DOCSLIB.ORG

Russian Drama in Marath I Polysystem 255

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
Russian Drama in Marath I Polysystem 255 RUSSIAN DRAMA IN MARATH I POLYSYSTEM 255 Chapter VI: RUSSIAN DRAMA IN MARATHI POLYSYSTEM I A brief discussion o,n the theoretical aspect of translation of drama: Before examining the specific trends in drama translation, it is essential to place the main streams in the area of theatre translation within the framework of broader main streams in literary translation theory. It is observed that drama translation generally follows these trends. As we have already discussed in Chapter II, in the last twenty-five years there have been two major conflicting developments in the translation theory. The linguistically-oriented trend considers literary translation as a process of textual transfer. This is an ST oriented approach. In this approach translation scholars draw on recent work in descriptive linguistics. They attempt to grasp systematically the syntactic, stylistic and pragmatic properties of the texts in question. Moving away from comparative textual analysis, attempts are also made to set translations and their reception within the context of the receiving culture. This involves the study of the translations in the TL culture. The focus is not on mere textual transfer, but on cultural mediation and interchange. With regard to the first trend, Bogatyrev in discussing the function of the linguistic system in theatre in relation to the total experience states: Linguistic expression in theatre is a structure of signs constituted not only as discourse signs, but also as other signs. (Bogatyrev 1971:517-30) In a study of the specific problems of literary translation, with particular reference to the translation of dramatic texts, Susan Bassnet states that: In trying to formulate any theory of theatre translation, Bogatyrev's description of linguistic expression must be taken into account, and the 256 linguistic element must be translated bearing in mind its function in theatre discourse as a whole. (Bassnett, 1991:123) Other scholars have been equally preoccupied with the linguistic characteristics of the dramatic text. Wellwarth (1981:53) asserts that, the dramatic translator ... must have a sense of the rhythm of speech patterns. The dramatic translator must watch out for an excess of sibilants in a sentence, or awkward consonantal clusters that may make a line hard to pronounce rapidly and thus may cause difficulties in sound projection. With regard to the second trend, Aaltonen (1993:26) in her research states that the translator meikes conscious or unconscious choices, which are not accidental by nature. These choises are imposed on her/him by the system to which the completed translation will belong as an element. She even asserts further: In translation, foreign drama is transplanted into a new environment, and the receiving theatrical system sets the terms on which this is done. A play script must communicate and be intelligible at some level, even if it should deviate from existing norms and conventions. (Aaltonen, 1993:27) Louise Ladouceur (1995) in her study aimed at evolving a descriptive analysis model for the translation of dramatic texts. Other proponents of the target text/target culture and reception oriented approach in drama translation include Alena Moravkova (1993), Annie Brissett (1990), Jean-Michel Deprats 1990), Susan Bassnett (1991), Andre Lefevere (1992) and Michele Laliberte (1995). The debate as to whether the translation of a play should be source-text or target text / reception oriented seems to be rather polarized. However, theatre semiotics has also contributed significantly to this debate. Pavis (1989:'25-45) states that translation theory thus follows the general trend of theatre semiotics, reorienting its objectives in the light of a theory of reception. As Joseph Che Suh puts it, the semiotic analysis provides the audience, reader or theatre translator with a method not only of identifying the signs and situating them within the sign systems of the play but also of explaining the 257 interdependence of sub-systems and their role in theatre communication. He says that, the semiotic approach can be considered a sort of bridge between the two conflicting trends. Some researchers consider that in the final analysis, the decision whether to adapt or not is determined by ideological, political or artistic considerations. Theatre semioticians are of the opinion that such a decision ought not to be based purely on the above factors but rather on the result of a systematic and objective analysis to determine and explain the importance and incidence of the "foreignness" as a sign and, where and how it is manifested. According to Joseph, the semiotic approach allows for a multileveled and multilayered reading of the drama text, analysis of the signs contained therein. This enables the drama translator to take into consideration the greatest number possible of all the elements to be transferred to the target text and target audience/culture. Theatre semiotics thus enables the mapping and subsequent transfer of the spatio-temporal setting, personal localisation of the dramatic action, parameters of the communicative situation, relationing of the characters with each other in terms of their social identities (relative status, group membership and general attitudes obtaining between interlocutors), extralinguistic information, etc. All of these factors are articulated through a large repertoire of verbal (lexical, grammatical, prosodic, paralinguistic) and non-verbal codes. In this regard, studies have revealed that different transfer strategies would be used by the translator depending on whether the translated play is intended only for reading or for performance. (Alvarez, 1993b: 19-21)2. Furthermore, there is another factor namely the Translation Initiator (Tl). S/he, in drama translation in particular, can be considered the driving force behind the act of translation. Her/his identity and express wishes could exert a fundamental influence on the translation operation. Susan Bassnett with reference to the contemporary British policy as practised by the National theatre, states that. 258 Translators are commissioned to produce what are termed 'literal' translations and the text is then handed over to a well-known playwright with an established reputation so that larger audiences will be attracted into the theatre. (Bassnett 1991: 101) Elsewhere, Aaltonen (1993:31) talks of the common practice for the Stage director to order a tailor-made translation for a particular mise en scene or cases where the translations are revised and fine-tuned by the stage team (stage director, dramaturge, playwright, etc). (Joseph Che Suh) These examples suggest that quite often in drama translation the strategic decisions or choices are not made by the translator but by someone else, i.e, the translation initiator who is one of the factors in the translation chain. There is a need to study and analyse the position and role of the translation initiator (Tl) in the drama translation chain, the reasons and motivations underlying the decisions and choices of the Tl, her/his perception of the expectations of the target audience (as distinct from that of the drama translator), and the strategies her/his strategic decisions inevitably or invariably compel the drama translator to adopt. Works translated by playwrights themselves, and sometimes directed by them, is another area for research. Here, the author-translators are at the same time the source, translation initiator and translator. This review helps us to understand the various approaches in translation of drama. However, we analyse the translation of Russian drama into Marathi within the framework of model defined by us in Chapter II. Our analysis involves contextual as well as textual study of different TT in Marathi. II Translation of Drama: A Process and Problems: Drama is the most complex and multi-dimensional genre of literature. The reason is it is not simply meant to be read like poetry or novel. It is read as something incomplete, since it is only in performance that the full potential of the text is realized. Drama is written for production in the theatre. Secondly, 259 it incorporates other' literary genres such as poetry and forms of the fine arts like music. And hence, becomes a multi-dimensional form. Hence dramatic text can not be translated in the same way as the prose text. When a dramatist writes a text, s/he has to keep in mind the basic principles of stagecraft; the use of time and space, the creation of the characters, use of dialogue, tone of voice, facial expressions, costumes, scenery etc. Therefore, in a play, it is not just the linguistic element that is important but also the extra-linguistic situation. A drama script is a written form of a play. It consists of certain elements - theme, characters and dialogues. All these elements are inseparable in a play. The language of the monologues, dialogues or conversation of the characters is called theatrical language, which performs several functions. The relationship between the dialogue and the extra-linguistic situation is intense and reciprocal. Robert Corrigan in an article on translating for actors argues that, "The translator must hear the voice that speaks and take into account the 'gesture' of the language, the cadence rhythm and pauses that occur when the written text is spoken." (Bassnet 1980: 124) There are different kinds of plays: historical plays, comedies, tragedies, religious plays, street plays and one-act plays. (We do not consider here the radio and TV plays.) The process of translation of a drama is similar to translation of novels, stories or poetry to some extent. But the translator of drama has an additional problem to tackle i.e. reproducing the 'playability' of the original into the TL. S/he has to grasp certain in-built structures in the play and transform them into the TL. All these facts put before the translator the central problem: whether to translate the text as a purely literary text, or to try to translate it in its 'function' as one element in a complex system.
Load more

Recommended publications
  • Realism in Vijay Tendulkar's Ghashiram Kotwal (1972)
    SJ IMPACT FACTOR: 2.912 CRDEEP Journals Global Journal of Current Research Anamika Gupta Vol. 5 No. 2 ISSN: 2320-2920 Global Journal of Current Research Vol. 5 No. 2. 2017. Pp. 88-97 ©Copyright by CRDEEP. All Rights Reserved. Full Length Research Paper Realism in Vijay Tendulkar’s Ghashiram Kotwal (1972) Anamika Gupta Research Scholar, Department of English & MELs, University of Allahabad, Allahabad. Article history Abstract Received: 08-08-2017 This paper is an attempt to expose the use of realism in the play Ghashiram Kotwal (1972) by Vijay Revised: 12-08-2017 Tendulkar. As society and politics have strongly been highlighted in Vijay Tendulkar’s Plays, this Accepted: 14-08-2017 play also highlights the harsh and bare realities of society, especially those of politics, administration and religion. As a social realist, he presents the black side of humanity in his plays. While dealing Corresponding Author: with the realistic portrayal of the contemporary socio-political senerio, Tendulkar underscores various Anamika Gupta, social and political evils such as hypocrisy, casteism, prostitution, decline of moral and human Research Scholar, values, patriarchy, power game, violence (sexual and political) corruption in politics and Department of English & administration. MELs, University of Allahabad, Allahabad. Keywords: Power, Violence, Power politics, Casteism, Patriarchy, Religion, Corruption, Hypocrisy, Moral degradation, Realism (Political, Social and Psychological). Realism is a movement in art, which started in the mid nineteenth century in France, and later spread to the entire world. Realism entered literature at almost at the same time. Its real objective was to root out what is called romantic in literature and art, to insert what is real.
    [Show full text]
  • Vijay Tendulkar's Ghashiram Kotwal
    VEDA’S JOURNAL OF ENGLISH LANGUAGE AND LITERATURE (JOELL) Vol.5 Issue 1 An International Peer Reviewed Journal 2018 http://www.joell.in RESEARCH ARTICLE VIJAY TENDULKAR’S GHASHIRAM KOTWAL : THEME OF POWER AND KNOWLEDGE Mintu Patra (Research Scholar (M. Phil), Mewar University, Chittorgarh, India) ABSTRACT Vijay Tendulkar (1928-2008) is ranked as one of the three maestros of Indian theatre–Girish Karnad and Badal Sircar may be taken as the other two. Of them Tendulkar has been the most prolific and perhaps the most popular playwright among the general theatre-goers—an artist who dedicated himself completely to the cause of theater. Tendulkar has been persistent in incorporating new form and techniques in his theatre to make it both philosophically thought – provoking and aesthetically satisfying. His theatre is appealing both to the common audience and aesthetically satisfying. His theatre is appealing both to the common audience and intellectual theatre –critics. He uses folk forms in modern theatre made waves. He has experienced how in a hegemonic culture people exploit others through different strategies—social, economic and even cultural. It may be said that this knowledge of Tendulkar functioned as a stimulus for him to undertake such themes as love and betrayal, sex and violence, politics and revenge in course of his long career as a playwright. Again the subject of exploitation is so hauntingly present in his theatre that any sensitive reader might find some affinity with the theoretical propositions of ‘power and knowledge’ as enunciated by Foucault in his seminal work Power/Knowledge: Selected Interviews and Other Writings 1972- 1977.
    [Show full text]
  • 3. Ostap Bender: the King Is Born
    ——————————————— Ostap Bender: The King Is Born ——————————————— CHAPTER 3 OSTAP BENDER: THE KING IS BORN — 89 — —————————————————— CHAPTER THREE —————————————————— — 90 — ——————————————— Ostap Bender: The King Is Born ——————————————— Dvenadtsat’ stuliev (The Twelve Chairs, 1928) and Zolotoi telenok (The Golden Calf, 1931, Soviet book edition 1933), by Ilya Il’f and Evgenii Petrov, hold a unique place in Soviet culture. Although incorporated into the official canon of SocialistR ealist satire (a phenomenon whose very existence was constantly put into question), the books “became a pool of quotes for several generations of Soviet intellectuals, who found the diptych to be a nearly overt travesty of propagandistic formulae, newspaper slogans, and the dictums of the founders of ‘Marxism- Leninism.’ Paradoxically, this ‘Soviet literary classic’ was read as anti- Soviet literature.” (Odesskii and Feldman, 6) As Mikhail Odesskii and David Feldman (12–25) have shown, Dvenadtsat’ stuliev was commissioned to Valentin Kataev and his “brigade” in 1927 by Vladimir Narbut, editor-in-chief of the journal 30 days, which serialized the novel throughout the first half of 1928. Narbut also was a director of a major publishing house, “Zemlia i Fabrika” (“Land and Factory”), which released the novel in book form after the journal publication. Kataev, already a recognized writer, invited two young journalists into his “brigade,” his brother Petrov and Il’f—an old acquaintance from Odessa and a colleague at the newspaper Gudok (Train Whistle) where Kataev had also worked in the past—letting them develop his story of a treasure hidden inside one chair of a dining room set. However, once Kataev had ascertained that the co-authors were managing fine without a “master’s oversight,” the older brother left the group and the agreement with the journal and publisher was passed on to Il’f and Petrov.
    [Show full text]
  • RUSSIAN THEATRE in the AGE of MODERNISM Also by Robert Russell
    RUSSIAN THEATRE IN THE AGE OF MODERNISM Also by Robert Russell VALENTIN KATAEV V. MAYAKOVSKY, KLOP RUSSIAN DRAMA OF THE REVOLUTIONARY PERIOD YU.TRIFONOV,OBMEN Also by Andrew Barratt YURY OLESHA'S 'ENVY' BETWEEN TWO WORLDS: A CRITICAL INTRODUCTION TO THE MASTER AND MARGARITA A WICKED IRONY: THE RHETORIC OF LERMONTOV'S A HERO OF OUR TIME (with A. D. P. Briggs) Russian Theatre in the Age of Modernism Edited by ROBERT RUSSELL Senior Lecturer in Russian University of Sheffield and ANDREW BARRATT Senior Lecturer in Russian University of Otago Palgrave Macmillan ISBN 978-1-349-20751-0 ISBN 978-1-349-20749-7 (eBook) DOI 10.1007/978-1-349-20749-7 Editorial matter and selection © Robert Russell and Andrew Barratt 1990 Text © The Macmillan Press Ltd 1990 Softcover reprint of the hardcover 1st edition 1990 All rights reserved. For information, write: Scholarly and Reference Division, St. Martin's Press, Inc., 175 Fifth Avenue, New York, N.Y. 10010 First published in the United States of America in 1990 ISBN 978-0-312-04503-6 Library of Congress Cataloging-in-Publication Data Russian theatre in the age of modernism / edited by Robert Russell and Andrew Barratt. p. em. ISBN 978-0-312-04503-6 1. Theater-Soviet Union-History-2Oth century. I. Russell, Robert, 1946-- . II. Barratt, Andrew. PN2724.R867 1990 792' .0947'09041--dc20 89-70291 OP Contents Preface vii Notes on the Contributors xii 1 Stanislavsky's Production of Chekhov's Three Sisters Nick Worrall 1 2 Boris Geyer and Cabaretic Playwriting Laurence Senelick 33 3 Boris Pronin, Meyerhold and Cabaret: Some Connections and Reflections Michael Green 66 4 Leonid Andreyev's He Who Gets Slapped: Who Gets Slapped? Andrew Barratt 87 5 Kuzmin, Gumilev and Tsvetayeva as Neo-Romantic Playwrights Simon Karlinsky 106 6 Mortal Masks: Yevreinov's Drama in Two Acts Spencer Golub 123 7 The First Soviet Plays Robert Russell 148 8 The Nature of the Soviet Audience: Theatrical Ideology and Audience Research in the 1920s Lars Kleberg 172 9 German Expressionism and Early Soviet Drama Harold B.
    [Show full text]
  • Vijay Tendulkar's Ghashiram Kotwal
    VEDA’S JOURNAL OF ENGLISH LANGUAGE AND LITERATURE (JOELL) Vol.5 Issue 1 An International Peer Reviewed Journal 2018 http://www.joell.in RESEARCH ARTICLE VIJAY TENDULKAR’S GHASHIRAM KOTWAL : THEME OF POWER AND KNOWLEDGE Mintu Patra (Research Scholar (M. Phil), Mewar University, Chittorgarh, India) ABSTRACT Vijay Tendulkar (1928-2008) is ranked as one of the three maestros of Indian theatre–Girish Karnad and Badal Sircar may be taken as the other two. Of them Tendulkar has been the most prolific and perhaps the most popular playwright among the general theatre-goers—an artist who dedicated himself completely to the cause of theater. Tendulkar has been persistent in incorporating new form and techniques in his theatre to make it both philosophically thought – provoking and aesthetically satisfying. His theatre is appealing both to the common audience and aesthetically satisfying. His theatre is appealing both to the common audience and intellectual theatre –critics. He uses folk forms in modern theatre made waves. He has experienced how in a hegemonic culture people exploit others through different strategies—social, economic and even cultural. It may be said that this knowledge of Tendulkar functioned as a stimulus for him to undertake such themes as love and betrayal, sex and violence, politics and revenge in course of his long career as a playwright. Again the subject of exploitation is so hauntingly present in his theatre that any sensitive reader might find some affinity with the theoretical propositions of ‘power and knowledge’ as enunciated by Foucault in his seminal work Power/Knowledge: Selected Interviews and Other Writings 1972- 1977.
    [Show full text]
  • Scando-Slavica Valentin Kataev's Later Writing
    This article was downloaded by: [Conliffe, Mark] On: 10 May 2010 Access details: Access Details: [subscription number 922094279] Publisher Routledge Informa Ltd Registered in England and Wales Registered Number: 1072954 Registered office: Mortimer House, 37- 41 Mortimer Street, London W1T 3JH, UK Scando-Slavica Publication details, including instructions for authors and subscription information: http://www.informaworld.com/smpp/title~content=t716100751 Valentin Kataev's Later Writing and “Uže napisan Verter”: Time, Memory, and a Critical Dream Mark Conliffe a a Dept. of German and Russian, Willamette University, Salem, OR, USA Online publication date: 10 May 2010 To cite this Article Conliffe, Mark(2010) 'Valentin Kataev's Later Writing and “Uže napisan Verter”: Time, Memory, and a Critical Dream', Scando-Slavica, 56: 1, 7 — 26 To link to this Article: DOI: 10.1080/00806765.2010.483775 URL: http://dx.doi.org/10.1080/00806765.2010.483775 PLEASE SCROLL DOWN FOR ARTICLE Full terms and conditions of use: http://www.informaworld.com/terms-and-conditions-of-access.pdf This article may be used for research, teaching and private study purposes. Any substantial or systematic reproduction, re-distribution, re-selling, loan or sub-licensing, systematic supply or distribution in any form to anyone is expressly forbidden. The publisher does not give any warranty express or implied or make any representation that the contents will be complete or accurate or up to date. The accuracy of any instructions, formulae and drug doses should be independently verified with primary sources. The publisher shall not be liable for any loss, actions, claims, proceedings, demand or costs or damages whatsoever or howsoever caused arising directly or indirectly in connection with or arising out of the use of this material.
    [Show full text]
  • Odessa 2017 UDC 069:801 (477.74) О417 Editorial Board T
    GUIDE Odessa 2017 UDC 069:801 (477.74) О417 Editorial board T. Liptuga, G. Zakipnaya, G. Semykina, A. Yavorskaya Authors A. Yavorskaya, G. Semykina, Y. Karakina, G. Zakipnaya, L. Melnichenko, A. Bozhko, L. Liputa, M. Kotelnikova, I. Savrasova English translation O. Voronina Photo Georgiy Isayev, Leonid Sidorsky, Andrei Rafael О417 Одеський літературний музей : Путівник / О. Яворська та ін. Ред. кол. : Т. Ліптуга та ін., – Фото Г. Ісаєва та ін. – Одеса, 2017. – 160 с.: іл. ISBN 978-617-7613-04-5 Odessa Literary Museum: Guide / A.Yavorskaya and others. Editorial: T. Liptuga and others, - Photo by G.Isayev and others. – Odessa, 2017. — 160 p.: Illustrated Guide to the Odessa Literary Museum is a journey of more than two centuries, from the first years of the city’s existence to our days. You will be guided by the writers who were born or lived in Odessa for a while. They created a literary legend about an amazing and unique city that came to life in the exposition of the Odessa Literary Museum UDC 069:801 (477.74) Англійською мовою ISBN 978-617-7613-04-5 © OLM, 2017 INTRODUCTION The creators of the museum considered it their goal The open-air exposition "The Garden of Sculptures" to fill the cultural lacuna artificially created by the ideo- with the adjoining "Odessa Courtyard" was a successful logical policy of the Soviet era. Despite the thirty years continuation of the main exposition of the Odessa Literary since the opening day, the exposition as a whole is quite Museum. The idea and its further implementation belongs he foundation of the Odessa Literary Museum was museum of books and local book printing and the history modern.
    [Show full text]
  • Vijay Tendulkar's Ghasiram Kotwal by Mr. Deepak
    Vijay Tendulkar’s Ghasiram Kotwal Deepak Assistant Professor (English, MGCUB) Former, Jr. Research Assistant, Penn State University, USA Ghashiram Kotwal Ghashiram Kotwal is a historical play, and the dates goes back to the rule of Nana Peshwa Violence and Sexual instinct play an important role for the construction of theme and content. Ghasiram, the Kotwal, is embodiment of violence whereas Nana Phadnavis represents sexual urge. Gauri, the daughter of Kotwal, stands for the cruelty against women by men to achieve their target. She is silent victim of violence. Vijay Tendulkar Vijay Tendulkar is one of the most controverisal Indian dramatist. His controversial drama includes Silence! The Court is Session and Sakharam Binder but, Ghashiram Kotwal is considered by many his most controversial play. According to Tendulkar, “Ghashirams are creations of socio-political forces which know no barriers of time and place.” Structure Two-act play Song, dance and music are integral part of the plot construction Story revolves around Ghasiram Savaldas’s rise and fall to the position of Kotwal of Poona and then his death through mob after a plot being hatched by Nana Phadnavis. Acquiring power remains the main thrust play, whereas, who challenged the authorities deserves nothing more than death. Various folk forms like Dashavatar, Khel, Tamasha, Kirtan and Bharud are employed by dramatist to make it more appealing to the regional audience. Moral corruption is depicted when Kotwal exchanges his daughter , Gauri, to Nana for the post of Kotwal. In the end, Nana order a mob lynching of Ghasiram without any hesitation: “Use a thorn to take out a thorn.
    [Show full text]
  • A Companion to Andrei Platonov's the Foundation
    A Companion to Andrei Platonov’s The Foundation Pit Studies in Russian and Slavic Literatures, Cultures and History Series Editor: Lazar Fleishman A Companion to Andrei Platonov’s The Foundation Pit Thomas Seifrid University of Southern California Boston 2009 Copyright © 2009 Academic Studies Press All rights reserved ISBN 978-1-934843-57-4 Book design by Ivan Grave Published by Academic Studies Press in 2009 28 Montfern Avenue Brighton, MA 02135, USA [email protected] www.academicstudiespress.com iv Effective December 12th, 2017, this book will be subject to a CC-BY-NC license. To view a copy of this license, visit https://creativecommons.org/licenses/by-nc/4.0/. Other than as provided by these licenses, no part of this book may be reproduced, transmitted, or displayed by any electronic or mechanical means without permission from the publisher or as permitted by law. The open access publication of this volume is made possible by: This open access publication is part of a project supported by The Andrew W. Mellon Foundation Humanities Open Book initiative, which includes the open access release of several Academic Studies Press volumes. To view more titles available as free ebooks and to learn more about this project, please visit borderlinesfoundation.org/open. Published by Academic Studies Press 28 Montfern Avenue Brighton, MA 02135, USA [email protected] www.academicstudiespress.com CONTENTS CHAPTER ONE Platonov’s Life . 1 CHAPTER TWO Intellectual Influences on Platonov . 33 CHAPTER THREE The Literary Context of The Foundation Pit . 59 CHAPTER FOUR The Political Context of The Foundation Pit . 81 CHAPTER FIVE The Foundation Pit Itself .
    [Show full text]
  • RUSSIAN ANTI-LITERATURE Rolf Hellebust University of Nottingham
    RUSSIAN ANTI-LITERATURE Rolf Hellebust University of Nottingham The term anti-literature has a distinctly modern cachet. It was coined in 1935 by the English poet David Gascoyne, who used it to describe the maximalist avant-garde épatage of Dada and the Surrealists.1 A subtype, the anti-novel, comes to the fore in the latter half of the century with the appearance of the French nouveau roman in the 1950s and 60s. A search for literary analogues in twentieth-century Russia may fail to come up with any native Robbe- Grillet – yet the period over which Russians have been trying to write the novel to end all novel-writing has extended at least from Tolstoy‟s War and Peace (1869) to Andrei Bitov‟s Pushkin House (1978) and Sasha Sokolov‟s Palisandria (1985). No less than their Western counterparts from Cervantes to Joyce and beyond, these authors aim to exhaust the novel and/or create its ultimate representative by taking to an extreme its pre-existing tendencies: these include intertextuality and parody, fiction‟s encroachment upon non-fiction and upon historiography in particular, the sense of the novel as a genre minimally bound by literary conventions, and finally, the impression of exhaustiveness that comes from sheer length alone. To describe War and Peace as a work of anti-literature in the same breath as the postmodernist production of Bitov and Sokolov (not to mention Robbe-Grillet) may seem 1 2 anachronistic. Recall, though, Tolstoy‟s own comments on his book. Defending himself against anticipated criticism of his formal idiosyncrasies, the author of what is often considered the greatest novel ever written declares What is War and Peace? It is not a novel.
    [Show full text]
  • Ghashiram Kotwal’’
    ‘A Study of Dramatic Devices of Politicking invested by Tendulkar in ‘Ghashiram Kotwal’’ A Seminar Paper by Dr. Uttam B. Parekar (Associate Professor, Ph.D. Supervisor, Head (Dept. of English) Yeshwant Mahavidyalaya, Wardha (M.S.) Date: 25th February 2017 Introduction of the Speaker Name: Dr. Uttam Baburao Parekar Date of Birth: 05-07-1959 Qualification: M.A.(English), M.Phil., B.Ed. & Ph.D. Ph.D. Supervisor Principal Investigator of UGC’s Major Research Project Office Address: Yeshwant Mahavidyalaya, Wardha (M.S.) Creative Pursuits: Writing Short Stories & Plays; Drama Actor, Director; Playing Banjo, Flute & Harmonium Home Address: Prof. Uttam B. Parekar, Sahakar-Nagar, Near Sai- Nagar, Wardha, Ta & Dist. Wardha (M.S.) Mobile No. 09921436640 Email: [email protected] Vijay Tendulkar as a celebrated Marathi Playwright 1- Prestigious Awards 2- Translation Works 3- His Plays: Full Length Plays- 27. One Act Plays- 7 4-Place of Tendulkar in the tradition of Marathi dramatists I-Theatre revived after lapse of ten centuries with the setting up of proscenium in 1874 Kirloskar’s ‘Soubhadra’ and translations of Sanskrit & English Plays in to Marathi Musical Plays II- After 1906 Khadilkar’s plays gave social dimension to the plays e. g. ’Kichak Wadha’ III- After 1935 the Realism of Ibsen, Shaw & Existentialism influenced e.g. Atre’s plays IV- Post Independence Playwrights: Tendulkar, Girish Karnad, Mohan Rakesh, Badal Sircar…Anti-Hero, Alienation, Situation into aesthetic experience, naturalism, Reality through history and myths Brecht’s V-Effect
    [Show full text]
  • The Mem Oirs of Soidmon Volkov
    THE MEM OIRS OF DMITRI HOSTAKOVICH "The tragic horror of a trapped genius."-Yehudi Menuhin SOIDMONas related to and edited VOLKOV by Translated from the Russian by Antonina W. Bouis AtShostakovichs Moscow apartment: (from the left) the composers wife Irina, his favorite student, Boris Tishchenko, Dmitri Shostakovich, Solomon Volkov. On the wall, a portrait of Shostakovichas a boy byBoris K ustodiev. The inscription on the photograph reads: "To dearSolomonMoiseyevich Volkov in fond remembrance. D. Shostakovich.13XI1974. A reminder of our conversations about Glazunov, Zoshchenko, Meyerhold. D.S." LIMELIGHT EDITIONS NEW YORK TESTIMONY The Memoirs of Dmitri Shostakovich as related to and edited by Solomon Volkov Translated from theRussianbyAntonina W. Bouis All photographs except where otherwisecredited are from thepersonal collection of Solomon Vol­ lr.ov. First Limelight Edition, October 1984 Copyright© 1979 by Solomon Volkov. English-language translation copyright© 1979 by Harper&: Row, Publishers, Inc. All rights reserved under International and Pan-American Copyright Conven­ tions. Published in the United States by Proscenium Publishers Inc., New York, and simultaneously in Canada by Fitzhenry &: Whiteside Limited, Toronto. Originally published by Harper&: Row, Publishers, Inc. ISBN 0-87910-021-4 Manufactured in the United States of America Designer: Gloria Ade/sun Library of Congress Cataloging in Publication Data Shostakovich, Dmitrii Dmitrievich, 1906-1975. Testimony: the memoirs o.f Dmitri Shostakovich. Includes index. I. Shostakovich,
    [Show full text]