Pub Date : 2023-03-16DOI: 10.14712/24646830.2022.36
Soňa Nováková
The arrival of actresses during the Restoration greatly affected the presentation of female characters, since the body of the woman on the stage was heavily sexualised. Actresses concretised the erotics of the Restoration playhouse and theatregoers took much pleasure in seeing actresses perform in roles that were fashioned to exploit the possibilities offered by the presence of women. Dramatists often put women in trousers, in what were known as “breeches roles”, as a way of displaying women’s bodies. Compared to the multi-layered functions of cross-dressing in Renaissance drama, such disguise became frequently a titillating device. However, there are several plays in this period that employ the cross-dressing motif to offer a more subversive critique of conventional attitudes toward female sexuality. This article will focus on Aphra Behn’s The Widdow Ranter (1690) and Thomas Southerne’s Sir Anthony Love (1691), plays which feature an androgynous central figure, a woman whose male dress is not a temporary disguise, a mask, but an expression of her character. Sir Anthony Love/Lucia uses the freedom of male dress to enjoy, express and enrich herself, and lay her own snares. An androgynous figure of a different type plays a prominent part in the comic plotline of Behn’s tragicomic The Widdow Ranter. Ranter swears, smokes a pipe, drinks punch and plans to fight a duel with her lover as a way of courting him. Such Amazon figures are often introduced in Restoration drama only to be ultimately subdued by men. As this article intends to prove, that is not the case in these two plays. However, subverting the double standard by ignoring it is possible only because of the plays’ settings: fantasy France and pastoral America.
复辟时期女演员的到来极大地影响了女性角色的表现，因为舞台上女性的身体被严重地性化了。女演员们将复辟时期剧场的情色具体化了，观众们很高兴看到女演员们扮演的角色是为了利用女性的存在所提供的可能性而塑造的。戏剧家们经常让女性穿着裤子，扮演所谓的“马裤角色”，作为展示女性身体的一种方式。与文艺复兴时期戏剧中变装的多层次功能相比，这种伪装经常成为一种挑逗手段。然而，这一时期有几部戏剧采用了异性扮装的主题，对传统的女性性观念进行了更具颠覆性的批判。本文将集中讨论阿芙拉·贝恩的《寡妇的愤怒》(1690年)和托马斯·索瑟恩的《安东尼·洛夫爵士》(1691年)，这两出戏剧都以一个雌雄同体的中心人物为特色，一个女人的男性服装不是暂时的伪装，面具，而是她性格的一种表达。Sir Anthony Love/Lucia用男性服饰的自由来享受、表达和丰富自己，并为自己设下陷阱。在本恩的悲喜剧《寡妇咆哮者》的喜剧情节中，一个不同类型的雌雄同体人物扮演了重要角色。Ranter咒骂着，抽着烟斗，喝着潘趣酒，并计划与她的情人决斗，作为追求他的一种方式。这样的亚马逊人物经常出现在复辟时期的戏剧中，但最终却被男性所征服。正如本文所要证明的那样，这两出戏的情况并非如此。然而，通过忽视它来颠覆双重标准是可能的，这只是因为戏剧的背景:幻想的法国和田园的美国。
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Pub Date : 2023-03-16DOI: 10.14712/24646830.2022.38
P. Poncarová
The article focuses on the corpus of tales featuring “Carnacki, the Ghost-Finder” by the British author William Hope Hodgson, an influential figure in the history of horror, fantastic literature, and speculative fiction. Drawing both on classical works of criticism by Tzvetan Todorov and Dorothy Scarborough and on the rather scarce corpus of scholarship devoted to Hodgson himself, the essay analyses the employment of space and sound in “The Whistling Room”.
本文以英国作家威廉·霍普·霍奇森(William Hope Hodgson)的《寻鬼者卡纳奇》(Carnacki, The Ghost-Finder)为主题，霍奇森是恐怖文学、奇幻文学和投机小说史上的重要人物。本文借鉴了茨维坦·托多罗夫(Tzvetan Todorov)和多萝西·斯卡伯勒(Dorothy Scarborough)的经典批评作品，以及专门研究霍奇森本人的相当稀少的学术文集，分析了《吹口哨的房间》中空间和声音的运用。
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Pub Date : 2023-03-16DOI: 10.14712/24646830.2022.42
Klára Kolinská
The best of contemporary theatre in Western Canada presents stories of the historical, cultural, and ethnic diversity of the region while taking a critical stand against the traditional stereotypes of “prairie realism and cowboy iconography” which contributed to the creation of its social, as well as artistic awareness. Western Canadian playwrights reflect in their works the wide multicultural spectrum of their region, without writing mere “ethnic theatre” with limited readability and appeal. This is documented by several instances of producing Western Canadian drama “out of its context” – specifically in Central Europe. In the Czech Republic, it was the productions of Brad Fraser’s Kill Me Now by theatres in Ostrava and Mladá Boleslav in 2017 and 2019, respectively, and the production of Vern Thiessen’s play Lenin’s Embalmers by a Liberec theatre which premiered in December 2017. The article discusses the productions of Western Canadian plays by Czech theatres, with special focus on the dramaturgical decisions and theatrical presentations concerned, as well as on the critical and audience response the productions have received, with the aim to demonstrate that Western Canadian drama presents not only a valuable source for cultural and theatrological study, but also inspiring material for meaningful stage productions in Czech – and potentially European – theatres.
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Pub Date : 2023-03-16DOI: 10.14712/24646830.2022.35
Helena Znojemská
Gower’s “Tale of Florent”, Chaucer’s “Wife of Bath’s Tale” and the anonymous romance “The Wedding of Sir Gawain and Dame Ragnelle” are three late-medieval English texts that repeatedly confront their male protagonists with the problem of female desire, asking them, at each crucial stage of plot development, to acknowledge women’s sovereignty in both the senses of “autonomy” and “power”. It might seem that in so doing they express a critical view of established period ideas of appropriate gender roles. However, a closer look at the individual plot configurations in which the theme is explored in these texts shows a more complex set of attitudes at play; ultimately, they reveal the tensions among the various hierarchies of women’s (and men’s) positions which the culture sustains. At the same time, their account of a contestation of sovereignty between genders develops into a commentary on other kinds of social hierarchy, other concepts of control. Finally, the texts also negotiate the limits of the generic framework in which they operate and of the value system which it embodies.
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Pub Date : 2023-03-16DOI: 10.14712/24646830.2022.41
Ladislav Nagy
Julian Barnes’s second to last book to date, The Man in the Red Coat (2019), is a work of non-fiction, devoted to the life of the renowned Parisian surgeon Samuel Jean de Pozzi. It is, however, a special kind of nonfiction – in fact, the book illuminates in many ways the narrative practices in Barnes’s work in general. At the same time, it touches on a theme that permeates all of Barnes’s fictional work, namely the construction of identity through the stories we tell about ourselves and that others tell about us. Storytelling thus emerges as a fundamental human trait: it is our responsibility to narrate, for it is only in telling stories that we can grasp the world around us.
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Pub Date : 2023-03-16DOI: 10.14712/24646830.2022.40
Mirka Horová
This article sets out to explore the dynamics of play in three selected science-fiction novels by the contemporary Scottish author Iain M. Banks. Drawing on the typology of literary play designed by the German theoretician Wolfgang Iser, the article focuses particularly on Banks’s second novel from the Culture series, The Player of Games (1988), concentrating on the ludic dynamics that inform and form these texts in narrative, discursive and thematic terms. Highlighting the author’s complex conceptual critique of empire and civilisation and their contested relationship with the individual, the article is especially interested in uncovering the intricacies of power paradigms in the context of Banks’s bespoke, ever-ambivalent vision of a cosmic utopia and its counterparts, where the interconnectedness of being and playing is performed on key levels.
本文旨在探讨当代苏格兰作家伊恩·m·班克斯(Iain M. Banks)所选的三部科幻小说中的游戏动态。借鉴德国理论家沃尔夫冈·伊瑟尔设计的文学戏剧类型学，本文特别关注班克斯文化系列的第二部小说《游戏玩家》(1988年)，重点关注以叙事、话语和主题术语为这些文本提供信息和形成的滑稽动态。这篇文章强调了作者对帝国和文明的复杂概念批判，以及它们与个人之间有争议的关系，特别感兴趣的是，在班克斯对宇宙乌托邦及其对应的定制的、始终矛盾的愿景背景下，揭示了权力范式的复杂性，在这个背景下，存在和游戏的相互联系在关键层面上得到了体现。
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Pub Date : 2023-03-16DOI: 10.14712/24646830.2022.37
Z. Beran
George Eliot and Anthony Trollope made short visits to Prague in the mid-19th century and were fascinated by such places as the Jewish Quarter with its old synagogue or Charles Bridge with its Baroque statues. They used these motifs in some of their works: Eliot in The Lifted Veil and Daniel Deronda and Trollope in Nina Balatka. Their portrayal of Prague, however, is very much based on the image of Praga magica, the Prague of legends, mysteries and magic. This article argues that the shift of focus from the Jewish Prague to the statue of St John of Nepomuk, which appears in The Lifted Veil and in Nina Balatka, might have been motivated not only by their admiration of the bridge decorations which they saw during their visits but also by the semantically rich motif of the saint’s statue in George Sand’s Consuelo, a novel which was very popular in Britain at that time.
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Pub Date : 2023-03-16DOI: 10.14712/24646830.2022.39
P. Veselá
The article discusses selected poetry by Darko Suvin against the background of his theoretical writings about science fiction, utopia and poetry. It argues that Suvin’s poetry estranges the ideological view of the present and history as an inevitable reproduction of injustice and alienation. The focus is on several poems included in the collections The Long March: Notes on the Way 1981–1984 (1987) and Defined by a Hollow: Essays on Utopia, Science Fiction, and Political Epistemology (2010), as well as in “Three Long Poems 2000–2016” (2016) and “Poems of Old Age (2002–17)” (2017) available on the author’s website.
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Pub Date : 2023-01-17DOI: 10.14712/24646830.2022.31
M. Svatošová, J. Volín
Phonetic research has developed both impressionistic and more objective means of describing the basic units of intonation. The quantification involved in the approaches based on acoustic measurements provides more detail and it is a necessary prerequisite for the comparability and replicability of the results of different studies. In addition to having these characteristics, a proper description of intonation should be comprehensible and meaningful. This article presents a method for describing melodic contours using Legendre polynomials, which yields a few coefficients that capture the basic properties of the analysed contour (e.g. level or slope). This approach thus connects objectivity and quantitative precision with common linguistic concepts. The article also proposes the use of Legendre polynomials for the description of traditionally recognized Czech melodemes through the analysis of schemes reported in the literature. Further research on real material could verify the validity of these categories and the usefulness of the method itself.
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Pub Date : 2023-01-17DOI: 10.14712/24646830.2022.26
Maral Asiaee, Homa Asadi
Many individuals around the world speak two or more than two languages. This phenomenon adds a fascinating dimension of variability to speech, both in perception and production. But do bilinguals change their voice when they switch from one language to the other? It is typically assumed that while some aspects of the speech signal vary for linguistic reasons, some indexical features remain unchanged across languages. Yet little is known about the influence of language on within- and between-speaker vocal variability. The present study investigated how acoustic parameters of voice quality are structured in two languages of a bilingual speaker and to what extent such features may vary between bilingual speakers. For this purpose, speech samples of 10 simultaneous Sorani Kurdish-Persian bilingual speakers were acoustically analyzed. Following a psychoacoustic model proposed by Kreiman (2014) and using a series of principal component analyses, we found that Sorani Kurdish-Persian bilingual speakers followed a similar acoustic pattern in their two different languages, suggesting that each speaker has a unique voice but uses the same voice parameters when switching from one language to the other.
{"title":"Bilingual acoustic voice variation: the case of Sorani Kurdish-Persian speakers","authors":"Maral Asiaee, Homa Asadi","doi":"10.14712/24646830.2022.26","DOIUrl":"https://doi.org/10.14712/24646830.2022.26","url":null,"abstract":"Many individuals around the world speak two or more than two languages. This phenomenon adds a fascinating dimension of variability to speech, both in perception and production. But do bilinguals change their voice when they switch from one language to the other? It is typically assumed that while some aspects of the speech signal vary for linguistic reasons, some indexical features remain unchanged across languages. Yet little is known about the influence of language on within- and between-speaker vocal variability. The present study investigated how acoustic parameters of voice quality are structured in two languages of a bilingual speaker and to what extent such features may vary between bilingual speakers. For this purpose, speech samples of 10 simultaneous Sorani Kurdish-Persian bilingual speakers were acoustically analyzed. Following a psychoacoustic model proposed by Kreiman (2014) and using a series of principal component analyses, we found that Sorani Kurdish-Persian bilingual speakers followed a similar acoustic pattern in their two different languages, suggesting that each speaker has a unique voice but uses the same voice parameters when switching from one language to the other.","PeriodicalId":234203,"journal":{"name":"AUC PHILOLOGICA","volume":"140 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2023-01-17","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"133746195","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
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