896 resultados para Ancient theatre


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with a verbal translation and explanatory notes by William Jones.

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The study of vertical distribution of Mo, V, Co, Ni, and Cu in mass of Black Sea sediments showed that maximum concentrations occur in sapropelic muds of ancient Black Sea deposits. A special study of sapropels samples showed a sufficiently clear correlation of Cu, Ni, Mo, and V contents with organic carbon contents; Co contents do not show such a correlation, but show one with contents of pyrite sulfur. A study of fractions of bitumen, free humic and fulvic acids showed that some part of metal contents in the sediments is bound with organic matter. It is shown that increased concentrations of trace elements in sapropels result from removing of dissolved metals from seawater by organic detritus during deposition on the bottom, in vivo concentration of metals in plankton organisms is of secondary importance.

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In principle, the world and life itself are the contexts of theatrical events. The term context is broad and thus seems hardly usable. It only makes sense to use the term when terminologies and methodologies determine which parts of their contexts are to be incorporated and analysed for which theatrical event. This presentation exemplifies a method which is particularly suitable for sensibly selecting the most important contexts for research in theatre history. The complexity of the representation increases continuously from The Presentation of Self in Everyday Life to Brecht’s “Street Scene” and “Everyday Theatre”, portrayals of rulers in feasts and parades to Hamlet productions by the Royal Shakespeare Company or a Wagner opera in Bayreuth. The different forms of theatre thus constitute a continuum which spans from “everyday theatre” to “art theatre”. The representation of the world in this continuum is sometimes questioned by the means of theatre, for example when Commedia dell’arte takes a critical stance towards the representative theatre of the humanists or when playful devices such as reversal, parody and fragmentation challenge the representative character of productions, which is applied by the Vice character for instance. There is a second component that has an impact on the continuum without a theatrical device: attitude, opinion, norms and bans which originate from society. As excerpts of contexts, they refer to single forms of theatre in the continuum. This results in a complex system of four components which evolves from the panorama between the antipodes “everyday theatre” and “art theatre” as well as both spheres of influence of which only one uses theatrical devices. All components interact in a specific time frame in a specific place in a specific way in each case, which can then be described as the theatricality in this time frame. This presentation will deal with what the concept is capable of doing.

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Mode of access: Internet.

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Includes index.

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The various introductory notices signed: Henry Wallis, W.M. Flinders Petrie, F.G. Hilton Price.

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Mode of access: Internet.