Akbar's Dream* Phiroze Vasunia
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How to Witness the World with a Distance Barbican Young Poets 2013–14 Barbican.Org.Uk How to Witness the World with a Distance Barbican Young Poets 2013–14 Contents
How to Witness the World with a Distance Barbican Young Poets 2013–14 barbican.org.uk How to Witness the World with a Distance Barbican Young Poets 2013–14 Contents Anthony Adler 6–7 Rena Minegishi 30–31 Coconut Crab, Mia Anima Tokyo / Beijing Canute Goes to the Seaside After the Argument Shoshana Anderson 8–9 Luke E.T Newman 32–33 Redwood How to Father the Father Indea Barbe-Willson 10–11 in Three Minutes Where Charred Minds Go Ya Hobb (In the Name of Love) Paint-Stripped Doors Damilola Odelola 34–35 Sunayana Bhargava 12–13 Lego People Toiling And the Stuff that Comes Before a Fall Wallpaper Ghosts Kareem Parkins–Brown 36–37 Cameron Brady–Turner 14–15 It’s Not the Hinges; Change the Door Bend Sinister We Knew Before Living Alone: An Experiment Kieron Rennie 38–39 Katie Byford 16–17 Tottenham Letters Amaal Said 40–41 Night and Day in the Midwest He Loves Me, He’s Just Hurting Omar Bynon 18–19 Vollsmose Are We? Ankita Saxena 42–43 The Blue To Blink (Verb) James Coghill 20 Times Square – Halloween / IP6 9PS The A4 – Karva Chaut To a Station of the Overground Isabel Stoner 44–45 Greer Dewdney 21 Innocence Meant to Be Why Don’t We All Dance this Way? Sibling Rivalry Will Tyas 46–47 Emily Harrison 22–23 Illinois I Can’t Sleep Specular ‘Cause My Bed’s on Fire Harry Wilson 48–49 T-Cut Light/Gold Dillon Leet 24–25 White Cliff Country The Accident Antosh Wojcik 50–51 Thank You Letter Living in the Ozone Layer with Lana Masterson 26–27 Major Tom After He Lost Ground Control Lost Generation The Novelty of Flying has a Strange Odour Kiran Millwood Hargrave 28–29 Dulcet Cover image: Amaal Said Golden Shovel Courtesy of Susana Sanroman, Barbican 2014. -
Supernatural Elements in No Drama Setsuico
SUPERNATURAL ELEMENTS IN NO DRAMA \ SETSUICO ITO ProQuest Number: 10731611 All rights reserved INFORMATION TO ALL USERS The quality of this reproduction is dependent upon the quality of the copy submitted. In the unlikely event that the author did not send a complete manuscript and there are missing pages, these will be noted. Also, if material had to be removed, a note will indicate the deletion. uest ProQuest 10731611 Published by ProQuest LLC(2017). Copyright of the Dissertation is held by the Author. All rights reserved. This work is protected against unauthorized copying under Title 17, United States Code Microform Edition © ProQuest LLC. ProQuest LLC. 789 East Eisenhower Parkway P.O. Box 1346 Ann Arbor, Ml 4 8 1 0 6 - 1346 Supernatural Elements in No Drama Abstract One of the most neglected areas of research in the field of NS drama is its use of supernatural elements, in particular the calling up of the spirit or ghost of a dead person which is found in a large number (more than half) of the No plays at present performed* In these 'spirit plays', the summoning of the spirit is typically done by a travelling priest (the waki)* He meets a local person (the mae-shite) who tells him the story for which the place is famous and then reappears in the second half of the.play.as the main person in the story( the nochi-shite ), now long since dead. This thesis sets out to show something of the circumstances from which this unique form of drama v/as developed. -
Secondary Indian Culture and Heritage
Culture: An Introduction MODULE - I Understanding Culture Notes 1 CULTURE: AN INTRODUCTION he English word ‘Culture’ is derived from the Latin term ‘cult or cultus’ meaning tilling, or cultivating or refining and worship. In sum it means cultivating and refining Ta thing to such an extent that its end product evokes our admiration and respect. This is practically the same as ‘Sanskriti’ of the Sanskrit language. The term ‘Sanskriti’ has been derived from the root ‘Kri (to do) of Sanskrit language. Three words came from this root ‘Kri; prakriti’ (basic matter or condition), ‘Sanskriti’ (refined matter or condition) and ‘vikriti’ (modified or decayed matter or condition) when ‘prakriti’ or a raw material is refined it becomes ‘Sanskriti’ and when broken or damaged it becomes ‘vikriti’. OBJECTIVES After studying this lesson you will be able to: understand the concept and meaning of culture; establish the relationship between culture and civilization; Establish the link between culture and heritage; discuss the role and impact of culture in human life. 1.1 CONCEPT OF CULTURE Culture is a way of life. The food you eat, the clothes you wear, the language you speak in and the God you worship all are aspects of culture. In very simple terms, we can say that culture is the embodiment of the way in which we think and do things. It is also the things Indian Culture and Heritage Secondary Course 1 MODULE - I Culture: An Introduction Understanding Culture that we have inherited as members of society. All the achievements of human beings as members of social groups can be called culture. -
FIFF-PROGRAMME-2017-WEB 2.Pdf
#programme #films #events #emotions www.fiff.ch #fiff17 Souvenirs Achetez des souvenirs du FIFF Un bout de FIFF à la maison : à partir du 16.03.17, des produits dérivés du FIFF sont disponibles aux points de vente du Festival. Vous serez aussi chic que le Festival ! Holen Sie sich die FIFF 2017 Merchandise-Artikel Ein Stück FIFF für Zuhause: Ab dem 16.03.17 sind diverse FIFF- Artikel an den Verkaufsstellen des Festivals erhältlich. Sie werden festival-chic aussehen! Get Your FIFF 2017 Merchandise now! A piece of FIFF at home: As from 16.03.17, FIFF merchandise is available for purchase at the Festival’s points of sale. You’ll look festival-chic! 1 Souvenirs Festival International de Films de Fribourg Internationales Filmfestival Freiburg Fribourg International Film Festival Sommaire | Inhaltsverzeichnis | Contents #introduction #parallel #sections Souvenirs 1 Cinéma de genre Genrekino | Genre Cinema 65 Index des films Histoires de fantômes Filmverzeichnis Gespenstergeschichten Index of Films 6 Ghost stories Index des réalisateurs/trices Décryptage Verzeichnis der RegisseurInnen Entschlüsselt | Decryption 89 Index of Directors 8 Cabinet de curiosités cinématographiques Messages 12 Ein filmisches Kuriositätenkabinett A cinematic cabinet of curiosities Comité d’honneur Unterstützungskomitee Diaspora 109 Board of Honour 24 Myret Zaki et l’Egypte Myret Zaki und Ägypten Membres des jurys Myret Zaki and Egypt Jurymitglieder Jury members 27 Hommage à… 119 Freddy Buache Nouveau territoire #official #selection Neues Territorium | New Territory -
Decolonizing the White Colonizer? by Cecilia Cissell Lucas a Dissertation
Decolonizing the White Colonizer? By Cecilia Cissell Lucas A dissertation submitted in partial satisfaction of the requirements for the degree of Doctor of Philosophy in Education in the Graduate Division of the University of California, Berkeley Committee in charge: Professor Patricia Baquedano-López, Chair Professor Zeus Leonardo Professor Ramón Grosfoguel Professor Catherine Cole Fall 2013 Decolonizing the White Colonizer? Copyright 2013 Cecilia Cissell Lucas Abstract Decolonizing the White Colonizer? By Cecilia Cissell Lucas Doctor of Philosophy in Education University of California, Berkeley Professor Patricia Baquedano-López, Chair This interdisciplinary study examines the question of decolonizing the white colonizer in the United States. After establishing the U.S. as a nation-state built on and still manifesting a colonial tradition of white supremacy which necessitates multifaceted decolonization, the dissertation asks and addresses two questions: 1) what particular issues need to be taken into account when attempting to decolonize the white colonizer and 2) how might the white colonizer participate in decolonization processes? Many scholars in the fields this dissertation draws on -- Critical Race Theory, Critical Ethnic Studies, Coloniality and Decolonial Theory, Language Socialization, and Performance Studies -- have offered incisive analyses of colonial white supremacy, and assume a transformation of white subjectivities as part of the envisioned transformation of social, political and economic relationships. However, in regards to processes of decolonization, most of that work is focused on the decolonization of political and economic structures and on decolonizing the colonized. The questions pursued in this dissertation do not assume a simplistic colonizer/colonized binary but recognize the saliency of geo- and bio-political positionalities. -
Przeglad Orient 2-19.Indd
ALEKSANDRA TUREK DOI 10.33896/POrient.2019.2.5 Uniwersytet Warszawski RADŹASTHANI – POCZĄTKI JĘZYKA I LITERATURY ABSTRACT: The paper presents a general introduction of Rajasthani – the language used in North-Western India – the development of the language and the beginnings of Rajasthani literature. It also draws attention to the complexity of linguistic nomenclature used for Rajasthani and to its relation with other North Indian languages, with a special regard to Hindi. The rise of literary tradition in the vernacular of North-Western India and its connection with the history of Hindi literature is analysed. Rajasthani is considered to be the first vernacular of North India in which literature has evolved, and hence predates the oldest works from the region known as Hindi belt by at least two hundred years. Rajasthani and Gujarati used to have one linguistic form, which only split into two languages after the 15th century whereby Rajasthani adopted its modern form, still used today, and Gujarati developed independently. The claims of some scholars that the initial literary period of North-Western India – i.e. until the 15th century – be included in the history of Hindi literature are also presented in the paper. KEYWORDS: Rajasthan, Rajasthani language, Rajasthani literature, Hindi, Adi Kal Radźasthani (rājasthānī) to ogólny termin na określenie różnorodnych form języ- kowych, mających własne liczne odmiany dialektalne, używanych na obszarze Radźa- sthanu (Rājasthān), czyli tej części północno-zachodnich Indii, która mieści się w gra- nicach współczesnego stanu o tej samej nazwie. Warto jednak pamiętać, że podobnie jak większość nazw poszczególnych języków regionalnych Indii Północnych, także ten termin wprowadzono dość późno, na przełomie XIX i XX w. -
Kim Sujin and the Shinjuku Ryozanpaku
Carleton College Carleton Digital Commons Faculty Work Asian Studies 2009 The Avant-garde and Resident Korean Film-making: Kim Sujin and the Shinjuku Ryozanpaku Noboru Tomonari Carleton College Follow this and additional works at: https://digitalcommons.carleton.edu/asst_faculty Part of the Japanese Studies Commons Recommended Citation Tomonari, Noboru. "The Avant-garde and Resident Korean Film-making: Kim Sujin and the Shinjuku Ryozanpaku." Journal of Japanese & Korean Cinema, Journal of Japanese & Korean Cinema, 1, no.1 (2009): 65-81. Accessed via Faculty Work. Asian Studies. Carleton Digital Commons. https://digitalcommons.carleton.edu/asst_faculty/1 This Article is brought to you for free and open access by the Asian Studies at Carleton Digital Commons. It has been accepted for inclusion in Faculty Work by an authorized administrator of Carleton Digital Commons. For more information, please contact [email protected]. Journal of Japanese and Korean Cinema Volume 1 Number 1 © 2009 Intellect Ltd Article. English language. doi: 10.1386/jjkc.1.1.65/1 The avant-garde and resident Korean film-making: Kim Sujin and the Shinjuku Ryozanpaku Noboru Tomonari Carleton College Abstract Keywords The plays and films of Kim Sujin (1954– ) and his company Shinjuku Koreans in Japan Ryozanpaku attest to the variety of styles employed in recent works by resident Japanese cinema Korean artists in Japanese literature and theatre. The appearance of his plays Japanese theatre and films is connected to the changing identities of resident Koreans, especially Kim Sujin since the 1980s. Kim makes use of political theatre performances of the earlier Shinjuku Ryozanpaku period to magnify and to remake into art the experiences of resident Koreans in Japan. -
16.-22. Oktober 2003 På Bergen Kino Lørdag 18
16.-22. OKTOBER 2003 PÅ BERGEN KINO www.filmweb.no/biff LØRDAG 18. OKTOBER KP1 KL. 19.00 Et hav av film venter deg.. Lunsjretter, middagsretter, utstillinger, cafe-quiz mandager, BIFF byr på et rekordstort program i år. Med mer enn hundre langfilmer og nærmere 150 kortfilmer på programmet er BIFF den desiderte største konserter tirs- og torsdager og klubb onsdag og i helgene... filmfestivalen i Norge. BIFF er i år selve lokomotivet i Bergen Art Festival, som består av åtte partnere innen samtidskunstfeltet. ”På vei mot den 7. kunstart” har vi kalt denne fellesmarkeringen – fordi film er den kunstkunstart som tar opp i seg de andre fagfeltene, så som litteratur, musikk, billed- og scenekunst. PRØV VÅR NYE SANDWICHMENY, OGSÅ TAKE-AWAY!!! Hva er så de viktigste tema for årets BIFF? Det er først nå vi får rushet av Åpningstider: filmer som er laget etter 11. september 2001. Flere av filmene bærer preg mandag - lørdag 11.00 - 00.30/03.30 av den nye verdensuro i kjølvannet av det som skjedde og hva som er skjedd i etterkant. søndag 12.00 - 00.30 Café Opera Et annet tema er det vi i forrige århundre kalte kvinnefrigjøring. Det handler om kvinner som på forskjellig vis kutter kontakten til menn og prøver å stake ut sin egen kurs. PERSONAL VELOCITY er et Engen 18 - 5011 Bergen - tlf. 55 23 03 15 godt eksempel her. Så har vi en del filmer som har ensomhet som grunnleggende tema, selv om de på overflaten handler om noe annet og mer konkret. Og videre: "Grenseland i film" – vårt prosjekt i samarbeid med Statens filmtilsyn - handler i år om moralske panikker vis à vis f.eks. -
Ken Feingold Figures of Spee
| Honorowy Patronat Prezydenta Rzeczypospolitej Polskiej Bronisława Komorowskiego | Honorary Patronage of the President of the Republic of Poland Bronisław Komorowski Publikacja towarzyszy wystawie KEN FEINGOLD: Figury mowy – skradzione głosy zorganizowanej przez Gdańską Galerię Miejską we współpracy z Centrum Sztuki Współczesnej ŁAŹNIA w ramach projektu Art+Science Meeting w dniach 18 maja–13 lipca 2014 The publication accompanies the exhibition KEN FEINGOLD: Figures of Speech – Stolen Voices organised by the Gdańsk City Gallery in cooperation with the LAZNIA Centre for Contemporary Art in Gdańsk as part of the Art+Science Meeting project 18 May–13 July 2014 kurator | curated by Ryszard W. Kluszczyński KEN FEINGOLD: Figury mowy KEN FEINGOLD: Figures of Speech Centrum Sztuki Współczesnej Łaźnia Laznia Centre for Contemporary Art 2014 redaktor | edited by Ryszard W. Kluszczyński Spis treści Contents Ryszard W. Kluszczyński Znajdując siebie w innych. Wstępne refleksje na temat twórczości Kena Feingolda | Finding Oneself in Others. Introductory Reflections on Ken Feingold’s Art 6 | Ken Feingold Figury mowy | Figures of Speech 24 | Erkki Huhtamo Z ust lalki, niejasno. O sztuce Kena Feingolda | From The Puppet’s Mouth, Darkly. About Ken Feingold’s Art 36 | Ewa Wójtowicz Pisanie tożsamości. Sztuka wobec sztucznej inteligencji – Kena Feingolda „Figury mowy” | Writing Personalities. Art Vis-à-vis Artificial Intelligence – Ken Feingold’s “Figures of Speech” 76 | Edward Shanken Miłość to dobry początek. Rozmowa z Kenem Feingoldem | Love Is a Good Place to Start. Interview with Ken Feingold 108 | Biogramy | Biographies 138 | Znajdując siebie w innych Wstępne refleksje na temat twórczości Kena Feingolda Finding Oneself in Others Introductory Reflections on Ken Feingold’s Art Ryszard W. -
Con Michael Pitt, Keira Knightley, Alfred Molina, Koji Yakusho, Sei
DOMENICO PROCACCI presenta SSEETTAA Regia di Francois Girard Tratto dall’omonimo romanzo di Alessandro Baricco Con Michael Pitt, Keira Knightley, Alfred Molina, Koji Yakusho, Sei Ashina Una co-produzione Canada/Italia/Giappone Prodotto da Rhombus Media, Fandango e Bee Vine Pictures, in associazione con Productions Soie e Vice Versa Films Una distribuzione MEDUSA FILM SSEETTAA CAST TECNICO REGIA FRANCOIS GIRARD SCENEGGIATURA FRANCOIS GIRARD MICHAEL GOLDING DIRETTORE DELLA FOTOGRAFIA ALAIN DOSTIE MUSICHE RYUICHI SAKAMOTO MONTAGGIO PIA DI CIAULA SCENOGRAFIA FRANCOIS SEGUIN COSTUMI CARLO POGGIOLI KAZUKO KUROSAWA CASTING SUSIE FIGGIS PRODOTTO DA NIV FICHMAN NADINE LUQUE DOMENICO PROCACCI SONOKO SAKAI . Seta è una co-produzione Canada/Italia/Giappone, prodotta da Rhombus Media, Fandango e Bee Vine Pictures, in associazione con Productions Soie e Vice Versa Films. Picturehouse si occuperà della distribuzione negli Stati Uniti; Motion Picture Distribution LP lo distribuirà in Canada, Medusa in Italia e Asmik Ace in Giappone. New Line International gestirà gli altri territori. CREDITI NON CONTRATTUALI 2 SSEETTAA CAST ARTISTICO Hervé Joncour MICHAEL PITT Hèléne Fouquet KEIRA KNIGHTLEY Baldabiou ALFRED MOLINA Hara Jubei KOJI YAKUSHO La Ragazza SEI ASHINA Madame Blanche MIKI NAKATANI Umon JUN KUNIMURA Ludovic MARK RENDALL Sindaco Joncour KENNETH WELSH Commerciante CALLUM KEITH RENNIE Il Ragazzo KANATA HONGO Verdun TONI BERTORELLI CREDITI NON CONTRATTUALI 3 SSEETTAA SINOSSI Eterea e delicata, eppure assai resistente, la seta è stata desiderata e cercata per centinaia di anni. Inafferrabile, sensuale, trasformazione quasi alchimistica del mondano in magico, la seta è un materiale diverso da tutti gli altri. Per coloro che trattano il tessuto, è quasi senza prezzo… come l’amore. -
The Forsaken Woman
Forsaken Woman v1.0 The Forsaken Woman 程大嫂 An English Translation of Fong Yim Fun’s Performance Script 芳艷芬演出本 1954 Scripted by TONG Tik Sang 唐滌生編劇 * This Translation (Version 1.0) by YEE Siu Ying Grace (Kwan Fong Cultural Research and Development Programme, Lingnan University) © 2012 * Major Plays of Hong Kong Cantonese Opera: A Translation Project 香港粵劇經典劇目翻譯計劃 Kwan Fong Cultural Research and Development Programme Lingnan University 群芳文化研究及發展部 嶺南大學 Funded by the Cantonese Opera Development Fund 粵劇發展基金資助 1 Forsaken Woman v1.0 The Forsaken Woman An English Translation of Fong Yim Fun’s Performance Script 1954 Scripted by TONG Tik Sang This Translation (Version 1.0) by YEE Siu Ying Grace This work is licensed under a Creative Commons Attribution-NonCommercial 3.0 Unported License. You are free: to Share — to copy, distribute and transmit the work to Remix — to adapt the work Under the following conditions: Attribution — You must attribute the work in the manner specified by the author or licensor (but not in any way that suggests that they endorse you or your use of the work). Noncommercial — You may not use this work for commercial purposes. This work is also released under this special condition: You may make commercial use of the work only in the circumstance of adapting the work for use as English surtitles/supertitles in Cantonese opera performances. http://creativecommons.org/licenses/by-nc/3.0/ http://creativecommons.org/licenses/by-nc-sa/3.0/hk/legalcode 2 Forsaken Woman v1.0 THE FORSAKEN WOMAN (BIG SISTER CHING) ACT 1 (At The Kung family firewood storage) A door at stage center, outside stands a red railing. -
Translation As Theory and Praxis: Indigenous Literature of Rajasthan with Special Reference to Vijay Dan Detha's Stories
Translation as Theory and Praxis: Indigenous Literature of Rajasthan with Special Reference to Vijay Dan Detha’s Stories Divya Joshi Dungar College ÖZET Çeviri; bir kültürün, bir bölgenin edebiyat›n› di¤er bir kültüre - bölgeye tafl›r ve karfl›l›kl› kültürel iliflkiyle birlikte güven duygusu oluflmas›na katk›da bulunur. Fakat Hindistan örne¤inde bölgesel kültü- rün ürünü olan edebiyat›n daha güçlü olan milli kültürün içinde erime tehlikesi vard›r. Dolay›s›yla, çe- virmenin stratejisi hem alt kültür ürününü muhafaza etmek, hem de milli kültürle bar›fl›k olmal›d›r. Ya- ni çeviri metin Hintlilerde bu eserin kendilerine ait oldu¤unu hissettirirken, ayn› zamanda da bir bölge kültürüne ait oldu¤unu göstermelidir. ‹ngilizce’nin farkl› kullan›mlar› oldu¤u gibi, teori ve pratikte bir Rajastan metni de bir Pencap metninden daha farkl› okunmal›d›r. Hindistan gibi çok dilli bir ülkede alt kültüre ait ve daha az bilinen Marwari (Rajastanca olarak bilinen dil) dili ve dillerin ürünü olan edebi- yat ürünleri ve çevirileri öncelik kazanmaktad›r. Bu makalenin amac›; Hindistan özelinde üretilmifl, kül- türel anlamda benzerlik tafl›yan alt kültüre ait metinleri dikkate alarak, dilller aras› çeviri metinler üze- rinden yerel-bölgesel kültürün önemini vurgulamakt›r. Makalenin ilk bölümü çeviri teorisi ve uygula- malar› üzerinedir. ‹kinci bölüm ise, Vijaydan Detha’n›n k›sa hikaye antolojisi olan Chouboli adl› eseri- ni çeviren Christi Merrill’in bir çevirmen olarak durumunu de¤erlendirecektir. Sonuçta, Christi’nin ese- rinin önsözünde kendi tecrübesinden yola ç›karak ifade etti¤i “etkili bir uygulama olarak çeviri” bafll›- ¤›n›n bir tart›flmas› yap›lacakt›r.