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Angkor Wat's "Churning of the Sea of Milk" bas-relief masterpiece is unique among "Churning" depictions for its naturalistic presentation of fishes and other aquatic animals. Their behavior clearly indicates that they have been poisoned, as related in the myth of the Churning. The poisoned fish are being cut in two by the sword of Suryavarman II as Vishnu. Also notable is the inclusion of the mythical beast known as gajasimha. The little known Angkor Wat bas-relief called the "Fete nautique des Dvaravati", also a masterpiece, realisticany portrays people making music, playing chess, fishing, hunting, and engaged in other aeti vities, in the midst of a forested wetland filled with birds, fish, crocodiles and other animals. The scene also portmys two royal pleasure boats, one with Garuda on its prow and the other with a gajasimha. Gajasimha is an Indian and Khmer makara associated in Khmer iconography with the Hindu god Vishnu. Suryavarman II was one of the few Khmer kings to be identified with Vishnu. Garuda and gajasimha were employed repeatedly to symbolize this relationship. This symbolism is employed in several significant innovations in Khmer iconography. These include replacement of the naga Ananta or Sesha by a gajasimha in representations of Vishnu Anantasayin; the distinctive "Garuda-gajasimha" balustrades, and use of the head of gajasimha or its elephantine trunk as the apical finials (dong chivea. Iliya, or chota) on Cambodian, Laotian, and Thai Buddhist temples. Fish figure importantly in numerous Bayon bas-reliefs. Many of these depict ordinary people engaged in activities such as cooking, gambling, cockfighting, and fishing. Others apparently depict events or incidents in the life of Jayavarman VII including his military victories, building activities, and apotheosis as Jayahuddha or Buddha-King, as well as his tolerant attitude towards other religions. There are also indications that he had an abiding interest in natural history.
Während das Begehren des Mannes eine Sprache findet, gibt es lange Zeit wenig Raum für den Ausdruck des Begehrens der Frau. Der Körper des Mannes spielt in diesem Fragment des Liebesdiskurses, dem Liebesbrief, anscheinend eine andere Rolle als der Körper der Frau. Gegen Ende des 20. Jahrhunderts lösen sich die Grenzen auf.
Auf den ersten Blick scheinen selbstbewusste, emanzipierte Frauenfiguren im Fernsehen Konjunktur zu haben. Immer neue Kommissarinnen, Anwältinnen und Ärztinnen dominieren die Serien. Bei einer genaueren Rollenanalyse wird jedoch sichtbar, dass die alten weiblichen Rollenklischees weiter wirken. Im Film aus Hollywood ist es nicht anders. Allein im amerikanischen und auch deutschen Nachwuchskino gibt es wirklich neue Entwürfe von Frauenfiguren
Zvi Keren: his contribution to Israel's music scene : an interview in honor of his 85th birthday
(2002)
It is with great pride that I introduce a new section in this issue of Min-Ad: Israel Studies in Musicology, dedicated to interviews with musicians who have made major contributions to Israel’s music life. I am particularly pleased to inaugurate this section with an interview with our esteemed colleague (and in my case, teacher), Zvi Keren, a major figure in the development of Israel´s contemporary, jazz and light music. This interview is conducted by Alona Keren-Sagee, Zvi Keren´s daughter.
Among recent approaches to Classic music, one of the most revealing is the investigation of expression via topoi. Pioneered by Leonard Ratner, and developed by leading musicologists specializing in 18th-century music, this system identifies characteristic figures and styles that conveyed specific meanings to 18th-century audiences via processes of association. These implications resulted from intimate contacts with everyday musical activities in worship, entertainment, dance ceremonies, the military, hunt, and outdoor events. Familiarity with such characteristic topoi and styles enables listeners and performers today to reconstruct the original venues of communication between composers and their audiences. Serving as case studies, this paper explores the expressive content of two concertos intended for aristocratic women performers in Salzburg: the Concerto for three keyboards in F, K. 242 (1776), written for the Countess Antonia Lodron and her two daughters, Aloysia and Josepha, and the keyboard concerto in C, K. 246 (1776) intended for the Countess Antonia Lützow. Indeed, it seems that much as Mozart provided his singers with arias that were tailored to their voices,3 in these cases, he granted the Countesses music that was redolent of their social milieu. In support of this hypothesis, this article opens with a description of several social-musical activities that engaged the Lodron and Lützow families in Salzburg during the 1770s. It then proceeds to discuss references to these concertos found in the Mozart family correspondence. While much of this information is gleaned from well-known Mozart sources, its recall establishes the cultural and sociological context for these specific works, and provides an insight into the manner of performance that Mozart valued for this music. The paper concludes with a semiotic analysis of selected passages, suggesting that the choice of the topical content bears homage to the women dedicatees.
This paper by the Coordinator of the Kamanakao Association reflects upon the Association’s campaign against tribally discriminatory laws, against the social stigma of past serfdom, and for human rights and democracy in Botswana. The campaign made Wayeyi from the North West District highly visible on the national scene. Through litigation up to the High Court, the Kamanakao Association broke new ground for judicial review in the broad public interest. The advance was for the cultural rights of ‘minorities’ in general, and not only in the interest of the Wayeyi. The most favourable High Court ruling recognised Yei cultural distinctness, allowed them to secede from the tribe of their past overlords, the Tawana, and concluded a landmark case in the wider fight against state-backed tribal discrimination and denial of language rights. As an insider’s account mainly about recent events, but seen in a perspective extending to precolonial times, the paper focuses on strategies for and against change. These are the strategies effecting the power relations, in turn, between the Yeyi and the Tawana, former serfs and overlords, the Yeyi and the Government, and the Government and the Tswana speaking tribes unfairly privileged by the tribally discriminatory laws.