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Lexical Anaphors and Pronouns in Liangmai

100%

Everaert M. , Subbārāo K. V. , Mataina W.

Lingua Posnaniensis

2013

tom 55

nr 2

41-47

This paper discusses some aspects of the behavior of anaphors and pronouns in Liangmai, belonging to the Tibeto-Burman language family. W e show that Liangmai offers a unique combination of “reflexivization strategies”. Like other languages it exhibits the strategy of reflexivizing the predicate by reduplication of an anaphoric element, but it simultaneously marks the predicate with a self-element. Two more properties of anaphoric properties of Liangmai are interesting from a cross-linguistic perspective. It shows cases of “swapping” - reordering of differently case-marked elements within the complex anaphor - and long-distance binding - allowing an anaphoric element to refer to an element that is not a co-argument.

Shakespearean Doubling: Issues of Action, Theme and Stage Presence

100%

Cotterill R.

Analyses/Rereadings/Theories: A Journal Devoted to Literature, Film and Theatre

2021

tom 7

nr 1

61-74

Zjawy, upiory, sobowtóry... „Romantyczne” transgresje w powieści Podobojí Danieli Hodrovej

99%

Balcerzak M.

Poznańskie Studia Slawistyczne

2011

nr 1

This article concentrates on the problem of transgression in the novel Podobojí by Daniela Hodrová. This problem is tracked from the perspective of romantic and post-romantic references to the literary and historical tradition (e.g. the Czech National Revival). One of the key concepts here is death and the metaphor of doubling, which makes the characters in the novel ontologically ambiguous entities. Death is treated in a confrontation with romantic themes, such as the ghost, ghoul, and the double.

“The way up is the way down”: Curzio Malaparte’s “Il Cristo Proibito” and Krzysztof Kieślowski’s “Three Colours: Red”

86%

Coates P.

Images. The International Journal of European Film, Performing Arts and Audiovisual Communication

2018

tom 24

nr 33

47-59

The statement ‘the way up is the way down’ may imply that the spiritual way to perfection lies through humility. It may however also apply to the physical world that is the source of such spiritual metaphors, and within which the actions play out of fictional characters who themselves serve as metaphors for real ones. I will argue that both meanings apply to both of these films, with a comparison between the two films enabling one to employ Malaparte’s explicit prohibition of a Christ-like position to make apparent a similar prohibition that is only implicit in Kieślowski’s film. Such physical movements provide an appropriate topography for the concern with judgment, knowledge, revenge, isolation and humiliation embodied in the male protagonists of the two films. In each case, the protagonists’ eventual divestment from programmes of judgment and revenge may be related to the prohibition Malaparte formulates explicitly: that upon human re-enactment of the Christ-like position that is the one of judgment. Here a destructive and self-destructive movement downwards, in the sense of dehumanization and extreme isolation, is countered eventually by a downward one that, in fact, leads upwards through an embrace of the humiliation of inaction. The paper examines various ways in which the object of both texts is to rediscover a ‘we’ that is rather one of solidarity than complicity.

Mission (im)possible? Cross-gendered Shakespeare on Czech stages after 1989

86%

Mišterová I.

Theatralia: Revue současného myšlení o divadelní kultuře (Theatralia: The revue of contemporary thought on theatre culture)

2021

tom 24

nr Special_Issue

171-185

This essay examines the theatrical practice of cross-gender casting with a focus on three selected productions of Romeo and Juliet staged by the Petr Bezruč Theatre in Ostrava (2011, director Anna Petrželková), the NaHraně Theatre in Prague (2012, director Jan Frič), and the Činoherní Studio Ústí nad Labem (2012, director Filip Nuckolls).