122,585 research outputs found
Grlica: revijalna zbirka omladinske muzike
No full textGrlica: revijalna zbirka omladinske muzike bio je glazbeni časopis koji je izlazio od 1933. do 1935. godine. U tom razdoblju objavljeno je deset brojeva. Njezin urednik i izdavač Srečko Kumar (1888. – 1954.), zborovođa i glazbeni pedagog, osobitu je pozornost posvetio objavljivanju zborskih skladbi domaćih autora, šireći tako postojeći omladinski glazbeni repertoar relevantnom glazbenom literaturom. Zborske skladbe činile su glavninu sadržaja. Manji dio sadržaja činio je književni prilog u kojem su se na hrvatskom i slovenskom jeziku objavljivali članci pedagoške i didaktičke tematike. U početku izlaženja Grlica je donosila i uvodne rasprave, kritičke analize objavljenih skladbi te biografije njihovih autora
Grlica: revijalna zbirka omladinske muzike
No full textGrlica: revijalna zbirka omladinske muzike bio je glazbeni časopis koji je izlazio od 1933. do 1935. godine. U tom razdoblju objavljeno je deset brojeva. Njezin urednik i izdavač Srečko Kumar (1888. – 1954.), zborovođa i glazbeni pedagog, osobitu je pozornost posvetio objavljivanju zborskih skladbi domaćih autora, šireći tako postojeći omladinski glazbeni repertoar relevantnom glazbenom literaturom. Zborske skladbe činile su glavninu sadržaja. Manji dio sadržaja činio je književni prilog u kojem su se na hrvatskom i slovenskom jeziku objavljivali članci pedagoške i didaktičke tematike. U početku izlaženja Grlica je donosila i uvodne rasprave, kritičke analize objavljenih skladbi te biografije njihovih autora
Variations on the Author
No full text“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
Dilip Kumar: autor-aktor
No full textDilip Kumar has been praised for his sublime dialog delivery, for his restrained gestures, and for his measured and controlled underplay of emotions in tragic stories as well as in light-hearted comedies. His debut in 1944 with Jwar Bhata (Ebb and Tide) met with less-than-flattering reviews. So did the next three films until his 1948 film, Jugnu (Firefly), which brought him recognition and success. Unlike his contemporaries such as Raj Kapoor and Dev Anand, who propelled their careers by launching their own production companies, Dilip Kumar relied on his talent, his unique approach to characterization, and his immersion in the projects he undertook. In the course of his career that spanned six decades, Kumar made only 62 films. However, his work is a textbook for other actors that followed. Not only did he bring respectability to a profession that had been shunned by the upper classes in India as a profession for “pimps and prostitutes,” but he also elevated film-acting and filmmaking to an academic discipline, making him worthy of the title ‘Professor Emeritus of Acting’. Rooted in the theoretical framework of Howard S. Becker’s work on the “production of culture” and “doing things together,” this paper discusses Kumar’s approach to acting, character development, and the level of his involvement and commitment to each of his projects. The author of this article argues that more than the creative control as a producer or a director, it is the artistic involvement and commitment of the main actors that shape great works of art in cinema. Dilip Kumar demonstrated it repeatedly.Dilip Kumar był chwalony za wysublimowane prowadzenie dialogów, opanowaną gestykulację oraz za wyważone i kontrolowane wyrażanie emocji zarówno w opowieściach tragicznych, jak też w beztroskich komediach. Jego debiut w 1944 w Jwar Bhata (Odpływy i przypływy) spotkał się z niezbyt pochlebnymi recenzjami. Podobnie było z kolejnymi trzema filmami, aż do filmu Jugnu (Świetlik) z 1948 roku, który przyniósł mu uznanie i sukces. W przeciwieństwie do swoich rówieśników, jak Raj Kapoor iDev Anand, którzy napędzali kariery, uruchamiając własne firmy produkcyjne, Dilip Kumar polegał na swoim talencie, unikalnym podejściu do charakteryzacji i zaangażowaniu w projekty, których się podjął. W ciągu swojej sześćdziesięcioletniej kariery Kumar nakręcił tylko 62 filmy. Jednak jego praca jest podręcznikowa dla młodszych aktorów. Nie tylko przyniósł szacunek zawodowi aktora, traktowanemu przez indyjskie klasy wyższe jako zawód „alfonsów i prostytutek”, ale także podniósł aktorstwo filmowe i filmowanie do dyscypliny akademickiej, co uczyniło Kumara godnym tytułu emerytowanego profesora aktorstwa. Artykuł ten, zakorzeniony w ramach teoretycznych pracy Howarda S. Beckera nad „produkcją kultury” i „robieniem rzeczy razem”, omawia podejście Kumara do aktorstwa i rozwoju postaci oraz poziom jego zaangażowania w każdy ze swoich projektów. Autor tego artykułu przekonuje, że to artystyczne zaangażowanie i poświęcenie głównych aktorów kształtują wielkie dzieła sztuki w kinie bardziej niż kontrola twórcza producenta czy reżysera. Dilip Kumar wielokrotnie to zademonstrował
Zinco e ferro na cultura do arroz.
No full textParte I - Zinco por Morel Pereira Barbosa Filho e Nand Kumar Fageria; Parte II - Ferro por José Flávio Dynia e Nand Kumar Fageria
Pregled raziskav branja na Slovenskem od osamosvojitve pa do dandanes
No full textDiplomsko delo se ukvarja s pregledom obstoječih raziskav, ki se ukvarjajo z raziskovanjem branja, v obdobju od 1991 pa do 2016. Ugotovljeno je, da imamo v Sloveniji tri večje raziskave: Slovensko javno mnenje, Nacionalno raziskavo branosti in serijo raziskav s skupnim imenom Knjiga in bralci ter nepregledno število raziskav na mikro ravni. Slovensko javno mnenje je edina longitudinalna družboslovna raziskava pri nas, saj se jo neprekinjeno izvaja že od leta 1968. Z vprašanjem branja se ukvarja le v manjšem obsegu. V letu 2000 je doživela spremembo v vprašanjih in je tako postala mednarodno primerljivejša. NRB se izvaja od leta 2002 dalje. Prednostno se ukvarja z raziskovanjem branosti tiskanih medijev. Ker raziskavo financira zasebni sektor, so javno dostopni le podatki o dosegu enega izida, dostop do ostalega pa je plačljiv. Edina raziskava, ki se poglobljeno ukvarja z branjem, je serija Knjiga in bralci. Do sedaj je bila izvedena petkrat, točneje v letih 1973, 1979, 1984, 1998 in 2014. Za pričujočo raziskavo sta bili, zaradi časovne zamejitve raziskovalnega polja, relevantni zadnji dve. Poleg teh treh večjih raziskav na nacionalni ravni, obstaja še mnoštvo raziskav na mikro ravneh, ki so jih izvedli večinoma posamezniki v okviru zavodov, diplomskih in magistrskih del. Pomembne so, ker vsaj delno zapolnjujejo vrzeli na ravneh, ki se jih makro raziskave niso dotaknile, čeravno ne podajajo rezultatov, ki bi bili reprezentativni za celo Slovensko populacijo. Pregled in interpretacija obstoječih raziskav sta pokazala, da v Sloveniji od osamosvojitve do dandanes, nimamo oblikovane dolgoročne kulturne politike na področju raziskovanja branja.This diploma thesis is a review of the existing studies done between 1991 and 2016 which research reading. It has been established that we have three major studies in Slovenia: Slovensko javno mnenje (Slovenian public opinion), Nacionalna raziskava branosti (National research of readership), and a series of studies under the title Knjiga in bralci (The book and its readers). There are also a large number of studies on the micro level. Slovenian public opinion is the only longitudinal sociological study in Slovenia since it has been in progress since 1968. It researches reading only marginally. In 2000, there has been a change in the topics it researches and it has thus become more comparable to international studies. National research of readership has been in progress since 2002. Its main interest is the research of the print media readership. Since the study is being financed by the private sector, the information about the reach of one issue is publically avaliable, the rest is only available against payment. The only study that researches reading in depth is the series of studies under the title The book and its readers. It has been performed five times so far, namely in 1973, 1979, 1984, 1998 and 2014. For our research, only the last two studies are relevant due to the limited period of time covered in this research. Apart from these three nation-wide studies, there is an array of studies on the micro level which have been mostly done by individuals within the framework of institutes, and as part of diploma and masters theses. Although their results are not representative of the entire Slovenian population, they are important as they at least partially cover the topics not researched by the macro studies. The review and interpretation of the existing studies have shown that in the twenty-five years since Slovenia%s independence, we have not developed a long term cultural policy in the field of reading research
Students with deficits in a specific area of learning in music theory lessons in music schools
No full textKljučni raziskovalni problem naloge predstavljajo specifične učne težave pri pouku Nauka o glasbi, njihove značilnosti in kako jih je mogoče prepoznati. Želeli smo pridobiti poglobljeni uvid v problematiko z vidika posameznikov s primanjkljaji na posameznih področjih učenja, ki so uspeli priti do univerzitetne ravni glasbenega izobraževanje, in osvetliti njihove izzive na tej poti ter prilagoditve, ki so jim pri tem pomagale. V uvodnem poglavju magistrske naloge sta predstavljena vloga in pomen glasbenega izobraževanja pri posamezniku in v družbi. V nadaljevanju je predstavljena inkluzivnost v glasbenih šolah. Za tem sledi predstavitev specifičnih učnih motenj in učencev s tovrstnimi motnjami. Pri vsaki specifični motnji ter primanjkljaju na posameznem področju učenja smo predstavili značilnosti učencev s težavo in rešitve ter prilagoditve za učence s tovrstnimi težavami. Na koncu teoretičnega dela smo našteli še uporabne didaktične igre in pripomočke, ki nudijo podporo učencem s specifično učno motnjo. Vaje so namenjene tudi kot podpora učiteljem za poučevanje na glasbenem področju. V raziskavi je bila uporabljena kvalitativna metoda raziskovanja, pred tem pa smo zastavili šest ključnih raziskovalnih vprašanj. Na podlagi teh smo pripravili vprašanja ter izvedli šest intervjujev z udeleženci. Udeleženci naše raziskave so študenti glasbe, ki imajo primanjkljaj na posameznem področju učenja. Želeli smo raziskati, kako se primanjkljaji na posameznem področju učenja kažejo pri glasbenoteoretičnih predmetih. Z raziskavo smo prišli do zaključka, da je učenec s primanjkljaji na posameznih področjih učenja lahko zelo uspešen na glasbenem področju in da specifične učne težave ne predstavljajo ovire pri doseganju ciljev. Pomembno pa je, da takemu učencu omogočimo ustrezne prilagoditve, ki jih navaja Odločba o primanjkljaju na posameznem področju učenja. Učenci z omenjenimi težavami so se primorani naučiti tudi drugih življenjskih veščin kot so vztrajnost in potrpežljivost.The key research problem of the master\u27s thesis is specific learning difficulties in music lessons, their characteristics and how they can be identified. We wanted to gain an in-depth insight into the problem from the perspective of individuals with deficits in specific areas of learning who have managed to reach the university level of music education and to shed light on their challenges along the way and the adaptations that have helped them to do so. The introductory chapter of the master’s thesis outlines the role and importance of music education for the individual and for society. Inclusion in music schools is discussed. This is followed by a description of specific learning disabilities and students with such disabilities. For each specific disorder and deficit in a particular area of learning, the characteristics of students with the problem and the solutions and adaptations for students with that type of problem are presented. At the end of the theoretical part, we have listed useful didactic games and tools that offer support to students with specific learning disabilities. The exercises are also designed to support teachers in teaching music. The study used a qualitative research method and asked six key research questions. On this basis, we prepared questions and conducted six interviews with the participants. The participants in our study are music students who show deficits in a particular area of learning. We wanted to investigate how deficits in a particular area of learning manifest themselves in music theory subjects. The study concluded that a student with deficits in a particular area of learning can be very successful in music and that specific learning difficulties are not a barrier to achieving their goals. However, it is important that such a student can make the appropriate adjustments indicated in the decision about deficits in a particular learning area. Students with these problems are also forced to learn other life skills such as perseverance and patience
Kustverdediging na 1990 (Kustnota 1990): Technisch rapport 18: Berekeningsresultaten beleidsalternatieven
No full textVanuit een beschrijving van beleidsanalyse in algemene zin en de gebruikelijke terminologie en definiering ervan, wordt toegewerkt naar een specificatie van de voor de discussienota 'Kustverdediging na 1990' gehanteerde beleidsanalytische aanpak. Hierin wordt de doelstelling van de studie uitgewerkt, wordt de uitgangssituatie gespecificeerd en worden de randvoorwaarden beschreven. De gewenste ontwikkelingen ten aanzien van de kustverdediging en de relatie met de maatschappelijke funkties in het kustgebied worden vastgelegd in strategieen. Wanneer ook de maatregelen die deze strategieen konkreet maken worden ingevuld leidt dit tot (beleids) alternatieven. Tevens wordt aangegeven welke ontwikkelingen de inspanningen die voor de kustverdediging de komende decennia nodig zijn, in hoofdzaak bepalen. Deze worden uitgedrukt in scenario's en betreffen vooral de hydrometeorologische randvoorwaarden (zeespiegel, klimaat) en de morfologische ontwikkelingen (gemiddeld, ongunstig). Tot slot worden de criteria beschreven op basis waarvan de ontwikkelingen bij diverse beleidskeuzes kunnen worden vergeleken. Het betreft kosten, verliezen aan duinareaal, e.d. Ten behoeve van de integrale analyse is het systeemanalytische model KUSTBEL (TR-17 ) ontwikkeld waarmee op relatief eenvoudige wijze voor de verschillende beleidsalternatieven de resulterende kustontwikkeling en de effecten daarvan op veiligheid en functies kunnen worden geanalyseerd en vergeleken. De feitelijke uitvoering van de beleidsanalyse richt zich op de analyse van beleidsalternatieven aan de hand van concrete rekengevallen, die in KUSTBEL worden ingevoerd (uitgezonderd de strategie Zeewaarts). Als onderdeel van de analyse is tevens een gevoeligheidsanalyse uitgevoerd om de invloed te kunnen inschatten van de onzekerheden die samenhangen met de beschikbare kennis en informatie.Kustnot
- …
