Literary Literacy in High School Through the Study of Intrinsic and Extrinsic Elements in the Novel Si Anak Pemberani by Tere Liye

The analysis of this novel aims to describe the intrinsic and extrinsic elements of Si Anak Pemberani (SAP) novel by Tere Liye and the implications in learning literature in junior high school. This research used descriptive qualitative with content analysis. The results show that the theme in the SAP novel is child courage to defend her village; using a progressive plot by offering the setting of the place, time, and atmosphere; the character's personality is displayed based on dramatic technique; using the main character's viewpoint; a comparative figure of speech as language style, contradiction, satire, and affirmation; there are mandates to protect the environment and love parents, as well as extrinsic elements in the form of the author's cultural, economic, religious, and political background and values displayed.

Literary Literacy in High School Through the Study of Intrinsic and Extrinsic Elements in the Novel Si Anak Pemberani by Tere Liye

The analysis of this novel aims to describe the intrinsic and extrinsic elements of Si Anak Pemberani (SAP) novel by Tere Liye and the implications in learning literature in junior high school. This research used descriptive qualitative with content analysis. The results show that the theme in the SAP novel is child courage to defend her village; using a progressive plot by offering the setting of the place, time, and atmosphere; the character's personality is displayed based on dramatic technique; using the main character's viewpoint; a comparative figure of speech as language style, contradiction, satire, and affirmation; there are mandates to protect the environment and love parents, as well as extrinsic elements in the form of the author's cultural, economic, religious, and political background and values displayed.

Literary Literacy in High School Through the Study of Intrinsic and Extrinsic Elements in the Novel Si Anak Pemberani by Tere Liye

The analysis of this novel aims to describe the intrinsic and extrinsic elements of Si Anak Pemberani (SAP) novel by Tere Liye and the implications in learning literature in junior high school. This research used descriptive qualitative with content analysis. The results show that the theme in the SAP novel is child courage to defend her village; using a progressive plot by offering the setting of the place, time, and atmosphere; the character's personality is displayed based on dramatic technique; using the main character's viewpoint; a comparative figure of speech as language style, contradiction, satire, and affirmation; there are mandates to protect the environment and love parents, as well as extrinsic elements in the form of the author's cultural, economic, religious, and political background and values displayed.

СOMMONALITY OF PLAUTUS 'COMEDIES AND V. KATAEV'S COMEDY «QUADRATURE OF THE CIRCLE»

Статья посвящена исследованию литературных источников драматургической техники комедии В. Катаева «Квадратура круга». Исследование формальных приемов в структуре произведения строится на текстуальном анализе трех комедий Плавта и комедии «Квадратура круга». Анализ сходства драматургической техники производится путем сопоставления отдельных сцен в комедиях Плавта «Клад», «Близнецы», «Пленники» и комедии В. Катаева «Квадратура круга». Автором статьи используется терминология, существующая в научном обороте, но не имеющая нормативного употребления. Слова «схема», «фигура», «элемент» являются синонимами и обозначают отдельный прием драматургической техники. Процесс текстуального сличения отдельных сцен комедий Плавта и Катаева демонстрирует очевидную общность драматургической техники. Сходство приемов драматургической техники, их количественный уровень указывает на факт заимствования Катаевым отдельных элементов из комедий римского автора. Драматургические фигуры, составляющие общность приемов в комедиях Плавта и Катаева, различны на идейно-тематическом и структурно-композиционном уровне. Глубина профессионального освоения творчества Плавта вкупе с дарованием и талантом самого Валентина Петровича способствовали феерическому успеху «Квадратуры круга» на российской и мировой сценах. Использование литературно-исторических традиций античной драматургии Катаевым является бесценным опытом и примером создания произведения высокого художественного уровня. The article is devoted to the study of literary sources of the dramatic technique of V. Kataev's Comedy «the Quadrature of the circle». The study of formal techniques in the structure of the work is based on the textual analysis of three comedies by Plautus and V. Kataev's Comedy «the Quadrature of the circle». The similarity of dramatic technique is analyzed by comparing individual scenes in Plautus 'comedies «the Treasure», «the Twins», «the Prisoners» and V. Kataev's Comedy «the Quadrature of the circle». The author of the article uses terminology that exists in scientific circulation but does not have normative use. Words: the schematic of figure element are synonymous and refer to the individual reception of dramatic technique. The process of textual comparison of individual scenes of Plautus and Kataev's comedies demonstrates an obvious similarity of dramatic technique. The similarity of the techniques of dramaturgical technique ,their quantitative level, indicates the fact that V. Kataev adopted certain elements from the comedies of the Roman author. The dramaturgical figures that make up the commonality of techniques in the comedies of Plautus and V. Kataev are different on the ideological-thematic and structural-compositional level. The depth of Kataev's professional development of Plautus ' work, combined with the talent and talent of Valentin Petrovich, contributed to the enchanting success of the circle Quadrature on the Russian and world stages. The use of literary and historical traditions of ancient drama By V. Kataev is an invaluable experience and example of creating a work of high artistic level.

Beyond the Epic. Richard II and the Nature of the Tragic in Shakespeare

The major disagreement on the nature of the epic is rooted in the opposition of two concepts — either the epic draws on the myth, or its optics is regulated by history. In Leonid Pinsky’s opinion the way leading from the epic past towards the individual and inward self was the way of Shakespeare’s heroes both in his tragedies and history plays. Richard II (1595, opening the second tetralogy) follows one of the two archetypes suggested by Hugh Grady in his article “Shakespeare's links to Machiavelli and Montaigne.” Richard is not essentially a machiavellian type, though occasionally called a weak, “deficient” tyrant by critics and a “landlord” (not a king) by John Gaunt in the play. Creating this character Shakespeare makes the first step towards Hamlet. The climax is reached in the scene of his dethronement, much more known for its political topicality than being scrutinized for the discovery a dethroned king is to make. Who is he now? A nonentity, or a new being? The mirror he asks to bring lies, he thinks, when he recognizes his own unchanged face in it. Several scenes in the play (the Queen and Bushy, Richard and his jailor) demonstrate how the lyrical experience, Shakespeare must have acquired in the two plague years (1592–1594), had changed his dramatic technique. In Richard II he gave a start to a new metaphysical tradition.

Method of visualization (perception) in the plays of Alexander Stroganov

The purpose of the paper is to analyze how the thematization of the perception of the world is implemented in the plays by A. Stroganov: ‘Halo,’ ‘Halo and the Night,’ ‘The Greatness of the Swing,’ ‘Black, White, Accents of the Red, Orange. Control Prints in two acts.’ The analysis of poetics proves that the visualization of metaphors creates the effect of optical illusions, resulting in the action acquiring a symbolic-magical character. The metatheatrical way of multiplying action plans (conditional-substantial and projective-illusory) allows presenting the technique of switching one’s attention to the imaginary elements. Visual projections of parareal events objectify the ability of the characters (and consequently readers/viewers) to see and perceive their inner world. A conclusion is made that in the plays under study, the integrity of the dramatic action is lost, whereas voices, gestures, images-paths, and photographs are constantly pulsating in the poetics of the text, with their ability to visualize the world vision image embodying the performative potential of action. The way to complete the integrity is the reader / viewer’s preexisting representations and interactive participation in the creation of textual projections of image-metaphors. Such absolutization of a single dramatic technique leads to a multidimensional artistic reading of A. Stroganov’s plays in the context of his theory of pararealism.

METATHEATRICAL TENDENCIES IN HAROLD PINTER’S THE LOVER

The term metatheater is coined by Lionel Abel in 1963 which refers to theater about theater. It draws attention to the distinction between the fiction of the play and the reality of performance. A play refers to itself as a play to encourage the audience to perceive it in two ways; as a pretended reality and as dramatic artifice. Metatheater also appears in both comedy and tragedy, where the audience can laugh and empathize at the same time. The paradoxical perspective of fake and real promoting audience instability and this is the role of metatheater. It is an artistic way to examine the interaction between illusion and reality. There is a need to represent reality through artificiality to provide an insight to see the truth of human mind and to illuminate the individual perspective. Within this study metatheater considered as a tendency rather than a technique. It examines the conflict between illusion and reality in Harold Pinter’s The Lover and focuses on play within the play device. It shows that illusion and reality is the bases of both the subject matter and the dramatic technique of the plays of Harold Pinter who is a revolutionary British playwright. It shows how the play employs the standard Pinter’s technique of mixing illusion and reality, presenting a comedy in modern absurd way. Metatheatrical tendencies in The Lover traces how people lost simplicity and spontaneity of communication and unable express their real beings.