Search

The early years of physiology education in medical curricula provide unique challenges. As well as inculcating concepts that are seen as difficult, modern curricula require that students learn in context in case-based learning courses. Additionally, regulating bodies stress that the soft skills of compassion, communication, and empathy are embedded throughout curricula. This has driven work in our organization involving drama and final-year medicine students during which they collaborate in realistic simulations of doctor/patient interactions. We adapted this transdisciplinary approach to second-year physiology tutorials. This emphasized the holistic importance of physiology to patient care, while also embedding "human factors" skills from the very earliest stages of the curriculum. After preparing by attending acting classes based on aspects of Konstantin Stanislavski's "System," the authors supervised tutorials in which drama students participated in a "physiology of hypofertility" session for second-year medical students, playing a 34-year-old woman with premature menopause (or their partner). Opinion (from all students) was evaluated by Likert questionnaires (which included open questions). A focus group of drama students was also interviewed, and the conversation was recorded for thematic analysis. Positive Likert scores were recorded for the authenticity of the tutorials, skills development, fostering empathy, and motivating students to improve. All participants evaluated the tutorial as highly enjoyable. These scores are reflected in positive open commentary on the questionnaires and in the focus group interviews. The results suggest that even basic science tutorials give opportunities for interdisciplinary study and enhancement of behavioral skills while gaining enthusiastic student acceptance. NEW & NOTEWORTHY: This work details how physiology tutorials for early years medical students are transformed by taking the clinical case off the two-dimensional page and instead having the case scenario acted by drama students. This adds context and authenticity. The benefits are twofold: emphasizing the importance of physiology to the budding clinician and embedding empathy and compassion from the earliest points in a clinician's career. [ABSTRACT FROM AUTHOR]

The article describes the features of acquiring artistic and creative competence, as a child's elementary awareness of the specifics of art forms (artistic and productive, musical, theatrical); valuable attitude to art and artistic activity, the desire to perceive folklore art. Folkloric forms of the heritage of Ukrainian culture are considered. Teaching and methodical material and practical recommendations are offered, which in music classes will be useful both to experienced teachers of preschool institutions and to those workers who are starting to work with the smallest brains. Normative documents in the field of preschool education were studied and play competence was considered as a child's ability to free, emotionally saturated, spontaneous activity on his/her own initiative, in which the possibility of applying existing and assimilating new knowledge and personal development is realized due to the child's desire to participate in the life of adults through the realization of interests in game and role-playing actions in a generalized form. The necessity of using folk games for the formation of artistic and creative competence in preschool children is substantiated. Peculiarities of knowledge of the surrounding world of preschool children and themselves in it are determined. The work proposes to create a basis for the natural formation and development of musical abilities in preschoolers through a folk game by encouraging children to play folk games. It has been emphasized that raising children is based on love and respect for Ukrainian musical folklore. The secrets of conducting music classes using folk games and working with preschoolers are recommended to teachers of primary schools, music teachers, teachers of children's vocal ensembles of extracurricular and club institutions, scientists, graduate students, students of pedagogical and art educational institutions, parents and the general public [ABSTRACT FROM AUTHOR]

This study offers a new perspective on documentary drama in the television, cable and streaming eras by mapping the trajectory of US media industry discourse about docudrama from the early twentieth century to the present. It uses aggregate data from eight entertainment trade journals to show that docudrama emerged in broadcasting and film in the 1930s and has played a significant role in US media culture ever since. It analyzes trade journal commentary and radio broadcasting practices to demonstrate that the two key components of docudrama—dramatization and a discourse of factuality—developed in the network radio era. The key radio innovation was dramatization, which required producers to re-create actual events, conform to generic expectations, and promote a particular ideological perspective on social events. [ABSTRACT FROM AUTHOR]

The article is devoted to theatrical adaptations of the novel Crime and Punishment by Fyodor Dostoevsky staged in Serbia during the first half of the 20th century. These productions are analyzed in the broad context of the transmedial storytelling of the novel, included into intercultural paradigm. In the second part of the article, the author focuses on the analysis of two productions of the 1930s: the first one in Serbian language, with Serbian actors; the second one by a touring troupe, in Russian language, with Russian actors. Using the method of reconstruction, on the basis of the creation of artefacts, the author applies to these cultural events a multidisciplinary theory of photography and illustration, in order to identify a connection between the above-mentioned productions and the original text of Dostoevsky’s novel. Having tried to determine the orginality of Serbian stage productions, the articles comes to the conclusion that they are basically rooted into the original Russian culture, meanwhile terms of unique ‘Balkan recoding’ of Crime and Punishment can only be applied to its poetic transformations in Serbian-Croatian ‘zenitists’ artwork.

Copyright of Revista Foco (Interdisciplinary Studies Journal) is the property of Revista Foco and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

When the primetime television show Scandal aired its Ferguson-inspired episode "The Lawn Chair" in March 2015, they sought out to envision what racial justice "should" mean. This vision assimilated Black Lives Matter's (BLM) radical systemic critique of white supremacy into a binary logic of guilt and innocence, alienized the political power of black anger, and disappeared Black queer women from the narrative, projecting an image of activists as ineffectual and an image of white political actors as the arbiters of social change. Through critical rhetorical analysis, I argue that "The Lawn Chair" effectively functions to contain the liberatory potential of BLM, bounding the movement's intersectional critique within the liberal fantasy of inclusion and recognition. In so doing, I map out what I call the three dominant forms of rhetorical containment—assimilation, alienization, and disappearance—to better understand how the force of containment both recurs and accumulates within the dominant cultural memory and the social imaginary. [ABSTRACT FROM AUTHOR]

This is a report from the field, where an immigrant mother journaled about her Yemeni American daughters (ages 7 and 13, born and raised in the U.S.) visiting museums for the first time. Her diary documented how mother–child and sibling interactions in museum education contributed to building cognitive and affective skills required for academic success in formal schooling. Her diary entries included: (1) anecdotal observations, (2) interviews of her daughters and her immigrant father, and (3) reflective and photographic journaling. Her daughters’ journaling and photo documentations further supported their mother’s entries. Vygotsky’s sociocultural theory is the conceptual framework for this project. The mother promoted her daughters’ immigrant identity via visits to museums and activities related to the museum and the family’s immigrant identity offered before, during, and after the museum visits. The project culminated with her daughters creating their unique family museum and dramatizing as docents. We recommend (1) museum-related interactive literacy activities, and (2) creating and dramatizing a family museum.We buttress these recommendations with research, Vygotsky’s theory, and our evidence-based practice. We conclude that the daughters demonstrated the cognitive and affective skills required for academic success in formal schooling while simultaneously developing their immigrant identity. We suggest replicating this project to promote immigrant identity among other cultural groups. We lastly present an educational case study of the grandfather’s immigrant experiences in the appendix. [ABSTRACT FROM AUTHOR]

The author revisits his previous papers on dramatology published in 2009, 2011, and 2015, adding the results of new research. The additions are ideas about dramatic action by philosophers William James and John Dewey and literary theorist Kenneth Burke. There is a new discussion of the relation between dramatology and narratology. The approach is a retrospective application of dramatization to Freud’s method in analyzing the famous cases of Dora and Schreber. A new finding is dramatization in DSM-5 diagnoses. Another new interest is applying dramatology to Freud’s mass psychology and world-wide events as dramas of history. [ABSTRACT FROM AUTHOR]

Copyright of Enunciación is the property of Revista Enunciacion and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

Copyright of Dilemas Contemporáneos: Educación, Política y Valores is the property of Dilemas Contemporaneos: Educacion, Politica y Valores and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

HBO's five-episode docudrama Chernobyl (2019) is an attempt to reimagine the horrific nuclear explosion of 1986 in Pripyat, and what it was like to live through the catastrophic tragedy. Throughout the extent of the show, the creators are seen attempting to strike a balance between the dramatization required for televisual representation and the effort to maintain historical accuracy. Subsequently, Chernobyl successfully portrays (and juxtaposes) two conflicting responses to the disaster of 1986 — the state-sanctioned denial and distortion of the real events incorporated by a series of self-serving officials, and the “personal evaluation” of first-hand witnesses — such as Valery Legasov, Boris Scherbina, and Ulana Khomyuk — configured to establish a counternarrative to a state-monopolized history. Hence, Chernobyl becomes what Agnes Heller calls an ‘evaluative reconstruction’ of the 1986 disaster, ma ing way for a historiographical study. This article will also attempt to illustrate how Craig Mazin and Johan Renck's portrayal of the Chernobyl nuclear disaster opens up the possibility of critiquing the pre-existing unquestionability, and the imagined notions of power and perfection of the Soviet hierarchy, as is represented in the show by a set of corrupt government agents and servicemen working for the Ukrainian Soviet Socialist Republic.

This study works on examining how dramatization stereotypes destroy the image of the Palestinian women in Yedioth Ahronoth‘s (Ynet) News Articles Headlines. Language has the ability to construct scenery codes that manipulate the perceptual environment of the recipients and is intensified as media dramatizes coverage. Drama has the power to depict subjects, strengthen ready-made interpretations, foster and amplify prejudices by anticipation and releasing anticipation. Critical discourse analysis of 33 news articles headlines of the English-language Ynet news articles headlines on Facebook published from January 2016 to December 2016 showed that the newspaper dramatized the titles, tackling Palestinian females’ stories and negatively depicted them through. This unfolds into creating new realities and identities through amplification, simplification, contradiction, emotional amplification, and the change of form. Analysis also showed that dramatization possesses the authority to classify inferred through dramatic evidences that leads to a change in the shape of reality and negotiating it. [ABSTRACT FROM AUTHOR]

The article describes the features of acquiring artistic and creative competence, as a child's elementary awareness of the specifics of art forms (artistic and productive, musical, theatrical); valuable attitude to art and artistic activity, the desire to perceive folklore art. Folkloric forms of the heritage of Ukrainian culture are considered. Teaching and methodical material and practical recommendations are offered, which in music classes will be useful both to experienced teachers of preschool institutions and to those workers who are starting to work with the smallest brains. Normative documents in the field of preschool education were studied and play competence was considered as a child's ability to free, emotionally saturated, spontaneous activity on his/her own initiative, in which the possibility of applying existing and assimilating new knowledge and personal development is realized due to the child's desire to participate in the life of adults through the realization of interests in game and role-playing actions in a generalized form. The necessity of using folk games for the formation of artistic and creative competence in preschool children is substantiated. Peculiarities of knowledge of the surrounding world of preschool children and themselves in it are determined. The work proposes to create a basis for the natural formation and development of musical abilities in preschoolers through a folk game by encouraging children to play folk games. It has been emphasized that raising children is based on love and respect for Ukrainian musical folklore. The secrets of conducting music classes using folk games and working with preschoolers are recommended to teachers of primary schools, music teachers, teachers of children's vocal ensembles of extracurricular and club institutions, scientists, graduate students, students of pedagogical and art educational institutions, parents and the general public [ABSTRACT FROM AUTHOR]

This article analyzes the impressions of Russian poet Andrey Bely, who visited the dress rehearsal of the play The Case (Delo), written by Aleksandr Sukhovo-Kobylin and staged by Boris Sushkevich, at the Moscow Art Theater II. Bely shared his impressions in a letter to Razumnik Ivanov-Razumnik, writer, philosopher and literary critic, and a friend and interlocutor of Andrey Bely. In the mini-review in his letter Bely also mentions Leonid Grossman, a specialist in the field of the heritage of Sukhovo-Kobylin. Both Bely and Grossman focus on the play's protagonist Muromsky. They note the "memory of the character" and they discuss the performance of the actor Mikhail Chekhov. Archival sources demonstrate the specifics of theatrical memory. Drafts, director's copies, typewritten inserts, pasted from other publications preserved in the foundation at the Museum of Theatrical and Musical Art in St. Petersburg and in the Russian State Archive of Literature, were brought for the reconstruction of the performance. Analysis of the director's copy of the script prepared by Boris Sushkevich made it possible to identify the original source with which he worked when adapting it for the stage. It was the publication of the play The Case (Delo) from 1887. A comparison of the transformation of the text reveals common elements in two productions: the plays The Case (Delo) by Sukhovo-Kobylin and Petersburg by Andrei Bely. [ABSTRACT FROM AUTHOR]

Copyright of Enunciación is the property of Revista Enunciacion and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

Copyright of Boletim de Estudos Classicos is the property of Imprensa da Universidade de Coimbra and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

Copyright of Romanian Review of Eurasian Studies / Revista Română de Studii Eurasiatice is the property of Romanian Review of Eurasian Studies and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

This article explores competition as a technique of social transformation in Amazonia. In recent years, the Shuar of Ecuadorian Amazonia have begun staging festivals to celebrate the unity and autonomy of their new sedentary communities. Festivals include sporting games and beauty pageants that create a positive spirit of competition through dramatization and ranking. In these competitions, the drama and ranking take place within a 'play-frame'—a frame that separates the festival from everyday life, but also re-enacts new practices of commensuration that have become part of daily life via schooling, markets, and electoral politics. If commensuration works against Shuar autonomy, the play-frame of the festival creates future possibilities for autonomy and mutuality. [ABSTRACT FROM AUTHOR]

Copyright of Adab Al-Kufa is the property of Republic of Iraq Ministry of Higher Education & Scientific Research (MOHESR) and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

The article analyzes the artistic features of the best film adaptations of several works by Ivan Vazov – the novel Under the Yoke and the novellas Characters and Outcasts. It also examines the dialogue between the literary original and the scripts, the cinematic means of expression and the literary techniques. The paper also discusses the director’s concepts and acting achievements in the respective film adaptations.

The article shows how some elements of theatrical art can be used in professional training of future preschool and primary school teachers. In particular, the article addresses the problem of developing their musicalchoreographic competence through various forms, types and methods of theatrical activity. The main forms of theatrical activity include practical classes and laboratory work (within such courses as "Pedagogy", "The fundamentals of pedagogical creativity", "The basics and methods of dramatic and screen arts", "Theatrical activity in preschools", "Music education methods"), as well as extracurricular forms of theatrical activity (drama clubs and studios). The following are effective types of theatrical activity in teacher training: staging, theatricalization and dramatization which allow one to use different methods of developing musical-choreographic competence (music and movement activities, theatrical games, staging of fairytales and songs, improvisation on a given topic (image), impersonation). They significantly develop musicalchoreographic abilities, singing skills, stage and dance movements, performance culture in future preschool and primary school teachers. [ABSTRACT FROM AUTHOR]

Introduction: Female genital cutting/mutilation (FGC/M) is a ritual to remove any or all of the external female genitalia. Educational strategies regarding the teaching of FGC/M for nursing students are scarce. The focus of this article is to describe the development, implementation, and evaluation of a virtual, FGC/M-related dramatization simulation with a standardized patient (SP). Methods: This educational intervention used an East African immigrant woman as the SP with 35 undergraduate nursing students in two nursing schools in the Midwest United States. Results: Participants appraised the simulation as an effective way to teach and learn about FGC/M. Debriefing was a key part of the simulation. Discussion: Students felt the simulation was novel and engaging for a highly sensitive topic. The SP thought the virtual setting made it more comfortable for her to reveal sensitive facts. The researchers confirmed that the simulation required extensive time commitment to develop, critique, and implement. [ABSTRACT FROM AUTHOR]

In this article, we attempt to examine the general teachers’ attitudes towards dramatization and the differences that arise according to their major demographic elements, using inferential statistics methodology. Our sample consists of 60 (sixty) Greek teachers, of which 15 (fifteen) are male and 45 (forty-five) are female respondents. The teachers completed all questionnaire’s statements correctly (without missing values), allowing us to draw valuable conclusions on both their knowledge and their perspectives regarding the usefulness of dramatization in a school environment and the necessity of its inclusion in the educational process. The analysis focuses both on the general teachers’ tendencies and the existing differences that are caused according to the respondents’ sex, age, years of experience and their willingness of working with immigrant students. Our analysis is carried out via the Mann-Whitney, Kruskal-Wallis and chi-square statistical tests. These statistical methods are ideal for the comparison of data resulting from questionnaires based on the Likert scale, providing trustworthy and valuable conclusions about the attitudes towards the inclusion of drama in the educational procedure. This paper reveals important existing differentiations in the viewpoints of Greek primary school teachers in terms of dramatization in education, while it brings out a quite positive attitude towards the benefits of including drama in the teaching process of primary schools.

Copyright of Human Review is the property of Eagora Science and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

The trained teacher is a visionary in the creativity of the learning process. It transforms the function of a spiritual organizer, filling with content the delicate connection between the world of the adolescent and the awareness of the adult. In order to possess this skill, it is necessary for the future teacher to develop communicatively artistic expressive and interpretive qualities necessary for his pedagogical artistry. [ABSTRACT FROM AUTHOR]

HBO's five-episode docudrama Chernobyl (2019) is an attempt to reimagine the horrific nuclear explosion of 1986 in Pripyat, and what it was like to live through the catastrophic tragedy. Throughout the extent of the show, the creators are seen attempting to strike a balance between the dramatization required for televisual representation and the effort to maintain historical accuracy. Subsequently, Chernobyl successfully portrays (and juxtaposes) two conflicting responses to the disaster of 1986 -- the state-sanctioned denial and distortion of the real events incorporated by a series of self-serving officials, and the "personal evaluation" of first-hand witnesses -- such as Valery Legasov, Boris Scherbina, and Ulana Khomyuk -- configured to establish a counternarrative to a state-monopolized history. Hence, Chernobyl becomes what Agnes Heller calls an 'evaluative reconstruction' of the 1986 disaster, ma ing way for a historiographical study. This article will also attempt to illustrate how Craig Mazin and Johan Renck's portrayal of the Chernobyl nuclear disaster opens up the possibility of critiquing the pre-existing unquestionability, and the imagined notions of power and perfection of the Soviet hierarchy, as is represented in the show by a set of corrupt government agents and servicemen working for the Ukrainian Soviet Socialist Republic. [ABSTRACT FROM AUTHOR]

The present study deals with the novel dramatization in the context of the synthesis of the art in the literature of the 20th century. The changes in the literary text caused by introducing a new pictorial and expressive technique are given. The use of pictorial and theatrical ekphrasis in Maugham's novels was analysed. W. S. Maugham's novels are considered through the prism of his theatrical experience. The paper attempts to interpret his poetics of dramatization as a way out of the epic and the creation of a qualitatively new multi-plate and multifaceted phenomenon. At the narrative level, there is an interruption in the integrity of the story. Vertical layers add a horizontal plan for the development of the plot, and the subjective structure has changed at the level of inclusion of several storytellers. The study revealed that the connotations to paintings and plays increase the effect of descriptiveness and enrich expressive, emotional, and sensual perception. The method of "points of view" is used to overcome the plane of description and move to the sphere of the display. The clash of diverse "points of view" and their filtering by the dominant "point of view" of the narrator increases the dramatization influence. [ABSTRACT FROM AUTHOR]

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 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. Through the presented analysis, the study contributes to the development of knowledge in terms of four areas. First is the narrative processing of the combination of success and obstacles in the work with newly arrived students. Second is the importance of these stories for the representation of social pedagogical recognition and lack of recognition in the school context. The third area is identity creation and re-creation of professional actors (teachers), and the fourth area of knowledge involves alternative approaches to analysis compared to the typically expected didactic perspective. The study also contributes to the development of knowledge regarding the question of how a school's morals function in relation to the previous and current experiences of teachers and newly arrived students. [ABSTRACT FROM AUTHOR]

In this article, we attempt to examine the general teachers' attitudes towards dramatization and the differences that arise according to their major demographic elements, using inferential statistics methodology. Our sample consists of 60 (sixty) Greek teachers, of which 15 (fifteen) are male and 45 (forty-five) are female respondents. The teachers completed all questionnaire's statements correctly (without missing values), allowing us to draw valuable conclusions on both their knowledge and their perspectives regarding the usefulness of dramatization in a school environment and the necessity of its inclusion in the educational process. The analysis focuses both on the general teachers' tendencies and the existing differences that are caused according to the respondents' sex, age, years of experience and their willingness of working with immigrant students. Our analysis is carried out via the Mann-Whitney, Kruskal-Wallis and chi-square statistical tests. These statistical methods are ideal for the comparison of data resulting from questionnaires based on the Likert scale, providing trustworthy and valuable conclusions about the attitudes towards the inclusion of drama in the educational procedure. This paper reveals important existing differentiations in the viewpoints of Greek primary school teachers in terms of dramatization in education, while it brings out a quite positive attitude towards the benefits of including drama in the teaching process of primary schools. [ABSTRACT FROM AUTHOR]

Dramatization is an established field of research, and teaching/learning methodology to improve of social, emotional, and creative skills and for the acquisition of knowledge about subjects such as history. Nevertheless, there are few studies on children's spontaneous dramatization in educational context and its potential role in development. This paper is aimed at filling such gap. The term dramatization, as we will use here, refers to the human activity of staging meanings in narrative and ritualistic form, enacted through the whole person and multiple communication channels. The school context is a privileged arena to observe spontaneous dramatization between peers and between children and adults. Besides, school routine is often filled with staged dramatizations aimed at building for instance a collective identity or provide moral orientations. The paper discusses a new theoretical framework to recognize dramatizations in the school context and to use their transformative value for the construction of socially competent personalities. [ABSTRACT FROM AUTHOR]

Despite the importance of child characters in the novels of Charles Dickens, his association with children's literature is often forgotten, and his A Child's History of England, first published in instalments in his journal Household Words (January 1851 to December 1853), has frequently been ignored by critics. The aim of this article is to re-evaluate its achievement as an extended piece of story-telling, taking into account the particular context of the writing of juvenile histories in the early 19th century and their likely readership. My approach takes as its starting point Phelan's (2017) framework which views narrative as a rhetorical action, and which is focused on purpose, resources and audience. I propose two main resources or strategies, interlocutory role-play and dramatization, which contribute to the work's distinctive style; at the same time as they confirm the narrator's ethical values as a historian for children. [ABSTRACT FROM AUTHOR]

Copyright of Zona Próxima is the property of Fundacion Universidad del Norte and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

Copyright of Mélanges francophones is the property of Galati University Press and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

Copyright of Synergies Europe is the property of GERFLINT (Groupe d'Etudes et de Recherches pour le Francais Langue Internationale) and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

Copyright of Al-Zaytoonah University of Jordan Journal for Human & Social Studies is the property of Al-Zaytoonah University of Jordan and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

The aim of the paper is selfreflection on the creation of a theatrical performance intended for primary schools pupils and secondary schools students as an educational performance. When I was writing the text of the play, I was inspired by the true story of Eva Felsenburg. She lived in Nitra and she was saved as a child from deportation to a concentration camp. To describe the realities of the time, I used various scientific studies written by local historians. They described the city of Nitra during Second World War. I also used some literary works for my inspiration. I describe the contexts that were important to me when writing the play and I explain why this was the case. [ABSTRACT FROM AUTHOR]

With the continuous deepening of college education reform, English major reading teaching also needs to innovate, and the introduction of the theory and method of humanities research into classroom teaching can enrich instructor’s methods and means for textual analysis. The theories and methods of narratiology can provide a new perspective of text analysis for Eng⁃ lish reading teaching. In the interpretation of the text, the dramatization theory of narratiology can more clearly reveal for us the relationship between the artistic form and the ideological connotation of the text. The related theories of narrative emotion arous⁃ al mechanism can provide a plausible account for the plot setting and emotional effects of the work. The findings in the field of narrative style research can provide a new reference for the characterization and functional interpretation of narrative style in works. [ABSTRACT FROM AUTHOR]

Copyright of Zarqa Journal for Research & Studies in Humanities is the property of Zarqa Journal for Research & Studies in Humanities and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

Copyright of Karbala Heritage: Quarterly Authorized Journal Specialized In Karbala Heritage is the property of Republic of Iraq Ministry of Higher Education & Scientific Research (MOHESR) and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)