By Shulamith Lev-Aladgem
Toutes les littératures connaissent le style narratif bref, lui donnent des skills comme: 'nouvelle', 'novella', 'fable', 'fabliau', 'dit', 'conte', 'cuento', and so forth. Les diversifications terminologiques multiples trahissent cependant l'incertitude des auteurs et de leurs destinataires devant ce modus dicendi particulier. automobile qu'est-ce que c'est qu'un récit bref? Est-ce simplement un récit de moins de a hundred pages comme le prétendent certains érudits contemporains ou faut-il supposer l'existence d'autres critères sur l. a. base desquels on pourrait arriver à une différenciation vraiment fonctionnelle? Dans l. a. pratique toute tentative de catégorisation des nombreuses manifestations du style narratif bref est restée vaine. Le paradoxe est cependant que ce mode littéraire populaire, qu'on ne réussira probablement jamais à circonscrire de façon adéquate, semble se conformer à un sure horizon d'attente et se distinguer de l'écriture épique ou romanesque. Le recueil d'études que voici fait l'histoire de ce modus dicendi fascinant dans les littératures de l'Espagne, de l'Italie et de l. a. France (et des régions francophones) et cela depuis le Moyen Age jusqu'à nos jours. Les différentes contributions donnent des analyses approfondies des points traditionnels et novateurs ayant accompagné los angeles naissance et l'évolution de ce style particulier. L'approche plurilinguistique ne permet non seulement l'étude de l'évolution de ce style bref dans les trois aires culturelles en query, mais ouvre également l. a. voie aux analyses comparatistes.
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Additional info for Festivalising!: Theatrical Events, Politics and Culture. (Themes in Theatre: Collective Approaches to Theatre & Performance)
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CONCLUSION By these speculative experiments, in which we have followed a communicative perspective in order to analyse the impact and effect of a performance inside and outside a festival structure, we have found good reasons to expect differences in interpretation, emotional response and evaluation between these two different settings. The degree of the differences, we postulate, is very much dependent on the questions: (a) whether the festival structure is a condensed one; and (b) to what degree a festival participant is involved in the different activities of a festival.
Stalls, performances, eating drinking and promenading), over the years it has become a means of reconciliation, a festival shared by all the community, including the immigrant communities and the worker communities from the farms, etc. Festivals as eventifying systems 41 FESTIVALS AS (POLY-)SYSTEMS There are a number of ‘myths’ that appear to govern so much of our idealism for arts and culture in South Africa? A key one is the myth of one culture for all (not the rather antiquated idea that there is some kind of ‘universal’ norm of what constitutes art and culture across the globe, but the notion that there can be a single cultural system in a country).
We propose therefore the following hypothesis: – The more spectators are involved in the different activities of a festival, the more their need for affiliation will be gratified. 3. Evaluation In dealing with festivals, two levels of evaluation can be distinguished: (a) the evaluation related to makers of the single performance, and (b) the evaluation related to the organisers of the festival. Under ‘interpretation’, we have already indicated some consequences in the dimension of evaluation, when a theatrical event is perceived within a festival structure.