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The Conceptualization of the Phenomenon of Corporeality in Biblical Discourse

100%
Taraba I.
Perspektywy Kultury
|
2019
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vol. 26
|
issue 3
23-30
PL
Artykuł omawia cechy konceptualizacji cielesności w interpretacji li­terackiej jako instrument i kategorię realizowane w figuralno-emocjo­nalnym paradygmacie dramaturgii współczesnej ukraińskich autorów A. Czyrkowa i J. Wereszczaka. Należy zauważyć, że w badanych dzie­łach dramatycznych konceptualizacja cielesnego kodu kultury jest bar­dzo wyraźna i odwołuje się do wielu motywów biblijnych z odpowiedniej sfery pojęciowej. Z materiału utworów dramatycznych możemy wnio­skować, że ewangeliczna projekcja pokazuje cztery koncepcje o specy­fice i zasadach motywu jako wyrazu fizyczności w dyskursie biblijnym: 1) „Pięć ran Jezusa Chrystusa”. 2) „Ukrzyżowanie”. 3) „Grzeszne cia­ło”. 4) „Ciało Chrystusa”. Cielesność w dyskursie biblijnym koreluje z modelującymi świat kategoriami takimi jak „dusza” i „rzeczy”.
EN
The article deals with the features of the conceptualization of corpore­ality in literary interpretation as an instrument and a category realized in the figural-emotive paradigm of the dramaturgy of the contemporary Ukrainian authors, A. Chyrkov and J. Vereshchak. It should be noted that in the studied dramatic works the conceptualization of the corpo­real code of culture is extremely clear. It appeals to many biblical motifs with appropriate an sphere of concepts. The dramatic works suggest that evangelical projection demonstrates four concepts that itemize the specifics and principles of embodiment of physicality in the biblical discourse: 1) “Five wounds of Jesus Christ,” 2) “The Crucifixion,” 3) “The sinful flesh,” 4) “Body of Christ.” Corporeality in the biblical discourse corre­lates with world-modeling categories such as “soul” and “thing.”
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Otakar Zich and Prague's 'Semiotic Stage' : reading performance avant la lettre

100%
Ambros V.
Theatralia: Revue současného myšlení o divadelní kultuře (Theatralia: The revue of contemporary thought on theatre culture)
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2020
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vol. 23
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issue 1
13-29
EN
Zich's unique views of dramatic work initiated a performance theory avant la lettre. It was, however, as I argue a collective effort of Prague School theorists, whose polemics with Zich and among each other recognized the inherent semiotic potential of Zich's work. Often related to contemporary stage experiments, Zich's ideas explored topics like the mobility and hierarchy of signs, their respective functions, and the position of dramatic text, the concept of the 'actor's figure'. Zich and the discussions he incited are also useful for ideas of transitions between theatre and ceremony that enrich the current approach to the audience, space, and characters on the contemporary stage.
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