الوصف: Монография Даниэля Банасяка является новаторской, эрудиционной диссертацией о категории интертекстуальности в произведении малоизвестного у нас, а в России уважаемого, долгие годы забытого, так как репрессированного в сталинские времена поэта и философа, сына выдающегося прозаика Леонида Андреева. Интертекстуальность становится в этой монографии своего рода отправной точкой для исследований жизни, поэтического творчества и философских концепций Даниила Андреева. В Польше пока нет конкурентной публикации о Данииле Андрееве и его произведениях. В России вышло несколько монографий о писателе, но категория интертекстуальности в Русских богах не была исследована так подробно, как в работе Банасяка. Данная монография не только собирает разбросанные знания о Русских богах и Данииле Андрееве, но и концептуализирует их, а также убедительно комментирует, принося подлинный вклад в исследования русской литературы и ее укоренении в европейской и ориентальной культуре.

المؤلفون: Daniel Andrzej Banasiak

نوع المادة: eBook.

الموضوعات: Intertextuality, Russian poetry--20th century--History and criticism

تصنيفات: LITERARY CRITICISM / Russian & Soviet

المؤلفون: Tomasz Burzyński

المصدر: Text Matters, Iss 10, Pp 433-445 (2020)

مصطلحات موضوعية: intertextuality, system theory, structuration, morphogenesis, social capital, cultural capital, Literature (General), PN1-6790

الوصف: If late modern literary production is structured by any principles rendering order to the otherwise nebular character of the process, this is the idea of intertextuality that paves the way for the dissolution of well entrenched structures, literary conventions and institutionalized canons. By fostering and facilitating the erosion of boundaries between elite and popular culture, mechanisms of intertextuality show that literature is not only a fixed collection of texts, but also a dynamic social system including structured practices of production and reception together with their institutional, cultural and technological determinants. The paper aims to provide a sociologically-oriented model of intertextual relations taking place within the social system of literature. In this context, circulation, dissemination, and recycling of literary motifs is viewed from a perspective of morphogenetic processes which result in the structural elaboration and systemic change due to the mobilization of social, cultural, and economic capitals in an effort to alter pre-existent practices of signification. Consequently, literature is discussed as an intertextual system in statu nascendi, a sphere of social practices that knows no sense of institutional boundaries or structural constraints.

وصف الملف: electronic resource

Relation: https://czasopisma.uni.lodz.pl/textmatters/article/view/8685; https://doaj.org/toc/2083-2931; https://doaj.org/toc/2084-574X

URL الوصول: https://doaj.org/article/061c2fd740f140299044f90953672a9b

المؤلفون: Tomasz Fisiak

المصدر: Text Matters, Iss 10, Pp 194-208 (2020)

مصطلحات موضوعية: gothicism, intertextuality, shakespears sister, female rivalry, grande dame guignol, music video, Literature (General), PN1-6790

الوصف: The following article is going to focus on a selection of music videos by Shakespears Sister, a British indie pop band consisting of Siobhan Fahey and Marcella Detroit, which rose to prominence in the late 1980s. This article scrutinizes five of the band’s music videos: “Goodbye Cruel World” (1991), “I Don’t Care” (1992), “Stay” (1992), “All the Queen’s Horses” (2019) and “When She Finds You” (2019; the last two filmed 26 years after the duo’s turbulent split), all of them displaying a strong affinity with Gothicism. Fahey and Detroit, together with director Sophie Muller, a long-time collaborator of the band, have created a fascinating world that skillfully merges references to their tempestuous personal background, Gothic imagery, Hollywood glamour and borrowings from Grande Dame Guignol, a popular 1960s subgenre of the horror film. Grande Dame Guignol is of major importance here as a genre dissecting female rivalry and, thus, reinterpreting a binary opposition of the damsel in distress and the tyrant, an integral element of Gothic fiction. Therefore, the aim of the article is not only to trace the Gothic references, both literary and cinematic, but also to demonstrate how Shakespears Sister’s music videos reformulate the conventional woman in peril-villain conflict.

وصف الملف: electronic resource

Relation: https://czasopisma.uni.lodz.pl/textmatters/article/view/8668; https://doaj.org/toc/2083-2931; https://doaj.org/toc/2084-574X

URL الوصول: https://doaj.org/article/f8cd144213754a8ca5578aee381ac189

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المؤلفون: Magdalena Cieślak

المصدر: Multicultural Shakespeare, Vol 17, Iss 32, Pp 69-80 (2018)

مصطلحات موضوعية: richard iii, grzegorz wiśniewski, teatr jaracza, cultural authority, intertextuality, performance, English literature, PR1-9680

الوصف: Grzegorz Wiśniewski’s 2012 Richard III in Teatr Jaracza in Łódź was a very successful production with critics and audiences alike. At the 2012 Gdańsk Shakespeare Festival it won the Golden Yorick, a prestigious Polish award for the best staging of a Shakespearean play in the season. Wiśniewski, a renown Polish theatre director and professor at the National Film School in Łódź, has his own way of understanding theatre, its role in culture, and Shakespeare’s place in it. Wiśniewski believes in the theatre of the middle path, as he calls it, that is neither classical/conservative, nor radically avantgarde. He wants to attract wide audiences and offer them intellectual and well-balanced cultural entertainment. Without diminishing the weight of such cultural and literary icons as Shakespeare, he vivisects texts to make productions that can easily speak to a contemporary audience. This paper analyzes Wiśniewski’s Richard III to show how the director manages to achieve balance between his own auteur power, the authority and complexity of Shakespeare’s text, and theatre’s cultural mission.

وصف الملف: electronic resource

Relation: https://czasopisma.uni.lodz.pl/szekspir/article/view/3684; https://doaj.org/toc/2300-7605

URL الوصول: https://doaj.org/article/237685cc3b7b4d5c9af4a6849cf3e066

المؤلفون: Lily Kahn

المصدر: Multicultural Shakespeare, Vol 16, Iss 31, Pp 13-27 (2017)

مصطلحات موضوعية: hebrew, elkind, the taming of the shrew, haskalah, jewish enlightenment, intertextuality, eastern europe, book of ruth, song of songs, bible, biblical, shakespeare, English literature, PR1-9680

الوصف: This article investigates the earliest Hebrew rendition of a Shakespearean comedy, Judah Elkind’s מוסר סוררה musar sorera ‘The Education of the Rebellious Woman’ (The Taming of the Shrew), which was translated directly from the English source text and published in Berditchev in 1892. Elkind’s translation is the only comedy among a small group of pioneering Shakespeare renditions conducted in late nineteenthcentury Eastern Europe by adherents of the Jewish Enlightenment movement. It was rooted in a strongly ideological initiative to establish a modern European-style literature in Hebrew and reflecting Jewish cultural values at a time when the language was still primarily a written medium on the cusp of its large-scale revernacularisation in Palestine. The article examines the ways in which Elkind’s employment of a Judaising translation technique drawing heavily on romantic imagery from prominent biblical intertexts, particularly the Book of Ruth and the Song of Songs, affects the Petruchio and Katherine plotline in the target text. Elkind’s use of carefully selected biblical names for the main characters and his conscious insertion of biblical verses well known in Jewish tradition for their romantic connotations serve to transform Petruchio and Katherine into Peretz and Hoglah, the heroes of a distinctly Jewish love story which offers a unique and intriguing perspective on the translation of Shakespearean comedy.

وصف الملف: electronic resource

Relation: https://czasopisma.uni.lodz.pl/szekspir/article/view/3286; https://doaj.org/toc/2300-7605

URL الوصول: https://doaj.org/article/0dac36e8609c480181e95c9c1303a66d

المؤلفون: Aleksandra Sakowska

المصدر: Multicultural Shakespeare, Vol 11, Iss 26, Pp 45-63 (2014)

مصطلحات موضوعية: avant-garde theatre, intercultural theatre, jerzy grotowski, gardzienice, globalisation, the global versus the local, post-colonialism, western culture, montage, post-dramatic theatre, utopian primitivism, intertextuality, text, adaptation, English literature, PR1-9680

الوصف: How to theorise and review avant-garde Shakespeare? Which theoretical paradigms should be applied when Shakespearean productions are multicultural and yet come from a specific locale? These and other many questions interrogating the language of performance in global avant-garde Shakespeare productions are put forward to Grzegorz Bral, the director of the Song of the Goat ensemble in the context of their evolving performance of Macbeth (2006/2008) and their Songs of Lear (2012).

وصف الملف: electronic resource

Relation: https://czasopisma.uni.lodz.pl/szekspir/article/view/7661; https://doaj.org/toc/2300-7605

URL الوصول: https://doaj.org/article/05e4538d9eb14fd4be380915af77035c

المؤلفون: Christine Nicholls

المساهمون: Australian National University, Canberra

المصدر: Text Matters, Iss 10, Pp 274-318 (2020)

مصطلحات موضوعية: Cultural Studies, History, Literature and Literary Theory, COVID-19 quarantine, media_common.quotation_subject, Counterintuitive, lcsh:Literature (General), Ethnic group, analysis of specific works, lcsh:PN1-6790, viral humour, online exemplars, Laughter, Politics, validity of humorous discourse amidst a global pandemic, Licensee, Aesthetics, covid-19 quarantine, Deferral, Intertextuality, Absurdity, media_common

الوصف: From the onset of the indefinite deferral of our previously taken-for-granted lives, an abundance of humorous online cartoons, jokes, memes, videos and other satirical material relating to the COVID-19 outbreak—and its consequences—has emerged. Humorous responses to this dire global pandemic proliferate irrespective of location, nationality, ethnicity, age, gender and/or socio-political affiliations. Against a background of enforced lockdowns, quarantine, and sometimes gross political ineptitude, with a mounting daily global death toll, humour referencing this scourge continues to blossom. This may seem counterintuitive or inappropriate at a time of heightened anxiety and fear apropos of an invisible killer-virus, known only in diagrammatic—and, ironically, aesthetically pleasing—visual form. Online humour evoking the COVID-19 crisis is expressed recursively via intertextuality referencing literary, visual, written, oral or other “texts.” Interpictoriality is evident with memes that reconfigure renowned visual artworks. The internet enables copious discourse related to the COVID-19 eruption/disruption. Embedded in this article are examples to support the article’s theoretical basis, with intertextuality its major focus. Discussion follows, with speculation as to why humour, absurdity and wit are able to prosper in an environment of radical uncertainty and why joking about our parlous global predicament acts as a vital coping mechanism. © by the author, licensee Łodź University – Łodź University Press, Łodź, Poland.

وصف الملف: application/pdf

URL الوصول: https://explore.openaire.eu/search/publication?articleId=doi_dedup___::8cb77f991cdae029f5589f5658170af5
https://czasopisma.uni.lodz.pl/textmatters/article/view/8676

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