scholarly journals Post-Soviet new drama: macro- and microcosm of Konstantin Steshik

2021 ◽  
Vol 1 (7) ◽  
pp. 82-92
Author(s):  
Irina V. Azeeva ◽  
◽  
Artem A. Perfilov ◽  

The authors focus on the phenomenon of drama written by Konstantin Steshik, a young Belarusian playwright who writes in Russian. Describing and analysing this phenomenon is the aim of the researchers. The lack of research into the playwright's work is the reason for the novelty of the study. The relevance is determined by the demand for Steshik's plays in contemporary Russian theatre. The playwright's creative competence is proved by his numerous victories in Russian and international drama contests. The authors consider Stesik's work in the unity of the playwright's macro- and microcosm: the inner world of the characters and the circumstances they find themselves in. One of the authors' important tasks is to determine the foundation for Steshik's work. A historical and theatrical overview from Soviet Belarusian drama to the works of the authors associated with the well-known Belarusian Free Theatre association reveals not exactly the foundation, but the soil on which the phenomenon involved mainly grows. The authors note the close connection of Steshik's work to the phenomenon of post-Soviet «new drama». With its appearance on the territory of the CIS countries, social problems come to the forefront in contemporary theatre, and there arises a theme of reflection on the past, both in a positive and a negative way. In the final part of the article, the authors analyse the peculiarities of Steshik's poetics. The analysis made it possible to register the striking artistic uniqueness of the playwright's creative style. Steshik's plays clearly expand the scope of the post-Soviet «new drama». His voice stands out against the sharp social discourse of contemporary playwrights. Vivid metaphors, close to the traditions of «magic realism» literature, are mixed with psychological naturalism in an original way

1954 ◽  
Vol 14 (3) ◽  
pp. 301-312
Author(s):  
George C. A. Boehrer

The leaders of the independence movements in the several Ibero-American areas frequently turned their attention to the problems of the aborigine. Usually the liberators’ concern was restricted to the pious hope that the Indian would be incorporated into creole society. Detailed programs to this end were not presented. The chief exception was José Bonifacio de Andrada e Silva’s Apontamentos para a civilização dos índios bravos do Império do Brasil. Mostly a drawing upon the experience of the past with a blending of the new ideas of the Enlightenment, the Apontamentos present little new. They are today important because, along with José Bonifácio’s more celebrated treatise on the Negro slave, they show an interest in social problems to which few of his contemporaries gave more than a passing glance. In the present century, they have become the guidepost for Brazil’s Indian program. As such they have frequently been hailed by Brazilians when the Indian problem is discussed.


2016 ◽  
Vol 6 (1) ◽  
pp. 94
Author(s):  
Xuan Zhao

<p>In the late 1960s and early 1970s, with his memory plays Harold Pinter staged his own aesthetic revolution by breaking out of the traps represented by the Comedies of Menace. Pinter, as Noël Coward said, is a genuine original and a superb craftsman. In <em>Old Times</em>, he drastically breaks our traditional understanding of “time” and “memory”, endowing memory with a special quality. It becomes a net which can be weaved randomly. From the perspective of spatial theory, the paper aims at analyzing the temporal characteristics and spatial characteristics of <em>Old Times </em>and exploring the inner world of modern people. It comes to a conclusion that characters create the past story according to their psychological or tactical needs of the moment; in other words, memory is the means of psychological domination. The play also intends to reveal something universal: the sense of crisis and loneliness. Deeley and Anna trap themselves in power struggle because they see each other as a threat to their relationship with Kate. So it suggests that each man is an island.</p>


2015 ◽  
Vol 5 ◽  
pp. 155-230 ◽  
Author(s):  
Andrzej Kompa

In a nutshell: 1. I believe that Ekloge Chronographias of George Syncellus and Chronographia of Theophanes the Confessor should be treated as a single project, undertaken in turn by two authors; 2. There are important stylistic differences between the two parts, noticeable in the fragments, in which the authors deliver some editorial remarks or disclose their personal opinions; from a wider selection of such phrases, references to the past or future such as ‘as I have mentioned/as I said/as have been said/as we demonstrated above, etc.’, being diverse and individual, are especially helpful. 3. This observation is of great use not only for the texts analysed here, it may be used to confirm authorship of many other texts. 4. As for George and Theophanes, the TLG search of such structures in all extant classical Greek and Byzantine output confirms the statement nr 1, with clauses like ὡς προέφην/καθὼς καὶ προέφην/ὡς προέφημεν/καθὼς προέφημεν both rare in the whole preserved corpus, and relatively often used by the author of Chronographia. The style of the proemium of Chronographia fits the rest of the work and differs from Ekloge Chronographias. 5. Precise analysis of a wider group of similar clauses shows that Ekloge Chronographias and Chronographia were written by two different authors; Chronographia was created by one author, distinctive and independent, no matter how reproductive at the same time he was. I see no convincing arguments not to call this author Theophanes. Some later and partial editiorial interventions to Chronographia, conceivable (rubrics?) and in some instances even certain, do not challenge this view. 6. Only a few entries from the initial parts of Chronographia fit more the George’s work; their style and content bear much more similarities with Ekloge (in AM 5796, 5814, 5818, 5827, 5828). These paragraphs, George’s aphormai, probably in form of loose notes, were inserted to Chronographia by its author the same way as he used his sources for the subsequent parts; they did not reach beyond the times of Constantine I. 7. I do not dismiss the message of the proemium to the Chronographia as it is much more credible than the discussion, sometimes hypercritical, on the vitae and the scraps of the Confessor’s biography. I see no reason not to believe that the idea established and developed by George was then taken over by his friend; the differences result from the independent work of the former and then of the latter, presumably with only rudimentary guidance at the beginning. 8. The ‘genuine friendship’, the crucial relation between the two authors is still the most useful key to understand the history of the tripartita – therefore, I analyse it in the final part of the paper.


2018 ◽  
Vol 7 (2) ◽  
pp. 218
Author(s):  
Intania Ananda Jonisa ◽  
Susas Rita Loravianti ◽  
Rasmida Rasmida

AbstrakKarya tari yang berjudul “Guriah Limpapeh” terinspirasi dari kehidupan sosial perempuan Minangkabau yang pengkarya amati di sekeliling pengkarya bersikap dan bertingkah laku tidak sesuai dengan etika idealnya perempuan Minangkabau. Dalam aplikasinya menginterpretasikan bergesernya nilai dan etika perempuan hari ini dan mengungkap nilai yang relevan dengan adat dan budaya Minangkabau. Dalam konsep gerak sebagai media utama tari pengkarya mengembangkan gerak yang relevan dengan konsep garapan, selain itu diperkuat dengan menggunakan drum sebagai properti dan setting. Karya ini digarap dalam tiga bahagian yakni pada bagian pertama menginterpretasikan tentang kehidupan dan aktivitas masyarakat di Kecamatan Matur, bahagian kedua menggambarkan perubahan memori pada dahulu dan zaman sekarang, kemudian bahagian ketiga menginterpretasikan bagaimana pola tingkah laku perempuan yang dalam adat Minangkabau yang disebut Simarewan dan Mambang Tali Awan yang menjadi konflik dalam garapan, sedangkan bagian endingnya adalah mengekspresikan idealnya perempuan Minangkabau yang disebut dengan Parampuan. Karya ini diperkuat dengan musik untuk memperkuat suasana, demikian juga elemen-elemen dan artistik lainnya untuk penampilannya memilih ruang terbuka atau outdoor. Kata Kunci: interpretasi, perempuan, adat MinangkabauAbstractThis work of dance entitled  as "Guriah Limpapeh" which is inspired from the social life of Minangkabau women, that the observed around the worker’s attitude and behaved not in accordance with the ideal ethics of Minangkabau women. In its application interpet the shifting values and ethics of women today and reveal values relevant to the customs and culture of Minangkabau. In the concept of motion as the main medium of the dance the developer develops a motion that is relevant to the concept of arable, besides being strengthened by using drums as property and settings. This work is worked on in three parts, namely in the first part of interpreting the life and activities of the community in the mature sub-district, the second part describes the change of memory in the past and present, then the third part interprets how the female behavior patterns in the Minangkabau tradition called simarewan and mambang tali awan  which becomes conflict in claim while the final part is expressing ideally the Minangkabau women who is called parampuan. This work is strengthened by music to strengthen the atmosphere, as well as other artistic and elements for his appearance in choosing open space or outdoor.Keywords: interpretation, women, adat Minangkabau.


2021 ◽  
Vol 17 ◽  
pp. 144-158
Author(s):  
Dr. Ayman Ibrahim Yusuf Rayan

This research tackles the subject of the indication of antonyms and its impact on the exegesis of al-Samin in both his books “al-Durr al-Masun” (Preserved Pearls) and “‘Umdat al-Hufaz” (Reliance of the memorize-rs). In this research, I have combined between the language and tafsir (exegesis) and clarified the efforts exerted by al-Samin in serving the interpretation of the Quran. Moreover, I have introduced his great contribution to linguistic research and compiled the conclusions he has reached in both his books (al-Durr) and (al-’Umda) on antonyms. I have organized his ideas, studied his tangible effects in his exegesis of the holy Quran in addition to methodologically establishing the role of the language being one of the tools in the past and contemporary exegesis of the holy  Quran and clarified its multiple indications and various manners. I was also keen in highlighting the importance of the indication of antonyms and the extent of its impact on interpreting the noble Quran. Moreover, I have studied the points of contention among the scholars and exegists on the meaning of the Quranic statement and clarified the importance of the Quranic context in determining the exact meaning of the vocabularies and structures. Furthermore, I have highlighted the close connection between the developed indication of words and the intended meaning in the Quranic verse.


2005 ◽  
Vol 33 (3) ◽  
pp. 236-251 ◽  
Author(s):  
Michael DeCesare

A neglected part of the history of teaching sociology is the history of teaching high school sociology. The American Sociological Association's centennial in 2005 affords sociologists an opportunity to reflect on the teaching of sociology–anywhere and everywhere that it happens. In the spirit of contributing to the history of teaching sociology in the United States, this paper outlines the roughly 95-year history of the teaching of high school sociology. I rely upon published course descriptions written by high school sociology teachers and empirical studies conducted by academic sociologists. They demonstrate that past high school sociology courses have focused primarily on examining social problems and current events, and on promoting citizenship education. This remains the case today. I offer several reasons why the courses have looked as they have over the past 95 years, and conclude with four predictions about the future of teaching high school sociology.


1970 ◽  
Vol 117 (539) ◽  
pp. 381-387 ◽  
Author(s):  
M. Bhagat ◽  
W. I. Fraser

In the context of Scots urban crime patterns, territorial and indiscriminate, considerable emphasis has currently been placed on physical environment. Although the opinions of magistrates, social workers and various celebrities have been freely forthcoming, a systematic study of the young Glasgow offender's view of his physical and emotional background has been singularly absent. Investigators in the past have attempted to show that when housing is improved, social problems such as delinquency automatically decrease; yet, as early as 1939 Wood commented that it was a popular fallacy that substandard housing was the direct cause of delinquency and crime and that its elimination would result in a crimeless world.


2021 ◽  
Vol 16 (3) ◽  
pp. 147-163
Author(s):  
Fruzsina Enyedi ◽  
◽  
Viktor Pál ◽  

Noise nuisance is a complex problem of modern cities, which has objective, measurable parameters as well, but there is an “experienced”, subjectively perceived phenomenon for the individuals and society for the disturbing effect of noise. We seek to answer the question: how is noise experienced by the population of Szeged, what social conflicts can be identified and what spatial differences can be observed across the city. It can be concluded that the experienced noise nuisance is concentrated within the city centre, but its effects are felt in more remote areas. Recreational noises are the most disturbing for respondents. Broader contextual social discourse is formed after the perception of sound effects (as noise), which becomes a source of stereotypes and prejudices, against groups of different social status and age. The research highlights that the approach to noise nuisance can be interpreted in conjunction with other social problems, and in most cases pre-existing conflicts are expressed in noise-related conflicts.


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