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Academic literature on the topic 'Literature fiction drama history'

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Published: 25 July 2024
Last updated: 26 July 2024

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Journal articles on the topic "Literature fiction drama history"

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Haley, Madigan. "Modernism's World Drama: Joyce, Wagner, and the Anti-Systemic Stirrings of a Global Artwork." Journal of Modern Literature 46, no. 3 (March 2023): 1–19. http://dx.doi.org/10.2979/jmodelite.46.3.01.

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Abstract: Two of James Joyce's earliest essays identify a kind of artwork that would remain a model for his fiction: the world drama. Joyce's notion of the world drama built upon an aspect of Richard Wagner's theoretical writing that has been largely forgotten: the program for a revolutionary, nonnational artwork. Joyce reimagined this program within the conditions of colonial Ireland and an increasingly international print culture, conceiving of a work that is oriented toward the world at large and meant to articulate a revolutionary consciousness for its audience. Joyce's works of fiction can be understood, in these terms, as world dramas, which is one of the reasons for their influence. The history of the world drama reveals how the effort to create a revolutionary world-oriented artwork spanned international modernism, evolving as it passed from Wagner to Joyce and then later to artists such as Sergei Eisenstein and Mulk Raj Anand.
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Haley, Madigan. "Modernism's World Drama: Joyce, Wagner, and the Anti-Systemic Stirrings of a Global Artwork." Journal of Modern Literature 46, no. 3 (March 2023): 1–19. http://dx.doi.org/10.2979/jml.2023.a901928.

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Abstract: Two of James Joyce's earliest essays identify a kind of artwork that would remain a model for his fiction: the world drama. Joyce's notion of the world drama built upon an aspect of Richard Wagner's theoretical writing that has been largely forgotten: the program for a revolutionary, nonnational artwork. Joyce reimagined this program within the conditions of colonial Ireland and an increasingly international print culture, conceiving of a work that is oriented toward the world at large and meant to articulate a revolutionary consciousness for its audience. Joyce's works of fiction can be understood, in these terms, as world dramas, which is one of the reasons for their influence. The history of the world drama reveals how the effort to create a revolutionary world-oriented artwork spanned international modernism, evolving as it passed from Wagner to Joyce and then later to artists such as Sergei Eisenstein and Mulk Raj Anand.
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Lindblad, Jan Thomas. "History and Fiction: An Uneasy Marriage?" Jurnal Humaniora 30, no. 2 (June 8, 2018): 147. http://dx.doi.org/10.22146/jh.34619.

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This essay discusses the relationship between history as a science and fiction as a genre of literature. It starts with a brief digression on the characteristics and pitfalls of the historical novel, including its development over time. Past experience is highlighted with the aid of a selection of acknowledged novelists making intensive use of historical information. Recent new trends are illustrated by professional historians becoming novelists. A final section offers reflections on how to combine the demands of authenticity in history with the demands of drama in literary fiction.
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Lindblad, Jan Thomas. "History and Fiction: An Uneasy Marriage?" Jurnal Humaniora 30, no. 2 (June 8, 2018): 147. http://dx.doi.org/10.22146/jh.v30i2.34619.

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This essay discusses the relationship between history as a science and fiction as a genre of literature. It starts with a brief digression on the characteristics and pitfalls of the historical novel, including its development over time. Past experience is highlighted with the aid of a selection of acknowledged novelists making intensive use of historical information. Recent new trends are illustrated by professional historians becoming novelists. A final section offers reflections on how to combine the demands of authenticity in history with the demands of drama in literary fiction.
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Asanga, Siga, and Elena Zubkova Bertoncini. "Outline of Swahili Literature: Prose Fiction and Drama." Canadian Journal of African Studies / Revue Canadienne des Études Africaines 24, no. 2 (1990): 268. http://dx.doi.org/10.2307/485263.

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Morales Zea, María del Sol. "Juarez and Maximilian. Stories and interpretations in film and literature." Culture & History Digital Journal 10, no. 2 (October 20, 2021): e023. http://dx.doi.org/10.3989/chdj.2021.023.

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This paper approaches the relations between history and fiction through analysis of two works: the Franz Werfel drama’s Juarez und Maximilian (1924), and the Miguel Contreras Torres movie’s, Juárez y Maximiliano (1934). Both works intend to tell us the happened during the Second Mexican Empire, Werfel with the Austrian gaze and Contreras with the Mexican gaze. We go inside to biography and context of authors, as well as the reception of the drama and movie in the local press, to understanding the political implications of the representations of the past. Finally, we analyze the philosophy of history implied in both Werfel and Contreras, and your relations with creation’s context.
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Rody, Caroline. "Between “I” and “We”: Viet Thanh Nguyen's Interethnic Multitudes." PMLA/Publications of the Modern Language Association of America 133, no. 2 (March 2018): 396–405. http://dx.doi.org/10.1632/pmla.2018.133.2.396.

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The rise of an interethnic imagination in recent american literature has been remaking what we think of as ethnic fiction into interethnic fiction. While memory, history, and tradition continue as shaping forces in American letters, an urge toward encounter with others is vividly reworking fictional structures, plots, casts of characters, and uses of language, as well as social visions, literary ambitions, and currents of intertextual influence. In some cases, the mind of a protagonist or narrator, indeed the very mind of a text, comes to seem the site of a momentous encounter of peoples, a living human nexus (Rody). Such is the case in the fiction of Viet Thanh Nguyen, in which the interethnic impulse generates a remarkable pronominal drama, a performance that oscillates between a narratorial “I” and a “we” to negotiate—across the pain and struggle of war, dislocation, and immigrant Americanization and across disparate political and literary allegiances—a Vietnamese American voice.
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Charypar, Michal. "Conceptualizing Literary History: A Survey of Poetics in Czech Fiction 1860–1910 (Part One)." Bohemistyka 23, no. 3 (August 28, 2023): 394–408. http://dx.doi.org/10.14746/bo.2023.3.15.

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The article provides an innovative model of poetics (or isms, styles, etc.) in Czech prose in the latter half of the long 19th century. It gives an overview of seven individualized and mutually distinct poetics, including ideal, analytical, and psychological realisms, Parnassism, naturalism, impressionism, and decadence. The individual poetics do not represent periods, but exist in parallel, allowing confrontations and intersections either within the author's work or in a specific text, as in the model of Czech literature developed by Dalibor Tureček in the past decade. They are always set in the context of European literature and supported by many illustrative examples. The model is not only typological, but also assumes a diachronic perspective, which can be developed in future scholarly work on the history of Czech literature. The aim is to create a system that can potentially be applied not only to Czech fiction, but possibly also to poetry or drama, in other periods and literatures. Part One of the article concentrates on a general overview and on ideal and analytical realisms.
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Niama, Haidyr Hashim. "IMPACT OF BRITISH LITERATURE ON GLOBAL LITERATURE." American Journal of Social Science and Education Innovations 6, no. 6 (June 1, 2024): 176–89. http://dx.doi.org/10.37547/tajssei/volume06issue06-24.

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The influence of British literature on global literature is enormous. In so many ways, British literature has influenced world literature. The Anglo-Saxon period established the British literature tradition, which continues to influence world literature today. In this blog post, we will look at various aspects of British literature's influence on global literature. The study of literary works from the United Kingdom and other countries around the world is known as British and world literature. It includes classic and contemporary works, often translated into English, that reflect regional and historical cultural and social norms. Individuals who study British and world literature gain insights into the historical, social, and cultural contexts in which the works were written. This allows for a better understanding of human experiences and the appreciation of different points of view. British literature composition is the process of creating written works in the English language that originate in or are related to the United Kingdom. This includes works written by British authors throughout history in the genres of fiction, poetry, drama, and nonfiction. Different literary movements, such as Medieval, Renaissance, Romanticism, and Postmodernism, have shaped the evolution of British literature composition. The composition of British literature has had a significant impact on the literary world and continues to inspire many contemporary writers.
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Begović-Sokolija, Ena. "Franciscan Characters in Bosnian-Herzegovinian Drama Literature: On the Phenomenon Of Remembrance and Memory." Društvene i humanističke studije (Online) 6, no. 4(17) (December 22, 2021): 33–56. http://dx.doi.org/10.51558/2490-3647.2021.6.4.33.

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In seven dramatic texts written by six Bosnian-Herzegovinian authors – Borivoje Jevtić, Štefa Jurkić, Nikola Šop, Nasko Frndić, Nada Đurevska and Dževad Karahasan – from the perspective of the art of memory we follow the construction of literary imaginaria on the examples of three Bosnian-Herzegovinian Franciscans (Anđeo Zvizdović, Matija Divković and Ivan Frano Jukić). The paper examines the relationship between historic reality and fiction, where in history was an inspirational incentive for dramatic texts, with individual members of the Franciscan order transformed into a collective place of traumatic memory. For this conscious work on cultural memory we are to thank both the history of remembrance and memory (mnemohistory) and the motivational associative images that have been cultivated in literature and the historiography of literature for more than a century.
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Dissertations / Theses on the topic "Literature fiction drama history"

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齊曉楓 and Hsiao-feng Chi. "Patterns of husband selection in traditional Chinese fiction and drama." Thesis, The University of Hong Kong (Pokfulam, Hong Kong), 1998. http://hub.hku.hk/bib/B31238312.

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Nweba, Lena. "Characterisation in isiXhosa drama with specific reference to two isiXhosa dramas." Thesis, Stellenbosch : Stellenbosch University, 2004. http://hdl.handle.net/10019.1/49878.

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Thesis (MA)--Stellenbosch University, 2004.
ENGLISH ABSTRACT: The main aim of study is to investigate characterisation in two of Ngewu's dramas. Ngewu's dramas are contemporary and many scholars have not yet had time to research them. The story in the drama Amadada la afunani ezintsaneni ?( 1998), is about the sexual abuse of children. This is new because the abuse of small children is not seen to indicate culture especially now that even fathers abuse their children. In the olden days children used to look to grown -ups for protection of every kind. The story in the second drama Yeha Mfazi Obulala Indada (1997) , is about a wife who hires assassins to kill her husband. In the past wives were submissive to their husbands. It was unheard of a wife challenging the husband's authority, let alone hiring assassins to kill him. Chapter 1 introduces the aim, the scope, the theories and the methods of the study. Chapter 2 deals with the plot structure of the dramas Amadada la afunani ezintsaneni? (1998) and Yeha Mfazi Obulala Indada (1997) Chapter 3 deals with characterisation in isiXhosa dramas, Amadada la afunani ezintsaneni(1998) and Yeha Mfazi Obulala lndoda (1997) Chapter 4 deals with language and the pattern of stylistic devices Chapter 5 concludes the findings of the study.
AFRIKAANSE OPSOMMING: Die hoofdoel van hierdie studie is om die karakterisering in twee van Ngewu se dramas te ondersoek. Ngewu se dramas is hedendaagse daarom is daar nog veel navorsing daaroor ezintsaneni (1998) gedoen nie. Die storie in die drama Amadoda la afunani handel hoofsaaklik oor die seksuele molestering van kinders. Seksuele kindemolestering is In relatiewe nuwe versknser want dit is taboe in kultuur veral nou dat die bekend is dat kinders deur hulle vaders gemolesteer word. In vroeer jare was kinders van volwassens afhanklik vir beskermering en welvaart. Die tweede drama Yeha Mfazi Obulala lndoda (1997) handeloor I vrou wat sluipmoordenaars huur om haar man om die lewe te bring. In vroeer jare was vroue aan hul mans onderdaning. Dit was ongewoon dat I vrou haar man se gesag sou ondermyn, en nog meer ondenkbaar die huur van sluipmoordenaars om hom om die lewe te bring. In hoofstuk 1 vind ons die doel van die studie, die omvang ,teoretiese raamwerk en metode van die studie. Hoofstuk 2 handeloor die struktuur van die twee Amadoda la afunani ezintsaneni (1998) en Yeha Mfazi Obulala Indoda ( 1997) Hoofstuk 3 handeloor die karakterisering in die isiXhosa dramas, Amadoda la afunani ezintsaneni (1998) en Yeha Mfazi Obulala Indoda (1997) Hoofstuk 4 handeloor die taal en skryfstyl van die skrywer. Hoofstuk 5 bevat die samevatting van die studie.
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Li, Mengjun. "In the Name of A Love Story: Scholar-Beauty Novels and the Writing of Genre Fiction in Qing China (1644-1911)." The Ohio State University, 2014. http://rave.ohiolink.edu/etdc/view?acc_num=osu1406132481.

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Weiss, Katherine. "The Plays of Samuel Beckett." Digital Commons @ East Tennessee State University, 2013. http://amzn.com/140814557X.

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Beckett remains one of the most important writers of the twentieth century whose radical experimentations in form and content won him the Nobel Prize for Literature in 1969. This Critical Companion encompasses his plays for the stage, radio and television, and will be indispensable to students of his work. Challenging and at times perplexing, Beckett's work is represented on almost every literature, theatre and Irish studies curriculum in universities in North America, Europe and Australia. Katherine Weiss' admirably clear study of his work provides the perfect companion, illuminating each play and Beckett's vision, and investigating his experiments with the body, voice and technology. It includes in-depth studies of the major works Waiting for Godot, Endgame and Krapp's Last Tape, and as with other volumes in Methuen Drama's Critical Companions series it features too a series of essays by other scholars and practitioners offering different critical perspectives on Beckett in performance that will inform students' own critical thinking. Together with a series of resources including a chronology and a list of further reading, this is ideal for all students and readers of Beckett's work.
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Yantolo-Sotyelelwa, Betty Matase. "The portrayal of characters through dialogue and action in isiXhosa drama : dramatic and cultural perspectives." Thesis, Stellenbosch : University of Stellenbosch, 2005. http://hdl.handle.net/10019.1/3361.

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Thesis (MA (African Languages))--University of Stellenbosch, 2005.
This study aims at highlighting one of the crucial aspects of Xhosa drama: how women have been regarded by a variety of communities as being inferior to men. This stereotype pervades almost all spheres of life. The low status assigned to women find its way into literature as well. Ngewu’s drama “Yeha mfazi obulala indoda” and Taleni’s drama “Nyana nank’uNyoko” has been examined. In most Xhosa literature, women are portrayed as submissive, obedient and minor characters. The advent of Ngewu’s work changed this scenario by portraying women as independent characters. This has led to great conflict with male characteristics and this demonstrates clearly that partriarchal domination is deep rooted in Xhosa culture.
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Campbell, Stephanie 1983. "Le sublime, le grotesque et le meurtre spectaculaire : l'esthétique de la violence dans le drame romantique." Thesis, McGill University, 2008. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=116056.

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This thesis focuses on the representation of physical violence in the first Romantic French dramas of the 19th century. Before 1829, the Classic movement forbade spectacles of violence in the major theatres. However, with the production of the first Romantic play, Henri III et sa cour, the stage was transformed into a space of murder, physical brutality and suicide. In this study, we will interrogate the reasons for which violent acts reappear on the French stage. The influence of the guillotine will be examined as well as the sublime and grotesque nature of murder. The theories of Christine Marcandier-Colard, which explore the supreme beauty of criminality, will lead us to determine which ideologies are communicated through the depictions of death. We will also analyze the reaction of the public in regard to brutality in the theatre, as well as the role that violence plays in the development of a new society. Although violence inherently possesses a destructive value, its aesthetic value in the theatre advocates a veritable evolution of the French society towards democracy.
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Mtsotsoyi, Edith Ntombizodwa. "Impixano njengoyena ndoqo kwidrama yesixhosa." Thesis, Stellenbosch : University of Stellenbosch, 2006. http://hdl.handle.net/10019.1/1061.

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Thesis (MA (African Languages))--University of Stellenbosch, 2006.
ENGLISH ABSTRACT: The aim of this study is to explore conflict in the two dramas under study. Conflict is one of the cornerstones of drama and it is the most significant element of plot. An investigation is done of the two dramas under study: Inene nasi isibhozo by Mthingane (1965) and Buzani Kubawo by Tamsanqa (1958). Both dramas depict Xhosa cultural properties, and its impact on character portrayal in the dramas. The study has the following organization: Chapter 1: Purpose and aims of the study. Chapter 2: Review of literature on conflict. Chapter 3: Deals with the development of plot within episodes. A critical evaluation of the dramas is undertaken. Chapter 4: Presents culture and conflict in the dramas and an investigation of the portrayal of these aspects is undertaken. Chapter 5: Summary of the findings of the study.
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Green, Michael. "Fiction as a historicizing form : uses of history in modern South African fiction." Thesis, University of York, 1992. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.316162.

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Wydenbach, Joanna Susan. "Irish women's fiction 1900-1924 : literature and history." Thesis, Queen's University Belfast, 2006. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.437734.

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Walsh, Maeve. "Re:vision : the interpretation of history in contemporary Irish drama." Thesis, Goldsmiths College (University of London), 1998. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.286613.

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Books on the topic "Literature fiction drama history"

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Sylvan, Barnet, Berman Morton, and Burto William, eds. An Introduction to literature: Fiction, poetry, drama. 9th ed. Glenview, Ill: Scott, Foresman, 1989.

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Barnet, Sylvan. An introduction to literature: Fiction, poetry, drama. New York: Longman, 2003.

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E, Scholes Robert, ed. Elements of literature: Poetry, fiction, drama. 3rd ed. Don Mills, Ont: Oxford University Press, 2004.

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Bertoncini-Zúbková, Elena. Outline of Swahili literature: Prose fiction and drama. Leiden: E.J. Brill, 1989.

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Elena, Bertoncini-Zúbková, and Bertoncini-Zúbková Elena, eds. Outline of Swahili literature: Prose fiction and drama. 2nd ed. Leiden: Brill, 2009.

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An introduction to literature: Fiction, poetry, and drama. Boston: Longman, 2011.

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Kennedy, X. J. Literature: An introduction to fiction, poetry, and drama. 8th ed. New York: Longman, 2002.

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Barnet, Sylvan. An introduction to literature: Fiction, poetry, and drama. New York: Pearson - Longman, 2006.

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J, Kennedy X., and Gioia Dana, eds. Literature: An introduction to fiction, poetry, and drama. 4th ed. New York: Longman, 2005.

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Annas, Pamela J. Literature and society: An introduction to fiction, poetry, drama, nonfiction. 2nd ed. Englewood Cliffs, N.J: Prentice Hall, 1994.

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Book chapters on the topic "Literature fiction drama history"

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Longxi, Zhang. "Drama, Fiction, and Late Qing Literature." In A History of Chinese Literature, 368–88. London: Routledge, 2022. http://dx.doi.org/10.4324/9781003164173-19.

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Onions, John. "Ford: Literature Meets History." In English Fiction and Drama of the Great War, 1918–39, 116–34. London: Palgrave Macmillan UK, 1990. http://dx.doi.org/10.1007/978-1-349-20620-9_8.

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Alexander, Michael. "Fiction." In A History of English Literature, 285–308. London: Macmillan Education UK, 2013. http://dx.doi.org/10.1007/978-1-137-04894-3_11.

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Alexander, Michael. "Shakespeare and the Drama." In A History of English Literature, 108–38. London: Macmillan Education UK, 2013. http://dx.doi.org/10.1007/978-1-137-04894-3_5.

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Blake, Andrew. "The Problem of Literature and History." In Reading Victorian Fiction, 1–14. London: Palgrave Macmillan UK, 1989. http://dx.doi.org/10.1007/978-1-349-19768-2_1.

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Peck, John, and Martin Coyle. "Renaissance and Restoration Drama." In A Brief History of English Literature, 73–90. London: Macmillan Education UK, 2013. http://dx.doi.org/10.1007/978-1-137-35267-5_5.

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Peck, John, and Martin Coyle. "Renaissance and Restoration Drama." In A Brief History of English Literature, 73–90. London: Macmillan Education UK, 2002. http://dx.doi.org/10.1007/978-1-137-10794-7_5.

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Goodwin, Ken. "Symbolic and social-realist fiction." In A History of Australian Literature, 167–89. London: Macmillan Education UK, 1986. http://dx.doi.org/10.1007/978-1-349-18177-3_8.

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Saxton, Libby. "History, Memory, Fiction in French Cinema." In Teaching Holocaust Literature and Film, 102–13. London: Palgrave Macmillan UK, 2008. http://dx.doi.org/10.1057/9780230591806_9.

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Longxi, Zhang. "Literary Prose, Fiction, and Late Tang Poetry." In A History of Chinese Literature, 166–88. London: Routledge, 2022. http://dx.doi.org/10.4324/9781003164173-9.

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Conference papers on the topic "Literature fiction drama history"

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YANG, LING, and SHENG-DONG YUE. "AN ANALYSIS OF THE CHARACTERISTICS OF MUSIC CREATION IN MEFISTOFELE." In 2021 International Conference on Education, Humanity and Language, Art. Destech Publications, Inc., 2021. http://dx.doi.org/10.12783/dtssehs/ehla2021/35726.

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Successful opera art cannot be separated from literary elements, but also from the support of music. Opera scripts make up plots with words. Compared with emotional resonance directly from the senses, music can plasticize the abstract literary image from the perspective of sensibility. An excellent opera work can effectively promote the development of the drama plot through music design, and deepen the conflict of drama with the "ingenious leverage" of music. This article intends to analyze the music design of the famous opera, Mefistofele, and try to explore the fusion effect of music and drama, and its role in promoting the plot. After its birth at the end of the 16th century and the beginning of the 17th century, western opera art quickly received widespread attention and affection. The reason for its success is mainly due to its fusion of the essence of classical music and drama literature. Because of this, there have always been debates about the importance of music and drama in the long history of opera art development. In the book Opera as Drama, Joseph Kerman, a well-known contemporary musicologist, firmly believes that "opera is first and foremost a drama to show conflicts, emotions and thoughts among people through actions and events. In this process, music assumes the most important performance responsibilities."[1] Objectively speaking, these two elements with very different external forms and internal structures play an indispensable role in opera art. A classic opera is inseparable from the organic integration of music and drama, otherwise it will be difficult to meet the aesthetic experience expected by the audience. On the stage, it is necessary to present wonderful audio-visual enjoyment, and at the same time to pursue thematic expressions with deep thoughts, but the expression of emotions in music creation must be reflected through its independent specific language rather than separated from its own consciousness. Only through the superb expression of music can conflicts, thoughts and emotions be fully reflected, or it may be reduced to empty preaching. Joseph Kerman once pointed out that "the true meaning of opera is to carry drama with music". He believes that opera expresses thoughts and emotions through many factors such as scenes, actions, characters, plots and so on. However, the carrier of these elements lies in music. Only under the guidance and support of music can the characters, thoughts and emotions of the drama be truly portrayed. Indeed, opera scripts fictional plots with words, and music presents abstract literary image specifically and recreationally, allowing more potentially complex emotions that are difficult to express in words to be perceived by the audience in the flow of notes, thereby resonate with people.[2] Mefistofele, which this article intends to explore, is such an opera that is extremely exemplary in the organic integration of music and drama.
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Song, Xiaoping. "Time, History and Self in Chinese Fiction in the 1980s: A Reading from New Perspectives." In Annual International Conference on Language, Literature & Linguistics. Global Science & Technology Forum (GSTF), 2012. http://dx.doi.org/10.5176/2251-3566_l312171.

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Canizares, Galo. "Stranger than Fiction: Artificial Intelligence, Media, and the Domestic Realm." In 105th ACSA Annual Meeting Paper Proceedings. ACSA Press, 2017. http://dx.doi.org/10.35483/acsa.am.105.76.

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Alan Kay’s famous soundbite from a 1971 Xerox PARC (Palo Alto Research Center) meeting presents a bizarre chicken and egg paradox. It goes like this: which came first, the science fiction representation of the objector the desire for specific objects themselves? In other words, is the plethora of technological advancements a direct result of anthropomorphic inevitabilities or are we simply trying to realize objects, vehicles, and environments we saw in science fiction representations in the mid-twentieth century? In this paper, I will argue that media and literature are equally as responsible as engineering for our current architectural reality. With the rise of Web 2.0, advances in graphics visualization, and their attendant cultural shifts, aspects of contemporary urban life increasingly resemble a science fiction. The pervasiveness of app culture and recent factual and fictional examples of artificial intelligence augmenting the built environment suggest that engineering advancements exist as part of a tight feedback loop between consumer expectations—largely influenced by Hollywood—and scientific discoveries. Therefore, in order to fully understand, historicise, or speculate on the future of interactions between humans and machines, we must first unpack the cycle of fiction-to-fact that typically occurs. Taking the domestic realm as an example, we can identify a series of uncanny, artificially intelligent, technologies which reflect human desires for subservience, assistance, and interconnectedness. Here, AI will serve as a case study through which to analyze the effect of fiction on scientific advancements and their subsequent dissemination into the consumer world, ultimately constituting a history based less on fact and more on media, image, and variable levels of reality.
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Dmitriyev, Alexey. "The Welfare of Each and Everyone in Russian Legal Theory." In The Public/Private in Modern Civilization, the 22nd Russian Scientific-Practical Conference (with international participation) (Yekaterinburg, April 16-17, 2020). Liberal Arts University – University for Humanities, Yekaterinburg, 2020. http://dx.doi.org/10.35853/ufh-public/private-2020-24.

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The prerequisite for the study was the spread of views in the academic literature that the category of public welfare, without accounting for concretising factors, was a void abstraction, and that in Russia, public welfare was seen as the dominant principle over the individual. The main purpose of the study is to analyse the content of the term ‘the welfare of each and everyone’ in Russian legal theory. The author uses the methods of conceptual history and intellectual history to analyse the concept of ‘the welfare of each and everyone’ in the works of pre-revolutionary authors and the relationship between the concepts of ‘the welfare of each and everyone’ and ‘the common good’. The author determined that: ‘public welfare’ can be classified as fiction, purpose, method, interest and balance, depending on the context of use and semantic scope. The term ‘the welfare of each and every one’ became theoretically meaningful (as an objective, method, and interest), and was enshrined in law in Russian Empire in the XVIII -early XX centuries. The term was understood as achieving the common good, preserving the good of everyone and the reduction of public harm. Twentyfirst century Russian legal theory uses the related notion of ‘public welfare’, understood as a fiction, a goal, a method, an interest, a balance. The main findings of the study suggest that today the ‘public welfare’ is reduced to bringing benefits to anyone and everyone (D. I. Dedov), which is close to the historical understanding of ‘the welfare of each and every one’. The public welfare theory incorporates progressive elements such as the veil of ignorance, the win-win principle, and shapes institutions, resources, practices and formulates the issue of the emergence of a new generation of human rights.
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Genese-Plaude, Inta. "URBAN CULTURAL PRACTICES AS A MIRROR OF THE MODERNIZATION OF LATE 19TH CENTURY SOCIETY AND LIFESTYLE IN AUGUSTS DEGLAVS� NOVEL �RIGA�." In 9th SWS International Scientific Conferences on ART and HUMANITIES - ISCAH 2022. SGEM WORLD SCIENCE, 2022. http://dx.doi.org/10.35603/sws.iscah.2022/s10.24.

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The study focuses on the late 19th century city as an equivalent of the formation of a modern society. In fiction, especially in novels, the depiction of the 19th/20th century city has always attracted attention as a reflection of the formation of modern society through portrayals of both daily life and the development trends of the era's ideas. Writer, publicist, social activist Augusts Deglavs (1862�1922) created a unique portrait of the modernization of the city in Latvian literature with his novel �Riga� (�Riga�) (part 1 in 1912, part 2 in 1921). The novel demonstrates the awakening of Latvians and their formation as a cultural nation in a multicultural society in the conditions of double colonialism in the second half of the 19th century. One of the focal points of the novel is the diverse spectrum of cultural practices in an emerging industrial and multicultural society. The novel shows that cultural practices are determined by power hegemony and confrontation, various social experiences, ethnic, professional, religious affiliations, ideologies, behavioural norms and mass cultural emancipation. The research was conducted in a culture-oriented perspective, involving the social sciences and the current interdisciplinary approach. The approach of Cultural Studies and New Historicism method are used, with which it is possible to discover how Augusts Deglavs� novel is rooted in the cultural practices, circulation of ideas and historical developments of the era. New Historicism looks at literature as one of the voices in the polyphony of history or an era, a voice which can sound just as powerful in content as the voice of history and culture itself, because literature is one of the links in the chain of cultural processes.
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Cogut, Sergiu. "A Daring and Fascinating Rewriting of a Canonical Romanian Fairy Tale." In Conferință științifică internațională "Filologia modernă: realizări şi perspective în context european". “Bogdan Petriceicu-Hasdeu” Institute of Romanian Philology, Republic of Moldova, 2022. http://dx.doi.org/10.52505/filomod.2022.16.34.

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The author of the article proposed to highlight the advantages of returning to Ion Creangă’s writings by elucidating their importance as sources of inspiration for contemporary prose writers who publish valuable works rewriting the famous creations of the Romanian classic. Such an indisputable achievement in the context of Romanian prose of the last decades is the novel that came out in 2004 and is entitled „Relatare despre Harap Alb” („A Report about Harap Alb”) by Stelian Țurlea, a prolific author that has dozens of books on his record, but who, surprisingly, does not feature in the recent histories of Romanian literature („The Critical History…” of Nicolae Manolescu and that of Mihai Iovănel which covers the time segment between 1990 and 2020), although he is the holder of several literary awards, including the one from 2005 which was awarded for this exceptional rewriting, in a postmodern register, of the Crengian fairy tale about Harap Alb. Thus, is emphasized and motivated the necessity to valorize the Crengian literary heritage, but also that of recognizing the merits of the novelist Stelian Țurlea by highlighting his contribution and his position in the landscape of current fiction.
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CÎNDEA GÎȚĂ, Iulia Elena. "AN IN-DEPTH STUDY OF CHINESE CULTUREMES – CARRIERS OF THE MOST SUBTLE CULTURAL ALLUSIONS – EXCERPTED FROM CHINESE CONTEMPORARY NOVELS IN ROMANIAN TRANSLATION." In Synergies in Communication. Editura ASE, 2022. http://dx.doi.org/10.24818/sic/2021/04.01.

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Culturemes are the markers of the source culture, which can reach the reader in the target language only through the ability of the translator, who must, in fact, be a great connoisseur of the most hidden cultural details. For the transposition of a foreign culture into a new culture, for a proper communication between them, a loan is needed, retrieval and processing of information so that it is accepted. The motivation behind this study is to provide an overview of how to approach culturemes in the translation of works of contemporary Chinese literature in Romanian, works characterized by great linguistic and extra-linguistic generosity. In order to achieve this goal, we followed the stages of identifying the culturemes from thirty-one Chinese contemporary novels translated in Romanian; followed by creating a corpus based on fourteen categories and five equivalence methods to ensure the cultural equivalence, coherence and homogeneity of Chinese works recreated for the Romanian reader. Finally, we performed an in-depth study of a selection of culturemes from each category, with the aim of showing their distribution in the Romanian translation of Chinese fiction. The study intends to provoke but also to help raise the awareness that translations are not only transpositions (by this we mean moving from one linguistic register to another without operating the text as part of a cultural whole, approaching it externally to all of its sources of influence from the culture in which it has been created) of a work in another language, but they have the primary role of enriching knowledge about one's culture, civilization, literature – i.e. China’s cultural heritage for the present study. Culturally-aware literary translations are the most effective and most stable manner of intercultural exchange, of international prosperity of a culture, of understanding and acknowledging the cultural specifics of one nation. The intertextual references – the culturemes – studied, are part, as will be presented, of all cultural spheres, from those denoting the daily life of the Chinese, the food and basic needs, to those denoting holidays, toponymy, units of measurement, history, but also those that are politically motivated, while also spiritual, subtle, erudite, which only close study, extensive knowledge and diligent work can drive the translator to find and transfer them to the target reader.
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Zammit, Sarah-Jane. "Notre-Dame as the Memory of Paris: Hugo, the Historical Novel and Conservation." In The 39th Annual Conference of the Society of Architectural Historians Australia and New Zealand. PLACE NAME: SAHANZ, 2023. http://dx.doi.org/10.55939/a5050pxtvl.

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Controversies surrounding the restoration and representation of the narrative and memory of Notre-Dame de Paris are not new. The latest debates remind us that the building has been at the centre of conservation controversies since the nineteenth century. But why is Notre-Dame de Paris central to these debates? The answer appears to lie in its function as a mnemonic device for Paris and the French nation. This paper focuses on the four literary pieces published by Victor Hugo in the period between 1823 and 1832 – ‘Le Bande Noir’ (‘The Black Band’), ‘Note sur la Destruction des Monuments en France’ (‘Note on the Destruction of Monuments in France’), ‘Guerre aux Démolisseurs!’ (‘War on the Demolishers!’) and Notre-Dame de Paris (also known as The Hunchback of Notre-Dame). Through an analysis of these four texts, the paper will attempt to understand Hugo’s convictions about the role of buildings – especially Notre-Dame de Paris – in establishing the memory of the city and the nation, and how these in turn underpinned his arguments for conservation. Whilst these texts were all written in a period before the development of key contemporary concepts in the psychology and neuroscience of memory, this paper nevertheless uses the concepts of memory, imagination and Mental Time Travel to try to understand the kind of memory work that the Cathedral performs, and that Hugo suggests it performs in his writing. By examining how Hugo’s literature augmented and engaged the reader’s memory and imagination of the past, this paper will explain how Hugo romanticised the idea that the building was a witness to history. The paper ultimately argues that Hugo positioned Notre-Dame de Paris not only as the centrepiece in his own fiction, but as a beacon of memory for Paris and France, and as such the building came to represent Paris, and indeed the nation as a whole.
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