Anuvaad - A Hindi-Sanskrit-Hindi Bilingual Machine Translation System using Rule-based Approach

Machine Translation is best alternative to traditional manual translation. The corpus of Sanskrit literature includes a rich tradition of philosophical and religious texts as well as poetry, music, drama, scientific, technical and other texts. Due to the modernization of tradition and languages, Sanskrit is not on everyone's lips. Translation makes it convenient for users to understand the unknown text. This paper presents a language Machine Translation System from Hindi to Sanskrit and Sanskrit to Hindi using a rule-based technique. We developed a machine translation tool 'anuvaad' which translates Sanskrit prose text into Hindi & vice versa. We also developed bi-lingual corpora to deal with Sanskrit and Hindi grammar rules and text applied rule based method to perform the translation. The experimental results on different 110 examples show that the proposed anuvaad tool achieves overall 93% accuracy for both types of translations. The objective of our work is to ensure confidentiality and multilingual support, which can be tedious and time consuming in case of manual translation.

Mistica: A Marxist Praxis

The Mística is the symbolic or dramatic social movement of Marxism initiated by Brazilian Landless Rural Workers. It is the popular movement practiced by the Communist parties and socialist organizations of the world. It was developed from Latin American liberation doctrine and interpreted as love for a cause, solidarity experienced in collectivity, symbolic presentation of the socialist movement, and belief in radical change. It is one type of philosophical movement which has a demonstrative attachment, praxis of pedagogy, behavioral collectivity, and cultural movement to change the social world guided by the theory of Karl Marx. It has political roots against the homogenization of culture, imperialism, and capitalist domination of the world. It uses art, music, drama, activity, symbol, media, and other modern tools which help the people for emancipation. This article will demonstrate some of the major aspects of mistica based upon the field observation of Brazil and Nepal.

Features of the drama and the concept of the Four Seas Interludes from the opera "Peter Grimes" by B. Britten

Рассматриваются оркестровые интерлюдии из оперы «Питер Граймс» Б. Бриттена. Цель - на основе анализа интерлюдий выявить композиционные и драматургические принципы цикла. Методология работы определяется традициями музыкознания в области исследования, главным из которых является метод музыкального анализа. В результате сделан вывод о том, что Четыре морские интерлюдии можно рассматривать как единый цикл, близкий по форме программной симфонии, отражающей внутренний психологический конфликт главного героя оперы. Практическая ценность работы заключается в возможности использования результатов исследования в курсах учебных дисциплин: зарубежная история музыки, драматургия музыкального произведения, анализ музыкальных форм. This work examines the orchestral interludes from the opera "Peter Grimes" by B. Britten. The purpose of this article is to identify the compositional and dramatic principles of the cycle based on the analysis of interludes. The methodology of the work is determined by the traditions of musicology in the field of research, the main of which is the method of musical analysis. As a result, it is concluded that the Four Seas Interludes can be considered as a single cycle, similar in form to the program symphony, reflecting the internal psychological conflict of the main character of the opera. The practical value of the work lies in the possibility of using the results of the research in the courses of academic disciplines: foreign history of music, drama of a musical composition, analysis of musical forms.

PENGEMBANGAN EKONOMI KREATIF SEBAGAI PARADIPLOMASI KOTA METROPOLITAN SEOUL

Seoul Metropolitan City is one of the metropolitan cities in South Korea, which able to perceive its interest with self-government in international activities. Seoul Metropolitan City government has implemented paradiplomacy to develop its creative economy which is limited to aspects of music, drama, and fashion. This article uses qualitative methods with literature studies to support the required data. This article also seeks to describe the paradiplomacy carried out by the Seoul Metropolitan City government with self-government in a unitary state with a literature review covering transgovernmentalism, foreign relations, paradiplomacy, and creative economy. Besides, the authors also argue that the Seoul Metropolitan City government could optimize its potential with policies or actions taken by the Seoul Metropolitan City government on the aspects of music, drama, and fashion towards the global public.

Tristan und Isolde at the Margins of Music-Analytical Discourse: A Dialogic Perspective

Whether or not the Prelude to Richard Wagner's 1859 music drama Tristan und Isolde is the most analyzed piece in the history of Western music, owing to its ongoing canonical status, it behooves us to consider how it has affected the field of music analysis over the past 150 years. More than any other piece, Wagner's Prelude is able to expose the many conflicts that arise between analytical approaches: while it can demonstrate the limits of one particular approach vis-à-vis another, it may also reveal new potentialities that divergent analyses offer when seen from an intertextual point of view.<br/> As a test case, this article will position three contemporaneous analyses of the opening measures of the Prelude against one another: Horst Scharschuch's post-Riemannian harmonic analysis and Jacques Chailley's style-historical analysis, both from 1963, and William Mitchell's Schenkerian analysis of 1967. Drawing on Mikhail Bakhtin's concepts of "dialogism" and "heteroglossia," I will trace a broader historiographical and intertextual network surrounding the history of analyzing Tristan, with the goal of refocusing our analytical priorities around this work and penetrating the continuities and discontinuities between competing analyses. In this way, the article aims at opening up a further dialogic space in music analysis, both in our historical considerations and in the way we approach analysis as an intertext—that is, by traversing the fissures in the reified verities of a "unified" analysis and the multiple interpretative transpositions underlying our deciphering of analytical texts. It will conclude by offering yet another interpretation of Wagner's famous chord.