Penetrations into the Poetics of Originality and the Form of Dramatization Work in Radio Plays Based on The Bride of the Moutains by František Švantner

ABSTRACTIn the context of present mass migrations, escapes and ethnic wars, the traditional approach to origin and homeland in terms of belonging to an ethnically homogeneous nation, monocultures with one mother tongue and a strictly defined territory are subject to criticism and (re)‐defining. This article presents and analyses examples of four literary works whose authors are representatives of the young post‐immigrant generation in Germany: the prose texts by Saša Stanišić (Herkunft, 2020), Senthuran Varatharajah (Vor der Zunahme der Zeichen, 2017) and Katja Petrowskaja (Vielleicht Esther, 2014), and a radio play by Marina Frenk (Jenseits der Kastanien, 2017). In the selected prose works and radio play, the authors raise the issue of origin and homeland in the context of migration, globalisation, and transcultural movements. The article presents the complex processes of searching for adequate artistic expression for experiences related to disrupting family lineage continuity, loss of homeland as a country of birth, and multilingualism. The traditional patterns of stories about origin and homeland are broken and their semantics are redefined. Hybrid, open and ambiguous narrative forms replace the linearity of cause‐and‐effect chains. Belonging to a multitude of locations and systems, multilingualism, multi‐media, and transcultural strategies are a literary alternative to nationally coded models of origin and homeland.

The following article presents and discusses three little‐known radio plays by the exile writer Erich Fried. Izanagi und Izanami, Die Expedition and Indizienbeweise are examined within the overall context of Fried’s other work, including his translations and reworkings for West German radio. In the 1960s Fried was new to the genre of drama and his radio plays demonstrate a process of experimentation similar to that present in his poetry and prose works. Each of Fried’s radio dramas is radically different both in theme and form.The sources of and inspiration for these radio dramas are identified and the creative process is examined. The study devotes greatest attention to arguably the most successful of these experiments, Izanagi und Izanami. Like other writers such as Brecht, Fried was attracted to the potential of ancient Japanese literature, and draws on a variety of Japanese sources, adapting excerpts to the demands of his own radio play.Contrary to Fried’s expectations, his radio plays did not lead to works for the stage. They nevertheless prove that he had mastered the genre and hence constitute an important and hitherto neglected phase of experimentation in his career.

In Belgium, memories of the World War I have contributed to the production and the perpetuation of a fractured national narrative. While the official narration emphasizes the unity of the Belgian state and glorifies the heroism of Belgian soldiers acting as a unified force against the German invader, a counter-narrative presents the Flemish soldiers as victims who were used as cannon fodder by the French-speaking commanding elite. In the immediate postwar period, newsreels largely reinforced the image of a national unity during the Great War. Ten years later, however, cinema took an active part in the production of a counter-memory. Met onze jogens aan den IJzer/With Our Troops on the Yser (Clemens De Landtsheer, 1928), a Flemish film, is a key work in this regard. This article first examines the narratives and formal strategies the film resorts to in order to forcefully deconstruct the patriotic narrative and to forge a ‘Flamingant,’ Flemish activist collective memory. It subsequently analyzes more recent French-speaking documentary film projects aiming to commemorate the memory of the Great War. Lacking any overt problematization of their relationship to the Flemish separatist narrative, the documentaries are still shaped by it. Indeed, they either attempt to overcome it by reinforcing Belgium's sense of national identity or to counterbalance it by putting forward a regional narrative that specifically revives the French-speaking Belgians' memory of the War.

Redressing a critical neglect, this chapter examines the extent of innovation achieved by plays broadcast on US network radio during the 1950s in light of two developments: advances in sound recording and editing technology, which ended three decades of live radio drama, and the establishment of television as the main medium for commercially sponsored home entertainment. These developments curtailed radio drama production, but they also gave rise to an enthusiastically received form of ‘non-acted’ play: the taped documentary. The 1956–57 revival of the Columbia Broadcasting System’s Radio Workshop, the last of the networks’ play anthologies, demonstrates how magnetic tape enhanced the realism and diversified the subject matter of earlier, studio-bound re-enactments of events without requiring their creators to abandon conventional modes of storytelling. Even as national broadcasters learned to target audiences with recorded music packaged as disc jockey programmes, they failed to create a niche for alternatives to the radio theatricals that television suggested to be outmoded. Acknowledging the system in which plays for radio are embedded, contextual readings enable us to appreciate how and why network radio’s controlled experiments differ from the avant-garde sound art emerging after the Second World War via alternative channels and media.

Neil Gaiman (1960-present) currently reigns in the literary world as one of the most critically-decorated and popular authors of the last fifty years. Perhaps best known as the writer of the Harvey, Eisner, and World Fantasy-award winning DC/ Vertigo series, The Sandman, Gaiman quickly became equally-renowned in literary circles for works such as Neverwhere, Coraline, the Hugo, Nebula, Locus, etc. award-winning American Gods, as well as the Newbery and Carnegie Medal-winning The Graveyard Book. For adults, for children, for the comic reader to the viewer of the BBC's Doctor Who, Gaiman's writing has crossed the borders of virtually all media and every language making him a celebrity on a world-wide scale. Despite Gaiman's incredible contributions to multiple national comics traditions (from such works as Miracleman to the aforementioned The Sandman), to the maturation of American comics as a serious storytelling medium, and to changing the rights of creators to retain ownership of their works, his work continues to be underrepresented in sustained fashion in comics studies. As American Gods tops ratings charts for Starz, Anansi Boys can be found in radio play from the BBC, and adaptations of some of his work from Trigger Warning and Fragile Things become standalone comics by renowned artists, it seems timely to bring the bulk of Gaiman's comics into the scholarly discussion. The thirteen essays and two interviews with Gaiman and his frequent collaborator, artist P. Craig Russell, a formal introduction, forward, and afterword examine the work (specifically-comics, graphic novels, picture books, visual adaptations of prose works, etc.) of Gaiman and a multitude of his collaborative illustrators. The essays radiate from an examination of Gaiman's work surrounding proclamations challenging his readers to "make good art'; what makes Gaiman's work unique and worthy of study lies in his eschewing of typical categorizations and typologies, his constant efforts to make good art-whatever form that art may take-howsoever the genres and audiences may slip into one another. What emerges is a complicated picture of a man who always seems fully-assembled virtually from the start of his career, but only came to feel comfortable in his own skin and his own voice far later in his life.

Only the voiceless remain unheard until they choose to break their silence. In the aftermath of Palestine Nakba of 1948, some Palestinian story tellers, whether those in exile or those who remained under occupation, chose to resuscitate the visibility of the Palestinian people as well as their voice which was long silenced and muffled during the British Mandate for Palestine (1918-1948). Most of those storytellers wrote tales that dramatized both their personal and national plight. Unfortunately, however, the messages carried by those tales seem to have reached a tiny audience. It was left for the new post-Nakba generation of storytellers, who wrote in Arabic and other languages, to readjust the obfuscated focus on their national narratives. Accordingly, this study traces the development of the Palestinian art of storytelling by looking at some key narrative works, starting with Isaac El-Husseiny’s Memoir of a Mother Hen (1943) through Ghassan Kanafani’s Men in the Sun (1962) up to Emile Habibi’s The Pessoptimist (1974) and Jabra Ibrahim Jabra’s In Search of Walid Masoud (1978), ending with Anton Shammas’s Arabesques (1989). It also looks at the impact of these narratives on both local and global levels of readership and reception. To be more specific, the study looks at how the post-Nakba storytellers have scored an advancement over the earlier generation of their native storytellers by appropriating their tales for the parameters of the art of prose fiction. It also looks at how the modern Palestinian novel has constantly tried to deliver the Palestinian voice to both the local and the universal audiences, thus gaining broader reception, recognition, and readership. Keywords: Palestinian voice, narrative art, visibility, local, universal, readership, Nakba

The purpose of this study was to search the direction for integrating knowledge based on narrative. Recently the discussion about knowledge convergence or integration has been emphasized for the purpose of restructuring the world of discipline in the science. For the achieving the research goals, we first search the meaning and nature of narrative, and bridge narrative to knowledge integration. Since 1980, the various study about narrative has been discussed along the value and importance of the narrative. In this article, we checked the methods of knowledge integration and four meanings of narrative: discipline-based integration, language and literature-based integration, theme-based integration, and issue-based integration. These modes of knowledge integration are transformed into tool logic, storytelling, core subjects, and discourse mode based on narrative. We anticipated the possibility of knowledge convergence through Received (December 28, 2015), Review Result (January 12, 2016) Accepted (January 19, 2016), Published (March 31, 2016) (Corresponding Author) Dept. of Education, Kyungpook National Univ., 80, Daehak-ro, Buk-gu, Daegu, Korea email: hskang84@knu.ac.kr Dept. Education, Kyungpook Univ., 80, Daehak-ro, Buk-gu, Daegu, Korea email: know1016@hotmail.com In Search of Strategy of Knowledge Integration based on Narrative Copyright c 2016 HSST 252 narrative and storytelling learning.

As new mobile and gaming technologies become increasingly ubiquitous, they encourage new modes of storytelling and engagement. This article focuses on the Google game Ingress, which combines augmented reality with geomedia to create a robust and complex digital narrative. More importantly, Ingress combines globalism with regionalism in a way that rewrites the regional as global, and vice versa. In turn, the transformative nature of the smaller real-world regionalist narratives help to lend ethos to the overarching globalist (fictional) narrative within the game world. Through narrative analysis of this transmedia game world and community, this article considers ways that information and communications technologies are able to use storytelling to negotiate complex relationships between the regional and the global.

In a racial security state, Britain’s black and brown youth have been excluded from the national narrative. Construed as foreign, threatening, and alienated, young people of minority backgrounds have been the prime targets of the state’s counterterrorism legislation as well as surveillance, policing, and disciplining programs. At the same time, communities of color are among the most severely affected by austerity measures, suffering from the highest rates of unemployment, shoddy housing, cuts to public services, and closure of community centers. This article reveals how generational identity is tied to racial and class consciousness, dimensions rarely accounted for in the classical sociological work on generations. Shedding light on the mosaic of intersectional struggles, the article scrutinizes how activists of color, marginalized even within traditional leftist movements, carve out their own spaces of engagement, reclaim their terms of speaking, and forge wider alliances and solidarities. In doing so, they combine outward acts of resistance with inward-looking practices of self-affirmation, building community spaces, and preserving memories. Within these various avenues—ranging from university campuses to DIY festivals—young racialized activists depart from the language of civil rights and the politics of recognition, typical for the generation of their parents. Instead, young activists question the multiple exclusions on which citizenship relies, turn away from state projects, and articulate a radical, decolonial vision of social justice, not contained by the nation–state framework.

One of the “key” works of Gogol's heritage is analyzed ― the first prose work that appeared in print, the short novel (‘povest’) “Bisavryuk, or The Evening on the Eve of Ivan Kupala” (1830). Gogol’s literary debut in prose is a key work in the sense that it opens the door to understanding the writer’s subsequent work. Based on numerous facts, it is established that since his very first steps in literature, Gogol played the role of a conscious spiritual mentor and preacher. His first prose work (Gogol began as the author of the poems “Italy” and “Gantz Kuchelgarten”) is a sort of literary ekphrasis, which is centered around the theme of spiritual discipline. The short novel (‘povest’) is “theology in images,” and the clergyman, a representative of the common man’s milieu, a rural deacon (church reader, psalm reader), on whose behalf the story is narrated, becomes the author’s alter ego. For the first time, an analytical comparison of two editions of “Evening on the Eve of Ivan Kupala” was undertaken: the original journal version on one side and the subsequent one included in the “Evenings on a Farm near Dikanka” collection (the first edition of the short novel (‘povest’) was called “Bisavryuk, or Evening on the Eve of Ivan Kupala”; in the second, Gogol dropped the beginning of the title, leaving only the second part, “Evening on the Eve of Ivan Kupala”). The comparison shows that the first edition is more frank in expressing the religious views of the author than the second one. In the second edition, Gogol tempered the excessive edification and categorical nature of the original version. It is emphasized that as early as in this short novel (‘povest’), Gogol separates himself from superstitions and “childish prejudices” inherent in popular consciousness and focuses his talent on exposing those phenomena that have survived in the public, folk life from the pagan era. As a faithful ethnographer, a deep connoisseur of folk psychology and folklore, in the first short novel (‘povest’), contrary to the widespread interpretations of his work in radical criticism, the writer already appears not only as an original writer of everyday life, but also an astute thinker and theologian, like his predecessor, St. Tikhon of Zadonsk. From the first “Little Russian” short novel (‘povest’) one can guess many features of the future creator of “Dead Souls”, “Selected Passages from Correspondence with Friends”, and “Reflections on the Divine Liturgy”.

Memory of the Battle of Stalingrad, a pivotal moment in Second World War, is a cornerstone of Vladimir Putin’s nationalist mythology. This study examines how participants of the “In the Whirlwind of Time” forum, a Russian-language online community whose usage peaked in the early 2010s, perpetuated and reinterpreted this war myth through science fiction and alternate history narratives at a grassroots level by co-writing literary texts. “Myth” is defined here as a symbolic narrative that shapes collective memory and identity, through science fiction and alternate history narratives. Writers, driven by nationalist and pro-Soviet sentiments, were informed by Soviet-era literary traditions and modern sociopolitical concerns. Engaging in a collaborative process of memory-making, they merged historical fiction with futuristic elements such as time travel to craft stories where the annihilation and resurrection encoded in the Stalingrad myth solve present-day moral and political crises. By conducting a Critical Discourse Analysis of forum postings and demonstrating how the resultant discourses are present in three key works, the article outlines the norms of the forum’s discourse community to show how these narratives foster a mythic understanding of Stalingrad, transforming it into a timeless and universal battle against purported Western immorality. These stories not only glorify the Soviet past but also serve as ideological tools that both reflect and anticipate Russian state propaganda of the 2020s, suggesting the participatory nature of national identity shaping through mythmaking—and the crucial role that war played in grassroots nationalist narratives in the 2010s.

Ethnicity, Identity, and the Development of Nationalism in Iran

My work is a matter of (no joke intended), Beckett claimed to Alan Schneider on 29 December 1957 (Harmon, 23). It is a striking remark, one that has long since piqued the interest of scholars working in Beckett studies. More widely, many readers of Beckett will undoubtedly associate this remark with Beckett's 'radiogenic writings,' specifically All That Fall (first broadcast on the BBC's Third Programme on 13 January 1957), followed by Embers (24 June 1959; also winner of the 1959 Italia Prize), Words and Music (7 December 1962) and Cascando (6 October 1964). Most likely during the early 1960s, Beckett also composed the radiogenic 'Roughs' - Rough for II (first broadcast 13 April 1976) and the long unrecorded Rough for I (first broadcast by RTE Ireland on 12 April 2006) - alongside translating Robert Pinget's La Manivelle for the Third Programme's broadcast on 23 August 1960 (with the Anglophone title The Old Tune).1 Accordingly, several key scholarly works have treated these productions as a complete radio corpus. Thus, Beckett's well-known remark to Schneider might be read via his engagement with the Third Programme at this time. Yet as this article emphasises, quite literally, that is not the half of it.A second and more general context around the mid- to late-1950s witnesses something of a critical consensus in Beckett studies, one shared by all three of his main biographies. Beckett's famous 'siege in the room' between roughly 1945 and 1950 - in he wrote two plays and four novels (the latter, most relevant here, including the 'trilogy' of Molloy, Malone Dies and The Unnamable), several poems and nearly 20 short stories - led to a kind of impasse, in Anthony Cronin's words, even if, at this time, he was on the verge of relationships, interests and excitements (458, 474). Indeed, one of these newfound interests was radio work, as James Knowlson's biography stresses:Beckett's was very slow to lift, as he began to experience renewed doubt as to whether there was any way out of the impasse into The Unnamable and Fin de partie had led him. The medium of radio, with the challenge of its technical constraints, offered one possible escape route. Donald McWhinnie indeed wrote: 'My impression is that if he is to write at all in the near future it will be for radio, has captured his imagination.'(431)Similarly, Deirdre Bair has extended this depression at not being able to write prose to early 1958; that is, with Beckett struggling to complete the English translation of The Unnamable (519). However, claims Bair, by the next summer Beckett's lull had dissipated with Comment c'est (How It Is), which almost demands to be spoken, in order to savour the full flavor of the language. (555) Underscoring this point in a splendid 1987 essay, Robert Wilcher opens his 'Out of the Dark': Beckett's Texts for Radio by declaring: Samuel Beckett's encounter with the medium of radio drama between 1956 and about 1962 has been recognized as an episode of some significance in his development as a writer (1).From the above, very different perspectives - to some extent underwritten by Beckett's December 1957 characterisation of his work as fundamental sounds - a rudimentary picture thus emerges in these pivotal years. It is one of an avant-garde author, having written himself into a creative corner, slowly emerges with a new form of expression by the early 1960s: abstract, aural and disembodied. If broadly accurate, then writing for radio played no small role in the development of Beckett's later works. More specifically, it may be that working with the Third Programme at this time inspired Beckett to write radiogenically - even for works not originally written for radio, like How It Is - in the remaining three decades of his creative output. In this light, Beckett's collaboration with the BBC can be seen as little short of transformative. …

This article reads Max Halbe's late Naturalist play Mutter Erde (1897), a key work in his œuvre, in relation to German Naturalist drama and the political context in which it was written and set, namely the passage of the Burgerliches Gesetzbuch fur das Deutsche Reich through the Reichstag in 1896. Recovering the specific literary, political and legal context allows the ideological fault lines of the play to be laid bare and provides a corrective to the recent tendency to view Halbe's works in general, and Mutter Erde in particular, as straightforwardly pre-fascist. Detailed examination of the unpublished manuscript material relating to the play, including a revised ending from 1941, shows how Halbe changed his original plans, and the difficulties that he had with the characterization of the three central characters and the ending of the play. Ultimately Mutter Erde rejects both poles which are such a feature of Naturalist drama, being equally pessimistic about tradition and modernity, ‘Heimat’ and the city

Silappadikaram ( Śilappadikāram , The jeweled anklet) is a Tamil text from the early centuries of the Common Era which is believed to be a composition of Jain values and has been idealized as a classic work of the Tamil culture as well as a text that embodies the model of an idyllic womanhood. The aim of this chapter is to look beyond these specific cultural definitions and visualize how the classic could be interpreted as a materialization of literature into various platforms. This classic work of Tamil literature implicitly questions the nature of genre, narrator, frame narrative, audience or readership, and artistic representation. The work thus offers a worldview that is expansive.