A NOTE ON HOMER THE RAVEN

Author(s): Jovana Šijaković / Language(s): Serbian / Issue: 56/2019

In the works of Clement of Alexandria pieces of Homeric verses surface from time to time as a testimony to a Christian truth or an interpretation of Scripture. Such instances in Gnostic writings presented evidence that these Gnostic writers treated Homer as their own prophet. It seems that in light of these accusations, Clement takes care to note that Homer did not understand the words he gave a voice to, any more than a raven does when he echoes what he hears. Furthermore, in all cases where Clement comes conspicuously close to implying a prophetic-like status for Homer, he does not fail to employ a phrase which explicitly divorces the poet from any theological authority.

Anagnorisė Aristotelio Poetikoje: definicijos ir klasifikacijos problemos

Author(s): Jovita Dikmonienė / Language(s): Lithuanian / Issue: 3/2019

The article analyses the problems of meaning and classification of the term anagnorisis (ἀναγνώρισις) as it is defined in Aristotle’s Poetics. It focuses on how the term anagnorisis is understood and interpreted by scholars – different translations and their interpretations of the same type of anagnorisis are compared. The article also searches for the answers to the following questions: does the term of anagnorisis discussed by Aristotle mean the recognition of persons or just any kind of truth in a drama; why do some translators differentiate five and others six types of anagnorisis; what did Aristotle bear in mind by distinguishing the type of anagnorisis called “the recognition made by a poet himself” (Arist. Poet. XVI; 1454b 30–31), whereas it is known that all recognitions were created by poets themselves; does “an anagnorisis by false reasoning (a false syllogism)” occur among tragedy characters or does the audience at first misjudge, but later recognises the characters correctly? The author of the article argues that the version of the Arabic manuscript of Aristotle’s Poetics is more logical, as it states that one of the characters (θατέρου) rather than a spectator (θεάτρου) mistakenly recognises another character (Arist. Poet. XVI, 1455a 12–17). First of all, Aristotle does not state specifically that this is the fifth (different from all the others) way of recognition, but while discussing the fourth way of “anagnorisis by reasoning”, he adds that there is also and “an anagnorisis by false reasoning (a false syllogism)” (Arist. Poet. XVI, 1455a 12–13). Secondly, the recognitions described by Aristotle in Part XVI of Poetics occur between two characters, when one has to recognise the other. Therefore, the author of the article does not agree with the opinion by Dana Munteanu (2002) – that in Menander’s comedy Epitrepontes, Smikrine’s false recognition should be referred to as an erroneous spectator’s recognition, whereas at the end of the play Menander depicts Smikrine as a misled spectator just observing the events uninvolved without understanding them properly. By such leaving the word “spectator” in Aristotle’s classification of the fifth type of anagnorisis and using it for a character observing the actions of the play uninvolved, an ambiguity occurs, as Aristotle himself in his Poetics speaks many times about an actual spectator of the tragedy, who while watching the action of the play experiences fear and pity. The author of the article thinks that the translation of chapter XVI of Aristotle’s Poetics by Marcelinas Ročka (1990) should be corrected in some places. At the fifth “recognition by false reasoning”, a note in square brackets stating that this is the last recognition should be omitted. In fact, it is the next-to-last recognition discussed by Aristotle. In translation “the recognitions invented by the poet himself”, some other word can be used, as Aristotle here has in mind that poets usually write poorly and use trite recognitions. A phrase “to contrive” (in Lithuanian “sukurpti”) could be used here instead, as it means “to make or put together roughly or hastily”. It is also true speaking of the translation that a character of the play rather than the audience recognises another character by false reasoning. Finally, the author of the article draws a conclusion that according to Aristotle an anagnorisis is the recognition of persons occurring among characters of the play. In Aristotle’s Poetics, six variants of anagnorisis are distinguished and their classification made based on the principle of artistry and the originality of its use in plays.

BETON - Kulturno propagandni komplet br. 157, god. X, Beograd, utorak, 17. mart 2015.

Author(s): Vlad Zografi,Đura Miočinović,Joana Prvulesku,Katalin Gomboš,Adrian Zalmora,Elena-Gabrijela Lazara,Radu Vanku,Leticija Ilea / Language(s): Serbian / Publication Year: 2015

UVODNA REČ, Đura Miočinović: Terorizam sa raskrsnice; Joana Prvulesku: NEDELJA, 28. DECEMBAR; Vlad Zografi: POLJUBI ME!; Katalin Gomboš: SKICE; POEZIJA: Radu Vanku, Adrijan Zalmora, Elena-Gabrijela Lazara, Leticija Ilea

Cătălina Iliescu-Gheorghiu: a polysystemic model for the comparative analysis of drama from the perspective of descriptive translation studies

Author(s): Mona Arhire / Language(s): English / Issue: 1/2020

This review presents a recently published book authored by Cătălina Iliescu Gheorghiu, an academic actively involved in Romanian studies and a translator of Romanian literature. As the title suggests, it is a study that falls under the scope of Descriptive Translation Studies implying the polysystemic model posited by Lambert and Van Gorp for the comparative analysis of drama. The corpus under scrutiny is made up utterances extracted from the play A treia țeapă (The Third Stake) by Marin Sorescu and the corresponding utterances from two of its translations into English. The analytical part is backed up by a solid theoretical framework with its latter section lending the overall structure of the analysis. The categories subject to investigation are (i) preliminary data, (ii) the macro-level structures, (iii) the micro-level structures and (iv) the systemic context. The methodology experimented with drama translation and the findings deriving from it have proved their validity and are valuable input for other similar and possibly more comprising research that can use these findings as hypotheses to be tested further.

Criticism of Colonialism in George Bernard Shaw’s Play “John Bull’s Other Island”

Author(s): Biljana R. Vlašković Ilić / Language(s): English / Issue: 5/2012

Conveniently titled after a cartoon character, George Bernard Shaw’s play John Bull’s Other Island sneers at the legacy of colonialism, intolerance, and paternalism. This paper analyzes Mr. Shaw’s attempt to ‘reconcile’ England and Ireland in order to achieve synthesis between the colonizer and the colonized. It also answers whether it is possible to overcome the hostility caused by colonialism, and whether humanity can avoid and disregard the most important feature of colonial discourse Homi Bhabha wrote about: namely, “its dependence on the concept of ‘fixity’ in the ideological construction of otherness”. Finally, the reading of John Bull’s Other Island as the sovereign critique of colonialism exposes G. B. Shaw’s practical artistic solutions to stifling the symbolic and cultural violence, which continues long after the colonizers have granted the colony the right to Home Rule.

Cultural Intertexts

Frequency: 1 issues / Country: Romania

Culture generates an infinity of signs, whose meanings are shaped in and communicated via texts which, in turn, carry traces of other texts. These dialogic palimpsests which encode representations and allow for a multitude of possible readings ask for interpretative efforts, a part of which are included in Cultural Intertexts.

DramArt.Revistă de studii teatrale

Frequency: 1 issues / Country: Romania

DramArt Journal of Theatre Studies

The Journal for Theatre Studies DramArt was founded at the beginning of the year 2012 as a yearly academic issue.

DramArt offers a plattform with a wide discussion spectrum for academics, theatre scientists, theatre practicioners and theatre pedagogues. Romanian and foreign personalities concerned with media, theatre and film topics are invited to debate on theoretical and practical aspects.

Profile of the journal:

The journal comprises the following sections:

1.Studies and articles (studies on specific subjects, results of individual and collective research, essays based on the given topics of the issue)

2. Workshop, interviews, translations (new dramatic texts, translations, interviews with personalities from the domain of performing arts)

3. Theatrical Reviews, book reviews (theatrical reviews of recent productions, book reviews of recent publications on perfroming arts) 

Expressions de la faute dans la dramaturgie de Georges Darien

Author(s): Aurélien Lorig / Language(s): French / Issue: 22/2018

Pour Georges Darien, auteur de la Belle Époque, le thème de la faute est récurrent dans sa dramaturgie. Religieuse ou morale, la faute dévoile la réalité d’une petite bourgeoisie factice. La variété des approches de la faute, renforcée par l’intertexte avec Zola et Mirbeau, laisse en définitive entrevoir le point de vue de Darien sur le sujet, lequel est emblématique de la littérature fin de siècle. For Georges Darien, a Belle Epoque author, the fault as subject is very important and appears frequently in his theatre. Religious or moral, the fault allows to show the portrayal of a phoney middle class bourgeoisie. The variety of approaches to the fault, confirmed by Zola and Mirbeau intertexts, allows to catch Darien’s point of view which is emblematic of fin de siècle literature.

Hemen Hemen Aynı Şeyi Söylemek: Türkçede Manga Shakespeare

Author(s): Aslı Araboğlu / Language(s): Turkish / Issue: 66/2020

The works and translations of the famous British poet, playwright and actor William Shakespeare, who is considered as one of the most distinguished dramatists in the world, direct the different literary systems timelessly. Shakespeare's works, which inspired both literature and different art branches, also draw attention with different adaptations. One of these remarkable adaptations is Manga Shakespeare. Manga Shakespeare, which is translated into English and appears in Turkish, allows us to reach Shakespeare through different cultural filters. Thanks to the translation that creates these cultural filters, it may be possible to follow the changing and transforming goals by returning to the source. In this context, in this study, “The Tempest” as Manga Shakespeare will be examined and it will be tried to determine what transformation has occurred in the text by translation. The variety of translation practices also reveals the multi-layered aspect of translation, so it is not possible to state any limited conceptual definition for translation. Therefore, this multi-layeredness brings together different perspectives, different definitions and conceptual inquiries. Manga Shakespeare “The Tempest”, which is the subject of this study, will be analyzed by the concepts of "adaptation" and "transposition" of Jean Paul Vinay and Jean Darbelnet and the concepts of "intersemiotic translation" and “interlingual translation” of Roman Jakobson. The text will be examined through conceptual inquiries and translation comparison will be discussed in the context of Lawrence Venuti's concepts of “foreignization" and" domestication”.

Herakle, ludilo...

Author(s): Krištof Dovjak / Language(s): Serbian / Issue: 1-4/2020

Theatre play by Krištof Dovjak

Human Remains in “Hamlet”, “King Lear” and “Othello”

Author(s): Andy Mousley / Language(s): English / Issue: 1/2010

The dominance of various forms of historicism in literary studies means that the study of literature has largely become the study of history. The essay counters this tendency by attempting to retrieve a sense of the human/humanist value of literature. However, rather than advocating a simple return to the kind of humanist criticism that was influential in the nineteenth and twentieth-century Anglo-American critical tradition, it engages via Shakespeare with sceptical perspectives in order to show how Shakespeare himself ‘de-natures’ the human but not to the point where it is emptied entirely of meaning.

Hypostases du corps sur la scène tardivienne

Author(s): Emilia Munteanu / Language(s): French / Issue: 17/2015

The fact that the theatre is inconceivable in the absence of a stage actor, it’s an indisputable reality till the fifties’ theatre. Responsible of the incarnation of the character, the comedian’s body was sometimes a simple support of the dramatic speech, of the theatrical voice, sometimes place of exhibition or, on the contrary, concealing the flesh. More or less faithful to the stage directions, imitating reality (naturalist drama ) or, on the contrary, stripped of reality to acquire the attributes of a puppet (in the setting of the symbolist stage), the body has always been an area of spectacular work in connection with the one concerning the way of stage speaking.In what concerns the tendency of the new theatre in self-reflexivity, the body becomes the space of the theatrical experiment, of the happening and the questioning of the traditional concept of character, reflecting on his performing double.Gleaning all over the spectacular field of the tools of a generous «ludant», Tardieu invites us to build ourselves a «ludé» as a metatheatrical speech. He gives us to see the various hypostases of the imaginary body from the figure of the crucified, a sort of body-relay (L’épouvantail), following the evolution on stage of the material body (La galerie), those of Lui and Elle, bodies dedicated to the love that the spectacular choreography makes scenically (Les amants du métro), of the suffering body (La consultation, La mort et le médecin), to the absent body but just as much incentive for the imagination of the spectator (La serrure), etc.

Imaginarul şi Mioriţa de Valeriu Anania

Author(s): CRISTINA ELENA SAFTA / Language(s): Romanian / Issue: 6/2017

Writers of the present days, such as Lucian Blaga and Valeriu Anania, managed to update, to give life to some of the folk ballads belonging to the Romanian mythological space, Mioriţa, Greul Pământului and Meşterul Manole. They have rewrote the folkloric works as dramaturgy, in order to stage them, to make the ancestral archetype known to the 20th century civilization. Following a brief analysis of the staged myth, we will pay special attention to the dramatic opera Mioriţa by Valeriu Anania. He managed to renew the myth of Mioriţa and continued its creativity, through the complexity of the language and the verse as well as that of the imaginary.

Joachim Wittstocks Erzählung Hades und ihre szenische Umsetzung als Carpatesca cum figuris

Author(s): Carmen Elisabeth Puchianu / Language(s): German / Issue: 20/2020

Die wiederholte Beschäftigung mit Erzähltexten von Joachim Wittstock einerseits und andererseits mit dem performativen Charakter des Schreibens veranlasste uns im Rahmen der studentischen Theater AG (Die GRUPPE) ein komplexes Bühnenprojekt ins Auge zu fassen, szenisch umzusetzen und dreimal auf¬zuführen. Es handelt sich um die Aufarbeitung der Erzählung Hades in Form einer szenischen Lesung mit performativer Darstellung der Handlung in Verbindung mit dem Einsatz intermedialer Ausdrucksmittel. Der folgende Artikel fasst die wichtigsten Aspekte der Arbeit an dem Projekt zusammen und erläutert den Transformationsprozess vom epischen Text zur Bühnenperformance.

Jordskott. Las zaginionych, czyli przekraczanie granic Nordic noir

Author(s): Tomasz Adamski / Language(s): Polish / Issue: 20 (27)/2018

The TV crime drama is one of the most popular genres for European audiences and arguably also the most culturally sensitive and nuanced. The author in his article analyzes one of the Swedish examples of crime drama called Jordskott. Author interprets it through the prism of the Nordic noir aesthetics while characterizing this concept. In the course of analyzes, however, he notices that the Jordskott series escapes the genre framework and is located somewhere at the intersection of such film aesthetics as: Nordic noir, ecological thriller, horror or fairy tale.

La description du corps furieux dans les tragédies de Sénèque

Author(s): Sophie Roesch / Language(s): French / Issue: 6/2012

In Seneca’s tragedies there are numerous descriptions of characters overwhelmed with fury. These descriptions, which imply both static and dynamic features, are rooted into what was known in ancient times as ekphrasis – it is a rhetorical procedure which encompasses the accentuation of expressive details during a thorough description of a certain situation or scene. In Seneca’s works, in such descriptions there are traces of stoic theories where there are displays of inconstantia, which is typical for a person exposed to passion or which represents a connection between man and the universe, where furor represents furious elements. On the other hand, ekphraseis too are conditioned by physiognomic and medical theories of Seneca’s era, according to which the body is but a reflection of soul. The frequent use of these descriptions points out to their specific dramaturgic function – embedded in key moments of action, they enrich the discourse with additional elements by exerting affective influence on the audience. Finally, the descriptions make an intertextual fabric which puts characters from different tragedies into immediate vicinity, thus amplifying their dissuasive effects through such resonance.

Lindenfeld sau drumul de la mistificare la adevăr

Author(s): Carmen Oprișor / Language(s): Romanian / Issue: 19/2012

The novel describes the story of a „make – believe.” But what was at first considered to be only a game, turns into something more serious. A few people close to a German tycoon make up their mind to re-build the village where this billionaire was born. In Lindenfeld all villagers were dead and the place was colmpletely abandoned. In order to surprise their boss, some businessmen decided to make this place look alive again. They hired many other people, like actors, painters or workers. After a time, the people involved in this act feel their life has changed in a better way. Fiction and reality merge, and the characters become aware they take part in a „superior game.”They re-create not only a village but life itself. To re-build or more than that, to bring about a whole world expresses the human endeavour to overcome our mortal condition.

Martin Crimp’s “The City”: Insecurities of modern speech

Author(s): Dilek İnan / Language(s): English / Issue: 6/2012

Stage language was reinvented by Samuel Beckett and Harold Pinter in England, in the second half of the 20th century. It is no longer based on the Aristotelian mimesis. Beckett and Pinter’s works have had direct influence on the 21st century tradition of new playwrights, one of whom is Martin Crimp. While Crimp explores a symbolic and absurdist landscape of cruel relationships, he also depicts current problems such as materialism, unemployment, marital aggression, mental illness, and loneliness in the British urban society. Crimp considers theatre an appropriate means to express this urban depression by employing fluid speech in which there are frequent interruptions and repetitions and where the lines overlap and the thoughts pile up in hesitations. He illustrates anxiety and fear of contact. This paper analyses the power of the stage language in Crimp’s 2008 play The City, which represents the chaos of postmodern reality within a space-time collage. The play problematises and challenges Britain’s text-based theatre culture and English naturalism.

Médeia

Author(s): Kate Mulvany,Anne-Louise Sarks / Language(s): Hungarian / Issue: 2/2020

In our current issue we offer a contemporary adaptation of the Medea myth by Australian writers, Kate Mulvany and Anne-Louis Sarks, translated into Hungarian by Jozefina Komporály. The play, based on Euripides’s work, situates the Ancient Greek myth within the frame of a marriage crisis, and presents the distant but affecting conflict of the adults through the attitudes, games and experiences of their children. Although Medea’s character appears only very seldom on stage, the play poignantly depicts the internal conflicts of the mother who kills her children and draws attention to the perspective of the children themselves. Medea was written in 2012, as a result of a two-week-long workshop involving two boys, then aged 11 and 12, also using some of their ideas. The play (directed by Anne-Louise Sarks) was premiered in the same year at the Belvoir Theatre in Sydney and received several prestigious awards in Australia. Subsequently, it was also staged in Poland, the UK and New-Zealand.

Mikrodrame

Author(s): Slobodan Vukanović / Language(s): Bosnian,Croatian,Serbian / Issue: 1-4/2020

Theatre play by Slobodan Vukanović