scholarly journals Theatrical and dramatic work of Oleg Ulyashev

2021 ◽  
Vol 13 (4) ◽  
pp. 405-416
Author(s):  
Natalia V. Gorinova
Keyword(s):  
National Identity ◽  
National Culture ◽  
Folk Art ◽  
Komi Republic ◽  
The Past ◽  
History Of ◽  
Comparative Results ◽  
Historical Past ◽  
Important Milestone

Introduction. The work is devoted to the study of the theatrical and dramatic work of O. Ulyashev. It reveals the originality of his dramatic handwriting and some aspects of the movement of national culture in the 1990s. Materials and Methods. The material of the study was the plays by O. Ulyashev. The method of study is comparative. Results and Discussion. O. Ulyashev’s plays are an important milestone in the history of the development of the Komi Theater. His plays, like many other ones of the turn of the XX–XXI centuries, are inherent in the desire for renewal. The artistic originality of his texts, however, determines the actualization of folklore material. The writer’s worldview is close to the high artistic, aesthetic and moral and philosophical potential of oral folk art. It is folklore origins that contribute to his creative quest and the development of his creative aspirations. O. Ulyashev’s works, like many other works of Komi literature of the late XX century about the historical past of the Zyryans, serve to increase and strengthen national identity. Conclusion. The work of the writer O. Ulyashev played an important role in the development of theatrical and dramatic art of the Komi Republic. His plays largely update the Komi drama, saturating it with folklore material, romanticizing the past of the Zyryans.

scholarly journals CREATIVE CONTACTS OF SCIENTIST AND POET A.E. VANEEV (ON THE MATERIALS OF HIS EPISTOLARY HERITAGE)

2019 ◽  
Vol 29 (3) ◽  
pp. 544-551
Author(s):  
S.L. Egorova ◽  
K.A. Popova
Keyword(s):  
National Identity ◽  
Characteristic Feature ◽  
History Of Science ◽  
National Culture ◽  
Professional Community ◽  
Komi Republic ◽  
Science And Culture ◽  
History Of ◽  
The Subject

Interest in the history of science and its representatives is a characteristic feature of social and humanitarian knowledge. The contribution of scientists and artists is estimated, as a rule, from their works, both published and remaining in manuscript. At the same time, it is equally important to reveal the scientific and creative connections of a scientist, to form an idea about him as a person of his time, about the nature of relationships within the professional community of representatives of science and culture. A.E. Vaneev (1933-2001) - People's Poet of the Komi Republic, a researcher of the national identity of Komi poetry, of I.A. Kuratov’s creativity, translator of works of world classics into Komi language - made a tangible contribution to the development of national culture. The object of the research is the epistolary heritage of A.E. Vaneev, the subject is his professional interpersonal contacts. The article reveals a circle of scientists, poets, writers, translators who maintained regular communication with A.E. Vaneev, discussed scientific and creative plans, the practice of translation work, sought advice and assistance.

scholarly journals LEBANESE NATIONAL RECONCILIATION AND THE CONTRIBUTION OF THE MARONITE CHURCH THROUGH THE PURIFICATION OF MEMORY

2008 ◽  
Vol 2 (1) ◽  
pp. 43-52
Author(s):  
Ziad Fahed
Keyword(s):  
National Identity ◽  
Positive Role ◽  
Active Participant ◽  
The Past ◽  
Sustainable Peace ◽  
History Of ◽  
Post War ◽  
National Reconciliation ◽  
The Church

The post-war period in Lebanon brought to the open all sensitive subjects that have marked the history of Lebanon: how to avoid falling into such a crisis? How not repeating such war? How can the Lebanese society eradicate the reasons that may lead to any other war? The Lebanese crisis had challenged the Church inviting her to move from being a passive witness to an active participant in the peaceful struggle for the liberation of the Lebanese society and help the country to complete its incorrect reading of history. Can the Maronite Patriarchate have a positive role in this regard? Can the Maronite Patriarchate bring about the purifi cation of the memory in a multiconfessional country? In this paper, and after defi ning the meaning of the purifi cation of memory in the Lebanese context, we will consider the important challenges that must precede any serious and defi nitive solution to the crisis in Lebanon and how can the Lebanese Church contribute in the development of a national identity and in the building of a new state free from any kind of domination. The purpose of this paper is not to justify what has happened in the past 34 years, i.e. since the beginning of the Lebanese war, but to contribute in searching for a sustainable peace.

scholarly journals Simono Daukanto BUDĄ Senowęs-Letuwiu Kalnienu ĩr Ƶamajtiu (1845) šaltiniai

2020 ◽  
pp. 217-248
Author(s):  
Roma Bončkutė
Keyword(s):  
National Identity ◽  
Cultural History ◽  
Comparative Linguistics ◽  
Language And Culture ◽  
The Past ◽  
The Future ◽  
History Of ◽  
The Difference ◽  
Regional Historiography

SOURCES OF SIMONAS DAUKANTAS’S BUDĄ SENOWĘS-LËTUWIÛ KALNIENÛ ĨR ƵÁMAJTIÛ (1845) The article investigates Simonas Daukantas’s (1793–1864) BUDĄ Senowęs-Lëtuwiû Kalnienû ĩr Ƶámajtiû (The Character of the Lithuanian Highlanders and Samogitians of the Old Times, 1845; hereafter Bd) with regards to genre, origin of the title, and the dominant German sources of the work. It claims that Daukantas conceived Bd because he understood that the future of Lithuania is closely related to its past. A single, united version of Lithuanian history, accepted by the whole nation, was necessary for the development of Lithuanian national identity and collective feeling. The history, which up until then had not been published in Lithuanian, could have helped to create the contours of a new society by presenting the paradigmatic events of the past. The collective awareness of the difference between the present and the past (and future) should have given the Lithuanian community an incentive to move forward. Daukantas wrote Bd quickly, between 1842 and May 28, 1844, because he drew on his previous work ISTORYJE ƵEMAYTYSZKA (History of the Lithuanian Lowlands, ~1831–1834; IƵ). Based on the findings of previous researchers of Daukantas’s works, after studying the dominant sources of Bd and examining their nature, this article comes to the conclusion that the work has features of both cultural history and regional historiography. The graphically highlighted form of the word “BUDĄ” used in the work’s title should be considered the author’s code. Daukantas, influenced by the newest culturological research and comparative linguistics of the 18th–19th centuries, propagated that Lithuanians originate from India and, like many others, found evidence of this in the Lithuanian language and culture. He considered the Budini (Greek Βουδίνοι), who are associated with the followers of Buddha, to be Lithuanian ancestors. He found proof of this claim in the language and chose the word “būdas” (character), which evokes aforementioned associations, to express the idea of the work.

Modern domestic cinema and the legacy of shaken Aimanov

Keruen ◽  
2020 ◽  
Vol 4 (69) ◽  
Author(s):  
A.S. Jumadilov ◽  
Keyword(s):  
National Identity ◽  
Soviet Union ◽  
National Culture ◽  
Film Industry ◽  
National Cinema ◽  
Soviet State ◽  
The Soviet Union ◽  
The World ◽  
History Of ◽  
First Time

Following the collapse of the Soviet Union, the post-Soviet state of post-Soviet autonomous republics turned out to be the ideology for which cinematographers and screenwriters have to make a film epic of epoch - national cinema. In this article, the author can only use the ever-present cinematography, the unmerciful nationalistic culture, the ideological orientation of the film industry, the uniqueness or national identity. It's a good idea to have a world-renowned artisan who is doing all the same, seeking internationalization and gloss? Another - cinematic and astrophysical art of Shaken Aimanov, whose works live in volumes or polls, and others. For many years, many changes have taken place in the national cinema, such as national culture, a national emblem of national culture. For the first time in the history of national cinema, national cinema and the world of cinema, the future and future films have been transformed into a lot of changes. The Concept of distinguished singer Shaken Aimanova is embodied in the volume, which, unlike the researchers and artists all over the world of cinema Shaken Aimnayev, the director of which, as long as he is a filmmaker, creates a film studio as part of national culture.

scholarly journals The Difficulty of Historical Work in the Nineteenth-Century Museum and the Thackeray Novel

2012 ◽  
Vol 67 (1) ◽  
pp. 29-57 ◽  
Author(s):  
Dehn Gilmore
Keyword(s):  
Nineteenth Century ◽  
National Identity ◽  
Historical Novel ◽  
The Novel ◽  
Costs And Benefits ◽  
The Past ◽  
Important Impact ◽  
Full Reconstruction ◽  
History Of ◽  
The Times

This essay suggests that conservation debates occasioned by the democratization of the nineteenth-century museum had an important impact on William Makepeace Thackeray’s reimagination of the historical novel. Both the museum and the historical novel had traditionally made it their mission to present the past to an ever-widening public, and thus necessarily to preserve it. But in the middle of the nineteenth century, the museum and the novel also shared the experience of seeming to endanger precisely what they sought to protect, and as they tried to choose how aggressive to be in their conserving measures, they had to deliberate about the costs and benefits of going after the full reconstruction (the novel) or restoration (the museum) of what once had been. The first part of this essay shows how people fretted about the relation of conservation, destruction, and national identity at the museum, in The Times and in special Parliamentary sessions alike; the second part of the essay traces how Thackeray drew on the resulting debates in novels including The Newcomes (1853–55) and The History of Henry Esmond (1852), as he looked for a way to revivify the historical novel after it had gone out of fashion. He invoked broken statues and badly restored pictures as he navigated his own worries that he might be doing history all wrong, and damaging its shape in the process.

English Acting, Interactive Technology, and the Elusive Quality of Englishness

1996 ◽  
Vol 12 (45) ◽  
pp. 3-5
Author(s):  
Simon Trussler
Keyword(s):  
National Identity ◽  
Storage Capacity ◽  
Interactive Technology ◽  
Outstanding Contribution ◽  
Cd Rom ◽  
The Past ◽  
History Of

Acting style is arguably the most elusive of the theatre's always ephemeral traces – not least because each generation, while proclaiming its own actors to be more ‘natural’ than their predecessors, has tended in its criticism, as in actors' memoirs, to take style as a ‘given’. Anecdotage and plot synopsis have accordingly taken precedence over analysis of how performers actually worked and appeared on stage – let alone prepared their performances. Here, Simon Trussler introduces a project being launched at Goldsmiths, University of London, where he is Reader in Drama, to utilize the immense storage capacity of the CD-ROM both to record the evidence, verbal and pictorial, that has come down to us from the past, and to assess its relevance to present approaches to acting and to the playing of the classical repertoire. Specifically, the project aims to explore the ways in which the national identity – the quality of ‘Englishness’ – has been both reflected in and influenced by the ways in which it has been rendered on stage. In the succeeding article, Nesta Jones outlines the history and development of the English acting tradition, and some of the issues its consideration raises in relation to the Goldsmiths project. Simon Trussler was one of the founding editors of the original Theatre Quarterly in 1971, and has been co-editor of New Theatre Quarterly since its inception. The most recent of his many books on theatre and drama, The Cambridge Illustrated History of British Theatre, was runner-up for the 1994 George Freedley Award of the Theatre Libraries Association, being cited as ‘an outstanding contribution to the literature of the theatre’.

scholarly journals Learning National Identity Outside the Nation-State: the Story Of Latvian Primers (Mid-1940s – Mid-1970s)

2020 ◽  
Author(s):  
Iveta Ķestere ◽  
◽  
Baiba Kaļķe ◽  
Keyword(s):  
National Identity ◽  
Identity Formation ◽  
National Language ◽  
Nation State ◽  
Iron Curtain ◽  
The Past ◽  
Language And Literature ◽  
History Of ◽  
And Control ◽  
National Identity Formation

In order to understand how the concept of national identity, currently included in national legislation and curricula, has been formed, our research focuses on the recent history of national identity formation in the absence of the nation-state “frame”, i.e. in Latvian diaspora on both sides of the Iron Curtain – in Western exile and in Soviet Latvia. The question of our study is: how was national identity represented and taught to next generations in the national community that had lost the protection of its state? As primers reveal a pattern of national identity practice, eight primers published in Western exile and six primers used in Soviet Latvian schools between the mid-1940s and the mid-1970s were taken as research sources. In primers, national identity is represented through the following components: land and nation state iconography, traditions, common history, national language and literature. The past reverberating with cultural heritage became the cornerstone of learning national identity by the Latvian diaspora. The shared, idealised past contrasted the Soviet present and, thus, turned into an instrument of hidden resistance. The model of national identity presented moral codes too, and, teaching them, national communities did not only fulfill their supporting function, but also took on the functions of “normalization” and control. Furthermore, national identity united generations and people’s lives in the present, creating memory-based relationships and memory-based communities.

Modern Spain: the project of a national Catholicism

1982 ◽  
Vol 18 ◽  
pp. 567-590
Author(s):  
Frances Lannon
Keyword(s):  
National Identity ◽  
Religious Belief ◽  
Spanish History ◽  
The Past ◽  
Defensive Reactions ◽  
National Catholicism ◽  
History Of ◽  
Eighteenth And Nineteenth Centuries

The inseparability of national identity and Catholicism in modern Spain has never been more pugnaciously and confidently affirmed than in the provocative hyperbole of Marcelino Menéndez y Pelayo. ‘Spain, evangeliser of half the globe; Spain, hammer of heretics, light of Trent, sword of Rome, cradle of Saint Ignatius . . .; that is our greatness and our unity: we have no other’. This uncompromising statement undoubtedly owes some of its stridency to the age of the author when he wrote it—he was twenty-five—and something to his abiding convictions and temperament. But one does not have to search very assiduously this most famous defence of catholic orthodoxy as the source of Spanish grandeur in order to realise that Menéndez y Pelayo’s fervour and language are both sharpened by nostalgia. Volumes six and seven of his history of Spanish heterodoxy which trace the history of the eighteenth and nineteenth centuries constitute one long lament for lost catholic unity, lost cultural homogeneity and, lost with them, an irretrievable simplicity and clarity of national self-definition. When he wrote his eloquent and audacious lament in the early 1880s he was well aware that the uniformity of religious belief which he had unhesitatingly discerned beneath minor, and usually imported, heterodoxy in earlier Spanish history already belonged irrecuperably to the past. Moreover, he found himself as many lesser followers were also to do in the uncomfortably Canute-like position of opposing the uncontrollable while asserting an ideal which had to be articulated as a series of negative and necessarily unsatisfactory defensive reactions.

The Psychology of Consumerism in Business and Marketing

2015 ◽  
pp. 1845-1867 ◽  
Author(s):  
Ben Tran
Keyword(s):  
Consumer Behavior ◽  
National Culture ◽  
Cultural Dimension ◽  
Branding Strategy ◽  
Dimensional Model ◽  
Short Term ◽  
Global Branding ◽  
The Past ◽  
History Of

In the past decade or so, various models have emerged concerning the study of culture and marketing in regards to consumerism, of which Geert Hofstede's dimensional model of national culture has been applied to various areas of global branding and advertising, and the underlying theories of consumer behavior. Hofstede's model has been used to explain differences regarding the concepts of self, personality and identity, which in turn explain variations in branding strategy and communications. Thus, the purpose of this chapter is to address the psychology of consumerism in business and marketing from the macro and micro behaviors of Hofstede's cultural consumers. The chapter emphasizes Hofstede's fifth cultural dimension, long-term versus short-term orientation regarding marketing. In so doing, both macro and micro paradigms on the psychology of consumers' behaviors will be covered in relation to marketing, as well as a brief history of marketing and the marketing field.

scholarly journals Celebrating British multiculturalism, lamenting England/Britain’s past

2017 ◽  
Author(s):  
Jack Black
Keyword(s):  
National Identity ◽  
Recent Work ◽  
Olympic Games ◽  
Newspaper Coverage ◽  
The Past ◽  
History Of ◽  
English Nationalism ◽  
The Impact

Drawing upon Littler and Naidoo’s ‘white past, multicultural present’ alignment, this article examines English newspaper coverage of two ‘British’ events held in 2012 (the Diamond Jubilee and the London Olympic Games). In light of recent work on English nationalism, national identity and multiculturalism, this article argues that representations of Britain oscillated between lamentations for an English/British past – marred by decline – and a present that, while being portrayed as both confident and progressive, was beset by latent anxieties. In doing so, ‘past’ reflections of England/Britain were presented as a ‘safe’ and legitimate source of belonging that had subsequently been lost and undermined amidst the diversity of the ‘present’. As a result, feelings of discontent, anxiety and nostalgia were dialectically constructed along- side ‘traditional’ understandings of England/Britain. Indeed, this draws attention to the ways in which particular ‘versions’ of the past are engaged with and the impact that this can have on discussions related to multiculturalism and the multiethnic history of England/Britain.

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