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Journal articles on the topic 'Drama Time in literature'
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Luu, Thuy Trung. "Drama in Ho Chi Minh City literature and art life." Science and Technology Development Journal 18, no. 4 (December 30, 2015): 47–60. http://dx.doi.org/10.32508/stdj.v18i4.960.
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In the history of Vietnamese drama, Saigon was one of the places absorbing Western drama from the early time. Although drama in Saigon-Ho Chi Minh City didn’t develop in a smooth and straight way, it was a continuous and unbroken process. This process brought in strong development of drama in Ho Chi Minh city in two decades of the late 20th century and the early 21st century. However, in recent years, drama in Ho Chi Minh City seems to proceed slowly, which reflects some irrational aspects from drama script, performance art to performance operation. Therefore, it’s high time to review the whole history of drama in Saigon-Ho Chi Minh City to collect experiences for the steady development of drama in this City in the future.
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Johnson-Haddad, Miranda, Louise George Clubb, and Murray J. Levith. "Italian Drama in Shakespeare's Time." Shakespeare Quarterly 43, no. 2 (1992): 253. http://dx.doi.org/10.2307/2870897.
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Vitkus, Daniel J., Jean-Pierre Maquerlot, and Michele Willems. "Travel and Drama in Shakespeare's Time." Shakespeare Quarterly 50, no. 1 (1999): 97. http://dx.doi.org/10.2307/2902118.
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Crittenden, Cole. "The Dramatics of Time." KronoScope 5, no. 2 (2005): 193–212. http://dx.doi.org/10.1163/156852405774858753.
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AbstractArt has as many definitions as it has practitioners, but one function of art is to help us understand the human experience, regardless of how our definitions of that experience differ. And since time is experience, art is particularly well-suited to treat it. Along with space, time, as a basic category of human experience, is, therefore, a basic category of artistic inquiry. Space is the primary focus of the visual arts, whereas music is an art form in time. Literature, however, always deals with both, and nowhere is this more apparent than in drama, where the time and space of the literary text are realized in the real time and real space of the performed text. Yet despite the widespread interest in time in much twentieth-century literary theory, the unique potential for the investigation of experiential time in drama has gone largely ignored. The purpose of this article is to address that curious absence, first by looking at the ways existing theories approach literary time (and largely fail to approach dramatic time), and then by discussing the generic and performative characteristics of drama (especially Russian drama, since that is the tradition with which I am most familiar) that make it in many ways the ideal art form in which to investigate time.
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Hoenselaars, Ton. "Review: Book: Travel and Drama in Shakespeare's Time." Cahiers Élisabéthains: A Journal of English Renaissance Studies 53, no. 1 (April 1998): 113–16. http://dx.doi.org/10.1177/018476789805300120.
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Rahman, Izza Amalia, Mutmainnah Mustofa, Irfan Susiyana Putra, and Abdul Moueed. "Teaching Literature in A Doll’s House Drama." INTERACTION: Jurnal Pendidikan Bahasa 8, no. 1 (May 6, 2021): 73–82. http://dx.doi.org/10.36232/jurnalpendidikanbahasa.v8i1.962.
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In education, teaching literature is an essential way to strengthen students’ character building. A kind of literature to teach character building is drama. Drama is literary work that contains so many characters. It can be used as a tool for character development to students who have been taught with literature. This article aims to discuss the characters of Nora Helmer (a woman lived in Victorian era when women had powerlessness) in A Doll’s House Drama written by Henrik Ibsen. The method used is descriptive qualitative. It concentrated on providing explanation in the form of description about Nora Helmer’s characters that could be taught as students’ character building. The analysis of Nora’s characters results several findings. Woman’s figure represented by Nora’s characters are loyal, love and compassion; obedient; care and helpful; patience and spirited; responsible; brave. The findings show that a woman at that time even though she had a lot of difficulties, she tried to solve the problem, she tried to be the best for her husband and family. But when she was disrespected, she had to be brave to uphold her dignity. This article expects the students can increase their good characters, competence, conscience, and compassion in learning language.
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Grandy, Karen. "Playing with Time: James Reaney'sThe Donnellysas Spatial Form Drama." Modern Drama 38, no. 4 (December 1995): 462–74. http://dx.doi.org/10.3138/md.38.4.462.
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Kardiansyah, M. Yuseano. "English Drama in the Late of Victorian Period (1880-1901): Realism in Drama Genre Revival." TEKNOSASTIK 15, no. 2 (October 18, 2019): 64. http://dx.doi.org/10.33365/ts.v15i2.100.
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A progressive growth in literature was seen significantly during Victorian period. These decades also saw an overdue revival of drama, in which the existence of drama was started to improve when entering late of Victorian period. Along with that situation, Thomas William Robertson (1829-1871) emerged as a popular drama writer at that time besides the coming of Henrik Ibsen’s works in 1880’s. However, Robertson’s popularity was defeated by other dramatists during late of Victorian period (1880-1901), drama writer like Oscar Wilde (1854-1900). Beside Wilde, there were several well known dramatists during late of Victorian period. Dramatists as Shaw, Jones, and Pinero were also influential toward the development of drama at that time. In the discussion of English drama development, role of late Victorian period’s dramatists was really important toward the development of modern drama. Their works and efforts really influenced the triumph of realism and development of drama after Victorian period ended. Therefore, the development of drama during late of Victorian period is discussed in this particular writing, due to the important roles of dramatist such as Wilde, Shaw, Pinero, and Jones. Here, their roles to the revival of English drama and the trend of realism in the history of English literature are very important.
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Zotova, Tatiana A. "TRAGEDY IN L. TIECK’S DRAMA. SOME ASPECTS." RSUH/RGGU Bulletin. "Literary Theory. Linguistics. Cultural Studies" Series, no. 3 (2021): 32–41. http://dx.doi.org/10.28995/2686-7249-2021-3-32-41.
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The article considers the genre of tragedy in the works of L. Tieck, one of the key figures of German Romanticism. It is known that the tragedy genre among the German romantics is represented mainly by two varieties: the “tragedy of fate” (Schicksalsdrama) and the drama on a religious-historical theme (in literature most often referred to as Universaldrama, “universal drama”). L. Tieck stands at the origins of both genres, while the tragedy “The Life and Death of Saint Genoveva” (1801), to which other religious and historical dramas of German romanticism go back, turned out to be especially influential. Having created examples of those two genres, Tieck rethinks tragic structures, relativizing them in different ways – firstly, by transforming the tragic genre itself, and, secondly, by including tragic elements into the complex genre constructs, mainly into fairy-tale dramas. That rethinking, however, takes place mostly in the mainstream of the parody typical of Tieck’s work – whether it is a parody of the “main” tragedy with a comedy counterpart or the inclusion of parodies of the tragedy, including his own tragedies, in comedy texts. At the same time, however, Tieck’s last dramatic work, “Fortunat”, which has much in common with his fairy-tale dramas and, like them, is a complex genre construct, ends in tragedy in its purest form, the triumph of the tragic substance. In our opinion that testifies to the impossibility of complete relativization of tragedy and to the crisis of romantic drama
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Chelkowski, Peter J. "Time Out of Memory: Taziyeh, the Total Drama." TDR/The Drama Review 49, no. 4 (December 2005): 15–27. http://dx.doi.org/10.1162/105420405774763050.
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Mostafalou, Abouzar, and Hossein Moradi. "Baroque Trauerspiel in William Shakespeare’s Hamlet: A Rejection of Aristotelian Tragedy." Journal of Language Teaching and Research 8, no. 1 (January 1, 2017): 184. http://dx.doi.org/10.17507/jltr.0801.23.
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Tragedy, as a literary genre and a high form of literature, deals with lives of noble people. This type of drama is rooted in Aristotle’s formulation which later has resulted into theory of drama known as Freytag's Pyramid. This model of drama which follows Greek version of tragedy has some common features including unity of time, place, and action. Moreover, the elements of death, language, and melancholy have been treated in the conventional ways in the genre f tragedy. However, Walter Benjamin, the German philosopher and critic has opposed to the dominance of tragedy, and developed an independent genre called Trauer Trauerspiel in which ordinary people get to be the center of the play. Unlike tragedy which is based on myth, Trauer Trauerspiel is based on history that depicts the reality of life. Moreover, this genre has the trace of postmodern literature in which language has no meaning; death is treated in non-religious way, and melancholy is no longer considered to be a mental disease. By the same token, it could be claimed that Shakespeare’s Hamlet, as a dominant form of tragedy, can no longer be considered as tragedy; since it repulses conventions of tragedy and Freytag's Pyramid, it belongs to a new genre, Trauer Trauerspiel in which Greek dramas’ features can be dethroned and replaced by postmodern aspects of drama.
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Gielata, Ireneusz. "Literature as an Auxiliary Science in Teaching Geography." Annales Universitatis Mariae Curie-Sklodowska, sectio N – Educatio Nova 6 (September 22, 2021): 93–103. http://dx.doi.org/10.17951/en.2021.6.93-103.
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The article discusses the status of literature in teaching geography. Like cartography, literature maps the space and assigns proper names which allow us to see the places of “condensed, multiplied time” (Claudio Magris). Literary maps bind topography with history and thus realise a geopolitical project of “thinking of place, time and action as coherent unity” (Karl Schlögel). Such literary names as Conrad’s “heart of darkness” or mare nostrum, mare monstrum from Dariusz Czaja’s essay, in geography didactics can reveal the drama of “building up of land and history” (Magris) and thanks to this, a map used in the didactic process can lead to cathartic experience, i.e. it can sharpen, activate and sensitize the pupils’ eye.
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Brisson, Ulrike. "Sansibar oder der wirkliche Grund." Scenario: A Journal of Performative Teaching, Learning, Research I, no. 1 (January 1, 2007): 92–106. http://dx.doi.org/10.33178/scenario.1.1.5.
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The subject of the investigation is a drama-in-education approach to improve students’ access to German language, literature, and culture. It is based on an action research project carried out at a fourth-year German language class at a US university. This essay constitutes a critical exploration of the drama activities as suggested in Manfred Schewe’s and Heinz Wilms’ book Sansibar. Texte lesen und inszenieren (1995). From the results of the project, the paper addresses questions regarding project-oriented or process-oriented drama, it offers hints and caveats for teachers using drama activities for the first time, and proposes activities that go beyond the suggestions by Schewe and Wilms. The subject of the investigation is a drama-in-education approach to improve students’ access to German language, literature, and culture. It is based on an action research project carried out at a fourth-year German language class at a US university. This essay constitutes a critical exploration of the drama activities as suggested in Manfred Schewe’s and Heinz Wilms’ book Sansibar. Texte lesen und inszenieren (1995). From the results of the project, the paper addresses questions regarding project-oriented or process-oriented drama, it offers hints and caveats for teachers using drama activities for the first time, and proposes activities that go beyond the suggestions by Schewe and Wilms.
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Chaudhuri, U. "WHEN'S THE PLAY? TIME AND THE THEORY OF DRAMA." Theater 22, no. 3 (June 1, 1991): 44–51. http://dx.doi.org/10.1215/01610775-22-3-44.
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Llamas, Regina. "Wang Guowei and the Establishment of Chinese Drama in the Modern Canon of Classical Literature." T'oung Pao 96, no. 1 (2010): 165–201. http://dx.doi.org/10.1163/156853210x515675.
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AbstractThis essay examines the process by which Wang Guowei placed Chinese dramatic history into the modern Chinese literary canon. It explores how Wang formed his ideas on literature, drawing on Western aesthetics to explain, through the notions of leisure and play, the impetus for art creation, and on the Chinese notions of the genesis of literature to explain the psychology of literary creation. In order to establish the literary value of Chinese drama, Wang applied these ideas to the first playwrights of the Yuan dynasty, arguing that theirs was a literature created under the right aesthetic and creative circumstances, and that it embodied the value of "naturalness" which he considered a universal standard for good literature. By producing a scholarly critical history of the origins and nature of Chinese drama, Wang placed drama on a par with other literary genres of past dynasties, thus giving it a renewed status and creating at the same time a new discipline of research. Drama had now become an established literary genre.
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Fulsås, Narve, and Tore Rem. "How Was Ibsen’s Modern Drama Possible?" Journal of World Literature 1, no. 4 (2016): 449–65. http://dx.doi.org/10.1163/24056480-00104003.
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One of the major renewals in the history of drama is Henrik Ibsen’s “modern tragedy” of the 1880s and 1890s. Since Ibsen’s own time, this renewal has been seen as an achievement accomplished in spite, rather than because, of Ibsen’s Norwegian and Scandinavian contexts of origin. His origins have consistently been associated with provinciality, backwardness and restrictions to be overcome, and his European “exile” has been seen as the great liberating turning point of his career. We will, on the contrary, argue that throughout his career Ibsen belonged to Scandinavian literature and that his trajectory was fundamentally conditioned and shaped by what happened in the intersection between literature, culture and politics in Scandinavia. In particular, we highlight the continued association and closeness between literature and theatre, the contested language issue in Norway, the superimposition of literary and political cleavages and dynamics as well as the transitory stage of copyright.
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Gorinova, N. V. "Plays by Alexey Popov: the experimenting beginning in modern Komi drama." Bulletin of Ugric studies 10, no. 3 (2020): 426–35. http://dx.doi.org/10.30624/2220-4156-2020-10-3-426-435.
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Introduction: the article is devoted to the study of creativity of Alexey Popov, the well-known playwright in the modern theater world of Komi. In the context of the Komi drama, his plays are characterized by a desire for experiment, revealing new opportunities for the Komi theater art in disclosure and evaluating the contradictions of the changing reality. In the genre and style direction, his texts develop the trends of the so called «new drama» in Komi literature, which at the turn of the XX–XXI centuries is tightly rooted on the stage of Russian theaters. Objective: to present the analytical review of A. Popov’s dramatic art. Research materials: drama works by A. Popov. Results and novelty of the research: the analysis of A. Popov’s works reveals the author’s attraction to the experiment, his desire to break away from the traditions that have developed in the Komi theatre art. New artistic phenomena for the Komi drama are the plays developed by A. Popov (and other playwrights of the turn of the XX–XXI centuries) with an enhanced metaphorical beginning, a play with elements of naturalism, the genres of tragicomedy, a play for reading, a remake play, and an absurdist play. In the dramas of A. Popov, the character of a hero and the ways of its construction change; to reveal the character of a hero, the author uses such artistic technique as intrigue. New for the Komi drama aesthetic phenomena reflect the crisis state of public consciousness of the turn time. The author’s artistic achievements precede new directions in the development of Komi drama. The scientific novelty of the work lies in the fact that for the first time it provides the systematic analysis of A. Popov’s dramatic work, presents the genre and stylistic originality of his plays, shows the specifics of his characters and ways to build conflict in plays.
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Bula, Andrew. "Literary Musings and Critical Mediations: Interview with Rev. Fr Professor Amechi N. Akwanya." Journal of Practical Studies in Education 2, no. 5 (August 6, 2021): 26–31. http://dx.doi.org/10.46809/jpse.v2i5.30.
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Reverend Father Professor Amechi Nicholas Akwanya is one of the towering scholars of literature in Nigeria and elsewhere in the world. For decades, and still counting, Fr. Prof. Akwanya has worked arduously, professing literature by way of teaching, researching, and writing in the Department of English and Literary Studies of the University of Nigeria, Nsukka. To his credit, therefore, this genius of a literature scholar has singularly authored over 70 articles, six critically engaging books, a novel, and three volumes of poetry. His PhD thesis, Structuring and Meaning in the Nigerian Novel, which he completed in 1989, is a staggering 734-page document. Professor Akwanya has also taught many literature courses, namely: European Continental Literature, Studies in Drama, Modern Literary Theory, African Poetry, History of Theatre: Aeschylus to Shakespeare, European Theatre since Ibsen, English Literature Survey: the Beginnings, Semantics, History of the English Language, History of Criticism, Modern Discourse Analysis, Greek and Roman Literatures, Linguistics and the Teaching of Literature, Major Strands in Literary Criticism, Issues in Comparative Literature, Discourse Theory, English Poetry, English Drama, Modern British Literature, Comparative Studies in Poetry, Comparative Studies in Drama, Studies in African Drama, and Philosophy of Literature. A Fellow of Nigerian Academy of Letters, Akwanya’s open access works have been read over 109,478 times around the world. In this wide-ranging interview, he speaks to Andrew Bula, a young lecturer from Baze University, Abuja, shedding light on a variety of issues around which his life revolves.
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Herman, Vimala. "Discourse and time in Shakespeare’s Romeo and Juliet." Language and Literature: International Journal of Stylistics 8, no. 2 (June 1999): 143–61. http://dx.doi.org/10.1177/096394709900800203.
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This article explores different verbal resources for the representation of time in drama. Drama as a genre is subjected to different pressures of time, given that the fictional time spans in the dramatic world must be realized within the real time allocated to a performance, a context which a dramatic text necessarily addresses. The temporal scope of plays can be highly expanded or contracted, but whatever option is used in a play, it is the result of the strategic exploitation of different resources. Theatre provides non-verbal means, like lighting and décor, but verbal resources are more dynamic. The verbal dialogue enacts speech events, and speech events are tied to spatio-temporal contexts, which can be transformed via speech use. The article examines various verbal resources like deixis, tense and aspect, lexical choices in clock and calendrical references, and pragmatics in order to explore their productive functions in constructing the complex and dynamic temporal world of one play, Shakespeare’s Romeo and Juliet.
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Richardson, Brian. ""Time Is Out of Joint": Narrative Models and the Temporality of the Drama." Poetics Today 8, no. 2 (1987): 299. http://dx.doi.org/10.2307/1773039.
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Paetsch, John. "The Noise of Time." Deleuze and Guattari Studies 15, no. 3 (August 2021): 343–62. http://dx.doi.org/10.3366/dlgs.2021.0445.
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The ‘I’ fractured by time – if Deleuze returns repeatedly to this seemingly minor moment in Kant's system, it is not simply to sound anew the theme of ‘difference’ (this time, with an a priori accent). No, Deleuze turns to this ‘interior drama’ for the same reason that Kant, in the Opus Postumum, returns to it: it presents the most direct passage from ‘interior’ (self) to ‘exterior’ (Nature). But Kant's late complication of the transcendental field undermines several of his most cherished theses – in particular, the fixity of the table of categories, the homogeneity of the forms of intuition (Space and Time) and the rights of logical determinacy. It is left to Deleuze to radicalise Kant's critique along the lines of time. In contending with this fissure, Deleuze inaugurates nothing less than a truly genetic philosophy of Nature – one that would think with Nature rather than of it. Only one caught in this labyrinthine flow could inquire into the possibility of radical metamorphosis.
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Lachman, Lilach. "‘Suspense is his Maturer Sister’: Time Fear and Audience in Dickinson's Gothic Drama." Gothic Studies 3, no. 1 (April 2001): 61–74. http://dx.doi.org/10.7227/gs.3.1.7.
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Riem, Philine, and Axel Karenberg. "MS in prose, poems and drama." Multiple Sclerosis Journal 21, no. 10 (January 12, 2015): 1298–311. http://dx.doi.org/10.1177/1352458514560929.
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Background and objective: Presentations of MS in fictional literature have not been previously researched. This paper surveys and analyses these portrayals of the disease for the first time. Material and methods: Relevant works in English and German were identified by means of keyword searches in online public access catalogues and search engines as well as old-fashioned research. The neurological and literary evaluation of these 7000 pages of text combines qualitative and quantitative methods. Results: Between 1954 and 2012 at least 55 literary works appeared with an MS motif (35 novels, 18 poems, one novella and one drama). The authors were predominantly female and a third of them suffered from the disease. Patients in the novels largely reflect real epidemiology as regards symptoms and disease progression, while diagnostic and therapeutic options play a secondary role. From a literary point of view, ‘entwicklungsromane’, ‘relationship novels’ and ‘young adult books’ can be discerned. MS is often portrayed in metaphoric language as the enemy: a demon, an animalistic being, prison or an abyss. Conclusion: The MS motif evidences a medicalization of the literature as well as a literary portrayal of anthropological experiences. Well-written novels can contribute to the de-stigmatization of MS and impart basic medical knowledge.
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Taylor-Terlecka, Nina. "Darwinism and Surrealism: The Case of Juliusz Słowacki’s "Samuel Zborowski"." Bibliotekarz Podlaski Ogólnopolskie Naukowe Pismo Bibliotekoznawcze i Bibliologiczne 47, no. 2 (July 10, 2020): 361–75. http://dx.doi.org/10.36770/bp.488.
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Juliusz Słowacki has been acknowledged as a precursor of the Young Poland poets and recognized as one of the “Three Bards” of Polish Romanticism. A visionary of mystical experience, his later works took a focus on Polish history, including the drama Samuel Zborowski, which has been referred to as one of the boldest visionary dramas in world literature. This paper explores the relation of Juliusz Słowacki’s drama Samuel Zborowski to Darwinism and Surrealism. As a contemporary of Darwin, this paper presents several overlapping points in time between the lives of Słowacki and Darwin, as well as Słowacki’s relations to both Darwin and his predecessors. It has been argued that Samuel Zborowski is the first surrealistic work in Polish literature. It employs varied scenic tricks that can be termed surrealistic. The textual images of the work include several cinematographic special effects, and the subjects explored in Samuel Zborowski reflect a condensed, symbolic shorthand sign of cosmic experience and historiosophic meditation. At times impressionistic, the concepts therein are formulated by analogy, allusion and synthesis, with signs and images point to infinity. Taken together, we have a dramatic exposition of fundamental Genesis philosophy, interwoven and ultimately subordinate to the perennial Polish Question in the context of Romantic Messianism. The rich philosophical sources of Samuel Zborowski reveal a wealth of influences. The end result is a strange symbiosis of Poland’s national history, Słowacki’s messianistic historiosophy, and the scientific heritage of Darwin’s predecessors.
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Hummelen, W. M. H. "Segmentation of Drama." Theatre Research International 14, no. 1 (1989): 41–50. http://dx.doi.org/10.1017/s030788330000554x.
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The semiotics of drama has proved incapable of formulating a theory of segmentation that can be used in practice. Tadeusz Kowzan admits that his suggestion, ‘l'unité sémiologique du spectacle est une tranche contenant tous les signes émis simultanément, tranche dont la durée est égale au signe qui dure le moins’ (1975, 215), leads to a multitude of small, totally unrelated segments. As Erika Fischer-Lichte pointed out (1983, 186–7), it is impossible to tell in advance whether any distinguishable sign system (or combination of sign systems) will manifest itself at all times in the performance. Her conclusion was therefore that semiotics should stop searching for homogeneous units. However, she added, anyone who for practical reasons seeks a division should proceed from the two categories of character and space without which no theatrical process is possible and which can never be consumed into one another. This will not create homogeneous units either, but together these two categories comprise everything to which the various types of theatrical signs may refer.
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Mohammed, Shawqi Ali Daghem, and Dr Shaikh Samad. "The Comic Genius in Shaw’s Drama." SMART MOVES JOURNAL IJELLH 6, no. 10 (October 10, 2018): 12. http://dx.doi.org/10.24113/ijellh.v6i10.5094.
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George Bernard Shaw (1856 - 1950) the socialist, politician, economist, social reformer and the Nobel Laureate playwright, is one of the most venerable authors in the history of literature in general and the theater in particular. He is a great laughter making and thinking motivator, where his comedies always revealed the values of the time. His plays are enjoyable and resonating until today. In this respect, the current article aims to explore Shaw’s comic genius and his contributions to the art of comedy as a leading dramatist of the twentieth century. It reveals how he employs jokes and humour to deliver his philosophy and his intellectual judgment on life in a clever and amusing way. The paper describes the development of Shaw’s comic and technical style. It focuses on some of Shaw’s memorable comedies, which display his comic genius during his career.
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Klein, Christian. "Das Schicksalsdrama des 19. Jahrhunderts als ›Zeitphänomen‹ zwischen literarischer Tradition und gesellschaftlicher Transformation." Internationales Archiv für Sozialgeschichte der deutschen Literatur 44, no. 1 (June 4, 2019): 220–39. http://dx.doi.org/10.1515/iasl-2019-0011.
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Abstract This article focuses on the genre of the ‘drama of destiny’ (Schicksalsdrama), which was particularly popular in Germany between 1810 and 1825, and which – following the premiere of Friedrich Schiller’s Die Braut von Messina (The Bride of Messina, 1803) – reestablished an ancient concept of destiny as a category of understanding. Through an analysis of Zacharias Werner’s drama Der vierundzwanzigste Februar (The Twenty-fourth of February, 1809), this article shows how the reference to destiny offered a fitting model of meaning to nineteenth-century audiences facing a challenging time of shifting values and socio-political change and uncertainty.
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Wegner, Gesine. "Relocating the Freak Show: Disability in the Medical Drama." Zeitschrift für Anglistik und Amerikanistik 67, no. 1 (March 26, 2019): 19–36. http://dx.doi.org/10.1515/zaa-2019-0003.
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Abstract Through an analysis of various negotiations of disability in House, M.D. and Grey’s Anatomy, my paper discusses the narrative and non-narrative means that make the medical drama such an appealing genre to contemporary audience members. As the most successful medical dramas of the post-millennial era, House, M.D. and Grey’s Anatomy rely heavily on the exhibition of non-normative bodies, the humorous device of re-naming patients, and the narrative construction of disability as unbearable deviance. While Laura Backstrom locates the freak show in non-fictional television formats like the talk show and documentary, my paper illustrates how the medical drama, although at times highly self-reflexive, has become another pervasive relocation of the freak show into contemporary television. In a close reading of Grey’s Anatomy, I further demonstrate how the portrayal of a disabled doctor as a series regular both manifests and challenges some of the normative perceptions of the body that the genre relies on.
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Schendl, Herbert. "Code-switching in early English literature." Language and Literature: International Journal of Stylistics 24, no. 3 (August 2015): 233–48. http://dx.doi.org/10.1177/0963947015585245.
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Code-switching has been a frequent feature of literary texts from the beginning of English literary tradition to the present time. The medieval period, in particular, with its complex multilingual situation, has provided a fruitful background for multilingual texts, and will be the focus of the present article. After looking at the linguistic background of the period and some specifics of medieval literature and of historical code-switching, the article discusses the main functions of code-switching in medieval poetry and drama, especially in regard to the different but changing status of the three main languages of literacy: Latin, French and English. This functional-pragmatic approach is complemented by a section on syntactic aspects of medieval literary code-switching, which also contains a brief comparison with modern spoken code-switching and shows some important similarities and differences between the two sets of data.
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Ісіченко, Архиєпископ Ігор. "Hybrid war on stage of Kyiv Mohyla Academy (1736—1737)." Слово і Час, no. 1 (February 20, 2020): 86–101. http://dx.doi.org/10.33608/0236-1477.2020.01.86-101.
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During the 1736/1737 academic year, Mytrofan Dovhalevskyi taught a course in poetics at the Kyiv-Mohyla Academy. According to the rules of the time, he prepared two school dramas, the texts of which survived — for Christmas and Easter. Five interludes were set for each drama. In the 3rd interlude to the Christmas drama and the 5th interlude to the Easter drama, the plot is based on the confrontation of Liakh (Pole) and Zhyd (Jew), oppressing Belarusian and Ukrainian peasants, with Cossack. Moskal (Moscovite) is a powerful ally of the Cossack. The propaganda sense of both interludes is revealed in the context of political conflicts of that era. During 1733—1735 Stanisław Leszczyński, a former ally of Hetman Ivan Mazepa, led the war for the royal throne of the Polish-Lithuanian Commonwealth. Most Ukrainian lands were then part of the Commonwealth. The Russian empire introduced troops into the territory of the Commonwealth and put on the throne Stanisław Leszczyński’s rival August III. Ukrainian citizens of the Commonwealth were prompted by Russians to revolt against Polish authorities. The Haidamaky movement emerged which Russia promised to support. The Cossacks of Zaporizhzhia in 1734 betrayed Hetman Pylyp Orlyk and came under the jurisdiction of the Russian empress. The interludes to the Mytrofan Dovhalevskyi’s dramas form the ideological basis for Russian aggression and future division of the Commonwealth. They impose on the spectators the idea of oppressing Ukrainians and Belarusians by Poles, complementing it with anti-Semitic nuances. Cossacks are encouraged to engage in aggression, interpreted as a liberation mission. These trends, identified still in the Baroque literature, were used in 2014 by the Russian Federation for motivating its incursion into Ukraine. The modern terminology defines such trends with the concept of ‘hybrid war’.
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Bibbò, Antonio. "Irish Theatre in Italy during the Second World War: translation and politics." Modern Italy 24, no. 1 (October 11, 2018): 45–61. http://dx.doi.org/10.1017/mit.2018.33.
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Irish drama underwent an extraordinary rediscovery in Italy during the Second World War, primarily because of its political convenience (Ireland was a neutral nation) but also because of its aesthetic significance. Through an analysis of the role of key mediators I employ Irish literature as a lens to investigate a crucial moment of renewal within both Italian politics and theatre, emphasising strands of continuity between Fascist and post-Fascist practices. First, I show how a wartime ban on English and American plays prompted an interest in Irish drama and the fluid status of the Irish canon enabled authors of Irish origin (e.g. Eugene O’Neill), to be affiliated with Irish literature. I then move on to considering how this very fluidity facilitated the daring rebranding of Irish theatre as anti-fascist in Paolo Grassi’s ‘Collezione Teatro’, a key step in his position-taking at the centre of Italy’s theatrical field. Ireland was a substitute for England and appeared on Italian (political and literary) maps mainly thanks to its anti-English function. However, despite the politically inflected motivation of the various, often contrasting uses of the category ‘Irish drama’ in wartime Italy, this was the first time Irish literature had been widely acknowledged as a specific tradition within the Anglosphere in Italy.
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Sedova, E. S. "THE MOTIVE OF LOST ILLUSIONS IN W.S. MAUGHAM’S “FOR SERVICES RENDERED” AND J. B. PRESTLEY’S “TIME AND THE CONWAYS”." Bulletin of Udmurt University. Series History and Philology 31, no. 2 (May 11, 2021): 365–73. http://dx.doi.org/10.35634/2412-9534-2021-31-2-365-373.
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The purpose of this article is to analyze the motive of lost illusions in W.S. Maugham’s “For Services Rendered” and J. B. Priestley’s “Time and the Conways”. This motive is realized, firstly, at the level of the system of characters, when two authors show characters with broken hearts, thus the idea of “a heartbreak house” becomes the dominant one in these plays. Secondly, both playwrights use a circular composition, showing the life circle of their characters. The article concludes about the genre diversity of the works of the two authors: Maugham creates a social drama (focusing on the fate of representatives of the "lost generation", the spiritual blindness of the adherents of good old England), Priestley - a philosophical "drama of time" with its characteristic semantics: the loss of time, the compression of time and its reverse flow. Besides, the article discusses a historical and literature context of post-war time: we find typological connections with Siegfried Sassoon’s poetry and Ernest Hemingway’s novel “A Farewell to Arms”.
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De Kosnik, Abigail. "Drama is the Cure for Gossip: Television's Turn to Theatricality in a Time of Media Transition." Modern Drama 53, no. 3 (September 2010): 370–89. http://dx.doi.org/10.3138/md.53.3.370.
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Mueller, Martin. "Who Wrote What: Is it Time for a Blind Experiment in Early Modern Drama?" ANQ: A Quarterly Journal of Short Articles, Notes and Reviews 33, no. 2-3 (August 21, 2019): 214–16. http://dx.doi.org/10.1080/0895769x.2019.1653164.
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Fonseca, Claudia. "Time, DNA and documents in family reckonings." Vibrant: Virtual Brazilian Anthropology 12, no. 1 (June 2015): 75–108. http://dx.doi.org/10.1590/1809-43412015v12n1p075.
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In this paper, drawing on literature from both STS and the anthropology of kinship, we describe a political movement aimed at legal reparation for human rights violations perpetrated by the Brazilian government against children of the compulsorily institutionalized patients of Hansen's disease. We conduct our investigation by exploring the action of intertwining technologies -- narrated recollections, written documents, and the DNA test -- employed by major actors to "reckon" the family connections at the core of this drama. The notion of technologies helps underline not only the materiality of certain processes, but also the complex temporalities at play. Responding to a challenge proposed by Janet Carsten, our ultimate aim is to show how political events as well as collective institutionalized structures - operating through the mediation of these diverse technologies - produce a particular kind of sociality, interwoven with perceptions of family and community.
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Al-Zubbaidi, Asst Prof Dr Haitham K. Eidan. "Dramatizing Modern American and Arabic Poetry A Study in Selected Poems by Kenneth Koch and Yousif Al-Sayegh." ALUSTATH JOURNAL FOR HUMAN AND SOCIAL SCIENCES 58, no. 4 (December 17, 2019): 95–118. http://dx.doi.org/10.36473/ujhss.v58i4.1021.
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The interrelatedness of drama and poetry introduces one of the most exceptionally robust examples of trans-genre literature. It is further characterized by a deep-rooted tradition that dates back to ancient Greek and Roman drama, as well as a sense of circumstantial and ad hoc necessity-driven, age-oriented adaptability. The present paper assumes that this well-established sensitive relation of poetry and drama rests upon some circumstantial time-specific cultural forces or motivators that impact the ebb and flow, the expansion-contraction movements which are directly related to the temporal necessities and requirements of the textual and contextual poetic discourse. To this end, and to verify the accuracy of these assumptions, the paper limits itself to some representative examples from the oeuvres of two representative poets of the dramatic poetic tradition in modern American and Arabic poetry, namely Kenneth Koch (1925-2002) and Yousif al-Sayegh (1933-2006).
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Placín Alonso, Leticia. "Historia y leyenda en la literatura decimonónica sobre el compromiso de Caspe//History and legend in nineteenth-century literature about Caspe's Commitment." Estudios Humanísticos. Filología, no. 41 (December 18, 2019): 71. http://dx.doi.org/10.18002/ehf.v0i41.5969.
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<p>El presente trabajo centra su atención en el estudio de los acontecimientos históricos que conducen al reinado del infante don Fernando de Trastámara en el trono de Aragón, entre los que se incluye el conocido compromiso de Caspe (1412), a través de algunas composiciones literarias bien distintas formalmente. Ello sirve a los autores decimonónicos para rehacer y verter hitos medievales en romances, pliegos e incluso en piezas como <em>Don Fernando el de Antequera</em>, drama histórico del escritor Ventura de la Vega, estrenado en 1847, que recrean episodios histórico-legendarios en beneficio de los intereses de su tiempo.</p><p><strong>Abstract</strong></p><p>The present paper is centred on the study of historical events that lead to the reign of the infant Don Fernando de Trastámara on the throne of Aragon, which includes Caspe's well-known commitment (1412), through some formally distinct literary compositions. This serves nineteenth-century authors to remake and pour medieval landmarks in romances, sheets and even pieces such as <em>Don Fernando el de Antequera</em>, historical drama by the writer Ventura de la Vega, released in 1847, which recreate historical-legendary episodes for the benefit of interests of his time.</p>
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Harrow, Kenneth. "Time and ecology in African cinema: Pumzi and Felix in Exile." International Journal of Francophone Studies 23, no. 3 (December 1, 2020): 289–306. http://dx.doi.org/10.1386/ijfs_00023_7.
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This article examines how time and space-time relate to eco-critical films and their charge of intervening in issues dealing with environmentalism. From the earliest films the question of capturing the truth gave impetus to the desire to represent reality accurately, including its social and political ‘truths’. Increasing concerns over the environment have come to mean that filmmakers have also felt the necessity to present eco-critical dramas. The drama has been how to create environmentally significant films without condescending to the viewers. The key question Rob Nixon poses in Slow Violence and the Environmentalism of the Poor might be how the social-economic order, over time, informs the health of the environment and the conditions of life for the working class. Two short films and the Green Belt Movement extend that question: Pumzi asks how a future marked by nuclear disaster might be survived by the sacrifice of an exceptional woman; Felix in Exile asks how the brutal practices of Apartheid might be survived. In both cases the questions of space and time prove to be basic, opening the possibility of joining the concept of space-time to eco-critical thought.
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Jordan, Richard. "Distributed Agencies in Dramatic Form: A Posthuman Perspective on Lucy Prebble’s The Sugar Syndrome and Sarah Ruhl’s Dead Man’s Cell Phone." Modern Drama 64, no. 1 (March 2021): 1–23. http://dx.doi.org/10.3138/md.64.1.1055.
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The past two decades have seen a significant increase in western drama incorporating digital technologies on stage. While theatre scholars have regularly applied posthuman or cyborg theory to make sense of digital spectacle in performance, this article extends a posthuman approach to dramatic form by considering two plays from the early 2000s, a time of substantial technological change within affluent western societies. In both Lucy Prebble’s The Sugar Syndrome (2003) and Sarah Ruhl’s Dead Man’s Cell Phone (2007), the human characters share dramatic agency with the digital devices that surround them, co-initiating and co-escalating the drama. This distributed agency creates a shift in how the humans begin to perceive themselves and each other: from rational, coherent, autonomous selves – a liberal humanist subjectivity – to heterogeneous assemblages reminiscent of a digital computer – a posthuman subjectivity. While much posthuman theatre scholarship has focused on digital or bodily spectacle, dramaturgical analysis can also reveal the neglected technology of dramatic form to construct posthuman subjectivities for the stage.
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Shunikov, Vladimir L. "DISCURSIVE AND GENRE EXPERIMENTS IN THE CONTEMPORARY RUSSIAN DRAMA." RSUH/RGGU Bulletin. "Literary Theory. Linguistics. Cultural Studies" Series, no. 9 (2020): 152–60. http://dx.doi.org/10.28995/2686-7249-2020-9-152-160.
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The article considers an influence of the genre traditions and discurses on Russian drama of the late 20th and early 21st century. The influence of documentary theater and the illusion of non-fictional speech created in G. Sinkina, A. Rodinov, Yu. Klavdiev, L. Mulmenko drama is noted. Pedaling the authenticity of character’s word is manifested by the verbatim technique – and at the same time returns the drama to the strivings of the early Soviet theater. The article also considers a correlation of the verbal and written discourses, their genre diversity as well as the ratio of the monologue – and dialogic potential of the texts written by N. Kolyada, A. Slapovsky, V. Levanov, V. Zueva, Ya. Pulinovich, E. Grishkovets, I. Vyrypaev, E. Isaeva, N. Vorozhbit, S. Reshetnikov. It takes into consideration the genre forms mixing what determines the structure of the play and its perception by reader-spectator. In particular, the research focuses on the literary and stage manifestations of the diptych – play in works of A. Zenzinov and V. Zabaluev, S. Zlotnikov, D. Gumenniy . The author of the article refers to the interaction of drama with other arts, both the visual (O. Mukhina’s plays) and sounding (I. Vyrypayev “Oxygen”), as well as modern media formats that determine the genre nature of the latest works for the stage (plays by A. Vartanov, R. Malikov). Special attention is paid to “network drama”, which qualitatively changes the structural principles for works in that kind of literature and motivates to rethink the categories of “drama world”, “character”, “conflict”, “plot”.
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Durbach, Errol. "Jørgen Veisland: Drama and repetition: Time in selected plays by Henrik Ibsen, Bertolt Brecht and Samuel Beckett." Ibsen Studies 10, no. 1 (June 2010): 62–67. http://dx.doi.org/10.1080/15021866.2010.495534.
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Ryassov, Anatoly V. "Notes on postdramatic theatre’s death." Practices & Interpretations: A Journal of Philology, Teaching and Cultural Studies 5, no. 1 (March 1, 2020): 18–33. http://dx.doi.org/10.18522/2415-8852-2020-1-18-33.
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For many years drama theatre has been accepted almost as a synonym for the theatre itself, but at the beginning of the 20th century scenic art became enmeshed in firmly embraced stereotypes. A number of stage directors and theatre theorists were engaged in discussion about the crisis in drama and began to develop new scenic forms. Towards the middle of the 60s European stage experienced some radical transformations and witnessed the uprising of postdramatic theatre. Perhaps now, fifty years later, when the revolution is over, it is time to talk about a new crisis and point out the unsettled matters, concerning complex issues of communication and interpretation, but also of the relationships with dramatic text. And there is another important question, which is often set aside: What does it all mean for drama as a literary form? Could it be that these events have redoubled the genre’s stagnation? Could the main reasons be found not on the theatrical stage, but in the literature space? Dramaturgy has not yet realized itself as an independent art of writing, such as poetry and prose. Perhaps, all conversations about the separate ways of theatre and drama are jumping ahead, because in fact this separation has not yet begun.
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von Rothkirch, Alyce. "Changing Times: J.O. Francis and the First Welsh National Drama Movement." Modern Drama 54, no. 2 (June 2011): 161–80. http://dx.doi.org/10.3138/md.54.2.161.
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Passmore, Oliver. "PRESENT, FUTURE AND PAST IN THEHOMERIC HYMN TO APOLLO." Ramus 47, no. 2 (December 2018): 123–51. http://dx.doi.org/10.1017/rmu.2018.11.
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Within Classics, there is growing interest in the nature of reperformance, particularly in relation to archaic and classical Greek poetry and drama. Developing out of the now well-established ‘performative turn’ in studies of early Greek song, and gaining impetus from a series of publications focussing on the contextual specificity of archaic lyric and drama, those interested in reperformance ask what it means for a song or a play, composed for a specific occasion, to be reperformed in another time and (potentially) another place. While interest in reperformance is certainly not new, the debate is now increasingly taking place in dialogue with parallel studies of reperformance in other disciplines. Research in performance studies has articulated a paradox at the heart of reperformance: since aperformanceis imagined as a singular event that exists only in that moment, and in a specific context,reperformance is an attempt to repeat the unique. Theorists and practitioners have in turn explored this paradox in relation to the restagings and re-enactments of one-time events and performances, such as battle re-enactments, the reconstruction of ballet choreographies before the days of film and live performance art. These examples reveal the complex temporalities involved in reperforming notionally one-time events, as an attempt to capture the ephemeral and collapse the present and the past (as well as the there and the not-there) in the ‘syncopated time’ of the reperformance.
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Zlotnikova, Tatiana S. "Civilizational and Mental Discourses of the Russian Theatre as an Identity Code." Observatory of Culture 16, no. 1 (March 26, 2019): 4–15. http://dx.doi.org/10.25281/2072-3156-2019-16-1-4-15.
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The Russian theatre of the last centuries is a distinctly formed identity code, possessing certain content (social and moral) and formal (artistic and aesthetic, including those genre and verbal) features. The purpose of this article is to justify the presence of the Russian theater as an identity code, of which we believe there are two discourses — civilizational and mental.Drama is defined as a borderline civilizational code of the Russian theatre. This is both a kind of literature that has developed dynamically, paradoxically, creating an outstanding repertoire for the theater, and the definition of a life situation that characterizes theatricality as a specific feature of Russian identity. The civilizational discourse of the Russian theatre manifests itself through the paradoxes of conflict in psychological drama. The unique (mentally deterministic) cultural dimension of the Russian drama forms a logical chain: time, space, and a person lost in time and space. The drama comes into the person’s life not only as a kind of literature, but also as a situation of their existence.Russian directing is defined as a mental/specific and, at the same time, civilizational/universal code. The civilizational discourse in the Russian, as well as the world theatre represents the paradox associated with the institutionalization of director’s profession as an embodiment of the demiurgic beginning and the sphere of self-realization of individual peculiarities of a creative personality (which can be seen in the experience of V. Meyerhold and E. Vakhtangov, G. Tovstonogov and Yu. Lyubimov, and many of the existing directors of today).An actor in Russia is more than an actor; paraphrasing the well-known formula, we pay attention to the characteristic of mental identity code inherent in acting. The triad of playwright—director—actor undoubtedly forms the basis of the Russian artistic tradition and affirms the importance of professional intentions and the cultural and philosophical meaning of creative activity of each of the three authors of a theatrical work. The actor in this chain is the final link.The civilizational discourse, based on the universals of cultural practices, is associated with transformation of styles, methods, eternal matters, reflecting primarily in drama. The mental discourse, fully specific, is associated with local themes (acting) and paradoxical receptions of world practices and influence on them (directing).
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Lorek-Jezińska, Edyta. "Mimesis in Crisis: Narration and Diegesis in Contemporary Anglophone Theatre and Drama." Text Matters, no. 7 (October 16, 2017): 353–67. http://dx.doi.org/10.1515/texmat-2017-0019.
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The main objective of my article is to investigate the ways in which contemporary Anglophone drama and theatre actively employ diegetic and narrative forms, setting them in conflict with the mimetic action. The mode of telling seems to be at odds with the conviction not only about the mimetic nature of performance and theatre but also about the growing visuality of contemporary theatre. Many contemporary performances and dramatic texts expose the tensions between the reduction of visual representations and the expansion of the narrative space. This space offers various possibilities of exploring the distance between the performers and spectators, tensions between narrative time and place and the present time of performance, the real and the imagined/inauthentic/fake, traumatic memory and imagination. The active foregrounding of the diegetic elements of performance will be exemplified with reference to several contemporary plays and performances: my focus will be on the uses of epic forms in what can be called post-epic theatre, illustrated by Kieran Hurley’s Rantin (2013); the foregrounding of the diegetic and the undecidability of the fictional and the real, instantiated by Forced Entertainment’s performances (Showtime, 1996) and Martin McDonagh’s The Pillowman (2003); and the narrative density and traumatic aporia of Pornography (2007) by Simon Stephens.
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Greenwald, Michael L. "Actors as Activists: The Theatre Arts Committee Cabaret, 1938–1941." Theatre Research International 20, no. 1 (1995): 19–29. http://dx.doi.org/10.1017/s0307883300006994.
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Given the omnipresence of performers of all political stripes speaking for a variety of causes and candidates, it is difficult to remember a time when artist-activists were not an integral part of America's theatrical landscape. Indeed, under David Douglass's leadership, the American Company (formerly the Hallam Company) assuaged Puritan fears about the presence of ‘theatricals’ in staid eighteenth-century New England by performing benefits for local causes, thereby injecting its work with a social purpose. Throughout its history the American theatre has used performance as a propaganda weapon for such causes as abolition (Uncle Tom's Cabin, 1852), temperance (Ten Nights in a Bar Room, 1858), civil rights (A Raisin in the Sun, 1959), and currently the AIDS crisis (Angels in America, 1993). Political activism in the American theatre flourished in the 1930s, largely through the work and ideology of such enterprises as the Group Theatre, the Theatre Union, even the International Ladies' Garment Workers' Union, and similar left-wing movements that sought to produce plays that deal boldly with deep-going social conflicts, the economic, emotional, and cultural problems that confront the majority of people. The mission was realized mostly through traditional theatre means, i.e. plays or agit-prop dramas à la Federal Theatre Project's Living Newspapers. These have been chronicled in a number of useful surveys, most notably Gerald Rabkin's Drama and Commitment (1964), Sam Smiley's The Drama of Attack (1972), and especially Malcolm Goldstein's detailed look at the 1930s radical theatre, The Political Stage (1974).
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Murphy, Caryn. "Network television writers and the ‘race problems’ of 1968." Journal of Screenwriting 10, no. 3 (September 1, 2019): 307–21. http://dx.doi.org/10.1386/josc_00006_1.
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This article examines the development of television scripts in the crime drama genre within the context of US commercial broadcasting in the network era. In 1968, public discourse around race relations, civil rights and violence reached a height following the assassinations of Martin Luther King, Jr and Robert F. Kennedy, and the release of a government study on urban uprisings by the National Advisory Commission on Civil Disorders. Ironside (1967‐75, NBC) and N.Y.P.D. (1967‐69, ABC) are two crime dramas that drew on recent events related to black militants and white supremacy in order to appeal to viewers with socially relevant entertainment during this time. The archival records of screenwriters Sy Salkowitz and Lonne Elder make it possible to trace the development of one episode from each series over the course of multiple drafts. This analysis of the script development process explores the relationship between public discourse, industrial context, commercial agendas and creative priorities. Ironside and N.Y.P.D. are both crime dramas, but an examination of both series yields points of divergence which help to illustrate the norms of the network system in terms of act structure, genre tropes, and the oversight of standards and practices.
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Mitchell-Boyask, Robin N. "Sacrifice and Revenge in Euripides' Hecuba." Ramus 22, no. 2 (1993): 116–34. http://dx.doi.org/10.1017/s0048671x00002472.
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Recent studies of theHecubahave begun to allay doubts about whether its two disparate halves form a single plot. I shall approach this question from a different angle, finding the unity of theHecubain two areas: first, the similarity of the acts of sacrifice and revenge; and, second, the irresolution of the reason for Polyxena's sacrifice, the restraining winds, until Hecuba has avenged herself on Polymestor. Euripides' drama engages the emotional dynamics of sacrifice and revenge in order to explore the power of theatre to destabilise such societal activites and the ethical distinctions held by its audience. The Theatre of Dionysus thus bears witness to a drama that undermines ethical certitudes and makes problematic the types of institutions that thepolisneeds for stability. When a vote is taken on human sacrifice, when sacrifice fails to control violence, when revenge becomes the chosen recourse to achieve justice, how can apolisrestore order? While the action of theHecubaoccurs beyond the realm of any recognisablepolis, its war-time setting and the undercurrent of references to Athens and its institutions suggest that theHecuba'sanswers could not have been reassuring to its audience.
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Szturc, Włodzimierz. "Danton. Wektory interpretacji filmu Andrzeja Wajdy." Przestrzenie Teorii, no. 27 (December 15, 2017): 59–76. http://dx.doi.org/10.14746/pt.2017.27.7.
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In this paper, the author presents the final period of the French Revolution as interpretated by Andrzej Wajda. The screenplay was prepared by Jean-Claude Carrière based on Stanisława Przybyszewska’s drama (also used by Wajda as a screenplay in many dramas). It helped the director to describe the reality of the intense time of Robespierre’s terror and Jacobin efforts to guillotine Danton and his allies. Wajda reveals the same mechanisms of crime, manipulation and lies which became the backdrop for political events in Poland between 1981-1983 (especially with the introduction of martial law in Poland in 1981). The model of Danton’s fall and the strengthening of totalitarian rule are considered the current model of history, which is based on cruelty and the struggle for power. The film forms the basis for a broader view of history as the tragic entanglement of events, which is the result of hubris and the desire for material goods, and is the origin of totalitarian rule. References to the emblems of the revolution, allegories, and the symbolism of art (paintings of David) are the fundamental ekphrasis of meanings set by the film. Wajda’s analysis of Danton shows some typical ways of understanding and interpreting the signs of culture and history.