Academic literature on the topic 'IMAGE MANAGEMENT WOMAN MUSIC SOCIETY'

During the last decades of the nineteenth century, women figured prominently in a marketing campaign by banjo manufacturers who sought to make the banjo a respectable instrument for ladies. Their overarching aim was to "elevate" the banjo's status from its African-American and minstrel-show associations, thereby making the instrument acceptable in white bourgeois society. At the same time, stereoview cards, three-dimensional photographs produced by the millions, were a popular parlor entertainment featuring a variety of contemporary images, including women playing the banjo. Yet, instead of depicting a genteel lady in the parlor playing her beribboned banjo, the stereoviews presented humorous and sometimes risque scenes of banjo-playing women. Further, virtually no stereoviews exist that show the banjo played by a lady in a parlor setting. Through a study of stereoscopic depictions of women in a variety of scenes, I place these unexpected images of women's music-making in a context that explains their significance. In particular I examine the way stereoviews provide insights about the tensions regarding the position and status of women in late-nineteenth- and early-twentieth-century American culture as revealed in the figure of the New Woman. Typical of constructions of this threatening figure, stereographic images picture the New Woman wearing bloomers, riding bicycles, attending college, smoking, neglecting her wifely duties and children, and even indulging in lesbian eroticism. Yet, stereoviews are distinctive in that they also show the New Woman playing the banjo, and I argue that the link between the banjo and the New Woman had a decisive and negative impact on the effectiveness of the banjo elevation project. Through an examination of these three-dimensional views, and drawing on late-nineteenth-century writing and poetry about the banjo, I show how the banjo in the hands of the New Woman became a cautionary cultural icon for middle- and upper-class women, subverting the respectable image of the parlor banjo and the bourgeois women who played it. I place this new evidence in the context of Karen Linn's paradigm describing the banjo elevation project as one that sought to shift the banjo from the realm of sentimental values to official values. The figure of the New Woman does not fit within Linn's dichotomy; rather, she falls outside both sets of values. Often viewed as a third sex herself, in a sense mirroring the gender tensions surrounding the banjo, the New Woman helped to shift the banjo into a third realm, that of revolutionary and perhaps even decadent values. This study enhances what we know about the way musical instruments have been used to reconfigure attitudes toward gender roles in the popular imagination and furthers our understanding of the complex role women have played in the history of the banjo. Moreover, this evidence demonstrates how gender and sexuality can affect the reception of music, and musical instruments, through powerful iconographic images.

Analyzing the evolution of the iconography of such a phenomenon as mesmerism in the second half of the 18th — mid-19th centuries, the author shows that the scenario of modern hypnotic representation and its gestures were established by mesmerists in the second half of the 18th century, followers of the parascientific theory that caused discussions and intrigued doctors and artists for centuries. Analyzing the development of the iconography of mesmeric seance, the author identifies two waves of popularity of this subject: the first wave in the 70–80s of the 18th century and the second wave during the first decade of the 19th century and beginning of the 20th century. Such a duration is due to the fascination with the supernatural and inexplicable, reflected in various styles and trends. In this article, the author tries to show how the development of the iconography of the mesmeric seance provoked the appearance of the hypnotist or magician trickster, who became integrated into popular culture that later began to mark the majority of hypnotic actions, spiritualistic sessions or miracle shows. The author also illustrates how the image of a “controller” in the face of a man formed and confirmed the paradigm of a powerless, mysterious and controlled woman. As a result, it is concluded that hypnosis and mesmerism became common theatrical spectacles in the 20th century, cultivating the power of men (patriarchal society) over an exhausted woman, which is reflected in the works of Georges Méliès, Alfred Hitchcock, and even in the comic book Wonder woman.

The article deals gender aspect authorities on the example of the independent management Russian empresses. They rule almost throughout eighteenth century. It was unusual for the Russian Empire. The man has always been at the head of the state. Woman led a private lifestyle. Self-expression was possible only in a religious orientation. Women's rule has not changed the general position of women in power. The position of women in society is changed slightly. One of the achievements of the reign of empress becomes the development of culture. Architecture and music are undergoing development. Imperial court device also undergoes changes. Women of noble birth are introduced into secular society. Emperor Peter I initiated this process when he issued a decree on assemblies. During the reign of the autocratic empresses, women of the privileged class begin to head various government organizations and institutions. The lives of other women remain traditional. We studied the concepts: "gender", "gender analysis", "women's political leadership", "political participation" and historiography on the issue women's participation and representation in power structures. We meet women in power in the European tradition. Empresses received power is not legitimate. Armed uprisings brought them to power. The law does not enshrine the right of women to the throne. And this precedent of female presence in power has changed little.

The totalitarian socialist regime, which was installed in Albania in 1945, lasting until 1990, was expressed and articulated as a consistent effort led to modernism or civilization, as a kind of “social engineering” incarnated to the inner individual and society dimensions. Fighting old and traditional mentality, the totalitarian socialist countries created the infrastructure for spreading the model of the “new man” according to new principles, aiming to make everyday life productive and disciplined. Under the implementation of the “new man” approach, especially the image of woman was reconstructed. The purpose of this paper is to analyze how the ideal of the “new man” and “new woman” were socially constructed and how they have influenced the everyday life of people, under the totalitarian socialist regime, referring to the case of the Albania. 18 in depth semi structured interviews with woman and men from 55 until 85 years old have been conducted and the poetry and text songs of that time have been explored. The research showed that through the trinomen “education-work-tempering”, the “new man” and “new woman” was socially constructed. People’s social status, during the socialist regime in Albania influences their perceptions and their attachment to the “new man” and “new woman” portraits Received: 4 September 2021 / Accepted: 15 November 2021 / Published: 3 January 2022

Sumenep is the easternmost region of the island of Madura which has a lot of potential for both natural and cultural tourism. But behind this great potential, there is one problem that needs to be considered, namely the community's stigma of the culture of the Madurese community itself. In general, the culture of Madurese people is known as a hard, firm and tend to be rough society. Even though Madurese culture is not what people generally think. It is the duty of the regional government to be able to rebuild the self-image of the Madurese community, especially Sumenep. Based on this the researcher is interested in studying the effort to build the cultural image of the Sumenep community through the tong-tong music festival. The theoretical study in this study uses the impression management theory to see the phenomenon of the use of music tongs in building the cultural image of the Sumenep community, while the Laswell communication model is used to see the use of this festival as a medium for delivering messages. This research approach uses qualitative descriptive research. The informant of this study was the head of promotion of the Department of Tourism, Youth Culture and Sports. Data collection uses interviews, observation, and documentation. The results showed that in building the cultural image of the people of Sumenep, they tended to use the ingratiation strategy (pleasing others) and the self-promotion strategy. Both of these strategies are widely applied by showing the characteristics possessed by Sumenep by using attributes that indeed show the culture of the Sumenep community. In addition, the way that is carried out through the tong music festival also contains elements of entertainment that can provide fun to others.

Resumen: Se analiza la novela de la venezolanaTeresa de la Parra Ifi genia, como una obra que planteópor primera vez en su país el drama de la mujer frentea una sociedad que no le permitía tener voz propia. Estetrabajo se centra en el manejo de los espacios en dichaobra, en especial la imagen de la ventana y su signifi cadoalgo ambiguo –pues permite observar el exterior perotambién expone parte de nuestra intimidad– imagen en lacual se confi gura la doble condición de abrirse y cerrarseal mundo. Esta imagen sugiere aspectos de la relación dela protagonista, María Eugenia, con la nueva sociedadvenezolana de principios del siglo XX, en algunos de susámbitos, sobre todo el cultural, el artístico y el urbano,y se convierte en emblema de sus ansias de libertad y delas frustraciones que sufre.Palabras clave: novela, Teresa de la Parra, Ifi genia,mujer, siglo XXThe Window as Showcase for Courtship and Thresholdfor Emotions in Ifi genia, novel by Teresa de la ParraAbstract: This paper analyzes the novel Ifi genia byTeresa de la Parra, Venezuelan, as a work that posedfor the fi rst time in her country the drama of woman ina society where she is not allowed a voice of her own.It centers on the management of the setting in the work,especially the image of the window and its somewhatambiguous meaning –since it allows us to see outside butalso exposes part of our intimacy—an image in which wesee the confi gurations of the dual condition of opening andclosing to the world. This image suggests aspects of therelation the protagonist, Maria Eugenia, has to the newVenezuelan society of early Twentieth Century, in some ofits fi elds, above all the cultural, artistic and urban, andbecomes an emblem both of her yearning for freedom andthe frustrations she endures.Key words: novel, Teresa de la Parra, Ifi genia, women,Twentieth Century

Досліджено ефективність використання PR-служби та застосування відповідних стандартів у системі менеджменту академічної музики в Україні. Охарактеризовано напрями, методи й технології PR та їх раціональне застосування на сучасному етапі в академічному музичному мистецтві як найменш вивченому з точки зору музичного менеджменту. Виявлено, що ефективність PR-кампанії залежить не лише від успішно розв’язаних завдань, а й від рівня культурного й духовного розвитку суспільства. Визначено, що сучасний PR у системі менеджменту академічної музики – важливий підтримуючий фактор маркетингу і реклами, завдяки якому можна створити позитивний та привабливий імідж, здобути певну репутацію серед різних соціальних кіл, впливати на соціальну думку та вибудовувати певні шляхи впливу. The efficiency of using the PR service and applying the relevant standards in the management system of academic music in Ukraine is investigated. The directions and methods, as well as PR technologies and their rational application at the present stage in academic musical art are characterized as the least developed from the point of view of music management. It was found that the effectiveness of the PR campaign depends not only on successfully solved problems, but also on the level of cultural and spiritual development of society. It has been determined that modern PR in the management system of academic music is an important supporting factor in marketing and advertising, by which you can create a positive and attractive image, gain a certain reputation among various social circles, influence social thought and build certain ways of influence.

The stylistic features of isolated sound are an integral part of the inner rhythmicity of the text, and the inner rhythmicity constitutes a part of the acoustic structures that help reveal the vocal implementation to embody the imagination and achieve the image in the text at large. The criterion we adopted in our analysis of the stylistic features of the isolated voice attributed to the poetical work “Fragments of a Woman” by Suad Al-Sabbah is the ratio of whispered sounds on the one hand to its counterparts of fricatives and explosive sounds on the other hand, and the extent to which this ratio exceeds its ratios in normal speech. We were able to observe that the proportions of the presence of different sounds in the poems are commensurate with the emotional and moral connotations within them. The percentage of whispered sounds in the poems exceeded its proportion in ordinary speech when the poet was dominated by the feelings of weakness and fear for challenging the established social constants and norms or as a result of the feelings of sorrow and sadness that the poet lives in the life of repression and injustice. Nonetheless, this percentage was notably lower when the poet covered her revolution by expressing her pride in her homeland or background. The presence of the explosive sounds in a higher percentage compared to fricatives might be attributed to the fact that the entire poetic work is an all-encompassing revolution against numerous constants and long-standing concepts of the Eastern society, and one of the means of expressing the revolution linguistically is the high-rate of explosive sounds.

Equal to man, every woman plays an important role in maintaining natural resources management and they have the respective knowledge and experience gained through close working with environment. Even in this present condition still some writers in their work concentrate on Nature and its importance. African American Literature, the body of the literature that produced in the United States by writers of African descent, highly concentrates on slavery before the American Civil War. Their oral culture is rich in poetry that includes spirituals, gospel, music, blues, and rap. Mildred D. Taylor is an author of nine novels including The Road to Memphis and most of her works known for social issues, mainly the problem faces by African American society. Song of the Trees originally published on 1975 is her first highly acclaimed series of books about the Logan family. The Novella is all about Racism, ruling the place and how the Hunger plays a vital role in the place. This paper highly shows that even in this pathetic condition how the female characters like Caroline, Mary, and Cassie struggle to protect nature and their environment from Mr. Anderson.

Background. Numerous research conferences and scholarly papers show increased interest in the creativity of German composer, pianist and singer of the 19th century Fanny Hensel-Mendelssohn. What is particularly noticeable is that her life and creativity are subject of non-scholarly discussion. Writers of biographical works are profoundly interested in the personality of this talented artist, as it gives them material for the discussion of a whole range of issues, in particular those pertaining to the phenomena of female creativity, new concepts of music and history of music with emphasis on its communicative character, correlation between music and gender, establishment of autobiographical character of musical creativity, expression and realization of female creativity under conditions of burgher society. Additional attention is paid to family constellations: Robert and Clara Schumann, brother and sister Felix Mendelssohn Bartholdy and Fanny Hensel-Mendelssohn. A very close relationship between Felix Mendelssohn and Fanny HenselMendelssohn opens a new perspective on the dialogical history of music, i. e. the reconstruction of music pieces based on close personal and critical contact in the Mendelssohn family. All these ideas, which researchers started articulating and discussing only recently, found their artistic expression in the biographical novel “Dear Fenchel! The Life of Fanny Hensel-Mendelssohn in Etudes and Intermezzi” («Liebste Fenchel! Das Leben der Fanny Hensel-Mendelssohn in Etüden und Intermezzi», 2011) by the German writer Peter Härtling (1933–2017). Peter Härtling was attracted to the image of Fanny Hensel primarily because she was working in the Romantic aesthetics, which the writer considered the backbone of his own creativity. While working on the novel about Fanny Hensel, Peter Härtling was constantly reading her diaries and listening to her music as well as the music by her brother Felix Mendelssohn. He discovered “a fascinating composer” who was creating music “bravely” through improvisation, even more so, who improvised her own life in a similar fashion. Her “courageous steps” into “female reality” struck the biography writer. Objectives. The research aims at studying the literary image of Fanny Hensel using the ideas of contemporary music scholars regarding creativity of this still little researched artist. Literary reflection of the life and creativity of musician based on combination of fiction and real life is a productive addition to her creative image. Methods. Since the research is centered on the image of a female composer, in many respects it is following the theoretical premises of music gender studies. The complexity of literary recreation to the personality and creativity of composer in the novel was required the sophisticated narrative situation and structure, that justifies the use of narratology as a method of literary criticism’ analysis. Results. Peter Härtling is a well-known master of biographical novel, who has his own creative concept of re-construction the life story of famous artists. When creating a biographical novel, the writer walks on the verge of reality and fiction, rediscovering and creating. The artistic element serves the purpose of amplification and image-creation; it helps to reveal distinctive properties, characteristics and elements of personality of the biographic novel hero. Gaps in documented materials help the narrator behave freely, give a chance for open associations and subjective vision. When outlining the personality lineaments, the narrator follows chronology of the most important events. Yet, plot development in an autobiographical novel is based on separate motifs. Certain life stages and events of a person’s life are depicted in detail in specific chapters and are shown more accurately within the general plot. By running ahead and looking back, the narrator makes it clear that he is above the narrative situation and arranges the depicted events according to the principle of their development. The narrator plays the role of an accompanying of a person portrayed, helping the writer approach to latter in order to understand him. Peter Härtling defines the key narrative principle in the following way: the narration is centered on the relationship of the talented brother and sister, as well as the motives of a mothering care and self-assertion, which are creating the backdrop for the biography of Fanny Mendelssohn. As such, we can see the ways that helped a talented young woman stand against her competitor-brother and get out of his shadow. The author claims that since childhood, the brother and the sister got along with the help of music and it was music that created a tie between them. The novel pays close attention to their discussions of music and the Sunday concerts, which took place at their house. As it is known from letters, it was very important for Felix Mendelssohn to include music into private communication forms. Researchers emphasizes that it made hard for him to be involved in social processes, in which such form of communication was impossible. Based on what Felix Mendelssohn himself said, it is possible to conclude that he was making an opposition between private musical communication as “the world of music” and social music life “as the world of musicians”. Fanny Hensel was not the embodiment of “detached musical practice” of autonomous art for him; on contrary, her creativity was directly linked to real life. Inside the bourgeois home and amid “private circulation of texts”, Fanny Hensel’s music was directly connected to communication, holidays and family rituals, in which the roles of music performer and music listener were “not cemented”, presupposing active inclusion of “amateurs” into music. Private musical practice meant the successful musical communication, the direct communication in music, which was not possible in anonymous publicness. Composer individuality had a chance of growing without being stripped of meaning and understanding. Inside the burgher house and within her immediate circle, Fanny Hensel was the symbol of “illusion of non-detached music”. Peter Härtling attests to autobiographical character of Fanny Hensel’s musical writing. Conclusions. Peter Härtling’s novel shows a cultural change, which stipulated an extended understanding of music as a dynamic process of human activity in a specific, historically varied cultural field. In this respect, Fanny Hensel’s literary portrait touches upon important aspects of female music creativity, actualizing its achievements in contemporary cultural space. Approaching the talented artist in literature is a special combination of art and life, fictitious and real, past and present.

Henrik Ibsen’s work Nora in A Doll’s House was a timely and influential inspiration to Chinese writers particularly in advocating gender equality and it offered a role model for many a Chinese woman to ‘walk out’ (of household/family bounds) during an era when China looked to the West to reform its society traditionally governed by Confucian principles. ‘To choose the path of Nora’ was a public statement the female singer Zhou Xuan made in 1941 when she announced her ‘walking out’ of her marriage with the famed composer husband Yan Hua. As China’s pop diva with a ‘golden voice’ in the late 1930s and the 40s, Zhou has been credited by cultural historians and musicologists to have popularized a music trend that fused Western jazz and Chinese folk tunes. Her stardom legitimized her role as a cultured, virtuous and sympathized female singer, a profession and public image that was no longer scrutinized as it had been in the 1920s. Highlighting Zhou’s cross-media performance and her ‘walking out’ as a female public figure in this case study, this paper aims to fill the gap between the readings of music and film experts by examining Zhou’s life and career as a performer.