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When icebergs were seen off the coast of southern New Zealand in November 2006, Otago Daily Times photographer Stephen Jaquiery was first on the scene, provoking an avalanche of interest from around the world. Writer Dave Cull tracks the journey of the icebergs from their Antarctic beginnings to their appearance and demise in the temperate waters off the coast of the South Island. He answers the questions: how are icebergs formed; why did these ones travel so far north; how big are they; where did they come from; will we see more, and, is their appearance the result of global warming?.
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New Russian Drama took shape at the turn of the new millennium-a time of turbulent social change in Russia and the former Soviet republics. Emerging from small playwriting festivals, provincial theaters, and converted basements, it evolved into a major artistic movement that startled audiences with hypernaturalistic portrayals of sex and violence, daring use of non-normative language, and thrilling experiments with genre and form. The movement's commitment to investigating contemporary reality helped revitalize Russian theater. It also provoked confrontations with traditionalists in society and places of power, making theater once again Russia's most politicized art form.This anthology offers an introduction to New Russian Drama through plays that illustrate the versatility and global relevance of this exciting movement. Many of them address pressing social issues, such as ethnic tensions and political disillusionment; others engage with Russia's rich cultural legacy by reimagining traditional genres and canons. Among them are a family drama about Anton Chekhov, a modern production play in which factory workers compose haiku, and a satirical verse play about the treatment of migrant workers, as well a documentary play about a terrorist school siege and a postdramatic "text" that is only two sentences long. Both politically and aesthetically uncompromising, they chart new paths for performance in the twenty-first century. Acquainting English-language readers with these vital works, New Russian Drama challenges us to reflect on the status and mission of the theater.
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Pour comprendre une chose aussi vaste et terrible que la Russie, écrit Kireïevski, l'un des premiers slavophiles, il faut la considérer de loin. » Nous avons suivi ce sage conseil. Vouloir dresser en un seul dossier du Magazine littéraire un tableau de la littérature russe, de Pouchkine à nos jours, aurait été un pari intenable. C'est la Russie vue de l'Europe, et principalement de la France, qu'il s'agit ici d'observer. Des premiers découvreurs du XIXe siècle aux traducteurs qui nous donnent à lire les jeunes romanciers d'aujourd'hui, les passionnés des lettres russes ont été d'inlassables passeurs. Mérimée révèle le talent de Gogol, Gide et Proust délimitent une ligne de partage intangible entre les fervents de Dostoïevski et ceux de Tolstoï, René Char célèbre Mandelstam. Plus près de nous, Louis Martinez retraduit Pouchkine, André Markowicz propose, dans une nouvelle traduction, les œuvres complètes de Dostoïevski, tandis que, grâce aux efforts conjugués des traducteurs et des directeurs de collection émergent de nouvelles voix, Mark Kharitonov, Leonid Guirchovitch, Mikhaïl Chichkine et tant d'autres. Les auteurs russes seront les invités du 25e Salon du livre de Paris, du 18 au 23 mars prochain. Ce dossier est aussi une manière de les saluer.
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