20 results
Shared Genetic and Environmental Influences on Early Temperament and Preschool Psychiatric Disorders in Hispanic Twins
- Judy L. Silberg, Nathan Gillespie, Ashlee A. Moore, Lindon J. Eaves, John Bates, Steven Aggen, Elizabeth Pfister, Glorisa Canino
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- Journal:
- Twin Research and Human Genetics / Volume 18 / Issue 2 / April 2015
- Published online by Cambridge University Press:
- 02 March 2015, pp. 171-178
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Objective: Despite an increasing recognition that psychiatric disorders can be diagnosed as early as preschool, little is known how early genetic and environmental risk factors contribute to the development of psychiatric disorders during this very early period of development. Method: We assessed infant temperament at age 1, and attention deficit hyperactivity disorder (ADHD), oppositional defiant disorder (ODD), and separation anxiety disorder (SAD) at ages 3 through 5 years in a sample of Hispanic twins. Genetic, shared, and non-shared environmental effects were estimated for each temperamental construct and psychiatric disorder using the statistical program MX. Multivariate genetic models were fitted to determine whether the same or different sets of genes and environments account for the co-occurrence between early temperament and preschool psychiatric disorders. Results: Additive genetic factors accounted for 61% of the variance in ADHD, 21% in ODD, and 28% in SAD. Shared environmental factors accounted for 34% of the variance in ODD and 15% of SAD. The genetic influence on difficult temperament was significantly associated with preschool ADHD, SAD, and ODD. The association between ODD and SAD was due to both genetic and family environmental factors. The temperamental trait of resistance to control was entirely accounted for by the shared family environment. Conclusions: There are different genetic and family environmental pathways between infant temperament and psychiatric diagnoses in this sample of Puerto Rican preschool age children.
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- By Rose Teteki Abbey, K. C. Abraham, David Tuesday Adamo, LeRoy H. Aden, Efrain Agosto, Victor Aguilan, Gillian T. W. Ahlgren, Charanjit Kaur AjitSingh, Dorothy B E A Akoto, Giuseppe Alberigo, Daniel E. Albrecht, Ruth Albrecht, Daniel O. Aleshire, Urs Altermatt, Anand Amaladass, Michael Amaladoss, James N. Amanze, Lesley G. Anderson, Thomas C. Anderson, Victor Anderson, Hope S. Antone, María Pilar Aquino, Paula Arai, Victorio Araya Guillén, S. Wesley Ariarajah, Ellen T. Armour, Brett Gregory Armstrong, Atsuhiro Asano, Naim Stifan Ateek, Mahmoud Ayoub, John Alembillah Azumah, Mercedes L. García Bachmann, Irena Backus, J. Wayne Baker, Mieke Bal, Lewis V. Baldwin, William Barbieri, António Barbosa da Silva, David Basinger, Bolaji Olukemi Bateye, Oswald Bayer, Daniel H. Bays, Rosalie Beck, Nancy Elizabeth Bedford, Guy-Thomas Bedouelle, Chorbishop Seely Beggiani, Wolfgang Behringer, Christopher M. Bellitto, Byard Bennett, Harold V. Bennett, Teresa Berger, Miguel A. Bernad, Henley Bernard, Alan E. Bernstein, Jon L. Berquist, Johannes Beutler, Ana María Bidegain, Matthew P. Binkewicz, Jennifer Bird, Joseph Blenkinsopp, Dmytro Bondarenko, Paulo Bonfatti, Riet en Pim Bons-Storm, Jessica A. Boon, Marcus J. Borg, Mark Bosco, Peter C. Bouteneff, François Bovon, William D. Bowman, Paul S. Boyer, David Brakke, Richard E. Brantley, Marcus Braybrooke, Ian Breward, Ênio José da Costa Brito, Jewel Spears Brooker, Johannes Brosseder, Nicholas Canfield Read Brown, Robert F. Brown, Pamela K. Brubaker, Walter Brueggemann, Bishop Colin O. Buchanan, Stanley M. Burgess, Amy Nelson Burnett, J. Patout Burns, David B. Burrell, David Buttrick, James P. Byrd, Lavinia Byrne, Gerado Caetano, Marcos Caldas, Alkiviadis Calivas, William J. Callahan, Salvatore Calomino, Euan K. Cameron, William S. Campbell, Marcelo Ayres Camurça, Daniel F. Caner, Paul E. Capetz, Carlos F. Cardoza-Orlandi, Patrick W. Carey, Barbara Carvill, Hal Cauthron, Subhadra Mitra Channa, Mark D. Chapman, James H. Charlesworth, Kenneth R. Chase, Chen Zemin, Luciano Chianeque, Philip Chia Phin Yin, Francisca H. Chimhanda, Daniel Chiquete, John T. Chirban, Soobin Choi, Robert Choquette, Mita Choudhury, Gerald Christianson, John Chryssavgis, Sejong Chun, Esther Chung-Kim, Charles M. A. Clark, Elizabeth A. Clark, Sathianathan Clarke, Fred Cloud, John B. Cobb, W. Owen Cole, John A Coleman, John J. Collins, Sylvia Collins-Mayo, Paul K. Conkin, Beth A. Conklin, Sean Connolly, Demetrios J. Constantelos, Michael A. Conway, Paula M. Cooey, Austin Cooper, Michael L. Cooper-White, Pamela Cooper-White, L. William Countryman, Sérgio Coutinho, Pamela Couture, Shannon Craigo-Snell, James L. Crenshaw, David Crowner, Humberto Horacio Cucchetti, Lawrence S. Cunningham, Elizabeth Mason Currier, Emmanuel Cutrone, Mary L. Daniel, David D. Daniels, Robert Darden, Rolf Darge, Isaiah Dau, Jeffry C. Davis, Jane Dawson, Valentin Dedji, John W. de Gruchy, Paul DeHart, Wendy J. Deichmann Edwards, Miguel A. De La Torre, George E. Demacopoulos, Thomas de Mayo, Leah DeVun, Beatriz de Vasconcellos Dias, Dennis C. Dickerson, John M. Dillon, Luis Miguel Donatello, Igor Dorfmann-Lazarev, Susanna Drake, Jonathan A. Draper, N. Dreher Martin, Otto Dreydoppel, Angelyn Dries, A. J. Droge, Francis X. D'Sa, Marilyn Dunn, Nicole Wilkinson Duran, Rifaat Ebied, Mark J. Edwards, William H. Edwards, Leonard H. Ehrlich, Nancy L. Eiesland, Martin Elbel, J. Harold Ellens, Stephen Ellingson, Marvin M. Ellison, Robert Ellsberg, Jean Bethke Elshtain, Eldon Jay Epp, Peter C. Erb, Tassilo Erhardt, Maria Erling, Noel Leo Erskine, Gillian R. Evans, Virginia Fabella, Michael A. Fahey, Edward Farley, Margaret A. Farley, Wendy Farley, Robert Fastiggi, Seena Fazel, Duncan S. Ferguson, Helwar Figueroa, Paul Corby Finney, Kyriaki Karidoyanes FitzGerald, Thomas E. FitzGerald, John R. Fitzmier, Marie Therese Flanagan, Sabina Flanagan, Claude Flipo, Ronald B. Flowers, Carole Fontaine, David Ford, Mary Ford, Stephanie A. Ford, Jim Forest, William Franke, Robert M. Franklin, Ruth Franzén, Edward H. Friedman, Samuel Frouisou, Lorelei F. Fuchs, Jojo M. Fung, Inger Furseth, Richard R. Gaillardetz, Brandon Gallaher, China Galland, Mark Galli, Ismael García, Tharscisse Gatwa, Jean-Marie Gaudeul, Luis María Gavilanes del Castillo, Pavel L. Gavrilyuk, Volney P. Gay, Metropolitan Athanasios Geevargis, Kondothra M. George, Mary Gerhart, Simon Gikandi, Maurice Gilbert, Michael J. Gillgannon, Verónica Giménez Beliveau, Terryl Givens, Beth Glazier-McDonald, Philip Gleason, Menghun Goh, Brian Golding, Bishop Hilario M. Gomez, Michelle A. Gonzalez, Donald K. Gorrell, Roy Gottfried, Tamara Grdzelidze, Joel B. Green, Niels Henrik Gregersen, Cristina Grenholm, Herbert Griffiths, Eric W. Gritsch, Erich S. Gruen, Christoffer H. Grundmann, Paul H. Gundani, Jon P. Gunnemann, Petre Guran, Vidar L. Haanes, Jeremiah M. Hackett, Getatchew Haile, Douglas John Hall, Nicholas Hammond, Daphne Hampson, Jehu J. Hanciles, Barry Hankins, Jennifer Haraguchi, Stanley S. Harakas, Anthony John Harding, Conrad L. Harkins, J. William Harmless, Marjory Harper, Amir Harrak, Joel F. Harrington, Mark W. Harris, Susan Ashbrook Harvey, Van A. Harvey, R. Chris Hassel, Jione Havea, Daniel Hawk, Diana L. Hayes, Leslie Hayes, Priscilla Hayner, S. Mark Heim, Simo Heininen, Richard P. Heitzenrater, Eila Helander, David Hempton, Scott H. Hendrix, Jan-Olav Henriksen, Gina Hens-Piazza, Carter Heyward, Nicholas J. Higham, David Hilliard, Norman A. Hjelm, Peter C. Hodgson, Arthur Holder, M. Jan Holton, Dwight N. Hopkins, Ronnie Po-chia Hsia, Po-Ho Huang, James Hudnut-Beumler, Jennifer S. Hughes, Leonard M. Hummel, Mary E. Hunt, Laennec Hurbon, Mark Hutchinson, Susan E. Hylen, Mary Beth Ingham, H. Larry Ingle, Dale T. Irvin, Jon Isaak, Paul John Isaak, Ada María Isasi-Díaz, Hans Raun Iversen, Margaret C. Jacob, Arthur James, Maria Jansdotter-Samuelsson, David Jasper, Werner G. Jeanrond, Renée Jeffery, David Lyle Jeffrey, Theodore W. Jennings, David H. Jensen, Robin Margaret Jensen, David Jobling, Dale A. Johnson, Elizabeth A. Johnson, Maxwell E. Johnson, Sarah Johnson, Mark D. Johnston, F. Stanley Jones, James William Jones, John R. Jones, Alissa Jones Nelson, Inge Jonsson, Jan Joosten, Elizabeth Judd, Mulambya Peggy Kabonde, Robert Kaggwa, Sylvester Kahakwa, Isaac Kalimi, Ogbu U. Kalu, Eunice Kamaara, Wayne C. Kannaday, Musimbi Kanyoro, Veli-Matti Kärkkäinen, Frank Kaufmann, Léon Nguapitshi Kayongo, Richard Kearney, Alice A. Keefe, Ralph Keen, Catherine Keller, Anthony J. Kelly, Karen Kennelly, Kathi Lynn Kern, Fergus Kerr, Edward Kessler, George Kilcourse, Heup Young Kim, Kim Sung-Hae, Kim Yong-Bock, Kim Yung Suk, Richard King, Thomas M. King, Robert M. Kingdon, Ross Kinsler, Hans G. Kippenberg, Cheryl A. Kirk-Duggan, Clifton Kirkpatrick, Leonid Kishkovsky, Nadieszda Kizenko, Jeffrey Klaiber, Hans-Josef Klauck, Sidney Knight, Samuel Kobia, Robert Kolb, Karla Ann Koll, Heikki Kotila, Donald Kraybill, Philip D. W. Krey, Yves Krumenacker, Jeffrey Kah-Jin Kuan, Simanga R. Kumalo, Peter Kuzmic, Simon Shui-Man Kwan, Kwok Pui-lan, André LaCocque, Stephen E. Lahey, John Tsz Pang Lai, Emiel Lamberts, Armando Lampe, Craig Lampe, Beverly J. Lanzetta, Eve LaPlante, Lizette Larson-Miller, Ariel Bybee Laughton, Leonard Lawlor, Bentley Layton, Robin A. Leaver, Karen Lebacqz, Archie Chi Chung Lee, Marilyn J. Legge, Hervé LeGrand, D. L. LeMahieu, Raymond Lemieux, Bill J. Leonard, Ellen M. Leonard, Outi Leppä, Jean Lesaulnier, Nantawan Boonprasat Lewis, Henrietta Leyser, Alexei Lidov, Bernard Lightman, Paul Chang-Ha Lim, Carter Lindberg, Mark R. Lindsay, James R. Linville, James C. Livingston, Ann Loades, David Loades, Jean-Claude Loba-Mkole, Lo Lung Kwong, Wati Longchar, Eleazar López, David W. Lotz, Andrew Louth, Robin W. Lovin, William Luis, Frank D. Macchia, Diarmaid N. J. MacCulloch, Kirk R. MacGregor, Marjory A. MacLean, Donald MacLeod, Tomas S. Maddela, Inge Mager, Laurenti Magesa, David G. Maillu, Fortunato Mallimaci, Philip Mamalakis, Kä Mana, Ukachukwu Chris Manus, Herbert Robinson Marbury, Reuel Norman Marigza, Jacqueline Mariña, Antti Marjanen, Luiz C. L. Marques, Madipoane Masenya (ngwan'a Mphahlele), Caleb J. D. Maskell, Steve Mason, Thomas Massaro, Fernando Matamoros Ponce, András Máté-Tóth, Odair Pedroso Mateus, Dinis Matsolo, Fumitaka Matsuoka, John D'Arcy May, Yelena Mazour-Matusevich, Theodore Mbazumutima, John S. McClure, Christian McConnell, Lee Martin McDonald, Gary B. McGee, Thomas McGowan, Alister E. McGrath, Richard J. McGregor, John A. McGuckin, Maud Burnett McInerney, Elsie Anne McKee, Mary B. McKinley, James F. McMillan, Ernan McMullin, Kathleen E. McVey, M. Douglas Meeks, Monica Jyotsna Melanchthon, Ilie Melniciuc-Puica, Everett Mendoza, Raymond A. Mentzer, William W. Menzies, Ina Merdjanova, Franziska Metzger, Constant J. Mews, Marvin Meyer, Carol Meyers, Vasile Mihoc, Gunner Bjerg Mikkelsen, Maria Inêz de Castro Millen, Clyde Lee Miller, Bonnie J. Miller-McLemore, Alexander Mirkovic, Paul Misner, Nozomu Miyahira, R. W. L. Moberly, Gerald Moede, Aloo Osotsi Mojola, Sunanda Mongia, Rebeca Montemayor, James Moore, Roger E. Moore, Craig E. Morrison O.Carm, Jeffry H. Morrison, Keith Morrison, Wilson J. Moses, Tefetso Henry Mothibe, Mokgethi Motlhabi, Fulata Moyo, Henry Mugabe, Jesse Ndwiga Kanyua Mugambi, Peggy Mulambya-Kabonde, Robert Bruce Mullin, Pamela Mullins Reaves, Saskia Murk Jansen, Heleen L. Murre-Van den Berg, Augustine Musopole, Isaac M. T. Mwase, Philomena Mwaura, Cecilia Nahnfeldt, Anne Nasimiyu Wasike, Carmiña Navia Velasco, Thulani Ndlazi, Alexander Negrov, James B. Nelson, David G. Newcombe, Carol Newsom, Helen J. Nicholson, George W. E. Nickelsburg, Tatyana Nikolskaya, Damayanthi M. A. Niles, Bertil Nilsson, Nyambura Njoroge, Fidelis Nkomazana, Mary Beth Norton, Christian Nottmeier, Sonene Nyawo, Anthère Nzabatsinda, Edward T. Oakes, Gerald O'Collins, Daniel O'Connell, David W. Odell-Scott, Mercy Amba Oduyoye, Kathleen O'Grady, Oyeronke Olajubu, Thomas O'Loughlin, Dennis T. Olson, J. Steven O'Malley, Cephas N. Omenyo, Muriel Orevillo-Montenegro, César Augusto Ornellas Ramos, Agbonkhianmeghe E. Orobator, Kenan B. Osborne, Carolyn Osiek, Javier Otaola Montagne, Douglas F. Ottati, Anna May Say Pa, Irina Paert, Jerry G. Pankhurst, Aristotle Papanikolaou, Samuele F. Pardini, Stefano Parenti, Peter Paris, Sung Bae Park, Cristián G. Parker, Raquel Pastor, Joseph Pathrapankal, Daniel Patte, W. Brown Patterson, Clive Pearson, Keith F. Pecklers, Nancy Cardoso Pereira, David Horace Perkins, Pheme Perkins, Edward N. Peters, Rebecca Todd Peters, Bishop Yeznik Petrossian, Raymond Pfister, Peter C. Phan, Isabel Apawo Phiri, William S. F. Pickering, Derrick G. Pitard, William Elvis Plata, Zlatko Plese, John Plummer, James Newton Poling, Ronald Popivchak, Andrew Porter, Ute Possekel, James M. Powell, Enos Das Pradhan, Devadasan Premnath, Jaime Adrían Prieto Valladares, Anne Primavesi, Randall Prior, María Alicia Puente Lutteroth, Eduardo Guzmão Quadros, Albert Rabil, Laurent William Ramambason, Apolonio M. Ranche, Vololona Randriamanantena Andriamitandrina, Lawrence R. Rast, Paul L. Redditt, Adele Reinhartz, Rolf Rendtorff, Pål Repstad, James N. Rhodes, John K. Riches, Joerg Rieger, Sharon H. Ringe, Sandra Rios, Tyler Roberts, David M. Robinson, James M. Robinson, Joanne Maguire Robinson, Richard A. H. Robinson, Roy R. Robson, Jack B. Rogers, Maria Roginska, Sidney Rooy, Rev. Garnett Roper, Maria José Fontelas Rosado-Nunes, Andrew C. Ross, Stefan Rossbach, François Rossier, John D. Roth, John K. Roth, Phillip Rothwell, Richard E. Rubenstein, Rosemary Radford Ruether, Markku Ruotsila, John E. Rybolt, Risto Saarinen, John Saillant, Juan Sanchez, Wagner Lopes Sanchez, Hugo N. Santos, Gerhard Sauter, Gloria L. Schaab, Sandra M. Schneiders, Quentin J. Schultze, Fernando F. Segovia, Turid Karlsen Seim, Carsten Selch Jensen, Alan P. F. Sell, Frank C. Senn, Kent Davis Sensenig, Damían Setton, Bal Krishna Sharma, Carolyn J. Sharp, Thomas Sheehan, N. Gerald Shenk, Christian Sheppard, Charles Sherlock, Tabona Shoko, Walter B. Shurden, Marguerite Shuster, B. Mark Sietsema, Batara Sihombing, Neil Silberman, Clodomiro Siller, Samuel Silva-Gotay, Heikki Silvet, John K. Simmons, Hagith Sivan, James C. Skedros, Abraham Smith, Ashley A. Smith, Ted A. Smith, Daud Soesilo, Pia Søltoft, Choan-Seng (C. S.) Song, Kathryn Spink, Bryan Spinks, Eric O. Springsted, Nicolas Standaert, Brian Stanley, Glen H. Stassen, Karel Steenbrink, Stephen J. Stein, Andrea Sterk, Gregory E. Sterling, Columba Stewart, Jacques Stewart, Robert B. Stewart, Cynthia Stokes Brown, Ken Stone, Anne Stott, Elizabeth Stuart, Monya Stubbs, Marjorie Hewitt Suchocki, David Kwang-sun Suh, Scott W. Sunquist, Keith Suter, Douglas Sweeney, Charles H. Talbert, Shawqi N. Talia, Elsa Tamez, Joseph B. Tamney, Jonathan Y. Tan, Yak-Hwee Tan, Kathryn Tanner, Feiya Tao, Elizabeth S. Tapia, Aquiline Tarimo, Claire Taylor, Mark Lewis Taylor, Bishop Abba Samuel Wolde Tekestebirhan, Eugene TeSelle, M. Thomas Thangaraj, David R. Thomas, Andrew Thornley, Scott Thumma, Marcelo Timotheo da Costa, George E. “Tink” Tinker, Ola Tjørhom, Karen Jo Torjesen, Iain R. Torrance, Fernando Torres-Londoño, Archbishop Demetrios [Trakatellis], Marit Trelstad, Christine Trevett, Phyllis Trible, Johannes Tromp, Paul Turner, Robert G. Tuttle, Archbishop Desmond Tutu, Peter Tyler, Anders Tyrberg, Justin Ukpong, Javier Ulloa, Camillus Umoh, Kristi Upson-Saia, Martina Urban, Monica Uribe, Elochukwu Eugene Uzukwu, Richard Vaggione, Gabriel Vahanian, Paul Valliere, T. J. Van Bavel, Steven Vanderputten, Peter Van der Veer, Huub Van de Sandt, Louis Van Tongeren, Luke A. Veronis, Noel Villalba, Ramón Vinke, Tim Vivian, David Voas, Elena Volkova, Katharina von Kellenbach, Elina Vuola, Timothy Wadkins, Elaine M. Wainwright, Randi Jones Walker, Dewey D. Wallace, Jerry Walls, Michael J. Walsh, Philip Walters, Janet Walton, Jonathan L. Walton, Wang Xiaochao, Patricia A. Ward, David Harrington Watt, Herold D. Weiss, Laurence L. Welborn, Sharon D. Welch, Timothy Wengert, Traci C. West, Merold Westphal, David Wetherell, Barbara Wheeler, Carolinne White, Jean-Paul Wiest, Frans Wijsen, Terry L. Wilder, Felix Wilfred, Rebecca Wilkin, Daniel H. Williams, D. Newell Williams, Michael A. Williams, Vincent L. Wimbush, Gabriele Winkler, Anders Winroth, Lauri Emílio Wirth, James A. Wiseman, Ebba Witt-Brattström, Teofil Wojciechowski, John Wolffe, Kenman L. Wong, Wong Wai Ching, Linda Woodhead, Wendy M. Wright, Rose Wu, Keith E. Yandell, Gale A. Yee, Viktor Yelensky, Yeo Khiok-Khng, Gustav K. K. Yeung, Angela Yiu, Amos Yong, Yong Ting Jin, You Bin, Youhanna Nessim Youssef, Eliana Yunes, Robert Michael Zaller, Valarie H. Ziegler, Barbara Brown Zikmund, Joyce Ann Zimmerman, Aurora Zlotnik, Zhuo Xinping
- Edited by Daniel Patte, Vanderbilt University, Tennessee
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- The Cambridge Dictionary of Christianity
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- 05 August 2012
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- 20 September 2010, pp xi-xliv
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Factors That Influenced Rates of Influenza Vaccination Among Employees of Wisconsin Acute Care Hospitals and Nursing Homes During the 2005-2006 Influenza Season
- Gwen Borlaug, Alexandra Newman, John Pfister, Jeffrey P. Davis
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- Journal:
- Infection Control & Hospital Epidemiology / Volume 28 / Issue 12 / December 2007
- Published online by Cambridge University Press:
- 02 January 2015, pp. 1398-1400
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- December 2007
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Hospitals and nursing homes were surveyed in 2006 to obtain information on employee influenza vaccination programs and baseline rates of influenza vaccination among employees. Results were used to make recommendations for improving employees' 2007 influenza vaccination rates. Facilities should continue to provide convenient and free vaccination programs, offer education to promote vaccination, and use signed declination forms.
7 - Structures of time and space
- Manfred Pfister
- Translated by John Halliday
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- The Theory and Analysis of Drama
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- 01 June 2011
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- 30 September 1988, pp 246-294
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Summary
The reality and fictionality of time and space in drama
Together with the figure and its verbal and/or non-verbal behaviour the concepts of time and space represent the basic concrete categories within the dramatic text. It is this that distinguishes the latter from narrative texts, in which the only concrete aspects are narrative discourse and figural speech, whereas space, and the non-verbal behaviour of a figure are presented in a verbally encoded and abstract form only. As far as the category of time is concerned, however, this contrast has to be qualified in some way: in both narrative and dramatic texts the presentation of time is specific and concrete – in the former as narrated time and in the latter as the actual playing time. However, only in drama can presented time always be clearly defined; in narrative texts it can only appear as a clearly defined category in the context of ‘scenic narration’. These differences are a direct consequence of the multimediality of dramatic texts, in contrast to the purely verbal form of presentation employed in narrative texts (see above, 1.3.).
The superimposition of an external communication system over an internal system also occurs within the structures of time and space.
2 - Drama and the theatre
- Manfred Pfister
- Translated by John Halliday
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- The Theory and Analysis of Drama
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- 01 June 2011
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- 30 September 1988, pp 13-39
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Summary
Literary text and stage-enactment
Literary versus theatrical reception
The literary historian is not always quite as sharply aware of the importance of non-verbal codes for the dramatic text as the dramatist. Poring over his printed texts, the former tends to neglect the multimedial aspect of theatrical performance, whereas the latter regards this as a crucial component of the literary text. For, in the words of Max Frisch:
Whoever appears on the stage and does not make proper use of the stage will find it working against him. Making use of the stage means: not being just on it, but with it.
Like Frisch, Ionesco is another to emphasise the unity of the multimedial dramatic text, maintaining that to strip it down to the bare minimum would be an inexcusable aberration and abbreviation:
… mon texte n'est pas seulement un dialogue mais il est aussi ‘indications scéniques’. Ces indications scéniques sont à respecter aussi bien que le texte, elles sont nécessaires.
Statements such as these seem particularly important at a time when, for various socio-cultural reasons, plays – at least the non-trivial ones – are more often read than seen in the theatre. They apply particularly to the institutionalised study of dramatic texts at schools and universities, where they are frequently stripped of their theatrical qualities. Dr Johnson's neoclassical dictum: ‘A play read affects the mind like a play acted’, can only be true of the reader who is able to bring the numerous explicit and implicit signs and signals inherent in the literary text to life in his imagination.
5 - Dramatis personae and dramatic figure
- Manfred Pfister
- Translated by John Halliday
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- The Theory and Analysis of Drama
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- 01 June 2011
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- 30 September 1988, pp 160-195
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Summary
The interdependence of plot and figure
Traditionally, the relationship between figure and plot in drama has been examined above all with the question in mind as to which has precedence, plot or figure. Without wishing to examine the historical development of this question in any detail, we should nonetheless like to point out that the tradition of theoretical works that insist that plot takes precedence over figure stretches from Aristotle's Poetics (ch. 6) via Gottsched's Versuch einer kritischen Dichtkunst (II,ix and x) through to Brecht's Short Organon on the Theatre, whereas the opposite position, which Lessing, in Part 51 of his Hamburg Dramaturgy, claimed could only apply to comedy, was not defended with any conviction until the appearance of the Sturm und Drang movement, epitomised by Jackob Michael Reinhold Lenz's Anmerkungen übers Theater and Goethe's address in honour of Shäkespears Tag, and then later on in the dramaturgical writings of naturalism.
However, in our own analysis we are not so much concerned with the question as to which category takes precedence over the other – whether from the point of view of production or reception – since this question is a historical variable. Our concern are the problems associated with the constant structural interdependence of the two categories.
Notes
- Manfred Pfister
- Translated by John Halliday
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- The Theory and Analysis of Drama
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- 01 June 2011
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- 30 September 1988, pp 296-314
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Bibliography
- Manfred Pfister
- Translated by John Halliday
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- The Theory and Analysis of Drama
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- 01 June 2011
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- 30 September 1988, pp 315-336
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Concluding note
- Manfred Pfister
- Translated by John Halliday
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- The Theory and Analysis of Drama
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- 01 June 2011
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- 30 September 1988, pp 295-295
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Summary
We have reached the end of our survey, having covered in a systematically coherent fashion the main structural aspects of dramatic texts and theatrical communication. The scope of our study has been vast indeed, as we have tried to do justice to both the dramatic and the theatrical dimensions of plays and to illustrate the range of structural possibilities through examples taken from the main periods of Western drama. Thus, if not a history of drama and the theatre in itself, the study provides the structural tools for the writing of such a history, or rather, such histories. Within the grid of its systematic categorisations history has inscribed itself, and even if the often drastic juxtapositions of Latin comedy and the Theatre of the Absurd, of Shakespeare and French classical tragedy, may occasionally have created the impression of a violently a-historical, if not anti-historical, slant to this book, its dedication to the study of individual texts in their historical specificity and of drama and theatre history in general should by now have become clear. System and history, systematic categorisation and historical interpretation, are not mutually exclusive, but presuppose and depend upon each other.
A note on the English edition
- Manfred Pfister
- Translated by John Halliday
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- The Theory and Analysis of Drama
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- 01 June 2011
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- 30 September 1988, pp xix-xx
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Summary
This book was first published in Germany more than a decade ago. At that time, in 1977, it was a pioneering work in its attempt to bridge the gap between drama and theatre studies and to devise a model for a coordinated analysis of the various levels of verbal and non-verbal communication in a dramatic text performed on stage. It soon became a standard work on the subject in university courses all over Germany, where its impact has been felt in almost all relevant studies published since then. Its continued success in German-speaking countries – the English translation coincides with the fifth edition of the German original – and the positive response from many colleagues and students encouraged me to prepare this version for a wider readership abroad.
This new readership has prompted several changes. Many passages which draw upon rather remote samples of German drama have had to be discarded or, more often than not, to be replaced by more accessible English examples, and many references to less important or by now out-dated German academic studies have had to be omitted.
3 - Sending and receiving information
- Manfred Pfister
- Translated by John Halliday
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- The Theory and Analysis of Drama
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- 01 June 2011
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- 30 September 1988, pp 40-102
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Summary
Information in the internal and external communication systems
One of the difficulties involved in analysing the ways information is transmitted in dramatic texts results from the embedding of the internal communication system in the external system that we referred to in chapter one. Generally speaking, the informational value of a single verbal or non-verbal signal changes according to whether it is evaluated within the framework of the internal or the external communication system. An example of this would be a particular interior décor presented on stage. Normally, this is of little informational value to the figures acting within it, since it is merely a part of their familiar and automatically perceived environment. For the audience, however, it is often the bearer of important information that reveals something of the characteristics of the fictional protagonists inhabiting it (see below, 5.4.2.3.). Similarly, in the sphere of verbal communication there are speeches that have scarcely any novelty value for the fictional listener on stage, but which serve to clarify certain relationships for the audience. Speeches of this kind are particularly common in the exposition sections, during which the audience has to be informed of the events leading up to the play, although these are already familiar to the fictional characters on stage.
Frontmatter
- Manfred Pfister
- Translated by John Halliday
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- The Theory and Analysis of Drama
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- 01 June 2011
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- 30 September 1988, pp i-vi
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The Theory and Analysis of Drama
- Manfred Pfister
- Translated by John Halliday
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- Published online:
- 01 June 2011
- Print publication:
- 30 September 1988
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Manfred Pfister's book is the first to provide a coherent and comprehensive framework for the analysis of plays in all their dramatic and theatrical dimensions. The materical on which his analysis is based covers all genres and periods of drama, from Greek tragedy and comedy to the contemporary theatre, with the plays of Shakespeare providing a special focus. His approach is not historical but systematic, combining more abstract categorisations with detailed and concrete interpretations of specific sample texts. An extensive international bibliography of relevant theatre and drama studies further enhances the practical value of the book.
Index of authors
- Manfred Pfister
- Translated by John Halliday
-
- Book:
- The Theory and Analysis of Drama
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- 30 September 1988, pp 337-339
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Translator's note
- Manfred Pfister
- Translated by John Halliday
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- The Theory and Analysis of Drama
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- 01 June 2011
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- 30 September 1988, pp xviii-xviii
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6 - Story and plot
- Manfred Pfister
- Translated by John Halliday
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- The Theory and Analysis of Drama
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- 01 June 2011
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- 30 September 1988, pp 196-245
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Summary
Story, plot and situation
Story
Story as the basis of dramatic and narrative texts
Ever since Aristotle's Poetics (chs. 6 and 14) – that is, from the very beginnings of dramatic theory – critics have agreed unanimously that the macrostructure of every dramatic text is founded on a story, though of course the concept of what actually constitutes a story has given rise to a whole range of different interpretations varying considerably in precision and breadth. At this point we should like to define ‘story’ formally as something that requires the three following ingredients: one or more human or anthropomorphic subjects, a temporal dimension indicating the passing of time and a spatial dimension giving a sense of space. Interpreted this way, story provides the foundation underlying not only every dramatic text, but also every narrative. On the basis of this criterion alone, then, it is not possible to distinguish between these two types of text, though it does set them apart from both argumentative texts, whose macrostructure is based on a logically or psychologically coherent flow of argument (essay, treatise, sermon, ‘reflective poetry’ etc.) and from descriptive texts that describe concrete and static objects or states of affair (topography, blazon, character description etc.).
1 - Drama and the dramatic
- Manfred Pfister
- Translated by John Halliday
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- The Theory and Analysis of Drama
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- 01 June 2011
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- 30 September 1988, pp 1-12
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Summary
A critical summary of existing theories
The continuing influence of normative and deductive theories of drama
Our efforts to put forward a descriptive and communicative poetics for a historically and typologically extremely diverse corpus of dramatic texts have not been greatly assisted by previous theoretical discussions of the dramatic genre, which all tend to elevate a historically specific form to an absolute norm, thereby narrowing the concept of ‘drama’ in a most decisive way. This was already true of Aristotle's theory of drama. Although he derived his theoretical categories epagogically from the text corpus of Greek tragedies and although it was not his intention to establish a norm, his description of drama as the ‘imitation of an action’ in speech, involving closed structures of time and space and a particular set of characters, not to mention his concepts of catharsis and hamartia, have, since the Renaissance at least, been considered as the norm for dramatic texts. The same is true of the dramatic theories of the nineteenth and early twentieth centuries, which, based on the classical tragedy, European Renaissance drama and the plays of German and French classicism, identified conflict as the essence of the dramatic (G. W. F. Hegel, F. Brunetière, W. Archer et alii). Others used Hegel's subject–object dialectic as a point of departure to define drama as a synthesis of epic objectivity and lyric subjectivity (G. W. F. Hegel, F. W. Schelling, F. Th. Vischer et alii) and allocated to it the temporal dimension of future (Jean Paul, F. Th. Vischer, G. Freytag et alii) or the distinctive quality of suspense (E. Staiger).
Contents
- Manfred Pfister
- Translated by John Halliday
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- The Theory and Analysis of Drama
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- 30 September 1988, pp vii-xiv
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Preface
- Manfred Pfister
- Translated by John Halliday
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- The Theory and Analysis of Drama
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- 30 September 1988, pp xv-xvii
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Summary
In one sense, the quotation from Hugo von Hofmannsthal's Unterhaltung über den ‘Tasso’ von Goethe that I have chosen as a motto for the beginning of this book can be interpreted as a critical attack on it. For cannot the objection raised by the ‘poet’ in the Unterhaltung, that any attempts to talk about drama in general terms are bound to fail miserably in the face of specific plays by dramatists such as Goethe or Shakespeare, also be levelled against this book, whose title states quite categorically that it is supposed to be a general theory of drama? In its defence, though, it is fair to say that Hofmannsthal was directing his ire not at those who like to discuss drama in more general terms but at those who make unashamedly sweeping statements as to what drama should be. In this sense, then, I do not feel that this objection can apply to the present study because, although my intention has been to establish a systematic general theory, I have tried to avoid falling into the trap of making normative and prescriptive value judgements. Furthermore, my interest has not been in drawing up a comprehensive definition of drama as a whole but in putting together a detailed and sophisticated description of its structures and textualisation processes.
4 - Verbal communication
- Manfred Pfister
- Translated by John Halliday
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- The Theory and Analysis of Drama
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- 30 September 1988, pp 103-159
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Summary
Dramatic language and ordinary language
The overlapping of two levels
What dramatic speech shares with ordinary speech in an everyday dialogue is the fact that it is intimately bound up with the immediate context or situation that the participants in the dialogue find themselves in. This sets both of them apart from the varying degrees of situational abstraction that is characteristic of narrative or expository speech. Dramatic speech is nonetheless ‘semantically much more complex’ than speech in an ordinary conversation because inherent in the former there is
… yet another factor: the audience. This means that to all the direct participants of the dialogue is added another participant, silent but important, for everything which is said in a dramatic dialogue is oriented towards him, toward affecting his consciousness.
However, the semantic complexity of dramatic speech is not the result of its orientation towards the receiver alone, but also of its orientation towards the sender. This again results from the overlapping of the internal and external communication systems: a dramatic speech does not only have two addressees; it also has two expressive subjects. One is the fictional expressive subject manifested in the dramatic figure, and the other is the real expressive subject, namely the author.