Reflection of the family structure of the population at the biritual burial ground of the Saltiv culture in Chervona Hirka

The article presents the preliminary results of the analysis of individual burial complexes discovered at the biritual burial ground of the Saltiv culture in Chervona Hirka (Balakliia district of Kharkiv Oblast). During the work at the burial ground, 313 burials were examined, of which 191 were performed as inhumations, and 122 – cremations. Also, 18 cases were recorded at the burial ground when some burials were inlet into the filling of the burial pits of other burials without destroying the latter. At the same time, most often, the main burial was an inhumation according to the rite, and the burial inlet into the filling of the burial pit belonged to the category of cremations (Table 1). Among the complexes under consideration, the burials performed simultaneously (one-act) and those made after a certain period of time are presented. The latter are numerically dominant over one-act burial complexes. In 18 cases, 11 burials belong to paired ones, in 6 cases a burial contained the remains of three deceased. In the filling of burial No. 75/ k-4, the remains of three deceased were found, deliberately placed there. Thus, in Chervona Hirka burial ground, cases are presented of one burial pit usage for the simultaneous or different graves of 2—4 deceased. In these complexes, we tend to see the burials of close relatives, members of the same family (husband and wife, mother with children, minor children). An analysis of the sex and age composition of people buried in these complex burials allows us to speak of the existence of undivided families of the paternal or fraternal type among the population who left the Chervona Hirka burial ground, along with small families. The most striking evidence of the latter is the fixation of a group of 11 burials (6 inhumations and 5 cremations) on an area of 25 m2, the main one is the burial of a man accompanied by a horse (burial No. 75/ k-4) (Fig. 6: 1). At the same time, in the filling of three graves from this group (No. 75/ k-4, No. 36 and No. 74) there were burial complexes, deliberately placed there: Nos. 37, 38, 58, 59, 64, 71 (Table 1).

Double Feature

A Day in Hollywood/A Night in the Ukraine was a tiny jewel box of a musical revue, with a cast of just eight versatile performers, that established Tommy Tune as a director-choreographer of the first rank when it opened in 1980. Its second act was an adaptation of Anton Chekhov’s one-act The Bear as it might have been performed by the Marx Brothers. The trio’s cheerfully anarchic spirit was conjured with balletic grace and timing in Tune’s staging. Tune expanded the show’s curtain raiser, a series of Hollywood songs, into a satiric cavalcade of music and comic musings on the movies circa 1939, set in the lobby of Hollywood’s legendary Grauman’s Chinese Theatre and performed by its ushers. Its highlight was an ingenious tap number set to the text of the 1930 Hollywood Production Code, with all its taboos duly noted in rhythm.

The case of an operetta being banned in Hungary in 1928, viewed in the mirror of contemporary press sources

In May 1928, the Andrássy Street Theatre in Budapest planned to re-stage a one-act operetta play titled The First Kiss is Mine. Its libretto was written by Jenő Heltai, and the music was composed by Albert Szirmai. The new performance started out as a resounding success. But, referring to current laws on public morality, Ministry of Interior department in charge of controlling public and cultural programmes banned the play without delay, on 18 May, and Minister of the Interior, Béla Scitovszky ordered an investigation into the matter. People referred to the event as a scandal, and the press spoke of it as an absurdity, as the theatre enterprise was endangered by the resulting loss in income. After the ban, the actors were only allowed to perform the play for a commission sent from the Ministry of Interior, and finally, on 22 May, Scitovszky permitted the program after all, with some minor changes. In my study, I reconstruct and present the events of these few days with the help of contemporary journalistic sources (reports, interviews, etc.) – Budapesti Hírlap, Esti Kurir, Magyar Hírlap, Magyarország, Pesti Hírlap, Pesti Napló, Újság, 8 Órai Újság –, the circumstances of the prohibition, the protest and opinion of the playwrights, the position of the commission, the performance for the commission, and the background of the permission for the new performance.

Forty Acres and a Mule: Reparation Blues

This one-act play occurs on Juneteenth 2021, a day when protest directed at the Catholic Church and statues of Saint Junipero. Serra swept through the California mission system. Our play centers on the Carmel Mission, the site of Serra’s burial, one block from Clint Eastwood Mission Ranch Horel and Restaurant.

Gilbert and Sullivan

This chapter discusses Richard D'Oyly Carte's “Gilbert and Sullivan” (G & S) program, which was named after W. S. Gilbert and Arthur Sullivan. Carte's G & S program combined the appeal of superb craftsmanship with that of fresh material, replacing the previous derivative nature of extravaganza and burlesque. First of all, Carte commissioned Trial By Jury, G & S's only one-act production. It was a miniature comic opera. This led to the famous series of shows, now all with spoken dialogue, that changed the course of the Anglophone musical. However, by his involvement with Gilbert and Sullivan Carte had tasked himself weightily, as he now faced years of delicate diplomacy, keeping the act together when Gilbert got too prickly or Sullivan felt unappreciated. Next, Carte recruited G & S performers into the D'Oyly Carte Opera Company. The aim was to tour internationally in the G & S canon and this tradition lasted for over one hundred years. The business became a family business. After Carte retired the business was managed by his son Rupert, and then by Rupert's daughter Bridget, before disbanding in 1982, albeit with sporadic initiatives thereafter. The chapter finally looks into more detail at the G & S canon, including titles such as The Pirates Of Penzance (1879) and Patience (1881).

Backchannel as a Listener’s Consideration Behavior: Politeness Strategy of Japanese Native Speakers in Interaction

Japanese tend to deliver backchannel for being supportive and representing people’s interest in their interaction. Many linguists believed Backchannel as discourse markers that showed interlocutors’ negative faces and determined their social hierarchy position. Brown and Levinson’s (henceforth BL) politeness theory has been modified, criticized, and applied to all languages globally. This research aims to know whether the BL politeness theory can explain Backchannel as a consideration behavior. Furthermore, we investigate the position, situation, and the relation between the speaker listener in a conversation. The primary data are a data corpus of 30 minutes’ length of 15 natural conversations. The age of the target is between the ‘20s to ‘40s. We also compare and analyze the situation from a first-timer conversation, a conversation between friends, and a hierarchical relationship. This study will help understand the relation between speaker and listener or whether Backchannel is considered a consideration behavior. Consideration is one act to shows politeness to the interlocutors. The result shows that Japanese people use different Backchannel according to the partner he/she speaks. When the interlocutors meet for the first time or have a higher position, they mostly use the polite form. They also consider the relationship, the interlocutor's gender, and age. This finding shows that the Japanese use Backchannel as a consideration to maintain the interlocutor's face.

MALE HEGEMONY IN THE PLAYS OF VIJAY TENDULKAR

In the sphere of drama, the name of Vijay Tendulkar does not require any introduction. In the galaxy of Indo-Anglo playwrights, Tendulkar is one of the most shining stars. Marathi Theatre is incomplete without the contribution made by Vijay Tendulkar. This Marathi literary figure is a multifaceted personality. He is the one who brought revolution in Marathi Theatre. An avant-garde playwright, Tendulkar has shown versatility by writing several works including one-act plays, children’s plays, short stories, essay collections etc. Vijay Tendulkar is the mouthpiece of the oppressed women in male dominant society. He has deep insight into human nature. He has proved in his plays that it is the male dominant society that does not allow woman to rise from the status of man’s foot. They are exploited, tortured, taunted both physically and emotionally. They are considered inferior to male human beings as male human beings are victims of their superiority complex. Even in some of the societies they are treated as bane while the male child is hailed as boon. His plays depict that women are treated as mere commodities. He has shown how the voice of women is suppressed when they try to voice their concerns against the cruelties. He makes a psychological study of human characters in his plays. An analytical approach to his plays reveals that women are deprived of the life they wish to live. The present research paper focuses on his four plays, to bring to light the enslaved and exploited position of women in society. In ‘Sakharam Binder’ and ‘Kamala’ he brings to light how women are enslaved and exploited. In ‘Silence! The Court is in Session’ and ‘Kanaydaan’ he ascertains the fact that it is male human being who is responsible for the exploitation of women.

Thinking (Now) Out of Place? Scripting and Performing Collective Dissent Inside the Corporatized University

As a response to the corporatization of the university, nine scholars worked together to create spaces that fostered the possibility of collective dissensus. Using scholarly performative methods, we have sought to push back against the increasing corporate incursions into our institutions of higher learning—the over-valuing of money, measures, and metrics which encroach upon our capacity to think. This one-act ethnodrama below is one of our responses to the new corporatism of higher education. In the generation of this scholarly work, we have created the space and time to reconnect as colleagues and as scholars.

“You Are Older, although You Do Not Know That”: Time, Consciousness, and Memory in “A Kind of Alaska” by Harold Pinter (1930–2008)

<i>“A Kind of Alaska”</i> is a one-act play by the British playwright and Nobel Prize winner Harold Pinter (1930–2008), based on the book <i>Awakenings</i> by the neurologist Oliver Sacks (1933–2015). This play, first performed in 1982, is centered around the character of Deborah, a middle-aged woman, struck by <i>encephalitis lethargica</i> (“sleeping sickness”) at the age of 16, who wakes up after 29 years of apparent sleep following the injection of an unnamed drug. This article analyzes how Pinter’s drama investigated the mysterious and fascinating relationship between time, memory, and consciousness. The term “awakenings,” chosen by Sacks himself, clearly refers to the restoration of voluntary motor function in patients with postencephalitic parkinsonism who responded to levodopa. However, it also suggests that these patients had an impairment of awareness. Actually, beyond the acute phase, subjects with postencephalitic parkinsonism were not sleeping but severely akinetic and therefore probably aware of the passage of time. Oliver Sacks probably did not entirely recognize the intrinsic contradiction between prolonged sleep (with consequent impairment of awareness and subjective “time gap”) of the acute lethargic phase and the severe akinesia with preserved awareness of the time-passing characteristic of postencephalitic parkinsonism. This confusion was further compounded by Harold Pinter in his play.