Bibliografías temáticas / Salome (Biblical figure) – Drama

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Literatura académica sobre el tema "Salome (Biblical figure) – Drama"

Autor: Grafiati
Publicado: 25 de julio de 2024
Última modificación: 31 de julio de 2025

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Artículos de revistas sobre el tema "Salome (Biblical figure) – Drama"

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Trifonova, Lilia. "The Beheading: Salome’s Gesture in the Works of Wilde, Moreau and Beardsley." Acta Nova Humanistica: A Journal of Humanities Published by New Bulgarian University 1, no. 2 (2024): 37–48. https://doi.org/10.33919/anhnbu.24.1.2.3.

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The paper explores the problem of female subjectivity in nineteenth-century literature and visual art, focusing on the figure of Salome in the play by Oscar Wilde and the paintings of Gustave Moreau and Aubrey Beardsley. The biblical story of the Jewish princess Salome and John the Baptist, as well as the fascination with the severed head served on a silver platter, is of interest to Julia Kristeva in her book The Severed Head: Capital Visions. For Kristeva, John the Baptist can be thought of as “the figure of the figure,” he sets the course of the figure of “prophecy in actuality.” On the oth
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Repin, Pavlo. "Richard Strauss's Opera "Salome" in Search of a New Directorial Reinterpretation." Часопис Національної музичної академії України ім.П.І.Чайковського, no. 1(58) (March 28, 2023): 141–52. http://dx.doi.org/10.31318/2414-052x.1(58).2023.284763.

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The author considers the relevance of the appeal to the Salome image in the realities of the new wave of expressionism at the beginning of the 21st century. The research was carried out with a comprehensive analysis of the dramaturgical, musical, plastic and choreographic, scenography components of the stage incarnations of Jewish princess image in Richard Strauss's opera "Salome". The author determined the methodology of the key aspects of the study: the interpretation of the image of Salome by O. Wilde and Richard Strauss, that provides a basis for conducting a comparative and analytical exa
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Krasnicki, Ted. "The Musical Enactment of Drama in Sarum Plainsong." Journal of the Australian Early Medieval Association 15 (2019): 47–79. http://dx.doi.org/10.35253/jaema.2019.1.3.

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In the tenth century, a sung dialogue, the 'Quem queritis' trope, appeared as a ceremonial addition to the paschal vigil and morning liturgy of Easter Sunday. It is often appraised as the bridge between liturgical chant and the later full-cast liturgical dramas of the Middle Ages, but what has generally not been considered, is that Franco-Romano (Gregorian) chant, compiled at least a century earlier, already contained the seeds of liturgical drama from which this dialogue naturally grew. This paper shows that some ideomelic chants from the twelfth-century 'Graduale Sarisburiense' from England,
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Moros, Larysa. "Panteleimon Kulish’s Dramaturgy: Historical and Spiritual-Philosophical Features." Слово і Час, no. 10 (October 16, 2019): 44–51. http://dx.doi.org/10.33608/0236-1477.2019.10.44-51.

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The paper explores the ground of the ideas, plots, and schemes of conflicts in ideological dramas by P. Kulish. The two of them are conditionally symbolic while the other three are based on real historical material. The libretto of the musical performance “A Woman from the Farmstead, or Singing Praise to the Bride in front of the Wedding Guests” and multifaceted drama “Herod’s Trouble” show combination of biblical, i. e. international, elements, while the latter also contains traditional folklore features of the Ukrainian Nativity Play. The other group of works makes up the trilogy, although P
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Ūdre, Sandra. "THE TYPES OF INTERTEXTEMES IN LATGALIAN DRAMA." Via Latgalica, no. 3 (December 31, 2010): 68. http://dx.doi.org/10.17770/latg2010.3.1682.

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<p>When assessing the previous experience in the research of intertextuality as problematical should be acknowledged the choice of terms being used, definition of units subject to analysis and systematization according to certain criteria. For solution of problematic issues recognition of intertexteme is offered as the lowest representation of intertextuality. When the mechanism of intertextuality is reviewed structurally, it reveals in correlation of the form and semantics. In order to the text unit, taken from the source text and entered into another text, to become a intertexteme, it
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Kliabanau, Dzmitry. "“I called out with my song, whose grandchildren you are..." Prophetism in Felix Batorin’s poetry." Świat i Słowo 35, no. 2 (2020): 155–81. http://dx.doi.org/10.5604/01.3001.0014.5470.

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Belarusian poet Feliks Batorin is the author of many poems on philosophical and civic topics. A characteristic feature of these poems is that they draw inspiration from religious thought founded on the Judeo-Christian tradition. They contain numerous Old Testament allusions and evangelical reminiscences. Batorin’s poems are also characterized by their allegoric quality, and their parabolic, metaphorical, and creative synthesis of biblical themes and folkloristic motifs. Biblical motifs began to appear in Felix Batorin’s poetry in the 1980s, during a period of social and political transformatio
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Magomedova, Dina M. "“AND IT IS NECESSARY THAT THE OTHER GOES...”. BIBLE QUOTES AND THEIR SOURCES IN ALEXANDER BLOK’S WORKS." RSUH/RGGU Bulletin. "Literary Theory. Linguistics. Cultural Studies" Series, no. 6 (2022): 204–12. http://dx.doi.org/10.28995/2686-7249-2022-6-204-212.

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The article considers and describes the marks on the pages of the Bible, preserved in the home library of A. Blok. The greatest number of marginalia is found in the Pentateuch, Ecclesiastes, the Book of Wisdom of Solomon, the Gospel of John, the 1st Epistle of John, and the Revelation of John the Theologian. A number of quotations are reflected in Blok’s poems, dramas, and articles. The influence of the text of the Apocalypse is particularly evident in the early lyrics of 1901–1904, and then, in the period of “antithesis” (1905–1908), not only in poetry, but also in drama. The analysis of mark
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Bryant Davies, Rachel. "The Figure of Mary Mother of God in Christus Patiens: Fragmenting Tragic Myth and Passion Narrative in a Byzantine Appropriation of Euripidean Tragedy." Journal of Hellenic Studies 137 (2017): 188–212. http://dx.doi.org/10.1017/s0075426917000155.

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AbstractThe Byzantine passion play Christus Patiens (Christ Suffering) is a cento: composed of quotations and borrowings from other sources, it takes Euripides’ tragedies as its main source for reworking the passion narrative. The genre, popular with Christian authors who usually transformed classical epics, enacts cultural exchange between canonical pagan literature and biblical narrative. Traditionally transmitted as the work of Gregory of Nazianzus, this drama showcases the tensions inherent in this reuse of Greek tragedy which threaten to collapse the original texts under the weight of the
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Zajączkowski, Ryszard. "The Franciscan Undercurrent in Polish Literature as Exemplified by the Works of Józef Wittlin and Roman Brandstaetter." Religions 15, no. 10 (2024): 1226. http://dx.doi.org/10.3390/rel15101226.

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This article discusses the Franciscan theme in Polish literature, which was apparent from the 19th century onwards, and especially towards the end of that century. This trend involves the works of many authors and an enormous variety of texts. Therefore, this article focuses on two writers—Józef Wittlin and Roman Brandstaetter—who clearly inherited the broad Franciscan tradition, and also developed and popularised the Franciscan message. The Franciscan revival in Polish literature was initiated by Protestants, which often meant a departure from the figure of St. Francis established by the Chur
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10

Krebber, G. B., and G. Kotting. "Jean Bellegambe en zijn Mystiek Bad voor Anchin." Oud Holland - Quarterly for Dutch Art History 104, no. 3-4 (1990): 123–39. http://dx.doi.org/10.1163/187501790x00057.

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AbstractIt is not known where Jean Bellegambe, born circa 1470 in Douai, where he probably died in 1535/36, received his training. Artists in this region were exposed to influences from both Flanders and France. Bellegambe's stylistic development falls into two phases: the first (circa 1508 - circa 1 5 2 5) is rather archaistic, drawing on the school of Valenciennes (Marmion et al. and Provost); the second displays the more marked influence of Antwerp mannerism. The triptych discussed here, the Mystical Bath in Lille, made for the monastery at Anchin in view of the arms of the abbey and its ab
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Tesis sobre el tema "Salome (Biblical figure) – Drama"

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Mastag, Horst Dieter. "The transformations of Job in modern German literature." Thesis, University of British Columbia, 1990. http://hdl.handle.net/2429/30647.

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In modern times German authors have made ample use of the Job-theme. The study examines the transformations that the story of Job has undergone in German narrative and dramatic works from Leopold von Sacher-Masoch's Der neue Hiob (1878) to Fritz Zorn's Mars (1977). The most striking feature of these works lies in their diverse characterization of the Job-figure. As a mythical figure he remains synonymous with the sufferer, but he may be characterized as patient or impatient, humble or arrogant, innocent or guilty, rich or poor, courageous or cowardly; he may be a Jew or a Christian, a Nazi or
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Libros sobre el tema "Salome (Biblical figure) – Drama"

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Wilde, Oscar. Salome. Dover Publications, 2002.

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Wilde, Oscar. Salome. Broadview Press, 2015.

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Wilde, Oscar. Salome. Faber and Faber, 1989.

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Wilde, Oscar. Salomé. Garnier-Flammarion, 1993.

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Wilde, Oscar. Salomé. Quartet, 1986.

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Wilde, Oscar. Salomé. Modern Library, 1996.

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Wilde, Oscar. Salomé: A tragedy in one act. Branden Pub. Co., 1989.

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Wilde, Oscar. Salomé: A tragedy in one act. University of Virginia Press, 2011.

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9

Wilde, Oscar. Salomé: Premier manuscrit autographe de 1891, première édition française de 1893, première édition anglaise de 1894. Presses universitaires de France, 2008.

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10

1909-, Michael Wolfgang F., ed. Die Nürnberger "Susanna": Ein Spiel aus dem frühen 16. Jahrhundert : Faksimile und Kommentar. Kümmerle, 1994.

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Capítulos de libros sobre el tema "Salome (Biblical figure) – Drama"

1

Kuznetsova, Ekaterina V. "“Dance of the Seven Veils” and the New Femininity of Modernity: from Tragedy to Parody." In Femininity and Masculinity in the Modernist Culture: Russia and Abroad. A.M. Gorky Institute of World Literature of the Russian Academy of Sciences, 2023. http://dx.doi.org/10.22455/978-5-9208-0740-3-52-81.

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The article deals with the gender analysis of the cross-cultural phenomenon called the “Dance of the Seven Veils,” which arose due to O. Wilde’s drama Salome. The article solves two research tasks: on the one hand, to summarize and complement the observations made before us concerning the new femininity of the modern era, embodied in the “Dance of the Seven Veils,” and on the other hand, to consider the parodic reception of the new femininity and the figure of Salome, so far overlooked by the researchers. It is important to trace the evolution of the image of Salome and the concept of her danc
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2

Leafstedt, Carl S. "Judith The Significance of a Name." In Inside Bluebeard’s Castle. Oxford University PressNew York, NY, 1999. http://dx.doi.org/10.1093/oso/9780195109993.003.0008.

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Abstract In a drama imbued with symbolism at every turn, it can hardly be an accident that Balazs chose as the name of Bluebeard’s newest wife the name of the well-known biblical woman who kills a man to save her people. In the early twentieth century, at the time Bart6k and Balazs were writing BLue- 6earJ’.J C{l,jtle, the name Judith was strongly identified in artistic circles with the image of a fatally seductive woman. Like Salome, whose popularity as the subject of artistic representations far surpassed that of Judith’s, Judith was often depicted as a young woman of considerable sexual all
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Reed, Walter L. "Who Is This That Darkens Counsel Cross-Talk in the Book of Job." In Dialogues of the Word. Oxford University PressNew York, NY, 1993. http://dx.doi.org/10.1093/oso/9780195079975.003.0004.

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Abstract In any discussion of the Bible as literature, the Book of Job is apt to figure prominently. Although rabbinic commentators were not much interested in the literary qualities of this (or any other) biblical book, the Church Fathers, developing approaches of Hellenistic Jews like Philo and Josephus, were appreciative of its artistic dimensions. Jerome believed that the bulk of the book was com­ posed in Hebrew poetic meters analogous to Greek meters, and Theodore of Mopsuestia introduced the idea, still occasionally proposed today, that Job was modeled on Greek drama. the Renaissance, w
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