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يسلط المقال الضوء على تجربة الفنانين المهجنين \"Cantieri Meticci\"، وهي مجموعة مسرحية بدأت منذ بضع سنوات في مدينة بولونيا، بمبادرة من بيترو فلوريديا. مجموعة بأفراد من خلفيات متنوعة إذ يضم طالبي اللجوء والمهاجرين والإيطاليين والأوروبيين: نصادفهم في الشارع ونمنحهم الفرصة ليصبحوا محترفين في المجال الفني. نستعرض قراءات قدمتها المجموعة للعاصفة \"The Tempest\" لشكسبير، التي تركز على شخصية كاليبان. Caliban قام الممثلون الشباب في المجموعات بوضع النصوص ابتداء من المفاهيم الأساسية مثل الغيتو) الأحياء المغلقة، (الاستعمار، وصمة العار واستعمال ما تعرفه فلوريديا بأنه \"عمل لإعادة بناء - تعمير\" للنص باستحضار تفسير العلاقة بين بروسبيرو Prospero وكاليبان Caliban في ضوء العلاقة رئيس/ مرؤوس - عبد، كانموذجاً ضد الاستعمار استعمله عدد من الكتاب الأكثر موثوقية في دراسات ما بعد الاستعمار: من فرانتز فانون إلى إيمي سيزار الذين استلهموا من نص شكسبير.

The article presents the thematic groups of outdated lexicon in the play \"The Storm\" written by A. N. Ostrovsky. The definitions of historicism and archaism have been identified in modern linguistics. It has been found out that in the play \"The Storm\" written by A. N. Ostrovsky the following groups of historicisms, including: historicism, naming the person (social position, personal dependence, titles); historicism, used to name the administrative-territorial units, land holdings, regions, associations, plots, houses, awards; historicism, which are used in the trade and economic sphere (means of payment, securities, money); historicism used to indicate measures, weight, length, liquids; and archaisms, including: 1) self-lexical; 2) lexico-semantic; 3) lexico-phonetic; 4) lexico-word formation archaisms have been determined.

This research paper aims at explaining the lexical, literary, and cultural definitions of the term 'adaptation'. It also presents the opinions of multiple adaptation critics, focusing mainly on Edward Said, Roland Barthes, Julia Kristeva, and Gerard Genette. The paper, moreover, offers an explanation of the meaning of 'cultural adaptation' and highlights the various adaptation strategies used in analyzing adapted texts. This research also presents an analysis of John Dryden's and William Davenant's The Tempest: or. The Enchanted Island (1667), a seventeenth century rereading of William Shakespeare's last play The Tempest (1611). Through the analysis, the paper highlights the features of neoclassicism as applied to the play, as well as offers a comparison between both the renaissance original text and the restoration adapted version so as to satisfy the literary tastes of the seventeenth century audience.

In The Tempest, his final play, William Shakespeare is able to depict one of the significant ideas shared by many creative writers in a convincing manner. Contrasting illusion with reality throughout the play, he resorts to a number of literary devices and techniques that help entertain the audience while, at the same time, providing viewers and readers with multiple interpretations. One such device is his capacity to render familiar ideas in unfamiliar ways greatly similar to what is presented in modern day fantasy books and movies that are blended with magic realism. Based on Victor Shklovsky's concept of defamiliarization (Os-tranenie), this article will attempt to shed light on some of these possible interpretations which are basically related to humans and the world they live in. A world where human life was, is, and will remain an arena of conflicting values such as peace and conflict, love and hatred, justice and injustice, morality and immorality, tranquility and tempests, etc. Accordingly, the bard's work demonstrates that achieving paradise or utopia on earth is an illusion to which we constantly resort to avoid dealing with the harshness of reality; on the other hand sinking in an abyss of unresolvable misery is similarly an illusion which can be overcome if people are ready to face reality. It will also purport to show that reality and illusion are just as intertwined as human happiness and despair.

This paper discusses Shakespeare's works, while examining the way in which he portrays the relationship between fathers and daughters. The paper examines the plays \"Romeo and Juliet\" and \"The Tempest,\" in which the daughters pursue certain courses in life due to their fathers' patriarchal actions. Further, the paper discusses the play \"The Tempest,\" in which the character Miranda follows, although somewhat rebelliously, the eventually advantageous path set out by her father. The paper also examines \"Romeo and Juliet\" in which the bonds between Juliet and her father appear to be much more loyalty bound than love oriented and patriarchy constraints are to the extreme. Using references from literature discussing Shakespeare's writings, the paper presents this view of the roles of fathers and daughters relation in Shakespeare's works.