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The paper investigates the genesis as well as the performance history of Ferenc Erkel’s first opera. Bátori Mária, the first Hungarian tragic national opera was premiered on 8 August 1840 at the Hungarian Theatre in Pest. In it, Erkel adapted the model of Italo-French romantic opera. Further representations of Bátori Mária spanned over the following two decades. Based on contemporary critical reviews, the author offers a reconstruction of the performances, traces the soloists’ artistic carreer, and highlights the difficult process of professionalization of Hungarian opera playing.

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A tanulmány az allergiás tünetektől szenvedő személyek önbeszámolóiban fellelhető betegségreprezentációk feltárására, valamint a reprezentációk közötti mintázatok megfigyelésére irányul. Arra voltunk kíváncsiak, hogy a reprezentációknak interjúk tartalomelemzése segítségével történő vizsgálata alapján elkülöníthető-e valamilyen, a magukat allergiásnak valló személyekre jellemző „identitásprofil”. A nemzetközi szakirodalom szerint az allergiás tünetekkel kapcsolatos laikus nézetrendszerek nem hasonlíthatók más betegségek reprezentációs modelljeihez. Kutatásunkban is bizonyítást nyert az a szakirodalomból ismert megállapítás, hogy az allergiás betegek életminőségét a tünetek súlyosságán és a beteg ismeretein túl az észlelt kontroll is meghatározza. Összefüggéseket tárhattunk fel továbbá az allergiával kapcsolatos reprezentációs dimenziók és a kontroll-észlelés módozatai között. Vizsgálataink eredményeképpen valószínűsíthető, hogy a betegséggel kapcsolatos vélekedések főbb csomópontjait az allergia identitáskonstrukciókban elfoglalt helyének azonosítása, a kontroll, a hangulati változások hatása, az allergia kialakulásának körülményei és a tüneteket befolyásoló gondolati stratégiák alkotják. Kutatásunk eredményei azt sugallják, hogy az allergiával kapcsolatos reprezentációk sajátos profilokba rendeződnek, melyek a tüneteknek identitásképző szerepet kölcsönözhetnek. Ennek jelentősége lehet a tünetekkel rendelkező személyek betegként való öndefiníciójában és a betegségmagatartásban is.

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Irodalom/References 1 Abric , J. C. (1994) Les représentations sociales: aspects théoriques. In: J. C. Abric (ed.): Pratiques sociales et représentations. Paris

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Abstract  

This paper reports on a quantitative analytical methodology which deals with perceptions of scientific experts regarding the intellectual shape and contents (cognitive structure) of their scientific domain. This study examines the method's utility for studying expert views in general, and, more specifically, its strengths and weaknesses as a tool for improving validation studies of bibliometric maps involving subject experts. The main premise is that expert views are based on their internal knowledge structures (mental schemes) of which relevant features can be captured in quantitative data. This approach allows a rigorous and systematic way of studying mental schemes across subject experts. Spatial representations of their data (mental maps) provide insight in properties underlying those knowledge structures. Data from different experts are reconciled to construct a common mental map which displays a group view. This study includes a test to establish the validity of individual mental maps and common mental maps. The methodology is applied to the views of 14 researchers in the field of neural network research and related areas. Key-findings are: (i) mental maps can provide valid representations of expert mental schemes, (ii) experts sharing the same subject field are more likely to share views, (iii) expert judgements of bibliometric maps are affected by the structure of their own mental schemes, as well as (iv) by their views regarding the utility of those maps, and (v) common mental maps and a bibliometric co-word map based on the same set of items differ significantly, showing a resemblance on main features only.

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Cannibalism is a narrative of the self and of the other. Dramatising as it does the fear that the body's boundaries are unstable and can be breached, it remains the representative barbarism, yet it also lies at the center of Western culture, in the form of the Catholic Mass, for example. From Othello's 'anthropophagi' to the racist jokes of the 1950s, the theme of cannibalism in popular discourse has coincided with periods of high colonialism when relations with the other are at their most sharp. As The Silence of the Lambs showed it is also a popular contemporary narrative of alienation. This paper examines the topos of cannibalism in nineteenth century popular songs relating to the sea. Given the horror with which the practice was condemned in the nineteenth century, particularly by the proselytising churches, it is paradoxical that it became central to popular representations of contemporary capitalism as a metaphor of the colonial project. Bloodsucking and dismembering became regular features of popular legend. In these songs the victims are not the colonial other but usually disempowered members of the ship's crew such as cabin boys. They exist against a background of several documented cases of actual cannibalism. The song representations became so widely known that they attracted parody and burlesque in light opera and the music hall.

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Gysies, or Roma, are simultaneously among history's most romanticized and relived of peoples. Stereotypically racialized and eroticized as „other” wherever they are located, prejudice and discrimination against Roma are currently heightened. This paperseeks to illustrade processes of identification by which Roma in post-socialist countries are classified as „other”, as „different”. Drawing on interview and observational data from the commjunity studies of the project on „Poverty, Ethnicity, and Gender in Transitional Societies”, this paper explores various discursive ways in which Roma are stereotypically „othered” by non-oma populations as well as ways in which Roma understand themselves in relation to these historically persistent if situationally variable representations of their putative „identities”. As is discussed, „Roma” as a category has been expanded in certain contexts to essentialize a purported relationship between „race” and poverty.

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The consensus of western Mongolists to the effect that the written records of Middle Mongolian in the 5Phags-pa script, along with those in Chinese-character transcriptions, show an “intervocalic hiatus”, to be understood as a phonetic zero, in certain forms for which theUighur-Mongol script employs a velar graph, is reinvestigated on both the pragmatic (orthographic) and the structural (phonological) level, with particular reference to the probable values of the 5Phags-pa graphs for the laryngeals, studied in the light of the attested values of their Written Tibetan originals. Considerations of the complementary distribution of certain velar initials in Middle Chinese and Old Mandarin are also invoked, to clarify the use of both the Chinese characters and the 5Phags-pa script in transcribing Middle Mongolian. The investigation points in the direction of understanding these “hiatus” writings not as incorporating or representing a phonetic (or phonological) zero but instead as overt graphic representations of a voiced laryngeal or uvular spirant.

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This article studies the intercultural links between the Uygurs and Dunhuang in the tenth-eleventh centuries. Some of the biggest caves at Dunhuang show large-scale representations of Ganzhou Uygur brides as donors. It is argued that the marriage of a Chinese ruler of Dunhuang with the daughter of the Ganzhou Uygur kaghan acted as a catalyst for the formation of a new Sino-Uygur ruling class. A sketch and a painting from Dunhuang are examined in detail. Emphasis is on the appearance of new colours and decorative technologies such as applied gold leaf, iconography including the clothing of the figures and style, including facial features and mannerisms. It is concluded that Ganzhou Uygur brides as patrons played an important role in the formation of tenth-century Dunhuang art, and Uygur influence continued to grow in the eleventh century.

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The paper focuses on the characteristic and non-specific arms of the Avar heavy cavalry by comparing the technical terms of armament attested in written sources with information found in the archaeological finds and pictorial representations. The data culled from different sources lead us to the conclusion that heavy cavalry must have played a decisive role only in the first part of the early Avar age when the Avars had frequently waged war against Byzantium. Although it did not disappear completely in the late Avar age, its significance decreased. More data are available on the arms of the heavy cavalry from the period prior to the collapse of the Avar Empire, but even so they are much fewer than those relating to the early Avar period. In the second half of the 8thcentury the Avar army must have used Frankish types of armaments (winged-lance and Frankish-type armour)

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Summary  

The boundedness of anisotropic quasi-subadditive singular operators with the domains in Bochner-Lebesgue and local approximation spaces of Lizorkin-Triebel-type of Banach-valued functions and the ranges in Bochner-Marcinkiewicz spaces is analyzed from the point of view of extrapolation. Parameterized classes of sufficient conditions generalizing author's AAD-conditions studied earlier are obtained that are expressed in terms of the approximation D-functional and ones being close to it. Our sufficient conditions are weaker then their known counterparts in the same settings. They are new in the isotropic case of linear scalar-valued operators too. The main results are presented in the style of the Caldern-Zygmund theory. The approach is based on decompositions of operators and the usage of counterparts of Caldern-Zygmund representations and some interpolation properties of the related function spaces established by the author.

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