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Signs and Stage Props in Tennessee Williams' Camino Real
Get PDFHumans from the early times have used signs to facilitate the communication in the early societies. Semiotics is an approach wherein howness is dominant; it is the investigation of how meaning is created and communicated through systems of signs. In the dramatic texts meanings are conveyed by two different forms of language, stage direction and dialogue. Stage direction and dialogue are complementary and interdependent signifying systems. Stage directions are integral to the structure of dramatic texts and have important functions in their semantic construction. Tennessee Williams is one of the dramatists who use notes or stage directions in his plays. Through such stage devices as lighting, music and sound effects, colors, objects as symbols, transparent walls, the fluctuation of time, etc., he is after the representation of an abstract or spiritual meaning through concrete or material form. This study aims at analysis and examination of Williams’ Camino Real’s stage props and devices as signs and their relationships in the play with regard to semiotics as the theoretical framework and approac
Learning Activities Activating Kindergartners to Learn to Speak English in an EFL Indonesian Setting
Get PDFThe study tries to investigate what learning activities activating kindergartners to learn to speak English and to describe the language producion. It involves four kindergartners from different schools. The data were collected through observations and interviews and then analysed by constant comparisons. The findings revealed there were four commonalities of the learning activities, namely, (1) answering questions in English; (2) listening to a model speaking English; (3) imitating, and (4) repeating the English utterances. Among the four, answering questions was the most frequent way. Meanwhile, the language production varied covering single word utterances, verb phrases, simple sentences (S+V+O) or (S+V+O+Adv.)in simple present tense, and exclamation. The proposition generated from the present study is that kindergartners will learn to speak English if they are often asked questions in English which they understand and are engaged in an interaction in English where they need to listen, imitate, and repea
Phonological Evidences Which Separate and Unite Mamboro Language from Proto Wanokaka-Anakalang in Sumba Group of Languages
Get PDFThis article describes the separating and uniting phonological evidences of Proto Wanokaka-Anakalang (PWn-An) and Mamboro language (Mb) reflected from the phonological changes of the Proto Mamboro-Wanokaka-Anakalang (PMb-Wn-An) phonemes. The description is based on the types of phonological changes suggested by Jeffers and Lehiste (1979). This article shows that the three phonemes of PMb-Wn-An were found ‘retention’ in PWn-An, but underwent ‘split’ in Mb and one phoneme underwent ‘monophthongization’. One phoneme of PMb-Wn-An underwent ‘substitution’, in PWn-An, but ‘retention’ in Mb. One phoneme of PMb-Wn-An was found ‘split’ in PWn-An, but ‘retention’ in Mb. Whereas, the uniting evidences show that three PMb-Wn-An phonemes were found ‘retention’ both in PWn-An and Mb. One phoneme of PMb-Wn-An underwent ‘split’ both in PWn-An as well as in Mb
The Influence of Anton Chekhov on Samuel Beckett: Inaction and Investment of hope into Godot-like Figures in Three Sisters and Waiting for Godot
Get PDFAnton Chekhov has been very much influential on modern drama, especially on the Theatre of the Absurd; however, not much work has been done on his influence on the absurdist playwrights. Considering Harold Bloom’s definition of ‘influence’—writing “much like” someone in the past—the seminal influence of Chekhov on Beckett is studied in this article. Chekhov in his plays, especially his major plays, very much like Beckett’s waiting for Godot, portrays people who are passively waiting and investing their entire hope into Godot-like figures without taking any action. Thus, the sense of ennui, desperation and consequently disappointment of these characters originates from their unreasonable inaction, stagnancy and their passivity while waiting, rather than ‘waiting for Godot figures’. This article tries to show the influence of Chekhov on Samuel Beckett, investigating the similarities in form, atmosphere and theme between Waiting for Godot, the paradigm of the Theatre of the Absurd, and Three Sisters, one of Chekhov’s major play
Joyce the Deconstructionist: Finnegans Wake in Context
No full textHad Finnegans Wake not been written, some seminal post-1950s innovations in the field of modern literary theory and criticism would have been impossible. James Joyce, who seems to have inspiringly influenced the entire sphere of modern literary theory and criticism greatly, is a pioneer of deconstruction too. His last novel, which reflects his deconstructive tendencies, has played a seminal role in the formation of 20th century deconstruction, and comprises an inchoate mass of implicit ideas on the subject. It was perhaps not until Jacques Derrida and his deconstruction techniques that the theory implied by Finnegans Wake really came into focus. This article seeks to delineate Derrida’s theory of deconstruction as well as Joyce's deconstructive aesthetics; and taking a diachronic approach to literary theory and criticism it glances at Finnegans Wake in the light of deconstruction
Tennessee Williams in the 50s: A Mirror Competing Discourses
Get PDFThis article was a study of different but synchronized discourses mirrored in Tennessee Williams’s Hollywood adaptations in the 50s. It discussed the effect of artistic agencies of censorship on the hows and whys of Willaims’s adaptations. Most notably, PCA and HUAC were in charge of cultural and political regulations that no Hollywood film was immune from. Until the early 60, HUAC and PCA imposed religious values to supplant Communism, happy ending to replace the intellectual fad of pessimism and strict dressing code to restore the innocence of the Freud-conscious moviegoers. However, these agencies were not omnipotent. The voice of those discourses that the agencies were fighting against were heard in Hollywood. Hollywood achieved the subversion with the help of William’s controversial plots albeit tamed by some reinforcing discourses of optimism and diluted religious values
Creativity, Psychoanalysis and Eugene O’Neill’s Creative Process
Get PDFO’Neill is undisputedly one of the most autobiographical artists in modern literature. His creativity consistently moves around subjective exploration and autobiographical representation in his art. Therefore drama for him involves primarily dramatization of self and close relations such as mother, father and brother, and this association between life and art goes back to early amateur plays. This factor has exposed the artist to discreet psychoanalytic explorations and analysis. Clearly a depressive and predominantly oedipal pattern emerges in his writings that could be traced in the whole range of his plays. However, preoccupation with the self and pervasive obsession to dramatize peculiar relationships and psychic conditions create its own archeology of limitations in his art that have remained unaddressed so far. The study debates on creativity, psychoanalytic traditions of creativity, O’Neill’s creative process and highlights some of the limitations that pertain to representative and intellectual aspects of his ar
A Comparative Study: Self-Realization in Twentieth-Century Western Thought, Ibn e Arabi's Idea, and Theatre of The Absurd
Get PDFFollowing humans' struggles to achieve a better under¬standing of the self throughout major historical periods, the idea of the quest for a whole self is once more rekindled in the anxiety-laden atmosphere of the twentieth century. However, unlike the previous approaches, the twentieth century reflection of the notion of the quest for self-realization is paradoxically revealed in a new model of struggle which inclines more toward spiritual search. This inward struggle manifests itself through connecting the ego to the unconscious world, in line with the theories of Freud and Jung. The similarity which exists between Jung's psychic state and the Sufis' mystical world defined by Ibn e Arabi, makes it possible to reconsider the seemingly nihilist readings of the quest for self-realization of the twentieth century absurd thoughts in a positive wa
Reinterpreting Ramayana: The (Re)Production of the Meanings of Power in “Ramayana”, an East Javanese Shadow Puppet Performance Text
No full textIn this article we discuss the meanings of power that are produced/reproduced in an East Javanese shadow puppet show entitled Ramayana by Ki Sinarto. In Foucauldian perspective, the meanings of power are constantly intertwined with other issues, and in Ki Sinarto’s Ramayana they are closely related to the state, revelation/women, family, and people. Despite the puppeteer’s efforts in doing a 'subversive interpretation' of Ramayana, the Javanese concept of power still ‘overpowers’ his discourse. Addressing the contemporary Indonesian state, Ki Sinarto is propagating the concept of Javanese power from the late Mataram kingdom. He also proposes that women can have a legitimizing power as the bearers of revelation, but the discourse of women as distractors to men’s career still surfaces. Ki Sinarto further pictures the main conflict of Ramayana as a dispute of an aristocratic family instead of woman. Finally, the relations between Javanese people and their leaders are not necessarily straightforward and linea
‘Gaze’ and ‘Visuality’ in Jane Austen’s Pride and Prejudice
No full textFor many readers, there is no connection between Jane Austen’s novels and the sexualized body. Sexuality in Austen’s novels is never explicit; nonetheless, it permeates every look, gesture, and letter that passes between her lovers. This article aims to reveal the concept of ‘gaze’, especially female gaze, in Jane Austen’s Pride and Prejudice. According to feminist critics it is psychologically inevitable that women are the sexual objects of men; therefore, they have effectively refused to acknowledge the possibility that a female gaze could exist. Arguably, as it is indicated throughout this article, women are not necessarily rendered mute and inert by the male gaze; in fact, they actively shape and respond to male desire and their gaze encompasses as much authority and power as the male gaze