2,379 research outputs found

    Artistic integrity in Woodstock

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    Study of the anonymous Elizabethan drama Woodstock has heretofore been directed externally to the play's relationship to Marlowe's Edward II and to Shakespeare's 2 Henry VI and Richard II. Much attention has been devoted to an explanation of the literary relations of the drama but none to an explanation of how the play works, its function as art. The organization of Woodstock toward poetic purposes is indicative of the nature of the development of the history play from the chronicle play. Mature history plays utilize form as a vehicle of meaning in contrast to the purely ornamental or episodic structure of earlier chronicle dramas. The concept of integrity is more exclusive than the concept of unity: rather than simply a relationship of parts, integrity connotes an organic condition, in which the relation of parts is not always fully amenable to separate analysis but must be considered as a total experience (gestalt) of analogous actions. The action of Woodstock is to find a rationale for disobedience to the king in order to save the state from economic and territorial disintegration. This action, in addition to the progress of plot events, is imitated in the interacting functions of the disease metaphor, the condition of inversion, and the masque-clothing metaphor

    Divine Embodiment and Women’s Resistance in Sri Lanka: Opposing the Ideologies of Nation and Empire

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    This thesis articulates how the divine possession of women in Sri Lanka enacts resistance against the imposition of colonial rule and nationalist politics. Women’s lives are implicated in active histories of violence, spanning from the brutality of colonial rule to the continued forms of violent regulation inherent to Sri Lanka’s multi-decade conflict. My work aims to show how divine possession, through a subversion of ritual hierarchies both within the space of ritual and outside of it, counters the hegemony of empire. To do this, I look to how divine possession inhabits bodies previously consumed by colonial rule and nationalist ideology, contests spaces that exist on the margins of political control, and relies upon subversive religious practice that open up knowledge and power against the formations of the state

    THE LOOK OF THE PLAY: DRAMATIC FOCUS IN SHAKESPEARE\u27S EARLY HISTORY PLAYS

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    SHADOWS OF EMPIRE: THE DISPLACED NEW WORLD OF ANTONY AND CLEOPATRA

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    Muse and Method in the Songs of Hamilton Harty: Three Early Works, 1895–1913

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    Against the backdrop of the Gaelic Revival and the foundation of the Irish Free State Hamilton Harty plied his trade as an organist, pianist, conductor and composer. It is his compositional output that is the focus of this thesis, and, more specifically, his songs, Sea Wrack, My Lagan Love and A Cradle Song. Both Harty and Herbert Hughes wrote an accompaniment for the folk-song My Lagan Love and set to music the poem “A Cradle Song”—both Harty and Charles Villiers Stanford set to music the poem “Sea Wrack”, all of which make for an interesting comparison. The purpose of this investigation is to explore Harty’s aforementioned three works with a view to finding evidence for the development of Harty’s compositional voice. Despite the publication in 2013 of Jeremy Dibble’s substantial volume, Hamilton Harty: Musical Polymath, the opportunity remains to analyse individual works in a detailed manner. Therefore, this paper will examine features such as genre, motif, harmony, text-music relationship and Irish traditional music in the context of nationalism. It is my contention that Harty’s musical language developed a greater level of complexity as he synthesized more elements identifiable with Irish music, such as ornamentation, modal harmony, inflection and pentatonicism, in combination with word painting and musical symbolism, in the writing of recognisable genres such as a parlour song, a folk-song and a lullaby. My analysis clarifies Harty’s position on the continuum from Anglo-Irish to Irish composers and provides a response to remarks such as Raymond Warren’s claim that Harty’s nationalism was in melody alone

    The Eki-Beki Dispute and the Unification of the Gauda Saraswat Brahman Caste

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    abstract: During the early twentieth century, a caste dispute known as the Eki-Beki dispute erupted among a group of historically related Konkani-speaking Brahman castes on the western coast of India. A faction among the castes argued that the variously related Konkani-speaking Brahman castes were originally one caste called the Gauda Saraswat Brahman (GSB) caste, which got split into several sub-castes. They further argued that the time had come to unite all these castes into one unified GSB caste. This faction came to be known as the Eki-faction, which meant the unity-faction. The Eki-faction was opposed by the majority of the members of the above-mentioned castes who disagreed with the idea of unification. This opposing faction came to be known as the Beki-faction, i.e. the disunity-faction. Despite the opposition from the majority, the Eki-faction managed to unite these different castes to form the contemporary unified GSB caste. The Gaud Saraswat Brahman caste in its current form is the product of this dispute. The formation of the GSB caste was initiated by members of these castes who had migrated from different rural regions of the western coast of India to the urban center Bombay. The rise of the GSB caste, however, became a contested process. Dominant non-GSB Brahman groups in Bombay discredited the migrants as being outsiders of lower ritual status. The unification movement was also opposed by the majority of these Konkani-speaking castes residing in the rural regions of the west coast of India. The struggle of the urban migrants for unification involved publication of Hindu texts and changes of normative practices, such as dining regulations and marriage arrangements, that affected the long-standing norms of maintaining ritual purity. Despite the opposition, the urban migrants partially succeeded in unifying the variously related Konkani-speaking Brahman castes. My dissertation is a history of this process.Dissertation/ThesisDoctoral Dissertation Religious Studies 201

    (Im)possibilities of Theatre and Transgression: the critical impact of transgressive theatrical practices

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    While performance practitioners often rely on socially, aesthetically, and politically transgressive practices to critically impact the socio-political climate outside the theater walls, transgression is fraught with contradiction. Historically, acts of transgression have led to both the expansion and suppression of democratic rights. (Im)possibilites of Theatre and Transgression employs a critical lens that takes into account the historical and ideological specificities of individual productions in Austin, TX and Baton Rouge, LA to argue that transgressive theatrical practices both counter and reproduce normalizing discourses and discourses of domination in local and regional culture. This study focuses on the types of aesthetically, socially, and politically transgressive theatrical practices that seek to interrogate and challenge boundaries related to individual and cultural identity—pushing toward a more plural and radical concept of democracy—and are endemic to present day US theatres located on the cultural fringe. It examines alternative theatre practices which prevailed in Austin in the nineties to argue that a transgressive critique of “normalcy” can in fact strengthen regimes of the normal locally and regionally. It looks to an LGBTQ focused company in Austin to underscore the ways in which overtly commercial, exploitative queer erotic performance practices can also serve a positively transgressive, political and identity-affirming function within local and regional culture. Analysis then turns to performances staged in Baton Rouge following Hurricane Katrina to contend that transgressive nontraditional casting practices both facilitate and fail an ethics of tolerance and inclusiveness within local and regional contexts. Finally, (Im)possibilities of Theatre and Transgression suggests that transgression itself achieved significance in the US through currencies of performance at the end of the twentieth century

    Complex Event Recognition: a comparison between FlinkCEP and the Run-Time Event Calculus

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    Ο κλάδος της Αναγνώρισης Σύνθετων Γεγονότων πάνω σε ροές από δεδομένα έχει επιδείξει αξιοσημείωτη ανάπτυξη τα τελευταία χρόνια. Τα συστήματα αναγνώρισης σύνθετων γεγονότων περιεργάζονται ροές από δεδομένα με σκοπό τον εντοπισμό σύνθετων φαινομένων, που εκφράζουν σχέσεις ανάμεσα στα δεδομένα εισόδου. Ο αριθμός των συστημάτων που έχουν αναπτυχθεί τα τελευταία χρόνια έχει δημιουργήσει την ανάγκη για μελέτη και σύγκριση των δυνατοτήτων τους. Σε αυτήν την μελέτη επιλέγουμε δύο συστήματα από τις πιο επικρατούσες κατηγορίες. Διαλέγουμε το FlinkCEP από τα συστήματα βασισμένα σε αυτόματα και το RTEC από τα συστήματα που χρησιμοποιούν λογική. Παρουσιάζουμε μια θεωρητική σύγκριση της εκφραστικότητας των δύο συστημάτων, μαζί με μια πειραματική αξιολόγηση της αποδοτικότητας τους, χρησιμοποιώντας πραγματικά δεδομένα.The field of Complex Event Recognition (CER) on streams of data has shown remarkable growth the last few years. CER systems use streaming data in order to detect composite phenomena expressing relations between the input data. The amount of developed CER systems has created the need to examine and compare their capabilities. In this study we have chosen two systems, originating form the most dominant categories. From automata-based approaches we have selected FlinkCEP and from Logic-based systems we have selected RTEC. We present a theoretical comparison of the two systems’ expressiveness, along with an empirical evaluation of the efficiency, using real data
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