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Journal articles on the topic 'Slavery – drama'
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1
UHLIG, ANNA. "SEEING SLAVES IN AESCHYLEAN SATYR DRAMA." Bulletin of the Institute of Classical Studies 62, no. 2 (December 1, 2019): 81–95. http://dx.doi.org/10.1111/2041-5370.12108.
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Abstract This article explores the thematization of the satyrs’ proverbial slave status with specific reference to Aeschylean satyr play. A survey of the extant fragments reveals only one explicit mention of the satyrs’ slavery, suggesting a stark contrast with the relatively frequent references in the satyr plays of Sophocles and Euripides. Situating Aeschylus’ often enigmatic satyr fragments within the broader historical framework of fifth-century Athenian slavery, it is possible to see that the chorus’ servitude is nonetheless obliquely figured in many of our extant passages. At the same time, Aeschylus’ reticence around the subject of slavery in his satyric works is shown to continue a disposition already in evidence in his tragic compositions, which manifest a similarly muted discourse around lower-class enslavement.
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Oldham, James. "New Light on Mansfield and Slavery." Journal of British Studies 27, no. 1 (January 1988): 45–68. http://dx.doi.org/10.1086/385904.
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Popular history often credits Lord Mansfield with freeing the slaves in England by his decision in the Somerset case. That he did not do so is by now agreed and is a point featured in modern scholarship on slavery. This is the main burden, for example, of F. O. Shyllon's Black Slaves in Britain (1974). How extensively the popular history should be revised has not been settled. Newly discovered sources now permit a reassessment of this question.When the Somerset case arose in 1772, it was brimming with portent. The largest specter was the supposed mercantile dislocation that would follow abolition. Additional questions seemed unavoidable, such as the legality of a contract between a slave and his master, and the implications for other contracts if the slave contract were invalidated. The protracted case was an occasion of high drama in which early abolitionist efforts (especially those of Granville Sharp) were pitted against vested trading interests.Mansfield was caught in the middle. He was genuinely ambivalent about the subject of slavery. He accepted and endorsed the widely assumed mercantile importance of the slave trade, yet he doubted the validity of theoretical justifications of slavery, and he sought to redress instances of individual cruelty to slaves. By drawing on previously unexamined manuscript reports of the Somerset case, Lord Mansfield's trial notes, and newspaper accounts of the Court of King's Bench activity, this article will demonstrate the extreme delicacy of Mansfield's position and will establish more fully than has before been possible the ways in which Mansfield accommodated the various competing interests. In the process, the question of exactly what Mansfield said in his Somerset opinion should be put to rest.
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V, Muthulakshmi. "Social and Cultural Theory Exposed by Gunasekaran’s Drama of ‘THODU’." Indian Journal of Tamil 3, no. 3 (July 4, 2022): 17–22. http://dx.doi.org/10.54392/ijot2234.
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A country controls and rules another country by its social, political and economical power as it is called colonization. This colonization activity has started from Aryan invasion on Dravidian people and their culture. From 19th century many countries ruled by Portuguese, Dutch, Roman countries. They explored on another country and ruled it as slave. Later The slavery system tried to break its chain and got freedom by political way. Even though the colonized countries got freedom from rued country, their footpath of colonization never vanished and developed based on new world and technology. K.A. Gunasekaran written a drama of “Thodu” which discloses that every nation must have self thinking and its effects on their country by their principle. By this play he wants to recover the Corner people and Tribes people from slavery system.
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Henry, Madeleine M. "Slaves and Slavery in Ancient Greek Comic Drama by Ben Akrigg and Rob Tordoff." Phoenix 68, no. 1-2 (2014): 174–77. http://dx.doi.org/10.1353/phx.2014.0023.
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Kennon, Raquel. "Stacie Selmon McCormick, Staging Black Fugitivity." Modern Drama 64, no. 2 (June 2021): 245–47. http://dx.doi.org/10.3138/md.64.2.br04.
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Staging Black Fugitivity traces the history of late twentieth- and early twenty-first-century dramatic performances of slavery through the analytic lens of Black fugitivity. It argues that neoslave drama re-presents the ongoing quest for Black freedom amid contemporary conditions of unfinished emancipation.
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Zhukovska, H. M. "POETICS OF MYTH IN LESYA UKRAINKA’S DRAMATIC POEM “CASSANDRA”." Literary Studies, no. 61 (2021): 37–51. http://dx.doi.org/10.17721/2520-6346.2(61).37-51.
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The article deals with the original author’s interpretation of the myth of the Trojan prophetess Cassandra in Lesya Ukrainka’s drama of the same name. It is observed that the reproduction of the ancient myth is based on the aesthetics of neo-romanticism, artistic tragedy and psychologism. It has been proved that Lesya Ukrainka’s dramatic poem “Cassandra” is a “drama of ideas” in which important issues of human existence are raised. The artistic embodiment of the myth of Cassandra occurs through the understanding of the problems of human destiny, choice, faith / despair, truth / falsehood, freedom / slavery, fidelity / betrayal, life / death, and so on. It is noted that Lesya Ukrainka’s Cassandra is an intellectual philosophical drama with deep psychologism, intense external and internal conflicts.
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Bybyk, Svitlana. "Linguosophy “slavery – freedom” in drama of Lesia Ukrainka “in the catacombs”." Culture of the Word, no. 93 (2020): 48–62. http://dx.doi.org/10.37919/0201-419x-2020.93.4.
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The article offers a stylistic analysis of Lesia Ukrainka’s drama “In the Catacombs”. The basis of the research methodology is the linguosophical approach, ie the projection of the topic – the main idea – issues, features of social and ideological conflicts on the linguistic basis of the work. Emphasis is placed on the lexical and grammatical manifestations of the interaction of rhetoric of “high”, “neutral” and “low” registers for the advantages of the first two. In this regard, communication with theological, evangelical and everyday topics is differentiated. Emphasis is placed on the stylistics of the antithesis, the symbolism of the text, the textual interpretation of precedent names. It is established that the first helps to stylize the debatability, polylogical communication of the characters, the second – to express the philosophy of the boundaries of earthly and spiritual being. It is emphasized that the interpretation of precedent phenomena in Lesia Ukrainka corresponds to the author’s strategy of expressing the socio-political position of the intellectual in imperial Russia of the late XIX – early XX centuries. Changes in the textual semantics of the tokens slave, will have been traced. It is noted on the role of the text of the drama “In the Catacombs” in the development of the literary Ukrainian literary language as a means of glorifying the ability of the Ukrainian nation to compete.
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Devecka, Martin. "DID THE GREEKS BELIEVE IN THEIR ROBOTS?" Cambridge Classical Journal 59 (August 20, 2013): 52–69. http://dx.doi.org/10.1017/s1750270513000079.
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This paper investigates the ‘prehistory’ of automata in fourth-century Greece. It argues, first, that automata appear more frequently in the philosophy and drama of this period than has usually been recognised; second, that robots function in classical Greek literature as a utopian substitute for slavery or other forms of bound labour; and, finally, that the failure of Hellenistic automata to realise this utopia illustrates some basic constraints on the power of technology to disturb social institutions in the ancient world.
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Jung, Moon-Kie. "The Enslaved, the Worker, and Du Bois’s Black Reconstruction: Toward an Underdiscipline of Antisociology." Sociology of Race and Ethnicity 5, no. 2 (March 22, 2019): 157–68. http://dx.doi.org/10.1177/2332649219832550.
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At the heart of sociology lies a paradox. Sociology recognizes itself as a preeminently modern discipline yet remains virtually silent on what W.E.B. Du Bois identifies as modernity’s “most magnificent drama”: the transoceanic enslavement of Africans. Through a reconsideration of his classic text Black Reconstruction in America, this article offers an answer to the paradox: a profoundly antisocial condition, racial slavery lies beyond the bounds of the social, beyond sociology’s self-defined limits. Consequently, even when actually dealing with racial slavery, social theories—even radical social theories, such as Du Bois’s Marxism—inexorably misrecognize it. Placing the enslavement of Black people at the center of analysis and drawing on the insights of Saidiya Hartman and other radical theorists in Black studies, an underdiscipline of antisociology is proposed as a collective project to provincialize the social and to more adequately account for the incommensurability of antiblackness.
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Oldfield, J. R. "The "Ties of Soft Humanity": Slavery and Race in British Drama, 1760-1800." Huntington Library Quarterly 56, no. 1 (January 1993): 1–14. http://dx.doi.org/10.2307/3817716.
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MOSHNORIZ, MARIIA, IRYNA ZOZULIA, NATALIYA RYMAR, SVITLANA KARPENKO, and ALLA STADNII. "THE DUALISTIC MYTHOMODEL OF S. CHERKASENKO’S DRAMA “THE PRICE OF BLOOD”, PARTICULARLY IN ITS PHILOSOPHICAL, SPATIO-TEMPORAL CHARACTERISTICS." AD ALTA: 14/01-XXXIX. 14, no. 1 (January 31, 2024): 126–30. http://dx.doi.org/10.33543/140139126130.
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The article deconstructs the poetic mytho-model of world of the drama “The Price of Blood” by S. Cherkasenko, in particular in its philosophical characteristics: reveals the artistic features of the author's dualistic model of the world, examines the reinterpretation of biblical Christological themes, motifs and images. This thematic exploration adds depth to the understanding of the drama and underscores the profound philosophical questions S. Cherkasenko raises. The analysis shows that dualistic myths are represented through the forms of binary oppositions, such as cosmological (e.g. the space and chaos, the moon and the sun, heaven and earth, day and night), biological (e.g. male and female), social (e.g. dual organization of society) and ethical (e.g. good and evil). The drama “The Price of Blood” is based on the mythological plot of the Gospel story of Judas Iscariot’s betrayal, in which S. Cherkasenko uses dualistic mythological thinking to contrast “faith – mind”, which is reproduced through the following oppositions: “good - evil”, “sin – righteousness”, “truth – lie”, “God - Devil”, “life – death”, “freedom – slavery”, “love – hate”, “loyalty – betrayal”. This is a confrontation between faith and mind in a kind of search for the salvation of humanity. The relevance of this topic lies in the study of the author's dualistic model and the disclosure of biblical motifs in the drama “The Price of Blood” by S. Cherkasenko; comprehension of the problem of betrayal in a mythopoetic way. The results of the study showed that the author describes the universe as a unity of opposites, which is typical for a dualistic myth, where the victory of good implies the elimination of evil. The archetypal characters – Jesus Christ (faith) and Judas the Tempter (mind) – are encoded by the binary opposition “good – evil” and their confrontation can be seen as an antagonistic duality.
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ÜNEY, Muharrem. "A Theatre of a History: Major Themes in Early African-American Theater and their Relations with the History." International Journal of Social, Political and Economic Research 7, no. 4 (December 23, 2020): 1023–39. http://dx.doi.org/10.46291/ijospervol7iss4pp1023-1039.
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Although it is not the first literary type that comes to mind related to African-American literature, the drama has become an important form of black self-expression. The black theater, modernized with time and adapted to the popular formats of the era, has achieved rapid development in the after-slavery period. The Harlem Renaissance was especially a booming era in this respect. This genre sometimes appears as a reinterpretation of the classics like Shakespeare's works with a black point of view, but most often it appears as exclusive works, belonging to, and produced for black people. Black Nationalism, mentioned in this case, is a theme frequently used in theatrical works. Besides, subjects such as slavery, which blacks have suffered from for many years; their search for rights due to the unfair practices they have endured; the utopia of a new beginning as free blacks in another country; and the lives of historical personalities that have marked the blacks' struggle for freedom, are also among the themes that the black theater has used most frequently. In this study, the relationship between the history and the theater of blacks in America will be analyzed by exemplifying and discussing major themes used in the early African-American Theatre.
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SANDY, LAURA. "Divided Loyalties in a “Predatory War”: Plantation Overseers and Slavery during the American Revolution." Journal of American Studies 48, no. 2 (October 10, 2013): 357–92. http://dx.doi.org/10.1017/s0021875813001424.
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Drawing primarily on archival material such as plantation records, this article places the figure of the plantation overseer at the centre of the drama of the American Revolution in the southern colonies. Occupying a contested liminal space within colonial society, between rich and poor, and between the free and the unfree, the overseer was not necessarily the ne'er-do-well of conventional stereotype. This “Predatory War,” however, tested the overseer's loyalties and sense of duty to the fullest extent. Understanding his role in the conflict offers a significant insight into the experience of a plantation society at war. In particular the overseer was caught in the tension between elite and yeomanry, between the conflicting calls of loyalism and the cause of the Patriots. Perhaps most significantly of all he stood at the forefront of the defence of race slavery during the tumult of civil conflict.
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HARRILL, J. ALBERT. "The Dramatic Function of the Running Slave Rhoda (Acts 12.13–16): A Piece of Greco-Roman Comedy." New Testament Studies 46, no. 1 (January 2000): 150–57. http://dx.doi.org/10.1017/s0028688500000096.
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Rhoda, the slave maid (παιδισκη) in Acts 12.13–16, has been seen as a classic example of a touch of realism that lends authenticity to Luke's narrative: the vivid and precise detail of her flighty joy presents such a candid snapshot of her individuality and eccentric Christian faith that it could only come from a historical source, perhaps the eyewitness reminiscence of Rhoda herself. While less willing than earlier commentators to accept the description in its final form as factual, more recent scholars still perpetuate the goal of discerning the historical core behind the account and continue to read it as a piece of realistic drama. Many, to be sure, have detected in the scene the presence of other elements, such as comedy and extraordinary suspense, but this idea is downplayed or subordinated as further evidence of realism; a few discount the idea as a modern reading. Nonetheless, a consensus emerges: Rhoda's dramatic function in the narrative is to heighten realism. Some scholars then discover a further theological theme of liberation: Rhoda's genuine, assertive behaviour to speak her mind ‘breaks down’ the oppressive hierarchy between master and slave – revealing Luke's so-called subversion of slavery as a social institution – and the subsequent vindication of Rhoda's speech as trustworthy authenticates and uplifts the Christian witness of women (cf. Gal 3.28).
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Gohar, Saddik M. "The dialectics of homeland and identity: Reconstructing Africa in the poetry of Langston Hughes and Mohamed Al-Fayturi." Tydskrif vir Letterkunde 45, no. 1 (February 15, 2018): 42–74. http://dx.doi.org/10.17159/2309-9070/tvl.v.45i1.4460.
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The article investigates the dialectics between homeland and identity in the poetry of the Sudanese poet, Mohamed Al-Fayturi and his literary master, Langston Hughes in order to underline their attitudes toward crucial issues integral to the African and African-American experience such as identity, racism, enslavement and colonisation. The article argues that – in Hughes’s early poetry –Africa is depicted as the land of ancient civilisations in order to strengthen African-American feelings of ethnic pride during the Harlem Renaissance. This idealistic image of a pre-slavery, a pre-colonial Africa, argues the paper, disappears from the poetry of Hughes, after the Harlem Renaissance, to be replaced with a more realistic image of Africa under colonisation. The article also demonstrates that unlike Hughes, who attempts to romanticize Africa, Al-Fayturi rejects a romantic confrontation with the roots. Interrogating western colonial narratives about Africa, Al-Fayturi reconstructs pre-colonial African history in order to reveal the tragic consequences of colonisation and slavery upon the psyche of the African people. The article also points out that in their attempts to confront the oppressive powers which aim to erase the identity of their peoples, Hughes and Al-Fayturi explore areas of overlap drama between the turbulent experience of African-Americans and the catastrophic history of black Africans dismantling colonial narratives and erecting their own cultural mythology.
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Taher Muhi, Maysoon. "Bewilderment between Might and Right: Tawfiq al-Hakim’s The Sultan’s Dilemma (al- Sulṭan al-Ha’ir)." Arab World English Journal For Translation and Literary Studies 5, no. 4 (October 15, 2021): 17–26. http://dx.doi.org/10.24093/awejtls/vol5no4.2.
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The Egyptian writer Tawfiq al-Hakim (1898- 1987) is one of the leading figures in Arabic literature and drama. In his masterpiece, The Sultan’s Dilemma (1960), al-Hakim discusses an eternal question, which is mightier and has a lasting, influential role. Is it the power of authority or the power of the principles? Is it the sword or the law? The play is set in the medieval past, but its moral is addressed to the modern world. It explores the legitimacy of power through the character of a Mamluk Sultan raised into power. Suddenly, this Sultan faced a dilemma that he is neither a legible ruler nor released from the slavery of the earlier Sultan. Hence, the Sultan finds himself trapped between using forceful authority to establish his kinghood or applying the rightful law that might be difficult to be achieved, and it might take time. Sultan’s dilemma symbolizes the political predicament that the modern world is facing.
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Goudsouzian, Aram. "House of Cards." Journal of Sport History 49, no. 1 (April 1, 2022): 1–19. http://dx.doi.org/10.5406/21558450.49.1.01.
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Abstract Landon Carter, a wealthy planter in the Tidewater of Virginia during the eighteenth century, kept a diary that possesses great value for scholars of sport history. His writings showcase a wide emotional range, including white-hot rage and bubbling pathos. In his diary, Carter often decried the leisure habits of others, especially his son Robert Wormeley Carter, who constantly gambled on horses and cards. For Landon, if leisure was allowed to run wild, it threatened republican virtue, which was the basis of social authority and political power. Although Carter's diary is limited to the perspective of an elite, white, male planter from Virginia, his worldview was shaped by the assumptions of patriarchy and the institution of slavery. His lamentations about rampant games reflected his worries about his own corroding paternal authority—a private drama amid his larger, public anxieties about a crumbling social order during the era of the American Revolution.
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Shaw, Carl. "SLAVERY AND GREEK COMEDY - (B.) Akrigg, (R.) Tordoff (edd.) Slaves and Slavery in Ancient Greek Comic Drama. Pp. xvi + 271, ills. Cambridge: Cambridge University Press, 2013. Cased, £60, US$99. ISBN: 978-1-107-00855-7." Classical Review 64, no. 1 (March 20, 2014): 35–37. http://dx.doi.org/10.1017/s0009840x13002229.
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NASIF, Majed Jamil, and Ridha Thamer BAQER. "The existential role of women in The Flies and the dirty hands, by Jean Paul Sartre." Al-Adab Journal 3, no. 137 (June 15, 2021): 1–22. http://dx.doi.org/10.31973/aj.v3i137.1665.
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The freedom and the existential engagement represent two essential notions in the mind of the writer Jean-Paul Sartre. It has been presented in a good and clear way by his philosophy or, in a clearer way, by his artworks. More specifically, the two plays of this author, The Flies and the dirty hands, are the mirror that reflects these twos existential notions.
These two plays are the perfect testimonies for the two important periods in the XXth century: before and after the Second World War. These two periods vary in so far, the human mind, politics and literature as are concerned. This variation has followed the historical and the political changes in the world in general and in France in particular.
Even if The Flies and the dirty hands are considered like two different existential dramas, but each one completes the other. The first drama evokes a human mind but, indirectly, another political one, whether the other play evokes the inverse. Oreste and Hugo, the two heroes of our study plays, are the superior heroes who try to save humanity of slavery and submission to injustice. Sartre and his audience place their hopes in these two heroes who search for the freedom through their existential engagement.
In the other hand, the female characters have played an affective role in the dramatic action in the two plays. By its freedom and its existential engagement, the female condition, according to Sartre's vision, searches for proving his human existence and revolting against the authority of the family, the society and the humanity.
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Oury Ba, Amadou. "Herder’s Ideas for a Philosophy of Human History (1784-1791), or: the Anthropological De-struction of “Africa”." Konturen 11 (2020): 11–28. http://dx.doi.org/10.5399/uo/konturen.11.0.4796.
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In his work Ideas for a Philosophy of Human History (1784-1791), the preacher and philosopher Johann Gottfried Herder deals critically with the philosophy of Enlightenment, in which he sees the seed of a racial and cultural classification that considers peoples outside Europe as inferior. This centrally included Africa and its inhabitants as represented by German philosophers. Such a way of imagining Africa, widely shared amongst thinkers of the Enlightenment, echoes still today in various representations in the Western media, and could even serve as an explanation of the current migration drama in the Mediterranean. Herder, who was well informed of these representations in his own day, attempted, in Ideas, to deconstruct the then prevalent image of Africa and its peoples, and thereby entered into an intellectual dispute with his philosophical contemporaries, whose position was to reaffirm the supremacy of European culture and soe justify slavery and colonialism. This paper first focuses on Herder’s context, then explains his positions and his work, and shows how his attempt ended in a de-construction of the «Africa» of the Enlightenment.
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Widyawati, Wiwin. "CHARACTERISTICS OF SOUTH AMERICAN AS THE EFFECT OF SLAVERY AS IT REFLECTED IN LITERATURE ( A Historical View of Tennessee William’s The Glass Menagerie)." Cendekia: Jurnal Kependidikan dan Kemasyarakatan 10, no. 2 (December 1, 2012): 245. http://dx.doi.org/10.21154/cendekia.v10i2.414.
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Abstrak: Karya sastra merupakan sebuah cerminan dari era tertentu, karena penulis sering menggambarkan kondisi-kondisi dan fenomena-fenomena melalui karya sastra. Salah satu cara untuk mengetahui cerminan tersebut adalah dengan melihat atau meneliti setting atau latar belakangnya. Setting dari drama The Glass Menagerie karya Tennesse William adalah St. Louis yang merupakan kota terbesar kedua di Missouri yang dulunya adalah sebuah negara di bagian selatan yang menjadi tempat perbudakan. Salah satu tokoh utama di dalam cerita ini adalah Amanda Wingfield, seorang ibu yang dulunya adalah seorang majikan dari beberapa budak. Amanda menganggap dirinya sebagai seorang aristokrat atau kalangan kelas tinggi tetapi para generasi mudanya yang diwakili oleh anak-anak Amanda, menunjukkan sifat yang berbeda dari generasi Amanda. Ini menunjukkan bahwa Amanda tidak selamanya bisa bertahan dengan sifatnya itu yaitu berhenti bermimpi dan berkhayal tentang keglamouran masa lalunya. Lebih lanjut berarti juga untuk berhenti dari tradisi Amerika Selatan yang bersifat aristokratik.
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Haj, Sumaya. "The (Ir)Representability of the Belated Traumatic Wound in Lorraine Hansberry’s A Raisin in the Sun." Journal of Black Studies 53, no. 1 (October 25, 2021): 45–59. http://dx.doi.org/10.1177/00219347211047877.
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The dissociation of the traumatic moment from memory makes articulating the traumatic experience problematic. Henceforth, trauma becomes an inexplicable wound that can be narrated in a myriad of ways, yet none of which has a closure. The traumatized subjects are in need for expressing their pain, especially that telling one’s story and finding witnesses to the experience is therapeutic in the case of trauma. Thus, writers strive to represent their personal trauma and/or their collective one through various techniques to convey the experience as authentically as possible. Lorraine Hansberry’s A Raisin in the Sun is a remarkable endeavor to articulate the author’s own traumatic childhood experience, as well as the broader trauma of African American people who have suffered so long because of slavery and its aftermath. This paper argues that Hansberry’s A Raisin addresses trauma and represents it through four major techniques: the choice of drama as a genre, the mode of genuine realism, intertextuality, and symbolism. To realize this purpose, the study explores the play in light of the theoretical framework of trauma studies, starting from its outset with Freud’s essential concepts, and moving to Cathy Caruth’s and Shoshana Felman’s integral contributions to the field.
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Wibowo, Satriya, and Riza Rahayu Muludi. "SOUTHERN AMERICAN CULTURE: LOOKING AT RACISM THROUGH HUMOR IN PETER FARRELLY’S GREEN BOOK." JOLALI: Journal of Language and Literature 2, no. 1 (January 22, 2024): 12–23. http://dx.doi.org/10.35842/jolali.v2i1.14.
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The post-Civil War era in 1865 was the end of slavery and the beginning of the reconstruction period in Southern states. Green Book is a drama-comedy movie that uses comedy or humor to show racist acts. This research then aims to analyze the racism in the Southern cultural aspect and find out how humor is used to portray racism in the film. The theory used is Thomas Veatch’s theory of humor. In collecting the data, the researcher watched and re-watched the movie comprehensively while taking notes, highlighting the content, and interpreting them. After the data needed had been collected, the researcher analyzed and presented them as a narrative. Lastly, the researcher finds that this movie shows racism in the South through cruelty and humor. The cruelty is depicted through the oppression of African Americans’ lives, individually and institutionally, such as negative stereotypes, racial prejudice, and discrimination. As for humor, the researcher finds that the movie shows humor through African-American characters whose characterization contrasts African-American stereotypes that have long been embedded in the culture of the Southerners. Those incongruities are depicted through the social class and lifestyle of African-American characters in the film.
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Williams, Jaye Austin. "Medea’s (Black) Cast:." Pacific Coast Philology 56, no. 1 (April 1, 2021): 7–26. http://dx.doi.org/10.5325/pacicoasphil.56.1.0007.
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In referencing Rena Fraden’s 2001 Imagining Medea: Rhodessa Jones and Theatre for Incarcerated Women and Kevin J. Wetmore, Jr.’s 2013 Black Medea: Adaptations in Modern Plays, I suggest that transposing Euripides’s myth into modern black contexts often endows ancient Greek drama with epistemological primacy, whether seeking the “universal” redemption it has long exemplified, or resisting that primacy through the return to a “past” or “heritage” foreclosed by the catastrophe of racial slavery. My critique is not of the substance of the works these two books showcase, all of which constitute important contributions to theater activism. Rather, I aim to expose the transpositional limits of the figure of Medea, whose racial marking (to which I suggest Euripides hints, whether consciously or not), while signifying as stranger/outsider, is often obscured by a gendered, geographical and/or existential “othering,” rather than recognized as a plight of ontological proportion. As such, a blackened Medea can appear to possess the (structural) capacity afforded by her godly, supra-subject position. But what are the incalculable depths of her subjection and dishonor when her blackening pitches her “being” into an ontological dilemma that neither catharsis, nor the intervention of a deus ex machina can recuperate?
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Novykov, A. O. "“THE UKRAINIAN THEATRE IS ME”: MARKO KROPYVNYTSKYI IN THE CONTEXT OF NATIONAL CULTURE." Literary Studies, no. 60 (2021): 161–74. http://dx.doi.org/10.17721/2520-6346.60.161-174.
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The article is concerned with overview of the work of actor, director, dramaturge and founder of corypheus theatre. It should be emphasized that M. Kropyvnytskyi fulfilled not only the duties of director, but also a teacher of a number of young actors, including the following future stars as Mariia Zankovetska, Mykola Sadovskyi, Panas Saksahanskyi, Hanna Zatyrkevych-Karpynska and others. M. Kropyvnytskyi was an actor of a wide range, and therefore he could skillfully perform any part – both comical and tragical. Sometimes he played two roles in a performance. For instance, he in turn acted two opposite characters – the arrogant landowner Oleksii Voronov and the sensible peasant, former serf Maksym Khvortuna in the drama based on his play “While the grass grows, the horse starves”. As a director, M. Kropyvnytskyi was so unsurpassed in the way of keeping the audience’s attention in a constant suspense that he could make a real spectacle out of almost any play. His directing talent was especially evident during the tour in the winter of 1886-1887 in Petersburg. At that time, Ukrainian actors overshadowed even the Mariinsky Theatre and Aleksandrynskyi Imperial Theatre in their skill. M. Kropyvnytskyi’s main stage principles formed the basis of the Kostiantyn Stanislavskyi and Volodymyr Nemyrovych-Danchenko’s creative method, who then became the founders of the Moscow Art Theatre. M. Kropyvnytskyi also made a significant contribution to the treasury of national culture as a dramatist. His best plays were included into the golden fund of the national drama. Some of them are “Give the heart freedom and it will lead you into slavery”, “While the grass grows, the horse starves”, “For revision”, “IvasykTelesyk” and others. First of all, the great merit of Marko Kropyvnytskyi for Ukrainian people is that when Ukrainian culture was subjected to all kinds of oppressions and restrictions by the Russian tsarism, he created the brilliant corypheus theatre, and therefore the national professional theatre took place in the east of Ukraine. Then it, in turn, became one of the most important spiritual foundations which later helped Independent Ukraine to emerge.
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KITLV, Redactie. "Bookreview." New West Indian Guide / Nieuwe West-Indische Gids 79, no. 1-2 (January 1, 2005): 103–70. http://dx.doi.org/10.1163/22134360-90002504.
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Marcus Wood; Slavery, Empathy, and Pornography (Lynn M. Festa)Michèle Praeger; The Imaginary Caribbean and Caribbean Imaginary (Celia Britton)Charles V. Carnegie; Postnationalism Prefigured: Caribbean Borderlands (John Collins)Mervyn C. Alleyne; The Construction and Representation of Race and Ethnicity in the Caribbean and the World (Charles V. Carnegy)Jerry Gershenhorn; Melville J. Herskovits and the Racial Politics of Knowledge (Richard Price)Sally Cooper Coole; Ruth Landes: A Life in Anthropology (Olivia Maria Gomes Da Cunha)Maureen Warner Lewis; Central Africa in the Caribbean: Transcending Time, Transforming Cultures (Robert W. Slenes)Gert Oostindie (ed.); Facing up to the Past: Perspectives on the Commemoration of Slavery from Africa, the Americas and Europe (Gad Heuman)Gert Oostindie, Inge Klinkers; Decolonising the Caribbean: Dutch Policies in a Comparative Perspective (Paul Sutton)Kirk Peter Meigho; Politics in a ‘Half-Made Society’: Trinidad and Tobago, 1925-2001 (Douglas Midgett)Linden Lewis (ed.); The Culture of Gender and Sexuality in the Caribbean (David A.B. Murray)Gertrude Aub-Buscher, Beverly Ormerod Noakes (eds.); The Francophone Caribbean Today: Literature, Language, Culture (Elizabeth Walcott-Hackshaw)Sally Lloyd-Evans, Robert B. Potter; Gender, Ethnicity and the Iinformal Sector in Trinidad (Katherine E. Browne)STeve Striffler, Mark Moberg (eds.); Banana Wars: Power, Production and History in the Americas (Peter Clegg)Johannes Postma, Victor Enthoven (eds.); Riches from Atlantic Commerce: Dutch Transatlantic Trade and Shipping, 1585-1817 (Gert J. Oostindie)Phil Davison; Volcano in Paradise: Death and Survival on the Caribbean Island of Montserrat (Bonham C. Richardson)Ernest Zebrowski jr; The Last Days of St. Pierre: The Volcanic Disaster that Claimed Thirty Thousand Lives (Bernard Moitt)Beverley A. Steele; Grenada: A History of Its People (Jay R. Mandle)Walter C. Soderlund (ed.); Mass Media and Foreign Policy: Post-Cold War Crises in the Caribbean (Jason Parker)Charlie Whitham; Bitter Rehearsal: British and American Planning for a Post-War West Indies (Jason Parker)Douglas V. Amstrong; Creole Transformation from Slavery to Freedom: Historical Archaeology of the East End Community, St. John, Virgin Islands (Karin Fog Olwig)H.U.E. Thoden van Velzen; Een koloniaal drama: De grote staking van de Marron vrachtvaarders, 1921 (Chris de Beet)Joseph F. Callo; Nelson in the Caribbean: The Hero Emerges, 1784-1787 (Carl E. Swanson)Jorge Duany; The Puerto Rican Nation on the Move: Identities on the Island and in the United States (Juan Flores)Raquel Z. Rivera; New York Ricans from the Hip Hop Zone (Halbert Barton)Alfonso J. García Osuna; The Cuban Filmography, 1897 through 2001 (Ann Marie Stock)Michael Aceto, Jeffrey P. Williams (eds.); Contact Englishes of the Eastern Caribbean (Geneviève Escure)In: New West Indian Guide / Nieuwe West-Indische Gids (NWIG) 79 (2005), no. 1 & 2
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KITLV, Redactie. "Bookreview." New West Indian Guide / Nieuwe West-Indische Gids 79, no. 1-2 (January 1, 2008): 103–70. http://dx.doi.org/10.1163/13822373-90002504.
Full textAbstract:
Marcus Wood; Slavery, Empathy, and Pornography (Lynn M. Festa)Michèle Praeger; The Imaginary Caribbean and Caribbean Imaginary (Celia Britton)Charles V. Carnegie; Postnationalism Prefigured: Caribbean Borderlands (John Collins)Mervyn C. Alleyne; The Construction and Representation of Race and Ethnicity in the Caribbean and the World (Charles V. Carnegy)Jerry Gershenhorn; Melville J. Herskovits and the Racial Politics of Knowledge (Richard Price)Sally Cooper Coole; Ruth Landes: A Life in Anthropology (Olivia Maria Gomes Da Cunha)Maureen Warner Lewis; Central Africa in the Caribbean: Transcending Time, Transforming Cultures (Robert W. Slenes)Gert Oostindie (ed.); Facing up to the Past: Perspectives on the Commemoration of Slavery from Africa, the Americas and Europe (Gad Heuman)Gert Oostindie, Inge Klinkers; Decolonising the Caribbean: Dutch Policies in a Comparative Perspective (Paul Sutton)Kirk Peter Meigho; Politics in a ‘Half-Made Society’: Trinidad and Tobago, 1925-2001 (Douglas Midgett)Linden Lewis (ed.); The Culture of Gender and Sexuality in the Caribbean (David A.B. Murray)Gertrude Aub-Buscher, Beverly Ormerod Noakes (eds.); The Francophone Caribbean Today: Literature, Language, Culture (Elizabeth Walcott-Hackshaw)Sally Lloyd-Evans, Robert B. Potter; Gender, Ethnicity and the Iinformal Sector in Trinidad (Katherine E. Browne)STeve Striffler, Mark Moberg (eds.); Banana Wars: Power, Production and History in the Americas (Peter Clegg)Johannes Postma, Victor Enthoven (eds.); Riches from Atlantic Commerce: Dutch Transatlantic Trade and Shipping, 1585-1817 (Gert J. Oostindie)Phil Davison; Volcano in Paradise: Death and Survival on the Caribbean Island of Montserrat (Bonham C. Richardson)Ernest Zebrowski jr; The Last Days of St. Pierre: The Volcanic Disaster that Claimed Thirty Thousand Lives (Bernard Moitt)Beverley A. Steele; Grenada: A History of Its People (Jay R. Mandle)Walter C. Soderlund (ed.); Mass Media and Foreign Policy: Post-Cold War Crises in the Caribbean (Jason Parker)Charlie Whitham; Bitter Rehearsal: British and American Planning for a Post-War West Indies (Jason Parker)Douglas V. Amstrong; Creole Transformation from Slavery to Freedom: Historical Archaeology of the East End Community, St. John, Virgin Islands (Karin Fog Olwig)H.U.E. Thoden van Velzen; Een koloniaal drama: De grote staking van de Marron vrachtvaarders, 1921 (Chris de Beet)Joseph F. Callo; Nelson in the Caribbean: The Hero Emerges, 1784-1787 (Carl E. Swanson)Jorge Duany; The Puerto Rican Nation on the Move: Identities on the Island and in the United States (Juan Flores)Raquel Z. Rivera; New York Ricans from the Hip Hop Zone (Halbert Barton)Alfonso J. García Osuna; The Cuban Filmography, 1897 through 2001 (Ann Marie Stock)Michael Aceto, Jeffrey P. Williams (eds.); Contact Englishes of the Eastern Caribbean (Geneviève Escure)In: New West Indian Guide / Nieuwe West-Indische Gids (NWIG) 79 (2005), no. 1 & 2
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Romaykina, Yulia S. "Dispute over M. P. Artsybashev’s play Jealousy in Saratov community." Izvestiya of Saratov University. Philology. Journalism 24, no. 1 (February 20, 2024): 55–61. http://dx.doi.org/10.18500/1817-7115-2024-24-1-55-61.
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Based on the material published in newspapers Saratovskiy Listok (Saratov Leaflet) and Saratovskiy Vestnik (Saratov Herald) the article analyzes the dispute in Saratov community over a provocative drama about a “wife killer” Jealousy – the first play written by a fashionable and scandalous author, M. P. Artsybashev. The reasons for the popularity of the play’s simplified interpretation of F. Nietzsche’s ideas that influenced the development of gender issues and shaped the shocking libertine image of a “new” female predator in public consciousness are revealed. The article observes 12 invariably full-house performances that were staged in November and December of 1913 in the City Theatre of Saratov. Much attention is paid to the dispute held by Saratov intellectuals on the topic of “women and jealousy” and to a mock public trial that had caused a wide publicity; in the course of this trial the husband who had murdered his wife was acquitted and the wife who had flirted openly with other men was found guilty of “reprehensible conduct”. The speech of the only female speaker taking part in the dispute – a teacher of Saratov refresher courses for women by A. I. Lelkova – stands out. The reaction of Saratov press to the lectures of Moscow speakers (About Women’s Freedom and Men’s Slavery by N. Ya. Abramovich and The Woman Judged by Modern Literature by S. Glagol’) is described. Parodies on Jealousy published in the newspapers of Saratov and therefore indicating the popularity of Artsybashev’s play are also discussed. The study concludes that the reviewers of Saratov newspapers were trying to explain the popularity of Jealousy both in terms of its artistic value (in comparison with L. N. Tolstoy’s The Kreutzer Sonata and L. N. Andreyev’s dramas) and from the perspective of social issues reflected in the play (women’s rights and social status in the family and society, abusive relationships, domestic violence). The reviewers of Saratovskiy Listok gave overall favorable and sometimes rapturous responses to Jealousy, while Saratovskiy Vestnik printed in general negative, sarcastic reviews.
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Pieldner, Judit. "History, Cultural Memory and Intermediality in Radu Jude’s Aferim!" Acta Universitatis Sapientiae, Film and Media Studies 13, no. 1 (December 1, 2016): 89–105. http://dx.doi.org/10.1515/ausfm-2016-0016.
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Abstract A historical drama that can be interpreted at the juncture of theoretical discourses (heritage film, auteur film), genres (historical film, western, road movie) and representational modes (connecting to, but subverting the master narrative of Romanian historical cinema), Radu Jude’s Aferim! (2015) has attracted the attention of the international public by the unique response that it gives to the tradition of representation of the (Romanian) historical past. Its unmatched character even within New Romanian Cinema can be attributed to the fact that it does not focus on tensions of the post-communist condition or their antecedents in the recent communist past; instead, it goes back in history to a much earlier period, to the Romanian ancien régime, after the Ottoman occupation and before the abolition of Gypsy slavery, only to point at the historical roots of current social problems. Through its ingenuous (inter)medial solutions (black-and-white film, with an implied media-archaeological purport; period mise en scène but with an assumed artificiality and constructedness; a simple linear plot infused with a dense dialogue in archaic Romanian, drawn from a multitude of literary and historical sources; a sweeping panorama of 19th-century Wallachian society presented in a succession of tableau compositions), Radu Jude’s ironical-critical collage defetishizes the traditional historical iconography and debunks the mythical national imaginary, unveiling the traumatic history of an ethnic and racial mix.1
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Hickman, Jared. "Douglass Unbound." Nineteenth-Century Literature 68, no. 3 (December 1, 2013): 323–62. http://dx.doi.org/10.1525/ncl.2013.68.3.323.
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This essay tests what we might call the racialization-as-secularization thesis through an examination of a year in the intellectual and literary life of Frederick Douglass—from the summer of 1854, when he delivered his commencement address at Western Reserve College, “The Claims of the Negro Ethnologically Considered” (his direct response to the American School of Ethnology), to the summer of 1855, when his second autobiography, My Bondage and My Freedom, was published. “Claims” reveals that Douglass apprehended in the American School of Ethnology a distillation of the problem of race past internecine contentions about the interpretation of this or that biblical verse or curse to a bottom-line Christian-theistic question: What does the enslaved black body signify within a creationist framework? This confrontation of racial slavery as a theodical problem can help us account for the most salient difference of his second autobiography—its recourse to mythic drama of the sort associated with Romantic titanism. Douglass’s bravura performance of Romantic titanism in My Bondage and My Freedom underscores the extent to which Douglass abandoned the Christian millenarianism of the Garrisonian camp not for a tacitly secularist political abolitionism but rather for what we might call a heretical political-theological abolitionism that provides fruitful fodder for current historical and philosophical debates about secularity, secularism, and immanence.
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Mason, John Edwin. "Hendrik Albertus and his Ex-slave Mey: A Drama in Three Acts." Journal of African History 31, no. 3 (November 1990): 423–45. http://dx.doi.org/10.1017/s0021853700031169.
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This essay draws on documents relating to a single extraordinary episode, and on supporting materials, to illustrate aspects of the mentalités of slaves, slave-owners, and Protectors of Slaves in the British South African colony of the Cape of Good Hope. The narrative follows the story of a slave, Mey, who was harshly beaten twice within six days in 1832. Mey, and several other slaves who had been whipped for the same offence, accepted the first punishment; Mey complained about the second, which he alone suffered, to a colonial official called the Protector of Slaves. The Protector vigorously investigated the complaint. Mey's master, Hendrik Albertus van Niekerk, co-operated only reluctantly with the investigation. As the Protector pursued the case, van Niekerk suddenly brought it to an end by manumitting Mey, giving cash compensation to the other slaves he had whipped, and paying legal fines.The behaviour of each of the men fails to conform to the roles conventional wisdom has prepared for masters, slaves, and colonial officials. The essay demonstrates that the men were not eccentric, but that they were both rational and representative of their class. Mey acted as he did because the slaves had developed a ‘moral economy of the lash’ and because the second beating fell outside the boundaries of acceptable punishment by those standards. The Protector prosecuted van Niekerk with determination because he believed the punishment had been brutal and capricious and because Mey was a good slave who had been wronged. Hendrik Albertus freed Mey and compensated the other slaves because he refused to accept the legitimacy of the Protector. He settled the case before he was forced to visit the Protector's office or face Mey in court. To have honored the law and to have answered Mey's charge directly would have been to dishonor himself. He would have compromised the power and authority on which his honor as a slave-owner rested. Hendrik Albertus valued his honor more highly than one slave and a few pounds Sterling.
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Dotsenko, Elena G. "Melodramatic Tradition vs Colorblind Casting for Branden Jacobs-Jenkins’ Plays." Literature of the Americas, no. 16 (2024): 190–208. http://dx.doi.org/10.22455/2541-7894-2024-16-190-208.
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The article concerns with the plays An Octoroon and Gloria by contemporary American playwright Branden Jacobs-Jenkins. The dramaturgy of one of the most notable authors, writing for the US theatre at the present time, is thematically varied; besides, it includes both Jacobs-Jenkins’ original works (e.g., Gloria, 2015) and his adaptations of plays by other authors and/or other epochs. Among the adaptations there is the most famous of Jacobs-Jenkins' plays so far — An Octoroon (2014), which is the author's treatment of 19th century melodrama The Octoroon (1859) by Anglo-Irish dramatist Dion Boucicault. Working with the play of the 19th century, which reveals the problems of slavery in a simplified, melodramatic form, allows the contemporary playwright to actualize the consideration of racial conflicts and to reconstruct/deconstruct the generic model of melodrama. The author of the article draws attention to the reception of the minstrel tradition in the play An Octoroon, both at the level of interaction of D. Boucicault's work with American minstrel show coinciding with it in time, and in connection with the comprehension and overcoming of the “minstrel archetypes” by B. Jacobs-Jenkins. The question of casting is very important to Jacobs-Jenkins, the playwright puts forward his requirements for ethnic conformity between actors and roles in his plays, and this brings together An Octoroon and Gloria, though the works are diverse in genre and subject matter. The cultural context for the works of the American playwright is, first of all, the drama and theater of the United States throughout their development. For further studies it also seems interesting to consider B. Jacobs-Jenkins’ plays in connection with folklore traditions or, e.g., in the context of sacred genres.
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Bradley, Rizvana. "Vestiges of Motherhood: The Maternal Function in Recent Black Cinema." Film Quarterly 71, no. 2 (2017): 46–52. http://dx.doi.org/10.1525/fq.2017.71.2.46.
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While the lack of black femme presence is theorized explicitly with respect to film genres and the canon of American cinema in the work of Kara Keeling, the ontological position of the black femme (whom Keeling understands to be both visually impossible and interdicted yet full of cinematic possibility) has long been a point of interrogation in Black Studies with an extensive critical genealogy. In Saidiya Hartman's book Lose Your Mother: A Journey Along the Atlantic Slave Route, the loss of the black mother animates the historical imagination of transatlantic slavery, just as her loss is irreducibly felt in relation to its afterlife. In the work of Frank B. Wilderson III, there is an explicit rejection of the potential of the black woman within film, specifically the viability of her maternal function, insofar as the black mother remains categorically essential to the construction of black (masculine) subjectivity. In light of the contradictory arc of this genealogy, the current task is not only to theorize the black maternal as an extension of the black femme, but to bring that position into view as the unthought. The black mother tends to be dramatized as the singular figure through which the cinema cultivates a distinctly black visual historiography. Even when placed under narrative erasure or withheld from view, the mother crystallizes a cinematic black aesthetic that fashions and envisions diasporic culture and forms of black collectivity as tied to a speculative and fraught filial genealogy. The critical arc in black narrative cinema over the last ten years from Get Out to Pariah, to Mother of George, and finally to Moonlight insists upon black motherhood as integral to the aesthetics of form and the genre-making capacities of film. One could go so far as to claim that the elements of cinematic form that drive these narratives reflect aesthetic choices that have to do with coloration, shot position, and narrative flashbacks that are themselves bound up with and inflected through the haunting and cipher-like construction of black maternal figures. Furthermore, these films insist upon simultaneously marking and excluding the mother from the emotional drama of black subjective life and its complex and contradictory expressions of intimacy, which have as much to do with the breaking and splintering of familial bonds as bridging gaps. It is clear that the mother sutures these bonds; she is a scar, a visible reminder and remainder of a terrible historicity that cannot be assimilated into the idealization of the American family.
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Kehler, Grace. "Editorial." Canadian Theatre Review 96 (September 1998): 3–4. http://dx.doi.org/10.3138/ctr.96.fm.
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Word association with opera: opulence, vocal virtuosity, passionate scripts, evocative scenery, orchestral beauty. Even in a relatively modest presentation, such as chamber opera, or in its avant-garde forms of music theatre, this genre connotes excess. Originally the product of aristocratic or courtly patronage, opera remains in the twentieth century a lavish appeal to the senses, a generally costly conjunction of drama, music, voice and spectacle. Often more extravagant in its requirements than even the dramatic theatre, given the need for orchestra, opera would seem to be at odds with the current financial restraints in Canada and with the onerous political cant about quantifiable usefulness. As individual provinces and the country as a whole scramble to establish a balanced budget, arts and humanities groups are asked to account for themselves as culture becomes incorporated into a great ledger in which fiscal feasibility translates as the prime sign of merit. Fortunately, though, opera in Canada still evokes a surplus of performative acts and possibilities affected by, but not solely delimited by, use and budgets. This issue of CTR explores some of the diverse meanings of opera in Canada and its ability to generate meaning for contemporary audiences and theatre professionals, several of whom obligingly lent their distinctive voices to our receptive ears. Further, we have attempted to signal the range of operatic occurrences through articles offering detailed readings of staged opera and its crucial non-musical components (such as set design, costumes, and marketing) as well as through surveys of the topics that recur in contemporary operas. If a renegade from the current political climate, opera itself has infused political acuteness with emotional poignancy in its thematic explorations. For instance, George Elliott Clarke and James Rolfe graphically and movingly expose the atrocities of Nova Scotian slavery in Beatrice Chancy, the full libretto and musical excerpts of which are included here. Opera, retaining its original capacity for formal revision and for the exploration of diverse passions, continues to express desires obstreperous, dangerous, joyful and lusty.
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Varavkina-Tarasova, Nadiy. "Music of the “Anthem of Ukraine” by M. Verbytsky in the Words of P. Chubynsky: Spiritual Symbols." Krakowskie Studia Małopolskie 36, no. 4 (2022): 332–43. http://dx.doi.org/10.15804/ksm20220419.
Full textAbstract:
The study is devoted to the main musical symbol of the Ukrainian people. It is revealed that the work has a high prophetic symbolism regarding the evolutionary development of the country. The method of analysis of the spiritual content of melodies helps to identify a systematic objectification of its potential, based on the category of “spiritual reality”, and is considered from a musicological point of view. The melody reveals a symphonic technique of proto-intonation development. The genre basis of the melody is prayer. The system reproduces the basis of musical drama of Ukrainian folklore. The method of microminiature art, typical of Ukrainian folk masters, is embodied. The methodological basis helps to focus on the development of the sacredness of space-time content. The program potential of this work is able to lead the transformation of the spiritual state of man. Sacred symbols are placed in the center of energy development. The music conveys the idea of a renewed pulse. The people recognize Nature as the Temple in which man exists. The world of spirituality is sanctified by its living perception. The music of the “Anthem of Ukraine” perfectly combines the world and consciousness of people who woke up from eternal slavery. The melody contains courage and tenderness, firmness of spirit and faith in a good awareness of Truth and Joy. The cosmic law of consonance, the law of analogy is embodied. In the microstructure of the thematic core of the melody there is a point and its energy “engine” – dotted rhythm, a microelement of the iambic foot of the One Whole, which serve as two symbolic parameters of the formed core of themes. They perform in the energy layer the fundamental microfunction of the level of the heart, the function of the highest prayer to the Spirit, which helps the manifestation of spiritual consciousness in the density of the musical structure. the masculinity of the major is affirmed and ends with the gentle, feminine softness of the parallel minor, which indicates the systematic fluctuations of their paired periodicity in melodic-syntactic structures. A peculiar system of expressive symbolism of artistic and figurative drama of Ukrainian folklore, a reflection of the powerful genre of youth lyrics, the core of the spiritual greatness of culture, which is still preserved in the folk traditions of family education. The most popular image of the Mother of God is inspired by the Ukrainian prayer site, a sacred symbol of the famous icons “Protection of the Blessed Virgin” of the Zaporozhian Cossacks. The highest feminine principle encourages the protection of the male community, the whole nation, endows the Almighty with an effective symbol of patriotism, covers with its omophorion, gathers an army of men on the battlefield, the sanctity of monasticism, which protects spiritually. Intuitively and intelligently, the composer-priest conveyed that the invisible Hierarchy of Light stood up for the protection of hearts that dream and know of dignity and honor, honesty and spiritually high justice in the reality of earthly existence.
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Varavkina-Tarasova, Nadiya. "Music of the “Anthem of Ukraine” by Mykhaylo Verbytsky in the Words of Pavlo Chubynsky: Spiritual Symbols." Copernicus. De Musica 1, no. 1 (2022): 77–83. http://dx.doi.org/10.15804/cdm.2022.1.08.
Full textAbstract:
The study is devoted to the main musical symbol of the Ukrainian people. It is revealed that the work has a high prophetic symbolism regarding the evolutionary development of the country. The method of analysis of the spiritual content of melodies helps to identify a systematic objectification of its potential, based on the category of “spiritual reality”, and is considered from a musicological point of view. The melody reveals a symphonic technique of proto-intonation development. The genre basis of the melody is prayer. The system reproduces the basis of musical drama of Ukrainian folklore. The method of microminiature art, typical of Ukrainian folk masters, is embodied. The methodological basis helps to focus on the development of the sacredness of space-time content. The program potential of this work is able to lead the transformation of the spiritual state of man. Sacred symbols are placed in the center of energy development. The music conveys the idea of a renewed pulse. The people recognize Nature as the Temple in which man exists. The world of spirituality is sanctified by its living perception. The music of the “Anthem of Ukraine” perfectly combines the world and consciousness of people who woke up from eternal slavery. The melody contains courage and tenderness, firmness of spirit and faith in a good awareness of Truth and Joy. The cosmic law of consonance, the law of analogy is embodied. In the microstructure of the thematic core of the melody there is a point and its energy “engine” – dotted rhythm, a microelement of the iambic foot of the One Whole, which serve as two symbolic parameters of the formed core of themes. They perform in the energy layer the fundamental microfunction of the level of the heart, the function of the highest prayer to the Spirit, which helps the manifestation of spiritual consciousness in the density of the musical structure. the masculinity of the major is affirmed and ends with the gentle, feminine softness of the parallel minor, which indicates the systematic fluctuations of their paired periodicity in melodic-syntactic structures. A peculiar system of expressive symbolism of artistic and figurative drama of Ukrainian folklore, a reflection of the powerful genre of youth lyrics, the core of the spiritual greatness of culture, which is still preserved in the folk traditions of family education. The most popular image of the Mother of God is inspired by the Ukrainian prayer site, a sacred symbol of the famous icons “Protection of the Blessed Virgin” of the Zaporozhian Cossacks. The highest feminine principle encourages the protection of the male community, the whole nation, endows the Almighty with an effective symbol of patriotism, covers with its omophorion, gathers an army of men on the battlefield, the sanctity of monasticism, which protects spiritually. Intuitively and intelligently, the composer-priest conveyed that the invisible Hierarchy of Light stood up for the protection of hearts that dream and know of dignity and honor, honesty and spiritually high justice in the reality of earthly existence.
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Adams, Sarah J. "Democratizing Abolitionism: Anti-slavery Discourses and Sentiments in August von Kotzebue's Die Negersklaven (1796)." Cultural History 9, no. 1 (April 2020): 26–45. http://dx.doi.org/10.3366/cult.2020.0207.
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Despite their peripheral position in the Atlantic slave trade, authors of the late eighteenth-century German states composed a number of dramas that addressed imperialism and slavery. As Sigrid G. Köhler has argued (2018), these authors aimed to exert political leverage by grounding their plays in the international abolitionist debate. This article explores how a body of intellectual texts resonated in August von Kotzebue's bourgeois melodrama Die Negersklaven (1796). In a sentimental preface, he mentions diverse philosophical, historical and political sources that contributed to the dramatic plot and guaranteed his veracity. Looking specifically at the famous Histoire des deux Indes (1770) by Denis Diderot and Guillaume-Thomas F. Raynal, I will examine the ways in which Kotzebue adapted highbrow abolitionist discourses to the stage in order to convery an anti-slavery ideology to the white European middle classes. Kotzebue seems to ground abolitionism in the bourgeois realm by moulding political texts into specific generic templates such as an elaborate mise-en-scène, the separation and reunion of lost lovers, a fraternal conflict, and the representation of suffering victims and a compassionate white hero.
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KITLV, Redactie. "Book Reviews." New West Indian Guide / Nieuwe West-Indische Gids 80, no. 1-2 (January 1, 2006): 105–58. http://dx.doi.org/10.1163/22134360-90002492.
Full textAbstract:
Maximilian C. Forte; Ruins of Absence, Presence of Caribs: (Post)Colonial Representations of Aboriginality in Trinidad and Tobago (Neil L. Whitehead)Nick Nesbitt; Voicing Memory: History and Subjectivity in French Caribbean Literature (H. Adlai Murdoch)Camilla Stevens; Family and Identity in Contemporary Cuban and Puerto Rican Drama (Lydia Platón)Jonathan Goldberg; Tempest in the Caribbean (Jerry Brotton)Michael Chanan; Cuban Cinema (Tamara L. Falicov)Gemma Tang Nain, Barbara Bailey (eds.); Gender Equality in the Caribbean: Reality or Illusion (A. Lynn Bolles)Ernesto Sagás, Sintia E. Molina (eds.); Dominican Migration: Transnational Perspectives (Rosemary Polanco)Christine M. Du Bois; Images of West Indian Immigrants in Mass Media: The Struggle for a Positive Ethnic Reputation (Dwaine Plaza)Luis Raúl Cámara Fuertes; The Phenomenon of Puerto Rican Voting (Annabelle Conroy)Philip Gould; Barbaric Traffic: Commerce and Antislavery in the Eighteenth-Century Atlantic World (William A. Pettigrew)Laurent Dubois; Avengers of the New World: The Story of the Haitian Revolution (Yvonne Fabella)Sibylle Fischer; Modernity Disavowed: Haiti and the Cultures of Slavery in the Age of Revolution (Ashli White)Philip D. Morgan, Sean Hawkins (eds.); Black Experience and the British Empire (James Walvin)Richard Smith; Jamaican Volunteers in the First World War: Race, Masculinity and the Development of National Consciousness (Linden Lewis)Muriel McAvoy; Sugar Baron: Manuel Rionda and the Fortunes of Pre-Castro Cuba (Richard Sicotte)Ned Sublette; Cuba and Its Music: From the First Drums to the Mambo (Pedro Pérez Sarduy)Frances Negrón-Muntaner; Boricua Pop: Puerto Ricans and the Latinization of American Culture (Halbert Barton)Gordon Rohlehr; A Scuffling of Islands: Essays on Calypso (Stephen Stuempfle)Shannon Dudley; Carnival Music in Trinidad: Experiencing Music, Expressing Culture (Donald R. Hill)Jean-Marc Terrine; La ronde des derniers maîtres de bèlè (Julian Gerstin)Alexander Alland, Jr.; Race in Mind: Race, IQ, and Other Racisms (Autumn Barrett)Livio Sansone; Blackness Without Ethnicity: Constructing Race in Brazil (Autumn Barrett)H.U.E. Thoden van Velzen, W. van Wetering; In the Shadow of the Oracle: Religion as Politics in a Suriname Maroon Society (George L. Huttar, Mary L. Huttar)In: New West Indian Guide / Nieuwe West-Indische Gids (NWIG), 80 (2006), no. 1 & 2
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KITLV, Redactie. "Book Reviews." New West Indian Guide / Nieuwe West-Indische Gids 80, no. 1-2 (January 1, 2008): 105–58. http://dx.doi.org/10.1163/13822373-90002492.
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Maximilian C. Forte; Ruins of Absence, Presence of Caribs: (Post)Colonial Representations of Aboriginality in Trinidad and Tobago (Neil L. Whitehead)Nick Nesbitt; Voicing Memory: History and Subjectivity in French Caribbean Literature (H. Adlai Murdoch)Camilla Stevens; Family and Identity in Contemporary Cuban and Puerto Rican Drama (Lydia Platón)Jonathan Goldberg; Tempest in the Caribbean (Jerry Brotton)Michael Chanan; Cuban Cinema (Tamara L. Falicov)Gemma Tang Nain, Barbara Bailey (eds.); Gender Equality in the Caribbean: Reality or Illusion (A. Lynn Bolles)Ernesto Sagás, Sintia E. Molina (eds.); Dominican Migration: Transnational Perspectives (Rosemary Polanco)Christine M. Du Bois; Images of West Indian Immigrants in Mass Media: The Struggle for a Positive Ethnic Reputation (Dwaine Plaza)Luis Raúl Cámara Fuertes; The Phenomenon of Puerto Rican Voting (Annabelle Conroy)Philip Gould; Barbaric Traffic: Commerce and Antislavery in the Eighteenth-Century Atlantic World (William A. Pettigrew)Laurent Dubois; Avengers of the New World: The Story of the Haitian Revolution (Yvonne Fabella)Sibylle Fischer; Modernity Disavowed: Haiti and the Cultures of Slavery in the Age of Revolution (Ashli White)Philip D. Morgan, Sean Hawkins (eds.); Black Experience and the British Empire (James Walvin)Richard Smith; Jamaican Volunteers in the First World War: Race, Masculinity and the Development of National Consciousness (Linden Lewis)Muriel McAvoy; Sugar Baron: Manuel Rionda and the Fortunes of Pre-Castro Cuba (Richard Sicotte)Ned Sublette; Cuba and Its Music: From the First Drums to the Mambo (Pedro Pérez Sarduy)Frances Negrón-Muntaner; Boricua Pop: Puerto Ricans and the Latinization of American Culture (Halbert Barton)Gordon Rohlehr; A Scuffling of Islands: Essays on Calypso (Stephen Stuempfle)Shannon Dudley; Carnival Music in Trinidad: Experiencing Music, Expressing Culture (Donald R. Hill)Jean-Marc Terrine; La ronde des derniers maîtres de bèlè (Julian Gerstin)Alexander Alland, Jr.; Race in Mind: Race, IQ, and Other Racisms (Autumn Barrett)Livio Sansone; Blackness Without Ethnicity: Constructing Race in Brazil (Autumn Barrett)H.U.E. Thoden van Velzen, W. van Wetering; In the Shadow of the Oracle: Religion as Politics in a Suriname Maroon Society (George L. Huttar, Mary L. Huttar)In: New West Indian Guide / Nieuwe West-Indische Gids (NWIG), 80 (2006), no. 1 & 2
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Draus-Kłobucka, Agata. "Las polacas w Buenos Aires: prostytutki w historii i kulturze." Annales Universitatis Paedagogicae Cracoviensis | Studia Historicolitteraria 21 (December 23, 2021): 272–90. http://dx.doi.org/10.24917/20811853.21.15.
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The article discusses the literary and cultural uses of so-called white slavery – the prostitution and pimping in the Americas (especially in South America) of women from Eastern Europe at the turn of the 19th and 20th centuries. This motif, tragically linking the history of Poland and Argentina, is associated with historiographic, literary, and sociological research. The article analyses various attitudes of historians towards the issue and the scope of ideological issues (in particular, the issue of anti-Semitism) and criticises the impact of the specificity of media coverage on the sensational nature of reports on the white slave trade. The main aim of the work is to present to the Polish reader both the historical context and the literary and cultural realisations of the subject in a multi-faceted manner, especially since only a few works have been translated into Polish. The second goal is to identify repetitions in prose, dramas, and audio-visual texts depicting the stories of Eastern European prostitutes in South America.
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Petlevski, Sibila. "Small form in the new Croatian drama." Revue des études slaves 77, no. 1 (2006): 43–54. http://dx.doi.org/10.3406/slave.2006.6989.
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Polyakov, O. "The national text of Hannah Cowley’s drama “A Day in Turkey; or the Russian slaves”." Philology and Culture, no. 2 (June 25, 2024): 176–80. http://dx.doi.org/10.26907/2782-4756-2024-76-2-176-180.
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The paper analyzes the specificity of imagological representation in the play “A Day in Turkey; or The Russian Slaves” (1791) by Hannah Cowley, a prominent English 18 th -century playwright. We consider the literary and historical-political contexts and pretexts of Cowley’s drama in connection with the most outstanding geopolitical events of the last decade of the 18 th century (the Great French Revolution, the Russian-Turkish War of 1787-1791) and outline a number of plays, which belong to the “oriental text” of English drama. A peculiar feature of the play “A Day in Turkey; or The Russian Slaves” is the realization of imagological heteroglossia as well as the interaction of particular national representations in the framework of political and feminist discourse. This interaction is analyzed based on the national images of Russia, Turkey and France, regarding the genre strategies of the play. Special attention is paid to “the Russian text” of the drama marked by a positive evaluation of the national hetero-image and the absence of imagological aggressiveness, which is quite natural in the case of rival countries. Russian personages carry the main ideological load of the play, embodying the author’s humanistic message.
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Montgomery, Benilde. "White Captives, African Slaves: A Drama of Abolition." Eighteenth-Century Studies 27, no. 4 (1994): 615. http://dx.doi.org/10.2307/2739443.
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Berkowitz, Holly. "“This Could Go On Forever”: Rethinking the End in Suzan-Lori Parks’s Apocalyptic Dramas." Modern Drama 65, no. 3 (October 1, 2022): 406–28. http://dx.doi.org/10.3138/md.65-3-1181.
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This article argues that Suzan-Lori Parks’s dramatic work should be considered in terms of its presentation of apocalyptic scenes that are unique in their rejection of endings. I examine Parks’s The America Play and Death of the Last Black Man in the Entire World as examples of apocalypse-in-process, representations of apocalypse that refuse a teleological context and instead focus on the unending nature of historical and global catastrophe. I build upon scholarship on Parks’s treatment of African American history and memory, particularly that which centres her preoccupation with the material and psychical remnants of slavery and oppression, to examine how apocalyptic themes undergird her writing. Parks’s reorientation of apocalyptic writing away from easily resolvable endings speaks directly to our present moment, in which anti-Black violence borne out of chattel slavery continues to reverberate in the face of the insidious violence of microaggressions and police brutality. In presenting sites of ostensible death as unlikely spaces for insurgent life, Parks’s plays rethink what narratives of death and trauma can look like.
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Williams, Britton. "An arts-based autoethnographic exploration of a Black woman witnessing Slave Play: The audience’s the thing." Drama Therapy Review 9, no. 1 (April 1, 2023): 155–75. http://dx.doi.org/10.1386/dtr_00124_1.
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This autoethnographic arts-based study explores how racial composition of theatre audiences impacts a Black woman’s witnessing experience during a play that contends with racial trauma. Employing Christine Mayor’s embodied tableau method, it examines the experience of a Black drama therapist viewing Jeremy O’Harris’ Slave Play three different times – twice in the context of predominantly white audiences and once with a predominantly Black audience. The research question was ‘how does racial composition of the audience impact the experience of witnessing Slave Play for the Black drama therapist?’ What I found was that witnessing performances about racial trauma in predominantly white audiences increased my feelings of discomfort, invasive exposure and decreased capacity for presence. Conversely, witnessing performances about racial trauma during a BLACK OUT theatre performance fostered and inspired connection, joy and presence. These relational–cultural complexities underscore the necessity of considering audience composition, engagement and responses when exploring topics related to racial trauma in performance. They furthermore underscore the relational potentials of theatre audiences for drama therapy performances and beyond.
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Jones, Bridget. "Two Plays by Ina Césaire: Mémoires d'Isles and L'enfant des Passages." Theatre Research International 15, no. 3 (1990): 223–33. http://dx.doi.org/10.1017/s030788330000969x.
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In any consideration of theatre in the French Caribbean, the name Césaire is bound to be mentioned. Aimé Césaire's La Tragédie du roi Christophe (1963) is the most widely- known play in French by a black dramatist, and is now even in the repertoire of the Comédie-Française, and his plays figure widely in checklists of ‘African’ theatre. A revealing contrast can be made between the epic dramas of Aimé Césaire, written for an international audience, especially the newly independent black nations of the 1960s, and the work of his daughter, Ina. He tackles from the standpoint of Négritude major themes of historical drama: the nature of sovereignty, the forging of nationhood; he storms the heights of tragic poetry in French. She is attentive, not to the lonely hero constructing his Haitian Citadel of rock, but to the Creole voices of the grassroots. She brings to the stage the lives of ordinary women, the lore and legends that sustained the slaves and their descendants. Her achievement should of course be assessed away from her father's shadow, but the ‘divergent orientation of the two generations’ also suggests the greater confidence today in the role of Creole language and oral literature, and in a serious theatre within Martinique.
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김정호. "Between Ritual and Drama: Reading Baraka’s The Slave." Studies in English Language & Literature 45, no. 2 (May 2019): 19–38. http://dx.doi.org/10.21559/aellk.2019.45.2.002.
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Taylor, George. "ANTI-SLAVE TRADE DRAMA IN ENGLAND: 1786–1808." South African Theatre Journal 13, no. 1 (January 1999): 8–19. http://dx.doi.org/10.1080/10137548.1999.9687682.
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Achinstein, Sharon. "A Common Humanity? From Poetry to Philosophy in Hugo Grotius." Renaissance Quarterly 76, no. 1 (2023): 84–123. http://dx.doi.org/10.1017/rqx.2022.441.
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This essay shows how Hugo Grotius (1583–1646) made use of classical poetry and drama, especially that of Lucan, Euripides, and Seneca, in developing his thought on the treatment of captives, prisoners of war, and slaves, and argues that his method was humanist and philological. From his early publishing projects to “The Rights of War and Peace” (De Iure Belli ac Pacis, 1625), Grotius developed an account of common social experience, a formal mechanism to represent dialogue with difference, and a refusal to apply categorical distinctions positing natural difference among peoples. His engagements with classical poetry and drama are thus an important piece of the story of early modern thought.
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Massood, Paula J. "To the Past and Beyond: African American History Films in Dialogue with the Present." Film Quarterly 71, no. 2 (2017): 19–24. http://dx.doi.org/10.1525/fq.2017.71.2.19.
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Over the last decade a number of historical dramas, including Selma (Ava DuVernay, 2014), Twelve Years a Slave (Steve McQueen, 2013), and The Birth of a Nation (Nate Parker, 2016), have been the recipients of numerous accolades, screening at festivals and winning prestigious awards. The films are linked by a focus on the past, particularly the antebellum and Civil Rights eras, and a shared commitment to providing historical narratives from African American perspectives. In many ways, they continue in the tradition of the slave narrative/abolitionist melodrama, with Twelve Years a Slave perhaps the closest embodiment of the genre and Selma, despite its more contemporary setting, a close second. At first glance, the green-lighting of such historical films, particularly those that capitalize on the genre's melodramatic aspects, can be interpreted as signaling the industry's belief that antiblack racism is a thing of the past, or perhaps a conviction that American society is ready to face its “original sin” of slavery. A more generous interpretation might suggest a genuine media interest in African American history. Regardless, the continuing engagement with such narratives raises important questions about the longstanding relationship between cinema and history, and the former's capacity to relate African American stories within a medium that has its own troubled representational past as a birthright, one memorialized in D. W. Griffith's The Birth of a Nation (1915). Films such as Nate Parker's The Birth of a Nation and Selma reflect upon and refract many pasts and presents, prompting considerations of what's changed, and, more importantly, what hasn't. They also raise questions about the feasibility of the historical genre's ability to convey black history, especially when the form is overdetermined by contemporary expectations of historical accuracy. If Hollywood's plantation/Civil Rights formula no longer works, then productive alternatives can be created, either in fiction or nonfiction film, that cannot only relate the past but also link that past to the ongoing effects of antiblack racism in the twenty-first century.