The goal of the work. Codicological and musical-stylistic analysis of musical sources of different types of Ukrainian musical creativity of the Baroque period of the 17th - first half of the 18th ...century (church monody, partes works, chants, school drama with music) from the standpoint of integrity with the establishment of similarities and differences, as well as the links between them, which allows to understand properly the leading trends in contemporary music culture. Methodology. To study the sources of musical creativity of the Baroque period, a comprehensive approach was used, as well as source studies, historical, stylistic and comparative methods to study the sources of different types of musical creativity. Scientific novelty. Consideration of codicological and musical-stylistic features of Ukrainian written sources of different types of musical creativity of the Baroque period from the standpoint of integrity showed the presence of typological and common features and differences, as well as links between them. It has been established that in the Baroque period, religious and Christian themes dominated in written music, which is evidence of the significant role of Christian values for Ukrainian society at that time. It is determined that the interpretation of Christian themes took place differently. The revealed differences between different types of creativity showed evolutionary processes in the creation of codes of sources, in the use of various verbal texts in musical creativity (hymnography, syllabic poetry), in the correlation of word and music and in the musical-stylistic system. The combination of medieval traditions with baroque style innovations in musical creativity is revealed, as well as its three levels are characterized - “high”, “middle” and “lower”.
Thomas talks about North Carolina's outdoor drama. North Carolina has a rich history of outdoor drama. Many North Carolina natives have attended a production of "The Lost Colony" in Manteo or "Unto ...These Hills" in Cherokee. Other outdoor dramas in the state include "Strike at the Wind," in Pembroke; "Horn in the West," in Boone; "Tom Dooley: A Wilkes County Legend," in Wilkesboro; "First for Freedom," in Halifax; and "From this Day Forward," in Valdese. Shakespeare has his place in North Carolina too, from Asheville's Montford Park Players to Wilmington's Cape Fear Shakespeare.
Readings in Renaissance Women's Drama is the most complete sourcebook for the study of this growing area of inquiry. It brings together, for the first time, a collection of the key critical ...commentaries and historical essays - both classic and contemporary - on Renaissance women's drama. Specifically designed to provide a comprehensive overview for students, teachers and scholars, this collection combines: * this century's key critical essays on drama by early modern women by early critics such as Virginia Woolf and T.S. Eliot * specially-commissioned new essays by some of today's important feminist critics * a preface and introduction explaining this selection and contexts of the materials * a bibliography of secondary sources Playwrights covered include Joanna Lumley, Elizabeth Cary, Mary Sidney, Mary Wroth and the Cavendish sisters.
Rabelais's Radical Farce Hayes, E. Bruce
2010, 20160523, 2017, 2016-05-23, 2016-05-26, 2010-11-01
eBook
In the first extended investigation of the importance of dramatic farce in Rabelais studies, Bruce Hayes makes an important contribution to the understanding of the theater of farce and its literary ...possibilities. By tracing the development of farce in late medieval and Renaissance comedic theater in comparison to the evolution of farce in Rabelais's work, Hayes distinguishes Rabelais's use of the device from traditional farce. While traditional farce is primarily conservative in its aims, with an emphasis on maintaining the status quo, Rabelais puts farce to radical new uses, making it subversive in his own work.
Bruce Hayes examines the use of farce in Pantagruel, Gargantua, and the Tiers and Quart livres, showing how Rabelais recast farce in a humanist context, making it a vehicle for attacking the status quo and posing alternatives to contemporary legal, educational, and theological systems.
Rabelais's Radical Farce illustrates the rich possibilities of a genre often considered simplistic and unsophisticated, disclosing how Rabelais in fact introduced both a radical reformulation of farce, and a new form of humanist satire.
본 논문은 정부의 문화산업 정책이 중국 내 드라마 산업의 성장에 미치는 영향을 밝히기 위해 중국의 드라마 산업정책의 유형을 분석하고 중국 내 TV 드라마가 어떻게 변화됐는지 분석하고자 하였다. 2000년부터 2022년까지 발표된 모든 드라마 관련 정책 내용을 파악한 후 유형에 따라 지원 정책과 규제 정책 등으로 분류하였다. 시기별로 발표된 정책과 중국 ...드라마 산업 시장 내 중국 및 해외 콘텐츠의 변화를 분석해 중국 문화산업 정책이 드라마 산업 변화에 어떠한 영향을 미쳤는지 분석하였다.
그 결과 중국 정부의 드라마 산업정책이 TV 드라마 시장과 드라마 내용에 영향을 미치는 것을 알 수 있었다. 그 수가 많지는 않지만, 드라마 산업 성장을 위한 지원정책이 존재하고 있으며, 중국 정부는 드라마 산업 성장에 있어 걸림돌이 되는 것들을 제한하는 방식의 규제 정책을 통해 드라마 산업의 질서를 유지하고 발전의 속도를 조정하였다. 중국만의 방식으로 드라마 산업발전을 이끌어 왔고 이제는 양적인 성장보다는 질적인 성장을 추구하고 있는 것을 알 수 있었다. 다만 이미 세계 1위의 규모의 내수 시장을 가진 중국 드라마 산업이 국제화를 이루고 이를 통해 소프트파워를 개선하기 위해서는 정부 규제 완화와 시장 지향적 성장이 병행되어야 하는 단계이다.
In order to examine the impact of the government’s cultural industry policy on the growth of the drama industry in China, this paper attempted to analyze the various types of drama industry policies in China and how TV dramas in China have evolved. After identifying all drama-related policies announced from 2000 to 2022, they were classified into support policies and regulatory policies based on their types. The analysis encompassed the policies announced over different periods and the changes in Chinese and overseas content within the Chinese drama industry market, aiming to understand how Chinese cultural industry policies have influenced shifts in the drama industry.
As a result, it was found that the Chinese government's drama industry policy affects the TV drama industry market and drama content. Although there are not many, there are policies to support the growth of the drama industry, and the Chinese government maintains order in the drama industry and adjusts the pace of development through regulatory policies that limit obstacles to the growth of the drama industry. China has led the development of the drama industry in its own way, and now it can be seen that qualitative growth is pursued rather than quantitative growth. However, for the Chinese drama industry, which already has the world’s largest domestic market, to internationalize and improve its soft power, government deregulation and market-oriented growth must go hand in hand.
