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Inglise luule ja draama baltisaksa retseptsioonist - Eestimaa Kirjanduse Ühingu raamatukogu põhjal

Author(s): Kairit Kaur / Language(s): Estonian Issue: 05/2018

Based on the subclass XII (poetry and drama) of the Library of Estonian Literary Society, a Baltic German learned society (1842-1940) in Tallinn, this paper takes a look at the emergence of English literature in (Northern) Estonia. A more continuous reception of English literature in this area began in the second half of the 18th century. Although the most often mentioned publication place was London and some direct contacts can be traced with the help of inscriptions, the main part (4/5) of English literature reached the Baltic German reader via German printing and publishing houses and in translation. Some works were also published in the Baltics. In the 18th and 19th centuries only a few were able to read English in Estonia, mostly people with higher education, e. g. teachers, but also some merchants and aristocrats. The most popular authors of poetry and drama were Shakespeare and Byron, the most popular texts including Macpherson’s The Poems of Ossian, Milton’s Paradise Lost, Thomson’s The Seasons and Young’s Night-Thoughts.

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“Walking on the Wall”: Postmemory and Hiberno-English in Hugo Hamilton’s The Speckled People

“Walking on the Wall”: Postmemory and Hiberno-English in Hugo Hamilton’s The Speckled People

Author(s): Helen Penet / Language(s): English Issue: 1/2021

This article explores how Hugo Hamilton’s childhood memoir The Speckled People works through the postmemory of the narrator’s paternal grandfather’s enlistment in the Royal Navy. The narrator’s father has concealed the photograph of the “sailor in the wardrobe” from his children, and in parallel has built a linguistic wall around his family, denying them access to the English language. In his memoir, Hamilton manages to “walk on the wall” by poetically merging the two languages, and writing in Hiberno-English, which circumvents his father’s binary view of the Irish and English languages.

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An Irishman in America: Irishness and Belonging in Roddy Doyle’s Oh, Play That Thing

An Irishman in America: Irishness and Belonging in Roddy Doyle’s Oh, Play That Thing

Author(s): Genoveffa Giambona / Language(s): English Issue: 1/2021

The purpose of this article is to analyse Roddy Doyle’s representations of Irishness and Ireland in Oh, Play That Thing (2004). The novel is the second instalment in Doyle’s The Last Roundup Trilogy, a historical fiction describing the making of the Irish nation through the adventures and misadventures of Henry Smart, its protagonist. In the novel, constructions of Irishness are projected onto the outside world through Henry’s picaresque travels in the United States. The article examines how Irishness is construct¬ed in the book and how it becomes intertwined with identity construction in other minority groups.

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Cultural Nationalism and Postcolonial Imperatives in Irene Salami-Agunloye’s Emotan: A Benin Heroine and Emmy Idegu’s Ata Igala the Great

Cultural Nationalism and Postcolonial Imperatives in Irene Salami-Agunloye’s Emotan: A Benin Heroine and Emmy Idegu’s Ata Igala the Great

Author(s): Michael Olanrewaju Agboola / Language(s): English Issue: 1/2021

This article examines the efforts of postcolonial creative writers, particularly dramatists, who attempt to rethink the seeming erosion of African culture in the face of western cultural expansion. The present research adopts the methods of descriptive and content analysis, as it dwells on books, journal articles, and internet materials to examine its subject. Of immediate interest are two Nigerian plays, Ata Igala the Great by Emmy Idegu and Emotan: A Benin Heroine by Irene Salami-Agunloye, which are read as paradigmatic texts for interpreting problematic postcolonial relationships. The article contributes to discussions related to colonialism and the hidden agenda of neo-colonialism, which are often interpreted in terms of western economic interests underlying cultural expansion. The article demonstrates how Af¬rican postcolonial writers have striven to reverse this trend by promoting Africa’s cultural aesthetics as they represent indigenous ways of life and their problematic interaction with western cultural patterns. The discussed works focus on cultural canons related to African life, such as consultation with oracles, ancestor worship, and festivals; and they demonstrate the aesthetic specifics of African dance, music, songs, and their semiotic significance. The article concludes that even though the two plays “speak back” to power, their strength lies in the articulation of certain aesthetic patterns that contribute to African self-location. Thus, the plays not only attempt to assert African culture, but they also strive to rethink the meanings of western cultural imperialism.

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Unpacking Identity: Travelling Cases as Theatrical Props

Unpacking Identity: Travelling Cases as Theatrical Props

Author(s): Ilinca Tamara Todoruț / Language(s): English Issue: 2/2014

“All the suitcases that have appeared in this story are lying open on the stage,” reads a stage direction from Steigerwald’s Sorrow, Sorrow, Fear, the Rope, and the Pit. The suitcase may be the number one prop used in stagings of Eastern European drama, which after ’89 could speak openly about issues of physical displacement, either as refugees or as emigrants. What is the symbolism of the suitcase in connection with issues of identity, nationalism, migration, and border crossing, and how does it relate to a newer prop – the briefcase?

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“Jelisaveta – kneginja crnogorska” u kontekstu komparativne dijahronijske analize sa filmskom i dramskom umjetnošću

“Jelisaveta – kneginja crnogorska” u kontekstu komparativne dijahronijske analize sa filmskom i dramskom umjetnošću

Author(s): Sergej Pavlović / Language(s): Montenegrine Issue: 19/2021

This paper deals with the comparative analysis of the phenomena of female beauty as a significant trait of tragic circumstances in the history of literature and film, with a special focus on the central subject ‒ Jelisaveta, a Venetian noblewoman who married Đurađ Crnojević, the Montenegrin ruler. Reviewed through a diachronic perspective is the motif of the cursed foreigner, which in this drama is a compositional leitmotif that serves as evolutionary cause of physical and moral suffering, as well as the spiritual darkening. Prominent place within this work has the placement of the play “Jelisaveta, Princess of Montenegro” by Đura Jakšić in the context of Romanticism, which highlights black-and-white psychological characterizations. In a related manner, the issue of imagological aspects is raised‒the attitude towards the Other, the ties to historical revisionism, and the place of Crnojević dynasty in both historical and literary texts.

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Эллины в Эксцентрополисе: древнегреческая культура как базис театральных теорий русского авангарда (Н. Евреинов, Г. Крыжицкий)

Эллины в Эксцентрополисе: древнегреческая культура как базис театральных теорий русского авангарда (Н. Евреинов, Г. Крыжицкий)

Author(s): A. A. Pronin / Language(s): Russian Issue: 2/2022

The article analyzes the dynamic aspects of the manifestation of the "mythologeme of antiquity" in the theatrical theory of the outstanding figure of the Russian avant-garde Nikolai Evreinov, reveals the degree of influence of his most important postulate about the Dionysian nature of drama on the philosophical and artistic concept of the "theater of spirit and flesh" Georgy Kryzhitsky as a theorist of the early FEKS (Factory of the eccentric actor), compares their key landmarks in the history of antiquity as avantgardists. The previously unexplored material of the theoretical works of G. is introduced into scientific circulation. Kryzhitsky of the beginning of 1921-1922, on the basis of which the hypothesis is put forward that the author, almost forgotten today, sought to realize the retrotopia of "theatrical Hellenism" in post-revolutionary Petrograd (Eccentropolis).

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Lühidalt

Author(s): Johanna Ross,Brita Melts,Mall Jõgi / Language(s): Estonian Issue: 11/2016

Reviews of: Jaan Kross ja David Samoilov. Mu sõbra avatud akna all. Tallinn: David Samoilovi Eesti Ühing, Tallinna Ülikool, 2015. 75 lk. Давид Самойлов и Яан Кросс. В окно моего друга. Таллинн: Общество Давида Самойлова в Эстонии, Таллинский университет, 2015. 81 стр. David Samoilovi Pärnu. Teejuht. Luuletusi. Tallinn: Avenarius, 2015. 87 lk. Пярну Давида Самойлова. Путеводитель. Стихи. Таллинн: Авенариус, 2015. 81 стр. Loone Ots. Birkenruh’ episood ja teisi näidendeid. Tallinn: Eesti Keele Sihtasutus, 2016. 358 lk. See sinine sirjendav kaugus. Bernard Kangro ridade vahel tuhlates. Kangro luulest inspireeritud raamat, joonistused, heliplaat ja film. Koostaja Urmas Bereczki. Tallinn: Kirjastus Lepalind, 2016. 227 lk + CD (luuletusi esitavad autor ja Harriet Toompere) + DVD „Kesksuvetants. Etüüdid Bernard Kangro luuletustele” (režissöör Gabriel Dettre). Nancy Huston. Loomispäevik. Loomingu Raamatukogu 2016, nr 21–24. Tlk Leena Tomasberg. 240 lk.

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Colonial Discourse and Tradition in John Dryden’s The Indian Emperour

Author(s): Jack Love / Language(s): English Issue: 11/2022

This paper will focus on texts like Dryden’s that nationalized colonization and thus justified it. Nationalistic works on the conversation about the ‘New World’ left out one key group: indigenous Americans. The transposition of European ideas about the Americas is evident in Dryden’s work because of his interest in supporting or justifying the colonial ventures of the western hemisphere. The Indian Emperour itself connects to the European discourse on colonization through the dichotomy Dryden creates between the ‘old’ and ‘new’ world and the nobility of certain indigenous characters like Montezuma. The Indian Emperour most notably connects to later colonial discourse through Dryden’s placement of the English people in the play. While the English are not physically present in Mexico, Dryden refers to his own collective nationality as a necessary replacement or superior successor to the lands of the ‘New World.’ In this paper, I argue that Dryden’s idea of the necessary replacement, or the worthy colonizer, speaks heavily to later colonial themes and myths in North American literature, where various heroic figures act as intermediaries between the European ‘civilized’ world and the western frontier.

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Individual and Collective Memory in Shakespeare’s First Tetralogy, Between Myth and National Identity
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Individual and Collective Memory in Shakespeare’s First Tetralogy, Between Myth and National Identity

Author(s): Nicoletta Caputo / Language(s): English Issue: 44/2023

In Richard III, Act 3, young Prince Edward’s insistent questions about the origins of the Tower of London bring the issue of historical transmission to the foreground. Furthermore, the survival of truth across time is thematised throughout the first tetralogy. References to fame recur obsessively in the three parts of Henry VI, while in Richard III, Shakespeare subtly plays with a historical and historiographical tradition that is much indebted to memorial transmission. In this play, historical distortion is materialised in the deformed body of its protagonist, who becomes the emblem of a past reinterpreted and rewritten in the light of present interests. The article will show how, on the one hand, the dramatist goes beyond what already was a “vituperative history” and brings the so-called Tudor myth to its apex while, on the other hand, undermining this same myth.

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Verosimiglianza storica vs memoria creativa in El prodigioso príncipe transilvano
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Verosimiglianza storica vs memoria creativa in El prodigioso príncipe transilvano

Author(s): Federica Cappelli / Language(s): Italian Issue: 44/2023

In the Spanish theatre of the Golden Age, political propaganda and the consequent need to propose heroes conforming to the prevailing political-religious ideology to the public of corrales de comedia were almost always conditioning the creative process. This is also the case of El prodigioso príncipe transilvano, a historical comedy set at the time of the long Spanish-Turkish conflict (1526-1606) and dedicated to exalting the figure of Sigismund Báthory, in truth one of the most controversial figures in the history of Romanian principalities. This contribution aims at investigating the extent and mechanisms that, in the text, regulate this intersection of historical reliability and creative reworking of a recent past for pro-Spanish and pro- catholic propaganda purposes.

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Memoria storica, riforma del teatro e identità nazionale nel ciclo di tragedie romane di Antonio Conti
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Memoria storica, riforma del teatro e identità nazionale nel ciclo di tragedie romane di Antonio Conti

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

This essay aims to analyze the presence of historical memory in Antonio Conti’s poetical and theoretical reflection. Through his cycle of Roman tragedies, he staged some salient moments of Roman history which illustrated the transition from the monarchy to the republic, and from the republic to the empire. In the framework of the theatrical reform inaugurated at the beginning of the 18th century by Scipione Maffei’s Merope, Conti’s dramaturgical and theoretical work constitutes an extremely important contribution , starting from the tragedies’ ponderous paratexts, where the author gradually establishes the need for a national theatre, following the English and French models, while being centered exclusively on the events of Roman history.

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La mappa e il corpo come veicoli di memoria: una rilettura del Cartografo. Varsavia 1:400.000, di Juan Mayorga
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La mappa e il corpo come veicoli di memoria: una rilettura del Cartografo. Varsavia 1:400.000, di Juan Mayorga

Author(s): Enrico Di Pastena / Language(s): Italian Issue: 44/2023

In The Cartographer, the playwright Juan Mayorga recovers for the present, and in an original and oblique way, some of the events that took place in the Warsaw ghetto in the first half of the 1940s. The piece makes explicit a parallelism between cartographic art and theatrical writing and at the same time translates it into practice through its own architecture. The map and the human body become there means of resistance to the impositions of History and vehicles of a memory that strives to save a part of the past and which allows to look at it with a renewed gaze and as an invisible part of the present.

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MASTERY AND TRUTH IN JEAN GIRAUDOUX’S THEATRE

MASTERY AND TRUTH IN JEAN GIRAUDOUX’S THEATRE

Author(s): Anuța Batin / Language(s): Romanian Issue: 17/2019

In this paper I have tried out a short presentation of the life and activity of the French writer Jean Giraudoux, with clear alussion to his playwrights, to his vision about theatre:Siegfried,Electra, Song of Songs, The Madwoman of Chaillot, Sodom and Gomorrah etc. In Giraudoux's vision, the show is the only form of moral and artistic education of a nation. It is the only adult and elderly evening school, the only means by which the public, whether humble or skilled, can come into contact with the highest conflicts ... there are peoples who dream; for those who do not dream there remains the theatre. The theatre has the virtue of catharsis, which operates on the sensitivity of the viewer who is led to the beginning. Giraudoux's theater is a theatre of ideas which is especially interested in reporting man to his existence and less, as we have noticed, in presenting intrigues and psychological conflicts.

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„Megírásra váró kézirataim ébresztenek”. Interjú Cseke Péter sajtó-, eszme- és irodalomtörténésszel

„Megírásra váró kézirataim ébresztenek”. Interjú Cseke Péter sajtó-, eszme- és irodalomtörténésszel

Author(s): Mária Botházi,Péter Cseke / Language(s): Hungarian Issue: 866/2023

Mária Botházi's interview with press and literary historian Péter Cseke.

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VOLTAIRE’S BRUTUS AS ONE OF THE FIRST SLIGHT SHAKESPEARIAN INFLUENCES

VOLTAIRE’S BRUTUS AS ONE OF THE FIRST SLIGHT SHAKESPEARIAN INFLUENCES

Author(s): Carmen-Andreea Oneață / Language(s): Romanian Issue: 21/2020

French drama in the 18th century begins to be highly influenced by the English drama and its innovations. Voltaire is one of the dramatists who still promoted the 17th century drama and its depiction but, despite his vehement criticism against innovative directions, he starts to adopt some of them slightly. During his stay in England, Voltaire got accustomed to Shakespeare’s drama, which was both appreciated and criticised. At some point, Voltaire’s drama reflects the English scene, being influenced by Shakespeare’s dramatic art. In this way, Voltaire opens the way to a new dramatic art in France: the bourgeois drama.

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LITERATURE AND IDEOLOGY, THE IMPOSSIBLE MIX

LITERATURE AND IDEOLOGY, THE IMPOSSIBLE MIX

Author(s): Veronica Alina Constanceanu / Language(s): Romanian Issue: 26/2021

Literature has its own truth, which must be taken into account. Soon after 1945, when times were still turbulent, Lucia Demetrius adopted the new ideology, even in her literature. She first published in the interwar period, a time full of promises, but after the war it had to adapt to new realities. Novelist and playwright, Lucia Demetrius was one of the most important women writers for what was called socialist realism. Unfortunately, much of her dramatic works is strongly ideologized and thus, for the contemporary spectator, obsolete. Even if some characters are well defined and the action is well developed, there is a time when the text always pays tribute to ideology.

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LITERATURE AND IDEOLOGY, THE IMPOSSIBLE MIX

LITERATURE AND IDEOLOGY, THE IMPOSSIBLE MIX

Author(s): Veronica Alina Constanceanu / Language(s): Romanian Issue: 26/2021

Literature has its own truth, which must be taken into account. Soon after 1945, when times were still turbulent, Lucia Demetrius adopted the new ideology, even in her literature. She first published in the interwar period, a time full of promises, but after the war it had to adapt to new realities. Novelist and playwright, Lucia Demetrius was one of the most important women writers for what was called socialist realism. Unfortunately, much of her dramatic works is strongly ideologized and thus, for the contemporary spectator, obsolete. Even if some characters are well defined and the action is well developed, there is a time when the text always pays tribute to ideology.

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ABOUT THE TOPICALITY OF “ THE BADEN BADEN LESSON ON CONSENT” BY BERTOLT BRECHT

ABOUT THE TOPICALITY OF “ THE BADEN BADEN LESSON ON CONSENT” BY BERTOLT BRECHT

Author(s): Dana POP (LĂSCOIU-MARTIN) / Language(s): German Issue: 28/2022

In the present work, I will concentrate on the Lehrstück by Bertolt Brecht, emphasizing the Lehrstück Badener Lehrstück on consent. My work is mainly oriented towards the topicality of this work in terms of the subject matter and its adaptation in a pedagogical context, i.e. the practical use in a possible teaching sequence. Brecht composed “The Lessons” as short dramatic texts, which are always written with a reference to the music or to a possible musical representation on stage. It is not just the reading of the text that is relevant, but also the playful and critical examination of the text. As different as possible conditions for the representation of the teaching pieces on a stage are in the foreground, while the music has an additional function in the texts. So he proceeded experimentally with “The Lessons”, being guided by the question of the social position and the function of art-producing media.

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LUCIAN BLAGA - THE NON-METAPHYSICAL VOCATION OF THE BEGINNING

LUCIAN BLAGA - THE NON-METAPHYSICAL VOCATION OF THE BEGINNING

Author(s): Ciprian Claudiu Ciula / Language(s): Romanian Issue: 28/2022

Any metaphysics as an act of communication beyond the immediate, as a confession of an inspiration lived simultaneously in the field of rational knowledge and in the incomprehension that is intended to be uttered, transcends the state of ecstasy, in which the soul by a self-closure seeks to preserve the principle of Ideas. Objectification as a final act of comprehension - that what is received, written and rendered to the viewer for pre-tasting falls under the burden of comparisons.

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