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Along with literature, music, through the suggestiveness of the means of expression, manages to render in different compositional forms and genres the specific atmosphere and traits of the mythical universe. The Romanian musical creation has been dynamically asserted in an original manner over time, through the diversification of artistic means and a permanent adaptation of musical language to the aesthetic requirements of each compositional period. Skillfully wielding the processes of modern musical language, composers George Enescu, Aurel Stroe and Cornel Țăranu have given the contemporary public artistic masterpieces which impress by the personal manner of transposing into modernity the transcendent message of the myths of Oedipus and Orestes. The richness of the compositional means employed by the three composers creates bridges between antiquity and modernity, between the imaginary and the real universe.
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The essay examines a Bengali adaptation of Macbeth, namely Rudrapal Natak (published 1874) by Haralal Ray, juxtaposing it with differently accented commentaries on the play arising from the English-educated elites of 19th Bengal, and relating the play to the complex phenomenon of Hindu nationalism. This play remarkably translocates the mythos and ethos of Shakespeare’s original onto a Hindu field of signifiers, reformulating Shakespeare’s Witches as bhairavis (female hermits of a Tantric cult) who indulge unchallenged in ghastly rituals. It also tries to associate the gratuitous violence of the play with the fanciful yearning for a martial ideal of nation-building that formed a strand of the Hindu revivalist imaginary. If the depiction of the Witch-figures in Rudrapal undercuts the evocation of a monolithic and urbane Hindu sensibility that would be consistent with colonial modernity, the celebration of their violence may be read as an effort to emphasize the inclusivity (as well as autonomy) of the Hindu tradition and to defy the homogenizing expectations of Western enlightenment
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The comparative, differential phenomenology of play and games has a critical political point. A mainstream discourse identifies – more or less – sport with play and game and describes sport as just a modernized extension of play or as a universal phenomenon that has existed since the Stone Age or the ancient Greek Olympics. This may be problematical, as there was no sport before industrial modernity. Before 1800, people were involved in a richness of play and games, competitions, festivities, and dances, which to large extent have disappeared or were marginalized, suppressed, and replaced by sport. The established rhetoric of “ancient Greek sport”, “medieval tournament sport”, etc., can be questioned.
Configurational analysis as a procedure of differential phenomenology can help in analyzing sport as a specific modern game which produces objectified results through bodily movement. This analysis casts light not only on the phenomenon of sport itself, but also on the methodological and epistemological challenge of studying play, movement, and body culture.