scholarly journals Dramatising Solidarity and Unification in Divided Palestine: The Chorus and the Ghost in Kamel EL-Basha’s Following the Footsteps of Hamlet (2013)

Humanities ◽  
2021 ◽  
Vol 11 (1) ◽  
pp. 3
Author(s):  
Ziad Abushalha
Keyword(s):  
Historical Account ◽  
Theatrical Space ◽  
Theatre Production ◽  
Collective Resistance ◽  
Birth Of Tragedy ◽  
Theatrical Practice ◽  
Yasser Arafat

This essay explores how Kamel EL-Basha’s theatre production Following the Footsteps of Hamlet (2013) preaches unity and resistance in a post-2006 divided Palestine. After giving a brief historical account of the causes of the internal Palestinian political divisions that distract Palestinians from achieving liberation, the article traces how El-Basha uses theatrical devices such as the chorus and the ghost to materialise a sense of unification in the theatrical space. The analysis draws on other international theatrical practices like Einar Schleef’s (1980) ‘Choric Theatre’ and cites critical works such as Nietzsche’s The Birth of Tragedy (1872) to locate El-Basha’s theatrical practice in a broader context regarding the significance of the chorus in dramatising unity. The essay also traces how the performance of traditional Palestinian songs, ululation, dances like dabke and other rituals in the play, help foster Palestinian identity and shape their sumud (steadfastness) in facing the occupation. Finally, the essay focuses on the role of the ghost in evoking nostalgia in the audience for the days of unity and collective resistance promoted by the Palestinian leader Yasser Arafat before his death.

Diffusion, translation and the neglected role of managers in the fashion setting process: The case of MANS

2011 ◽  
Vol 42 (2) ◽  
pp. 149-164 ◽  
Author(s):  
Kees van Veen ◽  
Jelle Bezemer ◽  
Luchien Karsten
Keyword(s):  
Life Cycle ◽  
Active Role ◽  
Historical Account ◽  
Role Changes ◽  
Management Fashion ◽  
Setting Process

In this article, we reconstruct the lifecycle of MANS, a less well-known Dutch management fashion. Studying less well-known fashions is necessary because it challenges existing understandings of management fashions. First, it is argued how such reconstructions can be helpful. It creates a need to combine existing diffusion and translation perspectives on management fashions, it accentuates existing limitations, and it brings unnoticed aspects of management fashions to the forefront. Second, a detailed historical account of the lifecycle of MANS itself will be presented to illustrate these points. Finally, two remarkable and new aspects of MANS are discussed. To begin with, MANS shows an active role of (collectives of) managers in different phases of the life cycle. Additionally, MANS draws attention to role changes of individuals involved. Concepts are not only diffused and translated by different individuals in different roles, but concepts also stimulate individuals to move from one role to another.

scholarly journals The role of cultural and structural factors in the explanation of marginal social position in the USA: Scopes and dilemmas

Sociologija ◽  
2013 ◽  
Vol 55 (3) ◽  
pp. 395-416
Author(s):  
Stefan Jankovic
Keyword(s):  
Cultural Factors ◽  
Social Position ◽  
Structural Factors ◽  
Historical Account ◽  
Culture Of Poverty ◽  
Behavioural Patterns ◽  
Cultural Grounding ◽  
The Usa ◽  
The Relationship

The paper gives a historical account of the genesis of marginal social position explanations in the USA, with special emphasis on the characteristics, related to the generating of cultural factors in explanation. In this light, the two fundamental and interrelated concepts are being indentified - the culture of poverty and the underclass, whose conceptual genesis, in a causal manner, varies between structural and cultural grounding. Due the translation of perceived minority behavioural patterns into the dimensions used for defining the marginal social position, conceptual validity of the underclass has been heavily disputed. At the same time, dilemmas created by the implementation of cultural factors constructed in that way open up broader issues of the relationship between culture and structure, lines of determination and the possibility of a consistent explanation of marginal social position.

Agafonov’s Early Kharkiv Creative Period: Dialogue with the Theatre

2020 ◽  
Vol 2020 (3) ◽  
pp. 82-93
Author(s):  
V. Chechyk ◽  
Keyword(s):  
Art History ◽  
Artistic Practice ◽  
Partial Reconstruction ◽  
Theatrical Space ◽  
Native Art ◽  
History Of ◽  
Artistic Values ◽  
First Time ◽  
History Of Formation

This article is dedicated to the study of the nature of E. Agafonov’s creative ties with the theater – a topic that has been insufficiently covered in the native art history. The author’s field of view is set in the artist’s early Kharkiv period, marked as the years of 1905–1913. The article focuses on the exceptional role of E. Agafonov in the organization and the artistic practice of the first modernist theater “Blakytne Oko” in Kharkiv (1909–1911). Agafonov belonged to the constellation of masters who was very sensitive to the problem of evolving the artistic speech. He viewed the theater as a convincing platform for promoting and approving of the latest artistic values, discovered by Impressionism and Post-Impressionism. Experiments in easel art (with color, plastic, line, techniques, materials, etc.), largely inspired by the work of D. Burliuk (1906–1908), were directly reflected in Agafonov’s stage practice, namely in numerous designs of the modernist productions based on plays by M. Maeterlinkc, A. Schnitzler, S. Pshybyshevsky and O. Blok. In turn, it was established that theatrical motives were reflected in E. Agafonov’s easel art, as well as in the art of the students of his artistic studio – O. Rybnikov, I. Terentyev, M. Sinyakova, and K. Storozhnichenko. In this regard, a special attention is given to the linocuts by F. Nadezhdin. It was found that the program of “total” design of theatrical space (stage and auditorium), as well as the implementation of production ideas in the cabaret theater “Blakytne Oko” were the result of the master’s fascination with the concepts of artistic synthesis, actualized in the era of Modern. Agafonov moved from dramatization of paintings (of A. Beklin, F. Malyavin, and O. Rodin) to staging experimental show-programs like “The Evening of Autumn”, “Visiting Pierrot” and “In the Middle of Nowhere”, partial reconstruction of which was undertaken for the first time by the author of the article. Agafonov was close to the idea of artistic synthesis, identified by him in F. Malyavin’s paintings, in V. Komissarzhevska’s theatre and I. Duncan’s choreography. The study of E. Agafanov’s theatrical art expands the understanding of the history of formation and development of Ukrainian scenography at the beginning of the twentieth century.

Joyce Unperformed

Empty Houses ◽  
2011 ◽  
Author(s):  
David Kurnick
Keyword(s):  
The Other ◽  
Theatrical Space ◽  
Dramatic Form ◽  
Collective Resistance ◽  
Closet Drama ◽  
The One

This chapter examines the collective spaces invoked in James Joyce's career-long obsession with dramatic form—from the epiphanies he wrote as a teenager through his 1918 play Exiles to the closet drama of the Nighttown (or “Circe”) episode of Ulysses. Joyce's experiments with theatrical form constitute a running commentary on his interest in the “depths” of the psyche. The different conceptions of theatrical space embedded in the idea of epiphany lend a dual valence to this keystone of Joycean aesthetics. If, on the one hand, epiphany imagines a humiliating theater of psychic exposure, on the other it gestures toward a perverse collective space where such exposures would lose their policing force. These isolating and collectivist impulses are both visible in Joyce's play Exiles, which follows Ibsenesque naturalism in its representation of psychic motivation but allows its characters to mount a notable collective resistance to the diagnostic imperative structuring their stage existence.

Chemical Biomarker Applications to Ecology and Paleoecology

2011 ◽  
Author(s):  
Thomas S. Bianchi ◽  
Elizabeth A. Canuel
Keyword(s):  
Organic Matter ◽  
Large Scale ◽  
Aquatic Systems ◽  
Laminated Sediments ◽  
Historical Account ◽  
Strong Case ◽  
Inherent Structure ◽  
Chemical Biomarkers ◽  
Ancient Ecosystems

This chapter provides a brief historical account of the success and limitations of using chemical biomarkers in aquatic ecosystems. It also introduces the general concepts of chemical biomarkers as they relate to global biogeochemical cycling. The application of chemical biomarkers in modern and/or ancient ecosystems is largely a function of the inherent structure and stability of the molecule, as well as the physicochemical environment of the system wherein it exists. In some cases, redox changes in sediments have allowed for greater preservation of biomarker compounds; in well-defined laminated sediments; for example, a strong case can be made for paleo-reconstruction of past organic matter composition sources. However, many of the labile chemical biomarkers may be lost or transformed within minutes to hours of being released from the cell from processes such as bacterial and/or metazoan grazing, cell lysis, and photochemical breakdown. The role of trophic effects versus large-scale physiochemical gradients in preserving or destroying the integrity of chemical biomarkers varies greatly across different ecosystems. These effects are discussed as they relate to aquatic systems such as lakes, estuaries, and oceans.

B6112—Art after All: The Alleged Occupation of the Volksbühne am Rosa-Luxemburg-Platz

2018 ◽  
Vol 59 (2) ◽  
pp. 276-281
Author(s):  
Sarah Waterfeld
Keyword(s):  
Gender Inequality ◽  
Global Citizenship ◽  
Self Organization ◽  
World Community ◽  
Resistance Strategies ◽  
Theatre Production ◽  
The Face ◽  
And Gender ◽  
Rosa Luxemburg

B6112 is a collective anticapitalist, feminist, antiracist, and queer transmedial theatre production. Welcome to our artwork! Our theatre, our art, our poetry, and our work are weapons of struggle. Art does not take place in a political, social, or economic vacuum. Art takes place in world structured by imperialism and its slaughter, war, destruction, commerce, and slavery. Art must engage with this in both content and form. Otherwise it is obsolete. B6112 advocates a theatre that calls for revolution, reveals relationships of domination, denounces grievances, names guilty parties, presents resistance strategies, explores them, rejects them. B6112 stands for the elimination of nationalisms and gender inequality, for a global citizenship, for a world community in which all people peacefully coexist in equal living conditions. B6112 stands for self-organization and emancipation, for a hierarchy-free theatre that has a mimetic and thus exemplary effect on society. In the face of global disasters, we reject an entertainment theatre or a theatre of display that acts as an opiate in the society. Only when our goals have been achieved will we be able to renegotiate the role of the theatre for our society, redefine its content, and redefine the question of relevance.

Synthetical Experiments and Alkaloid Analogues

2012 ◽  
Vol 44 (4) ◽  
pp. 319-363 ◽  
Author(s):  
Catherine M. Jackson
Keyword(s):  
Organic Chemistry ◽  
Late Nineteenth Century ◽  
Organic Analysis ◽  
Historical Account ◽  
Daily Work ◽  
Organic Bases ◽  
Scientific Goal ◽  
Theoretical Innovation ◽  
Late Nineteenth

This essay provides the first historical account of the origins of synthetic organic chemistry, one of the most powerful and productive of late nineteenth-century sciences. It builds on a revised understanding of the program of organic analysis instituted in the early 1830s by Justus Liebig, showing why and how Liebig guided his students August Wilhelm Hofmann and James Sheridan Muspratt in the introduction of synthesis to organic chemistry in early 1840s Giessen. What Muspratt and Hofmann called “synthetical experiments” became Hofmann’s main investigative method, but they did not enable the artificial laboratory production of specified target substances. Instead, synthetical experiments increased chemical understanding of reactions and their products. When applied to aniline, Hofmann’s model for natural alkaloids, they produced the array of artificial organic bases underpinning Hofmann’s major theoretical innovation, the ammonia type. Despite his reliance on artificial bases, this essay shows that Hofmann’s primary and enduring scientific goal was to understand the natural alkaloids. By revealing the essential stabilizing and progressive role of chemists’ daily work at a time when theory was uncertain and contested, it contributes to ongoing studies of science as practice.

How Wicksell became important for Buchanan: a historical account of a (relatively) slow epiphany

2020 ◽  
Vol 35 (2) ◽  
pp. 181-203 ◽  
Author(s):  
Alain Marciano
Keyword(s):  
Marginal Cost ◽  
Welfare Economics ◽  
Historical Account ◽  
Marginal Cost Pricing

The purpose of this article analyze the process that led Buchanan to become a ‘Wicksellian’, that is, to recognise the importance of Finanztheoretische Untersuchungen. It is now established that Buchanan discovered Wicksell’s Finanztheoretische Untersuchungen not after he had completed his PhD dissertation – as he himself recounted – but before. We show that, if the process did indeed start with the dissertation, Wicksell remained marginal for Buchanan until he had read Nancy Ruggles’s articles on welfare economics and marginal cost pricing. This led him to start translating Wicksell’s book. Then, we discuss the role of the correspondence that Buchanan exchanged with Carl Uhr. Ruggles and Uhr played an important role in Buchanan’s acceptance that Finanztheoretische Untersuchungen was an important book.

scholarly journals The resistible rise of the temporary employment industry in France

2017 ◽  
Vol 41 (1) ◽  
pp. 121-144
Author(s):  
Paul Brook ◽  
Christina Purcell
Keyword(s):  
Labour Market ◽  
Temporary Employment ◽  
Regulatory Environment ◽  
Historical Account ◽  
Labour Movement ◽  
Institutional Conditions ◽  
Employment Agency ◽  
Wide Scale ◽  
Market Pressures

This article is an historical account of the contested growth of the temporary employment agency sector in France. It utilises a variegated capitalism conceptual framework to explain the evolution of a distinctive temporary employment agency sector and regulatory environment under French politico-institutional conditions that was contingent upon global developments. The article charts the role of large agencies in constructing a market for agency labour despite wide-scale cultural, political and trade union opposition. In order to build legitimacy, agencies sought partners in the labour movement from the late 1960s onwards. By the late 1990s, the sector had grown significantly within a gradually more permissive regulatory framework, despite ongoing but fragmenting opposition. The article demonstrates that the growth of agency labour was not an inevitable outcome of global pressure for labour market deregulation. It also reveals how national regulatory institutions alone are not a sufficient bulwark against global labour market pressures.

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