Journal articles: 'Drache'

1

Baumgartner, François. "Angst auslösender Drache." return 8, no. 3 (June 2021): 12–13. http://dx.doi.org/10.1007/s41964-021-0745-0.

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2

KOWALSKI, Beate. "»Lichtfrau, Drache, Zornesschalen...«." Ephemerides Theologicae Lovanienses 78, no. 4 (December 1, 2002): 358–84. http://dx.doi.org/10.2143/etl.78.4.597.

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Classen, Albrecht. "Drachenblut & Heldenmut, hrsg. Stefanie Knöll. Regensburg: Schnell + Steiner, 2019, 319 S., s/w und farbige Abb." Mediaevistik 32, no. 1 (January 1, 2020): 278–79. http://dx.doi.org/10.3726/med.2019.01.25.

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Der Drache taucht überall auf, sowohl in der griechischen Antike als auch im europäischen Mittelalter, dazu in der asiatischen Welt. Immer wieder repräsentiert er, jedenfalls im Westen, das Böse schlechthin, dass aber der strahlende Held voller Tapferkeit und Mut im Kampf vernichten kann. Sowohl die Literatur als auch die Kunstgeschichte sind voll mit Drachengestalten, und so überrascht es nicht, dass eine bedeutende Kunstsammlung wie die in der Veste Coburg über einen großen Schatz einschlägiger Exponate verfügt, die auf einer Ausstellung vom 27. Juni bis 22. September 2019 zu besichtigen waren. Der begleitende Katalog liegt hier zur Besprechung vor, aber es gilt sogleich zu beachten, dass der überwiegende Schwerpunkt der ganzen Ausstellung auf der Darstellung des Drachen seit dem 16. Jahrhundert ruht. Die Abbildung auf dem vorderen Umschlag zeigt zwar den Hl. Georg im Kampf gegen den Drachen vom Ende des 15. Jahrhunderts, aber das Mittelalter ist trotzdem insgesamt nur dünn vertreten.

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4

Strube, Mania. "Chinas medienmarkt: Der drache erwacht." Media Spectrum 29, no. 10 (October 2009): 24–25. http://dx.doi.org/10.1007/bf03248391.

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5

KNÜPPEL, M. "Zu serbo-kroatisch häla ~ äla ‘Drache’." Wiener Slavistisches Jahrbuch 1 (2010): 179–84. http://dx.doi.org/10.1553/wsj55s179.

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6

Tuczay, C. "Drache und Greif – Symbole der Ambivalenz." Mediaevistik 19, no. 1 (January 1, 2006): 169–211. http://dx.doi.org/10.3726/83006_169.

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7

Oostebrink, Edo Wilbert. "Der Drache und die Vögte von Geldern." Annalen des Historischen Vereins für den Niederrhein 211, no. 1 (December 2008): 191–268. http://dx.doi.org/10.7788/annalen.2008.211.1.191.

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8

Court, John M., and Peter Busch. "Der gefallene Drache: Mythenexegese am Beispiel von Apokalypse 12." Journal of Biblical Literature 118, no. 1 (1999): 159. http://dx.doi.org/10.2307/3268247.

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9

Schmidt, Kerstin, Familie Weiß, Olivia Pernet, Sabine Stiete, and Kerstin Schmidt. "Ritter Rolin und der kleine Drache: Ein osteopathisches Märchen." Osteopathische Medizin 20, no. 1 (March 2019): 41–42. http://dx.doi.org/10.1016/s1615-9071(19)30024-3.

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10

Danbom. "In Memoriam: Hiram Drache, August 18, 1924–October 17, 2020." Agricultural History 95, no. 1 (2021): 172. http://dx.doi.org/10.3098/ah.2021.095.1.172.

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11

Blanc, Ina, and Brian Cardini. "Was passiert, wenn der Drache statt Feuer plötzlich Seifenblasen spuckt?" Familiendynamik 47, no. 3 (July 2022): 174–83. http://dx.doi.org/10.21706/fd-47-3-174.

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12

Lemann, Natalia. "Smok, Maja, Kali i Śmierć. Histoire croisée i omnipotentni narratorzy w twórczości Szczepana Twardocha." Roczniki Humanistyczne 71, no. 1 (February 16, 2023): 9–28. http://dx.doi.org/10.18290/rh23711.1.

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Celem artykułu jest analiza trzech powieści Szczepana Twardocha: Wieczny Grunwald. Powieść zza krańca czasów, Morfina i Drach, które wydają się szczególnie istotne dla zrozumienia sposobu pojmowania przez tego pisarza kategorii etniczności, pamięci historycznej, tożsamości kulturowej i historii. Proponuję rozpoznanie tych kategorii poprzez koncepcję „historii splątanej” (histoire croisée/etangled history) Wernera i Zimmeramanna oraz „pamięci „wielokierunkowej” Rothberga. W celu ukazania splątania historycznego i etnicznego Twardoch we wszystkich trzech analizowanych powieściach posługuje się figurą pozaludzkiego, wszechwiedzącego, omnipotentnego narratora. W odniesieniu do wszystkich trzech powieści śledzę leżące u podstaw kreacji narratora nadrzędnego koncepcje filozoficzne i postaci bogów wywiedzione ze spuścizny kultur Wschodu (buddyzm, lamaizm, hinduizm, taoizm). W powieści Wieczny Grunwald koncepcja esencjalizmu etnicznego ulega ironicznej czy wręcz absurdalnej hiperbolizacji. Narratorem jest znajdujący się w stanie bardo bękart Paszko. W Morfinie tożsamość narodowa staje się dziełem wyboru i przygodności dziejowej, funkcję zaś nadrzędnego narratora pełni „czarna bogini”, będąca – jak dowodzę – literacką reprezentacją bogini Kali/Mai. W Drachu dokonuje się zmiana perspektywy, zmierzająca do ukazania sztuczności wszelkich koncepcji narodu czy ludzkich dziejów. Twardoch dokonuje zrównania dziejów ludzkich z losami zwierząt i unieważnia ludzkie pojmowanie przyczynowości i jednotorowości czasów oraz wydarzeń historycznych i procesu historycznego. Umożliwia to figura narratora, którym jest smok, Drach. W celach interpretacji sposobu pojmowania przez Dracha historii sięgam do greckiej etymologii słowa „smok” – gr. δράκων, gen. δράκοντος [drakōn, gen. drakontos] z czasownika δέρκομαι [derkomai] („widzieć wyraźnie”) – i taoistycznej zasady wu wei.

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13

Charron, Claude G. "Daniel Drache, Roberto Perin et 14 collaborateurs, Negotiating with a Sovereign Québec, Édité par Daniel Drache et Roberto Perin, Publié chez James Lorimer & Compagny, Toronto, 1992." Bulletin d'histoire politique 1, no. 2-3 (1993): 69. http://dx.doi.org/10.7202/1063197ar.

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14

Porter, Kimberly K. "Review of Creating Abundance: Visionary Entrepreneurs of Agriculture by Hiram M. Drache." Agricultural History 78, no. 3 (July 2004): 371–73. http://dx.doi.org/10.1525/ah.2004.78.3.371.

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15

Alves, Vítor Nogueira, and Vinícius Paulo Corrêa Almeida. "O grande teatro do mundo: globalização e cosmopolitismo em O Dragão Dourado, de Roland Schimmelpfennig." Em Tese 26, no. 2 (March 18, 2021): 266. http://dx.doi.org/10.17851/1982-0739.26.2.266-282.

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Encenada pela primeira vez em 2009, a peça O Dragão Dourado [Der Goldene Drache], do dramaturgo alemão Roland Schimmelpfennig, gira em torno de um imigrante chinês na cozinha de um restaurante de comida oriental na Europa. Na obra, Schimmelpfennig aborda temas relacionados à globalização, ao cosmopolitismo e à migração. Partindo do conceito goethiano de literatura mundial, propomos uma leitura da peça baseada, em grande parte, nas ideias de Homi Bhabha (2003, 2011) sobre os locais da cultura e sobre as diferenças entre cosmopolitismo global e vernacular. Procuramos desenredar algumas dificuldades da complexa peça de Schimmelpfennig a fim de mostrar como o texto articula esses problemas.

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16

Lővei, Pál. "Drache und Schlange: heraldische Elemente auf den mittelalterlichen Wandbildern der Pfarrkirche von Siklós." Acta Historiae Artium 44, no. 1 (November 1, 2003): 59–70. http://dx.doi.org/10.1556/ahista.44.2003.1-4.7.

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17

Wiesenbauer, Brigitte. "Gruzinski, Serge: Drache und Federschlange. Europas Griff nach Amerika und China 1519/20." Anthropos 110, no. 1 (2015): 229–30. http://dx.doi.org/10.5771/0257-9774-2015-1-229.

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18

KÜHN, JOACHIM. "«Die Königstochter und der Drache». Ein Aspekt der Apuleius-Rezeption im 19. Jahrhundert." Antike und Abendland 39, no. 1 (December 31, 1993): 155–61. http://dx.doi.org/10.1515/9783110241518.155.

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19

Jungen, Oliver. "Die Kapitulation des Brockhaus." Zeitschrift für Ideengeschichte 10, no. 2 (2016): 5–16. http://dx.doi.org/10.17104/1863-8937-2016-2-5.

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Der Kultigator hatte Appetit. Dieser Wiedergänger Adornos, ein kahlköpfiger Drache, der sich schmatzend von Bildschirmgeräten ernährte – im Inneren versah eine Dreißig-Tonnen-Schrottpresse ihren Dienst –, zermalmte im Orwell-Jahr 1984 die Flimmerapparate im Akkord, und das nicht irgendwo, sondern im Sanctum Sanctorum des applaudierenden Kulturbürgertums: auf der Frankfurter Buchmesse, gleich vor Halle 5. Auch der Berichterstatter der ZEIT jubelte: «Ein Befreier der Menschheit», der gerade noch rechtzeitig dem Bundespostminister «Schwarz-Schilling Einhalt gebietet, bevor das ganze Land apathisch am Kabeltropf hängt». Der Lindwurm, den Housi Knecht, ein Kunstschweißer aus Bern, zum Leben erweckt hatte, gehörte zum Sondergruselbereich Orwell 2000. Diesen hatten die erschreckten Frankfurter Bücherlobbyisten eingerichtet, weil über der blühenden Gutenberg-Wiese gerade erste Elektronikgewitter aufzogen.

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20

Thornicroft, Kenneth Wm. "Drache, Daniel, and Harry Glasbeek, The Changing Workplace: Reshaping Canada 's Industrial Relations System." Relations industrielles 50, no. 2 (1995): 449. http://dx.doi.org/10.7202/051021ar.

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21

Chaskiel, Patrick. "Robert BOYER et Daniel DRACHE (dir.) (1996), States Against Markets. The Limits of Globalization." Communication, no. 21/1 (November 15, 2001): 177–79. http://dx.doi.org/10.4000/communication.5405.

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22

Deschênes, Dany. "Drache, Daniel, L’illusion continentale. Sécurité et nord-américanité, Outremont, qc, Athéna Éditions, 2006, 226 p." Études internationales 39, no. 4 (2008): 658. http://dx.doi.org/10.7202/029617ar.

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23

Bourque, Gilles. "Gérard BOISMENU et Daniel DRACHE (dirs), Politique et régulation : modèle de développement et trajectoire canadienne." Recherches sociographiques 32, no. 1 (1991): 97. http://dx.doi.org/10.7202/056585ar.

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24

Boase, Joan Price. "Negotiating with a Sovereign QuebecDaniel Drache and Roberto Perin, eds. Toronto: James Lorimer, 1992, pp. 296." Canadian Journal of Political Science 28, no. 3 (September 1995): 559–61. http://dx.doi.org/10.1017/s0008423900006764.

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25

Guenther, Christina. "The Performance and Pedagogy of Migration in the Foreign Language Classroom: Staging Roland Schimmelpfennig's Der goldene Drache." Die Unterrichtspraxis/Teaching German 50, no. 2 (September 2017): 171–83. http://dx.doi.org/10.1111/tger.12040.

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26

Linseis, Verena. "Die Faszination am Kampf des Heiligen mit dem Bösen: Georg, Margarete und der Drache im städtischen Kontext." European Medieval Drama 18 (January 2014): 17–52. http://dx.doi.org/10.1484/j.emd.5.110505.

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27

Zhuang, Von Wei. "Zur Transformation des Chinarestaurants in Luo Lingyuans Migrationsroman Das Mädchen, der Koch und der Drache: Eine interkulturelle Perspektive." Jahrbuch für Internationale Germanistik 51, no. 1 (January 1, 2019): 29–46. http://dx.doi.org/10.3726/ja511_29.

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Abstract Luo Lingyuan (<styled-content>)</styled-content> ist mit Abstand die bekannteste deutschsprachige Schriftstellerin chinesischer Abstammung. 1963 in der Provinz Jiangxi, Volksrepublik China, geboren, lebt Luo seit 1990 in Berlin, wo sie als Journalistin und Dolmetscherin tätig ist. Sie trat 2005 erstmals schriftstellerisch in Erscheinung und bis heute hat sie zwei Erzählbände1 sowie vier Romane2 publiziert. Für den Erzählband Du fliegst jetzt für meinen Sohn aus dem fünften Stock wurde Luo 2007 mit dem Adalbert-von-Chamisso-Förderpreis ausgezeichnet. Während der Erzählband Du fliegst jetzt für meinen Sohn aus dem fünften Stock und der Roman Die Sterne von Shenzhen sowohl die positiven Seiten als auch (und besonders) die negativen Seiten des wirtschaftlichen Booms in China thematisieren, richten ihre anderen Werke, deren Handlung sich vorwiegend in Deutschland aber auch in China abspielt, den Fokus auf kulturelle Begegnungen und Konflikte zwischen chinesischen und deutschen Protagonisten.

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28

McBride, Stephen. "States against Markets: The Limits of GlobalizationRobert Boyer and Daniel Drache, eds. London: Routledge, 1996, pp. xii, 448." Canadian Journal of Political Science 30, no. 4 (December 1997): 776–77. http://dx.doi.org/10.1017/s0008423900016735.

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29

Icaza, Rosalba. "Book Review: Daniel Drache Defiant Publics. The Unprecedented Reach of the Global Citizen Cambridge: Polity Press, 2008, 198 pp." Acta Sociologica 53, no. 2 (June 2010): 186–88. http://dx.doi.org/10.1177/0001699310365641.

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30

Magnusson, Warren. "Getting on Track: Social Democratic Strategies for OntarioDaniel Drache, ed. Montreal: McGill-Queen's University Press, 1992, pp. xvii, 237." Canadian Journal of Political Science 26, no. 4 (December 1993): 813–14. http://dx.doi.org/10.1017/s0008423900000639.

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31

Wilson, Gary, and Tracy Summerville. "Transformation, Transportation or Speculation? The Prince Rupert Container Port and its Impact on Northern British Columbia." Canadian Political Science Review 2, no. 4 (November 13, 2008): 26–39. http://dx.doi.org/10.24124/c677/200879.

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Much of the discussion around the port development has focused on the positive impacts that the container port will have on the regional economy. As the opening quote suggests, the port is being hailed a piece of “transformational infrastructure”, creating numerous opportunities for economic diversification in northern British Columbia. In this sense, therefore, it is widely expected that the container port will help to move the northern economy beyond the type of traditional resource dependency outlined by scholars such as Harold Innis (Drache, 1995). We will argue, however, that there are at least two other potential outcomes or scenarios concerning the port’s development and its impact on northern British Columbia which call into question some of the assumptions made by the port’s proponents. First, the port might be a great success as a gateway to a transportation corridor that stretches across western Canada and into the United States, but have little or no positive impact on the northern British Columbia economy. Second, the port might not live up to the expectations that have been set nationally or locally neither as a transportation gateway nor as a piece of transformational infrastructure

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32

Yang, Xiao Alvin. "One Road, Many Dreams: China’s Bold Plan to Remake the Global Economy by Daniel Drache, A.T. Kingsmith, and Duan Qi." International Journal: Canada's Journal of Global Policy Analysis 76, no. 1 (February 25, 2021): 173–75. http://dx.doi.org/10.1177/0020702021994602.

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33

Bickerton, Jim. "The New Practical Guide to Canadian Political EconomyDaniel Drache and Wallace Clement, eds. Toronto: James Lorimer, 1985, pp. vii, 243." Canadian Journal of Political Science 19, no. 1 (March 1986): 216. http://dx.doi.org/10.1017/s0008423900058467.

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34

Sarra-Bournet, Michel. "Politique et régulation: modèle de développement et trajectoire canadienneGérard Boismenu et Daniel Drache Montréal: Éditions Méridien/L'Harmattan, 1990, 360 p." Canadian Journal of Political Science 25, no. 3 (September 1992): 604–6. http://dx.doi.org/10.1017/s000842390002165x.

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35

Cheng, Yi’En. "One Road, Many Dreams: China’s Bold Plan to Remake Global Economy, written by Daniel Drache, A.T. Kingsmith and Duan Qi." Journal of Chinese Overseas 16, no. 1 (May 12, 2020): 135–37. http://dx.doi.org/10.1163/17932548-12341416.

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36

Guberman, Solange. "Lambert-Drache, Marilyn et François St-Pierre. Terminologie du micro-ordinateur utilisé en milieu scolaire: recueil bilingue. Toronto: OISE Press, 1990Lambert-Drache, Marilyn et François St-Pierre. Terminologie du micro-ordinateur utilisé en milieu scolaire: recueil bilingue. Toronto: OISE Press, 1990. Pp. v, 65." Canadian Modern Language Review 47, no. 3 (April 1991): 541–42. http://dx.doi.org/10.3138/cmlr.47.3.541.

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37

Umemura, Hiroshi. "Galois theory of aigebraic and differential equations." Nagoya Mathematical Journal 144 (December 1996): 1–58. http://dx.doi.org/10.1017/s0027763000006012.

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This paper will be the first part of our works on differential Galois theory which we plan to write. Our goal is to establish a Galois Theory of ordinary differential equations. The theory is infinite dimensional by nature and has a long history. The pioneer of this field is S. Lie who tried to apply the idea of Abel and Galois to differential equations. Picard [P] realized Galois Theory of linear ordinary differential equations, which is called nowadays Picard-Vessiot Theory. Picard-Vessiot Theory is finite dimensional and the Galois group is a linear algebraic group. The first attempt of Galois theory of a general ordinary differential equations which is infinite dimensional, is done by the thesis of Drach [D]. He replaced an ordinary differential equation by a linear partial differential equation satisfied by the first integrals and looked for a Galois Theory of linear partial differential equations. It is widely admitted that the work of Drach is full of imcomplete definitions and gaps in proofs. In fact in a few months after Drach had got his degree, Vessiot was aware of the defects of Drach’s thesis. Vessiot took the matter serious and devoted all his life to make the Drach theory complete. Vessiot got the grand prix of the academy of Paris in Mathematics in 1903 by a series of articles.

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38

Fudge, Judy. "Daunting Enterprise of the Law: Essays in Honour of Harry W. Arthurs ed. by Simon Archer, Daniel Drache and Peer Zumbansen." Labour / Le Travail 80, no. 1 (2017): 322–24. http://dx.doi.org/10.1353/llt.2017.0059.

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39

Staiger, Brunhild. "Wenn der Drache sich erhebt. China zwischen Gestern und Heute. By Thomas Heberer. [Baden-Baden: Signal-Verlag, 1988. 224 pp. DM34.80.]." China Quarterly 121 (March 1990): 152–53. http://dx.doi.org/10.1017/s0305741000013746.

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40

Normand, Charles. "Health reform: public success, private failure. Edited by Daniel Drache and Terry Sullivan. Routledge, London (1999). 366 pages. ISBN 0 415 20236 1." Health Economics 10, no. 1 (January 2001): 86–87. http://dx.doi.org/10.1002/1099-1050(200101)10:1<86::aid-hec572>3.0.co;2-k.

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41

Robles, Alfredo C. "Politique et régulation : modèle de développement et trajectoire canadienne de Gérard BOISMENU et Daniel DRACHE (directeurs), Montréal, Éditions du Méridien, Paris, Éditions l’Harmattan, 1990, 360 p." Politique, no. 19 (1991): 125. http://dx.doi.org/10.7202/040686ar.

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42

Nikoriak, Nataliia, and Aliona Matiychak. "Literary Specifics of Biographical Film Story: On the Issue of Genre Heredity." Pitannâ lìteraturoznavstva, no. 104 (December 27, 2021): 28–47. http://dx.doi.org/10.31861/pytlit2021.104.028.

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The genre heredity concept is articulated on the analysis example of I. Drach’s screen version of the biographical film story “I’m coming to you” (1970), dedicated to the 100th anniversary of Lesya Ukrainka. The film is marked by innovative approach of I. Drach as a scriptwriter to the image of the poetess. Contrary to the tradition of documentary film to interpret her biography in a certain matrix key (as a fighter and revolutionary), Drach tried to identify Lesya Ukrainka primarily as a private individual, as the woman who knew how to sacrifice herself for the sake of love. Without aiming to show in detail the entire biography of the poetess, the author of the film story chose only a small fragment of her life – four years 1897–1901. In terms of biopic genre heredity, the article observes how this biographical film presents possible ways of processing and contamination of available documentary material (letters, memoirs, reminiscences of contemporaries) and integral creation by Lesya Ukrainka (her poetry, translations, renditions). Hence, the biopic on the basis of multi-genre text material appears as a kind of intertextual plexus. At the same time, the film pays much attention to the feelings, thoughts, creative impulses and state of mind of the heroine. By analogy with the poetics of literary writing, the form of the poetess’ inner monologue was chosen in accordance with the portrait film genre. It is clear that through the prism of Lesya’s life and creative experience the personal attitude of the poet I. Drach emerges towards understanding and reproducing the figure of creative personality in art: the author’ vision logically leads to those biographical episodes that in the existential sense appear the most significant.

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43

Joyal, André. "DRACHE, D. et GERTLER, M.S. (ed.) The New Era of Global Competition: State Policy and Market Power. Montréal-Kingston, Mc-Gill-Queen's University Press,1991, 470 p." Études internationales 23, no. 3 (1992): 668. http://dx.doi.org/10.7202/703061ar.

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44

Donà, Carlo. "Timo Rebschloe , Der Drache in der mittelalterlichen Literatur Europas , Heidelberg, Universitätsverlag Winter, 2014 ; 1 vol., 430 p. ( Beiträge zur älteren Literaturgeschichte ). ISBN : 978-3-8253-6205-8. Prix : € 65,00." Le Moyen Age Tome CXXI, no. 2 (November 12, 2015): VII. http://dx.doi.org/10.3917/rma.212.0445g.

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45

Heumer, Wolfgang. "Drachen mit Zugkraft." VDI nachrichten 76, no. 02 (2022): 40. http://dx.doi.org/10.51202/0042-1758-2022-02-40-1.

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46

Lenhart, Elmar. "Albert Drachs „Life Writing“." Sprachkunst. Beiträge zur Literaturwissenschaft 1 (2014): 339–62. http://dx.doi.org/10.1553/s339.

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47

Torbágyi, Melinda. "A rare Celtic drachm." Acta Numismatica Hungarica 1 (2019): 37–39. http://dx.doi.org/10.37790/anh.2019.3.

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48

Tsiganov, A. V. "The Drach superintegrable systems." Journal of Physics A: Mathematical and General 33, no. 41 (October 5, 2000): 7407–22. http://dx.doi.org/10.1088/0305-4470/33/41/310.

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49

Bohdanova-Dashak, Iryna. "“The Ballad of War” by Oleksandr Bilash as a National Example of the Mono-Opera Genre." Folk Art and Ethnology, no. 2 (June 30, 2024): 19–26. http://dx.doi.org/10.15407/nte2024.02.019.

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The Ballad of War mono-opera (1971) by the outstanding Ukrainian composer-songwriter Oleksandr Bilash, based on The Ballad of Genes poem by Ivan Drach, is studied in the article. It is emphasized that the work of O. Bilash – I. Drach is extremely relevant today, as it reveals the painful and tragic theme of war and its destructive impact on human destinies. It is defined that O. Bilash’s mono-opera has become a part of a general trend in the Ukrainian musical theatre of the 1960s–1970s associated with the tendency to chamberization and psychologization of opera. It has caused the exceptional popularity of the one-act monodrama genre among contemporary composers (V. Hubarenko, H. Zhukovskyi, Y. Ishchenko, etc.). It is described that I. Drach’s poetic text is used as the basis for the mono-opera with minor modifications (the changes have affected the title and only a few phrases). The structure of the poetic text has a significant impact on the composition of the mono-opera (the central episode is the protagonist’s story about the circumstances surrounding her birth, the extreme sections contain her beloved addresses). The connection between the opera’s system of leitmotifs and key phrases in the poetic text is detected. The leitmotifs are important in cementing the form of the mono-opera – it is in their repetition that the unifying role of the principle of through refrain is revealed. The Ballad of War contains two figurative and intonational spheres of war (scherzo, sharp dissonance, cluster consonances, chromatisation, grotesque syncopated rhythms, «cold» orchestral origin) and peace («warm» vocal origin, ariosity, melodic recitative, songfulness, vocalisations, luxurious Bilash’s melodies). O. Bilash has used various household genres actively: alullaby (an image of the incessantness of Life), a march («military» heroics), a cancan (personification of the image of aggression and spirituality), a Boston waltz (lyrical reflection and psychological solution). The composer uses the technique of stylizing church singing. The technique of sound imitation (movement of a steam locomotive, steam claps) is equally important. O. Bilash’s The Ballad of War mono-opera is a bright, original work and plays an important role in the development of the mono-opera genre both in the composer’s heritage and in Ukrainian music of the 1960s–1970s in general.

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Dumas, P. Martin. "The Daunting Enterprise of the Law – Essays in Honour of Harry W. Arthurs, Edited by Simon Archer, Daniel Drache, and Peer Zumbansen, Montreal/Toronto: McGill-Queen’s University Press, 386 pages. ISBN: 978-0-7735-4890-9." Relations industrielles 73, no. 3 (2018): 627. http://dx.doi.org/10.7202/1053848ar.

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Journal articles on the topic 'Drache'

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