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The article analyzes the dynamics of the relationship between the government and the parliamentary opposition in Ukraine. The causes and consequences of political conflict domination style relationship were clarified by the author. He believes that the distinction between opponents held the simplified line “anti-communism” to the complex and contradictory relationship in the triangle “president-parliament-government.” The political consequences of the conflict nature of interaction between government and opposition were minimizing the use of compromise as a tool to resolve disputes, activation of extra-parliamentary forms of political struggle, the attempt to develop mutual control of some political forces over others, stimulate political competition. Conflicts between the government and the opposition began to acquire signs of conflict between advocates support democracy building and its collapse and conservation. Therefore, in 2004 and 2014 repositioning political forces as changing the status on the powerful opposition, accompanied by the intensification of the democratization process. As a result of political actors started implementing new democratic forms and practices lustration of power, style dialogical relationship between government and society, strengthening the capacity of the third sector to influence the ruling elite. This is a prerequisite for the transition to a compromise model of relations between the authorities and the opposition.
EN
Since Najib al-Haddad and Tanyusʻ Abdu’s first Arabic versions of Romeo and Juliet and Hamlet at the end of the 19th century, the reception of Shakespeare in the Arab world has gone through a process of adaptation, Arabization, and translation proper. We consider the process of Arabization / domestication of Shakespeare’s plays since Najib al-Haddad’s adaptation of Romeo and Juliet and Tanyusʻ Abdu’s adaptation of Hamlet, to the achievements of Khalīl Mutran and Muhammad Hamdi. We underline, as particular examples of Shakespeare’s appropriation, the literary response of Ali Ahmed Bakathir, Muhammad al-Maghut and Mamduh Udwan, with a particular stress on Khazal al-Majidi and his adaptations of Shakespeare’s plays. All these writers reposition Shakespeare’s plays in an entirely different cultural space.
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