Biuleteni Eng Saboloo
Total Page:16
File Type:pdf, Size:1020Kb
Load more
Recommended publications
-
As You Like It
A TEACHER’S GUIDE TO THE SIGNET CLASSIC EDITION OF WILLIAM SHAKESPEARE’S AS YOU LIKE IT By JEANNE M. McGLINN, Ph.D., AND JAMES E. McGLINN, Ed.D. SERIES EDITORS: W. GEIGER ELLIS, ED.D., UNIVERSITY OF GEORGIA, EMERITUS and ARTHEA J. S. REED, PH.D., UNIVERSITY OF NORTH CAROLINA, RETIRED A Teacher’s Guide to the Signet Classic Edition of William Shakespeare’s As You Like It 2 INTRODUCTION Shakespeare seems to be everywhere these days. Romeo and Juliet and Midsummer Night's Dream, starring contemporary movie stars, have been box office hits. The film Shakespeare in Love, depicting how the playwright's experiences inspired him to write Romeo and Juliet, won multiple Oscars at the 1999 Academy Awards. These popular films have made the plays more accessible to students by exposing them to Elizabethan language and the action that brings the words to life. So teachers can expect a certain amount of positive interest among students when they begin to read a Shakespearean play. As You Like It, although not well known by students, will certainly delight and build on students' positive expectations. As You Like It, like Twelfth Night and A Midsummer Night's Dream, is one of Shakespeare's "marriage" comedies in which love's complications end in recognition of the true identity of the lovers and celebration in marriage. This is a pattern still followed in today's romantic comedies. This play can lead to discussions of the nature of true love versus romantic love. Other themes, which spin off from the duality between the real and unreal, include appearance versus reality, nature ver- sus fortune, and court life of sophisticated manners contrasted with the natural life. -
Mzia Chikhradze Modernism and Identity the Paradigm of Modernism
Mzia Chikhradze Modernism and Identity The paradigm of modernism places it in a cosmopolitan area. The desire to become integrated into a unified artistic space generates not only common, similar artistic trends in modernist art, but also severely limits the borders between the specific national derivatives within it. Coupled with the fact that “national” became a dangerous and unpopular topic after World War I, the modernism that developed in Central Europe developed as an anti-national phenomenon. Georgia enjoyed a short period of independence from 1918 to 1921. Not only Georgian modernism, but also the distinctive model of the Tbilisi avant-garde flourished during this time. It was based on a creative collaboration between different nationalities, their multinational and intercultural art. The specificity of the Tbilisi avant-garde was characterized by integrating different national characteristics into a unified artistic system. Despite the artists’ differing individual and national backgrounds, a unified artistic language was formed and this unique language determined the emerging art’s diversity and vivid imagery. The art and culture that developed in the bosom of independent Georgia generally carried a trace of Georgian national characteristics. The question arises: How organic and relevant is distinctiveness by national features in the context of modernism, which, as already mentioned, promotes cosmopolitanism. The priority of nationality should be considered as a hindering factor in terms of modernist values. However, the specifics of Georgian modernism and the Tbilisi avant-garde differed from the European ones. Namely, as Italian futurism stated and Tommaso Marinetti, its founding father, wrote in his Manifesto of Futurism: “We want to destroy museums and libraries, fight against morality, feminism, and all opportunist and utilitarian cowardice .. -
Toward a New Comparative Musicology
Analytical Approaches To World Music 2.2 (2013) 148-197 Toward a New Comparative Musicology Patrick E. Savage1 and Steven Brown2 1Department of Musicology, Tokyo University of the Arts 2Department of Psychology, Neuroscience & Behaviour, McMaster University We propose a return to the forgotten agenda of comparative musicology, one that is updated with the paradigms of modern evolutionary theory and scientific methodology. Ever since the field of comparative musicology became redefined as ethnomusicology in the mid-20th century, its original research agenda has been all but abandoned by musicologists, not least the overarching goal of cross-cultural musical comparison. We outline here five major themes that underlie the re-establishment of comparative musicology: (1) classification, (2) cultural evolution, (3) human history, (4) universals, and (5) biological evolution. Throughout the article, we clarify key ideological, methodological and terminological objections that have been levied against musical comparison. Ultimately, we argue for an inclusive, constructive, and multidisciplinary field that analyzes the world’s musical diversity, from the broadest of generalities to the most culture-specific particulars, with the aim of synthesizing the full range of theoretical perspectives and research methodologies available. Keywords: music, comparative musicology, ethnomusicology, classification, cultural evolution, human history, universals, biological evolution This is a single-spaced version of the article. The official version with page numbers 148-197 can be viewed at http://aawmjournal.com/articles/2013b/Savage_Brown_AAWM_Vol_2_2.pdf. omparative musicology is the academic comparative musicology and its modern-day discipline devoted to the comparative study successor, ethnomusicology, is too complex to of music. It looks at music (broadly defined) review here. -
QUILTER: Folk Song Arrangements • Complete Part-Songs for Women's
QUILTER: Folk Song Arrangements • Complete Part-Songs for Women’s Voices 8.557495 The Arnold Book of Old Songs – English Songs Come love be all my joy. [1] Drink to me only Thou alone art my delight. Text: Ben Jonson (1573–1637) Come love be my heart of gold And who but my Lady Greensleeves. Drink to me only with thine eyes, And I will pledge with mine; Oh who is sweet as she is sweet Or leave a kiss within the cup Above all things that mortals prize: And I’ll not ask for wine. I’d lay a kingdom at her feet The thirst that from the soul doth rise Nor seek a richer merchandise. Doth ask a drink divine; But might I of Jove’s nectar sup, Come love be all my joy I would not change for thine. Thou alone art my delight, Come love be my heart of gold, I sent thee late a rosy wreath, And who but my Lady Greensleeves. Not so much honouring thee, As giving it a hope that there Oh who is rare as she is rare It could not withered be. And who is such a charming maid. But thou thereon didst only breathe The lute shall tell her my despair And sent’st it back to me; And fill with song the myrtle shade. Since when it grows, and smells, I swear, Not of itself but thee. Come love be all my joy Thou alone art my delight, [2] Over the mountains Come love be my heart of gold, Text: From Percy’s Reliques, And who but my Lady Greensleeves. -
6. Imereti – Historical-Cultural Overview
SFG2110 SECOND REGIONAL DEVELOPMETN PROJECT IMERETI REGIONAL DEVELOPMENT PROGRAM IMERETI TOURISM DEVELOPMENT STRATEGY Public Disclosure Authorized STRATEGIC ENVIRONMENTAL, CULTURAL HERITAGE AND SOCIAL ASSESSMENT Public Disclosure Authorized Public Disclosure Authorized Public Disclosure Authorized Tbilisi, December, 2014 ABBREVIATIONS GNTA Georgia National Tourism Administration EIA Environnemental Impact Assessment EMP Environmental Management Plan EMS Environmental Management System IFI International Financial Institution IRDS Imereti Regional Development Strategy ITDS Imereti Tourism Development Strategy MDF Municipal Development Fund of Georgia MoA Ministry of Agriculture MoENRP Ministry of Environment and Natural Resources Protection of Georgia MoIA Ministry of Internal Affairs MoCMP Ministry of Culture and Monument Protection MoJ Ministry of Justice MoESD Ministry of Economic and Sustaineble Developmnet NACHP National Agency for Cultural Heritage Protection PIU Project Implementation Unit PPE Personal protective equipment RDP Regional Development Project SECHSA Strategic Environmental, Cultural Heritage and Social Assessment WB World Bank Contents EXECUTIVE SUMMARY ........................................................................................................................................... 0 1. INTRODUCTION ........................................................................................................................................... 14 1.1 PROJECT CONTEXT ............................................................................................................................... -
Democratic Republic of Georgia (1918-1921) by Dr
UDC 9 (479.22) 34 Democratic Republic of Georgia (1918-1921) by Dr. Levan Z. Urushadze (Tbilisi, Georgia) ISBN 99940-0-539-1 The Democratic Republic of Georgia (DRG. “Sakartvelos Demokratiuli Respublika” in Georgian) was the first modern establishment of a Republic of Georgia in 1918 - 1921. The DRG was established after the collapse of the Russian Tsarist Empire that began with the Russian Revolution of 1917. Its established borders were with Russia in the north, and the Mountainous Republic of the Northern Caucasus, Turkey, Armenia, and Azerbaijan in the south. It had a total land area of roughly 107,600 km2 (by comparison, the total area of today's Georgia is 69,700 km2), and a population of 2.5 million. As today, its capital was Tbilisi and its state language - Georgian. THE NATIONAL FLAG AND COAT OF ARMS OF THE DEMOCRATIC REPUBLIC OF GEORGIA A Trans-Caucasian house of representatives convened on February 10, 1918, establishing the Trans-Caucasian Democratic Federative Republic, which existed from February, 1918 until May, 1918. The Trans-Caucasian Democratic Federative Republic was managed by the Trans-Caucasian Commissariat chaired by representatives of Georgia, Azerbaijan and Armenia. On May 26, 1918 this Federation was abolished and Georgia declared its independence. Politics In February 1917, in Tbilisi the first meeting was organised concerning the future of Georgia. The main organizer of this event was an outstanding Georgian scientist and public benefactor, Professor Mikheil (Mikhako) Tsereteli (one of the leaders of the Committee -
4 Issue: 2 December 2020 Masthead
Trabzon University e-ISSN: 2618-5652 State Conservatory Vol: 4 Issue: 2 December 2020 Masthead Musicologist: International Journal of Music Studies Volume 4 Issue 2 December 2020 Musicologist is a biannually, peer-reviewed, open access, online periodical published in English by Trabzon University State Conservatory, in Trabzon, Turkey. e-ISSN: 2618-5652 Owner on behalf of Trabzon University State Conservatory Merve Eken KÜÇÜKAKSOY (Director) Editor-In-Chief Abdullah AKAT (İstanbul University – Turkey) Deputy Editor Merve Eken KÜÇÜKAKSOY (Trabzon University – Turkey) Technical Editor Emrah ERGENE (Trabzon University – Turkey) Language Editor Marina KAGANOVA (Colombia University – USA) Editorial Assistant Uğur ASLAN (Trabzon University – Turkey) Contacts Address: Trabzon Üniversitesi Devlet Konservatuvarı Müdürlüğü, Fatih Kampüsü, Söğütlü 61335 Akçaabat/Trabzon, Turkey Web: www.musicologistjournal.com Email: [email protected] All rights reserved. The authors are responsible for all visual elements, including tables, figures, graphics and pictures. They are also responsible for any scholarly citations. Trabzon University does not assume any legal responsibility for the use of any of these materials. ©2017-2020 Trabzon University State Conservatory Editorial Board Alper Maral Ankara Music and Fine Arts University – Turkey Caroline Bithell The University of Manchester – UK Ekaterine Diasamidze Tbilisi State University – Georgia Elif Damla Yavuz Mimar Sinan Fine Arts University – Turkey Erol Köymen The University of Chicago – USA -
Study Guide Funeral Chants Georgian Caucasus &
Study Guide Funeral Chants from the Georgian Caucasus & The FEAST-DAY OF TAMAR AND LASHARI BY HUGO ZEMP Table of contents Introduction 3 Shooting and editing strategies 3 Ethnographic Resources 4 Resources on Georgian traditional music 4 FUNERAL CHANTS FROM THE GEORGIAN CAUCUSUS (21 MIN) The Filmmaking Process 6 Editing 7 Reactions after screening 7 Resources on Svan ethnography 8 Resources on Svan vocal polyphony 8 Notes on the short films on YouTube 12 THE FEAST-DAY OF TAMAR AND LASHARi (70 mIN) Filmmaking, first cut and translation 13 Reaction in Tbilisi after viewing a first rough tcu 14 Final editing 14 Resources on the ‘paganism’ of northeast 14 Georgian mountain peoples Resources on the songs of northeast 15 Georgian mountain peoples Bibliography, discography 17 __________________________________ __________________________________ _______ 2 INTRODUCTION A change in the research themes or geographical orientations More than twenty years before our decision to go to Georgia, I of an anthropologist or an ethnomusicologist is often the result had bought a book by the Georgian-French anthropologist and of a piece of luck and/or an encounter. At the Fourth Interna- linguist Georges Charachidzé (1968) on the religious system tional Visual Anthropology Film Festival in Pärnu (Estonia) of the eastern Georgian mountains. Having then other priori- in 1990, where I presented my filmThe Song of Harmonics, ties in mind, I had never read the 700 pages-thick book. But the city mayor offered a round of drinks at the beginning before we left, and although I did not intend to go the eastern of the festival. While most participants from Northern and mountains, I cast an eye trough its index, and since there were Eastern Europe were having beers or hard liquor, a group of many references to Svaneti where I wished to go, I put the two men and two women drank wine, as I did. -
The Piano Lesson
THE PIANO LESSON Synopsis The Piano Lesson is set in Pittsburgh in 1936. Boy Willie has come to his uncle’s house to retrieve a piano that holds significant historical and sentimental value to the family. A battle ensues over the possession of the piano, which carries the legacy and opportunities of the characters and determines the choices they must make. Characters AVERY: Thirty-eight years old, Avery is a preacher who is trying to build up his congregation. He is honest and ambitious, finding himself opportunities in the city that were unavailable to him in rural areas of the South. While fervently religious, he manages to find the time to court Berniece after her husband’s death. BOY WILLIE: Brother to Berniece, Boy Willie is a thirty year old brash, impulsive, and fast-talking man. He has an infectious grin and a boyishness that is apt for his name. His story provides the central conflict for the play in that he plans to sell the family piano in order to buy land that his family worked on as slaves. He feels it’s important he does this in order to avenge his father, who grew up property-less— but not everyone in the family agrees. LYMON: Boy Willie’s long time friend is a twenty-nine year old who speaks little, but when he does with a disarming straight-forwardness. As he flees the law, he makes a plan to begin anew in the North. Eliciting stories from the families past, Lymon proves a vehicle by which we learn about the family. -
Hates Student Vol
Bates College SCARAB The aB tes Student Archives and Special Collections 10-11-1961 The aB tes Student - volume 88 number 03 - October 11, 1961 Bates College Follow this and additional works at: http://scarab.bates.edu/bates_student Recommended Citation Bates College, "The aB tes Student - volume 88 number 03 - October 11, 1961" (1961). The Bates Student. 1381. http://scarab.bates.edu/bates_student/1381 This Newspaper is brought to you for free and open access by the Archives and Special Collections at SCARAB. It has been accepted for inclusion in The aB tes Student by an authorized administrator of SCARAB. For more information, please contact [email protected]. 7 Hates Student Vol. LXXXVIII, No. 3 BATES COLLEGE, LEWISTON, MAINE, OCTOBER 11, 1961 By Subscription Party Leader Speaks McReynolds Speaks To Citizenship Class The Executive Secretary of Maine's State Democratic On World Survival ■Party, addressed the Government 100 Citizenship Laboratory Thursday afternoon in the Filene Room. Mr. Schlick dis- "It is necessary for the American people to say 'NO' to war," said David McReynolds in cussed Maine's state level government and party system. his lecture delivered in the Filene Room on October 6. The lecture was sponsored by "There is a need both within ty machinery to improve it," he COPE (Campus Organization for Peace Education), "a committee trying to find construc- and elsewhere for a more pro- affirmed. tive means for lessening world tension," stated Nancy Levin '63 who introduced the ficient form of state government," Mentions Growth Of Party speaker. he asserted. To aid the students, In closing, Schlick mentioned The speech was entitled "Poli- most of whom live outside the the growth and future of the tics of Survival" which McRey- >tate, Schlick outlined briefly the Maine State Democratic Party. -
Europe's Biggest Party
Europe’s Pick the winning country for your chance to win a prize. Cross out any teams that have not got through to the final of Europe’s 1 biggest party. We suggest players pay a donation of £2 (no donation necessary) to put their biggest Party 2 name next to a country still in the running. Once the sheet is full and the money is in, wait for the winning country to be 3 revealed and give the winner their prize. The could be hald the donations of a United Kingdom Albania Armenia prize of your choosing. 4 The remaining money will go Breast Cancer Now to help us to make life- Michael Rice Jonida Maliqi Srbuk saving breast cancer research and life-changing support happen. Bigger Than Us Ktheju Tokës Walking Out Australia Austria Azerbaijan Belarus Belgium Kate Miller-Heidke PÆNDA Chingiz ZENA Eliot Zero Gravity Limits Truth Like It Wake Up Croatia Cyprus Czech Republic Denmark Estonia Roko Tamta Lake Malawi Leonora Victor Crone The Dream Replay Friend of a Friend Love is forever Storm Finland France Georgia Germany Greece Darude Bilal Hassani Oto Nemsadze S!sters Katerine Duska feat. Sebastian Roi Keep on going Sister Better love Look away Hungary Iceland Ireland Israel Italy Joci Pápai Hatari Sarah McTernan Kobi Marimi Mahmood Az én apám Hatrio mun sigra 22 Home Soldi Latvia Lithuania Malta Moldova Montenegro Carousel Jurij Veklenko Michela Anna Odobescu D mol That Night Run with the lions Chameleon Stay Heaven Portugal North Macedonia Norway Poland Romania Tamara Todevska KEiiNO Tulia Conan Osiris Ester Peony Proud Spirit in the Sky Fire of love (Pali sie) Telemóveis On a Sunday Russia San Marino Serbia Slovenia Spain Sergey Lazarev Serhat Nevena Božovic Zala Kralj & Gašper Šantl Miki Scream Say Na Na Na Kruna Sebi La Venda Sweden Switzerland The Netherlands John Lundvik Luca Hanni Duncan Laurence Too late for love She got me Arcade breastcancernow.org Breast Cancer Now is a working name of Breast Cancer Care and Breast Cancer Now, a charity registered in England and Wales (1160558) and Scotland (SC045584).. -
As You Like It First Folio
1 As You Like It: TEACHER AND STUDENT RESOURCE GUIDE Consistent with the Shakespeare Theatre Company’s central mission to be the leading force in producing and preserving the Table of Contents highest quality classic theatre, the Education Department challenges learners of all ages to explore the ideas, emotions Synopsis 3 and characters contained in classic texts and to discover the connection between classic theatre and our modern Who’s Who 4 perceptions. We hope that this First Folio: Teacher and Student Resource Guide will prove useful to you while preparing to Close Reading Questions 5 attend As You Like It. Into the Woods: The Forest of 6 This guide provides information and activities to help students Arden and Pastoral Tradition form a personal connection to the play before attending the production. It contains material about the playwrights, their Nature vs. Fortune 7 world and their works. Also included are approaches to explore Primogeniture 8 the plays and productions in the classroom before and after the performance. Shakespeare’s Language 9 The First Folio guide is designed as a resource both for teachers and students. All activities meet the “Vocabulary Classroom Activities 13 Acquisition and Use” and “Knowledge of Language” Theatre Etiquette 15 requirements for the grades 8-12 Common Core English Language Arts Standards. We encourage you to photocopy Resource List 16 these articles and activities and use them as supplemental material to the text. Enjoy the show! Founding Sponsors The First Folio Teacher and Student Resource Guide for Miles Gilburne and Nina Zolt the 2014-2015 Season was developed by the Shakespeare Theatre Company Education Department: Leadership Support Director of Education Samantha K.