320 research outputs found
Shakespeare 300 and his Just War
No full textChapter analysing the celebrations and publications which took place around the anniversary of the death of Shakespeare in 1916 during the First World War
‘That’s more than we know’: The Principle of Responsibility and the Common Soldier in William Shakespeare’s Plays
No full textWomen in Trouble: Much Ado About Nothing, Pride & Prejudice and Bridget Jones’s Diary
No full textShakespeare’s Beatrice, Jane Austen’s Lizzie Bennet and Helen Fielding’s Bridget Jones are three literary incarnations of the same female comic character. They share characteristics that make them all funny for the same reasons at vastly different times. This is due to an inextricable bond between gender and comedy that targets the audience’s expectations of normative femininity. The comic heroines in these three texts are all funny because they deliberately and consciously defy conventional constraints of femininity. The humor of each text results from the comic incongruity that is created by these women’s refusal to be what they ought to be and all three authors reward them for it
Triumphe des Heidentums: Bildende Kunst in Frank Wedekinds "Franziska"
Full text linkFrank Wedekinds ,Denken in Bildern‘ lässt sich im späten Stück Franziska (1911) besonders gut verfolgen. Zum einen manifestiert sich die Visualisierungstendenz in der tableauartigen Szenen-Choreographie, zum anderen in zahlreichen Bildzitaten, mit denen der Autor zum zeitgenössischen Kunstdiskurs Stellung bezieht. Die kunstgeschichtlichen Bezüge umfassen die breite Palette von der Renaissance, über die Präraffaeliten bis zur Kunst der 10er Jahre des 20. Jahrhunderts, womit ein reichhaltiges Bildarchiv mit u.a. Faust-, Helena-, Mignon-, Eva- und Maria-Figurationen eröffnet wird. Die visuellen Zitate fungieren als ein ironisches Korrektiv der christlichen Tradition, womit sich Wedekind als Sensualist in der Nachfolge der Antike profiliert.Frank Wedekind’s visual thinking can be studied particularly clearly in his late drama Franziska (1911). The tendency to visualize is on the one hand visible in the tableau-style choreography and on the other – in numerous references to art history, through which the author takes a position in contemporary art discourse. The references range from Renaissance through Pre-Raphaelite painting to contemporary art, opening up a wide archive of images, among them the figures of Faust, Helena, Mignon, Eve, Saint Mary and others. These “optical allusions” form an ironic corrective to the Christian tradition, and allow the author to inscribe his work among the ‘sensualists’ in the heritage of antiquity.Franka Wedekinda ,myślenie obrazami‘ szczególnie dobrze prześledzić można w jego późnym dramacie Franziska (1911). Tendencja wizualizacyjna przejawia się tu z jednej strony w zdjęciowej choreografii scenicznej, z drugiej w licznych odniesieniach do historii sztuki, poprzez które autor zabiera głos we współczesnym mu dyskursie. Cytaty obejmują szeroki okres od renesansu, poprzez prerafaelitów aż po sztukę współczesną, co otwiera bogate archiwum obrazów z figuracjami Fausta, Heleny, Mignon, Ewy, Maryi i innych. Cytaty optyczne pełnią funkcje ironicznej korekty tradycji chrześcijańskiej, dzięki czemu autor wpisuje się w sensualistyczne dziedzictwo antyku
Stigmatization, discrimination and illness
Full text linkSoftcover, 17x24, 119 S.: 24,00 €Softcover, 17x24“She was given her own plate, her own cup, everything of her own, even when she just touched a cloth then nobody wanted to touch it again.” (Halima, HIV-seropositive) The book sheds light on the profound influence of an HIV-seropositive diagnosis on the lives of women and their social environment in the United Republic of Tanzania. The author, a medical doctor and social anthropologist, tells the story of six Tanzanian HIV-seropositive women, focusing on their negotiation and perception of illness and disease. Furthermore, the high levels of discrimination and stigmatization in the context of HIV-seropositivity that they experience are presented in detail, weaving together the impacts of an HIV-seropositive diagnosis with results analyzed both from a Medical Anthropology and Public Health perspective. Despite a new era of antiretroviral treatment, available in Tanzania free of cost, that has given cause for hope in a change in how the disease is perceived, the book impressively underlines that being HIV-seropositive remains a great challenge and heavy burden for women in Tanzania
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