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1
Demchenko, Mariia. "MARKETING MANAGEMENT IN THE FIELD OF THEATRE ARTS". Vìsnik Sumsʹkogo deržavnogo unìversitetu 2024, nr 2 (2024): 55–63. http://dx.doi.org/10.21272/1817-9215.2024.2-06.
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Even taking into account the difficult conditions of life in Ukraine, society always strives to restore itself by filling itself with positive emotions. Considering these aspects, the theater industry is still growing even faster than during the pandemic since 2020. Accordingly, today marketing is an important tool for the successful functioning and development of theatrical art, ensuring its accessibility, popularity and financial stability. The purpose of the article is to analyze the effectiveness of marketing management support in the field of theatrical art. The results of the analysis of queries in the Google search network, scientometric databases Scopus and Web of Science confirm the relevance of the researched topic. An analysis of the dynamics of search queries for the period from 2004 to May 2024 showed significant fluctuations in interest in marketing management and theater arts, which were caused by economic crises and the COVID-19 pandemic. After the recovery in 2022, new marketing platforms such as TikTok have contributed to positive changes in the field of marketing management. Geographical analysis shows a predominance of interest in theater arts in Canada, Australia, Great Britain and Ireland, while in China, Brazil, Germany and Ukraine there is a greater interest in marketing management. The author revealed an increase in the level of interest among the scientific community in the field of research into the effectiveness of marketing management in the theater industry. This is evidenced by the general increase in the number of scientific works over the past five years by almost 20%, taking into account the rather wide geography of publishing activity. A competitive analysis of four of the largest and most popular theaters of Ukraine - Lesya Ukrainka National Academic Drama Theater, Ivan Franko National Academic Drama Theater, Solomiya Krushelnytska Lviv National Academic Opera and Ballet Theater and Kyiv National Academic Molodyy Theatre - emphasized the importance of modern marketing strategies and active using social media to successfully promote theater productions.
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Lamb, Susan. "The Popular Theater of Samuel Foote and British National Identity". Comparative Drama 30, nr 2 (1996): 245–65. http://dx.doi.org/10.1353/cdr.1996.0000.
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Wang, Mingjin. "A Comparative Study of Public Art Education by the State Theaters in Korean and China". SHS Web of Conferences 158 (2023): 02008. http://dx.doi.org/10.1051/shsconf/202315802008.
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As a contributor to the construction of a modern public cultural service system, theaters, together with libraries, art galleries, cultural centers, etc., shoulder the social responsibility of public art education. Public art education takes public art service institutions as the carrier. At present, schools are the most popular and developed institutions among public cultural service institutions. With the advancement of socialization, public cultural and art institutions are flourishing. Funded and operated by the government, more and more public institutions bear the social responsibility of public art education in the new era and shape the diversified forms of public arts education. With National Theater of Korea and the National Theater for the Performing Arts as the objects for its research, this paper analyzes the similarities and differences between the measures for public art education in the two countries through a comparative study.
4
Banta, Emily. "Agonistic Audiences: Comic Play in the Early National Theater". American Literature 92, nr 3 (1.09.2020): 429–55. http://dx.doi.org/10.1215/00029831-8616139.
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Abstract This essay considers how rowdy theater audiences contributed to a broader cultural understanding of democratic politics in the early United States, showing how raucous and occasionally riotous theater patrons enacted a form of popular rule that was predicated on the paying audience’s sovereign right to pleasure. Agonistic audiences thrived on the conflictual dynamics of disorder and dissidence, but their unruly practices only rarely devolved into mob violence, precisely because theatergoers largely understood themselves to be at play. I examine various accounts of theatrical disturbance, including Washington Irving’s famous depiction of a disorderly audience, to demonstrate how patrons cultivated a comic mode of sociality, one that foregrounded and maintained the essential playfulness of social contest. Such comic play acknowledged a horizon of popular enjoyment that stood in excess of rational-critical public discourse. The comic mode has long been undertheorized in literary and cultural studies of the early United States, yet it holds key insight into the practices of both early national theater and early national politics. By way of example, I offer a comic reading of Royall Tyler’s The Contrast (1787) that reveals the imprint of the agonistic audience on the repertoire of the period, shedding new light on nineteenth-century genealogies of performance.
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Essien, Edet. "Theater for development in contemporary Nigeria: problems and prospects". International Journal of Humanities and Innovation (IJHI) 3, nr 1 (31.03.2020): 17–21. http://dx.doi.org/10.33750/ijhi.v3i1.66.
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Theater has become more popular over the years. It is generally known to people as a building designed for the performance of plays, dances, etc. This paper is aimed at espousing the pertinence of theater in national development, especially in a developing African nation-state like Nigeria. In doing this, the paper identifies and discusses the exploitable prospects and problems that go along with the deployment of theater in enhancing Nigeria’s development. The paper concludes that despite the challenges, theater plays a vital role to play towards creating a reliable, effective, and responsive representative institution and in advancing the frontiers of development of the Nigerian society.
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Ioannidou, Eleftheria. "Performative Mo(nu)ments". Fascism 12, nr 2 (13.12.2023): 117–41. http://dx.doi.org/10.1163/22116257-bja10068.
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Abstract The forms of popular and mass theater developed in Fascist Italy and Nazi Germany reached back to classical antiquity to reinvent theater as a secular rite. At first glance, the use of the theatrical medium is at odds with the classicizing monumentality that characterized the cultural expression of fascist regimes. Theatrical performances are by their very nature ephemeral events; unlike monuments, they do not leave their mark on civic space, and can barely provide a testament to generations to come. Drawing on performance theory and cultural history, the author argues that these antiquity-inspired performances provided powerful sites of re-enacting the myth of national rebirth. Fascist regimes used open-air theaters and forms modelled on Greek theater, whilst also tapping into the notions of performance that had been developed within the traditions of the theatrical vanguard to offer the experience of a reborn past. These performances brought forth grandiose visions of classical antiquity through living bodies and helped to embed the imagined past into a mythicized present. The intertwining between the theatrical medium and classical reception allow us to demonstrate the significance of embodied practices in shaping fascism’s political radicalism.
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Li, Qiang. "Peculiarities of the mutual influence of Italian and Chinese musical theater tradition in historical development". Problems of Interaction Between Arts, Pedagogy and the Theory and Practice of Education 67, nr 67 (22.10.2023): 56–77. http://dx.doi.org/10.34064/khnum1-67.04.
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Statement of the problem. Modern opera performance art in China is closely related to the national theater tradition, which has a thousand-year history. Despite the fact that Italian (and generally European) musical and dramatic art has been known in China for more than a few century, the public did not perceive it for a long time due to significant differences in many aspects: from stage dramaturgy, vocal roles to behavioral norms in the theater institutions. This study draws historical parallels between Italian opera and national Chinese music-theatre art and examines attempts to adapt Italian vocal art to Chinese. Objectives, methods, novelty of the research. In this investigation, we tried to find common and distinctive features in Italian and Chinese musical theater by comparison, as well as to identify the factors that influence the perception of the theater work by the Chinese public. The scientific novelty of the study lies in the fact that for the first time the path taken to adapt Italian vocal art to the Chinese language, the national musical theater and its audience is analyzed, and the role of tradition in this process. The main research method is comparative, with the help of which the common and distinctive features of Chinese and Italian musical theater are revealed; methods of historical musicology and cultural studies were also used. Research results. The development of Italian and Chinese musical theater in certain historical periods took place in parallel, so they have a number of similar typological features. Both Chinese and Italian theaters synthesize different types of art: singing, ballet, visual series (decoration, costumes), dramatic action. At the same time, they are fundamentally different manifestations of theatrical art. In Chinese opera, the visual component is of great importance – costumes, make-up, decor, etc., and the content and plot vicissitudes are deliberately simplified so that the audience is not distracted, but can enjoy the spectacle. The difference of Chinese opera is circus art: the actors had to have acrobatic and fighting skills and impress the audience with them. In Italian opera at the stage of its formation, the visual series was given great importance, but due to the fact that the authors of the first opera models (Florentines) considered as a model the Greek drama with its idea of moral improvement through catharsis, its dramaturgy is radically different from that of the Chinese theater; therefore, tragedies and dramas were not perceived by the Chinese audience who went to the theater to be entertained and enjoy the skill of the actors. For quite a long period after the penetration of European culture, the Chinese public did not perceive works of Western art, treated them as exotic and often did not understand their essence, aesthetics and value in general. The main obstacle was usually the language, but also the content of the theatrical works of European playwrights, translated into Chinese, did not find a response in the audience, despite the rather significant commonality in plots, themes, and issues. The public did not understand complex ideas that were accompanied by dramatic events or had a tragic ending. Conclusion. Italian and Chinese opera have many common features, but differ in their basis, and the Chinese audience did not perceive Western art for so long because of the fundamental difference in the approach to the visual and content aspects. The originality of Chinese theater drama consists in maximum visualization, which distinguishes it from European drama, in which the content is the basis of the work. The formation of modern opera performing art in China took place in the middle of the 20th century, and this process has a distinctive feature: modern national opera in European traditions was created in order to interest the Chinese public, to draw their attention to the new art. The first example of such an opera (yangban xi) – “The White-Haired Girl “(1945), created by the team of authors of the Academy of Fine Arts named after Lu Xin, became popular among the Chinese, which confirmed the correctness of the creative approach that combined European forms and Chinese performance traditions. In addition, the work was adapted for plastic (ballet), screen and traditional theater (xìqǔ) arts. The appearance of such productions contributed to the fact that the public gradually got used to European opera, and today Chinese opera art is widely represented on the national and world stages. In the years since the appearance of the first Western-style national opera, Chinese singers have mastered various classical vocal styles: Italian bel canto, traditional Chinese singing, Chinese bel canto, and now represent their own national vocal school on world stages.
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Butwin, Joseph. "Democracy and Popular Culture Before Reform". Browning Institute Studies 17 (1989): 1–21. http://dx.doi.org/10.1017/s0092472500002637.
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The theatricality of modern politics is an axiom available to every headline writer, every talk show host, and every college professor. National and international politics have become a branch of theater which is a branch of advertising. And most people who bother to note this commonplace complain about it. With the presidency of a movie actor, the headline writers have tended more and more to acknowledge the metaphor that animates their own activity. The press with its words and pictures, the newsreel, and then television have very self-consciously assumed the function of the stage in this century. Politicians step in as its actors while ad agencies produce, and we the people quietly sequestered in our living rooms play an uneasy role as a dispersed and silent audience, the weakest component of a global metaphor that has been with us at least since Shakespeare's time.
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Mally, Lynn. "Exporting Soviet Culture: The Case of Agitprop Theater". Slavic Review 62, nr 2 (2003): 324–42. http://dx.doi.org/10.2307/3185580.
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In this article Lynn Mally examines the efforts of a Comintern affiliate called MORT (Mezhdunarodnoe ob“edinenie revoliutsionnykh teatrov) to export models of Soviet theatrical performance outside the Soviet Union. Beginning with the first Five-Year Plan, MORT was initially very successful in promoting Soviet agitprop techniques abroad. But once agitprop methods fell into disgrace in the Soviet Union, MORT abruptly changed its tactics. It suddenly encouraged leftist theater groups to move toward the new methods of socialist realism. Nonetheless, many leftist theater circles continued to produce agitprop works, as shown by performances at the Moscow Olympiad for Revolutionary Theater in 1933. The unusual tenacity of this theatrical form offers an opportunity to question the global influence of the Soviet cultural policies promoted by the Comintern. From 1932 until 1935, many foreign theater groups ignored MORT's cultural directives. Once the Popular Front began, national communist parties saw artistic work as an important tool for building alliances outside the working class. This decisive shift in political strategy finally undermined the ethos and methods of agitprop theater.
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TYMOFIEIEVA, Yulia. "TRANSFRONTALITY OF LITERARY IMAGES: EXTRAPOLATION OF THE ITALIAN PUPPET HERO PULCINELLA". 7, nr 7 (26.12.2022): 86–107. http://dx.doi.org/10.26565/2521-6481-2022-7-05.
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The article concerns one of the most important characters of national Italian puppet theatre, the marionette Pulcinella, and its influence on the images of folk heroes of puppet and drama theaters, street performances and literary works in European countries. National invariants of this character in the theaters and literatures of Western and Central Europe from the time of the appearance of this character to the beginning of the twentieth century are highlighted. Due to the expansion of economic and political ties, from the beginning of the 17th century, Pulcinella, together with itinerant artists and puppeteers, begins its transition to most European national folk theaters and literature. Depending on the geography of the country, its national character traits and national stereotypes, Pulcinella changes his image, his name, his behavior, and language. However, what is the most important, each national puppet retains both external and internal features of their original predecessor, Pulcinella. Examples provided in the article prove that most of the national invariants of Pulcinella possess his main character trait, that is, a fight against injustice and fierce criticism of authorities. Such characters as the English Punch, the Dutch Pickelgering, the French Polychenelle and Guignol, the German and Austrian Hanswurth, the Spanish and Portuguese Don Cristobal, the Czech Kaszparek and the German Kasperle invariably pursue two main goals: to protect the wronged and to defeat the evil In each of the countries, the characters created on the prototype of Pulcinella, were warmly accepted by the public and became very popular, especially with common people. At the same time, they differed from the original with their national coloring; they became the mouthpiece of national character traits, national ethnic stereotypes. The article seconds the opinion of many literary scholars that the origins the marionette character of Pulcinella can be traced to the Italian folk theater hero of Maccus, mainly because Pulcinella adopts the features of that ancient character's appearance, such as an irregularly shaped head, a large hump on his back, a hooked nose, a large belly and lively shrewd eyes. With small changes and variations, these features of appearance are received not only by Pulcinella, but also by the numerous national invariants of this character in Europe. However, all these national invariants also preserve the typical traits of Pulcinella's character, such as cockiness, cunning, thirst for justice and victory in an argument. In the 19th century, the Pulcinella marionette ‘returns’ to Italy and transforms into the wooden puppet Pinocchio. Carlo Collodi’s novel becomes so popular that it is translated in many countries of the world, and the new characters modelled on Pinocchio, acquire national features, such as Zeppel Kern by the German writer Otto Julius Birbaum. This begins a new round of Pulcinella's influence on the world culture.
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Verba, Irina P. "DICTIONARY OF THE RUSSIAN POPULAR LANGUAGE BY A.N. OSTROVSKY: ETHNOLINGUISTIC APPROACH, BASIC PRINCIPLES OF COMPILING". Vestnik of Kostroma State University 29, S (15.11.2023): 75–78. http://dx.doi.org/10.34216/1998-0817-2023-29-s-75-78.
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A.N. Ostrovsky’s name is associated with the development of the direction of the Russian national language, which A.S. Pushkin set and which is expressed in connection of the book base with living popular language. The works by Ostrovsky, both fiction and non-fiction, are a valuable source of studying the processes of formation and development of the Russian national language in all the diversity of forms of its existence. This article is devoted to the Dictionary of the Russian popular language, on which Ostrovsky worked for many years, but which, unfortunately, he could not complete. We have listed and briefly characterized the archival sources that are stored in the Bakhrushin State Central Theater Museum (Moscow) and formed the basis of the Dictionary of the Russian popular language by Ostrovsky. In the article we describe the principles of compiling the Dictionary of the Russian popular language, presented by Ostrovsky in “Draft Notes to the Dahl’s Dictionary” and selectively published under the title “Analysis of the Dahl’s Dictionary”. We consider the Dictionary of the Russian popular language by Ostrovsky in an ethnolinguistic approach which was due to the increased interest in national culture in the 19th century and marked a new stage in the history of Russian lexicography.
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Ciptaningrum, Rinawati. "Analysis of Randai Minang Traditional Arts Elements". OPSearch: American Journal of Open Research 3, nr 8 (15.08.2024): 222–27. http://dx.doi.org/10.58811/opsearch.v3i8.128.
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Minangkabau culture is a significant national asset of Indonesia, characterized by its evolving cultural expressions. One notable aspect of West Sumatra's rich cultural heritage is the traditional folk art of Randai. Randai integrates various forms of art, including vocal art, dance, theater, music, and Minang martial arts (silek). This unique Minangkabau art form is recognized as the traditional theater of the Minangkabau people.One specific performance within Randai is the Pasambahan dance, which is used to welcome esteemed guests, bridal parties, and during communal celebrations. The presentation technique of Minang Randai as a folk theater involves performances that often depict popular folktales such as Malin Kundang, Malin Deman, Anggun Nan Tongga, as well as stories reflecting daily life in the community. The essential elements of Randai include the storyline, tzezn, dialogue and acting, galombangan, and gurindam. This study aims to explore the cultural significance, structure, and impact of Randai on preserving and promoting Minangkabau cultural heritage.
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Blackstone, Sarah. "The Theatre Museum of Repertoire Americana". Theatre Survey 41, nr 1 (maj 2000): 89–93. http://dx.doi.org/10.1017/s0040557400004403.
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Sarah Blackstone is Chair of the Department of Theatre at Southern Illinois University and serves on the Advisory Board for the Theatre Museum of Repertoire Americana. Neil and Caroline Schaffner started collecting memorabilia from the repertoire theater movement during the 1950s. They dreamed of one day establishing a museum that would display their collection and other items connected with this wide-spread popular entertainment form. In 1973, with the help of the Midwest Old Settlers and Threshers Association, and endless hours of effort, their dream was realized in the small town of Mt. Pleasant, Iowa. Since that time, the Museum of Repertoire Americana has prospered, and it currently houses an impressive collection of uniquely American research materials. Dedicated to preserving the rural theatrical heritage of the Midwest, the Museum has materials related to opera houses, circle stock companies, Uncle Tom shows, showboats, and tent shows of all descriptions. I offer here a brief description of the collection, together with information about the National Society for the Preservation of Tent, Folk, and Repertoire Theatre and the annual Theatre History Seminar this organization holds at the Museum each April.
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Ireland, John, i Constance Mui. "Editorial". Sartre Studies International 25, nr 2 (1.12.2019): iv—vi. http://dx.doi.org/10.3167/ssi.2019.250201.
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We are thrilled, on the occasion of the 25th anniversary of Sartre Studies International, to publish for the first time in English (thanks to Dennis Gilbert’s initiative and perseverance) two interviews on theater given by Sartre to Russia’s oldest continually running theater journal, Teatr, whose first issues date from the 1930s. Six years apart, these two interviews give us the flavor of Sartre addressing a Soviet audience, in early 1956, just before Russian tanks rolled into Hungary and then again in early 1962, as France negotiated its exit out of the disastrous Algerian War. While these interviews intersect at times with remarks made by Sartre in interviews and lectures during the same period in France (the need for theater to become a truly popular forum, the importance of Brecht as a model of politically engaged theater, etc.), the tone of the two interviews (the first in particular) is different, as Sartre seeks to connect with a socialist audience. These interviews also break new ground. Discussing contemporary playwrights, Sartre demonstrates, for example, his familiarity with Kateb Yacine and Algerian theater. More unexpectedly, addressing Russian readers, Sartre offers a much more positive assessment of Jean Vilar’s Théâtre National Populaire than he ever formulated in France. In short, beyond their content, these interviews help us appreciate even more the importance of the situation shaping Sartre’s pronouncements at any given moment.
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Bozó, Péter. "Nádors Erzählungen oder das Budapester Dreimäderlhaus. Ein Beitrag zur Budapester Offenbach-Rezeption". Studia Musicologica 57, nr 3-4 (wrzesień 2016): 471–84. http://dx.doi.org/10.1556/6.2016.57.3-4.12.
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Mihály Nádor’s and Jenő Faragó’s three-act operetta entitled Offenbach was one of the biggest theater successes in Budapest in the period following World War I. The piece, whose first performance took place at the Király Theater in 1920, was also premiered in Vienna, Prague, Munich and in different adaptations in Berlin and New York. It represents a popular type of operetta of the era, whose main protagonists are nineteenth-century composers, and whose music was partly or entirely compiled of melodies taken from the musicians in question. In my study, I examine the extant musical and textual sources of the piece partly belonging to the composer’s estate preserved at the Music Department of the Széchényi National Library. I interpret Nádor’s work as a document of the Budapest Offenbach reception, and I reveal some intriguing differences between the Budapest and Vienna versions of the piece. I also demonstrate that the operetta was in all likelihood an imitation of Henrich Berté’s similar piece, Das Dreimäderlhaus, which was performed in every Budapest operetta theater between 1916 and 1924. At the same time, however, a successful new production of Offenbach’s La Belle Hélène was likewise an important antecedent for Nádor’s operetta.
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Buffington, Robert M. "Chin-Chun-Chan:Popular Sinophobia in Early Twentieth-Century Mexico City". Americas 78, nr 2 (kwiecień 2021): 279–318. http://dx.doi.org/10.1017/tam.2020.105.
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AbstractThis article looks at popular responses to the zarzuela Chin-Chun-Chan and the issues that surfaced around its timely subject in early twentieth-century Mexico City. The principal source is the Mexico City satiric penny press for workers, supplemented by somewhat less polemical broadsides, both sold on the streets of the capital. Aimed mostly at working-class Mexicans, these sources offer a glimpse at popular attitudes circulating in a public sphere otherwise dominated by the perspective of educated elites. The article has four sections. First, it briefly reviews social commentary on the democratization of musical theater. Second, it examines Chin-Chun-Chan as a political symbol that crystalized around working-class complaints about the Porfirian regime, especially its alleged disregard for Mexican workers and Mexican national identity. Third, it analyzes the ways in which the phrase “Chin-Chun-Chan” entered popular language as a racial signifier for a range of things, some of which bore little relation to its theatrical origins. Finally, it links popular Sinophobia in late Porfirian Mexico City to the virulent anti-Chinese campaigns in northern Mexico, which played a key role in defining national identity after the 1910 Revolution, and to the “hemispheric orientalism” that has characterized anti-Asian sentiments throughout the Americas.
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Hambridge, Katherine. "Staging Singing in the Theater of War (Berlin, 1805)". Journal of the American Musicological Society 68, nr 1 (2015): 39–98. http://dx.doi.org/10.1525/jams.2015.68.1.39.
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Almost fifty years after the original event, Willibald Alexis’s historical novel Ruhe ist die erste Bürgerpflicht (1852) commemorated a musical performance that had taken place on October 16, 1805, at Berlin’s Nationaltheater. According to both Alexis’s reimagining and contemporary reports, after the closing “Reiterlied” of Schiller’s Wallensteins Lager a new war song was sung by audience and actors. The sensation this caused—in a city awaiting its troops’ departure for war against Napoleon—established Schiller’s play as a privileged site for political singing in Berlin and across German lands for the next decade. In this article, I account for this first occasion, its unusual press reception, and its influence by contextualizing it within a growing early nineteenth-century discourse on public communal singing, arguing that Berliners were self-consciously enacting French patriotic behaviors. As well as indicating longer-term continuities, I distinguish the political role attributed to war songs in this period from the more familiar Bildung-orientated discourse on choral singing and folk song. In contrast to established accounts that locate the emergence of popular political song in the volunteer movements of the Wars of Liberation and the national politics of the Burschenschaften and male-voice choirs, I suggest that these early performances show the official imposition of public political singing—as a kind of “defensive modernization”—in response to the Napoleonic threat. I thus revise our understanding of the establishment of singing as a modern political tool in German lands, and of the role of singing in the development of political agency and national sentiment more broadly.
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Filip, Iulian. "An overview of the Open Scene of the Village and the World". Philologia, nr 3(315) (listopad 2021): 98–107. http://dx.doi.org/10.52505/1857-4300.2021.3(315).09.
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What should a book about theater look like? How about the one about a category of theatrical performances in the ethnological dimension? Research project of the Institute of Romanian Philology B. P. Hasdeu stimulates research into socio-cultural contexts and European connections, and Eugeniu Coseriu urges us to open up universally - each with his own field of research. In the sub-theme National Folklore Corpus, the popular (folkloric) theater is my area of expertise and the Latin phrase Theatrum mundi = The spectacle of the world. The world seen as a spectacle it is the universal concept of theatricality. The definite sign of the theater is the character. In illo tempore, man invented an incredible, saving theater, modeling fictional characters from the most abundant matter - from what he did not know, out of ignorance. For phenomena that man could not explain in the beginning, he shaped ... spirits, supernatural beings, elves. The nebula of imaginary characters fell into two broad categories – the good and the evil ones. In order to understand the diversity of masks and clothing of modern times, it is imperative to accept a scaffolding of archetypal dichotomies, resulting from this modeling of beginnings: life - death, good - evil, beauty - ugly, God - Satan, love - hate , wealth - poverty, Christ - Herod, the wise – the stupid ... All the characters - not just from the theater of any kind - are derived from these archetypal dichotomies, and the triggering axial motives, in which it manifests itself in tension, are love, fertility, fecundity, disease, healing, death, resurrection. The Romanian folk theater is part of the same spectacle of the world, and the eternal scene is on the doorstep of the house with a spinster to be married. More important deduction - this is also the engine that sets the characters and the scene in motion: the love that moves the sky and ... the scene.
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Astakhova, E. V. "The fiesta as a key concept of Spanish linguistic culture". Cuadernos Iberoamericanos, nr 1 (28.03.2015): 49–68. http://dx.doi.org/10.46272/2409-3416-2015-1-49-68.
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The author examines the image of Spain through the megaconcept of fiesta, which determines many aspects of the national and cultural mentality. This concept reflects various vectors of quotidian life, religious and popular holidays with their complicated details and special dramaturgy, penetrates to every day communication and behavior. The research determines such Spanish extralinguistic realities as corrida, tertulia, movida, botellon, indignados, analyses the role of the theater, of “coffee culture”, of football and other phenomenons in social life and cognitive space of Spaniards. The knowledge of different aspects of fiesta helps to understand the word potential of Spanish language, its metafores, stylistic images.
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Astakhova, E. V. "The Concept of Fiesta in Spanish National and Cultural Vision of the World". MGIMO Review of International Relations, nr 2(35) (28.04.2014): 285–98. http://dx.doi.org/10.24833/2071-8160-2014-2-35-285-298.
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The author examines the image of Spain through the megaconcept of fiesta, which determines many aspects of the national and cultural mentality. This concept reflects various vectors of quotidian life, religious and popular holidays with their complicated details and special dramaturgy, penetrates to every day communication and behavior. The research determines such Spanish extralinguistic realities as corrida, tertulia, movida, botellon, indignados, analyses the role of the theater, of "coffee culture", of football and other phenomenons in social life and cognitive space of Spaniards. The knowledge of different aspects of fiesta helps to understand the word potential of Spanish language, its metaphors, and stylistic images. The fiesta as a key word of Spanish linguistic culture, it is full of feelings, which considered being merged in verbal, textual, visual and no verbal dimensions for the exit of intercultural communication.
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Del Vecchio, Jessica. "The Most American Thing in New York City: The Historiography of the National Theater of the United States of America". TDR/The Drama Review 54, nr 4 (grudzień 2010): 155–74. http://dx.doi.org/10.1162/dram_a_00030.
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New York City-based NTUSA uses a census-based creation process to develop vaudevillian spectacles that investigate the construction of local and national histories. Their performances expose tensions between art as a commercial enterprise and a community-building effort, testing the boundary between esoteric avantgarde and purely entertaining, popular performance.
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Pushkareva, Tatiana Vitaljevna, Ekaterina Yuryevna Ivanova i Elena Mihajlovna Shemyakina. "The phenomenon of cosplay: cultural prototypes and trends". Человек и культура, nr 3 (marzec 2021): 1–17. http://dx.doi.org/10.25136/2409-8744.2021.3.34966.
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The subject of this research is cosplay as a modern large-scale practice of copying and public demonstration of the costume, image and behavior of famous heroes of popular culture: movies, animated movies, comic strips, and video games within the framework of thematic festivals, processions, and clubs. This article provides scientific grounds for comprehensive analysis of the phenomenon of cosplay as a modern cultural form and practice through determining its cultural and historical prototypes, as well as artistic and social development. The empirical material contains the interviews with the Russian cosplayers, observations, publications in field-specific mass media, and digital broadcasting of cosplay events. The novelty of this work consists in revealing the cultural-historical prototypes of cosplay – totemic primitive festivities, medieval carnival, first forms of theater, as well as in outlining the artistic and social trends of cosplay, among which are the development of the language of modern visual culture and improvement of popular culture through creative materialization of the characters of screen culture. The author describes the socio-psychological mechanisms, which underlie the practice of cosplay and are close to the genetic foundations of the existence of theater: imitation and identification. The article carries out the typology of cosplay genres; determines the universal features and the specifics of the national forms of cosplay.
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Akhmetshina, Gulnaz Radikovna, Klara Khakimovna Karamova i Ravil Munirovich Muksinov. "Genesis and Evolution of National Costume". International Journal of Criminology and Sociology 9 (5.04.2022): 2077–81. http://dx.doi.org/10.6000/1929-4409.2020.09.245.
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This study is devoted to the analysis of the foundations of the development and preservation of the national costume from the moment it appeared with justified exceptional characteristics and further modification due to its relationship with various factors and its use in modern times. The effects of geographical, natural, historical, cultural, economic and social factors are considered. The dynamics of the development of the Tatar national costume is revealed from the point of view of decorative and applied folk art. Also, the potential of folk art in the aspect of enriching professional design and identifying new popular solutions in the design of clothing is revealed. Examples of the appeal of fashion designers to the cultural heritage of their ancestors are given. The article focuses on the national costume in contemporary art. We ask what the modern clothes of the Tatars are and whether there is a national trait inherent in the people and reflected in Tatars’ appearance. First of all, we need to consider that clothes are divided into everyday and festive looks. And one cannot but take into account such a vivid translator of national culture as a stage or theater costume. In addition, when narrating about the trends of modern Tatar fashion, one must take into account the following aspect: general Muslim and national Tatar trends in style, which is especially pronounced in women's clothing.
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Taranu, Razvan, Chelsea Redclift, Patrick Williams, Marina Diament, Anne Tate, Jamie Maddox, Faye Wilson i Will Eardley. "Use of Anticoagulants Remains a Significant Threat to Timely Hip Fracture Surgery". Geriatric Orthopaedic Surgery & Rehabilitation 9 (1.01.2018): 215145931876415. http://dx.doi.org/10.1177/2151459318764150.
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Introduction: Hip fracture remains the biggest single source of morbidity and mortality in the elderly trauma population, and any intervention focused on quality improvement and system efficiency is beneficial for both patients and clinicians. Two of the variables contributory to improving care and efficiency are time to theater and length of stay, with the overall goal being to improve care as reflected within the achievement of best practice tariff. One of the biggest barriers to optimizing these variables is preinjury anticoagulation. Method: Building on our previous work with warfarin in this population, we utilized a regional hip fracture collaborative network collecting prospective data through the National Hip Fracture Database with custom fields pertaining to all agents, including novel oral anticoagulants. Results: In all, 1965 hip fracture patients median age 83 years (1639 not anticoagulated) were admitted to the 5 centers over 12 months. Median length of stay was 20.71 days; time to theater 23.09 hours, and the populations (anticoagulated vs control) were evenly matched for injury. Anticoagulated patients were delayed to theater ( P ≤ .001), were inpatients for longer ( P ≤ .001) and gained less best practice tariff ( P ≤ .05). All variables per agent were noted and the impact of each assessed. Conclusions: Despite the widespread use of newer anticoagulants, popular due to unmonitored reversal and administration, patients stay longer in hospital and wait longer for surgery than nonanticoagulated patients of the same age and injury. Contemporary perioperative practices impact negatively on the ability to perform timely surgery on hip fracture patients. We propose a guideline specific to the management of anticoagulation in the hip fracture population to aid the optimum preparation of patients for theater, achievement of timely surgery, and potentially reduce length of stay.
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Viktor, Proskuryakov, Cholavyn Yu i Lyzun Roman. "ARCHITECTURE OF NATIONAL THEATER PAVILIONS AT THE EXHIBITIONS OF THE PRAGUE QUADRIENAL, AND IN PARTICULAR, THE FIRST UKRAINIAN". Vìsnik Nacìonalʹnogo unìversitetu "Lʹvìvsʹka polìtehnìka". Serìâ Arhìtektura 3, nr 1 (15.06.2021): 117–22. http://dx.doi.org/10.23939/sa2021.01.117.
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The article highlights the ideas of forming the architecture of scenographic pavilions at world exhibitions that demonstrate works of theatrical art on the example of those that presented theatrical art at one of the most famous forums in the world – the Prague Quadrennial in 1967-2019 (PQ), and in particular, the first Ukrainian ones. Quadrennial events are held every 4 years and present the development of various theatrical arts: architecture, scenography, performing arts, theatre skills, etc. But few of the interesting architectural solutions of national pavilions and installations are represented in professional, educational, popular and scientific publications. Therefore, the authors of the article decided to highlight various architectural ideas of national theatre pavilions (Belgium, the former USSR and Russia, Germany, Slovakia, Spain, Estonia), and in particular, the creation of the architecture of the first Ukrainian ones. The authors – teachers, postgraduates, students of the Department of Architectural Environment Design – relied upon and developed the architectural and scenographic ideas of the world-famous scenographer Y. Lysyk in 2015, 2019. The space of which in the first case was a stage, the horizon and wings of which were similar to the curtain from the performance of Lysyk's ballet "Romeo and Juliet", and in the second case, in 2019, space resembled the "amphitheatre" of the Ukrainian prehistoric theatre for Kupala drama. The horizon was enlarged based on the artist's sketch for the folk opera "When the Fern Blooms".
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McMurtry, Leslie. "Sounds Like Murder: Early 1980s Gothic on North American Radio". Gothic Studies 24, nr 2 (lipiec 2022): 151–66. http://dx.doi.org/10.3366/gothic.2022.0131.
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Horror and the Gothic have long been staple genres of radio drama, including the radio drama revival series of the late 1970s–early 1980s , CBS Radio Mystery Theater (1974–82). During the same time period, the Canadian government, recognising an emergent national-identity crisis in relation to its southern neighbour, invested heavily in original programming on the Canadian Broadcasting Corporation (CBC). This resulted in the popular horror series Nightfall (1980–3), which Danielle Hancock argues presented ‘murder as a Canadian national narrative’ (2018). While CBSRMT occasionally adapted existing stories from other media, the majority of the output for both series were original, written-for-the-air dramas. Embodying Gothic returns of the past upon the present and the effects of transgressive conduct in society, murder is examined as a Gothic trait in episodes of Nightfall and CBSRMT. Radio’s ambiguities and intimacies provoke listeners of these programmes to confront disjunction. The differing worldviews – American masculine nationalism and neoconservatism subverted; Canadian polite and tolerant masculinity turned upside down by a nihilistic rejection of these values – focus Gothic spotlights on each country’s anxieties.
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Kotin, Igor Yu, Nina G. Krasnodembskaya i Elena S. Soboleva. "India of 1920s as Seen by Soviet Playwright, Consulting Indologists, Theater Critics". RUDN Journal of Russian History 20, nr 1 (15.12.2021): 125–44. http://dx.doi.org/10.22363/2312-8674-2021-20-1-125-144.
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The authors of this contribution analyze the circumstances and the history of a popular play that was staged in the Soviet Union in 1927-1928. Titled Jumah Masjid, this play was devoted to the anti-colonial movement in India. A manuscript of the play, not indicating its title and the name of its author, was found in the St. Petersburg Branch of the Archive of the Russian Academy of Sciences among the papers related to A.M. and L.A. Meerwarth, members of the First Russian Expedition to Ceylon and India (1914-1918). Later on, two copies of this play under the title The Jumah Masjid were found in the Russian Archive of Literature and Art and in the Museum of the Tovstonogov Grand Drama Theatre. The authors of this article use archival and published sources to analyze the reasons for writing and staging the play. They consider the image of India as portrayed by a Soviet playwright in conjunction with Indologists that served as consultants, and as seen by theater critics and by the audience (according to what the press reflected). Arguably, the celebration of the 10th anniversary of the October Revolution in Russia in 1927 and the VI Congress of the Communist International (Comintern) in 1928 encouraged writing and staging the play. The detailed picture of the anti-colonial struggle in India that the play offered suggests that professional Indologists were consulted. At the same time the play is critical of the non-violent opposition encouraged by Mahatma Gandhi as well as the Indian National Congress and its political wing known as the Swaraj Party. The research demonstrates that the author of the play was G.S. Venetsianov, and his Indologist consultants were Alexander and Liudmila Meerwarth.
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ALLOULA, Rihab. "Théâtre et traduction en Algérie coloniale et postcoloniale". ALTRALANG Journal 6, nr 1 (30.06.2024): 214–26. http://dx.doi.org/10.52919/altralang.v6i1.418.
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ABSTRACT: Theatrical translation played a significant role in the development and promotion of a national and popular theater in colonial and postcolonial Algeria. Prior to and following the independence, Algerian artists utilized a universal repertoire of texts that were translated and adapted for the stage. However, the practice of theatrical translation has been largely overlooked in research and publishing circles due to its heavy reliance on artistic productions. This article aims to examine the trajectory of this experience, which has been widely practiced in the theater and stage worlds but remains poorly documented. Translation has served as a valuable tool for these artists to establish an identity and style within a challenging socio-political context, rather than simply serving as a gateway to the wider world RÉSUMÉ : La traduction théâtrale a joué en Algérie coloniale et postcoloniale un rôle majeur dans l’édification et la promotion d’un théâtre national et populaire. Les artistes algériens d’avant et d’après l’indépendance ont puisé dans le répertoire universel des textes qu’ils ont traduits et adapté en usant de la plus grande liberté. Pourtant, la traduction pour la scène était et reste encore fortement tributaire des productions artistiques, ce qui lui vaut un grand manque d’intérêt dans les milieux de la recherche et de l’édition. Cet article propose de retracer la trajectoire d’une expérience peu documentée bien que très pratiquée dans les milieux du théâtre et de la scène. Plus qu’une porte ouverte sur le monde, la traduction a été pour ces artistes un outil efficace pour se construire une identité et se forger un style dans un contexte sociopolitique souvent difficile.
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Readman, Kristina Spohr. "Conflict and Cooperation in Intra-Alliance Nuclear Politics: Western Europe, the United States, and the Genesis of NATO's Dual-Track Decision, 1977–1979". Journal of Cold War Studies 13, nr 2 (kwiecień 2011): 39–89. http://dx.doi.org/10.1162/jcws_a_00137.
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On the basis of recently released archival sources from several member-states of the North Atlantic Treaty Organization (NATO), this article revisits the making of NATO's landmark 1979 dual-track decision. The article examines the intersecting processes of personal, bureaucratic, national, and alliance high politics in the broader Cold War context of increasingly adversarial East-West relations. The discussion sheds new light on how NATO tried to augment its deterrent capability via the deployment of long-range theater nuclear missiles and why ultimately an arms control proposal to the Soviet Union was included as an equal strand. The 1979 decision owed most to West German Chancellor Helmut Schmidt's political thought and initiative. Intra-alliance decision-making, marked by transatlantic conflict and cooperation, benefitted from the creativity and agency of West German, British, and Norwegian officials. Contrary to popular impressions, the United States did not truly lead the process.
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Janssen, Susanne, Giselinde Kuipers i Marc Verboord. "Cultural Globalization and Arts Journalism: The International Orientation of Arts and Culture Coverage in Dutch, French, German, and U.S. Newspapers, 1955 to 2005". American Sociological Review 73, nr 5 (październik 2008): 719–40. http://dx.doi.org/10.1177/000312240807300502.
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This article charts key developments and cross-national variations in the coverage of foreign culture (i.e., classical and popular music, dance, film, literature, theater, television, and visual arts) in Dutch, French, German, and U.S. elite newspapers between 1955 and 2005. Such coverage signals the awareness of foreign culture among national elites and the degree and direction of “globalization from within.” Using content analysis, we examine the degree, direction, and diversity of the international orientation of arts journalism for each country and cultural genre. Results denote how international arts and culture coverage has increased in Europe but not in the United States. Moreover, the centrality of a country in the cultural “world-system” offers a better explanation for cross-national differences in international orientation than do other country-level characteristics, such as size and cultural policy framework. Recorded and performance-based genres differ markedly in their levels of internationalization, but the effect of other genre-level characteristics, such as language dependency and capital intensiveness, is not clear. In each country, international coverage remains concentrated on a few countries, of which the United States has become the most prominent. Although the global diversity of coverage has increased, non-Western countries are still underrepresented.
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Roberts, Kathryn S. "Our Town, the MacDowell Colony, and the Art of Civic Mediation". American Literary History 31, nr 3 (2019): 395–418. http://dx.doi.org/10.1093/alh/ajz025.
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Abstract Thornton Wilder’s Our Town (1938) has found unusual currency of late. In 2011, the play lent its name to a major funding program launched by the National Endowment for the Arts; in 2017, it appeared in the center of a popular podcast and was revived by a British theater company in the wake of a terrorist attack. These productions recognize what terms like middlebrow obscure: Our Town is a civic mediator, a performance that installs art at the center of community life and community at the center of art. Taking inspiration from Antoine Hennion’s sociology of music, this essay ventures into the archive to trace an unfamiliar origin story for Our Town, involving a turn-of-the-century writers’ colony, a Progressive-Era historical pageant, and Wilder’s self-understanding as both confirmed bachelor and “community man.” Through the trajectory of a single play, civic mediation emerges as a pervasive strategy and ethos of American cultural practice, connecting diverse media through time and space.
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Khliebnikov, P. "National Elements of Musical Culture of Cherkashchyna at the End of the XX – The Beginning of the XXI Century". Culture of Ukraine, nr 80 (30.06.2023): 65–75. http://dx.doi.org/10.31516/2410-5325.080.08.
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The concept of “musical culture of Cherkashchyna” is characterized as a complex system that includes musical values, types of activities related to them, a set of subjects, institutions and social institutes of this type of activity. The musical culture of Cherkashchyna is presented as an integral part of the spiritual culture of Ukraine and the musical culture of Ukraine.
The purpose of the article is to study the current state of the musical culture of Cherkashchyna, to determine the elements of the national level in its structure, to define the level of national significance of contemporary performers of Cherkashchyna.
The methodology. The authorial vision of the problem is based on the principles of scientificity and objectivity. The structural and systemic approach was applied in the analysis of the infrastructure system of the musical culture of Cherkashchyna and further determination of its elements at the national level. The ranking scores approach made it possible to determine the most popular musical performers of Cherkashchyna in social networks.
The results. According to the results of the study of the current state of the musical culture of Cherkashchyna, the following elements of the national level were determined in its structure, namely: S. S. Hulak-Artemovskyi Cherkasy Music Vocational College; the Cherkasy Regional Philharmonic, where collectives with the honorary title — “academic”, and the T. H. Shevchenko Cherkasy Academic Ukrainian Regional Music and Drama Theater. Using the ranking scores approach, a ranking of the most popular musical performers of Cherkashchyna in social networks was made, according to which the “Spiv Brativ” group holds the first position.
The scientific novelty. The article defines the elements of the national level in the structure of Cherkashchyna, defines the level of national significance of modern performers of Cherkashchyna.
The practical significance. The results of the research can be used by specialists in the field of cultural studies, musicology, musical pedagogy, as well as at higher educational institutions that implement educational programs, the learning outcomes of which are the ability to apply knowledge of the Ukrainian musical space of individual regions.
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Shchukina, Yu P. "Features of Volodymyr Morskoy’s theatrе criticism (1920–1940 years)". Problems of Interaction Between Arts, Pedagogy and the Theory and Practice of Education 51, nr 51 (3.10.2018): 70–83. http://dx.doi.org/10.34064/khnum1-51.03.
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Background. Today, analyzing the Ukrainian theatrical movement of the first half of XX century, we can’t bypass V. Morskoy’s critical legacy. Volodimir Saveliyovich Morskoy (the real name – Vulf Mordkovich) is one of the providing Ukrainian theatrical and film critics of the first half of the XX century. He left us his always argumentative, but sometimes contradictious evaluations of dramatic art masters: the directors of Kharkiv Ukrainian drama theatre “Berezil” (from 1935 it named after T. Shevchenko) L. Kurbas, B. Tyagno, L. Dubovik, Yu. Bortnik, V. Inkizhinov, M. Krushelnitsky, M. Osherovsky; the producers of Kharkiv Russian drama theatre named after A. Pushkin – O. Kramov, V. Aristov, V. Nelli-Vlad and many others. Due to the critic’s persecution by the repressive machine of USSR, his evaluations of theatrical process were not quoted in soviet time researches. They still were not entered to the professional usage, were not published and commented in the whole capacity. Methods and novelty of the research. The research methodology joints the historical, typological, comparative, textual, biographical methods. The first researcher, who made up incomplete description of the bibliography of dramatic criticism by V. Morskoy, became Kharkiv’s bibliographer Tetyana Bakhmet. She gave maximally full list of critic articles (more than eighty positions) for the 1924, 1926–1929, 1937, 1948–1949 years. Kharkiv’s theater scientist Ya. Partola [16] in the first encyclopedic edition, that contains the article about V. Morskiy, gave the description of the only publication by critic known for today, in Moscow newspaper “Izvestiya”. Forty six critical articles, half of which didn’t note in bibliographies of both scientists, were collected and analyzed in periodical funds of Kharkiv V. Korolenko Central Scientific Library by the author of this article. Objectives. V. Morskoy was writing the reviews about the new films; the programs of popular and philharmonic performers; was researching the musical theater. This article has the purpose to characterize the features of V. Morskoy’ critical reviews on the dramatic theater performances. Results. It was managed to find out the articles by V. Morskoy hidden for the cryptonym “Vl. M.”, which dedicated to the performances of the “Berezil” theater of the second half of 1920th: “Jacquery”, “Yoot”, “Sedi“. The critic wrote about the setting “Jacquery ” by director V. Tyahno : “Berezil in setting of ‘Jacquery’ emphases it’s ideology, approaching ‘Jacquery’ to nowadays viewer” [2]. Perceiving critically some objective features of avant-garde stylistic, such as cinema techniques, V. Morskoy remarks: “The pictures are discrete, too short, some of them are lasting for 2–3 minutes, they made cinematographically” [2]. In the same time, the young critic already demonstrates the feeling and flair to the understanding of acting art. So, he accurately pointed out the first magnitude actors from the “Berezil” ensemble: A. Buchma, Yo. Ghirnyak, M. Krushelnitsky, B. Balaban [2]. V. Morskoy connected his view to “Jacquery” with the tendency of the second half of the 1920th: “For recently the left theaters became notably more right, and the right one – more left”[2], that reveals his theatrical experience. His contemporaries due to the author’s sense of humor easily recognized the style of V. Morsky’s reviews. Critical irony passes through the his essay about the setting by director V. Sukhodolskiy “Ustim Karmelyuk” in the Working Youth Theatre: “Focusing attention to Karmelyuk, V. Sukhodolskiy left the peoples in shade. Often they keep silence – and not in the Pushkin sense “[14]. Despite on the “alive” style, one of the features of V. Morskoy journalism was adherence to principles. His human courage deserves a high evaluation. In 1940, after the three years after the exile of Les Kurbas, the leader director of “Berezil” Theater, to Solovki, the critic published in the professional magazine the creative portrait of this disgraced director’s wife – the actress Valentina Chistyakova [15]. V. Morskoy arguments on the relationship between the modern works and the tradition of prominent predecessors has always been ably dissolved in an analysis of a performance. Each time V. Morskoy was paying attention to the distinctions of principals of playwriting, stage direction and even creative schools, in the second half of 1930th – 1940th, when the words “stage direction”, “currents”, in condition of predomination the so-called “social realism” method, in the soviet newspapers practically were not mentioning. For example, the critic saw of realistically-psychological directions in the O. Kramov’s performance “Year 1919”[9]. In 1940, V. Morskoy made a review of the performance of the then Zaporizhhya theater named after M. Zankovetska “In the steppes of Ukraine”, insisting on the continuity of the comedies of O. Korniychuk in relation to the works of Gogol and others of playwrights-coryphaeuses: “The play of O. Korniychuk is characterized by profound national form...” [7]. However, in the fact that in the Soviet Union at that time reigned as the doctrine the methodology of the “socialist realism”, the tragedy of honest criticism comprised. In controversy with the critic O. Harkivianin, V. Morskoy expressed the credo about the ethics and fighting qualities of the reviewer: “Apparently, Ol. Kharkivianin belongs to the category of peoples, who see the task of critic in order to give only the positive assessments. The vulgar sociological approach to the phenomena of art could be remaining the personal mistake of Ol. Kharkivianin. But when he presents him as the most important argument, everyone becomes uncomfortable”[8]. In 1949, the political regime fabricated the case of a “bourgeois cosmopolitan” against the honest theatrical critic and accused him in betraying of public interests adjudged V. Morskoy to untimed death at a concentration camp (Ivdellag, 1952). However, the time arbitrated this long discussion in favor of V. Morskoy. Conclusions. For the objective analysis of theater life of the city and the country as a whole, it is imperative to draw from the historical facts contained in the reviews of V. Morskoy, and the methodology of the review while investigating studies of theatrical art and theatrical thought of 1920–1940th. Thus, the gathering of the full kit of the critical observations of the famous Kharkov theater expert of the first half of the XX century is the important task for further researchers.
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ATTRI, SHALINI. "Folk Theater and History: Constructing Indian Identity through The Khyal of Amar Singh Rathore". Journal of Indian and Asian Studies 01, nr 01 (styczeń 2020): 2050004. http://dx.doi.org/10.1142/s2717541320500047.
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Folklores can epitomize the nation as a unifying principle crossing the horizons of regional divisions and subcultures. The connecting factors of folklores among regional and local levels give an understanding of manifold and contextual-based identities. The collective/coalesce of social memory is understood through the folk narratives. There is a cognitive and affective deliberation that structures the manner in which memory is interpreted. These narratives shape and reconstruct “identity” as they consist of a trans-subjective truth value providing ever new understanding of reality. The present research focuses on the Marwari folk Drama The Khyal of Amar Singh Rathoretranslated by Cecil Thomas Ault and folk performing art Khyal that constitutes meanings and symbols. Khyal, a popular folk dramatic art, is especially linked to martial and romantic ballads of Rajputana. It is indicative of the gap between past and present with spontaneity and originality and is seen as a transmissible entity with reference to the performing arts in the northern region of India. There is an exploration of the dynamics of the origin of the folk narrative of Amar Singh Rathore, a source of Rajasthani culture and identity thus paving way for the other folk narratives that form the pan-Indian identity. The folk literature draws cartographies of a nation or region giving a historical depth and continuity. The dissemination of historical folk anecdotes and their retellings are plausibly a move towards identification. The historical imagination and socio-cultural memory, mostly drawn from Rajasthani rural landscape, influences and reshapes history and culture of Rajasthan, thereby making it a historical artifact providing abidance and insights into folklore as a heritage/national construct. The research reflects and projects the values, feelings, ideas and identity of the groups which identify with and perform this art. Another dimension of the present study formulates an understanding of the forms and style of Khyal folk theater of Rajasthan and how The Khyal of Amar Singh Rathore communicates and travels through linguistic and cultural boundaries constructing new spatial cartographies serving as evidence of connectivity and consistencies.
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Toy, Nicole, Catherine Simpson i Matthew Taylor. "Kiwi Ingenuity – How New Zealand Healthcare Adapted for the Whakaari/White Island Disaster". Prehospital and Disaster Medicine 38, S1 (maj 2023): s170. http://dx.doi.org/10.1017/s1049023x23004417.
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Introduction:New Zealand is widely known across the globe as an adventure tourism destination. On December 9, 2019, the natural wonders of the country became a major disaster that impacted the lives of many and stretched the resources of the New Zealand healthcare system.Whakaari/White Island is an uninhabited, privately owned island 50 km off the North Island of New Zealand. It contains two strato-volcanoes, which were and remain a popular tourist destination. While an international tourist group were enjoying their guided tour of the crater, one of the volcanoes erupted, sending superheated debris and gas into the air. Of the 47 individuals on the island at the time, 39 were rescued. Overall, 25 people survived. The mortality of this event was significantly lower than historic volcanic eruptions involving ballistic and pyroclastic injuries. We are fortunate to present information specifically on the chemical and physiological changes noted from exposure to volcanic ash.Located in New Zealand’s largest city is Middlemore Hospital, home of the National Burns Center. This center is supported by three regional burn centers throughout the country. Prior to Whakaari, mass-casualty plans were in place, however, system-wide adaptations were required on many levels to ensure delivery of healthcare. This included changes in pre-hospital triage, support for regional burns centers and repatriation to home countries.This poster presentation takes you on the journey of adaptation experienced within the National Burns Service, focusing on operating theater, intensive care and acute burns management.Method:Case StudyResults:.Conclusion:.
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Bakhmet, Tetiana. "Archive fund of the composer Mark Karminsky". Aspects of Historical Musicology 19, nr 19 (7.02.2020): 10–28. http://dx.doi.org/10.34064/khnum2-19.01.
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Mark Veniaminovich Karminskyi (1930–1995) is a composer who, already during his lifetime, was appreciated by his contemporaries as the brightest figure in musical art, in particular, musical theater. Well-known in the country and his native Kharkiv, he was also the constant reader of the Kharkiv ‘K. Stanislavskyi’ Music and Theater Library for many years, taking part in many events that took place within its walls. An excellent lecturer and interlocutor, benevolent and affable person, he found an attentive audience and ardent admirers of his musical talent among the library’s readers and stuff. Perhaps, this is why M. Karminskyi chose the Library as the main curator of his archive. What is better than studying the artist’s personal archive to give an idea of his personality, creative methods and worldview? Even a cursory glance at the collection of documents classified on the shelves of the archive, illustrating particular biographical episodes, helps the researcher to form a holistic impression of the artist’s creative personality, as well as to orient, if necessary, for further more depth studying of his heritage. The purpose of this article is a brief review of the general content of the archival fund of M. V. Karminskyi, with the materials of which the author had the honor to conduct research and bibliographic work, as of a documentary sources base for future research of the composer’s work and the history of the musical culture of Kharkiv in 1950–2000 years. Statement of the main positions of the publication. The composer began to transfer his archive to the library during his lifetime: he arranged folders with manuscripts, gave explanations about the time of writing and purpose of individual works. It was this archive that was the first to get into the library as a full-fledged array of documents about the life of a creative person. The condition for its transfer was the possibility of unimpeded viewing of the archive and its copying for the purpose of training and concert performance of the composer’s works. The full description of M. Karminskyi’s archive was completed in 1996, but the fund was supplemented several times thanks to new materials that came to the archival collection after its formation. It contains a variety of documents, including musical manuscripts, newspaper clippings, photographic documents, sound recordings on various media, posters, booklets, programs, manuscripts by other authors related to the activities of the composer. Thus, for the theater – opera, drama – the composer has been actively working since a young age. He wrote music for performances of Kharkiv theaters – Puppet Theater, Young Audience Theater, Ukrainian Drama Theater named after Taras Shevchenko, Jewish Theater, even for student amateur theaters. Four operas by M. Karminskyi, among them – “Ten days that shook the world”, “Irkutsk story” – were successfully staged in many theaters in Ukraine, Russia, the Czech Republic and Germany. Particular attention was drawn to the opera “Ten Days That Shook the World” based on John Reed’s book about the events in Petrograd in 1917, which was published as the separate piano reduction and received a large number of reviews in periodicals. The typewritten copies of reviews by famous Ukrainian musicologists K. Heivandova and I. Zolotovytska have been preserved in the archive. The collection of the archive also includes the published piano score of the opera “Irkutsk story”, the known “Waltz” from which served as a call sign of the Kharkiv Regional Radio for many years. One of the most interesting manuscripts of the archive is the music for the unfinished ballet “Rembrandt” on the libretto by V. Dubrovskyi. The musical “Robin Hood”, which was performed not only in Kharkiv, but also in Moscow, brought the composer national fame. The sound recording of the Moscow play was distributed thanks to the release of gramophone records created with the participation of stars of Soviet stage – the singers Joseph Kobzon, Lev Leshchenko, Valentina Tolkunova and the famous actor Eugene Leonov. The popularity of this musical was phenomenal; excerpts from it were performed even in children’s music schools, as evidenced by the archival documents. During the composer’s life and after his death, his vocal and choral works, works for various instruments were mostly published. The array of these musical editions and manuscripts of M. Karminskyi is arranged in the archive by musical genres. These are piano pieces and other instrumental works, among them is one of the most popular opuses of the composer – “Jewish Prayer” for solo violin (the first performer – Honored Artist of Ukraine Hryhoriy Kuperman). Number a large of publications about the life and career of M. Karminskyi published in books and periodicals are collected, among them are K. Heivandova’s book (1981) “Mark Karminskyi”, the brief collection of memoirs about the composer (compiler – H. Hansburg, 2000) and the congregation of booklets of various festivals and competitions, for example, the booklets of the International Music Festival “Kharkiv Assemblies”, in which the composer has participated since the day of their founding. The booklet of the M. Karminskyi Choral Music Festival testifies to a unique phenomenon in the musical life of the city: never before or since has such a large-scale event dedicated to the work of a single person taken place attracting so many choirs from all Ukraine. A separate array of documents is the photo archive, which includes 136 portraits, photos from various events; 41 of them were donated by a famous Kharkiv photographer Yu. L. Shcherbinin. The audio-video archive of M. V. Karminskyi consists of records of his works, released by the company “Melody”: staging of performances “Robin Hood”, “There are musketeers!” (based on the play by M. Svetlov “20 years later”), various songs, video and tape cassettes with recordings of concerts. Other interesting documents have been preserved, for example, a typewritten script for the Kharkiv TV program about M. Karminskyi with his own participation or the library form, which can be used to trace his preferences as a reader. M. Karminskyi also compiled reviews of publications on the performance of his works and short bibliographic descriptions of their print editions. Conclusions. M. Karminskyi’s personal archive founded by him own in Kharkiv ‘K. S. Stanislavskyi’ Music and Theater Library has been functioning as an independent library fund since 1996 and today it is an unique comprehensive ordered collection, which is freely available and stores documents of various types: music publications and manuscripts, newspaper and magazine fragments, announces, photos, sound and video documents. M. Karminskyi’s archival fund is used as a documentary source for scientific researches (the Candidate’s dissertations of art critics Yu. Ivanova (2001) and E. Kushchova (2004) were defended using the materials of the archive) and as a basic congregation of works by the composer for their performance. The use of digital technologies is part of the necessary modern perspective of the fund’s development, the value of which as a primary source of historical and cultural information only grows over time.
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Platelle, Fanny. "Le théâtre populaire viennois des XVIIIe et XIXe siècles, entre marges et centre(s)". Austriaca 81, nr 1 (2015): 17–35. http://dx.doi.org/10.3406/austr.2015.1193.
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The Viennese Folk Theatre in the 18th and 19th centuries : between periphery and centre For a long time, Viennese Folk Theatre was regarded as a regional and minor genre relegated to the margins of legitimate theatre. By underlying the many exchanges between Folk Theatre and European theatre (and literature in general) of the 18th and particularly 19th centuries, this paper demonstrates how the main suburban stages (the Leopoldstädter Theater, then the Carltheater, and the Theater an der Wien) made of Vienna in the 19th century an European centre for vaudeville and operetta, alongside Paris, London and Berlin. The opposition and interactions between centre(s) and peripheries are themselves recurrent themes in the plays of Viennese Folk Theatre : they facilitate representation of social, moral, economic and political changes which completely altered the relations between the capital city and the provinces, the city centre and suburbs of Vienna, thereby bringing into question the central role of Austria in Europe. These oppositions also put in danger the integrity of the Empire by encouraging increasing national consciousness and separatism by nationalities. A change of paradigm seems to take place in the 20th century, illustrated by the rediscovery of Johann Nestroy’s plays which became a symbol of the Austrian cultural identity.
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Manzoor, Sohana. "Conor McPherson’s The Seafarer:". Crossings: A Journal of English Studies 8 (1.08.2017): 128–35. http://dx.doi.org/10.59817/cjes.v8i.136.
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The devil claiming a human soul is no more an unusual theme in today’s literary world. And yet, when Conor McPherson made his national theater debut in 2006 with The Seafarer, he caused a stir, and the next year he took the Broadways in a similar fashion. During the same time, Clare Wallace noticed that McPherson’s on-stage feat made him popular with the audience and the “scholarly response has been a good deal more sluggish,” even when he employs the quintessentially Irish storytelling tradition, infusing it with modern theater’s “disruption of illusionism” (1). Now a more critically acclaimed playwright, McPherson calls his work “a fable about a struggle for redemption.” What makes Conor McPherson’s Seafarer an impressive feat is the epic or folkloric touch it provides to an otherwise ordinary modern day tale of crazy drunkenness and bawdy activities of some coastal town Irishmen. This paper attempts to read McPherson’s play in the light of the Old English poem The Seafarer translated by Richard Hamer (used by McPherson). It is an exploration of the playwright’s use of the Faustian and Christian elements and fusing them with the age-old Irish spirit of adventure to emphasize and extend a simple story of two brothers, Irish drunkenness, and Christmas magic into a complex tale of philosophical and psychological drama in the modern world.
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Mohd Yusof Ibrahim. "The Trainee to Surgeon Continuum". Borneo Journal of Medical Sciences (BJMS) 15 (31.03.2021): 1. http://dx.doi.org/10.51200/bjms.v15i.2931.
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This special issues is dedicated to the 22nd Sabah State Surgical Clinical Conference which was conducted on the 11- 14 March 2020, held at Queen Elizabeth Hospital, Kota Kinabalu Sabah, Malaysia. The theme of this conference was “The Trainee to Surgeon Continuum: Connecting the Dots”. Although the main aim of this conference is dedicated to surgical trainees and medical officers aspiring a career in surgery, conference for the surgical paramedics were also run concurrently. This is a commendable approach as by having a strong, dedicated and fully trained surgical teams are obviously essential in all areas of surgical department. Teamwork is essential in surgery. A surgeon alone cannot adequately fulfill his daily tasks, neither in the operating theater nor on the surgical ward. Good teamwork is linked to improved patient outcomes, better medical staff satisfaction and a reduced incidence of burnouts. Good teamwork is linked to improve patient outcomes due to lesser adverse events, good coordination and cost saving. Improvement of teamwork ability in operating theaters leads to reduced technical errors and lower perioperative mortality. This conference has created a history of its own as this is the first conference conducted with “new-normal” during the COVID19 era with strict Standard Operation Procedure (SOP) in-placed during the whole proceeding of the conference. The organizer has invited many prominent national and local prominent speakers and academics in the field of surgery to share their wealth of knowledge and experience with the participants. Many activities and programs were available in this conference including “hands on training”, poster and paper presentation. The conference had attracted more than 200 local and national participants. More than 30 papers were presented as oral and poster presentations. In this special issues only 10 papers have been selected to be published. Special briefing on General Surgical Training in Malaysia, Masters, MedEX, MRCS, JSCFE FRCS and NSR by the President of the College of Surgeons, Academy of Medicine of Malaysia (CSAMM Council). Surgery is a major medical specialty that uses manual techniques to treat a pathological condition in patients. It is a long and difficult journey to become a surgeon, fraught with much stress and many sacrifices and thus is becoming less popular choice for this generation of junior doctors. The conference will definitely be able to stimulate more interest in Surgery.
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Craveiro, T. "ARTS IN THE CHINESE REVOLUTION: THE INTERMEDIAL RELATIONS BETWEEN CINEMA AND BALLET IN THE «RED DETACHMENT OF WOMEN»". Bulletin of the South Ural State University Series «Social Sciences аnd the Humanities» 23, nr 3 (2023): 55–60. http://dx.doi.org/10.14529/ssh230306.
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The article aims to analyze the intermediary relationship between cinema and dance in the feature film The Red Detachment of Women (1961, Xie Jin) and in the filmed ballet of the same title (1971, Pan Wenzhan and Fu Jie). The films belong, respectively, to the so-called Period of 17 Years (1949–1966) and to the Cultural Revolution (1966–1976), years that comprise the government of Mao Zedong. The analysis takes into account the peculiar development of Chinese cinema since its beginnings, and its aesthetic originality based on the different types of arts in the country. During the Maoist period, initially under Soviet influence, China’s film industry turned to socialist themes with the intention of internationalizing national arts that sought to make the revolution worldwide. Through the slogan gu wei jin yong yang wei zhong yong (古为今用，洋为中用), which means using the ancient for the present, and foreign things for China, the cultural guidelines of the Communist Party relied on the popular appeal of diverse Chinese and foreign arts to build the heroic narratives of a people forged under socialism. They were easily absorbed not only by the local population, but also by people from other countries. The films in question are examples of the aforementioned motto and combine western aesthetic resources, such as classical ballet, with eastern elements such as Chinese operatic theater, resulting in an original aesthetic for cinema
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Romero Caballero, Belén. "Las movidas ecosociales de Fortaleza de la Mujer Maya A. C. Con-fabulaciones, re-existencias y maniobras de retaguardia". Arte y Políticas de Identidad 26 (30.06.2022): 172–94. http://dx.doi.org/10.6018/reapi.530061.
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Fortaleza de la Mujer Maya is a self-managed civil association founded by indigenous Tsotsil and Tseltal women, in February 1994, in San Cristóbal de las Casas (Mexico), in the geopolitical context of the uprising of the Zapatista Army of National Liberation. Although they are known nationally and internationally for their popular theater work, this has not been the only eco-social move. Reflect this, the workshops with women and children from different indigenous and peasant communities of Chiapas who, in 1994 and 1995, came to the city fleeing the violence of the armed conflict, or from previous migrations, because of forced expulsions caused by for religious intolerance. This article will try to show how the pareja and indissoluble articulation with practices located in an ontology and epistemology based on care and other maneuvers to sustain human and non-human life, with-fabled in the kuxlejal lekil, which have as a pedagogical device collective backbone of the popular arts, highlights the scope and particularity of their work as social actors, as well as their political commitment to the transformation of the material and visual culture of indigenous, mestizo and low-income women, and the politics of place. Fortaleza de la Mujer Maya es una asociación civil autogestionada fundada en febrero 1994 por mujeres indígenas tsotsiles y tseltales, en San Cristóbal de las Casas (México), en el contexto geopolítico del levantamiento del Ejército Zapatista de Liberación Nacional. Si bien, son conocidas a nivel nacional e internacional por su trabajo de teatro popular comunitario, esta no ha sido su única movida ecosocial. Dan cuenta de ello, los talleres con mujeres y niños de diferentes comunidades indígenas y campesinas chiapanecas que, en los años 1994 y 1995, llegaban a la ciudad huyendo de la violencia del conflicto armado, o procedentes de migraciones anteriores, consecuencia de expulsiones forzosas causadas por la intolerancia religiosa. Este artículo tratará de mostrar cómo la articulación pareja e indisoluble con unas prácticas situadas en una ontología y epistemología de los cuidados y otras maniobras de sostenimiento de la vida humana y no humana, con-fabulada en el lekil kuxlejal, que tienen como dispositivo pedagógico colectivo vertebrador el teatro y las artes populares, pone de manifiesto el alcance y la particularidad de su trabajo como actoras sociales, así como su compromiso político para la transformación de la cultura material y visual de las mujeres indígenas, mestizas o de escasos recursos, y las políticas del lugar.
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Tolokonnikova, I. V. "A New Production of an Old Play. Barbarians by M. Gorky on the German Stage of 1990s (Based on Press Materials)". Concept: philosophy, religion, culture 8, nr 4 (25.12.2024): 133–46. https://doi.org/10.24833/2541-8831-2024-4-32-133-146.
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The issue of how national cultures are perceived by representatives of other cultures is particularly relevant today considering some communities’ attempts at cancellation against former partners that, until recently, were enthusiastically interested in. Written in 1905 by a prominent Russian and Soviet writer M. Gorky, Barbarians is one example of a work which used to attract attention in the West as a cultural portrait of a country but is now almost forgotten. The article aims to study the semantic dominants of the production, as staged in the theater of Bad Godesberg, Germany, in 1993, by examining it as a representation of Russian culture for German audience. To enable the analysis the following tasks were addressed: 1) to systematize information about the connections of M. Gorky's creative work with German culture; 2) to clarify the place of the play Barbarians in M. Gorky's work in light of its theatrical destiny; 3) to describe the key concepts that form the basis of its poetics; 4) to identify the socio-cultural issues that were represented in the studied German theater production of 1993; 5) to establish the cultural boundaries of perception of Russian culture by the German public of the early 1990s – 2024 in terms of the studied phenomenon. The materials for the study were the original text of the play, its theatrical production in the Kammerspiele Bad Godesberg theater, and publications in German media selected by random sampling. Based on the axiological and hermeneutic approaches, as well as imagology, the author uses the biographical method, and case study method, along with content and literary analyses. As a result, data was obtained on the specifics of the perception of the image of Russian culture in Germany in the early 1990s within the framework of the formation of a theatrical image and its search for little-known details of knowledge of the Russian soul. It is shown that in Germany they tried to associate this image with the important, yet at the same time very ambiguous, concept of barbarism for German culture, showing for the German audience, above all, the vitality of the culture. The author concludes that the German public perceived Maxin Gorky as one of the key representatives of Russian culture. Gorky’s play Barbarians, little known in Russia, was a popular theatrical production in Germany in 1990s due to its conceptual characteristics: in which the mysterious Russian soul is presented through the positive connotations of vitality and hopefulness. This ecology of culture formed the essence of the poetics of Jaroslav Chundela, who realized the creative impulse of M. Gorky in a relevant production that caused wide resonance in German society. The socio-cultural issues of ‘ecology’, in the broad sense, laid the foundation for the expansion of the cultural boundaries of the perception of Russian culture by the German public in the early 1990s, which by 2024 allows us to speak about the limitations of attempts to cancel Russian culture, which remain of universal human value regardless of political situation.
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Park, Kyung Suk, i Kyung Wha Chun. "Assessment of the Regional Distribution of Multicultural Musical Pieces Included in South Korean Music Textbooks: Perspectives on Human and Economic Exchange with Foreign Countries". Korean Association For Learner-Centered Curriculum And Instruction 24, nr 18 (30.09.2024): 113–34. http://dx.doi.org/10.22251/jlcci.2024.24.18.113.
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Objectives The aim of this study is to analyze the correlation between the geographical distribution of multicultural music pieces included in music textbooks and the geographical distribution of resident foreigners and trading partner countries, at national, regional, and continental levels. This seeks to determine whether the geographical distribution of included pieces adequately reflects the geographical distribution of human and economic exchanges. Methods Multicultural musical pieces such as folk songs, children's songs, popular music, film music, and musical theater music included in three types of elementary, middle, and high school music textbooks published by companies like Geumseong Publishing, Jihaksa, and Bisang were classified by country, region, and continent. Data on the nationalities of resident foreigners and trade data by trading partner countries were utilized as proxies for human exchange and economic exchange, respectively. The correlation between the proportion of multicultural musical pieces included in music textbooks by country, region, and continent and the proportion of resident foreigners and foreign trade by country, region, and continent was analyzed separately. Results The correlation between the distribution of included musical pieces and the distribution of resident foreigners was not statistically significant at the continental and regional levels, and at the national level, there were some statistically significant cases across textbooks, although the coefficient values were below 0.5. The correlation between the distribution of included musical pieces and foreign trade was not statistically significant at the continental level, significant cases were observed at the regional level across textbooks, and statistically significant at the national level across all textbooks, although the coefficient values were below 0.6. Conclusions Firstly, for the promotion of multicultural understanding, the proportion of included pieces should reflect both economic exchange proportions and human exchange proportions, with priority given to the latter considering its more direct impact. Secondly, it is essential to prioritize the introduction of pieces from Central Asian countries where human exchange is rapidly increasing and North African countries where there is relatively high economic exchange. Additionally, efforts should be made to increase the proportion of pieces from Southeast Asian countries, which have relatively low inclusion rates compared to their levels of human and economic exchange.
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Šlekonytė, Jūratė. "Phenomenon of Popularity of the Lithuanian Folktale “The Sister as Duck”". Tautosakos darbai 57 (1.06.2019): 76–99. http://dx.doi.org/10.51554/td.2019.28428.
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The Lithuanian folktale “The Sister as Duck” (AT 452C*), most commonly known under the name of “Sigutė”, is generally regarded as a popular narrative. It is appreciated for the rich mythical imagery: after the female protagonist is burned and the cow licks the ashes, the duck appears; the snow is allegedly sparkling because of the witch’s brains (bones) scattered there, etc. Moreover, the tale abounds in expressive song insertions.This tale has been published both in academic and popular editions. Its images are widespread in popular culture, even becoming stereotypical. However, in the card file catalogue of the Lithuanian folk narratives, only 17 variants of this tale and 5 fragments recorded from oral tradition can be found.By using contextual analysis, the author of the article attempts establishing when, how, and due to what circumstances this tale has turned into a phenomenon of popular culture.Its first recording from oral tradition in the 19th century purported to serve as illustration of the peculiarities of a particular Lithuanian dialect. After the ban of the Lithuanian press in Latin alphabet was lifted in the beginning of the 20th century, this variant of the tale was included into a published collection of folktales for children, subsequently spreading to various schoolbooks, which commonly used it for didactic purposes, such as educating empathy in children.During Soviet times, the tale found its way into several academic editions, afterwards crossing into popular folktales’ collections for children published in thousands of copies. The tale also became popular in audial shape: its sound recordings were published both in Lithuania and abroad.The analysis of the tale’s variants recorded from the oral tradition highlighted certain characteristics indicating that its popularity must have depended on the written culture. In the five variants of the tale recorded in 1936–1959, the female protagonist is not once called Sigutė or turns into the duck. However, the eleven variants recorded in 1962–1980 include most of the structural components or certain peculiar details from the first published variant of the tale, e.g. the song insertions, the girl’s name, the duck motive. In most cases, the girl turns into duck here, and only once into a cuckoo. This testifies to the obvious influence of the published variant.The folktale “Sigutė” earned phenomenal popularity also due to its artistic interpretations. In the beginning of the 20th century, it inspired works by such Lithuanian neo-romanticists as Vydūnas, Salomėja Nėris and others. During Soviet times, this story served as basis for plays and theater performances for children, thus further paving its way into popular culture.The fate of the folktale “Sigutė” may be regarded as a certain case of folktale canon formation: the folk text originating in oral tradition is affected by instruments of the written culture, turning into a narrative of national renown and importance. Possibly such cannon formation was also determined by the decline of the traditional folk culture, as result of which the educated people selecting the folk texts to inspire their creativity particularly favored the ones characterized by a dramatic story line and impressive tragic developments, which therefore could be easily adapted into individual literary compositions.Thus, the literary and musical interpretations of the folktale “Sigutė” have significantly added to its popularity, turning it into a canonic childhood text. Lacking popularity in the oral tradition and recorded as just a few fragmented variants, most likely retold from the published folktale collections, the folktale “Sigutė” became a special phenomenon of the written Lithuanian culture.
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Šťovíček, Jan. "Česká beseda v Liberci a česká menšina v 2. polovině 19. století". Lidé města 2, nr 1/3 (1.05.2000): 73–78. http://dx.doi.org/10.14712/12128112.4046.
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In the second half of the 19th century Liberec was considered as a center of Germans in Bohemia. Czechs, almost exclusively members of lower social strata, formed an ethnic minority there. After the fall of the Austrian neo-absolutism, in the situation of the initial development of association life in the monarchy, the Liberec Czechs established their association - česká beseda (1863). At the time of iits foundation it associated all strata of the Czech population in the town. However, soon after this, the workers started to distinguish themselves as they had their own specific political and social interests and approached internationally oriented German workers. From the very beginning česká beseda (Czech Popular Educational Association) was exposed to hostile power pressure by local Germans - the pressure was exerted at the community, professional as well as neighborly level. For all the pressures, thanks to the work of Česká beseda patriotic social life of the Czech Liberec was continually developing (theater, trips, singing, physical education). In 1881 Česká beseda prompted the foundation of a private Czech elementary school and in 1884 a public elementary school. In 1885 the local branch of Národní jednota severočeská (National North Bohemian Unity) and in 1886 a Sokol unit were founded. In 1890 thanks to the direct supported from Česká beseda a local branch of Klub českých turistů (Club of Czech Tourists) was founded. Czechs from Liberec established contacts with Czech associations in other towns of North Bohemia by means of Česká beseda's association activities. ln cooperation with other Czech associations Česká beseda was a major factor in the process of social and cultural emancipation of Liberec Czechs.
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Shcherban, A., i L. Bozhko. "Thе activity of the Ukrainian intellectuals in Dykanka village at the beginning of the XX century on the development of national culture". Culture of Ukraine, nr 77 (28.09.2022): 28–34. http://dx.doi.org/10.31516/2410-5325.077.03.
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Dykanka village in Poltava region is still perceived in mass culture as one of the most famous representations of a traditional Ukrainian village. But by the beginning of the XX century, as a result of the purposeful russification state policy in the Russian Empire, due to the penetration of foreign, quite often distorted elements, the local folklore tradition was significantly transformed. As a result, the Ukrainian spirit of Dikanka residents was gradually leveled off. But thanks to the purposeful activity of the intellectuals, these processes were suspended. During the times of the Russian Empire and the USSR, the role of the intellectuals in the preservation of the national cultural features of Dykanka people was silenced in scientific and popular science works. Currently, there is a significant number of publications (in particular, by Vasyl Sheiko), which, within the framework of the historical and cultural paradigm, describe in detail the role of the intellectuals in the socio-cultural transformations in the Ukrainian lands during the beginning of the XX century. In the conditions of the current situation in the cultural life of the population of Ukraine, the study of the successful historical experience of the formation and development of the national identity of the masses, taking into account the work of culturologists, is extremely relevant.
The purpose of this paper is to analyze the ways and results of the influence of the intellectuals on the processes of change in the socio-cultural life of Dykanka village in 1905–1917.
The methodology of the study are the principles of historicism and systematics in combination with historical-comparative and micro-historical methods.
The results. The article is devoted to the cultural analysis of information on the socio-cultural activities of the intellectuals of Dykanka village (Poltava region) during 1905–1917. The mechanisms of influence of a small but socially active group of residents on the transformation of the national identity of the local masses are shown on the basis, mainly, of newspaper publications of that time.
The conclusions. By spreading progressive enlightened Ukrainian ideas among the villagers, in particular through the distribution of literature in the Ukrainian language and the demonstration of Ukrainian-language theater performances, they were able to protect the local folklore culture from the ugly imperial invasions, in particular russification. Activities conducted by individual intellectuals (the most active was the teacher, writer and translator Oleksa Dikhtiar) prepared solid ground for the national revival of 1917–1918.
The scientific novelty: for the first time, a cultural analysis of the national educational activities of individual representatives of the intellectuals of Dykanka village (Poltava region) during 1905–1917 was realized.
The practical significance: the historical experience of the formation and development of the national identity of the masses can be used in modern socio-cultural activities.
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Prokopovich, Lada. "Folk proverbs in communication culture courses: broadening the philosophical and axiological context of learning". Filosofiya osvity. Philosophy of Education 24, nr 1 (4.12.2019): 174–86. http://dx.doi.org/10.31874/2309-1606-2019-24-1-174-186.
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Higher education in Ukraine is focused not only on the formation of specific competencies of future specialists, but also on the development of communicative competence, which in necessary for a modern specialist in any professional activity. Therefore, the improvement of training courses on the culture of communication is an actual pedagogical task. Improvement may consist in expanding the philosophical and axiological context of these courses. Such a context creates conditions not only for learning, but also for educating specialists of new generation. To this end, a methodology was developed and tested to introduce folk proverbs with relevant sentences into the courses on the culture of communication. In addition to the practical feasibility of this pedagogical initiative, it also sees a socio-philosophical content. This content is revealed through the understanding of the functions of proverbs in the communicative space of culture in the discourse of the paradigm of theatricality of being. Studies show that in the “theater” of being, folk proverbs are actualized in two aspects: 1) ontological, as “scenarios” of possible life situations and their consequences, which were interpreted popular wisdom; 2) dramaturgical, as “remarks”, capable of filling the “dialogue”/communication with a certain meaning, as a language artistic gesture. Both of these aspects imply an axiological aspect, since they create conditions for the transmission and consolidation of certain values inherent in the national culture. Combining all these aspects in the practice of introducing Ukrainian proverbs into communication culture courses contributes to the formation of additional competence among students - the ability to actualize cultural heritage in the modern conditions of social activity. Expansion (in perspective) of this practice through familiarizing students with similar proverbs of other nations will create the foundation for more effective inter-ethnic, intercultural communications.
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Polishchuk, O. P. "TOPOS, ETHOS AND AESTHESIS OF NATIONAL-STATE MYTH IN MODERN CULTURE". UKRAINIAN CULTURAL STUDIES, nr 2 (3) (2018): 38–43. http://dx.doi.org/10.17721/ucs.2018.2(3).07.
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The article touches upon the issue of the need to study the phenomenon of “national-state myth” more intensively in the modern conditions of life of the society. The analysis of the national-state myth specifics is carried out not only as a kind of political myth, but firstly as a socio-cultural phenomenon. We assert that among the newest myths, which significantly affect the value orientations and life standards of each society, a special place is occupied exactly by the national-state myth. Such myth is called to form public opinion about the state as representative and defender of key nation’s interests and also culture differences. Such myth becomes especially popular in the crisis conditions of social processes in the state and its relationships with other countries. This myth is created in interests of those social strata, which occupied main positions in the management of the state. It is not necessary for such social strata to be the representatives of main nation in this society and its culture. A basic source of its promotion in society is an influence of mass communications on public consciousness in the process of symbolic production. Ethos of the“national-state myth” phenomenon in modern society is aimed at the formation of pride for nation and its culture, patriotism in the broad strata of society through an addressing to the historical events, special achievements of nation and so on. But interest to such myth and its popularity provide aesthetically beautiful moments during distribution of such social product in a symbolic exchange in modern society and its national culture. The research of the origins and functional features of "national-state myth" is realized, and they are compared to the origins and functional features of the classic, archaic myth. The specificity of these constructs of the ideal spiritual life in modern conditions is investigated, and the role of ethos and aesthesis of the “state’s art mythos” phenomenon is researched too. Also the article analyzes the formal and aesthetic aspects of the content of the information in such myth. To our opinion a modern national-state myth actually is an artistic myth on a form its presentation in facilities of mass communication. He uses facilities and possibilities of human artistic thought. Therefore modern cultural space which tested total influence of such myths appeared as a “place for a game senses and offenses” in the removal of contemporary from reality. We assert that it is liked to be a man not through insufficiency of knowledge, but because many modern people miss. Modern Europeans miss often, but yet presently they are often afraid of changes in their life through a crisis in society. Therefore such myth not only strengthens patriotism of citizens of country. Such myth creates the illusion of stability for them, gives them a confidence in itself and to the state. A modern man presently often has a desire to go from reality from its much by numeral problems in the idealizing world. Such myths give the alarmed people to calm down and enjoy life as spectacle in a theater or a circus. Myth of the “messiah calling of country” is analyzed as an example of state myth. Such myth once created terms, as ideological basis, for the representatives of one nation, to create a strong state. But in modern terms neglect to the people of other nations is drawn. It is therefore needed to mark that such myth becomes in modern terms a basis for the conflicts between different peoples. The question concerns propaganda of national exceptional nature from the side of any totalitarian states. Therefore such a myth creates terms for enmity between different nations and peoples, develops in man contempt to other people. We assert that national character of any modern nation appears in various aspects. E.g., attitude to the past, role of the country in civilization history, national historical myths, address to folk beliefs, ceremonies, and mysticism. Ethos of national-state myth not only speaks to the elements of national character of specific group of people, also causing changes in it. They are not always positive; vice versa such changes through growth of role of state myth for spiritual life of nation are a certificate of deep crisis in this society. The overstatement of the value for history of humanity conduces to inadequate and illusive perception of present life conditions of society. A man as a result of infatuation for such a myth becomes inadequate to estimate itself and other people. For his logic, acts or thoughts change. In fact, this is an a-logic. It is possible to say that under the action of such myth a man loses correct social standards of conduct. It is simply played, and a game is perceives as a real life. Keywords: Myth, ‘National-state Myth’, Ethos of Myth, Aesthesis of Myth, Symbol, Symbolic Production, Symbolic Exchange, Mass communications, Popular Culture.
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SCHMIEDECKE, NATÁLIA AYO. ""Canto porque la guitarra / tiene sentido y razón": folclore e política na música de Víctor Jara * “Canto porque la guitarra / tiene sentido y razón”: folklore and politics in the music of Víctor Jara (1966-1973)". História e Cultura 2, nr 1 (19.08.2013): 59. http://dx.doi.org/10.18223/hiscult.v2i1.868.
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<p><strong>Resumo:</strong> O presente artigo se dedica a analisar o discurso político e cultural identificado com o movimento da Nova Canção Chilena através da obra musical do cantor, compositor e diretor de teatro Víctor Jara (1932-73). Apesar da morte prematura – decorrente do golpe de Estado de 1973 –, Jara deixou um legado artístico variado que se constitui em fonte privilegiada para pensar o contexto chileno dos anos 1960 e 1970, período marcado pela forte atuação de movimentos sociais que tinham como plano de fundo uma crescente polarização política. Filiado ao Partido Comunista, o músico se valeu do potencial comunicativo e expressivo da canção para defender a necessidade de se promoverem mudanças políticas estruturais no país, as quais necessariamente passariam pela esfera da cultura. Perguntando pela presença de elementos identitários em sua obra musical, analisaremos os diálogos estabelecidos pelo artista com a conjuntura política nacional, apontando para a heterogeneidade do repertório englobado sob o termo Nova Canção Chilena.</p><p><strong>Palavras-chave:</strong> Víctor Jara – Nova Canção Chilena – Unidade Popular.</p><p> </p><p><strong>Abstract:</strong> The present paper is dedicated to analyze the political and cultural discourse identified to the Chilean New Song Movement through the musical work of the singer, composer and theater director Víctor Jara (1932-73). Despite his premature death - due to the coup of 1973 - Jara left a varied artistic legacy which constitutes a privileged source for thinking about the Chilean context of the 1960s and 1970s, a period marked by the strong presence of social movements that had as background the growing of the political polarization. Affiliated to the Communist Party, the musician used the communicative and expressive potential of music to defend the need to promote structural political changes in the country, which necessarily pass through the sphere of culture. Asking for the presence of identity elements in his musical work, we will analyze the dialogue established by the artist with the national political context, indicating the heterogeneity of the repertoire enclosed under the term Chilean New Song Movement.</p><p><strong>Keywords:</strong> Víctor Jara – Chilean New Song Movement – Popular Unity.</p>
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Duangkhachon, Kriangkrai. "Dan Kwian clay doll designing from Korat folksong identity for Adding value to the product of cultural tourism." Asian Creative Architecture, Art and Design 37, nr 1 (22.04.2024): 1–21. http://dx.doi.org/10.55003/acaad.2024.270192.
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This research developed the design of Dan Kwian clay doll souvenir products from the identity of Korat Folksong, to add value to product which promote creative cultural tourism. The objectives of the research are 1) study the identity from Korat Folksong to create a small sculpture and creating prototypes from 3D Printing 2) Experimenting with Dan Kwian clay in order to create Dan Kwain clay doll and glazing to develop souvenir products. 3) To design packaging to convey contemporary Korat Folksong which promote cultural tourism. The research found that 1) The identity of Korat Folksong. Men's clothing is popular in wearing loincloths. Wear a round neck, short-sleeved shirt, no color limit, with a loincloth on the belly. Women wear loincloths and wear tight, collarless shirts with short sleeves. It is popular to wear brightly colored cloth. And the dance poses that express the identity of Korat Folksong are 1. Oh Ram Ro pose, 2. Chang Thiam Mae pose, and 3. Jok pose. By taking photo of the original Korat's Folksong performers. Then, draw it into a 3D image with computer program thereafter prototypes were printed with 3D printer reduced sizes to be used in the of making of plaster mold for casting the workpiece. 2) Experimenting with using triangular table to find ratios for all 36 slip formulas. It was found that clay formula 14 was suitable for casting the workpiece quickly and without cracking, with a ratio of 40% Dan Kwian clay, 40% Lampang kaolin clay, and 20% silica, chosen as the slip casting formula for creating the souvenir products and fined at 900 °C, then decorated with colored the glaze derived from the clothing of Korat Folksong performers. By applying glaze 1,100 °C, the workpiece shrinks by 12%. 3) The packaging is designed after the Korat music house, which is a pavilion raised under 4 pillars. When the pieces are packed in a box, it's like a musician singing and dancing in the music theater, and the Korat song is conveyed in the packaging design with fun rhythm content that attract tourists to Nakhon Ratchasima province. The song was composed by Mr. Kampan Nithiworapaiboon. The national artist. It is a souvenir product from Dan Kwian pottery to convey knowledge about the folk art of Korat songs to promote cultural tourism.