Este trabalho consiste na tradução dos três dramas líricos de Aleksandr Blok: Teatrinho de feira, O rei na Praça e A desconhecida, todas escritas em 1906, acompanhados do prefácio à primeira edição do volume Dramas líricos (1908) e do diálogo dramático Sobre amor poesia e serviço civil (1906). O nosso breve comentário procura contextualizar esta primeira obra dramática de Blok recorrendo aos poemas de Júbilo inesperado (1906), seu segundo livro de poemas. / This work is a translation of Aleksandr Bloks lyrical dramas: The Showbooth, The King on the Square and The Unknown Woman, all written in 1906, together with the preface to the book Lyrical Dramas (1908) and the dramatic dialogue On love, poetry and the public service (1906). The brief context given for these plays are the poems of his second poetry book, Unexpected Joy (1906).

Debido a la ola coreana, también llamada “Hallyu”, que significa la recepción del público de productos y material coreano, es que hoy en día se ha popularizado su amplio contenido audiovisual (García, 2020). Esta ha traspasado el continente asiático para instaurarse en territorios latinoamericanos. Entre lo más destacado se encuentran los dramas coreanos que atraen al espectador debido al tratamiento, así como la producción y realización de sus historias y personajes, los cuales los encuentra diferentes y entretenidos (Arriojas & Réquiz, 2019). Este proyecto de investigación tiene como objetivo principal analizar las dinámicas de los fandoms de dramas coreanos en los miembros del grupo de Facebook “Los chicos son mejores q las flores”. Además, de identificar y analizar los contenidos que se crean dentro del grupo de fans del K-drama, así como el uso de entrevistas para conocer las identificaciones e interacciones que se generan dentro del mismo. / Due to the Korean wave, also called “Hallyu”, which means the reception of Korean products and material by the public, its extensive audiovisual content has become popular today (García, 2020). This has crossed the Asian continent to establish itself in Latin American territories. Among the highlights are the Korean dramas that attract the viewer due to the treatment, as well as the production and realization of their stories and characters, which they find different and entertaining (Arriojas & Réquiz, 2019). The main objective of this research project is to analyze the dynamics of Korean drama fandoms in the members of the Facebook group “Los chicos son mejores q las flores”. In addition, to identify and analyze the contents that are created within the group of K-drama fans, as well as the use of interviews to know the identifications and interactions that are generated within it. / Trabajo de investigación

This analysis, written in Spanish, compares the use of violence in four of Castro's dramas with its use in their sources and in the works of other Golden Age authors. Chapter II investigates the manner in which the plays based on Greek myths compare with the original stories and with the ancient Classical theater. Each of the four following chapters compares one of Castro's plays to contemporary works with the same plot. The conclusion indicates that Castro's plays do not show an extraordinary use of violence. In some instances Castro demonstrates more restraint than the other dramatists. Thus, Castro, as a typical author of his epoch, does not deserve his reputation for writing excessively violent works.

The Remembering, an original drama set in rural Georgia in 1864, is about three ex-slaves, two men and an old woman, all runaways, whose fictional encounter in a deserted church sets off a series of conflicts and, significantly, incidents of remembering past conflicts which lead them to an understanding of the war, slavery, freedom, and individual responsibility. Many of the events which the slaves, naive witnesses to a great moment in history when mobilized modern warfare was being born, and the nearby Union soldiers remember reflect upon the pervasiveness, speed, and destructiveness of the new campaign. The efforts of the characters to survive in that harsh and bitter war represent one of the primary concerns of this dramatic study.

Until the time of Lope de Vega and the Golden Age of Spanish literature, women had always had secondary roles in the Spanish drama. There were two reasons for this: 1) Women were not fully appreciated in the society of the times. 2) Women were prohibited from appearing on the stage for many years, and boys usually took their parts. With the advent of Lope de Vega and his arte nuevo de hacer comedies, the situation was changed. The great genius, Lope de Vega, set the pattern for the drama of the Golden Age.

The construction of buildings to replicate specific places within the mythic landscape was a long-standing and widespread tradition in ancient Mesoamerica. This study moves beyond the identification of motifs that marked buildings as mythic, as it examines the messages communicated by these structures and evaluates the meaning and impact of mythic architecture within its historic and cultural contexts. An essential aspect of this study is the investigation of ritual dramas which reenacted episodes from creation narratives. By physically re-creating mythic locations and by re-actualizing mythic events, Mesoamerican communities manifested cosmogonic space and time so that the mythic was made present. Moreover, each building was constructed during a specific moment in time and at a particular location, and therefore it reflected and responded to particular historical realities. Because of this, Mesoamerican mythic architecture had a dual significance: both mythic and historic. Mythic architecture was an active force within the community: it communicated views concerning the origins of the world and the foundations of rulership and culture. It also made these concepts tangible within the historical world. Its very presence confirmed the reality of the mythic realm, thereby reinforcing and validating the culture’s core constructs. Because these structures manifested the mythical landscape, they were particularly potent locations for the reenactment of mythological events. These mythic dramas took place in real time which placed the structure within a specific historical context. When it was the ruler who took on the identity of the creation deities during mythic performances, the blending of myth and history was most significant. In addition, mythic dramas were the means by which the populace could be directly integrated into the mythological narrative. By examining evidence of mythic architecture and mythic drama from different Mesoamerican cultures—with a particular focus upon Classic period Copán and the Postclassic Aztec Templo Mayor—this dissertation demonstrates how they reflected their specific cultural contexts and how different communities interacted with these structures in distinct ways. This study also provides new insight into the significance of these structures at specific places and times and suggests how mythic architecture reflected changing historical circumstances. / text

FundaÃÃo de Amparo à Pesquisa do Estado do Cearà / ABSTRACT This paper reports registrations from about 50 writers, who can be drama-players, from the first generation in the 1940âs to the last one (up to 2001), or drama-players from GuriÃ, in the west coast of Cearà and even its players who followed their famous presentations. Such intense collection of beginning drama-playersâ and drama mistressesâ life stories shows their productions were immortalized by outstanding inventiveness in each production and also for incursions very appreciated by the neighbouring communities, which appreciated strongly the presence of these juvenile aesthetic productions. The intense methodological transformations are narrated because this research and its researcher were in touch with these intensities mentioned by the writers. We point out these interviewees were quite influenced by the circus, theater, movie, radio, magazines, books, television and other shows which they had access to. Analyzing the 60 years of several drama-players generationsâ stories, we noticed these ones kept themselves under masculine dominance and how much they were always submissive to their own desires at representing and setting up their transitory stages, because their expressions were nomadic. It registers a possible lesson and directed to the bureaucratic speech of decision-making organs of Brazilian Basic Education and it can come off from the drama-playersâ speeches, to anyone who wants to hear and produce inquiries about the official and obligatory educational sameness. / RESUMO Este trabalho relata os registros de cerca de 50 memorialistas, seja de dramistas, desde a 1 geraÃÃo na dÃcada de 1940 Ãs representantes da Ãltima geraÃÃo (atà 2001), de dramistas de GuriÃ, no litoral oeste do Cearà ou ainda de seus tocadores que acompanhavam suas famosas apresentaÃÃes. Tal conjunto intenso de histÃrias de vidas das aprendizes-dramistas e das mestras de drama, mostra que suas produÃÃes foram imortalizadas por marcante inventividade a cada produÃÃo e tambÃm por incursÃes muito apreciadas pelas comunidades vizinhas que apreciavam demasiadamente a presenÃa destas produÃÃes estÃticas juvenis. SÃo narradas as intensas transformaÃÃes metodolÃgicas por que a pesquisa e a pesquisadora passaram no contato com estas intensidades vivas ditas pelas memorialistas. E ressalta-se que estas entrevistadas foram bastante influenciadas pelo circo, teatro, cinema, rÃdio, revistas, livros, televisÃo e outros espetÃculos a que tiveram acesso. Percorrendo os 60 anos de histÃrias de vÃrias geraÃÃes de dramistas, percebeu-se que estas se mantiveram à margem da dominaÃÃo masculina e do quanto sempre foram submissas mesmo aos seus desejos de representar e de montar juntas os seus transitÃrios palcos, pois suas expressÃes eram nÃmades.Registra-se uma liÃÃo possÃvel e encaminhada ao discurso burocrÃtico dos ÃrgÃos de decisÃo da EducaÃÃo BÃsica Brasileira e que pode se desprender das falas das dramistas, a quem queira ouvir e produzir indagaÃÃes sobre a mesmice educacional oficial e obrigatÃria.

This paper is a study of the social ideas in the dramas of Benito Pérez Galdós.

No description available.

While most of the Law and Literature books and articles stress from the beginning the distinction between Law in Literature and Law as Literature, my approach is from the standpoint of Law teaching. A course on Law and Literature will help the students not only to write better, but it may convey the students facts that surround the work of the formal legal systemas the human condition or the legal culture, as well as a legal perspective thatis, so to speak, engraved in the human mind. The so-called didactic school is treated and criticized. The distinction between Law in Literature and Law as Literature cuts across the whole work. / Mientras en la mayoría de trabajos sobre Derecho y literatura desde el inicio se hace la distinción entre derecho en la literatura y derecho como literatura, en el presente trabajo la aproximación es desde el punto de vista de la enseñanza del derecho. Lo que se postula es que un curso sobre derecho y literatura tendrá efectos en los aspectos formales de la educación jurídica (aprender a escribir bien), pero también le mostrará al estudiante diversos aspectos de la realidad, como el conocimiento de las interioridades de la psiquis humana y la influencia del entorno en las actividades de los individuos, el entendimiento de la cultura legal y la captación de que determinadas categorías jurídicas son, en cierto modo, instintivas. También se aborda y critica la que se denomina tesis edificante. La distinción entre derecho en la literatura y derecho como literatura corta transversalmente las diversas materias tratadas.