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Ananta Charan SuklaPages 13-18DOI: 10.3726/b10729_13 ABSTRACT Rasa, Dhvani and Rasa-Dhvani are the major critical terms in Sanskrit poetics that developed during the post-Vedic classical period. Rasa (lit. juice) is used by a sage named Bharata (c. 4th C. B.C. – 1st C. A.D.) to denote the aesthetic experience of a theatrical audience. But Anandavardhana (9th […]

Krishna Praveen, V. Anitha DeviPages 19-26DOI: 10.3726/b10729_19 ABSTRACT The term Kathakali has by far become a word that is known widely among theatre lovers all over the world. It is no longer an art intended to perform within the four walls of a temple in Kerala, with only a limited educated upper class to appreciate.

Jinghua GuoPages 27-42DOI: 10.3726/b10729_27 ABSTRACT In the 20th century, the adaptation of William Shakespeare’s classic dramas onto the Chinese stage have attracted great interest. The study of such cross-cultural adaptations has positive significance not only for development of literary theory, literary criticism and literary history, but also in that it promotes unusual forms of innovation

Cyril-Mary Pius Olatunji, Mojalefa L.J. KoenanePages 43-51DOI: 10.3726/b10729_43 ABSTRACT Gelede is a typical Yoruba concept which has evolved into a traditional form of musical performance with its influence has transcend its traditional abode in the Yoruba communities of Nigeria and West Africa to Latin Americas, parts of Europe, Australia and the Black world at large.

María Vives AgurruzaPages 53-66DOI: 10.3726/b10729_53 ABSTRACT The Flowers of War (2012), based on the homonymous novel by Geling Yan, and City of Life and Death (2009) are recent Chinese films that deal with the so-called ‘Nanking Massacre‘ or ‘the Rape of Nanking‘. The events which inspired these stories in the context of the second Sino-Japanese

Qingben LiPages 67-75DOI: 10.3726/b10729_67 ABSTRACT During the past ten years, China’s micro film industry has made a rapid development aided by technological changes. Focusing on three types of micro films, this paper reveals some characteristics of China’s micro films within socialist cultural production with Chinese characteristics. This model departs from a past when the government

Annette Thorsen VilslevPages 77-82DOI: 10.3726/b10729_77 ABSTRACT Discussing the intercultural reception of Pier Paolo Pasolini, this article looks into the intercultural and medial crossovers of his person and his work. It shows the historical particularities of Pasolini’s work, and it traces layers of intermedial references in his movie production, describing the many-layered intercultural interplay. Lastly, it

Adile Aslan AlmondPages 83-102DOI: 10.3726/b10729_83 ABSTRACT Fontane Effi Briest by the German director Rainer Werner Fassbinder is arguably one of the greatest adaptations from literature to screen, and the best Effi Briest adaptation. Although the first reception of the movie, when it appeared in 1974, was not without unmixed reviews, most scholars nowadays share the

Yang Geng, Lingling PengPages 103-124DOI: 10.3726/b10729_103 ABSTRACT As a response to the problems of language in Chinese modern and avant-garde art from 1988 to 1998, early video art reclaimed the independence of language from social reality and political influence and established it on the basis of the time phenomenon. By comparing the category of time

Carolina Fernández CastrilloPages 125-136DOI: 10.3726/b10729_125 ABSTRACT Early 20th century Futurist attempts in visual poetry can be related to technology-based poetic creation and current digital experiences. This essay seeks to enhance the understanding of Media Poetry by identifying the existing connections between the “words in freedom” and Eduardo Kac’s Holopoetry. This example of interactive and immaterial