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Journal articles on the topic 'Music Dialogue in literature'

Author: Grafiati

Published: 4 June 2021

Last updated: 15 February 2022

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1

Smolskaitė, Giedrė. "Musicalization of Literature: Kostas Ostrauskas’s The Quartet." Semiotika 13 (December 20, 2017): 57–76. http://dx.doi.org/10.15388/semiotika.2017.16725.

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In works of literature, music can be found in the form of score fragments, notation symbols, song lyrics, musicological terminology, acoustic aspects of speech, musicians as characters, etc. Such manifestations connect two systems of signification and create an intermedial dialogue between music and literature, which requires a specific methodological approach. According to the intermediality theoretician Werner Wolf, “[t]he verbal text appears to be or become [...] similar to music, or to effects connected with certain compositions, and we get the impression of experiencing music ‘through’ th

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Lamont, Alexandra, and Catherine Loveday. "A New Framework for Understanding Memories and Preference for Music." Music & Science 3 (January 1, 2020): 205920432094831. http://dx.doi.org/10.1177/2059204320948315.

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What can musical memories tell us about preference, and what can musical preferences tell us about memory? In this article we contrast the two perspectives using a dialogic conversation, drawing on insights brought into relief at the recent Music and Lifetime Memories conference. We use dialogue to present two different bodies of relevant background literature and theory and consider their overlaps, interactions, and contradictions in depth. We then compare our two different approaches to the same dataset – the Desert Island Discs archive – which provide complementary perspectives and insights

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Moehn, Frederick. "New dialogues, old routes: emergent collaborations between Brazilian and Angolan music makers." Popular Music 30, no. 2 (2011): 175–90. http://dx.doi.org/10.1017/s0261143011000018.

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AbstractThis article considers emergent musical dialogues and official cultural collaborations between Brazil and Angola in light of recent literature theorizing the Lusophone Atlantic. As Angola restructures following a long civil war and Brazil takes a leading role among the rapidly developing BRIC nations, new questions arise pertaining to the African heritage in Brazilian music, and to Brazil's role in Angolan cultural initiatives and musical markets. Through examination of Brazilian discourse about such exchanges, combined with a comparative analysis of three versions of Angolan musician

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Gadamer, Hans-Georg, and Robert H. Paslick. "Literature and Philosophy in Dialogue: Essays in German Literary Theory." Journal of Aesthetics and Art Criticism 53, no. 4 (1995): 446. http://dx.doi.org/10.2307/430990.

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Wärja, Margareta, and Lars Ole Bonde. "Music as Co-Therapist: Towards a Taxonomy of Music in Therapeutic Music and Imagery Work." Music and Medicine 6, no. 2 (2014): 16. http://dx.doi.org/10.47513/mmd.v6i2.175.

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In receptive music therapy, music listening is used as a therapeutic medium in many different ways. The Bonny Method of Guided Imagery and Music (GIM) is a specific receptive music therapy model where the client or patient listens to selected classical music in an expanded state of consciousness in an ongoing dialogue with the therapist, facilitating symbolic and metaphorical imagery in many modalities. In this model, music is often considered a “co-therapist”, and more than 100 music programs are used to address specific issues and problems. However, no classification of the music used in GIM

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Chaldaeakes, Achilleas. "The Sense of “Pleasure” in Eastern Chant." Human and Social Studies 4, no. 1 (2015): 119–38. http://dx.doi.org/10.1515/hssr-2015-0008.

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Abstract Music is by default a key element of every kind of Entertainment. Actually, the two terms (Pleasure and Music) are almost synonymous in the geographical area of the East - especially during the late medieval period - and there is a plethora of relevant evidence in the rescued literature and musicological sources to support this argument. It seems that there is a mutual and interactive “dialogue” between the two terms. This is an ideological and philosophical dialogue, as well as a completely fundamental and practical one: the musicians (the people who actually carry out the musical ta

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Eldridge, Hannah Vandegrift. "Gespräch, Gesang: Music, Dialogue, and the Human in Celan and Hölderlin." MLN 135, no. 3 (2020): 658–78. http://dx.doi.org/10.1353/mln.2020.0051.

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Soares Vanalli, Marilani, André Luís de Oliveira Siribeli, Elaine Cristina Paris, and Valéria Novaes Domingues. "O DESAFIO DO ENSINO DA LITERATURA: O PAPEL DA MÚSICA COMO ESTRATÉGIA PEDAGÓGICA." COLLOQUIUM HUMANARUM 15, no. 3 (2018): 171–85. http://dx.doi.org/10.5747/ch.2018.v15.n3.h381.

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This article aims to reveal literature as a source of pleasure to the reader, and that in addition to reading and theoretical / semantic analysis of literature texts, when in conjunction with music, can potentiate the teaching of it, in order to make it more meaningful. Therefore, it is necessary to contextualize literature teaching and discuss the importance of music in the school context; presenting proposals for this dialogue and intertextual teaching. The poetic texts "The old man of Restelo" -Luís Vaz de Camões, "Talking of the Old Man of Restelo to the astronaut" -José Saramago "and" Ast

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Harrison, Scott, and Catherine Grant. "Chasing a moving target: perceptions of work readiness and graduate capabilities in music higher research degree students." British Journal of Music Education 33, no. 2 (2016): 205–18. http://dx.doi.org/10.1017/s0265051715000261.

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Recent efforts to increase workplace readiness in university students have largely centred on undergraduates, with comparatively few strategies or studies focusing on higher research degree candidates. In the discipline of music, a wide diversity of possible career paths combined with rapidly changing career opportunities makes workplace readiness a moving target. Drawing on qualitative and quantitative data from semi-structured interviews, dialogue forums, an online survey and pre-existing literature, this paper explores perceptions of higher degree research (HDR) music students about their w

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Cvejić, Žarko. "Anxieties over technology in Yugoslav interwar music criticism: Stanislav Vinaver in dialogue with Walter Benjamin." New Sound 53, no. 1 (2019): 37–52. http://dx.doi.org/10.5937/newso1901037c.

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In Paris in late 1935, the exiled German-Jewish philosopher Walter Benjamin completed the first version of his well-known 'artwork essay', The Work of Art in the Age of Its Technological Reproducibility. In that essay, Benjamin famously welcomed the loss of 'aura' in art, the mystique, quasi-religious quality of unique, original, authentic, and aesthetically autonomous works of art, due to the advent of mass reproduction of artworks on an industrial scale, especially in the new arts of photography and cinema, rendering many of those quasi-religious qualities of 'auratic' art obsolete. Benjamin

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Powrie, Sarah. "Nicholas of Cusa’s Dialogue with Augustine: The Measure of the Soul’s Greatness in De Ludo Globi." Renaissance and Reformation 38, no. 2 (2015): 5–26. http://dx.doi.org/10.33137/rr.v38i2.25618.

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Nicholas of Cusa’s De Ludo Globi (1463) explores the tensions between the soul’s terrestrial and transcendent aspirations; between its desire to engage materiality through creative self-expression and to remove itself from its historically-bound identity in mystical contemplation. Many of Cusa’s arguments about the soul in this work are indebted to Augustine’s De Quantitate Animae (388), and while the cardinal emphasizes different capacities of the soul, many of his analogies originate from this Augustinian source. Clearly Cusa’s most significant appropriation is the dialogical framework itsel

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House, Seymour Baker. "Reforming the Tudor Dialogue: A Case Study." Renaissance and Reformation 35, no. 1 (1999): 5–23. http://dx.doi.org/10.33137/rr.v35i1.10676.

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This case study assesses the implications of rhetorical style in dialogues by Thomas Becon and his contemporary, Desiderius Erasmus. Becon imitated an Erasmian theme but rejected Erasmus's classically oriented rhetoric and the epistemology it advanced. Instead, he used the dialogue form as a vehicle for what is primarily an oral (homiletic) exhortation, which reveals a profoundly different approach to the pursuit of truth and illustrates the widening cultural gap between moderate and radical religious reformers.

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Draper, Paul, and Scott Harrison. "Beyond a Doctorate of Musical Arts: Experiences of its impacts on professional life." British Journal of Music Education 35, no. 3 (2018): 271–84. http://dx.doi.org/10.1017/s0265051718000128.

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There is much dialogue in the academy about the role of doctoral studies in relation to employment, career trajectories and graduate outcomes. This project explores the experiences of Doctor of Musical Arts (DMA) graduates and students at the Queensland Conservatorium in Australia to reveal how the programme has impacted upon their professional activities, while also addressing assumptions promulgated through the literature on artistic practice and research education. The paper presents emergent themes and concludes by offering insights into artistic research in music more broadly.

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Agliati, Dalila De Borba, Paulo Oliva De Borba, Raul Antonio Cruz, Myrian Camara Brew, Flávio Renato Reis De Moura, and Caren Serra Bavaresco. "The effect of music on parameters of fear, pain and anxiety during dental care: an integrative review." Revista Odonto Ciência 33, no. 1 (2018): 70. http://dx.doi.org/10.15448/1980-6523.2018.1.29240.

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OBJECTIVE: Integrative review on the influence of music on parameters of fear, pain and anxiety during dental care.METHODS: Search for articles on the databases MEDLINE, PubMed, LILACS, Scielo and Google Scholar, using the terms “music”, “dentistry”, “music therapy”, “fear”, “pain”, “anxiety” and “music therapy and dentistry”. Inclusion criteria were: randomized clinical trials with primary data surveys that were related only to dentistry. The exclusion criteria were: any other experimental and observational study design, literature reviews and studies in which it was not possible to identify

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Theodosopoulou, Irene. "Semiotic approaches to “traditional music”, musical/poetic structures, and ethnographic research." Semiotica 2019, no. 229 (2019): 123–50. http://dx.doi.org/10.1515/sem-2017-0123.

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AbstractThis text is a first attempt of approaching traditional music, musical/poetic structures and ethnographic research semiotically. The basic elements of traditional music (motives, rhythms, phonetics, performance speeds, modal systems, musical instruments, repertoire), the musical/poetic structures with morphological types and formulas (musical and poetic), musical and non-musical codes (verbal and nonverbal) during a musical performance (nods, movements, etc.) as well as the ethnographic research itself with its own “performances” (discussions with musicians, recordings, transcriptions,

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Joseph, Branden W. "Robert Morris and John Cage: Reconstructing a Dialogue." October 81 (1997): 59. http://dx.doi.org/10.2307/779018.

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Filipczak, Dorota. "Made to Connive: Revisioning Cinderella in a Music Video. From Disney to Arthur Pirozkhov: A Case Study." Text Matters, no. 10 (November 24, 2020): 67–78. http://dx.doi.org/10.18778/2083-2931.10.04.

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The article focuses on the way in which music videos can subvert and refigure the message of literature and film. The author sets out to demonstrate how a music video entitled “Зацепила” by Arthur Pirozkhov (Aleksandr Revva) enters a dialogue with the recent Disney version of Cinderella by Kenneth Branagh (2015), which, in turn, is an attempt to do justice to Perrault’s famous fairy tale. Starting out with Michèle Le Dœuff’s comment on the limitations imposed upon women’s intellectual freedom throughout the centuries, Filipczak applies the French philosopher’s concept of “regulatory myth” to i

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Carless, David. "“Throughness”: A Story About Songwriting as Auto/Ethnography." Qualitative Inquiry 24, no. 3 (2017): 227–32. http://dx.doi.org/10.1177/1077800417704465.

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A recent special issue of Qualitative Inquiry (December 2016) throws a welcome spotlight on the place of songs within qualitative research. In this essay, I share a story that contributes to the gathering conversation around music and songs as a (perhaps unique) form of qualitative inquiry. My contribution focuses specifically on song writing as a form of research, which has received limited attention to date within the qualitative inquiry literature. The story is inspired by recent explorations of songwriting as reflexive practice, and I share it with the aim of expanding understanding and in

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Benjamins, Laura. "Musicking as Liturgical Speech Acts: An Examination of Contemporary Worship Music Practices." Studia Liturgica 51, no. 2 (2021): 143–58. http://dx.doi.org/10.1177/00393207211033993.

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This article examines the genre of Contemporary Worship Music (CWM) within worship contexts in terms of its formative and purposeful nature. In CWM settings, the worship leader plays a particular role in the selection and facilitation of CWM repertoire to be led by praise bands. Through the leader's consideration of the message of the CWM lyrics, and the relational nature of CWM practices, a worship leader's pedagogical decisions are integral to contributing to a space of dialogue for worship musicians. Drawing on previous literature addressing liturgical language in worship, I analyze the CWM

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Henderson, Judith Rice. "Language, Race, and Church Reform: Erasmus' De recta pronuntiatione and Ciceronianus." Renaissance and Reformation 30, no. 2 (2006): 3–42. http://dx.doi.org/10.33137/rr.v30i2.9573.

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L'examen des volumes des éditions Froben qui contiennent le dialogue caustique du Ciceronianus, suggère qu'Érasme et ses imprimeurs répondaient à des attaques italiennes et espagnoles dirigées contre les contributions rhénanes en recherche biblique et patristique. L'édition de mars 1528 et sa révision d'octobre 1529 / mars 1530 s'ouvrent sur le dialogue De recta Latini Graecique sermonis pronuntiatione dialogus, dans lequel Érasme surpasse les études sur la prononciation des langues anciennes effectuées par les humanistes ayant collaboré avec les Presses Aldine, entre autres Girolamo Aleandro.

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Jähnichen, Gisa. "The Role of Music and Allied Arts in Public Writings on Cultural Diversity: “People of Sri Lanka”." ASIAN-EUROPEAN MUSIC RESEARCH JOURNAL 6 (December 4, 2020): 93–100. http://dx.doi.org/10.30819/aemr.6-7.

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The Sri Lankan Ministry of National Coexistence, Dialogue, and Official Languages published the work “People of Sri Lanka” in 2017. In this comprehensive publication, 21 invited Sri Lankan scholars introduced 19 different people’s groups to public readers in English, mainly targeted at a growing number of foreign visitors in need of understanding the cultural diversity Sri Lanka has to offer. This paper will observe the presentation of these different groups of people, the role music and allied arts play in this context. Considering the non-scholarly design of the publication, a discussion of

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Knee (book author), Philip, and Ullrich Langer (review author). "La Parole incertaine: Montaigne en dialogue." Renaissance and Reformation 31, no. 2 (2008): 123–24. http://dx.doi.org/10.33137/rr.v31i2.9188.

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McCutcheon, Robert R. "The Missing Dialogue Concerning the Will Between Erasmus and Luther." Renaissance and Reformation 33, no. 1 (1997): 35–47. http://dx.doi.org/10.33137/rr.v33i1.11324.

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For all their doctrinal antagonism, the treatises on the will of Erasmus and Luther betray a fundamental affinity in their twofold ambiva-lence toward dialogue: whether a fundamental issue like the will should be debated at all; and whether dialogue is the appropriate vehicle for such a discussion. In both works, vestiges and adumbrations of literary dialogue suggest that the debate between Erasmus and Luther is as much literary as theological.

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Rosenfield, Kathrin. "Guimarães Rosa no espelho de Machado, Flaubert e cia." Revista do Centro de Estudos Portugueses 22, no. 30 (2002): 25. http://dx.doi.org/10.17851/2359-0076.22.30.25-48.

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<p>A originalidade e a especificidade da obra de J. G. Rosa residem em sua capacidade de dialogar com culturas e formas de expressão muito diversas. Esse diálogo não nivela as diferenças sociais e políticas, religiosas e nacionais, estéticas e éticas, porém lhes confere tensão dramática e permite vê-las em perspectivas inusitadas. Analisaremos alguns desses eixos a partir da análise de “O Espelho”, conto que visa, para além do diálogo com Machado de Assis, uma reflexão sobre o realismo e o idealismo na literatura. Rosa inscreve sutilmente sua reflexão poética na tradição de Flaubert e Do

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Prelipcean, Laura. "Dialogic Construction and Interaction in Lodovico Domenichi’s La nobiltà delle donne." Renaissance and Reformation 39, no. 2 (2016): 61–84. http://dx.doi.org/10.33137/rr.v39i2.26854.

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Lodovico Domenichi (1515–64), one of the major polymaths of sixteenth-century Italy, is currently enjoying a marked revival in the critical literature. Although he has been studied in the context of his contemporary printing and publishing activities, the dissemination of works in the vernacular, the promotion of women’s writings, and the religious crisis of that time, little attention has been devoted to him as a writer. In 1549 Domenichi published a dialogue on and for women, La nobiltà delle donne (The nobility of women). This work allowed him to contribute to the advancement of the women’s

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Hensley, Matthew A. "“Getting freaky with the founders”." Social Studies Research and Practice 14, no. 1 (2019): 28–39. http://dx.doi.org/10.1108/ssrp-07-2018-0029.

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Purpose The purpose of this paper is to share with social science educators a coherent framework for implementing Hamilton: An American Musical into their classrooms, while also supporting the wider objective of leveraging music to foster disciplinary literacy skills and culturally relevant practices. The framework is a construct that draws on author’s previous teaching experience and its purpose is to inform and support teachers’ practice. Design/methodology/approach The author first highlights literature focused on the effectiveness of using music in the social science classroom as a respons

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Burron (book editor), E., P. Guérin (book editor), C. Lesage (book editor), and Hélène Cazes (review author). "Les États du dialogue à l’âge de l’humanisme." Renaissance and Reformation 40, no. 3 (2017): 291–94. http://dx.doi.org/10.33137/rr.v40i3.28748.

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Tindale, Christopher. "Self-deliberation and the Strategy of the Pseudo-dialogue." Dossier: Argumentación, deliberación y acción colectiva 17, no. 32 (2020): 159–78. http://dx.doi.org/10.17230/co-herencia.17.32.6.

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The New Rhetoric identifies the self-deliberator as one of three main types of audience. But such a turn toward the self is at odds with studies of contemporary argumentation, particularly social argumentation. Argumentation takes place “out there”, modifying the environments in which audiences operate. Equally interesting is the use of self-deliberation as a rhetorical strategy. Arguing with oneself, especially when that self is distanced in some way from the individual involved, employs self-deliberation beyond the ends that Perelman assigned to it. In this paper, my goal is to explore the n

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Spitz, Alice. "The music of argument: the portrayal of argument in Ian McEwan’s On Chesil Beach." Language and Literature: International Journal of Stylistics 19, no. 2 (2010): 197–220. http://dx.doi.org/10.1177/0963947009343852.

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In this article I explore how the authenticity of the argument in the final section of Ian McEwan’s novella On Chesil Beach is achieved by exploiting the underlying mechanisms of real-life conflict talk. The momentum and coherence of argument structure tends toward automatization in the sense that once a conflict sequence is in progress, disagreement prompts (and makes structurally expectable) further disagreement in the subsequent turns, lending arguments a self-perpetuating quality, and this property lends itself well to the creation of confrontational dialogue in fiction. I first trace the

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Brizuela, Natalia, and Julia Bryan-Wilson. "Speaking of Lotty Rosenfeld: “Gestures Dangerous, Simple, and Popular”." October, no. 176 (2021): 111–37. http://dx.doi.org/10.1162/octo_a_00429.

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Abstract This dialogue centers on the artwork and legacy of Chilean artist Lotty Rosenfeld, including such solo projects as One Mile of Crosses on the Pavement and her collaborations with CADA (Colectivo Acciones de Arte). It argues for a queer feminist reading of Rosenfeld as it considers her anti-dictatorship spatial practices, her intimacies with the writer Diamela Eltit, and her political and aesthetic commitments.

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Houston (book author), Chloë, and Cristina Perissinotto (review author). "The Renaissance Utopia: Dialogue, Travel and the Ideal Society." Renaissance and Reformation 39, no. 1 (2016): 182–84. http://dx.doi.org/10.33137/rr.v39i1.26559.

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Magnusson (book author), Lynne, and Frank Whigham (review author). "Shakespeare and Social Dialogue: Dramatic Language and Elizabethan Letters." Renaissance and Reformation 35, no. 4 (1999): 93–96. http://dx.doi.org/10.33137/rr.v35i4.10712.

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Deiter, Kristen. "Building Opposition at the Early Tudor Tower of London: Thomas More’s Dialogue of Comfort." Renaissance and Reformation 38, no. 1 (2015): 27–56. http://dx.doi.org/10.33137/rr.v38i1.22781.

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Medieval and early modern English monarchs constructed the Tower of London’s iconography to symbolize royal power, creating a self-promoting royal ideology of the Tower. However, the Tower’s cultural significance turned sharply when Thomas More wrote A Dialogue of Comfort against Tribulation (1534) as a Tower prisoner, laying the foundation for an early modern tradition of literary and cultural representations of the Tower as oppositional to the Crown. In the Dialogue, through four progressive transgressions against Henry VIII, More defies the royal ideology of the Tower and refashions the Tow

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Vallée, Jean-François. "De l’utopie du dialogue de la Renaissance à l’institution de la conversation à l’âge classique." Renaissance and Reformation 41, no. 1 (2018): 5–30. http://dx.doi.org/10.33137/rr.v41i1.29519.

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Cet article se propose de comparer ces deux moments forts de la simulation écrite de l’échange oral en France que sont le milieu du XVIe siècle pour le genre du « dialogue » (ou du « colloque ») et la deuxième moitié du XVIIe pour celui de la « conversation » (ou de l’« entretien »), et ce, afin de montrer que la relation de continuité postulée par Marc Fumaroli entre le « dialogue humaniste » et la « conversation classique » pose problème à plus d’un titre. Nous verrons qu’il serait même préférable d’envisager cette relation sur le mode de la discontinuité, voire de l’opposition. En conclusio

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West, Chad, and Matthew Clauhs. "Peers Observing Peers: Exploring Cross-Institutional Observations and Dialogues Facilitated by Videoconferencing Software." Journal of Music Teacher Education 28, no. 2 (2018): 43–55. http://dx.doi.org/10.1177/1057083718803633.

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While observing exemplary in-service teachers is important, researchers suggest there may be benefits to observing peers as well. Much of the peer observation literature is focused on the process of peers observing peers in the same institution. The authors of this study brought together undergraduate music education peers from two separate institutions to observe and discuss music teaching and learning via videoconferencing software. Using qualitative analysis techniques, we identified three emergent themes: (a) technology as a tool for diverse experiences, (b) self-reflection and questioning

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Maksiutenko, E. O. "The embodiment of the prose libretto in opera genre (on the example of the works by M. Mussorgsky, D. Shostakovich, S. Prokofi ev and G. Shantyr)." Aspects of Historical Musicology 15, no. 15 (2019): 214–31. http://dx.doi.org/10.34064/khnum2-15.11.

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Background. The correlation between music and text is one of the important issues in musicology. The attention of scholars to the opera text specifi cs in conjunction with musical action brings forward a number of questions regarding the use of prose in the libretto by composers. The innovative approach of composers testifi es to the evolution of the opera genre. It was very prominent for a new notion of “literature opera” to appear; it often means all opera works with a prose text. Its expansion actualizes the question of the interaction between words and music in this particular variety of t

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Roudaut, François. "Le dialogue de l'auteur et du lecteur dans La Sepmaine de Du Bartas." Renaissance and Reformation 31, no. 3 (2009): 35–46. http://dx.doi.org/10.33137/rr.v31i3.11627.

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Dans cet article, il s’agit avant tout d’attirer l’attention sur les mécanismes dialogiques qui animent tout le projet de Du Bartas dans La Sepmaine. Le narrateur de ce récit de la Création est mu par un profond désir de convaincre, de faire connaître, d’amener le lecteur à une expérience contemplative. Mais les conditions du dialogue sont brouillées, ambiguës, sans quoi le désir de connaître par la médiation d’un autre ne subsisterait pas. Le dialogue entre l’auteur et le lecteur conduit à l’accomplissement de leur mutuelle humanité dans le souvenir de l’origine.

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Mathur, Saloni. "Ends and Means: A Conversation with Geeta Kapur." October 171 (March 2020): 115–38. http://dx.doi.org/10.1162/octo_a_00380.

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This interview with New Delhi–based critic and curator Geeta Kapur was conducted by Saloni Mathur, a professor of art history at UCLA. In their dialogue, Kapur reflects on her five-decade long career and speaks on a wide range of topics, including the rise of authoritarianism in India and around the world, the status of “third-world” and postcolonial criticism, the internationalism of Okwui Enwezor, and the challenges to the Euro-American canon presented by critical engagements with modern and contemporary art.

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Robert A. Burt and Elyn R. Saks. "Review Dialogue: A Conversation between Robert A. Burt and Elyn R. Saks." American Imago 65, no. 2 (2008): 309–26. http://dx.doi.org/10.1353/aim.0.0015.

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Holtz, Grégoire. "Le conflit des publics dans le Dialogue du Manant et du Maheustre (1593) : un dialogue de sourds de la fin des guerres de religion." Renaissance and Reformation 42, no. 1 (2019): 113. http://dx.doi.org/10.7202/1064521ar.

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Richardson, Matt. "Ajita Wilson." TSQ: Transgender Studies Quarterly 7, no. 2 (2020): 192–207. http://dx.doi.org/10.1215/23289252-8143350.

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Abstract This article puts forward a consideration of Black womanhood by looking at the softcore films starring African American trans model and actress, Ajita Wilson. Wilson starred in many European softcore and hardcore films from the 1970s until her death in 1987. The author is particularly interested in Wilson's 1976 film The Nude Princess and the 1977 film Black Afrodite (Mavri Afroditi) for their use of soul aesthetics. Conceptualized in dialogue with Tanisha Ford's discussion of “soul style,” soul aesthetics are a combination of gestures as well as visual and auditory references in dres

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AVDYLI, Merxhan NAZMI. "Plato`'s Ideas on Poetry." PRIZREN SOCIAL SCIENCE JOURNAL 3, no. 3 (2019): 67. http://dx.doi.org/10.32936/pssj.v3i3.109.

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In his most important and most voluminous creation “The State” (Republic, Politeia), Plato included the most characteristically philosophical concepts which were an expression of his interests. Apart various fields of teaching, such metaphysics, theology, ethics, psychology, pedagogy, State system, which result from this creation, art and poetry could not go without being included as well (including the music). Otherwise, the Plato himself, in young age, except with mathematics he also dealt with poetry by believing that he is going to be more dedicated to it. But, it seems that acquaintance w

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Ma, Jean. "Sleeping in the Cinema." October, no. 176 (2021): 31–52. http://dx.doi.org/10.1162/octo_a_00425.

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Abstract In the 1940s and 50s, Weegee shot a considerable number of photographs in New York City's movie theaters. These photos contribute important insights on the history of cinema spectatorship in the form of visual arguments about the movie audience. This article places the images in dialogue with theories and histories of the disembodied spectator. It discusses the photographer's particular fascination with sleeping moviegoers. The sleepy filmgoer embodies simultaneously the model and counter-model of spectatorial attention. This figure focalizes a strand of theory that associates filmic

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Khan, Sharlene, Nontobeko Ntombela, Nomusa Makhubu, Same Mdluli, Nkule Mabaso, and Zodwa Skeyi-Tutani. "Curating as World-Making – An Art on Our Mind Creative Dialogue." Journal of African Cultural Studies 32, no. 4 (2020): 471–92. http://dx.doi.org/10.1080/13696815.2019.1695588.

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Erken, Emily Alane. "Narrative Ballet as Multimedial Art: John Neumeier's The Seagull." 19th-Century Music 36, no. 2 (2012): 159–71. http://dx.doi.org/10.1525/ncm.2012.36.2.159.

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Abstract This article approaches narrative ballet as a theatrical art created through the intersection of dance, music, and literature. Following the nineteenth century's tendency to separate ‘the Arts,’ scholars, journalists, and often the dancers themselves portray ballet as an art of choreography and virtuoso bodies, while relegating the music, story, and visual designs to supportive if not negligible roles. My article counteracts this trend by approaching ballet as a multimedial art, in which meaning is made at the points where the specific arts intersect. Audience members perceive the bal

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Wilson, Michael S. "Ut Pictura Tragoedia: An Extrinsic Approach to British Neoclassic and Romantic Theatre." Theatre Research International 12, no. 3 (1987): 201–20. http://dx.doi.org/10.1017/s0307883300013687.

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It is a commonplace among historians that British theatre during the late eighteenth and early nineteenth centuries is best characterized on the one hand by its taste for scenic spectacle, and on the other by what Allardyce Nicoll termed ‘a general dramatic debility’. For the first time in British theatrical history, spectacle for its own sake became the principal attraction for most of the audience. Not spoken language, whether poetry or prose, but the sentient lure of elaborate scenery, pantomime, music, and mechanical effects swelled the receipts of the major and minor houses alike. The asc

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Ferris, William. "Southern Literature: A Blending of Oral, Visual & Musical Voices." Daedalus 141, no. 1 (2012): 139–53. http://dx.doi.org/10.1162/daed_a_00136.

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The blending of oral traditions, visual arts, and music has influenced how Southern writers shape their region's narrative voice. In the South, writing and storytelling intersect. Mark Twain introduced readers to these storytellers in “Adventures of Huckleberry Finn.” Twain blends both black and white voices within Huck's consciousness and awareness – in Huck's speech and thoughts – and in his dialogues with Jim. A narrative link exists between the South's visual artists and writers; Southern writers, after all, live in the most closely seen region in America. The spiritual, gospel, and rock a

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Uspenska, I. O. "Violin concerto principles as a way of musical thinking: semantic discourse." Problems of Interaction Between Arts, Pedagogy and the Theory and Practice of Education 56, no. 56 (2020): 169–88. http://dx.doi.org/10.34064/khnum1-56.11.

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Background. The history of concert music, separated from ritual and other non-musical functions, is closely connected with the art of violin. The violin was the leading instrument of the Baroque concert style, the examples of which are still unsurpassed. Despite the large amount of research on the formation and varieties of violin style, the concept of “concert” in combination with the concept of “violin” has not yet been considered separately, which determines the relevance of the topic of this article. The object of the research is a concerto principle of musical thinking in violin music; th

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Taylor, Lib. "Sound Tracks: the Soundscapes of India Song." Theatre Research International 23, no. 3 (1998): 205–14. http://dx.doi.org/10.1017/s0307883300019969.

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In both the play and the film of Marguerite Duras's India Song no verbal exchange is seen to take place on stage or in camera shot and all the dialogue emanates from disembodied voices which reverberate across the filmic or theatrical imagery. The verbal text is woven into a complex, orchestrated soundscape of instrumental music, songs, non-verbal cries and utterances, screams of pain and wretchedness, sound of street shouting, and screeches of exotic birds and animals. These elements together become a score functioning alongside the visual text. In this essay, I want to focus on the compositi

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Spitzer, Michael. "Conceptual blending and musical emotion." Musicae Scientiae 22, no. 1 (2018): 24–37. http://dx.doi.org/10.1177/1029864917714302.

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The scholarly literature on conceptual blending and emotion is very scant. One exception is a short section in Fauconnier and Turner (2002) focused on the emotion of anger. Fauconnier and Turner refer to the cross-cultural research of Lakoff and Kövecses (1987) on the anger script. The present article takes this dialogue on anger as a starting point to develop two separate yet interlinked matters: first, to open up a perspective on emotion from the standpoint of conceptual blending; second, to apply this perspective to the analysis of music’s structural features. The article begins by reviewin

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