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Artículos de revistas sobre el tema "Mari drama"

Autor: Grafiati

Publicado: 4 de junio de 2021

Última modificación: 1 de agosto de 2024

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1

Kudryavtseva, Raisiya Alekseevna. "Mari folk Songs in the Artistic Structure of S. G. Chavain's Novel "Elnet"". Litera, n.º 3 (marzo de 2023): 147–75. http://dx.doi.org/10.25136/2409-8698.2023.3.39788.

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The article examines the folklore intertext of the novel "Elnet" by the classic of Mari literature Sergey Grigoryevich Chavain at the level of folk songs, reveals their place in the artistic structure of the novel text, analyzes their role in revealing the people's perception of the world and the nature of the creative personality of the intellectual-Mari, in the expression of the author's ideas. The song texts of the novel, directly borrowed from folklore or reworked by the author, as well as created by Chavain himself in the likeness of the content and stylistics of folk-poetic works, give the artistic narrative romantic sublimity, poetry, drama and national specificity, strengthen the author's concept of the world and character. The methodology of the research is determined by the structural and semantic analysis of the works. The article for the first time identifies and describes in detail the semantic and typological components of the folklore-song intertext of Chavain's novel "Elnet", its significance for the expression of its artistic content. It is proved that the song texts of the novel mostly reveal the traditional cultural way of life of the Mari people, their natural existence, orientation to myths and ideals (labor songs; ritual songs: wedding, including lamentation songs; lyrical, mainly love and orphan songs). They are directly related to the national issues of the novel and the author's concept based on the uniqueness of the Mari people and their culture. A lot of space is occupied by songs that highlight the difficulties of the pre–revolutionary social life of the Mari people, the inequality of ethnonational existence, which became the reason for the formation of revolutionary predilections in the popular environment (recruiting - about seeing off to war, orphans, lamentations). This folklore intertext helps to clarify the ideological and moral quest of Mari in the pre-revolutionary era, the search for ways of social and national liberation brewing in the depths of the people.

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Kirillova, I. Yu y А. F. Myshkina. "Features of the origin and development of drama in the Chuvash and Mari literatures". Vestnik of the Mari State University 13, n.º 4 (2019): 578–82. http://dx.doi.org/10.30914/2072-6783-2019-13-4-578-582.

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3

Willson, Rachel Beckles. "Paris, Théâtre du Châtelet: Péter Eötvös's ‘Angels in America’". Tempo 59, n.º 232 (abril de 2005): 74–75. http://dx.doi.org/10.1017/s0040298205210173.

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Tony Kushner's play Angels in America is now secure in the canon of 20th-century US (and probably world) drama, but its subject-matter has not often been explored in the opera house. The play centres around questions about racial identity, connubial relationships and politics (that's all very operatic, of course); but also a type of intolerance and spiritualism that is peculiar to parts of the USA; and, most dramatically and provocatively, homosexual partnerships and AIDS. Aside from the historical examples provided by certain operas by Benjamin Britten (among others), the only operas on gay themes known to this writer are Matthias Pintscher's Thomas Chatterton (1994–97), Stewart Wallace's Harvey Milk (premièred 1995), Paula M. Kimper's Patient and Sarah (premièred 1998) and Estele Pizer's Perverse (premièred 2002) – and none addresses AIDS. So Péter Eötvös's new opera, to a libretto by Mari Mezei, directed by Philippe Calvario and premiered under the composer's baton on 29 November, seems nothing if not an intervention.

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4

Kirillova, I. Yu. "THE SYMBOLIC IMAGE OF MOTHER IN THE MODERN DRAMA OF THE VOLGA REGION (the case of Chuvash and Mari literatures)". Учёные записки Петрозаводского государственного университета 46, n.º 1 (enero de 2024): 34–39. http://dx.doi.org/10.15393/uchz.art.2024.988.

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5

Rasmussen, Karsten Boye. "Standardization and certification save us from the frustrations of the Greek drama". IASSIST Quarterly 43, n.º 1 (10 de mayo de 2019): 1–2. http://dx.doi.org/10.29173/iq953.

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Welcome to the first issue of volume 43 of the IASSIST Quarterly (IQ 43:1, 2019). The IASSIST Quarterly presents in this issue three papers illustrated in the title above. Chronologically we start from an early beginning. No, not with Turing, we time travel further back and experience ancient Greece. In this submission the Greek drama delivers the form, while data librarians deliver the content on data sharing. And it makes you a proud IASSISTer to know that altruism is the rationale behind data sharing. The drama continues in the second submission when librarians get frustrated because they suddenly find themselves first as data librarians and second as frustrated data librarians because ends do not meet when the librarians have difficulties servicing the data needs of their users, in combination with the users having unrealistic expectations. Finally, the third article is about standardization and certification that makes the librarians more secure that they are on the right track when building a TDR (Trustworthy Digital Repository). Enjoy the reading. The first article is different from most articles. There is a first for everything! Not often are we at IQ offered a Greek drama. And here is one on data sharing. The article needed the layout of a play so even the typeface of this contribution is different. The paper / play is called 'An epic journey in sharing: The story of a young researcher’s journey to share her data and the information professionals who tried to help’. The authors are Sebastian Karcher and Sophia Lafferty-Hess at Duke University Libraries. The reason for using Greek drama as a template is that form can help us think differently - 'out of the box’! The play demonstrates the positive intention of data sharing, and by sharing contributing to something larger. The article references other researchers showing that scholarly altruism is a driving force for data sharers. No matter the good intentions of the protagonist, she finds herself locked in a situation where she is not able to take identifiable data with her when leaving the institution. And leaving the university is what undergraduates do. Without the identification, it is impossible to obtain re-consent from participants. Yes, it does look murky but there is even a happy ending in the epilogue. The second article is about librarianship, and how that task is not always easy. 'Frustrations and roadblocks in data reference librarianship’ is by Alicia Kubas and Jenny McBurney who work at the University of Minnesota Libraries. Like many others, they have observed that many librarians find themselves as 'accidental data librarians'. That this brings frustration can be seen in the results of a survey they carried out. The methodology is explained, and descriptive statistics bring insight to what librarians do as well as to the frustrations and roadblocks they experience. Let us start with the good news: some librarians are never frustrated with data questions. The bad news is that only 3% fall into that category. On the other hand, 83% mention 'managing patron expectations’ among their biggest frustrations. It sounds as if matching of expectations should be a course at library school. Maybe it is already, and users with high expectations simply do not understand the complexity of the work involved. Fortunately, some frustrations can be lessened by experience, but there are others – called roadblocks, e.g. paywalls or lack of geographic coverage – that all librarians meet. Among the comments after the survey was that data persist as a difficult source type for librarians to support. The questionnaire developed and used by Kubas and McBurney is found in an appendix. The last article in this issue raises sustainability as an important issue for long term data preservation, and the concept forms part of the title of the submission 'CoreTrustSeal: From academic collaboration to sustainable services'. The paper is from an international group of authors comprising Hervé L'Hours, Mari Kleemola, and Lisa de Leeuw from UK, Finland and the Netherlands. The seal is a certification for repositories curating data. The last sentence in the abstract sums up the content of the paper: 'As well as providing a historical narrative and current and future perspectives, the CoreTrustSeal experience offers lessons for those involved in developing standards and best practices or seeking to develop cooperative and community-driven efforts bridging data curation activities across academic disciplines, governmental and private sectors'. In order to attain CoreTrustSeal TDR certification and become a Trustworthy Digital Repository (TDR), the repository has to fulfil 16 requirements and the CoreTrustSeal foundation maintains these requirements and the audit procedures. The certification draws on preservation standards and models as found in Open Archival Information Systems and in the catalogues of ISO and DIN standards. The authors emphasize that the CoreTrustSeal is founded on and developed in a spirit of openness and community. The paper's sharing of the experience follows that spirit. Submissions of papers for the IASSIST Quarterly are always very welcome. We welcome input from IASSIST conferences or other conferences and workshops, from local presentations or papers especially written for the IQ. When you are preparing such a presentation, give a thought to turning your one-time presentation into a lasting contribution. Doing that after the event also gives you the opportunity of improving your work after feedback. We encourage you to login or create an author login to https://www.iassistquarterly.com (our Open Journal System application). We permit authors 'deep links' into the IQ as well as deposition of the paper in your local repository. Chairing a conference session with the purpose of aggregating and integrating papers for a special issue IQ is also much appreciated as the information reaches many more people than the limited number of session participants and will be readily available on the IASSIST Quarterly website at https://www.iassistquarterly.com. Authors are very welcome to take a look at the instructions and layout: https://www.iassistquarterly.com/index.php/iassist/about/submissions Authors can also contact me directly via e-mail: kbr@sam.sdu.dk. Should you be interested in compiling a special issue for the IQ as guest editor(s) I will also be delighted to hear from you. Karsten Boye Rasmussen - May 2019

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6

Jansson, Satu-Mari. "Teatteri ja draama työn oppimismuotoina". Aikuiskasvatus 35, n.º 4 (1 de diciembre de 2015): 312–15. http://dx.doi.org/10.33336/aik.94162.

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Työelämän muutos edellyttää uusia näkökulmia myös työn kehittämiseen. Teatteri ja draama tarjoavat menetelmän osallistaa henkilökunta kehittämään organisaation toimintatapoja. – Satu-Mari Janssonin väitöskirja Teatteri ja draama työn oppimismuotoina (Helsingin yliopisto 2015).

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7

Zimmerman, Brett. "The Cosmic Drama of Melville’s Mardi". ESC: English Studies in Canada 16, n.º 4 (1990): 417–32. http://dx.doi.org/10.1353/esc.1990.0004.

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8

Mohd Nor, Zaamah, Laura Christ Dass y Noor Ahnis Othman. "Exploring Interactive Roles in the Communication Through Drama Online Classroom in Universiti Teknologi MARA, Malaysia". Environment-Behaviour Proceedings Journal 9, SI20 (13 de marzo de 2024): 93–100. http://dx.doi.org/10.21834/e-bpj.v9isi20.5815.

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This qualitative study aims to identify and categorize interactive roles within a Malaysian tertiary drama classroom. It examines the impact of virtual interaction on students' language learning experiences when using drama to improve communication. Employing focus group discussions as the primary data collection method, this research involves 20 undergraduates enrolled in the Communication Through Drama (EPC522) course offered under the LG240 program, i.e., the Bachelor of Applied Language Studies-English for Professional Communication (Hons) in Akademi Pengajian Bahasa, Universiti Teknologi MARA, Shah Alam, Selangor, Malaysia. The study is based on the Social Constructivist theory by Vygotsky (1962, 1978) and the Visible Thinking (VT) approach identified by Ritchhart (2006) as part of Project Zero (PZ) at Harvard University. Online platforms and tools utilized for interactive drama activities are specified in the study. The findings reveal the challenges faced in completing drama activities online and demonstrate that the implementation of VT routines enhances students' interactive roles and communication skills. Despite the challenges, students embraced this new educational experience that fosters a more interactive and student-centered environment. The implications of these findings for language education and drama pedagogy in Malaysia are discussed.

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9

Nabiałek, Magda. "How to Read a Drama? Maria Renata Mayenowa’s Reading of "The Wedding" by Stanisław Wyspiański". Białostockie Studia Literaturoznawcze, n.º 4 (2013): 251–58. http://dx.doi.org/10.15290/bsl.2013.04.17.

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10

Veress, Ferenc. "Following the Star : Nativity Scenes and Sacred Drama from the Middle Ages to the Baroque". Uránia 1, n.º 1 (2021): 58–77. http://dx.doi.org/10.56044/ua.2021.1.4.eng.

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This study discusses the origin, and liturgical function, of a popular accessory of the Christmas celebrations, that is, the Bethlehem nativity scene. The events of the life of Jesus attracted much attention in the early period of Christianity, as a result of which the Holy Land was visited by flocks of pilgrims. Descriptions of the sentiments aroused by a pilgrimage to Bethlehem may be found in sources as early as the letters of Saint Jerome. Fragments of the Bethlehem manger were kept in the Santa Maria Maggiore Cathedral in Rome, so it is here that one of the first nativity scenes, a sculptural group by Arnolfo di Cambio, can be found (late 13th century). The work of Arnolfo was commissioned by the same Pope Nicholas IV who also sponsored the ornamentation of the Cathedral of San Rufino. One screen of the Giotto Assisi fresco cycle depicts Saint Francis’ Miracle of Greccio, in which the Holy Mass is celebrated over the manger and the Child comes to life. The Bethlehem nativity scene was the subject of numerous paintings and sculptures during the Renaissance and the Baroque era. From the sacrificial procession of the faithful in the liturgy evolved the genre of sacral drama, from which in turn mystery plays were developed, leaving the premises of the church. Nativity scenes incorporating elements of mystery plays, such as the presence of the shepherds, were intended primarily to make the miracle of embodiment a palpable reality for the believers. The presence of the Holy Family, the three Magi and the shepherds made the nativity scene realistic, always with a touch of the day and age. A tabernacle cabinet carried by angels was erected in 1589 over the Chapel of the Nativity in the Santa Maria Maggiore Basilica; commissioned, again, by a Franciscan Pope, Sixtus V. Caravaggio’s Adoration of the Shepherds altar paintings (the Museo Nazionale, Messina, and the San Lorenzo church, Palermo), represented a novel interpretation of the subject. In sculpture, Antonio Begarelli’s terracotta groups (1526-1527, Modena Cathedral), which resemble paintings, preceded baroque art. The nativity scene, as a genre in sculpture, started to flourish again in Hungary in the 17th century, a symbolic representative of which was the medieval Adoration of the Shepherds sculptural group found by Jesuits in the Town Hall of Lőcse (today Levoča, in Slovakia), a work executed by the master Pál Lőcsei (today in the Basilica of Saint James, Levoča). Three Magi altars are to be found in the churches of Saint Michael in both Sopron and Kolozsvár (today Cluj-Napoca, in Romania), which presumably must have had their medieval antecedents. While the Adoration of the Three Magi sculptural group is a work of an immigrant Bavarian sculptor, Georg Schweitzer, in Sopron, it was Franz Anton Maulbertsch who painted a Three Magi altar screen in Kolozsvár (Cluj-Napoca). Maulbertsch also developed the theme of the Three Magi and the Adoration of the Shepherds in two separate fresco scenes in the parish church of Sümeg, deliberately associating with the great tradition leading to the Church of Nativity in Bethlehem, via the Santa Maria Maggiore Basilica in Rome.

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11

Wilson, Ann. "Editorial". Canadian Theatre Review 105 (enero de 2001): 3–4. http://dx.doi.org/10.3138/ctr.105.fm.

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The theme of this issue of Canadian Theatre Review was suggested by Marc Maufort, a professor at Université Libre de Bruxelles whose area of specialization is Canadian and Australian theatre. I want to thank Professor Maufort for reminding the editors that Canadian practitioners and their work have an impact beyond the boundaries of Canada. Professor Maufort’s own commitment to Canadian drama serves as a salient reminder that Canadian studies is an important part of the curricula of universities located in countries which were once the Commonwealth, and now, as the relationship between the imperial centre and its colonies is being rethought through postcolonial studies, drama written by Canadians is being positioned in site-specific ways. As Geeta Budhiraja’s commentary on two productions directed by Robert Fothergill, a Canadian playwright and academic, suggests, within the particular space of an academically sponsored institute, Canadian drama reads as “foreign,” so that the audience identifies with in it ways that resonate with its experience. Joanne Tompkins suggests that the classes in which she teaches Canadian drama in Australia, a settler colony like Canada, offer the discursive space to address commonality and difference between Australia and Canada.

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12

Schulz, Dorothea E. "Drama, Desire, and Debate: Mass-Mediated Subjectivities in Urban Mali". Visual Anthropology 20, n.º 1 (enero de 2007): 19–39. http://dx.doi.org/10.1080/08949460600961232.

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Bouchard, Michel Marc, Linda Gaboriau, Robert Astle, Agnes Limbos, Anne Szumigalski y R. A. Bonham. "The Orphan Muses; Heart of a Dog, Z: A Meditation on Oppression, Desire, and Freedom". Canadian Theatre Review 86 (marzo de 1996): 63–64. http://dx.doi.org/10.3138/ctr.86.014.

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One of Quebec’s distinguished young playwrights, Michel Marc Bouchard, has tried his hand at a range of theatrical forms, from black comedy to political allegory, and yet admits the consistent thematic thread of “victims become executioners”. A family drama first staged in 1988,The Orphan Muses (Les Muses orphelines), incorporates recent textual revisions. Linda Gaboriau’s translation is crisp and vital, important qualities in a play that frequently comments on writing and language.

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Canac-Marquis, Normand y Claude Poissant. "Le Syndrome de Cézanne, Passer la nuit". Canadian Theatre Review 58 (marzo de 1989): 84–85. http://dx.doi.org/10.3138/ctr.58.014.

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To mark the tenth anniversary of its founding in 1978 by brothers Francois and Marc el Hebert (and the twentieth anniversary of the journal of the same name], the respected publishing house Les Herbes Rouges has launched a drama collection (“Collection Theatre”], the first two titles of which are here reviewed. The establishment of this series is good news indeed, coming in the wake of the temporary collapse and as yet only partial recovery of Editions Lemeac, so long associated with publishing dramatic texts in Quebec.

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Afdjani, Hadiono y Daniel Simanjuntak. "The Strategy of Drama Series "Lonceng Cinta" in Increasing Public Interest Through Social Media Twitter". Environment-Behaviour Proceedings Journal 5, SI1 (1 de junio de 2020): 47–51. http://dx.doi.org/10.21834/ebpj.v5isi1.2296.

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This study aims to find out how the promotion strategy of television drama series "India Lonceng Cinta" through Twitter conducted by social media team ANTV. The focus of the problem is on the use of social media twitter @seriesANTV and @whatsonANTV in promoting the Indian drama series "Lonceng Cinta" to the public. The development of twitter today, not only as a social media, but ANTV use it as a media promotion of impressions to the people of Indonesia. Theories used are New Media theory and Marketing Communication theory. The paradigm of the research is the postpositivism paradigm, the qualitative approach and the method used is the interistic approach, that is expressing how the social media team strategy in promoting drama series "Lonceng Cinta" using twitter. Keywords: Promotion, Social Media, Twitter, Television Program, Marketing Communications. eISSN: 2398-4287 © 2020. The Authors. Published for AMER ABRA cE-Bs by e-International Publishing House, Ltd., UK. This is an open-access article under the CC BYNC-ND license (http://creativecommons.org/licenses/by-nc-nd/4.0/). Peer–review under responsibility of AMER (Association of Malaysian Environment-Behaviour Researchers), ABRA (Association of Behavioural Researchers on Asians) and cE-Bs (Centre for Environment-Behaviour Studies), Faculty of Architecture, Planning & Surveying, Universiti Teknologi MARA, Malaysia.DOI: https://doi.org/10.21834/ebpj.v5iSI1.2296

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Mayer, Vicki. "Letting It All Hang Out: Mardi Gras Performances Live and on Video". TDR/The Drama Review 51, n.º 2 (junio de 2007): 76–93. http://dx.doi.org/10.1162/dram.2007.51.2.76.

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Mayer examines Mardi Gras as a commodified spectacle of female nudity in live performance, softcore video, and tourism. Mardi Gras brings together entrepreneurs and consumers in ways that reveal gender, race, and class relations not only in today's U.S. but also in America's consumption of its global Others.

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Ab Ghani, Haliza, Nor Azah Mohd Rathi, Zaemah Abdul Kadir, Fauziah Saadah Abdul Halim y Turisiana Ahmad Buhari. "The effectiveness of gamification through classroom leaderboards for student engagement". International Journal of e-Learning and Higher Education 17, n.º 1 (31 de enero de 2022): 117–34. http://dx.doi.org/10.24191/ijelhe.v17n1.1717.

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Universities, researchers and practitioners are looking for effective ways to engage, enhance, and promote students’ learning in the classroom. Gamification is the integration of game-like design elements into non-game context to motivate action, engage, and solve problems. This paper presents the effectiveness of gamification through leaderboards to improve student engagement in subjects for Company Website Design (EIC552) and Communication through Drama (EPE530) at Akademi Pengajian Bahasa, Universiti Teknologi MARA. Questionnaires were given to examine the effects of gamification on student learning and engagement. Results suggest that gamification through leaderboards are effective in improving student participation and encouraging extracurricular learning.

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Yusriana, Amida, Devi Purnamasari y Nalal Muna. "Emotional branding analysis for the Korean Drama-based tourism locations". Masyarakat, Kebudayaan dan Politik 32, n.º 4 (20 de diciembre de 2019): 399. http://dx.doi.org/10.20473/mkp.v32i42019.399-410.

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City branding is an effort to build a particular image of a city. Semarang is one of Indonesia’s big cities that has not yet succeeded in finding the right brand to represent it. The researcher has conducted a pilot research study that aims to build Semarang’s city branding as The Cinematic City. It is due to Semarang’s background of often becoming a shoot location for famous movies. South Korea is well known because of its pop cultures, such as drama. Drama is one of the main factors that contribute to the increasing number of foreign visitors. They mostly visit popular drama shooting locations as their destinations. These kinds of tourism site are successful at developing emotional branding in the visitor’s minds. Looking at the similarity of South Korea and Semarang will help Semarang to learn a lot from what South Korea has done. This research aims to analyse how emotional branding represented through the Korean drama-based tourism site gimmicks. This research used the Emotional Branding theory by Marc Gobe. It assumed that emotional bonding is an essential thing in terms of engaging the customer and product in a particular phase. The main subjects of this research are the gimmicks in Nami Island. The result shows that the Relationship Aspect fulfilled by changing the theme and properties according to the season. For the Five Senses Experience, it only employs the sense of sight and touch by creating many gimmicks that can be a photo-taking hot spot. The Imagination aspect fulfilled by the unique design of the Emotional Identity put forward, such as the snowman.

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Semlali, Mohamed. "Le deuil de l’absent dans Les Funérailles du lait de Mahi Binebine". Çédille, n.º 24 (2023): 503–21. http://dx.doi.org/10.25145/j.cedille.2023.24.25.

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"In his second novel, Mahi Binebine deals with a family drama, that of the incarceration and disappearance of Aziz, the eldest son of the Binebines, following the 1971 putsch. After several years of fruitless waiting without any news of her missing son, Mina, ageing and worn out by oblivion, can no longer bear to live in expectation; she feels the imperative need to mourn her son to prevent his memory from fading away but also, like a modern Antigone, to oppose a vindictive justice system with her duty as a mother and the story of her ordeal, which then takes on a cathartic and protest dimension. "

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Mandach, André de y Eve-Marie Roth. "Le triangle Marc-Iseut-Tristan : un drame de double inceste". Etudes Celtiques 23, n.º 1 (1986): 193–213. http://dx.doi.org/10.3406/ecelt.1986.1824.

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Kamińska, Aleksandra. "L’œuvre de Pixerécourt sous la Restauration: entre valeurs de l’ancien régime et source d’inspiration pour l’école romantique". Romanica Wratislaviensia 67 (23 de julio de 2020): 121–30. http://dx.doi.org/10.19195/0557-2665.67.9.

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The aim of the article is to show the evolution of classical melodrama, the complexity of the genre and the influence of Pixerécourt’s melodrama on Victor Hugo’s romantic drama which mani-fests itself in contradictory and hyperbolic means. Indeed, Victor Hugo faces the same obstacle as the author of melodrama: how to represent the duality of the universe without falling into a simplify-ing and gnomic vision? While Victor Hugo opts for the constant use of antithesis, Pixerécourt seeks to adapt his heroes to the new reality under the Restoration: by temporarily reversing the roles, he makes women, at least momentarily, the pillar of social life.

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Alkier Radnić, Romina, Christian Stipanović y Vanja Ivanović. "REZULTATI EMPIRIJSKOG ISTRAŽIVANJA STAVOVA STANOVNIŠTVA O TURISTIČKOJ PONUDI KVARNERA I NJEGOVIH DESTINACIJA". Tourism and hospitality management 13, n.º 1 (marzo de 2007): 77–157. http://dx.doi.org/10.20867/thm.13.1.3.

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Anketiranje stanovništva izvršeno je u sljedećim destinacijama: Crikvenica 119, Jadranovo 20, Novi Vinodolski 71, Selce 29, Ičići 12, Lovran 61, Medveja 7, Mošćenička Draga 35, Opatija 156, Baška 19, Krk 21, Malinska 9, Omišalj 31, Punat 29, Cres 38, Mali Lošinj 101, Lopar 16, Rab 18, Kostrena 15, Kraljevica 45, Rijeka 153 i Gorski kotar 60. Ukupno je anketirano 1065 stanovnika, što je 315 stanovnika više nego u istraživanju 2003. godine. Anketa je obuhvatila i nove destinacije: Crikvenica, Jadranovo, Selce, Medveja, Krk, Malinska, Omišalj, Punat, Cres, Mali Lošinj, Kostrena i Kraljevica. Ovakva anketa će potpunije otkriti stavove stanovništva Kvarnera o turističkoj ponudi zbog većeg uzorka i šireg obuhvata užih turističkih destinacija unutar sub-regija. Apsolutna vrijednost i struktura stanovništva po destinacijama prikazana je tablicom i strukturnim krugom.

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Watt, Stephen. "Eugene O'Neill and the Emergence of American Drama ed. by Marc Maufort, and: New Essays on American Drama ed. by Gilbert Debusscher". Comparative Drama 26, n.º 3 (1992): 282–84. http://dx.doi.org/10.1353/cdr.1992.0031.

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Ziyat y Nurchalis Sofyan. "KETIDAKADILAN SOSIAL DALAM DRAMA AZ-ZA’ÎM KARYA MUSTHAFÂ MAHMÛD (TINJAUAN SOSIOLOGI SASTRA)". An-Nahdah Al-'Arabiyah 1, n.º 1 (31 de enero de 2021): 50–77. http://dx.doi.org/10.22373/nahdah.v1i1.723.

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Tulisan ini bertujuan untuk mendeskripsikan bentuk-bentuk ketidakadilan sosial dalam naskah dramaAz-Za’îmkarya Musthafâ Mahmûd. Masalah yang dihadirkan sastrawan ini secara garis besar terdapat pada bentuk ketidakadilan sosial yang dialami masyarakat minoritas di Afrika Utara setelah Kekhalifahan Turki Utsmani berhasil merebut wilayah ini dari Khilafah Mali. Musthafâ Mahmûd menggambarkan situasi pelik yang terjadi di wilayah tersebut dengan penuh totalitas, sehingga para pembaca yang sebelumnya sering mendengar keagungan dalam Kerajaan Utsmani, justru harus berpikir terbalik seratus delapan puluh derajat, karena digambarkan terdapat daerah-daerah yang dipimpin oleh penguasa yang tamak, otoriter, dan bersikap diskriminatif terutama kepada kaum minoritas. Untuk mengungkap bentuk ketidakadilan sosial dalam naskah ini, peneliti menggunakan metode deskriptif kualitatif. Data penelitian berupa kata, frasa dan kalimat serta wacana yang memuat unsur ketidakadilan sosial. Adapun teknikpengumpulandata adalah dengan pembacaan, pencatatan, serta analisis dokumen dengan pendekatan sosiologisastra sebagai kerangka berfikir. Penelitian ini menunjukkan bahwa naskah drama ini telah menggambarkan segala unsur ketidakadilan sosial dalam tinjauan sosiologi berupa;Stereotip, Marginalisasi, Subordinasi, Dominasi, dan Pelanggaran Hak Asasi Manusia (HAM).

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25

Payne, Rhonda. "Meanwhile in Toronto ... / 2: Via Newfoundland and Africa". Canadian Theatre Review 53 (diciembre de 1987): 26–28. http://dx.doi.org/10.3138/ctr.53.005.

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Sydney, Cape Breton, May 1987 /1 am moderating a panel on theatre in Africa at the Standin’ the Gaff festival. Before the panel begins we teach the participants several African games, chants and dances. Oga Abah, who teaches drama at Nigeria’s Amadu Bello University, leads us in a round of “Che Che Kule,” a children’s game from Mali. Oga and I both learned the game in the village of Karamazonda in Zimbabwe. I taught the game to villagers in Zambia, Oga uses it in Nigeria. Ross Kidd has taught it in a popular theatre training workshop in Edmonton. This is the stuff of popular theatre workshops: sharing simple games and songs, exchanging information.

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26

Hild, Elaine Stratton. "The Long Journey of the Magi: Re-assessing ‘Liturgical Drama’ for Epiphany from Nevers". European Medieval Drama 26 (enero de 2022): 11–40. http://dx.doi.org/10.1484/j.emd.5.132282.

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Chekalov, Kirill A. "Early French detective fiction: self-identification paths". Vestnik of Kostroma State University 29, n.º 2 (12 de octubre de 2023): 79–86. http://dx.doi.org/10.34216/1998-0817-2023-29-2-79-86.

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This article focuses on the early period of French detective fiction (1860s), when the “roman policier” notion has not yet been formulated (In use was the notions “courtroom novel”, i.e. “roman judiciaire”). Émile Gaboriau acted as the founder of this genre through his series of novels about Monsieur Lecoq [starting with the novel – “The Lerouge Case” (“L’Affaire Lerouge”, 1865)]. His novels incorporate the criminal narrative features and social, psychological, historical, and political constructs. The author of the article analyses little-known literary works of the similar theme, written in the same period and far less known, such as the novels: “The Drama of the Rue de la Paix» (“Le Drame de la Rue de la Paix”) by Louis Marc Adolphe Belot and “The Crime Factory!” (“La Fabrique de crimes!”) by Paul Henri Corentin Féval (both written in 1866), as well as the stories: “The Black Pearl” (“La Perle noire”) by Victorien Sardou, 1861 and “The Killer of Albertine Renouf” (“Le Meurtrier d’Albertine Renouf. Les Derniers jours de Don Juan”) by Henri Laurent Rivière, 1865. All of them are indicative of the increased interest in criminal plots among the readership of the 1860s and, in a varying degree, have laid the basis for the new genre paradigmatics (crime, investigation process, investigating agency, interaction between a professional detective and an amateur one, wrong and right crime versions, etc.). The author of the article reach a conclusion that the activation of the description by the authors of the plot of Edgar Allan Poe’s canonical short story “The Murders in the Rue Morgue” is combined with solely “feuilletonistic” narrative resources (including melodramatic ones) were extensively used in the detective fiction, and the extremes of fashion for criminal plots were exposed to parody in Belot and Féval’s works.

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O’Neill-Karch, Mariel. "Le chemin des Passes-dangereuses". Dossier 33, n.º 1 (6 de febrero de 2008): 73–82. http://dx.doi.org/10.7202/017529ar.

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Résumé Dans plusieurs de ses écrits récents, Jean Baudrillard soutient que nous vivons à une époque où il n’y a plus de finalité, le réel étant remplacé par des signes du réel. Les systèmes se convulsent, se recourbent, et l’espace-temps se réduit à des impressions. La noyade d’un père poète, emporté dans un tourbillon, pèse sur la conscience de ses fils qui se retrouvent, quinze ans plus tard, sur les lieux du drame. À partir des « impressions » des frères, Michel Marc Bouchard a construit un drame complexe où chaque personnage recompose ses souvenirs en « une litanie sans fin », entraîné dans un mouvement circulaire, régressif, répétitif et hallucinant. Cette étude a pour but de voir comment Bouchard utilise la notion clé d’impression dans l’organisation du Chemin des Passes-dangereuses.

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29

Kovács, Lenke. "Amb una rosa a la galta - «Ball de la Mare de Déu» (1788) de fra Josep Rius i «Isabet Besora, la pastoreta» de Pere Gras i Bellvé (1857)". SCRIPTA. Revista Internacional de Literatura i Cultura Medieval i Moderna 21, n.º 21 (22 de junio de 2023): 241. http://dx.doi.org/10.7203/scripta.21.26804.

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Resum: En aquest article presentem un estudi comparatiu de dues obres de teatre marià de finals del segle XVIII i mitjan segle XIX. El Ball de la Mare de Déu, escrit pel franciscà Josep Rius i estrenat el 1788, pertany al gènere del ball parlat, una forma de teatre popular representat a l’aire lliure i que combina el diàleg teatral amb música i dansa. L’obra Isabet Besora, la pastoreta o ja sia la pesta de Reus de 1592 de Pere Gras i Bellvé, publicada el 1857, és un drama històric en tres actes sobre el mateix tema que fou estrenat el 1860 al Teatre Principal de Reus. A més de l’estudi, oferim una nova edició de la peça de Rius basada en el manuscrit únic en què ens ha pervingut el text i que es custodia a l’Arxiu Museu de Reus amb la signatura FDIMMR 10.6.Paraules clau: teatre marià, Ball de la Mare de Déu, Josep Rius, ball parlat, Isabet Besora, la pastoreta o ja sia la pesta de Reus de 1592, Pere Gras i Bellvé, drama històric, Teatre Principal de ReusAbstract: In this article we present a comparative study of two Marian plays from the late 18th and mid-19th centuries. The Ball de la Mare de Déu, written by the Franciscan Josep Rius and premiered in 1788, belongs to the genre of ball parlat, a form of popular theatre performed outdoors that combines theatrical dialogue with music and dance. The play Isabet Besora, la pastoreta o ja sia la pesta de Reus de 1592 by Pere Gras i Bellvé, published in 1857, is a historical drama in three acts on the same theme that was premiered in 1860 at the Teatre Principal in Reus. In addition to the study, we offer a new edition of the play by Rius based on the unique manuscript in which the text has come down to us and which is kept in the Arxiu Museu de Reus with the signature FDIMMR 10.6.Keywords: Marian theatre, Ball de la Mare de Déu, Josep Rius, popular open-air theatre, Marian theatre, Isabet Besora, la pastoreta o ja sia la pesta de Reus de 1592, Pere Gras i Bellvé, historical drama, Teatre Principal de Reus

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30

Sweet, David. "Before and after photography". Journal of Contemporary Painting 7, n.º 1 (1 de octubre de 2021): 163–75. http://dx.doi.org/10.1386/jcp_00029_1.

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The challenge posed to nineteenth-century painting is placed in the context of current uncertainties about artificial intelligence. It is argued that at the centre of photography was an ‘artificial retina’, generating a highly unified pictoriality. Impressionism adopts this retinal or optical model. Before photography paintings were organized around perspective, allowing more spatial drama. However, perspective is also an example of artificial intelligence, based on eyesight. Cézanne disrupts the unity of Impressionism reintroducing elements of the pre-photographic, combining two scopic regimes. A feature of this hybrid approach is the diagonal, initially connecting the picture plane to the horizon, but modified in response to the photograph. This can be observed in many works from Cézanne to Matisse and beyond. Further examples of the function of this diagonal are discussed in reference to contemporary works by Tomma Abts, Sharon Hall and Marc Vaux.

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Loiselle, André. "La «Traduction» du Théâtre au Cinéma: Quelques Exemples du Répertoire Canadien". Theatre Research in Canada 24, n.º 1 (enero de 2003): 21–38. http://dx.doi.org/10.3138/tric.24.1.21.

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Generally, film adaptations of drama do not follow the principles o f translation. There are too many differences between the original and the film version for the term “translation” to be applicable. However, there are a few cases where it can be said that a film actually translates a play. This article examines a number of adaptations of Canadian plays, in the light of various translation theories as well as narratological approaches, to draw a conceptual line between adaptation and translation. As is demonstrated, while Lilies, Les muses orphelines and Il était une fois dans l’Est cannot be read as translations of plays by Michel Marc Bouchard and Michel Tremblay, Tectonic Plates and Gapi can productively be studied as translations of original works by Théâtre Repère and Antonine Maillet. In the process, the author hopes to establish the basic charateristics of filmic translation.

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32

CARTER, TIM. "Celebrating the Nation: Kurt Weill, Paul Green, and the Federal Theatre Project (1937)". Journal of the Society for American Music 5, n.º 3 (13 de julio de 2011): 297–334. http://dx.doi.org/10.1017/s1752196311000150.

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AbstractIn summer 1937, the Federal Theatre Project (FTP) commissioned from playwright Paul Green and composer Kurt Weill a work to celebrate the 150th anniversary of the adoption of the U.S. Constitution. Green had provided the text for Weill's first American musical play, Johnny Johnson (1936), which the FTP took up with some enthusiasm, and he had scored some success with his outdoor historical drama The Lost Colony (1937). He was also interested in music on the stage following his encounters with Russian director Alexei Granowski in Berlin in 1928–29. Weill, in turn, was involved in various spectacle-driven projects in 1937, not least with fellow émigré Max Reinhardt. Green's first scenario for the new drama focused on the constitutional implications of recent labor disputes in the U.S. South. However, the controversy of summer 1937 surrounding the overt agit-prop of Marc Blitzstein's The Cradle Will Rock—sponsored but then dropped by the FTP—put an end to such political aspirations. Green rewrote his outline in favor of a more conventional treatment of the American Revolutionary War, to be called The Common Glory. Although he produced a rough script, and Weill started composing the score, the project collapsed, in part because of their incompatible visions for the play and its music. Nevertheless, newly uncovered sources reveal them attempting to grapple with the potentials of nationalistic subject matter in the theater, and with the search for U.S. cultural identities in changing times.

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33

Graefe, Sara. "Reviving and Revising the Past: The Search for Present Meaning in Michel Marc Bouchard's Lilies, or the Revival of a Romantic Drama". Theatre Research in Canada 14, n.º 2 (enero de 1993): 165–77. http://dx.doi.org/10.3138/tric.14.2.165.

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This essay examines the structural and representational strategies employed by Michel Marc Bouchard in Lilies, or the Revival of a Romantic Drama to effect a transformation of the traditional images of homosexuality in the contemporary theatre. At the centre of the play is a love affair between two young men in the rural and oppressive environment of Roberval in 1912; a complex metatheatrical structure, incorporating numerous mises en abyme surrounds this nucleus and facilitates an exploration of problems which relate directly and indirectly to its expression of adolescent passion. Within this structure, Bouchard, like his characters, makes use of theatrical revival as a narrative technique in order to reconstruct present meaning out of the past. Bouchard shows that the theatre can arrive at the truth while remaining an artifice, and through its revival and revision of the past can create an alternative theatrical representation of homosexuality.

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34

Kruger, Marie. "The Relationship between Theatre and Ritual in the Sogo bò of the Bamana from Mali". New Theatre Quarterly 25, n.º 3 (agosto de 2009): 233–40. http://dx.doi.org/10.1017/s0266464x09000414.

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The Sogo bò, primarily an animal masquerade, can be distinguished from Western theatre through its use of a fluid space with shifting boundaries between spectator and performer. An oral tradition dictates the characterization, scenario, and content. The resemblance to ritual can be found in structural elements such as its repetitive nature and the use of non-realistic performance objects and motions. As in ritual, there is a clear sense of order, an evocative presentational style, and a strong collective dimension. The functional resemblance lies in the complex metaphorical expression through which relationships and values are symbolized, objectified, and embodied in a highly artistic way. Marie Kruger is an associate professor and the Chair of the Department of Drama at the University of Stellenbosch, South Africa, where puppetry is offered as a performance and research option. Her research is focused on masquerades in Africa and the various contemporary applications of puppetry in sub-Saharan Africa.

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35

Legault, Suzanne. "Le lieu dans Un vent se lève qui éparpille : du pareil au même ?" Voix Plurielles 16, n.º 2 (29 de noviembre de 2019): 132–44. http://dx.doi.org/10.26522/vp.v16i2.2314.

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Cette lecture du roman Un vent se lève qui éparpille de Jean Marc Dalpé tient surtout compte de l’enchâssement des genres littéraires dans le cadre de ce récit. Leur analyse peut nous aider à préciser une des raisons pour lesquelles Marie et Marcel, lorsqu’ils en ont l’occasion, ne quittent pas le lieu du drame. Les personnages évoluent dans le nord de l’Ontario, paysage bien connu de l’auteur. Ce n’est pas pour autant une œuvre uniquement régionaliste. Dalpé voudrait convaincre les lecteurs/spectateurs que peu importe le lieu où habiteraient ses personnages, ils seraient toujours prisonniers d’une variante de la même histoire et ne pourraient s’évader de ce même contraignant, voire angoissant.

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36

Coates, Donna. "Marc Maufort and Franca Bellarsi. Citing the Other: Revisions of Marginality in Australian and English-Canadian Drama". Theatre Research in Canada 23, n.º 1-2 (septiembre de 2002): 155–59. http://dx.doi.org/10.3138/tric.23.1_2.155.

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37

De Andrade, Fernanda y Weslei Roberto Candido. "Ressignificação da Casa-Grande & Senzala". Revista de Literatura, História e Memória 19, n.º 34 (25 de marzo de 2024): 197–214. http://dx.doi.org/10.48075/rlhm.v19i34.31478.

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Tutelado por um substrato teórico multidisciplinar, com a contribuição fundamental de Edward Said (2003) e de Marc Augé (2008), este trabalho tem o objetivo de analisar as experiências de exílio da africana escravizada, a narradora autodiegética Kehinde, por meio de suas negociações subjetivas e identitárias com os espaços transitados, no romance Um defeito de cor (2006) da autoria de Ana Maria Gonçalves. Metodologicamente, faz-se um recorte até o período de sua vivência na casa-grande e na senzala, de modo a acompanhar a jornada da protagonista entre esses opressores lugares, dos quais o seu olhar híbrido reelabora mediações e subversões. Em resultado, entende-se que a narrativa problematiza a expropriação das heranças culturais, além se subverter os discursos estereotípicos, ao trazer a perspectiva e a voz da exilada, acerca da sua resistência e do drama do não pertencimento sob a égide do racismo e do patriarcalismo escravocratas, reelaborando a visão histórica.

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38

Scott, Shelley. "Marc Maufort and Franca Bellarsi, eds. Crucible of Cultures: Anglophone Drama at the Dawn of a New Millennium". Theatre Research in Canada 29, n.º 1 (enero de 2008): 171–73. http://dx.doi.org/10.3138/tric.29.1.171.

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39

Anderson, Jean. "Marc Maufort and David O’Donnell, eds., Performing Aotearoa: New Zealand Theatre and Drama in an Age of Transition". Commonwealth Essays and Studies 32, n.º 1 (1 de septiembre de 2009): 124–25. http://dx.doi.org/10.4000/ces.8764.

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40

Jirajarupat, Phakamas y Nataporn Rattanachaiwong. "Leh Laweng: Reinventing “Lakhon Phanthang” Hybrid Dance Theatre in a Post-Traditional Style". Manusya: Journal of Humanities 23, n.º 3 (23 de diciembre de 2020): 352–72. http://dx.doi.org/10.1163/26659077-02303005.

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Abstract Leh Laweng (The Wiles of Laweng) was a new dance-drama the authors created in 2019 in a post-traditional style of “Lakhon Phanthang” or hybrid dance theatre form. Working in our faculty’s theatre, the authors developed an original woman-centerd plot from the well-known Thai epic poem The Story of Phra Aphai Mani by Sunthorn Phu. Our new four-act script focused on the key, but neglected, figure Laweng – a Western-styled warrior queen – and reworked traditional modes of presentation to better convey a new sensibility for today’s audiences. While performed by traditional performers, cast for their abilities in traditional dancing and their knowledge, without regard to their gender, their acting also incorporated some modern theatrical techniques. The new style of this hybrid Thai dance play sought to convey a new message to contemporary audiences, while retaining key aspects of the Thai traditional form and taking on a more contemporary look. The process of reinventing Lakhon Phanthang into a post-traditional performance allowed artists, academics, and students to enrich their knowledge and through this new hybrid play for today’s audiences.

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41

Nothof, Anne. "Marc Maufort and Caroline de Wagter, eds. Signatures of the Past: Cultural Memory in Contemporary Anglophone North American Drama". Theatre Research in Canada 32, n.º 1 (enero de 2011): 136–41. http://dx.doi.org/10.3138/tric.32.1.136.

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42

Kruger, Marie. "The Power of Double Vision: Tradition and Social Intervention in African Puppet Performance". New Theatre Quarterly 22, n.º 4 (20 de octubre de 2006): 324–35. http://dx.doi.org/10.1017/s0266464x06000510.

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The appeal of the puppet lies partly in its dual nature: it is at once a representative object without life while at the same time it enacts the imagined life with which it is endowed by the puppeteer. Marie Kruger argues that this duality makes puppetry a uniquely effective way of questioning the very traditional values it appears to embody, and so of stimulating a sense of the need for social change. She relates her argument to the long tradition of puppetry among the Bamana people of Mali, and specifically to the performance of the Bin Sogo bo, an animal masquerade in which the ‘characters’ adumbrate human qualities with effective ambiguity. Marie Kruger is Chair of the Department of Drama at the University of Stellenbosch, South Africa, where puppetry is offered as a performance option. She is the author of Puppetry: a Guide for Beginners and has also published in the South Africa Theatre Journal. Over the past twenty years she has directed numerous puppet productions for all ages, and is currently leading a research project to document the nature and application of African puppet traditions.

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43

Ince, Kate. "Ethics, Universality and Vulnerability in Abderrahmane Sissako's Bamako (2006) and Timbuktu (2014)". Paragraph 41, n.º 2 (julio de 2018): 167–83. http://dx.doi.org/10.3366/para.2018.0261.

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This article adds philosopher Judith Butler to the list of thinkers whose work underpins the interest in ethics and/in film that began in earnest in the 2000s. Beginning with Precarious Life: Powers of Mourning and Violence (2004), Butler has published several volumes that blend ethical thinking with moral theory and political philosophy, focusing on the concepts of precariousness and vulnerability. This article suggests that two films directed by Abderrahmane Sissako, Bamako (2006) and Timbuktu (2014), as dramas of precariousness and vulnerability respectively, can inform thinking about cinematic ethics: the staging of a trial of global institutions in Bamako dramatizes the possible universalization of an ethic of precarity, while in Timbuktu the condemnation to death of a Tuareg shepherd by Ansar Dine, the militant Islamist group that occupied parts of Mali in 2012, allows Sissako to give full rein to his talent for filming the vulnerability of both victims and oppressors.

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44

Gérin, Pierre. "Une tentative de réhabilitation du patrimoine théâtral acadien : l’édition critique de Subercase ou les Dernières années de la domination française en Acadie d’Alexandre Braud (1902, 1936)". Études, n.º 20-21 (10 de julio de 2012): 111–22. http://dx.doi.org/10.7202/1010327ar.

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À l’exclusion du Théâtre de Neptune de Marc Lescarbot (1609) et des Acadiens à Philadelphie de Pascal Poirier (1875), c’est sur les scènes des collèges que débute le théâtre acadien dont le chef-d’oeuvre est assurément Subercase – Drame historique en trois actes, d’Alexandre Braud (1902). À cette époque, le théâtre collégial prend un grand essor au Canada français où il se distingue dans le genre dramatique. Cette oeuvre, louée par la critique et publiée en feuilleton dans Le Moniteur acadien, la même année, a une histoire mouvementée. Ayant perdu le manuscrit original, l’auteur réécrit partiellement, à Québec où il réside, la pièce qui est jouée sur une scène paroissiale de cette ville, en 1936, et qui appartient donc aussi au théâtre québécois. Après un long purgatoire, elle ressort de l’oubli : elle est présentée, citée et commentée dans des travaux d’histoire littéraire acadienne et dans des thèses. Pourtant, un obstacle à sa lecture et à sa diffusion réside dans son inaccessibilité. L’édition critique de ce drame est l’occasion de mettre celui-ci à la disposition du public lecteur dans la communauté acadienne et ailleurs dans la francophonie. Cependant, des choix éditoriaux s’imposent quant à l’établissement du texte, à la notation des variantes et à la constitution des appendices. Cette édition vise à faire connaître ou redécouvrir une forme d’art dramatique, certes tombée en désuétude, mais qui ressortit aux patrimoines culturels acadien, québécois et canadien-français.

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45

Schwartzwald, Robert. "From romantic drama to materialist pageant: sex, abuse, and the Church in Michel Marc Bouchard’s Les Feluettes and La Divine illusion". Contemporary French Civilization 43, n.º 3-4 (enero de 2018): 391–402. http://dx.doi.org/10.3828/cfc.2018.21.

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46

Han, Jae Hee. "“Hail, Bema of Victory, Great Sign of Our City!”". Studies in Late Antiquity 7, n.º 3 (2023): 407–44. http://dx.doi.org/10.1525/sla.2023.7.3.407.

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The goal of this article is to situate the Manichaean Bema Psalms from the Coptic Manichaean Psalmbook in the late antique Roman Empire, on the one hand, and to introduce it as a point of comparison for scholars interested in comparative liturgy, on the other. It argues that public expressions of adoration in the late antique Roman Empire, especially acclamations and panegyrics, functioned as the cultural scaffolding for the performance of the Bema Festival in the Roman Near East. To support this claim, it will first show how Bema Psalm 222 uses imperial acclamations and topoi drawn from panegyrics to welcome Mani to the bema. It then turns to compare the Bema Psalms with Christian and Jewish liturgy, thereby demonstrating that the Bema Psalms participate in the same liturgical developments as their neighbors in the Roman Empire. It shows how various “hailing” acclamations found throughout Bema Psalms parallel Christian hymns in praise of Mary, the Theotokos (God-bearer) in both form and epithets used. It then pivots to compare the role of refrains in a Jewish liturgical text for Passover with another Bema Psalm, ultimately arguing that both locate the congregation within a liturgical drama through the performance of acclamatory refrains.

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47

Erdman, Harley. "Staging Difference: Cultural Pluralism in American Theatre and Drama. Edited by Marc Maufort, New York: Peter Lang, 1995; pp. 396. $69.95 hardcover." Theatre Survey 38, n.º 1 (mayo de 1997): 174–77. http://dx.doi.org/10.1017/s0040557400001915.

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48

Eoyang, Eugene. "T'ang Transformation Texts: A Study of the Buddhist Contribution to the Rise of Vernacular Fiction and Drama in China. Victor H. Mair". Journal of Religion 72, n.º 2 (abril de 1992): 302–4. http://dx.doi.org/10.1086/488894.

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49

Radley, Emma. "Screening contemporary Irish fiction and drama Screening contemporary Irish fiction and drama , edited by Marc C. Conner, Julie Grossman, and R. Barton Palmer, Cham, Palgrave Macmillan, 2022, 292 pp., $109.99 (hardcover), ISBN 9783031045677". New Review of Film and Television Studies 22, n.º 1 (2 de enero de 2024): 441–45. http://dx.doi.org/10.1080/17400309.2024.2308462.

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50

Ulitina, E. A., Sh S. Valieva, S. L. Tikhonov y N. V. Tikhonova. "A new antimicrobial food peptide: characteristics, properties and effectiveness evaluation". Agrarian science, n.º 4 (25 de abril de 2024): 132–37. http://dx.doi.org/10.32634/0869-8155-2024-381-4-132-137.

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Promising candidates as antibacterial drugs are antimicrobial peptides (AMP) present in cow colostrum. The aim of the research is to isolate, theoretically substantiate and confirm the biological activity of a new AMP from pepsin hydrolysate of cow colostrum with the amino acid sequence EKLAKNKLARGLKRK. According to the Protein NCBI database, the isolated AMP is identified as AW655195.1 105840 MARC 1BOV/ Bos taurus (cattle). When identifying AMP from the database of antimicrobial peptides APD, it was not found. When identifying AMP using the DRAMP database, the object under study is missing, but its characteristics belong to the antimicrobial class. The total hydrophobic ratio of the peptide determined by APD is 33%. The total net charge is +6, the molecular weight is 1753.151 Da. Protein binding potential (Boman index) at 3.44 kcal/mol. The selected AMP is close in characteristics to the known ones included in the APD database. AMP belongs to the cationic hydrophobic α-helical, which suggests its antimicrobial activity. As a result of in vitro experiments, the antimicrobial and antitumor activity of the peptide has been proven.

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