Search results for "Pygmalion"
showing 3 items of 3 documents
Posthumānisma domstarpības un Pigmaliona mīts Ričarda Pauersa romānā "Galatea 2,2"
2021
Tehnoloģijas, īpaši mākslīgais intelekts, strauji attīstās. Posthumānisms kā teorija noraida humānisma antropocentriskumu, kas uzskata cilvēku par Visuma centru. Līdz ar augošo mijiedarbību start tehnoloģijām un cilvēku, robežas starp tiem pamazām izzūd. Šī darba mērķis ir izpētīt attiecības starp cilvēku un tā radīto būtni Ričarda Pauersa romānā “Galatea 2,2”, intelektuālo mašīnu un cilvēka mijiedarbību posthumānisma kontekstā un tehnoloģiju spēju parādīt pašapziņu par spīti to bezķermeniskumam. Helēna ir posthumānisma ķermenis, kuru cilvēki ir radījuši ar cerību, ka tā spēs nokārtot Turinga testu. Helēna sāk izrādīt apziņu, kas palīdz tai izveido ciešas attiecības ar Pauersu.
Traductions, transformations, transmutations du Pygmalion de Rousseau dans les royaumes de Naples et de Sicile
2017
The Rousseau’s Melodrama, Pygmalion, first time staged in 1771 at Lyon, arrived in Naples in 1773 performed in French by a French theatrical company and with the music composed by Aspelmayr. At the same time in the kingdom of Naples, like in northern Italy and in Austria, the first Italian translations and the first attempt to change the original text in an Opera libretto put essential questions about the translation of theatrical texts and especially the change of a dramatic-musical form, a semiotic transmutation. In 1797, in Palermo, according to the historian Pitrè, was staged a Pigmalione or Pigmaglione translated perhaps by Sografi, transmuted in operatic form, put in music by Asioli o…
Pigmaliòn en Sicilia
2010
By the end of 18th century three performances of “Pygmalion” by Jean-Jacques Rousseau are attested in Sicily, in Palermo (1777, 1797) and in Catania (1791), but every of them gives problems for their confirmation in coeval documents or for some other peculiarity. The most interesting is certainly the Catania's one attested by the libretto printed for the circumstance. There “Pygmalion” was performed in the original form of melodrama, but translated in Italian. The composer indicated on the libretto is Ch. W. Gluck but we can suppose that Gluck's work utilised in Catania, without informing the author, had been written for different purpose and intention. Somebody perhaps organised that perfo…