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End of Unit Test 4. Introduction This unit makes a brief presentation of the dramatic work of Oscar Wilde, with a focus on his play The Importance of Being Earnest. After some general considerations about his work and social image, the discussion of the play is divided into two main areas: the interpretation of the social aspects and the more recent postcolonial reading of some scenes and motifs.

They will be able to identify key aspects of his drama, of his devices and style. They will provide reasons for a postcolonial reading of The Importance of Being Earnest.

General Considerations Together with W. Synge was an enthusiastic promoter of the Revivalist concern with the preservation of the folk traditions of the Gaelic- Irish peasantry.

Although a broad cultural phenomenon, encompassing historical, anthropological and sociological preoccupations, the Literary Revival is mostly associated with drama and the performances of the Abbey Theatre in Dublin. The audiences of the Irish National Theatre at the beginning of the twentieth century appreciated most those productions that contributed to creating a national identity or to promoting revolutionary or patriotic values, like those presenting heroic figures from the past or from Celtic legends.

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  2. Мы получили эту информацию от другой колонии октопауков.
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The Revival was therefore perceived as quasar anti aging recenzii menaj bun movement of utmost cultural importance, able to counteract the imperial discourses that quasar anti aging recenzii menaj bun the Celts and the Irish in a subordinate position, inferior racially to the Aryan Anglo-Saxons because of their femininity, irrationality and childlike behaviour.

Synge is well known in Irish literature for presenting better than any other writer the Hiberno- English language that the Irish peasants spoke at that time. This choice represented a solution to one of the problems facing the literary revival, namely the impossibility of the Irish National Theatre to be really Irish if its intinerirea fetei natural were performed in English.

Synge recognized that there was no tradition of Irish language drama, therefore he decided that his dramatic language would be a form of English based on the syntax and locutions of Irish. It is the aesthetic value more than the political value that interests him.

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He was deeply interested in studying the ways of cea mai buna crema antirid 30 ani Irish peasants in the remote Aran Islands which were not affected by the spoiling effects of the Industrial revolution, and after his stay there he published ethnographic works of a great significance, like The Aran Islands, published in In it he described the shock of his encounter with the reality of people living in close contact with nature and the elements.

He started from these observations in his playwriting as well, and like Yeats, had a romantic impulse in glorifying the authentic Celtic spirit. But at the same time, he adopted an artistic, detached attitude that is required for a true artistic representation, and the result of this lucidity led to the comic-serious mode he adopts in The Playboy of the Western World, recognized by most critics as a masterpiece of modern comedy and the master-work of the Abbey Theatre.

It was first staged in January when it caused great riots.

Growing out of a story Synge had heard on Aran, the play describes the complexity of a Gaelic community, its distrust and fascination with romancers and great talkers. The success of the play is partially due to the quality of its language, rich in expressions and linguistic forms of the Hiberno-English dialect spoken in Western Ireland, in natural imagery, lyrical and violent at the same time.

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The theme of the play, focused on the portrayal of a village community and the growth of its main protagonist in both understanding and power of expression, also distinguishes this play from the more conventional theatrical productions of the time In the Preface to his play, Synge explains the principles of good drama writing and the special conditions that must be taken into account by the Irish writers.

As if to counteract those critics who declared that the language of the play was not authentic, Synge states that he had heard those words he puts into the mouths of the Mayo villagers while he was still a child.

On the stage one must have reality, and one must have joy; and that is why the intellectual modern drama has failed, and people have grown sick of the false joy of the musical comedy, that has been given them in place of the rich joy found only in what is superb and wild in reality.

In a good play every speech should be as fully flavoured as a nut or apple, and such speeches cannot be written by anyone who works among people who have shut their lips on poetry. In Ireland, for a few years more, we have a popular imagination that is fiery and magnificent, and tender; so that those of us who wish to Cofraj elvețian anti-îmbătrânire start with a chance that is not given to writers in places where the springtime of quasar anti aging recenzii menaj bun local life has been forgotten, and the harvest is a memory only, and the straw has been turned into bricks.

Use your own words. An Overview of the Play The plot of the play is simple and so are the characters. He is tired and tells the story of how he killed his father and ran away from the police. Christy wins the hearts of all the girls in the village with the telling of his unusual story and in a sporting event becomes the absolute champion. Pegeen was also courted by Shawn Keogh, her cousin, who wants to arrange the marriage with the drunkard father by bribing him with his cattle.

Christy is also courted by Widow Quin, rumoured to have killed her husband, and unlike the botox pentru ochi girls, she is attracted to him for his real nature rather than the fantasies of virility and freedom he generates in the imagination of the villagers.

It is in vain that Christy attacks him again in order to kill him, The attitude of the villagers is no longer a favourable one, on the contrary, they treat him as a common criminal.

The violence performed in heir presence turns them against him and, being afraid of the law, they tie him and torture him. Fortunately, Old Mahon enters the stage again and rescues his son from his captors. Christy now leaves with his father, but no longer obeying the old man, but in command.

Being transformed into an image of power and dignity, he expresses his disdain of the gullible Mayo peasants. As mentioned above, there were great riots and protests at the Abbey theatre when the play was first performed. Yeats was the director of the theatre and as he was out of town, he received telegram calling him urgently.

The situation was full of irony, for the protests were caused mainly by the revelation of the violence inherent in the Irish peasant.

The reaction of the outraged audience was precisely a confirmation of this violence, so Synge was ultimately right. And this conviction was certainly shaped and reinforced during his stay in the Aran Islands.

The love-scenes were also seen as inappropriate, while in fact Synge had taken inspiration from The Love Songs of Connacht, a collection of Gaelic poetry edited by Douglas Hyde.

Volumele care îi poartă semnătura, opt la număr, care şi-au câştigat un loc central în spaţiul filozofiei ideilor, nu au trecut niciodată neobservate. Au fost amplu dezbătute în presa culturală, şi nu numai, din ţară, iar dinşi în cea din străinătate. Ca preşedinte al Institutului Cultural Român, pe care îl conduce dina reuşit să confere acestei instituţii anvergură internaţională. Prezent la Timişoara, zilele trecute, unde Facultatea de Litere, Istorie şi Teologie a Universităţii de Vest i-a decernat titlul de Doctor Honoris Causa şi unde, la Salonul Internaţional de Carte Bookfest a ţinut o dezbatere, Horia-Roman Patapievici a fost ţinta unor atacuri verbale virulente, dar cu miză sterilă.

The physical prowess Christy demonstrates in sporting competitions was also seen as a parody of Cu Chulainn, a heroic legendary figure appreciated by the militant Irish patriots. Christy combines these cultural and heroic dimensions, but he is also a figure of anti-authoritarian and anti-patriarchal liberation and a human renewal of spirit.

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Poetry and Violence Poetry lichid anti-imbatranire violence are indeed closely interwoven in the play. Such a perception is no wonder for a country girl who had never left her village and whose predictable and uninteresting life was shaped by the Catholic community and by poverty. If Christy undergoes an evolution in the play, Pegeen on the contrary seems to be fixated in an inescapable condition.

Just like Oscar Wilde or George Bernard Shaw, Synge also operates with gender inversions, and not only for the sake of comic effects. Of course that Shawn Keogh is ridiculous when he is afraid to approach Christy even when the latter is tied, but the whole community of Mayoites seems to be more valliant in speech than in deeds. They exist as a community and enjoy this spirit when they share drinks in the pub and can manifest their verbal skills.

Correspondingly, Christy is admired by all the girls in the village for his femininity his small feet, his delicate phrasingand he is surprised by them admiring himself in the mirror, a most typically feminine gesture.

Bruce Sterling

Its men commit most of the verbal violence onstage and are actually less aggressive in action, whereas the women, schooled to repress their instincts, are consumed by unappeased pugnacious impulses. There is violence in Pegeen, as in many persons, and it has not been assuaged by the gallous story: this becomes clear when she lights the sod of turf to cripple her former lover. They lack certain manners and refinement, but are equipped for the life of poverty and routine that is inescapable in their condition and retained the vitality of ancient times.

Language and Identity Language is the central concern of the play. Christy is recognized as a poet by several characters in quasar anti aging recenzii menaj bun play, and he comes to represent the alien poet whose mystery makes him attractive to the deprived community where he arrives.

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Every time he tells his story, which happens several times during his first day in Mayo, he adds more embellishments to it, encouraged by the audience especially the village girls that gathers to listen to him and to offer him presents as signs of appreciation.

Then I turned round with my back to the north, and I hit a blow on the ridge of his skull, laid him stretched out, and he split to the knob of his gullet. The developments of his poetic skills is accompanied by a significant change of personality. His life had been harsh, marked by extreme poverty, oppressive work and a tyrannical father. The only joy he could find was in the contemplation of nature, which reveals his poetic disposition.

  • În disperare de cauză, l-am rugat pe domnul Cristian Lăzărescu să-mi împrumute primul roman al lui Bruce Sterling, Involution Ocean, o carte publicată tocmai încu mult înainte de apariţia mişcării literare de care mă ocup în această rubrică.
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When his father reappears he is betrayed by Pegeen who turns on him on his new displays of savagery. Take him on from this, or the lot of us will be likely put on trial for his deed today. The end of the play can no longer be of the same poetic kind. The experience that Christy gained makes him more self —reliant and less interested in the admiration of an audience or of a woman. He is presented as a real master of his life and a mature poet who achieves conciseness and depth to the detriment of ornamentation of his discourse.

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The identity issues of the play can also be read from a postcolonial perspective. Thus he demonstrated the annihilation to which oppression may reduce a person or a community. He becomes attractive for the Mayo community precisely because they can inscribe on his emptiness their own desires and dreams.

He is also perceived as a saviour, a Messianic hero, a cultural representation of the terrible state of dispossession of Ireland in the nineteenth century after the Famine and the massive emigrations. The significant moment of liberation for him is not so much his imitation of the poetic language of Mayoites and his success in embodying their imagination, as his realization at the end of the play, when he has formed his own conception of himself. He thus embodies in an artistic form the decolonization necessary to the Irish nation.

Example Read the following fragment from the end of the play and study the behaviour of individual characters and of the mob. Is it me to go near him, and he the wickedest and worst with me? Let you take it, Pegeen Mike. Come on, so. What ails you?

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SHAWN -- [triumphantly, as they pull the rope tight on his arms. If we took pity on you, the Lord God would, maybe, bring us ruin from the law to-day, so you'd best come easy, for hanging is an easy and a speedy end.

I'll not stir. To Pegeen. And what is it you'll say to me, and Quasar anti aging recenzii menaj bun after doing it this time in the face of all?

I'll say, a strange man is a marvel, with his mighty talk; but what's a squabble in your back-yard, and the blow of a loy, have taught me that there's a great gap between a gallous story and a dirty deed.

To Men. Take him on from this, or the lot of us will be likely put on trial for his deed to-day. MEN -- [pulling rope.

And leave us to hang, is it, for a saucy liar, the like of you? To men. Take him on, out from this. Pull a twist on his neck, and squeeze him so. Twist yourself. Sure he cannot hurt you, if you keep your distance from his teeth alone.