scholarly journals Objetos, cuerpos y memoria en el teatro argentino contemporáneo

2020 ◽  
Vol 23 ◽  
pp. 58-79
Author(s):  
Sandra Ferreyra
Keyword(s):  
Memory Devices ◽  
Dramatic Works ◽  
Involuntary Memory ◽  
The Relationship ◽  
Manipulation Procedure ◽  
Teatro Argentino

En la década de 1990, el campo teatral argentino se encuentra determinado por la aparición de una heterogeneidad de formas agrupadas por la crítica bajo el título “Nuevo teatro argentino”. Estas formas evidencian la tensión entre una concepción idealista de la escena que había dominado el teatro independiente hasta la década de 1980 y una perspectiva materialista que se había ido desarrollando subrepticiamente en tensión con los modos en que la primera planteaba las relaciones de la escena con la historia, de los sujetos con los objetos, de las palabras con las cosas y, como correlato, en tensión con el modo en el que el teatro se pensaba a sí mismo como dispositivo de memoria.En ese contexto surge y se fortalece el Periférico de Objetos. Analizaré aquí la producción de este grupo entendiendo que entre las innovaciones que propone se encuentra la exploración, a partir del procedimiento de la manipulación, de objetos y cuerpos como dispositivos de memoria involuntaria. Con el objetivo de señalar que la productividad de la relación manipulación/memoria no se limita al teatro de objetos sino que se expande también a la producción dramatúrgica, analizo dos obras dramáticas que Daniel Veronese escribe en esa misma década, en paralelo a su actividad como integrante de este grupo. In the 1990s, Argentine theater field is determined by the emergence of a heterogeneity of forms grouped by critics under the title “New Argentine Theater.” These forms put in evidence the tension between an idealistic conception of the scene that had dominated independent theater until the 1980s and a materialist perspective that had developed surreptitiously in clear tension with the ways in which idealism conceive the relations between scene and history, subjects and objects, words and things but also in tension with the ways in which theater had thought itself as a memory device.In this context, El Periférico de Objetos arises and become stronger. I will analyze the production of this group, understanding that among the innovations it proposes from the manipulation procedure, is the exploration of objects and bodies as involuntary memory devices. With the aim of demonstrating that the productivity of the relationship between manipulation and memory is not limited to object theatre but also expands to dramaturgical production, I analyze two dramatic works that Daniel Veronese wrote in that same decade, in parallel to his activity as member of this group.

Literary Analysis of Sharof Boshbekov’s Comedy «The Iron Woman»

Turkology ◽  
2021 ◽  
Vol 3 (107) ◽  
pp. 44-56
Author(s):  
Yerlan ZHIYENBAYEV ◽  
Shakhida JUMABAYEVA
Keyword(s):  
Text Analysis ◽  
Cultural Landscape ◽  
Modern Method ◽  
Literary Analysis ◽  
The Political ◽  
Writing Style ◽  
Literary Value ◽  
Dramatic Works ◽  
Turkish Literature ◽  
The Relationship

Sharof Boshbekov, a unique writer, played an important role in the development of Uzbek drama in the 1980s.  It is obvious that realism prevails in his plays.  In the writer's works, the flaws of society are implied by humorous descriptions.  His dramatic works depict the events and phenomena of that time, and not the depths of history.  His works also critically describe the life of villagers and peasants. In this study, we analyzed Sharof Boshbekov's comedy “The Iron Woman” using the modern method of text analysis, which is widely used today in Turkish literature, and tried to determine the literary value of the text and the views of the writer.  The analysis of the text covers the political and cultural landscape of Uzbekistan in the 1980-1990, the structure of the text, the relationship between the concepts of character, time and space.  In addition, the language features and writing style of the work have been clarified.

Pascal’s Miraculous Tongue

2018 ◽  
pp. 194-219
Author(s):  
Anthony Cordingley
Keyword(s):  
Nineteenth Century ◽  
Creative Process ◽  
Past Experience ◽  
Blaise Pascal ◽  
Poetic Language ◽  
Involuntary Memory ◽  
Potential Mediator ◽  
The Relationship

This chapter locates allusions to the works and life of Blaise Pascal from The Unnamable to How It Is. It explores the relationship Beckett forges between literary allusions and the contents of memory when relating Pascal’s mysticism to the notion of “involuntary memory” in Marcel Proust’s writing. Debates in the preceding chapters come to a head in the figure of Pascal, and Beckett’s comic attitude towards his narrator/narrated’s habit of filtering his journey through tropes of Cartesian rationalism, reasoned theology or arational mysticism becomes evident when the “I” emulates or draws from colourful and absurd episodes of Pascal’s life. The nineteenth-century literary historian and novelist Charles Augustin Sainte-Beuve is considered as a potential mediator between Pascal and Proust in Beckett’s thinking. Yet Beckett is shown to neutralize the referential content of his Pascalian and Proustian allusions over the course of his manuscript revisions, when he is shown to move away from directly allusive to abstracted and poetic language, attempting to bring an “ignorant” perspective to his past learning. The question of how to find an authentic, original voice out of past experience emerges, finally, as central to the meaning of these novels and Beckett’s creative process.

scholarly journals A prousti időélmény pszichodinamikai elemzése

2000 ◽  
Vol 55 (2-3) ◽  
pp. 229-252
Author(s):  
Ferenc Pintér
Keyword(s):  
Personality Development ◽  
Melanie Klein ◽  
Pathological State ◽  
Involuntary Memory ◽  
Psychological Theories ◽  
Time Experience ◽  
Starting Point ◽  
Transcendent Experience ◽  
Past Experiences ◽  
The Relationship

Dolgozatunkban különbözo pszichológiai gondolatrendszerek keretében próbáltuk meg értelmezni a prousti önkéntelen emlékezés pillanataihoz kapcsolódó jellegzetes idoélményt, melynek során a fáradtság vagy rossz közérzet nyomasztó állapotában egy apró, jelentéktelennek tuno érzékletes inger hatására váratlanul újra megjelenik egy régi élmény, megdöbbento élességgel, túláradó örömérzet kíséretében. Proust olyan kiváltságos pillanatokhoz vélt jutni az önkéntelen emlékezés által, melyekben a múlt tapasztalatai a tudatos én és a tudatos emlékezet szelektáló és torzító hatásait megkerülve tárulnak fel. Ezáltal az önkéntelen emlékezet a dolgok valódi, állandó természetét mutatja meg. Kohut értelmezésében a prousti idoélmény, melyben az elbeszélo szinte egy idoben él át két, idoben nyilvánvalóan távol eso pillanatot, azért jelentos, mert bizonyítékot szolgáltat az írónak folytonos, történetiséggel bíró pszichológiai létezésérol, s ezáltal ingatag selfjének koherenciáját erosíti. Sands szerint Proust éppenhogy egy töredékes, ámde szélsoségesen pozitív self-érzést próbál visszanyerni, mely az idealizált anyával való szimbiotikus kapcsolathoz tartozik, s az anya halála után csak az önkéntelen emlékezés révén élheto újra. Chankin a híres madeleine-epizódból kiindulva az önkéntelen emlékezést, s a belole eredo asszociációfüzéreket, a traumatikus gyermekkort elrejto fedoemlékek feloldási kísérleteként értelmezi, mely az író azon alapvetobb törekvésébe ágyazódik, hogy múltja igazságainak felkutatásával megszilárdítsa identitását. Magunk próbálkoztunk meg a prousti idoélmény Melanie Klein elmélete alapján történo elemzésével. Ebben a keretben az önkéntelen emlékezést olyan átmeneti és részleges regresszió révén kialakult állapotként ismertük fel, melyben egy pillanatra újra feléled az idealizált résztárgy és az örömteli részén primitív, preverbális, a paranoid-szkizoid pozíciónak megfelelo élménye, s a valóság aktuális, tudatos észleletével interferálva kompromisszumképzodményt hoz létre. Swartz új szempontot vet fel, amikor a prousti idoélményt regresszív vagy közelpatológiás állapotok helyett a személyiségfejlodést, az önmegvalósítást elosegíto transzcendens élményekként értelmezi, melyek lehetové teszik, hogy egy másfajta tapasztalás szintjére lépve újszeru összefüggéseket tárjunk fel a világról és önmagunkról. Noha az elemzésekhez helyenként kritikai észrevételeket is fuzünk, nem vitás, hogy mindegyik releváns szempontokat tár fel az énélmény és az emlékezet összefüggéseirol.In this contribution we have tried to explain Proust's characteristic time-experience connected to the acts of involuntary memory, in the scope of different psychological theories. During moments in the depressing state of tiredness or discomfort unexpectedly an old experience comes back with shocking sharpness and a flood of joy elicited by an effect of a trivial, seemingly insignificant sensory stimulus. Proust thought that by involuntary memory he could obtain moments when past experiences revealed their truth avoiding the selection and distortion of the conscious ego and conscious memory. The writer believes that involuntary memory shows the real and permanent essence of things. According to Kohut's explanation the proustian time-experience in which the narrator feels himself in two chronologically distant moments at the same time is significant because it provides evidence about the historically continuous psychological existence of the writer, thus helps him to maintain the coherence of his weak self. Sands argues that Proust wants to regain a particular but extremely positive self-experience which belongs to the symbiotic relationship with the idealized mother, and which can be revived only by involuntary memory after the mother's death. Chankin takes the famous Madeleine-scene as a starting point and explains the involuntary memory and the association chains derived from it as an attempt to resolve the screen memory which hides the traumatic childhood. This striving is embedded in Proust's deeper endeavour to solidify his identity by exploring his real past. We have made our own effort to explain the proustian time-experience on the basis of Melanie Klein's theory. In this framework the moments of involuntary memory can be recognized as a partial and temporary regressive state in which the primitive preverbal experience of the relationship between the idealized part-object and the joyful part-self (which is a characteristic of the paranoid-schizoid position) revives for a moment and forms a compromise by interfering with the actual conscious perception of the reality. Swartz presents a new aspect since he regards the proustian involuntary remembering as a transcendent experience (instead of a regressive or near-pathological state) which advances the process of personality development and individuation by showing new relations of things and the perceiving subject from a different level of perception. While we made some critical remarks on the discussions, there is no doubt that all of them reveal relevant aspects of the relation between memory and self-experience.

scholarly journals The plot-composition organization of dramatic works of Ukrainian emigration writers in the middle of the twentieth century

2019 ◽  
Keyword(s):  
Twentieth Century ◽  
Dramatic Works ◽  
Structural Parts ◽  
The Individual ◽  
The Relationship

The article is devoted to the study of plot-composition organization of dramatic works of Ukrainian emigrants-writers in the middle of the twentieth century. It has been found out that the features of the plays’ structure are mostly experimental by nature, including the wide involvement of such components as the prologue, the epilogue, the interlude inserts and so on to the drama. The compositional possibilities of the works are outlined in L. Pirandello’s scheme “play-in-the-play”, which expresses the specificity of the epoch, demonstrates its disorder, as well as facilitates searches in both content and form. Reception of the framing, in violation of the logic of the portrayed events, reveals the relationship between the theater and the viewer (plays by I. Kostetskyi, I. Cholhan, A. Yuryniak and others are illustrative). It is emphasized that the introduction of the “master of ceremonies” (Prologue as an actor) in the text of the drama is intended to explain its plot-shaped paradigm, the accumulation of organizational components, which helps an adequate reception of the portrayed (mostly I. Cholhan's comedies). In such dramatic compositional parts as the prologue, the epilogue, the interludes the writers focus readers’ attention on topical issues of conceptual importance for understanding the epoch. The idea of a transformed prologue, more rarely an epilogue, is significant in emigration dramaturgy, because it declared as the sphere of the “presence” of the author, expresses the desire of the individual (the emigrant artist) to comprehend and express the understanding of the character. The interlude inserts broaden the concept of the work: they serve as an emotional accompaniment to the main events, focus the recipient on the ideological and philosophical essence of the play, combine structural parts of the text, activate the analytical readers’ perception of the work. It is proved that the search character of the analyzed plays is an indispensable feature of the dramatic acquisition of Ukrainian emigrants-writers of the middle of the twentieth century.

Prose Poetry and the Very Short Form

Prose Poetry ◽  
2020 ◽  
pp. 224-248
Author(s):  
Paul Hetherington ◽  
Cassandra Atherton
Keyword(s):  
Short Stories ◽  
Short Form ◽  
Prose Poetry ◽  
First Century ◽  
Dramatic Works ◽  
Literary Forms ◽  
Early Twenty ◽  
Late Twentieth ◽  
Poetic Prose ◽  
The Relationship

This chapter discusses the relationship between prose poetry and very short literary forms, which are proliferating online and in print. While novels, short stories, lineated lyric poems, and dramatic works have been at the center of literary practice for centuries, contemporary writers are reinvigorating the understanding of genre and form — and some of their writing does not sit comfortably within conventional literary classifications. To an extent, this is true of prose poetry in general, and it is certainly true of hybrid works that contain, reframe, or transform prose poetry. This is not to suggest that all hybrid prose-poetical works are products of the late twentieth or early twenty-first century. There are many early examples of hybrid works that make use of poetic prose. However, many contemporary hybrid works that make use of very short prose forms are especially notable for their emphasis on an irredeemable sense of fracture, and such works are increasingly being accepted as central to the literary world. This recent growth in the popularity and esteem of very short literary forms provides a new and positive context for understanding prose poetry and its scholarship.

Literary Analysis of Sharof Boshbekov’s Comedy «The Iron Woman»

Turkology ◽  
2021 ◽  
Vol 3 (107) ◽  
pp. 44-56
Author(s):  
Yerlan ZHIYENBAYEV ◽  
Shakhida JUMABAYEVA
Keyword(s):  
Text Analysis ◽  
Cultural Landscape ◽  
Modern Method ◽  
Literary Analysis ◽  
The Political ◽  
Writing Style ◽  
Literary Value ◽  
Dramatic Works ◽  
Turkish Literature ◽  
The Relationship

Sharof Boshbekov, a unique writer, played an important role in the development of Uzbek drama in the 1980s.  It is obvious that realism prevails in his plays.  In the writer's works, the flaws of society are implied by humorous descriptions.  His dramatic works depict the events and phenomena of that time, and not the depths of history.  His works also critically describe the life of villagers and peasants. In this study, we analyzed Sharof Boshbekov's comedy “The Iron Woman” using the modern method of text analysis, which is widely used today in Turkish literature, and tried to determine the literary value of the text and the views of the writer.  The analysis of the text covers the political and cultural landscape of Uzbekistan in the 1980-1990, the structure of the text, the relationship between the concepts of character, time and space.  In addition, the language features and writing style of the work have been clarified.

Investigation on the relationship between CD and CDU in memory devices

2016 ◽  
Author(s):  
Jeongsu Park ◽  
Daewoo Kim ◽  
Keunjun Kim ◽  
Choidong Kim ◽  
Sungkoo Lee ◽  
...  
Keyword(s):  
Memory Devices ◽  
The Relationship

Interstellar gas in the central region of the Galaxy

1967 ◽  
Vol 31 ◽  
pp. 239-251 ◽  
Author(s):  
F. J. Kerr
Keyword(s):  
Central Region ◽  
Galactic Plane ◽  
Neutral Hydrogen ◽  
Continuum Emission ◽  
Galactic Centre ◽  
Interstellar Gas ◽  
Hydrogen Recombination ◽  
The Galaxy ◽  
Centre Region ◽  
The Relationship

A review is given of information on the galactic-centre region obtained from recent observations of the 21-cm line from neutral hydrogen, the 18-cm group of OH lines, a hydrogen recombination line at 6 cm wavelength, and the continuum emission from ionized hydrogen.Both inward and outward motions are important in this region, in addition to rotation. Several types of observation indicate the presence of material in features inclined to the galactic plane. The relationship between the H and OH concentrations is not yet clear, but a rough picture of the central region can be proposed.

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