scholarly journals Michail Ugarov’s philosophy of theatre in his pre-doc plays (“The newspaper ‘Russian invalid’ dated july 18” and “The death of Ilya Ilyich”)

2020 ◽  
Vol 5 (1) ◽  
pp. 142-157
Author(s):  
E. Kurant ◽  
K. Syska
Keyword(s):  
Everyday Life ◽  
Literary Work ◽  
The Other ◽  
Horizontal Structure ◽  
Classical Drama ◽  
Dramatic Theory ◽  
Zero Position ◽  
Dramatic Text ◽  
New Drama ◽  
The One

The article makes an attempt to analyze some selected plays of Mikhail Ugarov, the founder of the documentary Teatr.doc and the New Drama movement (“The Newspaper ‘Russian Invalid’ Dated July 18” and “The Death of Ilya Ilyich”). Although these plays were written in the so called «pre-doc» period and seem to be entirely different with respect to style and content from verbatim and New Drama aesthetics, they express Ugarov’s most important views on dramatic and theatre art formulated later. In these texts one can find philosophical ideas which subsequently formed the basis of documentary and modern dramatic theory. The author concludes that Ugarov’s early plays have mainly a metaliterary character and can be analyzed as an artistic manifesto in which the playwright elaborates the following ideas: negation of classical drama features (composition, action, character); the horizontal structure of the literary work; “zero-position”; cancellation of an event; rejection of grand narratives; rejection of the author’s will and self-expression; negating art as an entertainment; the documentary approach (attention to the details of everyday life). The author indicates that there is a certain contradiction in Ugarov’s doctrine – on the one hand, he admitted the primacy of the dramatic text over the director, on the other hand, - along with his work as a director and a teacher in the Teatr. doc, he ceased to write plays (after “The Death of Ilya Ilyich” Ugarov wrote only a remake-play, “The Masquerade”, in 2013). During this period he created mostly scenarios based on verbatim material. Therefore, the principle of a traditional dramatic work serving as basis for the theatre performance was being deconstructed, which makes it reasonable to relate the theatre aesthetics of Mikhail Ugarov to the postdramatic paradigm.

„Staunest Fremdling / Diese Stein an?“ Das Außen des Innen in Tourismus und Idylle

2021 ◽  
Vol 50 (1) ◽  
pp. 17-33
Author(s):  
Jan Gerstner
Keyword(s):  
Everyday Life ◽  
19Th Century ◽  
The Other ◽  
Specific Difference ◽  
Early 19Th Century ◽  
Tourist Gaze ◽  
Structural Analogy ◽  
The One

Abstract This article examines the structural analogy between the literary idyll and tourism that lies in the specific difference between idyllic and touristic spaces on the one hand and those of a modern, functionally differentiated, and rational everyday life on the other. The peak in the production of literary idylls as well as the onset of tourism in the late 18th and early 19th century can thus be conceptualized as a reaction to experiences of alienation due to emerging processes of modernization. An analysis of Goethe’s Der Wandrer shows however how literary idylls not only helped to shape the tourist gaze, but also reflected on the touristic and idyllic experience as an experience between foreignness, alienation and belonging.

scholarly journals Certainty and Uncertainty in Tax Law: Do Opposites Attract?

Laws ◽  
2020 ◽  
Vol 9 (4) ◽  
pp. 30
Author(s):  
Alexander V. Demin
Keyword(s):  
Law Enforcement ◽  
Everyday Life ◽  
International Organizations ◽  
Good Faith ◽  
The Other ◽  
Tax Law ◽  
General Requirement ◽  
Law Enforcement Agencies ◽  
The One ◽  
Effective Channel

The principle of certainty of taxation is the dimension of a general requirement of certainty in the legal system. The purpose of this article is to argue the thesis that uncertainty in tax law is not always an absolute evil, sometimes it acts as a means of the most optimal (and in some cases the only possible) settlement of relations in the field of taxes. On the contrary, uncertainty and fragmentation in tax law are colossal problems subject to overcome by the efforts of scientists, legislators, judges, and practicing lawyers. Uncertainty in tax law is manifested in two ways: on the one hand, negatively—as a defect (omission) of the legislator and, on the other hand, positively—as a set of specific legal means and technologies that are purposefully used in lawmaking and law enforcement. In this context, relatively determined legal tools are an effective channel for transition from uncertainty to certainty in the field of taxation. A tendency towards increased use of relatively determined legal tools in lawmaking processes (for example, principles, evaluative concepts, judicial doctrines, standards of good faith and reasonableness, discretion, open-ended lists, recommendations, framework laws, silence of the law, presumptive taxation, analogy, etc.), and involving various actors (courts, law enforcement agencies and officials, international organizations, citizens, organizations and their associations) allow making tax laws more dynamic flexible, and adequate to changing realities of everyday life.

scholarly journals Vsevolod Meyerhold’s Biomechanics and Boris Zakhava's Educational Work

2020 ◽  
Vol 16 (4) ◽  
pp. 58-74
Author(s):  
Herman Marchenko
Keyword(s):  
Everyday Life ◽  
The Other ◽  
Independent Practice ◽  
Educational Work ◽  
Comprehensive Development ◽  
The Difference ◽  
New Drama ◽  
Fantastic Realism ◽  
Moscow Art Theatre ◽  
Konstantin Stanislavski

The article deals with two different approaches to training actors. One of them is Stanislavski’s system, and the other is Meyerhold’s biomechanics. Konstantin Stanislavski and Vladimir Nemirovich-Danchenko are reformers of the Russian theater. As the Art Theater founders, they understood that the emergence of a new drama would require a completely different approach to working with actors and a different design of the stage space. With regard to new performances, it became possible to pose critical social questions related to everyday life before the viewer. Therefore, it was logical that the director's profession became very important. Working on his system, Stanislavski paid great attention to the need for an actor’s comprehensive development. Many wonderful actors who attended his acting school were among the students of this great theater director. Vsevolod Meyerhold was one of them. However, the latter chose his direction and began to engage in staging performances actively and search for new means of expression, having come to an absolute convention on the stage. Meyerhold created his method of working with an actor, known as biomechanics, in the theatrical environment. The principle of this approach is the opposite of Stanislavski's system. With all the difference in views on the theater, in the early stages of Meyerhold's independent practice, Konstantin Stanislavski offered him the opportunity to cooperate, which led Vsevolod Meyerhold to the Studio on Povarskaya Street in Moscow. Evgeny Vakhtangov was another student of Stanislavski and Nemirovich-Danchenko. At the request of Stanislavski, Vakhtangov was engaged in educational work in the studio of Moscow Art Theatre. Unlike Meyerhold, he thoroughly mastered the system and then created his theatrical direction called fantastic realism. Vakhtangov's legacy was preserved thanks to the activities of his students, among whom was Boris Zakhava. He turned to Meyerhold for help and spent several seasons with the master, gaining invaluable experience, including revealing the features of biomechanics in practice. Boris Zakhava remained faithful to Vakhtangov’s principles and continued his teacher’s work at the Shchukin Theater Institute.

Role Inversion and Its Function in the Iphigeneia at Aulis

Ramus ◽  
1986 ◽  
Vol 15 (2) ◽  
pp. 83-92
Author(s):  
Dale Chant
Keyword(s):  
Everyday Life ◽  
Crucial Role ◽  
Final Analysis ◽  
The Other ◽  
The Subject ◽  
The One ◽  
Pyrrhic Victory

In the Iphigeneia at Aulis role and role inversion are paramount concerns. Indeed it could be contended that in this play we find Euripides' clearest and best defined account of human (and divine) variability. Agamemnon, Menelaos, Achilleus, Iphigeneia, and even, in the final analysis, Artemis, all take positions and attitudes diametrically opposed to those initially adopted. Moreover, the basic thrust behind these movements in position and attitude is the same for each of these characters. All are concerned, in one way or another, with the saving or destruction of Iphigeneia, a situation which most emphatically includes Iphigeneia herself. For on the one hand she wildly supplicates to be saved, while on the other she gladly offers her body to the blade. In addition, Iphigeneia plays a crucial role in greater destructions. If she is destroyed by Agamemnon's and the army's actions, then Greece is destroyed in turn by her (Agamemnon's and the Greeks' final triumph is a ‘Pyrrhic’ victory at best), a situation made all the more ironic by her affected stance of saviour to the fatherland. In Iphigeneia's case, however, the discrepancy between intention and the consequences of action is innocent enough. The play gives no hint that she is at all aware of the irony implicit in her actions. But such lack of awareness is not postulated with regard to Agamemnon, Menelaos and Achilleus. The duplicities and hypocrisies of these three have been the subject of much analysis, and it is at least a critical commonplace to observe that they are characterised in a way more reminiscent of the sour end of everyday life than of the due proprieties associated with heroic, or Homeric, behaviour.

DISCUSSION ON “AYKOL MANAS” IN THE CONTEXT OF THE HISTORICAL RELATIONSHIP BETWEEN SHAMANISM AND STORYTELLING AMONG THE KYRGYZ PEOPLE

2020 ◽  
Vol 3 (4) ◽  
pp. 12-34
Author(s):  
Nestor A. Manichkin ◽  
Keyword(s):  
Literary Work ◽  
The Other ◽  
Islamic Culture ◽  
Social Field ◽  
Public Discussion ◽  
The Public ◽  
The World ◽  
Historical Relationship ◽  
Characteristic Features ◽  
The One

The article dwells upon connection between the two most important Kyrgyz traditions: shamanism ( bakshylyk ) and storytelling ( zhomokchuluk ). It considers the general cultural and social field that forms some features that are characteristic of both shamans and storytellers, as well as the traces of pre-Islamic culture that can be found in the world of the Kyrgyz epic. Special attention is paid to the post-folklor version of the epic “Manas” – the dastan “Aykol Manas” and the public discussion around that literary work. The discussion reflects, on the one hand, specific aspects of the understanding of the Kyrgyz epic tradition, and on the other hand, a number of characteristic features that accompany modern transformations of Kyrgyz shamanism.

9. An introduction to copyright

2019 ◽  
pp. 173-176
Author(s):  
Paul Torremans
Keyword(s):  
Literary Work ◽  
The Other ◽  
Printing Press ◽  
Other Hand ◽  
Key Concepts ◽  
The One ◽  
Exclusive Right ◽  
First Time

This chapter first discusses the two roots of copyright. On the one hand, copyright began as an exclusive right to make copies—that is, to reproduce the work of an author. This entrepreneurial side of copyright is linked in with the invention of the printing press, which made it much easier to copy a literary work and, for the first time, permitted the entrepreneur to make multiple identical copies. On the other hand, it became vital to protect the author now that his or her work could be copied much more easily and in much higher numbers. The chapter then outlines the key concepts on which copyright is based.

scholarly journals Poetic Storytelling in Contemporary Photography. Relation to Nature and the Poesis of Everyday Life in Works of Selected Artist in Iceland and Other Nordic Countries

Arts ◽  
2020 ◽  
Vol 9 (4) ◽  
pp. 129
Author(s):  
Sigrún Alba Sigurðardóttir
Keyword(s):  
Everyday Life ◽  
Nordic Countries ◽  
The Other ◽  
The Past ◽  
The World ◽  
Phenomenological Perspective ◽  
The One ◽  
Climate Crisis ◽  
The Relationship ◽  
Narrative Medium

The past 20 years have seen a shift in Icelandic photography from postmodern aesthetics towards a more phenomenological perspective that explores the relationship between subjective and affective truth on the one hand, and the outside world on the other hand. Rather than telling a story about the world as it is or as the photographer wants it to appear, the focus is on communicating with the world, and with the viewer. The photograph is seen as a creative medium that can be used to reflect how we experience and make sense of the world, or how we are and dwell in the world. In this paper, I introduce the theme of poetic storytelling in the context of contemporary photography in Iceland and other Nordic Countries. Poetic storytelling is a term I have been developing to describe a certain lyrical way to use a photograph as a narrative medium in reaction to the climate crisis and to a general lack of relation to oneself and to the world in times of increased acceleration in the society. In my article I analyze works by a few leading Icelandic photographers (Katrín Elvarsdóttir, Heiða Helgadóttir and Hallgerður Hallgrímsdóttir) and put them in context with works by artists from Denmark (Joakim Eskildsen, Christina Capetillo and Astrid Kruse Jensen), Sweden (Helene Schmitz) and Finland (Hertta Kiiski) artists within the frame of poetic storytelling. Poetic storytelling is about a way to use a photograph as a narrative medium in an attempt to grasp a reality which is neither fully objective nor subjective, but rather a bit of both.

Unzuverlässigkeit bei heterodiegetischen Erzählern: Konturierung eines Konzepts an Beispielen von Thomas Mann und Goethe

2018 ◽  
Vol 12 (1) ◽  
pp. 77-92
Author(s):  
Matthias Löwe
Keyword(s):  
Fairy Tale ◽  
Literary Work ◽  
Thomas Mann ◽  
The Other ◽  
Niklas Luhmann ◽  
Essential Information ◽  
Other Hand ◽  
The One ◽  
Definition Of ◽  
Psychic System

Abstract Heterodiegetic narrators are not present in the story they tell. That is how Gérard Genette has defined heterodiegesis. But this definition of heterodiegesis leaves open what ›absence‹ of the narrator really means: If a friend of the protagonist tells the story but does not appear in it, is he therefore heterodiegetic? Or if a narrator tells something that happened before his lifetime, is he therefore heterodiegetic? These open questions reveal the vagueness of Genette’s definition. However, Simone Elisabeth Lang has recently made a clearer proposal to define heterodiegesis. She argues that narrators should be called heterodiegetic only if they are fundamentally distinguished from the ontological status of the fictional characters: Heterodiegetic narrators are not part of the story for logical reasons, because they are presented as inventors of the story. This is, for example, the case in Johann Wolfgang Goethe’s novel Elective Affinities (1809): In the beginning of this novel the narrator presents himself as inventor of the character’s names (»Edward – so we shall call a wealthy nobleman in the prime of life – had been spending several hours of a fine April morning in his nursery-garden«). Based on that recent definition of heterodiegesis my article deals with the question whether such heterodiegetic narrators can be unreliable. My question is: How could you indicate that the inventor of a fictitious story tells something which is not correct or incomplete? In answering this question, I refer to some proposals of Janina Jacke’s article in this journal. Jacke shows that the distinction between homodiegetic and heterodiegetic narrators should not be confused with the distinction between personal and non-personal narrators or with the distinction between restricted and all-knowing narrators. If you make such differentiations, then of course heterodiegetic narrators can be unreliable: They can omit some essential information or interpret the story inappropriately. Heterodiegetic narrators of an invented story can even lie to the reader or deceive themselves about some elements of the invention. That means: A heterodiegetic narration cannot only be value-related unreliable (›discordant narration‹), but also fact-related unreliable. My article delves especially into this type of unreliability and shows that heterodiegetic narrators of a fictitious story can be fact-related unreliable, if they tell something which was not invented by themselves. In that case, the narrator himself sometimes does not really know whether he tells a true or a fictitious story. Such narrators are unreliable if they assert that the story is true, although they are suggesting at the same time that it is not. I call this type of unreliable narrator a ›fabulating chronicler‹ (›fabulierender Chronist‹): On the one hand, such narrators present themselves as chroniclers of historical facts but, on the other hand, they seem to be fabulists who tell a fairy tale. This type of unreliability occurs especially if a narrator tells a legend or a story from the Bible. My article demonstrates this case in detail with two examples, namely two novels by Thomas Mann: The Holy Sinner (1951) and Joseph and His Brothers (1933–1943). My article also discusses some cases where it is not appropriate or counter-intuitive to call a heterodiegetic narrator ›unreliable‹: i. e. the narrator of Thomas Mann’s novel The Magic Mountain (1924) and the narrator of Johann Wolfgang Goethe’s novel Wilhelm Meister’s Apprenticeship (1795/1796). On the one hand, these narrators show some characteristics of unreliability, because they omit essential pieces of information. On the other hand, these narrators are barely shaped as characters, they are nearly non-personal. However, in order to describe a narrator as unreliable, it is – in my opinion – indispensable to refer to some traces of a narrative personality: Figural traits of a narrator provoke the reader to identify all depicting, describing and commenting sentences of a narration as utterances of one and the same ›psychic system‹ (Niklas Luhmann). Only narrators who can be interpreted as such a ›psychic system‹, provoke the reader to assume the role of an analyst or ›detective‹, who perhaps identifies the narrator’s discordance or unreliability. In my article the unreliability of a narration is understood as part of the composition and meaning of a literary work. I argue that a narrator cannot be described as unreliable without designating a semantic motivation for this composition by an act of interpretation. Therefore, my suggestion is that a narration should be merely called unreliable if it encourages the reader not only to imagine the told story, but also to imagine a discordant or unreliable storyteller.

scholarly journals City of Nostalgia: The Semiotics of Urban Retrotopias

2019 ◽  
Vol 15 (1) ◽  
pp. 77-94
Author(s):  
Massimo Leone
Keyword(s):  
Everyday Life ◽  
Interior Design ◽  
The Other ◽  
Special Administrative Region ◽  
Cultural Dynamics ◽  
Urban Settings ◽  
Administrative Region ◽  
Other Hand ◽  
The One ◽  
The City

Abstract The Casa da Nostalgia, or “Nostalgic house,” in the Taipa area of the special administrative region of Macau, is a museum devoted to temporary exhibitions reconstructing everyday life in the city, especially in the epoch of Portuguese ruling. Just opposite the museum, on the other side of a large pond, a giant casino, the Venetian Macau, reproduces Venice both with its external architecture and its interior design. The article analyzes these two urban settings in order to develop a semiotic understanding of as many ways of symbolically reconstructing cities. On the one hand, cities can be reconstructed in a nostalgic form; the essay inquires on the origin and the consequences of urban nostalgia; on the other hand, cities can be reconstructed as ersatz. The article further investigates the dialectics between predominantly temporal or prevailingly spatial urban reconstructions, with reference to the socio-cultural dynamics that have changed Macau in the last decades. The article concludes with the methodological suggestion that the study of urban re-constructions requires the combined efforts of several disciplines, jointly investigating why, how, but also to what effect cities are re-built.

Odnajdując i tracąc miejsce. Łódzki underground wobec doświadczenia miejskiej codzienności.

2019 ◽  
Vol 26 (26) ◽  
pp. 188-203
Author(s):  
Błażej Filanowski
Keyword(s):  
Everyday Life ◽  
Graphic Design ◽  
The Other ◽  
Site Specific ◽  
Industrial City ◽  
New Knowledge ◽  
The One ◽  
Post Industrial

The Łódź underground had emerged from the punk aesthetic, yet it absorbed successive genres surprisingly quickly: hardcore, industrial, later also, among others, techno and rave. It utilized diverse forms of expression: most of all sound, but also projections, site-specific actions, graphic design or fashion. The article, drawing from the memories and output of several most important participants of the movement, poses the question, in what way the underground so easily absorbed new genres and aesthetic patterns on the one hand, while on the other – it remained so strongly separate. The separation is revealed in the tension between experiencing new, experimenting musical and aesthetic trends, and the overwhelming everyday life of the post-industrial city. This tension was the reason why the underground movement was so intensely performative in its character, in which new knowledge and new inspirations were mostly created in action.

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