scholarly journals From Self-Effacement to Confrontation: The Emergence of Queer Theatre in Istanbul

2016 ◽  
Vol 8 (2) ◽  
pp. 126 ◽  
Author(s):  
Elif Bas
Keyword(s):  
Political Theatre ◽  
The Past ◽  
Cultural Milieu ◽  
The Witch

Over the past ten years, the number of alternative theatres run by young artists in Istanbul has increased significantly. Political theatre has become an important part of this new cultural milieu. This article explores the emergence of queer theatre as part of this trend, especially in the last five years. It also examines the developments that gave rise to this theatre and elaborates on the topic by analysing two plays Cadinin Bohcasi (Sack of the Witch) and 80lerde Lubunya Olmak (Being a Transsexual in the 80s).

Biography and Autobiography

2021 ◽  
pp. 211-224
Author(s):  
Laura Marcus
Keyword(s):  
Life Writing ◽  
Crucial Aspect ◽  
Reading And Writing ◽  
To The Lighthouse ◽  
Victorian Era ◽  
The Past ◽  
Cultural Milieu ◽  
The Waves ◽  
Jacob's Room

This chapter explores the centrality of biography and autobiography to Woolf’s reading and writing life, and to her cultural milieu, in which experiments in life-writing were a crucial aspect of the modernist reaction against the Victorian era. It examines Woolf’s deep engagement in her fiction with life-writing forms, from the bildungsroman of The Voyage Out to the play with conventional biographical forms of Jacob’s Room, Orlando, The Waves, and Flush and the autobiographical foundations of To the Lighthouse. It also examines her biography of Roger Fry, and her own experiment in memoir-writing, the posthumously published ‘A Sketch of the Past’, in the context of concerns with the nature of memory, identity, and sexuality.

‘Sumer-Is-Icumen-In’: Modern Folk Horror

Folk Horror ◽  
2017 ◽  
pp. 165-186
Author(s):  
Adam Scovell
Keyword(s):  
The Political ◽  
The Internet ◽  
Horror Film ◽  
Political Climate ◽  
Contributing Factors ◽  
Political Issues ◽  
High Point ◽  
The Past ◽  
Dominant Period ◽  
The Witch

This chapter assesses the recent resurgence of Folk Horror in a variety of media. It highlights Robert Eggers' horror film The Witch (2015), not simply because the film has managed to put folklorically psychological material back into the cinematic mainstream, but because it can actually be seen as the high point of a period of new films, television, and music re-exploring Folk Horror as a form that started at the beginning of the new millennium. This resurgence in all things Folk Horror, from delving into familiar thematic territory, remaking older examples, or even just generally rediscovering long-lost relics from its more dominant period, has a number of contributing factors. Arguably, it has two chief specific outcomes: work that reflects nostalgia, whether effectively subverting it (hauntologically) or succumbing to the past visions of Folk Horror's primary era, to produce referential work; and using certain thematic traces within the inner workings of Folk Horror to assess current political issues and even reflect on the parallels of the political climate from the period of 1970s Britain in particular. With the ubiquity of technology and the internet, Folk Horror has entered a new realm but it is one that at first seems contrary to its potential causational factors.

The Fiend and its Followers

2021 ◽  
pp. 53-76
Author(s):  
David Evans-Powell ◽  
David Evans-Powell
Keyword(s):  
Cultural Memory ◽  
Western Europe ◽  
Detailed Examination ◽  
Cultural Attitudes ◽  
The Past ◽  
Close Study ◽  
The Witch ◽  
The Relationship

This chapter will examine the relationship between the past and the present within the film through a close assessment of the behaviour of the fiend, in particular the relationship between the fiend and the landscape. The chapter will consider the historical and cultural attitudes towards cultural memory and the remembrance or forgetting of unwelcome aspects of the past. The chapter will also place the film into its contemporary screen context through a survey of other British screen texts concerned with malign revenants that upset the present when unearthed or discovered. The chapter will continue by considering the nature of the fiend and the consequences of its influence through a detailed examination of the character of Angel Blake and the abject. The chapter will also make a close study of the influence of Margaret Murray’s The Witch-Cult in Western Europe on the film.

Six Plays in Search of a Protagonist, 1976–2002

2011 ◽  
Author(s):  
Margaret Litvin
Keyword(s):  
Political Agency ◽  
The Political ◽  
Political Theatre ◽  
Political Situation ◽  
The Past

This chapter examines six Arab Hamlet offshoot plays performed between 1976 and 2002, describing how the Egyptian, Syrian, and Iraqi dramatists of the past thirty-five years have since deployed Hamlet for dramatic irony. The most recent of these plays, written in English, stands on the margins of the Arab Hamlet tradition. But the rest, aware of their predecessors' heroic Hamlet, turn him into a foil for their own pointedly inarticulate and ineffectual protagonists. These bitter, often hilarious plays criticize the political situation, but they are at their best in mocking allegorical political theatre. The only real political agency available, they suggest, is the power to set oneself above one's circumstances through ironic laughter.

scholarly journals Post-Christian Confession in Secular Context

2015 ◽  
Vol 1 (1) ◽  
pp. 127
Author(s):  
LEONARDO DE CHIRICO
Keyword(s):  
Nineteenth Century ◽  
Roman Empire ◽  
Second Century ◽  
Wide Spread ◽  
The Past ◽  
Cultural Milieu ◽  
Church Life ◽  
The Church ◽  
Practical Nature ◽  
The Way

Abstract: Discussions of the “post-Christian” age are wide-spread and also bring an element of anxiety as the Western church confronts present-day challenges. The assumption is that in a post-Christian age, following Christ will be tougher than in the past. While it is important to fully grasp the surrounding cultural milieu in which the church finds herself, and in which she is witnessing, this is only one aspect of the overall picture as far as the task of the church is concerned. Some sketchy lessons and reflections on how to approach post-modernity can come from the way in which Christianity confronted modernity in the nineteenth century or the Roman Empire in the second century. Perhaps the post-Christian challenge is a providential way to re-discover the practical nature of the Christian vision embodied in personal discipline, vocations, church life and practices, and also civic responsibilities.

scholarly journals The Speech Structure of the Media Environment and the Place of Stage Speech in It

2021 ◽  
Vol 10 (2) ◽  
pp. 302-319
Author(s):  
Vladimir Konkov ◽  
Tatiana Solomkina
Keyword(s):  
Social Space ◽  
The Internet ◽  
Political Theatre ◽  
Media Environment ◽  
The Past ◽  
Public Consciousness ◽  
The Media ◽  
The Stability ◽  
The Moment ◽  
Main Components

The paper analyzes the speech structure of the media sphere and determines the place of theater speech practices. The main characteristic of media text, which determines its ontology, is utilitarianism — direct and spontaneous involvement in the general activities of society. The media text is always connected with the time and place of its publication, with the specific coordinates of social space-time. At the time of publication it has the communicative status of the real-time text. With the increase in the time span separating the time of publication of the text from the time of its reading, the communicative status of the media text changes, it becomes the text of the past tense. The main components of the media sphere (in the communicative environment of both traditional media and the Internet) are the speech practice of the media, aimed at forming and maintaining the stability of public consciousness, speech practice of advertising, marketing, PR, GR. This set is open. Analysis of the theatre speech practice provides the basis for referring theatrical speech to the sphere of media speech. Several types of theatrical speech have been identified based on the specifics of the use of semiotic systems and the degree of immediacy of the relation to the audience: the polycode scenic speech of the actor at the moment of his interaction with the audience; speech of actor, director, screenwriter, broadcast in the communicative environment of the media and the Internet. The basis for the analysis is the Russian drama as well as the performances of Erwin Piskator, the creator of the "Political Theatre" movement in Germany in the 20th century. It analyzes the director's approaches to the search for dramatic material, the methods of organizing theatrical time and space, the special relationship between the actor and the viewer, and non-traditional principles of casting performers.

Beyond the Shadows of Wayang: Liberation Theatre in Indonesia

1989 ◽  
Vol 5 (17) ◽  
pp. 36-51
Author(s):  
Eugène van Erven
Keyword(s):  
The Philippines ◽  
Pacific Region ◽  
Political Theatre ◽  
The West ◽  
The Past ◽  
The Pacific ◽  
Recent Developments ◽  
The University

Outside its ‘classic’ forms, little is known in the West about the theatre of Indonesia. The colonial ‘heritage’ proved largely sterile, and the more fruitful recent developments of the past few decades have been dominated by attempts to integrate the indigenous tradition with contemporary problems and needs. Eugène van Erven has spent several years exploring new theatrical movements and activities in the Pacific region, and earlier results of his studies appeared in NTQ 10 (1987), on the People's Theatre Network of the Philippines. Here, he introduces the work of the two leading theatre-of-liberation companies in Indonesia, Teater Arena and Teater Dinasti, and analyzes their contrasting approaches to the integration of ‘theatre-of-liberation’ techniques with distinctively Indonesian social, religious, and theatrical traditions. Eugène van Erven also contributed a study of recent political theatre in Spain to NTQ 13 (1988), and has recently taken up a post lecturing in English at the University of Utrecht.

Times of Dispossession and (Re)possession: An Interview with Silvia Federici

2018 ◽  
Vol 62 (1) ◽  
pp. 131-142
Author(s):  
Arlen Austin ◽  
Beth Capper ◽  
Rebecca Schneider
Keyword(s):  
Social Movements ◽  
The Body ◽  
Primitive Accumulation ◽  
The Past ◽  
The Witch ◽  
Aesthetic Forms

In this wide-ranging interview with the Marxist feminist activist and theorist Silvia Federici, Arlen Austin asks Federici about the genesis of her book Caliban and the Witch: Women, the Body and Primitive Accumulation (2004), what it means to acknowledge and feel the trace of the past in the present, and the importance of aesthetic forms such as music and theatre to feminist social movements.

scholarly journals ASSYRIAN PARALLELS TO THE NART EPOS OF THE OSSETIANS

Kavkaz-forum ◽  
2021 ◽  
pp. 72-86
Author(s):  
К.Ю. РАХНО
Keyword(s):  
Ethnic Group ◽  
Fairy Tale ◽  
Apple Tree ◽  
Ancient Population ◽  
The Past ◽  
Twin Brother ◽  
The Witch

Статья рассматривает параллели к нартовскому эпосу осетин в фольклоре современных ассирийцев – этнической группы родом из Месопотамии. Если современные ассирийцы являются потомками древнего населения Ассирии, то осетины – потомки скифов, которые в прошлом атаковали Ассирийскую империю. Фольклор ассирийцев испытал сильное иранское влияние. Их сказки содержат множество иранских мотивов, часть которых перекликается с нартовским эпосом. В частности, в ассирийских сказках присутствует волшебная яблоня, плоды которой похищают сверхъестественные силы. Ложась спать с женой своего брата-близнеца, герой сказки кладет свою саблю между ними. С помощью орла, птенцов которого он спас, герой ассирийских сказок обычно выбирается из подземного мира. В некоторых сказках он попадает во враждебный дом, переодетым в женское платье, под видом невесты, соблазняет там женщину. Он охотится на джейрана, серну или газель, которые оказываются девушками-колдуньями. Находит соответствие в нартовском эпосе и мотив огромной антропоморфной лягушки. В ассирийских сказках есть также волшебное зеркало и чудесный котел, в котором варятся змеи, лягушки и черепахи. Герой похищает этот котел. Фигурируют там и морские кони. Советы коня помогают герою привезти чудесное дерево из охраняемого сада. Три героя состязаются за находку, рассказывая случаи из жизни. История одного из них заключается в том, что он был превращен ведьмой в быка, но девушка-волшебница помогает ему расколдоваться и наказать ведьму. Встречаются и амазонские мотивы. Как и у осетин, в ассирийской сказке есть мотив руки, высовывающейся из морской пучины. С осетинскими преданиями сближается история о трех купленных советах. Мотив рождения ребенка, жеребенка и щенка в сочетании с мотивом женщины, которая неузнанной соблазняет своего мужа, дабы проучить его, особенно близки нартовскому эпосу. The article examines the parallels to the Nart epos of the Ossetians in the folklore of modern Assyrians, an ethnic group indigenous to Mesopotamia. If the modern Assyrians are the descendants of the ancient population of Assyria, then the Ossetians are the descendants of the Scythians who attacked the Assyrian Empire in the past. The folklore of the Assyrians underwent strong Iranian influence. Their tales contain many Iranian motives, some of which have something in common with the Nart epos. In particular, in Assyrian tales there is a magic apple tree, the fruits of which are stolen by supernatural forces. Going to bed with the wife of his twin brother, the hero of the fairy tale puts his sword between them. With the help of the eagle, whose nestlings he saved, the hero of Assyrian tales is usually got out of the underworld. In some tales, he enters in a hostile house dressed in a woman's dress, disguised as a bride, and seduces a woman there. He hunts gazelle, chamois or gazelle, which turn out to be witch girls. The motive of a huge anthropomorphic frog finds a correspondence in the Nart epos as well. In Assyrian tales, there is also a magic mirror and a wonderful cauldron in which snakes, frogs and turtles are boiled. The hero kidnaps this cauldron. There are also sea horses. The horse’s advice helps the hero to bring a wonderful tree from the protected garden. Three heroes compete for a find, telling stories from their life. The story of one of them is that he was turned into a bull by a witch, but a girl sorceress helps him to disenchant and punish the witch. There are also Amazon motives. Like among the Ossetians, in the Assyrian fairy tale there is a motive of a hand sticking out from the depths of the sea. The story of three purchased councils comes close to the Ossetian legends. The motive of the birth of a child, a foal, and a puppy, combined with the motive of a woman who, being unrecognized, seduces her husband in order to teach him a lesson, are especially close to the Nart saga.

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