O MARAVILHOSO NA LITERATURA JAPONESA: UMA INTRODUÇÃO

Finance & Management Engineering Journal of Africa , 2019

The study investigated the effect of teachers' leadership roles on educational standard in the Ningo-Prampram District in the Greater Accra region of Ghana. The study was conducted in the whole district.This district is further divided into six circuits.The study employed a multistage sampling and a cross sectional survey design as well as a cluster sampling technique to select 180 respondents based on the geographic extent of the study area. Data was collected using a self-developed structured questionnaire and was analysed using descriptive statistics, bivariatecorrelational and regression analysis.. The study found that teachers and head teachers in the Ningo-Prampram District perform leadership roles in various capacities with the core being serving as instructional specialists (mean = 2.63), (std. deviation=1.12). The study however unravelled that standardof education in relation to Basic Education Certificate Examination passing rate is low and has no relationship with available school facilities (mean = 1.68). However, the effect of teachers' dominant leadership roles on educational standard in the district has a positive significant prediction. Leadership role on educational standard in the district was found to be positive. This is based on the regression analysis. This further implies that the more teachers play their roles as instructional specialists the more education standards go high or better still there will be improvement in education standards in the Ningo-Prampram district. It is however recommended based on the low standard of educational outcome in the district that parents and teachers, government, old students as well as Non-governmental Organizations and industries should stem up as primary stakeholders and exercise their corporate social responsibilities to help improve educational standard in Ningo-Prampram district.

Il nome e il genere. Il dramma satiresco e il ‘quarto dramma’ nel teatro greco, 2024

This book examines the structure of the dramatic tetralogy as performed at the Great Dionysia (the major festival of Greek theatre), focusing on its final slot. According to the standard reconstruction, this position was always occupied by a satyric play, a lighter and shorter 'pièce' obligatorily featuring a chorus of satyrs (and their old ribald father Silenus), whose function was, among other things, to provide emotional relief from the three preceding tragedies. If this was the case, exactly one fourth of each tragedian’s output would have consisted of satyr plays. The book takes a fresh and extensive look at the evidence supporting this view, questioning whether the so-called ‘tetralogical rule’ of modern scholarship was really perceived as such by ancient Greek playwrights and thus invariably followed by them. To this effect, the First Part of the book (“The Name”) systematically reviews the various possible Greek denominations for ‘satyric drama’, starting from the somewhat puzzling observation that there was no single dedicated word for it, at least none comparable to ‘tragedy’ or ‘comedy’. The review confirms that the most widespread way of referring to a satyr play was by appending the adjective σατυρικός/-ή to its title. In ancient quotation practice, however, these additions were easily liable to omission. Thus, it stands to reason that, in the course of the transmission process, originally satyric titles and lines circulating without further definition might have become mingled with, or mistaken for, tragic ones. The Second Part of the book (“The Genre”) takes its cue from this phenomenon, but it challenges the common view that all missing satyr plays of Classical theatre – that is, the ones expected on account of the 1:4 proportion but not traced until now – are still lurking incognito among the tragic remnants. Instead, it suggests that some of them were never written, since ancient playwrights could turn to an alternative format to fill the last slot of the tetralogy: the ‘satyr-less’ fourth-place play. The only certainly known instance of this, Euripides’s Alcestis, the last play in the tetralogy of 438 BC, has been variously explained away as an exception to the ‘tetralogical rule’. Through a re-reading of the relevant ancient sources and a reassessment of the corpora of Sophocles and Euripides, the book aims to show that the ‘satyr-less’ option was, on the contrary, potentially available to all playwrights entering the Dionysian competition and in fact occasionally, if not regularly, employed. The conclusion drafts a provisional identikit of this semi-forgotten literary typology.

Karamanoğlu Mehmetbey Üniversitesi Edebiyat Fakültesi Dergisi, 2024

Bir yapının ön cephe kuruluşlarını taç kapılar, pencereler, nişler, silmeler, payandalar, köşe kuleleri, çörtenler ve minareler gibi unsurlar oluşturmaktadır. Diğer cephelere göre daha fazla önem verilerek yapılan ön cephelerde en önemli yapı elemanı taç kapılarıdır. Taç kapılar yapıdan bağımsız olarak kendilerine has birtakım teknik ve süsleme programlarına sahiptir. Bu farklılıklar taç kapıları diğer yapı elemanlarından ayırmaktadır. Taç kapıların kendine özgü yapım programı içerisinde belirgin bir unsur olarak yan nişler de önemli bir yer tutmaktadır. Form özellikleri bakımında taç kapılara ve mihraplara benzeyen yan nişler taç kapıların geçit kısmında derinlik etkisi yaratan unsurlardır. Son zamanlarda Sanat Tarihi bilim dalı içerisinde genel yapısal konuların dışında özel ögesel konular üzerine yapılan çalışmalar Türk-İslam mimarisinin sanatsal zenginliklerini de gözler önüne sermektedir. Bu bağlamda çalışmamız Anadolu coğrafyası genelinde Türk Mimarisinde görülen yan nişlerin kısa bir değerlendirmesini içermektedir. Elements such as crown gates, windows, niches, moldings, buttresses, corner towers, gargoyles and minarets constitute the facade structures of a building. The most important structural element on the front facades, which are built with more importance than the other facades, are the crown gates. Regardless of the structure, crown gates have a number of unique technical and ornamental programmes. These differences distinguish the crown gates from other structural elements. Side niches also have an important place as a distinctive element in the unique construction programme of the crown gates. Side niches, similar to the crown gates and altars in terms of their form features, are the elements that create a depth effect in the passage part of the crown gates. Recently, studies on special elemental subjects in addition to general structural subjects within the field of Art History also reveal the artistic richness of Turkish-Islamic architecture. In this context, our study includes a brief evaluation of the side niches seen in Turkish Architecture throughout the Anatolian geography

Cercetări Arheologice 20, 2013, p. 143–154

The scholarly stand point to see the large rivers as borders is due to the imagination of modern historians rather than to the mapping literary, epigraphic, and archaeological data. The achievement of the great historical atlases and their diffusion as teaching and research material, since mid 19 th c. up to now, has fundamentally influenced the way for reconstructing the historical past. Thus, one of the basic issues was to delimit territories inhabited by various populations, the trend being to separate them by natural borders or barriers. The location of the fortifications on the Danube should not be judged only from the view of the military strategic value, but mainly in terms of the opportunities to set up port facilities, as the river was firstly a supply route. As a result, the significance of the Roman fortification works should be argued by understanding of the communication system.

Journal of the American Research Center in Egypt, 2017

In the collection of the University of Pennsylvania Museum is a limestone relief depicting a king at life-size engaged in a boat ritual as part of the Sed-festival. Discovered in 1904 at Herakleopolis, this object can be dated, based on context, iconography, and style to the early Old Kingdom. Only the upper part of this monumental relief is preserved and the name of the king does not survive. However, the associated labels show that the scene depicted a king, accompanied by Iunmutef, receiving the barque of the goddess Wenut-Shemau, or Nekhbet, at the Sed-festival. This relief, reused in the foundations of the Twelfth Dynasty at Herakleopolis derives from what was evidently a large-format tableau of Sed-festival scenes in a royal cult complex of the Old Kingdom. The relief is a forerunner to scenes in the Twentieth Dynasty tomb of Setau at El Kab depicting the arrival of Wenut-Shemau at the site of the Sed-festival. The ceremonial mooring of the barques of Wadjet and Nekhbet at the Sed-festival may form a central, but hitherto unrecognized, element of the Sed-festival. The closest surviving parallels to the Herakleopolis scene occur in fragmentary reliefs from the Valley Temple of Sneferu at Dahshur. Attribution is proposed to Huni, Sneferu or Khufu. The Sed-festival block may have been transported to Herakelopolis from one of the Memphite pyramid complexes, or from Meidum, during the early Twelfth Dynasty. Alternatively, the relief may derive from an early Old Kingdom royal complex at Herakelopolis itself, possibly originating in a mortuary complex of Huni that once stood at that site.

Academia

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Scottish archaeological internet reports, 2022