Journal articles on the topic 'Dansk dramatik'
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1
Nielsen, Poul Erik. "Film og TV-produktion i USA og Danmark." MedieKultur: Journal of media and communication research 11, no. 23 (September 2, 1995): 15. http://dx.doi.org/10.7146/mediekultur.v11i23.1047.
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Med baggrund i den amerikanske film og TV-industris historie diskuterer Poul Erik Nielsen i denne artikel de produktionelle og organisatoriske for- hold og sammenholder dette med den forandringsproces dansk film film og TV-dramatik står midt i. Han fremhæver centrale forskelle mellem det amerikanske og danske system men argumenterer for nædvendigheden af at etablere et samarbejde mellem film og TV-branchen i Danmark, hvis man vil sikre en national filmproduktion og populærkulturel TV-dramatik med bred gennemslagskraft i forhold til publikum.
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Ballebye, Marlene. "Sproget i Line Knutzons dramatik." Peripeti 2, no. 3 (March 14, 2024): 81–88. http://dx.doi.org/10.7146/peri.v2i3.143735.
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Marlene Ballebye undersøger "Sproget i Line Knutzons dramatik". Hendes artikel koncentrerer sig om Knutzons særegne sprog, metaforik og lyriske princip med fokus pa stykkerne Først bliver man jo født (1994) og dramatikerens seneste værk, Guitaristerne (2004). Spørgsmålet er, hvilke sproglige og metaforiskeprincipper, der stadfæster et nybrud inden for dansk dramatik, og hvordan det lyriske prmcip i monologerne i Først bli'r man jo født går igen i Guitaristerne. I undersøgelsen af Knutzons særlige metaforik læser Ballebye de to stykker i et henholdsvis modernistisk og klassisk lyrisk perspektiv. [The issue has been reconstructed from a scanned version of a printed issue, which might result in minor flaws in the text. This is also the cause of the odd page breaks.]
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Christoffersen, Erik Exe. "Redaktionelt forord." Peripeti 2, no. 3 (March 14, 2024): 4–11. http://dx.doi.org/10.7146/peri.v2i3.143731.
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Forordet gør bl.a. status over feltet "ny dansk dramatik" anno 2005. [The issue has been reconstructed from a scanned version of a printed issue, which might result in minor flaws in the text. This is also the cause of the odd page breaks.]
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Thygesen, Mads. "Making it new." Peripeti 2, no. 3 (March 14, 2024): 12–30. http://dx.doi.org/10.7146/peri.v2i3.143732.
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Tidsskriftet indledes med Mads Thygesens "Making It New?'', som fokuserer på Forlaget Dramas seneste udgivelser med henblik på at give et overblik over hovedtendenser i den aktuelle dramatik. Thygesen ser desuden nærmere på bøger om emnet og diskuterer, hvordan forskellige modernismekonstruktioner spiller ind i forskellige beskrivelser af ny dansk dramatik. I modsætning til den udbredte opfattelse, at samtidsdramatikken er karakteriseret ved formfornyelse, hævder artiklen, at kategorien "det nye" er problematisk, fordi jagten på "det nye" konstruerer et bestemt blik på samtidsdramatikken, som alt for let kommer til at skygge over de værker, som ikke passer ind i konstruktionen. [The issue has been reconstructed from a scanned version of a printed issue, which might result in minor flaws in the text. This is also the cause of the odd page breaks.]
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Bentzon, Karl-Henrik, Niels-Aage Nielsen, and Erik Nordahl Svendsen. "Ligheder og forskelle. En sammenligning af DR og TV2´s programudbud, seertal og vurdering i 1990 ud fra et public-service perspektiv." MedieKultur: Journal of media and communication research 8, no. 17 (August 29, 1992): 20. http://dx.doi.org/10.7146/mediekultur.v8i17.909.
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Danmarks Radio er i alle henseennder et eksempel på klassisk "public service" institution. Men hvad med TV2? Denne undersøgelse sammenligner samtlige programmer sendt fra hhv. DR TV og TV2 efter kl. 17.00 i 1990. Ud fra en summarisk kate- gorisering af programmerne konkluderer undersøgelsen, at TV2 i sit overordnede programudbud meget mere ligner en "public service"- institution end en kommerciel kanal. Denne konklusion får især tyngde, når nogle tyske kommercielle satellitkanaler inddrages i sammenlig- ningen. Men samtidig viser undersøgelsen, at DR og TV2 ikke er ens, når de to kanaler sammenlignes mere detaljeret. DR er mere "public service" orienteret end TV2. Det viser sig bl.a. i udbuddet af fakta, af dansk dramatik og af børneprogrammer. Alle seerdata i undersøgelsen er hentet fra AIM´s interviewundersøg- elser. Fra 1.1.1992 er TV-selskaberne gået over til at anvende AGB Gallups elektroniske TV-Meters (panel på 500 husstande med ca. 1200 personer). Undersøgelsen er også trykt i "Medieforskning i Danmarks Radio 1990".
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Galal, Lise Paulsen, and Garbi Schmidt. "Indedning: Islam, muslimer og forskningen." Tidsskrift for Islamforskning 10, no. 1 (November 28, 2016): 7. http://dx.doi.org/10.7146/tifo.v10i1.24868.
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I stedet for et abstract er her artiklens første side:
Konflikter i Mellemøsten, terroranslaget mod USA i 2001 og Jyllands-Postens Muhammed-karikaturtegninger i 2005 er blot nogle af de begivenheder, der i første halvdel af det nye årtusinde skabte fornyet offentlig interesse for islam og muslimer. Det er samtidig også begivenheder, der ved deres dramatik har betydet, at forskning i islam og muslimer i en dansk og global sammenhæng siden da har været præget af eller implicit har været i dialog med skiftende politiske dagsordner og interesser. Islam og muslimer var dog også inden det nye årtusinde genstand for en offentlig og forskningsmæssig interesse i Danmark. Denne udsprang ikke mindst af nye migrationsmønstre, hvor indvandrere og flygtninge med muslimsk baggrund siden slutningen af 1960’erne var begyndt at bosætte sig i Danmark. Disse begivenheder, sammen med opblomstringen af nye islamiske bevægelser og genopblomstring af islam i mellemøstlige og andre muslimske lande, satte gang i en forskning, der nysgerrigt forsøgte at forstå disse udviklinger. Islam og muslimer var ikke længere kun objekter for islamologer, religionsforskere eller regionale forskere, men i stigende grad temaer, der dukkede op inden for forskellige fagligheder. Initiativområdet Islam i nutiden er et eksempel herpå. Dette var en forskningssatsning igangsat af Statens Humanistiske Forskningsråd, der udbød forskningsmidler til studier af muslimske indvandreres kulturelle og religiøse forhold i Danmark. Et resultat heraf var udgivelsen af ni bøger i perioden 1984-1991, der dækkede emner (...)
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Toft, Mette. "Dramatisk dansk." Sprogforum. Tidsskrift for sprog- og kulturpædagogik 8, no. 22 (January 1, 2002): 58–61. http://dx.doi.org/10.7146/spr.v8i22.112405.
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Philipson, Lotte. "Kronik." Magasin fra Det Kongelige Bibliotek 6, no. 3 (December 1, 1991): 41–56. http://dx.doi.org/10.7146/mag.v6i3.66281.
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Indhold: Frimureri og Kultur; Godt bogarbejde 1989/90; Forening for Boghaandværk; Danske breve i Universitetsbiblioteket i Oslo; Kommissionen for Registrering af Kilder til Dansk Historie; Det Kongelige Danske Videnskabernes Selskab; Årets sommerkoncerter; Brugen af Dramatisk Bibliotek voldsomt stigende; Det kongelige Bibliotek og dets fjernlånspartnere; bibliotekets moderniseringsprogram; Ny bog: Kronborg-Brunnen und Kronborg-Motetten; Udlån til udstillinger; Det kongelige Biblioteks Garderobe er nedlagt; Erhvervelser; Besøg; Personalia;
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Kragebæk, Thomas D., and Thomas Rosendal Nielsen. "Dramatiske refleksioner." Peripeti 5, no. 10 (January 1, 2008): 151–57. http://dx.doi.org/10.7146/peri.v5i10.110803.
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Forlaget DRAMA udgiver hvert år 35-40 dramaer af både etablerede og debuterende danske dramatikere. Vi har kigget på 37 af de stykker, der er udgivet mellem 2006 - 2008. 17 af disse dramaer reklamerer med et engagement i aktuelle samfundsmæssige problemstillinger.
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Horton, David. "Social deixis in the translation of dramatic discourse." Babel. Revue internationale de la traduction / International Journal of Translation 45, no. 1 (July 23, 1999): 53–73. http://dx.doi.org/10.1075/babel.45.1.05hor.
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Abstract Pronominal modes of address are an instance of the kind of structural incompatibility between languages which presents a considerable challenge to the translator. Indeed, they have been described as an "impossibility of translation" (Lyons). The structural contrast between English and most other European languages with regard to this feature has significant implications for literary translations, since address behaviour encodes social relations and thus functions as an important signal of unfolding interpersonal dynamics in texts. This article explores the implications of divergent address systems in the translation of dramatic discourse, using examples from French-English and English-German translation to illustrate the problems involved. In the first case, the absence of differentiated second-person pronouns in modern English means that other signals have to be found to encode the social dynamics of the text. In Sartre's subtle exploration of shifting human relations in Huis Clos/In Camera we witness a constant switching between the "tu" and "vous" forms of address as the characters seek to establish their roles. Translation into English inevitably results in a loss of explicitness and the introduction of alternative indices of interpersonal relations. In translation from English into German, on the other hand, as an analysis of Pinter's The Caretaker/Der Hausmeister demonstrates, selection between the "du" and "Sie"-forms becomes necessary, and a further level of differentiation is added to those available in the original. Here, pronominal choice presupposes a careful analysis of the dynamics of the text, and results in an explicitation of the attitudinal nuances of the original. In both cases, the process of translation implies a re-encoding based on the translator's individual conception of the source texts. The issue under discussion thus emerges as an archetypal feature of literary translation, showing how the latter manipulates texts by opening up some interpretive possibilities and closing down others. Résumé Les pronoms appellatifs sont un exemple du type de l'incompatibilité structurelle entre les langues qui représente un défi considérable pour le traducteur. En fait, ces pronoms ont été décrits comme une "impossibilité de traduction" (Lyons). Le contraste structurelle entre l'anglais et la plupart des autres langues européennes vis-à-vis de cet aspect a des implications significatives pour la traduction littéraire, car la façon de s'adresser encode des relations sociales et fonctionne donc comme un signal important d'ouverture des dynamiques interpersonnelles dans les textes. Cet article explore les implications des systèmes divergents d'appellation dans la traduction du discours dramatique, en utilisant des exemples de traduction français-anglais et anglais-allemand pour illustrer les problèmes. Dans le premier cas, l'absence de pronoms de la seconde personne différenciés dans l'anglais moderne signifie que d'autres signaux doivent être trouvés pour encoder la dynamique sociale du texte. Dans l'exploration subtile de Sartre des glissements de relations humaines dans Huis Clos (en anglais In Camera), nous sommes les témoins d'un transfert constant entre les formes d'abord "tu" et "vous", alors que les personnages cherchent à définir leurs rôles. La traduction vers l'anglais résulte inévitablement en une perte d'explicité et l'introduction d'indices alternatifs pour les relations interpersonnelles. Dans la traduction de l'anglais vers l'allemand, telle que le démontre une analyse de The Caretaker de Pinter (en allemand Der Hausmeister), le choix entre les formes de tutoiement et de vouvoiement devient nécessaire, et un niveau ultérieur de différenciation s'ajoute à ceux disponibles dans l'original. Ici le choix pronominal présuppose une analyse soigneuse de la dynamique du texte, et se conclut par une explicitation des nuances d'aptitude de l'original. Dans les deux cas, le processus de traduction implique un ré-encodage basée sur la conception individuelle du traducteur des textes sources. Le point discuté apparaît donc comme une caractéristique de type archétypal de la traduction littéraire, indiquant comment cette dernière manipule les textes en les ouvrant à certaines possibilités d'interprétation et en les fermant à d'autres.
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Closel, Régis Augustus Bars. "Utopia and the Enclosing of Dramatic Landscapes." Renaissance and Reformation 41, no. 3 (November 12, 2018): 67–92. http://dx.doi.org/10.33137/rr.v41i3.31542.
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This article focuses on the enclosing of the land as depicted in More’s Utopia (1516); the anonymous domestic tragedy, Arden of Faversham (1589); and the Carolinian play, A Jovial Crew (1641), by Richard Brome. It discusses how the relationship between the multiple resulting changes in the environmental, social, and economic landscape gave rise to important points for action and social debate in early modern English fiction, in which the customary pre-Reformation past is as irreconcilable as a fictional utopian world. This article argues that the emerging profitability of the newly and increasingly enclosed topography as imagined in Utopia appears in Thomas Nashe’s The Unfortunate Traveller, and its initial consequences are disclosed in the anonymous Arden, only to spread through generations of social displacement in Richard Brome’s Jovial Crew, by which time an absurd realignment of the relationship between beggary and ideal worlds is taking place in drama.
Cet article se penche sur le phénomène d’enclôture des terres tel que Thomas More le décrit dans l’Utopie, dans la tragédie anonyme intitulée Arden of Faversham (1589) et dans la pièce carolinienne A Jovial Crew (1641) de Richard Brome. On montre d’abord comment les différentes conséquences environnementales, sociales et économiques ont donné lieu à des mouvements et des débats sociaux au sein de la fiction anglaise moderne, où la l’histoire convenue du passé précédant la Réforme paraît tout aussi éloignée que la fiction d’un monde utopique. On avance que les possibilités de profit qu’offre la nouvelle topographie de terres de plus en plus clôturées, ainsi que l’imaginait l’Utopie, sont évoquées dans la pièce The Unfortunate Traveller de Thomas Nashe, que les conséquences de ces changements apparaissent dans la pièce Arden, et que les déplacement sociaux qui y ont fait suite pour des générations se retrouvent plus tard dans la pièce de Richard Brome ; à cette période, le théâtre procède à un absurde réalignement du lien entre les mondes idéaux et la mendicité.
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Annequin, Jacques. "Espaces, dramatis personae, rapports sociaux dans le "Conte" de Psyché." Dialogues d'histoire ancienne 20, no. 2 (1994): 227–76. http://dx.doi.org/10.3406/dha.1994.2187.
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KHETTAL, Sara. "Peur et Amour, émotions sémiotisées dans la scène Communion de KWAHULE Koffi." ALTRALANG Journal 5, no. 2 (November 15, 2023): 156–68. http://dx.doi.org/10.52919/altralang.v5i2.328.
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ABSTRACT: Dramatic art is imbued with emotion. A semiotic emotion analysis in the dramatic discourse is the subject of this article, particularly in the Communion scene of the play Nema by Afro-European playwright KWAHULE Koffi. The linguist Raphaël Micheli identified the "emotional language" in speech through signs present in the speech. The dominant emotion in this scene is the implicit passion announced in the title. The playwright arouses the experience of love in his spectator/reader.
RESUME : L’art dramatique est imbibé par l’émotion, une analyse sémiotique de l’émotion dans le discours dramatique est l’objet de cet article notamment dans la scène Communion de la pièce Nema du dramaturge afro-européen KWAHULE Koffi. Le linguiste Raphaël Micheli tente de repérer le « langage émotionnel » dans le discours par le biais de signes présents dans le discours. Ainsi, l’émotion dominante dans cette scène est celle de la passion qui est implicitement annoncée dans le titre. Le dramaturge suscite donc l’éprouvé de l’amour chez son spectateur/ lecteur.
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Todic, Sofija. "Ibsen’s Danse Macabre: The importance of auditory elements in Henrik Ibsen’s drama John Gabriel Borkman." Muzikologija, no. 13 (2012): 163–80. http://dx.doi.org/10.2298/muz120130017t.
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In the drama John Gabriel Borkman Ibsen attributes great importance to sounds. The contrast between presence and absence of sounds, other sound effects and especially the Danse Macabre played on the piano emphasize the drama?s eerie atmosphere. Danse Macabre can be also seen as the drama?s key metaphor, and it connects the first and the second acts and creates unity of time and action. The allegorical meanings of this composition can serve as a paradigm in the interpretation of each character, their relations, and the whole dramatic action even. The focus of this work is on the auditory layer of the drama, emphasizing the important function of the auditory included in a dramatic work.
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Kucharuk, Sylwia. ""I have memory, therefore I exist" - the memory-oblivion dichotomy in the dramatic works of Matéi Visniec." Romanica Olomucensia 31, no. 2 (July 1, 2019): 243–54. http://dx.doi.org/10.5507/ro.2019.017.
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Felton-Dansky, Miriam. "From a Weather Report." Theater 50, no. 2 (May 1, 2020): 79–93. http://dx.doi.org/10.1215/01610775-8154847.
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Miriam Felton-Dansky offers an introduction to the writer Sylvan Oswald and proposes that his work High Winds expands the boundaries of dramatic art by reshaping the form and the architectonics of trans storytelling. According to Felton-Dansky, “Changing the format of communication might change not only how we talk to one another but also what long-lost phantoms we might be able to access anew.”
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Fitzpatrick, Joan. "The "sweet-gorged Maw": Feeding and Physic in the Elizabethan Dramatic Life of Sir Thomas More." Renaissance and Reformation 31, no. 3 (January 1, 2008): 51–67. http://dx.doi.org/10.33137/rr.v31i3.9168.
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La description que fait Anthony Munday de Sir Thomas More dans la pièce de théâtre du même nom est cohérente avec l’approche anti-catholique de Munday observable dans ses autres écrits, ainsi qu’avec son caractère fuyant. À travers toute cette pièce, des préoccupations au sujet de la sécurité nationale et du comportement des étrangers sont exprimés en termes de nourriture et d’alimentation, lesquelles marquent également la représentation de More. Alors que les biographes du martyr Thomas More le dépeignent comme un catholique modéré, voire ascétique, la pièce de Munday révèle plutôt un Thomas More davantage enclin aux plaisirs culinaires, avec le résultat qu’il y est présenté comme un hypocrite.
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Rabow-Edling, Susanna. "Jeg kommer snart hjem – en beretning om en dansk udvandrerfamilies dramatiske tilværelse." Nordisk Østforum 24, no. 01 (April 14, 2010): 85–87. http://dx.doi.org/10.18261/issn1891-1773-2010-01-07.
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Salazar Lama, Daniel. "Dramatis personae del programa escultórico de la Subestructura IIC de Calakmul / Dramatis personae of the sculptural project of Calakmul's Substructure IIC." Revista Trace, no. 83 (January 31, 2023): 188. http://dx.doi.org/10.22134/trace.83.2023.893.
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Actualmente, está en proceso un ambicioso proyecto de reconstrucción y análisis de la Subestructura II C de Calakmul, Campeche, México. Su programa escultórico, con al menos dos frisos, igual número de mascarones y fachadas, resulta de especial interés, ya que podría darnos una clave para interpretar y entender el lugar. Este breve estudio se enfoca en identificar los personajes representados en estas imágenes, como un primer paso en la comprensión de las escenas y el significado que aportan al entorno construido.Abstract: An ambitious project to analyze and reconstruct virtually the Substructure II C of Calakmul, Campeche, Mexico, is currently underway. The substructure sculptural program, with at least two friezes and an equal number of masks and facades, is of particular interest since it could give us a key to interpret and understand the place. This brief study focuses on identifying the characters represented in these images as a first step in understanding the scenes and the meaning they bring to the built environment.Keywords: Maya gods; Calakmul; Maya iconography; Chaahk; Maya maize god.Résumé : Un projet ambitieux de reconstruction et d’analyse de la sous-structure II C de Calakmul, Campeche, Mexique est actuellement en cours. Son programme sculptural, avec au moins deux frises, autant de masques et de façades, présente un intérêt particulier, car il pourrait nous donner une clé pour interpréter et comprendre le lieu. Cette brève étude se concentre sur l’identification des personnages qui peuplent ces images, comme une première étape dans la compréhension des scènes et du sens qu’elles apportent à l’environnement bâti.Mots-clés : dieux mayas ; Calakmul ; iconographie maya ; Chaahk ; dieu maya du maïs.
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Bourdin, Philippe. "Théâtre et sociétés dans la France de la révolution." Romanica Wratislaviensia 67 (July 23, 2020): 31–52. http://dx.doi.org/10.19195/0557-2665.67.3.
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The theatre, a very often-frequented place from the 1770s, is at the junction of several socie-ties: that of the shareholders who own the auditorium and privileges; that of the artists; that of the spectators; that of amateurs who are formed in bourgeois circles and then in patriotic dramatic so-cieties. Commercial freedom, activist investment, the wars born of the French Revolution, emigra-tion, indeed, upset theatrical structures. Halls and troops then multiply, and dramatic practices gain previously unfamiliar spaces for entertainment. Theatre becomes not only an economic issue, but also a political one, posing and addressing long term issues of profitability, social order, and public order. Theatre enables social reconversions, but professional troops are also sometimes divided by the artists’ political choices. They are challenged by amateurs whose commitments are more in line with the wishes of the successive regimes.
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Михальченко, Тетяна Вікторівна. "La stylistique baroque dans le theatre de Corneille." Літератури світу: поетика, ментальність і духовність 5 (June 25, 2015): 105–12. http://dx.doi.org/10.31812/world_lit.v5i0.1236.
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The article highlights the influence of baroque aesthetics on Cornelius’s drama. The author’s numerous plays preserves baroque traditions on the level of the plot, dramatic emotions and the concept of characters. The usage of theatrical baroque devices has been researched as a means of reflecting variability and dynamics of life, contradictions and antinomies of the epoch.
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Bombard, Françoise. "Les silences dans la dramaturgie giralducienne." Quêtes littéraires, no. 7 (December 30, 2017): 123–31. http://dx.doi.org/10.31743/ql.165.
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Technical and rhetorical devices used by Giraudoux to indicate silence vary during its dramatic production. Silences have to do with relationships of the characters, both emotionally and dialogal, and are sometimes loaded the unspoken or unspeakable. By their relationship to the word and to the game, they are at the heart of a dramaturgy that oscillates between mimesis and rupture. And certain silences are like the limit assigned to the power of words in a theater yet claimed as literary.
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Benisz, Henryk. "Sztuka cierpienia w dramacie życia według Nietzschego. Preludium dionizyjskie." Acta Universitatis Lodziensis. Folia Philosophica. Ethica-Aesthetica-Practica, no. 19/20 (January 1, 2007): 5–28. http://dx.doi.org/10.18778/0208-6107.19-20.01.
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In der Zeit als die brüchige Existenz Nietzsches sich dem Ende neigte, entscheidet er sich für eine Retrospektion seines Lebens. Obwohl es ein endloses Ringen mit der Krankheit und Leiden war, Nietzsche bewertet es positiv, ja sogar drückt dafür seine Dankbarkeit aus, daß er sich besser kennenlernte und sein Potential vervollkommen konnte. Empfundenes Leid solidarisiert ihn mit Dionysos, der Schmerz der Zergliederung erfahren hat, aber auch Freude an vielmaliger Geburt zu neuem Leben. Dieselbe Freude ewigen Daseins sieht er beim Christus nicht und Christentum ist für ihn nur ein Ausdruck des Widespruchs gegenüber der Grundlage des Lebens. Nietzsches antichristliche Philosophie zeigt im Symbol des Dionysos eine unbedingte Liebe zum Leben mit allem, was es mit sich bringt. Formel amor fati ist ein Ausdruck schöpferischen Selbstverständnises eines Menschen, dank welchem die einzelne Existenz seinen eigentlichen Sinn aufnimmt.
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Cogitore, Isabelle. "Manipulations du temps dans les Annales de Tacite." Vita Latina 185, no. 1 (2012): 126–40. http://dx.doi.org/10.3406/vita.2012.1736.
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In the first two books of the Annals, Tacitus appears to be a master of manipulation of time : indeed, references to the past are involved in a non-continuous chronology, and many flashbacks interrupt the storyline in a dramatic movement. In addition, two events are recalled on several occasions : the defeat of Varus and the death of Augustus appear several times, leading to assumptions about the reason for these repetitions.
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Andersen, Elin. "Naturen som mantra." Peripeti 13, no. 24 (January 1, 2016): 92–97. http://dx.doi.org/10.7146/peri.v13i24.109533.
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Essay af Elin Andersen, hvor hun kaster et blik på den første danske teaterkritiker Peder Rosenstand-Goiske, der inspireret af Riccoboni og Lessings ønske om naturlighed på scenen fremprovokerede voldsomme reaktioner med sine kritiske teater i sin Dramatikse Journal.
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Pierre, Maxime. "Le monologue d’entrée de rôle dans les tragédies de Sénèque : de l’animation du personnage à la rencontre." Vita Latina 200, no. 1 (2020): 156–70. http://dx.doi.org/10.3406/vita.2020.2035.
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Entrance monologues are one of the most striking features of the characters in Seneca’s tragedy that we don’t find in his Attic models. Often seen as a psychological parenthesis, this specificity is supposed to create a break in the dramatic action. However, if we go back to the text of those scenes, we can understand them as a theatrical device : they allow the entering character to give life to his mask and prepare his meeting with other characters. Entrance monologues are linked with physical descriptions and create a dramatic tension at every new entrance of a character in the play.
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de Ruyter, Danièle. "Fascination de la Tragédie Racinienne: résonances dans." Samuel Beckett Today / Aujourd'hui 24, no. 1 (December 1, 2012): 57–72. http://dx.doi.org/10.1163/18757405-024001004.
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Beckett's interest in Jean Racine is well known, but the publication of notes taken by students in the course Beckett gave at Trinity College permits us to see more precisely what particularly interested him in the classical French tragedian's dramaturgy. Focusing on the parallels between Beckett's and Racine's three favorite plays, , and , this study aims to locate points of commonality by means of the functioning of dramatic categories or, more precisely, to highlight how, beyond any citational impact, one finds in Beckett's dramaturgy an echo, a resonance of the tragic Racinian universe and even of the very structure of his tragedies.
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Hillman, Richard. "Towards a Typology of Cross-Channel Dramatic Borrowings: The View from the White Cliffs." Renaissance and Reformation 40, no. 3 (November 24, 2017): 109–32. http://dx.doi.org/10.33137/rr.v40i3.28738.
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Scholarship on the diverse ways in which early modern English playwrights “translated” French textual material, dramatic and otherwise, has by now accumulated enough specific instances to justify an overview of methods and results. There are few outright translations of French plays, but the field widens considerably when adaptations and appropriations of various kinds are added to the picture. It then becomes possible to identify a variety of intertextual experiences that implicate audiences in issues of genre, religion, and politics.
Les recherches sur les différentes approches avec lesquelles les dramaturges anglais des débuts de la modernité ont « traduit » des oeuvres littéraires françaises de tous genres, ont accumulé suffisamment d’études de cas pour permettre un examen global de leurs méthodes et des résultats correspondants. On trouve en réalité peu de traductions intégrales de pièces de théâtre de langue française, mais le corpus s’élargit considérablement lorsqu’on tient compte des adaptations et des appropriations textuelles de différentes sortes. Cela devient alors possible d’identifier une variété d’effets intertextuels engageant spectateurs et lecteurs dans des questions du genre, de la religion et de la politique.
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Parisse, Lydie. "Le théâtre intérieur de Maurice Maeterlinck dans La Mort de Tintagiles." Cahiers ERTA, no. 21 (2020): 83–97. http://dx.doi.org/10.4467/23538953ce.20.005.12026.
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Maeterlinck`s Innertheater in Tintagile`s death Tintagile’s death (1894) is an etape in the Maeterlinck’s work. This drama bears the strong imprint of a decisive évent in the life of the author : the discovery of the writings of the médieval Flemish mystic Ruysbroeck, of wich he became the translator from 1885 to 1888. The langage of mysti‐ cism allows a renowal of writing and dramatic aesthetics.
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Wołowski, Witold, and Renata Jakubczuk. "Identité migrante et ses manifestations discursives dans Trilogia de Marco Micone." Studia Romanica Posnaniensia 51, no. 1 (April 18, 2024): 83–96. http://dx.doi.org/10.14746/strop.2024.51.1.6.
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This article – focused on three plays that make up Marco Micone’s dramatic trilogy (Gens du silence, Addolorata, Déjà l’agonie) – consists of two parts. First, it outlines the historical-political environment of Quebec in the context of immigration and identity issues. Then, the article analyzes some compositional and linguistic aspects – micro- and macrostructural – linked to the migrant identity of the protagonists (monology, adialogism, plurilingualism, metalinguism).
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Abou Soughaire, Tarik. "L'aspect thématique de Djihad dans le théâtre de Ismael Saidi." Symbolon 23, no. 1 (2022): 29–49. http://dx.doi.org/10.46522/s.2022.01.3.
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The evolution of the theater is always articulated in competition with the development of its themes due to the fact that the playwright most often presents to his audience plays containing themes that are familiar to him, which are drawn from the time in which he lives and which evoke for him an obvious reality, which he could witness. In this context, it should be noted that Jihad represents one of the themes that have occupied a primordial place on the international scene in recent decades. This is why certain studies have been carried out in order to deal with this phenomenon and to determine its dimensions and main causes. Insofar as the theater was forever and still remains the most faithful and sensitive barometer of the social, sociological and ideological changes of the human race, it extends to play a major role in order to shed light on this paradoxical phenomenon and dealing with it. Certain courageous contemporary playwrights, of whom we stopped on Ismaël Saïdi, did not hesitate to take the step to treat this topic via their dramatic works. This author does not only seek to approach jihad from his dramatic art, but rather he gave the name to one of his plays, "Djihad" which appeared in 2014 and which represents the object of this study.
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MacKenzie, Clayton. "Of death and dukes: "King Henry VI Part 2" and the "danse macabre"." Journal of English Studies 13 (December 15, 2015): 71. http://dx.doi.org/10.18172/jes.2788.
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William de la Pole, 1st Duke of Suffolk, was captured and murdered by English sailors on 2 May 1450. The event is dramatically re-enacted in Shakespeare’s early history play King Henry VI Part 2. Shakespeare’s version differs markedly from known sources. In particular, the dramatist frames the death of Suffolk as a danse macabre experience in which the victim is taunted, diminished and ultimately dragged off to the grave. The Protestant Reformation had liberated a swathe of Roman Catholic iconographies, the danse macabre amongst them, breaking them free from their traditional semantic moorings and allowing them to find novel significances on the Elizabethan stage. King Henry VI Part 2 represents a preliminary engagement with the danse macabre, a search for new possibilities and new meanings. The danse macabre form is used more coherently and cohesively in later Shakespeare plays but King Henry VI Part 2 appears to be an early, deliberate attempt to explore its potential.
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Gevrey, Françoise. "Aspects et fonctions des sons dans Cleveland de l’abbé Prévost." Topiques, études satoriennes 6 (February 15, 2023): 1–14. http://dx.doi.org/10.7202/1096707ar.
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In writing Cleveland, his famous memoir-novel, l’abbé Prévost gives great importance to sounds. He first insists on the noises in the action, and on the voices of the characters (cries, emotions, seduction). Beyond this physiological precision, the novelist uses music in several episodes and gives it a role in the search for happiness. The novel can even be compared to an opera in its construction, its scenery and its situations. As a result, sounds contribute to the moral and dramatic expression of feelings.
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Mpandi Oleta, Lucrès Destin, and Anatole Mbanga. "Ironie et subjectivité dans la presse écrite congolaise." Cahiers Africains de rhétorique 1, no. 2 (December 30, 2022): 63–75. http://dx.doi.org/10.55595/mmo2022.
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This article examines the use of irony as a persuasive strategy in the service of the subjectivity of the journalist in the Congolese print media. It approaches the procedures of irony from a semantic-pragmatic and enunciative perspective in order to highlight the subjectivity of the speaker and the effects generated by these uses on the reception of the message. The aim is precisely to see how, through the use of irony, the journalist tries to persuade and influence his readers. In this way, he displays his positions, his vision and his judgement of both the politicians and the socio-political and dramatic realities of the country. Keywords: Irony, subjectivity, Congolese written press.
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Lecossois, Hélène. "Les vestiges du corps dans le théâtre de samuel beckett." Samuel Beckett Today / Aujourd'hui 20, no. 1 (December 1, 2008): 259–69. http://dx.doi.org/10.1163/18757405-020001021.
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This article intends to study the main ways in which the body is materially presented in Samuel Beckett's dramatic work. Play after play, palpable signs of the body's presence are progressively reduced, and yet, paradoxically, the body is no less omnipresent. The positioning and the lighting of the body determine the emergence of the stage image and contribute to the development of the spatiotemporal structure. The body determines the contours of this structure and impresses its form upon it, as proven by the many bodily metaphors and 'borborygms' that can be heard in Beckett's plays.
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Louar, Nadia. "La Figure Du Bilinguisme Dans L'Œuvre Théâtrale de Samuel Beckett." Samuel Beckett Today / Aujourd'hui 17, no. 1 (November 1, 2007): 314–30. http://dx.doi.org/10.1163/18757405-017001022.
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In this paper I try to analyze the bilingual principle as it shows up in Beckett's theatre. I am going to define first the bilingual phenomenon as I conceive it in my study so as to demonstrate its equivocal modalities of repetition. I shall continue by identifying the dramatic processes by which the principle of repetition is transferred on the scene. I take in account in the following the dantesque characteristics of the scenography such as it was conceived by Beckett with the intention to reconsider the literary filiations of 'his' Belacqua and to analyze its implications in the work.
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Gubińska, Maria. "Dialogue de la littérature et la peinture dans Femmes d’Alger dans leur appartement d’Assia Djebar." Quêtes littéraires, no. 6 (December 30, 2016): 100–107. http://dx.doi.org/10.31743/ql.217.
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The paper presents the phenomenon of hybridity present in Assia Djebar’s writings based on the example of the collection of short stories entitled Femmes d’Alger dans leur appartement (Women of Algiers in Their Apartment). The title of the collection makes reference to famous paintings by Delacroix and Picasso but in doing so the author also supplements the Europocentric discourse with her own voice, the voice of a Francophone Algerian writer who, holding a dialogue with the painters, breaks with exoticism and the orientalising European approach. The dialogue with painting is accomplished on two levels; the first, diegetic and second, essayistic; in ‘The Overture’, and especially in ‘The Afterword’, which is not only a commentary to the painting works by Delacroix and Picasso, but also a complementation of the literary plot. The permanent link of Djebar’s writings to the dramatic present and the remembrance of the women deprived of their voice and subjected to reification is voiced powerfully in the work, which cannot be easily evaluated as it is very diverse in its references to other fields of art.
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Aygon, Jean-Pierre. "Redit memoria... (v. 768) : l’intériorisation du conflit tragique dans Oedipus de Sénèque." Vita Latina 187, no. 1 (2013): 146–63. http://dx.doi.org/10.3406/vita.2013.1759.
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Unlike Sophocles’ portrayal of oedipean tragedy which lays claim to flawless construction, Seneca’s Oedipus is often both misunderstood and the object of negative critique. However, if properly considered, the didactic coherence of Seneca’s tragedy clearly elucidates the quintessential elements that are played out in the dramatic advance of Oedipus’ mercurial states of mind and emotions, i. e. his obsessional fears, blindness, self-contradictions, duplicities etc. Therefore Seneca’s Oedipus is entirely consistent with the Stoic conception of passion, fate and responsibility.
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Danan, Joseph. "LA DRAMATURGIE AU TEMPS DU « POSTDRAMATIQUE »." Cena, no. 29 (December 4, 2019): 4–13. http://dx.doi.org/10.22456/2236-3254.98144.
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Quelque chose est en train de transformer en profondeur le théâtre. Hans-Thies Lehmann a eu le mérite de nommer ce phénomène en avançant la notion de « théâtre postdramatique » – même si cette expression est discutable dans la mesure où ces nouvelles formes n’annulent pas nécessairement le drame. Le théâtre du XXe siècle était basé sur le paradigme d’un « art à deux temps » (Henri Gouhier). L’auteur écrit une pièce, puis le metteur en scène s’en empare et la monte. C’est l’utopie d’Artaud, celle d’un « créateur unique », qui semble prendre corps en ce début de XXIe siècle. La dramaturgie se trouve inévitablement affectée par cette évolution : évidemment, dans son premier sens, l’art d’écrire une pièce, lorsque l’écriture et la mise en scène se produisent dans le même mouvement ; mais aussi dans son sens moderne, lorsque le terme s’applique au passage à la scène d’une pièce préexistante. Entre la transformation d’une œuvre dramatique en matériau pour la scène, sans prendre en compte sa structure dramatique, et l’imposition d’une « grille de lecture » rigide, il devrait y avoir encore place pour une dramaturgie ouverte et sensible, créant les conditions d’une expérience pour le public.Mots-clésDramaturgie. Dramaticité. Ecriture dramati- que. Théâtre « Postdramatique ». Performance. Expérience.
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Niedokos, Judyta. "Entre menace et salut: l’eau dans l’univers théâtral de Michel de Ghelderode." Lublin Studies in Modern Languages and Literature 42, no. 3 (October 5, 2018): 44. http://dx.doi.org/10.17951/lsmll.2018.42.3.44.
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<p>The article analyses the motif of water in theatrical plays of the Belgian writer Michel de Ghelderode. It is demonstrated that in his dramatic texts the motif/image of water is not merely a background to the plot but carries some important meanings, usually oscillating between threat and salvation. The analyses proposed in the article focus on these two meanings, on the basis of four theatrical plays which most visibly emphasise them, giving water a particular place in the presented world.</p>
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Miñano Martínez, Evelio. "L’auteur et ses personnages dans le caléidoscope spéculaire du théâtre de Matei Vișniec." Caietele Echinox 39 (December 1, 2020): 239–54. http://dx.doi.org/10.24193/cechinox.2020.39.17.
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"Matei Vișniec’s dramatic universe is characterized by its frequent mises en abyme and metalepsis. Therefore, total or partial reflections of the work in the work, as well as transgressions between reality and fiction, or between the different levels of fiction in the same work are frequent. In this specular and metaleptic kaleidoscope, the encounters between the author and the characters are particularly relevant. These encounters reveal the author’s attitude towards power and censorship, as well as his subversive methods. However, they are also related to the deep tensions of the author’s creative process."
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Simon, Fransoise. "La Théâtralité Dans Samuel Beckett: Essai de dramatisation de à partir des signes graphiques, phoniques et corporels." Samuel Beckett Today / Aujourd'hui 17, no. 1 (November 1, 2007): 391–404. http://dx.doi.org/10.1163/18757405-017001027.
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Turning our attention to we had as a goal to search its theatrality and the signs in the text that show the dramatic potentialities of it. To understand what these signs can bear in them one has to experience them as an actor. The presence, the body and the voice of the actor should mould the words in the way a painter or a sculptur works on his material.
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Magniont, Gilles. "Un spectacle idéal : l’indépassable raillerie des Provinciales." Littératures classiques N° 110, no. 1 (September 20, 2023): 159–71. http://dx.doi.org/10.3917/licla1.110.0159.
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Si Les Provinciales ont si brillamment incarné l’idéal de la fine raillerie , c’est sans doute qu’elles ont su produire le spectacle des maximes jésuites, théâtre de mots plus que d’individus dont les honnêtes gens peuvent rire sans enfreindre cette nouvelle bienséance morale et esthétique. Dans ses lettres, Pascal dramatise la découverte de ces mots, matérialise leurs contours, exhibe et manipule jusqu’au grotesque la pensée des jésuites, qui acquiert ici l’évidence sensible d’une matière risible.
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Balthazar, Scott L. "Aspects of form in the Ottocento libretto." Cambridge Opera Journal 7, no. 1 (March 1995): 23–35. http://dx.doi.org/10.1017/s0954586700004390.
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In 1823, Alessandro Manzoni engaged a continuing debate over the merits of ‘Aristotelian’ unities of time and place with his Lettre à M. C*** sur l'unité de temps et de lieu dans la tragédie, a manifesto that synthesises and amplifies earlier polemics by Berchet, Pellico and Visconti. Dramatic expression, coherence and realism, Manzoni argued, are best served by giving priority to unity of action while ignoring the traditional restrictions of time and setting. Although discontinuities might occur between adjacent scenes, the focus on cause and effect and the exclusion of unrelated incidents would provide a coherence that had previously depended on physical and temporal proximity. Manzoni suggested that formal preconceptions be set aside and the action allowed to shape dramatic design. Characters could be introduced throughout a play rather than together in the first act, their motivations and goals allowed to evolve as the situation unfolds. These shifts would encourage writers to cultivate motifs other than love intrigues, which had traditionally held sway because they took little time to develop. In particular, historical plays could enact all important events instead of only the climax, and depict true causes and resolutions rather than ones invented to fit conventional constraints.
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Bauks, Michaela. "L’enjeu théologique du sacrifice d’enfants dans le milieu biblique et son dépassement en Genèse 22." Études théologiques et religieuses 76, no. 4 (2001): 529–42. http://dx.doi.org/10.3406/ether.2001.3663.
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This article suggests that the crucial point of the story of Gn 22 is the fact that on the one hand Abraham is faced with the command to sacrifice his son, and that on the other hand the son is the object of the promise announced to Abraham. This dilemma can be solved by understanding the command to sacrifice the son on the base of God’s Being different in relation to his creature. Thus, the religious practice of child sacrifice is the most dramatic expression of the dépendance of human being to his creator.
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Joly, Hervé. "L'implication de l'industrie chimique allemande dans la Shoah: le cas du Zyklon B." Revue d’histoire moderne & contemporaine 47-2, no. 2 (April 1, 2000): 368–400. http://dx.doi.org/10.3917/rhmc.g2000.47n2.0368.
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Résumé Le Zyklon B, un antiparasite dérivé de l'acide cyanhydrique, a été commercialisé dans le monde entier par l'entreprise allemande Degesch à partir de 1925. Dans la deuxième moitié des années 1930, la chute des exportations a été compensée par une explosion de la consommation intérieure liée au développement du système mUitaro-concentrationnaire nazi. Si le détournement de son usage par les S.S., à partir de l'automne 1941, pour la mise en oeuvre de la Shoah n'a représenté qu'un marché économiquement secondaire, il a lourdement engagé la responsabilité des entreprises impliquées. Zyklon B, an anti-parasite product, derived from prussic acid, had been marketed and sold throughout the world by the German firm Degesch from 1925 onwards. In the late thirties, the fall in exports was compensated by a dramatic increase in domestic consumption linked to the development of the nazi military and concentration System. Its misuse by the S.S. from the fall of 1941 onwards to implement the Shoah represented a secondary market economically speakmg but it brought a heavy burden of responsibility to bear on thèse firms.
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Jakubczuk, Renata. "La magie du temps et des saisons dans la dramaturgie de Paul Willems." Studia Romanica Posnaniensia 48, no. 1 (June 1, 2021): 105–17. http://dx.doi.org/10.14746/strop.2021.481.009.
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In the current article we are examining the presence, importance and significance of weather and seasons in dramatic works of the Belgian writer, Paul Willems. Our study relies upon the methodology of patternsof transitivity proposed by Jean-Pierre Richard. After explaining the principals of our approach, then presenting the corpus of the studied texts and formulating our basic hypothesis concerning the weather, we are reviewing four weather phenomena: the rain, the wind, the snow, and the sun. The completedanalysis confirmed the calming role of the rain, the soothing role of the sun and the warning role of the wind. However, we realized, besides the liberating role of the snow in the introduction, its more complex significance because it “weighs heavily” on the life of the characters.
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Hansen, Nana Wesley, and Mikkel Mailand. "OK18 – en forklaring af forløbet og en ny forståelse af magtbalancen." Tidsskrift for Arbejdsliv 21, no. 2 (June 10, 2019): 10–27. http://dx.doi.org/10.7146/tfa.v21i2.114727.
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OK18 var den hidtidig mest dramatiske overenskomstforhandling på det offentlige område i Danmark. I artiklen argumenter vi for det første, at OK18 processen og forligene var et resultat af musketereden og fagbevægelsens succesfulde mobilisering af kernetropper og befolkning, samt af en parlamentarisk situation med en borgerlig regering og et forestående folketingsvalg, hvor et lovindgreb ikke så nemt ud. For det andet argumenterer vi, at et af hovedproblemerne for det offentlige aftalesystem i dansk forskning er blevet begrebsliggjort i form af de statslige arbejdsgiveres såkaldte dobbeltrolle, som skulle give et særligt ulige magtforhold mellem den statslige arbejdsgiver og lønmodtagerne, men at denne forståelse bør nuanceres. Den nyere historie i det offentlige aftalesystem i Danmark – særligt OK13 – bekræfter umiddelbart, at dobbeltrollen kan være et stærkt magtmiddel for arbejdsgiverne. Men OK18 vidner om, at denne forståelse af magtbalancen i det offentlige aftalesystem ikke kan forklare begivenhederne.
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Deregnoncourt, Marine. "Le parlé-chanté dans Phèdre de Jean Racine et Partage de midi de Paul Claudel." Quêtes littéraires, no. 6 (December 30, 2016): 46–55. http://dx.doi.org/10.31743/ql.210.
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In this article we will seek to answer how, in Phèdre to Jean Racine and Noon’s Sharing to Paul Claudel, the « parlé-chanté » is particularly significant. To do so, this article will be divided in three parts. In the first part, the « parlé-chanté » will be defined and linked to Arnold Schoenberg’s Sprechgesang. While the second part will issue on Phèdre by Jean Racine, the third and final part will focalize on Paul Claudel's Noon’s Sharing. By focusing on the two aforesaid plays we will try to prove that the operatic voice is always present in the acting choices and that the two playwrights accustomed the dramatic rules of their time.
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Cunico, Sonia. "Translating (dis)ordered speech in drama." Babel. Revue internationale de la traduction / International Journal of Translation 51, no. 1 (October 24, 2005): 1–15. http://dx.doi.org/10.1075/babel.51.1.01cun.
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Abstract Although the topic of the representation of madness is a rich and much studied one in literary criticism, so far there has been no systematic attempt to analyse the language of madness in dramatic texts, either within the same language and culture or across them. This paper compares the strategies used to characterise the growing insanity of the king and the dynamics of his interaction with Willis, the doctor, in Alan Bennett’s successful play The Madness of George III (1992) with those in its published translation into Italian (1996). The article shows how an analysis of the strategies used in the source text is a necessary initial step 1) to reveal the systematic patterns of linguistic deviance (drawn from the language of real schizophrenia) which characterise King George’s madness, and 2) to highlight the battle for power between the two characters shown in their linguistic choices. These are key themes of the play which must be successfully transferred across in the target text. Résumé Bien que le thème de la représentation de la folie soit riche et ait été beaucoup étudié dans le domaine de la critique littéraire, il n’y a pas eu jusqu’ici de tentative systématique d’analyser le langage de la folie dans des textes dramatiques, ni dans la même langue et culture, ni dans des langues et cultures étrangères. Cet article compare les stratégies utilisées pour caractériser la folie grandissante du roi et la dynamique de son interaction avec le médecin Willis, dans la pièce à succès d’Alan Bennett, Th e Madness of George III (1992), avec celles de sa traduction publiée en italien (1996). L’article montre comment une analyse des stratégies utilisées dans le texte-source est une étape initiale nécessaire pour 1) révéler les modèles systématiques de déviance linguistique (tirés du langage de la véritable schizophrénie) qui caractérisent la folie du Roi George, et pour 2) souligner la lutte de pouvoir entre les deux personnages, qui se manifeste dans leurs choix linguistiques. Ce sont des thèmes-clés de la pièce qu’il faut réussir à transférer dans le texte cible.