The Series of Archaeological Dance: A Historical Study and Dance Move Recording with Labanotation | ระบำ􀄕ชุดโบร􀄕ณคดี: ก􀄕รศึกษ􀄕เชิงประวัติศ􀄕สตร์ และก􀄕รบันทึกท่􀄕ร 􀄕ด้วยล􀄕บ􀄕นโนเทชัน

The Series of Archaeological Dances is a creative work of Thai dance inspired by information and evidence of ancient antiquities and sites discovered in Thailand to make the archaeological evidence found to be alive again in the form of Thai theatre and dance. The name of the historical period of art identified by the scholars are used to define the names of five performance of the Archaeological Dances, namely, Dvāravatī Dance, Srīvijaya Dance, Lopburi Dance, Chiang Saen Dance, and Sukhothai Dance. Each performance has its own unique style with no related content to each other. This series of dances were premiered on 25 May 1967, in front of King Rama IX and Queen Sirikit. Regarding to the movement of the body, there is unique identity that reflects the ethnicity of the area and the civilization from the land where the archaeological evidence of each era was discovered. They were created according to the imagination of the choreographers of the dance posture. In addition, The Series of Archaeological Dances are popularly performed on various occasions continuously until present day. ระบ􀄬ำชุดโบรำณคดี เป็นผลงำนสร้ำงสรรค์ด้ำนนำฏศิลป์ของประเทศไทยที่ได้รับแรงบันดำลใจจำกข้อมูลและหลัก ฐำนด้ำนศิลปะโบรำณวัตถุสถำนที่ถูกค้นพบได้ในพื้นที่ประเทศไทย เพื่อต้องกำรให้หลักฐำนโบรำณคดีที่ค้นพบได้ กลับมำมีชีวิตชีวำอีกครั้งในรูปแบบของนำฏศิลป์ โดยใช้ชื่อยุคสมัยทำงศิลปะที่นักวิชำกำรประวัติศำสตร์ระบุไว้ มำ ก􀄬ำหนดเป็นชื่อของกำรแสดงจ􀄬ำนวน 5 ชุด คือ ระบ􀄬ำทวำรวดี ระบ􀄬ำศรีวิชัย ระบ􀄬ำลพบุรี ระบ􀄬ำเชียงแสน และระบ􀄬ำ สุโขทัย กำรแสดงแต่ละชุดเป็นลักษณะแบบเอกเทศ ไม่มีเนื้อหำเกี่ยวข้องกัน จัดแสดงรอบปฐมทัศน์เมื่อวันที่ 25 พฤษภำคม พ.ศ. 2510 ต่อหน้ำพระที่นั่งของในหลวงรัชกำลที่ 9 และพระรำชินีในรัชกำลที่ 9 ในด้ำนกำรเคลื่อนไหว ร่ำงกำยมีเอกลักษณ์ที่สะท้อนควำมเป็นชำติพันธุ์ของพื้นที่และอำรยธรรมดินแดนที่ค้นพบหลักฐำนโบรำณคดีแต่ละ ยุคสมัย ซึ่งใช้รูปแบบกำรสร้ำงสรรค์ของนำฏศิลป์ไทยตำมจินตนำกำรของผู้ประดิษฐ์ท่ำร􀄬ำ นอกจำกนี้ระบ􀄬ำชุด โบรำณคดีได้รับควำมนิยมในกำรจัดแสดงอย่ำงต่อเนื่องในวำระต่ำง ๆ มำจนถึงปัจจุบัน

Петриківка – давній осередок витинанки в Україні

While studying the Ukrainian folk art, it is important to explore artistic traditions of individual centres. The article considers traditional motifs and compositions of folk paper cutting art pieces, common in the village of Petrykivka (Dnipropetrovsk Region), an ancient core of paper cutting art. Such home paper decorations have become widespread in the centre since the late XIXth to early XXth centuries. Among the well-known masters – fellow villagers who created paper cutting art pieces were Vasyl Vovk, Pelaheya Hlushchenko, Hanna Hrechanova, Antonina Avdieyenko, Nataliya Avdieyenko and other masters. The auctorial paper cutting art pieces under study demonstrates the combination of deep traditions of folk art and personal aesthetic tastes of each of the artists, which determined each time a distinct unique style. It is important that they have been passing on their experience to next generations. It is important that modern masters continue to pass on their experience to next generations.

Postcolonial Gothic Elements in Joaquin’s The Woman Who Had Two Navels

Nick Joaquin (Nicomedes Márquez Joaquín, (1917-2004) is known for his unique style of writing, tropical Gothic, and applying gothic elements in his stories and novels. This paper examines his first novel The Woman Who Had Two Navels through the lens of postcolonial theory. The paper also investigates gothic narratives in his novel by applying David Punter’s literary-historical approach. Punter (2000), in his book Postcolonial Imaginings: Fictions of a New World Order, examines the metamorphoses of the Gothic as a genre in some selected novels and poems. The book depicts new manifestations of the Gothic during 20th century literature. This paper attempts to investigate how the elements of postcolonial Gothic as discussed by Punter are manifested in Joaquin’s novel. In doing so, the contrapuntal method of reading, introduced by Edward Said (1993), is also applied to explore the hidden parts of history in the novel.

Love and Death in Latin Elegy

Love and death is a common and shared human experience that many poets of the ancient world explored in their various poetic works. The elegists of Rome famously wrote love poems in which each pined for a specific mistress or lover, and in some of these poems, love and death were simultaneously prominent themes. In this article I examine the relationship between the concepts of love and death in Propertius 4.7, Tibullus 1.3 and Ovid’s Amores 3.9. From this study it is evident that each poet, through means of their own style, depicted the ideal that love had the ability to overcome death. To support my analysis of these texts and the issues surrounding them, I refer to Papanghelis, Hinds and Maltby. While these authors consider many aspects of Proptertius’, Tibullus’ and Ovid’s works, the relationship and connection present between love and death has not been significantly considered. In order to establish each poet’s personal style I begin with a brief overview of elegiac poetry; then, an examination of each poem’s tone, word usage and thematic distinctions. I will begin the discussion with Propertius’ poems; Tibullus’ and Ovid’s poems will then be considered, first separately, and then as a pair. The concepts of love, death and those affected by the death in the poem will be analyzed. In addition, I will consider how love and death interact with each other in the poems. To further supplement the discussion, I will analyze how these three poets’ write in the same genre and about the same topics, but in different contexts and styles. This analysis leads to an understanding that each poet expressed their unique style in their poems, while maintaining a similar theme and genre, that love has the ability to overcome the unavoidable and inevitable force of death.

From Three-Dimension to Two-Dimension: The Formation of Henri Matisse’s Painting Style

Through his life as a pupil in his early years and the transformation into a Fauve (wild beast), Henri Matisse learnt that he must forgo the traditional techniques of the masters and understand art in his own way. He first replaced the color scheme in his paintings with purer colors and clearer outlines of color ranges; in his later life, he devoted himself to two-dimensional coloring and finally to two-dimensional paper cut-outs. Therewith, a unique style brought forth by Henri Matisse took shape, ushering the diversification of the drawing medium. Since then, paintings are no more confined to rigid classicism, which only explores the relationship between colors in sketch-based three-dimensional spaces, but a reflection of the painters’ scrutiny of the nature of painting.

The Rhetorical Consequences of Mr. Keynes: Intellectuals and the Communication of Economic Ideas

<p>Economists interested in the communication of ideas often turn their attention to the importance of information to the economic exchange process and in so doing often focus on specific aspects of an economy. For example, economists who highlight the importance of institutions see information as an institution’s lifeblood, while economists interested in technology often see information as key to technological advances and economic development. This dissertation takes a broader view of information, by analysing Maynard Keynes’ The Economic Consequences of the Peace and focusing on the processes and ways in which economists successfully communicate their ideas, especially to non-economists. Keynes was particularly effective in communicating his ideas, especially following the publication of Economic Consequences in December 1919. At this time Keynes was already regarded as an eminent economist and his book helped cement his reputation and established him as a public intellectual. Despite its success, the book was a controversial work, critics often accusing Keynes of being more a political propagandist than a serious economist. Keynes was stung by the criticism and consistently maintained Economic Consequences was a serious work of economics. The conclusion of this dissertation is that Keynes was correct in his assertion. The key to this understanding can be largely attributed to his rhetoric. First, he provided a wide range of statistics, many from official sources, to support his central argument that if the terms of the Versailles Treaty were imposed on Germany, not only would Germany suffer, but all Europe would be reduced to an economic dark age and likely face further destructive warfare. Furthermore, his inductive and descriptive use of statistics was rhetorically successful as it provided a “factual, objective and neutral” authority for his arguments. The second way Keynes communicated his economic arguments was with his frequent and rich use of metaphors. By using the tools of literary criticism it is demonstrated that all Keynes’ arguments have an economic focus. His use of metaphors enabled him to reach a wide audience with persuasive rhetoric, unusual in a serious work of economics. The third indicator that Economic Consequences was a serious work of economics can be found in the economic and cultural contexts that surrounded Keynes. His writing style was influenced by his friendships in the Cambridge Apostles and Bloomsbury circles, especially those of Lytton Strachey and Virginia Woolf. These, and other influences such as Eton, Moore’s philosophy and psychological realism, help explain Keynes’ unique style of writing and why his explicit attempts at persuasion were often successful. The examination presented here of Keynes’ activities as a public intellectual, his use of statistics, a literary criticism of his prose, and the influences on his writing style, allow a re-reading of Economic Consequences and adds to our understanding of how economists can successfully communicate their ideas.</p>

The Rhetorical Consequences of Mr. Keynes: Intellectuals and the Communication of Economic Ideas

<p>Economists interested in the communication of ideas often turn their attention to the importance of information to the economic exchange process and in so doing often focus on specific aspects of an economy. For example, economists who highlight the importance of institutions see information as an institution’s lifeblood, while economists interested in technology often see information as key to technological advances and economic development. This dissertation takes a broader view of information, by analysing Maynard Keynes’ The Economic Consequences of the Peace and focusing on the processes and ways in which economists successfully communicate their ideas, especially to non-economists. Keynes was particularly effective in communicating his ideas, especially following the publication of Economic Consequences in December 1919. At this time Keynes was already regarded as an eminent economist and his book helped cement his reputation and established him as a public intellectual. Despite its success, the book was a controversial work, critics often accusing Keynes of being more a political propagandist than a serious economist. Keynes was stung by the criticism and consistently maintained Economic Consequences was a serious work of economics. The conclusion of this dissertation is that Keynes was correct in his assertion. The key to this understanding can be largely attributed to his rhetoric. First, he provided a wide range of statistics, many from official sources, to support his central argument that if the terms of the Versailles Treaty were imposed on Germany, not only would Germany suffer, but all Europe would be reduced to an economic dark age and likely face further destructive warfare. Furthermore, his inductive and descriptive use of statistics was rhetorically successful as it provided a “factual, objective and neutral” authority for his arguments. The second way Keynes communicated his economic arguments was with his frequent and rich use of metaphors. By using the tools of literary criticism it is demonstrated that all Keynes’ arguments have an economic focus. His use of metaphors enabled him to reach a wide audience with persuasive rhetoric, unusual in a serious work of economics. The third indicator that Economic Consequences was a serious work of economics can be found in the economic and cultural contexts that surrounded Keynes. His writing style was influenced by his friendships in the Cambridge Apostles and Bloomsbury circles, especially those of Lytton Strachey and Virginia Woolf. These, and other influences such as Eton, Moore’s philosophy and psychological realism, help explain Keynes’ unique style of writing and why his explicit attempts at persuasion were often successful. The examination presented here of Keynes’ activities as a public intellectual, his use of statistics, a literary criticism of his prose, and the influences on his writing style, allow a re-reading of Economic Consequences and adds to our understanding of how economists can successfully communicate their ideas.</p>

The Sacred Nature of White Stone in the Temple Construction of Andrey Bogolyubsky

The article deals with the issues of the sudden appearance of white-stone construction in the middle of the XII century in the North-East of Russia, in the Vladimir Principality, which are practically not affected by science. The purpose of the study is to identify the most likely sources that influenced the process of origin and formation of the unique style of Vladimir-Suzdal architecture during the reign of Andrei Bogolyubsky (1157–1177). The research methods were reduced not only to the analysis of the Old Testament texts, with which the Great Vladimir Prince was well acquainted and admired their heroes during the construction of his white-stone churches, but also to the identification of the peculiarity of the current situation, individual facts of the prince's activity and the nature of his character, which became an active incentive to the introduction of white stone instead of bricks, which took a sacred character for Andrey Bogolyubsky. The result of the study is as follows: first, the symbolism of the white color, drawn from the biblical testaments of the consubstantial God, became the leitmotif for the architectural creations of the Vladimir prince; second, the perceived Old Testament building traditions stimulated the growth of original forms of Vladimir-Suzdal white stone architecture, which have no close analogies in the entire area of neighboring countries. In the light of the current inclusion of white stone buildings in the UNESCO World Cultural Heritage, the aspect of their study not only brings scientific novelty to the already established interpretation, but also entails a rethinking of the practical orientation of restoration and restoration work on them.

THE INTEGRITY OF MAN AND NATURE IN ORALKHAN BOKEI`S WORKS

Oralkhan Bokei is a unique person who has his own style in the world of literature. He describes accurately the truth of society, evil intent and noble qualities in human being by combining descriptions of nature and man. He is the writer who showed the charm of literary words with his own unique style. When mentioning the great Altai, we immediately think of Oralkhan Bokei. His sensual descriptions of the mysterious nature, his ability to create a beautiful image in reader`s mind, the style of speech set him apart from his contemporaries. The article deals with the relationship between man and nature, and their unity in Oralkhan Bokei`s works. Writer`s life and works are described. Writer`s skill in connecting situations in human`s life with natural phenomena is analyzed. The excerpts describing the Great Altai and natural phenomena were taken from the stories “Atau kere”, “Muztau”, “Saitan kopir” and analyzed, the integrity of man and nature is proven.

Nietzsche and the Aesthetics of Philosophy

The review discusses four recent books and collections that approach in different ways the role of aesthetics in Nietzsche’s work, both as a question of poetic expression and as the shaping of sensibility. They testify to a deepening interest in the processes through which he forged his unique style. This involves micro-analyses of the composition of Nietzsche’s writings from the raw material of his notebooks. It also involves biographical and material contexts, as in Tobias Brucker’s monograph on the composition of The Wanderer and His Shadow. Instead of accepting the dichotomy between a Dichterphilosoph and a philosopher for whom style was merely an instrument for formulating truths, these books display in different ways how in the case of Nietzsche this dichotomy breaks down and gives way to a widened concept of philosophical writing that includes many different genres. Other works by Nietzsche discussed are Zarathustra and The Gay Science, and also Ecce Homo. Nietzsche seduced with his art, but he also saw through the art of seduction as practiced by the artist, opting for a position beyond the conventional split between poetics and philosophy.