Search results - CEJSH

1

Drama czy/i teatr. Aspekt procesualny i atrybutywny projektu dramowo-teatralnego "Bezsenność Jutki"

100%

Witerska K.

Nauki o Wychowaniu. Studia Interdyscyplinarne

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2018

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vol. 7

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issue 2

183-190

EN

Various educational activities of theatrical nature differ in the emphasis that is put on particular aspects of creativity. While the aspects of personological factors and stimulators/inhibitors are equally important in both drama and theater, the processual and attributive factors are essentially different. The article is an attempt to answer the question: what aspect of creativity is important in the case of a project combining two forms: drama and theater?

PL

Rozmaite działania edukacyjne o charakterze teatralnym różnią się akcentem, jaki jest kładziony na poszczególne aspekty twórczości. O ile aspekt personologiczny oraz stymulatorów/inhibitorów jest równie istotny zarówno w dramie, jak i w teatrze, to aspekty procesualny i atrybutywny zasadniczo się różnią. Artykuł jest próbą odpowiedzi na pytanie: jaki aspekt twórczości jest istotny w przypadku projektu łączącego dwie formy: dramę i teatr?

2

„Balladyna”, czyli o próbie karnawalizacji literatury romantycznej

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Kurska A., Uniwersytet Jana Kochanowskiego w Kielcach I. F. P., Dr hab. p. n. w. Z. L. P. d. r. U. J. K. w. K. Z. s. p. w. l. r. i. n. p. e., annakurska@op.pl

Acta Universitatis Lodziensis. Folia Litteraria Polonica

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2015

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vol. 27

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issue 1

EN

The article presents Juliusz Słowacki’s attempts to free “Balladyna” from the pathos of the patriotic form. The poet achieves this by exploiting and confronting diverse strategies: Shakespearean and Ariostan irony as well as the carnivalization poetics. Not only do they allow Słowacki to expand his artistic freedom, but the drama also breaks free of the cultural shackles of pathos and solemnity. Moreover, these strategies make the drama more appealing owing to laughter which violates the ‘sacred’ status of a Romantic work. In “Balladyna”, Słowacki offers a carnivalistic formula of ‘play-literature’, challenging the stereotypical notions and expectations of the readership and striving to revolutionize native art. By means of irony and laughter, the poet distances himself from the ideas of Polish Romanticism, creating a new model of a literary work that aesthetically goes beyond the 19th century.

3

There are motives of freedom, known to man’s heart and mind - a threefold look at freedom in Józef Tischner’s “Rekolekcje Paryskie”

93%

Mizdrak I.

The Person and the Challenges. The Journal of Theology, Education, Canon Law and Social Studies Inspired by Pope John Paul II

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2016

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vol. 6

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issue 1

PL

In its analysis of human freedom, Józef Tischner’s philosophy poses fundamental questions about the essence of freedom, but also about the sense of preservation of freedom in one’s life. Freedom appears as a primary phenomenon, something that is part and parcel of human nature. Freedom as a structural element of human existence manifests itself perhaps most clearly in the sphere of human relations, which, immersed as they are in the eternal drama of good and evil, are played out in the space between salvation and damnation. The binary character of values, best seen in our use of freedom, keeps us for ever mindful of that unavoidable drama a man has to face, owing to his freedom, need not be helpless.Using such categories as election, space and health of the soul in his Rekolekcje Paryskie, Tischner approaches the definition of freedom through a succession of essential modifications which articulate some fundamental points concerning relations between people and man’s relations with God from an anthropological, axiological, ethical, social and theological perspective. Tischner proposes no definitive interpretation of freedom but, viewing the controversy over freedom as one of the most difficult problems in the philosophy of man, he tries to show what man’s inner freedom consists in and what achievements it makes man capable of.

4

The Path to Mary’s Acquittal: Legal Solutions in the N-Town Cycle’s “Trial of Mary and Joseph”

93%

Wiącek T.

Anglica. An International Journal of English Studies

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2013

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issue 22/1

83-96

EN

In the ‘‘Trial of Mary and Joseph”, a play from the late fifteenth-century N-Town cycle, Mary and Joseph are tried for adultery and breaking a public oath. The trial is the result of an indictment brought about by the public rumour concerning the origins of Mary’s pregnancy and possibility that Joseph is not the father of the child. The setting of a contemporary fifteenth-century ecclesiastical court introduces a legal and procedural approach which cannot properly process such an extraordinary event as the miraculous origins of Mary’s pregnancy. As a result, Mary cannot be acquitted in accordance to the fifteenth-century regulations and a legal modification in the procedure must be implemented. However, a direct change would have a negative effect on the credibility of the play and the legal system it represents. Therefore, a subtle alteration is introduced: a transition from a strictly rational and commonsensical ecclesiastical ex officio trial to the common law trial by jury as outlined in the Assize of Clarendon, which legally utilized ordeal as a form of purgation. As a result, Mary could be legally acquitted, and the system’s credibility would not have suffered from an intentional and highly irregular alteration, while the audience of the play would have been assured that a medieval legal system could deal with cases even as extraordinary as a miraculous virgin birth. The argument will unfold through a detailed comparative study of both procedures, their similarities and disparities, presented in the context of the social and legal perceptions of a contemporary audience.

5

Człowiek a Bóg w dramatach Amelii Hertzówny

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Nazarewicz A. A.

Dydaktyka Polonistyczna

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2019

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issue 5 (14)

46-57

EN

Amelia Hertz still is an unfamiliar play wright. Recently the papers on her works are being released more often. Researchers do not take an interest in the relation of man towards God, though. This relation is a crucial element of her dramas. The importance of this theme is presented by the very structure of respective works. Zburzenie Tyru is a staging of biblical events. Yseult o Białych Dłoniach is structured like a confession. The events of Wielki król are motivated by a constant fear of the Wrath of God, who will inflict justice upon Byzantium. The ultimate defeat of the heroes is summarised with the words Because only God is eternal. The main characters of the dramas in their relation towards God correspond to the Kierkegaard’s typology: the aesthetical man, the ethical man and the religious man. Hertz uses Kierkegaard’s philosophy Either/Or, showing different variants of the same story and what are the consequences of making decisions.

6

Creating a ‘Positive Environment’ Through Drama in the EFL Classroom

93%

Gałązka A., Trinder M.

The New Educational Review

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2018

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vol. 54

193-205

EN

We all learn best when we are in a state of rational and emotional balance, or what is referred to as ‘flow’. We know that body and mind are linked physically, cognitively and emotionally and teachers need to recognise and support the integrated development of all the three areas within their teaching and to seek safe and positive ways of doing so. The emotional environment improves students’ self-awareness, motivation, empathy, recognition of choices and leads to strong and supportive communities. Drama provides a supportive forum for checking out that impact in a distanced way, with the teacher there to mediate the experience, often from within a role. Drama offers a stimulating and rich opportunity to discuss and understand our own emotions, attitudes and beliefs through observing, empathising with, feeling and exploring the emotions of characters both portrayed and interacted with in a role. Drama provides a safe emotional context and a sense of security for learners. In the various fields of research into the factors influencing success in Second Language Acquisition (SLA), trends accentuating the importance of recognising the indicators of success based upon personality and psychology have been ascribed great significance. In the paper, the results of a pilot study to an ongoing research project will be presented. The main aim of the project is to establish the influence of drama on the creation of a positive educational environment, taking into consideration such variable factors as: feeling of security, feeling of identity, sense of belonging, sense of purpose, feeling of competence, and through this an improvement in language competence. The research is a theoretical-empirical investigation of a diagnostic-explanatory-verifi catory nature. Results will be presented from the perspective of both quantitative and qualitative analysis.

7

New Heroines for a New Era? Single Mothers in Contemporary Japanese Television Drama

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Mithani F.

Acta Asiatica Varsoviensia

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2014

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issue 27

111-131

EN

The figure of the single mother has played an important role in Japanese television drama over several decades. In the 1960s and 1970s, the figure of the single mother was often used to uphold traditional, patriarchal notions of family and gender, which stressed the importance of the mothers role in childrearing and running the household, and limited the role of women to the domestic sphere. However, as female participation in all areas of society has increased, and women have begun to question the assumption that marriage and motherhood are an essential part of their lives, so Japanese television drama has responded, reflecting and sometimes anticipating these changes. Today, single mothers in Japanese television dramas are actively rejecting patriarchal structures by forming women-only support networks or forging new identities as independent career women. However, very little academic attention has been paid to these representations. This paper hopes to make a small contribution towards rectifying this situation by analyzing the representations of single motherhood in contemporary television drama.

8

«Кабаретная» драматургия П. П. Потемкина

93%

Брызгалова Е.

Acta Universitatis Lodziensis. Folia Litteraria Rossica

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2011

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issue 4

17-23

EN

This article discusses studies of some works by Petr P. Potemkin, a poet and playwright of the Silver Age. His plays for revue theatres and cabarets have not been studied yet, and the author of the article suggests her understanding of this part of Potemkin’s artistic legacy. The article studies specific features of the one-act drama of the early 20th century.

9

Poza sceną, czyli jawne i niejawne w "Dybuku" Szymona An-skiego

93%

Lipska M.

Adeptus

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2016

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issue 7

EN

Offstage: The revealed and the concealed in An-sky’s The DybbukThe Israeli theatre scholar Shimon Levy describes the works of Samuel Beckett using the category of “offstage,” i.e. what is “backstage” or “behind the scenes.” This notion is also suitable to describe the plot of An-sky’s play The Dybbuk. The plot, which follows the wanderings of the soul of a prematurely deceased lover, is based on a continuous interplay between the explicit and the implicit, the revealed and the concealed, the present and the absent. Applying the category of “offstage” as an analytical tool allows for speaking about the supernatural forces which are depicted in the play, while replacing religious nomenclature with a glossary of terms from the field of theatre. Poza sceną, czyli jawne i niejawne w Dybuku Szymona An-skiegoIzraelski teatrolog Shimon Levy opisuje twórczość Samuela Becketta, posługując się kategorią „offstage”, czyli tego, co znajduje się poza sceną, za kulisami. Kategoria ta doskonale nadaje się także do opisu fabuły Dybuka Szymona An-skiego. Akcja dramatu o wędrówce duszy przedwcześnie zmarłego kochanka opiera się na ciągłej grze jawnego z niejawnym, odkrytego z zakrytym, obecnego z nieobecnym. Zastosowanie kategorii „offstage” jako narzędzia analitycznego pozwala mówić o ukazanych w dramacie siłach nadprzyrodzonych przy zastąpieniu nomenklatury religijnej zestawem pojęć ze sfery teatru.

10

O symbolice wiosny w zapomnianym dramacie Tadeusza Konczyńskiego

93%

Chojnacka E.

Jednak Książki. Gdańskie Czasopismo Humanistyczne

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2015

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issue 4/2015 O Młodej Polsce mniej znanej

77-102

EN

This article refers to the tradition of the ‘spring’ motif in art and literature, especially in the Young Poland period. The issue the author brings under close scrutiny is how the symbolism of spring is used in the dramatic work The Return of Spring by Tadeusz Konczyński. She draws out attention to the portrait of the female protagonist, who shows reminiscence of mythological Venus as well as embodiment of youth, simplicity and spontaneity. Then she proceeds to analyse the symbolism of spring as the time that stimulates the birth of feelings and initiates long-lasting and genuine bonds, which counterbalance “the parlour love” with its pragmatic dimension. The key notion of the symbolics of spring is also incorporated into the opposition: nature-culture. Here it is linked to the vision of the world returning to nature, the world deeply rooted in the traditional system of values, where man may experience spiritual rebirth and regain faith in their existence after a period of life turbulence. After all, spring symbolises creative inspiration. The latter reveals itself both in the context of creating a literary work by the protagonist and in the universal dimension – the act of moulding of one’s self and one’s life. The deliberations lead the dialogue of the the writer’s dramatic work with the tradition of the Young Poland movement.

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"Złowić wiekuistości niezmienne pierwiastki..." Baśń nocy swiętojańskiej Jana Kasprowicza

93%

Podstawka A.

Rocznik Przemyski

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2013

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vol. 49

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issue 2: Literatura i Język

37-63

EN

This study is an attempt to present the dramatic works of Jan Kasprowicz, which for a long time have remained in the shadow of his great poetic oeuvre. What he wrote for the stage, though an inherent part of a lot of academic research, still needs comprehensive examination. The Midsummer Eve Night’s Tale is not among the artist’s most highly estimated achievements. He was commissioned to write it as a theatre prologue, which gave it the mark of an occasional piece, not too good for the reception of the work. It inaugurated the activity of the City Theatre in Lvov on 4 October 1900. Kasprowicz, using a recognizable code of signs, created a poetic show based on the “theatre within theatre” convention. At the same time he tried to include in it his own drama and theatre concepts, outlining the anthropological horizon of his theatre. They resound with allusions in the multi-layer coalescence of fairy-tale symbols, Slavic mythology and literary references pulsating in the space of modernist oneirism. By using folk sources and many motifs from masterpieces of world drama (Greek tragedians, Shakespeare, Goethe, Słowacki, Hauptmann and others) the poet takes up fundamental existential themes which make up a poetic synthesis of the condition of man and the world.

12

Drama online jako sposób na aktywne poznawanie lektur w cyfrowym świecie

93%

Kulig A.

Postscriptum Polonistyczne

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2014

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issue 2(14)

219-230

EN

The article describes the possibilities of using social networking in education with an example of on-line drama (drama-like activities led in digital space). The theoretical assumptions of this method are described in the article as well as some examples of its practical realization. The conclusions drawn from scientific literature are enriched with personal reflections (based on the experience gained while working on Przedwiośnie by Stefan Żeromski).

13

„Wolny mularz’’ Augusta von Kotzebuego – manifest ideowy ubrany w formę jednoaktowej komedii

93%

Śrama M.

Studia Europaea Gnesnensia

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2020

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issue 21

51-76

EN

This paper focuses on August von Kotzebue’s play “Der Freimaurer” [The Freemason], as a piece within the prolific genre of comedies about freemasons which emerged in the 1740s, and a work which includes numerous worldview-related allusions. In this context, the author extensively discusses the life and the oeuvre of the playwright who thus far has not been devoted any thorough study in Polish, apart from relatively brief mentions in works on the period and writers he had inspired.

14

Pierre Clément – prekursor tematyki wolnomularskiej w dramacie

93%

Śrama M.

Studia Europaea Gnesnensia

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2020

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issue 22

21-46

EN

The paper is concerned with the life and work of Pierre Clément, a Geneva-born journalist, dramatist and poet, who was one of the first to make a freemason a protagonist in a play. Issues re- lating to that author have not been discussed in Polish so far, even though Clément was a significant figure in French playwriting as the precursor of Masonic themes

15

Krytyka teatralna o "Willi nad morzem" Stefana Grabińskiego

93%

Jabłoński A.

Rocznik Przemyski

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2012

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vol. 48

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issue 2: Literatura i Język

147-160

XX

In this article author presents the history of critical reception of first Stefan Grabinski's drama. By analyzing the reviews, he tries to determine which of its elements were a decisive factor in the overall negative evaluation of the writer's creation. Critics pointed out, that Grabinski do not understand the rules of constructing a drama, his works lack necessary action and characters seem unnatural. All in all, the flaws were concluded as one major flaw named "novelization of the drama", which means The mansion by the sea is too similar to prose in terms of composition, etc.

16

Doświadczenie codzienności w dramacie polskim po 1989 roku

93%

Popczyk-Szczęsna B.

Postscriptum Polonistyczne

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2011

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issue 2(8)

15-26

EN

In Polish drama published after 1989, everyday life is often presented as the fundamental measure of the heroes’ existence. The authors present the changes in the everyday life order, they underline oppressive and overwhelming character of common experiences, they present difficult, aggressive interpersonal relations. For example, in many texts the unavoid-able elements of the everyday life of the heroes are negligence, harms and even crimes. This way of representing everyday life, usually based on traditional mimetic techniques, does not create an idyllic image of everyday life.

17

Bocian Nachmana. O dramatopisarstwie Hanocha Lewina

93%

Winch A.

Pamiętnik Teatralny

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2016

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vol. 65

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issue 3(259)

179-198

EN

The article discusses the work of the Israeli playwright setting it side by side with the thought of the Jewish theologian Joshua Abraham Heschel as expressed in two of his books: Man Is Not Alone, and God in Search of Man. The two books define the poles of Levin’s existential struggles. The protagonists of the plays examined in this essay, i.e. of Krum (1975), Job’s Passion (1981), and Dreaming Child (1993), drift in a metaphysical vacuum. They try to get some fulcrum, but since they are in vacuum, their attempts are absurd. This is not the kind of the absurd that Albert Camus meant. Endorsing it does not lend Levin’s characters any dignity; it does not liberate them; on the contrary, it humiliates them and makes them feel awkward. The reference to Heschel’s writings here is not accidental. Levin’s father came from a Hasidic family and raised his son as the orthodox Jewish beliefs dictated. Thus, the image of Jewish religiosity reflected in Heschel’s philosophy was something very familiar to Levin, something that he had to take a position on. The fact that it was a position of rejection does not diminish the importance of religious faith, God and His covenant with man for the dramatic work of the author. On the contrary, it makes it one of the paramount problems that Levin and characters of his plays have to come to terms with. For Estragon and Vladimir from Samuel Beckett’s masterpiece the prolonged waiting for an absent Godot was no trifle either. Hanoch Levin is often seen as a continuator of the theatre of the Absurd. It would be impossible to fully grasp the meaning of this continuation without referring to its religious context.

18

ПРАВДА И ЛОЖЬ В ПЬЕСЕ МАКСИМА ГОРЬКОГО НА ДНЕ

93%

Kramarska D.

Conversatoria Litteraria

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2016

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vol. 10

|

issue -

137-148

RU

Maksym Gorkij (1868-1936) – known Russian writer, dramaturge and prose writer, who gained fame not only in Russia, but also abroad. He spent many years in exile. He was nominated for the Noble Prize. In 1902 in press ap-peared performance “The lower depths”, which holds a special place in artistic work of the author. It is a kind of fable about true and different attitude to it. The reader asks yourself question, what is better: bitter truth or sweet lie ?

19

Muzyka górą? Dziesięć wydarzeń teatralnych 2010 roku

93%

Mikołajczyk J.

Postscriptum Polonistyczne

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2011

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issue 2(8)

283-295

XX

Music Dominates? Ten Theatrical Events of the Season 2010/2011

20

Poza sceną, czyli jawne i niejawne w "Dybuku" Szymona An-skiego

93%

Lipska M.

Adeptus

|

2016

|

issue 7

21-35

EN

The Israeli theatre scholar Shimon Levy describes the works of Samuel Beckett using the category of “offstage,” i.e. what is “backstage” or “behind the scenes.” This notion is also suitable to describe the plot of An-sky’s play The Dybbuk. The plot, which follows the wanderings of the soul of a prematurely deceased lover, is based on a continuous interplay between the explicit and the implicit, the revealed and the concealed, the present and the absent. Applying the category of “offstage” as an analytical tool allows for speaking about the supernatural forces which are depicted in the play, while replacing religious nomenclature with a glossary of terms from the field of theatre.

PL

Izraelski teatrolog Shimon Levy opisuje twórczość Samuela Becketta, posługując się kategorią „offstage”, czyli tego, co znajduje się poza sceną, za kulisami. Kategoria ta doskonale nadaje się także do opisu fabuły Dybuka Szymona An-skiego. Akcja dramatu o wędrówce duszy przedwcześnie zmarłego kochanka opiera się na ciągłej grze jawnego z niejawnym, odkrytego z zakrytym, obecnego z nieobecnym. Zastosowanie kategorii „offstage” jako narzędzia analitycznego pozwala mówić o ukazanych w dramacie siłach nadprzyrodzonych przy zastąpieniu nomenklatury religijnej zestawem pojęć ze sfery teatru.

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