Science Publishing Group: International Journal of Literature and Arts: Table of Contents
<i>International Journal of Literature and Arts (IJLA)</i>, a peer-reviewed open access journal published bimonthly in English-language, aims to foster a wider academic interest in literature and arts, and publishes a wide range of researches on literature studies, art theory, appreciation of arts, culture and history of arts and other latest findings and achievements from experts and scholars all over the world. Each issue contains a variety of critical articles, an extensive book reviews section, a selection of original poetry, and the visual and performing arts, and so on.
http://www.sciencepublishinggroup.com/j/ijla Science Publishing Group: International Journal of Literature and Arts: Table of Contents
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International Journal of Literature and Arts
International Journal of Literature and Arts
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Emerson’s Passion for Indian Thought
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The first group of American thinkers who seriously examined non-Western spiritual traditions such as Hinduism and Buddhism was the Transcendentalists. The prominent members of this group included Ralph Waldo Emerson, Henry David Thoreau, Margaret Fuller, Bronson Alcott, and Elizabeth Peabody. In general, the Transcendentalists argued for a non-dogmatic and more universalistic perspective of life and the world. As the intellectual guru of this group, Emerson “represent[ed] the best in the spiritual explorer” (Moore 74). Unlike most of his predecessors and contemporaries, he was sensitive to and passionate about non-Western spiritual traditions and philosophies. Today, the sources of Emerson’s knowledge and inspiration are of particular interest to the critics and researchers of comparative literature. In this article, I explore Emerson’s passion for Indian thought with specific reference to Brahma, the Bhagavad Gita, and the laws of karma.
The first group of American thinkers who seriously examined non-Western spiritual traditions such as Hinduism and Buddhism was the Transcendentalists. The prominent members of this group included Ralph Waldo Emerson, Henry David Thoreau, Margaret Fuller, Bronson Alcott, and Elizabeth Peabody. In general, the Transcendentalists argued for a non-dogmatic and more universalistic perspective of life and the world. As the intellectual guru of this group, Emerson “represent[ed] the best in the spiritual explorer” (Moore 74). Unlike most of his predecessors and contemporaries, he was sensitive to and passionate about non-Western spiritual traditions and philosophies. Today, the sources of Emerson’s knowledge and inspiration are of particular interest to the critics and researchers of comparative literature. In this article, I explore Emerson’s passion for Indian thought with specific reference to Brahma, the Bhagavad Gita, and the laws of karma.
Emerson’s Passion for Indian Thought
doi:10.11648/j.ijla.20130101.11
International Journal of Literature and Arts
2014-01-01
© Science Publishing Group
Sardar M. Anwaruddin
Emerson’s Passion for Indian Thought
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© Science Publishing Group
Causes of the Stage Crisis in the Early Twentieth Century Spain
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During the nineteenth century, Spain experienced a turbulent political era, between monarchies, revolution and republic. This article analyzes the historical evolution of the "zarzuela" (Spanish popular opera, equally popular in Latin America) from the nineteenth century until the Second Spanish Republic, before World War II, explaining the causes of its decline in the twentieth century.
During the nineteenth century, Spain experienced a turbulent political era, between monarchies, revolution and republic. This article analyzes the historical evolution of the "zarzuela" (Spanish popular opera, equally popular in Latin America) from the nineteenth century until the Second Spanish Republic, before World War II, explaining the causes of its decline in the twentieth century.
Causes of the Stage Crisis in the Early Twentieth Century Spain
doi:10.11648/j.ijla.20130101.12
International Journal of Literature and Arts
2014-01-01
© Science Publishing Group
José Salvador Blasco Magraner
Francisco Carlos Bueno Camejo
Causes of the Stage Crisis in the Early Twentieth Century Spain
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© Science Publishing Group
Physics in Carnacki’s Investigations: the Role of New Scientific Discoveries in Literature
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In the stories of Carnacki, a fictional supernatural detective created by the English writer William H. Hodgson, and written between 1910 and 1913, we can find an interesting mixture of science and fantasy. Carnacki is a ghost finder, who investigates in an environment where supernatural is occurring. However, we find that he is using scientific discoveries and technologies of the beginning of the 20th century to reveal the hidden clues leading to the solution of the mysteries. Therefore, bringing the modern science into the fiction, Carnacki’s investigations are mirroring some of the popular knowledge of physics and technology of that time.
In the stories of Carnacki, a fictional supernatural detective created by the English writer William H. Hodgson, and written between 1910 and 1913, we can find an interesting mixture of science and fantasy. Carnacki is a ghost finder, who investigates in an environment where supernatural is occurring. However, we find that he is using scientific discoveries and technologies of the beginning of the 20th century to reveal the hidden clues leading to the solution of the mysteries. Therefore, bringing the modern science into the fiction, Carnacki’s investigations are mirroring some of the popular knowledge of physics and technology of that time.
Physics in Carnacki’s Investigations: the Role of New Scientific Discoveries in Literature
doi:10.11648/j.ijla.20130101.13
International Journal of Literature and Arts
2014-01-01
© Science Publishing Group
Amelia Carolina Sparavigna
Physics in Carnacki’s Investigations: the Role of New Scientific Discoveries in Literature
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© Science Publishing Group
From Rome to the Antipodes: The Medieval Form of the World
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Here we discuss how some medieval scholars in the Western Europe viewed the form of the world and the problem of the Antipodes, starting from the Natural History written by Pliny the Elder and ending in the Hell of the Divina Commedia, written by Dante Alighieri. From the center of the Earth, Dante and Virgil ascend to the Antipodes: eventually, their existence was accepted. Among the others, we will discuss the works of Bede, Gerbert of Aurillac who became Pope Silvester II, and Robert Grosseteste.
Here we discuss how some medieval scholars in the Western Europe viewed the form of the world and the problem of the Antipodes, starting from the Natural History written by Pliny the Elder and ending in the Hell of the Divina Commedia, written by Dante Alighieri. From the center of the Earth, Dante and Virgil ascend to the Antipodes: eventually, their existence was accepted. Among the others, we will discuss the works of Bede, Gerbert of Aurillac who became Pope Silvester II, and Robert Grosseteste.
From Rome to the Antipodes: The Medieval Form of the World
doi:10.11648/j.ijla.20130102.11
International Journal of Literature and Arts
2014-01-01
© Science Publishing Group
Amelia Carolina Sparavigna
From Rome to the Antipodes: The Medieval Form of the World
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© Science Publishing Group
Development of the Musical Thinking of the Beginner Pianists
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Thinking is manifested by the speech. Through the semantic content of the speech entities, interactions, interdependencies, etc. are expressed. These complex interrelationships, as a product of the human thinking in general, exist in the different languages. Therefore, the spoken language can be translated from one language to another, preserving and conveying the specific content. Unlike the spoken language, the musical language can not be translated. The musical thinking process occurs spontaneously, and the content is “rationalized” by the character of the emotional response, that triggers in the perceiver. By logical musical thinking is meant typical of a geographical area, ethnicity or style development of the melody. That development has no equivalent in other geographic areas, ethnicities and styles, and so the musical thought is untranslatable. Therefore, while training beginner pianist-performers, along with other necessary qualities and skills, is essential to cultivate also the ability to empathy the expressed through the music feelings and the sense of distinctiveness of the different types of melodic structures. The ability to detect the underlying feelings in the work is achieved through different pedagogical approaches, such as: - The selection of an appropriate musical illustration to a short story, thought up by the teacher. - The recreation of the emotional meaning of the piece that is studied or played through created by the student tale, short story, verse or drawing. - The description of what he would draw to illustrate the music that has sounded. Using these methods "the understanding" of the emotional content of the musical work is encouraged - a necessary condition for improving the impact of the student’s own interpretation or the adequate assessment of someone else’s performance. The main method to form the sense of distinctiveness of the musical thought is the selection of a diverse repertoire for mastering. Other suitable approaches are: - Selecting an appropriate conclusion of the melody from several proposed cadences. Composing a logical conclusion of a melody by the student himself/herself. - Finishing of two different in character melodies. - Continuing the melody on a given small element of it. Thus accumulated and constantly enriched fund of musical-auditory notions, is of great benefit for both the more effective memorizing of the mastered piece, and the deeper understanding of the musical punctuation, syntax and the specificity of the musical image.
Thinking is manifested by the speech. Through the semantic content of the speech entities, interactions, interdependencies, etc. are expressed. These complex interrelationships, as a product of the human thinking in general, exist in the different languages. Therefore, the spoken language can be translated from one language to another, preserving and conveying the specific content. Unlike the spoken language, the musical language can not be translated. The musical thinking process occurs spontaneously, and the content is “rationalized” by the character of the emotional response, that triggers in the perceiver. By logical musical thinking is meant typical of a geographical area, ethnicity or style development of the melody. That development has no equivalent in other geographic areas, ethnicities and styles, and so the musical thought is untranslatable. Therefore, while training beginner pianist-performers, along with other necessary qualities and skills, is essential to cultivate also the ability to empathy the expressed through the music feelings and the sense of distinctiveness of the different types of melodic structures. The ability to detect the underlying feelings in the work is achieved through different pedagogical approaches, such as: - The selection of an appropriate musical illustration to a short story, thought up by the teacher. - The recreation of the emotional meaning of the piece that is studied or played through created by the student tale, short story, verse or drawing. - The description of what he would draw to illustrate the music that has sounded. Using these methods "the understanding" of the emotional content of the musical work is encouraged - a necessary condition for improving the impact of the student’s own interpretation or the adequate assessment of someone else’s performance. The main method to form the sense of distinctiveness of the musical thought is the selection of a diverse repertoire for mastering. Other suitable approaches are: - Selecting an appropriate conclusion of the melody from several proposed cadences. Composing a logical conclusion of a melody by the student himself/herself. - Finishing of two different in character melodies. - Continuing the melody on a given small element of it. Thus accumulated and constantly enriched fund of musical-auditory notions, is of great benefit for both the more effective memorizing of the mastered piece, and the deeper understanding of the musical punctuation, syntax and the specificity of the musical image.
Development of the Musical Thinking of the Beginner Pianists
doi:10.11648/j.ijla.20130103.11
International Journal of Literature and Arts
2014-01-01
© Science Publishing Group
Krasimira Georgieva Fileva-Ruseva
Development of the Musical Thinking of the Beginner Pianists
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© Science Publishing Group
Hafez’s Hermeneutic Approach toward the Formation of a Character Named Rend
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The text makes an interaction between the writer and the reader, the reader’s understanding of a text in different historical periods is one of the methods used to interpret a text in the hermeneutic approach. Iranian mystic literature serves as cradle for the complexity and mysterious nature of textual meaning(s). Hafez, the great Persian sonneteer is one of the interpreters of textual meaning by creating different characters in the utopianistic realm of his poems, and introducing a new worldview to the readers. In the present study the writer seeks to examine and analyze Hafez’s attempts in his hermeneutic reading and his formation of characters named Rend and Pire Moghan based on the texture of his poems. The writer believes that Hafez considers the character – Rend - regarding to its negative meaning, as an interpretation to indicate the dualistic nature of the universe in his poems, because it seems that Rend is closer and compatible to the two – dimensional nature of man. Through his hermeneutic reading on Rend, Hafez gives the term a determined concept to match the paradoxical concept of conflicting nature of man.
The text makes an interaction between the writer and the reader, the reader’s understanding of a text in different historical periods is one of the methods used to interpret a text in the hermeneutic approach. Iranian mystic literature serves as cradle for the complexity and mysterious nature of textual meaning(s). Hafez, the great Persian sonneteer is one of the interpreters of textual meaning by creating different characters in the utopianistic realm of his poems, and introducing a new worldview to the readers. In the present study the writer seeks to examine and analyze Hafez’s attempts in his hermeneutic reading and his formation of characters named Rend and Pire Moghan based on the texture of his poems. The writer believes that Hafez considers the character – Rend - regarding to its negative meaning, as an interpretation to indicate the dualistic nature of the universe in his poems, because it seems that Rend is closer and compatible to the two – dimensional nature of man. Through his hermeneutic reading on Rend, Hafez gives the term a determined concept to match the paradoxical concept of conflicting nature of man.
Hafez’s Hermeneutic Approach toward the Formation of a Character Named Rend
doi:10.11648/j.ijla.20130103.12
International Journal of Literature and Arts
2014-01-01
© Science Publishing Group
Mohammadreza Zaman Ahmadi
Hafez’s Hermeneutic Approach toward the Formation of a Character Named Rend
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© Science Publishing Group
Alienation in Peter Shaffer's the Royal Hunt of the Sun under Lacan's View Point
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This paper is a study on analysis of alienation in selected work of literature by Peter Shaffer's The Royal Hunt of the Sun under the view of Lacan. Through analyzing Alienation elements namely the other, identity and desire experienced by the main characters both protagonists and antagonist, this paper attempted to prove that how the feeling of being alienated is created as the people in power conquer a land and make their victims believe that they are others.
This paper is a study on analysis of alienation in selected work of literature by Peter Shaffer's The Royal Hunt of the Sun under the view of Lacan. Through analyzing Alienation elements namely the other, identity and desire experienced by the main characters both protagonists and antagonist, this paper attempted to prove that how the feeling of being alienated is created as the people in power conquer a land and make their victims believe that they are others.
Alienation in Peter Shaffer's the Royal Hunt of the Sun under Lacan's View Point
doi:10.11648/j.ijla.20130103.13
International Journal of Literature and Arts
2014-01-01
© Science Publishing Group
Fatemeh Azizi Mohammdi
Mahbobe Torkamani
Alienation in Peter Shaffer's the Royal Hunt of the Sun under Lacan's View Point
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© Science Publishing Group
Cultivation of MTI Students’ Awareness of the Translator’s Subjectivity in Literary Translation
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Literary translation is a kind of artistic recreation. Only by exercising his/her artistic talent and subjectivity, can the translator produce a translation which can ravel the original work. In literary translation, the translator’s subjectivity is inevitable and indispensable as well. So it is essential for MTI students to be fully aware of the translators’ subjectivity during practice. The paper will explore the means to cultivate MTI students’ awareness of the translator’s subjectivity by analyzing the causes for its existence from the aspects of the special characteristics of literary works, translator’s personal factors, social factors and so on, in hope of deepening the study on the translator’s subjectivity and the development of literary translation as well as promoting the development of MTI education.
Literary translation is a kind of artistic recreation. Only by exercising his/her artistic talent and subjectivity, can the translator produce a translation which can ravel the original work. In literary translation, the translator’s subjectivity is inevitable and indispensable as well. So it is essential for MTI students to be fully aware of the translators’ subjectivity during practice. The paper will explore the means to cultivate MTI students’ awareness of the translator’s subjectivity by analyzing the causes for its existence from the aspects of the special characteristics of literary works, translator’s personal factors, social factors and so on, in hope of deepening the study on the translator’s subjectivity and the development of literary translation as well as promoting the development of MTI education.
Cultivation of MTI Students’ Awareness of the Translator’s Subjectivity in Literary Translation
doi:10.11648/j.ijla.20130103.14
International Journal of Literature and Arts
2014-01-01
© Science Publishing Group
Qin Fangfang
Cultivation of MTI Students’ Awareness of the Translator’s Subjectivity in Literary Translation
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© Science Publishing Group
Franz Kafka’s The Castle: A Foucauldian Reading
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This study detects the notion of “power” in The Castle by Franz Kafka throughout the idea of Foucauldian hierarchy, oppression, power, knowledge and resistance. Kafka in this novel shows man’s futile attempts to overcome the powerful impact of industrialism and its domination over man’s life. The Castle is a societal network and shows the characters in action in a way that strengthens and empowers a capitalist society. In Foucauldian sense, power unconsciously produces and controls everything; it necessarily does not lead to despotism. However, this power makes awareness in the public which can be seen in Kafka’s characters in this novel. In this research, the incidents taking place in The Castle will be depicted, and as a matter of fact, this study makes use of these events to magnify the abuse of power in a capitalist society. In addition, another main purpose in this research is to show how Kafka has magnified the characters institutionalized and their separation from the society. Particular focus is given to the role of Other's power that separates oppression, resistance, and hierarchy among people to promote his normalized knowledge.This paper attempts tomake a sociological study on Kafka’s The Castle.
This study detects the notion of “power” in The Castle by Franz Kafka throughout the idea of Foucauldian hierarchy, oppression, power, knowledge and resistance. Kafka in this novel shows man’s futile attempts to overcome the powerful impact of industrialism and its domination over man’s life. The Castle is a societal network and shows the characters in action in a way that strengthens and empowers a capitalist society. In Foucauldian sense, power unconsciously produces and controls everything; it necessarily does not lead to despotism. However, this power makes awareness in the public which can be seen in Kafka’s characters in this novel. In this research, the incidents taking place in The Castle will be depicted, and as a matter of fact, this study makes use of these events to magnify the abuse of power in a capitalist society. In addition, another main purpose in this research is to show how Kafka has magnified the characters institutionalized and their separation from the society. Particular focus is given to the role of Other's power that separates oppression, resistance, and hierarchy among people to promote his normalized knowledge.This paper attempts tomake a sociological study on Kafka’s The Castle.
Franz Kafka’s The Castle: A Foucauldian Reading
doi:10.11648/j.ijla.20130103.18
International Journal of Literature and Arts
2014-01-01
© Science Publishing Group
Afrouz Yari
Shahram Afrougheh
Franz Kafka’s The Castle: A Foucauldian Reading
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© Science Publishing Group
The Castle: The Panoptical Surveillance
http://www.sciencepublishinggroup.com/journal/paperinfo.aspx?journalid=502&doi=10.11648/j.ijla.20130103.16
This article aims to explore the issue of Franz Kafka’s The Castle (1922) throughout the idea of Foucauldian Panopticon, which portrays a world seemingly controlled by whimsical leaders and absurd rules. This implication is a poached through the figure of the power. It is believed that Franz Kafka’s novel is viewed as an original reflection on the use and abuse of power and loss of personal rights. Franz Kafka’s novel suggests different looking toward power both panoptical system as a tyrant and also the Foucauldian one. The article notes that the idea of power, punishment, surveillance and panopticon presented in the novel reinforces the tyrant’s sovereign power.
This article aims to explore the issue of Franz Kafka’s The Castle (1922) throughout the idea of Foucauldian Panopticon, which portrays a world seemingly controlled by whimsical leaders and absurd rules. This implication is a poached through the figure of the power. It is believed that Franz Kafka’s novel is viewed as an original reflection on the use and abuse of power and loss of personal rights. Franz Kafka’s novel suggests different looking toward power both panoptical system as a tyrant and also the Foucauldian one. The article notes that the idea of power, punishment, surveillance and panopticon presented in the novel reinforces the tyrant’s sovereign power.
The Castle: The Panoptical Surveillance
doi:10.11648/j.ijla.20130103.16
International Journal of Literature and Arts
2014-01-01
© Science Publishing Group
Afrouz Yari
Shahram Afrougheh
The Castle: The Panoptical Surveillance
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© Science Publishing Group
Chitra and Savitri as Epitomes of Women Empowerment: A Study in Comparison
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This paper proposes to discuss the conceptual issues related to Women Empowerment as developed in the characters of Chitra and Savitri. Following a brief critique of their human development, both Chitra and Savitri would stand out as fine illustrations (models) of women empowerment particularly in the post-modern context where one more than often discusses women empowerment as an approach to address gender inequality in societies. As stand-out strong models, both Chitra and Savitri, would serve to educate contemporary writers and their Women (W) Empowerment (E) framework would in turn serve to review the current approaches and practices and thereby establish the unlimited and universal application of the re-contextualized Tagorean and Aurobindonian approach to Women Empowerment. The following would be the four sections of the paper: I. Introduction; II. The Chitra and Savitri Legend; III. The comparison between Chitra and Savitri; IV. The Re-contextualization of Chitra and Savitri in terms of Women Empowerment, V. Conclusion.
This paper proposes to discuss the conceptual issues related to Women Empowerment as developed in the characters of Chitra and Savitri. Following a brief critique of their human development, both Chitra and Savitri would stand out as fine illustrations (models) of women empowerment particularly in the post-modern context where one more than often discusses women empowerment as an approach to address gender inequality in societies. As stand-out strong models, both Chitra and Savitri, would serve to educate contemporary writers and their Women (W) Empowerment (E) framework would in turn serve to review the current approaches and practices and thereby establish the unlimited and universal application of the re-contextualized Tagorean and Aurobindonian approach to Women Empowerment. The following would be the four sections of the paper: I. Introduction; II. The Chitra and Savitri Legend; III. The comparison between Chitra and Savitri; IV. The Re-contextualization of Chitra and Savitri in terms of Women Empowerment, V. Conclusion.
Chitra and Savitri as Epitomes of Women Empowerment: A Study in Comparison
doi:10.11648/j.ijla.20130103.15
International Journal of Literature and Arts
2014-01-01
© Science Publishing Group
Anupamratanshanker Ramashanker Nagar
Ketki Nareshprasad Pandya
Chitra and Savitri as Epitomes of Women Empowerment: A Study in Comparison
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The Trial: A Bureaucratic System in Zizek’s View
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In this paper we engage with the bureaucratic project from Zizek’s view in The Trial by Kafka. Kafka has given an exaggerated, fantastic and subjectively distorted expression to modern bureaucracy and the fate of the individual within it. The first discourse is bureaucracy expressed through post-bureaucratic discourses which very much define the main stream of management thought today, highlighting the need for organizational openness which can only come through liberation of management from the closed structures of the bureaucracy. The second discourse of Zizek’s view defends the bureaucratic ethos of liberal-democratic institutions. We point to the limitations of both discourse of the dominance of bureaucracy by discussing key aspects of Slavoj Žižek's work. Žižek displaces the state socialism, and the dominance of bureaucracy is quite obvious. State bureaucracies administer all possible aspects of life. In each case bureaucratic designate are in positions of state power. The bureaucracy system is always watching, always gathering information, and contributes to broader efforts to reimagine democracy.
In this paper we engage with the bureaucratic project from Zizek’s view in The Trial by Kafka. Kafka has given an exaggerated, fantastic and subjectively distorted expression to modern bureaucracy and the fate of the individual within it. The first discourse is bureaucracy expressed through post-bureaucratic discourses which very much define the main stream of management thought today, highlighting the need for organizational openness which can only come through liberation of management from the closed structures of the bureaucracy. The second discourse of Zizek’s view defends the bureaucratic ethos of liberal-democratic institutions. We point to the limitations of both discourse of the dominance of bureaucracy by discussing key aspects of Slavoj Žižek's work. Žižek displaces the state socialism, and the dominance of bureaucracy is quite obvious. State bureaucracies administer all possible aspects of life. In each case bureaucratic designate are in positions of state power. The bureaucracy system is always watching, always gathering information, and contributes to broader efforts to reimagine democracy.
The Trial: A Bureaucratic System in Zizek’s View
doi:10.11648/j.ijla.20130103.17
International Journal of Literature and Arts
2014-01-01
© Science Publishing Group
Ismaeil jangizahy
Shahram Afrougheh
The Trial: A Bureaucratic System in Zizek’s View
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http://www.sciencepublishinggroup.com/journal/paperinfo.aspx?journalid=502&doi=10.11648/j.ijla.20130103.17
© Science Publishing Group
Treating the Fiction of Forms: Metafiction in John Barth
http://www.sciencepublishinggroup.com/journal/paperinfo.aspx?journalid=502&doi=10.11648/j.ijla.20140201.11
The essay depicts John Barth´s sophisticated dealing with the fiction of forms. By referring to short stories from his 1968 collection Lost in the Funhouse, and especially to “Life-Story”, Barth´s approach of creating metafiction as response to supposedly exhausted literary topics is highlighted. Fiction, consisting of forms as equivalent of existence in being, and consisting of thoughts as equivalent of essence in being, cannot basically change until essence in being itself will change. As forms will only repeat again and again, Barth challenges the reader by having him witness the demanding process of creating a work of art. Varying the kuenstlerroman, he anticipates identity issues of subsequent decades as well as issues of being and art.
The essay depicts John Barth´s sophisticated dealing with the fiction of forms. By referring to short stories from his 1968 collection Lost in the Funhouse, and especially to “Life-Story”, Barth´s approach of creating metafiction as response to supposedly exhausted literary topics is highlighted. Fiction, consisting of forms as equivalent of existence in being, and consisting of thoughts as equivalent of essence in being, cannot basically change until essence in being itself will change. As forms will only repeat again and again, Barth challenges the reader by having him witness the demanding process of creating a work of art. Varying the kuenstlerroman, he anticipates identity issues of subsequent decades as well as issues of being and art.
Treating the Fiction of Forms: Metafiction in John Barth
doi:10.11648/j.ijla.20140201.11
International Journal of Literature and Arts
2014-01-01
© Science Publishing Group
Goetz Egloff
Treating the Fiction of Forms: Metafiction in John Barth
2
1
5
5
2014-01-01
2014-01-01
10.11648/j.ijla.20140201.11
http://www.sciencepublishinggroup.com/journal/paperinfo.aspx?journalid=502&doi=10.11648/j.ijla.20140201.11
© Science Publishing Group
History as Rhetoric, Fable, and Literary Genre
http://www.sciencepublishinggroup.com/journal/paperinfo.aspx?journalid=502&doi=10.11648/j.ijla.20140201.14
This article provides an insight into the notion of history as a literary genre. It argues that in the sixteenth and seventeenth centuries the concept of “history” was mostly employed in its plural form: “the stories” and not “history” were the predominant form of the concept of history. These “stories” were related to the ancient Ciceronian rhetorical and moral tradition of history as Magistra Vitae (history as life's teacher) and were considered part of the so-called belles-lettres or “literature”.
This article provides an insight into the notion of history as a literary genre. It argues that in the sixteenth and seventeenth centuries the concept of “history” was mostly employed in its plural form: “the stories” and not “history” were the predominant form of the concept of history. These “stories” were related to the ancient Ciceronian rhetorical and moral tradition of history as Magistra Vitae (history as life's teacher) and were considered part of the so-called belles-lettres or “literature”.
History as Rhetoric, Fable, and Literary Genre
doi:10.11648/j.ijla.20140201.14
International Journal of Literature and Arts
2014-01-01
© Science Publishing Group
Alejandro Cheirif Wolosky
History as Rhetoric, Fable, and Literary Genre
2
1
23
23
2014-01-01
2014-01-01
10.11648/j.ijla.20140201.14
http://www.sciencepublishinggroup.com/journal/paperinfo.aspx?journalid=502&doi=10.11648/j.ijla.20140201.14
© Science Publishing Group
Metatextuality of Transnational Marriages in Updike’s Terrorist
http://www.sciencepublishinggroup.com/journal/paperinfo.aspx?journalid=502&doi=10.11648/j.ijla.20140201.13
In this paper, we intend to analyse an American novel, John Updike’s Terrorist (2006), with the aim of examining its critical standpoint of the American women’ marriages to Muslim migrants. This essay explores the reasons which lead Updike to refuse this social hybridity and how that refusal disseminates biased attitude against the Muslim Americans in general. Having appropriated Gerard Genette’s theory of metatextuality to frame our analysis of the novel, we argue that metatextuality refers to the texts’ explicit or implicit critical treatment of one another. Our analysis of Updike’s metatextuality of the transnational marriages concludes that Updike is extremely biased against the Arabs and Muslims because his refusal of these marriages concentrated merely on American women who marry Arab and Muslim migrants. He develops dialogues to expose the Arab Americans as having a strong Islamic identity which, as he claims, provokes them to reject the US liberal life and oppose the US policy and history. In addition to that, the novel reveals that American transnational matrimonies to Arabs result in confused American identities that live in-between spaces; they are neither Americans nor Arabs and their loyalties lie with the religion and culture of their Muslim fathers, not of the American mothers. This suspicion is intended to expose the Arab and Muslim Americans as dangerous for the US security. It also uncovers the author’s ideology which stands against the Arabs and Muslims.
In this paper, we intend to analyse an American novel, John Updike’s Terrorist (2006), with the aim of examining its critical standpoint of the American women’ marriages to Muslim migrants. This essay explores the reasons which lead Updike to refuse this social hybridity and how that refusal disseminates biased attitude against the Muslim Americans in general. Having appropriated Gerard Genette’s theory of metatextuality to frame our analysis of the novel, we argue that metatextuality refers to the texts’ explicit or implicit critical treatment of one another. Our analysis of Updike’s metatextuality of the transnational marriages concludes that Updike is extremely biased against the Arabs and Muslims because his refusal of these marriages concentrated merely on American women who marry Arab and Muslim migrants. He develops dialogues to expose the Arab Americans as having a strong Islamic identity which, as he claims, provokes them to reject the US liberal life and oppose the US policy and history. In addition to that, the novel reveals that American transnational matrimonies to Arabs result in confused American identities that live in-between spaces; they are neither Americans nor Arabs and their loyalties lie with the religion and culture of their Muslim fathers, not of the American mothers. This suspicion is intended to expose the Arab and Muslim Americans as dangerous for the US security. It also uncovers the author’s ideology which stands against the Arabs and Muslims.
Metatextuality of Transnational Marriages in Updike’s Terrorist
doi:10.11648/j.ijla.20140201.13
International Journal of Literature and Arts
2014-01-01
© Science Publishing Group
Riyad Abdurahman Manqoush
Ruzy Suliza Hashim
Noraini Md. Yusof
Metatextuality of Transnational Marriages in Updike’s Terrorist
2
1
15
15
2014-01-01
2014-01-01
10.11648/j.ijla.20140201.13
http://www.sciencepublishinggroup.com/journal/paperinfo.aspx?journalid=502&doi=10.11648/j.ijla.20140201.13
© Science Publishing Group
Sexism or Gender Differentiation and Class Differentiation in George Bernard Shaw’s Arms and the Man
http://www.sciencepublishinggroup.com/journal/paperinfo.aspx?journalid=502&doi=10.11648/j.ijla.20140201.12
Before surveying the gender differentiation and class discrimination in Arms and the Man, it will be useful to know something about the Victorian period in England, in which the play was written by George Bernard Shaw. In this period, people live in harsh condition and modernism arrived in England. Working classes tried to develop their social class and condition, but the outstanding idea of that time was: each person who was born in social class can’t change his or her class. There were many differences between high and low class of society. For example, the theater was only belonged to the educated people and common people were not allowed to go to the theater or a person from low class can’t marry to one from high class. Here George Bernard Shaw as an active member of Fabian society, destroys all of these convictions and insists on the equality of people’s income and right especially equality of man and woman in society. The aim of this paper is to study class and gender differentiation in George Bernard Shaw’s play, Arms and the man and find the disadvantages of these differences in society.
Before surveying the gender differentiation and class discrimination in Arms and the Man, it will be useful to know something about the Victorian period in England, in which the play was written by George Bernard Shaw. In this period, people live in harsh condition and modernism arrived in England. Working classes tried to develop their social class and condition, but the outstanding idea of that time was: each person who was born in social class can’t change his or her class. There were many differences between high and low class of society. For example, the theater was only belonged to the educated people and common people were not allowed to go to the theater or a person from low class can’t marry to one from high class. Here George Bernard Shaw as an active member of Fabian society, destroys all of these convictions and insists on the equality of people’s income and right especially equality of man and woman in society. The aim of this paper is to study class and gender differentiation in George Bernard Shaw’s play, Arms and the man and find the disadvantages of these differences in society.
Sexism or Gender Differentiation and Class Differentiation in George Bernard Shaw’s Arms and the Man
doi:10.11648/j.ijla.20140201.12
International Journal of Literature and Arts
2014-01-01
© Science Publishing Group
Fatemeh Azizmohammadi
Zohreh Tayari
Sexism or Gender Differentiation and Class Differentiation in George Bernard Shaw’s Arms and the Man
2
1
9
9
2014-01-01
2014-01-01
10.11648/j.ijla.20140201.12
http://www.sciencepublishinggroup.com/journal/paperinfo.aspx?journalid=502&doi=10.11648/j.ijla.20140201.12
© Science Publishing Group
A Psychological Study of Margaret Drabble’s The Red Queen (2004)
http://www.sciencepublishinggroup.com/journal/paperinfo.aspx?journalid=502&doi=10.11648/j.ijla.20140201.15
This study is about the psychological problems of women in contemporary society as illustrated in Margaret Drabble’s selected novels. Judith Butler’s gender and performativity theory will help us to understand psychological problems of women in a better way. Moreover, the postulates of Butler’s gender performory help women to come out of their psychological problems. For this purpose, we have selected Drabble’s the Red Queen (2004). This study leads us to the conclusion that women are stressed and depressed because of performative norms that are assigned to them by culture and society.
This study is about the psychological problems of women in contemporary society as illustrated in Margaret Drabble’s selected novels. Judith Butler’s gender and performativity theory will help us to understand psychological problems of women in a better way. Moreover, the postulates of Butler’s gender performory help women to come out of their psychological problems. For this purpose, we have selected Drabble’s the Red Queen (2004). This study leads us to the conclusion that women are stressed and depressed because of performative norms that are assigned to them by culture and society.
A Psychological Study of Margaret Drabble’s The Red Queen (2004)
doi:10.11648/j.ijla.20140201.15
International Journal of Literature and Arts
2014-01-01
© Science Publishing Group
Usha Rani Gupta
Sharanpal Singh
A Psychological Study of Margaret Drabble’s The Red Queen (2004)
2
1
28
28
2014-01-01
2014-01-01
10.11648/j.ijla.20140201.15
http://www.sciencepublishinggroup.com/journal/paperinfo.aspx?journalid=502&doi=10.11648/j.ijla.20140201.15
© Science Publishing Group
The Role of Nature and Post-Pastoral Signs in William Blake’s “Night” and “A Little Girl Lost”
http://www.sciencepublishinggroup.com/journal/paperinfo.aspx?journalid=502&doi=10.11648/j.ijla.20140202.14
This study traces the role of nature in William Blake’s “Night” and “A Little Girl Lost” through the application of three out of six crucial features of Gifford’s Post-pastoral principles. Within the framework of the Eco-critical paradigm, which is still very much a work in progress, the analysis of these poems from this perspective puts emphasis on the sense of sorrow towards the natural world, the exploitation of the planet, here the Earth, which is of the same as the oppression and exploitation of women and minorities, and the recognition of the inner world and the workings of the outer world; i.e., man’s inner nature can be understood in relation to his external nature. Moreover, from Post-pastoral perspective, this paper shows the oppressive treatments of female being and identity which is one of the consequences of the industrialism as well as the restricted norms of British Evangelical Church. Women are among those who are suppressed and deprived from the privileges of life except prostitution. Finally, this study sheds more light on Blake’s implication of Jerusalem in relation to man’s continuous desire to reach a compromise between the inner and outer natures
This study traces the role of nature in William Blake’s “Night” and “A Little Girl Lost” through the application of three out of six crucial features of Gifford’s Post-pastoral principles. Within the framework of the Eco-critical paradigm, which is still very much a work in progress, the analysis of these poems from this perspective puts emphasis on the sense of sorrow towards the natural world, the exploitation of the planet, here the Earth, which is of the same as the oppression and exploitation of women and minorities, and the recognition of the inner world and the workings of the outer world; i.e., man’s inner nature can be understood in relation to his external nature. Moreover, from Post-pastoral perspective, this paper shows the oppressive treatments of female being and identity which is one of the consequences of the industrialism as well as the restricted norms of British Evangelical Church. Women are among those who are suppressed and deprived from the privileges of life except prostitution. Finally, this study sheds more light on Blake’s implication of Jerusalem in relation to man’s continuous desire to reach a compromise between the inner and outer natures
The Role of Nature and Post-Pastoral Signs in William Blake’s “Night” and “A Little Girl Lost”
doi:10.11648/j.ijla.20140202.14
International Journal of Literature and Arts
2014-01-01
© Science Publishing Group
Mohsen Zohrab Baigy
Bahman Zarrinjooee
The Role of Nature and Post-Pastoral Signs in William Blake’s “Night” and “A Little Girl Lost”
2
2
48
48
2014-01-01
2014-01-01
10.11648/j.ijla.20140202.14
http://www.sciencepublishinggroup.com/journal/paperinfo.aspx?journalid=502&doi=10.11648/j.ijla.20140202.14
© Science Publishing Group
Giffordian Post-pastoral and Loss of Innocence in William Blake’s the Little Boy Lost and the Little Boy Found
http://www.sciencepublishinggroup.com/journal/paperinfo.aspx?journalid=502&doi=10.11648/j.ijla.20140202.12
This article aims to explore loss of innocence in William Blake’s the Little Boy Lost and the Little Boy Found, from Songs of Innocence (1789) based on Gifordian Post-pastoral theory through interpreting three fundamental features. The analysis of these poems from this perspective considers the exploitation of the planet similar to the exploitation of minorities, awareness of nature as culture and of culture as nature, and the convergence of consciousness and conscience. Regarding Gifordian Post-pastoral attitudes, one might find how Blake dealt with the notions such as Innocence and Industrialization, which have been interlinked, in his poems. Blake represents a situation in which the state of innocent children is thoughtfully portrayed against the economic and political dominance of British capitalism. Having an eye on the viewpoints of Raymond Williams, (1921-1988), this paper clarifies the destructive function of capitalism which subjugates, exploits and victimizes the children in an unbearable working condition as cheap labours. Moreover, this paper sheds more light on Blake’s poems as the implication of New Jerusalem to that quality of unidealised awe, and shows how Blake argues that the pure nature of all children is supposed to be admired as equal to culture. Finally, this article deals with the spiritual Heaven as compensation for the alienation of innocent children throughout the world of materiality.
This article aims to explore loss of innocence in William Blake’s the Little Boy Lost and the Little Boy Found, from Songs of Innocence (1789) based on Gifordian Post-pastoral theory through interpreting three fundamental features. The analysis of these poems from this perspective considers the exploitation of the planet similar to the exploitation of minorities, awareness of nature as culture and of culture as nature, and the convergence of consciousness and conscience. Regarding Gifordian Post-pastoral attitudes, one might find how Blake dealt with the notions such as Innocence and Industrialization, which have been interlinked, in his poems. Blake represents a situation in which the state of innocent children is thoughtfully portrayed against the economic and political dominance of British capitalism. Having an eye on the viewpoints of Raymond Williams, (1921-1988), this paper clarifies the destructive function of capitalism which subjugates, exploits and victimizes the children in an unbearable working condition as cheap labours. Moreover, this paper sheds more light on Blake’s poems as the implication of New Jerusalem to that quality of unidealised awe, and shows how Blake argues that the pure nature of all children is supposed to be admired as equal to culture. Finally, this article deals with the spiritual Heaven as compensation for the alienation of innocent children throughout the world of materiality.
Giffordian Post-pastoral and Loss of Innocence in William Blake’s the Little Boy Lost and the Little Boy Found
doi:10.11648/j.ijla.20140202.12
International Journal of Literature and Arts
2014-01-01
© Science Publishing Group
Mohsen Zohrab Baigy
Bahman Zarrinjooee
Giffordian Post-pastoral and Loss of Innocence in William Blake’s the Little Boy Lost and the Little Boy Found
2
2
39
39
2014-01-01
2014-01-01
10.11648/j.ijla.20140202.12
http://www.sciencepublishinggroup.com/journal/paperinfo.aspx?journalid=502&doi=10.11648/j.ijla.20140202.12
© Science Publishing Group
Reading M.G. Vassanji’s the in –Between World of Vikram Lall as an Allegory of the Nation
http://www.sciencepublishinggroup.com/journal/paperinfo.aspx?journalid=502&doi=10.11648/j.ijla.20140202.13
This paper will explore the use of allegory as a trope in the writing of East African Asian writer, M.G. Vassanji. We shall apply Fredric Jameson’s Allegory of the Nation in order to tease out the various ways in which the inner universe of the Kenyan nation is contested and constructed as well as the various enunciations of meanings that generate/are generated and their implications.
This paper will explore the use of allegory as a trope in the writing of East African Asian writer, M.G. Vassanji. We shall apply Fredric Jameson’s Allegory of the Nation in order to tease out the various ways in which the inner universe of the Kenyan nation is contested and constructed as well as the various enunciations of meanings that generate/are generated and their implications.
Reading M.G. Vassanji’s the in –Between World of Vikram Lall as an Allegory of the Nation
doi:10.11648/j.ijla.20140202.13
International Journal of Literature and Arts
2014-01-01
© Science Publishing Group
Seraphine Chepkosgei
Reading M.G. Vassanji’s the in –Between World of Vikram Lall as an Allegory of the Nation
2
2
43
43
2014-01-01
2014-01-01
10.11648/j.ijla.20140202.13
http://www.sciencepublishinggroup.com/journal/paperinfo.aspx?journalid=502&doi=10.11648/j.ijla.20140202.13
© Science Publishing Group
A Unique Native Prefix in English Language
http://www.sciencepublishinggroup.com/journal/paperinfo.aspx?journalid=502&doi=10.11648/j.ijla.20140202.11
History of English derivational system shows that only a few native prefixes, particularly negative, have survived the influx of foreign ones. There is though one native negative prefix, i.e. un- which has not only survived but has continued to be almost equally productive. The results we have got prove our assumption that it is due to different ‘nature’ of prefix un- in comparison with other native negative prefixes.
History of English derivational system shows that only a few native prefixes, particularly negative, have survived the influx of foreign ones. There is though one native negative prefix, i.e. un- which has not only survived but has continued to be almost equally productive. The results we have got prove our assumption that it is due to different ‘nature’ of prefix un- in comparison with other native negative prefixes.
A Unique Native Prefix in English Language
doi:10.11648/j.ijla.20140202.11
International Journal of Literature and Arts
2014-01-01
© Science Publishing Group
Branka Mladenovic
A Unique Native Prefix in English Language
2
2
34
34
2014-01-01
2014-01-01
10.11648/j.ijla.20140202.11
http://www.sciencepublishinggroup.com/journal/paperinfo.aspx?journalid=502&doi=10.11648/j.ijla.20140202.11
© Science Publishing Group
A Visual Approach to Poetry Analysis
http://www.sciencepublishinggroup.com/journal/paperinfo.aspx?journalid=502&doi=10.11648/j.ijla.20140202.15
To help students find delight and rational inspiration in verse, teachers might utilize numerous methods. Firstly, an introduction may be given on the course by expressing aims and processes, and by questioning students about to what extent they think reading and studying poetry is significant. The lecturer must engage the entire students, particularly the reluctant students; the technique of visualizing of imagination, a number of poems to them and letting the students look till they see the exact link between the text and the images; the images are not alone but the overall scene consists of separate images and symbols, this is what can be seen as one of the significant outcomes of this approach and then they enjoy it. After that, each student can understand the poem via this technique. Then the teacher may read the poem and show the images that can explain the poem, at the same time. This will facilitate the difficult task of the students. This procedure supports students to learn the traditional things teachers explain about poetry, such as the terms, symbols, and kinds of poetry, though time providing pleasure for the student simultaneously.
To help students find delight and rational inspiration in verse, teachers might utilize numerous methods. Firstly, an introduction may be given on the course by expressing aims and processes, and by questioning students about to what extent they think reading and studying poetry is significant. The lecturer must engage the entire students, particularly the reluctant students; the technique of visualizing of imagination, a number of poems to them and letting the students look till they see the exact link between the text and the images; the images are not alone but the overall scene consists of separate images and symbols, this is what can be seen as one of the significant outcomes of this approach and then they enjoy it. After that, each student can understand the poem via this technique. Then the teacher may read the poem and show the images that can explain the poem, at the same time. This will facilitate the difficult task of the students. This procedure supports students to learn the traditional things teachers explain about poetry, such as the terms, symbols, and kinds of poetry, though time providing pleasure for the student simultaneously.
A Visual Approach to Poetry Analysis
doi:10.11648/j.ijla.20140202.15
International Journal of Literature and Arts
2014-04-09
© Science Publishing Group
Shamal A. Hussein
Mariwan N. H. Barzinji
A Visual Approach to Poetry Analysis
2
2
59
59
2014-04-09
2014-04-09
10.11648/j.ijla.20140202.15
http://www.sciencepublishinggroup.com/journal/paperinfo.aspx?journalid=502&doi=10.11648/j.ijla.20140202.15
© Science Publishing Group
Harmony and Balance between the Orient and the Occident in the Woman Warrior
http://www.sciencepublishinggroup.com/journal/paperinfo.aspx?journalid=502&doi=10.11648/j.ijla.20140203.11
Maxine Hong Kingston is one of the most famous female Chinese American writers in 20th century. Her famous novel The Woman Warrior confirmed her status in American literature. The novel describes the heroine’s life as a Chinese American and depicts the psychological course and conflict when confronting the pressure from both gender and culture. This book indicates Kingston’s pursuit of the harmony and balance in a variety of aspects. This paper mainly focuses on the harmony and balance between East and West. The first part deals with the theme of mother and daughter’s relation, in which the mother represents the traditional Chinese culture while the daughter struggles among the conflicts of eastern and western culture. Secondly, the novel conveys the ethnic women’s appeal by talking about the texts of the novel. The author also reveals the Chinese Americans’ pursuit of self-identity. Kingston was writing with an intense aspiration of speaking for the Chinese. The third part is the theme of silence and articulation in which Kingston tries to reconstruct their identity by breaking up the silence and articulating their appeal. Kingston also put forward a dream of globalization and unity in her novel.
Maxine Hong Kingston is one of the most famous female Chinese American writers in 20th century. Her famous novel The Woman Warrior confirmed her status in American literature. The novel describes the heroine’s life as a Chinese American and depicts the psychological course and conflict when confronting the pressure from both gender and culture. This book indicates Kingston’s pursuit of the harmony and balance in a variety of aspects. This paper mainly focuses on the harmony and balance between East and West. The first part deals with the theme of mother and daughter’s relation, in which the mother represents the traditional Chinese culture while the daughter struggles among the conflicts of eastern and western culture. Secondly, the novel conveys the ethnic women’s appeal by talking about the texts of the novel. The author also reveals the Chinese Americans’ pursuit of self-identity. Kingston was writing with an intense aspiration of speaking for the Chinese. The third part is the theme of silence and articulation in which Kingston tries to reconstruct their identity by breaking up the silence and articulating their appeal. Kingston also put forward a dream of globalization and unity in her novel.
Harmony and Balance between the Orient and the Occident in the Woman Warrior
doi:10.11648/j.ijla.20140203.11
International Journal of Literature and Arts
2014-04-28
© Science Publishing Group
Zhang Qiang
Harmony and Balance between the Orient and the Occident in the Woman Warrior
2
3
64
64
2014-04-28
2014-04-28
10.11648/j.ijla.20140203.11
http://www.sciencepublishinggroup.com/journal/paperinfo.aspx?journalid=502&doi=10.11648/j.ijla.20140203.11
© Science Publishing Group
Daniel Defoe and Luis Buñuel's Robinson Crusoe: Individuality in Film and Fiction
http://www.sciencepublishinggroup.com/journal/paperinfo.aspx?journalid=502&doi=10.11648/j.ijla.20140203.12
Individuality is an important aspect in human nature. Therefore, finding a path that could be called his own is the soul-searching journey Robinson Crusoe undertakes in his various voyages. In this paper, the theme of individuality is explored in the eighteenth century novel Robinson Crusoe by Daniel Defoe, and compared to its film adaptation by Luis Buñuel in 1954. Crusoe as a character and actor is analyzed and his actions set the scene of how man would do anything to escape routine and daily life habits. However, individuality has a price, and various consequences awaken Crusoe’s remorse. Such consequences are dealt with skillfully in both novel and film. Nevertheless, this paper aims at portraying a wider picture of how an adapted character can behave the same way he has in the novel; free and liberated.
Individuality is an important aspect in human nature. Therefore, finding a path that could be called his own is the soul-searching journey Robinson Crusoe undertakes in his various voyages. In this paper, the theme of individuality is explored in the eighteenth century novel Robinson Crusoe by Daniel Defoe, and compared to its film adaptation by Luis Buñuel in 1954. Crusoe as a character and actor is analyzed and his actions set the scene of how man would do anything to escape routine and daily life habits. However, individuality has a price, and various consequences awaken Crusoe’s remorse. Such consequences are dealt with skillfully in both novel and film. Nevertheless, this paper aims at portraying a wider picture of how an adapted character can behave the same way he has in the novel; free and liberated.
Daniel Defoe and Luis Buñuel's Robinson Crusoe: Individuality in Film and Fiction
doi:10.11648/j.ijla.20140203.12
International Journal of Literature and Arts
2014-05-08
© Science Publishing Group
Bassmah Bassam Khaled AlTaher
Daniel Defoe and Luis Buñuel's Robinson Crusoe: Individuality in Film and Fiction
2
3
68
68
2014-05-08
2014-05-08
10.11648/j.ijla.20140203.12
http://www.sciencepublishinggroup.com/journal/paperinfo.aspx?journalid=502&doi=10.11648/j.ijla.20140203.12
© Science Publishing Group
A Lengthened Epitaph Reverberating the Elegiac Tone in Tony Harrison’s Poems about His Parents
http://www.sciencepublishinggroup.com/journal/paperinfo.aspx?journalid=502&doi=10.11648/j.ijla.20140203.13
Tony Harrison is Britain's principal film and theatre poet and has famously said "Poetry is all I write, whether for books, or readings, or for the National Theatre, or for the opera house and concert hall, or even for TV."2 He was born in Leeds in 1937, won a scholarship to Leeds grammar and read Classics at Leeds University. Harrison's majority of poems, explore the gulf between his own class background and his education and the powerlessness of the inarticulate. Tony Harrison belongs to those individuals who reject any existing language and literary standards and create their unique approaches to the portrayal of reality and people. His literary prowess resulted in a breakdown in the relationship he shared with his father due to his father’s lack of understanding of his literary creations. It was during this period that the mother held their relationship together, but when she passed away the bond ended and Harrison and his father became estranged. This alienation not only forms the background of his personal life but also the primary source for his literary achievements. An elegy not only refers to poems that mourn the death of someone, but poems echoing estrangement and alienation also fall under the genre of elegy. The elements of a traditional elegy mirror three stages of loss. First, there is a lament, where the speaker expresses grief and sorrow, then praise and admiration of the idealized dead and those grieving, and finally consolation and solace. These three stages can be seen to some extent in Tony Harrison’s poems, especially in the chosen ones, Bookends, Long Distance and Background Material, thus rendering them to be elegiac in tone.
Tony Harrison is Britain's principal film and theatre poet and has famously said "Poetry is all I write, whether for books, or readings, or for the National Theatre, or for the opera house and concert hall, or even for TV."2 He was born in Leeds in 1937, won a scholarship to Leeds grammar and read Classics at Leeds University. Harrison's majority of poems, explore the gulf between his own class background and his education and the powerlessness of the inarticulate. Tony Harrison belongs to those individuals who reject any existing language and literary standards and create their unique approaches to the portrayal of reality and people. His literary prowess resulted in a breakdown in the relationship he shared with his father due to his father’s lack of understanding of his literary creations. It was during this period that the mother held their relationship together, but when she passed away the bond ended and Harrison and his father became estranged. This alienation not only forms the background of his personal life but also the primary source for his literary achievements. An elegy not only refers to poems that mourn the death of someone, but poems echoing estrangement and alienation also fall under the genre of elegy. The elements of a traditional elegy mirror three stages of loss. First, there is a lament, where the speaker expresses grief and sorrow, then praise and admiration of the idealized dead and those grieving, and finally consolation and solace. These three stages can be seen to some extent in Tony Harrison’s poems, especially in the chosen ones, Bookends, Long Distance and Background Material, thus rendering them to be elegiac in tone.
A Lengthened Epitaph Reverberating the Elegiac Tone in Tony Harrison’s Poems about His Parents
doi:10.11648/j.ijla.20140203.13
International Journal of Literature and Arts
2014-05-13
© Science Publishing Group
Sulekha Sundaresan
K. Sumathi
A Lengthened Epitaph Reverberating the Elegiac Tone in Tony Harrison’s Poems about His Parents
2
3
75
75
2014-05-13
2014-05-13
10.11648/j.ijla.20140203.13
http://www.sciencepublishinggroup.com/journal/paperinfo.aspx?journalid=502&doi=10.11648/j.ijla.20140203.13
© Science Publishing Group
The Matriarch of Bath – Chaucer’s Feminist Insights
http://www.sciencepublishinggroup.com/journal/paperinfo.aspx?journalid=502&doi=10.11648/j.ijla.20140203.14
This paper critically analyzes Geoffrey Chaucer’s character Allison of his tale “The Wife of Bath” within the Canterbury Tales. The argument is made that Chaucer intentionally used this character to present his personal feminist ideals to his audience, thereby acting as an advocate for women under the guise of literary author. Evidence will be presented both from the text by analyzing her characterization, imagery, and dialog while the weight of this thesis will rest upon The Cambridge Companion to Chaucer evidence presented by scholars, particularly from the “Chaucer Review” scholarly journal, as well as research conducted on the life and times of women during the medieval era.
This paper critically analyzes Geoffrey Chaucer’s character Allison of his tale “The Wife of Bath” within the Canterbury Tales. The argument is made that Chaucer intentionally used this character to present his personal feminist ideals to his audience, thereby acting as an advocate for women under the guise of literary author. Evidence will be presented both from the text by analyzing her characterization, imagery, and dialog while the weight of this thesis will rest upon The Cambridge Companion to Chaucer evidence presented by scholars, particularly from the “Chaucer Review” scholarly journal, as well as research conducted on the life and times of women during the medieval era.
The Matriarch of Bath – Chaucer’s Feminist Insights
doi:10.11648/j.ijla.20140203.14
International Journal of Literature and Arts
2014-05-15
© Science Publishing Group
Tiffany J. Smith
The Matriarch of Bath – Chaucer’s Feminist Insights
2
3
83
83
2014-05-15
2014-05-15
10.11648/j.ijla.20140203.14
http://www.sciencepublishinggroup.com/journal/paperinfo.aspx?journalid=502&doi=10.11648/j.ijla.20140203.14
© Science Publishing Group
Nursery Rhymes as a Vehicle for Teaching English as a Foreign Language
http://www.sciencepublishinggroup.com/journal/paperinfo.aspx?journalid=502&doi=10.11648/j.ijla.20140203.15
In this paper, the authors present a rationale and offer suggestions for how nursery rhymes could be used in the EFL classroom as well as how teachers and/or teachers in training might use nursery rhymes to enhance engagement in learning English. First, the authors define nursery rhymes, give a brief history of the origins, discuss the characteristics, make a case for using nursery rhymes with EFL learners, and last, offer practical suggestions for how nursery rhymes might be used in English as a Foreign (EFL) instruction. A list of accessible nursery rhyme resources is shared at the end. There are many categories in folklore, but the ones children often like the most and adults may remember well are nursery rhymes, fairy tales, fables, myths, legends, and folksongs. Each of these genres contributes in some way to the language development of children. Nursery rhymes in particular form one of the foundations of children’s as well as adults’ literary heritage. The simple rhythm and rhyme of the language, the often predictable structure of the narratives, and the appealing characters combine to produce memorable language models for young children (Cullinan & Galda, 1998; Temple, Martinez, & Yakota, 2011). Children delight in the opportunities to chant the catchy phrases, mimic the nonsense words, and recite the lines endlessly. This pleasure in nursery rhymes translates into developing many reading, writing and oral language skills such as naturally segmenting sounds in spoken words and playing with real and nonsense words. Additionally, young children appreciate the stories and verses for their rhythm, repetition, and rhyme. Their attention is focused on the fanciful language and imaginative nonsense. They learn basic story patterns, encounter vivid plots, develop a sense of theme, and meet intriguing characters that in turn become the stepping stones for subsequent literary education (Cullinan & Galda, 1998; Bodden, 2010).
In this paper, the authors present a rationale and offer suggestions for how nursery rhymes could be used in the EFL classroom as well as how teachers and/or teachers in training might use nursery rhymes to enhance engagement in learning English. First, the authors define nursery rhymes, give a brief history of the origins, discuss the characteristics, make a case for using nursery rhymes with EFL learners, and last, offer practical suggestions for how nursery rhymes might be used in English as a Foreign (EFL) instruction. A list of accessible nursery rhyme resources is shared at the end. There are many categories in folklore, but the ones children often like the most and adults may remember well are nursery rhymes, fairy tales, fables, myths, legends, and folksongs. Each of these genres contributes in some way to the language development of children. Nursery rhymes in particular form one of the foundations of children’s as well as adults’ literary heritage. The simple rhythm and rhyme of the language, the often predictable structure of the narratives, and the appealing characters combine to produce memorable language models for young children (Cullinan & Galda, 1998; Temple, Martinez, & Yakota, 2011). Children delight in the opportunities to chant the catchy phrases, mimic the nonsense words, and recite the lines endlessly. This pleasure in nursery rhymes translates into developing many reading, writing and oral language skills such as naturally segmenting sounds in spoken words and playing with real and nonsense words. Additionally, young children appreciate the stories and verses for their rhythm, repetition, and rhyme. Their attention is focused on the fanciful language and imaginative nonsense. They learn basic story patterns, encounter vivid plots, develop a sense of theme, and meet intriguing characters that in turn become the stepping stones for subsequent literary education (Cullinan & Galda, 1998; Bodden, 2010).
Nursery Rhymes as a Vehicle for Teaching English as a Foreign Language
doi:10.11648/j.ijla.20140203.15
International Journal of Literature and Arts
2014-06-24
© Science Publishing Group
Najat Ismael Sayakhan
Darcy H. Bradley
Nursery Rhymes as a Vehicle for Teaching English as a Foreign Language
2
3
87
87
2014-06-24
2014-06-24
10.11648/j.ijla.20140203.15
http://www.sciencepublishinggroup.com/journal/paperinfo.aspx?journalid=502&doi=10.11648/j.ijla.20140203.15
© Science Publishing Group
An Attempt in the Scope of the Inner Structure of Human Personality
http://www.sciencepublishinggroup.com/journal/paperinfo.aspx?journalid=502&doi=10.11648/j.ijla.20140204.11
It can be said that basically the existence of human being consists of body & soul. Body consists of many independent but interacting organs, each has its own structure, capability, & function, & the brain is the governor & the manager of the body. Likewise, human mental organization in the soul consists of some specific but interacting components, contacting & communicating with each other. These components are (Needs, Psyche & Mind), each one has its own properties & function, &, eventually; psyche bears the responsibility for the soul, directing soul & body as a whole, deciding & governing all behaviors (intentions & actions) observed from a healthy human being.
It can be said that basically the existence of human being consists of body & soul. Body consists of many independent but interacting organs, each has its own structure, capability, & function, & the brain is the governor & the manager of the body. Likewise, human mental organization in the soul consists of some specific but interacting components, contacting & communicating with each other. These components are (Needs, Psyche & Mind), each one has its own properties & function, &, eventually; psyche bears the responsibility for the soul, directing soul & body as a whole, deciding & governing all behaviors (intentions & actions) observed from a healthy human being.
An Attempt in the Scope of the Inner Structure of Human Personality
doi:10.11648/j.ijla.20140204.11
International Journal of Literature and Arts
2014-06-30
© Science Publishing Group
Shamal Hussein Abu-Baker
An Attempt in the Scope of the Inner Structure of Human Personality
2
4
91
91
2014-06-30
2014-06-30
10.11648/j.ijla.20140204.11
http://www.sciencepublishinggroup.com/journal/paperinfo.aspx?journalid=502&doi=10.11648/j.ijla.20140204.11
© Science Publishing Group
Working-Class Literature: Pedagogy and a Course Design
http://www.sciencepublishinggroup.com/journal/paperinfo.aspx?journalid=502&doi=10.11648/j.ijla.20140204.14
Many working students have some skepticism about the worth of studying literature in the university classroom. They assume that the subject matter of literature taught to them doesn’t help them, in a certain manner, to connect more to their real life working situations. Compared to their practical way of life, the educational experience of literature in the classroom seems foreign to the experiences of many of them. Therefore, this paper proposes a method for teaching a literature course for the working-class students. The paper also recommends a course design that involves the working culture in the material taught in the classroom. The suggested syllabus includes a number of particular texts to be taught in a literature course for working students.
Many working students have some skepticism about the worth of studying literature in the university classroom. They assume that the subject matter of literature taught to them doesn’t help them, in a certain manner, to connect more to their real life working situations. Compared to their practical way of life, the educational experience of literature in the classroom seems foreign to the experiences of many of them. Therefore, this paper proposes a method for teaching a literature course for the working-class students. The paper also recommends a course design that involves the working culture in the material taught in the classroom. The suggested syllabus includes a number of particular texts to be taught in a literature course for working students.
Working-Class Literature: Pedagogy and a Course Design
doi:10.11648/j.ijla.20140204.14
International Journal of Literature and Arts
2014-07-18
© Science Publishing Group
Ayman Hassan Elhallaq
Working-Class Literature: Pedagogy and a Course Design
2
4
109
109
2014-07-18
2014-07-18
10.11648/j.ijla.20140204.14
http://www.sciencepublishinggroup.com/journal/paperinfo.aspx?journalid=502&doi=10.11648/j.ijla.20140204.14
© Science Publishing Group
Cultural Hegemony in Charles Dickens’s A Tale of Two Cities
http://www.sciencepublishinggroup.com/journal/paperinfo.aspx?journalid=502&doi=10.11648/j.ijla.20140204.13
This study delineates the use of cultural hegemony in Charles Dickens’s A Tale of Two Cities (1859) through the vantage points of Italian critic Antonio Gramsci (1891-1937) who clarifies domination of the ruling class over ruled class. Cultural hegemony is the mastery of the middle class and governing groups among the lower divisions. Antonio Gramsci declares that the only means of keeping cultural hegemony by super leaders is not the handling of power and coercion; instead, consent, language, use of intellectual men and educational instruments are the ways regarding the implementation of cultural hegemony. In A Tale of Two Cities, Charles Dickens expresses the effects England and France, and manifests the tyrannical events of French Revolution. The beginning of A Tale of Two Cities asserts extreme tyranny and a violation of aristocrats as well as its ending through which the rebels punish sovereigns and the king after the French Revolution. Dickens also shows the ideals of the aristocracy with highlighting the function of cultural hegemony in France and England. Gramsci illustrates that the upper floors by way of indirect control over the mass media, educate their own feelings and values in society because domination is often taken out by means of consent, not compulsion. Ultimately, this research looks for the signs of cultural hegemony, and depicts the alarming events of French Revolution.
This study delineates the use of cultural hegemony in Charles Dickens’s A Tale of Two Cities (1859) through the vantage points of Italian critic Antonio Gramsci (1891-1937) who clarifies domination of the ruling class over ruled class. Cultural hegemony is the mastery of the middle class and governing groups among the lower divisions. Antonio Gramsci declares that the only means of keeping cultural hegemony by super leaders is not the handling of power and coercion; instead, consent, language, use of intellectual men and educational instruments are the ways regarding the implementation of cultural hegemony. In A Tale of Two Cities, Charles Dickens expresses the effects England and France, and manifests the tyrannical events of French Revolution. The beginning of A Tale of Two Cities asserts extreme tyranny and a violation of aristocrats as well as its ending through which the rebels punish sovereigns and the king after the French Revolution. Dickens also shows the ideals of the aristocracy with highlighting the function of cultural hegemony in France and England. Gramsci illustrates that the upper floors by way of indirect control over the mass media, educate their own feelings and values in society because domination is often taken out by means of consent, not compulsion. Ultimately, this research looks for the signs of cultural hegemony, and depicts the alarming events of French Revolution.
Cultural Hegemony in Charles Dickens’s A Tale of Two Cities
doi:10.11648/j.ijla.20140204.13
International Journal of Literature and Arts
2014-07-18
© Science Publishing Group
Meysam Ahmadi
Cultural Hegemony in Charles Dickens’s A Tale of Two Cities
2
4
103
103
2014-07-18
2014-07-18
10.11648/j.ijla.20140204.13
http://www.sciencepublishinggroup.com/journal/paperinfo.aspx?journalid=502&doi=10.11648/j.ijla.20140204.13
© Science Publishing Group
Regulated Hatred in Sense and Sensibility (1811) and Persuasion (1816) by Jane Austen
http://www.sciencepublishinggroup.com/journal/paperinfo.aspx?journalid=502&doi=10.11648/j.ijla.20140204.15
This research examines the theory of ‘regulated hatred’ in two masterpieces by Jane Austen: Sense and Sensibility (1811) and Persuasion (1816). To analyse these novels, the paper adopts an interdisciplinary approach, including psychological, biographical, and New Historicist approaches; taking its inspiration from the theory initially introduced by D. W. Harding in his article ‘Regulated Hatred: An Aspect of the work of Jane Austen’ (1940), alongside C. J. Jung’s theory of ‘the formation of artist’s creativity’ highlighted in his article ‘Psychology and Literature’ (1930). The study is divided into three sections. The first section introduces the theoretical aspects of the research, outlining Harding and Jung’s theories. A brief overview of the plot of the two novels is set out, to assist in establishing the author’s narrative techniques. The second section investigates the psychological theories of Austen’s two novels Persuasion and Sense and Sensibility in reference to the theoretical framework. There is also an examination of the ways in which Austen employs her hatred toward both her enemies and unpolished manners in society, through an examination of her narrative techniques from a psychological, biographical and New Historicist approach. These include: her varying tones, her artistic representation, her tyrannical style and intellectual perspective, and the unequal treatment of her characters. In addition, there is a discussion of Austen’s motives in writing these two novels. This section discusses the assumptions behind the attempt to deduce new literary, social and political interpretations of Austen’s art, examining her novels as, amusement and entertainment, social critique, or as an outlet of her inner emotion with the aim of reforming the ills of society. The third section illustrates the ways in which Austen adopts a new form of realism; in particular, how she employs her pen to revolutionise the ruling standards of social groups. Austen is seen to address the internal struggles of society successfully, by sympathising with, or disdaining, her characters in both novels. The study, therefore, offers a complementary understanding of the inner psychology of the creative Jane Austen, as well as of her art and the era in which she lived.
This research examines the theory of ‘regulated hatred’ in two masterpieces by Jane Austen: Sense and Sensibility (1811) and Persuasion (1816). To analyse these novels, the paper adopts an interdisciplinary approach, including psychological, biographical, and New Historicist approaches; taking its inspiration from the theory initially introduced by D. W. Harding in his article ‘Regulated Hatred: An Aspect of the work of Jane Austen’ (1940), alongside C. J. Jung’s theory of ‘the formation of artist’s creativity’ highlighted in his article ‘Psychology and Literature’ (1930). The study is divided into three sections. The first section introduces the theoretical aspects of the research, outlining Harding and Jung’s theories. A brief overview of the plot of the two novels is set out, to assist in establishing the author’s narrative techniques. The second section investigates the psychological theories of Austen’s two novels Persuasion and Sense and Sensibility in reference to the theoretical framework. There is also an examination of the ways in which Austen employs her hatred toward both her enemies and unpolished manners in society, through an examination of her narrative techniques from a psychological, biographical and New Historicist approach. These include: her varying tones, her artistic representation, her tyrannical style and intellectual perspective, and the unequal treatment of her characters. In addition, there is a discussion of Austen’s motives in writing these two novels. This section discusses the assumptions behind the attempt to deduce new literary, social and political interpretations of Austen’s art, examining her novels as, amusement and entertainment, social critique, or as an outlet of her inner emotion with the aim of reforming the ills of society. The third section illustrates the ways in which Austen adopts a new form of realism; in particular, how she employs her pen to revolutionise the ruling standards of social groups. Austen is seen to address the internal struggles of society successfully, by sympathising with, or disdaining, her characters in both novels. The study, therefore, offers a complementary understanding of the inner psychology of the creative Jane Austen, as well as of her art and the era in which she lived.
Regulated Hatred in Sense and Sensibility (1811) and Persuasion (1816) by Jane Austen
doi:10.11648/j.ijla.20140204.15
International Journal of Literature and Arts
2014-07-24
© Science Publishing Group
Najlaa Hosny Ameen Mohammed
Regulated Hatred in Sense and Sensibility (1811) and Persuasion (1816) by Jane Austen
2
4
122
122
2014-07-24
2014-07-24
10.11648/j.ijla.20140204.15
http://www.sciencepublishinggroup.com/journal/paperinfo.aspx?journalid=502&doi=10.11648/j.ijla.20140204.15
© Science Publishing Group
Discipline, Resistance and Self-Improvement: Three Phases in the Growth of Fanny Price
http://www.sciencepublishinggroup.com/journal/paperinfo.aspx?journalid=502&doi=10.11648/j.ijla.20140204.16
Fanny Price is a remarkable heroine of Mansfield Park written by Jane Austen. Based on Michel Foucault’s power theory and the related theories about subjectivity construction, this paper aims at analyzing how Fanny tries to adopt, resist and make the most of the underlying various power mechanisms in a patriarchal society and how she achieves her own self-education and self-improvement. It contends that through three phases of discipline, resistance and self-improvement, Fanny successfully transforms herself from an inferior “outsider” into a noble and elegant lady welcomed by the middle class in British society in the early 19th century.
Fanny Price is a remarkable heroine of Mansfield Park written by Jane Austen. Based on Michel Foucault’s power theory and the related theories about subjectivity construction, this paper aims at analyzing how Fanny tries to adopt, resist and make the most of the underlying various power mechanisms in a patriarchal society and how she achieves her own self-education and self-improvement. It contends that through three phases of discipline, resistance and self-improvement, Fanny successfully transforms herself from an inferior “outsider” into a noble and elegant lady welcomed by the middle class in British society in the early 19th century.
Discipline, Resistance and Self-Improvement: Three Phases in the Growth of Fanny Price
doi:10.11648/j.ijla.20140204.16
International Journal of Literature and Arts
2014-08-07
© Science Publishing Group
Yingying DENG
Joan Qionglin TAN
Discipline, Resistance and Self-Improvement: Three Phases in the Growth of Fanny Price
2
4
129
129
2014-08-07
2014-08-07
10.11648/j.ijla.20140204.16
http://www.sciencepublishinggroup.com/journal/paperinfo.aspx?journalid=502&doi=10.11648/j.ijla.20140204.16
© Science Publishing Group
A Quest for Identity in Zora Neal Hurston’s Their Eyes Were Watching God
http://www.sciencepublishinggroup.com/journal/paperinfo.aspx?journalid=502&doi=10.11648/j.ijla.20140204.12
Identity or the preoccupation with one’s self constitutes one of the main obsessions of Zora Neale Hurston (1891-1960) as a novelist. The fundamental argument in this paper is the quest for identity in Hurston’s Their Eyes Were Watching God (1937). She portrays characters who try to recognize themselves based on their own inner desires and thoughts. Many signs and hints in the novel demonstrate the main character’s notion of selfhood and identity changes as she is exposed to the new conditions, realities and experiences. At the end of Janie’s journey, she turns into an integrated and self-aware individual through a psychological process. Theoretically, this paper applies Frantz Fanon’s (1925-1961) theories, who dealt with psychological impacts of colonialism on the colonized people. Concerning his critique of the White’s oppression on black people, Fanon focuses his argument on the inadequacy of European rationalism and their disregard of the experience of ‘the other.’ For him colonization is totally a Euro- or White-centered discourse which does not account for or include non-White and non-European discourses. Fanon asserts that black people need to free themselves from the hegemony of White people and become independent. Eventually, this paper shows that Janie in Their Eyes Were Watching God, after all her attempts and search for self-realization or her feminine identity, gains a great success in achieving her goals.
Identity or the preoccupation with one’s self constitutes one of the main obsessions of Zora Neale Hurston (1891-1960) as a novelist. The fundamental argument in this paper is the quest for identity in Hurston’s Their Eyes Were Watching God (1937). She portrays characters who try to recognize themselves based on their own inner desires and thoughts. Many signs and hints in the novel demonstrate the main character’s notion of selfhood and identity changes as she is exposed to the new conditions, realities and experiences. At the end of Janie’s journey, she turns into an integrated and self-aware individual through a psychological process. Theoretically, this paper applies Frantz Fanon’s (1925-1961) theories, who dealt with psychological impacts of colonialism on the colonized people. Concerning his critique of the White’s oppression on black people, Fanon focuses his argument on the inadequacy of European rationalism and their disregard of the experience of ‘the other.’ For him colonization is totally a Euro- or White-centered discourse which does not account for or include non-White and non-European discourses. Fanon asserts that black people need to free themselves from the hegemony of White people and become independent. Eventually, this paper shows that Janie in Their Eyes Were Watching God, after all her attempts and search for self-realization or her feminine identity, gains a great success in achieving her goals.
A Quest for Identity in Zora Neal Hurston’s Their Eyes Were Watching God
doi:10.11648/j.ijla.20140204.12
International Journal of Literature and Arts
2014-07-03
© Science Publishing Group
Zahra Mahdian Fard
Bahman Zarrinjooee
A Quest for Identity in Zora Neal Hurston’s Their Eyes Were Watching God
2
4
97
97
2014-07-03
2014-07-03
10.11648/j.ijla.20140204.12
http://www.sciencepublishinggroup.com/journal/paperinfo.aspx?journalid=502&doi=10.11648/j.ijla.20140204.12
© Science Publishing Group
Witches which Never Flew: Native Witchcraft and the Cunning Woman on the Stage
http://www.sciencepublishinggroup.com/journal/paperinfo.aspx?journalid=502&doi=10.11648/j.ijla.20140205.11
In early modern England cunning men and women (often older people on the fringes of society) became easy targets for gossip within rural communities. I will examine some figures of the cunning woman in this period and show how they appear in different senses: the cunning woman as a healer, nurturer, fortune-teller and domestic manager. Mother Sawyer, in The Witch of Edmonton by William Rowley, Thomas Dekker and John Ford (1621), complains of the community of Edmonton that she has been convicted because she is ‘poor, deform’d, and ignorant’ (II.i.3).1 Sawyer has been abused because she is old and ugly and does not have any means by which to make her living. She is physically portrayed as a contemporary English witch. However Sawyer is not a witch from the beginning of the play, and not presented as one until her community accuse her of witchcraft. After she realizes that there is nothing left to lose, she makes a pact with the devil and thus her identity changes from an old woman into a real witch. In John Lyly’s Mother Bombie (1594), Bombie is a ‘white witch’ or ‘cunning woman’ whose mysterious power is used to help people, not to harm. In Thomas Heywood’s The Wise Woman of Hogsdon (1604), the Wise Woman pretends to be a cunning woman and skilled in fortune-telling, palmistry and curing diseases. The three protagonists in the mentioned plays are drawn from English witch-lore, and they live in the suburbs and resort to witchcraft in order to make their living. Mother Sawyer, a traditional English witch, is portrayed as hag-like whereas Mother Bombie and the Wise Woman are English local cunning women. The witches do not fly and stage directions do not call for flight in the witch scenes; their feet remain firmly on the ground in all scenes. Cunning women are not the same as witches: they do not have a familiar, they tell fortunes and cure diseases, are benevolent, they do not hold covens on the Sabbath, do not make pacts with the devil in return for rewards and they do not act maleficium. The chronological approach taken here is used in order to determine the dramatic development of the witches and cunning women in two theatrical modes—the tragic (The Witch of Edmonton) and the comic (Mother Bombie, and The Wise Woman of Hogsdon).
In early modern England cunning men and women (often older people on the fringes of society) became easy targets for gossip within rural communities. I will examine some figures of the cunning woman in this period and show how they appear in different senses: the cunning woman as a healer, nurturer, fortune-teller and domestic manager. Mother Sawyer, in The Witch of Edmonton by William Rowley, Thomas Dekker and John Ford (1621), complains of the community of Edmonton that she has been convicted because she is ‘poor, deform’d, and ignorant’ (II.i.3).1 Sawyer has been abused because she is old and ugly and does not have any means by which to make her living. She is physically portrayed as a contemporary English witch. However Sawyer is not a witch from the beginning of the play, and not presented as one until her community accuse her of witchcraft. After she realizes that there is nothing left to lose, she makes a pact with the devil and thus her identity changes from an old woman into a real witch. In John Lyly’s Mother Bombie (1594), Bombie is a ‘white witch’ or ‘cunning woman’ whose mysterious power is used to help people, not to harm. In Thomas Heywood’s The Wise Woman of Hogsdon (1604), the Wise Woman pretends to be a cunning woman and skilled in fortune-telling, palmistry and curing diseases. The three protagonists in the mentioned plays are drawn from English witch-lore, and they live in the suburbs and resort to witchcraft in order to make their living. Mother Sawyer, a traditional English witch, is portrayed as hag-like whereas Mother Bombie and the Wise Woman are English local cunning women. The witches do not fly and stage directions do not call for flight in the witch scenes; their feet remain firmly on the ground in all scenes. Cunning women are not the same as witches: they do not have a familiar, they tell fortunes and cure diseases, are benevolent, they do not hold covens on the Sabbath, do not make pacts with the devil in return for rewards and they do not act maleficium. The chronological approach taken here is used in order to determine the dramatic development of the witches and cunning women in two theatrical modes—the tragic (The Witch of Edmonton) and the comic (Mother Bombie, and The Wise Woman of Hogsdon).
Witches which Never Flew: Native Witchcraft and the Cunning Woman on the Stage
doi:10.11648/j.ijla.20140205.11
International Journal of Literature and Arts
2014-09-01
© Science Publishing Group
Shokhan Rasool Ahmed
Witches which Never Flew: Native Witchcraft and the Cunning Woman on the Stage
2
5
141
141
2014-09-01
2014-09-01
10.11648/j.ijla.20140205.11
http://www.sciencepublishinggroup.com/journal/paperinfo.aspx?journalid=502&doi=10.11648/j.ijla.20140205.11
© Science Publishing Group
The Differences between Hearing Impaired and Normal Children’s Pictures and their Colour Use
http://www.sciencepublishinggroup.com/journal/paperinfo.aspx?journalid=502&doi=10.11648/j.ijla.20140205.12
The pictures that children draw reflect their inner worlds. When we have a look at the human history, we can easily notice how pictures being such an important means from the very beginning. The pictures giving lots of information about past are very important evaluation instrument for experts working with children. For most people, the important thing about the pictures is their aesthetic value on the other hand we focus on other vast amount of important factors for child evaluation. For example; the undrawn parts in the Picture, with how much pressure the pencil is used, bigness and smallness, the ratio between the body parts, the way paper is used and the way individuals positioned, the colours used etc. What kind of development properties and mood, each of these factors indicating, were determined by the researches. In this search only a general information will be given because by the ones who don’t study on child mental health field, the pictures might be misinterpreted in terms of all dimensions about the meaning of pictures because this information only will be meaningful when it is combined with the information in the child psychology field findings or else sometimes mislabelling might happen by word of mouth information for example a child drawing a Picture with no mouth might be labelled as shy which we all agree negative outcomes of these labelling on children. In this article, two groups of children’s pictures were compared, the first group is the hearing impaired children and the second group is the normal children and we studied the differences of pictures and colour use among these groups. In this study two different schools were visited and formed the groups and they were asked to draw four different types of pictures and all these information gathered and interpreted.
The pictures that children draw reflect their inner worlds. When we have a look at the human history, we can easily notice how pictures being such an important means from the very beginning. The pictures giving lots of information about past are very important evaluation instrument for experts working with children. For most people, the important thing about the pictures is their aesthetic value on the other hand we focus on other vast amount of important factors for child evaluation. For example; the undrawn parts in the Picture, with how much pressure the pencil is used, bigness and smallness, the ratio between the body parts, the way paper is used and the way individuals positioned, the colours used etc. What kind of development properties and mood, each of these factors indicating, were determined by the researches. In this search only a general information will be given because by the ones who don’t study on child mental health field, the pictures might be misinterpreted in terms of all dimensions about the meaning of pictures because this information only will be meaningful when it is combined with the information in the child psychology field findings or else sometimes mislabelling might happen by word of mouth information for example a child drawing a Picture with no mouth might be labelled as shy which we all agree negative outcomes of these labelling on children. In this article, two groups of children’s pictures were compared, the first group is the hearing impaired children and the second group is the normal children and we studied the differences of pictures and colour use among these groups. In this study two different schools were visited and formed the groups and they were asked to draw four different types of pictures and all these information gathered and interpreted.
The Differences between Hearing Impaired and Normal Children’s Pictures and their Colour Use
doi:10.11648/j.ijla.20140205.12
International Journal of Literature and Arts
2014-09-11
© Science Publishing Group
Maryam Hamed Esmaeli
The Differences between Hearing Impaired and Normal Children’s Pictures and their Colour Use
2
5
149
149
2014-09-11
2014-09-11
10.11648/j.ijla.20140205.12
http://www.sciencepublishinggroup.com/journal/paperinfo.aspx?journalid=502&doi=10.11648/j.ijla.20140205.12
© Science Publishing Group
Dragons on the Jacobean Stage
http://www.sciencepublishinggroup.com/journal/paperinfo.aspx?journalid=502&doi=10.11648/j.ijla.20140205.15
This paper investigates a mixture of plays both Elizabethan (Marlowe’s Doctor Faustus (1594) and Greene’s Friar Bacon and Friar Bungay (1588-92)), and Jacobean (Barne’s The Devil’s Charter (1607) and Rowley’s The Birth of Merlin (1622)). These plays stage supernatural entities such as male witches, magicians and dragons. What binds all these plays together is having dragon(s) controlled by a magician. It is important to investigate the stage directions of the dragons in making their exits and entrances, what role they have in the plays, and how they affect the character of the drama. This study examines some sorcerer plays with special concentration on the character of the sorcerers, looking at the kinds of rituals and magic they make. Marlowe’s Doctor Faustus, Greene’s Friar Bacon and Friar Bungay, Barnes’s Alexander VI, and Rowley’s Merlin are male magicians and, each has a different role, being assisted by spirits or devils. I will investigate their role in each play and how they relate to witchcraft.
This paper investigates a mixture of plays both Elizabethan (Marlowe’s Doctor Faustus (1594) and Greene’s Friar Bacon and Friar Bungay (1588-92)), and Jacobean (Barne’s The Devil’s Charter (1607) and Rowley’s The Birth of Merlin (1622)). These plays stage supernatural entities such as male witches, magicians and dragons. What binds all these plays together is having dragon(s) controlled by a magician. It is important to investigate the stage directions of the dragons in making their exits and entrances, what role they have in the plays, and how they affect the character of the drama. This study examines some sorcerer plays with special concentration on the character of the sorcerers, looking at the kinds of rituals and magic they make. Marlowe’s Doctor Faustus, Greene’s Friar Bacon and Friar Bungay, Barnes’s Alexander VI, and Rowley’s Merlin are male magicians and, each has a different role, being assisted by spirits or devils. I will investigate their role in each play and how they relate to witchcraft.
Dragons on the Jacobean Stage
doi:10.11648/j.ijla.20140205.15
International Journal of Literature and Arts
2014-09-20
© Science Publishing Group
Shokhan Rasool Ahmed
Dragons on the Jacobean Stage
2
5
186
186
2014-09-20
2014-09-20
10.11648/j.ijla.20140205.15
http://www.sciencepublishinggroup.com/journal/paperinfo.aspx?journalid=502&doi=10.11648/j.ijla.20140205.15
© Science Publishing Group
Witches before Flying
http://www.sciencepublishinggroup.com/journal/paperinfo.aspx?journalid=502&doi=10.11648/j.ijla.20140205.14
This paper examines Shakespeare’s Macbeth (1606), and The Late Lancashire Witches (1634) by Thomas Heywood and Richard Brome, and considers in detail the witch scenes in both plays and their stage directions during their entrances and exits. The witches in the Jacobean Macbeth of the First Folio, do not explicitly fly in the stage directions. However, they do in the Restoration Macbeth, namely in Davenant’s second Quarto (1674). The question to be raised here is: what evidence is there in the pre-Restoration Macbeth that the witches flew? In order to explore this, we must consider what performance spaces were used for Macbeth in the Jacobean period. Shakespeare’s Macbeth, and Heywood and Brome’s The Late Lancashire Witches form an interesting comparison since they were both revised by other writers. The Late Lancashire Witches has not received as much scholarly attention as the other witch plays discussed here. Therefore, as a comparative study, this paper will also discuss the joint authorship of Heywood and Brome in The Late Lancashire Witches and the stage directions of the witch scenes. Although it seems that the witches did not fly in Heywood’s and Brome’s version, there is evidence that the stage directions called for flight in The Lancashire Witches (1681), Thomas Shadwell’s later version. A further illuminating comparison between these plays is that the creatures we are considering here are sinister figures in Macbeth but comic figures in The Lancashire Witches. The audience can see that the three Weird Sisters enter the stage and then vanish into the air, but do not see them fly.
This paper examines Shakespeare’s Macbeth (1606), and The Late Lancashire Witches (1634) by Thomas Heywood and Richard Brome, and considers in detail the witch scenes in both plays and their stage directions during their entrances and exits. The witches in the Jacobean Macbeth of the First Folio, do not explicitly fly in the stage directions. However, they do in the Restoration Macbeth, namely in Davenant’s second Quarto (1674). The question to be raised here is: what evidence is there in the pre-Restoration Macbeth that the witches flew? In order to explore this, we must consider what performance spaces were used for Macbeth in the Jacobean period. Shakespeare’s Macbeth, and Heywood and Brome’s The Late Lancashire Witches form an interesting comparison since they were both revised by other writers. The Late Lancashire Witches has not received as much scholarly attention as the other witch plays discussed here. Therefore, as a comparative study, this paper will also discuss the joint authorship of Heywood and Brome in The Late Lancashire Witches and the stage directions of the witch scenes. Although it seems that the witches did not fly in Heywood’s and Brome’s version, there is evidence that the stage directions called for flight in The Lancashire Witches (1681), Thomas Shadwell’s later version. A further illuminating comparison between these plays is that the creatures we are considering here are sinister figures in Macbeth but comic figures in The Lancashire Witches. The audience can see that the three Weird Sisters enter the stage and then vanish into the air, but do not see them fly.
Witches before Flying
doi:10.11648/j.ijla.20140205.14
International Journal of Literature and Arts
2014-09-20
© Science Publishing Group
Shokhan Rasool Ahmed
Witches before Flying
2
5
172
172
2014-09-20
2014-09-20
10.11648/j.ijla.20140205.14
http://www.sciencepublishinggroup.com/journal/paperinfo.aspx?journalid=502&doi=10.11648/j.ijla.20140205.14
© Science Publishing Group
Poetic Language: Presenting Factual Information
http://www.sciencepublishinggroup.com/journal/paperinfo.aspx?journalid=502&doi=10.11648/j.ijla.20140205.13
The aim of this essay is to show the way which poetic language provides the reader with factual information about the events which happen in the world. At the beginning, the poetic language will be explained and discussed. Then, a brief introduction will be given about the Iraqi war in 2003. For discussions and to support the arguments in the essay, three poems are chosen. They will be analysed and it will be shown the way that poetic language presents the factuality.
The aim of this essay is to show the way which poetic language provides the reader with factual information about the events which happen in the world. At the beginning, the poetic language will be explained and discussed. Then, a brief introduction will be given about the Iraqi war in 2003. For discussions and to support the arguments in the essay, three poems are chosen. They will be analysed and it will be shown the way that poetic language presents the factuality.
Poetic Language: Presenting Factual Information
doi:10.11648/j.ijla.20140205.13
International Journal of Literature and Arts
2014-09-20
© Science Publishing Group
Mustafa Wshyar A. Al-Ahmedi
Poetic Language: Presenting Factual Information
2
5
154
154
2014-09-20
2014-09-20
10.11648/j.ijla.20140205.13
http://www.sciencepublishinggroup.com/journal/paperinfo.aspx?journalid=502&doi=10.11648/j.ijla.20140205.13
© Science Publishing Group
The Exploration of a Sense of Belonging: An Explanation of Naipaul’s Novel Half a Life & Magic Seeds
http://www.sciencepublishinggroup.com/journal/paperinfo.aspx?journalid=502&doi=10.11648/j.ijla.20140205.16
V. S. Naipaul is a Trinidad-born Nobel Prize-winning British writer known for his comic early novels set in Trinidad. This famous post-colonial writer, V. S. Naipaul, has been paying close attention to the social reality and life in post-colonial society. In 2001, his novel Half a Life won the booker prize; It tells the story about Willie Chandran’s first 18 years’ life. However, it is not a complete story; it is a precursor to Naipaul’s novel Magic Seeds. In 2004, Naipaul completed the story by his novel Magic Seeds. Seeking for a sense of belonging is the theme throughout the whole process in this two books. In his last novel Magic Seeds, this theme has got a full explanation. Through an interpretation of these two books about Willie’s life, this paper aims to explore the protagonist---Willie’s life process in seeking his sense of belonging and the reason for its missing. Willie is only one of the representatives among the diasporas who try their best to claim for their identity and a sense of belonging. So at the same time, it aims to reveal the theme and relate to the contemporary situation to interpret the realistic significance of the importance of a sense of belonging. Literature is the reflection of our society, its development and change, however subtle it is, this is also true of Naipaul’s two famous novels. They shed lots of light on our daily life and heart.
V. S. Naipaul is a Trinidad-born Nobel Prize-winning British writer known for his comic early novels set in Trinidad. This famous post-colonial writer, V. S. Naipaul, has been paying close attention to the social reality and life in post-colonial society. In 2001, his novel Half a Life won the booker prize; It tells the story about Willie Chandran’s first 18 years’ life. However, it is not a complete story; it is a precursor to Naipaul’s novel Magic Seeds. In 2004, Naipaul completed the story by his novel Magic Seeds. Seeking for a sense of belonging is the theme throughout the whole process in this two books. In his last novel Magic Seeds, this theme has got a full explanation. Through an interpretation of these two books about Willie’s life, this paper aims to explore the protagonist---Willie’s life process in seeking his sense of belonging and the reason for its missing. Willie is only one of the representatives among the diasporas who try their best to claim for their identity and a sense of belonging. So at the same time, it aims to reveal the theme and relate to the contemporary situation to interpret the realistic significance of the importance of a sense of belonging. Literature is the reflection of our society, its development and change, however subtle it is, this is also true of Naipaul’s two famous novels. They shed lots of light on our daily life and heart.
The Exploration of a Sense of Belonging: An Explanation of Naipaul’s Novel Half a Life & Magic Seeds
doi:10.11648/j.ijla.20140205.16
International Journal of Literature and Arts
2014-09-27
© Science Publishing Group
Yurong Wang
Li Lin
The Exploration of a Sense of Belonging: An Explanation of Naipaul’s Novel Half a Life & Magic Seeds
2
5
191
191
2014-09-27
2014-09-27
10.11648/j.ijla.20140205.16
http://www.sciencepublishinggroup.com/journal/paperinfo.aspx?journalid=502&doi=10.11648/j.ijla.20140205.16
© Science Publishing Group
Music and a “Spectacle of Strangeness”
http://www.sciencepublishinggroup.com/journal/paperinfo.aspx?journalid=502&doi=10.11648/j.ijla.20140205.18
This paper examines Ben Jonson’s The Masque of Queens (1609), and The Wonder of Women, Tragedy of Sophonisba (1604-6) by John Marston, considering the topic of the nature and status of stage directions related to the hags in Jonson’s play, and how they make their entrances and exits from the stage and to hell. In Tragedy of Sophonisba, I examine the way the entries and the music of this play were performed by youths alongside the dramatic techniques of the play, and address the question of whether Marston’s hags flew or not while they scatter on stage to the accompaniment of the music. In sum, I explore how Jonson and Marston present the visual spectacle of their witches on stage, how Jonson’s masque and Marston’s play represent witchcraft and how their witches fit in this masque and play. What binds Jonson’s masque and Marston’s play together is the use of music and dance through which the hags appear on stage. Both Jonson (in all the nine Charms - list of spells) and Marston (Act III. i & IV. i) explore the nature of witchcraft through music and dance: Jonson’s hags disperse on stage and the manner of their dance is full of a ‘spectacle of strangeness’ while Marston’s characters are led away to seduction with a musical accompaniment. In each play I will concentrate on the matter of authorship and the status of stage directions in the printed text, and whether the stage directions (only those involving the supernatural characters) in this masque and play were originally written by the author himself or were revised or supplied by editors.
This paper examines Ben Jonson’s The Masque of Queens (1609), and The Wonder of Women, Tragedy of Sophonisba (1604-6) by John Marston, considering the topic of the nature and status of stage directions related to the hags in Jonson’s play, and how they make their entrances and exits from the stage and to hell. In Tragedy of Sophonisba, I examine the way the entries and the music of this play were performed by youths alongside the dramatic techniques of the play, and address the question of whether Marston’s hags flew or not while they scatter on stage to the accompaniment of the music. In sum, I explore how Jonson and Marston present the visual spectacle of their witches on stage, how Jonson’s masque and Marston’s play represent witchcraft and how their witches fit in this masque and play. What binds Jonson’s masque and Marston’s play together is the use of music and dance through which the hags appear on stage. Both Jonson (in all the nine Charms - list of spells) and Marston (Act III. i & IV. i) explore the nature of witchcraft through music and dance: Jonson’s hags disperse on stage and the manner of their dance is full of a ‘spectacle of strangeness’ while Marston’s characters are led away to seduction with a musical accompaniment. In each play I will concentrate on the matter of authorship and the status of stage directions in the printed text, and whether the stage directions (only those involving the supernatural characters) in this masque and play were originally written by the author himself or were revised or supplied by editors.
Music and a “Spectacle of Strangeness”
doi:10.11648/j.ijla.20140205.18
International Journal of Literature and Arts
2014-10-09
© Science Publishing Group
Shokhan Rasool Ahmed
Music and a “Spectacle of Strangeness”
2
5
223
223
2014-10-09
2014-10-09
10.11648/j.ijla.20140205.18
http://www.sciencepublishinggroup.com/journal/paperinfo.aspx?journalid=502&doi=10.11648/j.ijla.20140205.18
© Science Publishing Group
Flight on the Jacobean Stage
http://www.sciencepublishinggroup.com/journal/paperinfo.aspx?journalid=502&doi=10.11648/j.ijla.20140205.17
This study is concerned with the historical and theatrical aspects of Middleton’s The Witch. Among the questions it will address are which sources Middleton drew on for this play, and to what extent his witches differ from those in Shakespeare’s Macbeth. This chapter (paper) also considers the question of whether the treatment of witchcraft in Middleton’s The Witch belongs to the English or the Continental tradition. While the historical circumstances of witchcraft ideas are important for an understanding of this play, this paper will demonstrate that questions of genre and visual spectacle are equally important; especially it will argue that the play’s comedy and its visual aspects are mutually dependent. In raising the issue of why the play is categorized as tragicomedy, I examine how comedy and technology come together in this play. Finally, this study explores how the play would have worked on stage, and especially how the witchcraft scenes would have been staged to create a theatrical spectacle: what props, or other staging devices were needed, and how these were adapted during the Renaissance period. The question is also raised here as to when the machinery for staging flying witches came into existence, and whether the stage directions of the supernatural scenes in The Witch and some of Shakespeare’s later plays, Cymbeline and The Tempest, were originally written by the actual authors or scrivener. This paper also examines differences in stage directions for supernatural characters between early modern and contemporary editions of the above plays.
This study is concerned with the historical and theatrical aspects of Middleton’s The Witch. Among the questions it will address are which sources Middleton drew on for this play, and to what extent his witches differ from those in Shakespeare’s Macbeth. This chapter (paper) also considers the question of whether the treatment of witchcraft in Middleton’s The Witch belongs to the English or the Continental tradition. While the historical circumstances of witchcraft ideas are important for an understanding of this play, this paper will demonstrate that questions of genre and visual spectacle are equally important; especially it will argue that the play’s comedy and its visual aspects are mutually dependent. In raising the issue of why the play is categorized as tragicomedy, I examine how comedy and technology come together in this play. Finally, this study explores how the play would have worked on stage, and especially how the witchcraft scenes would have been staged to create a theatrical spectacle: what props, or other staging devices were needed, and how these were adapted during the Renaissance period. The question is also raised here as to when the machinery for staging flying witches came into existence, and whether the stage directions of the supernatural scenes in The Witch and some of Shakespeare’s later plays, Cymbeline and The Tempest, were originally written by the actual authors or scrivener. This paper also examines differences in stage directions for supernatural characters between early modern and contemporary editions of the above plays.
Flight on the Jacobean Stage
doi:10.11648/j.ijla.20140205.17
International Journal of Literature and Arts
2014-10-09
© Science Publishing Group
Shokhan Rasool Ahmed
Flight on the Jacobean Stage
2
5
210
210
2014-10-09
2014-10-09
10.11648/j.ijla.20140205.17
http://www.sciencepublishinggroup.com/journal/paperinfo.aspx?journalid=502&doi=10.11648/j.ijla.20140205.17
© Science Publishing Group
Principles of Form Construction and their Dialectical Relation in the Musical Styles
http://www.sciencepublishinggroup.com/journal/paperinfo.aspx?journalid=502&doi=10.11648/j.ijla.s.2014020501.20
Objects of the study are the two basic principles of the multi-voice thinking - the polyphonic - linear and the homophonic - vertical. Their effect is discussed in the various styles. The different meaning of the two main qualities of the chord is also clarified - phonism and functionality and their manifestation in the types of multi-voice musical thinking.
Objects of the study are the two basic principles of the multi-voice thinking - the polyphonic - linear and the homophonic - vertical. Their effect is discussed in the various styles. The different meaning of the two main qualities of the chord is also clarified - phonism and functionality and their manifestation in the types of multi-voice musical thinking.
Principles of Form Construction and their Dialectical Relation in the Musical Styles
doi:10.11648/j.ijla.s.2014020501.20
International Journal of Literature and Arts
2014-10-07
© Science Publishing Group
Penka Pencheva Mincheva
Principles of Form Construction and their Dialectical Relation in the Musical Styles
2
5
64
64
2014-10-07
2014-10-07
10.11648/j.ijla.s.2014020501.20
http://www.sciencepublishinggroup.com/journal/paperinfo.aspx?journalid=502&doi=10.11648/j.ijla.s.2014020501.20
© Science Publishing Group
On Properties of Harmonic Intervals: Sonance, Acousticity, Phonism
http://www.sciencepublishinggroup.com/journal/paperinfo.aspx?journalid=502&doi=10.11648/j.ijla.s.2014020501.24
This research synthesizes concepts derived from previous studies of the author regarding sonance [1], acousticity and phonism [2] that affect the properties of harmonic intervals and vertical sound complexes. The classification of texture “with and without an expressed bass” [3], which had its place in the textbook that was published later, is important in the context as well [4]. The dual nature of the fourth and tritone, and the significant differences in the perception of other intervals, depending on their placement in musical space, inevitably raise the question - can all these phenomena be explained with the approved terms consonance and dissonance. The physical basis of all vertical sound complexes is the harmonic series, but the plays of the author,’ indicate how this order forms the concept of sonance and acousticity. The definition of these terms is only the beginning of future research on phonetic properties of harmonic intervals and harmonies to achieve a qualitatively new classification of acoustic characteristics.
This research synthesizes concepts derived from previous studies of the author regarding sonance [1], acousticity and phonism [2] that affect the properties of harmonic intervals and vertical sound complexes. The classification of texture “with and without an expressed bass” [3], which had its place in the textbook that was published later, is important in the context as well [4]. The dual nature of the fourth and tritone, and the significant differences in the perception of other intervals, depending on their placement in musical space, inevitably raise the question - can all these phenomena be explained with the approved terms consonance and dissonance. The physical basis of all vertical sound complexes is the harmonic series, but the plays of the author,’ indicate how this order forms the concept of sonance and acousticity. The definition of these terms is only the beginning of future research on phonetic properties of harmonic intervals and harmonies to achieve a qualitatively new classification of acoustic characteristics.
On Properties of Harmonic Intervals: Sonance, Acousticity, Phonism
doi:10.11648/j.ijla.s.2014020501.24
International Journal of Literature and Arts
2014-10-17
© Science Publishing Group
Miroslav Kirilov Nedyalkov
On Properties of Harmonic Intervals: Sonance, Acousticity, Phonism
2
5
87
87
2014-10-17
2014-10-17
10.11648/j.ijla.s.2014020501.24
http://www.sciencepublishinggroup.com/journal/paperinfo.aspx?journalid=502&doi=10.11648/j.ijla.s.2014020501.24
© Science Publishing Group
Methodological Principles of Piano Technique in the Stages of Development
http://www.sciencepublishinggroup.com/journal/paperinfo.aspx?journalid=502&doi=10.11648/j.ijla.s.2014020501.17
The technique of the performer’s movements is determinant to the quality of keyboard performance. The performer’s motor development is achieved, in accordance with the stages of age development. The author of this article presents the methodological principles of work in mastering the keyboard movements. Motor skills have age defined characteristics. They functions in a relation to the anatomic and psychophysiological profile of the performer. Their comprising components have different indexes in the separate stages of individual development, which is a direct requirement for a change in the methodological approaches. The piano pedagogue needs to find opportunities to influence the biopsychological potential of the students for processing motor information, to activate it to the maximum extent with the purpose of achieving a quality musical activity as an interpreter. The pedagogic selection of models for motor development should be based on the current profile of the student and should reflect the hierarchical principle of building complex movements. The refinement of methods for pedagogical influence aims at achieving optimal pianist movements with a free command of the body; realization of the interrelation between the state of the piano playing apparatus and the qualities of the achieved sound result; mastering of the motor parameters – strength, temporal and spatial; building skills for constructing motor programs, which correspond to the semantic purposes and achieve a logical and vivid interpretation of the work; improving the sensory-motor coordination during the performance of the motor programs.
The technique of the performer’s movements is determinant to the quality of keyboard performance. The performer’s motor development is achieved, in accordance with the stages of age development. The author of this article presents the methodological principles of work in mastering the keyboard movements. Motor skills have age defined characteristics. They functions in a relation to the anatomic and psychophysiological profile of the performer. Their comprising components have different indexes in the separate stages of individual development, which is a direct requirement for a change in the methodological approaches. The piano pedagogue needs to find opportunities to influence the biopsychological potential of the students for processing motor information, to activate it to the maximum extent with the purpose of achieving a quality musical activity as an interpreter. The pedagogic selection of models for motor development should be based on the current profile of the student and should reflect the hierarchical principle of building complex movements. The refinement of methods for pedagogical influence aims at achieving optimal pianist movements with a free command of the body; realization of the interrelation between the state of the piano playing apparatus and the qualities of the achieved sound result; mastering of the motor parameters – strength, temporal and spatial; building skills for constructing motor programs, which correspond to the semantic purposes and achieve a logical and vivid interpretation of the work; improving the sensory-motor coordination during the performance of the motor programs.
Methodological Principles of Piano Technique in the Stages of Development
doi:10.11648/j.ijla.s.2014020501.17
International Journal of Literature and Arts
2014-09-23
© Science Publishing Group
Rumyana Stoyanova Zhekova-Stoynova
Methodological Principles of Piano Technique in the Stages of Development
2
5
48
48
2014-09-23
2014-09-23
10.11648/j.ijla.s.2014020501.17
http://www.sciencepublishinggroup.com/journal/paperinfo.aspx?journalid=502&doi=10.11648/j.ijla.s.2014020501.17
© Science Publishing Group
An Opportunity to Provoke Students’ Interest in “Serious” Music
http://www.sciencepublishinggroup.com/journal/paperinfo.aspx?journalid=502&doi=10.11648/j.ijla.s.2014020501.25
I present my pedagogical experience in optimizing the activity of perceiving the music in class by demonstrating variants of basic thematic material in a musical work (for the goals of the experiment there were developed variants of the main themes in Part I of Piano concerto d moll by W. A. Mozart), aiming at better understanding of its emotional content. The results of the experiment were confirmed through a test directed to check the recognition of the themes and the pupils’ interest in the musical piece.
I present my pedagogical experience in optimizing the activity of perceiving the music in class by demonstrating variants of basic thematic material in a musical work (for the goals of the experiment there were developed variants of the main themes in Part I of Piano concerto d moll by W. A. Mozart), aiming at better understanding of its emotional content. The results of the experiment were confirmed through a test directed to check the recognition of the themes and the pupils’ interest in the musical piece.
An Opportunity to Provoke Students’ Interest in “Serious” Music
doi:10.11648/j.ijla.s.2014020501.25
International Journal of Literature and Arts
2014-11-06
© Science Publishing Group
Diana Katsarova
An Opportunity to Provoke Students’ Interest in “Serious” Music
2
5
92
92
2014-11-06
2014-11-06
10.11648/j.ijla.s.2014020501.25
http://www.sciencepublishinggroup.com/journal/paperinfo.aspx?journalid=502&doi=10.11648/j.ijla.s.2014020501.25
© Science Publishing Group
The Phenomenon “Emotional Thinking”
http://www.sciencepublishinggroup.com/journal/paperinfo.aspx?journalid=502&doi=10.11648/j.ijla.s.2014020501.23
In the article, on the basis of an extensive analysis of the views of renowned scientists regarding emotions and thinking, conclusions are made about the essence, measurability and personal needs for emotional thinking. Among these conclusions are: 1. Emotional thinking can be measured through the EQ-i. But the difference between cognitive intellect, in which the highest levels are in the age of 17-18 years, after which its levels undergo minimal changes during the course of the whole active life of the individual and only in the elderliness it starts to decline; emotional EQ-i can change and increase in every age, depending on the acquired life experience. 2. The higher level of emotional thinking expands also the general level of intellect. 3. There is enough evidence to assume that it is possible to improve the level of emotional intelligence. 4. Emotional thinking is defined by the specific characteristics, which are needed in education and in work. Knowing and understanding its essence affects the level of learning the knowledge.
In the article, on the basis of an extensive analysis of the views of renowned scientists regarding emotions and thinking, conclusions are made about the essence, measurability and personal needs for emotional thinking. Among these conclusions are: 1. Emotional thinking can be measured through the EQ-i. But the difference between cognitive intellect, in which the highest levels are in the age of 17-18 years, after which its levels undergo minimal changes during the course of the whole active life of the individual and only in the elderliness it starts to decline; emotional EQ-i can change and increase in every age, depending on the acquired life experience. 2. The higher level of emotional thinking expands also the general level of intellect. 3. There is enough evidence to assume that it is possible to improve the level of emotional intelligence. 4. Emotional thinking is defined by the specific characteristics, which are needed in education and in work. Knowing and understanding its essence affects the level of learning the knowledge.
The Phenomenon “Emotional Thinking”
doi:10.11648/j.ijla.s.2014020501.23
International Journal of Literature and Arts
2014-10-16
© Science Publishing Group
Valentina Bozhinova Manolova
The Phenomenon “Emotional Thinking”
2
5
83
83
2014-10-16
2014-10-16
10.11648/j.ijla.s.2014020501.23
http://www.sciencepublishinggroup.com/journal/paperinfo.aspx?journalid=502&doi=10.11648/j.ijla.s.2014020501.23
© Science Publishing Group
The Music Lesson in the Progress Socializing the Growing Generation
http://www.sciencepublishinggroup.com/journal/paperinfo.aspx?journalid=502&doi=10.11648/j.ijla.s.2014020501.19
This paper presents the major opportunities provided by the subject Music at comprehensive school in the formation and development of skills for social contacts . Based on her own teaching experience , the author offers multiple tasks within established core activities in the music lessons: performing music; perception of music and composing music. Present and stimulating thinking tasks, proceeding from the assumption that practicing music influences improving concentration and mental activity, sharpening the observation, promotion of artistic culture, which respectively affects the intellectual development of adolescents. An emphasis in this type of activities is teamwork as the most powerful tool for building social skills and culture. In conclusion, the effect of the direct impact of art and participation in the creative process is highlights, thus adolescents are taught a number of qualities that form them as individuals and prepare them for their future career in life.
This paper presents the major opportunities provided by the subject Music at comprehensive school in the formation and development of skills for social contacts . Based on her own teaching experience , the author offers multiple tasks within established core activities in the music lessons: performing music; perception of music and composing music. Present and stimulating thinking tasks, proceeding from the assumption that practicing music influences improving concentration and mental activity, sharpening the observation, promotion of artistic culture, which respectively affects the intellectual development of adolescents. An emphasis in this type of activities is teamwork as the most powerful tool for building social skills and culture. In conclusion, the effect of the direct impact of art and participation in the creative process is highlights, thus adolescents are taught a number of qualities that form them as individuals and prepare them for their future career in life.
The Music Lesson in the Progress Socializing the Growing Generation
doi:10.11648/j.ijla.s.2014020501.19
International Journal of Literature and Arts
2014-09-30
© Science Publishing Group
Galina Krasteva Georgieva
The Music Lesson in the Progress Socializing the Growing Generation
2
5
60
60
2014-09-30
2014-09-30
10.11648/j.ijla.s.2014020501.19
http://www.sciencepublishinggroup.com/journal/paperinfo.aspx?journalid=502&doi=10.11648/j.ijla.s.2014020501.19
© Science Publishing Group
Music Comprehension in the Light of Some Ideas of Hermeneutic Theory
http://www.sciencepublishinggroup.com/journal/paperinfo.aspx?journalid=502&doi=10.11648/j.ijla.s.2014020501.21
The paper examines some philosophical and psychological aspects of the understanding of music. The approach of hermeneutics to the problems of understanding gives reasons to connect the specific act of understanding music with the general theory of understanding. The current paper is an attempt to find the points of contact between “the commonly accepted rules” of the understanding and the understanding of music.
The paper examines some philosophical and psychological aspects of the understanding of music. The approach of hermeneutics to the problems of understanding gives reasons to connect the specific act of understanding music with the general theory of understanding. The current paper is an attempt to find the points of contact between “the commonly accepted rules” of the understanding and the understanding of music.
Music Comprehension in the Light of Some Ideas of Hermeneutic Theory
doi:10.11648/j.ijla.s.2014020501.21
International Journal of Literature and Arts
2014-10-16
© Science Publishing Group
Tania Burdeva
Music Comprehension in the Light of Some Ideas of Hermeneutic Theory
2
5
69
69
2014-10-16
2014-10-16
10.11648/j.ijla.s.2014020501.21
http://www.sciencepublishinggroup.com/journal/paperinfo.aspx?journalid=502&doi=10.11648/j.ijla.s.2014020501.21
© Science Publishing Group
The Responsibility of the Teacher to the Student Performer
http://www.sciencepublishinggroup.com/journal/paperinfo.aspx?journalid=502&doi=10.11648/j.ijla.s.2014020501.14
The responsibility of the musical instrument teachers to their students is manifold. It includes the initial assessment of the abilities of the child, the development of the professional qualities, skills and dexterity of the student, the building of a stock of knowledge (basic note cognition, the fundamentals of the musical theoretical knowledge, general musical and stylistic culture), the responsibility to build up a strong motivation for playing a musical instrument, to develop determination and precise control over one’s own performance and to promote a level of self-confidence, adequate to the abilities of the student. Whereas you may come across some publications about the first enumerated responsibilities, the topic about the needed self-confidence of the performer is usually neglected by the authors of methodical studies. The self-confidence of the musician - interpreter should not be either excessive or unduly low, because they both could be an obstacle as to the successful performance before listeners, so to the professional and even the life fulfilment of the instrumentalist.
The responsibility of the musical instrument teachers to their students is manifold. It includes the initial assessment of the abilities of the child, the development of the professional qualities, skills and dexterity of the student, the building of a stock of knowledge (basic note cognition, the fundamentals of the musical theoretical knowledge, general musical and stylistic culture), the responsibility to build up a strong motivation for playing a musical instrument, to develop determination and precise control over one’s own performance and to promote a level of self-confidence, adequate to the abilities of the student. Whereas you may come across some publications about the first enumerated responsibilities, the topic about the needed self-confidence of the performer is usually neglected by the authors of methodical studies. The self-confidence of the musician - interpreter should not be either excessive or unduly low, because they both could be an obstacle as to the successful performance before listeners, so to the professional and even the life fulfilment of the instrumentalist.
The Responsibility of the Teacher to the Student Performer
doi:10.11648/j.ijla.s.2014020501.14
International Journal of Literature and Arts
2014-08-26
© Science Publishing Group
Krasimira Georgieva Fileva-Ruseva
The Responsibility of the Teacher to the Student Performer
2
5
24
24
2014-08-26
2014-08-26
10.11648/j.ijla.s.2014020501.14
http://www.sciencepublishinggroup.com/journal/paperinfo.aspx?journalid=502&doi=10.11648/j.ijla.s.2014020501.14
© Science Publishing Group
Characteristics of Bulgarian Folk Music
http://www.sciencepublishinggroup.com/journal/paperinfo.aspx?journalid=502&doi=10.11648/j.ijla.s.2014020501.16
This paper presents the unique richness and diversity of the Bulgarian folk music. It discusses its modal specificity – the widespread use of old modal structures and chromatic sound lines, the metrorhytmical diversity; indicates some features such as the non-measured song. The most commonly used modal structures and the most widespread metrums are highlighted. A special focus is the successional bond of the native folklore and the professional Bulgarian musical works.
This paper presents the unique richness and diversity of the Bulgarian folk music. It discusses its modal specificity – the widespread use of old modal structures and chromatic sound lines, the metrorhytmical diversity; indicates some features such as the non-measured song. The most commonly used modal structures and the most widespread metrums are highlighted. A special focus is the successional bond of the native folklore and the professional Bulgarian musical works.
Characteristics of Bulgarian Folk Music
doi:10.11648/j.ijla.s.2014020501.16
International Journal of Literature and Arts
2014-09-23
© Science Publishing Group
Penka Pencheva Mincheva
Characteristics of Bulgarian Folk Music
2
5
41
41
2014-09-23
2014-09-23
10.11648/j.ijla.s.2014020501.16
http://www.sciencepublishinggroup.com/journal/paperinfo.aspx?journalid=502&doi=10.11648/j.ijla.s.2014020501.16
© Science Publishing Group
The Idea of Beauty in the Piano Cycle “Childhood Birds” by Konstantin Iliev
http://www.sciencepublishinggroup.com/journal/paperinfo.aspx?journalid=502&doi=10.11648/j.ijla.s.2014020501.11
There is beauty everywhere in nature. Sometimes even creatures, that we are used to consider unsightly, burst with it. Looking more closely, ignoring the traditional view, we find colour combinations, proportions, movements that get surprisingly beautiful as soon as we realize it. In art the depiction of beauty could take different forms as well as it could take most unexpected characters for its prototypes. Such kind of beauty reveals to us the small gallery of characters – the piano cycle “Childhood Birds” by the Bulgarian composer Konstantin Iliev. It is comprised of six plays. In this piano cycle I analyze the beauty of the characters – for example the little sweet-voiced nightingale, where the beauty lies in its skilful singing, i.e. in what it can do; unlike the rose, on which the bird is perched, where the beauty lies in its symmetry, proportionality and grace – in being what it is. The swallows are beautiful with the audacity to struggle with the fierce mighty wind. An example of the beauty of the construction is the classical regularity of the built-up musical forms; the slight diversions from which are prompted by the specific representational tasks in each play. The beauty of depiction lies in the outspoken and compelling description of all the images by means of ingeniously found and utmost concise means. The cycle as a whole is an example of yet another type of beauty – the beauty of invention, of creativeness, of discovering a wonderful in its clarity and brevity way of recreating a character so that it can be perfectly recognized, to breath life into it, to give it emotions and meaning, the beauty of an artist to “dare” to materialize through sound the elusive immateriality of a dream, the beauty to challenge the imagination of the performer and make the listener soar, the beauty of the mind.
There is beauty everywhere in nature. Sometimes even creatures, that we are used to consider unsightly, burst with it. Looking more closely, ignoring the traditional view, we find colour combinations, proportions, movements that get surprisingly beautiful as soon as we realize it. In art the depiction of beauty could take different forms as well as it could take most unexpected characters for its prototypes. Such kind of beauty reveals to us the small gallery of characters – the piano cycle “Childhood Birds” by the Bulgarian composer Konstantin Iliev. It is comprised of six plays. In this piano cycle I analyze the beauty of the characters – for example the little sweet-voiced nightingale, where the beauty lies in its skilful singing, i.e. in what it can do; unlike the rose, on which the bird is perched, where the beauty lies in its symmetry, proportionality and grace – in being what it is. The swallows are beautiful with the audacity to struggle with the fierce mighty wind. An example of the beauty of the construction is the classical regularity of the built-up musical forms; the slight diversions from which are prompted by the specific representational tasks in each play. The beauty of depiction lies in the outspoken and compelling description of all the images by means of ingeniously found and utmost concise means. The cycle as a whole is an example of yet another type of beauty – the beauty of invention, of creativeness, of discovering a wonderful in its clarity and brevity way of recreating a character so that it can be perfectly recognized, to breath life into it, to give it emotions and meaning, the beauty of an artist to “dare” to materialize through sound the elusive immateriality of a dream, the beauty to challenge the imagination of the performer and make the listener soar, the beauty of the mind.
The Idea of Beauty in the Piano Cycle “Childhood Birds” by Konstantin Iliev
doi:10.11648/j.ijla.s.2014020501.11
International Journal of Literature and Arts
2014-08-26
© Science Publishing Group
Krasimira Georgieva Fileva-Ruseva
The Idea of Beauty in the Piano Cycle “Childhood Birds” by Konstantin Iliev
2
5
7
7
2014-08-26
2014-08-26
10.11648/j.ijla.s.2014020501.11
http://www.sciencepublishinggroup.com/journal/paperinfo.aspx?journalid=502&doi=10.11648/j.ijla.s.2014020501.11
© Science Publishing Group
Interpretation Issues in the Polyphonic Repertoire of the Students from Musical Performance Classes in the Universities
http://www.sciencepublishinggroup.com/journal/paperinfo.aspx?journalid=502&doi=10.11648/j.ijla.s.2014020501.22
The study is oriented towards one of the most disputable, and least explored and clarified up to now issues in the methodology of teaching the accordion and in the theory of the performing art, namely - the position of the accordionist regarding the selection of means of expression, in his capacity of an interpreter of adapted (not original) pieces - of which consist the most part of the polyphonic works of the repertoire of the students from performance classes in the Universities. The focus is placed on the major and basic issue of performance of polyphonic music, related to the specifics of sound-forming and sound-shaping with the accordion, namely: how should the theme be outlined in a distinct manner, how should a certain motive be emphasized or how should a particular voice stand out in the polyphonic texture, provided the air-flow is being directed equally to all open resonator valves. Two opposite concepts of articulation are presented - both being incorporated in the practice of performance and teaching of the accordionists - the dispute between which still remains open. By analyzing the strengths and weaknesses of these concepts, an attempt is made to extend and deepen the knowledge towards finding an adequate solution to the problem of the solo interpretation of polyphonic transcription with the means of expression of the accordion. The issues described that are placed theoretically for the first time in Bulgaria provide guidelines for certain future more detailed and extensive research in the field of methodology of teaching the accordion and the accordion performance art.
The study is oriented towards one of the most disputable, and least explored and clarified up to now issues in the methodology of teaching the accordion and in the theory of the performing art, namely - the position of the accordionist regarding the selection of means of expression, in his capacity of an interpreter of adapted (not original) pieces - of which consist the most part of the polyphonic works of the repertoire of the students from performance classes in the Universities. The focus is placed on the major and basic issue of performance of polyphonic music, related to the specifics of sound-forming and sound-shaping with the accordion, namely: how should the theme be outlined in a distinct manner, how should a certain motive be emphasized or how should a particular voice stand out in the polyphonic texture, provided the air-flow is being directed equally to all open resonator valves. Two opposite concepts of articulation are presented - both being incorporated in the practice of performance and teaching of the accordionists - the dispute between which still remains open. By analyzing the strengths and weaknesses of these concepts, an attempt is made to extend and deepen the knowledge towards finding an adequate solution to the problem of the solo interpretation of polyphonic transcription with the means of expression of the accordion. The issues described that are placed theoretically for the first time in Bulgaria provide guidelines for certain future more detailed and extensive research in the field of methodology of teaching the accordion and the accordion performance art.
Interpretation Issues in the Polyphonic Repertoire of the Students from Musical Performance Classes in the Universities
doi:10.11648/j.ijla.s.2014020501.22
International Journal of Literature and Arts
2014-10-16
© Science Publishing Group
Diana Stancheva
Interpretation Issues in the Polyphonic Repertoire of the Students from Musical Performance Classes in the Universities
2
5
76
76
2014-10-16
2014-10-16
10.11648/j.ijla.s.2014020501.22
http://www.sciencepublishinggroup.com/journal/paperinfo.aspx?journalid=502&doi=10.11648/j.ijla.s.2014020501.22
© Science Publishing Group
Technological Model for Composing Accompaniment to a Melody in Teaching Accordion
http://www.sciencepublishinggroup.com/journal/paperinfo.aspx?journalid=502&doi=10.11648/j.ijla.s.2014020501.18
This paper is motivated by the need to optimize the conditions of active teaching, i.e. for a very short period the students must develop an ear for music and musical skills – these students are future music teachers in kindergartens and elementary schools and they must acquire basic music reading skills in playing easy plays and songs with accompaniment, learning and mastering the basic means of expression in music and in particular – polyphony, forming a sense of adequate perception and evaluation of polyphony, i.e. mastering a system necessary for practical activities. Each of these, examined separately, is directly related to the development of the sense of polyphony. The composition of elementary chord accompaniments to melodies is widely used in everyday pedagogical practice of kindergarten and elementary-school teachers and developing a purposeful pedagogical technology is of great importance for the future professional realization of students. Music classes place an special emphasis on the application and significance of music accompaniment; students are also acquainted with the prerequisites for successful work. In the referred article, the instrumental accompaniment is reviewed only for educational purposes. Building up skills for combination of such accompaniments is related to searching and finding various pedagogical approaches and technologies for the development of the sense of polyphony. The tasks are structured in a set algorithm. The presented pedagogical approaches clearly show that musical, theoretical and instrumental teaching is carried out. The transfer of knowledge and skills contributes to permanent and effective learning of the necessary theoretical knowledge and practical skills which, in its turn, helps to reach an accord between theory and practice. The system of technologies offered is comprehensive – it contains basic principles for composition of chord accompaniment as well as specific ones – applicable only for teaching accordion. The developed preliminary model of pedagogical approaches is successfully confirmed by a pedagogical experiment held with 76 students – future kindergarten and elementary-school teachers. This confirmed the purpose of the study, namely, by influencing their ear for music to teach and master in students differential perception of polyphonic music and form, on this basis, skills for composition of elementary chord accompaniments to melodies.
This paper is motivated by the need to optimize the conditions of active teaching, i.e. for a very short period the students must develop an ear for music and musical skills – these students are future music teachers in kindergartens and elementary schools and they must acquire basic music reading skills in playing easy plays and songs with accompaniment, learning and mastering the basic means of expression in music and in particular – polyphony, forming a sense of adequate perception and evaluation of polyphony, i.e. mastering a system necessary for practical activities. Each of these, examined separately, is directly related to the development of the sense of polyphony. The composition of elementary chord accompaniments to melodies is widely used in everyday pedagogical practice of kindergarten and elementary-school teachers and developing a purposeful pedagogical technology is of great importance for the future professional realization of students. Music classes place an special emphasis on the application and significance of music accompaniment; students are also acquainted with the prerequisites for successful work. In the referred article, the instrumental accompaniment is reviewed only for educational purposes. Building up skills for combination of such accompaniments is related to searching and finding various pedagogical approaches and technologies for the development of the sense of polyphony. The tasks are structured in a set algorithm. The presented pedagogical approaches clearly show that musical, theoretical and instrumental teaching is carried out. The transfer of knowledge and skills contributes to permanent and effective learning of the necessary theoretical knowledge and practical skills which, in its turn, helps to reach an accord between theory and practice. The system of technologies offered is comprehensive – it contains basic principles for composition of chord accompaniment as well as specific ones – applicable only for teaching accordion. The developed preliminary model of pedagogical approaches is successfully confirmed by a pedagogical experiment held with 76 students – future kindergarten and elementary-school teachers. This confirmed the purpose of the study, namely, by influencing their ear for music to teach and master in students differential perception of polyphonic music and form, on this basis, skills for composition of elementary chord accompaniments to melodies.
Technological Model for Composing Accompaniment to a Melody in Teaching Accordion
doi:10.11648/j.ijla.s.2014020501.18
International Journal of Literature and Arts
2014-09-30
© Science Publishing Group
Iliana Chervenakova
Technological Model for Composing Accompaniment to a Melody in Teaching Accordion
2
5
55
55
2014-09-30
2014-09-30
10.11648/j.ijla.s.2014020501.18
http://www.sciencepublishinggroup.com/journal/paperinfo.aspx?journalid=502&doi=10.11648/j.ijla.s.2014020501.18
© Science Publishing Group
Increasing the Quality and Enhancing Musical Auditory Notions through Professional Training in Piano
http://www.sciencepublishinggroup.com/journal/paperinfo.aspx?journalid=502&doi=10.11648/j.ijla.s.2014020501.15
One of the areas of art, where specific abilities are combined and their maximal and balanced development is required, is the activity of piano performance. For this reason, at the first place among the responsible tasks of the piano pedagogue (who teaches the future interpreters) is the development of the musical abilities of the student – the mode sense, methro-rhythmic sense and musical auditory notions. Musical auditory notions allow for sound impressions of varied musical sequences to be stored in the individual’s memory pool. The musical auditory experience, containing the gathered musical auditory notions, facilitates each tonal perception through identification and differentiation of the familiar, common (already stored in the memory), from the new, different, which is to be imprinted in the mind and on its turn used as a basis for future perception. The richer, more detailed, well comprehend and easily activated the musical auditory notions of the student, the more facilitated and of more quality will be the process of comprehension, learning and artistic performance of the tonal art. The professional training in piano is aimed mainly at improving the instrumental skills, development of a repertoire and building a style and general musical culture. Among the reasons for the insufficient attention of piano pedagogues on the balanced development of the musical abilities of their students, is the limited time frame of the piano lesson, as well as the requirements for the pedagogue to sent the largest possible number of prominent students to as many as possible competitions for pianists, auditions, youth festivals and concerts. The pianist being held continuously in their everyday activities on the same and only concert or competition program for reasons of assuring the maximal quality of its performance on a specific forum, leads to the creations of a relatively sparse pool of musical auditory notions. From the supplementary activities in piano training, related to the process of creation and actualization of musical auditory notions are mainly the following: reading at first glance, playing by ear, recreation from memory of works that have not been performed recently. More connected to the accumulation of a pool of musical auditory notions is the schematic learning; to the particularization and comprehension of the musical memory image, introduced in the pool of musical auditory notions through its multiple actualizations, is related the analysis of the musical work of art with the purpose of memorization and clarification of the interpreter’s conception.
One of the areas of art, where specific abilities are combined and their maximal and balanced development is required, is the activity of piano performance. For this reason, at the first place among the responsible tasks of the piano pedagogue (who teaches the future interpreters) is the development of the musical abilities of the student – the mode sense, methro-rhythmic sense and musical auditory notions. Musical auditory notions allow for sound impressions of varied musical sequences to be stored in the individual’s memory pool. The musical auditory experience, containing the gathered musical auditory notions, facilitates each tonal perception through identification and differentiation of the familiar, common (already stored in the memory), from the new, different, which is to be imprinted in the mind and on its turn used as a basis for future perception. The richer, more detailed, well comprehend and easily activated the musical auditory notions of the student, the more facilitated and of more quality will be the process of comprehension, learning and artistic performance of the tonal art. The professional training in piano is aimed mainly at improving the instrumental skills, development of a repertoire and building a style and general musical culture. Among the reasons for the insufficient attention of piano pedagogues on the balanced development of the musical abilities of their students, is the limited time frame of the piano lesson, as well as the requirements for the pedagogue to sent the largest possible number of prominent students to as many as possible competitions for pianists, auditions, youth festivals and concerts. The pianist being held continuously in their everyday activities on the same and only concert or competition program for reasons of assuring the maximal quality of its performance on a specific forum, leads to the creations of a relatively sparse pool of musical auditory notions. From the supplementary activities in piano training, related to the process of creation and actualization of musical auditory notions are mainly the following: reading at first glance, playing by ear, recreation from memory of works that have not been performed recently. More connected to the accumulation of a pool of musical auditory notions is the schematic learning; to the particularization and comprehension of the musical memory image, introduced in the pool of musical auditory notions through its multiple actualizations, is related the analysis of the musical work of art with the purpose of memorization and clarification of the interpreter’s conception.
Increasing the Quality and Enhancing Musical Auditory Notions through Professional Training in Piano
doi:10.11648/j.ijla.s.2014020501.15
International Journal of Literature and Arts
2014-08-26
© Science Publishing Group
Krasimira Georgieva Fileva-Ruseva
Increasing the Quality and Enhancing Musical Auditory Notions through Professional Training in Piano
2
5
32
32
2014-08-26
2014-08-26
10.11648/j.ijla.s.2014020501.15
http://www.sciencepublishinggroup.com/journal/paperinfo.aspx?journalid=502&doi=10.11648/j.ijla.s.2014020501.15
© Science Publishing Group
Teaching the Rondo and Variation Form in the Textbook of Music for the 5th Grade of the Bulgarian General Education Schools
http://www.sciencepublishinggroup.com/journal/paperinfo.aspx?journalid=502&doi=10.11648/j.ijla.s.2014020501.13
The responsibility of producing educated listeners of music with a positive attitude and interest towards the valuable phenomena in the tonal art falls mainly on the general education school. For this reason, in the textbooks of music by the publishing houses “Riva” and “Azbuki-Prosveta” in Bulgaria (the author collective is the same) special attention is given to criteria, such as presenting the information in an intriguing way, the inclusion of creative tasks, exemplification; rich, aesthetically pleasing and clear illustrative material. In order to justify these statements, I will discuss examples from the textbook of music for the 5th grade by the “Riva” Publishing House [2]. In one of the exercises on the subject of the musical form “Rondo”, where four distiches on the theme “Autumn” are included (the theme “Rondo” is taught in the autumn), the students are asked to point out how the distiches have to be arranged so that they result in a structure corresponding to the “Rondo” form; which distich is most suitable for the theme and which of them will be used as episodes. In order to make the decision, the pupils have to take into account that the laconic first distich in duple meter is clearly divergent from all the others, which are more descriptive, i.e. it is in a distinct contrast with the other three. This makes it suitable for a Rondo theme, which, in the same way, is in a relation of contrast with the episodes. Consequently, the students have to speak out loud and rhythmically the poetic text and to compose for it an appropriate for the character of the verses accompaniment on percussion musical instruments for children. In this textbook: The definitions are not provided without any effort required, but have to be reached through observation. This gives place to a certain discovering. The exercises, accompanying and facilitating the learning of the information being taught, are focused on: stimulating creativity through changing the conditions, in which the new information functions; creating a new product; providing models of anaxiomatization, whose structure is applicable to future mental operations. The illustrative material has several functions it provides additional information, related to the lesson; facilitates grasping the character of the music, heard during a specific class session, through the emotional impact of the images; it provides creative methods of encoding information, which the students can use as a model in their future work.
The responsibility of producing educated listeners of music with a positive attitude and interest towards the valuable phenomena in the tonal art falls mainly on the general education school. For this reason, in the textbooks of music by the publishing houses “Riva” and “Azbuki-Prosveta” in Bulgaria (the author collective is the same) special attention is given to criteria, such as presenting the information in an intriguing way, the inclusion of creative tasks, exemplification; rich, aesthetically pleasing and clear illustrative material. In order to justify these statements, I will discuss examples from the textbook of music for the 5th grade by the “Riva” Publishing House [2]. In one of the exercises on the subject of the musical form “Rondo”, where four distiches on the theme “Autumn” are included (the theme “Rondo” is taught in the autumn), the students are asked to point out how the distiches have to be arranged so that they result in a structure corresponding to the “Rondo” form; which distich is most suitable for the theme and which of them will be used as episodes. In order to make the decision, the pupils have to take into account that the laconic first distich in duple meter is clearly divergent from all the others, which are more descriptive, i.e. it is in a distinct contrast with the other three. This makes it suitable for a Rondo theme, which, in the same way, is in a relation of contrast with the episodes. Consequently, the students have to speak out loud and rhythmically the poetic text and to compose for it an appropriate for the character of the verses accompaniment on percussion musical instruments for children. In this textbook: The definitions are not provided without any effort required, but have to be reached through observation. This gives place to a certain discovering. The exercises, accompanying and facilitating the learning of the information being taught, are focused on: stimulating creativity through changing the conditions, in which the new information functions; creating a new product; providing models of anaxiomatization, whose structure is applicable to future mental operations. The illustrative material has several functions it provides additional information, related to the lesson; facilitates grasping the character of the music, heard during a specific class session, through the emotional impact of the images; it provides creative methods of encoding information, which the students can use as a model in their future work.
Teaching the Rondo and Variation Form in the Textbook of Music for the 5th Grade of the Bulgarian General Education Schools
doi:10.11648/j.ijla.s.2014020501.13
International Journal of Literature and Arts
2014-08-26
© Science Publishing Group
Krasimira Georgieva Fileva-Ruseva
Teaching the Rondo and Variation Form in the Textbook of Music for the 5th Grade of the Bulgarian General Education Schools
2
5
19
19
2014-08-26
2014-08-26
10.11648/j.ijla.s.2014020501.13
http://www.sciencepublishinggroup.com/journal/paperinfo.aspx?journalid=502&doi=10.11648/j.ijla.s.2014020501.13
© Science Publishing Group
A First Person View on Absolute Musical Pitch
http://www.sciencepublishinggroup.com/journal/paperinfo.aspx?journalid=502&doi=10.11648/j.ijla.s.2014020501.12
Absolute musical pitch is an inborn talent which allows the people, endowed with it to identify the exact pitch of a specific tone without using a predefined reference point, regardless of the timbre of the source of the sound and of whether they are hearing a single tone, a logically organized melodic sequence, a succession of tones not following a definite logic, harmonic intervals or assonances. This type of pitch cannot be achieved through pedagogical influence. The people, gifted with absolute pitch, can hear the names of the tones simultaneously with the very sounding of the tones. Among the advantages of absolute pitch are the following: The fast and accurate identification of the tone names is useful to composers who, in their artistic project, have posed onomatopoeic tasks. Due to the fact that a person with absolute pitch does not need to use as a reference point the identification of modal functions to be able to recognize the tones of a melody, he/she is in a “more favorable” position, compared to the one, who has gained relative pitch, through working with musical pieces, in which there is no tonal organization. This is extremely valuable for performers and conductors. The speed, accuracy and confidence in hearing the tone names by the people with absolute pitch allows for some unexpected intonation movements to be exactly and easily identified right at the moment they are being heard. This is very useful, for instance, when collecting and writing down folk songs. The people with absolute pitch are faced with some problems, as well, like: The tolerance, related to absolute pitch (the ability, which allows, for example, to recognize a range of frequencies around 440 Hertz as “a”), and the absence of need for education, which would include the intonationally correct memorization of interval-templates to use later as reference points, are reasons that could explain the inaccurate pitch intonation in singing often seen in musicians with absolute pitch. The tolerance, related to absolute pitch, could become the reason for it to be lost. The ones, who possess absolute pitch, hear tone names, together with sounds that have not been produced by a musical instrument or a voice, but by other sound sources. The tone names coming from every direction – letters or syllables (depending on whether the musician is more used to the letter or the syllable names of tones), from which different words can be formed or which can lead the perceiver to associations in an unexpected direction, distract the mind.
Absolute musical pitch is an inborn talent which allows the people, endowed with it to identify the exact pitch of a specific tone without using a predefined reference point, regardless of the timbre of the source of the sound and of whether they are hearing a single tone, a logically organized melodic sequence, a succession of tones not following a definite logic, harmonic intervals or assonances. This type of pitch cannot be achieved through pedagogical influence. The people, gifted with absolute pitch, can hear the names of the tones simultaneously with the very sounding of the tones. Among the advantages of absolute pitch are the following: The fast and accurate identification of the tone names is useful to composers who, in their artistic project, have posed onomatopoeic tasks. Due to the fact that a person with absolute pitch does not need to use as a reference point the identification of modal functions to be able to recognize the tones of a melody, he/she is in a “more favorable” position, compared to the one, who has gained relative pitch, through working with musical pieces, in which there is no tonal organization. This is extremely valuable for performers and conductors. The speed, accuracy and confidence in hearing the tone names by the people with absolute pitch allows for some unexpected intonation movements to be exactly and easily identified right at the moment they are being heard. This is very useful, for instance, when collecting and writing down folk songs. The people with absolute pitch are faced with some problems, as well, like: The tolerance, related to absolute pitch (the ability, which allows, for example, to recognize a range of frequencies around 440 Hertz as “a”), and the absence of need for education, which would include the intonationally correct memorization of interval-templates to use later as reference points, are reasons that could explain the inaccurate pitch intonation in singing often seen in musicians with absolute pitch. The tolerance, related to absolute pitch, could become the reason for it to be lost. The ones, who possess absolute pitch, hear tone names, together with sounds that have not been produced by a musical instrument or a voice, but by other sound sources. The tone names coming from every direction – letters or syllables (depending on whether the musician is more used to the letter or the syllable names of tones), from which different words can be formed or which can lead the perceiver to associations in an unexpected direction, distract the mind.
A First Person View on Absolute Musical Pitch
doi:10.11648/j.ijla.s.2014020501.12
International Journal of Literature and Arts
2014-08-26
© Science Publishing Group
Krasimira Georgieva Fileva-Ruseva
A First Person View on Absolute Musical Pitch
2
5
13
13
2014-08-26
2014-08-26
10.11648/j.ijla.s.2014020501.12
http://www.sciencepublishinggroup.com/journal/paperinfo.aspx?journalid=502&doi=10.11648/j.ijla.s.2014020501.12
© Science Publishing Group
“Tuning in” the Developing Brain: Neurocognitive Effects of Ensemble Music Training on Children
http://www.sciencepublishinggroup.com/journal/paperinfo.aspx?journalid=502&doi=10.11648/j.ijla.20140206.11
The ability to self-regulate has been associated with school-readiness and academic achievement. Research has indicated that young children receiving music instruction perform significantly better on self-regulation tasks. The current study assessed the cognitive neurocorrelates of executive attention using event-related potentials (ERPs) as children between the ages of 9-12 years with and without training in a social music program, OrKidstra, completed an auditory Go/NoGo task involving pure tones at 1100Hz and 2000Hz. Preliminary findings indicate that participating in the OrKidstra program decreases children’s reaction times to Go stimuli at 2000Hz and increases the early brain’s response to this tone within individuals (2000Hz vs. 1100Hz in the same children) and between groups (OrKidstra children vs. comparison children). Children also completed the Peabody Picture Vocabulary Test, Fourth Edition (PPVT-IV) to allow us to determine the influence of music learning on verbal comprehension. Family demographics and wellbeing were collected through questionnaires completed by the child’s guardian. Findings from our research may have implications for music training interventions and music training implementation in the school setting, especially as applied to socioeconomically disadvantaged children.
The ability to self-regulate has been associated with school-readiness and academic achievement. Research has indicated that young children receiving music instruction perform significantly better on self-regulation tasks. The current study assessed the cognitive neurocorrelates of executive attention using event-related potentials (ERPs) as children between the ages of 9-12 years with and without training in a social music program, OrKidstra, completed an auditory Go/NoGo task involving pure tones at 1100Hz and 2000Hz. Preliminary findings indicate that participating in the OrKidstra program decreases children’s reaction times to Go stimuli at 2000Hz and increases the early brain’s response to this tone within individuals (2000Hz vs. 1100Hz in the same children) and between groups (OrKidstra children vs. comparison children). Children also completed the Peabody Picture Vocabulary Test, Fourth Edition (PPVT-IV) to allow us to determine the influence of music learning on verbal comprehension. Family demographics and wellbeing were collected through questionnaires completed by the child’s guardian. Findings from our research may have implications for music training interventions and music training implementation in the school setting, especially as applied to socioeconomically disadvantaged children.
“Tuning in” the Developing Brain: Neurocognitive Effects of Ensemble Music Training on Children
doi:10.11648/j.ijla.20140206.11
International Journal of Literature and Arts
2014-11-05
© Science Publishing Group
Kylie Schibli
Amedeo D’Angiulli
“Tuning in” the Developing Brain: Neurocognitive Effects of Ensemble Music Training on Children
2
6
229
229
2014-11-05
2014-11-05
10.11648/j.ijla.20140206.11
http://www.sciencepublishinggroup.com/journal/paperinfo.aspx?journalid=502&doi=10.11648/j.ijla.20140206.11
© Science Publishing Group
Matteo Palmieri’s City of Life: The Original Idea of Three Opportunities for Salvation
http://www.sciencepublishinggroup.com/journal/paperinfo.aspx?journalid=502&doi=10.11648/j.ijla.20140206.12
The Anglo-Saxon world has always devoted special attention to the Florentine humanist Matteo Palmieri (1406-1475). The Città di vita (The City of Life) represents the last, great creative effort of Palmieri, the moment when he was, to quote Marsilius Ficinus, a theological poet. Palmieri was aware of the heterodoxy of his poem and did not circulate it widely to avoid accusations of heresy. He, therefore, left the final reviewed copy (the Laurenziano manuscript) to the Proconsul of the Art of Judges and Notaries. This paper provides a brief summary of the City of life, a discussion of its sources (notably Origen), and an outline of Palmieri’s theological outlook, before presenting new findings based on the recently published Modena manuscript. This manuscript offers a unique chance to further investigate Palmieri’s theological outlook with the original idea of three opportunities for salvation. In addition, the Modena manuscript provides new elements to be analyzed considering that the three circulating manuscripts (Magliabechiano, Ambrosiano, and Barberiniano Latino) never mention Dati’s commentary. There are reasons to think that the Modena manuscript circulated in Florence after Palmieri’s death and therefore this is an additional relevant piece in the fascinating, yet still hazy-edged mosaic that is the knowledge and the history of the tercet poem by Matteo Palmieri.
The Anglo-Saxon world has always devoted special attention to the Florentine humanist Matteo Palmieri (1406-1475). The Città di vita (The City of Life) represents the last, great creative effort of Palmieri, the moment when he was, to quote Marsilius Ficinus, a theological poet. Palmieri was aware of the heterodoxy of his poem and did not circulate it widely to avoid accusations of heresy. He, therefore, left the final reviewed copy (the Laurenziano manuscript) to the Proconsul of the Art of Judges and Notaries. This paper provides a brief summary of the City of life, a discussion of its sources (notably Origen), and an outline of Palmieri’s theological outlook, before presenting new findings based on the recently published Modena manuscript. This manuscript offers a unique chance to further investigate Palmieri’s theological outlook with the original idea of three opportunities for salvation. In addition, the Modena manuscript provides new elements to be analyzed considering that the three circulating manuscripts (Magliabechiano, Ambrosiano, and Barberiniano Latino) never mention Dati’s commentary. There are reasons to think that the Modena manuscript circulated in Florence after Palmieri’s death and therefore this is an additional relevant piece in the fascinating, yet still hazy-edged mosaic that is the knowledge and the history of the tercet poem by Matteo Palmieri.
Matteo Palmieri’s City of Life: The Original Idea of Three Opportunities for Salvation
doi:10.11648/j.ijla.20140206.12
International Journal of Literature and Arts
2014-12-15
© Science Publishing Group
Alessandra Mita Ferraro
Matteo Palmieri’s City of Life: The Original Idea of Three Opportunities for Salvation
2
6
239
239
2014-12-15
2014-12-15
10.11648/j.ijla.20140206.12
http://www.sciencepublishinggroup.com/journal/paperinfo.aspx?journalid=502&doi=10.11648/j.ijla.20140206.12
© Science Publishing Group
The Struggle for Woman’s Place and Voice in Charlotte Brontë’s Jane Eyre and George Sand’s Indiana
http://www.sciencepublishinggroup.com/journal/paperinfo.aspx?journalid=502&doi=10.11648/j.ijla.20140206.14
The aim of my article is to uncover the deep semiotic relation existing between Charlotte Brontë’s Jane Eyre (1847) and George Sand’s Indiana (1832), highlighting the proto-feminist elements that characterize both novels and drawing a comparative analysis of the two plots centered on the difficult journey of initiation of two young women physically and emotionally imprisoned by the laws of patriarchal society. Both novels follow a track of self-discovery through a progressive and circular development that shows below the surface plot, affirming social conventions, a submerged plot encoding rebellion. Through a semiotic analysis of the deep structure of the two novels my article intends to reveal a three-stage development of the protagonists, strictly connected to their progressive awakening to romantic and physical love. Moreover an analysis of the isotopic structure of the two texts will show how the dichotomy Nature vs. Culture undermines the two plots, from the micro to the macro levels of the texts. The conflict between Nature and Culture is at the origin of other thematic and figurative isotopies: love vs. marriage, physical vs. spiritual love, freedom vs. slavery, faith vs. religion, Creole vs. English, dark vs. light etc. These isotopies underline and support in both novels a distortion of the formalized conventions of love, highlighting the thematic conflict between woman’s individual desire and the limits set to her within a patriarchal society.
The aim of my article is to uncover the deep semiotic relation existing between Charlotte Brontë’s Jane Eyre (1847) and George Sand’s Indiana (1832), highlighting the proto-feminist elements that characterize both novels and drawing a comparative analysis of the two plots centered on the difficult journey of initiation of two young women physically and emotionally imprisoned by the laws of patriarchal society. Both novels follow a track of self-discovery through a progressive and circular development that shows below the surface plot, affirming social conventions, a submerged plot encoding rebellion. Through a semiotic analysis of the deep structure of the two novels my article intends to reveal a three-stage development of the protagonists, strictly connected to their progressive awakening to romantic and physical love. Moreover an analysis of the isotopic structure of the two texts will show how the dichotomy Nature vs. Culture undermines the two plots, from the micro to the macro levels of the texts. The conflict between Nature and Culture is at the origin of other thematic and figurative isotopies: love vs. marriage, physical vs. spiritual love, freedom vs. slavery, faith vs. religion, Creole vs. English, dark vs. light etc. These isotopies underline and support in both novels a distortion of the formalized conventions of love, highlighting the thematic conflict between woman’s individual desire and the limits set to her within a patriarchal society.
The Struggle for Woman’s Place and Voice in Charlotte Brontë’s Jane Eyre and George Sand’s Indiana
doi:10.11648/j.ijla.20140206.14
International Journal of Literature and Arts
2014-12-31
© Science Publishing Group
Barbara Dell’Abate-Çelebi
The Struggle for Woman’s Place and Voice in Charlotte Brontë’s Jane Eyre and George Sand’s Indiana
2
6
257
257
2014-12-31
2014-12-31
10.11648/j.ijla.20140206.14
http://www.sciencepublishinggroup.com/journal/paperinfo.aspx?journalid=502&doi=10.11648/j.ijla.20140206.14
© Science Publishing Group
Evolutionary Jazz Improvisation - Jazz Harmony and Solo Improvisation Created by Means of Evolutionary Algorithms with Automatic Fitness
http://www.sciencepublishinggroup.com/journal/paperinfo.aspx?journalid=502&doi=10.11648/j.ijla.20140206.15
This paper describes the Evolutionary Jazz Improvisation (EJI) system for creation of jazz harmony and jazz solo improvisations based on evolutionary algorithms with automatic evaluation. The evaluation function is implemented using score calculation based on specific events recognized in the chord progression and solo line, and alignment to different optimal intensity increase and relaxation curves. The evaluation function is based on the author’s solo analysis of 73 great masters’ solo characteristics and their techniques used for build-up of jazz solos. The results have been evaluated by our live jazz group and used in jam sessions, some of which have been recorded and made available for listening at the links given later.
This paper describes the Evolutionary Jazz Improvisation (EJI) system for creation of jazz harmony and jazz solo improvisations based on evolutionary algorithms with automatic evaluation. The evaluation function is implemented using score calculation based on specific events recognized in the chord progression and solo line, and alignment to different optimal intensity increase and relaxation curves. The evaluation function is based on the author’s solo analysis of 73 great masters’ solo characteristics and their techniques used for build-up of jazz solos. The results have been evaluated by our live jazz group and used in jam sessions, some of which have been recorded and made available for listening at the links given later.
Evolutionary Jazz Improvisation - Jazz Harmony and Solo Improvisation Created by Means of Evolutionary Algorithms with Automatic Fitness
doi:10.11648/j.ijla.20140206.15
International Journal of Literature and Arts
2015-01-06
© Science Publishing Group
Kjell Bäckman
Evolutionary Jazz Improvisation - Jazz Harmony and Solo Improvisation Created by Means of Evolutionary Algorithms with Automatic Fitness
2
6
265
265
2015-01-06
2015-01-06
10.11648/j.ijla.20140206.15
http://www.sciencepublishinggroup.com/journal/paperinfo.aspx?journalid=502&doi=10.11648/j.ijla.20140206.15
© Science Publishing Group
Political Satire in Abebe Tola’s “Yabe Tokichaw Shimutochi” and “Yabe Tokichaw Mitsetochi” Essays
http://www.sciencepublishinggroup.com/journal/paperinfo.aspx?journalid=502&doi=10.11648/j.ijla.20140206.13
In Ethiopian political situation peoples use different methods of literary works to criticize the government and to show some useful directions. These kinds of political criticism develop the culture of politics in the country. This study attempted to show one way of political criticism; using satire. The researcher selected appropriate essays that reflect the use of satire for political criticism. In line to this, textual analysis of the essays selected from the analogy books of Abebe Tola’s ‘Yabe Tokichaw Shimutoch’ and ‘Yabe Tokichaw Mitsetoch’ were carried out. Thus through analysis of the themes of these essays the study discloses the major social wrong themes and behavioral wrong themes and their effect on the peoples life by the reflection political situation of the country. The study also reveals that even though the country is on the way of building democracy some problems and faults are found as the satirist stated. Therefore, every Ethiopian people are from the ordinary persons up to the higher officials and from the oppositions parties up to the leading party should take some useful measure to build good democratic and developed state in terms of every aspect.
In Ethiopian political situation peoples use different methods of literary works to criticize the government and to show some useful directions. These kinds of political criticism develop the culture of politics in the country. This study attempted to show one way of political criticism; using satire. The researcher selected appropriate essays that reflect the use of satire for political criticism. In line to this, textual analysis of the essays selected from the analogy books of Abebe Tola’s ‘Yabe Tokichaw Shimutoch’ and ‘Yabe Tokichaw Mitsetoch’ were carried out. Thus through analysis of the themes of these essays the study discloses the major social wrong themes and behavioral wrong themes and their effect on the peoples life by the reflection political situation of the country. The study also reveals that even though the country is on the way of building democracy some problems and faults are found as the satirist stated. Therefore, every Ethiopian people are from the ordinary persons up to the higher officials and from the oppositions parties up to the leading party should take some useful measure to build good democratic and developed state in terms of every aspect.
Political Satire in Abebe Tola’s “Yabe Tokichaw Shimutochi” and “Yabe Tokichaw Mitsetochi” Essays
doi:10.11648/j.ijla.20140206.13
International Journal of Literature and Arts
2014-12-26
© Science Publishing Group
Yonas Adamu Chernet
Political Satire in Abebe Tola’s “Yabe Tokichaw Shimutochi” and “Yabe Tokichaw Mitsetochi” Essays
2
6
251
251
2014-12-26
2014-12-26
10.11648/j.ijla.20140206.13
http://www.sciencepublishinggroup.com/journal/paperinfo.aspx?journalid=502&doi=10.11648/j.ijla.20140206.13
© Science Publishing Group
Living in Perpetual War but Dreaming at Perpetual Peace
http://www.sciencepublishinggroup.com/journal/paperinfo.aspx?journalid=502&doi=10.11648/j.ijla.s.2014020601.12
The world is the arena of permanent confrontation among individuals and communities. They are pushed toward confrontation by the human beings inner nature and by their contradictory interests. Permanent struggle for money, social position, influence, resources, and territories has different forms of manifestation, from a banal quarrel to fight for survival within the natural jungle as well as to urban jungle and armed conflict. Perpetual peace we dream at is more and more a utopian objective unless we could accept that “Wars no longer begin or end, they are assumed to be the natural continuous state of things”.
The world is the arena of permanent confrontation among individuals and communities. They are pushed toward confrontation by the human beings inner nature and by their contradictory interests. Permanent struggle for money, social position, influence, resources, and territories has different forms of manifestation, from a banal quarrel to fight for survival within the natural jungle as well as to urban jungle and armed conflict. Perpetual peace we dream at is more and more a utopian objective unless we could accept that “Wars no longer begin or end, they are assumed to be the natural continuous state of things”.
Living in Perpetual War but Dreaming at Perpetual Peace
doi:10.11648/j.ijla.s.2014020601.12
International Journal of Literature and Arts
2014-11-05
© Science Publishing Group
Michael Orzeaţă
Living in Perpetual War but Dreaming at Perpetual Peace
2
6
14
14
2014-11-05
2014-11-05
10.11648/j.ijla.s.2014020601.12
http://www.sciencepublishinggroup.com/journal/paperinfo.aspx?journalid=502&doi=10.11648/j.ijla.s.2014020601.12
© Science Publishing Group
English for Specific Academic Purposes: The Need for ICT and Reconstruction
http://www.sciencepublishinggroup.com/journal/paperinfo.aspx?journalid=502&doi=10.11648/j.ijla.s.2014020601.11
In most non-English speaking countries, the language is basically seen as an academic endeavor for some general or specific purposes. Teachers, academicians, syllabus designers, but not learners, are often involved in structuring, designing or promoting the curricula and teaching activities. The rationale of this paper is to integrate other contributing components to the teaching and learning of English for Specific Academic Purposes (ESAP). Authentic material, ICT, learners’ communication, task based activities, the teacher’s facilitator role, digital teaching, purpose oriented assessment, learner centered methods and project oriented curricula are the current needs of higher education in the Moroccan university. Thus, the objective of this paper is to give some new insights that might contribute in the digital change and the current needs of learning and teaching enterprise. For this purpose, a case study of teaching some linguistic and research methods courses has been conducted in the English department at Chouaib Doukkali University, El Jadida, Morocco, to evaluate to current situation, analyze the data and suggest a reconstructive model based on ICT and learners’ integration.
In most non-English speaking countries, the language is basically seen as an academic endeavor for some general or specific purposes. Teachers, academicians, syllabus designers, but not learners, are often involved in structuring, designing or promoting the curricula and teaching activities. The rationale of this paper is to integrate other contributing components to the teaching and learning of English for Specific Academic Purposes (ESAP). Authentic material, ICT, learners’ communication, task based activities, the teacher’s facilitator role, digital teaching, purpose oriented assessment, learner centered methods and project oriented curricula are the current needs of higher education in the Moroccan university. Thus, the objective of this paper is to give some new insights that might contribute in the digital change and the current needs of learning and teaching enterprise. For this purpose, a case study of teaching some linguistic and research methods courses has been conducted in the English department at Chouaib Doukkali University, El Jadida, Morocco, to evaluate to current situation, analyze the data and suggest a reconstructive model based on ICT and learners’ integration.
English for Specific Academic Purposes: The Need for ICT and Reconstruction
doi:10.11648/j.ijla.s.2014020601.11
International Journal of Literature and Arts
2014-10-07
© Science Publishing Group
Yahya Dkhissi
English for Specific Academic Purposes: The Need for ICT and Reconstruction
2
6
7
7
2014-10-07
2014-10-07
10.11648/j.ijla.s.2014020601.11
http://www.sciencepublishinggroup.com/journal/paperinfo.aspx?journalid=502&doi=10.11648/j.ijla.s.2014020601.11
© Science Publishing Group
Significant Relationship in Patrick White’s The Aunt’s Story
http://www.sciencepublishinggroup.com/journal/paperinfo.aspx?journalid=502&doi=10.11648/j.ijla.s.2014020601.13
The Aunt’s Story is perhaps Patrick White’s most famous and detailed work of the disintegration of identity. It is about freedom. The whole plot deals with Theodora Goodman’s struggle for a free world in which she can attain truth. The Aunt’s Story is primarily concerned with Theodora’s attempt to attain some sort of epiphany, particularly when she yields to moments of close relationships with other characters and the landscape. However, this communion is thwarted on the grounds that it threats her spiritual world. This work explains Theodora’s spiritual odyssey by highlighting her childhood recollections and her most important relationships with the other characters such as Frank, Clarkson, and Moraitis. It will explain Patrick White’s rationale behind emphasising spirituality and ignoring the physical world. In the end, it will put White’s philosophical dichotomy of spiritual development and physical nature under scrutiny in the light of Western Philosophy.
The Aunt’s Story is perhaps Patrick White’s most famous and detailed work of the disintegration of identity. It is about freedom. The whole plot deals with Theodora Goodman’s struggle for a free world in which she can attain truth. The Aunt’s Story is primarily concerned with Theodora’s attempt to attain some sort of epiphany, particularly when she yields to moments of close relationships with other characters and the landscape. However, this communion is thwarted on the grounds that it threats her spiritual world. This work explains Theodora’s spiritual odyssey by highlighting her childhood recollections and her most important relationships with the other characters such as Frank, Clarkson, and Moraitis. It will explain Patrick White’s rationale behind emphasising spirituality and ignoring the physical world. In the end, it will put White’s philosophical dichotomy of spiritual development and physical nature under scrutiny in the light of Western Philosophy.
Significant Relationship in Patrick White’s The Aunt’s Story
doi:10.11648/j.ijla.s.2014020601.13
International Journal of Literature and Arts
2014-11-24
© Science Publishing Group
Asaad Faqe Muhamed
Significant Relationship in Patrick White’s The Aunt’s Story
2
6
22
22
2014-11-24
2014-11-24
10.11648/j.ijla.s.2014020601.13
http://www.sciencepublishinggroup.com/journal/paperinfo.aspx?journalid=502&doi=10.11648/j.ijla.s.2014020601.13
© Science Publishing Group
Disease as Enemy: Journalistic Discourse Analysis about Dengue Fever
http://www.sciencepublishinggroup.com/journal/paperinfo.aspx?journalid=502&doi=10.11648/j.ijla.s.2014020601.14
Dengue fever is one of the current concerns of Brazilian public health. It emerged and became well known in Brazil in the 1980s, when successive outbreaks were registered in several cities. The purpose of this article is to evaluate the media treatment given to dengue fever, a disease that is increasingly affecting Brazilian people. Starting from the explosive outbreak recorded in 2002, we seek to understand the discourse construction about the disease, by evaluating the discursive strategies used in 2002, 2004, 2006 and 2008. We selected 291 news published in Jornal do Commercio, a daily newspaper of Recife (State of Pernambuco), about the situation of dengue and linked them to the notifications of the disease recorded by the Health Department of Pernambuco. The increase of cases and fatalities has a strong journalistic appeal, requiring an almost daily narrative of the events related to the disease’s threat. The notion of outbreak built over the centuries is essential to analyze the effects of signification produced nowadays about infectious diseases as dengue fever. Moreover the discourse of militarization observed in the media through war metaphors is commonly used to emphasize the fear and the necessity of adoption of preventive practices.
Dengue fever is one of the current concerns of Brazilian public health. It emerged and became well known in Brazil in the 1980s, when successive outbreaks were registered in several cities. The purpose of this article is to evaluate the media treatment given to dengue fever, a disease that is increasingly affecting Brazilian people. Starting from the explosive outbreak recorded in 2002, we seek to understand the discourse construction about the disease, by evaluating the discursive strategies used in 2002, 2004, 2006 and 2008. We selected 291 news published in Jornal do Commercio, a daily newspaper of Recife (State of Pernambuco), about the situation of dengue and linked them to the notifications of the disease recorded by the Health Department of Pernambuco. The increase of cases and fatalities has a strong journalistic appeal, requiring an almost daily narrative of the events related to the disease’s threat. The notion of outbreak built over the centuries is essential to analyze the effects of signification produced nowadays about infectious diseases as dengue fever. Moreover the discourse of militarization observed in the media through war metaphors is commonly used to emphasize the fear and the necessity of adoption of preventive practices.
Disease as Enemy: Journalistic Discourse Analysis about Dengue Fever
doi:10.11648/j.ijla.s.2014020601.14
International Journal of Literature and Arts
2015-01-08
© Science Publishing Group
Luiz Marcelo Robalinho Ferraz
Isaltina Maria de Azevedo Mello Gomes
Disease as Enemy: Journalistic Discourse Analysis about Dengue Fever
2
6
29
29
2015-01-08
2015-01-08
10.11648/j.ijla.s.2014020601.14
http://www.sciencepublishinggroup.com/journal/paperinfo.aspx?journalid=502&doi=10.11648/j.ijla.s.2014020601.14
© Science Publishing Group
States of Conflict and the Idea of Pacifism in the Novel Fratricides
http://www.sciencepublishinggroup.com/journal/paperinfo.aspx?journalid=502&doi=10.11648/j.ijla.s.2014020601.15
Father Ianaros, the main character of Nikos Kazantzakis’ Fratricides is leading a two-way battle, a real conflict with himself as well as the struggle between body and soul, torn between fascists and communists. The confusion between red and black, between life and death (bodily and spiritual) and its source that rests in the peace without peace that the priest confronts in his questions is often made. If the war of the soul with the body remains, somehow, always on the same line, the contradiction between yes and no, between Nai and Ohi (Gk.) multiplies (but having in common the priest’s consciousness of Castelos), knowing several directions possibilities: the fellowship either with the red, or the black side; the isolation from the real world; abdicating from the condition of priest as the angel of God on earth. Like Jesus, pushed up and down by the wave of doubt, the father of the village lies at the crossroads between various judgments, set out to find the truth in the wilderness of questions. Much of the agony is his struggling with loneliness, under the monos position before a herd ravaged by civil war. The dilemma is amplified, tripled, and the choice is complicated. Therefore, at Nikos Kazantzakis, the necessarily provided Pascalian condition of man, half zoon, half angel comes to be higher, the demands made on man actually referring only to his angelic, superhuman nature, hardly allowing the pacification.
Father Ianaros, the main character of Nikos Kazantzakis’ Fratricides is leading a two-way battle, a real conflict with himself as well as the struggle between body and soul, torn between fascists and communists. The confusion between red and black, between life and death (bodily and spiritual) and its source that rests in the peace without peace that the priest confronts in his questions is often made. If the war of the soul with the body remains, somehow, always on the same line, the contradiction between yes and no, between Nai and Ohi (Gk.) multiplies (but having in common the priest’s consciousness of Castelos), knowing several directions possibilities: the fellowship either with the red, or the black side; the isolation from the real world; abdicating from the condition of priest as the angel of God on earth. Like Jesus, pushed up and down by the wave of doubt, the father of the village lies at the crossroads between various judgments, set out to find the truth in the wilderness of questions. Much of the agony is his struggling with loneliness, under the monos position before a herd ravaged by civil war. The dilemma is amplified, tripled, and the choice is complicated. Therefore, at Nikos Kazantzakis, the necessarily provided Pascalian condition of man, half zoon, half angel comes to be higher, the demands made on man actually referring only to his angelic, superhuman nature, hardly allowing the pacification.
States of Conflict and the Idea of Pacifism in the Novel Fratricides
doi:10.11648/j.ijla.s.2014020601.15
International Journal of Literature and Arts
2015-01-14
© Science Publishing Group
Amalia-Florentina Drăgulănescu
States of Conflict and the Idea of Pacifism in the Novel Fratricides
2
6
34
34
2015-01-14
2015-01-14
10.11648/j.ijla.s.2014020601.15
http://www.sciencepublishinggroup.com/journal/paperinfo.aspx?journalid=502&doi=10.11648/j.ijla.s.2014020601.15
© Science Publishing Group
Bali Cultural Transformation in Standard House in Surabaya
http://www.sciencepublishinggroup.com/journal/paperinfo.aspx?journalid=502&doi=10.11648/j.ijla.20150301.11
Humans need a home for a comfortable life especially with family. For the Indonesian people, culture shapes the human life, as well as for the Balinese people who have strong traditions. Balinese people believe that there is a relationship between the universe or macro-cosmos (the natural environment) and micro-cosmos (the houses), whereby human life must maintain harmony with nature, where all three elements (philosophy, art and aesthetics) are applied. This can be seen to the reliefs carved on the walls of standard houses in the front yard to the back yard of the house, including outer space adjacent neighbors. Those are filled with reliefs and sculptures which have full of meaningful tradition. Given that the standard house has a limited area of spaces, it is difficult to restructure it for the aplication of Balinese tradition because it has already been established. The stucturing of rooms and spaces of the house and the sculptures are placed, to present meaningful presence according to the Balinese culture (Main Problem).
Humans need a home for a comfortable life especially with family. For the Indonesian people, culture shapes the human life, as well as for the Balinese people who have strong traditions. Balinese people believe that there is a relationship between the universe or macro-cosmos (the natural environment) and micro-cosmos (the houses), whereby human life must maintain harmony with nature, where all three elements (philosophy, art and aesthetics) are applied. This can be seen to the reliefs carved on the walls of standard houses in the front yard to the back yard of the house, including outer space adjacent neighbors. Those are filled with reliefs and sculptures which have full of meaningful tradition. Given that the standard house has a limited area of spaces, it is difficult to restructure it for the aplication of Balinese tradition because it has already been established. The stucturing of rooms and spaces of the house and the sculptures are placed, to present meaningful presence according to the Balinese culture (Main Problem).
Bali Cultural Transformation in Standard House in Surabaya
doi:10.11648/j.ijla.20150301.11
International Journal of Literature and Arts
2015-01-30
© Science Publishing Group
Ratna Darmiwati
Muhammad Faqih
Arina Hayati
Bali Cultural Transformation in Standard House in Surabaya
3
1
6
6
2015-01-30
2015-01-30
10.11648/j.ijla.20150301.11
http://www.sciencepublishinggroup.com/journal/paperinfo.aspx?journalid=502&doi=10.11648/j.ijla.20150301.11
© Science Publishing Group
Beware of the Dogs: The Position and Role of Dogs in Biblical Discourse
http://www.sciencepublishinggroup.com/journal/paperinfo.aspx?journalid=502&doi=10.11648/j.ijla.20150301.12
Animals and humanbeings are closely connected,whether this be in harmony or conflict. Animals may be our friends and helpers, but also may become our food. The history of religions, shows us that animal can become a centre of religious worship (zoolatry) or/and a sacrificial offering.The latter becomes themeans of mediation between the human and the divine realm. In biblical discourse, the relationship between people and animalsis depictedeither in terms of human superiority over the animal world,“so that they may rule over the fish in the sea and the birds in the sky, over the livestock and all the wild animals, and over all the creatures that move along the ground” (Gen 1:26-30) or as a relationship of mutual fear, “The fear and dread of you will fall on all the beasts of the earth, and on all the birds in the sky, on every creature that moves along the ground, and on all the fish in the sea; they are given into your hands”. (Gen 9:2). Finally, in biblical discourse, animals are food for humans, “Everything that lives and moves about will be food for you. Just as I gave you the green plants, I now give you everything”. (Gen 9:3).Examining biblical bestiary, we shall particularly be interested in relation to the position of dogs in the Bible.
Animals and humanbeings are closely connected,whether this be in harmony or conflict. Animals may be our friends and helpers, but also may become our food. The history of religions, shows us that animal can become a centre of religious worship (zoolatry) or/and a sacrificial offering.The latter becomes themeans of mediation between the human and the divine realm. In biblical discourse, the relationship between people and animalsis depictedeither in terms of human superiority over the animal world,“so that they may rule over the fish in the sea and the birds in the sky, over the livestock and all the wild animals, and over all the creatures that move along the ground” (Gen 1:26-30) or as a relationship of mutual fear, “The fear and dread of you will fall on all the beasts of the earth, and on all the birds in the sky, on every creature that moves along the ground, and on all the fish in the sea; they are given into your hands”. (Gen 9:2). Finally, in biblical discourse, animals are food for humans, “Everything that lives and moves about will be food for you. Just as I gave you the green plants, I now give you everything”. (Gen 9:3).Examining biblical bestiary, we shall particularly be interested in relation to the position of dogs in the Bible.
Beware of the Dogs: The Position and Role of Dogs in Biblical Discourse
doi:10.11648/j.ijla.20150301.12
International Journal of Literature and Arts
2015-03-18
© Science Publishing Group
Daniel Berkovic
Beware of the Dogs: The Position and Role of Dogs in Biblical Discourse
3
1
11
11
2015-03-18
2015-03-18
10.11648/j.ijla.20150301.12
http://www.sciencepublishinggroup.com/journal/paperinfo.aspx?journalid=502&doi=10.11648/j.ijla.20150301.12
© Science Publishing Group
A Mythic Journey to Polyphemus, Tepegöz and Grendal
http://www.sciencepublishinggroup.com/journal/paperinfo.aspx?journalid=502&doi=10.11648/j.ijla.20150302.11
Human shaped, huge sized, sometimes one eyed, three or seven headed giants /monsters are unique folkloric, mythic elements of oral and written cultures and traditions through Greek, Latin, East and West civilizations. From Polyphemus of Homer's classical Odyssey to Anglo-Saxon Beowulf, Turkish Tepegöz (One Eyed-Giant) of the Book of Dede Korkut (Dede Qorqut), Sinbad of Arabic Thousand and One Nights, Fénelon's Telemachus, Joyce's modern Ulysses, even to J.R.R. Tolkien's Norse figures in the Hobbit of our age several mythic adaptations have taken place in Western and Eastern literatures from around the world. Polyphemus, Tepegöz and Beowulf remind of well-known mythic legends built on relationships of heroes and giants of the legends such as Telemachus, Arimaspoi, Kabandha, Psoglav, Jian or one eyed-man eating Cyclops in Sinbad the Sailor etc., In this term, in this study, a comparison of gigantic and heroic figures making a mythic journey to Odyssey, The Story of Basat, Killer of the One-Eyed-Giant (Tepegöz) and Beowulf will be presented to the attentions from a perspective of comparative literature and evaluated their similarities and differences by comparative examples. Here the aim will be to know both the others' and our own works closer, and recognize their impacts and interactions on each other's and also discover their places in the world literature.
Human shaped, huge sized, sometimes one eyed, three or seven headed giants /monsters are unique folkloric, mythic elements of oral and written cultures and traditions through Greek, Latin, East and West civilizations. From Polyphemus of Homer's classical Odyssey to Anglo-Saxon Beowulf, Turkish Tepegöz (One Eyed-Giant) of the Book of Dede Korkut (Dede Qorqut), Sinbad of Arabic Thousand and One Nights, Fénelon's Telemachus, Joyce's modern Ulysses, even to J.R.R. Tolkien's Norse figures in the Hobbit of our age several mythic adaptations have taken place in Western and Eastern literatures from around the world. Polyphemus, Tepegöz and Beowulf remind of well-known mythic legends built on relationships of heroes and giants of the legends such as Telemachus, Arimaspoi, Kabandha, Psoglav, Jian or one eyed-man eating Cyclops in Sinbad the Sailor etc., In this term, in this study, a comparison of gigantic and heroic figures making a mythic journey to Odyssey, The Story of Basat, Killer of the One-Eyed-Giant (Tepegöz) and Beowulf will be presented to the attentions from a perspective of comparative literature and evaluated their similarities and differences by comparative examples. Here the aim will be to know both the others' and our own works closer, and recognize their impacts and interactions on each other's and also discover their places in the world literature.
A Mythic Journey to Polyphemus, Tepegöz and Grendal
doi:10.11648/j.ijla.20150302.11
International Journal of Literature and Arts
2015-04-28
© Science Publishing Group
Elmas Sahin
A Mythic Journey to Polyphemus, Tepegöz and Grendal
3
2
17
17
2015-04-28
2015-04-28
10.11648/j.ijla.20150302.11
http://www.sciencepublishinggroup.com/journal/paperinfo.aspx?journalid=502&doi=10.11648/j.ijla.20150302.11
© Science Publishing Group
The Eighteenth Century and the Rise of the English Novel
http://www.sciencepublishinggroup.com/journal/paperinfo.aspx?journalid=502&doi=10.11648/j.ijla.20150302.12
It is not by chance that the English Novel dates back to the Eighteenth century. This does not imply that nothing existed in the form of a novel before 1700. Then, Daniel Defoe made novel come to existence, completely. Nothing comes from nothing, even the greatest masterpieces of literature starts off from what was available from the previous eras. The novelist in the Eighteenth century had on one hand, the medieval romance and its successors; the courtly novel of Italy and France and the English stories. The Sixteenth and Seventeenth centuries were developed and grown out of some important sources: Lyly’s Euphues, Sidney’s Arcadia and Green’s Menaphon. On the other hand, the rogue novels and the Picaresque tradition were two other significant factors to the rise of the English Novel. Certain other factors were helpful to the rise of the English novel; from them; translations from the classics such as The Golden Ass of Petronius, Boccaccio as well as the authorized version of the Bible.
It is not by chance that the English Novel dates back to the Eighteenth century. This does not imply that nothing existed in the form of a novel before 1700. Then, Daniel Defoe made novel come to existence, completely. Nothing comes from nothing, even the greatest masterpieces of literature starts off from what was available from the previous eras. The novelist in the Eighteenth century had on one hand, the medieval romance and its successors; the courtly novel of Italy and France and the English stories. The Sixteenth and Seventeenth centuries were developed and grown out of some important sources: Lyly’s Euphues, Sidney’s Arcadia and Green’s Menaphon. On the other hand, the rogue novels and the Picaresque tradition were two other significant factors to the rise of the English Novel. Certain other factors were helpful to the rise of the English novel; from them; translations from the classics such as The Golden Ass of Petronius, Boccaccio as well as the authorized version of the Bible.
The Eighteenth Century and the Rise of the English Novel
doi:10.11648/j.ijla.20150302.12
International Journal of Literature and Arts
2015-05-12
© Science Publishing Group
Mariwan N. Hasan
The Eighteenth Century and the Rise of the English Novel
3
2
21
21
2015-05-12
2015-05-12
10.11648/j.ijla.20150302.12
http://www.sciencepublishinggroup.com/journal/paperinfo.aspx?journalid=502&doi=10.11648/j.ijla.20150302.12
© Science Publishing Group
Milton’s Portrayal of Satan in Paradise Lost and the Notion of Heroism
http://www.sciencepublishinggroup.com/journal/paperinfo.aspx?journalid=502&doi=10.11648/j.ijla.20150303.11
This paper examines the question whether Satan is really the hero of John Milton’s great epic poem Paradise Lost (1667). There are controversial debates over this issue, and most critics believe that, although Satan acts and speaks heroically, God is the real hero of the poem, not Satan. The paper adopts the analytical approach. The findings of the paper reveal that the central character Satan is a devil that acts for his own self-interests, and cannot do good, even to his followers, the fallen angels. The paper finally shows that, every impulse in Satan towards good has died out. The element of nobility that redeemed his character at the outset from absolute baseness has been killed. Hardly therefore shall we believe that Milton meant us to see in the fallen and ever falling archangel the hero of his poem. That position surely belongs to Adam.
This paper examines the question whether Satan is really the hero of John Milton’s great epic poem Paradise Lost (1667). There are controversial debates over this issue, and most critics believe that, although Satan acts and speaks heroically, God is the real hero of the poem, not Satan. The paper adopts the analytical approach. The findings of the paper reveal that the central character Satan is a devil that acts for his own self-interests, and cannot do good, even to his followers, the fallen angels. The paper finally shows that, every impulse in Satan towards good has died out. The element of nobility that redeemed his character at the outset from absolute baseness has been killed. Hardly therefore shall we believe that Milton meant us to see in the fallen and ever falling archangel the hero of his poem. That position surely belongs to Adam.
Milton’s Portrayal of Satan in Paradise Lost and the Notion of Heroism
doi:10.11648/j.ijla.20150303.11
International Journal of Literature and Arts
2015-05-12
© Science Publishing Group
Jamal Subhi Ismail Nafi’
Milton’s Portrayal of Satan in Paradise Lost and the Notion of Heroism
3
3
28
28
2015-05-12
2015-05-12
10.11648/j.ijla.20150303.11
http://www.sciencepublishinggroup.com/journal/paperinfo.aspx?journalid=502&doi=10.11648/j.ijla.20150303.11
© Science Publishing Group
Bridge Structures with Four Arches on Bistrica River in Ocrkavlje
http://www.sciencepublishinggroup.com/journal/paperinfo.aspx?journalid=502&doi=10.11648/j.ijla.20150303.12
Bridge in Ocrkavlje is a continuation of research and analytical work and process on documenting bridge structures at the Imperial road in Bosnia or džada, transversal already in ancient time, established on the territory of the present-day Bosnia and Herzegovina. Among the sixteen processed, there are three bridge structures that are first time treated in this way in term of protection, and whose documentation did not existed. Researching of the last one of the three bridges, the one in Ocrkavlje, confirmed the hypothesis about the belonging of these structures to the “architecture of purposes", as a version of vernacular architecture, the spontaneous dealing with problems at the level of experiential and intuitive, as in a basic postulate of builders or dunđerski work.
Bridge in Ocrkavlje is a continuation of research and analytical work and process on documenting bridge structures at the Imperial road in Bosnia or džada, transversal already in ancient time, established on the territory of the present-day Bosnia and Herzegovina. Among the sixteen processed, there are three bridge structures that are first time treated in this way in term of protection, and whose documentation did not existed. Researching of the last one of the three bridges, the one in Ocrkavlje, confirmed the hypothesis about the belonging of these structures to the “architecture of purposes", as a version of vernacular architecture, the spontaneous dealing with problems at the level of experiential and intuitive, as in a basic postulate of builders or dunđerski work.
Bridge Structures with Four Arches on Bistrica River in Ocrkavlje
doi:10.11648/j.ijla.20150303.12
International Journal of Literature and Arts
2015-05-13
© Science Publishing Group
Lemja Chabbouh Akšamija
Lejla Šabić
Bridge Structures with Four Arches on Bistrica River in Ocrkavlje
3
3
33
33
2015-05-13
2015-05-13
10.11648/j.ijla.20150303.12
http://www.sciencepublishinggroup.com/journal/paperinfo.aspx?journalid=502&doi=10.11648/j.ijla.20150303.12
© Science Publishing Group
Illusion in Edward Albee Selected Play “Who’s Afraid of Virginia Woolf”
http://www.sciencepublishinggroup.com/journal/paperinfo.aspx?journalid=502&doi=10.11648/j.ijla.20150304.15
Edward Albee’s Who’s Afraid of Virginia Woolf? Exposes the plunge of moral values of the American family in the modern society in which materialism is Victorious. The play shows the deceptive appearances and moral disintegration of George and Martha. This paper attempts to outline the American dream and how the characters accept illusion as an escape from real life. The initial part provides us withsome information about the writer’s life and how he is influenced by the theater of the absurd, and the impact of the psychological approaches on Albee’s way of writing .The paper also proposes Albee as a modern playwright to recall and explain the community problems that help modern readers to understand his crises and his tragedy form. Superficially, the play seems to be about the illusion but in fact it examines and presents crises of the modern American values and their way of life. Thus, the play discloses the theme of illusion and social American crises through the bond of marriage of the two couples.
Edward Albee’s Who’s Afraid of Virginia Woolf? Exposes the plunge of moral values of the American family in the modern society in which materialism is Victorious. The play shows the deceptive appearances and moral disintegration of George and Martha. This paper attempts to outline the American dream and how the characters accept illusion as an escape from real life. The initial part provides us withsome information about the writer’s life and how he is influenced by the theater of the absurd, and the impact of the psychological approaches on Albee’s way of writing .The paper also proposes Albee as a modern playwright to recall and explain the community problems that help modern readers to understand his crises and his tragedy form. Superficially, the play seems to be about the illusion but in fact it examines and presents crises of the modern American values and their way of life. Thus, the play discloses the theme of illusion and social American crises through the bond of marriage of the two couples.
Illusion in Edward Albee Selected Play “Who’s Afraid of Virginia Woolf”
doi:10.11648/j.ijla.20150304.15
International Journal of Literature and Arts
2015-07-18
© Science Publishing Group
Susan Raheem Rahman Jaf
Zenaa Salim Hammoudi
Zhang Zaihong
Illusion in Edward Albee Selected Play “Who’s Afraid of Virginia Woolf”
3
4
65
65
2015-07-18
2015-07-18
10.11648/j.ijla.20150304.15
http://www.sciencepublishinggroup.com/journal/paperinfo.aspx?journalid=502&doi=10.11648/j.ijla.20150304.15
© Science Publishing Group
The Difference Factors Influencing the Chinese and Foreign Creative Fashion Design Talent Cultivation and Contrast Analysis
http://www.sciencepublishinggroup.com/journal/paperinfo.aspx?journalid=502&doi=10.11648/j.ijla.20150304.16
This paper summarizes 11 possible difference factors affecting domestic and foreign creative fashion design talent training through an extensive literature review, and extracts three common factors by the R-type factor analysis. Finally, picking up the University of Edinburgh with first-class School of Design and the domestic Donghua University with excellent clothing major for example, and providing improvement direction for Chinese creative costume design talent training.
This paper summarizes 11 possible difference factors affecting domestic and foreign creative fashion design talent training through an extensive literature review, and extracts three common factors by the R-type factor analysis. Finally, picking up the University of Edinburgh with first-class School of Design and the domestic Donghua University with excellent clothing major for example, and providing improvement direction for Chinese creative costume design talent training.
The Difference Factors Influencing the Chinese and Foreign Creative Fashion Design Talent Cultivation and Contrast Analysis
doi:10.11648/j.ijla.20150304.16
International Journal of Literature and Arts
2015-07-20
© Science Publishing Group
Yating Zhang
Hongjian Qu
The Difference Factors Influencing the Chinese and Foreign Creative Fashion Design Talent Cultivation and Contrast Analysis
3
4
70
70
2015-07-20
2015-07-20
10.11648/j.ijla.20150304.16
http://www.sciencepublishinggroup.com/journal/paperinfo.aspx?journalid=502&doi=10.11648/j.ijla.20150304.16
© Science Publishing Group
The Delineation of Passion in Sir Philip Sidney’s Astrophil and Stella
http://www.sciencepublishinggroup.com/journal/paperinfo.aspx?journalid=502&doi=10.11648/j.ijla.20150304.14
The research tries to approach Philip Sidney (1554-1586) as a model of passionate poet and lover. Through the extensive influence of Greeks’ and Petrarch's love sonnet cycles, Sidney wrote his sonnets about the abject knightly lover, to suit his prime purpose of delineating the uncontrollable passion, who is condemned by the coldness of his beloved. It also examines the delineation of passion in Sidney’s sonnets cycle, namely Astrophil and Stella, in which selected sonnets as well as songs revolve around the uncontrollable passion of a sorrowful and burning lover, who falls in love, and experiences the agony of rejections and the effects of betrayal by his beloved. It often expresses Astrophil’s pain and frustration at Stella’s diffidence. Sidney carries these passionate topics beyond their predictable limitations, using them simply to begin a discourse. For that matter, through the convention and the influence of Petrarch, Sidney portrayed passion in his sonnets and his songs, breathing into it, a lyrical melody, a meditative energy and an aesthetic interest, transforming the entire sonnet cycle into a personal direct statement.
The research tries to approach Philip Sidney (1554-1586) as a model of passionate poet and lover. Through the extensive influence of Greeks’ and Petrarch's love sonnet cycles, Sidney wrote his sonnets about the abject knightly lover, to suit his prime purpose of delineating the uncontrollable passion, who is condemned by the coldness of his beloved. It also examines the delineation of passion in Sidney’s sonnets cycle, namely Astrophil and Stella, in which selected sonnets as well as songs revolve around the uncontrollable passion of a sorrowful and burning lover, who falls in love, and experiences the agony of rejections and the effects of betrayal by his beloved. It often expresses Astrophil’s pain and frustration at Stella’s diffidence. Sidney carries these passionate topics beyond their predictable limitations, using them simply to begin a discourse. For that matter, through the convention and the influence of Petrarch, Sidney portrayed passion in his sonnets and his songs, breathing into it, a lyrical melody, a meditative energy and an aesthetic interest, transforming the entire sonnet cycle into a personal direct statement.
The Delineation of Passion in Sir Philip Sidney’s Astrophil and Stella
doi:10.11648/j.ijla.20150304.14
International Journal of Literature and Arts
2015-07-17
© Science Publishing Group
Sarkawt Amir Sabir
The Delineation of Passion in Sir Philip Sidney’s Astrophil and Stella
3
4
59
59
2015-07-17
2015-07-17
10.11648/j.ijla.20150304.14
http://www.sciencepublishinggroup.com/journal/paperinfo.aspx?journalid=502&doi=10.11648/j.ijla.20150304.14
© Science Publishing Group
Analysis of English Students’ Learning Style in Bilingual Class
http://www.sciencepublishinggroup.com/journal/paperinfo.aspx?journalid=502&doi=10.11648/j.ijla.20150304.11
Learning style is the way someone feel easy, comfort and save when they are learning. This research aimed at finding out (i) kinds of learning style, (ii) the most dominant learning style in bilingual class, (iii) factors that influence student learning style, and (iv) the effect of learning style on the students’ language achievement. This research was conducted using descriptive qualitative method involving 20 students of SMA Negeri 5 Parepare as participant. The instruments used for this study are questionnaire to identify kinds of learning style and the dominant learning style; interview and observation to identify factors influence student learning style; and written test to identify language achievement. The findings indicated that (i) students learning style in bilingual class divided into three models: modality comprises visual, auditory, and kinesthetic; personality comprises extrovert and introvert; and receiving information comprises global and analytical. (ii) The most dominant learning style in bilingual class is extrovert. (iii) Factors influence students learning style are environment, emotional, sociological, psychological, and teachers. (iv) the effect of learning style on the students language achievement, no significant effect among reading and grammar test, but vocabulary test has.
Learning style is the way someone feel easy, comfort and save when they are learning. This research aimed at finding out (i) kinds of learning style, (ii) the most dominant learning style in bilingual class, (iii) factors that influence student learning style, and (iv) the effect of learning style on the students’ language achievement. This research was conducted using descriptive qualitative method involving 20 students of SMA Negeri 5 Parepare as participant. The instruments used for this study are questionnaire to identify kinds of learning style and the dominant learning style; interview and observation to identify factors influence student learning style; and written test to identify language achievement. The findings indicated that (i) students learning style in bilingual class divided into three models: modality comprises visual, auditory, and kinesthetic; personality comprises extrovert and introvert; and receiving information comprises global and analytical. (ii) The most dominant learning style in bilingual class is extrovert. (iii) Factors influence students learning style are environment, emotional, sociological, psychological, and teachers. (iv) the effect of learning style on the students language achievement, no significant effect among reading and grammar test, but vocabulary test has.
Analysis of English Students’ Learning Style in Bilingual Class
doi:10.11648/j.ijla.20150304.11
International Journal of Literature and Arts
2015-06-25
© Science Publishing Group
Andi Asrifan
Analysis of English Students’ Learning Style in Bilingual Class
3
4
41
41
2015-06-25
2015-06-25
10.11648/j.ijla.20150304.11
http://www.sciencepublishinggroup.com/journal/paperinfo.aspx?journalid=502&doi=10.11648/j.ijla.20150304.11
© Science Publishing Group
Waiting for Godot: A Marxist Study
http://www.sciencepublishinggroup.com/journal/paperinfo.aspx?journalid=502&doi=10.11648/j.ijla.20150304.12
This study tends to focus on the different facets and meanings of ‘’Waiting for Godot’’ by Samuel Beckett. The different occurrences of conflicting and contradictory meanings within the text of the play show existence of the late modernist bourgeois ideology. Based on the theoretical concern of the discussions of Post-Structuralist Marxist theorists Louis Althusser and Pierre Macherey, the main concern of the discussion concentrates on the theory of decentred or disparate text, expounded by Pierre Macherey in his book, “A Theory of Literary Production” (1978). This paper asks how the significant gaps, silences, absences and non-saids in the text of “Waiting for Godot” reflect the presence of the late modernist bourgeois ideology. This paper aims to reflect on the significance of ideology to articulate Post-Structuralist Marxist theory of decentred or disparate text. To make vocal the non-saids of Samuel Beckett’s text, the theory and methodology, I seek in this research paper is Post-Structuralist Althusserian Hermeneutics that helps to find conflict, disparity and contradiction of meaning within the text and between the text and its ideological content. It also helps to make speak and vocal the silences and non-saids of the play with conceptual framework of Post-Structuralist Althusserian theory of decentred or disparate text. The study would analyse how the ideological processes keep the author silent at certain stages in trying to tell the truth in his own way. It is hoped that this paper would enable the readers and students of literature to theoretical reading of the literary texts, making vocal the unspoken portions of them. They are also expected to find different, conflicting and contradictory meanings within the text of “Waiting for Godot” and between the text and its ideological content.
This study tends to focus on the different facets and meanings of ‘’Waiting for Godot’’ by Samuel Beckett. The different occurrences of conflicting and contradictory meanings within the text of the play show existence of the late modernist bourgeois ideology. Based on the theoretical concern of the discussions of Post-Structuralist Marxist theorists Louis Althusser and Pierre Macherey, the main concern of the discussion concentrates on the theory of decentred or disparate text, expounded by Pierre Macherey in his book, “A Theory of Literary Production” (1978). This paper asks how the significant gaps, silences, absences and non-saids in the text of “Waiting for Godot” reflect the presence of the late modernist bourgeois ideology. This paper aims to reflect on the significance of ideology to articulate Post-Structuralist Marxist theory of decentred or disparate text. To make vocal the non-saids of Samuel Beckett’s text, the theory and methodology, I seek in this research paper is Post-Structuralist Althusserian Hermeneutics that helps to find conflict, disparity and contradiction of meaning within the text and between the text and its ideological content. It also helps to make speak and vocal the silences and non-saids of the play with conceptual framework of Post-Structuralist Althusserian theory of decentred or disparate text. The study would analyse how the ideological processes keep the author silent at certain stages in trying to tell the truth in his own way. It is hoped that this paper would enable the readers and students of literature to theoretical reading of the literary texts, making vocal the unspoken portions of them. They are also expected to find different, conflicting and contradictory meanings within the text of “Waiting for Godot” and between the text and its ideological content.
Waiting for Godot: A Marxist Study
doi:10.11648/j.ijla.20150304.12
International Journal of Literature and Arts
2015-07-02
© Science Publishing Group
Javed Akhter
Khair Muhammad
Naila Naz
Waiting for Godot: A Marxist Study
3
4
48
48
2015-07-02
2015-07-02
10.11648/j.ijla.20150304.12
http://www.sciencepublishinggroup.com/journal/paperinfo.aspx?journalid=502&doi=10.11648/j.ijla.20150304.12
© Science Publishing Group
The Existance of Shared Space with the Container of Character Application Among Low Income Users
http://www.sciencepublishinggroup.com/journal/paperinfo.aspx?journalid=502&doi=10.11648/j.ijla.20150304.13
Humans are social beings, who tend to live together in groups. For low-income people category in the society, togetherness strongly influences the members’ way of life. The limited socio-economic factors among the low-income circles, leads to the emergence of settlements and slums that are not orderly. This is due to the various activities these settlements serve to fulfill, such as a togetherness socialization, centers of economic activities, non-formal education, among others. The shared space acts as a container where these various activities take place. Thus, it must be met with the low-income bracket standard so that it can be utilized effectively, in return, making it easier to regulate the placement, while at the same time reducing the disorderliness and untidiness in the settlement as well as the environment. The assessment of the existence of shared space in residential environments, among others is to help ensure that: The existence of shared space, can be accepted by the inhabitants of low-income residents; the shared spaces serve the functions that residents daily activities can take place regularly and fulfill the desire of residents; the existence of shared space is right, and the activities take place comfortably ,safely, orderly and without interfering with privacy of others; the existence of shared spaces meet the terms of architecture that meet environment standards, where noise, ambient temperature, humidity, and odors can be controlled, and infrastructure organized.
Humans are social beings, who tend to live together in groups. For low-income people category in the society, togetherness strongly influences the members’ way of life. The limited socio-economic factors among the low-income circles, leads to the emergence of settlements and slums that are not orderly. This is due to the various activities these settlements serve to fulfill, such as a togetherness socialization, centers of economic activities, non-formal education, among others. The shared space acts as a container where these various activities take place. Thus, it must be met with the low-income bracket standard so that it can be utilized effectively, in return, making it easier to regulate the placement, while at the same time reducing the disorderliness and untidiness in the settlement as well as the environment. The assessment of the existence of shared space in residential environments, among others is to help ensure that: The existence of shared space, can be accepted by the inhabitants of low-income residents; the shared spaces serve the functions that residents daily activities can take place regularly and fulfill the desire of residents; the existence of shared space is right, and the activities take place comfortably ,safely, orderly and without interfering with privacy of others; the existence of shared spaces meet the terms of architecture that meet environment standards, where noise, ambient temperature, humidity, and odors can be controlled, and infrastructure organized.
The Existance of Shared Space with the Container of Character Application Among Low Income Users
doi:10.11648/j.ijla.20150304.13
International Journal of Literature and Arts
2015-07-11
© Science Publishing Group
Ratna Darmiwati
Happy Ratna Sumartinah
The Existance of Shared Space with the Container of Character Application Among Low Income Users
3
4
53
53
2015-07-11
2015-07-11
10.11648/j.ijla.20150304.13
http://www.sciencepublishinggroup.com/journal/paperinfo.aspx?journalid=502&doi=10.11648/j.ijla.20150304.13
© Science Publishing Group
The Social Implications of Some Amharic Proverbs and There Social Needs for Encouragement
http://www.sciencepublishinggroup.com/journal/paperinfo.aspx?journalid=502&doi=10.11648/j.ijla.20150305.11
The purpose of this Article is to show how the Amharic proverbs use in the society’s daily life. Amhara peoples often use proverbs to express the need for people to be courage in whatever they doing in life. This research work focused on the proverbs that Ethiopian Amhara people often use to express courage in people, so as to guarantee better life for them, and of course to make the people to try everything that they want at all times. This research work therefore aim was to exploring the social usage of the proverbs that install motivation in people, within the Amhara people’s cultural terrain.
The purpose of this Article is to show how the Amharic proverbs use in the society’s daily life. Amhara peoples often use proverbs to express the need for people to be courage in whatever they doing in life. This research work focused on the proverbs that Ethiopian Amhara people often use to express courage in people, so as to guarantee better life for them, and of course to make the people to try everything that they want at all times. This research work therefore aim was to exploring the social usage of the proverbs that install motivation in people, within the Amhara people’s cultural terrain.
The Social Implications of Some Amharic Proverbs and There Social Needs for Encouragement
doi:10.11648/j.ijla.20150305.11
International Journal of Literature and Arts
2015-08-08
© Science Publishing Group
Yonas Adamu Chernet
The Social Implications of Some Amharic Proverbs and There Social Needs for Encouragement
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74
74
2015-08-08
2015-08-08
10.11648/j.ijla.20150305.11
http://www.sciencepublishinggroup.com/journal/paperinfo.aspx?journalid=502&doi=10.11648/j.ijla.20150305.11
© Science Publishing Group
Postmodern Narrative Techniques in Robert Coover’s Story Collection; Pricksongs & Descants
http://www.sciencepublishinggroup.com/journal/paperinfo.aspx?journalid=502&doi=10.11648/j.ijla.20150305.12
The modes of narration in postmodernist fiction are not identical with those of modernists and realists. They contravene readers’ expectations, making them most often astounded and baffled. This study sets out to discuss some of the techniques used by the American writer Robert Coover in his story collection; Pricksongs & Descants (1969) which are associated with postmodernist fiction. These strategies including metafictional techniques, fragmentation, ontological concern, and temporal distortion, will in the subsequent sections of this paper be explicated and elucidated. In this regard, the term postmodernism will be first defined and elaborated, and then some of the salient features of Coover’s selected work stated above, will be examined in order to demonstrate the title-mentioned claim. Not all the stories of the collection will in this study be provided an analysis of, but those which are of greater significance and are noticeable in incorporating postmodern strategies. Coover, it is argued, in the above-mentioned work, depicts events and situations most of which at odds with what readers are used to being provided with. Readers in Coover’s are thus no longer passive recipients of the created world of the author, but active during the narratives and are invited to make things out and come to a conclusion about the plausible outcome of events.
The modes of narration in postmodernist fiction are not identical with those of modernists and realists. They contravene readers’ expectations, making them most often astounded and baffled. This study sets out to discuss some of the techniques used by the American writer Robert Coover in his story collection; Pricksongs & Descants (1969) which are associated with postmodernist fiction. These strategies including metafictional techniques, fragmentation, ontological concern, and temporal distortion, will in the subsequent sections of this paper be explicated and elucidated. In this regard, the term postmodernism will be first defined and elaborated, and then some of the salient features of Coover’s selected work stated above, will be examined in order to demonstrate the title-mentioned claim. Not all the stories of the collection will in this study be provided an analysis of, but those which are of greater significance and are noticeable in incorporating postmodern strategies. Coover, it is argued, in the above-mentioned work, depicts events and situations most of which at odds with what readers are used to being provided with. Readers in Coover’s are thus no longer passive recipients of the created world of the author, but active during the narratives and are invited to make things out and come to a conclusion about the plausible outcome of events.
Postmodern Narrative Techniques in Robert Coover’s Story Collection; Pricksongs & Descants
doi:10.11648/j.ijla.20150305.12
International Journal of Literature and Arts
2015-09-07
© Science Publishing Group
Hassan Abootalebi
Postmodern Narrative Techniques in Robert Coover’s Story Collection; Pricksongs & Descants
3
5
79
79
2015-09-07
2015-09-07
10.11648/j.ijla.20150305.12
http://www.sciencepublishinggroup.com/journal/paperinfo.aspx?journalid=502&doi=10.11648/j.ijla.20150305.12
© Science Publishing Group
Some Piano Compositions by Nicolas Economou, Notated Post Mortem from the Composer’s Recordings
http://www.sciencepublishinggroup.com/journal/paperinfo.aspx?journalid=502&doi=10.11648/j.ijla.s.2015030501.13
The paper examines the nocturnes of the Cypriot composer and pianist Nicolas Economou (1953-1993) and how much they reflected the traditions of the genre of the piano nocturnes from the 19th Century, enriched with contemporary compositional techniques from the 20th Century. The different approach towards the structure as well as the influence of the jazz instrumental culture, mark a radical departure from the old forms. This is a consequence not only of the artistic temperament of Economou but also of the fact that he never notated but only recorded the nocturnes. The piano was his true medium of expression; therefore the compositions retain a strong element of improvisation and nonconformity. The cycle of eight nocturnes testify to the great improvisatory gift and spontaneity of Nicolas Economou as one the most significant Cypriot composers of the 20th Century.
The paper examines the nocturnes of the Cypriot composer and pianist Nicolas Economou (1953-1993) and how much they reflected the traditions of the genre of the piano nocturnes from the 19th Century, enriched with contemporary compositional techniques from the 20th Century. The different approach towards the structure as well as the influence of the jazz instrumental culture, mark a radical departure from the old forms. This is a consequence not only of the artistic temperament of Economou but also of the fact that he never notated but only recorded the nocturnes. The piano was his true medium of expression; therefore the compositions retain a strong element of improvisation and nonconformity. The cycle of eight nocturnes testify to the great improvisatory gift and spontaneity of Nicolas Economou as one the most significant Cypriot composers of the 20th Century.
Some Piano Compositions by Nicolas Economou, Notated Post Mortem from the Composer’s Recordings
doi:10.11648/j.ijla.s.2015030501.13
International Journal of Literature and Arts
2015-06-18
© Science Publishing Group
Galina Dimova Georgieva
Some Piano Compositions by Nicolas Economou, Notated Post Mortem from the Composer’s Recordings
3
5
30
30
2015-06-18
2015-06-18
10.11648/j.ijla.s.2015030501.13
http://www.sciencepublishinggroup.com/journal/paperinfo.aspx?journalid=502&doi=10.11648/j.ijla.s.2015030501.13
© Science Publishing Group
Reflection in the Elementary Music Ear Training
http://www.sciencepublishinggroup.com/journal/paperinfo.aspx?journalid=502&doi=10.11648/j.ijla.s.2015030501.12
This article discusses an issue, concerning musical theory and in particular music pedagogy. As working, the terms reflection and reflection activity were used and their positive practical application was indicated. This, of course, leads to didactics. It was proposed as an attempt for psychological practical and applied analysis of a specific education practice – solfegging with piano self-accompaniment. The author of this article is motivated by the concept of pointing new aspects to the work forms and methods for the music ear education in the solfege training.
This article discusses an issue, concerning musical theory and in particular music pedagogy. As working, the terms reflection and reflection activity were used and their positive practical application was indicated. This, of course, leads to didactics. It was proposed as an attempt for psychological practical and applied analysis of a specific education practice – solfegging with piano self-accompaniment. The author of this article is motivated by the concept of pointing new aspects to the work forms and methods for the music ear education in the solfege training.
Reflection in the Elementary Music Ear Training
doi:10.11648/j.ijla.s.2015030501.12
International Journal of Literature and Arts
2015-06-18
© Science Publishing Group
Milena Bogdanova
Reflection in the Elementary Music Ear Training
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24
24
2015-06-18
2015-06-18
10.11648/j.ijla.s.2015030501.12
http://www.sciencepublishinggroup.com/journal/paperinfo.aspx?journalid=502&doi=10.11648/j.ijla.s.2015030501.12
© Science Publishing Group
The Bulgarian Composer Pancho Vladigerov - Psychological Origin of His Creative Personality
http://www.sciencepublishinggroup.com/journal/paperinfo.aspx?journalid=502&doi=10.11648/j.ijla.s.2015030501.11
Pancho Vladigerov (1899-1978) is one of the most prominent Bulgarian composers. He has created 70 opuses of works with high aesthetic value and in a very extended range of genres. His works are performed all over the world, and every Bulgarian pianist has experienced his piano opuses. In the present study, I reveal the psychological prerequisites for his creative personality in the following order: typological characterization - evidence to classify the composer in a certain type, derived from his everyday life, from his performer's and pedagogical work and backed up by statements of his relatives, students and critics - the influence of the stated typological characterization on his artistic handwriting.
Pancho Vladigerov (1899-1978) is one of the most prominent Bulgarian composers. He has created 70 opuses of works with high aesthetic value and in a very extended range of genres. His works are performed all over the world, and every Bulgarian pianist has experienced his piano opuses. In the present study, I reveal the psychological prerequisites for his creative personality in the following order: typological characterization - evidence to classify the composer in a certain type, derived from his everyday life, from his performer's and pedagogical work and backed up by statements of his relatives, students and critics - the influence of the stated typological characterization on his artistic handwriting.
The Bulgarian Composer Pancho Vladigerov - Psychological Origin of His Creative Personality
doi:10.11648/j.ijla.s.2015030501.11
International Journal of Literature and Arts
2015-06-18
© Science Publishing Group
Krasimira Georgieva Fileva-Ruseva
The Bulgarian Composer Pancho Vladigerov - Psychological Origin of His Creative Personality
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5
13
13
2015-06-18
2015-06-18
10.11648/j.ijla.s.2015030501.11
http://www.sciencepublishinggroup.com/journal/paperinfo.aspx?journalid=502&doi=10.11648/j.ijla.s.2015030501.11
© Science Publishing Group
Teaching Creative Abilities of Children in Music Education in the General School
http://www.sciencepublishinggroup.com/journal/paperinfo.aspx?journalid=502&doi=10.11648/j.ijla.s.2015030501.14
In a community, where the consumer's attitude in all aspects of life is ever more commonly observed, including in the area of culture, the problem of stimulating the creative impulse, of training the creative activity of adolescents, becomes especially important. Responsible for seeking the appropriate means and methods for the development of the creative abilities in children are the parents, tutors, teachers. An important role, in that relation, could be entrusted to the music teacher in the general school.
In a community, where the consumer's attitude in all aspects of life is ever more commonly observed, including in the area of culture, the problem of stimulating the creative impulse, of training the creative activity of adolescents, becomes especially important. Responsible for seeking the appropriate means and methods for the development of the creative abilities in children are the parents, tutors, teachers. An important role, in that relation, could be entrusted to the music teacher in the general school.
Teaching Creative Abilities of Children in Music Education in the General School
doi:10.11648/j.ijla.s.2015030501.14
International Journal of Literature and Arts
2015-06-23
© Science Publishing Group
Penka Pencheva Mincheva
Teaching Creative Abilities of Children in Music Education in the General School
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36
36
2015-06-23
2015-06-23
10.11648/j.ijla.s.2015030501.14
http://www.sciencepublishinggroup.com/journal/paperinfo.aspx?journalid=502&doi=10.11648/j.ijla.s.2015030501.14
© Science Publishing Group
The Phenomenon of the Number 3 in Music
http://www.sciencepublishinggroup.com/journal/paperinfo.aspx?journalid=502&doi=10.11648/j.ijla.s.2015030501.15
In this publication, broad evidence is presented for the influence of the number three on different levels in the musical art: three properties, three values, three characteristics and others, observed in different elements of the musical language, in different relations and interconnections. This concerns the separate tone, as well as the correlations of the tones on the vertical and the horizontal plane. Attention is pointed at the parameters of both pitch and duration of the buildings elements of music, and also at the structure of musical pieces - the musical form. In almost all direction, the importance of the number three is found.
In this publication, broad evidence is presented for the influence of the number three on different levels in the musical art: three properties, three values, three characteristics and others, observed in different elements of the musical language, in different relations and interconnections. This concerns the separate tone, as well as the correlations of the tones on the vertical and the horizontal plane. Attention is pointed at the parameters of both pitch and duration of the buildings elements of music, and also at the structure of musical pieces - the musical form. In almost all direction, the importance of the number three is found.
The Phenomenon of the Number 3 in Music
doi:10.11648/j.ijla.s.2015030501.15
International Journal of Literature and Arts
2015-06-30
© Science Publishing Group
Penka Pencheva Mincheva
The Phenomenon of the Number 3 in Music
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42
42
2015-06-30
2015-06-30
10.11648/j.ijla.s.2015030501.15
http://www.sciencepublishinggroup.com/journal/paperinfo.aspx?journalid=502&doi=10.11648/j.ijla.s.2015030501.15
© Science Publishing Group
Nikolay Stoykov's Vision about the Composer and the Universe
http://www.sciencepublishinggroup.com/journal/paperinfo.aspx?journalid=502&doi=10.11648/j.ijla.s.2015030501.16
I perceive it as an inward wave, a force leading me to a particular point. Starting my work sited by the grand piano, when everything else around disappears and only the electric bulb is glimmering hypothetically, I know and I am pretty sure that I am on the right path and something beautiful is going to beget! There is another crunch moment for me as a composer – constant meetings with numberless folklore untapped talents I have taught. They brought me their visceral natural perception and in a practical manner had shown me the real path every Bulgarian composer must follow. Happily this coincided with my first acquaintance with Bulgarian folklore with its universe vibes, uniqueness and direct link with the contemporary music flow, leaving academism and dry theories behind. I found there my true path my professional path should goes, because Bulgarian folklore is for me a versatile source of ideas and a strong base of my style. Man has high respect by the man-creator-people-link and the historic destiny of this nation. A folklore expedition comes back with about 120000 distinct songs and melodies here vs 50-60 in other European countries. The aesthetic value of this art is unique and it does not have even a single template.
I perceive it as an inward wave, a force leading me to a particular point. Starting my work sited by the grand piano, when everything else around disappears and only the electric bulb is glimmering hypothetically, I know and I am pretty sure that I am on the right path and something beautiful is going to beget! There is another crunch moment for me as a composer – constant meetings with numberless folklore untapped talents I have taught. They brought me their visceral natural perception and in a practical manner had shown me the real path every Bulgarian composer must follow. Happily this coincided with my first acquaintance with Bulgarian folklore with its universe vibes, uniqueness and direct link with the contemporary music flow, leaving academism and dry theories behind. I found there my true path my professional path should goes, because Bulgarian folklore is for me a versatile source of ideas and a strong base of my style. Man has high respect by the man-creator-people-link and the historic destiny of this nation. A folklore expedition comes back with about 120000 distinct songs and melodies here vs 50-60 in other European countries. The aesthetic value of this art is unique and it does not have even a single template.
Nikolay Stoykov's Vision about the Composer and the Universe
doi:10.11648/j.ijla.s.2015030501.16
International Journal of Literature and Arts
2015-06-30
© Science Publishing Group
Nikolay Ivanov Stoykov
Nikolay Stoykov's Vision about the Composer and the Universe
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49
2015-06-30
2015-06-30
10.11648/j.ijla.s.2015030501.16
http://www.sciencepublishinggroup.com/journal/paperinfo.aspx?journalid=502&doi=10.11648/j.ijla.s.2015030501.16
© Science Publishing Group
Creating Accompaniment to a Melody by Using Computer Technologies
http://www.sciencepublishinggroup.com/journal/paperinfo.aspx?journalid=502&doi=10.11648/j.ijla.s.2015030501.17
New electronic technology is featured more and more in the general school. The usage of audio-visual means and computer technologies is becoming an integral part of the classes in Music. The singing activity is fundamental in the music lesson and in the out of class forms of education. For it to be efficient and loved by the students, the role of musical accompaniment is of great importance. The creation of the accompaniment with the help of a synthesizer is an important task of the musical pedagogue.
New electronic technology is featured more and more in the general school. The usage of audio-visual means and computer technologies is becoming an integral part of the classes in Music. The singing activity is fundamental in the music lesson and in the out of class forms of education. For it to be efficient and loved by the students, the role of musical accompaniment is of great importance. The creation of the accompaniment with the help of a synthesizer is an important task of the musical pedagogue.
Creating Accompaniment to a Melody by Using Computer Technologies
doi:10.11648/j.ijla.s.2015030501.17
International Journal of Literature and Arts
2015-06-30
© Science Publishing Group
Jean Stefanov Pehlivanov
Creating Accompaniment to a Melody by Using Computer Technologies
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2015-06-30
2015-06-30
10.11648/j.ijla.s.2015030501.17
http://www.sciencepublishinggroup.com/journal/paperinfo.aspx?journalid=502&doi=10.11648/j.ijla.s.2015030501.17
© Science Publishing Group
Specifics of Musical Thematism, Harmonious Language, Polyphonic Technique and form in the Secular Choral Music of Dobri Hristov
http://www.sciencepublishinggroup.com/journal/paperinfo.aspx?journalid=502&doi=10.11648/j.ijla.s.2015030501.18
The two types of themes in the secular choral music of Dobri Hristov – with a folklore character and in common tone, determine the specifics of the approach of the composer in the major compositions developed on their basis. Comparing the specific features of the harmonious language, the polyphonic methods and the structural solutions in the two types of works, we acquire a good idea of the complete image of this major part of the musical heritage of the composer.
The two types of themes in the secular choral music of Dobri Hristov – with a folklore character and in common tone, determine the specifics of the approach of the composer in the major compositions developed on their basis. Comparing the specific features of the harmonious language, the polyphonic methods and the structural solutions in the two types of works, we acquire a good idea of the complete image of this major part of the musical heritage of the composer.
Specifics of Musical Thematism, Harmonious Language, Polyphonic Technique and form in the Secular Choral Music of Dobri Hristov
doi:10.11648/j.ijla.s.2015030501.18
International Journal of Literature and Arts
2015-07-03
© Science Publishing Group
Zdravka Hvarkata
Specifics of Musical Thematism, Harmonious Language, Polyphonic Technique and form in the Secular Choral Music of Dobri Hristov
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61
61
2015-07-03
2015-07-03
10.11648/j.ijla.s.2015030501.18
http://www.sciencepublishinggroup.com/journal/paperinfo.aspx?journalid=502&doi=10.11648/j.ijla.s.2015030501.18
© Science Publishing Group
The Emotional World of the Musical Work, Reflected in an Educational Video Clip
http://www.sciencepublishinggroup.com/journal/paperinfo.aspx?journalid=502&doi=10.11648/j.ijla.s.2015030501.19
In order to prove that a computer-generated video clip could recreate in full value the emotional content of a musical piece, I presented the work on the creation of scenarios for video clips, based on the Bulgarian folk song "Izgreyalo Yasno Slantze" ("A Bright Sun has Risen") and on Bagatelle №1 from the cycle "24 Bagatelles for Piano" by Ivan Spasov. The piano piece and the folk song are contrasting in terms of their character; the piano piece is created on the basis of dodecaphony, while the sound system of the folk song is the eolian mode with a subbase tone; the piano piece is by an author, as opposed to the folk song.
In order to prove that a computer-generated video clip could recreate in full value the emotional content of a musical piece, I presented the work on the creation of scenarios for video clips, based on the Bulgarian folk song "Izgreyalo Yasno Slantze" ("A Bright Sun has Risen") and on Bagatelle №1 from the cycle "24 Bagatelles for Piano" by Ivan Spasov. The piano piece and the folk song are contrasting in terms of their character; the piano piece is created on the basis of dodecaphony, while the sound system of the folk song is the eolian mode with a subbase tone; the piano piece is by an author, as opposed to the folk song.
The Emotional World of the Musical Work, Reflected in an Educational Video Clip
doi:10.11648/j.ijla.s.2015030501.19
International Journal of Literature and Arts
2015-07-05
© Science Publishing Group
Krasimira Georgieva Fileva-Ruseva
The Emotional World of the Musical Work, Reflected in an Educational Video Clip
3
5
71
71
2015-07-05
2015-07-05
10.11648/j.ijla.s.2015030501.19
http://www.sciencepublishinggroup.com/journal/paperinfo.aspx?journalid=502&doi=10.11648/j.ijla.s.2015030501.19
© Science Publishing Group
Research on Status and Solutions of Community Elderly Service in He Bei Province--Take Shijiazhuang as an Example
http://www.sciencepublishinggroup.com/journal/paperinfo.aspx?journalid=502&doi=10.11648/j.ijla.s.2015030501.20
The endowment service of Shijiazhuang have difficulty in combination of care and support, lack of old-age care facilities and the problems such as disorderly development. So the government should gradually establish a unified industry service standards, phase out all kinds of social medical treatment expenses barriers so as to promote the healthy development of the community endowment service industry in our province.
The endowment service of Shijiazhuang have difficulty in combination of care and support, lack of old-age care facilities and the problems such as disorderly development. So the government should gradually establish a unified industry service standards, phase out all kinds of social medical treatment expenses barriers so as to promote the healthy development of the community endowment service industry in our province.
Research on Status and Solutions of Community Elderly Service in He Bei Province--Take Shijiazhuang as an Example
doi:10.11648/j.ijla.s.2015030501.20
International Journal of Literature and Arts
2015-09-11
© Science Publishing Group
Zhang Li
Huaifu Wang
Zhiwei Yang
Research on Status and Solutions of Community Elderly Service in He Bei Province--Take Shijiazhuang as an Example
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76
76
2015-09-11
2015-09-11
10.11648/j.ijla.s.2015030501.20
http://www.sciencepublishinggroup.com/journal/paperinfo.aspx?journalid=502&doi=10.11648/j.ijla.s.2015030501.20
© Science Publishing Group