Bulgarian Theatre Companies in the Second Half of the Twentieth Century

2000 ◽  
Vol 25 (2) ◽  
pp. 175-182
Author(s):  
Snejina Roussinova-Zdravkova
Keyword(s):  
Nineteenth Century ◽  
Twentieth Century ◽  
The Awakening ◽  
Spare Time ◽  
Theatre Companies

The first signs heralding the birth of the Bulgarian theatre date from the middle of the nineteenth century. The first people to put on plays and dramas written for special celebrations were amateurs, schoolmasters as well as other representatives of the Bulgarian intelligentsia, who would gather in their spare time. They may be considered as the first witnesses of the awakening of a national Bulgarian self-consciousness during the years of Ottoman power.

Industrial urbanization, working-class lads and slang toponyms in early twentieth-century Helsinki

Urban History ◽  
2009 ◽  
Vol 36 (3) ◽  
pp. 449-472 ◽  
Author(s):  
HEIKKI PAUNONEN ◽  
JANI VUOLTEENAHO ◽  
TERHI AINIALA
Keyword(s):  
Nineteenth Century ◽  
Twentieth Century ◽  
Working Class ◽  
Urban Space ◽  
Urban Transformation ◽  
Upper Class ◽  
Late Nineteenth Century ◽  
Spare Time ◽  
Late Nineteenth ◽  
The City

ABSTRACT:The article investigates the linkages between urban transformation and informal verbalizations of everyday spaces among male juveniles from Sörnäinen (a working-class district in Helsinki) in 1900–39. Sörkka lads' biographically and contextually varying uses of slang names mirrored their itineraries across the city in the search of earning and spare-time opportunities. As a simultaneously practical and stylistic street language, the uses of slang both eroded (in uniting bilingual male juvenile groups) and strengthened (as with providers and teachers, working-class girls, upper-class urbanites and rural newcomers) existing socio-spatial boundaries. Unlike in the late nineteenth century Stockholmska slang studied by Pred, openly irreverent toponymic expressions vis-à-vis the hegemonic conceptions of urban space were relatively few in early Helsinki slang.

scholarly journals Language, translation, and the Irish Theatre Diaspora in Quebec

2020 ◽  
Vol 73 (2) ◽  
pp. 63-83
Author(s):  
Aileen R. Ruane
Keyword(s):  
Nineteenth Century ◽  
Twentieth Century ◽  
North America ◽  
Language Translation ◽  
Irish Theatre ◽  
Celtic Tiger ◽  
Great Famine ◽  
Theatre Companies ◽  
Recent Immigration

This article argues for the inclusion of contemporary Québécois translations of twentieth-century Irish plays as part of the Irish theatrical diaspora. The presence of an Irish diaspora in North America was mainly the result of massive waves of immigration, in large part due to the Great Famine, peaking during the mid-nineteenth century before gradually abating. This diaspora in Quebec has resisted full linguistic assimilation, yet was also integrated into many aspects of its culture, a fact that was facilitated by similar political, religious, and even linguistic parallels and elements. Interest in Irish culture, especially in its theatrical output, remains high, with many theatre companies in the province commissioning seasons based on Celtic Tiger-era dramas, translated by Québécois playwrights who also happen to be translators. In tracing and analysing the reason for this interest, despite diminished recent immigration, this article provides the basis for continued research into the performative force of proactive translations across varying diasporic traditions.

Fire in Traditional Russian Weddings in the Ulyanovsk Volga Region

2020 ◽  
pp. 103-111
Author(s):  
Михаил Гершонович Матлин
Keyword(s):  
Nineteenth Century ◽  
Twentieth Century ◽  
Married Couple ◽  
Volga Region ◽  
Complex Action ◽  
The Awakening ◽  
Ritual Action ◽  
Ulyanovsk Region ◽  
The Many ◽  
Young Wife

В статье рассматривается использование огня на русской традиционной свадьбе Ульяновского Поволжья в контексте общерусской и частично общеславянской традиции. Отмечается, что осмысление этого обрядового акта - зажигание костра на свадьбе началось еще в конце XIX в. и продолжается вплоть до сегодняшнего дня. Широкое распространение эта традиция получила и на территории Ульяновской области. Анализ записей позволил построить типологию свадебных костров в зависимости от времени и места их проведения: костер разжигали на первый день после венчания; ночью под окнами дома, в котором ночевали молодые; утром под окнами дома; днем перед домом молодой. Определены функции этого обрядового действия, прежде всего осознаваемые самими носителями традиции: мотивационная, информационная, церемониальная, театрально-игровая, ритуально-магическая. Выявлена семантика огня в отдельных свадебных актах и отмечено, что это прежде всего сексуальная семантика. Указывается, что зажигание свадебного костра в основном связано с ритуалом бужения молодых и обрядом «Поиски ярки», причем в некоторых вариантах они представляют собой одно сложное действо. В целом на территории Ульяновской области зажигание костра было активным и продуктивным в течение всего ХХ в. Неслучайно об этой традиции как о живой рассказывали информанты, родившиеся на рубеже XIX-XX вв., в 1920-1930-е и даже в 1940-1950-е гг., а последнее свидетельство о костре на свадьбе относится к 2003 г. This article considers the ritual use of fire in traditional Russian weddings in the Ulyanovsk Volga Region, seen in the context of the broader Russian and, in part, the Slavic tradition. This ritual act - the lighting of a bonfire at a wedding - began at the end of the nineteenth century and continues today. This tradition is widespread in the Ulyanovsk Region. Analysis of records has allowed the author to build a typology of wedding fires depending on the time and place of their occurrence. Fire might be kindled on the first day after the wedding, at night under the windows of the house in which the young spent the night; in the morning under the windows of the house; in the afternoon in front of the house of the young wife. The many functions of this ritual action are: motivational, informational, ceremonial, theatrical and play, ritual and magic. The author analyzes the semantics of fire in particular wedding acts; it is, first of all, sexual semantics. Lighting a wedding fire is mainly associated with the ritual of the awakening (buzhenie) of the young married couple and the ritual search for little sheep (“yarka”), and in some cases they are one complex action. In general, on the territory of the Ulyanovsk Region, bonfire lighting was active throughout the twentieth century. Informants born at the turn of the nineteenth-twentieth centuries, in the 1920s-1930s and even in the 1940s-1950s, describe this tradition as a living one, and the most recent testimony of a bonfire at a wedding is from 2003.

Songs of the spirit from Dufftown

2019 ◽  
Vol 70 (1) ◽  
pp. 36-54
Author(s):  
Shelagh Noden
Keyword(s):  
Nineteenth Century ◽  
Twentieth Century ◽  
Church Music ◽  
Early Years ◽  
Liturgical Music

Following the Scottish Catholic Relief Act of 1793, Scottish Catholics were at last free to break the silence imposed by the harsh penal laws, and attempt to reintroduce singing into their worship. At first opposed by Bishop George Hay, the enthusiasm for liturgical music took hold in the early years of the nineteenth century, but the fledgling choirs were hampered both by a lack of any tradition upon which to draw, and by the absence of suitable resources. To the rescue came the priest-musician, George Gordon, a graduate of the Royal Scots College in Valladolid. After his ordination and return to Scotland he worked tirelessly in forming choirs, training organists and advising on all aspects of church music. His crowning achievement was the production, at his own expense, of a two-volume collection of church music for the use of small choirs, which remained in use well into the twentieth century.

Scottish Missionaries, ‘Protestant Hinduism’ and the Scottish Sense of Empire in Nineteenth- and Early Twentieth-century India

2007 ◽  
Vol 86 (2) ◽  
pp. 278-313 ◽  
Author(s):  
Philip Constable
Keyword(s):  
Nineteenth Century ◽  
Twentieth Century ◽  
Late Nineteenth Century ◽  
Western India ◽  
Early Nineteenth Century ◽  
Church Of Scotland ◽  
Free Church ◽  
Intellectual Engagement ◽  
Late Nineteenth ◽  
The Church

This article examines the Scottish missionary contribution to a Scottish sense of empire in India in the nineteenth and early twentieth centuries. Initially, the article reviews general historiographical interpretations which have in recent years been developed to explain the Scottish relationship with British imperial development in India. Subsequently the article analyses in detail the religious contributions of Scottish Presbyterian missionaries of the Church of Scotland and the Free Church Missions to a Scottish sense of empire with a focus on their interaction with Hindu socioreligious thought in nineteenth-century western India. Previous missionary historiography has tended to focus substantially on the emergence of Scottish evangelical missionary activity in India in the early nineteenth century and most notably on Alexander Duff (1806–78). Relatively little has been written on Scottish Presbyterian missions in India in the later nineteenth century, and even less on the significance of their missionary thought to a Scottish sense of Indian empire. Through an analysis of Scottish Presbyterian missionary critiques in both vernacular Marathi and English, this article outlines the orientalist engagement of Scottish Presbyterian missionary thought with late nineteenth-century popular Hinduism. In conclusion this article demonstrates how this intellectual engagement contributed to and helped define a Scottish missionary sense of empire in India.

Historical Fragments’ Mobile Echo

Transfers ◽  
2017 ◽  
Vol 7 (2) ◽  
pp. 115-119 ◽  
Author(s):  
Susan E. Bell ◽  
Kathy Davis
Keyword(s):  
Nineteenth Century ◽  
Twentieth Century ◽  
Eighteenth Century ◽  
Cultural Revolution ◽  
Ming Dynasty ◽  
Third Century ◽  
Refugee Crisis ◽  
The Third ◽  
Opium War ◽  
The Subject

Translocation – Transformation is an ambitious contribution to the subject of mobility. Materially, it interlinks seemingly disparate objects into a surprisingly unified exhibition on mobile histories and heritages: twelve bronze zodiac heads, silk and bamboo creatures, worn life vests, pressed Pu-erh tea, thousands of broken antique teapot spouts, and an ancestral wooden temple from the Ming dynasty (1368–1644) used by a tea-trading family. Historically and politically, the exhibition engages Chinese stories from the third century BCE, empires in eighteenth-century Austria and China, the Second Opium War in the nineteenth century, the Chinese Cultural Revolution of the mid-twentieth century, and today’s global refugee crisis.

Veiling Esther, Unveiling Her Story

2018 ◽  
Author(s):  
Adam J. Silverstein
Keyword(s):  
Nineteenth Century ◽  
Twentieth Century ◽  
Case Studies ◽  
Muslim World ◽  
Historical Narratives ◽  
Modern Times ◽  
Religious Background ◽  
Literary Context ◽  
Shed Light ◽  
Selection Of

This book examines the ways in which the biblical book of Esther was read, understood, and used in Muslim lands, from ancient to modern times. It zeroes-in on a selection of case studies, covering works from various periods and regions of the Muslim world, including the Qur’an, premodern historical chronicles and literary works, the writings of a nineteenth-century Shia feminist, a twentieth-century Iranian dictionary, and others. These case studies demonstrate that Muslim sources contain valuable materials on Esther, which shed light both on the Esther story itself and on the Muslim peoples and cultures that received it. The book argues that Muslim sources preserve important, pre-Islamic materials on Esther that have not survived elsewhere, some of which offer answers to ancient questions about Esther, such as the meaning of Haman’s epithet in the Greek versions of the story, the reason why Mordecai refused to prostrate himself before Haman, and the literary context of the “plot of the eunuchs” to kill the Persian king. Furthermore, throughout the book we will see how each author’s cultural and religious background influenced his or her understanding and retelling of the Esther story: In particular, it will be shown that Persian Muslims (and Jews) were often forced to reconcile or choose between the conflicting historical narratives provided by their religious and cultural heritages respectively.

Socialism and the Flow of  Time in Modernity

2017 ◽  
Author(s):  
Julian Wright
Keyword(s):  
Nineteenth Century ◽  
Twentieth Century ◽  
Philosophy Of History ◽  
Historical Writing ◽  
Doctoral Thesis ◽  
Early Twentieth Century ◽  
Flow Of Time

This chapter asks wider questions about the flow of time as it was explored in this historical writing. It focuses on Jaurès’ philosophy of history, initially through a brief discussion of his doctoral thesis and the essay entitled ‘Le bilan social du XIXème siècle’ that he provided at the end of the Histoire socialiste, then through the work of three of his collaborators, Gabriel Deville, Eugène Fournière, and Georges Renard. One of the most important challenges for socialists in the early twentieth century was to understand the damage and division caused by revolution, while not losing the transformative mission of their socialism. With these elements established, the chapter returns to Jaurès, and in particular the long study of nineteenth-century society in chapter 10 of L’Armée nouvelle. Jaurès advanced an original vision of the nineteenth century and its meaning for the socialist present.

The Evolution of American Dramatic Realism

2019 ◽  
pp. 505-526
Author(s):  
Eileen J. Herrmann
Keyword(s):  
Nineteenth Century ◽  
Twentieth Century ◽  
Tennessee Williams ◽  
Arthur Miller ◽  
American Drama ◽  
August Wilson ◽  
David Mamet ◽  
Sam Shepard ◽  
Rachel Crothers ◽  
Susan Glaspell

Realism in American drama has proved its resiliency from its inception at the end of the nineteenth century to its transformation into modern theater in the twentieth century. This chapter delineates the evolution of American realistic drama from the influence of European theater and its adaptation by American artists such as James A. Herne and Rachel Crothers. Flexible enough to admit the expressionistic techniques crafted by Susan Glaspell and Eugene O’Neill and leading to the “subjective realism” of Tennessee Williams and Arthur Miller, realism has provided a wide foundation for subsequent playwrights such as David Mamet, August Wilson, and Sam Shepard to experiment with its form and language.

Sign in / Sign up

Export Citation Format

Share Document