Artykuły w czasopismach: „Rich people – drama”

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Nasir, Muhammad Saeed, Muhammad Riaz i Barirah Nazir. "The Representation of Social Reality in Saraiki Dramas Roshan Zameer and Qatil e Hamsheer". Global Language Review VI, nr I (30.03.2021): 186–96. http://dx.doi.org/10.31703/glr.2021(vi-i).20.

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The Genre of Drama had always been reflective of social life. The history of drama is as old as of humans on earth. Saraiki drama is believed to be developed from undeveloped but organized expressions of caricatures; such kind of organized caricature is found still in the local area. It is a tradition that people of the lower caste named Bhaands. This kind of art was established by the people who were very poor, and they used to caricature the rich and gentry to amuse them and other people. The present study is aimed to trace the social realities and their representation in Saraiki Drama. Two Saraiki dramas Roshan Zameer and Qatil e Hamsheer had been analyzed in light of the Qualitative Content Analysis model proposed by Altheide(1996). It has been found that selected Saraiki dramas speak the prevailing ideological, social realities. It is suggested that more studies should be conducted to explore tradition and social realities existing in the Saraiki region so that regional social and cultural traditions may get a voice in international literary landscapes.

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Cong, Wenjun. "The educational function of drama culture and its embedded strategy in higher education". Lifelong Education 8, nr 2 (1.04.2020): 47. http://dx.doi.org/10.18282/le.v8i2.795.

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As a comprehensive art, campus drama has an extremely rich genre, flexible form and wide audience. Drama can organically integrate ideology and morality with comprehensive quality education, and pass it on to audiences in the form of performance. In addition, it can also help contemporary college students to establish the correct world outlook, outlook on life and values, so it is an effective way to educate people in the new period. Based on the author's learning and practical experience, this work first analyzed the contribution of drama activities to the healthy development of campus culture, then summarized the current problems in carrying out campus drama activities, and finally put forward the embedded path of the educational function of the drama culture in college and universities.

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Vorotynskiy, B. I. "Prof. I. A. Sikorskiy. Epidemic free deaths and murders in Ternovsky farms (near Tiraspol). - Questions of neuropsychic medicine. T. II, no. 3.1897". Neurology Bulletin V, nr 4 (22.10.2020): 208. http://dx.doi.org/10.17816/nb46965.

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Everyone knows the terrible drama that played out among the sectarians of the Ternovsky farmsteads: 25 people were subsequently (in groups) buried alive, dying to die a free death. This terrible Ternovo event is in our time an unprecedented fact, deserving a deep and comprehensive study. The extreme fermentation that led the sectarians to such a gloomy denouement should equally interest the historian, psychologist, forensic scientist and doctor - psychiatrist: each of them will find in this everyday drama a rich material for their scientific research.

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Yuhendra, Yuhendra. "Philosophical Values in Thornton Wilder’s Our Town". LINGUA LITERA : journal of english linguistics and literature 1, nr 2 (19.09.2015): 48–59. http://dx.doi.org/10.55345/stba1.v1i2.34.

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As one of human’s expressions, literature is used to reflect lives, human behavior and effects of their actions. The objective of this paper is to explore and revealssocial values in one of influential literary works, a play Our Town by Thornton Niven Wilder. The drama was appraised by critics for the messages it has abouthuman life and the playwright was awarded Pulitzer Award in 1938. This drama is claimed as drama which is rich of philosophy about life. This bibliographicalresearch uses descriptive method with qualitative data taken from the script of the drama. It applies philosophical approach to see the values of life reflected in the drama to human. From moral point of view, Our Town has strong messages that people need to learn to appreciate lives and others. The messages are not only meant for the past – when the play was written - but also for the present situation and even future.

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Fryer, Louise, Linda Pring i Jonathan Freeman. "Audio Drama and the Imagination". Journal of Media Psychology 25, nr 2 (styczeń 2013): 65–71. http://dx.doi.org/10.1027/1864-1105/a000084.

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Presence describes immersion in a mediated environment such that it seems unmediated. For people with visual impairment, audio description replaces missing visual information with a verbal commentary, transforming an audiovisual medium into audio. Media forms are more or less immersive, with audio-only at the bottom of the scale. Anecdotally, however, pictures are said to be better on radio. Sound effects may contribute by triggering vivid mental images. Yet the role of sound effects on presence has been little explored. The aim of this study was to test the influence of sound effects and visual experience on presence. Participants (N = 73) with full, some, or no sight reported presence levels for a scene from an audio drama presented with or without sound effects. Participants with full vision reported higher levels of ecological and spatial presence for dialogue and sound effects than for dialogue alone. For participants with impaired vision, sound effects made no significant difference to presence levels. This was a small, exploratory study. Sound effects increased two dimensions of presence for those with sight. For blind people, words alone provided a rich imaginative experience. This has positive implications for audio description, which necessitates dipping the soundtrack to insert descriptive commentary. It suggests sound effects have a key role in stimulating presence, but this is dependent on the sensory characteristics of the listener.

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Walker, William. "Anadiplosis in Shakespearean Drama". Rhetorica 35, nr 4 (2017): 399–424. http://dx.doi.org/10.1525/rh.2017.35.4.399.

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A complex definition of the figure, anadiplosis, develops in the tradition that runs from ancient Greek and Roman rhetoricians up to sixteenth-century continental rhetorical theorists such as Susenbrotus. Drawing on and enriching this tradition, the English rhetoricians of Shakespeare's day defined the figure as the repetition of the word or words with which one phrase or line ends, at or near the beginning of the succeeding phrase or line. A series of anadiploses was understood to make for a gradatio (or climax). Having been schooled in these and other definitions of the tropes and figures, Shakespeare implements anadiplosis, as well as the rhetoricians’ rich metaphorical description of it, in his text. In so doing, he enhances his representation of people who are impassioned, thoughtful, witty, deranged, and ridiculous. In keeping with the rhetoricians’ recognition of the polysemy of the figure, Shakespeare also implements this figure to narrate events and make some of them seem inevitable (usually in history and tragedy) and others unlikely (usually in comedy). The Shakespearean script also frequently includes dialogic anadiplosis: the sharing of the figure by two speakers. In this form, it plays a significant role in Shakespeare's creation of authentic dialogue.

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Hood, Michael. "The Far Away Nearby: The Canadian Theatre in Alaska". Canadian Theatre Review 85 (grudzień 1995): 34–37. http://dx.doi.org/10.3138/ctr.85.008.

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Canada and Alaska share much more than a common border, salmon harvest controversies, and seemingly endless streams of tourists. In addition to identifiable cultural, economic, geographical, and climatic similarities, and beyond the shared eccentricity that many people from other parts of the world ascribe to the inhabitants of the “last frontier”, and Canada’s “kinder, gentler America”, Alaska and Canada share a taste for independence and for art that has produced a growing and vital Alaska-Canada theatre connection. Canadian road companies of major commercial properties now play regularly in Alaska’s larger cities; Canadian authors have found receptive producers and audiences for their work in a variety of venues; and students have found Canadian drama a rich and powerful resource for their study of Canada and its people.

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D. Mapari, Ms Dimple, i Shankarlal Khandelwal. "Performative Aspects of Mahesh Dattani’s Plays". International Journal of English Literature and Social Sciences 7, nr 4 (2022): 231–37. http://dx.doi.org/10.22161/ijels.74.33.

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Modern theatre in India comprises mainly of English, Hindi, Marathi and Hinglish (comprising of a mix of Hindi and English dialogues) plays. English theatre was brought to India during the British rule and was watched mostly by art connoisseurs of the rich, upper class. This, however, changed after independence, as, many Indians entered the fray and theatre slowly became open for common people too. The post-independence Indian English drama is notable for a wide range of subjects treated, issues presented and also it takes into its compass some globally appealing issues. It displays a remarkable growth and maturity. Mahesh Dattani is a dynamic dramatist, a professional Baratnatyam dancer, a drama teacher, a stage director, and an actor. A person, who has touched almost every aspect of the theatre and has received the first ‘SahityaAkadami Award’ (1998) for writing in English, he is rightly called the successor of Girish Karnad for his innovations in dialogue writing, pragmatic stage decorations, light arrangements, etc. One of his major contributions is that he has infused actability into Indian drama in English. It seems that, all the limitations, which in a way marred the beauty of Indian English theatre down the decades, are finally overcome. As Reena Mitra observes, ‘Dattani confidently challenges the traditional denotations and connotations of the words’ India’ and ‘Indians’.1 What makes his plays ‘performance oriented’ are his dramatic techniques. The paper intends to focus upon the aspects which make his drama stand out.

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Chen, Yihan, Furui Zhou i Chenyu Zhu. "On the Semiotic Embodiment of British Satirical Drama Films Take Chaplins Monsieur Verdoux and The Gold Rush as an Example". Communications in Humanities Research 16, nr 1 (28.11.2023): 235–42. http://dx.doi.org/10.54254/2753-7064/16/20230712.

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Film semiotics is a theory within the professional discipline of film and television that is rich in meaning. The works of many playwrights can be referred to as textbooks for the application of film semiotics analysis. This paper focuses on two works of drama legend Chaplins The Gold Rush and Monsieur Verdoux to compare and analyze the meaning of film semiotics. The Gold Rush, with The Gold Rush as the background and money as the symbol, satirizes human greed and unlimited pursuit of money and power, describes the weakness of human nature and the flaws of society, and reminds people to cherish the present moment. Monsieur Verdoux, with love as the clue and emotion as the symbol, embodies modern peoples pursuit of love and marriage, reflecting the changes and diversification of the concepts of marriage and love in contemporary society, and the pursuit of freedom and independence, reminding people to cherish freedom and independence, and the pursuit of true happiness. According to the research findings, the future research on movie semiotics still needs to be studied in depth.

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Coffman, Victoria T., i Stephen L. Coffman. "Behavioral Rehearsal: A Way of Talking about the Dying Process". OMEGA - Journal of Death and Dying 32, nr 1 (luty 1996): 63–76. http://dx.doi.org/10.2190/e1mh-wgwh-h475-ma2u.

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The authors suggest that theater activities can be used as a helpful approach to initiating more complex reflection about death among university students as well as hospice volunteers. Included in the article is an activity description and accompanying texts from a death-contemplation exercise which support this advocation. This performance skills activity produced serious student responses which were varied, articulate, and rich. Imagining and rehearsing death allows people to “act as if” and fantasize the circumstances surrounding one's death in a removed and relatively safe manner. These presentations can make the performance of life more meaningful, and the drama of death perhaps softer and more acceptable.

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Gatam Widagama, Ngakan Putu. "PEMENTASAN DRAMA GONG WIJAYAKUSUMA SEBAGAI MEDIA KOMUNIKASI TRADISIONAL DI KELURAHAN ABIANBASE KECAMATAN GIANYAR KABUPATEN GIANYAR". Jurnal Penelitian Agama Hindu 1, nr 2 (6.10.2017): 545. http://dx.doi.org/10.25078/jpah.v1i2.296.

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Bali has a rich potential for art and culture. The life of Balinese people who are familiar with various types of art performances give the island its own image in the eyes of the world. In Bali art is divided into three groups, namely: (1) wali, (2) bebali, (3) balih-balihan. Many of the performing arts in Bali are seen in religious ceremonies as well as in formal events. The performing arts have a very wide scope. The most popular performing art group and much in demand for the public is Drama Gong. Based on this matter, the problems discussed in this research are: (1) What is the form of staging Drama Gong Wijayakusuma As Traditional Communication Media in Kelurahan Abianbase Gianyar District Gianyar Regency? (2) What is the Function of Staging Drama Gong Wijayakusuma As Traditional Communication Media in Kelurahan Abianbase Gianyar Sub-district of Gianyar Regency? (3) What is the Meaning of Staging Gong Wijayakusuma as Traditional Communication Media in Kelurahan Abianbase Gianyar Sub-district of Gianyar Regency?Digging and dissecting the problem formulation that has been established using two theories are: (1) the theory of symbolic interactionism, (2) structural functional theory. Analyzing each problem used research methods that include: research using qualitative methods. The research location is in Kelurahan Abianbase Gianyar District Gianyar Regency. Types and sources of data used are qualitative data types, while the data source used in the form of primary and secondary data. Data collection techniques include: observation techniques, interviews, and literature study. Instrument research in the form of documentation. Determination technique of informant used is purvosive samplingThe results of this research are: (1) The form of staging Drama Gong Wijayakusuma includes some supporting elements such as: elements of performing arts Drama Gong, language used, acting figures, gamelan accompaniment, source of play and governance sekaa Drama Gong, Shape and structure of the performing arts of Drama Gong. The drama gong has its own uniqueness which in the performing arts of Drama Gong is built by elements of motion, acting, singing, dancing, and percussion combined harmoniously with Jayaprana plays. (2) Drama Gong functions as a social show which is staged exclusively to entertain the audience. There are 2 functions namely primary function and secondary function. (3) The meaning contained in the staging of Drama Gong is the meaning of religion, the meaning of cultural preservation, the meaning of togetherness, and meaning for the community at large.

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Pastushkova, N. A. "Russians in Spain. Book 2. The 20th century. The Beginning". Voprosy literatury, nr 5 (9.11.2019): 292–95. http://dx.doi.org/10.31425/0042-8795-2019-5-292-295.

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Second in the anthology, the volume offers a rich collection of materials, including descriptions of 1900s–1930s Spain by Russian travellers. Artists, musicians, journalists and people of the theatre, all of them share their expectations, recollections and impressions from visits to this Southern country. A poeticized image clashes with reality, which often stands in stark contrast to the idyllic picture. Spain beckons, mesmerizes, and reveals its luxurious self. The country is wrought with controversy: the archaic lifestyle in the provinces and the dizzying pace of life in big cities; its amiable, but very apathetic people; its glorious past and almost desperate present. Russians travel to Spain to experience its natural beauty and splendid cultural heritage. Many of them revelled in visiting the Prado Museum. Numerous performers would come to Spain to tour, spreading knowledge of Russian music, ballet and drama among local audiences.

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Tiwari, Seema. "THE ORIGIN OF INDIAN PAINTINGS AND THE EMERGENCE OF MINIATURE SCHOOLS OF PAINTING IN INDIA". International Journal of Research -GRANTHAALAYAH 7, nr 11 (30.11.2019): 146–49. http://dx.doi.org/10.29121/granthaalayah.v7.i11.2019.3725.

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Indian traditional art has always been rich in its types, forms and tecniques. Apart from the sculptures, poetry, textile arts, pottery, drama, dance, music etc., paintings are also an inextricable form of Indian art. The origin Indian art can be traced to ore-historic settlements in the 3rd millennium BC. The Indian art has undergone inevitable changes as a result of the influences of cultures, traditions, religions, religious sentiments, climatic conditions, globalisation and multiple other factors. Thus, with the development of the Indian civilization over the years developed the numerous kinds of paintings, as a means of communication, entertainment and livelihood. Being an important form of artistic expression, these paintings depict the life and customs followed by the people of different time periods.

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Ihunwo, Ovunda C. "The Aesthetics and Mechanics of African Dance, Costumes and Rattles in Yibo Koko’s Seki Dance Drama". Celt: A Journal of Culture, English Language Teaching & Literature 23, nr 2 (30.12.2023): 335–45. http://dx.doi.org/10.24167/celt.v23i2.4223.

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With its distinctive form and content, African dance stands apart, carving out a unique identity that sets it apart from other continents. Its inherent rhythm possesses a magnetic quality capable of compelling people to move, transcending language barriers—an attribute that has propelled African musicians, particularly those from Nigeria, to a dominating position on the global music stage. This paper delves into traditional African dance, explicitly focusing on the rhythmic opulence found in the dance of rattles, costumes, and water pots within Seki. This captivating dance drama pays homage to the vibrant culture of the Niger Delta in Nigeria, Africa. Authored by Yibo Koko, the Seki dance drama undergoes a transformative journey, skilfully repackaging the traditional village square theatre into a digitalized theatrical experience accessible both as a live performance and in the dynamic space of new media. The paper employs a robust methodology and theoretical framework, drawing on dance theories, historical surveys, and analytical reviews of Seki performances to unravel the nuanced layers of this artistic expression. In scrutinizing Seki, this paper not only sheds light on the captivating exploration of rhythmic elements, including rattles, costumes, and water pots, but also underscores the broader impact of Seki's performance. The dance drama is a compelling canvas that radiates colours and a flawless rhythm, capturing global attention and playing a pivotal role in restoring the splendour of African ancestry. Through this repackaged theatre experience, Seki becomes a vehicle for exporting African culture, offering a renewed perspective that transcends borders and celebrates the rich heritage embedded in the dance's vibrant tapestry.

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Gupta, Rohtash Chand, i Tirshem Kumar Kaushik. "Rich winter migratory birds in thousands have become victim of Kurukshetra Utsav in Haryana, India". International Journal of Life Sciences 7, nr 1 (5.06.2013): 6–11. http://dx.doi.org/10.3126/ijls.v7i1.7962.

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The present work proclaims that a very-very rich diversity of winter migratory birds from across the Himalayas used to arrive in Brahmsarovar-a holy wetland in Kurukshetra (29° 57′ 36″ N, 76° 49′ 48″ E). In all, 36 species of wetland birds belonging to 8 orders and 11 families were observed from Brahmsarovar during 2005-10. However, due to the introduction of an annual festival, mainly Kurukshetra- Utsav, the number and diversity of these birds has been doomed. The main causative factors are play of fire workers dance and drama events, beating of drums and Nagaras, state level exhibition for a fortnight and above all massive crowds of people who throng Brahmsarovar to enjoy the fabulous cultural events arranged in a very magnanimous way by Govt. of Haryana. It is a case of paradox and dilemma of choosing between two good events wherein one seems better than the other i.e. Biodiversity conservation verses cultural diversity integration. DOI: http://dx.doi.org/10.3126/ijls.v7i1.7962 International Journal of Life Sciences 7(1): 2013; 6-11

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Weiming, Tu. "Cultural Identity and the Politics of Recognition in Contemporary Taiwan". China Quarterly 148 (grudzień 1996): 1115–40. http://dx.doi.org/10.1017/s0305741000050578.

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Taiwan is a geographic location, an economic force, a political presence, a social reality and a cultural expression. The “precious island” (baodao), in the minds of those who are vaguely familiar with East Asia in the English-speaking community, evokes sensations of stunning natural beauty, hard-working people and troubled international status. Those who have travelled there as tourists in recent years are easily impressed by the vibrant economy, cuisine, traffic jams, air pollution, rich folk traditions and colourful popular culture. While journalists and business executives may be fascinated by the transformative power of marketization and democratization in Taiwan's political economy, many students have been overwhelmed by the profound impact of economy and polity on all dimensions of the cultural world - literature, art, dance, music and drama - since the lifting of martial law in 1987.

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Lukava, Daryna. "TRADITIONS OF NATIVITY DRAMA WITHIN THE OPERA ARTS OF UKRAINE". EUREKA: Social and Humanities, nr 1 (30.01.2021): 3–7. http://dx.doi.org/10.21303/2504-5571.2020.001564.

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The article explores the ways of development of Ukrainian nativity drama - a genre of musical art that provides an opportunity to recreate the elusive breath of time, to learn not only about the world around but also the prospects for its preservation in Ukrainian culture. For the formation and development of the national musical culture of Ukraine, the traditions of Ukrainian nativity drama, the precondition of which was the folk music of national-historical orientation, became especially important. Besides, the folklore basis contributed to the formation of some professional genres, including opera and instrumental plays. The object of the research is the nativity drama within the opera art of Ukraine. The purpose of the article is to identify the features of the nativity scene as a musical and dramatic art form, which is an original monument of Ukrainian culture. It should be noted, that the nativity scene, especially the images of the second act, the type of its drama, had an impact on the development of Ukrainian musical and dramatic theater even in the XIX century. The mentioned influence was manifested, in particular, in the musical drama "Chornomorets", "Natalka Poltavka" by Lysenko, where folk song and dance are an integral part of the action and are a means of characterizing individual characters and dramatic situations. Some features of the character of Zaporozhets from the nativity scene were developed in the image of Karas from S. Gulak-Artemovsky's opera "Zaporozhets za Dynayem". Ukrainian music and drama art with its sources are associated with the ancient East Slavic agricultural and family holidays, games, dances, in which the element of dramatization played an important role since ancient times. Christmas games with costumes, Maslenitsa farewells, spring round dances, harvest festivals, autumn-winter round dances, and weddings became a rich source for the development of musical and theatrical art of the Ukrainian people in the XV–XVI centuries. To sum up, we can conclude that for the formation and development of the national musical culture of Ukraine in the XIX century, the Ukrainian opera became especially important, the precondition of the one was the folk music of national-historical orientation. Also, the folklore foundations, in particular the nativity scene, served to form professional genres including opera and instrumental plays. The study can be applied to prepare students and graduates in the field of Historical Sciences, Musicology, and Culturology. The significance and influence of nativity drama on the opera art of Ukraine have been studied, where the traditions of Ukrainian nativity scene, the precondition of which was the folk music of national-historical orientation, have been singled out. The study can be the basis for further study of the Ukrainian nativity drama of the XX–XXI centuries.

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MAZUMDER, TANMOY. "Decolonising Bengali Theatre: A Study of Selim Al Deen’s Kittonkhola and Chaka as Postcolonial Resistance Drama". International Journal of English and Comparative Literary Studies 4, nr 1 (5.08.2023): 10–30. http://dx.doi.org/10.47631/ijecls.v4i1.624.

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Selim Al Deen, a prominent figure in Bengali theatre, questions the hegemony of Western forms in literature through his dvaitadvaita (dualistic dualism) theory and fusion theory of art and literature. Modern art and literature in Bengal, since the beginning of the nineteenth century, was shaped by European art and literature in its form, structure, and content. Modernity imposed literary styles that undermined the potential of Bengal’s own ancient literary traditions, which include the rich rural forms of literature, such as jatragan, palagan, puthi, pachali, geetnatyo, natyogeet, kothokota, etc. The well-defined and static genres of European tradition pushed these literary traditions to the margins of Bengali literature, where these were regarded as forms of low culture or low literature, in contrast to the literary “highs” created through the modern traditions. Selim Al Deen in Bengali theatre and drama counters this modernity by resisting its genre style, structure, form, and content. The subaltern literary forms rooted in rural Bengali tradition and in the lives of marginal people come to the centre in Deen’s literary experimentations since 1980s. Kittonkhola (1985) and Chaka (1991) are two well-known among many such dramatic works by Deen, where attempts to decolonise Bengali theatre and drama through newer forms, structures, subject-matters, and even punctuation are obvious. This paper, by studying Kittonkhola and Chaka, explores Selim Al Deen’s counter-modernist struggle for self-identity of Bengali theatre and drama. Deen’s use of dvaitadvaita style, fusion, and non-western punctuation are, on the one hand, a postcolonial resistance to European modernity and, on the other hand, stylistically postmodern. Further, they symbolise his search for a distinct identity of Bengali theatre.

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Wen, Wei. "A Study on the Awareness of the Age and Alternatives in the TV Drama “Gold Spoon”". Korean Society of Culture and Convergence 45, nr 1 (31.01.2023): 203–16. http://dx.doi.org/10.33645/cnc.2023.01.45.01.203.

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Today, in our society, the hierarchical status structure implied in the theory of spoon class is becoming fixed. These indicators of the times create pessimistic perceptions of reality and become a negative factor for future prospects. The TV drama “Gold Spoon,” which reflects this social reality, allows us to examine the current situation where the theory of spoon class prevails. “Gold Spoon” is set in the background of events that occur when a child from a poor family accidentally gets a 'Gold Spoon' that can change his status with a rich friend, and using this 'Gold Spoon.' Against this background, “Gold Spoon” reproduces the critical view of mammonism as it is by tragically capturing the desires and conflicts for wealth, and cost of desires. “Gold Spoon” seeks a solution with disciplinary action against mammonism. The solution lies in the otherness’s 'other' and 'love'. And furthermore, the wealth we should admire is no longer defined as “money,” but as “belief,” “love,” and “people.”

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Manjit Kumar Shah. "Mukha Shilpa (Mask Making) is the Artefact form of Assam". International Journal for Multidimensional Research Perspectives 2, nr 6 (16.06.2024): 58–64. http://dx.doi.org/10.61877/ijmrp.v2i6.157.

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The north-eastern state of Assam is very rich in terms of diverse arts. Revolutionary great men in Assamese literature, culture, society and spiritual life The contribution of Shrimant Shankardev is unforgettable. His great works made this Strengthened the feeling of social and cultural unity in the area. He wrote Ramayana and translated Shrimad Bhagwat into Brajavali language.Vaishnavism in the North-East for propagation, Shankardev started Bargeet, Kirtan, Ankiya Naat (Bhaona) etc. Composed. There are two main forms of dance here – Bihu dance and Satriya dance. bihu dance The identity of Assam has become. All children and elders participate in this. Bihu dance is performed on the occasion of the festival. Bihu song also on this occasion are sung. The central theme of Bihu songs is love. Apart from this, in Assam many folk dances are prevalent. There are many art forms here in the form of songs, dance, drama etc. are present. Shankardev gave birth to many art forms, including dramatic art and mask art was prominent. Folk plays played an important role in the background of the Neovaishnav movement and its propagation. Folk theaters performed by women are also popular in Assam. Women express their feelings through these folk dramas. Assam also has a rich tradition of folk songs. Bihu is the representative folklore in this region. Through which the common people's passion, hope, Aspirations, joys and troubles take shape. The folk song 'Haidang' of Sonowal Kachari tribe is sung only by men. Various body movements and dance along with songs are the specialty of Haidang. Rabha community of Assam is very rich in terms of folk songs. The folk songs of Miri or Mising tribe are called 'Oi Neetom'.The life and culture of the people of this community has developed in the valley of Brahmaputra and Subansiri rivers. The communities here have a rich heritage of folklore. The folk tales here are full of supernatural incidents. Assam has been considered the center of Tantra-Mantra, witchcraft and spirituality. Therefore, Tantra-Mantras are included in folk tales. Apart from this, idioms and proverbs are also available in abundance.

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Nurvitasari, Tri, Hamidah i Muhammad Randicha Hamandia. "Analisis Pesan Moral Pada Film Bayi Ajaib Tahun 2023". Pubmedia Social Sciences and Humanities 1, nr 3 (14.01.2024): 13. http://dx.doi.org/10.47134/pssh.v1i3.173.

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Mass communication broadly is an activity carried out between one or more people to convey messages through print, electronic or digital mass media with the expectation of reciprocity. One of the media used to convey messages is film. Film is a mass media that is considered effective in conveying messages compared to other communication media. Film is a new means used to disseminate entertainment that has become a previous habit, as well as presenting stories, events, music, drama, comedy and other technical presentations to the general public. Films not only serve entertainment functions, but also contain informative, educative and even persuasive functions. In the current era, there are many types of films that educate film lovers, especially in Indonesia. There are various types of films including drama, romance, comedy, action and horror, such as the film Miracle Baby 2023. The film Miracle Baby 2023 is one of the Indonesian horror films which will be shown in Indonesian cinemas in January 2023, which tells the story of two young people. -sama wants to become rich, but in the wrong way. This magical baby film also contains many moral messages. Moral messages are statements that convey instructions, regulations, or invitations regarding societal conventions, morality, and culture so that humans can live better and as material for self-evaluation in actions. The moral messages contained in the 2023 Magic Baby Film are: 1) moral messages in the category of human relationships with God , 2) moral messages in the category of human relationships messages in the category of human relationships with themselves, and 3) moral messages in the category of human relationships with other humans.

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G.Chandu. "SOUL LONGING FOR AGAPE LOVE IN THE POEM “REMEMBER” BY CHRISTINA ROSETTI". Journal of English Language and Literature 10, nr 01 (2023): 92–97. http://dx.doi.org/10.54513/joell.2023.10111.

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“Literature is the art of discovering something extraordinary about ordinary people and saying with ordinary words something extraordinary.” says -Boris Pasternak. Several literary works engage readers deeply by the narratives they tell or the messages they convey. Readers are consistently motivated by biographies of notable people as well as true tales of bravery, selflessness, and other admirable traits. Such books act as both a bible of values and a window into the life of notable people for the general public. The main types of literature: Drama, Fable, Autobiography, Biography, Poetry, Prose, Science Fiction, and Journalistic Literature. Poetry is a great motivator when we try to learn it. It is rich in tradition, culture and language and gives a great opportunity to learn a language. The main function of poetry is to interpret life. There are poets who have pictured death as both a friend and an enemy. Some claim that passing away can provide relief from troubles and anguish, while others claim that it is cruel and robs a person of the fun and pleasure the world has to offer. In this paper, an attempt has been made to present Christina Rossetti’s longingness to be remembered even after death that separates her from her lover in the poem “Remember”.

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AGOZIE, Uzochukwu Ugwu. "Dramaturgy of Social Relevance and Conflict Resolution: A Dialectical Study of The Wives Revolt by JP Clark’s". Nile Journal of English Studies 1, nr 1 (7.03.2016): 87. http://dx.doi.org/10.20321/nilejes.v1i1.40.

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Drama arguably stimulates change in the society through its ability to modify human minds and through the harmonisation of human impulses. It uses images easily identifiable by the members of the society and presents it before the society, provides a dramatic experience of the social realities bedevilling the society and thus creates awareness and consciousness. Some of the issues drama of social relevance addresses includes conflict resolution, security issues, and community development among others. This paper explores the efficacy of JP Clark’s The Wives’ Revolt as a veritable tool for the resolution of conflict in the Niger Delta. Clark in this play advocates for a non-violent form of protest as a workable alternative towards the resolution of conflict in the oil rich Niger Delta. The cauldron of contradiction that characterises the movement for the emancipation of the people of Niger-Delta does not only negate the actualisation of the emancipation goals. Violence has turned the agitation of the people of the Nigeria Delta area of Nigeria out of many years of environmental havoc; the collapse of their eco-system and economic crisis into serious conflict. Vendetta and gratification have eaten deep into the fabric of this society and nothing is being done in terms of the emancipation of the natives at the grassroots who suffer high profile effects of the destruction of their eco-system through oil spillage. This paper uses the peaceful suggestions Clark makes in The Wives’ Revolt as pointers or viable alternatives for the simulation of change and resolution of conflict not just in the Niger-Delta but other parts of Nigeria suffering from any form of violent crisis.

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Ulanova, Alina Ulanovna. "The epic of «Manas» in inculturation of modern youth". Vestnik of Saint Petersburg State University of Culture, nr 1 (54) (2023): 69–74. http://dx.doi.org/10.30725/2619-0303-2023-1-69-74.

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This article analyzes the significance of the epic «Manas» in the historical heritage of the Kyrgyz people, as well as its status and role in the modern cultural space of the republic. The significance of the epic «Manas» is defined as a core of traditional kyrgyz culture and one of the main institutions of modern artistic culture. Examines creative experiences in the interpretation of epic images embodied in the Kyrgyz fine art of the twentieth century (Theodore Gertsen, Taalai Kurmanov, Turgunbai Sadykov). The problem of inculturation of young generation through the use of epic heritage is raised. We are talking about multi-dimensional use of the rich content of artistic images of the epos in different spheres of culture and purposeful inclusion of the young generation of different ages to the system of fundamental values contained in them. In addition, the question is raised about the need to create modern professional art works based on the epos on a solid literary basis, on the basis of serious drama and a deep reading of the images and precepts of the ancestors, accumulated in the great poetic heritage of the Kyrgyz people.

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You, Jiangshan, i Hongmei Ruan. "Research on Address Terms in Downton Abbey from the Perspective of Leech’s Politeness Principle". International Journal of Languages, Literature and Linguistics 10, nr 1 (2024): 21–26. http://dx.doi.org/10.18178/ijlll.2024.10.1.477.

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Downton Abbey as the representative of British classic historic TV drama has been widely acclaimed since its first episode, which arouses a frenzy of interest in British culture in Edwardian. One of the important reasons for its popularity is that the linguistic style of the script is consistent with the rigid English social hierarchy. It precisely describes the elegant manner and strict etiquette of British society as well as their modest and humorous behaviors. Address in the script as an linguistic symbol can reflect the national customs, history, traditions and politics well. The address forms are rich and accurate in this drama, which is suitable for this study. Therefore, this thesis chooses the addresses from all six seasons as a corpus and divides them into two categories: social address and kinship address. Besides, Leech’s Politeness Principle is also used to analyze the social meaning and affective meaning that the addresses express in Downton Abbey, which is helpful in learning the use of address forms and promoting successful exchanges with different classes of English people. This thesis adopts exemplification and qualitative analysis method to make a detailed analysis of address terms. At the same time, through the combining method of static description and dynamic description, this thesis explores social culture and emotional expressions behind the linguistic characters. This study aims to enrich the address corpus and provide some references for intercultural communication to help English teaching and learning.

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Martinek, Libor. "Vztahy mezi literaturou a hudbou v díle Gustawa Morcinka". Studia Slavica XXVII, nr 1 (listopad 2023): 45–57. http://dx.doi.org/10.15452/studiaslavica.2023.27.0004.

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The study is devoted to the interdisciplinary relationship between literature and music in the work of the most popular Polish writer from Silesia, Gustaw Morcinek (born Augustín Morcinek, August 24, 1891 in Karviná, Austria-Hungary – December 20, 1963 in Krakow, Poland). In his rich literary work for adults as well as for children and young people, while it is mainly prose, less often drama (he did not devote himself to poetry), we find inspiration in musical folklore (mainly Silesian, exceptionally Moravian and Slovak), also in popular and classical music. The music in Morcinek’s work serves, among other things, to better characterize space and time, character traits of the characters, and capture the overall mood of the literary work or part of it. In our study, we are methodologically based primarily on the works of the Polish comparatist Andrzej Hejmej, who has been theoretically devoted to the relationship between literature and music for a long time.

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Şahin, Tuğrul Gökmen. "The Effect of Body Language-Centered Drama Activities on Students' Speaking Skills in Secondary School Turkish Teaching". International Journal of Contemporary Educational Research 10, nr 3 (27.09.2023): 762–84. http://dx.doi.org/10.52380/ijcer.2023.10.3.561.

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The body is undoubtedly the first language of communication in human history. Body language, which dates back to the first human, was the first language with which humans communicated with each other. Human being is a social being; just as it needs nutrition, shelter, security, knowledge, respect and love, it also needs communication. Therefore, speaking skill has become one of the language skills that individuals use most in daily life throughout their lives. Drama method is a method that can be used to help people get to know themselves and their environment, improve their relationships, gain different perspectives, and increase social harmony. The aim of this research is to determine the effect of body language-centered drama activities on the development of students' speaking skills in secondary school Turkish teaching. The participants of the study consist of 55 7th grade students studying in a secondary school in Battalgazi district of Malatya province. In this research, mixed research method sequential explanatory design was used. A semi-experimental design was used in the quantitative part of the research, and the quantitative data of the research was collected using the Speaking Skills Attitude Scale (2017), and the phenomenology design was used in the qualitative part, and the data were collected with student diaries, semi-structured interview form and observation form. In the quantitative part of the research, a control and an experimental group were created. Experimental and control groups were determined according to the students' pre-test results from the attitude scale. According to the results of the Mann Whitney U test, the groups were found to be equivalent. In the experimental group, body language-centered drama prepared in the context of Turkish language teaching program achievements was taught, and in the control group, lessons were taught taking into account the current Turkish course curriculum. At the end of the research, a semi-structured interview was conducted with 9 experimental group students, a diary was collected after each drama application, and observations were made by taking pre- and post-videos of the students' body language-centered speaking skills. A reliability and validity study was conducted on the applied quantitative and qualitative data collection tools. Analysis of the post-tests in the experimental and control groups was made with the Mann Whitney U test. Qualitative data were analyzed with codes and categories created by content analysis and descriptive analysis. When the results of the research were examined, it was concluded that the Turkish lesson taught with body language-centered drama activities was more effective than the normal Turkish lesson in terms of giving speaking skill gains. Similarly, it was observed that the interest and love of the students participating in the study regarding speaking skills increased after the body language-centered drama activities, and their anxiety decreased. In addition, it was observed that students began to use body language easily both in the classroom and in daily life. Looking at the results of the qualitative data of the research, it was seen that the students started to use body language in and outside the classroom, their speaking skills improved and even their existing speech disorders improved. The study results were examined in the literature and compared from both similar and different perspectives. Looking at the results, researchers can make variations in their studies in order to obtain rich data; for drama practices, they should conduct pilot exercises before implementing the created drama workshops and pay attention to the physical characteristics of the place where the drama will be implemented; recommendations were made for institutions to give teacher candidates the opportunity to practice in drama classes in faculties of education and to provide drama training to teachers in in-service courses opened within the Ministry of National Education.

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Gaidash, A., i Y. Ivanova. "“SPRIGHTLY AT EIGHTY-TWO”: GROWING OLD IN AMY HERZOG’S PLAYS". Studia Philologica 2, nr 17 (2021): 79–85. http://dx.doi.org/10.28925/2311-2425.2021.1710.

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One of the challenges introduced by the contemporary drama is representation of old characters as protagonists on stage. The article tackles the representations of growing old in Amy Herzog’s plays “After the Revolution” and “4000 Miles” relying on the physical and sentimental markers through the examination of the adaptation of the female character to old age. The authors analyze the dramatis personae through the lens of literary gerontology. Growing old in Herzog’s plays is developed from the perspective of intergenerational relationships in both plays. In “4000 Miles”, nonagenarian Vera and young Leo represent a meaningful synthesis of adolescence and late adulthood. In this drama, old age embodies wisdom for younger generation linking grandchildren and grandparents. “After the Revolution” gives another example of intergenerational bond between octogenarian Vera and her granddaughter Emma. Vera’s intervention into Emma’s family case investigation has a positive impact on relationships between them. In addition, Emma gets on well with another senior representative, Morty, Vera’s admirer. There are no prejudices or stereotypes about old age in their conversations, but only Emma’s support and encouragement to undermine the stereotype that old people cannot be involved into romantic relationships. The ways of ageist stereotypes subversion are presented by the extended description of physical process of growing old; using vocabulary rich of aphorisms and slang words to illustrate the elderly’s wisdom and at the same time awareness of the modern language; portraying the elderly as individuals with a wide range of social activities and occupations; older characters are shown as protagonists of the plays, not only minor characters.

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Sitohang, Mangantar. "LANGUAGE IMAGERIES/SYMBOLS UTTERED BY KING LEAR HIMSELF IN KING LEAR TRAGEDY". Journal of English Language and Literature (JELL) 2, nr 02 (22.08.2018): 1–18. http://dx.doi.org/10.37110/jell.v2i02.22.

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This research attempts to analyze Shakespeare language symbols/imagery in King Lear (Tragedy Drama). It is generally agreed that there are always many factors why a playwright is still remembered from a century to next centuries, and among many factors that could make someone always well-known/remembered is his/her language factor beside the theme or the messages s/he wanted to convey, of course. King Lear had succeeded to choose the right rhetoric devices or signs in his period and wonder many people are still amazed / inspired up to now due to his unique and rich language. His symbols / imagery, combined with verse and prose in King Lear can express penetratingly the essence of a thing, emotion or situation in term of another, thus convey the sharpness of one’s own vision and sensitivity one’s reader or spectator, again the imagery / symbol here, are connected aspects or angles of people’s lives, and all are interwoven beautifully, and again it’s the language quality of King Lear that makes the researcher is tempted to observe it.

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Locke, Ralph P. "The Exotic in Nineteenth-Century French Opera, Part 1: Locales and Peoples". 19th-Century Music 45, nr 2 (2021): 93–118. http://dx.doi.org/10.1525/ncm.2021.45.2.93.

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Nineteenth-century French opera is renowned for its obsession with “the exotic”—that is, with lands and peoples either located far away from “us” Western Europeans or understood as being very different from us. One example: hyper-passionate Spaniards and “Gypsies” in Bizet’s Carmen. Most discussions of the role that the exotic plays in nineteenth-century French opera focus on a few standard-repertory works (mainly serious in nature), rather than looking at a wider range of significant works performed at the time in various theaters, including the Opéra, the Opéra-Comique, and Offenbach’s Bouffes-Parisiens. The present article attempts to survey the repertory broadly. Part 1 examines various “different” (or Other) lands and peoples frequently represented on stage in French operas. Part 2 discusses typical plots and character types found in these operas (sometimes regardless of the particular exotic land that was chosen) and concludes by exploring the musical means that were often employed to impel the drama and to convey the specific qualities of the people or ethnic group being represented. These musical means could include special or unusual traits: either all-purpose style markers of the exotic generally or more specific style markers associated with identifiable peoples or regions. But the musical means could also include any of the rich fund of devices that opera composers normally used when creating drama and defining character: melodic, harmonic, structural, and so on. This last point is often neglected or misunderstood in discussions of “the exotic in music,” which tend instead to focus primarily on elements that indisputably “point to” (as if semiotically) the specific land or people that the work is seeking to evoke or represent. In both Parts 1 and 2, instances are chosen from works that were often quite successfully performed at the time in French-speaking regions and that, even if little known today, can at least be consulted through recordings or videos. The works come from the standard recognized operatic genres: five-act grands opéras, three-act opéras-comiques, and short works in bouffe style. The composers involved include (among others) Adam, Auber, Berlioz, Bizet, Chabrier, Cherubini, Clapisson, Félicien David, Delibes, Flotow, Gomis, Gounod, Halévy, Messager, Meyerbeer, Hippolyte Monpou, Offenbach, Ernest Reyer, Saint-Saëns, Ambroise Thomas, and Verdi (Les vêpres siciliennes, Don Carlos). Examining certain lesser-known works reveals merits that have gone relatively unheralded. As for the better-known works, approaching them in this wide-angled way grants us a richer appreciation of their strengths and their often-enlivening internal contradictions.

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Locke, Ralph P. "The Exotic in Nineteenth-Century French Opera, Part 2: Plots, Characters, and Musical Devices". 19th-Century Music 45, nr 3 (2022): 185–203. http://dx.doi.org/10.1525/ncm.2022.45.3.185.

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Nineteenth-century French opera is renowned for its obsession with “the exotic”—that is, with lands and peoples either located far away from “us” Western Europeans or understood as being very different from us. One example: hyper-passionate Spaniards and “Gypsies” in Bizet’s Carmen. Most discussions of the role that the exotic plays in nineteenth-century French opera focus on a few standard-repertory works (mainly serious in nature), rather than looking at a wider range of significant works performed at the time in various theaters, e.g., the Opéra, the Opéra-Comique, and Offenbach’s Bouffes-Parisiens. The present article attempts to survey the repertory broadly. Part 1 examines various “different” (or Other) lands and peoples frequently represented on stage in French operas. Part 2 discusses typical plots and character types found in these operas (sometimes regardless of the particular exotic land that was chosen) and concludes by exploring the musical means that were often employed to impel the drama and to convey the specific qualities of the people or ethnic group being represented (as a community—through chorus and authority figures—and through the feelings and actions of individual characters). These musical means could include special or unusual traits: either all-purpose style markers of the exotic generally (oddities, one might say) or more specific style markers associated with an identifiable people or region (e.g., tunes, rhythms, and other devices understood as signaling one particular region). But the musical means could also include any of the rich fund of devices that opera composers normally used when creating drama and defining character: melodic, harmonic, structural, and so on. This last point is often neglected or misunderstood in discussions of “the exotic in music,” which tend instead to focus primarily on elements that indisputably “point to” (as if semiotically) the specific land or people that the work is seeking to evoke or represent. In both Parts 1 and 2, instances are chosen from works that were often quite successfully performed at the time in French-speaking regions and that, even if little known today, can at least be consulted through recordings or videos. The works come from the standard recognized operatic genres: e.g., five-act grands opéras, three-act opéras-comiques, and short works in bouffe style. Composers whose works are mentioned, or discussed in some detail, include (among others) Adam, Auber, Berlioz, Bizet, Chabrier, Clapisson, Félicien David, Delibes, Flotow, Gomis, Gounod, Halévy, Messager, Meyerbeer, Hippolyte Monpou, Offenbach, Ernest Reyer, Saint-Saëns, Ambroise Thomas, and Verdi (Les vêpres siciliennes, Don Carlos). Examining certain lesser-known works reveals merits that have gone relatively unheralded. As for the better-known works, approaching them in this wide-angled way grants us a richer appreciation of their strengths and their often-enlivening internal contradictions.

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Latifatul Isro'iyah i Dwi Ima Herminingsih. "Teaching Culture of Others through English Literature". International Journal of Language and Literary Studies 5, nr 2 (15.07.2023): 136–46. http://dx.doi.org/10.36892/ijlls.v5i2.1248.

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The diversity of the culture in the world is a given thing. Billions of people from different countries in the world have produced varieties of civilizations, ways of life, lifestyle, custom, heritage, habits, values, and traditions. It is hypothesized understanding the culture of different people can be valuable to the student’s character building. The comprehension of multicultural can be modality to be more aware of cultural dissimilarities. They can respect any variance of people whose backgrounds, minds, opinion and may behave in ways that are not the same. Besides, the possession of rich knowledge of diverse cultures can bridge them to take interpersonal communication in friendly ways. Nonfiction kinds of literature, science books as well as historical books are not the only sources to study multicultural. Doing literature reading comprehension is another method to open the horizon of the existing variability of culture. The paper presents descriptively the teaching experience of how the students of the University in Tulungagung, Indonesia got to practice learning the culture of people in different areas of the world through extensive reading. The teaching materials cope with the introduction of the theory of literature, how are the cultures told by the author, and why is it important to comprehend literature? How multicultural literacy has inspired the students 'live performance. The teaching goal aims to let the students learn something good or positive about the culture of people of others delivered by the writers of poems, novels, and drama. The broader insights of life experiences, religion, beliefs, and customs of other people can bridge the friendship of ethnicity, race, and social status across the world. Being not a closed mind human beings can appreciate or respect others, avoid underestimating, bullying, any violence, and being the right, the best, and the richest person.

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Ford, David F. "Meeting Nicodemus: A Case Study in Daring Theological Interpretation". Scottish Journal of Theology 66, nr 1 (15.01.2013): 1–17. http://dx.doi.org/10.1017/s0036930612000270.

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AbstractThe Nicodemus story can be read as a distillation of the Gospel of John and an example of many of its key features. John 3:1–21 poses a wide range of the problems raised by this most distinctive and mysterious of the four gospels. It shows characteristic practices of John as a reader, writer and teacher. In line with John's theology of the Spirit ‘leading into all the truth’, it also shows him as a daring theologian, opening up fresh interpretations and ways of doing theology beyond the Septuagint and the Synoptic Gospels and even beyond his own Prologue (itself a remarkably daring piece of theology). That same Spirit means that John also expects his readers to be led into further truth, and to improvise on his theology as he himself did on the Septuagint and on the Synoptic traditions. His ways of reading, writing and teaching encourage such a response in the Spirit by creating a work rich in intertextuality, imagery and conceptuality which has a ‘deep plain sense’, superabundant in meaning and always inviting the reader to reread, learn more and interpret afresh. So one challenge for readers now is whether they are open not only to thinking along with John but also to thinking beyond him, in ways appropriate to different people and contexts. But this transformation in thought and imagination is not all: it is inseparable from doing the truth ‘in God’. The mutual involvement of seeing, believing/trusting, knowing and living in love is above all communicated in the drama of John's Gospel, whose backbone is a series of meetings with Jesus and the injunction to follow Jesus. More embracing and fundamental than, for example, doctrinal theology or existential decision-making, is the dramatic reality of encountering other people and following Jesus in all the complexities of life in specific contexts. In John 3:1–21 the encounter of Jesus with Nicodemus is the dramatic heart of the passage, blending into a discourse which itself culminates in the ultimate drama of ‘deeds done in God’. But to stop interpretation there would be to refuse the Johannine invitation to enter into more truth with a view to ‘doing greater things’. So the article ends with two midrashic interpretations of Nicodemus for today.

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Kovalets, Lidiia. "VASYL STEFANYK IN THE FIELD OF HIS READING". PRECARPATHIAN BULLETIN OF THE SHEVCHENKO SCIENTIFIC SOCIETY Word, nr 16(63) (26.08.2022): 38–54. http://dx.doi.org/10.31471/2304-7402-2022-16(63)-38-54.

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On the basis of primarily epistolary and memoirs, various manifestations of Vasyl Stefanyk’s reading behaviour are considered. It consisted of active searching for books, thoughtfulconversation with texts, deep psychological reactions to some of them, forming his own opinion about them, involving of famous people in reading. It was observed that, given the dynamics and its external manifestations, Stefanyk’s reading action had several stages: the early one, which concerned primary and gymnasium education, the Krakow one, connected with his medical studies at the Jagiellonian University, and the last one (from the 1900s), a period spent mainly on native land. A rich factual material was analysed. It testified that the main segment in the field of Stefanyk’s reading was foreign, primarily Western European literature, especially prose, but also poetry and drama, as well as Ukrainian literature. The author of the «Stone Cross» also had ample opportunities thanks to mastering books in four languages: besides Ukrainian also Russian, Polish and German. The article also attempts to understand the features of the phenomenon of Stefanyk as a reader, which naturally agreed with the psychophysical features of Stefanyk as a man. Reading itself provided writer’s thorough, first of all philological education and turned out to be the same original and productive form of his creative activity as a purely literary work.

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Baishy, Lalta Prasad. "Współczesna sytuacja sanskrytu". Gdańskie Studia Azji Wschodniej, nr 24 (grudzień 2023): 277–82. http://dx.doi.org/10.4467/23538724gs.23.035.19031.

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The contemporary situation of Sanskrit This article presents the current situation of Sanskrit and the importance of Sanskrit in India. How is Sanskrit used in daily life in India and what is its role in the sub-continent’s religions? There are some television channels in Sanskrit and in schools Sanskrit is a mandatory subject. It is one of the twenty-three official languages in India. Sanskrit is not a dead language because there are some villages where people use it in daily life, for example in school, university, worship, and especially on traditional occasions. It has a role like Greek or Latin have in European society. India has a special day celebrating Sanskrit, and a special week for Sanskrit. People have started to learn Sanskrit in German schools and in US schools. NASA also uses Sanskrit. It is possible in the future that computers will work in Sanskrit. Sanskrit is the language in which the Vedas, Upanishads, Puranas, and texts on ethics are written. It has been a language used in India for a very long time. Sanskrit is a classical and historical language of India. The corpus of Sanskrit literature encompasses a rich tradition of poetry and drama as well as scientific, technical, philosophical, and Hindu religious texts. The importance of Sanskrit is quite evident from its all-India scope. It goes without saying that it is the basis of most of the modern Indian languages. I give several opinions of Sanskrit of some of the greatest orientalists that the world has ever produced; I show the consensus of the opinions of men like Professor Max Müller, Veer Savarkar, Rajendra Prasad, and Mahatma Gandhi. These opinions show the cultural importance of Sanskrit in the life of India as the only language that can culturally integrate the entire country and the entire Hindu society.

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საბაძე, ნინო. "ჰუბრისის მოტივი კომპარატივისტულ ჭრილში (ანგლოსაქსური „ბეოვულფისა“ და ქართული „ამირანიანის“ მიხედვით)". Millennium 1 (20.12.2023): 224–38. http://dx.doi.org/10.62235/mln.1.2023.7260.

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Despite its diversity and rich tradition, the epic genre is less represented in the Georgian folklore. In Georgian folklore, there is no evidence of a historical epic, there is no clearly defined historical or pseudo-historical hero. In Georgian folklore Amirani belongs to the genre of tragic epic, where the drama of the rise and fall of a man is told by means of heroic-adventure and mythological motifs. Despite the fact that Amiranian is often discussed in relation to the myth of Prometheus, it has much more in common with Greek classical drama than with the myth of Prometheus. "Amiranian", like Greek drama, is built on hubris (Z. Kiknadze 2011). The present article discusses the motif of hubris in a comparative perspective according to the Anglo-Saxon “Beowulf” and the Georgian “Amiraniani”.Every character in epics has his own fate which, however, can be similar to another hero’s fate. He may gain reputation, win or lose, and at last he may fall and die because of hybris. Hybris is the condition which tests the hero and pushes him towards such situations where his heroism is challenged; if he passes successfully through all obstacles, he is a real hero, but if not, he falls and dies. Hybris is indeed some kind of challenge for the hero, and not all heroes can cope with it. It is like a test case on which it depends on how well a hero can face all challenges.The heroic adventures of Beowulf and Amiran belong to different cultures, but both of them were finally formed in the Christian epoch and have many motifs and elements in common. The path of both heroes begins with doing a good deed. They help people and free them from a hard life by protecting them from demonic creatures. However, at some point their strength becomes fatal for them. Step by step, Amiran’s strength loses its meaning. In the beginning, there was no living soul that could defeat him until his tempestuous nature woke up and his desire to fight his own godfather chained him forever to a rock. Beowolf’s goal is to help others. It seems that his only purpose on earth is to live for the sake of others, but when he starts boasting to Unferth about his heroic actions, his fall begins: even though Beowulf can look back on a lot of victories, this will surely bring him to an inevitable defeat. Both heroes have the opportunity to change themselves, but none of them takes this chance. They cannot avoid arrogance, pride and haughtiness. Life gives them hints and lessons that should be a reason of their awakening, but pride has such an impact on these characters that none of them turns out of his way. The godfather provides Amiran with three opportunities to contemplate and come to his senses: in the castle, Hrothgar exhorts Beowulf to avoid a path that is full of glory and wealth because it might end up fatally. Amiran and Beowulf have the opportunity to make a different choice, but one of them wants infinite power and the other is passionate about secret treasures. Both characters ultimately sacrifice themselves to these pursuits in the end. Their ways are the same because hybris always leads to an end. Chart:Common steps in Amiran's and Beowulf's paths: Common features and characteristics of Beowulf and Amiran: Indications of hybris and death due to hybris:

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Pueyo Zoco, Victor M. "Futurism without a Future: Thoughts on The Ministry of Time and Mirage (2015–2018)". Humanities 11, nr 2 (15.04.2022): 58. http://dx.doi.org/10.3390/h11020058.

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The future is not what it used to be. A new strain of futurism has taken over the stage of global science-fiction: one whose understanding of the future cannot be distinguished from its understanding of the present. Gone are the days when extraterrestrials in shiny, extravagant outfits mastered fascinating technologies that flirted with magic. Characters in Charlie Brooker’s Black Mirror (2015–2020) dress like us, and the dystopian technology they put up with is, for the most part, a technology that has existed for years. Armando Iannucci’s imagining of a space cruise for rich people in Avenue 5 (2020) overlaps with Elon Musk’s actual plans of sending wealthy tourists to the moon, while Albert Robida’s visionary téléphonoscope (1879) amounts to a sad reminder of our everyday Zoom call. Is not the current COVID-19 crisis the blueprint to the ultimate post-apocalyptic script? Spanish filmmaker Juan Antonio Bayona noted in a recent interview that Steve Soderbergh’s Contagion (2011), originally labeled as a sci-fi movie by IMDB, is now a drama according to the same internet portal. Science is not fiction anymore, which means at least two different things: that science has lost the power to convey the kind of awe that may be later turned into fiction, and that fiction seems to be unable to inspire a narrative of scientific or—broadly speaking—human progress. How can we retrieve the emancipatory value of progress in good old futuristic sci-fi when the future coincides with the present? What should cultural production look like to help us imagine an alternative to financial capitalism in the face of the impossibility of utopia? The answer, I will claim, resides in Franco Berardi’s concept of “futurability”. This paper explores the limits of this concept by reading side by side Javier Olivares’ and Pablo Olivares’ The Ministry of Time (2015) and Oriol Paulo’s Mirage (2018).

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Makliuk, D. M. "Specificity of embodiment of Shevchenko’s image in Lev Colodub’s opera “Poet”". Aspects of Historical Musicology 18, nr 18 (28.12.2019): 40–57. http://dx.doi.org/10.34064/khnum2-18.03.

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Formulation of the problem, analysis of the publications on the topic. The opera by Lev Kolodub “Poet” is one of the recognized examples of modern “Shevchenkian music” and the outstanding achievement of the composer. From the very premiere at the Kharkiv Opera and Ballet Theater named after M. Lysenko (2001) to this day, this work has been preserved in the theater’s repertoire, and the 2011 Kharkiv performance has become a world event: in the recording of Ukrainian Radio, it was broadcast to 78 countries of the world by the European Broadcasting Union. L. Kolodub’s creativity attracts considerable attention of researchers and was covered in various sources, including monographic essays (Zahaikevych, M., 1973), scientific, encyclopedic, journalistic articles (Bielik Zolotariova, N., 2009; Sulim, R., 2010; Paukov, S., 2007), where the opera “Poet” is mentioned in different contexts. The reviews of premiere performances of this opera were given: in scenic version at Kharkiv (Velychko, Yu., 2002) and in philharmonic variant in Kyiv (Sikorska, I., 2004); in his interviews, the composer also recalled this work. Nevertheless, the holistic analysis of the concept of the opera and the image of its leading hero, as well as its vocal-stage interpretation by the Kharkiv Opera’s artistic collective, has not been carried out yet. The objective of this article is to formulate the concept of the stage embodiment of the Poet’s image in the opera of the same name by L. Kolodub, on the basis of its interpretation at the Kharkiv National Opera and Ballet Theatre and self-own scenic experience of the author of these words, which is currently the only performer of the protagonist’s part. Summary of the main material. The composer has many times emphasized the outstanding importance of Taras Shevchenko’s work for every Ukrainian. “I consider Shevchenko to be a personality who has arisen on the basis of Ukrainian folklore. She is understandable to everyone, everyone cares - this is a very social poet. Many perceive him naturally, since the problems of his works excite and affect people. Shevchenko is incredibly interesting! I constantly re-read him and every time I find a new one. The main thing is that he himself suffered, all this is transmitted in his poetry. At the same time, he is a very big optimist, a warm-hearted person” (from the interview, as cited by Koskin, V., 2008b). The composer noted that the scenic life of his opera was not easy: at first the work arose interest both in Dnipropetrovsk and Kyiv (Children’s Music Theater on Podol, National Opera Theater). In 1988, when the opera was created, S. Turchak, who was supposed to be the conductor, suddenly passed away, and the new management of National Opera deleted it from their plans. Nevertheless, the opera was staged at Kyiv in the philharmonic performance in the arrangement for soloists, choir and brass band (2004). In I. Sikorska’s (2004) opinion, the composer “broke the stereotypes”, having redrafted the score in such a way that the brass orchestra’s timbre palette rivals the symphonic one. The opera is written on the basis of drama “Path” by O. Biletskyi and Z. Sagalov. The librettists’ idea was that the events of poet’s life intervene with the plot collisions of his works. For example, execution of Jun Hus symbolically coincides with the moment of death of Shevchenko himself. Moreover, the poet’s image is identified with heroes of his works. So, Colodub’s opera is the authors’ interpretation of Shevchenko-Kobzar’s fate from the XX century human’s point of view. Therefore, both, phantasmagoria and cinematographic methods are justified. The composer thought that “modern opera requires novel forms of delivering the material. The art of cinema and drama theater are developing fast, and opera esthetics is sort of frozen in the 19th century, she is not seeing even the heels of the far-ahead walking dramaturgy of the modern theater” (from the interview, Koskin, V., 2008a). The principle of introspection became the main dramaturgical principle of opera libretto’s construction. Avoiding the symphonic introduction, the first scene instantly transfers the viewer to the last March night of the Poet’s life. Being on the edge of eternity, the heavily ill Shevchenko is diving in memories. The Poet in the opera acts simultaneously as the event’s participant and its commenter, revealing gradually through different scenic roles: as a naïve creative person (scene 10), as a poet-citizen, who points out social injustices (scenes 3, 4, 15, 16), as a loving and beloved person (scenes 6, 7, 14, 20), or a thinker (scenes 11, 13, 1, 22). Over time, these roles are summing up, turning Shevchenko’s image into polyphonic and lifting the latter to the epic generalization. The image of the Poet become the symbol of the nation’s self-consciousness lost in the conditions of imperial Russia’s brutal reality (scene 29, “The burning of Jan Hus” – the Czech thinker is the hero of the Shevchenko’s poem of the same name). The opera’s authors do not separate the title hero from the storm of events and kaleidoscope of others scenic personages, which stipulates the specificity of vocal dramaturgy of Shevchenko’s opera character. The Poet’s vocal party does not include the developed solo or duet episodes, but it consists of concise replicas-phrases written by the recitative (Dargomyzhsky-Mussorgsky’s tradition) and several solo statements of arioso type. Conclusions. So, “Poet” by L. Kolodub, continuing the line of psychological opera-drama, vividly presented in the twentieth century by the works of D. Shostakovich, A. Berg, B. Britten and their followers, at the same time appeals to symbolism as to one of the main means of artistic expression. The image of Taras Shevchenko is interpreted as polysemantic: the fate of the Poet coincides in the perception of the audience with the fate of the Ukrainian people in their desire for liberty in a situation of opposition to the autocratic regime. And the freedom of expression of poetic and civic thought appears as a conscious necessity in the struggle for personal freedom, honor and human dignity. The logical culmination of the development of the image is the final scene of the auto-da-fé, where the burning of Jan Hus, the hero of Shevchenko’s poem, acts as a symbol of cruelty to the Poet himself, and to the people, of whose part he is. The musical language of the Poet’s vocal party, on the one hand, is quite naturally approaches to the style of Ukrainian kobzars folk lyrics; on the other hand, it inherits the recitative type of melodicism, which is a characteristic feature of psychological musical theater. Such a synthesis helps to reveal the image of the Poet as the outstanding representative and spiritual leader of the Ukrainian people, and, at the same time, to emphasize the rich content of his work, and the beauty of the inspirited poetic Word. Theopera provides rich artistic material for the study of innovative type of dramatic thinking in the context of the development of the national tradition of the genre and is promising for further study.

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Azeharie, Suzy. "Cultural Proximity of Korean and Indonesian in Korean Dramas". WACANA: Jurnal Ilmiah Ilmu Komunikasi 22, nr 1 (22.06.2023): 131–41. http://dx.doi.org/10.32509/wacana.v22i1.2440.

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This paper, which is a narrative analysis, seeks to explore why Korean drama as a form of hallyu cultural product is favoured by the Indonesian people by using the cultural proximity theory from Joseph Straubhaar. According to this theory the audience will prefer products of their own culture or the same as their culture. This research approach is a qualitative research with narrative analysis method. Audiences will prefer the same production because of elements such as star appeal, local knowledge, topics, issues, the environment, and the ethnicity of people in the media. The author discusses five cultural similarities between the two countries, namely the same history, family relationships based on extended family, language and social norms, family lineage and culinary. The results showed that the historical similarities between Korea and Indonesia which had been colonized by Japan, extended family forms in Indonesian and Korean families, respect for parents and manners of behaviour between Indonesians and Koreans and the same food, namely making rice and side dishes as staple foods made Korean dramas liked by the Indonesian people.

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Čiripová, Dáša. "Greek Drama in the Hellenistic Period". Slovenske divadlo /The Slovak Theatre 65, nr 4 (1.12.2017): 373–82. http://dx.doi.org/10.1515/sd-2017-0022.

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Abstract This study deals with a period of the Greeco-Roman history related to theatre. Hellenism is a period which is often overlooked by theatre scholars although it is an immensely important and rich transformatory and revolutionary period from a historical point of view. Hellenism is not only marked with the encounter of two worlds, but also with their mutual enrichment. In the world of diverse peoples, theatre and drama turn to lighter themes (comedy is more popular than tragedy), show preference for entertaining theatre forms, gradually divert their attention from serious textual levels and turn to non-verbal genres. Menandros is a typical representative of Hellenistic drama. Unfortunately, a great number of texts and files, which would contain at least mentions of drama production at that time, have been lost.

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李佳蓮, 李佳蓮. "地方精神的再現與重塑——論明末清初傳奇中虎丘地景書寫的時代意義". 國立彰化師範大學文學院學報 26, nr 26 (listopad 2022): 045–72. http://dx.doi.org/10.53106/230597612022110026003.

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本論文以「地方精神的再現與重塑」為思維核心，針對明末清初數部傳奇劇作中的虎丘地景書寫，酌參文化地理學對於地景書寫的概念，思考歷經時代劇變的劇作家，如何藉由戲曲之文類特質書寫虎丘的人文景觀，並賦予新的時代意義。論述架構為首先統整虎丘知名地景在明末清初傳奇中的展演姿態，分別以千人石、真娘墓、虎丘山寺為代表，論述同一地景在不同劇作中因應戲曲所需而展現不同的意義；其次探究傳奇中的虎丘地景書寫，整體呈現出明末清初文人形象之多元化、風俗綺靡民情放蕩之社會亂象，以及治亂興亡下對明清世變的觀照與省思，從中建構明末清初之社會風貌與時代意義。透過全文討論，可知虎丘地區擁有悠久的歷史傳統、便利的地理位置、富庶的經濟條件，展現出聲色繁華、逸樂嬉遊的社會風氣；到了明末清初，隨著社會型態的益趨複雜與明清鼎革之時代變動，傳奇劇作中所展示之虎丘地景，又因應劇情發展、人物塑造、劇旨演繹等戲劇需求而改造重塑，寄託了更深層對於時代鼎革下人心異變之省思。明末清初傳奇劇作中的虎丘地景書寫，實乃呈現出社會背景、生活環境與生命情態交織的人文景觀，建構虎丘地景豐富的文化圖像，可說是從另一新的角度，展示出傳奇文本的奧秘。  This paper takes "reappearance and remolding of local spirit" as the core of its investigation. It focuses on the Huqiu landscape writing in several Chuanqi dramas in the late Ming and early Qing dynasties. It considers the concept of landscape writing in cultural geography, and considers as well the changes that have gone through the era of how a playwright uses the literary qualities of opera to write the humanistic landscape of Huqiu and gives it a new meaning of the era. The structure of the research is： Firstly, it explores how the Chuanqi reproduces the cultural landscape of Huqiu’s gathering of sensual entertainment and seasonal festivals and presents the customs of leisure and enjoyment; secondly, it analyzes how the playwrights benefited from the geographical and historical inspirations to reshape the fictional landscape of the drama on the real historical landscape; finally, it investigates how to construct the social situation and the meaning of the time by means of the Huqiu landscape writing of Chuanqi dramas. This result of the research indicates that the Huqiu area has a long history and tradition, convenient geographical location, and prosperous economic conditions, showing a prosperous and fun-filled social atmosphere. It reveals a reflection of the reality of life (such as： Qianren Stone and Shantang Street), a combination of local spirits (such as： Weizei Temple and Wuren Tomb), and the projected cultural imprints (such as： Zhenniang Tomb). On the other hand, it gradually triggers the dark side of people’s mind. With the great changes in the Ming and Qing dynasties, there are looting, plundering, defiance, exploit, deceit and other social chaos everywhere, and the dramas even put a deeper level of reflection on the abnormal changes in people’s mind. The Huqiu landscape writing presents the intertwined humanistic view of the social background, living environment and life style. As a result, the construction of a rich cultural image of Huqiu scenery can be regarded as another unique perspective to reveal the mystery of the Chuanqi text.

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Ognjenović, Svjetlana R. "SATIRICAL REPRESENTATION OF CAPITALIST VALUES IN CARYL CHURCHILL’S PLAY SERIOUS MONEY". Lipar 83 (2024): 43–58. http://dx.doi.org/10.46793/lipar83.043o.

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The anti-utopia presented in Caryl Churchill’s play Serious Money functions as a mirror-image of Great Britain from the 1980s when its Prime Minister Margaret Thatcher unleashed the forces of capitalist anarchy and relieved the citizens of any moral and social responsibility. İn this play, featuring the brokers from London stock exchange, Churchill dramatizes the hedonistic world of insanely rich and immoral people who in their pursuit of profit and ways to increase their corporate and financial empires follow the precepts of selfish opportunism and ignore all social scruples. Using theatrical devices to achieve an alienating effect and prevent the identification of viewers with the characters and the presented material, such as the use of songs and especially the text written in verse, Churchill puts emphasis on the critical observation and consideration of this play, whose political efficiency is sometimes questioned. However, this satirical portrayal of commercial totalitarianism should not be taken as politically restricted because Churchill’s political attack functions, not through the politics of utopia, but effective criticism which aims at the very center of the system. Through material criticism of this anti-utopian world in which neoliberal ethical laws are exposed as pitiful values worthy of hooligans, yobs, and parasites, Churchill actually breaks down the trajectory of capitalist reform and calls into question the entire system of capitalist economy.

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Kushari Dyson, Ketaki. "The Phenomenal Legacy of Rabindranath Tagore". Asian Studies, nr 1 (1.12.2010): 37–44. http://dx.doi.org/10.4312/as.2010.-14.1.37-44.

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Belonging to a generation of Bengalis who received Tagore as an acknowledged classic of their tradition, I grew up reading his books, listening to his music, watching his dance-dramas, and writing poetry under the inspiration of his words. This youthful appreciation of Tagore eventually led to a deeper understanding of his stature as an artist and thinker, but it was only when I entered Tagore studies in a more formal manner that I realized how truly spectacular his achievements were from an international perspective. Tagore was fortunate in that his time, place, and circumstances allowed him to give a good run to the natural versatility and fecundity of his genius. He has thereby secured a rich and diverse legacy for us, which tends to mean different things to different groups of people.

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Trišić, Igor, Donatella Privitera, Snežana Štetić, Marko D. Petrović, Milan M. Radovanović, Marija Maksin, Dario Šimičević, Sara Stanić Jovanović i Dobrila Lukić. "Sustainable Tourism to the Part of Transboundary UNESCO Biosphere Reserve “Mura-Drava-Danube”. A Case of Serbia, Croatia and Hungary". Sustainability 14, nr 10 (16.05.2022): 6006. http://dx.doi.org/10.3390/su14106006.

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Biosphere reserves are protected areas vital for the preservation of living and inanimate nature, including the protection of anthropogenic values and cultural heritage. The basins of the Mura, Drava, and Danube rivers stretch through Slovenia, Croatia, Austria, Hungary, and Serbia and form a unique spatial unity. The Biosphere Reserve concept defines about 300,000 hectares of core and buffer zones and around 700,000 hectares of transition zones. This large, primarily marshy area is rich in natural and cultural heritage. This area is called “the Amazon of Europe” and represents the world’s first Transboundary UNESCO Biosphere Reserve, “Mura-Drava-Danube,” among five countries. This biosphere reserve is important for the preservation of the natural and cultural values of the entire region. Especially rare plant and animal representatives live in this unique geographical unity. Some species inhabit only this area. A total of 900,000 people living around this reserve have a rich cultural tradition and heritage that needs to be protected. The objective of the research is to examine the function that the selected protected areas have in the sustainable development of tourism. Quantitative methodology was used in the research. An analysis of the conducted questionnaire was performed using the SPSS v.21 software, as well as a comparative analysis of the attitudes of 1295 residents from three countries. Residents’ attitudes refer to the level of ecological, economic, socio-cultural, and institutional sustainability of this biosphere reserve as a tourist destination. The research results indicate that the four dimensions of sustainability have significant values and that the selected areas have an important function in the sustainable development of tourism.

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Talvinska, Maria. "Samuel Barber’s chamber and vocal lyrics in the mirror of performance interpretation (on the example of «Three songs», op. 10 to the words by J. Joyce)". Problems of Interaction Between Arts, Pedagogy and the Theory and Practice of Education 65, nr 65 (9.12.2022): 170–84. http://dx.doi.org/10.34064/khnum1-65.10.

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The substantiation of the topic. Samuel Barber is an outstanding composer of the 20th century, who is one of the most performed American composers in the world. However, his orchestral and instrumental compositions are popular. Few people are familiar with the huge number of equally talented compositions of S. Barber in the genre of chamber and vocal lyrics. Songs for voice with piano are simply unknown to the Ukrainian listener. Perhaps this is due to their complexity to perform and perceive. Thus, the stylistic and performing analysis of the vocal cycle op. 10 is a relevant topic because it represents one of the first attempts to study S. Barber’s chamber compositions for their entry into the artistic space of Ukraine. The purpose of the article. The purpose of the article is to reveal the genre and stylistic features of the cycle of songs by S. Barber op. 10 «Three Songs» in terms of stylistic specificity and performance interpretation. The object of research is chamber and vocal music of the 20th century; the subject – the cycle of songs by S. Barber op. 10 as an expression of the author’s reflection. The analysis of recent publications on the topic. Available Englishlanguage editions are mainly devoted to the biography of the composer or genres of instrumental creativity. Thus, Barbara Heyman’s book «Samuel Barber: the composer and his music» (1992) contains biographical materials. As for opus 10, we find only the history of its writing. The research methods. A functional-structural approach (in particular, intonation, dramaturgy and compositional levels) is used to identify the dominant chamber-vocal style. On this basis, there is a need for a performance approach to reveal the specifics of the creative vision of S. Barber’s songs by various singerinterpreters. The research methods. A functional-structural approach (in particular, intonation, dramaturgy and compositional levels) is used to identify the dominant of the chamber-vocal style. On this basis, there is a need for a performance approach to reveal the specifics of the creative vision of S. Barber’s songs by various singer-interpreters. The presentation of the main material. The vocal cycle «Three Songs, op. 10» to the words by J. Joyce belongs to the early period of S. Barber’s creative work. The main leitmotif of the vocal cycle is the loss of a loved one. From song to song, the hero experiences the tragic fate of his love in different ways. The psychological reactions of the hero (a state of quiet, light sadness, pain and hopelessness, and, finally, the cry of the soul on the verge of insanity) form two plans of the dramaturgy (the external one – event-psychological; the internal one – lyrical and reflective). Each new stage increases the degree of drama of the story. The main task of the performer is to create an appropriate visual and psychological state of psychological sensations; therefore, in each song, its figurative order should be kept internally. A comparison of two performances is proposed – conditionally «male» and «female». Thomas Hampson perfectly achieves the author’s remarks and instructions of dynamics, tempo, articulation, and most importantly, he is in the corresponding visual and psychological state. Shannon Chauville is a soprano, an American opera singer who has a big voice and a rich timbre. But subtle dynamic nuances are not easy for her; singing at the piano does not always turn out to be of high quality. She sings song No. 1 loudly, sometimes changing the dynamics suggested by the author. She selects a faster tempo than specified. Therefore, the image sounds more hectic, agitated than the poetic text suggests («the rain has passed»): the accompaniment depicts drops of quiet rain, which gives the hero a nostalgic mood, which is present in Hampson’s version. In Chauville’s, this state was somewhat lost; due to the fast tempo, she «tears» the phrases into small «chains», which adds unnecessary anxiety to the image. Therefore, the most adequate, in the opinion of the author of the article, is the male interpretation. The same applies to songs No. 2 and No. 3. The vocal difficulties consist in articulation tasks that depend not only on the stylistic intonation of Barber’s vocal style, but also on the peculiarities of Englishlanguage stylistics, which singers should possess, reproducing the specifics of various national musical traditions of the 20th century. Conclusions. The stylistic dominants of the vocal cycle op. 10 of S. Barber are conditioned by the psychological and author’s experience of Joyce’s poetry. Barber’s vocal style is characterized by a tendency towards increased expression and declassification plasticity of canto with a virtuoso-sensitive presentation of the piano, careful and sensitive imitation of poetic meanings. Love semantics is embodied in «dual» drama through the declamatory melos in the canto part (the hero’s reflections) and the instrumental accompaniment (the external reflection of his soul), which form the stylistics of expressionism. Piano accompaniments are consonant with the voice, supporting it with articulatory counterpoints and textural-timbre and mode-harmonic variations. The compositional features of Joyce’s poems determine the individualization of the musical form of each song. The more complex the emotional state expressed in the song, the more complex the form: the first song is a couplet one, the second is a simple three-movement one, and the third is completely unstrophic. Among the parameters of musical and linguistic expression of S. Barber’s vocal cycle, the following are notable: a mode (minor) and metrical unity (4/4 metre); monologue quality and declamation of vocal speech; complementarity of textural and timbre layers. The stylistic dominants of the analysed composition by S. Barber: complexity of mode-harmony (frequent changes of tonality, alterations, dissonances); metrorhythm variability, polyrhythm, micro-agogy, dynamic contrasts at the macro- and micro-levels (phrase, sentence).

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AIRAPETOV, Arutyun Gurgenovich. "ON THE CAUSES OF THE COLLAPSE OF THE AUSTRO-HUNGARIAN EMPIRE". Tambov University Review. Series: Humanities, nr 176 (2018): 201–8. http://dx.doi.org/10.20310/1810-0201-2018-23-176-201-208.

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We discuss one of the key problems of the modern history – the collapse of the dualistic Austro-Hungarian Empire. The dual monarchy, or Monarchy, lasted a little more than half a century, from 1867 to 1918, and disintegrated as a result of the sharp aggravation of interethnic contradictions and the military-political defeat of the Central Powers. The book of the contemporary of the historical drama, the Hungarian publicist, the left-liberal politician O. Jászi occupies a special place is in the rich Austro-Hungarianism. The author of this study was the scientific editor of the translation of O. Jászi’s book into Russian. We examine two innovative ideas in many ways pioneer of O. Jászi’s historical and sociological labor: a) the contradictory impact of economic forces (factor) on the close integration of multi-level regions of the Danube monarchy; b) as we show, relying on the research of O. Jászi, the psychological reason for the collapse of the polyethnic state was the cultural and mental incompatibility of Hungarians and Austrian Germans, as well as of other peoples of the Monarchy. We summarize that the economic backwardness of Hungary and the originality of the Hungarian national identity, different political culture were the deep disintegrational factors of the disappearance of one of the largest continental empires from the world political map.

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Hussain, Muzaffar, Ameer Ali i Maya Khemlani David. "Conceptual Metaphors in the Hazaragi Community’s Institution of Marriage in Balochistan, Pakistan". LingPoet: Journal of Linguistics and Literary Research 3, nr 3 (30.09.2022): 68–86. http://dx.doi.org/10.32734/lingpoet.v3i3.9302.

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Conceptual metaphor theory explains conceptual systems through cross-domain mappings. The mapping occurs on a conceptual level in a way that one conceptual domain is understood in terms of another conceptual domain. It also shows how target domain is perceived or understood through numerous source domains. Daily life experiences of people create patterns of understanding and conceptual metaphors are used to utilise these patterns in our utterances about issues in the world. In this research paper, Lakoff and Johnson’s (1980) conceptual metaphor theory and Grice’s (1975) implicature theory are used as theoretical frameworks to identify, study and interpret conceptual metaphors for marriage in the Hazaragi community in Balochistan, Pakistan. This study focusses on the institution of marriage as this institution carries rich conceptual domains and has many conceptual mappings. Data collected from the book on Hazaragi idioms and two Hazaragi dramas were used to identify and analyse five general categories which include marriage as a food, marriage as an expensive commodity, marriage as a friendship, marriage as a slavery, and marriage as a journey or time. The paper also explores implied conceptual metaphors for marriage which do not indicate the concept of marriage directly. In short, this study discusses how conceptual metaphors in the institution of marriage depict Hazaragi culture and tradition.

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Keremidchieva, Slavka. "Езикът на българските общности извън България / The Language of Bulgarian Communities abroad". Journal of Bulgarian Language 67, nr 04 (30.11.2019): 11–12. http://dx.doi.org/10.47810/bl.67.20.04.01.

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The papers published in this issue of Balgarski ezik are unified by the idea of presenting the peculiarities of the language varieties spoken by Bulgarian communities that live outside the state borders of present-day Bulgaria. In these new studies, one can trace the influence of the scientific ideas, theoretical views and remarkable teaching activity of an eminent Bulgarian scholar, Prof. Ivan Kochev, to whose 85th anniversary this issue is dedicated. He was the first of a generation of scholars succeeding the classics of Bulgarian linguistics such as Lyubomir Miletich, Stefan Mladenov and Benyo Tsonev to turn the study of the Bulgarian language throughout its historical territory, both within and outside the contemporary borders of Bulgaria, into his “symbol of faith”. In addition, some of the articles discuss the current state of the language spoken by the Bulgarian diaspora. The first two papers present recent lexical and phonetic data from the dialects of two Bulgarian villages in the Prizren Region that provide further evidence on the geographical position of the western boundary of the Bulgarian language continuum. The material has been collected by the authors of the articles in recent years as a result of personal field research. Luchia Antonova-Vasileva’s study On the Distinction of Dialects of Closely Related Languages at the Lexical Level explores the dialectal differences between Bulgarian and Serbian on the basis of lexical data from a recently studied Bulgarian dialect spoken in the Republic of Kosovo. Revealing the dialect-specific, common Bulgarian and common Slavic tiers of the vocabulary of the dialect of the village of Rahovets in the Prizren Region, the author undoubtedly proves its Bulgarian nature. In her paper The Reflexes of the Proto-Slavic Combinations *tj, *dj, *kt’ and Palatalisation Changes in the Plosives т, д, к and г in the Phonetic System of the Dialect of the Village of Rechane, Prizren Region – New Data, Iliyana Garavalova adduces authentic, although not very abundant, dialect material which corroborates the existence of one of the most typical diagnostic phonetic features of the Bulgarian language – the reflexes шт, жд – in the dialect of the Prizren village of Rechane. Georgi Mitrinov studies The Bulgarian Immigrants’ Dialect of the Village of Musabeyli, Edirne Region in comparison with the Rhodope dialect of the village of Vievo, Smolyan Region, where the inhabitants of Musabeyli hail from. The author discusses the linguistic data in light of historical, geographical and demographic information about the village over a period spanning more than 100 years and continuing into the present day. Based on material from the dialect of the residents of seven villages in the Tsaribrod Region collected by the author himself, Kiril Parvanov analyses the dialect’s most significant archaic features in the domain of morphology. Pointing out the symmetrical bilingualism observed in the dialect of the population of the Western Outlands, he provides linguistic data that clearly prove its Bulgarian character. An intriguing addition to the analysis are several recipes revealing unknown folk medicine practices and experience. Daniela Andrei’s paper The Bulgarian Ethnic Minorities in Oltenia, Romania. The Language of the Inhabitants of Sviniţa as an Ethnographic Group within the Bulgarian People is a contribution to the study of the language and culture of Bulgarian minorities in Romania. The author discusses archaic and recent phonetic features of the ancient dialect of the village of Sviniţa in Mehedinţi County, which shares common features with the dialect of the village of Novo Selo, Vidin Region. She goes on to make an overview of the rich bibliography on this topic, concluding that the language and culture of the Bulgarian minority in Oltenia merit further research. Ana Kocheva adds new details To the Characterisation of the Mixed Language of Second-Generation Viennese Bulgarians. As noted by the author, the language of Viennese Bulgarians preserves major features of the Bulgarian language, but bilingualism of a subordinate type is also observed. The variability between Bulgarian and German typical for the first generation of Bulgarian emigrants is gradually being replaced through the natural stabilisation of the German elements. Katerina Usheva traces the interesting Historical Development of the Old Bulgarian Etymological Vowel А (Я) in the Dialects of the Southern Part of the Э Isoglottal Zone (the regions of Razlog, Sandanski, Petrich, Gotse Delchev, Drama, Serres and Thessaloniki) and emphasises on the archaic nature of the umlaut in the Razlog and Thessaloniki Regions. Simeon Stefanov studies A Peculiarity in the Description of the Local Traditional Clothes Made by the Administration of the Shumen Region in 1888 (On Material from Archive 427 l. 68a-80a). The author analyses the lexis and style of hitherto unexplored documents from the late-19th century which provide data on the way different social and ethnic groups dressed in post-Liberation Bulgaria. The featured articles by established and younger scholars are a contribution to the study of the language of Bulgarian communities abroad that undoubtedly show that even today, whether spoken in or outside the boundaries of the Bulgarian language continuum, these language varieties preserve the most important characterristics of Bulgarian.

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Barman, Banani. "A Historiography of Rajbangshi Literature". RESEARCH HUB International Multidisciplinary Research Journal 10, nr 4 (30.04.2023): 10–16. http://dx.doi.org/10.53573/rhimrj.2023.v10n04.002.

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The rich cultural past of the Rajbangshi people is reflected in the historiography of Rajbangshi literature, which offers an engrossing tale. This paper intends to investigate the historical growth and evolution of Rajbangshi literature, highlighting the various socio-cultural influences that have influenced its course.The Rajbangshi people are an indigenous group that is mostly found in the Indian states of West Bengal, Bihar, Assam, and Bangladesh. They have their own distinctive language and culture. Poetry, folk ballads, folk tales, dramas, and novels are just a few of the many genres represented in their literature, all of which offer insights into their social, historical, and political realities. The development of Rajbangshi literature and its interaction with local, linguistic, and colonial factors are critically examined in this historiography. It explores the early oral traditions and folklore idioms that formed the basis for Rajbangshi literary productions. The paper studies the contributions of significant Rajbangshi writers and focuses on their ideological viewpoints, stylistic advances, and subject interests. The study also examines how Rajbangshi literature promotes cultural identity, questions societal norms, and addresses current concerns including immigration, language assimilation, and land rights. It also looks at how important literary movements, including the Bengal Renaissance, impacted the growth of Rajbangshi literature and its interaction with more general literary currents in the area. It aims to contribute to the greater conversation on underrepresented literary traditions by highlighting the socio-cultural importance of Rajbangshi literature within the broader framework of regional literature. This study aims to promote awareness and acknowledgment for this unique literary legacy by providing light on the historical and cultural aspects of Rajbangshi literature. It also emphasises how crucial it is to keep Rajbangshi literature alive and well for future generations in order to maintain the literary landscape's overall richness.

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M, Christopher. "Life Problems of Tamils of Highlands in the Fictions of Maatthalai Somu". International Research Journal of Tamil 4, S-9 (27.07.2022): 27–41. http://dx.doi.org/10.34256/irjt22s95.

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Immigrant Tamil literature has an important place in Highland literature. Highland Tamil literature can be considered a part of immigrant literature. It is a rich literary field with many literary genres like folk literature, poetry, short stories, novels, dramas, and essays. Highland writers have contributed to and enriched the field of literature. Their field of literature is expanding beyond the Sri Lankan highlands to include Tamil Nadu, European countries, and other countries in the world. In this way, Maatthalai Somu is an international Tamil writer who records Sri Lanka (Highland), India (Tamil Nadu), Australia and the lives of Tamils living in them. Highland literature is two hundred years old. European countries that conquered large parts of the world to accumulate capital, exploited the resources of their colonies and the labour of indigenous peoples. In this way, the British, who took control of Sri Lanka in 1815, ended the Kandy monarchy. In 1820, coffee plantations were started. After that, they also cultivated cash crops like sugarcane, tea, and rubber. The South Indian Tamils migrated and settled in the highlands for the manpower to work on these large plantations. These Tamils are called Highland Tamils. Famine and oppression in India in the nineteenth century also caused Tamils to immigrate to Sri Lanka. The hard labour of Tamils was used in creating and cultivating these plantations. The history and life problems of such highland Tamils have been recorded by the highland Tamil writer Maatthalai Somu in his fiction.

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Artykuły w czasopismach na temat „Rich people – drama”

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