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Journal articles on the topic 'Autobiographical drama'

Author: Grafiati

Published: 4 June 2021

Last updated: 30 July 2024

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1

Leroux, Louis Patrick. "Confessional Drama and Autofiction in Montreal." Canadian Theatre Review 117 (January 2004): 71–73. http://dx.doi.org/10.3138/ctr.117.017.

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There are very few actual experimental theatres left in Montreal. By that I mean companies devoted to works seeking to challenge and surprise the audience constantly, as well as the artists themselves. Resisting the impeding institutionalization of Quebec theatre are the aptly named Nouveau Théâtre Experimental (ΝΤΕ) and Momentum. Interestingly, they both ventured into autobiographical drama last year, with unexpected critical and public hits, which they have fortunately revived this season. Neither of the companies’ front men, Jean-Pierre Ronfard, in the case of the ΝΤΕ, or Jean-Frederic Mess

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Bachura-Wojtasik, Joanna. "Biografia i autobiografia w literaturze audialnej." Acta Universitatis Lodziensis. Folia Litteraria Polonica 28, no. 2 (2015): 107–20. http://dx.doi.org/10.18778/1505-9057.28.08.

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The article discusses the audio form of the biography and autobiography – as seen in the radio-drama and documentary – as a distinct form in audio literature. The article is inspired by the theoretical findings of Philippe Lejeune concerning autobiographical literature and the personal diary genre. Theoretical reflections are complemented by selected examples of artistic audio genres. The examples of radio-dramas and artistic documentaries (features) discussed illustrate the specificity of the radio medium, which, on the one hand, opens up new opportunities for documentaries that are impossibl

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Gemzøe, Lynge Stegger. "Autobiographical adaptation in NBC’s Love Is a Four-Letter Word." Journal of Scandinavian Cinema 11, no. 1 (2021): 113–31. http://dx.doi.org/10.1386/jsca_00042_1.

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This article analyses the adaptation process from the Danish relationship drama television series ‘Nikolaj and Julie’ (2002‐03) to Love Is a Four-Letter Word, the NBC pilot and remake attempt (2015). This comparison is a prime example of autobiographical adaptation, in which the adaptation process can be closely intertwined with a desire to tell autobiographical stories. Using production studies and textual analysis, the article illustrates how Diana Son, the showrunner responsible for adapting the original format into the NBC version, rewrote the original script using a location, themes and c

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Pendzik, Susana. "autobiographical dramatic theatrical performance as a therapeutic intervention." PÓS: Revista do Programa de Pós-graduação em Artes da EBA/UFMG 11, no. 23 (2021): 245–62. http://dx.doi.org/10.35699/2237-5864.2021.36301.

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This paper articulates the basic features of Autobiographical Therapeutic Performance (ATP). Contextualizing it in drama therapy practice as a performance-based intervention, the paper describes ATPs roots in experimental theatre and grounds its features in psychotherapy concepts. The paper outlines the main therapeutic constituents of ATP: Narrating lived experience, shaping the material into aesthetic forms, embodying, and rehearsing personal stories that have been processed, performing in front of an audience, and integrating new insights in the post-performance reflection. Finally, a “warn

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Denisova, Ekaterina Andreevna. "On the autobiography of M. Y. Lermontov's dramaturgy of the early period (plats “Menschen und Leidenschaften” and “A Strange Man”)." Litera, no. 10 (October 2021): 21–30. http://dx.doi.org/10.25136/2409-8698.2021.10.36462.

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This article is dedicated to the analysis of the two plays written by M. Y. Lermontov in the the early period &ndash; &ldquo;Menschen und Leidenschaften&rdquo; and &ldquo;A Strange Man&rdquo; form the perspective of manifestation of autobiographical context therein. These works are based on the dramatic events in Lermontov's biography that took place in 1830&ndash;1831, such as conflict between the poet's grandmother and father, death of his father, as well as Lermontov's relationship with N. F. Ivanova. Analysis is conducted on the texts of these two dramas, as well as

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Brajerska-Mazur, Agata. "Manipulizm a pierwsze pełne tłumaczenie „Dziadów” na język angielski." Między Oryginałem a Przekładem 25, no. 43 (2019): 47–65. http://dx.doi.org/10.12797/moap.25.2019.43.03.

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Manipulism and the First Complete Verse Translation of “Dziady” into English How did the translator cope with the task of translating into English the national poetic drama series which, together with Pan Tadeusz and Wesele, is considered to be one of the national epics? Did he manage to respond to the linguistic and cultural challenges such as: the complicated structure of the Romantic drama, the combination of low and grand styles, the depiction of Polish society at the time of the Partitions, the interweaving of historical and autobiographical events into the texture of the plot and the Pol

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MAGUIRE, NANCY KLEIN. "Regicide and Reparation: The Autobiographical Drama of Roger Boyle, Earl of Orrery." English Literary Renaissance 21, no. 2 (1991): 257–82. http://dx.doi.org/10.1111/j.1475-6757.1991.tb01027.x.

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8

Heddon, Deirdre. "‘Glory Box’: Tim Miller's Autobiography of the Future." New Theatre Quarterly 19, no. 3 (2003): 243–56. http://dx.doi.org/10.1017/s0266464x03000149.

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Performance artist Tim Miller has been making autobiographical work for more than twenty years. Dee Heddon explores Miller's recent show, Glory Box (2001), arguing that, both in his practice and his use of his own life stories, he is attempting not only to connect with but to energize his audiences, transforming them into activist spectators. One tactic Miller employs in Glory Box is futurity – performing an autobiography that he has not yet lived. This future is one that Miller compels us collectively to rewrite, inviting us to change his potential life and life-story in the process. Dee Hedd

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McMaster, Juliet. "Pamela Brown's The Swish of the Curtain." Journal of Juvenilia Studies 1 (July 4, 2018): 48–61. http://dx.doi.org/10.29173/jjs109.

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Pamela Brown published her novel The Swish of the Curtain in 1941 when she was only sixteen, and it has had remarkable staying power, outlasting the many books she published as an adult, and achieving adaptation on radio and television. The novel has also given its name to a chain of drama programs for children across England. Brown’s well-told tale of a group of stage-struck teenagers who luck into a theatre and proceed to stage successful productions has some autobiographical elements, as she draws on her own stage activities with her friends in Colchester (fictionalised as “Fenchester”). Bu

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Boyko-Head, Christine. "Autobiographical Imprints in Nineteenth-Century Canadian Drama: Sarah Curzon'sLaura Secord: Heroine of 1812." Theatre Research in Canada 22, no. 1 (2001): 3–17. http://dx.doi.org/10.3138/tric.22.1.3.

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Gac, Dominik. "‘I Want to be a Free Man in a Free World’, Or Romantic Terrorism and the Failed Revolution in Józef Łobodowski’s Liberation." Ruch Literacki 57, no. 4 (2016): 460–76. http://dx.doi.org/10.1515/ruch-2017-0075.

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Summary This article is the first critical analysis and interpretation of Liberation (Wyzwolenie), the only drama in the oeuvre of Józef Łobodowski. Written in 1933 and deposited in the 1980s at the Józef Czechowicz Museum of Literature in Lublin, Liberation has remained unpublished and practically forgotten. It is however a notable example of political drama dealing with socialism and communism, and in particular the author’s bitter reflection about the failure of the leftist ideals in the aftermath of World War I. Using a variety of interpretative tropes, the article examines, firstly, the l

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Boyko-Head, Christine. "Autobiographical Imprints in Nineteenth-Century Canadian Drama: Sarah Curzon's Laura Secord: Heroine of 1812." Theatre Research in Canada 22, no. 1 (2001): 3–17. http://dx.doi.org/10.3138/tric.22.1.3.

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Gontijo Rosa, Carlos. "Vicente, autoficção de Jorge Andrade." Catedral Tomada. Revista de crítica literaria latinoamericana 8, no. 14 (2020): 283–306. http://dx.doi.org/10.5195/ct/2020.438.

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This paper concentrates on the autofiction in drama, which is a very peculiar procedure much distinct of the autofiction in the novel. This is due to the scenic representation, the actor’s presence, and other intrinsic characteristics of the dramatic genre, making that the reader or the spectator views the border between fiction and reality in a very particular way. Regarding the character Vicente, present on three plays of the Brazilian playwright Jorge Andrade and who we focus on our discussion, we propose to consider it as an autofictional character, despite its status of autobiographical b

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Dotsenko, Elena. "Bucking the postdramatic: Epic plays by Tom Stoppard." Practices & Interpretations: A Journal of Philology, Teaching and Cultural Studies 5, no. 1 (2020): 60–81. http://dx.doi.org/10.18522/2415-8852-2020-1-60-81.

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Tom Stoppard’s drama has been one of the eminent and internationally known phenomena of contemporary theatre for several decades. Nevertheless, the polemics are still relevant whether Stoppard’s plays belong to postmodern or postdramatic or any other current trend. The article regards Stoppard’s theatrical experiment as a postmodern one. Moreover, the use and even development of postmodern techniques are noted not only as far as his early plays of the 1960s and 70s are concerned, but as a characteristic of the later dramas by Stoppard. Recently the playwright has created three major epic plays

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Hundorova, Tamara. "“The Blue Rose” by Lesia Ukrainka as the ‘rite de passage’: biography, psychiatry and writing." Слово і Час, no. 1 (February 2, 2021): 3–31. http://dx.doi.org/10.33608/0236-1477.2021.01.3-21.

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The paper explores “The Blue Rose” (1896) by Lesia Ukrainka in terms of the ‘rite de passage’ as the text with a ritual function that reflects the cultural, gender, and author status transformations within the field of literature. In the most general sense, the first drama by Lesia Ukrainka is analyzed as an act of initiation into the fin de siècle culture. Peculiar features of this ritual are the critical comments of the modern culture, transformation of the autobiographical facts into aesthetic phenomena, and interiorization of the motif of death. “The Blue Rose” discusses a female gen

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Giaimo, Genie Nicole. "Psychological Diffusions: The Cognitive Turn in Alison Bechdel’s Are You My Mother? A Comic Drama." European Journal of Life Writing 2 (July 18, 2013): 35–58. http://dx.doi.org/10.5463/ejlw.2.57.

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Graphic artist Alison Bechdel has enjoyed widespread success since the publication of her first long form autobiographical comic Fun Home: A Family Tragicomic (2006). Already, there is a substantial body of criticism on Bechdel that addresses her cerebral writing style, her personal archive, and her contributions to the graphic narrative form. Lauded for her realistic reproduction of ephemera such as letters, maps, photographs, and marginalia, critics have overlooked moments in which these documents—and her readings of events in her family—fail to produce meaning. In her second graphic narrati

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Clewell, Tammy. "Beyond Psychoanalysis: Resistance and Reparative Reading in Alison Bechdel's Are You My Mother?" PMLA/Publications of the Modern Language Association of America 132, no. 1 (2017): 51–70. http://dx.doi.org/10.1632/pmla.2017.132.1.51.

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Alison Bechdel's graphic memoir Are You My Mother? A Comic Drama promotes a form of reparation for its author and its readers, making a case for the much-maligned idea that literature serves therapeutic aims. The book not only models a reparative reading practice by using comics form to engage the insights and limits of psychoanalysis and modernist literature but also elicits a reparative reading experience for a community of readers forged in the discovery of a common emotional struggle. Bechdel's memoir represents an autobiographical narrator's loving yet ambivalent relationship with her mot

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Ely-Harper, Kerreen. "Writing/performing myself on-screen: Daniel Monks’ memory work on film." Journal of Screenwriting 12, no. 1 (2021): 95–111. http://dx.doi.org/10.1386/josc_00050_1.

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Performing memories is a way of working through and reconstructing the self. Films that draw on autobiographical experiences are a way of working through and constructing narratives of the self. How can memory work be applied to the writing and filmmaking process? Can memory work, with its focus on personal and embodied experience, lead us to a more truthful account of our individual histories and ourselves? In addressing these questions, I draw on sociological and memory studies into autobiographical memory in my examination of the screenwriting work of Australian actor/writer Daniel Monks. M

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Smith, Elayne. "Fast and Slow Thinking in Narrative Recovery: Pluralistic Trauma Processing during Covid-19." European Journal of Life Writing 12 (September 12, 2023): 22–42. http://dx.doi.org/10.21827/ejlw.12.40837.

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How can writing about the collective cultural trauma of the Covid-19 pandemic help in an autobiographical illness narrative about coming to terms with pre-existing Dissociative Identity Disorder? This disorder is characterised by inner plurality, autobiographical amnesia, and difficulties in discerning past from present times. Thinking about how to recall let alone organise such a life story might appear, at first, to be an impossible challenge. Might slow-thinking (coined by Kahneman 2011) through critical reading of comparisons between personal experiences and collective cultural experiences

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Krupka, Myroslava. "FEMALE CHARACTER AS AUTHOR'S ALTER EGO IN IRENA KARPA'S NOVEL "GOOD NEWS FROM THE ARAL SEA"." Naukovì zapiski Nacìonalʹnogo unìversitetu «Ostrozʹka akademìâ». Serìâ «Fìlologìâ» 1, no. 11(79) (2021): 163–65. http://dx.doi.org/10.25264/2519-2558-2021-11(79)-163-165.

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The study investigates the problem of representation of the female image in the autobiographical paradigm of Irena Karpa's novel “Good News from the Aral Sea” because the tendencies of subjectivism describe the writer's work as a manifestation of generational and gender identities. Thus, the modern cultural process is marked by the active presence of writers not only through their texts, but also through various public activities and social networks, which allows the reader to have an idea of the author's private history and accordingly correlate it with artistic narrative. Therewith, the form

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Bhaumik, Mahuya, and Jaydeep Sarangi. "Growing up Dalit in Bengal: Conversation with Manohar Mouli Biswas." CLEaR 4, no. 1 (2017): 37–45. http://dx.doi.org/10.1515/clear-2017-0005.

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Abstract This is an interview of Manohar Mouli Biswas, Bangla Dalit activist and writer, where he expresses his views about the identity of Dalit people and the historiography of caste in India. He further speaks about the uniqueness of Bangla Dalit literature, its similarities with Dalit writings in other Indian regional languages and the position of Dalit women writers. He is candid enough to speak about certain autobiographical elements that provided him with the impetus to be a Dalit writer. He further speaks about Dalit drama and its performances which is a marker of its acceptance amongs

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Harvie, Jennifer. "The Nth Degree: An Interview with Guillermo Verdecchia." Canadian Theatre Review 92 (September 1997): 46–49. http://dx.doi.org/10.3138/ctr.92.010.

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Guillermo Verdecchia is an actor, writer, director, and translator. His work is seen and heard on stages, screens, and radios around the globe. Within Canada, he is probably best known for his one-person semi-autobiographical play Fronteras Americanas (Coach House, 1993), which won the Governor General’s Award for Drama in 1993, as well as a Chalmers Canadian Play Award, and which Verdecchia adapted into a short film entitled Crucero/Crossroads. With Daniel Brooks, he co-authored and performed in The Noam Chomsky Lectures, and with Marcus Youssef, A Line in the Sand. The Terrible But Incomplet

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Anonymous. "Letter to the editor." Maska 30, no. 175 (2015): 72–79. http://dx.doi.org/10.1386/maska.30.175-176.72_7.

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An anonymous reader and spectator of the playwright and performer Simona Semenič tries to establish contact with the playwright with the help of performative writing via an open letter. She studies Simona Semenič’s playwriting and her “self-performing” in autobiographical performances, or the victim trilogy, from the point of view of the never-clarified and never-overcome drama or dramatic relationship between the audience and the author. In the second part of the trilogy, entitled the second time, the audience is placed on stage, under the spotlights, with a mic in their hands, while Simona S

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Sunkanna, A. "A Societal Analysis of Buddha in a Traffic Jam." IRA International Journal of Education and Multidisciplinary Studies (ISSN 2455-2526) 5, no. 3 (2016): 147. http://dx.doi.org/10.21013/jems.v5.n3.p2.

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<p><em>After a thorough watch of the film several times,<strong> Buddha in a Traffic Jam</strong> is considered to be an autobiographical film based on its writer &amp; director Vivek Agnihotri's life. Based on true life incidents, its treatment is that of a new age political drama with a unique chapter wise approach to relevant topics leading to its climax. His storytelling format is like a book which takes off from prologue to epilogue and has chapters in between which are decently interesting. The film is an initiative by one of the top Business schools of the wo

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Rosenthal, Judith. "Margery Kempe and Medieval Anti-Judaic Ideology." Medieval Encounters 5, no. 3 (1999): 409–20. http://dx.doi.org/10.1163/157006799x00178.

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AbstractAlthough Margery Kempe (1373-1440) probably never had regular contact with a Jewish person, she depicts the Jews as symbols of evil in her autobiographical Book. Despite the rebellious nature Kempe displays to patriarchal authorities in the church by refusing to behave as a nun, to wear black, or to remain in a cloister, she is entirely orthodox in portraying the Jews as Christkillers in her vision of the Crucifixion. This anti-Judaic ideology appears in the Gospels and in official doctrine, beginning with Augustine, continuing with Pope Gregory I the Great, and worsening with Aquinas

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Imikhelova, S. S. "Valentin Rasputin's prose about creativity as an aesthetic manifesto of the writer." Issues of National Literature 13, no. 1 (2024): 37–44. http://dx.doi.org/10.25587/2782-6635-2024-1-37-44.

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The article reviews the prose by Valentin Rasputin, in which the writer expressed his aesthetic ideas about the nature of creativity. The short story “Down and upstream. Essay on a trip” (1972), and the short novels such as “"What to tell the crow” (1981), “Natasha” (1982), “Vision” (1997), “In bad weather” (2003) show the image of the artist in a situation of personal and creative self-reflection. In the image of the autobiographical hero-writer, Rasputin embodies the drama of the artist, overcoming the inconsistency of the rational and irrational sides of creativity. It is concluded that the

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Flucher, Elisabeth. "„Sterben Sie weise!”—Dramatisierungen der Hypochondrie in Fallerzählungen des 18. Jahrhunderts." Seminar: A Journal of Germanic Studies 59, no. 1 (2023): 44–68. http://dx.doi.org/10.3138/seminar.59.1.4.

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Autobiographical reports on hypochondriasis, now known as somatic symptom disorder or illness anxiety disorder, were common and popular in the eighteenth century. In this article, I compare and contrast two such autobiographical reports by poets with a case study by the famous philosopher and physician Marcus Herz of the well-known poet Karl Philipp Moritz, published after the latter’s death. Despite the serious subject matter, the three texts all rely on elements of the poetic genre of comedy. The article analyzes how the poet-patients linked therapy and healing to writing and imagination, wh

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Timčíková, Zuzana. "Authenticity in Authorial Works of Devised Theatre: Approaches of the Millennials." Amfiteater 9, no. 2021-2 (2022): 180–96. http://dx.doi.org/10.51937/amfiteater-2022-1/180-196.

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We can find certain similarities in theatre forms, topics and relationships to drama manifested and used by the artists of the same generation – so-called millennials operating primarily on the independent scene. They are more interested in autobiographical texts than in the original dramatic texts. The author is not represented as one person but as a cooperation of a collective of authors. It is the whole group of creators, the actors or performers included, who create the final shape of the text. It seems that expressing authenticity – in the text and on the stage – becomes the main intentio

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Mohammed, Marwa Ghazi. "The Silence of Nature in Eugene O’Neill’s Thirst." Journal of Tikrit University for Humanities 29, no. 10, 1 (2022): 14–20. http://dx.doi.org/10.25130/jtuh.29.10.1.2022.21.

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As a father of modern American drama, Eugene O’Neill is distinguished by his interweaving of autobiographical experiences with his plays. He is aware of the effect of the natural environment on man’s inner problems. O’Neil’s tough life at sea for several years is reflected in some of his plays, which show his ecological awareness. These plays depict the presence as well as the power of nature in the lives of the characters. This paper examines the elements of nature that distinguish O’Neill’s Thirst in a way that forms his tragedy in the modern era. Like The Ancient Mariner, the play depicts t

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Чуйков, П. Л. "Autobiographical motifs in E. Zola's novel «The Page of Love»." Актуальные вопросы современной филологии и журналистики, no. 1(52) (April 22, 2024): 17–21. http://dx.doi.org/10.36622/2587-9510.2024.39.18.003.

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В статье рассматриваются малоизвестные факты биографии Э. Золя, который справедливо считается классиком мировой литературы. В частности рассматриваются обстоятельства его трагической гибели. Возможно, одной из причин этого стало активное участие писателя в защите невинно осужденного французского офицера, капитана Альфреда Дрейфуса. Из России А.П. Чехов следил за этим делом, он высоко ценил выступление французского писателя в пользу Дрейфуса и называл Золя «благородной душой». В статье также говорится о том, как отразилась тема врачевания в романе Золя «Страница любви» (1878), в котором автор з

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Bortnik, Zh. "BETWEEN DOCUMENTARY AND POST-DOCUMENTARY: SEARCH VECTORS OF CONTEMPORARY UKRAINIAN DRAMA." Brecht-Magazine: Articles, Essays, Translations, no. 9 (December 26, 2023): 57–71. http://dx.doi.org/10.35433/brecht.9.2023.57-71.

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The article discusses modern dramaturgical strategies, which consist in creating a transformative field by means of documentary/post-documentary. The purpose of the article is to demonstrate the search vectors of contemporary Ukrainian drama in the context of the connection between documentary and post-documentary aesthetics. "Post-documentary" becomes such a feature of liminal aesthetics, which manifests itself in its performative, active orientation to the understanding of reality through the document. The main features of post-documentary theater, identified by researchers, are the ability

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Spoturno, Maria Laura, and Mariano Zucchi. "Anger, Faith and Bewildered Fragments of Self: The Shaping of Ethos in an Argentinean Translation of Sarah Kane’s 4.48 Psychosis." Cadernos de Tradução 42, no. 01 (2022): 1–31. http://dx.doi.org/10.5007/2175-7968.2022.e90303.

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4.48 Psychosis is British playwright Sarah Kane’s final play. Its opening took place at the Royal Court Theatre Upstairs in London in June 2000, only a few months after Kane’s suicide at King’s College Hospital. The initial reception of the play was surrounded by controversy in the United Kingdom, with some reviewers and critics interpreting the theatrical text as primarily autobiographical (Urban 2011, p. 304; Claycomb 2012, p. 113). Informed by a socio-discursive perspective, which specifically looks at the construction of ethos (Amossy 2009, 2010; Author 2017; Author 2019, 2020), this resea

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Troha, Gašper. "can you hear me? by Simona Semenič and the question of no-longer-dramatic writing." Theatre and Community 9, no. 2021-1 (2021): 104–20. http://dx.doi.org/10.51937/amfiteater-2021-1/104-120.

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In the article, the author analyses three plays by Simona Semenič that were published in the book can you hear me? (2017). At first sight, the three pieces appear to be written in Semenič’s now-familiar writing style with no punctuation marks or upper-case initials and no apparent division between dialogues and stage directions. Content-wise, however, the three plays differ significantly from the bulk of the playwright’s opus as they represent autobiographical texts which once again establish the character and more or less distinct dramatic action. The article focuses on two questions: Are the

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Sara Foroozani, Seyedeh, and Bahee Hadaegh. "NEGATING AGENTS IN O’NEILL’S BEYOND THE HORIZON AND THEIR COUNTERPARTS IN PICASSO’S ARLEQUIN À LA GUITAR." Folia linguistica et litteraria XII, no. 36 (2021): 87–101. http://dx.doi.org/10.31902//fll.36.2021.6.

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Postmodern art emerged as a critical compulsion in response to the domineering institutions of modern era which were suffering from conceptual absolutism and hesitant aesthetic outlooks. Being ascribed to chaotic qualities, the approach stood as the social and aesthetic antithesis of its qualitative unity, so as to reach an authentic understanding of the intrinsic reality. Hence, postmodern art embarked on negation, as its determinative trait in reception of modern aesthetic debates. Correspondingly, the current study ponders on lives of the margin in works of two prominently modern autobiogra

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Fedorova, Elena A. "Experimental Novels by Nikolay Nekrasov and Feodor Dostoevsky in the Light of Ethnopoetics." Two centuries of the Russian classics 3, no. 2 (2021): 138–49. http://dx.doi.org/10.22455/2686-7494-2021-3-2-138-149.

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The article considers novels The Life and Adventures of Tikhon Trostnikov (1843) by N. A. Nekrasov and Humiliated and Insulted (1861) by F. M. Dostoevsky as experimental works in which the authors sought to combine European and national traditions. The reference to biographical material, the use of the structural method allowed to discover the similarity in genre content of the works and the difference of ideological attitudes of the authors. Both novels were created as autobiographical works, adventurous and satiric, included elements of “natural essay”, but each of the authors sought to use

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Alena, Sarbasheva. "Artistic Horizons of Zhagafar Tokumayev's Creativity." Kavkazologiya 2022, no. 4 (2022): 350–60. http://dx.doi.org/10.31143/2542-212x-2022-4-350-360.

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The article examines the literary heritage of the famous Balkarian writer, playwright Zhagafar Tokumayev. The main purpose of the work is to fully present the panorama of the creative work of the master of the artistic word, to determine its role in the evolution of national written literature. The article is preceded by a short autobiographical reference focusing on the influence of the writ-er's life experience on the formation and development of his artistic consciousness. Tokumayev's creativity is considered from the point of view of genre, thematic diversity, the ethnocultural specificity

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Walters, Emily Curtis. "Between Entertainment and Elegy: The Unexpected Success of R. C. Sherriff's Journey's End (1928)." Journal of British Studies 55, no. 2 (2016): 344–73. http://dx.doi.org/10.1017/jbr.2016.3.

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AbstractDespite West End producers' and critics' expectations that it would never turn a profit, R. C. Sherriff's Journey's End (1928) became the most commercially successful First World stage drama of the interwar period, celebrated as an authentic depiction of the Great War in Britain and around the world. This article explains why. Departing from existing scholarship, which centers on Sherriff's autobiographical influences on his play, I focus instead on the marketing and reception of this production. Several processes specific to the interwar era blurred the play's ontology as a commercial

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Zakharova, V. T., and I. S. Kudryavtseva. "Symbolism of Natural Imagery in Prose of Russian Émigré Writers (E. Yu. Skobtsova, N. D. Gorodetskaya, V. A. Nikiforov-Volgin)." Nauchnyi dialog 13, no. 4 (2024): 207–29. http://dx.doi.org/10.24224/2227-1295-2024-13-4-207-229.

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This study explores the issue of symbolization of natural imagery in an ontological, existential sense through the works of authors belonging to the first wave of Russian literary emigration. It is noted that in E. Yu. Skobtsova’s novel “Russian Plain”, a mythologized image of spiritualized space is created, encompassing an expressively colored image of the motherland, calling on children to respond to universal pain. In the autobiographical prose of N. D. Gorodetskaya, past and present converge in a unified sense of gratitude: the gracious, invaluable past seems to merge into the present, giv

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Parker. "“It’s Just a Matter of Form”: Edna St. Vincent Millay’s Experiments with Masculinity." Humanities 8, no. 4 (2019): 177. http://dx.doi.org/10.3390/h8040177.

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Edna St. Vincent Millay occupies an uncomfortable position in relation to modernism. In the majority of criticism, her work is considered the antithesis to modernist experimentation: as representative of the ‘rearguard’ that rejected vers libre in favour of fixed poetic forms. Indeed, most critics concur that whilst Millay’s subject matter may have been modern and daring—voicing women’s sexual independence, for instance—her form was decidedly traditional. Millay also troubles notions of modernist impersonality by writing seemingly autobiographical lyrics that showcase feminine emotions. In thi

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Shirokova, Lyudmila F. "The Slovak “Narcissus” with Croatian roots. Rudolf Sloboda, a writer." Slavic Almanac, no. 3-4 (2021): 260–74. http://dx.doi.org/10.31168/2073-5731.2021.3-4.4.01.

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Rudolf Sloboda is one of the brightest and most distinctive writers of the generation of the Slovak “sixties”. He was born and lived most of his life in the village of Devinska Nova Ves near Bratislava with a predominantly Croatian population. Sloboda is the author of dozens of works, including novels, stories, short stories, essays, poems, plays, film scripts. In his work, he was based on the original “egocentric” vision of reality and the confessional-monologue type of narration. The themes of his largely autobiographical prose and drama were complex, often painful relationships between peop

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Gorbunova, Anastasiia N. "Peculiarities of A. I. Herzen’s Historical Autobiographism in From the Other Shore." Izvestia of the Ural federal university. Series 2. Humanities and Arts 23, no. 1 (2021): 225–35. http://dx.doi.org/10.15826/izv2.2021.23.1.015.

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This article examines one of the most stressful and difficult periods in Herzen’s life associated with the writer’s ideological crisis of the late 1840s, which was reflected in his journalistic works of the 1850s. This research is an attempt to carry out a comprehensive analysis of the book From the Other Shore as an autobiographical text in order to trace the formation of a new concept of the author’s personality and ways to overcome his ideological crisis. The article examines the nature of autobiographism in Herzen’s creative writing of the 1850s, which L. Ya. Ginzburg defined as historical

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Rodiņa, Ieva. "Vēsturiskā atmiņa Latvijas teātra jaunās paaudzes mākslinieku darbos: izrādes „Dvēseļu utenis” piemērs." Aktuālās problēmas literatūras un kultūras pētniecībā: rakstu krājums, no. 25 (March 4, 2020): 269–75. http://dx.doi.org/10.37384/aplkp.2020.25.269.

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The aim of the research “Historical Memory in the Works of the New Generation of Latvian Theater Artists: The Example of “The Flea Market of the Souls” is to focus on the current but at the same time little discussed topic in Latvian theater – the change of generations and the social processes connected to it, that are expressed on the level of world views, experiences, intergenerational relationships. Most directly, these changes are reflected in the phenomenon of historical memory. The concept of “postmemory” was defined by German professor Marianne Hirsch in 1992, suggesting that future gen

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Mercer-Taylor, Peter. "Listening for the “Still Small Voice” of Mendelssohn’s Domestic Elijah." Journal of Musicology 32, no. 1 (2015): 40–77. http://dx.doi.org/10.1525/jm.2015.32.1.40.

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The notion that there might be autobiographical, or personally confessional, registers at work in Mendelssohn’s 1846 Elijah has long been established, with three interpretive approaches prevailing: the first, famously advanced by Prince Albert, compares Mendelssohn’s own artistic achievements with Elijah’s prophetic ones; the second, in Eric Werner’s dramatic formulation, discerns in the aria “It is enough” a confession of Mendelssohn’s own “weakening will to live”; the third portrays Elijah as a testimonial on Mendelssohn’s relationship to the Judaism of his birth and/or to the Christianity o

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Osinubi, Taiwo. "African Queer Autobiographics: Drama, Disclosure, and Pedagogy." a/b: Auto/Biography Studies 35, no. 3 (2020): 749–70. http://dx.doi.org/10.1080/08989575.2020.1766202.

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Abdurakhmanova-Pavlova, Daria V. "Reception of John Woolman's Journal in Theodore Dreiser's The Bulwark." Vestnik Tomskogo gosudarstvennogo universiteta, no. 478 (2022): 5–13. http://dx.doi.org/10.17223/15617793/478/1.

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The article discusses the reception of John Woolman's Journal (1774) in Theodore Dreiser's The Bulwark (1946). John Woolman was a prominent 18th-century Quaker minister and abolitionist, whose Journal, usually defined as a spiritual autobiography, is his most famous text. Since its first edition, The Journal has been highly acclaimed among American autobiography readers and critics. In 1939 it was reverently perused by Dreiser. Two decades earlier, in 1914-1920, the writer had produced drafts of his Quaker novel The Bulwark but had not completed this text, partly due to a certain ambivalence h

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Pierce, Jennifer Ewing. "Toward a Poetics of Transubstantiation: The Performance of Cape Breton Music and Dance." TDR/The Drama Review 52, no. 3 (2008): 44–60. http://dx.doi.org/10.1162/dram.2008.52.3.44.

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Trauma studies and existing performance theory facilitate the exploration of the poetics of an indigenous music and dance form found in Cape Breton Island, Nova Scotia. The Highland Clearances is the background for this overlooked dance form that inscribes and records the unspeakable and unknowable. An interloping, performative autobiographical narrative further illustrates the way Cape Breton dance represents an archival “hauntopia” in the wake of the amnesiac and aphasiac fallout of mass trauma.

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O.V., Halchuk. "MYTHOLOGICAL PARAMETERS OF THE BOXER PROTAGINIST ROCKY BALBOA." South archive (philological sciences), no. 84 (December 23, 2020): 152–57. http://dx.doi.org/10.32999/ksu2663-2691/2020-84-23.

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The purpose of this study is to characterize the image of the protagonist of the saga of the boxer Rocky through the prism of mythopoetics as a type of new cultural hero in the field of sports. Research methods are historical and cultural, mythopoetic, and comparative. Its application allows to outline the genetic connection of the image of the hero-boxer with the literary tradition; identify its main parameters as a mythohero; allocate the points of intersection of the author's myth with the myth of the American dream; consider the acquisition of the mytheme of Rocky the beginnings of the ide

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Dolan, Jill. "Seeing Deb Margolin: Ontological Vandalism and Radical Amazement." TDR/The Drama Review 52, no. 3 (2008): 98–117. http://dx.doi.org/10.1162/dram.2008.52.3.98.

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Playwright and performer Deb Margolin's contributions to contemporary American theatre over the course of her now 25-plus year career have been eclectic. In the 1980s and early '90s she performed with Peggy Shaw and Lois Weaver as the feminist performance troupe Split Britches, for which Margolin did much of the writing, based on the trio's improvisations and experiments. In the interstices of her work with Split Britches, Margolin built her own career as a solo performer and playwright. In her autobiographical Index to Idioms, premiered in 2005, and in conversation with Jill Dolan, Margolin a

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Derevianchenko, Olena. "Philosophical and Tragic Component of the Artistic Conception of Myroslav Skoryk’s Opera “Моses”". Scientific herald of Tchaikovsky National Music Academy of Ukraine, № 133 (21 березня 2022): 160–76. http://dx.doi.org/10.31318/2522-4190.2022.133.257336.

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Relevance of the study. Myroslav Skorykʼs opera “Moses” is a landmark work in both the composer’s heritage and the modern Ukrainian musical theater. Inheriting the multilevel concept of the literary source of the libretto — the poem of the same name by Ivan Franko — the work causes interpretive discrepancies. In the I. Frankoʼs formulation the main theme of the work is connected with the tragedy of the personality, the leader and the biblical prophet Moses, who was called to lead the Jewish people out of Egyptian slavery. The analysis of the musical means of expressing the tragic constituent o

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Токоева, Жумабубу. "ЖАНРОВОЕ СВОЕОБРАЗИЕ СОВРЕМЕННОГО КЫРГЫЗСКОГО КИНО". Vestnik Bishkek Humanities University, № 51 (19 березня 2020): 20–24. http://dx.doi.org/10.35254/bhu.2020.51.15.

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Аннотация: Предметом исследования статьи является рассмотрение жанрового разнообразия современного кыргызского кино. Основное внимание автор акцентирует на культурологическом анализе всех «авторских» фильмов кыргызских режиссеров в постсоветский и современный периоды. Главной целью исследования является выявление жанрового своеобразия современного отечественного кино. Новизна статьи заключается в том, что автор впервые в отечественной кинотеории рассматривает особенности и своеобразие киножанров в современном кыргызском кино на примере таких известных всему миру фильмов, как кинотрилогия А. Аб

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