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Journal articles on the topic 'Tragedy of Mariam'

Author: Grafiati

Published: 4 June 2021

Last updated: 4 February 2022

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1

Thompson, Ann, Elizabeth Carey, A. C. Dunstan, W. W. Greg, Isobel Grundy, and Susan Wiseman. "The Tragedy of Mariam." Modern Language Review 89, no. 3 (1994): 727. http://dx.doi.org/10.2307/3735147.

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2

Donawerth, Jane, Elizabeth Cary, Lady Falkland, et al. "The Tragedy of Mariam 1613." Shakespeare Quarterly 45, no. 1 (1994): 129. http://dx.doi.org/10.2307/2871307.

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3

Bennett, Alexandra G. "Female Performativity in The Tragedy of Mariam." SEL Studies in English Literature 1500-1900 40, no. 2 (2000): 293–309. http://dx.doi.org/10.1353/sel.2000.0012.

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Bennett, Alexandra G. "Female Performativity in "The Tragedy of Mariam"." Studies in English Literature, 1500-1900 40, no. 2 (2000): 293. http://dx.doi.org/10.2307/1556130.

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5

Miller, Naomi J. "Domestic Politics in Elizabeth Cary's The Tragedy of Mariam." Studies in English Literature, 1500-1900 37, no. 2 (1997): 353. http://dx.doi.org/10.2307/450838.

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6

Novy, Marianne, Elizabeth Cary, Lady Falkland, Barry Weller, and Margaret W. Ferguson. "The Tragedy of Mariam, The Fair Queen of Jewry." Shakespeare Quarterly 46, no. 3 (1995): 365. http://dx.doi.org/10.2307/2871128.

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7

Nesler, Miranda Garno. "Closeted Authority in The Tragedy of Mariam." SEL Studies in English Literature 1500-1900 52, no. 2 (2012): 363–85. http://dx.doi.org/10.1353/sel.2012.0013.

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8

Hamamra, Bilal Tawfiq. "Jerusalem and Arabia in Cary’s The Tragedy of Mariam." ANQ: A Quarterly Journal of Short Articles, Notes and Reviews 33, no. 1 (2019): 34–36. http://dx.doi.org/10.1080/0895769x.2018.1564011.

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9

Simpson-Younger, Nancy. "Reading the Partitioned Body in The Tragedy of Mariam." Women's Writing 27, no. 2 (2017): 165–83. http://dx.doi.org/10.1080/09699082.2017.1404188.

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10

Raber, Karen L. "Gender and the Political Subject in The Tragedy of Mariam." Studies in English Literature, 1500-1900 35, no. 2 (1995): 321. http://dx.doi.org/10.2307/451028.

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11

Dowd, Michelle M. "Dramaturgy and the Politics of Space inThe Tragedy of Mariam." Renaissance Drama 44, no. 1 (2016): 101–22. http://dx.doi.org/10.1086/685787.

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12

Kirwan, Peter. "The Renegado/'Tis Pity She's a Whore/The Tragedy of Mariam." Shakespeare 9, no. 2 (2013): 267–71. http://dx.doi.org/10.1080/17450918.2013.766250.

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13

Alfar, Cristina León. "Elizabeth Cary's Female Trinity: Breaking Custom with Mosaic Law in The Tragedy of Mariam." Early Modern Women: An Interdisciplinary Journal 3 (September 1, 2008): 61–103. http://dx.doi.org/10.1086/emw23541518.

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14

Dascăl, Reghina. "‘Dancing through the Minefield’: Canon Reinstatement Strategies for Women Authors." Gender Studies 14, no. 1 (2015): 48–67. http://dx.doi.org/10.1515/genst-2016-0004.

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Abstract The paper explores the limiting and detrimental effects of biographical criticism and exceptionalism in the efforts of reinstating women authors into the Renaissance canon, by looking into the literary merits of Elizabeth Cary’s The Tragedy of Mariam, The Fair Queen of Jewry and The History of The Life, Reign and Death of Edward II. Whereas the conflation of biography and fiction is a successful recipe for canonization and for the production of feminist icons, it renders the text impotent because of its resulting inability to compete with or to be seen in correlation and interplay with other contemporary texts.

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15

Bennett, Lyn. "“Written on My Tainted Brow”: Woman and the Exegetical Tradition in The Tragedy of Mariam." Christianity & Literature 51, no. 1 (2001): 5–28. http://dx.doi.org/10.1177/014833310105100102.

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16

Shihab, Ibrahim Abu, Mahmoud Al-Shra’a, and Esraa Abushihab. "The Status of Women in Renaissance Drama: An Analytical and Critical Study of Elizabeth Cary’s The Tragedy of Mariam (1613), and John Webster’s The Duchess of Malfi (1612)." Journal of Language Teaching and Research 11, no. 6 (2020): 931. http://dx.doi.org/10.17507/jltr.1106.08.

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This paper attempts to analyze two plays, Elizabeth Cary’s The Tragedy of Mariam (1613), and John Webster’s The Duchess of Malfi (1612). It focuses on main characters in these works which compares and contrasts between them. These plays were selected to highlight issues related to Renaissance women such as marriage, feminism, misogynist, silence, and obedience. This analysis shows the tyranny of the husband against women, and their revolution against their social status. The outcome of this analysis endeavors to present new kind of heroines who want to change the traditional stereotype about women. Special attempt is given to propose feminist explanations for these characters.

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17

Gualberto Valverde, Rebeca. "Performing Disobedience: Domestic Transgressions and Political Transformation in Elizabeth Cary’s The Tragedy of Mariam." Nordic Journal of English Studies 19, no. 1 (2020): 205. http://dx.doi.org/10.35360/njes.520.

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18

Oh, Elisa. "Refusing to Speak: Silent, Chaste, and Disobedient Female Subjects in King Lear and The Tragedy of Mariam." Explorations in Renaissance Culture 34, no. 2 (2008): 185–216. http://dx.doi.org/10.1163/23526963-90000356.

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19

Mejia-LaPerle, Carol. "Access and Agency in Elizabeth Cary's The Tragedy of Mariam: Early Modern Closet Drama and the Spatialization of Power." Literature Compass 3, no. 2 (2006): 80–94. http://dx.doi.org/10.1111/j.1741-4113.2006.00307.x.

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20

Connors, L. "An Unregulated Woman: A Computational Stylistics Analysis of Elizabeth Cary's The Tragedy of Mariam, The Faire Queene of Jewry." Literary and Linguistic Computing 21, Supplement 1 (2006): 55–66. http://dx.doi.org/10.1093/llc/fql008.

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21

Hamamra, Bilal Tawfiq. "“Tell thou my lord thou saw’st me lose my breath”: Silence, speech, and authorial identity in Cary’sThe Tragedy of Mariam." ANQ: A Quarterly Journal of Short Articles, Notes and Reviews 32, no. 2 (2018): 84–92. http://dx.doi.org/10.1080/0895769x.2018.1471980.

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22

Ragué, Maria-José. "Women and the Women's Movement in Contemporary Spanish Theatre." New Theatre Quarterly 9, no. 35 (1993): 203–10. http://dx.doi.org/10.1017/s0266464x00007922.

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The problems confronted by most women's theatre in reaching its own constituency and, when desired, gaining a wider hearing have been exacerbated in Spain by the long period of emergence from the Franco dictatorship, with its legacy of oppression. In this article, Maria–José Ragué offers an overview of the subject, outlining the historical context and exploring the work of women playwrights, then looking in particular at women's theatre groups based in Barcelona, at whose university she teaches theatre history. Maria–José Ragué is also a theatre critic and a playwright, having published Clytemnestra and Crits de gavina in Catalan and Gaviotas, lagartijas y mariposa in Spanish. Among her research she has published, in Catalan, The Feminine Characters of Greek Tragedy in Twentieth-Century Catalan Theatre (1990), and, in Spanish, The Feminine Characters of Greek Tragedy in Twentieth-Century Galician Theatre (1991). Her Themes of Greek Tragedy in Spanish Contemporary Theatre is also in print. She is currently completing a book about women and theatre in contemporary Spain, and beginning work on a study of African ritual theatre. Marias-José Ragué was born in Barcelona in 1941, and has always lived in her home town except between 1968 and 1970, when she lived and studied in Berkeley.

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23

Ibáñez Chacón, Álvaro. "El motivo de la peste en Cíane de Siracusa (1767), de Cándido María Trigueros." Epos : Revista de filología, no. 29 (January 1, 2013): 79. http://dx.doi.org/10.5944/epos.29.2013.15183.

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Cíane de Siracusa es una tragedia neoclásica de Cándido María Trigueros que se encuentra inédita en varios manuscritos. En ella el autor desarrolla el motivo literario de la pestilentiae pictura siguiendo los modelos clásicos (especialmente Sófocles y Séneca) y las tendencias literarias del siglo XVIII.Cíane de Siracusa is a neoclassical tragedy write by Cándido Maria Trigueros and still unknown in several manuscripts. In this work the author develops the literary motif of pestilentiae pictura following classical models (especially Sophocles and Seneca) and the eighteenth-century literary trends.

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24

Steen, Sara Jayne. "Elizabeth Cary, Lady Falkland. The Tragedy of Mariam, the Fair Queen of Jewry: With “The Lady Falkland: Her Life” by One of Her Daughters. Ed. Barry Weller and Margaret W. Ferguson. Berkeley: University of California Press, 1994. xii + 328 pp. $45.00 cloth; $16.00 paper." Renaissance Quarterly 50, no. 2 (1997): 658–59. http://dx.doi.org/10.2307/3039247.

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25

Kontje, Todd. "Staging the Sublime: Schiller's "Maria Stuart" as Ironic Tragedy." Modern Language Studies 22, no. 2 (1992): 88. http://dx.doi.org/10.2307/3195021.

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26

Ferguson, Maria. "Washington View: From conflict to cooperation: 9/11 Day." Phi Delta Kappan 103, no. 1 (2021): 62–63. http://dx.doi.org/10.1177/00317217211043636.

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In a time of great political division, the 9/11 National Day of Service and Remembrance stands as an example of how Americans can turn tragedy and conflict into an opportunity for collective action. Maria Ferguson reflects on what she has learned from her work with the organization that established what is now the largest national day of service in the United States.

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27

Arifin, Moch Zainul. "Membaca Repertoir Okky Madasari dalam Novel Maryam: Kajian Respon Estetik Wolfgang Iser." ESTETIK : Jurnal Bahasa Indonesia 2, no. 1 (2019): 17. http://dx.doi.org/10.29240/estetik.v2i01.677.

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Abstract: This paper tried to trace Okky Madasaris repertoire in Maryam novel. Research analysis used Wolfgang Isers aesthetic response in his book The Act of Reading: A Theory of Aesthetic response (1987). The results showed that the accumulation of Okky's interview as a journalist about Ahmadiyya in Lombok had presented the Ahmadiyya socio-cultural problems in Lombok, and the old literary texts as background. Okky used social norms in the form of conflict of expulsion and burning of Ahmadiyya, while historical norms appear from year to year tragedies are displayed from 1999 to 2003. Cultural norms of Ahmadiyya must be married to fellow Ahmadis, and Ahmadis have their own mosques for their worship activities. The old literature that influenced it seemed to be Ronggeng Dukuh Paruk, Pulang novel, and Saksi Mata as well as the story of Maryam binti Imran. All of these elements build the meaning of the novel by Okky as a strategy to slip hopes, views, and criticisms of background reality to convey foreground that is intended to be addressed. Foreground that appears is Okky trying to reflect at the same time the contemplation of the tragedy for the tragedy that befell the Ahmadis in Lombok. So that the hope that appears is to voice justice, human rights and civilization better. Because Indonesian constitution becomes and protects every citizen's rights.Keywords: Repertoire, socio-cultural norms, history, old literature and foreground

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28

Fledelius, Karsten. "Vidne til et folkemord." Magasin fra Det Kongelige Bibliotek 29, no. 2 (2016): 15–29. http://dx.doi.org/10.7146/mag.v29i2.66977.

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29

STRAZNICKY, MARTA. "“Profane Stoical Paradoxes”: The Tragedie of Mariam and Sidnean Closet Drama." English Literary Renaissance 24, no. 1 (1994): 104–34. http://dx.doi.org/10.1111/j.1475-6757.1994.tb01418.x.

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30

Shevtsova, Maria. "On Directing: a Conversation with Katie Mitchell." New Theatre Quarterly 22, no. 1 (2006): 3–18. http://dx.doi.org/10.1017/s0266464x06000261.

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One of Britain's foremost directors, Katie Mitchell's career embraces a formidable repertoire of play and opera productions. She has a taste for Greek tragedy – her Phoenician Women (1995) won the Evening Standard Best Director Award – and takes in Gorky, Chekhov, Genet, and Beckett, as well as such contemporaries as Kevin Elyot, whose Forty Winks she directed at the Royal Court in 2004. She has worked in Dublin, Milan, and Stockholm, and is an Associate Director at the National Theatre. This interview with NTQ co-editor Maria Shevtsova shows Mitchell's lucid and passionate engagement with her craft. It took place in London in several stages from December 2004 to July 2005, during a period of intense activity for Mitchell. Maria Shevtsova wishes to thank her for so generously giving her time.

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31

Trinacty, Christopher V. "RETROSPECTIVE READING IN SENECAN TRAGEDY." Ramus 46, no. 1-2 (2017): 175–96. http://dx.doi.org/10.1017/rmu.2017.9.

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Conclusions matter in Senecan prose and poetry. At the conclusion of his epistles, Seneca often includes an unexpected quote or alters his subject-matter in a surprising manner—a technique that Fowler has helpfully classified as an example of ‘Romantic Irony’ in the vein of Heine or selected Horatian odes. His dialogues display a similar penchant for such endings, e.g. the post-mortem speech of Cremutius Cordus to his daughter, Marcia, in the finale of the Consolatio ad Marciam (Dial. 6.26.2-7). Seneca's tragedies likewise conclude in a beguiling fashion, ‘Part of the dramatic force of the Senecan ending is its avoidance of any note of easy resolution; it serves rather to sharpen and/or problematize the central issues of the particular play.’ As a way to further encourage the reader to question or recognize major themes of the play, Seneca's conclusions feature an intertext that casts these themes in a different light or elicits metapoetic commentary. These intertexts stress ideas and language important to the particular play, especially those found in the prologue, in order to create a type of ring-composition to the tragedy as a whole. This paper investigates these intertexts and indicates not only how they operate on an inter/intratextual level, but also why Seneca would think of the texts that he does at the conclusion of his tragedies. Seneca looks back to some of his major literary influences at the conclusions of his plays (Ovid, Horace, and Virgil unsurprisingly; Seneca the Elder perhaps more surprisingly), which reveals that these moments are diagnostic of his intertextual method in general. The larger situational or generic context of the sources shade the words uttered by Senecan protagonists, but Seneca stresses the tragic impact of such intertextual echoes again and again; Seneca tragicus surely is a pessimistic reader of the Augustan tradition. The reiteration of similar language and imagery throughout the play ‘primes’ the reader to recognize the intertext at the play's conclusion—thus intratextual repetitions signpost the intertextual reference. Seneca wants these references to be noticed; he promotes a retrospective reading technique in which these intertexts recast language and themes found earlier in the play, now vis-à-vis the literary and rhetorical source material. In creating such dense verbal connections, he encourages further contemplation of the major motifs of the tragedies and inherently endorses the position of his plays as ‘open’ texts that beg for further supplementation by further reading and rereading, again and again.

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Cembranel, Priscila, Luís Felipe Dias Lopes, Cristiano Descovi Schimith, Roger Vinícius Rosa Esteves, Henrique De Campos Melo, and Mauren Pimentel Lima. "Logística Humanitária: a gestão de operações da cadeia de suprimentos da saúde nos fatos ocorridos em Santa Maria/RS." Revista de Administração da UFSM 12, no. 1 (2019): 14. http://dx.doi.org/10.5902/1983465916892.

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This study examines of operations and supply chain management of healthcare in light of the factors of management information systems to improve the quality of care in cases of urgency. The methodology used is based on a qualitative and exploratory procedure and interview techniques through case study of fire occurred and what became known as "Tragedy in Santa Maria / RS." The paper proposes a model for the management of operations and supply chain in urgent situations. The model is exemplified in the case of chemical pneumonia (contamination with cyanide gas), and burns.

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33

Beebe, Donald. "Francesco Mario Pagano (translated and introduced by Maria Concetta Pastore Passaro, edited by Susette Acocella and Maria Henry), Corradino: A Tragedy." Forum Italicum: A Journal of Italian Studies 50, no. 3 (2016): 1227–29. http://dx.doi.org/10.1177/0014585816678774.

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34

HISCOCK, A. "THE HATEFUL CUCKOO: ELIZABETH CARY'S TRAGEDIE OF MARIAM, A RENAISSANCE DRAMA OF DISPOSSESSION." Forum for Modern Language Studies XXXIII, no. 2 (1997): 97–114. http://dx.doi.org/10.1093/fmls/xxxiii.2.97.

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35

SHANNON, LAURIE J. "The Tragedie of Mariam: Cary's Critique of the Terms of Founding Social Discourses." English Literary Renaissance 24, no. 1 (1994): 135–53. http://dx.doi.org/10.1111/j.1475-6757.1994.tb01419.x.

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36

Shevtsova, Maria. "The Sociology of the Theatre, Part Two: Theoretical Achievements." New Theatre Quarterly 5, no. 18 (1989): 180–94. http://dx.doi.org/10.1017/s0266464x00003079.

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In the first part of this three-part series. Maria Shevtsova discussed the misconceptions and misplacement of emphases which have pervaded sociological approaches to theatre, and proposed her own methodology of study. Here, she examines in fuller detail two aspects of her taxonomy which have an existing sociological literature – looking first at dramatic theory, as perceived by its sociological interpreters from Duvignaud onwards and (perhaps more pertinently) backwards, to Gramsci and Brecht. She then considers approaches to dramatic texts and genres, especially as exemplified in the explication of Elizabethan and Jacobean tragedy. Finally, she explores the implications and assumptions of the relatively new discipline of ‘theatrical anthropology’, in which theatre is taken to be the prototype of society. Now teaching in the Department of French Studies at the University of Sydney, Maria Shevtsova trained in Paris before spending three years at the University of Connecticut. She has previously contributed to Modern Drama, Theatre International, and Theatre Papers, as well as to the original Theatre Quarterly and other journals.

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37

Reznicek, Matthew L. "Absurd Speculations." Nineteenth-Century Literature 71, no. 3 (2016): 291–314. http://dx.doi.org/10.1525/ncl.2016.71.3.291.

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Matthew L. Reznicek, “Absurd Speculations: The Tragedy of Development in Maria Edgeworth’s Ormond” (pp. 291–314) This essay explores shared concerns regarding the representation of economic development that occurs in Maria Edgeworth’s Irish bildungsromanOrmond (1817) and in Johann Wolfang von Goethe’s two-part tragic retelling of the Faust myth (1808, 1832), building on recent interest in the representation of money in literature from the romantic period. While these two literary works are often seen as foundational texts in their respective national literatures, they both also explore the damning effects of economic and social development, especially through the medium of paper money. To this end, I examine the representation of paper money in Goethe’s Faust Part Two and of the capitalist ventures of Sir Ulick O’Shane in Ormond in order to situate more firmly Edgeworth’s writing within the broad European literary and social landscape. By focusing on the tragic representation of modernizing economics in these two works, it becomes obvious that Edgeworth, like Goethe, participates in and advances the formation of a modern world.

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38

Albuquerque, Isabella Martins de, Maria Elaine Trevisan, Adriane Schmidt Pasqualoto, Ana Lucia Cervi Prado, Marisa Bastos Pereira, and Ana Fátima Viero Badaró. "Physical therapy performance in the rehabilitation of survivors of the Kiss nightclub tragedy: an experience report." Fisioterapia em Movimento 28, no. 4 (2015): 649–55. http://dx.doi.org/10.1590/0103-5150.028.004.ao01.

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Abstract Introduction : As a result of a fire in the Kiss nightclub that occurred in the city of Santa Maria - RS, 242 people were killed, of whom 235 died on the day of the episode, asphyxiated by the inhalation of toxic smoke. Approximately 1,000 more were injured. Objective : To report the experience of a group of physical therapists, professors at the Federal University of Santa Maria (UFSM), in the rehabilitation of survivors of the fire, victims of burns and inhalation injury. Materials and methods : Quantitative and qualitative study, in which an evaluation protocol of physical functional ability was designed to identify rehabilitation needs. Results : Two hundred seventy patients (147 men, mean age 26.72 ± 9.5 years) were examined, of which approximately 70% had some type of clinical modification or functional impairment that indicated the need for rehabilitation. The most prevalent respiratory signs and symptoms were: dry or productive cough (59.2%); abnormal respiratory pace (11.4%); fatigue (35.92%); dyspnea (17.7%); and chest pain (16.6%). Neurological symptoms such as persistent headache (88.51%), memory loss (11.4%), and paresthesia (8.1%) were also reported. Musculoskeletal injuries (14.7%) and extensive burns (8.8%) were also observed. One hundred and eighty-nine patients were referred to outpatient physical therapy and, of these, 22 still remain at the Outpatient Physical Therapy Unit of the University Hospital of (HUSM). Conclusions : Despite the vast professional experience of this group of physical therapists, the situations experienced were unique and unprecedented, both professionally and personally, and reinforced the importance of joining forces within an emergency care unit, as well as the importance of comprehensive and multi-professional outpatient monitoring.

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Martins de Albuquerque, Isabella, Adriane Schmidt Pasqualoto, Maria Elaine Trevisan, et al. "Role of physiotherapy in the rehabilitation of survivors of the Kiss nightclub tragedy in Santa Maria, Brazil." Physiotherapy 99, no. 4 (2013): 269–70. http://dx.doi.org/10.1016/j.physio.2013.07.001.

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40

DASKALOV, ROUMEN. "The Balkans: Identities, Wars, Memories." Contemporary European History 13, no. 4 (2004): 529–36. http://dx.doi.org/10.1017/s0960777304001948.

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Neven Andjelić, Bosnia-Herzegovina. The End of a Tragedy (London: Frank Cass, 2003), 228 pp., $34.95 (pb), ISBN 0-7146-8431-7.Tom Gallagher, The Balkans after the Cold War. From Tyranny to Tragedy (London and New York: Routledge, 2003), 256 pp., $114.95 (hb), ISBN 0-415-27763-9.John Lampe and Mark Mazower, eds., Ideologies and National Identities. The Case of Twentieth-Century Southeastern Europe (Budapest and New York: Central European University Press, 2004), 309 pp., $23.95 (pb), ISBN 9639241822.James Pettifer, ed., The New Macedonian Question (Basingstoke and New York: Palgrave and St. Martin's Press, 1999), 311 pp., $24.95 (pb), ISBN 0-333-92066-X.Michael Parenti, To Kill a Nation. The Attack on Yugoslavia (London and New York: Verso, 2000), 246 pp., $10.00 (pb), ISBN 1-85984-366-2.Maria Todorova, ed., Balkan Identities: Nation and Memory (London: Hurst & Co., 2004), 374 pp., £17.50 (pb), ISBN 1-850-65715-7.Emerging from the obscurity of old-fashioned, specialised ‘area studies’, since 1989 the Balkans have attracted much attention from historians. The primary reason for that has been, tragically, the war in Yugoslavia and the emergence of a postwar order. Even the post-communist transitions (in Romania, Bulgaria and Albania) attracted less attention. Nevertheless, the field benefited substantially from the increased interest in the area, and lively debates took place on contested issues, sparked not least by hasty initial schemata (and stigmata) used by outside observers, such as ‘ancient hatreds’ and the like. Parallel to the attention paid to what was going on in Yugoslavia, and perhaps more productively in the long run, was the postmodern, postcolonial approach to Balkan history, inspired by Maria Todorova's Imagining the Balkans, which followed Edward Said's monumental Orientalism and appeared parallel to Larry Wolff's Inventing Eastern Europe. Such refreshing studies of Western representations of the region were later complemented by the internal perspective of how such representations were received, and coped with, in the region. A profusion of ‘cultural studies’ in the broadest sense followed, reflecting both the ongoing reshaping of Balkan identities and outside demand for such studies.

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41

Khvorova, Ludmila E., and Lili Jin. "Mask: to the issue of metaphysical substantiality (Y.V. Bondarev’s novel “Choice” and its adaptation specifics)." Neophilology, no. 20 (2019): 510–17. http://dx.doi.org/10.20310/2587-6953-2019-5-20-510-517.

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On the one hand, we compare the textual version of Y. Bondarev’s novel “Choice” with the visual version – an adaptation of the novel by director V. Naumov, the comparison has begun in previous published works, on the other hand, we comprehend the spiritual and moral content of this work, in particular, through such a key component of Russian literature as the mask. Its meta-physical essence is revealed, we give the statements of Russian religious thinkers in this connec-tion. We consider some key characters of the novel – Ilya Ramzin, Vladimir Vasiliev, Maria. We also trace the novel characters thoughts about coming tragic apostasy of being and of civilization processes tragedy as a whole in the spiritual and moral aspect. This connects with the concept “masquerade” and also has a deeper, cultural and axiological significance, we consider it connect-ed to some traditions and predictions by F.M. Dostoevsky.

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42

Bernstein, Jeffrey A. "The Tragedy of Fatherhood: King Laius and the Politics of Paternity in the West by Silke-Maria Weineck." Studies in Romanticism 54, no. 3 (2015): 429–31. http://dx.doi.org/10.1353/srm.2015.0015.

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43

Lukic, Anita. "The Tragedy of Fatherhood: King Laius and the Politics of Paternity in the West by Silke-Maria Weineck." Goethe Yearbook 23, no. 1 (2016): 312–14. http://dx.doi.org/10.1353/gyr.2016.0009.

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44

Ferreira, Norma Sandra de Almeida, and Maria Das Dores Soares Maziero. "“Que ninguem supporá que eu ignore o nome do escriptor”: João Köpke, o tradutor." Leitura: Teoria & Prática 35, no. 71 (2018): 73–99. http://dx.doi.org/10.34112/2317-0972a2017v35n71p73-99.

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Neste texto apresentamos uma faceta de João Köpke (1852-1926) anunciada mas pouco explorada pelos pesquisadores da história da educação e da literatura: a de tradutor. Trazemos parte de um conjunto de documentos, ainda não analisado, como objeto e fonte de pesquisa: 1) Três publicações em jornal (1874, 1882) sobre A morgadinha de Lyon (1874), tradução de Lady of lions, de Edward Bulwer-Lytton; 2) Tragédia de uma noiva (1875a), tradução de A bride’s tragedy, de Dinah Maria Mulock Craik; As receitas do Dr. Marigold (1875b), tradução de Doctor Marigold’s prescriptions, de Charles Dickens; 3) Manuscrito datilografado Conto de amor: Evangelina (s.d.), tradução de Evangeline, a tale of Acadie, de Henry Wordsworth Longfellow; 4) publicações em periódicos impressos: O corvo (1916, 1917), tradução do poema The Raven, de Edgar Allan Poe. Buscamos, em uma pesquisa de cunho exploratório, à luz dos estudos da História Cultural, aproximar ou distanciar aspectos ligados à prática de tradução de João Köpke a fim de investigar suas motivações e finalidades para tal prática.

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Daut, Marlene L. ""Sons of White Fathers": Mulatto Vengeance and the Haitian Revolution in Victor Sééjour's "The Mulatto"." Nineteenth-Century Literature 65, no. 1 (2010): 1–37. http://dx.doi.org/10.1525/ncl.2010.65.1.1.

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Marlene L. Daut, "'Sons of White Fathers': Mulatto Vengeance and the Haitian Revolution in Victor Sééjour's 'The Mulatto'"(pp. 1––37) Although many literary critics have traced the genealogy of the tragic mulatto/a to nineteenth-century U.S. letters, in this essay I argue that the theme of tragedy and the mixed-race character predates the mid-nineteenth-century work of Lydia Maria Child and William Wells Brown and cannot be considered a solely U.S. American concept. The image can also be traced to early-nineteenth-century French colonial literature, where the trope surfaced in conjunction with the image of the Haitian Revolution as a bloody race war. Through a reading of the Louisiana-born Victor Sééjour's representation of the Haitian Revolution, "Le Mulââtre" or "The Mulatto," originally composed in French and first published in Paris in 1837, this essay considers the implications of the conflation of the literary history of the tragic mulatto/a with the literary history of the Haitian Revolution in one of the first short stories written by an American author of African descent.

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Rosita, Nur. "TRANSLATION TECHNIQUES IN TAJ: TRAGEDI DI BALIK TANDA CINTA ABADI NOVEL." Lingua Didaktika: Jurnal Bahasa dan Pembelajaran Bahasa 10, no. 2 (2017): 137. http://dx.doi.org/10.24036/ld.v10i2.7239.

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TRANSLATION TECHNIQUES IN TAJ: TRAGEDI DI BALIK TANDA CINTA ABADI NOVELTEKNIK PENERJEMAHAN DALAM NOVEL TAJ: TRAGEDI DI BALIK TANDA CINTA ABADIAbstractTranslation requires reputable competence when it is related with the translation quality: how accurate, clear, and readable the translator delivers the message. The quality of translation is closely related with the techniques used by the translator to tackle many obstacles in doing translation. Each technique used gives different impact in translation product. The translator has to choose the appropriate techniques in order to deliver the message accurately, clearly, and readable. This project was descriptive research which has been attempted to analyze the techniques used in translating historical romance novel Taj: A Story of Mughal India into Taj: Tragedi Di Balik Tanda Cinta Abadi by Maria M. Lubis. It used three variable factors of translation that were the two novels as objective factor, the translator as genetic factor, and the raters as affective factor to analyze, compare, rate, and score the translation techniques. The data chosen from the both novel were the sentence of both novel that consist of cultural specific items. From the analysis, it was found that there were 15 techniques used in translating the novel. These 15 techniques were adaptation 19.15%, pure borrowing 18.62%, established equivalent 9.57%, natural borrowing 8.51%, generalization 6.38%, Modulation 5.85%, particularization 5.85%, amplification 5.32%, transposition 2.66%, reduction 2.13%, inversion 2.13%, pure borrowing plus established equivalent 2.13%, description 1.60%, literal 1.60%, omission 1.60%, adaptation, pure borrowing, and omission 1.06%, amplification and pure borrowing 1.06%, natural and pure borrowing 1.06%, discursive creation, generalization and transposition, literal and generalization, pure borrowing and generalization, pure borrowing and transposition, generalization and omission, adaptation, pure borrowing and transposition each of them 0.53%. The result of research showed that the dominant technique used is adaptation since the cultural term of source language is appropriate to be translated as same equivalent into the target language.Key words: translation, translation techniques, historical romance novel AbstrakPenerjemahan membutuhkan kemampuan yang tinggi saat dikaitkan dengan kualitas penerjemahan: seberapa akurat, jelas, dan terbaca seorang penerjemah menyampaikan pesan dari bahasa sumber kedalam bahasa target. Qualitas terjemahan erat kaitannya dengan teknik yang digunakan untuk memecahkan kesulitan-kesulitan dalam penerjemahan. Masing-masing teknik tersebut berdampak berbeda terhadap hasil terjemahan. Penerjemah harus mampu memilih teknik yang tepat agar pesan yang disampaikan akurat, jelas, dan terbaca. Penelitian deskriptif ini bertujuan untuk menganalisa teknik dalam penerjemahan novel Taj: A Story of Mughal India kedalam Taj: Tragedi Di Balik Tanda Cinta Abadi oleh Maria M. Lubis. Penelitian ini menggunakan 3 faktor variable: kedua novel sebagai objektif faktor, penerjemah sebagai genetik faktor, dan informan sebagai afektif faktor untuk menganalisa, membandingkan, mengukur, dan menilai teknik penerjemahan. Data yang diambil dari kedua novel adalah berupa kalimat yang berisi istilah budaya. Dari hasil analisa ditemukan bahwa terdapat 15 jenis teknik yang digunakan dalam menerjemahkan novel ini. Teknik penerjemahan tersebut adalah adaptation 19.15%, pure borrowing 18.62%, established equivalent 9.57%, natural borrowing 8.51%, generalization 6.38%, Modulation 5.85%, particularization 5.85%, amplification 5.32%, transposition 2.66%, reduction 2.13%, inversion 2.13%, pure borrowing plus established equivalent 2.13%, description 1.60%, literal 1.60%, omission 1.60%, adaptation, pure borrowing, and omission 1.06%, amplification and pure borrowing 1.06%, natural and pure borrowing 1.06%, discursive creation, generalization and transposition, literal and generalization, pure borrowing and generalization, pure borrowing and transposition, generalization and omission, adaptation, pure borrowing and transposition each of them 0.53%. Dapat disimpulkan bahwa teknik yang paling banyak digunakan adalah adaptation dikarenakan istilah budaya lebih tepat diterjemahkan dengan mengganti elemen budaya pada bahasa sumber dengan hal yang sama pada budaya bahasa target. Kata kunci: Penerjemahan, teknik penerjemahan, novel roman sejarah

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Rosita, Nur. "ACCURACY, CLARITY, AND READABILITY (ACR) IN HISTORICAL ROMANCE NOVEL TRANSLATION." Humanus 17, no. 1 (2018): 109. http://dx.doi.org/10.24036/humanus.v17i1.9137.

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Historical novel translation requires an advanced competence of translator in relation with the translation quality: how accurate, clear, and readable the translator tries to deliver the writer’s original message to his/her translation version for the readers. The more accurate, clear, and readable the translator’s version is, the easier comprehension of the text will be. This paper was an outline of descriptive research which has been conducted to analyze the translation quality assessment in translating historical romance novel Taj: A Story of Mughal India into Taj: Tragedi Di Balik Tanda Cinta Abadi by Maria M. Lubis. There were three variables factors used; the two novels as objective factor, the translator as genetic factor, and the raters as affective factor to analyze, compare, rate, and score the translation quality. The sentences, clauses, phrases that consisted Indian cultural terms from the two novels were chosen as the data. From the analysis, it was found that the translation quality of this translated novel is accurate, high clear, and high readable obviously effected by an eligible translator who has high level competence and performance in translating the novel.Keywords: translation, historical romance novel, accuracy, clarity, and readability. KEAKURATAN, KEJELASAN, DAN KETERBACAAN DALAM PENERJEMAHAN NOVEL CINTA BERLATAR SEJARAHAbstractPenerjemahan novel berlatar sejarah membutuhkan penerjemah yang kompeten jika dilihat dari segi penilalian kualitas terjemahan seperti keakuratan, kejelasan, dan keterbacaan. Semakin akurat, jelas, dan terbaca suatu produk terjemahan, hasil terjemahan semakin akan mudah dipahami. Penelitian ini adalah penelitian deskriptif yang mengidentifikasi dan menggambarkan penilaian kualitas penerjemahan. Seberapa akurat, jelas, dan terbaca novel terjemahan Taj: A Story of Mughal India menjadi Taj: Tragedi Di Balik Tanda Cinta Abadi oleh Maria M. Lubis. Ada tiga faktor variabel yang digunakan; kedua novel sebagai faktor objektif, penerjemah sebagai faktor genetik, dan tim penilai sebagai faktor afektif untuk menganalisis, membandingkan, menilai, dan memberi angka kualitas terjemahan. Kalimat, klausa, ungkapan-ungkapan yang terdiri dari istilah budaya India dari kedua novel dipilih sebagai data. Dari analisis tersebut, ditemukan bahwa kualitas terjemahan novel yang diterjemahkan ini akurat, sangat jelas, dan mudah dibaca, yang dipengaruhi oleh kepakaran dan kompetensi kinerja dalam menerjemahkan novel tersebut. Kata kunci: penerjemahan, novel cinta sejarah, keakuratan, kejelasan, dan keterbacaan.

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Gragnani, Alfredo, Andrea Fernandes de Oliveira, Daniel Boro, Tam N. Pham, and Lydia Masako Ferreira. "Response and legislative changes after the Kiss nightclub tragedy in Santa Maria/RS/Brazil: Learning from a large-scale burn disaster." Burns 43, no. 2 (2017): 343–49. http://dx.doi.org/10.1016/j.burns.2016.08.010.

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Nitschke, Claudia. "Silke-Maria Weineck.The Tragedy of Fatherhood: King Laius and the Politics of Paternity in the WestSilke-Maria Weineck.The Tragedy of Fatherhood: King Laius and the Politics of Paternity in the West. London: Bloomsbury Publishing, 2014. 224 pp. US $25.99 (Paperback). ISBN 978-1-62892-078-9." Seminar: A Journal of Germanic Studies 52, no. 3 (2016): 332–34. http://dx.doi.org/10.3138/seminar.2016.52.3.332.

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Timmermann, Jochen. "Cuxhaven „exportiert“ psychosomatisches Fachwissen nach Kuba." Balint Journal 19, no. 02 (2018): 61–62. http://dx.doi.org/10.1055/a-0632-7016.

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Cuxhaven/Santiago de Cuba, 28.02.18 – Erstmals fand vom 7. bis 10. Februar in Santiago de Cuba ein Kongress für Psychosomatische Medizin statt. 130 registrierte Teilnehmer verschiedener medizinischer Fachrichtungen besuchten die Veranstaltung und reisten bspw. auch aus Mexiko an. Mitinitiator Jochen Timmermann, Gründer und ärztlicher Leiter des MVZ Timmermann und Partner in Cuxhaven, stellte mit seinen Kolleginnen Carolin Baucke und Maria Hurtado seinen ganzheitlichen, bio-psycho-sozialen Therapieansatz vor. Regelmäßige Balint-Arbeitsgruppen tragen hierbei maßgeblich zum ganzheitlichen Verständnis und entsprechend integrierter Behandlung der Patienten bei. Gleich im Anschluss an den Kongress starteten zunächst 24 in persönlichen Interviews ausgewählte kubanische Ärzte ihre Ausbildung in psychosomatischer Grundversorgung.

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