It is henceforth a commonplace; the science-fiction would be a refractory genre by nature against the definitive assimilation to the literary mainstream. We can say that the usual thematic of the genre, to which is added the irresistible propensity to prospect the future in all its forms, immunizes the SF against the “academic confinement” to the benefit of other forms of confinement. Indeed, the SF belongs to the great family of the paraliterature where the more or less listed subgenres are waiting to receive a likely definition. Popular genre which relies on a remarkable poetic, the SF is an open place to the imagination, to the verbal and the figurative creativity. It owns itself its subgenres, among other things, the SPACE OPERA which was, in a way, the original matrix of the speculative fiction and of its contemporary imitators. The Sternberg’s work did not have a special vocation to feed the already rich world of the science-fiction. It constitutes however a new step liable to bring a touch of self-reflexivity, we will notice that, to the history of this genre. French: “Le Navigateur” de Jacques Sternberg ou la phylogenese parodiee du SPACE OPERA C’est dorenavant un lieu commun, la science-fiction serait un genre par nature refractaire a l’assimilation definitive au mainstream litteraire. Nous dirons que les thematiques habituelles du genre, auxquelles viennent se meler l’irresistible propension a prospecter l’avenir sous toutes ses formes, immunisent la SF contre “l’enfermement academique” au profit d’un enfermement d’un autre genre. En effet, celle-ci appartient, comme on le sait, a la grande famille de la paralitterature ou se cotoient les sous-genres plus ou moins repertories en attente de recevoir un semblant de definition. Genre populaire s’appuyant sur une poetique singuliere, la SF est un lieu ouvert a l’imagination, a la creativite verbale et figurative. Elle possede elle-meme ses sous-genres, entre autres, le SPACE OPERA qui fut en quelque sorte la matrice originelle de la fiction speculative et de ses emules contemporaines. L’oeuvre sternbergienne n’eut guere pour vocation de nourrir le repertoire deja riche de la science-fiction. Elle constitue neanmoins une etape non repertoriee susceptible d’apporter, nous le constaterons, une touche d’auto-reflexivite a l’histoire du genre.Keywords: Jacques Sternberg, Nouvelle, Science-Fiction, SPACE OPERA, Aventure, Fiction Speculative

This research is an attempt to study the interpretations and decodings of a soap OPERA called Faseleha by women of Elam. The theoretical approach of this research is that which has been developed in cultural studies to study television audiences. The main question is this: which ideas and values are dominant and taken for granted in Faseleha, and how do audiences (here, women of Elam) interpret and decode the preferred reading of the text and which discourses are available for them and inform them in this process.In the first section, we have used semiology to illuminate the preferred reading of the text and, in the second section, we have studied women readings by way of focused group interview. The findings showed that the audiences read Faseleha very differently and actively, they are not passive consumers.

Research studies about lung function in wind instrument players and OPERA singers are inconclusive. Some studies show improved respiratory function, 1 while others do not. 2 We conducted this study to assess the cardiopulmonary exercise testing in wind instrument players and OPERA singers and compare it with a control group of healthy individuals...

wolfgang Rihm premiered his latest OPERA (Dionysus) on 2010. In this fantasy, Rihm has innovatively combined Greek Myths with Nietzsche’s controversial life events and thoughts in a surprisingly delusional manner. The libretto is drawn from the text of Nietzsche's Dionysian-Dithyrambs – the philosopher's final confrontation with the ecstatic god of his own aesthetic theories. Rihm in Dionysus OPERA utilizes music and orchestral excitations, different types of symbols in stage design and manipulated libretto, in order to express his philosophical perception of Nietzsche’s thoughts. Authors of the present manuscript have previously assessed the libretto and symbols used in the Dionysus OPERA in a separate study entitled "An analysis of Dionysus OPERA by Wolfgang Rihm, storytelling and choice of symbols". This paper studies mainly Rihm’s composing techniques and his attitude toward musical components specifically in the music of Dionysus OPERA. Rihm’s music is a combination of contemporary techniques incorporated with Mahler and Schoenberg’s agitated passions which were well appreciated by his contemporaries as a movement against Boulez and Stockhausen’s avant-gardism. In 1970, he was considered as a pioneer of the movement known as "new simplicity". Composers who joined this movement, strove for an immediacy between the creative impulse and the musical result (in contrast to the elaborate pre-compositional planning characteristic of the avant-garde), with the intention also of communicating more readily with audiences. In some cases, this meant a return to the tonal language of the 19th century as well as to traditional forms and instrumental combinations which had been avoided for the most part by the avant-garde. Among the composers most closely identified with this movement, only Wolfgang Rihm has established a significant reputation outside Germany. Rihm’s music shows a tendency towards late-romantic music and prominent composers including Wagner, Strauss, Mahler and Berg. His compositional thoughts have remained unchanged throughout his career. He describes each of his works as "free-standing part of a kind of work in progress". Regardless of the medium utilized (large orchestra, small ensemble or solo instruments), Rihm astonishingly manipulates sound characteristics. Meanwhile, he develops a unique personal definition of musical elements and concepts including sound SPACE, sound sign and generative pole which are discussed in this manuscript. Since he has a specific method to progress a musical idea, Rihm’s music cannot easily be categorized using traditional formal perspectives; this does not imply that his works are completely formless. The sense of progression in his music is not regarded as "development", because development in its traditional meaning sustains a thematic root which is normally applicable to a distinct part of a piece. This study mainly focuses on generative poles, which Rihm has embedded in music of Dionysus. To achieve this goal, authors partially benefited from an article by Richard McGregor, entitled "Interpreting compositional process in Wolfgang Rihm’s Chiffre cycle". In addition, other important components of his music such as rhythm, meter, tempo, orchestration and instrumentation are briefly mentioned and finally his attractive glimpse at tonal music (a tonality that appears and fades away like a phantom) is discussed.

Ta'ziyeh is one of religious ceremonies in Iran. As an Iranian tradition, is a ritual that reenacts the death of Hussein (the Islamic prophet Muhammad's grandson) and his male children and companions in a brutal massacre In Ashura. This Play is a kind of comprehensive indigenous form considered as being the national form of Iranian theatre which have pervasive influence in the Iranian works of drama and play. It originates from some famous mythologies and rites such as Mithraism, Sug-e-Siavush (Mourning for Siavush). “Some believe that Iman Hossein's tragedy as depicted in Taziah is the next recreation of the legend of Siavash”In Iranian tradition, ta'zieh and “shabihkhani”, inspired by historical and religious events, symbolize epic spirit and resistance. The common themes are heroic tales of love and sacrifice and of resistance against the evil. Shabihkhani as a good example, is a form of theatre in which actors make dialogues through songs. The confrontation between good and evil, war events and bravery of great people have always been one of the main subjects in Shabihkhani. Music plays a Fundamental role in Shabihkhani and improves its dramatic aspects. It incorporates a number of performing arts, such as acting, scenery, costumes and using different musical instruments.In Iranian Ta'zieh, the SPACE is very important. Originally, Ta'zieh dramas, like other Western passion plays, were performed in a public arena, allowing large audiences to convene. They later moved to smaller SPACEs like courtyards and SPACEs within the homes of private citizens, but eventually ended up being performed in temporarily constructed performance SPACEs called tekyehs or husseiniyehs. Tekyehs were somewhat open-air, but almost always had awnings of sorts atop the building to shield the spectators and actors from sun and rain. All performers in a Ta'zieh ceremony never leave the stage. The stage is elevated between one and two feet from the ground and split into four areas: one for the protagonists, antagonists, smaller subplots, and propsAlthough it is a very traditional ceremony for Iranian people, but we can claim that it had reached its peak during the Qajar period thanks, in particular, to the great interest shown by the Qajar Kings, especially Nasser al-Din Shah (1848-1896). After returning from England, he ordered his engineers to build a place very similar to “Albert Hall” in which he could have similar plays like OPERA in his own town. So “Tekye Dowlat” was Built in Golestan Palace, and became an Iranian example of an OPERA house. Due to most people’s religious beliefs, it couldn’t happen but became a very suitable place or kind of Theatre to perform religious ceremonies like Shabihkhani.Performing this shabihkhani in Tekye Dowlat, with king’s support and thousands of audiences, made the show “an annual festival” which was held in Muharram, and all the groups and actors were trying to do their best during this playing festival. According to the large number of audiences, stage and costumes were designed with special purposes. The stage was circular so actors were free to contact and also If a person was traveling in a circle on or around the stage, that meant they were going a long distance (usually represented the distance between Mecca and Karbala). Traveling in a straight line represented a shorter distance traveled.The main goal of designing the costumes was not to be historically accurate, but to help the audience recognize which type of character they were looking at. Villains were the Sunni opponents of Imam Hussein. They were always dressed in red. The protagonists, family members of Hussein, were dressed in green if they were male characters. Anyone about to die was in white. Women were always portrayed by men in all black. One way to distinguish character besides the color of their costume was how they deliver their lines. The protagonists or family of Imam Hussein sang or chant their lines and the villains declaimed their lines.Alongside all these visual elements and playing styles, there is one more thing that makes shabihkhani similar to OPERA. And that is the Tragic aspects of the play. Although there are slight differences in the content and style, but they have many in common.In this paper, we tried to find the answer of two questions. Has OPERA been influential in the structural evolution of Shabihkhani, and how has this show emerged as an Iranian show? we studied a brief history of Tazieh and the procedure of turning this ceremony to Shabihkhani, and also the effect of the "Tekye Dowlat" in the prosperity of Shabihkahni and the performance characteristics of this show.The results showed that the performance style, dramatic and tragic content and having a deep impact on the audience are among the key features of shabihkhani and OPERA.What distinguishes Shabihkhani from this European show is the replacement of some performing and content features with Iranian ones. The performance quality and the popularity of Shabih khani during Qajar (and building Tekye Dowlat) deformed this show into a kind of annual festival. The palying groups understood the importance of these annual shows and competed for a better and more effective performance. After Qajar, due to many different factors, the performance quality of this show has declined and lost its popularity and audience.

Iranian literature is considered a great source for adapting and creating dramatic works, one of which is the poem of Heydar Babaye Salam Shahriar. Recently, this poem has influenced the performing arts, and Haidar Babaye Salam's OPERA has been adapted from this poem. Among the theoreticians regarding adaptation, Linda Hatchen can be mentioned, who considers adaptation to be the re-creation of literary works based on a visual work or vice versa, where creativity is involved. One of the creative methods in creating artistic and literary works is imagery, which is referred to as literary (mental) images and artistic (visual) images. With a descriptive-analytical approach, this research first tries to explain the imagery of Haiderbaba's poem and then the authors adapted from this poem, which were used to create dramatic images, were discussed. Considering the aspects and dimensions of the influence of Heydar Baba's OPERA from this poem, the conclusion has been reached that the author and director of Heydar Babaye Salam's OPERA, relying on Shahriar's poem, in addition to trying to recreate and introduce this literary masterpiece in the form of performances at the national and international level has also tried to revive the theatrical form of OPERA after the Islamic revolution by emphasizing the aspect of ethnic culture.

Wolfgang Rihm, the German composer could have become a poet or an artist. He chose to become a composer, expressing himself through music. Rihm is an extraordinary composer –in terms of both his encyclopedic knowledge and his creative output, which also has something encyclopedic, something all-embracing about it.The same is true about his activities as a teacher (he is a professor of composition at Karlsruhe University of Music), as a writer (he has published several volumes of written works, including interviews), as a lecturer (he is a charismatic speaker), and as a representative of his craft in public bodies. Wolfgang Rihm has premiered his latest OPERA (Dionysus) in 2010. Similar to his previous stage-works as he claims, the scenario and libretto which is an OPERAtic fantasy is written all by himself. In this fantasy, Rihm has brutally combined Greek Myths with Nietzsche’s controversial life events and thoughts in a surprisingly delusional manner. A work of immense ambition and delirious, at times up-itself complexity, it draws its text from Nietzsche’s Dionysian-Dithyrambs –the philosopher’s final confrontation with the ecstatic god of his own aesthetic theories, written in the years preceding his mental breakdown in Turin in 1889. Rihm in Dionysus OPERA utilizes music and orchestral excitations, different types of symbols in stage design and manipulated libretto, in order to express his philosophical perception of Nietzsche’s thoughts. Rihm’s approach, as one might expect, is far from naturalistic. Nietzsche, played by baritone is designated simply and impersonally as “N”. An ensemble of singers surrounds him, playing multiple symbolic roles, ambivalently delineated. The principal soprano is at once the mythical Dionysos’s lover Ariadne and –perhaps– the novelist and psychologist Lou Andreas-Salome, to whom Nietzsche was briefly drawn. The leading tenor is simply called “a Guest”. Sometimes he designates Nietzsche’s friend Heinrich Köselitz, sometimes Apollo, the ostensibly rational god of Nietzschean theory – though he also proves capable of the ultimate act of horror and betrayal, which finally drives N over the edge. Rihm assumes that the audience has considerable knowledge of Nietzsche’s work, biography and central position in specifically German-language culture. Since it is hard to separate fact from the fiction, the writers in this article try to decrypt and explain the scenario and symbols to make the OPERA intelligible.

Background: Cement SPACE is necessary for seatabillity and fitness of cast crowns, but can affect crown's retention. In this study the interrelationship between them was investigated via die spacing.Materials and Method: For evaluating the effect of die spacing (cement SPACE) on crown retention after cementation, 50 similar machined metallic dies were prepared and divided into five groups and coated with 0.2, 4, 6, 8 layers of paint-on standard die SPACEr, respectively. Cast crowns. Were fabricated on the dies using base metal alloys, and then cemented with zinc phosphate cement under a constant load of 5kg for 10 minutes. The samples were started in distilled water for 48 hours. Then the force required to remove each crown from the die was measured with instron.Results: Statistical analysis revealed a significant increase in the force required (crown retention) by adding layers of die SPACEr (p<0.05).Conclusion: Because retention didn't show any significant increase with more than 4 layers of die SPACEr, so optimum thickness of die SPACEr (or cement SPACE produced) is suggested to be 4 layers equal to 40 microns.