Festivals and the dynamics of the exceptional dead in northern Vietnam

2007 ◽  
Vol 38 (3) ◽  
pp. 515-540 ◽  
Author(s):  
Shaun Kingsley Malarney

AbstractThis article examines the changing dynamics of ritual engagements with the ‘exceptional dead’ in northern Vietnam. Since its inception, the socialist state has attempted to control which exceptional dead its citizenry can ritually engage in order to advance revolutionary goals. Although it was successful in this effort for several decades, since the early 1990s both the state and the population have begun ritually engaging a wider number of exceptional dead. This article examines the implications of this change with regard to political legitimation, access to sacred space and the changing role of the exceptional dead in people's lives.

2020 ◽  
Vol 26 (2) ◽  
pp. 145-149
Author(s):  
Aurelia Teodora Drăghici

SummaryTheme conflicts of interest is one of the major reasons for concern local government, regional and central administrative and criminal legal implications aiming to uphold the integrity and decisions objectively. Also, most obviously, conflicts of interest occur at the national level where political stakes are usually highest, one of the determining factors of this segment being the changing role of the state itself, which creates opportunities for individual gain through its transformations.


2021 ◽  
Vol 12 (3) ◽  
pp. 269-285 ◽  
Author(s):  
Steffi Ebert

The dramaturgs of the Deutsche Film-Aktiengesellschaft (DEFA), the GDR’s state-owned film production company, played a particular role in socialist children’s film culture. Within the production process, they acted as important mediators as well as developed themes and defended them before the state film censors. In this article, I argue that screenwriting for children and the changing role of the dramaturg were remarkable inasmuch as the creative collaboration between authors, dramaturgs and directors became a collective process of navigating between politics, education, film and the young audience that can reasonably be described as ‘collective authorship’. First, I will show how DEFA children’s film production was an example of the ‘state-socialist mode of children’s film production’ and examine Szczepanik’s model in the light of the current question. Following this, I will examine the structural and practical development of children’s film production in view of both official images of the child and the images of children anticipated by the filmmakers. At the same time, I will discuss the role of dramaturgs as participants in a collective authorship process.


2010 ◽  
pp. 25-52 ◽  
Author(s):  
Achim Schmid ◽  
Mirella Cacace ◽  
Heinz Rothgang

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