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"Good and evil Drama"
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Belief in Drama: A Study of the Religious Factors in Ancient Chinese Puppet Dramas
Puppets, a kind of wooden figure whose movements are manipulated by artists, were frequently used in ancient Chinese singing and dancing activities and dramas. The uniqueness of substituting human beings for puppets has drawn tremendous attention from scholars. However, despite previous research on the long development process of puppet dramas, a considerable number of details remain neglected, and behind these details lies an abundance of complicated religious factors. Therefore, this paper uses several fragments as entry points in terms of puppet dramas’ modeling, materials, craft, rites, function, artists, organization, and other aspects to comprehensively analyze the influence of witchcraft, Daoism, and Buddhism on China’s puppet dramas. This research first unveils that a ferocious appearance and mahogany as a material, both used in puppets, are outer manifestations to reveal the magical power of witchcraft. Next, the rites performed in Li Yuan Jiao using ritual puppets were characterized by mystery in their implication and ambiguity in their religious sect, which was related to the attempt to hide their notorious identities as wizards on the part of the artists. Third, general puppet artists enjoyed a fairly high social status, conferred by their semi-religionist identity and the puppet dramas’ historical status. Finally, the improvement in the puppet-making process and the emergence of skeleton-style puppets embody the secularization of the spread of Buddhism.
Journal Article
The haunting in Connecticut 2 : ghosts of Georgia
Building on the terror of The Haunting in Connecticut, this horrifying tale traces a young family's nightmarish descent into a centuries-old Southern hell. When Andy Wyrick moves his wife Lisa and daughter Heidi to an historic home in Georgia, they quickly discover they are not the house's only inhabitants. The family soon comes face-to-face with a bone-chilling mystery born of a deranged desire, a haunting secret rising from underground and threatening to bring down anyone in its path.
DVD
Revisiting \Axis of Evil\: Liberal Ironist and Shepard's God of Hell
United States adopted the nineteenth century British model of colonialism for the twentieth century, specially in the exercise of controlling people's perspectives within the country while undertaking the adventure of directly interfering in other countries’ affairs. When President Bush addressed three countries around the world as Axis of Evil on January 29, 2002, he was following the same route. Nevertheless, coining the phrase was not enough, and making people believe it required the main task that became possible through creating an intellectual atmosphere in which the focus was to promote the picture of good and evil embedded in the addressing of Axis of Evil. Consequently, any voice out of tune was hushed instantly, even if it meant Sam Shepard who had previously won great fame on the American stage by his family plays. Shepard never stopped on the notion of revealing the multiplicity of self, interacting with different geopolitical situations. As such, it is no wonder that his God of Hell is pursuing the same aim, a play totally neglected by the critics and reviewers for being too political and incoherent. Nevertheless, the research at hand is to demonstrate that Shepard is a true intellectual or, in Rorty's term, a liberal Ironist, able to entangle himself from the tissues of the aforementioned cultural war by considering people's susceptibility to humiliation.
Journal Article
Harry Potter and the cursed child
It was always difficult being Harry Potter and it isn't much easier now that he is an overworked employee of the Ministry of Magic, a husband, and a father of three school-age children. While Harry grapples with a past that refuses to stay where it belongs, his youngest son, Albus, must struggle with the weight of a family legacy he never wanted. As past and present fuse ominously, both father and son learn the uncomfortable truth: sometimes, darkness comes from unexpected places.
Book
The Devil and the Sacred in English Drama, 1350–1642
John Cox tells the intriguing story of stage devils from their earliest appearance in English plays to the closing of the theatres by parliamentary order in 1642. The book represents a major revision of E. K. Chambers' ideas of stage devils in The Medieval Stage (1903), arguing that this is not a history of gradual secularization, as scholarship has maintained for the last century, but rather that stage devils were profoundly shaped from the outset by the assumptions of sacred drama and retained this shape virtually unchanged until the advent of permanent commercial theatres near London. The book spans both medieval and Renaissance drama including the medieval Mystery cycles on the one hand, through to plays by Greene, Marlowe, Shakespeare (1 and 2 Henry VI), Jonson, Middleton and Davenant. An appendix lists all known devil plays in English from the beginning to 1642.
eBook