Protestant Miracle in Dreyer’s Ordet

Despite the fact that Yurii Yanovskyi's play The Prosecutor's Daughter has already attracted the attention of researchers, the main goal of scholars most oftenle was to analyze the final version of the work. The lack of thorough research about the history of the play makes this article relevant. Yanovskyi's archive provides a wealth material for research in general and about The Prosecutor's Daughter in particular. Within one research it seems more appropriate to focus on one of the major changes in the text. Therefore, the aim of this study is to analyze the transformation of the image of the main character of the play in different editions of the work. The subject of the research is the image of the main heroine of the play in different editions, and the object of research is the author's notes to the play, its variants, editions, and memoirs of Yanovskyi's contemporaries concerning his work. Such an analysis obviously involves the use of not only general philological research methodology but also methods of source criticism and textual criticism. Research results. Despite the author's position by Yanovskyi and those scholars who also agree with it, this study shows that the play Day of Wrath, written in 1940 have to be considered as the first edition of The Prosecutor's Daughter because of the similarity of characters, beginnings, and even identities of certain dialogues. Three editions of the play have been identified, the first, already mentioned, written in 1940, the second edition created by Yanovskyi after the war in 1952, and the last edition, which in this study dates with the last authorial version of the play, published posthumously in 1956. The main problem in all editions is the involvement of a girl from a supposedly quite decent and wealthy family on a criminal way. In the first edition, the author vividly depicts the flaws in the character of family members, thus demonstrating that the criminal path is a natural result in the life of a girl who has no love or authorities in the family. The image of the main character in the first edition is not without flaws, but at the same time it is tragic. In the second and third editions, Yanovskyi embodies the idea of justifying children expressed in the note to the play. In the second edition, the image of the main character is idealized, the girl is so balanced and cold-blooded that she is able to resist an adult and experienced criminal who deceitfully involves children in criminal schemes. In the third edition, the main character portrays the pain realistically; she is confused and scared in front of an adult criminal. The author again shifts the emphasis to the shortcomings of her relatives, to the lack of attention on their part, due to which the girl finds herself alone with too difficult problems for her. The analysis allows one to see how the image of the main character has changed in different editions of The Prosecutor's Daughter. Given the wealth of material preserved in the Yanovskyi’s Fund, the analysis of such changes in this play and other plays presents a wide field for writers to explore. Such research would enrich the knowledge of Yanovskyi's individual creative approach, and would be an important contribution to the general study of Ukrainian drama of the Soviet era.

“Viimne reliikvia” ja “Kolme katku vahel”: ruumist eesti ajalookirjanduse ekraniseeringutes / The Last Relic and Between Three Plagues: On Space in Film Adaptations of Estonian Historical Fiction

This chapter defends a partial intentionalist approach that is distinct from the strongest forms of actualist intentionalism as well as the kind of conditionalist intentionalism advocated by some of the advocates of philosophically motivated interpretations of art, such as Thomas Wartenberg. The chapter argues that partial intentionalism is not vulnerable to the objections leveled against other versions of intentionalism. One of those objections hinges on the fallibility of intentions and of the art-making actions related to them. This chapter responds to this problem by discussing the conditions under which intentions are successfully realized in the work. Different approaches to this question are surveyed with reference to the work of H. P. Grice and his followers. The chapter defends a proposal involving a ‘meshing’ or congruence relation between intentions and features of the audio-visual display. The application of this type of success condition is illustrated in a discussion of the determination of the fictional content of Carl Theodor Dreyer's 1943 film, Day of Wrath.

The author examines the paradoxical dramatic dynamics of the Dreyer's masterpiece, according the Matte Blanco's theoretical model, as a tormented path of self awareness that consists in a progressive immersion in the unconscious. Anne, the young wife of an old Lutheran pastor, marginally involved in the witchcraft trial of a friend of her mother (now dead, but suspected to be a sorceress as well), falls in love for his son-in-law, leaving the child-wife position held so far. It's a new very strong vital drive for Anne, to which she adds the belief to own the magic powers of the witches: the ability to evoke the living and the dead, kill with thought and communicate through dreams. All the emotions are at an infinite level of intensity. Nevertheless, after she's left by her lover and after her husband's wished-upon death, the protagonist confesses her presumed witchcraft before the husband's coffin and, in the derangement of ambiguities, affective contradictions and shift of position, she attains a sort of mystic epiphany (significantly represented by the flow of filmic images): maybe a contact with the deepest layer of the mind where, according to MatteBlanco, the symmetrization is total.

Studies drawing analogies between the media of the premodern and early modern past (scrolls, manuscripts, books, tapestries) and the electronic and digital media of the postmodern present (computer screens, pdf, film, DVD) have by now become familiar.1 Medieval and Early Modern Film and Media follows in the tracks of this scholarship: I read the historical film, focusing chiefly on Day of Wrath (dir. Carl Theodor Dreyer, 1943), El Cid (dir. Anthony Mann, 1961), Kingdom of Heaven (dir. Ridley Scott, 2005), and The Return of Martin Guerre (dir. Daniel Vigne, 1981), and a number of films I link to the "schlock of medievalism" (Burt 2007c), in relation to the history of the film by comparing transitions from manuscript to printed book to the transitions from celluloid to digital film. In so doing, my ambition is to put into dialogue scholarship on illuminated manuscripts, textual marginalia, and the history of the book in medieval and early modern literary studies with scholarship on the cinematic paratext in literary, film, and media theory.KeywordsDigital MediumHistoricist CriticismCritical PracticeForeign WordPragmatic FunctionThese keywords were added by machine and not by the authors. This process is experimental and the keywords may be updated as the learning algorithm improves.

The article presents a comparative and typological study of A Song of Ice and Fire by G. Martin and Hard to Be a God by the Strugatsky brothers. These works are analyzed together with their screen versions. The purpose of the study is to reveal the typological (genre, plot, ideological, philosophical, and narrative) similarities of both works. The conducted research is relevant as the comparative and typological approaches help to understand the ideological and philosophical messages related to the role of an individual in history and the temptations for heroes endowed with supernatural power. This analysis is performed based on a combination of typological and comparative approaches: the comparative approach helps reveal deep similarities between these two works, and the typological approach helps comprehend their role in a wide cultural context. The conclusion is made that A Song of Ice and Fire and Hard to Be a God have several typologically close features. They belong to the genre of hybrid fantasy, they do not have a direct assessment of events, and there is no “all-competent” author’s point of view. Nevertheless, there is a metaphor of “an involved observer” who, nonetheless, is also limited in his possession of information. Both works represent a common psychological motivation of the heroes, which is based on a “mechanical” response to evil with more violent evil; a shift from the Christian tradition, atheistic and agnostic philosophizing are also represented in both works as well as a broken denouement and unresolved lines associated with the fate of the main characters. It should be noted that the works studied here belong to different historical and cultural epochs but they illustrate the development of typologically similar trends in literature and cinema, which are as follows: the strengthening of a pessimistic view of man and history, weakening of the spiritual and moral component, lack of assessment of the heroes’ actions, breakage (or inevitable absence) of denouement. The works of these authors are immensely popular because they satisfy the unspoken “social order,” and in some cases, they form it.

The aim of this paper is to examine the presence of nonhuman animals in French medieval drama, with a particular focus on horses and other species brought to perform in liturgical mysteries. Beginning with a brief account of the different ways of representing animals by means of mechanical objects and human impersonations, I then turn to discuss the performance of real animals in the Mystère de la passion, which was staged in the city of Mons in 1501. My analysis is informed by the study of the Livre de conduite du régisseur et le compte de dépenses pour le Mystère de la passion, a work that details the play’s every single animal expense, as well as the specific part played by animals. I will show how the performance unveils a modern zooscenographic understanding of stagecraft that turns the nonhuman animal into an element of paramount importance for the success of the play

Clipperton Atoll (Île de La Passion) is the only atoll in the Tropical Eastern Pacific (TEP) ecoregion and, owing to its isolation, possesses several endemic species and is likely an important stepping stone between Oceania, the remainder of the TEP, including other oceanic islands and the west coast of Central America. We describe the biodiversity at this remote atoll from shallow water to depths greater than one thousand meters using a mixture of technologies (SCUBA, stereo baited remote underwater video stations, manned submersible, and deep-sea drop cameras). Seventy-four unique taxa of invertebrates were identified during our expedition. The majority (70%) of these taxa were confined to the top 400 m and consisted mostly of sessile organisms. Decapod crustaceans and black corals (Antipatharia) had the broadest depth ranges, 100–1,497 m and 58–967 m, respectively. Decapods were correlated with the deepest depths, while hard corals were correlated with the shallow depths. There were 96 different fish taxa from 41 families and 15 orders, of which 70% were restricted to depths <200 m. While there was a decreasing trend in richness for both fish and invertebrate taxa with depth, these declines were not linear across the depth gradient. Instead, peaks in richness at ∼200 m and ∼750 m coincided with high turnover due to the appearance of new taxa and disappearance of other taxa within the community and is likely associated with the strong oxygen minimum zone that occurs within the region. The overall depth effect was stronger for fishes compared with invertebrates, which may reflect ecological preferences or differences in taxonomic resolution among groups. The creation of a no-take marine reserve 12 nautical miles around the atoll in 2016 will help conserve this unique and relatively intact ecosystem, which possesses high predator abundance.

Dear Cécile, I feel so honoured and privileged, as a former colleague and a close friend, to be able to initiate this dialogue across languages, cultures and continents with you. Since 1995, you have been publishing poems, short stories, novels and essays, while leading a career as Associate Professor of English at the University of Paris 12 and continue to bring out remarkable volumes of such creations, winning several prestigious awards on the way. However, I would like to single out my favourite text – A fleur de mots, La passion de l'écriture (2004) which is an incredibly beautiful essay on writing generally and your own creative process. I personally think that this book needs to be translated into English, without any further delay, for the benefit of the Anglophone audience worldwide. There you refer to the page as "this strange country of water and reflections" and describe your passion for words, specifying that there is "no special time for writing". The need for space, "a room of one's own", seems to be still the preoccupation of many writers. At the same time, because of your diverse peregrinations (an artist mother who had lived in India, a maternal family in Canada, relatives in Belgium, and your husband's roots in Tunisia, students in Finland), you have travelled to and discovered the history and memory of nations and peoples. Is Space or Time that stirs you most into writing?

Prise dans une phase de transition religieuse, l’histoire de l’une des premières saintes de l’Afrique romaine, Perpétue, martyrisée en 203 après J.-C. à Carthage, donne à voir l’effet de chevauchement des formes de sensibilité. Le récit de son martyre, la Passion de Perpétue et Félicité , est riche d’épisodes illustrant la confrontation des époques et des rapports d’historicité : les chrétiens les plus convaincus, notamment ceux qui apparaissent dans les sources martyrologiques, veulent s’inscrire dans un nouveau régime sensible, mais continuent de vivre dans une société où ils ont appris à se comporter en pères ou mères de famille, en citoyens libres ou esclaves, en civils ou soldats. Le récit de l’exécution de Perpétue contient ce type d’opposition entre deux modes d’existence devenus inconciliables, comme le montre en particulier ce moment où la sainte, renversée dans l’arène par une vache furieuse, voit sa tunique se déchirer et ses cheveux se détacher. La chrétienne ramène un pan de son vêtement sur sa cuisse dénudée, puis cherche une fibule pour se recoiffer. Se devine à travers ces gestes l’exigence chrétienne du martyre joyeux : la sainte ne veut pas être prise pour une pleureuse ou une suppliante. L’éclairage ethnologique peut aider à mieux saisir les enjeux sensibles de cet épisode minuscule. L’histoire de Perpétue gagne à être lue au prisme des techniques corporelles et de leur savoir partagé. La longue durée des gestes émotifs entre aussi en correspondance avec ce que Aby Warburg a pu désigner comme les résurgences ou survivances de très anciennes manières de faire, repérables dans l’art comme dans le monde social. L’enquête de Ernesto De Martino sur les prefiche de l’Italie méridionale permet d’élargir encore l’analyse : les gestes attendus précèdent l’émotion collective, ils la génèrent et la résument.

Film historians have long known that the version of Carl Theodor Dreyer’s La Passion de Jeanne d’Arc (1928) shown at its French premiere was heavily censored by the state and the Catholic church. Exactly what was cut, however, has never been entirely clear, meaning that almost all of the critical literature about the subject has been forced to accept the testimony of those who claim to have seen it at the time. An overlooked source that would help resolve the debate is the score commissioned for its Paris premiere. It includes vital evidence in the form of intertitles and actions that correspond to a print acquired by the British Film Institute in 1947. A detailed comparison of screen and musical time convincingly demonstrates that the 1947 print is a copy of the censored version, and a broader analysis of empathetic musical gesture and specially written lyrics for choir and soloists supports that contention. This analysis underlines the valuable contribution that film-music studies can make to film history in helping reveal for the first time exactly what it was to which the authorities objected in Dreyer’s famous film.

Joan of Arc has inspired many works of art. The iconographical discourse of this artistic tradition is twofold: she is portrayed either as the homeland’s saviour or as a religious virgin. The cinematic adaptations by Carl Th. Dreyer and Robert Bresson – respectively La Passion de Jeanne d’Arc (Dreyer, 1928) and Procès de Jeanne d’Arc (Bresson, 1962) – demonstrate, however, that the latter iconographical image is again twofold. Preferring an inexpressive acting style to emotional expression and fragmented bodily representation to bodily wholeness, Bresson portrays Joan as a saint who excels in faith and quietude. As in the literary tradition of the saint’s vita, Joan transcends the now, the physical and the emotional. In La Passion, Dreyer’s continuous emphasis on suffering and death contributes to the portrait of Joan as a martyr. Along with overt symbolic images, the emotional and facial expressiveness of lead actress Falconetti reflects the intense agony of Christ, who, throughout much of human history, has served as the ultimate example for martyrs themselves and artists, including authors working within the genre of the martyr’s passio. To both Dreyer and Bresson, the figure of Joan serves as a bridge, connecting disappointment with the present to passion for the historical.

Cette contribution porte sur la détermination nominale au sein du corpus de La Passion de Notre Seigneur selon Saint-Jean en Langage Nègre, datant du xviiie siècle, afin de mettre au jour le système sous-jacent de l’actualisation des noms dans cette variété du proto-créole, en cours dans la Caraïbe du xviiie siècle. L’objectif est d’observer la structuration en émergence de la détermination nominale, mais également d’étudier en quoi celle-ci porte les germes des variétés de créoles à venir. Nous confrontons ainsi les résultats d’analyse du corpus de La Passion avec ceux issus d’un corpus, composés de versions du Petit Prince dans les quatre créoles de la zone, les créoles guadeloupéen, guyanais, haïtien et martiniquais.

The Passion Isabeau (1398) and its Relationship to Fifteenth-Century Mystères de la Passion

1 COMPARATIVE ? ama Volume 27Winter 1993-94Number 4 Writing Before the Eye: The N-Town Woman Taken in Adultery and the Medieval Ministry Play Gail McMurray Gibson Richard Beadle has recently observed that "If any area of medieval English studies can be said to have changed out of all recognition over the past twenty years or so, it must be that of the drama."1 Certainly, twenty years ago I could have asserted the perversity of teaching a field of scholarly inquiry—the medieval English mystery play—whose very name ("mystery" play) was a modern scholarly invention perpetuating a linguistic confusion . As E. K. Chambers had nagged in 1903, the word 'mystery ' "is not English at all, in a dramatic sense, and in France first appears as misterie in the charter given by Charles VI in 1402 to the Parisian confrérie de la Passion." In a note he adds: "The first English use of the term 'mystery' is in the preface to Dodsley's Select Collection ofOld Plays (1744)."2 The medieval "mystery" plays, as I have more than a few times nagged to my own students, were in fact, ministerium plays, that is, plays performed by medieval craft or parish guilds. The Latin word ministerium and its vernacular Middle English forms 'myster' or 'mysterie' meant occupation, craft, or ministry. The biblical plays thus came to be called 'mysteries' in the sense of the post399 400Comparative Drama Reformation Chester Banns: "by xxiiii"e occupationes—artes, craftes, or misterye—these pagiantes should be played."3 But all medievalists must eventually learn to accept linguistic confusion as evidence of divine providence—which, as medieval theologians and exegetes knew, loves nothing so much as a good Latin pun. So it is that after twenty years I have come to realize that though, linguistically speaking, the field of my scholarship should be "the ministry play," the biblical drama of the streets of England was indeed a mystery—that is, a mysterium—and have come to see that it was an art form of signs and actions curiously antithetical to ministry. I have even come to see that E. K. Chambers was wrong in saying that there is no medieval English use of the word mysterium for this drama; John Lydgate 's banns for a London Corpus Christi procession quite explicitly call those pageants "mysteries grounded in scripture": This hye feste nowe for to magnefye, Feste of festes moost hevenly and devyne, In goostly gladnesse to governe vs and guye, By which al grace doothe vppon vs shyne; For now this day al derkenesse tenlumyne; In youre presence fette out of fygure, Shal beo declared by many unknouthe signe Gracyous misteryes grounded in scripture.4 Nor was Chambers correct in insisting that even the French use of "mystery" in a dramatic sense was an afterthought; as early as 1372 the French soldier, diplomat, and scholar Phillipe de Mézières wrote a play of the Presentation of the Virgin Mary in the Temple—written in Latin, though to be played, as he explains , either in Latin or in the vernacular as one wills—and in his lengthy, self-conscious prologue explained that since the play is to be in honor of Mary whose human life "reveals what is deep and hidden," its actions in fleshly acts and signs are means by which the mind, released from the weight of the flesh, may be enabled to arrive at knowledge of the invisible and visible elements of God's mysteries [misteriorum Dei] as it were through visible things, signs, and works, in accord with apostolic teaching.5 The Latin word mysterium, from Greek mysterion, originally signaled the secret initiations into epiphanies showing the riddles of life and of death in the cult religions of the Graeco-Roman world. According to Hippolytus, the climax of the famous Eleusinian mystery cult observed near Athens was a single harvested Gail McMurray Gibson401 head of grain revered in profound simplicity and silence.6 But the esoteric Greek word mysterion and then the Latin vulgate's mysterium (and finally 'mystery') entered the mainstream of Western tradition because of its surprising use, especially by the apostle Paul, in the New Testament. In...