Puppets

Puppet theater is certainly a very useful tool in education; however the application of puppets to special education and various types of therapy is perhaps less known but equally interesting, which has given over the second half of the twentieth century and the beginning of this century a large number of theoretical works and practical experiences with highly positive and motivating results. This study is a tour of the main highlights of this line of research and teaching practice, which seeks to improve the lives of people with various disabilities.

This article demonstrates how political inquiry can guide the study of animation. It proceeds by investigating animation's minor status within film and media studies and then the expansion of its definition and conceptual associations. This expansion has philosophical implications, which are explored in this article through the work of Jeff Malpas and Bruno Latour. By examining how these philosophers discuss animation and animated examples – puppets, in particular – this article demonstrates a shift from thinking of animation as expressing mastery and illusion to thinking of animation as expressing transformation, heterogeneous action, and distributed agency. This shift challenges philosophy's opposition to rhetoric, poetics, and technology, and in turn challenges modern binaries between nature and culture, science and politics, reality and artifice, facts and fetishes, and it presents the world as animated. The author argues that this idea need not obfuscate the many different moving-image technologies that have been designated animation or cinema, and contends that some of these, such as animated cartoons, directly engage the confusion about animation caused by modern binaries. This argument proposes studying animation through multiple modes or lenses in order to prevent dominant realist modes of inquiry from stifling the uncertainty and pluralism that are central to animation's capacity for political expression.

No part of this book may be reproduced or transmitted in any form or by any means, electronic or mechanical, including photocopying and recording, or in any information storage or retrieval system without the prior written permission of just about every single incarnation of the book. Her advice has always been direct and illuminating, and her deep support continues to carry me through many tricky passages. Jonathan Lamb was dedicated and expansive in his advisory role; he readily loaded me with books, sources, and the time I needed for his counsel. April Alliston was the first teacher to galvanize eighteenth-century studies for me. I am grateful for her probing and judicious comments on my writing, the excitement she passed on to me over questions about mimesis, character and verisimilitude, and above all her most loyal support and friendship. Joanna Picciotto taught me everything I know about seventeenth-century England. Being her preceptor for her undergraduate seminar gave me an opportunity to learn from her dazzling gifts in teaching, scholarship, and friendship. I am grateful to Oliver Arnold for taking an early interest in my work. He was the first to encourage me to find promise in dolls. I am lucky to have had such formidably talented scholars as my mentors. The rewards of such training, I have happily found, cannot be overvalued nor exhausted. My teachers at Bryn Mawr, Jane Hedley and Carol Bernstein, first taught me how to trace the beauty of ideas-always closely-and love rigor as its own reward. I could not have predicted how long it would take for me to get to thank them in this way. My colleagues at

Puppets have always been part of Indian culture ethos from time immemorial. Puppets, toys have been discovered at the Indus Valley Civilization sites. Archaeologists have unearthed terracotta doll with a detachable head capable of manipulation by a string dating to 2500 BC. Another figure found was a terracotta monkey which could be manipulated up and down a stick, achieving minimum animation in both cases. Some scholars trace the origin of puppets to India 4000 years ago, where the main character in Sanskrit plays was known as 'Sutradhar, the holder of strings'. The epic Mahabharat, Tamil literature from the Sangam Era, and various other literary works dating from the late centuries BC to the early centuries AD, including Ashokan edicts, describe puppets. In books, such as, in Gita, the three qualities found in men (Satta, Rajah and Tamah) are said to be the three strings pulled by the Divine to lead man in life. There have been other references to puppets philosophically in many other instances. Patanjali, the great grammarian, enunciated in his Ashtadhyayi Mahabhashya many illustrations from the Sanskrit plays and entertainment's of his time, which relate to the three major streams: the dance drama, the puppet theatre and the musical narrative of storytelling. The other great grammarian Panini, even before Patanjali's time, laid down rules of grammar with puppets as illustrations. Therigatha, an old Buddhist treatise, was composed by senior Buddhist nuns and contains a clear reference to puppet theatre. They refer to a dance show by string puppets with detachable limbs made of woods. In South India the epic Shilappadikaram by Ilango mentions: " The puppets danced with warlike vigour just as goddess Lakshmi danced to destroy the demons. " The Tamil scholar Thiruvalluvar wrote about puppets in his famous Kurals, " The movements of a man who does not have a sensitive conscience are like the stimulation of life by marionettes moved by strings ". In the Kamsutra of Vatsyayan, the celebrated classic of intimate human relationship, various types of puppets and puppet-plays are discussed. The best way to entertain and seduce young girls was to organise the performance of puppet shows and presenting the damsels with puppets (like giving soft toys in modern times). Kamsutra also elaborated upon the making of puppets from thread, animal horns, elephant tusk, honeycomb wax, flour and clay. For the first time, Vatsyayan mentioned manipulation of puppets not only by strings but also with yantras (mechanical devices) so that puppets could be animated with their in-built mechanism. Kalidas, the Sanskrit poet and playwright, gave a few dramatic instructions in Abhijnana Shakuntalam, which seem to be based on a puppet show. There were many mentions in plays like Panchala Anuyanam for animated puppets and human actors, performing together. Kathasaritsagar, a collection of ancient fables, had many descriptions of mechanised wooden dolls, which formed charming gifts within a basket full of lovely puppets. These puppets were fitted with keys whose operation made them dance and narrate story. One mechanised puppet could even bring a garland of flowers and another could fetch water! Simhasana-Dratrimsika or Sihansa Batisi, a famous collection of thirty-two fairy tales, has been part of ancient folk literature. The story is about king Bhoj whose throne, inherited from Vikramaditya was carried by thirty-two female statues. It seems that these wooden dolls, as mechanical contrivances, could present shows on fights between gods and demons, churning of the sea, and even providing love sports. Another play Balaramayan in the tenth century mentioned two wooden dolls: representing the epic characters Sita and her stepsister Sundarika. This was a wonderful dramatic technique employing the human actor and wooden puppets together on the stage in consummate dramatic action. Ancient India and many other lands had viewed the puppet as divine creation. The heritage of Indian puppets is to tell stories, be it from epics, mythology or real life. In Sanskrit puppets were termed as Putraka or Putrika or Puttalika, all derived from the root Putta. Indian puppets are primarily found in four forms. These are; glove, rod, string and shadow. There are several other rare forms too. Such as, 'Boomalatam', found in ancient south India (today found in the state of Tamil Nadu and Andhra Pradesh), where puppets were made of wood at the height of 2-3 feet and weighing 10 kg. These

fotografie Petr Berounský a archiv autora v roli šamana Jaroslav Achab Haidler 3D rekonstrukce loutky Pavel Zoch 21 000 let před Kristem Ve světě ovládaném duchy bylo možno přežít jen s pomocí někoho, kdo to s duchy umí... -Je však překvapivé, že muž z brněnského hrobu používal ke svým obřadům prakticky tytéž pomůcky, jako sibiřští šamani o 23 000 let pozdějidoc. Martin Oliva Francouzská ulice, Brno 21 000 př. Kr.

The essence of puppet performance is its balance between animacy and inanimacy, the artificial and the natural. This article proposes the framework of puppetry as a means of understanding the transcendent potential of a group of medieval reliquary busts from Cologne. In both appearance and manipulation, these sculpted busts blurred the boundaries between life and death, much like puppets. I argue that the dual mimesis of these busts, both visual and kinetic, enhanced their theological purpose as vessels for the bones of saints, and points to a medieval interest in the productive paradoxes of representation. Through their puppet-like hybridity, these sculptures bridged the distance between humans and the divine for medieval viewers. The article concludes by proposing a parallel between the temporary lives of puppets and the hybrid nature of artificial intelligence, suggesting that medieval conceptions of mimesis can provide a means of thinking through twenty-first century technology.

Тurning to the analysis of Alexandre Benois’s and Igor Stravinsky’s ballet “Pеtrouchka” (1911) researchers have repeatedly referred to its closeness to Russian symbolism. This essay examines the question of whether this ballet (Stravinsky’s second, the first being “The Firebird”, 1910) might have been influenced by the European theatre reform movement at the beginning of the XX-th century. This notion was first introduced in an article, anonymously published by Edward Gordon Craig (an important figure in this movement), in which he claims that the Ballets Russes (“Saisons Russes”) of Sergei Diaghilev had appropriated his reformative ideas. The author points out that in the case of “Pеtrouchka” (it is quite likely that) the members of the Ballets Russes were quite likely influenced by Craig’s ideas or ideas related to them. Therefore the aspect of magic in the ballet’s libretto, which has so far been mostly attributed to the influence of Vsevolod Meyerhold, has to be credited instead to the Russian reception of German theatre reform writings (including the German translations of Craig’s works). Craig’s ideas, to which the ballet’s librettist Alexandre Benois had access,  were discussed in Russian theatre circles from 1906 onwards. Analysis of Stravinskij’s musical scene “Russkaja” verifies that the aspect of magic  plays its part not only in the ballet’s libretto and choreography but also in Stravinsky’s score and shows that, like the dancing puppets of the magician, the audience is being animated by Stravinsky’s music. Stravinsky’s compositional approach in the “Russkaja” can be interpreted as an attempt to break “the wall“  between the real world and the “fourth dimension“ – a key demand of theatre reformers during that time.

O presente artigo relata o processo de produção de um curta metragem feito com a técnica de stop motion e apresenta um processo simples de produção de imagens estereoscópicas (imagens para visualização tridimensional) utilizando recursos caseiros de baixa tecnologia. As imagens produzidas podem ser visualizadas com óculos anaglíficos com lentes nas cores ciano e magenta. O processo apresentado produz resultados de boa qualidade que possibilitam a conversão para os processos contemporâneos de exibição de imagens estereoscópicas com projeção baseada em filtros polarizados.

The curiosity about toy-like objects in contemporary Anglophone literature, while part of a millennia-long human fascination with artificial life, also squares palpably with the material shift that took place in the humanities in the 1980s, reinvigorating the fields of history, anthropology, philosophy, and literature with a new concern for the world of things and material culture. The present paper employs the critical lens of the New Materialism, Thing Theory, and phenomenological reasoning to examine the tropological significance of sapient objects – both organic and man-made – in English author Jessie Burton’s historical novel The Miniaturist (2014). By highlighting the ways in which the narrative’s figural system negotiates the structural and conceptual dichotomies of human/doll, object/thing, interiority/exteriority, authenticity/artificiality, and mobility/stasis, this reading of Burton’s novel attempts to show how the literary text rethinks the social life of things and the ambiguity of subject-object relations in the seventeenth-century Netherlands. A critical emphasis on the fluidity of matter in The Miniaturist brings to light the invisible boundaries of human agency and the role of commodity capitalism in the genesis of modern subjectivity.

In the attempt to preserve and safeguard the unique heritage of Wayang Kulit (Shadow Play),UNESCO has designated it as a Masterpiece of Oral and Intangible Heritage of Humanity on 7th November 2003. Wayang Kulit Kelantan in Malaysia is threatened with imminent extinction. This paper reviews the critical situation of Wayang Kulit Kelantan in Malaysia. The visualization and movement of Wayang Kulit Kelantan is described into four major aspect, which are the puppets, shadows, screen for shadow projection (Kelir) and its light source. It also reviews the comparison methods and techniques between Wayang Kulit Kelantan traditional shadow play and Computer Graphics Imagery (CGI) used as a prototype design in traditional Wayang Kulit Kelantan.

Puthalika Patrika is a  Puppetry E magazine that includes scholarly articles about Puppetry, Puppetry of the World, and other allied folk art forms. Sphoorthi Theatre STEPARC is glad to be associating with Social Substances Group and T.S.Centre State Library  Sector 17, Chandigarh in bringing out this Magazine.
Anyone interested to contribute to this magazine can contact us by mailing us to the Email Id:  [email protected]

Questo volume nasce a coronamento di un Convegno organizzato presso l’Università di Verona dal 28 al 29 novembre 2017 in collaborazione con l’Associazione Città Teatro di Riccione e la Fondazione “Umberto Artioli” Mantova Capitale Europea dello Spettacolo. Le giornate di studio, di cui si pubblicano gli atti, sono state la tappa conclusiva di un diversificato progetto artistico teatrale-multimediale, ideato da Giorgia Penzo, dedicato alla memoria e alla riproposizione della prassi rappresentativa delle “famiglie d’Arte” itineranti italiane. Il tema scelto per la riflessione teorica svolta a Verona trae origine dalla constatazione che, tra le produzioni degli ultimi eredi della tradizione recitativa della nostra penisola, emergono oggi importanti tentativi di presentare sulla scena le vicende artistiche della propria famiglia d’Arte, attraverso singole performances dedicate all'argomento, o anche spettacoli compiuti, per recuperarne la memoria e preservarne le tecniche rappresentative ormai in disuso. Con l’affermazione del professionismo teatrale, nella seconda parte del sedicesimo secolo si consolida un’organizzazione sociale degli attori assolutamente particolare, legata da una fitta rete di rapporti, un mondo chiuso e ben regolamentato che permette loro di convivere in maniera originale, e in parte antagonistica, con la società degli altri uomini. Per poter meglio delineare la questione dell’attualità e della valenza in epoca contemporanea di modalità rappresentative che affondano le proprie radici in una tradizione di tipo familiare, si è deciso di affrontarla secondo tre diverse direttrici: La tradizione italiana tramandata, La sopravvivenza delle famiglie d’arte nel Novecento, Testimonianze contemporanee.

«The presence of Greek shadow puppeteers Sotiris and Evgenios Spatharis in Cyprus: testimonies of N. Ioannou’ s Archive at the Folk Art Museum of Cyprus (F.A.M.C.)»
Abstract: The famous Greek shadow puppeteers Sot. And Evg. Spatharis paid their first visit in Cyprus in September of 1953.
Although their performances had a great success, the dramatic earthquake of Pafos caused their early departure. However, they managed to meet, lure, challenge and influence several Cypriot shadow puppeteers.
The present essay focuses on this specific artistic “dialogue”, following tracks located in bibliography, past Press, Archives of shadow puppets and related equipment. After researching on the archives of F.A.M.C., Spatharis’ family and Cypriot shadow puppeteers’, it becomes clear that a part of the Spatharis’ equipment used in 1953, finds shelter at the F.A.M.C., through N. Ioannou’ s (shadow puppeteer, magician, folk painter) collection, which was bought in 1979.
More than ten objects, mostly misplaced, seem to derive from Spatharis’ artistic hand, whilst certain drawings, jokes, scenography, artistic tactics, still revive nowadays in Cypriot Shadow Puppet Theatre.
This study aims in highlighting not only aspects of great artistic personalities as Spatharis, whose memory is dedicated, but also the fluidity of the art of Shadow Theatre and family ties between Shadow Theatre of Greece and Cyprus.

In providing an explanation for the cultural-aesthetic functions of the Italian puppet in the Italian-American cinematographic context, this essay weaves together historical notions on the role of the puppet (and Sicilian pupi in particular) in the Italian-American community, on the collaboration between puppeteers and filmmaker, and on the emotional and ritualistic power of the puppet. Analyzing films such as Francis Ford Coppola's Godfather Part II, the experimental film Tarantella by Helen De Michiel, and John Turturro's autobiographic documentary Rehearsal for a Sicilian Tragedy, this essay focuses on the cultural and cinematographic function played by the puppet in preserving and reinterpreting the Italian-American identity. The discussion also includes an American production such as I Am Suzanne!, where the Italian-American puppet channels negative stereotypes and anxieties towards the Italian immigrant.

Η Εταιρεία Κυπριακών Σπουδών (ΕΚΣ) επέλεξε ως έκθεμα του μήνα Οκτωβρίου ένα διακοσμητικό πορτραίτο από τη συλλογή της Θεάτρου Σκιών. Το έκθεμα προέρχεται από το αρχείο του καραγκιοζοπαίκτη και λαϊκού ζωγράφου Νίκου Ιωάννου, που έζησε και πέθανε στην Κύπρο. Το αρχείο, που αποτελείται από τα σύνεργα του καλλιτέχνη, αγοράστηκε το 1979 από την Εταιρεία Κυπριακών Σπουδών, με φροντίδα του αείμνηστου Αδ. Διαμαντή. Το υλικό κατασκευής του εκθέματος είναι το χαρτόνι, έχει διάμετρο 31 εκ. και απεικονίζεται κατά κρόταφον η προτομή του πρωταγωνιστή του Ελληνικού Θεάτρου Σκιών, Καραγκιόζη. Αποτελεί ζευγάρι με αντίστοιχο πορτραίτο που απεικονίζει τον Χατζηαβάτη.

From the time of the legendary mountain bandit Davelis in the 1850s (and even earlier, almost since the foundation of modern Hellenic state in 1828) , the fate of modern Hellenic State has been marked either by a weakness to meet with the citizens’ expectations or, in order to quieten subsequent reactions, by a series of oppressive measures (even dictatorships). This policy would unavoidably instigate some kind of aggressive retaliation in the form of banditry. Karaghiozis, a form of traditional shadow theatre that articulated the worldview of the lower social strata for more than half a century (1890-1960), became a vehicle through which artists and spectators communicated their own standpoint towards banditry and violent retaliation. It formulated a special category of plays that dramatised actual or fictitious bandits. In the first place, that group of plays may be regarded as an indication of the spectators’ fascination with bandits or as a surrogate experience for the desire to...

Intercultural education and treatment of diversity in the school are certainly some aspects of education on which more has been written in recent decades. With this work we intend to take a tour of the current approaches in intercultural education and deepening the idea of creativity and collaborative work as effective ways to meet the challenge posed by the difference. Finally, we propose literature, specifically puppetry as an optimal teaching tool for intercultural work in all educational levels, from the appreciation of diversity in its multiple meanings.

Wayang, which is an original Javanese art, existed before Hindu culture entered Java. In addition to being an art, it is also a medium for conveying noble values to the community. The various stories in puppetry generally provide lessons for good and bad things to emulate them. An effort to find out the relationship between puppet stories and the formation of accounting science characteristics in Indonesia is by conducting interviews with several puppeteers who have been practicing puppetry from 42-59 years ago. Based on the results of interviews with informants, there are qualitative characteristics of accounting in Wayang stories. The Mahabharata story describes a market as a medium of power and Tondo as an economic actor who pays taxes to the state. The ethics and economic morals taught are honesty, Seruni as the corruptor, and Turo as the honest play. The qualitative characteristics of accounting in Wayang stories are not shown absolutely or directly, but only as a form of symbolization

This article demonstrates how political inquiry can guide the study of animation. It proceeds by investigating animation’s minor status within film and media studies and then the expansion of its definition and conceptual associations. This expansion has philosophical implications, which are explored in this article through the work of Jeff Malpas and Bruno Latour. By examining how these philosophers discuss animation and animated examples – puppets, in particular – this article demonstrates a shift from thinking of animation as expressing mastery and illusion to thinking of animation as expressing transformation, heterogeneous action, and distributed agency. This shift challenges philosophy’s opposition to rhetoric, poetics, and technology, and in turn challenges modern binaries between nature and culture, science and politics, reality and artifice, facts and fetishes, and it presents the world as animated. The author argues that this idea need not obfuscate the many different movi...

Girato nella primavera del 1967, Cosa sono le nuvole? è forse il manifesto di poetica più completo e struggente dell’intera opera cinematografica di Pasolini, un momento di potente riflessione sintetica sulla sua visione della vita e dell’arte. Le nuvole mette in scena l’Otello di Shakespeare in forma di spettacolo di inverosimili pupi all’interno di un teatro popolare dove però i pupi sono impersonati da attori vivi. Come ha messo in luce gran parte della critica, Le nuvole accompagna fedelmente le riflessioni che Pasolini andava articolando in questi anni riguardo al cinema di poesia, esprimendo la concezione dell’immagine cinematografica come linguaggio più vicino alle cose e di maggiore forza conoscitiva. Mentre la funzione chiave del quadro Las meninas di Velásquez e quella del pensiero pirandelliano sono state spiegate in modo esaustivo, minore attenzione è stata rivolta alle origini e alle ramificazioni dell’intricato gioco teatrale operato a livello di messa in scena. Nella scelta di presentare l’Otello in forma di spettacolo di pupi si trova tuttavia l’anello che dà coerenza alla vasta rete di riferimenti intermediali e culturali presenti nel film. Il concetto di intermedialità viene applicato in questo saggio come asse di ricerca che esamina il fenomeno di travalicamento dei confini mediatici all’interno di una prospettiva storica. Basandosi sull’analisi dello scambio tra burattino e attore in carne e d’ossa, della scelta degli interpreti, e dei riferimenti a specifiche e diverse forme di spettacolo, questo saggio esamina il gioco intermediale tra cinema e teatro di figura mettendone in luce il rapporto simbiotico, un rapporto qui imperniato sul tema della morte.

Puppet was the cultural heritage of Indonesia and a world heritage whose many advantages and some disadvantages. Indonesian youth was considered away from the puppet. Unit of Educational and Culture of Radio Media Development addressed this phenomenon by conducting a needs analysis of puppet stories as audio media character education for the younger generation, in particular adolescent ages 12-18 years. The analysis was conducted to uncover the adolescent perception about the puppet and how their need about the puppet which was broadcasted through the radio. This study used the survey method and involved radio stations in Middle Java and Eastern Java, which had been partnered with BPMRPK and had founded school and student community. The results showed that teens are considered the main attractive of the puppet performances was at the story. Teens considered puppet stories would be interesting if the radio broadcast program was made by adjusting the present context. Most teens need a...

RESUMEN Para determinar cuándo nacen las marionetas, es necesario remitirse a la prehistoria del hombre, a un momento en que la religión y la necesidad de representar a las divinidades, el temor a lo desconocido y la superstición, o, simplemente, el deseo de divertirse, llevaron a las distintas civilizaciones a inventar unas figurillas representativas-los primeros ídolos, en un sentido estricto-que, al ser manipuladas y puestas en situación dramática, adquirían una vida propia o una personalidad característica. La lengua griega tiene, esencialmente, dos términos para referirse a las marionetas: ta; neurov spasta y ta; qauv mata. ABSTRACT «The Puppets in Ancient Greece: An Approach». While determining when the puppets first appeared, it is necessary to look into man's prehistory. It was a time when religion and the need to represent deities, the fear of the unknown and superstition, or, simply, the desire to have fun, led to different civilizations to invent representative figurines-the first idols, in the strict sense-that once manipulated and placed in a dramatic situation, acquired a life of their own or a specific personality. The Greek language has, essentially, two terms to refer to the puppets: ta; neurov spasta and ta; qauv mata. Para determinar cuándo nacen las marionetas o los títeres, es necesario remitirse a la prehistoria del hombre, a un momento en que la religión y la nece-sidad de representar a las divinidades, el temor a lo desconocido y la superstición, o, simplemente, el deseo de divertirse, llevaron a las distintas civilizaciones a inven-tar unas figurillas representativas-los primeros ídolos, en un sentido estricto-que, al ser manipuladas y puestas en situación dramática, adquirían una vida propia o una personalidad característica. Sin lugar a dudas, se puede decir que las marionetas tienen su propia histo-ria, aún antes o, al menos, al mismo tiempo que otras manifestaciones artísticas o

不完全原稿。進捗がある度、更新します。

　人形を美学の対象にすることは可能だろうか。もちろん、可能である。私が今回展開したい問題は、人形を―特に日本の人形を―どのように美学的に取り扱うことが出来るか、という問題である。
　今回、私は挑戦的な試みを行ってみたい。一つ目は、人形と彫像の比較を空間的な側面ではなく、時間的な側面から行うことである。彫刻に対する美学的な探求は、多くの場合、触覚や空間をめぐってなされる 。しかし、作品としての人形ではなく、オモチャとしての人形と彫像を比較することで、人形と彫像に関して興味深い相違を見出すことが出来る。この一つ目の課題は、Walton(1993)やVance(1995)が彫像を肯定的に評価し、人形を否定的に評価している論点を批判的に検討することで、理解を深めることが出来る。
　二つ目は、時間的な側面から日本の工芸としての人形作品を評価する試みである。この議論は、Korsmeyer(2012)の触覚論に触発されている。日本における工芸としての人形や人形作品は、造形的な評価のみならず、伝統的な手法とも深く結びついている。
　最後に、作品としての人形における伝統的な手法と時間的な結びつきと、オモチャとしての人形における個人的な時間の結びつきの結節点を考察する。

Die visuelle Erscheinung von Gegenständen, die wir als „Puppen“ bezeichnen, ist eine, die dem Menschen nachempfunden ist oder jedoch zumindest anthropomorphe Eigenschaften besitzt. Das bringt Puppen in die Nähe zu anderen Nachbildungen des Menschen mit großem Aktualitätsgehalt. In Literatur, Film und Computerspiel kommt es immer wieder zu interessanten Vermischungen des Motivs der Puppe, mit dem des Roboters oder des Avatars, die nicht nur etwas über das Verhältnis der Objekte zueinander, sondern auch etwas über ihren Erschaffer, den Menschen, verraten.

Dolls and puppets are more than decorative objects; as part of the earliest relics, they have played many roles in society. This study deals with the functions and aesthetics of Iranian dolls and puppets in art and humanity to show their importance. In most cases today, the dolls are at risk of vanishing. Based on regional diversity, abundance and currency, five examples have been chosen for analysis. The dolls and puppets are assessed semiotically through the descriptive analytic system. The discussion also examines the process of elimination, exaggeration and stylisation, and the dolls' ability as a cognate medium for advertising other types of traditional arts. Finally, through inductive analysis, the findings suggest that dolls preserve traditions and tribal identity from homogenisation.

Although new episodes of the program ceased to be recorded in 2004, the Mister Rogers’ Neighborhood show is still recalled by many today as an iconic childhood staple—the right show to watch if you are a young child or a parent looking for something wholesome to view on television. This is as Fred Rogers, the creator of the program, wished, but what exactly were the goals behind the Mister Rogers’ program? What were the shaping forces that inspired Rogers’ theory for children’s educational television? These are questions explored in “The Gentle Tongue: How Language Affected the World of Mister Rogers’ Neighborhood.”
Research for this article is compiled from Rogers’ book on parenting philosophies, dialogue excerpts from the television program, and published interviews with Rogers. Comparative information has also been provided by research from humor development, childhood imagination development, and popular television studies. Thoughtful exploration of this data can explain how and why Fred Rogers was inspired to create a program that demonstrated love and care towards television’s youngest viewers. Although Mister Rogers may be leaving the airwaves, its effects can still be seen in today’s modern television programming.

“CHRYSO, THE ORPHAN” BY A. IDALIAS – T. CHATZITTOFIS: A DRAMATIC PLAY (1948) OF CYPRIOTIC SHADOW THEATRE (KARAGKIOZIS)

Shadow Theatre in Cyprus, as well as the rest Greek Shadow Theatre, mainly consists of comedies, social plays, plays inspired by the Greek Revolution (1821), the German Occupation (1940) or even Mythology, theatre plays, novels and every-day events. However, the coexistence of Greekcypriots and Turkishcypriots seems to have been responsible for a preference to dramatic, social or pastoral plays, which would contribute to a peaceful coexistence.
In this study, such a prototype play under the title “Chryso the orphan” is being presented according to versions of two Greekcypriot Karagkiozis performers. T. Chatzittofis (1927-), who created and performed the play along with A. Idalias (1917-1996) in 1948, and G. Idalias (1939-), the son of the joint author and Karaghiozis player as well, who has attended some of the successful performances.
According to the story, poor Chryso, the protagonist, has an affair with Tasos, the son of a rich landowner. When informed, Karaghiozis, the uncle of Chryso, presses the young lovers to marry. On the contrary, Tasos’ mother objects to their marriage due to their social-financial distance. The play closes with the dramatic loss of the two lovers and the madness of Tasos’ mother.
The influence of plays deriving from Greece, like “Gkolfo” is quite visible. In addition, motives quite common in melodramatic cinema movies, theatre plays and popular literature of that time, seem to have been embodied as well.
Despite differences of the two versions and probable weaknesses of the play, the literature “loans” and the method of embodying such popular motives and stories into a Karagkiozis performance become clear.

This article extends recent attempts to think (post)qualitative research together with decolonial, postcolonial and other critiques-as a fric-tional, fraught encounter. I review how the concept of voice has been used in past and present research with children and young people: from research speaking about children and young people, dialogical speaking with the 'agentic' young person, poststructural refusals of 'raw voices' speaking for themselves, and (post)qualitative onto-epistemo-logical experiments with utterances spoken in research assemblages. Reading one of my research practices-the mis/use of cloth puppets with high school students-through recent critiques of (post)qualitative work, two particular concerns materialize: accounting for relations between past and present research, and accounting for what comes to matter during and after research encounters. ARTICLE HISTORY