Eustathios and the Wedding Banquet for Alexios Porphyrogennetos

2017 ◽  
pp. 33-42
Keyword(s):  
Wedding Banquet

scholarly journals COMERES DE FESTA

2021 ◽  
Vol 7 (14) ◽  
pp. 109-135
Author(s):  
Isabel Drumond Braga
Keyword(s):  
Twentieth Century ◽  
20Th Century ◽  
Wedding Banquet

Se para o século XX as fontes são bastante abundantes, nem sempre é fácil sistematizar a informação de modo a produzir conhecimento. Este artigo pretende dar a conhecer a tipologia de fontes disponíveis ao historiador para estudar os banquetes servidos por ocasião dos casamentos na primeira metade do século XX. Trata-se, pois, de um roteiro da diversidade de opções disponíveis e da necessidade de cruzar os dados das diferentes tipologias. Palavras-chave: Casamento. Banquete. Portugal. Século XX.   Abstract In the twentieth century the sources are quite abundant, and it is not always easy to systematize the information in order to produce knowledge. This article aims to present the typology of sources available to the historian to study the wedding banquets served in the first half of the twentieth century. It is therefore a script of the diversity of options available and an alert to cross-refer data from different typologies. Keywords: Wedding. Banquet. Portugal. 20th Century.

Identifying the strategic implications of service attributes of wedding banquet halls for market competition and risk management

2021 ◽  
Vol 92 ◽  
pp. 102732
Author(s):  
Ching-Chan Cheng ◽  
Hung-Che Wu ◽  
Ming-Chun Tsai ◽  
Ya-Yuan Chang ◽  
Cheng-Ta Chen
Keyword(s):  
Risk Management ◽  
Market Competition ◽  
Wedding Banquet

Melodrama and Asian American Performance

2019 ◽  
Author(s):  
Eunha Na
Keyword(s):  
World War Ii ◽  
Asian Americans ◽  
Asian American ◽  
Public Perception ◽  
Japanese American ◽  
American Theater ◽  
The Public ◽  
Social And Emotional ◽  
Uncle Tom's Cabin ◽  
Wedding Banquet

American theater has long used melodramatic elements to shape the contour of racial dynamics and its representations for white mainstream audiences. Recurrent tropes of racial melodrama have appeared in such works as George Aiken’s stage adaptation of Uncle Tom’s Cabin (1858) and Dion Boucicault’s The Octoroon (1859), asserting a strong influence on the public perception of the ethical flaws of slavery and the ambiguity of racial identities. With its sympathetic portrayals of racial minorities as virtuous, innocent victims of social injustice, racial melodrama engaged white viewers in stories of racialized characters that aroused basic human feelings of compassion and sympathy as well as a sense of moral righteousness that encouraged and mobilized political actions, such as abolitionist movements, well beyond the theater. Modern and contemporary Asian American dramatists have adopted formal and thematic elements of melodrama and its affective strategies as a way to gain public visibility and re-articulate prevailing ethnic stereotypes formulated within a binary framework peculiar to melodrama. Melodrama’s emotional intensity and stylistic excesses effectively help to convey the historical, social, and emotional experiences of Asian Americans, including migration, displacement, and injustices such as Japanese American World War II incarceration. At the same time, Asian American dramatists’ critical revision of the melodramatic mode complicates the gendered and racialized dynamic that has defined the cultural identity of Asian Americans against white, mainstream America. The clearly melodramatic characteristics in Gladys Ling-Ai Li’s The Submission of Rose Moy (1924) seemingly reaffirm the stark division between Asian and American identities, only to reveal their ambiguities and uncertainties. While Velina Hasu Houson’s Asa Ga Kimashita (1981) and Tea (1987) render the suffering of Japanese American female characters emotionally relatable to the viewer as a universal experience, Asian female victimhood also serves as a melodramatic sign of national abjection under the violence of American racism and imperialism. Melodrama meets stage realism in Wakako Yamauchi’s The Music Lessons (1980) and in Philip Kan Gotanda’s The Wash (1985), where melodramatic pathos is facilitated through the plays’ attention to socio-political and psychological realism. Contemporary Asian American culture’s continued use of melodrama is most notable in transnational films such as The Wedding Banquet (1993) and Saving Face (2004), works that explore the potentials and limitations of melodrama as a critical aesthetic strategy.

A wedding banquet in 1767

1880 ◽  
Vol s6-I (7) ◽  
pp. 134-134
Author(s):  
F. D.
Keyword(s):  
Wedding Banquet

scholarly journals The Cinematic Depiction of Conflict Resolution in the Immigrant Chinese Family

2013 ◽  
Vol 1 (2) ◽  
pp. 129-159
Author(s):  
Qijun Han
Keyword(s):  
Chinese Culture ◽  
Chinese American ◽  
Family Values ◽  
Value Systems ◽  
Chinese Family ◽  
American Family ◽  
Cultural Specificity ◽  
Chinese American Families ◽  
Wedding Banquet ◽  
To Come

Both emphasising dilemmas that have been confronted by the Chinese- American family, Ang Lee’s The Wedding Banquet (1993) and Alice Wu’s Saving Face (2004) highlight the image of homosexuality as incompatible with traditional Chinese family values. Through detailed narrative analyses of these two films with a focus on the structure of the plot, the key characters, and camera work, this article aims to answer the questions of how traditional Chinese culture continues to play into and conflict with the experiences of modern Chinese American families and how each film presents and resolves the tensions arising from a culture in transition. The article argues that the importance of studying the ways in which the protagonists try to come to terms with incompatible value systems, lies in the capacity of film to reveal the complex negotiation between tradition and modernity, as well as the socio-cultural specificity of the conceptions of modernity.

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