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Journal articles on the topic 'Russian Dramatists'
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1
NDiaye, Iwona Anna. "Badania nad współczesną dramaturgią rosyjską Walentego Piłata (1946-2022)." Acta Neophilologica 2, no. XXIV (June 30, 2022): 261–72. http://dx.doi.org/10.31648/an.7852.
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The article presents the profile of the Polish researcher Walenty Piłat – a respected expert in Russian dramaturgy. The literary output devoted to contemporary Russian drama is in the center of attention. Among the rich galaxy of Russian authors, one of the most important places in the literary outout of W. Piłat is occupied by dramatists such as Aleksandr Vampilov, Nikolai Kolada, Ludmila Pietrushevska and others. The author presents the most important publications of W. Piłat, including the monographs: The work of Aleksandr Vampilov. Problems of Poetics (1986), Contemporary Russian dramaturgy. The eighties (1995), On the threshold of the twenty-first century. Sketches on Contemporary Russian Drama (2000).
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Prokhorov, Artem. "Russian web series: Mastering the new format." Journal of Screenwriting 12, no. 1 (March 1, 2021): 25–37. http://dx.doi.org/10.1386/josc_00046_1.
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The article studies how domestic screenwriters and directors are exploring the web series format that started actively developing in Russia only five years ago. Both series produced for major internet platforms and indie projects created by independent studios in the past five years are reviewed. The article analyses how Russian authors understand and take into account in their work the specifics of the new field, as well as the format-forming features of web series that have developed abroad. Such aspects as the lack of censorship, freedom from severe restrictions on story genres and heroes’ types have a significant impact on the dramaturgy of native web series. Those are the things that determine the attractiveness of this new format for experienced Russian authors moving to the internet from related fields: cinema and television. The results of the study show that Russian dramatists and directors rely on foreign experience of creating web series, but at the same time they try to modify certain features of this format and sometimes manage to find their own unique solutions.
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Armstrong, James. "War, Pandemic, and Immortality: 1918 and the Drama of Eternal Life." Shaw 42, no. 2 (November 1, 2022): 460–79. http://dx.doi.org/10.5325/shaw.42.2.0460.
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ABSTRACT Bernard Shaw’s Back to Methuselah and Luigi Antonelli’s A Man Confronts Himself both had their origin in 1918, as mass slaughter from the Great War, an assault on traditional values by the Russian Revolution, and the devastation of the flu pandemic created a fascination with the extension of human life. Both dramatists juxtapose immortality with the grotesque business of ordinary life. However, Antonelli sounds a traditionalist warning, while Shaw looks forward to unleashed potential. Though Shaw’s work strives for philosophical purity, it forfeits the powerful tensions of the grotesque, which seeks to live life even in the midst of death.
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Berlova, Maria. "The Transnationalism of Swedish and Russian National Theatres in the Second Half of the Eighteenth Century: How Foreign Performative Art Sharpened the Aesthetics of National Identity." Nordic Theatre Studies 27, no. 1 (May 12, 2015): 104. http://dx.doi.org/10.7146/nts.v27i1.24243.
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In this article, I consider the formation of national theatres in Sweden and Russia under the guidance of King Gustav III and Empress Catherine II. Both Swedish and Russian theatres in the second half of the eighteenth century consolidated their nationalism by appealing to various national cultures and absorbing them. One of the achievements of the Enlightenment was the rise in popularity of theatre and its transnationalism. Several European countries, like Russia, Sweden, Po- land, Hungary and others, decided to follow France and Italy’s example with their older traditions, and participate in the revival of the theatrical arts, while aiming at the same time to preserve their national identities. The general tendency in all European countries of “second theatre culture” was toward transnationalism, i.e. the acceptance of the inter-penetration between the various European cultures with the unavoidable impact of French and Italian theatres. The historical plays of the two royal dramatists – Gustav III and Catherine II – were based on nation- al history and formulated following models of mainly French and English drama. The monarchs resorted to the help of French, Italian and German composers, stage designers, architects, choreographers and actors to produce their plays. However, such cooperation only emphasized Swedish as well as Russian national- ism. Despite many similarities, Gustav III and Catherine II differed somewhat in how each positioned their own brand of nationalism. By delving deeper into the details of the formation of the national theatres by these monarchs, I will explore similarities and differences between their two theatres.
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Liu, Jingling, and Irina V. Monisova. "Meng Jinghui’s adaptations of Vladimir Mayakovsky’s plays." RUDN Journal of Studies in Literature and Journalism 28, no. 4 (December 15, 2023): 693–703. http://dx.doi.org/10.22363/2312-9220-2023-28-4-693-703.
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Vladimir Mayakovsky’s dramatic heritage has had a great impact on Chinese avant-garde director and playwright Meng Jinghui. The study traces the stages of Mayakovsky’s presence in Chinese theater art to focus on Meng Jinghui’s three productions of “The Bedbug” (2000-2017). The dramatists share the same desire for theatrical innovation and a similar understanding of theater art. However, they have different worldviews and aesthetic approaches. Meng Jinghui modernized the original Russian pretext and turned to some theatrical principles, first stipulated by Vsevolod Meyerhold. His remakes are stylistically original textual interpretations that have gained a prominent place in the modern Chinese avant-garde fringe theater. Meng Jinghui followed Mayakovsky in a number of formal techniques and the overall satirical orientation only to reshape and deconstruct the basic ideas of the original play, thus creating a different temporal and cultural chronotope. Authentic as it may seem, Meng Jinghui creativity results sprouted from a dialogue and polemics with the Soviet poet and playwright.
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Zabotin, Daniil V. "In Search of Lost Realities: Alan Bennett’s “The Uncommon Reader’’ through Russian Reader’s Eyes." Literary Fact, no. 4 (30) (2023): 279–302. http://dx.doi.org/10.22455/2541-8297-2023-30-279-302.
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The article is dedicated to the critical reflection of the original and translated version of Alan Bennett’s “The Uncommon Reader,” whose main character is unnamed, but easily recognizable Queen Elizabeth II. Consequently, the entire different cultural context of this pseudo-biographical narrative creates certain difficulties for the translator, because she has to understand and reproduce with maximum accuracy what English speakers read without any hindrance. So, the main approach of the translation of “The Uncommon Reader” into Russian is considered to be a domesticating strategy, which means the need to adapt the story by simplifying or replacing (renaming) historical and everyday realities, when they are transplanted from one worldview to another: for example, “Alsatian — German Shepherd” or “Dame Commander — Court Lady.” It should be emphasized that the nomination problem plays an important role in Bennett’s work: while his characters dive into the depths of fiction, they seem to start to get know to themselves anew with the help of found “second names” that are foreign words of Greek (“opsimath”) and Latin (“amanuensis”) origin. The study of the author’s reading philosophy leads us to the conclusion about the uniqueness of the original title of the story, reflecting the idea of the ambivalent nature of the image of Her Royal Majesty. After a long journey from a novice reader to a writing reader, she still decided to enter the circle of the independent Republic of Letters, which blossoms with tens of names of novelists, poets, and dramatists of the present and the past on the pages of “The Uncommon Reader.” Such a literary union demanded from the translator to create a separate and well-thought commentary, which can be interpreted as a secondary attempt at “reverse translation” (A.V. Mikhailov).
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Abdul Muttaleb, Fuad. "Dramatic Transformation: The Hamlet-Type in Shakespeare's and Chekhov's versions." International Journal of Language and Literary Studies 1, no. 2 (September 3, 2019): 17–33. http://dx.doi.org/10.36892/ijlls.v1i2.30.
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Shakespeare wrote Hamlet at the very beginning of the seventeenth century, at the height of his creative powers. It is arguably the most popular and famous play ever written, and its hero seems to have exerted a huge fascination over theatre audiences of every age, nation, colour and creed. Shakespeare often borrowed plots and ideas from different sources, but they were transformed by his poetry and his dramatic talents, and this applies largely to Hamlet. He used an early version of Hamlet and rewrote it to suite his own idea and artistic purpose. It seems that he was casting an eye on the thrown of Queen Elizabeth I while creating his paly. A lot has been said and written about this subject matter; therefore, some critical and theoretical views were introduced to discuss and consolidate the argument about the transformation of the type and the drama. In the same way Shakespeare anglicized the type of Hamlet and made it a representation of the Renaissance spirit and man, Anton Chekhov, in his full- length plays, russified it and made it a representation of the Russian life and characters of the intellectuals of the last two decades in the nineteenth century. The main point this work is trying to put forward, critically and comparatively, is how the Hamlet- type was manipulated by two prominent dramatists, Shakespeare and Chekhov, to express their own feelings, intellectual questionings, and artistic concerns.
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Draskoczy, Julie S., and Cynthia Marsh. "Maxim Gorky: Russian Dramatist." Modern Language Review 102, no. 4 (October 1, 2007): 1196. http://dx.doi.org/10.2307/20467615.
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Panos, Leah. "Trevor Griffiths' ‘Absolute Beginners’: Socialist Humanism and the Television Studio." Journal of British Cinema and Television 10, no. 1 (January 2013): 151–70. http://dx.doi.org/10.3366/jbctv.2013.0127.
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This article examines how conventional studio production strategies were active in the construction of political meaning in the 1974 television play ‘Absolute Beginners’, written by Trevor Griffiths. Produced for the BBC anthology series Fall of Eagles, the play dramatises Lenin's involvement with the Russian Social Democratic Workers Party (RSDWP) and explores the contradictions between personal ethics and political necessity. Through close textual analysis and contextual discussion of other plays in the series, this piece demonstrates how shot patterns and spatial and performative devices in ‘Absolute Beginners’ supported the drama's socialist-humanist and feminist themes. Drawing on existing writing about the studio mode, it argues that the qualities of intimacy and presentational distance that it engendered were highly appropriate for the personal and the political dialectic in ‘Absolute Beginners’. While using authorship as a convenient category for referring to the coherence of Griffiths' thematic concerns and dramatic structure during this period, the article complicates notions of the television dramatist as author by arguing for the importance of visual style and showing how ‘ordinary’ studio form was operational in the play's political meanings.
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Draskoczy, Julie S. "Maxim Gorky: Russian Dramatist by Cynthia Marsh." Modern Language Review 102, no. 4 (2007): 1196–97. http://dx.doi.org/10.1353/mlr.2007.0446.
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Osetrova, M. E. "The Situation with South Korean Literature in Russia as a Marker of the Current State of Intercultural Communication." Concept: philosophy, religion, culture 4, no. 4 (December 29, 2020): 178–80. http://dx.doi.org/10.24833/2541-8831-2020-4-16-178-180.
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Modern literature – both as book industry and as an art – is a sphere that reflects general cultural and intercultural trends. Mutual interest and understanding between Moscow and Seoul, the Russians and the Koreans manifests itself in such cultural derivatives – in works of art, in translated books in particular. The Yasnaya Polyana literary prize awarded November 23, 2020, in Moscow once again brought into light the novel of a South Korean writer Han Kang, The Vegetarian, that, at the same time, received less attention than other foreign works. What is therefore observed is that, in the wider milieu of foreign literatures, the South Korean achieves modest success in Russia and vice versa. With many prominent authors and their works translated, market success and wide publicity of Korean authors and books is what is lacking at the current stage of cultural interactions. This could be caused by the genre specificities of contemporary South Korean literature, as dramatism and realism of everyday problems feature prominently in novels and other works. Historical tragedies and the difficult life of Korean society are unlikely to be the details inciting wide public interest in Russia. What also imperils the cultural dialogue in this field is the unsystematic choice of texts to be published abroad and translated, which can be attributed to Russian editorial houses. This concern is the major obstacle to promoting both Russian and Korean cultures. Consequently, the development of intercultural bonds between Russia and South Korea is to a certain degree hindered by mutual stereotypes and standard patterns.
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Osetrova, M. E. "The Situation with South Korean Literature in Russia as a Marker of the Current State of Intercultural Communication." Concept: philosophy, religion, culture 4, no. 4 (December 29, 2020): 178–80. http://dx.doi.org/10.24833/2541-8831-2020-4-16-178-180.
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Modern literature – both as book industry and as an art – is a sphere that reflects general cultural and intercultural trends. Mutual interest and understanding between Moscow and Seoul, the Russians and the Koreans manifests itself in such cultural derivatives – in works of art, in translated books in particular. The Yasnaya Polyana literary prize awarded November 23, 2020, in Moscow once again brought into light the novel of a South Korean writer Han Kang, The Vegetarian, that, at the same time, received less attention than other foreign works. What is therefore observed is that, in the wider milieu of foreign literatures, the South Korean achieves modest success in Russia and vice versa. With many prominent authors and their works translated, market success and wide publicity of Korean authors and books is what is lacking at the current stage of cultural interactions. This could be caused by the genre specificities of contemporary South Korean literature, as dramatism and realism of everyday problems feature prominently in novels and other works. Historical tragedies and the difficult life of Korean society are unlikely to be the details inciting wide public interest in Russia. What also imperils the cultural dialogue in this field is the unsystematic choice of texts to be published abroad and translated, which can be attributed to Russian editorial houses. This concern is the major obstacle to promoting both Russian and Korean cultures. Consequently, the development of intercultural bonds between Russia and South Korea is to a certain degree hindered by mutual stereotypes and standard patterns.
13
Worrall, Nick. "Maxim Gorky: Russian Dramatist by Cynthia Marsh (review)." Slavonic and East European Review 86, no. 3 (July 2008): 536–37. http://dx.doi.org/10.1353/see.2008.0098.
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Baker, Catherine. "Lion of Love." Historical Reflections/Réflexions Historiques 50, no. 2 (June 1, 2024): 61–76. http://dx.doi.org/10.3167/hrrh.2024.500205.
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Abstract Alexander Lemtov, the Russian antagonist of Netflix's 2020 musical comedy Eurovision Song Contest: The Story of Fire Saga, embodies and dramatizes contentions over Russian homophobia, disavowals of homosexuality in Russian entertainment, and the construction of LGBTQ+ equality as a defining value of ‘European’ space which have surrounded the real-life Eurovision Song Contest since the mid-2000s. An assertively-heterosexual sex symbol in public, Lemtov in private exemplifies the trope of the closeted gay entertainer whose performances of machismo allow him to hide his admiration for the male body in plain sight. His depiction could potentially open space for exploring how other queer male Russian entertainers have historically negotiated homophobia but is constrained within a liberal sexual geopolitics that demands further recontextualization following Russia's full-scale invasion of Ukraine.
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O'Malley, Lurana Donnels. "Russian Dramatist Mikhail Kuzmin and the Sexual Ambiguity of theCommediaMask." Modern Drama 37, no. 4 (December 1994): 613–25. http://dx.doi.org/10.3138/md.37.4.613.
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Burmistrova, Yu D. "The French publication of Turgenev’s Poems in Prose [Stikhotvoreniya v proze] during the writer’s lifetime: organization of the cycle." Voprosy literatury, no. 6 (February 7, 2019): 167–81. http://dx.doi.org/10.31425/0042-8795-2018-6-167-181.
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The article considers the French edition of Ivan Turgenev’s Poems in Prose [Pofmes en prose], published during his lifetime, as a cycle of miniatures different from its contemporary version printed in Russia. The detailed textual analysis indicates minor differences in translation of several poems – caused, apparently, by their so-called untranslatability – and more serious ones in the order and organization of the poems. The latter could have been Turgenev’s own intention, given the potentially different readership type and the profound contrast between the European and the Russian consciousness. Consequently, the French cycle is missing 20 vignettes, which is only logical in some cases (e. g. The Russian Language [Russkiy yazyk]), and highly curious, from a scholar’s viewpoint, in others (e. g. several spiritually/religiously charged poems like The Monk [Monakh] and Christ [Khristos], etc. were excluded). The study emphasizes that the French collection is a translation of the Russian edition, and, despite its own inner dramatics, follows the writer’s idea realized through the special cyclical strategy of Senilia.
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Sadowska, Monika. "„Я люблю ездить в г. Челябинск и в Польшу”: Nikolaj Kolada i Polacy – wzajemne fascynacje." Acta Polono-Ruthenica 2, no. XXII (October 5, 2018): 25–36. http://dx.doi.org/10.31648/apr.1322.
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Nikolai Kolada’s, by critics called also the “Almodovar of Russian theatre”, artistic work for years is very popular in Poland. This article is an attempt to present the profile of Nikolai Kolada and chosen aspects of his literary output and dramatist’s works reception in Poland. The author also tries to put attention to “father’s of new Russian dramaturgy” cooperation with representatives of Polish theatrical environment and to solve the secret of his popularity in Poland phenomenon.
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Anna Kovalova. "Aleksandr Voznesenskii, the ‘Kinemo-Shakespeare’: Notes on the First Russian Cinema Dramatist." Slavonic and East European Review 96, no. 2 (2018): 208. http://dx.doi.org/10.5699/slaveasteurorev2.96.2.0208.
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Crittenden, Cole. "The Dramatics of Time." KronoScope 5, no. 2 (2005): 193–212. http://dx.doi.org/10.1163/156852405774858753.
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AbstractArt has as many definitions as it has practitioners, but one function of art is to help us understand the human experience, regardless of how our definitions of that experience differ. And since time is experience, art is particularly well-suited to treat it. Along with space, time, as a basic category of human experience, is, therefore, a basic category of artistic inquiry. Space is the primary focus of the visual arts, whereas music is an art form in time. Literature, however, always deals with both, and nowhere is this more apparent than in drama, where the time and space of the literary text are realized in the real time and real space of the performed text. Yet despite the widespread interest in time in much twentieth-century literary theory, the unique potential for the investigation of experiential time in drama has gone largely ignored. The purpose of this article is to address that curious absence, first by looking at the ways existing theories approach literary time (and largely fail to approach dramatic time), and then by discussing the generic and performative characteristics of drama (especially Russian drama, since that is the tradition with which I am most familiar) that make it in many ways the ideal art form in which to investigate time.
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Harun, Harryizman, and Noor Aziah Abdullah. "The Song of the Kedidi: The Embodiment of a Hero in a Malay Folktale as an Intangible Cultural Heritage." Journal of Communication, Language and Culture 3, no. 1 (January 30, 2023): 1–18. http://dx.doi.org/10.33093/jclc.2023.3.1.1.
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The present study is part of a movement to safeguard Malay folktales as an unsung intangible cultural heritage (ICH). A folktale is a representation of oral traditions and expressions. This study converges on literary folktales as a revitalized form of oral folktales. As urged by UNESCO, the viability of the ICH is achievable via scientific research, among other things. Therefore, considering the small amount of study on Malay folktales at the moment, the current study endeavors to examine the folktale The Song of the Kedidi (TSoK) of its hero embodiment as one of the dramatis personae. The framework of Propp’s dramatis personae, which is based on Russian folktales, grounds the examination. This study examines whether the heroes from the Russian folktales embody TSoK. The thematic qualitative text analysis (TQTA) was employed to examine TSoK. It was conducted in Atlas.ti environment to assure rigor and trustworthiness. The study’s findings suggest that TSoK embodies heroes from Russian folktales. However, a conundrum exists in the embodiment of the hero. There is a conflict between the dramatis personae’s role, and such an enigma calls for the involvement of other dramatis personae, which is reserved for future works. As a crusade to safeguard the Malay folktales as the unsung ICH, the findings create a platform for scholars of similar interests to pursue the examination of heroes in other Malay folktales. Most importantly, the findings are necessary for endless recreation and transmission of knowledge to safeguard the Malay folktale as a living heritage. This act echoes one of UNESCO’s formal education measures to foster society’s respect, recognition, and awareness of the ICH.
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Harun, Harryizman, and Noor Aziah Abdullah. "The Song of the Kedidi: The Embodiment of a Hero in a Malay Folktale as an Intangible Cultural Heritage." Journal of Communication, Language and Culture 3, no. 1 (January 30, 2023): 1–18. http://dx.doi.org/10.33093/jclc.2023.3.1.1.1.
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The present study is part of a movement to safeguard Malay folktales as an unsung intangible cultural heritage (ICH). A folktale is a representation of oral traditions and expressions. This study converges on literary folktales as a revitalised form of oral folktales. As urged by UNESCO, the viability of the ICH is achievable via scientific research, among other things. Therefore, considering the small amount of study on Malay folktales at the moment, the current study endeavours to examine the folktale The Song of the Kedidi (TSoK) of its hero embodiment as one of the dramatis personae. The framework of Propp’s dramatis personae, which is based on Russian folktales, grounds the examination. This study examines whether the heroes from the Russian folktales embody TSoK. The thematic qualitative text analysis (TQTA) was employed to examine TSoK. It was conducted in Atlas.ti environment to assure rigour and trustworthiness. The study’s findings suggest that TSoK embodies heroes from Russian folktales. However, a conundrum exists in the embodiment of the hero. There is a conflict between the dramatis personae’s role, and such an enigma calls for the involvement of other dramatis personae, which is reserved for future works. As a crusade to safeguard the Malay folktales as the unsung ICH, the findings create a platform for scholars of similar interests to pursue the examination of heroes in other Malay folktales. Most importantly, the findings are necessary for endless recreation and transmission of knowledge to safeguard the Malay folktale as a living heritage. This act echoes one of UNESCO’s formal education measures to foster society’s respect, recognition, and awareness of the ICH.
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Pohrebennyk, V. F. "IVAN KARPENKO-KARYY’S CREATIVITY IN IVAN FRANKO SCIENTYFIC PERCEPTION." Literary Studies, no. 60 (2021): 186–99. http://dx.doi.org/10.17721/2520-6346.60.186-199.
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The article investigates the Ivan Franko’s historical-literature and theatrical publications, dedicated to the life and creativity of famous Ukrainian dramatist Ivan Karpenko-Karyy (Ivan Tobilevych, 1845–1907). It is covered in chronological order how the understanding of the poetics of the writers’ drama developed in accordance with their vision and perception by I. Franko. The content of his reviewes, articles, etc. reveales I. Karpenko-Karyy’s individual contribution to the dynamics of the system of genres, the improvement of personosphere and technical means of dramatic modeling of reality, the combination of realism and romanticism in drama of the end of the XIX-th – beginning of the XX-th centuries. I. Franko – well-known dramatist, literary and theater critic, is also considered as an ambassador of the Ukrainian professional theater in Austria-Hungary and Russia, who, through his publications in Polish, Czech, Hungarian and Russian languages. drew attention to Ukrainian culture, popularized the creative achievements of the theater coryphaeus I. Karpenko-Karyy. I. Franko’s reasoning about І. Tobilevych, as it proved in article, is still marked by accurate definitions and symbolic assessments, interesting literary parallels, expressed with knowledge of the case with critical remarks. The scientist rightly affirmed the ascending evolution of the writer, who annually enriched the recipients with new fruits of his socially significant talent, with represented the hole of Ukraine and delved into the people’s soul. With good reason, І. Franko emphasized his skill as an observer and psychologist, a master of sharp conflicts, and finally as artist-democrat, who promoted humanism, patriotism and high idealism of the characters. Scholar’s understanding of the heritage by Karpenko-Karyy who was rightly considered one of the luminaries of national art, was closely connected with the complex realities of theatrical life in Ukraine, accompanied by the establishment of a canon of masters of new and modern literature and ahead its time by approaching the principles of receptive aesthetics and poetics, fenomenology, hermeneutics, communicative studies and other contemporary methodologies and theories.
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Skalnaya, Yulia A. "“Pantaloon” and “Columbine” in the Land of the Soviets: Bernard Shaw and Nancy Astor’s Visit to the USSR in 1931." Literary Fact, no. 32 (2024): 292–319. http://dx.doi.org/10.22455/2541-8297-2024-32-292-319.
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The research is dedicated to the well-known visit of the Irish dramatist Bernard Shaw and the British MP Lady Nancy Astor to the USSR in 1931. However, it seeks to avoid the format of a clichéd observation of commonly known facts concerning their stay in the Land of the Soviets and aims to concentrate on previously unknown circumstances of the preparation of that trip organised by representatives of the People’s Commissariat for Foreign Affairs and diplomats of the Soviet Embassy in London, on the one hand, and the media struggle evoked by that visit within the Soviet and the British press. The novelty of the research is provided by the use of numerous archival documents (AVP RF, RGALI) as well as quoting Bernard Shaw’s private correspondence and his friend Beatrice Webb’s diaries that have not been translated into Russian. The methodological foundation of this article is built upon the biographical and cultural-historic approaches; it also employs narrative techniques in recreating the historical background of Shaw’s visit, and content analysis in commenting on the media publications, and methods of archival research per se. Having considered the abovementioned documents, one can conclude that despite Shaw’s avid interest in Russia, his visit there was to a large extent spontaneous, which, together with Nancy Astor’s unpredictable escapades, caused considerable difficulties to the Soviet officials. Nevertheless, the variety of experiences offered to the British guests as well as the satisfaction of both reasonable and whimsical requests made by the dramatist managed to produce a favourable impression on the company and lead to Shaw’s companions giving generally positive feedback of the trip to the USSR whereas Shaw himself exalted in rave reviews. As a result, the victory scored by the Soviet soft power instigated a deluge of publications in the British media that aimed to discredit Shaw and Lady Astor as central figures of the trip. However, it cannot be said that those angry and even harsh commentaries caused any serious damage to their reputation or influenced their opinions of the USSR at the time.
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Borovsky, Victor. "Theatre Administration at the Court of Catherine II: The Reforms of Ivan Elagin." Theatre Research International 24, no. 1 (1999): 42–53. http://dx.doi.org/10.1017/s0307883300020253.
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At the beginning of October 1777, Sumarokov, dramatist and first director of the first Russian professional theatre, died in Moscow alone, poverty-stricken and deserted by all. A few actors carried the deceased to the cemetery of the Donskoy Monastery and buried him at their own expense. A week later Catherine II received a communication from Prince Volkonsky: ‘In the last few days Aleksandr Sumarokov, being afflicted with a violent illness, has died, but otherwise all here goes well; having nothing more at present worthy of report to Your Imperial Majesty, I commit myself to Your Imperial Grace’.
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Senelick, Laurence. "Wedekind at the Music Hall." New Theatre Quarterly 4, no. 16 (November 1988): 326–28. http://dx.doi.org/10.1017/s0266464x00002906.
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In the valedictory issue of the first Theatre Quarterly, TQ40 (1981). we included a fascinating glimpse of a highly unlikely convergence – between Lenin and the London Hippodrome, where the Russian revolutionary leader found music hall an intriguing phenomenon, exemplifying ‘the anarchy of production under capitalism’. The author of that article, Laurence Senelick, now introduces the experiences of a contemporary of Lenin's who, though a dramatist himself, at first appears almost as unlikely a visitor to the ‘Old Mo’, the Middlesex Music Hall in late-Victorian London – the German playwright Frank Wedekind, author of Spring Awakening and the Lulu trilogy. Long before those plays brought him notoriety, Wedekind visited London, and recorded his views of music hall in his journal. Laurence Senelick, an Advisory Editor of NTQ, teaches in the Drama Department at Tufts University, and has published widely, mainly in the fields of Russian theatre and popular entertainment.
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Gamsa, Mark. "Sergei Tret'iakov's Roar, China! between Moscow and China." Itinerario 36, no. 2 (August 2012): 91–108. http://dx.doi.org/10.1017/s0165115312000587.
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The writer, poet and dramatist Sergei Tret'iakov was a central figure of the early Soviet literary and artistic avant-garde. Born in 1892 in Kuldiga, a town in what is now Latvia and was then the Governorate of Courland, one of the three Baltic provinces of the Russian empire, he was educated in prerevolutionary Riga and Moscow. Fluent also in Latvian and German, he started out as a poet in Russian and came under the influence of futurism when living in Vladivostok in 1919. During the Russian Civil War, Tret'iakov spent several months in Harbin, Tianjin, and Beijing in 1920 and 1921, and he returned to China as a teacher of Russian at Peking University between 1924 and 1925. The mid-1920s were also his most productive period as a writer for the theatre. Back in the Soviet Union, he went on to write experimental documentary prose, reportage and film scenarios while making radical statements in literary theory. He collaborated closely with the poet Vladimir Mayakovsky (1893–1930), the cinema director Sergei Eisenstein (1898–1948) and the theatre director Vsevolod Meyerhold (1874–1940), and as a translator and critic he brought the plays and poetry of Bertolt Brecht (1898–1956) to Soviet readers.
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Nicholson, Steve. "Censoring Revolution: the Lord Chamberlain and the Soviet Union." New Theatre Quarterly 8, no. 32 (November 1992): 305–12. http://dx.doi.org/10.1017/s0266464x00007089.
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In two earlier articles, Steve Nicholson has explored ways in which the the right-wing theatre of the 1920s both shaped and reflected the prevailing opinions of the establishment – in NTQ29 (February 1992) looking at how the Russian Revolution was portrayed on the stage, and in NTQ30 (May 1992) at the ways in which domestic industrial conflicts were presented. He concludes the series with three case studies of the role of the Lord Chamberlain, on whose collection of unpublished manuscripts now housed in the British Library his researches have been based, in preventing more sympathetic – or even more objective – views of Soviet and related subjects from reaching the stage. His analysis is based on a study of the correspondence over the banning of Geo A. DeGray's The Russian Monk, Hubert Griffith's Red Sunday, and a play in translation by a Soviet dramatist, Sergei Tretiakov's Roar China. Steve Nicholson is currently Lecturer in Drama at the Workshop Theatre of the University of Leeds.
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Gaipova, Nafisa Ulugbekovna. "Images of women in the plays of A.N. Ostrovsky." Litera, no. 8 (August 2023): 219–25. http://dx.doi.org/10.25136/2409-8698.2023.8.40524.
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The article examines the evolution of female images and suggests the continuation of the conversation about the study of the social portrait of women in A.N. Ostrovsky's dramaturgy. The growing interest in the study of female characters is the most important direction in modern Russian literature. The object of the study is the dramatist's plays written in different periods of creative activity. The purpose of this work is to identify the transformation of the way of thinking and family life of a Russian woman against the background of gradual social development in the XIX century. To achieve this goal, the work uses cultural-historical and comparative methods, the method of analysis and generalization. As a result of the conducted research, the types of female characters were identified as, victim, moralist, ideologue, fighter, Protestant and educated woman. The analysis showed that A.N. Ostrovsky is the creator of versatile characters of Russian women, who are distinguished by an exceptional moral appearance and spiritual purity. The conclusions can be used in subsequent analyses devoted to the Russian literature of the XIX century, the dramaturgy of A.N. Ostrovsky, gender studies. The novelty of the study lies in the fact that for the first time the socio-psychological and spiritual characteristics of female images are revealed, as well as the factors that most influence the formation of personality and the predestination of fate.
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Tagiltseva, E. P. "ON THE ISSUE OF SPECIFYING IDENTIFICATION VALUES OF STAGE SPEECH CULTURE." Topical Issues of Culture, Art, Education 3, no. 37 (2023): 54–61. http://dx.doi.org/10.32340/2949-2912-2023-3-54-61.
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The relevance of the article is due to the conflict of values reflected in the theatrical forms of postmodernism and the performances of the domestic drama theater. The definition of the concept of "value" is clarified in relation to the theodicy of the Russian religious and philosophical problematics. The identification values of the stage speech culture are determined, as well as their main characteristics in the conditions of historical, socio-cultural and artistic transformations are revealed. The essential values are indicated by: literary centrism, lexico-stylistic normativity, speech dramatism.
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Smykovskaya, T. E. "Chudakov, F. (2016). ‘The goblet of suffering is drunk to the bottom!..’ [‘Chasha stradania dopita do dna!..’]. From the legacy of a distinguished early 20th-c. satirist. Ed. by A. Urmanov. Vladivostok: Rubezh." Voprosy literatury, no. 5 (November 9, 2019): 280–85. http://dx.doi.org/10.31425/0042-8795-2019-5-280-285.
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The book compiled by A. Urmanov offers a short description of Fyodor Chudakov’s life and works – his name has only recently entered Russian literature. The review discusses the story and composition of the new book, which features unique pieces by this still largely obscure writer who was active in the early 20th c. The book deals with Chudakov’s feuilletons in its first and larger part: the author emerges as an uncannily sharp-tongued satirist. Other chapters reveal his skill as a sensitive lyrical poet, talented prose writer and dramatist. Among the undisputed merits of the book is its thorough scholarly commentary. A. Urmanov treats each work with unwavering attention, supplying them with a historical context and pinpointing the originality of the works’ poetics and features specifically to a particular period in Chudakov’s life.
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Kudina, Ekaterina O. "To the creative history of Yuri Belyaev’s play Psisha." Izvestiya of Saratov University. Philology. Journalism 22, no. 1 (February 21, 2022): 72–77. http://dx.doi.org/10.18500/1817-7115-2022-22-1-72-77.
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The paper examines the creative history of the play Psisha by Yuri Belyaev – a theatre critic, fiction writer and dramatist of the Silver Age. While working on the article cycle A night at “The Opera House” about theatre history of the times of Catherine II, the critic researched historical sources: periodical, fiction, documents of the second half of the 18th – early 19th centuries. There Belyaev must have found the material for his early fictional experience – the historical short story Psisha. Among the characters of the story were a landowner – аn avid theatergoer, and the actors of his serf company. In this story the set of themes is defined, which the writer will develop further in his later works: the court and the serf theatres, the repertoire, the tragic fate of dependent actors. Later Belyaev addressed the theme of the serf theater as a dramatist and his artistic pursuits resulted in the play Psisha. The stage version had a great audience success in Moscow and St. Petersburg in the 1911–1912 theatrical season and was highly appreciated by theater observers in newspapers and journals. Judging by the reviews in the periodical press, the author of Psisha managed to strike the right balance between stylizations that became relevant during this period, the recreation of everyday scenes of the era and a sentimental psychological drama from the life of serf actors. Thus, it was possible to establish that Belyaev’s first works on the history of the Russian theater and his first literary works shaped the main themes and images of one of his most famous dramas.
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Scherr, Barry P. "Maxim Gorky: Russian Dramatist. By Cynthia Marsh. Oxford: Peter Lang, 2006. 382 pp. Notes. Bibliography. Index. Illustrations. $71.95, paper." Slavic Review 66, no. 4 (2007): 781–82. http://dx.doi.org/10.2307/20060430.
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Korovchinskiy, Ivan Nikolayevich. "Inception of the ‘cult’ of ball game ‘stars’ in Hellenistic Athenes." RUDN Journal of World History 14, no. 3 (December 15, 2022): 257–66. http://dx.doi.org/10.22363/2312-8127-2022-14-3-257-266.
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Absract. Nowadays ball games are the most popular types of sport in the world including Russia. This fact contrasts sharply with the almost total absence of research in the field of ancient Greek ball games in Russian historical science. The aim of this article is to fill that gap at least on a small scale. The history of Greek ball games in the Hellenistic period is especially interesting because of the rise of their significance at that time. Τhe method of historicism and the comparative method are applied in this article. The most important sources for our article are the fragments of Athenaios’ Deipnosophistai (I, 26, 34) related to playing ball in Hellenistic times. We reconsidered the fragment by Damoxenus, the 3rd century BC writer of comedies, quoted by Athenaeus and usually interpreted as devoted to homosexual feelings. In our view it rather reflects a rapture of Athenian fans over a ball-player’s skill. However, the dramatist hyperbolizes this rapture in order to make it more comical. We correlate this fragment of Damoxenus with Athenaeus’ mention of significant honors (including granting of citizenship) given by Athenes to Aristonicus, Alexander the Great’s coach in ball games. Those honors are also reflected in the extant Athenian decree honoring Aristonicus. The talented ball-players became popular in the Hellenistic period possibly because at that time popularity was won by the idea that playing ball is useful for the military training. However conservators, continuing to regard ball games as mere entertainment (as it had been typical in the Classical period) could probably still exist, and Damoxenus’ mockery at the rapture over talent in ball game may reflect their views.
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Chernikova, N. V. "Key thematic groups of vocabulary in the comedy." Neophilology 10, no. 1 (March 14, 2024): 38–47. http://dx.doi.org/10.20310/2587-6953-2024-10-1-38-47.
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INTRODUCTION. A comedy in five acts by the Russian dramatist Alexander Nikolaevich Ostrovsky “The Forest” (1823–1886) is one of the most perfect and complex in terms of plot structure of the Russian playwright. The relevance of this study is determined by the need to study the language of one of the most complex plays by A.N. Ostrovsky, the lexical and phraseological features of which have not received detailed coverage in domestic science. The purpose of the study is to identify the key thematic groups of vocabulary in the comedy of A.N. Ostrovsky “The Fo rest”.MATERIALS AND METHODS. During the analysis of linguistic units, structural-semantic and linguostylistic research methods are used.RESULTS AND DISCUSSION. Analysis of the lexical-semantic organization of A.N. Ostrovsky’s comedy “The Forest” showed that the words and phraseological units of the key semantic fields “Theater” and “The Forest” reflect the problems and conflict of the play, evaluate the characters of the work, their actions and deeds.CONCLUSION. The identified words and phraseological units, objectified by theatrical vocabulary, vocabulary of flora and fauna, are text-forming in nature and reflect the solutions to the artistic problems of the author, who uses linguistic units in both direct and figurative meanings, which often expands the semantic scope of linguistic signs.
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Mailloux, Steven. "Thinking with Christian Existentialism: Freedom in Burke’s Dramatism and Berdyaev’s Dostoevsky." Literature of the Americas, no. 9 (2020): 106–32. http://dx.doi.org/10.22455/2541-7894-2020-9-106-132.
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Kenneth Burke’s logology is a way of thinking about how to understand the use of language—what he calls “symbolic action”—and how to use language to make sense of various human practices, including interpretive acts. This is a dialectic in thought between rhetoric as language-use and interpretation as making-sense. In The Rhetoric of Religion Burke’s theotropic logology uses theology to interpret symbolic action and symbolic action to interpret theology. Burke extends to other interpretive projects this same rhetorical-hermeneutic strategy of analogically translating words from one domain into another, from one meaning into another. This strategy is one way Burke thinks with other authors and their texts. The present essay uses some of Burke’s published and unpublished work to show how he thinks with the Christian Existentialism of Nicholas Berdyaev and Fyodor Dostoevsky, especially on the topic of freedom. In his thinking with Berdyaev, Burke agrees with the Russian theo-philosopher about the importance of freedom. Indeed, the act of freedom, dramatized in Dostoevsky and described by Berdyaev, forms the very center of Burke’s theory of symbolic action, his Dramatism and ultimately his Logology. Freedom is the condition of possibility for human action as opposed to mere motion, and free will is the necessary product of the cycle of terms implicit in the idea of hierarchical order presented in Burke’s The Rhetoric of Religion.
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Kosareva, Anna Aleksandrovna. "Harlequinade grotesque in D. H. Lawrence’s novel “Mr. Noon”." Philology. Issues of Theory and Practice 16, no. 9 (September 11, 2023): 3050–56. http://dx.doi.org/10.30853/phil20230477.
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The aim of the research is to identify the features of harlequinade grotesque in D. H. Lawrence’s novel “Mr. Noon”. The paper briefly outlines the main approaches to the study of this work, analyses the system of images, reveals the content of the “harlequinade grotesque” notion and the grounds for which Lawrence employs it. Allusions to famous English pantomimes of the XVII and XIX centuries are revealed. As a result, a hypothesis that the writer deliberately turned to the composition and imagery of the English pantomime in order to romanticise and dramatise the narrative while enhancing its comic aspect is put forward. In addition, it is found that harlequinade grotesque, the element of which in “Mr. Noon” is the English pantomime, is designed to build a dialogue with the literary and theatrical traditions of the past and act as a tool of authorial irony and self-irony. The scientific originality of the research lies both in the unexplored nature of the novel “Mr. Noon” in Russian literary studies (due to the fact that the novel has not been translated into Russian, none of Russian researchers have yet written about this work) and in the absence of studies devoted to harlequinade grotesque in Lawrence’s writings. This paper is the first to determine the influence of English pantomime on Lawrence and its role in the formation of the author’s grotesque, which is paramount to understanding the author’s intention.
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Doroshenko, Svetlana I., and Yelena G. Zharkova. "The arts interplay in the general labour school of the 1920s." Vestnik Kostroma State University. Series: Pedagogy. Psychology. Sociokinetics, no. 2 (2019): 192–95. http://dx.doi.org/10.34216/2073-1426-2019-25-2-192-195.
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The article reviews the program-methodical materials and theoretical cotribution of Russian scholars of the 1920s which consider the idea of the arts interplay in the scope and methods of school education. The idea is extremely topical nowadays if viewed as realisation of metadisciplinary results and cross-disciplinary programmes in the process of education. The research is focused on the psychological aspects of the arts interplay in the general labour school, the scheme of the programmes for the primary and secondary levels of the general labour school of 1921 including the arts interplay arrangements. Special attention is paid to the role of rhythmics and dramatics serving as the integrative ware and contrubuting to the arts interplay. The article considers the ideas of Nadezhda Bryusova and other tutors fo the 20th century relating to the purposes of the arts classes at school.
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Mikhailova, M. V., and I. K. Sushilina. "The overlooked traits of the ‘new drama’. The literary fate of S. Naydyonov." Voprosy literatury, no. 2 (March 30, 2024): 60–78. http://dx.doi.org/10.31425/0042-8795-2024-2-60-78.
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The article seeks to revive interest in the legacy of the Silver Age playwright S. Naydyonov. Upon analysis of his plays, the authors prove that Naydyonov tried to distance himself from his literary reputation as A. Ostrovsky’s successor, bestowed on him by critics after the triumph of his first play. In his subsequent work, the dramatist searched for a new type of hero, using the transformation of space to give an insight into the psychology of his characters, and proposed conflict realization methods that relied on enhanced symbolism of objects rather than direct clashes of the opposing parties. The article shows that his experiments largely corresponded to the artistic intentions of the ‘new drama.’ Therefore, the present study of Naydyonov’s plays written in the early 1900s demonstrates that, while A. Chekhov and L. Andreev remain the undisputed pioneers of the ‘new drama’ aesthetics in Russia, its artistic paradigm was frequently adopted by second-tier writers such as Naydyonov, often without the pioneers’ direct influence.
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Ondřej, Ditrych, Vladimír Handl, Nik Hynek, and Střítecký. "Understanding Havel?" Communist and Post-Communist Studies 46, no. 3 (July 17, 2013): 407–17. http://dx.doi.org/10.1016/j.postcomstud.2013.06.008.
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The presented article tries to make sense of Václav Havel, a man of many qualities and professions yet not a professional in the conventional sense of the word. The aim is to offer deeper insight into diverse cognitive elements which formed Havel’s political reasoning and attitudes. The idea is to provide an alternative interpretation and get beyond the customary explanations expressed through traditional IR language seeing Havel as a dissident idealist who was pushed by some realist impulses to clearly define real political and later also geopolitical stands. In doing so, the article is divided into three parts. The first part discusses conceptual frameworks (rather than a single framework) within which Have saw and understood the political world. The middle part examines Havel’s political agenda, namely the issues of the return to Europe, the German question, and relationships with Russia, the United States and toward multilateral institutions. The final part that utilizes primary data obtained through personal interviews with many Havel’s close collaborators presents two faces of Václav Havel: the dramatist and the ideologue.
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Gafurov, Anvar. "Reforms in the Education System of the Republic Of Uzbekistan to Improve the Management of Higher Education Institutions." Budi Luhur Journal of Strategic & Global Studies 2, no. 1 (January 31, 2024): 80–95. http://dx.doi.org/10.36080/jsgs.v2i1.27.
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Abstrak: Artikel ini mengungkapkan reformasi utama di sektor pendidikan Republik Uzbekistan. Hingga tahun 2017, jumlah institusi pendidikan tidak cukup untuk mendaftarkan siswa Uzbek sekolah. Oleh karena itu, banyak siswa yang tidak mendaftar telah mulai mengejar keinginan pendidikan mereka di luar negeri, terutama di negara-negara tetangga, yaitu Kazakhstan, Kyrgyzstan, dan Federasi Russia. Bahkan data statistik menunjukkan bahwa sekitar setiap tahun hingga 2017, hanya 9 persen lulusan sekolah yang bisa mendaftar ke universitas, sisanya lulusan baru tidak dapat mendaftar. Sementara itu, populasi Uzbekistan meningkat secara dramatis. Oleh karena itu, tujuan utama artikel ini adalah untuk menunjukkan pentingnya dan kebutuhan reformasi di sektor pendidikan Uzbekistan. Informasi dalam artikel ini didasarkan pada analisis data sekunder, serta laporan statistik dan dokumen yang diperoleh dari berbagai kementerian dan lembaga pemerintah. Selain itu, korelasi demografi dan cakupan institusi ditunjukkan. Abstract: The article reveals the main reforms in the educational sector of the Republic of Uzbekistan. Until 2017, the number of educational intuitions was not enough to enroll Uzbek schools’ pupils. Therefore, many unenrolled pupils have started to pursue their educational desires abroad, especially in neighboring countries, namely Kazakhstan, Kyrgyzstan, and the Russian Federation. Even statistical data showed that approximately every year until 2017, only 9 percent of school graduates could have enrolled in universities; the rest of fresh graduates could not be enrolled. Whereas, the population of Uzbekistan has been raised dramatically. Therefore, the main purpose of this article is to show the importance and need for reforms in the education sector of Uzbekistan. The information inthis article is based on the analysis of secondary data as well as statistical reports and documents obtained from various government ministries and agencies. Moreover, the correlation between demography and coverage of intuitions has been shown.
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Bosun, Petre. "Some Anthropological Elements in Chekhov’s Theatre." International Letters of Social and Humanistic Sciences 43 (November 2014): 81–85. http://dx.doi.org/10.18052/www.scipress.com/ilshs.43.81.
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The theatre, an enigmatic world in which the actors can transform for a couple of hours the reality of the spectators in an astonishing universe. Anton Chekhov, Russian dramatist is reveling his magical wings over the creation of the theatre with one of his plays, The Seagull. The time in his plays seems unbearable and it continues endlessly without novelty. One of the character from the theatre play The Seagull is Nina Zarecinaia and represents the single woman in this play that has the power to convert her life. The Chekhov’s character, Nina chose to live, love and suffer a manner to win wisdom and to find her way in life. She is more powerful that she thinks and is capable to endure her hard life without giving the possibility to come back to her old home. In this case, she is showing courage to take life as it is. Most important things about this character is that she comes back for a short period and penetrate the quiet space of the other characters, leaving behind at her leaving the appearance of death. Relying on the actions that Nina takes, we can find four elements of anthropology: empathizing, expression patterns, releasing the psychic energies and the art to detect and to avoid the unconscious traps.
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Zappen, James P. "Kenneth Burke’s Counter-Spectacle and the Problem of Unity in Political Culture." Literature of the Americas, no. 9 (2020): 151–73. http://dx.doi.org/10.22455/2541-7894-2020-9-151-173.
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The spectacle was prominent in public displays and mass meetings in midtwentieth-century Russia and Germany as a quest for unity in political culture. In Russia, it was countered by Mikhail M. Bakhtin’s novelistic dialogue, polyphony, heteroglossia, and carnival. In Germany, it appeared in its most grotesque form in Adolf Hitler’s Mein Kampf, which proclaims Hitler’s quest for German national unity and celebrates his National Socialist mass meetings, which created the appearance of a false unity imposed by force of arms. In the United States, Hitler’s spectacle was critiqued in Kenneth Burke’s review of Mein Kampf and continually challenged throughout his life’s work. Burke’s review critiques Hitler’s strategy of attempting to unite Germany by dividing it from those who opposed him, in particular non-German ethnic groups. Burke was engaged in sociopolitical issues throughout his lifetime, and his work offers theories and principles aimed at diversity in unity in political culture and offered as a counterforce to Hitler’s spectacle of a false unity—a counter-spectacle in the form of identification, dramatism, dialectical and aesthetic transcendence, and a satiric mock portrait of a false unity.
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N. Zhatkin, Dmitry, and Nikita S. Futljaev. "THE TRAGEDY OF SHAKESPEARE «ROMEO AND JULIET» IN THE LITERARY-CRITICAL INTERPRETATION OF I.A. AKSENOV." Humanities & Social Sciences Reviews 7, no. 4 (October 5, 2019): 886–91. http://dx.doi.org/10.18510/hssr.2019.74118.
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Objectives: The article describes a specific understanding of Shakespeare’s tragedy «Romeo and Juliet» by I. A. Aksenov.
Methods: While researching, we used the cultural-historical, comparative-historical and historical-typological approaches, as well as elements of the socio-psychological method required to recreate certain biographical realities that are often necessary for an objective perception of a literary text.
Findings: In the essay «“Romeo and Juliet”. The place of tragedy in the work of Shakespeare» I. A. Aksenov called the text of the great tragedy «composite», noting the participation of several dramatists of the Elizabethan era at that time in its creation (Ch. Marowe, J. Peele, R. Green, T. Kyd). The motives of «Romeo and Juliet» and «The Honest Whore» by T. Dekker having much in common allowed I.A.Aksenov to raise the question of T. Dekker’s involvement in the work of the Shakespearean play.
Novelty: As we can see, even in those few cases, when I. A. Aksenov tried to move away from analyzing, translating and popularizing the creative heritage of the little-known playwrights of the Elizabethan era in Russia in the first third of the XX century, focusing on the dramatic work of Shakespeare, in particular, on his tragedy of «Romeo and Juliet», he persistently continued to look for the collective «Elizabethan» trail in the authorship of Shakespeare’s plays.
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Takahashi, S., E. I. Arinin, and I. V. Pogodina. "Intercultural Communication in Confessional Legal Relations (Common and Particular in Russia and Japan)." Concept: philosophy, religion, culture 5, no. 4 (December 23, 2021): 158–71. http://dx.doi.org/10.24833/2541-8831-2021-4-20-158-171.
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The study of particularities of regional cross-country images of confession and intercultural communication as well as the semantic image surrounding these concepts is vital in today’s social life. The article analyzes denotations and connotations of the terms confession and intercultural communication in the Russian and Japanese sociocultural contexts from the point of view of a new research discourse — glocal religious studies with the focus on vernacular specifics of religiosity in Russia and Japan. The case study methodology includes description and analysis of how various views on certain aspects of religiosity correlate. It makes possible to adjust the theoretical understanding of the problem and weigh it against the variety of real-life communicational practices. The article investigates the complexity and dramatism of communication between members of the ingroup and others. The study bases on the materials from the history, media and academic discourses where in the internal and external of particular communities in the given historic circumstances may not only vary significantly, but also be intentionally marked to divide one from the other. Sometimes this demarcation takes a form of stigmatization that label one’s perspective as not-true or lawless. The paper describes two major types of culture: the first one (ethnocentrism in terms suggested by M. Bennet) derives from the idea that other’s statements are sealed and cannot be translated thus must be destroyed. The second type — ethnorelativism — comes from the idea of affinity and openness. It is presumed that taking one a different perspective and accepting diversity is empowering and gives start to an intercultural dialogue. Common and particular are the two basic viewpoints on any identity, when both positive and negative promotes understanding. The phenomenon of unity as similarity of indistinguishable (like grains of sand) on the one hand, and systemic unity of the different (like people) on the other hand, are considered within the framework of distancing extralinguistic social facts from the term that stand for them. The latter shown as special imaginary unities and descriptions of autopoietic systems.
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Zhao, Xiaohuan. "From Story to Script: towards a Morphology of The Peony Pavilion––a Dream/ Ghost Drama from Ming China." Acta Orientalia Vilnensia 7, no. 1-2 (January 1, 2006): 189–208. http://dx.doi.org/10.15388/aov.2006.3762.
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University of Otago, Donghua University
This article is an attempt to analyze the dramatic structure of the Mudan ting 牡丹 亭 (Peony Pavilion) as a piece of fantasy which Tang Xianzu 湯顯祖 (1550–1616) created through the utilisation of structural devices and techniques of magic tales. The particular model adopted for the textual analysis is that formulated by Vladimir Propp in Morphology of Russian Folktale.This paper starts with a comparison of Russian magic tales Propp investigated for his morphological study and Chinese zhiguai 志怪 tales which provide the prototype for the Mudan ting with a view of justifying the application of the Proppian model. The second part of this paper is devoted to a critical review of the Proppian model and method in terms of function versus non-function, tale versus move, and character versus tale / theatrical role. Further information is also given in this part as a response to challenges and criticisms this article may incur as regards the applicability of the Proppian model in inter-cultural and inter-generic studies.Part Three is a morphological analysis of the dramatic text with a focus on the main storyline revolving around the hero and heroine. In the course of textual analysis, the particular form and sequence of functions is identified, the functional scheme of each move presented, and the distribution of dramatis personae in accordance with the sphere(s) of action of characters delineated. Finally this paper concludes with a presentation of the overall dramatic structure and strategy of this play.
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Ūdre, Sandra. "THE TYPES OF INTERTEXTEMES IN LATGALIAN DRAMA." Via Latgalica, no. 3 (December 31, 2010): 68. http://dx.doi.org/10.17770/latg2010.3.1682.
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<p>When assessing the previous experience in the research of intertextuality as problematical should be acknowledged the choice of terms being used, definition of units subject to analysis and systematization according to certain criteria. For solution of problematic issues recognition of intertexteme is offered as the lowest representation of intertextuality. When the mechanism of intertextuality is reviewed structurally, it reveals in correlation of the form and semantics. In order to the text unit, taken from the source text and entered into another text, to become a intertexteme, it should meet two essential conditions: various forms of modification must not destroy the recognition of form, it is an external sign; but semantics of the intertexteme is never identical with its semantics in the source text.</p><p>In the intertextuality studies the difficulties are caused by determination of the form and the modification of it. Intertexteme may be represented by a single word (Eve, Samson, Katre, etc.), the expression (I have lost my son, Judas has hung himself, red Marx shepherds calves, etc.), longer text or a fragment, such as folk song. In order to all the intertextemes to be analyzed as one-level elements, form of intertexteme should represent a generalized model - the frame, which was introduced into linguistics to designate the human cognitive experience reflected in the language at the 70ties of 20th century by American linguist Charles Fillmore (Fillmore 2006).</p><p>Components of situation covered by the source and intertexteme frames are selected in the same way as for the semantic theory of syntax on proposition or situation reflected in the sentence (Ceplītis, Rozenbergs, Valdmanis 1989: 93). In the frame of source and intertexteme three types of components have to be acknowledged as essential: subject, function, object. The analysis of the term “function” introduced in analysis of fairy-tales by Vladimir Prop (Пропп 1998: 19) is more accurate than "predicate" of the theory of syntax.</p><p>For accurate determination of intertextemes an original typology model of intertextemes developed by a structural approach is offered. It is based on the combination of the attitudes of form and semantics. For its description the principle of analogy is used - consistency of the model and the object to be displayed in a certain proportion. For intertextuality expressions of the Latgalian original plays six types have been found. Four basic types of intertextemes include:</p><p>componentary intertexteme – such an intertexteme, where variables of the source form (subject and object) can be replaced by appropriate equivalents, while keeping the same semantics, the fixed component is a function, for example, the red Marx (source (Lk 15: 15) frame subject – The Prodigal Son), shepherds (function) calves (source frame object – swine) in the play "At the Photographer” written by Pīters Apšinīks (1935);</p><p>componentary commutative intertexteme – an intertexteme in which the corresponding variable components of the source and intertexteme are mutually changing places (source and intertexteme frames have at least two subjects each), but the intertexteme retains basic semantics of the source, such as the biblical text (Mk 6: 17–28, Mt 14: 3–11), also known as the Salome motif, the ruler Herod at the request of Herodias’ daughter Salome cuts down John the Baptist's head, but in drama "Sunken Palace" by Francis Trasuns (1928) Herodias’ daughter counterpart Dzylna according to order from Commissioner Viļaks leaves to kill the hero Bolvs and to bring his head;</p><p>semantically modified intertexteme – an intertexteme, which, while preserving the source frame subject component, yet the semantics or the source subject function in the intertexteme is supplemented, modified, but not destroyed, for example, in the drama "Fire" by Konstance Daugule (1914) the nature of group of women's characters of three generations Eve (past ) → Katre (present) → Ane (future): Eve represents the older generation and to her name of the first woman's of humanity (Gen 3: 20) makes her within the women's trio of drama to be founder of the wedding policy implemented by Katre (supplement of the function). Katre resembles the domineering Russian Empress Catherine II and is the current master of situation in the family, but like as Eve has married into a wealthy house not due to love. Nature and name of Anis character as an intertexteme points to several sources. In Russian literature, the best-known Anna, who was unable to resolve the problem of realization of her femininity, which leads to disaster, is Anna Karenina (Tolstoy 1985), as the most outstanding child avatar image of women is recognized Anya Ranevskaya of Anton Chekhov's comedy "The Cherry Orchard" (Chekhov 2005), similarly indecisive is also heroine Hannah Reis of the Izhok- Leibush Perez’s one-act play "Burns” (Perez 1972);</p><p>semantically polar intertexteme – an intertexteme, where the intertexteme semantics is in polar opposition to the source semantics, but the components remain the same, for example, in the drama "Vocation" (1930) by Naaizmērstule selfish father calls his son prodigal for chosing the Catholic priest vocation, while in the Christian perception his son's choice is appraised as the highest fulfillment of Holy Spirit, and the father in this case has to be considered prodigal; in comedy "Native Land" by Ontons Rupainis (1936), Anna annoys her sweetheart Gabris with a folksong distich "I would not follow the path where boyard’s son is going ", forcing him to guess subtext of the game that everything should be understood the other way.</p><p>Defective intertextemes have to be divided into two auxiliary types:</p><p>formal intertexteme – defective intertexteme in the form that creates an inkling of intertextuality and connotations, but intertextual semantics is not detectable, for example name of one-act play "Eve’s Mistake" by Pīters Apšinīks (1937) creates a connotation of the Old Testament Eve, wherewith the main promulgator of the semantics is a function-naming component “mistake” creating connotations of the relationship sphere with Adam, her man, with the devil, in form of the paradise garden tempter serpent, or other forms of femininity; contents of the play destroys the a line of possible associations, Eve turns out to be rural woman confused in a modern city bank;</p><p>sourceless intertexteme – defective intertexteme, form of which has nothing to do with the source text, but it raises intertextual connotations of specific source, such as play "Prodigal Son" by Jezups Kazlas for creation of background from Scriptures is using fictional succession of person’s names, such as Digs, Barzacs, Romars, Rogaļs, Janyrs, but the reader/spectator can believe them to be authentic Biblical characters.</p><p>When assessing the results of the study, conclusion should be made that, first, the very fact of intertextuality in texts written in Latgalian at the first-half of the 20th century is indicative of creative ideas and extensive searches of the Latgalian dramatists; second, experience and open typology model gained in research of the phenomenon of intertextuality as an effective methodological tool is usable also in subsequent studies, and may be offered to others.</p>
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Brereton, Pat. "Post-Pandemic War Narratives: Case studies of Quo Vadis Aida? (2020), All Quiet on the Western Front (2022) and Top Gun: Maverick (2022)." Irish Studies in International Affairs 34, no. 1 (2023): 159–74. http://dx.doi.org/10.1353/isia.2023.a918361.
Full textAbstract:
ABSTRACT: War tends to polarise national and global conflicts as encapsulated by the phrase, 'you are either with us or against us'. There is further danger of knee jerk reactions at such times, including the present, towards unconditionally funding long-term military security hardware and dedicating scarce resources that are badly needed for more benevolent projects, including equitable redistribution of resources, not to mention the challenge to move away from fossil fuels in our climate crisis. These tensions are evident on recognising European dependence on Russian oil and gas, which unfortunately is helping to fund the ongoing Ukrainian war. This paper will explore how a sample of more contemporary wars and national conflicts have been dramatised on film since the pandemic. Focusing specifically on three contrasting approaches to the tragedy of war and its effects on citizens and soldiers: from an insider's personal response to the massacre in the Balkans during the 1990s in Quo Vadis, Aida? (2020), to the reworked conventional World War One classic All Quiet on the Western Front (2022), before finally coming full circle with the big budget Hollywood celebration of aerial war heroics in the sequel Top Gun: Maverick (2022). Sample textual and contextual analysis will be used to explore how such war narratives have become repurposed, both from an insider soldier's perspective and also through a rejuvenated cinematic war framework, as contemporary audiences strive to cope with ever-increasing crises and conflicts facing the planet, having recently endured a global pandemic.
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Novykov, A. O. "“THE UKRAINIAN THEATRE IS ME”: MARKO KROPYVNYTSKYI IN THE CONTEXT OF NATIONAL CULTURE." Literary Studies, no. 60 (2021): 161–74. http://dx.doi.org/10.17721/2520-6346.60.161-174.
Full textAbstract:
The article is concerned with overview of the work of actor, director, dramaturge and founder of corypheus theatre. It should be emphasized that M. Kropyvnytskyi fulfilled not only the duties of director, but also a teacher of a number of young actors, including the following future stars as Mariia Zankovetska, Mykola Sadovskyi, Panas Saksahanskyi, Hanna Zatyrkevych-Karpynska and others. M. Kropyvnytskyi was an actor of a wide range, and therefore he could skillfully perform any part – both comical and tragical. Sometimes he played two roles in a performance. For instance, he in turn acted two opposite characters – the arrogant landowner Oleksii Voronov and the sensible peasant, former serf Maksym Khvortuna in the drama based on his play “While the grass grows, the horse starves”. As a director, M. Kropyvnytskyi was so unsurpassed in the way of keeping the audience’s attention in a constant suspense that he could make a real spectacle out of almost any play. His directing talent was especially evident during the tour in the winter of 1886-1887 in Petersburg. At that time, Ukrainian actors overshadowed even the Mariinsky Theatre and Aleksandrynskyi Imperial Theatre in their skill. M. Kropyvnytskyi’s main stage principles formed the basis of the Kostiantyn Stanislavskyi and Volodymyr Nemyrovych-Danchenko’s creative method, who then became the founders of the Moscow Art Theatre. M. Kropyvnytskyi also made a significant contribution to the treasury of national culture as a dramatist. His best plays were included into the golden fund of the national drama. Some of them are “Give the heart freedom and it will lead you into slavery”, “While the grass grows, the horse starves”, “For revision”, “IvasykTelesyk” and others. First of all, the great merit of Marko Kropyvnytskyi for Ukrainian people is that when Ukrainian culture was subjected to all kinds of oppressions and restrictions by the Russian tsarism, he created the brilliant corypheus theatre, and therefore the national professional theatre took place in the east of Ukraine. Then it, in turn, became one of the most important spiritual foundations which later helped Independent Ukraine to emerge.
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Lunacharsky, Anatoly. "‘The Last Great Bourgeois’: on the Plays of Henrik Ibsen." New Theatre Quarterly 10, no. 39 (August 1994): 223–41. http://dx.doi.org/10.1017/s0266464x00000531.
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The death of Ibsen in 1906 prompted a number of appraisals of the dramatist by Marxist critics, notably Clara Zetkin, Henrietta Roland-Holst, and George Plekhanov. The most extended of these was Anatoly Lunacharsky's article, ‘Ibsen and the Petty Bourgeoisie’, published in three parts in Obrazovanie, St. Petersburg, Nos. 5–7 (June-August 1907). The central section, ‘Ibsen's Dramas’, is printed below. Born in the Ukraine in 1875, Lunacharsky became a Marxist in his teens and joined the Moscow Social Democrat group in 1899. Arrested for his political activities, he was exiled to Northern Russia, where he wrote his first theoretical treatise, An Essay in Positive Aesthetics. In 1903 he joined the Bolsheviks, but broke with Lenin after 1905, having identified himself with the so-called ‘God-seeking’ tendency. Following the fall of Tsarism in 1917 Lunacharsky rejoined the Bolsheviks, and after the October Revolution he was appointed to Lenin's first ‘Cabinet’ as Commissar for Enlightenment, a post embracing the arts and education. Exceptionally, he retained this position up until 1930, when he became one of the Soviet Union's two representatives to the League of Nations. He died in 1933, shortly before he was due to become Soviet ambassador to Spain. Lunacharsky's published output runs to some 1,500 articles, embracing philosophy, aesthetics, and theoretical and critical writings on all the arts. He also wrote a number of plays, including Faust and the City (1918) and Oliver Cromwell (1920). He was an intellectual of wide erudition and acute critical perception, balancing respect for the old and the traditional with encouragement for the new and the inconoclastic. As Commissar for Enlightenment, he did much to defend the early avant garde's freedom to experiment, making the Soviet Union a power-house of artistic innovation.
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Zharylkasynuly, Sharip Amantay. "Azerbaijani literary critic about Auezov." Turkic Studies Journal 4, no. 3 (2022): 141–46. http://dx.doi.org/10.32523/2664-5157-2022-3141-146.
Full textAbstract:
The monograph of the Azerbaijani literary critic and Turkologist Nizami Mammadov-Tagisoy «Mukhtar Auezov: from tradition to innovation» is devoted to the problems of studying the work of the great Kazakh writer M. Auezov. This work is the result of rigorous analysis and active rethinking of the texts of the classic works of the unsurpassed master of the pen in the context of historical, moral and aesthetic concepts of our time. As a connoisseur of Kazakh literature and folklore, a translator of Auezov’s story «Beauty in Mourning» into Azerbaijani and as the author of a number of articles about M. Auezov, 145А. Шәріп Turkic Studies Journal 3 (2022) 141-146N. Mammadov-Tagisoy the author refers in his research to scientific publications not only from the Soviet but also from the post-Soviet period, and also relies on archival material and official documents.If in the first chapter of the monograph the scholar describes the conditions and factors for the formation of M. Auezov’s creative personality considers the ideological, thematic and artistic originality of his early stories (“The fate of the defenseless”, “Orphan”, “Marriage”, “In the shadow of the past”, “Grey Fierce”, etc.), then in the second chapter he analyzes the ways of reflecting the events of the Karkara (Albanian) uprising of 1916 in the masterpiece novel “The Hard Time”, which was on the list of banned literature and was only republished in Russian and translation in 1972. The dramatic works of M. Auezov are the object of the third chapter of the research book, in which the focus is on the analysis and reassessment of the historical tragedies «Night Peals», «Khan Kene», «Beket». A comparative analysis of poetic features (author’s idea, type of conflict, compositional structure, imagery system, etc.) of the plays «Abai», written in collaboration with L. Sobolev, and «Vagif» by the Azerbaijani poet-dramatist S. Vurgun was carried out.It is that N. Mamedov-Tagisoy’s monograph will give new impetus to the research and popularization of the creative heritage of M. Auezov – the author of the famous epic novel «The Way of Abai» – in the context of the development of historical and artistic thought in the Turkic world