scholarly journals "Któż tam będzie wisiał?" – Bunt chłopski w miejskiej wyobraźni

2012 ◽  
pp. 1-52
Author(s):  
Marcin Starnawski
Keyword(s):  
Social Movements ◽  
Early Modern ◽  
Marketing Strategy ◽  
20Th Century ◽  
Critical Reflection ◽  
Final Section ◽  
Punk Rock ◽  
Musical Form ◽  
Urban Imagination ◽  
Peasant Revolt

“Who’s going to dangle there?” – Peasant revolt in urban imagination. On the Gore album by R.U.T.A. and on its receptionThe author presents a review of a recent album “Gore: Songs of Rebellion and Misery from 16th to 20th Century” by a Polish punk rock / hardcore group R.U.T.A. The album, which combines traditional peasant lyrics with modern arrangements and folk instruments, has received acclaim from both fans and critics, while the band declared their commitment to struggles of contemporary progressive social movements. The author analyses the lyrics situating his reflection in sociological-historical framework to discuss realities of peasants’ lives and revolts during the second serfdom in early modern Poland. The author interprets the musical form of the songs as “punk-rock assimilation” of folklore themes. The final section contains critical reflection on the album’s marketing strategy and reception with the key dissected categories being “rebellion” and “authenticity.”

scholarly journals Aristotle and Aristoxenus on Effort

Conatus ◽  
2021 ◽  
Vol 6 (2) ◽  
pp. 51
Author(s):  
John Robert Bagby
Keyword(s):  
Early Modern ◽  
20Th Century ◽  
Final Section ◽  
Self Awareness ◽  
Ancient Greek ◽  
Generative Process ◽  
The Third ◽  
European Philosophy ◽  
Internal Experience ◽  
Early Modern Metaphysics

The discussions of conatus – force, tendency, effort, and striving – in early modern metaphysics have roots in Aristotle’s understanding of life as an internal experience of living force. This paper examines the ways that Spinoza’s conatus is consonant with Aristotle on effort. By tracking effort from his psychology and ethics to aesthetics, I show there is a conatus at the heart of the activity of the ψυχή that involves an intensification of power in a way which anticipates many of the central insights of early modern and 20th century European philosophy. The first section outlines how Aristotle’s developmental conception of the soul as geometrically ordered lays the foundation for his understanding of effort. The developmental series of powers of the soul are analogous to the series of shapes in mathematics. The second section links the striving of the soul to the gradual acquisition of virtues as a directed activity unifying multiplicity. The third examines the paradigm of self-awareness that Aristotelian effort involves. In the final section I show how ancient Greek theories of music were founded on the experience of striving. The “nature” of music is defined by Aristoxenus, and Theophrastus, in relation to the passion and intentionality of the soul. The geometrical order, as a synthesis of elements in geometry, music, or ethics, is a generative process in which past elements are retained and reintegrated in later stages of development. It requires effort to think geometrically, and the progress of knowledge itself is an integral aspect of all effort. Effort is the lived and self-aware cause which, moving step by step in an orderly and deliberate way, grows and advances upon itself. For both Spinoza and Aristotle, effort is the immanent intelligence which accomplishes what is in the purview of its understanding. Thus, will, in this conception of effort, is not something we already possess innately, but emerges gradually by an effort aimed at improvement.

Hundert Jahre Formgeschichte: Ein Tribut an die Begründer

2020 ◽  
Vol 64 (1) ◽  
pp. 49-84
Author(s):  
Hans-Josef Klauck
Keyword(s):  
20Th Century ◽  
Final Section ◽  
Early 20Th Century ◽  
Critical Studies ◽  
Literary Output ◽  
Form Criticism

Abstract A hundred years ago, in 1919–1922, the groundbreaking works on form-criticism appeared, mainly independent of each other. This means that it is time for a retrospect and an evaluation. The article starts with the forerunners, especially Johann Gottlieb Herder and Hermann Gunkel, but also some others. Then main paragraphs are devoted to each of the five protagonists: Martin Dibelius, Karl Ludwig Schmidt, Rudolph Bultmann, Martin Albertz and Georg Bertram. Their foundational form-critical studies are discussed and contextualized within their lives and their literary output. In the case of Dibelius, more attention than usual is given to the important differences between the first (1919) and the second edition (1933) of his “Formgeschichte” that was decisive for creating the terminology. The little known political options that Bertram favored are criticized. The final section draws some lines from the early 20th century to the present days.

The Oxford Handbook of Latin Palaeography

2020 ◽  
Keyword(s):  
Early Modern ◽  
Middle Ages ◽  
Final Section ◽  
Full Range ◽  
Early Modern Period ◽  
Book Production ◽  
Cultural Dynamics ◽  
Comprehensive Overview ◽  
Modern Period ◽  
The Middle Ages

The Oxford Handbook of Latin Palaeography provides a comprehensive overview of the development of Latin scripts from Antiquity to the Early Modern period, of codicology, and of the cultural setting of the mediaeval manuscript. The opening section, on Latin Palaeography, treats a full range of Latin book hands, beginning with Square and Rustic Capitals and finishing with Humanistic minuscule. The Handbook is groundbreaking in giving extensive treatment to such scripts as Old Roman Cursive, New Roman Cursive, and Visigothic. Each article is written by a leading expert in the field and is copiously illustrated with figures and plates. Examples of each script with full transcription of selected plates are frequently provided for the benefit of newcomers to the field. The second section, on Codicology, contains essays on the design and physical make-up of the manuscript book, and it includes as well articles in newly-created disciplines, such as comparative codicology. The third and final section, Manuscript Setting, places the mediaeval manuscript within its cultural and intellectual setting, with extended essays on the mediaeval library, particular genres and types of manuscript production, the book trade in antiquity and the Middle Ages, and manuscript cataloguing. All articles are in English. The Handbook will be an indispensable guide to all those working in the various fields concerned with the literary and cultural dynamics of book production in the Middle Ages and Early Modern period.

La Storia dell’Età Moderna nelle „Quellen und Forschungen aus italienischen Archiven und Biblioteken“: lo specchio di un secolo di ricerche

2020 ◽  
Vol 100 (1) ◽  
pp. 40-46
Author(s):  
Irene Fosi
Keyword(s):  
Early Modern ◽  
20Th Century ◽  
Middle Ages ◽  
Early Modern Period ◽  
Historical Events ◽  
Social Composition ◽  
Modern Period ◽  
The Social ◽  
History Of ◽  
Papal Court

AbstractThe article examines the topics relating to the early modern period covered by the journal „Quellen und Forschungen aus italienischen Archiven und Bibliotheken“ in the hundred volumes since its first publication. Thanks to the index (1898–1995), published in 1997 and the availability online on the website perpectivia.net (since 1958), it is possible to identify constants and changes in historiographical interests. Initially, the focus was on the publication of sources in the Vatican Secret Archive (now the Vatican Apostolic Archive) relating to the history of Germany. The topics covered later gradually broadened to include the history of the Papacy, the social composition of the Curia and the Papal court and Papal diplomacy with a specific focus on nunciatures, among others. Within a lively historiographical context, connected to historical events in Germany in the 20th century, attention to themes and sources relating to the Middle Ages continues to predominate with respect to topics connected to the early modern period.

Music Material Development Techniques (Lectures in «Principles of Music Analysis») 

2020 ◽  
pp. 53-69
Author(s):  
Р.Х. Лаул
Keyword(s):  
Final Section ◽  
High Efficiency ◽  
Music Analysis ◽  
Detailed Examination ◽  
Musical Composition ◽  
Musical Form ◽  
Musical Work ◽  
Saint Petersburg ◽  
Material Development ◽  
Development Processes

Настоящий материал продолжает серию публикаций лекций Рейна Лаула по анализу музыки в Санкт-Петербургской (Ленинградской) консерватории. Шестая лекция завершает обзор приемов разработочного развития музыкального материала. В нее вошли шесть из двадцати пяти приемов в авторской классификации (эпизодическая тема, производная тема, варьирование, полифонические варианты, приемы подвижного контрапункта, полифонические структуры), способствующей систематизации разработочных процессов. В поле зрения автора включены неспецифически сонатные способы преобразования музыкального материала, благодаря чему сонатность предстает в гибком и взаимодополняющем взаимодействии с иными принципами формообразования. Особое внимание уделено специфике применения полифонических средств развития музыкального материала в контексте сонатного формообразования. В ходе детального рассмотрения финала симфонии В. А. Моцарта Юпитер оказываются тесно связанными технологический, композиционно-драматургический и стилевой аспекты становления музыкальной формы. Заключительный раздел, обобщающий содержание лекции в целом, содержит пример практического применения предлагаемой автором методологии. Тем самым доказывается ее целесообразность и высокая эффективность как в аспекте анализа интонационной драматургии музыкального произведения, так и в достижении главной аналитической цели в формировании объективного представления о содержательной сути каждого этапа в развёртывании музыкальной композиции. This material continues the series of publications of R. H. Lauls lectures on music analysis at the Leningrad (Saint Petersburg) Rimsky-Korsakov State Conservatory. The sixth lecture concludes the review of techniques for developing musical material. It discusses six of the twenty-five techniques in the authors classification (episodic theme, derived theme, variation, polyphonic variants, mobile counterpoint techniques, polyphonic structures), which contributes to systematization of the development processes. The authors field of view includes non-specific Sonata methods of transforming the musical material, so that sonateness appears in a flexible and complementary interaction with other principles of formation. Special attention is paid to the specifics of using polyphonic means of developing musical material in the context of Sonata formation. The detailed examination of the finale of Mozarts Symphony Jupiter, shows that technological, compositional, dramatic, and stylistic aspects of the formation of a musical form appear to be closely related. The final section summarizing the content of the lecture as a whole contains an example of practical application of the methodology proposed by the author, proving its expediency and high efficiency not only in the aspect of analyzing the intonation drama of a musical work, but also of achieving the main analytical goal to form a reasoned judgment about the content of each stage in the deployment of a musical composition.

Concerning Altered Pasts: Reflections of an Early Modern Historian

2016 ◽  
Vol 10 (3) ◽  
pp. 413-432 ◽  
Author(s):  
Daniel Woolf
Keyword(s):  
Early Modern ◽  
Final Section ◽  
Historical Thinking ◽  
Counterfactual History ◽  
The Impact

This essay provides an extended commentary on Richard Evans’ book Altered Pasts from the perspective of a historian of a much earlier period, the sixteenth and seventeenth centuries. The essay considers much of the literature discussed by Evans, explores the “scope” and “range” of counterfactual arguments, and offers suggestions as to how and when legitimate counterfactual historical thinking itself came into being. The essay also argues that the problems inherent in counterfactual history lie less in the logic of their arguments than in the use that is made of them: specifically that a device useful, heuristically, in evaluating the impact of certain factors (or their absence) on events has been stretched by some historians beyond the weight it will bear. In the final section, the relation between fictional and nonfictional counterfactuals is explored.

scholarly journals “CONVENTIONAL WISDOM” AND THE POLITICS OF SHINTO IN POSTWAR JAPAN

2010 ◽  
Vol 4 (1) ◽  
pp. 68-82
Author(s):  
John Breen
Keyword(s):  
20Th Century ◽  
21St Century ◽  
Final Section ◽  
The State ◽  
Early 20Th Century ◽  
Postwar Japan ◽  
Politics And Religion ◽  
The Supreme Court ◽  
Post War ◽  
Shed Light

In January 2010, the Supreme Court delivered a historic verdict of unconstitutionality in a case involving Sorachibuto, a Shinto shrine in Sunagawa city, Hokkaido. All of the national newspapers featured the case on their front pages. As the case makes abundantly clear, issues of politics and religion, politics and Shinto, are alive and well in 21st century Japan. In this essay, I seek to shed light on the fraught relationship between politics and Shinto from three perspectives. I first analyze the Sorachibuto case, and explain what is at stake, and why it has attracted the attention it has. I then contextualize it, addressing the key state-Shinto legal disputes in the post war period: from the 1970s through to the first decade of the 21st century. Here my main focus falls on the state, and its efforts to cultivate Shinto. In the final section, I shift that focus to the Shinto establishment, and explore its efforts to reestablish with a succession of post LDP administrations the sort of intimacy, which Shinto enjoyed with the state in the early 20th century.

Sapphic Stanzas: How Can We Read the Rhythm?

2019 ◽  
pp. 247-273
Author(s):  
Yopie Prins
Keyword(s):  
Twentieth Century ◽  
Critical Reflection ◽  
Musical Form ◽  
Poetic Form ◽  
Metrical Theory ◽  
Anne Carson ◽  
History Of ◽  
Anglo American ◽  
Rhythm And Meter ◽  
As If

This essay asks if, and how, we can read the rhythms of Sappho’s poetry as if it could be heard, still. The Sapphic stanza is a poetic form that has gone through a long history of transformations, from a powerful metrical imaginary in Victorian poetics (graphing Sapphic meter as a musical form) into an idealization of “Sapphic rhythm” in twentieth-century prosody (naturalizing the rhythms of speech). By comparing metrical translations of Sapphic fragment 16 (“The Anactoria Poem,” discovered in 1914), the essay proposes “metametrical” reading as a model for critical reflection on the complex dialectic between rhythm and meter. Examples are drawn from Victorian metrical theory and Anglo-American imitations of Sappho by modern and contemporary poets, including Joyce Kilmer, Marion Mills Miller, Rachel Wetzsteon, John Hollander, Jim Powell, Juliana Spahr, and Anne Carson..

Poeta in Vinculis I

2019 ◽  
pp. 109-170
Author(s):  
Monika Fludernik
Keyword(s):  
Early Modern ◽  
Final Section ◽  
Traumatic Experience ◽  
John Bunyan ◽  
Major Focus ◽  
Thomas More ◽  
Late Medieval ◽  
The World ◽  
Psychological Coping

Chapter 2 contrasts the writings of Thomas More and John Bunyan. The chapter foregrounds these authors’ strategies of imaginative and psychological coping, considering how their texts reflect the traumatic experience of incarceration in the imaginative re-enactment of their fiction. The chapter introduces a number of prison tropes besides the WORLD AS PRISON/PRISON AS WORLD metaphor, most prominently in Bunyan the SIN AS PRISON trope. A major focus of the chapter concerns the difficult relationship between fact, fiction, and allegory in the work of the two authors and their contemporaries. A final section of the chapter links Bunyan’s poetry to the tradition of late medieval and early modern prison verse.

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