Poetic Drama Research Articles

A STYLISTIC ANALYSIS OF ORDUBADI’S DRAMA “SEVGİLƏR”

M. Said Ordubadi who started his literary career in the beginning of the XX. century was an Azerbaijani contemporary novelist. He always aimed to reach his reader and be didactic with his works. Ordubadi who wrote to be benefit to people, is renowned for historical novels in Azerbaijani literature. But he started with poetry and continued to write in other genres like short stories and novels too. He also wrote some essays for some magazines or newspapers. Some of his dramas were published in little books or journals when he was alive or some of them were published after his death, for the first time in “Əsərləri” in Bakı, 1964. His two dramas published in this book are in verse. And the other four dramas are in prose. “Sevgilər” and “Maral” are the dramas written in verse. This examination is a stylistic analysis of Ordubadi’s poetic drama “Sevgilər”. The instrinsic approach has been taken as the basis for this analysis. According to the available data, none of his dramas has ever been examined in terms of stylistics. So the analysis based on some stylistic devices has aimed to show what sort of personal style Ordubadi tried to use to reach his audience or reader. This examination will provide the readers/audience some concrete examples with reference to how Ordubadi deliberately used stylistic devices in the drama.

Eliot’s Thoughts on the Possibility of a Poetic Drama in ‘The Possibility of a Poetic Drama’ and Other Essays

In the essays entitled “The Possibility of a Poetic Drama” and “A Dialogue on Dramatic Poetry,” Eliot attempts to find a possible answer to that question by looking into the issues such as form and relation of religion to literature. In another essays, “The Romantic Englishman, the Comic Spirit, and the Function of Criticism” and “Marie Lloyd,” focus on the form of music hall comedy and one of its most representative artist to find the possibility of reviving the poetic drama in the modern age. This poetic drama, as Eliot makes it clear, is not a play that is put in verse but something else altogether. It is in a way more realistic than the ‘naturalistic drama’ because it should take away the familiar surface of things and lay bare what lies underneath or within.

Promoting Methodological Creativity and Innovations: Editorial Learning from a Poetic Self-Study Journal Special Issue

ABSTRACT We are teacher educators and methodological innovators who have been practicing and facilitating co-creativity (collaborative creativity) for ourselves and for others through poetic self-study. This article examines our professional learning as editors of a journal special issue on poetic self-study scholarship. Our study was built on the conceptual foundation of polyvocal poetic play using the self-study virtual bricolage method and the layering of co-creative data and data analysis. The multidimensional data set and analysis comprised solicited feedback poems from the special issue contributors, our individual found poems developed from the contributors’ poems, a tapestry poem, and our dialogue from a recorded, transcribed online video meeting. In considering the professional impetus and impact of our work as editors, we asked, ‘What difference did editing a special issue make to our understanding of promoting methodological creativity and innovations through poetic self-study? How did poetic feedback from the contributors inform our understanding?’ We discovered four central features of our learning through several data generation and analysis phases: plurality, methodological and epistemological inventiveness, academic – personal intersections, and relational scaffolding. This set of features contributes to the body of knowledge on supporting methodological creativity and innovations in self-study and qualitative research. Editors, reviewers, and authors may find our study’s explanations, examples, and findings useful in their efforts to promote transformative and innovative research.

“verse-play” or “spoken ballet”? W. H. Auden, Rupert Doone, and a New Poetic Drama

“verse-play” or “spoken ballet”? W. H. Auden, Rupert Doone, and a New Poetic Drama

CATACHRESIS IN THE IMAGERY SPACE OF ENGLISH POETIC DRAMA: A COGNITIVE PERSPECTIVE

CATACHRESIS IN THE IMAGERY SPACE OF ENGLISH POETIC DRAMA: A COGNITIVE PERSPECTIVE

T. S. 엘리엇의 「J. 알프레드 프루프록의 연가」와 셰익스피어의 『햄릿』: “자기와의 대화” 에 나타난 극적 독백

Prufrock compares himself to Hamlet, and then denies his importance for himself (“No! I am not a Prince, Hamlet”) and returns to his usual self-deprecation, announcing that he is not an important person through self-telling. In his own opinion, he would be a merely minor character in a play, not a protagonist, being faithful to his soliloquy. Prufrock and Hamlet inhabit a world in which something seems identical and time seems to be each common character. It seems they have the lifeless aspect of their dialogues with each monologue, developing the poetic drama. In other words, T. S. Eliot describes Prufrock’s speech as the drama like the poem and the poem like the drama. Each dialogue with the self relies on the reader’s imagination and decision to make decisions that are faithful to him, portraying the voice as a linguistic text in Hamlet of Shakespeare’s Hamlet and Prufrock from “The Love Song of J. Alfred Prufrock” two voices between ego and the split-ego which may be post-ego. The voice of self-telling expressed in these conversations is a dramatic monologue made of linguistic texts that form Hamlet’s self-image, and this is a conversation with himself that preserves tradition and individuality. In a nut shell, the monologue of self-telling is a more powerful image than anything else.

Arabic literature: Ali Ahmed Ba-Kathir’s Omar ibn Al-Khattab an epic verse drama (1)

This paper attempts to cast light on a leading poet-playwright who signifies several Arabic cultures, proficiencies, and skills. The study aims at revealing to what extent the play Omar is a modern Arabic poetic play. Omar is a historical drama that deals with social problems. Omar presents a vision of Arabic drama in the modern age, but it is also a poetic play. For that, it is the task of the researcher to try to prove that Omar bears several grounds, such as poetic devices and connotative symbols, to be called a poetic drama. The investigator adopts the critical-descriptive method in analyzing the first scene of the introduction of the play, Omar. The paper is planned with an introductory overview dealing with a brief view of poetic drama and blank verse. The second part deals with Ali Ahmad Ba-Kathir as a pioneer poet-dramatist. The main part of the study deals with the epic play Omar with reference to the first scene of the introduction, shedding light on the skillfulness of the writer in manipulating poetic and musical devices. The task finishes with recommendations and a brief conclusion.

‘Something rich and strange’: Translating Shakespeare's poetry into Japanese

Translating poetry is difficult, and in a language so far removed from English as Japanese, the complications are manifold: rhyme creates no impact, and there are no inherent stresses out of which to create Western-style rhythms. Shakespeare's poetic drama, then, presents serious obstacles to translation. Through an investigation of the different approaches to translating Shakespeare's plays into Japanese, and what it means to do so, this article reconsiders the presence of Shakespeare's works in Japan to suggest that foreignness may be a more crucial part of the popularity of the dramas than universality.

Michael Field, Pre-Raphaelite: One Play and Two Fair Beginnings

This article examines the development of Pre-Raphaelitism into decadence by focusing on Michael Field, whose verse play Fair Rosamund was published twice, first in 1884 (by George Bell and Sons) and later in 1897 by the Vale Press of Charles Ricketts. The article focuses on the legend of the ‘Fair Rosamund’ and how it was treated by Pre-Raphaelite poets and painters, both male and female. Positioning the Michael Field poets as Pre-Raphaelites, the article looks at how this poetic drama articulated a different decadent beginning, one inspired by and in communion with painting. 

An Aesthetic Research into the Contrastive Styles on the Translations of Shakespeare’s Works

There exist debates about “poetry” and “prose” styles in the translations of Shakespeare’s works continuously, and there are the circumstances of one sticking to its own style, partializing and belittling the other. The “verse” school of Shakespeare translation maintains that Shakespeare’s original plays are verse, unique to 16th and 17th-century English poetic dramas (blank verse), which does not rhyme but has a distinct rhythm different from that of prose, typically an iambic five steps per line, capable of both impounding and crooning. Even the prose part of Shakespeare’s plays is also rhythmless verse, which can go into the realm that prose cannot go into. But some point out that translating Shakespeare’s works should base on the principle that “there is no fixed style, but a general style” the “general style” can have different expression styles under the concession of a certain style and the subjects, contents and the different characters of the translators. Besides, the early Shakespearean works were written in blank verse, and in the middle and late periods, they were written in prose. There are also other styles and variants, for example, the “prose-verse-couplet” in Timon of Athens and “syneathetic rhyme” in Winter’s Tale. Consequently, the translations of Shakespeare’s works should be “there is the beauty of poetry and fluency of the prose; meanwhile, poetry and prose should be combined.” Poetry and prose should permeate and converge. “The translations should not hold shape and lose the true conditions, mud the skin and misplace the temperament.”

Saudi drama: commencements, efforts, and progression (7)

Saudi literature in all its forms is of great importance in modern Arabic literature in terms of the abundance and quality of its literary production. Therefore, it is imperative for the academic researcher who lives on its land to rediscover creative texts in order to contribute to revealing and presenting the rightful place that the Kingdom of Saudi Arabia deserves. The present study is an attempt to trace the growth and development of Saudi drama and theater and to explore the contribution of Fahad Al-Harithi as a great Saudi dramatist with special reference to his poetic absurd play "The Station Don't Leave" (المحطة لا تغادر). This paper makes an effort to shed light on the place of modern Saudi theater and drama in the world of literature. An analytical-critical method is used in the investigation. After a brief introduction to the concept of drama, the paper argues for Saudi drama, particularly poetic drama and the Theater of the Absurd. Then, an analysis of Fahad Al-Harithi as a pioneer Saudi playwright and his short poetic play as a modern play in the Kingdom of Saudi Arabia. A brief debate, suggestions, and a conclusion bring the work to its conclusion.

Preface: Shakespeare and Milton

Preface: Shakespeare and Milton

Between the Sacred and the Profane: The Works and Days of Lee Breuer

Between the Sacred and the Profane: The Works and Days of Lee Breuer

The Role of Poetic Style In Correcting Phonetic Pronunciation: From Poetic Play To Phonetic Play

One of the important tasks at any stage of teaching a foreign language, including French, is to maintain and improve pronunciation skills. The phonetic process that facilitates the formation of such skills is rhyme.

THE EPICAL SUBALTERNS SPEAK: REVISITING THE MAHABHARATA THROUGH MANOHAR MOULI BISWAS’S GHATOTKACH AND HIDIMBA: A DIALOGUE

Like other epics, the Mahabharata is not exceptional in presenting the dominant discourses like patriarchy and the Aryan supremacy, and often dismisses the marginal characters from the centre with derogatory denominations. This epical ideology inspires the literary artists and critics to challenge the monolithic and homogeneous myth of Indian culture by recuperating and recovering the minor narrative of the epic. Thus, they examine how these characters have been excluded from the mainstream narrative which suppressed their responses as the marginalized ‘Other’ and how they were coerced into silence with a distorted demonic identity to justify their exclusion. In this paper I would explore how Manohar Mouli Biswas’s subaltern characters – especially Ghatotkach – in his poetic play Ghatotkach and Hidimba: A Dialogue (2010) translated by Ipshita Chanda not only can but also have been made to speak for their rights, honour and identity. The alternative historiography here brings forth a space for the subaltern characters by fracturing the silence in this cultural and mythological text – an instance of how writing gradually converts power from the controller to the controlled.

A Letter from Eugene O'Neill to Patrick McCartan (June 11, 1934); or, Yeats, the Abbey Theatre, and Days Without End (April 16, 1934)

A Letter from Eugene O'Neill to Patrick McCartan (June 11, 1934); or, Yeats, the Abbey Theatre, and <i>Days Without End</i> (April 16, 1934)

Theme of Redemption in Eliot’s The Family Reunion

Thomas Sterns Eliot’s second full length poetic play, The Family Reunion is known for its modernity in the matter of expression but medievalism for its contents. Nobody can ignore its importance about its recognition and contribution as a modern play. With this play Eliot presented different kinds of religious modernistic themes. It shows a kind of mirror to the psychological state of human beings. Eliot has presented the spiritual struggle of a lonely character, Harry who is suffering from the hallucination and experiences of having involvement in the act of sinister and desire for its atonement. Harry seems to be unavoidably burdened with the curse which is related to his familial background. Ultimately, he decides to expiate for the same. His feelings of expiation become so strong that he resigns the comfortable ways of life at the place where his family used to reside, the name of the place has been described as Wishwood although none of the wishes seems finely been perfected. He follows the path of self-denial for gaining redemption for himself and his community. Different kinds of mythical and religious images have been used and created to prove its religious concerns. The alteration of Eumenides from hounds of hell is justified not only by “Oresteia of Aeschyus. With this play, Eliot has tried to explain the idea that suffering leans to atonement. Eliot attempted to connect the classical with the modern. This play has two levels of reality. On the surface level, there is a reunion of the family members of Harry. On the deeper level, Furies pursue Harry. Agatha helps Harry to follow the bright angels. He suffers for redemption. This play reflects Eliot’s recurrent preoccupation with Original Sin. The play is remarkable to greater concerns which is related to a purgatorial confrontation between the human spirit and the Divine spirits which may be called as the Supreme Power. Eliot emphasizes the possibility of salvation through redemption.

Модернистская драма и референциальность: «Суини-Агонист» Т.С. Элиота и «Происхождение немецкой барочной драмы» Вальтера Беньямина

“Words strain, / Crack and sometimes break, … will not stay in place, / Will not staystill” (Burnt Norton V). Using words and not being used by them is rare to Eliot’s thought tormented figures, from his drama Sweeney Agonistes to Four Quartets. The struggle with words is a constant trait of Eliot’s poetry, besides being common among modernists all over Europe. His drama’s broken syntax mirrors the clashing mixture of Aeschylean tragedy, Aristophanic comedy, and the popular culture of music-hall, cabaret, and jazz, which make up the play. As a result, the play brings forth a modernistic defamiliarizing, and metatheatrical effect, by breaking up the linear rapport between action and word, actor and gesture, sign and signified. Poetic drama or unfinished poem, Sweeney Agonistes has been recently revalued (Chinitz, Buttram, Daniel, Cuda), but in its daring avant-garde experimentalism (de Villiers), still eludes interpretations, mainly because of the far from clear reason why Eliot neither finished it nor included it in his theatrical production. If, however, we place the play in the context of various dramatic theories and plays of the time, we may read its incongruities, and disjunctions between words and things, as a one of the modernistic traits that were widely discussed at the time, among others, by Walter Benjamin in The Origin of the German Trauerspiel. Benjamin’s new way of looking at allegory, stressing its self-referential import, may help us find one more key to the revolutionary direction Eliot had envisaged in his non-dramatic tragedy. As Eliot himself said of Seneca: “the drama is all in the word and the word has no further reality behind it”. Although a link between Eliot’s conservative modernism and Benjamin’s messianism would seem unlikely, recent studies have highlighted some of their common ground (Neilson, Lehman). In order to account for the play’s disjunctions and metatheatrical language, I will dwell on Eliot’s notion of the dissociation of sensibility (1920–1927) comparing it to Benjamin’s allegorical perception, or “the falling apart of modern man”.

Блоковские мотивы в поэме «Бесплодная земля» Т. С. Элиота

One of the notable trends in contemporary T. S. Eliot studies is the comparative study of Eliot’s works from various perspectives (influence, interaction, typology, contexts, etc.). The methodological principles of this research are determined by the orientation of comparative studies toward the typological study of literary phenomena. The paper deals with the parallels between two most important poetic texts of the 20th century: The Twelve by A. A. Blok (1918) and The Waste Land by T. S. Eliot (1922). The texts under study belong to the same cultural period and are united by similar artistic principles and vision of the world. The purpose of this paper is to reveal the points of intersection of two poetic universes in one research space. Both poets were the witnesses of colossal civilization collapses: the Great War and the Russian Revolution. Both poets had a ‘sense of history’, which made it possible for them to foresee and depict the Decline of Europe in poetic form, to convey the ‘noise of time’ in all its polyphony of meanings and rhythms. The authors of both poems went similar aesthetic trajectories, which can be designated as the way ‘from symbolism to modernism’. Both Blok and Eliot were poets-playwrights, creators of their own theories of poetic drama, hence the dramatic plot and many colorful characters in The Twelve and The Waste Land. In their post-war poems, both poets created the language of the modern city, using its rhythms, experimented with poetic form. The paper reveals and analyzes a number of similar motifs in The Twelve and The Waste Land: an apocalyptic vision of modernity, West and East, Eros and Thanatos.

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

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