For years, scholars have focused on the serious narrative of Samuel Johnson’s Rasselas and have been unable to reconcile the episodes of ironic humor within the larger serious narrative. By reading Rasselas as an imitation of Ecclesiastes rather than an Oriental tale, critics can begin to identify the humor in Rasselas through the embellishment of the story of Ecclesiastes. The failures of the character Koheleth in Ecclesiastes become the genesis for the failures of Rasselas and his companions; however, the failures of Rasselas and more elaborate and comedic. How Johnson embellishes these failures to create humorous irony in Rasselas becomes clearer for the reader through this new categorization of genre, which can hopefully unite the two opposing views of criticism surrounding this book.

Mažųjų meninė saviraiška – įvairialypis ir gana paslaptingas procesas. Čia susipina vaiko stebėjimai, jutimai, mėgdžiojimai bei kartojami veiksmai ir jo AŠ. Vaiko kultūros supratimas nulemia požiūrį į jo meninį ugdymą. Augdami meninėje aplinkoje, vaikai kaupia savo individualią patirtį ir perteikia ją įvairiomis meno formomis: kalbėdami, muzikuodami, šokdami, piešdami. Kartu jie pastebi bei pajaučia regimuosius simbolius, muzikos, poezijos ritmą.Vaizduodamas pasaką piešinyje, vaikas, nevaržomas kitų dėmesio ir nuomonės, gali laisviau fantazuoti, labiau pasinerti į apmąstymus, todėl kūrybiškiau mąsto ir originaliau bei įdomiau kuria įvairias idėjas. Tačiau kiekvienas mokinys, derindamas intuityvųjį ir s��mojingąjį pasakos suvokimą, turi įgyti tam tikrą kiekį teorinių žinių, būtinų saviraiškos motyvacijai tenkinti, pasakai piešti. Pradinių klasių mokinių gyvenimiška patirtis nedidelė, o teorinės žinios apie pasakos struktūrą, personažus, konfliktų sprendimo būdus ir kt. negausios. / Artistic self – expression of children – miscellaneous and quite mysterious process. There the observation, senses, imitations, repeating actions and also ego of the child intertwine. The child’s understanding of the culture determines the attitude towards his artistic training. Growing in artistic atmosphere, children store their individual experience and convey it in different forms of art: talking, making music, dancing, painting. Together they notice and feel visual signs, music and the rhythm of poetry.Fairy tale is the base of growing individual, the best way to prepare for life and work. When children read and tell fairy tales, they save our childhood world , which sometimes is forgotten. Painting a fairy tale, a child without others help, attention or opinion, can more easily fantasize and to sunk in contemplation. That’s why he contemplates more creatively and create ideas more originally and interestingly. However, each pupil, coordinating intuitive and ingenious understanding of fairy tale, have to acquire an amount of theoretic knowledge that is essential for self-expression and to paint a fairy tale. The true-life experience of primary school pupils is not big whereas theoretic knowledge of fairy tale structure, characters, ways to deal with conflicts and others is also not large.

In The Handmaid’s Tale, Bodily Harm, and Alias Grace, Atwood demonstrates that the connection between language, translation, and the female body is evident in the ways in which language is used to control the female body. Atwood posits that language systems assume the female body is fixed; however, language is inherently unstable. Consequently, if the female body is inscribed by language, the female body is not fixed just as a text is not fixed. Atwood writes the female body as a translation of masculinist text in order to resist the tradition of constructing the female body reductively through masculinist language. Through the attempts of her female characters to represent themselves (rather than being represented) in her work, Atwood illustrates that ?authentic? linguistic representation of the female body is impossible because language is a patriarchal construction which defines limitations on female voice and articulates the female body in masculinist terms.

The Winter’s Tale (1611) and The Tempest (1611) are two of Shakespeare’s romances, written under the patronage of James I of England. While Shakespeare’s history plays have received extensive critical attention regarding their political commentaries, these have not. History raises political questions by nature; however, it is also important to look at the political dimensions of Shakespeare’s fictional rulers. The Winter’s Tale’s Leontes, and The Tempest’s Prospero, because of their invented natures, allow the playwright to explore contemporary political crises or questions with more freedom than history allows. Shakespeare’s political exploration of these men involves assessing their fitness to rule, comparing their transformations to texts concerning kingship, such James’s political treatises. These texts raise the possibility that Shakespeare is similarly investigating a model of the ideal king. Looking at the elements of power, knowledge, and patriarchy, my thesis focuses on what Shakespeare is suggesting about ideal rule and the ruler.

No description available.

Pristatydama savo kūrybinio darbo – pasakos „Dvylika brolių juodvarniais lakstančiu“ sprendimą, pasirinkau tris temas, labiausiai dominusias šioje pasakoje: augimas, mirtis ir raganos, kaip mirties nešėjos, įvaizdis. Nors ši pasaka priskiriama germanų pasakoms ir dažniausiai pasakų rinkiniuose pristatoma kaip surinkta ir užrašyta brolių Grimų, joje galima aptikti ir senovės lietuviams būdingų papročių, apeigų ir simbolių. Būtent šios pasakos artumas lietuvių senajai kultūrai tapo pagrindu kuriant scenovaizdį. Sūpynių motyvas (šokimas į aukštį kaip apeiga), aptinkamas daugelyje lietuvių apeigų aprašymų, jį galima sieti su virtimu paukščiu, kuris neatsiejamas nuo dieviškųjų gebėjimų arba laikino mirties būvio. Mirtis arba pasakojimas apie mirtį yra pagrindinė šios pasakos ir mano kūrybinio darbo tema. Darbą susideda iš šių dalių: scenovaizdžio maketas ir eskizai, kaukės ,lėlės. Scenovaizdžio, eskizų ir lėlių kūrimui naudojama mišri technika. / Three theses where chosen while presenting creative work – fairy tale “Dvylika brolių juodvarniais lakstančių” derivations those where: growing up, death and witch as a death bringer’s image. Even thought the fairy tale is mostly present as a fairy tale cumulated and written by “Brother Grims” and it is considered to be part of Teuton fairy tales assemblage traces of symbols, customs and rites inherent to ancient Lithuanians can be found. While making scenography main foundation can be considered the fairy tale resemblance of ancient Lithuanian culture. Temporary death state or godlike abilities cannot be separated from swings motif (jumping as a rite) which can be found in many Lithuanian rites and it can be associated with turning into a bird. The main theme of this creative work is and the fairy tale is storytelling about death and death itself. The creative work consists of these parts: scenography model and sketches, masks, puppets. The mixed technique is used in other to make puppets, sketches and scenography.

No description available.

En berättarteknisk studie av "Ligeia", "The Tell-Tale Heart" samt "The Fall of the House of Usher". Studien fokuseras till kunskap respektive destruktivitet och dess funktion i de skilda novellerna. Genom att se till de berättartekniska aspekterna skapas en ny ingång till förståelsen för novellerna och en ny grund för en kompletterande motivanalys. De tre novellernas narrativa framställning och strukturella uppbyggnad skiljer sig men delar vissa gemensamma grepp vilket möjliggör för vidgad förståelse av novellerna.

The validity of the traditional arts in contemporary society is often questioned by the wider public. This dissertation argues that one of the ways in which the arts attain value is through their function as political activism. In order to do so, it investigates the characteristics of resistance art. This is followed by a discussion of contemporary opera. While this genre is a minority interest when compared to popular music forms, it is, nevertheless, a form of resistance art that has the potential to fulfill a social and political function. The dissertation focuses on two case studies: John Adam's The Death of Klinghoffer (1990) and Paul Ruders's The Handmaid's Tale (2000), and concludes that contemporary opera can be relevant and effective socio-political critique. / Thesis (M.Mus.)--North-West University, Potchefstroom Campus, 2007.

Teorinėje darbo dalyje aptariama XX a. pabaigoje atsiradusi fraktalaus meno šaka, pagrindiniai virtualios kompozicijos principai. Abstrakcijos – tarsi sapno detalė, gyvenimo motyvai, troškimai, tragedijos. Minima hermeneutinė filosofijos kyptis, kuri siejasi su kūrybinės kolekcijos estetikos koncepsija. Nagrinėjama ženklo ir simbolio samprata. Simbolikos naudojimas meninėje raiškoje – vienas metodų patraukti stebėtojo pasąmonės galias reikiama kryptimi. Kitoje darbo skiltyje analizuojami kompiuterine grafika užsiimančių menininkų vizualūs projektai. Atveriama vizualioji kūryba interpretacijoje. Stebint ją galima identifikuoti save, užuominos ir jų tarpusavio priklausomybė padeda atrasti objekto tapatybę. Siekiniai, idėjos, autoriui tampa svarbūs, kai jie atitinka egzistencines nuostatas, tapatumo paieškas nefiguratyviuose vaizdiniuose. Apbendrinama su „Egle žalčių karaliene“ susijusi literatūra. Pasakoje apie žalčio žmoną pastebimas sakmiškas pradas, kuris siejasi su archaiškų padavimų vystimu. Atskleidžiamas šeimos, genties – svečio santykis, gyvybės paslaptis, jos galia, „kitataučio“ netolerancija, dorovinis pasaulėžiūrų konfliktas, ištikimybės ir aukos ryšys (dvasinis ir moralinis žmogaus išbandymas). Paskutinėje darbo dalyje aprašoma asmeninė kūrybinė kolekcija. Aiškinama darbų prasmė, pasitelkiant spalvas, geometrines ar nefiguratyvias formas, dėmes, ritmiką. / In the theoretical part of the work, the branch of fractal art, which emerged at the end of the 20th century, and the main principles of composition are discussed. Abstractions are like elements of dreams, motifs of life, desires, and tragedies. The philosophical trend of hermeneutics is mentioned, which is related to the esthetic concept of the creative collection. The concept of sign and symbol is examined. The use of symbolism in artistic expression is one method of pulling the unconscious powers of the observer in a desired direction. In the next section of the work, visual projects of artists who use computer graphics are analyzed. The visual creation is opened in the interpretation. When observing it, one can identify oneself; hints and their interdependence helps to find the identity of the object. Objectives and ideas become important to the author when they correspond to existential attitudes and the search for identity in abstract images. Literature related to “Egle - The Queen of Serpents Man” is summarized. In the tale about the wife of serpent, a rudiment of sagas is found, which is related to an archaic development of stories. The following concepts are revealed: the relation of family, tribe and guest, the secret of life and its power, intolerance of the “foreigner”, moral conflict of different worldviews, and the relation between loyalty and sacrifice (the spiritual and moral challenge). In the last part of this work, the creative collection is described... [to full text]