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Journal articles on the topic 'Mexican drama, history and criticism'
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1
Zhang, Jinsong. "Discussion on Raymond Williams’ Methodology of Drama Criticism." Journal of Contemporary Educational Research 5, no. 10 (October 29, 2021): 153–57. http://dx.doi.org/10.26689/jcer.v5i10.2635.
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Raymond Williams is one of the representative figures of British cultural Marxism and British cultural research. His cultural research, especially mass culture research, focuses on literary criticism. Among them, drama criticism is one of Williams’ most important forms of cultural criticism methodology. Williams’ drama criticism is based on drama history criticism. Through the historical analysis of drama content and form as well as the synchronic analysis of modern drama in different historical periods, including the ongoing drama history, Williams proposed the notion of “structures of feeling.” The emergence of this concept opened up the social critical dimension of Williams’ drama criticism. Drama criticism has become a window for examining, analyzing, and grasping the current social emotional structure or social culture. Furthermore, by implanting tragic plots in the drama, a potential practical strategy of social and cultural revolution can be realized.
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McEvilla, Joshua, Elizabeth Sharrett, Jennifer Cryar, Cristiano Ragni, and Alice Equestri. "VIII Renaissance Drama: Excluding Shakespeare." Year's Work in English Studies 98, no. 1 (2019): 445–94. http://dx.doi.org/10.1093/ywes/maz003.
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Abstract This chapter has three sections: 1. Editions and Textual Matters; 2. Theatre History; 3. Criticism. Section 1 is by Joshua McEvilla; section 2 is by Elizabeth Sharrett; section 3(a) is by Jennifer Cryar; section 3(b) is by Cristiano Ragni; section 3(c) is by Alice Equestri.
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Kurdi, Mária. "Samuel Beckett’s Drama in Hungarian Theatre History and Criticism before 1990." Theatron 16, no. 4 (2022): 54–69. http://dx.doi.org/10.55502/the.2022.4.54.
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The international and intercultural aspects of Samuel Beckett’s theatre have been widely recognised by an increasing number of scholarly works in the last few decades. This article offers a study of the pre-1990 reception of Beckett’s drama and theatre in Hungarian criticism and literary and theatre histories. Its focus is on critical and theoretical investigations of three of Beckett’s masterpieces for the stage, Waiting for Godot (1953), Endgame (1957), and Happy Days (1961), provided by Hungarian authors in Hungary or in Hungarian-language forums of the neighbouring countries. While mentioning all the premieres of the three masterpieces in Hungary during the given period, the article surveys and compares only those ideas across the various theatre reviews, which contribute to the Hungarian critical reception of Beckett and the selected works. To place the addressed pre-1990 Hungarian studies and reviews in the broader field, the article is framed by references to some relevant writings of international Beckett scholars.
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Cohen, Stephen, and Lawrence J. Ross. "On Measure for Measure: An Essay in Criticism of Shakespeare's Drama." Sixteenth Century Journal 29, no. 2 (1998): 510. http://dx.doi.org/10.2307/2544531.
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Tavarez, D. "Nahuatl Theater. Volume 3. Spanish Golden Age Drama in Mexican Translation." Ethnohistory 57, no. 2 (April 1, 2010): 349–50. http://dx.doi.org/10.1215/00141801-2009-077.
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Hughes, Stephen Putnam. "Music in the Age of Mechanical Reproduction: Drama, Gramophone, and the Beginnings of Tamil Cinema." Journal of Asian Studies 66, no. 1 (February 2007): 3–34. http://dx.doi.org/10.1017/s0021911807000034.
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During the first half of the twentieth century, new mass media practices radically altered traditional cultural forms and performance in a complex encounter that incited much debate, criticism, and celebration the world over. This essay examines how the new sound media of gramophone and sound cinema took up the live performance genres of Tamil drama. Professor Hughes argues that south Indian music recording companies and their products prefigured, mediated, and transcended the musical relationship between stage drama and Tamil cinema. The music recording industry not only transformed Tamil drama music into a commodity for mass circulation before the advent of talkies but also mediated the musical relationship between Tamil drama and cinema, helped to create film songs as a new and distinct popular music genre, and produced a new mass culture of film songs.
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Smith, Michael M. "CarrancistaPropaganda and the Print Media in the United States: An Overview of Institutions." Americas 52, no. 2 (October 1995): 155–74. http://dx.doi.org/10.2307/1008260.
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Despite the voluminous body of historical literature devoted to the Mexican Revolution (1910-1920) and U.S.-Mexican diplomatic relations, few works address the subject of revolutionary propaganda. During this tumultuous era, however, factional leaders recognized the importance of justifying their movement, publicizing their activities, and cultivating favorable public opinion for their cause, particularly in the United States. In this regard, Venustiano Carranza was especially energetic. From the inception of his Constitutionalist revolution, Carranza and his adherents persistently attempted to exploit the press to generate support among Mexican expatriates, protect Mexican sovereignty, secure recognition from the administration of Woodrow Wilson, gain the acquiescence–if not the blessing–of key sectors of the North American public for his Constitutionalist program, enhance his personal image, and defend his movement against the criticism and intrigues of his enemies–both Mexican and North American.
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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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Milne, Drew. "Cheerful History: the Political Theatre of John McGrath." New Theatre Quarterly 18, no. 4 (November 2002): 313–24. http://dx.doi.org/10.1017/s0266464x02000428.
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In this essay, Drew Milne suggests affinities between the dramatization of history in the work of John McGrath and Karl Marx. He shows how both Marx and McGrath refused to mourn the histories of Germany and Scotland as tragedies, but that differences emerge in the politics of McGrath's radical populism – differences apparent in McGrath's use of music, historical quotation, and direct address. McGrath's layered theatricality engages audience sympathies in ways that emphasize awkward parallels between modern and pre-modern Scotland, and this can lead to unreconciled tensions between nationalism and socialism which are constitutive of McGrath's plays. Drew Milne is the Judith E. Wilson Lecturer in Drama and Poetry, Faculty of English, University of Cambridge, and a Fellow of Trinity Hall. He has published various articles on drama and performance, including essays on the work of August Boal, Samuel Beckett, and Harold Pinter, and is currently completing a book entitled Performance Criticism.
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Lampert, Nick. "Social criticism in Soviet drama: The plays of Aleksandr Gel'man." Soviet Studies 39, no. 1 (January 1987): 101–15. http://dx.doi.org/10.1080/09668138708411676.
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Morales Zea, María del Sol. "Juarez and Maximilian. Stories and interpretations in film and literature." Culture & History Digital Journal 10, no. 2 (October 20, 2021): e023. http://dx.doi.org/10.3989/chdj.2021.023.
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This paper approaches the relations between history and fiction through analysis of two works: the Franz Werfel drama’s Juarez und Maximilian (1924), and the Miguel Contreras Torres movie’s, Juárez y Maximiliano (1934). Both works intend to tell us the happened during the Second Mexican Empire, Werfel with the Austrian gaze and Contreras with the Mexican gaze. We go inside to biography and context of authors, as well as the reception of the drama and movie in the local press, to understanding the political implications of the representations of the past. Finally, we analyze the philosophy of history implied in both Werfel and Contreras, and your relations with creation’s context.
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Cañizares-Esguerra, Jorge. "Doña Teresa Confronts the Spanish Inquisition: A Seventeenth-Century New Mexican Drama by Frances Levine." Biography 42, no. 2 (2019): 419–21. http://dx.doi.org/10.1353/bio.2019.0044.
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Piechucka, Alicja. "Art (and) Criticism: Hart Crane and David Siqueiros." Text Matters, no. 8 (October 24, 2018): 229–43. http://dx.doi.org/10.1515/texmat-2018-0014.
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The article focuses on an analysis of Hart Crane’s essay “Note on the Paintings of David Siqueiros.” One of Crane’s few art-historical texts, the critical piece in question is first of all a tribute to the American poet’s friend, the Mexican painter David Siqueiros. The author of a portrait of Crane, Siqueiros is a major artist, one of the leading figures that marked the history of Mexican painting in the first half of the twentieth century. While it is interesting to delve into the way Crane approaches painting in general and Siqueiros’ oeuvre in particular, an analysis of the essay with which the present article is concerned is also worthwhile for another reason. Like many examples of art criticism—and literary criticism, for that matter—“Note on the Paintings of David Siqueiros” reveals a lot not only about the artist it revolves around, but also about its author, an artist in his own right. In a text written in the last year of his life, Hart Crane therefore voices concerns which have preoccupied him as a poet and which, more importantly, are central to modernist art and literature.
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Zhurcheva, Olga V. "“New drama”: Pro et contra." Izvestiya of Saratov University. Philology. Journalism 22, no. 4 (November 23, 2022): 484–87. http://dx.doi.org/10.18500/1817-7115-2022-22-4-484-487.
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At the end of the 20th – the beginning of the 21st century there were serious changes in the poetics of drama, defining the strategy of artistic forms and features of artistic consciousness. This gives the right to single out the history of the “new drama” in a separate period of the literary and theatrical process. A new book by the Belarusian researcher S.Ya. Goncharova-Grabovskaya “Modern Russian Dramaturgy (late 20th – early 21st century)” is devoted to generalization and comprehension of this period, which is considered and announced in the presented review. The book examines the main trends in the development of the Russian drama at the turn of the 20-21st centuries: the history of the emergence of the “new drama” movement, aspects of poetics (hero, conflict, chronotope, language), genre-style vector (social drama, documentary drama, monodrama, remake plays, drama of the absurd) – all that defines the specific features of the modern dramaturgical process. The focus is on the plays of famous playwrights, which have been staged in theaters in Russia and Belarus, have received positive reviews in criticism. The peculiarity of the reviewed book is that it analyzes modern Belarusian drama, traces its connection with the Russian. The book includes overview chapters reflecting the genre and style parameters of drama, a list of plays, information about playwrights, control questions and assignments. The scientific and methodological publication under review is expected to be in high demand not only in the philological environment, but also among theater critics and theater historians.
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Montes-Alcalá, Cecilia. "Code-switching in US Latino literature: The role of biculturalism." Language and Literature: International Journal of Stylistics 24, no. 3 (August 2015): 264–81. http://dx.doi.org/10.1177/0963947015585224.
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While mixing languages in natural speech production has often been inaccurately ascribed to illiteracy or lack of linguistic competence, doing so in writing is a long-standing practice in bilingual literature. This practice may fulfill stylistic or aesthetic purposes, be a source of credibility and/or communicate biculturalism, humor, criticism, and ethnicity, among other functions. Here, I analyze a selection of contemporary Spanish–English bilingual literature (poetry, drama, and fiction) written by Mexican American, Nuyorican, and Cuban American authors focusing on the types, and significance, of code-switching (CS) in their works. The aim of the study is to determine to what extent the socio-pragmatic functions that have been attested in natural bilingual discourse are present in literary CS, whether it is mimetic rather than rhetorical, and what differences exist both across literary genres and among the three US Latino groups. I also emphasize the cultural aspect of CS, a crucial element that has often been overlooked in the search for grammatical constraints.
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Wilson, Steven H. "Tracking the Shifting Racial Identity of Mexican Americans." Law and History Review 21, no. 1 (2003): 211–13. http://dx.doi.org/10.2307/3595074.
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Ariela J. Gross is generous in praising research accomplished and helpful in suggesting routes for future investigation. In response to such a model of constructive criticism, I can only plead no contest to the main charge that, while examining changes in legal strategy and judicial rhetoric in school segregation litigation, I neglected to explore important aspects of Mexican Americans' own understanding and actual experiences of “other whiteness.” As a result, the “ordinary” people in my tale seem to lack agency even in their own cases. This is an unfortunate but frequent limitation of historical studies of litigation, not least because—despite the presence in the courtroom of a plaintiff or defendant—trial records most clearly reveal the professional concerns of lawyers and judges. Even transcribed testimony (which is not always available) may tell us more about the lawyer's strategy and the judge's mood than a witness's reality. Gross rightly asks the question directly that I (admittedly) avoided entirely: “did the legal regime of whiteness have any larger cultural significance?” Put another way, I understand this question to be: did the fine legal distinctions hammered out by Mexican American attorneys and Anglo American judges matter at all to the ordinary people—parents, workers, and defendants—whether Mexican or Anglo? I think that the answer is yes, gradations of whiteness mattered even to the lay public. Yet, it seems clear as well that whiteness was experienced differently by members of various economic and social classes of Mexican Texans.
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M, Kavitha. "Nachinarkiniyar History and Textual Ability." International Research Journal of Tamil 4, S-8 (July 21, 2022): 233–38. http://dx.doi.org/10.34256/irjt22s834.
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Tamil language and literature have flourished with speeches composed by speechwriters. Are greatly aiding researchers who think innovatively. Texts serve as a bridge between linguistic research and e-literary criticism. The texts convey how the Tamil language has changed over time, as well as the living conditions, political changes and customs of the Tamil people. This article explores the history and textual ability of Nachinarkiniyar. Nachinarkiniyar was a knowledgeable and knowledgeable man of various arts, writing semantics for songs, and also possessing the art of religious ideas, music, drama, etc., which are included in the book. He is well versed in grammar, literature, dictionary, epic and puranam in Tamil. He is well versed in astrology, medicine, architecture, and crops. Nachinarkiniyar, who has written for Tamil grammar books, is well versed in the Vedic and phylogenetic theory of Sanskrit and is a university-oriented scholar of Tamil, Sanskrit scholarship, religious knowledge, land book knowledge, life and biology. This article explores the history and textual ability of Nachinarkiniyar.
18
Herold, Niels. "Madness and Drama in the Age of Shakespeare. A Review Article." Comparative Studies in Society and History 37, no. 1 (January 1995): 94–99. http://dx.doi.org/10.1017/s001041750001954x.
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Duncan Salkeld's study of madness in the age of Shakespeare is conceived of as being against the grain of both traditional literary criticism and historiography. Noting that the critical contemplation of the inner life of Shakespearean character has been central (as far back as Coleridge) to previous approaches to the study of madness in Shakespeare, Salkeld argues instead that the “inner worlds of the mind of Shakespearean characterization are largely represented by external appearance, in language describing corporeal states.” Thus, the towering constructs of personality in Lear and Hamlet, for example, are turned inside out when critical attention is focused on the “materiality” of madness and its forms. This privileging of “external appearance” and “corporeality” over the imagined inner life of character is licensed by Salkeld's thesis that personal crises in the dramatic lives of Shakespeare's tragic heroes and heroines must invariably be read qua political crisis. The author writes that any “discussion of the internal life of a character then becomes a second order issue, and considerably more problematic when the historical specificity of these conditions is addressed” (p. 2).
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Castillo-Muñoz, Verónica. "Historical Roots of Rural Migration." Mexican Studies/Estudios Mexicanos 29, no. 1 (2013): 36–60. http://dx.doi.org/10.1525/msem.2013.29.1.36.
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This article examines the human drama of displacement and the historical relationship between economic inequalities and rural migration in Nayarit, Mexico. It shows how during the 1940s indigenous peoples, in particular, were excluded from receiving agricultural subsidies for the cultivation of corn. The lack of subsidies spurred a massive outmigration of these communities to the Nayarit lowlands and the United States. This historical analysis will help us understand why rural Mexican workers adapted to a migrant life, which continues to this day. Este artículo examina el drama humano del desplazamiento y la relación histórica entre las desigualdades económicas y la migración rural en Nayarit, México. En él, se muestra cómo durante la década de 1940 los habitantes indígenas, en particular, fueron excluidos de los subsidios agrícolas para el cultivo del maíz. La falta de subsidios alentó una emigración masiva de estas comunidades a las tierras bajas de Nayarit y Estados Unidos. Este análisis histórico nos ayudará a comprender por qué los trabajadores rurales mexicanos se adaptaron a la vida de migrantes, que sigue vigente hasta la fecha.
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Montgomery, Harper. "Introduction to Carlos Mérida's “The True Meaning of the Work of Saturnino Herrán”." ARTMargins 7, no. 1 (February 2018): 115–27. http://dx.doi.org/10.1162/artm_a_00203.
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The introductory essay places “The True Meaning of the Work of Saturnino Herrán: The False Critics” (1920), a piece of early criticism written by the Guatemalan artist Carlos Mérida during the first year he lived in Mexico City, within the contexts of the cosmopolitan milieu of post-Revolutionary Mexico and the artist's own trajectory. It suggests that the text both demonstrates intellectuals’ interest in questions of form and national art and Mérida's desire to provide a critical framework for his own paintings of indigenous Guatemalan and Mexican women. In “The True Meaning of the Work of Saturnino Herrán: The False Critics,” Mérida lashed out at Mexican critics for praising Herrán as the best and most Mexican painter of the time, arguing, instead that the realism and sentimentalism of Herrán's paintings dishonored national themes by presenting them as picturesque stereotypes. Published in the widely-read magazine El Universal Ilustrado, the text attacks Herrán's paintings and the critics who praise them while also arguing that the predominance of the artist is symptomatic of the predominant problem of the literary nature of Mexican artists’ engagement with autochthonous art and culture.
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Mérida, Carlos. "The True Meaning of the Work of Saturnino Herrán: The False Critics." ARTMargins 7, no. 1 (February 2018): 128–30. http://dx.doi.org/10.1162/artm_a_00204.
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The introductory essay places “The True Meaning of the Work of Saturnino Herrán: The False Critics” (1920), a piece of early criticism written by the Guatemalan artist Carlos Mérida during the first year he lived in Mexico City, within the contexts of the cosmopolitan milieu of post-Revolutionary Mexico and the artist's own trajectory. It suggests that the text both demonstrates intellectuals’ interest in questions of form and national art and Mérida's desire to provide a critical framework for his own paintings of indigenous Guatemalan and Mexican women. In “The True Meaning of the Work of Saturnino Herrán: The False Critics,” Mérida lashed out at Mexican critics for praising Herrán as the best and most Mexican painter of the time, arguing, instead that the realism and sentimentalism of Herrán's paintings dishonored national themes by presenting them as picturesque stereotypes. Published in the widely-read magazine El Universal Ilustrado, the text attacks Herrán's paintings and the critics who praise them while also arguing that the predominance of the artist is symptomatic of the predominant problem of the literary nature of Mexican artists’ engagement with autochthonous art and culture.
22
Sales, Roger. "Review: Shakespeare Recycled: The Making of Historical Drama, the Matter of Difference: Materialist Feminist Criticism of Shakespeare." Literature & History 3, no. 1 (March 1994): 106–9. http://dx.doi.org/10.1177/030619739400300115.
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Hollinger, David A. "The Accommodation of Protestant Christianity with the Enlightenment: An Old Drama Still Being Enacted." Daedalus 141, no. 1 (January 2012): 76–88. http://dx.doi.org/10.1162/daed_a_00130.
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Throughout its history, the United States has been a major site for the accommodation of Protestant Christianity with the Enlightenment. This accommodation has been driven by two closely related but distinct processes: the demystification of religion's cognitive claims by scientific advances, exemplified by the Higher Criticism in Biblical scholarship and the Darwinian revolution in natural history; and the demographic diversification of society, placing Protestants in the increasingly intimate company of Americans who did not share a Protestant past and thus inspiring doubts about the validity of inherited ideas and practices for the entire human species. The accommodation of Protestant Christianity with the Enlightenment will continue to hold a place among American narratives as long as “diversity” and “science” remain respected values, and as long as the population includes a substantial number of Protestants. If you think that time has passed, look around you.
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Emerson, Caryl. "Pretenders to History: Four Plays for Undoing Pushkin's Boris Godunov." Slavic Review 44, no. 2 (1985): 257–79. http://dx.doi.org/10.2307/2497750.
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Among the problematic works of great writers, Pushkin's Boris Godunov occupies a special place. This strange hybrid of history, drama, narrative poetry, and prose Pushkin called a “romantic tragedy,” and he considered it his masterpiece. Yet the play's publication in 1831 was met with surprise and dismay. By consensus of a baffled public, Boris Godunov was a failure—neither romantic, nor feasible on the tragic stage.Since that time, generations of critics, playwrights, and producers have tried to come to terms with this troublesome text. Tolstoi's famous comment—that all great nineteenth-century Russian works defy clear generic classification1—has been invoked in defense of many irregular texts, but not this one. Boris remains stubbornly, inexplicably “undramatic.” Criticism has in fact tended to redefine the play rather than to investigate it. Boundaries are routinely blurred between the historical Tsar Boris, the historical period when his tale is retold, and the world of the fictional creation itself.
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Matyjaszczyk, Joanna. "Struggles with Dramatic Form in 16th-Century English Biblical Plays." Anglica. An International Journal of English Studies, no. 31/1 (October 2022): 5–27. http://dx.doi.org/10.7311/0860-5734.31.1.01.
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The aim of the article is to pinpoint how 16th-century biblical drama tried to appropriate its genre and medium to carry the reformist message and in what sense the project turned out to be a self-defeating one. The analysis of selected plays from reformed biblical cycles (The Chester Mystery Cycle, play iv; and “The Norwich Grocers’ Play”) and newly composed drama (John Bale’s plays, Lewis Wager’s Life and Repentaunce of Marie Magdalene, the anonymous “History of Jacob and Esau”), supported with an over- view of the criticism on the matter, reveals some common tensions in the dramatic texts which may have had their roots in the reformist need to eliminate any room for doubt that a theatrical performance could leave. The conclusion is that, in its attempts at striking the right balance between dramatizing and overt sermonizing, engaging and distancing, as well as providing an immersive experience and discouraging it, post-Reformation Scrip- ture-based drama oscillated between being more effective as a performance or as a carrier of the doctrinal message, with the resulting tendency to subvert either the former or the latter.
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Xiangsheng, Feng. "A Conversation between Chinese Artists and Mexican Painter David Alfaro Siqueiros." ARTMargins 9, no. 1 (February 2020): 92–99. http://dx.doi.org/10.1162/artm_a_00257.
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In October 1956, the Mexican muralist David Siqueiros traveled Beijing and engaged in two dialogues with artists from the Chinese Artists’ Association. His visit came at an inflection point in China’s foreign and cultural policy. As Sino-Soviet relations deteriorated, China used cultural diplomacy to cultivate relationships with unaligned countries in Asia, Africa, and Latin America. China’s cultural policy mirrored this shift by relaxing its adherence to Soviet-style Socialist Realism and promoting new stylistic practices, including a revival of ink painting techniques. This policy shift re-animated a debate among Chinese artists over the best mode of representation for socialist art, with one side arguing that Soviet-style Socialist Realism was the only acceptable style, and the other advocating for the reform of Chinese ink painting techniques. Within this context, Siqueiros’s criticism of Soviet artists and his advice to follow Chinese stylistic traditions set off a rich discussion on new approaches to Socialist Realism within China.
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Taylor, David Francis. "What Cato Did: Suicide, Sentimentalism, and the Drama of Emulation." Eighteenth-Century Life 46, no. 1 (January 1, 2022): 56–78. http://dx.doi.org/10.1215/00982601-9467204.
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Much recent criticism of Joseph Addison's Cato (1713) regards the tragedy as determinedly resistant to its eponymous protagonist's stoic heroism. Cato, it is argued, critiques Cato. But this wasn't how Addison's immediate contemporaries experienced the play. For many commentators, Addison's Cato was a model not only to be applauded but also imitated. In this essay, I take seriously this disconnection between current interpretation and immediate reception. I first attend to the tragedy's fifth act, where we see a concerted attempt both to flag the protagonist's fallibility and also to place a critical frame around the problematic spectacle of stoic suicide. In the second part of the essay, I then consider how it was that an instrumentalist view of the play nonetheless became canon. Here, I trace Richard Steele's appropriation of Cato to his project to reform the stage, a project that staked its claims for the cultural and moral efficacy of the theater on an avowedly emulative (and sentimental) model of drama. And I argue that Addison's belated insistence on his protagonist's all-too-humanness works to sentimentalize the character and so paradoxically opens up the very possibility of imitation that it seemingly seeks to foreclose.
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Herbert, Ian. "Writing in the Dark: Fifty Years of British Theatre Criticism." New Theatre Quarterly 15, no. 3 (August 1999): 236–46. http://dx.doi.org/10.1017/s0266464x00013038.
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In NTQ50 (May 1997) Irving Wardle offered his reflections on forty years of theatre reviewing, from the point of view of the seasoned practitioner. Here, Ian Herbert looks at the craft of the reviewer in the wider context of the British theatre since the war, and sees an ironic similarity between the venerable, gentlemanly generation against which Kenneth Tynan pitted his considerable wit, and the generation of Tynan's disciples now no less firmly entrenched in their seats on the aisle. His article, first presented as one of the public lectures celebrating the Golden Jubilee of the Society for Theatre Research on 15 January 1998, is as much an informal history of London theatre during the period as a discussion of the part played in it by the members of the Critics' Circle drama section, of which he is currently secretary. Having completed the last of three editions of Who's Who in the Theatre to appear under his editorship, in 1981 Ian Herbert, started London Theatre Record, now Theatre Record, the fortnightly journal which gathers together the unabridged reviews of all the major British theatre critics.
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Limon, Jerzy. "Waltzing in Arcadia: a Theatrical Dance in Five Dimensions." New Theatre Quarterly 24, no. 3 (August 2008): 222–28. http://dx.doi.org/10.1017/s0266464x08000286.
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Time structures are essential to any analysis of drama or theatre performance, and in this article Jerzy Limon takes the final scene from Tom Stoppard's Arcadia as an example to show that non-semantic systems such as music gain significance in the process of stage semiosis and may denote both space and time. The scene discussed is particularly complex owing to the fact that Stoppard introduces two different time-streams simultaneously in one space. The two couples presented dance to two distinct melodies which are played at two different times, and the author explains how the playwright avoided the confusion and chaos which would have inevitably resulted if the two melodies were played on the stage simultaneously. Jerzy Limon is Professor of English at the English Institute at the University of Gdańsk. His main area of research includes the history of English drama and theatre in the sixteenth and seventeenth centuries, and various theoretical aspects of theatre. His most recent works, published in 2008, include a book on the theory of television theatre, Obroty przestrzeni (Moving Spaces), two chapters in books, and articles in such journals as Theatre Research International, Shakespeare Jahrbuch, Journal of Drama Theory and Criticism, and Cahiers élisabéthains.
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Cao, Jing. "Introduction to “A Conversation between Chinese Artists and Mexican Painter David Alfaro Siqueiros”." ARTMargins 9, no. 1 (February 2020): 83–91. http://dx.doi.org/10.1162/artm_a_00256.
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In October 1956, the Mexican muralist David Siqueiros traveled Beijing and engaged in two dialogues with artists from the Chinese Artists’ Association. His visit came at an inflection point in China’s foreign and cultural policy. As Sino-Soviet relations deteriorated, China used cultural diplomacy to cultivate relationships with unaligned countries in Asia, Africa, and Latin America. China’s cultural policy mirrored this shift by relaxing its adherence to Soviet-style Socialist Realism and promoting new stylistic practices, including a revival of ink painting techniques. This policy shift re-animated a debate among Chinese artists over the best mode of representation for socialist art, with one side arguing that Soviet-style Socialist Realism was the only acceptable style, and the other advocating for the reform of Chinese ink painting techniques. Within this context, Siqueiros’s criticism of Soviet artists and his advice to follow Chinese stylistic traditions set off a rich discussion on new approaches to Socialist Realism within China.
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TOUYZ, PAUL. "THE ANCIENT RECEPTION OF AESCHYLEAN SATYR PLAY." Bulletin of the Institute of Classical Studies 62, no. 2 (December 1, 2019): 97–117. http://dx.doi.org/10.1111/2041-5370.12109.
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Abstract In this article, I first discuss the reception of Aeschylus’ satyr plays in classical drama, the evidence for their reperformance, and their place in ancient criticism and scholarship. In the final section, I analyze the factors that contributed to the positive reputation of Aeschylean satyr play. Although the evidence is often very limited, I attempt to establish a framework for understanding this ancient reception. Here I propose that the importance placed on satyr play in Aeschylus’ reception in antiquity can be viewed as an extension of his image as the father of tragedy, through both the association of satyr play with the origins of tragedy and its place in the tetralogy.
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Naumov, Aleksandr V. "From Criticism to Practice: Music in the Early Literary Heritage of V.I. Nemirovich-Danchenko." Observatory of Culture 19, no. 2 (April 13, 2022): 182–92. http://dx.doi.org/10.25281/2072-3156-2022-19-2-182-192.
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The article examines the relationship between the literary work of V.I. Nemirovich-Danchenko that preceded the opening of the Moscow Art Theater, and his directorial activity. For him, journalism, fiction and drama formed a unity that had a serious impact on his pedagogical and staging practice. The main issues related to the topic of the work have been repeatedly raised by researchers of theater and literature, but have not yet come to the attention of musicologists, which determines the main parameter of the study’s novelty. In this context, the article aims at pinpointing the actual musical textual details, and its main methodology is based on the interpretation of statements and their comparison with the factual theater history. The article attempts to review the “favorite repertoire” of V.I. Nemirovich-Danchenko as a writer — the musical works mentioned in his novels, stories and plays. There is also identified the “projections” of such sympathies on the design of performances. The article reveals fundamental differences in V.I. Nemirovich-Danchenko’s attitude to vocal and instrumental music, the special role of opera in his perception of the world. There is noted the tendency to attach special semantic and moral-ethical meaning to sound components, as well as the affordance, opened in dramas of the late 1890s, of maximum avoidance of noise elements for the sake of relief identification of a word. The article ends with an attempt to substantiate from a musical standpoint the failure of the drama “In Dreams” at its first and only staging at the Moscow Art Theater (1901). The conclusion contains a number of findings characterizing the musicality of V.I. Nemirovich-Danchenko in 1898, at the time of the opening of his theater. There are partially highlighted the stages of his evolution not mentioned before, which led the director to experiments in the genre of tragedy at the turn of the 1910s and 1920s, the foundation of his own opera studio and the revision of literary positions that remained relevant for the last decades of his life and work.
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Zibrak, Arielle. "The Progressive Era’s New Optimists." American Literary History 32, no. 2 (2020): 376–84. http://dx.doi.org/10.1093/alh/ajaa001.
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Abstract New scholarship in the literature and print culture of the Progressive Era emphasizes the socially and politically transformative power of aesthetic experience. Through their attention to the physical as well as ideological spaces in which the dual projects of political reform and cultural formation via textual production and consumption were carried out, these scholars offer an account of Progressive-Era aesthetic products ranging from fiction to journalism to comics to productions of Elizabethan drama as democratic sites of social good. While previous criticism of the era’s literature aligned its ideological orientation with the regressive politics of nativism and rising class divisions, these scholars, through both recovery and rereading, take a more optimistic approach that emphasizes the reciprocal nature of the textual engagement undertaken by immigrants and the working class.
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Veres, Mariia, and Olena Oliynyk. "Architecture of small Ukrainian and Mexican schools between XIX-XX centuries." E3S Web of Conferences 164 (2020): 05003. http://dx.doi.org/10.1051/e3sconf/202016405003.
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This article reports scientific and typological analysis of Ukrainian and Mexican architecture of small school buildings of the late XIX - early XX centuries in domestic art criticism in the context of comparative analysis. It analyzes national examples of small school buildings of Ukraine and Mexico which are of primary importance for understanding the architectural and artistic processes which took place in our territories at the end of the XIX - early XX centuries. The requirements that were met by this new architecture were significant progress in construction that addressed social needs through school buildings that allowed political action of the new regime. A new, relevant system was formed in the context of education policy and the pedagogical program, which justified its use in the post-revolutionary movement. Therefore, construction projects took into account the needs of working classes, agricultural and urban population. In these projects, interiors and typical designing of preschool areas are provided, advanced engineering, constructive and hygienic solutions are used, therefore they are a rather interesting phenomenon of Ukrainian and Mexican architectural design and are of great significance for the world architectural history.
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Griffin, Jasper. "The social function of Attic tragedy." Classical Quarterly 48, no. 1 (May 1998): 39–61. http://dx.doi.org/10.1093/cq/48.1.39.
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The time is long gone when literary men were happy to treat literature, and tragic poetry in particular, as something which exists serenely outside time, high up in the empyrean of unchanging validity and absolute values. Nowadays it is conventional, and seems natural, to insist that literature is produced within a particular society and a particular social setting: even its most gorgeous blooms have their roots in the soil of history. Its understanding requires us to understand the society which appreciated it, and for which it came into existence. In the particular case of the tragic poetry of Athens, the most influential body of recent criticism focuses on the relation of the drama to the realities of political and social life.
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Romanska, Magda. "BETWEEN HISTORY AND MEMORY: AUSCHWITZ IN AKROPOLIS, AKROPOLIS IN AUSCHWITZ." Theatre Survey 50, no. 2 (November 2009): 223–50. http://dx.doi.org/10.1017/s0040557409990056.
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In 1962, Polish director Jerzy Grotowski mounted an adaptation of playwright Stanisław Wyspiański's 1904 play Akropolis. When James MacTaggart filmed it in 1968, the production gained immediate cult status among American theatre critics, scholars, and practitioners. Although Grotowski's production had already been seen internationally (though by a very limited audience), the film made it available to those outside major theatre centers. Notwithstanding the buzz that surrounded the film's release, most of the interest was focused on the acting and the set design; the fact that the show was based on an obscure modernist drama evoked little critical comment. Although the film's voice-over translated some lines of the play, the dialogue was not the main focus of commentary about the film or criticism of the play after the film was released. In 1974, Harold Clurman wrote that “the lines [of Grotowski's adaptation] spoken at incredible speed are not dialogue; they are tortured exclamations projected in the direction of another being, but with no shape as personal address. (It has been said that a knowledge of Polish does not make the lines readily intelligible… ” Clurman sidestepped discussing the text altogether, arguing that one does not need to understand it in order to understand the production.
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PIERCE, HELEN. "ANTI-EPISCOPACY AND GRAPHIC SATIRE IN ENGLAND, 1640–1645." Historical Journal 47, no. 4 (November 29, 2004): 809–48. http://dx.doi.org/10.1017/s0018246x04004017.
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This article examines the role of graphic satire as a tool of agitation and criticism during the early 1640s, taking as its case study the treatment of the archbishop of Canterbury and his episcopal associates at the hands of engravers, etchers, and pamphlet illustrators. Previous research into the political ephemera of early modern England has been inclined to sideline its pictorial aspects in favour of predominantly textual material, employing engravings and woodcuts in a merely illustrative capacity. Similarly, studies into the contemporary relationship between art, politics, and power have marginalized certain forms of visual media, in particular the engravings and woodcuts which commonly constitute graphic satire, focusing instead on elite displays of authority and promoting the concept of a distinct dichotomy between ‘high’ and ‘low’ culture and their consumers. It is argued here that the pictorial, and in particular graphic, arts formed an integral part of a wider culture of propaganda and critique during this period, incorporating drama, satire, reportage, and verse, manipulating and appropriating ideas and imagery familiar to a diverse audience. It is further proposed that such a culture was both in its own time and at present only fully understood and appreciated when consumed and considered in these interdisciplinary terms.
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Heath, John R. "Further Analysis of the Mexican Food Crisis." Latin American Research Review 27, no. 3 (1992): 123–45. http://dx.doi.org/10.1017/s0023879100037249.
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A large and influential body of work has been published on the recent transformation of Mexican agriculture, focusing on how the growth of linkages to the international economy has reallocated Mexico's land and labor resources in a way that threatens the survival of peasant forms of food production. Curiously, the working assumptions of this corpus have remained largely unchallenged in the academic literature. The thrust of this approach is well captured in an article published in LARR by David Barkin and Billie DeWalt a few years ago. These authors were seeking to explain the origins of Mexico's “food crisis” and made a series of recommendations for tackling the problem. Although many of Barkin and DeWalt's observations are irrefutable, the framework of their analysis begs a number of questions, and elements within it are mutually inconsistent. Their work merits close attention nonetheless because, unlike much of the literature on the “food crisis,” it goes beyond analysis of the problem to make fairly explicit policy recommendations. Because their recommendations are so out of line with the present thrust of Mexican policy, it is instructive to return to their article. Their contribution exemplifies a paradigm that, in rejecting trade liberalization, fails to lend itself to constructive criticism of the policies now being vigorously pursued in Mexico. In challenging Barkin and DeWalt's analytical framework and policy recommendations (from a standpoint that is sympathetic toward trade liberalization), this research note is intended to provoke a lively debate about new ways to conceptualize Mexican food issues.
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Indriyanto, Kristiawan. "ARTICULATING THE MARGINALIZED VOICES: SYMBOLISM IN AFRICAN AMERICAN, HISPANIC, AND ASIAN AMERICAN LITERATURE." British (Jurnal Bahasa dan Sastra Inggris) 9, no. 2 (September 26, 2020): 20. http://dx.doi.org/10.31314/british.9.2.20-36.2020.
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The present study contextualizes how symbolism is employed by writers of ethnically minority in the United States as an avenue of their agency and criticism against the dominant white perspective. The history of American minorities is marred with legacy of racial discrimination and segregation which highlights the inequality of race. Literature as a cultural production captures the experiences of the marginalized and the use of symbolism is intended to transform themes into the field of aesthetics. This study is a qualitative research which is conducted through the post-nationalist American Studies framework in order to focus on the minorities’ experience instead of the Anglo-Saxon outlook. The object of the study is three playscripts written from authors from Mexican-American, African-American and Asian-American to emphasize how discrimination is faced by multi-ethnic. The finding suggests how symbolism in these literary works intends to counter the stereotypical representation of Mexican-American, aligns with the passive resistance of the Civil Right Movement and subvert binary opposition of East and West which exoticizing the East. Keywords : minority literature in the U.S , symbolism, post-national
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Rutherford, Malcolm. "“Who's Afraid of Arthur Burns?” The NBER and the Foundations." Journal of the History of Economic Thought 27, no. 2 (June 2005): 109–39. http://dx.doi.org/10.1080/09557570500114236.
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The National Bureau of Economic Research (NBER) was founded in 1920 and quickly came to be regarded as one of the leading economic research organizations in the world. The NBER still exists today and still enjoys a high reputation, but the NBER of today bears little resemblance to the organization it once was. Between 1920 and the present the NBER has undergone a number of significant changes in form, function, and direction, and this history is one that includes moments of considerable drama. There were times of great financial stress, to the point where the future existence of the organization was in doubt, times when the organization seemed to be able to maintain a highly favored financial status despite outside criticism, and times of sharp conflict between the Bureau and its financial patrons.
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Saro, Anneli. "Leedu draama retseptsioon Eestis." Eesti ja soome-ugri keeleteaduse ajakiri. Journal of Estonian and Finno-Ugric Linguistics 8, no. 1 (March 21, 2017): 221–40. http://dx.doi.org/10.12697/jeful.2017.8.1.12.
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Eesti teatril on ajaloolises plaanis kõige tihedamad sidemed olnud saksa- ja venekeelse ning angloameerika kultuuriruumiga, kuid sidemed lõunapoolsete lähinaabritega on olnud üsna sporaadilised. Käesolev uurimus käsitleb Leedu draama vastuvõttu Eestis ja Eesti teatris. Artikli eesmärgiks on (1) anda statistiline ajalooline ülevaade Eestis ilmunud ja lavastatud Leedu näitekirjandusest ning (2) uurida Leedu draama retseptsiooni Eestis, tuginedes näidendite lähilugemisele, audio- ja videosalvestustele ja ilmunud kriitikale ning tõlgendades nimetatud allikaid Eesti kultuurikontekstist lähtuvalt.Abstract. Anneli Saro: Reception of Lithuanian drama in Estonia. The article has two aims: (1) to give a statistical overview of Lithuanian drama published and staged in Estonia, and (2) to investigate the reception of Lithuanian drama in Estonia, relying on close reading of the plays and analysis of audiovisual recordings and criticism, and interpreting the sources in the Estonian cultural context. The term “reception” here covers the creative work of translators, directors, actors, scenographers, etc., as well as diverse mental activities of readers and spectators. The first part of the article tackles the historical development of cultural relations between Estonia and Lithuania in the field of theatre, listing the Lithuanian plays published and staged in Estonia during different epochs and contextualizing the reception. In the second part, the plays of four influential playwrights are analyzed: works by Juozas Grušas, Kazys Saja, Justinas Marcinkevičius and Marius Ivaškevičius. There are approximately forty Lithuanian plays translated into Estonian, most of them by Mihkel Loodus. Twenty plays have been staged in professional theatres, and twenty have been published, although some are still in manuscript. There are three groups of plays translated into Estonian: (1) plays depicting Soviet society, staged in Estonia in the second half of the 1950s and in the first half of the 1960s, 2) plays depicting Lithuanian history, mostly published as books, and 3) existential plays that form the majority of Lithuanian drama in Estonian.Keywords: Lithuanian drama; Estonian theatre; reception; cultural relations between Estonia and Lithuania
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Shapoval, Mariana. "The intellectual's artistic biography in S. Rosovetskyi's dramatic." Synopsis: Text Context Media 26, no. 1 (2020): 1–10. http://dx.doi.org/10.28925/2311-259x.2020.1.1.
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The global trend of digitalization and publishing of historical sources, in particular fiction and its existence in different eras, makes the reader constantly reconsider the lives and work of persons who are regarded as prototypes of characters in literary works. As a result, an artistic image, linked to real life and rooted in the past, generates a consistent literary story in the form of artistic biography. The number and variety of such literary works, including dramatic ones, is constantly growing, which determines the topicality of this study. Over the recent decades, biographical fiction drastically changed its forms, and was enriched with numerous genre varieties and modifications. And this process remains far from complete. The term ‘meta-genre of artistic biography’ is introduced to designate it. This term emphasizes the scale of a certain phenomenon and allows defining the subject of the study — the artistic biographical description of the intellectual in contemporary Ukrainian drama — as well as clarify the understanding of the concept of the ‘intellectual,’ and problematize ways of describing characters of this type. The purpose of the article is to identify the genre-style unity of Ukraine’s modern drama about intellectuals and prove the expediency of the application to it of interpretive approaches to popular knowledge from related areas (history, philosophy, art). Specifically, such varieties of genres as personal artistic biography and intellectual artistic biography were singled out and proposed for the first time on the literary material (S. Rosovetskyi), and that is the research novelty. The research methodology is defined by an interdisciplinary approach that appeals to the achievements of literary criticism, art criticism, history, and philosophy. Results of the Study are connected with considerations that the interest in the artistic biography of the intellectual is associated with a general trend to anthropologize scientific knowledge, coupled with the growing interest of the audience in the individual and personal in the history and in the present, with the dominance of the emotional component in contemporary media discourses, resulting in the actualization of an emotional narrative of the intellectual’s biography, which often sounds tragic nowadays in the context of the catastrophic past of the Ukrainian science and culture.
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Azarova, Valentina Vladimirovna. "French mystery drama in the mirror of the twentieth century." Культура и искусство, no. 3 (March 2022): 54–72. http://dx.doi.org/10.7256/2454-0625.2022.3.37697.
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The article considers the reflection of the basic laws of the mystery of the XIV–XVI centuries in the musical and theatrical works of the French "synthetic theater" of the twentieth century. These are "The Martyrdom of Saint Sebastian" by G. d'Annunzio — C. Debussy (1911) and "The Good News of Mary" by P. Claudel (1912-1948). The purpose of the work is to establish the peculiarities of the operation of the principles of semantics and composition of the genre, revived at the end of the XIX century and further developed in the French musical theater. In interdisciplinary, hermeneutical and art criticism approaches to achieving this goal, we distinguish a comparative method that allows us to draw conclusions about the identity and difference of the elements of these works, as well as about the genre "codes" of mystery dramas that enter into dialogue over a significant (about 300 years) time interval. We are talking about a dialogue within the history of Western European theater. In favor of the scientific novelty and significance of the work, we present theses on the integration of the spiritual dimension into the space of the mystery drama of the twentieth century, as well as on the relevance of the spiritual messages of the French composers of the twentieth century, who created mystery dramas in line with the Christian tradition. Conclusions are drawn: About the functions of liturgical choirs in Latin in French mystery dramas of the twentieth century, revealing the spiritual meaning of the works considered in this article. On the interaction of the sacred and profane as the leading genre feature of the mystery drama of the XIV–XVI centuries and the twentieth century. About the preservation of the spatial vector "earth — sky" by the French mystery drama of the twentieth century. On the connection of the French mystery drama of the twentieth century with the spiritual problems of modernity. About the search by the French mystery drama of the twentieth century for the possibility of overcoming the discrepancies between the world, God and man. About the inclusion of the French mystery drama of the twentieth century in the general cultural context.
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Vidal Mayor, Vanessa. "Alegoría barroca e imagen dialéctica: el esfuerzo de Walter Benjamin y Theodor W. Adorno para pensar la dialéctica de la naturaleza y la forma estética." Laocoonte. Revista de Estética y Teoría de las Artes, no. 4 (December 12, 2017): 199. http://dx.doi.org/10.7203/laocoonte.0.4.11065.
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El artículo expone en la primera parte la concepción de la forma estética alegoría en El origen del drama barroco alemán de Walter Benjamin y el modo en que Adorno se apropia de esta concepción para construir su idea de historia natural. La segundaparte del artículo se centra en exponer la relación de las alegorías con las imágenes dialécticas de la Exposé de 1935 para La obra de los pasajes y la crítica constructiva que hace Adorno a las mismas en la Carta-Hornberg. El artículo pretende mostrar el esfuerzo común de ambos pensadores para abordar el problema de la forma estética y su relación con la dialéctica y la naturaleza.This article offers in the first part an exposition of the aesthetic form allegory in Walter Benjamin’s ‘The origin of the German tragic drama’ and the way in which Adorno appropriates the allegory to build his idea of natural history. The secondpart of the article focuses on exposing the liaison between allegories and dialectical images of the 1935 Exposé to “The work of the passages” and Adorno´s constructive criticism to them in the Hornberg letter. The article aims to show the common effort of both thinkers to address the problem of the aesthetic form and its relation to dialectics and nature.
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van Emde Boas, Evert. "The Tutor’s Beard." Mnemosyne 68, no. 4 (July 2, 2015): 543–68. http://dx.doi.org/10.1163/1568525x-12301528.
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In this paper I discuss several cases of controversial speaker-line attribution in Greek tragedy, with the overall goal of showing that greater attention needs to be paid to gender-specific language in the business of textual criticism. Differences between male and female speech in Greek drama may offer crucial indications for the attribution of contested lines. I argue that the distribution of E. El. 959-966 in the manuscripts should be maintained, primarily for two gender-related reasons: women in tragedy do not give commands to servants if free men are present, and the discussion of clothing at 966 is typical of Electra’s female concerns. For the first half of the ‘recognition duet’ between Helen and Menelaus at E. Hel. 625-659, I argue, on the basis of recent work on male and female lyric, that 638-640 should be assigned to Helen, and that there is no need to avoid giving 636 or 654-655 to Menelaus because they are ‘too emotional’ for a man. In discussing these passages I seek to contribute to the growing understanding of the distinct characteristics of tragic male and female language, and to argue for the role that the study of those characteristics can play in textual criticism.
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Goldberg, Sander M. "Plautus on the Palatine." Journal of Roman Studies 88 (November 1998): 1–20. http://dx.doi.org/10.2307/300802.
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It was probably in the agora at Athens and possibly in the seventieth Olympiad (i.e. 499–496 B.C.) that a wooden grandstand collapsed while a play by Pratinas was being performed. The Athenians responded quite sensibly to this disaster by moving their dramatic performances to the precinct of Dionysus Eleuthereus, where the audience could be more safely accommodated on the south slope of the acropolis. Or so it appears: no fact of this early period in ancient theatre history is ever entirely secure. By the time of Aeschylus, however, what we call the Theatre of Dionysus was certainly the place where Athenian tragedies and comedies were performed, and the facility grew in size and grandeur along with the festivals it served. One result of this continuity has been a great boon to the performance-based criticism of Greek drama.
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Livingstone, David. "A Dreadful Goodness: The Spiritual Shockers of Charles Williams." Linguaculture 13, no. 1 (June 30, 2022): 120–30. http://dx.doi.org/10.47743/lincu-2022-1-0251.
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Charles Williams has been and will undoubtedly continue to be the third wheel in the literary circle of the Inklings, behind his celebrity colleagues J. R. R. Tolkien and C. S. Lewis. The reasons for this are manifold and partially deserved. Williams was a prolific writer who published books in various genres (novels, poetry, drama, non-fiction) and on a wide range of subjects (theology, literary criticism, history, biography, the occult, etc.). Williams was also an influential editor at Oxford University Press and a respected lecturer. This article will focus on the most well-known area of his writing, his novels, which C. S. Lewis referred to as “spiritual shockers”, not in disdain, but in admiration. Attention will be on what I believe are his most important and accomplished novels: Descent into Hell and All Hallow’s Eve. My particular interest will be on his remarkably realistic treatment of the supernatural.
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Partola, Y. V. "Problems of Teaching Theater Criticism in the First Years of the Kharkiv Theater Institute." Problems of Interaction Between Arts, Pedagogy and the Theory and Practice of Education 51, no. 51 (October 3, 2018): 41–69. http://dx.doi.org/10.34064/khnum1-51.02.
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Background. The history of theater criticism in Ukraine is a poorly understood science area. The process of formation and development of Theater Studies education is even less learned page of our theatrical process. Currently we have mainly short background history descriptions of the single theatrical departments than the reproduction of the whole process. Kharkiv Theater Institute (now the Kharkiv National University of Arts named after I. P. Kotlyarevsky) is highlighted in several publications that date back to the jubilee dates of the educational institution (the articles by N. Logvinova (1992 [17]), H. Botunova (2007 [9]), H. Botunova in collaboration with I. Lobanova (2017 [8]) and with I. Lobanova and Yu. Kovalenko (2012 [6]). Taking into account the reference and informational nature of these writings, the question of the methodology of teaching specialized disciplines, in particular, theatrical criticism, practically is not considered. The aim of this study is to analyze the process of formation of theater studies education within the boundaries of Kharkiv theatrical school, to determine the main methodological principles of theater criticism teaching in the context of the theatrical process development in general and the theatrical critical thought in particular, and also to consider the objective and subjective factors that were influenced on the schooling process in theatrical criticism area. Results. The development of theatrical criticism is directly related to the development of theatrical art. The active theatrical movement of the 1920’s has produced a great wave of theatrical criticism that was unprecedented in Ukrainian journalism. Among the factors that influenced the formation of the institute of theater criticism is the development of theater education in Kharkiv of the same period. And the most important thing is that authoritative theorists and practitioners have been involved in the organization and functioning of these educational institutions, teaching historical and theoretical disciplines: I. Turkeltaub, A. Bielecki, Ya. Mamontov, I. Shevchenko, M. Voronyi. It would seem that the logic of the theatrical process and theater education and the level of theatrical-critical thought should one way or another lead to the creation of the theatrical faculty (department) in one of Kharkiv’s higher educational institutions. However, the devastating defeat of the Ukrainian theater during the theatrical disputes of the late 1920’s and the further physical elimination of both theatrical artists and the chroniclers of their work, did not leave a trace of the rise and diversity of critical thought. The repressive processes also did not walked past and the sphere of theater education. In 1934, the Musical-Theater Institute in Kharkiv was closed. The rapid stage of development of all areas of theatrical art, which could lead to the establishment of a vocational school, was artificially torn and slowed down the process of establishing Theater Studies education on a certain time. A new stage in the history of Kharkiv’s theatrical criticism, which ultimately led to the establishment of vocational education, began after the liberation of the city in 1944, when the faculty of Theater Studies was opened at the Kharkiv Theater Institute due to initiative of S. Ignatov and A. Pletniov. Historical and theoretical disciplines were dominated in the theatre theorist’ education. Also there were a few subjects provides skills and ability to analyze drama, performance, directing and acting, the modern theatrical process: “Introduction to Theater Studies”, “Theatrical Criticism Workshop”, “Theory of Literature and Drama”. However, their teaching was extremely unsystematic. In search of the “Criticism” teacher the institute appealed to one of the most experienced theatrical reviewers V. Morsky, who had more than 20 years of experience in journalism at that time. This discipline did not have a clear developed program, work plan, methodological development, there was not even a well-known name, and it appears as “Reviewer Practicum”, “Theater Criticism”, “Theatrical Criticism Workshop”. V. Morsky was an active journalist and his method of teaching was based primarily on personal experience and everyday practice. The most important thing that was instilled to students is the need to write and publish. At the classes, students discussed and analyzed Kharkiv theaters’ performances, write reviews and read them directly in class. If there were not enough theatrical events, the lector chose music concerts and new movies to analyze. Active and gifted students were attracted to the review work in the newspaper “Krasnoye Znamya”, where he headed the Department of Culture, and they were beginning be published from a student’s times. He taught his students to analyze first the aesthetic and artistic qualities of artistic works, and not ideological and sociological components. An equally important factor in the young critics’ formation was the newspaper theatrical journalism, which was at a high professional level in Kharkiv in the late 1940’s. The theater life in the city was regularly covered in newspapers by V. Morsky, G. Gelfandbein, L. Zhadanov (L. Livshits) and B. Milyavsky. The prime of theatrical and generally artistic life, the rise of local journalism did not last long. The new repressive campaign in the USSR in 1946–1949 held in the field of science, literature, culture and the art. During these campaigns, a pleiad of highly talented teachers was fired from the institute or they quitted. It destroyed major of Kharkiv journalism in the 1940’s, including the first teacher of theatrical critique V. Morsky that was arrested and soon died in exile. Theatrical criticism as a profession for many years has lost its position of influence on the artistic process and disappeared from the Institute schedule in the function of classroom discipline for some time. Significantly decreased the amount of wishing to restock the ranks of “rootless cosmopolitans” (so they were reviled by official propaganda); the competition for Theater Studies department was virtually non-existent. Conclusions. Formation of the Theater Studies Department, developing teaching methods of one of the core subjects – theater criticism – at the Kharkiv Theater Institute took place against a background of difficult conditions of historical reality saturated ideological and political repression. This fact has not contributed to the development of theater criticism. National Theater Studies must go a long way to recreate an objective picture of the development of Ukrainian theatrical criticism, to define its stages and trends, fill in the lacunae in the biographies of scientists and formulate the originality of the methodology each of them.
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Bergeret Muñoz, Roger Joseph, Alejandro Quintero León, and Mónica Corazón Gordillo Escalante. "Complexity of Acapulco Evolution as a Tourist Destination." Journal of Intercultural Management 9, no. 3 (September 1, 2017): 5–27. http://dx.doi.org/10.1515/joim-2017-0011.
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AbstractThe paper analyzes diachronically the evolution and complexity of tourist activity in Acapulco, which was a very significant part of the history of Mexico in the 20th century and even centuries before, it was configured as Mexican icon of tourism for the world. This study is supported by evolution and complexity theories. The research presented is qualitative, inductive, diachronic and hermeneutical; relies on heuristics, criticism and synthesis. Applied materials were documentary, bibliographic and historical sources and statistical records on tourist activity. It is concluded that Acapulco, throughout the evolution history, has been an important factor in the economic, social and historical development, related to tourism, arising as an enclave of freedom, fantasy, imagination and hedonism, located on a life cycle of replenishment or rejuvenation in a sub-stage of stagnation although that is not what strategists, society and private initiative want, due changes in market behavior, complex actions are demarcated, they are not sustainable but still are being applied.
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Yanagawa Yosuke. "The History of Korean Theatre in the Early 1930s Examined through Yoo Chi-jin's Japanese-Language Criticism: Focusing on "The Korean New-Drama Movement"." Journal of Korean drama and theatre ll, no. 59 (March 2018): 255–87. http://dx.doi.org/10.17938/tjkdat.2018..59.255.
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