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Artigos de revistas sobre o tema "Drama – 20th century – bibliography"

Autor: Grafiati

Publicado: 25 de julho de 2024

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1

Kim, Soo-young, Jeongwoo Song, Juhee Ham e Ruiqing Qui. "Translation and Annotation of Chunhyangjeon writtenby Yeo Gyu-hyeong". Daedong Hanmun Association 78 (30 de março de 2024): 289–398. http://dx.doi.org/10.21794/ddhm.2024.78.289.

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In the early 20th century, Yeo Gyu-hyeong was commissioned by the Wongaksa(圓覺社) to create the drama Chunhyangjeon written in Classical Chinese. Yeo Gyu-hyeong's Chunhyangjeon is a unique text that shows the contemporary changes in pansori literature and has points worthy of further discussion in several adjacent academic fields. Nonetheless, a complete translation of this work has not yet been done. Therefore this paper preliminarily examined the bibliographic characteristics and genre of Yeo Gyu-hyeong's Chunhyangjeon and performed punctuation, translation, and commentary on the entire text.

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2

Poliakova, Yu Yu. "Researches of Kharkiv’s Theater Culture of the 19th and the first half of the 20th cc.: Problems of Historiography". Problems of Interaction Between Arts, Pedagogy and the Theory and Practice of Education 51, n.º 51 (3 de outubro de 2018): 142–63. http://dx.doi.org/10.34064/khnum1-51.08.

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Background. Recently, specialists in drama studies have displayed growing interest to the problems of historiography concerning theaters. One of its most urgent tasks is to reveal just how much the scientific approach is applied to creating a historical paper. This goes hand in glove with studies into sociopolitical and scientific worldview of authors of the researches, the sources used, the interpretation of facts as well as the style of material’s presentation. Objectives, methods and materials of the research. The purpose of this study is to outline the circle of the most important sources, which contain the data on the history of theater in Kharkiv; to characterize their authors; to define the degree of their mastering of accessible information while writing books and articles on various periods in the development of theater culture in this city in the 19th c.; to establish the main challenges to researchers they have to face under modern conditions. In this study, the author has chosen to apply the traditional cultural-historic method of research. It generally consists of collecting primary information on a certain phenomenon or a prominent figure, working it out, finding its correlation with appropriate historic events, and then making an attempt to substantiate the meaning and importance of the phenomenon / figure studied, in the context of the development of arts in the region. The article based on memoirs, archive materials, periodic publications (containing articles on the activities of theater companies, theatrical managers, actors etc.) and literature on the history of drama as well as general publications, which include items on the theater life in the city. Due to the lack of an entire elaborated bibliographic system, researchers have to engage themselves in painstaking browsing through the entire corpus of periodicals. In Kharkiv, the main sources of relevant information are such periodicals as the “Ukrainskiy vestnik” magazine (1816–1819) and some newspapers: “Kharkovskie gubernskie vedomosti” (1838–1915), “Yuzhnyy kray” (1880–1919), “Utro” (1906–1916), Kharkov (1877–1880), Kharkovskiy listok (1898–1905) and more. Results. The former newspaper “Kharkovskie gubernskie vedomosti” published, in 1841, the essay “Theater in Kharkov” by dramatist and a prominent public figure Hryhoriy Kvitka-Osnov’yanenko (1778–1843), who described the very first period in the history of theater in Kharkiv (1780–1816). In the 1870s, the “Kharkovskie gubernskie vedomosti” started to publish regularly analytical and summarizing articles, which were an attempt at creating theater’s history of a certain period. There was, for one, an article “The Kharkov Drama Theater in Recent Ten Years” by Ivan Ustinov, published in 1877 and dedicated to the 10th anniversary of the Diukovs’ private theater company. I. Ustinov not only gave a brief analysis of the theater’s repertoire between 1867 and 1877, but also included biographies and short characteristics of the actors, which were playing then on Kharkiv stage. Ustinov also is famous as the compiler of the bibliographic index “The Books on Kharkov Governorate” (1886), with certain information on the history of theater in this city. In the 1880s, Konstantin Schelkov, a graduate of the Kharkiv University’s Law School, wrote his articles on the theater in the “Kharkovskie gubernskie vedomosti”. The newspaper published, among others, his article “Materials for the History of Theater in Kharkiv” (1881), in which he described the activities of the theater’s management headed by N. D. Alferaki in 1845–1848. In the early 1880s, another big newspaper, the “Yuzhnyy kray”, was started. Its columnist Nikolay Chernyaev took a great interest in the history of theater in Kharkiv. Mr. Chernyaev’s works include a systematic review of theater culture in Kharkiv from Catherine II epoch until 1843 as well as a number of essays on the development of theater in Kharkiv up to 1880. The author collected wide documentary material dedicated to specific periods of history as well as to certain artistic figures. Chernyaev studied many various sources: dailies and magazines, published in the capital cities and in provinces, many collections of documents, memoirs and so on. Chernyaev’s works proved to be useful to historians D. I. Bagalei and D. P. Miller who covered the history of theater in their famous book “The History of the City of Kharkov during 250 Years of its Existence.” In the first half of the 20th c., there were no integral and systematic researches on the history of the city of the previous century, so the monograph “The Beginnings of the Theater in Kharkov” by Arkadiy Pletniov, published in 1960, one can consider as summarizing. The author based much of his study on the works of N. I. Chernyaev. He also widely used the materials resting in the A. A. Bakhrushin Museum of Theater, Moscow, and in many archives. In his monograph, Dr. Pletniov did not limit himself with listing the events of theatrical life, but thoroughly analyzed the activities of the Board of Trustees and such managers as I. Shtein and L. Mlotkovskiy. In several supplements, one can find lists of main roles played on Kharkiv stage by its prominent actors (N. Rybakov, L. Mlotkovskiy, K. Solenik). Pletniov’s work, enriched by references and commentaries, played an important part in creating the complex picture of Kharkov’s theatrical life. Due to abundance of the facts and clear style, Dr. Pletniov’s book stays up to now a valuable source on the subject. Conclusions. The analysis of historiography concerning the theater in Kharkiv of the 19th and early 20th cc. enables the author to come to conclusion that the main challenges a modern researcher has to face are as follows: the absence of system in bibliographic manuals; lacunas in the funds of periodicals of most libraries; the absence of important documents in archives. Theater life in Kharkiv has been studied far from satisfactory level yet. The following problems of history especially need thorough research work from historical point of view: theater critique; drama art; architecture of theater buildings in Kharkiv; amateur theater companies; charity for theaters; and some other points. The task of modern researchers, as we see it, lies in gradual filling the gaps mentioned above.

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3

Kalnačs, Benedikts. "20th-century Baltic Drama: Comparative Paradigms". Interlitteraria 19, n.º 1 (1 de julho de 2014): 33. http://dx.doi.org/10.12697/il.2014.19.1.3.

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Tykholoz, Nataliia. "Between Fact and Ego-Literature: Memoir and Publicistic “Odyssea” by Anna Franko-Klyuchko (Genre-Thematic Polyphony)". Pitannâ lìteraturoznavstva, n.º 108 (29 de dezembro de 2023): 164–87. http://dx.doi.org/10.31861/pytlit2023.108.164.

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Article is devoted to the memoir and artistic and journalistic work of Anna Franko-Klyuchko (1892–1988), the youngest daughter of Ivan Franko. The purpose of the studio is to reveal the creative individuality of the author as a representative of the literary dynasty of the Franks. The investigation is based on historical and documentary research using analytical, synthetic, biographical, bibliographic, cultural-historical, and geneological methods. The novelty of the research consists in understanding and introducing into scientific circulation a number of memoirs and journalistic texts of Anna Franko-Klyuchko, which were scattered in diasporic periodicals and for a long time were out of the attention of researchers. On the basis of the analysis of these texts, conclusions are made about the peculiarities of the creative style of Anna Franko-Klyuchko, which is characterized by a high degree of autobiography, emotionality and imagery, and the dominance of the genres of essays and memoirs. The texts of Anna Franko-Klyuchko can be considered documents of the author's creative and life history (characteristically ego-literature). As a whole, the memoir and journalistic texts of Anna Franko-Klyuchko make up a long story of the life of the author herself: one text grows into another, creating a travelogue lasting a lifetime with unrealized dreams and real events. The source for Anna Franko-Klyuchko’s texts was either her memories of the years she lived in Ukraine, or events from the author’s emigrant life, which as a whole represented the great drama of the generation that suffered defeat in the national liberation contests of the beginning of the 20th century. In the psychoanalytical dimension, literary creativity was for Frank's daughter an attempt to go beyond the limits of the possible: a way to return home (imaginatively in dreams, memories and fantasies), when in reality she could not return there, when the ship of her life was sailing in the opposite direction from her native home, and her soul was torn home. This form of creative existence became the secret of the author’s longevity and at the same time vividly reflected the tragedy of the generation of Franko’s children, whose lives were spent in emigration.

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Epner, Luule. "Postcolonialism and Baltic Drama". Interlitteraria 22, n.º 1 (7 de setembro de 2017): 207. http://dx.doi.org/10.12697/il.2017.22.1.17.

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FISCHER-LICHTE, ERIKA. "Introduction: contemporary theatre and drama in Europe". European Review 9, n.º 3 (julho de 2001): 275–76. http://dx.doi.org/10.1017/s1062798701000266.

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The 30 years between the 1960s and the 1980s of the 20th century are recalled today as a golden age of European theatre. They seem to have revived, continued and re-created the previous golden age brought about by the historical theatre avant-garde movements during the first decades of the 20th century (approximately 1900–1930). Then, Adolphe Appia, Jacques Copeau, Edward Gordon Craig, Leopold Jessner, Vsevolod Meyerhold, Max Reinhardt, Alexander Tairov, Evgeni Vakhtangov and others had striven for what they called a retheatricalization of theatre.

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Lecossois, Hélène. "Renegotiating and Resisting Nationalism in 20th-century Irish Drama". Études irlandaises, n.º 35-2 (30 de dezembro de 2010): 186–87. http://dx.doi.org/10.4000/etudesirlandaises.2068.

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B, Vijayakumar. "A Comparative Analysis of Tamil and Assamese Dramatic Tradition". International Research Journal of Tamil 4, n.º 2 (1 de fevereiro de 2022): 1–8. http://dx.doi.org/10.34256/irjt2221.

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The article is to trace the heritage of Tamil and Assamese drama earliest times to present. The sub-genre of different periods is also discussed herewith. Earliest record of Tamil drama is available during Sangam period. In Assamese it is mentioned in the Sankaradev period. Sankardeva the father of Assamese literature and society maker had a great contribution to Assamese drama. ‘Chihno Jatra’ was the first drama of Assamese literature. To speed up his ‘Ek Saran’ religion he wrote many dramas as an instrument of it and his followers also followed him. In the end of the nineteenth century Tamil and Assamese drama underwent a change after its contact with western literature. Hence the Tamil drama can be divided into four periods. (1) Tolkappiyam to 16th century, (2) drama in the 17th,18th century, (3) 19th century, and (4) 20th century. Assamese drama can be classified as (1) Vaisavate period, (2) Ahom period, (3) modern period. Many authors wrote ancient, historical and modern dramas in both languages. All those dramas are taken as the very great wealth of Tamil and Assamese literature.

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Luu, Thuy Trung. "Drama in Ho Chi Minh City literature and art life". Science and Technology Development Journal 18, n.º 4 (30 de dezembro de 2015): 47–60. http://dx.doi.org/10.32508/stdj.v18i4.960.

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In the history of Vietnamese drama, Saigon was one of the places absorbing Western drama from the early time. Although drama in Saigon-Ho Chi Minh City didn’t develop in a smooth and straight way, it was a continuous and unbroken process. This process brought in strong development of drama in Ho Chi Minh city in two decades of the late 20th century and the early 21st century. However, in recent years, drama in Ho Chi Minh City seems to proceed slowly, which reflects some irrational aspects from drama script, performance art to performance operation. Therefore, it’s high time to review the whole history of drama in Saigon-Ho Chi Minh City to collect experiences for the steady development of drama in this City in the future.

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Bošnjak, Matija. "Elements of Dramatic Symbolism in the Poetics of Miodrag Žalica". Društvene i humanističke studije (Online) 6, n.º 3(16) (27 de julho de 2021): 43–58. http://dx.doi.org/10.51558/2490-3647.2021.6.3.43.

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In the literary and theatrical critique of his time (second half of the 20th century), Miodrag Žalica was recognized as a representative of symbolist poetics in Bosnian-Herzegovinian drama. The features of Žalica’s dramatic symbolism have, however, rarely been observed through analyzing the technique of his dramatic works in concreto. The Piece Mirišu li jorgovani u Njujorku, written in 1988, certainly represents the culmination of Žalica’s poetics, and is, in that sense, suitable for an analysis of the symbolic network as a specific trademark of his authorship with regards to the poetics of symbolism in European modern drama at the turn of the 19th to 20th century.

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Rose McGovern, Kathleen. "Conceptualizing Drama in the Second Language Classroom". Scenario: A Journal of Performative Teaching, Learning, Research XI, n.º 1 (1 de janeiro de 2017): 4–16. http://dx.doi.org/10.33178/scenario.11.1.3.

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Abstract: This paper reviews key literature published in English on drama and second language (L2) pedagogy. The author explores (a) the integral role drama has played in 20th and 21st century L2 teaching methodologies; (b) commonly cited approaches to integrating drama and L2 instruction; (c) uses of drama as a means of exploring culture and power relations within society, and; (d) major definitions and categorizations developed in the existing body of literature. To conclude, the argument is made that researchers must clearly explain and define their approaches to drama in L2 instruction and ground these approaches in relevant theories of second language learning.

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Zhurcheva, Olga V. "“New drama”: Pro et contra". Izvestiya of Saratov University. Philology. Journalism 22, n.º 4 (23 de novembro de 2022): 484–87. http://dx.doi.org/10.18500/1817-7115-2022-22-4-484-487.

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At the end of the 20th – the beginning of the 21st century there were serious changes in the poetics of drama, defining the strategy of artistic forms and features of artistic consciousness. This gives the right to single out the history of the “new drama” in a separate period of the literary and theatrical process. A new book by the Belarusian researcher S.Ya. Goncharova-Grabovskaya “Modern Russian Dramaturgy (late 20th – early 21st century)” is devoted to generalization and comprehension of this period, which is considered and announced in the presented review. The book examines the main trends in the development of the Russian drama at the turn of the 20-21st centuries: the history of the emergence of the “new drama” movement, aspects of poetics (hero, conflict, chronotope, language), genre-style vector (social drama, documentary drama, monodrama, remake plays, drama of the absurd) – all that defines the specific features of the modern dramaturgical process. The focus is on the plays of famous playwrights, which have been staged in theaters in Russia and Belarus, have received positive reviews in criticism. The peculiarity of the reviewed book is that it analyzes modern Belarusian drama, traces its connection with the Russian. The book includes overview chapters reflecting the genre and style parameters of drama, a list of plays, information about playwrights, control questions and assignments. The scientific and methodological publication under review is expected to be in high demand not only in the philological environment, but also among theater critics and theater historians.

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Bulat, Snezana. "Despot Đurađ and Despotess Jerina Branković in 20th Century Serbian Drama". Филолог – часопис за језик књижевност и културу 17, n.º 17 (30 de junho de 2018): 549–67. http://dx.doi.org/10.21618/fil1817549b.

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Vasić Rakočević, Branislava V. "RADOMIR KONSTANTINOVIĆ AND RADIO DRAMA". Folia linguistica et litteraria XII, n.º 34 (abril de 2021): 139–47. http://dx.doi.org/10.31902/fll.34.2021.8.

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This paper begins with an overview of literary work of Radomir Konstantinović. The experimental character of his novels demonstrates the specificity of his literary modus operandi, as a unique phenomenon in Serbian literary scene during the fifth decade of the 20th century. His work will mark a turning point in the transition from modernism to postmodernism. His radio dramas, as well, represent a very specific part of his work mostly due to historical position of this genre. Since his radio dramas are first fully published in 2019. this paper traces a path for further research in this area.

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Hussain, Zeeshan, Amjad Hussain, Muhammad Mohsin Rashid, Usman Yousaf e Aman Ullah. "A MULTIDIMENSIONAL COMPARATIVE STUDY OF NINETEENTH AND TWENTIETH CENTURY DRAMA AND NOVEL". Inception - Journal of Languages and Literature 1, n.º 1 (30 de junho de 2021): 68–89. http://dx.doi.org/10.36755/ijll.v1i1.24.

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This corpus based research provides insight how the text of same genre differentiates from each other and how intra genres variations take place. This study highlights the functional variations exist in two different genres of literature (drama and novel) of 19th and 20th centuries on the basis of analysis conducted on the texts of both genres by using software MAT. The texts of both of the genres are analysed on different five dimensions given by Biber and some major and minor variations are observed that both the texts differ at different dimensions. The intra genre and inter genre comparisons have been done which gives some interesting findings and results. This study further highlights the specific features of both of the genres which are the hallmark of these two very genres (novel and drama) of 19th and 20th centuries. This present research is concluded on very interesting findings which may pave the ways for further research in this arena.

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Zeeshan Hussain, Amjad Hussain, Muhammad Mohsin Rashid, Usman Yousaf e Aman Ullah. "A MULTIDIMENSIONAL COMPARATIVE STUDY OF NINETEENTH AND TWENTIETH CENTURY DRAMA AND NOVEL". Inception - Journal of Languages and Literature 1, n.º 1 (30 de junho de 2021): 67–88. http://dx.doi.org/10.36755/ijll.v1i1.16.

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This corpus based research provides insight how the text of same genre differentiates from each other and how intra genres variations take place. This study highlights the functional variations exist in two different genres of literature (drama and novel) of 19th and 20th centuries on the basis of analysis conducted on the texts of both genres by using software MAT. The texts of both of the genres are analysed on different five dimensions given by Biber and some major and minor variations are observed that both the texts differ at different dimensions. The intra genre and inter genre comparisons have been done which gives some interesting findings and results. This study further highlights the specific features of both of the genres which are the hallmark of these two very genres (novel and drama) of 19th and 20th centuries. This present research is concluded on very interesting findings which may pave the ways for further research in this arena.

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Stalmaszczyk, Piotr. "Celtic Studies in Poland in the 20th century: a bibliography". ZCPH 54, n.º 1 (30 de abril de 2004): 170–84. http://dx.doi.org/10.1515/zcph.2005.170.

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Introduction Celtic Studies are concerned with the languages, literature, culture, mythology, religion, art, history, and archaeology of historical and contemporary Celtic countries and traces of Celtic influences elsewhere. The historical Celtic countries include ancient Gaul, Galatia, Celtiberia, Italy, Britain and Ireland, whereas the modern Celtic territories are limited to Ireland, Scotland, Wales, Isle of Man, Cornwall and Brittany. It has to be stressed that Celtic Studies are not identical with Irish (or Scottish, Welsh, or Breton) Studies, though they are, for obvious reasons, closely connected.

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MONISOVA, I. V., M. S. RUDENKO, L. ZHANG e J. LIU. "ROUND TABLE “FROM TEXT TO GAME...”: TALK ABOUT TODAY AND ETERNAL. REPORTAGE". Lomonosov Journal of Philology, n.º 2, 2024 (16 de junho de 2024): 247–54. http://dx.doi.org/10.55959/msu0130-0075-9-2024-47-02-19.

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The constant attention to dramaturgy at the Department of History of Contemporary Russian Literature and Modern Literary Process is associated with the scholarly heritage of its former head, Doctor of Philology, Professor B.S. Bugrov (1936-2002). He brought the plays of Russian symbolists back from oblivion, published the plays by L. Andreev, explored modern drama, and directed his students along this path. The round table, reviewed in this article, brought together colleagues whose academic interests were in one way or another connected to the theater and drama. The problems of theatrical and dramatic language and the synthesis of arts; innovations in drama and theater of the 20th and 21st centuries; representative texts by contemporary playwrights; adaptations of plays for theater and cinema, as well as non-dramatic material for the stage; reception of Russian drama outside Russia; contribution of B.S. Bugrov to the study of dramaturgy of the 20th century were discussed.

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신진호. "A Study on 20th Century Contention Between Chinese Drama and Traditional Opera". Journal of Foreign Studies ll, n.º 24 (junho de 2013): 363–86. http://dx.doi.org/10.15755/jfs.2013..24.363.

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Sedláčková, Lucie. "Circulatie van Nederlandstalig toneel in Tsjechië, 1898–1989". Neerlandica Wratislaviensia 28 (26 de junho de 2019): 165–81. http://dx.doi.org/10.19195/0860-0716.28.13.

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Circulation of Dutch plays in Czech, 1898–1989 This article deals with the circulation of Dutch and Flemish dramatic texts in the Czech lands between 1898 – when the first translation of a Dutch theatre play was probably published – and 1989 – the year of the Velvet Revolution, after which the cultural field changed radically. It is a fact that relatively few Dutch and Flemish plays have been translated into Czech. The same is true of the actual production of the plays in Czech translation: these were rather sporadic throughout the whole 20th century, except for several plays by Herman Heijermans which were staged quite regularly in the first decades of the 20th century. This article surveys the different periods of the 20th century and provides an outline of the development of the Czech reception of Dutch and Flemish drama, including a dramatic mystification during the World War II.

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Yang, Anqi. "The Predicament of Chinese Women in The Early 20th Century from The Perspective of Feminism —— Take Cao Yu's Thunderstorm and Sunrise as Examples". Journal of Education, Humanities and Social Sciences 28 (1 de abril de 2024): 805–9. http://dx.doi.org/10.54097/p7vq3n07.

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The background of this study is the dilemma faced by women and the development of feminism in China in the early 20th century. This study is mainly based on the playwright Cao Yu's two early 20th century drama works Sunrise and Thunderstorm as research materials, and from the character image, language characteristics, and other aspects of specific analysis. This study uses text analysis to analyze the writer Cao Yu's concept of women, the representative characters of Chen Bailu, Fanyi, and Shiping in the materials, and the characters' dialogue language characteristics. It is concluded that the predicament of Chinese women in the early 20th century is due to the conflict between the backward ideas of male superiority and female inferiority in the feudal patriarchal society and the emerging Western ideas of equality and freedom. During this period, feminism had a budding trend, but it was not systematic and thorough. Under the long-term rule of patriarchy, women's awakening consciousness has just begun, and everything is in a difficult stage of initiation and exploration. From this, it is concluded that Chinese feminism was oppressed by many parties in the early 20th century, but it was difficult to germinate.

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Abrosimova, Natalia V. "Scientific Discussions as a Method of Bibliography Development (shown by an example of 1950-1960’s)". Bibliotekovedenie [Library and Information Science (Russia)], n.º 2 (18 de abril de 2011): 27–34. http://dx.doi.org/10.25281/0869-608x-2011-0-2-27-34.

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The article describes the controversial situation of the national bibliography in the middle of 20th century and considers the basic concepts suggested during the theoretical discussion. Also it highlights the influence of social and political factors on the science development and the importance of discussion in the improving of the bibliography theory.

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Pastushkova, N. A. "Russians in Spain. Book 2. The 20th century. The Beginning". Voprosy literatury, n.º 5 (9 de novembro de 2019): 292–95. http://dx.doi.org/10.31425/0042-8795-2019-5-292-295.

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Second in the anthology, the volume offers a rich collection of materials, including descriptions of 1900s–1930s Spain by Russian travellers. Artists, musicians, journalists and people of the theatre, all of them share their expectations, recollections and impressions from visits to this Southern country. A poeticized image clashes with reality, which often stands in stark contrast to the idyllic picture. Spain beckons, mesmerizes, and reveals its luxurious self. The country is wrought with controversy: the archaic lifestyle in the provinces and the dizzying pace of life in big cities; its amiable, but very apathetic people; its glorious past and almost desperate present. Russians travel to Spain to experience its natural beauty and splendid cultural heritage. Many of them revelled in visiting the Prado Museum. Numerous performers would come to Spain to tour, spreading knowledge of Russian music, ballet and drama among local audiences.

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Vagni, Tito. "Mídia e representação do cinismo no drama político". MATRIZes 11, n.º 2 (31 de agosto de 2017): 79. http://dx.doi.org/10.11606/issn.1982-8160.v11i2p79-91.

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This essay proposes an investigation on the forms of contemporary cynicism, combining the interpretation of political drama with reflections of the daily life sociology, particularly referring to Simmel, Goffman and De Certeau. In an expanded historical perspective from the 21st century metropolis to the communication media of the 20th century, it proposes a reconstruction of the political action and of certain moment of its imagination. A moment that shall be studied as from its relations with money, time acceleration and sensory overstimulation, which institute a new image of social relations. Cynicism seems to be, in the conditions created by metropolis and media, the cultural form more suitable for management and organization of daily events in public sphere.

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Kull, Kalevi. "Uexküll studies after 2001". Sign Systems Studies 48, n.º 2-4 (31 de dezembro de 2020): 483–509. http://dx.doi.org/10.12697/sss.2020.48.2-4.13.

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Jakob von Uexküll’s (1864–1944) work was influential at the time of the biosemiotic turn in semiotics in the 1990s and, together with the hermeneutic and phenomenological approaches, laid the basis for a semiotic turn in biology without losing a connection to the morphology and physiology of organisms. His work appears to be attractive and promising in transforming the culture–nature divide into an understanding of the difference between the living and the non-living. The biological study of subjectivity makes the Uexküllian approach pertinent to the 21st-century changes both in the humanities and in biology, as the acceptance of his theoretical biology marks the start of a post-Darwinian era after the long period of neo-Darwinism that dominated the 20th-century biological thought. A review and bibliography of 20th-century Uexküll studies was published in 2001; the following provides a bibliography of Uexküll studies in the two decades after 2001.

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Kaczmarek, Tomasz. "L’Âme en folie de François de Curel : à la recherche d’un nouveau paradigme dramatique". Romanica Cracoviensia 20, n.º 4 (2020): 199–205. http://dx.doi.org/10.4467/20843917rc.20.019.13305.

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L’Âme en folie by François de Curel: In search of a new dramatic paradigm The author of the article studies Curel’s play, which testifies to the crisis of traditional drama, announced at the turn of the 20th century. Curel seems to destroy the canonical form of “drama-in-life”, based on a dramatic progression of the action and on the character as an active agent ensuring this same progression, by proposing a new paradigm of “drama-of-life”. The latter moves away from classic prerogatives to focus on the inner life of the protagonist. Instead of focusing on episodes that inevitably lead to disaster, the French writer attempts to embrace the evolution of the characters’ souls. This is how he passes from “agonistic drama” to an “ontological” one.

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Starostina, Julia S. "REPRESENTATION OF BRITISH AND AMERICAN LINGUO-AXIOSPHEREIN DRAMA DISCOURSE OF THE 20TH CENTURY". Bulletin of the Moscow State Regional University (Linguistics), n.º 5 (2021): 24–35. http://dx.doi.org/10.18384/2310-712x-2021-5-24-35.

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Divya, N. "Drama of the Early 20th Century, the Kerala Reform Movement and Namboodiri Women". Indian Journal of Gender Studies 24, n.º 2 (junho de 2017): 217–30. http://dx.doi.org/10.1177/0971521517697880.

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Nabiałek, Magda. "Afekt i konwencja – budowanie przestrzeni widzenia". Białostockie Studia Literaturoznawcze, n.º 16 (2020): 65–82. http://dx.doi.org/10.15290/bsl.2020.16.04.

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The article discusses the coexistence of two phenomena in the drama of the second half of the 19th century and the early 20th century. By combining affect and convention, the author seeks to point out the dramatic use of the forgotten plot schemes, characters, and construction solutions, which still remain strongly preserved in the cultural memory of the viewers. These were highly characteristic of the comedy dell’arte, the Russian balagan, which was at the time regaining its popularity in Italy, as well as of the Polish fairy tale. The authors used them in order to evoke in the viewer a certain kind of affectation. This, in turn, allowed them to build ties with the audience based on completely new rules of participation, which gave rise to the theatrical phenomena characteristic of the second half of the 20th century.

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Carpenter, Alexander. "Towards a History of Operatic Psychoanalysis". Psychoanalysis and History 12, n.º 2 (julho de 2010): 173–94. http://dx.doi.org/10.3366/pah.2010.0004.

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This paper examines the history of the trope of psychoanalytic therapy in musical dramas, from Richard Wagner to Kurt Weill, concluding that psychoanalysis and the musical drama are, in some ways, companions and take cues from each other, beginning in the mid-19th century. In Wagner's music dramas, psychoanalytic themes and situations – specifically concerning the meaning and analysis of dreams – are presaged. In early modernist music dramas by Richard Strauss and Arnold Schoenberg (contemporaries of Freud), tacit representations of the drama of hysteria, its aetiology and ‘treatment’ comprise key elements of the plot and resonate with dissonant musical soundscapes. By the middle of the 20th century, Kurt Weill places the relationship between analyst and patient in the foreground of his musical Lady in the Dark, thereby making manifest what is latent in a century-spanning chain of musical works whose meaning centres, in part, around representations of psychoanalysis.

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Kompa, Andrzej, e Mirosław J. Leszka. "Professor Oktawiusz Jurewicz as a Byzantinist (1926–2016)". Studia Ceranea 6 (30 de dezembro de 2016): 11–22. http://dx.doi.org/10.18778/2084-140x.06.01.

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The authors summarize the academic legacy of late Oktawiusz Jurewicz and his role as a leading Polish byzantinist of the second half of the 20th century. The text is supplemented by the detailed and updated bibliography of Jurewicz.

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Showerman, Earl. "A Century of Scholarly Neglect: Shakespeare and Greek Drama". Journal of Scientific Exploration 37, n.º 2 (11 de agosto de 2023): 201–17. http://dx.doi.org/10.31275/20233109.

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In the late 19th and early 20th centuries, a number of Shakespeare scholars, including Israel Gollancz (1894), H.R.D. Anders (1904), J. Churton Collins (1904), and Gilbert Murray (1914) wrote convincingly of Shakespeare’s debt to classical Greek drama. However, in the century since, most scholars and editors have repeatedly held that Shakespeare was not familiar with Greek drama. In Classical Mythology in Shakespeare (1903), Robert Kilburn Root expressed the opinion on Shakespeare’s ‘lesse Greek’ that presaged this enduring dismissal: “It is at any rate certain that he nowhere alludes to any characters or episodes of Greek drama, that they extended no influence whatsoever on his conception of mythology.” (p. 6) This century-long consensus against Attic dramatic influence was reinforced by A.D. Nutall, who wrote, “that Shakespeare was cut off from Greek poetry and drama is probably a bleak truth that we should accept.” (Nutall, 2004, p.210) Scholars have preferred to maintain that Plutarch or Ovid were Shakespeare’s surrogate literary mediators for the playwright’s adaptations from Greek myth and theatre. Other scholars, however, have questioned these assumptions, including Laurie Maguire, who observed that “invoking Shakespeare’s imagined conversations in the Mermaid tavern is not a methodology likely to convince skeptics that Shakespeare knew Greek drama.” (p. 98) This near-universal rejection of Greek drama as Shakespeare sources have profound philological implications. Indeed, this essay argues that the proscription against recognizing the Attic canon as an influence in Shakespeare has been driven by the belief that Will Shakspere of Stratford had, at most, an education that was Latin-based. The examples show that the real author had to have been exposed to both the Greek language and the Greek dramatists. Evidence for alternative candidates, including Edward de Vere, shows that many were schooled in Greek and that some even collected and supported translations of Greek works. It is my contention that Shakespeare’s dramatic imagination was actually fired by the Greeks, and Shakespeare research has clearly suffered from a century of denial.

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Britaeva, Angela Borisovna. "Nart epic in Ossetian children’s drama: Specificity of inter-genre interaction". Philology. Issues of Theory and Practice 16, n.º 12 (25 de dezembro de 2023): 4371–76. http://dx.doi.org/10.30853/phil20230663.

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The paper studies Nart epic motifs in Ossetian children’s drama. The aim of the research is to identify the features of inter-genre synthesis in the plays of Ossetian authors written for children. The scientific novelty of the paper lies in the fact that Ossetian children’s drama has become the subject of scholarly reflection for the first time. The following works were introduced into scientific use: ‘Фын’ (‘Dream’, 1994) by R. Khubetsova, ‘Сырдоны хинтæ’ (‘Syrdon’s Machinations’, 1997) by T. Kokaev, ‘Гæдыныхæстæй асин’ (‘The Creation of the Creator’, 2005) by R. Ramonova. The research findings show that plays for children written at the turn of the 20th and 21st centuries have significantly departed from the traditions laid down in the early and mid-20th century, when such plays were primarily represented by adaptations of folk tales or works in which the ideological component came to the fore (e.g., works about the life of the Pioneer movement members). Modern drama works addressed to the younger generation are characterized by a synthesis of genres, which contributes to the blurring of their strict canons, boundaries, as well as the expansion of the authors’ creative potential and ultimately leads to the generation of new literary forms. The data of the undertaken research were previously presented at a conference dedicated to the problems of the Nart epic (7th International Scientific Conference ‘Nart studies in the XXI century: Modern paradigms and interpretations’ (Vladikavkaz, October 26-27, 2023)).

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Martín Quintanal, Ruymán. "Hollywood y Viena. Funciones y connotaciones del atonalismo en el cine y la ópera." Comunicación Revista Internacional de Comunicación Audiovisual Publicidad y Literatura 1, n.º 18 (2020): 85–98. http://dx.doi.org/10.12795/comunicacion.2020.i18.05.

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In our investigation we make an approach to the uses of atonal music in the opera of the Vienese School and the cinema that became known in the second half of the 20th century. Likewise, we make a comparative study on the meanings in both media, that are constituted by the needs within this two kinds of drama that have certain similarities and differences.

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Костенко, О. В. "ПОЕТИЧНО-ДРАМАТИЧНА ТВОРЧІСТЬ СПИРИДОНА ЧЕРКАСЕНКА У КОНТЕКСТІ ПЕДАГОГІЧНИХ НОВОВВЕДЕНЬ В УКРАЇНІ ПОЧАТКУ ХХ СТ." Spiritual-intellectual upbringing and teaching of youth in the 21st century, n.º 4 (2022): 785–87. http://dx.doi.org/10.34142//2708-4809.siuty.2022.195.

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The article is devoted to highlighting the role of poetry and drama in spiritual and intellectual education and upbringing using the example of the poetic and dramatic heritage of the outstanding teacher, playwright and poet Spyridon Cherkasenko in the characteristic historical context of the beginning of the 20th century. The place of his artistic works and their importance in the educational process of that time is considered.

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Editorial, Article. "Bibliography. The Most Significant Works of Professor N. P. Petrov". World of Transport and Transportation 20, n.º 6 (19 de julho de 2023): 108–11. http://dx.doi.org/10.30932/1992-3252-2022-20-6-13.

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In this issue, instead of a review of new books or textbooks on transport and transportation, paying tribute to the oeuvres of our predecessors, the journal reproduces a bibliographic article first appeared more than a century ago in the journal «Zheleznodorozhnoe delo» [Rail Business]. The editors hope that it will help to get an idea of how concise, meaningful and, in modern terms, informative reviews of scientific literature were compiled at that time, as well as the range of scientific problems considered.By tradition, the publication retains the vocabulary, punctuation and abbreviations adopted at the beginning of the 20th century.

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Golovchiner, Valentina E. "The functions of a proto-story in the Russian drama of the 20th century". Sibirskiy filologicheskiy zhurnal, n.º 1 (1 de março de 2010): 12–18. http://dx.doi.org/10.17223/18137083/30/2.

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Ares Cuba, Gabriel. "La escenografía en el teatro de Manuel Linares Rivas: el espacio y el tiempo". Revista de Filología de la Universidad de La Laguna, n.º 43 (2021): 37–55. http://dx.doi.org/10.25145/j.refiull.2021.43.02.

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In this paper, I have analyzed some of the most significant spaces in Manuel Linares Rivas’ dramatical work. The main purpose is to suggest a first clasification of their spaces. Also, I have valued the social commitment contained in them. I argue that the stage construction could clarify the probable affiliation of Linares Rivas to a new trend in the drama of the first third of the 20th century

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Akhunzyanova, Farida. "“In a strange feast hangoverˮ: the drama of the Russian intelligentsia of the early 20th century". INTELLIGENTSIA AND THE WORLD, n.º 3 (1 de outubro de 2020): 21–33. http://dx.doi.org/10.46725/iw.2020.3.2.

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The Russian intelligentsia at the beginning of the 20th century is characterized by a steady need for unity with the world. This need takes on an intertextual character, flowing into the interaction of ideas and cultural codes leading to the attainment of the status of Homo Cosmicus. One of these codes is a feast. The purpose of the author of the article is to reconstruct the lifecreation of the Russian intelligentsia at the beginning of the 20th century through the prism of an ancient feast. It seems that in the conditions of intense spiritual searches, in the struggle to find wholeness and completeness of human life, turning to antiquity became a truly metaphysical idea, where the feast was a significant cultural constant. In the process of moving to the highest point of spiritual development, the antique feast metaphorically reflects the cosmos of being, just as the violation of the order of the feast reflects the violation of the order of being. This is what happens in Russian reality in the first half of the 20th century, where against the backdrop of tragic historical events, the Platonic “feastˮ turns into the vulgar “feastˮ of Petronius. After the revolution of 1917 the intelligentsia, with its own aspirations, found itself at a feast alien to itself, where it could not find a place, and the “hangover” became too heavy and turned into a real drama. Methodological approaches to the problem under study are based on the theoretical basis of modern scientific knowledge, which includes concepts and methods of philosophy (N. A. Berdyaev, P. A. Florensky, D. S. Merezhkovsky, V. V. Rozanov, Vl. S. Solovyov), cultural studies (I. A. Edoshina, M. S. Kagan, Yu. M. Lotman, N. O. Osipova), art history (I. A. Azizyan, A. Payman, A. A. Rusakova, D. V. Sarabyanov), intelligentsia studies (V. S. Memetov, S. M. Usmanov).

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Philippov-Chekhov, Alexander О. "Peter Szondi about the crisis of drama". Practices & Interpretations: A Journal of Philology, Teaching and Cultural Studies 5, n.º 1 (1 de março de 2020): 128–41. http://dx.doi.org/10.18522/2415-8852-2020-1-128-141.

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“Theory of Modern Drama: 1880–1950” (1956), a book by Peter Szondi (Peter Szondi, 1929–1971), who was a German literary scholar, originally from Hungary, has not yet been translated into Russian. Meanwhile, without this study, it is impossible to imagine a European discourse on drama, theatrical practice and its concepts in the second half of the 20th century. Analyzing the changes in the poetics of drama, which were first carried out by Ibsen, Chekhov, Strindberg, Hauptmann, and then by experimenters like Pirandello, Piscator, or Brecht, Szondi traced how the “decay of the formative principle of drama” occurs. According to Szondi, these processes are associated with profound changes in the style of thinking, so he saw a close connection between the weakening of the dramatic element in drama and the “aperspectivism” of Cezanne or Schönberg’s atonal music. The excerpt presented below is part of Szondi’s translated book, published in 2020 by V – A – C Press, which specializes in literature on art, cultural philosophy, and contemporary art and political practice.

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Trojan, Ivan, e Jurica Vuco. "Expressionism in the 'Midnight' by Josip Kulundžić". Zbornik Akademije umetnosti, n.º 9 (2021): 187–202. http://dx.doi.org/10.5937/zbaku2109187t.

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The aim of this paper is to get an insight into a part of Josip Kulundžić's expressionist drama through the analysis of the play Midnight and the playwright's attitude towards drama and dramatic and theatrical theories of the Italian playwright Luigi Pirandello. Starting from the assumption that Kulundžić's expressionist dramatic opus is one of the paradigmatic and poetically most significant dramatic opuses of Croatian and Serbian dramatic expressionism, the first part of the paper will systematise Josip Kulundžić's expressionist dramatic opus, show its features and value, and through the analyses of the play Midnight mark the author's attitude towards pirandelism as a significant phenomenon on the then world drama and theatre scene. This revalues the significance and role of Josip Kulundžić and his dramatic work within the framework of Croatian and Serbian literature of the first half of the 20th century.

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Houtman, Cornelis. "Rewriting a Dramatic Old Testament Story the Story of Jephthah and his Daughter in Some Examples of Christian Devotional Literature". Biblical Interpretation 13, n.º 2 (2005): 167–90. http://dx.doi.org/10.1163/1568515053683112.

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AbstractFour examples of the literary rewriting of Judg. 11:29-40 in devotional literature, dating from the end of the 18th century to the beginning of the 20th century, are described and analysed. All do away with the simplicity and "neutrality" found in the biblical story of Jephthah and his daughter and turn it into high drama with sharply drawn and distinct protagonists and a sometimes exuberant depiction of atmosphere. In the hands of the authors the story becomes the bearer of the theological ideas and moral views which the novelists and poets and their times espoused.

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Song, Joon Il. "The Influence of Far Eastern Culture on the Creative Work of S.M. Eisenstein". Journal of Flm Arts and Film Studies 10, n.º 3 (15 de setembro de 2018): 45–54. http://dx.doi.org/10.17816/vgik10345-54.

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The article investigates the influence of Japanese and Chinese traditional culture on Sergey Eisensteins theory of artistic thinking, his activity as a film director. The author explores the origin of Eisensteins interest for the Far East in the historical context of the late 19th - early 20th century. Special attention is paid to his reflection on the nature of Japanese and Chinese drama, painting and poetry as well as its results manifested in his montage theory.

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Pakhareva, T. A. "A Few Insights into the Poem by O. E. Mandelstam "On the Stone Spurs of Pieria…"". Russkaya literatura 1 (2020): 182–89. http://dx.doi.org/10.31860/0131-6095-2020-1-182-189.

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The article identifi es and discusses the Kiev realities of early 20th century which can be included among the sources of imagery of poem O. Mandelstam’s "On the stone spurs of Pieria…" An allusion to Lope de Vega’s drama "The Sheep’s Well" and the elements of the intertextual dialogue with the poems by Vyach. Ivanov, N. Gumilyov, V. Makkaveysky, V. Narbut, unaccounted for by the previous commentators of this poem, were also discovered.

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Kelly, James R. "Kay Boyle: A Bibliography. (Winchester Bibliographies of 20th Century Writers.). M. Clark Chambers". Papers of the Bibliographical Society of America 96, n.º 4 (dezembro de 2002): 545–46. http://dx.doi.org/10.1086/pbsa.96.4.24295646.

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Fedorova, Elizaveta Tsirina, Jose Saiz Molina e Julia Haba Osca. "Jan Kott is Dead, Long Live to the ˂“Hybrid”˃ Critic". Multicultural Shakespeare: Translation, Appropriation and Performance 24, n.º 39 (15 de março de 2022): 169–90. http://dx.doi.org/10.18778/2083-8530.24.11.

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This article is a little tribute that a drama teacher, an editor and translator and a lecturer in English Literature would like to contribute to this Special Issue in Honour of Professor Dr Jan Kott, the most influential non-English speaking Shakespearean Critic in the second half of the 20th Century and early 21st Century. In the initial part of the essay we will overview Kott’s influence in the development of current Shakespearean tradition(s) in Spain from the early 1970s to the present day. In fact, his writings and critical views on William Shakespeare’s Works have been a decisive point in the development of new approaches to this playwright in some University Departments and Drama Schools in this country. The whole discussion will take the notion of hybrid and hybridization as the point of departure and we will draw some conclusions for discussing new critical thinking in Art (Science,) and Humanities.

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Rezoničnik, Lidija, Joanna Borowy e Monika Gawlak. "Słoweńskie tłumaczenia literatury polskiej w latach 2019 i 2020". Przekłady Literatur Słowiańskich 12 (27 de dezembro de 2022): 1–20. http://dx.doi.org/10.31261/pls.2022.12.01.17.

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The article provides an overview of Slovenian translations of Polish literature in the 2019’s and 2020’s and reviewers’ responses to these works. A total of 23 translations of books were published in 2019, including five literary works (three collections of poetry and two novels). Among the 13 published translations of the following year there were eight literary works (one drama, a collection of short stories, three novels and three collections of poetry). The publishing of e-books also increased significantly in 2020. The published translations give Slovenian readers access to familiar, mostly world-renowned authors such as O. Tokarczuk, Z. Herbert, W. Szymborska, C. Miłosz, I. Karpowicz, while works by I. Ostachowicz, B. Nowicka, A. Kulisiewicz, J. Małecki, R. Franczak, and K. Dąbrowska were translated into Slovenian for the first time. With the exception of J. Kochanowski’s drama, all of the literary works translated were from the second half of the 20th century or the 21st century.

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Mirecka, Agata. "Polski krytyk teatralny Andrzej Wirth – mistrz przemieszczania się i jego rola w kształtowaniu nowego oblicza teatru w Niemczech". Annales Universitatis Paedagogicae Cracoviensis | Studia Historicolitteraria 22 (31 de dezembro de 2022): 173–84. http://dx.doi.org/10.24917/20811853.22.10.

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Andrzej Wirth, a 20th century Polish essayist, philosopher and theatre critic, is one of the often forgotten theatre and drama scholars in Poland, perhaps due to his long life in exile. A recognized expert in theatre studies and philosophy, he has lectured at many universities around the world, especially in the United States and Europe. He gained particular recognition as the founder and director of the Institute for Applied Theatre Studies at the University of Giessen in Germany. The aim of this article is to introduce Wirth’s personality, outline his life between cultures and highlight his importance for the development of theatre studies in Germany, as well as his great contribution to the promotion of Polish literature in Germany in the mid-20th century. Andrzej Wirth’s life was beyond borders and divisions, although with a particular attachment to the culture of his homeland and Germany; he was rooted in childhood memories and a desire for theatre as a liberated art in an age of evolving media technologies.

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Artemova, Ekaterina Z. "RECEPTION OF MAX DREYER’S DRAMA IN THE RUSSIAN CULTURE IN THE EARLY 20TH CENTURY (1900-1914)". RSUH/RGGU Bulletin. "Literary Theory. Linguistics. Cultural Studies" Series, n.º 7 (2022): 123–37. http://dx.doi.org/10.28995/2686-7249-2022-7-123-137.

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The article deals with the socio-cultural peculiarities of the perception of the German writer Max Dreyer in Russia in the beginning of the 20th century. The research focuses on the theatrical discourse in the magazines and newspapers of Moscow and St. Petersburg. The study showed that the author, little known today, enjoyed wide popularity in Russia at the beginning of the 20th century. His plays were performed in many theaters, both in the capital and in regions. A quick and lively response to foreign theatrical novelties and their transfer to the Russian stage was a general cultural trend of the era. This is the era of the rise of public interest in the theater and in contemporary Russian and Western drama novelties. The vector of socio-cultural development is what predetermined the demand for the German playwright in Russia. In Germany Dreyer’s most popular play was “The Trial Candidate”, in Russia, “The Seventeen Year Olds”. One of the most important factors in its success was that Dreyer’s work fell in line with major trends and preferences in the theatrical repertoire. His interest in the question of women, the problems of contradiction between dream and reality, the theme of a pure soul suffering from lies and social conventions was common

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Vo, Nhon Van. "TRANSLATED LITERATURE IN COCHINCHINA IN THE LATE 19th CENTURY AND IN THE EARLY 20th CENTURY". Science and Technology Development Journal 13, n.º 1 (30 de março de 2010): 5–12. http://dx.doi.org/10.32508/stdj.v13i1.2099.

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Being colonized by France, Cocochina (the South of Vietnam) was the region where Western literature was introduced into earlier than the North. Truong Minh Ky was considered the first translator of Western literature in Vietnam. His earliest works of translation appeared in 1884. By the early 20th century, introduced to Vietnamese readers were Western literary works not only of French origin but also of British, American and Russian origins; not only poetry, prose but also drama. In the late 19th century, many writers such as Truong Vinh Ky, Huynh Tinh Cua were interested in Chinese literature. In the first decade of the 20th century, a wide variety of Chinese novels were translated into Vietnamese, forming a strong movement of translating "truyen Tau” (Chinese fictions). The remarkable characteristics of the translation of Western literature in Cochinchina were as follows - The newspapers and magazines in “Quoc Ngu” (Vietnamese language written in Latin characters) where the first works of translation were published played very important role. - The translators were greatly diverse, coming from different social and cultural backgrounds. - More translation was made on prose. Novels of martial arts, historical stories, novels of heroic deeds attracted the attention of the translators and the publishers. Therefore, they were translated much more than romance novels were, because of their compatibility with popular audience. - By translating the works of Western literature, the writers tried to express new concepts of humanism, such as women rights, or gender issues. Translated literature in Cocochina in the late 19th and early 20th centuries reflects a paradox: Western influences started to leave their marks but the Chinese influence was still strongly engraved. However, this was a remarkable step in the journey of modernization of national literature. Through these early translated works, new literary genres were introduced and Vietnamese readers gradually became familiar with them. Translation experiences were the first steps for Cocochina writers to achieve thorough understanding, to learn Western writing techniques and styles, which helped them become the pioneers of new literature in Vietnam.

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