3,813 matches
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the literature that was written after the dramatist's death. Out of the Caragialian "games with more strategies"2, the one played with his posterity was won not because he assured himself a place in our great classical writers' Pantheon, but due to the fact that he opened more lodes that could be later on explored in turn by numerous writers that followed his intuition. Thus, we can explain why certain components of Caragialism were predominantly restored in different literary periods
by Loredana Ilie [Corola-publishinghouse/Science/1088_a_2596]
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to affiliate to Caragialism both those writers who placed themselves in a more or less epigonic manner in this trend, as one could consider the case of G. Ranetti and Al. O. Teodoreanu, and some writers who were remarkably original, but who were aware of being mere successors. Within the latter group there are more categories. First of all, there are writers that approached the comic and thus they were inevitably associated with Caragiale's name. This is the case of
by Loredana Ilie [Corola-publishinghouse/Science/1088_a_2596]
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s vision, plot solving or characters' structure. Nevertheless, by doing so, they implicitly admit the impossibility of ignoring their great predecessor's lesson. Miss Nastasia can be interpreted as George-Mihail Zamfirescu's attempt to explore another side of the slum, but his picture only apparently differs from the reality described by Caragiale. In the same way, Miss Nastasia is an even crueler version of Caragiale's female character Anca from his drama Năpasta (Injustice). The Idol or Ion Anapoda resumes and
by Loredana Ilie [Corola-publishinghouse/Science/1088_a_2596]
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were tempted by the literary expression of the absurd, such as Tudor Arghezi, Teodor Mazilu and Marin Sorescu. As already stated in this section, the complete image of Caragiale's inheritance must take into account not only the regressive affiliations but also the instances in which the intertextual reading is directed from Caragiale towards his followers. In other words, we should mention that this author's presence in our 20th century literature is revealed from both temporal directions: either from the
by Loredana Ilie [Corola-publishinghouse/Science/1088_a_2596]
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a certainty at the end of our critical endeavour. Recognized as the founder of a dynasty with many literary descendants, more or less loyal, more or less original, Caragiale's influence has not been limited to generating waves of epigones, but consisted in a deliberate transformation, revaluation and recycling of specific types, themes and stylistic devices and a profitable exploration of some of his great intuitions among which the absurd and the "texistence"4 (Mircea Cărtărescu) are the most obvious. Keywords
by Loredana Ilie [Corola-publishinghouse/Science/1088_a_2596]
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hypostases littéraires de la satire, de la parodie, de l'ironie, du grotesque et de l'humour et pour mettre en discussion, au cadre de chaque section, la mesure dans laquelle l'œuvre de Caragiale constitue un moment de référence. Dans ce but, nous avons eu besoin d'ancrer notre argumentation dans la zone des conceptualisations, en systématisant l'information théorique pour offrir à la démarche analytique de la sûreté et pour éviter la dérive ou l'approximation. Autrement dit, les petits chapitres introductifs
by Loredana Ilie [Corola-publishinghouse/Science/1088_a_2596]
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penitent of Shakespeare's play. At that moment he was bidding farewell to another ancient, venerable monk, Father Arapu, who had travelled some distance to visit hîm. Here were two wise old men at ease with themselves and the world, but în my mind's eye I imagined the images of Lear and Gloucester, meeting on the hearth during their own spiritual progression towards wisdom and self knowledge. Of course, these two Orthodox monks had everything that Lear and Gloucester lacked
by William Shakespeare [Corola-publishinghouse/Science/1030_a_2538]
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King Lear is a very odd play that begins like a fairy tale with a vain old man foolishly relinquishing hîș crown and dividing up hîș kingdom among two unworthy daughters while disiheriting Cordelia, hîș youngest daughter, who loves hîm but refuses to flatter hîm. Hîș hypocritical daughters Goneril and Regan later refuse to honor the terms and conditions of their inheritance and refuse to humor their father, who wants to retain hîș royal retinue and who demands to be treated
by William Shakespeare [Corola-publishinghouse/Science/1030_a_2538]
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made a graver error în judgment. Of all the plays of Shakespeare, this one comes nearest to satisfying Aristotle's definition of tragedy, even though the so-called Aristotelian "rules" are broken. There is no "unity of action" here, for example, but only a fool would fault Shakespeare for the Gloucester sub-plot, best described by critics aș the "echo-plot", since Gloucester misjudged hîș sons. First, families are fractured, then the whole fractured Kingdom falls into chaos and disarray. Delegates of decency are
by William Shakespeare [Corola-publishinghouse/Science/1030_a_2538]
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Cordelia and France. King Lear is no play for the literal-minded. I once debated a nurse convinced that she understood Lear's "problem" and briskly diagnosed hîm aș a victim of Alzheimer's Disease, which may make some medical sense but turns the play into an absurd satire rather than a tragedy, for if Lear's "wit's diseased" (aș Hamlet says ironically of himself), or if Lear has truly fallen into insanity, then he cannot be held responsible for hîș
by William Shakespeare [Corola-publishinghouse/Science/1030_a_2538]
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Shakespeare canon. It is not enough simply to produce the play în all its completeness on stage, aș a British Național Theatre production demonstrated during the early 1990's. This production was four hours long and faithful to the text, but a critical failure that managed to get it all wrong by indulging în gross absurdities, such aș Lear's transporting dead Cordelia on stage în a wheelbarrow, howling but wearing a fool's styrofoam clown nose. The staging itself was
by William Shakespeare [Corola-publishinghouse/Science/1030_a_2538]
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This production was four hours long and faithful to the text, but a critical failure that managed to get it all wrong by indulging în gross absurdities, such aș Lear's transporting dead Cordelia on stage în a wheelbarrow, howling but wearing a fool's styrofoam clown nose. The staging itself was a howler. King Lear is a test for any bastardul ticălos și machiavelic al piesei. Situația astfel creată poate fi descrisă de remarcă lui Ulise în Troilus și Cressida
by William Shakespeare [Corola-publishinghouse/Science/1030_a_2538]
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Thousand Acres, set în the cornfields of Iowa. The film that was later adapted from that novel bore little resemblance to Shakespeare's play. Not only does the Lear figure played by Jason Robards degenerate too conveniently into utter madness, but the daughters, given a contemporary American feminist spin, are all treated sympathetically, making them appear to be merely daughters, not vipers. Thus what might have been a tragedy is reduced to a decidedly family melodrama. Of all the film versions
by William Shakespeare [Corola-publishinghouse/Science/1030_a_2538]
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we are transported în time away from Shakespeare's world. Parallel problems exist for the translation, since a translation surely involves line-by-line interpretation. To translate is to change, to adapt, to find new and different idioms for expression, to clarify but also, perhaps, to simplify. Any translation may require a set of compromises resulting from the intersection and synthesis between the intelligence and linguistic skills of the translator with the intelligence and verbal pyrotechnics of the original author, a fearsome challenge
by William Shakespeare [Corola-publishinghouse/Science/1030_a_2538]
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Hinman în the United States, the results of whose research into The Printing and Proofreading of the First Folio of Shakespeare was published în two volumes by the Clarendon Press, Oxford, în 1963. King Lear was first performed în 1606, but the Folio text was not published until 1623, after Shakespeare's death and following the precedent established în 1616 by the publication of the Folio edition of the "works" of Shakespeare's gifted un studiu scrutător al semnificației universale a
by William Shakespeare [Corola-publishinghouse/Science/1030_a_2538]
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a ediției in-folio a operelor talentatului contemporary, the poet and playwright Ben Jon son. At the time, wags joked that Jonson had published hîș plays and called them hîș "works". The works of Shakespeare were to follow seven years later, but Shakespeare himself was no longer alive to proofread and correct the resulting book that ran over 900 pages. Of the 1,200 copies printed of the First Folio of Shakespeare, only 230 copies are existent. Hinman's research involved the
by William Shakespeare [Corola-publishinghouse/Science/1030_a_2538]
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Folio prinț shop, one of whom was most likely a mere apprentice. This apprentice typesetter, moreover, was one of those who worked on the text of King Lear. În the Elizabethan printing house there was apparently no "fear of Lear", but who în those days might have guessed the primal significance this text would eventually enjoy în the tradition of English literature? În hîș own time Shakespeare was known aș a successful and popular playwright who was able to retire în
by William Shakespeare [Corola-publishinghouse/Science/1030_a_2538]
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OFIȚERI, MESAGERI, SOLDAȚI, SUITA. Scena-Britania ACT I SCENE I [King Lear's palace] Enter Kent, Gloucester, and Edmund KENT: I thought the King had more affected the Duke of Albany than Cornwall. GLOUCESTER: It did always seem șo to uș; but now, în the division of the kingdom, it appears not which of the dukes he values most, for equalities are șo weighed that curiosity în neither can make choice of either's moiety. KENT: Is not this your son, my
by William Shakespeare [Corola-publishinghouse/Science/1030_a_2538]
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flăcău a prins, astfel că deveni rotundă-n pîntec și chiar avu un fiu pentru leagăn 'nainte de-a avea un soț pentru-așternut. Mirosi greșala? KENT: I cannot wish the fault undone, the issue of it being șo proper. GLOUCESTER: But I have a son, șir, by order of law, some year elder than this, who yet is no dearer în my account: though this knave came something saucily to the world before he was sent for, yet was hîș mother
by William Shakespeare [Corola-publishinghouse/Science/1030_a_2538]
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all? Happily, when I shall wed, That lord whose hand must take my plight shall carry Half my love with hîm, half my care and duty. Sure I shall never marry like my sisters, To love my father all. LEAR: But goes thy heart with this? CORDELIA: Ay, my good lord. LEAR: Șo young, and șo untender? CORDELIA: Șo young, my lord, and true. LEAR: Let it be șo, thy truth then be thy dower! For, by the sacred radiance of
by William Shakespeare [Corola-publishinghouse/Science/1030_a_2538]
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check This hideous rashness. Answer my life my judgment, Thy youngest daughter does not love thee least, Nor are those empty-hearted whose low sounds Reverb no hollowness. LEAR: Kent, on thy life, no more! KENT: My life I never held but aș a pawn To wage against thine enemies; nor fear to lose it, Thy safety being motive. LEAR: Ouț of my sight! KENT: See better, Lear, and let me still remain The true blank of thine eye. LEAR: Now by
by William Shakespeare [Corola-publishinghouse/Science/1030_a_2538]
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cere preț de zestre, ca s-o iei, Ori încetezi petitul? BURGUNDIA: Maiestate, Nu cer mai mult decît ați oferit, Si nu dați mai puțin. LEAR: Right noble Burgundy, When she was dear to uș, we did hold her șo; But now her price is fallen. Șir, there she stands. If aught within that little-seeming substance, Or all of it, with our displeasure pieced, And nothing more, may fitly like your Grace, She's there, and she is yours. BURGUNDY: I
by William Shakespeare [Corola-publishinghouse/Science/1030_a_2538]
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a stray To match you where I hate; therefore beseech you T'avert your liking a more worthier way Than on a wretch whom nature is ashamed Almost t'acknowledge hers. FRANCE: This is most strange, That she whom even but now was your best object, The argument of your praise, balm of your age, The best, the dearest, should în this trice of time Commit a thing șo monstruous to dismantle Șo many folds of favor. Sure her offence Must
by William Shakespeare [Corola-publishinghouse/Science/1030_a_2538]
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not, since what I well intend I'll do't before I speak, that you make known It is no vicious blot, murder, or foulness, No unchaste action or dishonored step, That hath deprived me of your grace and favor; But even for want of that for which I am richer, A still-soliciting eye, and such a tongue That I am glad I have not, though not to have it Hath lost me în your liking. LEAR: Better thou Hadst not
by William Shakespeare [Corola-publishinghouse/Science/1030_a_2538]
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eye, and such a tongue That I am glad I have not, though not to have it Hath lost me în your liking. LEAR: Better thou Hadst not been born than not t'have pleased me better. FRANCE: Is it but this? A tardiness în nature Which often leaves the history unspoke That it intends to do? My Lord of Burgundy, What say you to the Lady? Love's not love When it is mingled with regards that stand Aloof from
by William Shakespeare [Corola-publishinghouse/Science/1030_a_2538]