scholarly journals Dilip Kumar: An Auteur Actor

2021 ◽  
Vol 17 (3) ◽  
pp. 226-238
Author(s):  
Sharaf Rehman
Keyword(s):  
Character Development ◽  
Academic Discipline ◽  
Theoretical Framework ◽  
Professor Emeritus ◽  
Works Of Art ◽  
Production Of Culture ◽  
Unique Approach

Dilip Kumar has been praised for his sublime dialog delivery, for his restrained gestures, and for his measured and controlled underplay of emotions in tragic stories as well as in light-hearted comedies. His debut in 1944 with Jwar Bhata (Ebb and Tide) met with less-than-flattering reviews. So did the next three films until his 1948 film, Jugnu (Firefly), which brought him recognition and success. Unlike his contemporaries such as Raj Kapoor and Dev Anand, who propelled their careers by launching their own production companies, Dilip Kumar relied on his talent, his unique approach to characterization, and his immersion in the projects he undertook. In the course of his career that spanned six decades, Kumar made only 62 films. However, his work is a textbook for other actors that followed. Not only did he bring respectability to a profession that had been shunned by the upper classes in India as a profession for “pimps and prostitutes,” but he also elevated film-acting and filmmaking to an academic discipline, making him worthy of the title ‘Professor Emeritus of Acting’. Rooted in the theoretical framework of Howard S. Becker’s work on the “production of culture” and “doing things together,” this paper discusses Kumar’s approach to acting, character development, and the level of his involvement and commitment to each of his projects. The author of this article argues that more than the creative control as a producer or a director, it is the artistic involvement and commitment of the main actors that shape great works of art in cinema. Dilip Kumar demonstrated it repeatedly.

SOUND, MEANING AND MUSIC-DRAMA IN LACHENMANN'S DAS MÄDCHEN MIT DEN SCHWEFELHÖLZERN

Tempo ◽  
2014 ◽  
Vol 68 (268) ◽  
pp. 20-33
Author(s):  
Laurence Osborn
Keyword(s):  
Theoretical Framework ◽  
Musical Language ◽  
Search For Meaning ◽  
Cognitive Capacities ◽  
Music Drama ◽  
Avant Garde ◽  
Unique Approach ◽  
The 1960S ◽  
Musique Concrete ◽  
Cultural Baggage

AbstractThis article argues that Das Mädchen mit den Schwefelhölzern demonstrates a unique approach to music-drama that stems from the perceptual capacities of listeners, and their desire to search for meaning in what they hear. Beginning with the claim that Das Mädchen mit den Schwefelhölzern can be viewed as the culmination of an aesthetic project begun at the point of Lachenmann's emergence as a distinctive voice of the European avant-garde during the 1960s, the article first examines two major aspects of Lachenmann's aesthetics – musique concrète instrumentale and aura – outlining a composing philosophy that has been at the heart of Lachenmann's practice throughout his career. The article claims that Lachenmann sought to establish a rejuvenated semiotics, freed from cultural baggage and tied to the perceptual and cognitive capacities of listeners. Drawing upon the studies of Naomi Cumming and Luke Windsor, it outlines a theoretical framework that takes into account this composing philosophy and its implications, applying it in analyses of various excerpts from Das Mädchen mit den Schwefelhölzern. My analysis illuminates a music-drama that forms around the interplay of internally represented images and sensations, the emergence of which is facilitated by a musical language that prepares sounds to take on certain types of meaning. The article concludes with a brief discussion of the possible implications this has for audience members.

scholarly journals Katniss Everdeen’s Character Development in Suzanne Collins' The Hunger Games Trilogy

Lexicon ◽  
2018 ◽  
Vol 5 (1) ◽  
Author(s):  
Valeri Putri Mentari Ardi ◽  
Bernadus Hidayat
Keyword(s):  
Socioeconomic Factors ◽  
Character Development ◽  
Theoretical Framework ◽  
Power Struggle ◽  
Hunger Games ◽  
The Hunger Games ◽  
Katniss Everdeen

This research examines the character development of Katniss Everdeen, the protagonist in Suzanne Collins’ The Hunger Games trilogy. It attempts to investigate whether socioeconomic factors play a role in Katniss’s character development. To address this question, Marxism was adopted as the theoretical framework to analyze Katniss’s character development. The results of the research indicate that the development of Katniss Everdeen as a character is a product of the socioeconomic power struggle within the society, both coming from the socioeconomic classes and the two presidents in Panem.

Literary Heredity and Variation in Selected Facebook Poems of Veralyn Chinenye And Her Collaborative Authors

2018 ◽  
Vol 5 (1) ◽  
pp. 58-68
Author(s):  
Onyekachi Peter Onuoha
Keyword(s):  
Theoretical Framework ◽  
Audience Participation ◽  
Oral Literature ◽  
Digital Literature ◽  
Works Of Art ◽  
New Form ◽  
Static Form

Facebook has become one of the mediums of creativity and criticism of works of art as a result of the nature of its blended writing. At the “completion” of a composition, Facebook poems maintain a certain degree of the static form, which is a characteristic of print literature. Facebook poetry coalesces the oral and print into a “new” form of poetry and extends the boundaries of oral and print literature. Using Bolter and Grusin concept of Remediation as a theoretical framework, this paper examines literary heredity and variation in selected Facebook poems of Veralyn Chinenye and her collaborative authors and participants. The paper further examines the characteristics and criticism of Facebook poetry and explicates the functionality of “Emoji”, “Comments”, “Share”, and intertextuality in the on-going creation and criticism of Facebook poetry that is different from the conventional perception and practice of literary creativity and criticism. Through the examples of poetry analysed in this paper, our findings show that digital literature is, to an extent, fluid and shares identical characteristics with oral literature in terms of artist and audience participation, occasion of performance

scholarly journals THEORETICAL FRAMEWORK FOR INFORMATION AND EDUCATIONAL COMPLEX DEVELOPMENT OF AN ACADEMIC DISCIPLINE AT A HIGHER INSTITUTION

2015 ◽  
Vol 0 (2) ◽  
pp. 8
Author(s):  
Evgeniia Nikolaevna Kikot ◽  
Valentina Vasilevna Mokshina ◽  
Nina Ivanovna Shevchenko
Keyword(s):  
Academic Discipline ◽  
Theoretical Framework ◽  
Higher Institution ◽  
Complex Development

scholarly journals “See My Heart”: Art and Alchemical Reasoning, or Character Transformation in Bryan Fuller’s Hannibal

2017 ◽  
Vol 1 (1) ◽  
pp. 304-318
Author(s):  
Anna Krawczyk-Łaskarzewska
Keyword(s):  
Character Development ◽  
Horror Genre ◽  
The Enlightenment ◽  
Works Of Art ◽  
Tv Shows ◽  
Point Of Reference

Abstract Works of art seem to be used more and more frequently in scripted TV shows nowadays. Most often, they constitute a symbolic point of reference, an intertextual “interlude,” or merely a convenient plot device. However, Bryan Fuller’s 2013 TV series Hannibal goes beyond the stereotypical functions of art, using it as a sort of intermediary between literary and televisual fantasies and elevating its narrative status. It can even be argued that works of art in Hannibal constitute the key element to understanding character development and transmutation in the three seasons of the show. This article focuses on the ramifications of making Sandro Botticelli’s ever-elusive Primavera a striking aspect of Hannibal’s third season. Fuller foregrounds the painting’s motif of becoming in order to repurpose the literary franchise and its cinematic offshoots. As a result, a more in-depth portrayal of its principal characters is offered, together with their unending, but ultimately incomplete alchemical cycle of purification, “fiery love,” rebirth and death: stages representing the “enlightenment and perfection” (Gillies, Botticelli’s Primavera 133) of human souls. Alongside other masterpieces displayed in the series, Primavera helps destabilise the confines of the televisual medium and of the horror genre, while at the same time demonstrating the complexity of transmedial connections and influences.

scholarly journals Resisting neoliberalism: the challenge of activist librarianship in English Higher Education

2017 ◽  
Vol 73 (2) ◽  
pp. 317-335 ◽  
Author(s):  
Katherine Quinn ◽  
Jo Bates
Keyword(s):  
Higher Education ◽  
Critical Discourse Analysis ◽  
Participant Observation ◽  
Academic Discipline ◽  
Empirical Work ◽  
Theoretical Framework ◽  
Content Type ◽  
Umbrella Organisation ◽  
Academic Librarianship ◽  
The Uk

Purpose The purpose of this paper is to examine the political position of academic librarianship in the context of recent changes in English Higher Education. The neoliberalisation of academic librarianship, both as an academic discipline and profession, is considered. The emergence of the Radical Librarians Collective is examined as a potential site through which to counter these developments and foster radical alternatives. Design/methodology/approach The paper draws upon Gramsci’s concepts of hegemony and praxis, and post-structural critiques of neoliberalism, as a theoretical framework to guide data collection and analysis, and observe developments within academic librarianship vis-à-vis broader processes of neoliberalisation. Empirical data collected through interviews and participant observation are analysed using thematic and critical discourse analysis. Findings The research finds that academic librarianship as a discipline and practice is undergoing a process of neoliberalisation. An umbrella organisation of activist librarians, Radical Librarians Collective, is found to be resisting these developments and has some potential to become a space through which radical alternatives to neoliberal hegemony can be explored and fostered. Research limitations/implications The research demonstrates the utility of a Gramscian theoretical framework as a lens through which to observe developments in the field of library and information studies (LIS). Further empirical work would deepen the authors’ understanding of such developments across a range of institutions and locales. Originality/value The research makes an original contribution to critical research on the struggles around the neoliberalisation of academic librarianship in the UK. The theoretically informed analysis provides original insights into these processes, and makes a methodological contribution to LIS research.

scholarly journals Elaine Risley’s Character Development in Margaret Atwood’s Cat’s Eye

Lexicon ◽  
2018 ◽  
Vol 5 (2) ◽  
Author(s):  
Nur Afifah Widyaningrum ◽  
Eddy Pursubaryanto
Keyword(s):  
Young Woman ◽  
Character Development ◽  
Margaret Atwood ◽  
Early Adulthood ◽  
Theoretical Framework ◽  
Virgin Mary ◽  
The Novel ◽  
Main Character ◽  
Men And Women ◽  
Library Research

This research explores the character development of Elaine Risley, the main character of the novel Cat’s Eye by Margaret Atwood (2009), throughout her childhood, adolescence, early adulthood, and adulthood years. The objectives of this research are to explain how the character of Elaine Risley develops in Cat’s Eye and to examine the factors which affect Elaine Risley’s character development. This research employs the objective approach proposed by Abrams (1976) as its theoretical framework and the library research as its method of research. The results show that Elaine Risley always experiences development in her character throughout her life; she develops from a bullied little girl in her childhood, a mean but passionate girl in her adolescence, and an independent young woman in her early adulthood to finally become a woman who struggles to let go of her past in her adulthood. Elaine Risley’s character development is affected by several factors, namely, Toronto as her environment, her experiences with bullying, the men and women in the society around her, her own paintings, the cat’s eye marble, and the Virgin Mary.

SPATIAL DIVERSITIES AS STARTING POINTS IN REGIONAL DEVELOPMENT AND TOURISM REGIONALISATION

2003 ◽  
Vol 9 (2) ◽  
pp. 29-40
Author(s):  
Branko Blažević
Keyword(s):  
Regional Development ◽  
Regional Economics ◽  
Academic Discipline ◽  
Economic Policies ◽  
Balanced Growth ◽  
Regional Tourism ◽  
Unique Approach ◽  
Fixed Boundaries ◽  
Tourist Region ◽  
Spatial Content

In this paper the author examines spatial diversities as starting points in regional development. Through the vital process of delocalising spatial content, regions are viewed without their fixed boundaries. Using this same principle, the author seeks to define tourist regions in the sense of subsystems of regional economics as an academic discipline, implying crucial interregional relations and the process of delocalisation. The tourist region is considered a subsystem of Croatia as a tourist region, as well as a subsystem of the Croatian economic system. Regional tourism policies as part of the framework of economic policies call for a unique approach. According to the systems theory, this refers to the subsystem of Croatian tourism policies and to the subsystem of regional economic policies. In dealing with tourist regions, the authors favours the theory of balanced growth in all cases lacking appropriately elaborated development concepts and strategies, and clearly defined development visions and objectives. The author also speaks in favour of the theory of forceful strike wherever there is a clearly developed vision together with the essential development documents.

scholarly journals Theatre Photography as a Counterfactual Representation of Aesthetic Reality

2018 ◽  
Vol 14 (1) ◽  
pp. 62-73
Author(s):  
Olga Grzelak
Keyword(s):  
Visual Culture ◽  
Case Studies ◽  
Academic Discipline ◽  
Theoretical Framework ◽  
Art Forms ◽  
Theatre Studies ◽  
Narrative Forms ◽  
The Relationship ◽  
Made In ◽  
Prime Form

Summary The article is an attempt at applying the concept of counterfactuality, typically employed with reference to narrative forms, to the analysis of visual culture, particularly to theatre photography. The material for case studies is provided by the works of Polish photographers who redefine the function of this form of photography. Typically, photography is seen by theatre historians as the prime form of theatre documentation, and therefore treated as subservient to the needs of theatre studies as an academic discipline. Contrary to that, the photographic projects analysed in the present paper (particularly those of Ryszard Kornecki and Magda Hueckel), although made in theatre during performances, have been produced and distributed as autonomous art forms which neither represent nor document theatre productions. In the analysis of these projects, I employ Margaret Olin’s concept of “performative index”, which describes the relationship between the image and the viewer as a dynamic creation of meaning. With reference to this theoretical framework, I argue that counterfactuality of theatre photography is a strategy of turning this medium into an autonomous form of art.

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