1. Literature and Philosophy Gábor Szécsi

Total Page:16

File Type:pdf, Size:1020Kb

1. Literature and Philosophy Gábor Szécsi 1. Literature and Philosophy Gábor Szécsi: Towards a contextualist theory of historical understanding Magdaléna Hrbáček: Stereotypes and stigmas in Andrea Coddington’s prose Dóra Dergez-Rippl: Living Your Life as a Work of Art — Bergson on the Essence of Artistic Creativity Robert Friedrich Hecker-Réz: The helping conversation – opportunities and risks from the view of emotional intelligence research 2. Art and Pedagogy Anna Mária Bólya: The Change of a Medieval Fashion Dance: Formal and functional aspects of the discourse of dance becoming an independent art Ákos Windhager - Anna Mária Bólya: What is Female in Hungarian Music? 3. Economic and Regional Development Katalin Bándy – Tibor Pintér: (Re)-Islamization trends in the Balkan Peninsula Andrea Máté – Kinga Angler: Assessment of food and drink industries’ situation from Tolna County Zsuzsanna Slezák-Bartos – Brigitta Orsós – Kinga Angler: Motivations for attending events for a particular automotive company ACTA CULTURA ET PAEDAGOGICAE 2021 ACTA CULTURA ET PAEDAGOGICAE 2021 Autors Ákos Windhager - Anna Mária Bólya; Andrea Máté – Kinga Angler; Anna Mária Bólya; Dóra Dergez-Rippl; Gábor Szécsi; Katalin Bándy – Tibor Pintér; Magdaléna Hrbáček; Robert Friedrich Hecker-Réz; Zsuzsanna Slezák-Bartos – Brigitta Orsós – Kinga Angler Editor-in-Chief Gábor Szécsi Deputy Editor-in-Chief Imre Bús Editors János Boros, Zsolt Nemeskéri, Iván Zádori Technical Editor Zsolt Meilinger Publisher Faculty of Cultural Sciences, Education and Regional Development, University of Pécs Dr. Gábor Szécsi, Dean of the Faculty 7100 Szekszárd, Rákóczi u. 1. +36 74 528 300 Cover Design Imre Bús ISSN:………………. Copyright © by Authors, Publisher CONTENTS Preface (Gábor Szécsi).......................................................................................................................................................... 1. Literature and Philosophy………………………………………………………………………………………………….. Gábor Szécsi: Towards a contextualist theory of historical understanding………………………………… Magdaléna Hrbáček: Stereotypes and stigmas in Andrea Coddington’s prose……………………………. Dóra Dergez-Rippl: Living Your Life as a Work of Art — Bergson on the Essence of Artistic Creativity………………………………………………………………………………………………………………………………. Robert Friedrich Hecker-Réz: The helping conversation – opportunities and risks from the view of emotional intelligence research…………………………………………………………………………………………... 2. Art and Pedagogy…………………………………………………………………………………………………………… Anna Mária Bólya: The Change of a Medieval Fashion Dance: Formal and functional aspects of the discourse of dance becoming an independent art……………………………………………………………………….. Ákos Windhager - Anna Mária Bólya: What is Female in Hungarian Music?................................................ 3. Economic and Regional Development……………………………………………………………………………… Katalin Bándy – Tibor Pintér: (Re)-Islamization trends in the Balkan Peninsula…………………………… Andrea Máté – Kinga Angler: Assessment of food and drink industries’ situation from Tolna County…………………………………………………………………………………………………………………………………….. Zsuzsanna Slezák-Bartos – Brigitta Orsós – Kinga Angler: Motivations for attending events for a particular automotive company………………………………………………………………………………………………... PREFACE The information age creates a new context in which our notions of culture, knowledge, and science become more complex. These more complex notions can be regarded as the bases of the idea of the global and local information communities in which the communication attitudes of a person are determined by their impression of their self as permanently available individual whose communicative acts are embedded in a special information net. Forming new, information communities, electronic technologies have been speeding up the crossing of traditional conceptual, social, cultural, and political boundaries. And as a result of this process, we are experiencing conceptual, social, cultural convergencies in the new global and local forms of communities. The age of electronic communication is the age of opening categorical and classification boundaries. A new virtual social space is in the making that holds the possibility of new opportunities of interdisciplinarity and unified science. The use of the new communication technologies, therefore, has abolished the traditional pedagogical thinking, and brings in new conventions. The novelty of the structure and function of knowledge acquired by electronic communication, accordingly, is a consequence that affects the bases of traditional pedagogical thinking. It is a problem which provides new scope for pedagogical researches. The effects of this problem appear more and more significant social and cultural dimensions that forces pedagogical thinking to assume a wider framework. Change has an expanding effect on the framework of the new, electronic forms of learning, adding new dimensions. The use of electronic communication technologies sets pedagogy a big methodological challenge. Pedagogy becomes a part of the process characterizing the scientific life of information society leads to disappearance of the traditional disciplinary boundaries. And this disciplinary openness can be regarded as a basis of a new pedagogical paradigm which help us to form general theory of the cognitive background and consequences of the new teaching/learning forms appearing in the new media space, and by which we can work out a methodological conception that offers appropriate solutions to the new cultural challenges. Acta Cultura et Paedagogicae is an interdisciplinary journal which provides novel reflections on the processes leaded to the convergencies of social, cultural, and economic categories experienced nowadays. The primary objective of our journal is to fulfill the need for thorough discussion of research results in disciplines relevant to pedagogical, philosophical, psychological and technological aspects of culture and education, and to contribute towards the wide diffusion of scientifically sound contributions in this domain The Editorial Board of Acta Cultura et Paedagogicae has prepared the first issue of the journal which contain three chapters (Literature and Philosophy, Art and Pedagogy, Economic and Regional Development) and 8 studies that highlight the various dimensions of interdisciplinarity. We wish that the readers will chose the topic interesting for them which could be an inspiration for their professional work. Gábor Szécsi Editor-in-Chief Chapter 1. Literature and Philosophy TOWARDS A CONTEXTUALIST THEORY OF HISTORICAL UNDERSTANDING GÁBOR SZÉCSI1 ABSTRACT: The aim of this article is to indicate how a version of intentionalist theory of linguistic communication can be adapted as a part of a contextualist methodology of the history of ideas. In other words, we attempt to clear up the way of harmonizing the theory that communication takes place when a hearer/reader grasps an utterer’s intention with the methodological conception according to which a historian of ideas must concentrate his attention on the context in which in his past author was writing. This article argues that a plausible solution to this problem is suggested in some influential methodological essays by Quentin Skinner. Therefore we shall discuss, on the one hand, the place of an intentionalist model of communication in Skinner’s methodology by providing a brief outline of the main theses of contextualism and intentionalism. On the other hand, we deal with some epistemological problems raised by the application of contextualist method. In particular, we consider the questions that can be raised about the manner in which a historian can grasp an author’s intention. Introduction The term ‘contextualism’ refers to the method whereby a historian of ideas concentrates his attention on the context in which a past author was writing. The defining tenet of an intentionalist theory of communication is that communication takes place when a hearer or a reader grasps some sort of intentional state (intention, belief, desire etc.) that is distinct from the utterer’s words expressing it. Now, one of the most important methodological questions of the contextualist theory of historical understanding is whether the contextualist method can be harmonized with an intentionalist conception of linguistic communication. A possible answer to this question, we think, is suggested in some well-known methodological essays by Quentin Skinner, one of the founders of the 'Cambridge School' of the history of political thought.2 Quentin Skinner is one of the world’s most influential and philosophically sophisticated historians of ideas. His influence can be derived inter alia from the fact that he attempts to revise the major methodological tools with which the history of ideas has been tackled to now by formulating his contextualist conception in terms of an intentionalist analysis of linguistic communication that can place some traditional epistemological hypotheses about the historical understanding in a fresh and illuminating context. In short, what makes Skinner’s contextualist methodology novel and influential, we think, is the adaptation of a special version of the intentionalist theory of linguistic communication. Thus, in our view, in order to understand the methodological issues of Skinner’s historiography of ideas, we must consider the version of the 1 University of Pécs, Faculty of Cultural Sciences, Education and Regional Development, e-mail: [email protected]; Eötvös Loránd Research Network, Research Centre for the Humanities, Institute
Recommended publications
  • ROTC Page7 President Reagan Ends Six-Day Trip to Communist
    ROTC page7 VOL XVIII, NO. 135 the independent ~tudent new~paper ~lT\ing notn dame and .,amtmary·, TUESDAY, MAY 1,1984 President Reagan ends six-day trip to Communist China on good note Associated Press gether to write a new chapter of "We have seen your great monu· peace and progress for our people." ments such as the Great Wall. But SHANGHAI, China - President "My visit to China leaves me we're not working in mortar and Reagan received the warmest confident that U.S.-China relations stone here. My hope is that we can welcorpe of his six-day visit to China arc good and getting better," he said. accomplish something between and said at a farewell banquet that ourselves that will also be remem­ the United States and China are plan· The president returns to the bered 1,000 years from now." ning "to write a new chapter of United States today, crossing the in­ peace and progress." ternational dateline and landing in From the farewell ceremony in Winding up his final day in China Fairbanks, Alaska. after first visiting a Peking, Reagan flew south to this at a banquet given by Shanghai child care center and modest private teeming city of 12 million. Mayor Wang Daohan, Reagan said, residence at a commune on May Addressing more than 1 ,000 stu­ "My trip to China has been as impor· Day, the international workers· dents in a handpicked audience at tant and enlightening as any I've holiday. Fudan University, where a huge taken as pn:sident." As China prepared to celebrate statue of the late Mao Tse·tung Reagan also finally got an oppor· the two-day holiday.
    [Show full text]
  • Frustration, Honor and Death in the Trilogy of Federico Garcia Lorca
    (RJELAL) Research Journal of English Language and Literature Vol.4.Issue 3. 2016 A Peer Reviewed (Refereed) International Journal (July-Sept.) http://www.rjelal.com; Email:[email protected] RESEARCH ARTICLE FRUSTRATION, HONOR AND DEATH IN THE TRILOGY OF FEDERICO GARCIA LORCA BINDIYA RAHI SINGH JRF Research Scholar Guest Assistant Professor ABSTRACT In this research Paper, we will try to light on the theme of frustration honour and death in the plays of Federico Garcia Lorca who is the most eminent painter, singer of Andalusia Folklore and a poet of gipsy ballads. He was the master of Puppet theatre. His surrealistic style makes him the greatest dramatist among other contemporaries dramatist. It was his great writing for the Spanish Literature that he wrote rural trilogy as Blood wedding, Yerma and The House of Bernarda Alba. Following these plays he knits the symbolical background with the Aristotelian BINDIYA RAHI concepts. His first play Blood Wedding is based on the theme of bloodshed and feud SINGH between two families which ends with thirst of murder to Bridegroom and Leonardo who belongs to the Felix Family and second one, Yerma is cry of a barren mother who murdered her husband in order to not satisfy her desire to be a mother and after abuse by her husband and last one The House Of Bernarda Alba ends with the death of honor of Adela by the orthodox cal attitude of Bernarda Alba. So this trilogy highlights the eminent features of his dramatic style overwhelming stresses and tensions throughout his entire plays along with, they have many symbolical songs in it.
    [Show full text]
  • "Federico García Lorca's Blood Wedding (1932): Patriarchy's Tragic
    Bonaddio, Federico. "Federico García Lorca’s Blood Wedding (1932): Patriarchy’s Tragic Flaws." Patriarchal Moments: Reading Patriarchal Texts. Ed. Cesare Cuttica. Ed. Gaby Mahlberg. : Bloomsbury Academic, 2016. 163–170. Bloomsbury Collections. Web. 26 Sep. 2021. <http:// dx.doi.org/10.5040/9781472589163.ch-021>. Downloaded from Bloomsbury Collections, www.bloomsburycollections.com, 26 September 2021, 05:58 UTC. Copyright © Cesare Cuttica, Gaby Mahlberg and the Contributors 2016. You may share this work for non-commercial purposes only, provided you give attribution to the copyright holder and the publisher, and provide a link to the Creative Commons licence. 20 Federico García Lorca’s Blood Wedding (1932): Patriarchy’s Tragic Flaws1 Federico Bonaddio [It’s wedding day somewhere in rural Andalusia, and the mother of the groom and father of the bride are sharing a private conversation.] MOTHER: That’s what I’m hoping for: grandchildren. (They sit.) FATHER: I want them to have plenty. This land needs hands that aren’t hired. You’re forever battling weeds, thistles, stones that appear from nowhere. And those hands should be the owners’ own, able to punish and master, to make the seed grow. You need a lot of sons. MOTHER: And a daughter or two! Men come and go like the wind! It’s in their nature to turn to knives and guns. Girls never venture out of the house. FATHER (Happily): I’m sure they’ll have both. MOTHER: My son will cover her well. He’s of good stock. His father could have had plenty of children with me. FATHER: I wish it could all happen in a day.
    [Show full text]
  • Blood Wedding
    Written by Federico Garcia Lorca, Directed by Dr. Keith Byron Kirk Study Guide The University of Houston School of Theatre and Dance is pleased to present this study guide arranged by the BFA Theatre Education majors. We hope that you i find the activities, photos, and script analysis enriching to your classroom expe- j rience and helpful as a companion to Blood Wedding. qblh Table of Contents Who Setting the Stage........................2 Who’s Who.................................3 Meet Lorca..................................4 What Opportunity Cost Game...........5 Blood Wedding Budgeting..........7 When A Light in Dark..........................9 A Wedding’s History................11 Where Cryptic or Beautiful?..............13 Committee Work Activity.......15 Why Themes of Blood Wedding........17 Altering a Lullaby ....................19 The Design of Life...................21 Mask Making Methods..............23 How Spaghetti Math...........................24 Gobo Creations.........................26 Use your QR scanning device or smartphone to learn more about The School of Theatre and Dance! 1 Setting The Stage The play begins with a scene between Federico Garcia Lorca and Margarita Xirgu. As they speak, the members of the La Barraca theatre troupe explain not only Lorca’s history but the critical views of his writing. Lorca begins writing the play “Blood Wedding.” The Mother and the Bridegroom, have a conversation about the Mother’s hatred of knives - the Bridegroom’s father and brother were murdered by members of the Felix family. They talk about the Bride- groom’s hope to be married to the Bride. After he exits, a Neighbor visits the Mother, revealing that the Bride was once the lover of Leonardo Felix.
    [Show full text]
  • Teacher's Guide by Jerry Hawkins, Co-Founder of the Imagining Freedom Institute CARA MÍA THEATRE's Ursula, Or Let Yourself Go with the Wind
    URSULA OR LET YOURSELF GO WITH THE WIND A PLAY WRITTEN AND PERFORMED BY FRIDA ESPINOSA-MüLLER Teacher's Guide by Jerry Hawkins, co-founder of The Imagining Freedom Institute CARA MÍA THEATRE'S Ursula, or Let Yourself Go with the Wind IN THIS TEACHER'S GUIDE YOU WILL FIND Pre-Show Guide Synopsis Investigation 1 Compares migration and immigration journeys and connects how they are similar. Activity: What is your family’s story? Mid-Show Guide Investigation 2 Borders are political boundaries, not human boundaries. Activity: What is a border? Post-Show Guide Investigation 3 Provides an opportunity for students to take inventory of their thoughts and emotions after watching the play while reflecting on our shared commonalities as diverse individuals. Activity: What are our connections? Biographies Cara Mía Theatre The Imagining Freedom Institute Frida Espinosa Müller (Playwright and Performer) Jerry Hawkins (Study Guide Author) Please be aware that all property and materials that you access before, during, or after watching the educational play Ursula or Let Yourself Go with the Wind, belong to Cara Mía Theatre Company with special permission given to Dallas ISD for distribution to its staff members and their students only. IF YOU ENCOUNTER ANY TECHNICAL ISSUES OR HAVE ANY QUESTIONS Email Cara Mía Theatre's Education and Community Action Coordinator Cheyenne Raquel Farley at [email protected] or call (214) 516 - 0706. EDUCATIONAL PROGRAMS AT CARA MÍA THEATRE PRE-SHOW TEACHER'S GUIDE Grades 7- 12 URSULA OR LET YOURSELF GO WITH THE WIND PRE-SHOW TEACHER'S GUIDE / Grades 7 - 12 ABOUT THE PLAY With a minimal set, various puppets, and a performance rooted in movement, performer Frida Espinosa Müller transforms into over 10 characters to tell this story of child detention at the Southern border through the mind of a child.
    [Show full text]
  • General Index
    Cambridge University Press 0521780098 - The Cambridge Companion to Twentieth-Century Opera Edited by Mervyn Cooke Index More information General index Abbate, Carolyn 282 Bach, Johann Sebastian 105 Adam, Fra Salimbene de 36 Bachelet, Alfred 137 Adami, Giuseppe 36 Baden-Baden 133 Adamo, Mark 204 Bahr, Herrmann 150 Adams, John 55, 204, 246, 260–4, 289–90, Baird, Tadeusz 176 318, 330 Bala´zs, Be´la 67–8, 271 Ade`s, Thomas 228 ballad opera 107 Adlington, Robert 218, 219 Baragwanath, Nicholas 102 Adorno, Theodor 20, 80, 86, 90, 95, 105, 114, Barbaja, Domenico 308 122, 163, 231, 248, 269, 281 Barber, Samuel 57, 206, 331 Aeschylus 22, 52, 163 Barlach, Ernst 159 Albeniz, Isaac 127 Barry, Gerald 285 Aldeburgh Festival 213, 218 Barto´k, Be´la 67–72, 74, 168 Alfano, Franco 34, 139 The Wooden Prince 68 alienation technique: see Verfremdungse¤ekt Baudelaire, Charles 62, 64 Anderson, Laurie 207 Baylis, Lilian 326 Anderson, Marian 310 Bayreuth 14, 18, 21, 49, 61–2, 63, 125, 140, 212, Andriessen, Louis 233, 234–5 312, 316, 335, 337, 338 Matthew Passion 234 Bazin, Andre´ 271 Orpheus 234 Beaumarchais, Pierre-Augustin Angerer, Paul 285 Caron de 134 Annesley, Charles 322 Nozze di Figaro, Le 134 Ansermet, Ernest 80 Beck, Julian 244 Antheil, George 202–3 Beckett, Samuel 144 ‘anti-opera’ 182–6, 195, 241, 255, 257 Krapp’s Last Tape 144 Antoine, Andre´ 81 Play 245 Apollinaire, Guillaume 113, 141 Beeson, Jack 204, 206 Appia, Adolphe 22, 62, 336 Beethoven, Ludwig van 87, 96 Aquila, Serafino dall’ 41 Eroica Symphony 178 Aragon, Louis 250 Beineix, Jean-Jacques 282 Argento, Dominick 204, 207 Bekker, Paul 109 Aristotle 226 Bel Geddes, Norman 202 Arnold, Malcolm 285 Belcari, Feo 42 Artaud, Antonin 246, 251, 255 Bellini, Vincenzo 27–8, 107 Ashby, Arved 96 Benco, Silvio 33–4 Astaire, Adele 296, 299 Benda, Georg 90 Astaire, Fred 296 Benelli, Sem 35, 36 Astruc, Gabriel 125 Benjamin, Arthur 285 Auden, W.
    [Show full text]
  • Eileen Stevens
    "'LetEach Becone Aware" Founded 1957, Incorporated 1976 Volume XXXIX, Number 21 Monday, November 13, 1995 : First Copy lFree- University Senate Passes (quality of Teaching Propos1a, _w BY ENEILRYAN DE LA PENA departmental and university-wide for commuting students. order to gain student support. "I think [students] should at Statesman Editor training program. "There was a lot of least be able to understand their The University Senate . "In general, [the proposal] discussion," Mackin said, teachers, but-I think they should passed a. proposal at last 3. All teachers,- in will help the.students,-" said referring to the University Senate be strict on [enacting the Monday's'meeting that will undergraduate' course-both' Nicole Rosner, :Polity vice voting on the proposals, -last proposals]," said Natalie Jacobs, ultimately improve the quality of faculty and TA's-must speak, president and member of the Monday. "There were still a lot a sophomore. "A teacher can still teaching at Stony Brook, English at a level appropriate to Undergraduate Council, of people disagreeing with it.- be pretty, good at handling the according to James Mackin, classroom instruction or other referring to the TA's who do not The vote came up 37 to 5 in favor accent, but they must get their professor and' chair of the teaching duties. fluently speak English. "I don't of adopting them." Since the point across." Undergraduate Council. think it's fair that students go into proposals have been passed in the Sophia Campbell, a junior, Mackin, along 'with 4.' When possible, faculty classes while they can't Senate, they are now currently in -strongly agreed with the members of the Ad Hoc should be given credit for understand the TA." effect, said Mackin.
    [Show full text]
  • Bernarda Alba Program
    BERNARDA ALBA Britta Ollmann, Kate Beahen, Regina Marie Williams, Meghan Kreidler, Sara Ochs, and Kim Kivens. Photo by Allen Weeks. BERNARDA ALBA WORDS AND MUSIC BY MICHAEL JOHN LACHIUSA BASED ON THE PLAY THE HOUSE OF BERNARDA ALBA BY FEDERICO GARCÍA LORCA DIRECTED BY CRYSTAL MANICH MUSIC DIRECTION BY JASON HANSEN CHOREOGRAPHY BY KELLI FOSTER WARDER JAN 15 - FEB 16, 2020 • RITZ THEATER Theater Latté Da’s re-imagined staging of the beloved opera returns. Painting: Bonjour Tristesse, Nicholas Harper LA BOHÈME MUSIC BY GIACOMO PUCCINI LIBRETTO BY LUIGI ILLICA AND GUISEPPE GIACOSA NEW ORCHESTRATION BY JOSEPH SCHLEFKE DIRECTED BY PETER ROTHSTEIN MUSIC DIRECTION BY ERIC MCENANEY In memory of John Hemann MAR 11 - APR 26, 2020 • RITZ THEATER • TICKETS ON SALE NOW Words and music by Michael John LaChiusa Based on the play The House of Bernarda Alba by Federico García Lorca THE COMPANY PRODUCTION TEAM * Bernarda Alba ..................................... Regina Marie Williams Director ...................................................................................... Crystal Manich † Music Director ..................................................................... Jason Hansen Angustias .............................................................................. Kate Beahen ** Choreographer .................................................... Kelli Foster Warder * Magdalena ................................................................... Nora Montañez Assistant Director ..................................................... Jillian Robertson
    [Show full text]
  • Melia Bensussen
    MELIA BENSUSSEN Emerson College (home) 120 Boylston Avenue 132 Sewall Avenue, #1 Boston, MA 02116 Brookline, MA 02446 (617) 824-8368 (617) 739-2240 home [email protected] (617) 461-4835 cell PROFESSIONAL APPOINTMENTS 2008 – present Chair, Department of Performing Arts Associate Professor Emerson College, Boston, MA 2007 – 2008 Interim Chair, Department of Performing Arts Associate Professor Emerson College 2006 – 2007 Associate Professor, Emerson College Producing Director, Emerson Stage 2000 – 2006 Assistant Professor, Emerson College Producing Director, Emerson Stage Emerson College Awarded the 2003-04 Norman and Irma Mann Stearns Distinguished Faculty Award 1986 – present Free-Lance Theatre Director Over 80 productions in New York City and nationwide. Winner of the 1999 Obie for Excellence in Directing 1996 - 2000 Head of Directing, Assistant Professor, SMU Responsible for creating and running MFA in Directing program. Received NAST accreditation for the MFA program within two years. Recipient of the Dean’s Prize, 1997 and 1999. 1998 - 2000 Artistic Consultant, Shakespeare Festival of Dallas Forged partnership between SMU and the Shakespeare Festival. Collaborated on the Festival’s restructuring, created a five-year plan, as well as consulting on season scheduling, fundraising, educational programs, casting and marketing. 1997 - 1998 Artistic Associate, San Jose Repertory Theatre New Play Festival Artistic Director. Selected and dramaturged new plays, directed workshops, and created a new marketing strategy which succeeded in doubling attendance. 1990 - 1993 Associate Artist, New York Shakespeare Festival Produced and directed a season of new adaptations and translations, including works by Brecht, Euripides, Kroetz; translated by Regina Taylor, Arthur Giron, and others. 1986 - 1990 Associate Director, Festival Latino in New York, NYSF The Festival produced companies from throughout Latin America and Spain.
    [Show full text]
  • Lorca's Blood Wedding
    8-10 September 2014- Istanbul, Turkey 392 Proceedings of SOCIOINT14- International Conference on Social Sciences and Humanities LORCA’S BLOOD WEDDING: A MANIFESTATION OF SPANISH FOLKLORE Saeed Yazdani 1* Mohammadreza Shahbazi 2 Mozdeh Ghazi 3 1Department of English Literature, Bushehr Branch, Islamic Azad University, Bushehr, IRAN, [email protected] *Corresponding author 2Department of Dramatic Literature, Bushehr Branch, Islamic Azad University, Bushehr, IRAN, [email protected] 3M.A. Department of Dramatic Literature, Bushehr Branch, Islamic Azad University, Bushehr, IRAN [email protected] Abstract Culture has been an important factor in the production of literary works throughout the world. The Spanish playwright Federico García Lorca maintained a lifelong interest in the music and folklore of Spain, a fascination that heavily influenced one of his most acclaimed tragedies, Blood Wedding. The repressive social norms of the rural town are often contrasted with the raw, emotional state of nature in which the characters desire to live. In Lorca's countryside, heritage and violence are inextricably linked. The shallow and restrictive town, then, can be seen as a response and overreaction to the chaotic, bleak fate that man faces in nature. In approaching Blood Wedding, we should also be aware of the many cultural influences that fed into the play, notably the dramatist‘s familiarity with classical, flamenco and traditional Spanish music, and with Greek tragedy. All of them combined to transform a real life event into high art. The play resonates with an incredible passionate, tragic, beautiful love. The whole idea of the inevitability of love and death, which is present at the core of the Spanish culture, beats at the heart of the play, so strongly and so intensely.
    [Show full text]
  • Sunday, January 28, 2018
    presents in association with Cadenza Artists Presented with the support from the Made in Wickenburg Residency Program at the Del E. Webb Center for the Performing Arts with funding from the RH Johnson Foundation, the National Endowment for the Arts, the Wellik Foundation, WESTAF. Sunday, January 28, 2018 Audio recording, video recording and photography of any kind are all strictly prohibited. Please silence all electronic devices and refrain from texting. Eliran Avni Artistic Director & Piano Stuart Breczinski Oboe Ariadne Greif Soprano Sofia Nowik Cello Brendan Speltz Violin Uriel Vanchestein Clarinet ACT I K. Weill The Seven Deadly Sins (1900–1950) “Prologue” for Soprano and Piano J. Turina Piano Trio in B minor, No. 2, Op. 76 (1882–1949) 1st movement: Lento – Allegro molto moderato J. Kern/O. Harbach “Smoke Gets in Your Eyes” arr. Dan Kaufman for Ensemble (1885–1945) S. Barber Sonata for Cello and Piano, Op. 6 (1910–1981) 3rd movement: Allegro appassionato D. Fields/J. McHugh “Hey! Young Fella!” for Ensemble arr. Dan Kaufman (1894–1969) A. Berg arr. Jonathan Keren Lulu (1885–1935) “Lied der Lulu” for Soprano and Ensemble Gospel/Rev. T. A. Dorsey “Take My Hand, Precious Lord” for (1899–1993) Oboe and Piano INTERMISSION Foreword I would like to start by thanking all of you for helping us make this project a reality. Without your support this ambitious program would never have materialized. What started as an idea two years ago is now ready for you to experience as a full-fledged concert experience. We can all agree that it would be impossible to create a comprehensive retrospec- tive of an entire year in human history that does justice to every single important artist.
    [Show full text]
  • Information to Users
    INFORMATION TO USERS This manuscript has been reproduced from the microfilm master. UMI films the text directly from the original or copy submitted. Thus, some thesis and dissertation copies are in typewriter face, while others may be from any type of computer printer. The quality of this reproduction is dependent upon the quality of the copy submitted. Broken or indistinct print, colored or poor quality illustrations and photographs, print bleedthrough, substandard margins, and improper alignment can adversely affect reproduction. In the unlikely event that the author did not send UMI a complete manuscript and there are missing pages, these will be noted. Also, if unauthorized copyright material had to be removed, a note will indicate the deletion. Oversize materials (e.g., maps, drawings, charts) are reproduced by sectioning the original, beginning at the upper left-hand corner and continuing from left to right in equal sections with small overlaps. Each original is also photographed in one exposure and is included in reduced form at the back of the book. Photographs included in the original manuscript have been reproduced xerographically in this copy. Higher quality 6" x 9" black and white photographic prints are available for any photographs or illustrations appearing in this copy for an additional charge. Contact UMI directly to order. University Microfilms International A Bell & Howell Information Company 300 North Zeeb Road. Ann Arbor. Ml 48106-1346 USA 313/761-4700 800/521-0600 Order Number 9412044 Norms and strategies in the English translations of Federico Garcfa Lorca’s “Bodas de sangre” Robie-Theunen, Nicole Susanne, Ph.D.
    [Show full text]