Artículos de revistas sobre el tema "Literature fiction drama history"
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1
Haley, Madigan. "Modernism's World Drama: Joyce, Wagner, and the Anti-Systemic Stirrings of a Global Artwork". Journal of Modern Literature 46, n.º 3 (marzo de 2023): 1–19. http://dx.doi.org/10.2979/jmodelite.46.3.01.
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Abstract: Two of James Joyce's earliest essays identify a kind of artwork that would remain a model for his fiction: the world drama. Joyce's notion of the world drama built upon an aspect of Richard Wagner's theoretical writing that has been largely forgotten: the program for a revolutionary, nonnational artwork. Joyce reimagined this program within the conditions of colonial Ireland and an increasingly international print culture, conceiving of a work that is oriented toward the world at large and meant to articulate a revolutionary consciousness for its audience. Joyce's works of fiction can be understood, in these terms, as world dramas, which is one of the reasons for their influence. The history of the world drama reveals how the effort to create a revolutionary world-oriented artwork spanned international modernism, evolving as it passed from Wagner to Joyce and then later to artists such as Sergei Eisenstein and Mulk Raj Anand.
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Haley, Madigan. "Modernism's World Drama: Joyce, Wagner, and the Anti-Systemic Stirrings of a Global Artwork". Journal of Modern Literature 46, n.º 3 (marzo de 2023): 1–19. http://dx.doi.org/10.2979/jml.2023.a901928.
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Abstract: Two of James Joyce's earliest essays identify a kind of artwork that would remain a model for his fiction: the world drama. Joyce's notion of the world drama built upon an aspect of Richard Wagner's theoretical writing that has been largely forgotten: the program for a revolutionary, nonnational artwork. Joyce reimagined this program within the conditions of colonial Ireland and an increasingly international print culture, conceiving of a work that is oriented toward the world at large and meant to articulate a revolutionary consciousness for its audience. Joyce's works of fiction can be understood, in these terms, as world dramas, which is one of the reasons for their influence. The history of the world drama reveals how the effort to create a revolutionary world-oriented artwork spanned international modernism, evolving as it passed from Wagner to Joyce and then later to artists such as Sergei Eisenstein and Mulk Raj Anand.
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Lindblad, Jan Thomas. "History and Fiction: An Uneasy Marriage?" Jurnal Humaniora 30, n.º 2 (8 de junio de 2018): 147. http://dx.doi.org/10.22146/jh.34619.
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This essay discusses the relationship between history as a science and fiction as a genre of literature. It starts with a brief digression on the characteristics and pitfalls of the historical novel, including its development over time. Past experience is highlighted with the aid of a selection of acknowledged novelists making intensive use of historical information. Recent new trends are illustrated by professional historians becoming novelists. A final section offers reflections on how to combine the demands of authenticity in history with the demands of drama in literary fiction.
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Lindblad, Jan Thomas. "History and Fiction: An Uneasy Marriage?" Jurnal Humaniora 30, n.º 2 (8 de junio de 2018): 147. http://dx.doi.org/10.22146/jh.v30i2.34619.
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This essay discusses the relationship between history as a science and fiction as a genre of literature. It starts with a brief digression on the characteristics and pitfalls of the historical novel, including its development over time. Past experience is highlighted with the aid of a selection of acknowledged novelists making intensive use of historical information. Recent new trends are illustrated by professional historians becoming novelists. A final section offers reflections on how to combine the demands of authenticity in history with the demands of drama in literary fiction.
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Asanga, Siga y Elena Zubkova Bertoncini. "Outline of Swahili Literature: Prose Fiction and Drama". Canadian Journal of African Studies / Revue Canadienne des Études Africaines 24, n.º 2 (1990): 268. http://dx.doi.org/10.2307/485263.
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Morales Zea, María del Sol. "Juarez and Maximilian. Stories and interpretations in film and literature". Culture & History Digital Journal 10, n.º 2 (20 de octubre de 2021): e023. http://dx.doi.org/10.3989/chdj.2021.023.
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This paper approaches the relations between history and fiction through analysis of two works: the Franz Werfel drama’s Juarez und Maximilian (1924), and the Miguel Contreras Torres movie’s, Juárez y Maximiliano (1934). Both works intend to tell us the happened during the Second Mexican Empire, Werfel with the Austrian gaze and Contreras with the Mexican gaze. We go inside to biography and context of authors, as well as the reception of the drama and movie in the local press, to understanding the political implications of the representations of the past. Finally, we analyze the philosophy of history implied in both Werfel and Contreras, and your relations with creation’s context.
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Rody, Caroline. "Between “I” and “We”: Viet Thanh Nguyen's Interethnic Multitudes". PMLA/Publications of the Modern Language Association of America 133, n.º 2 (marzo de 2018): 396–405. http://dx.doi.org/10.1632/pmla.2018.133.2.396.
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The rise of an interethnic imagination in recent american literature has been remaking what we think of as ethnic fiction into interethnic fiction. While memory, history, and tradition continue as shaping forces in American letters, an urge toward encounter with others is vividly reworking fictional structures, plots, casts of characters, and uses of language, as well as social visions, literary ambitions, and currents of intertextual influence. In some cases, the mind of a protagonist or narrator, indeed the very mind of a text, comes to seem the site of a momentous encounter of peoples, a living human nexus (Rody). Such is the case in the fiction of Viet Thanh Nguyen, in which the interethnic impulse generates a remarkable pronominal drama, a performance that oscillates between a narratorial “I” and a “we” to negotiate—across the pain and struggle of war, dislocation, and immigrant Americanization and across disparate political and literary allegiances—a Vietnamese American voice.
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Charypar, Michal. "Conceptualizing Literary History: A Survey of Poetics in Czech Fiction 1860–1910 (Part One)". Bohemistyka 23, n.º 3 (28 de agosto de 2023): 394–408. http://dx.doi.org/10.14746/bo.2023.3.15.
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The article provides an innovative model of poetics (or isms, styles, etc.) in Czech prose in the latter half of the long 19th century. It gives an overview of seven individualized and mutually distinct poetics, including ideal, analytical, and psychological realisms, Parnassism, naturalism, impressionism, and decadence. The individual poetics do not represent periods, but exist in parallel, allowing confrontations and intersections either within the author's work or in a specific text, as in the model of Czech literature developed by Dalibor Tureček in the past decade. They are always set in the context of European literature and supported by many illustrative examples. The model is not only typological, but also assumes a diachronic perspective, which can be developed in future scholarly work on the history of Czech literature. The aim is to create a system that can potentially be applied not only to Czech fiction, but possibly also to poetry or drama, in other periods and literatures. Part One of the article concentrates on a general overview and on ideal and analytical realisms.
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Niama, Haidyr Hashim. "IMPACT OF BRITISH LITERATURE ON GLOBAL LITERATURE". American Journal of Social Science and Education Innovations 6, n.º 6 (1 de junio de 2024): 176–89. http://dx.doi.org/10.37547/tajssei/volume06issue06-24.
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The influence of British literature on global literature is enormous. In so many ways, British literature has influenced world literature. The Anglo-Saxon period established the British literature tradition, which continues to influence world literature today. In this blog post, we will look at various aspects of British literature's influence on global literature. The study of literary works from the United Kingdom and other countries around the world is known as British and world literature. It includes classic and contemporary works, often translated into English, that reflect regional and historical cultural and social norms. Individuals who study British and world literature gain insights into the historical, social, and cultural contexts in which the works were written. This allows for a better understanding of human experiences and the appreciation of different points of view. British literature composition is the process of creating written works in the English language that originate in or are related to the United Kingdom. This includes works written by British authors throughout history in the genres of fiction, poetry, drama, and nonfiction. Different literary movements, such as Medieval, Renaissance, Romanticism, and Postmodernism, have shaped the evolution of British literature composition. The composition of British literature has had a significant impact on the literary world and continues to inspire many contemporary writers.
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Begović-Sokolija, Ena. "Franciscan Characters in Bosnian-Herzegovinian Drama Literature: On the Phenomenon Of Remembrance and Memory". Društvene i humanističke studije (Online) 6, n.º 4(17) (22 de diciembre de 2021): 33–56. http://dx.doi.org/10.51558/2490-3647.2021.6.4.33.
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In seven dramatic texts written by six Bosnian-Herzegovinian authors – Borivoje Jevtić, Štefa Jurkić, Nikola Šop, Nasko Frndić, Nada Đurevska and Dževad Karahasan – from the perspective of the art of memory we follow the construction of literary imaginaria on the examples of three Bosnian-Herzegovinian Franciscans (Anđeo Zvizdović, Matija Divković and Ivan Frano Jukić). The paper examines the relationship between historic reality and fiction, where in history was an inspirational incentive for dramatic texts, with individual members of the Franciscan order transformed into a collective place of traumatic memory. For this conscious work on cultural memory we are to thank both the history of remembrance and memory (mnemohistory) and the motivational associative images that have been cultivated in literature and the historiography of literature for more than a century.
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Mwaifuge, Eliah S. "INTERROGARTING THE LINK BETWEEN HISTORY AND LITERATURE: INSIGHTS FROM THINGS FALL APART, KINJEKITILE AND STANLEY MEETS MUTESA". Tanzania Zamani: A Journal of Historical Research and Writing 9, n.º 1 (1 de junio de 2017): 78–111. http://dx.doi.org/10.56279/tza20210915.
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Literature as representation has not only been able to capture the people’s imagination of a given epoch but has in itself constituted a historical account that goes deeper than mere representation of historical fact. As such, literature is a good tool for historical representation and examination, which complements historical records. Whereas history deals with hard historical facts, literature deals with fictionalised history inspired by historical events or imagination but in either case shaped by the society it represents. Thus, one can read a historical novel as both a fictional and factual representation of the historical fact. In this regard, the paper argues that the intersection between literature and history is inevitable because fiction uses the creative industry to represent historical events with both history and literature being products of society. Using a historical approach, this paper uses Achebe’s Things Fall Apart, Hussein’s Kinjeketile and Rubadili’s “Stanley Meets Mutesa,” which represents the three key genres—novel, drama and poetry, respectively, to interrogate how history and literature are connected. Achebe’s Things Fall Apart depicts the historical encounter during the advent of colonialism. Hussein’s Kinjeketile portrays the struggle between the colonised and the coloniser in the fictionalised Tanganyika. Rubadili’s “Stanley Meets Mutesa” depicts a cruel encounter between the colonised and the coloniser with the colonised seemingly blind to the machinations of the coloniser. The three literary texts are used to illustrate the historical connection between history and literature.
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Jenkins, Elwyn. "NAMIBIAN CHILDREN’S AND YOUTH LITERATURE WRITTEN IN ENGLISH". Mousaion: South African Journal of Information Studies 32, n.º 4 (29 de septiembre de 2016): 75–92. http://dx.doi.org/10.25159/0027-2639/1652.
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This article examines 15 works of fiction written in English for children and young adults which have a Namibian setting. The earliest was published in the 1920s and the latest in 1998. The books are examined in order to ascertain what the Namibian setting has contributed: whether the authors have engaged with the history of the country; what they make of the setting; and whether there are any particular plots and themes that emerge.A notable trend in the English-language books published after the 1960s is that they focus on the personal growth of the protagonists. Rather than serving as a background for adventure, as the earlier books did, the Namibian settings and social circumstances serve as catalysts for psychological drama, while the landscapes with their flora and fauna play out as objective correlatives to the characters’ interior struggles. In keeping with this subject matter, the writing is usually sensitive and lyrical.
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Holderness, Graham. "‘Our Troy, our Rome’". Critical Survey 34, n.º 4 (1 de diciembre de 2022): 93–112. http://dx.doi.org/10.3167/cs.2022.340406.
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In Titus Andronicus, the many classical literary sources of the play function as templates for its events, as if the tragedy had already been anachronistically pre-written by poets of the Augustan era. The literature of the past, like history, serves, in Titus’s own words, as ‘a pattern, precedent and lively warrant’ (5.3.57) for present action and behaviour. When literature and drama appear to become the basis and precedent for human experience, then there is a two-way process of consolidation and de-realisation. Dramatic and poetic literature can start to look more like history; but at the same time real events can take on the complexion of a mere fantasy repetition, in Hamlet’s words ‘a fiction, a dream of passion’ (3.2.179). Pieced together, this continual evocation of literary, dramatic and poetic precedent constitutes a vision of Rome which is explicitly identified as an aesthetically crafted fantasy for oral narration and dramatisation on the early modern stage.
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Fishman, Ethan. "The Moral of the Story: Literature and Public Ethics. Edited by Henry T. Edmondson III. Lanham, MD: Lexington Books, 2000. 272p. $75.00 cloth, $24.95 paper. Shakespeare's Political Realism: The English History Plays. By Tim Spiekerman. Albany: State University of New York Press, 2001. 208p. $16.95 paper." American Political Science Review 96, n.º 1 (marzo de 2002): 177–78. http://dx.doi.org/10.1017/s0003055402274316.
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As their scholarship indicates, Henry Edmondson and Tim Spiekerman share two basic assumptions: There exist certain enduring issues of politics, such as the nature of social justice and the legitimacy of power, and authors of fiction, drama, and poetry who write with knowledge and sensitivity about the human condition often will have something significant to say about them.
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Carroll, Rachel. "Black Victorians, British television drama, and the 1978 adaptation of David Garnett’s The Sailor’s Return". Journal of Commonwealth Literature 54, n.º 2 (6 de febrero de 2017): 207–24. http://dx.doi.org/10.1177/0021989416687350.
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The under-representation of Black British history in British film and television drama has attracted significant public debate in recent years. In this context, this article revisits a critically overlooked British film adaptation featuring a woman of African origin as a protagonist in a drama set in Victorian England. The Sailor’s Return (1978), directed by Jack Gold, is an adaptation of a historical fiction written by David Garnett and first published in 1925. This article aims to situate the novel and its adaptation in three important contexts: set in rural Dorset in 1858, the narrative can be considered in the context of Victorian attitudes to people of African origin; written by a member of the Bloomsbury circle, the novel is informed by modernist perspectives on the legacies of the Victorian era; broadcast to a popular audience in the late 1970s, the film can be located in a politically progressive tradition of British television drama. Approached in this way, this multiply mediated cultural representation serves to generate insights into the treatment of racism in liberal left cultural production, from early twentieth century modernist milieus to the anti-racism of the British left in the 1970s. These contexts will inform close textual analysis of two motifs — the depiction of the countryside, and the role of costume — which have proved central to ongoing debates about racialized constructions of national identity in British historical film genres. This article will argue that the 1978 film adaptation of The Sailors Return presents a significant precedent when considering what Stephen Bourne has termed the “invisibility” of Black British history in British historical film.
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Fuehrer, Bernhard. "The Columbia History of Chinese Literature. Edited by Victor Mair. [New York: Columbia University Press, 2001. 1,342+xxiv pp. $75.00; £52.50. ISBN 0-231-10984-9.]". China Quarterly 178 (junio de 2004): 535–36. http://dx.doi.org/10.1017/s0305741004390296.
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Following his Columbia Anthology of Traditional Chinese Literature (1994) and the Shorter Columbia Anthology of Traditional Chinese Literature (2000), the Columbia History of Chinese Literature intends to complement these two widely used readers. Edited by Victor H. Mair, the 55 chapters of this single-volume history of Chinese literature are chronologically arranged with thematic chapters interspersed. Indeed, a closer look at the chapters reveals that the book at hand follows the traditional dictum of wen shi zhe bu fenjia, i.e. that literature, history and philosophy should not be separated but regarded as one field of studies. Hence the scope of this history goes far beyond the scope of what is traditionally subsumed under the heading of literature. In addition to the topics (all genres and periods of poetry, prose, fiction, and drama) that one expects in a book of this sort, wit and humour, proverbs and rhetoric, historical and philosophical writings, classical exegesis, literary theory and criticism, traditional fiction commentary, as well as popular culture, the impact of religion upon literature, the role of women, and the relationship with non-Chinese languages and peoples (ethnic minorities, Korea, Japan, Vietnam) feature as topics of individual chapters.Most of the chapters are written by leading specialists in those areas and are highly informative as well as concisely presented. Moreover, a number of chapters are thought-provoking enough to inspire questions that may lead towards a more focused research on hitherto neglected or less well-documented topics. In this sense, The Columbia History of Chinese Literature may also be perceived as a potential major impetus for further developments in the study of pre-modern and modern Chinese literature and related fields. Since the volume aims at bringing the riches of China's literary tradition into focus for a general readership, the majority of chapters can probably be best described as outlines of specific developments that should encourage readers to consult more specialized publications.
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Sadovnikova, Yuliya Mikhailovna. "A New Historical novel: traditions, evolution and specifics of the genre by the example of Barry Unsworth's novel "Morality Play"". Litera, n.º 4 (abril de 2024): 289–95. http://dx.doi.org/10.25136/2409-8698.2024.4.70314.
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Despite the large number of literary works written, there are still debates in determining the genre structure of the historical novel and the features of its poetics. This is apparently due to the fact that for most experts the focus should traditionally be on history, and not on genre theory. Authors of historical novels help recreate historical images of the past, allowing readers to see the world through the eyes of people who lived in other eras. The historical novel can be both an entertaining genre and a tool for the study of history, stimulating interest in the past and raising important questions about how people lived and acted in different times. Different points of view allow us to better understand the versatility of the genre and its influence both on literature and on the understanding of history and life. The author used the technique of “new historicism” literature. Along with the canons of the historical novel of the 19th century, B. Unsworth resorts to the traditional techniques of the historiographical meta-novel of the postmodern era. This novel represents a new approach to the genre of historical fiction, different from the traditional Walterscottian one. The new historical novel and metaphysical mystery can be viewed through the lens of the new historical novel, which focuses on the historical aspects of the story, accurately recreating the setting of a specific era with each fictional character and event, and taking the reader back to the reality of the 14th century. The murder investigation is an important element of the novel's plot, but it only makes sense if the setting of the era in which everything takes place is recreated. Medieval drama plays an important role here, especially the author's transformation from religious to secular drama. Transformation of genre form is a characteristic feature of modern literature. Barry Unsworth's novels are interesting in that they synthesize several genre combinations and at the same time reproduce aspects of the formation of a new genre for its time – morality tales.
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Zibrak, Arielle. "The Progressive Era’s New Optimists". American Literary History 32, n.º 2 (2020): 376–84. http://dx.doi.org/10.1093/alh/ajaa001.
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Abstract New scholarship in the literature and print culture of the Progressive Era emphasizes the socially and politically transformative power of aesthetic experience. Through their attention to the physical as well as ideological spaces in which the dual projects of political reform and cultural formation via textual production and consumption were carried out, these scholars offer an account of Progressive-Era aesthetic products ranging from fiction to journalism to comics to productions of Elizabethan drama as democratic sites of social good. While previous criticism of the era’s literature aligned its ideological orientation with the regressive politics of nativism and rising class divisions, these scholars, through both recovery and rereading, take a more optimistic approach that emphasizes the reciprocal nature of the textual engagement undertaken by immigrants and the working class.
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Ancuta, Katarzyna. "The Waiting Woman as the Most Enduring Asian Ghost Heroine". Gothic Studies 22, n.º 1 (marzo de 2020): 81–97. http://dx.doi.org/10.3366/gothic.2020.0039.
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The waiting woman is a ghost who appears to be endlessly waiting – for recognition, for her lover, for a chance to reincarnate, or to exact revenge. In Asia, her roots can be found in early medieval Chinese records of the strange, arguably the oldest written ghost stories in the region. The romanticized version of this ghost, introduced in Tang Xianzu's drama Peony Pavillion ( Mudan ting, 1598), influenced many writers of Japanese kaidan (strange) stories and merged with East and Southeast Asian ghostlore that continues to inspire contemporary local fiction and films. The article proposes to read the figure of the waiting woman as a representation of the enduring myth of the submissive Asian femininity and a warning against the threat of possible female emancipation brought about by the socio-economic changes caused by modernisation.
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Lempert, Manya. "Climate Tragedy". Cambridge Journal of Postcolonial Literary Inquiry 8, n.º 2 (abril de 2021): 195–213. http://dx.doi.org/10.1017/pli.2020.39.
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I hypothesize that tragedy is the genre best suited to represent climate catastrophe. Tragedy, I contend, is committed to diagnosing the ideological and material conditions that make for mass, undeserved suffering—conditions of colonization and racialization, for instance, in Greek and modern drama and in modern tragic fiction. Not only does tragedy reveal injurious forms of power, it stages or incites rebellious collective action against them. These features of literary tragedy, I suggest, are non-Aristotelian. Aristotle lodges the source of crisis in individuals, who inadvertently cause their own misfortunes and suffer from them. The literary tragedy that I theorize, however, locates the origins of communal suffering in external agents of death and domination.
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Lešnik, Irina. "Drama in Education Reaching Beyond the “Art Form or Teaching Tool” Dichotomy". European Journal of Social Science Education and Research 5, n.º 3 (1 de diciembre de 2018): 70–77. http://dx.doi.org/10.2478/ejser-2018-0059.
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Abstract In the following article we try to re-evaluate, the place drama occupies in contemporary elementary education. By limiting the role of drama to literature studies and theatre productions, we lose a greater potential Theatre Pedagogy has to offer to a much broader educational spectrum. The participatory practices of Theatre and Drama in Education (TiE, DiE) promote active learning, based on a most organic children’s activity - play. While students co-create the fictional world of drama, teacher's guidance is crucial in setting new challenges, encouraging students to find creative solutions and reflect on often-complex social issues. Because of its art component, drama challenges the participants on a cognitive as well as emotional level, becoming a truly transformational experience. As such, Drama in Education is especially useful when approaching sensitive and controversial topics. This thesis is presented on a case study observing Year 6 students at St’ Michael’s CE Academy in Birmingham, UK, using Drama in Education method as part of History curriculum.
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Prushkovska, Iryna. "THE MATRIX OF A POETIC WORK: PROBLEMS OF TRANSLATION (BASED ON THE MATERIAL OF THE TURKISH TRANSLATION OF "CONTRA SPEM SPERO" BY LESYA UKRAINKA)". Grail of Science, n.º 20 (7 de octubre de 2022): 123–25. http://dx.doi.org/10.36074/grail-of-science.30.09.2022.021.
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The translation of fiction plays an important role in the knowledge of the "other". Today, the news about Ukraine comes from the entire world's mass media because of Russia's full-scale war against Ukraine, because of the pain and grief that the Ukrainian people are experiencing. But do all civilized countries know well the "other" – Ukrainians, their history, traditions, culture, or is cultural material and artistic material – poetry, prose, drama, written by Ukrainian authors well presented in the world languages? Unfortunately, it is not enough, and each new translation of Ukrainian literature into foreign languages brings one step closer to familiarity with Ukrainians, their internal culture, sense of dignity, self-sacrifice, civic position, and patriotism. The Ukrainian art includes many talented names, each of which deserves more than one study.
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Solomon, Diana. "Sancho Panza in Eighteenth-Century English Theater: Disrupting the Path of the English Knight-Errant". Eighteenth-Century Life 46, n.º 3 (1 de septiembre de 2022): 123–43. http://dx.doi.org/10.1215/00982601-9955364.
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Widely translated and adapted in eighteenth-century England, Don Quixote inspired some of the period's greatest fiction. Yet while literary adaptations of Cervantes's novel often render its humor “amiable” and accommodate it to polite society, dramatic adaptations instead accentuate its low comedy and farce. This paper argues that dramatic entertainments should factor into discussions of the novel's extraordinary influence in eighteenth-century England. Thomas D'Urfey's popular trilogy, The Comical History of Don Quixote (1694–95), and several of its successors augment the base characteristics of Sancho and employ physical violence and cruelty to women and lower characters, showing that low comedy thrived in not only marginalized genres like jestbooks and comic illustrations, but also popular drama.
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Somerset, Jo. "Juxtaposing and Jostling: The Art of Writing History?" European Journal of Life Writing 9 (28 de diciembre de 2020): C91—C114. http://dx.doi.org/10.21827/ejlw.9.35933.
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This reflective essay seeks to question, through my creative practice, methods of writing the history of post-1945 events for a young adult reader. Using creative techniques to add depth to the research, I explore the scope of the future project through a palimpsest diagram as well as poetry, word association and vignettes of my lived experiences. I compare how other creative writers have treated historical narrative in fiction, memoir and drama. Building on schoalrly debate on the role of life writing in historical processes, both source materials and historiography, the essay analyses the scholarship on postmodern representations of the recent past in literature, including personalised life writing and autobiography as well as novels. Problems jostle for attention: blank spaces of the historical records, unreliable memories, competing definitions of truth, Western class-bound identity and twenty-first century retrospection. My conclusions suggest that novelistic and lyrical techniques and voices may be an effective medium for shining a spotlight on the themes of the late twentieth century. The resulting work of auto/history will be written and read through a personal lens which that is at the same time a memoir, history and historiography, which juxtaposes a microscopic life against the constellation of world events.
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Graham, Alan. "“Godforsaken hole called … called …”: place, nation, and spatial crisis in Beckett’s fiction and drama". Irish Studies Review 24, n.º 2 (24 de febrero de 2016): 159–74. http://dx.doi.org/10.1080/09670882.2016.1151152.
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Mukafi, Muhammad Hamdan. "Indonesian Literature and Its Identity in the Mood of the Age". Digital Press Social Sciences and Humanities 2 (2019): 00014. http://dx.doi.org/10.29037/digitalpress.42265.
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Globalization era is marked by information and technology advancement. It brings jungle of sign, obscuring definitive convention, or even creating a new definition, which is occurred in Indonesian literature. Colonialism history is a center convention which defines Indonesian literature, the literary genre is one of it. Reflecting a case of colonialism; England with its literary genre convention, that are a poem, fiction, and drama – are getting “resistance” from America, the continent that “occupied” by it, which had been opening free space to establish literary genres, such as sermon and speech are included. Therefore, in this case, innovation to Indonesian literary definition always a chance. Cross-media literature, in a blanket of information and technology advancement, had been born with hybridizing text, audio, and visual. Internet medium such as YouTube being its publication method. In 2011, Fahd Djibran and his colleagues gave birth to literary work named revolvere project – when the creation of audio-visual no longer arranged, but parting to literature. The born of revolvere project followed by many artists who answered to the mood of the age. Many new names come up like visual-poetry, visual-fiction, and more – putting them in one room known as Literary Reformer. It has its structure, interpreted in hybridative form, but opening to be studied in a different way when separated. This lead to a question of its legitimation in Indonesian literary world. So, Jane Stokes genre theory chose to examine its worthiness as Indonesian literature’s new creation room in genre classification. In this research, the theory of semiotics, the field of cultural production, and basic of taxonomy are implemented to observe its position to classify and struggle scheme in Indonesian literary world. Then, literary reformer denoted as Indonesian literature reflection, a success of mixing arts spices in one chalice, creating Indonesian literature new definitive identity.
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Guttman, Anna Michal. "“Our Brother’s Blood”: Interreligious Solidarity and Commensality in Indian Jewish Literature". Prooftexts 40, n.º 2 (2023): 71–93. http://dx.doi.org/10.2979/prooftexts.40.2.03.
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Abstract: This article argues that contemporary Indian Jewish literature recovers a narrative of lost, Indigenous cosmopolitanism, which effectively reframes the history of the Indian subcontinent. More specifically, it contends that interreligious commensality, particularly between Jews and Muslims, forms the center of this cosmopolitan vision, thereby reimagining the home—rather than the public sphere—as the center of cosmopolitan experience. This gendered focus on food as a site for cultural syncretism and remembrance renders the home as a space that redefines Jewish identity and community, thereby challenging the patriarchal authority of both Jewish law and the Indian state. These texts (fiction, drama, poetry and creative nonfiction) preserve and transmit forms of Indian Jewish identity that are marginalized within India and little known by Jews outside the subcontinent. Despite the precipitous decline in the size of India’s Jewish communities, that loss is not defined primarily by externally imposed trauma. Indian Jewish literature therefore offers a distinctive model for remembrance that also challenges contemporary truisms about relationships between Jews and others. The memory of past commensality offers a note of both caution and hope as contemporary Indian Jewish writers wrestle with Jewish-Muslim conflict in the Middle East, where the majority of Jews of Indian descent now reside.
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Lyubimtseva-Natalukha, Larissa. "SUPERTEXTS IN THE RUSSIAN DRAMA AT THE TURN OF THE XX–XXIST CENTURIES". Izvestia of Smolensk State University, n.º 1 (49) (26 de mayo de 2020): 73–85. http://dx.doi.org/10.35785/2072-9464-2020-49-1-73-85.
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The article is devoted to the study of supertexts phenomenon in contemporary Russian drama. Famous philologists’ points of view are compared, definitions of super-text are suggested, and its features are highlighted. The author of the article distinguishes
macro components of the supertexts in fiction, among which there are motifs, images, plots, types and forms of intertextuality and biographical myth. The overtext in literature is understood as a supra-textual formation, a set of meanings that arise in the process of interaction between texts distanced from each other, as well as different receptions of the writer's personality and his/her literary heritage.
The article analyzes problems of the supertexts typology in modern Russian drama and the selection criteria. Based on a set of features that determine the precedent personality and the «strong» text among them, the Shakespeare’s, Chekhov’s
and Gogol’s supertexts are distinguished in Russian drama at the turn of the XXth–XXIst centuries. The perspective «personal» texts are also marked: Pushkin’s, Lermontov’s, Goncharov’s and Dostoevsky's ones. The remake is considered as a genre under the influence of the meanings of the «personal» text. The remake in drama is proposed to be considered as a work that is most representatively involved in the formation of «personal» supertexts. The writer's biography and his/her works cease to be a fact of literary history and leave the literary field, they turn into a myth and overgrow with meanings due to the authors’
reception, critics and literary critics of subsequent generations. «Personal» supertexts are expanded due to the parodic interpretation of classical prototexts, the destruction of the biographical myth and its reception.
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Coolahan, Marie-Louise. "The textual terrain: developments and directions in women's writing, 1500–1700". Irish Historical Studies 46, n.º 170 (noviembre de 2022): 286–300. http://dx.doi.org/10.1017/ihs.2022.48.
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AbstractThis article assesses our much-expanded view of the texts produced by early modern women in Ireland, surveying what is available to present-day researchers and considering emerging methodologies for the analysis of early modern female voices. The range of genres with which we now know early modern women engaged owes much to feminist literary historians’ capacious approach to defining literature, expanding beyond traditionally elite genres (drama, poetry, fiction) to encompass writing in all its forms. Thus, the present corpus includes letters and petitions, life writing, devotional prose, legal depositions, as well as all kinds of verse and song, in multiple languages. Moreover, where the primary evidence in Ireland sometimes seems sparse, international perspectives have illuminated the currents of women's writing. Interpretative paradigms from other fields — book history and the history of reading, culinary and medical history, network analysis — are being applied to yield fresh insights about this material. The question of how early modern Ireland was experienced by women has been explored in studies that address such texts as articulations of subjectivity, in the light of the history of emotions. The wide range of situations and genres of women's writing in early modern Ireland is now firmly evident, inspiring a host of new approaches.
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Sankar, G. "Nationalism in Rabindranath Tagore Plays". IJOHMN (International Journal online of Humanities) 1, n.º 3 (14 de abril de 2015): 8–45. http://dx.doi.org/10.24113/ijohmn.v1i3.11.
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History reveals that institutions or artifacts produced by human beings can lead to the exploitation or the loss of freedom of other human beings. Thus the celebration of the good life of an Athenian citizen in Plato‟s time can hide the wretchedness of vast numbers of slaves whose labor made it possible for the few free citizens to enjoy that good life. Our criteria then must apply to all, or at least the vast majority of the vast of the human group concerned, if they are to lay claim to universality. Amiya Kumar Bagchi, Perilous Passage1 The story of Indo-Anglican literature is the story of yesterday, of a little more than a century, and today. One of the natural results of the British rule in India is the rise and development of literature. The term “Indo-Anglican” was first used in 1883 when a book published in Calcutta that bore the title Indo-Anglian Literature. After the publication of two books by Dr.K.R.Srinivasa Iyengar, the term “Indo-Anglian” has not only acquired considerable currency, but also has come to stay as a familiar and accepted term applied to Indian contribution to literature in English. This has come to be known as Indo-Anglian writing and has been quite an active school of didactic and creative art for at least a century. The first theatre offering English language drama in 1776, Indian drama in English has never achieved the same status as Indian fiction and poetry in English. As in other colonies such as Canada, the Indian theatrical scene was dominated by foreign companies, touring plays drawn mainly from
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Н. С., Чистобаева, y Челтыгмашева, Л. В. "P. A. TROYAKOV’S CONTRIBUTION TO THE DEVELOPMENT OF KHAKASS PHILOLOGICAL SCIENCE". SCIENTIFIC REVIEW OF SAYANO-ALTAI, n.º 2(34) (26 de octubre de 2022): 81–84. http://dx.doi.org/10.52782/kril.2022.2.34.016.
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Статья посвящена кандидату филологических наук, литературоведу, фольклористу, критику, переводчику, члену Союза писателей СССР, заслуженному деятелю науки Республики Хакасия П. А. Троякову. Рассматривается его вклад в развитие гуманитарной науки Хакасии, изучение хакасского фольклора и литературы. Проблемы развития литературы, анализ ее истоков, периодов и жанров, поэтики произведений получили отражение в кандидатской диссертации «Послевоенная хакасская поэзия и драматургия (1945 - 1957)», книге «Очерки развития хакасской литературы», ставшей первой обобщающей работой по истории хакасской литературы, разделах о драматургии и персоналиях в коллективной монографии «Очерки по истории хакасской советской литературы», статьях, опубликованных в «Ученых записках ХакНИИЯЛИ» и сборниках научно - практических конференций. Весьма значимы для хакасской филологии труды П. А. Троякова по фольклористике «Героический эпос хакасов и проблемы изучения», «Истоки и формы чудесного вымысла», в которых на основе большого фактического материала исследованы в историко - генетическом аспекте героические сказания, общие закономерности, этно - социальные истоки и поэтика хакасской сказки, рассмотрены формы развития повествовательных элементов чудесного вымысла от мифа к сказке, раскрыта типологическая близость с фольклором других народов. По актуальным вопросам национального фольклора и литературы Петр Анисимович опубликовал свыше 100 научных и научно - популярных статей, вёл большую работу по возвращению в литературу имен репрессированных писателей, особое внимание уделял сбору фольклорного материала в районах Хакасии, введению их в научный оборот и изданию в свет. The article is devoted to the Candidate of Philological Sciences, literary scholar, folklorist, critic, translator, member of the Union of Writers of the USSR, Honored Scientist of the Republic of Khakassia P.A. Troyakov. It considers his contribution to the development of the humanities of Khakassia, the study of Khakass folklore and literature. Problems of the development of literature, the analysis of its origins, periods and genres, the poetics of works were reflected in the Candidate’s dissertation “Post - war Khakass poetry and drama (1945 - 1957)”, book “Essays on the development of Khakass literature”, which became the first generalizing work on the history of Khakass literature, sections about drama and personalities in the collective monograph “Essays on the history of Khakass literature”, published in “Scientific notes of KhRILLH”, and in proceedings of research and practice conferences.P.A. Troyakov’s works on folklore studies “Heroic epic of the Khakass and problems of studying”, “The origins and forms of miraculous fiction” are very significant for Khakass philology, in which heroic tales, general patterns, ethno - social origins and poetics of the Khakass fairy tale are studied on the basis of a large amount of factual material, the developmentforms of narrative elements in miraculous fiction from myth to fairy tale are considered, typological affinity with folklore of other peoples is revealed. Pyotr Anisimovich published over 100 scientific and popular scientific articles on relevant issues of national folklore and literature, did a lot of work to return the repressed writers’names to literature, paid special attention to collecting folklore material in the regions of Khakassia, introducing them into scientific circulation and publishing them.
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Tizón-Couto, David. "A corpus-based account of left-detached items in the recent history of English". English Text Construction 8, n.º 1 (10 de julio de 2015): 21–64. http://dx.doi.org/10.1075/etc.8.1.02tiz.
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This paper investigates sequences featuring a coreferential link between a left-detached constituent and a resumptive in the following main clause [‘LDet-sequences’]. Their syntactic, semantic and textual behaviour is investigated in historically recent texts (since Modern English) where such detachments are not generally expected to replicate the behaviour that has been attested for contemporary spoken English Left Dislocation [‘LDis’] (cf. Geluykens 1993; Gregory & Michaelis 2001; Snider 2005; Netz et al. 2011). A typology of LDet-sequences is proposed in order to investigate them beyond their apparent structural similarities with spoken English LDis. Left-detached referents are found to typically hold a weak relationship with clause-grammar; however, some of the LDet-sequences attested also exhibit a certain degree of deviation from the less syntactic and freer, discoursal behaviour that characterises others. As far as their diachronic development is concerned, only LDet-sequences that closely resemble LDis illustrate the declining course reported in previous research for LDis (cf. Pérez-Guerra & Tizón-Couto 2009). Lastly, LDet-sequences are more frequent in drama and fiction; thus, the prediction that they are employed to recreate conversation (cf. Geluykens 1992) is provisionally borne out.
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Čiočytė, Dalia. "The Concept of the Demonic in Herkus Kunčius’s Novella A Most Loyal Metaphysical Friend and Marius Ivaškevičius’s Drama The Mistr". Colloquia 39 (20 de diciembre de 2017): 35–51. http://dx.doi.org/10.51554/col.2017.28719.
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There are two works of contemporary Lithuanian literature that effectively explore the theme of the demonic: Herkus Kunčius’s novella A Most Loyal Metaphysical Friend (Ištikimiausias metafizinis draugas, 2010) and the play The Mistr (Mistras, 2010), by Marius Ivaškevičius. The author of this article examines how these two works modify the traditional literary concept of the demonic – both works present the demonic not in classical, transcendental terms but as an immanent force. Considering the works from the perspective of literary theology, the author asks whether, and which kind of, theological thinking they develop.Herkus Kunčius’s novella is a postmodern metafiction (a fiction about a fiction): the central character of the narrative is the legendary Transylvanian vampire Count Dracula, the main character in Irish writer Bram Stoker’s gothic novel Dracula (1897). Kunčius’s Dracula is the creation of another character’s unhealthy consciousness – a “creation within a creation.” A parody of horror novels, films, etc. about vampires, the novella also parodies the language of psychiatrists, the characters who develop an idea about the demonic as an untreatable psychiatric illness: in the nihilistic reality of the work there simply is no one to treat it.Marius Ivaškevičius’s drama is a tragi-comical grotesque pasted together from Lithuanian historical and cultural symbols and analyzes the person of Adomas Mickevičius (1798–1855). In religious and cultural history, the prototype for Mistr in the play – Andrzej Towiański (1799–1878), a self-proclaimed prophet, “a mistr called by God” – represents the archetypical figure of the false prophet. The main meaning accorded to the demonic as represented in Ivaškevičius’s play is the demonic nature of political oppression: the work offers an original variation on the entanglement of political aggression and the demonic typically found in Lithuanian literature.
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Closel, Régis Augustus Bars. "Utopia and the Enclosing of Dramatic Landscapes". Renaissance and Reformation 41, n.º 3 (12 de noviembre de 2018): 67–92. http://dx.doi.org/10.33137/rr.v41i3.31542.
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This article focuses on the enclosing of the land as depicted in More’s Utopia (1516); the anonymous domestic tragedy, Arden of Faversham (1589); and the Carolinian play, A Jovial Crew (1641), by Richard Brome. It discusses how the relationship between the multiple resulting changes in the environmental, social, and economic landscape gave rise to important points for action and social debate in early modern English fiction, in which the customary pre-Reformation past is as irreconcilable as a fictional utopian world. This article argues that the emerging profitability of the newly and increasingly enclosed topography as imagined in Utopia appears in Thomas Nashe’s The Unfortunate Traveller, and its initial consequences are disclosed in the anonymous Arden, only to spread through generations of social displacement in Richard Brome’s Jovial Crew, by which time an absurd realignment of the relationship between beggary and ideal worlds is taking place in drama.
Cet article se penche sur le phénomène d’enclôture des terres tel que Thomas More le décrit dans l’Utopie, dans la tragédie anonyme intitulée Arden of Faversham (1589) et dans la pièce carolinienne A Jovial Crew (1641) de Richard Brome. On montre d’abord comment les différentes conséquences environnementales, sociales et économiques ont donné lieu à des mouvements et des débats sociaux au sein de la fiction anglaise moderne, où la l’histoire convenue du passé précédant la Réforme paraît tout aussi éloignée que la fiction d’un monde utopique. On avance que les possibilités de profit qu’offre la nouvelle topographie de terres de plus en plus clôturées, ainsi que l’imaginait l’Utopie, sont évoquées dans la pièce The Unfortunate Traveller de Thomas Nashe, que les conséquences de ces changements apparaissent dans la pièce Arden, et que les déplacement sociaux qui y ont fait suite pour des générations se retrouvent plus tard dans la pièce de Richard Brome ; à cette période, le théâtre procède à un absurde réalignement du lien entre les mondes idéaux et la mendicité.
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Hair, P. E. H. "The Periplus of Hanno in the History and Historiography of Black Africa". History in Africa 14 (1987): 43–66. http://dx.doi.org/10.2307/3171832.
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The Periplus of Hanno describes a purported Carthaginian voyage down the coast of western Africa—a voyage to as far as Guinea in the opinion of some scholars. The brief text is of doubtful and at best partial historical authenticity; and in any case its account of the later part of the voyage concentrates on a few episodes of high drama and exotic observation, at the expense of those other detailed particulars which might have made the Periplus, if historical, an informative as well as unique documentary source on black Africa in the first millennium B.C.. At least as far as black Africa is concerned, it must be questioned whether the Periplus is worth a fraction of the intensive scholarly effort that has been spent on it during the past four hundred years.Current debate among ancient historians and classical philologists turns on the nature of the Periplus: is it wholly fiction? or, if fact, is it fact fictitiously extended and embellished? or, a third possibility, is it fact dramatically and perhaps intentionally summarized and slanted? But from the point of view of the historian seeking to obtain information about early sub-Saharan Africa in general and west Africa in particular, this debate can be by-passed (hence the present paper does not need or attempt to comprehend, pursue, or augment the detailed scholarly arguments and evidence available in the literature). For whether based on fact or not, the Periplus is patently a piece of literature of a kind which does not afford precise historical information.
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Lepecki, André. "“After All, This Terror Was Not Without Reason”: Unfiled Notes on the Atlas Group Archive". TDR/The Drama Review 50, n.º 3 (septiembre de 2006): 88–99. http://dx.doi.org/10.1162/dram.2006.50.3.88.
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Witnessed in the scholarly lectures of the Atlas Group's The Loudest Muttering Is Over: Case Studies from the Atlas Group Archive, performed by Walid Raad, images become part of a larger political dramaturgy of history as pedagogy that simultaneously produces memory, language, and the authoritative historian's voice, through a misfiling of crucial information—further blurring the lines between reality and fiction.
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Pulham, Patricia. "Traces of Wilde: Fact and Fiction in Dorian: An Imitation and The Picture of John Gray". Victoriographies 9, n.º 3 (noviembre de 2019): 298–315. http://dx.doi.org/10.3366/vic.2019.0355.
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The life and art of Oscar Wilde are of enduring interest to contemporary readers and audiences who remain fascinated not only by his work, but also by his biography. The dramatic nature of the three trials that took place in 1895, and Wilde's spectacular fall from grace following imprisonment and exile, speak to our own period in which questions of gender and sexuality are topics of continuing tension and concern. This essay examines two examples of contemporary writing that are informed by Wilde's biography and oeuvre: Will Self's novel, Dorian: An Imitation (2002), and Craig Wilmann's drama, The Picture of John Gray (2014), and offers the first academic analysis of Wilmann's play. Exploring these works through the lens of neo-Victorianism, it considers the balance between history and fiction in each text. Drawing on Ricoeur's treatise The Reality of the Historical Past (1984), it proposes that Ricoeur's concept of the Analogue, which encompasses both the imaginative reconstruction of the past through the documentary trace and the adoption of the critical distance required to understand it, provides a new way in which neo-Victorian literature might be understood.
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Polishchuk, Vera. "Гиперболоид инженера Вальса: Набоков и советская фантастика 1910-х – 1920-х гг. [Engineer Waltz’s Hyperboloid: Vladimir Nabokov and the Soviet Fantastic Literature of the 1910—1920s]". Slavica Revalensia 8 (2021): 94–114. http://dx.doi.org/10.22601/sr.2021.08.05.
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The article is aimed to trace some significant parallels between Nabokov’s Russian prose and drama, and a number of Soviet fantastical novels. A close reading reveals a whole network of allusions to Alexander Grin’s The Glittering World (Blistaiushchii mir, 1924) in Invitation to a Beheading (Priglashenie na kazn’, 1935—36), including the usage of the Romantic hero model, canonic female figures and gnostical imagery, originating from The Invisible Man by H. G. Wells. As for The Waltz Invention (Izobretenie Val’sa, 1938), the tragicomedy gives us compelling evidence that Nabokov deliberately wrote a parody on The Garin Death Ray (Giperboloid inzhenera Garina, 1926—27), a famous Soviet sci-fi novel by Alexey Tolstoy. In general, it can be said that Nabokov is scrupulously using implicit allusions and sophisticated wordplay on every level of his texts, widening the genre boundaries of science fiction, dystopia and adventure novel to invent a new literary strategy and new genres of his own. KEYWORDS: 20th-Century Russian Literature, Vladimir Nabokov (1899—1977), Priglashenie na kazn’ (1935—36), Izobretenie Val’sa (1938), Alexander Grin (1880—1932), Alexey Tolstoy (1883—1945), Allusion, History of Literature.
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Agena, Martins Moses y Habila, Iranyang Jeremiah. "CONTEXTUALISING HISTORY AND CREATIVITY: AN EXPLORATION OF AHMED YERIMA'S “THE TRIALS OF OBA OVONRAMWEM". Ahyu: A Journal of Language and Literature 1, n.º 3 (1 de mayo de 2020): 23–33. http://dx.doi.org/10.56666/ahyu.v1i3.4.
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This paper beams its searchlight on the relationship between history and creativity in Ahmed Yerima's The Trials of Oba Ovonramwem.The study adopted the qualitative research method usingDocumentary Observation Research instrument in line with the textual nature of the work. The theoretical framework used as a tool of analysis is the New Historicism theory propounded by Stephen Greenblatt, the theory aims at understanding the work of art through its historical context and also understanding cultural and intellectual history through literature. It was observed that, the history has been transformed into theatrical products. Thus the efforts of the playwright atcreating drama out of history appear to bridge the gap between fact and fiction in historical drama. The study establishes that the relationship between history and drama is the one which the playwright offers explanation through his play to historical event while forcing on it his thematic preoccupation.The study finds out that historical plays can be used in the most viable way for the promotion and propagation of the African culture. The play has to some extent tried to achieve this role through the use of songs, proverbs, dances, chants, language of the people. This study also reveals that the playwright has made the play relevant to the contemporary society through some specific themes. The study discovers that in using history for drama, the playwrights is free to rework and recognize the actual story depending on the purpose and what the writer aims to achieve with the story, this is done in order for history to have a sharper meaning to the new people who will see it and also to achieve a thematic preoccupation.From the foregoing, it can be said that history has therefore become a source material for the playwrights; they deem it necessary to interpret it by giving it contemporary relevance. The play is therefore a historical play that is set in a milieu which deals with historical personages and events. The history has been artistically woven from real life material into a highly dramatic piece, establishing a sense of a particular historical period and giving the audience necessary information at the same time leading up skillfully to the climaxes supplied by historical facts. As it were, the word of the past replaces the world of the past, since for the New Historicist, the events and attitudes of the past now exist solely as writing. The author's role to a large extent is determined by historical circumstances. The playwright has done this by carefully and skillfully blending history with the use of dramatic techniques such proverbs, chants incantations, characters, setting, irony, and climax. The paper attempts to encourage playwrights to continue to use history as source material in writing their plays It can therefore be concluded that the playwrights draws their source material from mundane human experience i.e. history and weave them with aesthetics through the power of imagination and creativity thus making it a beautiful play that can preserve the history of their society.
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Paichadze, Tamar. "Simbolist’uri kalakis mxat’vrul-msoplmxedvelobrivi ret’rosp’ekt’iva Sandro cirekidzis miniat’urebshi /სიმბოლისტური ქალაქის მხატვრულ-მსოფლმხედველობრივი რეტროსპექტივა სანდრო ცირეკიძის მინიატურებში [Artistic-Worldview Retrospective of Symbolist Сity in Miniatures by Sandro Tsirekidze]". Kartveluri Memk'vidreoba [Kartvelian Heritage] 25, n.º 25-1 (15 de diciembre de 2021): 228–38. http://dx.doi.org/10.54635/tpks.2022.13putk.
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In literary studies, there is a firmly rooted idea that generally the genre specificity of the symbolist creative thought is merely poetic imagology, however, the genre area in the European history of Symbolism has also embraced prose, fiction, drama, miniature literature as well as essays. In this regard, the Georgian Symbolist school which represents a creative variation of the European narrative is consistent. Sandro Tsirekidze’s name is unquestionably associated with the history of the Georgian Symbolist prose; he, all the way through his life and work, fully embraced the destiny of the so-called “cursed poets” and the fate of the “forgotten artists”, although, back then, he along with others from the Blue Horns was constructing the new history of the Georgian literature. Sandro Tsirekidze’s ideas about literature and art serve as another analogue of the assessment of creative events, performed professionally with a then-innovative and modern approach. These attitudes have been demonstrated in his miniatures in which the Georgian reflection of the creative and worldview discourse of Paul Verlaine, Émile Verhaeren, Arthur Rimbaud, Georges Rodenbach, Valery Bryusov, and other Symbolists becomes fully conscious. For the character of Sandro Tsirekidze’s miniatures, the city is the space for action as well as the space for thinking; the city which, at the same time, is a symbolic binary essence, and an artistic and creative stepping stone. Here, the author’s subjective opinions and attitudes undergo a certain artistic transformation, when the author rather proceeds along the “footbridge” of literature positioned between the emotion and analysis, where the author’s genuine emotional experiences are explicitly identified. The city text by Sandro Tsirekidze is related to the conceptual symbolist perception. It is the complex of concepts, motifs and plots, which covers the author’s model of city life – both generally and in its private manifestations.
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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, n.º 2 (13 de abril de 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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Wong, Nicholas Y. H. "Inter-imperial, Ecological Interpretations of the “Five Coolies” Myth in Penang and Medan". Prism 19, n.º 2 (1 de septiembre de 2022): 319–36. http://dx.doi.org/10.1215/25783491-9966667.
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Abstract This article proposes resource extraction politics as a lens to analyze the relationship between Malaysian Chinese (or Mahua) literature and the global literary economy. Rather than ascribe Mahua literature to its present national boundaries and diasporic communities, the article locates its formation in inter-imperial nodes of trafficked labor and art production, as well as a global system of colonial plantations. The article revisits Zeng Huading's 曾華丁 (1906–1942) short story (1928) and Ba Ren's 巴人 (1901–1972) historical drama (1949) about the myth of five Chinese coolies and their execution in 1871 for murdering a Dutch foreman in a Deli tobacco plantation in East Sumatra. The Anglo-Dutch migration corridor, or the cross-straits coolie trade between the two imperial jurisdictions of Penang (Straits Settlements) and Medan (East Sumatra), now part of Malaysia and Indonesia respectively, was one Nanyang connection, but these writers have been discussed separately within Mahua and Yinhua 印華 (Indonesian Chinese) contexts. Ba Ren, in particular, is studied as a leftist writer who contributed artistically to the Indonesian and Chinese revolutions in the 1940s and 1950s. Here, the article rethinks Ba Ren's legacy within a Mahua corpus, and Zeng Huading's fiction within a cross-straits history of labor. This ecological reading of their works also highlights their critique of Mahua's peripheralization within a world economy and global literature.
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Nielsen, Hanne y Elizabeth Leane. "‘Scott of the Antarctic’ on the German Stage: Reinhard Goering's Die Südpolexpedition des Kapitäns Scott". New Theatre Quarterly 29, n.º 3 (31 de julio de 2013): 278–93. http://dx.doi.org/10.1017/s0266464x13000468.
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Reinhard Goering's play Die Südpolexpedition des Kapitäns Scott (1929) tells the story of the famously tragic British polar expedition led by Robert F. Scott in 1911–12. As the first public staging of the story, the play created considerable controversy in Britain when it premiered in Berlin in 1930. A late Expressionist drama, it offered perspectives on the expedition quite different to those coming out of Scott's homeland. In this article, Hanne Nielsen and Elizabeth Leane contextualize the play within Goering's own career; outline its performance history; examine its reception in both Germany and Britain; and analyze the play text in terms of its innovative treatment of Scott's story. Hanne Nielsen is a postgraduate student at Gateway Antarctica, University of Canterbury. Her background is in Antarctic Studies and German literature and she is currently undertaking a study of representations of Antarctica on stage. Elizabeth Leane is a Senior Lecturer in English at the University of Tasmania, where she holds a research position split between the School of Humanities and the Institute of Marine and Antarctic Studies. She has written and edited several books, most recently Antarctica in Fiction (Cambridge University Press).
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HAMMEL, STEPHAN. "Music, the Realist Conception of Art and the Materialist Conception of History". Twentieth-Century Music 16, n.º 1 (febrero de 2019): 33–50. http://dx.doi.org/10.1017/s1478572219000082.
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AbstractOur fraught political moment is a propitious one for renewing the Marxist approach to music. Because that approach has consistently been folded into a more general Marxist discourse on art and aesthetics, any attempt must begin by revisiting what is essential to that discourse. I take its keystone to be the realist conception of art. This conception holds that artworks are a means by which at least some of their appreciators come to know truths about the world outside consciousness. Insofar as they are representational, painting, fiction, music, and drama potentially constitute vehicles for coming to understand the real world. Artistic representation on this view is understood to be analogous to mental representation.Previous studies of Marxist aesthetics have followed Maurice Merleau-Ponty in making a sharp distinction between ‘Eastern’ and ‘Western’ branches of the tradition. The Eastern, beleaguered by the exigencies of Communist Party rule is often presented as the corrupt twin of the Western. The latter, developed in relative freedom and informed by a Hegelian legacy suppressed by Stalinism, alone commands theoretical, rather than merely historical, interest. This article departs from this Cold War framework in arguing that the Hegelian strand in Marxist aesthetics grows out of its Bolshevik predecessor and, crucially, shares with it a realist conception of art. After reconstructing the emergence and development of this conception (paying special attention to how music is directly addressed in the literature), I evaluate the compatibility of the realist conception of art with the materialist conception of history as it is found in Marx and Engels. I ultimately argue that moving past the realist conception of art is key to renewing the Marxist approach to music for our time.
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Cortés Jornet, Marina. "Manuela Agnés Rausell i Soriano i el trencament de la tradició narrativa". SCRIPTA. Revista Internacional de Literatura i Cultura Medieval i Moderna 22, n.º 22 (3 de diciembre de 2023): 128. http://dx.doi.org/10.7203/scripta.22.27822.
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Resum: Manuela Agnés Rausell i Soriano (València, 1839-1918) fou una de les escriptores més rellevants de la Renaixença al País Valencià, que va contribuir al moviment cultural com a mecenes i amb una obra vasta i diversa: poesia, assaig, teatre i narrativa, en valencià i en castellà. És en l’àmbit de la narrativa catalana que es considera una figura trencadora, tenint en compte el panorama narratiu valencià del segle XIX, amb pocs testimonis i de poca ambició literària. Rausell, per la seua banda, aposta per la narrativa històrica i tenim constància de tres llegendes seues: La llegenda del Puig (inèdita), La mort d’en Ramon Boïl (1883) i Centelles i Solers o un amor entre dos odis (1884). Aquestes llegendes es caracteritzen per una sèrie de trets pertanyents al romanticisme històric i mostren els recursos, els temes i el model de llengua culta promoguts pels Jocs Florals. Rausell es proposa produir narrativa seguint les premisses de la poesia culta, en un intent d’innovació del gènere respecte de la narrativa coetània que s’escrivia a Catalunya i en altres llengües europees.Paraules clau: Renaixença valenciana, romanticisme, narrativa històrica, Manuela Agnés Rausell i Soriano, segle XIXAbstract: Manuela Agnés Rausell i Soriano (València, 1839-1918) was one of the most relevant female writers of the Valencian Renaixença, who contributed to this cultural movement as a sponsor and with a vast and diverse work: poetry, essays, drama and prose in Catalan and Spanish. She is considered an innovative figure in Catalan fiction, bearing in mind the outlook of Valencian prose during the 19th century, marked by testimonies of little literary ambition. Rausell wrote historical fiction, and three legends are known to be written by her: La llegenda del Puig (unpublished), La mort d’en Ramon Boïl (1883) and Centelles i Solers o un amor entre dos odis (1884). These legends boast several characteristics typical of historical romanticism and show the resources, themes and model of cultured language promoted by the Jocs Florals contest. Rausell intended to write prose following the premise for learned poetry and this allows to consider her contribution as an attempt to innovate the genre with respect to the contemporary prose written in Catalonia and in other European languages.Keywords: Valencian Renaixença, romanticism, historical fiction, Manuela Agnés Rausell i Soriano, 19th century
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Sarakaeva, Elina A. "The Beauty, the Beast and the Cinema. “The Chain Scheme” in Chinese Literature and Cinematography. Part 2". Corpus Mundi 4, n.º 1 (10 de julio de 2023): 50–74. http://dx.doi.org/10.46539/cmj.v4i1.78.
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In the first part of the work, entitled “The Beauty, the Beast and the Red Hare” published in “Corpus Mundi” Vol. 3(2), 2022, I trace the origin of the “Chain Scheme” legend in the Chinese historical chronicles, analyze the development of the plot in the poetry, fiction and other works of art and make conclusions about the interpretation of the main characters’ morals and motivations in pre-modern Chinese culture. In the present paper, which is the second part of the same research, I analyze artistic devices and narrative tropes in TV versions of “Three Kingdoms”, I comment on the changes that the plot has undergone in the course of history and especially in modern TV-dramas and make some conclusions as to the clash of traditional and modern value systems.
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Colangelo, Jeremy. "A Private Honesty: Torture and Interiority in the Theatre of Sarah Kane". New Theatre Quarterly 38, n.º 4 (18 de octubre de 2022): 379–93. http://dx.doi.org/10.1017/s0266464x22000276.
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This article analyzes the role of pain and torture in the construction and destruction of subjectivity by way of a comparison of the depictions of torture in the theatre of Sarah Kane and Elaine’s Scarry’s highly influential The Body in Pain: On the Making and Unmaking of the World. The essay uses Kane in conjunction with the phenomenology of Emmanuel Levinas, as well as relevant work on the history and sociology of privacy and private speech. Its purpose is to develop an account of what is here called pain’s bi-directional character, or its capacity to represent both the presence and the absence of the victim’s subjectivity, possibly at the same time. Using Kane to expand upon Scarry’s account of the role of subjectivity in torture, we can see how the logic of torture structures numerous relationships in Kane’s work, including Blasted, Phaedra’s Love, Cleansed, and Crave. The essay establishes Kane as not only a major playwright, but also a subtle and perceptive theorist of suffering for whom the question of intersubjectivity is a major site of dramatic struggle. Jeremy Colangelo is the author of Diaphanous Bodies: Ability, Disability, and Modernist Irish Literature (University of Michigan Press, 2021) and the editor of Joyce Writing Disability (University Press of Florida, 2022). His work has appeared in such journals as Modern Fiction Studies, Journal of Modern Literature, Textual Practice, and Modern Drama. He currently teaches at King’s University College, University of Western Ontario.
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Bamunusinghe, S. y C. D. Senaratne. "Sri Lankan Anglophone Literature as a Mode for Dialogue and Reconciliation in the Portrayal of War in Sri Lanka (1983-2009)". Journal of Social Sciences and Humanities Review 8, n.º 1 (31 de diciembre de 2023): 1–7. http://dx.doi.org/10.4038/jsshr.v8i1.114.
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From ancient times, war has played a main role in the lives of people and has been a major theme for literature, history, and as well as for political discourses. The period between 1983-2009 marks the war that took place in Sri Lankan history, which impacted the country politically, culturally, and economically. The realms of Sri Lankan English, Sinhala, and Tamil literature also went through change during this period, and many fiction, poems, dramas, and films were composed in response to the war both during and in its aftermath. The Sri Lankan Anglophone writers: residential authors as well as authors of the diaspora portray the war through their literary compositions. This critical literature review examines the role Anglophone literature plays as a mode for dialogue and reconciliation in the portrayal of war. Above ten studies conducted on Sri Lankan Anglophone literature and its role in portraying war published between 1992 and 2020 were reviewed. The findings of the review indicate that many scholars consider Sri Lankan Anglophone literature as a platform that plays a significant role as a mode for dialogue and reconciliation while some consider it as literature composed by the English-speaking class for its own class. This review concludes that the Sri Lankan Anglophone literature plays a substantial role as a medium for dialogue and reconciliation in the portrayal of war in Sri Lanka (1989-2003).
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Viktorovich, Vladimir. "Dostoevsky’s Lost Play “Boris Godunov” (Sources, Concept)". Неизвестный Достоевский 11, n.º 1 (marzo de 2024): 5–43. http://dx.doi.org/10.15393/j10.art.2024.7121.
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According to contemporaries, the play “Boris Godunov” was written by Dostoevsky before he began work on the novel “Poor People.” The manuscript of the play is lost. Some assumptions about its composition have been made in the scientific literature, but this article for the first time undertakes a systematic analysis, if possible, of all the alleged sources of the idea, as well as some of its reflections in the writer’s later works. The article examines the situation in Russian historiography and fiction related the coverage of the reign of Boris Godunov and the personality of the tsar himself prior to Dostoevsky’s undertaking of this topic. The key sources for him were the 9 volumes of Karamzin’s “History of the Russian State” and Pushkin’s “Boris Godunov,” which formed the consciousness of the future writer since the times of family readings in his parents’ house. Subsequently, Dostoevsky faced an acute dispute in literature around Karamzin and Pushkin, who declared Godunov guilty of the murder of Tsarevich Dmitry. Their position was supported in the 1830s by the authors of historical dramas V. T. Narezhny, A. S. Khomyakov, and M. E. Lobanov. The historians M. P. Pogodin, N. S. Artsybashev, and A. A. Kraevsky defended Godunov; their point of view was reflected in the dramas of the same Pogodin and G. F. Rosen. F. V. Bulgarin took an ambivalent position in both journalism and prose. Dostoevsky was undoubtedly familiar with Schiller’s printed sketches for the tragedy “Demetrius,” where the figure of Boris Godunov as psychologically complex and ambiguous. The critics of Pushkin’s Boris Godunov N. I. Nadezhdin, N. A. Polevoy, and V. G. Belinsky played a certain role in shaping Dostoevsky’s idea. In “interacting” with them, Dostoevsky obviously developed a new twist in the dramatic plot, which resolved the historians’ dead-end disputes. In his play, which absorbed the dramatic experience of Shakespeare, Racine, Schiller, as well as the historical legends around Alexander I and Napoleon, a version was proposed about Godunov’s indirect guilt in Dmitry’s death and about the hero’s unwavering moral responsibility even for indirect complicity in a crime. This motif was developed in Dostoevsky’s subsequent works, such as “Netochka Nezvanova” (Efimov), “Demons” (Stavrogin), “Brothers Karamazov” (Ivan). It can be stated with a high degree of confidence that the origin of the concept of expanding guilt and responsibility for it occurred in the very first works of the writer — the tragedies “Mary Stuart” and “Boris Godunov.” The author of the article suggests the formation of Dostoevsky’s aesthetics in the context of the development of Russian historical drama.
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Olumide Ogunrotimi, PhD y Victor O. Ogbeide, PhD. "AESTHETICS OF TRAGIC ICONOCLASM IN THE NIGERIAN NOVEL: EXAMPLES OF OKONKWO AND EZEULU". Ahyu: A Journal of Language and Literature 1, n.º 3 (2 de mayo de 2020): 127–35. http://dx.doi.org/10.56666/ahyu.v1i3.14.
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Tragic characters are the ones who remain with us long after we have encountered them in literature. Comedy might have its uses, but tragedy, with its grave actions which culminate in a catastrophic end for the central character, proposes by its very nature manifold representations of suffering and pain that catenate with our perceptions of the fallibility of humanity, a tragic narrative that substantiates human mortality. Albeit over the centuries the aesthetics of the tragic mode has received several modifications, from its origin in Greek drama to its crystalization in other literary manifestations, its core elements seem little affected. The purpose of this study is to examine the nature of tragedy in the Nigerian novel. Starting the evaluation from the scrutiny of what undergirds the tragic discourse,the basic procedure of this paper examines the aesthetics of tragedy in Nigerian fiction, using the central characters in Chinua Achebe's Things Fall Apart and Arrow of God. The paper particularly analyses how the author treats the tropes of tragic "herohood" in the African context.One of the principal conclusions of this study is the discovery that the actions and inactions of the central figures are motivated by narcissistic orientations, and the crises in their tragic narratives are engendered by their attempts to mould societal history in a direction the community does not wish to go. In the ensuing crisis between the individual and the society, the individual invariably loses because "no man is greater than his community." The study discovers that though some aspects of the misfortune and anguish experienced by these tragic protagonists parallel those of classic Western literature, they introduce different contextual dynamics and characterological complexities to the architectonics of tragedy. The study concludes with the realisation that these dynamics and complexities have helped to create a new paradigm for tragedy in African literature.