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An Interview with Transylvanian Poet and Writer Hans Bergel.
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The thoughts presented here are from a conversation made in the fall of 2019, with which we say goodbye to the writer, publicist Hans Bergel, who died on February 26 this year at the age of ninety-seven.
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Bene Zoltán's, Paths. Second Fragment From The Novel "Igazak".
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Wirth Imre - "Name is a Pothole, Bathing Boars, Ruins, Love - 22."
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In the series Twin Peaks, Mark Frost, David Lynch and others create a mythological framework structured by and filtered through Shakespeare in a postsecular exploration of the posthuman. Twin Peaks exemplifies a cultural postsecular turn in its treatment of the posthuman, taking the religious and spiritual perspectives to new —and often extreme—heights in its use of Kabbalah and other traditions. Twin Peaks involves spiritual dimensions that tap into other planes of existence in which struggles between benign and destructive entities or forces, multiple universes, and extradimensional, nonhuman spirits question the centrality of the human and radically challenge traditional Western notions of being. Twin Peaks draws from Shakespeare’s expansive imagination to explore these dimensions of reality that include nonhuman entities—demons, angels, and other spirits—existing beyond and outside of fabricated, human-centered worlds, with the dybbuk functioning as the embodiment of the postsecular religious posthuman.
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The convergence of textuality and multimedia in the twenty-first century signals a profound shift in early modern scholarship as Shakespeare’s text is no longer separable from the diffuse presence of Shakespeare on film. Such transformative abstractions of Shakespearean linearity materialize throughout the perpetual remediations of Shakespeare on screen, and the theoretical frameworks of posthumanism, I argue, afford us the lens necessary to examine the interplay between film and text. Elaborating on André Bazin’s germinal essay “The Myth of Total Cinema,” which asserts that the original goal of film was to create “a total and complete representation of reality,” this article substantiates the posthuman potentiality of film to affect both humanity and textuality, and the tangible effects of such an encompassing cinema evince themselves across a myriad of Shakespearean appropriations in the twenty-first century (20). I propose that the textual discourses surrounding Shakespeare’s life and works are reconstructed through posthuman interventions in the cinematic representation of Shakespeare and his contemporaries. Couched in both film theory and cybernetics, the surfacing of posthuman interventions in Shakespearean appropriation urges the reconsideration of what it means to engage with Shakespeare on film and television. Challenging the notion of a static, new historicist reading of Shakespeare on screen, the introduction of posthumanist theory forces us to recognize the alternative ontologies shaping Shakespearean appropriation. Thus, the filmic representation of Shakespeare, in its mimetic and portentous embodiment, emerges as a tertiary actant alongside humanity and textuality as a form of posthuman collaboration.
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The paper proposes to appreciate the play’s butcheries as an incision into the unstable character of the category of the human. The vividness of the “strange images of death” is thus analysed with reference to the cultural poetics of Elizabethan theatre including its multifarious proximity to the bear-baiting arenas and execution scaffolds. The cluster of period’s cross-currents is subsequently expanded to incorporate the London shambles and its presumed resonance for the reception of Macbeth. Themes explored in the article magnify the relatedness between human and animals, underscore the porosity of the soon to turn modern paradigms and reflect upon the way Shakespeare might have played on their malleability in order to enhance the theatrical experience of the early 17th century. Finally, the questionable authority of Galenic anatomy in the pre- Cartesian era serves as a supplementary and highly speculative thread meant to suggest further research venues.
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Text by Petru Cimpoeșu - " Alte note pentru același viitor roman"
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Albert Lewis Kanter launched Classic Comics in 1941, a series of comic books that retold classic literature for a young audience. Five of Shakespeare’s celebrated plays appear in the collection. The popularity of Classics Illustrated encouraged Seaboard Publishing to issue a competitive brand, Stories by Famous Authors Illustrated (1949-51), which retold three Shakespearean dramas. Although both these enterprises aimed to reinforce a humanist perspective of education based on Western literature, the classic comics belie a Posthuman aesthetic by presenting Shakespearean characters in scenes and postures that recall Golden Age superheroes. By examining the Shakespearean covers of Classic Illustrated and Stories by Famous Authors, this essay explores how Shakespearean characters are reimagined as Superhuman in strength and power.
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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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Poems by five Romanian poets. Poems by Nicolae Coande - "Frumusețe cafea", "Orașul". Poems by Augustin Ioan - "Cămin", "Luna Park USA", "2200 Maplewood Avenue", ȘPAN (1986-1989), "Far", "Nu mai plânge, baby!", "În coloană", "Carne, pricepi?", "(E)cranieră", "Îmbrățișare", "CFR", "Cariera". Poems Otilia Țeposu - "Portret", "Tata", "Raniță de soldat", "Promisiuni uitate", "Întâlnire", "Întrebare". Poems by Tatiana Ernuțeanu Poems by Elisabeta Boțan - "Poeta", "Noapte de august", "Năzuință", "Ireversibil", "Un loc-paradis", "Artă poetică", "Lumea lui Narcis", "Ars Poetica", "Fish", "Hazard", "Ying și yang".
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Short Prose by Krisztina Lovász - "Körfolyosó", "Arról, hogy mi a jó (1.)", "Arról, hogy mi a jó (2.)", "Kényes", "Sir David Attenborough szomorúsága".
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Forgách András - The Execution (Fragment from the novel "Zehu").
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