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Early modern neighbours were ubiquitous audiences to — and performers in — each other’s lives. Social historians have suggested that neighbours tended to possess surprisingly intimate information about each other, and they could use these insights to invade, encroach upon, and undermine those around them. To date, however, the relationships between neighbours (which are here termed ‘neighbourship’) have been narrowly located in the interactions between people living near to each other in domestic contexts. This dissertation proposes a significantly more capacious understanding of neighbourly dynamics by turning to a different archive: early modern plays that use particular theatrical devices — spectatorship, clothing, dialect, and stage properties — to work out the threats, obligations, and opportunities that come with sharing space and neighbourly knowledge. This dissertation draws on canonical and non-canonical plays from a range of genres and playwrights between the late sixteenth and mid-seventeenth centuries, including Shakespeare’s A Midsummer Night’s Dream and Coriolanus, Jonson’s The Alchemist, Heywood’s little-known Jupiter and Io, Dekker’s Shoemaker’s Holiday, and George Peele’s Edward I. Neighbourship was not defined by its domestic context, but by dynamics and internal structures, such as interchangeability and temporal iteration, that shaped early modern expectations about how this relationship manifested. The approaches in this dissertation build on social historical work by Lena Orlin, Catherine Richardson, B.S. Capp, and others, as well as theatre scholarship from Peter Womack, Jeremy Lopez, and Jennifer A. Low. There are two major interventions here: first, in the idea that the dynamics of neighbourship do not apply only between proximate humans, but also between ‘atypical’ neighbours — fairies, animals, languages, and nations — who offer focal points in respective chapters. These atypical entities challenge the normative understanding of neighbourship by taking its dynamics to an extreme, pushing theatrical audiences to the limits of their sympathetic identifications. The second intervention is in the argument that theatrical devices uniquely express and amplify the stakes of neighbourly dynamics. The temporal and spatial compression of the stage pushes unusual neighbours into greater proximity with each other, and the stage made manifest the complicated negotiations of similarity and difference that neighbourship entailed. Overall, this dissertation highlights the capacity of the early modern stage to transpose the dynamics of neighbourship across apparently disparate realms, drawing attention to theatrical manifestations of similarity and difference, belonging and alienation, and the transgression of borders.

The following is a collection of original poetry. The manuscript consists of an introduction explaining influences and style, and four chapters of poems categorized by subject matter: object/nature, writing/creativity, relationships, and family/figures. INDEX WORDS: Poetry, Poem

The subject of this thesis is a characterisation of key motivic units in lyrical works of Jaroslav Vrchlický and Jiří Karásek ze Lvovic, thus it explores Czech parnassian and decadent poetry of the end of 19th century. It observes and traces literal, esthetical and thought shifts of both authors from the aspect of various motives usage. The thesis is divided into five chapters, each of them dealing with one specific motivic unit. The chapters are: 1. Motives of woman, body and sexuality. 2. Motives of dream, imaginary and escape. 3. Motives of dying, disease and decay. 4. Motives of depressiveness, grief, bitterness and vanity. 5. Motives of nature and landscape. Each chapter compares these motives, examines their usage by both authors and looks at how their form and expression undergo a process of certain changes. It also focuses on those motives that appear as completely new elements in their poetry. The conclusion provides with brief summaries of all chapters and a short look through frequency word dictionary of relevant volumes of poems.

Dieses Buch ruft das Genre Kino der (kollektiven) Ängste ins Leben und beschreibt und analysiert dieses Genre anhand beispielhafter Fallstudien nach dem 9/11. Es liefert vielschichtige Filmanalysen zu vier Hollywood-Filmen; Crash (2004), The Brave One (2007), The Company Men (2010) und The Purge: Election Year (2016). Diese Forschung stellt einen Versuch dar, eine abgrenzende Definition dieses Kinos als filmisches (Sub-)Genre zu konzipieren und einen Überblick über die Eigenschaften dieses Kinos zu geben, wobei besonderes Augenmerk auf post-9/11 Filme mit der Angst-Narrativ der inneren Bedrohung gelegt wird. Dieses Genre steht an der Schnittstelle ästhetischer Erkenntnisse, historischer Entwicklungen, kultureller Phänomene und politisch-ideologischer Schattierungen, was die Hybridisierung zu einem der Hauptmerkmale dieser Filmgattung macht. Diese Studie betrachtet das kollektive Angstkino nach dem 9/11 als eine Ansammlung historischer Ängste, von denen einige aus genau dieser Zeit stammen (wie der Patriot Act und die ständigen Alarmstufen Rot), während andere auf frühere Epochen der US-Geschichte zurückgehen (wie die Ankunft der ersten europäischen Siedler in einer unbekannten feindlichen Umgebung, die Hexenjagd in Salem, der Rote Schrecken, die Bürgerrechtsbewegung und die satanische Panik). Anders gesagt, das Buch untersucht die inneren Assoziationen der Filme mit einer Reihe historischer Ängste von der Gründung Amerikas bis zur Gegenwart. Darüber hinaus geht diese Studie den Echos dieser Ängste nach und beleuchtet ihre Ausdrucksformen und ihre Echos in anderen Filmen, literarischen Werken, Genres und Mythen. Obwohl die untersuchten Ängste oft mit relativ spezifischen Problemen verbunden sind (wie Race-Ängste und Kulturkriege, Kriminalitätsängste und Waffenkultur, Wirtschaftsängste und der Finanzcrash sowie politische Ängste und Wahlparanoia), sind sie immer noch überwiegend, nach Ansicht der Autorin, das Produkt eines halben Jahrhunderts neoliberaler Politik. / This book brings 'the cinema of (collective) anxieties' to life as a genre, and it describes and analyzes this genre based on exemplary post-9/11 case studies. Thus, it provides multilayered film analyses of four Hollywood movies; Crash (2004), The Brave One (2007), The Company Men (2010), and The Purge: Election Year (2016). This research constitutes an attempt to conceptualize a demarcating definition of this cinema as a cinematic (sub)genre and to provide an outline of the traits and characteristics of this cinema while paying special attention to the cycle of post-9/11 movies depicting the fear narrative of internal threat. This genre stands at a junction of aesthetic realizations, historical developments, cultural phenomena, and political-ideological shades, which makes hybridization one of the leading features of this cinematic genre. This study approaches the post-9/11 collective anxiety cinema as an accumulation of historical anxieties, some of which stem from this very period (such as the Patriot Act and the constant Red Alerts), while others date back to earlier eras in US history (such as the arrival of the first European settlers in an unknown hostile environment, the Salem Witch Hunt, the Red Scare, the civil rights movement, and the Satanic panic). In other words, the book explores the films' inner associations with bundles of historical anxieties from the inception of America until the current era. Furthermore, this study traces the echoes of these anxieties and highlights their forms of expression and their echoes in other movies, literary works, genres, and myths. Although the examined anxieties are often tied to relatively specific problems (like racial anxieties and culture wars; crime anxieties and gun culture; economic anxieties and the financial crash; political anxiety and election paranoia), they are still largely, in the author's view, the product of half a century of neoliberal policies.

The dream about an earthly paradise, rediscovery of an original, absolutely harmonic paradisal life is, in Dostoevskij's opinion, one of the deepest and the most valuable dreams of the human heart. The spiritual course of any human being has its own history, it is born from thesis (babtism), goes through antithesis (crises) and finishes in synthesis (beauty). A man comes from the Eden Paradise and aims at heaven. So, a man in course of his spiritual life is in a real split into two paradises: the Eden Paradise from which he is coming from and the Kingdom of God where he is aiming at. The midpoint of the life course is accompanied by a crisis, that can also be described as separation from the the paradise. The characters of novels by Dostoevskij failed due to the fact, that they were not able to admit their presence between two "paradise states" and so their ideas about earthly paradise establishment were being corrupted. In our piece of work we are going to follow four trends: 1. Time corruption, incorrectly understood sense of history. The tendency to return back where a man came from, in an origenestic, cyclic interpretation of a comeback is apparent in a story The Dream of a Ridiculous Man. Another extreme shows marxism ideas going around Europe which deny both the importance and the sense of...

MA paper is devoted to the researching of interaction between national myths and popular arts in American movies. The philosophical Ideas of G. Bodriyar, M. Kastels, E. Said, A. Kostina, K. Razlogov, and E. Shapinsky are in the basic of methodology. And anthropological ideas of Levi-Strouss, Ealiade, Meletinsky and Zhuladze are in the methodological foundation too. The paper consists from three parts. The specialty of contemporary cultural and social situation is analyzed in the first part of paper. The conceptual approaches to the definition of interaction between national identity and popular art are recovered in the second part. The third part of the paper is rewired the content and function of American’s myths in the American popular movies. The author gives conclusion that popular art represents national myths and therefore national identity is constructed by popular art. / Магистерская диссертация сосредоточена на взаимовлиянии национального мифа и массового искусства на примере кинематографа США. В качестве методологии исследования используется философско-культурологическая методология, представленная идеями Ж. Бодрийяра, М. Кастельса, А.В. Костиной, К.Э. Разлогова, Е.Н. Шапинской, Э. Саида, и других; культурно-антропологическая методология, выработанная К. Леви-Стросом, Е.М. Мелетинским, М. Элиаде, А. Цуладзе и другими. Работа состоит из трех глав. В первой главе рассматривается характеристика современной социокультурной ситуации, в которой существует массовое искусство. Во второй главе анализируются концептуальные походы к определению механизма взаимовлияния национальной идентичности и искусства. В третьей главе исследуется содержание американских национальных мифов и то, как они функционируют в американском массовом кино. В конце работы делается вывод, что массовое искусство репрезентирует национальные мифы и тем самым конструирует национальную идентичность.

This dissertation examines how Philippine (or Filipino) authors emphasise the need for articulating or “re/membering” cultural identity. The researcher mainly draws from the theory of Caribbean critic, Stuart Hall, who views cultural identity as an articulation which allows “the fragmented, decentred human agent” to be considered as one who is both “subject-ed” by power but/and one who is capable of acting against those powers (Grossberg 1996 [1986]: 157, emphasis mine). Applied to the Philippine context, this writer argues that, instead of viewing an apparent fragmented Filipino identity as a hindrance to “defining” cultural identity, she views the “damaged” (Fallows 1987) Filipino history as a the material itself which allows articulation of identity. Instead of reducing the cultural identity of a people to what-they-could-have-been-had-history-not-intervened, she puts forward a vision of identity which attempts to transfigure these “damages” through the efforts of coming-to-terms with history. While this point of view has already been shared by other critics (such as Feria 1991 or Dalisay 1998:145), the author’s contribution lies in presenting re/membering to describe a specific type of articulation which neither permits one to deny wounds of the past nor stagnate in them. Moreover, re/membering allows one to understand continuous re-articulations of “new” identities (due to current migration), while putting an “arbitrary closure” (Hall) to simplistic re-articulations which may only further the “lines of tendential forces” (such as black or brown skin bias) or hegemonic practices. Written as such (with a slash),“re/membering” encapsulates the following three-fold meaning: (1) a “re-membering”, to indicate “a putting together of the dismembered past to make sense of the trauma of the present” (Bhabha 1994:63); as (2) a “re-membering” or a re-integration into a group and; as (3) “remembering” which implies possessing “memory or … set [ting] off in search of a memory” (Ricoeur 2004:4). As a morphological unit, “re/membering” designates, the ways in which Filipino authors try to articulate cultural identity through the routes of colonisation, migration and dictatorship. The authors studied in this thesis include: Carlos Bulosan, Bienvenido Santos, N.V.M. Gonzalez, Nick Joaquin, Frank Sionil José, Ninotchka Rosca, Jessica Hagedorn, and Merlinda Bobis. Sixty-years separate Bulosan’s America is in the Heart (1943) from Hagedorn’s Dream Jungle (2003). Analysis of these works reveals how articulation is both difficult and hopeful. On the one hand, authors criticize the lack of efforts and seriousness towards articulation of cultural identity as re/membering (coming to terms with the past, fostering belonging and cultivating memory). Not only is re/membering challenged by double-consciousness (Du Bois 1994), dismemberment and forgetting, moreover, its necessity is likewise hard to recognize because of pain, trauma, phenomena of splitting, escapist attitudes and preferences for a “comfortable captivity”. On the other hand, re/membering can also be described as hopeful by the way authors themselves make use of literature to articulate identity through research, dialogue, time, reconciliation and re-creation. Although painstaking and difficult, re/membering is important and necessary because what is at stake is an articulated Philippine cultural identity. However, who would be prepared to make the effort? ------ Cette thèse démontre que, pour les auteurs philippins, l’articulation ou « re/membering » l'identité culturelle, est nécessaire. Le chercheur s'appuie principalement sur la théorie de Stuart Hall, qui perçoit l'identité culturelle comme une articulation qui permet de considérer l’homme assujetti capable aussi d'agir contre des pouvoirs (cf. Grossberg 1996 [1986]: 157). Appliquée au contexte philippin, cet auteur soutient que, au lieu de la visualisation d'une identité fragmentée apparente comme un obstacle à une « définition » de l'identité culturelle, elle regarde l’histoire philippine «abîmée» (Fallows 1987) comme le matériel même qui permet l'articulation d’identité. Au lieu de réduire l'identité culturelle d'un peuple à ce qu’ ils auraint pû être avant les interventions de l’histoire, elle met en avant une vision de l'identité qui cherche à transfigurer ces "dommages" par un travail d’acceptation avec l'histoire. Bien que ce point de vue a déjà été partagé par d'autres critiques (tels que Feria 1991 ou Dalisay 1998:145), la contribution de l'auteur réside dans la présentation de « re/membering » pour décrire un type d'articulation sans refouler les plaies du passé, mais sans stagner en elles non plus. De plus, « re/membering » permet de comprendre de futures articulations de « nouvelles » identités culturelles (en raison de la migration en cours), tout en mettant une «fermeture arbitraire» (Hall) aux ré-articulations simplistes qui ne font que promouvoir des “lines of tendential forces” (Hall) (tels que des préjugés sur la couleur brune ou noire de peau) ou des pratiques hégémoniques. Rédigé en tant que telle (avec /), « re/membering » comporte une triple signification: (1) une «re-membering », pour indiquer une mise ensemble d’un passé fragmenté pour donner un sens au traumatisme du présent (cf. Bhabha, 1994:63); (2) une «re-membering» ou une ré-intégration dans un groupe et finalement, comme (3)"remembering", qui suppose la possession de mémoire ou une recherche d'une mémoire »(Ricoeur 2004:4). Comme unité morphologique, « re/membering » désigne la manière dont les auteurs philippins tentent d'articuler l'identité culturelle à travers les routes de la colonisation, les migrations et la dictature. Les auteurs inclus dans cette thèse sont: Carlos Bulosan, Bienvenido Santos, NVM Gonzalez, Nick Joaquin, Frank Sionil José, Ninotchka Rosca, Jessica Hagedorn, et Merlinda Bobis. Soixante ans séparent America is in the Heart (1943) du Bulosan et le Dream Jungle (2003) du Hagedorn. L'analyse de ces œuvres révèle la façon dont l'articulation est à la fois difficile et pleine d'espoir. D'une part, les auteurs critiquent le manque d'efforts envers l'articulation en tant que « re/membering » (confrontation avec le passé, reconnaissance de l'appartenance et cultivation de la mémoire). Non seulement est « re/membering » heurté par le double conscience (Du Bois 1994), le démembrement et l'oubli, en outre, sa nécessité est également difficile à reconnaître en raison de la douleur, les traumatismes, les phénomènes de scission, les attitudes et les préférences d'évasion pour une captivité "confortable" . En même temps, « re/membering » peut également être décrit comme plein d'espoir par la façon dont les auteurs eux-mêmes utilisent la littérature pour articuler l'identité à travers la recherche, le dialogue, la durée, la réconciliation et la re-création. Bien que laborieux et difficile, « re/membering » est important et nécessaire car ce qui est en jeu, c'est une identité culturelle articulée des Philippines. Mais qui serait prêt à l'effort?

ANNOTATION: The work The Mirror of Reality in the Imagery of Dreams of the 19th and 20th Centuries - Creative Individuality versus the Chaos of the Time is based on the assumption that dreams are inseparably linked to the concept of existence in human life (Michel Foucault). The study touches on the ways in which dreams are depicted in visual culture that does not coincide with chronologically organized historical events, but is an expression of a free alliance between artists in the European space and centuries of common experience. These works are generally socially critical, exposed to unimaginable pressure from public censorship. The artist must pretend it is only an innocent game, a crazy idea, a whim. At the same time, these paintings are not an expression of boundless imagination, but they are subject to the firm rules of spatial construction of the painting. This is due to the traditional delimitation of dark depths - the underworld of Virgil's Saturn myth of pre-Roman culture, alternating with the vertically felt open heavens as variants of the original Plato's The Myth of Er, which in the 20th century paintings is replaced by the idea of an open landscape with illumination on the low horizon. The work deals with the work of Albrecht Dürer, his copperplate Melancholia I (1514) and his so-called...

This dissertation examines how Philippine (or Filipino) authors emphasise the need for articulating or “re/membering” cultural identity. The researcher mainly draws from the theory of Caribbean critic, Stuart Hall, who views cultural identity as an articulation which allows “the fragmented, decentred human agent” to be considered as one who is both “subject-ed” by power but/and one who is capable of acting against those powers (Grossberg 1996 [1986]: 157, emphasis mine). Applied to the Philippine context, this writer argues that, instead of viewing an apparent fragmented Filipino identity as a hindrance to “defining” cultural identity, she views the “damaged” (Fallows 1987) Filipino history as a the material itself which allows articulation of identity. Instead of reducing the cultural identity of a people to what-they-could-have-been-had-history-not-intervened, she puts forward a vision of identity which attempts to transfigure these “damages” through the efforts of coming-to-terms with history. While this point of view has already been shared by other critics (such as Feria 1991 or Dalisay 1998:145), the author’s contribution lies in presenting re/membering to describe a specific type of articulation which neither permits one to deny wounds of the past nor stagnate in them. Moreover, re/membering allows one to understand continuous re-articulations of “new” identities (due to current migration), while putting an “arbitrary closure” (Hall) to simplistic re-articulations which may only further the “lines of tendential forces” (such as black or brown skin bias) or hegemonic practices.<p><p>Written as such (with a slash),“re/membering” encapsulates the following three-fold meaning: (1) a “re-membering”, to indicate “a putting together of the dismembered past to make sense of the trauma of the present” (Bhabha 1994:63); as (2) a “re-membering” or a re-integration into a group and; as (3) “remembering” which implies possessing “memory or … set [ting] off in search of a memory” (Ricoeur 2004:4). As a morphological unit, “re/membering” designates, the ways in which Filipino authors try to articulate cultural identity through the routes of colonisation, migration and dictatorship. <p><p>The authors studied in this thesis include: Carlos Bulosan, Bienvenido Santos, N.V.M. Gonzalez, Nick Joaquin, Frank Sionil José, Ninotchka Rosca, Jessica Hagedorn, and Merlinda Bobis. Sixty-years separate Bulosan’s America is in the Heart (1943) from Hagedorn’s Dream Jungle (2003). Analysis of these works reveals how articulation is both difficult and hopeful. On the one hand, authors criticize the lack of efforts and seriousness towards articulation of cultural identity as re/membering (coming to terms with the past, fostering belonging and cultivating memory). Not only is re/membering challenged by double-consciousness (Du Bois 1994), dismemberment and forgetting, moreover, its necessity is likewise hard to recognize because of pain, trauma, phenomena of splitting, escapist attitudes and preferences for a “comfortable captivity”. <p><p>On the other hand, re/membering can also be described as hopeful by the way authors themselves make use of literature to articulate identity through research, dialogue, time, reconciliation and re-creation. Although painstaking and difficult, re/membering is important and necessary because what is at stake is an articulated Philippine cultural identity. However, who would be prepared to make the effort?<p>------<p><p>Cette thèse démontre que, pour les auteurs philippins, l’articulation ou « re/membering » l'identité culturelle, est nécessaire. Le chercheur s'appuie principalement sur la théorie de Stuart Hall, qui perçoit l'identité culturelle comme une articulation qui permet de considérer l’homme assujetti capable aussi d'agir contre des pouvoirs (cf. Grossberg 1996 [1986]: 157). Appliquée au contexte philippin, cet auteur soutient que, au lieu de la visualisation d'une identité fragmentée apparente comme un obstacle à une « définition » de l'identité culturelle, elle regarde l’histoire philippine «abîmée» (Fallows 1987) comme le matériel même qui permet l'articulation d’identité. Au lieu de réduire l'identité culturelle d'un peuple à ce qu’ ils auraint pû être avant les interventions de l’histoire, elle met en avant une vision de l'identité qui cherche à transfigurer ces "dommages" par un travail d’acceptation avec l'histoire. <p><p>Bien que ce point de vue a déjà été partagé par d'autres critiques (tels que Feria 1991 ou Dalisay 1998:145), la contribution de l'auteur réside dans la présentation de « re/membering » pour décrire un type d'articulation sans refouler les plaies du passé, mais sans stagner en elles non plus. De plus, « re/membering » permet de comprendre de futures articulations de « nouvelles » identités culturelles (en raison de la migration en cours), tout en mettant une «fermeture arbitraire» (Hall) aux ré-articulations simplistes qui ne font que promouvoir des “lines of tendential forces” (Hall) (tels que des préjugés sur la couleur brune ou noire de peau) ou des pratiques hégémoniques.<p><p>Rédigé en tant que telle (avec /), « re/membering » comporte une triple signification: (1) une «re-membering », pour indiquer une mise ensemble d’un passé fragmenté pour donner un sens au traumatisme du présent (cf. Bhabha, 1994:63); (2) une «re-membering» ou une ré-intégration dans un groupe et finalement, comme (3)"remembering", qui suppose la possession de mémoire ou une recherche d'une mémoire »(Ricoeur 2004:4). Comme unité morphologique, « re/membering » désigne la manière dont les auteurs philippins tentent d'articuler l'identité culturelle à travers les routes de la colonisation, les migrations et la dictature. <p><p>Les auteurs inclus dans cette thèse sont: Carlos Bulosan, Bienvenido Santos, NVM Gonzalez, Nick Joaquin, Frank Sionil José, Ninotchka Rosca, Jessica Hagedorn, et Merlinda Bobis. Soixante ans séparent America is in the Heart (1943) du Bulosan et le Dream Jungle (2003) du Hagedorn. L'analyse de ces œuvres révèle la façon dont l'articulation est à la fois difficile et pleine d'espoir. D'une part, les auteurs critiquent le manque d'efforts envers l'articulation en tant que « re/membering » (confrontation avec le passé, reconnaissance de l'appartenance et cultivation de la mémoire). Non seulement est « re/membering » heurté par le double conscience (Du Bois 1994), le démembrement et l'oubli, en outre, sa nécessité est également difficile à reconnaître en raison de la douleur, les traumatismes, les phénomènes de scission, les attitudes et les préférences d'évasion pour une captivité "confortable" .<p><p>En même temps, « re/membering » peut également être décrit comme plein d'espoir par la façon dont les auteurs eux-mêmes utilisent la littérature pour articuler l'identité à travers la recherche, le dialogue, la durée, la réconciliation et la re-création. Bien que laborieux et difficile, « re/membering » est important et nécessaire car ce qui est en jeu, c'est une identité culturelle articulée des Philippines. Mais qui serait prêt à l'effort? <p> / Doctorat en Langues et lettres / info:eu-repo/semantics/nonPublished