Journal articles on the topic 'Emotional allegory'

This article proposes a viable reading of Song of Songs as historicized allegory and political satire. In this view, the Song co-opts royal imagery from Solomon’s past golden age to elevate the consummate value of an ordinary ‘country’ couple’s exuberant, mutual love as a model for flourishing, postexilic life. Put another way, this love ‘anthem’ extols ‘emotional refuge’ from exploitative monarchical rule, domestic or foreign. The argument is grounded in close analysis of Song 1-3 and 8.11-12 interlaced with biblical legal, historical, and prophetic critiques of Solomonic pride and greed, and informed by theoretical frameworks on politics, music, and emotion.

Referring to the British writers’ prompt reaction to the Brexit crisis, in developing what has already come to be known as BrexLit, Robert Eaglestone remarks the “cultural and emotional landscapes” created by such literary responses, which attempt to “humanize” major political dilemmas. Ali Smith, commenting on the same speed of writing books “pressed against the contemporaneous,” considers this as the result of history repeating itself with us failing to be aware of it, evidence of what we might call a community of unreliable remembers. The paper focuses on Ian McEwan’s 2019 The Cockroach, a novella offering a reversed Kafkaesque metamorphosis, a pretext to satirize Brexit and to meditate on how the antiheroic character caught in this allegorical transformation devolves from subject into object. I argue that this process of objectification (using Martha Nussbaum’s concept, derived from, but not limited to the feminist critique) contributes to the disembodiment and further relativization of memory.

Epistolarity in cinema is commonly understood as a narrative device either fitting the so-called essay film, or resulting from filmic adaptation of literary works. A more nuanced understanding of the workings of this device is observed in films of disparate contemporary Portuguese filmmakers which adapt, rephrase and remediate letters. This article centres its attention on possible tendencies concerning epistolarity in this context, examining films that make use of the personal archive and epistolary voice, or that adapt letters to screen. It also examines filmic works that use the epistolary device to negotiate between emotional expression and historical materiality. Among others, this article discusses films such as Yama No Anata (Aya Koretzy, 2011), Correspondences (Rita Azevedo Gomes, 2016), Letters from War (Ivo M. Ferreira, 2016) and works directed by Pedro Costa and Miguel Gomes.

Inspired by the wordless novels of early twentieth century Belgian artist Frans Masereel, this paper introduces wordless narrative research, a dynamic method of inquiry that uses visual storytelling to study, explore, and communicate personal narratives, cultural experiences, and emotional content too nuanced for language. While wordless narrative research can be useful for exploring a range of social phenomenon, it can be particularly valuable for exploring preverbal constructions of lived experiences, including trauma, repressed memories, and other forms of emotional knowledge often times only made accessible through affective or embodied modalities. This paper explores the epistemological claims of the method while describing five considerations for doing wordless narrative research. The paper concludes with a presentation of an excerpt of There is No (W)hole (Horwat, 2015), a surreal wordless autoethnographic allegory, as an example of wordless narrative research.

ABSTRACTAntonio Vivaldi's cycle of violin concertos dramatizing the four seasons marked a substantial shift in the way that the seasons were depicted in the arts. Moving away from religious and mythological allegory, they exemplify a growing interest in descriptive representation of nature's power and in humanity's complex physical and emotional relationship with elements beyond its control. Positing new connections to Arcadian reform ideals of verisimilitude, this article addresses important questions concerning Vivaldi's pairing of sonnets with concertos and the aesthetic factors behind his choice of narrative topics to depict in the music. The article also demonstrates how Vivaldi used diverse textures and sonorities to create powerful contrasts that heighten the emotional impact of the aural imagery while underlining recurring expressive and pictorial motifs throughout the cycle. These last aspects, in particular, provide a new understanding of the historical significance of Vivaldi'sFour Seasonsas a powerful demonstration of both the expressive potential of the concerto genre and the still underappreciated art of orchestration during the early eighteenth century.

There has been a literary tradition supporting the restoration of Glen Canyon in southern Utah ever since construction began on Glen Canyon Dam in the late 1950s, and the canyons began to disappear behind the rising waters of Lake Powell. While some of Glen Canyon’s literary protagonists put forward a strong political and anarchical refrain for a ‘Glen Canyon restored’, this article considers those writers and texts that instead look to the power of appeals to emotion in defense of the desert. In particular, this article considers the evocative capacity of environmental writing to convey emotional and affective landscapes. This article examines the desert writings of Ellen Meloy and Terry Tempest Williams, and the ways in which they employ rhetoric, myth, story, motifs, metaphor, symbolism, and allegory to speak back to the environmental condition, and the ongoing call to restore Glen Canyon. Meloy’s and Williams’ works present individual testimonies molded by personal engagement, experience, and investigation in the desert – but also contribute to ecological and political discourse in the Glen.

The collaborative “antiopera” El gallo: Ópera para actores (The Cock: An Opera for Actors), which was produced from 2007 to 2009 by Mexican theatre company Teatro de Ciertos Habitantes (hereafter referred to as Ciertos Habitantes) and British composer Paul Alan Barker, toured for three years to dozens of venues in Mexico and abroad, garnering numerous awards and accruing more than a hundred performances. Performed in speech/song gibberish, El gallo mingles physical theatre and butoh techniques. The piece chronicles the making of an opera, from auditions through rehearsals and performance, alongside the emotional, physical, and vocal breakdowns of the five main characters and their beleaguered director. El gallo enacts an allegory of conflict-ridden community formation through the device of a play within a play.

Abstract Sally Potter’s The Tango Lesson (1997), an homage to the Argentine tango, situated in-between autobiography and fiction, creates multiple passages between art and life, the corporeal and the spiritual, emotional involvement and professional detachment. The romance story of filmmaker Sally Potter and dancer Pablo Verón is also readable as an allegory of interart relations, a dialogue of the gaze and the image, a process evolving from paragone to symbiosis. Relying on the strategies of dancefilm elaborated by Erin Brannigan (2011), the paper examines the intermedial relationship between film and dance in their cine-choreographic entanglement. Across scenes overflowing with passion, the film’s haptic imagery is reinforced by the black-and-white photographic image and culminates in a tableau moment that foregrounds the manifold sensations of in-betweenness and feeling of “otherness” that the protagonists experience, caught in-between languages, cultures, and arts.1

The role of S. Leacock as a representative of English-Canadian literature and peculiarities of his creative works are given in the article. The peculiarities of the literary translation which aim is to reflect ideas, feelings transforming the author’s images with the help of another language material, the main features that make it different from a classical one were stated. The scholars who scrutinize the problems of a literary text translation in the contemporary linguistics was found out. The differences between the original text of S. Leacock’s short-story «The Man in Asbestos: an Allegory of the Future» and the text of translation and its translation by A. Yevsa were analyzed in the article. The translation can be called adequate as some change of content of the original text by the target language means did not impact into general perception of the short-story in its translation. The translator conveys the author’s ideas provoking reader’s reaction to the story. A. Yevsa preserved its content, the system of images and the author’s style, emotional atmosphere and plot identity of the original text and the choice of linguo-stylistic devices used in the original text. General peculiarities of the translation into Ukrainian, main grammar and lexical transformations used by A. Yevsa were marked, among which are generalization, concretization, compensation, semantic development and combination of sentences prevail.

Norway’s best-known contemporary playwright Jon Fosse has often been compared to Henrik Ibsen, no less because of the two dramatists’ common emphasis on their native physical landscape as a mirror of the protagonists’ emotional and existential conflict. In Ibsen’s The Lady from the Sea (1888) and in Fosse’s Someone is Going to Come (1996) in particular, characters and actions – although generated within specific geographical and cultural co-ordinates – rise to the level of archetypes and acquire timeless significance.This comparative study traces a continuum from the modernist Ibsen to Fosse’s humanistic postmodernism in so far as the authors’ treatment of psychology, structure, and landscape exposes ideas and endorses themes and images, which in turn account for similar patterns of staging. In a context whereby myth and allegory are projected against a background defined by the ocean and unfamiliar horizons, the markedly schematic representation of existential dread in both plays reveals strong visual conceits that are uncannily similar to the effect that one cannot really read or direct Fosse without making a mental note of Ibsen’s drama. The “haunted” nature of the spectator’s experience notwithstanding, both texts seem to be a director’s ideal material, hosting the natural environment so intensely so that it becomes an extension of the characters, punctuating the important stations in their lives and adding emotional and sensory texture to their words and their actions. From the point-of-view of a theatre director, decoding the plays’ imagistic identity becomes primarily an immersive experience in the Nordic landscape – of both nature and the mind.

This article analyses the way Horem Pádem (Up and Down, 2004) registers the neo-liberalizing effects of the post-socialist transition on urban space and urban sociality in its representation of Prague. The transition involved an ideological and ethical reorientation that challenged definitions of value and worth. Moreover, through the remaking of the urban environment, neo-liberalization is a contextually embedded process that restructures the conditions of the everyday. Post-transition, Prague was claimed by the logic of post-industrial capital accumulation, with investment in retail and tourist facilities transforming the urban core into a new consumption landscape. I argue that the film’s exploration of the relationship between urban space and identity maps the dislocations produced by the insertion of the periphery of Europe into the neo-liberal space of flows, and the serial displacements that are its effects. Rebordering, de-territorialization and displacement are the key metaphors through which the film captures the emotional horizons of the characters caught up in the multi-scalar reconfiguration of economy, society and space. The narrative presents itself as an allegory of Czech nationhood, whose insertion into a rescaled, capitalist Europe the ‘little people’ populating Hrejbek’s film meet with an admixture of opportunism, disaffection, tribalism and defensive localism.

Flaubert’s Madame Bovary is a unique literary piece that incorporates aestheticism and witty disposure to Emma’s complex reality. The pronounced acceptance and reputation of the novel despite of a prolonged period of criticism proves that the universal appeal of this French novel lies in the artistic and tactful disclosure (in precisely calculative and measured style) of the dark secrets of a feminine mind. The fact that the English translation of this ingenious creation is so influential attests the superiority of its quality in French. The splendor of the narration overreaches the boundaries of life, experience and death and abounds in the exaltation of becoming a masterpiece. This article illustrates the features that make the manuscript so overwhelmingly “dirty” yet inviting. In course of appreciating the novel, the prospects of readers’ fascination and the author’s intentions are also evaluated from the archive of appreciations of the book. The richness of the story is imparted by the pragmatic effect of the objective correlatives in Falubert’s style and the details of the emotional intensities. This study urges to dismantle the complicated value of literature in realizing life. It also reinforces the poetic justice to prevail where art must exist for its sole sake. Emma, the centre of interest in Madame Bovary, is the ambassador of human beings who fail to achieve the mused state of their existence. Flaubert with his strokes of wisdom and dexterous artistic maneuver reveals the ultimate paradox of anarchy in the social conventions designed to annihilate the self in order to discover it. This study unfolds how the story of shame and guilt turns into an allegory of life by the writer’s magic wand.

The Allegory of Transience by Philipp Sauerland (Gdańsk 1677 – Wrocław 1762), an artist specializing in still life and animal painting, was purchased in 2015 by the National Museum in Gdańsk. The painting allows us to deepen our knowledge of Sauerland’s artistic roots, as well as the interpretation of the painting in the socio-cultural context of the development of Europe in the early 18th century. In the paper a thesis is put forward about the Leiden sources of Sauerland’s work, which are connected with the painting tradition of the so-called fijnschilders, especially the work of Willem van Mieris. In the first decade of the 18th century, Sauerland painted The Young Woman in the Kitchen Interior, surrounded by perfectly rendered victuals, showing a similar gesture as in the famous painting by Van Mieris The Mouse Trap. In the signed painting from a private collection in New York, Sauerland chose historical themes. He presented a rare scene of David Giving Uriah a Letter to Joab. The painting refers to two famous works by Pieter Lastmann, but it is placed in an architectural set design analogous to Van Mieris’s paintings. An important element of the Allegory of Transience, in turn, is the relief visible by sliding down a carpet. This motif is also taken from the work of Van Mieries, but the iconography of the sculptural representation refers to Gerard de Lairesse’s print showing Chronos prevented by Prudence from destroying the statues. Sauerland is therefore close to the artists from Leiden in terms of the choice of themes, motifs, and the way they are painted. He also usually used a similar format of paintings. Like Van Mieris, the artist from Gdańsk signed his works with longer inscriptions. Although references to the Leydians are obvious in Sauerland’s early works, he does not make copies of their works, but focusing on the still life genre, he transforms them in his own style. The second thesis of our essay is related to the transformation of vanitas motifs, which in Sauerland’s work reveal their secularized character. The traditional symbolism of transience, which draws on religion, is replaced by the ideas of rationalism, accompanied by the idea of reason that opens a possibility of overcoming sensual and emotional limitations. The work becomes an expression of emancipatory processes that take place at the turn of the 17th and 18th centuries in European culture. Referring to the philosophical work of Baruch Spinoza (notion of knowledge), we interpret Sauerland’s work as an expression of the emerging modern ideal of freedom, which was based on a rationalistic paradigm. It is thanks to wisdom (sapientia) that the subject is able to transcend the reality of the sensual guise. In the last part of the text we point to the important role of practical wisdom (prudentia) and art (ars) in the process of liberalization that accompanied the social changes of the time. Using illusionism, Sauerland proposes an interpretative key to the viewer: the meaning of life is complemented by art: by making art, understanding art, or collecting artworks, the rational man can free himself from the fear of his own finiteness. The function of this still life is not to remind us of death, but to point out that contemplation of art is an intellectual and spiritual exercise that allows us to find the right attitude to life.

AbstractOf the nine interpretations proposed for Rembraradt's history Painting of 1626 now at Leiden, none is really convincing. Il seems attractive to think of palamedes Condemned by Agamemncm as the subject because of its political significance in the year after the publication of Voredel's tragecty Palamedcs or Innocence Murdered, which denounced the execution of the Remonstrant leader Johan van Oldenbarnevelt in 1619. γet the scene depicted does not fit any episode frorn the Palamedes story. It appears rather to represent three young men appearing before a crowned figure who makes a pronouncement, probably one of magnanimity or clemency. It is conceivable that the subject was taken from Q. Curtius Rufus's Historiae Alexandri Magni Macedonis, ofwhich several editions, including translations into the vernacular, were published in Holland in the first decades of the 17th century. The episode in question was known to the young Rubens, but does not seem to have been illustrated by any other artist. At the beginning of the seventh book it is described how Alexander summoned before. him in the presence of the army two oj three brothers, who had been close friends of Philotas, a former, friend of his who had been executed for plotting against his life. The youngest brother, Poleinon, had panicked and fled but was caught and brought back at the very moment when Alexander had accused the brothers and the eldest, Amyntas, after having been released from his bonds and given a spear which he held in his left hand, had embarked on his szzccess ful defence. The appearance of Polemon infuriated the soldiers, but when he took the blame on himself and prrifessed his brothers' innocence, they were moved to tears. So too was Alexander who, prompted by their cries, absolved the brothers. This anecdote does at least explain some of the features of Rembrandt's scene. The young man standing on the right with his right hand raised as if swearing an oath would be the eloquent Amyntas with a spear in his left hand. Hidden behind him kneels the second brother, Simias, while Polemon, 'a young man just come to maturity and in the first bloom of his youth', has fallen on one knee in the foreground, underlining his emotional words with his right hand bressed to his heart. Alexander raises his sceptre in token of his absolution and some men in the background wave and shout from a socle they have climbed. Interpreted in this way, the scene coralains not a topical political allegory but, as would seem usual with history paintings, a message of a more general nature: the magnanimity of Alexander as an 'exemblum virtutis'.

Colors have long been used by artists as a means of depicting unique and beautiful landscapes, to ensure the attractiveness of speech, to create an artistic image in poetry. The colors are used in works of art, mainly in lyrical genres, reveals the appearance of inner experiences, emotions, beauty and creative influence. In poetry, such forms of art as allegory, allegory and irony are expressed through colors.Classical and modern Persian-Tajik poets skillfully used the means of color in their work, creating beautiful and unique images through their artistic potential. Nowadays, in Tajik literature, the properties of colors to create an artistic image have not been fully studied. This article describes the features of colors in lyric art and their role in poetry on the basis of concrete evidence from the poems of new Tajik poets.

El texto expone tres distintas concepciones de las emociones que hay en la filosofía de Donald Davidson, en discusión con tres conceptualizaciones filosóficas importantes sobre las mismas. Considera el orgullo en relación con la concepción cognitivista de la emoción, la sorpresa en relación con la concepción naturalista y la sonrisa en relación con la concepción sui generis. Se defiende que allegar el pensamiento de Davidson y las concepciones de la emoción es fructífero de ida y vuelta: enriquece los estudios sobre la naturaleza de la emoción con los conceptos davidsonianos de causalidad singular, actitud individuativa y actitud no individuativa; y enriquece la teoría de la interpretación radical incorporándole el concepto de expresión emocional.

Written in 2002, ‘This Window Makes Me Feel’, is one of the earliest examples of a long poem solely composed with repurposed web language. Written in the long shadow of New York City’s 9/11 bombing, ‘This Window Makes Me Feel’ replaces the individual poet’s response to catastrophe with a collective, multi-vocal chorus of everyday articulations. As an 80 page long-poem, ‘This Window Makes Me Feel’ orchestrates hundreds of online articulations by using the searches: ‘this feels’ or ‘this makes me feel’. Even though these responses are not meant to address the 9/11 bombing directly, the poem is an allegory to the flood of emotions surrounding that historical moment.

ArgumentField research stations are households as a result of allegoric notions of the scientific family, and because they fulfill the purpose of a home in the field in a literal sense. They meet the practical and physical need for bed and board, as well as the emotional and intellectual need for social cohesion. I argue that this, in combination with local gender identity, opened the door for a woman of lower social strata, the daughter of a fisherman, to take upon herself the role as station household matriarch, thus gaining an integral role within an inner circle of influential scientists. Secondly, I argue that locally employed members of the research station were valued primarily for their social skills. For the sake of ensuring necessary conditions for scientific work, being abrasive was just as important as being agreeable.

This paper discusses how emotions were mobilised by the British tabloid press as discursive strategies of persuasion during the public debate on the implementation of Brexit. Using the case study of the Suns coverage of the alleged UKs humiliation at the Salzburg meeting (2018) during the Brexit negotiations, the analysis addresses the questions of how and through which linguistic means actors and events were framed discursively in such an article. The findings suggest that The Sun elicited emotions of fear, frustration, pride, and freedom to frame Brexit along a long-established narrative of domination and national heroism. The discourse was also sustained by a discursive prosody in keeping with a satirical genre and a populist register that have often characterised the British tabloid press. In particular the linguistic analysis has shown how antagonistic representations of the UK and the EU were driven by an allegory of incompetent gangsterism and morally justified resistance. Emotionalisation in the article was thus aimed both at ridiculing the EU and at representing it as a criminal organisation. Such framing was instrumental in pushing the newspaper agenda as much as in legitimising and institutionalising harder forms of Brexit with the tabloids readership. Approaching journalist discourse at the intersection of affective, stylistic, and political dimensions of communication, this paper extends the body of literature on the instrumental use of emotive arguments and populist narratives and on the wider historical role of tabloid journalism in representing political relations. between the UK and the EU.

Stylistic devices and tropes are the elements of style that give an extra, figurative meaning to a written or oral text. They include metaphors, simile, allegory, paradox, word game and so on. Each author uses them in different ways to make their works more expressive and emotionally dense. Sometimes stylistic devices and tropes can manifest themselves as the characteristics of an author’s individual style. Metaphoric language and bizarre manner of representation are particularly common for the authors of the postmodern era. When it comes to translation of these works from one language to another the process is fraught with pitfalls and challenges for the translator. In the translation studies it’s believed that literary translation requires not only precise rendition of the contents but also conveyance of the stylistic features of a work. This article is dedicated to the analysis of the stylistic devices and tropes used in the novel “Everything Is Illuminated” by Jonathan Safran Foer and their translation from English into Russian. The aim of this work is to identify what kind of translation techniques are used by the translator V. A. Arkanov to render the linguistic and stylistic properties of the original text.

Every human person is a cultural being. Each culture has incomplete knowledge of reality, and the sharing of viewpoints makes for mutual enrichment, hence the need for intercultural perspectives. Even in a human being, body and spirit, emotion and reason reciprocally influence on each other. Life is dialogical. Action gives flesh to theory, and the abstract reason is exemplified in real things, which is what embodiment of reason is all about. Principles govern all things and public reason, as a causal principle, regulates the affairs of embodied homogeneous communities. African embodiment of reason is self-evident in names and allegories wherein rational thoughts and ideas are personified the way sentient robots embody or personify Artificial Intelligence (AI). In this treatise, we shall use allegory, nomenclature, traditional songs, apophthegms, etc., to show how Africans wisely incarnate ideas in things. As it is analogous to modern-day AI, we shall not only highlight the African approach to public reason and embodied community but also tangentially discuss the effect of AI on the global community, of which Africa is a subunit. In conclusion, we shall caution against the empowering of robots with logical reasoning, and the disempowering and denaturalizing of humans. Keywords: Reason, Embodiment, Philosophy, Principle and Community.

The article is devoted to the poetics and pragmatics of the genres sygyt ‘lamentations’ and kerees sӧs ‘memorable word’ in the funeral rites of the Turks of Southern Siberia (Teleuts, Chalkans, Altaians). The material of the study was the texts recorded at the beginning and end of the twentieth century in different dialect groups of Altai people. The posed scientific problem is related to the identification of genres of funeral and memorial rituals of the Altai people, as well as to the study of the conceptual semantics of these texts. The genre sygyt plays an emotionally evaluative function: it is performed to express sorrow, the severity of the loss of a loved one. For cries recorded at the beginning of the twentieth century a developed system of metaphors that perform the functions of imagery and allegory is characteristic. In lamentations, built in the form of a dialogue between the mourner and the deceased, rhetorical questions allow expressing regret, sorrow for those who have gone to another world. The key motives for crying are the road to another world, the irreversibility of life. Another genre, kerees sӧs, is characterized by an assessment of the human dignity of the deceased, an expression of sympathy for his family. The brief blessing formulas contained in them are pronounced for spell-seeking purposes - to close for the soul of the deceased the road to the world of the living.

Edna St. Vincent Millay occupies an uncomfortable position in relation to modernism. In the majority of criticism, her work is considered the antithesis to modernist experimentation: as representative of the ‘rearguard’ that rejected vers libre in favour of fixed poetic forms. Indeed, most critics concur that whilst Millay’s subject matter may have been modern and daring—voicing women’s sexual independence, for instance—her form was decidedly traditional. Millay also troubles notions of modernist impersonality by writing seemingly autobiographical lyrics that showcase feminine emotions. In this paper, I aim to challenge this view of Millay by focussing on the two avant-garde works that mark the outset and the zenith of her career: Aria da Capo (1921) and Conversation at Midnight (1937). These works are both formally innovative, blurring the boundaries between poetry and drama, causing Edmund Wilson to complain that Millay had “gone to pieces”. Moreover, both works engage in performances of masculinity, with women all but absent. Aria da Capo, first performed by the Provincetown Players in 1919, dramatizes the conflict between two shepherds as an allegory for the First World War. Conversation ventriloquises an all-male dinner party, ranging through the political issues of the Depression era and foreshadowing the war to come. I use both works to argue that Millay has a more interesting relationship to masculinity and modernism than has been hitherto captured by critics. Millay voices men in innovative ways, radically challenging constructions of both gender and poetic form in the process.

ABSTRACT This study aims to describe the Najwa Shihab's speech style in Mata Najwa talkshow on Trans7. This type of research is qualitative with descriptive methods. The research data is in the form of quotations containing speech style. Data collection is done by searching and downloading audio-visual recordings of Mata Najwa talkshow in the website (www.youtube.com). The method used is the method of referring to tapping techniques. Data analysis is done by identifying data, giving signs and data code, classifying data using identification and classification tables, interpreting data, making conclusions. Based on the results of the study, it can be concluded that there are 173 speech styles consisting of 4 styles of Alliterative, 9 styles of asonance, 1 style of apophasis, 2 styles of apostrophe, 3 styles of asindeton, 3 polisidenton, 1 chiasmus, 7 elliptical, 8 euphemism, 4 tautology, 8 pleonasm, 2 periphasis, 3 prolepsis, 34 erotesis, 1 correction, 2 hyperbolic, 15 metaphor, 1 allegory, 10 personification, 1 allusion, 1 eponymous, 4 synekdoke, 7 meteorological, 3 antonomasia, 1 hypalase, 16 irony, 20 cynicism, 2 sarcasm. The dominant of speech style used is erotesis or rhetorical question, while the dominant of speech style used is cynicism. The use of the speech style aims to help Najwa Shihab in expressing his ideas and emotions so that use of language raises certain connotations and aesthetic values to both the speech partners and viewers of the Mata Najwa talkshow. Kata kunci: Gaya Bahasa Retoris, Kiasan, Najwa Shihab

<p>In Doris Lessing’s novels, obtaining Truth to transcend the soul has been notably emphasized. Similarly, in <em>Shikasta, </em>the necessity<em> </em>to acquire genuine awareness has been focused as the mere way to self-transcendence. The detailed inspection of the novel explicates how human species live in amnesia, unable to remember their authentic reality and trapped in the disease of individuation. While the novel does not reject reason as the mean to “remember” the Truth, it mainly regards mindfulness and intuitive knowledge as a tool to achieve authenticity. The facets of amnesia and illusionary conception of the world make the novel a satisfactory text under both Plato’s and Nagarjuna’s interpretation of visionary world. However, its tilt towards non-dual patterns to attain Truth makes Nagarjuna’s approach a contribution to Plato’s rational manner in this regard. Hence, the purpose of this paper is to apply Plato and Nagarjuna’s pursuit of Truth to examine Lessing’s elucidation of authentic knowledge in <em>Shikasta</em>. The methodology appropriated in the paper entails depiction of visible world as an illusion of the Real pointed in Plato’s allegory of Cave and Nagarjuna’s Mundane Truth. We clarify emotion as the main motivator of such illusionary status stressed in both Plato and Nagarjuna’s thoughts. We argue that while the importance of reason and eradicating emotion cannot be ignored, what adjoins people to Truth is mindfulness and intuitive knowledge which is close to Nagarjuna’s non-dual patterns. By examining ordinary life as the illusion of Real, and emotion as the main obstacle to achieve the Truth emphasized in both Nagarjuna and Plato’s trends, we depart from other critics who undermine the eminence of essentialist trace in Lessing’s works and examine her approach towards Truth merely under postmodern lens. This departure is significant since we clarify while essentialism has been abandoned to a large extent and supporters of Plato have become scarce, amalgamation of his thoughts with spiritual trends opens a fresh way to earn authenticity in Lessing’s novel. </p>

This research is a study that took @thepotraitjogja instagram account as the research object. This research focuses on how instagram @thepotraitjogja accounts promote the city of Yogyakarta to tourism. The method used in this research is descriptive qualitative method. The results of the study it is known that instagram accounts @theportraitjogja image use a variety of language styles in their caption to influence readers' feelings. The feeling that you want to cause is a feeling of love and missing to Yogyakarta. Therefore, through the style of the language used, the instagram seeks to bring the image of a lover who is warm, charming and longed for in the city of Yogyakarta. The emotional closeness that is expected to be difficult after reaching the image is expected to strengthen the readers' desire to come to visit the city of Yogyakarta, just like coming to visit a lover. There are three styles of language used to bring up the image, among others: (1) comparative language style consisting of litotes, personification, metaphor, hypocorism, hyperbole, allegari and simile language styles, (2) affirmation language style consisting of language style repitition, parallelism and silepsis; and (3) the opposing language style consisting of the pardox language style. Keywords : promotion strategy, language style, tourism destination

The article reviews the scientific literature and traces the main trends in the development of postmodern text and the development of expressive syntax as a stylistic construction during the XX – XXI centuries. Particular attention is paid to the work of domestic and foreign linguists. The main focus is on the study of metasymbolization of metaphorization and metonymization processes with their basic techniques and means that create the emotionally expressive background of prose text. The basic and auxiliary functions of syntactic-stylistic markers in the novels of German postmodernists are examined in details. The syntax of the German language written postmodern prose text is expressive of the processes of metaphorization and metonymization, implicit means known as the “metasymbolization” of syntactic and stylistic units. The process of metaphorization of expressive means of German language postmodern prose is due to allegory, symbolism, and synesthesia. The most typical type of metaphorization was personification. Metonymization in the texture of writing prose text is considered based on spatial and temporal, material and causal, associative and logical and quantitative relationships. Metonymy is syntactic in nature, compared to the semantic nature of metaphor. Functional approach to the study of syntactic-stylistic markers of German expressive syntax in postmodern texts is based on functionalism as a methodology and guided by its basic research principles, since it is in the functions of the syntactic-stylistic markers that the true intentions and reinforce of the postmodern author are strengthened. We see the perspective of our research in a comprehensive comparison of the German-speaking postmodern text of German, Austrian and Swiss postmodernists.

<p>In the thoughts and beliefs of Iranians, kingdom has had a history of the creation of human beings on the earth. Accordingly, Iranians believe that the first creature and human being on the earth was the first king of Iran. Iranians connects the history of their mythical royal dynasties to the creation of humanity. For Iranians, the mythical kings of Iran are the creators of the royal institution and the functions and duties of the royal institution have been established, developed and transferred to next generations by the measures of these kings. The objective of the present study is to investigate the establishment of the royal institution and the development of royal institution in ancient Iran by a descriptive-analytical method. The findings indicate that Iranians had specific sacredness for their kings and called the first creature of Ahura Mazda as the King. In addition, they believed that kings should perform particular tasks whose formation was attributed to the mythical kings of Iran. Further, they believed that only those persons had the right of being a king who were from the race of kings and were approved by Ahura Mazda. to examine Lessing’s elucidation of authentic knowledge in <em>Shikasta</em>. The methodology appropriated in the paper entails depiction of visible world as an illusion of the Real pointed in Plato’s allegory of Cave and Nagarjuna’s Mundane Truth. We clarify emotion as the main motivator of such illusionary status stressed in both Plato and Nagarjuna’s thoughts. We argue that while the importance of reason and eradicating emotion cannot be ignored, what adjoins people to Truth is mindfulness and intuitive knowledge which is close to Nagarjuna’s non-dual patterns. By examining ordinary life as the illusion of Real, and emotion as the main obstacle to achieve the Truth emphasized in both Nagarjuna and Plato’s trends, we depart from other critics who undermine the eminence of essentialist trace in Lessing’s works and examine her approach towards Truth merely under postmodern lens. This departure is significant since we clarify while essentialism has been abandoned to a large extent and supporters of Plato have become scarce, amalgamation of his thoughts with spiritual trends opens a fresh way to earn authenticity in Lessing’s novel. </p><p> </p>

While the initial reception of Alfred Hitchcock's Vertigo (1958) was unspectacular, it made its presence felt in a host of other films – from Chris Marker's Sans Soleil (1983), to Brian De Palma's Obsession (1976), and David Lynch's Mulholland Dr. (1999). What seemed to have eluded the critics at the time is that Vertigo is a film about being haunted: by illusive images, turbulent emotions, motion and memory, the sound and feeling of falling into the past, into a nightmare. But it is also a shrewdly reflexive film that haunts filmmakers, critics, and artists alike, raising fundamental questions about the ontology of moving images and the regime of fascination (exemplified by Hollywood) that churns them out. Douglas Gordon's Feature Film (1999), D.N. Rodowick's The Wanderers (2016), and Lynn Hershman's VertiGhost (2017) are contemporary examples of how the appropriation and contemplation of some the film's most iconic motifs (the figures of Madeleine, the spiral, the copy or fake, and the fetish), themes (liebestod, obsession, the uncanny) and strategies (mirroring, duplicity, and disorientation) ask us to rethink the relation of fetishism to fabulation, and supplementarity to dissimulation and social engineering. Feature Film, The Wanderers, and VertiGhost are supplementary works, but like the original film they are about duplicity, doppelgänger, and dissimulation. What interests us is how they challenge the authority over, or even proximity to, that which returns in the form of the supplement. And ultimately, attaching themselves to the chain of forgers and forgeries, these supplementary works take their place in the vertiginous sequence of substitutions the film established: a neat allegory for a reign of the digital ghosting that Hitchcock could never have anticipated.

Carl Philipp Emanuel Bach’s late Free Fantasia in F-sharp Minor exists in two versions—one for solo keyboard (Wq. 67/H. 300), the other for keyboard and violin accompaniment (Wq. 80/H. 536)—and bears the subtitle C. P. E. Bachs Empfindungen. For some modern listeners and scholars, the chamber version of the fantasia transforms the private outpourings characteristic of the genre into a public display that condescends to the sociability of the popular accompanied sonata and forces an interloper accompanist onto the solo fantasist. Adding insult to injury, the arrangement ends with a seemingly inexplicable A-major Allegro. Yet the arrangement ought not to be dismissed. In both score and performance, it demands a sensitive and sympathetic relationship between violin and keyboard that points to a new connection between Bach and Empfindsamkeit, a literary movement that emphasized sympathy (Mitleid) as much as if not more than emotional disclosure. I offer a new interpretation of the accompanied fantasia by situating Bach’s arrangement and its performance in the context of contemporary philosophies of sympathy and practices of sympathetic readership. I compare the relationships of the composer, keyboardist, and violinist to those of author, character, and reader to illustrate that the violinist is an integral figure in the disclosure of C. P. E. Bachs Empfindungen. The violinist appears to be Bach’s sympathetic reader.

ABSTRAK Komposisi Musik “Katur Ibu” adalah komposisi musik yang ide penggarapannya berangkat dari sebuah cinta, pengorbanan dan kasih sayang yang dikemas dengan format tradisi dan modern menghadirkan warna baru dalam komposisi penciptaan, yang membentuk sebuah karya musik yang utuh. Jenis karya seni tidak menata pada kejadian menurut alur yang sebenarnya akan tetapi lebih kepada suasana yang mendukung. Komposisi musik “Katur Ibu” terdiri dari 5 bentuk utama dengan menggunakan tempo Allegro, moderato, adagio, andante, dan vivance, yang dapat menggambarkan suasana tenang, sedih, gembira dan semangat, pengkarya maknai sebagai guratan sisi pandang terhadap realita yang terlintas dalam fikiran pengkarya seperti emosi penyesalan, kegamangan, ketulusan dan impian. Penyajian komposisi musik “Katur Ibu” memakai beberapa instrument pokok dan intrumen pendukung yaitu, Piano sebagai melodi utama, flute, bass elektrik, drum pad DTX, saron, bonang, kendang Sunda dan keyboard sebagai Accompainement dalam komposisi musik yang dikemas dalam konsep pertunjukan ini. Kata kunci: Komposisi, pengalaman empiris, Katur Ibu. ABSTRACT “Katur Ibu” Music Composition is a musical composition which the cultivation ideas depart from a love, sacrifice and affection that is packaged in a traditional and modern format presenting a new color in the composition of creation, which forms a complete musical work. types of artworks do not arrange the events according to the actual plot but rather to the atmosphere that supports it. The musical composition “Katur Ibu” consists of 5 main forms using tempo Allegro, moderato, adagio, andante, and vivance, which can describe the atmosphere of calm, sadness, joy and enthusiasm. The composer means as a side view of reality that comes to mind such as emotions of regret, anxiety, sincerity and dreams. The presentation of “Katur Ibu” music composition uses several basic instruments and accompanying instruments, including, Piano as the main melody, flute, electric bass, DTX drum, saron, bonang, Sundanese drum and keyboard as Accompainement in the musical composition that is packaged for the show. Keywords: Composition, empirical experience, Katur Ibu.

В данном исследовании произведена попытка разграничения афористических жанров лезгинского фольклора: народных пословиц, поговорок и загадок. Автором рассматриваются принципы их деления. Объектом исследования являются афористические жанры лезгинского фольклора, поскольку наряду с остальными жанрами устно-поэтического творчества они занимают видное место в фольклоре с присущей им распространенностью повествования. Исследование представляется весьма показательным и в плане выявления специфики и взаимодействия трех жанров, входящих в одну группу: пословиц, поговорок и загадок. Лезгинские пословицы - крупицы мудрости, меткие слова, которые имеют обобщающий характер и заключены в сжатую и выразительную форму. Пословицы имеют определенную структуру и отличаются внутренним художественным единством. Лезгинские поговорки - это меткие образные выражения, которые обогащают разговорную речь, придают ей самобытность, эмоциональную насыщенность; это метафоризация и аллегория без нравоучения. В них в косвенной, скрытой словесной форме говорится о ком-либо или о чем-либо, передается отношение говорящего к сказанному. Загадки - это замысловатые описания какого-либо предмета или явления, созданные с целью испытать сообразительность человека, равно как и с целью раскрыть ему глаза на поэтическую красоту и богатство предметно-вещественного мира. Цель исследования - показать различия между этими жанрами и их общие черты. This study attempts to distinguish between aphoristic genres of the Lezgin folklore: folk proverbs, sayings and riddles. The author considers the principles for their differentiation. The object of the study is the aphoristic genres of the Lezgin folklore, since, along with other genres of folklore, they occupy a prominent position with their inherent narrative prevalence. The study seems very illustrative in terms of identifying the specifics and interaction of the three discussed genres (proverbs, sayings and riddles) which fall into the same group. The Lezgin proverbs are the grains of wisdom, striking words that have a generalizing character and are enclosed in a concise and expressive form. Proverbs have their own structure and are distinguished by their internal artistic unity. The Lezgin sayings are accurate figurative expressions that enrich spoken language, make it original and emotionally rich; it is metaphorization and allegory without moralizing. These expressions in an indirect, hidden verbal form speak of someone or something and express the speaker’s attitude to what is being said. Riddles are poetically intricate descriptions of an object or phenomenon, aiming to test a person’s quick wits, as well as to reveal the poetic beauty and richness of the material world. The subject of the study is to show the differences and similarities of these genres.

The article examines the characteristic features of the one-act plays of the Polish playwright of the twentieth century Slavomir Mrozhek. The creativity of the writer tends toward the Theater of absurd, it is characterized by grotesque, sharp satire, parody, contrasting combination of incompatible things as well as eccentricity. Mrozhek creates the world of his dramas by using various means of comic. He describes numerous social and political problem in his dramas. The main motives of the writer’s works are the motive of freedom, the motive of life and death, the motive of the dispute and the antagonism of nature and culture. Mrozhek’s one-act plays are short and rational, they have features of the classic “small play” of the 19th century and traits of the absurd, grotesque play of the 20th century. The article traces the history of the formation and development of the Polish and European one-act play throughout the 19th and 20th centuries, its features and characteristics, furthermore the embodiment of these features in specific dramas of Slawomir Mrozhek were analyzed. Among such dramas, the most famous ones are ‘At Sea’, ‘Karol’, ‘Strip-tease’, ‘Zabawa’, ‘Dilemmas of a dog breeder’, ‘The magical night’, ‘Fox hunting’, a brief analysis of individual works is presented in the article. Particular attention is paid to the presentation and description of the typical characters of Mrozhek’s plays, which were diligently studied by the Polish book critic Jan Blonsky. Each of the characters have a special stereotypical trait that is actualized in the acts of the dramas and is emphasized by the actions of the characters. A one-act play is a convincing view of the actual problems in a small form, which requires great skill. Mrozhek’s one-act plays are sharp, absurd, intellectual as well as topical. The language of the works is full of idioms, eloquent expressions and dialects. The surprise effect and attempts to astonish the reader and to cause ambiguous emotions are the main target for the author. The article provides a more detailed analysis of one of Mrozhek’s dramas – ‘Fox Hunting’, the main character of which is the stereotypical figure of Fox, which gives allegory, signs of fable, Aesopian language to the drama. This work is a typical example of the embodiment of the characteristic features of Slavomir Mrozhek’s one-act plays. The purpose of the article is review, analysis and research of the works of the outstanding Polish playwright Slavomir Mrozhek through the prism of his one-act plays.

The paper considers the main Panteleimon Kulish’s epic poems “Marusia Bohuslavka”, “Baida, Prince Vyshnevetskyi”, “Muhammad and Hadiza” with the focus on their oriental background. The idea of the eastern orientation of P. Kulish originates from the works of V. Shchurat, V. Ivashkiv and others. The main attention is drawn to the fact that Kulish was considerably acquainted with eastern cultures and religious systems (especially those of Near East and Middle East which he had to know as a translator of Bible) and often used eastern concepts in his philosophic and literary works. The researcher traces the influence of different factors in Kulish’s ‘Eastern poems’ at the levels of ideology and imagery. The analysis reveals that the main sources of the author’s creative ideas were the eastern religious mystical systems (such as Islam, Sufi sm) as well as European Romantic works, in particular those by Lord Byron and P. B. Shelley, that were created under the same influence of the eastern philosophic doctrines and philosophy of Spinoza. This content was most vividly embodied in Kulish’s ‘cordocentric’ doctrine contrasting with ‘ratiocentric’ European philosophies. The emphasis on the concept of the heart and emotional sphere is most eloquent and obvious in the image of Woman that is interpreted as the eastern category of eternal femininity. The eastern focus is also noticeable at the thematic level (the concepts of Truth, Love, and Eternity). The main poetical peculiarities of the analyzed works are found in the mystical thinking and belief in the sacred power of the Word. Thus the language of the poems is very allegoric, enigmatic, and mysterious; it rather veils the main meaning than reveals it. So it results in double meaning or multiplicity of interpretations and demands reading the poems with a search for a certain code or cipher for decoding the author’s imagery and parabolic content. That is why the poems leave the impression of paradoxical thinking and remain difficult for understanding which relate them to the works by Lord Byron and P. B. Shelley (“Revolt of Islam”). Probably this combination of Asian mysticism and European philosophies was the main reason why some critics accused Kulish of being ‘non-synthetic’ personality (S. Yefremov). But oriental focus reveals the new way for understanding and interpreting the poems by Kulish, as well as his philosophic doctrine and personal position in life.

Background: An estimated 5.3 million Americans are currently living with Alzheimer’s Disease or related dementias (Association 2015). Healthcare delivery for persons with Alzheimer’s Disease or related dementias (PwD), involves both the formal (e.g., physicians, social workers) and informal (e.g., family members, neighbors) work of healthcare. Informal caregiving for PwD totals approximately 18 billion hours of work per year and costs up to 217.7 billion dollars per year in caregiving costs, lost productivity and medical and institutional care (Association 2015). Informal caregivers must execute complex tasks in a dynamic environment often without the necessary information, resources, and training (Allegri, Sarasola et al. 2006, Gitlin, Kales et al. 2012). In addition, informal caregiving requires a physical, emotional, psychological, financial and temporal commitment from the informal caregiver. The confluence of these circumstances has the potential to influence the demands experienced by informal caregivers and the capacity to meet those demands. As informal caregivers increasingly take on healthcare tasks that were previously performed by trained professionals, it is important to understand how the workload experienced by informal caregivers and how it affects caregiving performance. Objective: To explore workload among informal caregivers of PwD to identify the influencers of capacity and demand and understand the interaction between capacity, demand, and caregiver burden. Method: We conducted in-depth semi-structured interviews (N=9) with informal caregivers of PwD to explore the workload among informal caregivers using qualitative thematic analysis. The interview questions related to the understanding of: 1) work performed by informal caregivers 2) strategies, tools, and resources used by informal caregivers 3) unmet needs related to caregiving work and 4) the environment in which the caregiving occurred. Results: We found three overarching themes related to caregiver workload: (1) informal caregiving demands surpass the capacity of any individual informal caregiver; (2) informal caregivers experienced dynamic workload that increased over time (i.e., as the disease progressed) forcing informal caregivers to seek assistance from other formal and informal caregiving resources; and (3) training, information, and resource scarcity is associated with informal caregiver work overload. Conclusions: Our results suggest that informal caregivers experience dynamic workload that increases over time, and that cannot be sustained by one person. Although informal caregivers were able to develop strategies to support workload, due to the progressive nature of the disease, specific strategies were not typically useful over time.

Background. The article deals with the choral creativity by the famous Ukrainian composer Mark Karminskyi. The weight of M. Karminskyi’s choral works in the legacy of the composer and in choral art in general stimulates research interest in this area of his activity. However, there are relatively few scientific studies that examine the composer’s choral work; most of them are aimed at reconstructing his general creative portrait or at examining other pages of his heritage. The scientific novelty of this research is determined by the comprehensive coverage of children’s choral creativity by M. Karminskyi and the consideration of his unpublished choral works. The research methodology, synthesizing analytical and generalizing approaches, is based on the traditions of national musicology and is determined by the specifics of vocal and choral genres, first of all, by the inextricable link between musical drama and text. The purpose of the article is to recreate the most complete picture of M. Karminsky’s choral work for children and to determine its role in contemporary choral performing. The results of the research. The composer’s early works were distinguished by meaningfulness, optimism, brightness of musical images, which was embodied in easy, convenient and accessible tunes. Many Soviet-era songs created for children of different school age were included in the “Songs for Students” collections as a new program material for choral singing of Ukrainian secondary schools students in music lessons. Several works of the author became known throughout the country and published in the leading music publishers in Kiev and Moscow: “What Boys Are Made Of” (lyrics by R. Burns translated by S. Marshak), “Quicker to the Gathering” (by L. Galkin), “Balloons” (lyrics by Ya. Akim). The songs about Victory in the Second World War are popular: “Victory is celebrated by the people” (S. Orlova), “The soldier has forgotten nothing” (E. Berstein), “Red Poppies” (poems by G. Pozhenyan). The composer combines his songs into vocal-symphonic suites. One of the main genre of choral creativity of the author has become a miniature that is able to absorb a variety of musical expressive means to expand and deepen the content of the work in a small area of the form. The works by M. Karminskyi revealed such features of choral miniature as philosophicity, attentive attitude to the word, its emotional and semantic meaning, which is reflected in the detailed development of the thematic material. Most of the composer’s choral works are written for a cappella choir. The collections of “Choral Notebooks” (1988) and “Road to the Temple” (1995) have reflected the artist’s thoughts for several decades. The figurative content of “Choir Notebooks” includes the lyrical states caused by contemplation of pictures of nature; the collection “Road to the Temple” represents philosophical reflections not only of a personal nature, but also thoughts about the universal problems of today. The cycles reveal the principles of the composer’s thinking and are one of the pinnacles of his creative heritage. The article looks at one of the best works of the cycle “Road to the Temple”, the choir “Remembering Drobitsky Yar” (lyrics by E. Yevtushenko) for children’s choir, soloist (tenor) and piano. Also, the article deals with unpublished choral works by M. Karminskyi “Paraphrases on the Sonata of Mozart” and “Guitar” on F. G. Lorka’s poems. In the work “Guitar” on Lorca’s poem (translated by M. Tsvetayeva), the composer uses signs of Spanish color: imitation of techniques of playing the guitar, rhythmic copyism of the castanets playing and other. The poetic text “decorated” by flexible, broad, expressive melody that gives words greater emotion. The piece is full of sharp changes of genre signs of melodic structures (vocal without text, dance, austinous repetitions) revealing the semantic implication of the poem. The basis of the “Paraphrase on the theme of Mozart’s Sonatine” was the fourth part (Allegro) of Sonatina No. 1 in C Major from the Six Vienna Sonatas by W. A. Mozart. M. Karminskyi noticed the vocal nature of many parts of this cycle and skillfully made a “translation” of one of them for the children’s choir. Unlike many of his contemporaries, he wrote music that does not fundamentally claim to be innovative. As a true professional, he pays attention to the integrity of the compositions elaborating the smallest details. He strives for the laconism of expression and, at the same time, is able to saturate the choral texture with modern expressive means, if the artistic image of the work requires it. Natural expressive intonation, intonation as emotional content of vocal language distinguishes choral music by M. Karminskyi. A special role in intonation is played by breathing, it is inextricably linked with melodic movement and energy. The breath of the melodies of the author is enriched by the lively intonations of the language, which reveal her “soul”, give a feeling of warmth, strength, caress, greatness, truthfulness. Musical form of the composer’s works is determined by the intonation of the music. Based on linguistic-vocal intonations, most of the author’s works have strophic forms that follow from the semantic aspect of the literary text. Karminskyi is a master of choral unison. This mean of expressiveness, which is not often used by composers, in Karminsky’s works is a carrier of expressive melodism and suppose the performance with a great inner feeling. Features of declamation always find a place in his choirs, they reproduce the living human language, the spiritual experiences of a man. Conclusion. The works for the children’s choir have a special purity and cordiality that is so subtly perceived by children. Mark Karminsky’s music is capable of drawing children’s attention to musical values that purify the soul and nurture personality. His music makes you think and feel! M. Karminsky’s creativity has forever entered the concert practice of children’s choirs of Ukraine.

Background. Close relationships to a song is one of the constants of F. Schubert’s individual thinking. As it embraces all the genre spheres in composer’s heritage, it acquires a universal status, resulting in interchange of author’s findings in chamber-vocal and instrumental works, particularly piano ones. The researchers reveal influence of songs in non-song works by F. Schubert on two main levels: intonationally-thematical and structural. This raised a question about premises, which had created conducive conditions for integration of compositional principles, characteristic for songs and instrumental works by F. Schubert. This question is regarded on the example of three last Piano Sonatas by F. Schubert. Having been written in proximity to composer’s death, they demonstrated unity of composer’s style, achieved by him by integrating his innovations in song and instrumental genres into a unity of the highest degree. Objectives and methodology. The goal of the given article is to study the structure of selected songs by F. Schubert, marked by throughout dramatic development, and to reveal their influence on composer’s last piano sonatas. In order to achieve these goals, compositionally-dramaturgical and comparative methods of analysis were used. Theoretical preconditions. As a reference point for studying of influence of F. Schubert’s songs on his instrumental works, we might consider an article by V. Donadze (1940). In this research author for the first time formulated a view on composer’s song lyricism not only as on central element of his heritage, but also as on a factor, penetrating and uniting all the genres, in which the composer had worked. Thus, concept “song-like symphonism” entered musicological lexicon. The fruitful idea about song-like thinking of F. Schubert found rich development in numerous works of researchers of next generations and keeps its relevance up to nowadays. Results. Even in the one of the very first masterpieces of a song – “Gretchen am Spinnrade” – the author creates unique composition, organized by a circular symbol, borrowed from J. W. Goethe’s text. Using couplet structure as a foundation, F. Schubert creates the structure in a way, creating illusion of constant returning to the same thought, state, temporal dimension. The first parts of every couplet repeat, the second ones – integrate into a discrete, although definitively heading to a culmination, line of development. Thus, double musical time emerges simultaneously cyclical and founded on an attempt to achieve a goal. In the sonata Allegri, regarded in this article, the same phenomenon is revealed in interaction of classical algorithm of composition and functional peculiarities of recapitulations, which are transformed into variants of exposition. As an example of combination of couplet-born repetitions with throughout development we may name song “Morgengruss” from “Die sch&#246;ne M&#252;llerin”. The same method of stages in the exposition and recapitulation can be found in sonata Allegro of Sonata in C Minor. Polythematic strophic structure with throughout development is regarded on example of “Kriegers Ahnung” (lyricist Ludwig Rellstab) from “Der Schwanengesang”, which is compared to Andante from the before mentioned Sonata. Special attention is drawn to the cases in which cyclical features, characteristic for F. Schubert’s songs, find their way into sonata expositions and recapitulations. In the first movement of Sonata in B-flat Major these chapters of musical structures consist of three quite protracted episodes, which might be identified as first subject, second subject and codetta, respectively. Each of these episodes has its own key, image and logic of compositionally-dramaturgic process, while being marked by exhaustion of saying, which approximates the whole to a song cycle. The logic governing the succession of the episodes is founded not on causation (like in classical sonata expositions and recapitulations), but on the principles of switching from one lyrical state to another. The same patterns of structure are conspicuous in exposition and recapitulation of the first movement of Sonata in C Minor, in which the first section is marked by throughout development, the second one is a theme with two different variations, and the third one, the one recreating the process of rumination, with long pauses and fermatas, interrupting graduality of the movement, is founded on the contrast between playful and lyrical states. The outer movements of Sonata in A Major consist of several episodes. The first subject in ternary form has contrasting middle section; quite uncommon for F. Schubert linking episode dilates so much its function of “transition” is almost lost; enormous second subject eclipses the codetta in every section; it is an unique world, a palette of moods, images, musical events. Conclusions. Innovativity, characteristic for F. Schubert in the field of Romantic song, reveals itself not only in the spheres of images and emotions, musical language, interaction between vocal melody and piano part, but also in the organization of a structure. This allowed to re-evaluate means of organization of compositionally-dramaturgic process in piano sonatas by the composer as in the genre of instrumental music. While in the songs and song cycles these principles of structure were closely connected to extra-musical content, conditioned by it, in instrumental works, specifically, in piano sonatas, they became a feature of the musical content, immanent for music. This particularly helps to explain, why is it possible to use these principles without song-like intonations, usual for them. By the same token, even in this “isolated” variant they remind of their song origin, so songs and song cycles by F. Schubert become a “program” of his piano sonatas and works in another instrumental genres, in a similar fashion to opera, which has become crucial source for development of classical symphony.

Sonata for French horn and piano by Belgian female composer Jane Vignery (1913–1974), which has not been studied before, is analyzed in the article. The main attention is focused on the role of the pianist-accompanist in the process of composing dramaturgy. Skillful manipulation of musical time is the key to the convincingly constructed dramaturgy of a piece of music. Time management is especially evident in the moments of dramatic knots. By the dramaturgical knot we mean the transition from the completion of one dramaturgical element to the beginning of the next. At the beginning of a piece of music (or part of it) it is the transition from inaction to action, from silence to music. In the proposed chamber sonata, the overwhelming majority of the dramaturgical nodes are entrusted with the part of the solo piano, which forms the hypothesis of the research theme : the successful construction of the dramaturgical profile of the sonata, and, as a result, reporting to the listener a quality product, that can cause an emotional response, depends largely on the pianist’s professional knowledge of time. Objectives. The aim of the article is an attempt to prove the leading role of the piano part in the process of constructing the dramatic relief of the proposed sonata. In connection with the tasks set, the issues of correlating between the concepts of "concertmaster" and "accompanist" are clarified. As a conclusion, we see the central orientation in the activity of the pianist-in-ensemble in the conductor’s work, which includes the coverage of the score of the work and the management of musical time - the most important component of dramatic art. Results. A dramaturgical analysis of the sonata for French horn and piano by Jane Vignery has been made. The strategically important sections of the musical form are discussed and described in detail. The first part of the sonata is represented by the sonata allegro. There is no introduction in the sonata, so the initial impulse with which the pianist will take the first chords is very important. The development of the transition leads to the first culmination wave, which is given entirely to the piano part. Since the second subject part is also performed by the solo piano soloist, the conversion from the transition to the second subject pianist is free to act. Pianist has the right to determine the pace and, consequently, the nature of the second subject party. The development, as well as the previous dramaturgical elements, begins solo in the piano part. The development is crowned by the central culmination of the first movement. And, again, its performance is entrusted to the solo piano. In the second part of the sonata the melodic line, which is set out in the horn part, is performed three times without any changes in the musical notation. Its emotional coloring entirely depends on the nature of the piano texture. It is on the pianist that the formation of the correct dramaturgical profile depends, the development of which moves from the personal-subjective to the extrapersonal-objective. The culminating waves, which precede the second and third realization of the theme, are set out in the solo piano part. It is they who represent the most important dramaturgical nodes of this part. The finale of the sonata begins with a short two-stroke introduction, where the piano must switch moods and set the soloist to the desired character in an instant. The episodes of the final part of the sonata changed before the listener as in the kaleidoscope. The pianist is responsible for the change of pace and, as a result, the mood in each of elements. Based on the numerous audio and video recordings of this sonata, as well as our own practical experience, we offer performing recommendations for the piano part. In addition to analytical work, the article includes biographical data on the little-known composer. Also literary sources, which address to the problem of concertmaster skills are considered and classified in the article. We focused on the significant limitation of the range of problems in this field. Conclusions. The accompanist’s mastery consists not so much in accompanying the soloist, creating a comfortable background for him, but above all in conductor’s work, including the coverage of the score and management of musical time – an essential component of drama. Taking into account the acuteness and urgency of the problem, I emphasize the importance and practical necessity of such a type of performing analysis as concertmaster analysis. It’s not always the case that the development of dramaturgy depends on the will of the soloist. Sonata for French horn and piano by J. Vignery is an illustrative example of a compositional form in which all the key dramaturgical nodes are concentrated in the part of the solo piano. Performed according to the laws of dramaturgical logic, this sonata is capable of producing a tremendous effect on the listener. Despite the fact that it is considered a French horn sonata and requires the highest professionalism from the soloist, the construction of the dramatic relief is entirely subordinated to the skills of the concertmaster.

Background. Rapidness of information flows of contemporary life enforces to concentrate a significant amount of information in small formats. This fact meaningfully increases social and practical significance, cultural and aesthetic value of miniature genres, in particularly, in the musical art. The violin miniature is a historically developed, typologically settled genre of professional musical creativity designed to solo music-making in the conditions of chamber or concert performance. Relevance of the genre is also due to its active inclusion in the programs of competitions and festivals. To the violin miniature genre the such outstanding masters of past were addressing as N. Paganini, H. Wieniawski, P. Tchaikovsky, E. Elgar, J. Sibelius, F. Kreisler, as well as the Ukrainian composers – M. Lysenko, V. Kosenko, L. Revutskyi, B. Liatoshynskyi, etc. True renaissance of violin miniature in Ukraine began in the 70’s of the XX century: about 30 miniatures were created by Yu. Ishchenko, I. Karabits, E. Stankovich, O. Kiva, V. Homoliaka, L. Bulhakov, S. Kolobkov and others. At the end of the XX century the Ukrainian artists written about a dozen miniatures and cycles, among the authors &#8210; V. Sylvestrov, M. Skoryk, M. Karminskyi, K. Dominchen, H. Havrylets, O. Krasotov, V. Manyk. The 2000s years for the violin miniature genre became even more productive. Let us note the creative achievements of M. Skoryk, O. Hnatovska, I. Albova and M. Stetsiun. The miniatures by famous Kharkiv composer Liudmila Shukailo, who created a cycle of 10 plays, were an important contribution to the violin repertoire. The objective of the article is to consider the peculiarities of the genre interpretation of violin miniatures in the L. Shukailo’s creativity on the example of her collection «10 pieces for violin and piano». At the present stage the study of the genre of Ukrainian violin miniature is insufficient; in particular, L. Shukaylo’s miniatures were not considered by researchers. The methodological basis of this study is the concept of the genre of miniature by K. Zenkin (1997), E. Nazaikinskyi (2009), N. Ryabukhа (2004), L. Sviridovska (2007), N. Govar (2013), O. Harhai (2013), V. Zaranskyi (2009). The research results. Miniature is a genre that embodies a variety of lyrical emotions and subtle nuances of mental states and also presupposes clearness of a form, laconism and concentration of thought, the elegance of means of artistic expression and the chamber conditions for performance. The latter contribute to the passing of depth of its content and special intimacy of utterance. In the works of L. Shukailo all the characteristics of miniature genre are the means realization the composer’s artistic idea. There are a lot of miniatures for various instruments among her works. This genre attracts the artist with its exceptional feature: it is necessary to outline a specific laconic image without «blurring». Working on the violin miniature, the author seeks to achieve maximum effects by minimal means, taking into account the performing convenience and mobility of the chamber type of music. Creativity by Kharkiv composer Liudmila Shukailo, who for several decades has been working in the Kharkiv Middle Special Music School, attracts the attention of performers and art critics. All the time communicating with children, the composer creates a lot of various pieces for young performers. Thus, the original author’s solution demonstrates in the collection «10 pieces for violin and piano» formed on the principle of «school of playing», that is the increasing of degree of complexity. Most of the pieces have the names corresponding to different style traditions: Baroque (Passacalia), Romanticism (Elegy, Scherzino, Waltz, Intermezzo, Burlesque), some of plays are emphasized separately – «Ballet scene», «Variations» and «Spring duet». It is the contrast of genre attributes that promotes to join diverse miniatures into a cycle. The author traditionally prefers the genre of descriptive (programmed) miniature, because in it, in her opinion, it is easier to specify the content and create the vivid image that is very important for young musicians. The first piece of the collection, “Passacalia”, is stylized in the same named genre (moderate tempo, triple meter, elements of basso ostinato, etc.), however L. Shukailo uses the method of stylization creatively: she interprets this genre in the context of a new round of historical and stylistic development, with the maximum introduction of individual musical thinking. The piece “Ballet scene” marked by bright theatricality. Its waltz theme has a cross-cutting development, creates the illusion of whirling; the accents and underscores of weak shares add to it vividness and capriciousness. The piece “Oh, verbo, verbo” (“Oh, willow, willow”) is the miniature variations on the theme of Ukrainian folk song. The first variation resembles a waltz, the second – the Ukrainian dance “Cossack” with its characteristic rhythm and the third associates with the genre of Toccata due to monotonous rapid movement. The romantic quasi-vocal “Spring duet”, a musical dialogue of violin and piano, requires the ability to «sing» on the instrument, to fill the sound with a beautiful timbre. The next piece, “Allegro”, corresponds to its tempo and characteristic designation. The choice of the tonality of the miniature (“bright” C major), “grateful” for a violinist, adds a festive flavor and reveals the author’s goal: to address the music to beginners, taking into account their perception and performance capabilities. The monotony of the “canter” technical figurations, which is maintained throughout the play, unites “Allegro” with the etude and makes it possible to use it as an etude. Semantics of the next piece, “Elegies” in D minor, fully corresponds to the genre of the sad song. Its lyrical and psychological aura outlines the multifaceted image and its tense development. The contrast to the antecedent sad mood the piece “Scherzino” presents – the miniature with a characteristic for children’s music name. The stroke of staccato, the alternation of ascending and descending melodic movements, unexpected stops create a certain comic effect. Unfolded “Waltz” marked by virtuoso-improvisational character, continues the cycle. Song and recitation “Intermezzo” is characterized by the complication of the figurative and semantic aspects. The miniature has a pronounced lyrical and dramatic orientation. Modern harmonious style is manifested in the extension of tonal-harmonic relations, the introduction of alterated tones, tone oppositions, daring shifts-modulations. The piece is marked by equality of violin and piano parts, which seize the initiative from each other creating the continuity of musical development. The last miniature – “Burlesque”, with Rondo features, performs the final function in the cycle. The piece has virtuosic orientation – fast paced, rapid passages, pizzicato, dynamic contrasts and the solo Cadenza with bright loud double notes. Interpretation of this miniature can be complete only in terms of technical assimilation of all previous material. “Burlesque”, in fact, is a test of skill and can be recommended for performances in open concerts. Conclusions. Violin miniature is a conceptual genre of musical culture, performing self-sufficient artistic function like to other genres and being able to reflect the psychology of an author’s personality. In the Ukrainian composers creativity, the genre of violin miniatures is lifted on great artistic high, as the “10 pieces for violin and piano” by L. Shukailo evidenced, which are characterized by melodicism, clarity and persuasiveness of the creative idea, the logics of the musical language. The composer uses the program descriptiveness, genre stylization and folklore sources expressing in music her own emotions, impressions and feelings. Poetic imagery that fascinates with emotion and extremely romanticized reproduction of reality, as well as interesting findings in the field of form and expressive means give the works of self-containment and artistic value. L. Shukailo’s cycle “10 pieces for violin and piano” can be recommended both, for performing as an indivisible work and for using of the pieces in isolation with a methodical purpose. The cycle is aimed at the formation of not only the technical skills, but also on the possession of the specifics of adequate reproduction of the figurative and semantic content of a musical work. Prospects. The questions of scientific understanding of the individual composer’s style of L. Shukailo require the more detailed musicological analysis. Some of the observations obtained in this article can be applied in the study of a wider range of problems of modern violin art, in particular, the use of the latest composer techniques in the genre of violin miniatures. Further development of the theme will also contribute to the enrichment of the teaching and methodical repertoire in the genre of violin miniature, to identify its new genre varieties and to attract its best samples to the violin performance.

Joakim Skovgaard: Christ in the Realm of the DeadBy Peter Nørgaard LarsenWithout in any way pretending to envelop Joakim Skovgaard’s huge painting Christ in the Realm o f the Dead (1891-94) in an exhaustive monograph, the article attempts, in three main sections, origin, meaning, reception, to approach an understanding of the art-historical models and inspirations for the work, its possible meaning, and, finally, its reception and its chequered course through the history of Danish art.OriginThe encounter with the archaic, .austere style. in both architecture, scuplture and in vase painting was of crucial significance for Skovgaard’s work. The simplicity in both the composition, the movements and expressions of the figures and also the frieze-like coordination of the figures characteristic of the .austere style. and to a large extent of the early Italian Renaissance - another important source of inspiration for Skovgaard’s art - has left crucial traces in Christ in the Realm o f the Dead. It can be seen in the grandiose simplicity of the composition, in its gesticulations and expressive power and in the powerful balance struck between the vertical and the horizontal, between figure and space. Joakim Skovgaard was very reticent with regard to lifting the veil on the thoughts and choices behind his magnum opus. Thus, the picture receives only few mentions in the artist’s letters. And here as in later interviews his virtually sole comment is that the motif was taken from his mother’s favourite hymn, Grundtvig’s rewriting from 1837 of Caedmon’s Anglo-Saxon poem, .The Harrowing of Hell: This night there was a knocking on the gates of Hell..MeaningOne thing that constantly makes itself felt is the vast size of the painting (351,5 x 489 cm). Had it been a commissioned work, most likely in the form of an altarpiece, this would explain the format. But as the painting was done on the artist’s own initiative and at his own expense, we can talk of a unique project in Danish art.Skovgaard clearly conceived of his work as an artist as a calling, and the task was to make great art work as convincingly as possible for God and the spreading of Christianity.As a deeply rooted personal testimony and as a reply to the materialism and and religious doubt of the time and the profanation of the figure of Christ, Skovgaard was re-installing Christ as the almighty, awesome power that can fight titanic battles for the sake of mankind. Skovgaard managed not only to create a picture with a rare power of conviction, but also to let his hero stand as a statement of how, on the threshold of the modern world, art is still able to generate an artistic statement that is both contemporary and relevant. The realm of the dead with the anonymous host of corpse-like beings, who after an age spent in spiritless darkness are forcing their way forward towards a liberating light, is perhaps Skovgaard’s allegory of the time’s doubt and uncertain groping for a spiritual base in the historical transition between tradition and modernity.ReceptionAmong most young artists and critics, Skovgaard’s painting was pointed out as a milepost in Danish art, which set new standards for the strivings and potential of Danish art. The critics of the painting maintained that the work was unrealistic. The figures were far too rough and stiff and the out-pouring of emotion too overwhelming.After it had been moved around for several years, spending a short time in the Immanuel Church in Copenhagen, being accorded an enthusiastic reception in the Paris World Fair in 1900, and subsequently hanging in St.Olai Church in Helsingør (Elsinore), Statens Museum for Kunst decided to purchase the painting in 1911.The painting was exhibited in Statens Museum for Kunst until 1965, when, as a result of the re-building of the museum, it was rolled up and moved out along with the rest of the collection. When the museum reopened in 1970 it was not included among the works hung. Instead it was condemned to obscurity, i.e. kept rolled up in storage. Here it remained for 30 years until a major conservation project in 2000 gave the public and the art historians an opportunity to join in the debate on this epoch-making and much discussed painting.

Background. In recent years, there has been an increased interest of musicologists in the phenomenon of “late Schumann” in the aspect of usage of different historical and cultural traditions by the composer, that constituted problematic aura of given research. Modern scholars investigate this matter from several positions: bounds of Schumann’s style with antecedent music, Viennese classics and art of Baroque (K. Zhabinskiy; 2010); formation of aesthetic and stylistic principles of composer in 1840s–1850s, foreseeing musical phenomena of second half of XIX century (A. Demchenko; 2010), realization of natively national cultural meanings in “Album for the Young” op. 68 in his late works (S. Grokhotov; 2006). The content of given above and other modern researches allows to reconsider still unfortunately widely accepted conception of a “twilight” of Schumann’s genius in the last years of his creative life (D. Zhytomirskiy) and to re-evaluate all the works created by the composer in that time. In the given article, one of them is studied, “3 Piano Sonatas for the Young” op. 118, one of the last among them. This choice is effectuated by two main reasons: by op. 118 being an example of “children music” of R. Schuman, that adds additional marks to the portrait of composer, taking a journey through happy pages of his life, preceding its tragic ending; and by possibilities to study typically “Schumannesque” on this example in constantly changing artistic world of German Romantic, who was on the verge of radical changes in national art of second half of XIX century. In order to conduct a research, the following methods of studying of musical phenomena are used: historical, evolutional, genetic, genre and typological, compositional and dramaturgic, comparative. Regarded through the prism of traditions, Sonatas for the Young reveal simultaneous interjections of contained ideas both with musical past, practice of national culture, including modern one, and with author’s own experience. Dedicating every Sonata to one of his own daughters, R. Schumann continues tradition of addressing his works, a tradition, that in fact has never been interrupted. As one can judge by R. Schumann’s dedications, as a rule, they mask an idea of musical portrait. The First Piano sonata op. 11, 6 Studies in canon form op. 56, Andantino from Piano sonata op. 22 are cited (the last one – according to observation of K. Zhabinskiy). The order of the Sonatas for the Young has clear didactic purpose, as if they were mastered by a child consecutively through different phases of learning piano, that gives this triad a feeling of movement towards general goal and makes it possible to perceive op. 118 as a macrocycle. Another type of cyclization, revealed in this article, discloses legacy of works like suites and variations, created by R. Schumann in 1830s, a legacy effectuated in usage of different variative and variant principles of creating the form on different levels of structure. For example, all the movements of the First sonata are bound with motto, consisting of 4 sounds, that allows to regard this cycle simultaneously as sonata and as variations, and if we take into consideration type of images used, we can add a suite cycle to these principles. In a manner, similar to “Carnival” and “Concerto Without the Orchestra”, author’s “explanation” of constructive logic lays within the composition, in the second movement (“Theme and Variations”). To end this list, the Finale of the Third Sonata for the Young contains a reminiscence of the themes from previous Sonatas, that in some way evokes “Children’s scenes” op. 15 (1838). Suite-like traits of Sonata cycles in the triad op. 118 can also be seen in usage of different-leveled titles, indicating: tempi (“Allegro”, “Andante”), programme image (“The Evening Song”, “The Dream of a Child”) or type of musical form (“Canon”), that underscores a bound of Sonatas for the Young with R. Schumann’s cycles of programme miniatures. In addition to that, a set of piecesmovements refl ects tendency of “late Schumann” to mix different historical and cultural traditions, overcoming the limits of autoretrospection. Tempo markings of movements used as their titles allows to regard them predominately as indications of emotional and imagery content, that resembles a tradition of composer’s practice of 17th – 18th centuries. “Allegro” as a title is also regarded as an announcement of the beginning of the Sonata cycle, and that especially matters for the fi rst Sonata, that, contrary to the Second and Third, is opened not with sonata form, but with three-part reprise form. Of no less signifi cance is appearance of canon in “children” composition with respective title, a canon simultaneously referring to the music of Baroque epoch and being one of obligatory means of form-creating, that young pianist is to master. The same can be addressed to the genre of sonata. Coming from the times of Viennese Classicism, it is preserved as the active of present-day artistic horizon, required from those in the stage of apprenticeship, that means sonata belongs to the present time. For R. Schumann himself, “child” triad op. 118 at the same time meant a return to the genre of Piano sonata, that he hadn’t used after his experiments of 1830s, that can also be regarded as an autoretrospection. Comparative analysis of Sonatas for the Young and “Big Romantic” sonatas, given in the current research, allowed to demonstrate organic unity of R. Schumann’s style, simultaneously showing a distance separating the works of composer, belonging to the different stage of his creative evolution. Created in the atmosphere of “home” routine, dedicated to R. Schumann’s daughters, including scenes from everyday life as well as “grown-up” movements, Three Sonatas for the Young op. 118 embody typical features of Biedermeier culture, a bound with which can be felt in the last works of composer rather distinctly. The conclusion is drawn that domain of “children” music of the author because of its didactic purpose refl ects stylistic features of “late Schumann”, especially of his last years, in crystallized form.

Introduction. In recent years, there has been indefatigable interest of scholars in the concerto genre, and that can be proven by constantly appearing research article and dissertation, devoted to it. For example, in 2017 and 2019 candidate dissertation [Ph. D] have been published, that illuminated previously obscure pages of, respectively, French tradition of this genre, embodied in concertos for various instruments with orchestra by C. Saint-Sa&#235;ns, and AustroGerman of the first decades of XIX century (including those by J. N. Hummel, I. Moscheles, F. Ris). Expansion of the knowledge about this genre in historical aspect is accompanied by refinements and changes of viewpoints on its essence, that allows, in particular, to comprehend the phenomenon of intersection of different traits of a symphony, a concerto and an ensemble in composers’ activity of XX – beginning of XXI century. A presumption is made, that between these stated genres there is some kind of interlocutor, that is dialogism. At the same time, it is noted, that various types of a dialogue in given work do not lead inevitably to some “mix” or ambivalence, but can contribute to realisation of the potential of the concerto genre. The last one can be applied to the Piano concertos by J. Brahms. Objectives. The goal of the given article is to reveal signs of chamberness in genre-stylistic field of Piano concertos by Johannes Brahms. Results and discussion. In spite of widely disseminated opinion that they belong to predominately orchestral type or even are “symphonies with piano obligato” (Kuznetsov, 1980; Beyer, 1897), they reveal influence of another essential characteristics of the genre, including chamberness. This can be explained either by classicism of J. Brahms’s composer style, who has always orientated towards tradition of his times or by integrativity, that is an iconic trait of late-Romantic music. The examples are given of grand-scale symphonic conceptions deriving from primal ensemble ideas. It is noted, that while the understanding of the genre’s nature remains stable, in each Concerto the proportion of symphonism, concertoness and chamberness is singular due to a significant time interval passing between them and noticeable difference in level of composer’s maturity. Both Concertos reveal the following attributes of chamberness: frequent usage of separate orchestra groups, eventual appearance of “ensemble of soloists” on the background of certain groups or without any accompaniment, significant dramaturgic role played by solos of the piano either slightly supported by sparse instruments while their parts are rather scattered or absolutely unaccompanied. It is stressed that regarding playing piano one should not equate one performer with one part as there are parts of right and left hands and dialogues appearing between them (Polskaya, 2001). On the other side, mono-pianistic expression doesn’t necessarily coincide with a monologue, as self-comprehension of a personality can be marked by a significant dialogism and even conflict (Misitova, 2004). The Piano concertos by J. Brahms can serve as an example for the last observation as appearances of the soloist (chiefly, solo) create additional thread of dramaturgy, sometimes governing the development of music and its images. In the First concerto, given its allusions to the Baroque era, one can discern frequent usage of chamber, sometimes exclusively string orchestra. It is pointed out that initial image of Maestoso, that is supposed to be portrayed by sonority of the accentuated brass group as it has tremendous and formidable mood, is in fact embodied by strings with occasional illuminations of another groups. In Adagio the archi section also plays the leading role, being in dialogue with two bassoons in the first orchestral episode, later entering compassionate dialogue with the piano. In both movements the full orchestra is used only in the climactic moments, often with the soloist involved. And the Finale is the only movement where the semantics of the competition and festivities of the masses urges the composer to use entire orchestra. The logic of changes of emotional states in the solo part is quite clear. It is a personification of a “lyrical hero”, who is in a state of an inner dialogue, and that engenders a conflict situation, largely contributing to the dramatism of further events in the music. Employments of the ensemble are sporadic and are usually illuminated by a background of the orchestra. In Second concerto, while the strategy of chamberness of orchestra and raising the significance of the soloist remains stable, on the contrary, different means of ensemble communication are developed, including those involving “satellite” instruments. Their activity is revealed in the very first bars of Allegro non troppo, where French horn and piano resemble quiet and leisurely conversation. This duet in its further appearances marks the borders of large chapters of the structure, therefore acquiring compositional significance. Ensemble qualities are intrinsic for Andante from this Concerto, where another soloist appears, singled out from the group of cellos, and later oboe, clarinets make their entrance, and the score turns into sheer dialogue of soloists. Conclusions. Comparison of two Piano concertos by J. Brahms allows to state that composer simultaneously has firm understanding of this genre and favours different traits of chamberness in each of them. In the latter one “satellite” timbres are used, ensemble structures are more significant. And this paves the way for ensemble differentiation of the orchestra, that can be regarded as one of the first portents of modern understanding of concerto genre and abovementioned processes of “mixing”.

The First Symfoni No 40 Wolfgang Amadeus Mozart. Symphony is a great composition, whichconventionally consists of four parts. At the end of the eighteenth century it became the main format of orchestralmusic. However, it became prominent at the time of Beethoven. Symphony is a great and ambitious piece of musicsince it is played for 20-45 minutes in length, containing an expansion of tone colors and dynamics of classicalorchestra. It has been known that classical symphony usually consists of four parts inciting broader emotion bythe created tempo and nuance. Mozart’s three last symphonies are Mozart’s masterpieces and Symphony No. 40,for example, contains connotations of romantic signs ignored by his predecessors. Although Symphony No. 40employs minor tones, it is not sad but cheerful, playful, passionful, and dramatic. The fi rst part of the Symphonyuses Allegro Sonata format which consists of three parts, namely exposition, development and recapitulation.

This article deals with the US Cold War cinematographic construction of the Soviet enemy. The researcher focuses on the means of dehumanising the communist enemy, external and internal, by equating it to a machine. The author applies Nick Haslam’s dual model of dehumanization (2006), according to which dehumanization is visible in two main forms: animalistic, by associating members of the out-group with animals, and mechanistic, by associating them with a soulless machine. The materials used consist of US films from the “Long Fifties”, in which Hollywood, equating the enemy to machines, developed three plots: the robotic existence of individuals in a totalitarian society; the transformation of Americans into zombies by communists by means of Soviet science; and the body snatching of Americans by an alien mind, an allegory of a future communist occupation of the USA. The article demonstrates that dehumanization was implemented by directly labeling the representatives of the communist world as robots and by attributing to them a lack of emotions, consciousness, will, individuality, initiative, warmth, love, friendship, creative abilities, and even the ability to smile. Such an image of the enemy implied a moral exclusion, treating them as an inanimate object unworthy of empathy, including in the event of their destruction. The author points out that the use of mechanistic dehumanization was very effective. Essentialization of the differences between “us” and “them” occurred: the symbolic border between them is presented as a boundary between living and nonliving. The image of mortal danger was created: the “Red Machine” is strong and merciless, it cannot be moved to pity, and so it is permissible to destroy it. This image contributed to the legitimation of power: the political opponents of the authorities are represented as internal enemies who are anxious to turn Americans into obedient executors of someone else’s will and to deprive them of humanity. At the same time, the machine also has weaknesses, and it is possible to defeat it: since it is devoid of human creativity, it is clearly inferior to the free human spirit embodied in America.

The Middle Ages added their own ludological culture traditions to those which they had inherited from the Ancient Ages. First of all, such notions were connected with the form of existence and perceiving the Christianity which was a basis for the whole civilization. Epistemological notions of those times were also built in accordance to those norms of world outlook. A cognitive act of an individual was understood as entrance of the subject to the world of general tragic game where he is risen up from sensual forms of being to being of over-sensual beauty, which is defined only through forms of mental cognition and through beauty to over-essential being of its Creator. Philosophical thought of the Middle Ages inherited the Platonic ludological tradition. According to these notions, personal creativity of an individual (artistic, scientific etc.) was understood as being identical with cognition and perceived only as reproduction, retrieval of what had already been programmed by the Creator, that is, as a game and through the game. The brightest page of the Middle Ages is connected with chivalry and its comprehension because the phenomenon of chivalry is the top of medieval culture, its ethical and esthetical ideal, which was over-thought by its self-consciousness as a form of game. Distribution of roles covered all main manifestations of individual’s life. Therefore even usual outside manifestation of any personal emotions by an individual in his public life (happiness, satisfaction, anger, despair, sadness and so on) was subject to this “role dictate”. So, a sphere of public emotions display by an individual was also predetermined by imperativeness of his own social role he was playing. We can speak about consciousness of those times perceiving a poetic text as a played game and author art as predominantly performing art. Then constancy of plots and anonymity of works, which is a feature of medieval literature, becomes more understandable; as every author perceived it as a script and tried to play his role as best as possible; his role was written down as a corresponding text. Moreover, we should add that a similar game was predetermined also by some other peculiarities of medieval mentality. The reason is that medieval people tried to identify themselves with a certain sample which had already had a certain approbation, to achieve full self-expression and make this self-expression understandable for the society. A role was determined and a model of behavior was built according to the admitted interpretation of this sample and its allegoric meanings (most often, there were widely known Biblical images). These established forms of self-expression made processes of understanding and interpersonal dialogue easier.

In recent years a number of dramas focussing on Indigenous Australians and Australian history have appeared on the ABC, one of Australia's two public television channels. These dramas have different foci but all represent some aspects of Australian Indigenous history and how it interacts with 'mainstream' representations of Australian history. The four programs I will look at are Cleverman (Goalpost Pictures, 2016-ongoing), Glitch (Matchbox Films, 2015-ongoing), The Secret River (Ruby Entertainment, 2015) and Redfern Now (Blackfella Films, 2012), each of which engages with the past in a unique way.Clearly, different creators, working with different plots and in different genres will have different ways of representing the past. Redfern Now and Cleverman are both produced by Indigenous creators whereas the creators of The Secret River and Glitch are white Australians. Redfern Now and The Secret River are in a realist mode, whereas Glitch and Cleverman are speculative fiction. My argument proceeds on two axes: first, speculative genres allow for more creative ways of representing the past. They give more freedom for the creators to present affective representations of the historical past. Speculative genres also allow for more interesting intellectual examinations of what we consider to be history and its uncertainties. My second axis argues, because it is hard to avoid when looking at this group of texts, that Indigenous creators represent the past in different ways than non-Indigenous creators. Indigenous creators present a more elliptical vision. Non-Indigenous creators tend to address historical stories in more overt ways. It is apparent that even when dealing with the same histories and the same facts, the understanding of the past held by different groups is presented differently because it has different affective meanings.These television programs were all made in the 2010s but the roots of their interpretations go much further back, not only to the history they represent but also to the arguments about history that have raged in Australian intellectual and popular culture. Throughout most of the twentieth century, indigenous history was not discussed in Australia, until this was disturbed by WEH Stanner's reference in the Boyer lectures of 1968 to "our great Australian silence" (Clark 73). There was, through the 1970s and 80s, increased discussion of Indigenous history, and then in the 1990s there was a period of social and cultural argument known locally as the 'History Wars'. This long-running public disagreement took place in both academic and public arenas, and involved historians, other academics, politicians, journalists and social commentators on each side. One side argued that the arrival of white people in Australia led to frontier wars, massacre, attempted genocide and the ongoing oppression of Indigenous people (Reynolds). The other posited that when white people arrived they killed a few Aborigines but mostly Aboriginal people were killed by disease or failure to 'defend' their culture (Windschuttle). The first viewpoint was revisionist from the 1960s onwards and the second represented an attempt at counter-revision – to move the understanding of history back to what it was prior to the revision. The argument took place not only among historians, but was taken up by politicians with Paul Keating, prime minister 1993-1996, holding the first view and John Howard, prime minister 1996-2007, aggressively pursuing the second. The revisionist viewpoint was championed by historians such as Henry Reynolds and Lyndall Ryan and academics and Aboriginal activists such as Tony Birch and Aileen Moreton Robinson; whereas the counter-revisionists had Keith Windschuttle and Geoffrey Blainey. By and large the revisionist viewpoint has become dominant and the historical work of the counter-revisionists is highly disputed and not accepted.This argument was prominent in Australian cultural discourse throughout the 1990s and has never entirely disappeared. The TV shows I am examining were not made in the 1990s, nor were they made in the 2000s - it took nearly twenty years for responses to the argument to make the jump from politicians' speeches and opinion pieces to television drama. John Ellis argues that the role of television in popular discourse is "working through," meaning contentious issues are first raised in news reports, then they move to current affairs, then talk shows and documentaries, then sketch comedy, then drama (Ellis). Australian Indigenous history was extensively discussed in the news, current affairs and talk shows in the 1990s, documentaries appeared somewhat later, notably First Australians in 2008, but sketch comedy and drama did not happen until in 2014, when Black Comedy's programme first aired, offering sketches engaging often and fiercely with indigenous history.The existence of this public discourse in the political and academic realms was reflected in film before television. Felicity Collins argues that the "Blak Wave" of Indigenous film came to exist in the context of, and as a response to, the history wars (Collins 232). This wave of film making by Indigenous film makers included the works of Rachel Perkins, Warwick Thornton and Ivan Sen – whose films chronicled the lives of Indigenous Australians. There was also what Collins calls "back-tracking films" such as Rabbit-Proof Fence (2002) and The Tracker (2010) made by white creators that presented arguments from the history wars for general audiences. Collins argues that both the "blak wave" and the "back track" created an alternative cultural sphere where past injustices are acknowledged. She says: "the films of the Blak Wave… cut across the history wars by turning an Indigenous gaze on the colonial past and its afterlife in the present" (Collins 232). This group of films sees Indigenous gazes relate the past and present whereas the white gaze represents specific history. In this article I examine a similar group of representations in television programs.History is not an innocent discourse. In western culture 'history' describes a certain way of looking at the past that was codified in the 19th century (Lloyd 375). It is however not the only way to look at the past, theorist Mark Day has described it as a type of relation with the past and argues that other understandings of the past such as popular memory and mythology are also available (Day). The codification of history in the 19th century involved an increased reliance on documentary evidence, a claim to objectivity, a focus on causation and, often though not always, a focus on national, political history. This sort of history became the academic understanding of history – which claims to be, if not objective, at least capable of disinterest; which bases its arguments on facts and which can establish its facts through reference to documentary records (Froeyman 219). Aileen Moreton-Robinson would call this "white patriarchal knowledge" that seeks to place the indigenous within its own type of knowledge production ("The White Man's Burden" 414). The western version of history tends to focus on causation and to present the past as a coherent narrative leading to the current point in time. This is not an undisputed conception of history in the western academy but it is common and often dominant.Post-colonialist analyses of history argue that western writing about non-western subjects is biased and forces non-westerners into categories used to oppress them (Anderson 44). These categories exist ahistorically and deny non-westerners the ability to act because if history cannot be perceived then it is difficult to see the future. That is to say, because non-western subjects in the past are not seen as historical actors, as people whose actions effected the future, then, in the present, they are unable to access to powerful arguments from history. Historians' usual methodology casts Indigenous people as the 'subjects' of history which is about them, not by them or for them (Tuhiwai Smith 7, 30-32, 144-5). Aboriginal people are characterised as prehistoric, ancient, timeless and dying (Birch 150). This way of thinking about Indigenous Australia removes all agency from Aboriginal actors and restoring agency has been a goal of Aboriginal activists and historians. Aileen Moreton Robinson discusses how Aboriginal resistance is embodied through "oral history (and) social memory," engaging with how Aboriginal actors represent themselves and are represented in relation to the past and historical settings is an important act ("Introduction" 127).Redfern Now and Cleverman were produced through the ABC's Indigenous Department and made by Indigenous filmmakers, whereas Glitch and The Secret River are from the ABC drama department and were made by white Australians. The different programs also have different generic backgrounds. Redfern Now and The Secret River are different forms of realist texts; social realism and historical realism. Cleverman and Glitch, however, are speculative fiction texts that can be argued to be in the mode of magical realism, they "denaturalise the real and naturalise the marvellous" they are also closely tied ideas of retelling colonial stories and "resignify(ing) colonial territories and pasts" (Siskind 834-5).Redfern Now was produced by Blackfella Films for the ABC. It was, with much fanfare, released as the first drama made for television, by Aboriginal people and about Aboriginal people (Blundell). The central concerns of the program are issues in the present, its plots and settings are entirely contemporary. In this way it circumvents the idea and standard representation of Indigenous Australians as ancient and timeless. It places the characters in the program very much in the present.However, one episode "Stand Up" does obliquely engage with historical concerns. In this episode a young boy, Joel Shields, gets a scholarship to an expensive private school. When he attends his first school assembly he does not sing the national anthem with the other students. This leads to a dispute with the school that forms the episode's plot. As punishment for not singing Joel is set an assignment to research the anthem, which he does and he finds the song off-putting – with the words 'boundless plains to share' particularly disconcerting. His father supports him saying "it's not our song" and compares Joel singing it to a "whitefella doing a corrobboree". The national anthem stands metaphorically for the white hegemony in Australia.The school itself is also a metaphor for hegemony. The camerawork lingers on the architecture which is intended to imply historical strength and imperviousness to challenge or change. The school stands for all the force of history white Australia can bring to bear, but in Australia, all architecture of this type is a lie, or at least an exaggeration – the school cannot be more than 200 years old and is probably much more recent.Many of the things the program says about history are conveyed in half sentences or single glances. Arguably this is because of its aesthetic mode – social realism – that prides itself on its mimicry of everyday life and in everyday life people are unlikely to set out arguments in organised dot-point form. At one point the English teacher quotes Orwell, "those who control the past control the future", which seems overt but it is stated off-screen as Joel walks into the room. This seeming aside is a statement about history and directly recalls central arguments of the history wars, which make strong political arguments about the effects of the past, and perceptions of the past, on the present and future. Despite its subtlety, this story takes place within the context of the history wars: it is about who controls the past. The subtlety of the discussion of history allows the film makers the freedom to comment on the content and effects of history and the history wars without appearing didactic. They discuss the how history has effected the present history without having to make explicit historical causes.The other recent television drama in the realist tradition is The Secret River. This was an adaptation of a novel by Kate Grenville. It deals with Aboriginal history from the perspective of white people, in this way it differs from Redfern Now which discusses the issues from the perspective of Aboriginal people. The plot concerns a man transported to Australia as a convict in the early 19th century. The man is later freed and, with his family, attempts to move to the Hawksbury river region. The land they try to settle is, of course, already in use by Aboriginal people. The show sets up the definitional conflict between the idea of settler and invader and suggests the difference between the two is a matter of perspective. Of the shows I am examining, it is the most direct in its representation of historical massacre and brutality. It represents what Felicity Collins described as a back-tracking text recapitulating the colonial past in the light of recovered knowledge. However, from an Indigenous perspective it is another settler tale implying Aboriginal people were wiped out at the time of colonisation (Godwin).The Secret River is told entirely from the perspective of the invaders. Even as it portrays their actions as wrong, it also suggests they were unavoidable or inevitable. Therefore it does what many western histories of Indigenous people do – it classifies and categorises. It sets limits on interpretation. It is also limited by its genre, as a straightforward historical drama and an adaptation, it can only tell its story in a certain way. The television series, like the book before it, prides itself on its 'accurate' rendition of an historical story. However, because it comes from such a very narrow perspective it falls into the trap of categorising histories that might have usefully been allowed to develop further.The program is based on a novel that attracted controversy of its own. It became part of ongoing historiographical debate about the relationship between fiction and history. The book's author Kate Grenville claimed to have written a kind of affectively accurate history that actual history can never convey because the emotions of the past are hidden from the present. The book was critiqued by historians including Inge Clendinnen, who argued that many of the claims made about its historical accuracy were largely overblown (Clendinnen). The book is not the same as the TV program, but the same limitations identified by Clendinnen are present in the television text. However, I would not agree with Clendinnen that formal history is any better. I argue that the limitation of both these mimetic genres can be escaped in speculative fiction.In Glitch, Yurana, a small town in rural Victoria becomes, for no apparent reason, the site of seven people rising from the dead. Each person is from a different historical period. None are Indigenous. They are not zombies but simply people who used to be dead. One of the first characters to appear in the series is an Aboriginal teenager, Beau, we see from his point of view the characters crawling from their graves. He becomes friendly with one of the risen characters, Patrick Fitzgerald, who had been the town's first mayor. At first Fitzgerald's story seems to be one of working class man made good in colonial Australia - a standard story of Australian myth and historiography. However, it emerges that Fitzgerald was in love with an Aboriginal woman called Kalinda and Beau is his descendant. Fitzgerald, once he becomes aware of how he has been remembered by history, decides to revise the history of the town – he wants to reclaim his property from his white descendants and give it to his Indigenous descendants. Over the course of the six episodes Fitzgerald moves from being represented as a violent, racist boor who had inexplicably become the town's mayor, to being a romantic whose racism was mostly a matter of vocabulary. Beau is important to the plot and he is a sympathetic character but he is not central and he is a child. Indigenous people in the past have no voice in this story – when flashbacks are shown they are silent, and in the present their voices are present but not privileged or central to the plot.The program demonstrates a profoundly metaphorical relationship with the past – the past has literally come to life bringing with it surprising buried histories. The program represents some dominant themes in Australian historiography – other formerly dead characters include a convict-turned-bush-ranger, a soldier who was at Gallipoli, two Italian migrants and a girl who died as a result of sexual violence – but it does not engage directly with Indigenous history. Indigenous people's stories are told only in relation to the stories of white people. The text's magical realism allows a less prescriptive relationship with the past than in The Secret River but it is still restricted in its point of view and allows only limited agency to Aboriginal actors.The text's magical realism allows for a thought-provoking representation of relationships with the past. The town of Yurana is represented as a place deeply committed to the representation and glorification of its past. Its main street contains statues of its white founders and war memorials, one of its main social institutions is the RSL, its library preserves relics of the past and its publican is a war history buff. All these indicate that the past is central to the town's identity. The risen dead however dispute and revise almost every aspect of this past. Even the history that is unmentioned in the town's apparent official discourse, such as the WWII internment camp and the history of crimes, is disputed by the different stories of the past that the risen dead have to tell. This indicates the uncertainty of the past, even when it seems literally set in stone it can still be revised. Nonetheless the history of Indigenous people is only revised in ways that re-engage with white history.Cleverman is a magical realist text profoundly based in allegory. The story concerns the emergence into a near future society of a group of people known as the "Hairies." It is never made clear where they came from or why but it seems they appeared recently and are unable to return. They are an allegory for refugees. Hairypeople are part of many Indigenous Australian stories, the show's creator, Ryan Griffen, stated that "there are different hairy stories throughout Australia and they differ in each country. You have some who are a tall, some are short, some are aggressive, some are friendly. We got to sort of pick which ones will fit for us and create the Hairies for our show" (Bizzaca).The Hairies are forced to live in an area called the Zone, which, prior to the arrival of the Hairy people, was a place where Aboriginal people lived. This place might be seen as a metaphor for Redfern but it is also an allegory for Australia's history of displacing Aboriginal people and moving and restricting them to missions and reserves. The Zone is becoming increasingly securitised and is also operating as a metaphor for Australia's immigration detention centres. The prison the Hairy characters, Djukura and Bunduu, are confined to is yet another metaphor, this time for both the over-representation of Aboriginal people in prison and the securitisation of immigration detention. These multiple allegorical movements place Australia's present refugee policies and historical treatment of Aboriginal people within the same lens. They also place the present, the past and the future within the same narrative space.Most of the cast is Aboriginal and much of the character interaction is between Aboriginal people and Hairies, with both groups played by Indigenous actors. The disadvantages suffered by Indigenous people are part of the story and clearly presented as affecting the behaviour of characters but within the story Aboriginal people are more advantaged than Hairies, as they have systems, relationships and structures that Hairy people lack. The fact that so much of the interaction in the story is between Indigenous people and Hairies is important: it can be seen to be an interaction between Aboriginal people and Aboriginal mythology or between Indigenous past and present. It demonstrates Aboriginal identities being created in relation to other Aboriginal identities and not in relation to white people, where in this narrative, Aboriginal people have an identity other than that allowed for in colonialist terms.Cleverman does not really engage with the history of white invasion. The character who speaks most about this part of Aboriginal history and whose stated understanding of himself is based on that identity is Waruu. But Waruu is also a villain whose self-identity is also presented as jealous and dishonest. However, despite only passing mentions of westernised history the show is deeply concerned with a relationship with the past. The program engages with Aboriginal traditions about the past that have nothing to do with white history. It presents a much longer view of history than that of white Australia. It engages with the Aboriginal tradition of the Cleverman - demonstrated in the character of Uncle Jimmy who passes a nulla nulla (knob-headed hardwood club), as a symbol of the past, to his nephew Koen and tells him he is the new Cleverman. Cleverman demonstrates a discussion of Australian history with the potential to ignore white people. It doesn't ignore them, it doesn't ignore the invasion but it presents the possibility that it could be ignored.There is a danger in this sort of representation of the past that Aboriginal people could be relegated to the type of ahistorical, metahistorical myths that comprise colonialist history's representation of Indigenous people (Birch). But Cleverman's magical realist, near future setting tends to undermine this. It grounds representation in history through text and metaphor and then expands the definition.The four programs have different relationships with the past but all of them engage with it. The programs are both restrained and freed by the genres they operate in. It is much easier to escape the bounds of formal history in the genre of magical realism and both Glitch and Cleverman do this but have significantly different ways of dealing with history. "Stand up" and The Secret River both operate within more formally realist structures. The Secret River gives us an emotional reading of the past and a very affective one. However, it cuts off avenues of interpretation by presenting a seemingly inevitable tragedy. Through use of metaphor and silence "Stand up" presents a much more productive relationship with the past – seeing it as an ongoing argument rather than a settled one. Glitch engages with the past as a topic that is not settled and that can therefore be changed whereas Cleverman expands our definition of past and understanding of the past through allegory.It is possible to draw further connections. Those stories created by Indigenous people do not engage with the specifics of traditional dominant Australian historiography. However, they work with the assumption that everyone already knows this historiography. They do not re-present the pain of the past, instead they deal with it in oblique terms with allegory. Whereas the programs made by non-Indigenous Australians are much more overt in their representation of the sins of the past, they overtly engage with the History Wars in specific historical arenas in which those wars were fought. The non-Indigenous shows align themselves with the revisionist view of history but they do so in a very different way than the Indigenous shows.ReferencesAnderson, Ian. "Introduction: The Aboriginal Critique of Colonial Knowing." Blacklines: Contemporary Critical Writing by Indigenous Australians. Ed. Michele Grossman. Melbourne: Melbourne University Press, 2003.Birch, Tony. "'Nothing Has Changed': The Making and Unmaking of Koori Culture." Blacklines: Contemporary Critical Writing by Indigenous Australians. Ed. Michele Grossman. Melbourne: Melbourne University Press, 2003.Bizzaca, Chris. "The World of Cleverman." Screen Australia 2016.Blundell, Graeme. "Redfern Now Delves into the Lives of Ordinary People." The Australian 26 Oct. 2013: News Review.Clark, Anna. History's Children: History Wars in the Classroom. Sydney: New South, 2008.Clendinnen, Inga. “The History Question: Who Owns the Past?” The Quarterly Essay. Melbourne: Black Inc., 2006.Collins, Felicity. "After Dispossession: Blackfella Films and the Politics of Radical Hope." The Routledge Companion to Cinema and Politics. Eds. Yannis Tzioumakis and Claire Molloy. New York: Routledge, 2016.Day, Mark. "Our Relations with the Past." Philosophia 36.4 (2008): 417-27.Ellis, John. Seeing Things: Television in the Age of Uncertainty. London: I.B. Tauris, 2000.Froeyman, Anton. "The Ideal of Objectivity and the Public Role of the Historian: Some Lessons from the Historikerstreit and the History Wars." Rethinking History 20.2 (2016): 217-34.Godwin, Carisssa Lee. "Shedding the 'Victim Narrative' for Tales of Magic, Myth and Superhero Pride." The Conversation 2016.Lloyd, Christopher. "Historiographic Schools." A Companion to the Philosophy of History and Historiography Ed. Tucker, Aviezer. Oxford: Wiley-Blackwell, 2009.Moreton-Robinson, Aileen. "Introduction: Resistance, Recovery and Revitalisation." Blacklines: Contemporary Critical Writing by Indigenous Australians. Ed. Michele Grossman. Melbourne: Melbourne University Press, 2003.———. "The White Man's Burden." Australian Feminist Studies 26.70 (2011): 413-31.Reynolds, Henry. The Other Side of the Frontier: Aboriginal Resistance to the European Invasion of Australia. 2nd ed. Ringwood, Vic.: Penguin Books, 1995.Siskind, Mariano. "Magical Realism." The Cambridge History of Postcolonial Literature. Vol. 2. Ed. Ato Quayson. Cambridge: Cambridge University Press, 2012. 833-68.Tuhiwai Smith, Linda. Decolonizing Methodologies Research and Indigenous Peoples. 2nd ed. London: Zed Books, 2012.Windschuttle, Keith. The Fabrication of Aboriginal History. Paddington, NSW: Macleay Press, 2002.

"Love Will Tear Us Apart" When routine bites hard, And ambitions are low, And resentment rides high, But emotions won't grow, And we're changing our ways, taking different roads. Then love, love will tear us apart, again. Love, love will tear us apart again. Why is the bedroom so cold? You've turned away on your side. Is my timing that flawed? Our respect runs so dry. Yet there's still this appeal that we've kept through our lives But love, love will tear us apart, again. Love, love will tear us apart, again. You cry out in your sleep, All my failings exposed. And there's a taste in my mouth, As desperation takes hold. Just that something so good just can't function no more But love, love will tear us apart again. Love, love will tear us apart again. Love, love will tear us apart again. Love, love will tear us apart again. Ian Curtis (1980) [in Curtis 1995:170-71] Watching the film 24 Hour Party People (2002), I remembered how much I used to love the bleak and danceable music that came from Manchester, England in the 1970s and 1980s. The early part of the film focuses on the aftermath of the Sex Pistols’ first visit to Manchester in 1976 and depicts the creation of Factory Records by Tony Wilson and the formation of Joy Division, one of the label’s most promising bands. Most of the band members were part a small group of people who were present at the Sex Pistols’ concert. The film shows the rise of the band and the strange allure of singer Ian Curtis, who killed himself in 1980 days before the band was set to embark on its first tour of the United States. After his death, Curtis became a figure of cult adoration and fascination. He remains so today. One of Joy Division’s most popular songs is “Love Will Tear Us Apart” (1980), reputedly about the dissolution of Curtis’s marriage (for more on this relationship, see the memoir of Curtis’s wife [1995]). In his brief life, Curtis’s recorded vocals were more announced than sung. In a dark, distant baritone, his lyrics sounded almost android-like, hinting at melody without indulging in the maudlin excess of the pop song. His distance from love song sentimentality often moved to a near yell that revealed painful sadness instead of irony (as in the lyrics and style of Morrissey of The Smiths, for example). Unlike the angry manic vocals that had already become a cliché in punk following Sex Pistols Johnny Lydon’s nasal wailing, Curtis offered the disturbing chest voice of melancholia. The band’s sound, as it began to evolve from three-chord punk to a more complicated and innovative collaboration of elements, included syncopated drum beats, a prominent bass line that flirted with funk rhythm, and a dirge-like guitar. In some songs, such as “Love Will Tear Us Apart,” a synthesizer was included, repeating and harmonizing to the repeated chorus. Such an embellishment was unheard of in guitar-oriented rock music at the time. Thus “Love” succeeds on three levels: it is an anthem of the “doom element” in relationships; it is musically adventuresome, and at the same time it is a dance song, played ad infinitum in the new wave dance halls of the 1980s. (Later, New Order, a band created in the wake of Curtis’s death and also on Factory Records, had an even bigger dance hit with the song “Blue Monday,” depicting another kind of failed romance.) To suggest an interpretation of the song lyrics: the couple’s love is all but doomed. Set in a depressing Northern England, there is no way for love to succeed: there is no room for “something so good”. Curtis doesn’t blame the failure of the relationship on either himself or the beloved in the song; there are traditions at work that cause the closeness of the relationship to dissolve into distance. In the song, it is suggested that the protagonist is unable to satisfy his lover, and yet the couple are unable to speak about it and the beloved turns away. Thus, he and his lover inherit a scenario that sets a mechanism to work against them. They cannot conquer their silences. Romeo and Juliet had the visible force of warring clans to defeat their love. In Curtis’s song, however, there are invisible social forces and the inadequacy of communication itself working against the couple. That their love is doomed is not so new. What makes the song sad is not that love tears them apart; the sadness is that love tears them apart again. Even though they have been through this torment before, there is no way to avoid its return. Without knowing it, they have called upon Love to bring it back. Of course, romantic love is often – if not usually – the province of popular song, from the ballad to the contemporary dance song. Disco, for example, perpetuated two sides of this fixation on love. One was the declaration of the ecstasy and spirituality of sexual love heard in Donna Summer’s “I Feel Love” (1977) or Sylvester’s “You Make Me Feel Mighty Real” (1979); the other was the manifesto of outliving the heartbreak caused by a deceitful lover (Gloria Gaynor’s “I Will Survive” [1978] or more recently, Whitney Houston’s “Its Not Right But Its Okay” [1999]). Love could be a savior to a lonely soul, providing the singer (and by extension, the dancing listener) with bodily pleasure. When disco singers, (usually female, usually black) sang of love’s demise, it was due to a lowly, no-good man revealing his true self. Yet in these tales, the failure of love sparked the ability of a smart, able woman to live an honorable life – even if she must do it on her own and find a divinity in herself. In disco, Love flirted with religion. Punk rock, at its inception, turned away from love as subject matter. For example, John Lydon, lead singer of the Sex Pistols (then known as Johnny Rotten) was quoted as saying that love was something felt for a cat or a dog. In a setting squeezed dry of spirituality and sexual bliss, for him love was illusionary and diversionary. Punk seemed to invest itself in other emotions, such as anger, and screamed about institutions, leaders, traditions—including the traditions of pop music itself. Yet love quickly returned as subject matter to punk music. The Buzzcocks, unlike the polemically political band The Clash, turned to romance and sex as subject matter. They debuted as the opening act at the Sex Pistols’ second visit to Manchester, and became known for bittersweet, uptempo love songs such as “What Do I Get?” (1978) and “Ever Fallen In Love With Someone (You Shouldn't've Fallen In Love With)?” (1978). Even “Orgasm Addict” (1977) tells the tale of a Casanova of sorts. The beloved in a Buzzcocks’ song was gender ambiguous, and the lyrics’ tone was ironic – if not sarcastic – about love’s misery. The band matched buzzsaw guitar with catchy melodies; the Buzzcocks wrote breakneck love songs you could dance to, even if the dancing was a bit of a flail. Singer Pete Shelley may seem to suffer from near-abject rejection, but he did so with abundant energy. Even John Lydon, in his later incarnation as the singer of Public Image Limited (PiL), penned the lyrics to the song “This is Not a Love Song (1983).” He screeched the words in the title over and over, and hence suggested that as much as the song was anti-romance, there was no way around Love. It returns endlessly, even if love was – as concept, as reality – to be rejected as part of a political conspiracy to turn one into a duped consumer of sounds, images, and stories. Love was inevitable. You are just going to end up feeling something for somebody. To rephrase a million pop songs (as done in the film Moulin Rouge (2001) in its medley of “silly love songs”): love is going to get you, it lifts you up where you belong, but it doesn’t live here anymore, although it may come back when you least expect it, you can’t hurry it… We, as listeners, let the song’s sentiment substitute for what we cannot say. Songs are emotional surrogates for the couple as well as the single in recovery. Regardless, we search the airwaves for our song. “Love Will Tear Us Apart” was this song in 1980, perfect for the failed romantic who dressed in dark colors, drew up lists of things s/he hated, and was prone to mourn a relationship even as it was beginning. As such this song was perfect for me back then, especially since it had a good beat and I could dance to its timely and timeless sadness. The pop song, then, is a site of endless, popular philosophizing on the nature of Love. Many of these songs, when they don’t blame the world for not letting love last, depict Love as if were a force, or an entity out there in the universe. When it enters our atmosphere (via Cupid?), it wreaks havoc and produces harmony, however fleeting. This metaphysical story of love, however, is far from the psychoanalytic tale of the origins of love. For psychoanalyst Melanie Klein, love is no mystery. It’s a production process. The baby learns to love through its relationship with the mother and, in particular – at least at first – with the mother’s breast. The mother’s breast provides nourishment for the hungry infant as well as sensuality and security. Through this activity the infant learns to love, for love is made through these intimate connections. Also for Klein, the ability to hate is created when the mother does not provide for her child. The dynamics of this relationship enable fantasy on the part of the child. Melanie Klein writes in “Love, Guilt, and Reparation” that “the baby who feels a craving for his mother’s breast when it is not there may imagine it to be there, i.e. he may imagine the satisfaction which he derives from it” (60). Thus, even as an infant, one is given to flights of fantasy, imagining all sorts of sources of nourishment and sensuality. One can surmise that since every child has to grow up and lose the intensity of this first connection, one can see that love becomes affiliated with loss. All sorts of complaints toward parents, and later, lovers, are unavoidable – blame it on our psyches which are factories of fantasy and embedded remembrances. We have to grow up and move from a succession of psychic and real homes. No wonder everyone worries about the beloved leaving, for each of us has been left before. The story of love that Klein tells does, though, have a tentative happy ending, for we are not entirely prisoners of our experiences: “If we have become able, deep in our unconscious minds, to clear our feelings to some extent towards our parents of grievances, and have forgiven them for the frustrations we had to bear, then we can be at peace with ourselves and are able to love others in the true sense of the word” (119). But no doubt, it is a big “if” that begins her sentence. Importantly, in Klein’s view, love is not an external, or otherworldly force; it is made via the needs and interactions of the infantile and maternal body. Equally importantly, though, this process necessitates separation and hence the psychoanalytic love story is one in which the protagonist is taught to love and lose in rapid succession – and requires reparation. Love is both inescapable and impossible. With such a sad narrative lodged in our unconscious, one can understand the reasons why songwriters resort to the metaphysics and divinity of love. Even though love hurts in its endings, as Curtis suggests, we have a history of trying it all over again. No listener ever believed Dionne Warwick when she sang the Burt Bacharach/Hal David song “I’ll Never Fall in Love Again” (1969). Dionne probably picked up the pieces of her broken heart and found the next guy who she knew in the back of her mind was all wrong for her. As Freud insists, we are compelled to repeat behavior patterns that do not always result in pleasure. This is not because all humans are born masochists. Rather, as Freud argues in Beyond the Pleasure Principle (1961), humans have “an instinct for mastery” that requires repetition. (10). Freud discovered this “instinct” through observing a child playing a game with a wooden reel and a piece of string when his mother leaves him alone. In the game, the child holds onto the string and throws the reel over the edge of the bed. He narrates his action by saying “fort” (gone) and then “da” (there). Freud reads this game as a kind of allegory for the loss he feels with his mother’s sporadic disappearances. The good doctor wonders why a child would replicate such a hurtful experience. He suggests that this game gives the child a compensatory sense of power over the inability to control the actions of his mother. Freud deems the child’s game “a cultural achievement” and an “instinctual renunciation” (of satisfaction). Contemporary readers may well be wary of Freud’s use of the word “instinct.” But I suggest that the will to continue to find love is not only due to a desire to find’s one soul-mate (or to put it more mundanely, “life partner”) although this desire is indeed a crucial impetus for the renewed search. We persevere in this almost futile endeavor to find the perfect romantic love in part due to a compulsion to repeat. The love song, even when it pontificates about remorse and pain in pseudo-abstract terms, is often a grown up version of the child’s “fort-da” game. The sad love song is a social device for coping with pain by restating it in a narrated and sung form. That’s why some of the best tunes are the most woeful ones. And “Love Will Tear Us Apart” is one of the best—it provokes many a listener to sing along with the song’s sorrow while dancing in brooding near-abandon. Works Cited Curtis, Deborah. Touching from a Distance: Ian Curtis and Joy Division. London: Faber, 1995. Freud, Sigmund. Beyond the Pleasure Principle. New York: Norton, 1961. Klein, Melanie. “Love, Guilt and Reparation.” Love, Hate and Reparation. Eds. Melanie Klein and Joan Riviere. New York: Norton, 1964. Citation reference for this article Substitute your date of access for Dn Month Year etc... MLA Style Miller, Edward D.. "Why Does Love Tear Us Apart? " M/C: A Journal of Media and Culture 5.6 (2002). Dn Month Year < http://www.media-culture.org.au/0211/whydoeslovetearusapartagain.php>. APA Style Miller, E. D., (2002, Nov 20). Why Does Love Tear Us Apart? . M/C: A Journal of Media and Culture, 5,(6). Retrieved Month Dn, Year, from http://www.media-culture.org.au/0211/whydoeslovetearusapartagain.html

In the middle of the nineteenth century, Marcus Clarke famously described the Australian outback as displaying a “Weird Melancholy” (qtd. in Gelder 116). The strange sights, sounds, and experiences of Australia’s rural locations made them ripe for the development of the European genre of the Gothic in a new location, a mutation which has continued over the past two centuries. But what does it mean for Australia’s Gothic landscapes to be associated with the affective qualities of the melancholy? And more particularly, how and why does this Gothic effect (and affect) appear in the most accessible Gothic media of the twenty-first century, the television series? Two recent Australian television adaptations, Wake in Fright (2017, dir. Kriv Stenders) and Mystery Road (2018, dir. Rachel Perkins) provoke us to ask the question: how does their pictorial representation of the Australian outback and its inhabitants overtly express rage and its close ties to melancholia, shame and violence? More particularly, I argue that in both series this rage is turned inwards rather than outwards; rage is turned into melancholy and thus to self-destruction – which constructs an allegory for the malaise of our contemporary nation. However, here the two series differ. While Wake in Fright posits this as a never-ending narrative, in a true Freudian model of melancholics who fail to resolve or attend to their trauma, Mystery Road is more positive in its positioning, allowing the themes of apology and recognition to appear, both necessary for reparation and forward movement.Steven Bruhm has argued that a psychoanalytic model of trauma has become the “best [way to] understand the contemporary Gothic and why we crave it” (268), because the repressions and repetitions of trauma offer a means of playing out the anxieties of our contemporary nation, its fraught histories, its conceptualisations of identity, and its fears for the future. Indeed, as Bruhm states, it is precisely because of the way in which “the Gothic continually confronts us with real, historical traumas that we in the west have created” that they “also continue to control how we think about ourselves as a nation” (271). Jerrold E. Hogle agrees, noting that “Gothic fiction has always begun with trauma” (72). But it is not only that Gothic narratives are best understood as traumatic narratives; rather, Hogle posits that the Gothic is uniquely situated as a genre for dealing with the trauma of our personal and national histories because it enables us to approach the contradictions and conflicts of traumatic experience:I find that the best of the post-9/11 uses of Gothic in fiction achieve that purpose for attentive readers by using the conflicted un-naturalness basic to the Gothic itself to help us concurrently grasp and conceal how profoundly conflicted we are about the most immediate and pervasive cultural “woundings” of our western world as it has come to be. (75)Hogle’s point is critical for its attention to the different ways trauma can be dealt with in texts and by readers, returning in part to Sigmund Freud’s distinction between mourning and melancholia: where mourning is the ‘healthy’ process of working through or narrativising trauma. However, melancholia coalesces into a denial or repression of the traumatic event, and thus, as Freud suggests, its unresolved status reappears during nightmares and flashbacks, for example (Rall 171). Hogle’s praise for the Gothic, however, lies in its ability to move away from that binary, to “concurrently grasp and conceal” trauma: in other words, to respond simultaneously with mourning and with melancholy.Hogle adds to this classic perspective of melancholia through careful attention to the way in which rage inflects these affective responses. Under a psychoanalytic model, rage can be seen “as an infantile response to separation and loss” (Kahane 127). The emotional free-rein of rage, Claire Kahane points out, “disempowers us as subjects, making us subject to its regressive vicissitudes” (127; original emphasis). In Bodies That Matter, Judith Butler explicates this in more detail, making clear that this disempowerment, this inability to clearly express oneself, is what leads to melancholia. Melancholia, then, can be seen as a loss or repression of the identifiable cause of the original rage: this overwhelming emotion has masked its original target. “Insofar as grief remains unspeakable”, Butler posits, “the rage over the loss can redouble by virtue of remaining unavowed. And if that very rage over loss is publicly proscribed, the melancholic effects of such a proscription can achieve suicidal proportions” (212). The only way to “survive” rage in this mutated form of melancholia is to create what Butler terms “collective institutions for grieving”; these enablethe reassembling of community, the reworking of kinship, the reweaving of sustaining relations. And insofar as they involve the publicisation and dramatisation of death, they call to be read as life-affirming rejoinders to the dire psychic consequences of a grieving process culturally thwarted and proscribed. (212-13)Butler’s reading thus aligns with Hogle’s, suggesting that it is in our careful attendance to the horrific experience of grief (however difficult) that we could navigate towards something like resolution – not a simplified narrative of working through, to be sure, but a more ethical recognition of the trauma which diverts it from its repressive impossibilities. To further the argument, it is only by transforming melancholic rage into outrage, to respond with an affect that puts shame to work, that rage will become politically effective. So, outrage is “a socialised and mediated form of rage … directed toward identifiable and bounded others in the external world” (Kahane 127-28). Melancholia and shame might then be seen to be directly opposed to one another: the former a failure of rage, the latter its socially productive incarnation.The Australian Gothic and its repetition of a “Weird Melancholy” exhibit this affective model. Ken Gelder has emphasised the historical coincidences: since Australia was colonised around the same time as the emergence of the Gothic as a genre (115), it has always been infused with what he terms a “colonial melancholia” (119). In contemporary Gothic narratives, this is presented through the repetition of the trauma of loss and injustice, so that the colonial “history of brutal violence and exploitation” (121) is played out, over and over again, desperate for resolution. Indeed, Gelder goes so far as to claim that this is the primary fuel for the Gothic as it manifests in Australian literature and film, arguing that since it is “built upon its dispossession and killings of Aboriginal people and its foundational systems of punishment and incarceration, the colonial scene … continues to shadow Australian cultural production and helps to keep the Australian Gothic very much alive” (121).That these two recent television series depict the ways in which rage and outrage appear in a primal ‘colonial scene’ which fixes the Australian Gothic within a political narrative. Both Wake in Fright and Mystery Road are television adaptations of earlier works. Wake in Fright is adapted from Kenneth Cook’s novel of the same name (1961), and its film adaptation (1971, dir. Ted Kotcheff). Mystery Road is a continuation of the film narrative of the same name (2013, dir. Ivan Sen), and its sequel, Goldstone (2016, dir. Ivan Sen). Both narratives illustrate the shift – where the films were first viewed by a high-culture audience attracted to arthouse cinema and modernist fiction – to the re-makes that are viewed in the domestic space of the television screen and/or other devices. Likewise, the television productions were not seen as single episodes, but also linked to each network’s online on-demand streaming viewers, significantly broadening the audience for both works. In this respect, these series both domesticate and democratise the Gothic. The televised series become situated publicly, recalling the broad scale popularity of the Gothic genre, what Helen Wheatley terms “the most domestic of genres on the most domestic of media” (25). In fact, Deborah Cartmell argues that “adaptation is, indeed, the art form of democracy … a ‘freeing’ of a text from the confined territory of its author and of its readers” (8; emphasis added). Likewise, André Bazin echoes this notion that the adaptation is a kind of “digest” of the original work, “a literature that has been made more accessible through cinematic adaptation” (26; emphasis added). In this way, adaptations serve to ‘democratise’ their concerns, focussing these narratives and their themes as more publically accessible, and thus provoking the potential for a broader cultural discussion. Wake in FrightWake in Fright describes the depraved long weekend of schoolteacher John Grant, who is stuck in the rural town of Bundinyabba (“The Yabba”) after he loses all of his money in an ill-advised game of “Two Up.” Modernising the concerns of the original film, in this adaptation John is further endangered by a debt to local loan sharks, and troubled by his frequent flashbacks to his lost lover. The narrative does display drug- and alcohol-induced rage in its infamous pig-shooting (originally roo-shooting) scene, as well as the cold and threatening rage of the loan shark who suspects she will not be paid, both of which are depicted as a specifically white aggression. Overall, its primary depiction of rage is directed inward, rather than outward, and in this way becomes narrowed down to emphasise a more individual, traumatic shame. That is, John’s petulant rage after his girlfriend’s rejection of his marriage proposal manifests in his determination to stolidly drink alone while she swims in the ocean. When she drowns while he is drunk and incapable to rescue her, his inaction becomes the primary source of his shame and exacerbates his self-focused, but repressed rage. The subsequent cycles of drinking (residents of The Yabba only drink beer, and plenty of it) and gambling (as he loses over and over at Two-Up) constitute a repetition of his original trauma over her drowning, and trigger the release of his repressed rage. While accompanying some locals during their drunken pig-shooting expedition, his rage finds an outlet, resulting in the death of his new acquaintance, Doc Tydon. Like John, Doc is the victim of a self-focused rage and shame at the death of his young child and the abdication of his responsibilities as the town’s doctor. Both John and Doc depict the collapse of authority and social order in the “Weird Melancholy” of the outback (Rayner 27), but this “subversion of the stereotype of capable, confident Australian masculinity” (37) and the decay of community and social structure remains static. However, the series does not push forward towards a moral outcome or a suggestion of better actions to inspire the viewer. Even his desperate suicide attempt, what he envisions as the only ‘ethical’ way out of his nightmare, ends in failure and is covered up by the local police. The narrative becomes circular: for John is returned to The Yabba every time he tries to leave, and even in the final scene he is back in Tiboonda, returned to where he started, standing at the front of his classroom. But importantly, this cycle mimics John’s cycle of unresolved shame, suggests an inability to ‘wake’ from this nightmare of repetition, with no acknowledgement of his individual history and his complicity in the traumatic events. Although John has outlived his suicide attempt, this does not validate his survival as a rebirth. Rather, John’s refusal of responsibility and the accompanying complicity of local authorities suggests the inevitability of further self-damaging rage, shame, and violence. Outback NoirBoth Wake in Fright and Mystery Road have been described as “outback noir” (Dolgopolov 12), combining characteristics of the Gothic, the Western, and film noir in their depictions of suffering and the realisation (or abdication) of justice. Greg Dolgopolov explains that while traditional “film noir explores the moral trauma of crime on its protagonists, who are often escaping personal suffering or harrowing incidents from their pasts” (12), these examples of Australian (outback) noir are primarily concerned with “ancestral trauma – that of both Indigenous and settler. Outback noir challenges official versions of events that glide over historical massacres and current injustices” (12-13).Wake in Fright’s focus on John’s personal suffering even as his crimes could become allegories for national trauma, aligns this story with traditional film noir. Mystery Road is caught up with a more collectivised form of trauma, and with the ‘colonialism’ of outback noir means this adaptation is more effective in locating self-rage and melancholia as integral to social and cultural dilemmas of contemporary Australia. Each series takes a different path to the treatment of race relations in Australia within a small and isolated rural context. Wake in Fright chooses to ignore this historical context, setting up the cycle of John’s repression of trauma as an individual fate, and he is trapped to repeat it. On the other hand, Mystery Road, just like its cinematic precursors (Mystery Road and Goldstone), deals with race as a specific theme. Mystery Road’s nod to the noir and the Western is emphasised by the character of Detective Jay Swan: “a lone gunslinger attempting to uphold law and order” (Ward 111), he swaggers around the small township in his cowboy hat, jeans, and boots, stoically searching for clues to the disappearance of two local teenagers. Since Swan is himself Aboriginal, this transforms the representation of authority and its failures depicted in Wake in Fright. While the police in Wake in Fright uphold the law only when convenient to their own goals, and further, to undertake criminal activities themselves, in Mystery Road the authority figures – Jay himself, and his counterpart, Senior Sergeant Emma James, are prominent in the community and dedicated to the pursuit of justice. It is highly significant that this sense of justice reaches beyond the present situation. Emma’s family, the Ballantynes, have been prominent landowners and farmers in the region for over one hundred years, and have always prided themselves on their benevolence towards the local Indigenous population. However, when Emma discovers that her great-grandfather was responsible for the massacre of several young Aboriginal men at the local waterhole, she is overcome by shame. In her horrified tears we see how the legacy of trauma, ever present for the Aboriginal population, is brought home to Emma herself. As the figurehead for justice in the town, Emma is determined to label the murders accurately as a “crime” which must “be answered.” In this acknowledgement and her subsequent apology to Dot, she finds some release from this ancient shame.The only Aboriginal characters in Wake in Fright are marginal to the narrative – taxi drivers who remain peripheral to the traumas within the small town, and thus remain positioned as innocent bystanders to its depravity. However, Mystery Road is careful to avoid such reductionist binaries. Just as Emma discovers the truth about her own family’s violence, Uncle Keith, the current Aboriginal patriarch, is exposed as a sexual predator. In both cases the men, leaders in the past and the present, consider themselves as ‘righteous’ in order to mask their enraged and violent behaviour. The moral issue here is more than a simplistic exposition on race, rather it demonstrates that complexity surrounds those who achieve power. When Dot ultimately ‘inherits’ responsibility for the Aboriginal Land Rights Commission this indicates that Mystery Road concludes with two female figures of authority, both looking out for the welfare of the community as a whole. Likewise, they are involved in seeking the young woman, Shevorne, who becomes the focus of abuse and grief, and her daughter. Although Jay is ultimately responsible for solving the crime at the heart of the series, Mystery Road strives to position futurity and responsibility in the hands of its female characters and their shared sense of community.In conclusion, both television adaptations of classic movies located in Australian outback noir have problematised rage within two vastly different contexts. The adaptations Wake in Fright and Mystery Road do share similar themes and concerns in their responses to past traumas and how that shapes Gothic representation of the outback in present day Australia. However, it is in their treatment of rage, shame, and violence that they diverge. Wake in Fright’s failure to convert rage beyond melancholia means that it fails to offer any hope of resolution, only an ongoing cycle of shame and violence. But rage, as a driver for injustice, can evolve into something more positive. In Mystery Road, the anger of both individuals and the community as a whole moves beyond good/bad and black/white stereotypes of outrage towards a more productive form of shame. In doing so, rage itself can elicit a new model for a more responsible contemporary Australian Gothic narrative.References Bazin, André. “Adaptation, or the Cinema as Digest.” Film Adaptation. 1948. Ed. James Naremore. New Brunswick, NJ: Rutgers, 2000. 19-27.Bruhm, Steven. “The Contemporary Gothic: Why We Need It.” The Cambridge Companion to Gothic Fiction. Ed. Jerrold E. Hogle. Cambridge: Cambridge UP, 2002. 259-76.Butler, Judith. Bodies That Matter: On the Discursive Limits of “Sex.” London: Routledge, 1993.Cartmell, Deborah. “100+ Years of Adaptations, or, Adaptation as the Art Form of Democracy.” A Companion to Literature, Film, and Adaptation. Ed. Deborah Cartmell. Chichester: Blackwell, 2012. 1-13.Dolgopolov, Greg. “Balancing Acts: Ivan Sen’s Goldstone and ‘Outback Noir.’” Metro 190 (2016): 8-13.Gelder, Ken. “Australian Gothic.” The Routledge Companion to Gothic. Eds. Catherine Spooner and Emma McEvoy. London: Routledge, 2007. 115-23.Hogle, Jerrold E. “History, Trauma and the Gothic in Contemporary Western Fictions.” The Gothic World. Eds. Glennis Byron and Dale Townshend. London: Routledge, 2014. 72-81.Kahane, Claire. “The Aesthetic Politics of Rage.” States of Rage: Emotional Eruption, Violence, and Social Change. Eds. Renée R. Curry and Terry L. Allison. New York: New York UP, 1996. 126-45.Perkins, Rachel, dir. Mystery Road. ABC, 2018.Rall, Denise N. “‘Shock and Awe’ and Memory: The Evocation(s) of Trauma in post-9/11 Artworks.” Memory and the Wars on Terror: Australian and British Perspectives. Eds. Jessica Gildersleeve and Richard Gehrmann. Houndmills: Palgrave Macmillan, 2017. 163-82.Rayner, Jonathan. Contemporary Australian Cinema: An Introduction. Manchester: Manchester UP, 2000.Stenders, Kriv, dir. Wake in Fright. Roadshow Entertainment, 2017.Ward, Sarah. “Shadows of a Sunburnt Country: Mystery Road, the Western and the Conflicts of Contemporary Australia.” Screen Education 81 (2016): 110-15.Wheatley, Helen. “Haunted Houses, Hidden Rooms: Women, Domesticity and the Gothic Adaptation on Television.” Popular Television Drama: Critical Perspectives. Eds. Jonathan Bignell and Stephen Lacey. Manchester: Manchester UP, 2005. 149-65.