scholarly journals Portrait of the Empress Elizaveta Petrovna by Georg Kaspar von Prenner (1754, State Tretyakov gallery) and European Tradition of Portraits in Flower Wreath

2020 ◽  
Vol 10 ◽  
pp. 206-219
Author(s):  
Ekaterina A. Skvortcova
Keyword(s):  
European Tradition

Background Practices

2017 ◽  
Author(s):  
Hubert L. Dreyfus
Keyword(s):  
Scientific Realism ◽  
Distinctive Feature ◽  
Phenomenological Description ◽  
Existential Philosophy ◽  
Textual Exegesis ◽  
European Tradition ◽  
Continental Divide ◽  
European Philosophy ◽  
Anglophone World ◽  
Hubert Dreyfus

Hubert Dreyfus is one of the foremost advocates of European philosophy in the anglophone world. His clear, jargon-free interpretations of the leading thinkers of the European tradition of philosophy have done a great deal to erase the analytic–Continental divide. But Dreyfus is not just an influential interpreter of Continental philosophers; he is a creative, iconoclastic thinker in his own right. Drawing on the work of Heidegger, Husserl, Merleau-Ponty, Foucault, and Kierkegaard, Dreyfus makes significant contributions to contemporary conversations about mind, authenticity, technology, nihilism, modernity and postmodernity, art, scientific realism, and religion. This volume collects thirteen of Dreyfus’s most influential essays, each of which interprets, develops, and extends the insights of his predecessors working in phenomenological and existential philosophy. The essays exemplify a distinctive feature of his approach to philosophy, namely the way his work inextricably intertwines the interpretation of texts with his own analysis and description of the phenomena at issue. In fact, these two tasks—textual exegesis and phenomenological description—are for Dreyfus necessarily dependent on each other. In approaching philosophy in this way, Dreyfus is an heir to Heidegger’s own historically oriented style of phenomenology.

Ästhetisch konstruierte Traditionen?

2019 ◽  
Vol 44 (2) ◽  
pp. 442-470
Author(s):  
Torsten Voß
Keyword(s):  
Discursive Practice ◽  
German Romanticism ◽  
Literary Field ◽  
Avant Garde ◽  
Art And Literature ◽  
European Tradition ◽  
Concept Of Beauty

Abstract Throughout various literary and artistic periods, artists have referred to or even converted to Catholicism as a means of conjuring a certain perception of a European tradition. In doing this, they seek to create an aesthetic of romanticism and/or an idea and concept of beauty, the artist, artwork etc. After giving a brief overview of this discursive practice in modern avant-garde movements, this article focuses on early forms of literary Catholic movements, such as the French Renouveau catholique and François-René de Chateaubriand’s Le Génie du Christianisme (The Genius of Christianity), as well as Novalis’ ‘invention’ of German romanticism in his essay Die Christenheit oder Europa (Christianity or Europe). It shows that there are a variety of parallels to be identified across these periods and places, namely, in programs, performances, rhetoric-building and group-building processes, and in cultivating an anti-bourgeois distinction, both in the texts themselves and in the positioning of the artists within the literary field. Despite accusations of being reactionary, writers and artists who elaborate a Catholic concept of art and literature aim to develop a traditionalist and anti-modern stance within (aesthetical and social) modernity.

Battles Over Symbols: The “Religion” of the Minority Versus the “Culture” of the Majority

2013 ◽  
Vol 28 (1) ◽  
pp. 67-104 ◽  
Author(s):  
Lori G. Beaman
Keyword(s):  
Human Rights ◽  
Religious Freedom ◽  
Religious Symbol ◽  
Anti Semitism ◽  
European Tradition ◽  
European Court ◽  
Fundamental Freedoms ◽  
Protection Of Human Rights ◽  
Grand Chamber ◽  
The Right

Moreover, with the benefit of hindsight, it is easy to identify in the constant central core of Christian faith, despite the inquisition, despite anti-Semitism and despite the crusades, the principles of human dignity, tolerance and freedom, including religious freedom, and therefore, in the last analysis, the foundations of the secular State.A European court should not be called upon to bankrupt centuries of European tradition. No court, certainly not this Court, should rob the Italians of part of their cultural personality.In March, 2011, after five years of working its way through various levels of national and European courts, the Grand Chamber of the European Court of Human Rights decided that a crucifix hanging at the front of a classroom did not violate the right to religious freedom under Article 34 of the Convention for the Protection of Human Rights and Fundamental Freedoms. Specifically, Ms. Soile Lautsi had complained that the presence of the crucifix violated her and her children's right to religious freedom and that its presence amounted to an enforced religious regime. The Grand Chamber, reversing the lower Chamber's decision, held that while admittedly a religious symbol, the crucifix also represented the cultural heritage of Italians.

scholarly journals Man, fate, and death in Indo-European tradition

2004 ◽  
pp. 49
Author(s):  
Martin Litchfield West
Keyword(s):  
Human Condition ◽  
Old Irish ◽  
European Tradition ◽  
Linguistic Material ◽  
The Human Condition

This paper deals with Indo-European concepts concerning the human condition: the nature of man, the role of fate in shaping his life, his destiny in death. The evidence is partly drawn from linguistic material, partly from literary. The assumption is that, just as comparison of vocabulary in widely separated languages such as Hittite, Sanskrit and Old Irish makes it possible to reconstruct words of the parent language, so comparison of parallel motifs in different traditional literatures may show up inherited ideas and beliefs.

scholarly journals The Reconstruction of the European Mind: T. S. Eliot’s Criterion and the Idea of Europe

2018 ◽  
Vol 3 (2) ◽  
Author(s):  
Jeroen Vanheste
Keyword(s):  
Interwar Period ◽  
Specific Role ◽  
The Political ◽  
European Identity ◽  
Hugo Von Hofmannsthal ◽  
Jose Ortega Y Gasset ◽  
European Culture ◽  
European Tradition ◽  
Political Events ◽  
European Values

T. S. Eliot was the founder and editor of the Criterion, a literary and cultural review with a European focus that was published during the interwar period. The Criterion functioned as a platform for intellectuals with a shared perception of European culture and European identity. It was part of a network of European periodicals that facilitated an intellectual exchange between writers and thinkers with a common orientation. Examples of other reviews in the Criterion network were the Nouvelle Revue Française from France, La Fiera Letteraria and Il Convegno from Italy, the Revista de Occidente from Spain (edited by José Ortega y Gasset), and Die Neue Rundschau, the Europäische Revue, and the Neue deutsche Beiträge (edited by Hugo von Hofmannsthal) from Germany. In this article, I investigate the specific role the Criterion network of reviews and intellectuals played as an infrastructure for the dissemination of ideas about European culture during the interwar period. I also discuss the content of these ideas about the ‘European mind’. As to the latter, I suggest that Eliot positioned himself as well as his magazine in the European tradition of humanist thinking. Unfortunately, the Criterion’s ambition for a reconstruction of the European mind would dissipate as the European orientation of the 1920s was displaced by the political events of the 1930s. Eliot and his Criterion network expressed a Europeanism that has often been overlooked in recent research. The ideas discussed in this network remain interesting in our time, in which discussions about European values and European identity are topical. What is also highly interesting is the role cultural reviews played during the interwar period as a medium for exchanging such ideas.

scholarly journals Having a Ball With the Sphere

2020 ◽  
pp. 98-100
Author(s):  
Dirk Johan Stromberg ◽  
Robert Casteels
Keyword(s):  
Large Scale ◽  
European Tradition ◽  
Musical Works

Robert Casteels has composed a growing corpus of more than 100 musical works cross cultures, genres and disciplines. These range from miniature to large-scale works in the European tradition, as well as multidisciplinary works which combine European, Chinese and Indian instruments, as well as the gamelan, together with computer-generated sound and images. Instances of space for creative interaction between the performers in these compositions have been far and few between. The work, time:space:, has unveiled new possibilities for interaction and a blurring the line between performer and composer creating an artistic interconnectivity and interdependency.

scholarly journals The formation of the original repertory for the Folk Instruments Orchestra of Kharkiv I. P. Kotlyarevsky National University of Arts as a historical mission of Kharkiv composers (1950–1960)

2021 ◽  
Vol 60 (60) ◽  
pp. 216-238
Author(s):  
Strilets Andriy
Keyword(s):  
Symphony Orchestra ◽  
Phenomenological Approach ◽  
Academic Status ◽  
European Tradition ◽  
Original Works ◽  
National University ◽  
The Individual ◽  
Interdisciplinary Interaction ◽  
Historical Moment ◽  
First Time

Statement of the problem. The Folk Instruments Orchestra of Kharkiv I. P. Kotlyarevsky National University of Arts has been performing for more than 90 years. However, the original works composed for this orchestra have never been the subject of serious scientific interest. The relevance of the problem is determined by the necessity to generalize the previous generations of composers’, performers’ and teachers’ experience in the field of folk instrumental art, in particular, the training in the orchestra of folk instruments as a concert unit. Analysis of recent publications shows, that the study on folk instruments orchestral performance has not been reflected in national scientific journals for a long while, but currently this is considered as an up-to-date issue. The articles by N. Bashmakova and V. Kikas and Yu. Fedotov (2018), Z. Stelmashchuk (2014), K. Maidenberg-Todorova (2019), I. Fedun (2020) are confirming this statement. The main purpose of the article is to find basic principles of the original repertoire formation for the Folk Instruments Orchestra of Kharkiv I. P. Kotlyarevsky National University of Arts related to the creative activities of Kharkiv composers in the 1950–1960s. For the first time, the historical mission played by Kharkiv composers in the original repertoire formation of the Folk Instruments Orchestra of Kharkiv I. P. Kotlyarevsky National University of Arts is determined. The concept of the article is based on the interdisciplinary interaction of historiographical, holistic, genre-stylistic and performing methods of researching, as well as a phenomenological approach to the analysis of the individual style of a composer based on the example of the particular works. Results and conclusions. The selected works by O. Steblyanko, D. Klebanov, V. Borisov, B. Alekseev, I. Kovach, P. Haydamaka and V. Podgorny included in the concert program of the creative project of 2021 have been analyzed due to their compositional, intonation and dramaturgical structure. The compositions that have been arranged for the folk instruments orchestra from the scores of symphony orchestra or ones instrumented from the compositions for accordion, domra ensemble, domra accompanied by piano were identified. According to the results of analysis, the creative approach of the composers of Slobozhanshchina in the 1950s–1960s was based on the thematic development of folklore material (song and dance prototypes) or the creation of the original themes, which are as close as possible to the folk samples. Having created large forms for domra and balalaika, Kharkiv composers fulfilled a historical mission in the formation of the original repertoire and, correspondingly, genre and stylistic priorities of the Folk Instruments Orchestra of KhNUA named after I. P. Kotlyarevsky. Due to the arrangements of these works for the folk instruments orchestra, a high academic status of playing folk instruments was demonstrated. It is necessary to emphasize the genre and stylistic orientation of these works on the Western European tradition. Along with the traditional forms of processing and arrangement, the folk instrumental art received the entire genre palette of European music, from miniatures to suites and concerts (in terms of timbre and texture capabilities of the folk instruments). On this way we see the keys to the academic status of the folk instruments orchestra. The prospects for further development of the theme. On the basis of the formed original repertoire at a certain historical moment it is possible to substantiate other leading principles of the orchestra as a concert and educational unit: the combination of an orchestra performer’s training, the formation of his professional skills with the ensemble’s concert activity; the introduction of academic approaches in the training of the folk instruments performers, conductors etc.

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