Fossegrimen : Troldspil af Sigurd Eldegard. Op. 21 /

At head of title: Dramatiske suiter for orkester, nr. IV.

Scritti di storia e critica; commenorazioni e programmi ...

Reprints form various publications.

Un verdadero hombre de bién : segunda parte : comedia en tres actos y en verso /

Mode of access: Internet.

Chefs-d'œuvre du répertoire des mélodrames joués à différens théâtres.

The fifth of a series of collections of French drama, pub. by Mme. Dabo, the first two being the Répertoire général du Théâtre Français, 67 v., 1818, the 3d Suite du Répertoire, 81 v., 1822, and the 4th Fin du Répertoire, 45 v., 1824. The present series was issued in four instalments ("livraisons") of 5 v. each. cf. Bibliographie de la France, années 1824 and 1825 and note under entry of Répertoire général du Théâtre-Français.

Table alphabétique des morceaux mesurés contenus dans les oeuvres dramatiques de Zeno, Metastasio et Goldoni /

Photocopy.

Bossnapping:situating repertoires of industrial action in national and global contexts

French industrial relations were shaken in the spring of 2009 by a series of labour struggles which featured the forcible detention of company managers and threats to commit major acts of sabotage. In this article I focus on the first of these two types of action, placing industrial sequestration in the context of the pattern of collective negotiation processes in France, and comparing it with previous cycles of the same phenomenon, particularly in the post-1968 period. I argue that the current cycle of sequestrations needs to be understood as a response to the deterritorialisation processes of neo-liberal globalisation, and is the product of asymmetries of power between the fixity of labour and the fluidity of global capital. I conclude by arguing that sequestration is a public melodrama of protest which might point to the development of a resistant politics of corporeality in France, in common with struggles in other social and economic sectors.

La tentación del abismo en Armonía Somers: entre el expresionismo de vanguardia y el gótico postmoderno

Armonía Somers (Uruguay 1917 – 1994) ha sido clasificada dentro de la llamada Generación del 45 de Uruguay, sin embargo, muchos críticos aseguran que su obra difiere de la estética del período en que escribió. Mientras Ángel Rama sugiere que la narrativa de Somers pertenece a la tradición de los raros y malditos, que desciende del extraño linaje del Conde franco-uruguayo y poeta Lautréamont, otros la colocan en el ámbito de la narrativa imaginativa y de lo fantástico. La crítica contemporánea se aproxima a la obra de Somers a partir del concepto de lo extraño o “Unheimlich”, abordando las novelas de la autora desde una perspectiva freudiana, lacaniana o heideggeriana. No obstante, ninguna de estas investigaciones ha determinado a qué género u orientación literaria se aviene, ni han indagado en profundidad sobre su contribución a los estudios metaficcionales. En esta tesis propongo que las novelas de Armonía Somers, “La mujer desnuda” (1950), “De miedo en miedo. Los manuscritos del río” (1965), “Un retrato para Dickens” (1969), “Viaje al corazón del día. Elegía por un amor secreto” (1986), y “Solo los elefantes encuentran mandrágora” (1986), transgreden los géneros y tendencias literarias dominantes en su época por medio de una imaginación excesiva y de una trama anti-dramática, asociada primordialmente con la experiencia del terror sublime y la representación de lo inexpresable o irrepresentable, ambas nociones correspondientes a la poética expresionista de vanguardia y al gótico postmoderno. Las novelas analizadas en este trabajo presentan en su estructura una amplia gama de formas ambiguas e inorgánicas, cuya función desestabiliza los aspectos formales del realismo y subvierte los postulados epistemológicos e ideológicos en que se apoyan las culturas afirmativas, las cuales legitiman solo cierto concepto de realidad, desentendiéndose del resto de las experiencia humanas que no encajan en sus esquemas. La desacralización, la disolución moral, la muerte simbólica y la naturaleza fluida de la identidad junto con una marcada autorreflexividad, son algunos de los temas más relevantes de este conjunto de obras, que he categorizado como un ejemplo del expresionismo gótico postmoderno del siglo XX.

Telenovela’s orality: from medium to a linguistic-discursive construction

Telenovela’s orality: from medium to a linguistic-discursive construction. Studies about telenovelas usually highlight their "orality". However, a literature review, specifically for Latin American telenovelas, shows that the term "orality" has been used with varying senses. In contrast with those devoted to telenovelas, literary studies have addressed the question by conceptualizing it as fictional orality. This paper takes fictional orality as a key concept to explain telenovela’s discursive peculiarities, and on that base, it distinguishes several dimensions of linguistic and discursive variation, in which such orality is being portrayed.

A City's Toys: Theatre in Birmingham 1914-1918

This chapter provides a wide-ranging account of theatre in Birmingham, the UK’s second largest city. As a vital centre for the production of mass armaments and vehicles essential for the war effort, Birmingham was home to a rapidly expanding and socially diverse population. I show how theatres overcame wartime constraints to reflect that diversity with examples drawn from the popular entertainment provided by the city’s music halls, variety and melodrama theatres contrasted with the more decorous touring plays, musicals and spectacular home-grown pantomimes enjoyed at the prestigious Theatre Royal and Prince of Wales. The dogged attempts by the recently-established Birmingham Repertory Theatre to sustain an artistically and intellectually ambitious programme of new and classic drama also reveal a more complex response to the effects of war.

Periodismo narrativo en la obra sensacionalista de Henry Holgu?n

Tesis de Maestria en Literaturas Colombiana y Latinoamericana

Família e violência em João Canijo

O cinema é um dos repositórios culturais mais importantes do último século. As suas imagens e os seus sons permitem imaginar mundos. É pelo cinema (e pelas imagens em movimento, em escala maior) que construímos as nossas representações, aquilo que conhecemos do mundo à nossa volta. O cinema, portanto, é uma arma poderosa para a construção das identidades, quer elas sejam nacionais, regionais, sexuais, profissionais, sociais, etc. De certa forma, tomamos aqui a designação já popularizada de Benedict Anderson (2012), quando este investigador propõe ver um determinado grupo nacional como uma “comunidade imaginada”, isto é, uma comunidade construída a partir de discursos dos meios de comunicação de massa que permitem o reconhecimento comum de uma determinada identidade nacional.