Wrongdoing and Forgiveness in Boris Pasternak’s Doctor Zhivago

Could even the most ideal love justify betrayal? The author invites the reader to examine Boris Pasternak’s Doctor Zhivago through the lens of wrongdoing and forgiveness. She ponders whether Lara Antipova and Yura Zhivago can justify their actions with the beauty and the force of their love. In the light of the moral consequences of their actions, she finds such justification to be impossible. In her view the novel, culminating in the main characters’ deaths, opens itself to a transcendental sphere in which wounded people are laid bare in their humanity before themselves, free of the baggage of guilt and harm, ready for conciliation.

Ludwig van Beethoven’s “Fidelio”: Participation of the Public in Graham Vick and Tobias Kratzer’s Productions

Relevance of the study. Versions of the only opus magnum of the German genius in modern filmmaking practice are associated with various sources: from myth, historical documentary to modern political thriller. The performances of Fidelio by the German Tobias Kratzer on the stage of the London Royal Opera and the British Graham Vick with the Birmingham Opera Company directed the vector of directorial innovations into the mainstream of the actual problem in the field of art — communication. Both directors brought the image of an opera audience onto the stage.Main objective of the study is to analyze the aforementioned opera productions from the point of view of the public participation, which presupposes the use of the stage experience of performance, documentary and Immersion Theater.Research methodology. Expending the experience of scientists who have developed the classification of the concepts of the public and the audience, the structural vector of these concepts in the form of a link in the recipient-performer-creator chain is revealed. In the versions from Vick and Kratzer, the public and the audience not only actively influence the artistic processes, but also become their participants. A watershed between the concepts of the public and the audience, important for comparing these artifacts, is revealed which required, provided the reason to use a comparative research methodology.The results of directorial artifacts. Vick interprets “Fidelio” as a performer-director. His fourth interactive version of the opera features Birmingham residents. Kratzer accentuates the historical traditionally theatrical barriers between performers and spectators and first gives the opportunity to relive the events of the costumed “Fidelio”, designed for a suggestive public reaction, which gives impetus to an unexpected evolution. At first, the audience, passively reflecting the events, acquires a certain breakthrough in consciousness in the finale and begins to act on a par with the protagonists of the opera. For Kratzer and Vick, the argument for including the image of the audience in the production was the historical fact (the creation of an opera during the French Revolution) and the coverage of the connections between Beethoven’s opera narrative and the social realities of modern society. Vick associated “Fidelio” with modern outbursts of totalitarianism. For Kratzer, the key idea is ideal love, inherent in Beethoven’s ideas of humanism, loyalty and moral duty. Vick’s Theater connects the type of audience as a spontaneous community. Kratzer focuses on the centuries-old culture of opera lovers united by common interests. The approbation of various forms of integration of performance and opera shows how important the artistic, social, didactic and psychological results of participation are. The public develops, evolves and becomes a professional audience.

Romeo and Juliet in late-communist Poland: Deconstructing the myth of Shakespeare’s play

Romeo i Julia z Saskiej Kępy (‘Romeo and Juliet from Saska Kępa’) is a Polish film from 1988, which showcases the idea(l) of true love in late-communist Warsaw. He (Leopold) is an alcohol-wasted, promising painter, she (Sabina) comes to Warsaw from the country and finds employment as a domestic help. They find their love space in a boiler-room in a ruined tenement house in the prestigious and elitist district of Saska Kępa in Warsaw. The film is an adaptation of Shakespeare’s play of sorts; although there are references to Shakespeare’s tragedy and parallels are more or less detectable, the film rather addresses the status of the play in the Polish culture of the late 1980s, in the context of the drab reality of Poland just before the transition in 1989 (not that it anticipates it). Thus, it can be possibly classified as what Sanders (2006) views as appropriation. Our aim is to explore the functioning and role of the Romeo and Juliet myth in the (popular) culture of decadent communist Poland and its treatment in Skórzewski’s film: how certain motifs from the play, especially those associated with the myth of ideal love, were developed in a modernized version of Shakespeare’s tragedy, thus reflecting certain topical problems, which the director addresses appropriating this myth. Rather than showing love between the two figures impossible due to the rivalry between two families/opposing groups, Skórzewski finds obstacles for such love in the drab reality of the late 1980s and social differences between the two lovers. The director makes them mature people, neither are they stunningly beautiful, nor living a comfortable life.

Sovietness in the Art of Vladislav Mamyshev-Monroe

The article is devoted to the recycling of Soviet images in the works of Vladislav Mamyshev-Monroe from 1987–2006. In his multidisciplinary work, Vladislav Mamyshev (1969–2013),an artist, writer, actor, professor of the original genre department of the New Academy of Fine Arts, repeatedly reproduced images from Soviet cinema and pop culture. In the make-up of Marilyn Monroe, he performed Soviet songs at concerts and in video clips. He portrayed Alla Pugacheva, Lenin and Krupskaya, an episode of Stierlitz meeting with his wife from the movie Seventeen Moments of Spring in performances and photo portraits. Mamyshev also wrote several philosophical treatises on the Russian and Soviet mentality and history. Mamyshev’s existential performance, associated with ancient practices of holy foolishness and parrhesia, is considered in the dynamics of post-Soviet history. In 1990, in remakes of Politburo portraits, he transformed the Soviet gerontocrats into the beauties of world cinema, “correcting the karma” of the Soviet regime. In a Pirate Television report on August 19, 1991, Mamyshev opposed the abolition of Gorbachev’s reforms. In the early 1990s, he put forward the idea of a fabulous folklore matrix of the Russian and Soviet unconscious and noted the beginning of the contamination of Russian and Soviet history in the post-Soviet consciousness. In the late 1990s, Mamyshev in the image of Lyubov Orlova explored the complex of Soviet ideas about perfection, which have both a mobilizing and deadening socio-cultural impact. Representing Soviet images, Mamyshev focuses on their totalitarian state message and at the same time their reflection in the individual consciousness, aimed at finding ideal love and happiness, showing the inevitable tragic break in the functional connection between Soviet ideology and Russian reality.

Browning’s and Serembe’s Love Poems

Browning’s and Serembe’s love poems will be analyzed in this research paper in order to illustrate how they reflected their efforts to present the idea of love in their poetry. In the ‘By the Fire-Side’, one of the major poems of Robert Browning during the thesaurus of the British Victorian period and Zef Serembe’s ‘Song for Longing’, considered by many to rank among the best love poems of Rilindja (Renaissance) poets in the nineteenth century Albania. The two poets, do not consider the idea of love in the abstract term. They include love by referring to the specific details, Browning, to his love relationship with a famous poetess Elizabeth Barrett, their elopement and union in Italy, and Serembe to his love for a girl from his native village, who immigrated to Brazil and subsequently died. In these poems, both poets explore the intimate atmosphere they tried to establish for their beloved women, by describing the places that witnessed the birth and growth of their love. ‘By the Fire-Side’ and ‘Song for Longing’ comprise a common element; they are personal love poems that describe their ideal love, personal feelings, and passion of their love. While Robert Browning in his poem writes about a peaceful and satisfied married life, full of sweet memories and images of his wife, Zef Serembe’s poem is a picture of his sentiment, primarily of solitude and disillusionment. The comparative and descriptive research methods have been helpful while conducting this research paper.

Metamorphoses of Oedipus in Modern French Literature. From an Intellectual Drama to a Psychoanalytical Reflection on Ideal Love

Oedipus Rex, a tragedy created twenty-five centuries ago, is still a source of inspiration for many writers. However, the overall message of modern interpretations of the Oedipus myth differs considerably from the message of Sophocles’ play; these works are no longer the stories of a man punished by gods for his haughtiness (hybris). André Gide modernizes Sophocles’ tragedy, transforming it into a lesson in secular humanism. The play by Jean Cocteau focuses on the transition from ignorance to awareness. Alain Robbe-Grillet creates an anti-story about the contemporary version of Oedipus, whose lot is determined, not by gods, but by chance and unconscious desires. As for the psychoanalytical interpretation of the myth by Jacqueline Harpman, it is first of all the reflection on ideal love, fully realized in an incestuous relationship between the son and his mother.

Narcissitic Personality Disorder Pada Tokoh Elena Dalam Komik Tomodachi Gokko Karya Momochi Reiko

The tittle of this research “Narcissitic Personality Disorder at Character Elena Figure in comic Tomodachi Gokko by Momochi Reiko”. The aims of this research are to described NPD Characteristic, the reasons of NPD in character Elena, impact of NPD to Elena and other characters in comic Tomodachi Gokko by Momochi Reiko.The theories that have been used are Wellek and Warren’s literature and psychology theory (2016), Sigmund Freud Narcissism theory (1914), Gunderson’s Narcissitic Personality Disorder (1994), Lajos Egri’s Three Dimensions of Characterrization (1946) and Marcel Danesi’s semiotic theory (2011). Based on the result, Elena is an early adulthood’s girl who experiences with Narcissistic Personality Disorder. Characteristic of NPD in Elena based on Gunderson, dkk, namely (1) has a grandiose of self-importance and is often envious of others, (2)is preoccupied with fantasies of unlimited success, power, brilliance, beauty, or ideal love. (3) believes that he or she is “special” and unique and can only be understood by, or should associate with, other special or high status people, (4) requires excessive admiration, (5) has a sense of entitlement, (6) is interpersonally exploitative, takes advantage of other to achieve his or her own ends, (7) lacks empathy, and (8) shows arrogant, haughty behaviors or attitudes. The Reason behind Elena’s NPD condition was triggered by her mother, as a child she was often got curse word. The impact of NPD to Elena were 1) difficulted for her to distinguish between good and bad deeds and she almost lost her own life, and she move to the new school. The impact Elena’s NPD to other people around her were 2) she doing bullying, damaging, and traping for personal gain. Keywords : psychology literature, Narcissistic Personality Disorders, Psychoanalytic