In this book, Victor Turner is concerned with various kinds of social actions and how they relate to, and come to acquire meaning through, metaphors and... paradigms in their actors' minds; how in certain circumstances new forms, new metaphors, new paradigms are generated. To describe and clarify these processes, he ranges widely in history and geography: from ancient society through the medieval period to modern revolutions, and over India, Africa, Europe, China, and Meso-America.Two chapters, which illustrate religious paradigms and political action, explore in detail the confrontation between Henry II and Thomas Becket and between Hidalgo, the Mexican liberator, and his former friends. Other essays deal with long-term religious processes, such as the Christian pilgrimage in Europe and the emergence of anti-caste movements in India. Finally, he directs his attention to other social phenomena such as transitional and marginal groups, hippies, and dissident religious sects, showing that in the very process of dying they give rise to new forms of social structure or revitalized versions of the old order.

How do people come to think of themselves as part of a nation? Dramas of Nationhood identifies a fantastic cultural form that binds together the... Egyptian nation—television serials. These melodramatic programs—like soap operas but more closely tied to political and social issues than their Western counterparts—have been shown on television in Egypt for more than thirty years. In this book, Lila Abu-Lughod examines the shifting politics of these serials and the way their contents both reflect and seek to direct the changing course of Islam, gender relations, and everyday life in this Middle Eastern nation.Representing a decade's worth of research, Dramas of Nationhood makes a case for the importance of studying television to answer larger questions about culture, power, and modern self-fashionings. Abu-Lughod explores the elements of developmentalist ideology and the visions of national progress that once dominated Egyptian television—now experiencing a crisis. She discusses the broadcasts in rich detail, from the generic emotional qualities of TV serials and the depictions of authentic national culture, to the debates inflamed by their deliberate strategies for combating religious extremism.

"Eeeeck, drama, yikes, it's so much work, it's so noisy and exhausting, and disorganized. Couldn't I just avoid it?”“Nope. It's here already. It's... entered your classroom. It's inside your students. It explodes every minute. Admit it: your class is a major melodrama.”This lively beginning sets the scene for a teacher-friendly guide to classroom drama. Drama as a Way of Knowing will not only inspire K–12 teachers, it will encourage administrators and teacher educators to explore the learning role drama might play in their work as well.Paul Heller, an experienced teacher, playwright, and producer, will convince and assure you that drama is already a part of your classroom. He explains how you can harness that dramatic energy and use it as an effective learning tool.When is the best time to use drama in the classroom? Heller answers: use drama when you want students to:engage in the process of feeling, physically and emotionally, what it's like to be someone or something;make creative choices about how they use and present what they have learned;involve an audience-to create empathy, discussion and understanding;predict outcomes, make hypotheses, synthesize knowledge, account for ambiguity, and engage in a range of higher level critical thinking.Drama can become an effective part of all classroom learning, and Paul shows how to use it effectively. While making it clear you don't need previous dramatic training or experience, he presents the nuts and bolts of pantomime and improvisation, of writing and acting scenes, even creating and presenting large-scale productions.He also presents management and organization tips. Through his Ten-Step Process in which you, the teacher, are the director, he shows what you should do to guide your students through rewarding dramatic experiences.Drama is a wonderful learning tool that enables students to access and explore the curriculum in ways that promote deeper thinking. And, as you will find, it's great fun as well!

The fully revised edition of this 'classic' helps teachers give their learners the tools they need to express themselves through a range of stimulating... drama contexts. This completely revised edition of the classic title Drama Techniques provides: *150 ideas for interesting and productive fluency practice *a large selection of drama-based techniques which focus learners' attention on communicative tasks or activities *techniques suitable for all levels *clear instructions for the teacher *advice on how to use the techniques in the classroom

Our students spend a large part of each day studying content that seems unconnected to the stories in their lives. J. Lea Smith and J. Daniel Herring... have discovered that drama is the perfect medium for making that connection. By integrating the dramatization of children's literature into content studies, we allow students to show their interpretation of the characters, plot, and setting. Literature dramatizations then become the lens through which the content is viewed, enabling students to live the curriculum firsthand. Smith and Herring begin Dramatic Literacy by explaining the several different roles drama can play in the classroom as well as the essentials of the art form. Two different approaches for structuring the dramatic experience are presented, followed by lots of helpful examples of both approaches in dramatizing a story in language arts, social studies, science, math, and second language instruction. The examples are soundly presented with objectives and focus questions organizing each lesson, clear descriptions of classroom procedures, and suggestions for final evaluation of the work.

An important anthology, the first to trace the evolution of child drama across the last one hundred years in dramatic works and commentary.Dr. Roger L.... Bedard, noted theorist and historian of theatre for young audiences, has updated this classic anthology to offer contemporary perspectives on the growth and development in the field through the twentieth century. Building on the First Edition, published in 1984, Dr. Bedard has selected several new plays and contributed new commentary, including an historical overview which considers the field in the contest of wider social and cultural issues. This Second Edition also includes a bibliography of anthologies of plays for young audiences compiled by Katherine Krzys, Curator of the Child Drama Collection at Arizona State University.The plays included are: The Little Princess by Frances Hodgson Burnett, The Birthday of the Infanta by Stuart Walker, The Ghost of Mr. Penny by Rosemary Musil, Rumpelstiltskin by Charlotte Chorpenning, Reynard the Fox by Arthur Fauquez, Androcles and the Lion by Aurand Harris, The Ice Wolf by Joanna Halpert Kraus, Step on a Crack by Suzan L. Zeder, The Arkansaw Bear by Aurand Harris, Jack and the Wonder Beans by Larry Snipes, The Yellow Boat by David Saar, Tomato Plant Girl by Wesley Middleton, Highest Heaven by José Cruz González, The Wrestling Season by Laurie Brooks.

From Homeric times to the present, the dramatic monologue has always occupied an esteemed place in the art of poetry, but not until now has there been... an anthology devoted exclusively to the contemporary practice of this unique genre. With contributions by many of the most distinguished poets of recent decades--including a Nobel laureate and several Pulitzer Prize recipients--and an introduction discussing how these poets have continued the great tradition made prominent by Robert Browning, Dramatic Monologues: A Contemporary Anthology; marks a significant contribution to contemporary literature.

The dramatic monologue is traditionally associated with Victorian poets such as Robert Browning and Alfred Tennyson, and is generally considered to have... disappeared with the onset of modernism in the twentieth century. Glennis Byron unravels its history and argues that, contrary to belief, the monologue remains popular to this day. This far-reaching and neatly structured volume: * explores the origins of the monologue and presents a history of definitions of the term* considers the monologue as a form of social critique* explores issues at play in our understanding of the genre, such as subjectivity, gender and politics* traces the development of the genre through to the present day. Taking as example the increasingly politicized nature of contemporary poetry, the author clearly and succinctly presents an account of the monologue's growing popularity over the past twenty years.

Winner of the American Alliance for Theatre and Education (AATE) Honorary Research Award, Koste is a major voice in the field of drama/theatre and human... development. In this, a new edition of her classic work, Koste looks at children's dramatic play and its role in developing life skills as well as a sensitivity to art. She examines such elements as imitation of life, mastering reality, seriousness, solitude, and much more. While theoretically sound, this book offers the warm and humorous voice of someone who knows and has worked extensively with children watching them, listening to their voices, validating their play as play and as a means of dealing with life.