Theater is described as a form of human expression, and an important human necessity, through which the needs of individuals and societies are expressed, and an important mediator for the transfer of ...educational, social and intellectual dimensions. Hence, the importance of the child’s theater emerged as a guiding educational method that affects the child’s development educationally, emotionally, psychologically and socially through imaginative play that combines enjoyment and entertainment. The grotesque is one of the artistic methods that work to attract the attention of the recipient in theatrical texts that combine dissonance and contradiction in a dramatic act that combines the beautiful and the ugly, the honest and the false together as an expressive method for the theatrical text directed to the child. The first chapter (the methodological framework) dealt with the research problem that was identified in the following axis: What are the works of grotesques in children’s theater texts? The importance of research on the subject of grotesques is evident as it is a sensor that provides researchers and stakeholders in the field of children’s theater by shedding light on the concept of grotesques and its activities in his book the theatrical text directed to the child. Child . The researcher reached the most important results: 1-Presenting what is positive and negative in an objective manner within the drama of the theatrical text 2-The presence of animal and plant characters, which makes the text a kind of humanized plays
The grotesque as a literary issue Ospanova, Gulmariya; Askarova, Altynai; Agabekova, Balzhan ...
Semiotica,
03/2024, Letnik:
2024, Številka:
256
Journal Article
Recenzirano
Odprti dostop
Grotesque imagery is widely used by all genres and movements of art and literature without exception, but its historical development and theoretical aspects have not been sufficiently studied. This ...study seeks to define and diagnose the main aspects of the development of the grotesque as a literary problem. The leading methods of researching this problem are methods of analysis, deduction, induction, and comparison of approaches. The research covers the approaches to the study of the grotesque phenomenon; the interpretation of this trope is provided, its origin is described, in whose works it is widely used; the forms of grotesque and its specific features are described; various theoretical concepts of the question are demonstrated; the codes of grotesque poetics and their levels of display in the artistic system of works are identified; the qualities and features of Poe’s literary activity are diagnosed, and the components of the grotesque aesthetics are defined. The material in this study is of practical and theoretical value to students and literary scholars who study literature and its artistic features.
The grotesque -- American traditions of the grotesque -- The modern : depiction and description -- Grotesques in modern America : Sherwood Anderson -- "Elephantine close-ups" : Nathanael West -- All ...God's grotesques : Flannery O'Connor -- New York sights : Weegee -- Creatural realism : Diane Arbus -- Conclusion. Grotesque to monstrous
Le scélérat est un personnage-type du théâtre élisabéthain et jacobéen, dont certains personnages de Shakespeare sont des incarnations mémorables. Richard III (d’abord Richard Gloucester) en est ...l’une des plus célèbres. Comment expliquer la fascination exercée par ce personnage aussi monstrueux sur le plan moral que sur le plan physique ? En quoi est-il un scélérat ? En quoi sa scélératesse est-elle un ressort théâtral ?
Some of Shakespeare’s characters are memorable incarnations of the villain, a stock character of Elizabethan and Jacobean drama. Richard III, who first appears as Richard Gloucester, is one of the most famous examples. Since his mind is as monstrous as his body, how can he be so fascinating? What makes him a villain? Why does his villainy have such dramatic power?
A partir de los procesos de inmigración constitutivos de la sociedad argentina (fines del siglo XIX y comienzos del XX), como así mismo, desde la proliferación de una "dispersión de lenguas", el ...propósito del artículo es analizar los alcances sociales de la crítica cultural realista, cultivada mediante imágenes, estéticas y letras de “lo grotesco”, tanto en la teatralidad crítica, como en la lírica popular. Tal recurso fue utilizado, especialmente, por los hermanos Armando y Enrique Discépolo, como un cuestionamiento (“arte comprometido”) a los mitos gubernamentales del Centenario en la Argentina, denunciando la “máscara adaptativa” que implicaba el eventual progreso modernizador fomentado por las oligarquías. Los resultados más inmediatos nos obligan a revisar el discurso estatal que, a partir de un “positivismo evolucionista”, centró su política (fallida) en oleadas inmigratorias, como el antídoto de acceso a la racionalidad civilizatoria y que, a la sazón, no se hizo parte de los fenómenos de etnicidad, marginalidad y otras formas de exclusión social. Las expresiones de “arte popular” fueron fundamentales porque, bajo el ethos de la autocomprensión, denuncian los padecimientos del migrante como un personaje que agrava su desarraigo existencial (extrañamiento) y sentido para vivir en comunidad.
El trabajo indaga la relación con el lenguaje en Alejandra Pizarnik bajo tres aspectos: la confrontación entre las formas del español y las del francés (lee al barroco del Siglo de Oro ...simultáneamente con los poetas malditos, los surrealistas y algunos otros poetas franceses); la tensión entre el verso y la prosa (o la poesía y la novela, lo lírico y lo novelesco); y el contrapunto entre el humor y lo trágico. Estos tres ejes son fundamentales en su concepción y su construcción del lenguaje poético y tienen efectos estéticos que serán analizados en este artículo.
Este trabajo explora el texto híbrido La bucanera de Pernambuco o Hilda la polígrafa, uno de los últimos que escribe la autora argentina Alejandra Pizarnik. A través de nociones como lo barroco, lo ...grotesco y lo abyecto se profundizará en el sentido de estos fragmentos raros y diferentes en la poética de la escritora y que muestran una inédita pulsión de vida.
O presente artigo estuda o grotesco nas protagonistas do romance A hora de estrela, de Clarice Lispector, visando à releitura da fortuna crítica e à construção dos retratos e fragmentos dessas ...personagens. Procuramos também compreender as propostas estéticas modernas da instância de autoria e as correlações com o estudo dessas personagens, a evidenciarem uma crise na condição social burguesa da sociedade capitalista, por parte do personagem-narrador-autor Rodrigo S.M., tanto no processo da representação mimética quanto na tomada de consciência social e engajamento político. Com o romance, Lispector demonstra, de fato, seu engajamento político, porém, em uma dimensão estético-romanesca bastante arrojada, porque, através de técnicas do romance psicológico, implode essas questões, em digressões e processos paródicos.
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