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2018 Autumn (PDF)
2018 Autumn Conferment of Decoration on Foreign Nationals Address Decoration Services Major Titles Name Age ( Nationality ) The Fourth Prime Minister of Federal Territory of Grand Cordon of Contributed to strengthening Malaysia Putrajaya, the Order of the bilateral relations and promoting Mahathir bin Mohamad 93 Malaysia Paulownia friendship between Japan and The Seventh Prime Minister of Flowers Mayalsia Malaysia (Malaysia) Chevy Chase, Contributed to strengthening the Grand Cordon of Maryland, relationship between Japan and Former Secretary of Defense the Order of the William S. Cohen 78 U.S.A. the United States on national of the United States Rising Sun defense (U.S.A.) Former Vice President of the Wilson, Contributed to strengthening the Grand Cordon of United States Wyoming relationship and friendship the Order of the Richard B. Cheney 77 U.S.A. between Japan and the United Rising Sun Former Secretary of Defense States of the United States (U.S.A.) Contributed to promoting Former Executive Director, Japan's international Washington DC, Grand Cordon of UNICEF contribution in the field of child U.S.A. the Order of the Anthony Lake 79 welfare and strengthening Rising Sun Former National Security relationship between Japan and (U.S.A.) Advisor the United States 2018 Autumn Conferment of Decoration on Foreign Nationals Former Vice Prime Minister Hydra, Contributed to strengthening Former Minister of Interior Grand Cordon of Alger, bilateral relations and promoting and Local Governments the Order of the Noureddine Yazid Zerhouni 81 Algeria -
Hamletmachine” by Heiner Müller
Journal of History Culture and Art Research (ISSN: 2147-0626) Tarih Kültür ve Sanat Araştırmaları Dergisi Vol. 8, No. 4, December 2019 DOI: 10.7596/taksad.v8i4.2381 Citation: Kolpakova, S. G., Gataullina, V. L., & Smyslova, E. V. (2019). Historical and Political Allusions in the Drama “Hamletmachine” by Heiner Müller. Journal of History Culture and Art Research, 8(4), 313-319. doi:http://dx.doi.org/10.7596/taksad.v8i4.2381 Historical and Political Allusions in the Drama “Hamletmachine” by Heiner Müller Svetlana Georgievna Kolpakova1 Veronika Lubimovna Gataullina2 Ekaterina Vladimirovna Smyslova3 Abstract In terms of postmodernism а classical plot becomes more active, mobile and begins to travel through the cultural discourses in different social and political channels, thereby indirectly achieving its full inner creative potential in the minds of "postmodern" readers. The paper focuses on Müller’s "Hamletmachine" which uses the Shakespearean plot. The authors of the article explore the new features introduced by the writer into the classic plot by placing it in postmodern principles (game, changes of meanings, rhizome, blissful ignorance of consumer society) which are woven together in a syncretic way. Müller masterfully uses these devices to transmit the political ideas and describe the history of communism and the historical events. The comparative method in combination with complex descriptive analysis of the text is chosen as the main methodology. The aim of the study is to find out what purposes and what political events Müller involves -
Le Ore Sacre Del Giorno Le Ore Dell’Ufficio Divino Nelle Basiliche Ravennati
Le ore sacre del giorno le ore dell’ufficio divino nelle basiliche ravennati The Tallis Scholars Le ore sacre del giorno le ore dell’ufficio divino nelle basiliche ravennati The Tallis Scholars Eni Partner Principale del Festival di Ravenna 2019 Basiliche della città 16 giugno, dalle ore 00.00 ringrazia Sotto l’Alto Patronato del Presidente della Repubblica Italiana con il patrocinio di Associazione Amici di Ravenna Festival Senato della Repubblica Presidenza del Consiglio dei Ministri Apt Servizi Emilia Romagna Ministero per i Beni e le Attività Culturali Autorità di Sistema Portuale del Mare Adriatico Centro-Settentrionale Ministero degli Affari Esteri e della Cooperazione Internazionale BPER Banca Classica HD Cna Ravenna Confartigianato Ravenna Confindustria Romagna con il sostegno di Consar Group Contship Italia Group Consorzio Integra COOP Alleanza 3.0 Corriere Romagna DECO Industrie Eni Federazione Cooperative Provincia di Ravenna Federcoop Romagna Fondazione Cassa dei Risparmi di Forlì Fondazione Cassa di Risparmio di Ravenna Fondazione del Monte di Bologna e Ravenna Gruppo Hera con il contributo di Gruppo Mediaset Publitalia ’80 Gruppo Sapir GVM Care & Research Hormoz Vasfi Koichi Suzuki Italdron LA BCC - Credito Cooperativo Ravennate, Forlivese e Imolese La Cassa di Ravenna SpA Legacoop Romagna Mezzo PubbliSOLE Comune di Forlì Comune di Lugo Comune di Russi Publimedia Italia Quick SpA Quotidiano Nazionale Koichi Suzuki Rai Uno Hormoz Vasfi Ravennanotizie.it Reclam Romagna Acque Società delle Fonti Setteserequi partner principale -
Armenian State Chamber Choir
Saturday, April 14, 2018, 8pm First Congregational Church, Berkeley A rm e ni a n State C h am b e r Ch oir PROGRAM Mesro p Ma s h tots (362– 4 40) ༳ཱུའཱུཪཱི འཻའེཪ ྃཷ I Knee l Be for e Yo u ( A hym n f or Le nt) Grikor N ar e k a tsi ( 9 51–1 0 03) གའཽཷཱཱྀུ The Bird (A hymn for Easter) TheThe Bird BirdBir d (A (A(A hymn hymnhym forn for f oEaster) rEaster) East er ) The Bird (A hymn for Easter) K Kom itas (1869–1 935) ཏཷཱྀཿཡ, ོཷཱྀཿཡ K K K Holy, H oly གའཿོའཱུཤའཱུ ཤཿརཤཿ (ཉའཿ ༳) Rustic Weddin g Son g s (Su it e A , 1899 –1 90 1) ༷ཿཱུཪྀ , རཤཾཱུཪྀ , P Prayer r ayer ཆཤཿཪ ེའཱུ འཫའཫ 7KH%UL The B ri de’s Farewell ༻འརཽཷཿཪ ཱིཤཿ , ལཷཛཱྀོ འཿཪ To the B ride g room ’s Mo th er ༻འརཽཷཿ ཡའཿཷཽ 7KH%ULGH The Bridegroom’s Blessing ཱུ༹ ལཪཥའཱུ , BanterB an te r ༳ཱཻུཤཱི ཤཿཨའཱི ཪཱི ུའཿཧ , D ance ༷ཛཫ, ཤཛཫ Rise Up ! (1899 –190 1 ) གཷཛཽ འཿཤྃ ོའཿཤཛྷཿ ེའཱུ , O Mountain s , Brin g Bree z e (1913 –1 4) ༾ཷཻཷཱྀ རཷཱྀཨའཱུཤཿར Plowing Song of Lor i (1902 –0 6) ༵འཿཷཱཱྀུ Spring Song(190 2for, P oAtheneem by Ho vh annes Hovh anisyan) Song for Athene Song for Athene A John T a ve n er (19 44–2 013) ThreeSongSong forfSacredor AtheneAth Hymnsene A Three Sacred Hymns A Three Sacred Hymns A Three Sacred Hymns A Alfred Schn it tke (1 934–1 998) ThreeThree SacredSacred Hymns H ymn s Богородиц е Д ево, ра д уйся, Hail to th e V irgin M ary Господ и поми луй, Lord, Ha ve Mercy MissaОтч Memoriaе Наш, L ord’s Pra yer MissaK Memoria INTERMISSION MissaK Memoria Missa Memoria K K Lullaby (from T Lullaby (from T Sure on This Shining Night (Poem by James Agee) Lullaby (from T SureLullaby on This(from Shining T Night (Poem by James Agee) R ArmenianLullaby (from Folk TTunes R ArmenianSure on This Folk Shining Tunes Night (Poem by James Agee) Sure on This Shining Night (Poem by James Agee) R Armenian Folk Tunes R Armenian Folk Tunes The Bird (A hymn for Easter) K Song for Athene A Three Sacred Hymns PROGRAM David Haladjian (b. -
History of the Stetson University Concert Choir Gregory William Lefils Jr
Florida State University Libraries Electronic Theses, Treatises and Dissertations The Graduate School 2014 History of the Stetson University Concert Choir Gregory William Lefils Jr. Follow this and additional works at the FSU Digital Library. For more information, please contact [email protected] FLORIDA STATE UNIVERSITY COLLEGE OF MUSIC HISTORY OF THE STETSON UNIVERSITY CONCERT CHOIR By GREGORY WILLIAM LEFILS, JR. A Dissertation submitted to the College of Music in partial fulfillment of the requirements for the degree of Doctor of Philosophy Degree Awarded: Summer Semester, 2014 Gregory William LeFils, Jr. defended this dissertation on July 10, 2014. The members of the supervisory committee were: Kevin Fenton Professor Directing Dissertation Christopher Moore University Representative Judy Bowers Committee Member André J. Thomas Committee Member The Graduate School has verified and approved the above-named committee members, and certifies that the dissertation has been approved in accordance with university requirements. ii ACKNOWLEDGMENTS I would like to take this opportunity to thank the many individuals who helped me in the creation of this document. First I would to thank Gail Grieb for all of her help. Her tireless dedication as Stetson University Archives Specialist has been evident in my perusal of the many of thousands of documents and in many hours of conversation. I would also like to thank Dr. Suzanne Byrnes whose guidance and editorial prowess was greatly appreciated in putting together the final document. My thanks go to Dr. Timothy Peter, current director of the Concert Choir, and Dr. Andrew Larson, Associate Director of Choral activities, for their continued support and interest throughout this long process. -
Trauma and Recovery in Children's Books About Natural Disasters
VOL. 50, NO.1 JANUARY 2012 FEATURED ARTICLES Surviving the Storm: Trauma and Recovery in Children’s Books about Natural Disasters • Pathways’ End: The Space of Trauma in Patrick Ness’s Chaos Walking • Hearing the Voices of “Comfort Women”: Confronting Historical Trauma in Korean Children’s Literature • Representations of Trauma and Recovery in Contemporary North American and Australian Teen Fiction • Resistant Rituals: Self-Mutilation and the Female Adolescent Body in Fairy Tales and Young Adult Fiction • Death Row Everyman: Stanislas Gros’s Image-Based Interpretation of Victor Hugo’s The Last Day of a Condemned Man Would you like to write for IBBY’s journal? Academic Articles ca. 4000 words The Journal of IBBY, the International Board on Books for Young People Bookbird publishes articles on children’s literature with an international perspective four times a year Copyright © 2012 by Bookbird, Inc. Reproduction of articles in Bookbird requires permission in writing from the (in January, April, July and October). Articles that compare literatures of different countries are of interest, editors. as are papers on translation studies and articles that discuss the reception of work from one country in Editors: Roxanne Harde, University of Alberta—Augustana Faculty (Canada) and Lydia Kokkola, University of Turku another. Articles concerned with a particular national literature or a particular book or writer may also be (Finland) suitable, but it is important that the article should be of interest to an international audience. Some issues are devoted to special topics. Details and deadlines of these issues are available from Bookbird’s web pages. Address for submissions and other editorial correspondence: [email protected] and [email protected] Bookbird’s editorial office is supported by the Augustana Faculty at the University of Alberta, Camrose, Alberta, Canada. -
Adventures in Film Music Redux Composer Profiles
Adventures in Film Music Redux - Composer Profiles ADVENTURES IN FILM MUSIC REDUX COMPOSER PROFILES A. R. RAHMAN Elizabeth: The Golden Age A.R. Rahman, in full Allah Rakha Rahman, original name A.S. Dileep Kumar, (born January 6, 1966, Madras [now Chennai], India), Indian composer whose extensive body of work for film and stage earned him the nickname “the Mozart of Madras.” Rahman continued his work for the screen, scoring films for Bollywood and, increasingly, Hollywood. He contributed a song to the soundtrack of Spike Lee’s Inside Man (2006) and co- wrote the score for Elizabeth: The Golden Age (2007). However, his true breakthrough to Western audiences came with Danny Boyle’s rags-to-riches saga Slumdog Millionaire (2008). Rahman’s score, which captured the frenzied pace of life in Mumbai’s underclass, dominated the awards circuit in 2009. He collected a British Academy of Film and Television Arts (BAFTA) Award for best music as well as a Golden Globe and an Academy Award for best score. He also won the Academy Award for best song for “Jai Ho,” a Latin-infused dance track that accompanied the film’s closing Bollywood-style dance number. Rahman’s streak continued at the Grammy Awards in 2010, where he collected the prize for best soundtrack and “Jai Ho” was again honoured as best song appearing on a soundtrack. Rahman’s later notable scores included those for the films 127 Hours (2010)—for which he received another Academy Award nomination—and the Hindi-language movies Rockstar (2011), Raanjhanaa (2013), Highway (2014), and Beyond the Clouds (2017). -
MISSA WELLENSIS MISSA WELLENSIS Duration, None Longer Than 25 Minutes
MISSA WELLENSIS MISSA WELLENSIS duration, none longer than 25 minutes. These JOHN TAVENER (1944-2013) late-flowering pieces marked a step away from Death came close to John Tavener in December the expansive gestures present in much Missa Wellensis * 2007. The composer, in Switzerland for the of his music of the early 2000s; they also 1 Kyrie [6.06] first performance of his Mass of the encompassed a refinement of Tavener’s 2 Gloria [5.42] Immaculate Conception, was struck by a heart universalist outlook, part of a personal quest 3 Sanctus and Benedictus [3.01] 4 Agnus Dei [2.15] attack that knocked him into a coma for Sophia perennis or the perennial wisdom and demanded emergency surgery. When he common to all religious traditions. 5 The Lord’s Prayer [2.19] regained consciousness, Tavener the convalescent 6 Love bade me welcome [6.02] discovered that the familiar fervour of his The works of Tavener’s final years, including 7 Preces and Responses Part One * [2.07] faith in God was no longer there; he had the Missa Wellensis and Preces and Responses Cantor: Iain MacLeod-Jones (tenor) also lost his desire to write music. Tavener’s for Wells Cathedral, were driven by an intention 8 Psalm 121: I Will Lift up Mine Eyes unto the Hills [5.17] long recovery at home, a trial endured for to recover the essence of sacred or spiritual Magnificat and Nunc dimittis ‘Collegium Regale’ three years, was marked by physical weakness texts, to renew their vitality and immediacy, 9 Magnificat [7.25] and extreme pain and their correlates, to connect with their deepest claims to truth. -
The Hamlet Zone
The Hamlet Zone The Hamlet Zone: Reworking Hamlet for European Cultures Edited by Ruth J. Owen With an Afterword by Ton Hoenselaars The Hamlet Zone: Reworking Hamlet for European Cultures, Edited by Ruth J. Owen This book first published 2012 Cambridge Scholars Publishing 12 Back Chapman Street, Newcastle upon Tyne, NE6 2XX, UK British Library Cataloguing in Publication Data A catalogue record for this book is available from the British Library Copyright © 2012 by Ruth J. Owen and contributors All rights for this book reserved. No part of this book may be reproduced, stored in a retrieval system, or transmitted, in any form or by any means, electronic, mechanical, photocopying, recording or otherwise, without the prior permission of the copyright owner. ISBN (10): 1-4438-3974-4, ISBN (13): 978-1-4438-3974-7 CONTENTS List of Illustrations .................................................................................... ix Notes on Contributors................................................................................. xi Acknowledgements .................................................................................. xv Note on Translations ............................................................................... xvii Introduction ................................................................................................. 1 The Hamlet Zone Ruth J. Owen Chapter One................................................................................................. 7 Performance as Ironic Supplement: Portuguese Hamlet and -
JAMES D. BABCOCK, MBA, CFA, CPA 191 South Salem Road Ridgefield, Connecticut 06877 (203) 994-7244 [email protected]
JAMES D. BABCOCK, MBA, CFA, CPA 191 South Salem Road Ridgefield, Connecticut 06877 (203) 994-7244 [email protected] List of Addendums First Addendum – Middle Ages Second Addendum – Modern and Modern Sub-Categories A. 20th Century B. 21st Century C. Modern and High Modern D. Postmodern and Contemporary E. Descrtiption of Categories (alphabetic) and Important Composers Third Addendum – Composers Fourth Addendum – Musical Terms and Concepts 1 First Addendum – Middle Ages A. The Early Medieval Music (500-1150). i. Early chant traditions Chant (or plainsong) is a monophonic sacred form which represents the earliest known music of the Christian Church. The simplest, syllabic chants, in which each syllable is set to one note, were probably intended to be sung by the choir or congregation, while the more florid, melismatic examples (which have many notes to each syllable) were probably performed by soloists. Plainchant melodies (which are sometimes referred to as a “drown,” are characterized by the following: A monophonic texture; For ease of singing, relatively conjunct melodic contour (meaning no large intervals between one note and the next) and a restricted range (no notes too high or too low); and Rhythms based strictly on the articulation of the word being sung (meaning no steady dancelike beats). Chant developed separately in several European centers, the most important being Rome, Hispania, Gaul, Milan and Ireland. Chant was developed to support the regional liturgies used when celebrating Mass. Each area developed its own chant and rules for celebration. In Spain and Portugal, Mozarabic chant was used, showing the influence of North Afgican music. The Mozarabic liturgy survived through Muslim rule, though this was an isolated strand and was later suppressed in an attempt to enforce conformity on the entire liturgy. -
Daubnerová's Ninth: Masterpiece
Daubnerová’s Ninth: Masterpiece by Jana Wild - Svět a divadlo, Issue 6, 2020 The title of Daubnerová’s latest independent produCtion Masterpiece is meant to be inevitably ironiC. The audienCe at the premiere undoubtedly realised that. Simultaneously, however, judging by the numerous immediate, and one Could even say moved, reactions from her Colleagues (and namely women Colleagues), the audienCe embraced Daubnerová’s performanCe as a true pinnacle of her worK - as a masterpieCe. Even numeriCal symbolism offers itself to this: performanCe number nine, the peak, after whiCh, similarly to symphonies, it is both mentally and physiCally impossible to Continue. The facts seemingly ContradiCt that, however. On one hand, Sláva Daubnerová still seems liKe a youthful middle-aged performer (40), and on the other hand, solo performanCe Can seem liKe a miCrogenre that in no way meets the Criteria nor the vastness of a symphony. Indeed, if we are to stay in the realm of theatre, the sCale of a symphony is muCh Closer to that of an opera and Daubnerová has done several of those as a direCtor and is yet to do some more. So - why the pathos? Why the sadness? Why the irony in the name? Daubnerová intended, thematized and ConCeptualised Masterpiece as her farewell from the very beginning - a farewell to her solo independent original projeCts of the singular union of an author, performer, direCtor, artist, and produCer. It is worth mentioning that she was Creating independent performanCe art projeCts every year from 2006 to 2012: Cells, Hamlet-Machine, M.H.L., Polylogue, Illuminarium, Some Disordered Interior Geometries, Untitled, after three years Solo Lamentoso (2015), and after five more her final Masterpiece. -
Cambridge University Press 978-0-521-89888-1 — Shakespeare Survey Edited by Peter Holland Index More Information
Cambridge University Press 978-0-521-89888-1 — Shakespeare Survey Edited by Peter Holland Index More Information INDEX NOTE: Figures in italics denote illustrations. Abbott, E. A., 380 Aubaile, David, 253 Bateson, Gregory, 22n27 Abela, Alexander, 239–55 Auden, W. H., 14n5 Baudrillard, Jean, 123, 124 Abraham, F. Murray, 332, 333 Auslander, Philip, 148n4, 148n5, 150n10, Baughan, Jason, 338 Ackroyd, Peter, 290n3, 290n5, 298n23 153–4, 155, 156, 156n27 Bauman, H. Dirksen L., 75n6, 87n25 Adams, Jonathan, 60 Austen, Jane, 281 Bauman, Zygmunt, 251 Adelman, Janet, 107, 110n24, 110n25 Austin, Gilbert, 7, 10–11 Baxendale, Helen, 236n34 Adorno, Theodor, 122 Austin, J. L., 229 Baxter, Frank, 181, 189–90, 193, 198 Aebischer, Pascale, 214–26n8, 228n9 Axelrod, George, 135n8 Bazin, Andre,´ 117, 118, 123 Aesop, 256n4, 257n5 Beale, Simon Russell, 319, 350, 383 Ahlquist, Karen, 32–3 Baddeley, Angela, 183, 189 Beatles, 233 Ahmad, Aijaz, 255n55 Bagshaw, Christopher, 137n13 Beattie, Maureen, 98 Alagna, Roberto, 28, 29n14 Bailey, Lucy, 350, 357 Beatty, John Lee, 331 Alberg, Mildred Freed, 41–2, 45n34 Bain, A. W., 402 Beaumont, Francis, 369 Alexander, William, 393 Bakare, Ariyon, 352 Beck, Alan, 170n1 Allen, Mary Hope, 171–3, 178–9 Baker, Russell, 210 Beck, Ulrich, 246, 251 Almereyda, Michael, 23, 116, 122–5, Bakewell, Joan, 205n26 Beebe, Lucius, 38 129–30n67, 133, 151, 154n19, Bakhtin, Mikhail, 227 Beerbohm Tree, Herbert, 23 158, 384 Balfour, Ian, 250n35 Beldon, Eileen, 172 Altman, Rick, 15n9, 16n12, 17n14, Bancroft, Squire, 11n41 Bell, Alexander Graham, 10 18n18, 163, 166n38 Bandamanna Saga, 272 Bell, Alexander Melville, 10 Ambales Saga, 278–9 Bannerman, Andrew, 91 Bell, Charles, 8, 9 Anderson, Judith, 40, 55 Bannister, John, 7–8 Bell, George Joseph, 3, 8–11 Andrew, Dudley J., 117n8 Barber, C.