scholarly journals Lesia Ukrainka’s Crimean Cycles: A Poetic Dialogue with Adam Mickiewicz

2021 ◽  
pp. 69-83
Author(s):  
Yelena Severina
Keyword(s):  
Cultural Contexts ◽  
The Voice ◽  
Adam Mickiewicz

This paper examines Lesia Ukrainka’s two lyrical cycles about Crimea, Krymski spohady and Krymski vidhuky, as examples of a poetic dialogue with Adam Mickiewicz’s Sonety krymskie. I begin my analysis by highlighting the diff erent sensibilities of Mickiewicz’s Sonety krymskie and Lesia Ukrainka’s Krymski spohady, and underscore their formal and thematic peculiarities. The paper continues with an examination of Lesia Ukrainka’s second cycle, Krymski vidhuky, as an experiment in drama – a genre that is absent from her fi rst cycle – before situating a dramatic scene, “Ifi heniia v Tavridi,” this cycle’s only text about Crimea’s Hellenic history, within the cultural contexts of Lesia Ukrainka’s oeuvre. In doing so, I argue that Iphigenia’s lament echoes the voice of an exiled poet from Mickiewicz’s sonnets and conclude my analysis by probing reasons behind Lesia Ukrainka’s choice of a Greek (not Tatar) heroine.

scholarly journals Human on fire as a gesture of self-offering in Polish documentary films

2019 ◽  
Vol 25 (34) ◽  
pp. 172-179
Author(s):  
Urszula Tes
Keyword(s):  
The Self ◽  
Symbolic Meaning ◽  
Documentary Films ◽  
Burning Man ◽  
Cultural Contexts ◽  
The Family ◽  
The Subject ◽  
Common Man ◽  
Self Immolation ◽  
Adam Mickiewicz

Tes Urszula, Human on fire as a gesture of self-offering in Polish documentary films “Images” vol. XXV, no. 34. Poznań 2019. Adam Mickiewicz University Press. Pp. 172–179. ISSN 1731-450X. DOI 10.14746/i.2019.34.12. One of strongest acts of personal protest in the communist era was self-immolation, which was the subject of two Polish documentaries. Maciej Drygas in Hear My Cry invoked the figure of Ryszard Siwiec, who immolated himself on September 8, 1968 as a sign of protest against the Soviet army invasion of Czechoslovakia. In his documentary, Drygas shows a fragment of the film with the burning man, juxtaposing it with the testimony of witnesses to the tragedy and the account of the family. This documentary restores the memory of the whole society, who due solely to the film, learned about the radical gesture of a common man. Holy Fire by Jarosław Mańka and Maciej Grabysa in turn invokes the heroic but forgotten Walenty Badylak, who immolated himself in March of 1980 in Cracow as an expression of his objection to distortion of the truth about Katyń. Both acts of self-immolation had for many years been perceived as totally futile acts, while the directors show that the self-immolation of these now has a deep and symbolic meaning. In my analysis, I shall invoke historic and cultural contexts, conduct a multifaceted interpretation of self-immolation act and discuss the complex imagery included in the films.

Three Wishes for Cinderella: Fitting a Czech shoe to a Norwegian foot

2021 ◽  
Vol 11 (1) ◽  
pp. 89-102 ◽  
Author(s):  
Adéla Ficová ◽  
Karolína Stehlíková
Keyword(s):  
Cross Cultural ◽  
Film Adaptation ◽  
Random Drift ◽  
German Film ◽  
Cultural Contexts ◽  
Cultural Phenomenon ◽  
East German ◽  
The Voice ◽  
Public Tv

In this article, the authors outline arguments explaining the lasting success of the Czechoslovak and East German film Three Wishes for Cinderella (1973). Drawing on newer theories of adaptation, the article addresses the following questions: what mutation did the Cinderella narrative undergo and how did it influence the acceptance of the film adaptation in the Czech and Norwegian context? Are there any non-adaptive explanations for changes in the narrative that can be perceived as a ‘random drift’? How is the persistence of this particular adaptation supported in various cultural contexts? Can we speak about cross-cultural indigenization in the case of Three Wishes for Cinderella? The aim is also to explore the factors that contributed to this cultural phenomenon and to map the journey the adaptation underwent, including the role of NRK public TV and the role of the voice-over. Finally, we discuss whether this adaptation is truly a timeless phenomenon.

Multivocality

2020 ◽  
Author(s):  
Katherine Meizel
Keyword(s):  
21St Century ◽  
Culture Medium ◽  
The Self ◽  
Cultural Contexts ◽  
And Gender ◽  
Gender Boundaries ◽  
The Voice

This book frames vocality as a particularly holistic way to investigate the voice in music, as a concept embodying all the implications with which voice is inscribed—the negotiation of sound and Self, individual and culture, medium and meaning, ontology and embodiment. Like identity, vocality is fluid, constructed and reconstructed continually; even the most iconic of singers do not simply exercise a static voice throughout a lifetime. The book highlights such singers in vocal motion, focusing on their transitions and transgressions across genre and gender boundaries, cultural borders, the lines between body and technology, between secular and religious contexts, between found voices and lost ones. And as 21st-century singers habitually perform across styles, genres, cultural contexts, histories, and identities, the author suggests that they are not only performing in multiple vocalities, but more critically, they are performing multivocality—creating and recreating identity through the process of singing with many voices, at once produced by and in resistance against neoliberal expectations. Multivocality, in its focus on the suppressions and soundings of voice in various borderlands of identity, works toward a deeper understanding of voice as a technology of the self and of culture.

scholarly journals “But what a place / to put a piano”: Nostalgic Objects in Robert Minhinnick’s "Diary of the Last Man"

Text Matters ◽  
2019 ◽  
pp. 331-344
Author(s):  
Agata Handley
Keyword(s):  
Zero Point ◽  
Ecological Crisis ◽  
Human Being ◽  
Cultural Contexts ◽  
Complete Destruction ◽  
The World ◽  
Last Man ◽  
The Voice ◽  
The Last Man

In 2003, Martin Rees referred to the present as “mankind’s final century.” A few years later, Slavoj Žižek wrote that humankind is heading towards “apocalyptic zero-point,” when the ecological crisis will most probably lead to our complete destruction. In his 2017 collection, Diary of the Last Man, Welsh poet Robert Minhinnick offers readers a meditation upon Earth at a liminal moment—on the brink of becoming completely unpopulated. Imagining a solitary human being, living in the midst of environmental collapse, Minhinnick yet entwines different voices—human and non-human—operating across vast spans of time. The speaker of the poems moves freely through different geographies and cultural contexts, but the voice that starts and ends the journey, seems to be the voice of the poet himself: he is the last man on earth, a survivor of ecological disaster. The paper discusses Minhinnick’s collection as a projection of the world we now inhabit into a future where it will exist only in the form of nostalgic memories. The analysis focuses on the role of objects in the construction of the world-within-the poem, where the fragments of human civilization are being claimed by forces of the environment—engulfing sand, progressive erosion—forming a retrospective vision of our “now” which will inevitably become our “past.”

Public School Voice Clinics, Part I

1984 ◽  
Vol 15 (1) ◽  
pp. 51-57
Author(s):  
Sandra Q. Miller ◽  
Charles L. Madison
Keyword(s):  
Public School ◽  
School District ◽  
Voice Disorders ◽  
Urban School ◽  
Urban School District ◽  
Local School District ◽  
Local School ◽  
Perceived Need ◽  
The Voice ◽  
Voice Problem

The purpose of this article is to show how one urban school district dealt with a perceived need to improve its effectiveness in diagnosing and treating voice disorders. The local school district established semiannual voice clinics. Students aged 5-18 were referred, screened, and selected for the clinics if they appeared to have a chronic voice problem. The specific procedures used in setting up the voice clinics and the subsequent changes made over a 10-year period are presented.

Hormone Replacement Therapy and Voice

2019 ◽  
Vol 4 (4) ◽  
pp. 607-614
Author(s):  
Jean Abitbol
Keyword(s):  
Replacement Therapy ◽  
Symptom Severity ◽  
Low Dose ◽  
Hormone Replacement ◽  
Clinical Signs ◽  
Female Voice ◽  
Fat Cells ◽  
High Pitch ◽  
Endocrine Effects ◽  
The Voice

The purpose of this article is to update the management of the treatment of the female voice at perimenopause and menopause. Voice and hormones—these are 2 words that clash, meet, and harmonize. If we are to solve this inquiry, we shall inevitably have to understand the hormones, their impact, and the scars of time. The endocrine effects on laryngeal structures are numerous: The actions of estrogens and progesterone produce modification of glandular secretions. Low dose of androgens are secreted principally by the adrenal cortex, but they are also secreted by the ovaries. Their effect may increase the low pitch and decease the high pitch of the voice at menopause due to important diminution of estrogens and the privation of progesterone. The menopausal voice syndrome presents clinical signs, which we will describe. I consider menopausal patients to fit into 2 broad types: the “Modigliani” types, rather thin and slender with little adipose tissue, and the “Rubens” types, with a rounded figure with more fat cells. Androgen derivatives are transformed to estrogens in fat cells. Hormonal replacement therapy should be carefully considered in the context of premenopausal symptom severity as alternative medicine. Hippocrates: “Your diet is your first medicine.”

In the Limelight: The Voice Virtuoso

ASHA Leader ◽  
2014 ◽  
Vol 19 (2) ◽  
pp. 22-23
Author(s):  
Kellie Rowden-Racette
Keyword(s):  
The Voice
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