scholarly journals This is Not a Chair: Complicite's Master and Margarita

2014 ◽  
Vol 30 (2) ◽  
pp. 175-182 ◽  
Author(s):  
Liliane Campos
Keyword(s):  
Performance Style ◽  
Semantic Level ◽  
Close Analysis ◽  
British Drama ◽  
Theatre Studies ◽  
And Performance ◽  
The Master And Margarita ◽  
Contemporary Writing ◽  
Master And Margarita

In this article Liliane Campos links Complicite's Master and Margarita (2011) to the company's previous productions, from The Street of Crocodiles (1992) to Shun-Kin (2008). She develops a close analysis of The Master and Margarita as it was staged at the Avignon Festival in July 2012, arguing that the company's aesthetic is characterized by a tension between narrative fragmentation and visual connections. While Complicite's shows overflow with postmodernist multiplicity and division, the urge to connect these ‘shards of stories’ is a driving force in Simon McBurney's artistic direction. This dynamic is explored here both on a semantic level, as a consequence of Complicite's physical language, and on a narrative level, through the use of framing and frame-breaking devices. The article highlights the company's recurrent themes and the defining traits of its performance style. Liliane Campos is a Lecturer in English and Theatre studies at the Sorbonne Nouvelle University in Paris. She has published various articles on British drama and performance, and two books about the role of science in contemporary writing and devising for the theatre.

The tough Westerner

2021 ◽  
pp. 127-146
Author(s):  
Gillian Kelly
Keyword(s):  
World War Ii ◽  
Social Context ◽  
Real Life ◽  
World War ◽  
Career Trajectory ◽  
Performance Style ◽  
Major Curve ◽  
Star Image ◽  
And Performance

This chapter explores Power’s work within the Western genre. When Power was cast in the title role of Hollywood’s first ‘A Western’ of the 1930s: Jesse James (Henry King) in 1939 it marked the first major curve in Power’s career trajectory. When it became Twentieth Century-Fox’s biggest hit of the year this proved that audiences were ready to accept Power in more masculine roles at the close of the decade. Released in the period directly preceding America’s entry into World War II, the film was integral in developing a much-needed shift in Power’s screen masculinity, appearance and performance style, reflecting the shifting industrial and social context in which it was made. In advancing his star image away from a womaniser, and instead placing it within an overtly homosocial environment, Power was able to convincingly demonstrate male bonding and leadership through a tougher masculinity which was essential for both the historical timeframe and Power’s own upcoming real-life war service. Despite the film’s huge success, it was another 12 years before Power starred in another Western, and made just four in overall: Jesse James, Rawhide (Henry Hathaway, 1951), Pony Soldier (Joseph M. Newman, 1952) and The Mississippi Gambler (Rudolph Maté, 1953).

scholarly journals Piping Sung: Women, Canntaireachd and the Role of the Tradition-Bearer

2013 ◽  
Vol 36 ◽  
pp. 45
Author(s):  
Joshua Dickson
Keyword(s):  
Twentieth Century ◽  
19Th Century ◽  
Performance Practice ◽  
Flexible Tool ◽  
Performance Style ◽  
Field Recordings ◽  
And Performance ◽  
The 19Th Century

Canntaireachd (pronounced ‘counter-achk’), Gaelic for ‘chanting’, is a complex oral notation used by Scottish pipers for centuries to teach repertoire and performance style in the courtly, ceremonial ceòl mór idiom. Its popular historiography since the 19th century suggests it was fixed and highly formulaic in structure and therefore formal (as befitting its connection to ceòl mór), its use the preserve of the studied elite. However, field recordings of pipers and other tradition-bearers collected and archived since the 1950s in the School of Scottish Studies present a vast trove of evidence suggesting that canntaireachd as a living, vocal medium was (and remains) a dynamic and flexible tool, adapted and refined to personal tastes by each musician; and that it was (is) widely used as well in the transmission of the vernacular ceòl beag idiom - pipe music for dancing and marching. In this paper, I offer some remarks on the nature of canntaireachd, followed by a review of the role of women in the transmission and performance of Highland, and specifically Hebridean, bagpipe music, including the use of canntaireachd as a surrogate performance practice. There follows a case study of Mary Morrison, a woman of twentieth century Barra upbringing, who specialised in performing canntaireachd; concluding with a discussion on what her singing of pipe music has to say about her knowledge of piping and the nature of her role as, arguably, a piping tradition-bearer.

scholarly journals The Motive of Peace in the Works of B. Pasternak and M. Bulgakov

2021 ◽  
Vol 26 (4) ◽  
pp. 761-770
Author(s):  
Li Fei ◽  
Maria S. Rudenko
Keyword(s):  
Russian Culture ◽  
The Bible ◽  
Spiritual Tradition ◽  
Similarities And Differences ◽  
House Music ◽  
The Master And Margarita ◽  
The Way ◽  
Master And Margarita

The concept of peace entered into Russian culture from the Bible and became its important spiritual tradition. With the development of secular literature, peace has gradually come out of the sacred field and become the significant aesthetic concept rich in connotation. In their works, Pasternak and Bulgakov reflect on the peace in the field of existence and art, especially the ontological value of family and love, thoughts about history, death and creativity. The concept of memory plays an important role in the artistic world of the two writers. Bulgakovs and Pasternaks books are testimony to rebirth and immortality, which is the way they participate in the sacred cause. The paper analyzes the place and role of the motive of peace in the novels of B. Pasternak Doctor Zhivago and M. Bulgakov The Master and Margarita in their similarities and differences. In this regard, the images of the house, music, creativity as the focus of the artists world are compared, the typological related figures of the beloved muse and the savior are considered, the specificity of the disclosure of the theme of immortality in creativity is noted.

Ambiguity and Meaning in The Master and Margarita: The Role of Afranius

Slavic Review ◽  
1977 ◽  
Vol 36 (1) ◽  
pp. 1-24 ◽  
Author(s):  
Richard W. F. Pope
Keyword(s):  
The Novel ◽  
Secret Police ◽  
The Third ◽  
Darkened Room ◽  
The Master And Margarita ◽  
Master And Margarita

Perhaps the most mysterious and elusive figure in Bulgakov's The Master and Margarita is Afranius, a man who has been in Judea for fifteen years working in the Roman imperial service as chief of the procurator of Judea's secret police. He is present in all four Judean chapters of the novel (chapters 2, 16, 25, 26) as one of the myriad connecting links, though we really do not know who he is for certain until near the end of the third of these chapters, “How the Procurator Tried to Save Judas of Karioth.” We first meet him in chapter 2 (which is related by Woland and entitled “Pontius Pilate”) simply as “some man” (kakoi-to chelovek), face half-covered by a hood, in a darkened room in the palace of Herod the Great, having a brief whispered conversation with Pilate, who has just finished his fateful talk with Caiaphas (E, p. 39; R, pp. 50-51). Fourteen chapters later, in the chapter dreamed by Ivan Bezdomnyi and entitled “The Execution” (chapter 16), we meet him for the second time, now bringing up the rear of the convoy escorting the prisoners to Golgotha and identified only as “that same hooded man with whom Pilate had briefly conferred in a darkened room of the palace” (E, p. 170; R, p. 218). “The hooded man” attends the entire execution sitting in calm immobility on a three-legged stool, “occasionally out of boredom poking the sand with a stick” (E, p. 172; R, p. 220). When the Tribune of the Cohort arrives, presumably bearing Pilate's orders to terminate the execution, he (the Tribune) speaks first to Krysoboi (Muribellum), who goes to pass on the orders to the executioners, and then to “the man on the three-legged stool,” according to whose gestures the executioners arouse Yeshua from his stupor, offer him a drink which he avidly accepts, and then kill him by piercing him “gently” (tikhon'ko) through his heart with a spear.

Between Power and Love: Pilate’s Transformation in The Master and Margarita

2020 ◽  
Vol 65 (4) ◽  
pp. 585-606
Author(s):  
Dmitry Vladislavovich Bosnak
Keyword(s):  
Divine Love ◽  
Early Christian ◽  
Moral Subject ◽  
Actual Person ◽  
The Master And Margarita ◽  
The Impact ◽  
Master And Margarita

Summary The conventional reading of the “ancient” chapters of Bulgakov’s The Master and Margarita attributes the role of an active moral subject to Pilate and a largely passive role to Ieshua. Proceeding from this assumption, the encounter between these characters is interpreted as an ethical event, in which Pilate is supposed to make decisions based entirely on his own will. This paper challenges this reading by arguing that Ieshua, generally considered the epitome of love, is the actual source of the events in which Pilate is involved. This idea is demonstrated by a comparison with the early Christian experience that views divine love as prior to power and intellect. The analysis traces Pilate’s inner transformation caused by the impact of proactive love and of the actual person of Ieshua, rather than his ideas, which clarifies the meaning of the encounter of these protagonists in Bulgakov’s novel.

Trace nanoanalysis

1994 ◽  
Vol 52 ◽  
pp. 940-941
Author(s):  
D. E. Newbury ◽  
R. D. Leapman
Keyword(s):  
High Performance ◽  
Secondary Ion Mass Spectrometry ◽  
Detection Efficiency ◽  
Volume Element ◽  
And Performance ◽  
Trace Constituents ◽  
Secondary Ion ◽  
Concentration Levels ◽  
Structure Properties

Trace constituents, which can be very loosely defined as those present at concentration levels below 1 percent, often exert influence on structure, properties, and performance far greater than what might be estimated from their proportion alone. Defining the role of trace constituents in the microstructure, or indeed even determining their location, makes great demands on the available array of microanalytical tools. These demands become increasingly more challenging as the dimensions of the volume element to be probed become smaller. For example, a cubic volume element of silicon with an edge dimension of 1 micrometer contains approximately 5×1010 atoms. High performance secondary ion mass spectrometry (SIMS) can be used to measure trace constituents to levels of hundreds of parts per billion from such a volume element (e. g., detection of at least 100 atoms to give 10% reproducibility with an overall detection efficiency of 1%, considering ionization, transmission, and counting).

The Relation Between Financial Incentives, Motivation, and Performance

2017 ◽  
Vol 16 (2) ◽  
pp. 61-76 ◽  
Author(s):  
Anaïs Thibault Landry ◽  
Marylène Gagné ◽  
Jacques Forest ◽  
Sylvie Guerrero ◽  
Michel Séguin ◽  
...  
Keyword(s):  
Financial Incentives ◽  
Work Performance ◽  
Autonomous Motivation ◽  
Compensation Plans ◽  
Work Settings ◽  
Path Analyses ◽  
Three Samples ◽  
And Performance ◽  
Performance Results

Abstract. To this day, researchers are debating the adequacy of using financial incentives to bolster performance in work settings. Our goal was to contribute to current understanding by considering the moderating role of distributive justice in the relation between financial incentives, motivation, and performance. Based on self-determination theory, we hypothesized that when bonuses are fairly distributed, using financial incentives makes employees feel more competent and autonomous, which in turn fosters greater autonomous motivation and lower controlled motivation, and better work performance. Results from path analyses in three samples supported our hypotheses, suggesting that the effect of financial incentives is contextual, and that compensation plans using financial incentives and bonuses can be effective when properly managed.

The role of copper ions in hydrogen peroxide bleaching: Their origin, removal, and effect on pulp quality

TAPPI Journal ◽  
2012 ◽  
Vol 11 (7) ◽  
pp. 37-46 ◽  
Author(s):  
PEDRO E.G. LOUREIRO ◽  
SANDRINE DUARTE ◽  
DMITRY V. EVTUGUIN ◽  
M. GRAÇA V.S. CARVALHO
Keyword(s):  
Hydrogen Peroxide ◽  
Copper Ions ◽  
Peroxide Bleaching ◽  
Metals Removal ◽  
Peroxide Decomposition ◽  
Equipment Corrosion ◽  
And Performance ◽  
And Control ◽  
Main Effects

This study puts particular emphasis on the role of copper ions in the performance of hydrogen peroxide bleaching (P-stage). Owing to their variable levels across the bleaching line due to washing filtrates, bleaching reagents, and equipment corrosion, these ions can play a major role in hydrogen peroxide decomposition and be detrimental to polysaccharide integrity. In this study, a Cu-contaminated D0(EOP)D1 prebleached pulp was subjected to an acidic washing (A-stage) or chelation (Q-stage) before the alkaline P-stage. The objective was to understand the isolated and combined role of copper ions in peroxide bleaching performance. By applying an experimental design, it was possible to identify the main effects of the pretreatment variables on the extent of metals removal and performance of the P-stage. The acid treatment was unsuccessful in terms of complete copper removal, magnesium preservation, and control of hydrogen peroxide consumption in the following P-stage. Increasing reaction temperature and time of the acidic A-stage improved the brightness stability of the D0(EOP)D1AP bleached pulp. The optimum conditions for chelation pretreatment to maximize the brightness gains obtained in the subsequent P-stage with the lowest peroxide consumption were 0.4% diethylenetriaminepentaacetic acid (DTPA), 80ºC, and 4.5 pH.

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