Dramatic Conflicts Research Articles

Analysis of the artistic characteristics and singing of the aria “Ritorna Vincitor”

Verdi’s four-act opera “Aida” has achieved great success since its premiere in Cairo on December 24, 1871 and it remains a staple in major opera houses worldwide. The work poses significant demands on dramatic sopranos, specifically with its wide vocal range and intense dramatic conflicts. Analyzing its artistic characteristics and singing techniques helps vocal performers continuously improve their singing level and ability to portray characters, providing valuable references for vocal students. This paper uses “Ritorna vincitor” as an example, employing literature research, music analysis, and stage practice to introduce Verdi’s compositional techniques and style, and to study the piece from multiple angles such as form, harmony, mode, rhythm, melody, language, and stage performance, finally combining research with stage practice.

Nemzetközi Rendészeti Figyelő XIII.

Aim: Keeping up with the international law enforcement literature sometimes runs the risk of bringing together disparate topics in a single publication, as the theme of this issue of the Observer demonstrates. We can be convinced that, while our war-torn planet is giving priority to the centralised state police model, municipal police forces and community policing, which continue to be models at the forefront of strengthening local public security, must not lose their importance. Civil associations, which are an essential part of local security, are not far removed from the principle of decentralisation, and in our country they are embodied in the civil police. At the same time, migration flows, which have become a global phenomenon since 2015, continue to preoccupy the practice of law enforcement administration as well as theory. Only while the former sees illegal migration as a security and cultural threat, the latter cannot forget the humanity-driven protection of refugees. Nor can the fight against terrorism be left off the agenda, especially where these dramatic conflicts are accompanied by the rearrangement of different civilisational cultures. Lastly, the future role of artificial intelligence, for example in areas such as justice, cannot be ignored. Methodology: The authors of the studies primarily rely on empiricism to present the regularities of their research subject, but they also draw on methods tried and tested in the social sciences, especially in sociology, such as interviews and various questionnaires. There is also a lesson to be learned from the fact that the literature, mainly in English, also tries to develop a clear conceptual apparatus, as we have seen in the case of police research in Hungary. Findings: In his review of community policing, Kálmán Etter writes: ‘The publication reveals a specific form of organisation, in which community policing is a group of a few professional police officers and civil servants, operating in individual towns or in the urban areas of larger cities.’ Zsolt Lippai sums up the efforts of citizens to ensure public safety and the tasks of police science: ‘The increasing involvement of non-state actors in the creation of security and the use of methods other than those traditionally used in what might be called “traditional” policing have given rise to a number of theoretical and practical questions which police researchers are called upon to answer.’ Bernadett Bacsó draws attention to a little-studied consequence of migration: ‘In recent years, migration, especially migration driven by young men, has changed the gender balance in destination countries, as this trend leads to a lack of potential female partners.’ The main aim of the study was to build a picture of what Americans think about current issues such as national security, terrorism, counter-terrorism policies, immigration and religion. Tamás Pressburger cites the perceptions of US citizens about terrorism, but also what motivates these views: ‘Based on the experiment, the author concludes that when white subjects are informed that whites are projected to become a demographic minority in the United States by 2060, they are more likely to endorse the use of torture against suspected terrorists.’ Katalin Erdélyi's review highlights the controversial role of artificial intelligence (AI) in the administration of justice: ‘The author's conclusion in this excellent article is that the coexistence of AI and human judges risks a covert transfer of decision-making power.’ It could also be argued that the computer cannot take over the formation of internal judicial convictions because only humans can do that. Value: The modern rule of law makes humanity a core value. The studies to which issue XIII of the Observer draws attention, not infrequently accompanied by concern, represent this value system.

Border Tropes in Eugene McCabe's 'Fermanagh Trilogy'

This essay analyses Eugene McCabe’s short stories, ‘Cancer’, ‘Heritage’ and ‘Siege’ – known commonly as the ‘Fermanagh trilogy’ – focusing on them as border fictions. Written in the 1970s, the author argues that the stories share a material, cultural ‘borderliness’, a condition which is structured into McCabe’s writing about this part of Monahan-Fermanagh and the region along the border more widely. ‘Borderliness’ manifests itself as four thematic tropes that interconnect and complement each other. These tropes recur within and across the stories, expressing character and emotional states, defining dramatic conflicts, and shaping narrative structure. The origins of these literary tropes are indicated, selected examples are worked through and McCabe’s prose style is analysed. The essay situates the ‘Fermanagh trilogy’ within a lineage of cultural production from and about the border, and the interpretative frameworks that have arisen to understand the border’s socio-political significance.

A Study on Deviations in the Poem 'Reported Missing'

In literary stylistics, "deviation" is a crucial technique in poetic creation, where breaking linguistic norms can produce a foregrounding effect, thereby highlighting a poem's theme. Barry Cole's "Reported Missing" is a narrative poem abundant with deviations. It tells the story of an unsuccessful dialogue between a police officer and a man searching for his missing lover. Since the language used by the two men is disparate, their conversation ends in vain. The woman remains missing as a result of their communication breakdown. This paper aims to uncover the sources of the failure by examining the deviations in this unsuccessful dialogue, including deviation in the domain, deviation in the medium of transmission, and deviation in the tenor of discourse. These linguistic deviations represent the dramatic conflicts between the objective and subjective world, sparking reflection on the subjective beauty of one's emotions and the harsh objective reality.

Melody Master Tchaikovsky: Analysis of Ethnic Colors in the Piano Suite "Four Seasons"

Tchaikovsky was a great musician in Russia during the Romantic period. Due to his melodic works, he was known as the "master of melody" in Russia and received an honorary doctoral degree from the University of Cambridge in the United Kingdom. His creative genres cover a wide range of opera, dance, symphonies, concertos, and piano works. His music incorporates the characteristics of folk songs and his works reflect the oppressive psychology of the Russian people under the Tsar's rule, as well as their longing and longing for a better life in the future. He is committed to revealing the conflicting emotions within people's hearts. His later works are full of strong dramatic conflicts, his own thoughts on life, and fiery emotional colors. This article takes Tchaikovsky's piano suite "Four Seasons" as the text, and analyzes the ethnic characteristics of Tchaikovsky's works from the perspective of ethnology, using acoustic methods. The aim is to clarify the ethnic colors in "The Four Seasons" and reveal the profound ethnic connotations in Tchaikovsky's music works by utilizing elements such as harmony and melody.

Analysis on The Good Doctor Season 1 from the Perspective of Cooperative Principle

In 1967, the American language philosopher Grice proposed the cooperative principle, which provided a new theoretical framework for conversation analysis. In the following decades, the cooperative principle has been a trending topic of discussion in linguistics and continuously developed. Leech’s politeness principle and Wilson and Sperber’s relative theory have improved the cooperation principle from different aspects. The cooperative principle has been widely applied in the analysis of conversations in films, dramas, and literature, which contributes to a holistic understanding of characterization and dramatic conflicts. In this paper, doctor-patient dialogues in The Good Doctor Season 1 are analyzed from the theoretical perspective of the cooperative principle. It can be discerned that healthcare workers should comply with the maxim of quality and quantity, to no little extent, when communicating with patients. However, in different contexts, healthcare workers sometimes choose to deliberately violate the maxim of relation and manner in order to achieve better communication effects, such as helping patients understand their conditions or relieving patients’ tension. This paper intends to provide effective suggestions for real-life doctor-patient communication by applying the cooperative principle to the corpus analysis in The Good Doctor Season 1, so as to improve the communication efficiency of both parties and create a harmonious doctor-patient relationship.

Путь длиною в два десятилетия: как создавалась первая коллективная монография ИЯЛИ по «Истории Татарской АССР»

Research objectives: To contribute to the analysis of the conditions and factors, as well as the results of the activities of Tatar humanitarian specialists in the 1930s–1950s. The article deals with the actual aspects of studying the history of historical science in one of the major regions of Russia – the Republic of Tatarstan – during the Soviet period. It highlights the process of statization of the activities of historians and the dramatic conflicts associated with their subordination to the official Marxist-Leninist concept of periodization of human history. In connection with the restoration of historical science in the beginning of the 1930s, there arose a need to expand the network of research institutes designed to study the regional history and culture. In the Tatar ASSR, such a task was entrusted to the Institute of Language, Literature, and History (IYALI), established in 1939, and mainly to its history sector formed in 1941. Research materials: The article is based on the analysis of a vast array of unpublished sources, which made it possible to reveal the role of not only the August (1944) Decree of the Central Committee of the Communist Party of the Soviet Union but also other directives and guidelines issued by the Soviet government over two decades (1940–1950s). Results and novelty of the research: The article describes in detail the process of the development of the two-volume “History of the Tatar ASSR”, whose writing was entrusted to the staff of the Institute of Language, Literature, and History (IYALI). The study showed that the content of the book changed many times and adjusted to the directives of the highest political and ideological authorities, which abounded in the period of late Stalinism. The August (1944) Decree of the Central Committee of the Communist Party of the Soviet Union had the greatest influence on the scientific activities of Kazan historians. It became the main guide to the action of the Republic authorities, called upon to strictly monitor the moods and actions of the Tatar intelligentsia and instilling in them a sense of fear of being accused of nationalist survivals. A series of resolutions of the Tatar Regional Committee of the Communist Party, inspired from above by campaigns to expose the political myopia of Tatar historians, forced the authors of the manuscript “History of the Tatar ASSR” to return to the text again and again, to rewrite sections on the history of independent Tatar states in the past, their folklore and literary heritage, Jadidism, etc. It took two decades before rea­ders saw a textbook on the history of the Tatar people.

Koncept života u sovjetskoj istoriji umetnosti i slikarstvu 1920-ih

The article explores the concept of life in Soviet art history of the 1920s, as well as in the Soviet expressionism in painting. The notion of life was examined both by the art historians of the State Academy of Art Science (GAkHN) who adhered the classical art tradition, and the formalists (literary and art theorists of the left front) focused on the reduction of aesthetic values in line with their utopian social program. The two groups understood life differently: as a motion par excellence, in the first case, and as a simplified form (primitivism), in the second. However, elements of both perspectives were implicitly present in modern artistic practice, which manifested in the phenomena of Soviet expressionism. The painters combined fluid pictorial substance, motion in compositions, and dramatic conflicts in the plot, on the one hand, and simplified ("primitive") forms on the other. Although paintings of Drevin, Gluskin, Golopolosov and other artists associated with this movement did not receive support from either the traditionalist art critics or the formalist group, all of them were immersed in the semiosphere of the time, equally nourished by its creativity. While they rejected modern expressionism, the art theorists paradoxically professed its principles.

The influence of urban space in dramatic conflicts: transnationality in Mexican fiction films

Through this article we will analyze a corpus of Mexican fiction films of its classic-industrial period, produced by Pedro and Guillermo Calderón, Palabras de mujer (José Díaz Morales, 1946) and Maternidad imposible (Emilio Gómez Muriel, 1955), that have as a common nexus the interurban transfers, based on the migration phenomenon, the exploitation of a transnational cast and the influences of differentiated urban spaces in the narrative conflicts. Those characteristics will be delineated studying the configuration of urban spaces represented on them, its interference in the dramatic structure of these films and the identity translations presented consequently. The topic of migration and its entailments with the plots of these titles will allow us to elucidate the role awarded to the capital cities as spaces of cultural exchange, as also as essential elements for the achievement of the purposes of their characters, promoting a (des)centralizing vision of those types of territories.

On the Tragedy of Cao Yu’s Yuanye

In the realm of aesthetics, tragedy is known as “the highest stage and crown”, and its artistry is difficult to describe in simple words, as it mostly touches our senses and reveals the supreme value of beauty. Cao Yu wrote his play Yuanye against the backdrop of rural feudal society. The thesis will be based on Aristotle’s theory of tragedy and will talk about its tragic nature from three aspects. Firstly, Cao Yu has created many vivid and tragic minor characters; secondly, the realism and tragedy of the plot details build up multiple dramatic conflicts, amplifying the tragedy and giving the audience strong sensory stimulation to achieve resonance; finally, its profound theme of revenge is a manifestation of the inferiority of the Chinese peasants under the feudal society the - absurd tradition of “ The son must pay his father’s debts”, which amplifies the tragic effect of the whole play.

Ретросериалы об артистах советской эстрады: между конвенциями, прошлым и реальностью

The article deals with the dramaturgical and aesthetic patterns of the Russian TV series of the 2000s–2010s, which provide insight into the lives of famous Soviet pop music artists. The main characters in the biopics studied were inspired by Leonid Utyosov, Pyotr Leshchenko, Lyubov Orlova, Anna German, Lyudmila Zykina, Valentina Tolkunova, Alla Pugacheva, Lyudmila Gurchenko, Edita Piekha, Valery Obodzinsky and Muslim Magomaev. The article gives an overview of the similarities in the development of historical and biographical film genres in Hollywood and Soviet cinema. Moreover, a brief introduction to Soviet films about musicians is provided. The main part of the research is devoted to the issues of adaptation of Hollywood conventions of the music biopic genre In Russiania. Through the interaction of the Soviet past, Hollywood standards and contemporary Russian realities, the specific features of different narration types are revealed, the issue of authenticity is considered, and the status of pop music in the past and present is outlined. In addition, the types of dramatic conflicts and types of heroes are analyzed, questions of the commercial component in relation to Soviet popular culture are raised.

로뻬와 띠르소의 희극에 나타난 변장의 기능적 역할 분석

Through the comedy works of Lope and Tirso, the representative playwrights of Spain in the 17th century, we study the disguise that was one of the representative means of drama at the time in detail by type. There are three main types of disguise in comedy at the time: the heroine''s disguise as a man for the use of force, the disguise for the formation and resolution of dramatic conflicts, and the disguise for the enjoyment of the audience. The play at the time could not rely on the poor and crude stage settings and stage effects of the time to set up and develop unconventional content and complex and shocking dramatic conflicts, and the only dramatic means that the playwrights of the time could take for this was disguise.

ОСОБЛИВОСТІ ПОСТМОДЕРНІСТСЬКОГО СТИЛЮ ДОНАЛЬДА БАРТЕЛМІ (НА ПРИКЛАДІ ЗБІРКИ «ШІСТДЕСЯТ ОПОВІДАНЬ»)

The author analyzes the elements of postmodernism in D. Barthelme’s collection «Sixty Stories». It is determined that this stylistic dominant in the writer’s prose is mainly determined by such parameters as irony, collage and play. In addition, the genre specificity of his postmodern worldview is important, because it was in short epic genres that Barthelmi was able to realize his own aesthetic vision of literature in the second half of the XXth century. The writer experimented with form and content, seeking to adapt the poetic works of Thomas Stearns Eliot and the dramatic conflicts of Samuel Beckett, that is, to rethink the innovation of modernist authors to a new socio-historical situation. Barthelme uses almost all forms of humor, but the most common is irony. The ironic reappraisal of values in postmodernism ends with everything depreciating and becoming invaluable. The lists of catalogs in Barthelme’s texts are often presented as collages, and these collages are mostly made of verbal dreck (mass literature) and visual garbage. The situation in his texts is related to the need to react to an incomprehensible event, which forms a kind of Beckettian plot, when there is a consequence, but the reason is unclear, and plot is rather formalistic.

Philosophy and the Drama of Life: A Theater Experience of Understanding F.M. Dostoevsky

The article aims at a multidimensional discussion of the little-explored topic of the dramatic content of the philosophical problems in the works of F.M. Dostoevsky (1821—1881). There is proved that it was this feature of creativity that made the writer, with his philosophy of life and sharp, dramatically effective plot and psychological collisions, the most desirable and very productive author for the Russian theater art.Polyphony, dialogism, combined with the features of the tragic genre, are the basis for numerous theatrical embodiments of novels and novellas by F.M. Dostoevsky. The intensity of the action in his works gave rise to the expressions “novel-drama” or “drama in a novel”, “novel-tragedy”, and in theatrical practice it created the ground for the transformation of moral and philosophical problems into active stage action.The article reveals the context of F.M. Dostoevsky’s works — the time and conditions for the emergence of novels and novellas, the problem field that united and separated him from the works of his predecessors and contemporaries, which is done on the basis of a brief description of several aspects of the philosophical-aesthetic and socio-moral systems. In this context, according to our concept, a special place is occupied by the idea that life in Russia is absurd and ridiculous, and the reflection of the absurd is the most important artistic paradigm.The article proves that the analyzed philosophy of F.M. Dostoevsky’s life received polar genre embodiments in the theater. Thus, the dramatic and melodramatic beginning was characteristic of the performances that had in their center the so-called little man. The article presents an understanding of the most remarkable performances of the second half of the 20th and the beginning of the 21st century: “The Idiot” by G. Tovstonogov, with a new trend of searching for a “positively beautiful” person, which had a significant impact on many theatrical experiences in Russia; “The Petersburg Dreams” by Yu. Zavadsky, as a unique experience for Soviet art of creating a tragic work in full accordance with the aesthetic characteristics of this genre; “And I Will Go, and I Will Go” by V. Fokin, as the last emotional outburst of the young generation of Soviet creators who thought in the moral and psychological parameters of F.M. Dostoevsky’s characters; “The Karamazovs” by K. Bogomolov — a postmodern experience of an absurdist reading of the multifaceted text of the classic.In the works of the writer and their theatrical embodiment, the article notes the signs of a carnival worldview, a combination of grotesque and subtle psychologism in the stage versions of F.M. Dostoevsky (in particular, when working with ironic and satirical texts, “Uncle’s Dream” and especially “The Village of Stepanchikovo”, where sympathy and negative connotations are integrated into a single artistic space). The article correlates the writer’s works existential interpretations by theatrical creators of the 20th and early 21st centuries with socially significant problems, life choices, and dramatic conflicts that characterize Dostoevsky’s philosophy.

A Tentative Dissolution of Austria-Hungary: The 1914–15 Russian Occupation of Lviv in Polish Memory

AbstractThis article analyzes a collection of narratives concerning the Russian occupation of Lviv (Lwów, Lemberg), the capital of the Austrian Crownland Galicia, between September 1914 and June 1915 in the initial phase of World War I. These narratives were produced and published in Polish and German between 1915, when Lviv was still occupied, and 1935, sixteen years after it had been included in a reborn Poland. One might assume that the relatively uneventful occupation constituted a negligible experience in the context of the dramatic developments of this period: the Great War and the subsequent Polish-Ukrainian and Polish-Soviet wars. And yet, memories of the Russian occupation were tenaciously perpetuated and cultivated. In this article I attempt to answer the multipronged question: Why did the occupation attract so much attention, and from whom, and what made its memories survive the subsequent dramatic conflicts and changes of political regimes relatively intact? Hence, my analysis regards the formation of collective memories at the intersection of individual experiences, group and national identities, and strategies of accommodating the unpredictably changing political realities.

Ethical-anthropological dilemmas of gamete and embryo donation: commodification, altruism, morality, and the future of the genetic family

ART and, in particular, IVF and ICSI, are essentially a laboratory experiment, but which, due to its specificity, goes beyond the disciplinary boundaries, explicitly acquiring an ethical-axiological dimension in the interaction zone of the members of a particular community involved in child-bearing. At the same time, it is noted that the activity and choice of a way to solve problems with childbirth has a characteristic severity, due to the traditions and level of civil and social maturity of a country, due, among other things, to the level and achievements of technical equipment in this industry of knowledge and practice. According to foreign studies, about half of all subfertile people (having problems with childbirth, but potentially able to become parents) in developed countries are trying to overcome their infertility with the help of medicine, and research data indicate that the proportion of such individuals is growing. The most difficult problems of reproduction are associated with low quality of oocytes (eggs) or low ovarian reserve (both age and hereditary, as well as associated with past diseases or iatrogenic); aspermia and deep teratozoospermia (the presence of only pathological forms of sperm in the ejaculate), can not give hope to a couple (or individual) to have genetically related offspring. However, donor programs create additional opportunities for social (non-biological) motherhood / paternity. Donation of oocytes (ova) is found in ART programs at least 3 times more often than donation of spermatozoa (for heterosexual couples, but not for single women). At the moment, donation of gametes and embryos raises a number of ethical, legal, medical and socio-psychological issues that require competent support from experts of a wide range of specialists, as well as competent, non-commercial, primarily due to the interaction between donors and recipients. The analysis of possible modifications of family and kinship ties is based on the idea of transforming social relations, in which assisted reproductive technologies (ART) play a fundamental role, building a system of “new kinship and new family.” By entering into the intimate process of the birth of life and acting as a regulator of the composition of participants in this process through the stimulation of responsibility to present and future relatives, reproductive technologies affect the initial moral requirements in the community, redefining universal values based on the specific situation. Scenarios of childbearing through ART with the involvement of additional participants (donors of sperm, oocytes or embryos) are possible in the context of the legal field, but legally fixed anonymity of the donor (except for the relative of the recipient) leaves many unresolved issues related to the problems of hereditary diseases, genetic abnormalities and epigenetic changes; in addition, there is a problem associated with the possibility of unintentional incest, as well as the difficulties of the child’s self-identification and the closeness of his genealogy. Solutions to these issues are postponed until later, thereby initiating future dramatic situations, ethical conflicts and dilemmas with a poorly predictable positive outcome.

Варіативні екранні твори після виходу проєкту «Мозаїка»

Variable screen works, that is, those that exist in several different completed variants, have undergone a long evolution. They appeared shortly after the appearance of cinema, and today, with the emergence of affordable interactivity, experiencing a period of rapid development. An important feature of this development was the HBO series “Mosaic” directed by Steven Soderbergh, which appeared in late 2017.Most of the responses to the "Mosaic" positively emphasize the new technology of the narrative. But there are also negative opinions, Inca Kang writes: "Soderbergh seems to prefer the app version, but making my way through Mosaic, I found myself increasingly wishing for a more passive watching experience. […] I started resenting what I wanted and missing what I needed. And what I need, it turns out, are better execution of an ambitious idea, plus the kind of masterful craftsmanship that makes serialized storytelling an addiction instead of a slog."The app actually gives the viewer the opportunity to choose the protagonist. Although this approach is not explicitly mentioned in the classification according to the manual "Variable cinema: Directing of screen works with changeable storyline", but it is a variant of variability with a change in the point of view and meets all the criteria of this type. Choosing a protagonist, the spectator chooses a conflict. And the variation in this case is the creation of several dramatic conflicts in one plot environment. The quality of this variational drama can only be determined by analyzing all the options for passing the story, but unfortunately, the Mosaic project app only available within theUSA.In the spring of 2018 the project of "TRINITY", created by UNLTD, was shown at the game developers' conference. TRINITY is an interactive science fiction movie created for virtual reality. It combines captured actors and computer-generated scenes. It has been in production for more than a year, and is scheduled for release in the fall of 2018. Importantly, UNLTD has created not only a movie but a platform for other similar projects in the future.The very nature of modern devices for virtual reality, which involves a helmet and various types of manipulators, very quickly leads to the idea of interactivity. Moreover, the interactivity of the plot does not necessarily require virtual reality. While any scene for virtual reality is already interactive, the viewer can lead his head and see an event without a traditional frame.In April 2018, Samsung, one of the makers of devices for virtual reality, announced the release of six series for virtual reality under the "Pilots season" initiative. The company wants to find artists who can create a new format and are ready to sponsor interesting projects.Among these six serials there is no stylistic and format dominant. They are different in plot and picture. By creating content for virtual reality devices of its own, Samsung is trying to create an ecosystem within which consumers who purchase products Samsung will consume exclusively their own content. But in order to fulfill this desire in life, they need more than six series. Other manufacturers of virtual reality devices will be forced to do the same thing in order not to lose their market share.Conclusions. It is hard to say did The Mosaic project, as the first high-budget one of its kind, met the manufacturer's expectations. Reception was different, but focused on the technology of the narrative, without having the theoretical apparatus to evaluate the components of the project. Variable projects that appeared after Mosaic in their own way are trying to use the interactive capabilities of modern technology, using in the first place the tools of virtual reality.The projects discussed in this article are commercial, with millions dollars’ budgets, so it can be sad that market of variational products is emerging. Last year, we could only talk about a couple of animated projects from Netflix and the "Mosaic", then this year the creative and thematic spectrum is much larger. Although the "Mosaic" effect on other projects considered (except for the second season of Mosaic) is not mentioned, it is highly likely that the authors of these projects were following the perception of the audience of the Soderberg project.All projects included in the review confirm the thesis that the classical principles of constructing a script and directing work remain relevant for both variational projects and projects of virtual reality.

C, F-sharp and E-flat: The tragic, the sublime and the oppressed (with C-sharp as Nemesis): Reflections on Eine kleine Trauermusik by Milan Mihajlović

In the present paper, I will discuss tonal centers and referential sonorities in the composition Eine kleine Trauermusik (1992) by one of the leading Serbian composers Milan Mihajlović. Even though its pitch structure may appear rather straightforward with its octatonic scale and the primary tonal center in C, and with referential (quasi-tonic) chords derived from the harmonic series, I intend to highlight intricate narrative trajectories and dramatic conflicts between various tonal centers (treated as actors/characters). These narratives can be related to certain archetypal plots, with the conclusion that there exists ambiguity between the tragic and the ironic archetype. On a higher plane, similar conflict/interplay/ambiguity exists between different principles of pitch organization, i.e. the octatonic and functionally tonal. The unresolved ambiguities and simultaneity of conflicting interpretations are examined from the psychoanalytic perspective, which postulates isomorphism between musical structures and processes and the processes unfolding in the unconscious mind. Finally, the effect of these narratives, especially the overwhelming impact induced by the excerpt from Mozart's piano concerto is linked with the idea of sublime as conceived by Kant, but also including other approaches (Burke, Lyotard etc.).

Leadership and cultural frames in Wole Soyinka’s “The strong breed”

Article withdrawn due to plagiarism.

НАСТАВНО ТУМАЧЕЊЕ ДРАМЕ КРАЉ ВУКАШИН ДРАГУТИНА ИЛИЋА

Многобројна драмска остварења Драгутина Илића, са методичког становишта, могла би сe посматрати као естетски релевантна у наставном проучавању. Предмет истраживања овог рада јесте анализа историјске драме Драгутина Илића под називом Краљ Вукашин. У раду се дају прецизно осмишљени и конкретни методички кораци за наставно тумачење литерарног остварења Драгутина Илића. Драгутин Илић je успоставио оштар контраст између Вукашинових и Урошевих карактерних особина и животних ставова, што ће на репрезентативним примерима и бити показано. Акценат је стављен на драмска сукобљавања, као и на психолошки подтекст акција и реакција драмских ликова. Посебна истраживачка пажња усмерена је на сагледавање основних карактерних особина епског, историјског и драмског лика краља Вукашина Мрњавчевића.