315 research outputs found
Rock Concert Performance from ABBA to ZZ Top
No full textThis book presents an analysis of 100 rock concert performances and attempts to answer the question "What makes a truly great rock performance?" Author Peter Smith, an experienced concert goer, delves into his own recollections of experiencing rock performances over the last 50+ years and, with the support of his daughter, Laura Smith, analyzes 100 selected performances covering the themes of icons, persona, energy, fandom, venues, communities, politics, art-rock, authenticity and maturity. The approach taken is based upon qualitative analysis, reflection, and autoethnography. The selected performances cover a range of diverse acts such as the Rolling Stones, ABBA, Sex Pistols, Barbara Streisand, David Bowie, and the like
ABBA ABBA (1977): Anthony Burgess e il mito di John Keats
No full textRiassunto: Pubblicato nel 1977, ABBA ABBA di Anthony Burgess è incentrato sull’incontro di due poeti emblematici di inizio Ottocento: John Keats e Giuseppe Gioacchino Belli. L’opera rivela l’interesse dell’autore per il movimento neoclassico e romantico, nei riferimenti a personalità come Canova, Byron e Paolina Bonaparte. Ne deriva un affresco sui generis della cultura romantica che rimanda incessantemente alla produzione di Keats, e al suo soggiorno romano in punto di morte. Partendo dall’analisi della tecnica narrativa, lo studio si propone di investigare i modi in cui Burgess è riuscito a tramutare gli ultimi eventi della biografia keatsiana in un compatto e scintillante spaccato del tardo romanticismo stesso.Parole chiave: Anthony Burgess, ABBA ABBA, John Keats, Giuseppe Gioacchino Belli, Ode a un usignolo, Ode su un’urna greca, sonetto, Roma ottocentescaAbstract: Published in 1977, Anthony Burgess’s ABBA ABBA focuses on the imaginary meeting between two emblematic nineteenth-century poets: John Keats and Giuseppe Gioacchino Belli. The novel reveals the author’s passion for Neoclassicism and Romanticism, testified by the many references to personalities such as Antonio Canova, Lord Byron and Paolina Bonaparte. By examining the narrative technique employed by Burgess in evoking the lucid desperation of the young English poet, the essay aims to investigate the ways in which the author managed to translate the last events of Keats’s biography into a compact and sparkling reconstruction of late Romanticism itself.Key words: Anthony Burgess, ABBA ABBA, John Keats, Giuseppe Gioacchino Belli, Ode to a Nightingale, Ode to a Grecian Urn, Sonnet, Nineteenth-century Rom
La lettera (e gli apoftegmi) di abba Doulas
No full textA letter from the monk Hermaeus to a certain abba Doulas and the latter's reply are usually dated to the middle Byzantine period (11th cent.). Abba Doulas, the author of the reply, is in reality the homonymous disciple of abbot Bessarione of Egypt in c. 400. Doulas' letter was used in the compilation of the apophthegm in the alphabetic and systematic collections. The article ends with a critical edition of the letters of Hermaeus and Doulas
Appendix - Supplemental material for Pharmacological Interventions for Primary Psychodermatologic Disorders: An Evidence Mapping and Appraisal of Randomized Controlled Trials
No full textSupplemental material, Appendix, for Pharmacological Interventions for Primary Psychodermatologic Disorders: An Evidence Mapping and Appraisal of Randomized Controlled Trials by Tarek Turk, Chaocheng Liu, Esther Fujiwara, Sebastian Straube, Reidar Hagtvedt, Liz Dennett, Adam Abba-Aji and Marlene Dytoc in Journal of Cutaneous Medicine and Surgery</p
Table S1 - Supplemental material for Pharmacological Interventions for Primary Psychodermatologic Disorders: An Evidence Mapping and Appraisal of Randomized Controlled Trials
No full textSupplemental material, Table S1, for Pharmacological Interventions for Primary Psychodermatologic Disorders: An Evidence Mapping and Appraisal of Randomized Controlled Trials by Tarek Turk, Chaocheng Liu, Esther Fujiwara, Sebastian Straube, Reidar Hagtvedt, Liz Dennett, Adam Abba-Aji and Marlene Dytoc in Journal of Cutaneous Medicine and Surgery</p
Neighbor-joining tree and admixture signatures from ABBA/BABA tests.
No full text<p>(A) NJ tree constructed from genome-wide pairwise divergence, calculated using equation E8.1 in . All nodes have 100% bootstrap support. Dashed lines indicate admixture edges that were statistically significant in ABBA/BABA tests. (B) ABBA/BABA tests with significant Z-scores (values ≥3 are significant). All comparisons made are shown in <a href="http://www.plosgenetics.org/article/info:doi/10.1371/journal.pgen.1004016#pgen.1004016.s017" target="_blank">Table S11</a>. For each row, boldfaced labels indicate admixing lineages.</p
“Abba” revisited: merging the horizons of history and rhetoric through the new rhetoric structure for metaphors
No full textThis study uses the “Abba” metaphor to demonstrate the New Rhetoric model of metaphor as a tool to understand Paul’s rhetorical purpose in using metaphors. By looking closely at the theme (i.e., the idea the author tries to convey) and phoros (i.e., the picture the author uses to convey the idea). From a historical perspective, the “Abba” metaphor used in Galatians 4:6 can be linked to Palestinian origins. At the time of writing of the Letter to the Galatians, “Abba” had already been ingrained firmly in the Galatian Christian community. Paul used the metaphor to attack the agitators by excluding them from the spiritual familia of Jesus. In this recipient-oriented reading, it is shown that Paul used the metaphor to exhort with great urgency those on the fringe to return to the fold. In this way it is illustrated that, by using the approach of the New Rhetoric in describing a metaphor, an interpreter can raise questions on both the understanding of the author and readers, as part of the communication process
"Abba" revisited: merging the horizons of history and rhetoric through the new rhetoric structure for metaphors
No full textThis study uses the “Abba” metaphor to demonstrate the New Rhetoric model of metaphor as a tool to understand Paul’s rhetorical purpose in using metaphors. By looking closely at the theme (i.e., the idea the author tries to convey) and phoros (i.e., the picture the author uses to convey the idea). From a historical perspective, the “Abba” metaphor used in Galatians 4:6 can be linked to Palestinian origins. At the time of writing of the Letter to the Galatians, “Abba” had already been ingrained firmly in the Galatian Christian community. Paul used the metaphor to attack the agitators by excluding them from the spiritual familia of Jesus. In this recipient-oriented reading, it is shown that Paul used the metaphor to exhort with great urgency those on the fringe to return to the fold. In this way it is illustrated that, by using the approach of the New Rhetoric in describing a metaphor, an interpreter can raise questions on both the understanding of the author and readers, as part of the communication process
A Critical Study of Abba Ho Patēr in Romans 8:15 in the New Revised Asante Twi Version (2018)
No full textBible translation is among the difficult exercises in scholarship because it demands a careful analysis of the biblical text from the source language into the target language. The religio-cultural settings and worldview of the indigenous people are also considered so that they are able to access the word of God as written and meant by the author(s). An example of Bible translation exercise is the New Revised Asante Twi Version (NRATV) 2018, which contains some translation problems. Some texts are not translated but “carried wholly” into the new or target language to make them look as if they form part of the native language. One of such is “Abba,” which is a HebraicAramaic word found in Romans 8:15. Since Abba is not an Asante (and Akan) language, it becomes difficult for the Asante reading community (and by extension all Akan languages) and users of the Asante-Twi Bible to understand and express the concept within their religio-cultural worldview because they do not understand the thought of the author in their language. Using exegetical, mother-tongue hermeneutics and the communicative method of translation as approaches, the study has found out that the translation of …Αββα ὁ πατήρ (…Abba ho Patēr) as …Abba, Agya (…Abba, Father) in the Asante-Twi Bible (2018) should be rendered as “…Agya, M’agya” (Father, My Father). The study has thus added to the interpretations of Romans 8:15 in Asante-Twi. It is being recommended that in the future revision of the Asante-Twi Bible, the Bible Society of Ghana should consider using “…Agya, M’agya” (Father, My Father) in the translation of … Αββα ὁ πατήρ (…Abba ho Patēr)
A dramaturgy for late Pirandello : a theater for Marta Abba
No full textOrientador : Eric Mitchell SabinsonTese (doutorado) - Universidade Estadual de Campinas, Instituto de Estudos da LinguagemResumo: Esta tese teve por objetivo analisar a dramaturgia dos últimos dez anos de vida de Luigi Pirandello (1926-1936), em especial os dramas escritos para a atriz Marta Abba, e atualizar o estado da pesquisa em Pirandello. O estudo partiu da constatação de que graças à atriz, as duas metades do imaginário feminino pirandelliano, a mãe santa e a prostituta, passam a conviver em uma mesma imagem de mulher, para chegar até a imagem da vamp virtuosa: uma criatura eroticamente fascinante, mas sexualmente inacessível. Percorrendo a argumentação crítica atual, constatou-se que a produção tardia do escritor é o resultado de um violento intercâmbio, de uma forte influência mútua entre estímulos biográficos e resultado artístico. Tendo isto em vista, buscou-se reconstruir, por meio da crônica e da crítica teatral da época, o estilo da performer Marta Abba, e sua definição como atriz pirandelliana. Tomando como base as propostas teóricas do assim denominado Teatro Novo, suas relações com o idealismo das primeiras vanguardas, e, principalmente, confrontando o epistolário Pirandello-Abba com a sua produção teatral, justifica-se a perspectiva autobiográfica presente no teatro de Pirandello do último período. Ao escrever para a atriz, o dramaturgo não poderia deixar de ter em mente a qualidade interpretativa de sua musa inspiradora, esta excepcional intérprete que foi a co-autora do novo perfil feminino desenvolvido pelo autor e, por outro lado, ao individualizar em Marta Abba as criaturas que ele já havia imaginado anteriormente, Pirandello se vê sob o signo de uma ¿predestinação¿: a atração física do Maestro por sua intérprete, ¿filha de sua arte¿, recupera um antigo fantasma, o tema tabu da escritura pirandelliana: o ¿fascínio paterno¿, incestuoso. Pirandello constrói assim um personagem feminino plural e ambíguo, em consonância com os maiores ícones do cinema dos anos trinta, Greta Garbo e Marlene Dietrich, capaz de absorver o estilo ¿camaleônico¿ e contraditório de interpretar de Marta Abba, ao mesmo tempo em que é capaz de traduzir e incorporar seu próprio tormento interior.Abstract: This thesis presents an analysis of the plays of Luigi Pirandello in the final ten years of his life (1926-1936), especially the dramas written for actress Marta Abba, consistent with the state-of-art research on the playwright. Our starting point was the verification that, thanks to the actress, the two halves of Pirandellian feminine imagination - the holy mother and the prostitute ¿ came to cohabitate in the same female image, that of the virtuous vamp: an erotically enchanted creature, although sexually unattainable. Reviewing the current criticism, we verified that the writer's late production is the result of a violent interaction and mutual influence between biographic stimulus and artistic concerns.On this basis, we reconstruct, via the chronicle and theatrical criticism of the period, the performer Marta Abba's style and her definition as the Pirandellian actress par excellence. Having as foundation the theoretical propositions of the so-called New Theater, its relationships to the utopianism of the early avant-gardes, and opposing the correspondence between Pirandello and Abba with his own theatrical productions, we believe that the presence of anautobiographical perspective in the last period of Pirandello's theatre is justified. When writing for the actress, the playwright certainly had the interpretation of his inspiring muse in mind, the exceptionally talented Marta Abba as the co-author of the new feminine profile developed by the author. On the other hand, by individualizing in Marta Abba all the female creatures, the playwright sees himself under a sign of predestination: Marta's attractive power over the Master, "his art's daughter", recovers an old phantom, the taboo-theme of Pirandello writing: the incestuous, fatherly fascination. Thus, Pirandello creates an ambiguous feminine profile, related to the major movies icons of the '30s - Greta Garbo and Marlene Dietrich - pluralistic enough to assimilate theever-changing, contradictory style of the interpreter Marta Abba, translating and incorporating, at the same time, his own inner torment.DoutoradoLiteratura e Outras Produções CulturaisDoutor em Teoria e História Literári
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