scholarly journals ПІДХОДИ ДО ВИВЧЕННЯ АНГЛІЙСЬКОЇ РЕСТАВРАЦІЇ

2021 ◽  
pp. 78-86
Author(s):  
Marina O.V.
Keyword(s):  
Literary Criticism ◽  
Sources Of Information ◽  
Literary Genres ◽  
Restoration Drama ◽  
Elizabethan Drama ◽  
English Restoration ◽  
Weak Points ◽  
Restoration Theatre ◽  
The Subject ◽  
Interactional Patterns

This study applied cognitive-pragmatic, literary criticism and theory of theatre approaches to summarize findings on the dramatic discourse of English Restoration. In this article, I set out the main points of Stuart Restoration ideology, sum-marize findings on the predominant concepts of that time, substantiate that the institution of theatre became a leading ide-ological instrument during the English Restoration, and single out its two main functions: entertainment and dissemination of absolutist ideology. In this paper, the subject matter and dramatis personae of Restoration drama have been character-ized. The paper focuses on generalizing the research results of comparative studies of Restoration and Elizabethan drama which concern their scope, genres, and morality. The conclusions reached in the studies that reported on borrowings in repertoire from native, French and Spanish sources at the beginning of Restoration and the influence of English and con-tinental writers have been synthesized. Further investigation of English Restoration drama revealed an unprecedented genre variety and combination which demonstrated signs of development in different directions during the 1660s. In this article, I state that the existing studies have reported on active behaviour of Restoration audiences during the perfor-mances, describe usual patterns of their behavior, and make conclusions as to the direct influence of such behavior on the processes of drama production and perception. The existing research has demonstrated weak points in some key areas, such as Restoration audiences’ composition. Despite the fact that scholars point to various sources of information as to the theatre-goers’ personalities in the seventeenth century, there is still no consensus of opinions on this issue. Although Restoration drama research demonstrably improved over the 20th and 21st centuries, further research on Elizabethan and Restoration drama cognitive construals of the world, comparative analysis of original plays and adaptations, literary genres origin and development, interactional patterns of viewers and characters of Restoration drama is recommended.Key words: English Restoration theatre, dramatic discourse, play, ideology. У статті наведено узагальнення результатів наукових досліджень, присвячених дискурсу часів англійської Реставрації, з позицій когнітивно-прагматичного, літературного й театрального підходів. У дослідженні окреслено основні положення ідеології Реставрації Стюартів, узагальнено знахідки наукових досліджень, присвячених вивченню основних концептів того часу, обґрунтовано, що інститут театру став провідним ідеологічним інструментом за часів англійської Реставрації, та виділено дві основні його функції: розваги й розповсюдження ідеології абсолютизму. У роботі описано тематику й схарактеризовано персонажів драматичних творів часів англійської Реставрації. Наукова розвідка фокусується на узагальненні результатів наукових досліджень, присвячених порівнянню масштабів охоплення тематики, жанрів і моралі драматичних творів часів англійської Реставрації та драматургії часів королеви Єлизавети Тюдор. У дослідженні також синтезуються знахідки наукових розвідок, присвячених запозиченням у репертуарі з англійських, французьких та іспанських джерел на початку епохи англійської Реставрації, а також впливу власне англійських та європейських авторів. Подальше вивчення драматургії часів англійської Реставрації демонструє безпрецедентне розмаїття та поєднання жанрів, що демонструють ознаки розвитку в різних напрямах у 1660 роки. У статті стверджується, що наукові дослідження повідомляють про активну поведінку глядачів на виставах часів англійської Реставрації та робиться висновок про те, що така поведінка безпосередньо вплинула на процеси створення та сприйняття драматичних творів. Наявні дослідження демонструють прогалини в основних сферах, таких як контингент глядацької аудиторії вистав часів англійської Реставрації. Не зважаючи на той факт, що вчені вказують на різні джерела інформації щодо складу театральної глядацької аудиторії в сімнадцятому столітті, досі не існує єдності поглядів на це питання. Хоча дослідження драматургії часів англійської Реставрації значно покращилися у XX і XXI століттях, рекомендовано вивчення концептуальної картини світу в драматичних творах часів англійської Реставрації та королеви Єлизавети, порівняльний аналіз оригінальних п’єс та адаптацій, виникнення та розвитку літературних жанрів, моделі взаємодії глядачів і персонажів у п’єсах часів англійської Реставрації.Ключові слова: театр часів англійської Реставрації, драматичний дискурс, п’єса, ідеологія.

scholarly journals SEMANTIC ANALYSIS OF LITERARY TERMS BY LITERARY TYPES IN “THE CONCISE OXFORD DICTIONARY OF LITERATURE TERMS”

2021 ◽  
pp. 118-138
Keyword(s):  
Literary Criticism ◽  
Small Groups ◽  
Semantic Analysis ◽  
Literary Genres ◽  
Dramatic Works ◽  
The Subject ◽  
Oxford Dictionary ◽  
Germanic Languages ◽  
The Given ◽  
Theory Of Literature

The scientific research shows that literary terms in the Germanic languages were not studied uniformly. Literary terms, which were the subject of our research, have hardly been studied in the Slavic, Roman and Germanic languages. Objectives and methods: Therefore, it is relevant to study the terms of philosophy, culture and spirituality, ethics, aesthetics, religion, linguistics and especially literary criticism. The degree of study and significance of literary terms are carried out in the given article. The article also gives information about the dictionary of Chris Baldick –The Concise Oxford Dictionary of Literary Terms and the significant aspects of literary terms. Terms belonged to the theory of literature, its history, process and dramatic works are discussed. Epic, lyric and dramatic terms of literary genres were analyzed by thematic groups and the author's opinion on the interpretation of terms is expressed and explained in the article. Results: The Concise Oxford Dictionary of literary terms by Chris Baldick contains 1060 literary terms. These terms were divided into semantic groups according to literary types. Literary terms were grouped into epic, lyrical, and dramatic literary types. Literary terms in the dictionary were originally classified and studied in three main groups of literary type: prose, poetry, and drama. Conclusions: In the course of the research, it was noticed that there are some terms which can be included into both lyric and epic, or epic and dramatic, or to all three literary types. In addition, despite the existence of literary terms in the dictionary, there were also terms that did not belong to any literary type or genre and expressed general concepts in the literature that were also studied in a separate group. In the dictionary, we have analyzed the semantic groups included 142 epic, 329 lyrical, 110 dramatic, 330 terms belong to all three literary types and 149 terms that are not included in any literary type, which were further studied in small groups during our study.

Nash and the Earlier Hamlet

PMLA ◽  
1906 ◽  
Vol 21 (1) ◽  
pp. 193-199
Author(s):  
John W. Cunliffe
Keyword(s):  
Contemporary Literature ◽  
Point Of View ◽  
Careful Examination ◽  
Unanimous Opinion ◽  
Thomas Kyd ◽  
Elizabethan Drama ◽  
Weak Points ◽  
The Subject ◽  
New Interpretation

The sceptical reconsideration of accepted theories is often of advantage in revealing weak points and establishing strong ones; Professor Jack's paper on Thomas Kyd and the Ur-Hamlet in the last issue of the Publications will no doubt be of service in both these ways; but it does not seem likely that his interpretation of the well known passage from Nash's prefatory epistle to Greene's Menaphon will displace that “all but universally accepted by scholars.” It is, however, ingenious enough to merit careful examination from the conservative point of view. On the broader issue Mr. Jack has raised, it is to be remembered, in the first place, that this passage is by no means the only evidence of an earlier Hamlet. The entry in Henslowe's Diary under date June 9, 1594, and the reference in Lodge's Wit's Miserie (1596) to “the ghost, which cried so miserally at the theator, like an oisterwife, Hamlet revenge” prove conclusively the existence of a play on the subject of Hamlet at a date when Shakspere's tragedy was unknown, if we are to be guided by its omission from the Meres list and the unanimous opinion of Shaksperean critics. The general resemblance of the earlier Hamlet, so far as it can be divined, to the type of revenge-play of which The Spanish Tragedy is the most conspicuous example, must also be borne in mind; but these are considerations familiar to students of the Elizabethan drama, and need not be urged here. Let us turn to the new interpretation of Nash's reference to contemporary literature, and see how far it is borne out by the text.

Deep Multi-Stage Approach For Emotional Body Gesture Recognition In Job Interview

2021 ◽  
Author(s):  
Intissar Khalifa ◽  
Ridha Ejbali ◽  
Raimondo Schettini ◽  
Mourad Zaied
Keyword(s):  
Gesture Recognition ◽  
Affective Computing ◽  
Psychological State ◽  
Sources Of Information ◽  
Emotion Classification ◽  
Convolutional Network ◽  
Job Interview ◽  
Multi Stage ◽  
Representation Technique ◽  
The Subject

Abstract Affective computing is a key research topic in artificial intelligence which is applied to psychology and machines. It consists of the estimation and measurement of human emotions. A person’s body language is one of the most significant sources of information during job interview, and it reflects a deep psychological state that is often missing from other data sources. In our work, we combine two tasks of pose estimation and emotion classification for emotional body gesture recognition to propose a deep multi-stage architecture that is able to deal with both tasks. Our deep pose decoding method detects and tracks the candidate’s skeleton in a video using a combination of depthwise convolutional network and detection-based method for 2D pose reconstruction. Moreover, we propose a representation technique based on the superposition of skeletons to generate for each video sequence a single image synthesizing the different poses of the subject. We call this image: ‘history pose image’, and it is used as input to the convolutional neural network model based on the Visual Geometry Group architecture. We demonstrate the effectiveness of our method in comparison with other methods in the state of the art on the standard Common Object in Context keypoint dataset and Face and Body gesture video database.

Parnicki a Rosja. Rekonesans

2021 ◽  
Vol 12 (2) ◽  
pp. 325-338
Author(s):  
Piotr Gorliński-Kucik
Keyword(s):  
Literary Criticism ◽  
Interwar Period ◽  
Cultural Policy ◽  
Historical Novels ◽  
Russian Culture ◽  
Current State ◽  
The Subject ◽  
State Of Research ◽  
Critical Project

The article considers issue of the connections between Teodor Parnicki, the Polish author of historical novels, and Russia. His attitude has its origins in biographical experiences. Knowledge of Russian culture is evident especially in the early work of Parnicki, and above all – in literary criticism of the interwar period. Careful reading shows that the sketches and reviews are a conservative critical project, the subject of which is Soviet social and cultural policy and communism in general. This article also complements the current state of research (who did not address this issue), while being a contribution to further research.

scholarly journals The specifics of interpretation of the history in the story by A. Doronin «A Wolf Ravine»

2021 ◽  
Vol 11 (1) ◽  
pp. 139-147
Author(s):  
S. V. Sheyanova ◽  
◽  
N. M. Yusupova ◽  
Keyword(s):  
Literary Criticism ◽  
Historical Narrative ◽  
Volga Region ◽  
Psychological States ◽  
The Real ◽  
The Subject ◽  
The Individual ◽  
Relationship Of ◽  
First Time ◽  
The Relationship

Introduction: at present the reader’s audience is particularly interested in creative experiments in which the historical fate of the Russian peasantry in the «turning» eras is artistically comprehended. The article is devoted to the study of the problem-thematic range of modern Mordovian historical prose. The subject of analysis is the peculiarity of the reception of the period of collectivization and dekulakization in the story by Erzyan prose writer A. Doronin «A Wolf Ravine». Objective: to reveal the features of the artistic reconstruction of the events of the 1930s, the modeling of the relationship between a man and society in the story by A. Doronin «A Wolf Ravine».Research materials: the story by A. Doronin «A Wolf Ravine». Results and novelty of the research: the historical story « A Wolf Ravine » for the first time becomes the object of scientific understanding and is introduced into the context of Finno-Ugric literary criticism. A. Doronin artistically interprets the real events and circumstances of the resettlement of dispossessed peasants of the Volga region to the uninhabited steppes of Kazakhstan. As a result of the study, we conclude that the actualization of this problem-thematic cluster is due to the creative concept of the historical writer; the individual author’s approach to the reconstruction of historical narrative can be traced in the writer’s desire to realistically reveal the relationship of personality and society in the tragic 1930s; to analyze intentions of people and of the psychological states of the characters. Problems of a sociopolitical nature, actualized in the story, are filled with philosophical, axiological content, and lead to a multi-faceted understanding of the «man and history» problem.

scholarly journals Libertinism in English Restoration drama: a cognitive-pragmatic perspective

2019 ◽  
Keyword(s):  
Seventeenth Century ◽  
General Public ◽  
Role Models ◽  
Thomas Hobbes ◽  
Focus Of Attention ◽  
Restoration Drama ◽  
English Restoration ◽  
New Type ◽  
English Identity ◽  
Charles Ii

This paper aims to explore LIBERTINISM as a discourse-generative concept of the English Restoration and its manifestations in the 17th century drama. In the focus of attention are: the dramatic discourse of the seventeenth century and social and historical conditions that predetermined the origin and development of libertinism in the Restoration drama. In this article, I argue that during the Restoration LIBERTINISM thrived along with such concepts as EMPIRE, HONOUR, LOVE, MODE, SCIENCE, TRADE, and WIT. It is stated that after years of bans and prohibitions libertinism began to develop as a reaction against an overly religious dominant worldview that was imposed on the English people during the Interregnum. It is confirmed that libertinism was widely disseminated in the play-houses which were reopened by Charles II after almost a twenty-year break. In this article, I argue that libertinism takes its ideas from the teachings of René Descartes and Thomas Hobbes; it viewed as extreme hedonism and rejection of all moral and religious dogmas. Charles II himself set an example which was emulated by his courtiers and therefore libertine modes of behaviour were demonstrated to the general public as role models by the aristocracy which regained power with the Restoration. I also claim that as during the English Restoration many play wrights either were libertines or wrote about libertine behaviour and adventures in their plays, the dramatic discourse of the seventeenth century gave rise to a new type of English identity–the English Restoration libertine-aristocrat. Accordingly, the dramatic discourse and dramatic performances of the seventeenth century were the means of establishment, reiteration, and dissemination of the libertine ethos.

scholarly journals «Мертвые Цари всегда должны по смерти своей быть судимы»: Посмертная судьба одного древнеегипетского обычая в русской и европейской словесности XVI – XIX вв. [“Dead Kings Must Always be Judged after Their Demise”: The Afterlife of an Ancient Egyptian Custom in the Russian and European Literature of the 16th to 19th Centuries]

2021 ◽  
Vol 8 ◽  
pp. 9-47
Author(s):  
Maria Neklyudova
Keyword(s):  
Literary Criticism ◽  
French Literature ◽  
History Of Ideas ◽  
Ancient Egyptian ◽  
Diodorus Siculus ◽  
History Of ◽  
Generous Support ◽  
The Subject ◽  
The Right

In his Bibliotheca historica, Diodorus Siculus described a peculiar Egyptian custom of judging all the dead (including the pharaohs) before their burial. The Greek historian saw it as a guarantee of Egypt’s prosperity, since the fear of being deprived of the right to burial served as a moral imperative. This story of an Egyptian custom fascinated the early modern authors, from lawyers to novelists, who often retold it in their own manner. Their interpretations varied depending on the political context: from the traditional “lesson to sovereigns” to a reassessment of the role of the subject and the duties of the orator. This article traces several intellectual trajectories that show the use and misuse of this Egyptian custom from Montaigne to Bossuet and then to Rousseau—and finally its adaptation by Pushkin and Vyazemsky, who most likely became acquainted with it through the mediation of French literature. The article was written in the framework (and with the generous support) of the RANEPA (ШАГИ РАНХиГС) state assignment research program. KEYWORDS: 16th to 19th-Century European and Russian Literature, Diodorus Siculus (1st century BC), Jean-Jacques Rousseau (1712—1778), Alexander Pushkin (1799—1837), Prince Pyotr Vyazemsky (1792—1878), Egyptian Сourt, Locus communis, Political Rhetoric, Literary Criticism, Pantheonization, History of Ideas.

Review Article. How Poetry is Translated…

2017 ◽  
Vol 4 (2) ◽  
pp. 95-96
Author(s):  
Тарас Шмігер
Keyword(s):  
Literary Criticism ◽  
Full Professor ◽  
Cambridge University ◽  
Cultural Concepts ◽  
Poetry Translation ◽  
English Translations ◽  
The Subject ◽  
Gender Based ◽  
The 19Th Century ◽  
The Voice

James W. Underhill. Voice and Versification in Translating Poems. University of Ottawa Press, 2016. xiii, 333 p. After its very strong stance in the 19th century, the versification part of translation scholarship was gradually declining during the 20th century, substituted by the innovative searches for semasiology, culture and society in text. The studies of structural and cognitive approaches to writing, its postcolonial identity or gender-based essence uncovered a lot of issues of the informational essence of texts, but overshadowed the meaning of their formal structures. The book ‘Voice and Versification in Translating Poems’ welcomes us to the reconsideration of what formal structures in poetry can mean. James William Underhill, a native of Scotland and a graduate of Hull University, got Master’s and PhD degrees from Université de Paris VIII (1994 and 1999 respectively). He has translated from French, German and Czech into English, and now, he is full professor of poetics and translation at the English Department of Rouen University as well as the director of the Rouen Ethnolinguistics Project. His scholarly activities focused on the subject of metaphor, versification, cultural linguistics and translation. He also authored ‘Humboldt, Worldview, and Language’ (Edinburgh University Press, 2009), ‘Creating Worldviews: Ideology, Metaphor and Language’ (Edinburgh University Press, 2011), and ‘Ethnolinguistics and Cultural Concepts: Truth, Love, Hate and War’ (Cambridge University Press, 2012). the belief of the impossibility of translating poems, poems are translated and sometimes translated quite successfully. In contemporary literary criticism, one observes the contradiction that despiteJames W. Underhill investigates this fascinating observable fact by deploying the theory of voice. The first part of the book, ‘Versification’, is more theoretical as the researcher is to summarizes the existing views and introduce fundamental terms and guidelines. The book is strongly influenced by the French theoretician Henri Meschonnic, but other academic traditions of researching verse are also present. This part includes four chapters where the author discusses recent scholarship in the subject-matter (‘Form’), theories of verse structure (‘Comparative Versification’), rhythm and stress systems (‘Meter and Language’), and the issues of patterning and repetition (‘Beyond Metrics’). The author shapes the key principle of his views that ‘[v]oice represents the lyrical subject of the poem, the “I” that creates it, but that is also created in and by the poem’ (p. 44). This stipulation drives him to the analysis of five facets in poetry translation: 1) the voice of a language; 2) the voice of an era; 3) the voice of a literary movement or context of influence; 4) the voice of a poet; 5) the voice of the particular poem. Part 2, ‘Form and Meaning in Poetry Translation’, offers more theorizing on how we can (or should) translate form. The triple typology of main approaches – (translating form blindly; translating a poem with a poem; translating form meaningfully) – sounds like a truism. The generic approach might be more beneficial, as the variety of terms applied in poetry translation and applicable to the idea of the book – (poetic transfusion, adaptation, version, variant) – would widen and deepen the range of questions trying to disclose the magic of transformations while rendering poetry of a source author and culture to the target reader as an individual and a community. The experience of a reader (individual and cultural personality) could be a verifying criterion for translating strategies shaped the translator’s experience. In Part 3, ‘Case Studies’, the author explores the English translations of Charles Baudelaire’s poetry and the French and German translations of Emily Dickinson’s poems. All translations theoreticians and practitioners will agree with the researcher’s statement that “[t]ranslating that simplicity is inevitably arduous” (p. 187). Balancing between slavery-like formalist operations and free transcreations, translators experiment on strategies of how to reproduce the original author’s voice and versification successfully enough. The longing categorically pushes us to the necessity of understanding what is in language but communication, how a nation’s emotionality is built linguistically, and why a language applies certain meters for specific emotional articulation. ‘Glossary’ (p. 297-319), compiled on the basis of theoretical reflections in the main text on the book, is of significant practical value. This could really become a good sample to follow in any academic book. This book takes us closer to the questions ‘How can a form mean something?’ and ‘How can we verify this meaning?’, though further research merged in ethnolingual, ethnopoetic and ethnomusical studies still promises to be extremely rich.

Injected drugs consumption in Mexico: notes for the last two decades / El consumo de drogas inyectadas en México: apuntes de las últimas dos décadas

2003 ◽  
Vol 3 (2) ◽  
Author(s):  
Nivaldo Linares Pérez
Keyword(s):  
Sources Of Information ◽  
The North ◽  
Northern Border ◽  
The Family ◽  
Careful Revision ◽  
Bibliographic Search ◽  
The Subject ◽  
The Individual ◽  
Windows 2000 ◽  
Different Sources

Objetivo: Revisar los aspectos epidemiológicos relevantes de investigaciones nacionales sobre consumo de heroína y cocaína en las dos últimas décadas, haciendo énfasis en la frontera norte de México. Material y Método: Se realizó una consulta automatizada, previo diseño teórico de búsqueda bibliográfica de trabajos sobre el tema. Se encontraron 72 materiales y tras una cuidadosa selección, quedaron 59, recuperando 83% de ellos. Para su análisis se diseñó una matriz de variables cualitativas y cuantitativas y se procesó en Excel para Windows 2000. Resultados: Sin ser un fenómeno reciente, el consumo de heroína esta alcanzando en últimas fechas proporciones considerables y diversas fuentes de información marcan esta tendencia, sobre todo en el norte del país. Asimismo el consumo de cocaína es cada vez mayor y se extiende por todo el territorio nacional en proporciones cada vez mayores según lo muestran diferentes indicadores. Comentarios: El panorama epidemiológico del consumo de heroína y cocaína es alarmante por sus repercusiones en lo individual, familiar y social y representa un reto principalmente para la planificación y funcionamiento de los servicios de salud en México. AbstractObjective: To review the relevant epidemiological aspects of national research regarding consumption of heroin and cocaine over the last two decades, with emphasis on the northern border of Mexico. Materials and Method: An automated consultation was carried out after the theoretical design of a bibliographic search for works related to the subject. 72 papers were found of which 59 were chosen after a careful revision representing 83%. For the analysis a matrix of qualitative and quantitative variables was designed and processed with Excel, Windows 2000. Results: Although the consumption of heroin is not a recent phenomenon, over the last few years it has reached such high proportions, especially in the north of the country, as many different sources of information indicate. Likewise, the consumption of cocaine is ever-growing and spreading throughout the country the same proportions, as show by several indicators. Observations: The consumption prevalence of both heroin and cocaine is alarming because its tremendous impact on the individual, the family and the society and it represents a challenge for the Mexican Health Services, particularly in planning and management. 

Introduction

2020 ◽  
pp. 1-18
Author(s):  
Laura J. Rosenthal
Keyword(s):  
Civil Wars ◽  
Restoration Drama ◽  
The Enlightenment ◽  
Theatrical Performances ◽  
Fresh Perspective ◽  
Restoration Theatre ◽  
Major Factors

This chapter introduces Restoration theatre and Restoration cosmopolitanism, a form of cosmopolitics born out of the newly energized merger of vigorous global ambitions with an intensified striving for sophistication — the convergence, we might say, of the risky and the risqué — and on display on stage. It emerged in the context of two major factors: first, that the monarch and much of the court had spent many years in exile during the civil wars, and second, that during those years they witnessed ways in which the continental monarchs and their courts had enriched themselves through trade, aggression, and plunder in Asia, Africa, and the Americas. The chapter explores Restoration cosmopolitanism as engaged, critiqued, and embodied by the theater, and as a force, like the Enlightenment itself, with profoundly mixed implications. It explains how the book alters standard narratives about Restoration drama by showing how attention to this highly contested cosmopolitanism, which grew out of the period's most intriguing accomplishments and disturbing atrocities, reveals an otherwise elusive consistency among comedy, tragedy, heroic plays, and tragicomedy; disrupts a generally accepted narrative about early capitalism; and offers a fresh perspective on theatrical performances.

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