scholarly journals The art of dialogueor „How the Bessarabian playwrights of the 1990s discussed with Plato

Arta ◽  
2021 ◽  
Vol 30 (2) ◽  
pp. 64-69
Author(s):  
Dorina Khalil-Butucioc ◽  
Keyword(s):  
Twentieth Century ◽  
Pace Of Life ◽  
Communicative Process ◽  
Fast Pace ◽  
Definition Of

The inner mobility of the theater, doubled by the fast pace of life under the wave of postmodernity at the end of the twentieth century, conditioned not only the re-definition of a new theatrical language, but also the re-writing of dialogic forms specific to theatrical art. Or, in the texts of Constantin Cheianu, Val Butnaru, Nicolae Negru, Mircea V. Ciobanu, Dumitru Crudu, Irina Nechit, Maria Șleahtițchi and Nicolae Leahu, dialogue does not only have the classic role of triggering and motivating the action. The (sub)layers of conflict dialogues and „deaf dialogues”, parallel and echo dialogues, seemingly „absurd” association dialogues and „thesis-antithesis” dialogues, the dialogue monologues and the monologue dialogues evoke the alternation of linguistic registers and the play of languages. Completing and continuing the openness to multiple textual styles, the language of dialogues triggers and finalizes the communicative process between written and spoken, but also between text-show-audience. The „palpation” of the types of dialogues and the „immersion” in the mise en abysses of language give us the revelation of deciphering the symbols and meanings of contemporary national and universal drama and theater.

A History of Bodies

2018 ◽  
pp. 237-250
Author(s):  
Annette Rodríguez
Keyword(s):  
Twentieth Century ◽  
Mexican American ◽  
Critical Role ◽  
Historical Analysis ◽  
Mexican American Women ◽  
Pedagogical Choices ◽  
History Of ◽  
Definition Of ◽  
The Continuum

This chapter explores the development of pedagogical choices and historical practice via familial and professional mentorship. Rodríguez argues for the critical role of mentorship for the development of women in the historical profession. Naming her work “a history of the gaps,” she discusses widening the definition of historical actors as well as subjects of historical analysis. As an example, the chapter points to the continuum of women acting against racist violence, documenting, analyzing, and historicizing racist violence—against previously masculinist narratives. Demonstrating a “history of the gaps,” Rodríguez’s chapter concludes with the testimonies of Mexican and Mexican American women whose X marks confirmed anti-Mexican murders at the turn of the twentieth century.

A Disciplinary (Pre)History

2010 ◽  
Author(s):  
Rodney Harrison ◽  
John Schofield
Keyword(s):  
Twentieth Century ◽  
Material Culture ◽  
Specific Area ◽  
Modern Culture ◽  
Academic Context ◽  
Migrant Communities ◽  
English Speaking World ◽  
Definition Of ◽  
Contemporary Past

Following the brief definition and discussion of the archaeology of the contemporary past provided in Chapter 1, this chapter will consider the academic context for the development of the archaeology of the contemporary past and its emergence in the years surrounding the Millennium. It then briefly surveys and summarizes the topics which have emerged as areas of focus amongst archaeologists working in the field over the past decade. It will chart the important role of commercial archaeology and developer funding in the emergence of the archaeology of the contemporary past, and look at the role of national heritage agencies and local authorities. Another major issue in this chapter is the ways in which the archaeology of the recent and contemporary past has developed as a means of addressing cultural diversity and recent migrant communities and their heritage, which is inevitably and by definition ‘contemporary’ albeit often with reference to other times and places. The chapter concludes with a consideration of the relationship between historical archaeology and the archaeology of the contemporary past, considering claims for and against seeing it as a discipline in its own right. It is now a decade since the publication of two key books which have been central to the establishment of the archaeology of the contem-porary past as a specific area of study within the English speaking world—Matter, Materiality and Modern Culture edited by Paul Graves-Brown (2000b), and Archaeologies of the Contemporary Past edited by Victor Buchli and Gavin Lucas (2001e). As Buchli (2007: 115) points out however, archaeologists have had a long interest in studying contemporary material culture, dating back to the late nineteenth and early twentieth century and including Pitt-Rivers’s studies of contemporary rifles while working as a military officer, and Kroeber’s (1919) study of changes in contemporary women’s dress lengths. Nonetheless, throughout most of the twentieth century, archaeology has concerned itself almost exclusively with the study of the distant past, accepting a conservative and literal definition of archaeology as something that should focus only on that which is ancient, or ‘archaic’.

ARTISTIC AND EDUCATIONAL ROLE OF FAMILY MUSIC MAKING

2019 ◽  
Vol 4 ◽  
pp. 400
Author(s):  
Lidia Kataryńczuk-Mania
Keyword(s):  
Building Relationships ◽  
Music Making ◽  
Pace Of Life ◽  
Educational Role ◽  
Modern Family ◽  
Fast Pace ◽  
Goals And Objectives ◽  
The Ideal

Every family is influenced by modernity, transformation, various changes and the fast pace of life. Music can be the ideal basis for a modern family. The article will show scientific reflections on the educational and artistic role of creating family music. Goals and objectives, the specifics of music and building relationships in the environment of music will be emphasized. 

scholarly journals Contemporary Verse Drama

2018 ◽  
Author(s):  
AWEJ for Translation & Literary Studies ◽  
Haybat Abdul Samad
Keyword(s):  
Twentieth Century ◽  
The Other ◽  
Cocktail Party ◽  
Popular Theater ◽  
Other Hand ◽  
Verse Drama ◽  
Definition Of ◽  
Compare And Contrast

The hundred years that passed between 1850 – the year in which Catalina, the first verse play of Henrick Ibsen was published – and 1950 – the year in which another verse play appeared, namely T.S. Eliot’s The Cocktail Party, were very eventful in European drama. In those years, a completely new dramatic movement – the spread of naturalistic prose drama – came into play. On the other hand, verse drama in the twentieth century, and particularly in England and Ireland, came back into the popular theater. At the hands of W.B. Yeats, T.S. Eliot and Christopher Fry, in the main, the dramatists who constituted the chief revolt against naturalism, contemporary verse drama revived against the naturalistic definition of drama, which in a sense considers characterization and action the main ends of drama. The aim of the paper is to compare and contrast the two styles of drama using the criticism of contemporary verse dramatists. The paper delves into the ways these dramatists tried to make verse play and distinguish themselves from naturalists. It continues to prove their failure while showing discontinuity of verse plays’ popularity in the temporary audience’s mind. The question is whether verse dramatists succeeded in instilling a feeling of suspense and popularity in the inner recesses of the audience’s hearts or not; in other words, can verse drama preserve its influence on the audience? The significance of this study is to prove that although the role of verse drama lasted for centuries, its presence nowadays is vanishing as it is losing its power of influence.

scholarly journals Sound Objects and Sound Products: Standardizing a New Culture of Listening in the First Half of the Twentieth Century

2013 ◽  
Vol 4 (4) ◽  
pp. 599-616 ◽  
Author(s):  
Alexandra Hui
Keyword(s):  
Nineteenth Century ◽  
Twentieth Century ◽  
New Technology ◽  
Common Denominator ◽  
Single Individual ◽  
Recording Technology ◽  
Sound Objects ◽  
Definition Of ◽  
The Individual

In this chapter I develop the psychological underpinnings of environmental music towards an understanding of how the goals of cognitive and behavioral psychologists contributed to a new kind of listening at the beginning of the twentieth century. I begin with an examination of nineteenth-century concerns about both the physical and psychological effects of music and fraught debate among experimental psychologists of the role of musical expertise in the laboratory. These concerns were, I argue, rooted in the assumption of a direct, corporeal connection between the generation and reception of music, usually bound within a single, individual body. In the twentieth century, new technology liberated the listener from a temporally- and geographically-bound experience of music. The Tone Tests, Re-Creation Recitals, and Mood Change “parties” of Thomas Edison and the psychologist Walter Bingham show that recording technology allowed for a normalization and standardization of listening not previously possible in the music halls and laboratories of the nineteenth century. Rather paradoxically, since it also made music more accessible to the individual listener, recorded music, mobilized by industrial psychologists and record companies alike, created a new sound experience actively designed for the lowest common denominator of mass listening. It also contributed to the cultivation of a new practice of mass listening. The new mass listening practice presents broader questions about the definition of music and its functional role – If the function of music is to be ignored, is it still music?

scholarly journals The Past Contains a Promise of Regeneration: Narratives of Ireland’s Future in Early-Twentieth-Century Juvenile Periodicals

2021 ◽  
Vol 6 (2) ◽  
Author(s):  
Elena Ogliari
Keyword(s):  
Twentieth Century ◽  
Young Readers ◽  
The Past ◽  
Political Upheaval ◽  
Early Twentieth Century ◽  
British Rule ◽  
The People ◽  
The Future ◽  
Definition Of

This article investigates the popular periodicals for juveniles Our Boys, Fianna, Young Ireland, and St. Enda’s, which were cherished by Irish nationalists as home-grown substitutes for the alienating British story papers in the Ireland of the early twentieth century. With Ireland still under British rule, these periodicals were concerned about the role of youths in the context of nation-building and my contention is that the people involved in such editorial enterprises viewed them as potentially transformative forces of society, which not only harnessed the power of the idea of political upheaval, but also forged the agents who were to build the envisioned free Irelands. Contributing to the definition of an appropriate ‘post-independence’ national identity, they thus offered to the young visions of the future nation that predicated its legitimacy upon an appeal to the past and the appreciation of traditions. At the same time, young readers were presented with exemplary models of Irish citizenship drawn from Irish heritage of myths and histories. Hence, through the close scrutiny of primary texts from the crucial 1914–23 years, my objective is to show how the future Irelands first imagined and narrated in the periodicals would find their roots in the past and draw energies and strength from the nation’s cultural heritage.

scholarly journals Entrepreneurship and engagement as a form of production activity

2021 ◽  
pp. 279-286
Author(s):  
Igor Likhuta
Keyword(s):  
Twentieth Century ◽  
Mass Culture ◽  
Historical Approach ◽  
Early Twentieth Century ◽  
Production Activity ◽  
Late Nineteenth ◽  
Definition Of ◽  
Historical Methods

The purpose of the article is to consider and identify the features of enterprise and engagement as forms of production in the context of the formation of the profession of producer in the late nineteenth – early twentieth century. The methodology involves the use of cultural and historical methods to understanding the cultural and historical features of the profession of producer, understanding the essence of enterprise and engagement as forms of production. Scientific novelty. From the standpoint of cultural and historical approach, the author's definition of enterprise and commitment as concepts of humanitarian knowledge and business reality is presented, the essence and specificity of these phenomena are reflected as forms of production. Conclusions. It is argued that entrepreneurship and engagement in the context of the formation of mass culture are effective forms of the formation of production in the field of mass culture. It is shown that both entrepreneurs and artists – actors, directors, playwrights – played the role of producer in institutions of an enterprise type. The indicated trend continues to persist, nevertheless, the activities of the producer are constantly being transformed and improved.

scholarly journals The thickness of time: the writing of history and appropriation of the past in Brazil, 1830-1930

HISTOREIN ◽  
2018 ◽  
Vol 17 (1) ◽  
Author(s):  
Helena Mollo ◽  
Rodrigo Turin ◽  
Fernando Nicolazzi
Keyword(s):  
Twentieth Century ◽  
National Identity ◽  
National Museum ◽  
Temporal Experience ◽  
The Past ◽  
Experience Of Time ◽  
History Of ◽  
Definition Of ◽  
Brazilian History

The recent Brazilian history of historiography perceives the period from 1830 to 1930 as a decisive one for the development of Brazilian historiography, be it for the definition of the disciplinary protocols that frame the historian’s work or for the emergence of problems concerning the disputes over and elaboration of a national identity. The importance of this century has already been established in works on the role of national institutions, such as the Brazilian Historical and Geographical Institute (IHGB) and the National Museum, and in works on the discursive dimensions of historiographical practice. Thus, a new way to consider the experience of time has been proposed, resulting in a thoughtful understanding of the history of historiography and its field. Therefore, this article aims to offer an overview of the different modulations of temporal experience that appear in nineteenth- and early twentieth-century Brazilian historiography, presenting some of the topoi that have organised and shaped it.

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