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Proposed Second Way Cleared High School Vote on Projects
a $55$0&5'2&2& sa $ 2&S$ 2asaS2£ a £ & & 51 2 a &, All the News of All the Pointes Every Thursday Morning rosse Complete Ne'lvs Coverage of All thf~ Pointes Home of the News VOL 25-NO~.-4;;8;--------------:E;:ih:::tee::rep:::;~~sr::s-;Osff;;:~=cC°e=-nd-;-at-;CD;;:lae::StrS~oMi:;t.a:::tM1t::e=-rCb-=a.i~------G=-=R:-::O=-=S=S=-E-:P~O=-:-:IN--:T=-=-E-,-M-I--C-...H-IG-A-N-,-N-0-V-E-M-B-E-R-2-6-.-.-19-6-4------$5-.-00-P-er-y-e-ar-------------------- .. lOc Per Copy 36 PagGli-Two Sections-Section --------~----------------------------------._------------------------0 HEADLINES Plant Tree to Honor President Kennedy Proposed Second Way Cleared of the WEEK To Proceed As Compiled by the High School Vote On Projects Grosse Pointe News Set for March 22 R~;~e;~r~:dinf~:tu~~ Thursday, November 19 for Permission to Enlarge INFORMED SOURCES in ~l"scow said yesterday that ap- Referendum Tentatively Scheduled for that Date, I Beach Park parently the new Soviet leaders Superintendent Wilson Tells PTA Council; are planning more changes in Reviews Steps Taken The Park will get its the Communist party and eco- Iong-hoped-for bottom filled nomic organizations. Last J.~on- The date for the referendum on the proposed sec- land at the foot of Alter day it was announced that the ond high school has been tentatively scheduled for road, and Detroit will get division of the party into two March 22, Dr. Charles H. Wilson, Superintendent of the e a s e men t it seeks organizations, agriculture and Schools, said at Monday evening's meeting of the P~TA through the Park for its industry, wou'.d be abolished. -
Fundamental Law of Hungary (As in Force on 29 June 2018) This Document Has Been Produced for Informational Purposes Only
The Fundamental Law of Hungary (as in force on 29 June 2018) This document has been produced for informational purposes only. THE FUNDAMENTAL LAW OF HUNGARY English translation of the consolidated version of the Fundamental Law of Hungary incorporating: - the First Amendment to the Fundamental Law, - the Second Amendment to the Fundamental Law, - the Third Amendment to the Fundamental Law, - the Fourth Amendment to the Fundamental Law, - the Fifth Amendment to the Fundamental Law, - the Sixth Amendment to the Fundamental Law, - the Seventh Amendment to the Fundamental Law, as in force on 29 June 2018 Ministry of Justice 2017 (contact: [email protected]) 1 The Fundamental Law of Hungary (as in force on 29 June 2018) This document has been produced for informational purposes only. The Fundamental Law of Hungary (25 April 2011) God bless the Hungarians NATIONAL AVOWAL WE, THE MEMBERS OF THE HUNGARIAN NATION, at the beginning of the new millennium, with a sense of responsibility for every Hungarian, hereby proclaim the following: We are proud that our king Saint Stephen built the Hungarian State on solid ground and made our country a part of Christian Europe one thousand years ago. We are proud of our forebears who fought for the survival, freedom and independence of our country. We are proud of the outstanding intellectual achievements of the Hungarian people. We are proud that our nation has over the centuries defended Europe in a series of struggles and enriched Europe’s common values with its talent and diligence. We recognise the role of Christianity in preserving nationhood. -
Nationalism Through Sacred Chant? Research of Byzantine Musicology in Totalitarian Romania
Nationalism Through Sacred Chant? Research of Byzantine Musicology in Totalitarian Romania Nicolae GHEORGHIță National University of Music, Bucharest Str. Ştirbei Vodă nr. 33, Sector 1, Ro-010102, Bucharest, Romania E-mail: [email protected] (Received: June 2015; accepted: September 2015) Abstract: In an atheist society, such as the communist one, all forms of the sacred were anathematized and fiercly sanctioned. Nevertheless, despite these ideological barriers, important articles and volumes of Byzantine – and sometimes Gregorian – musicological research were published in totalitarian Romania. Numerous Romanian scholars participated at international congresses and symposia, thus benefiting of scholarships and research stages not only in the socialist states, but also in places regarded as ‘affected by viruses,’ such as the USA or the libraries on Mount Athos (Greece). This article discusses the mechanisms through which the research on religious music in Romania managed to avoid ideological censorship, the forms of camouflage and dissimulation of musicological information with religious subject that managed to integrate and even impose over the aesthetic visions of the Party. The article also refers to cultural politics enthusiastically supporting research and valuing the heritage of ancient music as a fundamental source for composers and their creations dedicated to the masses. Keywords: Byzantine musicology, Romania, 1944–1990, socialist realism, totalitari- anism, nationalism Introduction In August 1948, only eight months after the forced abdication of King Michael I of Romania and the proclamation of the people’s republic (30 December 1947), the Academy of Religious Music – as part of the Bucharest Academy of Music and Dramatic Art, today the National University of Music – was abolished through Studia Musicologica 56/4, 2015, pp. -
Network Map of Knowledge And
Humphry Davy George Grosz Patrick Galvin August Wilhelm von Hofmann Mervyn Gotsman Peter Blake Willa Cather Norman Vincent Peale Hans Holbein the Elder David Bomberg Hans Lewy Mark Ryden Juan Gris Ian Stevenson Charles Coleman (English painter) Mauritz de Haas David Drake Donald E. Westlake John Morton Blum Yehuda Amichai Stephen Smale Bernd and Hilla Becher Vitsentzos Kornaros Maxfield Parrish L. Sprague de Camp Derek Jarman Baron Carl von Rokitansky John LaFarge Richard Francis Burton Jamie Hewlett George Sterling Sergei Winogradsky Federico Halbherr Jean-Léon Gérôme William M. Bass Roy Lichtenstein Jacob Isaakszoon van Ruisdael Tony Cliff Julia Margaret Cameron Arnold Sommerfeld Adrian Willaert Olga Arsenievna Oleinik LeMoine Fitzgerald Christian Krohg Wilfred Thesiger Jean-Joseph Benjamin-Constant Eva Hesse `Abd Allah ibn `Abbas Him Mark Lai Clark Ashton Smith Clint Eastwood Therkel Mathiassen Bettie Page Frank DuMond Peter Whittle Salvador Espriu Gaetano Fichera William Cubley Jean Tinguely Amado Nervo Sarat Chandra Chattopadhyay Ferdinand Hodler Françoise Sagan Dave Meltzer Anton Julius Carlson Bela Cikoš Sesija John Cleese Kan Nyunt Charlotte Lamb Benjamin Silliman Howard Hendricks Jim Russell (cartoonist) Kate Chopin Gary Becker Harvey Kurtzman Michel Tapié John C. Maxwell Stan Pitt Henry Lawson Gustave Boulanger Wayne Shorter Irshad Kamil Joseph Greenberg Dungeons & Dragons Serbian epic poetry Adrian Ludwig Richter Eliseu Visconti Albert Maignan Syed Nazeer Husain Hakushu Kitahara Lim Cheng Hoe David Brin Bernard Ogilvie Dodge Star Wars Karel Capek Hudson River School Alfred Hitchcock Vladimir Colin Robert Kroetsch Shah Abdul Latif Bhittai Stephen Sondheim Robert Ludlum Frank Frazetta Walter Tevis Sax Rohmer Rafael Sabatini Ralph Nader Manon Gropius Aristide Maillol Ed Roth Jonathan Dordick Abdur Razzaq (Professor) John W. -
Contributions to the Adaptation to Romanian of Chants in the 3Rd Volume of the Antologhia by Nectarie Frimu Zamfira- Irina Dănilă* [email protected]
1st International Conference: The Psaltic Art as an Autonomous Science, 29 June-3 Jult 2014, Volos, Greece Contributions to the adaptation to Romanian of chants in the 3rd volume of the Antologhia by Nectarie Frimu Zamfira- Irina Dănilă* [email protected] Nectarie Frimu, the bishop of Tripoleos (†1856), born in Moldavia, is known in specialised literature as the translator and composer of Romanian psaltic music. His creation, which is of great importance, is contained in the two musical collections he published, Anthology of church chants, 3rd volume (Neamţ, 1840) and a Book of church chants (Iaşi, 1846). They were sung and appreciated especially in the second half of the 19th century, when they were circulated both in printed form and in manuscript. The present study aims at revealing a part of the means used in the process of “adaptation to Romanian” used by Nectarie Frimu in his translations in the 3rd volume of the Anthology containing chants performed during the Holy Liturgy. The main musical sources of his translations into Romanian are the pieces by the great post Byzantine composers Daniil Protopsaltis, Petros Lampadarios, Petros Vyzantios as well as the interpretations of the reformers Chourmouzios Chartofilax and Gregorios Protopsaltis. In terms of melody contour, the composer observes the patterns of the Greek musical model by faithfully absorbing the specific formulae, of the main musical cadences and of the modulations of the musical text. In terms of the relation between text and melody, psaltic melodies are adapted or sometimes even masterfully recreated according to the prosodic characteristics specific of Romanian, which offers the musical discourse fluency. -
Verdi's Rigoletto
Verdi’s Rigoletto - A discographical conspectus by Ralph Moore It is hard if not impossible, to make a representative survey of recordings of Rigoletto, given that there are 200 in the catalogue; I can only compromise by compiling a somewhat arbitrary list comprising of a selection of the best-known and those which appeal to me. For a start, there are thirty or so studio recordings in Italian; I begin with one made in 1927 and 1930, as those made earlier than that are really only for the specialist. I then consider eighteen of the studio versions made since that one. I have not reviewed minor recordings or those which in my estimation do not reach the requisite standard; I freely admit that I cannot countenance those by Sinopoli in 1984, Chailly in 1988, Rahbari in 1991 or Rizzi in 1993 for a combination of reasons, including an aversion to certain singers – for example Gruberova’s shrill squeak of a soprano and what I hear as the bleat in Bruson’s baritone and the forced wobble in Nucci’s – and the existence of a better, earlier version by the same artists (as with the Rudel recording with Milnes, Kraus and Sills caught too late) or lacklustre singing in general from artists of insufficient calibre (Rahbari and Rizzi). Nor can I endorse Dmitri Hvorostovsky’s final recording; whether it was as a result of his sad, terminal illness or the vocal decline which had already set in I cannot say, but it does the memory of him in his prime no favours and he is in any case indifferently partnered. -
OAMENI CU CARE NE MÂNDRIM EMOŢII AM AVUT ŞI VOI AVEA... Mărturiseşte Baritonul LUCIAN PETREAN
OAMENI CU CARE NE MÂNDRIM EMOŢII AM AVUT ŞI VOI AVEA... Mărturiseşte baritonul LUCIAN PETREAN Michel Sturza – Când aţi fost prima dată la o reprezentaţie de operă – ce v-a atras: cântul soliştilor, jocul de scenă sau par- tea orchestrală? Lucian Petrean – Prin anii 1992-1993 eram numit cântăreţ al catedralei ortodoxe din Cluj-Napoca care se află vizavi de Opera Naţională şi unde cântau în cor numeroşi solişti de operă. Unul dintre ei, basul Ion Iercoşan – aduc un omagiu acestui mare Om şi Artist care a trecut în lumea drepţilor, Dumnezeu să îl ierte – mi-a remarcat vocea şi într-o zi m-a invitat la dânsul acasă pentru o lecţie de canto. A însemnat impulsul care m-a determinat să continui în această direcţie şi să încep să frecventez spectacole de operă; prima operă vizionată a fost „La traviata” iar venind de la Bistriţa, oraş unde, din păcate nu există teatru de operă, a reprezentat chiar primul meu contact cu acest gen de artă impresionant – cor, solişti, balet, orchestră, scenă, lumini. Am fost foarte emoţionat şi în acel moment am gândit când voi debuta şi eu pe scena operei, aş dori să fie cu rolul lui Germont. M-a atras atât complexitatea acestui gen artistic cât şi performanţa cântăreţilor. M.S. – Născut pe superbele meleaguri ale Ardealului, la Bistriţa, v-aţi îndreptat mai întâi spre cariera teologică – de ce? Studiile şi facultăţile absolvite? L.P. – În clasa a şaptea, atunci când tatăl meu m-a întrebat ce anume doresc să devin, am răspuns că vreau să fiu cântăreţ, ceea ce el la acea vreme nu considera a fi o meserie. -
Tradition and Innovation in Romanian Orthodox Chant – “Our Father”
Journal of the International Society for Orthodox Church Music Ed. Ivan Moody & Maria Takala-Roszczenko Vol. 3, Section II: Conference Papers, pp. 236–247 ISSN 2342-1258 https://journal.fi/jisocm Tradition and innovation in Romanian Orthodox Chant – “Our Father” Ionuț-Gabriel Nastasă Faculty of Orthodox Theology, Iași, Romania [email protected] I Introduction. Tradition or Innovation? It is well known that Romania has found herself over time at the confluence of several cultures (Latin, Greek, Slavic, Western). The Romanian people are Latin, speaking a Romance or new Latin language, but are also promoters of the Orthodox faith, with Byzantine roots and heritage. This situation explains why Romanian culture in general and church music in particular have combined, at certain points, Eastern (Byzantine) elements with those of Western or of another origin (e.g., Slavic). In discussing Romanian Orthodox chant, it should be remembered that, for a long time, in Romanian churches, the services were sung in the traditional languages of worship, Greek and Slavonic; but, beginning with the 15th-16th centuries, singing “in the language of the fatherland” began to emerge, as a result of books being translated in Romanian, and, in 1713, the first manuscript with chant music in Romanian was compiled by Filothei sin Agăi Jipei. If psaltic music, of the Byzantine tradition, has always been sung in Romania, harmonic- polyphonic music was introduced systematically during the second half of the 19th century (although it had been sung earlier in Transylvania, Banat and Bucovina), giving birth to much controversy, some of which has been maintained until today (in some circles, there is a belief that “only Byzantine music is Orthodox, redeeming”, and “harmonic-polyphonic music is heretical, hellish”). -
Intercultural Communication and Active Cohabitation 1. Introduction
ACTA UNIVERSITATIS DANUBIUS Vol. 9, No. 1/2015 Intercultural Communication and Active Cohabitation Vasile Burtea1 Abstract: The hypothesis from which we initiate our approach is that the socio-cultural identity of the Romanian nation is configured by involving all participants to the act of coexistence, the Romany people having in turn a significant participation. In order to highlight this contribution, we propose in this paper operationalizing the concept of active cohabitation and the presentation of some Romany personalities, who have added value through their national culture. If, in our view, multiculturalism is none other but simply living together in the same area of two or more ethnic groups, two or more cultures, or two or more religions, between which there are established and produced relations of certain types, at certain times, the interculturalism being beyond the static or contemplative nature thereof, and basing on multiculturalism, it requires knowledge, appreciation, and mutual learning and conscious use of norms, values, customs, processes or technologies, leading to a common patrimony, each usable according to the moments, situations and circumstances, which increases the stock of mutual appreciation. Keywords: co-existence; active cohabitation; interculturalism; socio-cultural dialogue; socio-cultural identity 1. Introduction To exist means to communicate and to communicate means to exist for each other and through the other, for the self. The person does not have a sovereign national territory and it is always and entirely on the border with others. (Markova, 2004, pp. 128-130) When introspecting, it looks always in each other's eyes or the eyes of another. “...the dialogisitic builds and rebuilds the social world, the world of varied and polyphonic realities located in the culture”. -
Bicentennial of the Superior School of Land Surveying Engineering in the National Language from Wallachia
Journal of Geodesy, Cartography and Cadastre - ISSN: 1454-1408 Bicentennial of the Superior School of Land Surveying Engineering in the National Language from Wallachia. Remember: Gheorghe Lazăr Gheorghe Nistor, Cristian Onu, Gabriel Săndulache Received: September 2018 / Accepted: Octomber 2018 / Published: March 2019 © Revista de Geodezie, Cartografie și Cadastru/ UGR Abstract In the times of numbness of nations there appear The Superior School of Land Surveying Engineering, the moments that, like rays from heaven, illuminate the minds first superior education program in Wallachia, was of people in the waking of self-consciousness and lead inaugurated two hundred years ago (1818-2018). This them on the path of progress, in the development of the memorable event occurred owe to the arduous efforts of a national sense. An event of this nature, one of the most great patriot, Gheorghe Lazăr, who carved a path for memorable, appeared in the history of Wallachia: the Romanians to pursue science and engineering in their establishment of the school of the great mentor and the maternal language. enthusiastic patriot Gheorghe Lazăr, who opened to the country the book of science and the appreciation of their language and nationality. Keywords Gheorghe Lazăr was born on 5 June 1779 in Superior education, Wallachia, science. Transylvania, in the village of Avrig, at the foot of the Făgăraș Mountains, on the Olt Valley. His parents, Gheorghe and Maria, Romanian Orthodox, had the modest condition of the peasants, who had their little free property, as well as the saxons in the commune. Of the inhabitants it is said that a small part was made up of saxons, and a large part of the Wallachians, whose main occupation was carrying the goods of merchants from Hungary, Slovenia, Banat and Wallachia. -
La Traviata Stagione D’Opera 2013 / 2014 Giuseppe Verdi La Traviata
G L a i 1 u t r s a e v p i p a e t a V e r d i S t a g i o n e d ’ O p e r a LaGiutsrepapevVeiradi ta 2 0 1 3 / 2 0 1 4 Stagione d’Opera 2013 / 2014 La traviata Melodramma in tre atti Libretto di Francesco Maria Piave Musica di Giuseppe Verdi Nuova produzione Teatro alla Scala EDIZIONI DEL TEATRO ALLA SCALA TEATRO ALLA SCALA PRIMA RAPPRESENTAZIONE Sabato 7 dicembre 2013, ore 18 REPLICHE dicembre Giovedì 12 Ore 20 - Turno D Domenica 15 Ore 20 - Turno B Mercoledì 18 Ore 20 - Turno A Domenica 22 Ore 15 - Turno C Sabato 28 Ore 20 - Turno E Martedì 31 Ore 18 - Fuori abbonamento gennaio Venerdì 3 Ore 20 - Turno N Anteprima dedicata ai Giovani LaScalaUNDER30 Mercoledì 4 dicembre 2013, ore 18 In copertina: La traviata di Giuseppe Verdi. Regia e scene di Dmitri Tcherniakov, costumi di Yelena Zaytseva, luci di Gleb Filshtinsky. Allestimento realizzato per l'inaugurazione della stagione scaligera 2013-14, rendering di una delle scene ideate da Dmitri Tcherniakov. SOMMARIO 5 La traviata. Il libretto 34 Il soggetto Emilio Sala Argument – Synopsis – Die Handlung ––࠶ࡽࡍࡌ Сюжет 46 L’opera in breve Emilio Sala 48 ...la musica Claudio Toscani 53 Splendeurs et misères des courtisanes in terra italina Antonio Rostagno 71 Fisiologia della Traviata Emilio Sala 93 Eros e charitas nella Traviata Paolo Gallarati 131 Un mondo a parte Benedetta Craveri 147 Nota sull’edizione della Traviata Daniele Gatti 149 “Di quell’amor...” (Note di regia) Dmitri Tcherniakov 154 La traviata alla Scala dal 1859 al 2008 Andrea Vitalini 203 Daniele Gatti 205 Dmitri Tcherniakov 206 Gleb Filshtinsky 207 Yelena Zaytseva 208 La traviata. -
Textual Transpositions and Identity Games in I.L. Caragiale's Late
Textual Transpositions and Identity Games in I.L. Caragiale’s Late Writings ∗ Doris MIRONESCU Key-words: cultural identity , irony , ambivalence , Balkan literature , textual transposition The first critical edition of I.L. Caragiale’s Works , initiated by Paul Zarifopol in 1930 at “Cultura Na ţional ă” Publishing House, opens with the famous photo of the author taken in Berlin, in which Caragiale sits cross-legged, oriental-style, on a similarly themed rug, dressed in Balkanic garb, wearing a fez and white long socks, posing evidently for the camera with his chin resting on his closed hand and his eyes gazing intently to the right. But, even in these carefully asorted Levantine surroundings, one cannot fail to notice that behind the posing artist there is a heavily stacked library, filled with thick manuscripts that seem to overflow. The image is, therefore, twice symbolic: on the one hand, because in it Caragiale seems to claim to be returning to the “ethnic roots” that he often reclaimed polemically, orally and in writing, precisely to contradict the partisans of a ridiculous and violent Romanian nationalism; on the other hand, because this return takes place in the foreground of a library, or better yet of literature 1. Caragiale’s entire work is characterized by a frequent use of intertextual procedures, but these appear to become even more often in his last period of creation, in Berlin (1905–1912). The critics have long remarked that “Caragiale drew a character face for himself” (Tomu ş 1977: 340) but he exploited it especially now, in the later years at Berlin, to present himself under the largely known name “nenea Iancu” ( Ţal!..