scholarly journals The specificity of the interpretation of Rodelinda’s pa rt from G. Handel’s opera “Rodelinda”: interpretological approa

2021 ◽  
Vol 24 (24) ◽  
pp. 90-110
Author(s):  
Xin Yuan
Keyword(s):  
Vocal Music ◽  
Point Of View ◽  
Vocal Performance ◽  
Scientific Publications ◽  
Metropolitan Opera ◽  
Performance Traditions ◽  
Baroque Era ◽  
And Performance ◽  
The One ◽  
Interpretative Approach

Statement of the problem. Among the questions that arise, let us single out those that will form the basis of the proposed article devoted to women’s parts in the opera “Rodelinda”: HIP traditions and staging strategies; vocal roles and their possible modifications / transformations under the conditions of specific directing and performing solutions. Analysis of recent scientific publications shows that ‘Handeliana’ is currently very voluminous. Thus, the works of W. Dean (1969), J. Knapp (2009) and C. Hogwood (2007), which have been republished several times, are considered thoroughly; L. Silke (2014) summarized the experience of predecessors and presented new dimensions of scientific understanding of Handel’s legacy. Fundamental are the studies by L. Kirillina (2019). The problem of performing vocal music of the Baroque era has been actively discussed in the works of I. Fedoseev (1996), N. Harnoncourt (2002), G. Kaganov (2013), M. Burden (2009), A. Jones (2006), О. Kruglova (2007), G. Konson & I. Konson (2020). The purpose of the article is to single out the main parameters of the baroque performance of women’s parts in G.F. Handel’s opera “Rodelinda” taking into account the performing traditions and modern trends. The research methodology is focused on the concept of “authentic performing strategy” (Yu. Nikolaievska, 2020), positions of comparative interpretology (Ch. Zhiwei, 2012) and interpretative approach, aimed at studying the specifics of the performance versions. The scientific novelty of the article lies in the application of an interpretive approach to the study of G. F. Handel’s operas. Results. In the 1938 recording (conducted by G. Leonhard), Rodelinda was performed by the famous Cecile Reich, in 1959, 1973 – by Joan Sutherland (in London and Netherlands productions). Closer to the authentic versions is the one performed by Sophie Danneman (1996); there is also a famous recording of 2005 with Rene Fleming (Metropolitan Opera), who was brilliant as an actress (which is required by the plot), but she admired and “played” her voice a little, which does not quite correspond to the principles of authenticity. One of the stars of the Glyndebourne Festival (1998) was the performer of Rodelinda’s part – Anna Caterina Antonacci, who performed her part with the necessary psychological and vocal accents, but, perhaps, somewhat dry and removed, which is why the listener is also removed from the heroine’s tragedy. In 2011 N. Harnoncourt recorded “Rodelinda” (in the title role – Danielle de Niese, who owns the entire arsenal of means inherent in baroque performance). Lauren Woods (recording of the 2016) is one of the most famous performers of the baroque repertoire. Critics have noted her perfect articulation, acting ability and “impressive vocals”. Simone Kermes, who critics call “the mad queen of the Baroque”, is distinguished by bright and temperamental performance, especially incomparable in the interpretation of baroque operas. Conclusions. From the interpretive point of view, mastering the expressive system of Baroque vocal performance traditions, in particular the art of vocal improvisation and ornamentation, consistent with the artistic context and directorial decision, can broadcast for the modern listener the affects and meanings of Handel’s music. The established features of baroque style are marked (affect, which is usually concentrated in such positions as tempo-rhythm, tonality, text, syntax of the melody) and performance (timbre, dynamics, intonation of the melodic line, ornamentation). Rodelinda’s part has been shown to require the ability to switch from one affect to another fairly quickly. In the analyzed interpretations, modern singers (D. de Nies, J. Sutherland, S. Kermez, L. Woods, A. K. Antonacci) practically do not allow themselves to be free, but seek to follow the principles of authentic performance, which is manifested in dynamic, agogic elements, various timbre colors arias (aria of revenge, duet-consent, aria of lamento), the ability to improvise.

scholarly journals Genre Liederabend in creative practice by J. Kauffmann

2019 ◽  
Vol 55 (55) ◽  
pp. 183-197
Author(s):  
Haosyuan Yan
Keyword(s):  
Point Of View ◽  
Vocal Performance ◽  
Creative Work ◽  
Special Trait ◽  
Main Research ◽  
Metropolitan Opera ◽  
Behavioural Characteristics ◽  
Official Site ◽  
Slow Tempo ◽  
The Voice

Statement of the problem. Within the frameworks of interpretology, the performing style appears as the relation of two subjects (the performer and the subject of the music itself, recorded in the text), a meeting of the composing and performing thinking. It is every performance by Jonas Kaufmann, a prominent singer of the present, that becomes this meeting. According to the singer’s words, the «chamber form» invented by him and called Liederabend is the favourite form of his expression. Liederabend always demonstrates the singer’s outstanding acting skills, stage presence, strong voice and impeccable technique. Among the outstanding events there are the performances of G. Mahler’s chamber opuses (romances, «Song of the Earth», «Songs of the Dead Children», R. Strauss; Liederabends in Bamberg, Munich and the Metropolitan Opera with F. Liszt’s songs «Three Sonnets of Petrarch», G. Mahler, A. Dupark (including on Heine’s and Goethe’s verses), R. Wagner (Five Songs on Matilda Wesendonk’s verses), B. Britten (Seven Sonnets by Michelangelo). The singer’s attention to the AustrianGerman repertoire is the special trait of such chamber evenings. Analysis of recent publications on the topic. The main material on J. Kaufmann’s creative work is contained in numerous interviews, official site materials, Thomas Voigt’s book called «Meinen die wirklich mich», nonfiction articles and reviews on the performance of, in particular, Liederabends (T. Belova, T. Yelagin, E. Shapinska, Tim Ashley, and Christie Franke). From the studies of chamber and vocal performance (I. Gersamiya, T. Madysheva, T. Lymareva), the classification of dialogue quality (E. Stepanidina) in chamber music is involved. The systematic approach allows (based on G. Tsypin’s research) to identify the phenomenon of J. Kaufmann’s creativity. The purpose of the study is the formulation of the basic parameters of his performing style based on the analysis of J. Kaufmann’s Liederabends. Presentation of the main research material. In «The Winter Way» the singer resorts to such expressive means as a little exaggerated, chanted diction of the initial phrases («Sleep quietly»), radically contrasting dynamics of opera ff and subtle pp («Flood»), extremely slow tempo and filigree breathing («Inn»), «performance on the verge» of sound and silence («Loneliness», «Grey Hair», «Crow», and «Last Hope»). The centre of the performance concept is «Loneliness» (according to the singer himself). K. Frank sees the performance by Kaufmann as a rich spectrum of emotions; many listeners note the introversion of his expression. Concerning the conceptual dimension of J. Kaufmann’s interpretation of “The Winter Way”, the following facts were noted: the integrity and the construction of the performance form; the conscious avoidance of unnecessary expressiveness, monologue quality (the master connects the songs, creating an extended monologue), and artistry. Conclusions of the study. The analysis of Liederabends made it possible to find the components of J. Kaufmann’s performing style that characterize his individuality. 1. Intellectualism, conceptual design and «cyclicality» of the embodiment. For Liederabends the singer always chooses sophisticated programs, dominated by song cycles, or even the evenings devoted to the creative work of one composer. From the point of view of dramaturgy, the singer combines several songs into a kind of a micro-cycle, which enhances the monologue of the expression (dialogue «I-I»); the performance by the singer of any composition or cycle is always integral and intends for the catharsis. 2. The system of vocal expressive means that allow the singer to simulate different facets of images. Liederabends reflect the main features of J. Kaufmann’s style, which can also be noted in terms of opera interpretations: the economy of the performer, the singer’s commitment to conducting the cantilena, the role of the rhythmic component in the vocal score, the ability to tune his voice in different vocal ensembles, brilliant piano and mezzo voce, the brightness of forte, the filigree diminuendo and more. Kaufmann’s outwardly restrained manner of performance allows conveying the shades of poetic and musical text, reaching the heights peculiar to him as the performer of the tragic roles of the opera repertoire. In the chamber performance, some things sound even more pronounced. This applies to timbre (the singer can choose the desired colour of the voice, in particular, a matte or «steel» hue), the dynamic hue of ppp (sometimes a barely audible sound of the voice in the vocal cycle by F. Schubert gave a sense of boundary between the worlds, which is as if crossed by the lyric hero), diction (the singer speaks words clearly, and sometimes even sings in a recitative manner, in particular F. Schubert’s «Warrant»), and rhythm (he has a specific «acuteness» with certain disturbances of a uniform course, which has a powerful influence on the audience). Analysing the method of J. Kaufmann’s work with the author’s musical material, it is noted that he respectfully treats the text of the performed compositions, never exaggerates with “liberties” (agogic deviations, text notes, and fioritures). In terms of behavioural characteristics, J. Kaufmann’s performance always prevails in masculinity; from the point of view of the dialogue of the vocal and piano parties in J. Kaufmann’s Liederabends, the monologue quality is of great importance. All of the above allows us to identify another feature of Kaufmann’s performing style – his artistry. Due to his unstoppable artistic energy, which is felt by the listeners and visitors of Liederabends, the singer creates vivid, conceptual song evenings that are generally distinguished by the thoughtfulness of interpretations and which will surely be included in the collection of the world chamber performance. The prospect of further study of the topic is related to the study of J. Kaufmann’s performing style from the standpoint of interpretology.

scholarly journals Bassoon in the 16–17 centuries: the issues of the bassoon practice development

2020 ◽  
Vol 19 (19) ◽  
pp. 139-150
Author(s):  
Oleksandr Pastukhov
Keyword(s):  
Symphony Orchestra ◽  
Reciprocal Relationship ◽  
Scientific Publications ◽  
Main Research ◽  
Basso Continuo ◽  
Antonio Vivaldi ◽  
Wide Range ◽  
Baroque Era ◽  
And Performance ◽  
The Relationship

Background. The article deals with the interaction of the constructive evolution of the instrument and the development of bassoon performing of the 16–17 centuries. The aesthetics of that time was associated with the search for new expressive means, realization of which could be ensured by new instruments with rich and expressive sound. One of such instruments is bassoon; it was during the Baroque era when the bassoon took its shape and the sound image we know today. Thanks to technical evolution, the instrument acquired new artistic capabilities and new sound quality. A new repertoire was formed; bassoon became the part of such instrumental genres as sonata and concerto, it was firmly fixed in the score of the symphony orchestra. In music science, there are a number of studies devoted to wind instruments, the most significant of which are researches by G. Abadzhyan, V. Apatskiy L. Belenov, V. Berezin, V. Bohdanov, N. Volkov, V. Gromchenko, Yu. Dolzhikov, V. Kachmarchyk, V. Lebedev, V. Popov, I. Pushechnikov, Yu. Usov, and A. Kiziliayev. There are works, which focus on the bassoon, its history, expressive and technical capabilities (G. Abadzhyan, V. Apatskiy, V. Bubnovich, N. Karaulovsky, S. Levin, V. Leonov, V. Popov, V. Starko, Anthony Baines). It is worth noting the rather important and comprehensive work by V. Apatskiy “Bassoon from A to Z”. There are numerous scientific publications of international woodwind performers associations, such as the International Double Reed Society, the Australian double reed community, the British double reed community, the Japan bassoon society, the Finnish double reed community. The purpose of the article is to reveal the specifics of the relationship between the structural improvements of the bassoon and the performance on the bassoon in the period of 16–17 centuries. Achieving this goal will help to perform tasks such as a historical overview of the development of the bassoon in the Baroque era and identify the relationship between constructive changes, artistic possibilities, repertoire potential (including the genre palette of the instrument) and composer work for the bassoon of this period. The presented article is a material used in the candidate’s dissertation, which is devoted to a wide range of issues of performance on the bassoon from the origins to the present. Methodology. The main research methods are historical, organological and performing. The historical method is associated with the characterization of the historical conditions of origin and development of the bassoon; the organological method is necessary to establish the connection between the constructive changes of the instrument with the new quality of its sound; the performing method helps to reveal new tendencies in bassoon performance of the 16–17 centuries from the new repertoire to the functional purpose of the instrument. Research results. Around the middle of the 17th century, fundamental changes occurred in the construction of the bassoon. They were caused by the need to regulate the overall tuning system of the instrument in such a way that it could participate in joint music-making with other instruments, as well as by the desire to make the instrument more portable. At the turn of the 16–17 centuries, in the process of bassoon chromatization as the result of complication of composer creativity, fundamental changes were made in the design of the instrument: new “chromatic” holes and valves, as well as fork fingering appeared. It was all connected with the formation of certain musical and aesthetic needs and developed along with them. So, the evolution of the bassoon 16–17 centuries led to such qualitative changes in the sound of the instrument as: softness of the tone, pitch control, expansion of the working range, great power of sound, ease of playing the instrument. The above-mentioned factors entailed fundamental changes in the composers’ attitude towards the instrument. The bassoon enters a more complex functional level in the works of various music genres (interlude to the comedy “La Pellegrina” by Girolamo Bargalia, “Sacrae symphoniae” by Giovanni Gabrieli, “Messa a 4 voci et Salmi” by C. Monteverdi, “Fantasy for basso continuo” by Bartolome deSelma-i-Salaverde, sonata “Lamonica” by PhilipFriedrich Bodekher, nine sonatas for solo bassoon and basso continuo by Giovanni Antonio Bertoli, sonata for two bassoons by Philipp Friedrich Buchner, opera “Il pomo d’oro” by Antonio Cesti, singspiel “Seelewig” by Sigmund Theophil Staden). The role of Antonio Vivaldi in the formation of the concerto, including concerto for bassoon, is difficult to overestimate, and thirty-nine Vivaldi’s concertos for bassoon are evidence of that. The creative work of Antonio Vivaldi affected Johann Sebastian Bach, who wrote bassoon parts in his works of different genres. George Philippe Telemann, Bach’s contemporary, is known for a large number of pieces with bassoon parts. Conclusions. Constructive changes resulted in the arrival of the bassoon to a new timbre, figurative-intonational, genre, and performance level. Meanwhile, there is a linear rather than reciprocal relationship between the above-mentioned levels. On the one hand, there is a direct dependence in the evolution of bassoon performance: new constructive features – technical capabilities of the instrument – more individual timbre character – new expressive possibilities – solo parts – solo pieces. On the other hand, all this creates new requirements both for the performer and for the instrument, which brings the situation back to the need for further search. The results of this research can be used in further studies devoted to the history and theory of bassoon performance in the historical, organological and genre-stylistic directions.

scholarly journals Vocal vibrato in the interpretation of vocal music of the baroque epoch

2021 ◽  
Author(s):  
Olga Tabulina
Keyword(s):  
Historical Context ◽  
Vocal Music ◽  
Point Of View ◽  
Historical Sources ◽  
Modeling And Analysis ◽  
Baroque Music ◽  
Logical Method ◽  
Baroque Era ◽  
Historically Informed Performance ◽  
High Level

The purpose of the article. The article examines an important component of the performance of baroque works – vocal vibrato, which often becomes an obstacle to the historically informed performance. A scholarly work that draws on a historical context outlines guidelines regarding the appropriateness of the use of vibrato. The methodology is based on the application of observation, generalization, modeling, and analysis using the historical and logical method. The indicated approach allows us to consider, generalize and summarize information about vocal vibrato, which can be useful both for students and teachers of academic singing and for performers who are looking for answers to questions regarding mastering baroque vocal forms and techniques. The scientific novelty consists in the fact that the data on the vocal vibrato is systematized and analyzed based on historical sources, research by leading foreign art historians, as well as on recordings of ancient works. Highlighted important questions concerning the appropriateness of using vibrato in baroque music. Conclusions. When mastering the vocal techniques for performing musical works of the Baroque era, vibrato issues occupy one of the main places. The use or limitation of this characteristic of the voice must be considered from the point of view of the historical context of the works performed, as well as their content. In addition to high-level technical training, the intellectual qualities, the ability to think analytically, erudition, and musical taste of the performer play an important role. Keywords: vibrato, baroque music, historically informed performance, ornamentation.

An American Singing Heritage

10.31022/a089 ◽  
2021 ◽  
Keyword(s):  
United States ◽  
Oral Tradition ◽  
Vocal Music ◽  
The United States ◽  
Folk Songs ◽  
Folk Song ◽  
Field Recordings ◽  
History Of ◽  
And Performance ◽  
The One

This edition brings together representative transcriptions of folk songs and ballads in the British-Irish-American oral tradition that have enjoyed widespread familiarity throughout twentieth-century America. Within are the one hundred folk songs that most frequently occurred in a methodical survey of Roud's Folk Song Index, catalogues of commercial early country (or “hillbilly”) recordings, and relevant archival collections. The editors selected sources for transcriptions in a broad range of singing styles and representing many regions of the United States. The selections attempt to avoid the biases of previous collections and provide a fresh group of examples, many heretofore unseen in print. The sources for the transcriptions are recordings of traditional musicians from the 1920s through the early 1940s drawn from (1) commercial recordings of “hillbilly” musicians, and (2) field recordings in the collection of the Library of Congress's Archive of American Folk Song, now part of the Archive of Folk Culture. Each transcription is accompanied by a brief contextualizing essay discussing the song's history and influence, recording and performance information (whenever available), and an examination of the tune. The edition begins with a substantive essay about the history of folk song recordings and folk song scholarship, and the nature of traditional vocal music in the United States.

scholarly journals Az idő, mint a vezetői munka erőforrása

2010 ◽  
Vol 5 (1-2) ◽  
pp. 58-64
Author(s):  
Éva Bácsné Bába
Keyword(s):  
Reaction Time ◽  
Time Management ◽  
Questionnaire Survey ◽  
Management Practice ◽  
Time Factor ◽  
Point Of View ◽  
The Other ◽  
And Performance ◽  
The One

The role of the time factor in management is increasing. Change directs attention to the time factor from the point of view of the organisation, and management does the same from that of the person. I examined the time management practice of managers of organi-sations related to agribusiness, and the reaction time characterising the adaption ability of the organisations through a questionnaire survey. I analysed the collected data with scien-tifically established statistical methods. During studying resources I analysed the time factor from two aspects. On the one hand, I wanted to know what role time has in managers' opinions in increasing company efficiency and performance. On the other hand, I asked them how much they consider this resource to be expandable.

Understanding functional illiteracy from a policy, adult education, and cognition point of view: Towards a joint referent framework

2019 ◽  
Vol 30 (2) ◽  
pp. 109-122
Author(s):  
Aleksandar Bulajić ◽  
Miomir Despotović ◽  
Thomas Lachmann
Keyword(s):  
Adult Education ◽  
Operational Definition ◽  
Literacy Skills ◽  
Point Of View ◽  
Industrialized Countries ◽  
Functional Illiteracy ◽  
Scale Levels ◽  
Components Of Reading ◽  
The One ◽  
Definition Of

Abstract. The article discusses the emergence of a functional literacy construct and the rediscovery of illiteracy in industrialized countries during the second half of the 20th century. It offers a short explanation of how the construct evolved over time. In addition, it explores how functional (il)literacy is conceived differently by research discourses of cognitive and neural studies, on the one hand, and by prescriptive and normative international policy documents and adult education, on the other hand. Furthermore, it analyses how literacy skills surveys such as the Level One Study (leo.) or the PIAAC may help to bridge the gap between cognitive and more practical and educational approaches to literacy, the goal being to place the functional illiteracy (FI) construct within its existing scale levels. It also sheds more light on the way in which FI can be perceived in terms of different cognitive processes and underlying components of reading. By building on the previous work of other authors and previous definitions, the article brings together different views of FI and offers a perspective for a needed operational definition of the concept, which would be an appropriate reference point for future educational, political, and scientific utilization.

Sea Urchins and Circuses: The Modernist Natural Histories of Jean Painlevé and Alexander Calder

2018 ◽  
Vol 13 (2) ◽  
pp. 187-211
Author(s):  
Patricia E. Chu
Keyword(s):  
New Media ◽  
Sea Urchins ◽  
Life Sciences ◽  
Three Dimensional ◽  
Machine Age ◽  
Avant Garde ◽  
History Of ◽  
And Performance ◽  
The One ◽  
Natural Historian

The Paris avant-garde milieu from which both Cirque Calder/Calder's Circus and Painlevé’s early films emerged was a cultural intersection of art and the twentieth-century life sciences. In turning to the style of current scientific journals, the Paris surrealists can be understood as engaging the (life) sciences not simply as a provider of normative categories of materiality to be dismissed, but as a companion in apprehending the “reality” of a world beneath the surface just as real as the one visible to the naked eye. I will focus in this essay on two modernist practices in new media in the context of the history of the life sciences: Jean Painlevé’s (1902–1989) science films and Alexander Calder's (1898–1976) work in three-dimensional moving art and performance—the Circus. In analyzing Painlevé’s work, I discuss it as exemplary of a moment when life sciences and avant-garde technical methods and philosophies created each other rather than being classified as separate categories of epistemological work. In moving from Painlevé’s films to Alexander Calder's Circus, Painlevé’s cinematography remains at the forefront; I use his film of one of Calder's performances of the Circus, a collaboration the men had taken two decades to complete. Painlevé’s depiction allows us to see the elements of Calder's work that mark it as akin to Painlevé’s own interest in a modern experimental organicism as central to the so-called machine-age. Calder's work can be understood as similarly developing an avant-garde practice along the line between the bestiary of the natural historian and the bestiary of the modern life scientist.

Recommendations of The Ombudsman’s Dilemma: Between Law Enforcement Officials and Protection of Credibility

2018 ◽  
Vol 2 ◽  
pp. 1-12
Author(s):  
Dyah Adriantini Sintha Dewi
Keyword(s):  
Law Enforcement ◽  
Public Service ◽  
Public Services ◽  
Point Of View ◽  
Law Enforcement Officials ◽  
Muslim Majority ◽  
The Republic ◽  
The Government ◽  
The One ◽  
Oversight Body

The Ombudsman as an external oversight body for official performance, in Fikih Siyasah (constitutionality in Islam) is included in the supervision stipulated in legislation (al-musahabah al-qomariyah). Supervision is done so that public service delivery to the community is in accordance with the rights of the community. This is done because in carrying out its duties, officials are very likely to conduct mal administration, which is bad public services that cause harm to the community. The Ombudsman is an institution authorized to resolve the mal administration issue, in which one of its products is by issuing a recommendation. Although Law No. 37 of 2018 on the Ombudsman of the Republic of Indonesia states that the recommendation is mandatory, theombudsman's recommendations have not been implemented. This is due to differences in point of view, ie on the one hand in the context of law enforcement, but on the other hand the implementation of the recommendation is considered as a means of opening the disgrace of officials. Recommendations are the last alternative of Ombudsman's efforts to resolve the mal administration case, given that a win-win solution is the goal, then mediation becomes the main effort. This is in accordance with the condition of the Muslim majority of Indonesian nation and prioritizes deliberation in resolving dispute. Therefore, it is necessary to educate the community and officials related to the implementation of the Ombudsman's recommendations in order to provide good public services for the community, which is the obligation of the government.

Defending the Difference

2017 ◽  
Keyword(s):  
Social Sciences ◽  
Natural Sciences ◽  
Point Of View ◽  
True Nature ◽  
Natural Entities ◽  
The Social ◽  
The World ◽  
Methodological Difference ◽  
The Difference ◽  
The One

Dreyfus argues that there is a basic methodological difference between the natural sciences and the social sciences, a difference that derives from the different goals and practices of each. He goes on to argue that being a realist about natural entities is compatible with pluralism or, as he calls it, “plural realism.” If intelligibility is always grounded in our practices, Dreyfus points out, then there is no point of view from which one can ask about or provide an answer to the one true nature of ultimate reality. But that is consistent with believing that the natural sciences can still reveal the way the world is independent of our theories and practices.

Indigenous Novels in Canada

2018 ◽  
Author(s):  
Tara Hyland-Russell
Keyword(s):  
Coming Of Age ◽  
Institutional Racism ◽  
Indigenous Literature ◽  
Poetic Tradition ◽  
Performance Traditions ◽  
Growing Body ◽  
Key Features ◽  
Power Of Story ◽  
And Performance ◽  
Place And Identity

Canadian Indigenous novels emerged as a specific genre within the last thirty years, rooted in a deep, thousands-year-old ‘performance art and poetic tradition’ of oratory, oral story, poetry, and drama. In addition to these oral and performance traditions are the ‘unique and varying methods of written communication’ that flourished long before contact with Europeans. The chapter considers Canadian novels by Indigenous writers. It shows that Indigenous fiction is deeply intertwined with history, politics, and a belief in the power of story to name, resist, and heal; that novel-length Aboriginal fiction in Canada built on a growing body of other forms of Indigenous literature; and that many Indigenous novels foreground their relationship with place and identity as key features of the resistance against systemic and institutional racism. It also examines coming-of-age novels of the 1980s and 1990s that are grounded in realism.

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