«NORTHERN LIGHTS»: VISUALIZATION OF THE NEW RUSSIAN HISTORICAL NARRATIVE

The article is devoted to the analysis of one of modern Russia’s local or group historical narratives, which articulates the mystical connection of the north-Russian population with Finno-Ugric shamanic practices based on runes «Kalevala». The TV series «Northern Lights» (the original script of Victoria Platova) in the genre of a mystical detective discusses one of the ways to deploy a «folk» or popular historical narrative, which is some controversial attitude of the state policy of memory and a conservative turn in historical policy. The relationship of the representations about Finnish roots of Russian ethnos with such unrelated concepts as «escapism» and «Aryan myth» was analyzed. The gradual drift of popular history in mass media is considered from the purely Slavic narrative of origin and ancient mystical practices of the people of north-western Russia to the recognition of Finno-Ugric roots or even the unity of Russian and Finnish peoples of the Russian north. The deconstruction of the series by visual anthropology techniques revealed a constant appeal to the everyday magical practices of the Karelian heroes of the series, who identify themselves as Russians. The inhabitants of the Island, where the action takes place, all the structure of their daily lives and holidays are built around the gods and heroes of Kalevala. The narratives «Finnish roots» in media are considered in connection with the interpretation of dubious results «Russian Nobility DNA Project», the origin of Princess Olha and Old Ladoga, as the source of Russia. The conclusion is reached on the participation of many actors and polyphonicity of modern Russian historical narrative, search for new lines of interface of Russian history and Europe.

Proses digitalisasi naskah melalui media flipbook digital di Museum Bandar Cimanuk

ndramayu Regency has many ancient manuscripts that contain valuable information. Paper-based manuscripts are very easily damaged. Therefore, it is necessary to preserve ancient manuscripts. Switching to a digital flipbook is considered appropriate because it provides an interface that is similar to the original script. This study aims to describe the importance of preserving the cultural heritage of ancient manuscripts owned by the Bandar Cimanuk Indramayu Museum. Digitization can be an effort to preserve ancient manuscripts. The research used descriptive qualitative method. Data collection through observation, interviews, and documentation study. It is hoped that the research results in the form of flipbook development can be used as an effort to preserve ancient manuscripts that represent, protect, and exceed the physicality of ancient manuscripts. The conclusion of this study is that the ancient Legok Kolot manuscript is the identity and wealth of the Indramayu people, so it needs to be digitized so that the preservation of the script is maintained. The media transfer process at the Bandar Cimanuk Museum goes through three main stages, namely the pre-digitization process, the digitization process, and the post-digitization process. In its process, there are three important things that must be considered, such as source characteristics, product usability, and technological characteristics. The use of digital flipbooks as an effort to preserve ancient manuscripts is considered to protect, represent, and exceed the original ancient manuscripts

Kazimir Malevich: Approaching The New System

This dissertation examines Kazimir Malevich’s art and writing with a view to establishing that they combine a strain of strict methodological reductionism with an equally well-marked esotericism. It strives to prove that although this feature of Malevich’s work was common among vanguard artists and thinkers, there are also highly idiosyncratic qualities in the way Malevich reconciled these two threads. An ensuing goal of this work is to propose how to complete an unfinished 1927 film script by Kazimir Malevich titled “Artistic and Scientific Film—Painting and Architectural Concerns—Approaching the New Plastic Architectural System.” <div>The question regarding the confluence of science and mysticism in Malevich’s work— the primary concern of this dissertation—requires tracing in the artist’s art and writings the presence of ideas belonging to these worldviews traditionally considered to be antithetical to each other. This dissertation establishes Malevich’s relationship with mysticism and strains of thought that resemble scientific content and approach. Among the latter, this work investigates Malevich’s interest in the geometry of the fourth dimension, draws parallels between the artist’s concern for visualizing infinity and the problems of set theory, and examines the role of imaginary numbers in Malevich’s worldview. To complete the analysis of Malevich’s exploration of the concept of space prominent in the aforementioned mathematical themes, this dissertation examines the artist’s interest in investigating the space of the cosmos. It also establishes that Malevich’s ideas were not only influenced by the scientific advancements in electromagnetism but also by the theories of thermodynamics, which together with the former relay a view of the world where all processes, organic and inorganic, are understood as the product of the transformation of energy. In Cubism and Futurism: Spiritual Machines and the Cinematic Effect, R. Bruce Elder draws attention to the early twentieth-century thinkers’ view of cinema as an electromagnetic machine. This dissertation examines Malevich’s relationship with the cinematic art and its reception in Russia during Malevich’s most productive years. This work concludes with having satisfied its larger objective: to envision a possible scenario of how Malevich’s unfinished script could unfold. It contains the copy of the original script, its proposed finale, and an essay that outlines how my investigation of Malevich’s intellectual landscape informed the decisions involved in inferring the concluding shot sequences of the artist’s only cinematic work.<br></div>

Kazimir Malevich: Approaching The New System

This dissertation examines Kazimir Malevich’s art and writing with a view to establishing that they combine a strain of strict methodological reductionism with an equally well-marked esotericism. It strives to prove that although this feature of Malevich’s work was common among vanguard artists and thinkers, there are also highly idiosyncratic qualities in the way Malevich reconciled these two threads. An ensuing goal of this work is to propose how to complete an unfinished 1927 film script by Kazimir Malevich titled “Artistic and Scientific Film—Painting and Architectural Concerns—Approaching the New Plastic Architectural System.” <div>The question regarding the confluence of science and mysticism in Malevich’s work— the primary concern of this dissertation—requires tracing in the artist’s art and writings the presence of ideas belonging to these worldviews traditionally considered to be antithetical to each other. This dissertation establishes Malevich’s relationship with mysticism and strains of thought that resemble scientific content and approach. Among the latter, this work investigates Malevich’s interest in the geometry of the fourth dimension, draws parallels between the artist’s concern for visualizing infinity and the problems of set theory, and examines the role of imaginary numbers in Malevich’s worldview. To complete the analysis of Malevich’s exploration of the concept of space prominent in the aforementioned mathematical themes, this dissertation examines the artist’s interest in investigating the space of the cosmos. It also establishes that Malevich’s ideas were not only influenced by the scientific advancements in electromagnetism but also by the theories of thermodynamics, which together with the former relay a view of the world where all processes, organic and inorganic, are understood as the product of the transformation of energy. In Cubism and Futurism: Spiritual Machines and the Cinematic Effect, R. Bruce Elder draws attention to the early twentieth-century thinkers’ view of cinema as an electromagnetic machine. This dissertation examines Malevich’s relationship with the cinematic art and its reception in Russia during Malevich’s most productive years. This work concludes with having satisfied its larger objective: to envision a possible scenario of how Malevich’s unfinished script could unfold. It contains the copy of the original script, its proposed finale, and an essay that outlines how my investigation of Malevich’s intellectual landscape informed the decisions involved in inferring the concluding shot sequences of the artist’s only cinematic work.<br></div>

Blackout: Theatre, Rugby and Samoan Masculine Identities

<p>This thesis examines key ideas concerning masculinity and Samoan identity, focusing on the external and internal pressures placed on Pacific Island athletes in New Zealand and abroad to inform the development of an original script, Blackout. In 2014, as part of an Honours script-writing course, I wrote a first draft for my first full-length play. Inspired by the work of Samoan playwright Oscar Kightley, Blackout is a play that intersects the story of four young Pacific Island boys in their last year of College with the journey of a talented young Pacific Islander in his mid-20s trying to make his way in the Professional Rugby world. This thesis is part of a practice-based research project, comprising a 60% theory-based thesis (25,000 words) and 40% practical component, developing the script through three workshop productions. The two working questions the thesis and production process centre on are, firstly how the experiences of young second generation Samoan males can be explored through a contemporary theatre text, enabling the research to develop the story and characters of the play. The second,how the development of this script can enhance an understanding of what it is to be an emerging playwright, grounding the piece in personal experiences and contributing discoveries for young Pacific Playwrights. The practical elements of the project will be evaluated through the submission of two scripts,the first draft and the final working script, the reflection of this process in the thesis including facets of a workbook and in the presentation of the final performance itself, a copy of which will be made available to all markers. What drives the project is a desire to see how the experiences of young, male, Samoans might be represented theatrically and how this might be an effective way of connecting with community. This process has opened up two further questions, being: What is the role of the writer in the rehearsal room? What are the dramaturgical challenges of developing a script in-progress?</p>

Blackout: Theatre, Rugby and Samoan Masculine Identities

<p>This thesis examines key ideas concerning masculinity and Samoan identity, focusing on the external and internal pressures placed on Pacific Island athletes in New Zealand and abroad to inform the development of an original script, Blackout. In 2014, as part of an Honours script-writing course, I wrote a first draft for my first full-length play. Inspired by the work of Samoan playwright Oscar Kightley, Blackout is a play that intersects the story of four young Pacific Island boys in their last year of College with the journey of a talented young Pacific Islander in his mid-20s trying to make his way in the Professional Rugby world. This thesis is part of a practice-based research project, comprising a 60% theory-based thesis (25,000 words) and 40% practical component, developing the script through three workshop productions. The two working questions the thesis and production process centre on are, firstly how the experiences of young second generation Samoan males can be explored through a contemporary theatre text, enabling the research to develop the story and characters of the play. The second,how the development of this script can enhance an understanding of what it is to be an emerging playwright, grounding the piece in personal experiences and contributing discoveries for young Pacific Playwrights. The practical elements of the project will be evaluated through the submission of two scripts,the first draft and the final working script, the reflection of this process in the thesis including facets of a workbook and in the presentation of the final performance itself, a copy of which will be made available to all markers. What drives the project is a desire to see how the experiences of young, male, Samoans might be represented theatrically and how this might be an effective way of connecting with community. This process has opened up two further questions, being: What is the role of the writer in the rehearsal room? What are the dramaturgical challenges of developing a script in-progress?</p>

The Ukrainian Kyrylytsia, Restored: An Automation Project for Adding the Cyrillic Fields to Ukrainian Records in OCLC WorldCat

This report from the field concerns a collaborative project which resulted in successfully adding the Cyrillic fields to about 30,000 Ukrainian bibliographic records in OCLC WorldCat, the world’s largest online catalogue. Historically, the Ukrainian records in English-speaking libraries were only provided in transliteration according to the Library of Congress Romanization Table. However, the current standards also require the original script, such as the Ukrainian Kyrylytsia. While automating the Cyrillicization of Ukrainian legacy records is theoretically straightforward, in practice it faced more than one challenge, from poor quality of transliteration to the historical changes in Ukrainian orthography. The report presents the OCLC Ukrainian Cyrillicization project and discusses the steps in its implementation as an example of a successful collaboration in the areas of bibliographic automation, Ukrainian philology and culture, Slavic cataloguing, and linguistics.

The deconstruction of Byzantine mode-organization and the new Chrysanthine ‘order’

This paper was written to commemorate the 200th anniversary of the publication of musical treatise by Archbishop Chrysanthos of Madytos (c.1770-1846), the first work towards a ‘scientific’ treatment of Greek ecclesiastical music (1821)[1]. Chrysanthos attempted to reorganize the modal and rhythmic theory of this music, and reform the musical notation that has remained to this day. The paper deals with an aspect of Chrysanthine modal system that has not received due attention so far: the abandonment of the traditional authentic-plagal order and its substitution by a new one that does not make sense if placed outside its cultural context and historical antecedents. Chrysanthos’ main point of reference seems to be the Ottoman makam system that had already penetrated post-Byzantine chant but was now given a new momentum[2]. Before that, Greek composers used the Byzantine modal division into four authentic (kurioi) and four plagal (plagioi), positioned a fifth apart from each other. The authentic modes were mostly ascending in terms of melodic movement, whereas the plagal were descending (though one has first to ascend in order to get down!). Otherwise, every authentic-plagal pair shared the same melodic scale (usually an octave), which they traversed according to certain melodic motifs (some common to all, others unique to every mode).[1] Chrysanthos, Εισαγωγή εις το θεωρητικόν και πρακτικόν της Εκκλησιαστικής Μουσικής / συνταχθείσα προς χρήσιν των σπουδαζόντων αυτήν κατά την νέαν μέθοδον παρά Χρυσάνθου του εκ Μαδύτων, Διδασκάλου του Θεωρητικού της Μουσικής (Paris: Rigny, 1821).[2] In this paper, the Turkish terms have been rendered into their original script except for makam (mode) and usul (rhythm), the Anglicized plural form of which (makams and usuls) has been preferred instead of the longer makamler and usuler. The Greek names have been transliterated into Latin according to British Standard for transliteration of Cyrillic and Greek characters (BS), 1958.

‘No comfort talking when there’s a man around’: Maura Laverty’s Tolka Row (1951) and a neglected tradition of popular drama at the Gate Theatre, Dublin

This essay presents a case for Maura Laverty’s play Tolka Row (1951) to be recognised as a highly-accomplished prototype of the soap opera in Ireland. It argues that Tolka Row is an important Irish iteration of a quintessentially modern form that swept across Europe and the rest of the world in tandem with advances in broadcasting in the twentieth century. The analysis focuses on the unique way in which the play portrays the lived experiences of working-class women through unadorned, everyday ‘talk’. The innovative approach to dialogue in Tolka Row situates the play as an important precursor to the development of the television serial in Ireland – not merely due to its popularity and working-class milieu, as has been acknowledged in the past, but due to its creative formal characteristics. This paper thus suggests a reassessment of the legacy of the Gate Theatre, which has to date been defined primarily in relation to its production of avant-garde plays. While the Gate has been widely acknowledged as a bastion of European modernism in Ireland, Tolka Row forms part of the theatre’s contribution to the development of a different kind of response to modernization, in the form of popular culture. By drawing on previously unexplored archival material which shows evidence of significant cuts to the original script, this paper suggests that the directors of Gate Theatre Productions – Hilton Edwards and Micheál mac Líammóir – either denied or disavowed the extent to which a more popular drama could impact Irish theatre and society. Keywords: Gate Theatre, Maura Laverty, Tolka Row, serial, soap, popular culture, consciousness raising.