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Artykuły w czasopismach na temat "Nobility – Drama"
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Kardiansyah, M. Yuseano. "The Index of Hero’s Power and Nobility in Shakespearean Tragedy Drama: A Semiotic Study". TEKNOSASTIK 14, nr 2 (21.04.2018): 11. http://dx.doi.org/10.33365/ts.v14i2.57.
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This paper discusses a study that investigates the index of hero’s power and nobility in Shakespearean tragedy dramas. Here, the discussion focuses on two works authored by William Shakespeare: "Macbeth" and “Othello”. Objective of this study is to investigate the signs that give index of power and nobility in those two Shakespearean tragedy dramas. The study is done by analyzing Macbeth and Othello in the way of tracing the intrinsic elements or texts of them. All related dialogs and narrations (data source) in these dramas are analyzed in order to disclose the indexes of power and nobility in Shakespearean tragedy dramas. All analyses from each works are compared in order to determine if there are similar indexes or even distinction among those works in depicting the sense of power and nobility as Shakespearean dramas. As the result, it is found that these two dramas contain similar pattern of indexes that lead to the figuration of each hero’s power and nobility in the dramas.
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Olszewska, Maria Jolanta. "Narodowy geniusz, czyli portret Fryderyka Chopina w Ostatnim koncercie Stanisławy Fleszarowej-Muskat". Poznańskie Studia Polonistyczne. Seria Literacka, nr 41 (29.12.2021): 301–26. http://dx.doi.org/10.14746/pspsl.2021.41.15.
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The drama Ostatni koncert (The Last Concert) (1960) by Stanisława Fleszarowa-Muskat, originally written as a radio play, sits on the border between popular and fictional literature. The text was intended for a wide audience. The plot focuses on a single event – Frédéric Chopin’s last concert in Warsaw, just before his departure to France, which took place on October 11, 1830. Youth, as it was understood by the romantics, turns out to be a time that shaped Chopin’s artistic personality. In this drama, the independence background is important as it highlights Chopin’s ties to the fate of his homeland, which gives his music a patriotic and revolutionary dimension. In sounds, Chopin’s brilliant music expresses the essence of the Polish soul: its nobility and love of freedom. Chopin’s concert took place at a turning point both for the composer and for the nation whose spirit he expressed through sounds. The drama about Chopin, the national genius, is at the same time a drama about a national community that acquires its identity by identifying with his music.
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Indraningsih Jeno, Ciclia, Ni Made Arshiniwati i Ida Ayu Trisnawati. "Symbolic Meaning Relationship between the Condong Character and the Putri in the Gambuh Batuan Dance Drama". Mudra Jurnal Seni Budaya 38, nr 4 (18.07.2023): 432–42. http://dx.doi.org/10.31091/mudra.v38i4.2038.
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Gambuh is the oldest Balinese theatrical dance drama, with a rich repertoire of dance movements, music, dramaturgy, and costume design, making it the source of Balinese performing arts that emerged later. The main story is about the journey of Prince Panji to find his lover, Princess Candra Kirana. There are two important female characters, namely Condong (servant) and Putri (Princess), who have different social statuses but have a close relationship and play a key role at the beginning of the drama, making them the determinant of the success of the performance. The research aims to reinterpret the meanings contained in the Gambuh dance drama, especially the relationship between Condong and Putri, to offer a living interpretation of local wisdom, pass them on to the next generations, and contribute to building the character of the nation that has nobility and refinement of character. The research was conducted using a qualitative research method, including a literature review, participatory observation, and in-depth interviews in Batuan Village, Gianyar Regency, Bali. The research process begins with a formal description of the characters, dance movements, costumes, and antawacana (dialogue), then the symbolic meaning analysis is carried out using Aesthetic Theory and HG Gadamer and Paul Ricoeur's Hermeneutics approach. The results of the study show that the relationship between the two characters, Condong and Putri, carries the meanings of dedication, sincerity, ethics, and the strength of women - values that are local wisdom but very relevant to women today. The elements of Rwa Bhineda, which are two opposing forces, Trihita Karana, which is harmony with nature, God, and humans, and the Hindu concept of Satyam Sivam Shundaram, which embodies ethical and pure values wrapped in beauty in the Gambuh dance drama - are the essence of Gambuh that is relevant to the present day, making it universal, transcending time and distance.
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Heine, Steven. "Tragedy and Salvation in the Floating World: Chikamatsu's Double Suicide Drama as Millenarian Discourse". Journal of Asian Studies 53, nr 2 (maj 1994): 367–93. http://dx.doi.org/10.2307/2059839.
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A distinctive feature of japanese society is its apparent eagerness to embrace various forms of voluntary death or suicide as legitimate, even positive, behavior with a potentially redemptive value. These forms include the samurai's ritualistic disembowelment (seppuku or harakiri), remonstration suicide (kanshi) in protest against a corrupt superior, and suicide out of devotion to a lord or superior (junsbi), all of which are surrounded by “a heroic, romantic, aesthetic, and moral aura” (Lebra 1976:190). Suicide is, of course, an extraordinary act in Japan as elsewhere in the world (Lifton 1979:24). Though it is not common, it is widely revered by Japanese if committed on the basis of authentic moral intentions in relation to societal pressure—that is, to exorcise shame (haji) and to highlight honor, dignity, and integrity. In a culture that esteems the tragic hero who embodies the “nobility of failure” (Morris 1975), and which regards voluntary death as an experiential transcendence for participants and observers alike, perhaps the most extreme and intriguing example of taking one's own life is the double suicide or love suicide (shinjū).
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YOUNGER, NEIL. "DRAMA, POLITICS, AND NEWS IN THE EARL OF SUSSEX'S ENTERTAINMENT OF ELIZABETH I AT NEW HALL, 1579". Historical Journal 58, nr 2 (11.05.2015): 343–66. http://dx.doi.org/10.1017/s0018246x14000715.
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AbstractIn September 1579, at the height of an intense political debate over her prospective marriage to the duke of Anjou, Elizabeth I visited New Hall, the country seat of the match's greatest supporter within England, Thomas Radcliffe, third earl of Sussex. Her entertainment on that occasion, hitherto completely unknown, was described in a letter, printed here, from one Norfolk gentleman, Sir Edward Clere, to another, Bassingbourne Gawdy. The letter describes the dramatic performances and other entertainments provided for the queen, which included coded but unmistakeable encouragements for her to proceed with the marriage. This article discusses the ways in which this was done and their consequences for our knowledge of the Anjou marriage debate as a political episode, suggesting that Sussex sought to use the entertainment to boost the participation of more conservative members of the nobility in government. It also explores how this evidence affects our picture of Elizabethan courtly entertainments, and particularly their non-dramatic elements. Finally, it discusses Clere's letter itself as an insight into the nature of gentry news culture, particularly with regard to matters of high politics.
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Berg, Shelley C. "Limón's La Malinche: Negotiating the In-Between". Dance Research Journal 37, nr 1 (2005): 75–93. http://dx.doi.org/10.1017/s0149767700008366.
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The artist; disciple, abundant, multiple, restless.The true artist, capable, practicing, skillful,Maintains dialogue with his heart, meets things with his mind.The true artist draws out all from his heartNáhuatl text quoted in Keen (1971, 23)Dancer and choreographer José Limón was an artist of epic proportions, both in terms of the scope of his creative energy and the depth of his passionate humanism. Many of his dances speak to his search for the nobility in the human spirit, while others explore darker themes of betrayal, conflict, and despair. Whatever the subject or theme, Limón's dances reveal a consummate craftsman, a devout formalist who sought to reconcile, through his dances, the drama of emotion with the exigencies of choreographic composition and design. As a choreographer, Limón was often most eloquent in creating compact dance-dramas with archetypal, mythic, or literary characters: The Moor's Pavane, The Exiles, The Emperor Jones, and La Malinche.Limón belongs to the second generation of American modern dancers; in his memoirs, the choreographer metaphorically casts Isadora Duncan and Harald Kreutzberg as his “parents,” Doris Humphrey and Charles Weidman as his “foster parents,” and Ruth St. Denis and Ted Shawn as his “grandparents.” His true origins, while more prosaic, were central to his life as a creative artist. Limón was born in the city of Culiacán, in the Mexican state of Sinaloa. His father, Florencio Limón, was a musician, “a pedagogue, conductor and director of the State Academy of Music” (Garafola 1999, 1). His mother, Francisca, came from a good bourgeois family.
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Olomu, Oyewole, i Yeside Lawal Dosumu. "Spirito-Physical Relevance of Iwure in Ekiti Ẹpa-Type Masquerade Festival: A Theoretical Appraisal". Journal of Humanities,Music and Dance, nr 36 (18.11.2023): 23–37. http://dx.doi.org/10.55529/jhmd.36.23.37.
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The erosion of Ìwúre ritual supplication one of the most significant aspect of Yorùbá indigenous communion which renders the spirituality and nobility attached to festivals irrelevant, making some of them to be at the verge of extinction is worrisome. Despite scholarly works on festivals, by seasoned scholars such as Enekwe (1987), Ògúndèjì (2005), Ògunbà (1987), Dáramo ̣́lá and Je ̣́je ̣́ (1975) etc. Concise attention has not been paid to this crucial aspect of indigenous festival. This study fills the gap. The study focuses on Ìwúre and its socio-religious relevance. This study is pivoted on Cultural performance theory propounded by Victor Turner (1981) which establishes ritual and mythico drama as form of dramatic performance. The study has employed qualitative research method for data collection and analysis in the study area. Namely Ikóro Ìlo ̣́ro ̣̀and Ajégúnle ̣̀ Èkìtì. This involves interviews schedules, focus group discussion (FGD) and participant observation. The finding of the study reveals that Ìwúre is not only vital aspect in Yorùbá festivals but in all socio strata of the society, engagements. It is believed that Ìwúre give succor and also helps adherents deal with difficult situation and also help people deal with difficult situations.
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García Castañeda, Salvador. "La varia fortuna del condestable: una imagen romántica de don Álvaro de Luna". Lectura y Signo, nr 12 (6.02.2018): 171. http://dx.doi.org/10.18002/lys.v0i12.5314.
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<p>Don Álvaro de Luna (1388?-1453) alcanzó un poder nunca visto, y los nobles, que le veían con temor y<br />con envidia, le acusaron de tener dominado al débil e indeciso monarca Juan II, quien muy a su pesar le<br />condenó a muerte. Las circunstancias de su ejecución y el valor y la dignidad con que don Álvaro fue al<br />patíbulo atrajo a los autores y artistas románticos, que vieron en él una víctima del sino y de los altibajosde la fortuna. Estudio aquí cuatro obras consideradas representativas: un relato breve, «The Fate ofLuna» de Telesforo de Trueba y Cosío; el romance histórico «Don Álvaro de Luna» del Duque de Rivas; el drama histórico, Don Álvaro de Luna de Antonio Gil y Zárate; y un romance de ciego, El Suplicio de D. Álvaro de Luna, de «F. M».</p><p><br /><br />Don Álvaro de Luna (1388?-1453) became the most powerful statesman of his time, but the nobility ―<br />jealous and fearful of his power― pressured King Juan II of Castile, a weak and ungrateful man, to sign<br />his death sentence. The circumstances of his execution, and the courage and poise in meeting his death at the scaffold sparked the imagination of Romantic authors and artists, who considered him a victim of Destiny and of capricious Fortune. In this article, I study four representative works of that period: Telesforo de Trueba y Cosío’s short story «The Fate of Luna»; the Duque de Rivas’s historical romance «Don Álvaro de Luna»; the historical drama Don Álvaro de Luna by Antonio Gil y Zárate; and «F. M.»’s El Suplicio de D. Álvaro de Luna, a «romance de ciego».</p>
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Mapindani, Aleck. "FATED EXISTENCE? CALCULATING THE TRAGIC CULMINATIONS OF OTHELLO AND OEDIPUS THE KING". Imbizo 6, nr 2 (21.06.2017): 43–48. http://dx.doi.org/10.25159/2078-9785/2805.
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The tragic trail that both Shakespeare and Sophocles take as fictional playwrights marks a remarkable approach to dramatic writing that leaves no shade of doubt upon their proficiency in this particular field.The Shakespearian option follows a discernible literary trajectory reflective of military nobility juxtaposed with a myopic and gullible stature of simplicity. This, however, projects an extremised Moorish level of racial vulnerability and criticism that yields to manoeuvred deception through diplomatic machinations by the jealous Venetian lot. Sophoclean drama is, in this case, an embodiment of the harsh spells of predestiny taking their toll behind an unconscious conceited politician – from before his birth right up to maturity and his climactic royal demise. In both plays, the dramatic interplay of thematic motivations seem to signal a back-and-forth war between humanity (that is, a human struggle for survival fought against personal flaws) and the phenomenally devastating forces of fate and nature that direct their feet towards heroic ruin. The article takes an interrogative stance, calculating the cause of the interwoven mysteries embedded in both human carnality and celestial forms that advise the heart-rending literary movements adopted by the twin plays as they march inexorably towards the downfall of their respective heroic figures.
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Adeniyi, Victoria O. "Proletarian Philosophy in Selected Plays by Ola Rotimi". Anglica Wratislaviensia 56 (22.11.2018): 11–22. http://dx.doi.org/10.19195/0301-7966.56.1.
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The early plays of Ola Rotimi are literary works in which Rotimi places an emphasis on the position of the gods in man’s life. They are plays in which the concept of tragedy is portrayed through the eyes of noble people. They are plays in which Rotimi places an emphasis on the nobility of birth of the protagonists. His later plays, however, put an emphasis on the proletariat. This article examines the Marxist aesthetics and ideology in Ola Rotimi’s If: A Tragedy of the Ruled 1983 and Hopes of the Living Dead 1988. It reflects on Rotimi’s ideological departure into revolutionary drama in his later plays compared to such earlier plays as The Gods Are Not To Blame 1979, Kurunmi 1971 and Ovonranwem Nogbaisi 1974. The study shows that Rotimi stresses the importance of the proletariat in society as reflected in If: A Tragedy of the Ruled 1983 and Hopes of the Living Dead 1988. The paper argues that Rotimi’s acceptance of a new vision of commitment as revealed in the plays is an act of intellectual decolonisation. The paper concludes that Rotimi wrote these particular plays with the conscious aim of not only representing society as it is, but also with the aim of presenting society as it ought to be.
Rozprawy doktorskie na temat "Nobility – Drama"
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Stewart, Fenn Elan. ""The king is a thing": Hamlet and the prostheses of nobility". Thesis, University of British Columbia, 2008. http://hdl.handle.net/2429/2645.
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The language used in critical readings of Hamlet is rife with implicitly teleological terms: according to many critics, and the ghost of King Hamlet, the story of his father's murder and Claudius' succession requires Hamlet to do something. I ask, why should Hamlet kill his uncle, revenge his father, correct his mother, become king, marry Ophelia, and produce heirs to rule when he is gone? While Hamlet's inaction is often described as delay or paralysis, I suggest that the Danish prince resists teleology through his studied ambivalence towards dynasty: land-owning, child-bearing, wars and marriage. Building on recent theoretical and historical work by scholars like Lee Edelman, Will Fisher, Margreta de Grazia and Madhavi Menon, I suggest that Hamlet, through the interventions of its main character, thwarts the assumption that the relationship between a nobleman and his land is natural, that the desire for possession and rule is inherent. Combining de Grazia's invaluable historicism with Fisher's discussion of prostheses, Ir ead the Renaissance nobleman as a prosthetic creature, physically and politically embodied by his marriage, his children, his land. In delaying the revenge he has been called upon to carry out, in hesitating to take up the crown, Hamlet defers the prostheses of nobility, and opens up a space from which to question the dynastic project.
Książki na temat "Nobility – Drama"
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Caroline, Blackwood, red. The last of the duchess. London]: Bloomsbury, 2015.
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1854-1900, Wilde Oscar, red. West Moon Street. New York: Samuel French, 2008.
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1867-1936, Pirandello Luigi, red. Enrico IV. Chicago: Ivan R. Dee, 2002.
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J, Sypher F., red. Castruccio Castrucani, or, The triumph of Lucca: A tragedy. Ann Arbor, Mich: Scholars' Facsimiles & Reprints, 2000.
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Roberta, Barker, i Malone Society, red. Common conditions (?1576). Oxford: Published for the Malone Society by Oxford University Press, 2004.
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Griffiths, Linda. The Duchess, a.k.a. Wallis Simpson. Toronto: Playwrights Canada Press, 1998.
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Pinckney, Darryl. Orlando. [Arles]: Actes sud, 1993.
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Thomas, Dekker. The honest whore. London: Globe Education, 1998.
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Andrew, Gurr, i Mulryne J. R, red. The Spanish tragedy. Wyd. 3. London: Methuen Drama, 2009.
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Shaw, Bernard. Annajanska, the Bolshevik empress. Studio City, CA: Players Press, 2002.
Znajdź pełny tekst źródłaCzęści książek na temat "Nobility – Drama"
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Orr, John. "Tragic Nobility and National Awakening". W Tragic Drama and Modern Society, 119–42. London: Palgrave Macmillan UK, 1989. http://dx.doi.org/10.1007/978-1-349-19829-0_7.
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Covey, R. Alan. "Postscript". W Inca Apocalypse, 516–20. Oxford University Press, 2020. http://dx.doi.org/10.1093/oso/9780190299125.003.0014.
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The supernatural drama surrounding the 1650 earthquake brings the story of the Inca apocalypse in Cuzco to a close. The status of the Inca nobility in the city continued to fade over almost two more centuries of Spanish colonial rule, but they remained faithful subjects and good Christians to the very end. Cuzco stood with the Crown during the 1780 revolution led by the ...
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Kaicker, Abhishek. "Daulat’s Flight". W The King and the People, 176–226. Oxford University Press, 2020. http://dx.doi.org/10.1093/oso/9780190070670.003.0006.
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In 1719, a group of high noblemen from the clan of the Sayyids of Barha deposed the Mughal ruler Farrukh Siyar and replaced him with another prince. Such an act of unprecedented violence against the kingly body shook the established ideals of imperial authority. The regicide was understood, explained, debated, and justified in the admonitory histories that were written by observers of this moment of crisis, who vainly struggled to establish a new ideal of sovereignty. Yet the king and his nobility were not the only actors in this drama. For, as this chapter demonstrates, this convulsion of politics at the highest levels of the empire witnessed the forceful intervention of a new actor: the people of the city. While the popular action was dismissed by elite observers, these pages demonstrate how the city’s ordinary folk rejected the attempt by the nobility to change the structure of power.
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Borenstein, Eliot. "Inside Out". W Marvel Comics in the 1970s, 21–51. Cornell University Press, 2023. http://dx.doi.org/10.7591/cornell/9781501767821.003.0002.
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This chapter takes a look at Stan Lee's contribution to 1970s Marvel. Lee's approach speaks to one of early Marvel's constant preoccupations: the nature and value of humanity. Whereas DC's Superman rarely portrayed the Clark Kent/Superman dual identity as a question of psychology or subjectivity, Marvel used the contrast between the human and the superhuman as both a source of personal drama and a brief in favor of Western humanism. Just as Lee portrays the heroic costume as the fancy, attention-getting wrapping around the much more important “character” of the person behind the mask, the juxtaposition of human and superhuman, while obviously based on the fantastic appeal of enhanced abilities, led to repeated encomiums on the nobility of “man.”
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Patterson, Jonathan. "Transcultural Debasement". W Villainy in France (1463-1610), 256–72. Oxford University Press, 2021. http://dx.doi.org/10.1093/oso/9780198840015.003.0019.
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L’Estoile’s journals are a major confluence of legal and tragic discourses on villainy, including high-brow tragedy. Chapter 18 focuses on a tragic problem coursing throughout this book: why the nobility, especially prominent military leaders, found it so difficult to shake off villainy even at the point of death. This chapter covers two notorious examples: Louis Bussy d’Amboise and Charles de Gontaut, Duc de Biron. L’Estoile was among the first of many observers to reflect on the high drama of their deaths. Between law and literature, L’Estoile records the lineaments of an ambivalent discourse on valour and villainy that would develop more fully as the ‘discursive space’ expanded into England. The debasement of Bussy and Biron was revisited in stage tragedies by George Chapman, whose work afforded a transcultural meditation on two haughty malcontents who thought they were above common and criminal law.
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Jackson, Christine. "‘Treacherous Herbert’ or Man of Honour?" W Courtier, Scholar, and Man of the Sword, 311–37. Oxford University Press, 2021. http://dx.doi.org/10.1093/oso/9780192847225.003.0015.
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The final decade of Herbert’s life was dominated by the breakdown in relations between Charles I and the English Parliament and the outbreak of civil war throughout the British Isles. Chapter 14 traces Herbert’s support for Charles’s military campaigns against the Scots and his cautious support for the king in parliamentary debate in the House of Lords in 1642 which led to his brief imprisonment. It explores his decision to avoid involvement in civil war preparations and hostilities during 1642–3 and his refusal to accept a royalist garrison for Montgomery Castle and surrender of the strategically important fortress to a parliamentary army in 1644. It examines Herbert’s political and constitutional views and considers to what extent he genuinely supported the political agenda of either king or Parliament and whether his behaviour was typical of the nobility. It presents his perceived treachery within its wider political context, places him among the growing number of noblemen who switched their allegiance to Parliament during 1644 and 1645, and acknowledges his success in convincing Parliament of his loyalty and securing repossession of Montgomery Castle. It examines Herbert’s continuing commitment to writing and publishing academic treatises and considers the purpose of his autobiography and Latin advice poem. It explores Herbert’s declining health, parliamentary attendance, visit to Paris, and relations with friends and family during his final years and ends with his much discussed deathbed drama in August 1648.