Hybrydowość kulturowa w przestrzeniach wielokulturowych by Börries Kuzmany

“…Galician cultural histories are manifest in the province’s theatre and music scene, literary production, architecture and fine arts. …”
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The Short Dramatic Form in the Works of Kostas Ostrauskas and Juozas Erlickas by Neringa Klišienė

“…At the same time, however, this effort also signals the inscription of short-format dramatic texts into a certain mediatic area of literature and theatre, which is primarily seen as a sign of a certain bargain with the reader. …”
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Adébáyọ̀ Fálétí, Icon on Screen by Toluwanimi Ibikunle

“…Long before he became a star film actor, Adébayọ́ Fa ̀ ́leti’s impressive body of works ́ as a poet, theatre artiste, journalist, translator, broadcaster, writer and culture administrator had firmly established his vast knowledge and mastery of Yorùbá language and philosophy. …”
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Un patrimoine redécouvert : les dépôts du Centre national des arts plastiques à l’École nationale supérieure des beaux-arts de Paris (1809-1923) by Stéphane Allavena

“…The Centre national des Arts plastiques, the national centre for the plastic arts, is the heir to a service of fine arts, sciences and theatre first created in 1791 in order to support artistic creation. …”
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« Duplessis ne donne pas aux étrangers. » Le regard du caricaturiste Robert La Palme sur les politiques du gouvernement Duplessis en matière d’immigration, 1944-1959 by Alexandre Turgeon

“…During these years, La Palme produced thousands of caricatures, a real theatre where the French-Canadian society came alive, in which the caricaturist drew under heavy fire the one then known as the « cheuf », his party, the National Union, and his governement, referred to as a « regime ». …”
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Methodological Criticism of the Book of Theater History in the Safavid Period by Majid Sarsangi, Sadeq Rashidi, Farhad Amini

“…The book of the Theatre in Safavid Period by Yaghoob Azhand is a work that historically mentions the theatrical performances common in the Safavid period and the origins and backgrounds of these practices, and is therefore of particular interest to historians. …”
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VERDI AND WAGNER IN EARLY VICTORIAN LONDON: THE VIEWPOINT OF “THE MUSICAL WORLD” by Massimo ZICARI

“…However, while Verdi’s operas made their regular appearance in London over the decades following Ernani’s premier at Her Majesty’s Theatre in 1845, it was not until 1870 (with L’Olandese Dannato, alias Der Fliegende Holländer) that the first full performance of a dramatic work by Wagner was given in the English capital city. …”
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The Destruction and Reconstruction of North Korea, 1950 - 1960 by Charles Armstrong

“…American planes dropped 635,000 tons of bombs on Korea -- that is, essentially on North Korea --including 32,557 tons of napalm, compared to 503,000 tons of bombs dropped in the entire Pacific theatre of World War II.2 The number of Korean dead, injured or missing by war's end approached three million, ten percent of the overall population. …”
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Market of the Russian avant-garde painting: investment potential and characteristics of auctioning by D. L. Morozova

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Opera and british nationalism, 1700-1711 by Thomas McGeary

“…L’opéra italien chanté de bout en bout apparut pour la première fois en Grande-Bretagne en 1705 et rencontra rapidement des détracteurs du fait de son caractère prétendument irrationnel, sensuel, efféminé, et de la menace qu’il constituait pour le théâtre anglais. Cette étude analyse le discours des premiers critiques de l’opéra, Richard Steele, John Dennis et le Comte de Shaftesbury, et suggère la possibilité d’inscrire leur polémique contre l’opéra dans la tradition de l’humanisme citoyen et du républicanisme classique. …”
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De la tourismification d’un village au déplacement de sa population : expressions d’un rapport hiérarchique entre l’État chinois et la nationalité minoritaire wa by Sarah Coulouma

“…Aux marges territoriales de la République populaire de Chine, ce village est ainsi le théâtre d’un côté de l’expression des attentes et des représentations des visiteurs, principalement urbains han, à l’égard de cette communauté villageoise, et d’un autre de la construction d’un rapport hiérarchisé entre la civilisation han et cette nationalité minoritaire. …”
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L’excès dans la fiction de Wilkie Collins by Françoise Dupeyron-Lafay

“…All these variations on the gothic pattern of persecution enacted in « the secret theatre of home » serve to expose and denounce social and family diseases.Physical and mental disease is of course a central concern for two major male (though sexually ambiguous) Collinsian figures, namely Ezra Jennings in The Moonstone—an opium (ab)user like Thomas De Quincey (a strong influence in the novel) and like Collins himself—and Miserrimus Dexter (associated with a Romantic intertext of excess) in The Law and The Lady. …”
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Determinants and Outcomes of Emergency Caesarean Section following Failed Instrumental Delivery: 5-Year Observational Review at a Tertiary Referral Centre in London by Sian McDonnell, Edwin Chandraharan

“…A ‘failed instrumental delivery score’ (FIDS) may aid practitioners in predicting an increased likelihood of a failed operative vaginal birth and therefore to consider a trial of operative vaginal delivery in the theatre. Senior input should also be sought because a failed operative vaginal birth is associated with increased maternal and fetal morbidity.…”
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Myth and Biblical Imagery in De Profundis by Ignacio Ramos Gay

“…De la même façon que le théâtre de boulevard français représente la base thématique de la composition des comédies de société d’Oscar Wilde, l’imaginaire biblique doit être considéré comme une source d’inspiration essentielle pour des reformulations ultérieures dans son œuvre, caractérisées par l’influence et la subversion de textes originaux. …”
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Rise of Love and the People: French Matter and Manner in the Early Victorian Drama of Edward Bulwer-Lytton by Ana Fernández-Caparrós Turina

“…In the short period between 1837, when Queen Victoria came to the throne, and 1843, when the Theatre Regulation Act amended the Licensing Act of 1737 and thus reconfigured theatrical freedom and production in the United Kingdom, the fruitful collaboration of renowned novelist Edward Bulwer-Lytton and actor and theatrical manager William Charles Macready would prove to be decisive in shaping early Victorian drama and setting high standards in production and artistic integrity, which would be followed by successive managers. …”
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“IT IS EMOTION AND STRENGTH THAT WE ARE CONVEYING THROUGH MUSIC” by Adél FEKETE

“…Since then, Keri-Lynn Wilson has worked with famous symphony orchestras and opera houses all over the world, such as: Dallas Symphony Orchestra, Toronto Symphony, Los Angeles Philharmonic, Gewandhaus Orchestra, Simón Bolívar Symphony Orchestra, Vienna Staatsoper, Bolshoi Theatre, Arena di Verona, Israeli Opera. Returning to Cluj to once again conduct the great operatic masterpiece Tannhäuser, the maestra agreed to sit down for an interview focusing on about a conductor’s life and work in the XXI century, her unique musical thinking, current and future projects and on the experience of conducting in Romania. …”
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Emergency Caesarean Section: Influences on the Decision-to-Delivery Interval by Aiste Cerbinskaite, Sarah Malone, Jennifer McDermott, Andrew D. Loughney

“…The observed effect resulted exclusively from a prolonged transfer time to theatre. General anesthesia use shortened the DD interval for grade 1 caesareans (𝑃<0.001) and was more likely to be used during the day shift (𝑃<0.009). …”
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A long Way from Hame – Layers of Identity in Jonathan Wilson’s Kilt by Michael Heinze

“…Le théâtre contemporain à travers Kilt, la pièce de Jonathan Wilson, se prête admirablement à une réflexion sur les diverses approches liées à la question de l’identité. …”
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The Brewer of Preston by Andrea Camilleri by Bianca Maria Balestra

“…This is partly due to the know-how gained during his longtime work for the theatre, the radio and the television, where he has acquired a remarkable experience in dealing with different texts and narrative strategies. …”
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To jest prawdziwa opowieść. O Andrei Dunbar, Lorraine Dunbar i „The Arbor” Clio Barnard by Karolina Kosińska

“…W 1980 r. sztukę Dunbar wystawił londyński Royal Court Theatre. Dziesięć lat później Andrea Dunbar umarła, mając zaledwie 29 lat. …”
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