1. Življenje in delo Igorja Torkarja : magistrsko deloAnja Vrabl, 2021, magistrsko delo Opis: Magistrsko delo obravnava izbrana pripovedna in dramska dela slovenskega ustvarjalca Borisa Fakina, ki je ustvarjal pod psevdonimom Igor Torkar. Magistrsko delo je razdeljeno na teoretični del in analizo literarnih del.
V teoretičnem delu so razloženi osnovni pojmi, ki so nam bili v pomoč pri literarnoteoretski analizi Torkarjevih del. Glavna pojma sta roman in drama, saj so obravnavana tako prozna kot tudi dramska dela. V nadaljevanju je s pomočjo člankov in intervjujev predstavljeno avtorjevo življenje in delo. V magistrsko delo je vključen kratek oris t. i. dachauskih procesov, saj so imeli montirani sodni procesi velik vpliv na literarno ustvarjanje obravnavanega avtorja.
Bistvo magistrske naloge je zajeto v analizi literarnih del. Podrobno smo analizirali, kakšne so značilnosti Torkarjevih romanov, temu pa smo dodali še analizo nekaterih dramskih del. Obravnavani so trije romani: Deseti bratje, Umiranje na obroke in Smrt na počitnicah. Ugotovili smo, da je Torkar snov za romane črpal predvsem iz svojega življenja. Obravnavali smo tudi naslednja dramska dela: Pisana žoga, Pozabljeni ljudje, Delirij, Zlata mladina, Požar, Vstajenje Jožefa Švejka, Revizor 93. Po obsežni analizi literarnih del smo raziskali, kako so Torkarjeva dela sprejeli drugi ustvarjalci. Ob koncu raziskovanja smo izsledke strnili v sklepnem poglavju.
Ključne besede: Igor Torkar, roman, drama, literarna analiza, dachauski procesi
Objavljeno v DKUM: 09.11.2021; Ogledov: 1126; Prenosov: 57
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2. Drama als Instrument der ReformationGašper Sojč, 2019, diplomsko delo Opis: 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.
Ključne besede: Drama, Theater, Reformation, frühe Neuzeit, geistliches Spiel
Objavljeno v DKUM: 28.10.2019; Ogledov: 909; Prenosov: 56
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3. Dramatic Present for Deception of PerceptionAnja Simreich, 2017, magistrsko delo Opis: 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.
Ključne besede: time, present simple, progressive tenses, past simple, dramatic present, perception of reception, sense of drama, immediacy
Objavljeno v DKUM: 06.03.2018; Ogledov: 1251; Prenosov: 102
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5. Apokaliptično dojemanje stvarnosti v drami Mihaila Bulgakova BegNatalia Kaloh Vid, 2013, izvirni znanstveni članek Opis: 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.
Ključne besede: ruska književnost, drama, apokalipsa, aluzija
Objavljeno v DKUM: 18.05.2017; Ogledov: 1465; Prenosov: 415
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6. Translating recurrences in Pinter's playsTomaž Onič, 2005, izvirni znanstveni članek Opis: 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.
Ključne besede: translation, translating, drama, drama translation, recurrence, Harold Pinter
Objavljeno v DKUM: 16.05.2017; Ogledov: 1206; Prenosov: 351
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7. The reception of Harold Pinter's plays in Slovenia between 1999 and 2014Urša Gavez, 2016, izvirni znanstveni članek Opis: 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.
Ključne besede: English literature, English drama, theatre, reception, translation, Harold Pinter, drama
Objavljeno v DKUM: 16.05.2017; Ogledov: 1076; Prenosov: 352
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9. Music becomes emotions : the musical score in two productions of A Streetcar Named DesireTomaž Onič, 2016, izvirni znanstveni članek Opis: 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.
Ključne besede: Tennessee Williams, A Streetcar Named Desire, music, film, drama
Objavljeno v DKUM: 16.05.2017; Ogledov: 1106; Prenosov: 221
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10. Harold Pinter in Slovene translationsDarja Darinka Hribar, 2004, izvirni znanstveni članek Opis: 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.
Ključne besede: English literature, drama, translation, theory of translation, translation of beletristics, cohesion, coherence, comparative analyses, drama translations
Objavljeno v DKUM: 16.05.2017; Ogledov: 1470; Prenosov: 143
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