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Don DeLillo’s Falling Man
The aim of this paper is to analyze the way in which Don DeLillo portrays the trauma experienced by 9/11 survivors in his novel Falling Man, focusing on the main character. In my analysis I begin with the definition of Post-Traumatic Stress Disorder and employ trauma theory, mainly Dominick LaCapra’s concepts of “acting out” and “working through” trauma, to show how the novel portrays the main character, Keith Neudecker, as being frozen in a state of perpetually reliving the traumatic experience; his thoughts, actions, and even the structure of the novel reflect this. Furthermore, I analyze the way in which DeLillo’s representations of both 9/11 and the trauma caused by the event are problematic. By presenting the attacks as a unique occurrence and by making his main character a white, educated, middle-class American man, DeLillo fails to give recognition to the suffering of other categories of people who might have been harmed by 9/11 or by any other traumatic event. Through Keith Neudecker, DeLillo presents a model of behavior in which trauma cannot be overcome and progress is impossible, as being representative, while discounting the fact that people have different levels of resilience.
More...Mad Scientists of the New Millennium
Steven Spielberg’s 1993 film Jurassic Park kicked off a cycle of films that struck a cautionary note about the possibilities of science: “Don’t play God!” This paper examines the “creatures features” of the millennial period, focusing upon the suspicion of science and scientists that was generally on display. This paper will bring into the discussion a wide range of such films in focusing upon the portrayal of scientists, the manner in which gender provides an intersection between the science fiction and horror genres, and finally how this intersection is indicative of the creature feature’s ambivalence toward scientific advancement. The examination of mad scientists will constitute the bulk of the paper, split into discussions of the “bad” scientist and the “good” scientist. The former category includes the Ahab character, the profiteer, and the romantic, while the latter category includes the outsider, the scientist-father, and the married science couple. In the depiction of these characters and others, the message is clear: don’t distinguish yourself too greatly, advancing too far down the path of scientific achievement, as bio-engineered sabertooth tigers and boa constrictors roam the landscape, punishing humanity for attempting to play god.
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Post-tourism has undergone a few mutations in recent decades. The ironically-disposed post-tourist has come to accept and eventually seek destinations where space and time, and sometimes people themselves, have been commodified for touristic purposes. Various degrees of authenticity of a few popular tourist destinations are analyzed in the light of Baudrillard’s theory of simulation and simulacra. The conclusion briefly lays out the modern tourists’ dual attitude towards commodification and (in)authenticity.
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The article revisits, refines, expands, and updates some of the issues first explored in Synergy volume 6, number 1 of 2010 and further on in volume 7, number 1 of 2011. The core issue is teacher training and development: does this occur through imitation of the teaching patterns one has been exposed to throughout the schooling process or can self awareness, by integrating reflection and introspection, liberate teachers and turn the blueprint of the past teaching practices into just one of the many teaching options they can choose from?
More...Paryż–Toruń : Wydawnictwo Naukowe Uniwersytetu Mikołaja Kopernika, 2014, s. 1–65, il. 1–53, tabl. I–IV, ISBN 978-83-231-3194-6
More...Analiza procesului scenic în teatrul muzical: Bărbierul din Sevilla de Gioacchino Rossini
The main aspects connected with the work of stage directors of dramatic or musical theatre concern the experience of these artistic creators. The opera stage director has to bring a rich experience in visual arts as the musical discourse must be enriched from this point of view. The ”scenic” study and the detailed analysis of all sequences of a score, in fact specific methods of theatre studies, could put into evidence the visible and invisible parts of the dramaturgic discourse, important components of the architecture of a musical performance. Reading the score or libretto like a dramatic text, one can find a close relation between music, word and stage. The tendency of stage directors, who bring a very special experience from the dramatic theatre, to renew the traditional opera performance by giving it a special dynamic and imposing their creative vision, is a specific manifestation in the 20th century, continued in the 21st century. Stage directors achieve in a personal vision that common language made up of the complete concordance among music sound, music signs of a score, linguistic signs of a libretto, in fact the matrix of the performance. As an example the analysis of the opera The Barber of Sevilla by Gioacchino Rossini, underlining aspects of dramatic art and the creativity of the Bulgarian stage director Plamen Kartalov.
More...Interview with Adam Corb
Interview with the contemporary composer Adam Corb; 18 th of October 2013
More...Interview with Caroline Clegg
Interview with the stage director Caroline Clegg; 18th of October 2013
More...Eröffnung des "steirischen herbst"-Festivals 2014 mit einer Performance-Party: Needcompany All Tomoroow's Parties
The review is focussed on the opening show of the Festival "steirischer herbst" 2014 with the Performance-Party: Needcompany All Tomoroow's Parties.
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