U članku se analizira jezikoslovno nazivlje u dvjema gramatikama iz 18. st., Relkovićevoj Novoj slavonskoj, i nimačkoj gramatici (11767.) i Vinjalićevoj rukopisnoj gramatici Principi della grammatica ...... Grammatica prima in lingua slava, italiana et latina. Relkovićeva je gramatika prva vrlo opsežna gramatika hrvatskoga jezika pisana hrvatskim jezikom, i to kontrastivno, u suodnosu prema njemačkome jeziku. Rukopisna Vinjalićeva gramatika pisana je trojezično, a donedavno uglavnom nije bila predmetom interesa jezikoslovne javnosti. Kako svaki naziv u promatranim gramatikama nema uvijek svoju hrvatsku inačicu, nužno je bilo u istraživanju osvrnuti se i na latinsko nazivlje jer su promatrane gramatike pisane prema latinskomu modelu. Budući da su u postojećim potvrdama hrvatskoga nazivlja uočene sličnosti s prethodnicima (npr. s nazivljem u J. Mikalje, L. Šitovića, T. Babića, B. Tadijanovića), primjeri su stavljeni u kontekst izgradnje hrvatskoga jezikoslovnog nazivlja. Stoga se ovim radom nastoji pokazati koliko su se u izgradnji hrvatskih naziva dvojica promatranih gramatičara rukovodila uporabnom normom i već ovjerenim modelima u tvorbi novih naziva te koliko se njihovim novotvorbama koriste kasniji gramatičari.
La Narrazione sul massacro di Mamaj (Skazanie o Mamaevom poboišče), dedicata alla famosa vittoria dell’esercito russo sui tatari a Kulikovo (1380), è considerata in generale l’opera centrale ...dell’omonimo ciclo. L’anonimo autore sviluppa una coerente reinterpretazione dell’evento storico in chiave liturgico-commemorativa mediante la costante adozione delle forme della preghiera e della narrazione agiografica. L’analisi delle numerose citazioni bibliche che intessono la trama dell'opera, introduce al significato più profondo della Narrazione: l’assimilazione definitiva del cronotopo ellenistico-cristiano nella “cristianità ortodossa” slava in cui ha assunto una posizione centrale Mosca e la “terra russa”.
Liquid Sky takes its name from the classic laser cloud effect described above and from Slava Tsukerman’s 1987 cult sci-fi film. It includes a number of moments like this where light and aerial ...choreography innovatively interact. The combination of Aedin Walsh’s paced aerial action, Jack Wrigley’s shifting light and laser effects, and Sue Zuki’s dark-wave live electronic audio, orchestrating industrial noise and splitting—often choral-like—vocals, frame the performance as a futuristic sci-fi ritual that also sought to evoke the transformative aspects of eighties and nineties raves. Within this ritualistic frame, the meeting of laser and aerial practice reshaped, redefined and reconfigured what is expected of aerial space. Aerial space is created and defined by action in the live moment, by movements whose ‘conventions’ are those presented by different types of suspended equipment and the movement possibilities they afford.
Slava Kokorin, 2009 winner of the Stanislavski Prize for 'Best Theatre Pedagogue', worked with the Michael Chekhov technique for more than three decades. One of Kokorin's contributions was the ...development of a Chekhov-based exercise called 'Corridors'. Corridors is grounded in the principles of psychophysical experience and the actor's imagination. Through the images born from the Corridors exercise the actor physically and psychologically discovers, experiences, and embodies a character's Given Circumstances and biography, as well as the character's Objectives, Super-objective, stakes, and urgency. This renders Corridors more effective and efficient than traditional intellectual work on Given Circumstances and character biography; work that many actors and students of acting find cumbersome and dull. Corridors is dynamic, surprising, and immediate because it is based in active creative research. It is an innovative tool for both actor training and character creation.
What follows is the lead author's documentation, reflection, and interpretation of the application, meaning, and value of his first experience with Corridors as an actor/student, interspersed with responses and context from his teacher, the co-author. It documents a previously undocumented exercise by an important theatre pedagogue; an exercise that extends the lineage of Michael Chekhov's impactful work.
U ovom radu obradit će se podatci o običaju slavljenja krsne slave u Hrvata rimokatolika u dolini Neretve koje je prikupio don Radovan Jerković do 1941. godine. Istraživanje će obuhvatiti sljedeće ...župe: Bagalovići, Desne, Borovce-Nova Sela, Komin, Metković, Slivno, Vid i Vidonje. Analizirat će se učestalost i geografska rasprostranjenost slavljenja pojedinih svetaca te na temelju tih podataka izvući zaključci.
This work deals with the phenomena of celebration of the Family Patron-Saint’s Day (Krsna Slava) among the Roman Catholic population in the Neretva valley in Croatia. Krsna Slava is widespread among several countries and different nations in Balkans. Its origins are not known. First and most complete lists of the Neretva families and their patron saints were made in 1941 by Radovan Jerković. He collected data in Bagalovići, Borovci-Nova Sela, Desne, Metković, Komin, Slivno, Vid and Vidonje. Almost half of families celebrate All Saints (1st November). In the past, the families who immigrated to the Neretva valley and had not already had their own patron saint, chose All Saints to be their patrons. This means that this custom is not originally from the Neretva valley. Other saints celebrated by the Neretva families are St. Nicholas, St. Martin, Epiphany, St. Thomas, St. Michael, St. Stephan and St. John. These data are analyzed from different angles trying to understand the roots of this custom in the Neretva valley. Komin, Vidonje and Metković should be the original centres of Krsna Slava celebrating.
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