Zeitschriftenartikel zum Thema „Yiddish Literary and Dramatic Society“
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1
Reiser, Daniel. „The Sanctification of Yiddish among Hasidim“. AJS Review 44, Nr. 1 (31.01.2020): 163–81. http://dx.doi.org/10.1017/s036400941900093x.
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AbstractThe sanctification of Yiddish in hasidic society occurred primarily in the first half of the twentieth century and intensified in the wake of the Holocaust. The roots of this phenomenon, however, lie in the beginnings of Hasidism in the eighteenth century. The veneration of Yiddish is linked to the hasidic attitude towards vernacular language and the status of the ẓaddik “speaking Torah.” Hasidism represented—and represents—an oral culture in which the verbal transfer of its sacred content sanctifies the language spoken by its adherents, in this case, Yiddish. This article presents a theological and sociological examination of the various stages of the sanctification of Yiddish among Hasidim from the movement's early stages to the late twentieth century.
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Lederhendler, Eli. „Against the Tide: The American Hebrew Yearbook, 1930–1949“. AJS Review 17, Nr. 1 (1992): 51–82. http://dx.doi.org/10.1017/s0364009400011958.
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Despite the survival of Hebrew as a language of prayer, and the pockets of Hebrew and Yiddish readers and speakers that exist in America today, American Jewry is overwhelmingly English-oriented in its cultural endeavors as well as everyday communication. That is one of the measures of American Jewry's successful integration in American society, and may thus be regarded as one of its achievements.
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Yeghiazarian, Torange. „Dramatic Defiance in Tehran“. TDR/The Drama Review 56, Nr. 1 (März 2012): 77–92. http://dx.doi.org/10.1162/dram_a_00144.
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Abramson, Glenda. „Israeli Drama and the Bible: Kings on the Stage“. AJS Review 28, Nr. 1 (April 2004): 63–82. http://dx.doi.org/10.1017/s0364009404000054.
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Drama is the most neglected genre within Hebrew cultural development. In fact, until shortly before the foundation of the State of Israel, few plays in Hebrew had been staged. Although a large number of works in dramatic form had been written, particularly in the nineteenth century, few of them were viable theatrical dramas. They fell into the categories of rhetoric and allegory, devoid of believable dramatis personae. There were some milestones along the way, such as Somi's Zahut Bedihuta de-Kiddushin (An Eloquent Marriage Farce, c. 1600), Luzzatto's Leyesharim tehilla (Praise for the Righteous, 1743), and some modern plays, but these were not sufficiently feasible for the establishment of a dramatic tradition. An important factor qualifying the late development of Hebrew drama was the language, for within the communities' diglossia throughout the ages, Hebrew was reserved for more elevated discourse than playacting. Moreover, Hebrew, the language of the sacred texts, was inadequate for the expression of everyday life. Nowhere in the diaspora was there a Hebrew-speaking audience; there was no folk life in Hebrew as there was in Yiddish. Also, the potential playwrights were faced with the problem of the divine imperative in Jewish history, which precludes anything like the theodicy that gave rise to classical tragedy. Other religious restrictions against certain forms of representation, together with the small value Jewish religious authorities traditionally placed on theatre for its own sake, were also crucial factors mitigating against the drama's development.
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Saad Mansour, Dalia. „Antigone's Law: A Contemporary Dramatic Egyptian Version“. British Journal of Translation, Linguistics and Literature 3, Nr. 1 (20.02.2023): 50–51. http://dx.doi.org/10.54848/bjtll.v3i1.53.
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In the context of the adapted literary works, I watched a distinguished dramatic performance entitled Antigone's Law - a version of the ancient Greek Sophoclean play Antigone. The dramatic performance is the graduation project of a student at The American University in Cairo. The student acts with her colleagues in this dramatic performance directed by Dr. Dina Amin - the theatre professor at the American University in Cairo. The performance could be considered an Egyptian version rather than a literal adaptation as it embeds so many layers of meanings and different sociological dimensions that reflect the current Egyptian society.
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Tang, Ziqing. „The Thematic Interpretation of Robert Brownings Renaissance Dramatic Monologue“. Communications in Humanities Research 19, Nr. 1 (07.12.2023): 141–47. http://dx.doi.org/10.54254/2753-7064/19/20231219.
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Robert Brownings dramatic monologue is a unique form in British Victorian literature. Its unique style reflects various characteristics of that time, and therefore, by analyzing Brownings dramatic monologues, various aspects of Victorian society and culture, as well as individual roles and struggles, can be deeply understood. Moreover, Brownings works provide rich materials and profound thinking for literary research, and hold an important position in the field of literature. In order to better explain the styles of his works, this article provides an in-depth analysis of Brownings two famous poems, My Last Duchess and The Bishop Orders His Tomb at Saint Praxeds Church. These current article examine characters, themes, and historical backgrounds, showcasing Brownings unique approach to Renaissance content. In addition, this study compared Brownings Renaissance dramatic monologues with three Renaissance poets: Shakespeare , John Milton and William Wordsworth , this comparative analysis highlights the uniqueness of Brownings perspective, the differences in understanding the Renaissance compared to his predecessors, and his contribution to the genre of dramatic monologues. In summary, this study aims to reveal Robert Brownings artistic views and the subtle differences in themes in his Renaissance dramatic monologues. It provides an understanding of Brownings unique position in literary schools and his contributions to the literary world.
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Hurrell, Janet. „THE COLLECTIVE ADMINISTRATION OF LITERARY AND DRAMATIC RIGHTS — AUTHORS' LICENSING AND COLLECTING SOCIETY (ALCS)“. Library Management 9, Nr. 3 (März 1988): 22–24. http://dx.doi.org/10.1108/eb054907.
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Menke, Timm, und Carol Anne Costabile-Heming. „Intertextual Exile. Volker. Braun's Dramatic Re-Vision of GDR Society“. German Quarterly 72, Nr. 2 (1999): 208. http://dx.doi.org/10.2307/408393.
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Senthil Kumar.S und Puthiyarasu.P. „Women in the Drama of Girish Karnad With Reference Yayati & Hayavadana“. INTERNATIONAL JOURNAL OF SCIENCE TECHNOLOGY AND HUMANITIES 2, Nr. 2 (30.10.2015): 55–58. http://dx.doi.org/10.26524/ijsth55.
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Drama constitutes an integral part of any civilized society. It is true that the dramatic instinct is quite universal. The theatre whether in the sacred or the secular from has never failed holds its powerful appeal to men. Undeniably every nation and every race has its own dramatic history. Drama as the best from of literary composition mirrors the social, political and cultural history of a people and him characteristic nature of the genius of any nation cannot be fully comprehended and appreciated without its study.
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Kellman, Steven. „Multilingual Literature of the United States“. Polylinguality and Transcultural Practices 19, Nr. 1 (16.03.2022): 19–27. http://dx.doi.org/10.22363/2618-897x-2022-19-1-19-27.
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Like the Russian Federation, the United States is a multilingual, multicultural society. A nation of immigrants and indigenous peoples, it has produced a rich body of literature in dozens of languages in addition to English that scholars have only in recent decades begun to pay attention to. Of particular note are texts in Spanish, Yiddish, Chinese, French, Hebrew, German, Arabic, Norwegian, Welsh, Greek, Turkish, Italian, Korean, Polish, Portuguese, Russian, Vietnamese and numerous American Indian languages. In this paper we observe the most significant texts of multilingual American literature. The corpus of literary works shows us, that despite Americans pervasive and enduring xenolinguaphobia - aversion to other languages - the United States, like other large countries, is a heterogeneous amalgam. Ignoring the variety of works written in languages other than English impoverishes the national culture and handicaps serious readers.
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Odoh, Onyeka, Chinasa Abonyi und Thomas-Michael Emeka Chukwumezie. „Rainmaking in Igbo Communities as a Preliterary Category of Possible Dramatic Forms“. Research in African Literatures 54, Nr. 1 (März 2023): 126–37. http://dx.doi.org/10.2979/ral.2023.a915643.
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ABSTRACT: The Western literary drama has established itself as an axiomatic model against which other performative activities seem to be evaluated. This tends to undermine the fact that drama has roots in a “nonliterary performative” religious festival of the Greeks. If tragedy/comedy evolved from a different religious/ritual activity, it follows that such practices have the potential to evolve into more literary forms. As rainmaking in Africa constitutes one such ritual performative activity, this research aims to explore the essence of rainmaking (life preservation) in selected Igbo communities as a potential underlying literary model that can be explored to create further literary forms (beyond tragedy and comedy) within African dramatic/performance genres. Data are collected through in-depth interviews with rainmakers while the theoretical orientation is drawn from Northrop Frye’s theory of modes. The study concludes that rainmaking in Igbo society embodies preliterary potential, which can inform more literary forms beyond tragedy/comedy.
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Eliasberg, Galina. „The Russian-Jewish New York, the Balfour Declaration and the Revolution in Russia in Leon Kobrin's Play Back to Your People!“ Judaic-Slavic Journal, Nr. 1 (2018): 25–43. http://dx.doi.org/10.31168/2658-3364.2018.1.2.2.
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The article analyzes Kobrin’s play Back to Your People! and the Yiddish press reviews of its performances in New York at Boris Thomashevsky’s Peoples Theater in December 1917 by A. Cahan, I. Vartsman, B. Gorin and others. Critics defined the genre of Kobrin’s play variously as “national drama”, “sentimental melodrama”, “modern sketch” and “tendentious drama” but unanimously noted that it was a direct response to the landmark events of 1917, including the Russian Revolution and the Balfour Declaration. These events triggered nationalist feelings and had a significant impact on Jewish socialists like Kobrin, whose writing and political views were strongly influenced by Russian populism. The play depicted a dramatic clash between two cultural models: an American banker as a “self-made man” and the Russian-Jewish intellectual and Zionist leader. It reflected the issues of inter-generational conflicts, Jewish assimilation and anti-Semitism in America. Kobrin portrayed representatives of conservative and liberal circles in American society and demonstrated different attitudes towards the tragedy experienced by European Jewry during the First World War. The depiction of the younger generation allowed Kobrin to show the American university milieu, the work of the settlement house movement and the educational institutions for the Jewish immigrants. The play touched upon the social, intellectual and political life on the Lower East Side.
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Ribak, Gil. „“The Jew Usually Left Those Crimes to Esau”: The Jewish Responses to Accusations about Jewish Criminality in New York, 1908–1913“. AJS Review 38, Nr. 1 (April 2014): 1–28. http://dx.doi.org/10.1017/s0364009414000014.
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This article examines how communal activists, leaders, intellectuals, and the Yiddish press understood and reacted to charges regarding purported Jewish criminality, which accusers often linked to the need to curtail immigration to America. The Jewish self-image as a nonviolent people proved to be quite resilient, and one of the ways to reconcile the existence of Jewish criminals with that self-perception was to put the blame on the surrounding (American) influence, or to evoke generalized negative images of gentiles as a foil for applauding Jewish qualities. New York Jews construed their relations with the larger non-Jewish society as a continuation of old-world patterns of Jewish-gentile relations rather than a change or reversal of them. The criminal episodes demonstrated how a cultural net of transnational meanings shaped Jews' understanding and reaction to allegations against them.
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Holtzman, Avner. „Vilna as a Centre of Hebrew Literature: The Journal Hazman“. Colloquia 48 (30.12.2021): 211–26. http://dx.doi.org/10.51554/coll.21.48.13.
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In 1904, a Hebrew journalistic and literary initiative was established in Vilna, headed by the writer and publisher Ben-Avigdor, and the journalist and editor Ben Zion Katz. Vilna was chosen, among other reasons, for being a deeply rooted centre of Hebrew culture, with a long tradition of printing and publishing. The new initiative revived it as a magnet for Hebrew writers and journalists, an impressive team that joined together to create the daily Hazman (The Time) and its supplements. The editors’ policy was not to impose a binding political line on the paper, but to give an opening to all the factions in the Jewish public, while also hoping to expand the target audience of the paper. The year 1905 was the time of glory of Hazman, both for its news and its literary sections. But its momentum was halted during 1906, due to the political storm in Russia and the rapid decline of Hebrew journals, which lost most of their readership to the flourishing Yiddish press. Thus, the Hazman affair embodies a dramatic crossroads. It was the beginning of the decline of Hebrew literature in Eastern Europe, alongside the laying of the foundations for Hebrew literature in the Land of Israel during the first two decades of the 20th century. This essay draws an outline of the affair on the basis of a variety of sources, including the newspaper itself, memories of the personalities involved, and correspondence that has survived from those days.
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Mallon, Clara. „(Post)Dramatic Strategies: Performing Difference in Pat Kinevane’s Solo Theatre“. Irish University Review 51, Nr. 2 (November 2021): 329–42. http://dx.doi.org/10.3366/iur.2021.0522.
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Pat Kinevane's solo performances focus on identities constituted on the margins of contemporary Irish society. Fusing the comic with the tragic, improvisation with carefully planned execution, and entertainment with serious cultural critique, these performative works range freely through diverse theatrical styles to represent Irish characters marginalized by their communities. Utilizing Hans-Thies Lehmann's ideas in Postdramatic Theatre (2006), this essay demonstrates how Kinevane's theatre inscribes but also contests some of the modalities of postdramatic discourse, creating a platform through which hegemonic political frameworks are challenged and identities are presented outside the established social norm. Through a performative analysis of the constructional, formal, and stylistic techniques, I argue that Kinevane's combined use of dramatic and postdramatic strategies can be seen as an essential part of his attempts to create consciousness raising and promote critical thinking among audiences.
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Mehla, Anjila Singh. „The Self in Society: Exploring Cultural Embeddedness in Gloria Naylor’s Fiction“. IRA-International Journal of Management & Social Sciences (ISSN 2455-2267) 7, Nr. 2 (10.06.2017): 329. http://dx.doi.org/10.21013/jmss.v7.n2.p24.
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<div><p><em>A most significant development that has taken place on the global literary scene during the last few decades or so is the dramatic emergence of African-American voices as a distinct and dominant force. Along with Toni Morrison scores of African American Fiction writers, poets, playwrights, autobiographers, and essayists have mapped bold new territories; they have firmly entrenched themselves in the forefront of contemporary American Literature. This article retraces this exciting literary phenomenon in the context of the lives, works, and achievements of Gloria Naylor and her contemporaries. Naylor discovered feminism and African American Literature, which revitalized her and gave her new ways to think about and define herself as a black woman.</em></p></div>
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Martens, Britta. „Dramatic Monologue, Detective Fiction, and the Search for Meaning“. Nineteenth-Century Literature 66, Nr. 2 (01.09.2011): 195–218. http://dx.doi.org/10.1525/ncl.2011.66.2.195.
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Abstract This essay compares the genres of the dramatic monologue and detective fiction in terms of their contemporaneous development and respective reading processes. Drawing on narratological categories, it examines the emphasis in both genres on the withholding of information and the stimulation of the reader's desire to establish meaning and exert judgment. Despite these similarities in the reading process, the genres’ epistemologies seem opposed: the relativist dramatic monologue clearly challenges the belief in absolute meaning, while the classic detective formula depicts the problematic process of arriving at an apparently unambiguous truth. On a subtler analysis, however, detective fiction echoes and diversifies the dramatic monologue's questioning of stable meaning. Both genres explore questions of relativism, both invite their readers to engage in modes of investigative reasoning and a problematized process of “solving,” and both can be read as critiquing the literature of subjectivity and reflecting the transgression of norms in a society where key values are shifting. Considering the origins of both genres, the essay asks whether a further relationship might derive from the debt that their founding figures, Edgar Allan Poe and Robert Browning, owe to the Gothic and from their shared interest in the individual psyche.
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Bozedean, Corina. „Pleading for a History of Romanian Translation. The Dramatic Text“. Acta Marisiensis. Philologia 2, Nr. 1 (01.09.2020): 1–5. http://dx.doi.org/10.2478/amph-2022-0022.
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Abstract The international reception of drama text is, as Hans Robert Jauss showed, not a passive assimilation of the foreign cultural fact but an active and selective response to what is perceived as exterior. The literary creation enjoys but of a relative autonomy which is to be analysed into a dialectic relationship with society, with its production and consumption habits over a given period of time. The degree of closeness to translated creation varies based on audience, and therefore work on a history of translation becomes not only a titanic effort but also proves to be absolutely necessary for a better fixation of certain literary currents and ideologies. As for drama text, the approach of aspects such as the part of editorial translation/retranslation, the part of texts meant for stage or the special profile of the translator of drama may bring a contribution to a more objective understanding of the Romanian theatrical movement.
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Hamadi, Lutfi. „The Main Dramatic Features of Melodrama: A Dramatic Study of Maria Martin and Sweeney Todd And Their Traces In Modern Soap Operas“. European Scientific Journal, ESJ 13, Nr. 26 (30.09.2017): 122. http://dx.doi.org/10.19044/esj.2017.v13n26p122.
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This paper attempts an exploration of the prosperity of melodrama in the nineteenth century with its literary shortcomings in comparison with more serious and deeper plays before and after that era. Shedding light on the political, social, and economic changes that took place in Europe in general and in England in particular, this study tries to show how melodrama reflected these changes and represented the new rising middle class with all their values, beliefs, and interests. In addition, the paper shows similarities between melodrama and modern soap operas and movies, with their artificially fabricated plots and endings, unconvincing characters, and irrational incidents and coincidences. For this purpose, the study will trace the main dramatic features of melodrama and mark them out in two of the most notable melodramas of that period, namely Maria Martin and Sweeney Todd, which were adapted and produced cinematically. The paper will conclude how changes in different aspects of society are definitely reflected on the literary works during a certain period of time. The methodology will include an historical overview, shedding light on the changes that took place in England in the 19th century, comparing and contrasting melodramas and other more important literary forms, together with the two plays to be studied as examples. To achieve credibility, the paper will refer to works by remarkable thinkers and critics in the field, illustrate by using quotes from both plays, and interpret and analyze their function and importance.
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Solomon, Diana. „Sancho Panza in Eighteenth-Century English Theater: Disrupting the Path of the English Knight-Errant“. Eighteenth-Century Life 46, Nr. 3 (01.09.2022): 123–43. http://dx.doi.org/10.1215/00982601-9955364.
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Widely translated and adapted in eighteenth-century England, Don Quixote inspired some of the period's greatest fiction. Yet while literary adaptations of Cervantes's novel often render its humor “amiable” and accommodate it to polite society, dramatic adaptations instead accentuate its low comedy and farce. This paper argues that dramatic entertainments should factor into discussions of the novel's extraordinary influence in eighteenth-century England. Thomas D'Urfey's popular trilogy, The Comical History of Don Quixote (1694–95), and several of its successors augment the base characteristics of Sancho and employ physical violence and cruelty to women and lower characters, showing that low comedy thrived in not only marginalized genres like jestbooks and comic illustrations, but also popular drama.
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Gómez, Miguel. „Del drama a la poesía y viceversa. La piedra oscura de Alberto Conejero como muestra de transmisión generacional de valores humanos“. Acotaciones. Revista de Investigación y Creación Teatral 1, Nr. 50 (28.06.2023): 239–60. http://dx.doi.org/10.32621/acotaciones.2023.50.08.
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This article deals with deepening the link between the po-etry of Federico García Lorca and the dramatic literature of La piedra os-cura by Alberto Conejero. The theatrical piece is inspired by the existing documentation on the young Rafael Rodriguez Rapún, with whom the poet had a sentimental relationship, which resulted in the writing of the so-called Sonetos del amor oscuro. Alberto Conejero tries to reconstruct, from García Lorca's poetry, their hypothetical relationship, which is also part at the same time of the dramatic event. At the same time, the text defends human values against homophobia from the importance of the generational transmission of literary texts as a patrimonial legacy of culture and improvement of society.
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Rebihić, Nehrudin. „Poetry and Dramatic Work of Alija Nametak“. Društvene i humanističke studije (Online) 8, Nr. 2(23) (30.12.2022): 241–58. http://dx.doi.org/10.51558/2490-3647.2023.8.2.241.
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In the Bosnian-Herzegovinian literary field, Alija Nametak established himself as a storyteller and novelist, but not as a poet and playwright. In this paper, for the first time, the poetic and stylistic-formational features of Nametak's poetry published from 1925 to 1932 in the magazines Jugoslovenska njiva, Književnik and Novi Behar are fully presented. His youthful poetry, stratified into an intimate and social thematic-motive register, flirts with contemporary modernist and avant-garde poetic tendencies, which we find in the poetry of Muse Ćazim Ćatić and Hamza Huma. The second part of the paper deals with his dramatic work: from historical drama (Narodna vlada), to comedy (Omer za naćvama and Abdullah-paša u kasabi), all the way to the holy-historical legend (Jusuf and Zulejha). Except for the last play, which remained in the manuscript legacy, in all the others there is a critical attitude towards certain social deviations. While in the drama Narodna vlada Nametak develops a patriotic discourse as a form of anti-colonial resistance, in the comedies Omer za naćvama and Abdullah Paša u kasabi, in the spirit of folk and palanquin carnival culture, he undermines primitivism and stereotyped roles in society. In the drama Jusuf and Zulejha staged the Qur’anic-Biblical historical story about Yusuf a.s. (Joseph.) As a folklorist, Nametak introduced various elements from folk life and customs into the drama, not only to create a context for shaping the character of his characters but also to use their potential for popular, carnival, and subversive distortion of established social and cultural norms and patterns. The poetry and drama of Alija Nametka, in a literary-historical sense, are significant because they reveal this writer to us as the protagonist of a multiple literary identity – it is a kind of identity of resistance which, apart from the already established religious and ethnic one, is realized in the social and feminist dimension as well.
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Sanders, Norman, Richard A. Levin, William C. Carroll, J. A. Bryant und Robert Ornstein. „Love and Society in Shakespearean Comedy: A Study of Dramatic Form and Content.“ Shakespeare Quarterly 39, Nr. 1 (1988): 98. http://dx.doi.org/10.2307/2870593.
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Diaz, Noelia. „Gendered Violence and Neoliberal Desaparecidos in Luis Cano’s Socavón“. Modern Drama 64, Nr. 4 (01.12.2021): 458–77. http://dx.doi.org/10.3138/md.64-4-1104.
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This article situates Socavón (1999), a monologue by leading Argentine playwright Luis Cano, in terms of former Argentine President Carlos Menem’s (1989–99) economic policies in post-dictatorship Argentina, demonstrating how neoliberalism can be understood through the gendered shame and violence it produces. Shunted aside in Buenos Aires and haunted by its legions of desaparecidos, protagonist Ulisito desperately seeks throughout Socavón to regain his masculinity – as well as his personhood and his visibility – through aggression. I argue that Ulisito’s violence is a form of civil resistance, a reaction against a dehumanizing economic regime, as well as a critique of unresolved human rights issues haunting democratic Argentina. Cano draws on numerous dramatic and literary antecedents, including a play that is foundational to dramatic modernity, Georg Büchner’s Woyzeck, as blueprints for a contemporary crisis. Socavón suggests that unless a more equitable society is created, women in particular will continue to be the victims of a collapsed masculinity trying to reassert itself.
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Wilkins, John. „The Young of Athens: Religion and Society inHerakleidaiof Euripides“. Classical Quarterly 40, Nr. 2 (Dezember 1990): 329–39. http://dx.doi.org/10.1017/s0009838800042919.
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Philostratos records that the ephebes of Athens wore a black χλαμ⋯ς to commemorate their murder of Kopreus in defence of the Herakleidai. Both the Herakleidai and a herald of Eurystheus appear inHerakleidaiof Euripides, but the murder of the herald is not at issue, nor indeed is there any reference to ephebes or ephebic practice. This state of affairs will cause no surprise, for tragedy regularly selects its story-line from the wider range of the myth, and later uses to which that myth may be put have no necessary bearing on the play. It is however the contention of this article that the religious and social context ofHerakleidaihas been neglected, and that careful reconstruction of that context from later sources, restoring to us the associations that Euripides could assume in his own day, is an essential prerequisite to any aesthetic or dramatic interpretation of the play.
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Baumgarten, Jean. „Ahuva Belkin. The Purimshpil, Studies in Jewish Folk Theater. Jerusalem: Bialik Institute, 2002. 287 pp. (Hebrew).“ AJS Review 29, Nr. 2 (November 2005): 404–5. http://dx.doi.org/10.1017/s0364009405430172.
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In the Early Modern period, the Jewish people did not develop theater arts comparable to that of other cultures. One reason often given to explain this absence of theatrical tradition is the virulent denunciations of theater by the rabbis, who likened it to idolatry and heresy, and condemned it as being incompatible with monotheism. The biblical injunction (Ps.1:1): “Blessed is the man that sits not in the seat of the scornful” has often been cited as condemning the theater, interpreting the Hebrew word leẓim, not as mocking or impious, but as buffoon or jester, and by extension, actor. Ahuva Belkin attempts to explain this cultural fact while at the same time challenging the argument that Jews did not create any theatrical tradition. From the Middle Ages on, Ashkenazi society produced many forms of popular entertainment, the most accomplished of which was the Purim-shpil. Belkin's work, which makes use of the pioneering studies of Yiddish theater by B. Gorin, Y. Shatsky, I. Shipper, and Ch. Shmeruk, offers much new and original material.
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Alexander, Catherine, und Catherine Alexander. „Shakespeare and War: a reflection on instances of dramatic production, appropriation, and celebration“. Exchanges: The Interdisciplinary Research Journal 1, Nr. 2 (30.03.2014): 279–96. http://dx.doi.org/10.31273/eirj.v1i2.93.
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This article draws on a range of literary, theatre, and printed news sources in order to explore the portrayal of Shakespeare and some of his plays in relation to war. This exploration is timely, given the anniversary of the playwright’s birth and of the start of the First World War. Particular attention is given to the society of Elizabethan England, to nineteenth and twentieth century theatre and film productions of Henry V, and other events during the early years of the 1914-1918 war, revealing the many diverse ways in which the man and his work has been appropriated.
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Shteinbuk, Feliks, und Yulia Gordiienko. „Homoeroticism vs Homoaesthetics in the Literary Works of Oles Ulianenko“. Przestrzenie Teorii, Nr. 39 (05.01.2024): 221–39. http://dx.doi.org/10.14746/pt.2023.39.11.
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The article is devoted to the literary heritage of Oles Ulianenko, who was virtually the only national author addressing LGBTQIA+ subject matter. The corporal-mimetic method was applied to analyze fiction works, which enabled us to draw a number of meaningful conclusions. On the one hand, LGBTQIA+ themes are typologically represented by a variety of images which are characterized by both an ironic dimension and dramatic pathos, interpreted not in ethical but in aesthetic terms. On the other hand, Oles Ulianenko was the first to shift homosexuality into the visible realm, and to represent the “splendors and miseries” (H. de Balzac) of homoeroticism to Ukrainian society; who, with his sexualized, homosexualized and lesbian narrative of his literary works attempted to speak of a future when his country would overcome the lack of social and sexual freedom.
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TOMA, Florin. „THE CONVENTIONAL APPROACH OF DRAMATIC SITUATIONS TO THE DISADVANTAGE OF THE ORGANIC APPROACH FROM A HUMAN PERSPECTIVE“. International Multidisciplinary Scientific Conference on the Dialogue between Sciences & Arts, Religion & Education 4, Nr. 1 (07.12.2020): 123–28. http://dx.doi.org/10.26520/mcdsare.2020.4.123-128.
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This study aims to present some arguments that would highlight the difference in the approach of a dramatic text from a literary, conventional perspective and from an organic, violently subjective one. The analysis of drama from an acting perspective involves a set of difficulties and peculiarities resulted especially from its dual nature, because it is in the same time literature (fiction), as well as theater (action, show). The completion of a dramatic text involves, most often, its transformation into a show, but also into a processually-objective reality through the actor's creativity. The logical mechanisms typical to the acting creation process can often be inhibited by the need to exert self-control, due to a pattern of thinking extensively promoted in contemporary society, and that mostly aims success instead of encouraging an honest journey of self-discovery through theatre
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Anderson, Timothy. „There’s Something about Murray: Victorian Literary Societies and Alfred Forman’s Translation of Richard Wagner’s Der Ring des Nibelungen“. Modern Language Quarterly 82, Nr. 3 (01.09.2021): 281–313. http://dx.doi.org/10.1215/00267929-9090280.
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Abstract Alfred Forman’s translations of Richard Wagner’s operas are often derided for their weird diction and minute imitation of German poetic devices. Forman has seemed to represent a zealous and uncritical approach to Wagner that was typical of the early London Wagner Society. But London’s literary societies were important preprofessional gatherings for the appreciation and research of vernacular literature at a time when universities restricted who could study and what could be studied. Forman contributed to other London societies and organized for them dramatic readings of Wagner’s poetry featuring Forman’s wife, Alma Murray. In making Wagner legible and audible for these societies, Forman aligned Wagner with contemporary radical poets and promoted the Ring as a political allegory. Forman’s translations, far from cranky or cultish, show how Victorian society culture affected translation practices, renewed study of poetic alliteration, and inaugurated the political interpretation of Wagner’s works.
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Prośniak, Anna. „“Sardoodledom” on the English Stage: T. W. Robertson and the Assimilation of Well-Made Play into the English Theatre“. Text Matters, Nr. 10 (24.11.2020): 446–59. http://dx.doi.org/10.18778/2083-2931.10.25.
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The article discusses a vital figure in the development of modern English theatre, Thomas William Robertson, in the context of his borrowings, inspirations, translations and adaptations of the French dramatic formula pièce bien faite (well-made play). The paper gives the definition and enumerates features of the formula created with great success by the French dramatist Eugène Scribe. Presenting the figure of Thomas William Robertson, the father of theatre management and realism in Victorian theatre, the focus is placed on his adaptations of French plays and his incorporation of the formula of the well-made play and its conventional dramatic devices into his original, and most successful, plays, Society and Caste. The paper also examines the critical response to the well-made play in England and dramatists who use its formula, especially from the point of view of George Bernard Shaw, who famously called the French plays of Scribe and Victorien Sardou—“Sardoodledom.”
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Toxambayeva, Aiman, Aivar Kadyrov und Talgat Kabyshev. „THE IMAGE OF KHANS, SULTANS AND HEROES IN THE DRAMATIC WORKS OF RAHIMZHAN OTARBAYEV“. Bulletin of the Eurasian Humanities Institute, Philology Series, Nr. 3 (30.09.2023): 242–59. http://dx.doi.org/10.55808/1999-4214.2023-3.17.
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The purpose of the article is to consider the question of the stylistic specifics of the writer Rakhimzhan Otarbayev's work, the specifics of the writer's image, his place in modern prose, traditions and novelties. The main idea of the scientific work is to show by examples the features of the image of khans, sultans and heroes in the dramatic works of Rakhimzhan Otarbayev. The scientific and practical significance of the work lies in the fact that the article comprehensively analyzes the creative heritage of Rakhimzhan Otarbayev. The methodological basis of the research is the philosophical and literary studies of literary scholars A.A. Belikh, H.G. Gadamer, E.I. Dibrova, I.D. Ermakov, L.V. Karasev, G.K. Kotkov, E.M. Luludova, V.P. Rudnev and others. The main result of the research work is a scientific analysis of the creative heritage of Rakhimzhan Otarbayev, the artistry and historicity of the writer's works on concrete examples. It can be said that the artistic world of Rakhimzhan Otarbayev is more peculiar than the artistic worlds of his contemporaries. Each time the reader sees images embodying the author's idea and presents the content of the novels in the form of a film. The main purpose of the writer's works of fiction is to show the future of man and society. These goals awaken the consciousness of the person reading each work and give spiritual wealth. Man is our ancestors, in particular, Beybarys, Makhambet, written by Otarbayev. And society is the environment in which these figures lived. And the knowledge and horizons of the next generation, the banner of the country of tomorrow, nourishes and nourishes people's lives. The research work uses methods of comparative analysis, systematization, generalization, and conclusion. The practical significance of the conclusions of the work is that this article can be used as an additional educational material in preparation for lectures and seminars on the cycle of literary disciplines in universities.
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ZHIYENBAYEV, Yerlan, und Shakhida JUMABAYEVA. „Literary Analysis of Sharof Boshbekov’s Comedy «The Iron Woman»“. Turkology 3, Nr. 107 (20.10.2021): 44–56. http://dx.doi.org/10.47526/turkology.v3i107.726.
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Sharof Boshbekov, a unique writer, played an important role in the development of Uzbek drama in the 1980s. It is obvious that realism prevails in his plays. In the writer's works, the flaws of society are implied by humorous descriptions. His dramatic works depict the events and phenomena of that time, and not the depths of history. His works also critically describe the life of villagers and peasants. In this study, we analyzed Sharof Boshbekov's comedy “The Iron Woman” using the modern method of text analysis, which is widely used today in Turkish literature, and tried to determine the literary value of the text and the views of the writer. The analysis of the text covers the political and cultural landscape of Uzbekistan in the 1980-1990, the structure of the text, the relationship between the concepts of character, time and space. In addition, the language features and writing style of the work have been clarified.
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Struk, Ivanna Mykhaylivna. „Paremias as Means of Implementation of the Category of Intertextuality in the Dramatic Text of Bukovyna Writers“. Vìsnik Marìupolʹsʹkogo deržavnogo unìversitetu. Serìâ: Fìlologìâ 14, Nr. 24 (2021): 149–57. http://dx.doi.org/10.34079/2226-3055-2021-14-24-149-157.
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Paremic units as a means of intertextuality in the dramatic text of Bukovynian writers of the second half of the XIX – early XX centuries (Yu. Fedkovych, S. Vorobkevych, S. Yarychevsky) are analyzed in the article. Functional groups of paremias as a kind of communicative code of Bukovynians are singled out. The peculiarities of the use of set folk expressions in the dramatic works of Bukovynian writers in the corresponding communicative situation are examined. The system-forming category of a dramatic text is intertextuality – a versatile connection of the text with other texts in terms of content, genre and stylistic features, structure, formal and symbolic expression. The most realized intersemiotic relations in dramaturgy are the relations between verbal texts and texts that represent other semiotic systems. Within the theatrical performance there is a complementarity of verbal and musical within the song, painting and words, cinematic adaptation of the literary text, in particular, the transmission through visual images of verbal significance. In the DT of Bukovynian writers we pay special attention to paremias as a means of intertextuality. Paremia is the history of the Ukrainian people that is contained in concise but wise expressions. Paremias fully reflect all stages of the development of the nation's consciousness and historical events in the society. This is an example of the linguistic perfection of mankind. Paremias focus on the whole cognitive essence of man: history, experience, memory, imagination, worldview, sorrow and joy, suffering and happiness. Paremias are the highest manifestation of the folk spirit, the depths of folk philosophy, ethics and aesthetics in the dramatic works of Bukovynian writers. Drama (in comparison with other art forms) reproduces the vernacular, in which paremias are realized the most. In the works of Bukovynian playwrights we have focused on proverbs and sayings, distinguishing them into certain functional types of paremias that regulate relations between people in society; reveal popular ideas and observations on the development of society; characterize the nature of human speech; paremias, expressing peculiar moral and social precepts for person; paremia-assessment. On the other hand, paremic units recorded in the dramatic works of Bukovynian writers are a manifestation of the intertextuality of DT and certify the perception, understanding and knowledge of the human world. Paremias are the result of the collective speech activity of the people and they represent group and individual forms of human communicative behavior. They are kind of spiritual code of Bukovinians which regulates the life of each individual.
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ZHIYENBAYEV, Yerlan, und Shakhida JUMABAYEVA. „Literary Analysis of Sharof Boshbekov‟s Comedy «The Iron Woman»“. Turkology 107, Nr. 3 (30.09.2021): 44–56. http://dx.doi.org/10.47526/turkology.v3i107.728.
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Sharof Boshbekov, a unique writer, played an important role in the development of Uzbek drama in the 1980s. It is obvious that realism prevails in his plays. In the writer's works, the flaws of society are implied by humorous descriptions. His dramatic works depict the events and phenomena of that time, and not the depths of history. His works also critically describe the life of villagers and peasants. In this study, we analyzed Sharof Boshbekov's comedy “The Iron Woman” using the modern method of text analysis, which is widely used today in Turkish literature, and tried to determine the literary value of the text and the views of the writer. The analysis of the text covers the political and cultural landscape of Uzbekistan in the 1980-1990, the structure of the text, the relationship between the concepts of character, time and space. In addition, the language features and writing style of the work have been clarified.
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Özcan, Duygu Beste Başer. „Shattering Normalcy: Disability and Queerness in Tennessee Williams’s One Arm“. Modern Drama 66, Nr. 1 (01.03.2023): 48–70. http://dx.doi.org/10.3138/md-66-1-1251.
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In addition to his extensive body of dramatic work, Tennessee Williams also wrote several screenplays that are inseparable from his oeuvre in terms of both content and form. His plays and screenplays – which Williams himself referred to as “film plays,” indicating their hybridity – are sites where the playwright explores aesthetic possibilities that blur the line between stage and screen. Exploring similar themes, such as the oppression and suffering of women, disabled people, and queer individuals, Williams’s film plays also demonstrate his desire for new aesthetic formulations. This article analyses Tennessee Williams’s unfilmed film play One Arm (published in 1984) as a major but neglected moment in his dramatic exploration of disability and the non-normative body. As in his other writing, Williams shows in One Arm that heteronormative and ableist norms can push individuals to the edges of society by stigmatizing and pathologizing their identities. By depicting their social and cultural transgressions, Williams celebrates allegedly excessive and deviant behaviour as well as “abnormal” bodies. The article further argues that in One Arm, Williams calls attention to the importance of creating a sense of community among disabled and queer subjects for a livable crip/queer future, and he calls for allyship among these communities to overcome oppression.
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Abassilov, А. „SOCIOLINGUISTIC CONCEPTS OF K.MUKHAMEDZHANOV“. BULLETIN Series of Philological Sciences 74, Nr. 4 (09.12.2020): 11–15. http://dx.doi.org/10.51889/2020-4.1728-7804.01.
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The article deals with the socio-linguistic concept of eminent writer, playwright and translator Kaltai Mukhamedzhanov in the field of state language status, its role as mother tongue, the normalization of the literary language, the purity of the language, language culture, language ecology, language policy. These problems are analyzed in the article dividing them into three areas. The first is the problem raised in the writer's dramatic works in the field of language purity and its ecology. The second is the writer's statements and concepts regarding the dramatic language of writers, the stage language, the scope of the actor's use of the language on stage, and the Director's responsibility for the language culture. The third is sociolinguistic concepts of a public figure regarding the role and significance of language in society, in the sphere of language policy, and in the development of language as a state language in the territory of our Republic.
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CAULFIELD, MARY P. „Inseparable and No Longer Subsequent: The Relocation and Representation of Women in Irish Theatre Practices“. Theatre Research International 36, Nr. 3 (30.08.2011): 276–77. http://dx.doi.org/10.1017/s0307883311000514.
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Women as playwrights, directors, designers and actors have played an indisputably integral part in cultivating the theatrical landscapes of Ireland, but their work, however, has largely been overlooked. That said, this is not a new lament: the last twenty years of Irish theatre scholarship have sought to redress this gender imbalance by looking to women's involvement in the ‘imagining’ of the Irish nation. Colm Tóibín's Lady Gregory's Toothbrush (Lilliput Press, 2002) famously confirmed Augusta Gregory's co-authorship (with W. B. Yeats) of Kathleen ni Houlihan (1902). C. L. Innes's widely known Women and Nation in Irish Literature and Society, 1880–1935 (The University of Georgia Press, 1993), shed light on the ideologies behind the iconography of Mother Ireland, and Mary Trotter's Ireland's National Theaters: Political Performance and the Origins of the Irish Dramatic Movement (Syracuse University Press, 2001) revealed the impact of Maud Gonne and the all-women society the Inghinidhe na hÉireann (Daughters of Erin) on the development of the Irish National Theatre Society.
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Sliti, Adel. „Carol Ann Duffy's ‘Standing Female Nude’“. Critical Survey 35, Nr. 3 (01.09.2023): 1–16. http://dx.doi.org/10.3167/cs.2023.350301.
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Abstract The present article addresses the evocative potential of posing nude in Carol Ann Duffy's poem ‘Standing Female Nude’. My assumption is that the posing model/prostitute displays two bodies: the physical body and the signifying body. The interplay between both bodies triggers a process of signification whereby art is not simply a studio production but a meta-frame encapsulating a reflection on society, culture, self-representation and politics of identity. The poem substantiates the poet's experimental method of writing which draws on nude art genre, the dramatic monologue, theatre and metafiction. What the posing female nude recounts is not just experience of posing nude in a studio, but reflections on her body as a posing model and as a writing model or a narrative imbricating in its texture cynical comments and attitudes on artistic and socio-cultural values as the female model pokes fun at the reception of artistic work in the bourgeois society.
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Balan, Mihaela-Georgiana. „Dostoevskian Literary Poliphony as Lyrical-Theatrical Hypostasis of Sergey Prokofiev’s Opera The Gambler“. Artes. Journal of Musicology 21, Nr. 1 (01.03.2020): 19–35. http://dx.doi.org/10.2478/ajm-2020-0002.
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AbstractFyodor Dostoevsky’s perspective on humankind and society continues to intrigue any reader, whether specialized or from other areas of activity, due to the universality of the topics and the complexity of the characters involved. The novel entitled The Player depicts the life and specific concerns of 19th-century world society, a subject which attracted Sergey Prokofiev to compose a work with the same title, at the beginning of the 20th century. His opera is a unique work through the avant-garde musical language, the atypical construction of the discourse, the elements of style and conception of the libretto in relation to the original source. These elements generate a multiple correlation between the Dostoevskian prose, literary theory, the philosophy of language through studies and volumes of hermeneutic analysis, such as those signed by critic and semiotician Mikhail Bakhtin, on which we will focus our attention during this research. The terminology used by Bakhtin (dialogism, polyphony, ventrilogism, carnival) indicates a profound insight into the connection between Dostoevsky’s prose and the theatrical, dramatic, lyrical, musical aspects of the epic substratum in his novels. At the same time, Dostoevsky was an involuntary forerunner of the artistic movement initiated in Western Europe by German composers – Expressionism –, which also had echoes in the works of Russian composers from the first half of the last century, as we shall see in Sergey Prokofiev’s approach of The Gambler.
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Davidko, Natalya. „Violence in the History of England's Christianity: A Study on the Basis of Religious and Literary Discourse“. Athens Journal of History 10, Nr. 3 (07.05.2024): 213–50. http://dx.doi.org/10.30958/ajhis.10-3-3.
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The current article is concerned with the dialectics between power, society and religion at a most dramatic period of the English history – the Tudor Reformation, a time when prevalent Catholic ideas were challenged by the new faith creating a conflict which could not be reconciled for centuries. The transition to a new social order took a strongly religious character. The schism triggered a tsunami of violence that permeated and shaped all aspects of life, polity, and culture. In the current article, politico-theological foundations of violence are viewed in historical perspective including both ideology and practice. Making violence a focal point of the research, we study all the means mobilized to justify it as well as mechanisms and venues of propaganda whose aim was to exert influence on people's mind-set.
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Popovic Karic, Pol. „Los embaucadores enredados en Pedro Páramo“. Revue Romane / Langue et littérature. International Journal of Romance Languages and Literatures 43, Nr. 2 (17.09.2008): 273–85. http://dx.doi.org/10.1075/rro.43.2.08kar.
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Pedro Páramo by Juan Rulfo is a multifaceted novel that incorporates Mexican cultural traits into literature and shapes the concept of Hispanic narration. The novel recreates the dramatic struggle for survival and its intriguing maneuvers. The main characters Pedro Páramo and Susan San Juan implement strategies that bring together realism and fantasy in their respective efforts to control the society and remain free. This essay is based on a specific work and tries to raise questions about humanity in general.
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Berry, Ralph. „Love and Society in Shakespearean Comedy: A Study of Dramatic Form and Content. Richard A. Levin“. Modern Philology 84, Nr. 4 (Mai 1987): 426–29. http://dx.doi.org/10.1086/391579.
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Norets, Maxim V., und Olga B. Elkan. „Artistic means of representation of sociocultural issues in the works of Thomas Bernhard“. Philological Sciences. Scientific Essays of Higher Education 1, Nr. 6 (November 2021): 121–26. http://dx.doi.org/10.20339/phs.6-21.121.
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The article is devoted to sociocultural issues in the works of Thomas Bernhard, the Austrian writer and the playwright of the twentieth century. Born in 1931, the eyewitnesses of nazi transformations, Thomas was too young to resist them. The period of his personal formation was marked by the drams of a more personal, family character, which, nevertheless, later, the writer will always feel as closely associated with the historical destinies of the country and the world. His own childhood and adolescence, dramatic and traumatic, become for the writer permanent source of dramatic literary plots, the main characters of which will be confused, desperate people, losers and travels, unable to cope with the challenges of fate. In this case, the fiction in his works is often almost impossible to separate from the introduced autobiographical material. The numerous works of Bernhard demonstrate the Austrian mass consciousness, full of shame, guilt, disgust to yourself, escapism. Bernhard shows an acutely critical attitude towards the Austrian society and the state that did not get rid of the Nazi past. However, the writer does not declare his social views directly and unequivocally. Special inaccessibility and hints are much more characteristic of his prose. As a result of the analysis of the most striking works by Bernhard (“Frost”, “The Loser”, “Amras”, “Old masters”, “Yes”, “Correction”, “The Lime Works”, “Beton”, “Gargoyles”) some typical artistic techniques are identified — autobiographical reception, eccentricity, monologism (as a symbol of loneliness, removal, isolation from society, acute individualism and even sociophobia), emotional saturation (the spectrum of emotions is monotonous: most often it is deep disappointment, sadness and grief, anxiety and a cured fear), mosaic of narration, motivation of the reader to joint, “interactive” reflection and independent conclusions, some techniques of “musicalization” of literary text.
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Urtiaga, Rosa. „9/11 and the Power of the Network Society in Alejandro González Iñárritu’s Babel“. Miscelánea: A Journal of English and American Studies 50 (19.12.2014): 99–114. http://dx.doi.org/10.26754/ojs_misc/mj.20148783.
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In this article, I propose an analysis of Babel’s critique of unequal power relations in the global network society, in particular, after the 9/11 attacks. The events precipitated a new state-centered politics, which made military war on terror inevitable and justified, forgetting about the cosmopolitan concerns that, in the view of many, had started to flourish by the late 1990s, in the wake of the cold war. I draw on Manuel Castells’s belief that, although a network-based society is ideally a non-centered form of social structure, it is also a source of dramatic reorganization of power relationships. In this sense, my analysis suggests that Babel deviates from decentralized narrative conventions of ensemble movies, and that its uneven structure problematizes positions of domination and subordination in the global war on terror. In particular, Babel’s deviant structure is deconstructed as a parallel artifact of the film’s thematic critique of non-cosmopolitan power relations in the global network society.
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Bheacháin, Caoilfhionn Ní. „‘It was then I knew life’: Political Critique and Moral Debate in Teresa Deevy's Temporal Powers (1932)“. Irish University Review 50, Nr. 2 (November 2020): 337–55. http://dx.doi.org/10.3366/iur.2020.0474.
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This article argues that Teresa Deevy's early plays for the Abbey Theatre deliberately intervened in the cultural politics of the Irish Free State. While the focus here is on Temporal Powers (1932), Deevy's first two Abbey productions, The Reapers (1930) and A Disciple (1931), are also considered. Taken together, this article demonstrates how these plays present a striking critique of the new state under the Cumann na nGaedhael administration. Set in 1927, during the Land Annuities crisis, Temporal Powers meditates on the relationship of poor tenant labourers to the land and society they inhabit. In it, Deevy explores themes such as eviction, homelessness, emigration, justice, religion, grief, and poverty. This article introduces this little-known play, contextualises it, and discusses her treatment of key themes through an examination of characters, Shavian influences, dramatic structure and form.
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Iroh, Emmanuel O. „Adaptation of drama to storytelling for classroom teaching: the modern training institute, Uyo experiment“. UJAH: Unizik Journal of Arts and Humanities 23, Nr. 1 (31.08.2022): 263–86. http://dx.doi.org/10.4314/ujah.v23i1.10.
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The need to reduce the complex plot of a drama into a simple, uncomplicated, and enjoyable form through the adaptation of a drama to a story for classroom teaching is the pivot of this work. In traditional African societies, our forefathers used storytelling to teach children the norms and values of society. At the night, during moonlight, the storytelling mode was used, as children gathered under trees to hear stories from elders. Storytelling in the classroom will not only entertain children by making the class work lively and attractive but will also enable the teacher to inculcate all the intended lessons in his set objectives as well as help to mould the child’s character. This work is on the adaptation of Sons and Daughters (drama) by J C De-Graft to a story for classroom teaching. It is a qualitative study and is hinged on Dorothy Heathcote’s postulation that the content of dramatic experience is far more important than literary assumptions. Heathcote views dramatic content as the pivot on which the child’s learning experience revolves because, it will help the child to grow intuitively, and creatively and build confidence which enables him to take decisions. The study concludes that the techniques of adapting drama to story with emphasis on the thematic and dramatic contents as well as the dramatic methods used during the experiments: adaptations, storytelling, role-play, improvisation, reflection, and evaluation, helped the students in the textual interpretation and understanding of the lesson. The study recommends the adoption of participatory techniques to make classroom teaching an enjoyable experience for the teacher and the student.
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Fulkerson, Laurel. „Staging a Mutiny: Competitive Roleplaying on the Rhine (Annals 1.31-51)“. Ramus 35, Nr. 2 (2006): 169–92. http://dx.doi.org/10.1017/s0048671x00000862.
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Discussions of Tacitus' use of theatricality or dramatic episodes are nothing new, but these studies have primarily focused on the Neronian books, where they are seen as particularly appropriate. The notions of performativity and pageantry, however, pervade all of Tacitus' historical writing, even in places where they have not previously been sought. I focus in this article on how Germanicus' conduct while quelling the Rhine mutiny of 14 CE dangerously assimilates him to the German soldiers insofar as both treat the uprising as an opportunity to display their most flamboyant behaviours in an attempt to frame the mutiny in their own terms. I see each party as staging performances designed to carry weight with their audience and so render the actors' claims to truth more persuasive.But first a distinction must be drawn between acts that are merely extravagant (e.g. the ‘dramatic gesture’) and those which, whether extravagant or not, happen in front of a group that is thereby constituted as the audience to a performance; only the latter will be of interest here. Nearly all forms of public discourse in Roman society aim at persuasion, and the scholarship on the subject often encourages slippage between dramatic, theatrical and performative acts: not everything that happens on a stage is performative, and not everything done with an eye to effect is theatrical. I therefore, with some hesitation, use throughout this piece the designation ‘performative’ to indicate those behaviours reminiscent of things that happen on stage (or, sometimes, in oratorical contexts), and which,becauseof their already familiar nature, seek to construct the audience to them specifically as a passive audience, i.e. to create a ‘script’ for the situation that requires a certain kind of response. So, to take an example from Old Comedy, the use in Aristophanes'Thesmophoriazousaeby the character Euripides of scenes taken from his own tragic plots seeks to persuade the audience-within-the-play that his relative must be rescued; it is thus both performative and persuasive.
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Zdunkiewicz, Lech. „Three Layers of Metaphors in Ross Macdonald’s "Black Money"“. Text Matters, Nr. 9 (30.12.2019): 259–70. http://dx.doi.org/10.18778/2083-2931.09.16.
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In his early career, Kenneth Millar, better known as Ross Macdonald, emulated the style of Dashiell Hammett and Raymond Chandler. By the 1960s he had established himself as a distinct voice in the hardboiled genre. In his Lew Archer series, he conveys the complexity of his characters and settings primarily by the use of metaphors. In his 1966 novel Black Money the device performs three functions. In the case of minor characters, the author uses metaphors to comment on Californian society. Concurrently, metaphors describing major characters allow him to develop their dramatic arcs, whereas the recurring elements of the leitmotif serve to demonstrate the narrating detective’s growing concerns with the ongoing investigation. Arguably, it was Macdonald’s use of metaphors that helped define his unique voice.
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Hatley, Barbara. „Contemporary Indonesian Theatre in the Regions: Stage Idiom and Social Referentiality“. Theatre Research International 19, Nr. 1 (1994): 17–28. http://dx.doi.org/10.1017/s0307883300018782.
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In 1973, the poet and essayist Goenawan Mohamad wrote a lengthy and incisive defence of contemporary Indonesian theatre (that is to say, modern, Indonesian language plays of roughly the mid-60s onwards) against the complaints of its critics.1 The lack of dramatic and psychological development noted in many plays, the sketchy scripts, bizarre dramatic happenings, showy settings and inappropriate mixture of comic and serious elements—all of these purported ‘faults’, in Goenawan's view, were associated with the great strength of contemporary Indonesian theatre, its concern with the process of performance, and with intimate communication with its audiences. Previous playwrights had written worthy, wordy ‘schoolroom’ dramas, and members of a small European-educated élite performed them, for an amorphous, universal ‘general public’. Their view that the current minority position of modern theatre would strengthen as Indonesian society became better educated, at the same time revealed a sense of distance between plays and their public. But for the new breed of playwrights, people like Rendra, Arifin Noer and Putu Wijaya, who directed and performed in their own plays and were fully involved in the totality of production,2 there was no such gap. Spectacle and humour, colloquial, everyday language, and the improvisatory possibilities of sketchy scripts, served to entertain, engage and involve audiences drawn from a particular sector of society. Theatre audiences were identified by Goenawan as overwhelmingly young, educated but not used to reading. They had been brought up in a ‘post-literate’ culture of radio, television and film, influenced in some ways, certainly in its group-oriented entertainment habits, by the ‘pre-literate’ aural-oral regional cultures of their parents.