704 research outputs found
L’ambivalence d’un chef-d’œuvre : « Une lettre perdue » de I.L. Caragiale
Full text linkThe Ambivalence of a Masterpiece: A Lost Letter by I.L. Caragiale. A Lost Letter by I.L. Caragiale, a landmark in the history of Romanian theatre, has enjoyed throughout time numerous critical interpretations, without losing its dramatic potential. We intend to study the comic mechanism through a variety of dramatic strategies: the diversity of the scenes, the circular actions, the baffling succession of situations, starting with the loss of the compromising love letter. This play features the actors of a political electoral farce overflowing with a vaudeville-like comic, that in conjunction with parody, is targeting the ideological clichés and verbal stereotypes. A logically inconceivable humour that borders the absurd. The purpose of this kind of humour, unleashed during comical situations, is not hiding the immorality, the demagogy of a socio-political reality put under the critical scope of the author. The joyful, bitter or cruel laughter are being in a continuous competition here. The humour is thus the element that subverts the values of political commitment
L’ambivalence d’un chef-d’oeuvre : Une lettre perdue de I.L. Caragiale
Full text linkA Lost Letter by I.L. Caragiale, a landmark in the history of Romanian theatre, has enjoyed throughout time numerous critical interpretations, without losingits dramatic potential. We intend to study the comic mechanism through a variety of dramatic strategies: the diversity of the scenes, the circular actions,the baffling succession of situations, starting with the loss of the compromising love letter. This play features the actors of a political electoral farce overflowing with a vaudeville-like comic, that in conjunction with parody, is targeting the ideological clichés and verbal stereotypes. A logically inconceivable humour that borders the absurd. The purpose of this kind of humour, unleashed during comical situations, is not hiding the immorality, the demagogy of a socio-political reality put under the critical scope of the author. The joyful, bitter or cruel laughter are being in a continuous competition here. The humour is thus the element that subverts the values of political commitment.A Lost Letter by I.L. Caragiale, a landmark in the history of Romanian theatre, has enjoyed throughout time numerous critical interpretations, without losingits dramatic potential. We intend to study the comic mechanism through a variety of dramatic strategies: the diversity of the scenes, the circular actions,the baffling succession of situations, starting with the loss of the compromising love letter. This play features the actors of a political electoral farce overflowing with a vaudeville-like comic, that in conjunction with parody, is targeting the ideological clichés and verbal stereotypes. A logically inconceivable humour that borders the absurd. The purpose of this kind of humour, unleashed during comical situations, is not hiding the immorality, the demagogy of a socio-political reality put under the critical scope of the author. The joyful, bitter or cruel laughter are being in a continuous competition here. The humour is thus the element that subverts the values of political commitment
How should we support pharmaceutical innovation?
Full text linkThe question as to how society should support pharmaceutical (‘pharma’) innovation is both pertinent and timely: Pharma drugs are an integral component of modern health care and hold the promise to treat more effectively various debilitating health problems. The rate of pharma innovation, however, has declined since the 1980s. Many observers question whether the patent system is capable of providing the appropriate incentives for pharma innovation and point to several promising alternative mechanisms. These mechanisms include both ‘push’ programs – subsidies directed towards the cost of pharma R&D – and ‘pull’ programs – lumpsum rewards for the outputs of pharma R&D, that is, new drugs. I review evidence why our current system of pharma patents is defective and outline the various alternative mechanisms that may spur pharma innovation more effectively.Pharmaceuticals, R&D, patents, prizes, innovation
100 de ani (100 Years) by I.L. Caragiale: Recycling the Image of the Nation
Full text linkoai:ojs2.dramatica.ro:article/5On February 1, 1899, the National Theatre of Bucharest hosted the premiere of the play 100 de ani. Revistă istorică națională a secolului XIX, în 10 ilustrațiuni [100 Years. National Historical Revue of the 19th Century, in 10 Illustrations], arranged by I.L. Caragiale. Caragiale's controversial work is a montage of verses, prose and short plays written by several Romanian authors from the past (in other words, the play consists of old literary or dramatic works, appropriated, copied and pasted to fit into a new scenario). As a matter of fact, Caragiale wrote only the stage directions and a few lines and connecting scenes. But the overall, dramaturgical-directorial vision of the script belongs to him. Considering the way Caragiale treats the works of his literary colleagues in 100 Years, one could say that, in this particular case, he does not behave as a writer, but as a true author-director (or “auteur”). The ten “illustrations” arranged by him consist of a series of more or less allegorical or symbolic representations of the century about to end, with its emblematic moments, culminating in an “apotheosis” celebrating King Carol I. In my paper, I will try to argue that Caragiale's “revue” is more than a minor piece of homage art: it is an exercise of historical re-evaluation underpinned by a philosophy of history. I will also analyse the way the author recycles the image of Romania, departing from the traditional theatrical (allegorical) representations of the nation
The differences of carcass traits and meat quality among IGF-I intron 1 microsatellite marker genotypes in Taiwan pigs
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“100 de ani (100 Years)” by I.L. Caragiale: Recycling the Image of the Nation
Full text linkOn February 1, 1899, the National Theatre of Bucharest hosted the premiere of the play 100 de ani. Revistă istorică națională a secolului XIX, în 10 ilustrațiuni [100 Years. National Historical Revue of the 19th Century, in 10 Illustrations], arranged by I.L. Caragiale. Caragiale\u27s controversial work is a montage of verses, prose and short plays written by several Romanian authors from the past (in other words, the play consists of old literary or dramatic works, appropriated, copied and pasted to fit into a new scenario). As a matter of fact, Caragiale wrote only the stage directions and a few lines and connecting scenes. But the overall, dramaturgical-directorial vision of the script belongs to him. Considering the way Caragiale treats the works of his literary colleagues in 100 Years, one could say that, in this particular case, he does not behave as a writer, but as a true author-director (or “auteur”). The ten “illustrations” arranged by him consist of a series of more or less allegorical or symbolic representations of the century about to end, with its emblematic moments, culminating in an “apotheosis” celebrating King Carol I. In my paper, I will try to argue that Caragiale\u27s “revue” is more than a minor piece of homage art: it is an exercise of historical re-evaluation underpinned by a philosophy of history. I will also analyse the way the author recycles the image of Romania, departing from the traditional theatrical (allegorical) representations of the nation
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