Artykuły w czasopismach na temat „Dramatic criticism – history”
Kliknij ten link, aby zobaczyć inne rodzaje publikacji na ten temat: Dramatic criticism – history.
Utwórz poprawne odniesienie w stylach APA, MLA, Chicago, Harvard i wielu innych
Sprawdź 50 najlepszych artykułów w czasopismach naukowych na temat „Dramatic criticism – history”.
Przycisk „Dodaj do bibliografii” jest dostępny obok każdej pracy w bibliografii. Użyj go – a my automatycznie utworzymy odniesienie bibliograficzne do wybranej pracy w stylu cytowania, którego potrzebujesz: APA, MLA, Harvard, Chicago, Vancouver itp.
Możesz również pobrać pełny tekst publikacji naukowej w formacie „.pdf” i przeczytać adnotację do pracy online, jeśli odpowiednie parametry są dostępne w metadanych.
Przeglądaj artykuły w czasopismach z różnych dziedzin i twórz odpowiednie bibliografie.
1
EVANS, PETER W. "GOLDEN-AGE DRAMATIC CRITICISM NOW". Seventeenth Century 2, nr 1 (styczeń 1987): 49–53. http://dx.doi.org/10.1080/0268117x.1987.10555260.
Pełny tekst źródła
2
Ellenzweig, Sarah. "Rhyme's Contrapuntal History in Early Dryden". ELH 91, nr 2 (czerwiec 2024): 377–404. http://dx.doi.org/10.1353/elh.2024.a929153.
Pełny tekst źródłaStreszczenie:
Abstract: While John Milton was disavowing "the jingling sound of like endings," John Dryden was cementing a vogue for writing rhymed couplets that would dominate the English literary landscape for the next 150 years. Seeking rhyme's lost links to pleasure and sometimes to transgression, this essay looks closely at Dryden's early considerations of couplet rhyme in his Essay of Dramatick Poesie (1668) and related critical writings contemporaneous with Paradise Lost (1667), as well as in a few examples of his early couplet practice in his plays and prologues from this period. My claim is that Dryden's schooling in dramatic couplets at the start of his career shaped his broader thinking about rhyme, opening him to rhyme's residual orality and the dissident energy always nascent in rhyme's sounds. His couplets and criticism from the mid 1660s thus alert us to how rhyme's field of play, perhaps especially in closed forms like the seventeenth-century couplet, tends to be mischievously subversive of any single authority.
3
Shapoval, Mariana. "The intellectual's artistic biography in S. Rosovetskyi's dramatic". Synopsis: Text Context Media 26, nr 1 (2020): 1–10. http://dx.doi.org/10.28925/2311-259x.2020.1.1.
Pełny tekst źródłaStreszczenie:
The global trend of digitalization and publishing of historical sources, in particular fiction and its existence in different eras, makes the reader constantly reconsider the lives and work of persons who are regarded as prototypes of characters in literary works. As a result, an artistic image, linked to real life and rooted in the past, generates a consistent literary story in the form of artistic biography. The number and variety of such literary works, including dramatic ones, is constantly growing, which determines the topicality of this study. Over the recent decades, biographical fiction drastically changed its forms, and was enriched with numerous genre varieties and modifications. And this process remains far from complete. The term ‘meta-genre of artistic biography’ is introduced to designate it. This term emphasizes the scale of a certain phenomenon and allows defining the subject of the study — the artistic biographical description of the intellectual in contemporary Ukrainian drama — as well as clarify the understanding of the concept of the ‘intellectual,’ and problematize ways of describing characters of this type. The purpose of the article is to identify the genre-style unity of Ukraine’s modern drama about intellectuals and prove the expediency of the application to it of interpretive approaches to popular knowledge from related areas (history, philosophy, art). Specifically, such varieties of genres as personal artistic biography and intellectual artistic biography were singled out and proposed for the first time on the literary material (S. Rosovetskyi), and that is the research novelty. The research methodology is defined by an interdisciplinary approach that appeals to the achievements of literary criticism, art criticism, history, and philosophy. Results of the Study are connected with considerations that the interest in the artistic biography of the intellectual is associated with a general trend to anthropologize scientific knowledge, coupled with the growing interest of the audience in the individual and personal in the history and in the present, with the dominance of the emotional component in contemporary media discourses, resulting in the actualization of an emotional narrative of the intellectual’s biography, which often sounds tragic nowadays in the context of the catastrophic past of the Ukrainian science and culture.
4
Elam Jr., Harry J. "Making History". Theatre Survey 45, nr 2 (listopad 2004): 219–25. http://dx.doi.org/10.1017/s0040557404000171.
Pełny tekst źródłaStreszczenie:
These three quotes will serve as a starting point as I enter into this discussion of the import and role of theatre history. While I make a case for theatre history generally, my examples and thesis are drawn from African American theatre history most specifically. My argument is for a critical historicism, a process that recognizes the need to historicize and situate dramatic criticism as well as the need to theorize history or, as Walter Benjamin suggests, to “rub history against the grain.” Rubbing history against the grain means that we must interrogate the past in order to inform the present, remaining cognizant of the material conditions that not only shape theatrical production but the historical interpretations of production. It implies a need to work against conventional historical narratives and the ways in which history has been told in the past.
5
Knowles, Richard Paul. "CTR and Canadian Theatre Criticism: Constructing the Discipline". Canadian Theatre Review 79-80 (czerwiec 1994): 10–13. http://dx.doi.org/10.3138/ctr.79-80.002.
Pełny tekst źródłaStreszczenie:
In an article published in Theatre History in Canada (1990), and in his introduction to The CTR Anthology, Alan Filewod has analysed “The Canon According to CTR”, usefully examining the ways in which CTR constructed, and subsequently deconstructed, “Canadian Theatre”, and particularly Canadian drama, throughout the 1970s and 80s. Filewod was concerned primarily to explore the selection and publication of playscripts in the journal, and the ways in which the discourse of CTR has shifted over the years and over its first three editorial “regimes”, as he calls them, to become increasingly pluralistic, concerning itself less with building a national theatrical identity and dramatic canon, and more with decentring that canon.
6
Catană, Elisabeta Simona. "History as Story and Parody in Julian Barnes’s the Noise of Time". Romanian Journal of English Studies 16, nr 1 (1.11.2019): 25–31. http://dx.doi.org/10.1515/rjes-2019-0004.
Pełny tekst źródłaStreszczenie:
AbstractThis article analyses Julian Barnes’s The Noise of Time, a postmodernist parody of the Russian communist world, and shows that historical truth is turned into a story which is remembered with bitter irony and which offers various interpretations. Being nothing but a story, history, associated with the symbol of noise, becomes subject to parody. Emphasizing the role of irony in revealing the dramatic effects of the Russian communist past, this essay remarks that parody functions as severe criticism.
7
Özmen, Özlem. "Identity and Gender Politics in Contemporary Shakespearean Rewriting". European Judaism 51, nr 2 (1.09.2018): 196–204. http://dx.doi.org/10.3167/ej.2018.510226.
Pełny tekst źródłaStreszczenie:
Abstract Julia Pascal’s The Yiddish Queen Lear, a dramatic adaptation of Shakespeare’s King Lear, merges racial identity politics with gender politics as the play both traces the history of the Yiddish theatre and offers a feminist criticism of Shakespeare’s text. The use of Lear as a source text for a play about Jews illustrates that contemporary Jewish engagements with Shakespeare are more varied than reinterpretations of The Merchant of Venice. Identity politics are employed in Pascal’s manifestation of the problematic relationship between Lear and his daughters in the form of a conflict between the play’s protagonist Esther, who struggles to preserve the tradition of the Yiddish theatre, and her daughters who prefer the American cabaret. Gender politics are also portrayed with Pascal’s use of a strong woman protagonist, which contributes to the feminist criticism of Lear as well as subverting the stereotypical representation of the domestic Jewish female figure in other dramatic texts.
8
Özmen, Özlem. "Identity and Gender Politics in Contemporary Shakespearean Rewriting". European Judaism 51, nr 2 (1.09.2018): 196–204. http://dx.doi.org/10.3167/ej.2017.510226.
Pełny tekst źródłaStreszczenie:
Julia Pascal’s The Yiddish Queen Lear, a dramatic adaptation of Shakespeare’s King Lear, merges racial identity politics with gender politics as the play both traces the history of the Yiddish theatre and offers a feminist criticism of Shakespeare’s text. The use of Lear as a source text for a play about Jews illustrates that contemporary Jewish engagements with Shakespeare are more varied than reinterpretations of The Merchant of Venice. Identity politics are employed in Pascal’s manifestation of the problematic relationship between Lear and his daughters in the form of a conflict between the play’s protagonist Esther, who struggles to preserve the tradition of the Yiddish theatre, and her daughters who prefer the American cabaret. Gender politics are also portrayed with Pascal’s use of a strong woman protagonist, which contributes to the feminist criticism of Lear as well as subverting the stereotypical representation of the domestic Jewish female figure in other dramatic texts.
9
Benson, Eugene, i L. W. Conolly. "English-Canadian Theatre". Canadian Theatre Review 57 (grudzień 1988): 90–91. http://dx.doi.org/10.3138/ctr.57.020.
Pełny tekst źródłaStreszczenie:
English-Canadian Theatre, part of a new Oxford University Press series which surveys various aspects of Canadian literary culture, offers a scholarly overview of its topic. Written by two professors at the University of Guelph who have an ongoing concern for Canadian theatre, the book claims to be the first comprehensive work to draw together a history of our nation’s anglophone theatre and an assessment of its drama. Though there’s little doubt that dramatic criticism and theatre history are interdependent, Benson and Conolly sometimes go on seeming tangents in their literary discussions, especially given the confines of a slim volume (114 pages of text, followed by a selected bibliography and index).
10
Harp, Gillis. "Hofstadter's The Age of Reform and the Crucible of the Fifties". Journal of the Gilded Age and Progressive Era 6, nr 2 (kwiecień 2007): 139–48. http://dx.doi.org/10.1017/s1537781400001973.
Pełny tekst źródłaStreszczenie:
In December 1954, the United States Senate voted 67-22 to censure the junior senator from Wisconsin. Joe McCarthy had been drawing increasing criticism for his bullying tactics in ferreting out alleged communists and communist sympathizers within the federal civil service and elsewhere. In the wake of the Army-McCarthy hearings of the preceding spring (and especially after the dramatic televised confrontation with Army counsel Joseph Welch), the tide of public opinion finally turned against McCarthy. Still, his demagogic campaign had ruined the careers of scores of American citizens, from civil servants to artists, and had raised disturbing questions about room for political dissent within a democracy during the height of the Cold War.
11
Severn, John R. "Salieri’s Falstaff, ossia Le tre burle and The Merry Wives of Windsor: Operatic Adaptation and/as Shakespeare Criticism". Cambridge Opera Journal 26, nr 1 (19.02.2014): 83–112. http://dx.doi.org/10.1017/s0954586713000323.
Pełny tekst źródłaStreszczenie:
AbstractShakespeare’s The Merry Wives of Windsor contains several features that make it unusual within his dramatic output and that thus render problematic the idea of a unified ‘Shakespearean’ canon. Until very recently, literary criticism has either largely ignored or denigrated the play, with a sustained interest in its portrayal of female agency, family life and the natural world only consolidating in the early twenty-first century. However, earlier operatic adaptations, such as Salieri and Defranceschi’s Falstaff, ossia Le tre burle, demonstrate an engagement with those issues which literary criticism has only lately addressed. While approaches to adaptations of The Merry Wives often focus primarily on the character of Falstaff, Salieri and Defranceschi’s opera’s engagement with the play’s issues beyond Falstaff suggests it might give added weight to a growing awareness of a positive alternative reception history of the play beyond literary criticism. At the same time, a consideration of the opera’s engagement with the play’s themes of female agency, family life and the natural world might shed light on Falstaff, ossia Le tre burle beyond the shadow cast by Verdi’s central character.
12
Cinpoeş, Nicoleta. "From New to Neo-Europe: Titus redivivus". Cahiers Élisabéthains: A Journal of English Renaissance Studies 96, nr 1 (22.05.2018): 214–30. http://dx.doi.org/10.1177/0184767818775904.
Pełny tekst źródłaStreszczenie:
The ‘dramatic rise’ of Titus Andronicus ‘among critics and directors’ in the 1990s was primarily linked to ‘the growth of feminist Shakespeare criticism’.1 Its recent stage popularity, however, lies in its responses to the new geopolitical realities and the shifting physical and mental borders of the European Union. This article examines four European productions of Titus Andronicus in their engagement with political change, migration, rising nationalism and xenophobia, which, I argue, refocus attention onto this play’s position in the Shakespeare canon.
13
Matyjaszczyk, Joanna. "Struggles with Dramatic Form in 16th-Century English Biblical Plays". Anglica. An International Journal of English Studies, nr 31/1 (październik 2022): 5–27. http://dx.doi.org/10.7311/0860-5734.31.1.01.
Pełny tekst źródłaStreszczenie:
The aim of the article is to pinpoint how 16th-century biblical drama tried to appropriate its genre and medium to carry the reformist message and in what sense the project turned out to be a self-defeating one. The analysis of selected plays from reformed biblical cycles (The Chester Mystery Cycle, play iv; and “The Norwich Grocers’ Play”) and newly composed drama (John Bale’s plays, Lewis Wager’s Life and Repentaunce of Marie Magdalene, the anonymous “History of Jacob and Esau”), supported with an over- view of the criticism on the matter, reveals some common tensions in the dramatic texts which may have had their roots in the reformist need to eliminate any room for doubt that a theatrical performance could leave. The conclusion is that, in its attempts at striking the right balance between dramatizing and overt sermonizing, engaging and distancing, as well as providing an immersive experience and discouraging it, post-Reformation Scrip- ture-based drama oscillated between being more effective as a performance or as a carrier of the doctrinal message, with the resulting tendency to subvert either the former or the latter.
14
Fickers, Andreas. "Towards a New Digital Historicism?" Making Sense of Digital Sources 1, nr 1 (21.02.2012): 19. http://dx.doi.org/10.18146/2213-0969.2012.jethc004.
Pełny tekst źródłaStreszczenie:
This article argues that the contemporary hype in digitization and dissemination of our cultural heritage – especially of audiovisual sources – is comparable to the boom of critical source editions in the late 19th century. But while the dramatic rise of accessibility to and availability of sources in the 19th century went hand in hand with the development of new scholarly skills of source interpretation and was paralleled by the institutionalization of history as an academic profession, a similar trend of an emerging digital historicism today seems absent. This essay aims at reflecting on the challenges and chances that the discipline of history – and the field of television history in particular – is actually facing. It offers some thoughts and ideas on how the digitization of sources and their online availability affects the established practices of source criticism.
15
Kozhukhar, Vladimir. "In the wake of one publication, or about the attitude to the history of science as a science". Vestnik of Saint Petersburg University. Medicine 17, nr 4 (2022): 315–26. http://dx.doi.org/10.21638/spbu11.2022.407.
Pełny tekst źródłaStreszczenie:
The article is a historical investigation devoted to reliability of Professor T. A. Ginetsinskaya’s publication about the circumstances of Professor E. S. Danini’s speech (December 1954) criticizing O. B. Lepeshinskaya’s “new cellular theory”. After analyzing scientific sources, memoirs of contemporaries of the described events and comparing the dates, the author proves that E. S. Danini’s speech in the context given in T. A. Ginetsinskaya’s article could not have taken place in reality. It took place in other circumstances and was not so dramatic. This is indicated by the documented memories of eyewitnesses and participants of the meetings, as well as materials of speeches by members of the Society of Anatomists, histologists and embryologistsat the Institute of Experimental Medicine (including E. S. Danini). In addition, it is shown that criticism of Lepeshinskaya’s “new cellular theory” had begun much earlier than December 1954. The article provides data of numerous critical speeches about Lepeshinskaya’s theory at various meetings in 1953 and 1954. Criticism of Lepeshinskaya’s views by the end of 1954 ceased to pose a danger to critics, and therefore the drama of the situation described in Ginetsinskaya’s article does not seem to correspond to the realities of that time.
16
Friedman, Susan Stanford. "Alternatives to Periodization: Literary History, Modernism, and the “New” Temporalities". Modern Language Quarterly 80, nr 4 (1.12.2019): 379–402. http://dx.doi.org/10.1215/00267929-7777780.
Pełny tekst źródłaStreszczenie:
Abstract Can literary history be done without the conventional reliance on linear periodization? What might a literary history of modernism look like without the usual periodization of roughly 1890–1940? This essay reviews the arguments for and against periodization and then argues that the new time studies—based in nonlinear concepts of time for the study of the contemporary—offers alternatives to the Eurocentric periodization of modernism. These new temporalities were anticipated by early twentieth-century Euro-American modernism, presented in the essay with an account of the dramatic debate between Albert Einstein and Henri Bergson in 1922 and a discussion of Virginia Woolf’s experiments with the relationality of space and time in her fiction. Multidimensional, layered, and disjunctive concepts of time are better suited for the study of planetary modernisms that incorporate the colonial and postcolonial modernities. Kabe Wilson’s multimedia installation based on a remix of A Room of One’s Own and selected criticism on modernism are used to illustrate alternatives to linear periodization.
17
Cifor, Lucia. "Statutul şi identitatea hermeneuticii literare". Romanian Studies Today 5, nr 5/2021 (1.12.2021): 129–37. http://dx.doi.org/10.62229/rst/5.1/10.
Pełny tekst źródłaStreszczenie:
If within traditional hermeneutics, literary hermeneutics is viewed as the „poor relative" (Peter Szondi), in the context of literary studies its situation is even more dramatic, the name of the discipline garnering, over time, a series of misunderstandings, resulting from the recurrent act (partly erroneous) of equating it with philology, history, and literary criticism, or with stylistics and poetics, and, in best case scenario (though still incorrect), with literary exegesis. An attempt of clarifying the status and identity of literary hermeneutics, both in the field of literary studies, as well as in the domain of hermeneutics, entails, in our opinion, efforts of historical reconstruction and epistemological reappraisal of the discipline.
18
Coquerel, Paul. "Les mythes afrikaners". Politique africaine 25, nr 1 (1987): 7–13. http://dx.doi.org/10.3406/polaf.1987.3845.
Pełny tekst źródłaStreszczenie:
Contemporary Afrikaner ideology has its origins in traditional Boer beliefs. It is based upon an interpretation of History, the religious vision of the Dutch Reformed Churches, and a specific language, Afrikaans. This political culture first appeared as a reaction against British imperialism throughout the XIXth century, resulting in the forming of a strong nationalism which in the XXth century will triumph with the institutionalization of racial segregation. Nowadays, the Afrikaner community is experiencing the most dramatic crisis of its history. Its traditional values and institutions, which meet growing criticism from the Black population and from a fraction of the white constituents as well, seem to be unable to cope with the deep changes occurring in South Africa. Threatened by dissolution, the Afrikaner nation is looking for patterns it has yet to invent.
19
Abreu, José Guilherme, Salomé Carvalho, Rui Bordalo i Eduarda Vieira. "THE IMAGE OF SOARES DOS REIS’ SCULPTURE IN ART HISTORY, ART CRITICISM AND LITERATURE: EPOCHS, MODELS AND REPRESENTATIONS". ARTis ON, nr 9 (26.12.2019): 74–85. http://dx.doi.org/10.37935/aion.v0i9.240.
Pełny tekst źródłaStreszczenie:
A hundred thirty years after his dramatic death, António Soares dos Reis (ASR) remains a huge challenge for art history understanding and art criticism interpretation, since he has been seen simultaneously as “a Greek, […] a realist, […] a classical, […] and a naturalist” (Arroyo, 1899: 78). His major sculpture – O Desterrado – being “an existential work” (França, 1966: 454) escapes from the classic orthodox aesthetic analysis, standing apart from the typical sculptural work of late 19th century. Our hypothesis is that ASR art works like a Rorschach test, for the narratives referred to it, instead of unveiling its character, reveal the concepts and beliefs upon which successive art studies have been produced. No visual images are displayed in this text, since the aim of our study is to detect the mental images associated to the insights and models that art historians and other authors traditionally used to assess ASR’s artistic work.
20
Taylor, Benedict. "Sullivan, Scott andIvanhoe: Constructing Historical Time and National Identity in Victorian Opera". Nineteenth-Century Music Review 9, nr 2 (grudzień 2012): 295–321. http://dx.doi.org/10.1017/s1479409812000316.
Pełny tekst źródłaStreszczenie:
Arthur Sullivan's Walter Scott-based operaIvanhoe, despite attaining great success at its 1891 premiere, has since quickly fallen from musicological grace. Substantive criticism of this work in the twentieth century has concentrated on the static, tableau-like dramaturgy of the opera, a lack of dramatic coherence, and its undeniably conservative musical language. Taking its bearings from such criticisms this paper explores Sullivan's problematicmagnum opusfrom the perspective of its relationship with time, understood from multiple levels – his opera's musical-dramaturgical, historical, and music-historical temporalities. Starting from Michael Beckerman's insightful analysis of what he terms the ‘iconic mode’ in Sullivan's music,Ivanhoecan be viewed as an attempt at creating a different type of dramaturgical paradigm that emphasizes stasis and stability located in the past – highly apt for a work seeking both to crystallize past history and to found a new tradition for future English opera. Moreover, investigating this work and the composer's stated aesthetic concerns more closely reveal a conscious desire to opt out of continental European narratives of musical progress and build a composite, pageant-like vision of English history, therefore inevitably partaking in a process of constructing national identity. These features are teased out in the context of Scott's impact on the Victorian mind and their affinities with other historicist tendencies in the arts such as the Pre-Raphaelite movement.
21
Søndergaard, Rasmus Sinding. "Human Rights and the 1980 U.S. Presidential Election". American Studies in Scandinavia 52, nr 2 (1.11.2020): 29–46. http://dx.doi.org/10.22439/asca.v52i2.6497.
Pełny tekst źródłaStreszczenie:
Due to dramatic developments in international affairs and the starkly diverging foreign policy visions of the two candidates, Jimmy Carter and Ronald Reagan, foreign policy occupied a usually prominent role in the 1980 U.S. presidential election. A central component of the foreign policy debate was the appropriate role for human rights concerns in American foreign relations. Nevertheless, neither historians of U.S. presidential elections nor historians of human rights have devoted much attention to the issue. This article represents the first comprehensive study of the role of human rights in the 1980 U.S. presidential election. First, it examines the role of human rights in the foreign policy visions of the presidential candidates, focusing especially on Reagan’s criticism of Carter’s human rights policy. Second, it assesses the impact the issue of human rights had on the 1980 election and the way the 1980 election shaped the role of human rights in U.S. foreign policy.
22
BARNETT, DAVID. "Reading and Performing Uncertainty: Michael Frayn's Copenhagen and the Postdramatic Theatre". Theatre Research International 30, nr 2 (lipiec 2005): 139–49. http://dx.doi.org/10.1017/s0307883305001148.
Pełny tekst źródłaStreszczenie:
Michael Frayn's play about quantum mechanics, memory and history, Copenhagen, has taken a lot of criticism for ‘misrepresenting’ its historical characters, primarily Werner Heisenberg. This essay analyses the dramaturgy of the play and argues for a postdramatic reading in which questions of representation are dissolved by formal strategies that ally themselves with the thematics of the work. The text is viewed as a hybrid, somewhere between the dramatic and the postdramatic, set, as it is, in a fictional afterlife where conventional human categories no longer function. The postdramatic theatre, in refusing to interpret text, becomes a viable mode for performance in that the indeterminacy of meaning on stage equates with the uncertainty principle that lies at the scientific and moral heart of Copenhagen.
23
Cao, Bo. "The Chinese Translation of Samuel Beckett: A Critical History". Irish University Review 51, nr 2 (listopad 2021): 282–95. http://dx.doi.org/10.3366/iur.2021.0519.
Pełny tekst źródłaStreszczenie:
In light of the relevant merits and defects of translation practice over sixty years, this article presents a critical history of the Chinese translation of the work of Samuel Beckett. The article argues that the history may be divided into two periods: the pre-1980 period and the post-1980 period, with China's reopening to the outside world in the late 1970s as the watershed. The first period is dominated by the politically propelled translation of Waiting for Godot and harsh criticism of Beckett as a ‘decadent’ author. The second period, characterized by a more complex aesthetic response, may be further divided into three stages: the first stage is marked by the pioneering Proust as a booklet on irrationalism and the debatable Collection of Samuel Beckett translated from French; the second stage by the annotated Complete Works of Samuel Beckett; the third stage by the scholastically motivated Letters of Samuel Beckett. In retrospect, the transition between the two periods is a dramatic one from political misreading to aesthetic appreciation. Or, rather, the progress of the Chinese translation since the turn of the twentieth century mirrors both the re-evaluation of Beckett as an innovative artist and the ‘inward turn’ of Chinese intellectual circles.
24
Dicenzo, Maria, George F. Walker, Chris Johnson i Dorothy Hadfield. "In Review: Somewhere Else, The East End Plays, Part 2, Suburban Motel (revised edition), Essays on George F. Walker: Playing with Anxiety". Canadian Theatre Review 103 (czerwiec 2000): 83–85. http://dx.doi.org/10.3138/ctr.103.013.
Pełny tekst źródłaStreszczenie:
Historiographically, 1999 was a big year for George F. Walker: Talonbooks brought out three volumes of collected plays (a total of thirteen more-or-less individual works), and Blizzard published the first full-length book of criticism devoted entirely to Walker and his plays. By the time the new millennium became the most over-staged non-event in history, students and teachers of Canadian drama did not have to look too far to find a playwright with a significant historical past and presence available for inclusion in their courses. This at a time when our political-economic climate does not particularly favour indigenous publishing of Canadian literature, with government funding policies that clearly prefer to put their trust in the cultural benevolence of the huge American publishers. The odds are stacked even further against dramatic literature: as Maria Campbell argues in the introduction to The Book of Jessica, “Who reads plays, anyway?” and certainly plays and criticism tend to have a considerably lower shelf and reader appeal than does literature. Even given the reasonably strong (if not solid) positions that Blizzard and Talon have fought to establish within Canadian (dramatic) publishing, this focus on one playwright is somewhat remarkable. To paraphrase from Walker’s own dialogue, if “there is definitely hardly any justice in the world,” is there any discernible reason why Walker is among the “haves,” rather than the “have-nots,” when it comes to published texts? Do the plays of George F. Walker, indeed, have a “special quality that can be marketed,” or are these four volumes just evidence of Walker’s own good luck?
25
Wright, Matthew. "POETS AND POETRY IN LATER GREEK COMEDY". Classical Quarterly 63, nr 2 (8.11.2013): 603–22. http://dx.doi.org/10.1017/s000983881300013x.
Pełny tekst źródłaStreszczenie:
The comic dramatists of the fifth centuryb.c.were notable for their preoccupation with poetics – that is, their frequent references to their own poetry and that of others, their overt interest in the Athenian dramatic festivals and their adjudication, their penchant for parody and pastiche, and their habit of self-conscious reflection on the nature of good and bad poetry. I have already explored these matters at some length, in my study of the relationship between comedy and literary criticism in the period before Plato and Aristotle. This article continues the story into the fourth century and beyond, examining the presence and function of poetical and literary-critical discourse in what is normally called ‘middle’ and ‘new’ comedy.
26
Walton, Benjamin. ""Quelque peu thééââtral": The Operatic Coronation of Charles X". 19th-Century Music 26, nr 1 (2002): 3–22. http://dx.doi.org/10.1525/ncm.2002.26.1.3.
Pełny tekst źródłaStreszczenie:
The intersection of politics and spectacle has a long tradition in French history, from Louis XIV's Versailles to the streets of revolutionary Paris. As a result, Chateaubriand's criticism of the coronation of Charles X in May 1825 as theatrical may at first seem unremarkable. His description of the occasion as a dramatic performance rather than a real event, however, deserves closer examination. In line with Chateaubriand, this article suggests that the anachronistic final Bourbon coronation can best be understood, at the most literal level, as an opera, with music, resplendent costumes, dashes of orientalism (the envoy for the Bey of Tunis provoked much interest), hired claqueurs, and the whole of Rheims turned into a stage set. Conversely, the coronation's reliance on operatic props and aesthetics can shed light on the dramatic crisis that led to the appearance of grand opééra. The largest piece written to celebrate the coronation, the multianchored Pharamond, was performed at the Paris Opééra, but failed to command either critical or popular acclaim, in contrast with Rossini's Il viaggio a Reims at the Thééââtre Italien. Yet Pharamond's troubled negotiation between the demands of historical drama and celebratory Pièèce de circonstance mirrors the logic that underpinned the planning of the coronation: a desire to invoke the authority of French history while bypassing unresolved memories of the Revolution and the Empire. Ultimately, the failure of Pharamond and its selective appropriation of history offer a productive mode for understanding the connections between opera, ceremonial language, and historical precedent, as well as those between musical works and large-scale political events.
27
Goldberg, Sander M. "Plautus on the Palatine". Journal of Roman Studies 88 (listopad 1998): 1–20. http://dx.doi.org/10.2307/300802.
Pełny tekst źródłaStreszczenie:
It was probably in the agora at Athens and possibly in the seventieth Olympiad (i.e. 499–496 B.C.) that a wooden grandstand collapsed while a play by Pratinas was being performed. The Athenians responded quite sensibly to this disaster by moving their dramatic performances to the precinct of Dionysus Eleuthereus, where the audience could be more safely accommodated on the south slope of the acropolis. Or so it appears: no fact of this early period in ancient theatre history is ever entirely secure. By the time of Aeschylus, however, what we call the Theatre of Dionysus was certainly the place where Athenian tragedies and comedies were performed, and the facility grew in size and grandeur along with the festivals it served. One result of this continuity has been a great boon to the performance-based criticism of Greek drama.
28
Goldhill, Simon. "Civic ideology and the problem of difference: the politics of Aeschylean tragedy, once again". Journal of Hellenic Studies 120 (listopad 2000): 34–56. http://dx.doi.org/10.2307/632480.
Pełny tekst źródłaStreszczenie:
There have been few issues in the contemporary analysis of Greek tragedy as hotly debated as what I shall call ‘civic ideology and the problem of difference’. By this I mean a nexus of interrelated questions concerning the political import of tragedy both for the fifth-century Athenians and for subsequent generations: how does the festival of the Great Dionysia—its rituals and dramatic performances—relate to the dominant ideological structures of democracy? How should critical or contestatory discourse be located within the dramatic festival and within the polis? How should the texts of tragedy be related to the society in which they were produced—and to the societies in which they are still being read and performed? The problem is not merely essential to our understanding of the genre of tragedy, but is also intimately connected to the history and theory of democracy and its discontents. To what degree can democracy respond to criticism and what space can it allow, in theory and in practice, for alternative viewpoints or opposition? In its most aggressive form, such questioning of the exclusions and repressions of democracy is sometimes articulated as a challenge as to whether the costs of (ancient) democracy outweigh its benefits.
29
Rodgers, Daniel T. "Living without Labels". Law and History Review 24, nr 1 (2006): 173–78. http://dx.doi.org/10.1017/s0738248000002297.
Pełny tekst źródłaStreszczenie:
Charles Evans Hughes's career ran along the fault lines of most of the major political events of his lifetime. Muckraking catapulted him to fame. He governed New York during four key years of the Progressive era as an effective administrator and earnest reformer. He stayed with the Republican Party when the Progressives bolted in 1912. He ran for the presidency in 1916 but missed the prize, albeit by a narrower electoral college margin than any other contender until the very end of the century. He was instrumental in negotiating the international naval disarmament accords of 1921–22, landmarks of progressive internationalism in their day that fell under sharp criticism a decade later. He presided over the U.S. Supreme Court during the key years of the New Deal, though in most histories of the 1930s Court he comes across as something of an also-ran behind its more memorable shapers: Brandeis, Cardozo, Sutherland, Black, even Roberts. Hard to pin to any achievement or distinct idea, slipping in and out of the dramatic movements of his day, he was the kind of man who makes history but easily falls out of the history books.
30
Kelly, Veronica. "Beauty and the Market: Actress Postcards and their Senders in Early Twentieth-Century Australia". New Theatre Quarterly 20, nr 2 (21.04.2004): 99–116. http://dx.doi.org/10.1017/s0266464x04000016.
Pełny tekst źródłaStreszczenie:
A hundred years ago the international craze for picture postcards distributed millions of images of popular stage actresses around the world. The cards were bought, sent, and collected by many whose contact with live theatre was sometimes minimal. Veronica Kelly's study of some of these cards sent in Australia indicates the increasing reach of theatrical images and celebrity brought about by the distribution mechanisms of industrial mass modernity. The specific social purposes and contexts of the senders are revealed by cross-reading the images themselves with the private messages on the backs, suggesting that, once outside the industrial framing of theatre or the dramatic one of specific roles, the actress operated as a multiply signifying icon within mass culture – with the desires and consumer power of women major factors in the consumption of the glamour actress card. A study of the typical visual rhetoric of these postcards indicates the authorized modes of femininity being constructed by the major postcard publishers whose products were distributed to theatre fans and non-theatregoers alike through the post. Veronica Kelly is working on a project dealing with commercial managements and stars in early twentieth-century Australian theatre. She teaches in the School of English, Media Studies, and Art History at the University of Queensland, is co-editor of Australasian Drama Studies, and author of databases and articles dealing with colonial and contemporary Australian theatre history and dramatic criticism. Her books include The Theatre of Louis Nowra (1998) and the collection Our Australian Theatre in the 1990s (1998).
31
Albek, Abazov. "The image of Andemirkan in North Caucasian drama: about the unpublished play by Z.P. Kardan-gushev". Kavkazologiya 2022, nr 4 (31.12.2022): 341–49. http://dx.doi.org/10.31143/2542-212x-2022-4-341-349.
Pełny tekst źródłaStreszczenie:
The dramaturgy of the North Caucasus people remains an unresearched field of modern literary criticism. This article presents the introduction issues of scientific circulation and studying of the unpublished manuscript of the play “Andemirkan” (1943), placed in the RSALA fund by the Ka-bardian ethnographer, folklorist, playwright and artist Z.P. Kardangushev. This paper considers textological analysis and preparation for publication of the manuscript (85 pages with author’s comments and corrections). Analysis of the manuscript’s content makes it possible to present the translation processes of the author’s thoughts into a literary word and to reconstruct the creative history of his literary work. In practical terms, the analysis of the dramatic texts by Z.P. Kardan-gushev on Andemirkan is crucial for the study of the early twentieth century North Caucasian drama and identification of the artistic characteristics in the embodiment of time, place, and dra-matic conflict.
32
Cui, Yunyun. "Reception of A.P. Chekhov's play “The Cherry Orchard” in China". Litera, nr 1 (styczeń 2024): 226–36. http://dx.doi.org/10.25136/2409-8698.2024.1.69518.
Pełny tekst źródłaStreszczenie:
Anton Pavlovich Chekhov is a well-known Russian writer and playwright in China. During his life, he created many works that are familiar to the Chinese readers. It is generally recognized that Chekhov's plays open a new page in the history of drama and theater. The Cherry Orchard, Chekhov's last work, is considered one of his most mature dramatic works and today has a debatable character in literary criticism, its interpretations are offered to the audience on the theater stage all over the world, including in China. This article aims to trace the evolution of the reception of the named work in Chinese critical thought, as well as to reflect the history of the productions of The Cherry Orchard in the theater of China. The subject of this work is the reception of the play "The Cherry Orchard" in Chinese literary criticism, the study of the history of its translation and staging in various historical periods in China. The main research methods used are descriptive and historical. The author of the study tries to characterize the main features of the perception of the work and productions of The Cherry Orchard in China, which are determined by the change in the socio-historical conditions of the state. Critical and literary works of Chinese researchers of A.P. Chekhov's work are used as material for analysis. In this regard, the present study seems to be relevant, since the author develops a scientific discussion around the Chekhov work under consideration. The theoretical novelty of the article lies in the fact that the works of Chinese literary critics are introduced into scientific circulation, devoted to the problems of reception of the images of the play, its plot and ideological originality, and analyzes the performances of "The Cherry Orchard" by Chinese directors.
33
Trelawny-Cassity, Lewis. "Tēn Tou Aristou Doxan: On the Theory and Practice of Punishment in Plato’s Laws". Polis: The Journal for Ancient Greek Political Thought 27, nr 2 (2010): 222–39. http://dx.doi.org/10.1163/20512996-90000168.
Pełny tekst źródłaStreszczenie:
The penal code of the Laws has attracted scholarly attention because it appears to advance a coherent theory of punishment. The Laws’ suggestion that legislation follow the model of ‘free doctors’, as well as its discussion of the Socratic paradox, leads one to expect a theory of punishment that recommends kolasis and nouthetēsis rather than timōria In practice, however, the Laws makes use of the language of timōria and categorizes some crimes as voluntary. While the Laws provides a searching criticism of contemporary Greek penal practices rooted in anger and retribution, Kleinias’ dramatic participation in the discussion forces the qualified inclusion of these common beliefs.While the Laws provides a philosophic intervention intended to reform the injustices of contemporary penal practices, it ultimately suggests that educated doxa, not theoretical completeness, is the proper standard for establishing a workable penal code.
34
Castagno, Paul C. "Varieties of Monologic Strategy: the Dramaturgy of Len Jenkin and Mac Wellman". New Theatre Quarterly 9, nr 34 (maj 1993): 134–46. http://dx.doi.org/10.1017/s0266464x00007727.
Pełny tekst źródłaStreszczenie:
Playwrights, directors, and theatre teachers interested in understanding the theatrical possibilities and functions of monologue soon discover that critical analysis in this area is limited alike in extent and depth. In the following analysis of contemporary dramatic monologue, Paul C. Castagno therefore begins by exploring its more expected or traditional uses, and proceeds to examine its present expanded function with particular reference to the plays of two contemporary American playwrights, Len Jenkin and Mac Wellman – both multiple Obie Award-winning writers, whose dramaturgic techniques have been highly influential yet who remain largely overlooked in the critical arena. He concludes that monologue in the new dramaturgy is actually moving in various and often complex ways back towards a kind of dialogism. Paul C. Castagno, who is himself a practising playwright, is director and dramaturg of the New Playwrights' Program at the University of Alabama, where he has developed a number of new playscripts for award-winning productions. He has published articles in the Journal of Dramatic Theory and Criticism, Text and Presentation, Theatre History Studies, and Theatre Topics, among others, and will shortly be taking on the editorship of the journal Theatre Symposium. His study The Early Commedia dell'Arte, 1550–1621: the Mannerist Context is due for publication by Peter Lang in 1993, and he is is currently preparing a playwriting text that explores elements of the new dramaturgy.
35
Selim, Samah. "Toward a New Literary History". International Journal of Middle East Studies 43, nr 4 (listopad 2011): 734–36. http://dx.doi.org/10.1017/s0020743811000973.
Pełny tekst źródłaStreszczenie:
The past twenty years witnessed a dramatic transformation in Arabic literature studies in the United States. In the early 1990s, the field was still almost exclusively a satellite of area studies and largely bound by Orientalist historical and epistemological paradigms. Graduate students—even those wishing to focus entirely on modern literature—were trained to competence in the entire span of the Arabic literary tradition starting with pre-Islamic times, and secondary research languages were still rooted in the philological tradition of classical scholarship. The standard requirement was German, with Spanish as a distant second for those interested in Andalusia, but rarely French, say, or Italian or Russian. Other Middle Eastern languages were mainly conceived as primary-text languages rather than research languages. Philology, traditional literary history, and New Criticism formed the methodological boundaries of research. “Theory”—even when it purported to speak of the world outside Europe—was something that was generated by departments of English and comparative literature on the other side of campus, and crossings were rare and complicated in both the disciplinary and the institutional sense. Of course, one branch of “theory”—postcolonial studies—made its way into area studies much faster than the more eclectic offshoots of continental philosophy, for obvious reasons. From nationalism studies to subaltern studies, from Benedict Anderson to Gayatri Spivak, the wave of postcolonial critical theory that swept through U.S. academia in the 1980s and 1990s sparked an uprising in area studies at large and particularly in the literature disciplines. One of the first casualties of this uprising was the old historical paradigm itself: narratives of rise and fall, golden ages, and ages of decadence. Slowly but surely, scholars began to question the entire epistemological edifice through which Arabic literary history had been constructed by Orientalism. It was through the postcolonial theory of the 1980s that Arabic literature came to a broader rapprochement with poststructuralism: Foucault, Derrida, Ricoeur, Jameson, and White, to name a few of the major thinkers who began to transform the field in the late 1990s.
36
McCormick, Evan. "Freedom Tide? Ideology, Politics, and the Origins of Democracy Promotion in U.S. Central America Policy, 1980–1984". Journal of Cold War Studies 16, nr 4 (październik 2014): 60–109. http://dx.doi.org/10.1162/jcws_a_00516.
Pełny tekst źródłaStreszczenie:
The Reagan administration came to power in 1981 seeking to downplay Jimmy Carter's emphasis on human rights in U.S. policy toward Latin America. Yet, by 1985 the administration had come to justify its policies towards Central America in the very same terms. This article examines the dramatic shift that occurred in policymaking toward Central America during Ronald Reagan's first term. Synthesizing existing accounts while drawing on new and recently declassified material, the article looks beyond rhetoric to the political, intellectual, and bureaucratic dynamics that conditioned the emergence of a Reaganite human rights policy. The article shows that events in El Salvador suggested to administration officials—and to Reagan himself—that support for free elections could serve as a means of shoring up legitimacy for embattled allies abroad, while defending the administration against vociferous human rights criticism at home. In the case of Nicaragua, democracy promotion helped to eschew hard decisions between foreign policy objectives. The history of the Reagan Doctrine's contentious roots provides a complex lens through which to evaluate subsequent U.S. attempts to foster democracy overseas.
37
Herold, Niels. "Madness and Drama in the Age of Shakespeare. A Review Article". Comparative Studies in Society and History 37, nr 1 (styczeń 1995): 94–99. http://dx.doi.org/10.1017/s001041750001954x.
Pełny tekst źródłaStreszczenie:
Duncan Salkeld's study of madness in the age of Shakespeare is conceived of as being against the grain of both traditional literary criticism and historiography. Noting that the critical contemplation of the inner life of Shakespearean character has been central (as far back as Coleridge) to previous approaches to the study of madness in Shakespeare, Salkeld argues instead that the “inner worlds of the mind of Shakespearean characterization are largely represented by external appearance, in language describing corporeal states.” Thus, the towering constructs of personality in Lear and Hamlet, for example, are turned inside out when critical attention is focused on the “materiality” of madness and its forms. This privileging of “external appearance” and “corporeality” over the imagined inner life of character is licensed by Salkeld's thesis that personal crises in the dramatic lives of Shakespeare's tragic heroes and heroines must invariably be read qua political crisis. The author writes that any “discussion of the internal life of a character then becomes a second order issue, and considerably more problematic when the historical specificity of these conditions is addressed” (p. 2).
38
Visych, O. "Critiсal Discourse in Metadrama "Actress without Roles" by Varvara Cherednychenko". Вісник Житомирського державного університету імені Івана Франка. Філологічні науки, nr 1(87) (13.05.2018): 58–62. http://dx.doi.org/10.35433/philology.1(87).2018.58-62.
Pełny tekst źródłaStreszczenie:
The history of drama shows that in transitional periods dramatic texts often turn into a space for analyzing of the ways of art development and, above all, the theater. Experiments, denial of traditions, and the acute need to update aesthetic coordinates become an integral part of the communicative discourse of characters, as well as the basis of dramatic conflict. Legitimate at such stages is the demand for metadramatic forms. The theory of metadrama actively develops in modern literary criticism, based on the studies of Lionel Able, Richard Hornby, Karen Viweg-Marks, Slavomir Sviontka and others, while in Ukrainian literary studies partly represented by studies of Olena Bondareva, Oksana Kohut, Natalia Malyutina, and Yevhen Vasiliev. Metadrama is considered to be a special type of plays, which poetics is aimed at self-reflection of the nature of the theater. One of the key techniques of metadrama is the critics of theater. The purpose of the article is to analyze theatrical-critical discourse as a factor in metadramatic poetics of Varvara Cherednychenko's "Actress without Roles".
It is proved that the metadrama is realized at several levels of the play. The basic level should be considered the use of drama-discussion genre, built on the actual conflict of theatrical concepts of the post-revolutionary era. At the character level, the metadrama focuses on the positions of the three main characters that are apologists to the fundamental trends in the history of the theater: сoryphaeus (Kyrylo Petrovich), Modernists (Roman), and the proletarian theater (Alla). The critical function of metadrama is manifested in polemics about strategies for reforming stage art in Ukraine, in particular due to appeal to various iconic texts from the repertoire of Ukrainian theaters.
39
Naito, Satoko. "Anxieties of Authorship, Critique of Readership: Mishima Yukio’s Modern Noh Play Genji kuyō". Japanese Language and Literature 55, nr 2 (27.09.2021): 407–46. http://dx.doi.org/10.5195/jll.2021.186.
Pełny tekst źródłaStreszczenie:
Mishima Yukio's dramatic suicide half a century ago ensured that his name would forever be associated with a certain fanatic imperialism, and largely fulfilled his own wish that he would die as a military man. And yet, he was until the end foremost a literary artist, concerned with the critical reception of his written works and preoccupied with his lasting reputation as an author. This paper examines Mishima’s portrayal of the celebrity writer, as well as the potentials and limitations of literature as presented in his oft-neglected modern noh play Genji kuyō (Devotional offering for Genji, 1962). It positions the play within the long history of prayers for Genji monogatari (The Tale of Genji, ca. 1008) that began in the twelfth century in response to the perceived ambiguous morality of the author Murasaki Shikibu (d. ca. 1014). Mishima's Genji kuyō provides a pointed criticism of readers, as well as anxieties regarding a writer's life and literary recognition. Though Mishima himself famously disowned it after its initial publication, Genji kuyō offers critical insights regarding the writing and reading of literature.
40
Zhiyenbayev, Ye, i N. Abdussattarova. "Analysis of Hussein Rahmi Gurpinar’s novel “Hakka Sygyndyk”". Iasaýı ýnıversıtetіnіń habarshysy 123, nr 1 (15.03.2022): 55–70. http://dx.doi.org/10.47526/2022-1/2664-0686.05.
Pełny tekst źródłaStreszczenie:
A pandemic, also known as an epidemic disease, is one of the most common concepts in history. Novels about epidemics in Turkish literature show that the disease is exacerbated by malnutrition and poor physical condition. Apparently, the works on the epidemic are based on real events together with the beliefs of people and solutions to problems. There are not many literary works about the epidemic in Turkish literature. In this context, Hüseyin Rahmi Gürpinar’s novel “Hakka Sığındık” occupies a special place. In the field of literature, Gürpınar is known for his novels. His literary works are written on the topic of social criticism. In his works, the author is able to depict the scandals of society, ignorance and false beliefs, and expresses his criticism in combination with real events. In some of his works, he indirectly shows the dramatic image of the plot. Hussein Rahmi Gürpınara’s novel “Hakka Sığındık” (1919) describes the impact of the Spanish flu on public life. The purpose of our study is to show the example of the method of literary analysis, which is one of the most important topics in the disciplines related to literature. This novel, which is analyzed in our study, is analyzed by the “method of analysis of artistic text” prof. Şerif Aktaş. The analysis focused on the topics of mentality, structure, themes, language and style. There are also interactions between the main character, the elements of space and time in the novel, the connection of the plot of the novel with real life.
41
Shelnutt, Blevin. "Illuminating the Antebellum Literary Marketplace: The Artfulness of Literary Labor in George Foster’s New York by Gas-Light". American Literary History 34, nr 4 (18.11.2022): 1313–34. http://dx.doi.org/10.1093/alh/ajac150.
Pełny tekst źródłaStreszczenie:
Abstract George Foster’s New York by Gas-Light (1850) has been understood as a characteristic text of urban sensationalism, a body of writing more often studied for its response to modernity than literary artfulness. Yet, while Foster seems eager to spectacularize the hidden corners of urban life, he also creates metaliterary moments around scenes of literary business and labor, especially the nighttime labor that the technology of gaslight enabled. Reading these self-referential moments in the context of dramatic changes in publishing facilitated by gaslight opens a theoretical intersection between materialist and aesthetic criticism concerning the relationship between work and art. I argue that Foster presents New York by Gas-Light as at once a product of his industrialized labor and an artifact of self-conscious literary crafting by cultivating attention to the material conditions of his aesthetic creation. As I show, Foster’s reflexive materialist aesthetics disrupts longstanding premises of literary history: it counters largely linguistic accounts of literary style by connecting literary artistry to the work of commercial publication, resists an autonomous ideal that abstracts literature from the material labor of authors, and reclaims the artistic possibilities of what might otherwise be regarded as mass cultural forms.
42
MacLeod, Brock. "So Exact His Text: Reading into the Margins of Sejanus". Ben Jonson Journal 28, nr 1 (maj 2021): 1–36. http://dx.doi.org/10.3366/bjj.2021.0298.
Pełny tekst źródłaStreszczenie:
Since its 1605 quarto publication, Ben Jonson's Sejanus has inspired much critical commentary. Although criticism credits Jonson with a compositorial role in the Quarto's production, critics continue to assess its marginalia as a defense against application, finding in Sejanus, the play, evidence of parallelography, whether it be ideologically instructional, in the mirror of princes tradition, or threateningly Republican. More benignly, they view the Quarto's bountiful margins as a scholarly pretext, a manifestation and awkward defense of Jonson's unorthodox education. Generically, they view the play as a Juvenalian satire, an imperfect tragedy, or a Machiavellian history and, sometimes, all three. As a satire, it suffers charges of application, of pointing too directly to contemporary events. As a tragedy, it fails to supply the necessary tragic error that leads to the hero's fall, not to mention the necessary hero. As a history, it takes too many liberties with the truth of argument. Editors have pared down the marginalia, setting them as footnotes or endnotes; others have relegated them to appendices; still others have abandoned then entirely. Neither critics nor editors have weighed Jonson's marginalia beside the dramatic text they inform. Reading the Quarto Sejanus as a composite of margins and center, within its bibliographical, theoretical, and literary contexts, shows it to be a learned study in emergent theories of historiography. In its innovations, the composite redresses the inefficacies of contemporary historians and editors.
43
Haslett, Rosalind. "Architecture and New Play Development at the National Theatre, 1907–2010". New Theatre Quarterly 27, nr 4 (listopad 2011): 358–67. http://dx.doi.org/10.1017/s0266464x11000674.
Pełny tekst źródłaStreszczenie:
In recent criticism a perceived dichotomy has emerged between ‘new writing’ and ‘new work’ for the theatre. In this article Rosalind Haslett contends that this dichotomy is often reflected in the infrastructure of theatre organizations and theatre spaces themselves. Thus ‘new writing’ is seen to refer to a literary process which takes place in a conventional theatre building, while ‘new work’ tends to occur in non-traditional forms and spaces. The relationship between non-conventional spaces and the performance work that might take place in them has received some critical attention, but there has been less exploration of the ways in which theatre architecture can inform the processes which surround new writing for the theatre. Tracing the history of the National Theatre in London back to its origins, long before it occupied a building of its own, Rosalind Haslett explores the relationship between the policies and processes taking place within the organization and the physical and architectural development of actualizing its building. She suggests that, if the layout of a theatre building has the power to influence the kind of work and the modes of production which take place within it, the activities of the individuals and organizations residing within such structures can also drive architectural change. Rosalind Haslett is Lecturer in Dramatic Literature at Newcastle University. Her research interests include dramaturgy and literature management, theatre architecture, and theatre history.
44
Mehring, Franz. "On Hauptmann's ‘The Weavers’ (1893)". New Theatre Quarterly 11, nr 42 (maj 1995): 184–89. http://dx.doi.org/10.1017/s0266464x00001202.
Pełny tekst źródłaStreszczenie:
Born in 1846, Franz Mehring as a young man was a follower of Ferdinand Lassalle, who in 1863 had organized Germany's first socialist party. As well as establishing a reputation as a journalist with his contributions to many liberal and democratic newspapers, Mehring was awarded his doctorate at Leipzig University in 1881 for his dissertation on the history and teachings of German social democracy. In his mid-forties he embraced Marxism and in 1891 joined the German Social Democratic Party, soon emerging as the intellectual leader of its left wing. He became editor of the Leipziger Volkszeitung and wrote prolifically for Die Neue Zeit and other radical journals on history, politics, philosophy, and literature. His book The Lessing Legend, published in 1893, is regarded as the first sustained attempt at Marxist literary criticism. His major biography of Karl Marx appeared in 1918, the year before his death. Completed in 1891, The Weavers was accepted for performance by the Deutsches Theater but was rejected by the Berlin censor as ‘a portrayal which specifically instils class hatred’. The first production of the play, discussed by Mehring below, was possible only because the Freie Bühne was a subscription society. In October 1893 a further private performance was given at the Neue Freie Volksbühne, followed by seven more in December at the Freie Volksbühne, where Franz Mehring was chairman. By now, the Prussian State censor had overruled his Berlin subordinate and The Weavers received its public premiere at the Deutsches Theater on 25 September 1894. On each occasion Hauptmann's play was greeted with great enthusiasm by the public, but found no favour with the Imperial family who indignantly cancelled their regular box at the Deutsches Theater. Subsequently The Weavers was banned from public performance in France, Austria, Italy, and Russia. Mehring's article appeared originally in Die Neue Zeit, XI, No. I (1893). Its translation in NTQ forms part of an occasional series on early Marxist dramatic criticism, which already includes Trotsky on Wedekind (NTQ28) and Lunacharsky on Ibsen (NTQ39). EDWARD BRAUN
45
Thomas, Alun. "On Guard at BAMlag: Representations of Guards in the 1930s Gulag Press". Soviet and Post-Soviet Review 41, nr 1 (19.03.2014): 3–32. http://dx.doi.org/10.1163/18763324-04101002.
Pełny tekst źródłaStreszczenie:
The 1930s saw a dramatic escalation in the size and scope of the Soviet Union’s system of penal labour camps, the Gulag. Through analyses of memoir and other sources, the experiences of the Gulag’s prisoners at this time have been the subject of a great deal of scholarly investigation. Yet the guards who watched over these prisoners have received considerably less attention. Newspapers printed for the VOKhR guards in the mid-1930s offer some information on their readers’ everyday duties and their status, both inside the Gulag and as citizens of the USSR. Publications taken from one particularly large camp responsible for the construction of the Baikal-Amur railway (BAMlag) depict guards as self-disciplined, industrious soldiers engaged in a war for economic and social development. But the specific dynamics and changing circumstances of the Soviet penal system at this time created an unusual contrast between newspapers printed for the guards and those printed for the prisoners of BAMlag. While the criticism levelled at prisoners by their own newspaper was often mitigated by a rehabilitative discourse, the guards were judged as full members of Soviet society, often harshly. However, the precise implications of this were rendered ambiguous by the indeterminate position of the Gulag itself at this point in Soviet history.
46
Loesberg, Jonathan. "BROWNING BELIEVING: “A DEATH IN THE DESERT” AND THE STATUS OF BELIEF". Victorian Literature and Culture 38, nr 1 (23.02.2010): 209–38. http://dx.doi.org/10.1017/s1060150309990404.
Pełny tekst źródłaStreszczenie:
Some John, we are told, possibly both the Evangelist and the beloved apostle, but, for reasons we will see, possibly only one, the other, or neither, reanimated so his dying words can be recorded by other early Christians, tries to tell those who will now live with no contact with anyone who had contact with Jesus Christ, how they may live with that absence. Although his reanimaters preserve and venerate his words, it's not clear that they actually follow them or even understand them. In the wake of the questions first German Higher Criticism and then more recent work in the 1860s had raised with regard to the historical accuracy of the New Testament, Robert Browning, tries to propose how his contemporaries might believe. At the same time, as a consequence of a definition of how to believe, Browning also suggests how to look at the beliefs of others as expressions of one's condition and situation rather than as assertions whose accuracy it is in our interests to measure: he tells us what a dramatic monologue may show us. With regard to either aim, either with his contemporaries or with his critics, he did no better than John did with the poem's auditors. At least with regard to the issue of how to believe, one watches an odd critical history as readers have become increasingly aware of how completely Browning seems to have accepted the conclusions of the Higher Criticism about the historicity of the gospels, but have refused to accept how completely this meant that his justification for belief wound up reproducing the Higher Critical position about the historical reality of Christianity, with the addition of an epistemologically daring and dangerous justification of willed belief in an object accepted as possibly fictional that gives his ostensible Christianity only the appearance of an orthodoxy it had in fact abandoned.
47
Novak, William J. "The Not-So-Strange Birth of the Modern American State: A Comment on James A. Henretta's “Charles Evans Hughes and the Strange Death of Liberal America”". Law and History Review 24, nr 1 (2006): 193–99. http://dx.doi.org/10.1017/s0738248000002315.
Pełny tekst źródłaStreszczenie:
James Henretta's “Charles Evans Hughes and the Strange Death of Liberal America” takes up one of the most interesting and important interpretive questions in the history of American political economy. What explains the dramatic transformation in liberal ideology and governance between 1877 and 1937 that carried the United States from laissez-faire constitutionalism to New Deal statism, from classical liberalism to democratic social-welfarism? That question has preoccupied legions of historians, political-economists, and legal scholars (as well as politicians and ideologues) at least since Hughes himself opened the October 1935 Term of the U.S. Supreme Court in a brand new building and amid a rising chorus of constitutional criticism. Henretta, wisely in my opinion, looks to law, particularly public law, for new insights into that great transformation. But, of course, the challenge in using legal history to answer such a question is the enormous increase in the actual policy output of courts, legislatures, and administrative agencies in this period. Trying to synthesize the complex changes in “law-in-action” in the fiercely contested forums of turn-of-the-century America sometimes seems the historical-sociological equivalent of attempting to empty the sea with a slotted spoon. Like any good social scientist, Henretta responds to the impossibility of surveying the whole by taking a sample. Through a case-study of the ideas, political reforms, and legal opinions of Charles Evans Hughes, particularly as governor of New York and associate and chief justice of the U.S. Supreme Court, Henretta offers us in microcosm the story of the revolution (or rather several revolutions) in modern American governance.
48
Annichev, О. Ye. "The interaction of theatrical journalism and theatrical criticism in the modern media". Problems of Interaction Between Arts, Pedagogy and the Theory and Practice of Education 51, nr 51 (3.10.2018): 115–26. http://dx.doi.org/10.34064/khnum1-51.06.
Pełny tekst źródłaStreszczenie:
Background. Topicality of the theme. With the advent of the Internet, Internet journalism has appeared. In relating to theater, in essence, it is theatrical criticism, which has only undergone major changes. In recent years, there have been lively discussions in professional circles about the state and prospects of theater criticism as a profession, about the nature of theater criticism, its self-identification in the modern information space. Round tables with the participation of leading theater critics are devoted to the issues of the current state of theater criticism, a number of relevant materials have been published in specialized publications, often with indicative headings: “Who needs theater critics?” [1], “Theater criticism: final or transformation?” [9]; interviews of theater critics, in which they uphold the positions of the profession and, at the same time, speak about urgent problems and the need to update it taking into account rapidly changing realities: with S. Vasilyev [2], N. Pivovarova [5], Ya. Partola [6]; discussion articles on the status and prospects of the profession by M. Harbuziuk [3], M. Dmitrevskaya [4], N. Pesochinsky [7], I. Chuzhynova [10], S. Schagina, E. Strogaleva, E. Gorokhovskaya [11]. Thus, there are several points of view on this topic: that theatrical journalism has replaced theatrical criticism; that theatrical critics of the old school did not have time to adapt to the changing world and use new tools in this profession, and young critics just occupy their niches in the youth media and on the Internet; that the profession of a critic does not go beyond the framework of participation in expert councils, jury membership, attendance at theater festivals, and writing reviews on request. The question, however, is still open. The main goal of this article is to determine the degree and main character of the interaction of journalism and theatrical criticism in modern media. Results of the study. Those who are seriously engaged in theater studies and academic theater criticism feel the need for specialized publications, the number of which in Ukraine is reduced to a minimum. Therefore, those who had the opportunity to publish reviews in the socio-political periodicals, have to combine three professional areas in one, becoming a theater journalist. Academically trained theater critics can write and often write good books, but, as a rule, do not know how to write for newspapers and magazines. But graduates of journalistic departments who write about the theater are not familiar with professional terminology, which is able to give a correct assessment of the premiere performance. The question arises: how to combine those and these, that the theater journalism was both fascinating and acute, and moderately scandalous, but at the same time accurate and high-quality? To grow such specialists is a matter of work, there can be no conveyor system here. Modern theater criticism, gradually becoming obsolete, rather survives from the common theatrical space. The theater critic cannot be a free artist, and live on the money from the results of his work, because in non-capital cities the number of journals in which the theater specialist would have had time to publish his works has decreased by several times. In cities such as Poltava, Sumy, Chernigov, the issues relating to theatrical premieres are not covered by critics (they are simply not there), but by journalists who write on various topics and rarely specialize in one. The substitution of theatrical critique by journalism is quite natural, for example, for cities where there is no professional training of theater critics, however in Kiev, Kharkiv and Lviv theater studies continue, and a certain number of graduates hope for the viability of this profession. Theatrical criticism and theatrical journalism are in their own way demanded in certain circles. Criticism is closer to theaters, journalism – to the audience. It is difficult to debate with this statement that new epoch came with the Internet. Now, the spoken word has a completely different value. For example, а word thrown on Facebook can have the same effect on public opinion as a big, built, hard fought text. This does not mean that you do not need to write large texts and publish them on paper. You just need to understand and accept the new reality, its advantages and disadvantages, its danger and its benefits. It is a very important problem of our consciousness and the problem of our theater. The Internet has given a new push to the development of new type of media-translations, actively working in social networks. Sites appear on the network where online remote screenings of performances are held. They provide Internet audiences with the opportunity to be acquainted with the history of national and world theater art; they are introduced to modern avant-garde performances. Of course, this also brings the theater closer to a wide, as a rule, young audience and opens up new opportunities for a different kind of theater journalism. Сonclusions. Thus, the Internet becomes an active means of influencing the minds in the modern media space. The Internet influences everyone and everything, changing attitudes towards theatrical art, as well as contemporary theater criticism and theater journalism. However in this case, it is essential to remember that not the Internet, but only professional theater criticism that has been and remains the breeding ground for the scientific work of theater critics and art historians, while creating the history of dramatic, opera and ballet theater.
49
Sozina, Elena K. "Epoch / Period vs Generation in the Literary and Critical Consciousness of the 19th Century". Izvestia of the Ural federal university. Series 2. Humanities and Arts 24, nr 3 (2022): 9–25. http://dx.doi.org/10.15826/izv2.2022.24.3.041.
Pełny tekst źródłaStreszczenie:
This article analyses the functioning of the concepts of “epoch”, “period”, and “generation” in nineteenth-century literature, criticism, and literature studies. The concept of “epoch” presupposes a linear stage understanding and interpretation of history, and “period” can also be used within other concepts of historical development. The “epoch”, sometimes replaced by the “century”, and the “period” were traditionally used as measurement units of literature and culture history (cf. works of A. Bestuzhev, I. Kireevsky, V. Belinsky, etc.). One of the first periodisations of the history of Russian literature which employed these concepts was given by I. M. Born. The concept of “generation” in its meaning contains a biological, natural connotation, and therefore is not necessarily associated with the linear stage understanding of historical time. As S. N. Zenkin puts it, “a generation is time embodied in people, in their dramatic destiny”. The concept of “generation” is often used in periods of historical time which require a person to comprehend themselves and their place in history. A good example is Romanticism in the first decades of the nineteenth century. Another factor that actualises generational problems is the influence of biological and naturalistic ideas when a community motif of people doomed to be born and live with this influence “in their blood” emerges in this quite unfavorable time. This situation is considered by the author of this paper regarding the functioning of the “generation” concept in A. P. Chekhov’s works, who actively marked himself as belonging to the eighties’ “artel” (generation) in the 1880s. This concept as a subject of his characters’ argument subsequently recurs in Chekhov’s works of fiction. All the concepts mentioned are also analysed in the History of the Russian Literature of the 19th Century (1908–1911, ed. D. N. Ovsyaniko-Kulikovsky), which summed up the achievements of the nineteenth-century cultural and historical school. The author emphasises how this book (History...) develops a method of working with these concepts, and this method later comes in demand with the twentieth-century humanities.
50
Akbar, Muh, i Aman Aman. "The Revolt of the Crew of De Zeven Provincien and the Activities of the National Movement of 1930-1933". Diakronika 23, nr 2 (28.12.2023): 177–83. http://dx.doi.org/10.24036/diakronika/vol23-iss2/258.
Pełny tekst źródłaStreszczenie:
World history records that at the end of 1920, the global community was hit by a very dramatic economic depression, which resulted in protests by the people as a result of cuts in the wages of civil servants in all circles, both Dutch and Indigenous nationalities, by 17%, wage cuts were part of the efforts government to reduce the gap between government revenues and spending when the economic depression has caused government revenues in an emergency. The relationship between the rebellion of the Crew of De Zeven Provincien and the activities of the national movement during the reign of Governor-General Jhr. B.C. De Jonge. After the uprising immediately, the Dutch East Indies government, under the leadership of Governor-General Jhr. B.C. De Jonge carried out reactionary and violent politics against the activities of the national movement. Movement organizations were increasingly under pressure from the colonial government, and some radical and revolutionary movement figures were even arrested. The research method used is the historical method, namely heuristics, source criticism, interpretation, and historiography, and this research uses library research where the researcher examines several sources related to this research. Thus, it can be concluded that in the De Zeven Provincien Crew Mutiny in 1933, Governor General Jhr. B.C. De Jonge put more pressure on the national movement organization in Indonesia.