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Journal articles on the topic 'Christmas play'
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1
McMurray, Janice. "Writing a Christmas Play." Activities, Adaptation & Aging 14, no. 1-2 (December 21, 1989): 117–22. http://dx.doi.org/10.1300/j016v14n01_20.
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Millington, Peter. "The Truro Cordwainers' Play: A "New" Eighteenth-Century Christmas Play." Folklore 114, no. 1 (June 1, 2003): 53–73. http://dx.doi.org/10.1080/0015587032000059870.
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Waldner, Liz. "Amen (On Christmas Day): Prologue; The Play." Iowa Review 30, no. 2 (October 2000): 97. http://dx.doi.org/10.17077/0021-065x.5264.
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Peyre, Marie. "World peace and play for all this Christmas." Early Years Educator 3, no. 8 (December 2001): 5. http://dx.doi.org/10.12968/eyed.2001.3.8.15109.
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Potter, Robert. "La Sebila Casandra: Gil Vicente’s Postmodern Feminist Christmas Play." European Medieval Drama 9 (January 2005): 109–26. http://dx.doi.org/10.1484/j.emd.2.300031.
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Walpole, Hugh. "Christmas Pantomime." Scenario: A Journal of Performative Teaching, Learning, Research XII, no. 1 (January 1, 2018): 104–6. http://dx.doi.org/10.33178/scenario.12.1.11.
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Kontext: Der achtjährige Jeremy, Sohn des Pfarrers Cole, hat sich tagelang inbrünstig auf die Vorstellung von “Dick Whittington” gefreut, die in der Gemeindehalle des kleinen Ortes Polchester stattfindet. Nun ist er am Morgen in Ungnade gefallen und darf seine Eltern und seine beiden Schwestern nicht zur Aufführung begleiten. Sein Onkel Samuel, erfolgloser Maler und schwarzes Schaf der Familie, nimmt ihn trotzdem heimlich mit. Auf der Empore der Gemeindehalle erlebt Jeremy mit allen Sinnen seine erste Theateraufführung, die – ungeachtet ihrer Mängel – die Welt für ihn verzaubert.. Context: For days, eight year-old Jeremy, the son of Reverend Cole, has fervently been looking forward to the play “Dick Whittington”, that is about to be staged in the assembly rooms of the small town of Polchester. Due to him misbehaving in the morning, he is barred from going to the show. But Uncle Samuel, unsuccessful painter and black sheep of the family, takes him along on the sly. On the gallery of the assembly rooms, Jeremy experiences his first theatre production with all his senses, a production which – despite its shortcomings – makes his world “a more magical place than it had ever been before.” […] Uncle Samuel paused at a ...
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McCorristine, Shane, and Jane S. P. Mocellin. "Christmas at the Poles: emotions, food, and festivities on polar expeditions, 1818–1912." Polar Record 52, no. 5 (June 23, 2016): 562–77. http://dx.doi.org/10.1017/s0032247416000437.
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ABSTRACTIn this article we survey descriptions of Christmas celebrations contained in the diaries and narratives of polar explorers (mostly British) from 1818 to 1912. We find that Christmas was a time almost universally associated with the display of positive emotions, although this was in the context of increased amounts of stress associated with the challenges of over-wintering at high latitudes. Firstly, we argue that Christmas was crucial to the well-being of expedition participants because it opened emotional channels that enabled them to cope with stress. Secondly, we argue that Christmas revealed a play space in which certain types of normally deviant behaviour were welcomed. Thirdly, we argue that Christmas was a major nutritional event for over-wintering crew members, satisfying a need for calories that was rarely met in the everyday rations.
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Murphy, Lucinda. "The British Nativity Play." Journal of the British Association for the Study of Religion (JBASR) 20 (September 21, 2018): 118. http://dx.doi.org/10.18792/jbasr.v20i0.33.
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Year upon year the scene is set for what has, for many in Britain, become a strikingly and tangibly familiar image of Christmas and ultimately of childhood. Shepherds fiddle distractedly with their tea-towels. Angels preen their sparkly foil wings and hoist up their white woollen tights. Proudly bejewelled Kings fight over makeshift cardboard crowns. The school nativity play has become an ingrained part of British culture, and perhaps even something of a rite of passage. Despite the continuing prevalence and popularity of this ritualized narrative in British churches and schools, this phenomenon has not, until now, attracted any sustained academic study.
This paper discusses four qualitative interviews I conducted in 2016 with parents whose children had recently performed in a nativity play at a non-faith state primary school in London. Examining how these parents interpreted their experiences, understandings, and memories of this dramatized narrative, I consider how the religious/cultural narrative is retold and reinterpreted through and in relation to personal life narratives. I draw upon anthropological and psychological theories of meaning seeking, memory making, and identity construction to explore how personal participation in, connection to, and narration of cultural/religious narratives might impact the type of valueattributed to their contents.
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Shevchenko, Ekaterina S. "The Visual Codes of “The Ivanovs’ Christmas Party” Play by Alexander Vvedensky." Current Issues in Philology and Pedagogical Linguistics 35, no. 3 (2019): 180–86. http://dx.doi.org/10.29025/2079-6021-2019-3-180-186.
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Vučinić-Nešković, Vesna. "The Stuff of Christmas Homemaking: Transforming the House and Church on Christmas Eve in the Bay of Kotor, Montenegro." Issues in Ethnology and Anthropology 3, no. 3 (December 1, 2008): 103–28. http://dx.doi.org/10.21301/eap.v3i3.6.
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The domestic burning of Yule logs on Christmas Eve is an archaic tradition characteristic of the Christian population in the central Balkans. In the fifty years following World War Two, the socialist state suppressed these and other popular religious practices. However, ethnographic research in Serbia and Montenegro in the late 1980s showed that many village households, nevertheless, preserved their traditional Christmas rituals at home, in contrast to the larger towns, in which they were practically eradicated. Even in the micro-regions, such as the Bay of Kotor, there were observable differences between more secluded rural communities, in which the open hearth is still the ritual center of the house (on which the Yule logs are burned as many as seven times during the Christmas season), and the towns in which only a few households continued with the rite (burning small logs in the wood-stove). In the early 1990s, however, a revival of domestic religious celebrations as well as their extension into the public realm has occurred. This study shows how on Christmas Eve, houses and churchyards (as well as townsquares) are being transformed into sacred places. By analyzing the temporal and spatial aspects of this ritual event, the roles that the key actors play, the actions they undertake and artifacts they use, I attempt to demonstrate how the space of everyday life is transformed into a sacred home. In the end, the meanings and functions of homemaking are discussed in a way that confronts the classic distinction between private and public ritual environs.
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Dudley, Martin R. "Natalis Innocentum: the Holy Innocents in Liturgy and Drama." Studies in Church History 31 (1994): 233–42. http://dx.doi.org/10.1017/s0424208400012894.
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It has come to our knowledge, not without grievous amazement and displeasure of heart [Bishop Grandisson wrote to the clergy of Exeter Cathedral and of other collegiate churches in his diocese before Christmas 1360] that for these past years and some years preceding, at the most holy solemnities of Christ’s Nativity, and the feasts of St Stephen, St John the Apostle and Evangelist, and the Innocents, when all faithful Christians are bound to busy themselves the more devoutly and quietly in praise of God and in Church Services, certain Ministers of our aforesaid Church, together with the boys, not only at Matins and Vespers and other hours, but also (which is more detestable) during the solemnity of the Mass have rashly presumed, putting the fear of God behind them, after the pernicious example of certain Churches, to associate together within the Church itself and play certain foolish and noxious games, unbecoming to clerical honesty.
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Ion, Ciprian. "Canti prophani by Sabin Pautza: innocent child’s play illustrated through elaborate composition play." Artes. Journal of Musicology 20, no. 1 (March 1, 2019): 231–41. http://dx.doi.org/10.2478/ajm-2019-0013.
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Abstract Composer Sabin Pautza’s creation, of a style diversity that is rare in the contemporary landscape of Romanian music, stands out through its effervescence and colourfulness, backed by the extraordinary mastery of writing techniques. The work we are referring to in this article, Canti prophani, is a vocal-symphonic suite written for a children’s choir. The suite includes three contrasting miniatures (fast-slow-fast), united through their motif, Maico, Maico..., Dalbe flori and Dimineața ziua bună, representing a translation into music language of the main features of childhood games: repetitive action, rhythm, word play. In terms of language, the children’s choir is assigned only the pure sonority of diatonic modes, while the orchestra overlays harmonic and polyphonic structures that are much more elaborate. The lay character of the lyrics, underlined in the suite’s title, shifts the emphasis from the religious area to that of purity of heart and of sincere joy, the focus being on the high emotions around the feast of Christmas. This brief analytical examination will only highlight the main approaches to the sound material, looking at both archaic influences and at the modern composition techniques, as well as at the manner in which the two blend together. The actual thread that binds all three sections of this work, the image of the mother, occurs everywhere, as the mother is invoked throughout the length of the three parts.
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Zhang, Jin Gan, Hui Zheng, Jian Gen Bu, and Cheng Gang Li. "The Application of ROV for the Subsea Christmas Tree Installation in the LiWan3-1 Deepwater Oilfield." Applied Mechanics and Materials 331 (July 2013): 39–42. http://dx.doi.org/10.4028/www.scientific.net/amm.331.39.
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Chinas offshore oil and gas has been developed from shallow water to deep water. Subsea production facilities play more and more role in deepwater oil and gas fields, in which Christmas tree is the key equipment to control and regulate the oil well production of deepwater production systems, but it has great installation costs and risk. For complex underwater environment, it is necessary to find a best way to install the Christmas tree securely and rapidly. ROV (Remotely Operated Vehicle) is wildly used in the field of offshore oil, especially in deep water for its large working depth, safe, efficient and other characteristics, and it has become an indispensable tool for development of deep-sea oil and gas. In one Christmas tree installation at Liwan3-1 deepwater oilfield, the ROV succeeded in assisting the installation of Christmas tree. The solutions for winding and wrong operation risk in installation process are given in the end.
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Kurochkin, Oleksandr. "European wan-dering of Christmas manger (to-wards the history of the nativity play)." Current issues of social sciences and history of medicine, no. 1 (April 29, 2015): 8–14. http://dx.doi.org/10.24061/2411-6181.1.2015.65.
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Casey, Paul F. "COURT PERFORMANCE IN BERLIN OF THE SIXTEENTH CENTURY: GEORG PONDO’S CHRISTMAS PLAY OF 1589." Daphnis 32, no. 1-2 (January 25, 2003): 57–72. http://dx.doi.org/10.1163/18796583-90001155.
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Korniy, Lidiya. "Ukrainian School Christmas Drama of the XVIIth–XVIIIth Centuries and Puppet Nativity Play Theatre: Problem of Adaptation and Interpretation of a Musical Factor." Folk art and ethnology, no. 2 (July 30, 2021): 5–14. http://dx.doi.org/10.15407/nte2021.02.005.
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The article states that the Ukrainian baroque art has become differentiated into the high, middle and lower stylistic levels. There were certain connections between them, and new art genres appeared on the verges of these levels. The problem of the connection between distinct stylistic levels of the Ukrainian musical baroque has not yet attracted the attention of researchers. The study examines the links between the Ukrainian school Christmas drama of the XVIIth– XVIIIth centuries and the puppet Nativity play theatre. It is noted that for the first time a comparison of these two kinds of theatrical art is drawn in terms of the use of a musical factor in them. It is established that the first act of the Nativity play drama is related to the high style of Ukrainian Christmas school drama. This is revealed on the basis of analysing the dramatic functions of a Choir in both school drama and Nativity play drama. A choir in these spectacles took an active part in revealing the Christmas story, playing the role of a character. What they had in common was the genre of spiritual chant with the syllabic versification. Despite its association with the high style of school drama, the Nativity play drama was a quite new theatrical genre that belongs to the middle stylistic level. Focusing on the folk environment, authors of the Nativity play drama intelligibly conveyed to a wide audience the sacred plot. It is noted that in the second act of the Nativity scene were adapted interludes of school dramas, which represented the lower stylistic level of the Baroque. In this act, a funny line came to the fore, and a musical component is marked by influences of the Ukrainian musical folklore with a predominance of its dancing variety. The interaction of folklore with the lower version of the Baroque had a great potential for the further development of the Ukrainian national theatre. Due to the fact that music was an integral part of the puppet Nativity play drama and played an important dramatic function, this theatrical spectacle, like some school dramas, had the features of the drama with music genre. Thus, school drama and Nativity play drama created the foundation, on which in the XIXth century, the Ukrainian dramaturgy emerged, with a significant role of the musical factor in it, which was essentially a drama with music.
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Widmer, David A. J., Gil Vicente, and Cheryl Folkins McGinnis. "The Sibyl Cassandra: A Christmas Play with the Insanity and Sanctity of Five Centuries Past." Sixteenth Century Journal 35, no. 2 (July 1, 2004): 631. http://dx.doi.org/10.2307/20477030.
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Stephan, Brother. "Nativity as Living Picture: the Christmas Crib at Andechs." New Theatre Quarterly 6, no. 24 (November 1990): 379–81. http://dx.doi.org/10.1017/s0266464x00004954.
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In the year of the Oberammergau Passion Play, with its reminder both of the long tradition of such celebrations and their danger of being subsumed into the ‘heritage industry’, it is instructive to be reminded that the best traditions can also be the most recent, because the freshest and most relevant to the needs to which they respond. Also in Bavaria, and virtually unnoticed by the tourist industry, a nativity celebration is held each Christmas, in a hillside stable to which the participating donkey knows its own way – a ‘living picture’, which began alongside a charitable market and an exhibition of cribs as part of one small community's seasonal celebrations. Its creator, Brother Stephan, talks here about the event to Walter Siegfried.
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Holland, Peter. "The Play of Eros: Paradoxes of Gender in English Pantomime." New Theatre Quarterly 13, no. 51 (August 1997): 195–204. http://dx.doi.org/10.1017/s0266464x00011209.
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Christmas pantomime, that peculiarly English form whose uncertain origins go back to the early eighteenth century, has evolved its own distinctive typology of cross-dressed characters, with a Principal Boy who is a girl, a Dame who is indisputably male, and even those humanoid visitors from the animal kingdom known as ‘skin parts’. David Mayer explored ‘The Sexuality of English Pantomime’ in the seminal ‘People's Theatre’ issue of the original Theatre Quarterly (TQ4, 1974), and twenty years on Peter Holland takes up the debate in the light of recent developments in sexual politics, critical approaches to gender – and, not least, the continuing and not always expected evolution of what remains a very live form indeed. Peter Holland is about to move from his present post as Judith E. Wilson Reader in Drama and Theatre in the Faculty of English at Cambridge to become the new Director of the Shakespeare Institute in Stratford. An earlier version of his present article was presented as a paper at the conference on ‘Eros e commedia sulla scena inglese’, at the Terza Università in Rome in December 1995.
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Underwood, Lucy. "Catechesis, Socialization and Play in a Catholic Household, c.1660: the ‘Children’s Exercises’ from the Blundell Papers." Studies in Church History 50 (2014): 269–81. http://dx.doi.org/10.1017/s0424208400001765.
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Among the papers of the Blundell family of Little Crosby, Lancashire, are two dramatic sketches entitled ‘An Exercise to Embolden the Children in Speaking’ and ‘Children Emboldened to Speak. By an Exercise’. They were written by William Blundell, recusant, royalist and Lancashire gentleman, in 1663 and 1665 for his daughters and their cousins to perform, probably at Christmas family gatherings. Humorously mingling Catholic catechesis, social education, the exercise of parental authority and childish misbehaviour, these sketches open a rare window onto the life of a Catholic household in the Restoration era. They offer an opportunity to explore the household as the location for the practice and appropriation of religion.
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Mann, Kristin Dutcher. "Christmas in the Missions of Northern New Spain." Americas 66, no. 03 (January 2010): 331–51. http://dx.doi.org/10.1017/s0003161500005769.
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In 1982, native historian Joe Sando vividly described the Christmas season at Jémez Pueblo in northern New Mexico. Throughout the pueblo, figures of the Christ Child lay on display in homes in prominent, specially-decorated areas representing the stable in Bethlehem. During his childhood, Sando remembered that Hemish families roasted corn in their fireplaces, while elders drew pictures of wild game animals and birds, as well as important crops, on the wall next to the fireplace, in hopes that the birth of Christ would also result in the birth of the animals and plants drawn on the wall. In Jémez today, although the roasting of corn and drawings on the fireplace walls have been replaced by the exchange of gifts and watching television, some seasonal customs continue. Pine logs for communal bonfires rest neatly in square piles in front of each home. Christmas Eve bonfires attract the newborn Infant Jesus, and children gleefully play and dance around them. When the fires die out, the Hemish return to their homes to await midnight mass. After mass at the church, worshipers follow the newborn Infant in procession through the community. The next morning, as the first rays of daylight become visible in the east, animal dancers appear on the hilly skyline to the east and southwest. By the time the sun leaves the eastern horizon, the animals have arrived in the village, gathering in front of the drummers, who sing welcoming songs. The people arrive to welcome the animals, who process to the plaza, where they dance all day.
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Mann, Kristin Dutcher. "Christmas in the Missions of Northern New Spain." Americas 66, no. 3 (January 2010): 331–51. http://dx.doi.org/10.1353/tam.0.0214.
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In 1982, native historian Joe Sando vividly described the Christmas season at Jémez Pueblo in northern New Mexico. Throughout the pueblo, figures of the Christ Child lay on display in homes in prominent, specially-decorated areas representing the stable in Bethlehem. During his childhood, Sando remembered that Hemish families roasted corn in their fireplaces, while elders drew pictures of wild game animals and birds, as well as important crops, on the wall next to the fireplace, in hopes that the birth of Christ would also result in the birth of the animals and plants drawn on the wall. In Jémez today, although the roasting of corn and drawings on the fireplace walls have been replaced by the exchange of gifts and watching television, some seasonal customs continue. Pine logs for communal bonfires rest neatly in square piles in front of each home. Christmas Eve bonfires attract the newborn Infant Jesus, and children gleefully play and dance around them. When the fires die out, the Hemish return to their homes to await midnight mass. After mass at the church, worshipers follow the newborn Infant in procession through the community. The next morning, as the first rays of daylight become visible in the east, animal dancers appear on the hilly skyline to the east and southwest. By the time the sun leaves the eastern horizon, the animals have arrived in the village, gathering in front of the drummers, who sing welcoming songs. The people arrive to welcome the animals, who process to the plaza, where they dance all day.
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Butterworth, Robert D. "THOMAS HOOD, EARLY VICTORIAN CHRISTIAN SOCIAL CRITICISM, AND THE HOODIAN HERO." Victorian Literature and Culture 39, no. 2 (May 18, 2011): 427–41. http://dx.doi.org/10.1017/s1060150311000076.
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The criticisms of society made by Thomas Hood in the poems he wrote in the years immediately prior to his death in 1845 are from a very particular stance. The poems specifically measure society against Christian values. Thus, Hood bewails how “Christian charity” should “hang your head” (“The Workhouse Clock” 63), or on its “rarity” (“The Bridge of Sighs” 43).The seamstress in “The Song of the Shirt” expresses disbelief that “this is Christian work” (16). The pauper in “A Pauper's Christmas Carol” muses over his treatment on “our Saviour's natal day” (2). The gin to which the beleaguered are driven is the “dram of Satan” and is drunk, “While Angels sorrow, and Demons grin” (“A Drop of Gin” 11, 72). In “The Lady's Dream” the neglectful attitude shown by society to its suffering members is damningly put alongside the Biblical reassurance that, “even the sparrow falls / Not unmarked of God” (“The Lady's Dream” 77–78). “The Lay of the Labourer,” as we shall see, also makes play with Scriptural references. In this Christian analysis of society's ills, the suffering and going wrong of society are the product of setting aside God's wisdom in the decrees He gives about how to organise human dealings.
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Boynton, Susan. "Work and Play in Sacred Music and its Social Context, c. 1050–1250." Studies in Church History 37 (2002): 57–79. http://dx.doi.org/10.1017/s0424208400014650.
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In the central and high Middle Ages, liturgical singing was a form of work, even if it is absent from the typology of ‘work’ as understood by modern historians. The notion of the ‘three orders’, dividing society into those who work, those who pray, and those who fight, does not acknowledge the laborious character of the medieval monastic horarium. On occasion, however, singers could also experience the liturgy in a lighter vein. Clerical celebrations during the Octave of Christmas transformed musical work into its mirror image, resulting in musical play that was structured in the image of work, as illustrated by cathedral ordinals and liturgical dramas. Indeed, the opposition between the strictly maintained daily liturgical structure and the release from routine was the central ludic element of the annual festivities – the crossing of the boundary between the use and the abuse of liturgical time. To demonstrate the significance of that boundary, this paper will analyse texts that show the perception of singing as work, and then turn to sources demonstrating the process by which liturgical material was subverted into play.
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Sherazi, Melanie Masterton. "“Playing It Out Like a Play”: Joe Christmas and Joanna Burden’s Erotic Masquerade in William Faulkner’s Light in August." Mississippi Quarterly 67, no. 3 (2014): 483–506. http://dx.doi.org/10.1353/mss.2014.0007.
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Mehta, Samira K. "Christmas in the Room: Gender, Conflict, and Compromise in Multi-Religious Domestic Space." Religions 11, no. 6 (June 9, 2020): 281. http://dx.doi.org/10.3390/rel11060281.
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Interfaith relationships offer particular potential for creating religious coexistence; they also play out very differently in domestic space than in public and civic spaces, with the result that interfaith marriage becomes an important, yet unique, site of religious cooperation, co-existence, and conflict. The article argues that examinations of interfaith families must take three factors into account, each of which involves careful attention to the particular power dynamics of the family in question. First, scholars must think about the broader context in which the interfaith family has come to exist. Second, scholars must consider that the emotional and power dynamics of domestic space often have little in common with the compromises and power dynamics of public space. Lastly, while gender is not generally a key category of analysis for thinking about interfaith encounters in public space, gender, both as it shapes power dynamics and as it drives assumptions about childrearing and domestic labor, shapes interfaith family life and requires attendant scholarly attention.
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de Villiers, Rick. "Mr Eliot’s Christmas Morning Service: Participation, Good Will, and Humility in Murder in the Cathedral." Literature and Theology 34, no. 2 (February 29, 2020): 166–83. http://dx.doi.org/10.1093/litthe/fraa003.
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Abstract Despite the coy designation of ‘Interlude’, the sermon in T.S. Eliot’s Murder in the Cathedral presents a nexus of tension. On the one hand, it constitutes a crucial dramatic component of a play that balances on the knife-edge between pride and humility. On the other hand, it retraces certain theological assimilations found elsewhere in Eliot’s writing which collectively shape his understanding of Christian humility and good will. In circling around recurring phrases and influences, this article traces a conceptual genealogy behind the play’s sermon and offers a revaluation of Murder in the Cathedral as the creative culmination of Eliot’s ongoing engagement with secular humanism.
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Fedenko, A. Yu. "Musical and dramatic creativity by Olena Pchilka in the development of children musical theater in Ukraine." Problems of Interaction Between Arts, Pedagogy and the Theory and Practice of Education 56, no. 56 (July 10, 2020): 73–92. http://dx.doi.org/10.34064/khnum1-56.05.
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Background. Today in the minds of Ukrainians there is a process of reappraisal of values, which requires new approaches to the cultural education of citizens. At the current stage of the formation of the Ukrainian state, in front of its culture, in particular, children education, important and responsible educational tasks arise for the younger generation to develop a worldview focused on national ideals and traditions, preserved in folk songs, tales, in outstanding literary, musical works and other significant achievements of spiritual culture. That is why there is a need to study the children musical and dramatic heritage of the past – an inexhaustible treasury of cultural and educational ideas that in modern conditions can get their new life. The pearl in this treasury are the children plays by Olena Pchilka. The lack of research that fully and comprehensively covers the scientific and practical significance of children musical plays by the writer for the development of children theater in Ukraine determines the relevance of the chosen topic. Appeal to it seems very timely, given the growing popularity of the children musical genre today both in the world and in Ukrainian musical culture. The process of creative development of this genre is now one of the important problems of a modern professional theater for children. Olena Pchilka’s work has been studied by such scientists as D. Dontsov (1958), I. Denysiuk (1970), N. Kuprata (1998), H. Avrakhov (1999), L. Miroshnichenko (1999, 2014), L. Novakivska (2002), L. Drofan (1992, 2004), O. Mikula (2007, 2011), V. Shkola (2010), A. Zaitseva (2014), I. Shchukina (2015), O. Yablonska (2019) and others. In critical and scientific studies, innovative genre features of the writer’s work are identified, attention is focused on the specifics of his problematic and thematic range, the features of literary and aesthetic, sociopolitical, pedagogical views of the writer. However, there is still no work that would comprehensively reveal our chosen topic. The purpose of the article is to show Olena Pchilka’s contribution to the development of children musical theater in Ukraine on the basis of a study of the children’s musical and dramatic work of the writer. The research methodology is comprehensive. The work uses knowledge from various fields of art and related sciences: the history and theory of theater, the theory of music, music and theater psychology, vocal and theater pedagogy. Analytical method is applied for Olena Pchilka’s musical plays for children’s theater, which are the material of this study. Results of the study. Results of the study. An outstanding Ukrainian writer, translator, editor, teacher Olga Petrovna Dragomanova-Kosach (1849–1930) is known better under the nickname Olena Pchilka. Half of all her works are works for children and youth: poems, translations, tales, stories, plays. Olena Pchilka’s legacy in the field of children theater, in terms of his qualities – an active educational orientation, a benevolent understanding of the child’s inner world and its highly artistic reflection in word and music – is a unique cultural phenomenon. During her lifetime, only three of her twelve plays for children were published. However, every play was put on the school stage. The author herself usually directed performances. The writer’s awareness of musical folklore formed the foundation for the creation of children plays. The author interweaves melodies in the texts of plays (“Melodies for singing”, as Pchilka called it) as an organic component of the child’s very existence, they sound in a dance, game or some imaginary action of children, thereby “feeding” and directing the Grand vector of the stage action. There is the information that Olga Petrovna became the author of some songs. The writer outlined the creative directions of her future children theater: 1) dramatizations of a “suitable” literary work; 2) a children musical play; 3) an original dramatic work with a wide use of poems, fables, folk songs, ritual dances with singing, children games with toys, and the like. “Honor your native...”, “...it is good to know your own folk language, song...” – expressions from Olena Pchilka’s article “Work of upbringing” formulate the dominant of her creativity, pedagogy, social and scientific activities and, to a high degree, her children drama. Olena Pchilka considered the life and work of Taras Shevchenko one of the most influential sources of education of conscious Ukrainians. Therefore, in her children theater, the theme of his life and creativity is a leitmotif (the play “Spring morning of Taras” etc.). Olena Pchilka was convinced that the Ukrainian language, song and native nature are a necessary and irreplaceable environment for a child. Folk art and folk mythology reign in a number of her children plays. In one of them (“Dreamdreamy, or a Fairy tale of a Green Grove” – “Son-Mriya, Kazka Zelenogo Gayu”) we meet a Forest Mouse, a Cuckoo-a girl, a Nightingale-a boy, a Crow-a girl, a Sparrow-a boy, children-Quail, Forest Mermaid, Goblin (Lisovik), Field Mermaid. For this play the author introduced the row of various songs, from the song of field workers to lullaby. The play “Bezyazykiy” (“Without tongue”) touches on the theme of refugees, the psychology of the child, his behavior in the school team, and at the same time the ethical problems of teaching. The play also includes the songs. The operetta “Two Sorceresses” (1919) is the pinnacle of Olena Pchilka’s children drama. The writer repelled from folk melodies and poems; games, ceremonies, festivals; from children’s naturalness, clarity, rainbow imagination, playfulness, organically weaving into the fabric of their works their own verses and melodies to them. The play contains a variety of numbers: solo (“Singing of the Earth”, “Singing of Santa Claus” and others), choral (“Choir of boys and girls”, “Spring-Beauty is coming”, etc.), conversational and vocal scenes (“I’m Winter, Winter”, “Girl, Fish”, “We are the clear rays of the sun”, “Lala, bobo”, etc.). Another title of the work is “Winter and Spring”, so the names of the main characters who oppose each other are placed in the title. The presence of conversational and vocal scenes, folk games and dances, comedy episodes allows us to consider the play as the predecessor of the modern genre of “musical” for children. The festive theme continues in the one-act play “A Christmas tale”. The play traces the process of becoming a person as a person. A large amount of ethnographic musical material has been introduced into the artistic structure of the work. The writer meant the “Christmas fable” as a dramatic action. To “AChristmas Fable” the author has included Ukrainian folk songs: the Christmas Carol “New joy”, a Christmas caroling girls “Oh red, plentiful viburnum”, the dance song “Dance of the groom” (“Kozachok”), the refrain “At the house of Pan Semen” etc. In 1920, in Mogilev-Podolsk, Olga Petrovna Kosach, a teacher of Ukrainian language and literature, organized a children’s drama Studio at the Ivan Franko school, where almost all the plays of her “Ukrainian children theater” were staged: “Peace-Peace!” (Mir-Mirom), “Kiselik” and “Treasure” (“Skarb”). The play “MirMirom!” is based on the games of preschool children: the song “Go, go, rain”, the game for friendship “Peace-Peace!”, the song “My mother gave me a cow” and other. Among Olena Pchilka’s children plays, there are “tales” of Patriotic content. “Treasure” performance in one action, which also include the songs, is teaching for responsibility and patriotism. In her play “Out of captivity”, where the Ukrainian childhood during the October revolution shows, the children sing the choral “liberated singing” – the singing of the Ukrainian anthem. Conclusions. It is concluded that Olena Pchilka contributed to the creation of the foundations for the formation of children musical theater in Ukraine with her creative heritage and practical activities, developing a new literary genre of musical children play, which we can call the genre of musical in modern times. After all, Olena Pchilka’s plays, written in a form accessible to children, are examples of Patriotic and cultural education, full of music, singing, folk and household melodies, folk songs, carols, poems, games, dances, rituals, celebrations. This problem is poorly understood and requires further research.
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Recchio, Thomas, Lauren Eriks Cline, and Sophie Christman-Lavin. "LIZZIE LEIGH! Or, the Murder Near the Old Mill: A Story of Three Christmas Nights – A Domestic Drama, in Three Acts by W. R. Waldron." Nineteenth Century Theatre and Film 47, no. 1 (January 28, 2020): 68–89. http://dx.doi.org/10.1177/1748372719898797.
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Richard Waldon’s play Lizzie Leigh can be interpreted as a domestic drama, a temperance play, or a sensational melodrama. In editing the script we asked ourselves which generic frame – the domestic or temperance – enables the sensation narrative to speak to an audience more powerfully today. Since the discourse of temperance is effectively culturally dead, our first editing decision was to delete the opening temperance dialogue and all subsequent references to temperance as such. We open our version of the play in the midst of an action, and all subsequent deletions to the script were made in the service of keeping the core action of the play in the foreground. We strived to capture how the action might speak to our audience within the contexts that we carry with us from our own cultural moment, our heightened awareness of forms of violence against women, and uncertainties about truth claims being the most prominent. Thus, we shortened the long paeans to lost domestic security and happiness, keeping domesticity as a thread but not a preoccupation. In other words, we kept enough of the domestic context to highlight the action with the intention to make the action as legible and as credible as we could.
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Taylor, David C. "Oedipus' Parents Were Child Abusers." British Journal of Psychiatry 153, no. 4 (October 1988): 561–63. http://dx.doi.org/10.1192/bjp.153.4.561.
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The enigmatic title is taken from my first professorial lecture given on 21 December 1980 at the Royal Manchester Children's Hospital. It linked psychiatry, mythology, and Christmas, bringing together three incredibles, in trying to bridge the credibility gap that makes paediatric/psychiatric liaison so tricky. The hospital psychiatrist is, like Tiresias in Sophocles' play, a bisexual (equally as available as repellent). Blinded when he once saw truth (mythically he peeped at Athena bathing), he was given the gift of prophecy by way of consolation. Tiresias, like the psychiatrist, although blind, knows all but, tiresomely, will not speak what he knows. “How does he know?” whisper the non-psychiatrists. “He is blind, he knows nothing”, they muse.
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Wulf, Christoph. "The Happiness of the Family." Paragrana 22, no. 1 (June 2013): 214–34. http://dx.doi.org/10.1524/para.2013.0015.
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Abstract This German-Japanese ethnographic study shows how important happiness and a satisfying life are for people, as well as how important the family is in this context. In an ethnographic study we examined the Christmas rituals of three families in Germany and the New Year rituals of three families in Japan. The goal of our study was to find out how family members create their well-being and happiness in rituals. In their mise-en-scène and staging of the happiness language and imagination, corporeality and performativity, mimetic processes, rituals, and gestures play an important role. We discovered and also analyzed transcultural elements of family happiness: the sacred foundation of the family, the importance of the communal meal, the role of the exchange of gifts, the function of narratives and memories, and the importance of time for each other to create togetherness.
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Schildmeier, Marvin. "Of Empathy, Imagination and Good Gloves." Scenario: A Journal of Performative Teaching, Learning, Research X, no. 1 (January 1, 2016): 89–106. http://dx.doi.org/10.33178/scenario.10.1.7.
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From the moment I first stepped in the door to our seminar room I was aware that I was a foreigner here. That was not just due to the fact that I had set out from my familiar Hannover on an Erasmus semester at University College Cork, but rather particularly due to the fact that in choosing the course Drama and Theatre of the 20th and 21st Century, I set foot in hitherto untested territory. As far as theatre and the performing arts were concerned, I was, in fact, a blank page. My stage experience was limited to playing Joseph in the Christmas nativity play, the canon of plays which I had read to those which were a part of the core curriculum in secondary school. I was a foreigner. The mental image of going up on stage made me feel uneasy and at moments when eyes were focused on me, I had the feeling that I could no longer properly control my body language. However, as you must sometimes set yourself new challenges, and as I thought that there could be no better point in time for such a peek outside the box than a semester abroad, in which ...
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Merenheimo, Petra, and Rauno Rusko. "Digitalization as Part of Tourism Brand Development." International Journal of Innovation in the Digital Economy 6, no. 4 (October 2015): 54–78. http://dx.doi.org/10.4018/ijide.2015100104.
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Gradually, digitalization and the Web have become an important part of tourism products. This development has been unnoticeable, but undeniable. Active customers are, via the Web, co-creating and participating in the product development of tourism destinations, especially in the form of brand development. In fact, it is possible to attribute the current development of new tourism destinations to peer production or “crowdsourcing.” This study focuses on the role Web-based platforms play in destination brand development, using the examples of two seemingly nearly similar Christmas tourism destinations as case studies: Santa Claus, Indiana, and Santa Claus Village, Rovaniemi. The study highlights the contribution this kind of customer-oriented digitalization makes to creating a competitive advantage, even a sustainable one, for tourism products with theoretical connections to a resource-based view (RBV). In digitalization, the role of the consumer as a “prosumer,” and potentially as a part of an organization's resources in a sense of RBV, is a fresh and challenging perspective that this study will introduce.
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Horn, Anne Layman. "Farcical Process, Fictional Product: Thackeray's Theatrics in Lovel the Widower." Victorian Literature and Culture 26, no. 1 (1998): 135–54. http://dx.doi.org/10.1017/s106015030000231x.
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Although long slighted by critics, Lovel the Widower should be recognized as the most overtly theatrical work we have from one of the nineteenth century's most theatrical writers. Adapted for the Cornhill Magazine from Thackeray's failed drama, The Wolves and the Lamb, Lovel is narrated by a character who calls himself the “Chorus of the Play” and tells the story of a governess who must hide the fact that she was once an actress. Thackeray published the story to keep the Cornhill's readers entertained while he began work on his last completed novel, The Adventures of Philip. As a piece of occasional journalism, Lovel therefore shares a closer kinship with Thackeray's other periodical writings and Christmas books than it does with his mature novels. Not destined to be the newly-launched Cornhill's chief fictional attraction (that honor went to Trollope's Framley Parsonage), Lovel actually functioned in the magazine as the literary equivalent of a theatrical comic afterpiece.
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Lehmann, Jennifer. "Editorial." Children Australia 37, no. 4 (November 6, 2012): 127–31. http://dx.doi.org/10.1017/cha.2012.32.
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As we rapidly approach the end of another year, and think about Christmas and being with family members, we often remember the people and events that have had an impact on our development. One of the things that I remember most strongly is the routine established in our household which entailed an early start in the morning to practise music. I played the piano and my brother the violin. With our mother a professional musician, learning to play an instrument was an imperative and practice likewise. For us this meant rising by 6 each morning and doing an hour of practice before a quick breakfast and the usual rush to be ready for school. One of the enduring impacts for me has been the impossibility of sleeping in beyond about 7.30am, but there are others of much greater importance. I will refer to these as this editorial unfolds. The topic, as you might have guessed, is music and arts for children and young people.
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ROELS, T. H., P. A. FRAZAK, J. J. KAZMIERCZAK, W. R. MACKENZIE, M. E. PROCTOR, T. A. KURZYNSKI, and J. P. DAVIS. "Incomplete sanitation of a meat grinder and ingestion of raw ground beef: contributing factors to a large outbreak of Salmonella Typhimurium infection." Epidemiology and Infection 119, no. 2 (October 1997): 127–34. http://dx.doi.org/10.1017/s0950268897007851.
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Consumers in the United States continue to eat raw or undercooked foods of animal origin despite public health warnings following several well-publicized outbreaks. We investigated an outbreak of Salmonella serotype Typhimurium infection in 158 patients in Wisconsin during the 1994 Christmas holiday period. To determine the vehicle and source of the outbreak, we conducted cohort and case-control studies, and environmental investigations in butcher shop A. Eating raw ground beef purchased from butcher shop A was the only item significantly associated with illness [cohort study: relative risk=5·8, 95% confidence interval (CI)=1·5–21·8; case control study: odds ratio=46·2, 95% CI=3·8–2751]. Inadequate cleaning and sanitization of the meat grinder in butcher shop A likely resulted in sustained contamination of ground beef during an 8-day interval. Consumer education, coupled with hazard reduction efforts at multiple stages in the food processing chain, will continue to play an important role in the control of foodborne illness.
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Gardner, Viv. "No Flirting with Philistinism: Shakespearean Production at Miss Horniman's Gaiety Theatre." New Theatre Quarterly 14, no. 55 (August 1998): 220–33. http://dx.doi.org/10.1017/s0266464x00012173.
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The first production at Britain's first true repertory theatre – the Gaiety, in Manchester – under Annie Horniman's management was of a Shakespeare play: William Poel's staging of Measure for Measure, analyzed in detail by Richard Foulkes in Theatre Quarterly No. 39 (1981). Yet Miss Horniman's attitude both to Poel's experimental ‘Elizabethanism’ and to subsequent attempts at Shakespeare at the Gaiety remained ambivalent, and influenced by such personal tensions and disagreements as saw off Lewis Casson after his radical and political reading of Julius Caesar, in favour of safer stuff conceived as an alternative to Christmas pantomime. The author, Viv Gardner, teaches in the Drama Department of the University of Manchester: she is a former Book Reviews Editor of NTQ, and currently co-editor of the Women and Theatre papers. Here, she sets Shakespearean production at the Gaiety into the context of Miss Horniman and her colleagues' ambitions for the Gaiety and its intended role in Manchester's civic life.
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Bates, Ricky M., and David A. Despot. "Effects of Azoxystrobin Application Rate and Treatment Interval on the Control of Rhabdocline pseudotsugae on Douglas-fir Christmas Trees." Plant Health Progress 6, no. 1 (January 2005): 8. http://dx.doi.org/10.1094/php-2005-0617-01-rs.
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Rhabdocline needlecast caused by Rhabdocline pseudotsugae is the primary disease limiting Douglas-fir Christmas tree production in the northeastern United States. Azoxystrobin (Quadris) was recently registered for control of needlecasts on conifers, but little is known about its efficacy. In 2002, azoxystrobin was applied to field-grown Lincoln N.F. Douglas-fir Christmas trees at 0.14 or 0.28 g a.i./liter as the first or second spray of a chlorothalonil-based control program. In 2003, four sequential sprays of azoxystrobin at 0.28, 0.55, and 1.10 g a.i./liter were compared to chlorothalonil treatments. Untreated trees at both Pennsylvania test sites in both years were heavily infected, confirming high inoculum levels and environmental conditions favorable for infection. The standard program that consisted of 1.29 g a.i./liter chlorothalonil applications was very effective in controlling Rhabdocline in all experiments. In 2002, application interval had a significant effect on efficacy. Trees sprayed with 0.14 and 0.28 g a.i./liter azoxystrobin 9 days prior to an infection period had a higher disease index rating than those sprayed 2 days prior to the same infection period. Application rate did not appear to have an effect on efficacy. Trees receiving 1.10 g a.i./liter azoxystrobin had the same disease index rating as trees receiving the 0.28 g a.i./liter rate. In all cases, azoxystrobin treatments had significantly higher infection rates than the standard chlorothalonil treatment. The level of natural inoculum present at each site also appeared to play a role in azoxystrobin efficacy. Azoxystrobin is more than twice the cost of chlorothalonil and the data presented does not support any cost incentive for its inclusion in a Rhabdocline control program. Accepted for publication 19 May 2005. Published 17 June 2005.
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Mikkelsen, Inger Lise. "Hyrdeliv og paradisdrøm. Om Grundtvigs syn på hyrder." Grundtvig-Studier 45, no. 1 (January 1, 1994): 122–41. http://dx.doi.org/10.7146/grs.v45i1.16145.
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Pastoral Life and Paradise DreamBy Inger Lise MikkelsenIn »The World Chronicle«, 1814, Grundtvig writes that the people of poetry, the ancient Hebrews, were a race of shepherds. The shepherds are not tied to material things, but live a life in freedom. On the plains, tending his flock, the shepherd experiences everything that is alive and growing as images of God’s creative power. Thus, he intuitively perceives his position as a creature facing his Creator.With this basic view as a point of departure, Grundtvig rewrites the Biblical stories of the shepherds Abraham and Jacob, Moses and David. They are all in an immediate, intimate contact with God, but as they live at different times, God endows them with different abilities appropriate for their concrete historical situation. Abraham and Jacob are the shepherds of faith, Moses is the shepherd of fight and hope, and David is the shepherd of love. They are all models, not because they are heroes, but because they recognize their own fragility.In the church texts, the shepherds of Christmas night play a particularly important role. In the hymn .The Christmas Chimes are sounding now. (Det kimer nu til julefest) from 1817, it is a main thought that the singers must remember pastoral life and come along into the field to hear the angel’s message together with the shepherds. To people who have a sense of the miraculous as the shepherds do, the field at Bethlehem is the centre of interest. Today only children possess a genuine shepherd’s mind. The adult can learn from them. The essential thing is to learn how to regain the child’s mind.In connection with the child theme, as shown by Chr. Thodberg, Grundtvig develops, through the 1820s, his understanding of baptism as the occasion when the adult may re-enter the dreamland of his childhood. Here Grundtvig uses Jacob’s ladder as an image of the adult’s return to his hitherto forgottem baptism.Another theme that Grundtvig makes frequent use of is the dilapidated cottage of the shepherd, his hut. He uses it as an image of man’s heart, which to Grundtvig is God’s dwelling on earth. The hut and the ladder become recurring images in Grundtvig’s hymns.Frequently the two images supplement each other so that the shepherds and Bethlehem may now move into the church. It is no longer the field, but the heart that rings with the angels’ song. Here, in the shepherd’s hut, is raised Jacob’s ladder, which reminds the singer of the childhood life under God’s care.In Grundtvig’s eyes every Christian is therefore a shepherd like the patriarchs. But above all the one baptized is like the good shepherd himself, renewing the paradise life that God created man for.
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Kalenichenko, O. M. "Interpretation of Gogol’s works on the puppet theater stage (based on the spectacle by Oksana Dmitrieva «May night, or Moonlight Witchcraft»)." Aspects of Historical Musicology 17, no. 17 (September 15, 2019): 148–62. http://dx.doi.org/10.34064/khnum2-17.10.
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Background. M. Gogol’s «Evenings on a Farm Near Dikanka» often attract the attention of theater directors. Thus, in June 2009, the premiere of the play «May night, or Moonlight Witchcraft» directed by Oksana Dmitrieva, took place at the Kharkov Puppet Theater. Trying to reveal the genre nature of the production, theater critics give it such definitions as a fairy tale, musical, fantasy, ethno-folk show, liturgy, mystery play, as well as analyze individual finds of a young director, but the complete picture of the artistic features of this performance is absent yet. In this regard, the purpose of the article is to identify the features of the interpretation of the Gogol story by director O. Dmitrieva. Results. The «May night...» begins with a musical introduction consisting of two themes: the lyrical theme of the pipe with intonations of Transcarpathian melodies (which is connected with the young couple Hanna and Levko and the image of Pannochka) and the theme of hand drums, which reveals the inner strength of the Ukrainian people, as well as demonological beginning associated with the witch-stepmother. The music gives way to the sounds of night nature and the stars appear on the backdrop. Their low location and shape resemble the Christmas stars, with which carolers sing for Christmas. In the dark, the figure of Pannochka appears, wrapped in white cloths remembering a shroud. The unfolding of intersecting clothes above Pannochka’s head, and then their rotation symbolize both the alternation of day and night and the winter solstice. Thus, there are both, the Orthodox and the Pagan features, in depiction of the Ukrainian village. From several notes that the heroine sings, her leitmotif grows up. He fits well on modern arrangements of Ukrainian music, and is easily recognizable on his own. In combination with Pannochka’s sudden gusty movements (as if a bird is trying to break out of the snare, fly up into the sky), it helps to reveal her ambivalent nature: on the one hand, of the martyr, on the other – the representative of evil forces. Pannochka becomes the main character of the performance, and the Moon becomes her attribute, which can turn into the tambourine of shaman, the lyre, the sword, etc. The youth walking scene “on the garden” with the use of the jigging puppet, accompanied by folk songs differs in tempo and rhythm from previous mysteriously lyrical scenes. In the next episode, Pannochka enchants the characters on the stage with moonlight, so the meeting and the dialogue between Hanna and Levko begin to be perceived as a dream of heroes. This is facilitated by both the slow movements of the actors, the lengthy summons into the names of the characters, their flight around the stage, and the dialogue with the Moon that Pannochka props up. The tragic history of Pannochka is depicted first with the help of portraits of its participants on round screens, and then the screens are assembled into the figure of a Witch-Cat. This form also is reminiscent of a Chinese dancing Dragon. The episode with the hand fans depicting the “cat’s claws” is accompanied by alarming drum sound: Pannochka has no repose from the Witch even after death. The village in the new picture is reflected in the ripples of water: the real world is floating, swinging. Hanna and Levko confess their love to each other, however, Kalenik suddenly appears, recalling the Head. The image of the Head is solved by the director using two masks – large and small. At the beginning of the second act, the actors appear on the stage with long poles, which are similar both to the Chinese combat weapon and to the Ukrainian musical instruments “trembits”, allowing the actors to show brilliant plastic technique of “slow-motion”. Stylized masks of animals (cows, goats, pigs, roosters), which the walking lads pulling on themselves are the allusion to the Christmas fests. The lad boys strive to annoy the Head, so Head masks reappear on the scene, but there are already three of them: large, medium and small. With their help, there is a debunking of this character losing his power. The action transferred to the bottom of the pond, as symbolized by stylized fish. The drums and the fans – the cat’s claws – once again remind of the conflict between Pannochka and the Witch. Like in Gogol’s novella, the heroine asks Levko to find the Stepmother-Witch. The marionnette a la planchette and then – a shadow paper doll represent the image of the hero. Thanks to Levko, Mermaids (the original puppets) seize the Witch, and her death is symbolized by a broken rattle-rattle with the image of the cat’s muzzle. Next, the scene action follows by the Gogol’s novella: grateful Pannochka given to Levko the note, Head read it and allowed his son to marry Hanna. The image of Levko is represented here both in the system of the tablet puppet and in the means of the shadow theater. And the long clothes-shrouds acquainted from the first episodes of the play perform a number of new functions: this is the water of the pond, where Pannochka floats, and the paper, on which the note is written, and later – the wedding table. In this way the end of the Pannochka plot line comes. The spiritual verse «The soul with the body was parting» sounds, and in the hands of actress V. Mishchenko, the light paper doll, as the soul of her heroine, seeks up into the sky. Pannochka redeemed her sins, and now her soul can fly to heaven, because Easter has come. The last episode uses the “time-lapse” technique symbolizing the cleansing of the world from evil, and Pannochka’s leitmotif is organically superimposed on the Easter chime of bells. The action ends with a rap on the words “The Angels had opened the windows and they are looking on us” and the news that Easter has come. The final supports an idea that a person’s life moves from Christmas to Easter, from suffering to light, thus closing the spectacle into a ring composition. Conclusions. The original Gogol’s text allowed O. Dmitrieva to show a wide palette of modern possibilities of the puppet theater and the high skill of the actors of the “live plan”. In addition, the interweaving of national and foreign, Orthodoxy and paganism, an appeal to the expressive possibilities of the Ukrainian folk and modern music and to the ballet plastique suggest the postmodern nature of the play «May night, or MoonlightWitchcraft».
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Spear, Sonja E. "Claiming the Passion: American Fantasies of the Oberammergau Passion Play, 1923–1947." Church History 80, no. 4 (November 18, 2011): 832–62. http://dx.doi.org/10.1017/s0009640711001235.
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In 1934 the third centennial celebration of Oberammergau's famous passion play coincided with Adolph Hitler's rise to power. For American Jews, the Oberammergau Passion Play had long symbolized the Christian roots of Anti-Semitism. Ironically, American Jews' liberal Protestant allies viewed Oberammergau as a symbol of Christian ecumenism, capable of uniting Protestants, Catholics, and even Jews. “Claiming the Passion” traces Oberammergau in the rhetoric of American liberals from the American tour of Anton Lang, who portrayed the Christus in 1923, to his successor's trial for Nazi sympathies in 1947. It places the conflicting Jewish, Catholic, and Protestant views of Oberammergau in the context of the early goodwill or interfaith movement. It argues that liberal Protestants' enthusiasm for Oberammergau arose from their effort to articulate a more inclusive national identity, in opposition to the Ku Klux Klan and other nativists. But the conflicts over Oberammergau also suggest that liberal Protestants had not yet come to terms with Jewish critiques of Christian Anti-Judaism.
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Frisia, S., A. Borsato, R. N. Drysdale, B. Paul, A. Greig, and M. Cotte. "A re-evaluation of the palaeoclimatic significance of phosphorus variability in speleothems revealed by high-resolution synchrotron micro XRF mapping." Climate of the Past 8, no. 6 (December 14, 2012): 2039–51. http://dx.doi.org/10.5194/cp-8-2039-2012.
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Abstract. Phosphorus (P) is potentially a very important environmental proxy in speleothem palaeoclimate reconstructions. However, the transfer of P to a speleothem seems to vary between cave sites. Therefore, it is important to investigate the source of P and the way it is incorporated into a speleothem on a site-by-site basis before it can be used as a robust palaeoclimate proxy. In this paper, the distribution of P in one modern and two Early Pliocene speleothems formed in coastal caves on Christmas Island (Indian Ocean) and the Nullarbor Plain (southern Australia) is investigated using microscopy and ultra-high resolution chemical mapping. Phosphorus has been found to be both incorporated in the lattice and present as diverse P-rich phases. Monitoring data from Christmas Island suggest that co-precipitation of P-rich phases occurs when "prior calcite precipitation" decreases following recharge, even if the drip rate decreases. Microbial mediation may also play a role, which complicates a direct climate relationship between P and hydrology. We find that some P-enriched layers contain dissolution features, with possible involvement of microbial mats which colonise pores during reduced drip rates associated with prolonged dry spells. In the two Early Pliocene speleothems the relationship between P and microbial laminae is clearer. Both petrographic and chemical data suggest that phosphorus-rich phases in the microbial laminae mark intervals of reduced drip rates, which may indicate dry intervals during the otherwise wet palaeoclimate of the Early Pliocene. We develop a speleothem distribution coefficient for phosphorus (SKP) rather than the thermodynamic partition coefficient (KP) to account for the presence of crystalline phosphate inclusions. SKP describes P enrichment in speleothems regardless of the process, as similar mechanisms of phosphate co-precipitation may be in operation in biotic and abiotic conditions. The most important implication of our study is that variability in P concentration may be related to diverse processes which can be recognized through petrographic observations and chemical mapping. In particular, there may not be a direct relation between an increase in P concentration and seasonal infiltration as has been found in some previous studies, especially if the source of this element is not the labile phosphate released through leaching during seasonal vegetation dieback in temperate climates.
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Kluge, Pascal. "Turkish Views on Christians: Implications for Armenian-Turkish Relations." Iran and the Caucasus 12, no. 2 (2008): 363–76. http://dx.doi.org/10.1163/157338408x406119.
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AbstractSamuel Huntington argues in The Clash of Civilizations that a principal cultural fault line is to be found between the Muslim world and the Western non-Muslim world. In this context it is not surprising that the Christian West often assumes Muslims to be suspicious or even hostile towards Christians. Periodic cases of anti-Christian public statements and actions support this impression and are indicative of profound inter-religious tensions. This notion also influences the relations between peoples and nations. In the South-Caucasian case, the Armenian-Turkish relations are affected most by this phenomenon. When conflicts arise, religion plays a role in the perception of the Other. What is needed, therefore, is more inter-religious understanding on all societal levels. Although politics play a key role in establishing friendly ties between nations, it is the grassroots of the population upon which fruitful relations stand and which secure a more consistent quality to the results of political efforts. When considering Turkish views on Christians, field research indicates that the average Turk harbours an overall benevolent view of Christians and, therefore, that there exists considerable potential for successful inter-religious dialogue. Christians are generally regarded with respect, and most Turkish participants showed little to no negative attitudes towards them. The Christians of Turkey, notably Armenians and Greeks, were, furthermore, perceived as part of Turkey's society. The reason for these predominantly positive attitudes may be sought in the institutional incorporation of Christians and Jews into the broader context of Islamic society or, more inherent to Turkish history, in the positive remembrance of the multi-religious and multi-ethnic face of the Ottoman Empire—and thus in the appreciation of religious diversity as an asset and historical obligation.
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Perrot, Jean. "Play Prepares Father Christmas's Future." Children's Literature Association Quarterly 19, no. 3 (1994): 128–33. http://dx.doi.org/10.1353/chq.0.0957.
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Moe, David Thang. "Christianity as a Majority Religion of the Ethnic Minorities in Myanmar: Exploring Triple Dialogue in the Currents of World Christianity." Expository Times 131, no. 2 (May 17, 2019): 45–64. http://dx.doi.org/10.1177/0014524619847930.
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It is common to say that Christianity is a minority religion in Asia. Yet this article argues that Christianity is a majority religion of the ethnic minorities in Southeast Asia in general and Myanmar in particular and that one dimension of dialogue is not adequate in an age of world Christianity. Using a ‘triple dialogue’ as a methodology, the article explores three of the most salient issues of Myanmar ethnic minorities in the currents of world Christianity. First, the article revisits a cross-cultural relationship between foreign missionaries and locals in a colonial period and how Western mission impacts on Christians’ relationship with people of other faiths. Second, it explores the current issues of interreligious relationship between Christians and Buddhists and how Christian-Buddhist interaction plays a role in developing Christianity as a Myanmar local religion in a postcolonial mission period. Finally, it examines an intercultural hospitality between the ethnic Christian migrants and Western Christians and a ‘glocal’ relationship between migrants and their homeland Christians in a post-Western Christian period.
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GOODHEW, DAVID. "WORKING-CLASS RESPECTABILITY: THE EXAMPLE OF THE WESTERN AREAS OF JOHANNESBURG, 1930–55." Journal of African History 41, no. 2 (July 2000): 241–66. http://dx.doi.org/10.1017/s0021853799007616.
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This was no picturesque semi-fairy story. The drunken gambling merry makers in Bethlehem, heedless of the awful wonder of that night, might easily have been figures in a Sophiatown street scene on Christmas eve…Later while Mary, Joseph and the Holy Child were still in the stable, two Roman soldiers descended upon them – a take off of African Police, complete with assegais and notebook, demanding to know their tribe, place of birth, and reason for being in Bethlehem…This description of a nativity play, complete with a send-up of the South African police, is one snapshot from the life of the Western Areas of Johannesburg. Others could include a large demonstration to back the wage demands of teachers and a home-grown police force. Such idiosyncratic and divergent portraits of community are the backdrop to this study. This article contends that, in their commitment to religion, education and law and order, the people of the Western Areas were deeply attached to respectability. The Western Areas was a cluster of townships – including the famous Sophiatown – which formed one of the most significant black centres of population in South Africa in the 1940s and 1950s. The removal of black people from the Western Areas between 1955 and 1962 constituted one of the most notorious acts of apartheid and ensured the district's place at the heart of protest against white domination. Consequently, to assert that respectability was essential to a working class district such as the Western Areas is to imply that it had a much wider significance.
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Bryant Davies, Rachel. "The Figure of Mary Mother of God in Christus Patiens: Fragmenting Tragic Myth and Passion Narrative in a Byzantine Appropriation of Euripidean Tragedy." Journal of Hellenic Studies 137 (2017): 188–212. http://dx.doi.org/10.1017/s0075426917000155.
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AbstractThe Byzantine passion play Christus Patiens (Christ Suffering) is a cento: composed of quotations and borrowings from other sources, it takes Euripides’ tragedies as its main source for reworking the passion narrative. The genre, popular with Christian authors who usually transformed classical epics, enacts cultural exchange between canonical pagan literature and biblical narrative. Traditionally transmitted as the work of Gregory of Nazianzus, this drama showcases the tensions inherent in this reuse of Greek tragedy which threaten to collapse the original texts under the weight of their new meaning – or vice versa. While the afterlives of Classical texts, especially Greek tragedy, have been increasingly well explored, the scant attention afforded Christus Patiens has largely consisted of debating the disputed date and authorship. At the same time, scrutiny lavished on Virgilian centonic technique provides a helpful spring-board. This article focuses on the four tragedies most plundered in Christus Patiens: Rhesus, Medea, Hippolytus and Bacchae. It concentrates on interpreting the protagonist, Mary the Mother of God, through key passages which borrow most heavily from these plays. These stretch centonic conventions by almost exclusively reworking contiguous lines featuring the tragic mothers Medea, Agave and Musa; yet Mary is otherwise created from multiple conflicting voices. Analysis of these passages as frames for the cento author's own compositions and in the context of the prologue's invitation to identify specific Euripidean reworkings suggests that the author playfully flirts with creating a narrative of fragmentation through clashes between centonic form, tragic sources and Christian subject.
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Hendricks, William L. "Book Review: The Christian at Play." Review & Expositor 82, no. 2 (May 1985): 308–9. http://dx.doi.org/10.1177/003463738508200248.
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Cadorette, Curt. "Basic Christian Communities: Their Social Role and Missiological Promise." Missiology: An International Review 15, no. 2 (April 1987): 17–30. http://dx.doi.org/10.1177/009182968701500202.
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This article discusses the social dynamics of basic Christian communities using insights derived from the social sciences. Drawing from critical social theory, the author first analyzes the ideological forces at play among marginalized people. He then discusses how these oppressive forces can be and are overcome by the community of committed Christians. Underlying the discussion is the assumption that contemporary social analysis has much to offer our understanding of ecclesial communities and that the lived faith of poor Christians provides a dynamic model of resistance to oppression which must likewise be taken into account by committed social theorists.
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Aydin, Mahmut. "Changing Roman Catholic Christologies." American Journal of Islam and Society 18, no. 3 (July 1, 2001): 17–50. http://dx.doi.org/10.35632/ajis.v18i3.2004.
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The person of Jesus Christ does not only play a key role in the Christiandialogue with non-Christians, but it is also the central issue in thecurrent debate on the Christian theology of religions. Within thiscontext, after the 1970's, some individual theologians and thinkers haveattempted to study the status of Jesus by questioning seriously thetraditional Christian beliefs and doctrines that this study criticallyevaluates. A number of works which discuss the uniqueness of JesusChrist and the possibility of reinterpreting traditional doctrines in thelight of new developments and the practical implications of dialoguewith people of other faiths.