Abstract This article introduces the reader to a range of terms that have historically been applied to the notion of distancing, which in the author’s view was a major component of Heathcote`s work. These terms have emerged from various artistic and theoretical positions, particularly in Romanticism and Modernism. They include estrangement, ostranenie, Verfremdung, Entfremdung, and apostasiopoiēsis. Across the literature they have at times become tangled and misunderstood, resulting in unfortunate and confusing applications. To support a clearer understanding of distancing within Heathcote’s work, a historical survey of these terms is first offered. The article then moves on to consider Heathcote’s own thoughts about distance creation and especially estrangement and distortion. It concludes by suggesting the term poetic distortion as an appropriate way of describing her approach. Article 1 Exploring distancing in the work of Dorothy Heathcote: Estrangement as poetic distortion 2 Drama Research Vol. 5 No. 1 April 2014 Introduction In my doctoral dissertation, Distancing at Close Range (Eriksson 2009), distancing is presented as a poetic device as much as a pedagogical strategy, a dramaturgical convention as much as an acting technique, an aesthetic attitude as much as an aesthetic tradition.
    [Show full text]
  • The Impact of Brechtian Theory on the Production and Performance of 1789 by Ariane Mnouchkine’S Théâtre Du Soleil
    Opticon1826, Issue 10, Spring 2011 THEATRE FOR THE PEOPLE: THE IMPACT OF BRECHTIAN THEORY ON THE PRODUCTION AND PERFORMANCE OF 1789 BY ARIANE MNOUCHKINE’S THÉÂTRE DU SOLEIL By Agnieszka Karch Ariane Mnouchkine is a contemporary French theatre director, associated with the Théâtre du Soleil, known for its ‘activism, formalism and cosmopolitanism’ (Singleton 2010, 29). Her theatre, made by the people and for the people, breaks with the traditional perception of theatre as elitist. Her revolutionary status in the profession can be explained through her belief in the power of collaborative theatre (création collective) as the most democratic art form, capable of dealing with political questions. The redistribution of the power of decision-making in the process of production and staging can be seen as a metaphor of a political system based on civic participation. Mnouchkine’s theatre teaches the audience how to react critically to what is being observed, and to translate this reaction into political activism and participation, in shaping their community. One of the central elements of her philosophy is to make the spectators aware of their potential to participate in the process of change. Instead of passively witnessing the unfolding of political and social events, citizens should feel encouraged to act and to note their personal impact on history. Such an approach is almost certainly inspired by the work of an earlier artist whose creation also falls into the category of political theatre – that of Bertolt Brecht. Brecht was known for having coined the term Verfremdung, crucial in achieving a critical response, and which can be described as the opposite of the suspension of disbelief, commonly cited as a requirement for most forms of entertainment.1 In the Brechtian epic theatre, the spectator must be aware of the fictional character of the play.
    [Show full text]
  • Bertolt Brecht - Poems
    Classic Poetry Series Bertolt Brecht - poems - Publication Date: 2012 Publisher: Poemhunter.com - The World's Poetry Archive Bertolt Brecht(10 February 1898 – 14 August 1956) Eugen Berthold Friedrich Brecht; was a German poet, playwright, and theatre director. An influential theatre practitioner of the 20th century, Brecht made equally significant contributions to dramaturgy and theatrical production, the latter particularly through the seismic impact of the tours undertaken by the Berliner Ensemble — the post-war theatre company operated by Brecht and his wife, long-time collaborator and actress Helene Weigel. <b>Life and Career</b> Bavaria (1898–1924) Bertolt Brecht was born in Augsburg, Bavaria, (about 50 miles (80 km) north- west of Munich) to a conventionally-devout Protestant mother and a Catholic father (who had been persuaded to have a Protestant wedding). His father worked for a paper mill, becoming its managing director in 1914. Thanks to his mother's influence, Brecht knew the Bible, a familiarity that would impact on his writing throughout his life. From her, too, came the "dangerous image of the self-denying woman" that recurs in his drama. Brecht's home life was comfortably middle class, despite what his occasional attempt to claim peasant origins implied. At school in Augsburg he met Caspar Neher, with whom he formed a lifelong creative partnership, Neher designing many of the sets for Brecht's dramas and helping to forge the distinctive visual iconography of their epic theatre. When he was 16, the First World War broke out. Initially enthusiastic, Brecht soon changed his mind on seeing his classmates "swallowed by the army".
    [Show full text]
  • A Discussion of the Role of Epic Music in Bertolt Brecht's Plays. Mphil(R) Thesis
    Rambo-Hood, Markee H. (2009) What a difficult task it is for music to fulfil the demands of an epic theatre: a discussion of the role of epic music in Bertolt Brecht's plays. MPhil(R) thesis. http://theses.gla.ac.uk/2298/ Copyright and moral rights for this thesis are retained by the author A copy can be downloaded for personal non-commercial research or study, without prior permission or charge This thesis cannot be reproduced or quoted extensively from without first obtaining permission in writing from the Author The content must not be changed in any way or sold commercially in any format or medium without the formal permission of the Author When referring to this work, full bibliographic details including the author, title, awarding institution and date of the thesis must be given Glasgow Theses Service http://theses.gla.ac.uk/ [email protected] What a Difficult Task it is for Music to Fulfil the Demands of an Epic Theatre: a Discussion of the Role of Epic Music in Bertolt Brecht‟s Plays. By Markee H. Rambo-Hood Master of Philosophy University of Glasgow: Faculty of Arts and Humanities Theatre Studies Submitted September 2009 © Markee H. Rambo-Hood, September 2009 I would like to thank my advisors Anselm Heinrich and Vicky Price for all of their feedback, knowledge and confidence in my ability to complete this research. Their support has allowed me to grow and exceed past my own expectations. I would also like to thank Stefani Walens for her encouragement, amazing piano skills and for introducing me to Weill and Brecht.
    [Show full text]
  • The Role of the Merchant in Bertolt Brecht's the Exception and The
    Louisiana State University LSU Digital Commons LSU Master's Theses Graduate School 2007 The oler of the merchant in Bertolt Brecht's The Exception and the Rule: a production thesis in acting Mark Jaynes Louisiana State University and Agricultural and Mechanical College, [email protected] Follow this and additional works at: https://digitalcommons.lsu.edu/gradschool_theses Part of the Theatre and Performance Studies Commons Recommended Citation Jaynes, Mark, "The or le of the merchant in Bertolt Brecht's The Exception and the Rule: a production thesis in acting" (2007). LSU Master's Theses. 1508. https://digitalcommons.lsu.edu/gradschool_theses/1508 This Thesis is brought to you for free and open access by the Graduate School at LSU Digital Commons. It has been accepted for inclusion in LSU Master's Theses by an authorized graduate school editor of LSU Digital Commons. For more information, please contact [email protected]. THE ROLE OF THE MERCHANT IN BERTOLT BRECHT’S THE EXCEPTION AND THE RULE: A PRODUCTION THESIS IN ACTING A Thesis Submitted to the Graduate Faculty of the Louisiana State University and Agricultural and Mechanical College in partial fulfillment of the requirements for the degree of Master of Fine Arts in The Department of Theatre by Mark Jaynes B.A., Western Michigan University, 2004 May 2007 ACKNOWLEDGMENTS To acknowledge everyone I want to acknowledge would constitute an entire thesis itself and still I’d surely forget too many. I’ve probably already thanked those people to their faces anyway. If I haven’t I will. So I will instead focus on acknowledgments for this production solely.
    [Show full text]
  • Bertolt Brecht's the Caucasian Chalk Circle
    Butler University Digital Commons @ Butler University Scholarship and Professional Work - LAS College of Liberal Arts & Sciences 2013 A Metonymic Translation: Bertolt Brecht’s The Caucasian Chalk Circle Xiaoqing Liu Butler University, [email protected] Follow this and additional works at: https://digitalcommons.butler.edu/facsch_papers Part of the Translation Studies Commons Recommended Citation Liu, Xiaoqing, "A Metonymic Translation: Bertolt Brecht’s The Caucasian Chalk Circle" Translation: A Transdisciplinary Journal / (2013): 133-158. Available at https://digitalcommons.butler.edu/facsch_papers/848 This Article is brought to you for free and open access by the College of Liberal Arts & Sciences at Digital Commons @ Butler University. It has been accepted for inclusion in Scholarship and Professional Work - LAS by an authorized administrator of Digital Commons @ Butler University. For more information, please contact [email protected]. A Metonymic Translation: Bertolt Brecht’s The Caucasian Chalk Circle Liu Xiaoqing The Caucasian Chalk Circle is one of the most important works of the German playwright Bertolt Brecht (1898–1956). It is also one of the most widely performed modern plays in the West. However, this critically acclaimed play is not purely Brecht’s “originality” but is indebted to an ancient Chinese play, Li Xingdao’s Hui Lan Ji ♄䯥䆄 (The Story of the Circle of Chalk).1 Brecht acknowledged his adaptation in the prologue of The Caucasian Chalk Circle in the voice of the singer: “It is called ‘The Chalk Circle’ and comes from the Chinese. But we’ll do it, of course, in a changed version” (Brecht 1983, 126). The “changed version” Brecht made was for the Broadway stage during his exile in America.
    [Show full text]
  • Frimberger-LIC-2016-A-Brechtian
    Frimberger, Katja (2016) A Brechtian theatre pedagogy for intercultural education research, Journal of Languages and Intercultural Communication, Volume 16, Issue 2, pp. 130-147 Link to publication: http://www.tandfonline.com/doi/full/10.1080/14708477.2015.1136639 Abstract The following article explores the potential of Bertolt's Brecht's theatre pedagogy for intercultural education research. It is argued that Brecht's pedagogical views on theatre connect to those interculturalists who prioritise the embodied dimensions of intercultural encounters over a competence-driven orientation. Both share a love for aesthetic experimentation as the basis for learning and critical engagement with a complex world. The article outlines how a Brechtian theatre pedagogy was enacted as part of four drama- based research workshops, which were designed to explore international students' intercultural 'strangeness' experiences. It is described how a participant account of an intercultural encounter was turned into a Brechtian playscript by the author and then performed by participants. The analysis is based on the author's as well as the performers' reflections on the scripting process and their performance experiences. It is argued that a Brechtian pedagogy can lead to collective learning experiences, critical reflection and an embodied understanding of intercultural experience in research. The data produced by a Brechtian research pedagogy is considered 'slippery' (aesthetic) data. It is full of metaphoric gaps and suitably resonates the affective dimensions and subjective positionings that constitute intercultural encounters. Der folgende Artikel untersucht das Potenzial der Brechtschen Theaterpädagogik für die interkulturelle Bildungsforschung. Es wird argumentiert, dass Brecht's pädagogische Sicht auf das Theater an die Interkulturalisten und Pädagogen anknüpft, die die körperbezogenen und affektiven Dimensionen der interkulturellen Begegnung über eine kompetenz- orienterte Ausrichtung betonen.
    [Show full text]
  • Lesson Planning Form - Drama
    Drama@Coombeshead College – Lower Sixth Induction Coombeshead LOWER SIXTH Drama Department INDUCTION TO PRACTITIONERS Artaud Stanislavski Brecht AWP/KM - 1 - Drama@Coombeshead College – Lower Sixth Induction LESSON PLANNING FORM - DRAMA CLASS – LOWER SIXTH DATE Topic – PRACTITIONERS Session(s) 6hrs per practitioner RATIONALE A series of lessons to practically introduce the major themes / ideas of the major playwrights and practitioners needed for AS level study - Bertolt Brecht, Artaud and Stanislavski. A series of exercises devised to introduce the USE of Brechtian/Stanislavskian, Artaudian ideas and theories for the Theatre. HOMEWORK – We are constantly seeking ways to ensure that students experience and then work to improve the skill of writing for just twenty minutes. They are required to do this for their Unit 3 exam. This skill will be developed during this module. At the end of every lesson students are to complete the following homework: • Write for twenty minutes: What did you do in today’s lesson? Discuss the theory you have reflected upon, the practical exercises you have undertaken and then give your personal response to taking part in those exercises. Five paragraphs. One = introduction, Two = Theory, Three = Exercises, Four = personal response, Five = Brief conclusion. Red Text Book – Reference is made throughout of the page numbers in the Red Text Book that a student should make notes from throughout the workshop. It is essential we encourage / model to the students that regular note taking is essential. ARTAUD (6hrs) 1896 – 1948 Theatre of Cruelty LESSON PLAN Notes & Teacher Thinking Introduction What do you understand by the following terms?: Artaud did not leave a system of exercises, productions that we can really reference.
    [Show full text]
  • Brechtian Alienation in Video Games
    Press Start Brechtian Alienation in Video Games Brechtian Alienation in Video Games Daniel Dunne Swinburne University of Technology John St Hawthorn VIC 3122 [email protected] Abstract Immersion is constantly being broken in video games via the intrusion of mechanics and features that cause endless distraction, breaking the player’s engagement in both the game’s narrative and in the gameplay. Yet these breaks are an integral part of games, whether through loading, saving or any other mechanical system that detracts from the playing the core game. While the current literature offers little analysis of these phenomena, Bertolt Brecht’s “Verfremdungseffekt,” or distancing effect, provides a much-needed foundation for the analysis of these sections within games that provoke a feeling of alienation. Keywords Brecht; Alienation; Immersion; Jenette Press Start 2014 | Volume 1 | Issue 1 ISSN: 2055-8198 URL: http://press-start.gla.ac.uk Press Start is an open access student journal that publishes the best undergraduate and postgraduate research, essays and dissertations from across the multidisciplinary subject of game studies. Press Start is published by HATII at the University of Glasgow. Dunne Brechtian Alienation in Video Games Brechtian Alienation in Video Games Introduction Video games, while often sold on the basis of their interactivity, branching stories, and graphics, actually rely on one aspect more than any other to bring players into their worlds: immersion. Immersion is the sensation of being lost in a different life or world so completely that audiences forget they are just experiencing an abstract representation or simulation. As a result of this both players and developers, generally prefer the mechanics and underlying systems to be unobtrusive – when these elements call attention to themselves (through a loading screen or poor user interface) they break the player’s immersion by calling attention to the artificiality of the game worlds (Clarke et al, 2006, pp.
    [Show full text]
  • Literature in English 1914 to the Present- Ii
    LITERATURE IN ENGLISH 1914 TO THE PRESENT- II Code No. EN1009-II M. A. English (Previous) Semester-II DIRECTORATE OF DISTANCE EDUCATION MAHARSHI DAYANAND UNIVERSITY, ROHTAK (A State University established under Haryana Act No. XXV of 1975) NAAC 'A+’ Grade Accredited University Copyright © 2003, Maharshi Dayanand University, ROHTAK All Rights Reserved. No part of this publication may be reproduced or stored in a retrieval system or transmitted in any form or by any means; electronic, mechanical, photocopying, recording or otherwise, without the written permission of the copyright holder. Maharshi Dayanand University ROHTAK – 124 001 Contents Unit-I BERTOLT BRECHT 1 Mother Courage Unit-II GRAHAM GREENE 47 The Heart of Matter Unit-III HAROLD PINTER 78 The Birthday Party Unit-IV TONI MORRISON 123 The Bluest Eye Unit-V PHILIP LARKIN 168 The Poetry of Departure Ambulance Going Going Show Saturday TED HUGHES The Jaguar Bayonet Charge Six Young Men Thrushes Bertolt Brecht 159 BERTOLT BRECHT Mother Courage 2160 Literature in English 1914 to the Present Unit-I Bertolt Brecht 1898-1956 His life and His Times Eugen Berthold Brecht was born in Augsburg on 10 February 1898. The end of the first world war was still not in sight and Brecht was not yet out of his teens when he was drafted into the army in 1917 and posted to an Augsbarg military hospital as a medical orderly. These were momentous times for Germany which was knee-deep into the war. The strain of the prolongation of the war and the effects of the blockade by the Allies had begun to be felt.
    [Show full text]
  • UNIVERSITY of CALIFORNIA Santa Barbara Refracting Ipseity in African
    UNIVERSITY OF CALIFORNIA Santa Barbara Refracting Ipseity in African American Drama A dissertation submitted in partial satisfaction of the requirements for the degree Doctor of Philosophy in Theater Studies by Jesús David Valencia Ramírez Committee in charge: Leo Cabranes-Grant, Chair Professor Christina McMahon Professor William Davies King December 2020 The dissertation of Jesús David Valencia Ramírez is approved. _____________________________________________ Christina McMahon _____________________________________________ William Davies King _____________________________________________ Leo Cabranes-Grant, Committee Chair December 2020 Refracting Ipseity in African American Drama Copyright © 2020 by Jesús David Valencia Ramírez iii ACKNOWLEDGEMENTS Over the past four years I have received support and encouragement from several people. I wish to express my sincere appreciation to my committee chair, Professor Leo Cabranes- Grant, who has been a mentor and a friend. His kind guidance, illuminating suggestions and encouraging advice were determinant for the culmination of this work. I would like to thank my dissertation committee of Professor Christina McMahon and William Davies King, who patiently shared their expertise with me and constantly opened my vision to new perspectives. The support of the Theater and Dance Department at UCSB is truly appreciated. I want to thank Professor Irwin Apple, chair of the department, for his solidarity, and Daniel Stein, whose illuminating remarks gave me crucial insights for my work. I also want to extend my gratitude to Mary Tench and Eric Mills for their relentless commitment to guarantee the wellbeing of every graduate student. Special thanks to Hala Baki, colleague, classmate and friend. I would like to thank the Department of Dramatic Arts at Universidad del Valle, Colombia, especially to Professors Everett Dixon, Alejandro Gonzalez and Ma Zhenghong, who have been my mentors, colleagues and friends.
    [Show full text]
  • Peter Shaffer's Distancing Technique of Time In
    THE USE OF TIME AS AN ELEMENT OF ALIENATION EFFECT IN PETER SHAFFER’S THE ROYAL HUNT OF THE SUN, YONADAB, AND THE GIFT OF THE GORGON SEDA İLTER JUNE 2006 THE USE OF TIME AS AN ELEMENT OF ALIENATION EFFECT IN PETER SHAFFER’S THE ROYAL HUNT OF THE SUN, YONADAB, AND THE GIFT OF THE GORGON A THESIS SUBMITTED TO THE GRADUATE SCHOOL OF SOCIAL SCIENCES OF MIDDLE EAST TECHNICAL UNIVERSITY BY SEDA İLTER IN PARTIAL FULFILLMENT OF THE REQUIREMENTS FOR THE DEGREE OF MASTER OF ARTS IN ENGLISH LITERATURE JUNE 2006 Approval of the Graduate School of Social Sciences _________________________ Prof. Dr. Sencer Ayata Director I certify that this thesis satisfies all the requirements as a thesis for the degree of Master of Arts. _________________________ Prof. Dr. Wolf König Head of Department This is to certify that we have read this thesis and that in our opinion it is fully adequate, in scope and quality, as a thesis and for the degree of Master of Arts. _________________________ Prof. Dr. Meral Çileli Supervisor Examining Committee Members Assoc. Prof. Dr. Ünal Norman (METU, ELIT) ________________________ Prof. Dr. Meral Çileli (METU, ELIT) ________________________ Prof. Dr. Esin Tezer (METU, EDS) ________________________ I hereby declare that all information in this document has been obtained and presented in accordance with academic rules and ethical conduct. I also declare that, as required by these rules and conduct, I have fully cited and referenced all material and results that are not original to this work. Name, Last Name: Seda İLTER Signature: iii ABSTRACT THE USE OF TIME AS AN ELEMENT OF ALIENATION EFFECT IN PETER SHAFFER’S THE ROYAL HUNT OF THE SUN, YONADAB, AND THE GIFT OF THE GORGON İlter, Seda M.A., in English Literature Supervisor: Prof.
    [Show full text]