Attossa’s Absence in the Final Scene of the Persae of Aeschylus

Arktouros ◽  
2011 ◽  
Author(s):  
SYLWESTER DWORACKI
Keyword(s):  
2020 ◽  
pp. 154-169
Author(s):  
O.B. Zaslavskii ◽  
Keyword(s):  

It is shown that the same scene or situation passes through Pushkin’s works in which an observer watching for two or more objects is present. If an object of dangerous observation is a woman, the scene, as a rule, ends up with her faint or death. The presence of such an observer can be considered as uncontrolled intrusion of fate into human’s life. Uncovering the scheme under consideration is especially important since poetics of Pushkin is extremely laconic, so even in a finished text one is led to reconstruct some implicit details. Then, a given invariant (related just to the property of reticence) can serve as a tool for independent check. In particular, its application agrees with interpretation of the final scene in “The Stone Guest” that was suggested by us earlier from completely different rationale.


PMLA ◽  
2003 ◽  
Vol 118 (3) ◽  
pp. 470-487 ◽  
Author(s):  
Donald Hedrick
Keyword(s):  
Henry V ◽  

Shakespeare's Henry V explores historiographic moments—relations among past, present, and future in memory, writing, and action. Advantage, Shakespeare's early capitalist term for highest return from least outlay, links historiography to war work, theater work, and love, theorized as “affective labor.” The play figures history not so much as fiction but rather in Walter Benjamin's terms as an achievement depending on the epistemic reliability of disadvantaged historians in danger, who rescue or recruit the dead and maximize affect. Falstaff's reported death reveals, through his friends' dispute about his dying words, Elizabethan and contemporary issues of history and shows lowliest characters with an unofficial authority appropriated also by Shakespeare's epilogue. In the controversial final scene, in which Henry woos the defeated French princess, circumstances and subtle conversational play show the labor of potential love—or hate. Henry is less successful, Catherine less victimized than they are usually interpreted to be, as she becomes the underdog Henry was before his victory, her body as mother in potentia constituting a dangerous future counterhistory and means by which domination may be dominated.


2004 ◽  
Vol 16 (2) ◽  
pp. 163-185 ◽  
Author(s):  
LINDA B. FAIRTILE

This study of the ending customarily appended to Giacomo Puccini's unfinished Turandot offers a new perspective on its genesis: that of its principal creator, Franco Alfano. Following Puccini's death in November 1924, the press overstated the amount of music that he had completed for the opera's climactic duet and final scene. In fact, Puccini's manuscripts were so disjointed that Arturo Toscanini, the conductor chosen to lead the première, drafted the reluctant Alfano to fashion them into a viable conclusion. While occupied with this assignment, Alfano spoke with the writer Raymond Roussel about his plans for the opera's completion. This long-forgotten interview, absent from previous studies of Turandot's conclusion, reveals a strategy that would inevitably fall foul of Toscanini's expectations. Rejecting Alfano's first attempt for its extensive original composition, Toscanini forced changes on the conclusion that undermine both its musical coherence and dramatic logic. I assess Alfano's original ending in light of his frustration with Puccini's sketches, as well as the generally deleterious result of Toscanini's interventions. While neither conclusion represents an ideal solution, a judicious conflation of the two versions offers the best chance of reconciling a suitable denouement with the musical character of Puccini's finished score.


2020 ◽  
Vol 27 (1) ◽  
pp. 146-174
Author(s):  
Igor A. Vinogradov

<p>The article touches upon the analysis of the historical and literary circumstances of the appearance of one of the numerous author&rsquo;s comments by Gogol on the comedian &ldquo;The Government Inspector&rdquo;, such as the article &ldquo;The Prenotification for those who would like to play &ldquo;The Government Inspector&rdquo; as it should be&rdquo;. A&nbsp;whole number of facts indicate that the origin of the &ldquo;The Prenotification&hellip;&rdquo; is related to the history of the creation by Gogol of the second edition of &ldquo;The Government Inspector&rdquo; in late December 1840&nbsp;&mdash; February 1841. Together with the new edition, Gogol, unsatisfied with the staging of his comedy in St.&nbsp;Petersburg and Moscow theatres, first of all with the impersonation of Khlestakov, conceived a new presentation of &ldquo;The Government Inspector&rdquo;, believing that the revised edition would contribute to the theatrical updating of the play&nbsp;&mdash; performed &ldquo;as it should be&rdquo;. The text of the &ldquo;The Prenotification&hellip;&rdquo; precedes the creation of those fragments of &ldquo;The Government Inspector&rdquo; that Gogol sent for the new edition of the play in spring 1841 from Rome to Moscow for M.&nbsp;P.&nbsp;Pogodin and S.&nbsp;T.&nbsp;Aksakov and is a kind of a test experiment, a &ldquo;rough draft&rdquo; for &ldquo;The excerpt from a letter written by the author shortly after the first presentation of &ldquo;The Government Inspector&rdquo; to one writer&rdquo;, sent at that time to Aksakov, and simultaneously it is a preliminary description for subsequent explanations of the &ldquo;silent scene&rdquo; of &ldquo;The Government Inspector&rdquo; in the text of the very comedy. In addition, there is a connection between the &ldquo;The Prenotification&hellip;&rdquo; with drawings made by the artist A.&nbsp;A.&nbsp;Ivanov for the same final scene of &ldquo;The Government Inspector&rdquo;, which were created during the author&rsquo;s reading of the comedy in Rome in February 1841. Thus, it is established that the &ldquo;The Prenotification for those who would like to play &ldquo;The Government Inspector&rdquo; as it should be&rdquo; properly was written not in the autumn 1846, as it is common to think, but five and a half years earlier, in early 1841. It is an opening article in the manuscript for the second edition of &ldquo;The Government Inspector&rdquo; in 1841, instead of which Gogol published here an accompanying article &ldquo;The excerpt from a letter written by the author shortly after the first presentation of &ldquo;The Government Inspector&rdquo; to one writer&rdquo;. The study allows us to conclude that Gogol&rsquo;s interpretations are deeply organic to the original religious concept of comedy. The plot stem of the &ldquo;The Government Inspector&rdquo; is the &ldquo;thunderstorm&rdquo; of a distant government law, and of the even more inevitable Last Judgment. &ldquo;The Prenotification&hellip;&rdquo; addressed to the actors, and containing an appeal to take seriously and conscientiously the performance of the roles they were cast in, to pay special attention to the final scene, is an important component of Gogol&rsquo;s strategy to bring back to his play the meanings lost due to inept staging. The presence of a number of motifs in the &ldquo;The Prenotification&hellip;&rdquo;, traditionally attributed only to the &ldquo;late&rdquo; Gogol, in the light of a new dating allows asserting the idea of the indissoluble unity and integrity of the artist&rsquo;s creative path.</p>


Author(s):  
Giulia Miller

This chapter is concerned with the narrative structure of Ari Folman's Waltz with Bashir. It reflects on the differences between Waltz with Bashir's story and plot, as defined by David Bordwell and Kristin Thompson in their seminal text Film Art: An Introduction and looks at how information is revealed to the audience. It also looks at the ten animated interview scenes ordered around in Waltz with Bashir, which allegedly took place in 2006 and are carried out as part of an investigation to help the film's narrator-protagonist to overcome his amnesia about his role during the First Lebanon War. The chapter analyzes Waltz with Bashir's final scene that uses live news footage of the Sabra and Shatila camps and appears to mark the moment when the protagonist is hit by the full emotional force of his memories. It talks about the juxtaposition of live footage with total recall that suggests that Waltz with Bashir moves from unreliable or 'false' memory to 'real' truth.


1989 ◽  
pp. 82-85
Author(s):  
Bill Overton
Keyword(s):  

Studying Ida ◽  
2018 ◽  
pp. 35-48
Author(s):  
Sheila Skaff

This chapter cites the elements of several film genres contained in Paweł Pawlikowski's Ida, such as the genre of historical film or road film that frames a coming-of-age story. It explains how the traditional road film focus on the relationships within the car or other mode of transportation rather than on the story unfolding outside. It also talks about interior conflicts that take precedence over exterior ones, which are often just a means of getting the characters on the road, while external conflicts lead to the transformation of the characters rather than the other way around. The chapter reviews the traditional three-act structure of screenplays that consists of a setup, a confrontation, and a resolution. It emphasizes how Ida diverges from the three-act structure in the final scene, in which Ida's maturation and Wanda's surrender take the place of a resolution.


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