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Journal articles on the topic 'Turkish drama – 20th century'

Author: Grafiati

Published: 4 June 2021

Last updated: 18 February 2022

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1

Niewiara, Aleksandra. "Gra figurami pamięci zbiorowej w utworze artystycznym. Z zagadnień lingwistyki pamięci." LingVaria 14, no. 27 (2019): 51–65. http://dx.doi.org/10.12797/lv.14.2019.27.03.

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Playing with Figures of Collective Memory in Artistic Work. Issues in Memory LinguisticsThe article presents an ethnolinguistic analysis of A. Stasiuk’s drama Czekając na Turka (‘Waiting for the Turk’). Staged in 2009, the play examines figures of communicative and cultural collective memory, to use Jan Assmann’s terminology. Particular attention is given to linguistic means of lexical and syntactic archaization of literary text, used to elicit associations with the past images of Turks in Polish and European imagination, and in consequence, to propose an interpretation of an important event in European culture and history at the end of the 20th century: the fall of the Berlin Wall. In comparison with the older concept of antemurale Christianitatis (associated with Ottoman Turks’ incursions against European countries), the importance of the modern, current concept is reduced.

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2

Kalnačs, Benedikts. "20th-century Baltic Drama: Comparative Paradigms." Interlitteraria 19, no. 1 (2014): 33. http://dx.doi.org/10.12697/il.2014.19.1.3.

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Kobischanov, T. Yu. "Послестолетийодиночества:изменение социальнойпсихологиисирийскиххристианвновоевремя". Istoricheskii vestnik, № 20(2017) part: 20 (30 серпня 2019): 218–55. http://dx.doi.org/10.35549/hr.2019.2017.35084.

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Quite often in the course of historical events, social and economic changes obscure the changes in cultural psychology of ethnic groups and their representatives. The historical science explains what happened, how and why it was happening but very rarely gives us a chance to understand what people were feeling in this respect, what processes were going on in their individual and common consciousness and in the subconscious. The drama that the Christians of the Middle East are going through, the final act of which we are probably witnessing these days, urges us to look for its roots in the distant past. The Ottoman period in the history of East Christian communities is of particular significance. The Middle East Christians got under the Turkish rule as a discriminated minority pushed out on the curb of sociopolitical life, but by the beginning of the 20th century the Christians of the Middle East as a whole, and Christian communities of Syria and Lebanon in particular, were flourishing and were perfectly well adapted to possibilities that inclusion of the Ottoman state into the world capitalist system had to offer. The upgrade of the Christians status was accompanied by gradual changes in their social psychology including self identification of the members of the Christian communities, remodelling of their behaviour patterns in everyday life and in conflict situations as well as psychology of introconfessional relations. This research is an attempt to describe and analyse this cultural and psychological transformation.Нередко в ходе исторических событий социальноэкономические изменения затмевают изменения в культурной психологии этнических групп и их представителей. Историческая наука объясняет, что произошло, как и почему это происходило, но очень редко дает нам возможность понять, что чувствовали люди в этом отношении, какие процессы происходили в их индивидуальном и общем сознании и в подсознании. Драма, которую переживают христиане Ближнего Востока, заключительный акт которой мы, вероятно, наблюдаем в эти дни, побуждает нас искать ее корни в далеком прошлом. Османский период в истории восточных христианских общин имеет особое значение. Ближневосточные христиане попали под турецкое правление как дискриминируемое меньшинство, вытесненное на обочину общественнополитической жизни, но к началу 20 века христиане Ближнего Востока в целом, и христианские общины Сирии и Ливана в частности, процветали и были прекрасно приспособлены к возможностям, которые могло предложить включение Османского государства в мировую капиталистическую систему. Обновление статуса христиан сопровождалось постепенными изменениями в их социальной психологии, включая самоидентификацию членов христианских общин, перестройку их моделей поведения в повседневной жизни и в конфликтных ситуациях, а также психологию внутриконфессиональных отношений. Это исследование является попыткой описать и проанализировать эту культурную и психологическую трансформацию.

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Epner, Luule. "Postcolonialism and Baltic Drama." Interlitteraria 22, no. 1 (2017): 207. http://dx.doi.org/10.12697/il.2017.22.1.17.

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5

Lecossois, Hélène. "Renegotiating and Resisting Nationalism in 20th-century Irish Drama." Études irlandaises, no. 35-2 (December 30, 2010): 186–87. http://dx.doi.org/10.4000/etudesirlandaises.2068.

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6

FISCHER-LICHTE, ERIKA. "Introduction: contemporary theatre and drama in Europe." European Review 9, no. 3 (2001): 275–76. http://dx.doi.org/10.1017/s1062798701000266.

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The 30 years between the 1960s and the 1980s of the 20th century are recalled today as a golden age of European theatre. They seem to have revived, continued and re-created the previous golden age brought about by the historical theatre avant-garde movements during the first decades of the 20th century (approximately 1900–1930). Then, Adolphe Appia, Jacques Copeau, Edward Gordon Craig, Leopold Jessner, Vsevolod Meyerhold, Max Reinhardt, Alexander Tairov, Evgeni Vakhtangov and others had striven for what they called a retheatricalization of theatre.

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7

Tokat, Esra. "Identity and ideology in 20th Century of Turkish Architecture." International Journal of Social Sciences and Education Research 3, no. 5 S (2017): 1456–62. http://dx.doi.org/10.24289/ijsser.319311.

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8

Özalpman, Deniz. "Transnational Viewers of Turkish Television Drama Series." Transnational Marketing Journal 5, no. 1 (2017): 25–43. http://dx.doi.org/10.33182/tmj.v5i1.386.

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Since the mid-2000s, Turkish television drama series have been exported to many countries and attracted an unprecedented transnational audience. However, despite popularity, there is paucity of research focusing on the transnational understanding(s) of Turkish television drama audiences in different geographies. Through a reception analysis of three mostly cited television series among participants Muhteşem Yüzyıl (Magnificent Century), Aşk-ı Memnu (Forbidden Love), Kuzey Güney (North South), this study aimed at offering an understanding beyond overly stated cultural/religious proximity explanations to ascertain traces and elements of empowerment that citizens feel coming through their act of consuming Turkish dramas. For that purpose, in-depth interviews were conducted with Iranian viewers of Turkish television series living in the Austrian capital Vienna. Interpretation of that collected qualitative material suggests re-thinking of the transnational audience’s consumption practices that expand tourism and trade flows and other related businesses between the two countries.

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9

Bulat, Snezana. "Despot Đurađ and Despotess Jerina Branković in 20th Century Serbian Drama." Филолог – часопис за језик књижевност и културу 17, no. 17 (2018): 549–67. http://dx.doi.org/10.21618/fil1817549b.

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10

Bošnjak, Matija. "Elements of Dramatic Symbolism in the Poetics of Miodrag Žalica." Društvene i humanističke studije (Online) 6, no. 3(16) (2021): 43–58. http://dx.doi.org/10.51558/2490-3647.2021.6.3.43.

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In the literary and theatrical critique of his time (second half of the 20th century), Miodrag Žalica was recognized as a representative of symbolist poetics in Bosnian-Herzegovinian drama. The features of Žalica’s dramatic symbolism have, however, rarely been observed through analyzing the technique of his dramatic works in concreto. The Piece Mirišu li jorgovani u Njujorku, written in 1988, certainly represents the culmination of Žalica’s poetics, and is, in that sense, suitable for an analysis of the symbolic network as a specific trademark of his authorship with regards to the poetics of symbolism in European modern drama at the turn of the 19th to 20th century.

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Luu, Thuy Trung. "Drama in Ho Chi Minh City literature and art life." Science and Technology Development Journal 18, no. 4 (2015): 47–60. http://dx.doi.org/10.32508/stdj.v18i4.960.

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In the history of Vietnamese drama, Saigon was one of the places absorbing Western drama from the early time. Although drama in Saigon-Ho Chi Minh City didn’t develop in a smooth and straight way, it was a continuous and unbroken process. This process brought in strong development of drama in Ho Chi Minh city in two decades of the late 20th century and the early 21st century. However, in recent years, drama in Ho Chi Minh City seems to proceed slowly, which reflects some irrational aspects from drama script, performance art to performance operation. Therefore, it’s high time to review the whole history of drama in Saigon-Ho Chi Minh City to collect experiences for the steady development of drama in this City in the future.

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12

신진호. "A Study on 20th Century Contention Between Chinese Drama and Traditional Opera." Journal of Foreign Studies ll, no. 24 (2013): 363–86. http://dx.doi.org/10.15755/jfs.2013..24.363.

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13

Vasić Rakočević, Branislava V. "RADOMIR KONSTANTINOVIĆ AND RADIO DRAMA." Folia linguistica et litteraria XII, no. 34 (2021): 139–47. http://dx.doi.org/10.31902/fll.34.2021.8.

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This paper begins with an overview of literary work of Radomir Konstantinović. The experimental character of his novels demonstrates the specificity of his literary modus operandi, as a unique phenomenon in Serbian literary scene during the fifth decade of the 20th century. His work will mark a turning point in the transition from modernism to postmodernism. His radio dramas, as well, represent a very specific part of his work mostly due to historical position of this genre. Since his radio dramas are first fully published in 2019. this paper traces a path for further research in this area.

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14

Asiliskender, Burak. "From Industrial Site to University Campus. Sümerbank Kayseri Textile Factory." For an Architect’s Training, no. 49 (2013): 86–89. http://dx.doi.org/10.52200/49.a.wb2ak1zg.

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Even though Turkish Modernization in the 20th century was explained as a political revolution, it dealt much more with the transformation of space and social identity. As a result, the Turkish State built several industrial sites in Anatolian cities to strengthen their urban and social development.

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15

Virnyk, O. A. "The Functioning of Anthroponyms in Turkish Poetry in the Early 20th Century." Science and Education a New Dimension VIII(241), no. 72 (2020): 64–67. http://dx.doi.org/10.31174/send-ph2020-241viii72-14.

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16

Can, Fazli, and Jon M. Patton. "Change of Word Characteristics in 20th-Century Turkish Literature: A Statistical Analysis." Journal of Quantitative Linguistics 17, no. 3 (2010): 167–90. http://dx.doi.org/10.1080/09296174.2010.485444.

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17

Rose McGovern, Kathleen. "Conceptualizing Drama in the Second Language Classroom." Scenario: A Journal of Performative Teaching, Learning, Research XI, no. 1 (2017): 4–16. http://dx.doi.org/10.33178/scenario.11.1.3.

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Abstract: This paper reviews key literature published in English on drama and second language (L2) pedagogy. The author explores (a) the integral role drama has played in 20th and 21st century L2 teaching methodologies; (b) commonly cited approaches to integrating drama and L2 instruction; (c) uses of drama as a means of exploring culture and power relations within society, and; (d) major definitions and categorizations developed in the existing body of literature. To conclude, the argument is made that researchers must clearly explain and define their approaches to drama in L2 instruction and ground these approaches in relevant theories of second language learning.

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18

Avrutina, Apollinaria S. "The process of Islamization of modern Turkish society in modern Turkish literature (on the example of Orhan Pamuk’s works)." Issues of Theology 2, no. 4 (2020): 567–75. http://dx.doi.org/10.21638/spbu28.2020.403.

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The article is an analysis of the work of the Turkish Nobel Laureate in Literature for 2006, Orhan Pamuk, in the context of the development of modern Turkish society. In recent decades, a process of moderate Islamization has been observed in Turkey, and if until the end of the 1990s the country aspired to Europe, the European community, and officially turned mainly to European values, now there is a reverse movement. European values to a certain extent dominated Turkish literature of the 20th century: various types of freedoms, equality and women’s rights, the secularization of society — the main themes of the leading Turkish novels of the 20th century. It is surprising that the current processes are rather poorly reflected in modern literature. Orhan Pamuk, one of the youngest Nobel laureates and the most famous Turkish writer of the 20th–21st centuries, is a liberal and supporter of Eurocentrism. At the beginning of his career, he played the role of the continuer of the work of a whole galaxy of Turkish authors, whose gaze, despite the difference in political convictions, was focused only on the West and its culture. However, now the diachronic analysis of all his novels shows a reflection of the current serious social changes. In recent novels, Orhan Pamuk, following Turkish society, demonstrates the inclination of his protagonists towards traditional Muslim values. It is obvious that what is happening is a general phenomenon, an example of a deep tendency in the Middle East Muslim culture in general.

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Aydιn, Zülküf. "Turkish Agrarian Debate: New Arguments and Old Scores." New Perspectives on Turkey 1 (1987): 81–108. http://dx.doi.org/10.15184/s0896634600000078.

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The characterization of agrarian structures in contemporary underdeveloped countries has been haunting social scientists for a long time. As in Latin America and India, from the late sixties onwards a strong controversy emerged among Marxists in Turkey concerning the question of why capitalism had not transformed rural structures in Turkey (J. Harris, 1982; R. L. Harris, 1978; Aydın 1986). The question of capitalist transformation of the countryside occupied the minds of classical Marxist thinkers like Kautsky, Lenin, Luxembourg at the end of the 19th century and the beginning of the 20th century.

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20

Divya, N. "Drama of the Early 20th Century, the Kerala Reform Movement and Namboodiri Women." Indian Journal of Gender Studies 24, no. 2 (2017): 217–30. http://dx.doi.org/10.1177/0971521517697880.

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21

Pastushkova, N. A. "Russians in Spain. Book 2. The 20th century. The Beginning." Voprosy literatury, no. 5 (November 9, 2019): 292–95. http://dx.doi.org/10.31425/0042-8795-2019-5-292-295.

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Second in the anthology, the volume offers a rich collection of materials, including descriptions of 1900s–1930s Spain by Russian travellers. Artists, musicians, journalists and people of the theatre, all of them share their expectations, recollections and impressions from visits to this Southern country. A poeticized image clashes with reality, which often stands in stark contrast to the idyllic picture. Spain beckons, mesmerizes, and reveals its luxurious self. The country is wrought with controversy: the archaic lifestyle in the provinces and the dizzying pace of life in big cities; its amiable, but very apathetic people; its glorious past and almost desperate present. Russians travel to Spain to experience its natural beauty and splendid cultural heritage. Many of them revelled in visiting the Prado Museum. Numerous performers would come to Spain to tour, spreading knowledge of Russian music, ballet and drama among local audiences.

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22

Grcic, Mirko. "Migrations and origin of the population in the Jadar region - western Serbia." Glasnik Srpskog geografskog drustva 84, no. 1 (2004): 41–50. http://dx.doi.org/10.2298/gsgd0401041g.

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Complete population of Jadar region was disturbed by migrations and re-migrations during the 18th and 19th century. Great majority of the population do not originate from Jadar, but represent a kind of "complex", population settled in certain historical circumstances from different Serbian regions. That was influenced by transit and border location of the Jadar region between Turkish and Austrian Empires in the 18th century, and between Serbia and Turkish Empire in the 19th century. Considerable number of refugees was settled in this area from the war-affected Bosnia and Croatia in the late 20th century. The paper statistically analyzes the origin and migrations of the population.

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Gausz, Ildikó. "French tragedy in the Hungarian theatre." Belvedere Meridionale 30, no. 1 (2018): 5–20. http://dx.doi.org/10.14232/belv.2018.1.1.

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The drama is one of the important historical sources of early modern national self-interpretations. After the Long Turkish War (1591–1606) historical dramas are able to enhance patriotism and patriotic education. The tragedy entitled Mercuriade written in 1605 by Dominique Gaspard puts on stage Philippe-Emmanuel de Lorraine, Duke of Mercœur (1558–1602) when he, after the conciliation with Henry IV and leaving the Catholic League, entered into the service of Rudolf II in 1599 and joined the anti-Turkish fights in Hungary. After his death Duke of Mercœur became a mythical hero and his memory was even mentioned at the end of 17th century. Mercuriade can be considered a masterpiece of 17th century school drama, through which it is possible to study the particularities of plays written with a didactic purpose for the students.

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Safarian, Alexander. "On the History of Turkish Feminism." Iran and the Caucasus 11, no. 1 (2007): 141–51. http://dx.doi.org/10.1163/157338407x224978.

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AbstractThe paper deals with the several aspects of the history of Feminism in the Ottoman Empire. It elucidates the early stages of the formation of the Feministic ideas and tendencies in the Turkish society at the end of the 19th and the beginning of the 20th century. Particular attention is paid to the social-political activities and the role of the Turkish women writers Halide Edib, Arife Hanım, and others. The author discusses inter alia the impact of the Armenian intellectual milieu and, especially, that of the Turkish Armenian women's literature on the inception and development of the Feministic literature in Turkey.

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Sedláčková, Lucie. "Circulatie van Nederlandstalig toneel in Tsjechië, 1898–1989." Neerlandica Wratislaviensia 28 (June 26, 2019): 165–81. http://dx.doi.org/10.19195/0860-0716.28.13.

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Circulation of Dutch plays in Czech, 1898–1989 This article deals with the circulation of Dutch and Flemish dramatic texts in the Czech lands between 1898 – when the first translation of a Dutch theatre play was probably published – and 1989 – the year of the Velvet Revolution, after which the cultural field changed radically. It is a fact that relatively few Dutch and Flemish plays have been translated into Czech. The same is true of the actual production of the plays in Czech translation: these were rather sporadic throughout the whole 20th century, except for several plays by Herman Heijermans which were staged quite regularly in the first decades of the 20th century. This article surveys the different periods of the 20th century and provides an outline of the development of the Czech reception of Dutch and Flemish drama, including a dramatic mystification during the World War II.

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Golovchiner, Valentina E. "The functions of a proto-story in the Russian drama of the 20th century." Sibirskiy filologicheskiy zhurnal, no. 1 (March 1, 2010): 12–18. http://dx.doi.org/10.17223/18137083/30/2.

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Vagni, Tito. "Mídia e representação do cinismo no drama político." MATRIZes 11, no. 2 (2017): 79. http://dx.doi.org/10.11606/issn.1982-8160.v11i2p79-91.

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This essay proposes an investigation on the forms of contemporary cynicism, combining the interpretation of political drama with reflections of the daily life sociology, particularly referring to Simmel, Goffman and De Certeau. In an expanded historical perspective from the 21st century metropolis to the communication media of the 20th century, it proposes a reconstruction of the political action and of certain moment of its imagination. A moment that shall be studied as from its relations with money, time acceleration and sensory overstimulation, which institute a new image of social relations. Cynicism seems to be, in the conditions created by metropolis and media, the cultural form more suitable for management and organization of daily events in public sphere.

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Kaczmarek, Tomasz. "L’Âme en folie de François de Curel : à la recherche d’un nouveau paradigme dramatique." Romanica Cracoviensia 20, no. 4 (2020): 199–205. http://dx.doi.org/10.4467/20843917rc.20.019.13305.

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L’Âme en folie by François de Curel: In search of a new dramatic paradigm The author of the article studies Curel’s play, which testifies to the crisis of traditional drama, announced at the turn of the 20th century. Curel seems to destroy the canonical form of “drama-in-life”, based on a dramatic progression of the action and on the character as an active agent ensuring this same progression, by proposing a new paradigm of “drama-of-life”. The latter moves away from classic prerogatives to focus on the inner life of the protagonist. Instead of focusing on episodes that inevitably lead to disaster, the French writer attempts to embrace the evolution of the characters’ souls. This is how he passes from “agonistic drama” to an “ontological” one.

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Akhunzyanova, Farida. "“In a strange feast hangoverˮ: the drama of the Russian intelligentsia of the early 20th century". INTELLIGENTSIA AND THE WORLD, № 3 (1 жовтня 2020): 21–33. http://dx.doi.org/10.46725/iw.2020.3.2.

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The Russian intelligentsia at the beginning of the 20th century is characterized by a steady need for unity with the world. This need takes on an intertextual character, flowing into the interaction of ideas and cultural codes leading to the attainment of the status of Homo Cosmicus. One of these codes is a feast. The purpose of the author of the article is to reconstruct the lifecreation of the Russian intelligentsia at the beginning of the 20th century through the prism of an ancient feast. It seems that in the conditions of intense spiritual searches, in the struggle to find wholeness and completeness of human life, turning to antiquity became a truly metaphysical idea, where the feast was a significant cultural constant. In the process of moving to the highest point of spiritual development, the antique feast metaphorically reflects the cosmos of being, just as the violation of the order of the feast reflects the violation of the order of being. This is what happens in Russian reality in the first half of the 20th century, where against the backdrop of tragic historical events, the Platonic “feastˮ turns into the vulgar “feastˮ of Petronius. After the revolution of 1917 the intelligentsia, with its own aspirations, found itself at a feast alien to itself, where it could not find a place, and the “hangover” became too heavy and turned into a real drama. Methodological approaches to the problem under study are based on the theoretical basis of modern scientific knowledge, which includes concepts and methods of philosophy (N. A. Berdyaev, P. A. Florensky, D. S. Merezhkovsky, V. V. Rozanov, Vl. S. Solovyov), cultural studies (I. A. Edoshina, M. S. Kagan, Yu. M. Lotman, N. O. Osipova), art history (I. A. Azizyan, A. Payman, A. A. Rusakova, D. V. Sarabyanov), intelligentsia studies (V. S. Memetov, S. M. Usmanov).

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Nabiałek, Magda. "Afekt i konwencja – budowanie przestrzeni widzenia." Białostockie Studia Literaturoznawcze, no. 16 (2020): 65–82. http://dx.doi.org/10.15290/bsl.2020.16.04.

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The article discusses the coexistence of two phenomena in the drama of the second half of the 19th century and the early 20th century. By combining affect and convention, the author seeks to point out the dramatic use of the forgotten plot schemes, characters, and construction solutions, which still remain strongly preserved in the cultural memory of the viewers. These were highly characteristic of the comedy dell’arte, the Russian balagan, which was at the time regaining its popularity in Italy, as well as of the Polish fairy tale. The authors used them in order to evoke in the viewer a certain kind of affectation. This, in turn, allowed them to build ties with the audience based on completely new rules of participation, which gave rise to the theatrical phenomena characteristic of the second half of the 20th century.

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Carpenter, Alexander. "Towards a History of Operatic Psychoanalysis." Psychoanalysis and History 12, no. 2 (2010): 173–94. http://dx.doi.org/10.3366/pah.2010.0004.

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This paper examines the history of the trope of psychoanalytic therapy in musical dramas, from Richard Wagner to Kurt Weill, concluding that psychoanalysis and the musical drama are, in some ways, companions and take cues from each other, beginning in the mid-19th century. In Wagner's music dramas, psychoanalytic themes and situations – specifically concerning the meaning and analysis of dreams – are presaged. In early modernist music dramas by Richard Strauss and Arnold Schoenberg (contemporaries of Freud), tacit representations of the drama of hysteria, its aetiology and ‘treatment’ comprise key elements of the plot and resonate with dissonant musical soundscapes. By the middle of the 20th century, Kurt Weill places the relationship between analyst and patient in the foreground of his musical Lady in the Dark, thereby making manifest what is latent in a century-spanning chain of musical works whose meaning centres, in part, around representations of psychoanalysis.

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Martín Quintanal, Ruymán. "Hollywood y Viena. Funciones y connotaciones del atonalismo en el cine y la ópera." Comunicación Revista Internacional de Comunicación Audiovisual Publicidad y Literatura 1, no. 18 (2020): 85–98. http://dx.doi.org/10.12795/comunicacion.2020.i18.05.

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In our investigation we make an approach to the uses of atonal music in the opera of the Vienese School and the cinema that became known in the second half of the 20th century. Likewise, we make a comparative study on the meanings in both media, that are constituted by the needs within this two kinds of drama that have certain similarities and differences.

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Ares Cuba, Gabriel. "La escenografía en el teatro de Manuel Linares Rivas: el espacio y el tiempo." Revista de Filología de la Universidad de La Laguna, no. 43 (2021): 37–55. http://dx.doi.org/10.25145/j.refiull.2021.43.02.

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In this paper, I have analyzed some of the most significant spaces in Manuel Linares Rivas’ dramatical work. The main purpose is to suggest a first clasification of their spaces. Also, I have valued the social commitment contained in them. I argue that the stage construction could clarify the probable affiliation of Linares Rivas to a new trend in the drama of the first third of the 20th century

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Vo, Nhon Van. "TRANSLATED LITERATURE IN COCHINCHINA IN THE LATE 19th CENTURY AND IN THE EARLY 20th CENTURY." Science and Technology Development Journal 13, no. 1 (2010): 5–12. http://dx.doi.org/10.32508/stdj.v13i1.2099.

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Being colonized by France, Cocochina (the South of Vietnam) was the region where Western literature was introduced into earlier than the North. Truong Minh Ky was considered the first translator of Western literature in Vietnam. His earliest works of translation appeared in 1884. By the early 20th century, introduced to Vietnamese readers were Western literary works not only of French origin but also of British, American and Russian origins; not only poetry, prose but also drama. In the late 19th century, many writers such as Truong Vinh Ky, Huynh Tinh Cua were interested in Chinese literature. In the first decade of the 20th century, a wide variety of Chinese novels were translated into Vietnamese, forming a strong movement of translating "truyen Tau” (Chinese fictions). The remarkable characteristics of the translation of Western literature in Cochinchina were as follows - The newspapers and magazines in “Quoc Ngu” (Vietnamese language written in Latin characters) where the first works of translation were published played very important role. - The translators were greatly diverse, coming from different social and cultural backgrounds. - More translation was made on prose. Novels of martial arts, historical stories, novels of heroic deeds attracted the attention of the translators and the publishers. Therefore, they were translated much more than romance novels were, because of their compatibility with popular audience. - By translating the works of Western literature, the writers tried to express new concepts of humanism, such as women rights, or gender issues. Translated literature in Cocochina in the late 19th and early 20th centuries reflects a paradox: Western influences started to leave their marks but the Chinese influence was still strongly engraved. However, this was a remarkable step in the journey of modernization of national literature. Through these early translated works, new literary genres were introduced and Vietnamese readers gradually became familiar with them. Translation experiences were the first steps for Cocochina writers to achieve thorough understanding, to learn Western writing techniques and styles, which helped them become the pioneers of new literature in Vietnam.

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Feletar, Dragutin, and Martin Glamuzina. "Granica Mađarske i Hrvatske na starim kartama." Geoadria 6, no. 1 (2017): 81. http://dx.doi.org/10.15291/geoadria.164.

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For centuries Croatia has been in a political association with Hungary. The borderbetween these two states lies on the Drava and the Mura rivers and is actually one of the oldest in Middle Europe, although between 1102 and 1526 there was a common Croatian-Hungarian kingdom and between 1526 and 1918 Hapsburg Monarchy (between 1867 and 1918 Austria- Hungary). The changes of the state border caused by the changes of the Drava and Mura’s bed, political interventions in the area of Međimurje and Baranja, especially from 18th to the middle of 20th century (1945) can be traced on the old maps, and these cartographic presentations represent a valuable historical source. The issue of border changes between Croatia and Hungary can be analyzed from two aspects: 1. macro analysis – i.e. bigger territory changes of the border between Croatia and Hungary 2. microanalysis – i.e. determining the border on the troubled rivers of the Drava and the Mura The macro plan includes the border changes between Croatia and Hungary where the most important issue is the borders in border areas of Međumurje, Prekodravlje and Baranje. For centuries there were arguments about the border in Prekodravlje. This part of Croatia, in Koprivnica area, has been populated by the Croats in the middle Ages, and in 16th and 17th century it was destroyed by Turks. At the beginning of 19th century Prekodravlje was again populated by Croats, two parishes, Gola and Ždala, were founded and they belonged to Zagreb bishopric (in 1854 it became archbishopric). Baranja was a part of the Hungarian district the longest of all border areas and beside Hungarians and Germans it was also populated by Croats and Serbs. It was annexed to Kingdom SHS (i.e. Republic of Croatia) by Trianon peace treaty in 1920. The old maps are very interesting because they document the microanalysis of the Croatian-Hungarian border, especially the border on the troubled Drava river. In this area the Drava is already a typical lowland-river, and in some Holocene sand and pebbles accumulation it meandered and changed its bed. For this reason it was necessary to determine the borderline which won’t change and will not depend on the river. Military land surveys conducted from 1781 to 1785 determined the borderline in the former Drava bed which was later verified by Trianon peace treaty.

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Izvarina, О. M. "Opera directing in the Ukrainian Musical Theatre in 20s of 20th century." Musical art in the educological discourse, no. 3 (2018): 66–70. http://dx.doi.org/10.28925/2518-766x.2018.3.6670.

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The article highlights the prerequisites for the formation of Ukrainian opera directing on the basis of materials from rare editions, musical criticism of the 1920s, memoirs of contemporaries, modern scientific research. The close connection of the Ukrainian opera direction with the traditions of the direction of the Ukrainian music and drama theatre is considered. The assimilation of the experience and creative achievements of the directors of the «theatre of the coryphaeuses» M. Staritsky, M. Kropiwnicki and M. Sadovsky is covered. The features of the stage life of operas of the classical repertoire on the Ukrainian opera scene of the 1920s are analysed. It is shown the widespread differences between the director’s interpretations of classical operatic works of this period with the aim of the so-called «modernizing» and “approaching the viewer”. It possess characteristic of the stage productions of the Ukrainian operas of the 1920s, the estimation of the director’s decisions of M. Bogolyubov, O. Ulukhanova, V. Manzi, E. Jungvald-Khilkevich, Yu. Lishansky, S. Butovskiy with the musical-critical thought and periodical press of this period. The importance of the productions of Ukrainian operas of the 1920s for the progressive development of national opera art and Ukrainian opera directing is proved.

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Song, Joon Il. "The Influence of Far Eastern Culture on the Creative Work of S.M. Eisenstein." Journal of Flm Arts and Film Studies 10, no. 3 (2018): 45–54. http://dx.doi.org/10.17816/vgik10345-54.

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The article investigates the influence of Japanese and Chinese traditional culture on Sergey Eisensteins theory of artistic thinking, his activity as a film director. The author explores the origin of Eisensteins interest for the Far East in the historical context of the late 19th - early 20th century. Special attention is paid to his reflection on the nature of Japanese and Chinese drama, painting and poetry as well as its results manifested in his montage theory.

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Pakhareva, T. A. "A Few Insights into the Poem by O. E. Mandelstam "On the Stone Spurs of Pieria…"." Russkaya literatura 1 (2020): 182–89. http://dx.doi.org/10.31860/0131-6095-2020-1-182-189.

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The article identifi es and discusses the Kiev realities of early 20th century which can be included among the sources of imagery of poem O. Mandelstam’s "On the stone spurs of Pieria…" An allusion to Lope de Vega’s drama "The Sheep’s Well" and the elements of the intertextual dialogue with the poems by Vyach. Ivanov, N. Gumilyov, V. Makkaveysky, V. Narbut, unaccounted for by the previous commentators of this poem, were also discovered.

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Erimtan, Can. "Hittites, Ottomans and Turks: Ağaoğlu Ahmed Bey and the Kemalist construction of Turkish nationhood in Anatolia." Anatolian Studies 58 (December 2008): 141–71. http://dx.doi.org/10.1017/s0066154600008711.

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AbstractThis article analyses the position of the Hittites in the theoretical development of Turkish nationalism in the 20th century. The piece provides an outline of the full content of the Hittite claim in a Turkish nationalist context, particularly its promulgation as part of the so-called ‘Turkish History Thesis’. Following this, I will give full weight to the historical circumstances surrounding the emergence of the Hittite trope in Turkish writing. Basing myself on the work of Mete Tunçay, I will give proper prominence to the publication of the propaganda tractPontus Meselesi(1922). It is my contention that the Turkish intellectual of Azerî descent, Ağaoğlu Ahmed Bey, was the sole author of the textPontus Meselesi. The remainder of the article consists of a close reading of this geo-text. I will demonstrate that Ağaoğlu's discovery of the Hittites as worthy forebears for the Anatolian Muslims, whom he refers to as ‘Turks’ in his text, was the outcome of an ideologically motivated reading of 19th century European accounts of ancient Near Eastern history. The article shows that the propagation of the Kemalist concept of Turkish nationalism in Anatolia dates back to 1922, a year prior to the establishment of the Republic of Turkey.

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Philippov-Chekhov, Alexander О. "Peter Szondi about the crisis of drama." Practices & Interpretations: A Journal of Philology, Teaching and Cultural Studies 5, no. 1 (2020): 128–41. http://dx.doi.org/10.18522/2415-8852-2020-1-128-141.

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“Theory of Modern Drama: 1880–1950” (1956), a book by Peter Szondi (Peter Szondi, 1929–1971), who was a German literary scholar, originally from Hungary, has not yet been translated into Russian. Meanwhile, without this study, it is impossible to imagine a European discourse on drama, theatrical practice and its concepts in the second half of the 20th century. Analyzing the changes in the poetics of drama, which were first carried out by Ibsen, Chekhov, Strindberg, Hauptmann, and then by experimenters like Pirandello, Piscator, or Brecht, Szondi traced how the “decay of the formative principle of drama” occurs. According to Szondi, these processes are associated with profound changes in the style of thinking, so he saw a close connection between the weakening of the dramatic element in drama and the “aperspectivism” of Cezanne or Schönberg’s atonal music. The excerpt presented below is part of Szondi’s translated book, published in 2020 by V – A – C Press, which specializes in literature on art, cultural philosophy, and contemporary art and political practice.

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Houtman, Cornelis. "Rewriting a Dramatic Old Testament Story the Story of Jephthah and his Daughter in Some Examples of Christian Devotional Literature." Biblical Interpretation 13, no. 2 (2005): 167–90. http://dx.doi.org/10.1163/1568515053683112.

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AbstractFour examples of the literary rewriting of Judg. 11:29-40 in devotional literature, dating from the end of the 18th century to the beginning of the 20th century, are described and analysed. All do away with the simplicity and "neutrality" found in the biblical story of Jephthah and his daughter and turn it into high drama with sharply drawn and distinct protagonists and a sometimes exuberant depiction of atmosphere. In the hands of the authors the story becomes the bearer of the theological ideas and moral views which the novelists and poets and their times espoused.

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Hambur, Fransiska Marsela, and Nurhayati Nurhayati. "Feminism thoughts in 20th and 21st century literary works: A comparative study." EduLite: Journal of English Education, Literature and Culture 4, no. 2 (2019): 183. http://dx.doi.org/10.30659/e.4.2.183-193.

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One of most arguable and observable social phenomena is gender inequality which is based on feminism thoughts. Considering how literature may portray human’s life along with its values, this study is purposed to elaborate and compare how feminism thoughts and gender inequality take place in various literary works. Based on the importance of feminism thoughts and gender inequality in cross cultural literature, then there is a necessity to conduct a comparative literature study which focused on feminism thoughts. This study took four kinds of literary works, namely drama, prose (short-story), movie, and poetry. Feminism approach as sociological approach was applied in this study altogether with comparative criticism and content analysis method. This study discussed how feminism thoughts got more supports and encouragement as the century progressed. By comparing literary works from 20th and 21st century, several important findings can be drawn, namely (a) feminism thoughts are getting stronger along with the progression of century, (b) feminism thoughts always oppose gender inequality as both are always found as binary oppositions in literary work, (c) both feminism and gender-inequality live through human’s values and repetitive actions, (d) personal and familial values are crucial in order to develop feminism thoughts and gender-inequality in an individual, and (e) the change of values, especially social and cultural values can bring changes in both feminism and gender inequality phenomena.

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Dzhabaeva, T. Ch. "Turkish-Dagestan Relations in the Light of the Russian Policy of Deterring the Population of the Dagestan Region from Resettling in Turkey (II Half of the 19th - Early 20th Century)." IZVESTIYA VUZOV SEVERO-KAVKAZSKII REGION SOCIAL SCIENCE, no. 3 (207) (October 19, 2020): 50–54. http://dx.doi.org/10.18522/2687-0770-2020-3-50-54.

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The article analyzes Turkish-Dagestani relations in the light of the policy of the Russian administration in the province. The reasons for the growth of Pro-Turkish orientation among the population of Dagestan in the second half of the 19th century, the policy of the Porte in this matter, and its decline by the beginning of the 20th century are noted. The author examines the complex of actions of the Tsarist administration to restrain the Dagestani population from resettling in Turkey-from conducting explanatory conversations with those who wanted to relocate and monitoring the relocation “through their fingers”, to direct prohibitions. The features of the migration movement of representatives of the peoples of Dagestan that distinguished it from the migration movement among other peoples of the North Caucasus are revealed.

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Grebenshchikova, Galina A. "Germany-Turkish military and political co-operation at the beginningof 20th century and position of Russia." Петербургский исторический журнал, no. 1 (2021): 260–81. http://dx.doi.org/10.51255/2311-603x_2021_1_260.

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Harutyunyan, M. "THE COVERAGE OF THE THEATRICAL LIFE OF ARTSAKH IN THE SECOND HALF OF THE 19TH CENTURY AND THE BEGINNING OF THE 20TH CENTURY ON THE PAGES OF THE NEWSPAPER “KARABAKH” (1911-1912)." ASJ 1, no. 50 (2021): 4–9. http://dx.doi.org/10.31618/asj.2707-9864.2021.1.50.106.

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Thus, summarizing our scientific research, we can clearly emphasize that theatrical art flourished in Artsakh in the second half of the 19th century and the beginning of the 20th century. It should be noted that until the second half of the 19th century, the Armenians of Artsakh had their theatrical traditions for centuries. There was theater in dance art, at parties and events. But there was no professional theater yet, preconditions were created for that only when in 1865 famous figures of the Armenian theater Gevorg Chmshkyan, Mihrdat Americyan and Sedrak Mandinyan came to Shushi. And the Mkrtich Khandamiryan Theater was built in Shushi in 1891. It had a 350-seat hall.  Separate issues related to the socio-economic, political and cultural events in Artsakh were covered in almost all issues of the three-day literary-social newspaper "Karabakh". Covering the theatrical art of Artsakh in 19111912, the newspaper emphasized that the theater continued to flourish in that period. Theatrical performances took place in different parts of Artsakh. A number of interesting and multi-genre theatrical performances took place at the Diocesan school of Shusha, at the Mariamyan girls 'school, at the Hripsimyan girls' school, at the school of the Saint Astvatsatsin church of Aguletsots, at the school of boys of the Saint Astvatsatsin church of Megretsots, at the Mariam-Ghukasyan school, at the school of Realakan. A number of interesting and multi-genre theatrical performances also took place at the Diocesan School of Shushi, at the Girls' School of Mariamyan, at the Girls' School of Hripsimyan, at the school of Aguletsots St. Astvatsatsin Church, at the Boys' School of Meghretsots St. Astvatsatsin Church, at the school of Mariam-Ghukasyan, at the school of Realakan, at kindergartens, in private homes of wealthy people and at other places at that time.  Numerous multi-genre performances also took place in 1911-1912: "Adam and Eve" Vardanank, " The savage", "The Charlatan", "Heart is a mystery", "Naughty", "The Valley of Tears", "The Engaged" drama, "Modern Heroes" comedy, famous playwright Gordin's drama "The devil", the drama "Christine", Nardos' drama "The Killed Dove", Measnitsky's drama "I died" and other performances.

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MEHERREMOVA, Könül. "THE INFLUENCE OF TURKISH LITERARY TRADITIONS ON HUSEYN JAVID’S WORKS." Zeitschrift für die Welt der Türken / Journal of World of Turks 13, no. 1 (2021): 49–60. http://dx.doi.org/10.46291/zfwt/130103.

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The influence of the Turkish literature on the Azerbaijani literature in the beginning of the 20th century is indisputable. In this aspect, the works of the prominent Azerbaijani poet and playwright Huseyn Javid draws attention. The similarities with the works and thoughts of the significant representatives of the Turkish literature like Namık Kemal, Abdulhak Hamit, Mehmed Akif Ersoy, Tevfik Fikret and Riza Tevfik is observed in Huseyn Javid’s poems and plays. In the Turkish literary criticism, researches about Huseyn Javid increased noticeably in the recent times and these researches largely compared his works and philosophical thoughts with Turkish writers and poets. These studies focused Javid’s works, their topics, and literary features. Observing this kind of features in the works of H. Javid who lived and studied in Turkey for some time is normal, and this matter does not cause his works to lose their originality. Keywords: Azerbaijani literature, Turkish literature, poems, plays

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47

Pandevska, Maria, and Makedonka Mitrova. "The Concept of the millet in Turkish dictionaries: Its alteration and the impact on Ottoman Macedonia." Balcanica Posnaniensia. Acta et studia 26 (January 26, 2020): 171–92. http://dx.doi.org/10.14746/bp.2019.26.10.

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In the 19th century the dictionaries/glossaries represent the first brace which connected different cultures and languages, thus also linking the Orient with the Occident and vice versa. In this context the research is focused on the Turkish dictionaries/glossaries, which for a long time actually represented one of the basic media of transmitting the new Western ideas in the East, and in our case, in the Ottoman Empire. Through the short comparative analyses of these dictionaries/glossaries and their authors (from the 19th century and early 20th century) we follow the change of the cognitive concept of the term millet with the term nation. The case study is focused on Ottoman Macedonia and on the political implications caused by this change of the meaning of the Ottoman term millet.

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Palymbetova, M. "Creative peculiarities of drama pieces in the Karakalpak literature of the 20th century (On the basis of T.Qayipbergenov's dramatical pieces)." International Journal on Integrated Education 2, no. 4 (2019): 19–22. http://dx.doi.org/10.31149/ijie.v2i4.103.

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The article is devoted to identifying the genre features of the works of the prose writer and playwright T. Kaipbergenov. In the article we focused on the history of the drama in the Karakalpak literature of the twentieth century and the study of its development history by scientists. We also noted that the drama in the Karakalpak literature originated in the 20s of the twentieth century, and the very first playwrights were K.Auezov, S.Mazhitov, A.Otepov and reviewed their dramatic works. We considered the features of the study and the objects of study of such researchers as K. Ayymbetov, T. Allanazarov, T. Bayandiyev, K. Sultanov, and in the years of independence K. Kamalov, S. Allayarov, K. Kurambaev, J. Esenov, O Satbayev, B.Tursinov, I.Oteuliyev, Zharimbetov and others. The prominent figure in Karakalpak literature, T. Kaipbergenov, as a publicist, prose writer and playwright, made a great contribution to the 20th century Karakalpak literature, becoming famous for his works all over the world. He played a major role in the comprehensive development of our literature, writing, along with prose works, such dramatic works as “Last Name”, “Aidos Baba”, and “Sakhra Bulbuli”. Therefore, this article is devoted to the study of ideas and themes, genre features and the system of images of these works, who have made a great contribution to the development of Karakalpak literature.

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Romanou, Ekaterini. "Italian musicians in Greece during the nineteenth century." Muzikologija, no. 3 (2003): 43–55. http://dx.doi.org/10.2298/muz0303043r.

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In Greece, the monophonic chant of the Orthodox church and its neumatic notation have been transmitted as a popular tradition up to the first decades of the 20th century. The transformation of Greek musical tradition to a Western type of urban culture and the introduction of harmony, staff notation and western instruments and performance practices in the country began in the 19th century. Italian musicians played a central role in that process. A large number of them lived and worked on the Ionian Islands. Those Italian musicians have left a considerable number of transcriptions and original compositions. Quite a different cultural background existed in Athens. Education was in most cases connected to the church - the institution that during the four centuries of Turkish occupation kept Greeks united and nationally conscious. The neumatic notation was used for all music sung by the people, music of both western and eastern origin. The assimilation of staff notation and harmony was accelerated in the last quarter of the 19th century. At the beginning of the 20th century in Athens a violent cultural clash was provoked by the reformers of music education all of them belonging to German culture. The clash ended with the displacement of the Italian and Greek musicians from the Ionian Islands working at the time in Athens, and the defamation of their fundamental work in music education.

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Paredes, Rubén Rodriguez. "Turkish-Ottoman relations with Latin America: a journey through the time capsule." Estudos Internacionais: revista de relações internacionais da PUC Minas 8, no. 4 (2021): 188–202. http://dx.doi.org/10.5752/p.2317-773x.2020v8n4p188-202.

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In this article we propose to address the opening of three Time Capsules to reconstruct three clearly identifiable contexts, each providing information for the analysis of what international relations between the Ottoman Empire/Turkey with Latin America have been like. In this way, we seek to analyze the content of the links through the density of the macro-relationships that developed over time, in order to make a cognitive map of the state of situation, taking into account not only the interests of the actors but also the endogenous and exogenous conditions. In that line are raised three contexts of opening the Capsules of Time. The first in 1923, when the Empire died and the Republic of Turkey was born; the second at the end of the 20th century; and the third in 2019, spanning almost the first two decades of the 21st century.

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