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Cultura International Journal of Philosophy of Culture and Axiology

Volume 13, Issue 2, 2016
Cross-Cultural Intermediality: From Performance to Digitality

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Displaying: 1-10 of 14 documents


1. Cultura International Journal of Philosophy of Culture and Axiology: Volume > 13 > Issue: 2
Asunción López-Varela Azcárate, Introduction: Performance, Medial Innovation and Culture
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2. Cultura International Journal of Philosophy of Culture and Axiology: Volume > 13 > Issue: 2
Ananta Charan Sukla, Indian Intercultural Poetics: the Sanskrit Rasa-Dhvani Theory
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Rasa, Dhvani and Rasa-Dhvani are the major critical terms in Sanskrit poetics that developed during the post-Vedic classical period. Rasa (lit. juice) is used by a sage named Bharata (c. 4th C. B.C. – 1st C. A.D.) to denote the aesthetic experience of a theatrical audience. But Anandavardhana (9th C. A.D.) and Abhinavagupta (10th C. A.D.) intermedialize this experience by extending it to a reader of poetry. They argue that rasa is also generated by a linguistic potency called dhvani. Some critics like Bhoja (11th C. A.D.) also proposed generation of rasa by pictorial art, and further, some modern critics propose to trace dhvani property in non-verbal arts such as dance and music pleading thereby that these non-verbal arts also generate rasa. The present essay examines these arguments and concludes that generation of rasa is confined to only the audio-visual and verbal arts such as the theatre and poetry, and, dhvani as a specific linguistic potency, is strictly confined to the verbal arts. Its intermedialization is a contradiction in terms.
3. Cultura International Journal of Philosophy of Culture and Axiology: Volume > 13 > Issue: 2
Krishna Praveen, V. Anitha Devi, Kathakali: The Quintessential Classical Theatre of Kerala
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The term Kathakali has by far become a word that is known widely among theatre lovers all over the world. It is no longer an art intended to perform within the four walls of a temple in Kerala, with only a limited educated upper class to appreciate. In its evolution, it has become a symbol that represents a society, culture and tradition.This paper explores Kathakali art form, tracing its origin and evolution and analyzing how it hasbecome a socio-cultural icon. The paper also intends a comparative analysis of Kathakali with its counterparts – Krishnanaattam, Koodiyattam and Yakshagana – in order to substantiate its pre-eminence.
4. Cultura International Journal of Philosophy of Culture and Axiology: Volume > 13 > Issue: 2
Jinghua Guo, Adaptations of Shakespeare to Chinese Theatre
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In the 20th century, the adaptation of William Shakespeare's classic dramas onto the Chinese stage have attracted great interest. The study of such cross-cultural adaptations has positive significance not only for development of literary theory, literary criticism and literary history, but also in that it promotes unusual forms of innovation with regards to the study of performance in general. Chinese adaptations to performance and opera have allowed Chinese people to understand the essence of Shakespeare's plays, presented in a more forms, and as a consequence, such adaptations function as a bridge for Sino-foreign cross-cultural exchanges and interpretations. These paper traces a panorama of Shakespeare's adaptations onto the Chinese stage in the year that celebrates the 500 anniversary of his death.
5. Cultura International Journal of Philosophy of Culture and Axiology: Volume > 13 > Issue: 2
Cyril-Mary Pius Olatunji, Mojalefa L.J. Koenane, Philosophical Rumination on Gelede: an Ultra-Spectacle Performance
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Gelede is a typical Yoruba concept which has evolved into a traditional form of musical performance with its influence has transcend its traditional abode in the Yoruba communities of Nigeria and West Africa to Latin Americas, parts of Europe, Australia and the Black world at large. It also evolves beyond mere localized performance in which members of a community gathered in the town squares, market squares or the typical under the tree arrangements to a wider scale in all aspects of the social, and even religiouslives of the people. This paper combines an expository and comparative analysis with its main objective to sensitise scholarly attention to the phenomenon and to provide supplementary concise and critical source for further studies, philosophic analyses and scholarly interpretations.
6. Cultura International Journal of Philosophy of Culture and Axiology: Volume > 13 > Issue: 2
María Vives Agurruza, The Cultural Impact of the Nanking Massacre in Cinematography: On City of Life and Death (2009) and The Flowers of War (2011)
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The Flowers of War (2012), based on the homonymous novel by Geling Yan, and City of Life and Death (2009) are recent Chinese films that deal with the so-called 'Nanking Massacre‘ or 'the Rape of Nanking‘. The events which inspired these stories in the context of the second Sino-Japanese War will be analysed through the study and comparison of both films, together with the reasons which led the directors to fictionalise a series of events so many years after they occurred in 1937. This analysis will be carried out based on the testimonies of the foreigners who eyewitnessed the events at the time, and who left written testimony of the facts, and a comparison shall be made between the fictional and factual events.
7. Cultura International Journal of Philosophy of Culture and Axiology: Volume > 13 > Issue: 2
Qingben Li, China’s Micro Film: Socialist Cultural Production in the Micro Era
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During the past ten years, China’s micro film industry has made a rapid development aided by technological changes. Focusing on three types of micro films, this paper reveals some characteristics of China’s micro films within socialist cultural production with Chinese characteristics. This model departs from a past when the government managed everything during the Planned Economy, but is also different from the models of cultural policy in the West. The micro films examined are A Murder Case Triggered by a Steamed Bun, a parody of film Wuji (The Promise 2005), market-conspiracy micro films such asImminent and The Only Choice, and social-welfare micro films likeI will give you happiness when I grow up. All of them bring forth the issue of coordination and harmonization of conflict between social-welfare and market efficiency.
8. Cultura International Journal of Philosophy of Culture and Axiology: Volume > 13 > Issue: 2
Annette Thorsen Vilslev, Following Pasolini in Words, Photos, and Film, and his Perception of Cinema as Language
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Discussing the intercultural reception of Pier Paolo Pasolini, this article looks into the intercultural and medial crossovers of his person and his work. It shows the historical particularities of Pasolini's work, and it traces layers of intermedial references in his movie production, describing the many-layered intercultural interplay. Lastly, it focuses on the discussions of media relations, and the remedialisation inherent in much of Pasolini's work.
9. Cultura International Journal of Philosophy of Culture and Axiology: Volume > 13 > Issue: 2
Adile Aslan Almond, Reading Rainer Fassbinder’s adaptation Fontane Effi Briest
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Fontane Effi Briest by the German director Rainer Werner Fassbinder is arguably one of the greatest adaptations from literature to screen, and the best Effi Briest adaptation. Although the first reception of the movie, when it appeared in 1974, was not without unmixed reviews, most scholars nowadays share the conviction that it is a masterpiece. Elke Siegel defines the film as a success both at the Berlinale and at the box office (Siege, 2012: 378). Kreft Wetzel, however, in an interview with Fassbinder in 1974, refers to the ambivalent attitude of the critics abroad at the time of the movie‘s release, to which Fassbinder replies that Fontane‘s language is the foundation of the movie and, hence, the film works to its full extent only in German (Wetzel, 1992: 157). Forty years after this interview and judging from the scholarly work carried out on Fassbinder in general and Fontane Effi Briest in particular, it is plausible to claim that Fassbinder‘s art has moved beyond the language barriers and appeals to an audience beyond the German culture and language.
10. Cultura International Journal of Philosophy of Culture and Axiology: Volume > 13 > Issue: 2
Yang Geng, Lingling Peng, The Time Phenomenon of Chinese Zen and Video Art in China: 1988-1998
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As a response to the problems of language in Chinese modern and avant-garde art from 1988 to 1998, early video art reclaimed the independence of language from social reality and political influence and established it on the basis of the time phenomenon. By comparing the category of time in the Western philosophical tradition and in Chinese traditional thought, we find that the “immediacy” of Zen provides a hermeneutical approach to the nature of language as a reflective medium, closely related to the silent experience. In line with the three basic principles of transcendental Zen, video media purifies body language into the immaterial language in three ways – through disembodied video movement, the de-objectified video image, and discontinuous video narrative.