In this text, we analyze the presence of dramatic texts in the teaching of literature based on the previous experiences from the Curricula, as well as the current presence of dramatic texts in the ...Curriculum for the Sarajevo Canton. In the science and methodology of literature education, the issue of a lack and insufficiency of the dramatic genre in literature teaching has been recognized for a long time. Our objective is to present how dramatic texts may and have to be more present in teaching through more significant inter-subject correlation. Thereby the importance of scene education is emphasized, which is primarily acquired in the literature and language teaching, but it may be applied in the teaching of other subjects as well.
Obiectul de cercetare al acestui articol îl reprezintă fenomenul intertextualității în discursul dramatic al lui C.Cheianu.Cercetarea noastră are intenția de a identifica formele de intertextualitate ...valorificate de dramaturgul C.Cheianu, sursele de inspirație și argumentele ce servesc ca fundal de concepere a textului produs.Intertextul își asociază ironia și aluzia, iar C.Cheianu își asociază eticheta de scriitor postmodern prin textele sale dramatice.În opera dramatică a lui C.Cheianu întâlnim elemente intertextuale care evocă diverse epoci și curente literar-filosofice: mitologie antică, mitologie română, folclor, literatură română, literatură universală, filosofie, maxime, proverbe, expresii românești etc.Strategia evidentă urmată de către dramaturgul C.Cheianu este cea conativă – textul nou-creat cu elemente de intertextualitate este un instrument de captare a atenției receptorului, de incitare să decodeze aluzia culturală efectuată și, în același timp, un instrument de manipulare a destinatarului. ELEMENTS OF INTERTEXTUALITY IN CONSTANTIN CHEIANU'S DRAMATIC WORKThe research object of this article is the phenomenon of intertextuality in the dramatic discourse of C.Cheianu.Our research intends to identify the forms of intertextuality capitalized by the playwright C.Cheianu, the sources of inspiration and the arguments that serve as a background for conceiving the text produced.Intertext associates its irony and allusion, and C.Cheianu associates his label of postmodern writer with his dramatic texts.In C.Cheianu's dramatic work we meet intertextual elements, which evoke various epochs and literary-philosophical currents: ancient mythology, Romanian mythology, folklore, romanian literature, universal literature, philosophy, maxims, proverbs, romanian expressions, etc.The obvious strategy followed by the playwright C. Cheianu is the conative one - the new text created with elements of intertextuality is a tool to capture the receiver's attention, to incite to decode the cultural allusion made, and at the same time, a tool to manipulate the recipient.
Even though the dystopian genre, when it comes to literature, is mostly related to prose, it occasionally also appears in drama. We have witnessed such an example within the dramatic work of ...Croatian, that is, then Yugoslav, literary expressionism. In the early 1920s, Josip Kulundžić wrote two, from today's perspective diachronically, interesting, ideologically-thematically-motivically heterogeneous and stylistically and compositionally divergent, but ingenious dramatic texts; pyrandelistic conceptual play Kako će sa Zemlje nestati zlato and the unpublished, a kind of deconstructivist play Dr. Elektar. In those plays, both at the expressive and content level, in the manner of original, naked expressionism with hints of futurism and strongly influenced by pyrandelist dramatic poetics, the author will present a dystopian-science fiction concept of the (dramatic) world that will symbolically refer to socio-historical and the cultural-ideological context of the time. Strong dystopian signals of the mentioned plays will mark them as one of the first dramatic, but also literary texts in general in Croatian and then Yugoslav literature, but also as texts that even today, in the diachronic cross-section of literary historiography, with their symbolic context, can illuminate some social, cultural and literary-dramatic phenomena of that, as well as of this time.
Beginning with the 1970s in the United State, there appeared a series of documentary pieces associated with the social problems of states (racial hatred, the shooting of adolescents in schools and ...universities), later in the early 2000s - with the development of the global counterterrorism operation. It is during this period that the technique “verbatim” appears, as a working tool in the creation of texts, used by a number of playwrights, including Martin Duberman, Eric Bentley, Emiy Mann, Anna Deavere Smith, Eve Ensler and others. a. In the article we follow an overview of the most representative texts an the created theatrical projects based on interviews, documents, pre-existing materials.
This study examines the Italian translation of Pascal Rambert's play Soeurs written in 2017 and first performed in France in 2018. After an analysis of the distinctive features of the theatrical ...translation text, which today tends to be increasingly considered for the importance of its oral, rhythmic, and prosodic characteristics, the contribution analyzes the Italian translation(s) of the play, initially published for the written page. The study then considers the work done for the Italian stage production of Rambert's text, with two new Italian performers. The author's recreational interventions in preparation for the Italian performance, adaptation strategies and changes that occurred in the transition from written translation to that for the stage are then analyzed, with particular attention to new translation solutions that emerged during the reading in the presence of the author, actresses and translator. The study concludes with a reflection on the unfinished nature of any theatrical translation, which remains by its nature always in the making and open to future performances.
En este artículo presentamos un estudio sobre el audiolibro, un producto hoy en día muy popular y que analizamos desde un punto de vista pragmático-comunicativo. Este artículo se articula en tres ...partes: en la primera, haremos un breve recorrido de la oralidad desde sus orígenes hasta la actualidad, presentando sus características más relevantes. Luego, nos detendremos en la teoría de la comunicación literaria y su consiguiente aplicación en el mundo digital para, finalmente, presentar el audiolibro como nuevo texto dramático.
Impoliteness has recently been of interest to scholars as a linguistic study in the field of pragmatics. It has emerged as the opposite orientation to politeness strategy, theory and studies. This ...paper explores how the impoliteness strategies mapped out by Jonathan Culpeper (1996) are employed in dramatic texts. It examines Culpeper’s impoliteness strategies designed to investigate face in the dramatic text. This paper tests the strategies through Neil Simon’s Biloxi Blues (1985). This dramatic comedy is used for three reasons: (1) as a drama, it is a mirror of life and real-life speech events; (2) impoliteness strategies provide a resource to analyse impolite interactions between the characters in dialogic discourse; (3) dramatic texts provide a rich context to interpret and analyse verbal and non-verbal impoliteness strategies. Impoliteness strategies can cause disharmony and conflict between characters in a dramatic text. The interactions exchanged by the characters in Biloxi Blues are analysed according to Culpeper’s five impoliteness strategies: bald on record impoliteness, positive impoliteness, negative impoliteness, sarcasm or mock politeness, and withhold politeness. This study employs a descriptive qualitative method to determine how face-threatening acts are incorporated into the play in line with Culpeper’s impoliteness strategies propounded in his article entitled Towards an Anatomy of Impoliteness (1996). The paper also examines how the characters react to face-threatening acts. In the twelve selected dramatic extracts, seventeen cases of positive impoliteness, ten cases of bald on record impoliteness, eight cases of sarcasm or mock politeness, and four cases of negative impoliteness have been observed. Moreover, it has also been observed that the characters use taboo words and abusive and strong language. The bald on record impolite acts are aggravated mainly by abuses, sexual insults and name-calling strategies. Racial slurs have also been identified as a part of positive impoliteness.
El discurso didascálico constituye uno de los componentes del texto dramático más estudiado en el campo de la teatrología. Sin embargo, no existe en la actualidad un consenso respecto a los atributos ...lingüísticos de estos enunciados ni a su función en el proceso de construcción de sentido. Mediante la utilización como marco teórico del Enfoque dialógico de la argumentación y la polifonía enunciativa (Caldiz 2019; García Negroni 2019; 2021; García Negroni y Libenson 2018), este artículo se propone estudiar el funcionamiento semántico-enunciativo de las didascalias particulares: expresiones escritas entre paréntesis que acompañan las réplicas de los personajes. En particular, en este trabajo se analizan aquellos casos en los que las didascalias inciden en la determinación de las indicaciones causales, i.e., los señalamientos que todo enunciado porta sobre los motivos de su irrupción. Para ello, se toma como corpus didascalias presentes en textos que responden a distintas estéticas teatrales (Albee 1962 2000; Arlt 1938 1993; Beckett 1952 2013; Camus 1944 2004; Casona 1943 1985 y Miller 1949 2013) y se explica su injerencia en la construcción de sentido. Específicamente, se pretende mostrar que las didascalias particulares en algunas oportunidades instan a recuperar un marco de discurso que se presenta como la causa que desencadena la enunciación del personaje y justifica las propiedades que esta reviste.
The research is devoted to the interaction of verbal and non-verbal means of communication in the dramatic text. In the scientific research the expansion of the semantic space of terms is taken into ...account. It helped to understand the theory and enabled to use the idea of communication. Taking into account the specificity of dramatic text (DT) – it’s clearly distinguished author's speech and speech of characters. DT is defined as a two-level entity, which is the unity of verbal (character speech) and non-verbal commu- nication (author’s communication); a complex semiotic unit, the po- lyphony of which forms author's speech. The novelty of scientific research is that the notion of implication for the first time were intro- duced to the terminology apparatus of the DT, which is understood by the minimal structural and semantic unity of verbal and non-verbal components (remarks and replicas) that are viewed as single visual, cognitive and communicative, provide a comprehensive pragmatic influence on the addressee. The relevance of scientific research is determined by the need to analyze extralinguistic implicatures with remarks on the desig- nation of silence and their linguistic means in the dramatic texts of Bukovinian writers (Yu. Fedkovich, S. Vorobkevich, S. Yarychevsky, I. Sinyuk). Communicatively meaningful silence has a certain emotion- al color and is a means of communication that gives a variety of com- municative meanings of a semantically-pragmatic nature. The following methods and techniques of linguistic analy- sis are used to achieve the goal and task: the system-functional analy- sis, the method of discursive analysis, the contextual-interpretive meth- od, the method of stylistic analysis, the conversion analysis. Conclusions. Silence is a full-fledged extralinguistic compo- nent of the implicature in dramatic text. Communicatively meaningful silence has a certain emotional color and is a means of communication that conditions a variety of communicative meanings of a semantically- pragmatic nature. The prospect of the study involves a systematic anal- ysis of the implicatures, taking into account the universal, ethnospecific and individual markers of the dramatic text of the Bukovinian writers.
The article focuses on one of the problems of literary translation - the translation of dramatic texts. The article examines this type of texts in terms of the specificity of the genre and type of ...literature, their structural and other specific characteristics. Special attention is given to existing approaches to the development of translation strategies in drama. Different approaches to dramatic texts in linguistics and translation studies are analyzed, such as communicative, cultural, and hermeneutic ones. The play of the contemporary British writer David Edgar “Testing the Echo” was selected for a detailed pre-translation analysis, identification and solution of the most significant translation problems. The choice of the play was determined by the presence of complex culture-specific situations (interesting from the point of view of translation), the unusual principle of plot construction, as well as the lack of a translated version of the play. A detailed analysis of the play is preceded by the summary of the plot and some information about the main characters. The paper discusses the most “problematic” extracts from the translation point of view, accounts for translation decisions and lists some of the transformations that had to be resorted to in the process of translating. As a result, a conclusion is made that translation of drama has an interdisciplinary character, involving both theatrical and literary issues. Thus, the most effective strategy of translating drama is a combination of concretization and adaptation.
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