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Relevant bibliographies by topics / Edward Bond – Criticism and interpretation

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Academic literature on the topic 'Edward Bond – Criticism and interpretation'

Author: Grafiati

Published: 20 February 2023

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Journal articles on the topic "Edward Bond – Criticism and interpretation"

1

Zakai, Avihu. "Exile and Criticism: Edward Said’s Interpretation of Erich Auerbach." Society 52, no. 3 (2015): 275–82. http://dx.doi.org/10.1007/s12115-015-9898-y.

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2

Allen, David, and Agata Handley. "“Being Human”: Edward Bond’s Theories of Drama." Text Matters, no. 7 (October 16, 2017): 307–29. http://dx.doi.org/10.1515/texmat-2017-0017.

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The playwright Edward Bond has recalled the impact of seeing photographs of Nazi atrocities at the end of World War Two: “It was the ground zero of the human soul.” He argues we need a different kind of drama, based in “a new interpretation of what it means to be human.” He has developed an extensive body of theoretical writings to set alongside his plays. Arguably, his own reflections on “what it means to be human” are based in his reaction to the Holocaust, and his attempt to confront “the totality of evil.”Bond argues we are born “radically innocent.” There is a “pre-psychological” state of

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3

Massai, Sonia. "Stage over Study: Charles Marowitz, Edward Bond, and Recent Materialist Approaches to Shakespeare." New Theatre Quarterly 15, no. 3 (1999): 247–55. http://dx.doi.org/10.1017/s0266464x0001304x.

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The flurry of Shakespearean adaptations in the 1960s and 1970s represents a significant yet largely neglected chapter of recent cultural history. This article assesses two of the more enduring adaptations – Edward Bond's Lear (Royal Court Theatre, 1971) and Charles Marowitz's Measure for Measure (Open Space Theatre, 1975) – in order to show how these controversial texts anticipated later mainstream critical approaches which still affect our reception of Shakespeare in the late 1990s. Several parallels between Marowitz and Bond's adaptations and recent materialist readings of their Shakespearea

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4

Wilken, Robert Louis. "Interpreting the Bible as Bible." Journal of Theological Interpretation 4, no. 1 (2010): 7–14. http://dx.doi.org/10.2307/26421325.

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Abstract Modern historical criticism has disengaged understanding of the Bible from the long Christian tradition of interpretation, severing the bond between text and reader, between Scripture and the living church tradition. As a consequence, patristic and medieval interpreters are dismissed as serious commentators on the Holy Scriptures. This essay offers examples from classical Christian exegetes that illustrate how reading the Scriptures from within rather than against tradition deepens our understanding of the Bible.

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5

Wilken, Robert Louis. "Interpreting the Bible as Bible." Journal of Theological Interpretation 4, no. 1 (2010): 7–14. http://dx.doi.org/10.2307/jtheointe.4.1.0007.

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Abstract Modern historical criticism has disengaged understanding of the Bible from the long Christian tradition of interpretation, severing the bond between text and reader, between Scripture and the living church tradition. As a consequence, patristic and medieval interpreters are dismissed as serious commentators on the Holy Scriptures. This essay offers examples from classical Christian exegetes that illustrate how reading the Scriptures from within rather than against tradition deepens our understanding of the Bible.

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6

Popović, Djordje. "From Exile to “Retro-Utopia”." Qui Parle 30, no. 2 (2021): 367–86. http://dx.doi.org/10.1215/10418385-9395312.

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Abstract The act of writing ensures that exile is never permanent in the mind of the writer even if it is an abiding feature of his or her reality. Dubravka Ugrešić explores this paradox in much of her work, suggesting that migrant writers experience “double exile”—first on account of displacement and then because they are forced to reflect on the condition of being displaced, in effect, staging their alienation in the act of commenting on it. This dialectic of permanence and impermanence alone hints at a more developed relationship between home and exile than is usually allowed in the ontolog

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7

Cai, Cecily. "Doktor Faustus and its Variations on Lateness." arcadia 57, no. 2 (2022): 282–300. http://dx.doi.org/10.1515/arcadia-2022-9053.

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Abstract Thomas Mann’s novel Doktor Faustus, first published 1947, tells the story of a fictional German musician, Adrian Leverkühn, paralleled with the rise and fall of Germany in the first half of the 20th century. In fact, the idea of Doktor Faustus predated Mann’s exile, and it had been already conceived as a work of lateness – a Faust, a Parsifal in prose. In the process of creating variations on lateness, Mann referred to the musical models of Beethoven, Wagner, Mahler, Schoenberg, and the music criticism of Theodor W. Adorno. As a product of Mann’s exile in Southern California, Doktor F

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8

Bustan, Jumadi, Najamuddin, and Ahmad Subair. "Ramang The Legends of Makassar Football Union (An Overview of Sports History)." SHS Web of Conferences 149 (2022): 02028. http://dx.doi.org/10.1051/shsconf/202214902028.

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This study aims to determine the Makassar Football Association, which is headquartered in Makassar, South Sulawesi province. The Makassar Football Association was founded on November 2, 1915 which at that time was still a football association called Makassar Voetbal Bond. Based on the historical background of his achievements, Makassar Voetbal Bond features male players in the elite ranks of Dutch East Indies football such as Sagi and Sangkala as reliable players who at that time were highly respected by Dutch players. The Makassar Football Association is known as the birthplace of young and t

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9

Carney, Sean. "The Tragedy of History in Sarah Kane's Blasted." Theatre Survey 46, no. 2 (2005): 275–96. http://dx.doi.org/10.1017/s0040557405000165.

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The first performance of Sarah Kane's Blasted in 1995 is already widely regarded as a landmark in the history of contemporary theatre in England, singled out for the same reason that Edward Bond's 1965 Saved and Howard Brenton's 1980 The Romans in Britain achieved notoriety. Blasted belongs in this genealogy of English plays in that all drew attention to themselves with instances of raw violence represented onstage and contextualized within situations of scathing social criticism. Saved contains an infamous scene in which the apathy of a group of dispossessed urban youths leads them to the cas

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10

Ar Razy, Mohammad Refi Omar. "The Sekar Rukun Association: Struggle of the Sundanese Youth National Movement Era (1919-1931)." Historia: Jurnal Pendidik dan Peneliti Sejarah 4, no. 2 (2021): 159–72. http://dx.doi.org/10.17509/historia.v4i2.32045.

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This study aims to analyze the kirprah of the Sekar Rukun Association during the National Movement (1919-1931) which includes the formation, form of struggle, and the process of merging with the Young Indonesia organization. The research method used is the historical method which consists of heuristic, source criticism, interpretation, and historiography stages. Through this research, it can be seen that, first, the Sekar Rukun Association was formed by Sundanese figures who attended school in Batavia, such as Doni Ismail, Iki Adiwidjaja, Djuwariah, Hilman, Moh. Sapii, Mangkudiguna, Soetisna S

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