Journal articles on the topic 'Nobility – Drama'
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1
Kardiansyah, M. Yuseano. "The Index of Hero’s Power and Nobility in Shakespearean Tragedy Drama: A Semiotic Study." TEKNOSASTIK 14, no. 2 (April 21, 2018): 11. http://dx.doi.org/10.33365/ts.v14i2.57.
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This paper discusses a study that investigates the index of hero’s power and nobility in Shakespearean tragedy dramas. Here, the discussion focuses on two works authored by William Shakespeare: "Macbeth" and “Othello”. Objective of this study is to investigate the signs that give index of power and nobility in those two Shakespearean tragedy dramas. The study is done by analyzing Macbeth and Othello in the way of tracing the intrinsic elements or texts of them. All related dialogs and narrations (data source) in these dramas are analyzed in order to disclose the indexes of power and nobility in Shakespearean tragedy dramas. All analyses from each works are compared in order to determine if there are similar indexes or even distinction among those works in depicting the sense of power and nobility as Shakespearean dramas. As the result, it is found that these two dramas contain similar pattern of indexes that lead to the figuration of each hero’s power and nobility in the dramas.
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Olszewska, Maria Jolanta. "Narodowy geniusz, czyli portret Fryderyka Chopina w Ostatnim koncercie Stanisławy Fleszarowej-Muskat." Poznańskie Studia Polonistyczne. Seria Literacka, no. 41 (December 29, 2021): 301–26. http://dx.doi.org/10.14746/pspsl.2021.41.15.
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The drama Ostatni koncert (The Last Concert) (1960) by Stanisława Fleszarowa-Muskat, originally written as a radio play, sits on the border between popular and fictional literature. The text was intended for a wide audience. The plot focuses on a single event – Frédéric Chopin’s last concert in Warsaw, just before his departure to France, which took place on October 11, 1830. Youth, as it was understood by the romantics, turns out to be a time that shaped Chopin’s artistic personality. In this drama, the independence background is important as it highlights Chopin’s ties to the fate of his homeland, which gives his music a patriotic and revolutionary dimension. In sounds, Chopin’s brilliant music expresses the essence of the Polish soul: its nobility and love of freedom. Chopin’s concert took place at a turning point both for the composer and for the nation whose spirit he expressed through sounds. The drama about Chopin, the national genius, is at the same time a drama about a national community that acquires its identity by identifying with his music.
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Indraningsih Jeno, Ciclia, Ni Made Arshiniwati, and Ida Ayu Trisnawati. "Symbolic Meaning Relationship between the Condong Character and the Putri in the Gambuh Batuan Dance Drama." Mudra Jurnal Seni Budaya 38, no. 4 (July 18, 2023): 432–42. http://dx.doi.org/10.31091/mudra.v38i4.2038.
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Gambuh is the oldest Balinese theatrical dance drama, with a rich repertoire of dance movements, music, dramaturgy, and costume design, making it the source of Balinese performing arts that emerged later. The main story is about the journey of Prince Panji to find his lover, Princess Candra Kirana. There are two important female characters, namely Condong (servant) and Putri (Princess), who have different social statuses but have a close relationship and play a key role at the beginning of the drama, making them the determinant of the success of the performance. The research aims to reinterpret the meanings contained in the Gambuh dance drama, especially the relationship between Condong and Putri, to offer a living interpretation of local wisdom, pass them on to the next generations, and contribute to building the character of the nation that has nobility and refinement of character. The research was conducted using a qualitative research method, including a literature review, participatory observation, and in-depth interviews in Batuan Village, Gianyar Regency, Bali. The research process begins with a formal description of the characters, dance movements, costumes, and antawacana (dialogue), then the symbolic meaning analysis is carried out using Aesthetic Theory and HG Gadamer and Paul Ricoeur's Hermeneutics approach. The results of the study show that the relationship between the two characters, Condong and Putri, carries the meanings of dedication, sincerity, ethics, and the strength of women - values that are local wisdom but very relevant to women today. The elements of Rwa Bhineda, which are two opposing forces, Trihita Karana, which is harmony with nature, God, and humans, and the Hindu concept of Satyam Sivam Shundaram, which embodies ethical and pure values wrapped in beauty in the Gambuh dance drama - are the essence of Gambuh that is relevant to the present day, making it universal, transcending time and distance.
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Heine, Steven. "Tragedy and Salvation in the Floating World: Chikamatsu's Double Suicide Drama as Millenarian Discourse." Journal of Asian Studies 53, no. 2 (May 1994): 367–93. http://dx.doi.org/10.2307/2059839.
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A distinctive feature of japanese society is its apparent eagerness to embrace various forms of voluntary death or suicide as legitimate, even positive, behavior with a potentially redemptive value. These forms include the samurai's ritualistic disembowelment (seppuku or harakiri), remonstration suicide (kanshi) in protest against a corrupt superior, and suicide out of devotion to a lord or superior (junsbi), all of which are surrounded by “a heroic, romantic, aesthetic, and moral aura” (Lebra 1976:190). Suicide is, of course, an extraordinary act in Japan as elsewhere in the world (Lifton 1979:24). Though it is not common, it is widely revered by Japanese if committed on the basis of authentic moral intentions in relation to societal pressure—that is, to exorcise shame (haji) and to highlight honor, dignity, and integrity. In a culture that esteems the tragic hero who embodies the “nobility of failure” (Morris 1975), and which regards voluntary death as an experiential transcendence for participants and observers alike, perhaps the most extreme and intriguing example of taking one's own life is the double suicide or love suicide (shinjū).
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YOUNGER, NEIL. "DRAMA, POLITICS, AND NEWS IN THE EARL OF SUSSEX'S ENTERTAINMENT OF ELIZABETH I AT NEW HALL, 1579." Historical Journal 58, no. 2 (May 11, 2015): 343–66. http://dx.doi.org/10.1017/s0018246x14000715.
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AbstractIn September 1579, at the height of an intense political debate over her prospective marriage to the duke of Anjou, Elizabeth I visited New Hall, the country seat of the match's greatest supporter within England, Thomas Radcliffe, third earl of Sussex. Her entertainment on that occasion, hitherto completely unknown, was described in a letter, printed here, from one Norfolk gentleman, Sir Edward Clere, to another, Bassingbourne Gawdy. The letter describes the dramatic performances and other entertainments provided for the queen, which included coded but unmistakeable encouragements for her to proceed with the marriage. This article discusses the ways in which this was done and their consequences for our knowledge of the Anjou marriage debate as a political episode, suggesting that Sussex sought to use the entertainment to boost the participation of more conservative members of the nobility in government. It also explores how this evidence affects our picture of Elizabethan courtly entertainments, and particularly their non-dramatic elements. Finally, it discusses Clere's letter itself as an insight into the nature of gentry news culture, particularly with regard to matters of high politics.
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Berg, Shelley C. "Limón's La Malinche: Negotiating the In-Between." Dance Research Journal 37, no. 1 (2005): 75–93. http://dx.doi.org/10.1017/s0149767700008366.
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The artist; disciple, abundant, multiple, restless.The true artist, capable, practicing, skillful,Maintains dialogue with his heart, meets things with his mind.The true artist draws out all from his heartNáhuatl text quoted in Keen (1971, 23)Dancer and choreographer José Limón was an artist of epic proportions, both in terms of the scope of his creative energy and the depth of his passionate humanism. Many of his dances speak to his search for the nobility in the human spirit, while others explore darker themes of betrayal, conflict, and despair. Whatever the subject or theme, Limón's dances reveal a consummate craftsman, a devout formalist who sought to reconcile, through his dances, the drama of emotion with the exigencies of choreographic composition and design. As a choreographer, Limón was often most eloquent in creating compact dance-dramas with archetypal, mythic, or literary characters: The Moor's Pavane, The Exiles, The Emperor Jones, and La Malinche.Limón belongs to the second generation of American modern dancers; in his memoirs, the choreographer metaphorically casts Isadora Duncan and Harald Kreutzberg as his “parents,” Doris Humphrey and Charles Weidman as his “foster parents,” and Ruth St. Denis and Ted Shawn as his “grandparents.” His true origins, while more prosaic, were central to his life as a creative artist. Limón was born in the city of Culiacán, in the Mexican state of Sinaloa. His father, Florencio Limón, was a musician, “a pedagogue, conductor and director of the State Academy of Music” (Garafola 1999, 1). His mother, Francisca, came from a good bourgeois family.
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Olomu, Oyewole, and Yeside Lawal Dosumu. "Spirito-Physical Relevance of Iwure in Ekiti Ẹpa-Type Masquerade Festival: A Theoretical Appraisal." Journal of Humanities,Music and Dance, no. 36 (November 18, 2023): 23–37. http://dx.doi.org/10.55529/jhmd.36.23.37.
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The erosion of Ìwúre ritual supplication one of the most significant aspect of Yorùbá indigenous communion which renders the spirituality and nobility attached to festivals irrelevant, making some of them to be at the verge of extinction is worrisome. Despite scholarly works on festivals, by seasoned scholars such as Enekwe (1987), Ògúndèjì (2005), Ògunbà (1987), Dáramo ̣́lá and Je ̣́je ̣́ (1975) etc. Concise attention has not been paid to this crucial aspect of indigenous festival. This study fills the gap. The study focuses on Ìwúre and its socio-religious relevance. This study is pivoted on Cultural performance theory propounded by Victor Turner (1981) which establishes ritual and mythico drama as form of dramatic performance. The study has employed qualitative research method for data collection and analysis in the study area. Namely Ikóro Ìlo ̣́ro ̣̀and Ajégúnle ̣̀ Èkìtì. This involves interviews schedules, focus group discussion (FGD) and participant observation. The finding of the study reveals that Ìwúre is not only vital aspect in Yorùbá festivals but in all socio strata of the society, engagements. It is believed that Ìwúre give succor and also helps adherents deal with difficult situation and also help people deal with difficult situations.
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García Castañeda, Salvador. "La varia fortuna del condestable: una imagen romántica de don Álvaro de Luna." Lectura y Signo, no. 12 (February 6, 2018): 171. http://dx.doi.org/10.18002/lys.v0i12.5314.
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<p>Don Álvaro de Luna (1388?-1453) alcanzó un poder nunca visto, y los nobles, que le veían con temor y<br />con envidia, le acusaron de tener dominado al débil e indeciso monarca Juan II, quien muy a su pesar le<br />condenó a muerte. Las circunstancias de su ejecución y el valor y la dignidad con que don Álvaro fue al<br />patíbulo atrajo a los autores y artistas románticos, que vieron en él una víctima del sino y de los altibajosde la fortuna. Estudio aquí cuatro obras consideradas representativas: un relato breve, «The Fate ofLuna» de Telesforo de Trueba y Cosío; el romance histórico «Don Álvaro de Luna» del Duque de Rivas; el drama histórico, Don Álvaro de Luna de Antonio Gil y Zárate; y un romance de ciego, El Suplicio de D. Álvaro de Luna, de «F. M».</p><p><br /><br />Don Álvaro de Luna (1388?-1453) became the most powerful statesman of his time, but the nobility ―<br />jealous and fearful of his power― pressured King Juan II of Castile, a weak and ungrateful man, to sign<br />his death sentence. The circumstances of his execution, and the courage and poise in meeting his death at the scaffold sparked the imagination of Romantic authors and artists, who considered him a victim of Destiny and of capricious Fortune. In this article, I study four representative works of that period: Telesforo de Trueba y Cosío’s short story «The Fate of Luna»; the Duque de Rivas’s historical romance «Don Álvaro de Luna»; the historical drama Don Álvaro de Luna by Antonio Gil y Zárate; and «F. M.»’s El Suplicio de D. Álvaro de Luna, a «romance de ciego».</p>
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Mapindani, Aleck. "FATED EXISTENCE? CALCULATING THE TRAGIC CULMINATIONS OF OTHELLO AND OEDIPUS THE KING." Imbizo 6, no. 2 (June 21, 2017): 43–48. http://dx.doi.org/10.25159/2078-9785/2805.
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The tragic trail that both Shakespeare and Sophocles take as fictional playwrights marks a remarkable approach to dramatic writing that leaves no shade of doubt upon their proficiency in this particular field.The Shakespearian option follows a discernible literary trajectory reflective of military nobility juxtaposed with a myopic and gullible stature of simplicity. This, however, projects an extremised Moorish level of racial vulnerability and criticism that yields to manoeuvred deception through diplomatic machinations by the jealous Venetian lot. Sophoclean drama is, in this case, an embodiment of the harsh spells of predestiny taking their toll behind an unconscious conceited politician – from before his birth right up to maturity and his climactic royal demise. In both plays, the dramatic interplay of thematic motivations seem to signal a back-and-forth war between humanity (that is, a human struggle for survival fought against personal flaws) and the phenomenally devastating forces of fate and nature that direct their feet towards heroic ruin. The article takes an interrogative stance, calculating the cause of the interwoven mysteries embedded in both human carnality and celestial forms that advise the heart-rending literary movements adopted by the twin plays as they march inexorably towards the downfall of their respective heroic figures.
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Adeniyi, Victoria O. "Proletarian Philosophy in Selected Plays by Ola Rotimi." Anglica Wratislaviensia 56 (November 22, 2018): 11–22. http://dx.doi.org/10.19195/0301-7966.56.1.
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The early plays of Ola Rotimi are literary works in which Rotimi places an emphasis on the position of the gods in man’s life. They are plays in which the concept of tragedy is portrayed through the eyes of noble people. They are plays in which Rotimi places an emphasis on the nobility of birth of the protagonists. His later plays, however, put an emphasis on the proletariat. This article examines the Marxist aesthetics and ideology in Ola Rotimi’s If: A Tragedy of the Ruled 1983 and Hopes of the Living Dead 1988. It reflects on Rotimi’s ideological departure into revolutionary drama in his later plays compared to such earlier plays as The Gods Are Not To Blame 1979, Kurunmi 1971 and Ovonranwem Nogbaisi 1974. The study shows that Rotimi stresses the importance of the proletariat in society as reflected in If: A Tragedy of the Ruled 1983 and Hopes of the Living Dead 1988. The paper argues that Rotimi’s acceptance of a new vision of commitment as revealed in the plays is an act of intellectual decolonisation. The paper concludes that Rotimi wrote these particular plays with the conscious aim of not only representing society as it is, but also with the aim of presenting society as it ought to be.
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Garipova, Ninel F. "Amateur Piano Music-Making and the Ufa Section of the Imperial Russian Musical Society." ICONI, no. 1 (2019): 73–82. http://dx.doi.org/10.33779/2658-4824.2019.1.073-082.
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The geographic position of Ufa, which in the early 19th century was a deep province, was not conducive to the development of musical culture. However, we must consider as an important element in its formation the active spread of household music-making and the wish of amateurs to participate in the city’s concert life. The “Society for Singing, Music and the Art of Drama” was founded in 1885 in Ufa following the wishes of the city residents. The twenty-year-long existence of the Society has left a considerable trace in the development of musical education and the exposure of the public to the academic genres of the art of piano performance; it played a significant role in the development of musical literacy and the musical hearing of the residents of Ufa. In virtue of a number of existing social reasons the Society was closed down, but following the request of the most educated part of the local nobility and intelligentsia the Ufa Section of the Imperial Russian Musical Society (IRMS). Having existed for only a few years, until the revolution of 1917, it was able to lead the art of music to a new, higher level. Professionals with a higher musical education were conducive to the further expansion of promotion of music with their concert performances and teaching lessons in the musical classes and enhanced the development of the art of professional music in Bashkiria.
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Ahmed Al-Azzawy, Qusay Jaddoa. "The Concept of Death in William Shakespeare's Macbeth and Arthur Miller's The Crucible." JOURNAL OF LANGUAGE STUDIES 8, no. 6 (June 30, 2024): 114–24. http://dx.doi.org/10.25130/lang.8.6.7.
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This paper aims to examine the concept of “death” in William Shakespeare's Macbeth and Arthur Miller's The Crucible in an analytical method as these two plays are filled with murder, executions, and assassinations. These plays show the subject of death in classical and modern drama by the two famous playwrights. The paper is divided into two parts: the first part tackles Shakespeare's Macbeth in (1606) and how the idea of death occupies a great place as the hero falls dead in the end. The second discusses Miller's The Crucible and the tragic events that put to death many people, fearing to spread the thoughts of communists in America. It also reveals people who are hung, crushed, and stifled by society powers, which filled its citizens' minds with certain myths, witchcraft and superstitions that may be against ethics and honor. The concept of “death” will be analyzed in two methods, the first one is a symbolic, spiritual, method while the second is a physical method. These two methods will examine the main characters. The death is the main feature that includes the heroes of selected plays to achieve nobility and perception. Consequently, this paper attempts to show how the dramatists succeed in providing a moral and human lesson to readers around the world, as well as changing this terrible truth of murder into something highly meaningful that it is a step towards the eternal life.
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Balaišytė, Lina. "Vincentas Ignacas Marevičius apie save ir Tėvynę: XVIII a. pabaigos literato (savi)refleksijos." XVIII amžiaus studijos T. 6: Personalijos. Idėjos. Refleksijos, T. 6 (January 2, 2020): 294–322. http://dx.doi.org/10.33918/23516968-006014.
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WINCENTY IGNACY MAREWICZ ABOUT HIMSELF AND THE HOMELAND: (SELF) REFLECTIONS OF THE LATE EIGHTEENTH-CENTURY WRITER The article is dedicated to present, still unexplored in Lithuanian historiography, works of the late eighteenth-century writer Wincenty Ignacy Marewicz and to discuss his reflections on his living times. Marewicz (1755–1822) was a poor nobleman, born in Trakai powiat and, having studied there, he later spent in Vilnius a significant portion of his life, trying to survive off his literary activities. He dedicated his works to the nobles, hoping to receive their protection and support, which he also published and distributed on his own. Creative legacy of Marewicz is ample and omnidirectional, however his contemporaries considered him a secondary writer and even graphomaniac, thus he was forgotten by the following generations and was little researched. In spite of any doubts regarding literary skills of Marewicz, we can notice that his writings, often very personal, may be interesting to a historian because of the reflections about himself and his living times. Being avid supporter of state reforms and the Four-Year Sejm, Marewicz in the last years of the eighteenth century wrote pieces that were filled with patriotic spirit, full of contemplations on the destiny of his homeland and of advice to the powerful regarding governance of the country. Writings of the litterateur were close to sentimentalism, with the accentuated desire for authenticity and naturalness. Marewicz promoted ideas of egalitarianism and solidarity of society, criticising the predominant types of relationships. The article discusses works created by the litterateur in the last decade of the century, such as drama, political poetry, biographical narratives dedicated to the nobility and decorations designed for the anniversary of the May 3rd Constitution. Keywords: Wincenty Ignacy Marewicz, eighteenth-century literature, sentimentalism, commemorative decorations.
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Chemlali, Ikram. "Le Choléra et la question sociale dans Horace de George Sand." ALTRALANG Journal 4, no. 02 (December 30, 2022): 244–55. http://dx.doi.org/10.52919/altralang.v4i02.213.
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The Cholera and the Social Issue in Horace by George Sand
ABSTRACT: George Sand lived through two epidemics, cholera in 1832 in Paris and smallpox in 1870 in Nohant. Just as she addresses this theme of the epidemic in Histoire de ma vie, she also speaks about it in her literary work, including Horace. Within this text, Sand recounts the drama of cholera which will shake a Paris which is already at the mercy of social misery. In addition to being an opportunity to talk about this poverty of the masses that cholera will further amplify, the epidemic will be an opportunity to showcase this solidarity that France will experience and whose heroes will be especially part of the noble class where some members find themselves gifted with great freedom of mind. It is to the character of Theophilus that the author gives the honor of representing this caste and the values that she has just adopted and that she wishes to implement while profiting from the epidemic. In addition, Sand points to the positive role that the female character will play during these hard times. Like the nobility, the woman will be the friend of the people who will stretch out their hand to her, trying to help her to bring her to salvation.
RÉSUMÉ : George Sand a vécu deux épidémies, le choléra en 1832 à Paris et la variole en 1870 à Nohant. De même qu’elle aborde cette thématique de l’épidémie dans Histoire de ma vie, elle en parle également dans son œuvre littéraire dont Horace. Au sein de ce texte, Sand relate le drame du choléra qui va secouer un Paris se trouvant déjà à la merci de la misère sociale. En plus d’être une occasion de parler de cette indigence des masses que le choléra va encore amplifier, l’épidémie sera l’occasion de mettre en scène cette solidarité de la France dont les héros feront surtout partie de la classe noble où certains membres se trouvent doués d’une grande liberté d’esprit. C’est au personnage de Théophile que l’auteure donne l’honneur de représenter cette caste ainsi que les valeurs qu’elle vient d’adopter et qu’elle désire mettre en œuvre tout en tirant profit de l’épidémie. En plus, Sand pointe du doigt le rôle positif que va jouer le personnage féminin durant ces temps durs. Tout comme la noblesse, la femme sera l’amie du peuple qui lui tendra la main en essayant de le secourir pour l’amener vers le salut.
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Титова, А. В. "Rochester and Shadwell: Literary Reminiscences." Иностранные языки в высшей школе, no. 1(52) (June 28, 2020): 33–39. http://dx.doi.org/10.37724/rsu.2020.52.1.005.
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Эпоха Реставрации, зарекомендовавшая себя ярким событием в истории культуры Великобритании, определила расцвет поэзии и драматургии, театрального искусства в целом, а также развитие патронажа в литературной и искусствоведческой области. Специфика эпохи обусловила рост литературной полемики, которая сама по себе становилась отдельным жанром эпохи и суть которой на примере конкретных ситуаций составляет объект настоящего исследования. К ярким примерам литературного противостояния второй половины XVII века следует отнести непросто складывающийся творческий и личностный диалог блестящего поэта-либертина Джона Уилмота, второго графа Рочестера, и талантливого драматурга Джона Драйдена. Взаимная критика не только содержания, но и стиля произведений оппонента, скрытые и явные панегирики в адрес других писателей эпохи Реставрации (например, драматургов Томаса Шедуэлла и Уильяма Уичерли), приемы сатиры и иронии, многочисленные аллюзии на современный литературный или политический материал позволили привлечь для анализа целый ряд произведений и представить историю взаимоотношений представителей эпохи Реставрации, оставивших яркий след в британской литературе. Restoration epoch is one of the most dramatic and outstanding periods in the history of the British culture. It was the golden time of opening theatres, flourishing of poetry and drama, developing literary patronage. Young writers created their works wholeheartedly and the nobility regarded their endeavors with favour. Naturally enough, literary battlefields saw the passions running high between patrons and their protégées, and these conflicts were no laughing matter. One of the most vivid examples of the literary debates is the struggle between the sensational libertine poet, John Wilmot, the second earl Rochester, and the talented playwright, John Dryden. Between the devil and the deep blue sea there appeared one more gifted dramatist, Thomas Shadwell. Originally Rochester referred to the latter in one of his satires where he condemned Dryden. He did that on purpose in order to make his former protégé angry. But once paying attention to Shadwell he was keeping an eye on him. The dramatist’s works became the subject of discussion in the satires by the libertine poet. Most of the reviews were glowing but Rochester never forgave anyone’s failures, and worse than that he hated betrayals (of the style, themes, friends and patrons). That is why it is really interesting to trace the relations of the two prominent representatives of the Restoration epoch who left their mark in the history of the British literature.
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Нечаева, Л. В. "THE FORMATION OF SECULAR MUSICAL AND THEATRICAL ART OF THE URBAN POPULATION OF WESTERN SIBERIA IN THE XVIII CENTURY." NATURAL AND HISTORICAL AND CULTURAL HERITAGE OF SIBERIA 2, no. 2(3) (July 8, 2024): 37–44. http://dx.doi.org/10.25713/hs.2024.3.2.004.
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Цель статьи – на основе документов, хранящихся в фондах Государственного архива в г. Тобольске, эпистолярного наследия и других источников проследить становление светского музыкально-театрального искусства городского населения Западной Сибири в XVIII столетии. Музыкальная традиция горожан приобретала новомодные черты: воинские команды обладали штатами музыкантов; создавались гарнизонные и домашние оркестры при дворах высшего чиновничества, певческие коллективы, клубные объединения, проводились концерты, балы и маскарады. К концу XVIII столетия в Тобольске, Омске, Барнауле, Петропавловске и других сибирских городах начали работу городские театры, где было возможно познакомиться с современными жанрами – балетом, оперой, концертом. Развитие музыкально-театральной жизни сибирских городов имело специфические черты: значительная роль принадлежала местному и опальному чиновничеству, политическим ссыльным. Introduction. The article examines the musical and theatrical art formation in the culture of the Western Siberia urban population in the 18th century. Methods and materials. The goal is according to the documents kept in the Tobolsk national archives, a vassal heritage, as well as other sources, to trace the development of secular music and drama among the Western Siberia urban population in the 18th century. The methodological basis of the research was formed by general scientific methods and historic principles, objectivity and value-based approach, narrative, systemic, synergetic, and historical-comparative methods. This made it possible to see the musical and theatrical art as an open ties system with special specific features of development in the Siberian culture context and as a translator of the spiritual values of the proclaimed century. Analysis and results. Townspeople's festive culture new traditions were formed, where the religious and spiritual principle gradually gave way to peculiar phenomena of the secular culture. New reflection forms of the holiday were fixed in parades, lunches, dinners, official receptions of the population upper strata of the Western Siberia cities. Each city resident continued the holiday in accordance with his class status. The townspeople musical tradition was acquiring newfangled features: military teams had a musicians staff; garrison and home bands at the high officials courts; singing groups, club associations, concerts, balls and masquerades. Having an instrument at home – a piano or violin is considered a sign of the good tone. By the end of the 18th century, urban theatres in Tobolsk, Omsk, Barnaul, Petropavlovsk and other Siberia cities began to operate, where it was possible to familiar with modern types of ballet, opera, concert. Conclusion. The musical and theatrical life development of Siberian cities had specific features: it was introduced by local and disgraced officials, political exiles. The secular culture in the region was mainly concentrated among the small nobility of Western Siberia. One of the Siberian culture characteristics is the lack of serfdom and professional music education.
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Неделку, Октавија, and Лидија Чолевић. "ХЕРЦ У РУКАВУ." ИСХОДИШТА 8, no. 1 (August 18, 2022): 165–87. http://dx.doi.org/10.46630/ish.8.2022.12.
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The paper analyses two controversial historical stories about love related to the Serbian and Romanian Royal Courts, which caused stormy criticism and national scandals during the last century. Draga Masin (Draginja P. Milićević Lunjevica, 1867–1903), a royal damsel who became the Serbian Queen, was the wife of King Alexander Obrenovic of Serbia. Elena Lupescu (Elena Lupescu Magda Wolf, 1895–1977), a mistress, and later the wife of the Romanian King Carol II (first son of Prince Ferdinand of Hohenzollern – Sigmaringen and of Marie of Edinburgh), left remarkable traces in the history of Romanian monarchy. By confronting different perspectives we will try to show the (de)construction of the characters Elena Lupescu and Draga Masin during the 21st century. Entering the closed circle of ties with members of the nobility where blue blood must not be confused with unworthy blood and thus contaminated – the starting point of our paper is to identify the historical typological analogies between Draga and Elena by means of motives of blood and class identity. Recent historiographical tendencies shed new light on the earlier notions regarding these two female figures that are often condemned and considered taboo in society.
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Turhan, Olha. "СULTURAL EPOCHS AS TEXT IN LESIA UKRAINKA’S DRAMAS." Слово і Час, no. 6 (December 2, 2021): 3–20. http://dx.doi.org/10.33608/0236-1477.2021.06.3-20.
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Based on Lesia Ukrainka’s dramas “Iphigenia in Tavrida”, “Cassandra”, “The Orgy”, “Ruphin and Priscilla”, and “The Stone Master”, the paper highlights peculiarities of cultural and historical codes of the Antiquity and the Middle Ages in the writer's works as well as literary manifestation of the world-view features of European and Ukrainian Modernism in the antique and medieval images and motifs.
Lesia Ukrainka reconsidered the heritage of archaic and late Antiquity, Hellenistic period, Galilee at the time of Jesus, Early Christianity, and Medieval Spain. Each of these epochs has its own dichotomy of social and biological phenomena, parameters of the world model, and dominant fundamental points.
Lesia Ukrainka’s dramas transform the material of various cultural epochs, providing polysemantic images that transfer the cosmos of a certain period into the neo-romantic and neo-classical system of images and symbols. In the dramas, the writer raised the issues recurrent in her works, such as love and sacrifice; beauty and ugliness; prophet, artist and ‘revolt of the masses’; reality and dream; good and evil; truth and benefit; nostalgia for chivalry; nostalgia for the Absolute; psychological and moral freedom and violence; spirit, soul, and body; spiritual nobility and the rule of brutes; nature and culture, etc.
Numerous issues and characters, multifunctional ontological, cultural, and historical phenomena, cultural codes, symbols, and mythologems acquire an existential meaning in the author’s dramas fitting not only into various cultural contexts but also into the modern reconsideration of mythopoetics.
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Luchenetskaya-Burdina, Irina Yu, and Kseniya Ye Poltevskaya. "“THE CHERRY ORCHARD” BY ANTON CHEKHOV AND “THE ATONEMENT” BY IGNATY POTAPENKO: THE ARTISTIC INTERDEPENDENCE AND THE PLOT CORRESPONDENCE." Vestnik of Kostroma State University, no. 3 (2020): 153–58. http://dx.doi.org/10.34216/1998-0817-2020-26-3-153-158.
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It is generally recognized that the dramaturgy of Anton Chekhov had a significant impact on the theatre of the 20th century. At the same time, the question of the writer’s role in the playwright’s work of the turn of the 19th–20th centuries has been little studied in literature. Ignaty Potapenko is one of the most popular writers of the 1890s and a friend of Anton Chekhov. The article presents a comparative analysis of the plays – “The Cherry Orchard” by Anton Chekhov and “The Atonement” by Ignaty Potapenko – in which the same topic is revealed: the old nobiliary manors destruction. The plot and the conflict as the elements of writer’s dramatic method are considered. The main motifs of the plays are analysed. It is noted that the conflict of Ignaty Potapenkoʼs play is psychological and traditional for classical drama. There is no conflict between characters in “The Cherry Orchard”. The conflict is philosophical. The role of the double-characters in both plays is considered. It is proved that both plays are united by the motif of foreboding disaster, catastrophe. It is proved that both plays are united by the motif of disaster and catastrophe premonition, existence of the internal and external plot. The ideological and thematic unity of the plays, the interconnection of some motifs, plot and compositional elements were discovered. It is shown that in the play by Ignaty Potapenko there are elements of both classical drama and the “new drama”.
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Lebedev, Yuriy V. "I.S. TURGENEV AND A.N. OSTROVSKY." Vestnik of Kostroma State University 29, S (November 15, 2023): 26–35. http://dx.doi.org/10.34216/1998-0817-2023-29-s-26-35.
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In the early 1850s St. Petersburg writers-Westerners, close to Nekrasov’s Sovremennik, decided to involve A.N. Ostrovsky. In their circle, I.S. Turgenev, who visited the playwright in Moscow in January 1855. At the same time, Ostrovsky, represented by Turgenev, faced a serious competitor. Turgenev, not without reason, then claimed to renew and enrich the Russian theatrical repertoire. However, Turgenev the playwright could not stand the competition, left work on plays and recognized Ostrovsky’s priority. During the period of creating the national repertoire, our dramaturgy needed works of all-Russian sound, deeply immersed in folk culture. The refined dramaturgy of Turgenev was forced to give way to the more democratic and nationally rooted dramaturgy of Ostrovsky. The article reveals the hidden dispute between Ostrovsky and Turgenev in the comedy “The Poor Bride” and examines Turgenev’s polemical responses to this dispute in the comedy “Where it is thin – there it breaks” and in the story “Correspondence”. Unlike Ostrovsky, Turgenev poeticized spiritualized and incorporeal love, pure and sublime, but infinitely far from family joys and worries. Turgenev did not accept in Ostrovsky’s dramaturgy the idealization of merchant life and the parodic and satirical depiction of the Russian nobility. He believed that “the role of the educated class in Russia is to be the transmitter of civilization to the people”. The deep democratism of Ostrovsky’s work seemed limited to Turgenev. Hence, he highly appreciated the language of the national playwright, but often complained about the paucity of the content of his plays. At the same time, Turgenev actively sought to acquaint the Western European reader with the work of Ostrovsky, involving the Englishman Ralston and the Frenchman E. Durand in the translations of his dramas.
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Bozhuk, Anton. "Ukrainian Theater in Crimea in the 2nd Half of the 19th — Early 20th Century." Ukrainian Studies, no. 3(80) (October 28, 2021): 205–22. http://dx.doi.org/10.30840/2413-7065.3(80).2021.240148.
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The study is devoted to the analysis of the state of Ukrainian theatrical art on the territory of the Crimean peninsula in the second half of the 19th – early 20th century. Even in our time, we have to refute the assertion that anything Ukrainian in Crimea was absent until the middle of the 20th century or even before the early 1990s. From reports in magazines of the 19th – early 20th centuries, which were published in the territory of modern Ukraine, controlled at that time by the Austro-Hungarian and Russian empires, as well as from archival sources, we can obtain data that indicate that in that period the inhabitants of different regions of Crimea, mostly large cities, showed interest in Ukrainian culture, one of the brightest exponents of which was theatrical art. Both touring and local Ukrainian theater groups led by prominent directors performed theatrical productions of famous playwrights in Crimea. It is traditionally believed that the Ukrainian theater gained popularity in Crimea in the 1870s–90s due to the activities of the luminaries of the stage – Marko Kropyvnytsky, Mykhailo Starytsky, the Tobilevych brothers, etc. However, we can say that the roots of the Ukrainian theater on the peninsula date back to the 1840s – to the appearance in Sevastopol of the first stationary municipal Crimean theater, which periodically staged works by Ukrainian authors. The notable place of presentation of the Ukrainian theatrical art in Crimea was the nobiliary theater of Simferopol. Also, Ukrainian theater troupes toured Sevastopol, Yalta, Yevpatoriia, Feodosiia, Kerch. Over time, local amateur and semi-professional groups began to emerge in these cities, introducing the audience to examples of Ukrainian drama and gaining the support of prominent theatrical figures. The Crimean press often published not only reviews of Ukrainian theatrical productions in the cities of the peninsula, but also reviews of plays presented on local stages not only by the most talented but also by lesser-known artists that performed in front of the inhabitants of Crimea and staged at completely different ideological and artistic levels. For the most part, Ukrainian performances were highly popular in Crimea.
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Kovačević, Saša, Marina Van Bos, Marko Kralj, Marin Petrović, Ozren Gamulin, Marko Škrabić, Siniša Radović, and Ina Vanden Berghe. "Analysis of Pigments from Decorated Antler or Bone Artifacts from the Early Iron Age Princely Burial Mounds in Jalžabet (NW Croatia)." Interdisciplinaria Archaeologica Natural Sciences in Archaeology XIV, no. 1 (February 17, 2023): 41–61. http://dx.doi.org/10.24916/iansa.2023.1.3.
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During the Early Iron Age in Europe (EIA), the phenomenon of the Hallstatt culture enveloped a large portion of the European continent. Between the Atlantic Ocean and the River Danube, cultural groups can be roughly divided into two major regions: the Western and the Eastern Hallstatt circle. EIA finds made from organic material decorated with pigments are usually well-preserved only in specific conditions. A good example is the coloured textile found in the salt mines of the eponymous site Hallstatt (AT). Other examples are Scythian finds north and east of the Black Sea, far outside the Hallstatt culture area. This paper presents the results of the analysis of decorated artifacts made from bone or antlers from Jalžabet (NW Croatia). The artifacts were found in two princely burial mounds with incinerated remains: burial mound 1 (Gomila) and burial mound 2. The funerary monuments belong to the Eastern Hallstatt culture and date back to the middle of the 6th century BC, i.e., the end of the Ha D1 period. A group of scientists from Croatia and abroad performed several series of analyses on the selected bone or antler artifacts. The motifs on the artifacts were made by incisions and were filled with black pigment, and there are faint traces of red pigment on the surface. With the help of colourant analysis performed in Brussels and Zagreb (SEM-EDX, MRS, FT-IR), zooarchaeological taxonomic identification, and archaeological determination of a selected group of findings from Jalžabet, we have tried to answer several major questions. The most important question being: are the traces of pigments on artefacts deliberate decoration? If so, can we determine the composition of the paint? What kind of raw materials were used for the production of the artifacts? These questions are important because these kinds of EIA finds are rare and even more rarely analysed. New data would considerably expand our knowledge about the funeral rites of the most prominent members of the Hallstatt nobility in the Drava River valley and Central Europe. Taxonomically, the raw material from which the finds were made was identified to be antlers, probably from red deer (Cervus elaphus). Using methods for colourant analysis, we have successfully proven deliberate application of black paint based on carbon black as a pigment, probably in combination with terpenoid resin. Until now, this composition was only known from much later, Roman-period finds. Also, it was confirmed that the black paint on the artifacts from both burial mounds in Jalžabet is of the same composition. The red pigment on the finds has been identified as hematite. It is highly probable that the red surfaces were deliberate, painted decoration. The probability of extracting the raw material needed for the production of the red paint in the Jalžabet micro-region was also established and requires further research (bog iron ore). The archaeological analysis of the finds supports the idea of the use of various types of decorated plates as inlays, probably on furniture or other luxury everyday items. Smaller finds could have been used as utilitarian objects, parts of attire, and jewellery.
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Farnell, Gary, Christopher Parker, John M. Fyler, Christopher Highley, R. C. Richardson, Sophie Tomlinson, Bronwen Price, et al. "Reviews: Cultural History, History Meets Fiction, the Masculine Self in Late Medieval England, the Tower of London in English Renaissance Drama: Icon of Opposition, Writing Lives. Biography and Textuality, Identity and Representation in Early Modem England, Women Writers and Public Debate in Seventeenth-Century Britain, Religion, Reform, and Women's Writing in Early Modem England, Work and Play on the Shakespearean Stage, Shakespeare and the Nobility: The Negotiation of Lineage., Roger L'Estrange and the Making of Restoration Culture, Shakespeare and Garrick, Prodigal Daughters: Susanna Rowson's Early American Women, Spheres of Action: Speech and Performance in Romantic Culture, Dislocating Race and Nation: Episodes in Nineteenth-Century American Literary Nationalism, the Victorians and Old Age, Shakespeare and Victorian Women., Becoming a Woman of Letters. Myths of Authorship and Facts of the Victorian Market, the Cambridge Companion to Gilbert and Sullivan, Hitler's War Poets: Literature and Politics in the Third Reich, the Importance of Feeling English: American Literature and the British Diaspora, 1750–1850, the Oprah Affect: Critical Essay s on Oprah's Book ClubAnnaGreen, Cultural History , Palgrave Macmillan, 2008, pp. viii + 163, £15.99BeverleySouthgate, History Meets Fiction , Pearson, 2009, pp. xi + 215, £14.99 pbDerekG. Neal, The Masculine Self in Late Medieval England , University of Chicago Press, 2008. pp. xii + 320. $68.00; $25.00 pb.KristenDeiter, The Tower of London in English Renaissance Drama: Icon of Opposition , Routledge, 2008, pp. xiii+259, £60KevinSharpe and ZwickerSteven N. (eds), Writing Lives. Biography and Textuality, Identity and Representation in Early Modem England , Oxford University Press, 2008, pp. xiii + 369, £55.CatharineGray, Women Writers and Public Debate in Seventeenth-Century Britain , Early Modern Cultural Studies, 1500–1700, Palgrave Macmillan, 2007, pp. x + 262, £42.50KimberlyAnne Coles, Religion, Reform, and Women's Writing in Early Modem England , Cambridge University Press, 2008, pp. vii + 250, £50.TomRutter, Work and Play on the Shakespearean Stage , Cambridge University Press, 2008, pp. x + 205. £65CatherineGrace Canino, Shakespeare and the Nobility: The Negotiation of Lineage. Cambridge University Press, 2007. pp. x + 266, £50AnneDunan-Page and LynchBeth (eds), Roger L'Estrange and the Making of Restoration Culture , Ashgate, 2008, pp. xx + 236, £55.VanessaCunningham, Shakespeare and Garrick , Cambridge University Press, 2008, pp. viii + 231, £50.MarionRust, Prodigal Daughters: Susanna Rowson's Early American Women , University of North Carolina Press, 2008, pp. x + 311, $59.95, $24.95 pb.AlexanderDick and EsterhammerAngela (eds), Spheres of Action: Speech and Performance in Romantic Culture , University of Toronto Press, 2009, pp. viii + 306, £42.RobertS. Levine, Dislocating Race and Nation: Episodes in Nineteenth-Century American Literary Nationalism , University of North Carolina Press, 2008, pp. x + 322, $59.95, $21.95 (pb).KarenChase, The Victorians and Old Age , Oxford University Press, 2009, pp. xiv + 284, £55; LooserDorothy, Women Writers and Old Age in Great Britain 1750–1850, Johns Hopkins University Press, 2008, pp. xvi + 234, £29.GailMarshall, Shakespeare and Victorian Women. Cambridge University Press, 2009. pp. x+ 207. £50.LindaH. Peterson, Becoming a Woman of Letters. Myths of Authorship and Facts of the Victorian Market , Princeton University Press, 2009, pp. xv + 289, £19.95.EdenD. and SarembaM. (eds), The Cambridge Companion to Gilbert and Sullivan , Cambridge University Press, 2009, pp. v + 274. £17.99 pb.JayBaird, Hitler's War Poets: Literature and Politics in the Third Reich , Cambridge University Press, 2008. pp. xv + 284. £47, £17.99 pb.LennardTennenhouse, The Importance of Feeling English: American Literature and the British Diaspora, 1750–1850. Princeton University Press, 2007, pp. x + 158, $35.CeciliaKonchar Farr and HarkerJaime (eds) The Oprah Affect: Critical Essay s on Oprah's Book Club , 2008, SUNY Press, pp. 336, $74.50, $24.95 pb." Literature & History 19, no. 1 (May 2010): 80–104. http://dx.doi.org/10.7227/lh.19.1.7.
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Marina, Olena. "DISCOURSE CATEGORIES: A CASE FOR ENGLISH RESTORATION DRAMA." Writings in Romance-Germanic Philology, no. 1(46) (August 2, 2021). http://dx.doi.org/10.18524/2307-4604.2021.1(46).230282.
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In this article, the notions of discourse and discourse categories are considered within the framework of a cognitive-communicative paradigm. In particular, three groups of discourse categories: cognitive, communicative and metadiscursive are considered in this paper. Within the group of cognitive discourse categories, I consider Restoration ideology and argue, that the institution of theatre and the dramatic discourse of the period became powerful means royal propaganda. I argue, that the dramatic discourse of the English Restoration performed two main functions: entertainment and dissemination of a new ideology. In this paper, I substantiate that the religious discourse of English Puritanism was replaced by the secular Restoration one. Within the group of cognitive categories, I also single out basic discourse-generative concepts of the dramatic discourse of the English Restoration. As to the group of communicative discourse categories, I focus on the values, chronotope, and the participants of the dramatic discourse of the English Restoration. I argue, that Restoration discourse disseminated libertine values such as licentiousness and debauchery. As to the chronotope of the dramatic discourse of the English Restoration, in this article, I state that the events in Restoration drama take place mostly in popular and familiar to both readers and viewers places of the London of the seventeenth century and discourse participants are mostly representatives of a wealthy upper middle class and the nobility. Within the group of metadiscursive discourse categories, I focus on the existing variety of genres inherent in the dramatic discourse of the English Restoration.
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-, Abhishek Tiwari. "The Story of Hamlet." International Journal For Multidisciplinary Research 6, no. 3 (June 30, 2024). http://dx.doi.org/10.36948/ijfmr.2024.v06i03.23814.
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William Shakespeare emerged as a champion of dramatic art in his brilliant tragedies. Hamlet stands as a touchstone of his creative opus owing to its manifold themes and depiction of human conscience at work. The story of the tragic prince of Denmark is very enigmatic in nature. His is the saga of a creative and philosophic genius who had to undergo deeper pains to justify his existence in the not so sensitive world. That he wanted his story to be known to the posterity in its logical form and that he beseeched his confidante Horatio to live to narrate it so that he might not be misunderstood and misquoted, makes this drama more significant in the analysis of human nature trying to cope up with the ways of destiny. It was due to Hamlet’s nobility of thought, his stoic ability of endurance amidst wounded circumstances that make his story the most touching portrayal of human nature in conflict with the societal forces.
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Zakharov, Andrey. "The Traditional Ranks in the Petrine Epoch: Between Afterlife and Innovation." Quaestio Rossica 9, no. 1 (April 4, 2021). http://dx.doi.org/10.15826/qr.2021.1.576.
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The ranks and awards of Russian service elites and nobility have been a historiographical issue since the eighteenth century. G. F. Miller reflected on the psychology of the Tsar’s subjects, who asked Peter the Great to keep some of the old ranks during the introduction of new ones and described two such cases. Soviet historians of the 1980s discovered several appointments to the old ranks made in the early eighteenth century and registered in archival documents. These curious cases were interpreted by researchers as isolated exceptions or the result of the inertia of old practices. The study of mass historical sources has since led to the discovery of more than 1100 cases of this kind and provided different contexts in which these awards were granted. It was previously thought that Tsar Peter ridiculed the old ranks, giving them only to his jesters. Modern research on Peter’s innovations leads to a different view. For example, the introduction of the Hungarian dress and beard shaving was carried out in several steps, with backtracking. There has also been some oversimplification of the comparative pairs of epithets, such as “Muscovite-Imperial”, “old-new”, “ and “boyars-nobility”, which reflects nothing but the didactic attitudes of historians themselves. This article demonstrates that there was no dearth of official awards or withdrawal of the Duma ranks until the 1710s, at least. The introduction of The Table of Ranks did not abolish the ranks of “courtiers” (tsaredvortsy), as the earlier Muscovite ranks were called, which became the basis of the nobility. Peter I introduced several innovations to the traditional service hierarchy. Before the beginning of the Great Northern War, hundreds of the Tsarina’s stol’niki and court servitors were transferred to the Muscovite ranks, following which the Zhiletsky List continued being replenished for some years afterwards. The drama of ranks was aggravated by the enhanced status of the regular army ranks, which were outside the Moskovsky Spisok (the hierarchy of traditional ranks). The course of events was accelerated by the Tsar’s intention to implement European analogues of court and civil titles. Nevertheless, the popularity of the traditional ranks outside the army remained high. According to many sources, the traditional ranks of Muscovy were kept in check and re-registered throughout Peter’s reign. The Tsar’s decrees raised the status of military service. He sometimes approved petitions for the Duma ranks by several of his subjects and had his unique way of indicating the prospects for advancement to other petitioners. The low-level Muscovite ranks within the traditional hierarchy proved to be more stable than previously assumed. Muscovite ranks were not included in The Table of Ranks because the only rank of mass appointments by the early 1720s was that of a d’iak.
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Portelli, Sergio. "The Nineteenth-Century Italian Translators of Lord Byron’s Marino Faliero." Quaderni d'italianistica 38, no. 1 (October 18, 2018). http://dx.doi.org/10.33137/q.i..v38i1.31155.
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The tragic story of Marino Faliero, the Doge of Venice who was executed for high treason in 1355, came to the attention of writers and artists of various European countries during the early nineteenth century thanks to a number of historians who published insightful works on the history of the Venetian Republic. Among those who were fascinated by the irascible old warrior who tried to overthrow the oligarchy on becoming head of state was Lord Byron. In 1821, the English poet published the historical drama Marino Faliero, Doge of Venice on the tragic end of a hero whose personal grievances with the Venetian Senate intertwined with an ill-fated plebeian rebellion against the nobility. Byron’s popularity in Italy brought the story to the attention of Italian romantic literary circles, where it was not only appreciated as a tragedy of honour and revenge, but also for its ideological implications in the context of the Risorgimento. This study focuses on the three translators who produced the first complete Italian versions of Byron’s play published in the nineteenth century, namely Pasquale De Virgili, Giovan Battista Cereseto, and Andrea Maffei. Based on André Lefevere’s theory on rewriting, it analyses the ideological and poetological reasons behind the translations, how the translators’ intentions shaped the target texts, as well as the impact these translations had on Italian literature and the arts. The strategies adopted by the translators are also illustrated through a comparative textual analysis of a sample passage.
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Agakova, Alisa Leonidovna. "Ethnocultural Approach to the Formation of Musical and Pedagogical Repertoire on the Example of Vocal Lyrics of Chuvash Composers." Ethnic Culture 4, no. 1 (March 27, 2022). http://dx.doi.org/10.31483/r-100725.
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The purpose of the article is to substantiate the ethno-cultural approach to the formation of the musical and pedagogical repertoire of students of the Chuvash State Institute of Culture and Arts. The implementation of the ethno-cultural approach ensures the orientation of their professional training to the development of culture as a historically determined type of human activity with certain ethnic characteristics. The author examines the potential of Chuvash vocal lyrics in the aspect of an ethnocultural approach, for which he analyzes romance in detail as a genre of Chuvash composer music. Based on the method of stylistic analysis, conclusions are drawn about the derivative character of the Chuvash romance, which goes back through the Russian medium to the medieval European musical tradition. The first Chuvash romances were vocal works based on the words of the classics of Russian literature A. Pushkin and M. Lermontov translated into the Chuvash language. Subsequently, independent Chuvash works with an ethnic sound appeared in the Chuvash musical art (works by O. Agakova, Y. Grigoriev). Romances have enriched Chuvash chamber music with vivid artistic images, they are characterized by a deep insight into the drama of verse, sincerity, lyricism and nobility of utterance, a variety of forms. The musical and pedagogical repertoire of vocal students should be supplemented with works of both the early stage (romances to the words of Pushkin and Lermontov translated into Chuvash) and modern (romances with ethnic sounding accompaniment with a characteristic Chuvash folk music mode and metrorhythmics, with Russian and Chuvash texts).
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DEMİRAY, Müjde. "Vital lie in Strindberg’s Miss Julie: Illusion versus reality." RumeliDE Dil ve Edebiyat Araştırmaları Dergisi, December 21, 2022. http://dx.doi.org/10.29000/rumelide.1222251.
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Lying is an act of distortion of reality by pretending what is communicated is true. Then, what if people tell lies to themselves to manage to carry on their lives and bear the unpleasant facts of the world surrounding them? We all tell lies to ourselves to be content with our lives, and these lies are well-constructed and long-lasting. People try to create an alternative to reality, i.e. an unreal life. These lies are commonly regarded as vital lies, life lies, and illusions. Illusion and reality have been a significant concern and theme of literature, most particularly in modern drama since the Renaissance. Many scholars, philosophers, and writers have dealt with the dichotomy between reality and illusion in their works since ancient times. The study explores how the vital lies adopted by the characters in Strindberg’s Miss Julie (1888). It also aims to exhibit the characters’ motivations and worldviews in their social context and question why they lie to themselves. Furthermore, it reveals if any loss of vital lie causes harms to the characters. The reason why I have chosen this play for my analysis is that the plot of Miss Julie is mainly based on lies, deceptions, dreams, and illusions. The play features the characters from nobility and lower class with a dialectic of class conflict. The paper also attempts to deal with how this dialectic of class conflict operates between Julie and Jean in terms of their vital lies. The extracts taken from the play exhibiting the life lies are good opportunity for the readers/audiences to be conscious of the vital lies embedded in real life. This study employs a qualitative descriptive approach.
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Цориева, И. Т. "“RESPONSIBILITY FOR ENDOWMENT”: A. KHADARTSEVA’S LIFE AND HER CONTRIBUTION TO THE OSSETIAN PHILOLOGY DEVELOPMENT." Известия СОИГСИ, no. 35(74) (March 24, 2020). http://dx.doi.org/10.23671/vnc.2020.74.58011.
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В статье рассмотрены этапы личностного и профессионального становления Азы Асламурзаевны Хадарцевой литературоведа, фольклориста, педагога, популяризатора национальной культуры показаны условия и обстоятельства формирования ее гражданской позиции и научного мировоззрения. Рассмотрен вклад в изучение и популяризацию творческого наследия Коста Хетагурова как основоположника осетинской литературы. Отмечено, что монография о творческой истории Осетинской лиры , являющаяся одним из первых фундаментальных исследований творчества великого осетинского поэта и первой работой по осетинской текстологии, обозначила важную веху в развитии осетинского литературоведения и заметно повлияла на направление дальнейших изысканий в области хетагуроведения. Раскрывается широкий диапазон исследовательских интересов ученого. В многочисленных статьях, в монографиях, опубликованных за более чем полвека служения науке, получили освещение различные аспекты развития культурного и литературного процесса в Осетии. Показан вклад Хадарцевой в исследование проблем осетинской прозы, осетинской драмы, театрального искусства, устного народного творчества, в частности нартовского эпоса. Поставлен вопрос об ее участии в открытии для отечественной культуры имени писателя Гайто Газданова, признанного сегодня одним из самых значительных явлений литературы русского зарубежья. Рассмотрено также практическое воплощение результатов теоретических изысканий исследователя в составлении учебников, учебных пособий и программ для вузов и школ Осетии, в популяризации культурного наследия народа. Дана характеристика ее личностных качеств как носительницы высоких образцов национальной этики, интеллигентности, благородства, душевной деликатности, в совокупности выражаемых понятием уздан . In 2019, the centennial of the birth of Aza Aslamurzaevna Khadartseva, a literary critic, folklorist, teacher, and popularizer of national culture, was celebrated. The article considers the stages of personal and professional development of the scientist, shows the conditions and circumstances of the formation of a civic position and a scientific worldview. The contribution to the study and popularization of the creative heritage of Kosta Khetagurov as the founder of Ossetian literature is noted. It is emphasized that the monograph on the creative history of the Ossetian Lyre, which is one of the first fundamental studies of the great Ossetian poets work and the first work on Ossetian textology, marked an important milestone in the development of literary criticism. The book significantly influenced the direction of further research in Khetagurovs studies. The article reveals a wide range of research interests of the scholar. In numerous articles, in monographs published for more than half a century of service to the science, various aspects of the development of the cultural and literary process in Ossetia have been highlighted. Khadartsevas contribution to the study of the problems of Ossetian prose, Ossetian drama, theatrical art, oral folk art, in particular of the Nart epic is shown. The question was raised about her participation in unveiling for the national culture the name of the writer Gaito Gazdanov, recognized today as one of the most significant phenomena of Russian emigrant literature. The practical importance of the theoretical research of the scientist is emphasized. The participation of the researcher in the compilation of textbooks, teaching aids and programs for universities and schools of Ossetia, in popularizing the cultural heritage of the people is shown. The characteristic of her personal qualities as a bearer of high examples of national ethics, nobility, and intelligence is given.
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López-Bultó, Oriol, Patrick Gassmann, Ingrid Bertin, and Raquel Piqué. "Sorting the Trees: The Role of Laurus nobilis in the Woodland Management Practices at La Draga (Banyoles, Spain)." International Journal of Wood Culture, March 28, 2023, 1–20. http://dx.doi.org/10.1163/27723194-bja10023.
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Abstract It is suggested that woodland management (e.g. pollarding, pruning, or coppicing) was practiced from at least the Neolithic onwards. The goal of this work is to discuss woodland management practices in the Early Neolithic waterlogged site of La Draga (5300–4700 cal BC, Banyoles, Spain). To date, different methods and techniques (dendrochronology, roundwood age and diameter, dendrology, etc.) have been applied to address this issue, and some preliminary results have been obtained. However, recent excavations have yielded new wooden archaeological materials which help to approach this issue from another point of view: the presence of scars on the wood surface. For the first time at La Draga, it was possible to identify scars on the wood surface of piles caused by tool marks and partially or totally covered by wound wood ribs, indicating that the trees were marked before being cut down. The marked piles have been identified as laurel (Laurus nobilis) or bay tree, which is well documented at the site (firewood, instruments, and piles), although it played a secondary role after the oak. However, laurel was rarely exploited during the Neolithic in Europe, which poses the question of the intentional selection of this wood at La Draga. This paper presents the results of a morphological, technological, and dendrological study of laurel piles in the context of the wooden remains of the La Draga site. The results of the different approaches are summarised and contrasted to provide new insights into Neolithic woodland management in Europe. Moreover, the role of laurel trees in the context of the Neolithic is discussed.
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Castells, Eva, Valentina Araya-Piqué, Ada Behncké, and Raquel Piqué. "Buxus sempervirens and Laurus nobilis leaves from an archaeological site at 7300 cal BP (La Draga, Spain) provide a better understanding of past vegetation and human activities." Holocene, December 23, 2020, 095968362098167. http://dx.doi.org/10.1177/0959683620981677.
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Leaves are valuable, but very rare, remains in archaeological contexts, as they can provide precise information on the landscape vegetation composition, the past climatic conditions and the use of plant resources in a settlement. La Draga (Spain) is an early Neolithic site partially waterlogged, which has allowed the preservation of organic material. During the excavation of the oldest level (7300–7000 cal BP), we recovered 29 leaf samples in an optimal state of preservation. Here we explore the potential of these leaves as indicators both of the use of vegetation at the settlement and of past climatic conditions. Firstly, we determined the species identity by comparing the leaf morphological and microanatomical traits with those of contemporary individuals. Secondly, we analyzed the leaf stomatal patterning (stomatal density, index, and size) as proxies of paleoclimate during the Neolithic, when lower atmospheric CO2 and wetter conditions are documented. The leaves of La Draga were identified as Laurus nobilis and Buxus sempervirens, two evergreen species well documented at the site from other archaeobotanical records, such as charcoal and wooden implements. We found no differences in stomatal traits between the archaeological and the contemporary leaves of L. nobilis and B. sempervirens, which shows the limitation of stomatal frequency as proxies for CO2. The presence of these species at the site provides good complementary data for past woodland vegetation composition and the production of wood implements. The wide distribution of L. nobilis leaves across the site suggests that this taxon was present in the riparian forest at the site surroundings. In contrast, leaves of B. sempervirens were grouped together, which might indicate that they belonged to the same branch, probably transported as raw material from nearby forests to the settlement. This study illustrates the value of archaeological leaves to provide a better understanding on the past vegetation and human activities.
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Gleadle, Kathryn, and Beth Rodgers. "‘A Library of Our Own Compositions’: The Minervian Library and Children’s Social Authorship in Victorian Orkney." Journal of Victorian Culture, July 9, 2022. http://dx.doi.org/10.1093/jvcult/vcac035.
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Abstract This article examines the Minervian Library, an extraordinary collection of children’s manuscript stories produced in mid-Victorian Orkney. Established in 1866 by sisters Mary and Clara Cowan and their cousin Isabella Bremner, the collaborative project had ambitions beyond its beginnings as a family literary endeavour: the girls envisaged a working library complete with membership and borrowing records. On offer to the ‘Library Damsels of the Minervian Library’, as they dubbed their members, were 50 of their own original compositions, mostly comprising fairy tales, domestic dramas, and stories of European nobility. In this article, we argue that an analysis of these manuscripts and the social networks in which they were produced and circulated challenges our understanding of literary juvenilia and its relationship to wider cultural processes. We posit that the manuscripts offer a striking example of juvenile ‘social authorship’, not only in the sense of their circulation among a community of readers, but also in the ways that the authors actively engaged with developing literary trends, such as the emergence of the European literary fairy tale, and responded to contemporary debates about girlhood and girls’ lives. In this way, the Minervian Library demonstrates that children were not simply passive consumers of cultural activities, but could also be participants in the creation of collective meanings and discourses.
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Näripea, Eva. "“Viimne reliikvia” ja “Kolme katku vahel”: ruumist eesti ajalookirjanduse ekraniseeringutes / The Last Relic and Between Three Plagues: On Space in Film Adaptations of Estonian Historical Fiction." Methis. Studia humaniora Estonica 12, no. 15 (January 10, 2017). http://dx.doi.org/10.7592/methis.v12i15.12118.
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Teesid: Artikkel keskendub kahele ajalooromaani ekraniseeringule Nõukogude Eesti filmikunstis: „Viimne reliikvia“ (1969, rež Grigori Kromanov, Tallinnfilm), mis põhineb Eduard Bornhöhe romaanil „Vürst Gabriel ehk Pirita kloostri viimsed päevad“ (1893), ning „Kolme katku vahel“ (1970, rež Virve Aruoja, Eesti Telefilm), mille seosed oma kirjandusliku allikaga (Jaan Krossi samanimelise romaaniga) on oluliselt keerulisemad. Ekraniseeringuid käsitletakse ruumirepresentatsioonide perspektiivist, uurides, missuguseid strateegiaid kasutati filmiruumide loomisel, kuidas suhestuti kirjandusliku (lähte)materjaliga ning millised ajaloonarratiivi ja rahvusliku identiteedi vahekorrad neis kangastuvad.SU M M A R YThis article examines two Soviet Estonian screen adaptations of historical novels: The Last Relic (Viimne reliikvia, Tallinnfilm, 1969, directed by Grigori Kromanov), based on Eduard Bornhöhe’s novel Prince Gabriel or The Last Days of Pirita Monastery (1893), which became a box-office hit throughout the Soviet Union and even beyond; and Between Three Plagues (Kolme katku vahel, Eesti Telefilm, 1970, directed by Virve Aruoja) which reached much more limited TV-audiences; the connections between this film and its literary „source“ (a novel of the same name by Jaan Kross) are much more complicated. These screen adaptations are considered from the perspective of spatial representations. I examine which strategies and devices the scriptwriters, directors and production designers drew upon when constructing these cinematic spaces and how they related to their literary hypotexts. As generally for adaptations of historical novels to other media, both The Last Relic and Between Three Plagues speak (perhaps even primarily) about their time of production, about the present rather than the past. In this regard, it is important to recall the role of Tallinn’s Old Town as a locus of resistance in Soviet Estonian culture. Arguably, while the narrative of subversion of The Last Relic has predominantly been connected with the film’s soundtrack (in particular, with the lyrics), the ideologically ambiguous sub-currents of the film’s spatial representations have received much less attention. In addition, the generic difference of The Last Relic (a historical adventure film) and Between Three Plagues (a psychological drama, according to Jaan Kross, the scriptwriter of the film and the author of the novel), allows tracing their varying attitudes towards historical urban space and its representation. My analysis of these screen adaptations draws on the view according to which a novel and its cinematic adaptation are not involved in a hierarchical relationship of an „original“ and a „copy“; rather, they should be perceived as artworks of equal standing that are associated by links of intertextuality.The Last Relic, defined by its authors as a historical adventure film, is centred on a complicated love story from the 16th century, presented against the background of the conspiracies and plots of church and nobility, and the revolt of Estonian peasants against these institutions. The approach to the urban space of the Old Town is romantic-rustic, showing the dirty grey colouring of patina on limestone building blocks and demonstrating the heaviness of squared timber. Regarding the relations between the good and the bad, and also the spatial representation of these relations, this is almost in every respect a true-to-the-regime film, which has all the prerequisites for belonging to the subject-dulling repressive entertainment mechanism of the society of spectacle. Despite this, the film managed to acquire clearly distinguishable connotations of national resistance, especially through its music, but also through subtle shifts in spatial representations. By means of its lyrics, but also due to its ambiguous attitudes towards the main settings of its story – the monastery and the Old Town– the film performed a brief intervention into the discursive space of the dominating power, creating a vacuum where, for a moment, the Other reigned.Between Three Plagues intentionally opposes the formulas of mass entertainment. The scenography and cinematography of the film are characterised by the „immobility of medieval engraving“ (Tobro 1970), suggesting a reflective mood instead of the dynamic spectacularity and false optimism of socialist realism. Stylistically the film resembles the works of Scandinavian authors like Carl Theodor Dreyer (esp. Day of Wrath, 1943) and Ingmar Bergman (esp. The Seventh Seal, 1957). The goal of contradicting easy entertainment was already embedded in the original version of Jaan Kross’ screenplay, which prohibited the „exhibition of old architecture and museum pieces“, and asked instead to emphasise „the material texture of the backgrounds and larger props…: cobblestone pavement, the grain of timber, rough textiles and especially, limestone walls“ (Kross 1965: 2). Nevertheless, the film’s architectural setting does not form noticeable metaphors. Still, the avoidance of the romanticism and the lack of domineering popular music instantly locates this film outside the repressive desire-creating machine and the illusions that (re)produce wishful reality. But as far as the sense of national resistance is concerned, although the film indeed presents a number of elements that are ideologically problematic in the context of Soviet society, e.g., the question about the permissibility of speaking the truth and the censorship; the struggle between the authority and the arts, it remains firmly within the overall limits set by the Soviet system.