Artículos de revistas: "French tragedy"

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Hammond, N. "French Origins of English Tragedy". French Studies 66, n.º 4 (1 de octubre de 2012): 552–53. http://dx.doi.org/10.1093/fs/kns183.

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Hellemans, A. "ASTRONOMY:New Tragedy Hits French Observatory". Science 286, n.º 5449 (24 de diciembre de 1999): 2432b—2433. http://dx.doi.org/10.1126/science.286.5449.2432b.

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3

Hillman (book author), Richard y Glenn Clark (review author). "French Origins of English Tragedy". Renaissance and Reformation 36, n.º 3 (2 de diciembre de 2013): 169–71. http://dx.doi.org/10.33137/rr.v36i3.20557.

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4

Gilman, Donald y Gillian Jondorf. "French Renaissance Tragedy: The Dramatic Word." Sixteenth Century Journal 23, n.º 3 (1992): 632. http://dx.doi.org/10.2307/2542542.

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Howe, Alan y Gillian Jondorf. "French Renaissance Tragedy: The Dramatic Word". Modern Language Review 87, n.º 4 (octubre de 1992): 976. http://dx.doi.org/10.2307/3731485.

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6

Gausz, Ildikó. "French tragedy in the Hungarian theatre". Belvedere Meridionale 30, n.º 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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7

Frisch, A. "French Tragedy and the Civil Wars". Modern Language Quarterly 67, n.º 3 (18 de agosto de 2006): 287–312. http://dx.doi.org/10.1215/00267929-2006-001.

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Vandiver, Frank E. y George H. Cassar. "The Tragedy of Sir John French." Military Affairs 51, n.º 4 (octubre de 1987): 214. http://dx.doi.org/10.2307/1987973.

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Hyatt, A. M. J. y George H. Cassar. "The Tragedy of Sir John French". American Historical Review 91, n.º 2 (abril de 1986): 403. http://dx.doi.org/10.2307/1858202.

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10

Rothschild, E. "A Horrible Tragedy in the French Atlantic". Past & Present 192, n.º 1 (1 de agosto de 2006): 67–108. http://dx.doi.org/10.1093/pastj/gtl001.

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Shimko, Robert B. "French Origins of English Tragedy (review)". Journal of Dramatic Theory and Criticism 26, n.º 2 (2012): 239–41. http://dx.doi.org/10.1353/dtc.2012.0008.

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12

Melehy, Hassan. "French Origins of English Tragedy (review)". Comparative Drama 45, n.º 3 (2011): 294–97. http://dx.doi.org/10.1353/cdr.2011.0023.

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13

Greenberg, Mitchell y Harriet Stone. "Royal Disclosures: Problematics of Representation in French Classical Tragedy". South Atlantic Review 54, n.º 3 (septiembre de 1989): 114. http://dx.doi.org/10.2307/3200191.

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14

Hoffmann, Stanley y Tzvetan Todorov. "A French Tragedy: Scenes of Civil War, Summer 1944". Foreign Affairs 76, n.º 2 (1997): 187. http://dx.doi.org/10.2307/20047991.

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15

Nikolarea, Ekaterini. "Oedipus the King: A Greek Tragedy, Philosophy, Politics and Philology". TTR : traduction, terminologie, rédaction 7, n.º 1 (27 de febrero de 2007): 219–67. http://dx.doi.org/10.7202/037174ar.

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Abstract Oedipus the King: A Greek Tragedy, Philosophy, Politics and Philology — This study tries to show that the abundance of translations, imitations and radical re-interpretations of a genre like tragedy is due to various social discourses of target societies. Taking as an example Sophocles' Oedipus the King, the acclaimed tragedy par excellence, this essay discusses how the discourses of philosophy, politics and philology influenced the reception of this classical Greek tragedy by the French and British target systems (TSs) during the late 17th and early 18th century and the late 19th and early 20th century. The first section shows how, by offering Sophocles' Oedipus the King as a Greek model of tragedy, Aristotle's Poetics has formed the Western literary criticism and playwriting. The second section attempts to demonstrate why three imitations of Oedipus by Corneille (Oedipe), Dryden {Oedipus) and Voltaire {Oedipe) became more popular than any other contemporary "real" translation of the Sophoclean Oedipus. The third and final part holds that the observed revival of Oedipus the King in late 19th- and early 20th-century France and England was due to the different degrees of influence of three conflicting but overlapping discourses: philosophy, philology and politics. It illustrates how these discourses resulted in different reception of the Greek play by the French and British TSs.

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16

Tang, C. "Ceremonial Theater and Tragedy from French Classicism to German Classicism". Comparative Literature 66, n.º 3 (1 de junio de 2014): 277–300. http://dx.doi.org/10.1215/00104124-2764058.

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Hussain, Syed Ather, Marium Zahoor Malik y Ritesh G. Menezes. "The airplane crash in the French Alps: A preventable tragedy". Asian Journal of Psychiatry 17 (octubre de 2015): 109–10. http://dx.doi.org/10.1016/j.ajp.2015.07.015.

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18

Kropacheva, Kseniya Aleksandrovna. "The establishment of literary canon of French dramaturgy of the XVI century". Litera, n.º 10 (octubre de 2020): 1–7. http://dx.doi.org/10.25136/2409-8698.2020.10.33800.

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This article reviews gradual development of the literary canon of French theater of the Renaissance Era, which in many ways predetermined the emergence and further evolution of classicistic dramaturgy. The subject of this research is the principles of dramaturgical art formulated by the poets and theoreticians of the XVI century within the framework of poetic texts and treatises. The goal consists in description of the stages in establishment of the theatrical canon in France of the Renaissance Era, juxtapose its principles to the medieval theater, determine to which stage is attributed the emergence of representations on the classical theater, and highlight the factors that influenced its development. The novelty of this research lies in the attempt of comprehensive analysis of the poetic texts and treatises that allow reconstructing the processes unfolded in the XVI century in French theater, as well as comparing them to medieval tradition, as well as to gradually forming classicism. The relevance is substantiated by the need that occurred in literary studies to understand the formation of classical principles of French dramaturgy based on the materials of poetic works of the Renaissance Era. The author delineates three staged in the process of formation of the canon of French theatre of the Renaissance Era. The first is associated with the publication of Joachim du Bellay's manifesto, which indicates the “gap” in French literature in the area of drama and appeals to fill it. For realization of the second stage, pivotal becomes the figure of Étienne Jodelle, the author of tragedy “Cléopâtre Captive”, which epitomized an attempt to revive of antique tragedy, and comedy “Eugène”.. So in France of the XVI century. This led to the emergence of French national theatrical tradition that can be considered a literary canon. The third stage of its formation became the recognition of Jodelle's achievements in the theory of poetry. In 1555, Jacques Peletier in “Art Poétique” cited both compositions as the examples of tragedy and comedy, which contributed to consolidation of the canon.

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Arzikulova, Khurshida. "NATIONALISM OF THE HEROES OF THE TRAGEDY COMEDY “SID”". INTERNATIONAL JOURNAL OF WORD ART 6, n.º 3 (30 de junio de 2020): 213–19. http://dx.doi.org/10.26739/2181-9297-2020-6-29.

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This article shows the heroes of the tragicomedy “Sid” by Pierre Cornell, the great representative of the XVII the century French drama, fulfilling their duty to the family and the homeland, despite the fact that they lost their love. The patriotism of the protagonists shows that Don Rodrigo and Jimena have both fall in love and fulfilled their duty to their families.

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Hillman, Richard. "Staging romance across the Channel: French–English exchanges and generic common ground". Cahiers Élisabéthains: A Journal of English Renaissance Studies 99, n.º 1 (17 de abril de 2019): 33–44. http://dx.doi.org/10.1177/0184767819835566.

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This article explores a number of neglected cross-connections between English romantic drama from about 1585 to 1615, notably including Shakespeare’s last plays, and the French tragicomic tradition as it evolved prior to and beyond these dates. I suggest that dramatic and non-dramatic French models played a considerable part alongside Italian ones in stimulating development of what might be termed ‘tragedy with a happy ending’ in England, and that English texts, in turn, fed back into French practice. Attention is given to the precedent for key aspects of Pericles provided by François de Belleforest’s version of the Apollonius of Tyre romance.

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21

Leonard, Miriam. "TRAGEDY AND THE SEDUCTIONS OF PHILOSOPHY". Cambridge Classical Journal 58 (26 de noviembre de 2012): 145–64. http://dx.doi.org/10.1017/s1750270512000048.

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Since antiquity, Greek tragedy has continually preoccupied philosophers. From Plato and Aristotle, to Hegel and Nietzsche, many of the most interesting ideas in the history of thought have been developed through a dialogue with tragedy. This article explores the continuities and ruptures between Plato and Aristotle's reading of tragedy and the so-called “philosophy of the tragic” which emerged in the late eighteenth century. The influence of this modern tradition has been so profound that, even today, no reading ofAntigone, ofOedipusor of theBacchaeis not also, at least unconsciously, in dialogue with Hegel, with Freud and with Nietzsche. Although there is some recognition that the philosophical understanding of tragedy has historically shaped the discussion of ancient drama, classicists remain resistant to returning to its insights to further the study of classical texts. This article aims to redress the situation not only by revealing the persistent traces of the philosophy of the tragic in our modern critical vocabulary, but also by arguing that a renewed interest in this tradition will invigorate debates within our field. By looking at the examples of the French feminists Hélène Cixous' and Luce Irigaray's interpretations of Sophocles and Aeschylus, the article investigates the apparent tension between historicist and universalising readings of tragedy and argues that these two approaches are not necessarily incompatible.

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22

Coldiron, Anne. "French Origins of English Tragedy by Richard Hillman (review)". Shakespeare Quarterly 64, n.º 1 (2013): 119–21. http://dx.doi.org/10.1353/shq.2013.0007.

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23

Damen, Mark. "French Scenes in Greek Tragedy: The Scenic Structure of Classical Drama". Theatre Journal 55, n.º 1 (2003): 113–34. http://dx.doi.org/10.1353/tj.2003.0014.

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24

McDonnell, Hugh. "Bringing the French Empire (to the) Home?" Contemporary European History 29, n.º 3 (agosto de 2020): 356–68. http://dx.doi.org/10.1017/s0960777320000302.

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In November 2018 eight people, including a mother from the Comoros and residents from Tunisia and Algeria, died when two buildings collapsed in the run down area of Noailles in the old port area of Marseille. A 2015 government report had already warned that 40,000 dilapidated and dangerous homes put 100,000 people at risk in France's second city, but campaigners say little was done. The tragedy occasioned widespread anger about run down and exploitative housing in the Mediterranean city. It also refocused public attention on housing and the concept of the home. In turn this raised questions about how housing and the home connect to space and social justice, the division of labour between national and local government, citizenship and ‘the right to the city’.

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Alonge, Tristan. "Les Suppliantes de Euripide (c.1540): A Lost Translation Recovered". Translation and Literature 28, n.º 2-3 (noviembre de 2019): 249–316. http://dx.doi.org/10.3366/tal.2019.0387.

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The manuscript shelfmarked Rothschild Supplement-2200 in the Bibliothèque nationale de France has recently been identified as a lost verse translation of Euripides' Suppliants, one of a series of French translations of Greek and Roman tragedies of the 1530s and 1540s which helped to usher in the beginning of French tragedy as a genre. This contribution provides a complete transcription of this anonymous work. An introduction provides some analysis of its form, content, and context. Much the strongest candidate as its likely author, it is argued, is Jacques Amyot.

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Langbroek, Erika y Francis Brands. "Der Fall Gregorius". Amsterdamer Beiträge zur älteren Germanistik 79, n.º 2 (8 de agosto de 2019): 227–73. http://dx.doi.org/10.1163/18756719-12340153.

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Abstract It may be that the French and German authors of La vie du pape Grégoire and Gregorius were so influenced by classical texts as part of their education that these Gregorian legends contain motifs and structural elements of a classical comedy or tragedy. Therefore these legends are compared with twelve comedies by Plautus and Terence.

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Reid, Jeffrey. "Hegel and the Politics of Tragedy, Comedy and Terror". Epoché: A Journal for the History of Philosophy 25, n.º 1 (2020): 135–53. http://dx.doi.org/10.5840/epoche2020108172.

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Greek tragedy, in Hegel’s Phenomenology of Spirit, represents the performative realization of binary political difference, for example, “private versus public,” “man versus woman” or “nation versus state.” On the other hand, Roman comedy and French Revolutionary Terror, in Hegel, can be taken as radical expressions of political in-difference, defined as a state where all mediating structures of association and governance have collapsed into a world of “bread and circuses.” In examining the dialectical interplay between binary, tragic difference and comedic, terrible in-difference, the paper arrives at hypothetical conclusions regarding how these political forms may be observed today.

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Lyons, John D. "The Barbarous Ancients: French Classical Poetics and the Attack on Ancient Tragedy". MLN 110, n.º 5 (1995): 1135–47. http://dx.doi.org/10.1353/mln.1995.0089.

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Maffesoli, Michel. "Everyday tragedy and creation: Translated from the French by Karen Isabel Ocaña". Cultural Studies 18, n.º 2-3 (enero de 2004): 201–10. http://dx.doi.org/10.1080/0950238042000201482.

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Klik, Marcin. "Metamorphoses of Oedipus in Modern French Literature. From an Intellectual Drama to a Psychoanalytical Reflection on Ideal Love". Interlitteraria 25, n.º 1 (30 de junio de 2020): 170–84. http://dx.doi.org/10.12697/il.2020.25.1.15.

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Oedipus Rex, a tragedy created twenty-five centuries ago, is still a source of inspiration for many writers. However, the overall message of modern interpretations of the Oedipus myth differs considerably from the message of Sophocles’ play; these works are no longer the stories of a man punished by gods for his haughtiness (hybris). André Gide modernizes Sophocles’ tragedy, transforming it into a lesson in secular humanism. The play by Jean Cocteau focuses on the transition from ignorance to awareness. Alain Robbe-Grillet creates an anti-story about the contemporary version of Oedipus, whose lot is determined, not by gods, but by chance and unconscious desires. As for the psychoanalytical interpretation of the myth by Jacqueline Harpman, it is first of all the reflection on ideal love, fully realized in an incestuous relationship between the son and his mother.

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Markowska, Helena. "Euzebiusz Słowacki – Writer and Literary Critic". Ruch Literacki 58, n.º 1 (26 de enero de 2017): 1–13. http://dx.doi.org/10.1515/ruch-2017-0011.

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Summary This article examines the relationship between literary practice and literary criticism in Polish late Neoclassicism in the work of Euzebiusz Słowacki, who combined the roles of writer and critic in a way not untypical at that time. Born in 1773, he made his reputation as a playwright, literary critic, poet and translator, and in 1811 became Professor of Poetry and Elocution at the University of Wilno. First, the article sets out to prove that both his literary work and his criticism are greatly indebted to the late eighteenth-century doctrine of taste, of which he wrote at length himself. The second part is concerned with a comparison of his theoretical reflections about tragedy and his own tragedies. The analysis of their form shows that Euzebiusz Słowacki not only strove to scale the ultimate tragic heights but also to create a Polish version of the neoclassic tragedy. His tragedy follows the best French and ancient models - especially Racine (whom he probably translated into Polish) - but also questions them in a way which shows that Słowacki was no mere imitator.

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Saldanha Alvarez, José Maurício. "The Memory of the French Centurions: Asia-Europe Connections in the Tragic Memory of Pierre Schoendoerffer’s Films". Review of European Studies 11, n.º 2 (28 de mayo de 2019): 97. http://dx.doi.org/10.5539/res.v11n2p97.

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Inspired by Pierre Nora and Maurice Halbwachs, who were French researchers of the mechanism of the memory, and Jean Larteguy, the novelist who gave a voice to the defeated French colonial soldiers, this essay explores the passage of the perilous memories of the veterans of the French Far East Expeditionary Corps, which fought in Indochina between 1945 and 1954, based on the regenerative memory of the war and of Asia and on their memories of themselves. The defeat at Dien Bien Phu resulted in the stigma of a dangerous and traumatic memory. Producers of image and rhetorical discourse, such as the French filmmaker Pierre Schoendoerffer, have undertaken acts of image making through films that transformed the humiliating defeat into a grand and redemptive tragedy. For Schoendoerffer, these acts of filmmaking constituted an unsettling and regenerative experience for both sides, creating a film production of transcultural memories connecting Asia and France.

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Vaisset, Thomas. "Death in port: the explosion of the battleship Liberté in Toulon harbour (25 September 1911)". Human Remains and Violence 5, n.º 2 (octubre de 2019): 91–109. http://dx.doi.org/10.7227/hrv.5.2.7.

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On 25 September 1911 the battleship Liberté exploded in Toulon harbour. This tragedy is just one of the many disasters that the French fleet suffered at the end of the nineteenth and the beginning of the twentieth centuries and also represents the peak of these calamities, since it is undoubtedly the most deadly suffered by a French Navy ship in peacetime. The aim of this article is to study how the navy managed this disaster and the resulting deaths of service personnel, which were all the more traumatic because the incident happened in France’s main military port and in circumstances that do not match the traditional forms of death at sea.

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Astbury, K. "Tragedy Walks the Streets. The French Revolution in the Making of Modern Drama". French History 21, n.º 4 (15 de noviembre de 2007): 479–80. http://dx.doi.org/10.1093/fh/crm062.

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Meere, Michael. "Forgetting Differences: Tragedy, Historiography, and the French Wars of Religion. By Andrea Frisch." French Studies 70, n.º 4 (19 de agosto de 2016): 641–42. http://dx.doi.org/10.1093/fs/knw169.

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Andress, David. "Tragedy Walks the Streets; The French Revolution in the Making of Modern Drama". Journal of Early Modern History 11, n.º 3 (2007): 245–46. http://dx.doi.org/10.1163/157006507781147498.

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Hope, Geoffrey R. "Forgetting Differences: Tragedy, Historiography, and the French Wars of Religion by Andrea Frisch". French Review 91, n.º 2 (2017): 219–20. http://dx.doi.org/10.1353/tfr.2017.0045.

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Cackov, Oliver. "KRIVOLAK BATTLE- EXAMPLE OF A SENSELESS HUMAN TRAGEDY". Knowledge International Journal 34, n.º 5 (4 de octubre de 2019): 1401–5. http://dx.doi.org/10.35120/kij34051401c.

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In this paper the battle of Krivolak is presented as an example of a senseless human tragedy that took place during the First World War and took place in central Macedonia. This battle showed all the nonsense, absurdity and futile tragedy of the participants in it. It outlines the schedule and military operations of the Bulgarian and French troops, enriched with geographical and topographical data. Also it points to the unbearable position in which soldiers from both sides found themselves, the cruel discipline and the specific and psychologically condition of the long-suffering in the shades. In the paper there is also a point about the complete eviction of the surrounding villages, some of which were completely destroyed. During this period the population was not spared not only by the military events but also by the many diseases that mercilessly decimated it. The subject refers only to one episode of the war in this part of the Macedonian front which I think will turn it around the attention.

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Mashevs’kyi, Oleg y Myroslav Baraboi. "Anglo-Canadian Historiography Genesis of the French Canadian Nationalism". European Historical Studies, n.º 7 (2017): 64–83. http://dx.doi.org/10.17721/2524-048x.2017.07.64-83.

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The article investigates the genesis of the French-Canadian nationalism in the Anglo-Canadian historiography. The essence of debate that arose among English-Canadian historians about the conquest of New France (Quebec) by Great Britain as one of the main causes of the French-Canadian problem is analyzed. In particular, as opposed to the pro-British point of view, which considers this conquest as a progress and benefit for the residents of French Canada, its opponents considered the issue as a tragedy for the French Canadians. Particularly the attention is drawn to the changes of the historiographical paradigm after the Second World War, when even pro-British historians had to reconsider their attitude to conquest Canada by Great Britain and recognize its consequences for the French Canadians. Special attention is paid to the reflection of the Anglo-Canadian historiography upon the uprising in 1837-1838 in Quebec on as one of the first manifestations of the radical French-Canadian nationalism. The basic approach in the Anglo-Canadian historiography about members of radical and liberal leaders of French-Canadian nationalism (H. Bourassa, L. Groulx, J. P Tardivel, H. Mercier), which contributed to the institutionalization and politicization of French-Canadian nationalism have been disclosed. The article also clarifies the position of the Anglo-Canadian historiography about the genesis of the “Quiet revolution” in Quebec as of the highest expression of French-Canadian nationalism.

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Fordyce, Ehren. "Tragedy Walks the Streets: The French Revolution in the Making of Modern Drama (review)". Modern Drama 50, n.º 2 (2007): 287–90. http://dx.doi.org/10.1353/mdr.2007.0039.

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Welch, Ellen R. "The Confusion of Diverse Voices: Musical and Social Polyphony in Seventeenth-Century French Opera". Renaissance Quarterly 73, n.º 2 (2020): 567–94. http://dx.doi.org/10.1017/rqx.2020.5.

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This essay explores how two early modern French writers considered choral music in opera as a figure for society. Pierre Corneille, in his musical tragedy “Andromède,” and scientist and critic Claude Perrault, in several texts about music and acoustics, made subtle apologies for the polyphonic choral song condemned by many contemporaries as unintelligible. Beyond defending the aesthetic value of choral music, Corneille and Perrault associated multi-part song with collective vocalizations offstage, in the real world. Their instructions on how to appreciate choral interludes in opera also served, therefore, to train listeners to attend to the polyphony of society.

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Frisch, Andrea. "Passing Judgment: The Politics and Poetics of Sovereignty in French Tragedy from Hardy to Racine". Modern Language Quarterly 79, n.º 2 (1 de junio de 2018): 227–29. http://dx.doi.org/10.1215/00267929-4368243.

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Dmitrieva, N. I. "S.N. Marin’s Burlesque Tragedy "Dido Transformed" and its Translation into French by G. I. Chernyshe". Russkaya Literatura 2 (2018): 157–65. http://dx.doi.org/10.31860/0131-6095-2018-2-157-165.

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Dobbins, Frank. "Music in French Theatre of the Late Sixteenth Century". Early Music History 13 (octubre de 1994): 85–122. http://dx.doi.org/10.1017/s0261127900001315.

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In his first major published monograph, Music in the French Secular Theater, 1400–1550 (Cambridge, MA, 1963), Howard Mayer Brown skilfully plotted the development of musical practices in the traditions of farces, sotties, moralities and monologues until the middle of the sixteenth century, by which time the ‘influence of works from the ancient world and from Italy’ had turned the ‘current of educated opinion … against the older French forms’. Thus he chose to terminate his study just as the new forms of neo-classical comedy, tragedy, tragicomedy and pastorale were emerging, although he did allude fleetingly to the Protestant dramas of Louis des Masures in citing one of three cantiques from the Bergerie spirituelle (Geneva, 1566) as one of his two examples of ‘new music for the stage’. Des Masures's play is only one of a number of dramatic or quasi-dramatic pieces published with music as well as spoken text during the period 1550–1600, reflecting a fashion for new music specifically composed for the theatre. In the present paper I propose to examine this considerable repertory, which has largely escaped the attention of modern scholars.

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Olabiyi Babalola, Joseph Yaï. ""The Path is Open": The Herskovitz Legacy. In African Narrative Analysis And Beyond." Diálogos Revista Electrónica 3, n.º 1 (16 de agosto de 2011): 69. http://dx.doi.org/10.15517/dre.v3i1.6289.

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An unresolved tragedy is inherent in the task of translation. The translator knows that translation is at once impossible and necessary. That tragedy attains heroic proportions with anthropologists insofar as they are translators of entire cultures. Thus, anthropologists, at least the most honest and perceptive among them, are tragic heroes. This proposition became crystallized in my mind as an aphorism as I read the last sentence of Melville and Frances Herskovits's lengthy and challenging introduction to their Dahomean Narrative: “As spoken forms, the stories should preferably be read aloud.” It is not by chance that this sentence concludes 122 pages of substantial analytical discourse in cultural anthropology. I see it as an impassioned call upon readers to displace themselves, as an invitation to leave their own world and inhabit the Fon cultural world. We are invited to read aloud, in English, Fon texts of various genres that were supposed to have been performed orally, then translated into French by Dahomean interpreters, and finally translated into English by the anthropologist authors. Only a hero indeed could cross so many borders.

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Braund, Susanna. "TABLEAUX AND SPECTACLES: APPRECIATION OF SENECAN TRAGEDY BY EUROPEAN DRAMATISTS OF THE SIXTEENTH AND SEVENTEENTH CENTURIES". Ramus 46, n.º 1-2 (diciembre de 2017): 135–52. http://dx.doi.org/10.1017/rmu.2017.7.

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Did Sophocles or Seneca exercise a greater influence on Renaissance drama? While the twenty-first century public might assume the Greek dramatist, in recent decades literary scholars have come to appreciate that the model of tragedy for the Renaissance was the plays of the Roman Seneca rather than those of the Athenian tragedians. In his important essay on Seneca and Shakespeare written in 1932, T.S. Eliot wrote that Senecan sensibility was ‘the most completely absorbed and transmogrified, because it was already the most diffused’ in Shakespeare's world. Tony Boyle, one of the leading rehabilitators of Seneca in recent years, has rightly said, building on the work of Robert Miola and Gordon Braden in particular, that ‘Seneca encodes Renaissance theatre’ from the time that Albertino Mussato wrote his neo-Latin tragedy Ecerinis in 1315 on into the seventeenth century. The present essay offers a complement and supplement to previous scholarship arguing that Seneca enjoyed a status at least equal to that of the Athenian tragedians for European dramatists of the sixteenth and seventeenth centuries. My method will be to examine two plays, one in French and one in English, where the authors have combined dramatic elements taken from Seneca with elements taken from Sophocles. My examples are Robert Garnier's play, staged and published in 1580, entitled Antigone ou La Piété (Antigone or Piety), and the highly popular play by John Dryden and Nathaniel Lee entitled Oedipus, A Tragedy, staged in 1678 and published the following year.

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47

Valčić Bulić, Tamara. "Свирепост и тиранија турских султана у ренесансној новели". Issues in Ethnology and Anthropology 12, n.º 1 (31 de marzo de 2017): 259. http://dx.doi.org/10.21301/eap.v12i1.12.

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The subject of analysis in this paper consists of two renaissance novellas: the author of the first novella is the Italian renaissance writer Matteo Bandello, while François de Belleforest is the author of its French translation/adaptation and the author of the second novella which will be analyzed, and which was inspired by a renaissance tragedy. The main theme of both of the stories is the elimination of a potential pretender to the throne of the Ottoman empire: the first story details the fratricide which took place when Mehmed II took the throne, while the other tells of Suleiman the Magnificent's execution of his son Mustafa because of an alleged betrayal. After pointing out the basic characteristics of Bandella's renaissance novella, as well as the newly made "tragic tale" subgenre it belongs to, special attention will be paid to the ways in which Bandello and de Belleforest tell of historical events: storied of the cruelty and depravity of Turkish sultans are a special - even if only literary - way of dealing with the objective threat which the Ottoman empire posed to Europe. Aside from the visible ideological motives, in the case of these authors, and especially François de Belleforest, there is a detectable tendency towards approaching the genre of tragedy. In this case, tragedy is, first and foremost understood as the display of pathetic and painful images; which is displayed through the aesthetic of suffering and the emphasis on such images within the narrative.

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48

Cornilliat, François. "From Mascarade to Tragedy: The Rhetoric of Apologia in Jodelle's Recueil des inscriptions*". Renaissance Quarterly 48, n.º 1 (1995): 82–108. http://dx.doi.org/10.2307/2863322.

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On Thursday, 17 February 1558, King Henri II was to come to the Paris Hotel de Ville with Francois de Lorraine, Duke of Guise, and have dinner with the municipal council. This was on rather short notice (the king had signified his intention on 8 February); but then, it was not supposed to be a solemn entree, only a banquet. In addition to the hearty pleasures of a Jeudi Gras, there was a lot to celebrate, most notably the recent (8 January) capture of Calais and the fort of Guignes by the duke, which had put an end to over four centuries of English presence on French soil. The banquet in the decorated Grande Salle was supposed to be the main event, but the aldermen wanted more.

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ŻYROMSKI, Marek. "Idea kolegialnej władzy wykonawczej". Przegląd Politologiczny, n.º 3 (2 de noviembre de 2018): 79–86. http://dx.doi.org/10.14746/pp.2011.16.3.4.

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Montesquieu’s idea of the tripartite system already expressed a concern with preventing one power from dominating excessively. Another argument for the collegial nature of power is the concern with the continuation of state authorities at the time of crisis (e.g. the tragedy in Smoleñsk). The idea of collegial executive power emerged already in antiquity as evidenced by the two kings in Sparta, the collegiums of archons in Athens, two consuls in the Roman Republic, or the system of tetrarchy, initiated by Diocletian. At present we have the ‘rotating presidency’ in Bosnia or the French principle of ‘cohabitacion’.

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50

Fan, Sin-Syuan. "Libretto of the G. Presgurvic’s musical «Romeo and Juliet»: author’s original source and literary translation as an interpretation of the first text". Problems of Interaction Between Arts, Pedagogy and the Theory and Practice of Education 53, n.º 53 (20 de noviembre de 2019): 145–60. http://dx.doi.org/10.34064/khnum1-53.09.

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Background. The proposed research based on the librettology as the scientific direction of musicology. At the present stage, there is an increasing interest of researchers in the texts of the libretto (among authors G. Ganzburg, 2008; U. Weisstein, 2006; I. Pivovarova, 2002; M. Aleinikov, 2011; T. Gulaya, 2006; E. Rakhmankova, 2008). Librettology is gradually acquiring the status of an independent research discourse, affecting the interdisciplinary connections of musicology, philology, and cultural studies. The objective of this study is to compare the libretto of the musical «Romeo and Juliet» by G. Presgurvic in two versions – the original in French and the literary translation into Russian – from the point of view of interpretation the senses of William Shakespeare’s tragedy. Methodological basis. The problem of literary translation as a creative process of interpretation is the focus of the dissertation research of E Bogatyryova (2007). On the material of the translations of the Pushkin s poem «The Bronze Horseman” the researcher examines the process of creating a translation interpretation; the like algorithm can serve as a methodological basis when considering the translation of the libretto of «Romeo and Juliet» by G. Presgurvic. Speaking about the process of literary translation, E. Bogatyryova proceeds from the idea about a translator as a reader, researcher / critic and writer / poet. At each stage of the translation, she discovers different types of interpretation. From this we can conclude that the translator, as an elucidator and a creator of new artistic image of the first text, is a creative person whose productive activity is associated with an individual interpretation of the original opus. In our study, the text of the libretto is analyzed from the standpoint of the semantic content of the original and the translated version of the text, considered as interpretations of the literary source – the famous tragedy of W. Shakespeare, with its “eternal story” about love and hostility at the core. The word «translation» has in our work two semantic connotations in connection with the involvement of the scientific concept of Yu. Lotman (1992). The variability of meanings introduced by interpreters becomes possible due to the addressing to the creative consciousness, which perceives and processes the initial information, generating new meanings in the process of its rethinking. Preliminary acquaintance with the libretto in two versions showed that the translation by N. Olev and S. Tsiryuk is a rethinking of the artistic content of the original text by G. Presgurvic who is not only the composer, but also the author of the libretto, the interpreter of the famous play by English dramatist. Research results. The tragedy of W. Shakespeare opens with a Prologue. This principle, connected with the poetics of theatricality and indicating the conventionality of the stage action, is preserved in the musical of G. Presgurvic. In the tragedy of W. Shakespeare, the prologue is recited from the scene by Chorus; as A. Anikst (1974, p. 195) points out, this is an allegorical character, which embodies by an actor who comments on events (the idea of ancient Greek tragedies was thus rethought). In the original French version of the musical the author of the piece delivers the opening text against the background of the orchestra preamble. In the Russian production of the musical, the introduction word is presented by an actor who embodied the image of Death (N. Tsiskaridze, a dancer). Interestingly, in the French original, G. Presgurvik tunes the public to the perception of further events, arguing that there is nothing new in this world. In the Russian version of the musical, the prologue text is similar in content and style to Russian translations of the tragedy by W. Shakespeare. This, however, is not a translation of the prologue of the famous tragedy, but its own version of the opening speech differenced also from the French original by G. Presgurvik). Through the poetry of theatricality, the Russian-language version of the musical by G. Presgurvik also shows the “image of the world” as a whole. “The whole world is a theater, and the people in it – are actors”, the famous paraphrase to the text of W. Shakespeare’s comedy «As You Like It» affirms. Due to the literary translation of N. Olev, life is interpreted here as a carnival (No. 2, “Verona”), a masquerade (No. 3, “Enmity”), and Death and Destiny, Fatum, аre its integral part. Death, both in the French original of the musical and in its Russian version, is shown as hidden director managing life events. The semantic synthesis of symbols of Death and Fatum is already declared in the prologue, where the speech is about hostility, hatred and confrontation of families as a backdrop against which the story of Romeo and Juliet unfolds. In the future, Death is a constant participant in the scenic action, merging with the meaning of Fatum – the predetermined fate of man. The image of Death, thus, both in the original French performance and in the version of the Moscow Operetta Theater, is cross-cutting. This is a visual image, solved by means of choreographic plastics, a visual symbol that embodies at the same time the fate, merciless to young lovers, and the fate of the Veronians who became hostages of the Enmity. The latter, also being a symbol, is visualized in the female guise of ballet dancers – participants of the choreographic “hand-to-hand” of the representatives of the warring families – during the performance of the duet of Lady Montecci and Lady Capuletti (No. 3, «Enmity»). In the musical the symbol of Destiny is represented in two semantic connotations: 1) as fatal predestination, fate, destined for Romeo and Juliet (akin to understanding Fate in ancient Greek tragedy); 2) the Providence of God, according to which the consequence of the death of Romeo and Juliet is the reconciliation of the warring parties – a Christian theme that appears in the musical as a semantic concept. The tragic events occurring in the musical cannot overshadow the main idea of the performance, which is the happiness that Love brings and which is possible only because of this sublime feeling. Conclusions. So, the analyzed translation of the text of the libretto was an example of the interpretation carried out in semiotic projection. The translators have created their own original version / interpretation of the «eternal plot» based on the music of G Presgurvic’s work, which received world-wide recognition thanks to author’s talent. The interpretation version of the translation, in its turn, makes one recall the opening words of the French composer, written and uttered by him in the prologue of the musical, to explain them in our own way. Nothing is new in this world, but the eternal theme makes us look for new semantic facets of the plot, concluded in a story that repeats endlessly.

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