The focus of the text is on the representation of Taiwanese history in two films by Hou Hsiao-hsien, City of Sadness (Beiqing chengshi, 1989) and Good Men, Good Women (Hao nan hao nu, 1995), which refer to the traumatic events of February and March 1947. Both works were conceived as a protest against the official version of history, and at the same time as a reminder of what the authorities tried to erase from the public sphere. The director did not intend to simply reconstruct the past, but to create an experimental narrative by reaching out to those whose testimonies were usually ignored. Hou Hsiao-hsien adopted a view typical of microhistory, in which it is important to consider an individual perspective, i.e., to present human lives and the everyday activities. His films convince us that the process of learning about history does not rely solely on the use of scientific methods, but occurs due to the work of imagination, because – as Ewa Domańska writes – “we believe in history in the same way as we believe in works of art which speak to us not through cold logic, but by influencing our aesthetic and emotional sensitivity.”
Based on the recently proposed character theory of projective representations of finite groups proposed, we generalise several algorithms for computing character tables and matrices of irreducible linear representations to projective representations. In particular, we present an algorithm based on that of Burnside to compute the characters of all irreducible projective representations of a finite group with a given Schur multiplier, and transpose it to exact integer arithmetic following Dixon's character table algorithm. We also describe an algorithm based on that of Dixon to split a projective representation into irreducible subspaces in floating-point arithmetic, and discuss how it can be used to compute matrices for all projective irreps with a given multiplier. Our algorithms bypass the construction of the representation group of the Schur multiplier, which makes them especially attractive for floating-point computations, where exact values of the multiplier are not necessarily available.
Santo Daime, an ayahuasca religion from the Brazilian Amazon, liturgically mobilizes a group dance called the bailado. Emerging in the 1930s from precarious circumstances instigated by rubber boom cycles of the late 19th and early 20th centuries, Santo Daime has proven resistant against global systems of epistemicide, the systematic killing off of knowledge forms (SANTOS, 2014). I argue the bailado is key to this resistance as corporeal self-knowledge choreographically positioning participants as both audience and performer. In this paper, teachings from Santo Daime hymns and eighteen years of participant observation are drawn upon to support this argument through choreographic analysis.
O marionetista visível e ativo em cena potenciou um sem-número de outras possibilidades e a mistura de outras disciplinas artísticas nos espetáculos. Este é o conceito que A Bolha – Teatro com Marionetas implementa nos seus processos criativos, promovendo a relação direta epróxima entre marioneta e marionetista, com ênfase na complementaridade entre ambos. A abordagem metodológica e técnicas de trabalho e pesquisa são apresentadas, segundo uma perspetiva pessoal dos diretores criativos da estrutura artística, bem como influências teóricas e bases funcionais para os processos de construção de marionetas e dramaturgias. A marioneta assume uma nova dimensão no espaço cénico, resultado de novas abordagens práticas e de uma relação de complementaridade com o ator, e A Bolha pretende explorar e dar continuidade a essa dimensão.
In previous work with Harman, we introduced a new class of representations for an oligomorphic group $G$, depending on an auxiliary piece of data called a measure. In this paper, we look at this theory when $G$ is the symmetry group of the Cantor set. We show that $G$ admits exactly two measures $μ$ and $ν$. The representation theory of $(G, μ)$ is the linearization of the category of $\mathbf{F}_2$-vector spaces, studied in recent work of the author and closely connected to work of Kuhn and Kovács. The representation theory of $(G, ν)$ is the linearization of the category of vector spaces over the Boolean semi-ring (or, equivalently, the correspondence category), studied by Bouc--Thévenaz. The latter case yields an important counterexample in the general theory.
Lusztig defined an abelian category ${\mathscr{C}}_{k}$ of a class of representations of a multi-loop algebra and asked various questions connecting it to the modular representation theory of simple algebraic groups in char. p>0. The aim of this paper is to show that some of these questions have negative answer.
In this article, we construct affine group schemes $GL(X)$ where $X$ is any object in the Verlinde category in characteristic $p$ and classify their irreducible representations. We begin by showing that for a simple object $X$ of categorical dimension $i$, this representation category is semisimple and is equivalent to the connected component of the Verlinde category for $SL_{i}$. Subsequently, we use this along with a Verma module construction to classify irreducible representations of $GL(nL)$ for any simple object $L$ and any natural number $n$. Finally, parabolic induction allows us to classify irreducible representations of $GL(X)$ where $X$ is any object in the Verlinde Category.
In the paper we show that any irreducible representation of a finitely generated nilpotent group $G$ over a finitely generated field $F$ of characteristic zero is induced from a primitive representation of some subgroup of $G$.
The essay explores the dramatic and performative dimension of the Forty Hours Devotion – one of the most important liturgical services of the Counter-Reformation – promoted by Capuchin Friars Minor between the 16th and 17th centuries. The first part summarizes the salient steps that marked the emergence of a precise system of celebration developed by the Order, highlighting those elements that made it original in choice of time, organization and, above all, detailed meditation practice. The second part is devoted to those changes that took place in the 17th century. Particular attention is dedicated to the new Baroque dramaturgy of the devotion: centered on the sermon, it was transformed from an interior ‘theatre of contrition’ into a ‘spectacle of penitence and conformation’. Lastly, the third part proposes an interpretation of Ultimi colpi al cuore de’ peccatori, written by Capuchin Domenico de Sancto da Francavilla in 1694. This sermon collection – in vernacular and with printed margin notes on gestures and actions for the preacher – is a unique example of rhetorical dramaturgy, almost a playscript for an actor.
This research proposes to study a theatrical experience conducted in a group to explore the potential of theatrical work. A working protocol was established: training to work on dynamic positions, contact and body plasticity, and preparation for the theatrical game, conducted with the aim of establishing the distance between the actors and the events that affect them, in order to overcome them. Theatrical action was a source of discovery, of working on oneself, an effective means of helping them to be free, sharing their feelings, controlling their fragility, recovering an ability to act until then ignored. They rebuilt themselves, finding self-confidence and re-appropriating other skills and attitudes. It is a path that can lead to resilience. Our empirical study combines two intrinsic dimensions: theory, allowing us to think about our approach and include it in a reflective process; and the practice that offers us the possibility to carry out an experience of working on the stage, in the exploration of personal goals and inhibitions.
Keywords
Resilience. Revival. Theatrical Potentials. Collective Creation.
The article deals with the narrative structure of Denis Villeneuve’s Arrival. Using the concept of a skeptical viewer as a starting point, the author follows the processes of unveiling meanings, both when it comes to the understanding of the plot of the story, as well as the senses and morals stemming out of it. The viewer’s activity appears to be engaged with the activity of a character who is determined to discover the generic science fiction mystery, i.e. to learn the secret of the aliens’ language. The language, in turn, leads to revealing the time reliances in the film, as well as to formulating the thesis on a specific kind of storytelling: not as a “narrative about time,” but rather a “narrative by time.”
Liveness and co-presence are romanticized in Polish theatre as linked to its status as a platform for performances of Polish freedoms. Therefore, the outbreak of COVID-19 and the subsequent decision to close all theatres from March 12, 2020, have created very particular challenges not only to the economic safety and artistic expression of theatre and its artists, but also to its core traditions. Polish government’s attempts to rewrite the constitution, organize fraud elections and limit women rights during the lockdown have made the situation even more challenging. This essay discusses how Polish theatre artists used verse form—including Hip-Hop-derived performances—to claim their agency over the new ecologies of theatre-making and engage with socio-political discourses.
Let $π$ be an irreducible unitary representation of a finitely generated nonabelian free group $Γ$; suppose $π$ is weakly contained in the regular representation. In 2001 the first and third authors conjectured that such a representation must be either odd or monotonous or duplicitous. In 2004 they introduced the class of multiplicative representations: this is a large class of representations obtained by looking at the action of $Γ$ on its Cayley graph. In the second paper of this series we showed that some of the multiplicative representations were monotonous. Here we show that all the other multiplicative representations are either odd or duplicitous. The conjecture is therefore established for multiplicative representations.
We generalize a cohomological construction of representations due to Lusztig from the hyperspecial case to arbitrary parahoric subgroups of a reductive group over a local field, which splits over an unramified extension. We compute the character of these representations on certain very regular elements.
The takes issue the VR experience in the context of the concepts of realism. He presents the process of create the cinematic VR and its references to reality in the type of non-fiction media. He also points to the ethical dimension of the issue by referring to Emmanuel Lévinas’ philosophy.
A Labanotation foi uma notação para dança desenvolvida por Rudolf Laban no início do século XX. Através de uma análise comparativa entre a Labanotation e a função da partitura musical e suas estruturas de composição é possível arguir que provavelmente esta escrita para dança, para além de sua função de registro, criou as condições de possibilidade para que Laban desenvolvesse seu sistema de análise de movimento e permitisse pensar caminhos inovadores de criação coreográfica.