The paper compares two graphic biographies with traditional biographies of the same authors – renowned Slovenian writers Alma Karlin and Ivan Cankar. It compares the manner in which graphical and ...text-only biographies present the characters, the character’s emotions and expressions, which life events they emphasize, and how they address the criterion of objectivity. The results suggest that the biographies in the two Slovenian graphics are less objective than textual biographies due to the pictorial material. Textual biographies present more information about the subject, while graphic biographies focus more on individual events, statements, and emotions, and present them more appealingly.
The article analyzes the various concepts of space in Cankar's drama: the place of writing and its echoes in dramatic texts, theatrical space and the conventions of dramatic writing connected with ...it, and the structure of dramatic space as regards the interpretation of individual dramatic texts. Cankar rejected closet dramas intended only to be read; an analysis of dramatic texts shows he envisioned theatre's visual, spatial dimension.
Iz proznih Cankarevih i Andrićevih dela izdvojeni su primeri upotrebe imenice »senka« u ulozi etalona poreðenja u kao (kakor)-konstrukcijama. Težeći potpunom obuhvatu naðen je 71 takav primer u ...Cankarevom delu i 47 u Andrićevom. Primenjena su dva načina klasifikacije primera. Prema prvom načinu primeri su rasporeðeni u četiri klase imajući u vidu osobine senke na kojim poreðenje počiva. Prema dugom načinu klasifikacije izdvojeni su primeri u kojim su pisci uz imenicu »senka« postavljali pridev, zamenicu ili broj podešavajući tako etalon poreðenja. Izabrani načini klasifikacije odrazili su sličnost upotrebe etalona senka u poreðenjima u proznim delima dva pisca.
Los eslovenos tenemos varios héroes míticos marcados por la experiencia de la interculturalidad: el buen soberano Kralj Matjaž (el Rey Matías) que duerme bajo el monte de Peca, esperando a que le ...crezca lo suficientemente la barba para poder entrar en acción; Martin Krpan, hombre fuerte como un roble que liberó Viena del mal y a cambio consiguió un permiso especial para traficar con sal; Peter Klepec, un chico humilde que compartía con los demás su fuerza; y Lepa Vida (Hermosa Vida), la joven madre que por engaño abandona a su hijo y su hogar para viajar en barco al extranjero. Todos ellos tienen origen en el bagaje cultural popular y todos ellos posteriormente han sido objeto de nuevas y distintas adaptaciones artísticas. Entre las adaptaciones literarias por frecuencia sobresale Hermosa Vida, que a su vez ha tenido eco (aunque mucho menor) en la pintura: sobresale la obra de Maksim Gaspari, y la obra de Marko Kociper (2010) en cómic ‒recogida en una de las versiones literarias más recientes, Hermosa Vida en acción de Andrej Rozman Roza.
This paper deals with the classical dramatic text and its staging in contemporary theatre. Specifically, it aims to show that classical texts can address topical issues. This is illustrated by the ...example of several stagings of Ivan Cankar’s Hlapci, one of the most influential dramatic texts in Slovene literature. The history of this dramatic text is presented from its first publication and reception to the different stagings in various Slovene professional theatres. The focus is on how the situation in Slovene society is reflected in each examined staging. The drama Hlapci was first staged almost one hundred years ago, when the staging followed closely the dramatic text. However, after 1980 stagings became more independent from the text and more artistic freedom was allowed. The paper will prove that classical dramatic texts are very appropriate for staging in contemporary theatre, especially with an innovative director’s approach.
This brief essay presents, in the light of textual material, some of the strategies and procedures implemented by individual translators to bring the best-known work by Ivan Cankar, Hlapec Jernej in ...njegovapravica (1907), to the Italian reading public. The three versions available to date cover the period ranging from 1925 to 1978 and bear witness to the interest this story has aroused at home and abroad since its publication, but at the same time a more detailed analysis of the texts only serves to highlight how the efforts by Italian translators, albeit creditable, do not render full justice to a short story that has a special place in the literary and cultural history of Slovenia.
Provider: - Institution: - Data provided by Europeana Collections- Finally Cankar, not patriotic and satirical, but rather intimately challenging.- All metadata published by Europeana are available ...free of restriction under the Creative Commons CC0 1.0 Universal Public Domain Dedication. However, Europeana requests that you actively acknowledge and give attribution to all metadata sources including Europeana
Razprava obravnava študijo primera uprizoritve Hlapec Jernej in njegova pravica v režiji Žige Divjaka, ki je nastala leta 2018. V prvem delu se osredotoča na specifičen format »dramskega besedila« v ...tej dokumentarni uprizoritvi, od koder izhajajo tudi nadaljnje analize dokumentarnih prvin in njihovih učinkov na ravni besedila, tekstovne strukture, likov, dramaturgije in navsezadnje zaznave zunanjega pogleda (občinstva, javnosti). Bistvena značilnost projekta je uporaba (remodulacija) prvoosebnih pričevanj, ki vpeljejo princip dobesednega (verbatim) gledališča, v tokratnem primeru gre za posredovanje neposrednih izkušenj s polja aktualnih prekarnih delovnih odnosov. Pripovedovana izkustva iz prve roke razgrnejo uvid v nevid(e)ne delavske populacije, ki so v razmerju do sodobnih »gospodarjev« (tajkunov) presenetljivo usklajene z razumevanjem odvzemanja pravic delavstvu, kot ga je dojemal Ivan Cankar. V drugem delu članek uprizoritev umešča v analitični diskurz, ki preči sociološke, politične in psihološke poglede na obstoj revščine, razredizma in razrednega sramu. V luči sodobnih kulturoloških teorij in umestitve Divjakovega Hlapca Jerneja v širši družbeni aspekt se pokaže, da prepletanje dokumentarnega gledališča in tematiziranje sodobnega delavskega razreda (problematičnih prekarnih razmerij) vzpostavljata izjemno pomembno umetniško pa tudi družbeno gesto; ta sočasno raziskuje učinke specifičnega režijskega koncepta, vnosa realnega v umetniški dogodek, in uveljavi kritično refleksijo izbrane tematike ter njenega umeščanja v javni prostor.
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