Journal articles on the topic 'Wayang plays History and criticism'
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Yunita, Yuyun. "WAYANG IN ISLAMIC PHILOSOPHY." Ri'ayah: Jurnal Sosial dan Keagamaan 5, no. 01 (August 7, 2020): 83. http://dx.doi.org/10.32332/riayah.v5i01.2330.
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Wayang kulit is named after Javanese wayang which means shadow or taken meaning that wayang is a depiction of life or a reflection of the various human traits found in various souls of the human conscience itself. The universe itself is divided into various types into two basic traits such as wrath and kindness. The history of the story of Dewa Ruci as one of the puppet plays is a cousin of the many ways and rich in philosophical values of religious diversity that is so profound. The history of this story depicts a man or man who has a lot of strong will to find the best ways that can be considered to bring people to happiness. In the search for happiness, it is not easy to do because it will be many and there are obstacles or prevention that may be faced by many. This is where the aesthetic value or beauty is packaged and wrapped up in the history of the gods of Ruci and becomes the first and foremost doctrine of the conception of the divine, humanity, and respect of the human beings with the creator or than. the story of the goddess Ruci outlines or philosophically symbolizes how human beings must go through and make an inner journey to find their true identity or look for paraning dumadi the origin and purpose of life in human beings or tackle the human gusti, the conception of God and how humans lead to God, the wayang kulit is very much, the art of wayang puppets cannot be retracted from history, which the bags are retold through wayang.
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Muflihatul Salma, Nitri Anhari, and Tarpin Tarpin. "Pelestarian Wayang Golek di Padepokan Giri Harja Jelekong Kabupaten Bandung Jawa Barat 2009-2018." Historia Madania: Jurnal Ilmu Sejarah 3, no. 2 (July 29, 2020): 201–13. http://dx.doi.org/10.15575/hm.v3i2.9176.
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This study discusses Padepokan Giri Harja in wayang golek in West Java. The selection of Padepokan to be studied is very important because it has influence and role in the preservation of puppet shows in Jelekong village, West Java. The purpose of this study is the first to: find out the history and development of Padepokan Giri Harja, know Gait Asep Sunadar Sunarya in the development of Padepokan Giri Harja, and know Padepokan Giri Harja in preserving Wayang Golek The method used in this study is the historical method, which is a method that reconstructs history by studying events in the past. There are four stages in this method, the first stage of Heuristics is the search for sources, the second stage of criticism namely internal criticism and external criticism, the third stage of interpretation, i and the fourth stage of historiography. The results of this study indicate that the founder of Padepokan Pusaka Giri Harja was Abah Sunarya. This Padepokan is a place for puppet puppet puppetry course. This Padepokan is located in Jelekong village, Ciparay Subdistrict, Bandung Regency, West Java. Many of his students later became successful puppeteers, including his own children. Abeng Sunarya was once a member of the management of the Bandung Regency Pedalangan and Pepadi Foundation. After Abah Sunarya died, the heritage of Giri Harja was continued by her son, Asep Sunandar Sunarya, better known as Giri Harja 3 or Abah Asep. Abah Asep developed this Heritage of Giri Harja so well that he had the desire to build a hermitage to make it easier for people who wanted to practice puppet show. The presence of Padepokan Seni Padalangan Giri Harja is one of the icons of the art village. The permanent building with the shape of a typical gunungan roof of wayang golek stands majestically on Jalan Raya Laswi, across the Bandung-Majalaya region, West Java, which is equipped with a large parking lot. The famous puppeteer Asep Sunandar Sunarya (deceased) planned the building to become the Padepokan Seni Boarding School Padalangan that scored reliable puppeteers as well as a form of preservation and inheritance of puppet show art to the younger generation.
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Sari, Afrilia Puspita. "Filosofi Karakter Tokoh Kesatria dalam Lakon Wayang Purwa Mahabarata." Piwulang : Jurnal Pendidikan Bahasa Jawa 9, no. 1 (June 1, 2021): 13–25. http://dx.doi.org/10.15294/piwulang.v9i1.41231.
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This article describes the analysis of the "true knight" character. A true knight is a perspective symbol of glory or victory in the event of a war. This study shows that the strength of a true knight greatly determines the recognition of the power of a particular region. True knights have inherent character and become symbols of wisdom, strength, glory, responsibility, and sacrifice. The hero character appears at the climax point which plays an important role in the effort to solve a problem in the storyline. The purpose of the emergence of a true knight figure has great strength and responsibility and to get support from the people, to fight for victory and gain glory.
Keywords: true knight figures, heroic characters
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Emerson, Caryl. "Pretenders to History: Four Plays for Undoing Pushkin's Boris Godunov." Slavic Review 44, no. 2 (1985): 257–79. http://dx.doi.org/10.2307/2497750.
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Among the problematic works of great writers, Pushkin's Boris Godunov occupies a special place. This strange hybrid of history, drama, narrative poetry, and prose Pushkin called a “romantic tragedy,” and he considered it his masterpiece. Yet the play's publication in 1831 was met with surprise and dismay. By consensus of a baffled public, Boris Godunov was a failure—neither romantic, nor feasible on the tragic stage.Since that time, generations of critics, playwrights, and producers have tried to come to terms with this troublesome text. Tolstoi's famous comment—that all great nineteenth-century Russian works defy clear generic classification1—has been invoked in defense of many irregular texts, but not this one. Boris remains stubbornly, inexplicably “undramatic.” Criticism has in fact tended to redefine the play rather than to investigate it. Boundaries are routinely blurred between the historical Tsar Boris, the historical period when his tale is retold, and the world of the fictional creation itself.
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Lampert, Nick. "Social criticism in Soviet drama: The plays of Aleksandr Gel'man." Soviet Studies 39, no. 1 (January 1987): 101–15. http://dx.doi.org/10.1080/09668138708411676.
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Malone, Bethany J. Collier. "Power Plays: Wayang Golek Puppet Theater of West Java. By Andrew N. Weintraub. Athens: Ohio University Press, 2004. 295 pp. $30.00 (paper)." Journal of Asian Studies 67, no. 1 (February 2008): 355–57. http://dx.doi.org/10.1017/s0021911808000582.
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Dale, James. "‘How can you say to me I am a King?’: New Historicism and its (Re)interpretations of the Design of Kingly Figures in Shakespeare’s History Plays." Multicultural Shakespeare: Translation, Appropriation and Performance 23, no. 38 (June 30, 2021): 143–58. http://dx.doi.org/10.18778/2083-8530.23.09.
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The 1980’s saw the emergence of New Historicist criticism, particularly through Stephen Greenblatt’s work. Its legacy remains influential, particularly on Shakespearean Studies. I wish to outline New Historicist methodological insights, comment on some of its criticisms and provide analytical comments on the changing approach to historical plays, asking “What has New Historicism brought into our understanding of historical plays and the way(s) of designing kingly power?” Examining Shakespeare’s second tetralogy, I will review Greenblatt’s contention that these plays largely focus on kingly power and its relationship to “subversion” and “containment”. I intend to focus on aspects of the plays that I believe have not received enough attention through New Historicism; particularly the design of the kingly figures.
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Korostichenko, Ekaterina. "Christian view on treating animals: theological criticism of P. Singer." St. Tikhons' University Review 104 (December 29, 2022): 46–67. http://dx.doi.org/10.15382/sturi2022104.46-67.
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P. Singer is called one of the most influential living philosophers in the world, and one of the most controversial. The author of "Animal Liberation", "Practical Ethics", "Famine, Affluence, and Morality" created his own project of preference utilitarianism, in which he placed animals as moral subjects equal to man. In this, he questions Christian anthropocentrism: a human in his system of ethics is intrinsically no better than a chimpanzee or a dog. He recognizes the uniqueness of all species, speaking out against speciesism (discrimination on grounds of species). Singer's ethics is completely independent of religion. Raising issues related to abortion, euthanasia, animal rights, etc., the philosopher inevitably arrived to confrontation with Christian ethics and religious worldview in general. Religion, especially Christianity, plays a significant role in his works, since he considers many of the provisions of Christianity: the special position of humans in the natural world, the attitude to the sanctity of life - to be morally problematic. The article analyzes Peter Singer's critical theses on the Christian religion, including Christian ethics. The second section considers the responses of a number of modern religious thinkers to Singer's criticism of Christianity. In conclusion, the arguments of both sides are analyzed, their strengths and weaknesses are outlined, involving a broader tradition of secular-religious dispute. Conclusions are made about the validity of P. Singer's criticism of religion. Although said criticism is broadly integrated into the works of the philosopher, it is hardly a focus point - rather a tool to solidify Singer's position on practical questions like abortion, euthanasia, animal rights, etc. The negative attitude to religion has roots in Singer's early acquaintance with the Bible and the unhappy past of his family (two of the philosopher's grandparents died in concentration camps). The question of the meaninglessness of suffering largely determines the philosophy and practical ethics of P. Singer. Arguing with theologians, he most often resorts to the classical argument from evil. Singer's criticism of Christian religion is limited, reduced to the problem of the meaninglessness of suffering, the Euthyphron dilemma, criticism of the sanctity of human life, the "dominion" of man over nature. With the exception of a detailed analysis of the bias of Christianity against animals, the criticism is not original.
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CAVADOVA, Vüsalə. "CRITERIA SEARCHES OF NATIONAL LITERARY CRITICISM." EUROASIA JOURNAL OF SOCIAL SCIENCES & HUMANITIES 8, no. 3 (May 25, 2021): 32–37. http://dx.doi.org/10.38064/eurssh.190.
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Azerbaijani literary criticism has its own specific traditions. The article examines the ideological and aesthetic values of a particular stage of literary criticism. The positive tendencies manifested in literary criticism in the 40s and 50s of the twentieth century, the principles of valuing classical and modern literary heritage are revealed. The role of individual literary critics in the literary process of the 40s and 50s is analyzed from an objective historical point of view. Literary-aesthetic thought is dynamic, lively and changeable. It changes in accordance with the socio- political conditions of the time and takes on a new form and content, trying to express the new currents of thought of the time. This change and development is especially important when it manifests itself in the approach to the subject of literary criticism, social events, philosophical and methodological directions are determined. These changes in literary criticism are a phenomenon of thinking, in accordance with the principles of worldview. The history of literary-theoretical thought is one of the basic humanities, which occupies a very important place and plays an active and influential role in the spiritual life of society. As a result, we can say that, as in all periods, the 40s and 50s of our history of criticism and literary criticism are dynamic, lively and changeable. Like in different periods, literary criticism has also played three important roles in the 40s and 50s: First, to explain the literary process, to assess it, to find the regularities of the literary process out, second, to disclose the aesthetic and ethical frameworks created by art, to trigger deep love in readers for them; third, to solve the necessary philosophical, sociological, ethical and aesthetic issues of life by the analysis of art events. Of course, if we evaluate the scientific-theoretical level of our aesthetic thought in the 40’s and 50’s with these three criteria, we can state that literary criticism and literary science have fulfilled their tasks in the literary process dignifiedly. As the foundation of the process leading to democratization in the 60s has started in the late 50’s, the renewal in literary criticism and literary science also occurred a while ago. We can also state that the breath of a new era in literary criticism and literary science has came with “Literary Thoughts” (1958) by M.J.Jafarov .
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Verma, Kripashankar. "The Family in Four Shakespearean Plays: A Short Analysis." Indian Journal of Gender Studies 28, no. 1 (January 20, 2021): 104–12. http://dx.doi.org/10.1177/0971521520974877.
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Gender study is one of the most select areas of modern research in nearly all branches of knowledge, that is, politics, history, sociology and of course literature. Feminist criticism has been phenomenal in closely studying works of literature. The modern era, which tries to usher in a world of equality for all, is highly concerned with the political, economic and social equality and freedom of women. In this article, four plays ( Twelfth Night, The Taming of the Shrew, The Winter’s Tale and Cymbeline) of William Shakespeare have been selected for the purpose of gender analysis. The article tries to explore the family in Shakespeare’s times, the status of women and the social hierarchy in Elizabethan times. Shakespeare’s plays highlight many more issues of gender and identity that are of universal importance. This article also explores how gender roles were predetermined in the Elizabethan society and how a woman was expected to behave accordingly.
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Milne, Drew. "Cheerful History: the Political Theatre of John McGrath." New Theatre Quarterly 18, no. 4 (November 2002): 313–24. http://dx.doi.org/10.1017/s0266464x02000428.
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In this essay, Drew Milne suggests affinities between the dramatization of history in the work of John McGrath and Karl Marx. He shows how both Marx and McGrath refused to mourn the histories of Germany and Scotland as tragedies, but that differences emerge in the politics of McGrath's radical populism – differences apparent in McGrath's use of music, historical quotation, and direct address. McGrath's layered theatricality engages audience sympathies in ways that emphasize awkward parallels between modern and pre-modern Scotland, and this can lead to unreconciled tensions between nationalism and socialism which are constitutive of McGrath's plays. Drew Milne is the Judith E. Wilson Lecturer in Drama and Poetry, Faculty of English, University of Cambridge, and a Fellow of Trinity Hall. He has published various articles on drama and performance, including essays on the work of August Boal, Samuel Beckett, and Harold Pinter, and is currently completing a book entitled Performance Criticism.
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EVALLYO, VIOLETTA D. "All-Russian Scientific Conference From “Spectacle Plays” to Film Comedies: The History of Homo Ridens." Art and Science of Television 18, no. 2 (2022): 217–32. http://dx.doi.org/10.30628/1994-9529-2022-18.2-217-232.
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The article reviews the reports presented at the All-Russian Scientific Conference From “spectacle plays”1 to film comedies: The history of Homo Ridens, which was organized by the State Institute for Art Studies and the GITR Film and Television School on June 2–3, 2022. The event focused on comprehension of the historical development of laughter culture, introduction of trusted research concepts, disclosure of new facts and archival materials, and revealing the relationship between the comic, its intensity and semantics in postmodernist aesthetics. The following key areas were proposed: fundamental problems of aesthetics, cultural studies, and art criticism; genre and stylistic varieties of comedy; circulation of laughter culture in film, television and other screen arts and in the Internet environment; transformations of representation of comic, laughter, and humor in the historical context; provocation, deconstruction, and citation in comics. The reports were divided into two groups: “Komos & ode: The laughter culture of Europe” and “Deconstruction—meaning—reality.” The results of the conference showed the polyvalence of comic existence, the absence of unified ways of achieving aesthetic flawlessness of the genre, and its formcontaining aspects.
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Agratina, Elena E. "THE EMERGENCE OF ART CRITICISM IN FRANCE IN THE SECOND HALF OF THE 17TH AND THE FIRST HALF OF THE 18TH CENTURY." RSUH/RGGU Bulletin. Series Philosophy. Social Studies. Art Studies, no. 3 (2022): 146–64. http://dx.doi.org/10.28995/2073-6401-2022-3-146-164.
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The topic of the emergence of art criticism in France in the second half of the 17th and the first half of the 18th century, being rather widely covered in foreign academic literature, is still underdeveloped in Russian art history. Nevertheless, that issue is extremely important for understanding the processes that took place in the French and more widely in the European artistic milieu. The article aims to highlight the process of the criticism formation not only as a literary genre but primarily as a phenomenon of cultural life. Based on original written sources and foreign academic literature, the author traces how the appearance of fine art in the light of publicity was prepared in the Parisian artistic milieu. The author addresses the important questions that arose during the formative and legitimizing phase of criticism, such as its distinction from pre-existing art theory, as well as the distinction between the critic and the theorist or fine art historian. The artwork must now satisfy not only the master and the customer and a small circle of connoisseurs, society also becomes an active participant in artistic life, and the viewer enshrines the right to judge the art. The author shows how criticism is gradually becoming more diverse and polyphonic. Works written on behalf of a wide variety of characters are appearing, writers are adapting various literary genres that already exist: epistolary, diary, plays, poems, dialogues. For many years, criticism becomes an active channel of communication linking all participants in artistic life.
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Lowe, J. C. B. "Aspects of Plautus' Originality in the Asinaria." Classical Quarterly 42, no. 1 (May 1992): 152–75. http://dx.doi.org/10.1017/s000983880004266x.
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That the palliatae of Plautus and Terence, besides purporting to depict Greek life, were in general adaptations of Greek plays has always been known. Statements in the prologues of the Latin plays and by other ancient authors left no room for doubt about this, while allowing the possibility of some exceptions. The question of the relationship of the Latin plays to their Greek models was first seriously addressed in the nineteenth century, mainly by German scholars, under the stimulus of Romantic criticism which attached paramount importance to originality in art. Since then the question has been constantly debated, often with acrimony, and to this day very different answers to it continue to be given. Yet the question is obviously important, both for those who would measure the artistic achievement of the Latin dramatists and for those who would use the plays to document aspects of Greek or Roman life. It is not disputed that Plautus' plays contain many Roman allusions and Latin puns which cannot have been derived from any Greek model and must be attributed to the Roman adapter. What is disputed is whether this overt Romanization is merely a superficial veneer overlaid on fundamentally Greek structures or whether Plautus made more radical changes to the structure as well as the spirit of his models.
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Bascom, Ben. "Groping Toward Perversion: From Queer Methods to Queer States in Recent Queer Criticism." American Literary History 32, no. 2 (2020): 396–404. http://dx.doi.org/10.1093/alh/ajaa007.
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Abstract What’s so queer about the nineteenth century? According to three recent studies of American literature—Elizabeth Freeman’s Beside You in Time (2019), Natasha Hurley’s Circulating Queerness (2018), and Benjamin Kahan’s The Book of Minor Perverts (2019)—the answer may be fairly all encompassing. For these critics, queerness is both an orientation and an object of study, enlivening, engendering, and uncovering a plethora of inchoate possibilities for imagining nonnormativity in the long nineteenth century. As such, these studies help resituate the critical capacity for queer studies to engage with historical material while also attending to the ephemeral possibilities that queerness, as a heuristic, frames, from being a methodology, a narrative trope, or a marker of excess that gets overpassed through dominant and emergent ideologies. Bringing together novels, plays, performances, short stories, and life narratives—along with compelling debates in the fields of queer studies—these books are sure to motivate continued work on the intersections of queerness, affect, and the literary while also plotting ways to consider how queerness disrupts and confirms the biopolitics of sex as a category of analysis.
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Mihaylova, Stefka. "Whose Performance Is It Anyway? Performed Criticism as Feminist Strategy." New Theatre Quarterly 25, no. 3 (August 2009): 255–73. http://dx.doi.org/10.1017/s0266464x09000438.
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By the 1990s, the feminist contention that gender norms inform the production and reception of art had become widely accepted in academia. Many theatre journalists, however, continued to insist on the possibility of writing about performance from an apolitical, gender-neutral position. This article examines the gendered history of this insistence from the early 1700s to the present, its effects on the production and reception of plays by women, and its implications for theatre scholarship. Focusing on Carolee Schneemann's critique of a masculine bias in art criticism in her performance Interior Scroll and the Guerrilla Girls' actions against gender discrimination in the art world, this article examines strategies adopted by female and feminist journalists in Britain and the US to counter women's inequitable status in art journalism and playwriting. By engaging with the gendered binaries mind–body and text–performance, Schneemann and the Guerrilla Girls help clarify how reviewing practices have informed critical thinking about femininity and performance. In doing so, these artists anticipate poststructuralist feminist critiques of visibility and the performing body. Stefka Mihaylova holds a PhD in Theatre Studies from Northwestern University. Her research focuses on performance theory, especially gender and racial aspects of spectatorship in contemporary American and British feminist and radical theatre and performance art.
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Matyjaszczyk, Joanna. "Struggles with Dramatic Form in 16th-Century English Biblical Plays." Anglica. An International Journal of English Studies, no. 31/1 (October 2022): 5–27. http://dx.doi.org/10.7311/0860-5734.31.1.01.
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The aim of the article is to pinpoint how 16th-century biblical drama tried to appropriate its genre and medium to carry the reformist message and in what sense the project turned out to be a self-defeating one. The analysis of selected plays from reformed biblical cycles (The Chester Mystery Cycle, play iv; and “The Norwich Grocers’ Play”) and newly composed drama (John Bale’s plays, Lewis Wager’s Life and Repentaunce of Marie Magdalene, the anonymous “History of Jacob and Esau”), supported with an over- view of the criticism on the matter, reveals some common tensions in the dramatic texts which may have had their roots in the reformist need to eliminate any room for doubt that a theatrical performance could leave. The conclusion is that, in its attempts at striking the right balance between dramatizing and overt sermonizing, engaging and distancing, as well as providing an immersive experience and discouraging it, post-Reformation Scrip- ture-based drama oscillated between being more effective as a performance or as a carrier of the doctrinal message, with the resulting tendency to subvert either the former or the latter.
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Greene, Robin J. "Callimachus’ Taxonomy of Men (Iamb 2.10-13)." Mnemosyne 72, no. 1 (December 6, 2018): 53–65. http://dx.doi.org/10.1163/1568525x-12342445.
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AbstractThis study argues that Callimachus’ treatment of his ‘animal-voiced’ contemporaries at the conclusion of the fable inIamb2 reflects zoological and physiognomic practices so as to represent the poetic narrator as a taxonomist of men. Elsewhere the classification of men as if they were flora or fauna appears, like fable itself, in distinctly moral and ethical contexts, as, for example, in Theophrastus’Characters. Callimachus’ formulation of his narrator as a taxonomist who classifies ‘species’ of men based upon their literary ‘voices’ thus plays with modes of invective new toiamboswhile uniting moral criticism with literary polemic.
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Manurung, Cici Christina. "Peran Zending dalam Pelayanan Kesehatan di Tarutung, 1900-1942." MUKADIMAH: Jurnal Pendidikan, Sejarah, dan Ilmu-ilmu Sosial 6, no. 2 (August 26, 2022): 295–304. http://dx.doi.org/10.30743/mkd.v6i2.5597.
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This article aims to explain how the history of the development of health facilities in Tarutung in the 20th century. Tarutung in the past was used as the center of the Christianization movement by zendings from various countries. One of the zending organizations that plays a big role in health services in Tarutung is a German zending organization called Rheinische Missionsgesellscaft (RMG). This article uses a historical research method with four stages in its writing, namely: heuristics (collection of sources), verification (source criticism), interpretation, and historiography (writing). The results showed that zending plays a big role in improving the health and hygiene of the Batak people in Tarutung. The zendings also introduced modern methods of medicine that replaced traditional medicine by the Batak datu. In addition, zending also played a role in establishing various health facilities in Tarutung such as: hospitals, auxiliary hospitals, polyclinics, and nursing and midwifery schools.
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Oppy, Graham. "On the Lack of True Philosophic Spirit in Aquinas." Philosophy 76, no. 4 (October 2001): 615–24. http://dx.doi.org/10.1017/s0031819101000602.
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Mark Nelson claims that Russell's remarks—in his History of Western Philosophy—about Aquinas are ‘breathtakingly supercilious and unfair’ and ‘sniffy’. I argue that Nelson completely misrepresents Russell's criticisms of Aquinas. In particular, I argue that the silly epistemological doctrine which Nelson attributes to Russell plays no role at all in the criticism which Russell actually makes of Aquinas. Since—as Nelson himself concedes—there is no other reason to think that Russell commits himself to the epistemological doctrine in question, either in the passages under discussion or elsewhere, I conclude that there is equal justice in the claim that it is Nelson's dismissal of Russell which is ‘unfair’ and ‘sniffy’.
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Romanelli, Christina. "Sour Beer at the Boar’s Head: Salvaging Shakespeare’s Alewife, Mistress Quickly." Humanities 8, no. 1 (January 9, 2019): 6. http://dx.doi.org/10.3390/h8010006.
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Using William Shakespeare’s character Mistress Nell Quickly as an example, this article contends that familiarity with both the literary tradition of alewives and the historical conditions in which said literary tradition brewed aids in revising our interpretation of working-class women on the early modern stage. Mistress Quickly, the multi-faceted comic character in three history plays and a city-comedy, resembles closely those women with whom Shakespeare and his contemporaries would have lived and worked in their day-to-day lives. Rather than dismissing her role as minor or merely comic, as previous criticism largely has, scholarship can embrace this character type and her narrative as an example to complicate teleological progressions for women.
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TOUYZ, PAUL. "THE ANCIENT RECEPTION OF AESCHYLEAN SATYR PLAY." Bulletin of the Institute of Classical Studies 62, no. 2 (December 1, 2019): 97–117. http://dx.doi.org/10.1111/2041-5370.12109.
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Abstract In this article, I first discuss the reception of Aeschylus’ satyr plays in classical drama, the evidence for their reperformance, and their place in ancient criticism and scholarship. In the final section, I analyze the factors that contributed to the positive reputation of Aeschylean satyr play. Although the evidence is often very limited, I attempt to establish a framework for understanding this ancient reception. Here I propose that the importance placed on satyr play in Aeschylus’ reception in antiquity can be viewed as an extension of his image as the father of tragedy, through both the association of satyr play with the origins of tragedy and its place in the tetralogy.
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Kish Bar-On, Kati. "Towards a new philosophical perspective on Hermann Weyl’s turn to intuitionism." Science in Context 34, no. 1 (March 2021): 51–68. http://dx.doi.org/10.1017/s0269889722000047.
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ArgumentThe paper explores Hermann Weyl’s turn to intuitionism through a philosophical prism of normative framework transitions. It focuses on three central themes that occupied Weyl’s thought: the notion of the continuum, logical existence, and the necessity of intuitionism, constructivism, and formalism to adequately address the foundational crisis of mathematics. The analysis of these themes reveals Weyl’s continuous endeavor to deal with such fundamental problems and suggests a view that provides a different perspective concerning Weyl’s wavering foundational positions. Building on a philosophical model of scientific framework transitions and the special role that normative indecision or ambivalence plays in the process, the paper examines Weyl’s motives for considering such a radical shift in the first place. It concludes by showing that Weyl’s shifting stances should be regarded as symptoms of a deep, convoluted intrapersonal process of self-deliberation induced by exposure to external criticism.
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Carney, Sean. "The Tragedy of History in Sarah Kane's Blasted." Theatre Survey 46, no. 2 (October 25, 2005): 275–96. http://dx.doi.org/10.1017/s0040557405000165.
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The first performance of Sarah Kane's Blasted in 1995 is already widely regarded as a landmark in the history of contemporary theatre in England, singled out for the same reason that Edward Bond's 1965 Saved and Howard Brenton's 1980 The Romans in Britain achieved notoriety. Blasted belongs in this genealogy of English plays in that all drew attention to themselves with instances of raw violence represented onstage and contextualized within situations of scathing social criticism. Saved contains an infamous scene in which the apathy of a group of dispossessed urban youths leads them to the casual stoning to death of a baby in its pram, and in The Romans in Britain a young Celtic seer is raped onstage by a Roman centurion. In both cases, these instances of visual shock became decontextualized and held up to the public eye, a disassembling of the part from the whole, which constituted an act of interpretive violence perpetuated against the dramas themselves. The violence in Blasted was similarly decontextualized and sensationalized in the British press. Yet in contrast to Bond and Brenton, Kane's brief body of work quickly received sober reevaluations on the part of previously hostile theatre critics, largely as a result of her suicide in February 1999 at the age of twenty-eight. While Kane had always had supporters among theatre workers, including Edward Bond, who had appreciated the strength of her work from the outset, Blasted is now also praised as a major work of theatre by critics who were previously happy to mock the play and vilify its author.
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Zhurcheva, Olga V. "“New drama”: Pro et contra." Izvestiya of Saratov University. Philology. Journalism 22, no. 4 (November 23, 2022): 484–87. http://dx.doi.org/10.18500/1817-7115-2022-22-4-484-487.
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At the end of the 20th – the beginning of the 21st century there were serious changes in the poetics of drama, defining the strategy of artistic forms and features of artistic consciousness. This gives the right to single out the history of the “new drama” in a separate period of the literary and theatrical process. A new book by the Belarusian researcher S.Ya. Goncharova-Grabovskaya “Modern Russian Dramaturgy (late 20th – early 21st century)” is devoted to generalization and comprehension of this period, which is considered and announced in the presented review. The book examines the main trends in the development of the Russian drama at the turn of the 20-21st centuries: the history of the emergence of the “new drama” movement, aspects of poetics (hero, conflict, chronotope, language), genre-style vector (social drama, documentary drama, monodrama, remake plays, drama of the absurd) – all that defines the specific features of the modern dramaturgical process. The focus is on the plays of famous playwrights, which have been staged in theaters in Russia and Belarus, have received positive reviews in criticism. The peculiarity of the reviewed book is that it analyzes modern Belarusian drama, traces its connection with the Russian. The book includes overview chapters reflecting the genre and style parameters of drama, a list of plays, information about playwrights, control questions and assignments. The scientific and methodological publication under review is expected to be in high demand not only in the philological environment, but also among theater critics and theater historians.
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Saro, Anneli. "Leedu draama retseptsioon Eestis." Eesti ja soome-ugri keeleteaduse ajakiri. Journal of Estonian and Finno-Ugric Linguistics 8, no. 1 (March 21, 2017): 221–40. http://dx.doi.org/10.12697/jeful.2017.8.1.12.
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Eesti teatril on ajaloolises plaanis kõige tihedamad sidemed olnud saksa- ja venekeelse ning angloameerika kultuuriruumiga, kuid sidemed lõunapoolsete lähinaabritega on olnud üsna sporaadilised. Käesolev uurimus käsitleb Leedu draama vastuvõttu Eestis ja Eesti teatris. Artikli eesmärgiks on (1) anda statistiline ajalooline ülevaade Eestis ilmunud ja lavastatud Leedu näitekirjandusest ning (2) uurida Leedu draama retseptsiooni Eestis, tuginedes näidendite lähilugemisele, audio- ja videosalvestustele ja ilmunud kriitikale ning tõlgendades nimetatud allikaid Eesti kultuurikontekstist lähtuvalt.Abstract. Anneli Saro: Reception of Lithuanian drama in Estonia. The article has two aims: (1) to give a statistical overview of Lithuanian drama published and staged in Estonia, and (2) to investigate the reception of Lithuanian drama in Estonia, relying on close reading of the plays and analysis of audiovisual recordings and criticism, and interpreting the sources in the Estonian cultural context. The term “reception” here covers the creative work of translators, directors, actors, scenographers, etc., as well as diverse mental activities of readers and spectators. The first part of the article tackles the historical development of cultural relations between Estonia and Lithuania in the field of theatre, listing the Lithuanian plays published and staged in Estonia during different epochs and contextualizing the reception. In the second part, the plays of four influential playwrights are analyzed: works by Juozas Grušas, Kazys Saja, Justinas Marcinkevičius and Marius Ivaškevičius. There are approximately forty Lithuanian plays translated into Estonian, most of them by Mihkel Loodus. Twenty plays have been staged in professional theatres, and twenty have been published, although some are still in manuscript. There are three groups of plays translated into Estonian: (1) plays depicting Soviet society, staged in Estonia in the second half of the 1950s and in the first half of the 1960s, 2) plays depicting Lithuanian history, mostly published as books, and 3) existential plays that form the majority of Lithuanian drama in Estonian.Keywords: Lithuanian drama; Estonian theatre; reception; cultural relations between Estonia and Lithuania
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Smagar, Anton V. "The Role of Teaching History in the Shaping of National Identity in the United States." Alma mater. Vestnik Vysshey Shkoly, no. 9 (September 2022): 109–14. http://dx.doi.org/10.20339/am.09-22.109.
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The article is devoted to the structural and functional analysis of the role of school history education in the process of national self-identification of citizens in the United States. To achieve this goal, specific research tasks were performed in the article. First, the structural elements (subject, goal, object, means) of the educational process aimed at the reproduction of national identity in the United States through historical discipline are identified. Secondly, the American compulsory education system K-12 is briefly described, which acts as a subject in the process of constructing unified historical knowledge, as well as national identity among students. Thirdly, the place and content of national history as a school discipline in the K-12 system (in primary and secondary schools) among other compulsory disciplines of “social studies” (Social Studies) is determined. Fourthly, a model of three-level national self-identification of students has been formed, where the teaching of history plays a key role. The process of identification is considered here as one of the social functions of school history education. Fifth, the current trends and problems associated with the criticism of the nationally oriented history teaching curriculum and the emergence of new revisionist historical perspectives in American schools, aimed at viewing the past through the prism of historical injustice, are outlined.
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Manzoor, Hina, Sumera Saeed, and Abdul Hameed Panhwar. "Use of Discourse Analysis in Various Disciplines." International Journal of English Linguistics 9, no. 3 (May 8, 2019): 301. http://dx.doi.org/10.5539/ijel.v9n3p301.
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The language plays an important role in the exchange of information and communication of knowledge of society, history, culture, traditions, and customs. Linguists analyse various uses of language to determine its impact and role in various domains of society such as media, politics, journalism, reporting, advertisement, war, criticism, and other such areas. Discourse analysis is associated with the use of language in various forms of communication such as written, spoken or signs of language. It helps in analysing how people say things, its impact on the audience, and how it affects the society, or the way society influences language/communication. This study aims to provide a systemic review of literature from various domains to determine how previous researchers explored discourse and language use in the society. The result reveals a strong connection between discourse analysis and language that reflect social practices and issues.
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Ditt, Karl, and Jane Rafferty. "Nature Conservation in England and Germany 1900–70: Forerunner of Environmental Protection?" Contemporary European History 5, no. 1 (March 1996): 1–28. http://dx.doi.org/10.1017/s0960777300003623.
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Nature plays a significant role in the discussion for and against modernism, which got under way from the late eighteenth century onwards. The rationalists of the Enlightenment considered not only human nature, but also the whole uncultivated realm of nature beyond, that of the animals and plants, as wild and dangerous. It should, according to them, be tamed for the benefit of mankind and put to use. Thus they laid the ideological foundations that made possible the unrestrained exploitation of natural resources for the free development of the market and specifically for industrialisation, ie for material and ideological modernisation processes. The Romantics, on the other hand, emphasised the importance of non-material values. In their view the inherent and irretrievable beauty of nature should not be sacrificed on the altar of utilitarianism. A century later the critics of unrestrained economic modernisation expanded on the Romantics' view. They criticised the ‘tumours’ of industrialisation, urbanisation and materialism, advocating greater preservation of the wilderness and, indeed, of agrarian land and the rural way of life. For them, such things were not just symbols of originality, beauty and health, but were also part of the ‘national character’. They were unique treasures, unlike replaceable material interests. Nature, as a source of raw materials, became a multifunctional cultural heritage. ‘Materialism’ and the idea of progress, the central characteristics of modernisation, were challenged by criticism of civilisation and by historicism. Thus the basic cultural and political camps were established, but also the decisive ideological preconditions for the emergence of a nature conservation movement.
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Mulholland, James. "Translocal Anglo-India and the Multilingual Reading Public." PMLA/Publications of the Modern Language Association of America 135, no. 2 (March 2020): 272–98. http://dx.doi.org/10.1632/pmla.2020.135.2.272.
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This article proposes a new literary history of British Asia that examines its earliest communities and cultural institutions in translocal and regional registers. Combining translocalism and regionalism redefines Anglo‐Indian writing as constituted by multisited forces, only one of which is the reciprocal exchange between Britain and its colonies that has been the prevailing emphasis of literary criticism about empire. I focus on the eighteenth century's overlooked military men and lowlevel colonial administrators who wrote newspaper verse, travel poetry, and plays. I place their compositions in an institutional chronicle defined by the “cultural company‐state,” the British East India Company, which patronized and censored Anglo- India's multilingual reading publics. In the process of arguing for Anglo‐Indian literature as a local and regional creation, I consider the how the terms British and anglophone should function in literary studies of colonialism organized not by hybridity or creolization but by geographic relations of distinction. (JM)
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Innes, Paul. "The Structure of Laughter in Shakespeare’s 1 Henry IV." Arab World English Journal For Translation and Literary Studies 6, no. 4 (October 24, 2022): 2–14. http://dx.doi.org/10.24093/awejtls/vol6no4.1.
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Shakespeare’s 1 Henry IV (c.1597) is the second play in a group of four that deals with the first two Lancastrian kings of England, Henry IV and his son Henry V. This loosely connected series is known as the Second Tetralogy because even though the events portrayed precede the four plays that deal with Henry VI and Richard III, Shakespeare wrote those set earlier in English history a little later in his career. The main aim of this study is to investigate the carnivalesque in 1 Henry IV, understood as a layer of unofficial or popular culture that plays against and undercuts or inverts the official world of the court, high politics, and chivalry. The significance of this study lies in its analysis of how this interaction structures the play; these are not just surface features. The main question is how the carnivalesque affects the level of high politics in the play. The context for the study derives from critical approaches to the play that have been influenced by critical theory, especially in the carnivalesque; the procedure is a detailed qualitative analysis using techniques of textual criticism. The main finding is that the play is not only structured along these lines but also that the level of high official culture is itself put in question by a full awareness of the historical events mentioned in the play.
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Naumov, Aleksandr V. "From Criticism to Practice: Music in the Early Literary Heritage of V.I. Nemirovich-Danchenko." Observatory of Culture 19, no. 2 (April 13, 2022): 182–92. http://dx.doi.org/10.25281/2072-3156-2022-19-2-182-192.
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The article examines the relationship between the literary work of V.I. Nemirovich-Danchenko that preceded the opening of the Moscow Art Theater, and his directorial activity. For him, journalism, fiction and drama formed a unity that had a serious impact on his pedagogical and staging practice. The main issues related to the topic of the work have been repeatedly raised by researchers of theater and literature, but have not yet come to the attention of musicologists, which determines the main parameter of the study’s novelty. In this context, the article aims at pinpointing the actual musical textual details, and its main methodology is based on the interpretation of statements and their comparison with the factual theater history. The article attempts to review the “favorite repertoire” of V.I. Nemirovich-Danchenko as a writer — the musical works mentioned in his novels, stories and plays. There is also identified the “projections” of such sympathies on the design of performances. The article reveals fundamental differences in V.I. Nemirovich-Danchenko’s attitude to vocal and instrumental music, the special role of opera in his perception of the world. There is noted the tendency to attach special semantic and moral-ethical meaning to sound components, as well as the affordance, opened in dramas of the late 1890s, of maximum avoidance of noise elements for the sake of relief identification of a word. The article ends with an attempt to substantiate from a musical standpoint the failure of the drama “In Dreams” at its first and only staging at the Moscow Art Theater (1901). The conclusion contains a number of findings characterizing the musicality of V.I. Nemirovich-Danchenko in 1898, at the time of the opening of his theater. There are partially highlighted the stages of his evolution not mentioned before, which led the director to experiments in the genre of tragedy at the turn of the 1910s and 1920s, the foundation of his own opera studio and the revision of literary positions that remained relevant for the last decades of his life and work.
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Fleury, Jean-Baptiste, and Alain Marciano. "The Sound of Silence: A Review Essay of Nancy MacLean’s Democracy in Chains: The Deep History of the Radical Right’s Stealth Plan for America." Journal of Economic Literature 56, no. 4 (December 1, 2018): 1492–537. http://dx.doi.org/10.1257/jel.20181502.
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This essay reviews Nancy MacLean’s Democracy in Chains: The Deep History of the Radical Right’s Stealth Plan for America, which triggered a huge controversy that virally spread on the Internet and in various journals. We will evaluate MacLean’s almost biographical account of James Buchanan, which portrays the 1986 Nobel Prize laureate as the mastermind behind today’s attacks, by the foot soldiers of the radical right, on American democracy. This essay develops three main points. One, MacLean’s general narrative puts too much emphasis on Buchanan and largely neglects the many other important characters who contributed to the intellectual criticism of government intervention. Two, MacLean’s account is marred by many misunderstandings about public choice theory, for instance about the role that simple majority rule plays in constitutional economics. Third, in the midst of abundant archival material, her historical narrative is, at best, sketchy, and is replete with significantly flawed arguments, misplaced citations, and dubious conjectures. Overall, MacLean tends to overinterpret certain aspects in Buchanan’s life and thought, while she overlooks others that are equally important in understanding his work and influence. In particular, we stress that Buchanan was, first and foremost, a scholar, not a political activist, who gave significant attention to ethical considerations in his analysis of markets. ( JEL A11, B21, B31, D72, K00, N42)
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Chakraborty, Sovan. "The Abject Female." Archiv orientální 85, no. 1 (May 18, 2017): 19–45. http://dx.doi.org/10.47979/aror.j.85.1.19-45.
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Bengali bratakathās are folk ritual tales and rhymes that women listen to and/or narrate at the time of the accomplishment of their ritual vows known as bratas (Sanskrit vratas), made for the fulfillment of worldly wishes and wants. The bratas (ritual vows) and their kathās (tales), together with chāṛās (rhymes), create a space where women apparently dominate by becoming the performers, the narrators, the transmitters, the authorities of knowledge, the agencies of socio-familial wellbeing and the protectors of moral and ideological institutions. As these tales and rhymes portray, the “female force” crucially plays the central role in determining and retaining the power structures of society which otherwise would not be sustained for long. While very often an alternative female presence is found in these bratakathās, a complex patriarchal mechanism of relentless suppression, subjugation and marginalization of the same cuts through the narrative structures. At times, it is detected and explicitly voiced against – with grief, pain, anger and bantering criticism. At other times, it is only hinted at in the spirit of pleasing submission, interpolated by the ideological (and not entirely hegemonic) structures. Very often it becomes mystically inscrutable as they appear to be honest and apparently naturalizing forces in an attempt to dilute all inner complicacies and possibilities in the con/textuality of these narratives. The femaleness in these ritual stories and rhymes continuously keeps on swinging between the subject and the object positions, blurring all such dyadic constructions (male/female, centre/margin, and so on) situating itself, as Julia Kristeva terms it, in an existentially interstitial condition/space of “abjection.”
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McMullan, Anna. "Barthes, Beckett and the Theatre: Three Dialogues." Paragraph 45, no. 2 (July 2022): 172–86. http://dx.doi.org/10.3366/para.2022.0395.
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Although Roland Barthes never wrote a play, ‘theatre’ or related terms such as ‘scenario’ or ‘theatricality’ recur throughout his oeuvre from the 1950s to the late 1970s. He wrote many reviews of theatre, but theatre and performance also became integral to much of the theoretical concerns of his later work. During this same period, Samuel Beckett’s dramaturgy was evolving from his first full-length play, Eleutheria, to the later ‘dramaticules’ such as Not I, which premiered in 1973. Barthes did comment on Beckett a few times in his theatre criticism, mainly in relation to En attendant Godot or avant-garde theatre, but there is little overt interchange between them. However, this essay creates a series of ‘dialogues’ by juxtaposing selected plays from different moments in Beckett’s dramaturgical evolution with different moments in Barthes’s writings about theatre: firstly, the reaction against and deconstruction of post-war mainstream French theatre; secondly, theatre’s engagement with history; and thirdly, performance as a paradigm and site for staging multiple versions of the self.
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Mathijsen, Marita. "Ten voordeele van …" De Moderne Tijd 4, no. 3 (January 1, 2020): 234–58. http://dx.doi.org/10.5117/dmt2020.3-4.005.math.
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Abstract In favor of … Charity publications in the nineteenth century In Dutch history, charity publications were almost entirely a 19th century phenomenon. In this article I provide an overview of this phenomenon. The first publication that I have been able to trace is from 1784, the most recent one from 1930. However there are some predecessors of charity publications. The few studies that have been published about charity literature emphasize their national message. Occasions for charity publications were many and varied. Even so, flood disasters prevail. The most varied genres could be employed for the purpose: theater plays, poetry, sermons, essays, etc. However, poems are in the majority, and it is they in the first place that become the object of criticism. From mid-century onward critical comments become ever fiercer, in particular concerning their quantity and their countless platitudes. What makes the phenomenon typically nineteenth century is the shared mentality behind it. To help out in the case of disasters or poverty was not yet a public matter but rested with privately undertaken initiatives.
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Swift, L. A. "TELEPHUS ON PAROS: GENEALOGY AND MYTH IN THE ‘NEW ARCHILOCHUS’ POEM (P OXY. 4708)." Classical Quarterly 64, no. 2 (November 20, 2014): 433–47. http://dx.doi.org/10.1017/s0009838814000433.
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In recent years, our understanding of Archilochus has been transformed by the discovery of a major new fragment from the Oxyrhynchus collection (P Oxy.4708), first published by Dirk Obbink. The new poem is not only the most substantial of Archilochus' elegiac fragments, but more importantly it is the first example we have of the poet's use of myth, for the surviving section narrates a mythological theme: the defeat of the Achaeans at the hands of Telephus during their first attempt to reach Troy. Scholars have found the choice and handling of the myth surprising, and the role that Telephus plays within the poem has been a subject of controversy. Yet this debate has tended to dwell on the Telephus myth in its general form, rather than focussing on the details of how Archilochus presents him in this particular context. This article will explore the significance that Telephus could have had for a Parian audience, and will use this to investigate the political and rhetorical impact of his presentation within the poem. I will argue that Archilochus highlights the aspects of Telephus' story which connect him most closely with Parian local myth, and that he does so in order to enhance the poem's central message: criticism and implicit mockery of the mythological battle and, by implication, of contemporary Parian military strategy.
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Fu, Erjia, Junyuan Xiang, and Chuanhao Xiong. "Deep Learning Techniques for Sentiment Analysis." Highlights in Science, Engineering and Technology 16 (November 10, 2022): 1–7. http://dx.doi.org/10.54097/hset.v16i.2065.
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Sentiment analysis covers a wide range of computational research, including research on the opinions, feelings, emotions, evaluations of people, and attitudes toward products, services, organizations, individuals, issues, events, topics, and their attributes. It plays an increasingly important role in the era of big data. In fact, it has spread from computer science to management and social sciences such as marketing, finance, political science, communications, medical science and even history, generating common interest throughout society due to its commercial importance. TEA is a basic task with the typical used of NLP methods which is full of interest, particularly for fine-grained classification of textual emotional content. It is the process of mastering, inductive analysis and reasoning about emotional content. Simply put, it is the process of analysing, processing, summarising and reasoning about emotive and subjective texts. The Internet generates a large numberof user reviews to gain valuable information about people, events and products. These reviews express a wide range of emotions and emotional tendencies, including joy, anger, sadness, delight, criticism and praise. Potential users can therefore view these subjective reviews to understand how public opinion views an event or product.
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ZE, Deki Syaputra. "Kontribusi Timbal Balik Kerinci dan Indrapura dalam Dunia Perdagangan Abad 18-20 M (Studi Kasus: Komoditi Kerinci dan Indrapura)." Jurnal Ilmiah Dikdaya 12, no. 2 (October 3, 2022): 299. http://dx.doi.org/10.33087/dikdaya.v12i2.319.
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In writing history, especially the history of trade, historical reviewers are often only stuck on the events of the deck of VOC ships on the coast. Sometimes the role of local traders and rulers often escapes the attention of the reviewers, moreover, the role of the interior to trade in the coastal area is very rarely touched. As if the interior does not play a role or be taken into account in the world of trade on the coast, but in fact the interior plays a role as a driving force for the economy/trade on the coast. One example is between Kerinci and Indrapura, the hinterland and coastal areas or trading ports that need each other. Therefore, this study will look at how the mutual contribution of Kerinci and Indrapura from the 18th to the 20th century AD in trading commodities. This study uses historical research methods starting from source collection, source criticism, interpretation to historiography using a multi-dimensional and multi-causal approach, presenting research results in the form of descriptive analysis. The AlamKerinci area as the hinterland and Jambi and Indrapura position as coastal areas and port cities, making the concept used is hinterland-port cities (inland with port cities) as the object of this research. The sources used are written sources in the form of books, archives and ancient manuscripts and other important documents.
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Effendi, Heri. "Kontekstualisasi Fungsi Bagas Godang dan Sopo Godang Sebagai Sumber Pembelajaran Sejarah Lokal." Diakronika 18, no. 2 (January 4, 2019): 19. http://dx.doi.org/10.24036/diakronika/vol18-iss2/66.
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This article aims to describe and analyze the functions of Bagas Godang and Sopo Godang as a source of learning the local history of students in the School. Basically the function of Bagas Godang and Sopo Godang is an identical symbol of civilized society as a center of government, and custom development, as well as education and character building centers Naposo Nauli Bulung (youth and young women) in the Land of Mandailing. The existence of the functions of Bagas Godang and Sopo Godang as culture heritage Mandailing plays an important role in the transformation of the philosophical values of Dalihannatolu in Naposo Nauli Bulung (youth and young women) in the context of Globalization Now. The method used in this study is the Historical method through several stages, namely: (1) Heuristics, (2) criticism, (3) interpretation, (4) Historiography. While the techniques used to obtain data through field studies are interviews in a structured and in-depth manner, analyzing various source books, newspapers, and archival material related to the issues discussed. The results showed that the content and constants of Bagas Godang and Sopo Godang were relevant as sources of learning local history in schools. Through the contextualization of learning as follows: first, the utilization of the functions of Bagas Godang and Sopo Godang as culture heritage in learning the local history of students through field studies, secondly, the Constellation of the functions of Bagas Godang and Sopo Godang in learning local history through the use of used goods as an integrated creative media character values, third digitizing the function of Bagas Godang and Sopo Godang as a heritage culture in learning the history of local students in high school.
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Arizal, Arizal, Banda Napitulu, Dita Lestari, Lody Winata, Lucytha Carolina, and Muzahid Akbar Hayat. "Analisis Naratif: Perspektif Partai Oposisi terhadap Diberhentikannya Tayangan Indonesian Lawyer Club TV One dalam Menyikapi Isu Demokrasi Indonesia." Anterior Jurnal 22, Special-1 (February 28, 2022): 141–48. http://dx.doi.org/10.33084/anterior.v22ispecial-1.3086.
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Mass media has had a huge impact on the history of human life. The Indonesia Lawyers Club (ILC) talk show hosted by senior journalist Karni Ilyas is rumored to have stopped airing. This drew a response from various politicians including opposition politicians who were very sorry for not re-airing the event as a forum for democratic aspirations that were sufficient transparency in the show to the public. The purpose of this study is to find out the state of democracy in Indonesia through the media of criticism by analyzing how perspective through the perspective of narrative analysis of statements of opposition party politicians regarding the dismissal of Indonesian Lawyer Club shows on TV One in addressing the issue of Indonesian democracy. The method used in this study is with a qualitative approach with a narrative analysis framework method by analyzing the content of news. The results stated that Fadli revealed this news is sad news and bad news for democracy. Because there are currently very few platforms that provide freedom of expression. In conclusion, fadli's allegations were corroborated by Karli Ilyas' answer to Mahfud MD's question about intimidation in various directions. At the same time, the mass media plays an important role in functioning the democratic government to the people.
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Castagno, Paul C. "Varieties of Monologic Strategy: the Dramaturgy of Len Jenkin and Mac Wellman." New Theatre Quarterly 9, no. 34 (May 1993): 134–46. http://dx.doi.org/10.1017/s0266464x00007727.
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Playwrights, directors, and theatre teachers interested in understanding the theatrical possibilities and functions of monologue soon discover that critical analysis in this area is limited alike in extent and depth. In the following analysis of contemporary dramatic monologue, Paul C. Castagno therefore begins by exploring its more expected or traditional uses, and proceeds to examine its present expanded function with particular reference to the plays of two contemporary American playwrights, Len Jenkin and Mac Wellman – both multiple Obie Award-winning writers, whose dramaturgic techniques have been highly influential yet who remain largely overlooked in the critical arena. He concludes that monologue in the new dramaturgy is actually moving in various and often complex ways back towards a kind of dialogism. Paul C. Castagno, who is himself a practising playwright, is director and dramaturg of the New Playwrights' Program at the University of Alabama, where he has developed a number of new playscripts for award-winning productions. He has published articles in the Journal of Dramatic Theory and Criticism, Text and Presentation, Theatre History Studies, and Theatre Topics, among others, and will shortly be taking on the editorship of the journal Theatre Symposium. His study The Early Commedia dell'Arte, 1550–1621: the Mannerist Context is due for publication by Peter Lang in 1993, and he is is currently preparing a playwriting text that explores elements of the new dramaturgy.
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Shuhua, Zhang, Guo Jing, and Gaoyan Qiuyu. "Development of a National School of Political Science in China." World Economy and International Relations 64, no. 11 (2020): 84–95. http://dx.doi.org/10.20542/0131-2227-2020-64-11-84-95.
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Under the conditions of China’s steadily growing role in world politics, the task of moving from assimilation and criticism of Western theoretical discourse to creation and development of national political science schools is becoming more and more urgent. The article gives a brief review of the Chinese political science history, outlines the main achievements and tasks of the current stage in the process of formation of political science with Chinese characteristics. The article disputes the thesis of the universal nature of Western political science, critically evaluates some Western political theories: democracy, constitutional government, civil society; an attempt is made to show their shortcomings and limitations of their application. The main focus of the article is on clarifying the Chinese theory of democracy, which enriches and develops Marxist democratic theory, based on a generalization of the history of China’s democratic practice and an analysis of modern democratic politics led by the CCP. Another important area of interest of the Chinese political science school – the empirical studies of the political development of China – is also covered. The features of the Chinese parliamentary system, the system of political parties where the Communist Party plays the leading role, are described. An attempt is made to depict the relationship between the party leadership and the legislative branch in China. It justifies the need for the formation of government bodies from top to bottom on the basis of the Chinese consultative democracy principles, which to a certain extent oppose the “elective democracy” concept. Particular attention is paid to rural self-government bodies and difficulties in their formation, which have recently caused a hightened interest among Chinese researchers. The final part of the article outlines the most important tasks of Chinese political science for the near future.
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Petukhov, I. A. "The evolution of the assessment of smenovekhovtsevs in domestic scientific literature and publicism." Vestnik of Minin University 8, no. 4 (November 7, 2020): 11. http://dx.doi.org/10.26795/2307-1281-2020-8-4-11.
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Introduction. In this article issues, are considered, that are connected with the change of smenovekhovtsy in scientific and political publications of Russian authors in the historical retrospective. The article snows that the initial assessments were greatly defendant on the political environment at the beginning of the XX century when of the articles criticism the entire intellectual class but this tendency gradually evolved in to a more detailed and conscious analysis of the smenovekhovtsy ideas through the lens of the Russian post-revolutionary thought.Materials and Methods. The material of the research is the publications of various authors devoted to the problems of changeover as a philosophical and political trend. To solve the set tasks, the methods of philosophical analysis, interpretation, comparison, generalization are used.Results. The result of the conducted research is the systematization of the history of consideration of the phenomenon of changeover from political criticism to understanding the originality of the originality of the thought of the creators of this movement, including the personality characteristics of N.V. Ustryalov, a description and assessment of his political, scientific, managerial and other activities directly related to the process of the origin and development of the project of change. In general, it can be stated that the philosophical studies of the works and biography of N.V. Ustryalova are devoted to a limited range of topics: an assessment of his activities as a political figure of the white movement, an analysis of his ties with the Bolsheviks, a study of the reasons that served as the basis for the formation of the idea of national bolshevism and a conceptual comparison of this trend with Smenovekhovtsy. Currently, this thematic circle has expanded due to the study of the philosophical and political views of N.V. Ustryalov from the point of view of the influence of Smenovekhovtsy on other trends of Russian social thought in emigration, the originality and patriotism of his works.Discussion and Conclusion. Within the framework of this article, a scientific discussion of well-known experts on the history of changeover is presented and makes it possible to characterize the main ideas of the representatives of this trend. One of the most important issues discussed in the works devoted to the changeover and directly by N.V. Ustryalov, is the question of the originality of smenovekhovtsy as a political and philosophical direction of Russian thought. An important role in the study of N.V. Ustryalov plays the fact of the influence of his ideas on other currents of emigration, Soviet and philosophical thought, understanding of the origins and foundations that served to create smenovekhovtsy and National Bolshevism. Therefore, it can be argued that a deep meaningful analysis of domestic ideas is needed, a study of the history of interpenetration and the influence of the teachings of the smenovekhovtsy on post-revolutionary socio-political and philosophical thought, both inRussia and abroad.Thus, the author was able to form a full-fledged political and philosophical analysis of journalism devoted to the changeover and demonstrate the importance of the ideas of its creators in the history of Russian philosophy.
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Stephenson, Cheryl. "Revolutionary Kašpárek: The Life Cycle of the Radical Puppet." FOLKLORICA - Journal of the Slavic, East European, and Eurasian Folklore Association 25, no. 1 (July 22, 2022): 1–20. http://dx.doi.org/10.17161/folklorica.v25i1.18331.
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Throughout the Czech National Revival and the final years of the Austro-Hungarian Empire, the puppet stage served as a site of resistance, of advocacy for Czech sovereignty, and criticism of Germanic influences on Czech culture and everyday life. The undisputed star in these efforts was the puppet hero Kašpárek, the little Czech jester who uses his wits to defeat Austro-Hungarian petty bureaucrats, police officers, and other deputies of imperial authority in hundreds of puppet plays throughout the nineteenth and early twentieth centuries. This article explores How Kašpárek Laid Austria to Rest, a 1918 performance which saw Kašpárek’s role shift from one of resistance to one of revolution. In this play, performed in Pilsen (Plzeň) in the final weeks of the First World War, Kašpárek no longer faced off against Austrian officials, but rather met a much larger opponent, the two-headed imperial eagle, symbol of the empire itself. In this performance, Kašpárek does not need to outwit his opponent; he is a dominant force from the start. After beheading the eagle, the performance becomes a kind of funeral mass for the empire with Kašpárek serving as both priest and master of ceremonies, bringing a kind of jubilation to the usually somber context. In this discussion, I examine this turning point from the interconnected perspectives of social history and semiotics. This dual approach exposes both the developments and conditions that allow for this striking symbolic victory on the puppet stage,n but further an exploration of the ways the folk archetype of the jester and, by extension, a folk-based image of Czech national identity navigate radical political change.
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Calkins, Renée M. "(O.) Taplin (ed., trans.), (J.) Billings (ed.) Aeschylus: the Oresteia. The Texts of the Plays, Ancient Backgrounds and Responses, Criticism. Pp. xxxvi + 251, ills, map. New York and London: W.W. Norton & Company, 2018. Paper, £8.95. ISBN: 978-0-393-92328-5." Classical Review 69, no. 1 (October 15, 2018): 327. http://dx.doi.org/10.1017/s0009840x18002366.
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Szerszeń, Tomasz. "Konstruowanie atlasu. Surrealizm - fotografia - Reprodukcja." Artium Quaestiones, no. 33 (December 30, 2022): 163–81. http://dx.doi.org/10.14746/aq.2022.33.7.
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“The history of art is [...] the history of what is photographable,” wrote André Malraux. Surrealism and related interwar visual phenomena add an interesting context to this observation. If we look at surrealism through the prism of the numerous magazines that accompanied it, we can see the special role of photographic reproduction. It seems that it plays a slightly different role there than in other practices of the interwar avant-garde: it tends to be a visual form of thinking, establishing photography as a crucial medium. The case of the journal “Documents” (1929–1930), existing on the fringe of surrealism and anthropology, seems particularly interesting. It can be seen as a kind of atlas of visual forms, in which the problem of reproductions of artworks and artefacts from different cultures was constantly problematised. The cannibalisation of various types of iconography was related not only to discussions on cultural visual appropriation, or the criticism of various conventions of seeing and making images, but also to a broader project whose aim was the decolonisation of seeing. It assumed a re-examination of European (art) history – in a radical, non-hierarchical and non-encyclopaedic way. The aim of the editors of the journal was to move away from the metaphysical and ocularcentric paradigm in favour of a more horizontal and relational (and in effect anthropological) positioning of a work of art. The question of reproduction is problematised in “Documents” in terms of a discussion on the aura of works and objects from other cultures: displaced and uprooted from their cultural context. The subversive photographic practices of the surrealists related to the status of copies and reproductions are also contextualised here, as are two monumental projects based on reproduction: Aby Warburg’s Mnemosyne Atlas (1924–1929) and Malraux’s Museum of the Imagination (1947–1951), or a “photographic album of universal culture”, but which were created in the face of similar problems to “Documents” (the visual form of knowledge; the “universal” in the face of colonialism; the relationship between artwork and reproduction). All three projects were a kind of response to the globalisation of images and the crisis of cultural memory. Here the use of the atlas form and photographic reproduction becomes an attempt to establish a new epistemic paradigm.
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Saro, Anneli. "Nõukogude tsensuuri mehhanismid, stateegiad ja tabuteemad Eesti teatris [Abstract: Mechanisms, strategies and taboo topics of Soviet censorship in Estonian theatre]." Ajalooline Ajakiri. The Estonian Historical Journal, no. 4 (September 9, 2019): 283–304. http://dx.doi.org/10.12697/aa.2018.4.02.
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Abstract: Mechanisms, strategies and taboo topics of Soviet censorship in Estonian theatre
Since theatre in the Soviet Union had to be first of all a propaganda and educational institution, the activity, repertoire and every single production of the theatre was subject to certain ideological and artistic prescriptions. Theatre artists were not subject to any official regulations regarding forbidden topics or ways of representation, thus the nature of censorship manifested itself to them in practice. Lists of forbidden authors and works greatly affected politics related to repertoire until the mid-1950s but much less afterwards. Research on censorship is hampered by the fact that it was predominately oral, based on phone or face-to-face conversations, and corresponding documentation has been systematically destroyed.
This article is primarily based on memoirs and research conducted by people who were active in the Soviet theatre system. It systematises the empirical material into four parts: 1) mechanisms of censorship, 2) forms and strategies, 3) counter-strategies against censorship and 4) taboo topics. Despite the attempt to map theatre censorship in Estonia after the Second World War (1945–1990), most of the material concerns the period from the mid-1960s to the mid-1980s. This can be explained by the age of the respondents, but it can also be related to the fact that the Soviet control system became more liberal or ambiguous after the Khrushchev thaw encouraged theatre artists and officials to test the limits of freedom.
The mechanisms of theatre censorship were multifaceted. Ideological correctness and the artistic maturity of repertoire and single productions were officially controlled by the Arts Administration (1940–1975) and afterwards by the Theatre Administration (1975–1990) under the supervision of the Ministry of Culture. Performing rights for new texts were allocated by the Main Administration for Literary and Publishing Affairs (Glavlit): texts by foreign authors were approved by the central office in Moscow, and texts by local authors were approved by local offices. The third censorship agency was the artistic committee that operated in every single theatre. Nevertheless, the most powerful institution was the Department of Culture of the Central Committee of the Communist Party of Estonia, whose influence on artistic issues had to be kept confidential by the parties involved. On top of all this, there was the hidden power and omnipresent network of agents of the Committee for State Security (KGB). Some audience members also acted as self-appointed censors. The network and system of censorship made the control system almost total and permanent, also enforcing self-censorship.
Forms of censorship can be divided into preventive and punitive censorship, and strategies into direct and indirect censorship. Soviet censorship institutions mostly applied preventive censorship to plays or parts of productions, but hardly any production was cancelled before its premiere because that would have had undesirable financial consequences. Punitive censorship after the premiere was meant for correcting mistakes when the political climate changed or if a censor had been too reckless/lenient/clever, or if actors/audiences had started emphasising implicit meanings. Preventive censorship was predominantly direct and punitive censorship indirect (compelling directors to change mise en scènes or prescribing the number of performances). Indirect censorship can be characterised by ambiguity and allusions. A distinction can be made between preventive and punitive censorship in the context of single productions, but when forbidden authors, works or topics were involved, these two forms often merged.
The plurality of censorship institutions or mechanisms, and shared responsibility led to a playful situation where parties on both sides of the front line were constantly changing, enabling theatre artists to use different counter-strategies against censorship. Two main battlefields were the mass media and meetings of the artistic committees, where new productions were introduced. The most common counter-strategies were the empowerment of productions and directors with opinions from experts and public figures (used also as a tool of censorship), providing ideologically correct interpretations of productions, overstated/insincere self-criticism on the part of theatre artists, concealing dangerous information (names of authors, original titles of texts, etc.), establishing relationships based on mutual trust with representatives of censorship institutions for greater artistic freedom, applying for help from central institutions of the Soviet Union against local authorities, and delating on censors. At the same time, a censor could fight for freedom of expression or a critic could work ambivalently as support or protection.
In addition to forbidden authors whose biography, world view or works were unacceptable to Soviet authorities, there was an implicit list of dangerous topics: criticism of the Soviet Union as a state and a representative of the socialist way of life, positive representations of capitalist countries and their lifestyles, national independence and symbols of the independent Republic of Estonia (incl. blue-black-white colour combinations), idealisation of the past and the bourgeoisie, derogation of the Russian language and nation, violence and harassment by Soviet authorities, pessimism and lack of positive character, religious propaganda, sexuality and intimacy. When comparing the list of forbidden topics with analogous ones in other countries, for example in the United Kingdom where censorship was abolished in 1968, it appears that at a general level the topics are quite similar, but priorities are reversed: Western censorship was dealing with moral issues while its Eastern counterpart was engaged with political issues.
It can be concluded that all censorship systems are somehow similar, embracing both the areas of restrictions and the areas of freedom and role play, providing individuals on both sides of the front line with opportunities to interpret and embody their roles according their world view and ethics. Censorship of arts is still an issue nowadays, even when it is hidden or neglected.
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Barbieri, Claudia. "O espólio teatral do dramaturgo português Gervásio Lobato / The Theatrical Collection of the Portuguese Playwright Gervásio Lobato." Revista do Centro de Estudos Portugueses 40, no. 64 (February 3, 2021): 37. http://dx.doi.org/10.17851/2359-0076.40.64.37-55.
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Resumo: Gervásio Lobato (1845-1895) foi um proeminente dramaturgo português, além de romancista, contista, tradutor e jornalista. Há, contudo, dissonâncias entre a expressiva recepção crítica que sua obra teatral recebeu enquanto o escritor ainda era vivo e o subsequente apagamento de seu nome e de sua dramaturgia nos volumes de história do teatro português publicados a partir de 1960. O artigo tem por objetivos formular algumas hipóteses para explicar este descompasso entre recepção e crítica, além de discorrer sobre a organização do espólio do escritor, pertencente ao Museu Nacional do Teatro e da Dança, em Lisboa. A dificuldade de acesso aos arquivos, a ausência de reedições das peças, a variedade de suportes são alguns entraves que podem ser elencados e que precisam ser resolvidos ao longo do processo de resgate do teatro gervasiano.Palavras-chave: Gervásio Lobato; teatro português; organização de espólio.Abstract: Gervásio Lobato (1845-1895) was a prominent Portuguese playwright, as well as a novelist, short story writer, translator and journalist. There are, however, dissonances between the expressive critical reception that his theatrical work received while the writer was still alive and the subsequent erasure of his name and dramaturgy in the volumes of Portuguese theater history published since 1960. The article aims to formulate some hypotheses to explain this mismatch between reception and criticism, in addition to discussing the organization of the writer’s estate, belonging to the Museum of Theater and Dance, in Lisbon. The difficulty of accessing the archives, the absence of reissues of the plays, the variety of supports are some obstacles that can be listed and that need to be resolved throughout the process of rescuing the Gervasian theater.Keywords: Gervásio Lobato; Portuguese theater; theatrical collection organization.
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Kurchenko, D. O., and O. А. Pogrebnyak. "T. SHEVCHENKO IN THE BELARUSIAN POETS' TRANSLATIONS." Shevchenko Studies, no. 1(24) (2021): 16–28. http://dx.doi.org/10.17721/2410-4094.2021.1(24).16-28.
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The article deals with the T. Shevchenko's Belarusian translations. There is information about Belarusian writers' and translators' work. Speaking of methodology: two types of data analysis being performed ̶ rhetorical text analysis focusing on the broad genre characteristics of articles. The features of the Belarusian translations are analyzed. The overview of recent research and publications that describe the issues of the T. Shevchenko's works translations. Results indicate that Taras Shevchenko's works are very important part of Belarusian history and criticism of literature. Belarusian writers and translators put huge work into discovering and analyzing new sides of T. Shevchenko's works. The article also revealed that the figure of the Ukrainian writer plays the last role in the work of Belarusian writers, Taras Shevchenko was an inspiration for their artistic and scientific works. The translation of the works of T. Shevchenko into the Belarusian language was considered, as well as the analysis of the peculiarities of the translation of the original works into the language of translation, as well as a brief review of studies and publications on Belarusian translation studies, which raise the issues of the Belarusian reception of T. Shevchenko's works. Classics of Belorusian literature and contemporary writers have devoted a great deal of fiction to the Ukrainian writer. It is proved that Belarusian poets with special responsibility approach to the process of translation of works of Ukrainian writer, trying to convey the fullness of Taras Shevchenko's words. The methodological basis is a scientific and descriptive method, it was used to review translations of T. Shevchenko's works, to review translation works, and the method of analysis was applied in the work directly for the features of the translation of original works in the language of translation. Shevchenko's works have been translated into most languages of the world.