scholarly journals Tradução para o português do Brasil da peça teatral The Playboy of the Western World, de J. M. Synge

2018 ◽  
Vol 7 (1) ◽  
pp. 271-344
Author(s):  
John Millington Synge ◽  
Leonardo Marcondes Malavasi FAIG ◽  
Letícia Carvalho Pereira PASQUALOTTO ◽  
Henrique Vieira TOZZI ◽  
Vitória Tassara Costa SILVA ◽  
...  
Keyword(s):  
William Butler Yeats ◽  
Western World ◽  
John Millington Synge

O dramaturgo John Millington Synge nasceu em 16 de abril de 1871, em Rathfarnham – aproximadamente 20 minutos de Dublin – na Irlanda. Fez parte da geração de autores que atuaram no renascimento literário irlandês, como William Butler Yeats e Lady Augusta Gregory. Entre suas peças publicadas estão: In the Shadow of the Glen (primeira encenação em 1903), Riders to the Sea (1904) e The Well of the Saints (1905) – sua primeira peça em três atos.  

scholarly journals Simbolismo e modernismo na ilustração literária de Harry Clarke

2019 ◽  
pp. 229-249
Author(s):  
Fabricio Vaz Nunes
Keyword(s):  
Samuel Taylor Coleridge ◽  
William Butler Yeats ◽  
Edgar Allan Poe ◽  
Western World ◽  
Arts And Crafts ◽  
John Millington Synge

Este trabalho aborda a obra do artista irlandês Harry Clarke (1889-1931), buscando demonstrar a especificidade dos aspectos simbolistas e decadentistas presentes na sua ilustração literária, marcada pela influência do ilustrador inglês Aubrey Beardsley e diretamente ligada ao contexto nacionalista do Irish Revival e do movimento Arts and Crafts irlandês. Como ilustrador, Clarke foi um intérprete, no meio visual, de textos essenciais para o simbolismo de língua inglesa, como A balada do velho marinheiro, de Samuel Taylor Coleridge e os Contos de mistério e imaginação de Edgar Allan Poe, incluindo a poesia nacionalista e medievalizante da primeira fase de William Butler Yeats. Por outro lado, afastando-se do simbolismo profético de Yeats, Clarke também ilustrou textos que problematizavam a dimensão nacionalista do Irish Revival, como a polêmica peça The playboy of the western world, do dramaturgo irlandês John Millington Synge. A análise das relações estabelecidas entre as ilustrações, os textos literários e o seu contexto cultural caracteriza a obra de Harry Clarke como manifestação de um decadentismo tardio dentro do qual eclodem aspectos marcadamente modernos, presentes nas imagens deformantes e insólitas criadas para a edição de 1925 do Fausto de Goethe.

scholarly journals Creative work of Edmund John Millington Synge in literary and critical perception of Korney Chukovsky

2019 ◽  
pp. 101-106
Author(s):  
Svetlana N. Morozova ◽  
Dmitriy N. Zhatkin
Keyword(s):  
Russian Literature ◽  
Western World ◽  
Creative Work ◽  
John Millington Synge ◽  
Cultural Consciousness ◽  
Introductory Article ◽  
Critical Perception

The article considers the specifics of Korney Chukovsky’s perception of dramatic art of Edmund John Millington Synge (1871–1909), one of the greatest personalities of national revival of Ireland. Synge, who created his works in English, not only revived legends of his nation, but also expanded the idea of the Irish national originality, having offered his own vision of the image of an Irish of his time. Korney Chukovsky is the author of one of the first translations of Synge’s dramatic art into Russian (a comedy "The Playboy of the Western World") and of the introductory article to its publication in 1923. The article "Synge and His "Playboy"" reflects the Russian writer’s understanding of the moral and aesthetic questions of the play. According to Korney Chukovsky, tSynge's complex art method was formed under the influence of the ideas of revival of the national drama theatre. This direction in perception of Synge’s heritage was determinative in Russian literature and, in general, reflected the nature of the attitude of Russian cultural consciousness to the Irish playwright’s creative work.

scholarly journals The Stones of Venice: Lady Augusta Gregory and John Ruskin

2020 ◽  
Author(s):  
Eglantina Ibolya Remport
Keyword(s):  
Subject Matter ◽  
William Butler Yeats ◽  
The Political ◽  
John Ruskin ◽  
John Millington Synge ◽  
Abbey Theatre ◽  
History Of ◽  
The Grand Canal ◽  
Art And Architecture ◽  
First Time

John Ruskin’s diaries, letters, lectures and published works are testimonies to his life-long interest in Venetian art and architecture. Lady Augusta Gregory of Coole Park, County Galway, Ireland, was amongst those Victorian genteel women who were influenced by Ruskin’s account of the political and artistic history of Venice, following in Ruskin’s footsteps during her visits to Sir Henry Austen Henry and Lady Enid Layard at Ca’ Capello on the Grand Canal. This article follows Lady Gregory’s footsteps around the maritime city, where she was often found sketching architectural details of churches and palaces. By doing so, it reveals the extent of the influence of Ruskin’s Italian travels on the formation of Lady Gregory’s aesthetic sensibilities during the 1880s and 1890s, before she founded the Abbey Theatre in Dublin with the Irish dramatist John Millington Synge and the Irish poet and dramatist William Butler Yeats in 1904. As part of the discussion, it reveals the true subject matter in one of Lady Gregory’s Venetian sketches for the first time, one that is now held in Dublin at the National Library of Ireland.

scholarly journals Imagination and Reality

2021 ◽  
Vol 1 (139) ◽  
pp. 1-10
Author(s):  
Median Mashkoor Hussein
Keyword(s):  
National Identity ◽  
Personal Identity ◽  
Human Life ◽  
National Identities ◽  
The Other ◽  
Western World ◽  
John Millington Synge ◽  
Critical View ◽  
Irish People ◽  
The One

This paper investigates how John Millington Synge uses the theme of imagination in his play The Playboy of the Western World to introduce a critical view of the construction of personal and national identities of those people, Irish people. It argues that the play juxtaposes two contradicted images of the construction of personal and national identities. On the one hand, the play satirizes the way that the villagers use their imagination to create their own hero to help them revive their primitive national identity. On the other hand, it emphasizes the importance of imagination in creating personal identity. The play questions the authenticity of the notion of national identity by depicting it as a human-made phenomenon, but at the same time it makes use of it by showing how imagination helps to change human life.

Gregory, Augusta (1852–1932)

2018 ◽  
Author(s):  
Emilie Pine
Keyword(s):  
William Butler Yeats ◽  
George Bernard Shaw ◽  
John Millington Synge ◽  
The West ◽  
Sean O'casey ◽  
Abbey Theatre ◽  
Colonial Culture ◽  
A Site ◽  
Bernard Shaw ◽  
Irish Folklore

Born Isabella Augusta Persse in County Galway, Ireland in 1852, Lady Augusta Gregory was a playwright, folklore collector, essayist, and co-founder of the Abbey Theatre. Following the death of husband Sir William Gregory of Coole Park in 1892, she became a leading member of the Irish Revival, working to establish Irish culture as an alternative to colonial culture and rule. To this end, she published several collections of Irish folklore and established a branch of the Gaelic League at her home at Coole in the west of Ireland. In addition, Gregory hosted and fostered writers at her home in Coole Park, which became a site of meeting and inspiration for writers, including William Butler Yeats, John Millington Synge, George Bernard Shaw, George Russell, and Sean O’Casey. Her most significant contribution to Irish cultural life was through her collaboration with W. B. Yeats, with whom she and Edward Martyn established the Irish Literary Theatre in 1899. Gregory also co-wrote Kathleen ni Houlihan (1902) with Yeats, and the two launched the Abbey Theatre in Dublin in 1904, together with J. M. Synge. Gregory wrote plays for the Abbey stage and piloted its development as one of the nation’s most important institutions, overseeing productions of key works by J. M. Synge, George Bernard Shaw, and Sean O’Casey.

World Economy: Prospects and Barriers for Recovery

2012 ◽  
pp. 61-83 ◽  
Author(s):  
M. Ershov
Keyword(s):  
World Economy ◽  
Western World ◽  
Short Time Period ◽  
Market Segments ◽  
Junk Bonds ◽  
The Past ◽  
Time Period ◽  
The Us ◽  
Global Liquidity ◽  
Short Time

According to the latest forecasts, it will take 10 years for the world economy to get back to “decent shape”. Some more critical estimates suggest that the whole western world will have a “colossal mess” within the next 5–10 years. Regulators of some major countries significantly and over a short time‑period changed their forecasts for the worse which means that uncertainty in the outlook for the future persists. Indeed, the intensive anti‑crisis measures have reduced the severity of the past problems, however the problems themselves have not disappeared. Moreover, some of them have become more intense — the eurocrisis, excessive debts, global liquidity glut against the backdrop of its deficit in some of market segments. As was the case prior to the crisis, derivatives and high‑risk operations with “junk” bonds grow; budget problems — “fiscal cliff” in the US — and other problems worsen. All of the above forces the regulators to take unprecedented (in their scope and nature) steps. Will they be able to tackle the problems which emerge?

Indonesian Literature’s Position in World Literature

TEKNOSASTIK ◽  
2018 ◽  
Vol 14 (2) ◽  
pp. 1
Author(s):  
Dina Amelia
Keyword(s):  
World Literature ◽  
The Other ◽  
National Literature ◽  
Western World ◽  
The World ◽  
The One ◽  
The Voice

There are two most inevitable issues on national literature, in this case Indonesian literature. First is the translation and the second is the standard of world literature. Can one speak for the other as a representative? Why is this representation matter? Does translation embody the voice of the represented? Without translation Indonesian literature cannot gain its recognition in world literature, yet, translation conveys the voice of other. In the case of production, publication, or distribution of Indonesian Literature to the world, translation works can be very beneficial. The position of Indonesian literature is as a part of world literature. The concept that the Western world should be the one who represent the subaltern can be overcome as long as the subaltern performs as the active speaker. If the subaltern remains silent then it means it allows the “representation” by the Western.

Yeats's Barfieldian Rebellion: Locating Yeats's Synthetic Symbolism in Barfield's Evolution of Consciousness

2018 ◽  
Vol 8 (1) ◽  
pp. 65-82
Author(s):  
Clayton McReynolds
Keyword(s):  
William Butler Yeats ◽  
Evolution Of Consciousness ◽  
The World

In this paper, I draw on Barfield's theory of the evolution of consciousness and language to argue that William Butler Yeats employs language in his poetry in a way which resembles the older, ‘organic’ poetry Barfield describes. I observe how Yeats's ‘concrete’ understanding allowed him to weave a rich web of meaning into his poetry without feeling confined by T.S. Eliot's ‘dissociation of sensibility’. Many of Yeats's Modernist contemporaries struggled to bridge a perceived gap between thought and feeling, but Yeats's view of the world as innately symbolic allowed him to use language both literally and symbolically at once, speaking simultaneously of a literal rock, a symbol for stasis, and an emblem of the idée fixe. Thus, Yeats creates, in Barfield's terms, ‘organic’ poetry where the multilayered meanings arise naturally from Yeats's understanding. I further note how Yeats attempts to create a mythology in A Vision that would function much as Barfield describes mythology operating in ancient, concrete societies. Through this study, I hope to illuminate both the interconnectedness of Yeats's symbolic metaphysic and poetic technique and the relevance of Barfield for understanding Yeats and, perhaps, other poets finding new ways to communicate through an evolving language.

Sign in / Sign up

Export Citation Format

Share Document