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Journal articles on the topic 'Actors, biography'
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1
Wijaya, I. Nyoman. "Bagaimana Menulis Biografi Audiovisual Poststrukturalis?" Jurnal Sejarah Citra Lekha 6, no. 2 (December 31, 2021): 130–43. http://dx.doi.org/10.14710/jscl.v6i2.40409.
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Poststructuralist audiovisual biography is written using a poststructuralist historical approach and audiovisual archives. This study presents a new method in writing concise and concise biographies for the purpose of making papers and publication articles. The problem is focused on how the writing technique is? Like poststructuralist history, this biography model departs from the actor's present situation in the past. The goal is to explore the actor’s experience that brought him to where he is now. The actor’s successness or failureness today depend on the capital (resources) he has. Are these resources in accordance with the profession? Resources are formed from habits that have undergone internalization to form habits as a guide for actors in thinking and acting when dealing with social reality. Considering this biography model is relatively unknown to academics and history students in genera. This study also discusses the method to write biography as well as the theory that can be used as a basis for thinking. Thus, Bourdieu's generative structural theory is considered very relevant to be used.
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Modisane, Litheko. "Experiments in cinematic biography: Ken Gampu’s early life in the cinema." Journal of African Cinemas 12, no. 2-3 (December 1, 2020): 119–35. http://dx.doi.org/10.1386/jac_00032_1.
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Contemporary scholarship on South African film is yet to address the participation of Black actors in film production, exhibition and publicity. The actors’ interpretive roles in the films, their memories and experiences, and the contradictions of their participation in colonial films and beyond, form part of an unexplored and hidden archive in South African film scholarship. This article focuses on Ken Gampu’s early life in the cinema by reflecting on his participation in two films: a western The Hellions and the drama Dingaka. Gampu was a well-known South African actor and also the first Black actor from that country to succeed in Hollywood. This article proposes an experimental methodology of life-writing called ‘cinematic biography’. It shows that the cinematic lives of the marginalized and colonized actors harbour critical potential in enriching the critical perspectives on the cinema and cinematic cultures in South Africa and beyond.
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Prasetyoaji, Anggihat. "TRANSIVITY ON ELON MUSK’S ONLINE BIOGRAPHY:A SOCIAL ACTORS DISCOURSE ANALYSIS." JURNAL BASIS 7, no. 1 (April 6, 2020): 13. http://dx.doi.org/10.33884/basisupb.v7i1.1673.
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This research’s content is the analysis of biography texts about Elon Musk taken from four websites by combining SFL’s transitivity and Leeuwen’s social actor representation approach. The aims of this research are (1) to find the portrayal patterns of the social actor using social actor approach, (2) to find the linguistic evidences of the patterns using transitivity, (3) to explain the portrayal of the social actor based on the patterns found, and (4) to compare the results with the context and genre of biography. This research is categorized as a descriptive-qualitative research by using transitivity and Leeuwen’s social actor approach. Spradely’s method of domain, taxonomy, componential, and cultural context analysis is used to collect and analyze the data. The data sources for this research are four biography texts about Elon Musk taken from Britannica, BBC, Business Insider, and Investopedia. The research produced several results as follows: (1) various social actor representation patterns are used by the writer to convey their intention and stance in relation with the social actor, (2) the processes contained in the texts are identified by using transitivity, thus providing linguistic evidences, (3) representation patterns that are the most consistently occurring are: activation, passivation (subjection and beneficialization), determination, nomination, functionalisation, and instrumentalisation. These patterns can be deduced as the obligatory patterns in biography texts, and (4) the texts analyzed are relevant with the qualities of a biography text.
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Wanzo, Rebecca, and Carol A. Stabile. "#MeToo: A Biography." Biography 45, no. 4 (2022): 379–94. http://dx.doi.org/10.1353/bio.2022.a910376.
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Abstract: This introduction looks at the difference between Tarana Burke's "me too" and #MeToo. The chronologically distinct origin stories for the forms of activism #MeToo has generated illustrate a distinction between Burke's "me too," grounded in her work with Black girls and created to raise awareness of the collective plight of survivors of sexual violence, and "#MeToo," an example of hashtag feminism that has come to be associated with identifying individual bad actors. We look at various manifestations of #MeToo as well as feminist debates in telling the story about #MeToo's successes and failures.
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Lee, Tom. "HENRY RAND HATFIELD AND ACCOUNTING BIOGRAPHY." Accounting Historians Journal 29, no. 2 (December 1, 2002): 123–30. http://dx.doi.org/10.2308/0148-4184.29.2.123.
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The paper reasserts the importance of biographical research in accounting history by reference to Stephen Zeff's book on Henry Rand Hatfield. It illustrates that depth studies of individual actors offers compelling insights to the history of accounting theory, practices and institutions. Biography also has the capacity to reveal insights which have a bearing on modern day issues.
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Baldwin, Olive, and Thelma Wilson. "Nancy Dawson, Her Hornpipe and Her Posthumous Reputation." Restoration and Eighteenth-Century Theatre Research 30, no. 1-2 (2015): 55–71. http://dx.doi.org/10.5325/rectr.30.1-2.0055.
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Abstract Nancy Dawson was famous for dancing the hornpipe during her short career on the London stage (1756-63). The tune to which she danced was quickly named after her and became popular as a ballad tune. After her death, “Nancy Dawson” was used as a name for race horses and boats and the tune took on a life of its own, while the dancer was forgotten. During her stage career she had been slandered in so-called Genuine Memoirs (quickly pirated as Authentic Memoirs) and attacked in satires over her liaison with the comic actor Edward Shuter. However, the tune’s popularity with sailors and a set of bawdy words made to it in the early nineteenth century led to her acquiring a reputation of being little more than a common prostitute. This paper attempts to sift fact from fiction about her life and character and considers errors and omissions in her entries in the Biography Dictionary of Actors and the Oxford Dictionary of National Biography.
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Danzer, Gerhard. "Sagbares, Unsagbares, Unsägliches." Rhetorik 37, no. 1 (November 1, 2018): 7–23. http://dx.doi.org/10.1515/rhet.2018.002.
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Abstract Rhetoric in medicine refers to various acts and actors: the patients speech; the doctors speech; the resulting narratives - for instance the medical history; the patients biography; the narration of the doctor-patient relationship; the cultural history of doctor, patient and illness.
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Soares, Hélio Nuno, and Maria Luísa Jacquinet. "Em busca da “freira do Santo Cristo” os bastidores da primeira biografia de Madre Teresa da Anunciada, OSC (1658-1738)." Via Spiritus: Revista de História da Espiritualidade e do Sentimento Religioso, no. 29 (2022): 139–54. http://dx.doi.org/10.21747/0873-1233/spi29a6.
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The first biography of Teresa of Annunciation (1658-1738), a famous Poor Clare of the Monastery of Nossa Senhora da Esperança in Ponta Delgada, is recognised as a major source in the crystallisation of the opinion of virtue of the biographee and in the promotion of the cult of the Holy Christ,of which she was the most impressive promoter. Symptomatically nicknamed the “Book of the Holy Christ”, this copy of the devotional biography, signed by the oratorian José Clemente and published in 1763, may be understood as part of the process of canonical authorisation of the nun’s holiness, although it should itself be seen as the result of a constructive process in which various intentions, wills, mentors and actors took part. It is this process which, based essentially on unpublished sources, namely the epistolary correspondence exchanged between the 4th Countess of Ribeira Grande and some nuns from the Monastery of Esperança, the present study intends to examine, and which lastly aims to contribute to the analysis of the figure of the illustrious mother and the expressions of piety that have always been associated with her.
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Tańczuk, Renata, and Sławomir Wieczorek. "Sensitive Recording as a Form of Life: The Case of Ryszard Siwiec’s Message." Prace Kulturoznawcze 26, no. 1 (July 22, 2022): 35–52. http://dx.doi.org/10.19195/0860-6668.26.1.3.
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By analyzing the biography of Ryszard Siwiec’s recording of his message, we explore the function and changing identity of sensitive sound recordings, and the ethics of handling them. In our view, sensitive recordings are linked to the experiences of trauma, exclusion, and injustice of those whose voices were recorded and the community they were part of. A recording may also be considered sensitive if it is used in a racist context or for other stigmatizing practices. Sensitive recordings are “difficult,” sometimes “troubling,” but also “moving”; they stir emotions. Although sensitive recordings are associated with physical and social death and exclusion, we view them and what is recorded on them as a form of life. Each recording has its own biography and agency, becomes an active actor in a complex social network, and is subject to the actions of other actors. Our analyses of the biography of Siwiec’s recording reveal its affective and emotional power, its role as a carrier of family and national memory, its changing identity, and its agency in shaping the identities of its listeners. We would like to argue that sensitive recordings require attentive and sensitive listening. This kind of listening becomes an ethical postulate that results from a concern for those whose voices are made public, the author of the recording, and the recording itself.
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Tomanovic, Smiljka. "Bringing social biography to life course studies: Agency and reflexivity in education-to-work transitions in young adults’ biographies." Stanovnistvo 60, no. 2 (2022): 9–28. http://dx.doi.org/10.2298/stnv2202009t.
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The paper is based on my longitudinal qualitative study, which takes a ?social biography approach? to exploring and interpreting biographical sequences in a person?s life course from early childhood to young adulthood. Against the background of a recent debate that argues for bringing ?life? back to life course research through the implementa?tion of qualitative data, the paper explores how life course studies could gain from taking a social biography approach to youth transitions. I focus on analysing education-to-work transitions within the biographies of a young woman and a young man from working-class families. The analysis shows that their education-to-work transitions were not based on linear trajectories, but their decision-making agency was path-dependent on their previous agency in differ?ent biographical contexts, and also linked to the lives of significant others. I argue that there is a heuristic benefit to including reflexivity within a study of the life course through the actors? interpretation of the impact of coun?try-specific ?opportunity structures? on their education and employment. Analysis of the two biographies has also revealed that the emotions and satisfaction displayed in the actors? reflections also had an impact on their agency in relation to education and work. After discussing the compatibility of the social biography approach with life course studies, I conclude that life course studies benefit from including a biographisation to the contextualisation of transition process.
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Faiz Bolkiah, Muhammad, and Amalia Sabila. "The Process of Deepening the Character in Dokudrama “Film Perjuangan K.H. Muhyiddin”." Jomantara: Indonesian Journal of Art and Culture 1, Vol. 1 No. 1 (January 31, 2021): 65–86. http://dx.doi.org/10.23969/jijac.v1i1.3432.
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Dokudrama is a non-fiction film that presents a story based on a true story. Besides being an entertainment medium, a film can also be a learning medium since film provides a good story content and messages. Therefore, it needs an actor as a subject to convey the message of the story that the director wants to deliver. To play a character in a movie, an actor must be able to delve into whatever character is given. Unlike documentaries, dokudrama films use actors as the main subject. An actor in a docudrama should be able to play a subject who has ever been real. An actor in a dokudrama film should be able to play a good role without removing the hallmarks of the original subject. A deepening process in a role, making every actor have their own way in learning the character. The differences in studying and delving into these characters is the focus of this research by using qualitative research methods, by re-describing the results of the researcher's analysis with the main theory. To create this study, the researchers used the presentation theory from Stanislavsky. The acting theory of this presentation has been used since the world of casting art entered Indonesia. This research aim is to find out the character deepening conducted by actors in the dokudrama film “Perjuangan K.H. Muhyiddin” based on the Stanislavsky’s acting presentation theory. Keywords: Dokudrama, Qualitative, Casting, Stanislavsky, Biography
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Rodiņa, Ieva. "Režisors Eduards Miks. Brīvdabas lieluzvedumu prakse 20. gadsimta 30. gados." Aktuālās problēmas literatūras un kultūras pētniecībā rakstu krājums, no. 28 (March 24, 2023): 215–22. http://dx.doi.org/10.37384/aplkp.2023.28.215.
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Director, actor, theater pedagogue Eduards Miks (1893–1943) is a less-studied person in the history of Latvian theater, whose creative work is mainly related to the practice of large-scale open-air large-scale performances in the city of Ogre in the 1930s. The purpose of the article is, firstly, to present the creative biography of Eduards Miks, and, secondly, to analyze his large-scale open-air productions in the context of Latvian 1930s theatre practice. The open-air productions of Eduards Miks can be divided into two groups. Firstly – large-scale productions related to the carnivalization tendency, which begin with a theatrical procession, turning the whole city into a stage and preserving the principle of the theatricalization of life in the organization of the performance as well. The second group – musical productions, in which the actors of Riga theaters are engaged in the title roles, and local art life enthusiasts – in the mass scenes, creating complex mise-en-scenes and impressive mass scenes. Analysis of archival and periodical sources and historical-genetic and semiotic research approach are used. The article states the known facts of Eduard Miks’s life and creative biography, analyzes the most significant open-air productions of the director, as well as compares the directing tendencies of the open-air productions of Eduards Miks to the overall 1930s Latvian theatre practice.
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Azizova, Amina. "The interaction of theater and cinematography in Uzbekistan culture in the first half of the xx century." Central Asian Journal of Art Studies 5, no. 4 (December 25, 2020): 94–104. http://dx.doi.org/10.47940/cajas.v5i4.257.
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The form, typology, essence and causes of the interaction between theater and cinema in the world is one of the priorities in the field, and a number of scientific studies have been conducted on the subject. In world experience, during the development of cinematography, it has been used the help of theatrical figures in overcoming the problems of acting, directing and dramaturgy. The study of theater and cinema as the main types of artistic worldview, in which the relationship between the two independent arts, exchanges of actors, process of interaction, individual characteristics were assessed, and it was considered as a new phenomenon. The article studies issues, causes and factors of influence of the same process in 1920–1930. The interaction of Uzbek theater and cinema, the study of creative ties, see it as a scientific problem has attracted attention in recent years. The article examines the role of Uzbek stage leaders in the development of screen art as a separate process, as well as the phenomenon of interaction between theater and cinema. The author explores a new creative life, a biography of a stage actor in cinema, opened for theater actors on the eve of the twentieth century. The art of filmmaking, which has been fighting for the actor for half a century, studies on facts that have attracted theater performers. Theatrical art has proven to be a model for cinematography in terms of decorating, makeup, music, lighting, and acting. Keywords: theater, actor, cinema, director, genre, image, type, role, phenomenon, screen art, character.
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Veksler, Asya F. "Nadezhda Bromley and Boris Sushkevich: Actors, Directors, Vakhtangov Followers (Materials for a Creative Biography)." Observatory of Culture 17, no. 5 (November 12, 2020): 526–37. http://dx.doi.org/10.25281/2072-3156-2020-17-5-526-537.
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Boris Sushkevich and Nadezhda Bromley (Sushkevich-Bromley) are remarkable theatrical figures, actors and directors whose lot was connected with the bright and dramatic periods of our country’s theatrical life from the beginning to the middle of the 20th century. They devoted a part of their professional life to the 1st Studio of the Moscow Art Theatre (from 1919 — Moscow Art Academic Theatre), which later became a separate theater (Moscow Art Academic Theatre II, 1924—1936). Since the middle of the 1930s, they worked in leading Leningrad theaters — the Leningrad State Academic Drama Theater (Alexandrinsky Theatre) and the New Theater (1933—1953, now the Saint Petersburg Lensoviet Theatre). This article introduces little-studied archival sources of biographical nature related to the work of these outstanding cultural figures.Nadezhda Nikolayevna Bromley was a heiress of the Bromley — Sherwood creative dynasties, which had made a significant contribution to Russian culture. She joined the troupe of the Moscow Art Theater in 1908, performed on the stage of the 1st Studio (1918—1924), was one of the leading actresses of the Moscow Art Academic Theatre II after its separation, participated in its Directing Department being in charge of the literary part. Generously gifted by nature, N. Bromley wrote poems, short stories, novels; her fictional works “From the Notes of the Last God” (1927) and “Gargantua’s Descendant” (1930) earned critical acclaim. Two plays by N. Bromley were staged in the Moscow Art Academic Theatre II. One of them — the full of hyperbole and grotesque “Archangel Michael” — was passionately accepted by E.B. Vakhtangov and A.V. Lunacharsky, though never shown to a wide audience. At the Leningrad State Academic Drama Theater and the New Theater, N. Bromley not only successfully played, but also staged performances based on the works by A.P. Chekhov, A. Tolstoy, M. Gorky, F. Schiller, and W. Shakespeare.Boris Mikhailovich Sushkevich, brought up by the Theater School of the Moscow Art Academic Theatre and in the Vakhtangov tradition of the playing grotesque, is one of the most interesting and original theater directors of his time. His directorial work in the play “The Cricket on the Hearth” based on a Christmas fairy tale by Charles Dickens became the hallmark of the 1st Studio (and later of the Moscow Art Academic Theatre II as well). This play remained in the theatre’s repertoire until January 1936. B. Sushkevich was a recognized theatre teacher — with his help, the Leningrad Theater Institute (now the Russian State Institute of Performing Arts) was established in 1939. Together with N. Bromley, he managed to fill the New Theater with bright creative content and make it a favorite of the Leningrad audience.This research expands the understanding of a number of yet unexplored aspects of the history of theater in our country and recreates the event context of the era.
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Annaorazov, D. S. "Actors of the Civil War in Turkmenistan: the truth and fiction about Junaid Khan." Omsk Scientific Bulletin. Series Society. History. Modernity 9, no. 1 (2024): 65–74. http://dx.doi.org/10.25206/2542-0488-2024-9-1-65-74.
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The article describes about little-known pages in the life of one of the key military and political leaders of the Civil War in Turkmenistan, Junaid Khan — Kurbanmamed serdar (1862–1938). The historiography of the issue is criticized. Based on unpublished sources from the founds of state and departmental archives, the details of the biography of this figure related to his participation in the fratricidal confrontation are clarified. The theoretical basis of the study is a combination of military anthropology, problematic and comparative historical methods. Summing up, the author assesses the personality of Junaid Khan against the backdrop of the controversial era in which this military and political figure lived.
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Humphries, Clare, and Aaron C. T. Smith. "Talking objects: Towards a post-social research framework for exploring object narratives." Organization 21, no. 4 (June 8, 2014): 477–94. http://dx.doi.org/10.1177/1350508414527253.
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In this article, we examine how to give objects a voice in organizational narrative. We track our encounter with a 914 Xerox copier, a redundant technological object that was scripted into a desired historical narrative within a corporate exhibit. Despite the 914’s apparent mnemonic and institutional efficacy, we questioned whether it might constitute more than a narrative repository. Might material objects in organizations also participate in narrative production? In this article, we advocate a post-social approach to narrative methodology that recognizes objects—such as the 914—as non-human actors in organizational sense-making. After reviewing post-sociality’s central premises, we propose three domains through which an object narrative can be elicited: object materiality, object practices and object biography. First, we suggest that object materiality can highlight the significant, networks of forces, materials and people—and therefore episodes and actors—that engage with and through objects. Second, we argue that people and objects are enmeshed in sequenced, workplace activities, and therefore through object practice humans define what stories objects can tell while objects reciprocally influence the latitude of human performance. Third, we propose that object biography provides a strategy to map the connections and transitions that occur over the life-course of an object, which can, in turn, unravel a changing web of organizational relations. Our aim is to provide methodological guidance to narrative researchers seeking to augment their organizational analyses by scrutinizing human–object enmeshment.
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West, M. "Doing It for Athol: Representation and appropriation in My Life." Literator 20, no. 2 (April 26, 1999): 1–16. http://dx.doi.org/10.4102/lit.v20i2.459.
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Athol Fugard has spoken of his need to start again, as an artist. This new beginning is manifest in the two plays published jointly in 1996, My Life & Valley Song. The focus of this article is My Life, an innovative workshopped piece, involving five young women between the ages of fifteen and twenty-one, who offer a selection of “Images and stories from [their] personal biographies” - sub-title of the play. The stories that emerge in the text, I have argued, are not the ones that could have or would have emerged had the actors not been prompted and directed by Fugard. To justify this position a number of questions have been raised: Why did Fugard choose an all-female cast? Why are the actors all so young? What effect did the facilitator have on the actors’ willingness to share their stories? How are the concerns of race and gender treated? How are (self-)censorship and (auto-)biography to be understood in terms of the stories told? Fugard has claimed that he did not write this play, that the words and stories come from the actors themselves. The validity of this claim is examined in the light of these questions, and the politics of representation and of authorship are central to the argument.
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Moldovan, Raluca. "A Romanian Jew in Hollywood: Edward G. Robinson." American, British and Canadian Studies Journal 22, no. 1 (August 15, 2014): 43–62. http://dx.doi.org/10.2478/abcsj-2014-0022.
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Abstract The present study aims to investigate the contribution that actor Edward G. Robinson brought to the American film industry, beginning with his iconic role as gangster Little Caesar in Mervyn Le Roy’s 1931 production, and continuing with widely-acclaimed parts in classic film noirs such as Double Indemnity, The Woman in the Window and Scarlet Street. Edward G. Robinson was actually a Romanian Jew, born Emmanuel Goldenberg in Bucharest, in 1893, a relatively little known fact nowadays. By examining his biography, filmography and his best-known, most successful films (mentioned above), I show that Edward G. Robinson was one of classical Hollywood’s most influential actors; for instance, traits of his portrayal of Little Caesar (one of the very first American gangster films) can be found in almost all subsequent cinematic gangster figures, from Scarface to Vito Corleone. In the same vein, the doomed noir characters he played in Fritz Lang’s The Woman in the Window and Scarlet Street are still considered by film critics today to be some of the finest, most nuanced examples of noir heroes. Therefore, the main body of my article will be dedicated to a more detailed analysis of these films, while the introductory section will trace his biography and discuss some of his better-known films, such as Confessions of a Nazi Spy and Key Largo. The present study highlights Edward G. Robinson’s merits and impact on the cinema industry, proving that this diminutive Romanian Jew of humble origins was indeed something of a giant during Hollywood’s classical era.
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Lobko, Nataliia. "Mykhailo Verkhatskyi: Materials for a Biography." Sums'ka Starovyna (Ancient Sumy Land), no. 62 (2023): 55–62. http://dx.doi.org/10.21272/starovyna.2023.62.5.
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The article is about the outstanding Ukrainian director, theater expert, patriarch of Ukrainian theater pedagogy, laboratory director, secretary of the director's staff of «Berezіl» Les Kurbas, professor of the Kyiv Theater Institute Mykhailo Polijektovych Verkhatskyi. He is also known as a student and employee of Kurbas, the author of reports on directing and acting, articles and memoirs about Les Kurbas. Based on the correspondence between his student V.S. Vasylko and the wife of L. Kurbas, it was established that it was thanks to the careful notes of Mykhailo Polievktovich that the priceless «Director's Diary» of L. Kurbas has been preserved to this day. At one time, he also copied a lot of Kurbas texts, as well as saved part of the manuscript materials from Kharkiv that were related to Kurbas, at the first opportunity he disassembled them, prepared them for printing, transferred them to the museum and thereby preserved them for future generations. It is also a great merit of M. Verkhatskyi to develop the theoretical legacy of L. Kurbas and pass it on to the next theater generations. It turned out that he was among those students of Kurbas who sought to tell the truth about one of the prominent figures of the shot revival. For this, he was forced to leave Ukraine for sixteen years, escaping from persecution. In 1936, M. Verkhatskyi left for Uzbekistan. But even in distant Uzbekistan, he does not forget the lessons of Kurbas. In Tashkent, Mykhailo Polievktovich becomes the founder of the theater institute, its first director, starting the scientific history of the Uzbek theater and training theater experts, actors and directors. In 1952, M. Verkhatskyi returned to Ukraine and began teaching at the Kyiv State Institute of Theater Arts (now the Kyiv National University of Theater, Film and Television named after I. K. Karpenko-Kary). The teacher worked at the acting department and in the period 1958–1963 he headed it and also taught directing. Namely this pedagogical period of his work researchers consider to be the most fruitful and mature. It is noted that after returning to Kyiv, he tried to restore the honest name of his teacher – Les Kurbas. The pedigree of M. Verkhatskyi was investigated and it was established that his ancestors lived in Krolevets and the Andriyivka village of Hadyatsky district of Poltava province (now Sumy region).
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Ivarsson, Søren, and Christopher E. Goscha. "Prince Phetsarath (1890–1959): Nationalism and Royalty in the Making of Modern Laos." Journal of Southeast Asian Studies 38, no. 1 (January 5, 2007): 55–81. http://dx.doi.org/10.1017/s0022463406000932.
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A biography of Prince Phetsarath highlights how a specific idea about Laos and its culture was formed under French colonial rule and nurtured under the Japanese occupation and its aftermath. During these periods, Phetsarath's understanding of Lao cultural nationalism was transformed into a political and anticolonial nationalism. While ultimately a study of failure, Phetsarath's activities show that anticolonial nationalism did not always have to be linked to Communist movements to be ‘revolutionary’, and suggests the importance of taking into account non-revolutionary and non-Communist actors – even members of royal blood – in order to better understand the complexity that went into the making of modern postcolonial states.
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Treude, Mona. "Sustainable Smart City—Opening a Black Box." Sustainability 13, no. 2 (January 14, 2021): 769. http://dx.doi.org/10.3390/su13020769.
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Cities are becoming digital and are aiming to be sustainable. How they are combining the two is not always apparent from the outside. What we need is a look from inside. In recent years, cities have increasingly called themselves Smart City. This can mean different things, but generally includes a look towards new digital technologies and claim that a Smart City has various advantages for its citizens, roughly in line with the demands of sustainable development. A city can be seen as smart in a narrow sense, technology wise, sustainable or smart and sustainable. Current city rankings, which often evaluate and classify cities in terms of the target dimensions “smart” and “sustainable”, certify that some cities are both. In its most established academic definitions, the Smart City also serves both to improve the quality of life of its citizens and to promote sustainable development. Some cities have obviously managed to combine the two. The question that arises is as follows: What are the underlying processes towards a sustainable Smart City and are cities really using smart tools to make themselves sustainable in the sense of the 2015 United Nations Sustainability Goal 11? This question is to be answered by a method that has not yet been applied in research on cities and smart cities: the innovation biography. Based on evolutionary economics, the innovation biography approaches the process towards a Smart City as an innovation process. It will highlight which actors are involved, how knowledge is shared among them, what form citizen participation processes take and whether the use of digital and smart services within a Smart City leads to a more sustainable city. Such a process-oriented method should show, among other things, to what extent and when sustainability-relevant motives play a role and which actors and citizens are involved in the process at all.
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Sutherland, Lucie. "‘The Power of Attraction’: the Staging of Wilde and his Contemporaries at the St James's Theatre, 1892–1895." New Theatre Quarterly 31, no. 1 (January 30, 2015): 33–48. http://dx.doi.org/10.1017/s0266464x15000044.
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The actor-manager system remained pivotal to West End production throughout the later nineteenth century. Focusing on one actor-manager, George Alexander, and using records of his expenditure on productions during the early 1890s, Lucie Sutherland demonstrates how financial data can be used to examine evolving relationships between industry leaders and dramatic authors in this era. She argues that this kind of evidence demonstrates not only the fiscal dimension to such relationships – level of investment per production, percentage of royalties paid – but also that the data may be analyzed to ascertain the responsiveness of an actor-manager to income generated. Here, significant attention is paid to box-office revenue and expenditure for the first productions of Lady Windermere's Fan and The Importance of Being Earnest, exploring the income Alexander achieved by staging Wilde's drama prior to the arrest and trials of 1895. The use of quantitative data allows for close scrutiny of the work undertaken by prominent figures in the professional theatre; familiar narratives can be contested and endorsed through engagement with this type of material. Lucie Sutherland is a Teaching Associate in Drama and Performance at the University of Nottingham. She has written on aspects of nineteenth- and twentieth-century British theatre, including regional performance cultures and the impact of increasing professional regulation (for example the emergence of an actors' union) upon commercial theatre. She is currently completing a critical biography of Alexander.
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Sontag, Katrin. "Refugee Students’ Access to Three European Universities: An Ethnographic Study." Social Inclusion 7, no. 1 (January 10, 2019): 71–79. http://dx.doi.org/10.17645/si.v7i1.1622.
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The article presents an ethnographic fieldwork carried out at three universities in Switzerland, Germany, and France, and analyses how access to higher education for refugees was addressed in the three cases, how and which institutional change and activities were initiated, and by which actors. The article argues that the topic cannot be addressed in isolation but has to consider four intersecting areas: the personal biography and migratory history of the students, the asylum system, the educational system, and the funding situation. For the refugee students, the challenge is that these areas need to be taken into account simultaneously, but what is more challenging is that they are not well in tune with one another. Solutions need to take this complex—and place-specific—situation into account.
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Radkiewicz, Małgorzata. "Maria Hirszbein: An (In)visible Figure of Polish Cinema of the 1920s and 1930s." Camera Obscura: Feminism, Culture, and Media Studies 36, no. 3 (December 1, 2021): 61–83. http://dx.doi.org/10.1215/02705346-9349357.
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Abstract This article examines the career of the Polish film producer Maria Hirszbein (1889–1939/1942) in relation to the development of interwar Polish cinema, including Yiddish films, and the modern idea of a “New Woman.” Investigating Hirszbein's activities as the successful manager of her company, Leo-Film, and as cofounder and member of the Polish film producers’ unions, the article explores her professional accomplishments and innovative work style, which was based on teamwork and promoting young, talented actors, creative directors, and screenwriters sensitive to social issues. In reconstructing Hirszbein's professional biography, the text combines different sources such as press reports, film reviews, photographs from the collection of the Polish National Film Archive (FINA), and data collected by the Institute of Jewish History in Warsaw.
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Lee, Alice. "Teacher embodiment of culturally responsive pedagogies in a fifth grade classroom." Profesorado, Revista de Currículum y Formación del Profesorado 25, no. 3 (November 24, 2021): 91–110. http://dx.doi.org/10.30827/profesorado.v25i3.21461.
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Schools need better roadmaps for accomplishing culturally responsive pedagogy and intercultural education. In this article, I feature the culturally responsive practices of a Black teacher situated in an elementary classroom in the U.S. Her practices contribute to a roadmap for enacting culturally responsive pedagogy that incorporates small group instruction and cooperative learning. I also contend that queries investigating pedagogies affirming minoritized students must consider the primary actors charged to implement such work. In addition to her pedagogical practices, I include data that elucidate how the teacher’s racial biography is explicitly tied to the culturally responsive work she engages in the classroom. I conclude with considerations for how this case study might offer educators, researchers, and policymakers’ ideas for deep integration of intercultural education.
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Gellrich, Arne Lorenz, Erik Koenen, and Stefanie Averbeck-Lietz. "The epistemic project of open diplomacy and the League of Nations: Co-evolution between diplomacy, PR and journalism." Corporate Communications: An International Journal 25, no. 4 (July 24, 2020): 607–21. http://dx.doi.org/10.1108/ccij-11-2019-0129.
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PurposeThe article discusses findings from a research project on the communication history of the League of Nations. It departs from the League's normative goal of “open diplomacy”, which, from an analytical standpoint, can be framed as an “epistemic project” in the sense of a non-linear and ambivalent negotiation by communication of what “open diplomacy” should and could be. The notion of the “epistemic project” serves as an analytical concept to understand this negotiation of open diplomacy across co-evolving actors' constellations from journalism, PR and diplomacy.Design/methodology/approachThe study employs a mixed-method approach, including hermeneutic document analysis of UN archival sources and collective biography/prosopography of 799 individual journalists and information officers.FindingsIt finds that the League's conceptualisations of the public sphere and open diplomacy were fluent and ambivalent. They developed in the interplay of diverse actors' collectives in Geneva. The involved roles of information officers, journalists and diplomats were permeable, heterogenous and – not least from a normative perspective – conflictive.Originality/valueThe subject remains under-researched, especially from the perspective of communication studies. The study is the first to approach it with the described research framework.
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Walulik, Anna. "Biography as a Spatial Frame of Meanings: A Proxemic Analysis in Pedagogical Narrative Analysis." Multidisciplinary Journal of School Education 11, no. 1 (21) (June 29, 2022): 131–50. http://dx.doi.org/10.35765/mjse.2022.1121.07.
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This article presents a method for qualitative data analysis, which is called proxemic analysis. This method was based on a didactic method of structural analysis of narratives (Knecht & Knecht, 1992; Zirker, 1991). A proxemic analysis consists in working with data and indicating five categories in the text – actors, places, time, values, and expectations – and building them using elements, called entities. During the next stage, the researcher discovers the understanding of these categories by defining the relationships between entities. This analysis can be used on narrative texts regardless of the way in which they were obtained (unstructured interviews, diaries, memoirs, autobiographies, etc.). Interpreting the relationships between entities allows the researcher to formulate pedagogical implications, which they may use as a premise for constructing theories and/or activities. The example of the technique presented in this paper, from andragogical research, refers to the study of a life story obtained from a narrative interview.
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Hughes, Richard. "Gates, Jr And Higginbotham, Eds., Harlem Renaissance Lives - From African American National Biography." Teaching History: A Journal of Methods 34, no. 2 (September 1, 2009): 110–11. http://dx.doi.org/10.33043/th.34.2.110-111.
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With hundreds of accessible entries on the lives of African Americans directly or indirectly associated with this period, Harlem Renaissance Lives is an ambitious effort to highlight, and sometimes uncover, the role of African Americans in shaping the United States in the twentieth century. While the entries are brief, the book's strength is its breadth with portraits of not only writers, artists, actors, and musicians but also educators, civil rights and labor activists, entrepreneurs, athletes, clergy, and aviators. Students of history will find familiar figures of the period such as Langston Hughes, Josephine Baker, Duke Ellington, Marcus Garvey, W.E.B. Du Bois, and Adam Clayton Powell, Jr. However, the real value of the work is in highlighting, however briefly, the lives of hundreds of lesser-known African Americans. Some figures, such as educator Roscoe Bruce, the son of a U.S. Senator, grew up relatively privileged, but many of the biographies involve African-Americans whose unlikely contributions begin with a background that included slavery and sharecropping. Regardless, each entry includes a valuable bibliography and information about relevant primary sources such as an obituary and archival collections.
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Serina, Florent. "From Anti-Freudianism to a Bastion of Psychoanalysis: A History of Psychoanalysis at the University Psychiatric Clinic of Strasbourg in the Twentieth Century." Psychoanalysis and History 24, no. 2 (August 2022): 181–203. http://dx.doi.org/10.3366/pah.2022.0423.
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By contrast with a dominant part of the historiography of psychoanalysis in France, which tends to be dedicated to the history of the centres and the biography of the great theorists, this article focuses on the less well known history of psychoanalysis in a peripheral region, namely Alsace, and its capital, Strasbourg. It zooms in on the main central university hospital service in the mental health care system of northeastern France, the University Psychiatric Clinic of Strasbourg. On the basis of abundant and varied sources, it relates the passions, attractions and aversions that Freudian methods aroused among the major protagonists of Strasbourg psychiatry, especially Théophile Kammerer (1916–2005), the director of the Clinic from 1953 to 1982, and the various actors (physician or non-physician) that have circled the establishment throughout the twentieth century.
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Zoltán, Eperjesi, and Boér Zoltán. "Crucial views on the German Reunification of 3 October 1990/Opinii esenţiale cu privire la Reunificrea Germanǎ din 3 octombrie 1990." Hiperboreea 1, no. 2 (December 1, 2014): 201–65. http://dx.doi.org/10.5325/hiperboreea.1.2.0201.
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Abstract Authors of this paper are examining the premises that lead to the historical event of the German reunification (deutsche Wiedervereinigung) of 1990 and simultaneously contemplate on contemporary implications. History could help to grasp the informal and official interaction of top politicians who worked for or against the German unity. Therefore, it can be thought provoking to review according to newly published works how the masterwork of the German unity was carried out and what where the main effects for the new German society? Approach of the authors is a simple one: it is summarised and reviewed what certain key-actors as former Chancellor Kohl and Foreign Minister Hans Dietrich Genscher have written about themselves (autobiography) and others have written about them (biography). Additional study concerns editions with primary sources and other evidences related to the peaceful revolution and German unification of 1990.
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Liubivaia, Irina, and Natal'ya Evgen'evna Korol'kova. "The phenomenon of personality of T. L. Schepkina-Kupernik in the context of theatrical process of the late XIX – early XX century." Философия и культура, no. 6 (June 2020): 1–8. http://dx.doi.org/10.7256/2454-0757.2020.6.33305.
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The interest to the almost forgotten names of female writers of the Silver Ages gas grown over the recent decades. Among them is a prominent and talented Russian and Soviet poetess, translator, writer, play writer, memoirist, journalist T. L. Schepkina-Kupernik. She dedicated approximately 60 years of her life to literary work, and in 1940 was awarded the title of “Honored Master of Arts of RSFSR”. Relevance of the article is defined by the fact that presently the artistic heritage of T. L. Schepkina-Kupernik became undeservingly forgotten, even though it represents great value not only for the Russia, but also for word art history, especially for historians of theatre and literature. Thanks to the translations of T. L. Schepkina-Kupernik, the Russian stage enriched its repertoire, and the audience became acquainted with world-renown dramaturgists. Connoisseurs of the theatrical art were able to appreciate performance of the actors thanks to the memoirs on the actors and peer reviews on their stage performances. An important detail in biography of Tatiana Lvovna consists in her personal experience of acting on stage. The author analyzes the persona of Schepkina-Kupernik from various aspects of her creative work. Analysis is conducted on her work as an actress, writer, translator, and memoirist. Her contribution to the history of the Russian theater is reviewed.
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Horovitz, Roy. "Lea Koenig and Miriam Zohar: Theater Actresses as Memory Agents." IYUNIM Multidisciplinary Studies in Israeli and Modern Jewish Society 37 (July 15, 2022): 147–69. http://dx.doi.org/10.51854/bguy-37a136.
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The art of theater takes place, as a rule, in the ‘here and now’ of the present, yet all participants in a theatrical production (first and foremost the actors) contribute their personal and professional ‘past’ to this ‘present.’ Both ‘first ladies’ of Israeli theater, Lea Koenig and Miriam Zohar, are Holocaust survivors and ninety years old. Throughout rich careers which span over seven decades, Lea Koenig and Miriam Zohar have been cast in ‘Holocaust Plays.’ This essay examines the way they incorporated personal biography in their theatrical performances and their interpretations of dramatic texts. An examination of the different projects in which they were involved reveals that each of them made use of a different strategy to address the memory of the Holocaust in Israel. Their personal cases can both teach us about the role of the artist as an agent of memory within the society in which he or she lives and performs and exemplify more general patterns in Israel’s memory of the Holocaust.
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Bobrovnikov, V. O., and M. I. Kayaev. "‘Ali al-Ghumuqi (Kayaev) as the Historian of Caucasus’ Muslim Peoples." Islam in the modern world 16, no. 3 (October 25, 2020): 119–43. http://dx.doi.org/10.22311/2074-1529-2020-16-3-119-143.
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The paper is an attempt at writing of the new conceptual biography of a renowned Muslim reformist leader in late tsarist and early Soviet Caucasus. After ‘Ali al- Ghumuqi more known under the name of Kayaev (1878–1943) from the Dagestani village of Ghumuq fell the victim of the Stalinist political repressions and then was gradually rehabilitated, historians often presented him a leftist journalist and politician close to the Bolsheviks, sometimes also a bibliophile who collected one of the largest private libraries of Muslim Oriental manuscripts and documents. Seriously revising this not very correct image the authors of this article investigate rather his academic research activities that allow rethinking Kayaev as a Muslim historian revisionist. The focus is made on his Oriental source studies that traced the future development of the famous Dagestani school of academic Oriental studies in the twentieth century, as well as on Kayaev’s original treatment of Muslim historiography he considered through the lenses of Muslim peoples’ development as principal historical actors.
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Kinservik, Matthew J. "Love à la Mode and Macklin's Return to the London Stage in 1759." Theatre Survey 37, no. 2 (November 1996): 1–22. http://dx.doi.org/10.1017/s0040557400001605.
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In the 1750s, Charles Macklin's theatrical career was in limbo. While he is now remembered and studied as an important playwright and one of the principal (and longest-lived) actors of the eighteenth century, by the mid-1750s he can only have felt that he was a failure. Poor relations with the managers of Drury Lane and Covent Garden, a series of unsuccessful plays, and a diminishing repertory of roles led to his (enforced) retirement in 1753. He then opened a tavern, which quickly bankrupted him. Too little attention has been paid to this grim period in Macklin's career and to the triumphant retrieval of his theatrical fortunes in 1759 with his farce Love à la Mode. The importance of Macklin's return to the stage was recognized by William W. Appleton, who devoted an entire chapter of his 1960 biography of Macklin to this episode. Nonetheless, several important biographical questions remained unanswered or insufficiently answered—questions I would like to reopen based on some newly discovered evidence.
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Della Marca, Manlio, and Uwe Lübken. "“Down Beside where the Waters Flow": Reclaiming Rivers for American Studies (Introduction)." Review of International American Studies 14, no. 1 (September 30, 2021): 13–24. http://dx.doi.org/10.31261/rias.12459.
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Over the past three decades, rivers have become a fascinating and popular subject of scholarly interest, not only in the field of environmental history, where river histories have developed into a distinct subgenre, but also in the emerging field of environmental humanities. In this scholarship, rivers have often been reconceptualized as socio-natural sites where human and non-human actors interact with the natural world, generating complex legacies, path dependencies, and feedback loops. Furthermore, rivers have been described as hybrid “organic machines,” whose energy has been utilized by humans in many different ways, including the harvesting of both hydropower and salmon. Indeed, as several environmental historians have noted, in many regions of the world, watercourses have been transformed by technology to such an extent that they increasingly resemble enviro-technical assemblages rather than natural waterways. Rivers have also been discussed through the lens of “eco-biography,” a term coined by Mark Cioc in his influential monograph on the Rhine River, a book informed by “the notion that a river is a biological entity—that it has a ‘life’ and ‘a personality’ and therefore a ‘biography’.” Quite surprisingly, despite this “river turn” (to use Evenden's phrase), rivers have played a marginal role in recent American Studies scholarship. To address this gap, this issue of RIAS brings together scholars from different disciplines, countries, and continents to analyze a wide variety of river experiences, histories, and representations across the American hemisphere and beyond. Hence the title of this volume, Rivers of the Americas, should be seen as both an allusion to the Rivers of America book series (a popular series of sixty-five volumes, each on a particular US river, published between 1937 and 1974) and as a reminder of the still untapped potential of hemispheric, transnational, and comparative modes of critical engagement with rivers in American Studies.
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Terekhina, Vera N., and Nikolai V. Kotrelev. "“…Given to Comrade V.V. Mayakovsky”: An Unknown Letter by Lunacharsky to Dzerzhinsky." Literary Fact, no. 21 (2021): 185–95. http://dx.doi.org/10.22455/2541-8297-2021-21-185-195.
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The article presents the historical context of the first-published document from the GARF foundations — A.V. Lunacharsky's letter of recommendation about V.V. Mayakovsky, addressed to F.E. Dzerzhinsky on April 13, 1918. In this regard, Mayakovsky was recommended to Dzerzhinsky as well-in knowledge of “artists, poets and other actors, in one way or another associated with anarchist groups”, for their “rehabilitation and termination of persecution”. The article establishes a link between the two events related to the published letter, namely, the release of the first and only issue of “Futurist Newspaper” on March 15 and the closing of “Cafe of Poets” on April 14, 1918. Based on the published letter, the article establishes a connection between the two events, namely, the release of the first and only issue of “Futurist Newspapers” on March 15 and the closing of “Cafe of Poets” on April 14, 1918. It concludes that there is a need for an in-depth examination of the anarchist period in Mayakovsky's creative biography. In this context, Lunacharsky's letter of recommendation to Dzerzhinsky is the earliest official document of Mayakovsky’s soviet period.
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Urbańska, Sylwia. "Is Apostasy from a Family Possible? The Apostasy from an Alcoholic-Abusive Family as a Variant of (Un)Becoming a Daughter – the Case of Natalia." Qualitative Sociology Review 10, no. 1 (January 31, 2014): 80–103. http://dx.doi.org/10.18778/1733-8077.10.1.05.
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An analysis of the biography of Natalia, a former resident of a Polish children’s home who, at the age of thirteen, voluntarily left her biological, dysfunctional family, aims to address a question which is fundamental, but rarely asked by the sociologists of family. Is it possible to completely quit a relation with one’s family of origin? What identity and biographical consequences does such a decision imply? This article consists of two parts. In the first, theoretical one, I argue that the process of quitting one’s family is a liminal, unstructured status passage, especially, for two categories of actors – adolescents and mothers who decide to pass taking care of children to fathers. I take into account the cultural and institutional basis of the liminal character of their experience. I also explain why, in order to comprehend those difficult instances, I propose using the metaphor of apostasy. The second, empirical part of the article, is devoted to studying the biographical and identity consequences and limitations of the process of apostasy. I analyze them on the basis of Natalia’s autobiography, which provided inspiration for those reflections.
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LIPIŃSKI, Artur. "Dyskursywne (re)konstruowanie charyzmy. Przypadek Lecha Wałęsy." Przegląd Politologiczny, no. 1 (November 2, 2018): 107–20. http://dx.doi.org/10.14746/pp.2011.16.1.8.
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The paper analyzes the discursive reconstruction of L. Wałęsa’s charisma by the Gazeta Wyborcza newspaper in response to S. Cenckiewicz and P. Gontarczyk’s book entitled SB a Lech Wałęsa. Przyczynek do biografii [The secret police and Lech Wałęsa. Addendum to a biography]. The paper uses the methodology of interpretative research which emphasizes the role of meaning for the social and political construction of reality. Inspired by the theoretical and methodological proposals of discourse analysis it examines the mechanisms used to reconstruct Lech Wałęsa’s charismatic identity in response to a book that undermines his social image. These attempts also involve the construction of individual identity, in the case under analysis, the identity of historians and authors of the book who are responsible for undermining this image. Therefore, the paper also attempts to analyze media representations of S. Cenckiewicz and P. Gontarczyk. Attention is primarily focused on the key actors, on the features attributed to them and related argumentative strategies understood as a more or less intentional plan of discursive practices adopted in order to achieve defined social, political, linguistic or psychological purposes.
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Falk, Seb. "The scholar as craftsman: Derek de Solla Price and the reconstruction of a medieval instrument." Notes and Records: the Royal Society Journal of the History of Science 68, no. 2 (February 5, 2014): 111–34. http://dx.doi.org/10.1098/rsnr.2013.0062.
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The Royal Society Conversaziones were biannual social evenings at which distinguished guests could learn about the latest scientific developments. The Conversazione in May 1952 featured an object that came to be called King Arthur's Table. It was a planetary equatorium, made in Cambridge's Cavendish Laboratory at the behest of Sir Lawrence Bragg. Conceived by the historian of science Derek de Solla Price as a huge, tangible realization of Chaucerian astronomy, it was displayed at the new Whipple Museum of the History of Science, discarded, stored incognito, catalogued with that whimsical name, and finally re-identified in 2012. This article examines the biography of that object and, through it, the early, inchoate years of the discipline of history of science in Cambridge. The process of disciplinary establishment involved a range of actors beyond well-known figures such as Herbert Butterfield and Joseph Needham; the roles of Price and Bragg are highlighted here. Study of these individuals, and of the collaboration that brought about the reconstruction, reveals much about the establishment of a discipline, as well as changing scholarly and curatorial attitudes towards replicas.
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Andrews, Jonathan, and Chris Philo. "James Frame’s The Philosophy of Insanity (1860)." History of Psychiatry 28, no. 1 (February 3, 2017): 129–41. http://dx.doi.org/10.1177/0957154x16671259.
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Our aim in presenting this Classic Text is to foster wider analytical attention to a fascinating commentary on insanity by a former inmate of Glasgow Royal Asylum, Gartnavel, James Frame. Despite limited coverage in existing literature, his text (and other writings) have been surprisingly neglected by modern scholars. Frame’s Philosophy presents a vivid, affecting, often destigmatizing account of the insane and their institutional provision in Scotland. Derived from extensive first-hand experience, Frame’s chronicle eloquently and graphically delineates his own illness and the roles and perspectives of many other actors, from clinicians and managers to patients and relations. It is also valuable as a subjective, but heavily mediated, kaleidoscopic view of old and new theories concerning mental afflictions, offering many insights about the medico-moral ethos and milieu of the mid-Victorian Scottish asylum. Alternating as consolatory and admonitory illness biography, insanity treatise, mental health self-help guide, and asylum reform and promotion manual, it demands scrutiny for both its more progressive views and its more compromised and prejudicial attitudes.
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Kurban, Dilek. "An Intimate Yet Anglo-Centric Account of a Renaissance Human Rights Man." Israel Law Review 54, no. 1 (January 14, 2021): 120–34. http://dx.doi.org/10.1017/s0021223720000242.
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In his well-researched biography, Mike Chinoy chronicles Kevin Boyle's life and career as a scholar, activist and lawyer, bringing to light his under-appreciated role in the civil rights movement in Northern Ireland and the efforts to find a peaceful solution to the conflict, as well as his contributions to human rights movements in the United Kingdom, Europe and the world. Are You With Me? is an important contribution to the literature on the actors who have shaped the norms, institutions and operations of human rights. In its efforts to shed light on one man, the book offers a fresh alternative to state-centric accounts of the origins of human rights. The book offers a portrait of a social movement actor turned legal scholar who used the law to contest the social inequalities against the minority community to which he belonged and to push for a solution to the underlying political conflict, as well as revelations of the complex power dynamics between human rights lawyers and the social movements they represent. In these respects Are You With Me? also provides valuable insights for socio-legal scholars, especially those focusing on legal mobilisation. At the same time the book could have provided a fuller and more complex biographical account had Chinoy been geographically and linguistically comprehensive in selecting his interviewees. The exclusion of Kurdish lawyers and human rights advocates is noticeable, particularly in light of the inclusion of Boyle's local partners in other contexts, such as South Africa.
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Sokolova, Natalia I. "The ancient poet and philosopher in M. Arnold’s dramatic poem “Empedocles on Etna”." Science and School, no. 4, 2020 (2020): 18–25. http://dx.doi.org/10.31862/1819-463x-2020-4-18-25.
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„Empedocles on Etna”, called by Arnold „dramatic poem”, was not meant to be staged. In a work with three actors (Empedocles, his pupil Pausanias and the poet Callicles) there is almost no action, the predominant role is given to the monologues of the famous philosopher. The article analyzes the image of the main character of the poem. The state of the man of transition era in Ancient Greece, suffering from disappointments, doubts, loneliness, Arnold considered consonant with modernity. Lonely, disillusioned in the world Empedocles is contrasted in the poem with Callicles, who joyfully accepts life. Episodes of Ancient Greece mythology are interwoven into the text of the poem, contributing to the understanding of the image of Empedocles, the nature of the relationship between the characters. Empedocles’ monologues touch upon the problems relevant to the Victorian era, connected with the new attitude to the universe, to nature, to the problems of faith. Empedocles with his “congestion of the brain” is close to the author (according to Arnold himself). Thus, without deviating from the facts of the biography of the ancient poet and philosopher, Arnold, in essence, creates a portrait of his contemporary.
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Al-Shami, Abdulrahman. "Politicization of television talk shows: an analytical study of Allewan program." Dirasat: Human and Social Sciences 49, no. 2 (August 2, 2022): 192–211. http://dx.doi.org/10.35516/hum.v49i2.1784.
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This study aims to investigate how television talk shows are politically employed, especially in times of political conflict between Qatar on one side and Saudi Arabia on the other. Its focus is on AlLewan program that was broadcast on Rotana Khalejia channel during Ramadan 2019. The program includes 29 episodes. The study finds that Alshawa [the awakening] Movement, Qatar, the Saudi opposition, and the Muslim Brotherhood are the top issues addressed in the program. Main actors of the discourse in the program include Osama bin Laden, Saudi opposed Saad Al-Faqih and Mohammed Almasa’ari, and the Saudi crown prince. The most emotionally loaded words and phrases are used to construct a call for facing the state, to ascertain the domination of Allah, and to impose awakening guardianship on the society. The program uses a number of communication strategies and techniques, including communication process strategy, confrontation and accusation, and the showing of clips from previous videos. The program applies several argumentative tools related to the Alshawa, Muslim Brotherhood, Qatar, Islamic cassette tape, the Saudi Crown Prince. These tools include the narrative technique, the use of historical narratives, citations from Qur'anic verses as well as hadiths and prophetic biography.
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Stoltenberg, Daniela, Barbara Pfetsch, Alexa Keinert, and Annie Waldherr. "Who Are They and Where? Insights Into the Social and Spatial Dimensions of Imagined Audiences From a Mobile Diary Study of Twitter Users." Social Media + Society 8, no. 3 (July 2022): 205630512211230. http://dx.doi.org/10.1177/20563051221123032.
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Social media users hardly know who is reading their posts, but they form ideas about their readership. Researchers have coined the term imagined audience for the social groups that actors imagine seeing their public communication. However, social groups are not the only aspect that requires imagination: In the potentially borderless online environment, the geographical scope and locations of one’s audience are also unknown. Furthermore, research has demonstrated that imagined audiences vary between people and situations, but what explains these variations is unclear. In this article, we address these two gaps—the geographical scope and predictors of imagined audiences—using data from a mobile experience sampling method study of 105 active Twitter users from Berlin, Germany. Our results show that respondents mostly think of a geographically broad audience, which is spread out across the country or even globally. The imagined geographical scope and social groups depend on both the communicator and the usage situation. While the audience’s social composition especially depends on tweet content and respondents’ sociodemographic characteristics, the geographical scope is best explained by respondents’ biography and personal mobility, including their experience of living in other countries and local residential duration.
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Vázquez, Gabriela Prego, and Luz Zas Varela. "Unvoicing practices in classroom interaction in Galicia (Spain): The (de)legitimization of linguistic mudes through scaling." International Journal of the Sociology of Language 2019, no. 257 (May 27, 2019): 77–107. http://dx.doi.org/10.1515/ijsl-2019-2021.
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AbstractThis article explores how the concept that we have chosen to callunvoicing practices, namely veiled discursive micro processes of social exclusion and silencing that social actors manage in byplay; in other words, subordinated forms of communication among a subset of unaddressed members of ratified listeners. These practices constitute efficient resources aimed at the (de)legitimization of linguisticmudeprocesses within new “spaces of multilingualism” associated with migration in Galicia. The research was carried out in the second-year class of a Curricular Diversification Programme at a secondary school in Arteixo (A Coruña, Galicia, Spain), a community that has experienced an increase in its allochthonous population in recent years. The corpus of this study comprises the pupils’ linguistic biography, classroom interactions and a fieldwork log. The analysis shows the complex network of scales in which languages are legitimized or delegitimized – specifically, translinguistic practices of listeners’ participation in which local varieties of Spanish and Galician, youth slang and parodic double of Moroccan Arabic are crossed and make themselves heard through byplay in order to silence the principal speaker. This interactional distribution results in the latent discursive reconstruction of new translocal spaces in which migration-associated multilingualism remains peripheral and practically invisible.
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Rifqi, Muhammad, and Yeni Prastiwi. "Gender Stereotype Portrayal on Hardworking Women In “The Intern” Movie Director’s Perspective." Language Circle: Journal of Language and Literature 18, no. 2 (April 30, 2024): 342–48. http://dx.doi.org/10.15294/lc.v18i2.49363.
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As the film industry developed, movies became a concern for some people. One of them is feminists, feminists are starting to infiltrate the film world, and like actors and directors, like Nancy Meyers, Nancy is a gender equality person. The purpose of this research is to find similarities between the characters in the film The Intern (Jules Ostin) character and the director and the reasons why the director included those elements. This research uses a qualitative descriptive method and the sources are the film itself (The Intern 2015), transcripts from the film and news media. Based on the results of this study, it can be concluded that there are similarities between the life of the director and the character of Jules Ostin. The director tries to include and portray several elements of feminism and gender stereotypes that are presented through the director’s own biography, and also emphasizes that the director (Nancy Meyers) wants people and views to notice a woman when she brings this subject in the film to change and consider them equal to men. in matters of life or choosing a profession.
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Evans, Curtis J. "Billy Graham as American Religious and Cultural Symbol." Harvard Theological Review 108, no. 3 (July 2015): 471–81. http://dx.doi.org/10.1017/s0017816015000280.
Full textAbstract:
Writing a biography challenges us in fundamental ways as scholars of religion, as historians, and as human beings. We are forced to reckon with the implicit and explicit theological commitments of religious persons, the ways they inhabited the world, the sometimes “strange country” that is the past, and the varied ways in which our subjects took for granted things by which we find ourselves and our age so troubled. While we may eschew “taking sides” in our attempts to be good scholars and under the noble goal of not wanting simplistically and reflexively to impose our contemporary moral judgments upon figures from the past, we cannot avoid discussing the moral choices historical actors made, assessing their prominence in their time, their influence on their broader surroundings, and their legacy beyond their times. All of these factors have great bearing on how we narrate the lives of historical figures and how we represent them in the present. James Baldwin's impassioned claim that it is with “great pain and terror [that] one begins to assess the history which has placed one where one is, and formed one's point of view” might sound a bit overly deterministic, but it is worth remembering when thinking self-consciously about how we critically assess and evaluate those about whom we write. Grant Wacker's new biography of Billy Graham, America's Pastor, invites the reader along to grasp more fully what this looks like as Wacker, a self-described “partisan of the same evangelical tradition Graham represented,” masterfully evokes and unfolds Graham as a shaper of public consciousness and a spokesperson for millions of “ordinary Americans.” This work possesses the virtues of the careful and considered reflections of a seasoned historian's analysis of the life of a famous religious leader who is deeply admired by many Americans. It is about the closest we will get to a full appreciation of Graham the man and Graham the icon.
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Бережна, Світлана, and Олена Дьякова. "ACTIVITIES OF BORIS HMYRYA DURING THE SECOND WORLD WAR." КОНСЕНСУС, no. 1 (2024): 46–59. http://dx.doi.org/10.31110/consensus/2024-01/046-059.
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The work’s aim is to highlight Boris Romanovych Hmyria’s life during the Second World War. The methodological basis of the work are the principles of historicism, objectivity and systematicity. The article is based on philosophical and special scientific methods of the socio-humanitarian sphere of scientific knowledge. The scientific novelty consists in the study of the activities of B. Hmyria during the Second World War. The singer's biography of 1939-1945 is recreated, and important events that happened in his life at that time and in the post-war period are determined. Conclusions. The life of Boris Romanovych Hmyria during the Second World War can be divided into three stages: before the Nazi occupation (1.09.1939–22.10.1941), during the Nazi occupation (24.10.1941–25.03.1944) and after the Nazi occupation (25.03.1944–2.09.1945). All three stages and post-war life unite performances on stage, improvement of creative potential, and love of the public. But there are peculiarities. At the beginning of the war, B. Hmyria’s career was beginning and was successful, as evidenced by the award of Honored Artist of the Ukrainian SSR in 1941. The second stage is marked by the fact that the singer was a civilian prisoner (as told to him by the head of the Poltava Opera Z. Wolfer) and was forced to perform where he was ordered. This period negatively affected the future life of the man. After the liberation of Ukraine from the German occupiers, the attitude of some of the colleagues towards Boris Romanovych was negative. Despite the support of the Soviet government and the boundless love of the public, persecution in the theatre led to the premature death of the artist. It should be noted that the biography of B. Hmyria was typical for actors who survived the Nazi occupation, and differed only in that he did not survive the arrest and prison term, like many others. He had the opportunity to emigrate to the West, but his boundless love for Ukraine forced him to stay in his native land.
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Atkins, Peter J. "When Somerset Invaded Ayrshire: A Story of Scottish Cheese, 1790–1890." Journal of Scottish Historical Studies 42, no. 2 (November 2022): 175–96. http://dx.doi.org/10.3366/jshs.2022.0353.
Full textAbstract:
There are certain commodities that are part of the taken-for-granted background of Scottishness. Cheese is one of them. Dunlop, in particular, has been around since the eighteenth century but, despite its iconic status, its biography has yet to be fully explored. This paper is a preliminary probe, suggesting that Dunlop and its main rival, Scottish Cheddar, were locked in a struggle for pride of place in the national palate. The story is a complex one of knowledge transfer of cheesemaking techniques from Somerset in South-West England coupled with innovation and popularisation by Scottish cheesemakers. One comparative measure of value and quality referred to is price, as derived from newspapers such as the Caledonian Mercury. This shows that traditional Dunlop was less valued than Cheddar in the Scottish market. Lesser demand, lower price, and lower esteem all then contributed to a rethink about the Dunlop system of cheesemaking. From the 1850s onwards Dunlop was increasingly made using elements of the Cheddar recipe and techniques, and by 1890 the two cheeses were indistinguishable in taste and texture. Overall, the paper reassesses a number of actors and events that between them transformed Scottish cheese in the period 1790 to 1890.
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Odhaib, Assist T. Bashar Sabbar. "A proposal for a book of Islamic education project for primary classes the stories Specimen/3." ALUSTATH JOURNAL FOR HUMAN AND SOCIAL SCIENCES 222, no. 2 (November 6, 2018): 357–82. http://dx.doi.org/10.36473/ujhss.v222i2.407.
Full textAbstract:
The depth in Islamic thought process, study and conscious study demonstrates and proves beyond a shadow of a doubt that Islam keep pace with the developments of life and alterations decade, the Koranic story of the most important methods used by Islam - in spite of the developments of life - to feed the minds and refinement of the soul, as well as the desired and purposeful recreation are open bars of inspiration when coexist with the events told by Aziz book, the fact that the Koranic story of the main doors of the Quranic statement, gramophone for standardization and promises and warnings through the virtues and morality, behavior and legislationThe study of Quranic stories in his statement and his proof of what holds the commandments of God and the stories of the prophets and apostles, cast a shadow over the new young people behavior and work and manners.The goal of the study known as the effect of the dominant story on the conscience of the pupil, which cast a shadow over the realization value system and moral, without difficulty and in a manner interesting and fun, without prejudice to the decisions of the (Remember - talk - dogmas - biography) and the quest for a harmonious content of initial grades main goal is to influence the behavior of the pupil , linking overweight and a reflection of what is moral and religious stories to impart excellence for other lessonsThus Vaelloukov the importance of the study focused on the one hand that the Koranic story of the most modern methods, especially the primary grades because of its profound impact in creating a magnet in the classroom is different from other lessons, as well as the realization of the imagination the student through the perception of events in the past to assume the positive role of everything that goes on and it is played roles in a simple manner without imposing a style and forbidding, but the love of good characters and it wished to be a part in the events that have sought to serve the people and here lies the impact of the story in explaining to the student that the events are repeated, and here we should let actors as they who have gone before us in human entire service. Therefore, we will adopt a descriptive approach (theoretical study) after the statement of the story - what it is - as shown in the proven content _ and then take advantage of the Islamic heritage, especially books that talk about the reasons to get off and on the Commentary on Hadeeth and also wrote the Prophet's biography that talk about the biography of the prophets and the righteous.This study was at the forefront of the three chapters, the first chapter and the second contains three sections and chapter III includes five demands to the research methodology.