The Dramatic Works in the Beaumont and Fletcher Canon. Volume IV. 'The Woman's Prize', 'Bonduca', 'Valentinian', 'Monsieur Thomas', 'The Chances'

1982 ◽  
Vol 77 (3) ◽  
pp. 700
Author(s):  
G. K. Hunter ◽  
Fredson Bowers
Keyword(s):  
Dramatic Works

FALSE REPUBLICATION IN PASHTU LANGUAGE

2020 ◽  
Vol 2 (3) ◽  
pp. 205-209
Author(s):  
O‘g‘iljon Abduvaliyeva ◽  
Keyword(s):  
Dramatic Works ◽  
Oral Speech ◽  
General Meaning ◽  
Colloquial Speech

Incomplete reduplication is a type of repetition in which one of the components is not used independently, but only gives a general meaning to the meaning. Inaccurate reductions are widely used, especially in oral speech. The use of this type of vocabulary in prose and dramatic works, which is often used in colloquial speech, serves to increase their naturalness and attractiveness.

Irony in dramatic works

2020 ◽  
Vol 24 (03) ◽  
pp. 311-317
Author(s):  
Mavlanova Ugiloy Khamdamovna ◽  
Ruzieva Dilfuza Salimboevna ◽  
Babaeva Vasila Toshpulatovna
Keyword(s):  
Dramatic Works

scholarly journals “The Semantic Environment” of the Late Dramatic Works of A. Platonov

2020 ◽  
Vol 8 (2) ◽  
Author(s):  
Elena Proskurina
Keyword(s):  
Premature Death ◽  
Evidence Based ◽  
Creative Work ◽  
Dramatic Works ◽  
Family Drama ◽  
Noah's Ark ◽  
Future Focus

This review raises a set of important issues. The use of contextual, motif, and “evidence-based” methods make it possible to identify hidden semantic layers which are hard to discern in Platonov’s late plays at first. The authors manage to demonstrate both the peculiarities of the plot of Platonov’s late dramas and their connection with the writer’s creative work as a whole. Particularly important is the autobiographical context which significantly enriches the “semantic environment” of the works analysed. It is based on Platonov’s family drama related to the arrest and premature death of his son Platon. The study reveals various ways of inclusion of the “son motif ” in the plays Voice of the Father, A Magical Being, and A Student of the Lyceum. The analysis of the play Noah’s Ark turns out to be less interesting, which is largely due to the fact of its being unfinished and, thus, lacking artistic perfection. The stylistic originality of Platonov’s late creative work and its artistic distinction from the works of the 1920s – 1930s remain outside the authors’ framework of reflection. This range of issues may serve as a future focus of study.

scholarly journals Anvar obidjon is a children’s poet

2021 ◽  
Vol 2 (1) ◽  
pp. 13-19
Author(s):  
Nigora Adizova Bakhtiyorovna ◽  
Nodira Adizova Bakhtiyorovna
Keyword(s):  
Special Role ◽  
Dramatic Works ◽  
Children's Drama ◽  
Children's Poetry

This article focuses on A. Obidjon, who played a special role in the development of children's poetry and prose. At the same time, the artist, who thinks about the development of Uzbek children's drama, has created a dramatic epic, a play. Anvar Obidjan is an artist who has enriched not only children's prose and poetry, but also dramaturgy, as a children’s poet, known as a prose writer, he won the admiration of his fans with his dramatic works

scholarly journals Dramatyzacja tradycji. Dramaturgiczne konfrontacje z kanonem literackim

2021 ◽  
pp. 31-53
Author(s):  
Piotr Dobrowolski
Keyword(s):  
Contemporary Art ◽  
Literary Studies ◽  
Critical Dialogue ◽  
Basic Category ◽  
Dramatic Works ◽  
Critical View ◽  
Polish Literature ◽  
Positive Effects ◽  
Active Reading ◽  
History Of

The article opens with a statement that dramaturgical creativity, long marginalized by literary studies, has returned to the area of its interest together with its researchers’ use of the achievements of performative and cultural turns. Taking these into account allows us to treat drama as a distinctive literary practice in which the reception of a text is exemplary. As the author claims, with the New Humanities, integrating scattered reading perspectives known to the history of literary studies into the horizons of New Positivity, dramatic studies enrich this standpoint and maintain a critical view making creative use of the antagonism of perspectives, confrontation of attitudes, conflict of qualities or different visions and ideas. The potential tensions revealed in the practice of active reading of a literary text in accordance with the dramatic matrix guarantee the positive effects of each act of engaged reading. The dramatization of tradition is a specific field of critical dialogue between the reader and the existing literary tradition. Three dramatic works by Jan Czapliński are indicated as examples of mediators for this dialogue. The work of this playwright presents and suggests a critical reading of the characters and works of Gabriela Zapolska, Henryk Sienkiewicz and Adam Mickiewicz, leading to the emancipation of their works that is situated beyond the framework of the discursively created, existing canon of contemporary Polish literature and culture. A critical view enriches and updates the canon. Dramatization, which allows the revaluation of existing values, appears as the basic category of contemporary art – revealing existing, usually ineffable conflicts and using them to build new, positive values.

scholarly journals MYSTERY AS A META-GENRE IN THE DRAMA OF THE TWENTIETH CENTURY

2021 ◽  
pp. 18-26
Author(s):  
K. Oliinyk
Keyword(s):  
Twentieth Century ◽  
World Order ◽  
Semantic Content ◽  
Point Of View ◽  
Dramatic Works ◽  
Life And Death ◽  
The Matrix ◽  
General Feeling ◽  
The Aesthetic ◽  
Definition Of

The article examines the specificity of existence of the renewed mystery genre as a meta genre in the twentieth century. The main literary study views on the definition of ancient and medieval / Christian ritual mystery are analyzed. The beginning of the twentieth century was full of a general feeling of catastrophe and tragic hopelessness. In artistic terms, the consequence of this was the activation of Christian issues, motives, plots, religious genres (miracles, morality and mystery). The most universal from the point of view of the ideological message and content for the writers of the twentieth century. was the matrix of the medieval mystery, which retained the ritual basis in its primary structure. This made it possible for the multilevel organization of the action and the space for it. The genre of medieval mystery is being modified, it ceases to be a purely form of religious action and acquires the quality of a meta genre. There is a transition from the religious sphere to the secular one, and the aesthetic one is replacing the didactic load. Mystery begins to exist on the edge of genres as a synthetic formation, showing intentions to “help” other genres. A large number of dramatic works of the twentieth century. ("Forest Song" by Lesia Ukrainka, "Iconostasis of Ukraine" by Vіra Vovk) comes close to the mystery, using its archetypal components: the ideas of faith in the absolute beginning, governing the eternal rotation of life and death, world order and harmony, death and rebirth, transformations of the human soul, chosenness and initiation associated with trials, sacrifice, deepening into mysticism. Such works are a certain imitation with elements of mythological or religious subjects. So, the twentieth century, actualizes a certain involvement of the semantic content of dramas to the mysteries, bringing the mystery to the level of the meta genre.

scholarly journals The Conceptualization of the Phenomenon of Corporeality in Biblical Discourse

2019 ◽  
Vol 26 (3) ◽  
pp. 23-30
Author(s):  
Iryna Taraba
Keyword(s):  
Jesus Christ ◽  
Body Of Christ ◽  
Literary Interpretation ◽  
Dramatic Works ◽  
World Modeling

The article deals with the features of the conceptualization of corpore­ality in literary interpretation as an instrument and a category realized in the figural-emotive paradigm of the dramaturgy of the contemporary Ukrainian authors, A. Chyrkov and J. Vereshchak. It should be noted that in the studied dramatic works the conceptualization of the corpo­real code of culture is extremely clear. It appeals to many biblical motifs with appropriate an sphere of concepts. The dramatic works suggest that evangelical projection demonstrates four concepts that itemize the specifics and principles of embodiment of physicality in the biblical discourse: 1) “Five wounds of Jesus Christ,” 2) “The Crucifixion,” 3) “The sinful flesh,” 4) “Body of Christ.” Corporeality in the biblical discourse corre­lates with world-modeling categories such as “soul” and “thing.”

scholarly journals The image of the hero-entrepreneur in Russian classical literature as a pledge of socially responsible principles of modern Russian entrepreneurship

2021 ◽  
pp. 349-356
Author(s):  
Н.А. Чистякова
Keyword(s):  
Cultural Analysis ◽  
Classical Literature ◽  
Socially Responsible ◽  
Dramatic Works ◽  
Documentary Sources ◽  
The Status ◽  
Public Consciousness ◽  
The Russian Empire ◽  
Xix Century

В последнее десятилетие резко изменилось отношение российской общественности к предпринимательству с негативного на нейтральное и даже позитивное. Для подтверждения предположения об изменении эмоционального статуса понятия «предпринимательство» автором был произведен соцопрос. Поскольку предположение об изменении статуса понятия «предпринимательство» подтвердилось, автор посредством историко-культурного анализа постарался объяснить причину изменения стереотипа. Акцент был сделан на роль произведений русской классической литературы в формировании общественного сознания. Кроме того, автор конкретизировал отраженный в классической литературе идеал русского предпринимателя. Конкретно, в статье проанализирован образ предпринимателя в русской классической литературе XIX века: разобраны литературные типы работников финансовой сферы, найдены положительные примеры, выявлены социально ответственные принципы подхода к делу. Для обеспечения большей объективности для анализа привлечены как эпические, так и драматические произведения. Автор выясняет, как в русской классической литературе отражаются проблемы личности предпринимателя, актуальные в настоящее время. В статье произведен сравнительный анализ «кодексов чести» предпринимателя – источников XIX и XXI века, – в которых раскрывается тема чести русского финансиста, его морального облика. В исследовании утверждается преемственность традиций в сфере предпринимательства, сформированных основной частью населения страны, жившего по законам Российской Империи, кроме того, обосновывается содержательная связь художественных и документальных источников и доказывается необходимость создания образа современного коммерсанта на основе принципов, отраженных в отечественной классике. In the last decade, the attitude of the Russian public towards entrepreneurship has changed dramatically from negative to neutral and even positive. To confirm the assumption about the change in the emotional status of the concept of «entrepreneurship», the author conducted a social survey. Since the assumption about the change in the status of the concept of «entrepreneurship» was confirmed, the author tried to explain the reason for the change in the stereotype through historical and cultural analysis. The emphasis was placed on the role of works of Russian classical literature in the formation of public consciousness. In addition, the author concretized the ideal of the Russian entrepreneur reflected in the classical literature. Specifically, the article analyzes the image of the entrepreneur in the Russian classical literature of the XIX century: the literary types of financial workers are analyzed, positive examples are found, and socially responsible principles of the approach to business are identified. To ensure greater objectivity, both epic and dramatic works are used for analysis. The author finds out how the Russian classical literature reflects the problems of the entrepreneur's personality that are currently relevant. The article presents a comparative analysis of the «codes of honor» of the entrepreneur-sources of the XIX and XXI centuries-which reveal the theme of the honor of the Russian financier, his moral image. The study confirms the continuity of traditions in the field of entrepreneurship, formed by the main part of the country's population, who lived according to the laws of the Russian Empire, in addition, substantiates the meaningful connection of artistic and documentary sources and proves the need to create an image of a modern merchant based on the principles reflected in the Russian classics.

scholarly journals Problems of theatrical productions of dramatic works by Lesya Ukrainka on the modern Ukrainian stage

2021 ◽  
Author(s):  
Larysa Khorolets
Keyword(s):  
Research Methodology ◽  
Performing Arts ◽  
Methodological Approach ◽  
Specific Weight ◽  
Dramatic Works ◽  
Artistic Value ◽  
The World ◽  
Multimedia Technologies ◽  
Stage Development ◽  
The Aesthetic

The purpose of the article is diagnostics of Lesya Ukrainka’s dramatic works realization prospects in conditions of performing arts visualization as a consistent trend of the national stage development. The study involves analyzing the adequacy of modern means of expressiveness to the peculiarities of the poetess’ dramaturgy. The research methodology is determined by observational, analytical as well as historical, and logical analysis of the realization prospects of Lesya Ukrainka’s dramatic poems on the Ukrainian stage in the context of the exceptional specific weight of a word for understanding the poetic and philosophical content of the poetess’ works. The indicated methodological approach allows analyzing the reasons why some performances already realized are of enormous artistic value (notably, by “Stone Master” (“Kaminny Hospodar”) as well as outlining the prospects of some contemporary theatrical models in this sense. The novelty of the research lies in expanding the conceptions about the relevance of correlation of cardinally “re-equipped” arsenal of the XX1century scenic space multimedia technologies and the system of means of expressiveness of Lesya Ukrainka’s dramas in the context of conveying the content of these works to the audience, as well as in raising the issue of a more careful approach of modern direction to the ways of conveying and revealing the word of the creator relative to the dramatic works of Lesya Ukrainka as an exceptional phenomenon in the world dramaturgy. Conclusion. Lesya Ukrainka’s dramaturgy is in tune with the present time and corresponds to the aesthetic and civil tasks facing our art today. The Ukrainian theater is in urgent need of this dramaturgy. The poetess’s dramaturgy requires a modern but specific philosophic and poetic theater. To make it sound appropriate, it is necessary to be inspired by the Ukrainian art showing piety towards Lesya’s word and having a desire not just to act but to act namely Lesya Ukrainka, and to find the truth about life in her writing. For her plays it is very important to avoid pomposity which is typical of stage directors fascinated by visualization: there should not be any divertissements, any ball scenes except for those which are required by the unraveling of the plot.

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