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Eros u Vetranovićevoj Istoriji od Dijane

Eros u Vetranovićevoj Istoriji od Dijane

Author(s): Krešimir Šimić / Language(s): Croatian Issue: 1/2014

After the discovery of the Perast and Milan manuscripts, namely the complete text of Vetranović's Istorija od Dijane, not much has been written about this dramatic work. This paper focuses on a scene near the end of the play which describes Mercury's intervention after Diana frees Cupid. The intervention of the messengers of the Gods invites a procreative interpretation of Eros, which is a certain specificity in relation to other Croatian and, to go even further, other pastorals of the sixteenth century.

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Moć ljubavi i ljubav prema moći

Moć ljubavi i ljubav prema moći

Author(s): Ljubica Matek / Language(s): Croatian Issue: 2/2014

The author uses a methodological approach similar to one of New Historicism to give a new reading of Shakespeare’s comedy Twelfth Night, or What You Will. The play represents both a literary and a historical document which repeats the pattern of appropriating and exercising power used by Queen Elizabeth I. This reading reveals a new interpretative layer of Shakespeare’s seemingly apolitical comedy about mistaken identity and unrequited love which is resolved in a likewise seemingly typical happy ending that includes three marriages. A parallel analysis of text and context will show that Twelfth Night is a socially subversive text which points to the conclusion that masking seems to be a necessary prerequisite for achieving personal and political goals, both in the fictional context of the play and in the historical context of Elizabethan England.

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Hrvatske Judite

Hrvatske Judite

Author(s): Teodora Vigato,Katarina Srebrović / Language(s): Croatian Issue: 2/2015

In this paper, the authors deal with various interpretations in Croatian literature of the biblical Judith and Marulić’s Judith. They begin with the story of Judith from Zadar whose anonymous authors had the task to spread the biblical story of the courageous Judith. Then they speak about Judith in the works of Antun Gleđević and Ignjat Đurđević, in the Baroque literature of Dubrovnik, in the context of the Dubrovnik melodramatic or pseudolibretistic production. The paper highlights the Slavonian Judith, that is, her interludes and concludes with the contemporary Judiths of Miro Gavran and Boris Senker. The biblical text has served also as an inspiration for various interpretations in a wide range of performances, from musical to puppet theatre. Each author followed the point of view, the artistically specific, poetic, structural and technical requirements of the genre and placed the main character and her story in a new intertextual or media content.

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ЛИТЕРАТУРНАЯ ПРЕМИЯ КАК ДИАГНОЗ АКТУАЛЬНОЙ СЛОВЕСНОСТИ

ЛИТЕРАТУРНАЯ ПРЕМИЯ КАК ДИАГНОЗ АКТУАЛЬНОЙ СЛОВЕСНОСТИ

Author(s): Maria Alexandrovna Chernyak / Language(s): Russian Issue: 3-4/2016

The article deals with the phenomenon of a literary prize. Awards as an influential institution of the literary life in many aspects determine the range of reading, the policy of publishing and literary translation and the development trends of literature, and form a circle of "fashionable reading." The article presents the exclusive answers of the contemporary writers.

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Opera ar drama… Aleksejus Kartavovas Vilniuje

Opera ar drama… Aleksejus Kartavovas Vilniuje

Author(s): Vida Bakutytė / Language(s): Lithuanian Issue: 1/2007

The article deals with the most significant period in the development of the professional Lithuanian theatre art, especially that of music. For four seasons (1887–1891) the Vilnius City Theatre under the leadership of the talented theatre organizer Aleksey Kartavov saw the ascent of mastership, especially in the sphere of opera. Performances of supreme professional level with accurate selection of singers made the Vilnius City Theatre famous. Not only the response of Vilnius dwellers but also the opinion of Vilnius guests as well as reviews of Kartavov himself rendered in places of the touring of the Vilnius Theatre in Riga, Mintauja (Jelgava) and Warsaw proved the success. Analysis of the circumstances helping or hindering Kartavov from fulfilling his plans is given in the publication. The role of the active responsiveness of the theatre critics is especially highlighted. The article gives a profound analysis of the repertoire changes related to the fluctuation of the priorities of genres, when the opera, for some time in competition with drama, prevailed over the operette. The Vilnius Theatre contributed both to the maturity of the singers’ experience and elaboration of dramatic sophistication. The four seasons of Kartavov left a significant impact on the propagation of theatre art, especially that of opera, in Lithuania.

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Strategije učtivosti na primjeru drame "To" Alije Isakovića

Strategije učtivosti na primjeru drame "To" Alije Isakovića

Author(s): Selma Đuliman / Language(s): Bosnian Issue: 1/2016

This text is a part of a wider linguistic research dedicated to the works of Alija Isaković, a writer who passed away almost twenty years ago, in March 1997. In light of the politeness theory, we will observe the selected scenes from his play To. In several illustrative scenes, we will only suggest the possibility of a more detailed linguistic analysis, especially from the perspective of linguistic disciplines, such as discourse analysis, or pragmatics. This paper is a modest homage to a man whose literary opus significantly enriched our culture.

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Narrating the Self in English Renaissance Drama: Storytelling and Self-Narration in Thomas Kyd's „The Spanish Tragedy“

Narrating the Self in English Renaissance Drama: Storytelling and Self-Narration in Thomas Kyd's „The Spanish Tragedy“

Author(s): Demir Alihodžić / Language(s): English Issue: 1/2016

This paper examines the use of techniques of storytelling and self-narration on the English stage in the late 16th and early 17th centuries, with an emphasis on Thomas Kyd’s The Spanish Tragedy. The playwrights of the period were negotiating their way in a new world in which language was a medium which was coming more and more to be respected, and those who could wield it had the potential for advancement in ways never before conceivable. In the forefront of those negotiating for such a place through their art was Thomas Kyd. He may be considered the pioneer in the development of the self on the English stage in the early modern period through storytelling and self-narration as representational techniques. The paper also examines some of the profound changes in dramaturgy which took place in the period in question and which culminated in the drama of Thomas Kyd.

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Жанрові новації в сучасній драматургії: драма-кросовер

Жанрові новації в сучасній драматургії: драма-кросовер

Author(s): Eugene Vasiliev / Language(s): Ukrainian Issue: 94/2016

The article discusses the genre of crossover drama, borrowed from cinema (where it is a genre in which storylines of two or more works and characters of different movies intersect) and widespread in contemporary drama. The functioning of crossover in the history of Western and national film and in popular literature of the twentieth century is considered. The examples of crossover drama in the history of the twentieth century dramaturgy (“Crazy Jourdain” by M. Bulgakov, “Naked King”, “Shadow”, “Cinderella” by E. Schwartz, “Memorial Prayer” by G. Gorin) are researched. Genre and plot peculiarities, the characters of the crossover plays in contemporary drama (end of the 20th – beginning of the 21st century) are analyzed on material of the plays by D. Bavilskiy, Y. Barhatov, C. Churchill, V. Dibrova, V. Durnenkov, B. Friel, V. Sorokin, T. Stoppard, M. Vishnyek. The typology of contemporary crossover drama is also suggested: the fictional crossover in which various characters of different fictional worlds intersect (Hamlet, Othello, Lady Macbeth, Juliet, King Lear with his daughters, Titania in “Hamlet and Juliet” by Yuri Barhatov); the quasi-documentary crossover in which real historical persons cross (Lenin, Joyce and Tzara interact in “Travesti” by Tom Stoppard); the crossover of a mixed type in which real historical persons interact with dramatis personae of the fictional worlds (Chekhov's characters come in contact with their creator in “Chekhov Machine” by Matei Vishnyek; Beckett and Godot are crossed in “The Last Godot” by the same author).

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К вопросу о политической драме в творчестве 
В. Набокова и И. Бродского. На материале пьес В. Набокова "Изобретение Вальса" и И. Бродского "Демократия!"

К вопросу о политической драме в творчестве В. Набокова и И. Бродского. На материале пьес В. Набокова "Изобретение Вальса" и И. Бродского "Демократия!"

Author(s): Tatyana Landa / Language(s): Russian Issue: 1/2015

The article examines a little-studied phenomenon of Russian literature in emigration — drama by V. Nabokov and I. Brodsky. Genre of political play, in the works of both writers is not accidental one. The part of the writers, being the subject of many studies, appeared in it as a new contemporary literary plane. The historical background did influence the formation of the concept of creativity in general. The return of this literature allows us to expand the boundaries of our knowledge and the idea of Russian literature in emigration. В статье анализируется мало изученное явление эмигрантской литературы — драматургия В. Набокова и И. Бродского. Жанр политической пьесы, в творчестве обоих художников не случаен. В нем раскрылись с новой, для современных литературоведов, стороны писатели, изучению творчества которых посвящены множественные труды. Историческая ретроспектива повлиявшая на формирование концепции творчества в целом. Возвращение этой литературы позволяет расширить границы наших знаний и представление о русской словесности в эмиграции.

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Dizisinde Çizilen Japonya’nin ‘Yeni’ Erkek İmaji

Dizisinde Çizilen Japonya’nin ‘Yeni’ Erkek İmaji

Author(s): Ceren Aksoy Sugiyama / Language(s): Turkish Issue: 80/2014

It can be argued that for the last two decades Japan has gone through a radical transformation making the country a stage for various masculine performances filling it with a multitude of representations of masculine identities. The footprints of these transformation can also be observed through media representations. Within this context the aim of the article is to elaborate the masculine identity constructed through Sakamoto Ryōma in the historical drama Ryōmaden broadcasted in the year 2010 by the Japanese national channel. By giving several examples from the scenes focusing on the character traits of the protogonist, the type of masculinity which is thought to be idealised by means of an updated version of Sakamoto Ryōma will try to be highlighted. Within the popular history, Sakamoto Ryōma is known to be one of the architects of the Meiji Restoration. Although he could not live to see the Reformation itself his contributions did not go unnoticed. The latest version of these character who have already inspired several novel, anime and manga overlaps with the historically glorified masculin identity. On the other hand it can be noticed that the image itself differentiates from the iconic images of the previous decades. By putting into circulation a sympathic samurai who reverse the Japanese autocratic masculine image; the series not only refresh the social memory but also put into circulation a new masculine image.

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Popüler Roman Ve Melodram Kavramlari Çerçevesinde Muazz Ez Tahsin Berkand Ve Sarmaşik Gülleri

Popüler Roman Ve Melodram Kavramlari Çerçevesinde Muazz Ez Tahsin Berkand Ve Sarmaşik Gülleri

Author(s): Ayfer Yılmaz / Language(s): Turkish Issue: 77/2014

In this study, Muazzez Tahsin Berkand’s novel Roses of Ivy, a popular melodrama around the concepts of the novel and tried to evaluate. With the broad general meaning of the popular novels to academic reader, the reader wonder, excitement, and aims to arouse feelings of pity, full-speed for consumption, based on a simple cases of the events and persons set out sharply, by chance did not include woven literary products. Popular novels of the Tanzimat period, such as occurs in other types of novels. At the II Constitutional period Ahmet Midhat, Ahmet Hüseyin Rahmi and popular works are the first examples of the novel. Mehmet Celal, Abdullah Zühdüand Vecihi writers considered in this group. Examples of popular fiction in the later periods of the type of popular novel continuing the second period of Republic, readers young woman’s affections, while Kerime Nadir and Muazzez Tahsin, Mükerrem Kamil, Cahit Uçuk, Selami İzzet, Aka Gündüz, Mahmut Yesari, Güzide Sabri, Suat Derviş gives the example of writers like. Greek composition, melody, melody which means “melo” and “theatrical event, which is the inclusion of life” drama “with the use of the words appeared in a theatrical term. Later, as the term was used for cinema. Clearly the people and the mold are separated into good and bad melodramas designed and “immature audiences” are addressed. Thus, as the authors of the audience and the film makers “fatigue” and “profitable becomes a cause. Turkish literature, popular fiction author, Muazzez Berkand Tahsin , 1933 in the “You and Me” is his first novel, introducing Berkand’ı. Love Storm 1935, 1936, “Spring Flower”, 1937, “Endless Night” is named after novels serialized in newspapers before the printed book form. “A young girl’s Novel,” “He and his Daughter,” “Mystery of the Mountains”, “Nightingale’s Nest”, “Mualla”, “A strange marriage” with novels of Stefan Zweig “Unknown Letters of a Woman” and Irène Némirovsky’nin “Jazabel” translated his works.

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Memet Baydur'un Tutunamayanlari

Memet Baydur'un Tutunamayanlari

Author(s): Dilek Zerenler / Language(s): Turkish Issue: 59/2009

Memet Baydur is one of the most important figures of contemporary Turkish drama. He deals with inner conflict of individuals and their attitude towards life. In this study, his well-known plays: Limon, Maskeli Süvari and Yangin Yerinde Orkideler are going to be analyzed in the aspect of intellectual concept. The responsibilities of the intellectual, his/her hopes for this appointments for the future are you going to be studied through the use of language.

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„Meblowanie przestrzeni” w najnowszym dramacie
rosyjskim

„Meblowanie przestrzeni” w najnowszym dramacie rosyjskim

Author(s): Lidia Mięsowska / Language(s): Polish Issue: 149/2015

The article is an attempt to present the techniques of modeling dramatic space of the latest Russian drama works. The examples derived from Alexandr Shipenko, Nikolay Kolada or Oleg Bogayev’s oeuvre exemplify that writers, who resort to postmodern games with cultural codes and literary tradition, build the space of dramas on the terms of confronting contrasts and fulfilling them with the theatrical items in order to picture the changes that Russian society experienced after the period of transformation.

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Мифопоэтика драм Антона Чехова

Мифопоэтика драм Антона Чехова

Author(s): Anna Chudzińska-Parkosadze / Language(s): Russian Issue: 129/2010

This article deals with the issue of mythological code, which presents the core of Anton Chekhov’s plays, such as The Seagull, Uncle Vanya, Three Sisters and The Cherry Orchard. The mythological code is refl ected fi rst of all in the chronotop of the plays, especially in the images of the house as the symbol of the center of the Universe. Moreover, time and space in the plays progress according to the realm of two main binary opposition — sacrum and profanum. However, the transformation from sacrum to profanum, and vice versa, is directed by the heroes and their consciousness. As the result, it is heroes’ consciousness that create the space and time in the plays, as the man himself turns to be a co-creator of the Universe.

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(Mis)reading Matters in Titus Andronicus: Ekphrastic Displacements and the Aemulatio Game on the Renaissance Stage
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(Mis)reading Matters in Titus Andronicus: Ekphrastic Displacements and the Aemulatio Game on the Renaissance Stage

Author(s): Carmen Florescu / Language(s): English Issue: 2/2016

This essay studies Titus Andronicus‘s (mis)reading of the classics in order to tease out certain displacements which Shakespeare‘s play effects relative to its sources. Arguably, aemulatio in Titus can also suggest concerns with theatrical issues, such as the presencing onstage of characters and acts inspired by classical texts, as well as constituting an aemulatio of other Elizabethan playwrights, however problematic with respect to the object of emulation: escalating violence to (re)map gender hierarchy through multiple instantiations of the playwright persona. While, as Shakespeareans agree, the Philomela myth in Ovid‘s Metamorphoses is central to shaping, even scripting, the plot of Titus, I find a particular detail in Ovid worth re-reading, namely the tapestries woven by female characters such as Philomela, which no longer make sense onstage and which Shakespeare therefore dispenses with, or rather transmutes. I argue that Shakespeare‘s multiple displacements of the Ovidian tapestry – and generally the repurposing of ekphrasis – render visible the silent assumptions of patriarchy as encoded by Ovid, through ekphrasis, in a male-authored text cross-voicing female plight: that women can/should be and have been objectified under patriarchy, and that their reified condition may at times recall an aesthetic artefact which arrests the gaze and may (or may not) move to pity, but cannot challenge the foundational violence of patriarchy

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Andrea Levy‘s Small Island: Multiple Co-narrators in a Shared Discursive Context
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Andrea Levy‘s Small Island: Multiple Co-narrators in a Shared Discursive Context

Author(s): Daniela Vasiloiu / Language(s): English Issue: 2/2016

Various human science disciplines have employed ‗co-narration‘ as an empowering mode that enables one to explore group behaviour and dynamics, social psychology and identity, or as a mechanism of sense-making. In brief, co-narration can be defined as a collaborative, conversational narrative mode, which provides multiple storytellers with an opportunity to join the discourse level (in socio-communicative context) with a view to constructing a story together. Taking an interdisciplinary (socio-communicative and cognitive) approach to narrative, the present enquiry seeks to observe how the concepts of ‗co-narration‘ may provide new insights into the fictional story and discourse.With this end in view I propose Andrea Levy‘s Small Island (2004) as a case study meant to explore how the several narrators activating collaboratively on the discourse level contribute to the intersubjective (and conversational) achievement of narrative. I posit that the four conarrators contribute to the discourse, each in their own right, through the thoughts, attitudes, and beliefs—in short, their entire ideological makeup and positioning. As a result, narrative works within discursive plurality but as a collective communicative project rather than as a solipsistic enterprise.

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L’accueil de la Tragédie de l’Homme d’Imre Madách par les Lecteurs de Langue Allemande (1862–1892)
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L’accueil de la Tragédie de l’Homme d’Imre Madách par les Lecteurs de Langue Allemande (1862–1892)

Author(s): Katalin Podmaniczky / Language(s): French Issue: 1/2010

This study is devoted to the mediators - translators, philologists, publishers, writers - thanks to which was carried out the transfer of the Tragedy of the man of Imre Madách in the Germanic cultural sphere of 1862 to 1892. This period was particularly fruitful to two points of view. On the one hand, it saw the birth of seven translations, as well as a dozen reviews and reviews. Those published between 1888 and 1892 were intended to prepare the public for the upcoming appearance of Tragedy on German stages. On the other hand, many personalities for the German-speaking intelligentsia have made eulogistic statements about the Hungarian drama, while others have even recaptured this foreign masterpiece by drawing inspiration from him.

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А если завтра нет (есть)? Восприятие героем будущего в белорусской драматургии конца ХХ – начала ХХI вв.

А если завтра нет (есть)? Восприятие героем будущего в белорусской драматургии конца ХХ – начала ХХI вв.

Author(s): Jelena Lepiszewa / Language(s): Russian Issue: 17/2017

In the focus of the article are the plays of Belarusian playwrights belonging to elder (A. Dudarev, E. Popova, A. Delendik, S. Bartokhova) and younger (N. Orekhovsky, D. Balyko, K. Steshik, D. Bogoslavski, P. Pryazhko) generations, who problematized the future of their heroes. The article identifies different models of percepting future by the post-Soviet man of the future: the idea of a “bright future”, admits the link between the past – present – future, the location of consciousness in the present, the eschatological vision of the future. We determined the authors’ aesthetic strategies of their realization at the level of a character and a chronotope, that allow typological parallels with Russian drama (E. Popova – “a new wave”, D. Balyko, K. Steshik, D. Bogoslavski – “a new drama”).

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VOKATIVNE EKSKLAMACIJE U DRAMI "TRI SVIJETA" HAMZE HUME

VOKATIVNE EKSKLAMACIJE U DRAMI "TRI SVIJETA" HAMZE HUME

Author(s): Elma Durmišević / Language(s): Bosnian Issue: 1/2017

The aim of this paper is to analyse vocative exclamations in Hamza Humo’s play Tri svijeta. Such expressions have been observed as expressive of either the speakers’ strong affective states or their habits, which is why vocatives are also used as ϐillers. In this paper, we will divide them on the basis of the functions they have in the play’s dialogues. Vocative exclamations in this play are polysemic and perform different functions, pivotally determined by their context.

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Hamletrock

Hamletrock

Author(s): Tibor Zalán / Language(s): Hungarian Issue: 899/2024

Drama by Tibor Zalán.

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