Title Role Research Articles

Mission (im)possible – le traducteur en tant qu’ambassadeur de l’art

This article introduces the translator involved in the translation of art titles and art albums as an ambassador for art. Given the role of painting titles in the process of interpreting a work of art, but also in identifying it from other art products, the translator, as the artist’s spokesperson, has to perform a number of actions to enable the correct interpretation and identification of the work in the target culture. This is a very arduous and responsible task, which is particularly difficult in times of new media and the unlimited possibilities of digital reproduction and distribution of cultural goods. Based on the examples of translations of the titles of paintings by selected French painters published in Polish-language albums, the author shows the translator’s responsibility for the promotion and, above all, for the protection of the identity and integrity of works of art, especially those that belong to the public domain and are therefore deprived of proper protection.

Pragmatic-Functional Importance of Translation of Titles and Headlines in Popular Science Texts

This article discusses the role and importance of titles and headlines in the structure of the general text, its pragmatic-functional tasks in ensuring the success of the text. The linguistic elements perform pragmatic function. The opinions of famous linguists on the titles and headlines, its structure and pragmatic functions are cited. Functions and syntactic models of titles and headlines are presented. Examples of popular science text titles, headlines and their translations into Uzbek and Russian are presented and analyzed.

A Conversation with Michael Maliakel

Abstract: In a video interview with Journal of Singing Associate Editor Melissa Treinkman on March 29, 2024, Michael Maliakel discussed his career and his experience playing the title role in the Broadway show Aladdin . A first place winner of the 2014 NATS National Musical Theatre Competition, Michael talked about the impact of his classical voice training on his Broadway career, the constantly ascending tessitura of musical theatre roles, and why he believes representation matters. A QR code is included at the end of the article which contains the link to the recorded interview with Michael Maliakel, posted on the NATS YouTube channel.

Pauline Lord’s “My Anna Christie” a Century Later

ABSTRACT Pauline Lord’s article “My Anna Christie” (1922) was an important intervention in the discourse regarding Progressive Era brothel dramas. Describing how she researched and originated the title role in “Anna Christie,” Lord’s article was also one of the few pieces about the play written by a woman during this time period. When the piece appeared, contexts for understanding “Anna Christie” had shifted: whereas previous prostitute plays had been censored for obscenity, Eugene O’Neill’s “Anna Christie” garnered the Pulitzer Prize for Drama. “My Anna Christie” followed in the wake of two pioneering actresses who portrayed courtesans or sex workers and wrote about it: Mrs. Leslie Carter and Mary Shaw. “My Anna Christie” examines sexual exploitation, abandonment, and double standards of sexuality, conjuring sympathy for Anna’s character. More significantly, Lord interviewed prostitutes as part of her research. Rather than sensationalizing or denigrating sex workers as “The Social Evil,” Lord sought to understand them.

The role of job titles in online peer-to-peer lending: An empirical investigation on skilled borrowers

We examine the role of borrowers' job titles in the online peer-to-peer (P2P) lending market. Using the U.S. Occupational Information Network database, we define skilled borrowers as the borrowers with their job titles in Job Zone 5, a group of occupations requiring individuals with the most extensive skill, knowledge, education and related experience. Analyzing data from Lending Club, one of the largest P2P platforms in the US, we find evidence that skilled borrowers are perceived as trustworthy and receive lower loan interest rate and default less frequently than do their non-skilled peers. Consistent with the signaling framework, our empirical results suggest that borrowers with certain job titles send effective signals and trustworthy job titles affect lending decisions and performance. This study sheds new light on the importance of borrowers' job titles in P2P lending.

Country names in journal titles: shaping researchers’ perception of journals quality

Numerous academic journals incorporate geographic names, including countries and regions, in their titles. This practice is not uniform, as some journals opt to internationalise by omitting these affiliations. To gauge the impact of country names in journal titles on researchers' perceptions of journal quality, 408 researchers in sociology, psychology, environmental sciences, and physical chemistry in Brazil, Canada, Germany, Malaysia, Nigeria, and the USA were surveyed. The study reveals that most researchers believe that a journal's association with a specific country influences their perception of its quality (74.6%) and international readership (76.8%). Consequently, researchers tend to avoid journals with country-specific titles, suspecting limited readership or a predominant focus on papers from that country. However, exceptions exist, primarily in terms of perception, especially for American journals, which are often perceived as indistinguishable from mainstream international journals. Disciplinary variations emerge, with subject matter influencing perceptions. Subjects such as sociology, closely tied to local and national issues, exhibit a more (compared to e.g., chemistry) significant tendency toward recognising national journals. The inclusion of the term "international" in journal titles elicits mixed opinions, with some associating it with low quality or predatory journals, a perception that stems from the proliferation of predatory journals in some Asian and African countries. This study offers insight into researchers’ preferences and underscores the important role of journal titles in shaping researchers' perceptions of journals’ scope, quality and readership. In a challenging metric-driven research and publishing landscape, it is important to strike a balance between internationalisation and fostering diversity in scholarly journal publishing.

The title role of postharvest handling practices in augmenting the supply chain efficiency of apples in the Dehradun and Uttarkashi Districts of Uttarakhand

The title role of postharvest handling practices in augmenting the supply chain efficiency of apples in the Dehradun and Uttarkashi Districts of Uttarakhand

Paulina Rivoli – Moniuszko’s Heroines and a Falcon soprano?

Paulina Rivoli was the first Warsaw Halka and then the first Countess in Moniuszko’s operas. In this article, I will relate how the singer, who at first frowned on Moniuszko’s proposals, launched the performance tradition of two great Moniuszko operas in which she created the title roles. Her immediate successors had to deal with the inevitable comparisons. Unfortunately, Rivoli suffered from serious vocal complaints. This was nothing unusual: phoniatric disorders plagued singers throughout Europe at that time, when massive changes were occurring in the aesthetics of solo singing. Rivoli was excellent in bel canto repertoire – a style of singing favourable to a maturing voice, which allowed her to develop fully. What was Halka’s original singing style? That was probably a mature period for Rivoli’s voice, which did not necessarily correspond to the notion of a modern, very ‘light’, even Donizettian approach to singing this role. Some of the circumstances surrounding the twilight of Rivoli’s career allow us to draw a comparison between her and another great singer whose career ended prematurely. Cornélie Falcon famously sang the role of Rachel in Halévy’s La Juive, which contributed to her legendary demise, and she had lost her voice irrevocably five years after her debut. Rivoli and Falcon sang similar repertoire, including Alice in Meyerbeer’s Robert le diable (Falcon’s debut and an early role for Rivoli), Donna Anna in Mozart’s Don Giovanni and Valentine in Les Huguenots, but Rivoli’s downfall was spread over a longer period, as her career lasted more than 20 years. Nor was her loss of voice as drastic as that of Falcon, who was literally left voiceless during a performance of Niedermeyer’s Stradella. Rivoli’s problems grew gradually, peaking after the premiere of The Countess [Hrabina]. It was probably this last burst of energy that ultimately depleted her powers altogether.

(There Is) Nothing Like a Dane

Abstract This article gives a brief account of the two-hundred-year-old performance history of Hamlet at Elsinore Castle; this is followed by a discussion of Gertrude as portrayed in nine English or English-speaking Hamlets at Elsinore, beginning with Olivier and the Old Vic in 1937 and concluding with Cape Town Theatre Company eighty-five years later, in 2022. The article discusses different aspects of how Gertrude (as seen through the prism of these particular Hamlet productions) has been portrayed on stage, drawing attention to the fact that, particularly in productions with a star actor in the title role, Gertrude has often been neglected, ignored or marginalised by the director, or else objectified and sexualised for the benefit of the audience: aged down, dumbed down or otherwise commodified.

Dostoevsky’s Lost Play “Mary Stuart” (Materials for the Reconstruction of the Idea)

The reconstruction of Dostoevsky’s first literary experience — the lost drama “Mary Stuart” — involves the identification and analysis of the sources of the idea. As a result of the conducted research, a hypothetical chain of events was built. In 1838 (1835, according to other sources), Dostoevsky was impressed by “Mary Stuart” at the Alexandrinsky Theater with A. M. Karatygina in the title role: the image of the suffering queen created by the actress was superimposed on the reading of both Schiller’s tragedy “Mary Stuart” and Walter Scott’s novel “The Abbot.” Russian collection of her biographical documents, published in 1809 and the 1839 French-Russian edition of letters of Mary Stuart, her will and the report on the execution discovered by A. Ya. Lobanov-Rostovsky in the archives, came into the view of the novice writer when he was studying the “historical data” about the “life and execution” of Mary Stuart. In 1839–1840, a fictionalized biography of the “criminal” queen, compiled by Alexandre Dumas, was published. In his version, the image of Mary Stuart is twofold: along with the heroic beginning of the character, the theme of sinful passion emerged. The bifurcation of the image was reinforced in the 1841 essay by Filaret Shal, who also emphasized the religious motives of the unfolding historical drama. Comprehending all these turns of European and Russian historiography in 1839–1842, Dostoevsky could use as the basis of his play the dialogue of the nurse and Mary in the fourth scene of the first act of his tragedy about the correlation between guilt and responsibility, which Schiller did not continue. For Schiller, Mary Stuart is the title character, but not the only main one, moreover, the theme of Elizabeth in many ways attracted dramatic interest. Dostoevsky most likely focused on the internal collisions of the “gigantic character,” whom he placed in a line of Racine’s heroines (first of all, the “Shakespearean essay” by Phaedra): Maria integrated the firmness of spirit in the face of suffering and death itself with the omnipotence of passion, accompanied by torments of conscience. The “historical data” that Riesenkampf hinted at, mastered by the Russian author, allowed to continue Schiller’s creative work. The article identifies and analyzes a range of these data thatrevealed the deep collisions of European history embodied in one of its iconic characters to Dostoevsky.

‚Rossini renaissance(s)‘ e discorsi identitari italiani

Abstract Following thematic and theoretical lines set out in two recent ground-breaking studies by Emanuele Senici on Rossini’s music, this article questions Italian discourse on the Rossini renaissance. It thus highlights the identity-related meanings for Italians of three crucial moments in the history of this renaissance: in 1925, with the ‚cycle Rossini‘ at the Théâtre des Champs-Élysées in Paris; in 1952, with the „Armida“ at the Maggio musicale fiorentino with Maria Callas in the title role; in 1969, with the Italian debut of the critical edition of the „Barber of Seville“ at the Scala in Milan.

New entrants, incumbents, and the search for knowledge: the role of job title ambiguity in the US information and communication technology industry, 2004–2014

Abstract New entrants and incumbent firms rely on new knowledge to innovate and compete in the market. One way to acquire new knowledge is through the recruitment of new employees from competitors, a phenomenon popularly known as “poaching.” Digital labor platforms are widely used by firms for this aim. We argue that job titles represent the first and most visible public source of information about knowledge workers and thus play a key role in navigating the vast spectrum of competencies available in digital platforms. Our analyses of the career trajectories of 11,644 knowledge workers in the United States between 2004 and 2014 suggest that increases in the ambiguity of a job title claimed by an employee are negatively associated with the likelihood of the employee being hired by a new employer. This finding appears stronger in the case of transitions to incumbent firms rather than new entrants. In the concluding section of the paper, we take stock of the various analyses presented and reflect on the potential role of job titles in the strategic management of human capital.

Prevalence of AcrAB-TolC efflux pump among Proteus mirabilis isolated from cystitis patients in Hilla City, Iraq

Abstract Background: Proteus mirabilis is a prevalent profiteer pathogen that causes the Spartan human ailment. It has been identified as a urinary tract infection (UTI) etiological agent that adheres to uroepithelial cells and the catheter surface. The most important efflux system in P. mirabilis, acrAB-to1C, is elaborated not merely in antimicrobial conflict but also in ferocity. Objectives: The current research conducted to look into the antibiotic sensitivity profile and acrAB-to1C efflux pump genes occurrence among P. mirabilis isolated from UTI patients. Materials and Methods: 515 urine cases were gathered from UTI patients, who visited urology consultancy clinics of three main hospitals and private clinic labs in Hilla City, Iraq. All mid-stream urine samples were cultured on diagnostic agars for P. mirabilis primary recognition and finally confirmed by16S rRNA gene PCR-sequencing. Antibiotic sensitivity was performed according to CLSI (2021), and then PCR detection of acrAB-to1C efflux pumps genes was observed. Results: The occurrence of P. mirabilis in the studied cases was 10.5% with 100% swarming isolates. The recovered isolates were extremely resistant to cefotaxime (100%), doxycycline (88.6%), minocycline (75.7%), and amoxicillin-clavulanic acid (67.1%). In contrast, the isolates showed nonresistance to pipracillin-tazabactam (0%), meropeneme (0%) and tinier resistance to amikacine (1.4%), imipeneme (2.9%), levofloxacine (4.2), and ofloxacin (5.7%), MDR rate was 96%. Molecular investigation using PCR, revealed acrA, acrB, and tolC genes with a prevalence of 51.4%, 61.4%, and 51.4%, respectively. Conclusion: These findings emphasize the significant title role of acrAB-to1C efflux impel in increasing antibiotic tolerance in P. mirabilis with a high incidence of MDR, so the future insights may need to focus on efflux pumps inhibitor-antibiotic combination treatment as a preventive device.

Phryné as opéra comique: Saint-Saëns contra Offenbach

This study of Camille Saint-Saëns's opéra comique Phryné (1893), representing the famous Greek courtesan in the title role, outlines how the composer made the case for the continued viability of the opéra comique genre in a context where lighter opérettes by Jacques Offenbach on classical subjects were much celebrated on French stages. Saint-Saëns's efforts are seen through both his dislike of Offenbach's music and the flexible use of generic name markers in musical comedies of the period. In marking out an aesthetic space for new musical comedy that was not Offenbach's, Saint-Saëns and his librettist Lucien Augé de Lassus conjoined their Hellenic subject matter not only with a canon of painting and sculpture but also with musical qualities deemed classical in the fin-de-siècle environment.

THE ONOMASTICON OF THE POETIC CALENDAR “ROADS OF LIGHT” BY OLEXANDR KOZYNETS’

This article examines the set of proper names recorded in Oleksandr Kozynets’ collection “Roads of Light” (2021), which has the form of a poetic calendar. Theoretical concepts concerning research were described: onomasticon, literary and art onomasticon, criteria for describing set of proper names. 453 proper names were recorded in 366 texts grouped by seasons and months. Poem titles were classified according to structural and parts of speech features and the following groups were identified: single-component poem titles (nouns, verbs, adjectives, adverbs, pronouns), multi-component poem titles (titles-compounds, titles with a subordinating conjunction, titles with a conjunctive conjunction, etc.). One-component titles were more frequent (92% of 366 units). 69% of the titles are represented by nouns, 16% by verbs. Compound titles predominate among multi-component units (45%). The functions of poem titles in the decoding of texts are described, the title of the collection is investigated. The functioning of repeated title lexemes in view of grammatical meanings (without change or with a change in grammatical form) is revealed. The examples made it possible to demonstrate the role of poem titles in the creation of means of textual imagery and phonostylistic means. Proper names were classified according to lexical-semantic features: chrononyms, theonyms, anthroponyms, biblionyms, oikonyms, choronyms, oronyms, etc. Chrononyms turned out to be the most frequent (39% of 87 units), which is explained by the form of the collection. This is a poetic calendar, where some texts are dedicated to holidays of various nature. The use of theonyms (17%) is caused by the author’s worldview and Christianity. It was found that most of the proper names are used in their literal meaning. These proper names reveal intertextual connections with other texts, outline the toponymy of the poem action, the feelings of the lyrical hero and the author.

The Role of Title 1 Secondary School Athletic Trainers in the Primary and Patient-Centered Care of Low Socioeconomic Adolescents.

Athletic trainers (ATs) provide regular encounters with a healthcare provider for many Title 1 student-athletes with healthcare access and quality barriers. Thus, they are uniquely positioned to serve as a student-athletes' first point of contact for general medical concerns. This study aimed to describe ATs' experiences providing primary care for Title 1 student-athletes. This qualitative design employing an interpretative phenomenological analysis (IPA) approach used in-depth, virtual focus groups to examine the experiences of ATs practicing at Title 1 secondary schools. The findings reveal that ATs were called upon to evaluate, treat, and, when necessary, refer student-athletes with general medical conditions. However, Title 1 ATs encountered numerous complex social determinants of health (SDoH) preventing efficient and effective referral to specialty healthcare providers. Thus, ATs ultimately felt their most important roles in the primary care of low socioeconomic adolescents were as caregivers who mitigated avoidable healthcare barriers in addition to coordinators of integrated care that assisted student-athletes and their families with navigating the healthcare system. Title I ATs need to be aware of the SDoH affecting their student-athletes and the ability of those SDoH to affect health outcomes as well as overall student-athlete health and well-being.

When You Have Nothing to Say, Say Nothing! Suffering Silence Leads to Psychological Distress: A Test of Mediated Moderation Model

In this research, we scrutinized the intervening title role of interpersonal deviance and the moderation effect of ingratiation concerning employee silence and psychological distress. A cross-sectional survey design was employed and data were together from 200 academic staff of public sector universities of Quetta city. Employee silence makes a fuss of employees withhold valuable information which threatens their interpersonal needs and can lead to psychological dis-tress. Coping with this mechanism employees may cope with ingratiation. The association was exam-ined by spread over Hays Process (SPSS) to examine the direct and indirect effects. We also performed the CFA of the proposed model in AMOS. Our results showed that employee silence interpersonal deviance and ingratiation subsidize the omnipresence of psychological dis-tress and offer direct and collateral appliances.

Režisors Eduards Miks. Brīvdabas lieluzvedumu prakse 20. gadsimta 30. gados

Director, actor, theater pedagogue Eduards Miks (1893–1943) is a less-studied person in the history of Latvian theater, whose creative work is mainly related to the practice of large-scale open-air large-scale performances in the city of Ogre in the 1930s. The purpose of the article is, firstly, to present the creative biography of Eduards Miks, and, secondly, to analyze his large-scale open-air productions in the context of Latvian 1930s theatre practice. The open-air productions of Eduards Miks can be divided into two groups. Firstly – large-scale productions related to the carnivalization tendency, which begin with a theatrical procession, turning the whole city into a stage and preserving the principle of the theatricalization of life in the organization of the performance as well. The second group – musical productions, in which the actors of Riga theaters are engaged in the title roles, and local art life enthusiasts – in the mass scenes, creating complex mise-en-scenes and impressive mass scenes. Analysis of archival and periodical sources and historical-genetic and semiotic research approach are used. The article states the known facts of Eduard Miks’s life and creative biography, analyzes the most significant open-air productions of the director, as well as compares the directing tendencies of the open-air productions of Eduards Miks to the overall 1930s Latvian theatre practice.

Dikran Tchouhadjian’s Opera Arif՚s Ruse (dedicated to the 150th anniversary of creating the first Armenian comic opera)

On December 9, 1872, Dikran Tchouhadjian’s Arif’s Ruse, the first Armenian comic opera, was staged at the Getik Pasha Theatre in Constantinople, simultaneously marking the beginning of the Turkish musical theatre. The author of the opera libretto was an Armenian opera singer, the first Western Armenian singer who received his professional education in Europe, tenor Hovhannes Achemian (1838-1905), who performed the title role of Arif. The Ottoman stage primadonna Shazik Keuyluyian (born Sevadjian, Lusnak Sargsi Keuyluyian, 1854- 1905) played the main character, Meriem. The performance of Arif was the first occasion in the Armenian musical reality when an Armenian composer’s opera was on stage, performed by Armenian artists. This was not only the birthday of the Armenian comic opera, but also it marked the beginning of the Armenian musical theatre. In the present study on Tchouhadjian’s music, presented to the English-speaking readers for the first time, the results of the opera’s comprehensive research are substantiated, defining the genre of Arif as a comic opera, revealing its musical language and dramaturgical features, and putting forward the necessity of staging it in Armenia, as well as publishing an academic edition of the opera score and claviers. The clavier of the opera prelude has been introduced into scientific circulation for the first time, the computer composition of which was carried out by assistant professor Anna Tamiroghlyan, Doctor of Arts.

A Touch of the Poet

A Touch of the Poet