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Journal articles on the topic 'Mystery plays'

Author: Grafiati

Published: 4 June 2021

Last updated: 1 February 2022

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1

Atkinson, David. "Review: Play: The Northern Mystery Plays." Cahiers Élisabéthains: A Journal of English Renaissance Studies 36, no. 1 (October 1989): 98–101. http://dx.doi.org/10.1177/018476788903600125.

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2

Warnicke, Retha M. "More'sRichard IIIand the mystery plays." Historical Journal 35, no. 4 (December 1992): 761–78. http://dx.doi.org/10.1017/s0018246x00026157.

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AbstractAn analysis of Thomas Mare's English version ofThe history of King Richard IIIindicates that the popular mystery cycles influenced his composition. Associated with the celebrations of Corpus Christi Day, the cycles present a series of biblical plays, beginning with the Creation and ending with the Last Judgment. The important themes of tyranny and sacrifice, which this drama explores, also loom large inRichard III. The theme of tyranny is loosely related in the cycles through Lucifer's functioning as the prototype of all earthly tyrants, including More'sRichard III. Evidence of the sacrifice, which is at the heart of the mass, can also be found in many biblical scenes. More's reference to Richard's adolescent nephews as ‘innocent babes’ links them to the infants Herod earlier sacrified to his ambitions. Indeed, inRichard III, More does make an intriguing reference to a cobbler performing the role of a ‘sowdayne’ in a play. The suggestion that this drama influenced More's writing is consistent with the speculation that he composed the English version first and then, with the classics in mind, wrote out a separate Latin text, for the two versions have significant differences in imagery, word choice and structure.

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3

Ireland, John. "Freedom as Passion: Sartre's Mystery Plays." Theatre Journal 50, no. 3 (1998): 335–48. http://dx.doi.org/10.1353/tj.1998.0085.

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4

Guynn, N. D. "Saints at Play: The Performance Features of French Hagiographic Mystery Plays." French Studies 67, no. 4 (September 27, 2013): 543–44. http://dx.doi.org/10.1093/fs/knt216.

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5

Mazouer, Charles. "Marguerite de Navarre et le mystère médiéval." Renaissance and Reformation 38, no. 4 (January 1, 2002): 51–64. http://dx.doi.org/10.33137/rr.v38i4.8838.

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This article examines the relationship between Marguerite de Navarre’s biblical plays and the genre of the fifteenth- and sixteenth-century medieval mystery play by focusing on three dramatic elements: staging, characters, and language. While, with respect to staging, Marguerite recaptures the structure of the mystery play, she takes less interest in the representation of the movements of the characters and in the realistic scenes, which were central to this medieval genre; as she reduces the dramatic events and their dynamics, she concedes little to the performance, privileging hearing over seeing. Regarding the characters, Marguerite also moves away from the conventions of the mystery play, according to which characters were endowed with familiar, concrete, human traits. Except for a few conspicuous cases, the queen of Navarre shows a preference for symbolic, abstract entities, or for human characters so disembodied that their faith or holiness takes them away from the human world and closer to the heavens. As for the language of her plays, Marguerite creates a poetic rhythm that almost depletes the life and suppleness of the dialogue. Thus the vivacity of the verbal exchanges is transcended to the advantage of other styles that are less suited to the genre of theater, with the exception of the sermon and spiritual lyricism. In conclusion, Marguerite, in her four biblical plays, undermines the medieval form of the mystery play, which, however, she also recaptures.

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6

Crispin, P. "The York Mystery Plays: Performance in the City." English 64, no. 244 (October 29, 2014): 69–70. http://dx.doi.org/10.1093/english/efu029.

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7

ARONSON-LEHAVI, SHARON. "‘The End’: Mythical Futures in Avant-Garde Mystery Plays." Theatre Research International 34, no. 2 (July 2009): 116–23. http://dx.doi.org/10.1017/s0307883309004441.

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Biblical theatre re/presents, images and imagines the future. This is because the ultimate future, the End of Days, is a part of its narrative. The paradigmatic example is medieval mystery plays that present the world ‘from creation to doom’, and which end in the futuristic episode of the Last Judgment. In this essay I examine theatrical and performative mechanisms of performing the future/End in what I term modern mysteries, which are contemporary avant-garde performances of the biblical texts. These performances simultaneously rely on and open up anew scriptural texts to create a powerful, modern experience. I identify three models of ‘the End’ in modern mysteries that are related to social and political issues: merger and utopia; descent, disappearance and apocalypse; and a cyclical, bi-directional movement towards both utopia and dystopia.

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8

Grimes, Ronald L. "Ritual in the Toronto Towneley Cycle of Mystery Plays." Studies in Religion/Sciences Religieuses 16, no. 4 (December 1987): 473–80. http://dx.doi.org/10.1177/000842988701600409.

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9

Cox, John D. "The Devil and Society in the English Mystery Plays." Comparative Drama 28, no. 4 (1994): 407–38. http://dx.doi.org/10.1353/cdr.1994.0050.

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10

Wrigley, Amanda. "The Spaces of Medieval Mystery Plays on British Television." Shakespeare Bulletin 33, no. 4 (2015): 569–93. http://dx.doi.org/10.1353/shb.2015.0058.

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11

Rogerson, Margaret. "‘Everybody Got Their Brown Dress‘: Mystery Plays for the Millennium." New Theatre Quarterly 17, no. 2 (May 2001): 123–40. http://dx.doi.org/10.1017/s0266464x00014548.

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The year 2000 prompted a review of the past millennium that took various forms – and lent a special significance to revivals of the medieval mystery plays for the celebrations in Coventry and York. Margaret Rogerson here argues that, no less than their local medieval counterparts, revivals can function as both community theatre and religious celebration – their appeal in a secular modern world raising fewer questions than versions of the Christian story adapted for the commercial or institutional theatre. She demonstrates how special efforts were made in the millennium revivals to reach out to the community; both local and global, and how through associated educational programmes and the inclusion of a wide range of participants, they introduced innovations into local traditions and built on the past to contribute to a continuing theatrical heritage. Margaret Rogerson is a Senior Lecturer in the Department of English at the University of Sydney who is currently researching the mystery play revival traditions in York from 1951 to 2000.

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12

Shipilova, Nataliya Vital'evna. "“N-Town Mystery Plays”: Specificity of Arrangement and Scenic Interpretation." Philological Sciences. Issues of Theory and Practice, no. 1 (January 2020): 116–21. http://dx.doi.org/10.30853/filnauki.2020.1.24.

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13

Matus, Irvin Leigh. "An Early Reference to the Coventry Mystery Plays in Shakespeare?" Shakespeare Quarterly 40, no. 2 (1989): 196. http://dx.doi.org/10.2307/2870822.

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14

Knight, Alan E. "Faded Pageant: The End of the Mystery Plays in Lille." Journal of the Midwest Modern Language Association 29, no. 1 (1996): 3. http://dx.doi.org/10.2307/1315254.

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15

Cushman, Helen. "Handling Knowledge: Holy Bodies in the Middle English Mystery Plays." Journal of Medieval and Early Modern Studies 47, no. 2 (May 2017): 279–304. http://dx.doi.org/10.1215/10829636-3846335.

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16

Verhey, Melissa. "Saints at Play: The Performance Features of French Hagiographic Mystery Plays by Vicki L Hamblin." MLN 129, no. 4 (2014): 1067–70. http://dx.doi.org/10.1353/mln.2014.0086.

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17

Margaret Rogerson. "Medieval Mystery Plays in the Modern World: A Question of Relevance?" Yearbook of English Studies 43 (2013): 343. http://dx.doi.org/10.5699/yearenglstud.43.2013.0343.

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18

Weigert, Laura. "‘Theatricality’ in Tapestries and Mystery Plays and its Afterlife in Painting." Art History 33, no. 2 (April 2010): 224–35. http://dx.doi.org/10.1111/j.1467-8365.2010.00739.x.

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19

McGavin, John J. "The York Mystery Plays: Performance in the City (review)." Studies in the Age of Chaucer 34, no. 1 (2012): 426–29. http://dx.doi.org/10.1353/sac.2012.0004.

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20

Vicki L. Hamblin. "Striking a Pose: Performance Cues in Four French Hagiographic Mystery Plays." Comparative Drama 44, no. 2 (2010): 131–54. http://dx.doi.org/10.1353/cdr.0.0106.

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21

Evans, R. "The York Mystery Plays: Performance in the City, ed. Margaret Rogerson." English Historical Review 127, no. 529 (November 28, 2012): 1494–96. http://dx.doi.org/10.1093/ehr/ces254.

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22

Yanuarto, Wanda Nugroho. "Students’ Creativity in Geometry Course : How a Mystery Box Game Plays Important Role." Jurnal VARIDIKA 29, no. 1 (August 30, 2017): 87–95. http://dx.doi.org/10.23917/varidika.v29i1.5152.

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The purpose of this study are encouraging students’ creativity by mystery box games and become more aware of their mathematical thinking. The situational problem as the starting point helps students to relate what they learn to problems in daily life, and construct and interpret geometry that are related to real situations, and this helps to correct their alternative conceptions in geometry courseto encourage students’ creativity in Geometry Course. There are three abilities to encouraging students’creativity, they are synthetic ability, analytic ability, and practical ability. The subjects of this research is the students of the 1st semester of 2014 academic year class A of mathematical education of Muhammadiyah University of Purwokerto, Central Java, Indonesia. The data of this research is through observation sheet, recording videos, portofolios, and questionnaires. Those data was analyzed through data reduction, data presentation, and conclusion. This study shows that to encouraging students’ creativity can analyzed by mystery box in Geometry Course.

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23

Guynn, Noah D. "Binocular Vision." Romanic Review 111, no. 1 (May 1, 2020): 173–91. http://dx.doi.org/10.1215/00358118-8007999.

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Abstract This essay deploys Bruno Latour’s An Inquiry into the Modes of Existence and Bert States’s Great Reckonings in Little Rooms to analyze the pyrotechnics used in mystery plays to symbolize supernatural truths. On the one hand, these effects cultivated aesthetic immersion, allowing audiences to perceive stage illusions as real. On the other hand, they drew attention to their own artfulness, inviting spectators to marvel at human achievement and contemplate the possibility of misfire. This paradox encapsulates the theological ambiguities of medieval religious theater, which asked spectators to suspend disbelief in the name of conversion even as they maintained skepticism about sacred simulacra. Latour’s metaphysics allows us to see how mystery plays deployed multiple modes of existence, each of which mediated the others but could not reduce or explain them. States’s theater phenomenology shows us how mystery plays used self-given realities like flame to shuttle between human and nonhuman standpoints. If Latour rejects phenomenology for its refusal to consider the agency of the nonhuman, States’s focus on reality as resistance offers an implicit retort. I propose a rapprochement by showing that theater phenomenologists and medieval effects masters are both willing to embrace the ontological work of nonhuman actants.

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24

Patil, Suwarna, Dilip Sarate, Manjiri Khade, Swarada Kangate, and Pradeep Rudra. "HYDATIDOSIS: A MYSTERY BOX AT VARIOUS SITES." International Journal of Advanced Research 9, no. 4 (April 30, 2021): 1003–9. http://dx.doi.org/10.21474/ijar01/12795.

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Introduction: Hydatid disease caused by the larvae of the cestode Echinococcus, occurs worldwide. Although, hydatid can occur at any site, liver (59-75%), lung (27%) and spleen are the most commonly affected organs. Clinical suspicion along with radiological findings help in the diagnosis of hydatid. Fine Needle Aspiration Cytology (FNAC) plays an important role for initial diagnosis, while histopathology is confirmatory. Aims:This study was carried out to know the various possible sites for hydatid and to understand the approach towards diagnosis. Materials and Methods: The present study was a retrospective five years cross-sectional study, carried out at Tertiary Care Teaching Hospital, in Department of Pathology. Total of 24 cases were found to have hydatidosis. Results: maximum of 12 cases (50%) were seen in 41-60 years of age. liver as most common site of hydatid cyst (11 cases Ã¢Â€Â“ 46%), followed by lung (25%) and spleen (17%). Conclusion: Hydatidosis occurs worldwide with human as the dead-end host. FNAC is the easy, feasible way to diagnose hydatidosis. Histopathology plays the key role in autopsy cases.

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25

Clopper, Lawrence M. "From Creation to Doom: The York Cycle of Mystery Plays. Clifford Davidson." Speculum 60, no. 4 (October 1985): 964–67. http://dx.doi.org/10.2307/2853747.

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26

Guilfoyle, Cherrell. "The Staging of the First Murder in the Mystery Plays in England." Comparative Drama 25, no. 1 (1991): 42–51. http://dx.doi.org/10.1353/cdr.1991.0036.

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27

GRANGER, PENNY. "The York Mystery Plays: Performance in the City - Edited by Margaret Rogerson." History 97, no. 325 (January 2012): 145–47. http://dx.doi.org/10.1111/j.1468-229x.2011.00543_18.x.

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28

Gudimova, Svetlana. "THE MUSICAL MYSTERY OF OLIVIER MESSIAEN." Herald of Culturology, no. 3 (2020): 68–77. http://dx.doi.org/10.31249/hoc/2020.03.05.

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The article is dedicated to the opera «St. Francis of Assisi» by the outstanding French composer of the 20 th century Olivier Messiana. This opera is the composer's great summa musicae. In it, he used almost all the musical means used by him earlier. As for the drama, it is completely different than in all operas and musical dramas that still exist, and not only in the sense of stage, but also musical. This is a completely new word in opera. “St. Francis of Assisi” is not only a musical mystery, since scenography (carefully designed by Messian in the libretto and score) plays a significant role here.

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29

Sturges, Robert S. "Spectacle and Self-Knowledge: The Authority of the Audience in the Mystery Plays." South Central Review 9, no. 2 (1992): 27. http://dx.doi.org/10.2307/3189528.

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30

Lambourne, Norah. "Designing for the York Cycle of Mystery Plays in 1951, 1954 and 1957." Costume 30, no. 1 (January 1, 1996): 16–36. http://dx.doi.org/10.1179/cos.1996.30.1.16.

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31

Tyler, Mike. "Revived, remixed, retold, upgraded? The heritage of the York Cycle of Mystery Plays." International Journal of Heritage Studies 16, no. 4-5 (July 2010): 322–36. http://dx.doi.org/10.1080/13527251003775679.

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32

Robinson, J. W. "From Creation to Doom: The York Cycle of Mystery Plays by Clifford Davidson." Comparative Drama 19, no. 4 (1985): 365–67. http://dx.doi.org/10.1353/cdr.1985.0040.

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33

Abrams, Joshua. "Der Weg der Verheissung (The Eternal Road), and: York Millennium Mystery Plays (review)." Theatre Journal 53, no. 1 (2001): 148–51. http://dx.doi.org/10.1353/tj.2001.0001.

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34

Domsch, Sebastian. "Staging Icons, Performing Storyworlds – From Mystery Play to Cosplay." Acta Universitatis Sapientiae, Film and Media Studies 9, no. 1 (December 1, 2014): 125–29. http://dx.doi.org/10.1515/ausfm-2015-0006.

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Abstract One of the oldest complex forms of intermediality is the static live-performance adaptation of the iconographic qualities of well-known stories. Early examples of this phenomenon are the depictions of biblical scenes in the form of grand (and largely static) tableaux in medieval Mystery Plays, very popular until the emergence of the professional entertainment stage. The nineteenth century had its fascination with the tableaux vivants - not coincidentally during the time that photography was introduced - and the late twentieth century saw the beginning of the newest variety with cosplay, which has by now become a global cultural phenomenon. Cosplay, the activity of fans dressing up and posing in a visually recognizable way as characters from popular media franchises such as manga, anime, or TV series, developed from role-playing activities into its current, highly ritualized static form through its symbiosis with amateur photography. This paper wants to first analyse the underlying art form in its historical varieties from an intermedial perspective, and in connection with that, it will explore the deeper philosophical significance of this practice, looking particularly at the role of embodiment.

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35

WIEBE, HEATHER. "Benjamin Britten, the ““National Faith,”” and the Animation of History in 1950s England." Representations 93, no. 1 (2006): 76–105. http://dx.doi.org/10.1525/rep.2006.93.1.76.

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ABSTRACT This article examines constructions of national Christian tradition in 1950s England, focusing on images of deadness and revivification in two products of the religious drama movement: the York Mystery and other plays presented at the 1951 Festival of Britain, and Benjamin Britten's 1958 children's opera Noye's Fludde.

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36

de Chirico, Leonardo. "The dignity of the human person: Towards an evangelical reading of the theology of personhood of Vatican II." Evangelical Quarterly 77, no. 3 (April 21, 2005): 249–59. http://dx.doi.org/10.1163/27725472-07703004.

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Present-day magisterial Roman Catholicism offers an interesting perspective on personhood. Recent interest in personhood has been fostered by Vatican II (1962-1965), especially the ‘Pastoral Constitution on the Church in the Modern World’ (Gaudium et spes) and the ‘Declaration on Religious Freedom’ (Dignitatis humanae). The anthropological thrust of Vatican II is particularly referred to the dignity of the human person, her mystery, and vocation. In all these aspects of personhood, the Church plays a fundamental role. In fact, the (Roman) Church is seen as safeguarding the dignity of the person , shedding light on the mystery of the person, and is the place where the person can fully accomplish his vocation. While the focus seems to be on the person, the Church is always in the background.

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37

Grantley, Darryll. "York Mystery Plays: A Selection in Modern Spelling ed. by Richard Beadle, Pamela M. King." Studies in the Age of Chaucer 8, no. 1 (1986): 164–66. http://dx.doi.org/10.1353/sac.1986.0008.

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38

Joohee Park. "The Laity, The Church and the Mystery Plays: A Drama of Belonging (review)." Theatre Journal 62, no. 2 (2010): 309–10. http://dx.doi.org/10.1353/tj.0.0374.

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39

Matyjaszczyk, Joanna. "The Conflicting Traditions of Portraying the Jewish People in the Chester Mystery Cycle." Text Matters, no. 8 (October 24, 2018): 171–88. http://dx.doi.org/10.1515/texmat-2018-0011.

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The article seeks to analyze the portrayal of the Jews in two plays from the Chester mystery cycle: “Trial and Flagellation” and “The Passion.” The analysis acknowledges that the cycle is a mixture of, and a dialogue between, the universal standpoint emerging from the presentation of the biblical story of humankind and a contemporary perspective, pertaining to the reality of the viewers. Therefore, while pointing to the unique formal and structural uniformity of the cycle, which strengthens the idea of continuity between the Old and the New Covenant and the role of the Israelites in the history of salvation, it also recognizes the potential of the plays to engage in the current stereotypes. The article examines how the Gospel account of Christ’s trial and death is modified through presenting the Jews as torturers, whitewashing the non-Jewish characters, and placing special emphasis on the question of Jewish ignorance. It is demonstrated how different theological and popular stances concerning the Jewish people are merged and reconciled in the Chester representation of the passion of Christ and it is argued that the plays in question retell the biblical story in such a way that the justification for the expulsion of the Jews from England could be derived from it.

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40

Carson, Neil. "Collaborative Playwriting: The Chettle, Dekker, Heywood Syndicate." Theatre Research International 14, no. 1 (1989): 13–23. http://dx.doi.org/10.1017/s0307883300005526.

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That a large number of Elizabethan plays are the product of dramatic collaboration is well known. Just how this process of ‘collective creation’ operated in the public theatres, however, remains something of a mystery. Attempts to explore the mechanics of collaborative play writing have been of different kinds. The most common have been studies of published plays undertaken in the hope that characteristics of style would reveal the shares of contributing dramatists. In spite of valuable work (notably by Cyrus Hoy), however, too many of these studies suffer from the weaknesses described by Samuel Schoenbaum in his analysis of the limitations of conclusions about authorship based on internal evidence. As a consequence, assertions about patterns of collaboration based on the identification of an author's stylistic characteristics, such as those made in the early 19205 by Dugdale Sykes, are not as fashionable as they once were.

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41

Putney, James W. "Capacitative calcium entry." Journal of Cell Biology 169, no. 3 (May 2, 2005): 381–82. http://dx.doi.org/10.1083/jcb.200503161.

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A long-standing mystery in the cell biology of calcium channel regulation is the nature of the signal linking intracellular calcium stores to plasma membrane capacitative calcium entry channels. An RNAi-based screen of selected Drosophila genes has revealed that a calcium-binding protein, stromal interaction molecule (STIM), plays an essential role in the activation of these channels and may be the long sought sensor of calcium store content.

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42

Kim, Junhan. "Intention and Effects of the French 15th Century Religious Dramas: Devil Scenes in Hagiographic Mystery Plays." Comparative Literature 82 (October 31, 2020): 141–70. http://dx.doi.org/10.21720/complit82.05.

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43

Jarosz, Agnieszka. "Ślady twórczości Juliusza Słowackiego we wczesnych dramatach Karola Wojtyły (Hiob, Jeremiasz)." Roczniki Humanistyczne 68, no. 1 Zeszyt specjalny (2020): 173–86. http://dx.doi.org/10.18290/rh.2068s-12.

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The article concerns two juvenilia plays by Karol Wojtyła, Job and Jeremiah, that were written in 1940. Those works were influenced by the difficult reality of war. The first and primary inspiration for those two dramas was the Bible, as the titles themselves indicate. However, the model of Polish Romanticism also heavily influenced the shape of the poetic world of those works. This article attempts to indicate in Job, as well as in Jeremiah, those thoughts that are close to the Romantic and Messianic historiosophies. It describes, in a synthetic manner, the main noticeable points from Wojtyła’s works that coincide with the motives present in Juliusz Słowacki’s work, especially in the play Father Marek, which started the mystical and genesian period of the Romantic’s literary work. Attention is paid to, e.g. the genre characteristics of the mystery (which is close to the genre form of the late Baroque mystery, as represented by the works of Calderon). Among those features the following items are mentioned: the composition of the works, the structure of time and space, the creation of images, the rule of the “theatre in the theatre,” and visionariness. In addition, a presentation of the main ideas and creation of the title characters (Job, Jeremiah and Father Marek) is also given in outline.

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44

Koger, Grove. "Sources: Blood on the Stage: Milestone Plays of Crime, Mystery, and Detection: An Annotated Repertoire, 1900–1925." Reference & User Services Quarterly 48, no. 3 (March 1, 2009): 304. http://dx.doi.org/10.5860/rusq.48n3.304.

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45

MARX. "THE PROBLEM OF THE DOCTRINE OF THE REDEMPTION IN THE ME MYSTERY PLAYS AND THE "CORNISH ORDINALIA"." Medium Ævum 54, no. 1 (1985): 20. http://dx.doi.org/10.2307/43628862.

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46

Lan, Pengfei, Bin Zhou, Ming Tan, Shaobai Li, Mi Cao, Jian Wu, and Ming Lei. "Structural insight into precursor ribosomal RNA processing by ribonuclease MRP." Science 369, no. 6504 (June 25, 2020): 656–63. http://dx.doi.org/10.1126/science.abc0149.

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Ribonuclease (RNase) MRP is a conserved eukaryotic ribonucleoprotein complex that plays essential roles in precursor ribosomal RNA (pre-rRNA) processing and cell cycle regulation. In contrast to RNase P, which selectively cleaves transfer RNA–like substrates, it has remained a mystery how RNase MRP recognizes its diverse substrates. To address this question, we determined cryo–electron microscopy structures of Saccharomyces cerevisiae RNase MRP alone and in complex with a fragment of pre-rRNA. These structures and the results of biochemical studies reveal that coevolution of both protein and RNA subunits has transformed RNase MRP into a distinct ribonuclease that processes single-stranded RNAs by recognizing a short, loosely defined consensus sequence. This broad substrate specificity suggests that RNase MRP may have myriad yet unrecognized substrates that could play important roles in various cellular contexts.

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47

Cornici, Antonella. "King Lear’s Fool." Theatrical Colloquia 10, no. 1 (May 1, 2020): 45–73. http://dx.doi.org/10.2478/tco-2020-0004.

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AbstractShakespeare does not introduce the Fool in his plays by accident or in order to entertain or to amuse. On the contrary, his lines are earnest, filled with undertones, his advices are witty, and their purpose is to amend the one they are aimed at, to point out their mistakes, to warn them, and even to intervene in the play’s plot. The journey of the Fool in King Lear shows that, without this character, the play would be situated somewhere at the border with the Irrational. All the characters seem to be lacking reason, they act without logic. By bringing in the Fool, one is presented the image of the “standstill” in which England’s Royalty was. All the irrationality is transferred to the King. The rest of the characters are, thus, “saved”, their actions being justified by affections that darken their minds and, obviously, accountable for those senseless actions is no one else but Lear.The disappearing of the Fool in King Lear remains a mystery that directors have “deciphered” in many ways. Shakespeare inserted this character in the middle of the first act and kept him throughout the play until the third act; then, gradually, the king’s fool disappeared. The manner this happens is almost imperceptible.The productions of this play are not numerous, King Lear, as critic Marina Constantinescu noticed, is, perhaps, one of the most difficult plays of Shakespeare, profoundly philosophical, linguistically complicated, filled with human nuances, sophisticatedly put on page.The performances to which we will make reference for the monologue of the Fool from King Lear are by Andrei şerban (2008 and 2012, Bulandra Theater) and Tompa Gábor (2006, Cluj National Theater).

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48

Vasyliev, Yevhenii. "Genre searches in ukrainian playwrights’ plays about hybrid war." LITERARY PROCESS: methodology, names, trends, no. 15 (2020): 19–25. http://dx.doi.org/10.28925/2412-2475.2020.15.3.

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The tragic events of the Revolution of Dignity and the hybrid war have been reflected in various stylistics and genre parameters of dramatic works. The brightest of them were included in two recent anthologies, which were prepared and published thanks to the efforts of the Department of Drama Projects of the National Center for the Performing Arts named after Les Kurbas. The first of them, “Maidan. Before and After. Anthology of the Actual Drama” (2016), has absorbed 9 plays by the authors of different generations (Yaroslav Vereshchak, Nadiia Symchich, Oleg Mykolaychuk, Neda Nezhdana, Oleksandr Viter, Dmytro Ternovyi, etc.). The completely new second anthology “The Labyrinth of Ice and Fire” (2019) also consists of 9 plays (three of which are also part of the previous anthology), which are the reflections of the modern history of Ukraine. The texts about the hybrid war, which are included in two anthologies, are the subject of our analysis. The focus is on the genre specificity of these drama works. The genre modifications of archaic genres inherent in the Ukrainian theatrical tradition (vertep, mystery) are studied in the plays “Vertep-2015” by Nadiia Marchuk and “Maidan Inferno, or On the Other Side of Hell” by Neda Nezhdana. The functioning of the documentary and epic drama (“The Chestnut and the Lily of the Valley” by Oleg Mykolaychuk, “The People and Cyborgs” by Olena Ponomareva and Dario Fertilio) is analysed. The processes of episation and lyricization are considered. The peculiarities of intergeneric diffusion and the creation of a specific genre type — lyrico-epic drama are analysed. The actual monodramas of Neda Nezhdana “The Cat in Memory of the Darkness” and “OTVETKA@ UA” are highlighted, as well as the intermedial character of the genre transformations of Igor Yuziuk’s drama “C-sharp Sixth Octave”

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Houghton, David Patrick. "The Role of Analogical Reasoning in Novel Foreign-Policy Situations." British Journal of Political Science 26, no. 4 (October 1996): 523–52. http://dx.doi.org/10.1017/s0007123400007596.

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A number of scholars have argued that historical analogizing plays an important role in foreign-policy decision making; the extent of that importance, however, remains largely a mystery to us. This article proposes that analogical reasoning is probably even more commonplace than previously thought, since it may play a crucial role even in ‘novel foreign policy situations’ (scenarios which appear largely unprecedented to the decision makers confronting them).One notable example of a novel foreign-policy situation is provided by the Iranian hostage crisis. Examining the Carter administration's decision-making processes during that crisis, the article concludes that even though many saw the hostage crisis as a unique occurrence, the participants drew upon a wide range of historical analogies in order to make sense of what was occuring and to propose suggested ‘solutions’ to the crisis.

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Kaczmarek, Tomasz. "To break “the Black Wall”. The motif of fear in plays by Henri-René Lenormand." Acta Universitatis Lodziensis. Folia Litteraria Polonica 57, no. 2 (June 30, 2020): 27–38. http://dx.doi.org/10.18778/1505-9057.57.02.

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Henri-René Lenormand refreshed theatre, defining a new domain for it: the mysteries of the human soul. In all of his plays, he strived to explain the secret of internal life, as well as to solve the mystery that people are to themselves. Therefore, dramaturgy was for the author of La Folle du Ciel not only a means of literary expression, but also a kind of therapy, enabling him to combat his depression. In this article, three plays are discussed: Le Temps est un songe, Les Ratés, and Le Lâche, in which the French playwright diagnosed cases of melancholia by describing the psychotic world from the perspectives of the suffering protagonists. He presented them in closure, isolated from the rest of the world, suffocating in claustrophobic rooms under mansard roofs which symbolised their strained mental conditions. Apart from physical walls, in Lenormand’s works there is also the invisible to the eye yet pervasive “black wall”, in front of which a human being stands completely defenceless and mentally broken, trying to find in it even the slightest crack enabling them to escape the delusional world.

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