Relevant bibliographies by topics / Germany Drama

Academic literature on the topic 'Germany Drama'

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Published: 25 July 2024
Last updated: 31 July 2024

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Journal articles on the topic "Germany Drama"

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Gamer, Michael. "National Supernaturalism: Joanna Baillie, Germany, and the Gothic Drama." Theatre Survey 38, no. 2 (November 1997): 49–88. http://dx.doi.org/10.1017/s0040557400002076.

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As the most critically lauded dramatist of her time, Joanna Baillie recently has received considerable attention from critics interested in arguing that our neglect of Romantic drama has arisen from “conventional and mistaken assumptions about its strategies and principles.” In a recent issue of Wordsworth Circle devoted exclusively to Romantic drama, Baillie figures in three of its seven articles as a central dramatist of the period, while Jeffrey Cox devotes an entire section of his introduction in Seven Gothic Dramas 1789—1825 (1992) to her work. Even more recently, she has been the subject of special sessions of recent Modern Language Association meetings, and an edition of her Selected Works is scheduled to be published by Pickering and Chatto Press in 1998.
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Sharp, Jonathan. "Drama in SPRACHPRAXIS at a German University English Department: Practical Solutions to Pedagogical Challenges." Scenario: A Journal of Performative Teaching, Learning, Research VIII, no. 1 (January 1, 2014): 19–35. http://dx.doi.org/10.33178/scenario.8.1.3.

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This article describes the initial phase of incorporating drama-in-education classes into the practical language curriculum of a German university English department. It offers a brief overview of drama in (higher) education, before focusing on some recent developments in Germany and the UK: specifically the current increase of interest in Theaterpädagogik in Germany, and the incorporation of performative pedagogy in UK higher education, with the example of an initiative at the University of Warwick. The practical language curriculum of the University of Tübingen English Department, within which the drama classes are being run, is introduced. A report on one of the classes is provided, with a short example of a student-led presentation session. After investigating some student feedback from the class, the article concludes by suggesting that a drama approach offers solutions to some challenges posed by the curriculum, and explains a brief rationale for its further development in this context.
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Duffy, Susan, and Bruce Zortman. "Hitler's Theatre: Ideological Drama in Nazi Germany." Theatre Journal 37, no. 2 (May 1985): 241. http://dx.doi.org/10.2307/3207084.

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Haynes, Michael. "Todesspieland the terrorist docu‐drama in Germany." German Politics 8, no. 3 (December 1999): 125–40. http://dx.doi.org/10.1080/09644009908404571.

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Göksel, Eva, and Stefanie Giebert. "Notes on the third Drama in Education Days 2017." Scenario: A Journal of Performative Teaching, Learning, Research XI, no. 1 (January 1, 2017): 117–20. http://dx.doi.org/10.33178/scenario.11.1.10.

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After two successful conferences (2015 & 2016) at Reutlingen University, the third Drama in Education Days was held at Konstanz University of Applied Sciences, June 30th and July 1st, 2017. The bilingual (English/German) conference focuses on best practice and research in the field of drama and theatre in education in second and foreign language teaching, and is organised by Dr. Stefanie Giebert (Konstanz University of Applied Sciences, Germany) und MA Eva Göksel (Centre for Oral Communication, University of Teacher Education Zug, Switzerland). The two-day event caters to teachers, scholars, and performers working with drama and theatre in language education at all levels – primary through to tertiary. This year’s conference attracted 45 participants from 9 countries including Austria, Canada, France, Germany, Kirgizstan, Spain, Switzerland, the US, and the UK. The conference kicked off Thursday, June 29th, with a hands-on pre-conference workshop, during which Tomáš Andrášik (Masaryk University) demonstrated how improv theatre creates a positive classroom atmosphere and fosters communication skills. In the space of two hours, workshop participants tested out techniques to lower communicative anxiety and to develop public speaking skills. Exercises aimed at building self-confidence in speaking and listening and to empower spontaneous and authentic communication were also presented. ...
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Thomson, Aidan J. "‘Proficiscere, anima Christiana’: Gerontius and German Mysticism." Journal of the Royal Musical Association 138, no. 2 (2013): 275–312. http://dx.doi.org/10.1080/02690403.2013.830475.

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ABSTRACTThe popularity in Britain of Elgar's The Dream of Gerontius was triggered by the successful reception of the work in Germany in December 1901 and May 1902. By examining some of the writings on Elgar by German critics in this period, I explain that what may particularly have appealed to German audiences was the composer's engagement with mysticism, something that as well as being a distinct strand of German theology since medieval times had acquired a new popularity among German artists in a number of fields, as part of a reaction to the materialism of Wilhelmine Germany. Through a reading of the work that takes into account both its Catholic theology and ideas of mysticism more generally, I propose that the two Parts of the work should be conceived as taking place simultaneously, rather than successively, and that the work is thus best understood as belonging to the genre of epic rather than drama.
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Heinrich, Anselm. "‘It is Germany where he Truly Lives’: Nazi Claims on Shakespearean Drama." New Theatre Quarterly 28, no. 3 (August 2012): 230–42. http://dx.doi.org/10.1017/s0266464x12000425.

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That the Nazis tried to claim Shakespeare as a Germanic playwright has been well documented, but recently theatre historians have claimed that their ‘success’ was rather limited. Instead, commentators have asserted that plays such as Othello, Antony and Cleopatra, and The Merchant of Venice offended National Socialist precepts and were sidelined. This article attempts a re-evaluation and shows that the effect of the Nazi claims on Shakespeare was substantial, and the official efforts that went into realizing these in productions were considerable. It is also argued that the Nazis established a particular reading of Shakespeare, which lasted well into the 1960s and dominated the aesthetics of West German productions of his drama. Anselm Heinrich is Lecturer and Head of Theatre Studies at the University of Glasgow. He is the author of Entertainment, Education, Propaganda: Regional Theatres in Germany and Britain Between 1918 and 1945 (2007), and has co-edited a collection of essays on Ruskin, the Theatre, and Victorian Visual Culture (2009). His new monograph on theatre in Westphalia and Yorkshire for the German publishers Schoeningh is forthcoming.
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Seidensticker, Bernd. "Ancient Drama and Reception of Antiquity in the Theatre and Drama of the German Democratic Republic (GDR)." Keria: Studia Latina et Graeca 20, no. 3 (November 22, 2018): 75–94. http://dx.doi.org/10.4312/keria.20.3.75-94.

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Theatre in the German Democratic Republic was an essential part of the state propaganda machine and was strictly controlled by the cultural bureaucracy and by the party. Until the early sixties, ancient plays were rarely staged. In the sixties, classical Greek drama became officially recognised as part of cultural heritage. Directors free to stage the great classical playwrights selected ancient plays, on one hand, to escape the grim socialist reality, on the other to criticise it using various forms of Aesopian language. Two important dramatists and three examples of plays are presented and discussed: an adaptation of an Aristophanic comedy (Peter Hack’s adaptation of Aristophanes’ Peace at the Deutsche Theater in Berlin in 1962), a play based on a Sophoclean tragedy (Heiner Müller’s Philoktet, published in 1965, staged only in 1977), and a short didactic play (Lehrstück) based on Roman history (Heiner Müller’s Der Horatier, written in 1968, staged in 1973 in Hamburg in West Germany, and in the GDR only in 1988). At the end there is a brief look at a production of Aeschylus Seven against Thebes at the BE in 1969.
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Freeman, Sandra, Michael Jamieson, Christopher Murray, Ulf Danatus, Göran Kjellmer, Anne Moskow, Ronald Paul, et al. "Reviews and notices." Moderna Språk 88, no. 1 (June 1, 1994): 96–120. http://dx.doi.org/10.58221/mosp.v88i1.10120.

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Includes the following reviews:pp. 96-97. Sandra Freeman. Griffiths, T.R. & Llewellyn, M. (eds.), British and Irish Women Dramatists Since 1958. pp. 97-98. Michael Jamieson. Esslin, M., Pinter the Playwright. pp. 98-100. Christopher Murray. Hodgson, T., Modern Drama: From Ibsen to Fugard. + Innes, C., Modern British Drama 1890-1990. pp. 100-103. Ulf Danatus. Russell, J.R., The Penguin Dictionary of the Theatre. + Wandor, M., Drama Today; A Critical Guide to British Drama. + Acheson, J. (ed.), British and Irish Drama since 1960. + Hilton, J. (ed.), New Directions in Theatre. pp. 103-105. Göran Kjellmer. Cowie, A.P. & Mackin, R. (eds.), Oxford Dictionary of Phrasal Verbs. p. 105. Anne Moskow. Virago Press - Feminist Publisher. pp. 105-106. Ronald Paul. Burgess, A., A Mouthful of Air. pp. 106-109. Frank-Michael Kirsch. Byram, M. (ed.), Germany. Its Representation in Text, Books for Teaching German in Great Britain. pp. 110-111. Bo Andersson. Günter, S. & Kotthoff, H. (Hrsg.), Die Geschlechter im Gespräch. Kommunikation in Institutionen. pp. 112-113. Gustav Korlén. Leiser, E., Gott hat kein Kleingeld. pp. 114-117. Elisabeth Tegelberg. L'année scandinave 1989-1991, Nouvelles du Nord 1992. pp. 117-118. Börje Schylter. Hedberg, J., Nostalgia. pp. 118-119. Lars-Göran Sundell. Boysen, G., Fransk grammatik. p. 120. Redaktionsmeddelande/A Message from the Editors
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Mascha, Katrin B. "Historical “Truth,” Constructed Memory: Restaging Germany’s Reunification in Thomas Berger’s Television Melodrama Wir sind das Volk. Liebe kennt keine Grenzen (We are the people. Love without limits) (2008)." CINEJ Cinema Journal 1, no. 2 (April 20, 2012): 36–49. http://dx.doi.org/10.5195/cinej.2012.41.

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Film and television are popular media for the (re)presentation of history and the depiction of momentous past events. Germany’s reunification is no exception. After the fall of the Berlin Wall, Germany has witnessed a proliferation of media production that endeavors to historicize and aestheticize the past. This coincides with the need to forge a post-Wall identity of the new Germany. My discussion of Thomas Berger’s award winning television drama Wir sind das Volk. Liebe kennt keine Grenzen (2008) examines how reunification is presented in a mixture of fictitious elements and authentic historical reconstruction based on shared memories of this past. Following a melodramatic trajectory, the film aims at the reconciliation of German society as a people twenty years after reunification.
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Dissertations / Theses on the topic "Germany Drama"

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Kennedy, Shane Michael. "Expressionist Art and Drama Before, During, and After the Weimar Republic." PDXScholar, 2015. https://pdxscholar.library.pdx.edu/open_access_etds/2508.

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Expressionism was the major literary and art form in Germany beginning in the early 20th century. It flourished before and during World War I and continued to be the dominant art for of the Early Weimar Republic. By 1924, Neue Sachlichkeit replaced Expressionism as the dominant art form in Germany. Many Expressionists claimed they were never truly apart of Expressionism. However, in the periodization and canonization many of these young artists are labeled as Expressionist. This thesis examines the periodization and canonization of Expression in art, drama, and film and proves that Expressionism began much earlier than scholars believe and ended much later than 1924. This thesis examines the conflicts in Germany that led to Expressionism and which authors and artists influenced Expressionists. It will also show that after Expressionism ceased to be the dominant art form in Germany, many former Expressionists continued to use expressionistic form in their works but ceased to use expressionistic content. This thesis argues that both the periodization and canonization of Expressionism should be expanded to include all works that may be classified as having expressionistic form.
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Findlay, H. "The representation and function of angels in medieval German Easter and passion plays." Thesis, University of Oxford, 1987. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.381869.

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Waldmann, Elinor. "Frank Wedekinds Bismarck : deutschnationale Heldenverehrung oder Dokument subversiver Kritik /." Frankfurt am Main [u.a.] : Lang, 2005. http://www.loc.gov/catdir/toc/fy0716/2007468668.html.

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Muirhead, Rachael. "Johann von Rist (1607-77) and the theory and performance of drama in seventeenth century Germany." Thesis, Durham University, 2015. http://etheses.dur.ac.uk/11227/.

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Receiving Rist’s theatre – a literary-historical challenge A claim in Die AllerEdelste Belustigung Kunsst- und Tugenliebender Gemüther (1666) indicates that Rist may have composed as many as 30 dramas. There are now only five dramatic works attributed to him: Irenaromachia (1630), Perseus (1634), Das Friedewünschende Teutschland (1647), Das Friedejauchtzende Teutschland (1653), Depositio Cornuti Typographici. The best estimate claims that only a further two had been published, a Herodes and a Wallenstein. The others have since been lost, perhaps even destroyed during Rist’s lifetime as his home was sacked twice by invading troops. Of the five that remain, Irenaromachia does not bear Rist’s name, while the Depositio differs greatly in conception and execution from the others and may not have numbered among the 30 claimed theatrical compostions. Thus the surviving dramas do not constitute a more or less unified body of works challenges German literary studies to engage with these discontinuities – a task which it consistently avoids. The problematic nature of the surviving corpus is compounded by the fact that this was only a fraction of what was produced, a situation which invites an (albeit speculative) attempt to contextualise the surviving dramas in a wider sphere of literary-theatrical activity. This leads to the next difficulty, considering that the composition of dramas, even when these number 30 rather than four or five, was just one area of Rist’s prolific activity as a writer. This presents the problem of how to relate Rist’s dramas to his other writings and activities. This task is itself complicated by the tendency to focus on Rist’s verse compositions, which in the twentieth century emphasised his secular compositions. The current focus of much of Rist scholarship lies in his religious songs, from a theological, hymnological,and musicological perspective. He has also maintained a presence in the lay imagination, as several of his songs have been included in Protestant hymnbooks since the 18th century. Scholarship is now, however, turning its attention again to Rist as a dramatist and this thesis is part of this renewed attention. It is difficult to know what to do with Rist’s dramas. The problems they present are considerable, but this thesis will show that Rist’s dramas exist in the context of a concept of dramaturgy and a theory of acting that is much more sophisticated than has often been thought and that goes beyond the narrowly poetic into performance practice.
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Schor, Ruth. "Eine alltägliche Tätigkeit : performing the everyday in the avant-garde theatre scene of late nineteenth-century Berlin." Thesis, University of Oxford, 2016. https://ora.ox.ac.uk/objects/uuid:f182a548-e450-4efa-a3a0-478461d44ab6.

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This dissertation situates late nineteenth-century Berlin's reception of naturalist drama in contemporary discourse about European modernism, which to date has disregarded the significant impact of this cultural environment. Examining the Berlin avant-garde's demand for "truth" and "authenticity," this study highlights its legacy of promoting more honest and dynamic forms of human interaction. Sketching the historical background, Chapter 1 demonstrates how the reception of Henrik Ibsen in Berlin fuelled creative strategies for a more honest approach to theatre. From literary matinees to more egalitarian ways of directing theatre, this moment in cultural history significantly shaped people's understanding of theatre as a tool for social criticism and as a means of creating a sense of intimacy. Two important figures are highlighted here: literary critic and theatre director Otto Brahm, central to the promotion of naturalism, and his more prominent protégé Max Reinhardt, who developed Brahm's legacy. Situating these developments in a theoretical framework, Chapter 2 draws on the concept of "the everyday" as set out by Toril Moi, Stanley Cavell, and Ludwig Wittgenstein to link the role of the ordinary on stage to the avant-garde's search for authenticity and truthfulness. Through this framework, Ibsen's social dramas from A Doll's House to Hedda Gabler (Chapter 3) can be seen perfectly to exemplify this shift in perspective from the 1880s through the 1890s, revealing the complexity of truthfulness in communications. Tracing these themes in other dramatic works, innovative readings of Arthur Schnitzler's Liebelei (Chapter 4) and Rainer Maria Rilke's Das tägliche Leben (Chapter 5) shed new light on these two fin-de-siècle authors. By highlighting these authors' previously unrecognised connections with Berlin's avant-garde theatre scene and their dramatic exploration of interpersonal connection, this study shows both how theatre functioned as a tool to examine human relationships and to what extent twentieth-century literature was grounded in this way of thinking.
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Georgiou, Michalis. ""Digital Theatre" and "Cyber Theatre" in Drama Education at School : A study of 2 performance projects at a High-school in Eberswalde, Germany." Thesis, Linnéuniversitetet, Institutionen för kulturvetenskaper (KV), 2021. http://urn.kb.se/resolve?urn=urn:nbn:se:lnu:diva-105834.

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The aim of this study is to highlight: 1. how the introduction of new technologies in Drama Education at school can renew the context in which performance projects take place and 2. how the constraints imposed by a pandemic, such as those caused by COVID-19, can be overcome through cybertheatre. The phenomenological method is used to analyze a digital and a cyberperformance project, as theatre is an event that takes place between its creators and its spectators. With the use of digital tools in school performances a new experience emerges for students and spectators, as the "living" actor is combined with "non-human" actors. Besides, the cyberperformance provides a solution to a real problem in the midst of a pandemic crisis, as the spectators participate remotely from the comfort of their own home. In terms of interactivity, by giving the spectator the opportunity to use some information or to choose the action of the play, the performances become more interesting, while theatre is being highlighted, as an event that differs from other media such as T.V. or cinema. Finally, the dialogue that can be produced in a chat-forum in cyberperformance works as a reflection to it.
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Heuer, Imke. "'The German's tale' : German history, English drama and the politics of adaptation." Thesis, University of York, 2008. http://etheses.whiterose.ac.uk/14111/.

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This thesis investigates the adaptation history of Harriet Lee's novella 'Kruitzner, or The German's Tale' (1801). Published in The Canterbury Tales, a collection of novellas by Harriet Lee and her sister Sophia, 'Kruitzner' is now largely remembered as the source of Byron's tragedy Werner (1822) . However, in addition to Werner, the story was incarnated as a closet drama (1802) by Georgiana, Duchess of Devonshire, in collaboration with her sister Harriet, Countess of Bessbororough; a stage play by Lee herself (1825), and a stage adaptation of Werner by William Charles Macready (1830).
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Koszta, Cindy A. "The hero in German revolutionary drama." Thesis, National Library of Canada = Bibliothèque nationale du Canada, 1998. http://www.collectionscanada.ca/obj/s4/f2/dsk1/tape11/PQDD_0016/MQ52096.pdf.

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Jefferis, Sibylle Anna Bierhals. "Ein spätmittelalterliches Katharinenspiel aus dem Cod. Ger. 4 der University of Pennsylvania Text und Studien zu seiner legendengeschichtlichen Einordnung /." Göppingen : Kümmerle, 2007. http://books.google.com/books?id=PO5lAAAAMAAJ.

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Weiss-Schletterer, Daniela. "Das Laster des Lachens ein Beitrag zur Genese der Ernsthaftigkeit im deutschen Bürgertum des 18. Jahrhunderts /." Wien : Böhlau, 2005. http://catalog.hathitrust.org/api/volumes/oclc/61488343.html.

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Books on the topic "Germany Drama"

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Kurz, Gerhard. The great drama: Germany and the French revolution. Bonn: Inter Nationes, 1989.

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Stern, Fritz Richard. Dreams and delusions: The drama of German history. New York: Vintage Books, 1989.

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McKenzie, John R. P. Social comedy in Austria and Germany 1890-1933. Bern: P. Lang, 1992.

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Groffmann, Anne Claire. Das unvollendete Drama: Jugend- und Skinheadgruppen im Vereinigungsprozess. Opladen: Leske + Budrich, 2001.

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Stern, Fritz Richard. Dreams and delusions: The drama of German history. New York: Knopf, 1987.

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Denise, Varney, ed. Theatre in the Berlin Republic: German drama since reunification. Oxford: P. Lang, 2008.

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Böll, Heinrich, Alexander Kluge, Wolfgang Baechler, and Eberhard Junkersdorf. Deutschland im Herbst: Germany in autumn. Chicago, IL: Facets Video, 2010.

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Uwe, Japp, Scherer Stefan, and Stockinger Claudia, eds. Das romantische Drama: Produktive Synthese zwischen Tradition und Innovation. Tübingen: Niemeyer, 2000.

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John, David Gethin. The German Nachspiel in the eighteenth century. Toronto: University of Toronto Press, 1991.

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Meyer-Dinkgräfe, Daniel. Boulevard Comedy Theatre in Germany. Newcastle-upon-Tyne: Cambridge Scholars, 2005.

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Book chapters on the topic "Germany Drama"

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Eichner, Susanne. "Crime Scene Germany." In European Television Crime Drama and Beyond, 173–92. Cham: Springer International Publishing, 2018. http://dx.doi.org/10.1007/978-3-319-96887-2_10.

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Bierl, Anton. "Germany, Austria, and Switzerland." In A Handbook to the Reception of Greek Drama, 257–82. Hoboken, NJ: John Wiley & Sons, Inc, 2016. http://dx.doi.org/10.1002/9781118347805.ch13.

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Eichner, Susanne, and Andrea Esser. "Key International Markets: Distribution and Consumption of Danish TV Drama Series in Germany and the UK." In Danish Television Drama, 187–207. Cham: Springer International Publishing, 2020. http://dx.doi.org/10.1007/978-3-030-40798-8_10.

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Furst, Lilian R. "1. Shakespeare and the Formation of Romantic Drama in Germany and France." In Comparative History of Literatures in European Languages, 3. Amsterdam: John Benjamins Publishing Company, 1993. http://dx.doi.org/10.1075/chlel.ix.03fur.

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Tietz, Manfred. "El teatro del Siglo de Oro y su paulatina presencia en la cultura y la literatura teatrales en los países de habla alemana durante los siglos XVII y XVIII." In Studi e saggi, 77–114. Florence: Firenze University Press, 2020. http://dx.doi.org/10.36253/978-88-5518-150-1.7.

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The presence of the theatre of the Spanish Siglo de Oro in the theatre and literary culture of Germany (or the German-speaking countries) in the 17th and 18th centuries is a multifaceted one, and was influenced by many factors. We have to take in account that in the second half of the 17th century and in a large part of the 18th century Spain had been a terra incognita for the Germanic world. This long lack of basic knowledge led to a decontextualization of the Golden Age theatre and sometimes to an unconditional enthusiasm that was not based on historical realities. The protagonists of the ‘construction’ of a ‘Spanish national theatre’ included Lessing, Herder, Goethe, the Schlegel brothers and the philosopher Schelling, the most prominent German intellectuals of the time. Within this ‘construction’ Lope de Vega, Rojas Zorrilla and, above all, Calderón de la Barca are the three icons that will guide both the theory and the practice of drama during the ‘two most Spanish decades’ of German literary history (1790-1810), even reaching - in the secularized world of the classics and the first generation of German Romantics - the ‘deification’ of Calderón as perfect poet and author of modern tragedies (without paying much attention to his comedias in a stricter sense and without taking account of his autos sacramentales).
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Burwick, Frederick. "German Romantic Drama." In A Companion to European Romanticism, 157–71. Oxford, UK: Blackwell Publishing Ltd, 2007. http://dx.doi.org/10.1002/9780470996607.ch10.

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Taylor, Anna-Marie. "The Germans in Britain." In Twentieth-Century European Drama, 183–202. London: Palgrave Macmillan UK, 1994. http://dx.doi.org/10.1007/978-1-349-23073-0_13.

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Cassidy, David C. "Science, History, Drama." In Farm Hall and the German Atomic Project of World War II, 89–94. Cham: Springer International Publishing, 2017. http://dx.doi.org/10.1007/978-3-319-59578-8_3.

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Segel, Harold B. "German Expressionism and Early Soviet Drama." In Russian Theatre in the Age of Modernism, 196–218. London: Palgrave Macmillan UK, 1990. http://dx.doi.org/10.1007/978-1-349-20749-7_9.

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"THE MORALIZING DRAMA." In The Reception of English Literature in Germany, 111–29. University of California Press, 2023. http://dx.doi.org/10.2307/jj.8500927.11.

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Conference papers on the topic "Germany Drama"

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Butusova, Yu A. "PERVYY PEREVOD I POSTANOVKA DRAMY M. GOR'KOGO «NA DNE» V GERMANII." In NEMETSKIY YAZYK V SOVREMENNOM MIRE: ISSLEDOVANIYA STATUSA I KORPUSA I VOPROSY METODIKI PREPODAVANIYA. Publishing House of Tomsk state University, 2019. http://dx.doi.org/10.17223/9785946218740/32.

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Harahap, Ahmad. "Short Story Development of Der Gegenwart Prosa For German Drama Manuscript Using Adjacency Pair Model: (Social Science and Humaniora)." In Proceedings of The 5th Annual International Seminar on Trends in Science and Science Education, AISTSSE 2018, 18-19 October 2018, Medan, Indonesia. EAI, 2019. http://dx.doi.org/10.4108/eai.18-10-2018.2287414.

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Yuhan, N. L. "PROJECTION OF PSYCHOANALYTIC CONCEPTS AND PSYCHODRAMA IN CONTEMPORARY GERMAN DRAMA: N.-M. STOCKMANN’S PLAY “THE SHIP WILL NOT COME” IN THE INTERTEXTUAL CONTEXT." In MODERN PHILOLOGY: THEORY, HISTORY, METHODOLOGY. PART 1. Baltija Publishing, 2024. http://dx.doi.org/10.30525/978-9934-26-425-2-11.

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