Informacja

Drogi użytkowniku, aplikacja do prawidłowego działania wymaga obsługi JavaScript. Proszę włącz obsługę JavaScript w Twojej przeglądarce.

English (EN)·Polski (PL)·Yкраїнський (UK)
Przejdź do strony domowej biblioteki Centralna Biblioteka Wojskowa Link otwiera się w nowym oknie Logo biblioteki Prolib Integro - strona głównaCentralna Biblioteka Wojskowa

Wyszukujesz frazę "colonial" wg kryterium: Temat

  Lista filtrów
Wyrównaj
    Wyświetlanie 1-3 z 3
    Tytuł:
    Shakespeare,<i>Macbeth</i>and the Hindu Nationalism of Nineteenth-Century Bengal
    Autorzy:
    Sarkar, Abhishek
    Powiązania:
    https://bibliotekanauki.pl/articles/647977.pdf
    Data publikacji:
    2016-06-01
    Wydawca:
    Uniwersytet Łódzki. Wydawnictwo Uniwersytetu Łódzkiego
    Tematy:
    Macbeth
    violence
    Bengali
    nationalism
    Hindu revivalism
    colonial modernity
    Opis:
    The essay examines a Bengali adaptation of Macbeth, namely Rudrapal Natak (published 1874) by Haralal Ray, juxtaposing it with differently accented commentaries on the play arising from the English-educated elites of 19th Bengal, and relating the play to the complex phenomenon of Hindu nationalism. This play remarkably translocates the mythos and ethos of Shakespeare’s original onto a Hindu field of signifiers, reformulating Shakespeare’s Witches as bhairavis (female hermits of a Tantric cult) who indulge unchallenged in ghastly rituals. It also tries to associate the gratuitous violence of the play with the fanciful yearning for a martial ideal of nation-building that formed a strand of the Hindu revivalist imaginary. If the depiction of the Witch-figures in Rudrapal undercuts the evocation of a monolithic and urbane Hindu sensibility that would be consistent with colonial modernity, the celebration of their violence may be read as an effort to emphasize the inclusivity (as well as autonomy) of the Hindu tradition and to defy the homogenizing expectations of Western enlightenment
    Źródło:
    Multicultural Shakespeare: Translation, Appropriation and Performance; 2016, 13; 117-129
    2083-8530
    2300-7605
    Pojawia się w:
    Multicultural Shakespeare: Translation, Appropriation and Performance
    Dostawca treści:
    Biblioteka Nauki
    Artykuł
    Tytuł:
    Macbeth in Nineteenth-Century Bengal: A Case of Conflicted Indigenization
    Autorzy:
    Chaudhury, Sarbani
    Sengupta, Bhaskar
    Powiązania:
    https://bibliotekanauki.pl/articles/648134.pdf
    Data publikacji:
    2013-12-01
    Wydawca:
    Uniwersytet Łódzki. Wydawnictwo Uniwersytetu Łódzkiego
    Tematy:
    Macbeth
    Nagendranath Bose
    colonial Bengal
    adaptation
    literary and linguistic communalism
    Opis:
    Adaptation, a complex bilingual and bicultural process, is further problematised in a colonial scenario inflected by burgeoning nationalism and imperialist counter-oppression. Nagendranath Bose’s Karnabir (1884/85), the second extant Bengali translation of Macbeth was written after the First War of Indian Independence in 1857 and its aftermath - the formation of predominantly upper and middle class nationalist organisations that spearheaded the freedom movement. To curb anti-colonial activities in the cultural sphere, the British introduced repressive measures like the Theatre Censorship Act and the Vernacular Press Act. Bengal experienced a revival of Hinduism paradoxically augmented by the nationalist ethos and the divisive tactics of British rule that fostered communalism. This article investigates the contingencies and implications of domesticating and othering Macbeth at this juncture and the collaborative/oppositional strategies of the vernacular text vis-à-vis colonial discourse. The generic problems of negotiating tragedy in a literary tradition marked by its absence are compounded by the socio-linguistic limitations of a Sanskritised adaptation. The conflicted nature of the cultural indigenisation evidenced in Karnabir is explored with special focus on the nature of generic, linguistic and religious acculturation, issues of nomenclature and epistemology, as well as the political and ideological negotiations that the target text engages in with the source text and the intended audience.
    Źródło:
    Multicultural Shakespeare: Translation, Appropriation and Performance; 2013, 10; 11-27
    2083-8530
    2300-7605
    Pojawia się w:
    Multicultural Shakespeare: Translation, Appropriation and Performance
    Dostawca treści:
    Biblioteka Nauki
    Artykuł
    Tytuł:
    The Enemy Other: Discourse of Evil in William Shakespeare’s "The Tempest"
    Autorzy:
    Abu-Shomar, Ayman
    Powiązania:
    https://bibliotekanauki.pl/articles/39759622.pdf
    Data publikacji:
    2022
    Wydawca:
    Uniwersytet Łódzki. Wydawnictwo Uniwersytetu Łódzkiego
    Tematy:
    discourse of evil
    William Shakespeare
    deconstruction
    post-colonial criticism
    European renaissance
    Opis:
    Caliban, the ‘enemy Other’ of William Shakespeare’s The Tempest, is a character that allows further investigations of the colonial ideology in its earliest forms; locating ‘evil’ forces outside the continent of Europe and the White race. Caliban, the only non-European character, is typified as the autocratic antagonist of the play whose evil intentions and actions cannot be redeemed. Against such representation, the essay argues that the villainous discourse attributed to Caliban is informed by Renaissance theological doctrines escorted by an emergent colonial ideology. It argues that, at a semantic level, the employment of the concept of ‘evil’ often serves as an intensifier to denounce wrongful actions. At a moral level, however the term is often contested on the basis that it involves unwarranted metaphysical commitments to dark spirits necessitating the presence of harmful supernatural creatures. To attribute the concept to human beings is therefore essentially problematic and dismissive since it lacks the explanatory power of why certain people commit villainous actions rather than others. Hence, the epistemological aporia of Caliban’s ‘evil’ myth reveals an inevitable paradox, which concurrently requires locating Caliban both as a human and unhuman figure. Drawing on a deconstructionist approach, the essay puts the concept of ‘evil’ under erasure, hence, argues that Caliban’s evilness is a mere production of rhetoric and discourse rather than a reality in itself. This review contributes to the intersecting areas of discourse, representations, and rhetoric of evil within the spectrum of postcolonial studies.
    Źródło:
    Multicultural Shakespeare: Translation, Appropriation and Performance; 2022, 25, 40; 95-113
    2083-8530
    2300-7605
    Pojawia się w:
    Multicultural Shakespeare: Translation, Appropriation and Performance
    Dostawca treści:
    Biblioteka Nauki
    Artykuł
      Wyświetlanie 1-3 z 3

      Ta witryna wykorzystuje pliki cookies do przechowywania informacji na Twoim komputerze. Pliki cookies stosujemy w celu świadczenia usług na najwyższym poziomie, w tym w sposób dostosowany do indywidualnych potrzeb. Korzystanie z witryny bez zmiany ustawień dotyczących cookies oznacza, że będą one zamieszczane w Twoim komputerze. W każdym momencie możesz dokonać zmiany ustawień dotyczących cookies