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Journal articles on the topic 'Aesthetical and dramatic value'
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1
Zamir, Sara. "A PORTRAITURE OF HELEN, QUEEN OF TROY IN BOITO'S Mefistofele: Coincidentia Oppositorum." Revista Europeia de Estudos Artisticos 1, no. 2 (September 30, 2010): 1–15. http://dx.doi.org/10.37334/eras.v1i2.16.
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In this study we attempt to understand some of the aesthetical features implemented by Arrigo Boito (1842-1918) for the dramaturgic formation of the final act of the opera Mefistofele. Doing that, we will focus on the bifocal character of Helen, both as flash-and-blood woman and as the divine Queen of Troy. Disregarding the controversial criticism of the value of the music, the analysis below reveals deep concern for the dramatic coherence practiced by musical associations and cultural signals. It shows that the composer has sincerely made an effort to characterize both facets of Helen-i.e. femininity and Royalty in the manner of collision of contrasts- Coincidentia Oppositorum. That special polar aesthetic approach constitutes a convincing musico-dramatic whole made out of extremes.
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Poe, Joe Park. "WORD AND DEED: ON 'STAGE-DIRECTIONS' IN GREEK TRAGEDY." Mnemosyne 56, no. 4 (2003): 420–48. http://dx.doi.org/10.1163/156852503769173048.
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Taking its departure from the generally-accepted opinion that (almost) all important movements and gestures of the actors in Greek tragedy are indicated in the text itself, this essay asks how the generic, and aesthetic, character of tragedy is affected by the verbal communication of so much visual detail. Do the passages that refer to movement advance the dialogue— that is, the dramatic action? If many of them seem to convey much the same information as the movement itself, this raises a question about just how dramatic Greek tragedy is. Undertaking a detailed, albeit not exhaustive, survey of utterances indicating actors' movements, the study shows that a majority of such utterances are followed by a specific response, either verbal or visual, and a number of others may be said to contribute otherwise to the progress of the dialogue. A relatively small but not insignificant number, however, clearly are external to the mimesis of communication among the dramatis personae . The final section of the essay argues that verbal indications of movement have an aesthetic value that is independent of the mimesis of actor/actor dialogue. For a number of utterances take notice of movements which—either because they are ancillary to what is said or because they are 'entailed' movements—do not of themselves contribute to the dramatic action.
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Rudita, I. Made, and Ni Luh Putu Wiwin Astari. "STRUKTUR DRAMATIK PERTUNJUKAN DRAMA KLASIK SANGGAR TEATER MINI LAKON DEWA RUCI KAJIAN BENTUK DAN FUNGSI." WIDYANATYA 1, no. 1 (February 14, 2019): 51–59. http://dx.doi.org/10.32795/widyanatya.v1i1.270.
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ABSTRAK
Pada dasarnya nilai pendidikan karakter mempunyai tiga bagian yang saling bekaitan, yaitu pengetahuan moral, penghayatan moral dan perilaku moral. Oleh karena itu seseorang dengan karakter yang baik, mengetahui, menginginkan, dan melakukan yang baik. Ketiganya merupakan syarat untuk menuntun hidup yang bermoral dan membangun kematangan moral. Dalam melakukan pendidikan karakter tidak harus dengan menambah program tersendiri, melainkan bisa melalui transformasi budaya, salah satunya nilai-nilai pendidikan karakter bisa disampaikan melalui seni pertunjukan drama, khususnya pertunjukan drama klasik. Untuk menjawab masalah di atas, dalam hal mengetahui nilai pendidikan karakter melalui transformasi budaya Bali berupa pertunjukan drama klasik Sanggar Teater Mini, perlu dibuat suatu penelitian mengenai nilai pendidikan karakter dalam pertunjukan drama klasik Sanggar Teater Mini dengan lakon Dewa Ruci. Penelitian ini berjudul “Struktur Dramatik Pada Pertunjukan Drama Klasik Sanggar Teater Mini lakon Dewa Ruci”.Kajian (Bentuk dan Fungsi)” adalah hasil studi yang mendalam struktur dramatik pada pertunjukan drama klasik. Penelitian ini mengangkat dua pokok masalah yaitu : 1) untuk mengetahui dan menganalisis bentuk struktur dramatik pertunjukan drama klasik Sanggar Teater Mini lakon Dewa Ruci ; 2) untuk mengetahui dan menganalisis fungsi pertunjukan drama klasik Sanggar Teater Mini lakon Dewa Ruci. Secara umum, penelitian ini bertujuan untuk mengetahui keberadaan dan peranan penting dari nilai-nilai pendidikan karakter dalam pertunjukan pertunjukan drama klasik Sanggar Teater Mini lakon Dewa Ruci . Secara khusus, penelitian ini bertujuan untuk menjelaskan bentuk struktur dramatik dan fungsi pertunjukan drama klasik Sanggar Teater Mini lakon Dewa Ruci. Penelitian ini dirancang sebagai penelitian kualitatif dengan menggunakan dua teori : teori estetika dan teori fungsional struktural. Metode-metode pengumpulan data yang digunakan meliputi observasi, wawancara, dokumentasi dan kepustakaan.Seluruh data diolah menggunakan tehnik deskriptif interpretatif. Hasil dari penelitian ini adalah sebagai berikut ; Bentuk struktur dramatik pertunjukan drama klasik Sanggar Teater Mini lakon Dewa Ruci adalah sebagai berikut : (1) tema, (2) alur, (3) latar, (4) penokohan, (5) insiden dan (6) amanat. Sedangkan fungsi drama klasik Sanggar Teater Mini lakon Dewa Ruci adalah sebagai berikut : (1) fungsi ekonomi, (2) fungsi hiburan, (3) fungsi promosi dan (4) fungsi komunikasi.
ABSTRACT
Basically, the value of character education has three interrelated parts, namely moral knowledge, moral appreciation and moral behavior. Therefore someone with good character, knows, wants, and does good. All three are conditions for guiding a moral life and building moral maturity. In doing character education does not have to add a separate program, but it can be through cultural transformation, one of which is the values of character education can be conveyed through drama performing arts, especially classical drama performances. To answer the above problem, in terms of knowing the value of character education through the transformation of Balinese culture in the form of a classic Mini Theater studio performance, it is necessary to make a study of the value of character education in the performance of the Sanggar Teater Mini classic drama with Dewa Ruci play. This research entitled "Dramatic Structure of the Classical Drama Performance of Teater Mini lakon Dewa Ruci". Studies (Forms and Functions) "are the results of an in-depth study of the dramatic structure of classical drama performances. This research raises two main issues, namely: 1) to find out and analyze the dramatic structural forms of the Sanggar Teater Mini classical drama performance Dewa Ruci play; 2) to find out and analyze the function of the Sanggar Teater Mini lakon Dewa Ruci performance. In general, this study aims to find out the existence and important role of character education values in the performance of the classic Sanggar Teater Mini lakon Dewa Ruci performance. Specifically, this study aims to explain the dramatic structure and function of the classical drama performances of Sanggar Teater Mini Dewa Ruci play. This research was designed as qualitative research using two theories: aesthetic theory and structural functional theory. Data collection methods used include observation, interviews, documentation and literature. All data are processed using interpretive descriptive techniques. The results of this study are as follows; The form of the dramatic structure of the Sanggar Teater Mini classical drama performances by Dewa Ruci are as follows: (1) theme, (2) plot, (3) background, (4) characterization, (5) incident and (6) mandate. While the function of the classical drama Sanggar Teater Mini lakon Dewa Ruci is as follows: (1) economic function, (2) entertainment function, (3) promotion function and (4) communication function.
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Dyah Nugrahaningsih, Ruth Hertami, Dilinar Adlin, and Inggit Prastiawan. "Terang Bulan Dance in Karo Society Aesthetic Analysis." Budapest International Research and Critics Institute (BIRCI-Journal): Humanities and Social Sciences 3, no. 4 (November 5, 2020): 3270–93. http://dx.doi.org/10.33258/birci.v3i4.1361.
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Terang Bulan dance is one of the regional creations which is traditionally used by the Karo people in North Sumatra Province. The title of the dance follows the title of the song used as a dance accompaniment song. This dance presents a dramatic effect through the form and variety of movements that are in harmony with the accompanying song. The explanation of the aesthetic value contained in this dance is based on the concept and technique of movement or how to perform the movements which are divided into four parts. The whole movement expresses the aesthetic value content that is manifested in caution, calmness, which emphasizes courtesy in every move.
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Havas, Julia, and Maria Sulimma. "Through the Gaps of My Fingers: Genre, Femininity, and Cringe Aesthetics in Dramedy Television." Television & New Media 21, no. 1 (May 30, 2018): 75–94. http://dx.doi.org/10.1177/1527476418777838.
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Concentrating on the series “Girls” (2012–2017), “Fleabag” (2016), and “Insecure” (2016–), this article examines the female-centered dramedy as a current genre of U.S.-American television culture with specific investments in gendered value hierarchies. The article explores the format’s dominant narrative and aesthetic practices with specific focus on prestige dramedy’s “cringe” aesthetics. Cringe is increasingly mobilized as a mode of political expression following the format’s privileging of female subjectivities. As such, cringe is tasked with negotiating the tensions between drama and comedy on one hand and intersectional relations of identity politics on the other. Character “complexity,” embedded in ideological themes around identity, modifies the “comedy” in cringe and becomes associated with the more prestigious dramatic mode, this way governing the texts’ appeal to cultural value. The article demonstrates the ways the female-centered cringe dramedy expresses its politicization and “complexity” via disturbing gendered expectations of mediated femininity, and specifically body and sexuality politics.
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Pasquero, Claudia, and Marco Poletto. "Bio-digital aesthetics as value system of post-Anthropocene architecture." International Journal of Architectural Computing 18, no. 2 (June 2020): 120–40. http://dx.doi.org/10.1177/1478077120922941.
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It is timely within the Anthropocene era, more than ever before, to search for a non-anthropocentric mode of reasoning, and consequently designing. The PhotoSynthetica Consortium, established in 2018 and including London-based ecoLogicStudio, the Urban Morphogenesis Lab (Bartlett School of Architecture, University College London) and the Synthetic Landscape Lab (University of Innsbruck, Austria), has therefore been pursuing architecture as a research-based practice, exploring the interdependence of digital and biological intelligence in design by working directly with non-human living organisms. The research focuses on the diagrammatic capacity of these organisms in the process of growing and becoming part of complex bio-digital architectures. A key remit is training architects’ sensibility at recognising patterns of reasoning across disciplines, materialities and technological regimes, thus expanding the practice’s repertoire of aesthetic qualities. Recent developments in evolutionary psychology demonstrate that the human sense of beauty and pleasure is part of a co-evolutionary system of mind and surrounding environment. In these terms, human senses of beauty and pleasure have evolved as selection mechanisms. Cultivating and enhancing them compensate and integrate the functions of logical thinking to gain a systemic view on the planet Earth and the dramatic changes it is currently undergoing. This article seeks to illustrate, through a series of recent research projects, how a renewed appreciation of beauty in architecture has evolved into an operational tool to design and measure its actual ecological intelligence.
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Van Den Berg, Christopher S. "INTRATEXT, DECLAMATION AND DRAMATIC ARGUMENT IN TACITUS' DIALOGUS DE ORATORIBUS." Classical Quarterly 64, no. 1 (April 16, 2014): 298–315. http://dx.doi.org/10.1017/s0009838813000736.
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Tacitus' Dialogus de oratoribus (c. 100 c.e.) may be the most perplexing of the extant Roman dialogues, quite possibly, of the entire Greco-Roman tradition. Despite advances in the rhetorical and literary appreciation of ancient dialogues, this text continues to elude understanding. Oddly, the difficulties stem neither from obscurities of subject matter and presentation nor from any anomalism vis-à-vis the norms of the genre. Six compelling speeches lucidly detail the value, history and development of eloquentia (‘skilled speech’) from the perspective of the late first and early second centuries c.e. They provide convincing accounts of rhetoric and its evolution: the social and political efficacy of eloquentia (Marcus Aper's and Curiatius Maternus' prescriptions on how best to assert oneself with and against the powerful, and the famous yet notoriously tumultuous oratory of the Late Republic), evaluative categories for rhetoric, including the competing discourses that prized renown and canonical status (Vipstanus Messalla's praise of the ancients), or external and absolute aesthetic criteria; and lastly, exemplary instances (e.g. past luminaries) or suitable models for imitation (ancient and modern orators and poets). The richness of these diverse emphases, along with the complex and ambiguous reworking of literary forerunners, not to mention the open-endedness at the work's conclusion, all conspire against the expectation of a uniform message.
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Llamas, Regina. "Wang Guowei and the Establishment of Chinese Drama in the Modern Canon of Classical Literature." T'oung Pao 96, no. 1 (2010): 165–201. http://dx.doi.org/10.1163/156853210x515675.
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AbstractThis essay examines the process by which Wang Guowei placed Chinese dramatic history into the modern Chinese literary canon. It explores how Wang formed his ideas on literature, drawing on Western aesthetics to explain, through the notions of leisure and play, the impetus for art creation, and on the Chinese notions of the genesis of literature to explain the psychology of literary creation. In order to establish the literary value of Chinese drama, Wang applied these ideas to the first playwrights of the Yuan dynasty, arguing that theirs was a literature created under the right aesthetic and creative circumstances, and that it embodied the value of "naturalness" which he considered a universal standard for good literature. By producing a scholarly critical history of the origins and nature of Chinese drama, Wang placed drama on a par with other literary genres of past dynasties, thus giving it a renewed status and creating at the same time a new discipline of research. Drama had now become an established literary genre.
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Porter, Dahlia. "Specimen Poetics." Representations 139, no. 1 (2017): 60–94. http://dx.doi.org/10.1525/rep.2017.139.1.60.
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This essay argues that the modern literary anthology—and specifically its aspiration to delimit both aesthetic merit and historical representativeness—emerged as a response to changes in eighteenth-century botanical collecting, description, and illustration. A dramatic upsurge in botanical metaphors for poetic collections around 1800 was triggered by shifts in the geographies, aims, and representational practices of botany in the previous century. Yoking Linnaean taxonomy and Buffonian vitalism to Hogarth’s line of beauty, late eighteenth-century botanical illustrations imbued plucked, pressed specimens with a new vitality. Erasmus Darwin’s Botanic Garden (1789, 1791) translated the aesthetic reanimations of visual art into a collection of poetic specimens, spurring compilations that promote a vitalist standard of literary value. By rejecting aesthetic reanimation as the figurative ground for poetic collecting, Charlotte Smith and Robert Southey forward an alternative historical model of literary merit, one grounded in the succession and continuity of representative literary types. These competing metrics for selection and valuation underwrite the anthology as we know it today.
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Weber, Darrell, and David Nelson. "Die-Off of Utah Juniper Natural Bridges National Monument." UW National Parks Service Research Station Annual Reports 16 (January 1, 1992): 167–71. http://dx.doi.org/10.13001/uwnpsrc.1992.3107.
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Utah junipers (Juniperus osterosperma (forr.)) are the dominant trees in the landscape of the southwestern states (35 million hectares). In Utah, the pinyon-juniper woodland represents 28.6% of the vegetation and are an important part of the aesthetic value of the Utah national parks. Over the past several years, extensive foliar damage has occurred to Utah juniper, yet little foliar damage has been observed in Natural Bridges National Monument, Canyonlands National Park, Arches National Park, Mesa Verde National Park and Colorado National Monument. The characteristic pattern is for the distal foliage to become chlorotic and die. Mortality progresses along twigs until whole branches or even the entire tree dies. The cause for the foliar damage is unknown. The loss of juniper trees in the national parks in southern Utah would have a dramatic ecological impact and would be an aesthetic blight in the parks. The purpose of this investigation is to determine the cause of the die-off of Utah junipers and suggest management options concerning the juniper die-off problem.
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Sweta, V. S. Ananya, Jananni Muthu, B. Pratebha, and R. Saravana Kumar. "Long term efficacy of root coverage techniques." IP International Journal of Periodontology and Implantology 6, no. 2 (July 15, 2021): 79–87. http://dx.doi.org/10.18231/j.ijpi.2021.014.
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Gingival recession is a dramatic soft tissue finding in teeth affected by periodontal disease and remains one of the most common aesthetic concerns associated with periodontal tissue. The etiology of the condition is multifactorial but is commonly associated with alveolar morphology, tooth brushing, mechanical trauma and periodontal disease. With greater understanding of the dynamics of healing along with an awareness of aesthetics various periodontal procedures have been introduced to deal with problems of gingival recession. The long-term stability of the outcomes obtained with the surgical treatment of single and multiple gingival recessions has been evaluated in a few studies. Of the vast repertoire of mucogingival procedures for gingival recession management, long term studies of more than 5 years is present only for coronally advanced flap with or without connective tissue grafts. There are many other novel techniques in literature with little or no evidence to prove its long term efficacy. Various studies published during the last 30 years were identified through a search of the PubMed/Medline, Science Direct and Cochrane Library databases. “Follow up”, “root coverage”, root coverage procedures, root coverage techniques were the key words used for the search. In this review we have grouped the efficacy of various root coverage techniques based on their short and long term follow up. The review emphasises the value of meticulous follow up in order to validate efficacy of root coverage techniques. It also discusses the factors responsible for stability of results.
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Adcock, Lynne, and Roy Ballantyne. "Drama as a Tool in Interpretation: Practitioner Perceptions of its Strengths & Limitations." Australian Journal of Environmental Education 23 (2007): 31–44. http://dx.doi.org/10.1017/s0814062600000690.
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AbstractAlthough environmental and heritage interpretation aims to connect humans with their natural and cultural heritage, and has the potential to contribute to a vision of sustainable living, it often falls short of engaging and inspiring its audiences. Some interpreters advocate the use of artistic approaches to create more affective (imaginary-emotional-sensory-aesthetic) experiences. One approach considered compatible is drama. Powerful dramatic experiences can embed interpretive stories in the emotions and leave enduring impressions. Drama is accepted as an interpretive tool overseas, yet it is under-utilised in Australia. How can it be used to strengthen interpretation in this country? This paper presents the outcomes of research investigating the perceptions of ten Queensland practitioners of dramatised interpretation regarding drama's strengths, limitations and value as a tool in interpretation. The authors contend that drama has much to offer interpretation, although further evaluative studies are clearly needed.
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Ahmed, Amel Ben. ""A World Against Itself": The Dynamics of Good Nature and Virtue in Henry Fielding's Plays." Labyrinth 21, no. 2 (March 3, 2020): 177. http://dx.doi.org/10.25180/lj.v21i2.200.
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In the eighteenth-century England, the aesthetic vision of most contemporary writers of the time was closely related to the social, political and religious system of belief. Augustan writers, satirists particularly, sought to reclaim for literature the morally privileged status, they thought, it supposedly held in the context of the Latitudinarian system of thought; the very rationale behind the ethic of good nature that distinguishes major writings of the time, namely the dramatic, journalistic and fictional works of the major eighteenth century novelist and satirist Henry Fielding. His major dramatic works not only display the influence of the Latitudinarian philosophy but mainly Shaftesbury’s moral theory of innate goodness, which Fielding revokes, offering then a representation of a more universal moral frame which rather reflects and criticizes the society of the author’s time. The providential pattern that Fielding creates in his plays valorizes indeed the principle of good-nature and the triumph of virtue against all apparent social evils. Most significantly, it has positioned Henry Fielding himself in a “comedic” tradition in which characters are not ultimately responsible for themselves. In the present paper, and with reference to Earl of Shaftesbury’s assumptions about the ideal good-natured man, I intend to evince that Fielding uses the value of good-nature and virtue not as pure moral abstractions, but rather as nodal points around which he organizes, and through which he presents a broad cultural and historical vision. With reference to his major regular comedies, and a through a close study of his most representative characters, I will attempt to evince that this underlying moral vision is more than an abstract rumination of the relative power of good and evil. When we view and consider such concepts as virtue, good-nature and ill-nature in the immediate contexts of his plays, we conceive a picture of a broad cultural landscape in which ethical values become nodal points of meaning, in which Fielding represents both the most basic, traditional values and the most sordid everyday events and attitudes of his society.
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Moulavi Nafchi, Asghar, Mitra Mirzayee, and Morteza Sobhani Zadeh. "Robert Browning: A Dramatic Monologue Marvel." International Letters of Social and Humanistic Sciences 63 (November 2015): 225–32. http://dx.doi.org/10.18052/www.scipress.com/ilshs.63.225.
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One of the most effective literary devices within different didactic and aesthetic forms is the dramatic monologue. The dramatic monologue distinguishes the speaker’s character from that of the poet’s. The double meaning that lies at the heart of the dramatic monologue, conveys the speaker’s version or variety of meaning and intentions. The Dramatic monologue has been practiced for a very long time, but it was Robert browning who invested it with a deeper level of meaning giving it frequency in an attempt to support preexisting aesthetic values in favor of a poem that valued form over content. Although such a dialogue is called dramatic, it is not a theatrical device, proper. The speaker of the poem delivers such comments on the slice of life at disposal that would leave us with a deep emotional experience. By listening to the words pouring out of the speaker’s mind, the reader/listener obtains a psychoanalytic view of the speaker. The current article aims to study Robert browning, the prominent Victorian poet, by putting on the pedestal his essential role in investing the dramatic monologue in English literature with an essential poetic significance and role by reviewing a number of his major poems.
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SARRAZIN, NATALIE. "Celluloid love songs: musical modus operandi and the dramatic aesthetics of romantic Hindi film." Popular Music 27, no. 3 (October 2008): 393–411. http://dx.doi.org/10.1017/s0261143008102197.
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AbstractIn Hindi cinema, love songs comprise the vast majority in an industry in which almost every film contains song and dance numbers. Often incorrectly characterised as narrative interruptions, these celluloid creations contain indigenous aesthetics and self-identifying cultural values, and employ contemporary cinematic techniques which impact film song content and context. How do these cinematic techniques intensify the viewing experience and allow traditional aesthetic ideals to coexist with contemporary codes relevant to a burgeoning Indian middle class and diaspora?Beginning with an examination of traditional sources and contemporary values regarding music and emotion, I address the particularly important notion of displaying heart, often the centrepiece of thematic and dramatic tension as well as the love song soundtrack. As the primary emotional genre, I analyse the use of heart in romantic films and suggest a general typology of romantic film songs and their aesthetics, including commonly used musical motifs and codes.Finally, I compare musical, cinematic and narrative components of the Indian romantic genre with those aspects of the American film musical, particularly in relation to cultural values and ideological differences. The iconic use of a couple-centric narrative is examined in relation to Indian displays of emotion, and love song duets are contextualised through description of several pervasive cinematic techniques used to heighten the emotional impact of songs on the audience. I conclude with a focus on the relationship between the song sequence and the narrative structure, particularly how this serves to intensify the narrative flow rather than interrupt it.
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Podstawka, Anna. "Karol Wojtyła i Emil Zegadłowicz – bliscy czy dalecy? Wokół koncepcji teatru." Roczniki Humanistyczne 68, no. 1 Zeszyt specjalny (2020): 187–202. http://dx.doi.org/10.18290/rh.2068s-13.
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This article is a comparative study of the concept of the theatre of Karol Wojtyła and Emil Zegadłowicz. Although many works have been devoted to the youthful literary output and theatrical activity of Wojtyła, the themes of theatre studies have still not yet been fully analysed. Therefore, it would seem to be important to research those sources from which both artists drew, those that shaped their poetic sensitivity, their concept of man and their concept of the world as externalised in the structure of the dramatic works, inscribed in their theatrical thought and in their views on the mission of art and the actor. An attempt to compare the compositions of Zegadłowicz’s and Wojtyła’s early plays points to the common roots of the perception of the role of theatre and a model of dramaturgy arising from traditional, mystery-morality plays. Similar trends and areas of artistic penetration, the comprehension of the aesthetic canons of art and the value of regional culture are also visible, while the world-views and creativity of both artists are separate.
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Nærland, Torgeir Uberg. "Rhythm, rhyme and reason: hip hop expressivity as political discourse." Popular Music 33, no. 3 (August 28, 2014): 473–91. http://dx.doi.org/10.1017/s0261143014000361.
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AbstractUsing Norwegian hip hop as an example, this article argues that public sphere theory offers a fruitful theoretical framework in which to understand the political significance of music. Based on a musical and lyrical analysis of Lars Vaular's ‘Kem Skjøt Siv Jensen’ (Who Shot Siv Jensen) – a song that recently became the subject of extensive public political discourse in Norway – this article first highlights how the aesthetic language specific to hip hop music constitutes a form of political discourse that may be particularly effective in addressing and engaging publics. Further, the analysis brings attention to how hip hop music is characterised by phatic, rhetoric, affective and dramatic modes of communication that may be of value to democratic public discourse. Lastly, this article examines the expressive output of ‘Kem Skjøt Siv Jensen’ in light of Habermas' concept of communicative rationality. In conclusion, the article contends that the dichotomy between (‘rational’) verbal argument and (‘irrational’) musical expressivity constructed within public sphere theory is contrived and, moreover, that hip hop expressivity under certain conditions does conform to the standards of communicative rationality.
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Castrillo, Pablo. "The post-9/11 American political thriller film: Hollywood’s dissident screenplays." Journal of Screenwriting 11, no. 2 (June 1, 2020): 191–206. http://dx.doi.org/10.1386/josc_00025_1.
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The American political thriller, from its cinematic beginnings in the 1960s until its most recent period of popularity in the late 2000s and the early 2010s, has consistently displayed two salient characteristics: on an extra-textual level, it tends to keep a close relationship with the (geo)political environment at the time of production, with themes that resonate with the cultural moment, sometimes even referencing current events, and frequently challenging traditionally upheld American values with mistrustful attitudes towards the State, its institutions, the military and a suspect corporate establishment. On the other hand, the textual configuration of these films reveals a certain nonconformity with the traditionally dominant narrative-aesthetic norms of Hollywood cinema, featuring reactive agency in its protagonists, an unusual degree of subjectivity in its narration and a remarkable degree of ambiguity in the dramatic resolutions of some storylines. These formal features enhance the thematic concerns and cinematic worldview of the political thriller genre, both creating and exploiting perplexity and paranoia in the audience, through highly demanding narratives that remove the feeling of control from the viewer, and with a specific political intent that becomes exceptionally effective thanks to its entertainment value. The works analysed to illustrate this trend covers theatrically released Hollywood films of the genre from 2001 until the present day, with special attention on the impact of 9/11 and the War on Terror in their narrative premises and themes.
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Yang, Liu. "Cultural loss in the English translation of Chinese poetry." Babel. Revue internationale de la traduction / International Journal of Translation 56, no. 2 (August 13, 2010): 168–85. http://dx.doi.org/10.1075/babel.56.2.05liu.
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Translation is to reproduce the meaning and style of a source language text in a target language text in consideration of the cultural differences. Because of dramatic differences between the cultures, translators have to sacrifice something, such as time, religious connotation, and the wording of the original poem to obtain its aesthetic value and its original beauty. In this paper the author examines the poetry translation focusing on the basic concepts of cultural translation and the difficulties of Chinese poetry translation, and special attentions are paid on losses and the strategies in the translation. Beginning from the basic concepts of cultural translation, the paper expounds the essence of the cultural translation in order to lay a sound foundation for the following analysis of the poetry translation. In Part 2, the paper points out the difficulties of Chinese poetry translation that arise from the differences between Chinese and English cultures .Part 3 is a tentative analysis of the losses in the English translation of Chinese poetry and categorizes the losses into four groups:the loss of time;the loss of religious connotation ;the loss in wording; the loss of allusion. To address the losses, the author proposes several strategies such as free translation , transfer of allusion and annotation.
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Bal, Vera Yu, and Elizaveta E. Gutkevich. "Genre and Stylistic Features of the Modern Audiobook." Tekst. Kniga. Knigoizdanie, no. 25 (2021): 156–70. http://dx.doi.org/10.17223/23062061/25/9.
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Modern technological conditions make it possible to create, quickly replicate and use audio books conveniently. Audio books are one of the fastest growing segments of the global publishing market. Informative issues of creating audio books, not technological ones, are in the research focus of the article. The content of an audiobook is a voiced text that refers to the “auditory literature”. Assessments of the quality of the auditory literature are polar. On the one hand, it is considered secondary to the original literary text; on the other hand, it is a self-contained artistic phenomenon with its own aesthetic nature. In this article, an audiobook is considered precisely in the aspect of its artistic value, which is highlighted when speaking about the genre nature of the voiced text. The genre features of the voiced text in this study are identified taking into account the communicative features of its formal-stylistic features. The communicative nature of the audiobook genre is associated with two types of reading, which reflect the opposite positions of the two participants in communication. On the one hand, this is an expres-sive reading aloud, which can also be defined as staged reading. Genetically, this type of reading is associated with public performances of artists and initially assumed live reading. Further, this type of reading is transformed into the genre of radio plays, called “theater at the microphone”. In modern communicative practices of creating and repli-cating audio content, including one related to the actor’s readings of works of art, there is no binding to time and place. On the other hand, this is auditory reading, a modifica-tion of which is audio reading in modern technological conditions. If auditory reading is the first reading practice of a child mastering books from the voice of a parent, then audio reading is the choice of an adult who can read. The acoustic representation of a literary work is associated not only with the performance of elementary technical characteristics of sound, but also with the introduction of a certain aesthetic value into it. The creative translation of a literary text from verbal to acoustic should preserve its value in the aesthetic plane, without reducing it to a purely pragmatic one. Actualization of the aesthetic value of an audiobook outside of its paper format is associated with the principles of its directing and editorial preparation – the principles associated with the implementation of the stylistic characteristics of the genre form of an audiobook. Translation of a verbal literary text into an audio one is carried out as a result of comparing reading a book to dramatic action. In this case, the forming element of the genre becomes the sounding text itself. In the case of audio books, the reader’s voice as a performer’s instru-ment and the musical noise accompaniment of the text read is a style-forming genre element. The article traces the publishing strategies for the embodiment of the formal-stylistic features of the audiobook genre in the context of modern audio cultural practices.
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Novitri, Widya, and Indrayuda Indrayuda. "BENTUK PENYAJIAN TARI RAMO-RAMO TABANG DUO DI NAGARI PASIR TALANG." Jurnal Sendratasik 9, no. 2 (September 25, 2020): 1. http://dx.doi.org/10.24036/jsu.v9i1.109493.
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This article aims to describe the Presentation Form of the Ramo-ramo Tabang Duo Dance in Nagari Pasir Talang. This research is a qualitative study using descriptive methods. The object of research is the presentation of the Ramo-ramo Tabang Duo dance in Nagari Pasir Talang Solok Selatan. The researcher acts as the main instrument in this study, and is assisted by a recording device, and a means of matching both audio, visual or audio visual. Data collection is done through direct observation, interviews, and documentation, as well as literature studies. Data were analyzed through a procedure referred to from Mile and Huberman, namely data collection, in the form of qualitative data from research areas such as forms of motion, music, costumes, and procedures for performance. In the next stage the data is selected and then the results of the selection are verified and concluded by the researcher. The findings from the research results are concluded that the form of presentation of the Ramo-ramo Tabang Duo dance is an artistic form without a story. This is obtained from the motion data that only presents artistic and aesthetic value, without any symbol of the motion being maneuvered, as well as music that is as a dance accompaniment. Overall both motion, music, and costumes display dynamical, dramatic motion that aims only as a presentation of entertainment, without any intention of the dance performance. Keywords: Ramo-ramo Tabang Duo dance, and form of presentation
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Elwazani, Salim. "Purposing aesthetics in historic preservation: advocating, signifying, and interpreting aesthetics." Virtual Archaeology Review 12, no. 24 (January 19, 2021): 66. http://dx.doi.org/10.4995/var.2021.13812.
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<p>Aesthetics is a pillar consideration in historic preservation. Yet, purposing aesthetics for historic preservation ends seems to lag behind the opportunities. Utterly subjective, aesthetics poses challenges for the preservation community worldwide to moderate, accommodate, and purpose aesthetics in heritage programs. The challenges revolve around the assessment of aesthetical purposing in three domains. These domains include the community disposition towards accommodating aesthetics (advocacy), the criteria and strategies for assessing the aesthetic value of historic resources (signification), and, the standards for treating historic resources in preservation projects (interpretation). This study, therefore, assesses the trends for purposing aesthetics in historic preservation thought and practice through three platforms: advocating aesthetics, signifying aesthetics, and interpreting aesthetics. The study completed literature content analysis on aesthetics in general and aesthetics in historic preservation in particular. Further, because of the perspective of the study, the works of international and country preservation programs provided information relevant to advocacy, signification, and interpretation of aesthetics that have been refined by classification, comparison, and exemplification methods. Among others, these works include those of the International Council on Monuments and Sites (ICOMOS) and the U.S. National Historic Preservation Program in the National Park Service. The study culminated with general and platform-specific conclusions. First, as the three proposed platforms (advocacy, signification, and interpretation) maintain structural and serial relationships, they constitute a relevant and feasible framework for assessing aesthetical purposing. Second, as the aesthetical purposing assessment followed a broad, international perspective, the conclusions of the study are commensurate with the selective scope of information used from international and country preservation programs. Third, the contribution to aesthetical purposing at each of the three platforms can be measure only in general, and at times, subjective terms.</p><p><strong>Highlights:</strong></p><ul><li><p>Proposing aesthetical advocacy, aesthetical signification, and aesthetical interpretation as a platform framework to assess the purposing of aesthetics was feasible.</p></li><li><p>As aesthetical purposing was approached from a broad, international perspective, the conclusions of the study commensurate with the selective scope of information used.</p></li><li><p>The contribution to aesthetical purposing at each of the three platforms is hard to measure; however, the indications point to uneven contribution.</p></li></ul>
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Stejskalová, Dagmar. "Functional and aesthetical evaluation of landscape." Acta Universitatis Agriculturae et Silviculturae Mendelianae Brunensis 55, no. 5 (2007): 155–64. http://dx.doi.org/10.11118/actaun200755050155.
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Functional and aesthetical evaluation of landscape was used in the framework of Project QF4061 Landscape Plan of a Microregion in connection with the proposal of landscape measures to be taken in an important watercourse. As a part of the project the methodology of functional and aesthetical evaluation of landscape was defined as a method of landscape spatial planning. The methodology consists in the creation of landscape “matrix” as a landscape network of a definite size. The criteria of evaluation of the particular squares of this landscape matrix were defined in the framework of methodology. The defined criteria are not invariable, but they are always related with the type of landscape to be evaluated. By the attribution of scores according to the defined criteria to the particular squares of landscape matrix these squares may be compared in a simple way. Such evaluation provides some categories of the aesthetic value of landscape that define the functional and aesthetic landscape spaces. Applying the result of this evaluation and other knowledge of the landscape we will get a more comprehensive view on landscape. The functional and aesthetic evaluation of landscape may substantially contribute to the more complex understanding of a given territory in which landscape measures are to be proposed in subsequent project documentation. The methodology is simple and easily feasible in practice.
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Xavier, R., S. Azeredo-Lopes, and A. Papoila. "Spreader grafts: functional or just aesthetical?" Rhinology journal 53, no. 4 (December 1, 2015): 332–39. http://dx.doi.org/10.4193/rhino13.069.
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Objective: Spreader grafts are commonly used in rhinoplasty to achieve an aesthetic improvement of the nose or a functional improvement of the nasal airway. Currently, the aesthetic role of spreader grafts is well established. The functional effect of these grafts, however, has been controversial due to the lack of studies clearly demonstrating an increase on nasal airflow assigned to spreader grafts. The purpose of this study is to evaluate the effect of spreader grafts on nasal breathing. Methods: Nasal breathing of 72 consecutive patients undergoing rhinoplasty was evaluated by measuring peak nasal inspiratory flow (PNIF) before surgery and six months after surgery. Results: The mean preoperative PNIF of the 72 patients included in this study was 79.44 l/min and the mean postoperative PNIF was 110.42 l/min (p < 0.001). In 37 patients of this study no spreader grafts were used. In this group of patients the mean PNIF values changed from 73.24 l/min before surgery to 99.46 l/min after surgery. In the group of 35 patients in whom spreader grafts were used the mean PNIF values changed from 86.00 l/min before surgery to 122.00 l/min after surgery. The increase in the mean PNIF value after rhinoplasty was slightly higher in the group of patients with spreader grafts than in the group of patients without spreader grafts. The difference in the postoperative increase of PNIF between these two groups of patients, however, is not statistically significant. Conclusions: This study suggests that patients undergoing rhinoplasty have a statistically significant improvement in nasal breathing after surgery. However, patients receiving spreader grafts in a non-randomized way do not have statistically significant greater benefit than those who do not.
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Budiantoro, Wahyu. "Nilai-Nilai Kearifan Lokal dalam Sajak Ziarah Karya Abdul Wachid B.S." IBDA` : Jurnal Kajian Islam dan Budaya 16, no. 2 (December 27, 2018): 369–82. http://dx.doi.org/10.24090/ibda.v16i2.1972.
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The purpose of this research is to identify the values of local wisdom in the poetry of pilgrimage (visiting graves) written by Abdul Wachid B.S. The relevance of the local wisdom with the literature has been already started since the era of Sheikh Hamzah Fansuri. He investigated the territory of his homeland to be developed as the aesthetical value of his poetry. Beside of Sheikh Hamzah Fansuri, there are some other names like Sunan Bonang, Sunan Kalijaga, and R. Ng. Ranggawarsita. In this study, the subject was the poet called Abdul Wachid B.S., while the object is the poem entitled the pilgrimage. Through the rhymes, the local wisdom values in the poetry of Abdul Wachid B.S. can be identified. The results of this study indicate some values of local wisdom in the poetry of pilgrimage authored by Abdul Wachid B.S., among others are: the first, Abdul Wachid B.S. interpreted the value of local wisdom as an effort to build the shape or sound of the poetry in terms of the aesthetical basis (language). The second, in addition to the aesthetical basis (language), Abdul Wachid B.S. interpreted the local wisdom philosophically. Abdul Wachid B.S. philosophy in the poetry of pilgrimage is attempted to examine the wisdom of those historical circumstances related to Islam. The third, the value achieved from the poetry of Abdul Wachid B.S. pilgrimage is as an effort to search for the sanad, in order to find the genealogy of the science or the transformation of the vision of Islam in daily life.
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Mora-Fernández, Jorge. "The Analysis of Interactive Media and Digital Culture - Hypermedia Literacy in Peru and Bolivia." Comunicar 20, no. 39 (October 1, 2012): 139–49. http://dx.doi.org/10.3916/c39-2012-03-04.
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This paper compiles data on how the use of hypermedia, interactive multimedia and interfaces have changed the classical dynamics of human communications and education to create a new paradigm. This paradigm originates in the interface since it allows multidirectional and multimedia communications through interactions with the elements of which it is composed. This research describes the different aesthetic, narrative, emotional and value elements that are integrated within the cultural hypermedia interfaces. These hypermedia elements are fundamental components to be taken into account in the creation of educational interactive media products. The communicative functions are interchangeable between sender-receptor, author-reader-author, creator-user, professor-student... thanks to the introduction of multimedia interactive expressions and technological instruments that allow several types of interactions. This flexible functionality generates new communicative as well as dramatic models of interactive narrative, where the interaction of receptors-senders and reader-authors with the narrative actions occur at the character or avatar level. The interfacial aesthetic, narrative, emotional and value elements are studied, analyzed and described in detail thanks to an innovative model of analysis that can be used to for the implementation and design of interactive edutainment media products. The application of this model helped to create cultural content interfaces enabling not only the development of interactive educational workshops in the USA, Peru and Bolivia for more than 200 students, but also multisensory and immersive communications with quality.El trabajo se centra en las formas en que interfaces multimedia interactivas e hipermedia han cambiado las dinámicas clásicas de la comunicación y educación humanas creando un nuevo paradigma. Éste se origina en la interfaz, al permitir la multidireccionalidad comunicativa multimedia mediante la interacción con los elementos que la componen. Esta investigación describe los diferentes elementos estéticos, narrativos, emocionales y de valores integrados en las interfaces hipermedia culturales. Dichos elementos hipermedia son componentes fundamentales a tomar en cuenta durante la creación de productos multimedia interactivos educativos. Las funciones comunicativas son cambiantes entre emisor-receptor: autor-lecto-autor, creador-usuario, profesor-alumno... gracias a la introducción de expresiones multimedia interactivas e instrumentos tecnológicos que permiten distintos tipos de interacciones. Esta flexibilidad funcional genera nuevos modelos comunicativos así como dramáticos, de narrativa interactiva, donde la interacción de los receptores-emisores, lecto-autores, con las acciones narrativas se produce a nivel del personaje o avatar. Los componentes estéticos, narrativos, emocionales y de valores de la interfaz son estudiados, analizados y descritos en detalle gracias a un modelo innovador de análisis que sirve para la implementación y diseño de productos interactivos lúdico-educativos inmersivos. La aplicación de este modelo ayudó a la creación de interfaces de contenido cultural, permitiendo desarrollar no solo talleres educativos interactivos en Estados Unidos, Perú y Bolivia para más de 200 estudiantes, sino también una comunicación inmersiva multisensorial de calidad.
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Kosachova, O. O. "Modern Historical Film: Genre and Dramaturgic Features." Culture of Ukraine, no. 71 (April 2, 2021): 41–48. http://dx.doi.org/10.31516/2410-5325.071.05.
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The aim of the article is to explore of genre and dramaturgic features of a modern historical film.
The research methodology is based on the systematic use of materials from the scientific branches of art and cultural science, cinema theory and history, psychology, etc. The empirical basis of the study included a series of historical films of the XXI century, a detailed analysis of genre and dramaturgic features was carried out.
The results. Historical drama is the leading genre of a film based on real events, which grinds the past, turning it into a mirror image of the present. Thus, the theme of the film, its newsworthiness has the equal importance along with the genre, which ensures the integrity of the material, director’s and cameraman’s methods and techniques and the style, which forms the aesthetic expressiveness of the film.
Films based on real events, which premiered in the XXI century, were chosen as the empirical basis of the study. As the core of the plot were chosen issues of human rights violations, social discrimination and injustice. These problems have their origins in ancient times and have long been the main obstacles for the establishment of democratic values in society.
We found that modern historical drama has significant morphological differences from the XX century drama: lack of epicism, abandonment of the tragic component in favor of a happy ending, the transition from melodramatics to hybridization of drama with more dynamic genres: action, road movie, western. At the same time, we see that modern historical drama has signs of genre elasticity and syncretism, which allows forming new multigenre constructions that have not yet entered scientific circulation in the domestic press (action drama, crime drama, western drama, kidnap drama, etc.).
The dramatic features of modern historical films are closely related to the genre construction of the films. The genre of autobiography determines the priority of using the “plot of growing up” and “plot of the experience”, when the main characters grow up psychologically and fight for their rights: life, freedom, personal inviolability. The hero — is dominated archetype, a person who serves others, sacrifices himself or puts himself in constant danger for the sake of others.
The issue of social inequality in the historical context, when realities separate the viewer from the depicted events for a significant period of time, is reflected in the historical film more often and has a proper response from the viewer. At the same time, the modern issue of human rights, which demonstrates the principle of “democracy for the elect” is not so popular among modern fans of historical cinema.
Novelty. The scientific novelty of the article is to identify the modern morphology of historical film, the actualization of the relationship between the genre, the magnitude of the theme of historical film, its dramatic solution and the value expectations of the audience.
The practical significance. The main theses and results of the research may be useful for practicing screenwriters of historical films. The recommendations in this article contribute to the creation of a commercially successful and psychologically powerful film product. In addition, the article can be used for academic disciplines in film schools in Ukraine and abroad.
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Schultz, Colin. "Extreme value analysis unveils dramatic Antarctic warming." Eos, Transactions American Geophysical Union 94, no. 26 (June 25, 2013): 236. http://dx.doi.org/10.1002/2013eo260011.
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SICURELLA, BEATRICE, MANUELA CAPRIOLI, ANDREA ROMANO, MARIA ROMANO, DIEGO RUBOLINI, NICOLA SAINO, and ROBERTO AMBROSINI. "Hayfields enhance colony size of the Barn Swallow Hirundo rustica in northern Italy." Bird Conservation International 24, no. 1 (June 3, 2013): 17–31. http://dx.doi.org/10.1017/s095927091300021x.
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SummaryThe widespread decline of farmland birds is a major issue of biological conservation in European countries. The Barn Swallow Hirundo rustica is a flagship species for farmland bird conservation owing to its aesthetic and cultural value and to the sharp decline observed in several populations. Based on a long-term monitoring project of a population in a protected area of Northern Italy, we documented a dramatic decline of 56.6% between 1999 and 2011, corresponding to a decrease of 6.59% each year. We also showed that colonies were on average larger in farms with livestock than those without livestock, and that colony size increased with increasing extent of hayfields within 200 m from the colony in farms without livestock, but not in those with livestock. Hayfield extent at greater distances did not influence population size or trend. Cessation of livestock farming therefore determined a decline in local colonies, but this decline may be buffered by an increase in hayfield extent within 200 m from the farm. However, variation in the ecological features of breeding sites explained only a fraction of the observed population decline, suggesting that ecological conditions during migration and wintering may be crucial in affecting population trends. Mean hatching date of first broods advanced in recent years, but less so in farms with, than without, livestock. Independently of year, mean hatching date advanced more in farms with greater extent of hayfields within 200 m of the colony. Reproductive success, measured as the mean number of fledged offspring per nest, declined significantly with hatching date, but was not affected by hayfield extent. Conversely, nestling quality, in terms of body mass and feather development, improved with increasing extent of hayfields around the colony, particularly in late-hatched first clutches. Our findings suggest that conservation strategies for this declining species should include both the maintenance of livestock farming and the enlargement of hayfields close to breeding colonies, particularly in farms where livestock farming has ceased.
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Farooq, Sadia, and Mohammad Arif Kamal. "Analysis of Green Living Walls: Individual Awareness about its Functional Value and Aesthetical Quality." Civil Engineering and Architecture 8, no. 4 (August 2020): 444–49. http://dx.doi.org/10.13189/cea.2020.080406.
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Fedenko, Alevtyna. "The importance of M. Kropyvnytskyi’s children’s theater for the formation of a professional musical children’s theater in Ukraine." Aspects of Historical Musicology 19, no. 19 (February 7, 2020): 332–45. http://dx.doi.org/10.34064/khnum2-19.19.
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Introduction and statement of the problem. Before the revolution of 1917, artists, writers, musicians and teachers created a rich literary fund that could be the basis for professional musical children’s theater in Ukraine. That is why there is a need to study the children’s musical and dramatic heritage of the past, which is an inexhaustible treasury of cultural and educational ideas that can be creatively developed and successfully applied in modern conditions. The process of creative development of the genre of children’s musical performance is today one of the most pressing problems of professional theater for children, take in account its growing popularity, both in the world and in Ukrainian musical culture. The lack of scientific research that fully and comprehensively cover the scientific and practical significance of musical children’s plays by Marko Kropyvnytskyi for the development of musical children’s theater in Ukraine indicates the need for more in-depth researching of the chosen topic. In our research, we rely on the works and articles of authoritative experts – in particular, I. Franko (1910), M. Voronyi (1913), D. Antonovich (1925), P. Rulin (1929), I. Mar’ianenko (1953), P. Kyrychok (1985), N. Yosipenko (1958), P. Perepelitsa (1956), A. Novikov (2007; 2011), L. Moroz (1990). The vast majority of researchers noted the great merits of the artist to the national drama in particular and Ukrainian culture in general. Among the scientific works devoted to Kropyvnytskyi as a children’s playwright, one can distinguish the research by A. Novikov (2007), which focuses on the history of creation of the first children’s troupe in the country, which had no analogues in the history of the world theater, since the actors in it were peasant children. In mentioned critical and scientific works, the innovative features of the playwright’s creative heritage are outlined, attention is focused on the specifics of the genre and problem-thematic range, literary-aesthetic, socio-political, and pedagogical views. The literary and theatrical activity of M. Kropyvnytskyi has been thoroughly studied. However, there is still no work that comprehensively reveal his musical and dramatic creativity for children. The purpose of the article is to show the significant role of M. Kropyvnytskyi in the development of children’s musical theater in Ukraine based on the research of children’s musical and dramatic creativity by the artist. The research methodology is integrative. The work uses knowledge of various fields of art history and related sciences: history and theory of theater, music theory, music and theater psychology, vocal and theater pedagogy. Presentation of the main material. A great pride of the playwright is the foundation by him on the territory of his village Zatyshok of the children’s theater, “actors” in which were his own and peasant children. This event was and remains unprecedented, since nothing like this has been observed in the history of Ukrainian and European culture. The troupe consisted of peasant children aged 10–13. For performances, Kropyvnytskyi assigned the largest room (hall) in the old house, where, as in a real theater, the stage was equipped. The first performance, “Goat-Dereza” (“Koza-dereza”), took place on Christmas day, 1906. The playwright drew the scenery himself, and prepared the costumes together with the children. The play was a great success. A few days later, the children’s troupe was invited to a “tour” in the neighboring village, and the entire theater with the scenery on five carts went on a journey of six versts (Novikov, 2007: 33). In the children’s repertoire at that time, there was, in fact, only one work – the opera by M. Lysenko “Goat-Dereza” (“Koza-dereza”) (libretto by Dniprova Chaika). Ukrainian children’s repertoire did not exist at that time, and in 1907, Kropyvnytskyi created two plays for young performers based on folk tales – “Ivasyk-Telesyk” and “At the behest of the pike” (“Po shchuchomu velinniu”). The performances included vocal numbers composed by M. Kropyvnytskyi on the themes of Ukrainian folk melodies. In a letter to his good friend entrepreneur A. Suslov in January 1908, the writer, in particular, notes: “I have assembled a troupe of peasant children and I am staging in the villages: Goat-dereza, IvasykTelesyk, and At the behest of the pike (the latter both are my)” (Kropyvnytskyi, 1960: 530). Based on the plot of folk tales of the same name, he wrote original musical and dramatic works for children of great educational value. The plays are quite simple in meaning and clearly depict the images of all the negative and positive characters. The first represent such social vices as lies and insincerity, and the second are carriers of eternal positive qualities – sincerity, candor, hard work. The plays are written in an exquisite Ukrainian language, close to the oral poetic creativity. All this, as M. Yosypenko rightly notes, is evidence of “a serious approach of M. Kropyvnytskyi to the business of writing plays for children, a deep knowledge of the psychology of the young audience and its cultural and educational needs and demands” (Yosypenko, 1958: 265). The performances require participation of music, which organic include into the language range of the play itself. Music explains and complements the true meaning of the situation to the young audience. Ukrainian musical folklore material formed the basis of the musical solution of M. Kropyvnytskyi’s children’s performances. Most often, folk songs served as a means to create the image and were introduce before the dramatic action mainly by the method of self-presentation: performing a particular song, the characters showed certain traits of their nature. The songs help to reveal the inner world of the characters, to express their state of mind and moods; often they contributed to the creation of the necessary stage atmosphere: festivities, fun and jokes. A significant part of the characters could not be imagined without songs. Using some folk melodies, Kropyvnytskyi mainly wrote original music, close in melody to the folk-song sources. Solo numbers, ensembles, and choirs are organically woven into the dramaturgy of these plays. A clear reflection of the integrity and unity of the musical and dramatic process is the principle of end-to-end development of the main musical idea of performances. In preparation for productions of his children’s plays, Kropyvnytskyi wrote an orchestration for them also. Intending to put these plays on the professional stage, Kropyvnytskyi wrote down advice to future directors regarding the production of their children’s plays. He began to think of broader horizons for them. In the spring of 1910, small artists had to show their art to the audience of the neighboring county town Kupyansk. However, the premature death of the Ukrainian playwright did not allow this plan to be realized. The children’s troupe soon ceased to exist. Kropyvnytskyi children’s troupe and the repertoire he created for it became a prologue to the development of the Ukrainian theater’s creativity for young viewers. In nowadays from the repertoire do not go off the pearls of drama for children “Ivasik-Telesik’ and “At the behest of the pike”. Conclusions. Marko Kropyvnytskyi’s creative heritage and practical activities wrote the gold pages to the history of Ukrainian musical children’s drama and Ukrainian children’s theater. Children’s musical and dramatic works of the writer based on song folklore are the effective mean to educate positive attitude of young Ukrainians to folk tradition as well as to form positive nature traits: generosity, hospitality, goodwill, charity.
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Andersen, Christian Ulrik, and Geoff Cox. "Most and Least of Research Value/s." A Peer-Reviewed Journal About 7, no. 1 (July 6, 2018): 4–7. http://dx.doi.org/10.7146/aprja.v7i1.115055.
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There is value and there are values. There is the measure of wealth, metrified and calculated in numerous ways, and there are ideas, ethics, preferences of taste, and customs of ideology. That the two can be associated together is nothing new. It is easy to value values and quantify how well we like, prefer or perform values (on a scale from one to ten; and ironicized here in the reworking of this introduction by Pip Thornton). Likewise, such processes of valorization in themselves imply particular values, ideologies and ethi- cal or aesthetical preferences (the beauty and rightfulness of valorization, wealth and surplus). But what really happens when the two are conflated? How do we understand how the values associated with something give it value; or, how giving something a value affords certain values? And, in what ways are the conflations of value and values tied to the circulation of value and values in contemporary technical infrastructures?
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Golovko, Vyacheslav M. "The “Idea of Human” Literary Category: Epistemological Potential." Vestnik Tomskogo gosudarstvennogo universiteta, no. 464 (2021): 23–31. http://dx.doi.org/10.17223/15617793/464/3.
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The “idea of human” (“type of attitude to the world”) is considered as a relevant category of the conceptual apparatus of the modern science of literature. The aim of the work is to analyze the theoretical and methodological potential of this category on the basis of large typological units of the literary process, marked with the concepts of “historical and literary era”, “artistic and cognitive cycle”, “literary direction”, “big style”, “artistic method”. The research used the methods of a typological and complex study of literary works, which in the synthesis of literary criticism and philosophy determine the strategy of searches in the field of theoretical and methodological content of the “idea of human” category as the foundation of the literary and philosophical anthropology of cultural and historical eras. The historical and genetic links between the worldview aesthetic principles and the artistic practice of literary trends are problematized. The logic of the research reveals the concept “object – knowledge”, fundamental for epistemology, in the aspects of the structuring of the knowledge of the methodological semantics of the “idea of human” category and of the functioning of the definitions “generalized idea of human”, “type of attitude to the world”, “concept of human and reality”, “whole of human”, “human as a value”. The article shows that the “idea of human” as a philosophical and aesthetic interpretation of the nature and essence of human at a certain stage in the development of artistic consciousness, worked out by the whole culture (R.R. Moskvina, G.V. Mokronosov) and defining integrity and logical consistency of the artistic system, is a synergistically functional semantic core of the historical and cultural era, and this core contains the dialectical potential of “negation of the negation”. As a variable, the historical “idea of human”, in the perspective of the stage development of artistic consciousness, undergoes dramatic changes and is realized in the logic of the successive change of historical and cultural epochs and their philosophical paradigms, in the constant alternation of “realistic” and “mystical”, materialistic and idealistic methods of cognition and images of human and the world (D.I. Chizhevsky, A.M. Panchenko, and others). The conclusions are substantiated that the successive development of literary trends, creative methods and their axiological systems is conditioned by the dynamics of “types of attitude to the world”; that the functioning of the “idea of human” category in literary discourse is focused on argumentation of the ontological nature of fiction, on the identification of philosophical and aesthetic principles that determine the systematic nature and the successive change of artistic and cognitive cycles; that the evolution of the “idea of human” within the framework of one artistic and cognitive cycle is fixed by the dynamics of genre systems since, in the correlations of method, genre and style, “the idea of human” acts as a factor in genre formation.
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Montagnolo, Irene, Marco Bacci, Laura Baratin, Giovanni Checcucci, and Maria Rita Ciardi. "Aesthetical presentation of a devotional artwork. Issues and possible virtual solutions." Ge-conservacion 18, no. 1 (December 10, 2020): 307–12. http://dx.doi.org/10.37558/gec.v18i1.850.
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In this contribution, the accent is focused on the complexities and possible solutions faced by a restorer during the phase of aesthetical presentation of devotional artworks. For this kind of artefacts is not often possible to apply the logic of conservative restauration (Zanardi 2009), which requires a minimum intervention. The devotional aspect is an added value protected by a number of symbolic codes (Argenton 2017) understood by the religious community, for which the artifact was intended. The work was also analysed through a series of interviews with various figures related to the devotional and liturgical artwork: the restorer, the art historian art and the religious community as user of the art work.
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Prakoso, Christianto, and Nugraheni Widyawati. "PERANCANGAN DAN EVALUASI DESAIN VERTICAL GARDEN BERTEMA "GOLDEN YEAR"." Agric 30, no. 1 (July 31, 2018): 33–42. http://dx.doi.org/10.24246/agric.2018.v30.i1.p33-42.
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A study of design and evaluation of “golden year” themed vertical garden had been done in Salaran, Wates Village, Semarang Regency. It was aimed to design, apply, and evaluate the vertical garden as a visual object. The methods used were observation, primary and secondary data collection, interview, and sketch design. Respondent’s perception of the visual object in terms of function, implementation of design principles, and aesthetical value was measured with Likert scale and scenic beauty estimation. The conclusions are: 1) a “golden year” themed vertical garden had been successfully created in a sketch by using sketchup software which is applied through a softscape of red bromelia, green Bromelia, Adam and Eve, and ornamental broccoli; and a hardscape of mahogany wood, geotextile carpet, UV plastic, and automatic irrigation system. 2) The “golden year” themed vertical garden was functioned to create visual effect, make a landmark, gives inspirations, and increases the diversity; but it was less functioned as the wind breaker. Unity, accentuation, proportion, accessibility, safety, and appropriate hard scape selection had been applied; but balance, rhythm, circulation, and the durability of materials were still less seen. The “golden year” themed vertical garden can improve the aesthetical value of its landscape.
Keywords: Vertical Garden, Golden Year, Design, Design Application, Design Evaluation.
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Žavbi Milojević, Nina. "The classical dramatic text and its value in contemporary theatre." Journal of Education Culture and Society 4, no. 1 (January 12, 2020): 228–35. http://dx.doi.org/10.15503/jecs20131.228.235.
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This paper deals with the classical dramatic text and its staging in contemporary theatre. Specifi cally, it aims to show that classical texts can address topical issues. This is illustrated by the example of several stagings of Ivan Cankar’s Hlapci, one of the most infl uential dramatic texts in Slovene literature. The history of this dramatic text is presented from its fi rst publication and reception to the different stagings in various Slovene professional theatres. The focus is on how the situation in Slovene society is refl ected in each examined staging. The drama Hlapci was fi rst staged almost one hundred years ago, when the staging followed closely the dramatic text. However, after 1980 stagings became more independent from the text and more artistic freedom was allowed. The paper will prove that classical dramatic texts are very appropriate for staging in contemporary theatre, especially with an innovative director’s approach.
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Wright, George T., and Anthony Graham-White. "Punctuation and Its Dramatic Value in Shakespearean Drama." Shakespeare Quarterly 48, no. 4 (1997): 482. http://dx.doi.org/10.2307/2871264.
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Blake, N. F., and Anthony Graham-White. "Punctuation and Its Dramatic Value in Shakespearean Drama." Modern Language Review 92, no. 2 (April 1997): 450. http://dx.doi.org/10.2307/3734849.
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Pei, GAO. "Interpretation of Tragedy in Death of a Salesman from the Social Perspective." Journal of Education, Teaching and Social Studies 2, no. 4 (September 29, 2020): p38. http://dx.doi.org/10.22158/jetss.v2n4p38.
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Death of a Salesman is the representative work of Arthur Miller, a famous modern American dramatist, which creates the character Willy Loman who arouses the strong aesthetic emotion of tragedy. From the perspective of individual, family and society, Willy’s death reflects the tragic connotation of lost individual self-value, distorted role of family pillar and shattered dreams at the bottom of society in American society.
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Boetzkes, Amanda. "Cold Sun • Hot Planet." South Atlantic Quarterly 120, no. 1 (January 1, 2021): 91–102. http://dx.doi.org/10.1215/00382876-8795742.
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This article considers how Georges Bataille’s account of solarity informs a planetary perspective. Bataille is credited with formulating a critical analysis of “solar societies” whose economies are shaped by the exchange of solar energy. However, a sometimes understated facet of Bataille’s reading of solarity is the way he positions living beings at the axis of the sun and the earth, and in the midst of elemental forces such as cold, heat, light, and darkness. Bataille deploys these elemental forces in his writing in order to disfigure the restricted economy of capitalism and its bourgeois subjects. Rather than considering it as a social or subjective predilection, this article emphasizes solarity as a critical form and disorganizing force. This article addresses Bataille’s elemental aesthetics and his positioning of the subject as both a capitalist predator that accumulates solar energy, and a speculative subject, a being who is preyed upon by its own accumulation of energy and that is ultimately disfigured and expended by it. I argue that solarity arises in Bataille’s writing as an aesthetic operation per se. He invokes a mythological language to dismantle the scientific and philosophical tradition of the Enlightenment. Solarity is therefore the antithesis of Enlightenment thinking and values: it entails the invocation of mythic force in order to dramatize earthly elements and their anarchical energy exchange. I connect Bataille’s mythic language to recent theorizations of planetarity and political ecology, from Gayatri Spivak, to Isabel Stengers, Bruno Latour, and Donna Haraway. I emphasize how his aesthetic maneuvers disfigure the restricted economy of concepts that accompanies the resourcing of the earth.
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Tarlinskaja, Marina. "Evolution of Verse Form, Plots and Characters in English Plays (mid-16th to mid-19th centuries)." Studia Metrica et Poetica 6, no. 1 (August 29, 2019): 7–19. http://dx.doi.org/10.12697/smp.2019.6.1.01.
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The aim of this essay is to demonstrate how the rhythmical evolution of English dramatic iambic pentameter parallelled the changes of aesthetic tastes and social values of English society from the mid-sixteenth to mid-nineteenth century. During 250 years the evolution of such features as the abundance or absence of enjambments, the use of constrained or loose iambs, and some others corresponds to the changes in the architecture of the theaters, the social structure of the audience, the manners of declamation, the complexity of poetic language, and the types of characters and plots the playwrights used.
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Germanou, Maria. "Brian Friel's Dramatic Artistry: "The Work Has Value" (review)." Comparative Drama 41, no. 1 (2007): 126–29. http://dx.doi.org/10.1353/cdr.2007.0003.
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Elkheshen, Gamal ElDin. "Digital Revolution and Ideologies of Thought and Creativity in Graphic Arts." Journal of Art & Architecture Research Studies - JAARS 1, no. 1 (June 21, 2020): 157–71. http://dx.doi.org/10.47436/jaarsfa.v1i1.27.
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What the scientific tide and digital revolution presented of methods and ideas for the structural and aesthetic construction of the workspace is what we will notice in this research by standing on one of the contemporary arts, which I borrowed from the digitization, which is the digital art that means the set of means that a person uses to reach a dramatic result using the computer Automated, The researcher has developed an equation to elicit the aesthetic concept of graphic artwork through the digital media used (digital art x digital environment) =the resulting digital product=new visual values, digitization has become as a technique in graphic arts based on digital materials, as the French philosopher "Pierre Levy" explains, and the researcher here represents "Art project”, ”Augmented reality” interactive application, shown at Venice biennale 56th, Egyptian pavilion as a practical Methods of the research in those digital experiments.
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Zolfagharian, Mohammad Ali, and Angelica Cortes. "Motives For Purchasing Artwork, Collectibles And Antiques." Journal of Business & Economics Research (JBER) 9, no. 4 (April 12, 2011): 27. http://dx.doi.org/10.19030/jber.v9i4.4207.
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Art is disaggregated into tangible and intangible offerings. Intangible art is one-time experiences of aesthetical and nostalgic products with no post-consumption exchange value. Tangible art preserves post-consumption exchange value. While psychographics of the consumers of intangible art are well-established, consumers of tangible art are under-researched. This research identifies and measures 16 different motives that underlie the purchase of artwork, collectibles and antiques. Heavy-consumers are found to score significantly higher than light-consumers on 8 of these motives: expected price fairness (economic); social acceptability and group identification (normative); aesthetics, pleasure and immersion (hedonic); culture (intellectual); and harmony. Findings are discussed and implications and limitations are also included.
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Cabrini, Michele. "Breaking Form through Sound: Instrumental Aesthetics, Tempêête, and Temporality in the French Baroque Cantata." Journal of Musicology 26, no. 3 (2009): 327–78. http://dx.doi.org/10.1525/jm.2009.26.3.327.
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Abstract Between Lully's death (1687) and Rameau's operatic debut (1733), composers of the tragéédie en musique experimented with instrumental effects, greatly expanding the dramatic role of the orchestra. The profusion of these effects coincides with a new aesthetic reappraisal of instrumental music in France, as can be observed in the writings of Du Bos. The tempêête constitutes one of the most remarkable examples. Its sonic violence was too strong to end with the instrumental movement that depicted it; indeed, composers often prolonged the storm scene into a series of movements all connected by thematic material and key to produce a verisimilar effect of the storm's momentum, thereby creating what I term ““the domino effect.”” By the early eighteenth century, the tempêête had become such a well established and popular topos that it began migrating to non-staged genres like the cantata. The transference of the tempest topos from the tragéédie lyrique to the French baroque cantata entailed the breaking of formal frames. Unlike the supple dramatic structure of French opera, the cantata adopted the more rigid mold of the Italian opera seria——the recitative-aria unit——which separated the flow of time into active and static moments. Three case studies——Bernier's Hipolite et Aricie (1703), Jacquet de la Guerre's Jonas (1708), and Morin's Le naufrage d'Ulisse (1712)——demonstrate how composers manipulated this mold to satisfy a French aesthetic that valued temporal continuity for the sake of verisimilitude. All three composers employ key and instrumental music to portray the storm's forward momentum across recitatives and arias, relying primarily on rhythmic energy and melodic activity to create continuity. Although each composer's musical response varies according to personal style, what emerges is a shared aesthetic and compositional strategy employed to portray an event whose relentless power transcends the temporal boundaries between recitative and aria. This aesthetic of continuity and linearity shown by French baroque composers influenced the treatment of the tempest topos in the later eighteenth-century repertory, vocal and instrumental alike, including opera, the concerto, the overture-suite, and the characteristic symphony.
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Weber, Darrell, and David Nelson. "Die-off of Utah Juniper Natural Bridges National Monument." UW National Parks Service Research Station Annual Reports 15 (January 1, 1991): 205–8. http://dx.doi.org/10.13001/uwnpsrc.1991.3025.
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The pinyon-juniper woodland is a wide spread vegetation type in the southwestern United States that is estimated to cover from 30 to 40 million hectares. They pinyon-juniper vegetation provides a source of fuel, building materials, charcoal, pine nuts, christmas trees and folk medicines. About 80% of the acreage is grazed by livestock and wildlife. In Utah, this ecosystem is a large component (62,705 km2 or 28.6%) of the vegetation. Particularly in the Utah National Parks, the pinyon-juniper woodlands valued for their watershed, aesthetic and recreational values. Over the past several years extensive foliar damage to Utah juniper (Juniperus osterosperma (Torr.) Little) has been observed in the Natural Bridges National Monument. The characteristic pattern is for the distal foliage to become chlorotic and die. Mortality progresses along twigs until whole branches or even the entire tree dies. Reports of similar foliar damage has been reported in Canyonlands National Park, Arches National Park, Mesa Verde National Park, Colorado National Monument, areas near Cedar City in southwestern Utah and in eastern Nevada, which would indicate that the foliar damage is a widespread problem. The cause for the foliar damage is unknown. The loss of juniper trees in the national parks in southern Utah would have a dramatic ecological impact and would be an aesthetic blight in the parks. The purpose of this investigation is to determine the cause of the die-off of Utah junipers and suggest management options concerning the juniper die-off problem.
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Monginaitė, Laimutė. "Figurativeness in the Sense of Distraction (Studies by Lithuanian Authors)." Coactivity: Philosophy, Communication 25, no. 1 (April 20, 2017): 75–84. http://dx.doi.org/10.3846/cpc.2017.278.
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The phenomenon of the sense of distraction and the feature of figurativeness in it are analysed with the help of phenomenological description, the concept of sense of Juozas Mureika and the conception of imagination of Kristupas Sabolius. The position is followed that the acts of sense and the being of those existing found in them cannot be known in a purely rational way. Knowing is reached with intuitive insights. The experiencing of distraction is approached as one of the norms or intentions of consciousness. The sense of distraction is acknowledged to be a basic value becoming more and more important in a modern stressful life. The article indicates that the intentional beings of the sense of distraction are expressed in really various human activities and are distinguished with mono-subjectivity and unrepeatable feeling. Figurativeness is perceived as the result of imaginary, creative activity of the imagination and aesthetical quality. The peculiarities of the formation of figurativeness are revealed through the phenomenological description of imagination by Sabolius. Four features of the act of visualisation, determining the quality of figurativeness, are emphasized: intentionality, power of transformation, relation with emotions and the symbolism of the image. The conclusion is made that figurativeness, being the result of the creative act (visualisation) of imagination, appears as aesthetical quality or the ensemble of qualities. Figurativeness sharpens the sense of distraction and calls the wave of new experiences.
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Draskic-Vicanovic, Iva. "Philosophy as seducing of mind." Theoria, Beograd 48, no. 3-4 (2005): 37–42. http://dx.doi.org/10.2298/theo0504037d.
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Historically, philosophers have in the main treated Sophists and Socrates and Plato as two opposite streams of philosophical thinking. And they certainly are the philosophical oppositions as to the question about both status of knowledge and status of value (ethical and aesthetical). But there seems to be something in common to Socrates and Plato on the one side, and to Sophists, namely Gorgias, on the other. This paper recognizes the philosophical enthusiasm, zeal and ardour as that notion under which united and consolidated Sophists', Socrates' and Plato's philosophy and that is, at the same time, original and unique product of Mediterranean spirit and culture.
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Veale, David M., and Christina Lambrou. "The Importance of Aesthetics in Body Dysmorphic Disorder." CNS Spectrums 7, no. 6 (June 2002): 429–31. http://dx.doi.org/10.1017/s1092852900017922.
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ABSTRACTIt is hypothesized that body dysmorphic disorder (BDD) patients are firstly more “aesthetical,” an attribute much like being musical, which varies between different individuals. This results in a greater emotional response to more attractive individuals and placing greater value on the importance of appearance in their identity compared with healthy individuals. Some BDD patients may have greater aesthetic perceptual skills. This is manifested in their education or training in art and design. Secondly, BDD patients may have higher aesthetic standards than the rest of the population. Their failure to achieve an unrealistic aesthetic standard is at the core of BDD, leading to severe distress and handicap.
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Sofiana, Yunida. "Memahami Estetika dari Sudut Pandang Desain Interior." Humaniora 6, no. 3 (July 30, 2015): 339. http://dx.doi.org/10.21512/humaniora.v6i3.3360.
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The term aesthetic has always become part of design. Without aesthetic, design has just a functional object. Aesthetic in design, particularly in interior design, has been influenced by many factors, which are aesthetic value, aesthetic perception, and time frame. Aesthetic has subjective meaning related to time frame and objective meaning related to implementation of element and principles of design on aesthetic term. Aesthetic perception is how we judge and see the object using our own thinking and value. Time frame is where and when the aesthetic value happens. Interior design trend right now has been influenced by technology in many ways so the concept of modern design theme is always the best choice for designer. However, using modern theme as a design concept has to be implemented as a whole theme and related to aesthetical value so that the design will gain much appreciation from others. This paper used deductive method to explain the theory of aesthetic and the implementation of aesthetic value in interior design context. Design should speak louder than it looked.