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In this paper, I tried to make a presentation about the origin, growth and decline of the institution of temple girls. Devadasis were women who were dedicated to the particular temple deity or any specific symbol. A devadasi was considered nitya sumangali, a woman eternally free from the adversity of widowhood as she was married to God and married forever. She was married to a deity or god, but that did not mean that she had to live her life without the normal pleasures of sex and childbearing. In medieval times, she was a respected member of the society. These devadasis were performed ritualistic and non-ritualistic performances until 17th century, when devadasis were moving away from the temples into the secular spaces. Now they were no longer confined to the temples and by 18th century, the distinction between the devadasi and the prostitute becomes blurred. The bibliography to which I had access clearly shows a transformation of the role of the system in Hindu society, a role that I tried to capture in the following pages.
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The article is concerned with the relationship between politics and aesthetics within the context of English Renaissance drama. It is argued that during the Renaissance politics was very much at the centre of all aesthetic reconstructions of reality. Renaissance writers were keenly interested in the problematization of traditional Christian morality by the advent of political realism, and this interest can be found at every structural level of their works. The article examines the reflection of the issue in a recurrent binary pattern of contrasted characters in select plays by Marlowe and Shakespeare.
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This article focuses on three English plays, The Renegado, or the Gentleman of Venice (1624) by Philip Massinger, The Tragedy of Mustapha, Son of Solyman the Magnificent (1665) by Roger Boyle, Earl of Orrery, and The Siege of Constantinople (1675) by Henry Neville Payne, which were written at a time when the illdefined entity generally known as “the West” today was not in the ascendant and apprehensions of the expansionist Ottoman Empire and its dependencies in North Africa played an important role in European social and political life. The plays are approached from a historicist perspective as attention focuses on anxieties aroused by the early modern European perception of Islam as an alien religion that nevertheless attracted Christians and incited them to convert. Representations of religious conversion are also analysed in terms of gender differences. In addition, each of the plays is read as a response to a particular set of social and political problems, which troubled early modern England and were re-imagined through dramatized stories of encounters between Muslims and Christians.
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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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In this paper, dance is considered as an element of the artistic structure of dramatic works of Russian, Belarusian and Polish authors of the 1990s–2010s. It was revealed that this element represents the level of the chronotope: it becomes one of its expressive modes (creating an atmosphere due to emotional «charge»), manifests itself as a «non-everyday form of behavior» of a character (J. Faryno), as a «spatial motive» (O. Bagdasaryan) as a sense-forming centre of the artistic universe. A comparative analysis of the plays written by Russian, Belarusian and Polish playwrights of the indicated period showed that in Russian drama the transition occured from the dance – a «spatial motive» to the dance – a semantic center representing author’s model of the world and a Nietzschean man in the terms of a spontaneous, unstable world order. That was caused by the strengthening of the performative and receptive potential of modern drama. At the same time, in the Belarusian drama, due to more strong genetic ties with folklore, the dance for a long time has been manifesting itself as a game form of non-everyday behavior, however, since the mid-1990s it is often introduced as a «spatial motive» representing the extremely deformed consciousness of characters. If it comes to Polish drama, despite the actualization of the dance in the significant for its development works, in the latest plays it rarely functions as a semantic center, because of political and social themes predomination. The authors of this paper made an attempt to clarify the reasons for differents of the dance in the Russian, Belarusian, Polish drama of the 1990s–2010s, based on sociocultural factors, as well as on the logic of the development of the literary proces.
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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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Lubomir Guentchev’s work holds a special place in Bulgarian literature and in 20th century French-speaking European literature. This author was born on November 26, 1907 in Pazardzhik, Bulgaria. He died on August 28, 1981 in Plovdiv. He has always lived in Bulgaria. He has never been to France. Yet he left a work written in a remarkable French language. He also wrote in Bulgarian. In total, in several stages, a collection of seventy-six manuscripts, left in French and Bulgarian by Lubomir Guentchev, was found between 1999 and 2005, whose proofing was completed in 2020. Ten volumes of his Écrits inédits (“Unpublished Writings”) have been published in France since 2003. How does this unique work appear? How were these manuscripts analyzed? What finds have been made? What about the translations, poetic creations and lyrical dramas those constitute the material?
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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 essay focuses on the end-life crisis in two plays by Edward Albee, The Sandbox (1960) and The American Dream (1961) and investigates the contexts of this crisis through the figure of Grandma and her means of encountering age and death. I will use age studies and the close reading of the two dramas in order to see the ways in which Albee’s senior citizens challenge mainstream constructions of aging by reconnecting with their pasts in various ways on their deathbeds. They build up an idiosyncratic “age autobiography” (to use Margaret Morgenroth Gullette’s term) in an inventory of events and feelings by assessing a complete(d) life. By doing so they achieve an “agewise” (Gulette) identity that comes full circle in the very moment of grace.
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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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The text offers a review of the 9th edition of the Sofia International Literary Festival which took place in December 2021, trying to discover the conceptual threads that determine its structure and contents. It describes the meetings and the conversations with the participants at the festival, as well as the subjects of the discussions which were aimed to analyse some significant phenomena from the present days and also the perspectives they develop for all of us.
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Review of: LIGHTS AND SHADOWS IN THE POST-9/11 AGE. LITERATURE, TRAUMA, GEOPOLITICS Florian Andrei Vlad, Editura Universitară: Bucureşti, 2021. pp. 166. ISBN: 978-606-28-1385-7
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Descarriadas is a monologue about an atrocious legacy of Francoism: the internment in the centres of the Patronato de Protección a la Mujer (1941-1984) of girls considered descarriadas, that is, stragglers. To end up in these reformatories, it was enough to deviate even slightly from the morals imposed by the regime and to be reported by supervisors in charge of this type of control. Among the shocking aspects of the story, the continuation of this practice and the existence of the centres until the mid-1980s stands out. Over a period of forty years, this phenomenon involved thousands of girls: another example of a silenced intra-history that the play transforms into a cry, giving voice to the victims.
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In the article the comparative analyses of the functioning of onyms in the works devoted to image interpretation of Don Juan. The study of language and stylistic tools in comparative aspect proves cross intertextuality is conceptual images and stories, their universal significance. Revealed common and different features onym intertextual paradigm of dramatic works Zh.B.Molyer, A. S. Pushkin, Lesia Ukrainka. The article deals with functional and stylistic features of the role of onyms – components onym paradigm in the works with identical story, written at different times. Onym space all studied the works caused theme, idea, plot, ideological orientation dram; it is a means of character, styling narrative, artistic way to create chronotope and disclosure of the author’s conception. The main character in all studied the works is unchanged4 number of other characters range varies according anthroponymy amount used. Other components onym paradigm – toponyms with function like stage directions (Lesya Ukrainka) and in the language of the actors (A.S.Pushkin, Zh.B.Molyer, Lesia Ukrainka). The toponyms perform its main task – creating art works and the space of the certain national colors. The toponymic fields form a striking association parallel and contrasting opposition; they are rich expressive. Most branched is right toponimic in the drama Lesi Ukrainki, which is actively involved in the creation of equal artistry. The investigation lead to the conclusion about the similarity onym paradigm dramatic works, which are based on the story of Don Juan. Individual differences in onym dramas structure caused by the deployment of the scene of action, the author’s conception of the work. The analyses confirms purposeful hard work of masters of artistic expression of linguistic and stylistic parameters of their work, onym coordination of all components in the context of artistic microcosm according to its idea.
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