Zeitschriftenartikel zum Thema „English drama – 20th century“
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Rose McGovern, Kathleen. „Conceptualizing Drama in the Second Language Classroom“. Scenario: A Journal of Performative Teaching, Learning, Research XI, Nr. 1 (01.01.2017): 4–16. http://dx.doi.org/10.33178/scenario.11.1.3.
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Abstract: This paper reviews key literature published in English on drama and second language (L2) pedagogy. The author explores (a) the integral role drama has played in 20th and 21st century L2 teaching methodologies; (b) commonly cited approaches to integrating drama and L2 instruction; (c) uses of drama as a means of exploring culture and power relations within society, and; (d) major definitions and categorizations developed in the existing body of literature. To conclude, the argument is made that researchers must clearly explain and define their approaches to drama in L2 instruction and ground these approaches in relevant theories of second language learning.
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Fedorova, Elizaveta Tsirina, Jose Saiz Molina und Julia Haba Osca. „Jan Kott is Dead, Long Live to the ˂“Hybrid”˃ Critic“. Multicultural Shakespeare: Translation, Appropriation and Performance 24, Nr. 39 (15.03.2022): 169–90. http://dx.doi.org/10.18778/2083-8530.24.11.
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This article is a little tribute that a drama teacher, an editor and translator and a lecturer in English Literature would like to contribute to this Special Issue in Honour of Professor Dr Jan Kott, the most influential non-English speaking Shakespearean Critic in the second half of the 20th Century and early 21st Century. In the initial part of the essay we will overview Kott’s influence in the development of current Shakespearean tradition(s) in Spain from the early 1970s to the present day. In fact, his writings and critical views on William Shakespeare’s Works have been a decisive point in the development of new approaches to this playwright in some University Departments and Drama Schools in this country. The whole discussion will take the notion of hybrid and hybridization as the point of departure and we will draw some conclusions for discussing new critical thinking in Art (Science,) and Humanities.
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Brannigan, John, Marcela Santos Brigida, Thayane Verçosa und Gabriela Ribeiro Nunes. „Thinking in Archipelagic Terms: An Interview with John Brannigan“. Palimpsesto - Revista do Programa de Pós-Graduação em Letras da UERJ 20, Nr. 35 (13.05.2021): 3–28. http://dx.doi.org/10.12957/palimpsesto.2021.59645.
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John Brannigan is Professor at the School of English, Drama and Film at University College Dublin. He has research interests in the twentieth-century literatures of Ireland, England, Scotland, and Wales, with a particular focus on the relationships between literature and social and cultural identities. His first book, New Historicism and Cultural Materialism (1998), was a study of the leading historicist methodologies in late twentieth-century literary criticism. He has since published two books on the postwar history of English literature (2002, 2003), leading book-length studies of working-class authors Brendan Behan (2002) and Pat Barker (2005), and the first book to investigate twentieth-century Irish literature and culture using critical race theories, Race in Modern Irish Literature and Culture (2009). His most recent book, Archipelagic Modernism: Literature in the Irish and British Isles, 1890-1970 (2014), explores new ways of understanding the relationship between literature, place and environment in 20th-century Irish and British writing. He was editor of the international peer-reviewed journal, Irish University Review, from 2010 to 2016.
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Aziz, Fakhrul Anuar, Husniza Husni, Muhamad Mat Yakim und Jasni Ahmad. „CONTENT ANALYSIS OF OLD PICTURES TO ELICITE INFORMATION ABOUT THE FASHION OF THE PAST IN THE CONTEXT OF THE KEDAH STATE“. Journal of Information System and Technology Management 8, Nr. 33 (31.12.2023): 361–68. http://dx.doi.org/10.35631/jistm.833025.
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Old photos can provide the desired information such as clothing fashion in the past. Historical photographs are important documents for obtaining information about the past. This kind of information is very important in the making of a film or drama that requires historical accuracy from a clothing point of view. This study uses images from the photographic process as a research method. Some old photographs from the collection of photo archiver have been used as research material. As a result, some important information related to fashion at the end of the 19th century and the beginning of the 20th century for the state of Kedah can be identified. For example, based on the pictures examined, we can see the influence of English, Arabic, and Indian clothing.
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Holderness, Graham. „Hamlet and the 47 Ronin“. Critical Survey 33, Nr. 1 (01.03.2021): 48–58. http://dx.doi.org/10.3167/cs.2021.330104.
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The importation of Shakespeare into Japan in the late 19th century and early 20th centuries, following the opening of Japan to the outside world effected by the Meiji empire, generated a culture clash between the antiquity of the plays themselves, and the identification of Shakespeare with modern English drama. Harue Tsutsumi’s play Kanadehon Hamlet explores this conflict, dramatizing the difficulties encountered by a troupe of Japanese actors attempting to perform Hamlet, when their deeper loyalty is to the traditional Japanese revenge play Kanadehon Chushingura. Homing in on a crucial moment in the development of Japanese theatre and Japanese culture, Tsutsumi uses these cultural clashes to map out the possibilities of common ground, the emergence within Japan first of an informed and educated understanding of western drama, and subsequently the development of specifically Japanese appropriations of Shakespeare in which the two cultures can achieve a complex but dynamic engagement.
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Kladaki, Maria, und Kostantinos Mastrothanasis. „Shakespeare’s Plays at the Royal Theatre in Athens in the Early 20th Century“. European Journal of Language and Culture Studies 1, Nr. 6 (19.12.2022): 52–58. http://dx.doi.org/10.24018/ejlang.2022.1.6.53.
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In the early 20th century, the idea of creating a state theatre in Greece matured, that was responsible for establishing the foundation of a national dramatic tradition, as well as of the art of histrionics which until that time was characterized by amateurism. The Royal Theatre opened its doors to the public in 1900 and was based on the model of German Court theatres. In other words, theatre was considered a superior form of art that had to be kept away from the lower social classes. The absence of a powerful urban class and the lack of cohesion between the urban class and the lower classes favored the role of the Court, which was influenced by Drama when it comes on shaping its public guise and consolidate its dominance, by ensuring that a specific theatre style, aesthetics and ideology were preserved. Shakespeare’s performances in Greece were based on uncritical copying of practices applied in Europe in the light of the country’s agonizing struggle to build a new national and urban class identity. The audience of the Royal Theatre was seeking its own identity within that phantasmagorical ambience; that is for points of convergence with the western model, so as to receive social recognition and feel self-justified, as participation in such events were classified as “cultured persons”. The theatrical environment itself and the utilization of works of the English poet's works played a role in solidifying the idea in Greece that Shakespeare’s plays are the exclusive privilege of the urban class.
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Fatima, Sadaf. „Finding the Voice of Indian Urbanity – Through the Selected Texts of Girish Karnad and Mahesh Dattani“. International Journal of English Literature and Social Sciences 8, Nr. 4 (2023): 132–38. http://dx.doi.org/10.22161/ijels.84.23.
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In the present paper, I have endeavored to review the development of Indian English theatre since 20th century to emphasize the common themes and dilemmas that the Indian playwrights writing in English had to deal with special reference to the process of assimilation of Indian themes with the Western genre. The focus is upon analyzing the text from a post-colonial perspective. The aim is to show the manifestation of hybrid cultures in the urban areas as have been successfully represented by the Indian dramas by Girish Karnad and Mahesh Dattani.
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O.V., Marina. „ПІДХОДИ ДО ВИВЧЕННЯ АНГЛІЙСЬКОЇ РЕСТАВРАЦІЇ“. Scientific Bulletin of Kherson State University. Series Germanic Studies and Intercultural Communication, Nr. 1 (02.08.2021): 78–86. http://dx.doi.org/10.32999/ksu2663-3426/2021-1-12.
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This study applied cognitive-pragmatic, literary criticism and theory of theatre approaches to summarize findings on the dramatic discourse of English Restoration. In this article, I set out the main points of Stuart Restoration ideology, sum-marize findings on the predominant concepts of that time, substantiate that the institution of theatre became a leading ide-ological instrument during the English Restoration, and single out its two main functions: entertainment and dissemination of absolutist ideology. In this paper, the subject matter and dramatis personae of Restoration drama have been character-ized. The paper focuses on generalizing the research results of comparative studies of Restoration and Elizabethan drama which concern their scope, genres, and morality. The conclusions reached in the studies that reported on borrowings in repertoire from native, French and Spanish sources at the beginning of Restoration and the influence of English and con-tinental writers have been synthesized. Further investigation of English Restoration drama revealed an unprecedented genre variety and combination which demonstrated signs of development in different directions during the 1660s. In this article, I state that the existing studies have reported on active behaviour of Restoration audiences during the perfor-mances, describe usual patterns of their behavior, and make conclusions as to the direct influence of such behavior on the processes of drama production and perception. The existing research has demonstrated weak points in some key areas, such as Restoration audiences’ composition. Despite the fact that scholars point to various sources of information as to the theatre-goers’ personalities in the seventeenth century, there is still no consensus of opinions on this issue. Although Restoration drama research demonstrably improved over the 20th and 21st centuries, further research on Elizabethan and Restoration drama cognitive construals of the world, comparative analysis of original plays and adaptations, literary genres origin and development, interactional patterns of viewers and characters of Restoration drama is recommended.Key words: English Restoration theatre, dramatic discourse, play, ideology. У статті наведено узагальнення результатів наукових досліджень, присвячених дискурсу часів англійської Реставрації, з позицій когнітивно-прагматичного, літературного й театрального підходів. У дослідженні окреслено основні положення ідеології Реставрації Стюартів, узагальнено знахідки наукових досліджень, присвячених вивченню основних концептів того часу, обґрунтовано, що інститут театру став провідним ідеологічним інструментом за часів англійської Реставрації, та виділено дві основні його функції: розваги й розповсюдження ідеології абсолютизму. У роботі описано тематику й схарактеризовано персонажів драматичних творів часів англійської Реставрації. Наукова розвідка фокусується на узагальненні результатів наукових досліджень, присвячених порівнянню масштабів охоплення тематики, жанрів і моралі драматичних творів часів англійської Реставрації та драматургії часів королеви Єлизавети Тюдор. У дослідженні також синтезуються знахідки наукових розвідок, присвячених запозиченням у репертуарі з англійських, французьких та іспанських джерел на початку епохи англійської Реставрації, а також впливу власне англійських та європейських авторів. Подальше вивчення драматургії часів англійської Реставрації демонструє безпрецедентне розмаїття та поєднання жанрів, що демонструють ознаки розвитку в різних напрямах у 1660 роки. У статті стверджується, що наукові дослідження повідомляють про активну поведінку глядачів на виставах часів англійської Реставрації та робиться висновок про те, що така поведінка безпосередньо вплинула на процеси створення та сприйняття драматичних творів. Наявні дослідження демонструють прогалини в основних сферах, таких як контингент глядацької аудиторії вистав часів англійської Реставрації. Не зважаючи на той факт, що вчені вказують на різні джерела інформації щодо складу театральної глядацької аудиторії в сімнадцятому столітті, досі не існує єдності поглядів на це питання. Хоча дослідження драматургії часів англійської Реставрації значно покращилися у XX і XXI століттях, рекомендовано вивчення концептуальної картини світу в драматичних творах часів англійської Реставрації та королеви Єлизавети, порівняльний аналіз оригінальних п’єс та адаптацій, виникнення та розвитку літературних жанрів, моделі взаємодії глядачів і персонажів у п’єсах часів англійської Реставрації.Ключові слова: театр часів англійської Реставрації, драматичний дискурс, п’єса, ідеологія.
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Srika, M. „A Critical Analysis on “Revolution 2020” - An Amalgam of Socio- Political Commercialization World Combined with Love Triangle“. SMART MOVES JOURNAL IJELLH 7, Nr. 10 (31.10.2019): 6. http://dx.doi.org/10.24113/ijellh.v7i10.10255.
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Literature is considered to be an art form or writing that have Artistic or Intellectual value. Literature is a group of works produced by oral and written form. Literature shows the style of Human Expression. The word literature was derived from the Latin root word ‘Litertura / Litteratura’ which means “Letter or Handwriting”. Literature is culturally relative defined. Literature can be grouped through their Languages, Historical Period, Origin, Genre and Subject. The kinds of literature are Poems, Novels, Drama, Short Story and Prose. Fiction and Non-Fiction are their major classification. Some types of literature are Greek literature, Latin literature, German literature, African literature, Spanish literature, French literature, Indian literature, Irish literature and surplus. In this vast division, the researcher has picked out Indian English Literature. Indian literature is the literature used in Indian Subcontinent. The earliest Indian literary works were transmitted orally. The Sanskrit oral literature begins with the gatherings of sacred hymns called ‘Rig Veda’ in the period between 1500 - 1200 B.C. The classical Sanskrit literature was developed slowly in the earlier centuries of the first millennium. Kannada appeared in 9th century and Telugu in 11th century. Then, Marathi, Odiya and Bengali literatures appeared later. In the early 20th century, Hindi, Persian and Urdu literature begins to appear.
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Shaheen Qamar und Dr. (Smt.) Aruna Sharma. „Reassertions of Class Consciousness and Tragic Vision in John Galsworthy’s Strife“. Creative Launcher 7, Nr. 6 (30.12.2022): 125–33. http://dx.doi.org/10.53032/tcl.2022.7.6.13.
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John Galsworthy, a contemporary playwright of G. B. Shaw, established realism in drama in the early 20th century England. Through his plays, he exposed the socio-economic, socio-political, socio-cultural, and socio-legal problems in a realistic, sincere and impartial way, providing implied solutions to those problems as an objective observer of the contemporary English life. With objective impartiality, he exposed the wrong-headedness of some traditional beliefs and advocated social reform. The objective of the present paper is to expose the metaphors of tragic vision on account of class consciousness in John Galsworthy’s Strife followed by some implied solutions. The reasons of tragic vision are pride, lack of human insight, extreme and fanatical approach, rigidity, class consciousness, uncompromising stands, warring faction, obstinacy, and desire to win and dominate, etc. Through this play the playwright wishes to establish the notion that human beings should be ruled by logic and reason and his testimony lies in portraying the futility and stupidity of quarrelling over conceptual differences, which might have been settled by compromise or arbitration.
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Markova, Ekaterina A. „W.B. Yeats's play Where There is Nothing and its Tolstoyan dimension“. Vestnik Tomskogo gosudarstvennogo universiteta, Nr. 474 (2022): 73–87. http://dx.doi.org/10.17223/15617793/474/9.
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The article discusses the issue of the influence of Leo Tolstoy, his fiction and non-fiction, on William Butler Yeats's drama in the broader context of Tolstoy's reception in the late 19th - early 20th century in both Russia and the United Kingdom. Tolstoy's image as a writer in the correspondence and non-fiction of the Irish playwright is analysed. The author shows that Yeats's attitude towards the Russian writer, though initially favourable, was gradually becoming more and more irreverent and complex. Similar attitudes towards Tolstoy are detected in Russian writers of the period. Yeats criticises Tolstoy for his didactic tendencies. Nevertheless, Yeats acknowledges Tolstoy's genius and puts him on a par with greatest ancient and modern authors (Shakespeare, Goethe, English romantic poets, Balzac, Flaubert, Ibsen, etc.). Yeats's absolute favourite is his idea of non-resistance and non-violence, which is interpreted in Yeats's own way in his play Where There is Nothing. Yeats's reading of this concept is set in the context of the early 20th century discussion around Tolstoyism, since at the time Tolstoy was mostly perceived as a thinker in Britain. Yeats's position in this discussion is thoroughly analysed. It is most probable that Yeats read one of very short pamphlets compiled by English editors of Tolstoy. The author argues that Tolstoy's ideas and images in Yeats's play were immediately grasped and attacked by its critics. A comparative analysis of the play and Tolstoy's manifesto “What I Believe” reveals that in the play the Russian author's teaching interacts with Nietzschean philosophy and Yeats's own symbolism, as well as various occult practices he was deeply interested in. This amalgam is concentrated in the paradoxical image of a prophet, visionary, destroyer of the old world order (in fact, any order - secular and ecclesiastical) and at the same time a preacher of non-violence, Paul Ruttledge. As it has been argued in previous studies, the episode of a mock trial echoes Tolstoy's interpretation of the Sermon on the Mount. The in-depth analysis shows that not only this episode is related to Tolstoy but the whole play is somewhat reminiscent of his vision of Christian life (rejection of people's law as opposed to God's law, and of urban living; criticism of civilization; necessity for manual labour and simple life in harmony with nature; call for unity and equality of all people). Despite these similarities, there is still a lot of disagreement with Tolstoy in the play, mainly due to the Nietzschean influence (desire to destroy the old world, Dionysian motifs), who Yeats considered to be the exact opposite of Tolstoy. A similar juxtaposition of Tolstoy and Nietzsche is found in both English and Russian literature. A parallel is revealed between Paul and Tolstoy, who, according to Yeats, were mad prophets unable to change the world. This parallel is both mocking and tragic, and Paul is in line with other Yeats's images of jesters and madmen.
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POTNITSEVA, Tetiana. „THE SOUNDS OF SWEET FREEDOM: THE ECHOES OF INTERNATIONAL IN THE EUROPEAN LITERATURE AT THE END OF THE 19th THE BEGINNING OF THE 20th CENTURY“. Astraea 4, Nr. 1 (2023): 90–103. http://dx.doi.org/10.34142/astraea.2023.4.1.05.
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The investigation focuses on the conceptual lines of the Communists hymn “International” in the light of their estimation by European writers of the end of the XXth the beginning of the XXth century. The analysis of the explicit and implicit meaning of the hymn which many writers of the time thought over proves their ambiguous attitude towards revolutionary, radical way in achieving freedom and happiness. Being witnesses of the end of the heroic Revolutionary epoch, and carrying the decadence world view they expressed their great doubt both in the “bloody battles” for everlasting freedom (even by “ruining everything to the end”) and in the slow reforming of the social structure. That ambiguous and doubtful position is found in the works of E. Zola, A. France, B. Shaw and O. Wilde who sometimes in ironic, parody form expressed their position simultaneously believing and hesitating in the possibility for a mankind to achieve freedom and social justice. The investigation focuses on the first drama by O. Wilde “Vera, or the Nihilists” (1880) practically unknown to the readers and fans of O. Wilde’s art. This play is based on the story of the conspiracy of Russian nihilists against monarchic power. In that one can feel an obvious impact on the English writers of the ideas and art of Dostoevsky, Turgenev, revolutionary, anarchist movement in Russia as well as in Europe. But the phenomenon of anarchism excited O. Wilde mostly as a manifestation of the universal evil which finds shelter in anyone’s soul. However, the amorphous and unexpressed position concerning that world evil is, according to O. Wilde, no less dangerous than the revolutionary fanaticism with its sing-password “trough blood to freedom”. Nihilism in O. Wilde’s interpretation is presented as a generalized image of such a despotic power that is unnatural for human relations. His first play demonstrates clearly the very problem over which everyone was thinking about at Wilde’s time while witnessing the results of the revolutionary century approaching its end. This problem is being topical since the 1930s when the development of the international anarchist movement in Europe was given a new push.
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Korovin, Andrey. „The Roads Round Pisa by Karen Blixen — a play with a plot and a form“. Scandinavian Philology 20, Nr. 1 (2022): 98–110. http://dx.doi.org/10.21638/11701/spbu21.2022.107.
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The article focuses on specific structural features of tales written by Karen Blixen, now considered to be the main Danish writer of the 20th century. Her first book, Seven Gothic Tales, was published in English in 1934. The Roads Round Pisa and other tales from this book are not only full of symbols and metaphors, but also have complex structures at the level of composition and of plot. The narration in Blixen’s writings contains intense action; it is a dramatization of the text. The concept of “theatricality” constantly exists in many her tales and it is important for the interpretation of ideas in The Roads Round Pisa: but this concept generally determines a form of the text and its composition, which has some similarity to the composition of 5-acts drama. The motive of a play becomes the important structural component in this text; it is also connected to the plot and to images. Personages in this tale play different roles and change many masks. There are two types of heroes: heroes — actors on the stage and heroes — members of audience in the tale. The motive of a play creates also a particular subtext — required for understanding hidden matters, which a plot is built on. Theatricality of a text, on the one hand, brings more complicity, diversity; clarity of perception often is lost, because there is a certain coded meaning in the narration. On the other hand, it forces a reader to search for ways to comprehend the text. It looks like a reader is involved in a play, and only if he accepts rules of this play, he can understand hidden meaning of all circumstances. Karen Blixen uses the concept of theatricality to create absolutely original narratives inherent only in her poetic manner.
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Sivanandan, SRUTHI. „Traversing Boundaries: An Analysis of the Unremitting Psychic Unity in The Waste Land“. BL College Journal 5, Nr. 2 (Dezember 2023): 138–45. http://dx.doi.org/10.62106/blc2023v5i2e14.
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Known as ‘Pope of Russel Square’ in the history of English literature from the 20th century, T. S. Eliot’s, literary ingenuity augmented the modernist writings. ‘The Waste Land’ is one such eventuality that, retrospectively from the publication, permuted worldwide, giving boundless definitions and ceaseless critical appraisals. Contriving the idiom of modern poetry, his career as a part never went over the hill since it was chiselled out of the emotional and intellectual retaliation to a gest which was his life itself. The close-grained, fragmented study of his works, has seemingly been immense and comprehensive. Being portrayed as the literary arbiter, his personal life was lucid and full of drama. The oeuvre hence hollers the zeitgeist of his era. As a philosopher, his happy hunting ground was both religion and the emphasis on conforming to the basic moral values of life. His ethical involvement with life emanates from the underlying desolation and devastation regarding his personal life. When he assiduously carried his position in poetry, politics, and literature, he was tagged as heedless in his personal life. The childhood limitations sprouted out from the complications of inguinal hernia, later when he was at Harvard while studying Sanskrit and Indian philosophy, the commencement of WWI and the escape from Oxford after witnessing a society which was wartorn, a love affair with Emily Hale which closed out in two shakes of a lamb’s tail and the hasty entry into wedlock with Vivienne Haigh-Wood whose alleged adultery with Bertrand Russel and her ailment that followed took a toll on his burgeoning literary career. The shuffling was wilfully implemented, as alluded to by many critics. But for a feeler who, exasperated by the atrocities of war, could not necessarily keep the word restrained to the end and the overscrupulous side of Eliot could not have missed the slightest of the change either.
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Chrzanowska-Kluczewska, Elżbieta. „Transmedial Creation of Text Worlds. Pictorial Narration in Response to Verbal Texts“. Discourses on Culture 19, Nr. 1 (01.06.2023): 25–64. http://dx.doi.org/10.2478/doc-2023-0002.
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Abstract With the narrative and visual turn engaging research in several scholarly disciplines over the last decades, the author of this article intends to approach the issue of world-formation in such pictorial representations that have originated in response to verbal texts, mostly literary. The study assumes a semiotic vantage point, with text understood broadly as any meaningful sequence or network of signs. It draws also from Intermedial Studies, following in particular the idea of media transformation (transmediation) as proposed by Lars Elleström (2014), especially in application to “qualified” media such as artistic forms. An analysis will be carried on the set of images (mostly Western paintings and one instance of Oriental sculpture) produced by 19th and 20th-century artists, all induced by well-known verbal narratives that represent three categories: a) Greek mythology, b) religious and literary-religious texts (The New Testament, the Rāmāyana) and c) English-language literature (drama and poetry). As such, these visual renditions — a reversal of traditionally conceived ekphrasis in which verbal descriptions commented on visual artefacts — qualify as transmedial phenomena. The author’s main concern is to what extent storytelling static visual works, the instances of secondary narrativity (Stampoulidis, 2019), are capable of creating text worlds (partly) similar to storyworlds postulated for verbal narratives. Starting with her own taxonomy of picturing endowed with a narratorial potential (inspired by several typologies proposed for narrative images), the author will discuss the formation by pictorial means of two world-building units, namely: 1) scenes and 2) small worlds/sub-worlds, both of them only parts of full-blown text worlds. Temporality emerges as a foundational but not exclusive property of text worlds in the verbal and pictorial arts. This study is a continuation of the author’s previous research (Chrzanowska-Kluczewska, 2009, 2016, 2019) that points to an incremental growth of possible worlds into text worlds into discourse worlds in verbal and visual media.
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Zhong, Xuanxuan, und Qingxian Chen. „Interpreting the Symbolism of “Flowers” in Sons and Lovers by David Herbert Lawrence“. Scientific and Social Research 6, Nr. 5 (07.06.2024): 265–70. http://dx.doi.org/10.26689/ssr.v6i5.6864.
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David Herbert Lawrence is one of the major writers of 20th-century English literature. His representative works include Sons and Lovers, The Rainbow, and Women in Love, which cover different fields such as novels, poems, essays, and dramas. He is known for his depiction of human emotions, sexuality, and social issues. His novel Sons and Lovers uses symbolism skillfully and intensely, in which darkness, coal mine, sunset, the moon, flowers, and so on are imagery. The use of this imagery profoundly reveals the complex emotions and feelings of the characters, thus better interpreting the various psychological activities deep inside the characters as well as the complex relationships between the characters. This paper contains two parts. The first part discusses the functions of symbolism in this novel, including four aspects: enriching the meaning, revealing the characters in depth, intensifying the emotional experience, and focusing on the theme. The second part focuses on the three aspects of the symbolism represented by the “flowers”, namely, the “flower” as a symbol of family, the “flower” as a symbol of freedom, and the “flower” as a symbol of growth and change. Through these interpretations, this study hopes to interpret the main idea of the novel in a deeper way and to enable readers to have a better understanding of the characters, the plot, the relationship between the characters, and the use of symbolism in the novel.
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КАРСАНОВА, Е. В. „THE NOTIONS OF ONE’S OWN AND OTHERS’ IN A NATIONAL CONTEXT“. Kavkaz-forum, Nr. 9(16) (28.03.2022): 34–47. http://dx.doi.org/10.46698/vnc.2022.16.9.003.
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Большое значение при общении и построении отношений в любой сфере – академической, профессионально-трудовой, личной – имеют как личностные качества индивида, так и особенности мышления, поведения, различные установки и культурные приоритеты, обусловленные национально-этнической принадлежностью человека. Для каждой нации характерен определенный набор качеств, наиболее тесно ассоциирующихся с ней в представлении других народов и в ее собственном восприятии себя. Весьма интересной нацией в плане изучения различных аспектов национального менталитета являются англичане. В статье рассматриваются особенности восприятия англичанами первой четверти 20 века ‘себя’ и их отношение к ‘чужим’, то есть к представителям других национальностей, на основе диалогов и полилогов персонажей британского историко-драматического телесериала Downton Abbey (6 сезонов, 52 серии). В общей сложности проанализировано около 30 речевых отрывков, в которых фигурируют – чаще в разговоре, реже в качестве действующих лиц – представители следующих национальностей и упоминаются следующие страны: американцы / США, французы, Швейцария, Ирландия / ирландцы, Турция / турки, Россия / русские, евреи, Германия / немцы, итальянцы. К иностранцам отношение у англичан корректное, тактичное, но почти всегда, независимо от конкретной национальной принадлежности последних – снисходительное, с оттенком собственного превосходства. Для англичан характерно весьма почтительное, трепетное отношение ко всему, что олицетворяет их страну, связано с их историей, культурой, языком. Высокий уровень национального самосознания отмечается в работе как фактор, вытекающий из исторического прошлого страны, и необходимый для сохранения идентичности любой нации. Of great importance in communication and building relationships in any sphere – academic, vocational, or private – are both the individual’s personal qualities and the peculiarities of thinking and behaviour, as well as various attitudes and cultural priorities, stemming from the national and ethnic identity of a person. Each nation is characterized by a specific set of qualities that are most closely associated with them as perceived by other peoples and in their own self-perception. The English are a very interesting nation to explore various aspects of their national mentality. The article deals with the peculiarities of the English perception of 'themselves' in the first quarter of the 20th century and their attitude towards 'others', that is, to representatives of other nationalities. The research is based on the dialogues and polylogues of the characters of the British historical drama television series Downton Abbey (6 seasons, 52 episodes). In total, about 30 speech passages have been analyzed, in which representatives of the following nationalities appear – more frequently in conversation, less often as characters – and the following countries are mentioned: the Americans / the USA, the French, Switzerland, Ireland / the Irish, Turkey / the Turks, Russia / the Russians, the Jews, Germany / the Germans, the Italians. The British have a correct, tactful attitude towards foreigners, but most of the time, regardless of a particular nationality of the latters, it is condescending and superior. The English are characterized by a very respectful, reverent attitude towards everything that epitomizes their country and is connected with their history, culture, and language. A high level of national identity has been noted in the work as a factor arising from the historical past of the country, and the one required to preserve the identity of any nation.
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Coggins, Chris. „British Naturalists in Qing China: Science, Empire, and Cultural Encounter. By Fa-Ti Fan. [Cambridge, MA and London: Harvard University Press, 2004. ix +238 pp. £32.95. ISBN 0-674-01143-0.]“. China Quarterly 180 (Dezember 2004): 1115–17. http://dx.doi.org/10.1017/s0305741004350769.
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For those who have conducted research on the fauna and flora of China and who have been curious about the “Reeves” in Muntiacus reevesi (the Chinese muntjac) or the “Cunningham” in Cunninghamia lanceolata (the Chinese fir), this book is a great revelation. Many wild plants and animals from China bear scientific names honouring Western naturalists, and this book is the first historical analysis of how Westerners conducted natural history research in China from the mid-18th to the early 20th century. By focusing on British naturalists during a period of dramatic change in the relationship between China and the West, the author has developed a richly textured account of the encounter between vastly different systems of knowledge and representation of the natural world. As such, this work is sure to be of great interest for scholars of the social sciences, cultural studies and the social construction of nature.Drawing on a vast and diverse array of scientific journals, personal correspondence, memoirs and administrative records from the period, the author convincingly ties British natural history research to larger imperial demands for useful information on natural resources in a vast area that was scarcely known by outsiders before the Opium War (1839–1842). The connection between commerce and natural history is exemplified by the English East India Company's interest in botanical, biogeographic and horticultural information on tea trees. Of greater significance still, according to the author, was the way in which knowledge of the natural world was produced through an elaborate network of relationships between British naturalists and Chinese people of all walks of life. The latter included not only the bureaucrats who monitored the already highly circumscribed lives of British expatriates in Canton [Guangzhou] at the beginning of the 19th century, but also collectors, who often made long trips into the interior in search of specimens, and painters, who had to learn an entirely new repertoire in order to provide scientific drawings to British patrons from the factories of Guangzhou to Kew Gardens. Indeed, one of the primary goals of the book is to “explain the formation of scientific practice and knowledge in cultural borderlands during a critical period of Sino-Western relations.” The author sets himself a difficult task: to reconstruct the economic and cultural lineaments of “scientific imperialism” without ignoring “the indigenous people, their motivations, and their actions.” Not only does the book succeed in this effort, it avoids facile demonization of the main Western actors in this drama. Instead, we see a compelling set of portraits of British men of widely differing backgrounds and interests who often made great sacrifices in their quests for scientific knowledge. Generally, these men were keenly aware of the degree to which they relied on local Chinese experts and indigenous knowledge for the success of their own endeavours.
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Kalnačs, Benedikts. „20th-century Baltic Drama: Comparative Paradigms“. Interlitteraria 19, Nr. 1 (01.07.2014): 33. http://dx.doi.org/10.12697/il.2014.19.1.3.
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Sediuk, I. O. „The originality of neoclassic principles reflection in the Sonata for two pianos by Paul Hindemith“. Problems of Interaction Between Arts, Pedagogy and the Theory and Practice of Education 56, Nr. 56 (10.07.2020): 154–68. http://dx.doi.org/10.34064/khnum1-56.10.
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Background. The neoclassicism of the first decades of the 20th century turned to be a kind of opposition to atonalism, which captured many radical composers. The supposed “bilingualism” of neoclassicism opened wide perspectives for individual concepts realization, broadening the boundaries of new knowledge of the Baroque and early classicism. Instrumental sonata, including the Sonata for Two Pianos naturally entered the neoclassical trend mainstream in a number of others, non-symphonic classical and romantic genres, compensating for the rejection of effective dramaturgy by enhancing the contrast between the cycle’s parts, thus tending to Baroque cyclic compositions. For Paul Hindemith, whose name is always associated with this art movement, “communication” with musical past was not an instant hobby but something that determined the focus of his creative thought. Objectives. The article’s purpose is to reveal the peculiarity of neoclassic principles embodiment in the Sonata for Two Pianos by P. Hindemith, to consider its composition, semantic and structural units. Methods. The study’s methodology is based on historicism principle, which involves the study of artistic phenomena being connected with the established musical art experience, and a comprehensive approach that allows involving of different methods of music analysis. Results. Sonata for Two Pianos (1942) consists of five movements; each one has its name. P. Hindemith’s individual approach to the sonata genre is usually evaluated in terms of the artist’s refusal of traditional composition, changes in sonata form, which often includes dramatic function changing. This is due to the desire to make equal all the forms involved in the cycle, in particular the most important polyphonic ones. The movements’ names “The Bells”, “Allegro”, “Canon”, “Recitative”, “Fugue” reveal the suite’s features. “The Bells” opening the cycle show a wide range of musical associations: from French harpsichordists gravitating to sound expression to representatives of different national cultures of the 20th century. The textured thematic drawing of the part reveals another modus of play with tradition expressing itself in improvisational principle domination and Baroque fantasy revival. The Old English verse text preceding “Recitative” reminds of 16–17th century program compositions and shows connection with opera art. “Recitative” combines concise musical phrases typical for Baroque culture vocal genres and typical rhythm formulas that embody the freedom of language intonation and bring in improvisation and allusion on basso continuo. The reference to Baroque era polyphony is evidenced by “Canon” and “Fugue”. In the “Canon”, polyphonic interaction is reached by two piano parties and not by individual voices of the four-voice ensemble texture. The slow tempo Lento, the static movement of musical thought, where “step” pulsation is felt in 4/8 metrics, unusual for classic and romantic culture, the predominance of quiet sound implies tragic pathetic element in “Recitative”. These two parts, “Canon” and “Recitative”, constitute a complementary semantic pair as play modes of tragic imagery embodiment through Baroque era high style, its objective and subjective beginnings. Actually, sonata genre is represented only by the second part “Allegro” with its fast tempo, clarity of form, volitional character of the main theme, scherzo grace of the subsidiary theme, large coda. The composer maintains contrast method choosing his complex of expressive means for each exposition sections. The Sonata is finished by a grand three-theme fugue with metro-rhythmic design associated with the corresponding polyphonic music structures, and more, the initial fifth step corresponds to J. S. Bach’s “Fugue Art”. The first theme’s imperative character establishes the dramatic imagery as fundamental in Sonata’s artistic concept. Its intonational content is characterized by fourth and fifth interval structures, some of them are creating the frame of the whole cycle. The second theme is more melodic and contrasting. The bass register of the third theme in rhythmic augmentation, the wave-like pattern of its melodic line covering the range of the diminished octave, is perceived as embodying of the modern thinking tension, the “echo” of Baroque era aesthetic ideas. The artistic idea of the Sonata for Two Pianos by P. Hindemith is built on drama concentration, overcoming suite separation of the parts and reflecting the full life realities and the inviolability of Universe laws. Conclusions. Sonata for Two Pianos by P. Hindemith returns to its origins thanks to the 20th century artists’ interest to the Baroque culture, demonstrating irregular genre boundaries and the ability to maintain high polyphony means, unregulated cycle and synthesis of several compositional principles within one work. The neoclassical principles did not deprive the Sonata of being presented in that time’s social and spiritual events, and allowed it to generalize modern world conflicts with the help of established semantic and compositional units. Thus, P. Hindemith’s Sonata for Two Pianos preserves its own approach to musical experience and possibilities of ensemble technique distinguished in almost full absence of performing competition idea, dialogism in its traditional reflection while retaining the parties’ equality.
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NAUMENKO, TATIANA I., und ANASTASIA A. MOLOZYA. „NAMELESS STAR: EDISON DENISOV’S MUSIC IN THE DISCOURSES OF AN UNORDINARY STORY“. ART AND SCIENCE OF TELEVISION 17, Nr. 2 (2021): 121–47. http://dx.doi.org/10.30628/1994-9529-2021-17.2-121-147.
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The article addresses the 1978 film Nameless Star (directed by Mikhail Kozakov, music by Edison Denisov) as one of the few examples of on-screen art in which music not only supports the story, but comes to the fore, becoming one of its characters. Naturally enough, in this article, Nameless Star is considered through the lens of its musical concept. The focus is on some of the composer’s individual features that characterize his film music. Among the main ones is Denisov’s fundamental idea about integrating music into a single canvas of a film work, which directly affects its figurative and stylistic characteristics and poetics in general. In this vein, the author analyzes various interpretations of the plot (or, rather, plotlines—the encounters of the main characters, the discovery of a new star, etc.), which have significant divergences in the texts of different authors and direct participants in the filming process; the main semantic points highlighted in the film by keywords (“station”, “diesel-electric locomotive”, etc.); and, finally, the film’s sound and musical design shaping a single line of storytelling. The special role of sound elements (train noise, station bell, etc.) accompanying the narration and endowing it with special thoroughness and authenticity is revealed. It is noted that the dramatic center of the film is an impromptu performance of the Symphony composed by one of the main characters—Mr. Udrea, music teacher. The significance of this artwork in the context of the narration is extremely high: decisive plot turns are associated with the Symphony; it combines intonations and leitmotifs that determine the overall emotional tone of the film. Edison Denisov manages to reproduce Udrea’s intention to the finest detail, creating a nuanced intonation-thematic profile of the Symphony, thanks to, among other things, skillful timbre-rhythmic differentiation. Over and above, he structures musical drama in such a way that during performance of the Symphony, the semantic dominants of the film, embodied in the system of its main sound images, get actualized (theme of the city, Mona’s theme, etc.). In a sense, the music here goes beyond being a mere soundtrack: it becomes an integral part of the plot, penetrating into the words of the heroes (recurring mentioning of the English horn or the story about the structure of the Symphony). Largely thanks to the music, which brings new implications to the film, the romantic comedy appears as a complex, multiplanar work, revealing an unordinary facet in the creative gift of one of the most convinced avant-garde composers of the 20th century.
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Epner, Luule. „Postcolonialism and Baltic Drama“. Interlitteraria 22, Nr. 1 (07.09.2017): 207. http://dx.doi.org/10.12697/il.2017.22.1.17.
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FISCHER-LICHTE, ERIKA. „Introduction: contemporary theatre and drama in Europe“. European Review 9, Nr. 3 (Juli 2001): 275–76. http://dx.doi.org/10.1017/s1062798701000266.
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The 30 years between the 1960s and the 1980s of the 20th century are recalled today as a golden age of European theatre. They seem to have revived, continued and re-created the previous golden age brought about by the historical theatre avant-garde movements during the first decades of the 20th century (approximately 1900–1930). Then, Adolphe Appia, Jacques Copeau, Edward Gordon Craig, Leopold Jessner, Vsevolod Meyerhold, Max Reinhardt, Alexander Tairov, Evgeni Vakhtangov and others had striven for what they called a retheatricalization of theatre.
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Lecossois, Hélène. „Renegotiating and Resisting Nationalism in 20th-century Irish Drama“. Études irlandaises, Nr. 35-2 (30.12.2010): 186–87. http://dx.doi.org/10.4000/etudesirlandaises.2068.
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B, Vijayakumar. „A Comparative Analysis of Tamil and Assamese Dramatic Tradition“. International Research Journal of Tamil 4, Nr. 2 (01.02.2022): 1–8. http://dx.doi.org/10.34256/irjt2221.
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The article is to trace the heritage of Tamil and Assamese drama earliest times to present. The sub-genre of different periods is also discussed herewith. Earliest record of Tamil drama is available during Sangam period. In Assamese it is mentioned in the Sankaradev period. Sankardeva the father of Assamese literature and society maker had a great contribution to Assamese drama. ‘Chihno Jatra’ was the first drama of Assamese literature. To speed up his ‘Ek Saran’ religion he wrote many dramas as an instrument of it and his followers also followed him. In the end of the nineteenth century Tamil and Assamese drama underwent a change after its contact with western literature. Hence the Tamil drama can be divided into four periods. (1) Tolkappiyam to 16th century, (2) drama in the 17th,18th century, (3) 19th century, and (4) 20th century. Assamese drama can be classified as (1) Vaisavate period, (2) Ahom period, (3) modern period. Many authors wrote ancient, historical and modern dramas in both languages. All those dramas are taken as the very great wealth of Tamil and Assamese literature.
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Luu, Thuy Trung. „Drama in Ho Chi Minh City literature and art life“. Science and Technology Development Journal 18, Nr. 4 (30.12.2015): 47–60. http://dx.doi.org/10.32508/stdj.v18i4.960.
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In the history of Vietnamese drama, Saigon was one of the places absorbing Western drama from the early time. Although drama in Saigon-Ho Chi Minh City didn’t develop in a smooth and straight way, it was a continuous and unbroken process. This process brought in strong development of drama in Ho Chi Minh city in two decades of the late 20th century and the early 21st century. However, in recent years, drama in Ho Chi Minh City seems to proceed slowly, which reflects some irrational aspects from drama script, performance art to performance operation. Therefore, it’s high time to review the whole history of drama in Saigon-Ho Chi Minh City to collect experiences for the steady development of drama in this City in the future.
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Bošnjak, Matija. „Elements of Dramatic Symbolism in the Poetics of Miodrag Žalica“. Društvene i humanističke studije (Online) 6, Nr. 3(16) (27.07.2021): 43–58. http://dx.doi.org/10.51558/2490-3647.2021.6.3.43.
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In the literary and theatrical critique of his time (second half of the 20th century), Miodrag Žalica was recognized as a representative of symbolist poetics in Bosnian-Herzegovinian drama. The features of Žalica’s dramatic symbolism have, however, rarely been observed through analyzing the technique of his dramatic works in concreto. The Piece Mirišu li jorgovani u Njujorku, written in 1988, certainly represents the culmination of Žalica’s poetics, and is, in that sense, suitable for an analysis of the symbolic network as a specific trademark of his authorship with regards to the poetics of symbolism in European modern drama at the turn of the 19th to 20th century.
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Ward, Zachary. „The low return to English fluency during the Age of Mass Migration☆“. European Review of Economic History 24, Nr. 2 (15.05.2019): 219–42. http://dx.doi.org/10.1093/ereh/hez007.
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Abstract English skills are highly valuable for today’s immigrants, but has this always been the case? I estimate the premium for English fluency and the rate of language acquisition in the early 20th century US using new linked data on over two hundred thousand immigrants. Few early 20th century immigrants arrived with English proficiency, yet many acquired language skills rapidly after arrival. Based on individual fixed effects, acquiring English fluency was associated with a small upgrade in occupational income. The results suggest that English fluency was less important for economic assimilation in the early 20th century than in recent decades.
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Zaerr, Linda Marie, John R. Elliott, Martin Stevens und William Tydeman. „Playing God: Authenticity in Fifteenth-Century English Drama“. Rocky Mountain Review of Language and Literature 44, Nr. 1/2 (1990): 83. http://dx.doi.org/10.2307/1347062.
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Kent-Drury, Roxanne. „Reexamining the Margins of Eighteenth Century English Drama“. Eighteenth-Century Studies 35, Nr. 1 (2001): 116–18. http://dx.doi.org/10.1353/ecs.2001.0058.
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Zaerr, Linda Marie. „Playing God: Authenticity in Fifteenth-Century English Drama“. Rocky Mountain Review 44, Nr. 1-2 (1990): 83–90. http://dx.doi.org/10.1353/rmr.1990.0042.
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Zhurcheva, Olga V. „“New drama”: Pro et contra“. Izvestiya of Saratov University. Philology. Journalism 22, Nr. 4 (23.11.2022): 484–87. http://dx.doi.org/10.18500/1817-7115-2022-22-4-484-487.
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At the end of the 20th – the beginning of the 21st century there were serious changes in the poetics of drama, defining the strategy of artistic forms and features of artistic consciousness. This gives the right to single out the history of the “new drama” in a separate period of the literary and theatrical process. A new book by the Belarusian researcher S.Ya. Goncharova-Grabovskaya “Modern Russian Dramaturgy (late 20th – early 21st century)” is devoted to generalization and comprehension of this period, which is considered and announced in the presented review. The book examines the main trends in the development of the Russian drama at the turn of the 20-21st centuries: the history of the emergence of the “new drama” movement, aspects of poetics (hero, conflict, chronotope, language), genre-style vector (social drama, documentary drama, monodrama, remake plays, drama of the absurd) – all that defines the specific features of the modern dramaturgical process. The focus is on the plays of famous playwrights, which have been staged in theaters in Russia and Belarus, have received positive reviews in criticism. The peculiarity of the reviewed book is that it analyzes modern Belarusian drama, traces its connection with the Russian. The book includes overview chapters reflecting the genre and style parameters of drama, a list of plays, information about playwrights, control questions and assignments. The scientific and methodological publication under review is expected to be in high demand not only in the philological environment, but also among theater critics and theater historians.
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Bulat, Snezana. „Despot Đurađ and Despotess Jerina Branković in 20th Century Serbian Drama“. Филолог – часопис за језик књижевност и културу 17, Nr. 17 (30.06.2018): 549–67. http://dx.doi.org/10.21618/fil1817549b.
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Wood, Rebecca, und Kent Cartwright. „Theatre and Humanism: English Drama in the Sixteenth Century“. Sixteenth Century Journal 32, Nr. 3 (2001): 823. http://dx.doi.org/10.2307/2671541.
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Rubik, Margarete. „Women in Arms: Amazons in 17th Century English Drama“. ATHENS JOURNAL OF HUMANITIES & ARTS 1, Nr. 2 (31.03.2014): 147–56. http://dx.doi.org/10.30958/ajha.1-2-5.
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Vasić Rakočević, Branislava V. „RADOMIR KONSTANTINOVIĆ AND RADIO DRAMA“. Folia linguistica et litteraria XII, Nr. 34 (April 2021): 139–47. http://dx.doi.org/10.31902/fll.34.2021.8.
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This paper begins with an overview of literary work of Radomir Konstantinović. The experimental character of his novels demonstrates the specificity of his literary modus operandi, as a unique phenomenon in Serbian literary scene during the fifth decade of the 20th century. His work will mark a turning point in the transition from modernism to postmodernism. His radio dramas, as well, represent a very specific part of his work mostly due to historical position of this genre. Since his radio dramas are first fully published in 2019. this paper traces a path for further research in this area.
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Hussain, Zeeshan, Amjad Hussain, Muhammad Mohsin Rashid, Usman Yousaf und Aman Ullah. „A MULTIDIMENSIONAL COMPARATIVE STUDY OF NINETEENTH AND TWENTIETH CENTURY DRAMA AND NOVEL“. Inception - Journal of Languages and Literature 1, Nr. 1 (30.06.2021): 68–89. http://dx.doi.org/10.36755/ijll.v1i1.24.
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This corpus based research provides insight how the text of same genre differentiates from each other and how intra genres variations take place. This study highlights the functional variations exist in two different genres of literature (drama and novel) of 19th and 20th centuries on the basis of analysis conducted on the texts of both genres by using software MAT. The texts of both of the genres are analysed on different five dimensions given by Biber and some major and minor variations are observed that both the texts differ at different dimensions. The intra genre and inter genre comparisons have been done which gives some interesting findings and results. This study further highlights the specific features of both of the genres which are the hallmark of these two very genres (novel and drama) of 19th and 20th centuries. This present research is concluded on very interesting findings which may pave the ways for further research in this arena.
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Zeeshan Hussain, Amjad Hussain, Muhammad Mohsin Rashid, Usman Yousaf und Aman Ullah. „A MULTIDIMENSIONAL COMPARATIVE STUDY OF NINETEENTH AND TWENTIETH CENTURY DRAMA AND NOVEL“. Inception - Journal of Languages and Literature 1, Nr. 1 (30.06.2021): 67–88. http://dx.doi.org/10.36755/ijll.v1i1.16.
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This corpus based research provides insight how the text of same genre differentiates from each other and how intra genres variations take place. This study highlights the functional variations exist in two different genres of literature (drama and novel) of 19th and 20th centuries on the basis of analysis conducted on the texts of both genres by using software MAT. The texts of both of the genres are analysed on different five dimensions given by Biber and some major and minor variations are observed that both the texts differ at different dimensions. The intra genre and inter genre comparisons have been done which gives some interesting findings and results. This study further highlights the specific features of both of the genres which are the hallmark of these two very genres (novel and drama) of 19th and 20th centuries. This present research is concluded on very interesting findings which may pave the ways for further research in this arena.
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Nag, Ishita. „ENGLISH LITERATURE THROUGH THE AGES“. International Journal of English Learning & Teaching Skills 3, Nr. 3 (05.04.2021): 2284–310. http://dx.doi.org/10.15864/ijelts.3307.
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This review paper deals with the development of the English language through time starting with the Old English literature (450-1066), Middle English Literature (1066-1500), English Renaissance (1500-1660), the Restoration Age (1660-1700), the 18th century, Romanticism (1798-1837), Victorian literature (1837-1901), and the 20th century.
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MONISOVA, I. V., M. S. RUDENKO, L. ZHANG und J. LIU. „ROUND TABLE “FROM TEXT TO GAME...”: TALK ABOUT TODAY AND ETERNAL. REPORTAGE“. Lomonosov Journal of Philology, Nr. 2, 2024 (16.06.2024): 247–54. http://dx.doi.org/10.55959/msu0130-0075-9-2024-47-02-19.
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The constant attention to dramaturgy at the Department of History of Contemporary Russian Literature and Modern Literary Process is associated with the scholarly heritage of its former head, Doctor of Philology, Professor B.S. Bugrov (1936-2002). He brought the plays of Russian symbolists back from oblivion, published the plays by L. Andreev, explored modern drama, and directed his students along this path. The round table, reviewed in this article, brought together colleagues whose academic interests were in one way or another connected to the theater and drama. The problems of theatrical and dramatic language and the synthesis of arts; innovations in drama and theater of the 20th and 21st centuries; representative texts by contemporary playwrights; adaptations of plays for theater and cinema, as well as non-dramatic material for the stage; reception of Russian drama outside Russia; contribution of B.S. Bugrov to the study of dramaturgy of the 20th century were discussed.
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Matyjaszczyk, Joanna. „Struggles with Dramatic Form in 16th-Century English Biblical Plays“. Anglica. An International Journal of English Studies, Nr. 31/1 (Oktober 2022): 5–27. http://dx.doi.org/10.7311/0860-5734.31.1.01.
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The aim of the article is to pinpoint how 16th-century biblical drama tried to appropriate its genre and medium to carry the reformist message and in what sense the project turned out to be a self-defeating one. The analysis of selected plays from reformed biblical cycles (The Chester Mystery Cycle, play iv; and “The Norwich Grocers’ Play”) and newly composed drama (John Bale’s plays, Lewis Wager’s Life and Repentaunce of Marie Magdalene, the anonymous “History of Jacob and Esau”), supported with an over- view of the criticism on the matter, reveals some common tensions in the dramatic texts which may have had their roots in the reformist need to eliminate any room for doubt that a theatrical performance could leave. The conclusion is that, in its attempts at striking the right balance between dramatizing and overt sermonizing, engaging and distancing, as well as providing an immersive experience and discouraging it, post-Reformation Scrip- ture-based drama oscillated between being more effective as a performance or as a carrier of the doctrinal message, with the resulting tendency to subvert either the former or the latter.
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Johnston, Denis. „CyberShaw: A 19th-Century Mandate Meets 20th-century Technology“. Canadian Theatre Review 81 (Dezember 1994): 32–35. http://dx.doi.org/10.3138/ctr.81.007.
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The Shaw Festival is unique among Canadian theatres, and virtually unique among world theatres as well. It is one of only five major repertory theatres in the English-speaking world: the others are the Stratford Festival, the Guthrie Theater in Minneapolis, and the twin flagships of British classical theatre, the Royal Shakespeare Company and the National. In addition, the Shaw Festival is the only one of these companies to have chosen a specific period of history as its mandate: it produces only plays written during the lifetime of Bernard Shaw. The company describes this mandate as “plays by Bernard Shaw and his contemporaries (1856-1950) – plays about the beginning of the modern world”.
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Noble, W. Vernon. „A Century of Change“. English Today 1, Nr. 4 (Oktober 1985): 12–15. http://dx.doi.org/10.1017/s0266078400001395.
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Petković, Ivana I. „SIMEON POLOTSKY’S DRAMA NEBUCHADNEZZAR THE TSAR AND ITS WESTERN-EUROPEAN DRAMA SOURCES“. Филолог – часопис за језик књижевност и културу 14, Nr. 28 (31.12.2023): 436–59. http://dx.doi.org/10.21618/fil2328436p.
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Тhis paper aims to reconsider the influences of Western-European drama of the XVII century on the creation of Russian baroque and the first drama writer in Russia Simeon Polotsky. During the initial period, Russian theatre, especially during the XVI and XVII centuries, was under the strong influences of Western theatre culture. This paper reconsiders the influence of German, French, English and Polish theatre plays. Plots of his playwright were popular and well known in Western European literature from the XII century. In this paper, we tried to reconsider those influences on the example of his drama Nebuchadnezzar the Tsar. This drama plot was well-known in Western European theatre, and Simeon Polotsky knew some of them.
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Narzikulova, Rayhona. „Peculiarities of 20th century english literature and main characteristics“. ACADEMICIA: An International Multidisciplinary Research Journal 12, Nr. 1 (2022): 247–50. http://dx.doi.org/10.5958/2249-7137.2022.00043.x.
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신진호. „A Study on 20th Century Contention Between Chinese Drama and Traditional Opera“. Journal of Foreign Studies ll, Nr. 24 (Juni 2013): 363–86. http://dx.doi.org/10.15755/jfs.2013..24.363.
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Clark, Sandra. „Spanish Characters and English Nationalism in English Drama of the Early Seventeenth Century“. Bulletin of Hispanic Studies 84, Nr. 2 (März 2007): 131–44. http://dx.doi.org/10.3828/bhs.84.2.2.
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Sedláčková, Lucie. „Circulatie van Nederlandstalig toneel in Tsjechië, 1898–1989“. Neerlandica Wratislaviensia 28 (26.06.2019): 165–81. http://dx.doi.org/10.19195/0860-0716.28.13.
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Circulation of Dutch plays in Czech, 1898–1989 This article deals with the circulation of Dutch and Flemish dramatic texts in the Czech lands between 1898 – when the first translation of a Dutch theatre play was probably published – and 1989 – the year of the Velvet Revolution, after which the cultural field changed radically. It is a fact that relatively few Dutch and Flemish plays have been translated into Czech. The same is true of the actual production of the plays in Czech translation: these were rather sporadic throughout the whole 20th century, except for several plays by Herman Heijermans which were staged quite regularly in the first decades of the 20th century. This article surveys the different periods of the 20th century and provides an outline of the development of the Czech reception of Dutch and Flemish drama, including a dramatic mystification during the World War II.
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Hundt, Marianne, und Benedikt Szmrecsanyi. „Animacy in early New Zealand English“. English World-Wide 33, Nr. 3 (29.10.2012): 241–63. http://dx.doi.org/10.1075/eww.33.3.01hun.
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The literature suggests that animacy effects in present-day spoken New Zealand English (NZE) differ from animacy effects in other varieties of English. We seek to determine if such differences have a history in earlier NZE writing or not. We revisit two grammatical phenomena — progressives and genitives — that are well known to be sensitive to animacy effects, and we study these phenomena in corpora sampling 19th- and early 20th-century written NZE; for reference purposes, we also study parallel samples of 19th- and early 20th-century British English and American English. We indeed find significant regional differences between early New Zealand writing and the other varieties in terms of the effect that animacy has on the frequency and probabilities of grammatical phenomena.
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Bevis, Richard. „Canon, Pedagogy, Prospectus: Redesigning "Restoration and Eighteenth-Century English Drama"“. Comparative Drama 31, Nr. 1 (1997): 178–91. http://dx.doi.org/10.1353/cdr.1997.0004.
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