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Abstract In his critique of intercultural ideology and practice in theatre, Rustom Bharucha proposes an alternative concept, intraculturalism, which describes the dynamics of the interaction between various cultural contexts within a single nation or a theatre production. When applied to the discussion of exilic identity, the dynamic of the intracultural takes on a different meaning: it identifies the exilic self as a territory of multiple, unmarked discourses, the discourses that are still waiting to be recognized, acknowledged, and brought into coherent dialogue with each other. Secondly, Bharucha extends his notion of the intracultural to describe the art of the theatrical mise en scène as the process of creating a multivocal performance discourse that still must be acknowledged as a homogeneous utterance. In theatre, this homogeneity of multiple discourses originates within three spheres: the stage, between stage and audience, and within the audience itself.In the theatre of exilic artists, this intricate mise en scène is also defined by the dynamic of the intracultural encounters that simultaneously appear at the levels of the creator's exilic identity and that of his/her exilic art. The dramatic texts and productions of Lebanese-Québécois artist Wajdi Mouawad are examples of personal, dramatic, and theatrical intraculturalism that form the basis for this phenomenon, and thus are the focus points chosen for this study.
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AbstractThe First World War damaged the European psyche, and physically and mentally maimed a whole generation of European men fortunate enough to survive the maelstrom. Nowhere was this more apparent than in post-war and Weimar Germany. For some young German veterans, the war never ended; they simply brought it home to continue the fight in the chaotic streets of the new republic. They revelled in the experience of violence, which they directed against their enemies, real and imagined. Between 1919 and 1923, dozens of loosely organized groups embarked on a campaign of revolutionary terrorism designed to spark a civil war and unite the disparate elements of the German Right behind the goal of creating an authoritarian state. After the failure of the Hitler Putsch in November 1923, the extreme Right altered its tactics and developed sophisticated political organizations capable of competing for influence in the government it once worked to destroy. While the Weimar Republic weathered multiple attempts to bring it down through violence, it was overcome by a combination of internal events and the misguided attempt by the mainstream conservatives to co-opt the Nazis. Assassinations and other terrorist acts alone did not destroy the Weimar Republic, but those responsible for such acts conducted a protracted, multi-faceted effort to undermine its legitimacy. The extreme Right's early campaign of violence destabilized the Weimar government and both intimidated and enthralled the German people. The Nazis deployed revolutionary terrorism in their political struggle and delivered the death blow to the Weimar Republic.
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Québec theatre abounds with Shakespearean adaptations (not counting translations, another genre entirely). Jean-Pierre Ronfard's texts contributed significantly to this corpus of adaptations which seek to appropriate “le grand Will” to work through Québécois issues. In Lear (1977) and Vie et mort du Roi Boiteux (1981),we see the evolution of the importance of nationalism and feminism before and after the referendum.The nation is destroyed by Rabelaisian carnival, but carnivalesque death is always associated with regeneration, which, in Ronfard's works, is entrusted to regal daughters in whom we can find hope for the reconstruction of the nation once its bastardry has been celebrated. Ronfard's plays also comprise a metafictional critique of Shakespeare himself who literally enacts the theory of the death of the author while giving birth to another Shakespeare who is entirely Québécois.
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In his work on discourse in the novel, Mikhail Bakhtin defines the aesthetic value of literature as arising from the dialogical interdependence of two equal and separate consciousness: that of the author and that of the character, each taking on a distinct spatial/temporal form (“Author” 87). The device of heteroglossia—a conflicted co-existence of distinct narrative voices within a unified literary utterance— makes this tension of author/character relationships visible. Characterized by “a diversity of social speech types” and “a diversity of individual voices, artistically organized,” heteroglossia defines the authorial utterance and the character`s speech as a territory for many voices to interfere and compete within (Bakthin, “Discourse” 262). By analogy, Meerzon argues, Bakhtin's theory of heteroglossia and his view of the author/character interdependence can illuminate the complexity of an authorial utterance in the immigrant solo performance, in which the voice of the author, the voice of the performer, and the voice(s) of the character(s) are simultaneously diversified and intertwined. The product of a certain social and cultural environment, such performance reflects the “internal stratification present in every language at any given moment of its historical existence” (263); yet through the performative gesture of telling one's personal story on stage, a delicate balance between the performer's identity and her artistic work is suggested. As her example, Meerzon turns to the work of Mani Soleymanlou, a Quebecois theatre artist of Iranian origin, Trois. Un spectacle de Mani Soleymanlou, which traces the ontological and fictional difference between the immigrant author, character, and performer on stage.
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The limitations and weaknesses inherent in Pratt's writing are especially evident in "The Parable of Puffsky," which propagates racist stereotypes under the guise of an anti-materialist message. Pratt's tendency is towards facile cultural generalizations. The poet's considerable prosodic skill enables him to didactically underline his ideas; for example, the reiteration of masculine rhymes lend considerably to the declarative -- and thus authoritarian -- nature of the poem. Since "Puffsky" is apparently an anti-materialist piece of work, the racial undertones are usually overlooked.
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In the early years of the Great Depression, the American Socialist Party (sp) attracted left-wing youth and intellectuals at the same time that it faced the challenges of distinguishing itself from the Democratic Party of Franklin D. Roosevelt. By 1936, as its right-wing historic leadership (the “Old Guard”) left the sp and many of the more left-wing members of the sp had decamped, the party dwindled to a shell of its former strength. This article examines the internal struggles within the sp between the Old Guard and the left-wing “Militant” groupings and analyzes how the groups to the left of the sp reacted, particularly the pro-Moscow Communist Party and the supporters of Trotsky and Bukharin who were organized into two smaller groups, the Communist Party (Opposition) and Workers Party.
Keywords: American Socialist Party, pro-Moscow Communist Party, Trotsky, Bukharin, Communist Party, Workers Party, Socialist Party of America