TESI VITTORIO Consegna 9 Dicembre 19
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A Musical Instrument of Global Sounding Saadat Abdullayeva Doctor of Arts, Professor
Focusing on Azerbaijan A musical instrument of global sounding Saadat ABDULLAYEVA Doctor of Arts, Professor THE TAR IS PRObabLY THE MOST POPULAR MUSICAL INSTRUMENT AMONG “The trio”, 2005, Zakir Ahmadov, AZERbaIJANIS. ITS SHAPE, WHICH IS DIFFERENT FROM OTHER STRINGED INSTRU- bronze, 40x25x15 cm MENTS, IMMEDIATELY ATTRACTS ATTENTION. The juicy and colorful sounds to the lineup of mughams, and of a coming from the strings of the tar bass string that is used only for per- please the ear and captivate people. forming them. The wide range, lively It is certainly explained by the perfec- sounds, melodiousness, special reg- tion of the construction, specifically isters, the possibility of performing the presence of twisted steel and polyphonic chords, virtuoso passag- copper strings that convey all nuanc- es, lengthy dynamic sound rises and es of popular tunes and especially, attenuations, colorful decorations mughams. This is graphically proved and gradations of shades all allow by the presence on the instrument’s the tar to be used as a solo, accom- neck of five frets that correspondent panying, ensemble and orchestra 46 www.irs-az.com instrument. But nonetheless, the tar sounding board instead of a leather is a recognized instrument of solo sounding board contradict this con- mughams when the performer’s clusion. The double body and the mastery and the technical capa- leather sounding board are typical of bilities of the instrument manifest the geychek which, unlike the tar, has themselves in full. The tar conveys a short neck and a head folded back- the feelings, mood and dreams of a wards. Moreover, a bow is used play person especially vividly and fully dis- this instrument. -
Mythe Historisé De L'époque Islamique Au Luristan
MYTHE HISTORISÉ DE L'ÉPOQUE ISLAMIQUE AU LURISTAN LA GESTE DU ROI KHOCHIN, LE CAVALIER DE LA MONTAGNE Études d'ethno-lexicologie (deuxième partie) PAR MOHAMMAD MOKRI* RÉSUMÉ L'archaïsme de certaines expressions utilisées dans les compilations de textes des «Gens de Vérité» avait rendu complexes et ardues un certain nombre d'idées. Le déchiffrement de ces documents et le décryptage de ces notions, amorcés par l'auteur il y a plusieurs décennies, ont mis au jour un trésor nourri de cultures locales et populaires, propres à ces deux provinces iraniennes que sont le Kurdistan et le Luristan. Les textes rédigés en anciens dialectes kurdo-gouranis, par la rareté de leur lexique et l'étrangeté des formes linguistiques, ont ainsi pu préserver leur au- thenticité, n'ayant pas subi les transformations et manipulations de ces œuvres dont la langue résistait moins à la compréhension. Cette deuxième partie d'une étude ayant pour objet les mythes historisés de l'époque islamique, est focalisée sur la deuxième version de la Geste du Cava- lier de la montagne. Plusieurs fragments et épisodes, d'une portée inédite et d'un charme insolite, ponctuent le déroulement de ces événements mythico-his- toriques. Ils font ici l'objet d'un traitement particulier qui s'ajoute aux complé- ments thématiques et linguistiques apportés à la première partie. Ces mots archaïques et idiomatiques, disséminés ça et là dans les ouvrages tant épiques et littéraires que religieux, font entendre les voix des habitants de ces montagnes et de ces plaines, avec une intensité et une naïveté que peu de langues peut contenir ou rendre. -
Izahli Muğam Lüğяti
Азярбайжан Милли Елмляр Академийасы Фолклор Институту ИЗАЩЛЫ МУЬАМ ЛЦЬЯТИ Бакы - 2015 Редаксийа щейяти: Акиф Ялизадя Фирянэиз Ялизадя Иса Щябиббяйли Теймур Кяримли Фярщад Бядялбяйли Сийавуш Кярими Яртеэин Саламзадя Мухтар Иманов Лайищянин рящбярляри: Иса Щябиббяйли - АМЕА-нын щягиги цзвц Фярщад Бядялбяйли -ССРИ вя Азярбайжан халг артисти, профессор Тяртибчиляр: Тарийел Мяммядов - ямякдар инжясянят хадими, сянятшцнаслыг цзря елмляр доктору, профессор Жаваншир Гулийев - ямякдар инжясянят хадими, профессор Юн сюзцн мцяллифи: Тарийел Мяммядов - ямякдар инжясянят хадими, сянятшцнаслыг цзря елмляр доктору, профессор Елми редакторлар: Мухтар Иманов -АМЕА-нын мцхбир цзвц Наиля Рящимбяйли -АМЕА Фолклор Институту “Мусиги фолклору” шюбясинин мцдири, сянятшцнаслыг цзря елмляр доктору Ряйчи: Севил Фярщадова -АМЕА Мемарлыг вя Инжясянят Институту “Муьамшцнаслыг” шюбясинин мцдири, сянятшцнаслыг цзря елмляр доктору Инэилис дилиня тяржцмя едян: Вяфа Ибращимова - АМЕА Фолклор Институту “Мярасим фолклору” шюбясинин апарыжы елми ишчиси, филолоэийа цзря фялсяфя доктору, досент Китаб Азярбайжан Милли Елмляр Академийасы Фолклор Институту Елми Шурасынын гярары иля (11.12.2014, №8) чап олунур. Изащлы муьам лцьяти. Бакы, “ОЛ” ММЖ, 2015, 212 сящ., иллцстрасийаларла Азярбайжан муьамы дцнйанын мяняви дяйярляр системинин ян надир инжиляриндяндир. Азярбайжан муьам ирсинин горунуб эяляжяк нясилляря чатдырылмасы вя дцнйада таныдылмасы бизим мяняви боржумуздур. Тягдим етдийимиз нювбяти муьам лайищясинин али миссийасы да мящз бундан ибарятдир. Китаб ики щиссядян ибарятдир. -
Introduction
Notes Introduction 1. Those films were Gambit starring Shirley MacLaine and Michael Caine, directed by Ronald Neame, and What Did You Do In the War, Daddy? star- ring James Coburn and Dick Shawn, directed by Blake Edwards. 2. Actor Edmund Shaff, who toured in the 1950s withThe World of Suzie Wong, said that in Los Vegas, chorus girls were routinely elided with prostitutes, and were offered huge sums to make that assumption come true, and that few could resist. His wife, who had been a chorus dancer, had a similar experience and said that part of the expectations of the job was to have drinks with the customers after the show (Personal inter- view: August 17, 2012). The term “chorus girl” or “showgirl” can still serve as a euphemism for a prostitute. In the 1990 documentary filmParis Is Burning about transgendered and transvestite individuals in New York who appeared in the film [A Woman Informant, when asked how these people made their living she said with a knowing smile, repeating it sev- eral times, “Oh, they’re showgirls. You know [with a knowing smile and wink], chorus girls.” 3. On February 3–4, 2012, I participated in a conference entitled “The Medi- terranean and Beyond,” in which papers addressed the interconnectedness of this geographic region, highlighting the need to break down some of the artificial scholarly and historical barriers established by an ever- increasing specialization in academia, because these borders have reality only in academia. 4. This gender change was not specific to New York. I observed it in Los Ange- les and San Francisco as well. -
Konservatoriya 2012-4.Pdf
AZƏRBAYCAN RESPUBLİKASI TƏHSİL NAZİRLİYİ ___________ AZƏRBAYCAN MİLLİ KONSERVATORİYASI KONSERVATORİYA ELMİ NƏŞR № 4 (18) Bakı – 2012 TƏSİSÇİ: Azərbaycan Milli Konservatoriyası REDAKSİYA HEYƏTİ: Siyavuş Kərimi Vaqif Əbdülqasımov – baş redaktor Abbasqulu Nəcəfzadə – məsul katib Zemfira Hüseynova – redaktor Arif Babayev Akif Quliyev Gülnaz Abdullazadə Nazim Kazımov Malik Quliyev Məmmədağa Kərimov “Konservatoriya” elmi jurnalı Azərbaycan Respublikasının Prezidenti yanında Ali Attestasiya Komissiyası Rəyasət Heyətinin 30 aprel 2010-cu il tarixli iclasında (protokol № 10-R) “Azərbaycan Respublikasında dissertasiyaların əsas nəticələrinin dərc olunması tövsiyə edilən elmi nəşrlərin siyahısı”na salınmışdır. “Konservatoriya” elmi jurnalı ildə 4 dəfə (üç aydan bir) nəşr edilir. Dərgidə Azərbaycan, İngilis, Türk, Rus və başqa dillərdə məqalələr dərc olunur. “Konservatoriya” elmi jurnalı Azərbaycan Milli Konservatoriyasının Elmi Şurasının 26 dekabr 2008-ci il tarixli 7 saylı protokolu ilə təsdiq edilmiş, Azərbaycan Respublikası Ədliyyə Nazirliyində 17.12.2008-ci il tarixdə 2770 saylı Şəhadətnamə ilə qeydə alınmışdır. _________________________________________________________ Ünvan: Az 1073, Bakı ş., H.Cavid prospekti, 506-cı məhəllə. Tel.: (012) 565-15-26; (050) 395-86-42; (050) 329-18-81 www.conservatory.az 2 МЦНДЯРИЖАТ Bəstəkarların yaradıcılığı Творчество композиторов Məlahət ƏLİYEVA. S.Ələsgərovun yaradıcılığında xalq çalğı alətləri (qanun) ........................................................................................ 5 Вафа ХАНБЕКОВА. -
Tke Silk Road Connecting Cultures, Creating Trust
Tke Silk Road Connecting Cultures, Creating Trust 2002 SMITHSONIAN FOLKLIFE F On the National Mall, Washington. D.C. ' ' \ ' The Smithsonian Institution Center for Folklife and Cultural Heritage partners with the Silk Road Project, Inc. to present The Silk Road Connecting Cultures, Creating Trust the 36th annual Smithsonian Folklife Festival On the National Mall. Washington. D.C. June 26-30. July 3-7. 2002 Smithsonian Institution Center for Folklife and Cultural Heritage 750 gth Street, NW Suite 4100 Washington, DC 2056o-og$3 www.folklife.si.edu ©2002 by the Smithsonian Institution ISSN 1056-6805 Editor: Carlo M. Borden Associate Editor: Peter Seitel Director of Design: Kristen Fernekes Graphic Designer: Caroline Brownell Design Assistant: Rachele Rileu The Silk Road: Connecting Cultures. Creating Trust at the Smithsonian Folklife Festival is a partnership of the Smithsonian Institution Center for Folklife and Cultural Heritage and the Silk Road Project. Inc. The Festival site is designed by Rajeev Sethi Scenographers and produced in cooperation with the Asian Heritage Foundation. The Festival is co-sponsored by the National Park Service. *W* Smithsonian Folklife Festival !SILKR®AD *4/>V project The Festival is supported by federally appropriated funds. Smithsonian trust funds, contributions from governments, businesses, foundations, and individuals, in-kind assistance, volunteers, food and craft sales, and Friends of the Festival. The 2002 Festival has been made possible through the following generous sponsors and donors to the Silk Road Project. Inc. LEAD FUNDER AND KEY CREATIVE PARTNER GLOBAL CORPORATE PARTNERS_ FOUNDING SUPPORTER MAJOR FUNDING BY Sony Classical The Starr Foundation Mr. and Mrs. Henry R. Kravis Mr. -
THE EVOLUTION of TRADITIONAL THEATRE and the DEVELOPMENT of MODERN THEATRE in IRAN by Iraj Emami Thesis Submitted to the Faculty
THE EVOLUTION OF TRADITIONAL THEATRE AND THE DEVELOPMENT OF MODERN THEATRE IN IRAN by Iraj Emami Thesis Submitted to the Faculty of Arts, for The Degree of Doctor of Philosophy University of Edinburgh September 1987 To Husayn Ali Zadeh, Muhammad Reza Lutfi and Muhammad Reza Shajarian. ABSTRACT This thesis seeks to describe and analyse the evolution of traditional theatre in Iran and its development towards occidental and modern theatre, up to the Revolution of 1979. The introductory chapter consists of a brief historical background to the Persian theatre and a discussion of its roots. Chapter II examines the origin of popular theatrical forms in Iran and its development from such popular narrative forms such as story-telling, poetic recitation, oratorical contest, public amusements and puppet theatre. Chapter III concerns Taziya, the passion play of Iran, the most famous and influential form of theatre in the nineteenth century. Taziya's origin, form, music and all related forms of traditional drama have been examined in this chapter. Chapter IV focuses on the evolution of Taqlid and its developed form, Takht-i-Hawzi, the popular Iranian comedy. Chapter V looks at the development of theatre in Iran during the Qajar era when both comic and tragic theatre, or Takht-i Hawzi and Taziya grew in two opposite directions and the first direct steps towards the evolution of a written text for the performance of occidental theatre were taken. Chapter VI ;s a survey of the formation of modern theatre in Iran and the role of education in its development. Also the impact of western culture on this evolution is examined.