Obrazki porażki [Images of Failure]

Images of FailureOn the one hand, the sphere of art offers the possibility to imagine a different, less oppressive and normative world, where just as in the case of cartoons even the greatest gawks, misfits, and outcasts would build friendships and alliances helping them to reach a happy ending. On the other hand, there is something of an artistic performance, at least of an illusionist show, to an intentional act of failure. To perform failure, one has to improvise, to operate randomly, blunderingly, and ostentatiously, as well as to resist the social norms and rules. The artworks that are presented here pertain to all of these meanings of the “art of failure”.Obrazki porażkiSztuka jest z jednej strony sferą, w której można wyobrazić sobie inny, mniej opresyjny i normatywny świat; w nim – jak w kreskówkach – międzygatunkowe przyjaźnie i sojuszenawet największych gamoni, odmieńców i wyrzutków prowadzą do szczęśliwego zakończenia. Z drugiej strony w intencjonalnym uprawianiu porażki jest coś ze sztuki, a przynajmniejsztuczki prestidigitatora. Performowanie porażki wymaga zdolności improwizacji, podążania po omacku, dyletanctwa, fanfaronady oraz przeciwstawiania się społecznym normom i regułom. Prezentowane tu prace nawiązują do tych sensów „sztuki porażki”.

Obrazki porażki [Images of Failure]

Images of FailureOn the one hand, the sphere of art offers the possibility to imagine a different, less oppressive and normative world, where just as in the case of cartoons even the greatest gawks, misfits, and outcasts would build friendships and alliances helping them to reach a happy ending. On the other hand, there is something of an artistic performance, at least of an illusionist show, to an intentional act of failure. To perform failure, one has to improvise, to operate randomly, blunderingly, and ostentatiously, as well as to resist the social norms and rules. The artworks that are presented here pertain to all of these meanings of the “art of failure”. Obrazki porażkiSztuka jest z jednej strony sferą, w której można wyobrazić sobie inny, mniej opresyjny i normatywny świat; w nim – jak w kreskówkach – międzygatunkowe przyjaźnie i sojusze nawet największych gamoni, odmieńców i wyrzutków prowadzą do szczęśliwego zakończenia. Z drugiej strony w intencjonalnym uprawianiu porażki jest coś ze sztuki, a przynajmniej sztuczki prestidigitatora. Performowanie porażki wymaga zdolności improwizacji, podążania po omacku, dyletanctwa, fanfaronady oraz przeciwstawiania się społecznym normom i regułom. Prezentowane tu prace nawiązują do tych sensów „sztuki porażki”.

Locating the Tawa’if Courtesan-Dancer: Cinematic Constructions of Religion and Nation

The development of the Hindi/Urdu cinema is intimately connected to the history of artistic performance in India in two important ways. Not only did hereditary music and dance practitioners play key roles in building this cinema, representations of these performers and their practices have been, and continue to be, the subject of Indian film narratives, genres, and tropes. I begin with this history in order to explore the Muslim religio-cultural and artistic inheritance that informs Hindi/Urdu cinema, as well as examine how this heritage has been incorporated into the cinematic narratives that help construct distinct gendered, religious, and national identities. My specific focus is on the figure of the tawa’if dancer, often equated with North Indian culture and nautch dance performance. Analyzing the ways in which traces of the tawa’if appear in two recent films, Dedh Ishqiya and Begum Jaan, I show how this figure is placed in a larger representational regime that sustains nationalist formations of contemporary Indian identity. As I demonstrate, even in the most blatant attempts to define the Indian nation as “Hindu,” the “Muslimness” of the tawa’if—and by extension the cinema she informed in ways both real and representational—is far from relinquished.

Sobre a tradução poética e o Poetry Slam: crepa! – uma análise e muitos diálogos

RESUMO: O presente trabalho visa a ratificar o papel do tradutor como mediador entre culturas ao discutir as estratégias utilizadas na tradução e na retradução de um poema escrito em língua italiana. O corpus de análise, o poema crepa! criado pelo escritor e poeta sardo Sergio Garau, traduzido para língua portuguesa e apresentado na edição da FLUP de 2016, é um expoente da poetry slam, atribuindo a importância da oralidade, da métrica e das rimas do original durante o ato tradutório. Nesta modalidade, cuja performance artística é essencial para agregar significado ao poema, a meta objetivada seria produzir uma tradução satisfatoriamente fiel tanto no que diz respeito à forma quanto ao conteúdo. À luz de teóricos como Paulo Henriques Brito, Umberto Eco, dentre outros, evidenciamos dificuldades e soluções durante o desafio da tradução poética intercultural. Neste, também comentamos sobre outras questões igualmente pertinentes como a possibilidade de contato com o autor para solucionar eventuais dúvidas; a importância do trabalho em equipe na busca de outras perspectivas para a transposição do poema à língua de chegada; a validade de uma tradução e a necessidade de uma nova versão da mesma em prol da aprimoração constante do trabalho realizado pelo tradutor.Palavras-chave: Tradução poética. Tradução intercultural. Italianística. ABSTRACT: Questo lavoro si propone di confermare il ruolo del traduttore come mediatore tra culture discutendo le strategie utilizzate nella traduzione e nella ritraduzione di una poesia scritta in italiano. Il corpus di analisi, il poema crepa! creato dallo scrittore e poeta sardo Sergio Garau, tradotto in portoghese e presentato nell'edizione della FLUP 2016, è un esponente del poetry slam, attribuendo l'importanza dell'oralità, della metrica e delle rime dell'originale durante l'atto di traduzione. In questa modalità, la cui esecuzione artistica è essenziale per aggiungere significato al poema, l'obiettivo mirato sarebbe quello di produrre una traduzione soddisfacentemente fedele sia in termini di forma che di contenuto. Alla luce di teorici come Paulo Henriques Brito, Umberto Eco, tra gli altri, mettiamo in evidenza difficoltà e soluzioni durante la sfida della traduzione poetica interculturale. In questo commentiamo anche altre questioni altrettanto pertinenti come la possibilità di contattare l'autore per risolvere eventuali dubbi; l'importanza del lavoro di squadra alla ricerca di altre prospettive per trasporre la poesia nella lingua di destinazione; la validità di una traduzione e la necessità di una nuova versione per migliorare costantemente il lavoro svolto dal traduttore.Parole chiave: Traduzione poetica. Traduzione interculturale. Italianistica.ABSTRACT: This work aims to confirm the role of the translator as a mediator between cultures by discussing the strategies used in the translation and re-translation of a poem written in Italian. The corpus of analysis, the poem crepa! created by sardinian writer and poet Sergio Garau, translated into portuguese and presented in the 2016 edition of FLUP, it’s an exponent of poetry slam, attributing the importance of orality, meter and rhymes of the original during the translation act. In this modality, whose artistic performance is essential to add meaning to the poem, the aimed goal would be to produce a satisfactorily faithful translation both in terms of form and content. In the light of theorists such as Paulo Henriques Brito, Umberto Eco, among others, we highlight difficulties and solutions during the challenge of intercultural poetic translation. In this work, we also comment on other equally pertinent issues such as the possibility of contacting the author to resolve any doubts; the importance of teamwork in search of other perspectives for transposing the poem to the target language; the validity of a translation and the need of a new version in order to constantly improve the work performed by the translator.Key words: Poetic Translation. Intercultural Translation. Italian Studies.

The Effect of a Rehabilitation Curriculum for Developing the Muscles Supporting the Intervertebral Ligaments for People with Lumbar Pain for the Quads

Today, sport is one of the manifestations of the civilization of peoples, as the development of sport accompanied the meaning of being an athlete. Therefore, studying the direct and side effects on the health of the athlete and how to avoid these influences to overwhelm the athlete and in turn affect his artistic performance and The researcher used the experimental method as it is the closest method to solving the research problem and The research community was chosen in a deliberate way and represented the community with weightlifting players for Baghdad clubs for the season (2021) AD and The researcher concluded The rehabilitation curriculum exercises contributed positively to the development of the muscles working on the spine and the lumbar region in particular and The rehabilitation curriculum exercises played an active role in reducing the degree of pain.

Groove Fields. Understanding the Dance Floor from an Art-Based Research Perspective

This contribution examines groove dynamics across various spatial contexts such as the dance club and the artistic performance space. As groove dynamics do not occur in a spatial vacuum but are embedded in affective environments, they need to be approached from an interdisciplinary perspective that ties together findings from experimental field studies, performance studies, musicology, cognitive hermeneutics etc. and places them in the physical, anatomic and acoustic contexts of concrete dance situations. In that way, the dance floor can be understood as a space of entanglements where acoustic, movement and kinaesthetic grooves mark and create a fluid territory of improvisational interaction and communication.

CORPOS FEMININOS NA PERFORMANCE: POR UMA SUBVERSÃO / Female bodies in performance: for a subversion

O presente texto aborda os corpos femininos inseridos na performance artística, levando em consideração uma estética feminista que preza uma subversão da perspectiva de fetichização dos corpos femininos, das violências de gênero e das potências daquelas que se identificam com esses femininos. Os corpos femininos, enquanto corpos marcados social e culturalmente por imposições, marginalizações, estigmatizações etc., ao se tornar ferramentas artísticas da performance, passam a ser, também, um gesto crítico-político criador, uma vez que, por meio de sua estética subversiva, atuam como instrumentos e suportes de criação de novas possibilidades de discurso. Dessarte, é pela análise crítica de alguns trabalhos performáticos das artistas Regina José Galindo e Celeida Tostes que se torna possível trazer essas temáticas à tona neste artigo.Palavras-chave: Corpos femininos; Performance; Subversão. AbstractThe present text discusses about the female bodies inserted in artistic performance, taking into account a feminist aesthetic which values a subversion of the perspective of fetishization of the female bodies, gender violence and of the powers of those who identify with these females. The female bodies, as bodies socially and culturally marked by impositions, marginalizations, stigmatizations etc., by becoming artistic tools of performance, they also become a creative critical-political gesture, to the extent that, through its subversive aesthetics, act as supporting instruments for the creation of new possibilities of discourse. Thus, it is through of critical analysis of some performative works by artists Regina José Galindo and Celeida Tostes that it will become possible to bring these themes to the fore in this article.Keywords: Female bodies; Performance; Subversion.

Motivation and Self – Confidence and their relation to Routine Performance on Parallel Bars in Men’s Artistic Performance

The research aimed at identifying the relationship between motivation and self–confidence on the performing routines in the parallel bar. The researchers used the descriptive method on (480) thirds year college of physical education and sport sciences/ university of Baghdad students. The data was collected and treated using proper statistical operations to conclude that there is a high correlation relationship between motivation and self-confidence with routine performance on parallel bars. In addition to that, the researchers concluded that third-year students have high motivation and self – confidence and there is a positive relationship between motivation, self-confidence, and routine performance on parallel bars.

The Effect of Counseling Program on Improving Psychological Resilience for First Class Soccer Referees

Developing referees’ artistic performance inside the field depends on many physical, administrative, psychological, and cognitive aspects. Because of the political and social conditions that sports communities, in general, suffer from and the Iraqi sports community in particular there is a great need to direct more attention to psychological aspects. It became necessary to develop due to the situations that the referee face and solve a matter that will improve their performance. The importance of the research lies in designing a counseling program for improving psychological resilience for soccer referees according to scientific styles that will help them overcome most mistakes and achieve better levels of performance. This the research aim at identifying the effect of counseling program on psychological resilience level in first-class soccer referees.

The role of the Conductor of children choir in the improvement of Interpersonal Communication through Music

Choral singing is a complex and multifactorial activity, it is a group activity in which participants are actively involved through music and are able to transmit varied touches of human psychoemotional states. The conductor of a children’s choir must have a complex personality, he must be a passion-filled musician, a teacher, a psychologist, he must have psychosocial competences and leadership abilities. In the conductor-choir relationship, the interaction of the conductor’s self with the members of the choir is of distinct importance. In order to increase the quality of said relationship, which is the basis of a remarkable artistic performance, a new method has been approached: the Johary Window model, which can be applied by the conductor in order to obtain a viable communication between the members of the choral ensemble