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Copyright of Studi e Materiali di Storia delle Religioni is the property of Editrice Morcelliana S.p.A. and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

This article shows the Effectiveness of Digital Teaching Materials for Theater Arts Subjects for Junior High School in the form of the Wellmime Technique-Based "Ku Pantomim" Android Application. These research instruments are interview guidelines, questionnaires, and observation sheets. The data is analyzed using the mixed method. The results and conclusions of this study show the effectiveness of development products by 79% with cryptic "interested" and practical, including: 1) andriod application usage book "Ku Pantomim" with syntax contained in learning design, 2) Adroid application "Ku Pantomim" and 3) Wellmime Pantomime Technique book in which integrated the principles of pantomime techniques. [ABSTRACT FROM AUTHOR]

Copyright of Archivio di Etnografia is the property of Pagina Societa Cooperativa and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

The use of point-level annotations in Point Supervision Object Detection (PSOD) has gained popularity due to its low labeling cost and the provision of specific location information. Previous studies have often relied on Multiple Instance Learning (MIL) to select and refine a low-quality pseudo box, which heavily relies on category information. This method concentrates on identifying the most distinctive objects in each category within an image. However, without the boundary constraints provided by Ground-Truth (GT), the detector may suffer from instance ambiguity problems, which can significantly deteriorate the model's performance. To tackle these concerns, we propose an end-to-end object detection model called low-level instance features object detector (LIFOD) to mime low-level instance features information to refine the pseudo box. LIFOD utilizes a Low-level Feature Extractor (LFE) module to exploit low-level instance feature information to combine low-level feature information and category information, thus solving the challenge of instance ambiguity. To further alleviate the problem of local minima, we introduce bounding box regression in LIFOD and implement an end-to-end training strategy for point-supervised models to mitigate local minima. We evaluate our proposed LIFOD method on the public datasets COCO 2014 and 2017 and show that it outperforms the existing image-level and point-level supervised detection methods, and significantly reduces the gap in performance between PSOD and box-level object detection. • We propose a Low-level Feature Extractor module. • Our method reduces the performance gap between PSOD and box-level object detection. • Our method incorporates low-level feature information and category information. • We design an end-to-end detector to overcome local minima in object detection. [ABSTRACT FROM AUTHOR]

Based on a fresh study of all primary sources of Bartók's The Miraculous Mandarin (composition: 1918/19, orchestration: 1924) the article reconsiders the entire history of composition and repeated revisions of the work. The original choice of genre (expressive "pantomime" in contrast to "ballet") seems to have played a significant role in this troubled history, which shows the composer's efforts to transform sections of the original "gesture" music into a more symphonic style often making the music more succinct. Puzzlingly, the first full score of the complete work and a revised edition of the piano reduction published posthumously in 1955 by Universal Edition present an abridged form of the work, which cannot be fully authenticated and was finally restored to its more complete form in Peter Bartók's new edition of 2000. Looking for the possible origin of the more obscure cuts, discussions with choreographer Aurelio Milloss in 1936 and Gyula Harangozó in 1939/40, both of whom later directed and danced productions of the work under the baton of János Ferencsik with great success (in Milan in 1942 and in Budapest in 1945, resp.), should probably be taken into consideration as these might have resulted in the integration of cuts into the published full score. Apart from trying to understand the different stages of the work's long evolution, the article argues that it is essential to study the original version in the compositional sources since it reveals Bartók's first concept of the piece composed in his period of highest expressionism. [ABSTRACT FROM AUTHOR]

The article examines the use of historical popular theatre forms in contemporary performance and analyses how historical popular theatre forms are revitalized in contemporary theatre. The first part of the article addresses the phenomena of popular theatre in general. Referring to the insights on this topic by such theatre scholars as D. Mayer (1972), P. Pavis (1998), T. Grammatas (2013) the article addresses the problem of the definition of popular theatre and discusses what are the major characteristics that make the forms of popular theatre into the source of creative renewal and artistic inspiration. The second part of the article analyses how historical popular theatre practices (such as pantomime, mime, puppetry or shadow plays) have been used by post-Soviet Lithuanian theatre artists - namely, director Gintaras Varnas at Šėpa theatre and director Vega Vaičiūnaitė at Miraklis theatre - as a stimulus to renew theatrical language and to foster new relationship with theatre audiences. The examples of both companies demonstrate that in spite of the conventional genre restrictions, the historical forms of popular theatre are not treated as an unquestionable museum relic, but rather as a means to create a live and immediate contact with a contemporary audience through universal historical forms. [ABSTRACT FROM AUTHOR]

Why does the Copyright Act specifically provide for the protection of "pantomimes"? This Article shows that the Copyright Act of 1976 amended the subject matter of copyright to include pantomimes simply in order to conform it to the Berne Convention for the Protection of Literary and Artistic Works. It further shows that the Berlin Act of 1909 amended the Berne Convention to provide for copyright protection of "les pantomimes" and "entertainments in dumb show" in order to ensure copyright protection of silent motion pictures. Unfortunately, the original purpose of providing copyright protection to "pantomimes" was forgotten. This Article argues that copyright protection of pantomimes is redundant on copyright protection of "motion pictures" and "dramatic works," and reflects the carelessness of the drafters of the 1976 Act. [ABSTRACT FROM AUTHOR]

Previous research suggests that media featuring exemplars of specific altruistic motivations can make those motivations more accessible in viewers’ minds. The present study extends this research to also examine egoistic motivations. We (a) developed a coding scheme to examine how frequently exemplars of altruistic and egoistic motivations appear in media content, (b) developed an intuitive motivation-affect misattribution procedure to measure the accessibility of altruistic and egoistic motivations, and (c) examined whether exposure to media content portraying specific motivations makes those motivations more accessible in audiences. The findings are discussed in terms of the model of intuitive morality and exemplars. [ABSTRACT FROM PUBLISHER]

Copyright of Journal of Theory & Practice in Education (JTPE) / Eğitimde Kuram ve Uygulama is the property of Journal of Theory & Practice in Education and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

The article focuses on the use of the creative dramatics approach in teaching children with autism spectrum disorder (ASD). Topics discussed include challenges in social language skills by children with ASD, benefits of creative dramatics on children with ASD, and examples of the Building Blocks Model including concentration, pantomime, and role playing.

In this article we would like to highlight some of the relationships that existed between the colonizer and the colonized in a colonial context and the relationship that may exist between two friends as manifested in Forster's novel A Passage to India. F. R. Leavis calls Forster "pre eminently a novelist of civilized personal relation" (Leavis, 1968:102). In all his five books, Forster has focused on the aspects of human relationships. [ABSTRACT FROM AUTHOR]

The article focuses on the art of gesture in acting with specific reference to the literary works of Denis Diderot and the role of the pantomime in acting. It discusses Diderot's work analysing the acting skill of English actor David Garrick. It is opined that if the actor does not possess the art of pantomime, he could not know how to begin or to complete the scene. It states that in any tragedy, comedy or drama, the first action that the actor will play is a pantomime.

Copyright of Studii de Ştiintă şi Cultură is the property of Studii de Stiinta si Cultura and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

A literary criticism of the silent pantomime play "Africa," directed by Aleksandr Rumnev is presented. It examines the silence concerning race differences in Russia as well as race ideology in various other plays produced from 1950s through 1970s. Topics discussed include representation of blacks as alingual or silent in Russian culture, Soviet ideology related to race, and the Russian government's stance on racism.

The article looks at French pianist Alfred Cortot's political engagement and influence in promoting music and mobilizing musicians to contribute to the war effort in France during World War I. Focus is given to the way he adapted to the war context, his motivations, and the efficacy and sustainability of his initiatives. It discusses the state of the musical scene at the beginning of 1914, Cortot's founding of institutions to support musicians and artists such as the Œuvre fraternelle des artistes (OFA), his aim in creating war music, and his role in establishing the Service de propagande artistique, which promoted French art and music in neutral and allied countries during the war. His engagement toward the French Vichy government during Germany's occupation of France is also discussed.

An essay is presented on the ballet productions "On Pantomime" and "The Incomparable Dancer". The author discusses the existence of pantomime with the rhythm of actual dancing. It describes the performance of dancer Ruth St. Denis in "The Incomparable Dancer". A comparison between the two ballet productions is discussed.

The story of Bartók's pantomime is usually understood as the clash between the cold-blooded brutality of the city - represented by the tramps - and the force of primeval passion - represented by the mandarin. Within these opposing forces stands the girl - whose character, however, is not obvious. In the first complete manuscript version (piano four-hand), immediately before the ending of the piece, there existed a scene depicting a confrontation between the girl and the tramps. This scene, whose main actor is the girl, is crucial for the drama and reveals Bartók's view with regard to the girl's character. Yet when Bartók began orchestrating the work in 1924, he deleted this scene. The present article provides, for the first time, an in-depth analysis as well as dramatic interpretation of this scene. Considering also the original text by Menyhért (Melchior) Lengyel (which contains this scene) and the totality of the final version of Bartók's pantomime, the article proposes a characterization for the girl and offers a hypothesis for the reason for the omission of this scene from the final version. [ABSTRACT FROM AUTHOR]

The article discusses the Ancient Roman style of pantomime dancing, as well as efforts to revive the style in contemporary times. The author provides a history of pantomime dance, as well as suggestions for modern interpretation and incorporation of the dance. Other topics explored include pantomime's influence on ballet, pantomime's emphasis on aesthetics, and the works of the Juilliard Studio Workshop.

Haydn's symphony no. 45, especially the final Farewell-Andante, has been looked at puzzlingly twofold: More recent understandings emphasize the wit and humour of the finale, while reports of the late 18th and early 19th century tend to notice a gloomier, even melancholic tint. This perception here is taken as a starting point for an interpretation of that symphony in terms of the 18th-century notion of melancholy as noble suffering of princes, intellectuals, and artists. Since musical works of melancholy are normally for piano or a soloist to allow for an identification of the player and the melancholic, a symphony leads us to ask anew for the melancholy persona of that orchestral piece. Answers are tried that highlight the respective roles of the orchestra, Haydn, and his most eminent listener, Prince Esterházy, within that game of deciphering melancholy. In addition, the different anecdotes concerning the Farewell-finale are analysed as tokens of an aesthetic irritation that try to tame the bewildering musical language of that symphony by linking it with extra-musical narratives. Finally, the often mentioned pantomimic aspect of the finale is taken into account and is interpreted as an important aspect of Haydn's effort to produce meaning in the instrumental genres. [ABSTRACT FROM AUTHOR]

The article distinguishes between mime and pentomine focusing on three works of playwright Bertolt Brecht including plays "Fear and Misery of the Third Reich, "Man is Man," and musical compostition "The Threepenny Opera." As stated, mime is a performance technique able to produce gestus which is used for a number of elements that make up the story telling narrative necessary for epic theater.

This article explores Jacques Lecoq's pedagogy of theatre training and considers its usefulness as an approach for secondary school drama teachers. Lecoq's principles and practice can be successfully applied in drama education to develop skills in theatrical creation and performance. The four pillars of Lecoq's integrated approach — movement, improvisation, creation and stylisation — are explored in terms of their suitability for the drama classroom. The pedagogy is seen to offer a viable alternative to the 'Stanislavski method', primarily because its theory and practice are grounded in a paradigm of embodiment rather than Cartesian dualism. The proposition that Lecoq's practice is valuable for secondary drama education is supported by the testimony of Australian Lecoq graduates who have conducted pre-service and in-service teacher training, student workshops and Theatre-in-Education programs. [ABSTRACT FROM AUTHOR]

Drawing on nineteenth-century writings about the "fairy tale" or "popular tale," this article explores ideologies of genre--specifically, tacit assumptions regarding generic coherence, stability, and transparency. The history of the fairy tale in England was marked by semiotic, linguistic, and cultural border crossings, including seventeenth-century French literary tales adapted to various forms of English print and theater culture and the transformation of field-based collections into popular folklore books. Early delineations of the "real traditional fairy tale" attempted to regulate the boundaries of an emergent discipline and a genre undergoing some radical reevaluation. These constructions were intertwined with anxieties about a number of binary oppositions, including the domestic and the foreign, the oral and the written, male and female, adult and child, and art and commerce. Although such statements sought to contain and regulate the production and reception of the fairy tale as a popular genre, to the exclusion of literary contes de fées, they tell only a partial story. I propose that the rowdy, bawdy, and satirical stage genre of English pantomime suggests an alternate and frequently overlooked medium for the transmission of fairy tales during these formative decades in the history of folklore studies. [ABSTRACT FROM AUTHOR]

This article discusses Charlie Chaplin's control over the pantomime and how the mass media would continually attempt to print unfavorable stories of him. The article evaluates books the Chaplin wrote including "My Trip Abroad," and "A Comedian Sees the World." The article attempts to show how Chaplin was able to mitigate his problematic public persona.

The article discusses mime, comedy and sophistry associated with the origin of rhetoric. It is stated that rhetoric is fundamentally comical and playful, and mime refers to a short dramatic sketch, performed as an entertainment at festivals or in marketplaces. It discusses mimes of Sicilian poets, Sophron of Syracuse and Epicharmos, and Sicilian rhetorician Gorgias of Leontini. It mentions the continuation of mime through the middle ages, in the performances of jongleurs and mystery-plays.

The article discusses the lives of street artists and the impact of their art on the society. Street artists may include peddler pipers who play their pipes while one eats at a restaurant, the live statues, or pantomimes who make faces at the tourists. On the other hand, street artist may also include those artists who have studied in an academy and now practice their exercises on the street. The author has discussed the sociological value of street artists and their link with larger social phenomena. The hippy culture in the U.S. is the most recent tradition of performing art on streets which evokes the fantasy of an imaginary world totally free from technology.

Copyright of Vjesnik Bibliotekara Hrvatske is the property of Croatian Library Association and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

Copyright of Diabetes & Metabolism is the property of Masson Editeur and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

The article focuses on literary work related to Utopias. Each of the literary examples introduced in the article does a very nice job of creating a strange world out of re-arranged artifacts and suggestions that surround people. And each does so by taking leave of and returning to a tradition that is governed by the idea of the novel. The novel is the exemplar of the infinite limits of individualised authority in a world molested by the seeming coherencies and discontinuities of what has come before and what must come after. It mimes its status as such as its protagonists--author, character and reader--jostle to join the authentic through the ever-swirling fogs of fiction. Although science fiction may currently be mediated by video, film, or static graphics with directing text, to give but few examples, its primary form as literary genre is the novel. It is opined that the novel is an institution, wholly differentiated from the more generalized idea of "fiction," to which even the most unusual and novel experiences are admitted as functions' original emphasis.

Pantomime and sociology seem far apart. But they come nearer together if, seeking for the origins of Pantomime in prehistoric folks drama, we find them in the initiative gestures and symbolic dances of an age that was not only pre-literary, but perhaps even pre-linguistic. And Harlequin, the chief actor, or protagonist, of Pantomime, then emerges as a figure of high significance for sociology. Whatever its original source, Pantomime flowered on the classical stage, especially of ancient Rome, and again in medieval times, and it had its place in the revival of Greek culture known as the Renaissance. History indeed shows this Harlequinade to have been a very different thing from meaningless Christmas plays, and Harlequin is in reality very much more than the familiar buffoon dressed in jazz pattern and spangles. There is, of course, a literature of the Harlequinade, Gordon Craig has published many articles about it in his journal, "The Mask," with illustrations of true costumes used. In 1915, Maurice Sand published the "History of the Harlequinade," in two volumes.

The article presents information related to the preparation of schools for musical activities that are to be performed during the Thanksgiving program in the year 1901. The special music to be used in the dramatic representations performed during Thanksgiving will illustrate the spirit of the action. The program will accompany processions, pantomime, dramatic action with singing, as a species of dialogue and songs. The opening hymn or sentence will not be omitted from the program. The problem related to the boys in the school whose voices are changing due to puberty has been settled for the present, theoretically and a plan for practical work made. The unpleasant character of the voices of the boys and the problems in controlling them make the normal boy revolt from an effort which is obviously unlovely and may prove absurd.