Добірка наукової літератури з теми "Barba, Eugenio-Criticism and interpretation"

Transcultural and Transcorporal Neighbors: Japanese Performance Utopias in Jerzy Grotowski, Eugenio Barba and Phillip B. ZarrilliThis paper is mainly focused on the concept of transcultural bodily knowledge elaborated by Eugenio Barba and Nicola Savarese in their concept of theatre anthropology. Their research on pre-existent and pre-expressive values of the human movement, especially considering Asian theatre and performative practices, will be reexamined in the context of over-imposed interculturalism in Humanities and Social Studies. The focus will be thus put on the modifications of the bodily knowledge in this sense (Yuasa), as well as on the (re)appropriations of the Asian philosophical/theoretical embodiment schemes in the Western thought, not only from the standpoint of performative research made by Eugenio Barba and Phillip B. Zarrilli, but also from the standpoint of Shusterman’s pragmatic reinterpretations of Merleau-Ponty’s legacy, Schechner/Turner’s anthropology of human performativity, etc. In this context, the key idea of unique transcultural background of the human kinesis, employed mainly by Barba, will be put in an overall context of contemporary (trans)cultural utopism. The key element for interpretation will thus be an overall context of Asian martial arts practice, especially the significance of ‘iemoto principle’ (hereditary bodily technique) for the establishment of Grotowski’s, Barba’s and Zarrilli’s psychology and physiology of performance tactics. Transkulturowi i transcieleśni sąsiedzi: japońskie utopie performatywne u Jerzego Grotowskiego, Eugenia Barby i Philipa B. ZarrilliegoArtykuł skupia się głównie na pojęciu transkulturowej wiedzy cielesności, wypracowanym przez Eugenia Barbę i Nicolę Savaresego w ich ujęciu antropologii widowiska. Ich badania nad uprzednimi i przedekspresywnymi wartościami ruchu ludzkiego, zwłaszcza w kontekście teatru azjatyckiego i praktyk performatywnych, zostają wpisane w kontekst nadreprezentowanego w humanistyce i naukach społecznych interkulturalizmu. Uwaga autora skupia się na zmianach w wiedzy cielesnej w tym kierunku (Yuasa), jak też recepcji azjatyckich filozoficznych/teoretycznych schematów wcielania w myśli Zachodu, nie tylko z punktu widzenia badań performatywnych Barby i Zarrilliego, lecz również w Shustermanowych pragmatycznych reinterpretacjach myśli antropologii performatywności Merleau-Pontiego, Schechnera i Turnera itd. W tym kontekście kluczowa idea jednego transkulturowego podłoża ludzkiej kinesis, wykorzystywana głównie przez Barbę, jest wpisana w nowy kontekst współczesnego (trans)kulturowego utopizmu. Zasadniczym elementem interpretacji stają się azjatyckie sztuki walki, zwłaszcza znaczenie zadasy iemoto (dziedzicznej techniki cielesności) w ustanowieniu psychologii i fizjologii taktyk performatywnych u Grotowskiego, Barby i Zarrilliego.

Museums have once again become civic monuments (indeed at times temples). This does not make the future of this institution any more secure than before. Today museums are kept afloat by outside events, a policy which corrodes the aim of museums that of preserving our heritage and nourish our culture. Museums have engendered specific types of art and of creativity. They play an active role in the very constitution of their object (art) and in developing our understanding of it. The "Thruth" of museum would consist of making creative criticism an integral part of its institutional structures of selecting works and of communicating with the public. The process is a productive illusion of erratic nature. "Erratic" in sense of refusing fixed definitions and interpretations in order to benefit from the disparity of the collection to turn it into place of encounter where the visitor can recover his one sense of initiative. The mediatized approach discourages an in situ approach which remains however the way to awaken the spectator to the enigma of the real and the pleasure of discovery.

Although Calderon formulates an eloquent refutation of racialist discourse against Muslims, my thesis concentrates on the issue that his play-writing reinforces the Cristocentric ideology on the need for conversion. In order to determine some of his influences and inspirations, I have reviewed the literature dealing with the Muslim subject in Spain from approximately the eleventh to the seventeenth centuries. Drawing on postcolonial hermeneutics and social psychology, I explored the way in which the image of the Muslim is constructed, wavering between an aggressive representation meant to promote rejection, and a narcisistic reflection fostering the appropriation through conversion. Both postures presuppose a distinction upon religious levels which has remained constant throughout the literature studied in this thesis.
By analysing some plays by Lope de Vega and Cervantes it became obvious that the fast reflects, with some exceptions, the dominant prejudices of his audience by presenting stereotyped characters of Muslim descent. Cervantes, on the other hand, provides a polyphony of voices which makes his plays peculiarly ambiguous for the inattentive reader. These, although exceptional in their humane view of the world, consistently maintained Muslims and Christians distinct and separate, albeit within relatively expansive categories.
Calderon uses a lopesque model of the bobo and conserves Cervantes' Weltanschauung. Nevertheless, his main aim can be directly traced to the counter-expulsion polemics of sixteenth- and seventeenth-century intellectuals, who attempted to find a solid foundation on which to base Christian indoctrination. Utilizing a typologic and providential version of history, Calderon attempts to convince his Christian public that they should improve themselves spiritually in order to convert Muslims, who in turn should pursue proselitist activities in their respective countries. The Muslims predisposed to conversion are therefore presented as clearly differentiated from the ones who aren't, associating the first with courtly ideals and the others with diabolic manifestations. A necessary element for successful conversion of people of distinct cultures is the elimination of the myth of "purity of blood," which Calderon defeats categorically. All in all, his insistence upon the absolute necessity of a sincere application of Christian doctrine anticipates the disaster which those who conceived the conversion program could not avoid.

This thesis examines the political and literary reception in Spain of the figure of Pedro Calderon de la Barca, Golden Age playwright, during the years comprising the start of the querella calderoniana until the end of the nineteenth century; a period dominated by the intellectual figure Marcelino Menendez Pelayo. The nineteenth century is characterized by widespread social, political, economic, religious and cultural change, as much as for the development of the intention, on the part of political ideologies in positions of power, to generate a concrete idea of the Nation; in short, a specific way of interpreting Spanish national identify. This changes and the process which followed the configuration of this idea of the nation are recorded in little studied and highly politicized print media of the time, as well as in various verbal polemics maintained over the course of the century.
The study of these has allowed me to demonstrate that the reception of Calderon has been strongly influenced by the presence and interaction of these aspects. As the century progresses, the figure of the playwright becomes increasingly identified with the ideals of the National identify established by political conservatives.
In the first chapter, I analyse what happened in this intellectual conflict contextualizing it ideologically in the calderonian polemics of the eighteenth century, and frame it within relevant events in the formation of national identity.
The next two chapters analyse the development of the querella calderoniana and the subsequent appropriation of Calderon, in one of the darkest moments for the written press in Spain, corresponding with Fernando VII's absolutist regime. This study has been achieved through close readings of various periodicals, literary and ideological discourses of this epoch.
The final chapter concentrates on the conservative appropriation of Calderon effectuated by Menendez Pelayo, one of the most important intellectual figures of nineteenth century in Spain, who attempted to integrate this appropriation with others preceding it. A brief section of conclusions summarizes the theses, followed by a selected bibliography.

Text in Afrikaans
The hypothesis debated here is that a critical reading process leads to a responsible use of the Bible. The metaphor of birth and growth is used autobiographically in order to illustrate the mastering of a critical reading process. Fundamentalism as condition before the birth indicates a pre-critical reading and understanding of the Bible. The transition to a critical reading and understanding contains certain psychological effects for the reader. In some instances it may even be called a painful birth process. The growing process progresses slowly. Concepts like inspiration, canon, Scriptural authority, the Bible as Word of God are once more scrutinised in the light of a critical reading process. Aspects that need to be settled with any critical reading are surveyed and may be seen as proposed directives for the mastering of the process: the strangeness of the world of the Bible, the evolution of the Bible, the Bible as literature and the critical Bible reader and objectivity. A critical reading process has certain implications for the traditional understanding of certain Bible themes. This, for example, is illustrated in view of the relation between the two testaments, prophecy, human thinking about God in the Bible and the liberating energy of justification through faith. New insights also establish the necessity for contact with believers within and outside the Christian tradition. With regard to the New Testament and the Jesus movement, a critical reading also leads to new insights. Historical Jesus research is handled and settled in earnest in an attempt to reflect new insights in the Christian tradition. In conclusion, the role of the church is surveyed through a critical reading process. A few personal contentions and conceptions of faith are presented as a survey of the growing process up till the present time. The Divine image of a critical reader is argued in the light of the knowledge of science and the provisional nature of human knowledge about God. That the baby is not thrown out with the bath-water, implies that a critical reader's faith in God need not be sacrificed. On the contrary, it can lead to an enriching spiritual experience.
Religious Studies & Arabic
D. Litt. et Phil. (Bybelkunde)

El nuevo palacio del Retiro (1634), El cubo de la Almudena (1651), La devoción de la misa (1658), and El santo rey don Fernando (first and second parts, 1671) are works of a religious literary genre unique to Spain: the auto sacramental. Until recently, such plays have suffered a lack of critical attention, possibly due to their complicated theological focus. Pedro Calderón de la Barca (1600-1681), the master of this genre, is the author of nearly eighty of these one-act works celebrating the Eucharist. Of these, the most studied are those using biblical and mythological characters. Calderón's autos which use Spanish historical figures, such as the above five, have been the object of extremely few studies. Most of these analyses remain at a superficial level, focusing on the works' historical contents, rather than their central spiritual elements. These works illustrate the cosmography of the time and place of their conception. To uncover these autos' full meaning, it is necessary to interpret all other theatrical components in light of these works' primary topic: the Eucharist. Throughout El nuevo palacio del Retiro, El cubo de la Almudena, La devoción de la misa, and both parts of El santo rey don Fernando, the historical elements are framed by the spiritual. In the first, a competition in which the king participates is presented as an image of the transformation of Christ into the Eucharist. In the second, a historical Muslim siege of Madrid is used to assert the victory of Spain against historical and spiritual foes through the Sacrament. The third presents the devotion of a legendary soldier to the Mass as the source of victory in a historical battle. The two autos written on the occasion of the canonization of the medieval King Fernando III combine historical, legendary, and fictitious events to illustrate temporal and eternal victories through the Sacrament. As is evident in a more than superficial study, in these five autos, Calderón modifies history in order to convey an eternal message.
text