САЩ в ново поколение от интерпретации
Америките ни 2: САЩ като метафора на модерността. Българо-американски отражения (XX – XXI в.), София: Издателски център „Боян Пенев“, 2017 г., 588 с
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Америките ни 2: САЩ като метафора на модерността. Българо-американски отражения (XX – XXI в.), София: Издателски център „Боян Пенев“, 2017 г., 588 с
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The process of futuristic poetry formation associated with the creative work of Ukrainian futurism founder Mykhailo Semenko is reconstructed in the article. It is shown that attempts to ground aesthetic and artistic principles of futurism at the beginning of the XX century were apprehended ambiguously by the literary circles of that time. Contemporary minds to the events of 1910-1920s make it possible both to reconstruct the situation in Ukrainian cultural space of that period objectively and appreciate achievements and failures of futurists impartially. The article reveals that futurism ranks the special place among the schools of Ukrainian avant-garde art which make themselves vividly known at the beginning of the XX century. It is caused by some reasons: firstly, it existed rather short period of time – just nearly twenty years; secondly, it was pretty complicated to self-determinate within Italian and Russian models of this school of art; thirdly, in fact, it was ceased by force as most of its participants were repressed in the second half of the 1930s. Historical fate of Ukrainian futurism is coincided with the one of its founder, Mykhailo Semenko (1892–1937), the famous poet and theorist of art. In 1914 he claimed the appearance of ‘futuristic poetry’, absolutely new school in Ukrainian literature, with his collections of poetry “Excitation” and “Quero-futurism”. In 1937 he was executed by shooting, his death put an end to the Ukrainian futurism existence. The author of this paper analyses and evaluates the period of 1913–1914 in Mykhailo Semenko’s creative work when the transition from one system of aesthetic and art values to absolutely new one took place. To the author’s mind, such conversion was quite complicated and even painful both for Semenko and his admirers of that time. That’s why this period needs reconstructing in detail. The start of Mykhailo Semenko’s literary creative work is marked with the publishing his verses “Gift”, “Sin”, “My flower” in the journal “Ukrainian Khata” and his first collection of poems “Prelude” in 1913. During this period the poet joined in the circle of young literary men who collaborate with ‘Ukrainian Khata’. As is known, monthly journal ‘Ukrainian Khata’ came out within the period of 1909–1914 and covered the wide range of problems: from literary to economic. To the author of this paper’s mind, the analysis of Ukrainian futuristic poetry requires not just emphasizing on the events of 1913–1914 років but also reconstructing the literary process going on at that time. Moral and psychological state of young Semenko is reflected through the logical analysis the atmosphere of critics and prosecution accompanying the occurrence of “Prelude”. It was mixed attitude to the poetic debut of Mykhailo Semenko : ‘neoclassicist’ M. Zerov didn’t accept both the collection of poems “Prelude” as a whole and the poems included, he even called the young poet not to write poetry any more; M.Voronoy didn’t perceive the poems from this collection criticizing young poet in a sharp and offensive manner. The year of 1913 was crucial for Mykhailo Semenko. At first, he published the poetic collection “Prelude”, secondly, he experienced the critics of this book from M. Zerov and M. Voronoy, thirdly, he got acquainted with the poetry of Russian futurists, fourthly, he dropped out of Bekhterev Psychoneurological Institute where he had been studying for 2 years, fifthly, he was getting aware of the necessity to transform the aesthetic and artistic fundamentals of his own poetry. It was those events that acted as a trigger to change the world-view of Mykhailo Semenko. In the article the author compare the creative work of two poets – M. Semenko and M. Voronogo. Considering the situation ‘poet-critic’, the study concludes that contemporary Ukrainian scholars are trying to smooth over and even idealize the processes in country’s literary space at the beginning of the 20th century as well as the way of relations between different generations of creators. 1914 is considered the date of Ukrainian futurism birth as that was the year when both futuristic manifestos of Mykhailo Semenko and his collection of poems “Excitation” as an example of futuristic likes were published. Unique identity of M. Semenko as a poet is substantially determined by his interest to free verse. Publishing 8-page collection of poems “Excitation”, Семенко used the full advantage of vers libre. In conclusion, the author admits: firstly, the crucial 1914 was the year of Ukrainian futuristic poetry formation; secondly, emotional and sentimental orientation of Semenko’s poetry experienced fundamental transformation on account of new themes and new aesthetic and figurative means; thirdly, the collection of poems “Excitation” should be considered as the first attempt to frame the Ukrainian model of futurism; fourthly, Ukrainian futurism is of not only experimental character but also obtains such features as dynamism, roughness, shock, declarative nature etc.
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Purpose of the work is to study the importance of popular scientific literature, presented in an accessible and at the same time interesting form for intellectual, aesthetic and professional development and education of a future designer and his personal becoming. Methodology of a popular scientific edition research requires ability to combine scientific depth in the comprehension of material and at the same time ability to tell about difficult things easily and interestingly. General scientific methods of analysis, synthesis, generalization, etc. are used. The scientific novelty of work consists in application of the modern approach to the popular scientific edition research with an authorial look to the traditional use of a book. It becomes the first push to the further general philosophic conclusions, performs encyclopaedic functions, acquainting a reader with causes and effects of many phenomena and variety of interesting facts and accomplishes educational and encouraging functions. Conclusions. Due to actuality and universality, modern popular scientific, cognitive, poly-thematic literature becomes the beginning of serious fascination by one or another discipline. It gives an opportunity to readers to extend general erudition and assists forming of active, responsible, strong and creative personality, capable of self-development and self-realization.
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This paper takes a close look at the graphic novel The Vanished Path (2015) by comics artist and filmmaker Bharath Murthy. Sub-titled as “a graphic travelogue”, The Vanished Path relates Murthy and his wife’s pilgrimage, as new entrants to the Buddhist faith, through Hindu-dominated northern India and Nepal, where the religion was born but later lost popularity. Murthy himself acknowledges the influence of manga author Osamu Tezuka’s epic series Buddha (1972–1983), set in the era of early Buddhism. However, The Vanished Path departs from Buddha in engaging with religious politics in contemporary India, which has witnessed the recent rise of Hindu militant nationalism. My analysis shows that while the visual text of The Vanished Path presents an overt plea for rehabilitating early Buddhist thought in modern India, the visual text concurrently encodes a covert defence of the longstanding tradition of secular values in the region. This tradition encompasses the acceptance of religious minorities. The paper also addresses creative engagements in comics and graphic novels between two different Asian cultures, as opposed to the critically familiar historical and geopolitical nexus between Western countries and India.
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The aim of this paper is to discuss two previously unknown literary works which depict events preceding the death of two Karaims, Benyamin Turşu and Beraḫa Poyraz. Although laments of this type can be found in critical editions of Crimean Karaim mejumas, their contents and language have not yet been thoroughly examined. The vast majority of mejumas do not consist of original Karaim literature, therefore each work which can be determined as of purely Crimean Karaim provenance should be considered a valuable source of linguistic material.
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The casket scenes in The Merchant of Venice are powerful arbiters of success and failure. The casket challenge is loaded with culturally-specific signifiers which favour local contenders. Bassanio rejects the gold casket because he is aware that European moral iconographies repudiate earthly wealth (though, ironically, Bassanio is a poor illustration of the principle). The Prince of Morocco, by contrast, understandably supposes gold to be an appropriate metaphor for love – gold was, after all, the prima materia of North Africa. Morocco is on every level more worthy than Bassanio but fails because he chooses through foreign eyes.
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This article reviews the characteristics of terms used by the Mongols to express taboos concerning food and examines their food-related culture based on sources from the Mongolian Empire (Plano Carpini’s Historia Mongalorum, Marco Polo’s Il milione, Chinggis Khan’s Yeke Jasag, Rashīd adDīn’s Jāmiʿ al-tawārīkh, and the Yuan Dynasty’s 飮食須知 Yin shi xu zhi). The Mongols left behind fairly strict food-related taboos in the form of eating habits. To better understand Mongolia’s food-related taboo expressions, we have examined five mediaeval sources written in various languages in which diverse food taboos are recorded.
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Hebrew was the main language of the early modern Karaim culture. Nearly all Polish–Lithuanian Karaim scholars wrote poetry in Hebrew for various occasions celebrating the Karaim cycle of life: for Sabbaths and festivals, for weddings and circumcisions, or as eulogies for a fellow scholar. Their poems cover exegetical, philosophical, and mystical topics from a Karaim point of view and contain historical details about Karaim life in Eastern Europe. Karaim Hebrew poets followed the footsteps of earlier Karaite generations: Byzantine Karaite poetry, emulating the Andalusian standards of poetics and familiarised through shared literary sources, served as their main literary model.
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Les discussions se déroulent en marge du texte du ms.2513, que nous avons reproduit à cette fin. Jamais édité jusqu’ici, le manuscrit représente, pour le moment, la copie roumaine la plus ancienne des écrits sur André Salos, «le fou de Christ». Les discussions se déroulent aussi en marge du texte du ms. 1373, que nous avons également reproduit. C’est la première copie qui provient du sud-est de la Transylvanie connue jusqu’ici d’après André Salos. Vous trouverez là également un petit fragment conservé dans un autre ms. toujours du sudest de la Transylvanie : le ms. 1132, éloquent pour la capacité de traitement des copistes.
More...From William Shakespeare to the British Enlightenment
This article argues that William Shakespeare’s King Lear anticipates core political dynamics of the English Civil War (1641-49), and philosophical tenets of the British Enlightenment in John Locke and David Hume. It analyzes three principle and competing paradigms of public authority in King Lear: theodicy, nature, and the autonomy of thought. The play is historically contextualized within the 16th century. King Lear, moreover, portends revolutionary new thought patterns: the centerless universe of modern astronomy, and human embeddedness in fluid nature without fixed identity. Three variants on the concept of “nothing” – existential, social, and philosophical - interweave the cosmic and political threads, based on a circular temporality. Shakespeare’s character, Cordelia, affirms the everyday over the cosmic, and the sociological over the metaphysical. King Lear depicts a profound moral trans-valuation in early modern history, whose shifting temporal horizons remain central also to contemporary politics.
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The paper explores the revolutionary spirit of literary works of two Romantic poets: George Gordon Byron and Percy Bysshe Shelley. In the period of conservative early 19th century English society that held high regard for propriety, tradition, decorum, conventions and institutionalized religion, the two poets’ multi-layered rebellious and subversive writing and thinking instigated public uproar and elitist outrage, threatening to undermine traditional concepts and practices. Acting as precursors to new era notions and liberties, their opuses present literary voices of protest against 19th century social, religious, moral and literary conventions. Their revolutionary and non-conformist methods and ideas are discussed and analyzed in this paper through three works of theirs: Byron’s The Vision of Judgement and Childe Harold’s Pilgrimage and Shelley’s Prometheus Unbound.
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The main characters of Boża podszewka (God’s Lining) are well-known to a broad audience primarily from the 1990s TV series, which was quite controversial for residents of the Eastern Borderlands because it demystified the picture of this region and a Polish family. The TV series is based on a partly autobiographical novel by Teresa Lubkiewicz-Urbanowicz, published under the same title. The object of the study is the addressatives used by members of the Jurewicz family presented in the novel. This analysis is a sociolinguistic one and therefore it focuses on the relationships within the family of the main characters. Equivalent relationships (husband – wife) and inequivalent ones (mother – child) are highlighted. The aim of this analysis is to indicate the manifestations and determinants of the language etiquette which is realised by the addressative system. The examination leads to the conclusion that the system depends on non-language factors (the place of the recipient and the sender in the social hierarchy, the communication situation) on the one hand and on linguistic factors such as styling for the Eastern Borderlands Polish language (with numerous characteristic diminutives, suffixes with -eńk-) on the other hand. This system is customised and varied rather than automatic. The examination of addressative forms of Boża podszewka’s characters confirms the insights of researchers about the demystifying picture of a typical Polish family living in the Eastern Borderlands region.
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This paper deals with the transformations of Šalamun’s oeuvre in relation to the developments of philosophical platforms which he had been exposed to in the course of his creative life. They range from the first and second Wittgenstein, over French post-structuralism to object-oriented ontology and speculative realism. This exposure of course does not imply direct copying and reflections of the theory and philosophy on the one hand, and poetry on the other, but wishes to emphasize the comparative actions of all levels of the epistemological, linguistic, logical and political games that affect textual practices and their interchange. The transformation of Šalamun’s text is based on his outset from the reistic platform, and then directly registers the transformations of the folds and fractures within and between the epistemological platforms of which he was the contemporary, and with which he consequently interacted. In the second part of the paper, I bring forward propositions which may clarify the methods of construction and contemplation of Šalamun’s poetry, a glossary for a better understanding of his linguistic strategy and object-oriented ontology, as well as a possibility for the application of this ontology in politics and ethics. This rounds out his oeuvre in the direction of understanding the upshot of his style through his latest books, conclusively with his posthumously published book Andes (2016).
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The essence of the artistic interpretation of the "outer" (as an opposite to inner) experience is the process of turning facts and events, whether mundane or historical, into artistic images. All the variety of themes can be roughly classified as belonging to one of the three concentric circles: human being, society and the world. The specifics of interpretation of such trans-historical macro-themes are defined by the individuality of the author and the cultural paradigm he/she represents. The culturological-hermeneutic approach allows to take this context into consideration and thus more adequately evaluate a specific work of art and a certain tendencies that manifest themselves in it. The experience – whether personal or cultural – is one of the most immediate sources of the artistic creation. The concrete facts are interpreted by the author in accordance to the personal world outlook and to the world picture, typical for a certain cultural paradigm. It should be noted, that an author can be either more or less typical representative of such paradigm, or an agent of its shifting. The first of the transcultural themes is the representation of a human being. There are two main approaches to it. In the first case, we see a generalized form of a human being as opposed to other creatures, or as a representative of a certain group. In the first case author aimed at showing the unique personality. The "generic" depictions of human beings can be found in almost all ethnic cultures. Each of them developed a kind of a canon, that can be defined by two parameters: 1) what person (gender, age, race etc) is chosen as an object and 2) how they are depicted. In some cases, art goes ahead of the science. For example, in W. Shakespeare’s works we can see quite coherent ideas about psychosomatics. The XIX ct. literature investigated different aspects of the mind and body interaction. Such tendencies continue in the contemporary culture. So, the art has a function of an alternative cognitive instrument. The representation of a unique personality is the most clearly seen in such genres as portrait and biography. Any portrait is an interpretation of a character and life of a sitter. Sometimes it acquires a symbolical dimension, showing not only a person, but certain character type. Any person lives – and is depicted – in a social context. So, the second of the great transcultural themes is the human interrelations. Both choice of the subject and the manner of its depiction depends on the cultural paradigm. For example, in the Western art the theme of love is one of the most prominent. But in some cultures even the word, denoting this feeling was absent, which made the depiction of it impossible. An artist can make a generalized image of a social fact, or even the whole life of a society, taking role of a sociologist, philosopher and culturologist. It is well known, that some of the great writers coped with this task more successfully than the professional scholars. But at the same time, to become a work of art, any potentially interesting fact is to be completely reworked. In our times we see the fact of permutation as the merging of the real and the fictional, the "objective" life and the work of art. The results can be esthetically interesting, but the process itself is potentially destructive as it disorients the recipients in their social life. The third sphere of the artistic interpretation is the world as a whole. The most immediate universal context of a social life is the natural environment. The nature as a whole and its separate representatives were mythologized. For example, an animal could be seen as a microcosm. The whole universe was seen as a mesh of connections, linking all objects into the whole. For quite a long time the nature was not depicted of described explicitly. There was "too much" nature as it was, so the artists were more interested in human work. Only in the times of Proto-Renaissance the landscape picture appeared. Later, as the unspoiled nature receded, the artists became more interested in it. The Romantics exulted about the wild beauty of uninhabited places. So the author had a choice: either go and find the primeval nature, or stay and depict the "second nature" as the man-made environment. In the latter case the main object of depiction is a thing, or a combination of things. In the traditional society every object had constant symbolical meaning. In the contemporary art there are no meanings at all; every object becomes something different in a different context. One of the results of living in such a cultural space is the nostalgic feelings about the unspoiled unity of the world. It leads to the new approaches to the interrelations of the humanity with the universe, which no longer can be seen just as the passive environment of our activity. For example, in biology the theory of Gaia – the living Earth – has emerged. Modern art as well seeks the new ways of understanding and expressing the place of human in the universal context.
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The Ukrainian contemporary choral groups increasingly turn to use the scenic action elements within the context of the concert-academic choral performance. They virtuously combine the classical training of musicians with modern scenography, different methods of the newest performance in their creation of the choral scene-view based on the composition. Here is the first presentation of the scenic-performing incarnation by H. Segal "Dushe Moya" ("My soul") choral concert, for which the starting point is the criterion of conducting and directing interpretation of the musical and poetic material. The choral theatre, its types and components – that are the choral performance, the theatrical "mixed" choral concert, the choral theatricalization, the scenization – are the phenomena which are intensively disseminated in the modern Ukrainian choral art. Its manifestations are various and they depend on the artistic intentions of the personalities – the composers and performers, that treat the concert-choral genre as the principal representative of this newest musical theatre art. The masters searching is toward from traditions – that is the concert for choir with its theater potential – to the performances, where the theatrical symbol acts as a components of the score works. It all demonstrates the actuality and prospectivity of the phenomenon viewed in the current article for further development of national and global choral culture. The choral concert by H. Segal "Dushe moya" (2003) based on the poems of religious poet-monks (ХVІ century) from the collection "Virshi pokayanni" has found its original interpretation of unordinary choral sounding in connection with the strict canonicity of literary text. Such type of the choral music interpretation, considering the combining of modern music language and stylization with the theatrical creative vision basis, are supposed to be the relevant and novel. The concert "Dushe moya" could be difficult to classified completely as any genre subtype of the choral concert. Here is the multi genres synthesis, typical for the modern choral concert, is observed. There are no direct indications by possible theatricalization in the original Concert text. The way to the Concert theatricalization in the performing synthetic version is coming through the detailed composition analysis and dramaturgy of the musical text offered by the composer. It’s typical that the author herself calls the Concerts parts as "songs". It indicates the specific feature of genre interpretation that is represented in composition. The music vocabulary basis of the author’s language that inspires the scene-performing interpretation are represented by the tonal and technical, from the vocal and choral performance’ point of view, virtuosity and complicacy, the polyphonic uncovering techniques, the unity of musical and timbre-acoustic dramaturgy, the dialogical structure of genre, that is related with the prayer structure as the communication form, the spiritual energy, the thematic mentality principle, the commitment to reflect the vivid human feelings and spirits, emotionally reinforcement. The profound philosophical sense and theatrical spectacle of musical action is concealed behind the external complicacy. The semantic logic of "Dushe moya" potentially contains the extensive range of properly conducting and directorial interpretation, that is generalized in such term as "theatrical and choral explication". The composition of H. Segal "Dushe moya" is considered not only from the musical but also from theatrical point of view. The basic theme of the Concert is the fight for human soul, its purification for the sake of Divine deliverance and commitment of verity quest. The common principles of conducting-interpretive perception of the choral concert as a staged action, is implemented in technical and organizational score. This is the detailed directing part of the choral performance, that is integrated in the musical score itself in form of the proper notes for choral members, facial ensemble, ballet, decorators, illuminators, costume designers, face-makers, property masters, basically all the people involved in theatrical and choral performance. The creation of theatrical version for the choral concert depends on relevance of interpretive-creative basis that is chosen by the conductor-choirmaster and that is better – in cooperation with the composer and director. The other kind of circumstances connected with the objective factors that are the presence of the talented conductor, highly skilled staff, professional directing and scenography, the financial support means for performance. Depending on existence of the mentioned circumstances, the conductor-directing ideas are implemented, the staging version is created either in the most complete variant or in edited, simplified to the necessary minimum version. This method does not apply for inclusiveness but targets just the possible ways of choral concert staging through the example of particular composition. The offered author’s creative method for performance of staging version by choral concert of H. Segal "Dushe moya" is open for theatricalization from review of the following circumstances such as: absence of the definite genre model; basing on the choral music origin as the syncresis of singing and action; complicacy of musical-poetic context, which revealing demands the visual row imposition. Keeping the "high style" of the Concert, orienting on the impressiveness, the concert-choral composition of H. Segal shows the stable tendency for scenic representation’s accent that is neo-romantic but reveals itself in the extensive stylistic range.
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The sources of the Shakespearean plots are considered to be well-studied, especially since Kenneth Muir published The Sources of Shakespeare’s Plays. Still, it seems that the Bard also indirectly borrowed the ideas from the other corpus of texts. It is especially true about King Lear. It is well-known that for the main plot of his tragedy Shakespeare utilized the Chronicles by R. Holinshed, the play The True Chronicle History of King Lear and some other texts. But all these are just different variants of the same story, first written by Geoffrey of Monmouth in his History of Britain. This work was enormously popular and became one of the books that shaped the European culture. Some passages in his tragedy suggest that Shakespeare was acquainted with this "original" story. For example, it is quite possible to trace the characters of Edgar and Edmund to Cordelia’s nephews, not only to the two princes in Sidney’s Arcadia, as it is usually stated. Thus the "two plots" of Shakespearean King Lear can be viewed as inseparable parts of one complex but completely logical fabula. Geoffrey’s text belongs to the class of pseudo-histories, that combine historical facts with both myths and fantasy. His sources are chiefly unknown; but being Welsh by origin he had an access to fragments of very ancient Celtic tradition. It was Geoffrey of Monmouth who connected the folk-tale about the father and his three daughters with the name of the Celtic sea-deity Llyr or Ler. In another text this sea-god was mentioned as the father of Creiddiladd, whose story is told in Culhwch ac Olwen, one of the tales of the Mabinogion. The story itself belongs to the lovetriangle class, very common in the British tradition. But it unique in the clarity of representation of the mythologeme of the War of the Seasons / War of the Middle-world and Otherworld. Shakespeare echoes the myth in such motifs as Cordelia’s two suitors; the rivalry of the "northern" and the "southern" dukes; the opposition of the "lawful" and "unlawful" brother; and the final war of the two "superpowers". In the tragedy we can see all the cosmological implications, present in Culhwch ac Olwen, but absent in the numerous pre-Shakespearean tales of the old king and his daughters. There are quite numerous other parallels that suggest Shakespeare’s acquaintance with the tales of Mabinogion. Of course the extent of this knowledge is difficult to judge. One more possible source of the tragedy is Geoffrey’s Latin poem Vita Merlini. It is radically different from the History, and much less known. But it is there we can find the theme absent in the "official" sources, but all important for Shakespearean King Lear – the druidic frenzy of the self-exiled king. The protagonist of Geoffrey’s story is Merlin, a very complicated part-mythological and part-historical character, which came to be seen as one of the embodiments of Britain itself. Vita Merlini can be compared with Shakespearean plays in its cosmological character: it presents all manifestations of the terrestrial world. Besides this, there are some motifs that definitely parallel King Lear: 1) a king’s loss of common reason compensated by mystical wisdom; 2) privations the hero voluntarily suffers; 3) his refusal to return to people; 4) the cure of the madness by means of music and the consequent highly emotional reunion with the female relative(s); 5) king’s condemnation of avarice; 6) his meeting with one more inspired madman; 7) making of the "community of the wise" alternative to the profane world. All this is too much for a coincidence. It seems that Shakespeare knew either Vita Merlini or some retelling of the poem, and was attracted by its problematic. Thus King Lear becomes comparable with Merlin as a key figure of the British mythos. The well-known main source of King Lear’s "subplot" is Sir Philip Sidney’s Arcadia. But it is not the only text that could have inspired the author. Besides the already mentioned connections of Gloucester’s sons and Cordelia’s nephews, there are some parallels with the Mabinogion, including two separate mentions of the city of Gloucester in extremely interesting mythological contexts. One of these cases takes place in the story of Peredur, which (along with the tale of Ywain and some other romances) has an episode of turning of an almost-perfect knight into a mad semianimal. It is very close to Edgar’s assuming the role of an "unaccomodated man". Playing this part, he memorably mentions the hawthorn – the sacred plant, associated with Creiddiladd. We perceive that King Lear’s two seemingly heterogeneous plots, constantly refer to the British mythological and folklore tradition that unites them and brings the whole play into a corresponding context without which all the richness of the text can’t be appreciated. It can be concluded that Shakespeare’s combining the two separate plots was not arbitrary. Logically only together they form a complete story. Mythologically they explore the principles of being the "British man" and the existence of humankind in general. In the folklore studies it is well-known that a potent image can draw to itself other characters and stories. For Shakespeare Lear became just such a centric image. It imbibed so many archetypes that reached the level of an authentic mytho-epic tradition. All the characters and situations in the tragedy remain individual and alive, but at the same time they go beyond the mundane and reach the mythical. That’s why it is quite possible to compare Lear simultaneously with King Arthur and Merlin, Cordelia – with Creiddiladd, Edgar – with Perceval and so on. It doesn’t mean that Shakespeare imitated myth. He made it anew.
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The article researches the influence of G. Ibsen’s "new drama" on Ya. Mamontov’s dramaturgy. Comparing on the conceptional level the play by G. Ibsen "Solnes the builder" with that one by Ya. Mamontov under the title "Over the abyss" the author convincingly outlines the motives and the problems in the dramaturgy of both writers.
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