Search Results

You are looking at 1 - 10 of 23 items for :

  • All: horizontal effect x
  • Literature and Cultural Studies x

Sebastian Haunss

Kooperationsstrukturen aktueller Bewegungen deutlich weniger führungslos und horizontal seien, als dies in der Literatur behauptet wird. Diese Position wird beispielsweise von Gerbaudo vertreten, der behauptet, dass gegenwärtige soziale Bewegungen von einem tiefen Widerspruch geprägt seien: dem Widerspruch zwischen

Fiona Ross

divided in three parts horizontally so that Ukars and Matras could be joined easily.’ This system is known as ‘The Bombay (or Degree) Type.’ 41 He comments further: It is an admitted fact that the three-step setting of the Devanagari script is a laborious task and a difficult job from the point

Gerry Leonidas

Aristophanes’ plays. However, in those editions the same typeface is used for the speaker’s name and the spoken text. Indentation aside, capitalisation is the only differentiation employed—the effect diminished by the frequent convention of abbreviating the name. Religious texts, most notably the New Testament

Jonathan Bradbury and Nigel Griffin

the complex machines and effect the scene changes) but also, on a more modest scale, in the commercial theatre, Christopher Oechler, ‘The Performance of Divine Providence on the Early Modern Stage: Tumbling Canvases and History Plays’, BC , 67.2:49–65, discusses one not infrequent such stage effect

Yuqian Yan

This article examines the effect and affect of historical representations in wartime Chinese theater and cinema, as well as the interplay between the two media. With the burgeoning of late Ming stories on stage and on screen, the fall of the Ming became a “chosen trauma” that connects the nation’s past with its historical present. However the traumatic fate of the nation was never the actual subject of representation, but served to enhance the affective power of tragic‐heroic figures. Focusing on A Ying’s Sorrow for the Fall of the Ming, one of the most popular wartime historical plays, the paper studies the narrative structure, performance style and adaptation strategy of the play to demonstrate how patriotic spirit was foregrounded as the key to national survival. It was through the audience’s resonation with the characters’ passionate speech on stage and on screen that individuals’ emotional attachment to the nation was consolidated, both horizontally across space and vertically through history.

Judy Wakabayashi

accuracy, the “character illusion” effect also makes any shifts in meaning or function more difficult to detect. The prominent coexistence of four scripts in Japanese helps alert us to the lesser but still occasionally significant role of script in other languages, including alphabetic languages

“Torn by Enormous Pauses”

Counter-Rhythmic Caesurae in How It Is

Laura Hensch

exactly that effect of Miteinander or simultaneity (qtd. in Knowlson, 240). In How It Is , Beckett moves towards that effect of simultaneity himself, but rather than mimicking Joyce’s method of multilingual paronomasia and encyclopedic comprehensiveness, he depends upon a process of removal, which is

Oana Popescu-Sandu

one language when writing in another, for poetic effect, is shared by Nigerian writer Gabriel Okara: “a writer can use the idioms of his own language in a way that is understandable in English … Some may regard this way of writing in English as a desecration of the language. This is of course not true

Why Doesn’t Winnie Grab the Shovel?

Staging Beckett’s Happy Days in Early Post-Communist Romania

Traian Penciuc

strange object. 12. The tonic. 13. Makeup. 7 Another stylistic device is repetition. In a classical play, repetition is minimally used to highlight some feature or to produce a mechanical type of comic effect. In Happy Days it is

Failing Better

Beckett’s Game with Chess in Murphy

Bernd-Peter Lange

the rooks vacate their initial positions. The two irregular moves by the white knights crossing over to the other side of the board add a chiasmic symmetry to the vertical and horizontal ones. By move 16 the White pieces have all regained their original positions, with only the two white knights