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ЯВОРОВ И ТЕАТЪРЪТ РАЗШИРЯВАНЕ НА КУЛТУРНО-ИСТОРИЧЕСКОТО МУ НАСЛЕДСТВО – ДРАМАТУРГИЯ, ПРЕВОДИ, ТЕАТРАЛНА ДЕЙНОСТ

ЯВОРОВ И ТЕАТЪРЪТ РАЗШИРЯВАНЕ НА КУЛТУРНО-ИСТОРИЧЕСКОТО МУ НАСЛЕДСТВО – ДРАМАТУРГИЯ, ПРЕВОДИ, ТЕАТРАЛНА ДЕЙНОСТ

Author(s): Miroslava Kortenska / Language(s): Bulgarian Issue: 2/2019

This report is based on research of the dramaturgical, theatrical and critical work of P. K. Yavorov which has certainly broadened the real boundaries of his cultural and historic heritage that he left to Bulgaria, Europe and the world. The survey is based on elaborating a theatrical chronicle of each day of Yavorov’s life, as well as reading of protocols of the National Theatre in Sofia written by Yavorov himself. In 1908 Yavorov became an artistic secretary, director and translator at the National Theatre. After 1910 he dedicated himself to dramaturgy and wrote his drama masterpieces At the Foot of the Vitosha Mountain and When Thunder Strikes How the Echo Fades Away. The scientific analysis of his works and the documents has expanded the volume of Yavorov’s heritage, outlining his more valuable contribution to the new Bulgarian culture and adding to Yavorov’s eternal poetic heritage his contribution as a theatrical worker – a playwright, director, translator, theatre critic as well. Thus, Yavorov appeared as a builder of the important cultural institution in Bulgaria after the Liberation – the National Theatre. This research is a convincing evidence of his cultural and historic heritage and contribution not only to Bulgaria and its culture but to the European and world ones

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ИЗТОКЪТ И „СТРАШНИЯТ СЪД“ В БЪЛГАРСКОТО ПРАВОСЛАВНО ИЗКУСТВО

ИЗТОКЪТ И „СТРАШНИЯТ СЪД“ В БЪЛГАРСКОТО ПРАВОСЛАВНО ИЗКУСТВО

Author(s): Zhana Pencheva / Language(s): Bulgarian Issue: 1/2020

The paper deals with two similar symbols – “The Judgment of the Soul” in the art of Ancient Egypt and “Weighing the Souls” from the scene “The Last Judgment” in the Bulgarian Orthodox art. They are part of the eschatological understanding of the afterlife. These symbols were analyzed and the paths of their movement were traced. The visual image of the supreme check of every deceased is the weighing of the heart and the judgment of God Osiris. It is related to spell 125 of the Book of the Dead. The article analyzes the iconography of this scene, which was widely used during the New Kingdom in Ancient Egypt. The “Judgment of the soul” of Ancient Egypt was probably transmitted by the Jews in Asia, and later entered the Christian iconography of the composition “The Last Judgment”. The formation of the iconographic image type in Byzantine and Western European art was traced. During the Bulgarian Renaissance, “Weighing of Souls” became a major motif and was interpreted by a number of painters in Southwestern Bulgaria. Images in the temples of Blagoevgrad, Rila, Bistritsa, Selishte, Dobarsko, Teshovo, Zlatolist, Dolen and others have been preserved. The analysis of the iconographic images makes it possible to summarize the results which show a number of similar elements in the two scenes. Such are the holy characters God Anubis and Archangel Michael, the two exits for the soul of man - eternal life or eternal torment. The long life of the symbol under consideration leads to the conclusion about the continuity of the moral evaluation of human earthly affairs.

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Цял един век в трептящата мрежа от изкуства

Цял един век в трептящата мрежа от изкуства

Author(s): Andronika Martonova / Language(s): Bulgarian Issue: 3/2020

The edition of Bratoeva-Darakchieva, Ingeborg; Genova, Irina; Levi, Claire; Spassova-Dikova, Joanna; Stoilova-Doncheva, Teodora; Tasheva, Stela; Traykova, Elka. Bulgarian 20th Century in Arts and Culture. Institute of Art Studies, 2019, ISBN: 978-954-8594-77-6, 632 рр. 333 ill. http://artstudies.bg/books/BG_XX_EN_2019_IIIzk.pdf in Bulgarian and in English in two separate books comes as a result of a collaborative interdisciplinary project supported by the National Science Fund, Bulgaria, which aims to present a general view on the history of arts in Bulgaria during the 20th century. There are specific but also general, parallel intellectual and artistic processes observed in the field of literature, theatre, music, cinema, visual arts and architecture. The accent is put on phenomena related to the modernization of Bulgarian culture and its place in the context of the flexible, dynamic cultural dimensions of modern Europe. The texts are structured in three parts: Under the Sign of Modern Europe (1878–1944), Metamorphoses of Modernity (1945–1989), Challenges in a Time of Transition (1989–2000). Splitting the period into topical parts creates convenience of sharpening the accents related to various “aspects of change” in the development of a particular art and its specific reflections from the point of view of personal and community identity analysed in synchronous or diachronous terms. The marking of such cross nodes (temporal, socio-cultural, institutional, genric, etc.) by following mosaic-chronological principle is conventional and provocative to the traditional idea concerning developmental trends in Bulgarian culture of the past century. The publication is richly illustrated and has an extensive bibliography. It is intended for a wide range of readers. It is evaluated as excellent edition by the National Science Fund, Bulgaria.

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Бежанците и съвременното българско кино – проблеми и модели на представянето
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Бежанците и съвременното българско кино – проблеми и модели на представянето

Author(s): Andronika Martonova / Language(s): Bulgarian Issue: 2/2021

The onset of the migrant crisis has caused the appearance of new works in the European cinema but Bulgaria has been lagging behind with the articulation of the ‘refugee’ theme. The figure of the foreigner does exist on our contemporary movie screen but the emphasis usually falls on the rethinking of the traumatic totalitarian past. There are, however, directors who are developing the socially engaged cinema and searching for different approaches to the study of the Other/the Alien. Unavoidably, these cinematic works tie in xenophobia, the hardened monocultural mentality, the widespread national disillusionment with the perpetual transition and the feeding of marginalization within the EU. The first short documentaries appeared in 2006 thanks to the initiative of The Red House Centre for Culture and Debate which no longer exists in Sofia. The so-called Invisible Minorities package comprises five titles. The authors of these films do not belong to the professional cinema community but they have managed to provoke a discussion. Recently several mature and young directors summoned the courage to discuss the image of the refugee, sending various messages to the audience (local and international). With the aid of the film studies toolbox – but within the contexts of the socio-cultural environment I have analyzed the documentaries Long Live Bulgaria (2017, by Adela Peeva) and The Good Postman (2016, by Tonislav Hristov); the shorts - Trials (2017, by Boya Harizanova) and Dobry (2017, by Orlin Milchev); and the feature film Fear (2020, by Ivaylo Hristov).

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Healing Frames. Health Histories beyond ‘West’ and ‘East’ through the Lens of Cinema

Healing Frames. Health Histories beyond ‘West’ and ‘East’ through the Lens of Cinema

Author(s): Anelia Kassabova / Language(s): English Issue: 3/2024

The text is a review of "A Critical History of Health Film in Central Eastern Europe and Beyond" by Victoria Shmidt and Karl Kaser ‒ a significant scholarly work that offers an in-depth examination of health films and their role in shaping public health perceptions and policies in Central and Eastern Europe. Drawing on extensive archival material, this interdisciplinary book bridges the fields of film history, media studies, social history, public health history and Central Eastern European studies, providing readers with a nuanced understanding of how visual media was used to promote health issues. The book covers a broad temporal scope, encompassing case studies from the interwar period, World War II, the socialist era, and the post-socialist transformation.

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Protests pret aizmiršanu
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Protests pret aizmiršanu

Author(s): Katrīna Vastlāve / Language(s): Latvian Issue: 28/2024

Review of: Maigās svārstības Sastādītāja Sandra Krastiņa Tekstu autori: Elita Ansone, Rasa Jansone, Sniedze Kāle, Sandra Krastiņa, Una Meistere, Jānis Mitrēvics, Stella Pelše, Inese Riņķe, Laima Slava, Inga Šteimane, Kārlis Vērpe Rīga: Neputns, 2023. 560 lpp., il. ISBN 9789934601767 The book review examines the collection of articles "Maigās svārstības" [Gentle fluctuations] (Riga: Neputns, 2023) dealing with a significant artists' group in the 1980s whose work culminated in the open studio-action in 1990 to diverge into different creative paths in the following decades.

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Latvijas Mākslas akadēmijas Mākslas vēstures institūts. Latvijas Mākslas akadēmijas Mākslas zinātnes nodaļa un doktorantūra

Latvijas Mākslas akadēmijas Mākslas vēstures institūts. Latvijas Mākslas akadēmijas Mākslas zinātnes nodaļa un doktorantūra

Author(s): Kristiāna Ābele / Language(s): Latvian Issue: 28/2024

The chronicle lists most important achievements at the Art Academy of Latvia Institute of Art History from July 2023 to September 2024, including publications, conferences and scientific projects, Also listed are BA papers, MA papers and a PhD work defended during this period at the Art Academy of Latvia.

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Capital of Southern Algeria: the oasis town of Ouargla, between image, staging and urban landscape during French colonization (1854-1962)

Author(s): Manal MEDJOUEL,Abdallah Farhi / Language(s): English Issue: 7/2022

Through the years, the Algerian Sahara space have had different status: a nomadic space, a scientific space (as a privileged field of research and study expeditions), and then industrial space with the discovery and the exploitation of oil deposits in Ouargla (1956). Today, the Sahara is mainly a touristic destination. Therefore, this paper aims to review the meanders of a particular course of change of status that the capital of the Algerian South, the oasis city of Ouargla, has known since its initial historic centre’s formation until the Algerian Independence (1962). Our approach is based on the study of the successive transformations of Ouargla’s image and its urban landscape, mainly during the period of the French occupation of this region (1854-1962)1 , in order to enhance its "traditional" and "integrated" built environment which was staged during the first half of the 20th century. This time frame has undoubtedly contributed to the transformation and enhancement of the urban space of Ouargla, and has changed the image of the city by making it more attractive acquiring a new status accordingly: a popular Saharan touristic destination. This status is unfortunately lost today due to the effects of globalization and mismanagement. In this paper, we will try to define the image of the city and to draw its portrait using the urban and architectural characteristics presented in the valuable iconography of the time (photographs, maps, postcards, drawings, engravings, etc.) depicting the urban and Saharan landscape of Ouargla in order to proceed to the reconquest of this lost touristic status through a new and more adequate image.

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“Two Wild and Crazy Guys‚ and a Gal” – Unresolved Trauma and Balkan Stereotypes in the Music of Emir Kusturica’s Film Podzemlje (Underground)

“Two Wild and Crazy Guys‚ and a Gal” – Unresolved Trauma and Balkan Stereotypes in the Music of Emir Kusturica’s Film Podzemlje (Underground)

Author(s): Ana Đorđević / Language(s): English Issue: 36/2024

One of the manifestations of unresolved trauma is associated with the use of Balkan stereotypes and self-Balkanisation in films. In this paper, I explore the connection between unresolved trauma and the music used to express Balkan stereotypes, focusing on a case study dedicated to Goran Bregović’s soundtrack for Emir Kusturica’s film Podzemlje [Underground] (1995). I analyse the track “Mesečina [Moonlight]” featured in the film, and observe how the music goes hand in hand with the portrayal of some of the main characters as “wild Balkan men” associated with a myriad of negative characteristics and stereotypes.

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Cyfrowe splątania

Cyfrowe splątania

Author(s): Krzysztof Pijarski,Tytus Szabelski-Różniak / Language(s): Polish Issue: 38/2024

Wstęp do numeru poświęconego tematowi cyfrowych splątań. Punktem wyjścia do refleksji jest projekt Bena Josepha Andrewsa i Emmy Roberts pt. Turbulence poświęconego doświadczeniu jamas vu: „nagłego objawienia się rzeczywistości jako czegoś nieprawdziwego”.

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From Avatars to Hybrid Bodies: Postdualist and Posthumanist Approaches to the Anthropology of Virtual Reality

From Avatars to Hybrid Bodies: Postdualist and Posthumanist Approaches to the Anthropology of Virtual Reality

Author(s): Jan Waligórski / Language(s): English Issue: 38/2024

Dynamiczny rozwój technologii wirtualnej rzeczywistości (VR) rekonfiguruje relacje między ludźmi i ich awatarami w wirtualnych światach. Fizyczne ciała oraz przestrzenie splatają się z ich cyfrowymi odpowiednikami i są angażowane w wydarzenia w wirtualnych środowiskach, co wymaga zmian w podejściu do prowadzenia badań antropologicznych w VR. Niniejszy esej kwestionuje cyfrowy dualizm poprzez eksplorację hybrydycznej natury ucieleśnienia w VR. Celem tekstu jest położenie podwalin pod postdualistyczne i posthumanistyczne podejście do antropologii VR, które zwraca uwagę na splątania między ludźmi i technologiami oraz między fizycznymi i cyfrowymi ciałami, które zacierają granice między tymi dychotomiami. W tym podejściu konceptualizuję użytkowników(-czki) VR jako cyborgiczne asamblaże, powstające w intra-akcjach między ludźmi, technologiami i cyfrowymi ciałami, tym samym podkreślając sprawczość nie-ludzi we współkształtowaniu ich hybrydycznej somatyczności.

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After AI Art

After AI Art

Author(s): Joanna Żylińska / Language(s): English Issue: 38/2024

Niniejszy artykuł zagłębia się w skomplikowane relacje między ludzkością a sztuczną inteligencją lub modelami uczenia maszynowego, badając to, co autorka nazywa „pętlą AI”, koncepcyjną ramą opisującą obecną i nadchodzącą koegzystencję ludzi z technologiami AI / ML, analogicznie do historycznych, wzajemnych uwikłań między ludźmi a technosferą. Poprzez krytyczną analizę wpływu AI na praktykę artystyczną i kreatywność, artykuł podważa dominujące narracje o transformacyjnym potencjale AI, proponując jednocześnie zniuansowane rozumienie „sztuki po AI”. Opierając się na artykułach opublikowanych przez Oxford Internet Institute i Creative AI Lab, autorka kontekstualizuje AI/ML w szerszych ramach społeczno-politycznych i filozoficznych, kwestionując konwencjonalne pojęcia kreatywności i ludzkiej sprawczości. Artykuł opowiada się za rewizją kierunku, jaki obrałą sztuka po AI, podkreślając potrzebę inkluzywnego, krytycznego, ostrożnego i etycznego rozważenia zaangażowania w technologie AI/ML w praktyce artystycznej i poza nią.

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TRANSLATABILITY AND EQUIVALENCE IN ENGLISH
SPECIALIZED VOCABULARY OF IMAGE TAKING

TRANSLATABILITY AND EQUIVALENCE IN ENGLISH SPECIALIZED VOCABULARY OF IMAGE TAKING

Author(s): Inga Stoianova / Language(s): English Issue: 1/2022

Photography is a relatively young form of fine art. Although the history of photography is only about 200 years old, its techniques and technology are developing rapidly and depend directly on scientific progress. Photography finds its application in all social spheres becoming a global phenomenon. As a form of visual communication, it fulfils applied, artistic, social, and communicative functions. The language of image making includes structural and semantic variations of terminological units, which translation requires a careful scientific and linguistic analysis. The present article studies challenges in translation of various types of English photography terms into Romanian (metaphorical terms, terminological combinations, anglicisms). When translating photography terms the interaction of the term with the context is of great importance to select the proper translation procedure and to find the best equivalent. The translation of metaphorical photography terms formed based on shape and color semantic transference involves the use of a direct equivalent or one of the lexical variants of polysemantic nature. The results of the investigation showed the predominance of borrowing (for English loan terms and abbreviations) and syntactic transformation translation techniques (for terminological combinations).

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L’ARTISANAT LANGAGIER DANS LE THÉÂTRE D’EUGÈNE IONESCO : JEUX DE MOTS NÉOLOGIQUES

L’ARTISANAT LANGAGIER DANS LE THÉÂTRE D’EUGÈNE IONESCO : JEUX DE MOTS NÉOLOGIQUES

Author(s): Elena GRAUR / Language(s): French Issue: 1/2022

We call artisans of comic, ironic, satirical language all writers of the stature of Boris Vian, Jacques Prévert, Jacques Audiberti, Eugène Ionesco who denote an awakened linguistic curiosity for the riches of literary, popular or spoken language. They actualize everything: phoneme, afixoid, pun, oxymoron, logogriph, etc. Ionesco in this pleiad is still at the head. His characters, their language must make people laugh, cry, die of happiness, otherwise they become dumb, deaf, deaf-mutes. And so Ionesco invents and puts on their tongues anagrams, antimétaboles, bouts-rimés, homéotéleutes, mots-valises to accomplish his essential task: “to create a new language”. This one will live as much as its heroes speak a neo-language where the absurdities become syllogisms, where the approximations are only true axioms. In this article, we are going to submit to a more or less detailed analysis the linguistic nature of the puns of Ionesco's theatrical language.

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PERCEPȚIA PSIHOSENZORIALĂ ASOCIATIVĂ ȘI GÂNDIREA ASOCIATIVĂ: IMPACTUL LOR ASUPRA IMAGINII VIZUALE PICTURALE

PERCEPȚIA PSIHOSENZORIALĂ ASOCIATIVĂ ȘI GÂNDIREA ASOCIATIVĂ: IMPACTUL LOR ASUPRA IMAGINII VIZUALE PICTURALE

Author(s): Stela Cojocaru / Language(s): Romanian Issue: 1/2022

Art is a special form of "thinking in images" with symbolic value, of "imaginative representations" framed in a message, concept, idea (semiotic function). Through its multiple aspects - aesthetic, psychological, philosophical, etc., art and plastic image have always created dilemmas and controversies - creative processes in which human thinking is actively involved in all its forms: thinking in images (imaginative-representative), synthetic thinking and analytical, associative thinking (with a special role and status), based much on associative perception. Perception, the superior form of sensory knowledge, includes cognitive and sensory psychic processes, through which the properties of objects and phenomena in the external and internal environment of human are reflected and interpreted. The human intellect translates the objects of the external world into mental forms (objects), the mode of perception being largely dependent on mental predisposition, previous experiences and the psychological load they acquire over time. The ability to build associations is the most important skill of the human brain. The appearance of an element, under certain conditions, in the case of associative perception and associative thinking, evokes the image of another, associated with it. The basis of artistic creativity is the thinking based on associations. Associative thinking, unilaterally dependent on associative perception, imagination and fantasy, is that type of thinking, formed by creating special associative links and connections between objects and phenomena of the surrounding world, stored in the memory of the person from their own life experiences, from the earliest childhood. Associative thinking in art and painting, through its specific properties, gives the opportunity to create something new, to generate new ideas and concepts, leads to non-trivial approaches and non-standard visions, allows obtaining a compositional completeness and more efficient resolutions of the pictorial solution.

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Narațiune și simbol în grafica de carte moldovenească, 1945-2010

Author(s): Eleonora Brigalda / Language(s): Romanian Issue: 2/2022

The monograph 'Narrative and Symbol in Moldovan Book Graphics, 1945-2010,' signed by Dr. Victoria Rocaciuc, senior scientific researcher at the Cultural Heritage Institute of MEC, was elaborated under the scientific editing of Dr. Tudor Stavilă. The work represents the result of scientific research dedicated to the narrative and symbolic aspects in the evolution of the artistic values of national book graphics and includes an impressive number of bibliographic materials (monographs and albums, exhibition catalogs, periodical press), archival materials, from museum and private collections, as well as from the workshops of Moldovan book graphic artists. It should be mentioned that until now, national book graphics have not been analyzed in a monographic plan, based on the concepts of narrative and symbol, but also from the perspective of the extended temporal limits between 1945 and 2010. In the monograph, the source-based research of a historical-theoretical nature is complemented by analyses of the creation and artistic biographies of Moldovan plastic artists, less elucidated until now.

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„Nowa” polityka państwa w obszarze kultury wizualnej. Projekt

„Nowa” polityka państwa w obszarze kultury wizualnej. Projekt

Author(s): Jan Stanislaw Wojciechowski / Language(s): Polish Issue: 1-2/2024

The paper aims at diagnosing the underlying causes for the state of visual culture in Poland and indicating the directions of the new cultural policy for the country. The method applied is a combination of auto-ethnography with analytical development of several hypotheses based on the materials from the realm of cultural anthropology. Part of the reasoning conducted in the article is important methodologically and intended for practitioners. It is based on the comparison between today’s challenges facing the devisers of cultural policy and the challenges from 30 years ago, when the author was building a project of cultural policy for the government of those days. Due to the lack of decisive legitimisation of activities in the ideological sphere, the author defines cultural policy as enhancing the values and mitigating the flaws in the existing state of culture. The crucial thesis of the text positions the source of divisions in the contemporary Polish visual culture in the ideological sphere. The ideological division is discussed in the text in the categories of modernizers and conservatives. As a crucial part of symbolic culture connected with visual perception, the visual culture is divided according to beliefs which have either a radically discursive character (in the light of contemporary science one cannot unambiguously resolve their truthfulness) or they remain impossible to be captured rationally. They are a matter of faith and embedded in religious rituals. That is why, among others, we cannot ignore the philosophical foundations of cognition. Part of the article refers to the readiness of contemporary humanities to address the complicated issues of the cognitive theories in the light of such directions of thought as post-correlationism. As a result, a comparison between the resolutions enhancing the coexistence of the state and free market in the sphere of culture, postulated in the project of cultural policy from 1998, and the contemporary dysfunctional cohabitation of the camp of radical modernizers with the camp of conservatives, allows the author to formulate – in the form of a project – a number of proposals. They have character of philosophical and ideological theses as well as organizational and institutional proposals. Additionally, a question was posed about the need to establish a state institution monitoring the cases of ideological ‘corruption’ in the public institutions of culture. The conclusions are formulated in over a dozen points. What was found to be relevant is, among others, the emphasis of the significance of modernity as a modernizing option, supporting the local cultural potential and Christianity as a reservoir of idiomatic forms of intellectual speculation.

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W poszukiwaniu miary sukcesu kariery artystycznej

W poszukiwaniu miary sukcesu kariery artystycznej

Author(s): Katarzyna Plebańczyk / Language(s): Polish Issue: 1-2/2024

The concept of success is a subjective category, making it a challenging area for research. It was, therefore, intriguing to delve deeper into what artists themselves consider to be a success. This text has been crafted around this issue, presenting a qualitative review of the relevant literature. This includes shifts in responsibility for career management from organisations to individuals and the evolving job market for artists, where there is an increasing move away from traditional employment models towards self-management of careers. Research findings selected by the author have been presented, highlighting the diversity of approaches, challenges, and barriers to self-management as defined by the artists themselves.

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Rola edukacji muzycznej we współczesnym systemie nauczania

Rola edukacji muzycznej we współczesnym systemie nauczania

Author(s): Wojciech Marchwica / Language(s): Polish Issue: 1-2/2024

In recent decades, the level of music education in Polish general schools has been systematically decreasing. This results both from the lowering of the importance of music as a school subject and from the common belief that teaching music is a waste of time. Meanwhile, both neuropsychological research and observations resulting from the analysis of American data on the skill growth depending on selected school subjects indicate that systematic and practical contact with music for a minimum of two years significantly increases the intellectual abilities of young people – especially in the field of science. The author suggests increasing the role of music as a subject in the Polish public education system.

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TRADUCTION EN ROUMAIN DES NÉOLOGISMES STYLISTIQUES ET DES OCCASIONNALISMES DE L’ŒUVRE D’EUGÈNE IONESCO

Author(s): Elena GRAUR / Language(s): French Issue: 1/2024

By his bilingualism, belonging and contradiction to two identity spaces, Ionesco gave birth to individual creations, composing a spectral kaleidoscope of plurinomy and revealing the largely incongruous artistic personality. Far from being chaotic, the Ionescian authorial strategy imposes its coherence and its significant potential for success by intelligently surviving models and the passage of time. As an expression, pragmatically denying not only the established models, but even their essential order, the Ionesian dramaturgy initially proposes an anti-theatricality which seems/claims itself, in fact, fixed in the horizon of the non-theatricality. Eugène Ionesco’s work illustrates a poetics of the fragmentary and intermittency as a system, culminating in an aesthetic of precariousness (and semantics) pursued as it becomes converted into a single form of life. apparently paradoxical: syncopated persistence, continuous return, revalorization, resemantization, recuperation. It includes everything: homoioteleuts, counterpètries, approximate homonymy. Writing like Ionesco means playing, inventing, creating, making full use of the freedom that confers the imagination, the literary image. He loves words and he baptizes them.

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