- Author:
Konrad Piwowarczyk
- E-mail:
Piwo.Konrad@gmail.com
- Institution:
Uniwersytet Pedagogiczny
- ORCID:
https://orcid.org/0000-0001-7217-5553
- Year of publication:
2019
- Source:
Show
- Pages:
23-39
- DOI Address:
https://doi.org/10.15804/npw20192002
- PDF:
npw/20/npw2002.pdf
Chinese and Western Comedy – an Introduction into Cross-Cultural Humour Research between Taiwan, China and the West
The use of humour, both proper and improper, can influence the outcomes of meetings and shape entire relationships. Hence, although often trivial in nature, humour can play a significant role in human lives and deserves to be taken seriously. The same is true when it comes to the analysis of humour across cultures. In today’s increasingly globalized world, where people from various cultures interact on an almost daily basis it is important to understand the other persons culture, including their sense of humour. Consequently, this article provides a basic overview of humour of the world’s two biggest and most prominent cultures: the English speaking West and the Sinitic world. There is no doubt Chinese and Western humour differ in history and contemporary structure, therefore this article presents the various forms of comedic expression found in both cultures, but also provides basic explanations as to the reasons behind these differences.
- Author:
Marzia Pieri
- E-mail:
marzia.pieri@unisi.it
- Institution:
Università degli Studi di Siena
- ORCID:
https://orcid.org/0000-0002-3169-5277
- Year of publication:
2019
- Source:
Show
- Pages:
37-49
- DOI Address:
https://doi.org/10.15804/IW.2019.10.1.15
- PDF:
iw/10_2/iw10202.pdf
Women at the theatre in the modern era
At the dawn of the modern era, aristocratic women, whether at court or in the academy, shed a noble aura on the new classic theatre and were often the privileged recipients of dedicated plays and poetry essays. They were totally different from the theatre-going women that bought tickets in 16th- and 17th-century Europe. Women in the theatre, whether on the stage or in the audience, were a problem and a source of scandal for Catholic and Protestant authorities, who wanted to ban them from attendance. However, their presence kept growing and finally established itself in the 18th century, when women became the main heralds of good taste and sentiment. This essay discusses the two aspects of this story.
- Author:
Юлія Величковська
- E-mail:
y.velychkovska@ukr.net
- Institution:
Таврійський національний університет імені В. І. Вернадського (V. I. Vernadsky Taurida National University)
- ORCID:
https://orcid.org/0000-0003-4560-6447
- Year of publication:
2022
- Source:
Show
- Pages:
15-22
- DOI Address:
https://doi.org/10.15804/PPUSN.2022.04.01
- PDF:
pomi/7/pomi701.pdf
Peculiarities of Ukrainian anti-colonial dramaturgy of the XVIII - first half of the XIX century
The article deal the general patterns and main trends in the formation and development of dramatic genres as a self-sufficient genre in Ukrainian literature of the XVIII – first half of the XIX century, aimed at highlighting anti-imperial ideas in close connection with the requirements of general literary genre and national traditions. It was found that the anti-colonial national literature found its expression in such genres as historical drama, drama-morality, vaudeville, social-household drama and comedy. «Vladimir» by Feofan Prokopovich, «God’s Mercy...» by an unknown author, «Resurrection of the Dead» by Georgy Konysky, «Muscovite Magician» by Ivan Kotlyarevsky and «The Simpleton» by Vasyl Gogol, which were the embodiment of baroque and classicist styles with a combination of elements of ancient Greek comedies and tragedies, European medieval mysteries, Ukrainian interludes, miracles, morals and dramas of the Easter cycle, contributed to bringing to the stage the realities of the time and gave them a dynamic anti-colonial embodiment.The harmonious combination of high and low styles by the authors became an innovation of these dramatic works. It was found that the features of Baroque, Classicism, Enlightenment realism, sentimentalism and romanticism, which appeared in the social-household drama “Natalka-Poltavka” by I. Kotlyarevsky, social-household comedies “Yabeda” by V. Kapnist, «Noble elections», «A visitor from the capital, or the commotion in the county town», «Shelmenko – volost clerk», «Clairvoyant», «Shelmenko – batman « by G. Kvitka-Osnovyanenko and “Inspector” M. Gogol, were aimed at covering colonial problems in Ukraine after the abolition of the Hetmanate. A feature of these genres was the synthesis of Ukrainian Christmas dramas and social and domestic interludes with European bourgeois drama, which provided an opportunity to raise national drama to the European level. It is investigated that dramatic works of anti-colonial orientation of the XVIII – first half of the XIX century approved deviations from the established traditions of a particular literary genre. Instead, they presented a synthesis of baroque-classicist-educational-romantic aesthetic values that interacted with the folklore traditions of our people.