Dramatic Literature Research Articles

DUGME: POETIKA SIMBOLIČKE MINIJATURE U DNEVNIKU O ČARNOJEVIĆU MILOŠA CRNjANSKOG I HAMLETU VILIJAMA ŠEKSPIRA

The paper analyzes the narrative and symbolic values of the button in Miloš Crnjanski’s novel The Journal of Čarnojević. In the perturbation that occurs when the hero, during the meeting with his beloved, angrily but inadvertently tears the buttons off her dress, traces of the gap that will determine their marital relationship can be recognized. The button that falls and exposes the girl is a sign of overstepping and destabilization of the ontological union of two beings. This destabilization – the rudeness of the hero, the agitation, the withdrawal and fall of the woman – is determined by the self-challenging forces of the subject itself. The crisis as a state of the modern subject in Crnjanski’s novel is viewed against the relationship between Shakespeare’s Hamlet and Ophelia. The button in Shakespeare’s dramatic literature, a sign of disruption of order and of the negation of action, is a sign of theatricality and dissembling; the unbuttoned Hamlet seduces Ophelia, and others through her, painting a coldness falling quite short of the lyricism of Crnjanski. In fact, it seems that only against this tense lyricism can Hamlet be made ready to be read as a lyrical misinterpretation of arid theatrical coldness. The lyrical force of modernity in Crnjanski’s novel transforms the torn off buttons into marks of nightmarish existences, upheavals of old ideas and concepts, the dismantling of the categories of subject, identity, history, metaphysics, language. A symbolic miniature, a button is a scene on which an entire poetics presents itself.

An ecocritical reading of Victor Yankah‟s The Pretty Trees of Gakwana and Sikaman

The increasing environmental concerns of the 20th and 21st centuries have given rise to the term ecocriticism, a field of literary theory and criticism. In this paper, we examined two plays of Victor Yankah using some concepts from ecocriticism as an analytical framework. The paper is premised on the basis that the playwright shares a symbiotic relationship which has become a significant feature of the selected plays. Drawing from the eco-critical theory of ecocriticism and using two of his nature plays: The Pretty Trees of Gakwana and Sikaman, we intend to demonstrate Yankah‟s view and preoccupations about the mutual relationship between the human other and nature (the nonhuman other)-the natural world of environment with the view to prove the playwright‟s concern about the interference of human beings into the world of nature. This situation adversely results in the disruption of the symbiotic (human-nature) relationship. Yankah has presented both the epistemic and retributive forces of nature as well as raised concerns about the environment, ecological consciousness in advocating for ecological sustainability in modern African theatre and dramatic literature scholarship. Thus, the reading of Victor Yanka‟s selected plays adds to the relatively new and developing interest in environmental discourses on the African continent. To the extent that intrinsic features of nature are exhibited in his selected plays, we argue that Yankah provokes environmental debate and a rethinking in African playwrights concerning environmental issues to raise awareness and inspire environmental consciousness and ecological sustainability among people in Africa, and Ghana in particular.

근대 초기 영국 희곡의 국외 연구동향: 여성과 극장을 중심으로

This paper surveys recent studies in early modern English drama with a focus on women’s active involvement in the seventeenth-century dramatic production and theater culture. Questioning the powerful cultural paradigm of “the English all-male stage,” critics of the late 1990s called for a need to revise the literary and theater history that had largely excluded women. While feminist critics have brought to our attention how early modern women’s literary activities were neglected in the literary criticism, their revisionist projects of discovering women writers comparable to Shakespeare or Jonson fail to account for the women’s more extensive contribution to early modern drama and theater culture. In the recent scholarship, the notions of women’s dramatic production and theatricality have been considerably expanded to include non-commercial dramatic genres and women’s diverse roles and their work in and out of the theater. Pointing out how women thrived in some dramatic genres such as translation, closet drama, and household drama, critics have emphasized the interconnectedness between women’s “private” drama and a variety of theatrical traditions and dramatic forms in commercial, public theater. Early modern women’s theatricality has also been broadly expanded to reexamine the significance of women’s court and street performances, French and Italian actresses in London streets, and women’s off-stage or on-page contributions to early modern dramatic literature and performance. Such interdisciplinary efforts have uncovered a diverse range of female theatrical activities beyond the single-sex playhouse stages, which has changed our understanding of early modern drama including the plays of Shakespeare and other canonical authors.

Nudged by Nathan Following a Lessing line in interfaith theology?

Whereas a widespread malaise about the truth quality of much written and spoken communication had in our times apparently also infected the sensitive area of theological interfaith discourse, an injunction like the following of the apostle Paul receives renewed urgency: ‘the ‘kingdom of God is not a matter of talk but of power’ – against the background of the apostle’s own display of kingdom power ‘as if in a theatre’ (see 1 Cor 4:9, 20). The objective of this research study was to probe whether the recent leaning towards a more ‘dramatic mode of theologizing’ might be conducive to preventing the Christian interfaith discourse from descending into powerless talk about the kingdom of God. It, moreover, hypothesised that a ‘doing of the truth’ (in the Johannine sense of the phrase) – analogous to the faithful improvisation of an original theatrical script (in this instance: Holy Scripture) – could add value to the truth - claiming of Christianity in its encounter with Jews and Muslims. The method was followed for analysing the famous Enlightenment literary drama of Lessing, Nathan the Wise , to find a possible cue for proceeding in such a direction, and if found – to heuristically build thereon for such a real-life, contemporary interfaith discourse. The result was that Lessing’s ‘Parable of the Three Rings’ yielded some cue, which, however, was found to be deficient. Only filtered through Barth’s razor-sharp evaluation of the beautiful Lessing drama and then fitted into a Barthian view of the ‘Light and the lights’, which was, for its part, adapted to Calvin’s grand vision of the world as theatrum Dei gloriae, the cue could be moulded to be acceptable for our purpose. A notion of historical-dramatic interfaith encounter thus emerged, where truth is not precluded in undecided tolerance but preluded in expectation of its full eschatological uncovering. Employing this – reframed – ‘Nathan nudge’, a conclusionary sketch could be given of a theological interfaith contest, conducted as if biblical truth resounded through the Christian’s whole body in an interactive ‘inter-play’ with Jews and Muslims. This conclusion was highlighted by some improvisatory, preludial, hospitable and Christocentric accents inherent in such a rendering. Contribution: This article showed one way out of the impasse that threatens a form of interfaith truth claiming constructed around ‘mere words’ – which, moreover, are deemed to be ‘final’. By proposing a preluding – and yet not precluding – of Christian truth, it hopes to add value to interfaith kingdom theology that really matters.

De la lectura a lo visual: relaciones entre texto y representación en el teatro

The dramatic literature is an artistic manifestation, the theatrical text turns into literature for the fact of being transcribed supporting his(her,your) character ficcional. The above mentioned text is written to be represented and said by the dialogs of the actors.In the theatrical field, the text is first of all a fiction. To read or to receive a dramatic text means to submit it to a dramatic analysis thanks to which there are illuminated the different basic elements of the drama as the actions(shares), the space, the time, and the prominent figures whose presence is textual and scenic. In addition, the theatre is one of the such artistic creations as the music, the painting, the cinema, etc. His(her,your) production owes to the capacities and the competitions(competences) of the author who realizes an interpretation of the reality, so, this one is his(her,your) aim(lens

Compatibility: Literature, Philosophy, and Feminism; Valuating Tess Onwueme's Shakara Dance-Hall Queen

Even from the classical times there is no misgiving in the compatibility of literature and philosophy. That explains why there is successful, marriage between dramatists and philosophers because most of the prominent figures of history were either dramatists or philosophers such as Socrates, Aristotle, Sophocles, Shakespeare, etc. These oracles developed propositions, assumptions, beliefs and theories through which they addressed scientific, political and social problems of man up till date. This paper is poised to examine how philosophy and drama merge to convey prepositional knowledge. The study begins with an examination of nature of drama in relationship with philosophy and feministic conventions as an approach to the study of literature; exposing feminism as a universal phenomenon but with varying degrees of conventions and its identifiable changes in nomenclature in different cultures. The essay explains that dramatic literature conveys philosophical verisimilitude which hinges on truths, reality, and morality. Because such works provide a reader or audience thoughts to contemplate and hypotheses to verify. Thus, Onwueme's Shakara Dance-Hall Queen is an appraisal to discover her intension through literary interpretations and search for wisdom behind her rigours. Tess depicts different categories of women as they strive within the African culture and modern values. It is best called a play about mothers and daughters. Her type of women is not subjugated by men but their fellow women. She explores gender and class-consciousness. The two women, the poor, Madam Omesiete and the affluent; Madam Kofo live side by side. Omesiete's background shows absentee-father status for her family. Her daughter Shakara despises the family and makes effort to escape from the biting economic status. Madam Kofo regards Omesiete as her slave being the head farmer on her plantation. Dupe Kofo's daughter despises the mother's wealth in her obsession to know her father. Shakara because of greed and materialism goes to work for Madam Kofo who soon crashes with the police. Omesiete's prophesy, God works in mysterious ways hold at last. The end of the play leaves much to ponder and meditate.

Teorija Frajtagove piramide i njena primenljivost na savremeno narativno delo društveni horizonti

Since the beginings, the theater has been often used for expressions of philosophical thought in the form of direct dialog. With theatrical positions it must be concluded that the theater often plays a part stands for para-theater operations and assigned to the limit when it became unclear whether this is a theater in general. However, the debate "for" or "against" engaged theater looks today more than out of place, since both have a clear opinion confirming the history of theater. If we look at the numerous theories of drama from a wider perspective, the perspective of the media, we immediately see that the theater aesthetics rests on the principles of mass communication, collective perceptions, interactions of the world scene and world audience and evoking event theater professionals cannot speak and not to talk, simultaniosly, about the world, society, the collective. It is clear that the dramatic literature has directly or indirectly involved, the nature of its invoices and creative means of expression.

A cigányok reprezentációja a 19. századi magyar drámában

The paper attempts to reveal the trends of Romani representation in the dramatic literature of a Hungarian century, where this representation was centred on distinctive traits accepted as true by the majority of society. By presenting a number of such cases, and analysing a remarkable exception, we gain an overarching picture of the representation of Romani people by the non-Romani majority.

On the Definition of Drama again -- speech at the Summit of "Theory of Chinese Modern Drama Literature and Compilation practice of The Complete Works of Hong Shen"

洪深在中国现代戏剧史、中国现代文化史上的重要贡献之一是1928 年提出中国的新戏剧形态应称为“话剧”。最近，雷曼教授著作Postdramatisches Theater 的中文版《后戏剧剧场》（李亦男译、北京大学出版社、2010 年）出版后，引起了一些争议。争议的主要问题之一是Postdrama 能否翻译成“后戏剧”。我也提出把Postdramatisches Theater 翻译成“后话剧类戏剧”或者“后话剧戏剧”更合适。后来，有些中国学者却回避使用“话剧”一词。拙文对此提我的看法，同时呼吁为话剧正名。

Vaimse vastupanu püüded okupatsioonivõimudele Hugo Raudsepa 1940. aastate komöödiates

Vaimse vastupanu püüded okupatsioonivõimudele Hugo Raudsepa 1940. aastate komöödiates

A „sűrített nő” : A színésznők társadalmi helyzetének vizsgálata a vidéki kőszínházakban

A tanulmány célja bemutatni, hogy a vidéki kőszínházak speciális munkaszervezete milyen különbségeket hozhat létre a prózai színésznők és színészek között az életpályák, a szereplehetőségek és a karrierek területén. A színésznő a női munkaszervezeti karrier terén „úttörőnek” számít, hiszen a színészkollégákhoz hasonlóan ő is autonóm szakmai pályát építhetett fel, ennek szemléletes példái a primadonnák. A színésznői karrier építését azonban, számos történelmi örökségként fennmaradó drámairodalmi és szervezeti hátrány is akadályozhatja, a vidékiség ezeknek is ad egy plusz színezetet. A színésznő ezeknek a női hátrányoknak a vidéki kőszínházi mikroviszonyok között egy sűrített változatát képviseli. A kutatás során 21 színésznővel és 13 színésszel készült félig strukturált interjú. Eredményeim azt mutatják, hogy a színésznő a színházi életben „sűrítetten” jeleníti meg a nők társadalmi hátrányait és az ehhez fűződő sztereotípiákat, illetve előítéleteket. A színházi mező elemzése alkalmas terep arra, hogy bemutassa ezt az ambivalens, komplex „nő(i)séget”. Ezt nevezem a „sűrített nő” előnyei és hátrányai összegéből származó emancipált egyenlegnek.

The Melodramatic Moment: Music and Theatrical Culture, 1790–1820

The Melodramatic Moment: Music and Theatrical Culture, 1790–1820

Cultural Displacement and Palliative Measures: An Exploration of Dramatic Literature

ABSTRACT One of the realities and experiences of contemporary African people is the continual cultural conflict and eventual displacement of their culture in the process of struggling to find a balance in getting the best of modern life or experience without losing the indigenous legacies. This study aims at examining symbolic representation of cultural conflict as well as exploring the possibility of coexistence of the culture of both the coloniser and the colonised using Soyinka’s Death and the King’s Horseman. The study concludes that in order to minimise conflicts the respect for other people’s culture is imperative. However, African people must put their culture first above any other conflicting culture, re-embrace the best Yoruba cultural heritage, and imbibe the best of Western culture to make the society a better place.

What did The Modernist Playwright Expect from The Mask in The Context of The Self-Crisis?

Modern tiyatroda mask, oluş ile ilgili krizlerin örneklenmesinde kullanılmıştır. Tiyatroda benlik krizi, yüzü başkalaştıran, genel ifadede donduran mask aracılığıyla farklı amaçlarla, farklı yazarlar tarafından sıklıkla kullanılmıştır. Özneyi yeniden bütüncülleştirmeye çalışan bir çağda, çağdaş yazar somut veya soyut masktan ne ummuştur? Bilindiği gibi dramatik yazarlıkta bir kavram olarak karakter, modern özne biçimlerine derinden bağımlıdır. Aynı zamanda benliğin algısı ve benlik ile dünya arasındaki ilişkilerdeki değişikliğin bir tezahürünü kendinde oluşturmaktadır. Benliğin asal krizi yüz/maske kutuplaşmasına dayanır. Batı düşüncesinde maske, her zaman muhalefet anlamına gelir. Maske öznelliğin göstergesi olmasının tersine, eşsiz benlik, insan yüzü fikrinin son çaresidir. Maske, gerçek benlik yaratmanın imkânsızlığının bir işareti olsa da altta yatan bir melankoliye işaret eder. Maske ile belirgin yakınlıkları olan başka bir kavram ise metamorfoz kavramıdır. Kimlik kararsızdır, ancak metamorfoz onun hem kaybı hem de garantiye alınmış halidir. Metamorfoz anı, hem kendinden önce hem de sonraki anları içine alır. Paradoksal olarak, kimlik istikrarsızlaşırken bile kendisinin hayatta kalmasını sağlar. Bu çalışma Pirandello, Brecht, Genet ve Müller örnekleminde maske ve metamorfozun modern oyun yazınındaki yerini inceler

Y a-t-il un “roman national” au répertoire de la Comédie-Française sous le Consulat et l’Empire?

Even on the so-called “national” stages, the French Revolution had given rise to a vein of dramatic literature which responded to the demands of a public that was involved in political events. This justifies an attempt on our part to outline the impact that the political life had on the official repertory of the reconstituted Comedie-Francaise during the Consulate and the Empire. One might venture to conclude that both the government and the general public would capitalise on the whiff of glory left by the Napoleonic epic in order to celebrate the glorious episodes of the national story onstage in an attempt to reinforce the patriotic and nationalistic feelings in the air at the time. Strangely enough, this is not the case. Bonaparte himself distrusted historical comparisons and sought to leave an imprint on his compatriots’ minds through performances of the great classical dramatists, especially Corneille and his Roman plays. In his view, mythological and ancient heroism had more to offer than real heroes drawn from national history. This gave rise to an increasingly tentative type of censorship which focused essentially on the master’s tastes and orders, which had a debilitating effect on creativity. Dramatic writers were hamstrung, and the new repertory was reduced to a handful of titles seldom performed. If there is indeed a field in which it is still possible to find some kind of celebration of the excellence of French drama, it lays solely in reviving the great masterpieces of the classical repertory.

한국 희곡 자료 구축과 집성 방안에 관한 연구: 국립한국문학관의 라키비움(Larchiveum) 도입에 대한 제언을 중심으로

한국 희곡 자료 구축과 집성 방안에 관한 연구: 국립한국문학관의 라키비움(Larchiveum) 도입에 대한 제언을 중심으로

The dithyrambic dramatist: A Nietzschean musical-performative conception

The concept of the dithyrambic dramatist – introduced by German philosopher Friedrich Nietzsche in the fourth essay of his Untimely Meditations of 1873–76 – is one of the most performance-oriented concepts to emerge out of the nineteenth century in which theatre was often associated with dramatic literature. This article investigates the nature of the dithyrambic dramatist by tracing, in the first instance, the underlying musical perspectives – already evident in The Birth of Tragedy of 1872 – which led Nietzsche to develop the concept. In the second instance, the author articulates what may be considered as its key conditions, namely the visible–audible and individual–collective relationalities. In view of the arguments brought forward, the concept of the dithyrambic dramatist is located as an interdisciplinary element that emerged out of an art form – music – to which Nietzsche was intimately associated in his youth as a composer. The author further proposes that, rather than a metaphor to philological tropes, the dithyrambic dramatist is a concrete manifestation of interdisciplinary and performative foundations that inform Nietzsche’s analytic perspectives.

An Analysis of the Similarities between The Peony Pavilion and A Midsummer Night's Dream

The Peony Pavilion and A Midsummer Night’s Dream are classic love plays created by Chinese Tang Xianzu and English William Shakespeare respectively. Their brilliant achievements in eastern and western dramatic literature have drawn widespread attention from many scholars so far. However, the comparison of the two works has not been studied enough. Although the two plays were created in China and Britain respectively, they shared a lot of similarities. This article aims to compare and analyze the two plays in terms of their setting of rebellious daughters and the tyrannical fathers and the employment of images, including dream and mythological imagery, and to demonstrate that under the influence of humanistic spirit and new cultural trends at the end of the 16th century. Tang Xianzu and Shakespeare, although living in different countries, were both committed to express the idea of opposing feudal ethics, fighting against asceticism, and advocating individual liberation. Their thoughts, together with Du Liniang and Hermia, the rebellious female characters in the plays, have influenced the literary creation of later generations. A comprehensive comparison and analysis of the two plays might help readers better understand the love thinking and ideological connotations of the two 16th-century writers in their different living environments.

The Persistence of Folly: On the Origins of German Dramatic Literature.By Joel B. Lande. Ithaca, NY: Cornell University Press, 2018. 354 pages+4 b/w images. $95.00 hardcover, $24.95 paperback.

<b>The Persistence of Folly: On the Origins of German Dramatic Literature.</b><i>By Joel B. Lande. Ithaca, NY: Cornell University Press, 2018. 354 pages</i>+<i>4 b/w images. $95.00 hardcover, $24.95 paperback.</i>

Dramatismo en Hora de Lluvia

The present work was carried to promote the reading of texts that transmit human sensitivity and keep the interests of reading alive. and not to be affected psychically in situations of any kind that aim to eliminate the human being for thousands of amounts. The authors set themselves the objective of highlighting expressions that demonstrate the existence of dramatic literature in José Martí's story Hora de Lluvia and encouraging the reading of the aforementioned text. To this end, the methodology of selection of ideas set forth by the author was followed, in which the drama that is present in the work of Martí is appreciated, and so that it would not remain for later reading, the story was incorporated into the work itself in all its integrity: The brevity of the text allows it.