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Copyright of Transfer: Zeitschrift für Kommunikation & Markenmanagement is the property of Deutsche Werbewissenschaftliche Gesellschaft 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 Kölner Zeitschrift für Soziologie und Sozialpsychologie ( KZfSS) is the property of Springer Nature 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 aim of this work was to evaluate selected influencing factors during the breeding of young Czech warmblood stallions in test farms on the results of the performance test. In six breeding farms for young horses (Měník, Písek, Skály, Suchá, Tlumačov and Železnice), 119 stallions were tested and 413 offspring were evaluated. During the performance test, the factors test farm, year of birth, father and parental descent were examined with regard to their influence on the characteristics of cannon bone circumference, conformation values, movement mechanics, jumping ability and overall evaluation. The data were collected from the Morgan ČT program and then analyzed using the GLM (Generalized Linear Model) analysis of variance method. The rearing operation, the year of the performance test, the test person's father and the ancestry of the parents had a significant influence. The influence of breeding on the overall evaluation, the exterior and the movement mechanics could be proven. The year of the test was proven to have an influence on chest circumference. The Tlumačov breeding farm was the best-rated testing station for young horses. The results confirmed the hypothesis that the farm influences the test results of young Czech Warmblood horses. Therefore, it is crucial to focus further on the evaluation system for the performance of young stallions. [ABSTRACT FROM AUTHOR]

In the center of the author’s attention are the percussion instruments of jazz origin from the 1950s. The purpose of the paper consists in the analysis of the interpretative features developed within two main currents of jazz from this period, namely: West Coast Jazz and East Coast Jazz. The stylistic specificity of the cool style drummers stands out through the restrained way of expression – both in the accompanying and solo fragments. C. Hamilton was one of the first modern drummers who had the courage to abandon the jazz rhythms of the classical period. The performer created distinctive and memorable rhythmic patterns, later using them as accompaniment. Instead of using ride cymbals and high-hats in the accompaniment, C. Hamilton implemented the snare drum or tom-tom as the main voice. Therefore, each piece had individualized rhythmic patterns and its own coloring. The main style of East Coast jazz was hard bop, represented by great drummers such as Philly Joe Jones, Roy Brooks, Louis Hayes, Art Taylor, Roy Haynes, Roger Humphries, Elvin Jones, Lex Humphries, Max Roach, Art Blakey, Mickey Roker, Ben Riley, Jimmy Cobb, Frankie Dunlop, Billy Higgins.

Copyright of BHM Berg- und Hüttenmännische Monatshefte is the property of Springer Nature 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.)

Substantial textual variation found across manuscripts of a Demotic Egyptian novella, The prebend of Amun, bears upon closer examination the features of mouvance, a kind of textual impermanence found in written versions of literature for which performance contexts are not only ongoing but are constitutive of their very textual shape. Alongside this mouvance, manuscripts of this work also maintain a high level of similarity and coherence down to the phrasal and word level. I argue that this unique combination of sameness and mouvance points to the desire of performers who possessed libretto-like copies of The prebend of Amun to tweak their texts in order to match their understanding of this work of prose fiction.

18. Yüzyılda kontrabas, orkestradaki ritmik ve armonik yapıyı oluşturmakta temel olarak kullanılmıştır. Kontrabasın kalın sesi armoninin temel notalarını oluştururken ritmik unsurları da ifade etmekte başarılı olmuştur. Kontrabas boyutunun diğer enstrümanlara göre daha büyük olması enstrümandaki icra tekniklerini kısıtlamıştır. Enstrümanın icrasındaki zorluklar tarihte kontrabas adına kötü etkilere yol açmış olup enstrümanın popülerliği azalmıştır. Kontrabasın popülerliğini geri kazanması için icra tekniklerinin gelişmesi ve ondan beklenilen performansı sergilemesi gerekmektedir. Enstrümanın yapısının gelişimi ve tel teknolojilerindeki ilerlemeler icradaki gelişmelere önemli ölçüde etkilemiştir. Akort sistemindeki değişikler sonucunda kontrabas için en uygun akort sisteminin oluşması icra yönünde rahatlamaya yol açmıştır. Müzik okullarında kontrabas sınıflarının açılması ve enstrümanın eğitimi için metotların ortaya çıkması sonucunda usta kontrbasçılar yetiştirilmiştir. Enstrüman icrasında ustalaşan kontrbasçılar bestecilere ilham kaynağı olup enstrüman için daha fazla solo eser yazılmasını sağlamıştır. Bu çalışmada kontrabas icrasındaki zorlukların nedenleri araştırılıp bu zorlukların aşılmasındaki etkenler incelenmiştir. Bu kapsamda kontrabasın icrasındaki etkenlerin belirlenmesi için kaynak tarama yöntemi kullanılmıştır. Uluslararası yayınlar taranmış ve internet kaynaklarından yararlanılmıştır.

This paper examines Iliad I 225-244 and XXIV 486-506, two passages at the beginning and at the end respectively of Achilles’ narrative arc. This work aims at showing the way in which traditional epic techniques (enjambement, similitude, interrelation with respect to the caesurae) contribute to outline in one case Achilles’ wrath, in the other one his empathy.

All three natural polymers of biomass and the monomer platforms derived from them present multiple avenues to develop products from specialty to bulk markets, which could serve as entry points into the industry for bio based sustainable materials. However, several roadblocks still exist in the pathway of technology development of these materials due to challenges related to cost-competitiveness, scalability, performance and sustainability. This review outlines these major technical challenges as four key checkpoints (cost-competitive, scalability, sustainability, performance) to be addressed for successful market entry of a new sustainable material.

Resumo Considerando que o ato criativo do artista da cena visa tornar presente um outro ser por meio de sua memória pessoal e da evocação de experiências e sentimentos vivos, este artigo reflete sobre a relação direta e objetiva do trabalho criativo do ator com a vida. Nesse sentido, aborda-se aqui manifestações que pretendam mais a presentificação do que a representação, uma prática surgida posteriormente, mas que se vincula aos escritos de Vigotski sobre a arte de atuar. Nesse sentido, busca-se pensar o termo perejivanie como manifestação em zona híbrida de intersecção da vida com a criação artística e como consequência (ou fonte) da arte exercida por aquele que hoje se denomina ator-performer.

O encontro com Sartre e Ser e Nada revela uma nova concepção da realidade e da existência humana. Suas abordagens sobre o nada, a ação, a encarnação e a liberdade traçam a busca por definir nosso ser e estar no mundo e também circundam a ficcionalidade do teatro. Concebe cada experiência de estágio como um ser material que respira, cresce e sofre mutações no “aqui e agora”. Ainda mais quando se busca a existência física de “um ser que nunca veio a existir” e habita a performance performática “Antagonías del Tocador”.

Copyright of Soziologische Revue is the property of De Gruyter 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 approaches the latest work of Alberto Moreiras on infrapolitics as self-conscious acts of writing which thinks its own conditions, or its own contingent textual inscription. In this sense, I propose that we can read this work as being informed by a question, even a preoccupation, over what form or style of writing is appropriate to announce or re-veal the existential dimensions proposed by the notion of infrapolitics. In exploring three such untimely textual inscriptions, the article approaches the stakes of what Moreiras thematises under the name of infrapolitics through how it informs the performativity of Moreiras’s own writing practice, exploring in the process the relationship that infrapolitics supposes to politics and to a certain critique of late capitalism, as well as other important concepts such as marranismo, the second turn of deconstruction, auto-graphic writing and demetaphorisation, among others.

El abuso sexual infantil es un tipo de violencia que impacta negativamente en la vida y el desarrollo de los niños y las niñas que lo sufren. Es un delito que puede darse con o sin contacto físico, dentro y fuera de la familia, por parte de adultos e incluso de menores de edad. Su complejidad es tal, que para su comprensión es necesario abordar la forma en la que sucede el abuso, pudiendo así determinar algunos de sus efectos. El siguiente artículo aborda dicho problema, repasando el contexto de este delito en Colombia, ahondando en las consecuencias que tiene para quienes lo han vivido y exponiendo algunas estrategias para visibilizar este tipo de violencia desde el arte, específicamente desde los lenguajes de la performance y la videoperformance.

Günümüzde işletmelerin hedeflerine ulaşabilmeleri, kaynaklarını etkin ve verimli bir şekilde kullanabilmeleri ve bu sayede rekabet üstünlüğü kazanabilmeleri için doğru ve zamanlı bilgiye ihtiyaç duymaktadır. Günümüzde bilgisayar tabanlı bilgi sistemleri farklı kaynaklardan elde ettikleri verileri zamanlı ve istenilen şekilde sunmaktadır. Bu sayede yöneticilerin doğru kararlar alması mümkün olabilmektedir. Muhasebe bilgi sistemi; finansal muhasebe bilgi sistemi ve yönetim muhasebe bilgi sisteminden oluşmaktadır. Bu çalışmada esas itibariyle dört boyuttan oluşan yönetim muhasebesi bilgi sisteminin ve ilişkili olan diğer değişkenlerin (bütçeye katılım, yetki devri) birbirleriyle ve yönetici performansı ile olan ilişkileri belirlenmeye çalışılmaktadır. Bütçeye katılım tüm kesimler için etkin bir bilgi akışını gerektirmekte, böylece daha iyi kararların alınmasını sağladığı düşünülmektedir. Dolayısıyla bütçeye katılımın yönetim muhasebesi bilgi sistemine ve yönetim performansına etkisi bu çalışmada belirlenmek istenmiştir. Ayrıca yetki devri sayesinde otorite ve sorumluluklar çalışanlar ile paylaşılmakta ve kararlar olayın kaynağında alınmaktadır. Böylece yönetici performansının arttığı düşünülmektedir. Otoritenin ve sorumlulukların tabana yayılması, ancak uygun bilgi akışı ile birleştiğinde yönetim performansının artacağı düşünülmektedir. Dolayısıyla yetki devri ile yönetim bilgi sistemi ve yönetici performansı arasındaki ilişkide bu çalışmada belirlenmek istenmiştir. Bilgi sistemi gelişmiş olduğu düşünülen bankacılık sektöründe; Batman ili banka şubelerinde çalışmakta bulunan orta seviyedeki yöneticiler bu çalışmanın ana kütlesini oluşturmaktadır. Bu kapsamda Batman ilinde faaliyet gösteren banka müdür, müdür yardımcısı ve şeflerine anket formları dağıtılmış ve 41 adet geri dönüş sağlanmıştır. Çalışma verilerini analizi, az veri ile çalışma imkânı sağlayan ve normal dağılım ön koşulu gerektirmeyen Smart PLS programı vasıtasıyla gerçekleştirilmiş ve yol analizi kullanılmıştır. Yapılan analiz sonucunda bütçeye katılımın, yönetim muhasebesi bilgi sistemini pozitif yönde etkilediği, aynı şekilde, yönetim muhasebesi bilgi sisteminin yönetsel performans üzerinde pozitif yönde bir etkisi olduğu tespit edilmiştir. Ancak yetki devrinin yönetim muhasebe bilgi sistemi üzerine bir etkisi bulunamamıştır. Benzer şekilde bütçeye katılım ve yetki devrinin yönetimsel performans üzerinde herhangi bir etkisi tespit edilememiştir.

This paper analyzes the impact of shifting all employees from office-based working to working from home (WFH) on productivity and performance. Before the COVID-19 Pandemic, there were no instances of companies moving all of their employees to WFH indefinitely. This is one of the first case studies analyzing this new phenomenon supported by hard criteria for productivity and performance measures. We define productivity as the quantity and performance as the quality of the output. We collected our data from a North American 3rd Party Logistics company and employed a multimethod approach to examine the effects of this organizational change forced by the COVID-19 Pandemic. We gathered data from the employees through video interviews and online surveys. We compiled the performance metrics from the corporate database and received commentary from top management. We also used national statistics databases to delineate the specific market conditions. Figures indicate evident improvements in revenues, profits, and labor productivity after the shift to WFH. We also examined other potential moderating factors, such as changes in market conditions, improvements in business processes, and/or management approaches, to distinguish the effect of remote working. Overall results show that when accompanied by solid leadership strategies and proper communications, and with investment in IT technologies, working from home improves productivity with little or no effect on performance. Our findings offer valuable insights for managers who need to make strategic decisions about WFH arrangements for their companies, especially brokerage-type businesses, more specifically those in the logistics industry. The study is based on data from a case study involving one company, preventing the authors from generalizing their findings.

Opera, an important link of contemporary culture, has a considerable influence on the individual and society, directing and enriching the cognitive, affective and attitudinal universe of the audience. Postmodernist ideology projects opera into a crisis, stimulating the development of controversial artistic forms. But, at the same time, the information environment gives Opera the possibility of transiting the closed spaces of the halls, propagating and broadcasting the lyrical performances in front of an impressive audience. The social and cultural-artistic context of the last decades has favored the rise of postmodern directorial opera, which invented multiple methods of interpretation, becoming a real challenge for many reviewers, but especially for the conservative opera audience. Without having negative connotations at its beginnings, the New postmodernist concept Regietheater/Regieoper surmounted the stage interpretations with aesthetic character of classical works, reaching today a maximum level of speculative excesses, radically distanced from the original content.

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Il contributo propone riflessioni critiche sulla relazione fra trasparenza e performance delle amministrazioni pubbliche. L’Autore inquadra teoricamente il rapporto tra trasparenza e performance nell’ambito della relazione sociale fra principale-agente evidenziando la necessità che la performance diventi l’oggetto di una relazione trasparente di accountability fra l’amministrazione pubblica e il cittadino, utente dei servizi pubblici. Individuato il framework teorico di riferimento, la trattazione si sofferma sulla performance, anzitutto allo scopo di puntualizzarne l’ampio e diversificato significato. Le misure di performance, lungi dall’essere oggettive e certe, sono, sovente, indeterminate onde la loro valutazione deve essere quanto più possibile scrupolosa e professionale. Di seguito, l’Autore individua la qualità del servizio come componente della performance che meglio si adatta a fungere da contenuto della relazione di accountability fra agente (pubblica amministrazione) e principale (cittadino-utente). La Carta dei servizi pubblici è indicata come istituto atto a rendere concreta l’ipotesi teorica definita. Il contributo si conclude con alcune indicazioni operative che evidenziano l’importanza del ruolo che l’Organismo Indipendente di Valutazione nel favorire la valutazione partecipativa e rendere pienamente attuato il principio di trasparenza. / 𝑇ℎ𝑒 𝑐𝑜𝑛𝑡𝑟𝑖𝑏𝑢𝑡𝑖𝑜𝑛 𝑝𝑟𝑜𝑝𝑜𝑠𝑒𝑠 𝑐𝑟𝑖𝑡𝑖𝑐𝑎𝑙 𝑟𝑒𝑓𝑙𝑒𝑐𝑡𝑖𝑜𝑛𝑠 𝑜𝑛 𝑡ℎ𝑒 𝑟𝑒𝑙𝑎𝑡𝑖𝑜𝑛𝑠ℎ𝑖𝑝 𝑏𝑒𝑡𝑤𝑒𝑒𝑛 𝑡𝑟𝑎𝑛𝑠𝑝𝑎𝑟𝑒𝑛𝑐𝑦 𝑎𝑛𝑑 𝑝𝑒𝑟𝑓𝑜𝑟𝑚𝑎𝑛𝑐𝑒 𝑜𝑓 𝑝𝑢𝑏𝑙𝑖𝑐 𝑎𝑑𝑚𝑖𝑛𝑖𝑠𝑡𝑟𝑎𝑡𝑖𝑜𝑛𝑠. 𝑇ℎ𝑒 𝐴𝑢𝑡ℎ𝑜𝑟 𝑡ℎ𝑒𝑜𝑟𝑒𝑡𝑖𝑐𝑎𝑙𝑙𝑦 𝑓𝑟𝑎𝑚𝑒𝑠 𝑡ℎ𝑒 𝑟𝑒𝑙𝑎𝑡𝑖𝑜𝑛𝑠ℎ𝑖𝑝 𝑏𝑒𝑡𝑤𝑒𝑒𝑛 𝑡𝑟𝑎𝑛𝑠𝑝𝑎𝑟𝑒𝑛𝑐𝑦 𝑎𝑛𝑑 𝑝𝑒𝑟𝑓𝑜𝑟𝑚𝑎𝑛𝑐𝑒 𝑖𝑛 𝑡ℎ𝑒 𝑐𝑜𝑛𝑡𝑒𝑥𝑡 𝑜𝑓 𝑡ℎ𝑒 𝑠𝑜𝑐𝑖𝑎𝑙 𝑟𝑒𝑙𝑎𝑡𝑖𝑜𝑛𝑠ℎ𝑖𝑝 𝑏𝑒𝑡𝑤𝑒𝑒𝑛 𝑝𝑟𝑖𝑛𝑐𝑖𝑝𝑎𝑙-𝑎𝑔𝑒𝑛𝑡, ℎ𝑖𝑔ℎ𝑙𝑖𝑔ℎ𝑡𝑖𝑛𝑔 𝑡ℎ𝑒 𝑛𝑒𝑒𝑑 𝑓𝑜𝑟 𝑝𝑒𝑟𝑓𝑜𝑟𝑚𝑎𝑛𝑐𝑒 𝑡𝑜 𝑏𝑒𝑐𝑜𝑚𝑒 𝑡ℎ𝑒 𝑜𝑏𝑗𝑒𝑐𝑡 𝑜𝑓 𝑎 𝑡𝑟𝑎𝑛𝑠𝑝𝑎𝑟𝑒𝑛𝑡 𝑎𝑐𝑐𝑜𝑢𝑛𝑡𝑎𝑏𝑖𝑙𝑖𝑡𝑦 𝑟𝑒𝑙𝑎𝑡𝑖𝑜𝑛𝑠ℎ𝑖𝑝 𝑏𝑒𝑡𝑤𝑒𝑒𝑛 𝑡ℎ𝑒 𝑝𝑢𝑏𝑙𝑖𝑐 𝑎𝑑𝑚𝑖𝑛𝑖𝑠𝑡𝑟𝑎𝑡𝑖𝑜𝑛 𝑎𝑛𝑑 𝑡ℎ𝑒 𝑐𝑖𝑡𝑖𝑧𝑒𝑛, 𝑎𝑠 𝑢𝑠𝑒𝑟 𝑜𝑓 𝑝𝑢𝑏𝑙𝑖𝑐 𝑠𝑒𝑟𝑣𝑖𝑐𝑒𝑠. 𝑂𝑛𝑐𝑒 𝑡ℎ𝑒 𝑡ℎ𝑒𝑜𝑟𝑒𝑡𝑖𝑐𝑎𝑙 𝑓𝑟𝑎𝑚𝑒𝑤𝑜𝑟𝑘 ℎ𝑎𝑠 𝑏𝑒𝑒𝑛 𝑖𝑑𝑒𝑛𝑡𝑖𝑓𝑖𝑒𝑑, 𝑡ℎ𝑒 𝑑𝑖𝑠𝑐𝑢𝑠𝑠𝑖𝑜𝑛 𝑓𝑜𝑐𝑢𝑠𝑒𝑠 𝑜𝑛 𝑝𝑒𝑟𝑓𝑜𝑟𝑚𝑎𝑛𝑐𝑒, 𝑓𝑖𝑟𝑠𝑡 𝑤𝑖𝑡ℎ 𝑡ℎ𝑒 𝑎𝑖𝑚 𝑜𝑓 𝑐𝑙𝑎𝑟𝑖𝑓𝑦𝑖𝑛𝑔 𝑖𝑡𝑠 𝑤𝑖𝑑𝑒 𝑎𝑛𝑑 𝑑𝑖𝑣𝑒𝑟𝑠𝑖𝑓𝑖𝑒𝑑 𝑚𝑒𝑎𝑛𝑖𝑛𝑔. 𝑇ℎ𝑒 𝑝𝑟𝑜𝑝𝑜𝑠𝑒𝑑 𝑖𝑑𝑒𝑎 𝑖𝑠 𝑡ℎ𝑎𝑡 𝑡ℎ𝑒 𝑝𝑒𝑟𝑓𝑜𝑟𝑚𝑎𝑛𝑐𝑒 𝑚𝑒𝑎𝑠𝑢𝑟𝑒𝑠, 𝑓𝑎𝑟 𝑓𝑟𝑜𝑚 𝑏𝑒𝑖𝑛𝑔 𝑜𝑏𝑗𝑒𝑐𝑡𝑖𝑣𝑒 𝑎𝑛𝑑 𝑐𝑒𝑟𝑡𝑎𝑖𝑛, 𝑎𝑟𝑒 𝑜𝑓𝑡𝑒𝑛 𝑖𝑛𝑑𝑒𝑡𝑒𝑟𝑚𝑖𝑛𝑎𝑡𝑒, 𝑠𝑜 𝑡ℎ𝑎𝑡 𝑡ℎ𝑒𝑖𝑟 𝑒𝑣𝑎𝑙𝑢𝑎𝑡𝑖𝑜𝑛 𝑚𝑢𝑠𝑡 𝑏𝑒 𝑎𝑠 𝑠𝑐𝑟𝑢𝑝𝑢𝑙𝑜𝑢𝑠 𝑎𝑛𝑑 𝑝𝑟𝑜𝑓𝑒𝑠𝑠𝑖𝑜𝑛𝑎𝑙 𝑎𝑠 𝑝𝑜𝑠𝑠𝑖𝑏𝑙𝑒. 𝑇ℎ𝑒𝑛, 𝑡ℎ𝑒 𝐴𝑢𝑡ℎ𝑜𝑟 𝑖𝑑𝑒𝑛𝑡𝑖𝑓𝑖𝑒𝑠 𝑡ℎ𝑒 𝑞𝑢𝑎𝑙𝑖𝑡𝑦 𝑜𝑓 𝑡ℎ𝑒 𝑠𝑒𝑟𝑣𝑖𝑐𝑒 𝑎𝑠 𝑎 𝑐𝑜𝑚𝑝𝑜𝑛𝑒𝑛𝑡 𝑜𝑓 𝑡ℎ𝑒 𝑝𝑒𝑟𝑓𝑜𝑟𝑚𝑎𝑛𝑐𝑒 𝑡ℎ𝑎𝑡 𝑖𝑠 𝑏𝑒𝑠𝑡 𝑠𝑢𝑖𝑡𝑒𝑑 𝑡𝑜 𝑠𝑒𝑟𝑣𝑒 𝑎𝑠 𝑡ℎ𝑒 𝑐𝑜𝑛𝑡𝑒𝑛𝑡 𝑜𝑓 𝑡ℎ𝑒 𝑎𝑐𝑐𝑜𝑢𝑛𝑡𝑎𝑏𝑖𝑙𝑖𝑡𝑦 𝑟𝑒𝑙𝑎𝑡𝑖𝑜𝑛𝑠ℎ𝑖𝑝 𝑏𝑒𝑡𝑤𝑒𝑒𝑛 𝑡ℎ𝑒 𝑎𝑔𝑒𝑛𝑡 (𝑝𝑢𝑏𝑙𝑖𝑐 𝑎𝑑𝑚𝑖𝑛𝑖𝑠𝑡𝑟𝑎𝑡𝑖𝑜𝑛) 𝑎𝑛𝑑 𝑡ℎ𝑒 𝑝𝑟𝑖𝑛𝑐𝑖𝑝𝑎𝑙 (𝑐𝑖𝑡𝑖𝑧𝑒𝑛/𝑢𝑠𝑒𝑟). 𝑇ℎ𝑒 𝑐𝑖𝑡𝑖𝑧𝑒𝑛’𝑠 𝑐ℎ𝑎𝑟𝑡𝑒𝑟 (𝐶𝑎𝑟𝑡𝑎 𝑑𝑒𝑖 𝑠𝑒𝑟𝑣𝑖𝑧𝑖 𝑝𝑢𝑏𝑏𝑙𝑖𝑐𝑖) 𝑖𝑠 𝑡ℎ𝑒 𝑖𝑛𝑠𝑡𝑟𝑢𝑚𝑒𝑛𝑡 𝑐𝑎𝑝𝑎𝑏𝑙𝑒 𝑜𝑓 𝑚𝑎𝑘𝑖𝑛𝑔 𝑡ℎ𝑒 𝑡ℎ𝑒𝑜𝑟𝑒𝑡𝑖𝑐𝑎𝑙 ℎ𝑦𝑝𝑜𝑡ℎ𝑒𝑠𝑖𝑠 𝑐𝑜𝑛𝑐𝑟𝑒𝑡𝑒. 𝑇ℎ𝑒 𝑐𝑜𝑛𝑡𝑟𝑖𝑏𝑢𝑡𝑖𝑜𝑛 𝑐𝑜𝑛𝑐𝑙𝑢𝑑𝑒𝑠 𝑤𝑖𝑡ℎ 𝑠𝑜𝑚𝑒 𝑜𝑝𝑒𝑟𝑎𝑡𝑖𝑜𝑛𝑎𝑙 𝑠𝑢𝑔𝑔𝑒𝑠𝑡𝑖𝑜𝑛𝑠 𝑡ℎ𝑎𝑡 ℎ𝑖𝑔ℎ𝑙𝑖𝑔ℎ𝑡 𝑡ℎ𝑒 𝑖𝑚𝑝𝑜𝑟𝑡𝑎𝑛𝑐𝑒 𝑜𝑓 𝑡ℎ𝑒 𝑟𝑜𝑙𝑒 𝑡ℎ𝑎𝑡 𝑡ℎ𝑒 𝐼𝑛𝑑𝑒𝑝𝑒𝑛𝑑𝑒𝑛𝑡 𝑃𝑒𝑟𝑓𝑜𝑟𝑚𝑎𝑛𝑐𝑒 𝐸𝑣𝑎𝑙𝑢𝑎𝑡𝑖𝑜𝑛 𝐵𝑜𝑑𝑦 (𝑂𝑟𝑔𝑎𝑛𝑖𝑠𝑚𝑜 𝐼𝑛𝑑𝑖𝑝𝑒𝑛𝑑𝑒𝑛𝑡𝑒 𝑑𝑖 𝑉𝑎𝑙𝑢𝑡𝑎𝑧𝑖𝑜𝑛𝑒 𝑑𝑒𝑙𝑙𝑎 𝑃𝑒𝑟𝑓𝑜𝑟𝑚𝑎𝑛𝑐𝑒) 𝑝𝑙𝑎𝑦𝑠 𝑖𝑛 𝑝𝑟𝑜𝑚𝑜𝑡𝑖𝑛𝑔 𝑝𝑎𝑟𝑡𝑖𝑐𝑖𝑝𝑎𝑡𝑜𝑟𝑦 𝑡𝑜 𝑚𝑎𝑘𝑒 𝑡ℎ𝑒 𝑝𝑟𝑖𝑛𝑐𝑖𝑝𝑙𝑒 𝑜𝑓 𝑡𝑟𝑎𝑛𝑠𝑝𝑎𝑟𝑒𝑛𝑐𝑦 𝑓𝑢𝑙𝑙𝑦 𝑖𝑚𝑝𝑙𝑒𝑚𝑒𝑛𝑡𝑒𝑑.

The 2021 Programme Study of the Prądnik Museum sums up the discussion on the presentation of the heritage of northern Cracow. The world-renown artists Jerzy Bereś and Maria Pinińska-Bereś who lived and created their art in this part of the city are not exposed within the public space, and most likely for this reason they have not been exposed in the Study, either. Meanwhile, without any institutional involvement, residents undertake artistic actions close to the performances of the Bereśes. The Sledge Protest conducted in the summer reminds of the Landscape Annexation and The Banner of Pinińska-Bereś; social garden establishing reminds of the Living Pink; the transfer of the Prądnik River water is reminiscent of the Praying for Rain; while neighbourly bonds echo the Kite-Letter and Letters Dispatched with Forces of Nature. Owing to these unconscious similarities the Pinińska-Bereś’s artistic output seems worthy of being included in the proposed Museum. Furthermore, three additional proposals for the Prądnik Museum are discussed in the paper: they take into consideration the oeuvre of the Bereśes, residents’ social and artistic activity, as well as the demands of New Museology (rooting in the local community and focus on education and participation). A performance museum may be a reaction to the lack of collection, allowing to benefit from the artistic output of the community and the artists presently living in Cracow, including Bettina Bereś’s reenactment. A biographical museum may provide an opportunity for storytelling and identity investigation, as well as bonding. The inspiration for the latter may be derived from the Yayoi Kusama Museum: it was her oeuvre that was used for the visual identification in her native city of Matsumoto. An ecomuseum, in turn, allows to incorporate the preserved atelier of the Bereśes, the Prądnik River, as well as the post-industrial heritage. Adding this potential to the conclusions drawn from the Study, in the northern part of Cracow a new city landmark can indeed be created.

Im Mittelpunkt des Beitrags steht ein Sharing von Gerard X Reyes, das vom Theorem der Sexarbeit inspiriert wird. Das Sharing des Choreografen, Tänzers, Lehrers, zertifizierten Sexological Bodyworkers, Intimacy Coordinators und Montreal Kiki Ballroom Scene Pioniers Reyes wird im Sinne einer tanzwissenschaftlichen Aufführungsanalyse diskursiv verhandelt. Dabei basiert der Prozess der Bedeutungszuschreibung auf der Grundlage einer Foucault’schen Diskursanalyse. Das generierte Anschauungsmodell erfolgt zwar entlang der Aufführung, ist aber stets nur eine Analyse der Aufführung, die ihren eigenen Diskurs erzeugt. Es wird davon ausgegangen, dass Darstellungen und Verweise zu Sexarbeit am Körper und seinen Materialisierungsprozessen befragbar sind und in Verkörperungsprozessen sowie Darstellungsweisen zum Ausdruck kommen. Im Fokus der Analyse steht eine Bedeutungsgenerierung, in welcher Reyes’ Performance als ästhetische und ethische Situation im Theaterraum im Kontext der Konzepte Erotik, Leidenschaft, Begehren sowie der Kategorien sex, gender und desire betrachtet wird. Dies führt dazu, dass die Performance als Ausdruck eines queeren Begehrens begrifflich bestimmt wird.

The article presented further is devoted to the specific aspects of interpretation of Robert Schumann’s cello concerto in A minor. In the article we aim to give a complete review of performing challenges, namely comprehension of the integrity of the form, the romantic tempo-rhythm and the specific perception of the musical text when it comes to the romantic style in music. We also analyze the literary origins of the Romantic era in the context of the performer’s preparation and practice.

This present article proposes a journey into the historical evolution of the two art forms that stood at the foundation of the lyrical performance: music and theatre, shaping their trajectory in different times and cultures. Music and theater have been coexisting in a relationship of interference since before the assertion of self-specific awareness, they have performed and complemented each other in syncretic manifestations. The birth of the opera as a musical-theatrical genre at the end of the 16th century reflects the large-scale creation of the Renaissance artistic and intellectual movements and signifies the fullness of a cultural-artistic assertion acquired over the course of many centuries.

The phrase interpretative analysis is composed of two terms – analysis and interpretation, bohh seemingly simple and clear at a first glance, but complex and vague (if not confusing) in an attempt at defi nition and understanding. Related to the scientifi c study, analysis defi nes a research method based on the examination of the whole, divided in advance in parts or elements, in order to understand them and explain the relationships that exist between these parts or elements. The two words that defi ne the process of sound reproduction of a musical score – performance and interpretation are seen in certain contexts as equivalent synonyms, however more oft en they defi ne different approaches, attitudes and results. The first is limited to an adequate reproduction of the score, to the very process of singing a musical work with the voice or an instrument, while the second involves something more – an artistic embodiment of a work that gives it a certain meaning. Starting from these essential differences, in this article, we try to defi ne the concept of interpretive analysis.

Does the music work remain the sole property of the composer? What could have sensitized the performer to the point that he improvises his own short introduction before starting the piece, and changes the authentic nuances in some bars? Is the definition of „impromptu” giving freedom to reflect the true feeling inspiration of the performance moment? The article includes an introduction on F. Schubert, famous Austrian composer and pianist, the study of the impromptu genre defi nition and historical context. The authors have chosen interpretative versions on F. Schubert’s Impromptu no. 3, op.90 off ered by V. Horowitz, S.Richter, D.Lipatti, M.J. Pires, D. Fray, K. Buniatishvili. Besides a short description of their pianistic abilities, the authors tried to reveal the individual approach of each performer. It is important to mention an unusual treatment of this genre by D. Lipatti who added his own two bars improvised on Schubert’s text.

Social protests connected with the performances of “Golgotha Picnic”, “The Curse” or “On the Concept of the Face Regarding the Son of God” arouses an understandable interest of the theologian in the phenomenon of “slighting of religious feelings” and the reasons why these stage works evoke such reactions. The article presents an analysis of the content of the mentioned above performances in the context of the words of the Bible as well as the teachings of different Christian Churches. It is aimed at finding points (scenes) in which the content presented on the stage is inconsistent with Christian teaching, distorts it or presents it in an ironic way. The article also tries to find potential artistic justifications for such performances. Referring to earlier published artistic reviews, rather than scientific publications, it defines common features that characterize performances that offend religious feelings, but also indicates areas where the situation of slighting of such feelings is not unambiguous. The article does not deny the possibility that someone’s feelings have been touched or slighted by the discussed performances, but it points out the possibility that the offense of religious feelings is more the result of knowledge, motivation or attitude of the audience than from the presented content itself.

In the fall of 2020, students in an introductory Czech language at Harvard University performed a virtual play, Comenius at 350, about the life and works of Jan Amos Comenius. This special digital project includes a link to the virtual play itself and a report that discusses the origins and development of the concept of the play, how Comenius’s works were adapted for the play, the production process itself, and how students overcame the challenges posed by the COVID-19 pandemic to develop this celebration of Comenius’s life and works.

This essay explores the performance challenges of Beethoven’s “Diabelli Variations”; it is paired with the author’s own studio recording of the work coordinated with the musical score. The commentary seeks to address issues of compositional genesis, motivic development, musical character, and formal shaping, while keeping aesthetic matters in view. Beethoven’s transformations of Anton Diabelli’s waltz — which the composer described in a letter as a “SchusterFleck” (“cobbler’s patch”) — indulge in persiflage, irony, and parody, qualities that invite critical scrutiny. Beethoven was sometimes compared during his lifetime to Jean Paul, whose concept of humor as “the inverted sublime” and notion of a tensional duality of the Great and the Small applies well to Beethoven’s most paradoxical composition. How can we best shape this cycle as a whole in performance, while doing justice to its vivid contrasts and rich allusiveness? Numerous performance recommendations emerge from the integrated consideration of historical documents, musical analysis, and aesthetic reflection. Since the subject concerned here is animate rather than inanimate, it is not well grasped from just an objectivist, factual perspective. Dieser Beitrag untersucht die interpretatorischen Herausforderungen von Beethovens ›Diabelli-Variationen‹; er ist eng bezogen auf die mit der Partitur synchronisierte Studioaufnahme des Werkes durch den Verfasser. Der Kommentar behandelt Fragen der kompositorischen Entstehungsgeschichte, der motivischen Entwicklung, des musikalischen Charakters und der formalen Gestaltung des Zyklus, wobei ästhetische Gesichtspunkte ebenso im Blick behalten werden. Beethovens Veränderungen des Walzers von Anton Diabelli – den der Komponist in einem Brief als ›SchusterFleck‹ bezeichnete – schwelgen in Persiflage, Ironie und Parodie, Qualitäten die einer kritischen Untersuchung bedürfen. Zu Lebzeiten wurde Beethoven manchmal mit Jean Paul verglichen, dessen Konzepte des Humors als ›umgekehrtes Erhabenes‹ und eines spannungsvollen Dualismus zwischen dem Großen und dem Kleinen sich gut auf Beethovens paradoxeste Komposition anwenden lassen. Wie kann der Zyklus als ganzer in der Interpretation bestmöglich gestaltet werden unter Berücksichtigung der lebendigen Kontraste und seines Anspielungsreichtums? Zahlreiche Empfehlungen zur Interpretation ergeben sich aus einer integrierten Betrachtung historischer Quellen, musikalischer Analyse und ästhetischer Reflexion. Insofern der betrachtete Gegenstand eher belebt als unbelebt ist, lässt er sich nicht aus einer bloß objektivistischen, sachlichen Perspektive erfassen.

The theme of this paper is farautar jarumta ‘heroic hunting’ in the north-western part of Nigeria. The paper pays particular attention to the kirari ‘praise-epithets’, also called koɗa kai ‘adulation of the self’, of the mafarauta ‘hunters’ as one of the cardinal features of this kind of hunting. It traces certain dramatic elements, such as stage/space, costume and props, dramatis personae, plot, impersonation, and the spectacle as well as the singing and drumming that are an important part of performance of kirari. It further examines poetic elements in Ummaru Usman Malalo’s famous kirari Saka-cira; these elements are grouped into genealogy-based, action-based, and metaphorical yabo ‘praise’. The paper shows that, although the delivery of kirari has, in some studies, been analysed as a song text, it requires performance along with the dramatic elements which belong in a performance. The analysis of Saka-cira – which has never previously been studied – shows that in their kirari, mafarauta utilise poetic devices to portray, embellish, and exaggerate events, comparing themselves with, or even declaring themselves to be an animal or a natural phenomenon. The analysis in the paper relies on the Hausa version of the kirari. It utilises a transcribed version of Saka-cira, interviews, observations, and secondary literature.

Das Buch „Assuming the Ecosexual Position“ erzählt die Geschichte von Annie Sprinkle und Beth Stephens als liebende und gemeinsam arbeitende Kollaborateur*innen und bietet einen lustvollen und performativen (Über-)Blick in das gemeinsame (Performance-)Werk. Seit 2005 entwickeln die Künstler*innen öffentliche Hochzeit-Performances, und 2008 heirateten sie in Form der Green-Wedding-Performance das erste Mal ihre mehr-als-menschliche Geliebte: die Erde. Sprinkle und Stephens setzten mit ihren Hochzeiten ein politisches Zeichen gegen Diskriminierung, da in den 2000er Jahren die Ehe für alle in den USA noch nicht bundesweit rechtskräftig war. Mit der Begründung des performativen „Love Art Lab“ – das im Zentrum des Buches steht – feier(te)n die Künstler*innen weitere schillernde Hochzeitsperformances u.a. mit dem Mond, dem Himmel oder den Appalachen, zusammen mit vielen Kollaborateur*innen. Mit ihrem Werk und diesem Buch schreiben die Künstler*innen ein weiteres Stück Performance-Geschichte.

This essay investigates Gadamer's hermeneutic theory and its application to theatre. Attention to Gadamer's views of theatre and performative interpretation provides a foundation to theorize a more sustainable canon. Classics that constitute a sustainable canon operate within a tradition through a community of interpretation that continually returns to interpret them anew. This structure also describes the theatrical repertoire. Several of Gadamer's central themes find easy analogues on stage: play, the history of effect (Wirkungsgeschichte), the participation of an audience in the fusion of horizons, and art's making present continuity the past. Gadamer provides a framework for understanding the work of interpretation of a dramatic text as a shared participatory event. In particular, Gadamer's hermeneutic theory can make sense of the how performance history makes discoveries that "sticks" to a script, particularly as when and how it enters and influences the canon. Gadamer's hermeneutics help to interpret how innovative performance choices and stage spectacle are part of a play's meaning; these interpretive interventions in drama's reception history are significant and not simply ornamentation to some "truth of the play" accessed only via the reenactment of the original compositional context. Occasional reparative interpretations of the canon, in turn, help to sustain the community.

Upon his recent death, this article revisits the major contributions of Dr. Hans-Thies Lehmann to contemporary debates on theatre aesthetics. Lehmann’s concept of a postdramatic theatre—that is, a theatre that has moved beyond the central importance of dramatic texts—is surveyed some two decades after he made his primary interventions in the field. The article furthermore reviews Lehmann’s influence in the Anglophone discipline of theatre studies and in the global field of theatre production.

Among the many archetypal figures that are hidden behind transhumanist thought, the myth of Prometheus is, without a doubt, the one with the greatest semantic force. In the arts, hybrid artistic forms, at the border of different disciplines such as sculpture, performance, dance, biotechnology, information technology, seem to approach this sensibility. How do transhumanist artists use this post-modern "new grammar"? Through which iconographic, technical, symbolic elements the man of the transhumanists is translated into artistic representations? Our analysis, transdisciplinary and cross-cultural, aims to answer these questions through the reading of some works by artists closely next to transhumanism: Orlan, shaper of her own body through plastic surgery, Neil Harbisson, known as the first cyborg, or the Fronte Vacuo’s artists who hybridize themselves with computer slags and artificial intelligences.