scholarly journals Beyond Sound in Sound Art: Society and Politics in the Art of Yasunao Tone and Akio Suzuki

2020 ◽  
pp. 19-26
Author(s):  
Joseph Tham Chin Pang
Keyword(s):  
Sound Art ◽  
The Other ◽  
Late 20Th Century ◽  
Early 21St Century ◽  
Art Form ◽  
The Social ◽  
Art Forms ◽  
History Of ◽  
Political Conditions ◽  
The Times

The history of sound art has been a case of displacement and misplacement. It has been displaced due to the nature of the medium – sound, a phenomenon that is heard and felt but not seen. In a visually dominated world like ours, this spells the relegation of the importance of sound and audio sensitivity in a human’s perception, cognition and consciousness. It is misplaced as it is more often categorically subsumed under the other art form, music. Sound art is in fact one of the most ancient of art forms when the name of Greek god of wind, Aeolus, was used to name the Aeolian harp. Sound art has often been defined, in the late 20th century and early 21st century and by academics and critics, as a novel form of art. Once again it is another case of displacement and misplacement. The two case studies which will be discussed in this paper will foreground the social and political contexts of the artists as well as their responses to these socio-­political conditions to demonstrate that sound art, just like any other art forms like paintings, music and theatre, is reflexive of the times of the creators, and more.

„tὴν ἀρχαίαν ἐπιζητοῦμεν πατρίδα”: Creștinii în căutarea patriei celei dintâi – încercări de definire a unei teologii a migrației

Transilvania ◽  
2021 ◽  
pp. 1-8
Author(s):  
Ciprian Streza
Keyword(s):  
Natural Disasters ◽  
Christian Church ◽  
Religious Persecution ◽  
Jewish Diaspora ◽  
The People ◽  
Current Topic ◽  
The Social ◽  
History Of ◽  
Political Conditions ◽  
The Times

Migration, as the displacement of peoples, triggered throughout the centuries by wars, natural disasters, political oppression, poverty and famine, religious persecution is a profound human experience and an intimate part of the biblical saga from the beginning, along with the social, anthropological and spiritual issues it raises. The history of Israel is rooted in migration and the Jewish Diaspora is the most extensive and well documented migrations in antiquity. The wandering of the patriarchs, the Exodus, the exile, the dispersion and the return to Jerusalem are embedded in the consciousness of the people of Israel and helped define their character as a people and the nature of their relationship to God. For the Christian Church, migration was a phenomenon that configured its history and forced it to define itself and to specify the eschatological goal of its missionary. The patristic writings of the first centuries indicate that Christians have always considered themselves pilgrims to the heavenly homeland, not having a particular homeland here on earth, although they have always managed to adapt to the social and political conditions of the times. Starting from these historical, social and spiritual premises, the present study proposes a reflection both from a biblical and patristic perspective on the migration phenomenon, trying to offer the premises of a debate in the space of orthodox theology on this current topic.

“Sou Inglesa! Sou Inglesa!”: Memórias de uma Menina Anglo-Portuguesa (1907-1930)

2017 ◽  
pp. 141-155
Author(s):  
Miguel Alarcão
Keyword(s):  
Everyday Life ◽  
Social History ◽  
Travel Literature ◽  
Growing Up ◽  
Recent Past ◽  
Self And Other ◽  
Cultural Encounter ◽  
The Social ◽  
History Of ◽  
The Times

Textualizing the memory(ies) of physical and cultural encounter(s) between Self and Other, travel literature/writing often combines subjectivity with documental information which may prove relevant to better assess mentalities, everyday life and the social history of any given ‘timeplace’. That is the case with Growing up English. Memories of Portugal 1907-1930, by D. J. Baylis (née Bucknall), prefaced by Peter Mollet as “(…) a remarkably vivid and well written observation of the times expressed with humour and not little ‘carinho’. In all they make excellent reading especially for those of us interested in the recent past.” (Baylis: 2)

Las Yslas de Esperar en Dios: The Jesuit Mission in Moro 1546–1571

1988 ◽  
Vol 22 (3) ◽  
pp. 593-606
Author(s):  
John Villiers
Keyword(s):  
Sixteenth Century ◽  
Social Economic ◽  
Narrative Form ◽  
Society Of Jesus ◽  
The Social ◽  
The World ◽  
History Of ◽  
Political Conditions ◽  
Jesuit Missionaries ◽  
Mission Field

The numerous and voluminous reports and letters which the Jesuits wrote on the Moro mission, as on all their missions in Asia, are perhaps of less interest to us now for what they reveal of the methods adopted by the Society of Jesus in this remote corner of their mission field or the details they contain about the successes and failures of individual missionaries, than for the wealth of information they provide on the islands where the Jesuits lived and the indigenous societies with which they came into contact through their work of evangelization. In other words, it is not theprimary purpose of this essay to analyse the Jesuit documents with a view to reconstructing the history of the Moro mission in narrative form but rather to glean from them some of the informationthey contain about the social and political conditions in Moro during the forty years or so in the sixteenth century when both the Jesuit missionaries and the Portuguese were active in the regio Because the Jesuits were often in close touch with local rulers and notables, whether or not they succeeded in converting them to Christianity, and because they lived among their subjects for long periods, depending upon them for the necessities of life and sharing their hardships, their letters and reports often show a deeper understanding of the social, economic and political conditions of the indigenous societies and, one suspects, give a more accurate and measured account of events and personalities than do the official chroniclers and historians of the time, most of whom never ventured further east than Malacca and who in any case were chiefly concerned to glorify the deeds of the Portuguese and justify their actions to the world.

The Body in Theory

1998 ◽  
Vol 16 (4) ◽  
pp. 387-400 ◽  
Author(s):  
Felicity J Callard
Keyword(s):  
Queer Theory ◽  
20Th Century ◽  
The Body ◽  
The Other ◽  
Industrial Capitalism ◽  
Late 20Th Century ◽  
The Social ◽  
Theoretical Investigations ◽  
The One ◽  
Do So

Geographers are now taking the problematic of corporeality seriously. ‘The body’ is becoming a preoccupation in the geographical literature, and is a central figure around which to base political demands, social analyses, and theoretical investigations. In this paper I describe some of the trajectories through which the body has been installed in academia and claim that this installation has necessitated the uptake of certain theoretical legacies and the disavowal or forgetting of others. In particular, I trace two related developments. First, I point to the sometimes haphazard agglomeration of disparate theoretical interventions that lie under the name of postmodernism and observe how this has led to the foregrounding of bodily tropes of fragmentation, fluidity, and ‘the cyborg‘. Second, I examine the treatment of the body as a conduit which enables political agency to be thought of in terms of transgression and resistance. I stage my argument by looking at how on the one hand Marxist and on the other queer theory have commonly conceived of the body, and propose that the legacies of materialist modes of analysis have much to offer current work focusing on how bodies are shaped by their encapsulation within the sphere of the social. I conclude by examining the presentation of corporeality that appears in the first volume of Marx's Capital. I do so to suggest that geographers working on questions of subjectivity could profit from thinking further about the relation between so-called ‘new’ and ‘fluid’ configurations of bodies, technologies, and subjectivities in the late 20th-century world, and the corporeal configurations of industrial capitalism lying behind and before them.

Wonder, Horror, Mystery: Letters on Cinema and Religion in Malick, Von Trier, and Kieślowski

2021 ◽  
Author(s):  
Morgan Meis ◽  
J.M. Tyree
Keyword(s):  
20Th Century ◽  
21St Century ◽  
Film Theory ◽  
The Other ◽  
Life Meaning ◽  
Late 20Th Century ◽  
Early 21St Century ◽  
Lars Von Trier ◽  
Creative Writer ◽  
Film Critic

Wonder, Horror, Mystery is a dialogue between two friends, both notable arts critics, that takes the form of a series of letters about movies and religion. One of the friends, J.M. Tyree, is a film critic, creative writer, and agnostic, while the other, Morgan Meis, is a philosophy PhD, art critic, and practicing Catholic. The question of cinema is raised here in a spirit of friendly friction that binds the personal with the critical and the spiritual. What is film? What’s it for? What does it do? Why do we so intensely love or hate films that dare to broach the subjects of the divine and the diabolical? These questions stimulate further thoughts about life, meaning, philosophy, absurdity, friendship, tragedy, humor, death, and God. The letters focus on three filmmakers who challenged secular assumptions in the late 20th century and early 21st century through various modes of cinematic re-enchantment: Terrence Malick, Lars von Trier, and Krzysztof Kieślowski. The book works backwards in time, giving intensive analysis to Malick’s To The Wonder (2012), Von Trier’s Antichrist (2009), and Kieślowski’s Dekalog (1988), respectively, in each of the book’s three sections. Meis and Tyree discuss the filmmakers and films as well as related ideas about philosophy, theology, and film theory in an accessible but illuminating way. The discussion ranges from the shamelessly intellectual to the embarrassingly personal. Spoiler alert: No conclusions are reached either about God or the movies. Nonetheless, it is a fun ride.

scholarly journals Χορευτική-μουσική ταυτότητα και ετερότητα

2007 ◽  
Author(s):  
Χρήστος Παπακώστας
Keyword(s):  
Cultural Identity ◽  
Cultural Practices ◽  
Professional Activity ◽  
Collective Identities ◽  
Theory Of Practice ◽  
The Social ◽  
History Of ◽  
Positive Perspective ◽  
The Times ◽  
Dynamic Quality

The present dissertation aims at studying dancing and music and the relationship between these two forms of culture in the construction of the cultural identity of the Roma in Heracleia of the Prefecture of Serres. Nowadays, Heracleia is a town with 4,000 residents. Its population has a mixed ethnological composition: Vlachs, natives (Greek speakers, and Slavic speakers), refugees, Sarakachans, Roma and Gypsies. In the past Heracleia was known as Tzumaya and was flourishing both financially and culturally thanks to its geographical position in the times of the Ottoman Empire and thanks to its famous bazaar. Thus, for a more complete understanding of the changes and transitions that took place it is significant to embody history as a new fundamental framework of interpretation. An important research tool for the accentuation of the principal arguments of thedissertation is the space. In this specific experiential paradigm the construction of identities and the distinction between the ethnic groups is also reflected on the organization of space. The neighborhood, the space of the Roma(sedentary gypsies), is juxtaposed to the respective neighborhood of the Vlachs, the market. Thus, the space is not only examined a “geography” but as a historical and dynamic category connected and interacting with culture. The dynamic quality of dancing and music, the ethnic mosaic and the history of Heracleia and the neighboring area as well as the continuous mobility of the Roma musicians invites us to investigate if there is actually a total isomorphism of space and culture. Music and dancing are not seen as static and fixed cultural phenomena but as historical, dynamic and fluid categories that are the object of negotiation of collective identities and variants. Dancing and music are simultaneously products and processes and do not merely reflect the social structures but are closely related to the cultural identity of a group. For the transgression of the dichotomy structure/action we adopt the theory of practice (Bourdieu 1977). In this way, dancing and music become cultural practices, by which the Roma of Heracleia handle their cultural identity in any historical conditions. Especially in the case of the Roma, this approach is even more helpful, because, as a social group with a low social status, within music and dancing they are given the chance to re-determine their identity in relation to the others. That is to say that by applying various practices of resistance, acquiescence, conflict and acceptance, they attempt to give a positive perspective to their cultural identity. In the framework of this dissertation the dancing phenomenon in the neighbourhood of the Roma and the music, as a prominent form of their professional activity, are examined.

scholarly journals Book Review : Sejarah Organisasi Perempuan Indonesia (1928-1998) (History of Indonesian Women's Organizations (1928-1998))

2021 ◽  
Author(s):  
Fenti Nur Azizah ◽  
Moses Glorino Rumambo Pandin
Keyword(s):  
Millennial Generation ◽  
Women's Movement ◽  
Book History ◽  
Women's Organizations ◽  
Historical Period ◽  
The Social ◽  
History Of ◽  
The Times ◽  
Women’S Organizations

The book "The History of Indonesian Women's Organizations (1928-1998)" has the aim of showing how the social and political history of the Indonesian women's movement, as time has gone by, the times have been punctured by the times. Apart from that, this book also shows the various issues that were raised, debated, and fought for in different historical contexts and the actors who played a role in the Indonesian women's movement. By showing these two things, readers can have a broad understanding of the Indonesian women's movement.This book is intended for the millennial generation so that they know how the Indonesian women's movement is. Why is that? Because this book deliberately took a very long period of time, namely in the span of seventy years (1928-1998). So that readers, especially the millennial generation, can imagine what happened at that time.History writing about the Indonesian women's movement has been done by many scientists, but in the book "History of Indonesian Women's Organization (1928-1998)" has a difference, namely using detailed references to reliable sources and coverage of a very long historical period. In addition, this book provides information on how the priority of the issues under debate reflected the political context in different historical periods.This book needs to be reviewed because the content in the book is very interesting so that it can be dissected in depth. The author of the book has been doing research for at least the last ten years, it is also interesting why you need to review the book because the author made this book with a long struggle.

Acoustic Art Forms in the Age of Recordability

2015 ◽  
Vol 20 (2) ◽  
pp. 200-206
Author(s):  
Gerald Fiebig
Keyword(s):  
Visual Art ◽  
Electroacoustic Music ◽  
Sound Art ◽  
Sound Recording ◽  
Technological Basis ◽  
Sonic Art ◽  
Art Forms ◽  
The Status ◽  
History Of ◽  
Radio Art

Many theoretical accounts of sound art tend to treat it as a subcategory of either music or visual art. I argue that this dualism prevents many works of sound art from being fully appreciated. My subsequent attempt of finding a basis for a more comprehensive aesthetic of acoustic art forms is helped along by Trevor Wishart’s concept of ‘sonic art’. I follow Wishart’s insight that the status of music was changed by the invention of sound recording and go on to argue that an even more important ontological consequence of recording was the new possibility of storing and manipulating any acoustic event. This media-historic condition, which I refer to as ‘recordability’, spawned three distinct art forms with different degrees of abstraction – electroacoustic music in the tradition of Pierre Schaeffer, gallery-oriented sound art and radiogenic Ars Acustica. Introducing Ars Acustica, or radio art, as a third term provides some perspective on the music/sound art binarism. A brief look at the history of radio art aims at substantiating my claim that all art forms based on recordable sounds can be fruitfully discussed by appreciating their shared technological basis and the multiplicity of their reference systems rather than by subsuming one into another.

History in Art

Antiquity ◽  
1931 ◽  
Vol 5 (19) ◽  
pp. 277-290
Author(s):  
Flinders Petrie
Keyword(s):  
Applied Sciences ◽  
Social Life ◽  
Political Power ◽  
The Other ◽  
The Political ◽  
History Of Knowledge ◽  
Moral Standards ◽  
The Social ◽  
Different Ages ◽  
History Of

When we look at the great diversity of man’s activities and interests, it is evident how much space they afford for reviewing his history in many different ways. To most of our historians the view of the political power and course of legislation has seemed all that need be noticed; others have dealt with history in religion, or the growth of mind in changes of moral standards, as in Lecky’s fine work. In recent years the history of knowledge in medicine, in the applied sciences, and in abstract mathematics, has been profitably studied, as affording the basis of civilization. The purely mental view is shown in the social life and customs of each age, and expressed in the growth of Art. This last expression of man’s spirit has great advantages in its presentation; the material from different ages is of a comparable nature, and it is easily placed together to contrast its differences. Moreover it covers a wider range of time than we can et observe in man’s scope, but it is as essential to his nature as any of the other aspects that we have named.

A Basic Principle for Theology

1909 ◽  
Vol 2 (3) ◽  
pp. 310-322
Author(s):  
Edward S. Drown
Keyword(s):  
Classic Period ◽  
The Other ◽  
Northern Europe ◽  
The Social ◽  
Two Factors ◽  
History Of ◽  
History Of Architecture ◽  
Mechanical Ability ◽  
The One ◽  
Of Greece

There have been times in the history of architecture when style was inevitable. In the classic period of Greece or in the Gothic period of northern Europe no architect raised the question as to the style in which he should construct a building. That was decreed for him. And we shall perhaps not go astray if we suggest that the inevitableness of that decree was determined by two factors. One was the purpose to be served by the building, the other was the control over the materials. The one factor determined the contents, the other the form in which those contents were to be expressed. The contents depended on the social and spiritual ideals of the time. The form depended on the nature of the building material and on the mechanical ability to use it.

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