cases, in which sleeping beauties seem to be injured by spindles so that they fall into sleep then are awakened by princes.
Phenomenon and hypothesis
Given in his paper, Van Raan defined: A ‘Sleeping Beauty in Science’ is a
This paper is a reassessment of Béla Bartók's The Wooden Prince, in light of the attitudes and beliefs of Bartók's contemporaries, in particular György Lukács, and the Ballet's librettist, Béla Balázs. Particular emphasis is given to Lukács's relationship with Irma Seidler and Balázs through examination of Lukács's essay, “Søren Kierkegaard and Regine Olsen” — a source overlooked in previous studies of this work. After analysing the views of Bartók's milieu regarding love and relationships, I conclude that the ballet's message is much more pessimistic than previously thought. This study places The Wooden Prince, which has been compared unfavourably with Bartók's other two stage works, alongside Duke Bluebeard's Castle as its companion in both musical and intellectual depth, and confirms Kodály's view that the ballet is the Allegro which balances the “desolate Adagio of the opera.”
Authors:Mohammed S. A. Khedr, Mona F. Ali, Abdullah M. A. Kamel, and Manal A. A. El-Ghanam
This research will shed light on studying a terrazzo pavement in Prince Mohamed Ali Museum (the case study). The authors used visual inspection, stereo microscope, USB microscope, XRPD analysis, and SEM.EDX to identify its components, deterioration aspects and execution techniques. The XRPD and SEM.EDX results revealed that Portland cement was used in the three layers of terrazzo because of the detection of Hatrurite, Alite, Anorthite, Albite, Aragonite, etc. Many pigments were used in the topping terrazzo layer as; Goethite, Greenalite, Hematite, Azurite and Magnetite. The divider strips were made of brass alloy and the topping layer chips were prepared from basalt, marble and sea shells.
Le Prince de bois de Bartók n’a pas connu le succès escompté lors de sa création, il correspondait peu aux attentes du public, bien que son intrigue de base fût similaire à celles d’autres ballets du moment, comme Coppelia. L’auteur du livret, Béla Balázs, était proche des milieux d’avant-garde, autour du Cercle du dimanche de Georg Lukács, mais son intention de plonger dans les profondeurs du drame humain en s’intéressant moins aux conditions sociales le tenait éloigné, non seulement de la bourgeoisie, mais aussi des mouvements d’émancipation. L’oeuvre peut être envisagée sous l’angle de la psychanalyse des contes de fée. Une analyse de Ferenczi met en évidence l’idée de la toute-puissance du moi. Sur un fond autobiographique, Bartók a donné une forme musicale à cette pièce illustrant la difficulté des relations entre l’homme et la femme. Il répond au livret de Balázs en combinant notamment plusieurs thématiques musicales (des danses) illustrant l’opposition entre l’authentique et l’artificiel, ainsi que la progression dramatique de l’amour, du désespoir et du rituel initiatique.
Maurice Ravel uses a lot of musical elements in his ballet Daphnis et Chloé that appear in Bartók's Ballet The Wooden Prince. So are the instrumentation and especially the orchestration (particularly at the beginning of these two works: the wake-up of the nature that is almost the same, and the “grotesque” moments). The themes of the different episodes that build the ballet seem to be the same in their conception, and we can add that the main themes (love in Daphnis and the prince in The Wooden Prince) are twin. Their roots are the same, so the idea that Ravel influenced Bartók looks likely. Even if there is no real proof, like e.g. a letter by Bartók about Daphnis et Chloé. A comparison of the two works seems to suggest that Ravel's work really had an influence on Bartók's Wooden Prince.
According to Umberto Eco the idea of the open work (opera operta) serves to explain the apparent radical difference between modern and traditional art. The open work represents through its
formal properties an epistemological difference in the whole experience of the world. It reflects the relativity, subjectivity
and discontinuity of the modern world. The concept of “openness” — the artist’s decision to leave arrangements of some constituents
of the work to the addressee — anticipates major themes of contemporary literary theory such as the multiplicity of interpretations
and the literary response as an interactive interplay between reader and text. With references to works of some great illustrators
of children’s books such as M. Ocelot and J. Piéncowski, masters of dramatic silhouettes, and analysing their innovative and
even aleatory techniques, we explore a set of theoretical issues such as the reception of suggestiveness/openness of a text,
the meaning of blankness and the aesthetic of silence in children’s books’ illustration.