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Translation, performance, and reception of Greek drama, 1900-1960: international dialogues. Comparative Drama, Volume 44 Issue 4
No full textThis collection of essays from new and established scholars explores the translation, performance, and reception of ancient Greek drama in the period between and around the two world wars - so, broadly speaking, from the beginning of the twentieth century to the 1950s. Taken together, the essays demonstrate that the first six decades of the twentieth century present a significant and fascinating period for the study of modern engagements with Greek drama, one that, although hitherto somewhat overlooked, repays close study. The essays have a particular focus on how acts of translation, performance, and reception of Greek drama represent and encourage reflections on international dialogues in this period. As will be seen, the authors have interpreted international dialogues in a variety of ways, including commentary on war and global politics, the creative exchange of ideas and promotion of ideologies, trends in performance, and internationally touring theater productions. Common themes arising from these discussions include the often interlinked concepts of tradition, identity, and migration
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Tragedy for teens: Ancient Greek tragedy on BBC and ITV schools television in the 1960s
No full textFrom the inception of schools television in late 1950s Britain, programmes produced by both the BBC and independent companies such as Associated-Rediffusion and Grampian brought the experience of theatre plays in performance to thousands of teenage school pupils across Britain, as well as a ‘great army of eavesdroppers’, as the Radio Times described individuals tuning in to schools programming within the home. The pedagogic motivation behind these programmes frames the terms of television's engagement with works from the theatre, with both play and performance often contextualised in a number of ways. For example, introductory programmes and talks were variously used as ways of offering background on content, genre, context and conventions (to ‘put the class in a better position to receive what they are to see’); narrator figures were sometimes used to facilitate engagement; and almost all series were accompanied by the publication of illustrated pamphlets for pupils and leaflets for teachers, both of which provided background information and guides for further teaching and learning activities. Schools television series were intended to supplement, not supplant, the school curriculum and traditional teaching methods, but some series had a close relationship with core elements of the school curriculum (such as mathematics) whilst others (such as drama) were decidedly ‘off-syllabus’. Writing in 1966, the BBC's Controller of Educational Broadcasting, Richmond Postgate, stated that the very few ‘preconceived ideas’ behind the commission of BBC television series for schools included one that they should offer ‘something that [pupils] would not otherwise get at all, or not so well’. Indeed, regarding dramatic performance, ‘the evidence seemed to be that television had a distinctive role to play in bringing the theatre to the classroom; in giving children an opportunity to see plays of quality performed’. Given general indications in the archival evidence on the demographic diversity of pupils who were watching drama series, and the School Broadcasting Council's finding that ‘off-syllabus’ programmes were more likely to be shown to schoolchildren in non-examination streams, it is reasonable to consider that for a substantial proportion of the audience these television programmes would have offered a rare opportunity to engage with theatre works on either the page or the stage
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Radio Modernisms: Features, Cultures and the BBC. Media History, Volume 24, Issue 2
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Louis MacNeice, classical antiquity and BBC Radio: from wartime propaganda to radio plays
No full textLong introductory chapter to a book of eleven radio scripts by Louis MacNeice over the course of his long career writing and producing for the BBC
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Broadcasting Greece: an introduction to Greek Antiquity on the small screen
No full textAt 10.25pm on Sunday 14 November 1965, the British television viewer had three options. Coming to the end of that year's Royal Variety Performance they may have been gearing up to watch the US sitcom Beverly Hillbillies on ITV, the Independent Television network, or to enjoy the wit and repartee of Frank Muir and his guests in the wordbased game show Call My Bluff on BBC, the British Broadcasting Corporation's second television channel, which had been instituted the previous year. Then again, they may have stayed with BBC following the end of a 40-minute excerpt from the Magic Circle's Annual Show, broadcast from London's La Scala Theatre, for The Drinking Party. This ‘Sunday Night’ feature by Leo Aylen and Jonathan Miller was billed as ‘a modern recreation’ of an ancient Greek philosophical text, Plato's Symposium. Within the wider schedule of light entertainment this evening, The Drinking Party stands out as a serious-minded, if not entirely sober affair. Although antiquity came late to the television screen by comparison with its sister medium radio, which had since the 1920s drawn on ancient Greece and Rome for programme material, from the late 1950s ancient Greece has offered a creative source of inspiration and content for the medium. Today it may be difficult to imagine a dramatisation of a Platonic dialogue being afforded prime position in the schedule of the principal public service channel, but ancient Greek culture, politics, archaeology, literature, mythology and thought have regularly appeared in British television schedules in various forms to the present day.It is the purpose of this book to examine television's engagements with ancient Greece across these decades. As the first book-length study of this topic, it cannot be exhaustive. Yet, as a collaborative and cross-disciplinary endeavour that capitalises upon the expertise of researchers with backgrounds in Classics, Ancient History, Classical Reception Studies, English, Media Studies, Cultural History and Digital Humanities, as well as television practitioners, it captures something of the scope, diversity and texture of ancient Greece on television. Rather than attempt a catalogue of Greek-themed programming, which would be of limited critical value, each of the chapters drills down into specific examples of different genres, combining close analysis of individual television programmes, production contexts and (where possible) audience engagement
Going Beyond Counting First Authors in Author Co-citation Analysis
Get PDFThe present study examines one of the fundamental aspects of author co-citation analysis (ACA) - the way co-citation
counts are defined. Co-citation counting provides the data on which all subsequent statistical analyses and mappings
are based, and we compare ACA results based on two different types of co-citation counting - the traditional type that
only counts the first one among a cited work's authors on the one hand and a non-traditional type that takes into
account the first 5 authors of a cited work on the other hand. Results indicate that the picture produced through this non-traditional author co-citation counting contains more coherent author groups and is therefore considerably clearer. However, this picture represents fewer specialties in the research field being studied than that produced through the traditional first-author co-citation counting when the same number of top-ranked authors is selected and analyzed. Reasons for these effects are discussed
Variations on the Author
Get PDF“Variations on the Author” discusses two of Eduardo Coutinho’s recent films (Um Dia na Vida, from 2010, and Últimas Conversas, posthumously released in 2015) and their contribution to the general question of documentary authorship. The director’s filmography is characterized by a consistent yet self-effacing form of authorial self-inscription: Coutinho often features as an interviewer that rather than express opinions propels discourses; an interviewer that is good at listening. This mode of self-inscription characterizes him as an author who is not expressive but who is nonetheless markedly present on the screen. In Um Dia na Vida, however, Coutinho is completely absent form the image, while Últimas Conversas, on the contrary, includes a confessional prologue that moves the director from the margins to the center of his films. This article examines the ways in which these works stand out in the filmography of a director who offers new insights into the notion of cinematic authorship
Appropriate Similarity Measures for Author Cocitation Analysis
Get PDFWe provide a number of new insights into the methodological discussion about author cocitation analysis. We first argue that the use of the Pearson correlation for measuring the similarity between authors’ cocitation profiles is not very satisfactory. We then discuss what kind of similarity measures may be used as an alternative to the Pearson correlation. We consider three similarity measures in particular. One is the well-known cosine. The other two similarity measures have not been used before in the bibliometric literature. Finally, we show by means of an example that our findings have a high practical relevance.information science;Pearson correlation;cosine;similarity measure;author cocitation analysis
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