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The article tries to highlight Erwin Piscator’s concept of the „political theatre“, which appears at the beginning of the 20th century. Starting with Piscator und Brecht a description of the documentary theatre after 1945 is offered and equal new projections of the documentary theatre after 1990 will be lined out.
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This article aims to investigate the defining movements of political theatre, which reached its peak during the 1960s. This cultural and performative phenomenon was determined, of course, by political movements, by active ideologies, and by the emergence and then the dominant dynamics of countercultures. The article describes the most relevant theatrical groups of that period, which radically influenced global theatrical practices and developed new theoretical and methodological frames that challenged European Modernism. My contribution also points out the illusions and disappointments that political theatre experienced in such a troubled decade.
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Politics was more than once dealt with in the works of the Swiss playwright Friedrich Dürrenmatt, as well as in his theatrical practice as a director. Two of the most interesting examples in this respect are Dürrenmatt’s last play, Achterloo (1983), and his staging of G. E. Lessing’s Emilia Galotti (Zürich, 1974). While the first one is a complex and encrypted politics collage, the second one reveals itself on the stage as a critique of a political system that surpasses the boundaries of time and becomes relevant also nowadays.
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In 2017, one of the most famous Shakespeare tragedies, Macbeth, directed respectively by China’s first-class director Chen Dalian and one of the leading European directors Luk Perceval, gained new forms in exotic countries and yet still displayed its eternal charisma and magnificent power. The two interpretations gave the Chinese audience an unprecedented experience due to their strong visual impact. The Chinese version marked a new level in the creation and performance of modern Chinese drama and was widely acclaimed. However, the Russian version seemed an “over-experimental” play to the Chinese audience, so it could not be fully understood and accepted. This paper compares the Chinese experimental interpretation of Macbeth with the Russian one from the perspective of intercultural theatre by using theories proposed by many international theatre critics, such as Antonin Artaud, Jerzy Grotowski, Peter Brook, Eugenio Barba and Richard Schechner, analyzing the stage design, directing concepts and performing skills. It then elaborates on the inner connections of the two adaptations by the two directors from China and Russia by analyzing the complexity of the relationship between audience and performance in intercultural theatre, and the transformation and reception of the cross-cultural adaptation of Shakespeare’s plays in China and Russia.
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Thе study presents the methodology of selecting the social media, the topics, the politicians, the universities, the blogs and the forums researched in the project. The focus in the text is on the internet, the www, the social networks and the social media, and how they meet the changing needs of people and the necessity of relevant social media literacy today. The capacity of social media to multiply the uploaded content make them a powerful tool for spreading fake news, misspelling, wrong syntax and word-formation, incorrect use of vocabulary, dangerous ideologies and decadent values. Analyzed are various types of spelling and punctuation mistakes in the observed social media.
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The author of this article demonstrates that Christmas, due to its multidimen-sional character, can be the basis for cross-curricular work of foreign language learners. By analyzing examples of cross-curricular activities suggested by university students who specialize in pedagogy and language, he argues that Christmas can be an adequate topic for the introduction of cross-curricular content in a foreign language class and for the development of different learners’ skills both at the primary and secondary levels. On the basis of the material collected from university students, he draws a conclusion that information from various school subjects can be integrated around Christmas within the monodisciplinary model which has been suggested in scholarly literature and which is discussed together with other models in the theoretical part of this article.
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This paper presents the phraseological realisation of the concept “POWER” in modern Polish and Russian. On the basis of the denotative and connotative analysis of the examples of phraseologisms representing the concept “POWER” in both languages, the author concludes that power is a multi-layered entity in both linguacultural spaces. It encompasses the presence of the subject and object of power, as well as the distinct ability of the subject to control the way in which another subject or a nobject functions. The chosen phraseological units confirm that they represent facts and judgements that can be interpreted as mostly negative and rarely positive with a varying degree of connotative saturation, being usually negative.
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The Alienist, a TV series released in 2018, is based on Caleb Carr’s best-sell-ing novel published in 1994. Irrespective of its genesis as an adaptation, presently the TV series generates new senses when watched from the perspective of works that have appeared in visual culture since the publication of the book. This paper sets to demonstrate to what extent the original novel and later the TV production create a mutation of a well-known pair of detectives (Sherlock/Watson) and how the reception of the series may differ from that of the original novel.
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This article will examine Marion Gräfin Dönhoff’s articles published in the Hamburg-based “Die Zeit“ weekly in the years 1946-1970. Dönhoff, a renowned German journalist, had to leave East Prussia and her family estate in 1945. The articles under analysis demonstrate an evolution of her views on the problem of losing the so-called German East, from the initial inability to come to terms with the new postwar territo-rial reality, to the eventual recognition that Germany’s loss of provinces in the East is permanent and final.
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Comparative studies devoted to the work of Taras Shevchenko and Mikhail Lermontov began in the 1920s. However, there are still many unresolved problems in this area. An attempt at a comparative psychological-biographical analysis makes it possible to identify the exclusive spiritual kinship of the two poets.
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This paper analyzes the presence of the Old Believers in Polish media and literary discourses of the 21st century. Special focus is placed on the exoticization pro-cedures of otherness with respect to the Old Believers’ communities. Instrumentaliza-tion mechanisms in the following modules are described: national and anthropological, autobiographical, popcultural and eschatological.
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The article is dedicated to the study of the addressing as a communicative artistic phenomenon in the poetic works of I. A. Bunin, the revealing of genre, thematic and stylistic features of the addressing. In his poetry Bunin keeps on following the classical tradition and the preservation of the addressed poems in their genre certainty provided that the “timeless addressing” dominates. The addressing is found in a title complex and the genre of works. In the works of Bunin the Epitaph and Epithalamius maintain a genre shaping function of the addressed genres. The most modified forms are related to the genres of dedications and Epistles. The tendency to the cyclization inherent to the epoch leads to the appearance in Bunin’s poetry of “hidden” personalized cycles (Nadson, Balmont). However, the name of an addressee is the basic and unique unifying principle: the poems-dedication hardly contain citations, allusions or other signs of the addressee. So, the removal of dedications deprives the poem of any distinctive marks of an addressed genre. The most frequent addressed genres are those grouped by the theme of memory and the paradigm of “the death of the poet”, transformed by Bunin into the concept of “tomb / tomb of the poet” as a legendary figure. The special genre of an epithaphical friendly message appears that represent the panegyrical type of the addressing and allows the poet to comprehend the category of “ancestor memory”. The dialogization of the text often has the character of “auto-addressing”. The least represented is an ironic addressing aimed at debates with the modernist aesthetics dominant in poetry. Bunin contributed to the development of new artistic communicative strategies that were formed in the poetry of the twentieth century.
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The article offers the analysis of Gazdanov’s story “The Requiem” (1960) in the context of “Christian realism” put forward by V. N. Zakharov as an aesthetic principle. The themes of the spiritual solidarity of compatriots were expressed especially in the literature of the Russian expatriate community. The importance of the article resides in disclosing of a leading idea of the story which main topic is the liturgical word as the basis of the ancestral memory. The thesis about a particular role of the prayer text language as that one expressing the key moments of a human’s life and comprehending them in the terms of a nationwide tradition is brought forward. It is in the nationwide tradition where a person feels involved in other people’s life related to him first via his native speech. By means of the Church Slavic language the protagonist comes to the understanding of the core of the unanimity of the Russian speaking people who ended up outside their motherland. The results of the research are based on the study of the phenomenon of the Russians and the role of the Russian language in alien conditions. Kept in the memory and becoming actual as necessary the liturgical word becomes a sign of the unity among the Russians and expression of the essence of their transcendent (non-temporal, extra-social) existence.
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The article studies the dialogue with Dostoevsky developing in Dombrovskaya’s christian metanovel “The way is open… Chekhov. Spiritual wanderings of Timofei the Deacon”. It is shown that the dialogue is of an extensive, systematic and multidimensional character. It is carried on at all the levels of the artistic system of the novel: an author’s message, method, genre, plot, characters system — and allows gaining a hermeneutic experience. In a dialogical correlation of Chekhov and Dostoevsky it is disclosed that both writers have in common the adherence to the evangelic spirit that helps them to be theologically precise/ accurate while judging and making emphases. However, while Dostoevsky interested primarily in the problem of destruction of the religious consciousness and testing the man on the way of freedom without God, disproves the principles and meanings of the Christian doctrine, Chekhov’s spiritual realism that highlights the “movement of an essential layer” in the terms of the everyday life of the man “emanates silence, lives off an inner word”. Besides, Chekhov as a child of his time feels better the danger of Pharisaism. The dialogue with Dostoevsky is carried on not only in philological sketches of the main hero, but is reflected in the destinies of the novel’s characters, in understanding of the spiritual conditions of modern Russia. The article, based on the reasoning of E. R. Dombrovskaya, for the first time asserts that Chekhov’s concept of the beauty is also interpreted both as the extension of a famous Dostoevsky’s principle and as its enrichment with new inner meanings.
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A linguistic aggression was integrated into the ritual of government, in which participate more or less concerned spectators, who are the recipients of political struggle. The way of interaction in public life is in large part dependent on cultural, social and historical factors, and mostly ruling political system and methods of wielding authority. Nowadays, chiefly mass media create politicians’ image. Paweł Kukiz is a good example of this. He owes his artistic and political position to mass media. The article is the result of Paweł Kukiz’s political statements analysis from 2015-2017 (the time of presidential and parliamentary campaign in Poland and also the time when Paweł Kukiz was elected to a parliament). This is the research of interviews, comments, debates and also posts written at his Facebook page. The analysis showed that Kukiz’15 chairman’s language is characterised by high expressivity, both in lexical and pragmatic level. In the political struggle, Paweł Kukiz breaks down linguistic taboo and exceeds boundaries of the ethical conventions. He considers breaching of linguistic norm as his identification. This type of strategies not only emphasize politic’s originality and creativity, but also determine his political success. The tested instances show that incisive language in political discourse is the symbol of specific person. This strategy is effective to appear in the political world.
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The view belongs to Orhan Pamuk, and his work is My Name is Red, while the painting is related to the zenith and decline of the Ottoman miniature in the 16th century. It is characteristic of the Nobel Prize winning author to cross borderlines, the most obvious being those dividing the East from the West (not only geographically) and modernity from tradition (not only temporally). There are, however, other borderlines, no less representative of his style, like those between centre and periphery, unique and universal, freedom and coercion, reality and fiction. Along with them, one borderline stands out in his eminent novel – that between the sensory and the semiotic. For is there anything better than colour to unite the two, and is there a better colour than red to counteract the impersonal, neutral and colourless, and create in the monotonous flow of routine a true feast of the spirit?In this polyphonic, enigmatic, artistic novel, the fine technique of narration used by its author relates the latter closely to the mastery of the artist, the engraver, the miniature painter in one remarkable, exotic ekphrastic story.
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A special issue of the electronic magazine "Ongal" was published in 2019.It is dedicated to the formation and development of the new standard Bulgarian literary language."Ongal" magazine, year XI, issue. 17). The issue is available at http://www.spisanie.ongal.net/broi17.html. Its topic is up –to-date and extremely important as it focuses on the standard Bulgarian literary language/From the middle of the 18th to the end of the 19th century the language underwent a number of major changes related to its usage in the various spheres of public and private life. The magazine refers to the problems of its formation, development and codification. It also deals with the relevant issues regarding the establishment of the literary standard of the NBKE. These development and codification processes have been recently examined in a number of scientific studies by L. Andreichin, K. Nicheva, R. Tsoynska, K. Vachkova, D. Ivanova, B. Valchev and other researchers. This issue of Ongal e-magazine contains 4 articles. The first article is "Characteristic features of the Bulgarian literary language codification " by Prof. Dr. K. Vachkova. The present study is a theoretical examination of the Bulgarian literary language codification and the various factors that have influenced it. The second article ("Notes on New Bulgarian Written regional dialect variations” by PhD. Iv. Iliev and PhD. P. Petkov) discusses some unknown or poorly researched nonstandard forms in writing that have arisen and evolved over time in various geographical regions - the literature of the Bulgarian peacocks (later Catholics); Macedonian dialect literature; the literature of the Bulgarian Midwest and Northwest and other areas. The following article is written by Dr. Ivo Bratanov, 1st class teacher, and addresses some of the more characteristic features of A Brief Cholera Lesson (1856) by Hristo G. Danov. The graphic, spelling, phonetic and grammatical features of this text are examined. The last article (“Observations on some song details in Miladinovi brothers’collection of Bulgarian Folk Songs” by Albena Malcheva) analyses some important verbal communication details typical for the girls and brides’ images in folk songs. Malcheva's article is reprinted here from collection Language and Ethnicity, the yearbook of the Ongal Association, vol. 11, year VIII, 2013; S., 2013, pp. 341 - 349. The rest of the articles have been written for the latest issue of the online magazine "Ongal".
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This article treats the question of using Bulgarian dialects in literature texts. It is the first complex treatment of this problem and a part of a forthcoming monograph. The authors examine the reasons for this phenomenon, its history and geographical distribution. Interesting samples of such uses are given at the end of the paper.
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