Suchergebnisse

В статье предпринята попытка выявить идейно-эстетические особенности концепций «разрушение» и «созидание» в художественной картине мира татарского драматурга начала ХХ века Гафура Кулахметова. В работе применен герменевтический подход к анализу художественных явлений, а при изучении эпохи и личности драматурга - историко-культурный метод. Исследование выполнено на материале двух пьес Гафура Кулахметова - «Две мысли» и «Молодая жизнь». Изучение художественного воплощения этих концепций производится на основе анализа психологического и аналитического характера монологов и диалогов, метафорических образов, душевного состояния героев. Исследование показало, что проявление в татарской драматургии начала ХХ века сюжетов разрушения - это результат социально-политического влияния. Обнаруженные в тексте пьес Гафура Кулахметова элементы «драматургии масс» послужили для авторов основой для постановки проблемы взаимосвязи и взаимовлияния концепций «нового типа» человека и «разрушения-созидания», что и составляет новизну данного исследования. В ходе работы было выявлено, что художественно-эстетические мотивы «разрушения» и «созидания» являются важными категориями в картине мира татарского народа, носят исторический характер. Драматург в определенной степени призывает серьезно задуматься об их последствиях для продолжения жизни и развития общества. Авторами постулирована возможность расширения изучения концепций «разрушения» и «созидания» в творчестве других татарских писателей начала ХХ столетия.
This article focuses on the ideological and aesthetic features of the concepts "destruction" and "creation" in the Tatar playwright Gafur Kulakhmetov's works. The authors employed hermeneutic approach to the analysis of literature phenomena, and historical-cultural method for investigation of the epoch and personality of the playwright. The study is performed on the two plays: "Two Thoughts" and "Young Life". The study of the embodiment of these concepts is based on the analysis of the psychological and analytical monologues and dialogues, metaphorical images, and the psychological state of the characters. The study revealed that the manifestation of the "destruction" concept is the result of socio-political influence. The new elements of "drama for the masses" discovered in Gafur Kulakhmetov's playsserved the basis for posing the problem of interconnection and mutual influence of the "new type" people concept and antagonism between "destruction" and "creation", makes the current work relevant The study revealed that the artistic and aesthetic motives of "destruction" and "creation" are important categories in the world picture of the Tatar people. The playwright urges serious reflection on the consequences of destruction for the continuation of life and for the society development. The authors suggest further research onexpanding the study of the concepts "destruction" and "creation" in other Tatar writers' works at the beginning of the 20th century.

This essay establishes the Christian myth within Wilde's three plays, calling attention to the gender politics that he fought against in the Victorian era. Through Salomé, A Woman of No Importance, and An Ideal Husband I will prove the Christological myth that each play adopts and establish Wilde's ability to make the religion "transformational." Wilde's productions of characters like Salomé, Mrs. Allonby, Mrs. Arbuthnot, and Hester are examples of the "fallen woman" of Victorian England. The treatment of women by women will illuminate the passiveness of the Victorian Woman and their compliance with the patriarchal norm. This norm continues through the two "society plays": A Woman of No Importance and An Ideal Husband, where aspects of progressive women versus married ones is concentrated on. Wilde uses his ability of language to show societal norms to convey Christological backgrounds. These plays portray multiple types of women: those who comply with the patriarchy and those who do everything in their power to usurp it. Wilde displays these differences through his storytelling, manipulating certain aspects of the Victorian era to expose negative traits of a patriarchal society.

Gender study is one of the most select areas of modern research in nearly all branches of knowledge, that is, politics, history, sociology and of course literature. Feminist criticism has been phenomenal in closely studying works of literature. The modern era, which tries to usher in a world of equality for all, is highly concerned with the political, economic and social equality and freedom of women. In this article, four plays ( Twelfth Night, The Taming of the Shrew, The Winter's Tale and Cymbeline) of William Shakespeare have been selected for the purpose of gender analysis. The article tries to explore the family in Shakespeare's times, the status of women and the social hierarchy in Elizabethan times. Shakespeare's plays highlight many more issues of gender and identity that are of universal importance. This article also explores how gender roles were predetermined in the Elizabethan society and how a woman was expected to behave accordingly.

Der Text beschäftigt sich mit Walsers seit der Jahrhundertwende entwickelten Methoden der Thematisierung von Alltagsmythen in Märchenspielen. Mayr stellt besonders die politisch gefärbten Arbeiten der Zwanziger Jahre heraus und sucht sie als Bruchstücke einer universalen Geschichtsphilosophie zu begreifen, die den tragischen Gehalt geistiger Klischees aufspürt und hinter den Erscheinungen der Geschichte die gnadenlose Mechanik des Märchens vermutet. Ein weiteres Ziel der Arbeit besteht in der Rehabilitation Walsers als politischer Autor. ; This thesis deals with Robert Walser´s attempts to create a new method of myth- destruction in short plays. Developed since 1900, his plays, based on german fairy-tales and every-day-myths, reached a technical standard in the field of analysing politics that can only be compared with the one of Brecht´s works. Mayr tries to show that Walser was one of the most intelligent political authors of his time.

Cover -- Half Title -- Title Page -- Copyright Page -- Original Title Page -- Original Copyright Page -- Preface -- Table of Contents -- I. Introduction -- II. The Leveller Theorists -- 1. John Lilburne -- 2. Richard Overton -- 3. William Walwyn -- 4. John Wildman and Other Leveller Writers -- III. The Leveller Party Programme -- IV. Utopian Communism -- 1. Gerrard Winstanley -- 2. Tyranipocrit (1649) -- V. Theorists of the Commonwealth: I -- 1. Anthony Ascham -- 2. Francis Rous and John Dury -- 3. Other Writers -- VI. Theorists of the Commonwealth: II -- 1. John Goodwin -- VII. Theorists of the Protectorate -- VIII. The Fifth-Monarchy Men -- IX. John Milton -- X. Marchamont Nedham and Francis Osborne -- XI. James Harrington -- XII. The Republicans -- XIII. Thomas Hobbes -- XIV. The Royalists and Sir Robert Filmer -- Index.

This article focuses on the opening ceremony of the new US-Embassy in Jerusalem on May 14, 2018. By analysing a live transmission of the ceremony, it aims at showing how Jerusalem is constructed as a "holy city" through the ceremony and its medial representation. Thus it contributes at deepening the relationship between religion and politics in Mideast Conflict by focusing on the intersection of ritual, (sacred) space, conflict, and the media.More specifically, in following a spatial approach to religion, it asks about the role of media rituals as the considered ceremony in the construction of holy space in Mideast conflict.