scholarly journals ASPECTOS RELEVANTES DA DRAMATURGIA PARA A INFÂNCIA NAS PALAVRAS DE QUEM FAZ O TEATRO INFANTIL

2019 ◽  
Vol 19 (2) ◽  
pp. 9-29
Author(s):  
Fabiano Tadeu Grazioli ◽  
Fulvio Torres Flores
Keyword(s):  
Performing Arts ◽  
Historical Period ◽  
Scientific Journals ◽  
Starting Point ◽  
Academic Publications ◽  
Brazilian Children

O artigo parte de uma reflexão sobre o primeiro livro de teatro infantil publicado no Brasil, a saber, Teatrinho Infantil, de Figueiredo Pimentel, até apresentar o propósito do trabalho, que é pinçar de um conjunto de publicações diversas (entrevista, depoimento, debate transcrito, artigos publicados inicialmente em jornais, publicações acadêmicas como obras teóricas e periódicos científicos) informações sobre a dramaturgia para a infância ou então aspectos do teatro infantil que servem também para pensarmos a dramaturgia para a infância. Este tema não é recorrente nos estudos da literatura infantil brasileira e não recebeu, no país, a mesma atenção, por parte dos pesquisadores, que o poema e a narrativa. Não houve a intenção de mapear um período histórico específico de publicações, mas sim de revisitar as vozes de alguns diretores, encenadores, atores, pesquisadores, críticos e dramaturgos que contribuíram com as Artes Cênicas, em especial aquelas destinadas às crianças. Ao final, percebe-se uma importante galeria de informações que podem auxiliar no direcionamento de um teatro infantil que serve aos princípios da infância e legitimam a arte que precisa ser oferecida a esse público, e, claro, à dramaturgia que vai servir de ponto de partida para a construção dos referidos espetáculos. Embora os autores pesquisados não tenham o intuito de prever uma dramaturgia para ser lida pela criança, nós, entusiastas dessa possibilidade, podemos afirmar que os aspectos levantados indicam alguns caminhos para uma dramaturgia com essa finalidade. RELEVANT  ASPECTS OF DRAMATURGY FOR CHILDREN IN THE WORDS OF WHO DO THEATER FOR CHILDRENAbstract: This article begins by reflecting on the first children´s theater book published in Brazil, namely Teatrinho infantil (literally: Little theater for children), by Figueiredo Pimentel, and after it presents the purpose of the work, which is to draw from a set of different publications (interview, testimony, transcript discussion, articles published initially in newspapers, academic publications such as theoretical works and scientific journals) information on the dramaturgy for children or aspects of the children´s theater that are as well useful for thinking the dramaturgy for children. This theme is not recurrent in the studies of Brazilian children´s literature and it has not yet received, in this country, the same attention by researchers that poetry and narrative have. There was no intention of mapping a specific historical period of publications, but rather to revisit the voices of some directors, actors, researches, critics and playwrights who have contributed to the Performing Arts, specially those aimed at children. In the end, an important gallery of information can be found that can help guide a children´s theater that serves the principles of childhood and legitimize the art that must be offered to this audience and, of course, the dramaturgy that will serve as a starting point for the construction of these theater productions. Although the researched authors do not intend to predict a dramaturgy to be read by children, we –  enthusiasts of this possibility – can affirm that the aspects raised indicate some ways for a dramaturgy for this purpose.Keywords: Brazilian children´s literature. Theater artists experiences. Dramaturgy reading.

MA SICONG AND HIS ROLE IN THE DEVELOPMENT OF CHINESE MUSICAL CULTURE

2021 ◽  
Vol 1 (4) ◽  
pp. 79-84
Author(s):  
Luo Yuanyuan ◽  
Keyword(s):  
Cultural Revolution ◽  
Performing Arts ◽  
Historical Period ◽  
Social Activities ◽  
Musical Culture ◽  
Xxth Century ◽  
Artistic Life ◽  
Musical Traditions ◽  
Creative Life ◽  
The Cultural Revolution

This article focuses on the life and creative activities of Ma Sicong, one of the most significant Chinese musicians of the mid-XXth century, a multi-talented and outstanding violinist who showed his prowess in various spheres of artistic life: performing, teaching, composing, musical and social activities. Ma Sicong contributed to each of these fields as a virtuoso soloist whose example was followed by his contemporaries, young musicians and as a teacher who trained numerous students retaining the most enthusiastic memories of their professor. The highly professional violin school he established, which continued Chinese and European musical traditions, became a fruitful source for the development of modern performing arts. Ma Sicong's creative life was not an easy one; periods of brilliant achievements and growth alternated with dramatic peripeteia, which led to his departure from China in the most difficult historical period for the country — the period of the "Cultural Revolution" (late 1950s — early 1970s ).

The Sticky Temptation of Poetry

2015 ◽  
Vol 9 (2) ◽  
Author(s):  
Kári Driscoll
Keyword(s):  
Literary Criticism ◽  
Animal Studies ◽  
Geographical Area ◽  
Literary Studies ◽  
Historical Period ◽  
Animal Imagery ◽  
Starting Point ◽  
Philosophical Background ◽  
Object Of Study ◽  
Animal Presence

AbstractSometime around 1900, a fundamental shift occurred in the way animals were represented in works of Western literature, art, and philosophy. Authors began to write about animals in a way that was unheard-of or even unimaginable in previous epochs. Traditionally, animals had fulfilled a symbolic, allegorical, or satirical function. But in the period around the turn of the twentieth century these animals begin, as it were, to »misbehave« or to »resist« the metaphorical values attributed to them. There is a conspicuous abundance of animals in the literature of this period, and this animal presence is frequently characterised by a profound and troubling ambiguity, which is often more or less explicitly linked to the problem of writing, representation, and language – specifically poetic or metaphorical language.Taking the Austrian literary scholar Oskar Walzel’s 1918 essay »Neue Dichtung vom Tiere« as its starting point, this essay explores the historical and philosophical background of this paradigm shift as well as its implications for the study of animals in literature more generally. Zoopoetics is both an object of study in its own right and a specific methodological and disciplinary problem for literary animal studies: what can the study of animals can contribute to literary studies and vice versa? What can literary animal studies tell us about literature that conventional literary studies might otherwise be blind to? Although animals abound in the literature of almost every geographical area and historical period, traditional literary criticism has been marked by the tendency to disregard this ubiquitous animal presence in literary texts, or else a single-minded determination to read animals exclusively as metaphors and symbols for something else, in short as »animal imagery«, which, as Margot Norris writes, »presupposes the use of the concrete to express the abstract, and indeed, it seem[s] that nowhere in literature [are] animals to be allowed to be themselves« (Norris 1985, 17). But what does it mean for literary theory and criticism to allow animals to »be themselves«? Is it possible to resist the tendency to press animals »into symbolic service« (ibid.) as metaphors and allegories for the human, whilst also avoiding a naïve literalism with respect to the literary animal?The pervasive uneasiness regarding the metaphorical conception of the animal within recent scholarship in animal studies stems from a more general suspicion that such a conception serves ultimately to assimilate the animal to a fundamentally logocentric discourse and hence to reduce »animal problems to a principle that functions within the

scholarly journals Law and its interpretation in the context of cultural and historical process

2021 ◽  
pp. 125-128
Author(s):  
T. I. Bondaruk
Keyword(s):  
Social Reproduction ◽  
Historical Period ◽  
Spiritual Values ◽  
Legal Tradition ◽  
Historical Process ◽  
Legal Norms ◽  
Moral Principles ◽  
Cultural Phenomenon ◽  
Starting Point ◽  
Historical Retrospect

The article attempts to substantiate the approach to law as a socio-cultural phenomenon as decisive for its interpretationтin the historical process. P. Bourdieu’s formula «law is cultural capital» is offered as a starting point. Attention is drawn to law as a socio-cultural phenomenon, legal values as cultural and spiritual values, legal tradition, etc. Attention is drawn to some provisions of Dvorkin’s interpretive theory regarding the conditionality of the content of legal norms by political (strategies pursued by legislators through norms) or moral (principles implemented by judges in resolving conflicts in society) factors. It is concluded that to interpret the law in historical retrospect, when it comes to mastering the legal experience of a society accumulated over the centuries, the most productive, considering and researching law as a socio-cultural phenomenon. Culture, the core of which is values, as a collective programming of consciousness, which distinguishes members of one group or type of people from another (according to G. Hofstede), which includes law, determines the level of implementation and collective life of people in society / state, their social integration and social reproduction in general during a certain historical period. Keywords: law, socio-cultural phenomenon, cultural-historical process, interpretation.

scholarly journals Land-Use Harmonization Datasets for Annual Global Carbon Budgets

2021 ◽  
Author(s):  
Louise Chini ◽  
George Hurtt ◽  
Ritvik Sahajpal ◽  
Steve Frolking ◽  
Kees Klein Goldewijk ◽  
...  
Keyword(s):  
Land Use ◽  
Land Use Change ◽  
Agricultural Land ◽  
Historical Period ◽  
Time Lags ◽  
Land Use Patterns ◽  
Starting Point ◽  
Grazing Area ◽  
Global Carbon ◽  
Area Data

Abstract. Land-use change has been the dominant source of anthropogenic carbon emissions for most of the historical period, and is currently one of the largest and most uncertain components of the global carbon cycle. Advancing the scientific understanding on this topic requires that the best data be used as input to state-of-the-art models in well-organized scientific assessments. The Land-Use Harmonization 2 dataset (LUH2), previously developed and used as input for CMIP6 simulations, has been updated annually to provide required input to land models in the annual Global Carbon Budget (GCB) assessments. Here we discuss the methodology for producing these annual LUH2-GCB updates and extensions which incorporate annual FAO wood harvest data updates for dataset years after 2015 and HYDE gridded cropland and grazing area data updates (based on annual FAO cropland and grazing area data updates) for dataset years after 2012, along with extrapolations to the current year due to a lag of one or more years in the FAO data releases. The resulting updated LUH2-GCB datasets have provided global, annual gridded land-use and land-use change data relating to agricultural expansion, deforestation, wood harvesting, shifting cultivation, regrowth and afforestation, crop rotations, and pasture management and are used by both bookkeeping models and Dynamic Global Vegetation Models (DGVMs) for the GCB. For GCB 2019, a more significant update to LUH2 was produced, LUH2-GCB2019 (https://doi.org/10.3334/ORNLDAAC/1851, Chini et al., 2020b), to take advantage of new data inputs that corrected cropland and grazing areas in the globally important region of Brazil, as far back as 1950. From 1951–2012 the LUH2-GCB2019 dataset begins to diverge from the version of LUH2 used for CMIP6, with peak differences in Brazil in the year 2000 for grazing land (difference of 100,000 km2) and in the year 2009 for cropland (difference of 77,000 km2), along with significant sub-national reorganization of agricultural land-use patterns within Brazil. The LUH2-GCB2019 dataset provides the base for future LUH2-GCB updates including the recent LUH2-GCB2020 dataset, and presents a starting point for operationalizing the creation of these datasets to reduce time-lags due to the multiple input dataset and model latencies.

Introduction: The Crisis of the Baroque

2019 ◽  
pp. xviii-23
Author(s):  
John D. Lyons
Keyword(s):  
Eighteenth Century ◽  
Sixteenth Century ◽  
European Society ◽  
Performing Arts ◽  
Historical Period ◽  
The World ◽  
European Colonization

Baroque is often considered as a category of style specific to the historical period extending roughly from the mid-sixteenth century to the mid-eighteenth century. The term “baroque” has also been applied to later periods, frequently with regard to works in the visual, musical, and performing arts as well as in literature, in which similar style markers appear. This entry, like several others in this volume, argues that the Baroque, as historical period, can also be fruitfully understood as a massive challenge of organization occasioned by geographic and scientific discoveries as well as by religious reformations. There are traits of the Baroque throughout the European society of this period and, as a consequence of European colonization of other continents, throughout the world.

Traces of a Tango: The Club Invites Me to Dance—a Study of Materiality in Movement

2016 ◽  
Vol 2016 ◽  
pp. 417-424
Author(s):  
Paola Vasconcelos Silveira
Keyword(s):  
Performing Arts ◽  
The Body ◽  
Porto Alegre ◽  
Academic Field ◽  
Dance Training ◽  
Starting Point ◽  
Master's Thesis ◽  
The Relationship ◽  
The City ◽  
Two Bodies

This paper is based on my master's thesis, which was developed in 2013–2014 at the Graduation Program in Performing Arts at the Federal University of Rio Grande do Sul (Brazil). This study aimed to reflect on the processes of developing an artistic experiment conducted from the encounter between my body and the club in transient places in the city of Porto Alegre. The starting point emerged from the experience of the artist in the practice of tango from a dialogue bias between peers. The object, in this proposal, becomes a present and active body—a lively piece that will enhance a one-to-one conversation. It is thus intended that the dance results from the relationship between two bodies, and not from the manipulation of one body over another. Therefore, the study finds resonance in the theoretical possibility of thinking of non-human bodies as vibrant matter with the capability to generate relationships and movements. In that way, this meeting would lead to a loss of the self. This study also contributes to a debate on proposals for dance training, as this research has chosen a path of building the danced relationship with the object from the kinesthetic perception of the body in motion. Finally, this study tenses the production of knowledge in the academic field, by assuming that the body produces a kind of knowledge—an embodied knowledge—which must be recognized and legitimized.

Prolegomena to the Study of the Jewish Magical Tradition

2009 ◽  
Vol 8 (1) ◽  
pp. 107-150 ◽  
Author(s):  
Gideon Bohak
Keyword(s):  
Cross Cultural ◽  
First Century ◽  
Primary Sources ◽  
Historical Period ◽  
Main Claim ◽  
Jewish Communities ◽  
Jewish Society ◽  
Starting Point ◽  
Trace Processes ◽  
Twenty First Century

Recent years have seen a steady rise in the scholarly interest in Jewish magic. The present paper seeks to take stock of what has already been done, to explain how further study of Jewish magical texts and artifacts might make major contributions to the study of Judaism as a whole, and to provide a blueprint for further progress in this field. Its main claim is that the number of unedited and even uncharted primary sources for the study of Jewish magic is staggering, and that these sources must serve as the starting point for any serious study of the Jewish magical tradition from antiquity to the twenty-first century. Such a study must both compare the Jewish magical texts and practices of each historical period with those of the contemporaneous non-Jewish world, and thus trace processes of cross-cultural contacts and influences, and compare the Jewish magical texts and practices of one period with those of another, so as to detect processes of inner-Jewish continuity and transmission. Finally, such a study must flesh out the place of magical practices and practitioners within the Jewish society of different periods, and within different Jewish communities.

The Romanian Peace Movements as Ecumenical Initiatives Reflected in Református Szemle

2020 ◽  
Vol 65 (2) ◽  
pp. 79-94
Author(s):  
Olga Lukács
Keyword(s):  
Church History ◽  
The State ◽  
Communist Regime ◽  
Orthodox Church ◽  
Scientific Journals ◽  
Peace Movements ◽  
State Apparatus ◽  
Starting Point ◽  
Conference Presentations ◽  
Muslim Communities

"The Bucharest Conference convened by Iustinian, the Patriarch of the Romani-an Orthodox Church, on 23 June 1949 marked the starting point of meetings be-tween the leaders of the Christian and non-Christian faiths in the country, and, ac-cording to the higher orders, these conferences took place annually during the communist period that followed, also being known as “peace conferences”. At the first conference, representatives of seven Christian denominations and those of the Jewish and Muslim communities signed a statement expressing their appreciation of religious freedom built on popular democracy and affirmed the equality of the vari-ous churches. In this “local ecumenism” that was prescribed by the state, the interconfessional conferences of the Orthodox and Protestant theology professors, which started in 1964 and alternately took place in Bucharest, Cluj, and Sibiu, proved to be very important. The topics of discussions at these conferences were theological issues; there was a forced search for aspects linking the two churches, and the guidelines prescribed for the churches by the state apparatus were also introduced. This study analyses the nature of the conference topics, namely the political im-plications by which “they wanted or had to please the state”. The conference presentations are even more significant as they served as a basis for the annual train-ing of priests and ministers, and the studies were published in the scientific journals of the churches as well. Keywords: communist regime, communist dictatorship, church history, peace conferences, interconfessional dialogue."

Virtual Reality

2021 ◽  
Author(s):  
Miriam Ross
Keyword(s):  
Virtual Reality ◽  
Short Story ◽  
Performing Arts ◽  
Military Training ◽  
Industrial Applications ◽  
Flight Simulation ◽  
Computer Engineering ◽  
Academic Publications ◽  
The 1960S ◽  
Philosophical Debates

The early 20th century saw the coalescence of several representation technologies: moving-image photography, audio recording, stereoscopy, and color imaging. Many technologists, particularly filmmakers, imagined these technologies would one day provide an exact replica of the world as we experience it. This possibility was articulated in Henry Weinbaum’s 1932 short story Pygmalion’s Spectacles that accurately predicted later virtual reality (VR) headsets through his description of goggles that transport the user to another world. A few decades later, in the 1960s, Ivan Sutherland and Morton Heilig produced working head-mounted displays that immersed users in, albeit primitive, computer-generated environments. Experiments in the following decades provided numerous industrial applications from medical imaging and military training to flight simulation and automobile design. At the same time, this technology became more widely known in the public imagination through cyberpunk novels such as Neuromancer (1980) and feature films such as The Lawnmower Man (1992). Although VR was most closely associated with immersive headsets, other hardware such as CAVE displays produced VR environments. In 1987 John Larnier popularized the term “virtual reality” to best describe both the emerging hardware and wider assumptions around virtual world building. Widespread press and academic publications appeared throughout the late 1980s and 1990s as interest in this area grew. However, the 1980s/1990s VR boom never reached full public acceptance and experiments with this technology remained peripheral throughout the first decade and a half of the 21st century. This changed in 2016 when a range of consumer-ready headsets came to market, and new applications for VR as well as industrial and consumer markets sprung up. For the first time, 360-degree film and video became commonly available for consumer headsets and were categorized as a VR application. Since then, there has been renewed academic attention, leading to a range of publications that address current VR systems as well as their past manifestations and future possibilities. VR has such far-reaching applications that it is difficult to condense the wide variety of scholarship connected to this technology. Indeed, the study and application of VR systems crosses many subject disciplines, with VR emerging as a subdiscipline in numerous subjects such as computer engineering, creative and performing arts, architecture, cultural studies, and design. Nonetheless, certain themes have been repeated such as VR’s ability to transport users to different worlds and its interaction with other media formats. The focus here is not on the numerous technical articles and papers related to the particularities of VR hardware and software but rather the books, chapters, and articles that describe and interrogate the holistic function of VR, how VR has shifted over recent decades, and the social-cultural and philosophical debates that surround this technology.

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