Wszystkie pola: King, Richard - Katalog OPAC zbiorów

Skocz do pozycji: 1.

Tytuł:: Dywizjon 303 : walka i codzienność
303 (Polish) squadron : Battle of Britain diary
Autorzy:: King, Richard.
Współwytwórcy:: Siwek, Grzegorz. Tłumaczenie
Data publikacji:: 2012
Wydawca:: Warszawa : Wydawnictwo RM
Tematy:: 303 Dywizjon Myśliwski Warszawski im. Tadeusza Kościuszki (Polskie Siły Zbrojne na Zachodzie)
Wojna powietrzna Wielka Brytania 1939-1945 r.
Lotnictwo wojskowe
Opis:: Bibliogr. s. [419]-422. Indeks.
Dostawca treści:: Bibliografia CBW

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Skocz do pozycji: 2.

Tytuł:: Writing and Rewriting Nationhood: "Henry V" and Political Appropriation of Shakespeare
Autorzy:: Minami, Hikaru
Powiązania:: https://bibliotekanauki.pl/articles/39759277.pdf
Data publikacji:: 2022
Wydawca:: Uniwersytet Łódzki. Wydawnictwo Uniwersytetu Łódzkiego
Tematy:: Shakespeare
'King Henry V'
'Henry IV'
'King Richard II'
'Cymbeline'
Brexit
national identity
populism
nationalism
adaptation and appropriation
Laurence Olivier
Kenneth Branagh
Opis:: Shakespeare’s Henry V is often regarded as a nationalistic play and has been appropriated for political spin and propaganda to enhance the sense of national unity. Shakespeare captures the emerging nationalistic feeling of the Tudor era in Henry’s emphasis on national history and pride, but various parts of the text suggest a more diverse and complex figures of the king and his subjects than a war hero and the united nation. Such complexity, however, is often ignored in political appropriation. Laurence Olivier’s film adaptation during WWII glamorizes the war and defines the English nation as a courageous “band of brothers” through its presentation of Shakespeare’s play a shared story or history of national victory. Kenneth Branagh’s film in 1989, on the other hand, captures the ugliness of war but it still romanticizes the sacrifice for the country. In 2016, Shakespeare was made part of the Brexit discourse of growing nationalism at the time of the EU referendum. Brexit was imagined as a victory that will bring back freedom and sovereignty the country once enjoyed, and Shakespeare was used to represent the greatness of Britain. Shakespeare’s text, however, depicts the war against the continent in a more skeptical than glorifying tone. The war scenes are scattered with humorous dialogues and critical comments and the multi-national captains of Henry’s army are constantly at odds with one another. Shakespeare thus provides us with a wider view of nationhood, resisting the simplifying force of politics.
Źródło:: Multicultural Shakespeare: Translation, Appropriation and Performance; 2022, 25, 40; 115-131
2083-8530
2300-7605
Pojawia się w:: Multicultural Shakespeare: Translation, Appropriation and Performance
Dostawca treści:: Biblioteka Nauki

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Skocz do pozycji: 3.

Tytuł:: “With mine own tears I wash away my balm”: The King’s two bodies in Shakespeare’s Richard II and King Lear.
Autorzy:: Lejri, Sélima
Powiązania:: https://bibliotekanauki.pl/articles/605574.pdf
Data publikacji:: 2014
Wydawca:: Uniwersytet Marii Curie-Skłodowskiej. Wydawnictwo Uniwersytetu Marii Curie-Skłodowskiej
Opis:: The aim of this paper is to delineate the representation of kingship in Tudor and Stuart England and its articulation in Shakespeare’s political drama, through the examples of Richard II (1599) and King Lear (1606), two illustrative plays of the respective eras. Conceived of as two-bodied, the sovereign is, from early medieval times, positioned in an uneasy liminal state whereby his natural body is also the incarnation of the mystical concept of the everlasting Body politic. Anxieties over this seemingly unbreakable continuity of mystical kingship become nonetheless palpable as Queen Elizabeth I lies dying, leaving no heir to the throne of England. The first Stuart monarch hence reinforces the doctrine of The Divine Right of Kings by confidently advancing the unique precedence of godhead over manhood in the monarch. Set in this context, Shakespeare’s two political figures question the validity of the king’s impregnable nature as they grapple with their human condition exposed to all mortal ills. When Richard II’s “tears wash away (his) balm” and his meta-physiological body withal, Shakespeare exposes the frailties underneath the fiction of the monarch’s two-bodied nature parodied in King Lear as “every inch a king”.
Źródło:: Lublin Studies in Modern Languages and Literature; 2014, 38, 2
0137-4699
Pojawia się w:: Lublin Studies in Modern Languages and Literature
Dostawca treści:: Biblioteka Nauki

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Skocz do pozycji: 4.

Tytuł:: Symboliczne wcielenia Oskara Kokoschki - Tristan
Symbolic incarnations of Oskar Kokoschka – Tristan
Autorzy:: Długosz, Magdalena
Powiązania:: https://bibliotekanauki.pl/articles/1887884.pdf
Data publikacji:: 2014
Wydawca:: Katolicki Uniwersytet Lubelski Jana Pawła II. Towarzystwo Naukowe KUL
Tematy:: Oskar Kokoschka
Alma Mahler
Gustav Mahler
Walter Gropius
Richard Wagner
Tristan
Izolda
król Marek
„Die Windsbraut”
wachlarze
trubadurzy
średniowiecze
rycerz
pasowanie
dramat muzyczny
triada celtycka
symboliczna identyfikacja
autokreacja artysty
autoportret
ekspresjonizm
Wiedeń ok. 1900
Iseult
King Mark
fans
troubadours
Middle Ages
knight
knighting
musical drama
Celtic triad
symbolic identification
artist's self-creation
selfportrait
expressionism
Vienna around 1900
Opis:: From the very beginning of his artistic career Oskar Kokoschka systematically used historical, literary and mythological persons, whose figures, being recognizable in culture, facilitated the expression of his own psychological states and life experiences. The young painter, familiar with the classic works of literature, was also fascinated by music. One of his most vivid musical memories mentioned in an interview after more than half a century, was connected with his visits at the Vienna opera horse where he hare heard concerts directed by Gustav Mahler. A an especially enduring memory was that of the performance of R. Wagner’s drama Tristan und Isolde. From that time on the story of the mythical couple of lovers dominated the artist’s imagination, and after his meeting with Gustav's widow, Alma Mahler, he was able to assume a personified figure involving all the three people. As a result Kokoschka and Alma's love affair was supposed to develop according to the historical and mythical scenario of the medieval, and originally Celtic, saga. The artist first played the role of a life-guardsman seeking the favor of the patron of the Vienna cultural elite, and also seeking the hand of the inaccessible „queen” left by the dead director, „the old king”. Having won her acceptance the painter was able to be in her good graces for some time as her lover. However, a tragic turnabout, and at the same time the end of the relation, was inevitably inscribed in the process, in which the „young pretender” Kokoschka, having entered the role of the king, next had to give way to the next candidate. Stages of this symbolic process can be seen in Kokoschka’s letters as well as in his literary and visual works from the period of his relationship with Alma Mahler in the years 1912-1915, when one compares the facts from the protagonists’ lives with, among others, the medieval versions of the Tristan legend and its version composed by Wagner.
Źródło:: Roczniki Humanistyczne; 2013, 61, 4; 159-203
0035-7707
Pojawia się w:: Roczniki Humanistyczne
Dostawca treści:: Biblioteka Nauki

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