Genre Of Tragedy Research Articles

Реализация принципов драматического жанра Аристотеля в трагедии Софокла «Антигона»

The paper analyses the tragedy “Antigone” by the ancient Greek playwright Sophocles, which was written in 442 BC. It is believed that the topic of tragedy was first touched upon by the ancient Greek philosopher Aristotle in his treatise “Poetics” in 335 BC, where he identifies the criteria characteristic of this genre. In this regard, it is interesting to note that Sophocles was not a contemporary of Aristotle, he was a century older than the philosopher, therefore, Sophocles’ work could not meet the criteria of the genre put forward by Aristotle. Thus, the study is novel in that it represents the first attempt to analyse the tragedy “Antigone”, written a hundred years before the appearance of Aristotle’s treatise “Poetics”, in accordance with the criteria of the genre that Aristotle highlighted in his work. The author also tried to draw a parallel between the two ancient authors, who were not contemporaries. The study expands our understanding of the genre of tragedy. The aim of the study is to show how the genre existed in practical and theoretical aspects in different historical periods, to find direct proof of the theory in practice. As a result of analysing Sophocles’ tragedy “Antigone”, it has been found that “Antigone” is a whole, complete action, since it has the beginning, the middle and the end; this work is represented by a number of consecutive events, which indicates the presence of a composition of events in it, moreover, the tragedy is an action with a complicated plot, where a change occurs from the moment of obtaining knowledge; the characters of “Antigone” realise the presence of thoughts in the dramatic work in their statements; the heroes’ personalities are determined by the nature of their actions; the author of the tragedy raises the problem of total loneliness; his tragic hero is vicious, on the one hand, on the other hand, he is decent, moral, endowed with willpower.

Философский код в спектаклях Анатолия Эфроса 1960-х годов

The poetics of Anatoly Efros’s performances and his metaplot in the directing process in the context of the theatre aesthetics of the Soviet era was often analyzed from the point of view of hermeneutics. Many reviews of his contemporaries are written from this perspective. The approach to the analysis of Efros's work by codes, described in detail by the French theatre critics Anne Ubersfeld and Patrice Pavis, seems to be the most accurate for understanding the deep semantic structures of his individual productions and his work as a united whole. On the example of the performances On the Wedding Day (1964), 104 Pages About Love (1964), My Poor Marat (1965), A Movie Is Made (1965), The Seagull (1966), Molière (1966) there is considered the transformation of the social theme, which initially dominated in the artistic semiotics of Efros, into a metaphysical one. The philosophical code of Anatoly Efros’s performances at the Lenin Komsomol Theatre is connected with the director’s comprehension of spiritual life, the problem of the characters’ internal choice, their transcendence, the rapidly changing time, the ideas of the existentialists and European philosophy of the 20th century that were penetrating social mind. This is verified by the fact of Efros’s performances in the genre of tragedy at the Theatre on Malaya Bronnaya. They are Romeo and Juliet (1970), The Man from the Outside (1971), Don Juan (1973), The Marriage (1975) and Othello (1976). Efros tried to make this genre up-to-date, not via laboratory testing of book concepts, but, first of all, overcoming the boundaries of the theatre, immersion in the spiritual life of the hero and artist, and lyricism.

Ontological (In)security in the Rassemblement National’s dystopian narrative of the EU

ABSTRACT This paper explores the two most recent extended manifestos on Europe (2019) of the French populist radical right party Rassemblement National (RN), previously known as the Front National (FN), from a narrative perspective. The perspective used is based on the Narrative Policy Framework’s focus on the setting, plot, characters and moral of the narrative combined with a generic approach. Rather than the ‘classical’ genres of tragedy, comedy, romance and satire, however, this study focuses on the narrative elements of the dystopian genre, and argues that the RN’s narrative on Europe broadly resembles fictional dystopian narratives. In dystopian narratives, the inhabitants find their ontological security threatened by a dehumanising, authoritarian regime, in this case the EU. It is in the ‘green world’, a timeless space outside the limits of the dystopian state, here represented by the RN’s proposed European Alliance of Nations, where the dystopian hero recuperates their sense of autonomy and identity. Such narratives, through exacerbating an already widespread sense of anxiety and ontological insecurity, are potentially powerful attempts to frame continued membership in an unreformed EU as a threat to security.

Между богами и я-богом: границы театра и театральности у Хлебникова

Khlebnikov’s dramaturgical texts – little-known, little-studied, and even less staged – are in a variety of genres and forms (poetry, prose, or a mix of both), and have a variety of themes and settings. They are united by Khlebnikov’s sustained interest in theatricality: the theatricalization of gestures, of one’s life and everyday behaviour, a sort of self-theatre. An overall interpretative key may be offered by the two meanings of ‘vision’: spectacle – Khlebnikov’s creation of vivid, expressive scenes to impress the eyes; and perception – Khlebnikov’s expression of his “science” of the universe. The article explores the composition, purpose, and functions of the predominantly supernatural characters, particularly the semi-parodic role of deus ex machina. The general term “theatre of the impossible” (Grigor’ev) covers both the especial difficulty of staging Khlebnikov’s works, and their extreme density of semantic and visual hues. This idiosyncratic substitute for the superficially mimicked genre of tragedy ultimately resolves in collapse, implosion of the whole textual structure, when self-oriented and self-sufficient verbal layers collide.

Joji

Reviewed by: Joji Abhishek Sarkar and Balagopal S. Menon Joji Produced by Bhavana Studios, Working Class Hero, and Fahadh Faasil and Friends, streaming on Amazon Prime Video from 7 April 2021. Directed by Dileesh Pothan. Written by Syam Pushkaran.Cinematography by Shyju Khalid. Edited by Kiran Das. Music by Justin Varghese. With Fahadh Faasil (Joji), Spadikam Sunny (Kuttappan), Baburaj (Jomon), Joji Mundakayam (Jaison), Unnimaya Prasad (Bincy), Alister Alex (Popy), and others. In the interviews that followed the release of the Malayalam film Joji, both its director Dileesh Pothan and its writer Syam Pushkaran made a point of specifying that the film “was inspired by Macbeth” (John). The lead actor, Fahadh Faasil, reiterated this sentiment in another interview, explaining that the film is not a direct adaptation of the play but “something inspired by Macbeth in today’s scenario” (PTI). Early in the opening credits of Joji, the film itself acknowledges that it is “Inspired from Shakespeare’s Macbeth,” but in its initial moments the plot has a closer resemblance to King Lear, due to its portrayal of intergenerational conflict and the children’s greed for their father’s property. The action unfolds in a sprawling and sequestered rubber plantation belonging to a Syrian Christian family in the southern Indian state of Kerala. The estate is ruled over by Kuttappan (Spadikam Sunny), a domineering patriarch whose adult sons cower before him. The eldest son, Jomon (Baburaj), is a hot-headed alcoholic who has no material ambitions, while the second son, Jaison (Joji Mundakayam), and his wife Bincy (Unnimaya Prasad), want to set up a separate household of their own in the city. The youngest son, Joji (Fahadh Faasil), severely resents Kuttappan’s authority and wants to emigrate, but is dependent on his father’s finances. When Kuttappan is incapacitated after suffering a stroke, Joji expects to be liberated from his father’s tyranny. But Kuttappan recovers substantially after a tricky surgery, to the extent that he can sign a check flawlessly and jeer at Jaison and Bincy’s desire for autonomy. [End Page 464] Moreover, when Joji comes to Kuttappan begging for money, he almost throttles Joji with his one working hand before unceremoniously tossing him on the floor. Joji decides to kill Kuttappan by switching his pills, a plan that is detected but connived at by Bincy. After the scheme succeeds and the sons start discussing partition of the property, Jomon increasingly suspects that Joji is responsible for Kuttappan’s death. When Jomon tries to coerce a confession out of Joji in a desolate field, Joji shoots him twice with an air pistol and then bombards him with a crude explosive (used commonly by local agriculturists to sculpt the hilly terrain). The autopsy of Jomon’s body reveals the air pistol pellets that are not consistent with Joji’s eyewitness account of the murder. Suspected by his family and cornered by the police, Joji tries to commit suicide by shooting himself in the skull with the same air pistol. But, bathetically enough, he survives the bid and ends up paralyzed. The film rivals Shakespeare’s shortest tragedy as regards the compactness of the plot. Previous adaptations of Shakespeare’s tragedies in Mollywood (the moniker for the Malayalam film industry based in Kochi) include three films by Jayaraj—Kaliyattam (1997; based on Othello), Kannaki (2002; based on Antony and Cleopatra), and Veeram (2016; based on Macbeth). While these films took great liberties in reimagining Shakespeare’s plays, they seldom rewrote the basic plot or character elements of his texts. In this regard, Joji may be seen as a novel attempt in the industry as it tries to reimagine and reset Macbeth by taking it beyond the genre of tragedy. The film is thus an adaptation of Macbeth in a very qualified sense. It borrows plot or character elements from the play only selectively, most often inverting the ethos of Shakespeare’s tragedy. The choice of the protagonist makes this process amply clear. Joji is not “Valour’s minion” (1.2.19) or “Bellona’s bridegroom” (1.2.55) like Macbeth, but an indolent and feckless young man caught in an eternal adolescence. His puny, spare build is in stark contrast with...

Batman as Modern Revenge Tragedy: The Shakespearean Dark Knight

Batman as Modern Revenge Tragedy: The Shakespearean Dark Knight Both Bob Kane’s Batman and Shakespeare’s Hamlet, lose parents, dress in black, put on antic dispositions, and go on personally motivated, violent missions for justice and revenge. The characters enter what seems to be an infinite mourning, where their innately flawed visions of obtaining justice are paired with unstoppable determinations. With my presentation, I intend on using video to demonstrate the historical trends of the revenge tragedy genre, and analyze their potential connection to the comic book medium, especially Batman. Using video, I can explore “adaptation” and all its nuances by implementing costume and visuals that mirror both the bard and the bat. Comics like The Dark Knight Returns (1986) and feature films like Batman V Superman, The Dark Knight Trilogy, and other Batman films act, in my view, as modern revenge tragedies; perhaps “Batman” becoming the entity that it is today has something to do with a legendary play, Hamlet, or at the very least, the legendary renaissance drama theatrics that might be hidden within it. Additionally, in light of Coen’s latest film, The Tragedy of Macbeth (2021), and Reeves’s The Batman (2022) release around the corner, themes of darkness, “dark knights,” and revenge continue to rivet contemporary consumers of the theatric and the cinematic.

From Criticism to Practice: Music in the Early Literary Heritage of V.I. Nemirovich-Danchenko

The article examines the relationship between the literary work of V.I. Nemirovich-Danchenko that preceded the opening of the Moscow Art Theater, and his directorial activity. For him, journalism, fiction and drama formed a unity that had a serious impact on his pedagogical and staging practice. The main issues related to the topic of the work have been repeatedly raised by researchers of theater and literature, but have not yet come to the attention of musicologists, which determines the main parameter of the study’s novelty. In this context, the article aims at pinpointing the actual musical textual details, and its main methodology is based on the interpretation of statements and their comparison with the factual theater history. The article attempts to review the “favorite repertoire” of V.I. Nemirovich-Danchenko as a writer — the musical works mentioned in his novels, stories and plays. There is also identified the “projections” of such sympathies on the design of performances. The article reveals fundamental differences in V.I. Nemirovich-Danchenko’s attitude to vocal and instrumental music, the special role of opera in his perception of the world. There is noted the tendency to attach special semantic and moral-ethical meaning to sound components, as well as the affordance, opened in dramas of the late 1890s, of maximum avoidance of noise elements for the sake of relief identification of a word. The article ends with an attempt to substantiate from a musical standpoint the failure of the drama “In Dreams” at its first and only staging at the Moscow Art Theater (1901). The conclusion contains a number of findings characterizing the musicality of V.I. Nemirovich-Danchenko in 1898, at the time of the opening of his theater. There are partially highlighted the stages of his evolution not mentioned before, which led the director to experiments in the genre of tragedy at the turn of the 1910s and 1920s, the foundation of his own opera studio and the revision of literary positions that remained relevant for the last decades of his life and work.

Tragedy in the Time of Plague

Tragedy in the Time of Plague1 Oliver Taplin (bio) Like a salt-encrusted shipwrecked sailor who after swimming and swimming at last crawls ashore glad to have survived danger, I look back on the two years of the rough waves of Covid-19. Constant restraints and few recompenses. Far from least of the deprivations was the total closure of theatres. For me this has, though, brought a refreshed awareness of the sensualities of live theatre, the innumerable minute impacts of the physicalities of performance, the somatic responses of the audience, and our shared raptness. Of course, the livestreamed plays and recordings were far better than nothing—some were brilliant and memorable—but it was and is nonsense to claim that they were just a good as live performance, let alone that they could even supplant the experience. I have just sat through nearly four hours of Ivo van Hove's grueling sequence of episodes from six Greek tragedies, The Age of Rage.2 The blazing flames, the smells, the solidity of metal, the heft and footfalls of the vigorous choral dances choreographed by Wim Vandekeybus… These had to be experienced "in the flesh" (marvelous phrase!). And the caught breath, uneasy tension, along with the intent silence of the large audience was very much part of the actual performance. It also renewed the question: why do we subject ourselves to such things? The more narrow and academic question that first broke through my initial pandemic-induced lethargy was one which, so far as I am aware, has hardly ever been raised. When Athens suffered its terrible plague between 430 and 426 bce, did theatrical performances go on all the same? Even if it is really the case that there was little or no notion of contagion,3 were the huge gatherings not curtailed or postponed during this terrible time? And if the tragedies did continue to be played and watched, what was it that was so important about them even in time of plague? [End Page 31] First some very briefly sketched background. Most of this will be well-known to most readers of Arion, but some settings need to be in place before the core question comes into focus. During the 440s and 430s the city-state of Athens had enjoyed a golden age of increasing prosperity and power, at the same time flourishing as a cultural magnet for ideas and the creative arts, including the great "local" genres of tragedy and comedy. In 431, under the influence of their charismatic leader Pericles, they embarked on war with the great rival power of Sparta—the so-called "Peloponnesian War." Even though the Spartans were able to invade and seriously damage the surrounding countryside of Attica, there was within the safety of the walls a mood of long-term optimism. Then in early summer of 430 the totally unpredictable plague struck the crowded and war-disrupted city. It lasted for two years and then recurred in the winter of 427–6 for a further year. The symptoms were horrific—far, far worse than our coronavirus. The fever burnt so terribly that sufferers could not bear to have any clothing on them and would throw themselves into cisterns in agonies of thirst. After about a week the disease moved into the bowels and victims were fatally weakened. The death-rate was terrifyingly high: it is calculated that the plague killed about 25% of the entire population. Pericles himself succumbed in the second year. We know about this plague from the personal and authoritative account by the pioneering historian Thucydides (2.47–54). He was there and fell ill himself, but survived, observing that those who had had the plague did not contract it a second time. He gives a long and gruesome account of the sequence of symptoms. There have been many theories about what disease this was, but it may well be that it was a pathogen that no longer exists.4 There are, nonetheless, some striking analogies with our recent experiences. Thucydides relates that the disease was said to have originated far away, in Africa, and that it came to Athens through the trading port of Piraeus. There...

The Philosophy and Drama of Life: The Theatrical Understanding of Dostoevsky

ABSTRACT This article discusses the little-studied issue of the dramatic content of philosophical issues in Fyodor M. Dostoevsky’s works. The polyphonic quality, the dialogism combined with the markers of the genre of tragedy, has served as the basis for numerous theatrical incarnations of Dostoevsky’s novels and stories. We note the markers of a carnivalesque worldview, the combination of the grotesque with subtle psychology in stage productions of the author’s work. The complex of existential issues correlates with social significant ones, and the choice of characters is made at different levels of life. We discuss the most notable productions during the late twentieth and early twenty-first century: Georgy Tovstonogov’s The Idiot, Yuri Zavadsky’s St. Petersburg Dreams, Valery Fokin’s I Shall Go, I Shall Go, and Konstantin Bogomolov’s The Karamazovs.

Литературно-философская позиция А.П. Сумарокова в полемике с В.К. Тредиаковским

The philosophical views of Aleksandr P. Sumarokov, one of the greatest Russian writers and thinkers of the middle of the 18th century, were also reflected in his literary works, including those written in the genre of tragedy, the most important one for this author. This article is an attempt to examine the philosophical system outlined in Sumarokov's early tragedies through the prism of criticism by his literary opponent – Vasily K. Trediakovsky, who wrote a review of Sumarokov's first tragedy "Khorev" (1747). The fundamental difference in the interpretation of the nature of social "prejudices" which the writers demonstrate, sheds light on the way Sumarokov understood human nature in general, as well as the essence of its good and evil beginnings. The writer's philosophical system, found both in his artistic and publicistic works (the articles "On Disagreement", "On Unjust Foundations", "On the Reason of Man According to Locke" and others, published in the magazine "Trudolyubivaya Pchela" (The Laboring Bee) in 1759) bears the imprint of the ideological influence of Voltaire, H. von Wolf, John Locke and others, but is in fact quite original. The study of the evolution of Sumarokov's tragedy and the creative history of his individual works allows us to trace the formation and transformation of these views: the author of the article examines Sumarokov's four early tragedies ("Khorev", "Hamlet", "Sinav and Truvor", and "Artystone"), written at the time when the writer's philosophical views were formed, and compares two revisions of the tragedy "Khorev". It is concluded that as Sumarokov's tragedy evolved, the metaphysical foundations of the artistic world of the plays became more Christianized, and the role of pagan motifs in it diminished.

Heart of Darkness as Tragedy: A Study in Genre

This article argues that Conrad’s Heart of Darkness belongs to the genre of tragedy as outlined by Northrop Frye. As such, Kurtz becomes the central character, the tragic hero who is superior to other men but not to his environment, possessing powers of expression far greater than others. Kurtz, however, is subordinate to the wilderness, and his tragic flaw (hamartia) is partly and ironically his physical constitution. He also commits hubris by occupying a god-like role. Through hamartia and hubris, he falls, becoming tragically isolated. The hero’s isolation is the center of tragedy. At the point of death, the final phase of tragedy, Kurtz reaches a point of demonic epiphany. Marlow, too, plays an important part in the tragedy, assuming the role of the “tragic type of plain dealer” who “is an outspoken critic of the tragic action.”

The Case for Peele’s Authorship of Titus Andronicus 4.1: Cross-Examining Attribution Methods in a Disputed Scene

Abstract William Weber (2014) argues that Shakespeare authored Titus Andronicus 4.1 as evidenced by verbal collocation data and auxiliary investigations into the vocabulary, rhetoric, and classical content of the scene. Anna Pruitt (2017) corroborates this view using n-gram testing, and critical opinion has shifted against the older orthodoxy assigning the scene to George Peele. Yet despite efforts to select a limited set of Shakespearean works for their experiments, the datasets compiled by Weber and Pruitt from the LION database are invalidated by the imbalanced canon sizes of the two authorship candidates. This oversight compromises their quantitative arguments, as does their neglecting The Troublesome Reign of King John. This article demonstrates that when equitable canons are implemented 4.1’s vocabulary is strongly indicative of Peele’s hand, in clear opposition to the current consensus view. Additionally, the scene contains classical allusiveness that is distinct from that of Shakespeare with regard to sources, effect, and scope, further reinforcing the case for Peele’s authorship. The article then revisits the un-Shakespearean metrical properties of 4.1 and testimonial evidence in support of an earlier Titus play, arguing that Peele’s ownership of the scene can greatly inform our model of Shakespeare’s timeline and alleged innovations in the revenge tragedy genre during his earliest career phase. Recent critiques of automated searching in attribution studies show why integrated methods that unite quantitative and qualitative techniques remain indispensable, and the 2014 and 2017 studies’ erroneous conclusions provide a cautionary tale for future research in the field.

The The Issue of Genre Belonging of F.M. Dostoevsky's Work "The Village of Stepanchikovo"

The article discusses the issue of genre belonging of Dostoevsky's work «The Village of Stepanchikovo », provides an overview and analysis of existing points of view on the problem of genre, and suggests that this literary text represents a genre experiment of the exiled author. Genetically, the work goes back to the comedy genre. Dostoevsky certainly takes into account the individual traditions of antique, Renaissance, classic comedy, uses a matrimonial plot that is frequent for the comedy repertoire. By the type of plot, «The Village of Stepanchikovo» is close to sitcoms, comedy of intrigue and comedy of characters. At the same time, the author borrowed an unexpected denouement from the genre of tragedy, and such a plot component as twists and turns, moreover, made it a permanent element of the plot. Dostoevsky gives preference to the novel as a genre more appropriate to the peculiarities of his talent and facilitating a complete, internally contradictory depiction of the «course» of life, synthesizing its various modifications: tale of chivalry, love novel, manor, moral, family, psychological, social, philosophical novel.

MYTHOPOEIC PARADIGM IN ENGLISH BAROQUE DRAMA (JOHN WEBSTER “THE WHITE DEVIL”)

The article deals with the mythopoeic analysis of the play of revenge “The White Devil” by John Webster. The historical background of the play is also under examination. The tragedy “White Devil” (1612) is known in the translations by I. Aksenov, T. Potnitseva. The genre of tragedy in the XVII th century reflects the writers’ appeal to the biblical text and its transformation in motives, images, stylistic and generic systems, this tradition is particular important for the baroque writers, the constant feature of the English dramaturgy of the XVIIth century is appeal to the antique mythology and the national cultural heritage.

장르인식과 시대인식, 비극 장르와 정동의 동력 - 김정진의 <기적불 때>(1924)라는 문제적 작품 소고(小考) -

이 글에서는 염상섭을 매개로 『동아일보』의 기자이자 『폐허이후』의 동인으로 활동했던 김정진의 비극 <기적불 때>를 살펴보았다. 김정진의 문사(文士)로서의 삶은 1920년대 초 소위 동인지 문학 시대 『동아일보』에 근무하며 본격적으로 희곡을 발표하던 생애 시기로부터 시작되었다. 하지만 그동안의 김정진에 대한 연구가 개별 작품 분석에 한정되고, 작품을 희곡사적으로 평가하는데 그쳤던 탓에 김정진이 문사로서 1920년대 위치했던 지점을 종합적으로 고찰하는 부분은 간과되어왔다. 20년대 소위 동인지 문학은 동인지라는 미디어와 문학이라는 미적 자율성을 요구하는 영역의 만남으로 가능했다. 이런 배경을 반영하여 이 글에서는 김정진이 1920년대 문사로서의 삶, 극작가로서의 정체성을 정립하는 과정을 염상섭과 문인회, 『폐허이후』의 맥락 속에서 살펴보았다. 언론인과 문사의 삶을 횡단하며 아나키즘을 바탕으로 문학관을 정립했던 염상섭을 롤모델 삼아 자비 일본 유학생이라는 배경을 공유하며 김정진 역시 유사한 행보를 모색했다. 김정진은 자신의 태생을 부정해야 하는 운명, 그것을 이겨내고 새롭게 갱생하려는 의지를 자신의 문사로서의 출발에 투영했다. 그 결과가 뛰어난 극작법으로 완성된 그의 첫 본격 희곡이자 비극인 <기적불 때>이다. 이 작품은 새드 스토리의 비극적 정조가 아닌, 정동을 환기하는 비극의 극작법을 통해 20년대 개인적인 문제인 동시에 사회적인 문제였던 감정의 동력을 보여주었다. 그 결과 식민권력의 검열의 대상이 되기도 했지만, 그것은 역설적으로 이 작품이 지닌 감정의 공적 활용 가능성을 인정하는 것이었다.

ТРАГЕДИЯ В ДРАМАТУРГИИ Л. ТИКА: НЕКОТОРЫЕ АСПЕКТЫ

The article considers the genre of tragedy in the works of L. Tieck, one of the key figures of German Romanticism. It is known that the tragedy genre among the German romantics is represented mainly by two varieties: the “tragedy of fate” (Schicksalsdrama) and the drama on a religious-historical theme (in literature most often referred to as Universaldrama, “universal drama”). L. Tieck stands at the origins of both genres, while the tragedy “The Life and Death of Saint Genoveva” (1801), to which other religious and historical dramas of German romanticism go back, turned out to be especially influential. Having created examples of those two genres, Tieck rethinks tragic structures, relativizing them in different ways – firstly, by transforming the tragic genre itself, and, secondly, by including tragic elements into the complex genre constructs, mainly into fairy-tale dramas. That rethinking, however, takes place mostly in the mainstream of the parody typical of Tieck’s work – whether it is a parody of the “main” tragedy with a comedy counterpart or the inclusion of parodies of the tragedy, including his own tragedies, in comedy texts. At the same time, however, Tieck’s last dramatic work, “Fortunat”, which has much in common with his fairy-tale dramas and, like them, is a complex genre construct, ends in tragedy in its purest form, the triumph of the tragic substance. In our opinion that testifies to the impossibility of complete relativization of tragedy and to the crisis of romantic drama

Тайна в поэтике жанра романтической трагедии («Испанцы» М. Ю. Лермонтова)

This paper focuses on the role of the poetics of mystery in the formation of the romantic trag-edy genre. “The Spaniards” by Mikhail Lermontov is considered as a characteristic example of this genre, manifesting “melodramatization” of tragedy and tendency towards genre-generic synthesis. The action of “The Spaniards” is based on events related to the sphere of the mysterious, which are exceptional in life and common in melodrama. Central to the plot is the motif of the loss of a child. The secret of Fernando’s birth and “ignobility” form the con-flict and organize two storylines (love and family) and two (everyday life – melodramatic, and existential – tragic) levels of conflict. Mystery also plays an important role in revealing the inner world and expressing the romantic ideal of the hero. The ability to comprehend the mysterious, to pass beyond human experience and logic is not only the motivation of his ac-tions, but it also connects the hero with the ideal sphere. The study examines how the charac-ters’ anticipation of the “terrible” motivates their moral choices. Analyzing the interaction of lyrical motifs, the author suggests the motif of mystery as important for implementing the main (tragic) conflict, unlike melodrama, where the functions of mystery are plot-forming, stimulating the spectator’s interest and maximizing the dramatic tension. Mystery in the plot and the lyrical concept of the tragedy contributes to the understanding of the essence of the romantic conflict, has a suggestive impact on the audience, and deepens the psychologism.

Substitution of genre and style in the Ukrainian film adaptation

The purpose of the article is to identify the range of artistic tools that were used by Ukrainian filmmakers to create adaptations; determination of the degree of correspondence of the author’s views between the literary and on-screen work, as well as finding substitution measures, genre and stylistic correspondence of the book and film within the historical context, based on the film adaptation of the period of the 70s of the XX century. The methodology of the study is a comparative analysis between literary sources - the short stories by A. Gaidar and the film adaptation of the directors N. Rasheev and A. Naroditsky - the film "Bumbarash", conducted to determine the characteristics of the transformation of a literary work into a different kind of art and to determine the amplitude of the measure of style dependence and the genre of the film from the work of the writer. Scientific novelty. Despite the powerful layer of scientific research on the screen embodiment of literary works, the history of Ukrainian film adaptation remains poorly studied, especially the theoretical questions about the correspondence of style and genre in films created on the basis of literary primary sources. This scientific article for the first time on domestic material explores the mechanism of substitution of the genre and style on the example of one of the Ukrainian adaptations, which expands scientific research in the history of domestic cinema. Conclusions. The author’s vision of each artist reveals his personal view of a particular work, especially if he creates it on the basis of an existing artistic source. This is clearly seen in the example of the film adaptation genre. Through hermeneutic interpretations, the authors of the film adaptation talentedly confirmed a successful example of the genre-stylistic substitution in the film “Bumbarash”. In this film adaptation, a balance was found harmoniously between Gaidar’s dramatic pathos and lyrical romanticism, which is organically sublime by directors in its film adaptation; between the poetics of heroism in A. Gaidar and tragedy genre, through the use of eccentric filmmaking techniques by the authors; between the light humor of literary Gaidar short stories and the grotesque tragedy of screen work. Also, the use of a peculiar musical and dramatic solution to the film led to significant changes in the genre spectrum of the literary source, nevertheless, this allowed the authors to preserve the unique “creative face” of the writer.

„The storm is up and all is on the hazard“ Shakespeares Tragödien und das Wetter

Abstract The article is dedicated to the role of weather in Shakespeare’s tragedies. It traces a dense network of instances of weather – stage weather, narrated weather events, weather imagery – throughout his plays, and attempts to reconstruct the weather’s structural implications for the genre of tragedy. The way early modern humoral pathology understood the weather’s influence on the humours of the human body – for which Shakespeare’s plays themselves give evidence – provides the background for reconstructing the function of the weather as a source of tragic force. Its turbulence not only infects the characters in the play and thereby drives the plot, but also transgresses the boundaries of the fictional world and affects spectators in the auditorium.

Reflection of “Philosophy of Unreal” in Tragedy of O. Wilde “Duchess of Padua”

The analysis of O. Wilde’s early tragedy “The Duchess of Padua” was made in the light of the “unrealistic philosophy” and the writer’s complex of representations of irrational power. Attention is paid to the reasons for Wilde's appeal to the genre of tragedy, which lies in the desire for popularity, in the aspiration to show the talent of the playwright, and in the implementation of philosophical and aesthetic principles. The novelty of the research results is seen in the fact that the play, deprived of the attention of Russian literary critics, is shown as meaningful and ideologically significant. A review of works studying the traditions of the Renaissance tragedy, including Shakespearean, romantic is performed. The provision on the formation of the principles of the "new" drama, combined in the “Duchess of Padua” with the scale of the philosophical problems of ancient texts, is substantiated. The topics identified in the play by domestic and foreign literary scholars are named. The main elements of the plot in the framework of external and internal conflicts are considered. Particular attention is paid to internal conflict, reflecting Wilde’s philosophical views. Studying the tragedy from the perspective of the “unrealistic philosophy” made it possible to reveal Wilde’s ideas about the pressing issues of the contemporary world. It is proved that the most significant problem for him is the victory of pragmatism, the rational principle over spirituality.