Full-text resources of CEJSH and other databases are now available in the new Library of Science.
Visit https://bibliotekanauki.pl

Results found: 4

first rewind previous Page / 1 next fast forward last

Search results

Search:
in the keywords:  stage directions
help Sort By:

help Limit search:
first rewind previous Page / 1 next fast forward last
1
Publication available in full text mode
Content available

Swoiste sposoby określania czynności przy ich powtórnym opisie

100%
Glovinskaja M. J.
tekst i dyskurs - text und diskurs
|
2019
|
issue 12
259-272
EN
The article is devoted to a separate variety of statements: statements reporting the content of other statements. The author refers to this type of speech as ‘retelling’ (Russian: pereskaz) and points to its use in presenting the content of literary works, journalistic texts, various cultural texts (film, opera, ballet, etc.) and, less frequently, also spoken statements. One typical where these forms occur are headlines reporting on the content of the following text and stage directions. ‘Retelling’ is characterized by specific ways of using the forms of the perfective and imperfective aspects of the verb and the use of temporal forms of the verb, different from the usual dependence of tenses (such as ‘future in the past’). This is justified by their metatextual function. In these cases, there is a transition to the second or even third level of temporal deixis, when events are not presented (as opposed to a simple statement) from the point of view of the ‘here and now’ of the current sender but, instead, presented as elements of the reality already presented in the previous statement and reported from the perspective of its author or recipient/interpreter (who may assume different time perspectives vis-à-vis the content of the presented text). A thorough analysis of the material illustrating the ‘retelling’ in the article reveals specific cases of synonymy between different tense-aspect verb forms.
2
Publication available in full text mode
Content available

„Mimo geniuszu to człowiek, tylko człowiek…” –wizerunek artysty w dramacie Jarosława Iwaszkiewicza Lato w Nohant

84%
Maczel M.
Język. Religia. Tożsamość
|
2017
|
issue 2(16)
125-140
EN
Subject of this article is the creation of Frederic Chopin in Summer in Nohant drama from Iwaszkiewicz. Composer’s image is created by his own expressions, but more importantly, also by other characters’ statements and stage directions relating to the artist and his music, which is the background of the whole art. Material presented includes a variety of artistic means and shows that Chopin by Iwaszkiewicz is debronzed figure, who creates both positive and negative emotions, and at the same time being a brilliant composer.
3
Publication available in full text mode
Content available

Językowe przedstawienie tragedii rodzinnej w Niespodziance Karola Huberta Rostworowskiego

84%
Maczel M.
Język. Religia. Tożsamość
|
2016
|
issue 1(13)
125-141
EN
The object of the research is the song Surprise by K. H. Rostworowski. Article analyzes the types of expression_ characteristic for the drama – stage directions and dialogue. The analysis showed that the stage directions implement schemes established in the conventions of drama, perform common scenario and clarifying functions and their nature eligibility is also content of the work. Dialogues and have multi-faceted ties with the standard everyday conversations. Their shape and material language captures the drama of the characters and their family situation. The dominant stylistic piece is colloquialism and related expression.
4
Publication available in full text mode
Content available

Od opisu do opsis

71%
Karasińska M.
Forum Poetyki
|
2020
|
issue 20
6-17
EN
The compositional category of description and more broadly understood descriptiveness in drama has always been marginalized in the theatrical-literary discourse. However, the models of description appearing in it, due to its stage purpose, are characterized by not only the richness of articulation, but also constitute an element sine qua non in creating the presented reality. It includes three spatial models: space shown on stage, adjacent space (by the stage), narrated space. Direct description proves to be the most typical for drama, which occurs either in stage directions, or in the main text. However, the dispersed quasi-description contained in the dialogues or the sub-linguistic descriptiveness realized excluding the semantics of a word.
PL
Kompozycyjna kategoria opisu i szerzej rozumianej opisowości w dramacie pozostawała zawsze na marginesie dyskursu teoretycznoliterackiego. Tymczasem przejawiające się w nim modele deskrypcji, w związku z jego docelowym scenicznym przeznaczeniem, nie tylko wykazują się bogactwem artykulacji, ale także stanowią element sine qua non konstytuowania rzeczywistości przedstawionej. Obejmuje ona trzy modele przestrzenne: przestrzeń sceniczną, przysceniczną (przyległą) i relacjonowaną. Najbardziej typowa dla dramatu okazuje się forma opisu bezpośredniego zawarta bądź w didaskaliach, bądź w tekście głównym. Istotną rolę w kreowaniu prezentowanego świata odgrywa jednak także zawarty w wypowiedziach postaci, rozproszony opis pośredni (quasi-opis) czy ponadjęzykowa już opisowość realizowana z wyłączeniem semantyki słowa.
first rewind previous Page / 1 next fast forward last
JavaScript is turned off in your web browser. Turn it on to take full advantage of this site, then refresh the page.