Journal articles on the topic 'Projection de genre'
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1
Dergach, Dmytro. "Language intellectualization in new media: evolution of genre paradigm." Current issues of Ukrainian linguistics: theory and practice, no. 44 (2022): 48–67. http://dx.doi.org/10.17721/apultp.2022.44.48-67.
Abstract:
The article verbalizes author's position, concerning the intellectualization of genre system of media communication (as a result of communication forms' changes in modern society) and determines the criteria for its professional analysis. These are linguistic, functional and stylistic, linguocultural and sociolinguistic dimensions of evolution of forms of social communication in mass-media sphere. The research focuses on the non-specific communicative principles of the dynamics of genres in traditional and new media, that, according to extra- and intralinguistic factors, provide different ways of fulfilling the tasks of communicative situation. The paper states actual nowadays medialinguistic aspectology for research of media genres in projection on language functions, realized in communicatively changing mass-media context, associated with psychological time and space of culture. Particular attention is paid to the dynamics of functional markers in genre paradigm of media space through the language and cognitive integration of new / traditional genres (post, comment, stories, giveaway, etc.), that in their functional combination form a macrotext, relevant for media communication nowadays. The author also touches upon discussion issues of modern communicative linguistics and media genre theory, that outline the prospects for further investigations in this scientific field: accuracy of nomination and status of certain genres, relevance / irrelevance of traditional for stylistics of the 2nd half of the 20th century genre factors – according to the modern genres of media communication, the diffuse nature of the intellectualization of mass media genre system, connected with appropriate / inappropriate differentiation of such categories, as hyper-genre, sub-genre, genre variety unit, etc.
2
Stavila, Tudor. "Iraida Ciobanu, in the three hypostases of her self-affirmation." Akademos, no. 4(63) (March 2022): 150–53. http://dx.doi.org/10.52673/18570461.21.4-63.19.
Abstract:
Iraida Ciobanu is one of the few plastic artists for whom her creations are synonymous with the genres she practices in painting – static nature and landscape, the most explored forms in rendering poetry and lyrics. Formed as an artist in the early `90s, the artist is devoted to these two genres throughout the time, approaching the landscape as an appeal to the memory arising from lyrical projections, oriented towards the past, while the static nature is a projection of future emotional states. Her works could reveal the following: the static nature returns to the present, being refreshed up by a unique and distinctive compositional, semantic and chromatic style. Moreover, as a professor of fine arts, as well as a scientific researcher concerned with the evolution of static nature as a genre in the post-war Moldovan fine arts, it ensures continuity. Nature and its inexhaustible beauties fully define the artist in a thematic aspect, she finding unique ways to discover continuity in her canvases.
3
Щітова, С. А., and Т. О. Швець. "MULTIDIMENSIONALITY OF GENRE SYNTHESIS IN CONTEMPORARY MUSICAL ART." Музикознавча думка Дніпропетровщини, no. 15 (November 4, 2019): 118–26. http://dx.doi.org/10.33287/22199.
Abstract:
The purpose of the article is to reveal the peculiarities of the phenomenon of polygranism (genre synthesis) and its varieties in contemporary musical art. The methods of the study are based on a combination of historical and theoretical approaches of scientific knowledge. The historical method allows us to trace the origin, flourishing, complication and improvement of the phenomenon of genre synthesis in musical art, first of all, during the postmodern day (the last third of the twentieth century – the beginning of the XXI century). Dialectic, comparative, empirical (observation and generalization) methods of research, and contributes for a deep understanding of the various approaches of modern composers to the combination of signs of different genres in one musical also work are used. The scientific novelty of the research consis in generalizing the views of scientists on the problem of genre synthesis and its projection into contemporary works of Ukrainian music, especially, the concert genre as one of the leading composers (among others – Rhapsody Concerto for Viola and Mezzo Soprano Natalia Boyeva). Conclusions. The musical genre as a cultural phenomenon characterizing the classification of musical creativity by genera and species has historical origin and certain conditions of existence; it reveals to the composer the broad style of cultural potential, makes choosing and expanding her spiritual resource, develop and embody new stylistic ways of understanding the musical form. In the genre plane, we can note the constant interaction of traditional and new genres, the emergence of new in accordance to a new imagery, especially at the present stage. The technique of representing musical material and aesthetic demands of the new world stylistics, which gave rise to the emergence thinking both have a permanent impact on the development of the genre palette.
4
Rauf, Ramis. "Proyeksi Astral: Analisis Wacana Fiksi Posmodern dalam Naskah Film Insidious." Jurnal POETIKA 5, no. 1 (July 31, 2017): 51. http://dx.doi.org/10.22146/poetika.25994.
Abstract:
This study aims to analyze astral projection as a concept of Death and Dying by using a postmodern fiction discourse analysis perspective in Insidious movie script. This study found that astral projection is a capability possessed by a person to leave physical body and explore an astral world or the spirit world. Astral projection is a death and dying concept that is presented as one of the postmodern fictional strategies known as superimposition. This strategy illustrates that there are two worlds that accumulate and co-exist with each other. Its presence is a way of deconstructing thoughts about something that is considered uncanny and unusual as well as a counterpart of totality that puts the ontological side of the existence of something. It is said by McHale (1987) that it is a sister-genre of postmodern fiction. Science fiction explores ontological issues in order to build a good story while postmodern fiction simply presents the problem without having to build a story. Furthermore, both genres can adopt each other's strategies. Meanwhile, postmodern fictional relations and fantasy fiction are the same, borrowing strategies for exploring ontological issues.
5
Rauf, Ramis. "Proyeksi Astral: Analisis Wacana Fiksi Posmodern dalam Naskah Film Insidious." Poetika 5, no. 1 (July 31, 2017): 51. http://dx.doi.org/10.22146/poetika.v5i1.25994.
Abstract:
This study aims to analyze astral projection as a concept of Death and Dying by using a postmodern fiction discourse analysis perspective in Insidious movie script. This study found that astral projection is a capability possessed by a person to leave physical body and explore an astral world or the spirit world. Astral projection is a death and dying concept that is presented as one of the postmodern fictional strategies known as superimposition. This strategy illustrates that there are two worlds that accumulate and co-exist with each other. Its presence is a way of deconstructing thoughts about something that is considered uncanny and unusual as well as a counterpart of totality that puts the ontological side of the existence of something. It is said by McHale (1987) that it is a sister-genre of postmodern fiction. Science fiction explores ontological issues in order to build a good story while postmodern fiction simply presents the problem without having to build a story. Furthermore, both genres can adopt each other's strategies. Meanwhile, postmodern fictional relations and fantasy fiction are the same, borrowing strategies for exploring ontological issues.
6
Dergach, Dmytro. "Linguistic Models of Mass Media Genres` Stylistic Diffusion in the Communicative Space of Ukraine and Bulgaria." Bulgarski Ezik i Literatura-Bulgarian Language and Literature 66, no. 2 (March 15, 2024): 213–27. http://dx.doi.org/10.53656/bel2024-2-7d.
Abstract:
Research attention is focused on fundamental changes in techniques and methods of informing , which activate the communicative capabilities of language and give rise to new genres, forms and formats of interpersonal communication in various spheres and discourses. It actualizes the research problem of the diffuse stylistic nature of mass media genres, argued by the processes of assimilation of public communication`s spheres. The author’s argumentation is based on the vectors of the dynamics of the literary language`s evolutionary potential, that is focused on the format and tasks of social communication. Predictably, the architectonic heterogeneity and polyfunctionality of the language of media texts explain the syncretic nature of the genres. And also the tendency to their constant modification and transformation regarding the structure, meanings and communicative valence of language units. The article interprets models of updating of the functional and stylistic paradigm of modern literary languages in their genre projection and perspective, which do not depend on the time and space of culture. To prove this thesis, the texts of the Ukrainian and Bulgarian media space in the genre of posts in social networks were chosen as the object of analysis. The main research aim is to determine the typicality / atypicality of stylistic diffusion in the genre paradigm of Ukrainian and Bulgarian media. The attention is paid to the bloggers and companies that are well- known in Ukraine and Bulgaria as influencers who make professional activities in the fields of health, beauty, sport, etc., and really model the current mass language consciousness. The research base is formed by texts that were published in the social networks Instagram, Facebook in 2023 – 2024. The functional and stylistic methodology of the mentioned material`s interpretation allows in a comparative discourse to prove the typicality of communicative processes that are resulted in the stylistic diffusion of modern mass media genres.
7
Rozin, Vadim M. "Comprehending Discourse: Challenges of Time, Search, Construction (Book review: G.L. Tulchinskii & M.N. Epstein. (Eds.) Philosophical Projective Dictionary. New Terms and Concepts (Issue 2). Saint Petersburg: Aletheia, 2020)." Russian Journal of Philosophical Sciences 63, no. 12 (March 25, 2021): 121–34. http://dx.doi.org/10.30727/0235-1188-2020-63-12-121-134.
Abstract:
The review discusses the recently published second issue of the Philosophical Projective Dictionary (edited by Mikhail Epstein and Grigorii Tulchinskii). Having encountered difficulties in understanding the articles of the dictionary, I turn to the explanations of the motives of the dictionary’s authors and editors Epstein notes that the entries in the dictionary are not intended to generalize the already existing use of terms and concepts, but to kind of projecting and anticipating the meanings of concepts and texts that may be created in the future. Tulchinskii writes more modest, asserting the performative nature of the concepts and ideas presented in the dictionary. I discuss these explanations of the compilers of the dictionary, problematizing and testing the strength of their arguments. In particular, I doubt that Epstein is right when speaking of the projection of terms and texts. From my point of view, Epstein uses the concept of projection in a very broad sense, which does not allow to accept his statement. In turn, citing a case from personal practice, I expresses my own version of introducing terms and constructing new concepts. Agreeing with Tulchinskii’s opinion that the articles in the dictionary and the dictionary itself are a unique vision of their authors, I raise the question of the existence of projective dictionary as a specific genre. I note that the dictionary’s entries that are devoted to already known concepts, offer an up-to-date modern interpretation of these concepts. To demonstrate that, I consider the concept of man in an article by Yulia Shichanina. At the end of the review, the importance of the work done by the authors of the dictionary is emphasized and an example of the use of two terms from the dictionary in my practice is given.
8
Sampson, Chris. "Developing projection in student songwriters: Writing popular songs that are actually popular." Journal of Popular Music Education 3, no. 1 (April 1, 2019): 105–11. http://dx.doi.org/10.1386/jpme.3.1.105_1.
Abstract:
An important turning point in the development of a young songwriter occurs when they transition from writing songs that might only be meaningful to themselves to writing songs with the intention of connecting to a wider audience. This accomplishment can be described as a student achieving good projection through their songs. More specifically, good projection in songwriting happens when student’s successfully leverage elements of the craft that effectively produces audience participation through groove, melody, form and lyrics. An artist’s persona can also contribute significantly to connecting with a wide audience through their unique and compelling performance style. Through understanding these elements, songwriting instructors at all levels can craft lessons that focus on these fundamentals with the explicit goal of improving projection in their students writing. Furthermore, the concept of projection helps create baseline criteria for the assessment of songs in the classroom regardless of genre or subgenre.
9
Lejeune, Pierre. "The Epistemic Status of Predictions in Central Bank Reports: A Cross-Linguistic Study." International Journal of Business Communication 55, no. 3 (June 20, 2018): 357–82. http://dx.doi.org/10.1177/2329488418768691.
Abstract:
This study aims to analyze the strategies of hedging in a prototypical speech act in economic communication—that is, predictions. The analyzed genre is that of central bank projections. We have used a parallel corpus of four reports (one European Central Bank report and three national bank reports) written in English, French, Spanish, and Portuguese. The analyzed documents are multimodal (having text, tables, and charts). At a global level, hedging arises from external assumptions that limit the validity of the predictions and from the fact that generally the text does not give direct predictions but rather reports projections without assuming or attributing explicit responsibility regarding their validity. At the microlinguistic level, the epistemic marking of predications about the future is extremely complex, due to the phenomenon of grammatical metaphor. The cross-language analysis shows that because of language idiosyncrasies, the degree of endorsement of the typical utterances about prediction/projection varies between the reports.
10
Tribalat, Michèle. "Une surprenante réécriture de l'histoire." Population Vol. 52, no. 1 (January 1, 1997): 137–47. http://dx.doi.org/10.3917/popu.p1997.52n1.0147.
Abstract:
Résumé Tribalat (Michèle).- Une surprenante réécriture de l'histoire des projections de population étrangère Dans cet article l'auteur donne une autre vision de l'histoire des projections de populations étrangères des années 1980, qui diffère sensiblement de celle proposée par Hervé Le Bras. Ce dernier a dirigé, en 1979-1980, un travail pour le compte du Haut Comité de la Population qui constitue un exemple du genre de ce qu'il ne faut pas faire. Aux erreurs méthodologiques (retours d'étrangers en nombre absolu aboutissant à des populations négatives, définition restrictive de la nationalité au départ de la projection, puis extensive ensuite), s'ajoutaient des erreurs de calcul conduisant à des résultats erronés. Dans l'article qui précède, Hervé Le Bras utilise divers subterfuges pour réhabiliter ce travail dont il n'ose avouer qu'il était responsable. Le maquillage de ce mensonge originel le conduit à recourir une nouvelle fois à une conception biologisante de la population étrangère - pratique dont il se fait pourtant, en toute circonstance, le fervent pourfendeur.
11
Koffeman, Maaike. "Élise Hugueny-Léger, Projections de soi. Identités et images en mouvement dans l'autofiction." European Journal of Life Writing 12 (December 18, 2023): R18—R21. http://dx.doi.org/10.21827/ejlw.12.41394.
Abstract:
Playing on the double meaning of the word projection, this book explores the multiple relationships between the French literary genre of autofiction and the moving image. Élise Hugueny-Léger, a researcher of contemporary French literature and a specialist of the work of Annie Ernaux, departs from the idea that autofictional writing is a form of psychological projection, wherein a self-image is being cast onto the page. In a more literal sense, the word projection refers to the cinematic technique of showing moving images on a screen. Several francophone authors known for their autofiction have also been involved in audiovisual productions, but earlier criticism has largely limited itself to studying their literary output. By addressing this rich and complex subject matter, Hugueny-Léger makes a valuable and original contribution to the field of francophone life-writing studies.
12
Martínez, Evaristo C. "Reflexiones sobre la utilidad de la novela histórica como herramienta de difusión y pedagógica." Acta Hispanica 22 (January 1, 2017): 85–100. http://dx.doi.org/10.14232/actahisp.2017.22.85-100.
Abstract:
The literary genre of the novel, besides being an element of entertainment, can also be a good useful for scientific dissemination. At this point, clearly it could turn into a pleasant tool and helps to reconstruct the essence of past times, having a greater projection in the field of History as long as it meets certain and elementary cases of rigor.
13
Moya, Liao. "Piano Miniature as a form of Projection of The Pianist's Image Model in The Executive Contest." Часопис Національної музичної академії України ім.П.І.Чайковського, no. 3-4(52-53) (December 14, 2021): 133–45. http://dx.doi.org/10.31318/2414-052x.3-4(52-53).2021.251814.
Abstract:
The traditions of the genre of piano miniature are generalized by the author in the context of the achievements of modern musicology. There is some bias in existing research. It is established that the main provisions of these works remain theses: miniature is a little-studied genre; miniature is studied and perceived as a secondary genre; miniature is an extremely popular genre in the work of composers and in performing practice; the miniature is a mandatory part of the competition repertoire. The author applied a comprehensive culturological, musicological and psychological approach to justify the formation of new forms of performance, quality system, features of the performer in the competitive sociocultural space of today. Varieties of "stage situations", regularities of their "repertoire solution" and determination of the role of miniatures in the competitive repertoire of modern pianists are identified and structured. The author has classified the main image models of the competitive performer, including: "universal" — demonstrates the ability of the performer to convincingly interpret any repertoire requirements; "academic" — the most common model of stage image and repertoire selection; "Intellectual" — involves the demonstration of selective musical professional preferences of the performer; "Virtuoso" — is reflected in the reproduction of various examples of virtuoso miniatures and, of course, the demonstration of virtuoso skills and abilities of the performer; "Patriotic" — is a reflection of certain personal beliefs of the performer; "Situational" — illustrates the tendency of the performer to adapt and realize themselves in accordance with certain subjective circumstances; "Outrageous" — built on the use of external visual and sound effects. A representative function of the miniature in the repertoire of the modern pianist has been established, aimed, among other things, at self-identification/identification of the performer. The classification of the main image models of the competitive performer, which illustrates the globalization processes in music performance, is carried out. The main conclusion of the study is that the attention of performers, in particular pianists, is drawn to the versatility of the plane on issues that arise in the formation of the repertoire, the specifics of interpretation and projection of selected works
14
Ledent, Jacques. "Vers une projection des familles selon leurs caractéristiques principales." Articles 24, no. 1 (March 25, 2004): 3–33. http://dx.doi.org/10.7202/010180ar.
Abstract:
RÉSUMÉ Cet article a pour objet de décrire les grandes lignes d'une méthodologie en cours d'élaboration visant à projeter les familles (ou groupes d'individus ayant entre eux des liens conjugaux ou de sang) selon leurs caractéristiques principales, à savoir le genre de famille mais aussi le nombre et l'âge des enfants présents. Cette méthodologie s'appuie pour l'essentiel sur un modèle de type multi-dimensionnel se présentant comme une extension de la traditionnelle méthode des composantes à la prise en compte du statut conjugal et de la parité des femmes. En bout de course, moyennant un élargissement approprié de la variable de statut conjugal et un prolongement axé sur le cas particulier des familles recomposées, elle autorise un passage immédiat des effectifs de la population féminine selon le statut démographique (issu du croisement selon l'état conjugal et le nombre d'enfants présents) aux effectifs des familles selon leurs caractéristiques principales.
15
LUCIEN, ISABELLE. "Mélange faible topologique des flots sur les surfaces." Ergodic Theory and Dynamical Systems 18, no. 4 (August 1998): 963–84. http://dx.doi.org/10.1017/s0143385798108295.
Abstract:
Le mélange faible topologique de presque tout échange d'intervalles différent d'une rotation a été démontré, en 1990, par Nogueira et Rudolph. On généralise ici ce résultat en considérant des flots suspensions au-dessus d'échanges d'intervalles : on montre que pour presque toute forme différentielle quadratique orientable sur une surface de genre ${\ge}2$, le flot vertical associé est topologiquement faiblement mélangeant ; le cas du tore permettant, lui, d'obtenir des fonctions propres continues naturelles par projection sur l'une des coordonnées.
16
Zhang, Ling. "The genre of folk song arrangements: the synthesis of composing and performing interpretations." Problems of Interaction Between Arts, Pedagogy and the Theory and Practice of Education 53, no. 53 (November 20, 2019): 92–104. http://dx.doi.org/10.34064/khnum1-53.06.
Abstract:
Logical reason for research. The current state of music science indicates that for the vocal and instrumental performing there are both, a number of general questions and problems, and many specific ones. The theme of performing in musicology has both, practical and theoretical projections, the interaction of which in a single research process gives the most valuable scientific result. A serious issue in terms of the musical interpretation for a musician-vocalist is the specificity of vocal genres. One of the most common and popular vocal genres is the folk song genre, which in all world musical cultures is a source of the development of the national component – the intonation, genre, and figurative. In turn, a folk song now exists and sounds both, in an authentic form, and in the form of the composer’s arrangement. Innovation. The article is devoted to the genre of the folk song arrangement in the aspect of the synthesis of composers’ and performing interpretation. The genre of the folk song arrangement is the result of the processing of the folklore source by a composer; hence, it is the composing interpretation that understood as a genre indicator. The performance of any musical composition as a process and as a result also is an interpretation; therefore, the mentioned genre acquires yet another interpretative level – the performing one. Thus, the genre of the arrangement of a folk song in the aspect of musical interpretation is the product of the synthesis of the composers’ and performing interpretation, and in the process of the performance is a kind of interpretation of the interpretation, which dictates new aspects of its study. Objectives. The purpose of this study is to identify the specifics of the genre nature of the folk song arrangement in the aspect of the synthesis of composers’ and performing interpretations. Methods. The main methods of the presented research are the genre and interpretological ones. The genre method is necessary to characterize the main indicators of the genre of the folk song arrangement. The interpretological method allows to identify those features of the folk song arrangement genre that are associated with its interpretative nature, and to give an idea of its multilevel structure. Results and Discussion. As for today, a lot of attention is paid to the issues of musical interpretation in both theoretical and practical terms. On the chamber-vocal stage, the arrangements of folk songs sound quite often, they are loved and in demand by the public. Folk music is a concentrated embodiment of folk images and intonations, the features of worldview, and more broadly – the national picture of the world. The external form and content of folk songs, as a rule, are accessible to the widest public. Folk songs in terms of their vocal complexity are designed for the average performer, which allows extending the life of such songs in the folk everyday life. The bright and explicit genre affiliation of folk songs also contributes to their easy perception. However, the folk song in its authentic form on the concert stage sounds extremely rare, as it is tightly connected with special conditions and manner of the performance. A modern listener is most often familiar with a folk song in the genre of its arrangement. The question of preserving the intonational and figurative content of the original source in the genre of the folk song arrangement has been raised by scientists more than once. The analytical and composing work with the genre of the arrangement of a folk song, also related to referring to an authentic source, in practice encounters several serious questions, the answers to which must be identified for any further study of this genre in both theoretical and practical areas. The arrangement of a folk song is, in its essence, a kind of interpretation. The genre of the folk song arrangement combines the both subspecies of the composing interpretation (according to the classification by Moskalenko, V., 2013), being an interesting and promising material for any analyst both, in the field of theoretical and the practical performing musicology. The synthesis of musical and non-musical factors in a folk song is also one of the types of interpretation. This is another level of interpretation in the genre of the folk song arrangement, which relates to the original source. The oral tradition of the existence of a folk song gives rise to a huge number of its variants – the performing interpretations. The genre of a folk song is characterized by qualities that give it its original interpretative freedom. This is a collective authorship of both, music and verbal text; the oral and “variation” tradition of a folk song existence is, essentially, a tradition of interpretation. The genre of the arrangement of a folk song by a composer with the appropriate musical notation is another level of interpretation. The next level of interpretation is the performing one, where the vocalist is faced with additional tasks, since he/she deals with a musical object having the special multi-level interpretative nature. Conclusions. The genre of the arrangement of a folk song is associated with several levels of interpretation, coming both, from the nature of the original source and from the existence conditions of the composer arrangement of a folk song in the conditions of the vocal performance. This plurality creates new goals and opportunities for both the researcher and the composer and the performer. The special genre nature of the arrangement of a folk song, which was established in the process of the historical development and incorporates the interpretation nature of its composers’ and performing levels as a genre indicator, allows us to talk about the need to scientifically identify its genre characteristics in a projection on the needs of the composing and performing creative art in the modern cultural conditions. Prospects for any further research in this direction are associated with the consideration of the special genre nature of the folk song arrangement. It poses a number of special tasks for the composer, the performer and the listener, which should be solved in specific conditions, while taking into account the peculiarities of the composers’ and performing interpretation of the folklore original source.
17
Ahmetagić, Jasmina. "The parable of the animus: The Prince with the Sad Eyes." Bastina, no. 59 (2023): 15–24. http://dx.doi.org/10.5937/bastina33-42283.
Abstract:
In The Prince with the Sad Eyes, the short story that we will here interpret as a parable in the context of Jung's theory of archetypes, Andrić shows a woman torn between her real and idealized partner, and her suffering as a consequence of a lack of discernment in the matters of the heart, a lack of self-knowledge, and most of all, the influences of the archetypes of the collective unconscious - the animus and the shadow. Andrić thematizes projection as a psychological mechanism of falling in love, which rules interpersonal relationships in other contexts, too. Through this woman's infatuation with the prince, Andrić sheds light on phenomena that take place between men and women every day: projecting, expecting, and disappointment experienced as betrayal. One cannot live with the animus, the archetypal figure responsible for falling in love: once a relationship becomes reality (sexuality is here a metonymic replacement for the whole of their real life, the reality of a relationship) all projections start disappearing and in most cases, are replaced with their negative counterpart, as archetypes are essentially dual in meaning. In a parable about the permanent misunderstanding between sexes in the process of falling in love, Andrić uses biblical signals (the tree of knowledge, miraculous healing, the genre of the parable) to point to the wrongness of the depicted world, that is the imaginary heaven, pursued in the wrong way and in the wrong place.
18
Gilbert, Reid. "Marie Clements's The Unnatural and Accidental Women: "Denaturalizing" Genre." Theatre Research in Canada 24, no. 1 (January 2003): 125–46. http://dx.doi.org/10.3138/tric.24.1.125.
Abstract:
Cet article décrit brièvement la notion provisoire de l’auteur sur la «sheer theatre» et l’applique à une pièce de Marie Clements sur le meurtre en série de femmes autochtones, intitulée The Unnatural and Accidental Women. En montrant comment la pièce se sert d’éléments textuels non verbaux (mouvement, effets sonores, éclairages et projection d’images), Gilbert propose une série de graphèmes physiques et examine comment l’«écriture» «immatérielle» peut servir à dénaturaliser la reception. Un tel déraillement de la réaction prévue au genre conventionnel sert à traumatiser la réception, à établir des liens entre les déchirures opérées au tissu de la représentation et les vies brisées des personnages désenchantés de la pièce. Il incite également les spectateurs à «lire» le récit des personnages à travers le filtre de leur propre expérience, de sorte à produire une réponse essentiellement théâtrale pouvant mener à une évolution sur le plan social.
19
Bohatyriov, Volodymyr. "Orchestration as a factor of genre reproduction (on the example of analysing Zoltan Almashi’s Concerto Grosso no. 4 “Seasons”)." Aspects of Historical Musicology 33, no. 33 (December 28, 2023): 142–55. http://dx.doi.org/10.34064/khnum2-33.08.
Abstract:
Statement of the problem. Among the many trends in the creative search in music of the XX–XXI centuries, one of the leading ones is the appeal to the ideas and models of the past. This has led to the revival of previous centuries musical genres. The accuracy of a genre’s reproduction is determined by its constituent elements, such as musical themes, harmony, form structure, etc. Orchestration plays an important role in this process, as it forms a timbre-textural complex that has structural, organisational and semantic functions in musical work. The considered piece, Z. Almash’si Concerto Grosso No. 4 “Seasons” for violin and orchestra, is an example of the use of the early genre in contemporary music. Despite the genre classification mentioned in the title, the composition has its own unique features that indicate a free interpretation of the genre model. In this regard, it seems necessary to to identify the features characteristic of the concerto grosso genre. Among them, orchestration can be considered the key one. Objectives, methods, and novelty of the research. The existing scientific sources do not pay enough attention to the orchestration in «Seasons» by Z. Almashi, as wee as its role in the reproduction of the genre, which determines the scientific novelty of this study. The purpose of the article is to identify the orchestration features attributable to concerto grosso in Z. Almasy’s work and to determine the specific principles of the structure of the orchestral texture. The study uses: the historical-typological method – to understand the contextual and socio-cultural belonging of Z. Almashi’s piece, the genre method – to reveal its typological and individual features with a projection on the orchestration, the stylistic method – to determine the artistic and aesthetic, linguistic and technological properties, a structural and functional method – to disclose the peculiarities of the organization of an orchestral texture. Recent research and publications. The work is based on sources devoted to the relationship of genre and orchestration (Korobetska, 2011; 2013), the use of contemporary composers with genre models of early music (Tukova, 2003), the formation and development of the instrumental concerto (Rakochi, 2021), to the orchestral style of Baroque composers (Borodavkin, 1998), orchestration as a component of compositional technique (Savchenko, 2021), and to the definition of the position of timbre and texture in orchestration (Kashyrtsev, 2021; Klebanov, 2019). Research results and conclusion. The analysis revealed those features in the orchestration that correspond to the genre of concerto grosso. First of all, it is the availability of two instrumental groups with different orchestral functions. The first ‘concertino’ group includes the principale violin, ocarina, flute, clarinet in B and piano; the second ‘ripieno’ group includes the string orchestra. Nevertheless, instruments from the first group (primarily woodwinds and piano) can be combined with stringed instruments in accompaniment of solo violin. When these groups of instruments interact, there is a juxtaposition of timbres, volumes and sound densities. Also, the contrast is enhanced due to the virtuosity of the parts in the ‘concertino’ group. This creates dialogue and competition, which necessary for the realization of the genre. A variety of orchestration techniques, among which are timbre mixtures, duplication, re-colouring, swinging, and sound painting, embodies the concerto principle. They form a timbre dramaturgy, which is essential for actualising the concert genre and the program title of the piece.
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Hunt, David. "Five new species of Rhigonema Cobb, 1898 (Rhigonematida: Rhigonematidae) from the Philippines and Vietnam with observations on the morphology of the Indo-Malayan forms and nematophagy by R. voratum sp. n." Nematology 1, no. 4 (1999): 337–61. http://dx.doi.org/10.1163/156854199508306.
Abstract:
AbstractFive new species of Rhigonema are described and illustrated from the gut of diplopods collected from the Philippines and Vietnam. R. flabellifer sp. n., R. golovatchi sp. n., R. rigonanae sp. n., R. spiridonovi sp. n. and R. voratum sp. n. are differentiated from one another and the remaining species in the genus by a combination of characters including form of the cephalic extremity, development and extent of the pilose region, female genital tract type, male and female tail shape, spicule form and number and disposition of the copulatory papillae. Two species, both from polydesmid diplopods, bear an unusual pedunculate, flap-like projection on each sector of the triangular oral aperture and have only thirteen copulatory papillae. Such projections have only previously been described from R. lanceacauda, a species from the West Indies that also shares a reduced and similarly arranged complement of thirteen male papillae. The morphology, bionomics and distribution of Rhigonema are discussed and evidence presented for the first time that nematophagy is practised by at least one species in the genus. Rhigonema leonilae (Sanchez-Velazquez, 1979) comb. n. is proposed for Ruizia leonilae Sanchez-Velazquez, 1979. Cinq nouvelles especes de Rhigonema Cobb, 1898 (Rhigonematida: Rhigonematidae) des Philippines et du Vietnam et observations sur la morphologie des formes indo-malaises et la nematophagie chez R. voratum sp. n. - Cinq nouvelles especes de Rhigonema provenant des intestins de diplopodes collectes aux Philippines et au Vietnam sont decrites et illustrees. R. flabellifer sp. n., R. golovatchi sp. n., R. rigonanae sp. n., R. spiridonovi sp. n. et R. voratum sp. n. sont differencies les uns des autres et des autres especes du genre par une combinaison de caracteres incluant la forme de l'extremite cephalique, le developpement et l'etendue de la pilosite, le type de tractus genital femelle, la forme de la queue du male et de la femelle, la forme des spicules et le nombre et la repartition des papilles copulatrices. Deux especes, provenant toutes deux de Diplopodes Polydesmides, portent une projection inhabituelle, pedonculee, en forme de languette, sur chacun des secteurs de l'ouverture buccale triangulaire et comptent seulement treize papilles copulatrices. De telles projections n'ont ete precedemment decrites que chez R.lanceacauda, une espece originaire des Antilles, qui exhibe egalement un cortege reduit de treize papilles chez le male avec la meme repartition. La morphologie, le comportement et la repartition des Rhigonema sont discutes et la preuve est apportee pour la premiere fois que la nematophagie est pratiquee par au moins une espece de ce genre. Rhigonema leonilae (Sanchez-Velazquez, 1979) comb. n. est propose pour Ruizia leonilae Sanchez-Velazquez, 1979.
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Baya E, Moulay-Lahssan. "La Traducción De La Argumentación En El Texto Periodístico Español/Árabe Y La Aplicación De Las Técnicas Específicas De Traducción." European Scientific Journal, ESJ 12, no. 26 (September 30, 2016): 73. http://dx.doi.org/10.19044/esj.2016.v12n26p73.
Abstract:
This research aims at presenting the importance of the journalistic translation from Spanish into Arabic. It pretends to present this topic through two main axes. The first axe presents a contextualization of journalistic genre in a very particular way; the argumentative genre as the main axe of our research. The second axe of this work, which has been very practical, after defining and exposing the characteristics of argumentative text, focuses on the application of specific techniques of journalistic translation, which are basically, amplification, compression and omission. Therefore, we have chosen a mass media of great international projection: Project Syndicate; an international organization that has the largest source of world opinion articles in different languages, signed by eminent intellectuals and specialists in different fields of knowledge. Subsequently, we proceeded to the selection of news argumentative and we have analyzed the translation technique used in each case, with its pertinent comments as final results of the study.
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Istianingrum, Rika, and Retnowaty Retnowaty. "MANTRA TIPONG TAWAR DALAM TRADISI UPACARA PERTANIAN DAYAK PASER SEBAGAI PROYEKSI KEHIDUPAN MASYARAKAT." KULTURISTIK: Jurnal Bahasa dan Budaya 2, no. 1 (January 24, 2018): 19. http://dx.doi.org/10.22225/kulturistik.2.1.351.
Abstract:
[Title: Tipong Tawar Mantra in the Tradition of Agricultural Ceremony of Dayak Paser as a Projection of Community Life] Mantra as one of the genre of oral literature, in its time used by society archipelago as the answer to handle life problems. Mantra in a tradition of society that its trace has been found nowadays is a manifestation of the efforts and ways of community groups in understanding and explaining the reality of the environment. Tipong Tawar mantra is one of the spells that developed in the Dayak tribe Paser East Kalimantan. This mantra is used in Dayak Paser traditional agricultural ceremony. The purpose of this research was to understand the values of the function of the Tipong Tawar mantra in the tradition of Dayak agricultural ceremony of Paser as the life projection of Dayak people in East Kalimantan. The type of research used in this study was qualitative. This research used descriptive method and ethnographic approach. Data collection techniques were done through interviewing, recording, and notetaking. The findings showed that the use value or function of mantra in the life of Dayak Paser community is as a projection system of society, as the validity of social norms, as an educational tool, as a justified giver of society or problem-makers.
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Freed, Richard C. "A Meditation on Proposals and Their Backgrounds." Journal of Technical Writing and Communication 17, no. 2 (April 1987): 157–63. http://dx.doi.org/10.2190/lrw7-a0pr-5f6x-d73a.
Abstract:
Based upon several years of research on proposal writing in large management consulting firms, this article attempts to define the proposal genre and argue the importance of the background section, especially in the management consulting environment. Because the background is the first major section in these proposals, it offers writers the opportunity to demonstrate implicitly their qualifications as problem solvers long before a qualifications section does so explicitly. That demonstration, the projection of image and ethos, can occur logically—through an argument that responds to the generic requirements of proposals, and psychologically—through the incorporation of themes that respond to the rhetorical situation.
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Rudoni, Elia R. "IDYLL 7AND THEHYMN TO HERMES." Cambridge Classical Journal 61 (June 29, 2015): 99–110. http://dx.doi.org/10.1017/s1750270515000032.
Abstract:
Simichidas' self-presentation as a poet at Theocritus 7.37 is modelled on Apollo's self-presentation as a musician atHomeric Hymn to Hermes450. Through this allusion, in his own Dichterweihe as a bucolic poet Simichidas hints at the invention of the bucolic genre by Hermes. The reference is crafted so as to point self-reflexively to its status as reference; in particular, the expression καὶ γὰρ ἐγώ (‘I too’) of line 37 functions as an intertextual signpost. If Simichidas is a literary projection of Theocritus, the allusion has important implications for our understanding of his self-positioning within the poetical tradition.
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Martin, Robert. "Sur le genre grammatical en français : le masculin et le féminin dans l’inanimé." Journal des savants 2, no. 1 (2019): 437–54. http://dx.doi.org/10.3406/jds.2019.6419.
Abstract:
In French, the masculine/ feminine opposition is clearly of a sexual nature for animates (le boulanger/ la boulangère ; un chien/ une chienne). But what of inanimate objects (le soleil/ la lune) ? Is gender completely arbitrary in this case ? The hypothesis adopted here is that of a metaphoric projection of sexual difference onto inanimate beings. To this end, the function of gender as a category is first defined. Just as number, gender is used to structure the predicative category of the noun : gender possesses all the properties of a structuring category (it is a constraining type category, made up of a closed paradigm, which contributes to syntactic cohesion and which is where various effects of “ neutralisation” occur). The sexual difference on the other hand is a property not of the category of gender, but of the elements which go to make it up (masculine and feminine). In spite of many non semantic factors, (etymological, morphological, analogical…), which may obscure the distinction, the tendency exists, in subtle forms, to project sexual difference onto the universe of inanimate beings.
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Matsevko-Bekerska, Lidiia, Olha Nikolenko, Roksoliana Kokhan, and Kateryna Nikolenko. "Narrative Aspects of the Novels by Lucy Maud Montgomery and Eleanor Porter." Arab World English Journal For Translation and Literary Studies 6, no. 1 (February 24, 2022): 53–66. http://dx.doi.org/10.24093/awejtls/vol6no1.5.
Abstract:
The metamodernist mood of the modern era increasingly clearly correlates with the transformation of literary methodologies and methods of reading, analysis, and interpretation of literary texts. The study of the genre specificity of the novel is one of the essential segments of the latest scientific studies, given its flexibility and significant textual representation in various national works of literature. This paper offers a critical review of the key stages in the history of the study of the novel as a literary genre, as well as shows the possibilities of understanding the poetic aspects of the author’s style. The material of the research relies on the novels by the Canadian writer Lucy Maud Montgomery and the US writer Eleanor Porter. Both authors belonged to the same historical and cultural era; their work has many typological parallels due to objective factors. At the same time, the modernist worldview was embodied in each stylistic manner in its own way. Comparison of individual styles makes it possible to carry out a typological analysis within a particular genre with access to the study of common sources of image creation, as well as modeling the interpretive paradigm of metamodernism in the projection on the literature of different historical periods taking into account national characteristics. At the same time, the research opens up the prospect of expanding the methodological horizons of narratology for its progress beyond its “boundaries”: outside of literary studies, in a significant context, as well as in space outside of fiction.
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Потніцева, Тетяна. "ФЕНОМЕН СУЧАСНОГО БЕСТСЕЛЕРА (“КЛЕОПАТРА ТА ФРАНКЕНШТЕЙН” КОКО МЕЛЛОРЗ, 2022)." Inozenma Philologia, no. 136 (December 10, 2023): 113–22. http://dx.doi.org/10.30970/fpl.2023.136.4208.
Abstract:
The article focuses on the analysis of the modern variant of rom-com genre which is presented in one of the latest literature bestsellers, the novel by Coco Mellors “ Cleopatra and Frankenstein”, 2022. The success of the rom-com genre in the 21st century, although its sources are in the past, in the 20th century, is due, as the research convinces, to certain vectors of innovation of the problematic as well as poetological plans, – all that responds to the world perception of modern people in their mistrust in reality and in themselves. The new variant of rom-com makes obvious its polemics, opposition to the genre sterotypes in its projection of the topical problems of modern life – feminism, gender, sexual relations, drug addiction, psychological breakdowns, racial, ethnic and national divergences, and the endless loneliness of a human being in the society and the world. The desired clip form of the presentation of reality and a human in it coincides with the expectations of the modern reader/viewer due to which an aura of the world in the form it is known in reality is created. This is the authentic world where the illusion about it is always ruined in the confrontation with reality. All that makes a hero (more often a heroine) be in a constant search of oneself and one’s own way to happiness. However, the problem concerns the very understanding of this happines’ reality. The writer tries to answer these questions but again with the typical for the new rom-com uncertainty in his thoughts which may be only illusions about the world and humans in it. Key words: rom-com, genre matrix, Bromance, Womance, clip form, ironic/ skeptical pathos, philosophy of mistrust.
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Zhang, Ling. "The genre of folk song settings: the ways of interaction of traditional and professional musical art." Aspects of Historical Musicology 21, no. 21 (March 10, 2020): 113–23. http://dx.doi.org/10.34064/khnum2-21.07.
Abstract:
Logical reason for research. The contemporary music science is becoming an increasingly multifaceted research field. This is connected with the evolution of musical art in general (its language, genre system, stylistic diversity), and its interaction with other manifestations of human creativity, and with new aspects of studying the achievements of world and national culture. One of the topical perspectives of scientific attention over the past decades has been the attention of musicologists to musical practice, in particular, to musical performance in all its multi-vector manifestations – in its genesis, historical retrospective and general cultural, civilizational context, in its syncretic unity with the composing creativity, in its palette of forms and genres of musical practice, in the traditions and perspectives in musical science and the existence in modern cultural conditions. Innovation. The presented article is devoted to the genre of folk song settings in the aspect of the specifics of the ways of interaction between traditional and professional musical art. By traditional we mean folk musical creativity of an oral nature, of “collective” authorship, and by professional – academic musical art of a composing, author’s nature (both types of musical creativity in the European culture). Each of these types of creativity has its own specificity in the primary source – the genre, style, figurative, linguistic, performing one, and the ways of interaction at these basic levels affect both the genre of folk song settings and its stage presentation. In the theoretical aspect, the genre of folk song settings is the result of a synthesis of composing and performing interpretation, and in the performing aspect, in fact, an interpretation of interpretation, which determines new perspectives of its study. Objectives. The purpose of this research is to characterize the ways of interaction between traditional and professional musical art on the example of the genre of setting a folk song in genre-style and performing aspects. Methods. The main methods of the presented research are the genre one and the performing one. The genre method is necessary both for characterizing the basic constants of the folk song settings genre, especially those related to the synthesis of traditional and professional musical art, and for identifying the specifics of this genre in the performing aspect. The performing method makes it possible to identify those features of the genre of folk song settings that are associated with its performing specificity as one of the most important areas of manifestation of the above-mentioned synthesis. Results and Discussion. One of the burning thematic areas of modern musicology is vocal music, its genre, style and performing specifics. It is related to the issues of the interaction of words and music, the methods of expressiveness, the stage presentation and the interpretation of vocal compositions, in particular, taking into account the specifics of style and genre through the prism of modern concert practice. This also applies to the genre of folk song settings, which is representing the traditions of both folk and professional music, with which this research is connected. The synthetic genre nature of folk song settings, which has been preserved in the process of the historical development of the genre and is based on the interpretation of the composing and performing character as the main genre indicator, increases the degree of relevance of the scientific research of this genre phenomenon both in theoretical and practical aspects, with a projection on the needs of the composing and performing art in the modern cultural conditions. The problem of an adequate reflection of the intonation and figurative content of the original folk source in the genre of folk song settings has always been the focus of attention of both folklorists, who collected samples of folk song creativity, and composers – authors of the settings of folk songs, and researchers of musical art. The ways of interaction between traditional and professional musical creativity pass through the main levels of a musical composition, which are always interconnected and represent a complex living organism, where changes in one segment can affect all the others. We are talking about genre-style, figurative, linguistic (intonation) and performing aspects. The latter should be emphasized separately, since in the field of the traditional, folk musical creativity, the performing presentation is a syncretic component, and this applies to any type of folk art. In professional musical art, where authorship (historically, first the composing one, and then the performing one) became a separate component, the performing aspect acquires a special meaning and its own specific tasks, and this way of interaction between traditional and professional musical art is the field where there happens the actualization of one or another quality (from one or another component of the above-mentioned synthesis) of the performed composition in the genre of folk song settings. Conclusions. The genre of folk song settings by its origin is associated with several levels of specificity – the figurative and artistic, linguistic, genre, style, and performing one. All these levels in this genre represent two types of musical art, the interaction of which allowed the genre of folk song settings to appear – the traditional (folk, collective) musical creativity and the professional (author’s) musical art (in particular, that of the European tradition). The peculiarities of the interaction of these two musical worlds in the genre of folk song settings represent different ways, and they are all connected with each other, which gives rise to new perspectives – the composing, performing, and research ones. The possibilities for the further research in the direction which is fixed in the topic of the presented article are associated with the characteristic of the synthetic genre nature of the settings of a folk song. Combining the features of traditional musical art (as the music of the oral tradition) and the patterns of professional musical art (as the author’s musical creativity with a fixed recording), the settings of a folk song offers the composer, the performer, the listener, and the musicologist a number of special tasks that can be solved in the special conditions of accounting the above-mentioned specificity of the genre of folk song settings, which is the composing and performing interpretation of the original folklore source.
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Houbre, Gabrielle. "Parcours transgenres dans la France du XIXe siècle." médecine/sciences 38, no. 10 (October 2022): 801–7. http://dx.doi.org/10.1051/medsci/2022127.
Abstract:
Si la transidentité est un impensé du XIXe siècle, on peut toutefois découvrir dans des archives inédites des existences transgenres, et ce, dans tous les milieux sociaux. L’intensité performative qui les caractérise se lit dans l’apparence physique recomposée à l’aide du vêtement et de la coupe de cheveux, mais plus encore à travers la capacité à intégrer au quotidien la sociabilité du genre choisi. Elle frappe, notamment chez les plus humbles, par sa plénitude et sa durée, par son caractère irrévocable quand il n’est pas contraint, par l’audace et la liberté qui la nourrissent. Elle invite à prendre en considération la projection dans l’autre sexe, non pas seulement comme une opportunité, mais comme une impérieuse exigence.
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Ванг Юй. "БАГАТОВИМІРНІСТЬ ВТІЛЕНЬ СЮЖЕТУ ТУРАНДОТ В ЖАНРІ ТЕАТРАЛЬНОЇ МУЗИКИ." World Science 3, no. 3(43) (March 31, 2019): 34–44. http://dx.doi.org/10.31435/rsglobal_ws/31032019/6419.
Abstract:
The article deals with the historical projection of the 300-year-old path of the Turandot image in the genre of theatrical music. After completing all the stages of European exoticism in Chinese subjects, Turandot was embodied in the main stages of the development of musical drama - from the baroque French Fair Theater Fory Saint-Lauren (Le Sage / d'Orneval for the first time analyzed music by J.C. Gillіer) through the pre-classical model of Italian folk (K. Gozzi) to the concept of German romanticism (F. Schiller ‒ F. Destush, K.M. Weber, W. Lyahner), oriental readings of the early modern days: neoclassical (F. Buzoni), symbolist (W. Ferst), primitive-naive (Y. Vakhtangov), psychologically-expressionistic (W. Stenhammar), household-entertaining variants (Broadway Theater) and complex multicomponent phenomena of the second half of the twentieth century, embodied in the "epic theater" (B. Brecht / H. D. Hosalla, Y. Lakner, A. Schnitke) and means "Theater of absurd" (W. Hilderschmayer), based on postmodernistic parameters of hybrid genre formations in Ukrainian culture (M. Denisenko, I. Uryvskiy) in the globalized reference of intercultural communication of the beginning of the third millennium.
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Latov, Yuri. "Paradoxes of the Russian Popadanets` Science Fiction." Sotsiologicheskie issledovaniya, no. 4 (2023): 117–28. http://dx.doi.org/10.31857/s013216250025451-9.
Abstract:
The author supports proposed by R.N. Abramov interpretation of the Russian science fiction development in the genre of alternative history as a reflection of the mass consciousness dynamics of Russians, but attempts, taking into account bibliometric data, to significantly clarify it. The development of this genre should be seen in the context of the evolving historical mentality of "post-Soviet" Russians, which turned out to be characterized by a commitment to virtual versions of historical events. This finds expression in the mass popularity of not only pseudo-scientific literature on the topics of Russian history (for example, so called “new chronology”), but also frankly fantastic “popadanets`s” alternative history. The perception of many periods of Russian history as a trauma that one would like to get rid of by rewriting or “replaying” real events is, to a large extent, a projection onto the past of the critical attitude of many Russians to the post-Soviet present. The decisive motive in this case is a desire for revenge - to change the results of historical events that were unsuccessful for Russia (first of all, military defeats).
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Pahlisch, Colin, and Gaspard Turin. "Enseigner la science-fiction dans ses perspectives politiques." RELIEF - REVUE ÉLECTRONIQUE DE LITTÉRATURE FRANÇAISE 17, no. 1 (September 15, 2023): 1–22. http://dx.doi.org/10.51777/relief17555.
Abstract:
La littérature ne constitue pas un programme mais envisage des possibles. La science-fiction (SF), en tant que genre exploratoire, insiste spécifiquement sur ces possibles. L’une des manières par lesquelles elle les produit consiste à potentialiser la pensée politique. Par des actes de fiction, elle renouvèle notre compréhension de la politique et, dans une certaine mesure, y participe. En différenciant la politique (instituée, « politicienne ») et le politique (qui pense et transforme le vivre-ensemble, suivant le principe de l’égalité essentielle à la démocratie), on s’attachera au second pour montrer son rôle dans l’enseignement, en particulier de la SF. Le genre trouve sa spécificité dans le fait que les composantes démocratiques aristotéliciennes – le nouage entre le lien à la communauté et le bien de la communauté – se rééquilibrent au profit de ce bien, comme projection hors de notre espace-temps. Enseigner ce genre revient à interroger ce nouage, mais aussi à l’expérimenter sur le terrain même de la classe. À l’aide de principes hérités des didactiques de la subjectivité littéraire, nous verrons comment envisager les multiples facettes de l’expression du politique dans l’enseignement de la SF, comment éviter les pièges de l’idéologie, comment enfin réinvestir l’espace symbolique de la classe : vide démocratique fécond, marge clandestine, lieu d’expérimentation, ouverture « prototopique ». On observera enfin l’outil narratologique comme spécialement adéquat pour traiter ces questions, étant donné sa place privilégiée pour observer les questionnements que la SF apporte à la temporalité, dans ses thèmes mais aussi dans les rythmes de lecture qu’elle suggère.
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Uspenska, I. O. "Violin concerto principles as a way of musical thinking: semantic discourse." Problems of Interaction Between Arts, Pedagogy and the Theory and Practice of Education 56, no. 56 (July 10, 2020): 169–88. http://dx.doi.org/10.34064/khnum1-56.11.
Abstract:
Background. The history of concert music, separated from ritual and other non-musical functions, is closely connected with the art of violin. The violin was the leading instrument of the Baroque concert style, the examples of which are still unsurpassed. Despite the large amount of research on the formation and varieties of violin style, the concept of “concert” in combination with the concept of “violin” has not yet been considered separately, which determines the relevance of the topic of this article. The object of the research is a concerto principle of musical thinking in violin music; the purpose of the study is to identify the features of the phenomenon of concert in the system of music genres with the participation of the violin. Research methodology. To highlight the content of the stated topic, the article uses elements of both general and special musicological methods, including: historical genetic, deductive, comparative (general scientific approaches); organological, genre and stylistic analysis (musicological approach). Results. The article is devoted to the characterization of the “concerto principles” concept, which is the basis for the study of concert works for violin. It is noted that such phenomena and concepts as “concerto principles”, “concertіzing”, “concerto” are based on the reflection of the dialogue idea in its projection on the dialectic of musical formation (according to B. Asafiev). The author of the article identifies the main approaches to classifying the types of concerto as a musical genre, pointing out the following oppositions: “composer – performer-soloist”, “performer-soloist – orchestra”, and “structural canon – freedom of construction”. The significance of such attributes of concerto as virtuosity and improvisation inherent in any concert forms, including with the participation of the violin, is highlighted. It is noted that the implementation of the concerto principles, which come from large concert forms by J. S. Bach (according to Yu. Kholopov), is a prerequisite in the practical application of the concerto violin music models that are individually embodied in the work of modern masters, including Kharkiv citizens. In order to characterize the phenomenon of violin concerto principles, it was necessary to dwell on the nature of a whole complex of phenomena defined by B.Asafiev as “the basis and principle of concerto”. Based on the observations made by the founder of intonation theory, we can conclude that there is a common core of any concerto music – the idea of a dialogue that arises between the generating and generated intonational and thematic impulses that potentially contain a key to the dialectic of the musical process in its various structural formulations. The dialogue nature of concerto as a special musical genre also includes such attributes as virtuosity and improvisation. However, their presence in a concerto has various gradations and is not, as a rule, a foreground factor. At the same time, we cannot deny that the virtus aesthetics (lat. – valor, talent) is important within the system of concerto genres represented in music for a certain instrument, in particular, the violin. In this regard, a concerto is always a “competition and agreement” between the soloist and the orchestra accompanying him. As a result, and on this basis, we can say about the formation of the three main types of interaction between the participants in the concert dialogue: dominating solo, dominating orchestra, and parity (according to K. Kuznetsov). It should be noted that the improvisation clarifies the meaning of concerto as a performing genre, which is aimed at the free expression of a musician, unlimited by the existing canons and structural models. The genome of concerto (M. Bondarenko) is realized in a rather wide variety of musical forms and genre subtypes – from the standard model of a concerto for a solo instrument with orchestra, a concert for orchestra, a “concerto without orchestra” (R. Schumann), to any other genre forms containing signs of concerto (K. Bila). In evolutionary terms, the development of the concert dialogue idea went through several stages in which two multidirectional vectors are distinguished – centripetal (the way to concerto as a special kind of symphonic genre) and centrifugal (“dispersal” of concerto as a principle of musical thinking in different intonation systems – mono-, poly- and liberal-genre, according to G. Daunoravichene). The “Genre Explosion” (L. Shapovalova), inherent in Modern music, influenced concerto as a musical genre, where composers and performers can discover for themselves and for listeners the most diverse elements of language and technology, referring to different eras and genre styles. The absence of a unified concert model in modern composer and performing practice is largely due to the set of instruments. The instrumental component of concert genres (namely genres, not a genre) is in modern conditions a key determinant in implementing the principles of concerto, which fully applies to violin music. It was the violin that was one of the main instruments that determined the appearance of a solo concerto in the Baroque music, where the foundations of the entire subsequent development of instrumental genre traditions were laid in the direction from the typical vision to the author’s version – the hypothesis of the world (M. Starcheus), concentrated in the genre “matrix” (E. Nazaikinsky). The unsurpassed examples of a large concerto form, which composers of all subsequent eras have oriented themselves to, are found in the works of J. S. Bach, who was not so much an “inventor” as a “trend-setter”. In concertos by J. S. Bach, the severity and seriousness of thought are combined with a peculiar “neutralization” (Yu. Kholopov) of form elements that create a kind of its internal tonal and harmonic “frame”. At the heart of Bach’s concerto principles, which apply to all other manifestations of this principle, and to modern violin literature, there are two constructive standards – polyphonic (theme and interlude) and homophonic (theme and episode), in which Yu. Kholopov sees not only differences, but also similarities. The author of this article did not set the goal of illustrating these principles on the material of specific works from the creative portfolios of Kharkiv masters. At the same time, the three principles of constructing a large concerto form – alternative, developmental and reprise-repeated (Yu. Kholopov), developed by I. S. Bach, can be traced in a number of examples – from concertos for violin (violins) with orchestra – to concerto miniatures , where the “image” of the instrument is realized through various gradations of concerto as the basis and principle of musical thinking. Conclusions. The semantics of violin concerto is revealed in two meanings, concentrated in the components of this phenomenon. The main one is “concert” as a principle of musical thinking, based on a combination and different types of ratio of dialogicity (genre constant), virtuosity and improvisation (genre attributes). The second component of the phenomenon – “violin” – specifies the first at the level of the genre system, which is multifaceted and includes works of different models, classified on the basis of mono-, poly- and librogenre. The semantic “matrices” of violin concerto find expression in the corresponding genre forms, which was first demonstrated in the music of the late Baroque (J. S. Bach), where they were divided into two most common types of poetics: polyphonic (theme and interlude), homophonic (theme and episode). The article states that on this methodological basis it is necessary to approach the concert violin style in the works of both individual authors and regional schools, in particular, one of the leading in Ukraine – Kharkiv, which is the immediate prospect of further study of the topic.
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Santoso, Maria Regina Yanuarika Putri, and Wulan Purnama Sari. "Analisis Semiotik Kesadaran Palsu dalam Media Baru (Augmented Reality) dalam Film Ketika Berhenti di Sini." Koneksi 8, no. 1 (March 13, 2024): 206–14. http://dx.doi.org/10.24912/kn.v8i1.27636.
Abstract:
The film When Stop Here combines the romance genre with a sci-fi theme which highlights innovative technological advances in creating new media based on virtual reality, Augmented Reality. This technological reality projection can trigger individuals to experience disorientation and change their beliefs about the reality they see, this is what is called false consciousness. The aim of this research is to show a picture of false consciousness in new media (Augmented Reality) contained in the film Kapan Stop Here using Charles Sander Pierce's semiotic method. The concept of depicting false consciousness is characterized by changes brought about by individuals through gestures and speech which are associated with hegemony, which is the dominance of one group over another group. The results of the analysis of this film show that there is a picture of false consciousness in new media (Augmented Reality) experienced by the character Dita which is caused by disorientation from the Augmented Reality projection which causes dependency, thereby triggering changes in attitudes and behavior that disrupt her relationships with the people around her. Film Ketika Berhenti di Sini menggabungkan genre romansa dengan tema sci-fi yang menonjolkan inovasi kemajuan teknologi dalam menciptakan media baru berbasis realitas virtual Augmented Reality. Projeksi realitas teknologi tersebut dapat memicu individu untuk mengalami disorientasi dan merubah keyakinan individu terhadap realitas yang dilihatnya, hal inilah yang disebut dengan kesadaran palsu. Tujuan dari penelitian ini adalah untuk menunjukkan gambaran kesadaran palsu dalam media baru (Augmented Reality) yang terkandung dalam film Ketika Berhenti Di Sini dengan menggunakan metode semiotik Charles Sander Pierce. Konsep penggambaran kesadaran palsu ditandai oleh perubahan yang ditimbulkan oleh individu lewat gestur maupun tutur kata yang dikaitkan dengan hegemoni yang merupakan dominasi satu kelompok terhadap kelompok lainnya. Hasil analisis dari film ini menunjukkan adanya gambaran kesadaran palsu dalam media baru (Augmented Reality) yang dialami oleh tokoh Dita yang disebabkan oleh disorientasi realitas dari projeksi Augmented Reality yang menyebabkan ketergantungan sehingga memicu perubahan sikap dan perilaku yang mengganggu relasinya dengan orang-orang di sekitarnya.
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Lacalle, Charo. "Genre and Age in the Reception of Television Fiction." Comunicar 20, no. 39 (October 1, 2012): 111–18. http://dx.doi.org/10.3916/c39-2012-03-01.
Abstract:
This article summarizes the main results of an investigation that is part of a project regarding the construction of youth and gender identity in television fiction. The methodology integrates reception analysis (focus group) with data obtained through an anonymous questionnaire, designed to contextualize the results of the qualitative research. Television fiction is the favourite macro-genre of young people, especially women. Broadly speaking, participants appreciate the greater proximity of Spanish fiction, which favours the different mechanisms of identification/projection activated during the reception process, and they acknowledge that TV fiction has a certain didactic nature. The research highlights the more intimate nature of female reception compared to the detachment of the male viewer, who watches fiction less frequently and assimilates it as pure entertainment. Age influences the different modes of reception, while the social class and origin of participants hardly have any impact. Confident, rebellious and ambivalent characters are found to be more interesting than the rest. By contrast, the structure of the story and a major part of the topics addressed by the programme are usually consigned to oblivion, highlighting the importance of selective memory in the interpretative process, as well as suggesting the limited nature of the effects of television fiction. El artículo resume los principales resultados de una investigación integrada en un proyecto más amplio sobre la construcción de la identidad juvenil y de género en la ficción televisiva. La metodología combina el análisis de la recepción («focus group») con los datos obtenidos mediante un cuestionario anónimo, destinados a contextualizar los resultados del estudio cualitativo. La ficción televisiva es el macrogénero preferido por los jóvenes, sobre todo por las mujeres. En general, los participantes aprecian la mayor proximidad de la ficción española, propiciadora de los diferentes mecanismos de identificación/proyección activados en los procesos de recepción, y le reconocen un cierto carácter didáctico. La investigación pone de manifiesto el carácter más intimista de la recepción femenina, frente al mayor distanciamiento de un espectador masculino mucho más inconstante, que asimila la ficción con el puro entretenimiento. La edad influye principalmente en las diferentes modalidades de recepción, mientras que apenas se constata la incidencia de la clase social ni del origen de los participantes. Los personajes seguros de sí mismos, rebeldes y ambivalentes, interesan más que el resto. Por el contrario, la estructura del relato y una buena parte de los temas del programa visionado se relegan generalmente al olvido, lo que revela el peso de la memoria selectiva en los procesos de interpretación y sugiere el carácter limitado de los efectos de la ficción televisiva.
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Bovsunivska, Tetyana. "CONTEMPORARY NOVEL IN ASPECT OF FRAME POETICS." LITERARY PROCESS: methodology, names, trends, no. 17 (2021): 17–24. http://dx.doi.org/10.28925/2412-2475.2021.17.2.
Abstract:
The article considers the possibility of synthesizing the system of poetics on the basis of cognitology, in this case - the theory of frames. The frame poetics is able to provide motivation where classical, non-classical or postnonclassical cannot offer convincing motivations. Poetics develops according to the laws of human thinking, in particular fixed in the frame theory. Therefore, we have reason to use frames in literary studies, because the frame is a natural segmentation of thinking in literature as well as in any field of science. The problem of genre definitions and genre transformations in modern novel forms has created a crisis of genre delineation. Frame theory allows to solve this problem of genre definition. Оr look at the genre in a new way, contributing to the conclusion of a new genre gestalt. The formation of different modern novel forms is considered in the aspect of the evolution of different types of poetics, which were concluded by mankind throughout its existence. Poetics is a mental mnemonic system of recoding reality or fiction into the figurative world of a work of art. Postnonclassical poetics, which is represented primarily in the works of postmodernists, has ceased to meet the needs of literary analysis, as it no longer has time to generate theoretical approaches due to the many modifications of the modern novel. Thus, there was a problem of inventing a different approach to the analysis of the current state of novel. Poetics is renewed in order to provide a comprehensive analysis of the structure of thinking of the artistic phenomenon and loses relevance when it does not provide such an opportunity. The nature of thinking is immutable and consistent in the principles of thought construction, and therefore, frame poetics is an evolutionary product of all previous types of poetics. It cannot contradict classical or postnonclassical poetics because it is a question of purely cognitive regularities. The sources of basic ideas for the creation of frame poetics of literature are the theory of frames from M. Minsky to I. Hoffman and W. Wachstein, frame semantics in linguistics from C. Fillmore to S. Shid, the theory of psychological patterns by E. de Bono and dynamic patterns by N. Babutz with a projection on French literature of the modernist era, interdisciplinary methodology of cognitive literary criticism and Gestalt theory from T. Kuhn and I. Prigogine to K. Aidukevich and T. Kotarbinsky, and finally, iconology as a principle of embodied frame unfolding by E. Panufsky, N. Goodman to E. Cassirer, J. Richardson and W. T. Mitchell.
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Krapivkina, O. A. "SIGHT TRANSLATION AND ITS STATUS IN THE TRAINING OF INTERPRETERS AND TRANSLATORS." Indonesian Journal of Applied Linguistics 7, no. 3 (January 31, 2018): 695. http://dx.doi.org/10.17509/ijal.v7i3.9820.
Abstract:
Sight translation has been considered as a supportive teaching method for simultaneous and consecutive interpretation for a long time and, due to recent developments in various fields such as business, law, science, and technology, it has gained more attention beyond simultaneous and consecutive interpretation. However, research on how sight translation is applied seems to be rare. This study, thus, aims to investigate the challenges and exercises to overcome them to improve student’s sight translation. This research employed a descriptive analysis using teacher’s assessment and students’ self-assessment questionnaire. There were 57 students in the final year at a university in Russia participating in the research. They were asked to conduct a sight translation of 248 words text. The finding shows that public speaking is the most challenging criteria for the students to achieve and the least challenging criteria are to deal with the register and genre convention. The article concludes that the following aspects of sight translation should become a training focus: clarity and fluency of delivery, the coherence of discourse, factual and linguistic accuracy, compliance with register and genre conventions, appropriate speaking speed rate, information timeliness, appropriate tone, volume, and voice projection. Some exercises in enhancing students’ sight translation are also provided. It is recommended that sight translation is taught to the students separately from other modes of interpreting because of different skills combination.
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Savchenko, Hanna. "Orchestral writing into the I. Stravinsky’s opera «Mavra» in the aspect of general and singular." Музикознавча думка Дніпропетровщини, no. 18 (November 13, 2020): 104–14. http://dx.doi.org/10.33287/222021.
Abstract:
The purpose of this article is to study I. Stravinsky’s opera «Mavra» in the aspect of embodiment of «universals» (by S. Savenko) of the composer’s orchestral logic and usage of specific devices of orchestration, spawned by original artistic idea and genre traits of the opera. The article applies such methods of this scientific research as genre, historical and system-functional. The scientific novelty of the investigative article is caused by the fact, that it is foremost research in domestic musicology of specifics of «Mavra’s» orchestral writing on intersection of general and singular. Conclusions. The analysis of orchestral writing in «Mavra» allowed us to draw the following conclusions a namely specifics of orchestral writing are caused by peculiarities of selected model’s genre as well as by orientation towards the theatre of representation; orchestral writing reveals multi-figure and combinative principles, which, if one is to use the terms of S. Savenko, might be described as «universals» of orchestral writing; specifics of orchestral writing is defined by the interaction of the two projection of I. Stravinsky’s orchestral logic: general and singular (special); composer tends to use multi-figure and combinative methods in a concealed way, with some transfigurations (rhythmic-intonation configuration of figures is being reduced as they become akin to formulae), that reflects universal artistic inclination towards game and variative thinking on multiple levels of artistically-aesthetic integrity; timbre and texture structure of the opera is marked by lack of full string group in the orchestra, relatively rare changes of timbres and timbre combinations compared to early ballets, smaller quantity of timbre combinations on the vertical axis, more pronounced continuity of time; omission of complicated combinative and multi-figure composition principles, that causes the orchestral space to be dimensional.
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Gotsalyuk, Alla. "TRADITIONS AND INNOVATIONS AS DETERMINING FACTORS IN THE DEVELOPMENT OF UKRAINIAN THEATRICAL ART." Spatial development, no. 7 (February 23, 2024): 612–24. http://dx.doi.org/10.32347/2786-7269.2024.7.612-624.
Abstract:
This article analyzes the trends in the use of the most important means of artistic expression in theatrical art and cinema, marked by the influence of evolutionary changes in modern cultural life and the emergence of new genre modalities in today's staging decisions, related to the ideological reorientation of social consciousness and the formation of innovative artistic features in the modern theater. The compositional portrait of modern theater highlights the possibilities of dramatic genre modeling, modern technologies and their transformational processes, which are interrelated with the democratization of Ukrainian society, and therefore artistic life, raising the tone of the national scene, cinema, and opening up new opportunities for stage art. A feature of the scientific research of symbolic forms in this area of art is the analysis of the possible addition of the mutual enrichment of theater and myth at the level of mythological narratives, status oppositions, plot matrices, communicative strategies and symbolic forms, a new mythocentric discourse of modern dramatic genre modeling. And also a multimedia lighting technician with the latest information and digital technologies and the possibilities of using Artificial Intelligence (AI) in the newest Ukrainian theater. The use of compositional techniques in combination with the latest technologies, AI in creating the atmosphere of a modern theater allows you to focus on the performers and the performance, and not on the complex decor. In addition, stage spaces are becoming more flexible, able to adapt to different types of performances and events. The use of the latest intellectual technologies is especially valuable and extraordinary. Modern theaters and Ukrainian cinema are constantly introducing advanced technologies to improve the impression of the audience. This may include the use of projection mapping, virtual and augmented reality, interactive elements and other innovations that help create a unique atmosphere and attract the audience.
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Dutta, Minakshi. "A Reading of Bhabendra Nath Saikia's Films from Feminist Lens." CINEJ Cinema Journal 8, no. 2 (December 3, 2020): 247–74. http://dx.doi.org/10.5195/cinej.2020.261.
Abstract:
Feminist movement deconstructs the constructed images of women on the screen as well. The gap between real and reel woman is a vibrant topic of discussion for the feminist scholars. As a regional genre of Indian film industry Assamese film flourished during the third decades of twentieth century. Like the films of other parts of the world, Assamese films also constructing the image of woman, particularly Assamese women, in its own way of projection. Hence, this article is an attempt to explore the questions related to women’s representation by taking the films of Assamese director Dr. Bhabendra Nath Saikia as reference. Moreover, as per the demand of the article it will cover a historical overview of the representation of women in Indian cinema and Assamese cinema. Different theories from psychoanalysis and feminism will be applied to analyze the select movies.
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Seligey, V. V. "THE TRANSCULTURAL VISTA OF REASSESSING THE DISCOURSE OF CHINESE TRADITION IN GUO DINSHEN’S ESSAY COLLECTION “THE UGLY CHINAMAN AND THE CRISIS OF CHINESE CULTURE”." PRECARPATHIAN BULLETIN OF THE SHEVCHENKO SCIENTIFIC SOCIETY Word, no. 3(55) (April 12, 2019): 338–49. http://dx.doi.org/10.31471/2304-7402-2019-3(55)-338-349.
Abstract:
The creative work of modern Taiwanese writer Ho Dinsheng is considered for the first time in the Ukrainian literary studies. The analysis is focused on the peculiarities of the intertextual semantics of transculturation in the essay collection "The Ugly Chinaman and the Crisis of Chinese Culture". The transcultural perspective is embodied as the project, akin to the tendencies of "culture criticism". The accusatory tone, the lashing portrayal of iconic stamps, resulted from simplifying projection of traditional culture into mass discourse, is combined with multiple allusion, reminiscence and quotation techniques, thus the complicated experiment of rereading and deconstructing artistic and philosophical tradition of China in the global perspective is carried out. Within broad context of global literature, the experiment features the reassessment of genre peculiarities of philosophical essay, lecture essay, explicit cultural pragmatism, emotional positivism akin to late Romanticism and modern projects, mildly developing the poetics of postmodernism.
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Arribert-Narce, Fabien. "De la « notation » à la « fictionalisation » de la vie: panorama des tendances photobiographiques dans la littérature française des années 1970 à nos jours." Nottingham French Studies 53, no. 2 (July 2014): 216–31. http://dx.doi.org/10.3366/nfs.2014.0087.
Abstract:
Cet article examine le genre littéraire photobiographique qui est monté en puissance en France à partir des années 1970 avec la publication de livres comme La Chambre claire de Roland Barthes, L'Image fantôme d'Hervé Guibert ou encore L'Amant de Marguerite Duras. Il semble plus particulièrement que les œuvres autobiographiques formant ce corpus de plus en plus fourni puissent être schématiquement réparties en deux catégories distinctes en fonction de leur mode d'utilisation de la photo et de leurs orientations éthiques et esthétiques; on peut ainsi distinguer d'une part une tendance à se servir de la photo comme un modèle de notation (d'enregistrement graphique) de la vie sur le vif, et donc à la fois comme un document et une preuve de la réalité passée, et d'autre part une tendance fictionalisante insistant davantage sur les possibilités de projection (imaginaire) et de mise en scène (et en récit) offertes par les images.
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Vrcić-Mataija, Sanja, and Jasminka Troha. "Zavičajnost u hrvatskoj dječjoj književnosti." Magistra Iadertina 11, no. 1 (November 8, 2017): 131. http://dx.doi.org/10.15291/magistra.1331.
Abstract:
The paper interprets selected genre of diverse texts that belong to Croatian children′s literature connected by the theme of indigeneity. The concept of indigeneity, characterized by linguistic-stylistic features, prominent emotionality and desire for the awareness of indigenous identity (language, landscape, customs, history) could be read to children recipients from children′s poetry, picture books, topologically diverse stories and tales. Literary theory and culture analysis have identified the importance of native and regional identity based on knowing and promoting native values and patriotism. Motive-related, linguistic, compositional and stylistic differences have been noticed in selected writings, all based on the genre specifics. In their literary texts authors mostly use autobiographical discourse of their own childhood and life experience connected to their homeland. Besides the narrative realism resulting from the projection of one's own childhood, a significant interference of the elements of fairy-tales, as well as the need of mythical vision of the homeland have been noticed. Indigenous themes are usually realized through spatial topophilia: from emotional description of rural and urban localities, through historical digressions, to the narration about important persons whose life and work have become recognizable parts of the homeland identity and cultural heritage of a particular region. Linguistically, some of the literary texts are written in standard language, while others use dialects, regional and local speech as a means of determining the affiliation with a particular region and promoting the preservation of native dialectological values.
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Sizova, Maria. "Digital drama of the first quarter of the XXI century. Experience of performative projection of modern times." Semiotic studies 1, no. 4 (April 1, 2022): 52–57. http://dx.doi.org/10.18287/2782-2966-2021-1-4-52-57.
Abstract:
This article is devoted to new forms of organization of dramatic and stage text associated with the digimodern culture. It provides a brief excursion into the history and theory of digimodernism in America. Moreover, there have been considered modern Russian-language examples of digital stage text adapted to our reality. The experience of the director Dmitry Volkostrelov and his numerous theatrical practices are analyzed as a hero / protagonist of the story. As the hero of the story, the experience of director Dmitry Volkostrelov and his numerous theatrical practices are explored.The text of the article explores step by step the problem of adapting the dramatic genre to the digital reality of the Internet and analyzes the very possibility of such adaptation. The key question is asked: What is virtual reality becoming in the theatrical environment today? The background or content of the story, the reason for the development of new theater directors matrices.Through the retrospective of Dmitry Volkostrelovs directorial work, a hypothesis is built about the possible influence of the surrounding space on the texts of the play by Pavel Pryazhko (drama in the life of this principal director) and the language of Volkostrelovs mise-en-scene.
45
TSYHANIUK, Liutsiia. "THE FUNDAMENTALS OF THE ARTISTIC OUTLOOK OF V. BIBIK IN THE PROJECTION OF THE GENRE AND STYLE PRIORITIES OF THE COMPOSER." Humanities science current issues 3, no. 66 (2023): 73–79. http://dx.doi.org/10.24919/2308-4863/66-3-11.
46
Hu, Tingting, and Tianru Guan. "“Man-as-Nation”: Representations of Masculinity and Nationalism in Wu Jing’s Wolf Warrior II." SAGE Open 11, no. 3 (July 2021): 215824402110335. http://dx.doi.org/10.1177/21582440211033557.
Abstract:
Through an in-depth analysis of gender representation in the box office record-breaking Chinese movie Wolf Warrior II, this study interrogates how the male body is used as a site for the projection of Chinese national power. Furthermore, it illustrates a revival of patriotic pride in China through a contemporary reading of cross-genre action-military films. Developing Shuqin Cui’s notion of “woman-as-nation,” which understands on-screen female victimization in Chinese films as signifying the past suffering of the nation, this study proposes the new concept of “man-as-nation” to explain how the masculine virtues of male protagonists in Chinese films signify the nation’s rejuvenation and strength. Framing male virtue into the paradigms of wu (武), as martial valor, and wen (文), as cultural attainment, this article argues that masculinity has come to symbolize China’s enhanced comprehensive power and to embody its ideological orientation in both global and domestic domains.
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Kireyeva, Natalia Yurievna, and Angelina Leonidovna Kuts. "J. Offenbach’s opera “The Tales of Hoffmann”: on the question of interpretation. Part 2." PHILHARMONICA. International Music Journal, no. 2 (February 2021): 41–58. http://dx.doi.org/10.7256/2453-613x.2021.2.34930.
Abstract:
J. Offenbach’s opera “The Tales of Hoffmann” stands out from other compositions of this genre. Because of a complicated story behind, this piece of music has several versions and, consequently, various interpretations of the plot. The opera has also other features which are described in the article. Pride of place goes to the study of sopranos. The authors detect the linkage between the main female characters (Olympia, Antonia and Giulietta). The common thread, uniting Hoffmann’s ladies, is an incidental character Stella. The three stories of the poet’s ladies are the stages of Hoffmann’s relations with Stella. Each scene of “The Tales” contains the heroine’s projection which manifests a definite trait of her character. The ladies from “The Tales” de facto represent various traits of one girl while being de jure the main characters of each story. The composer portrays them in detail which can be seen through the difference in singing ranges and tessituras (from coloratura to lyrical-dramatic soprano). Tessitura differences along with genre duality of the opera affect the selection of expressive means. Features of opera comique allow embodying Olympia’s hardhearted mechanism from the first scene (by means of onomatopoeic elements expressed in complex coloratura passages and music ornaments). Opera lyrique develops Antonia’s inner conflict from the second scene by means of romance parties and lamentation character of music. This peculiar synthesis of both genres manifests itself in Giulietta with the irony of opera comique hidden under the haze of opera lyrique which corresponds with the essence of the heroine (third scene). The above mentioned peculiarities sometimes do not allow performing soprano parties in accordance with the composer’s idea in which the four heroines should be embodied in one solo singer. However, there’ve been lucky occasions in the history of this opera when the singers managed to implement the composer’s idea.
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Tyshchyk, V. "Programmability projections in “The Ancient Kiev Frescoes” by A. Stashevsky for the button accordion." Problems of Interaction Between Arts, Pedagogy and the Theory and Practice of Education 55, no. 55 (November 20, 2019): 33–49. http://dx.doi.org/10.34064/khnum1-55.03.
Abstract:
The article explains the role of extra-musical factors in the creation of the compositions, caused by the action of the art synthesis as a cross-cutting theme of the composer’s creativity in the European tradition. In the academic art, this phenomenon has acquired the status of the program method, which to some extent has directed the listeners’ perceptions. The actualization of the present topic and its predetermined task is to determine the degree of the correlation of the semantics of a new composition to its artistic original, since it is precisely on the “artistic type translation” that both the programmability and the ways of its implementation by means of the performing interpretation depend. The object of the article is the programmability as a condition of the composer’s idea; the subject is the author’s concept of “The Ancient Kiev Frescoes” by A. Stashevsky for the accordion, implemented in the genre-stylistic system of the individual and national-musical thinking. The purpose of the article is to identify the genre-stylistic factors of the author’s conception of the selected composition, which reflects the sound-poetic ideas about the ancient history of the native land, while forming the national memory of the modern Ukrainian. Analysis of the recent publications on the research topic. Among the fundamental works devoted to programmability, we should point out the works by V. Konen, which trace the tendency to expand the limits of programmability in music at the expense of non-musical influences, as well as those by M. Lobanova, who characterizes the synthetic genres (opera, theatre music, ballet, program symphony) in the historical dimension. G. Khutorskaya owing to the introduction of the category “interspecific translation” into the scientific circulation explains the means of the synthesis of arts in vocal compositions [5]. The interspecific interaction of the theatre, painting, dance, poetry and literature contributes to the reproduction of the complete picture of the world in music. The material for the development of the problem is the composition for the accordion called “The Ancient Kiev Frescoes” by A. Stashevsky, one of the bright representatives of the modern accordion school of Ukraine. Observing the author’s premieres (in particular, the accordion compositions) in the quality of a professional listener, one can state that his creativity has become an important part of the musical culture of the Slobozhanska Ukraine. As a multifaceted personality – an accordion performer, teacher, composer, and scientist – he embodies new ideas, genre-style models and corresponding techniques of the performing skills in his activities. A comprehensive analysis of the genre stylistics and a personal view of the performance dramaturgy of the interpretation of the program cycle have been given. “The Ancient Kiev Frescoes” by A. Stashevsky (2005), besides the program name, have a genre refinement of the “suite-notebook”, which contains the key to understanding the essence of the stated program. First, the notebook (the album) is holistic, and contains information about interrelated events of a certain era, arranged in a timeline (the linear sequence). Secondly, the pages of the notebook can be represented as the planes where the images are located – the frescoes of St. Sophia Cathedral in Kiev. The most valuable decoration of the cathedral is the mural, which has been preserved for centuries and is an example of the skill and artistic taste of ancient Ukrainians. In general, St. Sophia Cathedral embodies the philosophical credo of the era with its national idea, the expression of the spirituality of the Christian worldview. There are nine parts in the suite-notebook, each with a program title. The author’s idea is realized, on the one hand, through the programmability of the picture type, when the parts of the suite cycle constitute a single composition that is associated with a multi-figured mural (with its mosaic, stained glass). It is impossible to capture it at one glance, so getting acquainted with it implies a consistent arrangement of the fragments of the whole in time. On the other hand, there is a pervasive narrative throughout the cycle: all the parts sound attacca. The pages of the chronicle seem to be expanded in the temporal axis; there is also a general logic of changing the various musical murals that is subordinate to the latent programmability: from “Intrada” to the climax in Part 8 and Part 9 an associate connection (a story line) is established. Programmability-driven musical stylistic contains repetitive segments of the author’s language focused on archaic styling. Because of the singing type of thematism, the ostinato nature and variability of the means of its development, the expanded fret and tonal nature, the mosaic principle of the stringing of the motives, and their combining. In the conclusions it is emphasized that in the program composition for the accordion A. Stashevsky skillfully realized his plan as a projection on historical, musical-performing and picture-everyday images-echo. The incarnation of the ancient history of Kievan Rus by means of the fret-harmonious, texture-timbre and compositional-dramatic means fully presents the author’s conception of the composition – the harmony of a man and history, the updating of the Past, in order to understand one’s own mental foundations, self-awareness in the national cosmos and logo.
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Laura Mª Lojo Rodríguez. "Tourism and Identitary Conflicts in Monica Ali's Alentejo Blue." Miscelánea: A Journal of English and American Studies 56 (December 20, 2017): 73–90. http://dx.doi.org/10.26754/ojs_misc/mj.20176788.
Abstract:
This paper explores the problematic cross-cultural encounters in Monica Ali’s work Alentejo Blue (2006) set in Mamarrosa, a fictional place in the Portuguese region of the Alentejo. This collection is a composite of nine stories alternately focalised by different characters, posed in an interstitial position between the polyphonic novel and short story cycle. The narrative’s reluctance to fit in genre taxonomies mirrors the heterogeneous nature of the characters’ perspectives, ranging from British expatriates and tourists in Portugal to the locals’ views of these visitors. Such a conflation at a complex cultural crossroads favours no inspiring encounters, but rather fuels feelings of frustration, a profound sense of displacement and a tantalising incapability of solving conflicts. The paper also examines the second story in the collection, which entails the experience of British writer Harry Stanton in the Alentejo as paradigmatic of a subjective projection of the preconceptions and prejudices which most often intervene in a tourist’s construction of place, and which eventually pertain to culturally erected barriers between the self and the Other.
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Denisova, Ekaterina Andreevna. "On the autobiography of M. Y. Lermontov's dramaturgy of the early period (plats “Menschen und Leidenschaften” and “A Strange Man”)." Litera, no. 10 (October 2021): 21–30. http://dx.doi.org/10.25136/2409-8698.2021.10.36462.
Abstract:
This article is dedicated to the analysis of the two plays written by M. Y. Lermontov in the the early period – “Menschen und Leidenschaften” and “A Strange Man” form the perspective of manifestation of autobiographical context therein. These works are based on the dramatic events in Lermontov's biography that took place in 1830–1831, such as conflict between the poet's grandmother and father, death of his father, as well as Lermontov's relationship with N. F. Ivanova. Analysis is conducted on the texts of these two dramas, as well as on the biographical situation that encouraged Lermontov to create these plays. Special attention is given to determination of specificity of interrelation between the biographical and fictional in Lermontov's dramaturgy of the early period. Lermontov’s appeal to the drama genre is associated directly with the need for artistic mastering of the biographical context. The article analyzes the process of instilling life facts in the dramaturgical text, as well as the specificity of manifestation of the autobiographical in the plotline, images of the heroes, as well as ideological-thematic aspect of the work. The result of the conducted research lies in tracing the evolution of the image of the protagonist based on self-projection of the author's personality, as well as the peculiarities building a romantic conflict that has autobiographical grounds. The two compositions represent a different perspective upon the personality and behavior of a “strange” man; autobiographical accuracy in depicting a romantic conflict is associated with the possibility of conveying the history of relationships in the play, due to the closeness of this literary genre to empirical reality. This allows viewing the two plays as a system of artistic development of biographical events in the dramatic discourse.