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What is at stake in the method of dramatization? And how does it concern speculative pragmatism, a post-deleuzian philosophical approach that builds on the work of Alfred N. Whitehead and William James and encompasses the work of illustrious contemporary thinkers such as Isabelle Stengers, Donna Haraway, Brian Massumi, Erin Manning, Eduardo Viveiros de Castro, Anna Tsing and, last but not least, Bruno Latour? In trying to answer these questions, one is quickly confronted with another, simpler and essential question around which revolves Deleuze's interpretation of Nietzsche's method of dramatization: the decisive importance of the question \"Who?\" in an attempt to elaborate on an image of thought that veers away from the clear and distinct realm of representation, inherited from Descartes and prevailing throughout modernity, hinting instead toward ontogenetic processes of individuation to be spotted within modernism. Articulating at the very intersection of the speculative and the pragmatic, the question \"who?\" becomes a key entry point into the speculative pragmatist notions of activity and intensity, and into Latour's understanding of the inner narrativity of things in the age of the Anthropocene.

As the first representative work of Mo Yan's transition period, Sandalwood Death tells the legendary story of Gaomi County's resistance to the German powers with a brushstroke that combines folk customs with magical realism. The work intentionally combines drama art with literary writing, using “cat tune” as an important clue and arranging the plot according to the script to create a dramatic novel with great national art and singing characteristics. This article aims to study how Sandalwood Death achieves the purpose of “dramatization of text” in character creation and plot arrangement. This paper introduces the concept of drama-novel for research. Based on the character creation method in the works and the concept of facial narrative, it finds that the main characters are built as “performers” in the drama, creating unique facial characters. The paper also found that the plot and chapter arrangement of Sandalwood Death combined the unique role of the pre-chapter singing segment and “cat tune” in the work, integrating the dramatic singing segment into the text narrative to achieve a dramatic effect. This paper combines the “performer, stage” relationship essential to “dramatization of text” to analyze the characterization and pre-chapter singing of “Red Sorghum Death” respectively.

While existing scholarship has examined the psychological dimensions of Hesse’s works, it has inadequately addressed the mechanisms of cross-cultural integration. Rooted in Jungian psychology, Hermann Hesse’s novels construct two distinct paths of spiritual development: in Demian, Sinclair achieves self-integration through the confrontation with his shadow, while in Siddhartha, the protagonist transcends dualistic oppositions by drawing on Eastern wisdom, ultimately attaining a return to the Self. Together, the two works reveal the core mechanism of individuation—a symbolic cycle formed by the motifs of the bird (repression and release), water (flow and eternity), and mirror (reconstruction of consciousness), through which psychological conflict is transformed into poetic metaphor. Hesse’s use of introspective narration intensifies the individuation process by laying bare the protagonists’ internal conflicts. The dialectical tension between Demian and Sinclair serves as an external dramatization of the struggle between rationality and instinct, while the narrative space functions as a fluid psychic theater. In the end, Hesse conveys that authentic self-development arises from the conscious acceptance of both light and shadow.

Cell membrane transport is an important topic discussed in the biology classroom from the middle school to the graduate level. Membrane transport is complex, and students are often confused between different types of transport mechanisms. Dramatization is an active-learning strategy to engage students in learning. The flipped teaching method is designed to introduce lecture content prior to class meeting, thus creating time during class to adapt active-learning strategies such as dramatization. In this work, students were given a pretest prior to the dramatization activity. As each type of membrane transport was discussed, which included simple diffusion, osmosis, facilitated diffusion, and active transport, students were assigned specific roles to demonstrate the movement. The dramatization activity triggered many questions related to the topic, and these questions were addressed immediately. A posttest was conducted at the end of the dramatization activity. Our results demonstrated increases in the students' understanding, engagement, and confidence level. The combination of flipped teaching and dramatization thus serves as a student-centered active-learning strategy for teaching difficult biological concepts.

The article analyzes one of the main problems of physical rehabilitation of children with psychomotor disorders – the problem of motivation in corrective motor activity. This determined the aim – to determine the main directions of the motivational sphere formation in the process of correctional play activity of children with psychomotor disorders. The following research methods were used: the method of analysis, which made it possible to identify the main characteristics and types of motivational support of children for various types of activity; the method of pedagogical observations and the method of synthesis revealed the powerful method of motivating – theatricalization of the correctional process using physical education. The research results were expressed in the definition of the concepts: motive, motivational field, motivational impulse, which are the components of the concept of motivation, the variety of which is defined in four types. There were made following conclusions: The motivation of corrective motor-play activity is based on the unconscious influences of the unconscious, caused by the external use by the teacher of the corresponding children's fairy-tale archetypes and the emotional experiences, caused by them. One of the main methods of increasing motivation is the use of the possibilities of pedagogical \"drama\" in the form of a method of dosed dramatization of the motor-game plot of a remedial lesson, which should be considered as a physical culture fairy tale. For the implementation of effective dramatic motivation, it is necessary to provide points of dramatization of different influence strength.

Background If children are encouraged early in childhood to engage in a physically active lifestyle and if they are used to practice physical activity (PA) as children, they are likely to be more active as they grow up (Telama et al., 2014). Nevertheless, in Belgium, only 2% of children 6 to 9 years of age are able to reach PA international recommendations (Wijtzes et al., 2016). Fortunately, holistic school-focused initiatives can raise children's level of physical activity (Heath et al., 2012). Accordingly, the aim of the study was to scrutinise the influence of an innovative pedagogical approach on self-reported PA and lifestyle habits among elementary school children. Methods 176 pupils (11-13) and 5 physical education (PE) teachers were recruited in the area of Liege. Those pupils took part in a 10 weeks intervention including one weekly session of PE. PE lessons are original since they combine High Intensity Interval Training (HIIT), dramatization and health education. Assessments were performed before (T0), during (process analysis) and after the intervention (T1). Childrens' levels of PA were assessed with the PAQ-C, as their food habits were assessed with the Adolescent food habits Checklist. Children were also invited, before each session, to notify and share their good practices related to the health education activities proposed during the lesson. Results Results exposed significant improvements in self-reported PA (3,09 to 3,26 scores; p > 0,000). As we sort out results by gender, we noticed higher improvements among girls. In contrast, we observed a slight and non-significant decrease in children's food habits (13,88 to 13,55 scores; p = 0,24). On over 400 good practices collected, half were related to physical activity and hydration. By involving physical and psychosocial objectives, the study is expected to provide a deeper understanding of the impact of this teaching method on children. Conclusion As Oblomov pedagogy seems to have the potential to generate health basic knowledge as well as pleasure of being physically active, it could be extended to other various settings such as obesity prevention. This method will also be shared with PE teachers in Belgium, as part of the PE curriculum reform in Belgium.

Farmers’ movements have been a defining force in India’s socio-political history, reflecting both agrarian distress and the resilience of rural communities. This paper traces their evolution from the 20th century, when farmers stood at the forefront of anti-colonial struggles, to the 21st century, where they act as democratic negotiators of rights and policies. In the colonial era, peasant agitations such as Champaran, Bardoli, Tebhaga, and Telangana were deeply intertwined with the nationalist movement. Farmers not only resisted exploitative revenue systems and oppressive tenurial arrangements but also lent mass legitimacy to India’s freedom struggle. Their mobilization under leaders like Gandhi, Patel, and Swami Sahajanand transformed local economic grievances into symbols of national dignity and sovereignty. The 21st century, by contrast, has produced movements framed within democratic contestation. Protests such as the Tamil Nadu drought agitation (2017), Maharashtra’s long march (2018), and the nationwide farm law protests (2020–21) highlight the ongoing agrarian crisis shaped by globalization, market volatility, and ecological stress. These movements differ from their predecessors by focusing on policy correction, using symbolic dramatization, social media mobilization, and urban-centered strategies to amplify their voices. While they underscore the resilience of democracy and the continuing centrality of farmers in India’s polity, they also face challenges of fragmentation, politicization, and allegations of infiltration by separatist or foreign elements. The comparative analysis in this paper shows that while 20th-century farmer movements were unequivocally nationalist and contributed directly to independence, contemporary protests are more complex. They often serve as democratic correctives but occasionally risk undermining national unity when discipline falters or external agendas intrude. The critical analysis underscores the dual role of farmers as nation-builders and as potential instruments vulnerable to appropriation. The study concludes that the farmer remains central to India’s nationhood, both as a cultivator of food and as a cultivator of democratic values. For future progress, it is imperative that farmers’ movements retain their nationalist ethos, governments engage constructively, and civil society ensures solidarity rooted in unity and integrity.  

Sociologists have documented how the pharmaceutical industry has corrupted pharmacovigilance (PV), defined as the practices devoted to detecting and preventing adverse drug reactions (ADRs). In this article, I juxtapose the official postmarketing system of PV with firsthand accounts of ADRs as found in 60 YouTube vlogs created by 29 individuals who recount debilitating reactions to fluoroquinolones, a common class of antibiotics. Whereas official PV is said to contribute the banalization of risk, these vlogs exemplify the dramatization of risk. I consider the vlogs as instances of lay PV. They represent lay knowledge claims created in response to perceived failures in the official system of regulation. As such, lay PV shares commonalties with other articulations of lay expertise as a counter to medical authority. At the same time, this case also underscores how the YouTube platform offers new tools for the creation and distribution of lay expertise.

The aim of this article is to investigate the reasons behind the origins of the ideal American society and its embodiment in the television series The West Wing. To this end, the factors that led to the success of the series will be explored, at the precise moment when the public’s viewing habits began to change, as they started demanding more complex and ambiguous dramatic characters. In this context, the article examines the way in which Aaron Sorkin, the creator of the series, approached the writing of the episodes, avoiding overly naive idealism without renouncing the aim of building bridges with the foundations of the American past. The study analyses the most important plots of the first four seasons and their links to the society that emerged in the New World. Despite the problems inherent in such an undertaking, the conclusions show how Sorkin’s dramatic skills managed to dramatize idealism in order to bring the series closer to 21st century audiences, avoiding the cynicism that was starting to take hold in society at that moment, yet at the same time adapting the conflicts of the plot to the level of complexity required by the audience. Moreover, the prestige of the series has outlived the years in which it was produced, as it is still viewed today, at a time when the innocent point of view has decisively disappeared. Among the findings of the study, one interesting fact is that the fictional president, Josiah Bartlet, was given the name of a senator who actually signed the Declaration of Independence. Este artículo pretende investigar las razones del origen de la sociedad ideal estadounidense y su plasmación en la serie de televisión El ala oeste de la Casa Blanca. De este modo, se van a explorar las causas que han conducido a su éxito justo cuando el patrón de consumo del público empezaba a modificarse reclamando personajes dramáticamente más complejos y ambiguos. En este contexto, el artículo indaga sobre el modo en que Aaron Sorkin, creador de la serie, afrontó la escritura de los episodios huyendo de un idealismo dramáticamente ingenuo sin renunciar al objetivo de tender puentes con el pasado fundacional estadounidense. A través del estudio, se analizarán las tramas más destacadas de las cuatro primeras temporadas y los vínculos que presentan con la sociedad surgida en el Nuevo Mundo. Las conclusiones del artículo presentan cómo la dramaturgia sorkiniana, a pesar de los problemas inherentes que presentaba semejante empresa, consiguió dramatizar el idealismo para acercar la serie al público del siglo XXI, huyendo del cinismo que empezaba a instalarse en la sociedad, pero, al mismo tiempo, siendo capaz de adecuar los conflictos del argumento al nivel de complejidad requerido por el público. Además, el prestigio de la serie trasciende los años en los que fue producida y alcanza a una sociedad actual donde la mirada inocente ha desaparecido definitivamente. Entre los hallazgos se encuentra que el nombre del presidente ficticio, Josiah Bartlet, responde al de un senador que firmó en la Declaración de Independencia.

This study empirically examines the cultural soft power effectiveness of Japanese and Korean films in China, focusing on the audience attraction mechanism from the perspective of cultural diplomacy. A mixed-method approach was adopted to conduct a cross-sectional survey of 1,942 Chinese film fans, and thematic analysis was used to deconstruct the underlying cultural dynamics. The core findings of this study mainly include three aspects: Japanese films trigger high emotional resonance with their everyday realist narratives, and their effect on enhancing cultural awareness significantly surpasses that of Korean films; emotional proximity is the core mechanism, establishing non-political connections through micro-narrative life symbols to dispel geopolitical hostility; although Korean films enjoy a proximity to Confucian culture, their credibility is undermined by excessive dramatization, and they are counterattacked by Japan’s “hyperrealistic approach” with low cultural proximity. This study verifies the paradox of East Asian cultural acceptance: in the context of historical trauma, high cultural proximity tends to activate political defense, whereas emotional proximity can penetrate this barrier. This study proposes a three-dimensional soft power transformation path, namely, using everyday realism as the emotional foundation, intergenerational tension of values to achieve traditional reinvention, and technological aesthetic immersion to construct sensory conquest.