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The following article discusses particular problems concerning the acceptability of a category of statements regarding fictional literature, i.e. those comprising fictional terms. Some theoretical prerequisites of an established institutional literary scholarly treatment of fictional literature are outlined. It is pointed out that this theoretical background allows the distinction between acceptable and not acceptable statements in consideration of fictional literature. It is argued that, given this theoretical framework, the use of expressions mentioning fictive characters that occur in literary texts and referring to fictional structures should be considered acceptable. The use of expressions referring to fictive characters should not be considered acceptable. “Fictional” is used in this article when meaning
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The study interrogates the relationship that exists between language, literacy and the environment given the fact that the need for its sustainability is of essence especially in the contemporary times. This paper investigates eco-literacy in Achebe’s literary corpus Arrow of God. Findings suggest that long before campaign for environmental protection became a global trend, Igbo societies have made significant in road towards saving the biosphere from harmful effects due largely to human induced activities. These attempts are made manifest through traditional religion, myth, superstition and other cultural practices. The researchers’ contend that though the Igbos’ contribution may be deemed insignificant compared to the enormity of the emerging issues, it is still not out of place to assume that the present imput by government, and other agencies towards this direction are rather complementary to the efforts being made by the Igbo societies. The study adopts the Butterfly Effect and Chaos Theory for the inquiry and concludes that if the colonizers had known the thoughts of the Igbo concerning the ecosystem, they would have probably helped to strengthen eco-literacy ideology using natural and sustainable in road already created. The study recommends the need to revert back to some of these natural means which could help to sustain the environment.
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In the Polish academic context, melodrama is as fascinating, as it is underrepresented a phenomenon. This is mostly because melodrama’s roots are theatrical; a reason why, within the literary drama bounds, the genre has been considered a hybrid since the Antiquity. This article aims both at demonstrating the complex process of melodrama shaping, one which involves its multigeneric inspirations, and presenting its hybrid structure as well as the direction in which it is evolving. Melodrama’s explicit emotionalism, multistylistic construction and dynamism, resulting from the genre’s both social and moralistic provenance, has determined not only its traditional reception, but also audiences’s involvement in the its creation. This text has been primarily based on the French melodrama; however, it, too, takes into consideration (to a limited degree though) the presence of the genre in the national dramaturgies: English, German, Austrian, and Polish.
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The article is devoted to intertextuality in the nineteenth-century dramatic texts inspired by other literary forms. The group of melodramas rewritten from texts of various literary genres includes works both secondary and literally impoverished, as well as some that are interesting, even innovative. In the practice of rewriting, the main plot of the original is retained only in its general outlines. The omissions, rearrangements, and simplifications often associated with a complete change in the sense of the prototype seem to be particularly interesting; although inspirations from sentimentalism are extremely important. The melodramas in question retain a link with the original work expressed not only by the choice of title but also by enriching them with content that did not exist before. This seems to be an effort to crystallize their own creative identity, often falling within the realm of popular culture.
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The article touches upon new threads as regards the Polish reception of J.J. Rousseau’s melodrama Pygmalion so as to settle a few debatable issues. For that purpose, the author ventures to study a broader array of source texts: apart from the well-known translation by T.K. Węgierski, J. Baudouin’s prose rendering and the French edition of the work published by Piotr Dufour are also discussed. This allows both for the formulation of a number of hypotheses on the influence of particular French editions on the translated versions of Rousseau’s work (e.g. making redundant a number of stage directions, planning to create a prospective bilingual edition) and ascertaining the exact sources of Węgierski’s adaptation; a difficult task, given the traditional dichotomy between the original and its translation. Approaching the translation as but a hub on the way towards the target text seems promising though, the more so that such an approach has already been tested with regard to the French culture. Considering the above, Rousseau’s Pygmalion should not be viewed merely as a source text, but rather a textual archetype evolving in course of its reception, both in France and in Europe.
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This paper focuses on the melodramatic features in Almayer’s Folly, the first part of The Malay Trilogy by Joseph Conrad, and their significance for the interpretation of the novel. The poetics of melodrama and opera is reflected in various aspects of Conrad’s prose, such as e.g. main plot construction, references to Verdi, characterisation of the protagonists. The melodrama and opera provide an important cultural frame of reference, which affects the narrative scope of the novel discussed.
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The COVID-19 pandemic has caused serious restrictions on the activities of some of the sub-sectors of the creative and cultural industries. The aim of this study is to examine the state of art of the arts and culture sectors, which are sub-sectors of creative and cultural industries, during the pandemic in Turkey. In this study, the public supports provided by the government and metropolitan municipalities and the supports of the professional associations, trade unions and civil society organizations to the arts and culture sectors, between March-September 2020, are examined through document analysis technique. The supports offered to the arts and culture sectors under the categories of cinema, television, theater, music and performative arts are analyzed regarding the following themes: Financial support, tax reduction or deferral, digital archive support, early ticket reservation, providing offline or online stages required for the artistic performance, proposing structural solution for the problems encountered during the pandemic. The findings of the research reveal that the arts and culture sector are not adequately supported by the government, while partly supported by the local authorities, professional associations and unions during the pandemic. However, they are not sufficient to influence the policymakers to provide adequate support.
More...An investigation of the Clandestine Insurgent Rebel Clown Army’s (CIRCA) power to disrupt and provoke through joy and humour
This essay offers an experiential account of the development of “rebel clowning” as a practice that emerged in the context of the anti-globalisation movements in the UK, bringing together the ancient art of clowning and more recent practices of non-violent direct action. The essay traces the legacies of rebel clowning, outlines the tactics and strategies that comprise its humour, and analyses key activist moments in its trajectory in the first decade of the 21st century. By inserting the logic of clowning into the activist realm, the essay argues, the tired binary between protester and authority, or activists and their opponents, is shaken and cheerfully disrupted.
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Although originally the term ‘post-memory’ referred to the experiences and memories of the survivors that influenced the biographies of their children, in the following years its meaning was extended and the concept started to be used to describe the processes of transmitting the memory of any traumatic experience within any group, not necessarily bound by blood. In the case of Lublin, where one third of the pre-war community consisted of Jews, most of whom were murdered during World War II, the position of non-Jewish vicarious witnesses seems to be particularly important. This article discusses some aspects of the Holocaust post-memory discourse referring to the cultural activities of the ‘Grodzka Gate – NN Theatre’ Centre. Research questions will concern the artistic language and means of expression of these projects as well as the aesthetic codes that are being used by vicarious witnesses.
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Cette communication souligne et exemplific l'idée que le théâtre, qui est -né et s'est développé en accord avec l'histoire du peuple roumain, dans les années qui ont précédé l'Union nationale, a servi les aspirations des masses populaires, leur rêve de réaliser l'union nationale. Les représentants de ces aspirations ont été des personnalités de la vie artistique — des artistes citoyens : Matei Millo, Nicolae Luchian, Alex. Evolschi, Mihail Pascaly... Une juste compréhension du moment historique leur a permis de servir l'idéal de l'Union de la Moldavie et la Valachie par une propagande sérieuse menée sur la scène grâce à leur art.
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The article formulates the theoretical foundations of the study of dramatic text, distinguishes between the concepts of “dramatic text” (affects the reader) and “dramatic work” (verbalizes the theatrical action for the viewer), because these linguistic realities are in the relationship of inclusion. A dramatic text is a unity organized according to certain laws, which has a clear structure: a certain number of lines, designed with the help of the author's remark, forms a dialogical unity; the combination of dialogic units forms a scene; the set of scenes constitute an act; several acts create a complete work. Obligatory factors of expressiveness of the dramatic text that influence the development of dialogic parts of the characters are pragmatic components of speech which are considered as certain rules of successful communication. In the communicative-pragmatic paradigm dramatic text is defined as a specific type of artistic text that has its own structural and speech features due to a combination of informational, pragmatic, stylistic and cognitive aspects, where the pragmatic aspect is found in speech acts, syntactic organization of cues. The scientific novelty of the research is DT of Bukovinian’s writers of the late nineteenth – early twentieth century that have not yet been the subject of analysis. The relevance of scientific research requires a holistic analysis of the dramatic text and difference between the concepts of “dramatic text” and “dramatic composition”, the study of mandatory factors of expressiveness of dramatic text, influencing the development of dialogic parts. The following methods and techniques of linguistic analysis are used in the article: system-functional analysis, method of discussion analysis, contextual-interpretive method. Conclusions. Dramatic text is a complex phenomenon with its own peculiarities of functioning. It is possible to penetrate into the structure of a dramatic text, to reveal the meaning of the author's intentions due to the volume-pragmatic division of the text. The communicative-pragmatic organization of DT influences the processes of active aesthetic influence of a work of art on the consciousness of the addressee. We see the prospect of the represented research in the further deepening of knowledge about the categorical features of the text in the communicative-pragmatic aspect.
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The Urdu litterateur Shahid Ahmad Dehlvi (1906–1967) recorded a series of reflections and reminiscences about Delhi, its culture, and how that culture was brought to an end by the violence of Partition in 1947. In his essays on music, he documented the performances and personal histories of a range of singers, dancers, and instrumentalists based in Delhi in the first half of the 20th century and considered their plight after Independence. In this article, I examine three of these essays—two in Urdu and one in English—and ask two questions. Firstly, how does this author develop a sense of historical depth to the social and cultural rupture he experienced in 1947? I suggest that his Urdu essays draw upon a longer history of literary nostalgia and connect a Delhicentric understanding of Partition to the earlier crisis of 1857. Secondly, how did attending to music allow Shahid Dehlvi to explore the nuances of cultural rupture and personal loss?
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Hegel’s viewpoint on Greek tragedy is a valuable way-station in any theoretical as well as practical consideration of dramatic play. Hegel considered Greek tragedy from the perspective of his dialectical system, thereby indirectly influencing dramaturgical practice in the 19th and 20th centuries. This is why the paper explores Sophocle’s tragedy Oedipus Rex from the viewpoint of Hegel’s theoretical perspective, as well as practical perspectives based on an influential textbook on playwriting by Lajos Egri. The paper further explores the different understandings of dialectics in philosophical and dramatic dialogue. Also, it addresses the kind of applied dialecticism in the work of Greek artists of the 5th century BC. Finally, the text explores the early Greek literary form gnome, which is – hypothetically speaking – the source of the later Greek understanding of dialectics.
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Jesen je 1969. godine, tek sam došao na studij iz Splita u Zagreb; pasionirano obilazim zagrebačka kazališta, najčešće sam jer nitko od mojih prijatelja, koje tih dana upoznajem, ne može podnijeti toliku količinu teatra u tako kratkom vremenu. U Zagrebačkome dramskom, koje se još ne zove po Gavelli, gledam Minigolf, čitao sam već o mladom autoru te drame u novinama, znam da je samo tri godine stariji od mene, bio je jedan od glavnih zagrebačkih šezdesetosmaša, iako tek dvadesetogodišnjak; u Minigolfu bavi se zbivanjima u jednom omladinskom listu šezdesetih godina (na način koji dosta podsjeća na »predigru « Krležina Vučjaka, koja se odigrava u redakciji novina Narodna sloga, neposredno nakon 1. svjetskog rata).
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The Gdańsk Shipyard has many functions in contemporary practices and discourses of memory. It is used as the point of departure for various animation, anthropological and artistic explorations which make over the experience of the Polish transformation and its social and political consequences. Similar ambiguity is found in interpretations of the walls of the Shipyard, construed as a place of meaning particularly dense for the cultural imaginarium: symbolizing either civic initiatives that facilitate open negotiations of the rules of social life or, alternatively, the closed and increasingly culturally distant world of the labor of factory communities condemned, after 1989, to live on the periphery of society. In her examination of the animationartistic activities related to the walls of the Shipyard after 2012, Marta Rakoczy focuses on the Stocznia jest kobietą [Shipyard Is a Woman] project carried out by the Arteria Association and on Iwona Zając’s animation and mural activities. Rakoczy adopts the perspective of the anthropology of the word and oral history in an attempt to ask questions about the identity-fashioning processes initiated by the Shipyard’s artistic activities related to gender, class, the body and technology, and about the presence and absence of the wall as an important catalyst for these processes.
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The article is devoted to Russian translation of the book Inni ludzie by Dorota Masłowska that has been done for the theatrical adaptation. Particular focus is put on the genre specificity of the text and its specific linguistic, narrative and cultural indicators, some of which have not been reflected in the Russian version. Text orientation towards the different recipient results in the transition of certain threads affecting interpretation of the text. An image of the Pole depicted in the translated theatrical adaptation is softened in comparison with the original text and issues related to the collective Polish awareness sound more universal.
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The present article focuses on the problem of inter- and intralingual translation — or, more precisely, its adaptation. Adaptation is considered here in terms of the translation studies as well as the theatre studies — as a transfer of written text into the language of theatre. The research materials are Chekov’s play The Cherry Orchard, its translation into Polish made by Agnieszka Lubomira Piotrowska and its stage realization. The performance was staged by the Georgian director David Mgebrishvili in 2017 in Teatr Nowy in Zabrze, Poland. The author analyses how to transfer the sounds, which are thought to be a typical motive in Chekhov’s works.
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This article is going to discuss and compare two film adaptations of William Shakespeare’s classical drama The Tempest (1611). The Tempest (Fırtına, Julie Taymor, 2010) and The Tempest (Fırtına, Derek Jarman, 1979) are considered as two peculiar representations, specifically rewriting gender, race, and power issues the original text dealt with. The Tempest (1611) was chosen for this study because of its uniqueness in Western Drama in terms of mythology, ancient Greek Drama, Latin Drama, Romance, Neoclassicism, and Symbolism, as well as its discussion of modern and universal issues such as gender, race, and power. The time Shakespeare wrote this play coincided with the beginning of English colonialism. In general, it rallies with the classical approaches of tragedy and comedy through combining their elements. The Tempest may be regarded as the initiation of the postcolonial drama. The adaptation of this play for film and theater has been a long process. In our study, film adaptations of Derek Jarman (1979) and Julie Taymor (2010) will be discussed and compared in terms of postmodern film features. The reason for choosing these two films is that both films deal with the same story from two different perspectives of sexual identitiy as queer and feminist. As a result of the findings obtained at the end of the study, it is determined that Shakespeare’s play The Tempest contains themes that center postmodernism and therefore it is a postmodern play. It has been concluded that The Tempest, as a text that can be rewritten in accordance with the socio-cultural position and stance in the historical context, can appeal to the present with its themes and narrative, and that it can be adapted into a postmodern film with its timelessness. While Shakespeare’s The Tempest was rewritten with a queer look in Derek Jarman’s 1979 adaptation, it was seen that the text was rewritten with a feminist discourse and narrative in Julie Taymor’s adaptation.
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The purpose of the article is to identify the artistic and aesthetic features and leading trends in the development of German expressive dance of the first half of the twentieth century. and determine their impact on the development of modern dance in the first decades of the XXI century. Methodology. The system method is applied, thanks to which the peculiarities of German expressive dance are considered; the method of comparative analysis, which helped to identify common and distinctive features in the central concepts of dance K. Joss, M. Wingman, and P. Bausch; method of art history and artistic and stylistic analysis, through which identified and substantiated trends in the development of German modern dance and modern dance). Scientific novelty. The artistic and aesthetic principles of German expressive dance are studied on the basis of the analysis of choreography, aesthetics, and discourse of movement K. Joss, M. Wingman, and P. Bausch; the basic theatrical concepts of the range of emotions of the leading representatives of the German expressive dance motivating physical movement are revealed; determined that P. Bausch, M. Wingman and K. Yosse work with emotional space, which is directly related to physical movement and configures their own unique aesthetics of movement experience - dancers aestheticize the human body, covered and subject to strong emotions. Conclusions. The characteristic interest of German expressionist dance to inconspicuous, accidental, or natural manifestations of corporeality, the focus on violating previously established boundaries of art, the search for innovative ways to approach the chaos of reality, causing the formation of certain models of corporeality, and others. can be clearly seen in the modern dance of the early XXI century – phenomena, representing a unique way of artistic and bodily modeling of the world, become one of the important dancers and generators of current cultural and artistic values and meanings.
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