Ghosts have been an attractive element of operatic dramaturgy since the beginning of the genre’s history, and their stage presence influences the metaphysical and fantastic features of the works. In seventeenth- and eighteenth-century operas, conventional forms of musical presentation and characteristics of ghosts were developed, and in the nineteenth century a conventionalized method of musical presentation of ghosts in opera was shaped, which was also due to the great popularity of the theme of various spectres and phantoms in romantic culture. The proposed systematics concerns the ghosts presented in operatic works. Three criteria of division have been introduced: the existential status of ghosts, their number (singularity or multiplicity), and the types of afterlife the ghosts are associated with. The systematics is accompanied by the distinction of the means of musical characteristics used by opera composers in order to suggestively represent ghosts in their works.
Der Band enthält die Abstracts ausschließlich in englischer Sprache.
EN
This article analyzes Stanley Kubrick's film The Shining (1980) in its complex textuality, where ghosts, spectrality and repetition compulsion play a relevant role in defining the symbolic space of a contemporary gothic story about madness, fear, evil traces and perception. In a context where time is out of joint, and where evil laws try to frame human presences in a dimension of distress, spectral presences shape a ghostly world where fears and violence are defeated by a special mental strength, the 'shining'.
FR
L'article contient uniquement les résumés en anglais.
The subject of this article is an analysis of literary images of ghosts and monsters present in Croatian children’s literature, especially in the books of Dubravka Ugre- šić and Stanislav Marijanović. Particular attention was paid to the aspect of otherness and strangeness. The presented research problem concerns mainly how the mentioned authors arouse children’s curiosity towards diversity, teach the acceptance of the fact of being different, intrigue, encourage reflection and disbelief in harmful stereotypes.
This paper argues that both Wuthering Heights (1847) and The Crimson Petal and the White (2002) investigate, expose and condemn the multifaceted inscription of a specific culture on the female body (via the construction of femininity)-the defleshing of female bodies, which in turn makes them docile (at least temporarily). With different degrees of explicitness, the two novels demonstrate how this specific--capitalist, imperialist, patriarchal--culture forces itself onto the bodies of girls/women: the legalized, scientifically justified process whereby female bodies, regardless of class, are defleshed, skinned alive and made to emit signs of subjugation to the patriarchal will--this being their assigned role, without exception, in various male-dominated economies.
The paper examines various aspects of magic, ghosts and voices in selected works by Joseph Conrad who repeatedly drew on some unnatural occurrences, though they were frequently depreciated by the author himself. In his artistic output Conrad created many such complex figures that may pose a challenge in an interpretative process. Thus, the goal of this paper is to explore the functions of magical and spectral manifestations in Conrad’s writing in order to show certain tendencies that can be discerned while studying the subject matter. As a result of the given analysis it is possible to notice similarities and differences between manifestations of the supernatural presented in Conrad’s texts as well as to propose a classification of these phenomena, which reflects the multidimensional nature of Conrad’s artistic style.
PL
Niniejszy artykuł bada istotę magii, duchów i głosów w wybranych utworach Josepha Conrada, który niejednokrotnie czerpie inspiracje z nadnaturalnych zdarzeń – motywu często deprecjonowanego przez samego pisarza. W swoim dorobku artystycznym angielski autor stworzył wiele złożonych osobliwości będących wyzwaniem w procesie interpretacji. Dlatego też główny cel artykułu sprowadza się do przedstawienia funkcji magii i zjaw w tekstach Conrada oraz zobrazowania konkretnych tendencji i zależności w odniesieniu do przedmiotu badań. Analiza umożliwia ukazanie podobieństw i różnic między różnorodnymi formami magii i istotami spirytualnymi zaprezentowanymi w poszczególnych tekstach, jak również zarysowanie klasyfikacji omówionych zjawisk, które odzwierciedlają wielowymiarowy charakter artystycznego stylu Conrada.
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