Gotowe bibliografie tematyczne / Icelandic drama

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  1. Artykuły w czasopismach
  2. Rozprawy doktorskie
  3. Książki
  4. Części książek

Gotowa bibliografia na temat „Icelandic drama”

Autor: Grafiati
Data publikacji: 4 czerwca 2021
Data aktualizacji: 4 marca 2023

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Artykuły w czasopismach na temat "Icelandic drama"

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Thorbergsson, Magnus Thor. "Being European". Nordic Theatre Studies 25, nr 1 (15.11.2018): 22–33. http://dx.doi.org/10.7146/nts.v25i1.110895.

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During the campaign for Iceland’s independence in the nineteenth and early twentieth centuries, theatre was considered an important site for the representation of the nation. Emphasis was placed on producing and staging local plays dealing with the nation’s folklore, myths and history, thereby strengthening a sense of the roots of national identity. The article examines the longing for a representation of the nation in late nineteenth-century theatre as well as the attempts of the Reykjavik Theatre Company to stage the nation during theso-called ‘Icelandic Period’ (1907-20), before analyzing the distinctive changes in the company’s repertoire following the decision of the Icelandic parliament to build a national theatre in 1923. The staging of the nation, which had been dominated by nineteenth-century cultural nationalism, took a turn in the late 1920s towards representing the nation as a member of European metropolitan culture through an increased focus on international contemporary drama, bourgeois bedroom farce and classical drama. The image of the modern Icelanders, as represented on the stage in the 1920s, was that of the middle-class bourgeoisie.
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Thorbergsson, Magnus Thor. "Being European". Nordic Theatre Studies 25, nr 1 (15.11.2018): 22–33. http://dx.doi.org/10.7146/nts.v25i1.110895.

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During the campaign for Iceland’s independence in the nineteenth and early twentieth centuries, theatre was considered an important site for the representation of the nation. Emphasis was placed on producing and staging local plays dealing with the nation’s folklore, myths and history, thereby strengthening a sense of the roots of national identity. The article examines the longing for a representation of the nation in late nineteenth-century theatre as well as the attempts of the Reykjavik Theatre Company to stage the nation during theso-called ‘Icelandic Period’ (1907-20), before analyzing the distinctive changes in the company’s repertoire following the decision of the Icelandic parliament to build a national theatre in 1923. The staging of the nation, which had been dominated by nineteenth-century cultural nationalism, took a turn in the late 1920s towards representing the nation as a member of European metropolitan culture through an increased focus on international contemporary drama, bourgeois bedroom farce and classical drama. The image of the modern Icelanders, as represented on the stage in the 1920s, was that of the middle-class bourgeoisie.
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Jones, Alun, i Julian Clark. "‘A modern-day Icelandic saga’: Political places and negotiating spaces at the northern frontier of ‘EUrope’". European Urban and Regional Studies 20, nr 1 (styczeń 2013): 77–90. http://dx.doi.org/10.1177/0969776412448189.

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In this paper we explore the current politico-economic tensions surrounding Iceland’s application for EU membership provoked by the state’s financial trauma of 2008. Through access to high level diplomats, politicians and EU Commission staff involved in preparing and negotiating Icelandic accession to the EU, we examine the difficulties for both sides of overcoming the country’s long-standing antipathy towards European political integration and appeasing the vociferous sectoral interests, especially in farming and fisheries, ranged against membership. The significance of this application far outstrips the size of this small island state since Iceland’s relationship with ‘EUrope’ is long-standing and complex. This national drama is given greater political salience as it is projected against the backdrop of ‘EUrope’s own existential struggles over the post-1945 political project of integration currently underway. Ultimately the saga of Iceland’s membership of the EU may be a relatively short one if Iceland refuses ‘EUrope’, which would effectively mark the final frontier of ‘EUropean’ expansion northwards. This would also mark a distinct stage in the history of ‘European ‘external relations; a candid assessment by a small island state of the value of adopting the structures and policies of an alleged ‘New ‘EUrope’.
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Thorkelsdóttir, Rannveig Björk. "The complex role of drama teaching and drama teachers’ learning trajectories in an Icelandic context". Research in Drama Education: The Journal of Applied Theatre and Performance 25, nr 4 (22.07.2020): 593–612. http://dx.doi.org/10.1080/13569783.2020.1796615.

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Stein, Robert. "London, South Bank Centre: Bryars's ‘From Egil's Saga’". Tempo 59, nr 232 (kwiecień 2005): 79. http://dx.doi.org/10.1017/s0040298205250179.

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Once again Gavin Bryars confounds many of our expectations with his laid-back take on the world's dramas. The War in Heaven (1992) featured a serene counter-tenor and is anything but bellicose. In The Sinking of the Titanic (1969), performed as a companion-piece in this concert, Bryars's band appropriately plays on undisturbed by the ship sundering all around it. The central drama of Dr Ox's Experiment (1997) is one of celebrating stasis. And so it is that Bryars's latest work From Egil's Saga (2004), a setting of battle-hardened texts by the 13th-century Icelandic poet and warrior Snorri Sturuson, has that calm, quiet, lamenting detachment – ‘a portrait of Egil at the end of his days’, as the composer has characterized it. Once again the world is seen through a piece of interestingly darkened glass.
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Ogurechnikova, Nataliia L. "Themes of gospel and nativity in Icelandic biblical paraphrase". Vestnik of Saint Petersburg University. Language and Literature 19, nr 2 (2022): 253–71. http://dx.doi.org/10.21638/spbu09.2022.203.

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The article examines stanzas 27–33 from “Lilja”, an Icelandic biblical paraphrase written in the form of skaldic drapa and dating from the first half of the XIV c. The subject of the article is the sources of these stanzas and the nature of the skald’s work with the sources. Comparative textual analysis, which is the main method of work, has shown that the skald borrowed the general idea of the text from the Bible of Herman de Valenciennes, and stanzas 27–33, where the theme of the Gospel sounds, are an adaptation of a fragment from “Conception Nostre Dame” (“The Conception of the Virgin”) by Wace (lines 783–864). Analysis of the forms of speech and narrative strategies in stanzas 27–33 has shown their convergence with the forms of speech characteristic of “The Elder Edda” and the use of eddic narrative strategies by the skald. The noted interaction of the eddic and the skaldic traditions in «Lilja» suggests reconsideration of the traditional classification of the text as a skaldic work, despite the form of skaldic drapa and its semantic aureole. “Lilja” is regarded in the paper as a poetic biblical paraphrase born as a result of adaptation of the continental tradition of vernacular theology to the verbal culture of Iceland, i. e. as a manifestation of a new function of the art of poetry.
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Ogurechnikova, Nataliia L. "The Bible of Hermann of Valenciennes and the Icelandic Biblical Paraphrase Lily". Studia Litterarum 7, nr 4 (2022): 54–73. http://dx.doi.org/10.22455/2500-4247-2022-7-4-54-73.

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The article presents the results of a comparative textual analysis of the Bible of Herman de Valenciennes (end of the 12th c.) and Lily, an anonymous Icelandic biblical paraphrase (the first half of the 14th c). The main thesis of the article is that Herman’s Bible served as a reference point for the skald of Lily, who took over from Herman the idea and general logic of the narrative and, apparently, was familiar with the version of Herman’s text, recorded in the manuscript Paris, BnF, fr. 2162. An essential aspect of the comparative textual analysis of Lily and Herman’s Bible is the relation of the compared texts to the national poetic traditions. While Herman immerses the audience in the atmosphere of the French heroic epic, the skald of Lily alludes to oral traditions of Iceland. Despite the composition that brings Lily closer to the skaldic drapa, Lily belongs not to the skaldic tradition, but to the European tradition of vernacular theology and is a synthesis of the elements of form and content, borrowed from various poetic traditions, both continental and national.
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Ogurechnikova, N. L. "METAPHOR OF FORM IN “LILY” (architectonics of Icelandic Fourteenth century Christian Drapa)". RUDN Journal of Language Studies, Semiotics and Semantics 9, nr 3 (2018): 505–35. http://dx.doi.org/10.22363/2313-2299-2018-9-3-505-535.

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Guister, Marina. "Сказочные сюжеты и сюжеты ирландских саг в драматической поэме Н. Гумилева «Гондла» (Folk-Motifs and Plots of the Irish Sagas in Goumiliev’s “Gondla”)". Studia Celto-Slavica 2 (2009): 193–207. http://dx.doi.org/10.54586/schn9351.

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The nineteenth–twentieth centuries’ frontier, and onto the nineteen-thirties, is the period when the literature and the folklore of the Celtic and Scandinavian counties were brought into Russia. In this way Nikolaj Goumilev, the author of the drama “Gondla”, translates “Countess Kathleen” by W. B. Yeats and writes his own drama “Morny’s beauty” influenced by some recurring themes of the Irish sagas. The drama-poem “Gondla” is also based on the Irish comparanda, namely on the history and the sagas of the echtrae-cycle of tales. The story takes place in Iceland in the eleventh century; Gondla, the Christian, the son of the Irish king, converts the Icelanders into Christianity. Goumilev himself mentions the sagas about “the hump-backed prince Condla” abducted by a fairy as the source of his drama. The saga of Connla the Fair, or Echtrae Chonnlai, is known to him from the work by H. d’Arboi de Jubainville Cours de Littérature Celtique, as well as, possibly, from the private conversations with A. Smirnov, the first Russian translator of the Irish sagas. The story of Connla contains some widespread folk motifs (cf. S. Thompson’s Motif-index), such as F 302 Fairy mistress, or rather F 302.3.1 Fairy entices man into fairyland. The motifs in question are closely related to those of the Swan-maiden (F 302.4.1 – Fairy comes into man’s power when he stills her wings, and D 361.1 – A swan transforms herself at will into a maiden). The swan-plots are of great importance for Goumilev’s “Gondla”, since the main characters of the drama, Gondla and Lera his fiancée (both Irish) are compared there to the swans persecuted by the wolves (the pagan Icelanders). The motifs are particularly prominent in the case of the Irish folktales and legends. The swan-plots from the Celtic and Slavonic folktales and legends are closely related in “Gondla” to the fairy-tales by Andersen, such as The Marsh King’s Daughter, The Ugly Duckling, The Swan’s Nest and The Wild Swans. The plot of the last fairytale is close to that of the Irish legend about the king Lir’s children transformed into swans (Oidheadh Chloinne Lir). In the same time, this plot is close to the fairy-tale type AT 451 – The maiden who seeks for her brothers and AT 451* – Sister as mysterious housekeeper. The story of this type, with the brothers transformed into swans and a swan maiden as the mother of the swan-children, is literary fixed in the twelfth century in the novel Dolopathos sive de Rege et Septem Sapientibus. The main character of Goumilev’s drama is the poet, the ruler and the priest who baptises Iceland at the same time. As such, he illustrates one of Goumilev’s favourite ideas: the poets must govern the world, as the druids used to do in the distant past.
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Thorkelsdóttir, Rannveig Björk. "‘In drama you can be anything … ’: student perspectives on drama teaching and school performance in Icelandic compulsory education". Research in Drama Education: The Journal of Applied Theatre and Performance, 25.08.2022, 1–19. http://dx.doi.org/10.1080/13569783.2022.2116976.

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Rozprawy doktorskie na temat "Icelandic drama"

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Nielsen, Eva Edmondson Laura. "The Elder Edda revisted past and present performances of the Icelandic Eddic poems /". Diss., 2005. http://etd.lib.fsu.edu/theses/available/etd-04112005-125543.

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Thesis (M.A.)--Florida State University, 2005.
Advisor: Dr. Laura Edmondson, Florida State University, School of Theatre. Title and description from dissertation home page (viewed June 13, 2005). Document formatted into pages; contains v, 67 pages. Includes bibliographical references.
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Książki na temat "Icelandic drama"

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Sigurjónsson, Hávar. Contemporary Icelandic drama: Five Icelandic playwrights. New York, N.Y.?]: Consulate General of Iceland, 2001.

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Jónsson, Jón Viðar. Safn til sögu íslenskrar leiklistar og leikbókmennta. [Reykjavík?: s.n.], 1998.

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Gunnarsdóttir, Ágústa, red. Public selves, political stages: Interviews with Icelandic women in government and theatre. Amsterdam, Netherlands: Harwood Academic Publishers, 1997.

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Aeschylus. The Oresteia. New York: Farrar, Straus, and Giroux, 2000.

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Aeschylus. Oresteia. Indianapolis, IN: Hackett Pub. Co., 1998.

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Aeschylus. The Oresteia. Arlington, VA: Richer Resources Publications, 2007.

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Aeschylus. Oresteia: Me to archaio keimeno. Athēna: Vivliopōleion tēs "Hestias," I.D. Kollarou, 1989.

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Aeschylus. Interpretazione e traduzione dell'Orestea di Eschilo. Milano: Rizzoli, 1985.

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Aeschylus. The Oresteia. New York: Penguin USA, Inc., 2009.

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Aeschylus. The Oresteia. New York: Farrar, Straus, and Giroux, 1999.

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Części książek na temat "Icelandic drama"

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Thorkelsdóttir, Rannveig Björk. "What Are the Enabling and What Are the Constraining Aspects of the Subject of Drama in Icelandic Compulsory Education?" W Arts-Based Methods in Education Around the World, 231–46. New York: River Publishers, 2022. http://dx.doi.org/10.1201/9781003337263-10.

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Rohrbach, Lena. "Drama and Performativity". W The Routledge Research Companion to the Medieval Icelandic Sagas, 134–50. Routledge, 2017. http://dx.doi.org/10.4324/9781315613628-11.

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Thorbergsson, Magnus Thor. "Erased Trails: Investigating Icelandic-Canadian Theatre History". W The Methuen Drama Handbook of Theatre History and Historiography. Methuen Drama, 2020. http://dx.doi.org/10.5040/9781350034327.0033.

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Karkut, Jonathan. "Reconsidering the boundaries and applications of Geotourism lessons learnt from tourism at Mount Vesuvius". W Geotourism: the tourism of geology and landscape. Goodfellow Publishers, 2010. http://dx.doi.org/10.23912/978-1-906884-09-3-1083.

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Active volcanic reagions and a vibrant tourism industry may at first consideration seem to be an unlikely combination. However, even just a cursory search on the Internet brings up a whole range of tours, experiences and accommodation from Hawaii to Iceland, Ethiopia to Japan. The attraction extends beyond the dramatic landscapes of perfect cone shaped peaks, as rich volcanic soils often produce wide arrays of flora and fauna. Equally, the promise of plentiful harvests has long drawn dense human habitation around the world’s volcanoes. Thus further layers of cultural, religious and agricultural patrimony can be seen to draw tourists in to visiting these potentially dangerous sites. As documented across eruptions over the centuries, a very thin line exists between natural drama and disaster. Hence a burgeoning body of research has evolved, from the geological understanding of when and how eruptions occur, to risk management and prevention for the populations living around active volcanoes. More recently multidisciplinary teams have emerged to create bridges between the volcanologists, emergency managers, social scientists and community representatives to ensure effective transferral of information alongside the construction and implementation of robust crisis plans. However, little has been written with respect to how destinations near to active volcanic sites may mitigate often much needed economic growth through sustainable tourism development with the demands required for effective risk management.
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"National Folklore, National Drama and The Creation of Visual National Identity: The Case of Jón Árnason, Sigurður Guðmundsson and Indriði Einarsson in Iceland". W Folklore and Nationalism in Europe During the Long Nineteenth Century, 301–23. BRILL, 2012. http://dx.doi.org/10.1163/9789004211834_016.

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