Translational Nation: Politics and Re-presentation at the Independence Hall of Korea

This article develops a theory of nation form as translational, referring to the praxis of re-presenting and thus rendering sensible the nation through an examination of the Tongnip Kinyŏmkwan (Independence Hall of Korea), a national museum designed to commemorate Korea’s anticolonial resistance efforts and its independence from the Japanese Empire in 1945. Translation in the context of this article alludes to the praxis of re-presenting and thus reconstituting the nation through what Rancière calls “the distribution of the sensible.” The Hall, in other words, suggests that the nation does not matter unto itself but rather that it is in such moments of articulation and sensibility that the nation is hailed into existence. This article makes the argument that the interactional outcomes between visitors and the Independence Hall direct us toward an interpretation of the Hall as a space of enactment of the translational nation, which refers to a re-formation of nation through translation across interrelated matrices including text, trauma, and time. This translational praxis, understood in the context of the interplay between state-sponsored zeal and popular anemia, centers on the translation of communicative text into theatrical text, somber tragedy into diluted play, and discrete historical events into a posthistorical genealogy.

(Intertextuality and its manifestations in the contemporary Iraqi theatrical text, the play of the A tale of two friends by Muhy al-Din Zangana as a model).

Intertextuality is one of the modern theories that study literary texts, knowing their interactions and interactions and what the text absorbs from previous texts, which left their imprint on the text, directly or indirectly, and this theory has witnessed great interest by many Western critics after studying and writing about it (Julia Kresina Then the writings continued by (Roland Bart), (Michel Revatier) and (Umberto Eco), and other critics, as Arab criticism was interested in this theory and many Arab critics wrote about it, such as Abdullah Al-Ghadhami, Saeed Yaktin, and Muhammad Miftah Abd Al-Malik Murtad. And others KeyWords :Intertextuality, in the Iraqi theatrical text

Towards the Issue of the Smallest Theatrical text Unit

This research aims to identify the smallest unit of theatrical text as a specific polyphonic sign system from the point of view of the apparatus that governs it. The initial difficulty, which arises in connection with theatrical text, is the issue of a theatrical sign. The author considers different approaches targeted to synthesize the definition of the smallest unit, which is required for the scientific description of the object under analysis. It is pointed out that any disregard of a polymodal nature of theatrical text leads to invalid results. Theatrical text as a direct result of complex sign semiosis should be regarded holistically. It is important to realize that any speech event in the theater is performative and applied in an equivalent theatrical sign (acteme), which is the result of polyvalent sign systems on the stage. The term ‘acteme’ applied for theatrical signs, as it is assumed, can facilitate the process of linguistic description of theatrical text and its reading. It is pointed out that although the issue of theatrical text is less elaborated in language theory than the issue of dramatic text as a literary work, it is evident that investigations in this field have considerably progressed and the search for an adequate comprehension of semiotic procedures continues.

CUMULATIVE PHANTASY OF THE LITERARY INHERITED IN THE CONTEMPORARY IRAQI THEATRE'S TEXTS

The cumulative phantasy of literary inherited in the contemporary Iraqi theatre's texts composes important pivot and a literary cultural phenomena has its' distinguished presence in the Iraqi theatre represented by inspiration of literary inherited and urging the collective memory by aesthetic and conceptual frames via works of dramatic processing by shifting central structures and their time-place and structural transformations in the theatrical text. The research consists of four chapters, first chapter tackled with the methodical frame and included the research's problem that is specified by the following question: ((What is the cumulative phantasy of literary inherited and how was employed in the contemporary Iraqi theatre's text?)). The research concerned with knowing the special and general frames of the cumulative phantasy of literary inherited concept and knowing also their cognitive paths, references and innovative producing tools according to cognitive time's evidences to arise the viewer's memory and rooting the cultural identity. The research aims to briefing the cumulative phantasy of literary inherited in the contemporary theatrical text. The research's limits included studying the cumulative phantasy of literary inherited in the contemporary Iraqi theatrical texts for the period (1965-2005) also first chapter included the terms and defining them also. While the second chapter consists of three sections, first one was about phantasy philosophy and its' conceptual concepts, second section was about the phantasy and its' psychological concept, third section was about phantasy and its' representations in the Arabian theatrical literary inherited. Third chapter included research's procedures of a population included (15) theatrical texts, sample consisted of two theatrical texts, choosing was by intentional method whereas conforms with the research's subject and achieving the required goal represented by (Almiftah) for Yousif Al-Ani and the play (Al-Layali Al-Sumariyah) for the writer (Lutfiyah Al-Dulaimi). The researcher considered the depicting method to analyze the research's sample, she relied on the indications of theoretical frame in analyzing. Fourth chapter included results and conclusions, some of them are: 1. Text were featured with drama structure based on inspiration of the inherited and reproduce it by contrast according to the…. Of the phantasy, cumulative of the literary public inherited via shifting techniques, symbols and interpretations of indications. 2. Writers' phantasy added manifestations of public and national identity and its' structures sublimation by its' limits, historical and inherited evidences, permanence and existence by opening the eras. 3. Parallel and harmonic employment that express the inherited characters with a contemporary visions

Ansätze einer Phänomenologie der Performativität von (Musik-)Theatertexten am Beispiel der Übertragung des Singspiels „Die Entführung aus dem Serail“ von W. A. Mozart ins Griechische

Western theatre production processes are historically characterized by their logos-centered approach. Therefore, the text is the starting point of all creative work. In this context, the theatrical text, as a literary phenomenon, is at the forefront of the action, whereby the “performance” of the text within a performance itself is often only perceived as a “disturbing” accessory. If, however, one entertains phenomenological thoughts in relation to the aesthetic production processes in theatre, one does not refer explicitly and exclusively to a text as a mental, cognitive construction of sense and meaning; rather, one extends the aesthetic working process to all the parameters involved in the interrelated theatre production process. The resulting theatrical expression is more than just logos in the form of a text. It is logos in an extended sense, which in turn can be perceived and experienced bodily, as well as sensually by the recipient. As a consequence, the theatre artist is offered new approaches to the performative understanding of a theatrical text. In this context, such a purposeful observation and perception of a particular appearance is of decisive importance. On the basis of these phenomenological considerations for the presentation of a theatre text on stage, we examine the libretto of W. A. Mozart’s “The Abduction from the Seraglio” in order to show how a translation of the spoken dialogues (prose) of this Singspiel into Greek allows the Greek-speaking audience a performative approach to the text.

Theatrical Dialogue in the Digital Age: From Director’s Theatre to the Theatre Onscreen

Thanks to its inherent nature, theatre has been better able than other artforms to resist the challenges presented by information and digital culture, which are based on the principle of reproduction. Since a theatrical text is created anew each time, an audience can enter into a real-time dialogue with a concrete group of players recreating an authorial concept. This is true even when, as in director’s theatre, a director’s interpretation is performed by different acting companies.Today, however, the hubris of theatre critics and enthusiasts, who value unmediated dialogue as a pre-condition of theatrical pragmatics, has collided with the novel theatrical practice of live broadcasting, which was preceded by the standalone genres of radio and television plays. As a performance art, theatre possesses characteristics of a virtual object, where the information about such an object exists only in the memories of audiences or professional critics. In becoming digitised, theatre loses its former character – the uniqueness of presence in a concrete theatrical here-and-now that can never be repeated – and acquires a new mode of existence within a movie theatre represented in Russia by the Theatre HD project, which translates the theatrical educational mission into the digital age by involving new participants in creative dialogue.