scholarly journals Notes on postdramatic theatre’s death

Author(s):  
Anatoly V. Ryassov

For many years drama theatre has been accepted almost as a synonym for the theatre itself, but at the beginning of the 20th century scenic art became enmeshed in firmly embraced stereotypes. A number of stage directors and theatre theorists were engaged in discussion about the crisis in drama and began to develop new scenic forms. Towards the middle of the 60s European stage experienced some radical transformations and witnessed the uprising of postdramatic theatre. Perhaps now, fifty years later, when the revolution is over, it is time to talk about a new crisis and point out the unsettled matters, concerning complex issues of communication and interpretation, but also of the relationships with dramatic text. And there is another important question, which is often set aside: What does it all mean for drama as a literary form? Could it be that these events have redoubled the genre’s stagnation? Could the main reasons be found not on the theatrical stage, but in the literature space? Dramaturgy has not yet realized itself as an independent art of writing, such as poetry and prose. Perhaps, all conversations about the separate ways of theatre and drama are jumping ahead, because in fact this separation has not yet begun.

Physics Today ◽  
1987 ◽  
Vol 40 (11) ◽  
pp. 92-93 ◽  
Author(s):  
Robert P. Crease ◽  
Charles C. Mann ◽  
David Park

2015 ◽  
Vol 53 (2) ◽  
pp. 251
Author(s):  
Ahmad Najib Burhani

Ahmadiyya’s translations of the Quran have some distinctive characteristics compared to the translations from Sunni Muslims. However, these translations, particularly Soedowo-Dutch translation of Muhammad Ali’s The Holy Quran, have been influential in Indonesian Sunni community in the first half of the 20th century. Against the opposition from the Muhammadiyah and the fatwa from Muhammad Rashid Rida of Egypt, which prohibited the use of Ahmadiyya’s translation, the Soedewo-Dutch translation was widely used by Dutch-educated intelligentsia as a main source to know about Islam. This article specifically answers the following questions: Why did Ahmadiyya’s translations of the Quran have a significant place in Indonesia? What was the appeal of these translations to Indonesian intelligentsia? What is the contribution of these translations to the study of the Quran in this country? This paper argues that the success of Ahmadiyya’s translation, particularly the Dutch version, during the revolution era is based on three reasons: language (Dutch is the language of intelligentsia), content (which fit with the need of intelligentsia who seek a harmonious understanding between religie and wetenschap), and form (the only available rendering of the Quran in modern form of publication). In the context of ideology, the reception of Muslim intelligentsia was mainly for their contribution in defending Islam against the penetration of Christian mission and the coming of anti-religion ideologies, particularly materialism and atheism, by strongly challenging their doctrines. <br />[Terjemah al-Quran versi Ahmadiyah memiliki beberapa karakteristik yang berbeda jika dibandingkan dengan terjemah versi Islam sunni pada umumnya.  Namun demikian, terjemah seperti di atas, khususnya terjemah al-Quran dalam bahasa Belanda --yang dialih-bahasakan dari The Holy Qur’ān karya Muhammad Ali oleh Soedowo-- cukup berpengaruh di masyarakat muslim Indonesia pada paruh pertama abad ke-20. Bertentagan dengan fatwa dari Muhammadiyah maupun dari Muhammad Rashid Rida yang melarang penggunaan terjemah versi Ahmadiyyah, terjemha Soedewo ini justru menjadi rujukan bagi kalangan terdidik untuk memahami Islam. Tulisan ini secara khusus menjawab pertanyaan: mengapa terjemah al-Quran versi Ahmadiyyah ini cukup berpengaruh di Indonesia, apa yang menarik dari tterjemah ini bagi mereka, serta apa sumbangan pemikiran terjemah ini pada perkembangan keilmuan al-Quran di negeri ini. Menurut penulis, terjemah versi Ahmadiyyah, khususnya yang berbahasa Belanda, mengalami kesuksesan pada masa revolusi dipengaruhi oleh tiga hal: (1) bahasa Belanda  yyang dipakai adalah bahasa kalangan terdidik, (2) isinya sesuai dengan kebutuhan kalangan terpelajar yang ingin mencari pemahaman yang harmonis antara agama dan ilmu pengetahuan, dan (3) terjemah ini merupakan satu-satunya bentuk publikasi modern dari terjemah al-Quran yang ada pada masa itu. Dalam konteks ideologi, penerimaan kaum intelektual ini terutama terkait dengan upaya perlawanan Islam terhadap tekanan misi Kristen dan masuknya ideologi-ideologi anti agama, khususnya materialisme dan atheisme.]


2020 ◽  
pp. 1-8
Author(s):  
Boaz Huss

The introduction presents Martin Buber’s early 20th century attempt to expose the existence of “Jewish mysticism,” and the later establishment of the academic study of Jewish mysticism by Geshom Scholem, and the revolution that occurred in the study of Jewish mysticsm in the 1980’s. The introduction outlines the genealogical study and critical examination of the concept and research field of Jewish mysticism that will be presented in the book, and explains that it seeks to expose the deep-rooted factors that have guided (and continue to guide) the identification of Kabbalah and Hasidism as mysticism, and how these influence the ways in which these movements are interpreted and studied. It discussed that two central claims that guide the discussion in this book. The first is that mysticism, in general, and Jewish mysticism, in particular, are not natural and universal phenomena that were discovered by researchers in the nineteenth and twentieth centuries. Rather, these are discursive constructs which served to catalogue, compare, and explain a broad range of cultural products and social structures not necessarily related to one another. The second claim that guides the discussion of the study of Jewish mysticism involves the theological assumptions that underpin the category of mysticism.


Author(s):  
A. A. Avdashkin ◽  

The article analyzes the transformation of the image of Chinese labor migrants into the participants of the military conflict on the side of the Bolsheviks. The analysis of how the image of the Chinese workers was reformatted into the Red Army soldiers made it possible to reveal the cultural and historical specificity of the image of the Chinese, to show its main components and meaningful specifics before the revolution and during the Civil War. The source base was made up of materials from periodicals; archival documents of the Russian State Military Archive; and propaganda posters of the “white” movement. The texts published in the pre-revolutionary periodicals reflect the mass perception of Chinese migrants. The materials of the Bolshevik newspapers contain elements of the official discourse on Chinese migrants in the parts of the Red Army. Documents from the Office of the Moscow Military District, as well as the Army Directorate of the Southern Front, complement the picture created by newspaper reports. “White” movement posters were a powerful means of visualizing the enemy (in this case, the Chinese) on the side of the Bolsheviks. Historical imagology served as the methodological basis; to analyze press texts, content and discourse analysis was used. Diligence, impersonality, unpretentiousness, and the rapid development of new areas of activities formed the basis of the image of a Chinese migrant in the early 20th century Russia. The interpretation of this cultural construct depended on the use of one or another social optics. Before the revolution, partial or full recognition / denial of the ideology of the “yellow peril” made the Chinese either an effective tool for expansion or a workforce, the use of which should be streamlined and regulated as much as possible. Under the conditions of revolutionary upheavals, the characteristics of the Chinese in mass culture for some turned into a marker of threat and danger, and for others - into a criterion for choosing an ally.


2017 ◽  
Vol 3 (1) ◽  
pp. 34-44
Author(s):  
Tatiana Orlova

It is well-known that any dramatic text consists of two main blocks – the dialogic represented by actors’ speech and the non-dialogic part represented by the author’s indications (remarks). This article seeks to analyze the informative potential of the non-dialogic part of a dramatic text from the point of view of its content-related and semantic characteristics, and in its peculiarity is considered as a distinctive feature of the American linguocultural area. The topic of the content of the non-dialogic part is rendered by chronotope and anthropocentric information, which reveal the point that a dramatic text is encoded in the verbalization of extra-linguistic space/time and of a human being. Special attention is paid to spatiotemporal indications as the constituents of chronotopic information. The interior and scenery descriptions as subtypes of spatial loci are subjects of the research as well. The investigation was carried out on the bases of 45 dramatic texts created by American authors of the 20th century. The research methods were component data mining, descriptive analytical method and linguistic comparison. The results showed that the distinctive feature of the American plays of the first half of the 20th century was the presence of large pieces of text and specific information in spatiotemporal indications in the non-dialogic part. Furthermore, the results affirmed that during the reading of modern American dramatic texts it might seem as though the authors forgot about the original orientation of plays for performance on stage. Some of the spatiotemporal indications were bound not to be embodied by a stage director and were available only for a reader, who in this aspect was equal to a reader of a prosaic text. As for a viewer, they are highly unlikely to perceive the author’s descriptions of the scenery in full informational content and consequently they would face a definite information gap.


Author(s):  
Т. Rocchi

The first outbreak of mass political terrorism in the 20th century took place in the Russian Empire, especially in the First Russian Revolution of 1905-1907. However, these events have not received proper attention in the historical memory of Russia and Europe and in the history of world terrorism. The author examines the factors enabling the continued existence of a huge “blank spot” in the memory of Russia and the world. The under-evaluation of the significance of terrorism in the first decade of the 20th century is closely connected with the under-evaluation of the First Russian Revolution as an independent revolution. In the Soviet Union, historians emphasized that the Revolution of 1905-1907 was “the dress rehearsal” for the Great October Socialist Revolution of 1917. In post-Soviet Russia, many historians and publicists consider the Revolution of 1905-1907 “the dress rehearsal” for the “Golgotha” of 1917. There is a strong tendency to idealize the autocracy and right-wing movements and to demonize socialists and liberals. Many solid monographs and articles about terrorism are now being published in Russia. However, we still do not have exhaustive investigations covering the entire period of terrorism between 1866 (attempted assassination of Tsar Alexander II on April 4, 1866 by the revolutionary D.V. Karakozov) and 1911, examining the ideologies and tactics of different parties and movements, the government’s policies on political crimes, the relationships of society, especially among different political movements, to terrorism, and the differences between terrorism and other types of mass violence such as mass protest movements of different strata of the population and criminal violence. Only through a painstaking and multi-sided analysis of the terrorist phenomenon in the European-wide historical context we can determine the place of terrorism in the historical memory of Russia and Europe.


2021 ◽  
Vol 16 (3) ◽  
pp. 59-67
Author(s):  
Łukasz Mścisławski

The book written by Wojciech Sady is an interesting and inspiring attempt to reconstruct the mechanism of the revolution that took place in physics at the beginning of the 20th century. As part of the attempts to characterize the process of the emergence of special relativity theory and the old quantum theory, author also raises the issue of the role of genius and imagination in the process of searching for new scientific theories. The work is based on rich factual material, however, has several weaknesses and — as it seems — several places that would not require greater precision. This work aims to identify these points.


Author(s):  
Елена Олеговна Романова

Париж начала XX столетия явился Меккой для художников из разных стран. Здесь можно было познакомиться с современными тенденциями и художественными течениями в искусстве, влиться в интернациональное сообщество авангардных художников и даже выставить свои работы, исполненные в самом модернистском ключе. Большинство представителей русского художественного круга, решившихся на эмиграцию после революции 1917 года, концентрировалось именно в Париже. Те, кто побывал хоть однажды в этом центре европейской художественной жизни, не могли забыть этот город, подаривший им художественную идентичность, чувство новизны в искусстве, ощущение первооткрывателя. Поэтому многие из них посвящали Парижу свои произведения, в том числе и русские художники-эмигранты. В статье анализируется образ Парижа в творчестве Л.Д. Гудиашвили, А.Б. Серебрякова, Ю.П. Анненкова, А.М. Арнштама. At the beginning of the 20th century Paris became a mecca for the artists from different countries. Here they could learn modern tendencies and art movements, become a part of international avant-garde artistic community and even exhibit the most modernistic artworks. The major part of the Russian artists who decided to emigrate after the Revolution of 1917 settled in Paris. Those who had been only once in this center of the European art life would never forget Paris who gave them their artistic identity, a feeling of modernity, experience of a pioneer. That’s why many of them including Russian emigre artists dedicated their works to Paris. The article analyzes the image of Paris in the work of Lado Gudiashvili, Alexander Serebryakov, Yuri Annenkov, Alexander Arnstam.


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