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

help Sort By:

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

Влияниe Вальтера Скотта на историческую прозу А.С. Пушкина: „Роб Рой” и „Капитанская дочка”

100%
Kizelbach U.
Studia Rossica Posnaniensia
|
2016
|
issue 41
105-119
EN
This article analyses the influence of Sir Walter Scott’s historical fiction (Rob Roy) on the development of the historical novel in Russia in the first half of the 19th century, based on the example of Pushkin’s The Captain’s Daughter. The author argues that both Scott and Pushkin had a similar approach to their national and local history and collected historical material in the same way (through archival research and by contacting local people who had witnessed the events of the Jacobite Rebellion, 1715, and the Pugachev Rebellion, 1773–1775). A close analysis of both texts presents examples of a similar poetics of the narration, dialectal use of language and dialogue, and the use of local colour and folk elements, such as folk songs or old sayings, which serve as mottos for particular chapters in the novels.
2
Publication available in full text mode
Content available

Eroticism-Politics-Identity: The Case of Richard III

100%
Kizelbach U.
Text Matters: A Journal of Literature, Theory and Culture
|
2013
|
vol. 3
88-101
EN
Richard III’s courtship of Lady Anne in William Shakespeare’s King Richard III is a blend of courtly speech and sexual extravaganza. His sexual energy and power of seduction were invented by Shakespeare to enhance the theatrical effect of this figure and, at the same time, to present Richard as a tragic character. Richard’s eroticism in Act 1 Scene 2 makes him a complicated individual. Playing a seducer is one of the guises he uses to achieve his political aims on the one hand, and, on the other, the pose of a sexually attractive lover enables him to put his masculinity to the test. Throughout the scene Richard is haunted by his deformity that, together with his villainy, makes him a stranger to the world and an enemy to his family and the court. In order to overcome his self-image of a disproportional cripple he manifests his sexuality towards Anne to boost his self-esteem and to confirm that the lady will accept him despite his obvious physical shortcomings. This article uses Georges Bataille’s theory of eroticism and erotic desire to characterize Richard as a tragic individual and to explain the reasons behind his unexpected sexual behaviour in the seduction scene.
3

Iconicizing Kingship in Elizabethan England: Strategic Acting by Queen Elizabeth I

100%
Kizelbach U.
Studia Anglica Posnaniensia
|
2012
|
vol. 47
|
issue 2-3
147-160
EN
Renaissance England is often discussed in the context of theatre and theatrical acting. The fact is that Renaissance monarchs, too, viewed kingship in terms of theatrical display and public performance. Such is the nature of royalty presented by King James I in Basilicon Doron. Queen Elizabeth I was playing all her life. Faced with the problem of her femininity in the world of men, as well as her ambivalent hereditary rights as a member of the Tudor dynasty, she focused on legitimizing her reign through playing different roles - she played the fearful king, the loving queen, she even played Virgin Mary. But Elizabeth emerges as the most stunning actress when she plays herself. On her summer visit to Wanstead in 1578 she took an active part in the pageant “The lady of May”, playing herself, “Good Queen Bess”, which Sir Philip Sidney depicted in his pastoral romance The lady of May. In this way, Elizabeth became her own icon. This paper provides instances of the Queen’s political role play in a historical and socio-cultural context of the time.
4
Publication available in full text mode
Content available

Theatre Reviews

51%
Georgopoulou X., Pilla E., Kizelbach U., Fabiszak J.
Multicultural Shakespeare: Translation, Appropriation and Performance
|
2015
|
vol. 12
|
issue 27
147-165
EN
Romeo and Juliet for Two. Dir. Kostas Gakis, Athina Moustaka, Konstantinos Bibis. 104 Theatre, Athens, Greece. Lady Macbeth. Dir. Marios Mettis. Theatro Thentro, Nicosia, Cyprus Hamlet. Dir. Jan Klata. Gdańsk Shakespeare Theatre, Gdańsk, Poland The Taming of the Shrew [Poskromienie złośnicy]. Dir. Katarzyna Deszcz. Stefan Żeromski Theatre, Kielce, Poland
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.