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Se expone un estudio de caso llevado a cabo con alumnado del Grado de Maestro/a de Educación Infantil de la Facultad de Ciencias de la Educación de la Universidad de Santiago de Compostela La puesta en práctica de acciones compartidas entre diferentes disciplinas permite estimular el pensamiento creativo. De esta forma, la colaboración activa entre el profesorado de áreas diversas redunda en beneficio del alumnado que aprende a plantear proyectos cooperativos de forma práctica. La experiencia se inició en las clases de “Literatura infantil y dramatización”. Así, partiendo del autor ya clásico Gianni Rodari, y de su obra Gramática de la fantasía, como primera actividad el alumnado realizó diferentes textos escritos en los que se ponían en práctica diversas estrategias creativas de promoción de la lectura. Estos textos sirvieron de base para el alumnado matriculado en la otra disciplina: “Educación visual y plástica”. Esta segunda fase explora las posibilidades de las narrativas visuales tomando como referente artístico artistas e ilustradoras que utilizan el collage para sus creaciones. Finalmente, se analizan las creaciones resultantes y la eficacia de esta metodología A case study carried out with students of the degree of Teacher of Early Childhood Education of the Faculty of Education Sciences of the University of Santiago de Compostela is described. The implementation of shared actions between different disciplines allows to stimulate creative thinking. In this way, active collaboration between teachers from different areas benefits the students who learn to desing cooperative projects in a practical way. The experience began in the “Children's Literature and Dramatization” classes. Thus, starting from the now classic author Gianni Rodari, and his book Grammar of fantasy, as a first activity the students wrote different texts in which various creative strategies to promote reading were put into practice. These texts served as the basis for the students of the other discipline: “Visual and Plastic Education”. This second phase explores the possibilities of visual narratives, taking as an artistic reference artists and illustrators who use collage for their creations. Finally, the resulting creations and the relevance of this methodology are analyzed SI

This paper, having as its main theoretical scope the Semiolinguistics of Discourse Analysis, created by Patrick Charaudeau, analyses a cover of IstoE magazine, in order to verify the way the “communicating self” constructs the semiotized political person, articulating both verbal and nonverbal texts. The magazine cover analysed is that of the 30th August 2019 edition, which associates President Bolsonaro with a former emperor of Rome, Nero. The objective is to identify the construction that the “communicating self” makes of the semiotized political person on the cover. Thus, it is observed whether the “communication self”, as representative of the magazine, reinforces or refutes the image (ethos) normally constructed by the political person portrayed. Moreover, in order to have the interlocutor not only as a newsstand reader, but an effective buyer and assiduous readerof the issue as well, IstoE, among various strategies, can appeal to the emotional state (pathos effects), using three attitudes – polemic, seduction and dramatization. In this sense, we intend to analyse, through Discourse Analysis bias, the emotion from the intended effects. The initial analysis reveals that there is no impartiality in transforming a gross event into a semiotized one and, therefore, already interpreted from the speaker’s point of view.

Quite possibly the most well-known types of amusement for individuals are a visit to the theatre. For quite a long-time individual have appreciated dramatization, satire, music, and different types of amusement. Truth be told, the historical backdrop of theatre can be followed back to the sixth century B.C. where the Antiquated Greeks were quick to introduce emotional introductions. The issues related to the topic will be discussed in the report how the theatres previously were facing issues and how can this be resolved using digital theatricals. The objective of the report is that points out the theatrical design. The aim of this research is to highlight an insight into how digital theatre performance and production can processes integrate sustainability literacy. This article describes the establishment and enhancement of theatre performance and green structures used to perform the work in two spaces. Free philosophies have so been employed across various times. Subjective techniques used in this examination incorporate practice drove inventive advancement strategies explicit to theatre and creation measures. In addition, the need for fundamental changes to digitalizing the theatrical design can quite beneficial the development goals for UN.

O presente texto apresenta uma investigação que almejou elaborar, aplicar e refletir sobre uma proposta de intervenção em dança com as crianças goianienses, trazendo em seu cerne, a complexa trama de saberes das culturas populares brasileiras: o lúdico, o conto, a música, o ritmo, o movimento e a dramatização; tendo como principal inspiração, os parques infantis de Mário de Andrade. Para a construção da proposta elencamos, a partir dos estudos vinculados à área temática da pesquisa, três eixos de ação: Fundamentos brincantes, Elementos da dança e Estratégias de abordagem. Com isso, por meio de uma pesquisa-ação, ofertamos 12 encontros, uma vez por semana, ao longo de 4 meses, para duas turmas de crianças com 4 anos de idade, matriculadas em um Centro de Educação Infantil conveniado à prefeitura de Goiânia (GO). Todo o processo foi registrado em um diário de campo e dialogado com a teoria elencada. Assim, entre gatos, cachorros, caranguejos, sapos, jacarés coiós, Cacuriás, Cirandas, Jongos, Bumba meu Boi, Capoeira, Catira, cantigas, cordéis, brincadeiras, jogos, brinquedos, adivinhas, palmas, adoletas, mapas do Brasil, vídeos, dobraduras, pinturas, entramos na roda e exploramos palavras, sons, expressões e gestos de modo mágico, metafórico e lúdico. As crianças dançaram e foi possível desenvolver vivências em dança tendo os saberes populares como eixo condutor. Um percurso que nos possibilitou converter-nos em parceiras privilegiadas de novas e infinitas aventuras poéticas com as crianças. Palavras-chaveDança e Educação Infantil. Educação da Infância. Práticas Educativas. Saberes Tradicionais.

In recent years, scholars and critics have become increasingly interested in the view that art is a means to escape from the existent reality and the difficulties of modern civilization. Many writers emphasized in their literary works the need to be emancipated from the restrictions of modern society and underlined the idea that flight is the ultimate way to avoid the complexities of contemporary life. Edward Albee, for example, addressed the issue of flight in his drama, particularly the sociopolitical and artistic scopes of escape. In his Seascape, Albee presents a multifaceted perception of flight juxtaposing the social with the literary and the political with the artistic. In the postmodern political thought too, there is a similar tendency that valorizes the struggle for the liberation of the individual from all forms of repression and domination exerted by sociopolitical forces. Gilles Deleuze & Félix Guattari (2005), for instance, criticize the constraints and rules that power authorities use to control the individual and call instead for freeing humans from all authoritarian policies. This paper, then, seeks to examine Albee’s staging of flight from the Deleuzo-Guattarian perspective in an attempt to elucidate his complex yet refined dramatization of escape in his play Seascape.

The paper presents the analysis of linguistic means of manipulative influence in the modern German-speaking discourse. Nowadays, the media remains an important and no less influential part of a society. Mass media is the main source of human consciousness formation and public opinion correction. The topic of the thesis is the peculiarities of the translation of means of manipulative influence in modern German-language media discourse. The object of scientific research is the media discourse of modern German-speaking media. The relevance of the study is determined by the need to identify and study the mechanisms of verbal influence in media discourse, as manipulation in discourse is one of the current problems of the modern linguistics. To reach the goal, the paper considers the functional direction of media discourse, highlights the linguistic specifics of manipulation tactics, and determines the basic methods of translation of means of manipulative influence. The subject of the research is a comparative analysis of the application of translation strategies and methods of translation of means of manipulative influence. Various methods were used in the research: analysis, synthesis, induction, deduction, pragmatic, discursive analysis, critical discourse analysis, comparison, descriptive method, classification analysis, comparative analysis of source text and translation, as well as contrastive translation analysis. The materials of the research are news reports from the website of the Embassy of the Federal Republic of Germany in Ukraine, the Embassy of Ukraine in the Federal Republic of Germany, the news site Deutsche Welle in German and Ukrainian. The scientific novelty of the obtained results is to highlight the features of modern German-speaking media discourse, the typology of translation transformations for the transmission of verbal means of manipulative influence in German-language texts and their practical application in translation studies. The study is based on the tactics of manipulation. The verbal plane is represented by a number of linguistic means implementing the tactics. Tactics of manipulation presuppose the use of the technique of appealing to expert opinion, dramatization of the situation with the help of numbers and emotionally-colored vocabulary, imposition of positive and negative facts in the message, as well as use of euphemisms. In our work, we presented definitions, identified the main features and the functions of media discourse and did the comprehensive analysis of the content, structure and lexical-syntactic content, as well as the transfer of these characteristics in translation.

Este artigo pretende refletir sobre uma experiência vivenciada no Centro de Adolescentes em Conflito com a Lei CAC, na cidade de Loja, Equador, por meio da introdução da linguagem da educação artística como abertura para o desenvolvimento de uma postura reflexiva sobre as emoções e a consciência existencial para o teatro. A partir das artes visuais e das artes cênicas, foi proposta a construção de um diário descritivo e estético, que foi preenchido a partir do estímulo de temáticas emocionais exploradas num sentido progressivo. Desde a pintura do autorretrato até os jogos e a dramatização de pequenos contextos, o registro feito foi abordado como metáforas a serem exploradas conversando, neste compêndio, com autores que respaldam o tema por meio da responsabilidade social da educação para a arte.

El artículo analiza el arte dramático: talleres, juego dramático, drama creativo, dramatización, improvisación y el teatro mismo, como terapia alternativa para contrarrestar problemáticas psicosociales en sujetos vulnerables y excluidos. Para llevar a cabo este propósito, se utilizó un diseño cualitativo, a través de una perspectiva de tipo documental, que se centró en las categorías arte dramático, y poblaciones vulnerables y excluidas. Se presentan los hallazgos de las relaciones sobre estos conceptos, luego de revisar y analizar las bases de datos Apa Psyc Net, Cambrige J, DOAJ, JSTOR, SCIELO, Science Direct, EBSCO, Wilson, Web of Science, entre otras fuentes. En esta perspectiva, a partir de un trabajo llevado a cabo en un horizonte crítico-interpretativo, se revisaron las producciones realizadas por investigadores usando los instrumentos de matriz bibliográfica y matriz analítica de contenido. Como resultado, se reconoció el arte dramático como herramienta para ayudar a población vulnerable y se identificaron diferentes metodologías y resultados de las investigaciones en las que se utilizó el arte dramático para disminuir las exclusiones. Se concluye que el arte dramático, a partir de la atención al lenguaje corporal, al pensamiento, a la obra teatral, a los cambios que el sujeto tiene en la representación de personajes, entre otros, acrecienta el ingenio y la comunicación, y posibilita un desarrollo estético y plástico. Este tipo de modificaciones aportan a mejorar el nivel biopsicosocial de la población vulnerable y excluida, a reconfigurar su personalidad e historias personales, desarrollar habilidades sociales, mejorar su comunicación, darles herramientas para resolver problemas, a gestionar sus emociones y a potenciar su autoestima; estas capacidades y desarrollos humanos, son sustanciales para contrarrestar las problemáticas psicosociales que acarrean su situación de fragilidad y marginación.

La formación universitaria basada en competencias ofrece un marco para el desarrollo integral de los futuros profesionales de la educación, promoviendo una integración de saberes, destrezas y valores en contextos diversos. Este estudio pretende identificar experiencias previas, situaciones relevantes y recursos tecnológicos para el desarrollo de las competencias de innovación, comunicativa y digital, considerando la perspectiva de estudiantes de posgrado de educación. El enfoque metodológico ha sido cualitativo, a través de un autoinforme con preguntas abiertas. Los participantes fueron 97 estudiantes de una universidad pública española, matriculados en un Máster Universitario de Investigación en Estrategias y Tecnologías para la Función Docente en la Sociedad Multicultural durante los cursos 2018, 2019 y 2020. Tras analizar las respuestas de los estudiantes a las preguntas abiertas, los resultados muestran la variedad de metodologías didácticas en el desarrollo de las competencias de innovación (aprendizaje basado en proyectos, aprendizaje cooperativo) y comunicativa (asamblea, dramatización). La importancia concedida a las comunidades de aprendizaje es recurrente al identificar experiencias previas innovadoras y ejemplificar el dominio de la competencia digital. El artículo concluye resaltando el mosaico competencial generado a partir de las 25 categorías que representan experiencias de innovación educativa (creatividad, proyectos interdisciplinares), situaciones de comunicación didáctica (interculturalidad, comunicación no verbal) y repertorio de recursos digitales (blog, redes sociales, apps, realidad virtual), ilustrando prácticas relevantes en contextos educativos.

Video streaming has become very popular among game enthusiasts Live streams of computer games, where there is the possibility of communication, are developing as community meeting places;a number of social scientists are calling this a trend towards new online "third places" Today's debate draws attention to the reproduction of a participation culture trough streaming, in the space of which everyone can express themselves creatively, share their opinion, experiences, and information At the same time, there is a tendency towards the capitalist appropriation of streaming by media businesspersons who stimulate the monetization of participation Investigating the "sociality of streaming", the authors highlight the supplementation of the "Let's Play" discourse with topics from the current agenda, understanding live streams as public media arenas In the public arenas of computer game live streams, the dramatization and selection of global or local news information in a specific media format takes place The article demonstrates this phenomenon using the example of the coronavirus, the most prominent topic of spring 2020 The pandemic vocabulary appears in different sections of Twitch game streams, such as titles, audio/ video content, and the chat Banter and obscene vocabulary are characteristic of the game stream space, however, this is combined with charity fund-raising broadcasts in support of doctors Потоковые видео, в которых комментируются компьютерные игры, стали очень популярны в среде любителей игр При этом прямые трансляции, при просмотре которых зрители могут общаться между собой, оцениваются социальными аналитиками как новые онлайновые «третьи места» В ведущихся сегодня дебатах обращается внимание на воспроизводство стримами культуры соучастия, в пространстве которой каждый может творчески проявить себя, выразить свое мнение, поделиться опытом, информацией и даже настроением Комментируемая игра в этом случае становится не центральным событием, а паратекстом, на фоне которого формируется оригинальный нарратив стримера, сопровождаемый репликами представителей зрительского сообщества Наблюдая за стриминговой социальностью, авторы статьи констатируют дополнение летсплей-дискурса темами из актуальной повестки дня и предлагают понимание игровых стримов в качестве медийных публичных арен На публичных аренах игровых стримов происходит драматизация и селекция глобальной или локальной новостной информации в специфическом медийном формате Как это реализуется, показывается в статье на примере случая с тематикой коронавируса, ставшей топовой весной 2020 года Анализ стримов на Twitch tv, вышедших в период первой коронавирусной волны, позволил зафиксировать, как в заголовках трансляций, в аудио-, видео- и чат-контенте репрезентируется тема коронавируса Для стримов характерны стиль стеба и обсценная лексика, но такой формат не отменяет возможностей гражданской мобилизации, что проявляется, например, в практике благотворительных трансляций

The article is devoted to the analysis of linguistic and extralinguistic factors of the manifestation of self-presentation in political discourse. Particular attention is paid to the concept of ‘political discourse’. Various approaches to the interpretation and study of political discourse are described; its institutional characteristics are given. The purpose of the politician’s self-presentation is defined, its relevant parameters are indicated and described in detail: dramatization, idealization, control of the impression made, distortion and mystification. To study the implementation and linguistic manifestation of the self-presentation macrostrategy, general communicative strategies and tactics in the speeches of Anglo-Saxon politicians are analyzed. An analysis of the speeches of politicians of the highest echelons of power is carried out, resulting in revealing these global strategies: positioning the image of the addressee, positioning one’s own image, positioning the integrated image. Examples of the implementation of these strategies at the lexical and grammatical levels are given.

Deaf people are social groups that are protected by the Law of the Republic of Indonesia Number 8 of 2016 concerning Persons with Disabilities, but they still feel injustice or unfair in the world of education and in society environment. The above problems are the basis for the creation of the documentary film Noise In Silence. The type of research used is artistic research which produces a documentary film work. Documentary film production is carried out using a participatory directing style, while the analysis uses a visual approach. The resulting documentary film shows the participatory style can support the discovery of answers to the director's doubts, and can reveal the subject's experience in depth so that it can be captured by the audience. In addition, the dramatization of the presentation was successfully realized, so that this film has a high influence on the emotional level of the audience.

The presence of social media is not only used by someone to communicate with other people but also to present oneself with certain goals. The appearance of celebgram and vloggers has shown that social media is a place to show oneself in front of others. This study aims to describe the impression management vlogger in the "Kumit Project" account on social media by using a dramaturgy approach. The observation units in this study were the Kumit Project’s accounts on Instagram and Youtube. This qualitative descriptive study used the Erving Goffman dramaturgical analysis approach. The results showed that when on the front stage, Kumit Project, through its actors Madkucil and Cimit, performed impression management to create an impression on their audience. While on the back stage, Kumit Project was a team with the actors Madkucil and Cimit, whom the relationship as lovers was portrayed as the front stage. The drama that they played on the front stage is a real picture like the one on the back with additional background settings to add to the dramatization.

This paper examines Ian McEwan’s The Children Act as a work of fiction that explores the contemporary issue of secularism. My argument is that the novel’s exploration of the interplay between law and feelings demonstrates McEwan’s attempt to defy the dichotomous quality commonly attributed to law. By juxtaposing the implementation of law and religious practices, the novel’s dramatization of the collision between these two forces shows that emotion and feeling are never absent from the allegedly unsympathetic secular civic institution. The realm of law can offer both sympathy and compassion to people who are subject to it.

The application of the story-telling method is one method that can develop several aspects of early childhood development, such as moral and religious development. By using the story-telling method a teacher can introduce the moral and religious foundations in early childhood. Our research approach uses library research as a place or source of reference. The aim of this research is to find out the method of developing religious morals in early childhood with the story method. Based on the results of the study, in general the method of storytelling to develop the moral and religious potential of students is to use the method of reading directly from story books, telling stories using picture illustrations from books, telling stories, telling stories using flannel boards, telling stories using puppet media, dramatization a story, and a story while playing fingers. The contents in the story must contain religious aspects, pedagogical aspects, and psychological aspects, which contain material stories about the stories of prophets, friends, scholars, and pious people

This essay incorporates the paradigms of Theory of Mind and Machiavellian intelligence to explore the cognitive and ideological implications of the dramatization of Roman political rivalries in early modern Spanish drama. Perez de Montalban’s Amor, privanza y castigo is analyzed as a distant mirror to the Spanish privanza system of its own time. Like other historians and playwrights of his era, Montalban highlights the duplicitous and manipulative cognitive activities of Roman politicians to examine the ethical dimensions and dilemmas in the contemporary institution of government by royal favorites.

In historical and cultural context there are critically analyzed approaches to different manifestations of traumatic development and the very idea of social trauma. P. Sztompka’s theory of becoming displays how the effects of “society in action” and “pathological agencies” cause sociocultural traumas. J.C. Alexander’s theory of cultural construction of trauma and “the dramatization of consciousness” diagnoses the role of artificially constructed short living mystified meanings in the deformation of social consciousness. In the paper special attention is given to the analysis of Zh.T. Toschenko’s theory of ‘the society of trauma’ that suggests and argues for a new specific modality of development. It is shown that with the help of theoretical and methodological tools of this theory there are revalued traditional criteria of the progress of the countries that earlier were defined as “developed”, “developing”, “catching up”, “backward” that did not take into consideration traumatic features of “non-stable states” – their realities and trends of development do not dovetail either with evolution or with revolution modality. Relying on the postulates and conclusions of this theory the author of the paper proposes further investigations into the issues of society of trauma.

This study presents new knowledge arising from teachers’ verbal accounts of successes and obstacles in the organizational and practical work of upper-secondary schools with newly arrived students. The ethnographic material is based on 33 teacher interviews and 11 fair copies of field notes from observations in upper-secondary school contexts. Analysis of the empirical data was conducted within the framing of social constructivist theories and previous research. The verbal accounts regarding successes in the organizational and practical work of upper-secondary schools with newly arrived students are made visible in the analysis of the verbal interactive dynamic, when the study’s actors talk about three aspects. The first is the importance of creating a good relationship between teachers and newly arrived students. Second is the importance of seeing each newly arrived student as unique and relating to the student based on educational background and previous experiences of schooling in the home country, rather than basing the approach on the practical work with the student category “new arrivals” as if it were a homogeneous group. Third is the objective of creating a decent and personalized plan for the newly arrived student that is feasible within the time frame of the student’s upper-secondary school attendance, emphasizing the importance of speed in working with students when it comes to expected results.The analysis reveals several dimensions contributing to the construction and reconstruction of successes and obstacles in the teachers’ accounts. Teachers are constructed as actors with a power advantage relative to the “newly arrived student.” They set the agenda for student behavior, with an inclusive approach that is crucial to achieving success and counteracting obstacles. The approach imposes demands on how upper-secondary schools organize their work with newly arrived students and plays a role in determining supports and room for maneuvering that teachers have. School success for newly arrived students: possibilities, obstacles, identities and collaboration

The article suggests examining efficiency of use of staging as a pedagogical technique in the course of foreign language studies, which has been used at the Business Foreign Languages and Translation Department of the National Technical University "Kharkiv Polytechnic Institute". The findings of our research are based on the analysis of experience of the teaching staff and students. The article shows that theatrical activity of the students of the specialty "Translation" is a mandatory element of the educational process. The focus is given to description of formation of partnerships between teachers and students. The Theatre of English Miniatures is described as an innovative pedagogical method. The authors emphasize that the Theatre of English Miniatures is an efficient technique for modelling the foreign language environment. It is concluded that this form of extracurricular activity makes it possible to successfully develop creative abilities, imagination, activity and independence. Staging and dramatization contribute to development of thinking, development of methods of joint creativity and intellectual tension, involve experiments, a flexible and harmonious conjunction of the individual, group and team activities, independent and focused on teaching. Staging is described as an innovative approach to studying as one of the most democratic types of pedagogy and art, which enables solving plenty of current problems of modern pedagogy and psychology related to: artistic training and education; formation of aesthetic taste; moral education; development of communicative qualities of the individual; training of the will, development of memory, imagination, initiative, fancy, language (monologue and dialogue); creating a positive emotional state; stress relief; solving conflicting situations through the game. The Theatre of English Miniatures is considered as one of the potential strategies for overcoming communicative difficulties in the course of the foreign language learning. Dramatization while learning the foreign language promotes creation of a situation of communication in the foreign language that is close to the real life circumstances and pushes students to solving the problems that arise within the bounds of such situation.

Quite possibly the most well-known types of amusement for individuals are a visit to the theatre. For quite a long-time individuals have appreciated dramatization, satire, music, and different types of amusement. Truth be told, the historical backdrop of theatre can be followed back to the sixth century B.C. where the Antiquated Greeks were quick to introduce emotional introductions. The issues related to the topic will be discussed in the report how the theatres previously were facing issues and how can this be resolved using digital theatricals. The objective of the report is that points out the theatrical design. The aim of this research is to highlight an insight into how digital theatre performance and production can process integrate sustainability literacy. This article describes the establishment and enhancement of theatre performance and green structures used to perform the work in two spaces. Free philosophies have so been employed across various times. Subjective techniques used in this examination incorporate practice drove inventive advancement strategies explicit to theatre and creation measures. In addition, the need for fundamental changes to digitalizing the theatrical design can quite beneficial the development goals for UN.

Resumen El artículo presenta los resultados de una investigación colectiva que tuvo como propósito analizar, desde una mirada crítica y de género/feminista, narrativas periodísticas, discursos y sentidos en disputa expresados por medios gráficos de la provincia de Mendoza, Argentina, sobre distintas problemáticas de género como la violencia contra las mujeres. Entre otros hallazgos, a través del análisis cuanti-cualitativo de las construcciones noticiosas, el trabajo revela de qué manera la agenda de los temas de género ha quedado subsumida a la problemática de la violencia de género/femicidios tratada desde el punto de vista policial. La espectacularización a través de diferentes herramientas como la personalización, la descontextualización y la dramatización, se ha convertido en un mecanismo recurrente en la construcción de tales informaciones.AbstractThe article presents the results of a collective research that had the purpose of analyzing, from a critical and gender / feminist perspective, journalistic narratives, discourses and senses in dispute expressed by graphic media of the province of Mendoza, Argentina, on different topics of gender such as violence against women. Among other findings, through the quantitative-qualitative analysis of news constructions, the paper reveals how the agenda of gender topics has been subsumed to the problem of gender violence / femicide treated from the police point of view. The spectacularization, through different tools such as personalization, decontextualization and dramatization, has become a recurrent mechanism in the construction of this information.

The purpose of the article is to determine the specifics of the use of the forms and methods of physical theater in modern performances of classical drama works. The research methods. The scientific provisions of the article are argued at the level of the following scientific methods: empirical-theoretical – for processing the artistic factual base of the research, comparative – for comparative analysis of the determinants of modern scenography with classical samples of theatrical performances, systematization and generalization – to determine patterns that determine the specifics of the interaction of traditions and innovations in the development of modern theater. The scientific novelty consists in revealing the specificity of integration and functioning in modern theatrical productions of the forms and methods of physical theater in the context of the prevailing trends in the development of the theatrical art of the 21th century. Conclusions. The elements of physical theater in modern performances of classical plays greatly expand the boundaries of dramatic theater, focused on action. Accordingly, if the works of classical drama express symbols, focus on actions and are disconnected from realism, the methods of physical theater are among the important means of innovative dramatization of famous theater plays in the conditions of the stage space of the 21st century.

[Resumen] El aprendizaje de una lengua extranjera se ha vuelto un objetivo clave desde los últimos años. En las escuelas de Primaria en España, no son pocos los docentes que dirigen sus esfuerzos a este respecto. Desde Galicia, proponemos una respuesta educativa dinámica, divertida e inclusiva basada en una experiencia de dramatización de textos tradicionales en el aula de inglés [Abstract] Learning English as a Foreign Language has become a key objective to be achieved over the last years. In Primary Education schools in Spain, they are many the teachers who direct their efforts to this issue. From Galicia, a dynamic, entertaining and inclusive educative response in the English classroom has been proposed. The experience has been based on a text dramatization

The article analyses the construction of whistleblower heroes in cinematic dramatization. Drawing on Joseph Campbell’s and Vladimir Propp’s work on mythology and fairy tales and Jeffrey Alexander’s civil sphere concept, I argue that these narratives are structured as a journey with five thresholds that all must be crossed before heroic status can be awarded. The theoretical framework is applied in an analysis of eight whistleblower films. So far, films have not been explored as a source of sociological insight into the values and meanings associated with whistleblowers. While the article focuses empirically on films, the findings have broader implications. The analysis of films lets us discover the ideal-typical contours of the whistleblower as a distinct social and political persona in democratic societies. Unpacking their hero-making narratives equips us with new tools to interpret the moral-political grammar of the meaning struggles that emerge in the wake of real-life whistleblower disclosures.

Most critics argue that the television comedy One Day at a Time (2017), produced in the United States, is a progressive show, mainly due to its cast, its attempt at faithfully representing an ethnic minority, and its courage in advancing relevant, sensitive topics. In order to qualify such assumptions, we will review the history of the sitcom formula, particularly the genre often defined as domestic comedies of the 1970s, and argue that its formal constraints impose unsurmountable limits on a progressive agenda. Finally, we proceed with an aesthetic analysis of the first season, which further demonstrates that the genre’s need of family stability—what we call a hierarchy of values—compromises the dramatization of political content. We hope that by examining the genre’s history and analyzing the show’s aesthetic, we can contribute to a better understanding of its inherent shortcomings and compromises. A maioria dos críticos argumenta que a comédia televisiva One Day at a Time I (2017), produzida nos Estados Unidos, é um programa progressista, principalmente devido ao seu elenco, sua tentativa de representar fielmente uma minoria étnica e sua coragem em avançar relevantes e sensíveis tópicos. A fim de qualificar tais suposições, revisaremos a história da fórmula da sitcom, particularmente o gênero freqüentemente definido como comédias domésticas dos anos 1970, e argumentaremos que suas restrições formais impõem limites intransponíveis em uma agenda progressista. Por fim, procedemos com uma análise estética da primeira temporada, a qual demonstra que a necessidade do gênero por estabilidade familiar - o que chamamos de hierarquia de valores - compromete a dramatização do conteúdo político. Esperamos que, examinando a história do gênero e analisando a estética do programa, possamos contribuir para uma melhor compreensão de suas deficiências e compromissos inerentes.

Oral performance is a vital constituent of the socio-cultural life of Africans as it manifests itself in varying forms—poetry, song, oral narratives, proverbs, riddles, jokes, etc.—in virtually every aspect of their lives: cultural, spiritual, social, and occupational. Verbal art, as it is called, is therefore highly regarded and revered among them. Every occasion—formal and informal—offers a veritable opportunity for oral creativity which provides entertainment, information, and cultural transmission. As a matter of fact, oral performance is an inseparable aspect of the lives of Africans. Oral performance is essentially public; therefore, audience, the spectators who the performers perform for, constitutes a crucial component. Like a Siamese twins, audience cannot be divorced from performance. This is because African audience is not a mere passive spectator but an active and informed one who is keen, critical, and commentarial. The crucial role of the audience provokes and galvanizes performer to better dramatization and rendition. African audience is therefore very dynamic. It is on this premise that this chapter explores the dynamic nature and critical role of audience of oral performance in Africa. The chapter is discussed under the following headings: overview of oral performance, characteristics of oral performance, audience, role of audience, and conclusion.

In this chapter, unique characteristics, challenges and needs of Chinese basic educational needs are reflected based on a dialogue and comparison with the international background. Problems concerning basic abilities in children’s daily life practice are outlined to understand the complex re-constructing process of value systems and educational practices in modern China. In this chapter, we propose that “consciousness” should be restored as the key issue in deep psychological researches in developmental and educational psychology. A look on education as institutionalized dramaturgy—“The pupil as actor and author,” “The class as theater company” and “The teacher as a director”—can function as an innovative interpretational framework to understand the school context and its societal functions. In this chapter, unique characteristics, challenges and needs of Chinese basic educational needs are reflected based on a dialogue and comparison with the international background. Problems concerning basic abilities in children’s daily life practice are outlined to understand the complex re-constructing process of value systems and educational practices in modern China. In this chapter, we propose that “consciousness” should be restored as the key issue in deep psychological researches in developmental and educational psychology. A look on education as institutionalized dramaturgy—“The pupil as actor and author,” “The class as theater company” and “The teacher as a director”—can function as an innovative interpretational framework to understand the school context and its societal functions.

This essay discusses letter-exchange as a multimedial and partly ritualized form of communication. It focuses on the role of the bearer, as not only as a channel for the message, but also as a mediator and go-between. Gifts added a material dimension to letter-exchange, and they were subject to subtle codes that often caused a sender to downplay their value and importance. The reception of letters was a ritualized event, consisting of a fixed sequence of gestures, and involving all the senses. Letters were regularly read by others, a phenomenon that one could call “public intimacy‘; the reading of letters often stood at the core of a complex semi-public performance, involving extensive mediation, rhetorical dramatization, and ceremony. The essay also examines the impact of social decorum and hierarchy on letters, notably on the form of address, formulas of deference, the vocabulary with which the letter-writer introduced requests, etc., for which the term “epistolary codes‘ can be used.

The Meaningful Learning Theory proposes the construction of knowledge by valuing students' previous experiences. The objective was to report the promotion of meaningful learning in the context of health, education and culture based on artistic manifestations. This is a report of experience about the Pedagogical Intervention Project “Literary Coffee: Adolescents in Action - Protagonists of their own history”, which took place between February and May 2019 with high school students from a public institution in the rural area of Bahia, Brazil. The use of poetry, dramatization, dance and music as pedagogical tools instigated artistic skills among students, making them protagonists in the construction of knowledge. The students expressed their concerns and realized the role of the teacher as a notable mediator. It was evidenced the importance of art in promoting meaningful learning in the context of health, education and culture.

La question du rapport maître-disciple est mise en évidence dans Le Maître de Santiago de Montherlant par une théâtralisation de la transmission. Dialogue vif et tendu, situations conflictuelles et divergences de points de vue ébranlent aussi bien les relations familiales et amicales que les affinités idéologiques. Pour les Espagnols de 1519 partir en Amérique est une aubaine. Cette course effrénée derrière le gain qui utilise l’évangélisation comme prétexte séduit les chevaliers de l’Ordre de Santiago mais elle déplaît énormément à leur chef. La focalisation de cette dramatisation sur le différend en question permet de dégager les figures du maître, celles du disciple et, à travers leurs relations, les valeurs affirmées. Alvaro Dabo, qui agit en tant que guide de l’Ordre de Santiago, est sans conteste la principale figure du maître. En cultivant le paradoxe et en s’opposant au désir de ses pairs, il ne s’érige pas en passeur de savoir-vivre et de savoir-faire, mais il parvient tout de même à formuler les valeurs auxquelles il est attaché : noblesse d’âme, générosité, humilité. Les disciples se répartissent en cinq catégories. La figure « aristotélicienne » (Bernal et Vargas) commente et interprète le discours du maître. La figure « épicurienne » (Olmeda) vise à atteindre le bonheur. Le disciple « parricide » souhaite éliminer Alvaro. Letamendi est l’illustration du mauvais élève. Mariana, incarnation de l’« alter ego », tient du maître sans en être une pâle copie. Tendues, les relations qui régissent les deux instances confèrent une dynamique au processus de transmission. Alvaro cherche à se murer dans le silence, mais il tient à transmettre avant de disparaître. Deux valeurs essentielles constituent la teneur de son message : l’histoire nous enseigne qu’il faut être méfiant à l’égard des forces négatives, l’engagement requiert des qualités morales telles que le sacrifice de soi et la charité. Montherlant approuve chez son personnage la condamnation de la colonisation, mais il n’adhère pas à son extrémisme. The question of the master-disciple relationship is highlighted in Le Maître de Santiago (The Master of Santiago) of Montherlant by a theatricalization of the transmission. Lively and tense dialogue, conflicting situations and divergent points of view undermine family and friend relations as well as ideological affinities. For the 1519 Spaniards the chance to go to America is a golden opportunity. This frantic race behind the gain that uses evangelism as a pretext, seduces the knights of the Order of Santiago, but greatly displeases their leader. The focus of this dramatization on the dispute in question allows us to identify the figures of masters, those of disciples and, through their relations, the affirmed values. Alvaro Dabo, who acts as a guide to the Order of Santiago, is undoubtedly the main figure of master. By cultivating the paradox and opposing the desire of his peers, he does not set himself up as a transmitter of good-manners and of know-how, but he nevertheless manages to formulate the values to which he is attached: nobility of soul, generosity, humility. The disciples are divided into five categories. The “Aristotelian” figure (Bernal and Vargas) comments and interprets the master’s speech. The “Epicurean” figure (Olmeda) aims to achieve happiness. The parricide disciple wants to eliminate Alvaro. Letamendi is the embodiment of a bad student. Mariana, the incarnation of the master’s “alter ego”, looks like the master without being his pale copy. Being tense, the relations that govern the two instances give a dynamic to the process of transmission. Alvaro tries to confine himself to silence, but before disappearing he wants to transmit his message. Two essential values constitute its content: history teaches us that one must be distrustful of negative forces; commitment requires moral qualities such as self-sacrifice and charity. Montherlant approves of his character’s condemnation of colonization but he does not adhere to his extremism.

The report aims to describe the application of dramatization in the assessment of the teaching-learning process in the academic context from psychodramatic pedagogy. The dramatization used in the academic evaluation showed itself to be a method that combines learning, acquired knowledge and congregates other knowledge; vivifies and reflects the contents; promotes the integration of the class in the academic environment; instigates the here and now; develops spontaneity, creativity and telesensitivity; promotes the commitment and participation of all; and gives a light climate to the evaluation.

O presente ensaio busca problematizar a produção de subjetividade em corpos docentes e discentes quando atravessados pelo ressentimento. Pautado pelo Método de Dramatização (DELEUZE, 1976; 2006) intenta colocar a questão o que quer. Para tal apresenta um personagem conceitual, ‘o professor’, e um personagem estético, ‘o aluno’. A crítica realizada ao ressentimento abre, ao longo do texto, condições de possibilidade para que uma ética do eterno retorno (NIETZSCHE, 1995; 2012) se apresente como paradoxo à educação. Queres isso mais uma vez? Como queres? Com quais condições de possibilidades queres? O trabalho utiliza a ficção (COSTA, 2014) como disparador de uma política de escrita, tencionando a educação como prática de invenção de si.

Ringstrom addresses major changes in a number of paradigms that have been occurring over the past 50 to 70 years within the larger scientific/philosophical community and, more specifically, within psychoanalysis. His overall purpose is to further delineate and integrate these paradigmatic changes and their theoretical and clinical implications for understanding psychoanalytic change. In his title, “Three Dimensional Field Theory: Dramatization and Improvisation in a Psychoanalytic Theory of Change,” Ringstrom a third “spatial” dimension to relational field theory that makes it more than a metaphor. Dramatization and improvisation does not just refer to a technical approach but, more important, provides a framework by which he understands effective therapeutic interaction. This discussant attempts to evaluate several of the paradigm shifts, namely, the informational revolution and dramatization and improvisation.

This paper explores the three-dimensional (3D) field of psychoanalytic practice in four parts. It first begins with the radical shift in epistemology from Freud’s energy theory–based metapsychology to one based in information theory. This shift altered the classical theory of change—based on “cause and effect” of energic forces—to a contemporary one based on patterning of information in the field. This latter view posits that change in living systems is constant, though it operates in two distinct manners: (a) change that keeps living systems the same, that is, “1st Order Change,” in relationship to (b) novel change referred to as “2nd Order Change.” The information-based epistemological view argues that all of the information necessary for determining change in any psychotherapy exists in every session of the 3D field of every treatment. This raises the question in the second part of how this information is accessed in the field, the answer of which explores the functions of the right and left hemisphere...

The public opinion monitoring results reveal contradictions in the attitudes towards the Orthodox organizations. On the one hand, the church activities get high approvals; on the other hand, the media depict a contrasting image of the ROC’s perceptions in the news stories. Due to media dramatization any religious contradictions or the ROC activities can take the form of a conflict. Generally, religious differences do not lead to conflictsthis happens only if religious issues are viewed from political and economic perspectives where a struggle for resources takes place. The conceptual analysis of the data obtained allows the author to single out three groups of respondents: «religious zealots», «traditional majority», and ‘the indifferent». The key criterion of assignment to a certain group is to assess the importance of religious worldviews and religious participation for self-identification.The author concludes that the megapolis inhabitants’ religious affiliation and worldviews in and of themselves have low conflict potential, and their effects are obviously exaggerated both in the sociological studies and the modern mass media.

According to the criminological literature, Frank Tannenbaum’s theory of “The Dramatization of Evil” was the first formulation of an approach to deviance that in the 1960s became known as the “labe...

The phenomenon,Dimas KanjengTaat Pribadi , is unique issues that have shocked in the Indonesian public because of his unbelievable activities (duplicate the amount of money).This metode of the research is textual;focus onTaat Pribadi news,doubling the money with the religion modus. Mediatisation theory explains about howTaat Pribadi work from the mediatisation, what things appear from the religion ,ediatisation , and how the logic of media work in this case (form knowledge) to the public.The findings of this study are mediatisation religion led to new understanding of the public that led to the substitution of the role of religion and peeps quast-religious.The logic of the media make the knowledge from public that the reporting on this case a shift is no longer focused on the case of deception,but tend to focus on the dramatization of the media or in other words experiencing commoditization of media content,as well as the logic of the media creating a privateTaat Pribadi as a new celebrity. Keywords: Mediatization, religion, logic media, commodification, and dramatization media

Through the lens of the Global War on Terror Mark Twain reemerges as an ideal American antiwar icon, and although his most scathing indictment of war fervor, “The War Prayer” (1905), was published posthumously, the text now bolsters the antiwar movement as seen on the Internet, in social media, and in independent films that demonstrate effective political appropriation of Twain's work. These include Markos Kounalakis's animated short (2006), the Lyceum Films adaptation (2007), and the Blasko Films production (2003). While there is a clear historical context for “The War Prayer,” as Jim Zwick explained, there is a lack of historical specificity within the text that readily permits adaptation to other moments of fervid, religious patriotism in the name of war. More than mere dramatization, the article emphasizes aesthetic choices and Judith Yaross Lee's visual vernacular, particularly in Kounalakis's animation. The appropriation of Twain's cultural authority in these films has cemented his “legacy of dissent.”

Production studies have become popular over the past decade. Recent studies have analysed, amongst other things, innovation, management strategies and the effects of convergence on editorial processes. There have only been a few studies that have analysed what happened inside media organisations in the earlier transformative stages (outside the UK and the USA). This paper analyses how the Norwegian public service broadcaster (NRK) adapted to the loss of its monopoly and the beginning of competition during the mid-1980s. It provides a window into how the flagship of public service, the Enlightenment Department, dealt with the new situation.If one follows the production process of the main programme of the department (with the revealing working title ‘Flagship’) from its conception to its realisation as a weekly programme broadcast in prime time, this reveals how innovation at the time was restricted by organisational arrangements, internal values and external pressures. The programme makers included many elements that are still today considered to be advantageous in factual programming (humour, dramatization, popularisation, serialization, recognition, and even interactivity). Along the way several of these were changed: what had started as a proposal for a documentary series turned into something that was predominantly a discussion programme.

The University Extension Project “Bau de Historias” acts in Santos municipality (Sao Paulo state, Brazil), in three sectors: health, education and social assistance. Students tell stories through dramatization through cooperative interprofessional practice, using residues to make the characters and the scenery. Objective: to present how the extension can create a sustainable awareness and stimulate services, territories, children and theirs relatives in vulnerable position, in general, to value the ecosystem where they live. Method: working topics that encompass sustainability, recycling and giving other meanings to the materials through playful activities. The results reveal the potential for interaction between: the university, territories, services and population by empowering children and their relatives as active subjects and multipliers of actions that transform their environment in a playful way. Consequently, the environment becomes more sustainable, less polluted and with more playful resources with easy access, promoting its health and development. Final considerations: the extension’s practical experience is based on interprofessional education and integral and humanized care. Providing a different teaching-learning process, offering environmental awareness, social interaction and child stimulation, reflecting the playing process as facilitating resource, in addiction to empowering the population.

Cinema or motion picture can be defined as the art of moving images where it tends to tell stories in a visual medium. Indian film Industry or Bollywood is largely known for its entertainment, drama, songs, stereotypic narratives etc. where a different set of world emerges and make the impossible possible. The changing trends in Bollywood bring new dimensions or directions to film making, and one of the new trends includes making biopic on sports personalise, and the sports-based films have tried to create a fantasy world between the people and the sports itself which helps the people to know more about their favourite sports personality adding an entertainment factor making it more interesting. This study has aimed to assess the depiction of sports in five prominent Bollywood movies namely Paan Singh Tomar Bhag Mikha Bhag, Mary Kom, M.S. Dhoni: The Untold Story and Azhar. Both Qualitative and the Visual content analysis method have been used for the study alongwith many secondary data such as movie reviews, articles on films, books and film theories to understand the technicalities of film making. The study reveals surprising facts as the film-makers try to mix all components and tend to bring out a power packed movie with their goals towards commercialization, without concentrating on the storyline, stereotyping the real situations, adding artificiality and mediocre dramatization of circumstances.

This article seeks to illustrate how the Interdepartmental Language Centre of a university can come to represent a fertile and dynamic learning community. Its specific focus is the use of drama in two ESP courses run by the interdepartmental language centre at the University of Turin (CLA-UniTo). The first was a third-year workshop for trainee primary school teachers, the second a first-year module on a degree course in social work. Both of these courses might be said to bridge the rather ill-defined boundaries between CLIL and ESP, as in both cases language is taught through content and content through language. This cross-curricular focus disrupts the traditional verticalist hierarchy of the teacher-pupil relationship, since the course participants frequently have content-based knowledge and experience in which the “teacher” is lacking. The use of dramatization proved particularly useful in engaging and empowering each individual student in these classes, transforming the learning process into a dynamic, collaborative enterprise.

Fecha de recepción: 08 de febrero de 2019Fecha de revisión: 03 de abril de 2019Fecha de aprobación: 21 de mayo de 2019 La educación ambiental, como un proceso que permite al individuo comprender las relaciones de interdependencia con el entorno a partir del conocimiento reflexivo y crítico de la realidad desde una perspectiva sistémica, se ve favorecida cuando en el ámbito escolar se incorpora estrategias pedagógicas contextualizadas que hacen posible el desarrollo y libre expresión de los educandos, puesto que así ellos interiorizan y son conscientes de la importancia de proteger aquellos recursos naturales, sociales y culturales brindados por el ecosistema. Esta investigación se desarrolló en el Centro Educativo La Calera en el Páramo de Chiles, mediante un paradigma cualitativo, con un enfoque critico-social y una investigación acción; esta metodología orientó el desarrollo investigativo para el fortalecimiento de conocimientos mediante la formación ambiental y el rescate de creencias ancestrales en estudiantes, docentes y padres de familia de los grados tercero, cuarto y quinto, a través de estrategias pedagógicas como el juego, el Aprendizaje Basado en Problemas, los pictogramas, la tulpa de pensamiento y la dramatización, los cuales impactaron significativamente en la comunidad, logrando reconocer que la cultura es el puente entre el conocimiento científico y el conocimiento empírico de un contexto. Palabras clave: Educación ambiental, estrategias pedagógicas, saber natural, saber social y saber cultural. Environmental education from a cultural, social and natural perspective for the conservation of the Páramo de ChilesEnvironmental education is a process that allows the individual to understand the relationships of interdependence with the environment from the reflexive and critical knowledge of reality from a systemic perspective. This is favored when contextualized pedagogical strategies are incorporated into the school environment that make possible the development and free expression of students, so that they internalize and be aware of the importance of protecting those natural, social and cultural resources provided by the ecosystem. This research was developed at the La Calera Educational Center in the Páramo de Chiles, through a qualitative paradigm, with a critical-social approach and an action research; this methodology guided the research development for the strengthening of knowledge through environmental training and the rescue of ancestral beliefs in students, teachers and parents of the third, fourth and fifth grades, through pedagogical strategies such as play, Learning Based in Problems, the pictograms, the ‘tulpa’ of thought and the dramatization, which significantly impacted in the community, managing to recognize that culture is the bridge between scientific knowledge and empirical knowledge of a context. Key words: Environmental education, pedagogical strategies, natural knowledge, social knowledge and cultural knowledge. Educação ambiental de uma perspectiva cultural, social e natural para a conservação do Páramo de Chiles A educação ambiental é um processo que permite ao indivíduo compreender as relações de interdependência com o ambiente a partir do conhecimento reflexivo e crítico da realidade a partir de uma perspectiva sistêmica. Isto é favorecido quando as estratégias pedagógicas contextualizadas são incorporadas ao ambiente escolar que possibilitam o desenvolvimento e a livre expressão dos estudantes, para que eles internalizem e estejam cientes da importância de proteger os recursos naturais, sociais e culturais proporcionados pelo ecossistema. Esta pesquisa foi desenvolvida no Centro Educacional La Calera, no Páramo de Chiles, através de um paradigma qualitativo, com uma abordagem crítico-social e uma pesquisa-ação; essa metodologia conduziu o desenvolvimento da pesquisa para o fortalecimento do conhecimento por meio da formação ambiental e resgate de crenças ancestrais em alunos, professores e pais das terceira, quarta e quinta séries, por meio de estratégias pedagógicas como brincar, Aprendizagem em Problemas, pictogramas, o ‘tulpa’ do pensamento e a dramatização, que impactaram significativamente na comunidade, conseguindo reconhecer que a cultura é a ponte entre o conhecimento científico e o conhecimento empírico de um contexto. Palavras-chave: Educação ambiental, estratégias pedagógicas, conhecimento natural, conhecimento social e conhecimento cultural. .

O teatro ensina a conhecer ansiedades e a geri-las num ambiente protegido, onde subir para um palco ajuda a proteger-se de receios, e a construir uma personalidade mais ampla. A atividade teatral é formativa e é um instrumento de crescimento para todas as idades, durante todas as fases da vida. O laboratório teatral universitário em Forlì, que teve início há vinte e seis anos, é uma experiência extraordinária assim como é um ótimo instrumento didático. Mas pode-se ensinar uma língua estrangeira através duma atividade teatral? E o teatro musical pode servir para ensinar e aprender uma «outra» língua? Está reconhecido que o laboratório teatral é útil para ensinar não só a literatura ou a dramaturgia, como também a didática das línguas estrangeiras onde estudantes podem experimentar a eficiência de várias técnicas de simulação e dramatização. Há anos que o teatro é o fulcro de uma atividade e um instrumento didático mais do que uma forma de arte por si só. Ensinar através do teatro faz parte de um contexto didático e deixou de ser só uma escolha de um professor cheio de iniciativa e criatividade. The Theatrical Activity as an Instrument for the Learning of PLE in the Interpretation and Translation Department of the University of Bologna, Headquarters of Forlì The theater teaches you to know anxieties and manage them in a protected environment, where climbing to a stage helps protect oneself from fears, and builds a broader personality. Theatrical activity is formative and is an instrument of growth for all ages, and during all phases of life. The university theatrical laboratory in Forlì, which began twenty-six years ago, is an extraordinary experience as it is a great teaching instrument. But can a foreign language be taught through a theatrical activity? And can musical theater serve to teach and learn an “other” language? It is recognized that the theatrical laboratory is useful for teaching not only literature or dramaturgy, but also the teaching of foreign languages where students can experience the efficiency of various techniques of simulation and dramatization. For years the theater has been the fulcrum of an activity and a didactic instrument more than an art form alone. Teaching through theater is part of a didactic context, and is no longer just a choice of a teacher full of initiative and creativity. Keywords: theatrical laboratory, foreign language teaching, Portuguese as L3, interculturality, theatrical language