Kartika

NAME ; KARTIKA (116224026)

SEMESTER VII

FACULTY OF LETTER

TOPIC SENTENCE ;

1.   RITUAL

2.   SHAKESPEARE’S DRAMA

3.   EUROPEAN

4.   CIVILITATION

  

1.     RITUAL

“ Ritual performance encompasses a set of techniques to affect the identit

y of participants: away from individuality and by communal demarcation of a symbolic territorial model in space or time. The form of ritual is seen as

autonomous, i.e. as relatively independent of meaning. First of all, ritual is intrinsically interesting as a rich area of human self-expression. A ritual performance is a community’s symbolic demarcation of a territory in space and time by complex ritual acts and techniques affecting the experience of identity of the participants away from individuality. ”

( Koster, Jan. 1987. Ritual Perfomance and The Politics of Identity. Netherlands. )

Pages : 1-3

2.     RITUAL

“ Ritual is especially important for young peopleas it provides them with a sense of connectionto a largerworld, think ofthe macabre initiations of the urban youth of Los Angles which demands a 'ritual' act of murderor similar violentact before privilege or membershipmight be granted. Important or profound activities, whichmay causea perontotranscendhisorherformerthinkingor pattern of behavior and causethem toenter new planesof understanding, ismiserably lacking in contemporary society. ”

( Jung, Carl. 1964. Ritual – It’s Meaning and Importance. Los Angles. )

Page :84

3.     RITUAL

“ In the entry on ritual by Elizabeth S. Evans in The Encyclopaedia of Cultural Anthropology, it is noted that “ritual” has slipped its original moorings in the elaboration of religious practice such that its contemporary usage in anthropology identifies “formal, patterned, and stereotyped public performances. ”

( Evans, Elizabeth S. 1996. ‘Ritual’, The Encyclopaedia of Cultural Anthropology, ed. Henry Holt and Company, Inc. New York. )

Pages: 1120-1124

4.     RITUAL

“ For Turner, ritual can function as a source of change within society – during the mimetic stage the subject performs subversive acts which allows them to conceive of change as a possibility. ”

( Turner, Victor. 1969. The Ritual Process: Structure and Anti-Structure. Aldine de Gruyter. New York )

Page:  100

5.    RITUAL

“ To conclude, rituals are formal, patterned and stereotyped public performances which can be thought to be of “use” when th

ey can resolve social contradictions (for example following death); alter

the social recognition of time in order to allow for the handling of a discrete event; induct and assimilate living individuals into roles which

outlast them; elaborate, challenge and reassertthe basis for social structure; or unite a mass of participants into an expression of solidarity. ”

( Wright, Susan. 1992. “Heritage” and critical history in the reinvention of mining festivals in North-east England’. Revitalising European Rituals, ed. London )

Page : 25

  

1.    SHAKESPEARE’S DRAMA

“ Our analyses have shown that Shakespearean dramas are structured in a

very specific way that mirrors patterns observed in real human interac-

tions. Characters are connected by a small number of degrees of separa-

tion, generally no more than 2. Nonetheless, social connections are highly

clustered, as in real human behavior. Onstage interactions generally con-

sist of cliques of four or fewer individuals, as in real human conversations. ”

( Stiller, James, Nettle, Daniel and Dunbar, Robin I.M. 2003.  THE SMALL WORLD OF SHAKESPEARE’S PLAYS. New York.)

Page: 8

2.     SHAKESPEARE’S DRAMA

“ In1623 when, seven years after Shakespeare’s death, John Heminges andHenry Condell, the editors of First Folio (the first collected edition of Shakespeare’s works), grouped roughly a third of Shakespeare’s plays under the heading of ‘histories’, they confirmed a dramatic genre that Shakespeare himself seems to have endorsed: Polonius announced that ‘the best actorsin the world, either for tragedy, comedy, history... ”

( Hattaway, Michael. 2002. The Shakespearean history play. Cambridge, United Kingdom. )

Page: 7

3.     SHAKESPEARE’S DRAMA

“ Shakespeare is celebrated the world over for the poetry and passion of his plays. Here for medte English language ,enriching the vocabulary and increasing the flexibility of verse and prose.Supremely creative himself, he constantly inspired creativity in others. Above all, his profound humanity has enable disucceed in generations to rediscover within the dramatic intensity of individual Concerns to many people, in

Many nations Shakespeare is still our greatest living author. ”

( Boyce, Charles. 1990. Shakespeare A to Z. A Round table Press Book.New York.

Page:  9

4.     SHAKESPEARE’S DRAMA

“ In August of 1981 a few young performers set out to create a half-hour version of Hamlet for the Novato California Renaissance Pleasure Faire. In the originator, Daniel Singer’s own words: “the result was far more comical than I had originally planned. Our venue was hot, dusty, noisy, and full of distractions. Holding an audience’s attention was unusually challenging. Drunken hecklers, intrusive parades, and backstage confusion forced us to improvise bits . . . which constantly improved as our schtick evolved.” These conditions are reminiscent of what many scholars imagine the young William Shakespeare himself would have faced travelling through Renaissance England and later in his own Globe Theatre on the South Bank of London. From these challenging circumstances came two performances, 400 years and an ocean apart, that share timeless comedic elements: actor to audience interaction, limited use of scenery,contemporary allusions and, of course cross-dressing. Since its

inception during the 1980s, The Complete Works of William Shakespeare (Abridged)has been seen on stages across the world, with a decade-long run on London’s West End. The script is reworked and redeveloped at every one of its productions, thereby remaining uniquely contemporary and delightful to every one of its audiences. ”

( Howard , Alison. 2011. Study Guide The Complete Works of William Shakespeare (Abridged). America. ) Page : 7

5.     SHAKESPEARE’S DRAMA

“ It is hard to imagine a world without Shakespeare. Since theircomposition four hundred years ago, Shakespeare’s plays and poemshave traveled the globe, inviting those who see and read his works to make them their own. . ”

(  Witmore, Michael. 2011.Folger Shakepeare Library. America )

Page: 4

  

1.     EUROPEAN

This course offers a comparative cultural perspective on the political, social, ethical and n aesthetic problems tackled icon temporary West and East European drama. By exploring the collective biography of modern Europe a multicultural, ethnically and nationally diverse space by definition and on the developing nations of Central and Eastern Europe before and after the1989 fall of the Berlin wall, this course examines

theconflicting global issues that have changed the face of Europe over the past centuryto the present, providing them with key strategies of survival and personal/national/transnational identity configuration that are relevant for understanding today’s dialogical interplay between national goals and global concerns. In particular, this course explores the intertextual web of references that connects plays produced by authors of diverse cultural, ethnic and national backgrounds, lodging the cultural decipherment

and interpretative approaches to the dramatic corpus under analysis in a transdisciplinary, global perspective on antagonistic concepts such asconflict/harmony,nationalism/universalism,materialism/humanism.”

 ( Orilich, DR. Theatre and Politics in Modern Europe. London )

Page: 2

2.     EUROPEAN

“ The study and teaching of European history has evolved dramatically since the inception of the AP course nearly half a century ago. College surveys then focused principally on political and diplomatic history with a smattering of intellectual and economic history. The achievements of great men and major events dominated both scholarship and the lecture hall. Women were rarely discussed, and the masses appeared within the political narrative at periodic moments like the Industrial Revolution or the Revolutions of 1848, only to recede quickly into the background again. The canon of what instructors expected students to master was much simpler then.”

( Galgano, Michael J. 2007. AP – European History. Harrisonburg, Virginia. )

Page: 16

3.     EUROPEAN

" Early modern European history" is not a hard and fast concept. The definition of that concept will therefore almost certainly take up some time in the examination.”

( Fasolt, Constantin. 2011.  Guide to the Study of Early Modern European History. British..)

Page: 7

4.   EUROPEAN

“ Europeans had been trading in exotic and often dangerous places for centuries, but European overseas exploration began in the early fifteenth century. The fact that Muslims were making travel and trade by land difficult for Europeans did not make Europeans launch immediately into the Atlantic Ocean in search of a new world, though. Europe had to ease into this new form of exploration. .”

( Barber, Nathan. 2006. European History. New York, USA. )

Page : 118

5.     EUROPEAN

“ The legal order created by the European Union (EU) has already become an established component of our political life and society. Each year, on the basis of the Union Treaties, thousands of decisions are taken that crucially affect the EU Member States and the lives of their citizens. Individuals have long since ceased to be merely citizens of their country, town or district; they are also Union citizens. For this reason alone, it is of crucial importance that

they should be informed about the legal order that affects their daily lives. Yet the complexities of the Union’s structure and its legal order are not easy to grasp. This is partly due to the wording of the Treaties themselves, which is often somewhat obscure, with implications which are not easy to appreci-ate. An additional factoris the unfamiliarity of many concepts with which the Treaties seek to master the situation. The following pages are an attempt to clarify the structure of the Union and the supporting pillars of the Euro-pean legal order, and thus help to lessen any lack of understanding among the citizens of the EU. ”

( Dieter Borchard, Klaus. The ABC European Union Law. Luxembourg. )

Page: 9

1.     CIVILIZATION

“ Conflict between civilitation will be the latest phase in the evolution of conflict in the modern world. ”

( Huntington, Samuel P. 1993. The Clash of Civilitation. America )

Page 22

2.     CIVILITATION

“ Civilization has to bear fruits to all members of society. Besides although civilization development may not affect all sides of society at the samelevel, it nonetheless, remains inclusive and comprehensive. Civilizationtherefore has to a continuation and duration, and it cannot be considered as suchif it just emerged to disappear. Another merit ofcivilization is that it has the potential ofspreading toother societies, and that it can be adapted when it influences others. This civilization merit is being felt enormously in our times of amazingly speedy transportation of persons and goods, and communication of information everywhere in the world.  ”

(  Osman, Fathi. 1991. In the Contemporary World Civilization. USA. )

Page : 1

3.     CIVILITATION

“Civilization”as a term comes from Latin

civilis(of or proper to a citizen) as a derivation of civis ( townsman). The Turkish term medeniyethas also a similar correlationas it is derived from the Arabic word medinawhichmeans“town”.The emergence of civilization in human history by the development of agriculture and sedentary way of life, dated back to about 6,000 years BC.

( Yavuz, Erdal. 2008. Early Civilitations. )

Page: 1

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4.  CIVILITATION

“ Traditional historiography assumes that theater rank and social class match, putting e.g. the 'civilized elite' in the stalls and boxes and unskilled labor force in the galleries. Using time series analyses, we ask whether the supposed relations between preferences for a certain repertoire, shown by persons buying a ticket for a certain rank, which traditional theater history assumes to have existed, are valid. “

(  Gras, Henk. 2003. Did Men Of Taste And Civilization Save The

Stage?. Utrecht. )

Page: 6

5.     CIVILITATION

The defect of the analytic method is the distorting is

olation of a part from the whole; the weakness of the synthetic method lies in the impossibility of one mind speaking with firsthand knowledgeon every aspect of a complex civilization spanning a thousand years.

( Durant, Will. 1996. History of Roman Civilization. British. )

Page: 2