"Ese tan borrado sobrescrito": The Deconstruction of Lope's Religious Theater in El retablo de las maravillas and El rufián dichoso

2004 ◽  
Vol 56 (2) ◽  
pp. 241-268 ◽  
Author(s):  
William Childers
Keyword(s):  
Religious Theater

scholarly journals Effect of Urban Revitalization on Promoting of Sense of Place (Case Study: Behrouzieh Alley & Heidarieh Religious Theater of Tabriz City)

2016 ◽  
Vol 11 (2) ◽  
pp. 446-457
Author(s):  
Sevda Jabbari ◽  
Saghar Hosseinalizadeh
Keyword(s):  
Collective Memory ◽  
Sense Of Place ◽  
Theoretical Data ◽  
Field Studies ◽  
Human Mind ◽  
Urban Revitalization ◽  
Modern World ◽  
Scientific Databases ◽  
Religious Theater ◽  
Specialized Texts

The word "urban revitalization " has changed significantly especially since 1980s. Looking to future, urban revitalization indicates to "return to home" where "home" refers to human mind and its perception from the environment and sensory experience arising from being in urban spaces. The sense is not tangible and it is empowered through human recognition and its induction by memorial elements. Thus, citizens may participate and take actions in urban revitalization since it leads to urban revive in the modern world and provides a real city for citizens. Unfortunately, the concept of "sense of place" is weakened due to lack of appropriate and accurate revitalization interventions in historical contexts. According to the present article, this study aims at emphasizing on valuable elements to promote sense of place, appropriate revitalization interventions to empower sense of collective memory, highlight valuable elements and solve current problems found in quarters using revitalization approaches as well as appropriate practical and scientific strategies. Conceptual pattern of the article is based on analytical-descriptive method carried out through collecting informative and theoretical data from authentic scientific databases, studying specialized texts, using field studies, and noting the observations. According to the observations, this study focused on parameters of urban revitalization and sense of place including security, vitality, collective memory, Permeability, Compatibility, and building density. Using SPSS software, it was finally made clear that there is a direct relation between urban revitalization and sense of place.

TOBOLSK IRMOLOGION OF SAINTED PHILOTHEUS

2021 ◽  
pp. 181-194
Author(s):  
Tatyana G. Kazantseva ◽  
Keyword(s):  
Indigenous Peoples ◽  
Large Scale ◽  
The South ◽  
Siberian Region ◽  
Musical Culture ◽  
Old Russian ◽  
Holy Trinity ◽  
Religious Theater ◽  
South West ◽  
The Church

The object of research in this article is the chant manuscript of a five-line notation kept in the funds of the State Archive in Tobolsk (No. 306). The significance of this musical monument for the culture of Siberia is determined by its belonging to the fifth metropolitan of Siberia and Tobolsk Philotheus (Schemamonk Feodor), the first Ukrainian scholar monk at the Siberian cathedra. About belonging of the manuscript to sainted Philotheus is testifies owner's record of his pupil Peter Tungus. Sainted Philotheus played an important role not only in the education of indigenous peoples, but also in the emergence of a new European type culture in Siberia. He initiated the construction of the first stone cathedral in Siberia in the name of the Holy Trinity in the monastery of the same name and founded of the bishop's school (later seminary), the religious theater. Metropolitan Philotheus paid much attention to the issues of church singing. Thus, in the bishop's school singing “according to the note” was taught, the lord himself organized the church and metropolitan choruses from the “written out” Kiev monks and exiled Cossacks, and taught literacy and singing, including of newly baptized Siberians. Given the period (the beginning of the XVIII century) and the ancestry of Metropolitan Philotheus, cultivated by him the church-singing culture in the Siberian metropolia was under considerable influence of the South-West Russian Baroque. The manuscript being analyzed is a monument of this tradition. According to the complex of paleographic signs, the manuscript dates back to the early 1660s. and, perhaps, was created by scribes of the Kiev-Pechersk Lavra, from where Philotheus was erected to the Siberian Metropolitan Сathedra. The singing book is written in four handwritings, representing the South-West Russian semi-uncial with elements of cursive writing and a lot of outline letter, some words are given under the titles, greekized and latinized variants of capital letters are actively used. The edit of the text is pre-reform, elements of razdelnorechyie are preserved. The composition and content of the book refers to the most common from the second half of the XVII century “Oktoih” type of the Ukrainian-Belarusian Irmologion. It consists of seven parts: 1) (main) chants of the Sunday service and the irmos of the canons; 2) automelon (αυτόμελον) (samples for chanting stichera, troparia and sedalen (Κάθισμα)); 3) Irmos and other hymns to the Compline of Feasts of the Nativity of Christ and the Epiphany; 4) a fragment of the Obikhod of Quadragesima; 5) selected holidays of the Minei stikheres-book; 6) a fragment of the Obikhod of the all-night vigil of the Kiev chant; 7) full-text canons in the Palm Sunday and Easter. Thus, the structure of the Irmolion differs from the Moscow singing books of both the Old Russian and the post-reform traditions, and some differences in the repertoire of the chants are noted. The musical material of the manuscript belongs to the Kiev “izvod” (derivation) of the znamenny chant. In conclusion, it is noted that the Tobolsk manuscript is a typical Ukrainian-Belarusian Irmologion, but for the Siberian region it is undoubtedly unique. Tobolsk Irmologion together with later manuscripts in various Siberian storages form the foundation for the statement of a large-scale problem of the influence of South-West Russian Baroque on the development of the musical culture of Siberia.

Aztecs on Stage: Religious Theater in Colonial Mexico ed. by Louise M. Burkhart

2015 ◽  
Vol 101 (2) ◽  
pp. 398-399
Author(s):  
Xavier Noguez ◽  
Merideth Paxton
Keyword(s):  
Colonial Mexico ◽  
Religious Theater

Binocular Vision

2020 ◽  
Vol 111 (1) ◽  
pp. 173-191
Author(s):  
Noah D. Guynn
Keyword(s):  
Binocular Vision ◽  
The Other ◽  
Multiple Modes ◽  
Mystery Plays ◽  
Religious Theater ◽  
Other Hand ◽  
The One ◽  
Modes Of Existence

Abstract This essay deploys Bruno Latour’s An Inquiry into the Modes of Existence and Bert States’s Great Reckonings in Little Rooms to analyze the pyrotechnics used in mystery plays to symbolize supernatural truths. On the one hand, these effects cultivated aesthetic immersion, allowing audiences to perceive stage illusions as real. On the other hand, they drew attention to their own artfulness, inviting spectators to marvel at human achievement and contemplate the possibility of misfire. This paradox encapsulates the theological ambiguities of medieval religious theater, which asked spectators to suspend disbelief in the name of conversion even as they maintained skepticism about sacred simulacra. Latour’s metaphysics allows us to see how mystery plays deployed multiple modes of existence, each of which mediated the others but could not reduce or explain them. States’s theater phenomenology shows us how mystery plays used self-given realities like flame to shuttle between human and nonhuman standpoints. If Latour rejects phenomenology for its refusal to consider the agency of the nonhuman, States’s focus on reality as resistance offers an implicit retort. I propose a rapprochement by showing that theater phenomenologists and medieval effects masters are both willing to embrace the ontological work of nonhuman actants.

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