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Clifford geertz deep play essay


clifford geertz deep play essay

includes interweaved musical voices which, under the hands of a skilled pianist such as Glenn Gould, can often be revealed more clearly on a modern concert grand than on a harpsichord (Payzant 1978; Bazzana 1997). Reference The Bible The King James Version John 19, contents, bibliographic record, the Holy Bible: King James Version. In the first place, it should be noted that, even at the time of the unveiling of the. 8 Geertz aimed to provide the social sciences with an understanding and appreciation of thick description.

We would not go back to productions of Shakespeare plays with boys taking the female roles simply because that was the way it was done in Shakespeares time. 35 And he that saw it bare record, and his record is true; and he knoweth that he saith true, that ye might believe. This can be seen in his often-cited essay Deep Play: Notes on the Balinese Cockfight in which Geertz describes the intricate symbolic meaning of the cock fighting in Bali, how it represents cultural ideas of masculinity and even how it creates a sort of microcosmic. Malinowskis ideas were a great influence and contributed to the building of modern anthropological methodology. It is easy to imagine that, had he lived one or two generations later, Tolstoy might have extolled the primitive art of tribal societies, not out of a desire to support the modernist agendas of Picasso or Roger Fry, but to champion the notion that. He studied the religious life of a small, upcountry town for two-and-a-half years, living with a railroad laborer's family. The original work is specified by a score, essentially a set of instructions, which are realized aurally by performers, normally for the pleasure of audiences. Authenticity in Musical Performance. In the case of van Meegeren, Emmaus was stylistically the closest of all his forgeries to the precedent class of authentic Vermeers. This has encouraged attempts to perform such music on instruments characteristic of the time, in line with reconstructions of the past conventions that governed musical notation and performance (Taruskin 1995). They are not sure when to applaud, and although they are impressed by the opulent costumes, dazzling stage-settings, massed chorus scenes, and sopranos who can sing very high, they cannot make the sophisticated artistic discriminations that we would associate with traditional La Scala audiences. When a carver temporarily puts away a shield he has been working on he may turn it with its front towards the wall of the house, in order to prevent other carvers from stealing his ideas.

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