Complex Seeing on the Concept of Religion in Brecht's Selected Plays
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PART 1 of Volume 13:6 June 2013
LANGUAGE IN INDIA Strength for Today and Bright Hope for Tomorrow Volume 13:6 June 2013 ISSN 1930-2940 Managing Editor: M. S. Thirumalai, Ph.D. Editors: B. Mallikarjun, Ph.D. Sam Mohanlal, Ph.D. B. A. Sharada, Ph.D. A. R. Fatihi, Ph.D. Lakhan Gusain, Ph.D. Jennifer Marie Bayer, Ph.D. S. M. Ravichandran, Ph.D. G. Baskaran, Ph.D. L. Ramamoorthy, Ph.D. Assistant Managing Editor: Swarna Thirumalai, M.A. Contents Drama in Indian Writing in English - Tradition and Modernity ... 1-101 Dr. (Mrs.) N. Velmani Reflection of the Struggle for a Just Society in Selected Poems of Niyi Osundare and Mildred Kiconco Barya ... Febisola Olowolayemo Bright, M.A. 102-119 Identity Crisis in Jhumpa Lahiri’s The Namesake ... Anita Sharma, M.Phil., NET, Ph.D. Research Scholar 120-125 A Textual Study of Context of Personal Pronouns and Adverbs in Samuel Taylor Coleridge’s “The Rime of the Ancient Mariner” ... Fadi Butrus K Habash, M.A. 126-146 Crude Oil Price Behavior and Its Impact on Macroeconomic Variable: A Case of Inflation ... M. Anandan, S. Ramaswamy and S. Sridhar 147-161 Using Exact Formant Structure of Persian Vowels as a Cue for Forensic Speaker Recognition ... Mojtaba Namvar Fargi, Shahla Sharifi, Mohammad Reza Pahlavan-Nezhad, Azam Estaji, and Mehi Meshkat Aldini Ferdowsi University of Mashhad 162-181 Language in India www.languageinindia.com ISSN 1930-2940 13:6 June 2013 Contents List i Simplification of CC Sequence of Loan Words in Sylheti Bangla ... Arpita Goswami, Ph.D. Research Scholar 182-191 Impact of Class on Life A Marxist Study of Thomas Hardy’s Novel Tess of the D’Urbervilles .. -
The Department of English Raja N.L Khan Women's College (Autonomous)
The Department of English Raja N.L Khan women's college (Autonomous) Offers Course Material on Life of Galileo For Semester IV CC9(Modern European Literature) Prepared by: Shrabani Chakraborty (S.C) Faculty The Department of English, Raja N. L. Khan Women's College (Autonomous) Page 1 of 13 Life and Works of Bertolt Brecht:- (1898-1956) Berthold Friedrich Brecht was a controversial pacifist who later dropped the first name and changed the spelling of the middle name. Bertolt Brecht is probably the greatest German playwright of the first half of the 20th century. He was born on Feb 10,1898 in Augsburg. He studied medicine in Munich and briefly served at an army hospital in world war-1. During the early 1920, he developed an anti-bourgeois attitude and studied Marxism. Brecht lived in Berlin from 1924 to 1933 where he collaborated with composer Kurt Weill (1900-1950) and developed his theory of "Epic Theatre". In 1933he went into exile, spending six years in the United States (1942_1947), where he did some film-work in Hollywood. During exile, Brecht wrote most of his great plays, essays and poems while his work was being burned in Nazi Germany. I. 1949, he moved back to Berlin and despite the controversial communist ideals of his work, he enjoyed great success. Brecht died of a heart attack in East Berlin on August 14, in 1956 His major works are:- Drums in the Night (1922) The Three penny Opera (1928) Fear and Misery of the Third Reich (1938) The Good woman of Szechwan (1943) Mother courage and her children (1949) Epic Theatre:- "Epic Theatre" is an extremely artistic affair hardly thinkable without artists of virtuosity, imagination, humor and fellow feeling". -
Life of Galileo, by Bertolt Brecht: the Scientific Field of an Era and the Role of the Intellectual in Times of Crisis* [English Version]
Life of Galileo, by Bertolt Brecht: the Scientific Field of an Era and the Role of the Intellectual in Times of Crisis* [English Version] Vida de Galileo, de Bertolt Brecht: el campo científico de una época y el papel del intelectual en tiempos de crisis Vida de Galileu, de Bertolt Brecht: o campo científico de uma época e o papel do intelectual em tempos de crise Received December 11, 2019. Accepted May 7, 2020. Daniel Clavijo-Tavera ** https://orcid.org/0000-0003-4266-3681 Colombia Abstract › To cite this article: Clavijo-Tavera, Daniel (2020). Life of Galileo, Objective: based on the text Life of Galileo, by by Bertolt Brecht: the Scientific Bertolt Brecht, and the theory of the social fields of Field of an Era and the Role of Pierre Bourdieu, the article sets out to demonstrate the Intellectual in Times of Crisis. the dialogue between the work and the taking of Ánfora, 27(49), 43-66. positions —politically and aesthetically— by Brecht in https://doi.org/10.30854/anf.v27.n49.2020.735 relation to the role of the intellectual in times of crisis, Universidad Autónoma de as well as a reflection on the retraction of the hero, Manizales. ISSN 0121-6538 / from the perspective of historical need and the social e-ISSN 2248-6941. conditions of production and reception of the work. CC BY-NC-SA 4.0 Methodology: the study uses the methodology of Pierre Bourdieu's social analysis and notions such as social space, social fields, autonomy, heteronomy and * Article derived from the Research entitled “Life of Galileo, by Bertolt Brecht: the Scientific Field of an Era and the Role of the Intellectual in Times of Crisis". -
A Character Type in the Plays of Edward Bond
A Character Type in the Plays of Edward Bond Dissertation Presented in Partial Fulfillment of the Requirements for the Degree Doctor of Philosophy in the Graduate School of The Ohio State University By Frank A. Torma, M. A. Graduate Program in English The Ohio State University 2010 Dissertation Committee: Jon Erickson, Advisor Richard Green Joy Reilly Copyright by Frank Anthony Torma 2010 Abstract To evaluate a young firebrand later in his career, as this dissertation attempts in regard to British playwright Edward Bond, is to see not the end of fireworks, but the fireworks no longer creating the same provocative results. Pursuing a career as a playwright and theorist in the theatre since the early 1960s, Bond has been the exciting new star of the Royal Court Theatre and, more recently, the predictable producer of plays displaying the same themes and strategies that once brought unsettling theatre to the audience in the decades past. The dissertation is an attempt to evaluate Bond, noting his influences, such as Beckett, Brecht, Shakespeare, and the postmodern, and charting the course of his career alongside other dramatists when it seems appropriate. Edward Bond‟s characters of Len in Saved, the Gravedigger‟s Boy in Lear, Leonard in In the Company of Men, and the character in a number of other Bond plays provide a means to understand Bond‟s aesthetic and political purposes. Len is a jumpy young man incapable of bravery; the Gravedigger‟s Boy is the earnest young man destroyed too early by total war; Leonard is a needy, spoiled youth destroyed by big business. -
Den Stora Mekanismen I Holm/Møllers Vasasagan Smiding
Den stora mekanismen i Holm/Møllers Vasasagan Smiding, Birgitta 2006 Link to publication Citation for published version (APA): Smiding, B. (2006). Den stora mekanismen i Holm/Møllers Vasasagan. Lund University. Total number of authors: 1 General rights Unless other specific re-use rights are stated the following general rights apply: Copyright and moral rights for the publications made accessible in the public portal are retained by the authors and/or other copyright owners and it is a condition of accessing publications that users recognise and abide by the legal requirements associated with these rights. • Users may download and print one copy of any publication from the public portal for the purpose of private study or research. • You may not further distribute the material or use it for any profit-making activity or commercial gain • You may freely distribute the URL identifying the publication in the public portal Read more about Creative commons licenses: https://creativecommons.org/licenses/ Take down policy If you believe that this document breaches copyright please contact us providing details, and we will remove access to the work immediately and investigate your claim. LUND UNIVERSITY PO Box 117 221 00 Lund +46 46-222 00 00 DEN STORA MEKANISMEN BIRGITTA SMIDING DEN STORA MEKANISMEN - i Holm/Møllers Vasasagan TILL NICLAS DENNA BOK ÄR UTGIVEN MED STÖD FRÅN Stiftelsen Hjalmar Gullbergs och Greta Thotts stipendiefond Gyllenstiernska Krapperupstiftelsen Copyright © Birgitta Smiding Lunds universitet Mediatryck 2006 ISBN - 10 91 628 6994 9 ISBN - 13 978 91 628 6994 6 Men på teatern har den konkreta närvarons logik, ytornas onödiga objektivitet, ofta försökt ersätta den närvarons och frånvarons förförande dialektik, som är teaterns särmärke. -
The Use of Brechtian Devices in Howard Brenton's Hitler
Hacettepe University Graduate School of Social Sciences Department of English Language and Literature English Language and Literature THE USE OF BRECHTIAN DEVICES IN HOWARD BRENTON’S HITLER DANCES, MAGNIFICENCE AND THE ROMANS IN BRITAIN Ozan Günay AYGÜN Master’s Thesis Ankara, 2019 THE USE OF BRECHTIAN DEVICES IN HOWARD BRENTON’S HITLER DANCES, MAGNIFICENCE AND THE ROMANS IN BRITAIN Ozan Günay AYGÜN Hacettepe University Graduate School of Social Sciences Department of English Language and Literature English Language and Literature Master’s Thesis Ankara, 2019 In memory of my aunt Zehra Aygün, who always treated us as one of her own. v ACKNOWLEDGEMENTS First and foremost, I would like to express my deepest gratitude to my supervisor, Prof. Dr. A. Deniz Bozer, for her patience, support and invaluable academic guidance. She was always understanding throughout the writing process of this thesis, and she encouraged me in times of stress and guided me with her wisdom. Without her, I would not be able to complete this thesis and I am most grateful and honored to have studied under her supervision. I am also indebted to the head of our department, Prof. Dr. Burçin Erol, for her patient guidance whenever I was unsure of how to proceed with my studies during my time as a student at Hacettepe University. I would also like to extend my gratitude to the distinguished members of the jury, Prof. Dr. Aytül Özüm, Assoc. Prof. Dr. Şebnem Kaya, Assoc. Prof. Dr. Sıla Şenlen Güvenç, Asst. Prof. Dr. İmren Yelmiş and Asst. Prof. Dr. F. Neslihan Ekmekçioğlu for their valuable feedback and critical comments which had an immense effect in the development of this thesis. -
Life of Galileo Script
Life of Galileo Home > English > Context > Encountering Conflict > This article refers to Life of Galileo (play) written by Bertolt Brecht. It focuses specifically on the relationship between the text and the context Encountering Conflict. Script This is essentially a story about what happens when societal authority and individual conscience clash. Throughout the play, Brecht explores the complexities of the relationship between an individual and a society, along with the struggles an individual must endure in choosing between their ideology and their personal safety. It is important to keep in mind that while much of this text is an accurate depiction of Galileo’s life and conflict with the Church, the play is a creative work and takes great liberty with the scientist’s personal life. Be careful in your writing- if you are writing about Galileo as a man; as opposed to a character in Brecht’s play, make sure you distinguish between the two clearly. Brecht’s style Biblical references. The story is both centred around the conflict between Galileo and the Church, and uses this conflict as an allegory for the wider conflict between scientific discovery and authority. Throughout the play, many characters reference verses from the Bible in their speech, and perhaps most significantly, in the final scene, Galileo’s speech contains many biblical references, representing the ways he has changed (or acts changed) during his imprisonment by the Church. Dramatic irony. This is when the audience understands what is happening more than the characters. Because of the audience’s uniquely powerful position in this text, they are often able to find dramatic irony in comments representatives of the Church make to Galileo or Virginia. -
Bertolt Brecht B
Bertolt Brecht b. Feb. 10, 1898, Augsburg d. Aug. 14, 1956, East Berlin EUGEN BERTHOLD FRIEDRICH BRECHT, German poet, playwright, and theatrical reformer whose epic theatre departed from the conventions of theatrical illusion and developed the drama as a social and ideological forum for leftist causes. Brecht was, first, a superior poet, with a command of many styles and moods. As a playwright he was an intensive worker, a restless piecer-together of ideas not always his own (The Threepenny Opera is based on John Gay's Beggar's Opera, and Edward II on Marlowe), a sardonic humorist, and a man of rare musical and visual awareness; but he was often bad at creating living characters or at giving his plays tension and shape. As a producer he liked lightness, clarity, and firmly knotted narrative sequence; a perfectionist, he forced the German theatre, against its nature, to underplay. As a theoretician he made principles out of his preferences--and even out of his faults. Until 1924 Brecht lived in Bavaria, where he was born, studied medicine (Munich, 1917-21), and served in an army hospital (1918). From this period date his first play, Baal (produced 1923); his first success, Trommeln in der Nacht (Kleist Preis, 1922; Drums in the Night); the poems and songs collected as Die Hauspostille (1927; A Manual of Piety, 1966), his first professional production (Edward II, 1924); and his admiration for Wedekind, Rimbaud, Villon, and Kipling. During this period he also developed a violently antibourgeois attitude that reflected his generation's deep disappointment in the civilization that had come crashing down at the end of World War I. -
NATURE Galileo and Scientific History
8 NATURE jANUARY 4, 1936 Galileo and Scientific History The Leaning Tower and Other Stories By Prof. A. S. Eve, F.R.S. GOOD stories are apt to survive by their very the sound of the simultaneou;;ly falling weight;; still fitness. In old age they may lose their ringing in their ears, they could persist in gravely maintaining that a weight of ten pounds would reach savour because they are deemed legendary, but the ground in a tenth part of the time taken by it is not well to part too lightly with old friends. one of a single pound, becauRe they ·were able to The three best stories about Galileo are all under quote chapter and verse in which Aristotle assures suspicion-the swinging lamp, the leaning tower, them that such is the fact." and "eppur si muove". I am sufficiently nai:ve Prof. Lane Cooper claims that there is no to believe that all these three stories may have contemporary evidence of this story and that an underlying basis of fact. Galileo never mentions such an experiment in any of his works. The remarkable thing is that Prof. THE SWINGING LAMP Lane Cooper does not quote, or even refer to, the There is a familiar story of Galileo (in 1581) most important passage bearing on this subject. timing with his pulse the swings of a hanging He quotes correctly (on page 51) page 64 of Crew lamp in the Cathedral at Pisa and finding that the and de Salvio's translation of Galileo's "Dialogues period was independent of the amplitude. -
This Is Not My Body: Alienated Corporeality and Brechtian Critical Theatre Practices
This is Not My Body: Alienated Corporeality and Brechtian Critical Theatre Practices A Dissertation SUBMITTED TO THE FACULTY OF UNIVERSITY OF MINNESOTA BY Ashley Majzels IN PARTIAL FULFILLMENT OF THE REQUIREMENTS FOR THE DEGREE OF DOCTOR OF PHILOSOPHY Michal Kobialka, Professor of Theatre Arts and Dance, Adviser December 2014 © Ashley Majzels, 2014 i Acknowledgments Writing my dissertation would not have been possible without the support and encouragement of many. For his patience and attention I would like to thank my adviser, Michal Kobialka. For their guidance and feedback, I would like to thank my outside examiner Keya Ganguly, as well as Sonja Kuftinec, Ananya Chatterjea, and Margaret Werry. Additionally, I have to thank Ginni Arons for her extensive help in navigating the Grad School's requirements while I was completing the dissertation in Canada. I would also like to thank Megan Lewis, Branislav Jakovljevic and Aleksandra Wolska for their advice and tutelage during my time at the University of Minnesota. A special thanks to Freya Olafson for her time as well as graciously providing access to her archival materials. For their personal support and feedback during the writing process, my thanks and apologies go out to Claudine Majzels, Eve Majzels, Praba Pilar, Per Brask, and Noah Decter-Jackson. ii Dedication My dissertation is dedicated to my family: C, E, F, and S. iii Abstract My dissertation advances a historical materialist understanding of alienated corporeality meant to inform Brechtian critical theatre practices. In the first half of my project, I draw on Marx's account of commodity fetishism and industrial labour to frame a discussion of Brecht's Mann ist Mann. -
Teaching Empathy with Brecht As Prompter
American International Journal of Social Science Vol. 7, No. 2, June 2018 doi:10.30845/aijss.v7n2p3 Teaching Empathy with Brecht as Prompter Ellen Foyn Bruun Associate Professor Department of Art and Media Studies Norwegian University of Science and Technology NTNU Trondheim Norway Abstract Empathy is a contested concept, understood in different ways. It is pertinent to explore and teach empathy today. Our ability as humans to make informed choices guided from heart and head in balance, needs to be addressed along with profound ethical issues. Re-newer of 20th century theatre Bertolt Brecht is known for his scepticism of empathy. He encouraged audiences and actors to be rational rather than to empathise. In this article, I propose however that the theatre of Brecht, in arts education, offers useful insight into empathy as a competence engaging feeling and intellect likewise. I argue that it is possible to discover fresh aspects of empathy and acquire empathetic skills through staging Brecht’s plays. The teaching practice is demonstrated with case examples from the BA Program in Drama and Theatre at The Norwegian University of Science and Technology, NTNU, Trondheim, Norway. Keywords: Empathy, theatre, Bertolt Brecht, arts education, empathetic connection, entangled empathy, relational empathy, empathic skills. 1. Introduction The study of empathy seems to have currently caught the attention of a wide range of research communities and disciplines in the social sciences, humanities, neurosciences and new technologies. It has also become a pertinent topic for studies that bridge and challenge conventional disciplines in a time in which we as humans are facing new challenges as a species that were difficult to imagine only twenty years ago. -
A/8Fj S/O. Nih
37<? A/8fJ s/o. niH EDUCATION THROUGH ALIENATION: ELEMENTS OF GESTALTIST LEARNING THEORY IN SELECTED PLAYS OF BERTOLT BRECHT DISSERTATION Presented to the Graduate Council of the North Texas State University in Partial Fulfillment of the Requirements For the Degree of DOCTOR OF EDUCATION By Ted Duncan Starnes Denton, Texas December, 1982 Cj Copyright by Ted Duncan Starnes 1982 Starnes, Ted Duncan, Education Through Alienation; Elements of Gestaltist Learning Theory in Selected Plays of Bertolt Brecht. Doctor of Education (College Teaching of Theatre), December, 1982, 191 pp., bibliography, 184 titles. This study explored the relationship between the dramatic and the educational theories developed by Bertolt Brecht and selected twentieth-century theories of pedagogy. A survey of Brecht's life and works revealed that although the stimulus-response theories of the associationist psy- chologists were inappropriate to Brecht's concepts, the three principal aspects of Gestaltism—perception, insight, and life space, as formulated by Max Wertheimer, Kurt Koffka, Wolfgang Kohler, and Kurt Lewin—seemed profoundly related to Brecht's concern with man's ability to perceive and to learn about his environment. Brecht strove to create perceptual images of historical environments. The characters, who represented various ideologies and philosophies in situations which stimulated insightful learning, struggled with life spaces that accu- rately resembled life outside the theatre. Thus, Brecht utilized elements of the theories of perception, insight, and life space in his dramas as he strove to force his audiences to perceive the characters' environments, to grasp the significance and relationships between the characters' environments and their own social milieu, and to recognize those influences in one's life space which attract or repel the individual.