This paper analyzes the language employed in the representations of women in Doukhobor Russian ritual texts called ＂ncanMbf＇ （psalms） from the viewpoint of linguistic text analysis performed in the Russian traditi...This paper analyzes the language employed in the representations of women in Doukhobor Russian ritual texts called ＂ncanMbf＇ （psalms） from the viewpoint of linguistic text analysis performed in the Russian tradition of folklore stylistics. While addressing the representations of Biblical female characters, such as the Holy Virgin Mary Magdalene, the Heavenly Bride, and the Whore of Babylon, along with the portrayals of Doukhobor and other women, the paper identifies stylistic features in their textual descriptions. The study establishes connections between Doukhobor texts and Russian folklore and liturgical tradition. The paper strives to identify the place of Doukhobor psalms as an integral part of the Russian literary and folklore heritage展开更多
How can choreography and physical theatre pieces continue to perpetuate the work after rendering？ How to preserve their aura, their dynamics, and their ephemeral and genuine nature, as Walter Benjamin said？ In 1936,...How can choreography and physical theatre pieces continue to perpetuate the work after rendering？ How to preserve their aura, their dynamics, and their ephemeral and genuine nature, as Walter Benjamin said？ In 1936, Benjamin already anticipated in The Work of Art in the Age of lts Technological Reproducibility that something is missing even in the best-finished reproduction. And memories of dance and physical theatre are intricate. The question is how to create a type of documentation that does not betray the vital flow of the event-based phenomenon. In this short article we will see a series of choreographic and performance artists like Esther Ferrer, Ayara Hern^indez Holz, and Olga de Soto who claimed a new form of organic documentation, making it turn performance or memory of viewers. Other creators as the company La Fura dels Baus claim documentation as spectacle and others on the opposite side, as Tino Sehgal propose radically non documentation of their work. Precisely, these different positions coincide with those of thinkers like Peggy Phelan, Sarah Bay-Cheng, or Paula Caspao who respect to a range of documentation and how it can never replace the live art.展开更多
Fibich＇s opera Hedy （premiered in 1896） was received as a succesfull work, although many reviewers did not know how to call the prevailing style （mixture ofwagnerianism, Grand opera, verismo exotico, the second Do...Fibich＇s opera Hedy （premiered in 1896） was received as a succesfull work, although many reviewers did not know how to call the prevailing style （mixture ofwagnerianism, Grand opera, verismo exotico, the second Don Giovanni composed for Prague because of reminiscences on Mozart＇s dramma giocoso）. It is not uneasy to find clear musical hints on Puccini in Fibich＇s next opera Sarka （premiered 1897）, but it was already in Hedy where drastic and geographically clearly determined subject was mixed with Wagnerian gesture of love extasy, which is everywhere and endless. Obviously, Fibich, as a mature artist, was able to connect rules of both Czech declamation and contemporary veristic fashion. This study tries to identify main stylistic features which shaped Fibich＇s fifth opera, and analyses receptive expectations from the side of Czech audience and its influence on Fibich＇s opera composition.展开更多
This paper takes a cursory look at the conceptual framework of what cultural imperialism entails with particular study of its socio-political consequences in contemporary Nigerian society, and a closer look at the tra...This paper takes a cursory look at the conceptual framework of what cultural imperialism entails with particular study of its socio-political consequences in contemporary Nigerian society, and a closer look at the transportation and importation of western cultural values and the implantation of same in Nigeria thereby almost completely eclipsing the hitherto African cultural conservatism of the Nigerian state. Clear examples of this cultural transplant are given in this work, including but not limited to the use of English language in place of the indigenous languages for communication even when there are no foreigners, smoking of cigarettes, ladies putting on trousers, abortions as a means of birth control, free premarital and extramarital sexual relationships, and homosexuality and gay practices. These which were viewed as an anathema to Nigeria＇s cultural values have supplanted the traditional conservatism of the Nigerian people. This work particularly looks at Chimamanda Adichie＇s Purple Hibiscus and distills classical cases of cultural imperialism. Adichie through the character Eugene, captures cultural imperialism as seen in the life of this vastly brainwashed ＂been-to＂ who is clearly portrayed as an imperial lackey, capitalist, and apologist. Also, the character of Rev. Father Benedict, a Briton, who often found any indigenous songs in St. Agnes Parish was quite offensive. The work also captures cultural imperialism in the ironical contempt with which the catholic devotee, Eugene, treats his own father, Papa Nnukwu, steeped in the traditional African cultural values, and Eugene viewes him as Godlessness. The essay concludes by identifying the cultural crises that cultural imperialism creates in the Nigerian state, and recommends ways of diluting and diffusing the present cultural imperialism as a solution to the myriad of socio-political crises currently experienced by the Nigerian society.展开更多
Cultural capital is usually regarded as a mechanism of influence on personality. Coleman contributed to this study largely, although Bourdieu introduced the concept of a theoretical understanding of capital varieties....Cultural capital is usually regarded as a mechanism of influence on personality. Coleman contributed to this study largely, although Bourdieu introduced the concept of a theoretical understanding of capital varieties. He was interested in the convergence of social, cultural, and economic capital. The authors propose to focus on the cultural capital of both the qualitative characteristics of the state of society. The problem is that in the presence of cultural capital as a funded system of values in the form of works of art and science, society degrades morally. Any cultural capital based on traditional religious values. This does not mean the broadcasting of religious themes in works of art, although it excludes, but rather a philosophical position of artists and researchers, through which the public receives the interpretation of events, their assessment of a certain value-regulatory system of coordinates. This element is the spiritual capital of the company and is a fundamental element of cultural capital. Qualitative state of society, its morality depends on the amount of spiritual capital, which he occupies in the field of cultural capital. A striking example of how the degradation and spiritual revival of capital in society can serve as the processes that took place during the last century.展开更多
文摘This paper analyzes the language employed in the representations of women in Doukhobor Russian ritual texts called ＂ncanMbf＇ （psalms） from the viewpoint of linguistic text analysis performed in the Russian tradition of folklore stylistics. While addressing the representations of Biblical female characters, such as the Holy Virgin Mary Magdalene, the Heavenly Bride, and the Whore of Babylon, along with the portrayals of Doukhobor and other women, the paper identifies stylistic features in their textual descriptions. The study establishes connections between Doukhobor texts and Russian folklore and liturgical tradition. The paper strives to identify the place of Doukhobor psalms as an integral part of the Russian literary and folklore heritage
文摘How can choreography and physical theatre pieces continue to perpetuate the work after rendering？ How to preserve their aura, their dynamics, and their ephemeral and genuine nature, as Walter Benjamin said？ In 1936, Benjamin already anticipated in The Work of Art in the Age of lts Technological Reproducibility that something is missing even in the best-finished reproduction. And memories of dance and physical theatre are intricate. The question is how to create a type of documentation that does not betray the vital flow of the event-based phenomenon. In this short article we will see a series of choreographic and performance artists like Esther Ferrer, Ayara Hern^indez Holz, and Olga de Soto who claimed a new form of organic documentation, making it turn performance or memory of viewers. Other creators as the company La Fura dels Baus claim documentation as spectacle and others on the opposite side, as Tino Sehgal propose radically non documentation of their work. Precisely, these different positions coincide with those of thinkers like Peggy Phelan, Sarah Bay-Cheng, or Paula Caspao who respect to a range of documentation and how it can never replace the live art.
文摘Fibich＇s opera Hedy （premiered in 1896） was received as a succesfull work, although many reviewers did not know how to call the prevailing style （mixture ofwagnerianism, Grand opera, verismo exotico, the second Don Giovanni composed for Prague because of reminiscences on Mozart＇s dramma giocoso）. It is not uneasy to find clear musical hints on Puccini in Fibich＇s next opera Sarka （premiered 1897）, but it was already in Hedy where drastic and geographically clearly determined subject was mixed with Wagnerian gesture of love extasy, which is everywhere and endless. Obviously, Fibich, as a mature artist, was able to connect rules of both Czech declamation and contemporary veristic fashion. This study tries to identify main stylistic features which shaped Fibich＇s fifth opera, and analyses receptive expectations from the side of Czech audience and its influence on Fibich＇s opera composition.
文摘This paper takes a cursory look at the conceptual framework of what cultural imperialism entails with particular study of its socio-political consequences in contemporary Nigerian society, and a closer look at the transportation and importation of western cultural values and the implantation of same in Nigeria thereby almost completely eclipsing the hitherto African cultural conservatism of the Nigerian state. Clear examples of this cultural transplant are given in this work, including but not limited to the use of English language in place of the indigenous languages for communication even when there are no foreigners, smoking of cigarettes, ladies putting on trousers, abortions as a means of birth control, free premarital and extramarital sexual relationships, and homosexuality and gay practices. These which were viewed as an anathema to Nigeria＇s cultural values have supplanted the traditional conservatism of the Nigerian people. This work particularly looks at Chimamanda Adichie＇s Purple Hibiscus and distills classical cases of cultural imperialism. Adichie through the character Eugene, captures cultural imperialism as seen in the life of this vastly brainwashed ＂been-to＂ who is clearly portrayed as an imperial lackey, capitalist, and apologist. Also, the character of Rev. Father Benedict, a Briton, who often found any indigenous songs in St. Agnes Parish was quite offensive. The work also captures cultural imperialism in the ironical contempt with which the catholic devotee, Eugene, treats his own father, Papa Nnukwu, steeped in the traditional African cultural values, and Eugene viewes him as Godlessness. The essay concludes by identifying the cultural crises that cultural imperialism creates in the Nigerian state, and recommends ways of diluting and diffusing the present cultural imperialism as a solution to the myriad of socio-political crises currently experienced by the Nigerian society.
文摘Cultural capital is usually regarded as a mechanism of influence on personality. Coleman contributed to this study largely, although Bourdieu introduced the concept of a theoretical understanding of capital varieties. He was interested in the convergence of social, cultural, and economic capital. The authors propose to focus on the cultural capital of both the qualitative characteristics of the state of society. The problem is that in the presence of cultural capital as a funded system of values in the form of works of art and science, society degrades morally. Any cultural capital based on traditional religious values. This does not mean the broadcasting of religious themes in works of art, although it excludes, but rather a philosophical position of artists and researchers, through which the public receives the interpretation of events, their assessment of a certain value-regulatory system of coordinates. This element is the spiritual capital of the company and is a fundamental element of cultural capital. Qualitative state of society, its morality depends on the amount of spiritual capital, which he occupies in the field of cultural capital. A striking example of how the degradation and spiritual revival of capital in society can serve as the processes that took place during the last century.
