Academic literature on the topic 'Intellectual freedom – drama'
Create a spot-on reference in APA, MLA, Chicago, Harvard, and other styles
Contents
Consult the lists of relevant articles, books, theses, conference reports, and other scholarly sources on the topic 'Intellectual freedom – drama.'
Next to every source in the list of references, there is an 'Add to bibliography' button. Press on it, and we will generate automatically the bibliographic reference to the chosen work in the citation style you need: APA, MLA, Harvard, Chicago, Vancouver, etc.
You can also download the full text of the academic publication as pdf and read online its abstract whenever available in the metadata.
Journal articles on the topic "Intellectual freedom – drama"
1
Miller, Nick. "Mihiz in the Sixties: Politics and Drama between Nationalism and Authoritarianism." Nationalities Papers 30, no. 4 (December 2002): 603–21. http://dx.doi.org/10.1080/00905992.2002.10540509.
Full textAbstract:
Between 1981 and 1991, Serbian intellectual and political life were energized by a movement to overcome the legacies of the Tito regime. Tito himself had died in 1980, but his political heirs, insecure and unimaginative, had proclaimed that even though Tito was gone, his image would continue to guide and bind the peoples of Yugoslavia: “After Tito—Tito!” In Belgrade, the anti-Titoist movement began as a struggle for free expression. As Borislav Mihajlović Mihiz, one of the leaders of the Committee for the Protection of Artistic Freedom (founded in 1982), said later, all political freedom flows from the right to free speech. Mihiz's commitment to the defense and nurturing of this right was consistent with values he had expressed throughout his career as a literary critic, playwright, and theater director. Yet the movement that he helped found in 1982 would be transformed after 1986 into something less obviously principled and much more visceral, as the issue of Kosovo's fate came to consume Serbia's intellectual elite. The movement for free speech segued into a movement to reclaim Kosovo for Serbia without missing a beat, thanks to the ability of Serbian intellectuals to frame the Kosovo problem as a product of the suppression of open dialogue in Yugoslavia. Kosovo replaced Gojko Djogo, Jovan Radulović, Dušan Jovanović, and other censored Serbian writers as the emotive fulcrum of the anti-Titoist movement in Serbia. The free speech movement was transformed into a movement of rage at the Tito regime's allegedly systematic injustices towards Serbs. Since the wars of Yugoslav succession began in 1991, commentators have conveniently forgotten that what ended up a violent and irrational movement in the late 1980s began in such a reasonable fashion. Borislav Mihajlović Mihiz was the face of the early free speech movement.
2
Zhukovska, H. M. "POETICS OF MYTH IN LESYA UKRAINKA’S DRAMATIC POEM “CASSANDRA”." Literary Studies, no. 61 (2021): 37–51. http://dx.doi.org/10.17721/2520-6346.2(61).37-51.
Full textAbstract:
The article deals with the original author’s interpretation of the myth of the Trojan prophetess Cassandra in Lesya Ukrainka’s drama of the same name. It is observed that the reproduction of the ancient myth is based on the aesthetics of neo-romanticism, artistic tragedy and psychologism. It has been proved that Lesya Ukrainka’s dramatic poem “Cassandra” is a “drama of ideas” in which important issues of human existence are raised. The artistic embodiment of the myth of Cassandra occurs through the understanding of the problems of human destiny, choice, faith / despair, truth / falsehood, freedom / slavery, fidelity / betrayal, life / death, and so on. It is noted that Lesya Ukrainka’s Cassandra is an intellectual philosophical drama with deep psychologism, intense external and internal conflicts.
3
Ageyeva, Vira. "Freedom of Spirit and Fatality of Embodiment: Intellectual Controversies of Valerian Pidmohyl’ny’s Prose." NaUKMA Research Papers. Literary Studies 3 (September 2, 2022): 26–35. http://dx.doi.org/10.18523/2618-0537.2022.3.26-35.
Full textAbstract:
The article focuses on the analysis of philosophic and existentialist collisions of Valerian Pidmohylny’s prose. He appeared to be the most consistent urbanist in the Ukrainian prose of the 1920s, as in Tretia Revolutsia (The Third Revolution) and Misto (The City) he showed two scenarios of the relationship between representatives of rustic and urban culture. The main theme of the novel is the brutal city occupation, its submission, and desecration. This path of fair revenge is anyway desperate for both winners and losers. The novel encompasses the process of a village-born person’s understanding and adoption of the elitist city culture and the way how a “black-earth” adds to the artistic values creation. In Misto, the factors that provided meaning to the existence were culture, creative work, and writing. However, the characters of Nevelychka Drama (A Little Touch of Drama) appear to be in the situation when the modernist belief in the art’s ability to change the world is lost, when no universal values define people’s behavior, and a moral choice does not agree with any authorities. Another Pidmohylny’s work, Povist bez Nazvy (The Untitled Novel), is one of the few direct fixations of traumatic experience of the early 1930s. Povist bez Nazvy focuses on the final questions of the human existence, when everything built over the foundations of being and cornerstones has lost its meaning and value. The hero of the novel feels like a homeless person, rootless, exhausted, and devastated by unbearable challenges. The last work of Pidmohylny is associated with reflections on the possibilities to escape the epoch and existence, which – recalling a sarcastic complaint of its hero – had better not coincide with the great convulsions of the beginning of the 20th century. Hashish was a temporary escape that ended up in even more catastrophic returning to the cage. Pashchenko, a rational person, took care of a rescue ampoule with poison beforehand – it guaranteed the permanent disappearance. Horodovsky almost tried the variant of a traceless disappearance in the throng, a ceaseless and homeless movement through new paths.
4
Bybyk, Svitlana. "Linguosophy “slavery – freedom” in drama of Lesia Ukrainka “in the catacombs”." Culture of the Word, no. 93 (2020): 48–62. http://dx.doi.org/10.37919/0201-419x-2020.93.4.
Full textAbstract:
The article offers a stylistic analysis of Lesia Ukrainka’s drama “In the Catacombs”. The basis of the research methodology is the linguosophical approach, ie the projection of the topic – the main idea – issues, features of social and ideological conflicts on the linguistic basis of the work. Emphasis is placed on the lexical and grammatical manifestations of the interaction of rhetoric of “high”, “neutral” and “low” registers for the advantages of the first two. In this regard, communication with theological, evangelical and everyday topics is differentiated. Emphasis is placed on the stylistics of the antithesis, the symbolism of the text, the textual interpretation of precedent names. It is established that the first helps to stylize the debatability, polylogical communication of the characters, the second – to express the philosophy of the boundaries of earthly and spiritual being. It is emphasized that the interpretation of precedent phenomena in Lesia Ukrainka corresponds to the author’s strategy of expressing the socio-political position of the intellectual in imperial Russia of the late XIX – early XX centuries. Changes in the textual semantics of the tokens slave, will have been traced. It is noted on the role of the text of the drama “In the Catacombs” in the development of the literary Ukrainian literary language as a means of glorifying the ability of the Ukrainian nation to compete.
5
LaRue, James. "Speech and Consequences." Journal of Intellectual Freedom and Privacy 1, no. 4 (May 12, 2017): 3. http://dx.doi.org/10.5860/jifp.v1i4.6315.
Full textAbstract:
This issue begins with the moving story of intellectual freedom champion Gordon Conable. The drama plays out like this: a principled and outspoken defender of First Amendment rights stands up for a controversial book in accordance with library policy and federal law. Then, his community vilifies, harasses, and punishes him for this defense until his death. One lesson is the inescapable truth that although we have the right to free speech, there can be consequences, whether in Michigan, or in Russia (see this issue’s review of Garden of Broken Statues).
6
Rogers, Lizzie. "Reading will not find you a husband: Eloise Bridgerton, accomplishment and the ‘thinking woman’ in the early nineteenth-century period drama." Journal of Popular Television, The 11, no. 1 (April 12, 2023): 27–43. http://dx.doi.org/10.1386/jptv_00091_1.
Full textAbstract:
From the very opening scenes of Bridgerton (), Eloise Bridgerton, the second-eldest daughter, takes centre stage as a character entrenched in a Regency London world, yet immediately identifiable to a modern audience. Her desire to learn and live beyond a conventional path sets her apart in a way that provides hope to a viewing audience that desires from her a myriad of things, including the intertwining of her reticence to marry, her close friendship with Penelope Featherington and intellectual aspirations with longed-for queer representation. This article will explore how the building of Eloise’s character allows for the exploration of the gendering of intellectual freedom on-screen at a place where fact, fiction and audience desires meet. In examining the translation of the complicated nature of the ‘thinking woman’ and ‘accomplishment’ onto screen through the lens of Eloise, and the references and language used, in particular those to Wollstonecraft, as well as audience responses to and desires for Eloise, this article will demonstrate how a conflation of historical reference and modern outlook both re-energizes and often polarizes feminist tropes of the scholarly woman.
7
Muse, Amy. "Teaching The Portrait of a Lady as a Tale of Two Travelers." Frontiers: The Interdisciplinary Journal of Study Abroad 25, no. 1 (March 15, 2015): 47–56. http://dx.doi.org/10.36366/frontiers.v25i1.344.
Full textAbstract:
I had long considered Henry James’s The Portrait of a Lady the quintessential study abroad novel, not just for the extensive travel that takes place within the storyline but for the “drama of the perceiving mind” (to use Michael Gorra’s words) that James presents us with in his heroine, Isabel Archer. If the most important outcome of education abroad is intellectual development, we must attend to what happens to students’ consciousness, and therefore The Portrait of a Lady, despite what might seem old-fashioned in its setting and plot, still benefits American students venturing out into the world. I assigned the novel for a senior seminar entitled “English Majors in the World” and instructed students to tell the story of their experience reading the novel by tracking their evolving response to Isabel Archer. Almost immediately they resisted Isabel, whom they found cold, incomprehensible, and foolish. (Even though she shares many traits of the so-called Millennials.) They demanded another assignment: to track their responses instead to her freewheeling journalist friend Henrietta Stackpole, a minor character whom I had always seen as a mere comic foil to Isabel. Moving Henrietta to stand alongside Isabel, the novel was turned into a comparative tale of two travelers, two learners abroad: one of old-world introspection and ruin-wandering, the other of new-world group travel and freedom from “drama.” The students’ struggles cast us into current debates in the field of education abroad over what conditions and assignments produce the best learning experiences. James gives only Isabel, not Henrietta, an inner life, a complex consciousness; therefore, following Henrietta forestalls the difficult but indispensable inner work of comprehending one’s own experience, which is essential to intellectual development abroad. The Portrait of a Lady remains for me the quintessential study abroad novel. Just not in the way I once thought it was.
8
Hickman, Jared. "Douglass Unbound." Nineteenth-Century Literature 68, no. 3 (December 1, 2013): 323–62. http://dx.doi.org/10.1525/ncl.2013.68.3.323.
Full textAbstract:
This essay tests what we might call the racialization-as-secularization thesis through an examination of a year in the intellectual and literary life of Frederick Douglass—from the summer of 1854, when he delivered his commencement address at Western Reserve College, “The Claims of the Negro Ethnologically Considered” (his direct response to the American School of Ethnology), to the summer of 1855, when his second autobiography, My Bondage and My Freedom, was published. “Claims” reveals that Douglass apprehended in the American School of Ethnology a distillation of the problem of race past internecine contentions about the interpretation of this or that biblical verse or curse to a bottom-line Christian-theistic question: What does the enslaved black body signify within a creationist framework? This confrontation of racial slavery as a theodical problem can help us account for the most salient difference of his second autobiography—its recourse to mythic drama of the sort associated with Romantic titanism. Douglass’s bravura performance of Romantic titanism in My Bondage and My Freedom underscores the extent to which Douglass abandoned the Christian millenarianism of the Garrisonian camp not for a tacitly secularist political abolitionism but rather for what we might call a heretical political-theological abolitionism that provides fruitful fodder for current historical and philosophical debates about secularity, secularism, and immanence.
9
Kalinina, Anhelina. "THE SPECIFICITY OF SLAVOMIR MROZHEK’S ONE-ACT PLAYS." Polish Studies of Kyiv, no. 35 (2019): 460–65. http://dx.doi.org/10.17721/psk.2019.35.460-465.
Full textAbstract:
The article examines the characteristic features of the one-act plays of the Polish playwright of the twentieth century Slavomir Mrozhek. The creativity of the writer tends toward the Theater of absurd, it is characterized by grotesque, sharp satire, parody, contrasting combination of incompatible things as well as eccentricity. Mrozhek creates the world of his dramas by using various means of comic. He describes numerous social and political problem in his dramas. The main motives of the writer’s works are the motive of freedom, the motive of life and death, the motive of the dispute and the antagonism of nature and culture. Mrozhek’s one-act plays are short and rational, they have features of the classic “small play” of the 19th century and traits of the absurd, grotesque play of the 20th century. The article traces the history of the formation and development of the Polish and European one-act play throughout the 19th and 20th centuries, its features and characteristics, furthermore the embodiment of these features in specific dramas of Slawomir Mrozhek were analyzed. Among such dramas, the most famous ones are ‘At Sea’, ‘Karol’, ‘Strip-tease’, ‘Zabawa’, ‘Dilemmas of a dog breeder’, ‘The magical night’, ‘Fox hunting’, a brief analysis of individual works is presented in the article. Particular attention is paid to the presentation and description of the typical characters of Mrozhek’s plays, which were diligently studied by the Polish book critic Jan Blonsky. Each of the characters have a special stereotypical trait that is actualized in the acts of the dramas and is emphasized by the actions of the characters. A one-act play is a convincing view of the actual problems in a small form, which requires great skill. Mrozhek’s one-act plays are sharp, absurd, intellectual as well as topical. The language of the works is full of idioms, eloquent expressions and dialects. The surprise effect and attempts to astonish the reader and to cause ambiguous emotions are the main target for the author. The article provides a more detailed analysis of one of Mrozhek’s dramas – ‘Fox Hunting’, the main character of which is the stereotypical figure of Fox, which gives allegory, signs of fable, Aesopian language to the drama. This work is a typical example of the embodiment of the characteristic features of Slavomir Mrozhek’s one-act plays. The purpose of the article is review, analysis and research of the works of the outstanding Polish playwright Slavomir Mrozhek through the prism of his one-act plays.
10
Korotkova, Yuliya. "FORMATION AND IMPROVEMENT OF THE CULTURE OF BUSINESS COMMUNICATION OF FUTURE POLICE OFFICERS." Ukrainian polyceistics: theory, legislation, practice 1, no. 1 (April 2021): 174–81. http://dx.doi.org/10.32366/2709-9261-2021-1-1-174-181.
Full textAbstract:
The article is devoted to the study of the problem of formation and improvement of the culture of business communication of future police officers. The definitions of «business communication», «culture of business communication», «culture of business communication of a police officer» are given. Analysis of the works of domestic and foreign scientists allowed us to formulate our own definition of the main concept of the study. Thus, the culture of business communication of the police officer means a set of communicative, socio-psychological, intercultural skills and habits, values, norms of professional behavior, compliance with general and professional etiquette in the processes of intersubjective interaction at the subject-informational and interactive levels in solving problems. The characteristics of interactive forms and methods of formation and improvement of the culture of business communication of future law enforcement officers during their basic training in a higher education institution is given. Productive forms of improving the speech culture of law enforcement specialists include classes-debates, classes-researches, classes-discussions, binary classes, which form the communicative competence of students, their initiative is revealed, a situation of confidence, intellectual freedom is composed, pedagogy of cooperation is implemented. Among the methods of improving the culture of business communication of police officers, the meaningful place is given to role-playing and business games, theatrical techniques, drama techniques, the method of projects that not only improve the culture of business communication of law enforcement officers, but also develop their imagination and creativity, promote socialization of personality, allow to realize the contextual (professionally oriented) approach in training of police officers. Examples of practical application of the above mentioned forms and methods in the educational process are given.
Books on the topic "Intellectual freedom – drama"
1
Goldfarb, Jeffrey C. Persistence of Freedom: The Sociological Implications of Polish Student Theater. Taylor & Francis Group, 2019.
Find full text
2
Goldfarb, Jeffrey C. Persistence of Freedom: The Sociological Implications of Polish Student Theater. Taylor & Francis Group, 2019.
Find full text
3
Sierhuis, Freya. Politics, Imagination, and Desire in the Work of Fulke Greville. Oxford University Press, 2017. http://dx.doi.org/10.1093/oxfordhb/9780199935338.013.142.
Full textAbstract:
This article examines a number of the key political and philosophical questions in the poetry, drama, and philosophical treatises of Fulke Greville, first Lord Brooke (1554–1628), arguing that the philosophical complexity and linguistic obscurity for which Greville’s style is known offer an appropriate tool for the examination of some of his enduring intellectual preoccupations: the paradoxes of political power and the rise and fall of empires, examined in the choruses of his Ottoman closet drama Mustapha; and the examination of the mechanisms of idolatry and spiritual servitude that link the erotic poetry of the lyric sequence Caelica to the treatises on monarchy and religion. A Dedication to Sir Philip Sidney, Greville’s biography of his long-deceased friend, by contrast, offers a different perspective on political life and freedom, one that is constructed on Sidney’s exemplarity and modeled on the ethics of friendship.
Book chapters on the topic "Intellectual freedom – drama"
1
Lange, Anne, and Aile Möldre. "Russian Literature in Estonia between 1918 and 1940 with Special Reference to Dostoevsky." In Translating Russian Literature in the Global Context, 45–66. Cambridge, UK: Open Book Publishers, 2024. http://dx.doi.org/10.11647/obp.0340.03.
Full textAbstract:
This chapter gives a survey of translations from Russian literature made in Estonia in 1918–40 against the backdrop of the latter nation’s cultural development. Translation is understood as a practice affected by social contingencies and cultural exchanges. As former citizens of Tsarist Russia, the older generation of Estonian intellectuals for who shaped the cultural repertoire of Estonia after independence in 1918 drew on their knowledge of Russian. The initial need for drama translations for amateur theatre groups was paralleled by interest in new developments of Russian fiction (reflecting the influence of Soviet Communism) and in translations of classic Russian authors, now part of the global literary canon. To support our argument that cultural exchange is relatively autonomous from political factors, we analyse how Dostoevsky influenced Anton Hansen Tammsaare (1878-1940), a major Estonian prose author and a translator of Dostoevsky. Tammsaare openly acknowledged Dostoevsky’s influence on the poetics of his prose. Through transculturation, the polyphonic composition of Dostoevsky’s novels resonates with aspects of Tammsaare’s pentalogy Truth and Justice. The latter’s translation of Crime and Punishment is the only Estonian version of this novel; it has been reissued repeatedly and never retranslated. The freedom of the world republic of letters, which ignore political and linguistic boundaries of nations, is manifest in Tammsaare’s decision to translate Crime and Punishment and the fact that his century-old version is still current in Estonia.
2
Debost, Michel. "Phrasing." In The Simple Flute, 176–83. Oxford University PressNew York, NY, 2002. http://dx.doi.org/10.1093/oso/9780195145212.003.0052.
Full textAbstract:
Abstract A musical phrase is similar to a spoken sentence. It is an attempt to organize sounds and syllables to give them a direction, a meaning that will make their intellectual, spiritual, and emotional content intelligible. Phrasing is a relationship between freedom and constraint, tension and release, intensity and repose— between time and space, and between sound and silence. It is impossible to load every single syllable of a speech with drama: it becomes quickly emphatic and boring. “The pursuit of the extraordinary is the character of mediocrity. When one despairs of doing a beautiful, simple, and natural thing, he attempts a weird one.”13 Likewise in music. If all the notes of a passage are highlighted, it becomes a hysterical interpretation that often disfigures masterpieces. Somehow, it reminds me of a sandwich advertised “with everything on it: five meats, three cheeses, lettuce, tomato, mayonnaise, mustard. ” The works! A musical phrase or motif exists in itself. Harmony, however, is implicit. To simplify matters, let us say that when the harmony is consonant (major or minor triads and their inversions), the phrasing flows without tension. On the other hand, dissonant harmony denotes tension and build-up. A line containing sevenths or augmented fourths (called tritones) or diminished fifths (which are in fact part of seventh chords) requires more tension.
3
Lavine, Thelma Z. "Philosophy and the Dialectic of Modernity." In The Paideia Archive: Twentieth World Congress of Philosophy, 83–88. Philosophy Documentation Center, 1998. http://dx.doi.org/10.5840/wcp20-paideia199842779.
Full textAbstract:
Habermas' social philosophy can now be perceived in its oppositional structures and their symbolic meaning. His repetition of structural opposition finds its expression in the symbolism which pervades The Philosophic Discourse of Modernity in the opposition between the dreaded myth of the Dialectic of Enlightenment and the redemptive fantasy of the path yet to be taken. More significant for the intellectual culture of modernity is the neglect, by erasure on the part of this esteemed philosopher, of the great drama of philosophy in our time. This is the drama occasioned by the dialectical struggle, rushing to climax in the 20th Century, between Enlightenment reason and its Counterenlightenment opponent. The struggle between these philosophical constellations is refracted in the great wars of this century. Thus the drama of the philosophical thought of the century and its historical development is lost. The philosophic discourse of modernity has yet to be written. Its text, once it has been freed from the tenacity of ideological hostilities and their erasures and concealing circumlocutions, will at the same time provide the sought-for foundation for social philosophy and a just society: it is the philosophic framework of Modernity itself which is the foundation of all modern philosophies, in the dialectic of Enlightenment and its Counterenlightenment other.