scholarly journals The musical theater in Kraków and Lviv around 1900: Social functions and cultural meanings

2017 ◽  
Vol 58 (3-4) ◽  
pp. 379-397 ◽  
Author(s):  
Renata Suchowiejko
Keyword(s):  
Musical Theater ◽  
Political Freedom ◽  
Cultural Meanings ◽  
Social Functions ◽  
National Tradition ◽  
National Opera ◽  
Nineteenth And Twentieth Centuries ◽  
Important Center ◽  
The City ◽  
Crucial Part

At the turn of the nineteenth and twentieth centuries, Kraków was a flourishing city, both economically and artistically. During the period of Galician autonomy, Kraków was granted significantly greater political freedom than other Polish cities located in the Prussian or Russian partitions. For this reason it became an important center for cultivating national tradition. Lviv, as the capital of the Crownland of Galicia and Lodomeria, was one of the most important centers of scholarship, education, and culture in this region. The city was a multi-ethnic, multi-cultural, and multilingual conglomerate of Poles, Ukrainians, Jews, and Ruthenians. Lviv’s significance as an operatic center grew from the time when the German theater was closed in 1872 and a permanent Polish stage was created. This was a decisive moment for the development of the national opera, and Lviv became the main rival to Warsaw. The aim of this article is to present a general overview of the functioning of musical theater in Kraków and in Lviv, the two musical centers of Galicia. These cities were closely linked by institutional, artistic, cultural, and social bonds. In the artistic life a crucial part was played by the directors of the two city theaters, Tadeusz Pawlikowski and Ludwik Heller. Both made important contributions to the development of the opera.

Between Madras and Chennai: Narratives of belonging in a post colonial city

2021 ◽  
pp. 002198942199245
Author(s):  
Kavithaa Rajamony ◽  
Jyotirmaya Tripathy
Keyword(s):  
Institutional Change ◽  
Meaning Making ◽  
Fictional Characters ◽  
Cultural Meanings ◽  
Contemporary Culture ◽  
Post Colonial ◽  
Cultural Autonomy ◽  
New Name ◽  
Fictional Narratives ◽  
The City

Fictional narratives on Chennai, after its official conversion from Madras in 1996, offer an intriguing register for exploring ways of belonging. Using a postcolonial framework, the paper closely scrutinizes T. S. Tirumurti’s Clive Avenue and Chennaivaasi (and some other authors invested in Chennai’s contemporary culture) and subjects them to critique as sites of meaning making. An effort is made to explore how these narratives respond to the new reality of Chennai, to what extent they see the city producing a standardized experience, and how the fictional characters corroborate or contest institutional change. In the process, the texts are brought to converse with the postcolonial desire for cultural autonomy, its mediation by a nativist agenda, as well as the ambivalence and contradictions inherent in such a desire. The texts betray the inadequacies of the new name as a stable container of cultural meanings and propose an idea of the city that is internally incoherent and multi-experiential.

City’s Cultural Memory: Modern Practices of Symbolizing the Past

2021 ◽  
Vol 18 (4) ◽  
pp. 352-364
Author(s):  
Natalia G. Fedotova
Keyword(s):  
Cultural Memory ◽  
Point Of View ◽  
Fundamental Aspect ◽  
Modern World ◽  
Cultural Meanings ◽  
Urban Identity ◽  
Symbolic Forms ◽  
The Past ◽  
Symbolic Resource ◽  
The City

The article is devoted to the discourse of the city’s cultural memory. The relevance of studying this topic is determined not only by the fundamental aspect associated with the episodicity of existing studies of this phenomenon. From an applied point of view, the city’s cultural memory is a symbolic resource that can be used to create an appealing image, form a sustainable urban identity, and strengthen the citizen’s sense of belonging to the city. The accumulation and objectification of cultural memory take place in symbolic forms, which makes it important to study the practices of symbolizing the urban past, the essence of which is to generate the significance of the relevant or latent layers of cultural memory for the citizens.The article presents the results of the final stage of research related to the study of the process of constructing the cultural memory of the city. The purpose of the article is to analyze modern practices of symbolizing fragments of the urban past, which mean their significance for contemporaries. Basing on the culturological cross-section of the issue, the author integrates different research contexts. The methodological basis of the article is the communicative approach that focuses on the processes of meaning formation, and the constructivist method that considers memory as a multi-layered and dynamic construct. Analyzing the practices of symbolizing the urban past by the example of Russian cities, the author of the article demonstrates how the episodes of the city’s memory are updated in the modern world, how cultural meanings become memorable for citizens. The author uses the results of previous studies and identifies the following elements of the symbolization of the urban past: a) ways of encoding fragments of the past; b) communicative trajectories of memory symbolization; c) factors of producing meanings about the collective past of the city. The obtained results open up new frontiers in understanding the processes of formation of the collective ideas about the city, and prospects for empirical research, forecasting and constructing the cultural memory of Russian cities, giving them the opportunity to change their present and future.

AT THE ORIGINS OF THE UZBEK MUSIC THEATER (STUDIOS, TEACHERS, FIRST EXPERIMENTS: 1920-1930S)

2021 ◽  
pp. 32-45
Author(s):  
MARFUA KHAMIDOVA
Keyword(s):  
Twentieth Century ◽  
Musical Theater ◽  
The State ◽  
Music Theater ◽  
Music Scene ◽  
National Opera ◽  
National Music

This article is about the origins of the national opera that was born in Uzbekistan in the first half of the twentieth century. It also tells about the studio training of production and performing personnel for the national music scene within the framework of the Moscow, Baku studios, the Uzbek Opera Studio at the Moscow State Conservatory; about the first experiments of staging musical plays in the Uyghur Drama Troupe, the Concert and Ethnographic Troupe of M. Kari-Yakubov and further in the State Uzbek Musical Theater.

scholarly journals Pages of the history of Ossetian art: national opera studio at the moscow conservatory

2021 ◽  
Author(s):  
Т.Э. Батагова
Keyword(s):  
Musical Theater ◽  
The State ◽  
Educational Process ◽  
Archival Documents ◽  
National Opera ◽  
History Of ◽  
The Creation ◽  
State Strategy

Данная статья посвящена одному из аспектов становления и раз- вития осетинского национального музыкального театра. Раскрывается исто- рия создания и функционирования Осетинской оперной студии при Московской государственной консерватории. Формирование национальных оперных студий явилось одной из составляющих государственной стратегии по ускоренному развитию музыкального искусства в национальных республиках. Выпускники Осетинской оперной студии составили основу Оперного ансамбля (1951), а за- тем и оперной труппы национального музыкального театра (1958, 1972). Осо- бое внимание автор уделил изучению архивных документов, материалов прес- сы, раскрывающих особенности учебного процесса и творческой деятельности студийцев. This article is devoted to one of the aspects of formation and development of the Ossetian national musical theater. The history of the creation and functioning of the Ossetian Opera Studio at the Moscow State Conservatory is revealed. The formation of national Opera studios was one of the components of the state strategy for the accelerated development of musical art in the national republics. Graduates of the Ossetian opera studio formed the basis of the Opera ensemble (1951), and then the Opera Сompany of the National Musical Theater (1958, 1972). The author paid special attention to the study of archival documents and press materials that reveal the features of the educational process and creative activities of students.

scholarly journals Urban Phenomena in São Paulo’s Nineteenth and Twentieth Centuries: Appropriating Local Spatio-Temporalities

Tempo Social ◽  
2019 ◽  
Vol 31 (1) ◽  
pp. 55-69
Author(s):  
Sebastian Dorsch
Keyword(s):  
19Th Century ◽  
Latin American ◽  
Urban Space ◽  
Urban Studies ◽  
Sao Paulo ◽  
Relational Analysis ◽  
Nineteenth And Twentieth Centuries ◽  
Spatio Temporal ◽  
American Cities ◽  
The City

The article seeks to investigate urban phenomena in São Paulo’s 19th and 20th centuries by utilizing Henri Lefebvre’s concept of appropriation. Thus I focus on the relations between urban space(s) and its inhabitants, and the analysis of the city – usually perceived as space – becomes a spatio-temporal and relational analysis regarding dynamic practices, conflicts, etc. understood as urban phenomena. How did the inhabitants appropriate São Paulo? May we state special forms by comparing it to other Latin American cities of former times? How did the migrants arriving at the end of 19th century change old forms of living in the city? I conclude with remarks and critics on the potential of using the concept of appropriation in urban studies.

scholarly journals Translation from Chinese of Poems 1–9 from 'Wandering Spirit and Metaphysical Thoughts' by Gao Xingjian

2017 ◽  
Vol 14 (1) ◽  
Author(s):  
Mabel Lee ◽  
Gao Xingjian
Keyword(s):  
Cardiac Arrest ◽  
Nobel Laureate ◽  
Gao Xingjian ◽  
National Opera ◽  
Opera House ◽  
The City

The 2000 Nobel Laureate for Literature, Gao Xingjian, suffered cardiac arrest while directing rehearsals for his mega-scale opera Snow in August that was due to premiere in late 2002 at the National Opera House, Taipei. He recovered, and the opera premiered as scheduled with the help of a co-director before he returned to Paris to direct the Comédie Français premiere of his Quatre quatuors pour un week-end. He underwent surgery in February and March of 2003, but was soon again back at work. The year 2003 had been designated “Gao Xingjian Year” by the City of Marseille, and he would direct his new play Le Quêteur de la Mort at Théâtre du Gymnase, and then his Snow in August at Opéra de Marseille. It was during rehearsals for the former that he collapsed again, and was hospitalized: the play was co-directed by Romain Bonnin, 23–26 September 2003. Large exhibitions of Gao’s artworks had been held earlier that year, but the performance of Snow in August was postponed. During his recuperation for most of 2004, he sometimes wrote poems, some of which he later polished or rewrote for his collection Wandering Spirit and Metaphysical Thoughts (2012).These translations from the Chinese into English of the first 9 poems in Wandering Spirit and Metaphysical Thoughts (2012) are by acclaimed translator Mabel Lee.

scholarly journals Impact of Religious Self-Identification and Church Attendance on Social Distance toward Muslims

Religions ◽  
2019 ◽  
Vol 10 (4) ◽  
pp. 276
Author(s):  
Krunoslav Malenica ◽  
Vlaho Kovačević ◽  
Goran Kardum
Keyword(s):  
Bosnia And Herzegovina ◽  
Social Distance ◽  
Psychological Factors ◽  
Church Attendance ◽  
Social Functions ◽  
Religious Context ◽  
Research Findings ◽  
The University ◽  
The Impact ◽  
The City

In the context of our work, we want to point out how religion has multiple social functions and as such, under certain circumstances, can serve as a fertile soil for distance and closeness. The aim of this study was to explore the impact of religious self-identification and church attendance on social distance toward Muslims. We applied a questionnaire to students of the University of Split, the city which is geographically in vicinity of the complex of ethnic and religious context of Bosnia and Herzegovina. The results showed that religious self-identification and church attendance significantly influence the level of social distance toward Muslims. Believers showed a significantly higher level of social distance, in comparison to respondents who belong but not believe, and others. Respondents who attend church daily or once a week have also a higher level of social distance in comparison to respondents who attend church monthly or rarely and those who never attend church. We have tried to explain the reasons for such research findings, relying on various national, cultural, religious and psychological factors that have been present in the last twenty years after the war in this region.

Globalization and the Concept of the Second City

2007 ◽  
Vol 6 (4) ◽  
pp. 315-333 ◽  
Author(s):  
Jerome Hodos
Keyword(s):  
Migration Pattern ◽  
Global Integration ◽  
Urban Hierarchy ◽  
Political Ideologies ◽  
Transportation Projects ◽  
Nineteenth And Twentieth Centuries ◽  
Historical Trajectory ◽  
Professional Expert ◽  
The City ◽  
City Identity

Globalization is fundamentally reorienting how cities are connected to one another through trade, migration, communication, and representation. Whereas most existing research has concentrated on unambiguously global cities, in this paper I discuss the positions of cities lower down in the urban hierarchy. I argue that “second cities” constitute a type characterized by distinct patterns of global integration. This second city pattern is constituted by the following: globally active firms in nonfinancial industries; a common migration pattern; a tradition of innovation in political ideologies and professional/expert cultures; a common historical trajectory due largely to transportation projects that integrate the city more deeply into global flows; and the growth over time of a second–city identity. The paper is primarily theoretical; the empirical background, from which some examples will be drawn, is Philadelphia (United States) and Manchester (United Kingdom), across the nineteenth and twentieth centuries.

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