Relevant bibliographies by topics / French 20c. drama

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Academic literature on the topic 'French 20c. drama'

Author: Grafiati
Published: 4 June 2021
Last updated: 9 February 2022

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Journal articles on the topic "French 20c. drama"

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Kaplun, М. V. "“The Comedy about David and Galiad” in Context of Western European Drama of the 16th–17th Centuries." Nauchnyi dialog, no. 9 (September 30, 2020): 188–202. http://dx.doi.org/10.24224/2227-1295-2020-9-188-202.

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The article is devoted to “The Comedy about David and Galiad,” staged at the court of Tsar Alexey Mikhailovich in 1676, in the context of Western European drama of the 16th–17th centuries. The material was a mounting sheet of the comedy of 1676, plays by French playwrights of the 16th century and texts of Russian court plays of the 1670s. The paper shows that the Russian comedy based on the story of David and Goliath fit well into the context of religious drama and could be correlated with the events of the Church reform in Russia. Special attention is paid to the comparative analysis of the plays of the French Calvinist playwrights Joachim de Coignac and Louis De Masur in order to identify common typological features of the Russian play and Western drama. The play ‘Temir-Aksakov Action” by Yu. M. Givner was brought to consideration in order to put forward a hypothesis about the possible author of the play of German origin. The author presents the latest development of the reconstruction of “The Comedy about David and Galiad,” based on a comparative approach and typological analysis of the literary and historical context of the 16th–17th centuries. The analysis shows the content aspect of the Russian play about David and Goliath, which incorporated the characteristic features of the Moscow court drama of the last third of the 17th century.
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Śniedziewski, Piotr. "Disappearing Suns, Disappearing Worlds — The Black Sun in Krasiński’s Work." Studia Litterarum 5, no. 4 (2020): 182–203. http://dx.doi.org/10.22455/2500-4247-2020-5-4-182-203.

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The aim of the article is to analyze the metaphor of the black sun in the correspondence and in the work of Zygmunt Krasiński, one of the greatest Polish Romantics. The black sun appears very early in this work, because Krasiński had already written about it in his juveniles edited in French. In these early works (for example, A Dream and Fragment of a Dream both from 1830), the writer portrays dark visions related to a cosmic catastrophe and the Last Judgment. The persona of these texts, plunged in despair, is an isolated individual both in the social and metaphysical sense. The metaphor of the black sun, however, develops in two dramas by Krasiński: Non-divine comedy (1835) and Irydion (1836). The meaning of this metaphor changes, and Krasiński sees in it not only existential (pessimistic) content but also historiosophical meanings. The fading sun or the sunset in these dramas is a metaphor for the fall of history, the end of times; it is also clearly religious because the night, devoid of hope for the return of the sun, becomes the eternal night that follows Christ’s crucifixion and is identical with the dominance of Satan in the human world order
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Makarova, Veronika A. "Self-praise and Positive Self-assessment in Chekhov’s Plays." Two centuries of the Russian classics 3, no. 2 (2021): 202–29. http://dx.doi.org/10.22455/2686-7494-2021-3-2-202-229.

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This paper applies Speech Act Theory towards an investigation of the use and role of self-praise/positive self-assessment in the texts of three Chekhov’s plays: The Seagull, Three Sisters and The Cherry Orchard. The findings conducted with manual coding of texts for the speech acts of self-praise/positive self-assessment suggest that Chekhov employed self-praise for a number of textual and character-building functions. In particular, self-praise functions as a literary device to identify less likable characters as well as to provide a chance for more likable characters to stand up for themselves against injustice and provocation. The self-praise/positive self-assessment comes in mitigated and aggravated forms. Mitigation is mostly achieved through grammatical or phrasal means, as well as semantically through self-criticism, whereby the only form of aggravation observed in the data was other-criticism/other-derogation. Specific forms of a positive self-assessment likely unique to Chekhov’s plays are ‘linguistic brags’, i.e., contextually unjustifiable switches to French and Latin as well as ‘generational’ positive self-representation in Three Sisters. The results suggest that investigations of speeh acts in dramas could be productive for literary theory, as they shed more light on the characters development as well as the genre mastery of the playwright.
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Dzivaltivskyi, Maxim. "Historical formation of the originality of an American choral tradition of the second half of the XX century." Aspects of Historical Musicology 21, no. 21 (March 10, 2020): 23–43. http://dx.doi.org/10.34064/khnum2-21.02.

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Background. Choral work of American composers of the second half of the XX century is characterized by new qualities that have appeared because of not only musical but also non-musical factors generated by the system of cultural, historical and social conditions. Despite of a serious amount of scientific literature on the history of American music, the choral layer of American music remains partially unexplored, especially, in Ukrainian musical science, that bespeaks the science and practical novelty of the research results. The purpose of this study is to discover and to analyze the peculiarities of the historical formation and identity of American choral art of the second half of the twentieth century using the the works of famous American artists as examples. The research methodology is based on theoretical, historical and analytical methods, generalization and specification. Results. The general picture of the development of American composers’ practice in the genre of choral music is characterized by genre and style diversity. In our research we present portraits of iconic figures of American choral music in the period under consideration. So, the choral works of William Dawson (1899–1990), one of the most famous African-American composers, are characterized by the richness of the choral texture, intense sonority and demonstration of his great understanding of the vocal potential of the choir. Dawson was remembered, especially, for the numerous arrangements of spirituals, which do not lose their popularity. Aaron Copland (1899–1990), which was called “the Dean of American Composers”, was one of the founder of American music “classical” style, whose name associated with the America image in music. Despite the fact that the composer tends to atonalism, impressionism, jazz, constantly uses in his choral opuses sharp dissonant sounds and timbre contrasts, his choral works associated with folk traditions, written in a style that the composer himself called “vernacular”, which is characterized by a clearer and more melodic language. Among Copland’s famous choral works are “At The River”, “Four Motets”, “In the Beginning”, “Lark”, “The Promise of Living”; “Stomp Your Foot” (from “The Tender Land”), “Simple Gifts”, “Zion’s Walls” and others. Dominick Argento’s (1927–2019) style is close to the style of an Italian composer G. C. Menotti. Argento’s musical style, first of all, distinguishes the dominance of melody, so he is a leading composer in the genre of lyrical opera. Argento’s choral works are distinguished by a variety of performers’ stuff: from a cappella choral pieces – “A Nation of Cowslips”, “Easter Day” for mixed choir – to large-scale works accompanied by various instruments: “Apollo in Cambridge”, “Odi et Amo”, “Jonah and the Whale”, “Peter Quince at the Clavier”, “Te Deum”, “Tria Carmina Paschalia”, “Walden Pond”. For the choir and percussion, Argento created “Odi et Amo” (“I Hate and I Love”), 1981, based on the texts of the ancient Roman poet Catullus, which testifies to the sophistication of the composer’s literary taste and his skill in reproducing complex psychological states. The most famous from Argento’s spiritual compositions is “Te Deum” (1988), where the Latin text is combined with medieval English folk poetry, was recorded and nominated for a Grammy Award. Among the works of Samuel Barber’s (1910–1981) vocal and choral music were dominating. His cantata “Prayers of Kierkegaard”, based on the lyrics of four prayers by this Danish philosopher and theologian, for solo soprano, mixed choir and symphony orchestra is an example of an eclectic trend. Chapter I “Thou Who art unchangeable” traces the imitation of a traditional Gregorian male choral singing a cappella. Chapter II “Lord Jesus Christ, Who suffered all lifelong” for solo soprano accompanied by oboe solo is an example of minimalism. Chapter III “Father in Heaven, well we know that it is Thou” reflects the traditions of Russian choral writing. William Schumann (1910–1992) stands among the most honorable and prominent American composers. In 1943, he received the first Pulitzer Prize for Music for Cantata No 2 “A Free Song”, based on lyrics from the poems by Walt Whitman. In his choral works, Schumann emphasized the lyrics of American poetry. Norman Luboff (1917–1987), the founder and conductor of one of the leading American choirs in the 1950–1970s, is one of the great American musicians who dared to dedicate most of their lives to the popular media cultures of the time. Holiday albums of Christmas Songs with the Norman Luboff Choir have been bestselling for many years. In 1961, Norman Luboff Choir received the Grammy Award for Best Performance by a Chorus. Luboff’s productive work on folk song arrangements, which helped to preserve these popular melodies from generation to generation, is considered to be his main heritage. The choral work by Leonard Bernstein (1918–1990) – a great musician – composer, pianist, brilliant conductor – is represented by such works as “Chichester Psalms”, “Hashkiveinu”, “Kaddish” Symphony No 3)”,”The Lark (French & Latin Choruses)”, “Make Our Garden Grow (from Candide)”, “Mass”. “Chichester Psalms”, where the choir sings lyrics in Hebrew, became Bernstein’s most famous choral work and one of the most successfully performed choral masterpieces in America. An equally popular composition by Bernstein is “Mass: A Theater Piece for Singers, Players, and Dancers”, which was dedicated to the memory of John F. Kennedy, the stage drama written in the style of a musical about American youth in searching of the Lord. More than 200 singers, actors, dancers, musicians of two orchestras, three choirs are involved in the performance of “Mass”: a four-part mixed “street” choir, a four-part mixed academic choir and a two-part boys’ choir. The eclecticism of the music in the “Mass” shows the versatility of the composer’s work. The composer skillfully mixes Latin texts with English poetry, Broadway musical with rock, jazz and avant-garde music. Choral cycles by Conrad Susa (1935–2013), whose entire creative life was focused on vocal and dramatic music, are written along a story line or related thematically. Bright examples of his work are “Landscapes and Silly Songs” and “Hymns for the Amusement of Children”; the last cycle is an fascinating staging of Christopher Smart’s poetry (the18 century). The composer’s music is based on a synthesis of tonal basis, baroque counterpoint, polyphony and many modern techniques and idioms drawn from popular music. The cycle “Songs of Innocence and of Experience”, created by a composer and a pianist William Bolcom (b. 1938) on the similar-titled poems by W. Blake, represents musical styles from romantic to modern, from country to rock. More than 200 vocalists take part in the performance of this work, in academic choruses (mixed, children’s choirs) and as soloists; as well as country, rock and folk singers, and the orchestral musicians. This composition successfully synthesizes an impressive range of musical styles: reggae, classical music, western, rock, opera and other styles. Morten Lauridsen (b. 1943) was named “American Choral Master” by the National Endowment for the Arts (2006). The musical language of Lauridsen’s compositions is very diverse: in his Latin sacred works, such as “Lux Aeterna” and “Motets”, he often refers to Gregorian chant, polyphonic techniques of the Middle Ages and the Renaissance, and mixes them with modern sound. Lauridsen’s “Lux Aeterna” is a striking example of the organic synthesis of the old and the new traditions, or more precisely, the presentation of the old in a new way. At the same time, his other compositions, such as “Madrigali” and “Cuatro Canciones”, are chromatic or atonal, addressing us to the technique of the Renaissance and the style of postmodernism. Conclusions. Analysis of the choral work of American composers proves the idea of moving the meaningful centers of professional choral music, the gradual disappearance of the contrast, which had previously existed between consumer audiences, the convergence of positions of “third direction” music and professional choral music. In the context of globalization of society and media culture, genre and stylistic content, spiritual meanings of choral works gradually tend to acquire new features such as interaction of ancient and modern musical systems, traditional and new, modified folklore and pop. There is a tendency to use pop instruments or some stylistic components of jazz, such as rhythm and intonation formula, in choral compositions. Innovative processes, metamorphosis and transformations in modern American choral music reveal its integration specificity, which is defined by meta-language, which is formed basing on interaction and dialogue of different types of thinking and musical systems, expansion of the musical sound environment, enrichment of acoustic possibilities of choral music, globalization intentions. Thus, the actualization of new cultural dominants and the synthesis of various stylistic origins determine the specificity of American choral music.
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Mason, Mike. "Algérie Panique - Modern Algeria: The Origins and Development of a Nation. By John Ruedy. Bloomington: Indiana University Press, 1992. Pp. x + 290. $39.95 (ISBN 0-253-34998-2) $16.95, paperback (ISBN 0-253-20746-0). - L'Algérie incertaine. Edited by Pierre Robert Baduel. Institut de Recherches et d'Etudes sur le Monde Arabe et Musulman (REMAM), Aix-en-Provence: Edisud, 1994. Pp. 207. FF 120 (ISBN 2-85744-647-0). - French and Algerian Identifies from Colonial Times to the Present: A Century of Interaction. Edited by Alec G. Hargreaves and Michael J. Heffernan. Lewiston, NY, Queenston, Ontario and Lampeter, Wales: Edwin Mellin Press, 1993. Pp. 253, $89.95 (ISBN-7734-9233-X). - Le drame algérien: un peuple en otage. By Reporters Sans Frontiers. Paris: Editions La Découverte, 1994. Pp. 226, FF 110 (ISBN 2-7071-2316-1)." Journal of African History 36, no. 3 (November 1995): 520–21. http://dx.doi.org/10.1017/s0021853700034678.

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Watson, David, V. G. Kiernan, Gary Farnell, Christopher Parker, Mark Allen, Benjamin Bertram, William Zunder, et al. "Reviews: Reading the Past, Packing and Unpacking Culture: Changing Models of British Studies, Practising New Historicism, Dust, History by Numbers: An Introduction to Quantitative Approaches, Hamlet in Purgatory, Literary Circles and Cultural Communities in Renaissance England, Putting History to the Question: Power, Politics and Society in English Renaissance Drama, et al., Anna of Denmark, Queen of England, the Royal Image: Representations of Charles I, How Milton Works, a Letter to My Love: Love Poems by Women First Published in the, the Anti-Jacobin Novel: British Conservatism and the French Revolution, Nineteenth-Century British Women Writers, Memory and History in George Eliot: Transfiguring the Past, the West-Country as a Literary Invention: Putting Fiction in its Place, ‘India's Prisoner’: A Biography of Edward John Thompson, 1886–1946, Blind Memory: Visual Representations of Slavery in England and America, 1780–1865, B. L. Coombes, Diana: A Cultural History: Gender, Race, Nation and the People's Princess, the American MysterySpargoTamsin (ed.), Reading the Past , Palgrave2000, pp. xii + 200, £14.99 pb.JarrettDavid, KowalewskiTomasz and RiddenGeoff (eds), Packing and Unpacking Culture: Changing Models of British Studies , Copernicus University, Torún, 2001, pp. 270, £4.GallagherCatherine and GreenblattStephen, Practising New Historicism , University of Chicago Press, 2000, pp. ix + 249, £16.00; ChildsPeter, Modernism , Routledge, 2000, pp. xi + 226, $8.99 pb.SteedmanCarolyn, Dust , Manchester University Press, 2001, pp. xi + 195, £9.99.HudsonPat, History by Numbers: An Introduction to Quantitative Approaches , Arnold, 2000, pp. 278, £45, £14.99 pb.; MunslowAlun, The Routledge Companion to Historical Studies , Routledge, 2000, pp. 271, £47.50, £12.99 pb.GreenblattStephen, Hamlet in Purgatory , Princeton University Press, 2001, pp. xii + 322, £19.95.SummersClaude J. and PebworthTed-Larry (eds), Literary Circles and Cultural Communities in Renaissance England , University of Missouri Press, 2000, pp. xii + 243, £33.95.NeillMichael, Putting History to the Question: Power, Politics and Society in English Renaissance Drama , Columbia University Press, 2000, pp. xii + 527, £22.00; TauntonNina, 1590s Drama and Militarism: Portrayals of War in Marlowe, Chapman and Shakespeare's Henry V, Ashgate, 2001, pp. vii + 239, £42.50.MarcusLeah S. (eds), Elizabeth I: Collected Works , University of Chicago Press, 2000, pp. 632, £25.BarrollLeeds, Anna of Denmark, Queen of England , University of Pennsylvania Press, 2001, pp. 220, £28.50.CornsThomas N. (ed.), The Royal Image: Representations of Charles I , Cambridge University Press, 1999, pp. vi + 316, £40.FishStanley, How Milton Works , Harvard University Press, 2001, pp. 616, £23.95; LaresJameela, Milton and the Preaching Arts , James Clarke & Co., 2001, pp. 368, £40.00.OvertonBill (ed.), A Letter to my Love: Love Poems by Women First Published in the Barbados Gazette, 1731–37 , Rosemont Publishing, 2001, pp. 155, £27.GrenbyM. O., The Anti-Jacobin Novel: British Conservatism and the French Revolution , Cambridge University Press, 2001, pp. xiii + 271, £40.BloomAbigail Burnham (ed.), Nineteenth-Century British Women Writers , Aldwych Press, 2000, pp. x + 466, £71.50.LiHao, Memory and History in George Eliot: Transfiguring the Past , Macmillan, 2000, pp. xiv + 227, £42.50.TreziseSimon, The West-Country as a Literary Invention: Putting Fiction in its Place , University of Exeter Press, 2000, pp. xvi + 256, £42.00, £13.99 pb.LagoMary, ‘India's Prisoner‘: A Biography of Edward John Thompson, 1886–1946 , University of Missouri Press, 2001, pp. xi + 388, £33.95.WoodMarcus, Blind Memory: Visual Representations of Slavery in England and America, 1780–1865 , Manchester University Press, 2000, pp. 341, £49.95, £17.99 pb.JonesBill and WilliamsChris, B. L. Coombes , University of Wales Press, 1999, Writers of Wales, pp. 114, £5.99; JonesBill and WilliamsChris (eds), With Dust Still in His Throat: A B. L. Coombes Anthology , University of Wales Press, 1999, pp. 208, £9.99; MurphyMichael (ed.), The Collected George Garrett , Trent Editions, 1999, pp. xxix + 270, £7.99 pb.DaviesJude, Diana: A Cultural History: Gender, Race, Nation and the People's Princess , Palgrave, 2001, pp. 250, £47.50, £16.99 pb.TannerTony, The American Mystery , Cambridge University Press, 2000, pp. xxiv + 242, £35, £13.95 pb." Literature & History 12, no. 1 (May 2003): 72–100. http://dx.doi.org/10.7227/lh.12.1.5.

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Parker, Christopher, David Watson, Alan Armstrong, Ben Lowe, Carrie Hintz, R. C. Richardson, Austin Woolrych, et al. "Reviews: The Logic of History: Putting Postmodernism in Perspective, on the Future of History: The Postmodernist Challenge and its Aftermath, Modernism and the Ideology of History: Literature, Politics, and the Past, Postmodernism in History: Fear or Freedom?, Quoting Shakespeare: Form and Culture in Early Modern Drama, Early Modern Civil Discourses, ‘A moving Rhetoricke’: Gender and Silence in Early Modern England, Society and Culture in Early Modern England, the English Radical Imagination: Culture, Religion and Revolution, 1630–1660, An Age of Wonders: Prodigies, Politics and Providence in England, 1657–1727, Luxury in the Eighteenth Century: Debates, Desires, and Delectable Goods, Antiquaries: The Discovery of the Past in Eighteenth-Century Britain, the French Revolution and the London Stage, 1789–1805, Nationalism, Imperialism and Identity in Late Victorian Culture, Modernism, Male Friendship and the First World War, Bloody Good: Chivalry, Sacrifice, and the Great War, Manliness and the Boy's Story Paper in Britain: A Cultural History, 1855–1940McCullaghC. Behan, The Logic of History: Putting Postmodernism in Perspective , Routledge, 2004, pp. viii + 212, £18.99 pbBreisachE., On the Future of History: The Postmodernist Challenge and its Aftermath , University of Chicago Press, 2003, pp. vii + 236, $16.00 pb.WilliamsL. Blakeney, Modernism and the Ideology of History: Literature, Politics, and the Past , Cambridge University Press, 2002, pp. 265, £40.SouthgateBeverley, Postmodernism in History: Fear or Freedom? Routledge, 2003, pp. xi + 211, £55, £16.99 pb.BrusterDouglas, Quoting Shakespeare: Form and Culture in Early Modern Drama , University of Nebraska Press, 2001, pp. 288, £35.50.RichardsJennifer (ed.), Early Modern Civil Discourses , Palgrave Macmillan, 2003, pp. 206, $65.00.LuckyjChristina, ‘A moving Rhetoricke‘: Gender and Silence in Early Modern England , Manchester University Press, 2002, pp. viii + 198, £40.CressyDavid, Society and Culture in Early Modern England , Variorum Collected Studies Series, Ashgate, 2003, pp. xii + 344, £57.50.McDowellNicholas, The English Radical Imagination: Culture, Religion and Revolution, 1630–1660 , Clarendon Press, 2003, pp. x + 219, £45.BurnsWilliam E., An Age of Wonders: Prodigies, Politics and Providence in England, 1657–1727 , Manchester University Press, 2002, pp. 218, £45.BergMaxine and EgerElizabeth (eds), Luxury in the Eighteenth Century: Debates, Desires, and Delectable Goods , Palgrave Macmillan, 2003, pp. xii + 259, 41 plates, £55.SweetRosemary, Antiquaries: The Discovery of the Past in Eighteenth-Century Britain , Hambledon & London, 2004, pp. xxi + 473, £25.TaylorGeorge, The French Revolution and the London Stage, 1789–1805 , Cambridge University Press, 2002, pp. x + 263, £45.AttridgeSteve, Nationalism, Imperialism and Identity in Late Victorian Culture , Palgrave Macmillan, 2003, pp. 229, £45.ColeSarah, Modernism, Male Friendship and the First World War , Cambridge University Press, 2003, pp. 297, £40FrantzenAllen J., Bloody Good: Chivalry, Sacrifice, and the Great War , University of Chicago Press, 2004, pp. 335, £24.50.BoydKelly, Manliness and the Boy's Story Paper in Britain: A Cultural History, 1855–1940 , Palgrave Macmillan, 2003, pp. x + 273, £60." Literature & History 14, no. 1 (May 2005): 81–100. http://dx.doi.org/10.7227/lh.14.1.6.

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Parker, Christopher, Barbara Yorke, Elizabeth Truax, John N. King, Roberta Anderson, Geoff Ridden, Keith Lindley, et al. "Reviews: Historical Theory, a Companion to Anglo-Saxon Literature, Malory's Morte D'Arthur: Re-Making Arthurian Tradition, Writing the Reformation: Actes and Monuments and the Jacobean History Play, Women on the Renaissance Stage: Anna of Denmark and Female Masquing in the Stuart Court, 1590–1619, Who Killed Shakespeare? What's Happened to English since the Radical Sixties, Oral and Literate Culture in England, 1500–1700, the Poetry of Mildmay Fane, Second Earl of Westmorland from the Fulbeck, Harvard and Westmorland Manuscripts, the Antichrist's Lewd Hat: Protestants, Papists and Players in Post-Reformation England, Staging Domesticity: Household Work and English Identity in Early Modern Drama, Shakespeare's Domestic Economies: Gender and Property in Early Modern England, Dorothy Osborne: Letters to William Temple: Observations on Love, Literature, Politics and Religion, Eighteenth-Century Contexts: Historical Inquiries in Honor of Phillip Harth, Family and Friends in Eighteenth-Century England: Household, Kinship and Patronage, Jane Austen and the Theatre, Jane Austen and the Theatre, Waterloo and the Romantic Imagination, George Eliot and the British Empire, Fiction Rivals Science: The French Novel from Balzac to Proust, the Impact of the Railway on Society in Britain: Essays in Honour of Jack Simmons, Middle-Class Culture in the Nineteenth Century: America, Australia and Britain, James Hanley: Modernism and the Working Class, Transformations of Domesticity in Modern Women's Writing: Homelessness at Home, Teaching LiteratureFulbrookMary, Historical Theory , Routledge, 2002, pp. xii + 228, £10.99.PulsianoPhillip and TraherneElaine (eds), A Companion to Anglo-Saxon Literature , Blackwell, 2001, pp. 529, £80.BattCatherine, Malory's Morte D'Arthur: Re-making Arthurian Tradition , Palgrave, 2002, pp. xxiii + 264, £32.50.RobinsonMarsha S., Writing the Reformation : Actes and Monuments and the Jacobean History Play , Ashgate, 2002, pp. xxiii + 192, £40.McManusClare, Women on the Renaissance Stage: Anna of Denmark and Female Masquing in the Stuart Court, 1590–1619 , Manchester University Press, 2002, pp. 276, £45.BrantlingerPatrick, Who Killed Shakespeare? What's Happened to English Since the Radical Sixties , Routledge, 2001, pp. 238, £14.99 pb.FoxAdam, Oral and Literate Culture in England, 1500–1700 , Oxford Studies in Social History, Clarendon Press, Oxford, 2000, pp. 413, £45.00.CainTom (ed.), The Poetry of Mildmay Fane, Second Earl of Westmorland from the Fulbeck, Harvard and Westmorland Manuscripts , Manchester University Press, 2001, pp. xii + 465, £50.LakePeter (with Michael Questier), The Antichrist's Lewd Hat: Protestants, Papists and Players in Post-Reformation England , Yale UP, 2002, pp. 731, $45.00.WallWendy, Staging Domesticity: Household Work and English Identity in Early Modern Drama , Cambridge University Press, 2002, pp. xiii + 292, £45KordaNatasha, Shakespeare's Domestic Economies: Gender and Property in Early Modern England , University of Pennsylvania Press, 2002, pp. ix + 276, $49.95.ParkerKenneth (ed.), Dorothy Osborne: Letters to William Temple: Observations on Love, Literature, Politics and Religion , Ashgate, 2002, pp. xi + 348£49.50.WeinbrotHoward D., SchakelPeter J. and KarianStephen E. (eds), Eighteenth-century Contexts: Historical Inquiries in Honor of Phillip Harth , University of Wisconsin Press, 2001, pp. xviii + 305, $21.95.TadmorNaomi, Family and Friends in Eighteenth-century England: Household, Kinship and Patronage , Cambridge University Press2001, pp. x + 312, £40.ByrnePaula, Jane Austen and the Theatre , Hambledon, 2002, pp. xvii + 283, £25GayPenny, Jane Austen and the Theatre , Cambridge University Press, 2002, pp. xi + 201, £37.50.ShawPhilip, Waterloo and the Romantic Imagination , Palgrave, 2002, pp. xiv + 260, £45.HenryNancy, George Eliot and the British Empire , Cambridge University Press, 2002, pp. xi + 182, £35.ThiherAlan, Fiction Rivals Science: The French Novel from Balzac to Proust , University of Missouri Press, 2001, pp. ix + 226, £31.50.EvansA. K. B. and GoughJ. V. (eds), The Impact of the Railway on Society in Britain: Essays in Honour of Jack Simmons , Ashgate, 2003, pp. 340, 25 illustrations and 6 maps, £20.YoungLinda, Middle-Class Culture in the Nineteenth Century: America, Australia and Britain , Palgrave, 2003, pp. xi + 245, £45.FordhamJohn, James Hanley: Modernism and the Working Class , University of Wales Press, 2002, pp. xii + 315, £25.ForsterThomas, Transformations of Domesticity in Modern Women's Writing: Homelessness at Home , Palgrave, 2002, pp. 224, £42.50.ShowalterElaine, Teaching Literature , Blackwell, 2002, pp. xi + 166, £45, £12.99 pb." Literature & History 13, no. 1 (May 2004): 76–103. http://dx.doi.org/10.7227/lh.13.1.6.

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"Language learning." Language Teaching 37, no. 3 (July 2004): 183–93. http://dx.doi.org/10.1017/s0261444805222395.

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04–314 Alloway, N., Gilbert, P., Gilbert, R., and Henderson, R. (James Cook University, Australia Email: Nola.Alloway@jcu.edu.au). Boys Performing English. Gender and Education (Abingdon, UK), 15, 4 (2003), 351–364.04–315 Barcroft, Joe (Washington U., USA; Email: barcroft@wustl.edu). Distinctiveness and bidirectional effects in input enhancement for vocabulary learning. Applied Language Learning (Monterey, CA, USA), 13, 2 (2003), 133–159.04–316 Berman, Ruth, A. and Katzenberger, Irit (Tel Aviv U., Israel; Email: rberman@post.tau.ac.il). Form and function in introducing narrative and expository texts: a developmental perspective. Discourse Processes (New York, USA), 38, 1 (2004), 57–94.04–317 Byon, Andrew Sangpil (State University of New York at Albany, USA; Email: abyon@albany.edu). Language socialisation and Korean as a heritage language: a study of Hawaiian classrooms. Language, Culture and Curriculum (Clevedon, UK), 16, 3 (2003), 269–283.04–318 Chambers, Angela (University of Limerick, Ireland; Email: Angela.Chambers@ul.ie) and O'Sullivan, Íde. Corpus consultation and advanced learners' writing skills in French. ReCALL (Cambridge, UK), 16, 1 (2004), 158–172.04–319 Chan, Alice Y. W. (City U. of Hong Kong; Email: enalice@cityu.edu.hk). Noun phrases in Chinese and English: a study of English structural problems encountered by Chinese ESL students in Hong Kong. Language, Culture and Curriculum (Clevedon, UK), 17, 1 (2004), 33–47.04–320 Choi, Y-J. (U. of Durham, UK; Email: yoonjeongchoi723@hotmail.com). Intercultural communication through drama in teaching English as an international language. English Teaching (Anseonggun, South Korea), 58, 4 (2003), 127–156.04–321 Chun, Eunsil (Ewha Womens U., South Korea; Email: aceunsil@hananet.net). Effects of text types and tasks on Korean college students' reading comprehension. English Teaching (Anseonggun, South Korea), 59, 2 (2004), 75–100.04–322 Collentine, Joseph (Northern Arizona U., USA; Email: Joseph.Collentine@nau.edu). The effects of learning contexts on morphosyntactic and lexical development. Studies in Second Language Acquisition (New York, USA), 26 (2004), 227–248.04–323 Davies, Beatrice (Oxford Brookes U., UK). The gender gap in modern languages: a comparison of attitude and performance in year 7 and 10. Language Learning Journal (Oxford, UK), 29 (2004), 53–58.04–324 Díaz-Campos, Manuel (Indiana U., USA; Email: mdiazcam@indiana.edu). Context of learning in the acquisition of Spanish second language phonology. Studies in Second Language Acquisition (New York, USA), 26 (2004), 249–273.04–325 Donato, Richard. Aspects of collaboration in pedagogical discourse. Annual Review of Applied Linguistics (Cambridge, UK), 24 (2004), 284–302.04–326 Felix, Uschi (Monash U., Australia; Email: Uschi.Felix@arts.monash.edu.au). A multivariate analysis of secondary students' experience of web-based language acquisition. ReCALL (Cambridge, UK), 16, 1 (2004), 237–249.04–327 Feuerhake, Evelyn, Fieseler, Caroline, Ohntrup, Joy-Sarah and Riemer, Claudia (U. of Bielefeld, Germany). Motivation und Sprachverlust in der L2 Französisch: eine retrospektive Übungsstudie. [Motivation and language attrition in French as a second language (L2): a retrospective research exercise.] Zeitschrift für Interkulturellen Fremdsprachenunterricht (Alberta, Canada), 9, 2 (2004), 29.04–328 Field, John (U. of Leeds & Reading, UK; Email: jcf1000@dircon.co.uk). An insight into listeners' problems: too much bottom-up or too much top-down?System (Oxford, UK), 32, 3 (2004) 363–377.04–329 Freed, Barbara F., Segalowitz, Norman, and Dewey, Dan D. (Carnegie Mellon, U., USA; Email: bf0u+@andrew.cmu.edu). Context of learning and second language fluency in French. 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U., Singapore; Email: izhang@nie.edu.sg). Research into Chinese EFL learner strategies: methods, findings and instructional issues. RELC Journal (Singapore), 34, 3 (2003), 284–322.04–334 Kim, H-D. (The Catholic U. of Korea, Korea). Individual Differences in Motivation with Regard to Reactions to ELT Materials. English Teaching (Anseonggun, South Korea), 58, 4 (2003), 177–203.04–335 Kirchner, Katharina (University of Hamburg, Germany). Motivation beim Fremdsprachenerwerb. Eine qualitative Pilotstudie zur Motivation schwedischer Deutschlerner. [Motivation in foreign language acquisition. A qualitative pilot study on motivation of Swedish learners of German.] Zeitschrift für Interkulturellen Fremdsprachenunterricht (Alberta, Canada), 9, 2 (2004), 32.04–336 Kleppin, Karin (U. of Leipzig, Germany). ‘Bei dem Lehrer kann man ja nichts lernen”. Zur Unterstützung der Motivation durch Sprachlernberatung. [‘You cannot learn anything from the teacher”: counselling in foreign language learning and its role as motivational support.] Zeitschrift für Interkulturellen Fremdsprachenunterricht (Alberta, Canada), 9, 2 (2004), 16.04–337 Kormos, Judith (Eötvös Loránd University in Budapest, Hungary) and Dörnyei, Zoltán. The interaction of linguistics and motivational variables in second language task performance. Zeitschrift für Interkulturellen Fremdsprachenunterricht (Alberta, Canada), 9, 2 (2004), 19.04–338 Lafford, Barbara A. (Arizona State U., USA; Email: blafford@asu.edu). The effect of the context of learning on the use of communication strategies by learners of Spanish as a foreign language. Studies in Second Language Acquisition (New York, USA), 26 (2004), 201–225.04–339 Leahy, Christine (Nottingham Trent U., UK; Email: echristine.leahy@ntu.ac.uk). Observations in the computer room: L2 output and learner behaviour. ReCALL (Cambridge, UK), 16, 1 (2004), 124–144.04–340 Lee, Cynthia F. K. (Hong Kong Baptist U.; Email: cfklee@hkbu.edu.hk). Written requests in emails sent by adult Chinese learners of English. Language, Culture and Curriculum (Clevedon, UK), 17, 1 (2004) 58–72.04–341 Leow, Ronald P. (Georgetown U., USA; Email: RLEOW@guvax.georgetown.edu), Egi, Takako, Nuevo, Ana María and Tsai, Ya-Chin. The roles of textual enhancement and type of linguistic item in adult L2 learners' comprehension and intake. Applied Language Learning (California, USA), 13, 2 (2003), 93–108.04–342 Lund, Randall J. Erwerbssequenzen im Klassenraum. [Order of acquisition in the classroom.]. Deutsch als Fremdsprache (Leipzig, Germany), 2 (2004), 99–103.04–343 McBride, Nicole (London Metropolitan University, UK; Email: n.mcbride@londonmet.ac.uk). The role of the target language in cultural studies: two surveys in UK universities. Language, Culture and Curriculum (Clevedon, UK), 16, 3 (2003), 298–311.04–344 McIntosh, N. Cameron and Noels, A. Kimberly (U. of Alberta, Canada). Self-Determined Motivation for Language Learning: The Role of Need for Cognition and Language Learning Strategies. Zeitschrift für Interkulturellen Fremdsprachenunterricht (Alberta, Canada), 9, 2 (2004), 28.04–345 Montrul, Silvina (U. of Illinois at Urbana-Champaign, USA; Email: montrul@uiuc.edu). Psycholinguistic evidence for split intransitivity in Spanish second language acquisition. Applied Psycholinguistics (Cambridge, UK), 25 (2004), 239–267.04–346 Orsini-Jones, Marina (Coventry U., UK; Email: m.orsini@coventry.ac.uk). Supporting a course in new literacies and skills for linguists with a Virtual Learning Environment. ReCALL (Cambridge, UK), 16, 1 (2004), 189–209.04–347 Philip, William (Utrecht U., Netherlands; Email: bill.philip@let.uu.nl) and Botschuijver, Sabine. Discourse integration and indefinite subjects in child English. IRAL (Berlin, Germany), 42, 2 (2004), 189–201.04–348 Rivalland, Judith (Edith Cowan U., Australia). Oral language development and access to school discourses. Australian Journal of Language and Literacy (Norwood, South Australia), 27, 2 (2004), 142–158.04–349 Rosa, Elena, M. and Leow, Ronald, P. (Georgetown U., USA). Awareness, different learning conditions, and second language development. Applied Psycholinguistics (Cambridge, UK), 25 (2004), 269–292.04–350 Schwarz-Friesel, Monika. Kognitive Linguistik heute – Metaphernverstehen als Fallbeispiel. [Cognitive Linguistics today – the case of understanding metaphors.] Deutsch als Fremdsprache (Leipzig, Germany), 2 (2004), 83–89.04–351 Segalowitz, Norman and Freed, Barbara, F. (Concordia U., USA; Email: sgalow@vax2.concordia.ca). Context, contact, and cognition in oral fluency acquisition. Studies in Second Language Acquisition (New York, USA), 26 (2004), 173–199.04–352 Sleeman, Petra (U. of Amsterdam, Netherlands; Email: A.P.Sleeman@uva.nl). Guided learners of French and the acquisition of emphatic constructions. IRAL (Berlin, Germany), 42, 2 (2004), 129–151.04–353 Takanashi, Yoshiri (Fukuoka U. of Education, Japan; Email: yt0917@fukuoka-edu.ac.jp). TEFL and communication styles in Japanese culture. Language, Culture and Curriculum (Clevedon, UK), 17, 1 (2004), 1–14.04–354 Wang, Judy Huei-Yu (Georgetown U., USA; Email: jw235@Georgetown.edu) and Guthrie, John T. Modeling the effects of intrinsic motivation, extrinsic motivation, amount of reading, and past reading achievement on text comprehension between U.S. and Chinese students. Reading Research Quarterly (Newark, USA), 39, 2 (2004), 162–186.04–355 Watts, Catherine (U. of Brighton, UK). Some reasons for the decline in numbers of MFL students at degree level. Language Learning Journal (Oxford, UK), 29 (2004), 59–67.04–356 Wingate, Ursula (Oxford U., UK). Dictionary use – the need to teach strategies. Language Learning Journal (Oxford, UK), 29 (2004), 5–11.04–357 Wong, Wynne (Ohio State U., USA; Email: wong.240@osu.edu). Textual enhancement and simplified input effects on L2 comprehension and acquisition of non-meaningful grammatical form. Applied Language Learning (Monterey, CA, USA), 13, 2 (2003), 109–132.
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10

Toftgaard, Anders. "“Måske vil vi engang glædes ved at mindes dette”. Om Giacomo Castelvetros håndskrifter i Det Kongelige Bibliotek." Fund og Forskning i Det Kongelige Biblioteks Samlinger 50 (April 29, 2015). http://dx.doi.org/10.7146/fof.v50i0.41247.

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Anders Toftgaard: “Perhaps even this distress it will some day be a joy to recall”. On Giacomo Castelvetro’s manuscripts in The Royal Library, Copenhagen. In exile from his beloved Modena, Giacomo Castelvetro (1546–1616) travelled in a Europe marked by Reformation, counter-Reformation and wars of religion. He transmitted the best of Italian Renaissance culture to the court of James VI and Queen Anna of Denmark in Edinburgh, to the court of Christian IV in Copenhagen and to Shakespeare’s London, while he incessantly collected manuscripts on Italian literature and European contemporary history. Giacomo Castelvetro lived in Denmark from August 1594 to 11 October 1595. Various manuscripts and books which belonged to Giacomo Castelvetro in his lifetime, are now kept in the Royal Library in Copenhagen. Some of them might have been in Denmark ever since Castelvetro left Denmark in 1595. Nevertheless, Giacomo Castelvetro has never been noticed by Danish scholars studying the cultural context in which he lived. The purpose of this article is to point to Castelvetro’s presence in Denmark in the period around Christian IV’s accession and to describe two of his unique manuscripts in the collection of the Royal Library. The Royal Library in Copenhagen holds a copy of the first printed Italian translation of the Quran, L’Alcorano di Macometto, nel qual si contiene la dottrina, la vita, i costumi et le leggi sue published by Andrea Arrivabene in Venice in 1547. The title page bears the name of the owner: Giacº Castelvetri. The copy was already in the library’s collections at the time of the Danish King Frederic III, in the 1660’s. The three manuscripts from the Old Royal collection (GKS), GKS 2052 4º, GKS 2053 4º and GKS 2057 4º are written partly or entirely in the hand of Giacomo Castelvetro. Moreover, a number of letters written to Giacomo Castelvetro while he was still in Edinburgh are kept among letters addressed to Jonas Charisius, the learned secretary in the Foreign Chancellery and son in law of Petrus Severinus (shelf mark NKS (New Royal Collection) 1305 2º). These letters have been dealt with by Giuseppe Migliorato who also transcribed two of them. GKS 2052 4º The manuscript GKS 2052 4º (which is now accessible in a digital facsimile on the Royal Library’s website), contains a collection of Italian proverbs explained by Giacomo Castelvetro. It is dedicated to Niels Krag, who was ambassador of the Danish King to the Scottish court, and it is dated 6 August 1593. The title page shows the following beautifully written text: Il Significato D’Alquanti belli & vari proverbi dell’Italica Favella, gia fatto da G. C. M. & hoggi riscritto, & donato,in segno di perpetua amicitia, all ecc.te.D. di legge, Il S.r. Nicolò Crachio Ambas.re. del Ser.mo Re di Dania a questa Corona, & Sig.r mio sempre osser.mo Forsan & haec olim meminisse iuvabit Nella Citta d’Edimborgo A VI d’Agosto 1593 The manuscript consists of 96 leaves. On the last page of the manuscript the title is repeated with a little variation in the colophon: Qui finisce il Significato D’alquanti proverbi italiani, hoggi rescritto a requisitione del S.r. Nicolo Crachio eccelente Dottore delle civili leggi &c. Since the author was concealed under the initials G.C.M., the manuscript has never before been described and never attributed to Giacomo Castelvetro. However, in the margin of the title page, a 16th century hand has added: ”Giacomo Castelvetri modonese”, and the entire manuscript is written in Giacomo Castelvetro’s characteristic hand. The motto ”Forsan et haec olim meminisse iuvabit” is from Vergil’s Aeneid (I, 203); and in the Loeb edition it is rendered “Perhaps even this distress it will some day be a joy to recall”. The motto appears on all of the manuscripts that Giacomo Castelvetro copied in Copenhagen. The manuscript was evidently offered to Professor Niels Krag (ca. 1550–1602), who was in Edinburgh in 1593, from May to August, as an ambassador of the Danish King. On the 1st of August, he was knighted by James VI for his brave behaviour when Bothwell entered the King’s chamber in the end of July. The Danish Public Record Office holds Niels Krag’s official diary from the journey, signed by Sten Bilde and Niels Krag. It clearly states that they left Edinburgh on August 6th, the day in which Niels Krag was given the manuscript. Evidently, Castelvetro was one of the many persons celebrating the ambassadors at their departure. The manuscript is bound in parchment with gilded edges, and a gilded frame and central arabesque on both front cover and end cover. There are 417 entries in the collection of proverbs, and in the explanations Giacomo Castelvetro often uses other proverbs and phrases. The explanations are most vivid, when Castelvetro explains the use of a proverb by a tale in the tradition of the Italian novella or by an experience from his own life. The historical persons mentioned are the main characters of the sixteenth century’s religious drama, such as Henry VIII, Edward VI, Mary I, Elizabeth, James VI, Henry Howard, Earl of Surrey, and his son, Thomas Howard, 4th Duke of Norfolk, Gaspard de Coligny and the Guise family, Mary Stuart, Don Antonio, King of Portugal, the Earl of Bothwell and Cosimo de’ Medici. The Catholic Church is referred to as “Setta papesca”, and Luther is referred to as “il grande, e pio Lutero” (f. 49v). Giovanni Boccaccio and Francesco Petrarca are referred to various times, along with Antonio Cornazzano (ca. 1430–1483/84), the author of Proverbi in facetie, while Brunetto Latini, Giovanni Villani, Ovid and Vergil each are mentioned once. Many of the explanations are frivolous, and quite a few of them involve priests and monks. The origin of the phrase “Meglio è tardi, che non mai” (52v, “better late than never”) is explained by a story about a monk who experienced sex for the first time at the age of 44. In contrast to some of the texts to be found in the manuscript GKS 2057 4º the texts in GKS 2052 4º, are not misogynist, rather the opposite. Castelvetro’s collection of proverbs is a hitherto unknown work. It contains only a tenth of the number of proverbs listed in Gardine of recreation (1591) by John Florio (1553?–1625), but by contrast these explanations can be used, on the one hand, as a means to an anthropological investigation of the past and on the other hand they give us precious information about the life of Giacomo Castelvetro. For instance he cites a work of his, “Il ragionamento del Viandante” (f. 82r), which he hopes to see printed one day. It most probably never was printed. GKS 2057 4º The manuscript GKS 2057 4º gathers a number of quires in very different sizes. The 458 folios in modern foliation plus end sheets are bound in blue marbled paper (covering a previous binding in parchment) which would seem to be from the 17th century. The content spans from notes to readyforprint-manuscripts. The manuscript contains text by poets from Ludovico Castelvetro’s generation, poems by poets from Modena, texts tied to the reformation and a lot of satirical and polemical material. Just like some of Giacomo Castelvetro’s manuscripts which are now in the possession of Trinity College Library and the British Library it has “been bound up in the greatest disorder” (cf. Butler 1950, p. 23, n. 75). Far from everything is written in the hand of Giacomo Castelvetro, but everything is tied to him apart from one quire (ff. 184–192) written in French in (or after) 1639. The first part contains ”Annotationi sopra i sonetti del Bembo” by Ludovico Castelvetro, (which has already been studied by Alberto Roncaccia), a didactic poem in terza rima about rhetoric, “de’ precetti delle partitioni oratorie” by “Filippo Valentino Modonese” , “rescritto in Basilea a XI di Febraio 1580 per Giacº Castelvetri” and the Ars poetica by Horace translated in Italian. These texts are followed by satirical letters by Nicolò Franco (“alle puttane” and “alla lucerna” with their responses), by La Zaffetta, a sadistic, satirical poem about a Venetian courtisane who is punished by her lover by means of a gang rape by thirty one men, and by Il Manganello (f. 123–148r), an anonymous, misogynistic work. The manuscript also contains a dialogue which would seem to have been written by Giacomo Castelvetro, “Un’amichevole ragionamento di due veri amici, che sentono il contrario d’uno terzo loro amico”, some religious considerations written shortly after Ludovico’s death, ”essempio d’uno pio sermone et d’una Christiana lettera” and an Italian translation of parts of Erasmus’ Colloquia (the dedication to Frobenius and the two dialogues ”De votis temere susceptis” and ”De captandis sacerdotiis” under the title Dimestichi ragionamenti di Desiderio Erasmo Roterodamo, ff. 377r–380r), and an Italian translation of the psalms number 1, 19, 30, 51, 91. The dominating part is, however, Italian poetry. There is encomiastic poetry dedicated to Trifon Gabriele and Sperone Speroni and poetry written by poets such as Torquato Tasso, Bernardo Tasso, Giulio Coccapani, Ridolfo Arlotti, Francesco Ambrosio/ Ambrogio, Gabriele Falloppia, Alessandro Melani and Gasparo Bernuzzi Parmigiano. Some of the quires are part of a planned edition of poets from Castelvetro’s home town, Modena. On the covers of the quires we find the following handwritten notes: f. 276r: Volume secondo delle poesie de poeti modonesi f. 335v: VII vol. Delle opere de poeti modonesi f. 336v; 3º vol. Dell’opere de poeti modonesi f. 353: X volume dell’opre de poeti modonesi In the last part of the manuscript there is a long discourse by Sperone Speroni, “Oratione del Sr. Sperone, fatta in morte della S.ra Giulia Varana Duchessa d’Urbino”, followed by a discourse on the soul by Paulus Manutius. Finally, among the satirical texts we find quotes (in Latin) from the Psalms used as lines by different members of the French court in a humoristic dialogue, and a selection of graffiti from the walls of Padua during the conflict between the city council and the students in 1580. On fol. 383v there is a ”Memoriale d’alcuni epitafi ridiculosi”, and in the very last part of the manuscript there is a certain number of pasquinate. When Castelvetro was arrested in Venice in 1611, the ambassador Dudley Carleton described Castelvetro’s utter luck in a letter to Sir Robert Cecil, stating that if he, Carleton, had not been able to remove the most compromising texts from his dwelling, Giacomo Castelvetro would inevitably have lost his life: “It was my good fortune to recover his books and papers a little before the Officers of the Inquisition went to his lodging to seize them, for I caused them to be brought unto me upon the first news of his apprehension, under cover of some writings of mine which he had in his hands. And this indeed was the poore man’s safetie, for if they had made themselves masters of that Magazine, wherein was store and provision of all sorts of pasquins, libels, relations, layde up for many years together against their master the Pope, nothing could have saved him” Parts of GKS 2057 4º fit well into this description of Castelvetro’s papers. A proper and detailed description of the manuscript can now be found in Fund og Forskning Online. Provenance GKS 2052 4ºon the one side, and on the other side, GKS 2053 4º and GKS 2057 4º have entered The Royal Library by two different routes. None of the three manuscripts are found in the oldest list of manuscripts in the Royal Library, called Schumacher’s list, dating from 1665. All three of them are included in Jon Erichsen’s “View over the old Manuscript Collection” published in 1786, so they must have entered the collections between 1660 and 1786. Both GKS 2053 4º and GKS 2057 4º have entered The Royal Library from Christian Reitzer’s library in 1721. In the handwritten catalogue of Reitzer’s library (The Royal Library’s archive, E 15, vol. 1, a catalogue with very detailed entries), they bear the numbers 5744 and 5748. If one were to proceed, one would have to identify the library from which these two manuscripts have entered Reitzer’s library. On the spine of GKS 2053 4º there is a label saying “Castelvetro / sopra Dante vol 326” and on f. 2r the same number is repeated: “v. 326”. On the spine of GKS 2057 4º, there is a label saying “Poesie italiane, vol. 241”, and on the end sheet the same number is repeated: “v. 241”. These two manuscripts would thus seem to have belonged to the same former library. Many of the Royal Library’s manuscripts with relazioni derive from Christian Reitzer’s library, and a wide range of Italian manuscripts which have entered the Royal Library through Reitzer’s library have a similar numbering on spine and title page. Comparing these numbers with library catalogues from the 17th century, one might be able to identify the library from which these manuscripts entered Reitzer’s library, and I hope to be able to proceed in this direction. Conclusion Giacomo Castelvetro was not a major Italian Renaissance writer, but a nephew of one of the lesser-known writers in Italian literature, Ludovico Castelvetro. He delivered yet another Italian contribution to the history of Christian IV, and his presence could be seen as a sign of a budding Italianism in Denmark in the era of Christian IV. The collection of Italian proverbs that he offered to Niels Krag, makes him a predecessor of the Frenchman Daniel Matras (1598–1689), who as a teacher of French and Italian at the Academy in Sorø in 1633 published a parallel edition of French, Danish, Italian and German proverbs. The two manuscripts that are being dealt with in this article are two very different manuscripts. GKS 2052 4º is a perfectly completed work that was hitherto unknown and now joins the short list of known completed works by Giacomo Castelvetro. GKS 2057 4º is a collection of variegated texts that have attracted Giacomo Castelvetro for many different reasons. Together the two manuscripts testify to the varied use of manuscripts in Renaissance Italy and Europe. A typical formulation of Giacomo Castelvetro’s is “Riscritto”. He copies texts in order to give them a new life in a new context. Giacomo Castelvetro is in the word’s finest sense a disseminator of Italian humanism and European Renaissance culture. He disseminated it in a geographical sense, by his teaching in Northern Europe, and in a temporal sense through his preservation of texts for posterity under the motto: “Perhaps even this distress it will some day be a joy to recall”.
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Dissertations / Theses on the topic "French 20c. drama"

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Hewitt, Philip. "L'homme et ses fantomes : a study of the theatre of Henry-Rene Lenormand." Thesis, University of Oxford, 1990. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.306609.

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García, Huichaqueo Cristian. "Decir no: la (re)elaboración política de género en Antígona furiosa: la construcción del sujeto femenino frente a los ejercicios del poder en Griselda Gambaro." Tesis, Universidad de Chile, 2009. http://repositorio.uchile.cl/handle/2250/109874.

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Tras la larga búsqueda de un objeto de estudio que me permitiera dar cuenta de la situación de la mujer en Latinoamérica en las últimas décadas, me encontré con la dificultad que no tenía una preferencia por cierto género literario en específico, lo cual generaba un espectro interminable de posibilidades a mi haber. Con esta problemática, pero con la decidida meta de trabajar las estructuras socio-políticas que sustentan la subordinación de la mujer latinoamericana – y en una extensión de ésta, rozar con otras identidades subyugadas por el mismo sistema – y su posibilidad de escape ante la masculinidad hegemónica, me encontré, nuevamente en mi carrera, con esta eterna figura femenina que se rebela a la autoritaria orden del patriarcado: Antígona. Representante de una doble transgresión, que se alza en su calidad de segundo sexo frente la dominación masculina, y en la de víctima de la opresión dictatorial. En este sentido, considerando la realidad del Cono Sur como una realidad post-dictatorial generalizada, donde construir identidad significa hacerlo bajo las heridas de violentos regímenes militares, la esencia de la subjetividad que Antígona encarna funciona de manera certera para mis propósitos.
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Flock, Sarah Sylvie. "Rayonnement de la poétique d'Otomar Krejca en Belgique francophone." Doctoral thesis, Universite Libre de Bruxelles, 2011. http://hdl.handle.net/2013/ULB-DIPOT:oai:dipot.ulb.ac.be:2013/209963.

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La thèse démontre l’impact du théâtre de Krejča sur l’évolution de l’art dramatique belge francophone. Elle scinde l’activité théâtrale de Krejča en Belgique en deux parties, chacune placée sous le sceau d’une réalité politique différente. La première correspond à un moment de détente dans le paysage politique tchécoslovaque et débute avant la création du Divadlo za branou. Assimilée à la seconde avant-garde théâtrale tchèque, elle inaugure aussi la série de succès internationaux de Krejča dans des pays non socialistes. La seconde période survient après la liquidation du Divadlo za branou par les autorités communistes tchécoslovaques et après le départ de Krejča en semi exil. Théâtralement, la Belgique francophone est alors en pleine émulation, qui s’observe notamment dans les propositions artistiques du « Jeune théâtre » (1976-1986).

L’arrivée de Krejča, dans les années 1960, sur la scène du Théâtre National de Belgique s’inscrit dans la dynamique des échanges théâtraux européens et dans une volonté diplomatique de rapprochement entre la Tchécoslovaquie et la Belgique. La thèse insiste sur ces rencontres entre les artistes belges francophones et les artistes internationaux car elles jouent un rôle fondamental, auquel prend part Krejča, dans l’histoire du théâtre belge de langue française. Fort de sa réappropriation de la tradition théâtrale tchèque et des concepts de Stanislavskij, Krejča est l’un des premiers à apporter en Belgique francophone un regard dépassant la dimension représentationnelle de la première lecture du texte et à proposer une alternative au manque laissé par le retard de l’avant-garde théâtrale belge francophone. Sa poétique, principalement influencée par le théâtre atelier d’E.F. Burian, le théâtre poétique de Frejka, le civilisme d’Hilar, les théories préfigurant la sémiologie théâtrale initiée par l’école de Prague et par les développements du « Mchat », rencontre un accueil mitigé parmi les journalistes polygraphes mais ne manque pas d’impressionner certains animateurs de la scène théâtrale belge à l’instar de Janine Patrick ou de Marc Liebens. Aussi trouve-t-elle notamment un prolongement dans le Théâtre du Parvis.

La thèse situe l’apport le plus évident de la poétique krejčaïenne en Belgique francophone dans le traitement dramaturgique, polyphonique et préfigurant le théâtre postdramatique, que le metteur en scène propose. A Louvain-la-Neuve, c’est à nouveau la puissance de la tradition tchèque et la conviction philosophique de Krejča qui impressionnent ses collaborateurs et se déclinent à travers les excroissances théâtrales francophones belges dont la plus manifeste est une expérience théâtrale, toujours en cours aujourd’hui :le théâtre de l’Éveil.

La dissertation délimite d’abord les spécificités de la poétique théâtrale de Krejča, puis, après une analyse des mises en scène de Krejča, elle retrace et détaille les diverses formes sous lesquelles son esthétique se manifeste :transmission d’un héritage théâtral (avant-garde historique tchèque, sémiologie théâtrale développée par l’Ecole de Prague) et littéraire (mise à l’honneur de Schnitzler et de Nestroy), prolongement de la recherche théâtrale jusqu’à l’approche postdramatique (révélation de la dramaticité des pièces de Tchékhov, importation du théâtre musical), regards dramaturgique et philosophique, écriture dramatique (influence sur l’écriture d'auteurs dramatiques, Krejča-personnage dans des pièces d’acteur)…

/ The thesis focuses on Czech theatre from first avant-garde to second avant-garde; mainly it is focusing on Otomar Krejča’s theatre and its relationship with Belgian theatre within the second Czech avant-garde theatre to the end of the Normalization.

Krejča worked an intensive part of his artistic life in Belgium. His Belgian theatrical activity can be divided into two distinct periods. The first one was coinciding with the foundation of his “Theatre Beyond the Gate” (Divadlo za branou) in Prague in 1965 and took place in the Belgian National Theatre in Brussels. Those years were squaring with Czechoslovakian destalinization and were particularly productive in the artistic field. In Brussels Krejča directed four plays: in 1965, Hamlet, in 1966, The Seagull, in 1970, Three Sisters, in 1978, Romeo and Juliet. The first three plays occurred before the Normalization and his departure in specific exile. The last one marked the beginning of his second period in Belgium, closely bound to Louvain-la-Neuve city. The two following Krejča’s productions were first created for the Festival d’Avignon: in 1978, Waiting for Godot and Lorenzaccio in 1979, before being performed at Atelier théâtral Jean Vilar in Louvain-La-Neuve. The three following plays were the last of Krejča’s Belgian works: Three Sisters in 1980, A. Schnitzler’s The Green Cockatoo in 1981 and Dostoevsky’s The Possessed adapted by Krejča himself in 1982.

In Belgium, the reception of his plays was mitigated. Duality between critics can be explained by Krejča’s new regard on plays, by Krejča’s use of dramaturgy. Krejča’s productions in Belgium were innovating because through dramaturgy they paved the way for something new :it was the end of a romantic Hamlet in the Shakespearian tradition and the end of Pitoëff’s aesthetic in Chechov’s productions.

Krejča’s work of art, impregnated by Czech tradition theatre of avant-garde, influenced his Belgian collaborators. Krejča was influenced by leaders in Czech first avant-garde theatre such as Burian, Frejka, theatrical theory of Honzl and Hilar’s theatre conception. When Krejča started to work in Belgium, the country was undergoing a theatrical revolution. At the end of the 1960s, French-speaking Belgium lived at the rhythm of its first avant-garde in staging. According to me, this fact is the main explanation to Krejča’s significance in French-speaking Belgium. Thanks to Krejča’s Belgian productions, a part of the first Czech theatrical avant-garde and the second Czech theatrical avant-garde penetrated in Belgium.

All of Krejča’s concepts (human beings, ethic of responsibility, importance of dramaturgy, personal appropriation of Stanislavski’s approach) slowly instilled French-speaking Belgian theatrical life. Sure an evident mark of continuity of his aesthetic cannot be seen in the long time, nevertheless Krejča’s influence was considerable and briefly materialized in many fields. It is obviously still vivid in the way some actors play, feel and teach theatre.


Doctorat en Langues et lettres
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Gregorio, Amélie. "L’«Arabe» dans le théâtre français, du début de la colonisation de l’Algérie aux grandes expositions coloniales (1830-1931) : de représentations en discours." Thesis, Lyon, 2016. http://www.theses.fr/2016LYSE2105.

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Dès 1830, le théâtre s’empare du thème de la conquête de l’Algérie puis il accompagne l’expansion coloniale en Afrique du Nord, événements majeurs qui ont marqué la vie politique française du XIXe et du début du XXe siècle. Véritable phénomène social et culturel de masse, il a fortement contribué à imposer l’esprit colonial et l’idée d’empire dans les mentalités. Mais dans quelle mesure exacte a-t-il été un acteur culturel de cette politique d’expansion et de domination ? Avec quelle fréquence, quelles inflexions ? Quelles représentations de l’« Arabe » a-t-il véhiculé, et comment les a-t-il transformées en discours idéologiques, reçus en direct par un public donné ? A-t-il été aussi le lieu d’une prise de distance, voire d’une contestation de la colonisation ? Au théâtre, l’altérité est mise en mots, mais aussi et surtout portée sur scène, par le corps et la voix du comédien, presque toujours français et blanc. L’autre, « indigène », celui qui interpelle, inquiète ou fascine, acquiert une visibilité accrue, le temps de la représentation. L’altérité est réduite par certains auteurs à des stéréotypes que d’autres mettent au contraire en question. L’image de l’Arabe, mais aussi du Kabyle, du Touareg et du métissé, a suivi les courants idéologiques qui ont sous-tendu les grandes étapes de l’expansion coloniale, jusqu’aux prémices des mouvements de décolonisation. Sur le plan esthétique, la représentation de l’« Arabe » est-elle l’occasion d’un renouvellement en matière de jeu, de langage, de décor et de costume ? La recherche de l’« exotisme » dans les formes spectaculaires laisse-t-elle parfois place au souci de rencontre et (re)connaissance de l’autre ? La portée à la fois littéraire, culturelle, sociale et historique du sujet nécessite de mobiliser et croiser des approches esthétique, dramaturgique, sociocritique et postcoloniale
Since 1830, drama has taken over the Algerian conquest theme then backed the colonial expansion in North Africa, two major events which marked French political life from the 19th century to the early 20th century. As a real social and cultural overall phenomenon, it has strongly contributed to impose the colonial spirit and the empire idea into people's minds. But to what extent exactly has it played a cultural role in this expansion and domination policy? At what frequency and with which inflexions? Which representations of the "Arab" has drama conveyed, and how has it transformed them into an ideological discourse, through a live performance received by a given audience? Has it also been a place of distancing, even contesting colonization? Otherness is put into words with drama, but it is also and mostly brought onto the scene through the body and the voice of the actor, almost always French and white. The other "native", the one who puts question, worries or fascinates, gains an enhanced visibility, for the time of the performance. Otherness is reduced to stereotypes by some authors while others call them into question. The image of the Arab – but also of the Kabylian, the Tuareg, and the mixed-race – has followed the ideological currents that have underlain the great steps of the colonial expansion, until the beginnings of the decolonization movement. On the aesthetic level, is the representation of the "Arab" the opportunity of a renewal in terms of performance, language, setting, and costumes? Does seeking "exoticism" in spectacular forms give sometimes way to concern about meeting and knowing, or acknowledging, the other? The literary, cultural, social and historical significance of the subject requires to mobilize and cross aesthetic, dramaturgic, sociocritical and post colonial approaches
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Lemus, Martinez Violetta. "Versions en conflit, versions d’un conflit : l’Intervention française au Mexique (1862-1867) entre histoire et fiction." Thesis, Sorbonne Paris Cité, 2018. http://www.theses.fr/2018USPCA064/document.

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Cette thèse est l’étude d’une sélection d’œuvres littéraires mexicaines et françaises concernant les évènements historiques de l’Intervention française au Mexique (1862-1867) et du Second Empire Mexicain (1864-1867). Ces œuvres s’étalent entre le XIXe et le XXIe siècle et ont été sélectionnés pour leurs réflexions poétiques et politiques exemplaires et d’autre part parce qu’elles ont contribuées à la construction d’une iconographie culturelle et identitaire mexicaine. Les genres romanesque et théâtral ont été sélectionnés pour pouvoir établir une étude comparative diachronique. Le choix des œuvres et des auteurs a été établi en fonction du traitement de l’Intervention française et de leur importance. Les œuvres analysées correspondent au sous-genre du roman-feuilleton du XIXe siècle avec, pour la littérature française, Benito Vázquez (1869) de Lucien Biart et Doña Flor (1877) de Gustave Aimard et, pour la littérature mexicaine, Clemencia (1869) de Manuel Altamirano et El Cerro de las Campanas (1868) de Juan Mateos. Les pièces de théâtre Corona de Sombra (1943) de Rodolfo Usigli et Charlotte et Maximilien (1945) de Maurice Rostand sont traitées de manière comparative et la pièce El Tuerto es Rey (1970) de Carlos Fuentes est analysée de manière complémentaire. Quant aux manifestations littéraires historiques plus contemporaines, nous incluons Noticias del Imperio (1987) de Fernando del Paso et Yo, el francés de Jean Meyer (2002). Cet ensemble propose une analyse comparative, linguistique, sémiotique et littéraire des œuvres citées. Il invite à une réflexion approfondie sur l’interprétation que la littérature ou l’égo-histoire ont proposé de ce conflit, un conflit armé et politique dont la mémoire a traversé l’histoire et les productions littéraires mexicaines et françaises
In this doctoral dissertation, we are studying a selection of both Mexican and French literary works related to the historic events of the Second French Intervention in Mexico (1862-1867) and of the Second Mexican Empire (1864-1867). This body of works has been published between the XIXth and the XXIth century and has been selected, both because their poetic and political thoughts are emblematic of this period and because they have contributed to the construction of a Mexican cultural and identity iconography. We have decided to select the fiction and theatrical genres, to carry out a comparative and diachronic analysis. The decision of which literary works and authors to include has been made based on how both the French Intervention and the way it has been depicted in literature, have been dealt with in particular in each literary work and each author we considered to studied. The studied novels belong to the sub-genre of serialized fiction in the XIXth century with, on the French side, Benito Vázquez (1869) by Lucien Biart and Doña Flor (1877) by Gustave Aimard and, on the Mexican side, Clemencia (1869) by Manuel Altamirano and El Cerro de las Campanas (1868) by Juan Mateos. As far as theatre plays are concerned, we have carried out a comparative study of both Corona de Sombra (1943) by Rodolfo Usigli and Charlotte et Maximilien (1945) by Maurice Rostand. We have completed our analysis with a complementary study of El Tuerto es Rey (1970) by Carlos Fuentes. Regarding more contemporaneous historic and literary creations, we chose to include Noticias del Imperio (1987) by Fernando del Paso and Yo, el francés by Jean Meyer (2002). This corpus allows to carry out a comparative, linguistic, semiotic and literary analysis of afore-mentioned works. Such analysis calls for a thorough reflection on the interpretation of conflict, an armed and political conflict which influenced both History and Mexican and French literary productions
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Zahálka, Michal. "Jindřich Hořejší jako překladatel francouzského dramatu." Master's thesis, 2017. http://www.nusl.cz/ntk/nusl-370007.

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The thesis' subject is the celebrated poet Jindřich Hořejší (1886-1941) in his lesser-known vocation as a theatre translator whose bulk of work consists of translation of contemporary French drama (eg. Giraudoux, Claudel, Cocteau, Salacrou, Neveux, Passeur, Achard or Pagnol). First, it follows traces of theatre in the poet's life, before discussing various aspects of his role as a translator in the reality of theatre at the time (fnancial conditions of theatre translation, the work of theatre agencies, communication with theatres etc.) and offering a list of his translations of French drama, compiled to be as complete as possible. The next chapter contains analyses of Hořejší's own articles detailing his views on the theoretical aspects of translation (which are also reprinted in the Appendix), putting them into the context of contemporary translation theory and practice. The fnal two chapters analyse selected translations. The frst deals with verse drama translations, Arnoux' Huon of Bordeaux and Racine's Phaedra; the latter with an extensive commentary on the history of Czech stage alexandrine. The next chapter follows Hořejší's work with colloquial language in Pagnol's Fanny and compares his approach to translation of Giraudoux' Intermezzo with that of Karel Kraus.
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Books on the topic "French 20c. drama"

1

La littérature française du 20e siècle. Paris: A. Colin, 1999.

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De Godot à Zucco: Anthologie des auteurs dramatiques de langue française, 1950-2000. Paris: Editions théâtrales, 2003.

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éd, Azama Michel 1947, ed. De Godot à Zucco. 3, Le bruit du monde: Anthologie des auteurs dramatiques de langue française, 1950-2000. Paris: Éditions théâtrales, 2004.

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Joel, Beddows, and Beauchamp Hélène 1943-, eds. Les théâtres professionnels du Canada francophone: Entre mémoire et culture. Ottawa: Le Nordir, 2001.

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Hélène, Beauchamp, and Beddows Joël, eds. Les théâtres professionnels du Canada francophone: Entre mémoire et rupture. Ottawa: Nordir, 2001.

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Cumbres borrascosas. Madrid, Spain: Anaya, 1998.

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