Dance serves as a potent metaphor for Taiye Adeola’s Ni Ile Wa, embodying cultural identity, resistance, and transformation. This study explores the symbolic and narrative functions of dance within the text, and examines how movement and rhythm reflect societal tensions, personal struggles, and communal aspirations. Drawing on theories of performance, embodiment, and postcolonial aesthetics, this paper argues that dance in Ni Ile Wa is not merely an artistic expression, but a language through which characters negotiate power, memory, and belonging. Ultimately, work positions dance as a dynamic force that bridges the past and present, reinforcing cultural heritage while enabling new forms of self-expression.
Bernard Appiah, Mahama Saaka, George Appiah
et al.
Abstract
Objective:
To evaluate the effectiveness of a radio campaign involving serial 10-minute drama episodes, 10-minute on air discussion of each episode by trained community health workers and 30-minute phone-ins from listeners in improving mothers’ nutrition- and health-related attitudes (HNRAs) and children’s minimum acceptable diet (MAD).
Design:
A two-arm quasi-experimental trial with a pre-post design was used to quantify the effect of a radio campaign on nutrition before and immediately after the 6-month intervention. Difference-in-difference (DID) analysis was performed to assess the intervention’s effect.
Setting:
Saboba district (intervention) and Central Gonja (comparison district) of northern region of Ghana.
Participants:
At baseline, a total of 598 mothers with children aged 6–22 months were randomly selected from the intervention (n 298) and control (n 300) districts. At endline (6 months post-intervention), 252 mother–child dyads in the intervention district and 275 mother–child dyads in the control district were followed up.
Results:
The radio campaign was significantly and positively associated with a change in health- and nutrition-related attitudes (HNRA) over time, with DID in mean attitudes significantly improving more over time in the intervention district than the control (DID = 1·398, P < 0·001). Also, the prevalence of MAD over time in the intervention district was significantly higher than the control district (DID = 16·1 percentage points, P = 0·02) in the presence of food insecurity.
Conclusions:
The study indicates that a radio campaign on nutrition is associated with improved mothers’ HNRA and children’s MAD. Communication interventions on child nutrition targeting low-resource settings should consider this innovative approach.
Public aspects of medicine, Nutritional diseases. Deficiency diseases
O texto sustenta sua metodologia na Análise de Discurso. Para tanto, mobiliza significantes no intuito de analisar discursivamente a performance artística de uma drag queen. A tese apresentada é a de que montar-se é um mecanismo discursivo que cria um punctum simbólico que encobre o real traumático de crescer impedido de associar-se ao feminino. Conclui que o lugar da drag, como tensão entre a formação masculinista e o seu avesso, representa um espaço limiar, dissidente, de mestiçagem e transfiguração da dor, repressão e perda. A contribuição refere ao fato de que é por meio desse fazer artístico que o sujeito do discurso resiste e se autoriza a agir, a significar.
Il capitolo riassume in maniera concentrata e concertata quanto noto sulla conformazione interna delle tetralogie di età classica, analizzando i nove esemplari documentati integralmente (o quasi) e alcuni pochi altri afferrabili solo parzialmente; si svela come questa esile base statistica sia, nei fatti, la principale prova dell’esistenza invariabile della proporzione 1:4 nella tetralogia del teatro attico. Si studiano, poi, le asserzioni reali o – piuttosto – presunte reperibili nelle fonti antiche circa lo stabilimento ovvero il mantenimento di questa relazione numerica tra ingrediente satiresco e ingrediente tragico dello spettacolo. Infine, si riproduce e ridiscute il testo della seconda hypothesis manoscritta all’Alcesti di Euripide, quella ‘aristofanea’, che, con l’applicazione degli aggettivi σατυρικώτερον e κωμικωτέραν a quell’opera ovvero alla sua katastrophé, tanta parte ha avuto nel dibattito antico e moderno intorno al suo preciso statuto di genere e alla sua eccezionalità.
This article examines the broad, encyclopaedic ambit of the scholarly information contained in the ninth-century <i>Old English Martyrology</i>. Martyrologies generally serve as para-liturgical resources outlining the contours of the liturgical year and the biographies of the saints commemorated throughout its course. However, the <i>Old English Martyrology</i>, the earliest European example of a vernacular, prose martyrology, adapts the genre into a more multivalent, scholarly handbook that instructs and informs its users—generally, practitioners of the liturgy—in a variety of topics. Subjects covered in the text include geography, language, hagiography, temporal reckoning, computus, astronomy, cosmology, meteorology, science, liturgy, and learning of a general Christian nature pertaining to the saints and the liturgical year. The present volume considers the impact of liturgy upon various facets of medieval intellectual, cultural, religious, political, and social life. The article at hand considers how the liturgical year is used as the framework around which instruction, edification, and general ecclesiastical learning might be imparted. While liturgical texts generally constitute formulae to be enacted by practitioners, para-liturgical resources provide background information that is germane to the liturgy, the liturgical year, and ecclesiastical life. This article begins with an examination of the development of the kalendar of the saints and the genre and form of the martyrology. It moves on to examine the different types of scholarly learning contained in the <i>Old English Martyrology</i>, the purpose of such details for the professional religious user, and what this information tells us about the text’s application. Overall, this article considers the <i>Old English Martyrology</i> as an interdisciplinary manual dealing with liturgy, the liturgical cycle of the saints, and the subjects it impinges upon.
Como investigação do Teatro Negro na diáspora, o presente trabalho reflete sobre a cena preta contemporânea considerando os processos de ensino-aprendizagem a partir do Candomblé Congo-Angola. Aqui serão postos fundamentos de ensino do Terreiro Unzó ia Kisimbi ria Maza Nzambi, os quais subsidiaram o processo criativo do Coletivo AFRO(en)CENA na criação do experimento “Travessias... ciclos transatlânticos”.
The article characterizes the teaching authority as a product of patriarchal and Christian tradition, according to which the teacher’s performance would establish discipline and silence. Just like the aura (Benjamin, 2017) of a work of art decays through technical advance, so would the teacher's aura: the democratization/secularization of education, by unlinking knowledge from the divine, generates deterritorialization of authority. In response, means of dialectically reverting the aura in teaching are sought here in works of art and philosophy. These point toward the construction of communitas in learning, in which professing becomes an aesthetic and collective experience, marked by the presence of an embodied enthusiasm.
Customary and cultural values are an important part which may be found not only in daily routines, but also reflected in all actions, particularly in art. Women’s smooth characteristic in Minangkabau tradition is called siganjua lalai. This research needs to be conducted since some choreographers make princess dance using masculine movements. This research aims at studying and finding the basic concept of women’s dance movements according to the concept of siganjua lalai. This research employs qualitative and experimental methods with social approach of Minangkabau culture. Analyzed using interpretive qualitative techniques, the data are in the form of siganjua lalai dance movement concept, including the design of 1) space, 2) time and 3) energy. The experiment was conducted with students of Sendratasik Study Program, Faculty of Languages and Arts, Padang State University. Based on the research results, the basic patterns of siganjua lalai cover attitudes, leg and arm movements. The philosophy also considers the space, time, and energy. Therefore, the pattern design refers to the philosophy of siganjua lalai. The dance may be expressed in accordance with Minangkabau women’s characteristics in reflecting their cultural identity.
Jogschies, Bärbel, Schewe, Manfred, Stöver-Blahak, Anke
The twenty-first century is the century of the performative.1 Claire Colebrook (2018) Eine performative Lehr-, Lern- und Forschungskultur kann überall dort entstehen, wo die Fachwissenschaft bzw. Fachdidaktik in einen konstruktiven Dialog mit den performativen Künsten eintritt. Die Herausforderungen des 21. Jahrhunderts (vgl. die Sustainable Development Goals der UN)2 erfordern kreative Lösungen. Kreativität wird aber bislang an Hochschulen nicht ausreichend gefördert, eine künstlerisch orientierte Neuausrichtung in Lehre und Forschung ist dringend erforderlich. Bereits auf den UNESCO-Weltkongressen Lissabon 2006 und Seoul 20103 wurde dazu aufgerufen, die Rolle der Künste in der Bildung zu stärken. Allerdings hält sich die Umsetzung dieser Empfehlungen bisher sehr in Grenzen. Kognitionswissenschaftliche Studien belegen die tiefere und langfristige Verankerung von Inhalten durch die Verwendung performativer Lehr- und Lernformen4. Sie führen zu besseren und kreativeren Studienergebnissen, die Studierenden identifizieren sich stärker mit ihrem Studium, das allgemeine Engagement innerhalb der Hochschulen steigt, die Abbruchquoten sinken, die universitäre Ausbildung gewinnt an Komplexität und Praxisnähe und die Absolventen und Absolventinnen haben bessere Vermittlungschancen. Auf dem 6. Scenario Forum Symposium am 21. und 22. September 2018 in Hannover unter dem Titel Universitäten auf dem Wege zu einer performativen Lehr-, Lern- und Forschungskultur? verständigten sich die teilnehmenden Hochschullehrenden darüber, was unter einer performativen Lehr-, ...
<p class="PARABIBLIOGRAFA">Este trabajo procura desentrañar el significado simbólico de la obra capital de Maurice Maeterlinck <em>Pelléas et Mélisande</em>, atendiendo a las aportaciones que debemos a Gaston Bachelard, en cuanto a las asociaciones de imágenes y símbolos en la literatura; a Mircea Eliade en lo que respecta a la permanencia histórica de símbolos en la historia de la de la psique humana; y muy especialmente a los planteamientos de la poética del imaginario, con especial atención a la obra de Gilbert Durand <em>Las estructuras antropológicas de lo imaginario</em>.</p><p class="PARABIBLIOGRAFA"><strong> </strong></p><p class="PARABIBLIOGRAFA"><strong>Palabras clave:</strong> Maeterlinck. Pelléas et Mélisande. Psicocrítica. Mitocrítica. Poética de lo imaginario.</p><p class="PARABIBLIOGRAFA">Abstract</p><p class="PARABIBLIOGRAFA">This paper’s goal is to figure out the symbolic meaning of Maurice Maeterlinck’s <em>opera magna</em> <em>Pelléas et Mélisande</em> according to Gaston Bachelard, Mircea Eliade and Gilbert Durand’s theoretical approaches. Concerning Bachelard, we will pay attention to his analysis of the relation between images and symbols in literature; we will also take into account Eliade’s theory of the consistency of symbols along the history of human psyche; and we will particularly consider Durand’s Poetic of the Imagining approach and his work <em>The Anthropological Structures of the Imaginary</em>.</p><p class="PARABIBLIOGRAFA"><strong> </strong></p><p class="PARABIBLIOGRAFA"><strong>Key words</strong>: Maeterlinck. Pelléas et Mélisande. Psychoanalytic-Criticism. Myth-Criticism. Poetics of Imagining.</p><p class="PARABIBLIOGRAFA"> </p>
Literature (General), French literature - Italian literature - Spanish literature - Portuguese literature
Kołos Sylwia, To Play, To Imitate, To Embody. On Acting in a Biographical Film
What does an actor do in a biographical film? This question may seem inane, or at least less than serious; however, the terms frequently used to describe and assess the actors work in general - to embody a character, to play them, to play a role - suggests the existence of a certain designatum, which is the point of reference for the role. In the case of a fictional story, we may ignore the semantic multivalence of such terms. In a biographical film, however, the existence of a real originator of the role gives additional, almost ontological meaning to phrases such as “embodying a character” or “playing a role”. In my reflections, I use as my starting point the assumption that the actors performance in a biographical film and the “conception of a character” result from two basic components: 1. Interpretation of the role - constituting a proposal to analyse the heros character. It is usually supposed to extract more profound meanings and senses out of the biography. To put it more simply, the interpretation of the role is supposed above all to help the viewer to answer the question of who the hero was (what they were like) and why? 2. Adaptation - this includes the physicality of the character: their appearance, body language, facial expressions, voice (the tone, modulation, accent, phrasing, dialect - if the authentic person used one, etc.) In my article I try to answer the questions: Where should we seek the essence of biographic acting? How can we avoid exaggeration and falsehood, which could kill the role?
In Post-colonial Drama: Theory, Practice, Politics Helen Gilbert and Joanne Tompkins embark on an ambitious, if not impossibly contingent, project. It is ambitious in that the authors’ field of exploration includes most of the postcolonial drama written and performed in “english” throughout the world. Taking as their focus, dramatic language (both vocal and visual), the arrangement of theatrical space and time, and the manipulation of narrative and performative conventions of drama, they aim “to isolate possible ways to read and view theatre texts ... as well as ways to interpret the strategies by which playwrights, actors, directors, musicians and designers rework a historical moment or a character or an imperial text or even a theatre building” (1).