246 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
“Abba” revisited: merging the horizons of history and rhetoric through the new rhetoric structure for metaphors
Get PDFThis 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
Get PDFThis 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)
Get PDFBible 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
Information and Communication Technology (ICT) for Development – The Exigent and Foundational Approaches for Nigeria
Get PDFHaving identified ICT production as the component of the ICT revolution that can enhance true socio-economic development to developing countries like Nigeria. This paper
provides a way to achieving this by closely examining what ICT production entails and
positioned that since ICT production is closely related to science, engineering/ technology,
a more meaningful policy implementation in the area of technological growth and Science & Technology education is desirable. The paper is aimed at suggesting the redesigning of the Universal Basic Education (UBE) policy to inculcate ICT production knowledge into Nigerian child from the primary school level if our dream of ICT for development be fulfilled
The Jewish theologem of the Russian avant-garde (Vladimir Mayakovsky, Velimir Khlebnikov, Abba Gordin and Velvl Gordin-Beobi on the background of Kdushi Musaf for the New Year)
No full textThe article is dedicated to the analysis of the memoirs concerned with avant-garde
cafes in revolutionary Moscow 1917–1918. “The Stall of Pegasus” and “Cafe of Poets”
by Abba Gordin recently translated from Yiddish into Russian. The author of
the memoirs was a prominent anarchist and at the same time had a traditional Jewish
education. The article deciphers the complex Jewish subtexts of this memoir
text based on the ideas of Kabbalah (“Sepher Yetzirah”) and medieval Jewish prayer
books. Particular attention is paid to the problems of Abba Gordin’s attitude to the
futuristic “zaum” and his purely Jewish reaction to the work of Vladimir Mayakovsky,
whom he calls the “High Priest of Poetry.” The paper compares the ideas
previously expressed by the author of the article on the interaction of the works of
Russian futurists, Russian and Russian-Jewish avant-garde artists, etc. with Jewish
mysticism and imagery. These ideas were previously expressed only from the Russian
side. The analyzed text makes it possible to see that the Jewish participants
in this dialogue perfectly understood their Russian contemporaries and answered
them from a Jewish, albeit extremely avant-garde, point of view. Taking into account
purely religious, religious-mystical Jewish sources, named by Abba Gordin,
allows us to see both sides of the dialogue, to verify the previously discovered Jewish
sources of the Russian avant-garde and take the first steps in constructing the
theological background of the Russian avant-garde based on both Christian and
Jewish texts and sources
El Abba como Gnóstico en Evagrio Póntico: El rol pedagógico-medicinal de su palabra y sus fuentes
Get PDFUna figura característica y distintiva del monacato cristiano primitivo es la del Abba o anciano. Éste es, en sentido lato, un monje experimentado que puede, en virtud de su progreso espiritual, ejercer un auténtico "ministerio de la palabra". Por este ministerio el Abba realiza una tarea de auxilio a los hombres hostigados por sus pensamientos y pasiones, y por tentaciones demoníacas. En el pensamiento de Evagrio Póntico, monje y filósofo, el Abba o anciano recibe la significativa denominación de "Gnóstico" pues se trata del monje que ha alcanzado un cierto grado de ciencia espiritual natural primero, sobrenatural después- al cabo de haberse ejercitado sostenidamente en el ejercicio de las virtudes (Practiké). De este modo, nuestro autor sitúa aquel "ministerio de la palabra" en el marco de su esquema de la vida cristiana, atribuyéndole una función pedagógica y terapeútica que se funda en una serie de condiciones bien identificadas por su reflexión. Nos interesa profundizar en las condiciones que se pueden rastrear en la obra de nuestro autor a fin de visualizar los fundamentos sobre los que se sostiene la función medicinal que, en el pensamiento evagriano, puede ejercer el gnóstico mediante su palabra.A characteristic and distinctive figure of early Christian monasticism is that of Abba or elder. This is, in a broad sense, an experienced monk who can, by virtue of his spiritual progress, exercise a true "ministry of the word." Through this ministry the Abba performs a task of helping men harassed by their thoughts and passions, and by demonic temptations. In the thought of Evagrius Ponticus, a monk and philosopher, the Abba or elder receives the significant denomination of "Gnostic" because it is the monk who has attained a certain degree of spiritual science -first natural, after supernatural- as fruit V of the sustained exercise of the virtues (Practiké). In this way, our author places that <ministry of the word" within the framework of his Christian life scheme. He attributes to this <ministry of the word, a pedagogical and therapeutic function that is based on a series of conditions well identified by his reflection. Our interest is analyzing this conditions in order to visualize the foundations of the medicinal function that the gnostic can exercise through his word.Fil: Vazquez, Santiago Hernán. Universidad Nacional de Cuyo. Facultad de Filosofía y Letras. Instituto de Filosofía. Centro de Estudios Filosóficos Medievales; Argentina. Consejo Nacional de Investigaciones Científicas y Técnicas. Centro Científico Tecnológico Conicet - Mendoza; Argentin
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