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Jazz: The Smithsonian Anthology  [cached]
Patrick Warfield
Journal of Music History Pedagogy , 2013,
Abstract: Jazz: The Smithsonian Anthology—a complete rethinking of The Smithsonian Collection of Classic Jazz—is a valuable compilation of recordings, essays, and photographs. Students and aficionados alike will find it useful for its broad reach, excellent audio, and impressive packaging.
Antologia: escrita compilada, discurso e capital simbólico
Serrani, Silvana;
Alea : Estudos Neolatinos , 2008, DOI: 10.1590/S1517-106X2008000200008
Abstract: this article discusses, from a discourse analysis perspective, general properties of anthologies, as paradigmatic realizations of compiled writing. formal distinctions (such as miscellany/anthology) and general characteristics attributed to the genre (for instance, the decontextualization of contents) are questioned and discursive effects of geopolitical-cultural representations in anthologies are also examined. the main claim is that conceiving anthologies as discourse allows us to go further in the comprehension of the genre's materiality and functioning. illustrations are mainly drawn from anthologies belonging to hispanic studies, but references to other contexts are also made. the proposal of a discursive comparative analysis is presented, searching to deepen the comprehension of the anthology's functions as a memory and cultural legacy, an instrument of criticism and a symbolic capital. results from a case study on bilingual anthologies of argentinian poetry are presented. to conclude, the relevance of the anthology regarding the notion of cultural trans-nationality is underlined.
Gender in the American Anthology Apparatus: A Linguistic Analysis  [PDF]
Laura Aull
Advances in Literary Study (ALS) , 2014, DOI: 10.4236/als.2014.21008
Abstract:

Most American anthology and canon revision has focused on author and text selections but little on the anthology editorial apparatus. The following study responds to this gap by analyzing gender representation across prefaces and overviews of the Norton and Heath American anthologies (1979-2010). Through a combined rhetorical and corpus linguistic analysis, the study reveals disparate gender representation in these materials: women are increasingly mentioned over time, but men continue to emerge as individuals of importance while women are discussed primarily as a group. This examination suggests that the revisionist, feminist scrutiny of Norton and Heath inventory has not been brought to bear on the anthologies’ apparatus—and that discursive patterns therein remain largely invisible despite that they contradict efforts to revise gender bias in anthologies. In so doing, the study offers an exploratory analysis of new methods (combined linguistic and rhetorical analysis) and new sites (apparatus texts) for examining gender in canonical and pedagogical materials.

Review on Anthology of Song Ci  [PDF]
Ruoxi Li
Advances in Literary Study (ALS) , 2019, DOI: 10.4236/als.2019.72006
Abstract: The Anthology of Song Ci by Hu Yunyi is the first choice for the beginners of Song Ci. For long time, scholars have been controversial about Anthology of Song Ci annotated by Hu Yunyi. Some pointed out the limitation of the book, thinking that Hu Yunyi’s review on the selected works is dogmatic, rigid and subjective, while others deem that the selected Ci in this book is full of literary merit and easy to understand. They regard it as the endorsement of Song Ci. In this thesis, the Anthology of Song Ci will be evaluated from three aspects, the overall value, shortcomings and advantages in order to reveal its real value, so as to help the beginners of Song Ci to understand and appreciate Anthology of Song Ci.
A-R Editions, Online Music Anthology  [cached]
Dane Owen Heuchemer
Journal of Music History Pedagogy , 2010,
Abstract: A-R Editions is now offering an online music anthology based on its own series of previously published scholarly editions. It also features works found in other anthologies including publications of the American Institute of Musicology. Fully functional with respect to the music of the Middle Ages, Renaissance, and Baroque eras, A-R is currently working hard to add an impressive list of eighteenth- and nineteenth-century compositions to its site. Once logged in, instructors can assemble and organize class lists by selecting from available repertoire, and works can easily be added or subtracted at any time. Adobe Flash technology makes the display of scores lightning fast and exceptionally clear.
Para uma aprecia o da arte visual russa
Jeová Rocha de Mendon?a
Galáxia , 2008,
Abstract: Esta resenha tem por objetivo apresentar 13 ensaios sobre a cultura visual russa coletados na antologia intitulada Tekstura. A abordagem multidisciplinar do livro encaminha seu leitor para textos que variam da arquitetura ao cinema, tópicos estes relacionados, principalmente, ao século XX. Palavras-chave Cultura visual russa-muldisciplinaridade. Abstract The present book review aims at presenting 13 essays on Russian visual culture as collected in the anthology entitled Tekstura. The multidisciplinary approach of the book guides its reader with essay topics ranging from architecture to cinema related mainly to the 20th century. Key words Russian visual culture-multidiscipline.
Selecting Dots, Connecting Dots: The Score Anthology as History  [cached]
Mark Evan Bonds
Journal of Music History Pedagogy , 2011,
Abstract: The standard survey of music history course for undergraduate music majors traditionally includes an anthology of scores for study. Instructors can use a commercially produced anthology, create their own, or use some combination of the two. In any case, instructors should try to select works that allow students to follow various narrative threads throughout the history of music. This has long been done in music of the Medieval and Renaissance eras in tracing the development of a particular chant into a motet via organum and clausua, or the use of a motet as the basis for an imitation (“parody”) Mass. Later eras offer other opportunities to examine the ways in which different composers have approached similar challenges. Examples discussed in this essay include: (1) C-Major preludes (J. S. Bach, Chopin, Liszt); (2) C-Major openings problematized (Haydn, Mozart, Beethoven, Schubert); (3) the “Tristan Chord” (Wagner, Debussy, Berg); (4) cross-generic parallels (Chopin nocturnes and Verdi’s La Traviata; the suite in Verdi’s Rigoletto and Berg’s Wozzeck); (5) different settings of the same text (Luzzaschi and Monteverdi; Reichardt, Zelter, Beethoven, Schubert, Schumann, Mendelssohn, Wolf, Berg); (6) specific compositional techniques such as ostinato (Monteverdi, Purcell, Stravinsky); (7) analogous dramatic situations (introductory baritone arias in operas by Pergolesi, Mozart, and Rossini); (8) autobiographical ciphers (J. S. Bach, Schumann, Berg, Shostakovich); and (9) arrangements and reworkings of existing movements or works (J. C. Bach, W. A. Mozart).
Cohen-Cruz, Jan (org.), Radical Street Performance: An International Anthology
Cláudia Pato de Carvalho
Revista Crítica de Ciências Sociais , 2012,
Abstract: Jan Cohen-Cruz foi membro do New York City Street Theatre/Jonah Project entre 1971 e 1972. Organizou workshops de teatro em pris es, hospitais psiquiátricos e centros comunitários. é co-organizadora de Playing Boal: Theatre, Therapy, Activism e os seus artigos, baseados na performance activista e performance comunitária, foram publicados nas revistas TDR, High Performance, American Theatre, Urban Resources, Women and Performance, The Mime Journal e na antologia But Is It Art?. Jan é também pr...
Scientific Expressions in Abolfaraj Rouni’s Anthology  [PDF]
Mohammad Reza Najjarian
Open Journal of Modern Linguistics (OJML) , 2016, DOI: 10.4236/ojml.2016.65034
Abstract: Abolfaraj Rouni is a pioneer of a new poetry style who has influenced all the 6th century (A.H) poets directly and indirectly. His own and his followers’ poems have served as a basis for changing the Khorasani style to Iraqi style. His anthology is fraught with a variety of Arabic words and Expressions, Quranic tenets, literary figures, and poetic features. One can specifically refer to his exotic overstatements about the eulogized. To understand his poems is generally difficult because it calls for a perfect knowledge of such field as astronomy, rhetoric, logic, philosophy, theology, and the like. Here is a typical verse of such poems: Thou at rest like the poles, But in race like the moon. Abolfaraj has based his imagery upon science. He has also utilized conventions such as games of chess as well as literary issues as associations for his images. He sometimes even makes a war image using a literary issue as in the following line: Rascals seized thee from all sides, But were depunctuated by thy prowess. In this research, we have studied and explained the role of Abulfaraj Rouni in using terms and expressions derived from various fields of science that makes changing the Khorasani style to Iraqi style.
An “Objectivists” Anthology: from Manifesto to Tradition An “Objectivists” Anthology : du manifeste à la tradition  [cached]
Fiona McMahon
Revue LISA / LISA e-journal , 2009, DOI: 10.4000/lisa.784
Abstract: Il s’agit dans cet article de présenter An “Objectivists” Anthology (1932) du poète américain Louis Zukofsky en évaluant l’aspect polémique du discours qui le définit, et ce d’abord au regard de son évolution en tant que projet éditorial (1931-32). Ensuite sera examiné le parcours critique de cette anthologie dans la poésie américaine au vingtième siècle : entre site de marginalisation dans les années trente et l’émergence d’une tradition du retour à l’avant-garde dans les années soixante-dix. Dans quelle mesure la continuité d’une écriture objectiviste ne se révèle-t-elle pas comme modèle dans la pratique contemporaine ? Enfin, à supposer que les caractéristiques rhétoriques de l’anthologie suggèrent un rapprochement avec le genre translittéraire du manifeste, des commentaires visant des prémisses idéologiques et polémistes de cette anthologie viennent étayer cette hypothèse, ainsi qu’une réflexion sur la capacité d’une éthique objectiviste à s’incarner dans l’identité de la poésie contemporaine.
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