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Atay, Ahmet, and Kristyn Gorton. "Histories and new directions: Soap opera/serial narrative research." Journal of Popular Television 10, no. 2 (2022): 115–22. http://dx.doi.org/10.1386/jptv_00073_2.
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This is an introduction to the Special Issue, inspired by the Histories and New Directions: Soap Opera and Serial Narrative Research conference at the University of York in July 2017. The event was conceptualized and organized by the editors of this Special Issue to gather media and cultural studies scholars, and generate a scholarly dialogue on the historical issues, current status and future directions of serial narratives and soap opera as a genre. The introduction outlines the seven articles in this issue, all of which revisit and expand on previous soap opera scholarship and its enduring appeal to audiences and fans. In asking questions about the aesthetics, audiences and industries of soap operas, the articles in this Special Issue highlight some of the key issues in soap storytelling and fandom such as community, pleasure and gender. Some of the articles also consider the impact of COVID-19 on the production and reception of soap operas.
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Khursanova, Nargiza Bahodirovna. "UZBEK OPERA ART." EURASIAN JOURNAL OF ACADEMIC RESEARCH 2, no. 2 (2022): 396–99. https://doi.org/10.5281/zenodo.6303202.
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As a result of many years of Russian intellectuals living in Turkestan and their interest in art, a Russian opera house will be opened in Tashkent. Another major factor in the formation of the Opera House was the touring (creative tours) of the Italian opera group in Tashkent in 1900. In Tashkent, the Italians introduced operas such as "Rigoletto", "Traviata", "Troubadour", "Carmen", "Payatsi", "Faust" to Russian intellectuals. At the same time, Russian intellectuals laid the foundation for the formation of the Russian Opera House by performing symphonic works by Western and Russian classical composers in their concert programs, as well as excerpts from operas and symphonic suites. The first performances of the Opera House were Dargomijsky's Rusalka and Tchaikovsky's Eugene Onegin. Due to the spread of the opera genre on the Russian opera stage, Verdi's "Rigoletto", Guno's "Faust", Rubenstein's "Demon", Tchaikovsky's "Pikovaya dama", Mussorgsky's "Boris Godunov", Borody's "Prince Igor", Verdi's "Tradi" Aida, Puccini's "Bogema" and Rossini's "Seville Serial" saw the stage. Artists of the Russian Opera House began to promote the art of opera among the Uzbek people by organizing performances in the regions of Uzbekistan, and these services became the basis for the creation of Uzbek operas.
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Высоцкая, М. С. "ON THE COMPOSITIONAL FEATURES OF THE “JOURNEY TO LOVE”." Music Journal of Northern Europe, no. 2(26) (April 8, 2024): 1–14. http://dx.doi.org/10.61908/2413-0486.2021.26.2.1-14.
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В центре исследования находится моноопера Фараджа Караева «Journey to love», рассмотренная в аспекте жанрового синтеза и особенностей организации – как внешней, обусловленной структурой либретто, так и внутренней, детерминированной серийными и иными закономерностями. Проанализированы особенности авторской работы с серией, представлены схемы, иллюстрирующие порождающую функцию исходного ряда и конструктивную функцию серийных преобразований в масштабе всего сочинения. Сделан вывод о знаковости монооперы и типообразующем значении её характеристик в контексте творчества композитора. The research focuses on Faraj Karaev's mono-opera “Journey to love” in the aspect of genre synthesis and organizational features – both external, defined by the structure of the libretto, and internal, determined by serial and other patterns. The features of the author's work with the series are analyzed; the schemes that illustrate the generating function of the original series and the constructive function of the serial transformations on the scale of the entire work are presented. The conclusion is made about the significance of the mono-opera and the type-forming importance of its characteristics in the context of the composer's work.
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Beznisko, Oksana N., and Diana S. Karbulyan. "Modern Trends in Scenic Genres as the Subject of Study in the Course of History of Variety and Jazz Music (Using the Example of the Rock Opera “The Legend of Xentaron”)." Musical Art and Education 7, no. 2 (2019): 96–108. http://dx.doi.org/10.31862/2309-1428-2019-7-2-96-108.
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The work explores the interaction of the structure and content of the modern musical and scenic genre, rock opera. On the basis of the rock opera “The Legend of Xentaron” staged by “Epidemic”, a Russian power metal group, authors show characteristics of the rock opera of the 21st century, performing and instrumental structure, other components of the new musical and scenic action influencing the listener, the trend of influence of a genre of a fantasy on characteristic stylistic features of a genre of a rock opera is considered. The authors pay special attention to the analysis of dramaturgy in the rock opera “The Legend of Xentaron”, on the basis of which it is characterized as a mixed form, synthesizing the techniques of conflict and epic dramaturgy. At the same time, they revealed both typical and already traditional features for this musical stage genre, as well as modern trends in its evolution. This refers to such new features as: serial, formulas, stereotyping, replicability. The inclusion of the results in the study of “History of variety and jazz music” will help university students to get an idea about new trends in development of the phenomena of performing art, styles, genres, directions and the repertoire in the field of vocal and instrumental variety and jazz music.
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Salinsky, John. "Serial — A patient's diary: episode 11 — A fright at the opera." British Journal of General Practice 57, no. 544 (2007): 926–27. http://dx.doi.org/10.3399/096016407782317900.
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Glavin, John. "Consuming Pleasures: Active Audiences and Serial Fictions from Dickens to Soap Opera (review)." Victorian Studies 42, no. 4 (2000): 702–4. http://dx.doi.org/10.1353/vic.1999.0012.
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Borowiecki, Artur. "Neoserial, serial premium czy post soap opera? W poszukiwaniu wyznaczników dla seriali nowej generacji." Images. The International Journal of European Film, Performing Arts and Audiovisual Communication 25, no. 34 (2019): 163–71. http://dx.doi.org/10.14746/i.2019.34.11.
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Borowiecki Artur, Neoserial, serial premium czy post soap opera? W poszukiwaniu wyznaczników dla seriali nowej generacji [Neo series, premium series or post soap opera? In looking for characteristics of the new generation TV series]. “Images” vol. XXV, no. 34. Poznań 2019. Adam Mickiewicz University Press. Pp. 163–171.ISSN 1731–450X. DOI 10.14746/i.2019.34.11.
 Modern television series are a product of quality television and thus significantly differ from the models that have been deeply rooted in serial culture since the very beginning of the media’s existence. In the past, television formats were thematically subject to the requirements of television broadcast programming. They were characterized by five-act structures, with climaxes forced by television stations to occur before subsequent commercial breaks. At that time, the dominating category constituted series with an episodic structure closed within one episode. This resulted in the appearance of the currently widespread procedurals. Nonetheless, the three-act structure of sitcom plots dominates nowadays, in the post-network era. Another significant feature of the post soap is its narrative complexity (Mittell), which, in addition to formal procedures, often uses quotes, and autotematic references. The purpose of this article is to analyze the narrative complexity of new generation TV series, called “post soap”. A new genre of TV series has been examined through the examples of a popular show: Ślepnąc od świateł (2018).
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Hughes, Linda K. ": Consuming Pleasures: Active Audiences and Serial Fictions from Dickens to Soap Opera . Jennifer Hayward." Nineteenth-Century Literature 53, no. 4 (1999): 539–42. http://dx.doi.org/10.1525/ncl.1999.53.4.01p0052f.
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Mateja, Bogumiła. "Dyskretna uwodzicielska moc seriali." Kultura i Społeczeństwo 54, no. 2 (2010): 37–52. http://dx.doi.org/10.35757/kis.2010.54.2.3.
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The author attempts to describe the “struggle” between recipient and creator in the context of those studies of the media which see the crucial process as not only “what the media do to people”, but also “what people do with the media”. Prominence is given to the subtle mechanisms of the game played by viewers of soap opera serials. On the basis of these studies describes how the viewers create their own “individual rules of watching” Polish soap operas (such as the popular M jak miłość [“L as in Love”]) and use different means of distancing themselves from the watched serial (which in the article is described as the „I watch it but…” tactic). The analysis of the above mechanisms allows attempting to answer the question to what degree active reception protects the viewer from the influence of the serial?
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Winkler, Daniel. "Sophonisba, das funesto fine und die Nation." Artes 4, no. 1 (2025): 146–66. https://doi.org/10.30965/27727629-20250007.
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Abstract This article examines the rise and fall of the Sophonisba subject matter in 18th-century Italy, focussing on two genres, tragedy and opera seria. At the centre is the tension between dramatic poetics and politics, i.e. the focus is on the question of the form in which the material enjoyed particular popularity up to the threshold of modernity. In dramaturgical terms, the material oscillates between lieto and funesto fine. It is argued that the subject matter and poetics here, in the context of the ‘Roman’ Latin subject matter, are closely linked to a national appropriation and aesthetic valorisation that increasingly led to the development of a dramaturgy of amore e patria. This reveals, on the one hand, a quasi-serial popularity of the material in the extremely hybrid opera seria and thus in theatre practice, which is dominant in the course of the 18th century, and, on the other hand, the classicistically renewed tragedy aesthetic as a counter-model of a ‘sublime’ national poetics, which is to be located in the run-up to risorgimental (theatre) literature. Following on from remarks on the history of drama and opera, two works will be discussed in more detail here with regard to the drama aesthetics of the funesto fine: Mattia Verazi’s libretto for the composer Tommaso Traetta (1762) and Vittorio Alfieri’s tragedy Sofonisba (1784/88). The aim is to make it clear that opera and tragedy, despite all the differences in poetics and theatre practice, are closely interwoven, particularly with regard to popular Italian material, including the dramaturgy of political and amorous liberty.
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Giraldo, Efrén. "John Mario Ortiz y los desastres de la proyección." Co-herencia 9, no. 17 (2012): 237–45. http://dx.doi.org/10.17230/co-herencia.9.17.13.
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El artículo presenta la trayectoria del artista John Mario Ortiz. A través del análisis de sus obras e intervenciones, plantea las inquietudes temáticas más relevantes de su trabajo: crítica a las representaciones de la naturaleza, a la estética serial de los proyectos urbanísticos y a la idealización de la proyección arquitectónica y urbanística. El uso de diversos recursos plásticos insinúa una hipótesis de sentido en su trabajo: el artista opera como un traductor, como alguien que transita entre diversos sistemas de representación y construcción, los cuales se revisan en sus implicaciones ideológicas y políticas.
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Kielwasser, Alfred P., and Michelle A. Wolf. "The Appeal of Soap Opera: An Analysis of Process and Quality in Dramatic Serial Gratifications." Journal of Popular Culture 23, no. 2 (1989): 111–24. http://dx.doi.org/10.1111/j.0022-3840.1989.00111.x.
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Voruz, Veronique. "Los Soprano: la "famiglia" como S1." Ética y Cine Journal 3, no. 3 (2013): 11–14. https://doi.org/10.31056/2250.5415.v3.n3.6239.
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El nombre mismo de la serie, Los Soprano, dice claramente que se trata de un apellido familiar. La familia opera como el S1 de la serie, ya sea que se trate de la familia en el sentido extendido de la cultura mafiosa o bien de la familia en el sentido propio del término. La Dra. Melfi, llevada por su deseo terapéutico, desde la primera sesión pone el dedo en el S1 de Tony, pero luego se verá ella misma arrastrada por la lógica serial, y en la segunda temporada se hace evidente la decadencia de un tratamiento que prescinde de toda ética.
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Putra, Robby Aditya. "Dampak Film Para Pencari Tuhan Jilid X Terhadap Religiusitas Remaja." Jurnal Dakwah dan Komunikasi 3, no. 1 (2018): 1. http://dx.doi.org/10.29240/jdk.v3i1.499.
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This research proved that da’wa materials presented through serial religious soap opera, with good composition, can form da’wa materials which affected teenage religiosity. This research was in line with John C. Lyden in Film as Religion (2003), and Rachel Dwyer in Filming the Gods, Religion and India Cinema (2006), they contended that proselytizing activities with the media, especially film, had stronger effect to audiences, and became easier to understand than that of spoken orally.But it is present as the antithetical research of L. Rowell Huesmann in The Impact of Electronic Media Violence: The Scientific Theory and Research (2007). This research employed qualitative method by using impact analysis technique. The data gained from library study, observation, interviews, objectivity, and documentations.
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Yusuf, Muhamad Fahrudin. "KOMODIFIKASI: CERMIN RETAK AGAMA DI TELEVISI: PERSPEKTIF EKONOMI POLITIK MEDIA." INJECT (Interdisciplinary Journal of Communication) 1, no. 1 (2016): 25. http://dx.doi.org/10.18326/inject.v1i1.25-42.
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Co-modification of religion has been penetrating on commercial television in Indonesia for long time. The program produced by Indosiar “Mamah dan Aa Beraksi”, “Islam itu Indah” launched by Trans TV, a soap opera entitled “Tukang Bubur Naik Haji” played on RCTI, an Indian serial film entitled “Jodha Akbar” and imported Turkish Film “Abad Kejayaan” played on ANTV, and similar drama entitled “Cermin Kehidupan” played on Trans 7 are some examples of the programs. Based on the observation and writer’s thought, it was found that the preacher, contents of program, even the audiences includethe religion into the program and it was interrupted with capitalism. In the other hand, Religion should be avoided from this case
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Yusuf, Muhamad Fahrudin. "KOMODIFIKASI: CERMIN RETAK AGAMA DI TELEVISI: PERSPEKTIF EKONOMI POLITIK MEDIA." INJECT (Interdisciplinary Journal of Communication) 1, no. 1 (2016): 25. http://dx.doi.org/10.18326/inject.v1i1.672.
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Co-modification of religion has been penetrating on commercial television in Indonesia for long time. The program produced by Indosiar “Mamah dan Aa Beraksi”, “Islam itu Indah” launched by Trans TV, a soap opera entitled “Tukang Bubur Naik Haji” played on RCTI, an Indian serial film entitled “Jodha Akbar” and imported Turkish Film “Abad Kejayaan” played on ANTV, and similar drama entitled “Cermin Kehidupan” played on Trans 7 are some examples of the programs. Based on the observation and writer’s thought, it was found that the preacher, contents of program, even the audiences includethe religion into the program and it was interrupted with capitalism. In the other hand, Religion should be avoided from this case
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Silva, Lourdes Ana Pereira. "Mediação familiar: apropriações, usos midiáticos e socioculturais na telenovela e no bumba meu boi / Family mediation: appropriations, mediatic and sociocultural uses in the telenovela and the bumba meu boi." Intexto, no. 36 (August 26, 2016): 63. http://dx.doi.org/10.19132/1807-8583201636.63-83.
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Este artigo objetiva analisar a constituição das identidades familiares através das relações vivenciadas com o gênero melodramático, exploradas em suas várias dimensões e manifestações, o que inclui a telenovela e o bumba meu boi; tendo como ponto de partida o estudo de uma família em três gerações. O referencial teórico apoia-se nos estudos culturais e nos estudos de recepção. Optou-se pela pesquisa de abordagem qualitativa e trabalhou-se com o método da história oral em seu desdobramento na técnica história de família. Entre outros resultados, destaca-se: a caracterização das práticas culturais evidenciou, na trajetória da família, o contato com as narrativas ficcionais e melodramáticas, isto é, outros modos da família conviver com a novela, com outros formatos que têm por gênero o melodrama; a história de família revelou que a novela (o folhetim, a radionovela e a fotonovela), enquanto tradição popular melodramática antecede à telenovela, isto é, a novela vista na televisão.Palavras-chaveIdentidade. Estudos de recepção. Telenovela. Bumba meu boi. História oral.AbstractThis article aims to analyze the constitution of family identity through the lived relations with the melodramatic genre, ex-plored in its various dimensions and manifestations, including the telenovela and the bumba meu boi; taking as its starting point the study of three generations of one family. The theoretical reference is based on cultural studies and reception studies. We opted for the qualitative research and worked with the method of oral history, as it unfolds in the technique of family history. Among other results, it is emphasized that the characterization of the cultural practices showed the family's trajectory with the fictional and melodramatic narratives, i.e. other ways to live with the soap opera and with other formats that also present the melodrama genre. Furthermore, the family history revealed that the soap opera (the newspaper serial, the radio soap opera and the fotonovela), as popular melodramatic tradition, precedes the telenovela, which is, the soap opera seen on television.KeywordsIdentity. Studies reception. Telenovela. Bumba meu-boi. Oral history.
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Harrington, C. Lee. "Book Review of "Serial Monogamy: Soap Opera, Lifespan, and the Gendered Politics of Fantasy," by Christine Scodari." Popular Communication 4, no. 1 (2006): 71–73. http://dx.doi.org/10.1207/s15405710pc0401_7.
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Demchenko, Alexander I. "Russian musical avant-garde of the early 20th century and D. Shostakovich’s "The Nose"." Ученые записки Российской академии музыки имени Гнесиных 4, no. 51 (2024): 44–55. https://doi.org/10.56620/2227-9997-2024-4-44-55.
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The article is devoted to D. Shostakovich’s opera "The Nose", which is considered in the context of the Russian avant-garde of the early XX century. It is noted a rather wide range of artistic search of representatives of the early avant-garde in Russian music: polytonality and multi-second chords (V. Rebikov), atonalism and principles of serial organisation of sound material (E. Golyshev, N. Roslavets), experiments of quarter-tone music (A. Avraamov, I. Vyshnegradsky, A. Lurie, M. Matyushin), anticipation of pointillism and minimalism, approbation of noise, concrete and electronic music techniques (A. Lurie, N. Obukhov), constructive-urban aspirations (V. Deshevov, A. Mosolov). It is then stated that this panorama of the Russian musical avantgarde must be joined by those creators of art whose creative endeavours were no less intense and whose fruitfulness of endeavours proved to be extremely important — we mean the intensity of the artistic endeavours of the late A. Scriabin, I. Stravinsky and S. Prokofiev. The early D. Shostakovich, whose most radical opus was the opera "The Nose", was no less daring in his innovations. The article discusses in detail the main parameters of its "avant-garde" character: grotesque orientation, parodic nature, paradoxicality, aesthetics of absurdity, condensed criticism, demonstrative unconventionality of the performance and experimental nature of the instrumental score.
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Carter, Chandler. "The Rake's Progress and Stravinsky's Return: The Composer's Evolving Approach to Setting Text." Journal of the American Musicological Society 63, no. 3 (2010): 553–640. http://dx.doi.org/10.1525/jams.2010.63.3.553.
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Abstract Stravinsky has a deserved reputation for manipulating the sound of words, which, among other factors, has given rise to accusations of “antihumanism” against the composer and his music. However, close analysis of the opera The Rake's Progress (1948–51) shows that Stravinsky actually takes care to set the text intelligibly, and at certain moments, even expressively. By analyzing metric displacement and motivic development as it evolved from the composer's earlier neoclassical settings—including Oedipus Rex (1927), the Symphony of Psalms (1930), and Perséphone (1934)—through his first efforts at serial composition in the Cantata (1952), this article contextualizes the seemingly anomalous expressiveness in The Rake's Progress. Discovery of this evolution in his approach to setting text also entails a reassessment of the composer's aesthetic concerns.
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Schrag, Robert L., and Lawrence B. Rosenfeld. "Assessing the soap opera frame: Audience perceptions of value structures in soap operas and prime‐time serial dramas." Southern Speech Communication Journal 52, no. 4 (1987): 362–76. http://dx.doi.org/10.1080/10417948709372703.
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Literat, Ioana. "Cultural innovation and narrative synergy in R. Kelly’s Trapped in the Closet." Alphaville: Journal of Film and Screen Media, no. 3 (August 8, 2012): 64–75. http://dx.doi.org/10.33178/alpha.3.05.
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This article analyses the narrative conventions of R. Kelly’s serial “hip-hopera” Trapped in the Closet, exploring the manner in which the artist’s chosen narrative strategies have shaped the generic reading of the series. Specifically, I discuss how Trapped in the Closet re-appropriates the conventions of the soap opera and the music video, to create a wholly original product that both evokes these schematas and simultaneously challenges their traditional narrative norms. Looking at R. Kelly’s chosen promotional strategy, I argue that the convergence of genres and narrative influences, as evident in the series’ content and style, parallels the convergence of media channels—radio, television, internet—that characterised its release and distribution, highlighting the increasing importance of a transmedial approach in the conceptualisation and dissemination of cultural texts.
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Pauka, Gabriela Sá. "PÓS-MODERNIDADE E PASTICHE EM “A CASA QUE JACK CONSTRUIU"." Revista Ibero-Americana de Humanidades, Ciências e Educação 7, no. 7 (2021): 1483–96. http://dx.doi.org/10.51891/rease.v7i7.1903.
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O presente artigo tem como objetivo a investigação do modelo de produção artística da pós-modernidade - interartística, auto reflexiva e fragmentada. Para tanto, o filme A casa que Jack Construiu (2018), de Lars von Trier, será utilizado. O filme de Trier apresenta os relatos de um serial killer cujas pretensões artísticas se delineiam como espécie de ensaio sobre as relações entre a performance estética e o mal, radicando no solo árido da contemporaneidade ecos corrompidos das antigas ambições do gênio romântico. Pretende-se, para tal, investigar o modo pelo qual o filme opera, de maneira consciente, o pastiche da estética do sublime, a partir da apropriação das referências da alta cultura artística e literária, evocada por meio de um processo de bricolagem, em que a distorção se imprime como atestado da angústia criativa na contemporaneidade.
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Ali, Mbarek Oukhouya. "An Examination of the Effects of 2M Channel Airing Turkish Soap Operas on Moroccan Audiences: 2009-2019." American Journal of Arts and Human Science 3, no. 4 (2024): 56–62. http://dx.doi.org/10.54536/ajahs.v3i4.3433.
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This paper attempts to shed light on the media effects of the 2M channel on Moroccan audiences viewing dubbed Turkish soap operas (TSO). In particular, the study limits its scope to 2009-2019 period of broadcasting. It is noted that the viewing process is a prerequisite for social change and media effects. This consideration of direct exposure hastens the effects and influences in the audiences’ lives. Not all media effects of TSO are detrimental to the Moroccan audience and government. No sooner had the audience finished a dubbed Turkish serial than the 2M started broadcasting a new one. Additionally, to examine this decade, the paper invests structured interviews and mail surveys to collect data. The study treats the research findings with content analysis and discourse analysis. Presumably, it is noticeable that females are the majority of viewers. Accordingly, the research findings are manifold. The study’s research findings seriously alert the media analysts and Moroccan cultural authorities concerned with Moroccan audiences susceptible to the TSO increasing dangers and insidious menaces. These foreign influences are disseminated through the ignorance, recipient, and Moroccan female lifestyles. Therefore, the result discussion necessitates an awakening paradigm shift in Moroccan cultural policy. In conclusion, the paper calls for an invigorating Moroccan public screen. Moroccan soap opera alternative likely replaces Turkish soap opera since Moroccan audience counts in millions alongside religious diplomacy as a form of soft power.
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Illas Ramírez, Wilfredo José Rafael. "La escritura serial en el texto minificcional: umbral del inestable cruce genérico en "Oficios de Noé" de Guillermo Bustamante Zamudio." Tropelías: Revista de Teoría de la Literatura y Literatura Comparada, no. 33 (January 18, 2020): 223–35. http://dx.doi.org/10.26754/ojs_tropelias/tropelias.2020333904.
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La idea de textos minificcionales cuya propuesta aspira su integración en unidades narrativas más amplias caracterizadas por la cohesión de los pequeños fragmentos que la constituyen, viene a ser expresión de la emergencia de una estética sustentada en problematizadoras instancias conceptuales como hibridez genérica, ruptura y trasgresión, deslocalización fronteriza y multiplicidad de lecturas. En este sentido, interesa conocer cómo opera la escritura serial tanto en la construcción de un universo minificcional aparentemente integrado, como en el ejercicio lector que en rigor, desarma ese frágil ideal de articulación para reiterar el predominio del fragmento en una apuesta narrativa que ante cada nueva disposición, suscita inéditos lugares de resignificación. De esta forma, el desafío de la serialidad postula necesariamente su contraparte y, en esta búsqueda paródica e irónica, se reafirma la imposibilidad de encasillamientos. Visto así, la serialidad es otra forma de reaccionar ante los géneros, las certezas y los grandes relatos.
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Wieloch, Grzegorz. "Bent chairs as poster inspiration." Annals of WULS, Forestry and Wood Technology 115 (September 26, 2021): 108–15. http://dx.doi.org/10.5604/01.3001.0015.6635.
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Bent chairs as poster inspiration. In 2020, an exhibition of posters based on seating equipment was presented at the National Museum in Poznań. The exhibition referred to the chair and the metamorphosis it underwent, that apart from the function of utility furniture, it became a part of art, Equipment basically used for sitting - to which we are used to everyday practice of its use, it is an indispensable element of the interior design of apartments, offices, waiting rooms, schools, stadiums, health clinics, shopping malls, cinemas, theatres and other public places. The posters on display showed chairs with a structure based on bent beech elements. Some of them accurately represented the types of bent chairs currently in production. A number of other chairs had bent elements in their design, e.g. backrests, legs or armrests, allowing for economical serial production of elements. The exhibition included works advertising films, theatre and opera performances, exhibition and party posters. They are mostly works by Polish designers.
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Kozyk, Daria. "Opera “The Tempest” as a phenomenon of the late style of Frank Martin’s works." Aspects of Historical Musicology 32, no. 32 (2023): 113–33. http://dx.doi.org/10.34064/khnum2-32.07.
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Statement of the problem. Recent research and publications. The absence of works by European and Ukrainian scholars devoted to the study of style peculiarities of the opera «The Tempest» written by F. Martin, an outstanding Swiss composer of the 20th century, actualizes the need for its comprehensive research. Foreign musicology already has some experience in analyzing F. Martin’s works. In the studies of Ch. W. King (1990), S. Bruhn (2011), A. Corbellari (2021) we can find a biography of the composer and generalizations about his musical thinking. The memoirs of M. Martin (2009), the composer’s widow, explain some specific features of his creative process. R. Glasmann’s research (1987) reveals the essence of the Martins’ principle of “gliding tonality”. The author of this paper was the first in the national musicology to research F. Martin’s vocal and choral pieces in terms of their stylistic features and comparative interpretation (Kozyk, 2022 a, b). Objectives, methods, and novelty of the research. The purpose of the article is to define the phenomenon of F. Martin’s late style through a holistic analysis of interpretation of W. Shakespeare’s play in the opera “The Tempest” and the peculiarities of vocal and scenic embodiment of its characters. In the concept of the study, the analysis of the opera is offered as the embodiment of the best qualities of F. Martin’s late style. In Ukrainian musicology, this is the first experience of a holistic analysis of F. Martin’s opera. As research methods the principles of holistic analysis of the artistic content of the work (when studying its score) and comparative analysis (when determining the features of F. Martin’s vocal-scenic interpretation of W. Shakespeare’s characters) were used. Results and conclusion. “The Tempest” is one of F. Martin’s most inventive opuses, which synthesizes all the composer’s previous experience. All groups of characters have a clearly defined musical characteristic that helps to identify them even beyond their scenic embodiment. Thus, a group of noble Italians is characterized by various stylistic references that evoke associations with a certain historical era; comic characters are embodied through reliance on conversational dialogues and awkward songs; for lyrical characters, the composer chooses the sphere of lyric utterances. To characterize Caliban, the composer chooses a dodecaphonic series and the saxophone timbre, while for his opposite Ariel he introduces a dance with choral lines and a separate hidden orchestra, thus creating a sense of elusiveness and weightlessness of the air spirit. The composer uses the widest range of expressive means in the musical characterization of Prospero: there is off-pitch recitation, expressive melodic declaration, and extended ariosos. Such a multifaceted style of the opera is due to the multidimensionality of Shakespeare’s play. F. Martin managed to achieve the unity of stage and musical action, the equivalence of orchestral and vocal parts. Despite the fact that the style of “The Tempest” combines various techniques (dodecaphony, serial structures, polystylistics with quotations from different eras), the music is not perceived eclectically. All groups of the music characteristics are united by the composer’s individual method of writing (“gliding tonality”), which contributes to richness of F. Martin’s lyrical expression. Thus, the genre and stylistic complex of F. Martin’s opera represents the phenomenon of the late style as an expected regularity – the crown of the evolution of the composer’s thinking.
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Pujasari, Norma Sarah, and Wahyu Widayati. "Bahasa dan Gender dalam Sinetron Malaysia “Melur Untuk Firdaus”." Alinea: Jurnal Bahasa, Sastra, dan Pengajaran 12, no. 1 (2023): 1. http://dx.doi.org/10.35194/alinea.v12i1.2722.
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Soap operas are serial plays with conflicts between characters in them. In the past, soap operas could only be enjoyed on television. However, now soap operas can be accessed via mobile phones according to the wishes of the owner. The Malaysian soap opera entitled "Melur untuk Firdaus" which is the object of research tells the story of the matchmaking of a pair of lovers with different language features between the languages used by women and men. Therefore, the characteristics of the language in this soap opera are studied and related to gender. This research is qualitative descriptive research. Data collection was carried out using the see method. The technique used is tapping and free listening techniques. The data analysis used is textual analysis. The results of the study show that the female characters in the soap opera "Melur for Firdaus" have the linguistic characteristics proposed by Lakoff, namely hedge, tag question, intensifier, empty adjectives, avoidance of strong swear words and high-pitched intonation. Not only do women use these features, the men in the soap opera also use language features or characteristics that should only be used by women. For example, tag questions, avoidance of strong swear words and high-pitched intonation. Along with the development of the times, men and women have equality, so that the features or characteristics of language also follow its development and are no longer the same as before. Even so, not all of the characteristic features of women's language are also used by men.Keywords: language; gender; soap operaAbstrakSinetron adalah tayangan sandiwara bersambung dengan konflik antartokoh di dalamnya. Dulu sinetron hanya dapat dinikmati melalui televisi. Akan tetapi, sekarang sinetron dapat diakses melalui telepon genggam sesuai kemauan pemiliknya. Sinetron Malaysia berjudul “Melur untuk Firdaus”yang menjadi objek penelitian berkisah tentang perjodohan sepasang kekasih dengan fitur bahasa yang berbeda antara bahasa digunakan oleh perempuan dan laki-laki. Oleh karena itu, karakteristik bahasa dalam sinetron ini dikaji dan dikaitkan dengan gender. Penelitian ini adalah penelitian deskriptif kualitatif. Pengumpulan data dilakukan dengan metode simak. Teknik yang digunakan yaitu teknik sadap dan simak bebas cakap. Analisis data yang digunakan adalah analisis tekstual. Hasil penelitian menunjukkan bahwa tokoh perempuan dalam sinetron “Melur untuk Firdaus” memiliki karakteristik kebahasaan yang dikemukakan oleh Lakoff yakni hedge, tag question, intensifier, empty adjectives, avoidance of strong swear words, dan intonasi berbicara dengan nada tinggi. Tidak hanya perempuan yang menggunakan fitur tersebut, laki-laki dalam sinetron tersebut juga menggunakan fitur atau karakteristik bahasa yang seharusnya hanya dipakai perempuan. Misalnya tag question, avoidance of strong swear words, dan intonasi berbicara dengan nada tinggi. Seiring berkembangnya zaman, laki-laki dan perempuan memiliki kesetaraan, sehingga fitur atau karakteristik bahasa pun mengikuti perkembangannya dan tidak lagi sama dengan masa sebelumnya. Meskipun demikian, tidak seluruh fitur karakteristik kebahasaan perempuan juga digunakan laki-laki. Kata kunci: bahasa; gender; sinetron
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Glavin, John. "BOOK REVIEW: Jennifer Hayward.CONSUMING PLEASURES: ACTIVE AUDIENCES AND SERIAL FICTIONS FROM DICKENS TO SOAP OPERA. Lexington: The University Press of Kentucky, 1997." Victorian Studies 42, no. 4 (1999): 702–4. http://dx.doi.org/10.2979/vic.1999.42.4.702.
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Tous-Rovirosa, Anna, Tatiana Hidalgo-Marí, and Luís Fernando Morales-Morante. "Serialización de la ficción televisiva: el género policiaco español y la narrativa compleja. Cadenas generalistas (1990-2010)." Palabra Clave 23, no. 4 (2020): 1–34. http://dx.doi.org/10.5294/pacla.2020.23.4.2.
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Se estudian las 36 producciones seriales de género policiaco de las cadenas generalistas españolas (1990-2010) mediante un análisis narrativo, a partir de la hipótesis de que los cambios observados están relacionados con las influencias extranjeras y van a resultar determinantes para la narrativa serial de calidad contemporánea. Los objetivos de la investigación son determinar si se produce la evolución del procedimental a la cop-opera melancólica, y cómo se produce y qué interrelación se observa con la modernización del relato televisivo. Entre los resultados, destaca que la estructura del procedimental deja de ser un impedimento para la serialización, que las analepsis como modo de resolución de los casos permiten que el procedimental y el serial se articulen, que el policiaco se mantenga como género en auge en la ficción televisiva contemporánea y proporcione numerosos títulos a las nuevas y viejas plataformas. Se ratifica la hipótesis planteada. La serialización del policiaco, la sofisticación en el uso de recursos narrativos y visuales, así como una clara influencia de las producciones extranjeras determinan la evolución del periodo analizado que se constata en la hibridación genérica y de formato, el subgénero forense y los recursos narrativos. La serialización coincide con el establecimiento del género en España en la segunda década analizada (2000-2010). La fragmentación visual de la trama acentúa una narrativa posmoderna. Se observa una narrativa en el policiaco cada vez más homogénea entre la ficción española y estadounidense, como La casa de papel (Netflix, 2017-). Las alteraciones temporales y la fragmentación del relato producen ficciones parecidas a un mosaico, y las transformaciones narrativas se usan para aumentar la vinculación de un espectador más activo.
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O'Gorman, Finian. "‘No comfort talking when there’s a man around’: Maura Laverty’s Tolka Row (1951) and a neglected tradition of popular drama at the Gate Theatre, Dublin." Review of Irish Studies in Europe 4, no. 1 (2021): 66–81. http://dx.doi.org/10.32803/rise.v4i1.2628.
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This essay presents a case for Maura Laverty’s play Tolka Row (1951) to be recognised as a highly-accomplished prototype of the soap opera in Ireland. It argues that Tolka Row is an important Irish iteration of a quintessentially modern form that swept across Europe and the rest of the world in tandem with advances in broadcasting in the twentieth century. The analysis focuses on the unique way in which the play portrays the lived experiences of working-class women through unadorned, everyday ‘talk’. The innovative approach to dialogue in Tolka Row situates the play as an important precursor to the development of the television serial in Ireland – not merely due to its popularity and working-class milieu, as has been acknowledged in the past, but due to its creative formal characteristics. This paper thus suggests a reassessment of the legacy of the Gate Theatre, which has to date been defined primarily in relation to its production of avant-garde plays. While the Gate has been widely acknowledged as a bastion of European modernism in Ireland, Tolka Row forms part of the theatre’s contribution to the development of a different kind of response to modernization, in the form of popular culture. By drawing on previously unexplored archival material which shows evidence of significant cuts to the original script, this paper suggests that the directors of Gate Theatre Productions – Hilton Edwards and Micheál mac Líammóir – either denied or disavowed the extent to which a more popular drama could impact Irish theatre and society. Keywords: Gate Theatre, Maura Laverty, Tolka Row, serial, soap, popular culture, consciousness raising.
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Gabrieloni, Ana Lía. "Literatura e historia (natural) del arte." Saga. Revista de Letras, no. 9 (October 17, 2020): 35–56. http://dx.doi.org/10.35305/sa.vi9.4.
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A partir de la noción musée imaginaire se propone aquí recuperar imaginería serial visual y audiovisual en textos de Virginia Woolf, Roger Caillois, Orham Pamuk, Edmund de Waal y un cortometraje de Rubén Guzmán para examinar cómo el estatuto cultural de estas obras opera la inclusión de sus imágenes en una historia del arte alternativa a la historia canónica del arte, que llamaremos historia natural del arte. La misma restaura la indistinción característica de los antiguos gabinetes de curiosidades, antes de que se estableciera la distinción contemporánea entre museos de arte y museos de ciencias naturales, lo que permite concebir los ya mencionados “museos imaginarios”, sitio que admite reunir la inabarcable variedad de cosas y seres que dichas series de imaginería representan, reproduciendo el doble gesto de los mencionados gabinetes, atento al orden del conocimiento que las cosas proporcionan, así como al orden de la estética que su disposición en el espacio museístico requiere. Una de las hipótesis desarrolladas es que la transformación de simples elementos cotidianos, como un trozo de vidrio o una piedra, en imágenes del arte obedece al componente ensayístico de las obras literarias y filmográficas seleccionadas
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Weitzman, Ronald. "Sallinen's Seven Symphonies." Tempo, no. 202 (October 1997): 8–15. http://dx.doi.org/10.1017/s0040298200048889.
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The instinct to compose ‘symphonically’ – insofar as we understand what this designation has come to mean – has taken a battering in our century: a century still licking wound after wound inflicted by the calculated havoc of war wreaked on whole populations, and compounded by a premeditated serial cruelty unprecedented in world history. As if in anticipation of this unleashed depravity, and then as its indirect consequence, the nucleus of unshackled symphonic creativity shifted from the centre of Europe to selected geographical ‘outer frontiers’ of the continent. Scandinavia's star was modestly ascending many decades before the 19th century drew to a close. Then, for the first quarter of the 20th, there emerged the towering figure of Sibelius, implanted in a small country which won its autonomy during his years of productivity. Compositional talent in Finland has reasserted itself during this century's last quarter. And from within that tenacious nation the most commanding figure presently endowed with the ability to rethink and put symphonic syntax to advantage is Aulis Sallinen (born 1935), though his international reputation rests upon the new life he has injected into the art form of opera.
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Dian, Milan, and Daniela Vysloužilová. "Capability Studies as a Key Driver for Product and Pro-Cess Quality Assurance in Industrialization Process." System Safety: Human - Technical Facility - Environment 5, no. 1 (2023): 332–41. http://dx.doi.org/10.2478/czoto-2023-0036.
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Abstract Customer satisfaction has long been an important concern for most organizations aiming to provide and ensure excellent quality products. To offer an appropriate level of quality assurance, it is necessary to have implemented a robust quality assurance system. Nowadays, mere customer satisfaction is not sufficient for organizations to sustain a mutually beneficial relationship. There has arisen a necessary requirement to go beyond customer satisfaction, aiming primarily to achieve a level of socalled cus-tomer delight. To attain sustainable product and process quality assurance and, consequently, customer delight, we must address process capability. This includes gauges, machines, and the overall process and product capability, with a specific emphasis on the design and development process, product reali-zation, and the initial flow. This also includes data gathering from the utilization stage of product opera-tion. This article deals with the capability study during the industrialization process of a new product into serial production, using chosen Key Performance Indicators (KPIs), particularly Capability indices and their sequence, to ensure the appropriate level of quality guarantee and customer delight. The article aims to broaden the existing set of Key Performance Indicators (KPIs) by incorporating crucial metrics from the quality domain, with a particular emphasis on Capability indices.
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Ashton, Cat, and Sarah Erik Sackville-McLauchlan. "Power the Dark Lord Knows Not: The Fractal Serialities of Fanfiction." Anglia 143, no. 1 (2025): 199–223. https://doi.org/10.1515/ang-2025-0011.
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Abstract This article examines contemporary fanfiction as a special type of engagement with popular serial narratives. It proposes the concept of fractal seriality as a lens through which to gauge the proliferation and popularization of fanfiction as a potentially fruitful strategy for critiquing fiction: part of fiction’s persuasiveness inheres in an author’s ability to consciously or unconsciously set the rules of the fictional world in ways that reinforce the author’s message and their vision of the real world, while fractal seriality allows fanfiction authors to change the focus and reorient stories in ways that will engage readers of the original series while refusing to circulate key aspects of the initial worldbuilding and moral values. E. J. Lomax’s boy with a scar builds on J. K. Rowling’s Harry Potter series not by continuing it chronologically but branching off from it in a series of “what-ifs” that broaden and deepen the wizarding world by focusing on characters, events, and circumstances that the original series has elided, oversimplified, or otherwise treated in ways that Lomax finds inadequate. VeroniqueClaire’s Volée, meanwhile, expands the action of three scenes from the Phantom of the Opera stage play into 25 chapters, realizing the potential for transformative justice already inherent, but unfulfilled, in the original.
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Savchenko, G. S. "Constants and Innovations in the Orchestral Writing of I. Stravinsky’s Ballet “Agon”." Culture of Ukraine, no. 71 (April 2, 2021): 118–24. http://dx.doi.org/10.31516/2410-5325.071.15.
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The aim of this paper is to identify the specifics of orchestral writing in the later works of I. Stravinsky on the example of the ballet “Agon” (1953–1957).
 Significance of the topic. From 1953 begins the late (serial) period of I. Stravinsky’s work. Due to stylistic “modulation”, the study of orchestral writing in later works at the intersection of constant principles (multifigure, combinativity and plasticity) and innovations found out by us is relevant.
 Research methodology. I. Stravinsky’s late style is studied in various aspects. A topical issue is the composer’s interpretation of serial technique (Glivinsky, 1995; Rogers, 2004; Straus, 1999; Smyth, 2000). N. Kardash (2010) offers a multidisciplinary textological approach in the studying of recent opera and ballet. Renaissance dance forms are studied in “Agon” by M. Richardson (2003). Characteristics of later works are contained in the section of the monograph of M. Druskin (2009). V. Zaderatsky’s monograph (1980) is devoted to the polyphonic thinking of the composer.
 Historical, comparative, functional, systematic research methods are used in the work.
 Results. I. Stravinsky’s original orchestral writing was formed in his early works (1908–1910). They gradually formed the principles of multifigure, combinativity (Savchenko, 2019; Savchenko, 2020) and plasticity, found out by us, as universal principles of the composer’s orchestral writing.
 In the ballet “Agon” the composer applied a serial technique that determines the key role of polyphonic techniques of work with thematic invention, respectively, the dominance of horizontal thinking. At the same time in the creative comprehension and elaboration of techniques of serial technique the composer relies on the methods developed in his works (“formular” thematic invention, motives rotation technique, counterpoint combination of them) (Druskin, 2009, p. 226–227), motive-variant work (Savenko, 2001). Accordingly, ballet acts can be divided into two groups: with horizontal or horizontal/vertical priority in the organization of the orchestral texture.
 Where the priority is horizontal, we highlight the following variants of the composition of the orchestral texture: 1) monophony (unison) or splitting of unison 2) texture based on the counterpoint interaction of short lines (sometimes — sound points); 3) on the basis of contrasting polyphony; 4) on the basis of imitation polyphony.
 Conclusions. 1) In the orchestral writing of acts with horizontal/vertical priority, the constant principles of multifigure, combinativity and plasticity remain dominant; 2) Where the horizontal is a priority, innovative principles of organization of the orchestral texture prevail; constant principles are revealed covertly or in a modified form; 3) At the level of a ballet composition as a whole, the alternation of different types of organization of the orchestral texture is formed, in which different ideas about time and space are embodied; thoughtful timbre strategy and handling of different types of orchestral texture give rise to the original timbre-texture structure of the work.
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Brown, Kristen Rose. "Tiny Taps and Noisy Hacks." Resonance 2, no. 1 (2021): 89–107. http://dx.doi.org/10.1525/res.2021.2.1.89.
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At the turn of the twentieth century, Dakota artist-activist Gertrude Bonnin, widely known by her self-chosen name, Zitkala Ša, brought attention to the violence of compulsory boarding schools with a series of narrative essays published in the Atlantic Monthly. Existing scholarship focusing on her activism, however, lacks a sustained study of the subversive role of sound, especially music and dance, in her literary and musical projects. This essay aims to address that gap through a study of Zitkala Ša’s sophisticated sonic politics. After discussing the historical tension between prohibiting and appropriating Indigenous sounds, I explore how the boarding school press became a formidable engine for assimilation projects. A close reading in tandem with tracing the reception of Zitkala Ša’s essay “The Indian Dance: A Protest Against Its Abolition” highlights her reverse-gaze strategy while also underscoring how effectively it agitated strident assimilationists. Likewise, her collaboration on The Sun Dance Opera resulted in the project’s defying tidy categorization and denying full disclosure of the ceremony, thereby rendering its own sonic politics of self-determination. Often mistakenly considered a domesticity-centered hiatus in her literary career, Zitkala Ša’s years on the Uintah-Ouray Reservation were a period of creative sonic productivity and constitute a significant era in Zitkala Ša’s developing activism, bridging her younger, serial publication years with the sophistication of the federal-level vocal activism of her later years.
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Suarez-Carmona, Meggy, Anja Williams, Jutta Schreiber, et al. "Combined inhibition of CXCL12 and PD-1 in MSS colorectal and pancreatic cancer: modulation of the microenvironment and clinical effects." Journal for ImmunoTherapy of Cancer 9, no. 10 (2021): e002505. http://dx.doi.org/10.1136/jitc-2021-002505.
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BackgroundImmunotherapy in microsatellite stable colorectal or pancreatic cancer has not shown promising results. It has been hypothesized that targeting immunosuppressive molecules like SDF1-alpha/CXCL12 could contribute to immunotherapy and animal models showed promising results on T cell activation and migration in combination with immune checkpoint inhibition.MethodsHere, we describe the successful application of anti-CXCL12 (NOX-A12) in patients with advanced stage pretreated metastatic colorectal and pancreatic cancer (OPERA trial). The treatment consisted of 2 weeks of anti-CXCL12 monotherapy with NOX-A12 followed by combination therapy with pembrolizumab (n=20 patients) until progression or intolerable toxicity had occurred.ResultsThe treatment was safe and well tolerated with 83.8% grade I/II, 15.5% grade III and 0.7% grade V adverse events. Of note, for a majority of patients, time on trial treatment was prolonged compared with their last standard treatment preceding trial participation. Systematic serial biopsies revealed distinct patterns of modulation. Tissue and clinical responses were associated with Th1-like tissue reactivity upon CXCL12 inhibition. A downregulation of a cytokine cassette of interleukin (IL)-2/IL-16/CXCL-10 was associated with tumor resistance and furthermore linked to a rare, CXCL12-associated CD14+CD15+promonocytic population. T cells showed aggregation and directed movement towards the tumor cells in responding tissues. Serum analyses detected homogeneous immunomodulatory patterns in all patients, regardless of tissue responses.ConclusionsWe demonstrate that the combination of CXCL12 inhibition and checkpoint inhibition is safe and grants further exploration of synergistic combinatorial strategies.
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Kosenko, Vyacheslav, Vladimir Sharov, and Yuliya Tsench. "THE 35TH ANNIVERSARY OF PRODUCTION OF THE DT-175S "VOL-GAR" TRACTOR." Tekhnicheskiy servis mashin 1, no. 142 (2021): 163–77. http://dx.doi.org/10.22314/2618-8287-2020-59-1-163-177.
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The article, dedicated to the 35th anniversary of the start of production at the Volgograd Tractor Plant of the tracked agricultural tractor DT-175S "Volgar", tells about the history of the creation of this unique machine in its own way. (Research purpose) The research purpose is in analyzing the history of the creation and produc-tion, the effectiveness of the use of the DT-175S "Volgar" tractor, considering the stages and directions of its improvement. (Materials and methods) The article de-scribes the history of the creation of the high-speed energy-saturated tractor "Volgar", gave its design features, technical characteristics in comparison with its predecessors, the results of tests in various soil and climatic zones, on various agricultural opera-tions. (Results and discussion) In the DT-175S "Volgar" tractor, the designers, in close cooperation with scientists, embodied the results of research aimed at increasing the working speeds of machine-tractor units, and the most advanced technical solu-tions in the field of tractor construction at that time. The main of these solutions is an automatic continuously variable hydro-mechanical transmission. The combination of a powerful (125 kilowatt) engine with a similar transmission allowed not only signifi-cantly increase the working speed and productivity of the tractor, up to 9-15 kilome-ters per hour, but also significantly reduce the labor intensity of the tractor driver. The article presents the information about the improvement, modernization of the tractor, the creation of various specialized modifications on its basis. DT-175S "Volgar" be-came the most powerful serial machine of the Volgograd Tractor Plant, rightfully earned the respect of specialists of farms and machine operators. (Conclusions) The tractor became the most powerful serial machine of VgTZ, earned the respect of quali-fied machine operators and specialists of farms. Further development of the applica-tion of the automatic hydro-mechanical transmission on agricultural tractors was to receive the VT-200D tractor of 5th traction class with a capacity of 147 kilowatts. Due to the complication of the economic situation, the production of this tractor was lim-ited to only a small experimental batch.
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Thompson, F. M. L. "Presidential Address: English Landed Society in the Twentieth Century III. Self-Help and Outdoor Relief." Transactions of the Royal Historical Society 2 (December 1992): 1–23. http://dx.doi.org/10.2307/3679097.
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An ultra-slow motion serial whose episodes appear at intervals of twelve months needs a recapitulation of the story so far, however excellent the retentive capacity of scholars in comparison with soap opera audiences. The characters in question are the landowners, great and not so great, and the landed families who were already wellestablished on their estates and in their country houses in late Victorian Britain: and also the newcomers who have continued, throughout the twentieth century, to purchase landed estates and country houses. The main plot concerns the structure and distribution of landownership, and I have suggested that reports of the virtual disappearance of great estates in the last hundred years have been greatly exaggerated. There have been great changes, but while some individuals or entire families have fallen off the boat others have clambered aboard, so that in the 1990s perhaps one-third or more of the land of Britain is held in sizeable estates of 1,000 acres and upwards, compared with radier over one-half in the 1890s. The changing composition of the cast of landowners, and the wildly fluctuating fortunes of particular members of the cast, have fascinated many observers of the social and political scene, and these features provide the sub-plots. The undoubted decline of landed and aristocratic political and social predominance, leading to the virtual elimination of their influence on public life, and the equally undoubted decline, impoverishment, and extinction of some once great and famous landed families, have tended to become confused as cause and effect in some accounts.
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Wolny, Ryszard W. "Travel and Disease in Thomas Mann’s Death in Venice." European Journal of Language and Literature 5, no. 2 (2019): 13. http://dx.doi.org/10.26417/ejls-2019.v5i2-196.
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Thomas Mann’s novella, Death in Venice (Der Tod in Venedig, 1912), presents a story of an artist, Gustav von Aschenbach, suffering from the writer’s block who travels to Venice to look for inspiration and where he eventually finds his death. In the meantime, he suffers from depression strengthened by feats of febrile listlessness, pressure in the temples, heaviness of the eyelids that make discontent befall him. The putrid smell of the lagoon hastens his departure, but a strange coincidence makes him change his mind. He returns to the hotel drawn by the enthrallment for the young lad, Tadzio, he had spotted there. Wandering through the streets of Venice, he ignores the health notices in the city, only later learning that there is a serious cholera epidemic in Venice. But he does not escape, nor does he warn the boy’s family of the fatal danger. He dies in his beach chair, looking at the boy on the beach. The aim of this paper is, therefore, to explore the relationship between travel and disease as juxtaposed with a growing passion for a youth, unmistakably, a sign of life affirmation in a sickly body and burnt-out mind.Thomas Mann’s novella has been a subject of extensive commentaries and criticisms for over a century since it was published in Germany, first, in serial form in 1912 and 1913 and, then when it was translated into the French and English in the 1920s, thus introducing it to the rest of the world. The peak of critical interest in Mann’s oeuvre may be pinpointed to the 1970s when Luchino Visconti’s film, Morte a Venezia (1971), was released and Benjamin Britten’s opera composed and first staged (1973).
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Reyaz, Ahmad Naik. "Kashmiri Folk Literature can Change Behavioural Patterns of Kashmiri People." Shanlax International Journal of Arts, Science and Humanities 6, no. 1 (2018): 7–12. https://doi.org/10.5281/zenodo.1323543.
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Kashmiri folk literature or lore is richest in the world without any doubt. Most pedagogical most reliable most trustworthy and most hilarious part of it is poetry (<em>luki Shire)</em>, Opera (<em>luki Peathir</em>)Oral Stories(<em>luki daleel)</em> proverbs (<em>luki Kathi)</em>, riddles (praitchi) and children literature (<em>shuriAdb)</em> now all persevered in book shapes. This literature preserved the whole character & behavioural patterns of Kashmiri people and historical background of Kashmir. Kalhana's <em> Rajtarangni </em>had been extracted from this folk lore is authentic and primary source of Indian history everyone accepted it’s authenticity and reliability. Not only this <em>Banasarvad Katha</em>the story book belongs to Kashmiri folklore, <em>Kathasaritasager, the vitaal pachece </em>the famous TV serial was part of it. This literature can help the planners to maintain peace, prosperity and tranquillity in the valley through its introduction in schools and colleges and organising cultural programs at various community halls, town halls, public places so that a period which was peaceful be broadcasted and visualized for revival of memories and events which are hidden due to turmoil and conflict in the J&K state. Human nature is flexible and humanity it's part, so if this literature flourished by one or other way it must inject peaceful elements in the minds of Kashmiri people and situation get altered with harmony. Hence Kashmiri folk literature can change the Scenario in J&K state, let us try to implement it’s effective characteristics and check the scene which would be different than it is.
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Yasir, Yasir. "Ekonomi Politik Eksploitasi Khalayak Sebagai Buruh Dalam Serial Sinetron Tukang Bubur Naik Haji." MIMBAR, Jurnal Sosial dan Pembangunan 31, no. 1 (2015): 191. http://dx.doi.org/10.29313/mimbar.v31i1.1310.
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Television is a very important tool to accumulate the capital. Among many kinds of television programs, soap opera is the most popular and watched by the people. The purpose of this study was to reveal the exploitation of audience who consumes the Tukang Bubur Naik Haji (TBNH) soap opera at RCTI. This research uses a political economy of communication. To collect the data, the researcher used in-depth interview, observation, documentation, and literature study. The result shows that the main audience of this soap opera is dominantly women Moslem. The audience’s activity in consumming was commodified to be exploited by the capital owner. This activity of consuming is also as a main means of production through the rating system to produce the soap opera continuously. So that the audience work as labor to accumulate the capital.
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Tatarnikova, Anzhelika. "The Role of the Glorifying Semantics in the Figurative-semantic and Intonational Concept of "The Flood" by I. Stravinsky." Bulletin of KNUKiM. Series in Arts, no. 41 (December 30, 2019): 134–41. https://doi.org/10.31866/2410-1176.41.2019.188669.
Full textAbstract:
The relevance of the article is determined by the key role of the creative figure of I. Stravinsky in the cultural life of the 20th century and the demand for his heritage in contemporary performing practice. The composer not only opened new horizons in musical art but also generalised such important quality of the era’s cultural paradigm as style diversity. The author’s works, especially those of the late period, and their spiritual component still require fundamental research in modern art history. The purpose of the article is to identify the intonational and semantic specificity of the implementation of the images of praise and glorification in the concept of “The Flood” by I. Stravinsky. The research methodology is based on the intonation concept of music through the perspective of stylistic, etymological analysis, as well as on interdisciplinary and historical and cultural approaches which make it possible to identify the spiritual, genre and intonational features of the glorifying semantics interpretation in the mentioned work of composer. The scientific novelty of the article. The spiritual and semantic, genre and intonational, dramatic role of the <em>Te Deum </em>and <em>Sanctus </em>poetics in the composition of the mysterious conception of “The Flood” by I. Stravinsky as a whole has been generalized for the first time. Conclusions. “The Flood” by I. Stravinsky created at the intersection of various genre traditions (opera, cantata, ballet) and united by typological attributes of the mystery-play (“telemystery”) symbolizes the composer’s basic spiritual and style guidelines in the late period of his creative activity focused on biblical themes. The glorifying sections of “The Flood” by I. Stravinsky (Te Deum and Sanctus) represent, on the one hand, the genre and style search of the author who discovers the intonational and semantic possibilities of serial technique, which in the general concept of the work becomes a symbol of the “Universal Order”. On the other hand, they determine Stravinsky’s spiritual and religious guidelines, showing his inclination for ecumenism in the spirit of the traditions of the “Undivided Church” and its Eastern Christian genesis.
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Lusvarghi, Luiza. "Profugos: new formats and regionalization in Latin American television serial fiction." C-Legenda - Revista do Programa de Pós-graduação em Cinema e Audiovisual, no. 29 (December 29, 2013): 08. http://dx.doi.org/10.22409/c-legenda.v0i29.26287.
Full textAbstract:
The resumption of audiovisual productions in Latin America during the 1990s have not onlyaffected the cinematographic sphere, but TV production as well. The latest production aimed at exploringthis genre is a Chilean series co-produced with HBO Latin America named Profugos (Runaways), featuringfour popular local actors and directed by Pablo Larraín of the acclaimed film Tony Manero (2008,Brazil/Chile). Profugos shows that definitely soap opera is no longer the only Latin American fictionalformat, besides dialoguing with the action genre global tradition, also marking the consolidation of majornetworks intervention policy towards the local market
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Lusvarghi, Luiza. "Profugos: new formats and regionalization in Latin American television serial fiction." C-Legenda - Revista do Programa de Pós-graduação em Cinema e Audiovisual, no. 29 (August 5, 2014): 08. http://dx.doi.org/10.22409/c-legenda.v0i29.26295.
Full textAbstract:
The resumption of audiovisual productions in Latin America during the 1990s have not onlyaffected the cinematographic sphere, but TV production as well. The latest production aimed at exploringthis genre is a Chilean series co-produced with HBO Latin America named Profugos (Runaways), featuringfour popular local actors and directed by Pablo Larraín of the acclaimed film Tony Manero (2008,Brazil/Chile). Profugos shows that definitely soap opera is no longer the only Latin American fictionalformat, besides dialoguing with the action genre global tradition, also marking the consolidation of majornetworks intervention policy towards the local market
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Atay, Ahmet. "Serial narratives in the new millennium: The decline and the future of daytime US soap operas." Journal of Popular Television 10, no. 2 (2022): 123–37. http://dx.doi.org/10.1386/jptv_00074_1.
Full textAbstract:
Despite its cultural significance, soap opera as a television genre has been in decline in the United States since the early 2000s. While the nature of its audience has been changing, the media landscape also has been drastically shifting because of the wide expansion of new media technologies. In this article, I survey these reasons and examine the current state of the genre. To do so, I first briefly examine the history of the genre before I review the significant cultural and social forces that reshaped the US media landscape and eroded the popularity of the genre in certain segments of the audience.
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Graour, Kristina. "Serial communities: The dynamics between individual and collective identity in Orange Is the New Black." Journal of Popular Television 10, no. 2 (2022): 155–66. http://dx.doi.org/10.1386/jptv_00076_1.
Full textAbstract:
The influence of soap operas on other forms of television narrative has long been remarked upon by television scholars, especially with regards to the increasing tendency towards serialized plotlines that contemporary dramas have exhibited over the last three decades. Nonetheless, the full impact of the soap opera form on the structural principles of ongoing television narratives is yet to be explored. A crucial part of this lineage is the privileged role granted to communities in soaps, a narrative strategy that has been embraced by an array of other types of serialized programming, including ‘premium’ dramas. Drawing on Christine Geraghty’s writing on soap operas’ construction of community, this article will examine how this storytelling strategy is reworked by contemporary ‘premium’ programmes. Using Orange Is the New Black (2013‐19) as a case study, I will explore how the patterns of interplay between the individual and the group can shape both the form and diegesis of a programme. I will analyse how Orange Is the New Black gradually shifts from being structured around a single protagonist to being structured around the community as a whole, demonstrating that the tension between individual and collective identities can be a productive force that proliferates and expands the narrative of a programme.
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Makhfuza, Khodjaeva. "ON SOME NATIONAL FEATURES OF THE FORMATION AND DEVELOPMENT OF THE OPERA GENRE IN UZBEKISTAN." May 31, 2023. https://doi.org/10.5281/zenodo.7991085.
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<em>The article talks about the great discovery of mankind – music and the incomparable role of opera art in it, the national approach in the Uzbek opera, national features reflected in its melodic range and performing directions. It highlights the development of the opera genre, its trends in the 21st century, new aspects and forms, examples of national operas, the great creative potential of our country's composers<strong>.</strong></em>
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Pedersen, Vibeke. "Køn og genre i TAXA: Følsom maskulinitet og mødre under anklage." Kvinder, Køn & Forskning, no. 3 (October 29, 1998). http://dx.doi.org/10.7146/kkf.v0i3.28449.
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The article looks at the new Danish prime-time soap opera "Taxa", asking why a usually devaluated women's genre as the soap opera has succeeded in addressing the entire family in prime time on Sunday evening. The serial is discussed in the light of Christine Gledhill's statement that in the new prime-time soap "melodrama and realism, women's and men's culture, intersect (...) in a particularly productive way". I conclude that while it is true that the male characters in "Taxa" are multi-dimensional personalities, women in this Danish soap opera are not only almost absent as writers and directors, but the female figures are also highly mythologized. Thus the costs of the soap genre going mainstream are marginalization and trivilization of women.