The Importance of Drama

 The general term "DRAMA" is understood to be a composition literary, which is written to be represented in theaters. For that reason authors consider its solid rules, without their application drama can't be successful in stage. At drama devoid the confession and description, whereas all the text surrender via dialogue and monologue. Drama differs considerably from poetry or narrative because drama it is usually written to be performed in stage by actors. Aside from the text that actors will express, are also a component of drama, wherewith characterizes the view of scene, personages doings and demeanors, the noises that are going to be heard etc., which usually puts in brackets. Classic drama (Greek and roman) was written in verse and was played in amphitheaters; some of them are still saved (for example in Butrint, which was Greek colony). Classic drama have had a solid construction, they were count by strong rules, so its composition necessarily traversed in those phases: exhibition, interlacement, culmination, vicissitude and solution. A drama usually separate in small components, which are called acts, so we have dramas with five acts, three acts, one act etc., meanwhile smaller unit is scene, which hits every actors entrance and exit in stage. Another feature of classic drama was oneness of the place (the event had to came off in one place), oneness of the time (the event held out twenty-four hours) and oneness of the doings (the event didn't have a break). As every drama flow by a conflict, which make a specific language, more dynamic, more emotional, not usual. Modern drama arrived to bring in scene the man, life and random language (Culler, 1997).

Drama is the most significant model of learning and is a basic activity for learning. it is the way of  helping children to think about their individual or social problems. Children can learn to explore issues, events and connections, by means of drama. In drama, children draw on their knowledge and experience of the real world in order to create a make-believe world, Thus, drama is one of the few areas of the curriculum which is built on dreams and Dramatic forms are infusive of another educational and arts forms. That is, in dramatic activity can be employed language, music, dance and movement. There are two main categories of dramatic forms: play and improvisation. Play is the prerogative of children and it differs from work. Through play children learn to get on with others and to find out how they stand in relation to others. In fact, children's play is purposive and requires considerable effort. It is the only and the natural venire through which they learn about themselves and the world. Drama is similar to play in that it is useful in developing play so that children can extend themselves creatively and constructively. With drama and play children ought to be able to express and communicate their feelings and understandings in their own ways.

Drama is the centre of existence; because, it is a valuable form of communication. Drama provides children with an opportunity to work together cooperatively on a shared life. As a result, it gives children the change to express themselves more effectively in everyday situations. Moreover, drama encourages children to learn how to influence others and how to put themselves in other people's shoes. This activity is thought to have educational value. Same people claim that trying to be in someone else's shoes and to imagine in certain situations gives a physical, visual and immediate experience or discussing the same things.

Drama is emerging as a powerful model of leaming through which students are encauraged to gain mastery over their own thinking. Furthermore, there are some purposes for using drama as a method which is as follows: - Drama affords students an opportunity to work together co-operatively on a shared project.It alsa increases the child's awareness of the divergence of views both within the classroom and within the wider social context. - Drama extends both the range and quality of the child's language usage. It provides an opportunity for trying out different model s of discourse and can create an impetus for a wide variety of oral and written forms. - Drama can also offer children the opportunity of critically apprising their own and other's work. - Drama is a particularly useful way of "opening up" problems, themes and topics that are of social concern. it enables children to view such subject matter from varying perspectives and to raise their own awareness of the complexity of the issues involved. Drama involves children in a complex process of selection, demanding of them an ability to choose between various effects and devices in order to shape a unified and coherent utterance So far it can be seen from the article that drama is an important device of educational experience which should be available to all students in elementary schools.

The first advantage of using drama in elementary schools is that it allows students to work together and to share responsibility for the development of self actualization which is the main objective of educatian and which alsa continue s throughout life. If a student achieves self actualization, he will have the qualities of being realistic, creative, trust and independent. In drama students actively engage in situations which make sense to them in terms of their past experiences and their present levels of understanding. Because of this, each drama activity provides them with new experiences and fresh perspectives. This kind of activity causes self actualization in child.

In addition, both teacher and student participation are equally important for the success of drama.
Personal emotional development is the second advantage of using drama in elementary schools. The new idea in education, that is drama, opens up possibilities for free choice and individual decisions. Therefore, it helps the individual to explore many aspects of the world and even his own feelings and emotion. If drama is used with learning and teaching experiences in elementary schools, it would help students to develop in the desired ways. Drama will also provide a bridge for the students who understand to become their role in sharing responsibilities with their classmates. Furthermore, to act out a dramatic activity, a class of students must cooperate; all have to agree to try to sustain the drama, to support one another's efforts to believe, to share their personal ideas and interpretations with others. What is more, drama may become the catalyst for the establishment of interpersonal relationships outside of the classroom so that it will lead to personal or emotional development.

Moralization

 Moralization refers to the conversion of a preference into a value, within a culture and in individual lives. It is hypothesized that values, because of associated moral meanings, are more likely to produce internalization than instrumental concerns such as health risks. Specifically, it is predicted that liking for and disgust toward a substance or activity will be more extreme if the substance or activity is treated as a value (is moralized). Moralization is the process through which preferences are converted into values, both in individual lives and at the level of culture. Moralization is often linked to health concerns, including addiction. It is significant because moralized entities are more likely to receive attention from governments and institutions, to encourage supportive scientific research, to license censure, to become internalized, to show enhanced parent-to-child transmission of attitudes, to motivate the search by individuals for supporting reasons, and, in at least some cases, to recruit the emotion of disgust. Moralization seems to be promoted in predominantly Protestant cultures and if the entity is associated with stigmatized groups or harmful to children.

Moralization is the foundation of all good qualities. Only by laying the firm establishment of ethical purification as a first step, will one become emotionally and psychologically mature to advance towards the fulfillment of higher stages of concentration and wisdom. It also upholds whatever wholesome states one already has. The Buddha declared the lifetime of a person who lives without Moralization is worthless even although he should living for a hundred ages, compared to a one who lives for only one day keeping the morals pure. Indeed, the moral conduct or behavior is the first and the best important in Buddha’s teaching.

Moralization is very important for all beings, to monastic as laity to live a pure and blameless life. Nevertheless, in Buddhism Moralization is not for the sake of Moralization alone, it is for the concentration and wisdom. We essential to therefore, practice meditation to fulfill these factors, study dharma and associate with upright persons. The Buddha declared the Moralization and in
Buddhists’ daily route it is very important. Moralization can make mankind happy and peaceful here and hereafter. In the social today, these intellectuals but there is no real peace and security. Something must be lacking. What is lacking is Moralization amongst mankind. If someone observes the moralization, not only he but also other persons will be happy and peaceful. For example, someone always because one observes the first rule of five of precepts which Buddhists should at least observe, one who is virtuous will get happiness and peace here as hereafter, other living beings can live without fear and worry freely and happily. Life is dear to all, and all trembles at punishment, all terror death and value life. Hence, we cannot give and we should not harm other sentient beings. The true way to attain peace to others and to the world at large is to follow Moralization discovered by the Buddha over 2500 years ago. The Pāli term “Sīla” rendered as Moralization is nonentity but a practice of restraint on one’s bodily and verbal conducts. It is indispensable one in the social because it plays a dynamic role in pursuit of both worldly gain and liberation from the rotund of suffering. It covers the increase and ecrease of the globe and of each individual.

There had been a gradual decrease up to ten years in the life-span of beings since they were completely overwhelmed by immoral actions such as killing living beings, stealing others’ properties, committing adultery, telling lie, and holding wrong views. Together with reduction of life span, the beauties of beings are also faded; and human attempts to be healthy and beautiful e.i, end in various catastrophic failures. Also there had been a gradual increase of human life span, beauty and absence of disasters in the social since people restrained themselves from doing immoral actions, with sense of urgency on the misfortunes of the world. Thus it is a proving description on the vitality of Moralization in pursuit of worldly gains.

Moralization plays a fundamental role in pursuit of liberation from the suffering also. The practice leading to the liberation is systematically formulated by the Buddha as three-stepped training such as training of Moralization, training of concentration and training of wisdom. Among them, Moralization stands as the fundamental practice in Buddhism, for a purified Moralization can pave the way for the easy attainment of Arāhathood. In the Pāli text, there can find many stories proving the above-mentioned statement related by those who attained Arāhathood. There was uncountable number of beings who enjoyed worldly gains from observing Moralization in their present life and who enjoyed freedom from round of sorrow by observing Moralization. Therefore, in the Visuddhimagga, the noble persons mentioned their firm conviction as to the practice of Moralization thus: Wealth for a sound limb’s sake should be renounced, And one’s limbs for the sake of one’s life should be given up; And wealth and limbs and life all together for the sake of one’s Moralization should be abandoned. There is many a great discourse on the Moralization in the Pāli literature. Of them, the researcher going to lay emphasis only on Moralization

Tradition and the Individual Talent

 ‘Tradition and the Individual Talent’ was first published in 1919 in the literary magazine The Egoist. It was published in two parts, in the September and December issues. The essay was written by a young American poet named T. S. Eliot (1888-1965), who had been living in London for the last few years, and who had published his first volume of poems, Prufrock and Other Observations, in 1917. You can read ‘Tradition and the Individual Talent’ here.

‘Tradition and the Individual Talent’ (1919) sees Eliot defending the role of tradition in helping new writers to be modern. This is one of the central paradoxes of Eliot’s writing – indeed, of much modernism – that in order to move forward it often looks to the past, even more directly and more pointedly than previous poets had. This theory of tradition also highlights Eliot’s anti-Romanticism. Unlike the Romantics’ idea of original creation and inspiration, Eliot’s concept of tradition foregrounds how important older writers are to contemporary writers: Homer and Dante are Eliot’s contemporaries because they inform his work as much as those alive in the twentieth century do. James Joyce looked back to ancient Greek myth (the story of Odysseus) for his novel set in modern Dublin, Ulysses (1922). Ezra Pound often looked back to the troubadours and poets of the Middle Ages. H. D.’s Imagist poetry was steeped in Greek references and ideas. As Eliot puts it, ‘Some one said: “The dead writers are remote from us because we know so much more than they did.” Precisely, and they are that which we know.’ He goes on to argue that a modern poet should write with the literature of all previous ages ‘in his bones’, as though Homer and Shakespeare were his (or her) contemporaries: ‘This historical sense, which is a sense of the timeless as well as of the temporal T. S. Eliot 2and of the timeless and of the temporal together, is what makes a writer traditional. And it is at the same time what makes a writer most acutely conscious of his place in time, of his contemporaneity.’

In short, knowledge of writers of the past makes contemporary writers both part of that tradition and part of the contemporary scene. Eliot’s own poetry, for instance, is simultaneously in the tradition of Homer and Dante and the work of a modern poet, and it is because of his debt to Homer and Dante that he is both modern and traditional. If this sounds like a paradox, consider how Shakespeare is often considered both a ‘timeless’ poet (‘Not of an age, but for all time’, as his friend Ben Jonson said) whose work is constantly being reinvented, but is also understood in the context of Elizabethan and Jacobean social and political attitudes. Similarly, in using Dante in his own poetry, Eliot at once makes Dante ‘modern’ and contemporary, and himself – by association – part of the wider poetic tradition.

Eliot’s essay goes on to champion impersonality over personality. That is, the poet’s personality does not matter, as it’s the poetry that s/he produces that is important. Famously, he observes: ‘Poetry is not a turning loose of emotion, but an escape from emotion; it is not the expression of personality, but an escape from personality. But, of course, only those who have personality and emotions know what it means to want to escape from these things.’

This is more or less a direct riposte to William Wordsworth’s statement (in the ‘Preface’ to Lyrical Ballads in 1800) that ‘poetry is the spontaneous overflow of powerful feelings’. Once again, Eliot sets himself apart from such a Romantic notion of poetry. This is in keeping with his earlier argument about the importance of tradition: the poet’s personality does not matter, only how their work responds to, and fits into, the poetic tradition.

Eliot’s example of Homer is pertinent here: we know nothing of the poet who wrote The Odyssey for certain, but we don’t need to. The Odyssey itself is what matters, not the man (or men – or woman!) who wrote it. Poetry should be timeless and universal, transcending the circumstances out of which it grew, and transcending the poet’s own generation and lifetime. (Eliot’s argument raises an interesting question: can self-evidently personal poetry – e.g. by confessional poets like Sylvia Plath, or Romantics like Wordsworth – not also be timeless and universal? Evidently it can, as these poets’ works have outlived the poets who wrote them.)

We might also bear in mind that Eliot knew that great poets often incorporated part of themselves into their work – he would do it himself, so that, although it would be naive to read The Waste Land as being ‘about’ Eliot’s failed marriage to his first wife, we can nevertheless see aspects of his marriage informing the poem. And in ‘Shakespeare and the Stoicism of Seneca’, Eliot would acknowledge that the poet of poets, Shakespeare, must have done such a thing: the Bard ‘was occupied with the struggle – which alone constitutes life for a poet – to transmute his personal and private agonies into something rich and strange, something universal and impersonal’. For Eliot, great poets turn personal experience into impersonal poetry, but this nevertheless means that their poetry often stems from the personal. It is the poet’s task to transmute personal feelings into something more universal. Eliot is rather vague about how a poet is to do this – leaving others to ponder it at length.

Continue to explore Eliot’s work with our short summary of Eliot’s life, our introduction to his poem The Waste Land, our exploration of what makes his poem ‘The Love Song of J. Alfred Prufrock’ so ground-breaking, and our pick of the best biographies and critical studies of Eliot. If you’re studying poetry, we recommend these five helpful guides for the poetry student. Below is a short video written and presented by Dr Oliver Tearle of Loughborough University, which introduces a few of the key themes of Eliot’s most famous poem, The Waste Land. It explores how Eliot’s poem puts his theory of ‘tradition’ into action through using lines from Shakespeare and classical antiquity.

Eliot compares the poet’s mind to a jar or receptacle in which are stored numberless feelings, emotions, etc., which remain there in an unorganised and chaotic form till, “all the particles which can unite to form a new compound are present together.” Thus poetry is organisation rather than inspiration. And the greatness of a poem does not depend upon the greatness or even the intensity of the emotions, which are the components of the poem, but upon the intensity of the process of poetic composition. Just as a chemical reaction takes place under pressure, so also intensity is needed for the fusion of emotions. The more intense the poetic process, the greater the poem. There is always a difference between the artistic emotion and the personal emotions of the poet. For example, the famous Ode to Nightingale of Keats contains a number of emotions which have nothing to do with the Nightingale. “The difference between art and the event is always absolute.” The poet has no personality to express, he is merely a medium in which impressions and experiences combine in peculiar and unexpected ways. Impressions and experiences which are important for the man may find no place in his poetry, and those which become important in the poetry may have no significance for the man. Eliot thus rejects romantic subjectivism.

The emotion of poetry is different from the personal emotions of the poet. His personal emotions may be simple or crude, but the emotion of his poetry may be complex and refined. It is the mistaken notion that the poet must express new emotions that results in much eccentricity in poetry. It is not the business of the poet to find new emotions. He may express only ordinary emotions, but he must impart to them a new significance and a new meaning. And it is not necessary that they should be his personal emotions. Even emotions which he has never personally experienced can serve the purpose of poetry. (For example, emotions which result from the reading of books can serve his turn.) Eliot rejects Wordsworth’s theory of poetry having, “its origin in emotions recollected in tranquillity”, and points out that in the process of poetic composition there is neither emotion, nor recollection, nor tranquillity. In the poetic process, there is only concentration of a number of experiences, and a new thing results from this concentration. And this process of concentration is neither conscious nor deliberate; it is a passive one. There is, no doubt, that there are elements in the poetic process which are conscious and deliberate. The difference between a good and a bad poet is that a bad poet is conscious where he should be unconscious and unconscious where he should be conscious. It is this consciousness of the wrong kind which makes a poem personal, whereas mature art must be impersonal. But Eliot does not tell us when a poet should be conscious, and when not. The point has been left vague and indeterminate.

Work Cited

“Tradition and The Individual Talent - CRITICAL SUMMARY.” Neo English System. 8 December 2010. Web. 5 April 2018

“A Short Analysis of T. S. Eliot’s Tradition and the Individual Talent.” Interesting Literature. 21 February 2016. Web. 4 April 2018

Film/Images: A Powerful Way of Communication

In modern society, with the advent of advanced telecommunication and photographic technologies, visual expression in mediums such as television, photography and films are increasingly becoming popular as powerful means of expression when compared to the simple mundane printed medium. (Austin, 1991)

The increasing preference and use of visual resources over written communication is an undeniable fact and the growing utilization of video based learning in modern schools over text book based knowledge transfer is the best possible example. In the present evidence-seeking world, visual communication is a powerful tool as it provides recognizable facts. Meticulously crafted images, like political cartoons and television documentaries readily deliver the concerned messages to the onlookers and are mostly beneficial in conveying thoughts to the busy and uneducated sections of the society. The television is also being bombarded with numerous catchy advertisements, by which manufacturers try to communicate with the masses regarding their products. (Austin, 1991)

On the other hand, the appeal of the printed media as means of mass communication, is declining as the younger generation considers it to be relatively old fashioned and boring. Moreover, in the fast paced modern city life, less number of people can afford to dedicate time for reading the daily morning newsprints, instead, most of the city dwellers follow daily-televised news. Despite this decreased appeal for mass communication, value of the written form still stands tall in the field of interpersonal and formal communication. Written words, as a form of official documentation, can never be superseded by any other means. Thus, visual communication is definitely a popular, powerful and better tool for mass communication but written form of expression still has equal importance for official, formal and interpersonal purposes. (Austin, 1991)

A picture is worth a thousand words is a popular maxim that is being used for a very long time. This strongly depicts the power of images in conveying messages, ideas, or opinions to people. Nevertheless, the importance of written word can never be denied as it is also another way of communication that is commonly used. Hence, I agree only to certain degree that in today's world, image serves as a more effective means of communication. (Geenesh, 2011)

Firstly, pictures can influence the way people think. For example, nowadays horrendous images are displayed on the cigarette boxes to illustrate the consequences of smoking. As a result, statistics show a slight reduction in the number of smokers, indicating that they realize the effects of the negative habit. Not only that, the magnificent photograph captured by Kevin Carter, which portrayed a starving Sudanese child struck by extreme poverty has successfully highlighted the plight faced by the citizens in Sudan. Apart from that, images are also widely used in newspapers, magazines and advertisements. Thus, it is undeniable that images in the absence of words can obviously claim the attraction of many. (Geenesh, 2011)

 

Looking from another perspective, written words are also vital in order to spread across certain messages. With only pictures, everyone is left to their own interpretation on how they perceive the images. Nonetheless, this is different when words are used to explain what the illustration is about. Furthermore, the primary way of educating students is also by this way. Academic textbooks these days are laden with words besides pictures to guide the readers to comprehend better. (Geenesh, 2011)

The use of film and images in communication continues to grow. There are a number of reasons why the use of visual aids such as images/film. Firstly film/images saves time by relaying messages faster. We can get the sense of a visual scene in less than 1/10 of a second–that’s even faster than reading a sentence. Stats have shown that visuals are processed 60,000 times faster in the brain than text. Images and Films convey a richer experience than text-heavy content alone. In a media landscape filled with clutter, readers’ attention is hard to acquire, and even harder to retain. As a result, readers often prefer to scan content rather than read word for word. (Boatman, 2009)

Film/Images ensure that a clear, unified message is delivered. Visual communication helps to provide a shared, consistent experience. Logos, colors, font, graphics, icons, and imagery, paired voice and tone that makes a brand recognizable. Effective branding activity of using consistent visual communication is a great way to take advantage of your brand’s equity when launching to a new market. Film/Images result in better retention of the information. From a scientific perspective, it’s been found that using visuals help the audience remember the information more effectively. The reason is that images are directly deposited and stored into the long-term memory, whereas words only make it to the short-term memory. An article about active learning found that after 2 weeks, only 10-20% of text (or spoken word) is recalled, compared with visual information, where 50% of the content was remembered. An important part of delivering a consistent experience with visuals is branding. In addition to a logo, many organizations have defined brand colors that should be used in all marketing activity. (Boatman, 2009)

To conclude, both images and films go hand in hand and one cannot wholly emphasize on only one aspect, either images or words. Hence, for a more meaningful communication, these two elements should be more emphasized. (Boatman, 2009)

 

Works Cited

Bruce A. Austin. Movies as Mass Communication. Vol 16, No 2 (1991). Web. 29 Mar. 2018.

Boatman A. 4 Reasons Why Visual Communication has a Big Impact. (2009). Web. 28 Mar. 2018.

Geenesh. Is image more powerful than the written word? (2011). Web. 27 Mar 2018.

F.W. Taylor

Frederick Winslow Taylor (1856-1915)

    Origin: Philadelphia, Pennsylvania, U.S.

    Nationality: American

    Occupation: Mechanical engineer, Efficiency expert, Management consultant

    Religious belief: Quaker & Puritan

    Known for: father of scientific management, father of industrial   engineering,

    Contribution in management:

      Published ‘Principles of Scientific Management’ in 1911

      Famous experiment was ‘Time Study’

      Established the theory of scientific management:-

      Using scientific methods to define the “one best   way”  for a job to be done

      Putting the right person on the job with the correct tools and equipment.

      Having a standardized method of doing the job.

      Providing an economic incentive to the worker.

      Developed 4 principles of scientific management:-

      Replace rule-of-thumb work methods with scientifically studied

      Scientifically select, train and develop each worker

      Cooperate with the workers

      Divide work equally between managers and workers