scholarly journals THEMATIC DEVELOPMENT AND EARLY DRAMATURGY BY D. D. SHOSTAKOVICH

2021 ◽  
Vol 4 (73) ◽  
pp. 06-09
Author(s):  
G. Ostrovskaya
Keyword(s):  
Musical Drama ◽  
Integral Structure

The article is devoted to the analysis of the dramatic patterns in the early quartets of D. Shostakovich. The features of the content and form formation in the quartets are determined. The purpose of the study is to determine the specificity of thematic development, which determines the laws of musical drama. The scientific novelty of the research lies in the study of the peculiarities of the organization of the integral structure in quartets on the basis of the intonational unity of the parts, as a manifestation of the essence of D. Shostakovich's chamber style. As a result, it was revealed that the figurative and emotional structure of music in quartets is aimed at embodying a multifaceted image in its development, reflecting the wealth and unity of its internal opposites. 

Reconstruction of the Mandibular Condyle

2021 ◽  
Author(s):  
Spencer R. Anderson ◽  
Kaitlynne Y. Pak ◽  
Aurora G. Vincent ◽  
Adrian Ong ◽  
Yadranko Ducic
Keyword(s):  
Gold Standard ◽  
Traumatic Injury ◽  
Tumor Resection ◽  
Surgical Techniques ◽  
Mandibular Condyle ◽  
Facial Aesthetics ◽  
Mandibular Growth ◽  
Alloplastic Materials ◽  
Technological Advances ◽  
Integral Structure

AbstractThe mandibular condyle is an integral structure in the temporomandibular joint (TMJ) serving not only as the hinge point for mandibular opening, but also facilitating mandibular growth and contributing to facial aesthetics. Significant compromise of the TMJ can be debilitating functionally, psychologically, and aesthetically. Reconstruction of the mandibular condyle is rarely straightforward. Multiple considerations must be accounted for when preparing for condylar reconstruction such as ensuring eradication of all chronically diseased or infected bone, proving clear oncologic margins following tumor resection, or achieving stability of the surrounding architecture in the setting of a traumatic injury. Today, there is not one single gold-standard reconstructive method or material; ongoing investigation and innovation continue to improve and transform condylar reconstruction. Herein, we review methods of condylar reconstruction focusing on autologous and alloplastic materials, surgical techniques, and recent technological advances.

scholarly journals Delay of HeLa cell cleavage into interphase using dihydrocytochalasin B: retention of a postmitotic spindle and telophase disc correlates with synchronous cleavage recovery.

1995 ◽  
Vol 131 (1) ◽  
pp. 191-205 ◽  
Author(s):  
S N Martineau ◽  
P R Andreassen ◽  
R L Margolis
Keyword(s):  
Mammalian Cell ◽  
Mitotic Spindle ◽  
Cyclin B ◽  
Cell Cortex ◽  
Cleavage Furrow ◽  
Actin Assembly ◽  
Cell Cleavage ◽  
Integral Structure ◽  
G1 Cells ◽  
Molecular Signals

The molecular signals that determine the position and timing of the cleavage furrow during mammalian cell cytokinesis are presently unknown. We have studied in detail the effect of dihydrocytochalasin B (DCB), a drug that interferes with actin assembly, on specific late mitotic events in synchronous HeLa cells. When cleavage furrow formation is blocked at 10 microM DCB, cells return to interphase by the criteria of reformation of nuclei with lamin borders, degradation of the cyclin B component of p34cdc2 kinase, and loss of mitosis specific MPM-2 antigens. However, the machinery for cell cleavage is retained for up to one hour into G1 when cleavage cannot proceed. The components retained consist prominently of a "postmitotic" spindle and a telophase disc, a structure templated by the mitotic spindle in anaphase that may determine the position and timing of the cleavage furrow. Upon release from DCB block, G1 cells proceed through a rapid and synchronous cleavage. We conclude that the mitotic spindle is not inevitably destroyed at the end of mitosis, but persists as an integral structure with the telophase disc in the absence of cleavage. We also conclude that cell cleavage can occur in G1, and is therefore an event metabolically independent of mitosis. The retained telophase disc may indeed signal the position of furrow formation, as G1 cleavage occurs only in the position where the retained disc underlies the cell cortex. The protocol we describe should now enable development of a model system for the study of mammalian cell cleavage as a synchronous event independent of mitosis.

scholarly journals Analysis of the Opera Kerem by Akhmet Adnan Saygun

2021 ◽  
Vol 4 (1) ◽  
pp. 11-20
Author(s):  
Aysel Asadova
Keyword(s):  
Folk Music ◽  
Structure Characteristic ◽  
Theoretical Problem ◽  
Musical Language ◽  
Musical Drama ◽  
Musical Culture ◽  
National Values ◽  
Characteristic Features ◽  
First Time ◽  
The Way

The article analyzes the musical language of the opera Kerem by A. Adnan Saygun. Ahmet Adnan Saygun was born during the Ottoman period and lived in the newly created Republic of Turkey. Saygun is one of the founders of the Turkish School of Composing, as well as one of the founders of the Turkish Five. The composer paid great attention to folk art and national values. You can always see folk music and folklore in his works. The purpose of the research is to analyze Sufi motives in the scenes of the opera. Mainly, the attention is paid to musical drama and harmonic aspects of the opera, which directly reflect Turkish folklore and musical culture in general. The research methodology lies in solving a scientific and theoretical problem. A number of theoretical and analytical methods have been applied, highlighting the principle of using a literary text in musical scenes that contain phrases that reflect “reunification with the Creator” in Sufism. The use of characteristic rhythmic patterns in mystical scenes, when searching for information, the methods of the axiological concept of culture were used, which made it possible to highlight the characteristic features of Turkish music. The scientific novelty of the research lies in the fact that for the first time the reflection of religious characteristics based on folk music, in particular, based on modal structures and maqams, analysis of the mystical motives of the opera, in combination with modern musical techniques is considered. Conclusions. Saigun’s opera Kerem is one of the rare works based on Sufi philosophy. A clear reflection of the main thought of Sufi philosophy was noted in Kerem, according to which the suffering of the seeker of truth is marked by a return to it. The way of light is the way of Allah. The composer, to show the unique colour and character of Anatolia, the life and customs of people, used the fret and rhythmic structure characteristic of Turkish music. As a result of the study, we see how in Kerem the author enthusiastically and passionately works on national values in all aspects of the opera.

Upper stage flight experiment (USFE) integral structure development effort

2004 ◽  
Vol 66 (1-4) ◽  
pp. 327-337 ◽  
Author(s):  
Jim Guerrero ◽  
Brent Hamilton ◽  
Randy Burton ◽  
Dave Crockett ◽  
Zach Taylor
Keyword(s):  
Development Effort ◽  
Structure Development ◽  
Flight Experiment ◽  
Upper Stage ◽  
Integral Structure

Gwen Ffrangcon-Davies: ‘Ethereal from the Waist Up and All Welsh Pony Down Below’

2011 ◽  
Vol 27 (3) ◽  
pp. 203-214 ◽  
Author(s):  
Helen Grime
Keyword(s):  
Twentieth Century ◽  
Social Attitudes ◽  
Musical Drama ◽  
Self Presentation ◽  
Lesbian Identity ◽  
Political Position ◽  
Public Scrutiny ◽  
The University ◽  
Fragmented Identity

In this article Helen Grime examines the enduring epithet of ethereality and its persistent connection to the career of the actress Gwen Ffrangcon-Davies (1891–1992). Most closely associated with her portrayal of Etain in the much revived musical drama The Immortal Hour, ethereality is understood as a signifier of 1920s femininity. The offstage presentation of a domesticated femininity further evidences the apparent conventionality of this actress's self-presentation at a time of particular anxiety about the socio-political position of women. These notions of femininity hint at the prevailing social attitudes that confronted an actress whose on- and offstage appearances were subject to public scrutiny while her private lesbian identity remained obscured. It is suggested, however, that Gwen Ffrangcon-Davies's playful negotiation of her demonstrably fragmented identity evidences an agency and self-possession belied by her public conformity. Helen Grime completed her thesis, A Strange Omission: Gwen Ffrangcon-Davies, Twentieth-Century Shakespearean Actress, in 2008 and is currently a Lecturer in Drama at the University of Winchester.

CULTURAL CONTACTS BETWEEN RUSSIA AND CHINA IN THE FIELD OF MUSIC AND DRAMA THEATER (50s of the XXth century)

2021 ◽  
Vol 1 (2) ◽  
pp. 99-106
Author(s):  
Wang Kaidi ◽  
Keyword(s):  
Soviet Union ◽  
Musical Theater ◽  
Cultural Relations ◽  
Musical Drama ◽  
Republic Of China ◽  
Chinese Theatre ◽  
The Soviet Union ◽  
Starting Point ◽  
Queen Of Spades ◽  
Eugene Onegin

The article is devoted to the cultural cooperation between the USSR and the People's Republic of China in the field of musical theater. The Treaty of Friendship, Alliance and Mutual Assistance between these two countries, signed in Moscow on February 14, 1950, became a starting point in the development of cultural contacts. The most productive period was from 1949 to early 1960s. An important marker of the development of Soviet-Chinese cultural relations was the tour of theater troupes from both countries to the Soviet Union and the Celestial Empire. The Stanislavsky and Nemirovich-Danchenko Moscow Musical Theater team visited China in 1954, and later the artists of the Shaoxing Opera and the Shanghai Theater of Beijing Musical Drama demonstrated their art in Russian cities. The two countries' directors showed mutual interest in the classical opera art of their counterparts: in Beijing and Tianjin P. I. Tchaikovsky's "Eugene Onegin" and "The Queen of Spades" were performed by Chinese singers, while in Russian cities the traditional Chinese theatre plays "The Spilled Cup" and "The Grey-Haired Girl" were staged by Russian artists.

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