1,721,044 research outputs found
Musica e politica sulle ali del 'Rock’n’roll': migrazioni e contaminazioni
No full textL’ultima opera teatrale di Tom Stoppard, "Rock’n’roll", rappresentata per la prima volta a Londra nel giugno del 2006 e diretta da Trevor Nunn, sviluppa il concetto di migrazione su piani e assi diversi, spostandosi sincronicamente e in modo intermittente tra l’Inghilterra e la Cecoslovacchia (il protagonista è un ex emigrato ceco che torna al suo paese di origine, ma mantiene i suoi rapporti con Cambridge) e diacronicamente, dagli anni Sessanta ai Novanta. Centrale è il modo in cui l’autore rappresenta la trasformazione di un sogno generazionale, quello legato a valori e ideali appartenenti a una congerie storico-culturale unica quale quella del ’68, nel transito tra contesti geografici e sociali diversi e tra periodi storici diversi, trasferendosi quindi sul piano della memoria, e offrendo anche un interessante spunto di riflessione sul concetto stesso di ‘generazione’. Traendo ispirazione da alcuni scritti di Vaclav Havel, il drammaturgo fa però della musica il perno intorno al quale avvita il processo memoriale dell’opera. Negli anni Sessanta, interessati da una fondamentale convergenza delle arti e dei piani culturali alto/basso, nonché dal fiorire degli studi intorno alla nascente e subito proliferante pop culture, la musica pop e rock assume una posizione di assoluto protagonismo, facendosi portatrice di valori libertari e protestatari in un clima transnazionale di infuocata insofferenza verso ogni forma di gerarchia o istituzione. L’opera di Stoppard indugia quindi sulla fecondità della contaminazione tra musica e politica, musica e cultura, musica e vita nel veicolare quel ‘complessivo modo del sentire’ di una generazione, il cui transito è seguito per tappe musicali tra il ’68 e il ’90: tra la contestazione e la fine del conservatorismo di ‘ferro’, tra la Primavera di Praga e la Rivoluzione di velluto
Latino Spider Bites: Shifting vocabularies of otherness for Bianca in a recent Othello ballet
No full textThis paper begins by discussing the role of Bianca in Shakespeare’s Othello in the context of the cultural myths of Venice that circulated in Elizabethan England and the traits those myths assigned to the figure of the Venetian courtesan. It then goes on to examine the way, in a recent Othello ballet choreographed by Lars Lubovitch and performed in San Francisco, myths and assumptions related to other times, places and cultures combine in the casting and choreography of Bianca’s role to transcodify the role of Venetian courtesan into the lexicon of modern society and the figure of Bianca into a timely and politically significant one.
Bianca’s role is developed in the ballet into a major female role, which was danced by Lorena Feijoo, a Cuban born and trained emigree who had been living in the United States since the early 90s. This casting choice for Bianca had very pronounced socio-ethnic-cultural implications at the time, especially when we consider it alongside those related to the casting choices for Othello (danced by an African American with a very strong background in Black dance culture) and Desdemona (performed by an Asian from mainland China trained in the most rigorous ballet tradition). The dancers in these three roles represented the three ethnic groups dominant in racial debates in the United States since the early 1990s.
Within this socio-political context, this paper explores the role of Bianca, centering much of the discussion on her choreography which is predominantly within the genre of the tarantella, a dance with very strong gendered and anthropological implications linked to the south of Italy
Going Beyond Counting First Authors in Author Co-citation Analysis
Full text linkThe present study examines one of the fundamental aspects of author co-citation analysis (ACA) - the way co-citation
counts are defined. Co-citation counting provides the data on which all subsequent statistical analyses and mappings
are based, and we compare ACA results based on two different types of co-citation counting - the traditional type that
only counts the first one among a cited work's authors on the one hand and a non-traditional type that takes into
account the first 5 authors of a cited work on the other hand. Results indicate that the picture produced through this non-traditional author co-citation counting contains more coherent author groups and is therefore considerably clearer. However, this picture represents fewer specialties in the research field being studied than that produced through the traditional first-author co-citation counting when the same number of top-ranked authors is selected and analyzed. Reasons for these effects are discussed
Remembering Slavery 1807-2007. A View from Manchester
No full textThe article documents ways in which the city of Manchester marked the bicentenary anniversary of the abolition of the British slave trade in 2007. By analyzing the wide range of events which were offered to the community, the article argues that by emphasizing the links between the past - and often hidden - history of Britain and the enduring legacy of slavery in the country, this series of events actually helped to expand the remit of heritage and the heritage industry and ultimately projected revised versions of Englishness
Variations on the Author
Full text link“Variations on the Author” discusses two of Eduardo Coutinho’s recent films (Um Dia na Vida, from 2010, and Últimas Conversas, posthumously released in 2015) and their contribution to the general question of documentary authorship. The director’s filmography is characterized by a consistent yet self-effacing form of authorial self-inscription: Coutinho often features as an interviewer that rather than express opinions propels discourses; an interviewer that is good at listening. This mode of self-inscription characterizes him as an author who is not expressive but who is nonetheless markedly present on the screen. In Um Dia na Vida, however, Coutinho is completely absent form the image, while Últimas Conversas, on the contrary, includes a confessional prologue that moves the director from the margins to the center of his films. This article examines the ways in which these works stand out in the filmography of a director who offers new insights into the notion of cinematic authorship
Appropriate Similarity Measures for Author Cocitation Analysis
Full text linkWe provide a number of new insights into the methodological discussion about author cocitation analysis. We first argue that the use of the Pearson correlation for measuring the similarity between authors’ cocitation profiles is not very satisfactory. We then discuss what kind of similarity measures may be used as an alternative to the Pearson correlation. We consider three similarity measures in particular. One is the well-known cosine. The other two similarity measures have not been used before in the bibliometric literature. Finally, we show by means of an example that our findings have a high practical relevance.information science;Pearson correlation;cosine;similarity measure;author cocitation analysis
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