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Eastward Ho! Aspects of Eastern European Writing Translated into Irish

Eastward Ho! Aspects of Eastern European Writing Translated into Irish

Author(s): Alan Titley / Language(s): English Issue: 1/2021

The article focuses on translations into Irish of literary texts by writers from several central and eastern European countries. The author adopts a historical approach by first drawing attention to the Irish language as a means of literary expression and a vehicle for the translation of classical texts in the Middle Ages. Irish came under sustained attack because of English rule from the seventeenth century onwards and was only spoken by the poor and the marginalized in the middle of the nineteenth century. However, towards the end of the nineteenth century the language experienced a revival. The latter process was intensified following the establishment of the Irish Free State in 1922. In 1926, a project for literacy and provision of reading material in the Irish language was implemented, and a government publishing company known as An Gúm started producing books for the new Irish-reading public. Since the start of the project, the general tendency has been for books by western European writers to be translated into Irish. However, a significant number of texts by eastern and central European authors, ranging from classics by Tolstoy and Chekhov to novels and short stories by contemporary Russian and Slovenian authors, have also been published over the years.

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Патология на родното в пиесата „Балкански синдром“ от Станислав Стратиев

Патология на родното в пиесата „Балкански синдром“ от Станислав Стратиев

Author(s): Iliyana Dimitrova / Language(s): Bulgarian Issue: 1/2022

This study examines some identity changes in the models of Bulgarian essence from the second half of the 1980’s. Stanislav Stratiev’s play, titled “Balkan Syndrome”, artistically reflects the political and the social processes at the level of the dramatic language. The transformations that have embraced the person’s and society’s spirit and body can be found in the displacement of the character from the social roles, in the bureaucratization and everydayization of the dramatic conflict, in the removal of the boundaries between the high and the low, the intimate and the public, the past and the future.

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Reception of Sophocles’ Antigone in the Baltic States

Reception of Sophocles’ Antigone in the Baltic States

Author(s): Maria-Kristiina Lotman,Līva Bodniece,Jovita Dikmonienė / Language(s): English Issue: 4/2022

This paper analyzes the translations of Antigone by Sophocles and later authors and the performances based on them in the theaters of Estonia, Latvia and Lithuania. It investigates the necessity to translate the Antigone dramas by Sophocles, Jean Anouilh and Janusz Głowacki into national languages and stage them in theaters. The article analyzes how these works are related to the history of the Baltic countries. This paper is divided into three subparts that match the historical periods from the end of the nineteenth century to the beginning of the twenty-first century. The most important performances of Antigone in the Baltic countries are analyzed, highlighting the individual style of each director and their attention to the form and expression of the performances. The main themes revealed by the artists of the Baltic countries are conscious self-sacrifice for one’s neighbor and individual resistance to conformity and tyranny.

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Persuasive Speech and the Power Play in Pinter’s Mountain Language: An Interdisciplinary Analysis

Persuasive Speech and the Power Play in Pinter’s Mountain Language: An Interdisciplinary Analysis

Author(s): Ifeta Čirić-Fazlija,Nejla Kalajdžisalihović / Language(s): English Issue: 22/2023

Taking an interdisciplinary approach, this paper analyses power play, speech strategies, and speech impact in Harold Pinter’s one-act play Mountain Language (1988), in which prison officials exercise power over inmates and their visitors through various tactics of control and subjugation. The paper’s methodological framework of corpus analysis is founded upon the linguistic features of police speak in the English language (a hybrid genre of spoken language police officers use when interrogating suspects), which, we propose, permeates the discourse in Mountain Language. The paper first reflects on discourses on/of power as observed in literary theory, then examines discursive strategies in the play, to illustrate speech impact caused by “conduct-regulating persuasion” and linguistic features of verbal violence. It also reflects on the concept of the persuasive power of discourse, in terms of the impact it may have on the mindset and behaviour of the interlocutor(s).

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Forme del passato nel presente. Victoria e Europe di D. Greig fra memoria culturale e ricezione teatrale
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Forme del passato nel presente. Victoria e Europe di D. Greig fra memoria culturale e ricezione teatrale

Author(s): Carla Dente / Language(s): Italian Issue: 44/2023

The articulation of time-space dimensions is a theme both for theorists of various disciplines and for those who deal with the problems of the exegesis of texts. The globalization process makes us perceive a hybrid present and permeable spaces, both with cultural consequences in relation to the process of attribution of meaning. This is the very broad outline in which I read the texts of D. Greig presented here, texts that, in the crisis of traditional historicism, address the theme in an unusual way: the relationship between history and memory has changed the nature of historical writing, accentuating the function of cultural memory (mnemo-history), with individual and collective past inevitably as its objects.

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Tracce e corpi dal passato: uno sguardo al teatro della memoria spagnolo attuale (dal 2000 in poi)
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Tracce e corpi dal passato: uno sguardo al teatro della memoria spagnolo attuale (dal 2000 in poi)

Author(s): Simone Trecca / Language(s): Italian Issue: 44/2023

That of the recent theatre of memory in Spain is a complex panorama which, while presenting various constants that constitute its distinctive features with respect to the historic theatre and the documentary theatre, also begins to manifest some variables that invite us to reflect on possible categorizations of the dramaturgical strategies put in place for the recovery of the past through the stage. We propose to start a reflection in this sense, examining some of these differential aspects through a selection of significant plays from an ever wider and more variegated corpus through the lens of the need for trauma negotiation.

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DEVELOPMENT OF THE KOREAN POETIC DRAMA AND THE SIGNIFICANCE OF THE POETIC DRAMA MOVEMENT

DEVELOPMENT OF THE KOREAN POETIC DRAMA AND THE SIGNIFICANCE OF THE POETIC DRAMA MOVEMENT

Author(s): Hyeon-Jeong Lee / Language(s): English Issue: 1/2021

This paper deals with the definition and characteristics of poetic drama, and attempts to clarify the significance of poetic drama works during the time when the poetic drama movement took place. Unlike drama-poetry or plays, poetic drama is an independent art genre. It presents artistic vision through the conflict of poetics and dramas. The unity of poetic and dramatic things, which is facilitated through music, internal necessity, stage image, sound effect, and visual auditory indication, poetic drama is a part of complex art. The entire work functions as a poem and must be realized on the stage. For Choi Il-soo, in order to develop the characteristics of these poetry plays, the innatrhythm of the free verse should be embodied within these plays. He accepted Eliot’s theory and tried to establish the position that Western poetic drama works and theories are unique to Korea. This deepening perception of theory led to a poetic drama movement with the creators. In this paper, we classify its characteristics by focusing on approximately 18 poetic drama works. From 1920 to 1999, 18 representative works were classified, focusing on the completeness of the works and the remarkable artists. The characteristics of works can largely be divided into historical, narrative, reality, and philosophy. The meaning of this classification can serve as an opportunity for poetic dramas to advance into more diverse topics or forms. The poetic drama movement was dominated by critics and poets with the aim of pursuing independent Korean art works, and although it failed in performance and popularization, it was an achievement of the times to give a glimpse into the possibility of poetic drama. Poetic drama can act as a new element in the genre of poetry and drama that are losing original literary character, and there is a need to revive in Korean literature.

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THE LONELINESS OF ORPHEUS IN THE TWO LAST EUGÈNE IONESCO’S PLAYS

THE LONELINESS OF ORPHEUS IN THE TWO LAST EUGÈNE IONESCO’S PLAYS

Author(s): Magdalena Indrieş / Language(s): French Issue: 18/2019

The two last Ionesco’s plays, Man with bags and Journeys to the Realm of the Dead, have a rich mythological substrate. The myth of Orpheus is present between the lines. Even if the name of the famous poet is not specified, there are many elements of this myth, presents in the two plays. The modern Orpheus, a man alone, is travelling in a labyrinthine hell inside, looking for his own identity and for his mother. The own identity is very important, because the knowledge of one’s self, which suppose loneliness, leads to the knowledge of the others and to the sense of his life. The quest of the mother is an attempt to escape to a feeling of guilty and in the same time, to make order in the personal world.

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A THEORETICAL APPROACH TO EUGENE O’NEILL’S PLAYS

A THEORETICAL APPROACH TO EUGENE O’NEILL’S PLAYS

Author(s): Laura Alexandra Petrea (Şopterean) / Language(s): English Issue: 18/2019

The present paper deals with Eugene O’Neill’s plays and the Greek Mythology, who has a big influence over them. In O’Neill’s writings, there are a lot of biographical elements which determined him to write plays, and at the same time, his life makes him read a lot of information and Greek tragedy. The writer’s life events which have influenced him, and then the specific terms are defined and presented. These two important aspects are found in Eugene O’Neill’s plays, and in the light of these, I can analyze the plays.

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SHAKESPEARE’S TRAGEDY AND ITS REFLECTION IN VOLTAIRE’S PLAYS. OTHELLO AND ZAIRE, THE DEPICTION OF JEALOUSY

SHAKESPEARE’S TRAGEDY AND ITS REFLECTION IN VOLTAIRE’S PLAYS. OTHELLO AND ZAIRE, THE DEPICTION OF JEALOUSY

Author(s): Carmen-Andreea Oneață / Language(s): Romanian Issue: 19/2019

The Enlightenment can be considered the era of great change in the entire Europe from a social, political, religious and literary point of view. In literature, more specifically, in drama, it highlights the necessity of a new genre, the time of tragedy coming to its end, after an era of great literary value and rise of theatre. In England, Shakespeare was the most important literary figure during the Elizabethan era, inspiring Voltaire in his attempt to revitalise tragedy and prevent the emerging new trends of the 18th century. Our paper aims to highlight the influence of William Shakespeare’s artistic jealous on Voltaire’s attempt to revitalise the tragedy, by analysing the similarities between „Othello”, a tragedy in 5 acts, and „Zaire”. Starting from the fight between the traditional dramatic forms and the new genre attempt, we intend to the analyse of the common elements between „Othello” and „Zaire” at the level of action, the source of tragic and characters.The interpretation of the human strong feelings and how they determine the destiny of the individual and the ones surrounding him, the tragic guilt and the innocence are key facts of the tragic evolution of the characters.

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ION BREAZU AND THE HISTORY OF THE THEATER

ION BREAZU AND THE HISTORY OF THE THEATER

Author(s): Sabina Larisa Marin (Oltean) / Language(s): Romanian Issue: 23/2020

During the 20th century, Romanian drama has met a connection to the new European and aesthetic requirements. In literature appear signs of a renewal that would signify, in the period between the two world wars, among other things, the entrance of drama in a unique era of complex modernity. The waiting horizon of Romanian literature diversifies and a pre-war, interwar and postwar theatrical creation can be discussed from a diachronic standpoint, because historical events, respectively world wars and social and political conjunctions from these periods have left a clear mark on the universe of thematic approaches from drama and literature in general. Ion Breazu, an exceptional scholar, does not stop at a single activity of rendition of the theatric show but is attracted by origins, aware of the evolution of Romanian drama which he tries to broadly establish, as much as his carefully organized time allows him, and especially analyzing the Transylvanian creators` creations. The modernity and topicality of Breazu in everything that he undertook in the frame of culture is due to his allegiance to the generation of philologists formed at the historical school of G. Bogdan-Duică, based on Georg Brandes` studies. By studying the meaning of Transylvania in national literature, the contribution of this space to the progress of Romanian culture, the osmosis and the intense, changes or mutual influences, although a lot of researchers have taken care of these aspects, Ion Breazu remains a personality, although secondary, which illustrated the Transylvanian space in the interwar and post-war period. We think that it is our duty, of those who know these realities, to highlight the emblematic figure of the `Transylvanian man`, to take him out from the shadows that he has entered over time.

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WAITING FOR GODOT BY SAMUEL BECKETT AND THE LAST GODOT BY MATEI VISNIEC WHO IS GODOT?

WAITING FOR GODOT BY SAMUEL BECKETT AND THE LAST GODOT BY MATEI VISNIEC WHO IS GODOT?

Author(s): Andreea-Diana Albu / Language(s): Romanian Issue: 25/2021

The present article aims to reveal the various roles played by the mysterious character Godot. In Samuel Beckett's play, Godot is expected by two characters, who consider him a savior, a master, a protector, but who doesn't appear. In fact, Godot will never appear, and the wait for the characters will be endless. Matei Visniec offers a solution to this mystery and creates Godot, who has the opportunity to meet his author and reproach him for his absence from the text. Godot will not receive the image of a savior of souls, but he will still be the one who will save, through his presence, the theater and the culture.

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THEORIES OF FICTIONAL WORLDS IN ABSURD LITERATURE

THEORIES OF FICTIONAL WORLDS IN ABSURD LITERATURE

Author(s): Violeta COSTEA (MOȚ) / Language(s): Romanian Issue: 28/2022

This article is part of a larger research on the possible worlds of absurd fiction and focuses on three theories applied to texts representative of the literature of the absurd: the make-believe theory, formulated by Kendall Walton, Thomas Pavel's theory of prominent structures and his theories of objects of Alexius Meinong and Terence Parsons. The corpus of this paper includes texts by Urmuz (Pâlnia și Stamate, Cotadi și Dragomir, Ismail și Turnavitu) and Eugène Ionesco (Scaunele). Absurd texts are anti-mimetic texts that, according to the make-believe theory, create through the game of what would be, contradictory possible worlds, which captivates the reader. With props in real world, they are configured as incoherent, inhomogeneous universes. Scaunele by Ionesco is a genuine simulated show, a game of imagination, with comic and tragic elements at the same time. The theory of prominent structures created by Thomas Paul highlights the presence in Urmuz's texts of possible worlds without a correspondent in reality, bearing the seal of the author's originality. The elements that compound the primary and secondary ontology of the urmuzian fictional universe are not isomorphic, creating for the reader the intuition of contact with the absurd. Meinong's and Parsons's theories of objects and non-existent objects applied to fragments of Urmuz's prose highlight their belonging to the category of the absurd by the presence of non-existent objects, in whose list of properties contradictions and impossibilities meet.

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SHAKESPEARE, THE PATTERN OF THE ENGLISH RENAISSANCE

SHAKESPEARE, THE PATTERN OF THE ENGLISH RENAISSANCE

Author(s): Ingrid Cezarina-Elena Ciochină / Language(s): English Issue: 32/2023

One of the most important personalities of the English Renaissance, William Shakespeare, is the greatest writer I am going to treat about in the following lines. He was a poet and a dramatist and has been regarded as the greatest writer in English language. Being often called “The Bard of Avon”, William Shakespeare has a very wide and complex work, which consists of 38 plays, 154 sonnets, two long narrative poems, and several other poems. His plays have been translated into every major living language and are performed more often than those of any other playwright.

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Hvalevrijedan teatrološki napor

Hvalevrijedan teatrološki napor

Author(s): Dragan Komadina / Language(s): Bosnian Issue: 89-90/2023

Review of: Tina Laco, Bosanskohercegovačka teatrologija nakon Drugoga svjetskog rata (Sarajevo: Muzej književnosti i pozorišne umjetnosti Bosne i Hercegovine, 2022)

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THEATRE AND EXPERIMENTS

THEATRE AND EXPERIMENTS

Author(s): Veronica-Alina Constănceanu / Language(s): Romanian Issue: 33/2023

Poet, fiction writer and playwright, bilingual writer, this is how George Astaloș could be briefly described. He debuted as a poet, he will first publish a volume with some of his plays. After 1971, he received a scholarship and will leave Romania and settle in Paris. He will also abandon the Romanian language, in favor of French, but he will not abandon literature, he will continue to write and publish theater, essays and poetry, being considered the founder of the "intrusion theatre", ”revolver theatre”, ”floral-spatial theatre”.

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КОМЕДИЯ Ю. ХЕЙЛАЛЫ «СОБРАНИЕ БУЛОЧНИКОВ»: СТРАТЕГИЯ ДОМЕСТИКАЦИИ В ПЕРЕВОДЕ ДРАМАТУРГИЧЕСКОГО ТЕКСТА

КОМЕДИЯ Ю. ХЕЙЛАЛЫ «СОБРАНИЕ БУЛОЧНИКОВ»: СТРАТЕГИЯ ДОМЕСТИКАЦИИ В ПЕРЕВОДЕ ДРАМАТУРГИЧЕСКОГО ТЕКСТА

Author(s): Nadezhda Stanislavovna Bratchikova / Language(s): Russian Issue: 6/2023

The paper conducts comparative analysis of the original and translated text in terms of the suitability and representability of the play on the theatrical stage. The article explores discrepancies identified in the Finnish-Russian translation of Yrjö Heilala’s comedy The Meeting of Bakers. The research has found that translation discrepancies are caused by the desire to make the play suitable for the theatrical stage. The dramatic text sets the working parameters followed by the translator and actors. The author of the publication, like many linguists, sees the translation of theatrical text as its creative adaptation or version. Three factors influencing the choice of translation equivalents in theatrical translation are identified. The determining factor is the criterion of translation performability. The text is just one element of the performance (alongside actors, direction, musical accompaniment, and design). The second factor is the consideration of the auditory perception of the text, which implies not only euphony but also the attractiveness of spoken language. The words are influenced by the structural organization of this type of text. The third factor is the consideration of the stylistic features of the Russian language. Deictic words and personal pronouns are often used in speech situations. Translators can preserve dialectal expressions by replacing them, for example, with everyday colloquial vocabulary. Speaking names (surnames or toponyms) are translated while preserving national color (for example, creating anthroponyms using suffixes typical for the source language). The liveliness of language is a success in translating dramatic texts.

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A CASE OF PERSISTENT TRANSMEDIAGENY: CARMEN

A CASE OF PERSISTENT TRANSMEDIAGENY: CARMEN

Author(s): Mihaela Chapelan / Language(s): French Issue: 34/2023

Drawing on the concepts of transwriting, mediageny and transmediageny, developed in the 90s by theoreticians coming from the field of media studies, namely André Gaudreault and Philippe Marion, the present article aims to showcase the meaning of the various modifications undergone by Prosper Mérimée's story Carmen, in its transition from one medium to another. Although, when published, Mérimée's text didn't enjoy particular success, it eventually left its mark on the cultural imaginary, especially through the character Carmen - who became for some the feminine counterpart of Don Juan, and for others the illustration of the ancient Greek myth of the proximity of Eros and Thanatos. Without ignoring the other adaptations that contributed to making Carmen a case of persistent transmediageny, we will focus our analysis on the utterly uninhibited manner in which Jean Luc Godard has approached this already sacralised literary source, adapting it for the film titled Prénom. Carmen.

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EUGḔNE IONESCO’S INTELLECT BETWEEN MADNESS AND GENIALITY. AN ANALYTIC VIEW OF THE REFLECTION OF HIS GENIUS IN CONTEMPORARY LITERATURE

EUGḔNE IONESCO’S INTELLECT BETWEEN MADNESS AND GENIALITY. AN ANALYTIC VIEW OF THE REFLECTION OF HIS GENIUS IN CONTEMPORARY LITERATURE

Author(s): Paul-Cristian Albu / Language(s): Romanian Issue: 34/2023

The purpose of the paper is to offer a detailed view of the key role of Eugène Ionesco’s genius in the ordinary world. I am interested in discussing the way in which his genius can be reflected globally in his works, notably as it is imagined in the NU volume which was written during the interwar period. I am equally interested in observing the manner in which this contemporary writer manages to express the idea of the reflection of his genius in his Romanian masterpiece. Moreover, I will consider talking about his genius as a result of the impossibility of understanding the social condition of the ordinary being. Also, it is capital to note that the Franco-Romanian writer Eugène Ionesco has an overwhelming desire to transgress the common boundaries against whom human beings must confront. In order to offer a consistent critical view of the concept aforementioned, I will consider using the technique of close reading the text of the mentioned essay volume, focusing on the way in which manner is useful to convey the idea of the absurd. The creative use of language and the exploitation of absurd and contradictory situations, in general, will be regarded as a mean to make visible the new and revolutionary way in which theatre came to be understood by this playwright.

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RELATIONSHIPS BETWEEN CHARACTERS AND OBJECTS IN MATEI VIȘNIEC’S POETRY AND PLAYS

RELATIONSHIPS BETWEEN CHARACTERS AND OBJECTS IN MATEI VIȘNIEC’S POETRY AND PLAYS

Author(s): Roxana-Maria Sînescu / Language(s): Romanian Issue: 36/2024

The purpose of our research is to reveal relationships between characters and objects in Matei Vișniec’s poetry and plays, considering that in his writings the association human – non-human often stands out even from the text title or from the list of characters. Our hypothesis was that in Vișniec’s writings objects are often more than accessories. For our study we have selected the following texts: Rondul de zi. Numǎrǎtoarea caselor. Plimbǎrile de searǎ, Audienţa la regele Priam, Pe ţurţurii subţiri, Automatul de limonadǎ, Buzunarul cu pâine, Şi cu violoncelul ce facem?, Mansardǎ la Paris cu vedere spre moarte, Omul cu oglinda and Paparazzi sau Cronica unui rǎsǎrit de soare avortat. We have found that, in Vișniec’s writings, the main meaning of the couple character – object is the alienation of man. The author treats objects as metaphors, as tools of this estrangement, as a minimum hallmark of his fictional characters, transfigurations of human beings that have lost their substance.

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