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opera</title> <meta name="description" content="Search results for: opera"> <meta name="keywords" content="opera"> <meta name="viewport" content="width=device-width, initial-scale=1, minimum-scale=1, maximum-scale=1, user-scalable=no"> <meta charset="utf-8"> <link href="https://cdn.waset.org/favicon.ico" type="image/x-icon" rel="shortcut icon"> <link href="https://cdn.waset.org/static/plugins/bootstrap-4.2.1/css/bootstrap.min.css" rel="stylesheet"> <link href="https://cdn.waset.org/static/plugins/fontawesome/css/all.min.css" rel="stylesheet"> <link href="https://cdn.waset.org/static/css/site.css?v=150220211555" rel="stylesheet"> </head> <body> <header> <div class="container"> <nav class="navbar navbar-expand-lg navbar-light"> <a class="navbar-brand" href="https://waset.org"> <img src="https://cdn.waset.org/static/images/wasetc.png" alt="Open Science Research Excellence" title="Open Science Research Excellence" /> </a> <button class="d-block d-lg-none navbar-toggler ml-auto" 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class="input-group"> <i class="fas fa-search"></i> <input type="text" class="search-query" name="q" placeholder="Author, Title, Abstract, Keywords" value="opera"> <input type="submit" class="btn_search" value="Search"> </div> </div> </form> </div> </div> <div class="row mt-3"> <div class="col-sm-3"> <div class="card"> <div class="card-body"><strong>Commenced</strong> in January 2007</div> </div> </div> <div class="col-sm-3"> <div class="card"> <div class="card-body"><strong>Frequency:</strong> Monthly</div> </div> </div> <div class="col-sm-3"> <div class="card"> <div class="card-body"><strong>Edition:</strong> International</div> </div> </div> <div class="col-sm-3"> <div class="card"> <div class="card-body"><strong>Paper Count:</strong> 36</div> </div> </div> </div> <h1 class="mt-3 mb-3 text-center" style="font-size:1.6rem;">Search results for: opera</h1> <div class="card paper-listing mb-3 mt-3"> <h5 class="card-header" style="font-size:.9rem"><span class="badge badge-info">36</span> The Emergence and Influence of Early European Opera: A Historical and Analytical Study</h5> <div class="card-body"> <p class="card-text"><strong>Authors:</strong> <a href="https://publications.waset.org/abstracts/search?q=Yan%20Jiajun">Yan Jiajun</a>, <a href="https://publications.waset.org/abstracts/search?q=Baroque%20Opera"> Baroque Opera</a>, <a href="https://publications.waset.org/abstracts/search?q=Florentine%20Camerata"> Florentine Camerata</a> </p> <p class="card-text"><strong>Abstract:</strong></p> This paper explores the origins, development, and cultural impact of early European opera, particularly focusing on its inception in late 16th century Italy and its subsequent spread across Europe. Through an in-depth analysis of key operas and performers, this study demonstrates how opera served as both a reflection of and an influence on the social, political, and economic landscapes of early modern Europe. The discussion includes the role of public opera houses, the commercialization of the art form, and the significance of the prima donna, supported by references to relevant literature and historical documents. <p class="card-text"><strong>Keywords:</strong> <a href="https://publications.waset.org/abstracts/search?q=early%20European%20opera" title="early European opera">early European opera</a>, <a href="https://publications.waset.org/abstracts/search?q=baroque%20opera" title=" baroque opera"> baroque opera</a>, <a href="https://publications.waset.org/abstracts/search?q=Florentine%20camerata" title=" Florentine camerata"> Florentine camerata</a>, <a href="https://publications.waset.org/abstracts/search?q=prima%20donna" title=" prima donna"> prima donna</a>, <a href="https://publications.waset.org/abstracts/search?q=cultural%20impact" title=" cultural impact"> cultural impact</a> </p> <a href="https://publications.waset.org/abstracts/193673/the-emergence-and-influence-of-early-european-opera-a-historical-and-analytical-study" class="btn btn-primary btn-sm">Procedia</a> <a href="https://publications.waset.org/abstracts/193673.pdf" target="_blank" class="btn btn-primary btn-sm">PDF</a> <span class="bg-info text-light px-1 py-1 float-right rounded"> Downloads <span class="badge badge-light">11</span> </span> </div> </div> <div class="card paper-listing mb-3 mt-3"> <h5 class="card-header" style="font-size:.9rem"><span class="badge badge-info">35</span> The Part of Dido in Purcell’s Opera ‘Dido and Aeneas’: Problems of Performing Baroque Opera</h5> <div class="card-body"> <p class="card-text"><strong>Authors:</strong> <a href="https://publications.waset.org/abstracts/search?q=Feng%20Ke">Feng Ke</a> </p> <p class="card-text"><strong>Abstract:</strong></p> Henry Purcell's opera ‘Dido and Aeneas’ is still highly appreciated by music critics and occupies an important place in the repertoire of theaters around the world. Presented for the first time in 1689 by pupils of a boarding school in Chelsea, it turned out to be the only one of its kind not only in English but also in world opera music. Up-to-date data on the first productions of the opera are available in the Paxton article. The composer, for whom English masks served as examples of his first works in this genre, departed in ‘Dido’ from the so-called seven-opera with spoken dialogues and created a work that corresponded to his understanding of opera as ‘singing accompanied by an appropriate action’, ‘Dido and Aeneas’ differs from the Italian operas of that time in its chamber, stylistic rigor, it is full, on the one hand, of elegiac languor and subtle feelings, on the other – of genre ensemble and choral scenes saturated with lively energy. <p class="card-text"><strong>Keywords:</strong> <a href="https://publications.waset.org/abstracts/search?q=Henry%20Purcell" title="Henry Purcell">Henry Purcell</a>, <a href="https://publications.waset.org/abstracts/search?q=baroque%20opera" title=" baroque opera"> baroque opera</a>, <a href="https://publications.waset.org/abstracts/search?q=vocal%20part%20of%20the%20area" title=" vocal part of the area"> vocal part of the area</a>, <a href="https://publications.waset.org/abstracts/search?q=genuine%20virtuosity%20from%20the%20performer" title=" genuine virtuosity from the performer"> genuine virtuosity from the performer</a> </p> <a href="https://publications.waset.org/abstracts/184879/the-part-of-dido-in-purcells-opera-dido-and-aeneas-problems-of-performing-baroque-opera" class="btn btn-primary btn-sm">Procedia</a> <a href="https://publications.waset.org/abstracts/184879.pdf" target="_blank" class="btn btn-primary btn-sm">PDF</a> <span class="bg-info text-light px-1 py-1 float-right rounded"> Downloads <span class="badge badge-light">54</span> </span> </div> </div> <div class="card paper-listing mb-3 mt-3"> <h5 class="card-header" style="font-size:.9rem"><span class="badge badge-info">34</span> Children in Opera: Sociological and Musicological Trends</h5> <div class="card-body"> <p class="card-text"><strong>Authors:</strong> <a href="https://publications.waset.org/abstracts/search?q=Andrew%20Sutherland">Andrew Sutherland</a> </p> <p class="card-text"><strong>Abstract:</strong></p> In many ways, opera is not a natural domain for children. It is hardly surprising that from the thousands of works, comparatively few include roles for children. There are several possibilities for this, the dramatic themes in opera are often about the human condition from the adult perspective; the need for developed voices to project in large, theatrical spaces underpinned by orchestral accompaniment does not naturally suit the child’s voice, and enabling children to cope with long runs of performances on top of their education requires vocal and physical stamina. In more recent times, the involvement of children contributes another layer of difficulty in terms of having access to young singers while adhering to laws that protect their working rights. Despite these points, children have been in opera since its inception in a variety of ways, but their contribution is often undervalued or ignored by musicologists and even the industry itself. In this paper, the phenomenon of children in opera from the late 16th century to the present day is explored through empirical, socio-musicological observations with reference to score analysis. Conclusions are drawn regarding the changing attitudes of composers when scoring for children’s voices in relation to societal developments. From the use of ‘kindertruppen’ in the pre-enlightenment period to Handel’s virtuosic writing for William Savage, to the darkness of the inter-war eras which saw a proliferation of operatic characters for children and the post-war era which saw children as the new frontier of building audiences for opera, the links between changes in society and the inclusion, portrayal and scoring for children in opera are largely congruent. <p class="card-text"><strong>Keywords:</strong> <a href="https://publications.waset.org/abstracts/search?q=children" title="children">children</a>, <a href="https://publications.waset.org/abstracts/search?q=musical%20analysis" title=" musical analysis"> musical analysis</a>, <a href="https://publications.waset.org/abstracts/search?q=opera" title=" opera"> opera</a>, <a href="https://publications.waset.org/abstracts/search?q=sociology" title=" sociology "> sociology </a> </p> <a href="https://publications.waset.org/abstracts/112068/children-in-opera-sociological-and-musicological-trends" class="btn btn-primary btn-sm">Procedia</a> <a href="https://publications.waset.org/abstracts/112068.pdf" target="_blank" class="btn btn-primary btn-sm">PDF</a> <span class="bg-info text-light px-1 py-1 float-right rounded"> Downloads <span class="badge badge-light">111</span> </span> </div> </div> <div class="card paper-listing mb-3 mt-3"> <h5 class="card-header" style="font-size:.9rem"><span class="badge badge-info">33</span> Narrative Function of Public Meeting Places in Uzalo Soap Opera</h5> <div class="card-body"> <p class="card-text"><strong>Authors:</strong> <a href="https://publications.waset.org/abstracts/search?q=Michelle%20Micah%20Augustine">Michelle Micah Augustine</a> </p> <p class="card-text"><strong>Abstract:</strong></p> Soap opera narrative creates a sense of community. Uzalo is a South African local soap opera television series. It is unique because Uzalo tells the story of black people and their everyday struggle centered in KwaMashu township community, which is an excellent example of how moving image culture has contributed in portraying township community that was once marginalized by the apartheid regime in contemporary South Africa. While soap opera importance and promotion of social change and behaviours have been extensively studied throughout history, little research has examined the importance of space and place in its narrative. This study explored the conventional community space and place, the core elements that drive soap opera narrative. By means of qualitative content analysis, the study investigated the construction of public meeting places in Uzalo, using a purposive sampling technique to collect data by choosing episodes. The result indicates that characters convergence in public meeting places in soap opera creates disequilibrium which drives the narrative; reveals that construction of a public meeting place is an important way of creating a minimum of homogeneousness among disparate characters, gives a sense of unified experience drawing on the notion of the particular characteristics or attitude generated from such place. The result shows that the use of camera angles, movements, editing, music and usual tricks (mise-en-scene) applied in the narrative setting function as a guide for viewers comprehension of emotional responses of the story and to connect with the space in which the narrative is set. <p class="card-text"><strong>Keywords:</strong> <a href="https://publications.waset.org/abstracts/search?q=community" title="community">community</a>, <a href="https://publications.waset.org/abstracts/search?q=narrative" title=" narrative"> narrative</a>, <a href="https://publications.waset.org/abstracts/search?q=place" title=" place"> place</a>, <a href="https://publications.waset.org/abstracts/search?q=space" title=" space"> space</a>, <a href="https://publications.waset.org/abstracts/search?q=soap%20opera" title=" soap opera"> soap opera</a> </p> <a href="https://publications.waset.org/abstracts/102016/narrative-function-of-public-meeting-places-in-uzalo-soap-opera" class="btn btn-primary btn-sm">Procedia</a> <a href="https://publications.waset.org/abstracts/102016.pdf" target="_blank" class="btn btn-primary btn-sm">PDF</a> <span class="bg-info text-light px-1 py-1 float-right rounded"> Downloads <span class="badge badge-light">145</span> </span> </div> </div> <div class="card paper-listing mb-3 mt-3"> <h5 class="card-header" style="font-size:.9rem"><span class="badge badge-info">32</span> Dysphemism vs Euphemism in a South African Soap Opera: The Case of the Queen</h5> <div class="card-body"> <p class="card-text"><strong>Authors:</strong> <a href="https://publications.waset.org/abstracts/search?q=Maropeng%20Maponya">Maropeng Maponya</a>, <a href="https://publications.waset.org/abstracts/search?q=Mawethu%20Nhlabathi"> Mawethu Nhlabathi</a> </p> <p class="card-text"><strong>Abstract:</strong></p> Euphemistic expressions, as part of showing respect and ubuntu, are naturally embedded in the African Languages. These expressions are solely used to soothe the impact which dysphemistic words may have on an individual or the society at large. Conversely, the script producers of one of the well-known soap operas in South Africa, The Queen–Mzansi, seem to have turned a blind eye on that, mostly when they use dysphemistic reference to human genitals. As a result, such practice tends to deteriorate the ethicality of the African languages and the beliefs held by African society in general. They also give less meaning to the promotion of African language concepts. This paper is aimed at explaining and analyzing the impact of dysphemism on language growth, basing the argument on the fact that subtitled texts in the soap opera never reflect the actual dysphemistic sourced text uttered by the character/s. This is a clear indication that the production crew of this soap opera is aware of the impact that these utterances may have on society, yet they do not mind the characters saying them as is in African Languages whilst euphemizing them through English subtitles. The paper adopted a descriptive qualitative method with an embedded case study in it, whereby dysphemistic clips from three characters of the soap opera were selected and analyzed. <p class="card-text"><strong>Keywords:</strong> <a href="https://publications.waset.org/abstracts/search?q=euphemism" title="euphemism">euphemism</a>, <a href="https://publications.waset.org/abstracts/search?q=dysphemism" title=" dysphemism"> dysphemism</a>, <a href="https://publications.waset.org/abstracts/search?q=soap%20opera" title=" soap opera"> soap opera</a>, <a href="https://publications.waset.org/abstracts/search?q=The%20Queen" title=" The Queen"> The Queen</a> </p> <a href="https://publications.waset.org/abstracts/130303/dysphemism-vs-euphemism-in-a-south-african-soap-opera-the-case-of-the-queen" class="btn btn-primary btn-sm">Procedia</a> <a href="https://publications.waset.org/abstracts/130303.pdf" target="_blank" class="btn btn-primary btn-sm">PDF</a> <span class="bg-info text-light px-1 py-1 float-right rounded"> Downloads <span class="badge badge-light">146</span> </span> </div> </div> <div class="card paper-listing mb-3 mt-3"> <h5 class="card-header" style="font-size:.9rem"><span class="badge badge-info">31</span> The Artist and the Opera: An Analysis of Gaze, Spatiality, and Women’s Labor in Degas’s The Rehearsal of the Ballet Onstage, 1874</h5> <div class="card-body"> <p class="card-text"><strong>Authors:</strong> <a href="https://publications.waset.org/abstracts/search?q=Moses%20Abrahamson">Moses Abrahamson</a> </p> <p class="card-text"><strong>Abstract:</strong></p> This paper examines Edgar Degas’s The Rehearsal of the Ballet Onstage (1874) through the lens of gaze, spatiality, and women’s labor within the context of 19th-century Parisian modernity. Degas’s depiction of ballet dancers, who were often subject to sexual exploitation by wealthy patrons of the Paris Opera, extends beyond a mere aesthetic rendering of performance. Instead, the painting highlights the Opera’s backstage dynamics, where class and gender intersect through power imbalances. By analyzing the gazes of the Opera’s male patrons and ballet masters, the paper explores the implicit commodification of the dancers, drawing on Mulvey’s theory of the male gaze and its manifestation in the portrayal of working-class women. Degas’s positioning of these figures, coupled with his perspective as both artist and patron, reveals his engagement with the spatial layout of the Opera and the modern social hierarchies it embodies. The painting serves as a microcosm of broader sociocultural transformations, where Degas reflects on the labor of ballet dancers as both private toil and public spectacle, connecting his artistic process to the gendered and classed politics of modern Parisian society. <p class="card-text"><strong>Keywords:</strong> <a href="https://publications.waset.org/abstracts/search?q=class%20dynamics" title="class dynamics">class dynamics</a>, <a href="https://publications.waset.org/abstracts/search?q=male%20gaze" title=" male gaze"> male gaze</a>, <a href="https://publications.waset.org/abstracts/search?q=spatiality" title=" spatiality"> spatiality</a>, <a href="https://publications.waset.org/abstracts/search?q=modernity" title=" modernity"> modernity</a> </p> <a href="https://publications.waset.org/abstracts/192664/the-artist-and-the-opera-an-analysis-of-gaze-spatiality-and-womens-labor-in-degass-the-rehearsal-of-the-ballet-onstage-1874" class="btn btn-primary btn-sm">Procedia</a> <a href="https://publications.waset.org/abstracts/192664.pdf" target="_blank" class="btn btn-primary btn-sm">PDF</a> <span class="bg-info text-light px-1 py-1 float-right rounded"> Downloads <span class="badge badge-light">24</span> </span> </div> </div> <div class="card paper-listing mb-3 mt-3"> <h5 class="card-header" style="font-size:.9rem"><span class="badge badge-info">30</span> Influence of the Popularity of Opera during Risorgimento on Foreign Presence in Italy</h5> <div class="card-body"> <p class="card-text"><strong>Authors:</strong> <a href="https://publications.waset.org/abstracts/search?q=Andrew%20Wee">Andrew Wee</a> </p> <p class="card-text"><strong>Abstract:</strong></p> As a result of the Italian Independence Wars starting in 1848, Italy began to change through unification. People gradually moved away from some of their traditional practices and values, such as the long-held belief that women were inferior to men, as part of the Risorgimento. Italians began to take interest in opera as a form of emotional release. As opera became more popular and prominent in their culture, it aided in the dissemination of ideas, especially stimulating the spread of imperialism, in the late 19th century, as Italy began extending its presence to other countries. In order to collect the information needed to analyze Italy’s foreign presence, it was necessary to consult texts concerning the culture of the Risorgimento. These texts included primary sources from operatic composers and contemporary recorded accounts. Letters from Giuseppe Verdi, a leader in opera during the Risorgimento, have been scrutinized for indications of popular attitudes of the time. The cultural context of the Risorgimento is essential to understanding the Italian motives and attitudes towards the outside world. On the more political side, research has also entailed the study of historical data of general laws, policies, and their purposes concerning geopolitical boundaries and foreign affairs, such as Edward Said’s thesis on Orientalism. By establishing these two characteristics of Italy, the paper will thoroughly illustrate Italy’s presence in foreign affairs. Texts have been searched with the intent of using information that reveals Italian attitudes toward exotic countries to determine whether their demeanor was positive or condescending. Motives behind sources have been interpreted in context in order to form a complete picture of the Italian sentiment towards foreigners. Additionally, research pertaining to Italian nationalism and imperialism such as song and literature has been used. The primary form of research has been the division of sources that are culturally based and those that are political in nature. Opera had always been developing since its creation in the 17th century, and in the 19th century, the bel canto movement revolutionized opera and its role in Italian society. This paper uses evidence that popular sentiment was influenced by opera to support the belief that the evolution of opera was as a result of the nationalist sentiment, and in turn fueled the cultural movement known as the Risorgimento. In this way, opera proceeded to affect Italian culture by spreading the idea of imperialism. <p class="card-text"><strong>Keywords:</strong> <a href="https://publications.waset.org/abstracts/search?q=opera" title="opera">opera</a>, <a href="https://publications.waset.org/abstracts/search?q=Italian%20unification" title=" Italian unification"> Italian unification</a>, <a href="https://publications.waset.org/abstracts/search?q=music%20history" title=" music history"> music history</a>, <a href="https://publications.waset.org/abstracts/search?q=imperialism" title=" imperialism"> imperialism</a> </p> <a href="https://publications.waset.org/abstracts/17069/influence-of-the-popularity-of-opera-during-risorgimento-on-foreign-presence-in-italy" class="btn btn-primary btn-sm">Procedia</a> <a href="https://publications.waset.org/abstracts/17069.pdf" target="_blank" class="btn btn-primary btn-sm">PDF</a> <span class="bg-info text-light px-1 py-1 float-right rounded"> Downloads <span class="badge badge-light">346</span> </span> </div> </div> <div class="card paper-listing mb-3 mt-3"> <h5 class="card-header" style="font-size:.9rem"><span class="badge badge-info">29</span> Attitudes Towards the Supernatural in Benjamin Britten’s The Turn of the Screw</h5> <div class="card-body"> <p class="card-text"><strong>Authors:</strong> <a href="https://publications.waset.org/abstracts/search?q=Yaou%20Zhang">Yaou Zhang</a> </p> <p class="card-text"><strong>Abstract:</strong></p> Background: Relatively little scholarly attention has been paid to the production of Benjamin Britten’s chamber opera The Turn of the Screw. As one of Britten’s most remarkable operas. The story of the libretto was from Henry James’s novella of the same name. The novella was created in 1898 and one of the primary questions addressed to people in the story is “how real the ghosts are,” which leads the story to a huge ambiguity in readers’ minds. Aims: This research focuses on the experience of seeing the opera on stage over several decades. This study of opera productions over time not only provides insight into how stage performances can alter audience members' perceptions of the opera in the present but also reveals a landscape of shifting aesthetics and receptions. Methods: To examine the hypotheses in interpretation and reception, the qualitative analysis is used to examine the figures of ghosts in different productions across the time from 1954 to 2021 in the UK: by accessing recordings, newspapers, and reviews for the productions that are sourced from online and physical archives. For instance, the field research is conducted on the topic by arranging interviews with the creative team and visiting Opera North in Leeds and Britten-Pears Foundation. The collected data reveals the “hidden identity” in creative teams’ interpretations, social preferences, and rediscover that have previously remained unseen. Results: This research presents an angle of Britten’s Screw by using the third position; it shows how the attention moved from the stage of “do the ghosts really exist” to “traumatised children.” Discussion: Critics and audiences have debated whether the governess hallucinates the ghosts in the opera for decades. While, in recent years, directors of new productions have given themselves the opportunity to go deeper into Britten's musical structure and offer the opera more space to be interpreted, rather than debating if "ghosts actually exist" or "the psychological problems of the governess." One can consider and reflect that the questionable actions of the children are because they are suffering from trauma, whether the trauma comes from the ghosts, the hallucinating governess, or some prior experiences: various interpretations cause one result that children are the recipients of trauma. Arguably, the role of the supernatural is neither simply one of the elements of a ghost story nor simply one of the parts of the ambiguity between the supernatural and the hallucination of the governess; rather, the ghosts and the hallucinating governess can exist at the same time - the combination of the supernatural’s and the governess’s behaviours on stage generates a sharper and more serious angle that draws our attention to the traumatized children. <p class="card-text"><strong>Keywords:</strong> <a href="https://publications.waset.org/abstracts/search?q=benjamin%20britten" title="benjamin britten">benjamin britten</a>, <a href="https://publications.waset.org/abstracts/search?q=chamber%20opera" title=" chamber opera"> chamber opera</a>, <a href="https://publications.waset.org/abstracts/search?q=production" title=" production"> production</a>, <a href="https://publications.waset.org/abstracts/search?q=reception" title=" reception"> reception</a>, <a href="https://publications.waset.org/abstracts/search?q=staging" title=" staging"> staging</a>, <a href="https://publications.waset.org/abstracts/search?q=the%20turn%20of%20the%20screw" title=" the turn of the screw"> the turn of the screw</a> </p> <a href="https://publications.waset.org/abstracts/149570/attitudes-towards-the-supernatural-in-benjamin-brittens-the-turn-of-the-screw" class="btn btn-primary btn-sm">Procedia</a> <a href="https://publications.waset.org/abstracts/149570.pdf" target="_blank" class="btn btn-primary btn-sm">PDF</a> <span class="bg-info text-light px-1 py-1 float-right rounded"> Downloads <span class="badge badge-light">108</span> </span> </div> </div> <div class="card paper-listing mb-3 mt-3"> <h5 class="card-header" style="font-size:.9rem"><span class="badge badge-info">28</span> In the Valley of the Shadow of Death: Gossip, God, and Scapegoating in Susannah, an American Opera by Carlisle Floyd</h5> <div class="card-body"> <p class="card-text"><strong>Authors:</strong> <a href="https://publications.waset.org/abstracts/search?q=Shirl%20H.%20Terrell">Shirl H. Terrell</a> </p> <p class="card-text"><strong>Abstract:</strong></p> In the telling of mythologies, stories of cultural and religious histories, the creative arts provide an archetypal lens through which the personal and collective unconscious are viewed, thus revealing mysteries of the unknown psyche. To that end, the author of this paper, using the hermeneutic approach, proves that Carlisle Floyd’s (1955) English language opera Susannah illuminates humanity’s instinctual nature and behaviors through music, libretto, and drama. While impressive musical works such as Wagner’s Ring Cycle and Webber’s Phantom of the Opera have received extensive Jungian analyses, critics and scholars often ignore lesser esteemed works, such as Susannah, notwithstanding the fact that they have been consistently performed on the theater circuit. Such pieces, when given notice, allow viewers to grasp the soul-making depth and timeless quality of productions which may otherwise go unrecognized as culturally or psychologically significant. Although Susannah has sometimes been described as unsophisticated and simple in scope, the author demonstrates why Floyd’s 'little' opera, set in New Hope Valley, Appalachia, a cultural region in the Eastern United States known for its prevailing myths and distortions of isolation, temperament, and the judgmentally conservative behavior of its inhabitants, belongs to opera’s hallmark works. Its approach to powerful underlying archetypal themes, which give rise to the poignant and haunting depictions of the darker and destructive side of the human soul, the Shadow, provides crucial significance to the work. The Shadow’s manifestation in the form of the scapegoating complex is central to the plot of Susannah; the church’s meting out of rules, judgment, and reparation for sins point to the foreboding aspects of human behavior that evoke their intrinsic nature. The scapegoating complex is highlighted in an eight-step process gleaned from the works of Kenneth Burke and Rene Girard. In summary, through depth psychological terms and mythological motifs, the author provides an insightful approach to perceiving instinctual behaviors as they play out in an American opera that has been staged over eight-hundred times, yet, unfortunately, remains in the shadows. Susannah’s timelessness is now. <p class="card-text"><strong>Keywords:</strong> <a href="https://publications.waset.org/abstracts/search?q=archetypes" title="archetypes">archetypes</a>, <a href="https://publications.waset.org/abstracts/search?q=mythology" title=" mythology"> mythology</a>, <a href="https://publications.waset.org/abstracts/search?q=opera" title=" opera"> opera</a>, <a href="https://publications.waset.org/abstracts/search?q=scapegoating" title=" scapegoating"> scapegoating</a>, <a href="https://publications.waset.org/abstracts/search?q=Shadow" title=" Shadow"> Shadow</a>, <a href="https://publications.waset.org/abstracts/search?q=Susannah" title=" Susannah"> Susannah</a> </p> <a href="https://publications.waset.org/abstracts/101349/in-the-valley-of-the-shadow-of-death-gossip-god-and-scapegoating-in-susannah-an-american-opera-by-carlisle-floyd" class="btn btn-primary btn-sm">Procedia</a> <a href="https://publications.waset.org/abstracts/101349.pdf" target="_blank" class="btn btn-primary btn-sm">PDF</a> <span class="bg-info text-light px-1 py-1 float-right rounded"> Downloads <span class="badge badge-light">150</span> </span> </div> </div> <div class="card paper-listing mb-3 mt-3"> <h5 class="card-header" style="font-size:.9rem"><span class="badge badge-info">27</span> A Qualitative Analysis of Audience Interpretations of the Saudi Youtube Soap Opera Takki</h5> <div class="card-body"> <p class="card-text"><strong>Authors:</strong> <a href="https://publications.waset.org/abstracts/search?q=Noor%20Attar">Noor Attar</a> </p> <p class="card-text"><strong>Abstract:</strong></p> This paper proposes a qualitative study to examine the roles of the female characters in the Saudi YouTube soap opera Takki and audience reactions to them. It draws on concepts from Western feminist media studies and information about current portrayals of Saudi women in Saudi TV. The study will identify the themes that Takki presents related to new professional and personal opportunities for Saudi women and investigate Saudi women’s views of those themes. And finally, it will demonstrate how those themes may relate to the evolving positions and aspirations of Saudi women. <p class="card-text"><strong>Keywords:</strong> <a href="https://publications.waset.org/abstracts/search?q=a%20qualitative%20analysis" title="a qualitative analysis">a qualitative analysis</a>, <a href="https://publications.waset.org/abstracts/search?q=female%20characters" title=" female characters"> female characters</a>, <a href="https://publications.waset.org/abstracts/search?q=Saudi%20Arabia" title=" Saudi Arabia"> Saudi Arabia</a>, <a href="https://publications.waset.org/abstracts/search?q=Western%20feminist%20media" title=" Western feminist media"> Western feminist media</a> </p> <a href="https://publications.waset.org/abstracts/52711/a-qualitative-analysis-of-audience-interpretations-of-the-saudi-youtube-soap-opera-takki" class="btn btn-primary btn-sm">Procedia</a> <a href="https://publications.waset.org/abstracts/52711.pdf" target="_blank" class="btn btn-primary btn-sm">PDF</a> <span class="bg-info text-light px-1 py-1 float-right rounded"> Downloads <span class="badge badge-light">243</span> </span> </div> </div> <div class="card paper-listing mb-3 mt-3"> <h5 class="card-header" style="font-size:.9rem"><span class="badge badge-info">26</span> Exploring the History of Chinese Music Acoustic Technology through Data Fluctuations</h5> <div class="card-body"> <p class="card-text"><strong>Authors:</strong> <a href="https://publications.waset.org/abstracts/search?q=Yang%20Yang">Yang Yang</a>, <a href="https://publications.waset.org/abstracts/search?q=Lu%20Xin"> Lu Xin</a> </p> <p class="card-text"><strong>Abstract:</strong></p> The study of extant musical sites can provide a side-by-side picture of historical ethnomusicological information. In their data collection on Chinese opera houses, researchers found that one Ming Dynasty opera house reached a width of nearly 18 meters, while all opera houses of the same period and after it was far from such a width, being significantly smaller than 18 meters. The historical transient fluctuations in the data dimension of width that caused Chinese theatres to fluctuate in the absence of construction scale constraints have piqued the interest of researchers as to why there is data variation in width. What factors have contributed to the lack of further expansion in the width of theatres? To address this question, this study used a comparative approach to conduct a venue experiment between this theater stage and another theater stage for non-heritage opera performances, collecting the subjective perceptions of performers and audiences at different theater stages, as well as combining BK Connect platform software to measure data such as echo and delay. From the subjective and objective results, it is inferred that the Chinese ancients discovered and understood the acoustical phenomenon of the Haas effect by exploring the effect of stage width on musical performance and appreciation of listening states during the Ming Dynasty and utilized this discovery to serve music in subsequent stage construction. This discovery marked a node of evolution in Chinese architectural acoustics technology driven by musical demands. It is also instructive to note that, in contrast to many of the world's "unsuccessful civilizations," China can use a combination of heritage and intangible cultural research to chart a clear, demand-driven course for the evolution of human music technology, and that the findings of such research will complete the course of human exploration of music acoustics. The findings of such research will complete the journey of human exploration of music acoustics, and this practical experience can be applied to the exploration and understanding of other musical heritage base data. <p class="card-text"><strong>Keywords:</strong> <a href="https://publications.waset.org/abstracts/search?q=Haas%20effect" title="Haas effect">Haas effect</a>, <a href="https://publications.waset.org/abstracts/search?q=musical%20acoustics" title=" musical acoustics"> musical acoustics</a>, <a href="https://publications.waset.org/abstracts/search?q=history%20of%20acoustical%20technology" title=" history of acoustical technology"> history of acoustical technology</a>, <a href="https://publications.waset.org/abstracts/search?q=Chinese%20opera%20stage" title=" Chinese opera stage"> Chinese opera stage</a>, <a href="https://publications.waset.org/abstracts/search?q=structure" title=" structure"> structure</a> </p> <a href="https://publications.waset.org/abstracts/141000/exploring-the-history-of-chinese-music-acoustic-technology-through-data-fluctuations" class="btn btn-primary btn-sm">Procedia</a> <a href="https://publications.waset.org/abstracts/141000.pdf" target="_blank" class="btn btn-primary btn-sm">PDF</a> <span class="bg-info text-light px-1 py-1 float-right rounded"> Downloads <span class="badge badge-light">184</span> </span> </div> </div> <div class="card paper-listing mb-3 mt-3"> <h5 class="card-header" style="font-size:.9rem"><span class="badge badge-info">25</span> Chaotic Representation: Translating Gender in Cantonese Opera Performances</h5> <div class="card-body"> <p class="card-text"><strong>Authors:</strong> <a href="https://publications.waset.org/abstracts/search?q=Kar%20Yue%20Chan">Kar Yue Chan</a> </p> <p class="card-text"><strong>Abstract:</strong></p> Cantonese opera is a valuable heritage originated from South China, and started to span its influence across the area to Hong Kong, and became extremely popular back in the 1950s to the 1970s. It has also been honoured and recognized as one treasurable item on the Intangible Cultural Heritage of Humanity on the Representative List of UNESCO since 2009. A certain level of difficulty is encountered when one identifies the gender roles and representations from a usual performance of Cantonese opera, as conventional practices of Cantonese opera display to the audience that many of the male hero roles are played by female upon the prior knowledge of all audience, and it is understandable for them as well because in the past there were insufficient male actors and performers on the market. Female actresses, in some senses, are more capable to sing near-male voices, and their appearances in heroic operatic attires are more appreciated by general audience. Therefore, perspectives of 'feminine representation' and the 'Reception Theory' in literature are conducive to analyzing such phenomenon. In spite of some 'normal' performances with romantic love stories or historical accounts involving often a talented intellectual and a beautiful wise lady (in Chinese caizi jiaren 才子佳人), in which the male role is actually male and the female role is actually female, there have still been some opera titles specifically manifesting these extreme gender associations by putting together displacement of gender roles in the same performance in view of such chaotic complication. On top of all other factors, translators dealing with any operatic texts face plenty of challenges upon transferring Cantonese operatic performances into English. It is found that translators need to deal with cultural elements embedded in the lyrics; the form (which is as delicate as those deriving from classical Chinese poetry); the gender misplacements that affect the mood and tone of the lyrics that much when they are in the process of translating. Some lyrics and tunes are specifically designed for a particular gender role to perform, while some others are more generic; both of which require different and specific translation strategies. After scrutinizing the various sources of reference, readers of this paper should be well informed of a significance which lies in the refined nature of the poetic form and content that signifies in the way the distinguished gender voice segregation of the discourse from which the lyrics are derived, and definitely also through the on-stage performability aspect of the task. In order to produce a relatively short and concise translated version which fits performance needs, all of the above factors will be looked at in this paper with relevant examples and analysis. <p class="card-text"><strong>Keywords:</strong> <a href="https://publications.waset.org/abstracts/search?q=Cantonese%20opera" title="Cantonese opera">Cantonese opera</a>, <a href="https://publications.waset.org/abstracts/search?q=translation" title=" translation"> translation</a>, <a href="https://publications.waset.org/abstracts/search?q=chaotic%20gender" title=" chaotic gender"> chaotic gender</a>, <a href="https://publications.waset.org/abstracts/search?q=performance" title=" performance"> performance</a> </p> <a href="https://publications.waset.org/abstracts/112298/chaotic-representation-translating-gender-in-cantonese-opera-performances" class="btn btn-primary btn-sm">Procedia</a> <a href="https://publications.waset.org/abstracts/112298.pdf" target="_blank" class="btn btn-primary btn-sm">PDF</a> <span class="bg-info text-light px-1 py-1 float-right rounded"> Downloads <span class="badge badge-light">126</span> </span> </div> </div> <div class="card paper-listing mb-3 mt-3"> <h5 class="card-header" style="font-size:.9rem"><span class="badge badge-info">24</span> The Representation of the Medieval Idea of Ugliness in Messiaen's Saint François d’Assise</h5> <div class="card-body"> <p class="card-text"><strong>Authors:</strong> <a href="https://publications.waset.org/abstracts/search?q=Nana%20Katsia">Nana Katsia</a> </p> <p class="card-text"><strong>Abstract:</strong></p> This paper explores the ways both medieval and medievalist conceptions of ugliness might be linked to the physical and spiritual transformation of the protagonists and how it is realised through specific musical rhythm, such as the dochmiac rhythm in the opera. As Eco and Henderson note, only one kind of ugliness could be represented in conformity with nature in the Middle Ages without destroying all aesthetic pleasure and, in turn, artistic beauty: namely, a form of ugliness which arouses disgust. Moreover, Eco explores the fact that the enemies of Christ who condemn, martyr, and crucify him are represented as wicked inside. In turn, the representation of inner wickedness and hostility toward God brings with it outward ugliness, coarseness, barbarity, and rage. Ultimately these result in the deformation of the figure. In all these regards, the non-beautiful is represented here as a necessary phase, which is not the case with classical (the ancient Greek) concepts of Beauty. As we can see, the understanding of disfigurement and ugliness in the Middle Ages was both varied and complex. In the Middle Ages, the disfigurement caused by leprosy (and other skin and bodily conditions) was interpreted, in a somewhat contradictory manner, as both a curse and a gift from God. Some saints’ lives even have the saint appealing to be inflicted with the disease as part of their mission toward true humility. We shall explore that this ‘different concept’ of ugliness (non-classical beauty) might be represented in Messiaen’s opera. According to Messiaen, the Leper and Saint François are the principal characters of the third scene, as both of them will be transformed, and a double miracle will take place in the process. Messiaen mirrors the idea of the true humility of Saint’s life and positions Le Baiser au Lépreux as the culmination of the first act. The Leper’s character represents his physical and spiritual disfigurement, which are healed after the miracle. So, the scene can be viewed as an encounter between beauty and ugliness, and that much of it is spent in a study of ugliness. Dochmiac rhythm is one of the most important compositional elements in the opera. It plays a crucial role in the process of creating a dramatic musical narrative and structure in the composition. As such, we shall explore how Messiaen represents the medieval idea of ugliness in the opera through particular musical elements linked to the main protagonists’ spiritual or physical ugliness; why Messiaen makes reference to dochmiac rhythm, and how they create the musical and dramatic context in the opera for the medieval aesthetic category of ugliness. <p class="card-text"><strong>Keywords:</strong> <a href="https://publications.waset.org/abstracts/search?q=ugliness%20in%20music" title="ugliness in music">ugliness in music</a>, <a href="https://publications.waset.org/abstracts/search?q=medieval%20time" title=" medieval time"> medieval time</a>, <a href="https://publications.waset.org/abstracts/search?q=saint%20fran%C3%A7ois%20d%E2%80%99assise" title=" saint françois d’assise"> saint françois d’assise</a>, <a href="https://publications.waset.org/abstracts/search?q=messiaen" title=" messiaen"> messiaen</a> </p> <a href="https://publications.waset.org/abstracts/146010/the-representation-of-the-medieval-idea-of-ugliness-in-messiaens-saint-francois-dassise" class="btn btn-primary btn-sm">Procedia</a> <a href="https://publications.waset.org/abstracts/146010.pdf" target="_blank" class="btn btn-primary btn-sm">PDF</a> <span class="bg-info text-light px-1 py-1 float-right rounded"> Downloads <span class="badge badge-light">146</span> </span> </div> </div> <div class="card paper-listing mb-3 mt-3"> <h5 class="card-header" style="font-size:.9rem"><span class="badge badge-info">23</span> Towards a Re-theatricalized Drama: Yu Shangyuan’s Translation of J. M. Barrie’s The Admirable Crichton</h5> <div class="card-body"> <p class="card-text"><strong>Authors:</strong> <a href="https://publications.waset.org/abstracts/search?q=Li%20Jiawei">Li Jiawei</a> </p> <p class="card-text"><strong>Abstract:</strong></p> In the mid-1920s, Chinese dramatist Yu Shangyuan rallied a group of intellectuals and launched the National Theatre Movement to champion the incorporation of Chinese operatic resources into modern spoken drama. In 1927, the fluctuating milieu impelled Yu and most of his comrades to leave Beijing, rendering the movement a truncated undertaking. Offering to illuminate the influence or reverberation of the movement, this research examines Yu’s translation of J. M. Barrie’ s The Admirable Crichton, the first play Yu published upon returning to Beijing in 1929. It unveils that Yu still espoused the value of Chinese opera on modern stage, but his perception of drama was more instructive and rooted in theatre’s fundamental traditions, customs, and mechanics. Influenced by Sheldon Cheney’s theatrical idea, Yu aligned Western realistic drama with “psychologic drama” and Chinese opera with “aesthetic drama” and argued for a “re-theatricalized drama” that could “present psychologic drama aesthetically.” With such a perception, Yu chose to translate a psychologic drama and strove to imbue the play with an aesthetic spirit by inserting symbolic stage designs and employing poetic language. The exploration of Yu’s translation of The Admirable Crichton sheds light on the new insights that translation studies might bring to theatre historiography. <p class="card-text"><strong>Keywords:</strong> <a href="https://publications.waset.org/abstracts/search?q=Yu%20Shangyuan" title="Yu Shangyuan">Yu Shangyuan</a>, <a href="https://publications.waset.org/abstracts/search?q=translation" title=" translation"> translation</a>, <a href="https://publications.waset.org/abstracts/search?q=drama" title=" drama"> drama</a>, <a href="https://publications.waset.org/abstracts/search?q=modern%20China" title=" modern China"> modern China</a> </p> <a href="https://publications.waset.org/abstracts/160405/towards-a-re-theatricalized-drama-yu-shangyuans-translation-of-j-m-barries-the-admirable-crichton" class="btn btn-primary btn-sm">Procedia</a> <a href="https://publications.waset.org/abstracts/160405.pdf" target="_blank" class="btn btn-primary btn-sm">PDF</a> <span class="bg-info text-light px-1 py-1 float-right rounded"> Downloads <span class="badge badge-light">67</span> </span> </div> </div> <div class="card paper-listing mb-3 mt-3"> <h5 class="card-header" style="font-size:.9rem"><span class="badge badge-info">22</span> The Effects of Architectural Anatomy on Improving the Quality of Place Identity: Case Study of Shiraz Opera Hall</h5> <div class="card-body"> <p class="card-text"><strong>Authors:</strong> <a href="https://publications.waset.org/abstracts/search?q=Hamid%20Reza%20Zeraatpisheh">Hamid Reza Zeraatpisheh</a>, <a href="https://publications.waset.org/abstracts/search?q=Shamsoddin%20Hashemi"> Shamsoddin Hashemi</a>, <a href="https://publications.waset.org/abstracts/search?q=Farshad%20Negintaji"> Farshad Negintaji</a> </p> <p class="card-text"><strong>Abstract:</strong></p> This study has examined the effects of the architectural anatomy of opera hall on improving the quality of place identity. By measuring the effects of place identity on the inner aspects of human which are influenced by the physical and social environments it has investigated the results of a balance between internal and external environment. To assess the anatomical effects of urban landscape, two components of subjective landscape including perception and diversity and the component of objective landscape including form and order have been measured. The current survey is descriptive and the statistical population has been Shiraz which is a city in Iran. To analyze the data the SPSS software has been used. The results have been investigated in two levels of descriptive and inferential statistics. In the inferential statistics, Pearson correlation coefficient has been used to evaluate the research hypotheses. The results of this study indicate that between the dimensions of landscape, the component of the subjective landscape has the highest impact on the place identity and in the second place, an objective landscape has the impact on the place identity. Anatomical effects have an important role on improving the quality of place identity of Shiraz citizens and in order to enhance the place identity in the urban landscape it is also required that they will be inspired and operated. <p class="card-text"><strong>Keywords:</strong> <a href="https://publications.waset.org/abstracts/search?q=architectural%20anatomy" title="architectural anatomy">architectural anatomy</a>, <a href="https://publications.waset.org/abstracts/search?q=identity" title=" identity"> identity</a>, <a href="https://publications.waset.org/abstracts/search?q=place%20identity" title=" place identity"> place identity</a>, <a href="https://publications.waset.org/abstracts/search?q=urban%20landscape" title=" urban landscape"> urban landscape</a>, <a href="https://publications.waset.org/abstracts/search?q=perception" title=" perception"> perception</a> </p> <a href="https://publications.waset.org/abstracts/22279/the-effects-of-architectural-anatomy-on-improving-the-quality-of-place-identity-case-study-of-shiraz-opera-hall" class="btn btn-primary btn-sm">Procedia</a> <a href="https://publications.waset.org/abstracts/22279.pdf" target="_blank" class="btn btn-primary btn-sm">PDF</a> <span class="bg-info text-light px-1 py-1 float-right rounded"> Downloads <span class="badge badge-light">548</span> </span> </div> </div> <div class="card paper-listing mb-3 mt-3"> <h5 class="card-header" style="font-size:.9rem"><span class="badge badge-info">21</span> Silent Culminations in Operas Aida and Mazeppa</h5> <div class="card-body"> <p class="card-text"><strong>Authors:</strong> <a href="https://publications.waset.org/abstracts/search?q=Stacy%20Jarvis">Stacy Jarvis</a> </p> <p class="card-text"><strong>Abstract:</strong></p> A silent culmination is a musical technique that creates or increases tension in a piece of music. It is a type of cadence in which the music gradually builds to a climax but suddenly stops without any resolution. This technique can create suspense and anticipation in the listener as they wait to find out what will happen next. It can also draw attention to a particular element of the music, such as a particular instrument or vocal line. Silent culminations can evoke a sense of mystery or ambiguity by not resolving the tension created. This technique has been used by composers of all musical genres, from classical to jazz, as well as in film scores. Silent culminations can also make a piece of music more dynamic and exciting. Verdi’s Aida is a classic example of the use of silent culminations to create tension and suspense. Throughout the opera, Verdi uses a technique of gradually building to a climax, only to abruptly stop without any resolution. This technique brings out the story's drama and intensity and creates anticipation for the climactic moments. For example, at the end of the second act, Verdi reaches a crescendo of tension as Aida and Radamès swear their undying love for one another, only to stop with a moment of silence. This technique also helps to draw attention to the important moments in the story, such as the duets between Aida and Radamès. By stopping the music just before it resolves, Verdi can create an atmosphere of anticipation and suspense that carries through to the opera's end. Silent culminations are used greatly in Aida and are integral to Verdi’s dramatic style. In his symphonic poem Mazeppa, Tchaikovsky uses silent culminations to emphasize the piece's drama and powerful emotions. The piece begins with a gentle introduction but quickly builds to a powerful climax. Throughout the piece, Tchaikovsky uses silent culminations to create tension and suspense, drawing the listener in and heightening the intensity of the music 2. The most dramatic moment of the piece comes when the music builds to a frantic climax and then suddenly cuts out, leaving the listener hanging in anticipation of what will happen next. This technique creates an intense atmosphere and leaves the listener eager to hear what comes next. In addition, the use of silent culminations helps to emphasize the strong emotions of the piece, such as fear, horror, and despair. By not resolving the tension with a resolution, the listener is left with a feeling of uneasiness and uncertainty that helps to convey the story of Mazeppa’s tragic fate. <p class="card-text"><strong>Keywords:</strong> <a href="https://publications.waset.org/abstracts/search?q=Verdi" title="Verdi">Verdi</a>, <a href="https://publications.waset.org/abstracts/search?q=Tchaikovsky" title=" Tchaikovsky"> Tchaikovsky</a>, <a href="https://publications.waset.org/abstracts/search?q=opera" title=" opera"> opera</a>, <a href="https://publications.waset.org/abstracts/search?q=culmination" title=" culmination"> culmination</a> </p> <a href="https://publications.waset.org/abstracts/161745/silent-culminations-in-operas-aida-and-mazeppa" class="btn btn-primary btn-sm">Procedia</a> <a href="https://publications.waset.org/abstracts/161745.pdf" target="_blank" class="btn btn-primary btn-sm">PDF</a> <span class="bg-info text-light px-1 py-1 float-right rounded"> Downloads <span class="badge badge-light">94</span> </span> </div> </div> <div class="card paper-listing mb-3 mt-3"> <h5 class="card-header" style="font-size:.9rem"><span class="badge badge-info">20</span> Narrating Atatürk Cultural Center as a Place of Memory and a Space of Politics</h5> <div class="card-body"> <p class="card-text"><strong>Authors:</strong> <a href="https://publications.waset.org/abstracts/search?q=Birge%20Yildirim%20Okta">Birge Yildirim Okta</a> </p> <p class="card-text"><strong>Abstract:</strong></p> This paper aims to narrate the story of Atatürk Cultural Center in Taksim Square, which was demolished in 2018 and discuss its architectonic as a social place of memory and its existence and demolishment as the space of politics. The paper uses narrative discourse analysis to research Atatürk Cultural Center (AKM) as a place of memory and space of politics from the establishment of the Turkish Republic (1923) until today. After the establishment of the Turkish Republic, one of the most important implementations in Taksim Square, reflecting the internationalist style, was the construction of the Opera Building in Prost Plan. The first design of the opera building belonged to Aguste Perret, which could not be implemented due to economic hardship during World War II. Later the project was designed by architects Feridun Kip and Rüknettin Güney in 1946 but could not be completed due to the 1960 military coup. Later the project was shifted to another architect Hayati Tabanlıoglu, with a change in its function as a cultural center. Eventually, the construction of the building was completed in 1969 in a completely different design. AKM became a symbol of republican modernism not only with its modern architectural style but also with it is function as the first opera building of the Republic, reflecting the western, modern cultural heritage by professional groups, artists, and the intelligentsia. In 2005, Istanbul’s council for the protection of cultural heritage decided to list AKM as a grade 1 cultural heritage, ending a period of controversy which saw calls for the demolition of the center as it was claimed, it ended its useful lifespan. In 2008 the building was announced to be closed for repairs and restoration. Over the following years, the building was demolished piece by piece silently while the Taksim mosque has been built just in front of Atatürk Cultural Center. Belonging to the early republican period AKM was a representation of the cultural production of modern society for the emergence and westward looking, secular public space in Turkey. Its erasure from the Taksim scene under the rule of the conservative government, Justice, and Development Party, and the construction of the Taksim mosque in front of AKM’s parcel is also representational. The question of governing the city through space has always been an important aspect for governments, those holding political power since cities are the chaotic environments that are seen as a threat for the governments, carrying the tensions of the proletariat or the contradictory groups. The story of AKM as a dispositive or a regulatory apparatus demonstrates how space itself is becoming a political medium, to transform the socio-political condition. The paper narrates the existence and demolishment of the Atatürk Cultural Center by discussing the constructed and demolished building as a place of memory and space of politics. <p class="card-text"><strong>Keywords:</strong> <a href="https://publications.waset.org/abstracts/search?q=space%20of%20politics" title="space of politics">space of politics</a>, <a href="https://publications.waset.org/abstracts/search?q=place%20of%20memory" title=" place of memory"> place of memory</a>, <a href="https://publications.waset.org/abstracts/search?q=Atat%C3%BCrk%20Cultural%20Center" title=" Atatürk Cultural Center"> Atatürk Cultural Center</a>, <a href="https://publications.waset.org/abstracts/search?q=Taksim%20square" title=" Taksim square"> Taksim square</a>, <a href="https://publications.waset.org/abstracts/search?q=collective%20memory" title=" collective memory "> collective memory </a> </p> <a href="https://publications.waset.org/abstracts/116705/narrating-ataturk-cultural-center-as-a-place-of-memory-and-a-space-of-politics" class="btn btn-primary btn-sm">Procedia</a> <a href="https://publications.waset.org/abstracts/116705.pdf" target="_blank" class="btn btn-primary btn-sm">PDF</a> <span class="bg-info text-light px-1 py-1 float-right rounded"> Downloads <span class="badge badge-light">140</span> </span> </div> </div> <div class="card paper-listing mb-3 mt-3"> <h5 class="card-header" style="font-size:.9rem"><span class="badge badge-info">19</span> The Destruction of Memory: Ataturk Cultural Centre</h5> <div class="card-body"> <p class="card-text"><strong>Authors:</strong> <a href="https://publications.waset.org/abstracts/search?q=Birge%20Yildirim%20Okta">Birge Yildirim Okta</a> </p> <p class="card-text"><strong>Abstract:</strong></p> This paper aims to narrate the story of Atatürk Cultural Center in Taksim Square, which was demolished in 2018, and discuss its architectonic as a social place of memory and its existence and demolishment as the space of politics. Focusing on the timeline starting from early republican period till today, the paper uses narrative discourse analysis to research Atatürk Cultural Center as a place of memory and a space of politics in its existence. After the establishment of Turkish Republic, one of most important implementation in Taksim Square, reflecting the internationalist style, was the construction of Opera Building in Prost Plan. The first design of the opera building belonged to Aguste Perret, which could not be implemented due to economic hardship during World War II. Later the project was designed by architects Feridun Kip and Rüknettin Güney in 1946 but could not be completed due to 1960 military coup. Later the project was shifted to another architect Hayati Tabanlıoglu, with a change in its function as a cultural center. Eventually, the construction of the building was completed in 1969 in a completely different design. AKM became a symbol of republican modernism not only with its modern architectural style but also with it is function as the first opera building of the republic, reflecting the western, modern cultural heritage by professional groups, artists and the intelligentsia. In 2005, Istanbul’s council for the protection of cultural heritage decided to list AKM as a grade 1 cultural heritage, ending a period of controversy which saw calls for the demolition of the center as it was claimed it ended its useful lifespan. In 2008 the building was announced to be closed for repairs and restoration. Over the following years, the building was demolished piece by piece silently while Taksim mosque has been built just in front of Atatürk Cultural Center. Belonging to the early republican period, AKM was a representation of a cultural production of a modern society for the emergence and westward looking, secular public space in Turkey. Its erasure from Taksim scene under the rule of the conservative government, Justice and Development Party and the construction of Taksim mosque in front of AKM’s parcel is also representational. The question of governing the city through space has always been an important aspect for governments, those holding political power since cities are the chaotic environments that are seen as a threat for the governments, carrying the tensions of proletariat or the contradictory groups. The story of AKM as a dispositive or a regulatory apparatus demonstrates how space itself is becoming a political medium, to transform the socio-political condition. The article aims to discuss the existence and demolishment of Atatürk Cultural Center by discussing the constructed and demolished building as a place of memory and a space of politics. <p class="card-text"><strong>Keywords:</strong> <a href="https://publications.waset.org/abstracts/search?q=space%20of%20politics" title="space of politics">space of politics</a>, <a href="https://publications.waset.org/abstracts/search?q=place%20of%20memory" title=" place of memory"> place of memory</a>, <a href="https://publications.waset.org/abstracts/search?q=atat%C3%BCrk%20cultural%20center" title=" atatürk cultural center"> atatürk cultural center</a>, <a href="https://publications.waset.org/abstracts/search?q=taksim%20square" title=" taksim square"> taksim square</a> </p> <a href="https://publications.waset.org/abstracts/167456/the-destruction-of-memory-ataturk-cultural-centre" class="btn btn-primary btn-sm">Procedia</a> <a href="https://publications.waset.org/abstracts/167456.pdf" target="_blank" class="btn btn-primary btn-sm">PDF</a> <span class="bg-info text-light px-1 py-1 float-right rounded"> Downloads <span class="badge badge-light">82</span> </span> </div> </div> <div class="card paper-listing mb-3 mt-3"> <h5 class="card-header" style="font-size:.9rem"><span class="badge badge-info">18</span> Educational Theatre Making Project: Prior Conditions</h5> <div class="card-body"> <p class="card-text"><strong>Authors:</strong> <a href="https://publications.waset.org/abstracts/search?q=Larisa%20Akhmylovskaia">Larisa Akhmylovskaia</a>, <a href="https://publications.waset.org/abstracts/search?q=Andriana%20Barysh"> Andriana Barysh</a> </p> <p class="card-text"><strong>Abstract:</strong></p> The present paper is introducing the translation score developing methodology and methods in the cross-cultural communication. The ideas and examples presented by the authors illustrate the universal character of translation score developing methods under analysis. Personal experience in the international theatre-making projects, opera laboratories, cross-cultural master-classes give more opportunities to single out the conditions, forms, means and principles of translation score developing as well as the translator/interpreter’s functions as cultural liaison for multiethnic collaboration. <p class="card-text"><strong>Keywords:</strong> <a href="https://publications.waset.org/abstracts/search?q=methodology%20of%20translation%20score%20developing" title="methodology of translation score developing">methodology of translation score developing</a>, <a href="https://publications.waset.org/abstracts/search?q=pre-production" title=" pre-production"> pre-production</a>, <a href="https://publications.waset.org/abstracts/search?q=analysis" title=" analysis"> analysis</a>, <a href="https://publications.waset.org/abstracts/search?q=production" title=" production"> production</a>, <a href="https://publications.waset.org/abstracts/search?q=post-production" title=" post-production"> post-production</a>, <a href="https://publications.waset.org/abstracts/search?q=ethnic%20scene%20theory" title=" ethnic scene theory"> ethnic scene theory</a>, <a href="https://publications.waset.org/abstracts/search?q=theatre%20anthropology" title=" theatre anthropology"> theatre anthropology</a>, <a href="https://publications.waset.org/abstracts/search?q=laboratory" title=" laboratory"> laboratory</a>, <a href="https://publications.waset.org/abstracts/search?q=master-class" title=" master-class"> master-class</a>, <a href="https://publications.waset.org/abstracts/search?q=educational%20project" title=" educational project"> educational project</a>, <a href="https://publications.waset.org/abstracts/search?q=academic%20project" title=" academic project"> academic project</a>, <a href="https://publications.waset.org/abstracts/search?q=participant%20observation" title=" participant observation"> participant observation</a>, <a href="https://publications.waset.org/abstracts/search?q=super-objective" title=" super-objective"> super-objective</a> </p> <a href="https://publications.waset.org/abstracts/12424/educational-theatre-making-project-prior-conditions" class="btn btn-primary btn-sm">Procedia</a> <a href="https://publications.waset.org/abstracts/12424.pdf" target="_blank" class="btn btn-primary btn-sm">PDF</a> <span class="bg-info text-light px-1 py-1 float-right rounded"> Downloads <span class="badge badge-light">514</span> </span> </div> </div> <div class="card paper-listing mb-3 mt-3"> <h5 class="card-header" style="font-size:.9rem"><span class="badge badge-info">17</span> The Play Translator’s Score Developing: Methodology for Intercultural Communication</h5> <div class="card-body"> <p class="card-text"><strong>Authors:</strong> <a href="https://publications.waset.org/abstracts/search?q=Akhmylovskaia%20Larisa">Akhmylovskaia Larisa</a>, <a href="https://publications.waset.org/abstracts/search?q=Barysh%20Andriana"> Barysh Andriana</a> </p> <p class="card-text"><strong>Abstract:</strong></p> The present paper is introducing the translation score developing methodology and methods in the cross-cultural communication. The ideas and examples presented by the authors illustrate the universal character of translation score developing methods under analysis. Personal experience in the international theatre-making projects, opera laboratories, cross-cultural master-classes, movie and theatre festivals give more opportunities to single out the conditions, forms, means and principles of translation score developing as well as the translator/interpreter’s functions as cultural liaison for multiethnic collaboration. <p class="card-text"><strong>Keywords:</strong> <a href="https://publications.waset.org/abstracts/search?q=methodology%20of%20translation%20score%20developing" title="methodology of translation score developing">methodology of translation score developing</a>, <a href="https://publications.waset.org/abstracts/search?q=pre-production" title=" pre-production"> pre-production</a>, <a href="https://publications.waset.org/abstracts/search?q=analysis" title=" analysis"> analysis</a>, <a href="https://publications.waset.org/abstracts/search?q=production" title=" production"> production</a>, <a href="https://publications.waset.org/abstracts/search?q=post-production" title=" post-production"> post-production</a>, <a href="https://publications.waset.org/abstracts/search?q=ethnic%20scene%20theory" title=" ethnic scene theory"> ethnic scene theory</a>, <a href="https://publications.waset.org/abstracts/search?q=theatre%20anthropology" title=" theatre anthropology"> theatre anthropology</a>, <a href="https://publications.waset.org/abstracts/search?q=laboratory" title=" laboratory"> laboratory</a>, <a href="https://publications.waset.org/abstracts/search?q=master-class" title=" master-class"> master-class</a>, <a href="https://publications.waset.org/abstracts/search?q=educational%20project" title=" educational project"> educational project</a>, <a href="https://publications.waset.org/abstracts/search?q=academic%20project" title=" academic project"> academic project</a>, <a href="https://publications.waset.org/abstracts/search?q=Stanislavski%20terminology%20meta-language" title=" Stanislavski terminology meta-language"> Stanislavski terminology meta-language</a>, <a href="https://publications.waset.org/abstracts/search?q=super-objective" title=" super-objective"> super-objective</a>, <a href="https://publications.waset.org/abstracts/search?q=participant%20observation" title=" participant observation"> participant observation</a> </p> <a href="https://publications.waset.org/abstracts/6580/the-play-translators-score-developing-methodology-for-intercultural-communication" class="btn btn-primary btn-sm">Procedia</a> <a href="https://publications.waset.org/abstracts/6580.pdf" target="_blank" class="btn btn-primary btn-sm">PDF</a> <span class="bg-info text-light px-1 py-1 float-right rounded"> Downloads <span class="badge badge-light">325</span> </span> </div> </div> <div class="card paper-listing mb-3 mt-3"> <h5 class="card-header" style="font-size:.9rem"><span class="badge badge-info">16</span> Nationalist Approach to the Music Culture in Early Republic Period in Turkey</h5> <div class="card-body"> <p class="card-text"><strong>Authors:</strong> <a href="https://publications.waset.org/abstracts/search?q=Hilmi%20Yazici">Hilmi Yazici</a> </p> <p class="card-text"><strong>Abstract:</strong></p> Just after Ottoman period, new more homogenic republic was struggling to form a national identity and dealing with the cultural and historical background of the nation. This new republic had an aim of modernization and westernization which started in the late ottoman period. In this process, the culture was an important basis to form a new nation and it clearly put forward that the new citizens of the new national republic are to have a modern and national culture. The result of this aimed change was to find the Turkish culture suppressed among the common people of the Anatolia and to take the western modernization and breed this with national culture. So in this context, we can say that this approach separated the people from ottoman culture and its roots to empower the national identity. Repeatedly, it may be said that Turkish folkloric music was an important basis for the new revolution, on the other hand classical Turkish music was alienated with the idea that it didn’t belong to Turkish culture. So the aim of this study is to determine how these efforts to nationalize a new identity and culture was successful and conscious intervention to folkloric Turkish music became efficient. <p class="card-text"><strong>Keywords:</strong> <a href="https://publications.waset.org/abstracts/search?q=opera" title="opera">opera</a>, <a href="https://publications.waset.org/abstracts/search?q=nationalism%20in%20music" title=" nationalism in music"> nationalism in music</a>, <a href="https://publications.waset.org/abstracts/search?q=Turkish%20music" title=" Turkish music"> Turkish music</a> </p> <a href="https://publications.waset.org/abstracts/4186/nationalist-approach-to-the-music-culture-in-early-republic-period-in-turkey" class="btn btn-primary btn-sm">Procedia</a> <a href="https://publications.waset.org/abstracts/4186.pdf" target="_blank" class="btn btn-primary btn-sm">PDF</a> <span class="bg-info text-light px-1 py-1 float-right rounded"> Downloads <span class="badge badge-light">293</span> </span> </div> </div> <div class="card paper-listing mb-3 mt-3"> <h5 class="card-header" style="font-size:.9rem"><span class="badge badge-info">15</span> Discovering User Behaviour Patterns from Web Log Analysis to Enhance the Accessibility and Usability of Website</h5> <div class="card-body"> <p class="card-text"><strong>Authors:</strong> <a href="https://publications.waset.org/abstracts/search?q=Harpreet%20Singh">Harpreet Singh</a> </p> <p class="card-text"><strong>Abstract:</strong></p> Finding relevant information on the World Wide Web is becoming highly challenging day by day. Web usage mining is used for the extraction of relevant and useful knowledge, such as user behaviour patterns, from web access log records. Web access log records all the requests for individual files that the users have requested from the website. Web usage mining is important for Customer Relationship Management (CRM), as it can ensure customer satisfaction as far as the interaction between the customer and the organization is concerned. Web usage mining is helpful in improving website structure or design as per the user’s requirement by analyzing the access log file of a website through a log analyzer tool. The focus of this paper is to enhance the accessibility and usability of a guitar selling web site by analyzing their access log through Deep Log Analyzer tool. The results show that the maximum number of users is from the United States and that they use Opera 9.8 web browser and the Windows XP operating system. <p class="card-text"><strong>Keywords:</strong> <a href="https://publications.waset.org/abstracts/search?q=web%20usage%20mining" title="web usage mining">web usage mining</a>, <a href="https://publications.waset.org/abstracts/search?q=web%20mining" title=" web mining"> web mining</a>, <a href="https://publications.waset.org/abstracts/search?q=log%20file" title=" log file"> log file</a>, <a href="https://publications.waset.org/abstracts/search?q=data%20mining" title=" data mining"> data mining</a>, <a href="https://publications.waset.org/abstracts/search?q=deep%20log%20analyzer" title=" deep log analyzer"> deep log analyzer</a> </p> <a href="https://publications.waset.org/abstracts/69123/discovering-user-behaviour-patterns-from-web-log-analysis-to-enhance-the-accessibility-and-usability-of-website" class="btn btn-primary btn-sm">Procedia</a> <a href="https://publications.waset.org/abstracts/69123.pdf" target="_blank" class="btn btn-primary btn-sm">PDF</a> <span class="bg-info text-light px-1 py-1 float-right rounded"> Downloads <span class="badge badge-light">248</span> </span> </div> </div> <div class="card paper-listing mb-3 mt-3"> <h5 class="card-header" style="font-size:.9rem"><span class="badge badge-info">14</span> From Indigeneity to Urbanity: A Performative Study of Indian Saang (Folk Play) Tradition</h5> <div class="card-body"> <p class="card-text"><strong>Authors:</strong> <a href="https://publications.waset.org/abstracts/search?q=Shiv%20Kumar">Shiv Kumar</a> </p> <p class="card-text"><strong>Abstract:</strong></p> In the shifting scenario of postmodern age that foregrounds the multiplicity of meanings and discourses, the present research article seeks to investigate various paradigm shift of contemporary performances concerning Haryanvi Saangs, so-called folk plays, which are being performed widely in the regional territory of Haryana, a northern state of India. Folk arts cannot be studied efficiently by using the tools of literary criticism because it differs from the literature in many aspects. One of the most essential differences is that literary works invariably have an author. Folk works, on the contrary, never have an author. The situation is quite clear: either we acknowledge the presence of folk art as a phenomenon in the social and cultural history of people, or we do not acknowledge it and argue it is a poetical or art of fiction. This paper is an effort to understand the performative tradition of Saang which is traditionally known as Saang, Swang or Svang became a popular source for instruction and entertainment in the region and neighbouring states. Scholars and critics have long been debating about the origin of the word swang/svang/saang and their relationship to the Sanskrit word –Sangit, which means singing and music. But in the cultural context of Haryana, the word Saang means ‘to impersonate’ or ‘to imitate’ or ‘to copy someone or something’. The stories they portray are derived for the most part from the same myths, tales, epics and from the lives of Indian religious and folk heroes. Literally, the use of poetic sense, the implication of prose style and elaborate figurative technique are worthwhile to compile the productivity of a performance. All use music and song as an integral part of the performance so that it is also appropriate to call them folk opera. These folk plays are performed strictly by aboriginal people in the state. These people, sometimes denominated as Saangi, possess a culture distinct from the rest of Indian folk performances. The concerned form is also known with various other names like Manch, Khayal, Opera, Nautanki. The group of such folk plays can be seen as a dynamic activity and performed in the open space of the theatre. Nowadays, producers contributed greatly in order to create a rapidly growing musical outlet for budding new style of folk presentation and give rise to the electronic focus genre utilizing many musicians and performers who had to become precursors of the folk tradition in the region. Moreover, the paper proposes to examine available sources relative to this article, and it is believed to draw some different conclusions. For instance, to be a spectator of ongoing performances will contribute to providing enough guidance to move forward on this root. In this connection, the paper focuses critically upon the major performative aspects of Haryanvi Saang in relation to several inquiries such as the study of these plays in the context of Indian literary scenario, gender visualization and their dramatic representation, a song-music tradition in folk creativity and development of Haryanvi dramatic art in the contemporary socio-political background. <p class="card-text"><strong>Keywords:</strong> <a href="https://publications.waset.org/abstracts/search?q=folk%20play" title="folk play">folk play</a>, <a href="https://publications.waset.org/abstracts/search?q=indigenous" title=" indigenous"> indigenous</a>, <a href="https://publications.waset.org/abstracts/search?q=performance" title=" performance"> performance</a>, <a href="https://publications.waset.org/abstracts/search?q=Saang" title=" Saang"> Saang</a>, <a href="https://publications.waset.org/abstracts/search?q=tradition" title=" tradition"> tradition</a> </p> <a href="https://publications.waset.org/abstracts/107966/from-indigeneity-to-urbanity-a-performative-study-of-indian-saang-folk-play-tradition" class="btn btn-primary btn-sm">Procedia</a> <a href="https://publications.waset.org/abstracts/107966.pdf" target="_blank" class="btn btn-primary btn-sm">PDF</a> <span class="bg-info text-light px-1 py-1 float-right rounded"> Downloads <span class="badge badge-light">156</span> </span> </div> </div> <div class="card paper-listing mb-3 mt-3"> <h5 class="card-header" style="font-size:.9rem"><span class="badge badge-info">13</span> The Theme 'Leyli and Majnun', the Ancient Legend of the East in the Cognominal Symphonic Poem of Great Composer Gara Garayev on Specific and Non–Specific Content</h5> <div class="card-body"> <p class="card-text"><strong>Authors:</strong> <a href="https://publications.waset.org/abstracts/search?q=Vusala%20Amirbayova">Vusala Amirbayova</a> </p> <p class="card-text"><strong>Abstract:</strong></p> The science of modern musicology, based on the achievements of a number of neighboring science fields, has more deeply penetrated into the sphere of artistic content of the art of music and developed a new scientific methodology, methods and approaches for a comprehensive study of the problem. In this regard, a new theory developed by the famous Russian musician-scientist, professor V. Kholopova – the specific and non – specific content of music – draws the attention with its different philosophical foundation and covering historical periods of the art of composing. The scientist related her theory to the art of European composer’s creativity, and did not include musical professionalism and especially, folklore creativity existing in other continent in her circle of interest. The researcher made an effort to explain triad (the world of ideas, emotions and subjects) which is included in the general content of music in the example of composers’ works belonging to different periods and cultures. In this respect, the artistic content of works has been deeply and comprehensively analyzed new philosophical basis. The theme ‘Leyli and Majnun’ was developed by many poets as one of the ancient legends of the East, and each artist was able to give a unique artistic interpretation of the work. This literary source was successfully developed in cognominal opera of great U. Hajibeyli in Azerbaijani music and its embodiment with symphonic means required great skill and courage from Gara Garayev. Unlike opera, as there is the opportunity to show the plot of ‘Leyli and Majnun’ in the symphonic poem, the composer achieved to reflect the main purpose of its idea convincingly with pure musical means, and created a great work with tragic spirit having a great emotional impact. Though the artistic content and form of ‘Leyli and Majnun’ symphonic poem have been sufficiently analyzed by music theorists until now, in our opinion, it is for the first time that the work is considered from the point of specific music content. Therefore, we will make an effort to penetrate into a specific layer of its artistic content after firstly reviewing the poem with traditional methods in the general plan. The use of both national fret – intonations and the system of major – minor by G. Garayev is based on well-tempered root. The composer, widely using national fret – intonations and model harmonic means on this ground, achieved to express the spirit and content of the poem. It perfectly embodies the grandeur and immortality of divine love, and the struggle of powerful human personality with the forces of despotism. Gara Garayev said about this work: “My most sublime goal and desire is to explain the literary issue that love endures to all obstacles and overcomes even death”. The music of ‘Leyli and Majnun’ symphonic poem is rich with deep desires and sharp contradictions. G.Garayev reflected these wonderful ideas about the power of music in his book ‘Articles, schools and sayings’: “Music is the decoration of life and a powerful source of inspiration”. <p class="card-text"><strong>Keywords:</strong> <a href="https://publications.waset.org/abstracts/search?q=content" title="content">content</a>, <a href="https://publications.waset.org/abstracts/search?q=music" title=" music"> music</a>, <a href="https://publications.waset.org/abstracts/search?q=symphonic" title=" symphonic"> symphonic</a>, <a href="https://publications.waset.org/abstracts/search?q=theory" title=" theory"> theory</a> </p> <a href="https://publications.waset.org/abstracts/53273/the-theme-leyli-and-majnun-the-ancient-legend-of-the-east-in-the-cognominal-symphonic-poem-of-great-composer-gara-garayev-on-specific-and-non-specific-content" class="btn btn-primary btn-sm">Procedia</a> <a href="https://publications.waset.org/abstracts/53273.pdf" target="_blank" class="btn btn-primary btn-sm">PDF</a> <span class="bg-info text-light px-1 py-1 float-right rounded"> Downloads <span class="badge badge-light">268</span> </span> </div> </div> <div class="card paper-listing mb-3 mt-3"> <h5 class="card-header" style="font-size:.9rem"><span class="badge badge-info">12</span> Politicizing Literature: Henry Fielding’s the Authors Farce and George II’s Policies of Nonsense and Ignorance</h5> <div class="card-body"> <p class="card-text"><strong>Authors:</strong> <a href="https://publications.waset.org/abstracts/search?q=Samia%20Al-Shayban">Samia Al-Shayban</a> </p> <p class="card-text"><strong>Abstract:</strong></p> Conventionally, Fielding Author’s Farce is read as an attack on literary and theatrical establishment. This paper attempt to read it as a disguised scathing political attack upon, King George II, his court and administration. Fielding achieves his design through complex dramatization based on implicit connections between King George II and the poor poet Luckless who shifts his stand from defending the liberties of the authors into becoming one of their oppressors. Through the same connection, the king is accused of being the originator and protector of literary corruption. To strengthen the attack against the king, the court of nonsense which appeared in Luckless’ play is connected to George II’s court through the presence of opera and ignorance. Thus, Fielding’s literary dramatization is used as a medium to expose the corrupting influence of the ruling elite. The King, his court and administration are all complacent in devaluing the English theatre and turning it into a circus that generate nothing but ignorance and poverty. This practice is deliberately designed to keep people ignorant and authors poor so they remain unable to challenge their corrupt politics. <p class="card-text"><strong>Keywords:</strong> <a href="https://publications.waset.org/abstracts/search?q=fielding" title="fielding">fielding</a>, <a href="https://publications.waset.org/abstracts/search?q=King%20George%20II" title=" King George II"> King George II</a>, <a href="https://publications.waset.org/abstracts/search?q=ignorance" title=" ignorance"> ignorance</a>, <a href="https://publications.waset.org/abstracts/search?q=theatre" title=" theatre"> theatre</a>, <a href="https://publications.waset.org/abstracts/search?q=plays" title=" plays"> plays</a> </p> <a href="https://publications.waset.org/abstracts/17164/politicizing-literature-henry-fieldings-the-authors-farce-and-george-iis-policies-of-nonsense-and-ignorance" class="btn btn-primary btn-sm">Procedia</a> <a href="https://publications.waset.org/abstracts/17164.pdf" target="_blank" class="btn btn-primary btn-sm">PDF</a> <span class="bg-info text-light px-1 py-1 float-right rounded"> Downloads <span class="badge badge-light">578</span> </span> </div> </div> <div class="card paper-listing mb-3 mt-3"> <h5 class="card-header" style="font-size:.9rem"><span class="badge badge-info">11</span> Neural Network Approach to Classifying Truck Traffic</h5> <div class="card-body"> <p class="card-text"><strong>Authors:</strong> <a href="https://publications.waset.org/abstracts/search?q=Ren%20Moses">Ren Moses</a> </p> <p class="card-text"><strong>Abstract:</strong></p> The process of classifying vehicles on a highway is hereby viewed as a pattern recognition problem in which connectionist techniques such as artificial neural networks (ANN) can be used to assign vehicles to their correct classes and hence to establish optimum axle spacing thresholds. In the United States, vehicles are typically classified into 13 classes using a methodology commonly referred to as “Scheme F”. In this research, the ANN model was developed, trained, and applied to field data of vehicles. The data comprised of three vehicular features—axle spacing, number of axles per vehicle, and overall vehicle weight. The ANN reduced the classification error rate from 9.5 percent to 6.2 percent when compared to an existing classification algorithm that is not ANN-based and which uses two vehicular features for classification, that is, axle spacing and number of axles. The inclusion of overall vehicle weight as a third classification variable further reduced the error rate from 6.2 percent to only 3.0 percent. The promising results from the neural networks were used to set up new thresholds that reduce classification error rate. <p class="card-text"><strong>Keywords:</strong> <a href="https://publications.waset.org/abstracts/search?q=artificial%20neural%20networks" title="artificial neural networks">artificial neural networks</a>, <a href="https://publications.waset.org/abstracts/search?q=vehicle%20classification" title=" vehicle classification"> vehicle classification</a>, <a href="https://publications.waset.org/abstracts/search?q=traffic%20flow" title=" traffic flow"> traffic flow</a>, <a href="https://publications.waset.org/abstracts/search?q=traffic%20analysis" title=" traffic analysis"> traffic analysis</a>, <a href="https://publications.waset.org/abstracts/search?q=and%20highway%20opera-tions" title=" and highway opera-tions"> and highway opera-tions</a> </p> <a href="https://publications.waset.org/abstracts/15762/neural-network-approach-to-classifying-truck-traffic" class="btn btn-primary btn-sm">Procedia</a> <a href="https://publications.waset.org/abstracts/15762.pdf" target="_blank" class="btn btn-primary btn-sm">PDF</a> <span class="bg-info text-light px-1 py-1 float-right rounded"> Downloads <span class="badge badge-light">309</span> </span> </div> </div> <div class="card paper-listing mb-3 mt-3"> <h5 class="card-header" style="font-size:.9rem"><span class="badge badge-info">10</span> 3D Simulation of the Twin-Aperture IRON Superconducting Quadrupole for Charm-Tau Factory </h5> <div class="card-body"> <p class="card-text"><strong>Authors:</strong> <a href="https://publications.waset.org/abstracts/search?q=K.%20K.%20Riabchenko">K. K. Riabchenko</a>, <a href="https://publications.waset.org/abstracts/search?q=T.%20V%20Rybitskaya"> T. V Rybitskaya</a>, <a href="https://publications.waset.org/abstracts/search?q=A.%20A.%20Starostenko"> A. A. Starostenko</a> </p> <p class="card-text"><strong>Abstract:</strong></p> Sper Charm-Tau Factory is a double ring e+e- collider to be operated in the center-of-mass energy range from 2 to 6 GeV, with a peak luminosity of about 1035 cm-2s-1 (Crab Waist collision) and with longitudinally polarized electrons at the IP (interaction point). One of the important elements of the cτ-factory is the superconducting two-aperture quadrupole of the final focus. It was decided to make a full-scale prototype quadrupole. The main objectives of our study included: 1) 3D modeling of the quadrupole in the Opera program, 2) Optimization of the geometry of the quadrupole lens, 3) Study of the influence of magnetic properties and geometry of a quadrupole on integral harmonics. In addition to this, the ways of producing unwanted harmonics have been studied. In the course of this work, a 3D model of a two-aperture iron superconducting quadrupole lens was created. A three-dimensional simulation of the magnetic field was performed, and the geometrical parameters of the lens were selected. Calculations helped to find sources of possible errors and methods for correcting unwanted harmonics. In addition to this, calculations show that there are no obstacles to the production of a prototype lens. <p class="card-text"><strong>Keywords:</strong> <a href="https://publications.waset.org/abstracts/search?q=super%20c%CF%84-factory" title="super cτ-factory">super cτ-factory</a>, <a href="https://publications.waset.org/abstracts/search?q=final%20focus" title=" final focus"> final focus</a>, <a href="https://publications.waset.org/abstracts/search?q=twin%20aperture%20quadrupole%20lens" title=" twin aperture quadrupole lens"> twin aperture quadrupole lens</a>, <a href="https://publications.waset.org/abstracts/search?q=integral%20harmonics" title=" integral harmonics"> integral harmonics</a> </p> <a href="https://publications.waset.org/abstracts/109778/3d-simulation-of-the-twin-aperture-iron-superconducting-quadrupole-for-charm-tau-factory" class="btn btn-primary btn-sm">Procedia</a> <a href="https://publications.waset.org/abstracts/109778.pdf" target="_blank" class="btn btn-primary btn-sm">PDF</a> <span class="bg-info text-light px-1 py-1 float-right rounded"> Downloads <span class="badge badge-light">124</span> </span> </div> </div> <div class="card paper-listing mb-3 mt-3"> <h5 class="card-header" style="font-size:.9rem"><span class="badge badge-info">9</span> The States of Stage Indigenous Operatic Production in Nigeria</h5> <div class="card-body"> <p class="card-text"><strong>Authors:</strong> <a href="https://publications.waset.org/abstracts/search?q=David%20Bolaji">David Bolaji</a> </p> <p class="card-text"><strong>Abstract:</strong></p> Operatic production in Nigeria emanates from the traditional theatrical performances rooted in the ritual festival and traditional religious ceremonies among different cultures in Nigeria. The existence and the performative continuum of opera in Nigeria have been in the limelight of stage productions and diverse performances before the presence of Europeans in Nigeria. However, the transformation of this musical genre evolved from an indigenous concept into an art form that is acceptable within the circumference theatrical platform globally. The present state of stage operatic production has gone into extinction as the result of diverse factors, which include: a lack of scripted operatic works by Nigerian art composers, disconnection and lack of continuation from the artistic, theatrical contributions of the foremost folk operatic practitioners in Nigeria and lack of progressive transformation of stage operatic production into screen production in Nigeria. The bibliography method was employed in this study. Also, the use of interviews and questionnaires was adopted. Findings reveal that the extinction of operatic production can be corrected through the intentional act of composing scripted operatic works by Nigerian art composers; by establishing a collaborative effort between the scriptwriters (librettists) and the Nigerian art composers, operatic stage performance could be transformed in screen production to create more awareness of it in the society. <p class="card-text"><strong>Keywords:</strong> <a href="https://publications.waset.org/abstracts/search?q=operatic%20production" title="operatic production">operatic production</a>, <a href="https://publications.waset.org/abstracts/search?q=extinction" title=" extinction"> extinction</a>, <a href="https://publications.waset.org/abstracts/search?q=nigerian%20art%20music" title=" nigerian art music"> nigerian art music</a>, <a href="https://publications.waset.org/abstracts/search?q=and%20nigerian%20art%20composers" title=" and nigerian art composers"> and nigerian art composers</a> </p> <a href="https://publications.waset.org/abstracts/161635/the-states-of-stage-indigenous-operatic-production-in-nigeria" class="btn btn-primary btn-sm">Procedia</a> <a href="https://publications.waset.org/abstracts/161635.pdf" target="_blank" class="btn btn-primary btn-sm">PDF</a> <span class="bg-info text-light px-1 py-1 float-right rounded"> Downloads <span class="badge badge-light">98</span> </span> </div> </div> <div class="card paper-listing mb-3 mt-3"> <h5 class="card-header" style="font-size:.9rem"><span class="badge badge-info">8</span> The Vocality of Sibyl Sanderson in Massenet’s Manon and Esclarmonde: Musical Training and Critical Response</h5> <div class="card-body"> <p class="card-text"><strong>Authors:</strong> <a href="https://publications.waset.org/abstracts/search?q=Tamara%20Thompson">Tamara Thompson</a> </p> <p class="card-text"><strong>Abstract:</strong></p> This presentation will address the vocality of American soprano Sibyl Sanderson (1865–1903) in Massenet’s Manon and Esclarmonde as discernible from documentary sources such as vocal treatises, annotated scores, and correspondence. These sources will then be compared and contrasted with Sanderson’s reception in French press. Sanderson sang Manon in 1888, which Massenet revised for her. She then created the role of Esclarmonde for the 1889 l'Exposition Universelle in Paris. The soprano appeared as the Byzantine Empress more than 100 times in the nine months following the premiere, which secured her fame and an international operatic career frought with controversy and criticism as well as adulation. Before her débuts as Manon and Esclarmonde, Sanderson received musical training in California and Paris from multiple teachers with varied and opposing methods. There will be an exploration of the ways in which the disparate pedagogic influences such as those taught by Giovanni Sbriglia and Jean de Reszké may have guided Sanderson’s vocal strategies, and possibly caused or promoted the severe vocal pathologies she battled in subsequent years. In addition, there is interrogation of the vocal writing and revisions made to the titular roles for Sanderson in order to assess how these factors may have affected her technique and vocal health. <p class="card-text"><strong>Keywords:</strong> <a href="https://publications.waset.org/abstracts/search?q=French" title="French">French</a>, <a href="https://publications.waset.org/abstracts/search?q=nineteenth-century" title=" nineteenth-century"> nineteenth-century</a>, <a href="https://publications.waset.org/abstracts/search?q=opera" title=" opera"> opera</a>, <a href="https://publications.waset.org/abstracts/search?q=pedagogy" title=" pedagogy"> pedagogy</a>, <a href="https://publications.waset.org/abstracts/search?q=vocality" title=" vocality"> vocality</a> </p> <a href="https://publications.waset.org/abstracts/65824/the-vocality-of-sibyl-sanderson-in-massenets-manon-and-esclarmonde-musical-training-and-critical-response" class="btn btn-primary btn-sm">Procedia</a> <a href="https://publications.waset.org/abstracts/65824.pdf" target="_blank" class="btn btn-primary btn-sm">PDF</a> <span class="bg-info text-light px-1 py-1 float-right rounded"> Downloads <span class="badge badge-light">279</span> </span> </div> </div> <div class="card paper-listing mb-3 mt-3"> <h5 class="card-header" style="font-size:.9rem"><span class="badge badge-info">7</span> Audience Perceptions and Attitudes Towards the Representation of Tribal South African Culture in Drama Series</h5> <div class="card-body"> <p class="card-text"><strong>Authors:</strong> <a href="https://publications.waset.org/abstracts/search?q=Oluwayemisi%20Mary%20Onyenanakeya">Oluwayemisi Mary Onyenanakeya</a>, <a href="https://publications.waset.org/abstracts/search?q=Kevin%20%20Onyenankeya"> Kevin Onyenankeya</a> </p> <p class="card-text"><strong>Abstract:</strong></p> Commercial media entertainment offerings especially mainstream soap operas, in South Africa, are progressively infusing dominant social values and ideas which are alien to South African tribal societies. In most of the commodified television drama series, people who hold tight to traditional beliefs and values are often characterised as traditionalists, while those who have imbibed the western defined dicta and ideology of modernity are seen as progressives. This study, therefore, sought to ascertain how South African tribal language, traditional institutions, values, social norms and ancestral beliefs are portrayed through the television drama, Generations: The Legacy, and what the viewers think about those constructions and the implication for cultural identity. The mixed methods approach was employed involving the administration of questionnaire to 350 participants selected through random sampling and a content analysis of 20 episodes of Generations: The Legacy. The findings further showed that the values and traditions represented in generation do not significantly reflect the South African tribal tradition and values (p-value > 0.05). In most instances where traditional values are represented they tend to be portrayed as old fashioned (p-value > 0.05), and inferior and backward (p-value > 0.05). In addition, the findings indicate that Generations: The legacy is a vehicle for promoting dominant culture. <p class="card-text"><strong>Keywords:</strong> <a href="https://publications.waset.org/abstracts/search?q=identity" title="identity">identity</a>, <a href="https://publications.waset.org/abstracts/search?q=soap%20opera" title=" soap opera"> soap opera</a>, <a href="https://publications.waset.org/abstracts/search?q=South%20Africa" title=" South Africa"> South Africa</a>, <a href="https://publications.waset.org/abstracts/search?q=television" title=" television"> television</a> </p> <a href="https://publications.waset.org/abstracts/98596/audience-perceptions-and-attitudes-towards-the-representation-of-tribal-south-african-culture-in-drama-series" class="btn btn-primary btn-sm">Procedia</a> <a href="https://publications.waset.org/abstracts/98596.pdf" target="_blank" class="btn btn-primary btn-sm">PDF</a> <span class="bg-info text-light px-1 py-1 float-right rounded"> Downloads <span class="badge badge-light">288</span> </span> </div> </div> <ul class="pagination"> <li class="page-item disabled"><span class="page-link">&lsaquo;</span></li> <li class="page-item active"><span class="page-link">1</span></li> <li class="page-item"><a class="page-link" href="https://publications.waset.org/abstracts/search?q=opera&page=2">2</a></li> <li class="page-item"><a class="page-link" href="https://publications.waset.org/abstracts/search?q=opera&page=2" rel="next">&rsaquo;</a></li> </ul> </div> </main> <footer> <div id="infolinks" class="pt-3 pb-2"> <div class="container"> <div style="background-color:#f5f5f5;" class="p-3"> <div class="row"> <div class="col-md-2"> <ul class="list-unstyled"> About <li><a href="https://waset.org/page/support">About Us</a></li> <li><a href="https://waset.org/page/support#legal-information">Legal</a></li> <li><a target="_blank" rel="nofollow" href="https://publications.waset.org/static/files/WASET-16th-foundational-anniversary.pdf">WASET 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