Gotowa bibliografia na temat „Boxing – Drama”

Satyric drama introduced athletics much more regularly as an activity than either comedy or tragedy. Many of its villains defeated hapless travellers in a boxing or wrestling bout before murdering them. Satyr-plays were often set at athletic contests where the satyrs of the chorus encountered athletes or tried to be competitors themselves. In one of his plays Euripides provided the most detailed critique of athletes in any genre of classical Athenian literature.

Clint Eastwood’s Million Dollar Baby won five Academy Awards but also came under attack from female boxers and disability activists. Ostensibly a drama about a tenacious woman’s quest to become a professional fighter and the male coach who assists her, Million Dollar Baby appears to insert a radical portrayal of femininity, female athleticism, and power into the male-dominated genre of boxing films and, more generally, a media that has been largely hostile to female boxing. We explore the extent to which the female lead can be viewed as a transgressive figure along with the discourses of containment that reduce her threat to longstanding cultural myths about boxing as a male preserve. Our analyses of the film’s racial, gender, class, and disability politics contend that its focus is not women’s boxing, disability, or the right to die; rather, like boxing, this film is about the male struggle to protect masculinity in a sporting world deeply shaken by the increasing presence of women.

Hook to the ChinWithin historical avant-garde movements from the beginning of the 20th century, a curious taste and fascination for boxing burst out, and developed later into the claim that art must become more similar to boxing, or to sport in general. This fascination with pugilism in the early stage of its popularity on the continent included such charismatic figures of the Parisian avant-garde as Arthur Cravan, who was Oscar Wilde's nephew, a pretty good boxer and an unpredictable organizer of proto-dada outrages and scandals.After WWI, the zenith of artists' and intellectuals' love for boxing was reached in Weimar Germany. One of the well known examples connecting boxing with art was Bertolt Brecht with his statement that we need more good sport in theatre. His and other German avant-garde artists' admiration for boxing included the German boxing star May Schmeling, who was, at least until he lost his defending championship match against Joe Louis, an icon of the Nazis as well. Quite contrary to some later approaches in philosophy of sport, which compared sport with an elite art institution, Brecht's fascination with boxing took its anti-elitist and anti-institutional capacities as an example for art's renewal.To examine why and how Brecht included boxing in his theatre and his theory of theatre, we have to take into account two pairs of phenomena: sport vs. physical culture, and avant-garde theatre vs. bourgeois drama. At the same time, it is important to notice that sport, as something of Anglo-Saxon origin, and especially boxing, which became popular on the European continent in its American version, were admired by Brecht and by other avant-garde artists for their masculine power and energy. The energy in theatre, however, was needed to disrupt its cheap fictionality and introduce dialectical imagination of Verfremdungseffect (V-effect, or distancing effect). This was "a hook to the chin" of institutionalized art and of collective disciplinary morality of German tradition.

Violence is a competitive conflict that is characteristic of any living thing. But in human societies, violence is given more complex and diverse cultural symbols. Among them, violence in sports is one of the most apparent representatives. And should violence in sports be curbed? Can such behavior be used as a type of ritual to eliminate the fear of spectators and thus reduce the proportion of violence in real life? Based on the ritual research theory from anthropology, this paper will discuss and analyze the above problems from the perspective of ritual and drama performance. On the basis of combing the relevant research, this paper focuses on interviewing 10 members of a boxing club and watching the competition videos of some professional boxers, which will be the main data of this study. The results of this study demonstrate the correlation between violence and ritual. This study will help to provide new cases for modern ritual research.

I often have heard boxing fans remark that the prize ring reveals life the way it really is. The elemental combat between two individuals, the primal physical struggle, the quest for glory and fear of humiliation, all contribute to the belief that men in the ring are in touch with life's underlying realities. Significantly, depicting “life the way it really is” is precisely the role anthropologist Clifford Geertz ascribes to religious worldviews. Religions, Geertz tells us, do not just buttress social systems or justify conditions as men and women find them. They also explain the way the world works, cut behind surface appearances, and offer visions of underlying order which give meaning to daily life. Through drama and ritual, religion depicts the “really real” with idealized clarity. Religious symbols unmask the way the universe is in sheer actuality and demonstrate the moving forces behind mundane affairs. The truism that America's popular religion is sports takes on new significance in light of Geertz' observation. And in the pantheon of the 1920s, no gods shone more brightly than the heroes of the ring.

Abstract Bernard Shaw’s little blank-verse play, The Admirable Bashville, or, Constancy Unrewarded is a play where two types of performance, sport and drama, interact on the stage. It was written in 1901 and it was performed three times in London under Shaw's auspices in 1901, in 1904, and in January-February 1909. Its next performance was in Vienna in 1924; then it was performed in Sydney in 1927. Shaw was an enthusiastic admirer of the bare - knuckled art of fighting, though he has written Bashville as a portrait of a period when this art was disapearing to be replaced by the noble art of boxing, under the new Queenberry’s rulling. This essay examines both the play itself, throwing new lights over obscur characters of the play, such as Cetewayo the Black African king, and even over Bashville, the prize-fighter. As copyrights laws of that period did not guarantee Shaw’s rights over his works, the paper shows Shaw’s attempts to keep the copyrights over his work, by performing the play as many times and under any conditions. Under copyright laws he could lose all his rights if the play were performed by other producers beforehand. The Admirable Bashville is a minor play by a major playwright, and Shaw never pretended it was anything more.

The purpose of this study is to characterize the image of the protagonist of the saga of the boxer Rocky through the prism of mythopoetics as a type of new cultural hero in the field of sports. Research methods are historical and cultural, mythopoetic, and comparative. Its application allows to outline the genetic connection of the image of the hero-boxer with the literary tradition; identify its main parameters as a mythohero; allocate the points of intersection of the author's myth with the myth of the American dream; consider the acquisition of the mytheme of Rocky the beginnings of the ideologeme.Results of the research: The genesis of the image goes back to the traditions of neo-romantic literature. The active appeal to a ritual and a myth, and a new wave of interest in sports as an embodiment of the principle of agony and, therefore, the popularity of sports drama, resulted in the mythologization of the boxer character in the culture of the 20th century. The distinct feature of the movie is a genre syncretism; it is a combination of sports drama, film-biography, action, and melodrama with typical for mytho-scenario archetypic situations. This determines the mass audience and the range of interpretation of Rocky’s story, formed as a mythological scenario. Rocky’s biography interweaves the facts of life of the real prototypes (boxers Rocky Marciano, Rocky Graziano), fictional characters (heroes of Hollywood sports movies), and autobiographical (Sylvester Stallone). The connection with sports as a ritual gives the film a mythological connotation. Simultaneously, it highlights the utilitarian aspect, inherent in the American tradition of Enlightenment and focused on the practical application of the context. The stories of Rocky’s boxing matches, and the stories of his relationships we perceive as “steps” of his initiation to a new cultural hero or a hero of mass culture. This occurs in a chronotope with characteristics of large (Philadelphia) and small (boxing ring) topos as places of professional and personal recognition. Rocky IV stands out among the films of the franchise; the protagonist embodies the athlete-defender of the national way of life that fights against a boxer from the “empire of evil”; and from the cult hero from of mass culture he turns into a mytho-ideology.Conclusions. The popular character of world cinema Rocky Balboa realizes the typical for the 20th century need for the new cultural heroes. Belonging to the two entertainment spheres – cinema and sports – the character created by Stallone gained immense popularity and a long screen “life”. Whereas Rocky’s assertion to the mytheme, and then ideologeme, led to a “fantastic” origin as a character, that is, a combination of biographies of real and fictional prototypes; connection of life scenario with rituals; correlation of moral and ethical beliefs of the hero with the ideas of the national myth of the American dream; his life trials as stages of initiation in the sacred chronotope.Key words: Rocky, mythohero, ritual, sports drama, chronotope, mytho-ideology. Мета цієї студії – схарактеризувати образ протагоніста кіносаги про боксера Роккі крізь призму міфопоетики як тип нового культурного героя із царини спорту. Методами дослідження є історико-культурний, міфопоетичний і порівняльний. Їх застосування дає можливість окреслити генетичний зв’язок образу героя-боксера з літературною традицією; визначити його основні параметри як міфогероя; вказати на точки перетину авторського міфу з міфом американської мрії; розглянути набуття міфологемою Роккі обрисів ідеологеми.Результати дослідження: з’ясовано, що ґенеза образу персонажа-спортсмена сягає неоромантичної традиції. Тоді як міфологізація кіногероя-боксера в культурі ХХ ст. зумовлена активним зверненням до ритуалу і міфу; новою хвилею інтересу до спортивних змагань як втіленням принципу агонічності; популярністю жанру спортивної кінодрами. Разом із тим масову глядацьку аудиторію і потужний інтерпретаційний потенціал персонажа Роккі забезпечував і жанровий синкретизм фільмів про нього: поєднання елементів спортивної драми, фільму-біографії, бойовика, мелодрами з типовими для міфосценарію архетипними ситуаціями. Визначено, що в екранній історії Роккі переплітаються факти з життя боксерів Р. Марчіано, Р. Граціано, героїв спортивних кінодрам і факти біографії самого С. Сталлоне. Зв’язок зі спортом як ритуалом надає фільмам про Роккі міфологічного підтексту і водночас окреслює його «утилітарний» аспект, притаманний американській просвітницькій традиції і орієнтований на практичне застосування переглянутого. Історії боксерських поєдинків кіногероя разом з історіями взаємин із «ближнім колом» сприймаються етапами ініціації на шляху до нового культурного героя у хронотопі, де великий (Філадельфія) і малий (ринг) топоси стають місцями здобуття ним професійного і особистісного визнання. Наголошено, що серед фільмів франшизи виокремлюється четвертий епізод, де Роккі втілює спортсмена-захисника національного способу життя, виступаючи проти боксера з «імперії зла». У такий спосіб герой масової свідомості переходить у міфоідеологему.Висновки. У культовому персонажеві світового кінематографу Роккі Бальбоа зреалізована характерна для людини маси ХХ ст. потреба в нових культурних героях. Завдяки приналежності до двох видовищних сфер – кіно і спорт – персонаж, створений С. Сталлоне, здобув величезну популярність і тривале екранне «життя». Тоді як утвердження Роккі у статусі пев-ної міфологеми, а потім й ідеологеми, зумовило «чудесне» походження як персонажа, тобто поєднання біографій реальних і фікційних прототипів; зв’язок життєвого сценарію з ритуалами; кореляцію морально-етичних переконань героя з ідеями національного міфу американської мрії; його життєві випробування як етапи ініціації в сакральному хронотопі.Ключові слова: фільм «Роккі», міфогерой, ритуал, спортивна драма, хронотоп, ідеологема.

<p><em>Nepal promulgated the New Constitution with signatures of 90 percent of the Constituent Assembly (CA) II members on September 20, 2015</em><em>.</em><em> The world congratulated Nepal for its success, but Nepal’s roji-roti-beti closest neighbor India sent a cold-note and a mild-warning. India informally conveyed a proposed 7-point constitutional amendment the following day supporting 10 percent of Nepal’s CA II, which are agitating Madhesi groups. Such amendments interfere with landlocked Nepal’s sovereign and internal affairs, but Nepal was full of confusion in answering it. Moreover, India initiated an undeclared transit trade warfare, blocking Nepo-India borders. The blocking at borders is freezing the life of all Nepalis. Now Nepal suffers from an acute shortage of cooking and oxygen gas, gasoline, medicines and other daily humanitarian supplies. Hospitals have stopped normal operations in the lack of medicines and oxygen gas. No gasoline is being provided to public and private vehicles except security officials. Only emergency flights are operating. Worse still, India’s transit warfare was conducted in a period when Nepo-China borders were blocked by the post-Earthquake. India’s proposed Amendment in the Constitution for Madhesi groups is just a drama; clearly the myopic interest of India is to control Nepal’s natural resources and to restore the Hindu Kingdom. Ranjit Rae, India’s Ambassador to Kathmandu gathering agitating Tarai-Madhes leaders into the Embassy just before Prime Minister</em><em>’</em><em>s election said, “The winning of Oli as a Prime Minister of Nepal is a defeat of India”</em><em> </em><em>(Ratopati</em><em>,</em><em> 2015). Rae further hurts the Nepali as he followed Goebbels’ style of reporting to New Delhi. As a result, angry masses are displaying arson effigies of India and PM Modi across the country ranging in Tarai, Hill and Mountain. The 21st century’s great socialist leader Modi now becomes known as a bully leader in the eyes of Nepali and South Asian people. And his popularity is plummeting each and every day. If the talented and clever Modi does not abandon his ego and ambition, he might do suicide in the same way Nepal’s former King Mahendra did in 1972 when he honestly realized the error of his past mistakes and wrongdoings. Nepal now turns to United Nations against India’s shadow-boxing to achieve landlocked country’s sovereign rights and other concerned rights.</em></p>

Human beings experience all sorts of emotions: sadness, fear, joy, anger, etc. which they communicate to their surrounding through language. As such, emotions are embedded in culture and thus differ from one person to another according to the cultural context and specific situations or events that trigger them. They can be expressed in action, for instance boxing in order to evacuate once anger, or in writing through language. Language is thus relevant for emotion and plays a key role in expressing emotions. There thus exists a close link between emotion and language. This partly explains why literary works, be it drama, prose or poetry are highly characterised by emotional discourse. This is because writers in order to educate, to sensitise, to entertain or to get the support of readers on an issue, evoke their emotions by the use of linguistic tools such as tone, diction, figurative languages, etc. However, despite the pervasiveness of emotions in literary texts, the translation of emotional discourse remains a challenging task. The reason being that, although emotions have been broadly searched in the domain of psychology, it remains under investigated in the domain of translation studies. As compared to other fields where the areas of investigation of emotions are types of emotions, emotions vocabulary in a specific culture, the measurement of the intensity of emotions, the cross-cultural similarities of emotion words, emotion meaning across culture, emotional problems, the manifestation of emotions, and so on, most translation scholars fail to investigate translation strategies which can be suitable to render emotions conveyed in a text. Some of these scholars limit themselves to the difficulties posed by the translation of emotions, and to finding equivalence in emotion words that exist between languages. This study thus aims at investigating translation strategies suitable to render the meaning of emotional discourse embedded in a literary work and their effects in the translation process, while focusing on the stylistic signals of emotions in a literary work more precisely in Djaïli Amadou Amal’s Munyal: Les Larmes de la Patience, and their translatability. It thus provides grounds for the translation of emotions, and comes up with translation strategies adapted for their translation. It also sheds light on what should be considered as the translation unit during their rendering. For this purpose, the emotions concerned in this study are anger, fear and sadness; and the selected emotional cultural phenomena dealt with in this research cut across borders. Besides, the study was grounded on the polysystem theory backed up by few literary and language theories. Also, it opted for a mixed approach. This approach enabled the collection of qualitative data through documentary research and textual analysis carried out both at the macro-textual level and at the micro-textual level; and quantitative data through statistics. The results of the investigation showed that stylistic signals of emotions in a literary text are dialogue, the author naming and describing emotions experienced by characters, characters’ choice of words, the description of characters’ facial expression, characters’ tone, the narrator tone and characters’ attitude. In addition to this, the study also revealed that translation strategies proposed by Chesterman (1997) more precisely literal translation, information change and explicitness change can be used to render the meaning of emotional discourse embedded in a text. These strategies can also be combined and used. Furthermore, the investigations also highlighted that in translating emotional discourse, a translator can either be “source-oriented” or “target-oriented”; or both. Given that both source and target-oriented strategies were used. Besides, the results also showed that in translating emotional discourse the translator should take into account sentences in their entirety and not isolated terms.

Abstract In the evolving literary sub-genre of sports writing, Pierce Egan (c. 1772-1849) infused his prizefight commentaries with a theatricality that extended their appeal beyond the confines of a diverse sporting set (‘the Fancy’). This paper examines prominent factors that rendered Egan’s approach distinctive, and how it functioned as a means of invigorating the sporting narrative. A major feature is Egan’s blend of inventive imagery and linguistic exuberance, which constituted an integral part of his animated pugilistic writing, primarily in the Boxiana series (1812-29), and this could be identified as the ‘Boxiana style’. Questions arise concerning the possibly limited accessibility of the ‘flash’ argot to more refined readers, and whether Egan’s classical and chivalric allusions are undercut by their collocation with pantomimic touches. Similarly, did the more cultivated references risk alienating those whose appreciation was limited to a mixture of the slang, slapstick, and gambling elements? My paper discusses how Egan’s Boxiana style transcended differing attitudes prevalent within a socially diverse readership that mirrored the fusion of Regency types attending pugilistic contests. Egan’s commentaries accentuated the spectacle of a sporting event, and promoted a visualisation process that eroded social barriers as a stage production might appeal to a heterogeneous theatre audience. The performance aspect, that played such a pivotal role in Egan’s pugilistic reporting, is a dominant theme in this discussion.