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Este texto apresenta um estudo comparativo entre três álbuns do compositor canadense John Oswald – Plunderphonic (1989), Plexure (1993) e Grayfolded (1994-95) – com base em sua ideia de plunderphonics. Utilizando como mote noções do teatro épico brechtiano, além das concepções de formas narrativas em geral, busca-se mostrar como os plunderfones são concebidos em cada álbum. Por fim, é feita uma reflexão sobre a relação familiaridade e transformação no plunderphonics paralelamente à de forma e conteúdo no teatro épico.

Taszycka analizuje film Bent w reżyserii Seana Mathiasa z 1997 roku. Akcja obrazu rozgrywa się w latach 30. w hitlerowskich Niemczech. Główny bohater filmu – Max (Clive Owen) trafia do obozu w Dachau, gdzie jednak nie przyznaje się do swojego homoseksualizmu, podając się za Żyda. W konsekwencji na jego pasiaku zamiast różowego trójkąta widnieje żółta gwiazda Dawida. Max poznaje podczas transportu Horsta (Lothaire Blumenau), który z dumą nosi w obozie różowy trójkąt. W ostatniej scenie filmu Max także zakłada na siebie pasiak z różowym trójkątem, a film Bent staje się tym samym opowieścią o jego poszukiwaniu tożsamościowej identyfikacji. Taszycka podkreśla celową, teatralną sztuczność filmu Mathiasa. Odnajduje w niej dążenie do osiągnięcia efektu obcości, znanego z teatru Bertolda Brechta, ale w poszukiwaniu teatralnych analogii idzie jeszcze o krok dalej. W oszczędnej formie filmu, jego teatralizacji, rytmie i symbolice odczytuje odniesienia do teatru Samuela Becketta, klasyfikując tym samym Benta jako film Beckettowski.

Roman Jakobson, who had left Russia in 1920 and in 1941 took refuge in the USA from the Nazis, was one of the main figures in post war linguistics and structuralism. Two aspects of his work are examined in this article. Firstly, Jakobson purifies his linguistic theory of pragmatic references. Secondly, he develops his own diplomatic mission of mediating between East and West. In this article, I argue that these two aspects did not develop independently from one another. Instead I claim that his theory is designed to slip through the Iron Curtain, while at the same time providing the means to analyse ways of acting politically by using language. This argument is unfolded in two steps, each consisting of two parts. First, I compare the theory of pronominal expressions as developed by Emil Benveniste to Jakobson's theory of shifters. While Ben veniste focuses on the relation of language and its subject using language, Jakobson introduces a model of communication to allow maximal formalisation of language. According to this even the category of person can be freed from its reference to a subject which would be understood as having a place in space and time. Then, Jakobson's theory of shifters is studied in relation to his analyses of poetry. For this, two examples are chosen: Jakobson's text on two poems by Russian poet Alexandr Blok, and his text on a poem by Bertold Brecht. In both texts, the theory of shifters—and the alleged purification from pragmatic aspects of language use ensuing from this theory—is challenged by the simple fact that they focus on the pronoun of the first person plural. According to Jakobson, the category of number does not belong to the shifters. Rather, number quantifies participants of the related event. The pronoun 'we' is at the same time a shifter and a non-shifter, as it refers to the speech event and the related event. Thus the pronoun 'we' opens up the possibility to include or exclude the participants of a communicative situation, and thereby enables the speaker to act socially or even politically by using language. The article concludes by coming back to the historical situation in which Jakobson developed his analyses of poetry. Analysing poetry seems to have been a passe-partout for him, a seemingly harmless subject that allowed him to get a foot in the door of remote and secluded lecture halls.

This chapter focuses on “The Author as Producer,” where Walter Benjamin sets out the demand, the artistic, or political coefficient that Bertold Brecht made of author-actors and of critics. It looks at the ways illusions are nourished in situ without interruption that represents a highly disputable activity and even more so if the materials enhancing such fascination present themselves as revolutionary in nature. The chapter also analyzes Edgar Allan Poe's works that suggest writing a poem is conceived as an absolute commodity that defines beforehand the points of sensibility upon which the poem must act so as to absolutely fascinate. It emphasizes how fascination is what any commodity tautologically seeks rather than to awaken or establish a distance. The author, the director, the actor, and the modern poet hope to exercise the power of reverie in which the spectators embody their hopes in order to satisfy them passionately.

WRITTEN AT GREAT SPEED IN 1939 in response to the Nazi invasion of Poland, and first performed two years later, Bertold Brecht's masterpiece, Mother Courage , is often claimed to be the greatest antiwar play of all time.

In West Yorkshire, what the community wants from the NHS is clear: the status quo. No closures. And an irate lawyer from Suffolk has just per suaded a publisher to issue a whole book on the iniquity of refusing to accede to the demands of the people of Sudbury (Betraying the NHS, by Michael Mandelstam). Labour's political fate may hang on whether community - we want our district general hospital - can be reconciled with efficiency or clinical best practice. Neither then nor now is that tricky question above answered, about whether community should always trump other values. The Rowntree study focuses on Wythenshawe in Manchester and Ely in Cardiff. What if the long-run interests of inhabitants lay with breaking up such social estates, by means of sales or removal, enforced by an \"enlightened\" housing department? Ask the community in Barking or the Isle of Dogs or rural Cambridgeshire whether it wants \"diversity\" and the answer will be no; it's the job of elected politicians and their professional staff to adjust and adjudicate. To regret the destruction of community by a decline in coal prices, for example, is one thing. To say that communities should be empowered to resist market forces goes way beyond the bounds of consensus politics, and could well be a recipe for permanent dependence on state support.

  Performing arts students will star in Bertold Brecht's The Threepenny Opera, which he used to criticise the bad social conditions of the time and to satirise German society...

  Performing arts students will star in Bertold Brecht's The Threepenny Opera, which he used to criticise the bad social conditions of the time and to satirise German society.

  The musical was adapted from an 18th century English ballad opera, John Gay's The Beggar's Opera, by [Bertold Brecht] and composer Kurt Weil in 1928.

The exhibition, which explores the world of the blind and takes place entirely in the dark, was supposed to close at the end of January. Sponsors of the experience - Bezeq Telecommunications, the Municipality of Holon, the Ministry of Social Affairs and the Rich Foundation - have all kicked in some extra funding to keep it going. Compiled and directed by Hannah Marron, the evening draws on [Bertold Brecht]'s most famous works, such as Threepenny Opera (his adaptation together with long-time collaborator, Kurt Weill, of John Gay's The Beggar's Opera), Weill's The Rise and Fall of the City of Mahagonny, for which Brecht wrote the libretto, The Good Person of Sezuan, and collections such as Poets in Exile and Refugees Talk (Sichot Plitim). A lifelong Communist supporter and theatrical innovator, the already famous Brecht fled Nazi Germany in 1933, ending up in Hollywood in 1941, together with another very famous German exile, author Thomas Mann.