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„Nedivina comedie” de Zygmunt Krasiński între istorie şi metafizică

„Nedivina comedie” de Zygmunt Krasiński între istorie şi metafizică

Author(s): Constantin Geambaşu / Language(s): Romanian Issue: 4/2010

The author of the research focuses particularly on the structure of the drama The Undivine Comedy, trying to define more clearly the boundaries between the two settings of the plot, i. e. historical and metaphysical. Z. Krasinski goes beyond historical and social framework in order to penetrate even deeper into the metaphysical realm (the role of Providence both in history and in human life) by analyzing the issue of revolution in a broader context (historical-philosophical and religious). He is interested especially in people‘s ―undivine" attitude and its consequences. The research pinpoints the fundamental idea of the Polish author: revolutions are not part of the divine plan for the world, and a world deprived of God is doomed to chaos and extinction. Man's moral transformation may be achieved only through faith in God, and salvation - through solidarity and harmony. Yet, beyond Krasinski's constructive effort, a careful analysis of the text allows to catch a glimpse of the utopian character of such a vision.

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50 godina bh drame na pozorišnim/kazališnim igrama BiH u Jajcu: Mali istorijat bosanskohercegovačke drame kroz pregled učešća na festivalu Pozorišne/kazališne igre BiH u Jajcu

50 godina bh drame na pozorišnim/kazališnim igrama BiH u Jajcu: Mali istorijat bosanskohercegovačke drame kroz pregled učešća na festivalu Pozorišne/kazališne igre BiH u Jajcu

Author(s): Marko Misirača / Language(s): Bosnian,Serbian Issue: 16/2021

The text reviews the presence of Bosnian drama and prose literature on professional theater stages in BiH through performances that participated in the Theater Festival of BiH in Jajce in the last 50 years. Through an overview of the participation of performances at one of the most important state festivals, the presence of BiH plays in professional theaters in Bosnia is analyzed in the mentioned period - the treatment of BiH dramas by theaters as well as perceptions of them by the professional audience.

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A hóember, aki találkozni akart a nappal
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A hóember, aki találkozni akart a nappal

Author(s): Matei Vişniec / Language(s): Hungarian Issue: 4/2020

The puppet theatre play titled Omul de zăpadă care voia să se întâlnească cu soarele (The Snowman Who Wanted to Meet the Sun) has been translated into Hungarian for our journal by Ildikó Novák (with the translation of the poetry inserts by Csaba Fehér). The world premiere of the Hungarian version of the play has taken place at the Kövér Béla Puppet Theatre of Szeged, under the direction of Adela Moldovan, in 2019. The one-winter main character of Vişniec’s play goes on a long journey to meet the sun, to beg him not to let him melt. It is a journey of gaining knowledge and experiencing his own impermanence, during which the Snowman meets various animals and has to go through several trials. The play is, in a certain sense, also a charmingly beautiful and true initiation story, which overlaps with the always-current task of accepting one’s own disappearance. Vişniec’s text is a simultaneously sad and playful tale about friendship, devotion, and love, as well as about a disappearance that is rather a transformation and survival through the traces and gestures left behind in the lives of others.

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A NOTE ON HOMER THE RAVEN

A NOTE ON HOMER THE RAVEN

Author(s): Jovana Šijaković / Language(s): Serbian Issue: 56/2019

In the works of Clement of Alexandria pieces of Homeric verses surface from time to time as a testimony to a Christian truth or an interpretation of Scripture. Such instances in Gnostic writings presented evidence that these Gnostic writers treated Homer as their own prophet. It seems that in light of these accusations, Clement takes care to note that Homer did not understand the words he gave a voice to, any more than a raven does when he echoes what he hears. Furthermore, in all cases where Clement comes conspicuously close to implying a prophetic-like status for Homer, he does not fail to employ a phrase which explicitly divorces the poet from any theological authority.

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A Personal Exploration of Translation Studies during the Pandemic. Functionalist Approaches
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A Personal Exploration of Translation Studies during the Pandemic. Functionalist Approaches

Author(s): Camelia Maria Dicu / Language(s): English,Romanian Issue: 26/2021

Translation is a human activity and like all human activities, it has its difficulties and satisfactions. With the aim to enlighten some theories regarding the translations, we are going to explore the studies of the theorists Anca Greere (2003), Hans J. Vermeer (2000) and Christiane Nord (1997). By examining the above theories, our goal is to obtain a clearer view upon the difficulties encountered in the translating activity, on the one hand and on the other, to find the proper way to surpass these difficulties. The translator as a professional has to take into account different aspects in order to comply with the translation task. Thus, the translator has to consider aspects related to the analysis of the source text, this constituting a source of information. On the other hand, the translator has to consider aspects regarding the text type, the text production and the recipient of the target text. In addition to presenting theoretical considerations on functional approaches, the applicative part of our paper will bring to attention four types of translation mistakes, which any translator should avoid and some viable solutions to the problems they pose.

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A perspective on contemporary Croatian women’s playwriting awards for the play Marin Držić

A perspective on contemporary Croatian women’s playwriting awards for the play Marin Držić

Author(s): Iva Rosanda Žigo,Ivan Krznarić / Language(s): English Issue: 14-15/2019

The authors present one of the ways that dramatic creativity is encouraged and promoted in the Republic of Croatia, namely the competition for the Marin Držić Award, which was introduced by the Croatian Ministry of Culture in 1991. The authors are particularly interested in the manner and extent to which women, that is, authors and playwrights, are represented in the arena of contemporary trends in national theatrical and dramatic creativity.

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A Portrait of the Orient through the Occidental Gaze: Resuming the Journey of ‘Dark India’  with Gregory David Roberts

A Portrait of the Orient through the Occidental Gaze: Resuming the Journey of ‘Dark India’ with Gregory David Roberts

Author(s): Dipanwita PAL / Language(s): English Publication Year: 0

Shantaram is a book about a man who breaks out of a gaol in Australia and ends up in Bambay (now Mumbai). Eventually, he becomes engaged with Mumbai underworld. He falls in love with Karla, a beautiful and mysterious woman. The novel uses lots of Marathi and Hindi words that add up to the local essence of the novel. The novel is set up in Bambay in the 80s. It becomes all the more interesting as the narrator gets involved into a gun-running mission in Afghanistan and gives a vivid picture of the whole trade. Significantly, the novel has Bombay as a very important character; rather Bombay becomes an integral part of the novel. It has beautifully projected India and her people seen through the eyes of an Australian. Hence, this paper will try to bring out what are the facts that have gained more attention from the narrator and which aspects have been ignored. And while doing so, this paper would further try to analyze the factors behind such inclusions and exclusions and the politics, if any, involved in it.

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A Psychoanalytic Reading of Selected Persian Children’s Plays

A Psychoanalytic Reading of Selected Persian Children’s Plays

Author(s): Zeinab Karimi,Bahee Hadaegh / Language(s): English Issue: 02/2020

Once theatre aims at children, who are the citizens and decision makers of the future, it can influence the course of society through the values and worldviews that it promotes. The exceptional capacity of this medium in engaging the audience, along with children’s receptiveness, necessitates a meticulous study of the ideologies embedded in plays. This study unravels how these ideological factors can hamper the theatre’s main purpose which is to encourage the audience to form individual fantasies. Accordingly, Žižek’s theories are drawn upon for their hints on ideology, fantasy, reality, and subjectivity. Taking his psychoanalytic views into account, four Persian plays are examined to determine what ideologies underlie these plays’ motifs and instructions, as well as what may justify their presence in plays. On close inspection, it becomes evident that these plays are loaded with conscious manipulative ideologies which are intended to train homogeneous social members rather than present objective glimpses of real life.

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A Socio-Cognitive Study of Ethnocentric Discourse in Lynn Nottage's Sweat

A Socio-Cognitive Study of Ethnocentric Discourse in Lynn Nottage's Sweat

Author(s): Bahee Hadaegh / Language(s): English Issue: 34/2021

Being some major problems of our contemporary world, racism and ethnocentrism demand persistent critical scrutiny. One oft-neglected aspect of these problems is how such prejudices are shared and communicated among the members of the dominant group. This study examines Lynn Nottage’s Pulitzer Prize-winning play, Sweat (2015), as a dramatic representation of how racism and ethnocentrism are reproduced and communicated as a social cognition. To this aim, the study tries to employ Teun Adrianus Van Dijk’s cognitively-based discourse analysis and focus on some micro-level aspects of racism as a social cognition rather as an abstract historical phenomenon. Contextualizing the play within its socio-historical moment, three trends of schematic attitudes and mental models regarding ethnocentrism, as Van Dijk’s theory outlines are identified from and studied in the play. The findings demonstrate the socio-cognitive dimension of the discourse of racism, particularly the way it is reproduced and communicated among the dominant in-group members. Moreover, the discussion offers some insight on Lynn Nottage’s latest dramatic endeavor in a hard-hitting portrayal of the intersections of race, class, and political economy and in drawing attention to the real meaning of diversity and inclusion in contemporary America.

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Acta Marisiensis. Philologia

Acta Marisiensis. Philologia

Frequency: 1 issues / Country: Romania

<p>Acta Marisiensis. Philologia is an open access journal with all content free availability on the public internet, permitting any users to read, download, copy, distribute, print, search, or link to the full texts of these articles, crawl them for indexing, pass them as data to software, or use them for any other lawful purpose, without financial, legal, or technical barriers other than those inseparable from gaining access to the internet itself. The only constraint on reproduction and distribution, and the only role for copyright in this domain, should be to give authors control over the integrity of their work and the right to be properly acknowledged and cited. This is in accordance with the BOAI definition of open acces</p>

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An Irishman in America: Irishness and Belonging in Roddy Doyle’s Oh, Play That Thing

An Irishman in America: Irishness and Belonging in Roddy Doyle’s Oh, Play That Thing

Author(s): Genoveffa Giambona / Language(s): English Issue: 1/2021

The purpose of this article is to analyse Roddy Doyle’s representations of Irishness and Ireland in Oh, Play That Thing (2004). The novel is the second instalment in Doyle’s The Last Roundup Trilogy, a historical fiction describing the making of the Irish nation through the adventures and misadventures of Henry Smart, its protagonist. In the novel, constructions of Irishness are projected onto the outside world through Henry’s picaresque travels in the United States. The article examines how Irishness is construct¬ed in the book and how it becomes intertwined with identity construction in other minority groups.

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Anagnorisė Aristotelio Poetikoje: definicijos ir klasifikacijos problemos

Anagnorisė Aristotelio Poetikoje: definicijos ir klasifikacijos problemos

Author(s): Jovita Dikmonienė / Language(s): Lithuanian Issue: 3/2019

The article analyses the problems of meaning and classification of the term anagnorisis (ἀναγνώρισις) as it is defined in Aristotle’s Poetics. It focuses on how the term anagnorisis is understood and interpreted by scholars – different translations and their interpretations of the same type of anagnorisis are compared. The article also searches for the answers to the following questions: does the term of anagnorisis discussed by Aristotle mean the recognition of persons or just any kind of truth in a drama; why do some translators differentiate five and others six types of anagnorisis; what did Aristotle bear in mind by distinguishing the type of anagnorisis called “the recognition made by a poet himself” (Arist. Poet. XVI; 1454b 30–31), whereas it is known that all recognitions were created by poets themselves; does “an anagnorisis by false reasoning (a false syllogism)” occur among tragedy characters or does the audience at first misjudge, but later recognises the characters correctly? The author of the article argues that the version of the Arabic manuscript of Aristotle’s Poetics is more logical, as it states that one of the characters (θατέρου) rather than a spectator (θεάτρου) mistakenly recognises another character (Arist. Poet. XVI, 1455a 12–17). First of all, Aristotle does not state specifically that this is the fifth (different from all the others) way of recognition, but while discussing the fourth way of “anagnorisis by reasoning”, he adds that there is also and “an anagnorisis by false reasoning (a false syllogism)” (Arist. Poet. XVI, 1455a 12–13). Secondly, the recognitions described by Aristotle in Part XVI of Poetics occur between two characters, when one has to recognise the other. Therefore, the author of the article does not agree with the opinion by Dana Munteanu (2002) – that in Menander’s comedy Epitrepontes, Smikrine’s false recognition should be referred to as an erroneous spectator’s recognition, whereas at the end of the play Menander depicts Smikrine as a misled spectator just observing the events uninvolved without understanding them properly. By such leaving the word “spectator” in Aristotle’s classification of the fifth type of anagnorisis and using it for a character observing the actions of the play uninvolved, an ambiguity occurs, as Aristotle himself in his Poetics speaks many times about an actual spectator of the tragedy, who while watching the action of the play experiences fear and pity. The author of the article thinks that the translation of chapter XVI of Aristotle’s Poetics by Marcelinas Ročka (1990) should be corrected in some places. At the fifth “recognition by false reasoning”, a note in square brackets stating that this is the last recognition should be omitted. In fact, it is the next-to-last recognition discussed by Aristotle. In translation “the recognitions invented by the poet himself”, some other word can be used, as Aristotle here has in mind that poets usually write poorly and use trite recognitions. A phrase “to contrive” (in Lithuanian “sukurpti”) could be used here instead, as it means “to make or put together roughly or hastily”. It is also true speaking of the translation that a character of the play rather than the audience recognises another character by false reasoning. Finally, the author of the article draws a conclusion that according to Aristotle an anagnorisis is the recognition of persons occurring among characters of the play. In Aristotle’s Poetics, six variants of anagnorisis are distinguished and their classification made based on the principle of artistry and the originality of its use in plays.

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Analiza ambivalentnosti odnosa Goneril i Regan i odnosa Kordelije i Lira u tragediji Kralj Lir Vilijema Šekspira

Analiza ambivalentnosti odnosa Goneril i Regan i odnosa Kordelije i Lira u tragediji Kralj Lir Vilijema Šekspira

Author(s): Jelena Brkić / Language(s): Serbian Issue: 34/2021

The paper aims to analyze the quality and nature of the ambivalence in the relationship between Regan and Goneril and, on the other hand, between Cordelia and Lear in the tragedy King Lear by William Shakespeare. Our major focus in on the first relationship. In this paper, we use graphs in accordance with the concept of presenting drama structures based on the idea of Franco Moretti. Since our intention is to point out the emotional nuances in the characters' relationships, in addition to the graphs that are in line with Moretti's distant reading, we also apply close reading and the psychoanalytic approach accompanied by the affective turn. The analysis confirms the importance of the emotional nature and motivation in relationships between characters and the fact that we can and sometimes have to look for the causes for certain affective and emotional states in ahistorical situations. Also, the analysis shows that the visual presentation of the characters' relationships through nodes and edges can contribute to the recognition of emotional and verbal nuances in relationships, and sometimes nuances themselves opens the door for some new research, questions and discussions.

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Astrid Saalbach și jocul visului

Astrid Saalbach și jocul visului

Author(s): Carmen Vioreanu / Language(s): Romanian Issue: 2/2015

The aim with this paper is to investigate the dream play structure and elements in the Danish playwright Astrid Saalbachs plays Morning and Evening and End of world. As a starting point for the dream play genre definition I use August Strindberg's own reflections on his plays such as To Damascus, Lucky Per's Journey or A Dream Play.

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Az ember, aki magában beszél

Az ember, aki magában beszél

Author(s): Matei Vișniec / Language(s): Hungarian Issue: 798/2020

Short play by Matei Vișniec translated by Zsolt Karácsonyi.

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BETON - Kulturno propagandni komplet br. 157, god. X, Beograd, utorak, 17. mart 2015.
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BETON - Kulturno propagandni komplet br. 157, god. X, Beograd, utorak, 17. mart 2015.

Author(s): Vlad Zografi,Đura Miočinović,Joana Prvulesku,Katalin Gomboš,Adrian Zalmora,Elena-Gabrijela Lazara,Radu Vanku,Leticija Ilea / Language(s): Serbian

UVODNA REČ, Đura Miočinović: Terorizam sa raskrsnice; Joana Prvulesku: NEDELJA, 28. DECEMBAR; Vlad Zografi: POLJUBI ME!; Katalin Gomboš: SKICE; POEZIJA: Radu Vanku, Adrijan Zalmora, Elena-Gabrijela Lazara, Leticija Ilea

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Between Karel Čapek and a Hard Brexit. Reflections on Robotics and Humanity
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Between Karel Čapek and a Hard Brexit. Reflections on Robotics and Humanity

Author(s): Derek Sayer / Language(s): English Issue: 2/2018

Karel Čapek introduced the word robot to the languages of the world in his drama R.U.R. (Rossum’s Universal Robots), which premiered on 25 January 1921 at the National Theater in Prague. The word itself was coined by Karel’s older brother Josef, a cubist painter who created the stage-sets for the play. Etymology indelibly links robots with unfree labor, since robot comes from robota, the Czech word for the labor services Bohemian peasants owed their lords until 1848, when servile tenancies were abolished. A robot, according to the Oxford English Dictionary, is “a machine with a human appearance or functioning like a human,” but the term has also come to be used inversely, to describe “a person who works mechanically and efficiently but insensitively.” [...]

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Bewegte Körper, starre Körper. Ver-körperungen auf dem Theater am Beispiel einiger Inszenierungen

Bewegte Körper, starre Körper. Ver-körperungen auf dem Theater am Beispiel einiger Inszenierungen

Author(s): Carmen Elisabeth Puchianu / Language(s): German Issue: 21/2021

Theater ist undenkbar ohne Körper, ganz gleich, ob es sich um die lebendigen Körper der agierenden Schauspieler, um jene der Zuschauer im Theatersaal oder um leblose Dinge auf und außerhalb der Bühne handelt. Körper müssen im Theater immer miteinander interagieren, sie müssen in Bewegung und in Stillstand versetzt werden, sie müssen sich bewegen, sie müssen bewegt werden und sie müssen am Ende bewegen. Die folgenden Aufführungsanalysen veranschaulichen diesen theaterspezifischen Vorgang aus theaterwissenschaftlicher und -praktischer Perspektive anhand einiger Beispiele und sie fokussieren auf Körper in Behältnissen, auf Körper als regungslose Blöcke und als Marionetten, auf Text-Körper.

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Cienie Franciszka Alachnowicza jako przykład dramatu ealistyczno-symbolicznego

Cienie Franciszka Alachnowicza jako przykład dramatu ealistyczno-symbolicznego

Author(s): Andriej Moskwin / Language(s): Polish Issue: 1/2019

The present article is devoted to the work of the Belarusian playwright Franciszek Alachnowicz. In his work “Shadows” traces of poetic devices can be found. First of all, the author of the article pays attention to the psychology of the figure, the inner life of the heroes, a conflict between consciousness and soul, as the author creates an atmosphere of tension and horror. These features of his artistic style allow him to be counted among the representatives of the „new drama” – an interesting artistic phenomenon in European drama at the turn of 19th and 20th centuries.

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Commonplace Book Compilationand Early Modern Reading: 
The Case of Hesperides, or the Muses’ Garden

Commonplace Book Compilationand Early Modern Reading: The Case of Hesperides, or the Muses’ Garden

Author(s): Tianhu Hao / Language(s): English Issue: 8/2019

Hesperides, or the Muses’ Garden is a 17th-century manuscript commonplace book compiled by John Evans, now collected mainly at the Folger Shakespeare Library in Washington D.C. The commonplace book has been known primarily for its Shakespearean connections. Borrowing Gunnar Sorelius’s useful term “spontaneous editing,” I discuss it as a way of reading. According to Robert Darnton, the early modern segmental reading contrasts with the modern sequential reading. I maintain that the commonplace book compilation process, as can be inferred from the extant manuscripts, offers an intimate peep into a particular type of early modern reading practice. Hopefully a detailed analysis of the reading activities of John Evans can add to our understanding of the nature of early modern reading, especially commonplace reading. I argue that the defining features of commonplace reading include the fluidity of the text, the subjectivity of the reader, and the multiplicity of the authorial intention.

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