Collaborative Art with Political Intent: The 1933 Adaptation of Theodor Storm’s Der Schimmelreiter/The Rider on the White Horse (1888)

Author(s):  
Christiane Schönfeld
2019 ◽  
Vol 64 (1) ◽  
pp. 103-116
Author(s):  
ЛЕСЯ МУШКЕТИК

The oral folk prose of Transcarpathia is a valuable source of history and culture of the region. Supplementing the written sources, it has maintained popular attitudes towards events, giving assessments and interpretations that are often different from the official one. In the Ukrainian oral tradition, we find many words borrowed from other languages, in particular Hungarian, which reflects the long period of cohabitation as well as shared historical events and contacts. They also occur in local toponymic legends, which in their own way explain the origin of the local names and are closely linked with the life and culture of the region, contain a lot of ethnographic, historical, mythological, and other information. They are represented mainly by lexical borrowings, Hungarian proper names and realities, which were transformed, absorbed and modified in another system, and, among other things, has served the originality of the Transcarpathian folklore. The process of borrowing the Hungarianisms is marked by heterochronology and a significant degree of assimilation in the receiving environment. It is known about the long-lasting contacts of the Hungarians with Rus at the time of birth of the homeland - the Honfoglalás, as evidenced by the current geographical names associated with the heroes of the events of that time - the leaders of uprisings Attila, Almash, Prince Latorets (the legends Almashivka, About the Laborets and the White Horse Mukachevo Castle). In the names of toponymic legends and writings there are mentions of the famous Hungarian leaders, the leaders of the uprisings - King Matthias Corvinus, Prince Ferenc Rákóczi II, Lajos Kossuth (the legends Matyashivka, Bovtsar, Koshutova riberiya). Many names of villages, castles and rivers originate from Hungarian lexemes and are their derivatives, explaining the name itself (narratives Sevlyuskyy castle, Gotar, village Gedfork). The times of the Tatar invasion were reflected in the legends The Great Ravine Bovdogovanya and The village Goronda. Sometimes, the nomination is made up of two words - Ukrainian and Hungarian (Mount Goverla, Canyon Grobtedie). In legends, one can find mythological and legendary elements. The process of borrowing Hungarianisms into Ukrainian is marked by heterochronology, meanwhile borrowings remain unchanged only partially, and in general, they are assimilated in accordance with the phonetic and morphological rules of the Ukrainian language. Consequently, this is a creative process, caused by a number of different factors - social, ethnocultural, aesthetic, etc. In the course of time, events and characters in oral narratives are erased from human memory, so they can be mixed, modified and updated, adapting to new realities.


1975 ◽  
Vol 65 (260) ◽  
pp. 357-368 ◽  
Author(s):  
Neville Maxwell
Keyword(s):  

2014 ◽  
Vol 31 (7-8) ◽  
pp. 101-110 ◽  
Author(s):  
Thomas Hirschhorn

This article is an email conversation between the artist Thomas Hirschhorn and the philosopher Jacques Rancière that took place from December 2009 to February 2010. The images of ‘The Bijlmer Spinoza-Festival’, an artwork by Thomas Hirschhorn that occurred in the outskirts of Amsterdam in 2009, portray the levels of engagement by the local participants and the interaction with invited speakers and performers. The interview with Jacques Rancière addresses the problem of classifying collaborative art projects within the conventional categories of art and politics. It explores the vital function of artistic presence and the possibility of establishing a mode of aesthetic exchange that proceeds from the experience of equality.


2013 ◽  
Vol 29 (4) ◽  
pp. 385-393
Author(s):  
Cristina Modreanu

Young Romanian theatre artists are very concerned to address issues from the recent past and in using collaborative art to educational and therapeutic ends. The implications of the increased ethical consciousness in their work is addressed here by Cristina Modreanu, who focuses on the productions of directors Gianina Cӑrbunariu and David Schwartz. She analyzes the relationship between ethics and aesthetics in contemporary work against the backdrop of post-Communist Romanian society and in a global context, as well as the dynamics connecting the new wave of Romanian theatre to internationall tendencies in contemporary art, as observed by authors such as Jaques Rancière and Claire Bishop. Cristina Modreanu's doctorate on Romanian theatre after 1989 is from Bucharest University of Theatre and Film, and she has also developed the subject in lectures at Tel Aviv University and Plymouth University. A Fulbright alumna and former Visiting Scholar at New York University, Performance Studies Department, Modreanu currently lectures in Contemporary Performance at Bucharest University. Her publications include articles on Romanian and Eastern European theatre for journals such as Theater, Theater der Zeit, and Alternatives Théâtrales, and for the anthology Romania after 2000: Five New Plays, edited by Martin E. Segal.


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