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1.
Drama als Instrument der Reformation
Gašper Sojč, 2019, undergraduate thesis

Abstract: Das Drama spielte im Zeitaler der Reformation eine wichtige Rolle in der Kultur und Gesellschaft, vor allem bei der Verbreitung der reformatorischen Ideen und Ideale. Diese literarische Gattung verkörperte in gewisser Hinsicht die Ansichten der reformatorischen Theologen und erweiterte ihren Einfluss. Dabei wird versucht, folgende Fragen zu beantworten: welche Formen des Dramas sind in dieser Epoche entstanden, welchen Einfluss hatten sie auf die Gesellschaft und welche Rolle hatten sie bei der Ausbreitung der Reformation.
Keywords: Drama, Theater, Reformation, frühe Neuzeit, geistliches Spiel
Published: 28.10.2019; Views: 477; Downloads: 40
.pdf Full text (148,02 KB)

2.
Dramatic Present for Deception of Perception
Anja Simreich, 2017, master's thesis

Abstract: The main subject of my master’s thesis is to discuss the topic of English tenses and their relation to time. In order to develop a clearer understanding of the topic, four tenses (the Present simple, Present Continuous, Past simple and Past continuous) that were later used for the analysis in the empirical part, and the time and tense differences were presented theoretically. All four tenses were thoroughly described and supported with examples. For the empirical part and further analysis, the following books were used: The Front by Patricia Cornwell, In the Company of the Courtesan by Sarah Dunant, and The Rule of Four by Ian Caldwell and Dustin Thomason. With the help of these novels, the use of tenses and their compatibility with time were analysed. Special focus was put on dramatic present. We wanted to see if the time and tense in the stories were compatible and what happened with the reader’s perception if other tenses, especially the Past simple, were used. The results have shown that all three novels are mainly written in the Present Simple regardless of the time when the story happened. Such story where dramatic present is a predominant tense is given more sense of drama and acts more vividly. For this reason, the reader is not aware of the real time of the happening. Their perception is deceptive because time and tense are not consistent.
Keywords: time, present simple, progressive tenses, past simple, dramatic present, perception of reception, sense of drama, immediacy
Published: 06.03.2018; Views: 700; Downloads: 57
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3.
Teaching early-level foreign languages to pupils with impaired pronunciation abilities
Věra Janíková, 2009, review article

Abstract: Today, teaching and learning early-level foreign languages has become a common issue often discussed by specialists. This article deals with the problems of foreign language pronunciation for primary level pupils with impaired communication abilities. The article includes findings from special education and psychology reports along with a definition of the term impaired communication ability and the phonetic-phonological impact it has on learning a foreign language. The conclusion presents some chosen methods for teaching drama and theatre projects that deal with proper pronunciation training and the results of related research investigations.
Keywords: special education needs, specific learning difficulties, impaired communication ability, early-level foreign language learning, methods of teaching drama, research
Published: 09.10.2017; Views: 766; Downloads: 63
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4.
Apokaliptično dojemanje stvarnosti v drami Mihaila Bulgakova Beg
Natalia Kaloh Vid, 2013, original scientific article

Abstract: Članek obravnava zgodovinsko-filozofsko videnje Mihaila Bulgakova v drami Beg, posvečeni državljanski vojni. Avtorica ugotavlja, da pisateljevo ustvarjalno misel opredeljuje apokaliptično dojemanje stvarnosti. Siže drame Bulgakov vzpostavi kot projekcijo Janezovega razodetja in se v tekstu večkrat sklicuje na apokaliptično prerokbo. Zgodovinska apokalipsa v drami predpostavlja razpad starega sveta, ki ga zaznamujejo izguba domovine, izguba lastne identitete, oskrunitev vseh starih idealov in izmaličenje človeške podobe.
Keywords: ruska književnost, drama, apokalipsa, aluzija
Published: 18.05.2017; Views: 1016; Downloads: 306
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5.
Translating recurrences in Pinter's plays
Tomaž Onič, 2005, original scientific article

Abstract: Certain elements of language often repeat in all genres and at all levels of formality, whether spoken or written. This phenomenon, either premeditated or applied intuitively, always has a reason, despite the fact that the speaker (or writer) is not necessarily aware of it. A re-appearance of a certain word or word cluster is called recurrence. According to various definitions, it can be the direct repetition of a textual element which has appeared before in the text, the re-appearance of a certain word in the form of a different part of speech, or the repetition of a word cluster in which at least some elements of the original sentence repeat in the same or similar form. The term repetition is not used because only seldom is a repetition of a part of a text a real repetition, carrying exacctly the same meaning potential of the repeated phrase as did its first appearance. This element of language is often disregarded in translation. It's importance is even greater in texts where recurrences are common or, as in Pinter's plays, they represent one of the important elements of the author's style. Hopefully, this paper will raise awareness of how important it is to consider this element in translation.
Keywords: translation, translating, drama, drama translation, recurrence, Harold Pinter
Published: 16.05.2017; Views: 667; Downloads: 287
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6.
The reception of Harold Pinter's plays in Slovenia between 1999 and 2014
Urša Gavez, 2016, original scientific article

Abstract: Harold Pinter started his career with a conspicuous lack of success. He faced negative critical reviews of his early works, but his typical style eventually opened doors to new worlds in modern drama. On Slovene stages, Pinter's plays also received a similarly modest welcome. The audience as well as the reviewers found his long pauses, silences and incoherent dialogue insufficiently engaging. One of the main reasons for this could have been their unfamiliarity with Pinter's style, which eventually acquired its own adjective - "Pinteresque". With time, Pinter's popularity increased more rapidly on the world stages than in Slovenia, and today this playwright is not a stranger to the Slovene theatre. This article deals with Pinter on Slovene stages as well as the popular and critical reception of his plays. The period before 1999 was thoroughly analysed by Darja Hribar, while this study is the first to focus on the decade and a half following.
Keywords: English literature, English drama, theatre, reception, translation, Harold Pinter, drama
Published: 16.05.2017; Views: 664; Downloads: 296
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7.
Perspectives on Pinter abroad
Tomaž Onič, 2012, review article

Keywords: British literature, drama, reception, dramatic texts, Nobel prize, Maribor
Published: 16.05.2017; Views: 658; Downloads: 247
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8.
Music becomes emotions
Tomaž Onič, 2016, original scientific article

Abstract: From today's perspective, Alex North's score for the 1951 film A Streetcar Named Desire, which was considered remarkable even at the time, can claim legendary status. The titles of the 16-track score suggest that the music focuses on the characters, the setting, main motifs, crucial events and states of mind. The film soundtrack could thus be denoted as integral to and harmonized with the dramatic action. This is not the case in the 2008 staging at the Slovene National Theatre in Maribor, where the music composed and selected by Hrvoje Crnić Boxer seems to focus on the protagonist only. The performance revolves around Blanche and could be interpreted as a psychoanalytic study of the play through her subconscious. Analysing the musical layers of these two considerably different productions of Williams' play opens new interpretative aspects of this complex theatre and film classic from the Deep South literary tradition.
Keywords: Tennessee Williams, A Streetcar Named Desire, music, film, drama
Published: 16.05.2017; Views: 636; Downloads: 162
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9.
Harold Pinter in Slovene translations
Darja Darinka Hribar, 2004, original scientific article

Abstract: This article examines the translation of Harold Pinter's most notable stylistic peculiarities into Slovene, illustrating its main points with examples taken from his play The Homecoming. The findings demonstrate above all a marked degree of non-observance of the special verbal pattern (special cohesion) of the originals, a failure to convey Pinter's special configuration of meaning (special coherence), and a disregard for internal unifying coincidences. It argues that the Slovene translations of Pinter rely mostly on traditional theories of meaning and of language norms, thus preventing the reproduction of those emotional and psychological actions of Pinter's characters which are usually not expressed by means of the rhetorical, informative elements of his dialogue, but by its form and sonority, i. e. the length, strength, and level of articulation of verbal expression. This blurs Pinter's famous logic of emotion, narrows the proverbial openness and conceptual uncertainty of his plays, and limits their potential vitality in translation. Taking into account current drama and theatre translation practices in Slovenia, i.e. the rarity of published drama translation and the depedence on a translated performance text for subsequent theatrical productions, the article argues that in such cases the drama translation should be retrospective, i.e. aiming at a maximum reconstruction of all relevant linguistic, stylistic, and textual properties of the original, leaving expressly subjective interventions in the text to the theatre practitioners.
Keywords: English literature, drama, translation, theory of translation, translation of beletristics, cohesion, coherence, comparative analyses, drama translations
Published: 16.05.2017; Views: 844; Downloads: 79
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10.
An examination of lexical choices in Slovene translations of British and American drama
Darja Darinka Hribar, 2005, original scientific article

Abstract: The article examines lexical choices preferred by a noted Slovene translator of dramatic texts. It is based on the assumption that in spite of the fact that lexical choices offer much greater freedom in translation than, for instance, grammatical choices, they are subject to a number of intratextual and extratextual factors defining the genre, the kind of translation, and specific features of individual plays. Although examples are taken from only one set of translations of Tennessee Williams's A Streetcar Named Desire, they also refer to other working and published versions of dramatranslations into Slovene, including Albee's Whos Afraid of Virginia Woolf?, Miller's Death of a Salesman, Pinter's plays, and Shaw's Pygmalion. The shifts considered in the article relate to register, i. e. factors of language variation affecting lexical choices related to the field, mode, and tenor of discourse.
Keywords: translation, translating, translation exercises, drama, drama translation, shifts, register, lexis, lexical choice, Tennessee Williams, A Streetcar Named Desire
Published: 12.05.2017; Views: 711; Downloads: 279
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