scholarly journals The Tragic Sense in The Theatre of The Absurd: The Case of Pinter's Birthday Party

2021 ◽  
Vol 2 (45) ◽  
pp. 531-546
Author(s):  
Safaa Hussein Sagheer ◽  
Mehdi Abbass Mohsin
Keyword(s):  
Literary Text ◽  
The Third ◽  
Birthday Party ◽  
Human Conduct ◽  
Theatre Of The Absurd

Abstract Absurdity is one of the prominent philosophy associated with the emergence of modernist and postmodernist movement in literary text. In such texts, we notice that the embedded themes and ideas reflect the dilemma and the suffering of modern man. The purpose of this paper is an attempt to clarify the subtle feeling associates with the appearance of modernist and postmodernist movements, discussing the ideas of absurdity and absolutism. Also, it gives an idea about the sense of sickness associates with the anomalies of the human conduct on the projected scene such as a universe of meta--identity, named the hilarious theater. This type of theatre is commonly known as absurd  theater as discovered by Martin Julius Esslin (1918-2002), who created this phrase to explain Meta identity has been substantially reinterpreted through an exterior identity mask, which invigorates one of the postmodern ideological conceptions of the enormous humanity. The paper consists of three sections: the first is an introduction  to Pinter's Birthday Party. The second section discusses the concept of absurdity and the reason of its emergence. The third section deals with how absurd themes reflect the pain, the sense of loss and void that modern man experiences amid the chaotic world specifically after WWII. Finally, the study ends up with conclusion and recommendations for further studies

scholarly journals A Postmodern Allegory: Absurdity in Harold Pinter’s The Birthday Party

2020 ◽  
Vol 9 (1) ◽  
pp. 16-17
Author(s):  
Nynu V Jamal
Keyword(s):  
Harold Pinter ◽  
Birthday Party ◽  
Theatre Of The Absurd

The Birthday Party is an absurdist play written by the British playwright, screenwriter, director and actor Harold Pinter. He is one of the most celebrated dramatists of the Theatre of the Absurd. The objective of the paper is to examine how Pinter’s play The Birthday Party incorporates the elements of an absurdist play. The paper also tries to explain how the fragility of language to communicate is being portrayed through the play.

scholarly journals Cringe Histories: Harold Pinter and the Steptoes

Humanities ◽  
2021 ◽  
Vol 10 (2) ◽  
pp. 83
Author(s):  
Jonathan Bignell
Keyword(s):  
Extended Period ◽  
Political Activism ◽  
Theatre History ◽  
Social Commentary ◽  
Dramatic Works ◽  
Harold Pinter ◽  
Avant Garde ◽  
Birthday Party ◽  
Critical Commentary ◽  
Theatre Of The Absurd

This article argues that cringe humour in British television had begun at least by the early 1960s and derived from a theatre history in which conventions of Naturalism were modified by emergent British writers working with European avant-garde motifs. The article makes the case by analysing the importance of cringe to the BBC sitcom Steptoe and Son, tracing its form and themes back to the ‘comedy of menace’ and ‘Theatre of the Absurd’ emblematised by the early work of playwright Harold Pinter. The article links the play that made Pinter’s reputation, The Birthday Party, to dramatic tropes and social commentary identified in Steptoe and Son and in other British sitcoms with cringe elements. The analysis not only discusses relationships between the different dramatic works on stage and screen but also pursues some of the other connections between sitcom and Pinter’s drama via networks of actors and contemporaneous discourses of critical commentary. It assesses the political stakes of cringe as a comic form, particularly the failure of cringe to impel political activism, and places this in the context of the repeated broadcast of Pinter’s plays and episodes of Steptoe and Son over an extended period.

scholarly journals Da La celosa de sí misma di Tirso a La gelosa di se stessa, melodramma di Arcangelo Spagna

2020 ◽  
pp. 327-342
Author(s):  
Simone Trecca
Keyword(s):  
Literary Text ◽  
The Third ◽  
Adaptive Interventions ◽  
Previous Edition

La gelosa di se stessa is the fourth of the six melodramas collected in 1709 by Arcangelo Spagna and published in Rome (Domenico Antonio Ercole), as the third volume of his librettos, but its writing dates back to at least 1689, the date of a previous printed edition, shortly after the opera appeared on stage, a few months before at the palace at the Quattro Fontane of the Prince of Palestrina. It is not to be excluded, however, and this is dealt with in the first pages of this essay, the existence of still earlier editions, especially if we compare the two printed texts, already very divergent between them, and the two manuscripts, both at the Vatican Apostolic Library, to which the manuscript of the score must certainly be added for further problematization. The second section of this paper gets to the heart of the theme that interests us most here, namely the examination of Spagna’s adaptive interventions with respect to what undoubtedly represents its main hypotext, Tirso de Molina’s La celosa de sí misma. The analysis is conducted on the latest printed edition of the melodrama, to be considered as the version that the author wanted to pass on to posterity, as the authorized literary text, still intervening much compared to the previous edition of 1689 on which perhaps, being more linked to the stage event, he hadn’t had much control.

scholarly journals СЛОВО-ОБРАЗ «ПАМЯТЬ» В ЛИРИКЕ М. И. Ц ВЕТАЕВОЙ 1920 ГОДА

2020 ◽  
Author(s):  
Irina Pushkareva ◽  
Anna Lomakova
Keyword(s):  
Syntactic Structure ◽  
Literary Text ◽  
Creative Work ◽  
The Third ◽  
Word Memory ◽  
Lexical Structure ◽  
Poetic Text ◽  
Entire Career ◽  
The One ◽  
Contextual Meaning

Введение. Тема памяти относится к ключевым в культуре и рассматривается в истории, социологии, семиотике, филологии и др. областях знания. «Мнемотический код» сохраняет свою значимость на протяжении всего творческого пути М. И. Цветаевой. Цель – с опорой на анализ лексической структуры поэтического текста рассмотреть семантико-стилистические особенности слова-образа «память» в лирике М. Цветаевой 1920-го года. Материал и методы. За основу семантико-стилистического анализа принята концепция художественно-образной речевой конкретизации М. Н. Кожиной и теория текстовых парадигм Н. С. Болотновой. Обращение не только к языковым, но и к текстовым парадигмам связано с текстоцентризмом современной лингвистики, лингвистическим анализом художественного текста. Результаты и обсуждение. Смысловые лексические парадигмы представляют собой входящие в лексическую систему текста ассоциативные пары и фрагменты ассоциативных рядов слов и сверхсловных элементов, как уже существующие в языковом сознании читателя, так и сформированные текстом. В процессе анализа стихотворений М. Цветаевой выявлялись смысловые лексические парадигмы, основанные на семной рекурренции, – изотопические цепочки, актуализированные благодаря такому типу выдвижения, как повтор, и смысловые лексические парадигмы, основанные на семантическом контрасте, на связи-расхождении. В 1920 г. создано четыре стихотворения со словом-образом «память»: «Доброй ночи чужестранцу в новой келье…», «Психея» («Пунш и полночь…»), «Так из дому, гонимая тоской…», «Как пьют глубокими глотками…» (Отрывок). Они написаны на исходе третьего этапа творчества поэта, предваряют новые черты идиостиля. В ассоциативно-вербальной сети стихотворений М. Цветаевой 1920-го года слово «память» сопровождается узуально связанными с ним лексическими репрезентантами «помнить», «позабыть», фразеологизмом «без памяти», реализуется как локатив «в памяти», в разговорной синтаксической структуре «что за память», сопровождается экспрессивно насыщенными в контексте определениями «дурная», «женская», «вся». Заключение. Контекстуальное наполнение слова-образа «память» вырастает на богатой узуальной основе и раскрывается в стихотворениях М. Цветаевой 1920 г. в соотнесении с темами уходящего старого мира, творчества и любви. Это продолжает наметившиеся в более ранних стихотворениях тенденции, но выражены они более ярко, экспрессивно, глубоко.Introduction. The theme of Memory is a key one in culture and thus it is studied in history, sociology, semiotics, philology and other domains. The “Mnemonic Code” retains its significance throughout the entire career of M. I. Tsvetaeva as a poet. Material and methods. The aim of the article is to study semantic and stylistic features of the word-image “Memory” in M. Tsvetaeva’s lyrics of 1920 through the analysis of the lexical structure of the corresponding poetic text. The semantic-stylistic analysis is based on the theories of the imaginative speech substantiation by M. N. Kozhina and of the text paradigms by N. S. Bolotnova. Referring to both linguistic and textual paradigms goes within the textocentric approach in modern linguistics and the linguistic analysis of the literary text itself. Results and discussion. Semantic lexical paradigms present associative pairs and fragments of associative series of words and superword units within the lexical system of the text, already existing in the linguistic consciousness of the reader on the one hand and formed by the text on the other hand. Analysis of M. Tsvetaeva’s poems revealed semantic lexical paradigms based on semic recurrence, isotopic chains actualized due to such type of foregrounding as repetition, and semantic lexical paradigms based on semantic contrast. In 1920 M. Tsvetaeva wrote 4 poems containing the word-image “Memory”: “Good Night to a Stranger in a New Cell...”, “Psyche” (“Punch and Midnight ...”), “Running from Home…”, “How They Drink in Long Drinks... ” (Excerpt). They are written at the end of the third period of the poet’s creative work, they precede the new features of her idiostyle. The word-image “Memory” is associated with the main themes of M. Tsvetaeva’s works – the lost world, creativity, love. In the verbal associative network of M. Tsvetaeva’s poems of 1920, the word “memory” is accompanied by the usual lexical representatives “remember”, “forget”, phraseological unit meaning “without memory”. It actualizes in the locative “in memory”, in the spoken syntactic structure “what a memory” and it is accompanied by the epithets and descriptive adjectives as “bad”, “female”, “all”. Conclusion. The contextual meaning of the word-image “Memory” is based on a rich usual background and is explained in M. Tsvetaeva’s lyrics of 1920 through the themes of the vanishing old world, creativity and love. This further develops the trends outlined in the earlier poems, but they are expressed more clearly, expressively and deeply.

scholarly journals Functional Features of Footnotes in Literary Translation

2020 ◽  
Keyword(s):  
Functional Analysis ◽  
Additive Function ◽  
Literary Text ◽  
Literary Translation ◽  
Specific Character ◽  
Cognitive Characteristics ◽  
Number Of Components ◽  
The Third ◽  
Functional Features

The article provides a functional analysis of footnotes in literary translation. A literary text, besides the textual, comprises metatextual, intertextual and, possibly, paratextual elements. The paratextual elements can be also introduced while rendering a literary text in another language, in this case they can be added by translator or editor. Paratext comprises a number of components, footnotes among them, namely, the documentary ones which are subjected to analysis in this article. Concentrating upon the functional features of footnotes, we argue that they are rooted in their formal and semantic-cognitive characteristics. The formal – graphic – features of the footnotes under study are as follows: they are always placed at the foot of a page below a line, marked mostly by a figure (in some cases by an asterisk), printed in small font (sometimes in italic font). All these perform the attractive function, drawing the reader's attention to the footnote. The semantic-cognitive features of footnotes come in two basic varieties and one minor one. The footnotes of the two basic groups provide information about a textual element, that of universal or culturally or lingvoculturally specific character thus performing the explanatory function. The footnotes of the third - minor - group provide information about an intertextual element, in particular, about the authorship of the translation of this element. Thus they perform the additive function.

Judaeo-Aramaic (Talmud)

2017 ◽  
Author(s):  
Daniel Boyarin
Keyword(s):  
Roman Empire ◽  
Literary Text ◽  
Babylonian Talmud ◽  
The Third ◽  
Roman World ◽  
The Law ◽  
Textual Formation

This chapter argues, perhaps paradoxically, that a literary text produced outside of the Roman empire should be understood as one of the literatures of the Roman empire. The Babylonia Talmud is a wild collection, one might say, of the law and lore of the Babylonian Jews from about the third until the sixth or seventh centuries, a congeries of law, lore, and laughter too. Material brought from the Roman world, Palestine, has been altered, expanded, reworked, and combined with ‘native’ materials, including heavily marked Iranian culture, in the formation of the text we have as the Babylonian Talmud. The Palestinian material in the Talmud should not be understood as sources for the Bavli but as part and parcel of a living diasporic cultural, textual formation. The Talmud is as much a product of the Roman empire as of the Sasanian one.

scholarly journals With the Bible toward the year 2000: scriptural engagement as barometer, beacon and bellwether

1990 ◽  
Vol 24 (3) ◽  
Author(s):  
J. H. Elliott
Keyword(s):  
Theological Reflection ◽  
Human Knowledge ◽  
The Third ◽  
The Bible ◽  
Human Conduct ◽  
Biblical Study ◽  
History Of ◽  
Year 2000 ◽  
The Church

Through the centuries, engagement with the Bible has served as a barometer (recording and reflec­ting the history of shifting circumstances), as a beacon (constituting a source of light illuminating theological reflection and guiding human conduct) and as a bellwether (leading the way in setting new agendas for the Church, her theology and her encounter with the world.) Against this back­ ground, the history of biblical engagement through the centuries is briefly traced. The main focus of the article is, however, to reflect on the role of the Bible in the next millenium. The author foresees an even stronger ecumenical engagement, an enhanced focus on a critical faith and a self-critical rationality, a stronger rejection of absolutist claims, renewed respect for the diversity of voices in the biblical canon, the emergence of biblical study to an attentive dialogue partner within other fields of human knowledge and a renewed search for wisdom in the Bible in future in order to face the problems which will confront humankind. Against the background of these developments the study of the Bible will, in the third millenium, become even more an interconfessional, international, interdisciplinary and intersocial enterprise, sustained by the conviction that the Bible is a holy and privileged word, both about human existence and humanity’s relation to God, society, history, and the cosmos.

scholarly journals Dividual Turn: A Comparative Study of the Worldviews of the Japanese and the Melanesian Folks

2019 ◽  
Vol 2 (1) ◽  
pp. 66-74
Author(s):  
Naruhiko Mikado
Keyword(s):  
Comparative Study ◽  
Literary Text ◽  
Future Research ◽  
Japanese People ◽  
Philosophical Discourse ◽  
The Third ◽  
Spiritual Change ◽  
Catastrophic Earthquake ◽  
Anthropological Study ◽  
Interdisciplinary Scholarship

This study has three aims: the first is to illuminate the transformation in the minds of the Japanese people after the catastrophic earthquake in 2011—namely, the collective movement to reappraise the worth of bonds and connections between/among people. The second is to show that the ongoing spiritual change has a number of similarities with the worldview of the Melanesian folk which Marilyn Strathern analysed with the concept of “dividual”. The third is to generalize diverse insights which the two cases suggest and thus to seek a fresh way to see people and those relations which bridge over them. The argument begins with a discussion to prove the point of the first aim, then the second, and, after referring to what is not dealt with for future research, concludes by demonstrating that of the third. The contribution which this study will make for interdisciplinary scholarship is that it attests a literary text and an anthropological study can be employed to derive a philosophical discourse.

scholarly journals The use of audio and video recordings in English language teaching

2019 ◽  
Vol 8 (3) ◽  
Author(s):  
Milena Nikolić
Keyword(s):  
English Language ◽  
Literary Text ◽  
English Language Teaching ◽  
Online Newspapers ◽  
Digital Devices ◽  
Positive Effects ◽  
The Third ◽  
Video Recordings ◽  
Communication Task ◽  
New Location

By introducing and depicting the assignments setbefore the third-year-students of the Faculty of Philology atSinergija University in Bijeljina enrolled in the course ofDidactics, we tried to identify the innovative ways of using audioand video recordings inside and outside the classroom and touchupon their numerous positive effects on foreign languageteaching and learning. The students’ smartphones were used inperforming the tasks. Task 1 establishes a link between literaryproficiency and the use of online newspapers. Task 2 involvesstudents’ moving to a new location, linking learning a foreignlanguage to the students’ real world experience and learningabout nonverbal communication. Task 3 presents the way inwhich an inaccessible literary text is likely to become amusingand accessible by means of digital devices.

scholarly journals “Chike’s School Days”: An Autrebiography Verbalizing Chinua Achebe’s Early Schooling

2020 ◽  
Vol 8 (6) ◽  
pp. 103
Author(s):  
Komenan Casimir
Keyword(s):  
Short Story ◽  
Literary Text ◽  
The Self ◽  
First Person ◽  
The Third ◽  
Early Schooling ◽  
Third Person ◽  
The Third Person

Todorov’s syntactic, verbal and semantic aspects of the literary text, onomastics and Mauron’s psychocriticism, underlie this paper whose goal is to show that Chinua Achebe’s “Chike’s School Days” is an autrebiography verbalizing Achebe’s early schooling. As two major thematic Ariadne’s threads, the religious, familial and onomastic connections between Chike and Achebe, as well as Achebe’s untimely love for Shakespeare’s language, have been used to compose an autrebiograhical short story, a shortened fiction about the self, which is narrated not in the first-person (“I”), but rather in the third-person (“He”). It is with such a detachment device that Achebe writes about Chike, a character who is nobody else but his double.

Sign in / Sign up

Export Citation Format

Share Document