The Needle Drop

Transfers ◽  
2018 ◽  
Vol 8 (3) ◽  
pp. 100-117
Author(s):  
William B. Noseworthy
Keyword(s):  
Social Context ◽  
South Korea ◽  
Hip Hop ◽  
The Other ◽  
Art Form ◽  
Popular Appeal ◽  
Cultural Forms ◽  
The One

Scholarship in the field of hip-hop studies has convincingly argued against a “cultural grey out” and in favor of “local idiosyncrasies” in the mobility of cultural forms. That said, no published study has focused on the movements of the artists themselves in a transpacific context that places scenes in Japan, South Korea, Indonesia, Cambodia, and Vietnam in conversation with one another. Varying histories of colonialism and postcolonial movements are essential aspects of each social context. I argue that the transpacific lens allows scholars to draw out the movements of individuals, influences, and emergent trends in the art form to better understand how artists are, metaphorically, scratching back and forth between representing originality on the one hand and the need for popular appeal on the other. I draw on vinyl itself as a metaphor for this article, which is framed as an EP.

Post-Yugoslav Serbian Literature and Its Roots in the Social and Political Changes

2018 ◽  
Vol 14 (1) ◽  
pp. 101-118
Author(s):  
Milan Orlić
Keyword(s):  
Social Context ◽  
The Other ◽  
Cultural Discourse ◽  
World Language ◽  
Cultural Paradigms ◽  
The Social ◽  
Post Modernism ◽  
The World ◽  
Socialist Realist ◽  
The One

Post-Yugoslav literature and culture came out of the stylistic formations of Yugoslav modernism and postmodernism, in the context of European cultural discourse. Yugoslav literature, which spans the existence of “two” Yugoslavias, the “first” Yugoslavia (1928–1941) and the “second” socialist Yugoslavia (1945–1990), is the foundation of various national literary and cultural paradigms, which shared the same or similar historical, philosophical and aesthetic roots. These were fed, on the one hand, by a phenomenological understanding of the world, language, style and culture, and on the other, by an acceptance of or resistance to the socialist realist aesthetics and ideological values of socialist Yugoslav society. In selected examples of contemporary Serbian prose, the author explores the social context, which has shaped contemporary Serbian literature, focusing on its roots in Serbian and Yugoslav 20th century (post)modernism.

scholarly journals CULTURAL REPRESENTATION OF POWER AND THE COURT DURING THE PERSONAL REIGN OF CHARLES I STUART

2020 ◽  
Vol 30 (1) ◽  
pp. 104-110
Author(s):  
L. I. Ivonina
Keyword(s):  
Social Context ◽  
General Trend ◽  
Daily Life ◽  
Cultural Representation ◽  
The Other ◽  
Charles I ◽  
The World ◽  
King Charles I ◽  
History Of ◽  
The One

The article analyzes the main features of the Caroline era in the history of Britain, which were reflected in the cultural representation of the power of King Charles I Stuart and the court’s daily life in the 1630s. The author shows that, on the one hand, the cult of peace and the greatness of the monarch were the cultural product of the Caroline court against the background of the Thirty Years' War in continental Europe. On the other hand, there was a spread of various forms of escapism, the departure into the world of illusions. On the whole, the representation of the power of Charles Stuart and the court’s daily life were in line with the general trend of the time. At the same time, the court of Charles I reflected his personality. Thinly sensing and even determining the artistic tastes of his era, the English king abstracted from its political and social context.

scholarly journals The man of Ernest J. Gaines' novelistic universe: between emasculation and self-assertion

2019 ◽  
Vol 6 (2) ◽  
pp. 5330-5335
Author(s):  
Touré Bassamanan
Keyword(s):  
Social Context ◽  
The Other ◽  
Social Expectations ◽  
Male Domination ◽  
Other Hand ◽  
The Social ◽  
The One

This paper highlights the different layers of meaning that characterize the notion of manhood in Gaines’ fiction. The quest for manhood represents an imperative for the frustrated men in the framework of the social context wherein they are emasculated. Here, manhood should be grasped through a binary paradigm. On the one hand, the expression of manhood equates with male domination and violence. On the other hand, due to social expectations, manhood refers to the struggle for freedom. It undermines the white racial superiority and it claims blacks’ humanity. Manhood fosters humanistic principles. Thus, it takes on a universal dimension.

scholarly journals Crisis of Intellectual Culture: on Issue of Approaches to Studying the Problem of Typology

2018 ◽  
Vol 9 (3) ◽  
Author(s):  
Valery Tkachev ◽  
Elena Suranova
Keyword(s):  
The Other ◽  
Complex Nature ◽  
Intellectual Culture ◽  
Historical Process ◽  
Approaches To Studying ◽  
Cultural Form ◽  
Cultural Process ◽  
Short Period ◽  
Cultural Forms ◽  
The One

The article is devoted to studying the problem of typology of intellectual culture crises. It proves that the intellectual culture as a historical process represents itself as an endless change of cultural forms, in which case each of the forms once emerged, reached its flourishing and died, being replaced by other cultural forms. It emphasizes that crises are intertwined into this process; they appear in cultures inevitably, under certain conditions - when the potential of the former cultural form has not been exhausted yet, and the struggle for its future form is only outlined, but the crises themselves take a short period of time in this process, although they have a complex nature. The article focuses on the fact that the typology of crises should be built, on the one hand, in conjunction with the typology of intellectual cultures and, on the other hand, with the typology of the historical process; there can be a number of such typologies, and this proves that cultures and crises can be classified in a variety of ways. It notes that the typology is a method used to study, compare and describe a variety of processes, including intellectual cultures and their crises, but this method does not exist in a vacuum, it is formed in an environment of idealism and materialism, dialectical and metaphysical methods. The peculiarities of modern typologies stem from the fact that, since the turn of the 19th and 20th centuries, they are under the pressure of the metaphysical method, hence there is their internal need for the culture unification on the grounds close to their ethnicity: the idea of the unity of the cultural process is rejected with the help of these features, and the understanding of the process itself is reduced to the individuality of its cultural forms.

E-Portfolio to Promote the Virtual Learning Group Communities on the Grid

2012 ◽  
pp. 749-764
Author(s):  
Guy Gouardères ◽  
Emilie Conté
Keyword(s):  
Social Context ◽  
Informal Learning ◽  
Virtual Communities ◽  
Virtual Community ◽  
Virtual Learning ◽  
Peer To Peer ◽  
The Other ◽  
Educational Training ◽  
Learning Group ◽  
The One

In Vocational and Educational Training (VET), new trends are toward social learning and, more precisely, toward informal learning. In such settings, this article introduces a process — the e-Qualification — to manage informal learning on the ELeGI “Learning Grid Infrastructure.” It argues that this process must occur in a social context, such as virtual communities. On the one hand, it describes their necessary characteristics and proprieties that lead to the creation of a new kind of virtual community: the Virtual Learning Grid Community (VLGC). On the other hand, e-Qualification cannot occur without the help of a kind of user’s profile, called e-portfolio. Moreover, the e-portfolio is also a process, used to manage the Virtual Learning Grid Communities. The e-Qualification and Virtual Learning Grid Communities’ management will probably rely on the cooperation of different distributed, autonomous, goal-oriented entities, called Mobile Peer-to-Peer (P2P) Agents. Furthermore, we hope that implementing these services will decrease the lack of informal learning treatment on the grid and will become the basis for new services on the Learning Grid.

French Impressions: The Transnational Afterlives of Verlaine’s ‘La lune blanche’ in Song

2021 ◽  
pp. 150-152
Author(s):  
David Evans
Keyword(s):  
Art Song ◽  
National Identities ◽  
The Other ◽  
Mode I ◽  
Source Text ◽  
The Real ◽  
Art Form ◽  
The One

In this chapter I compare settings of Verlaine’s ‘La Lune blanche’ (‘The White Moon’) by composers of different nationalities (Delius, Webern, Sorabji, Loomis, Nevin, Loeffler, Hennessy, Poldowski, McEwen, Szulc, Stravinsky) in order to show how different ideas of French song – and of art song itself – emerge through the multiple dialogues of its transnational crossings. Two opposing approaches become clear: on the one hand, songs which maintain a reverence towards the source text as a symbol of the cultural cachet which French mélodie has enjoyed since its 1880-1930 heyday; and on the other, songs which offer a curiously unplaceable musical material, staking a claim for music as an mode of articulation which functions independently from language and, indeed, from national identities which are always in danger of falling into repetition, cliché, and pastiche. This latter mode, I suggest, comes closest to the real heart of mélodie as understood by its foremost French purveyors, Fauré and Debussy, and which composers like Stravinsky draw out of Verlaine’s text: a conception of song as an art form uniquely placed to offer a critique of fixed national paradigms and stable interpretative systems, by constantly calling into question, through their formal complexities, the very processes by which meaning itself is produced.

scholarly journals Harold Cohen and AARON: Collaborations in the last six years (2010–2016) of a Creative Life

Leonardo ◽  
2020 ◽  
pp. 1-10
Author(s):  
Louise Sundararajan
Keyword(s):  
The Other ◽  
Art Form ◽  
Machine Interface ◽  
The One ◽  
Creative Life

This article documents Harold Cohen’s last phase of creativity from 2010 till his death in 2016, a period which witnessed an accelerated co-evolution of Cohen’s relationship with AARON, on the one hand; and his technological and artistic innovations, on the other, culminating in a new art form featuring the void. Implications for the human and machine interface are discussed.

E-Portfolio to Promote Virtual Learning Group Communities on the Grid

2011 ◽  
pp. 320-337
Author(s):  
Guy Gouardères ◽  
Emilie Conté
Keyword(s):  
Social Context ◽  
Informal Learning ◽  
Virtual Communities ◽  
Virtual Community ◽  
Virtual Learning ◽  
Peer To Peer ◽  
The Other ◽  
Educational Training ◽  
Learning Group ◽  
The One

In Vocational and Educational Training (VET), new trends are toward social learning and, more precisely, toward informal learning. In such settings, this article introduces a process — the e-Qualification — to manage informal learning on the ELeGI “Learning Grid Infrastructure.” It argues that this process must occur in a social context, such as virtual communities. On the one hand, it describes their necessary characteristics and proprieties that lead to the creation of a new kind of virtual community: the Virtual Learning Grid Community (VLGC). On the other hand, e-Qualification cannot occur without the help of a kind of user’s profile, called e-portfolio. Moreover, the e-portfolio is also a process, used to manage the Virtual Learning Grid Communities. The e-Qualification and Virtual Learning Grid Communities’ management will probably rely on the cooperation of different distributed, autonomous, goal-oriented entities, called Mobile Peer-to-Peer (P2P) Agents. Furthermore, we hope that implementing these services will decrease the lack of informal learning treatment on the grid and will become the basis for new services on the Learning Grid.

scholarly journals Promoting the poetic cause in Ben Okri’s stokus from Tales of freedom (2009)

Literator ◽  
2016 ◽  
Vol 37 (1) ◽  
Author(s):  
Rosemary A. Gray
Keyword(s):  
Short Story ◽  
The Other ◽  
Anglo Saxon ◽  
Flash Fiction ◽  
The Core ◽  
Art Form ◽  
Japanese Art ◽  
New Directions ◽  
Ben Okri ◽  
The One

This article illustrates the theme of the poetic in Ben Okri’s stokus from his Tales of freedom. It does this principally through an exploration of this new literary mode and its use of serendipity. As a sudden insight, serendipity becomes, in this Nigerian writer’s hands, a poetic device equivalent to illumination or an epiphanic moment. The introduction is an attempt to show the interrelationship between poetry and thought, on the one hand, and poetic experience, creative consciousness and serendipity, on the other. This is followed by a brief digression to outline the paucity of critical reception of this prose anthology, followed by a focused discussion of the storytelling form, in general, and the stoku, in particular. This elliptical form to which Ben Okri gives the name stoku is, as he states in Tales of freedom, ‘an amalgam of short story and haiku’. A comparison between the conventions inherent in the ancient Japanese art of tanka or haiku (short poems), also known as waku and displaying the poet’s imaginative wit (derived from the Anglo-Saxon witan [to know]), and those of Okri’s newer art form, the stoku, follows. The core of the article focuses on a brief analysis of a select number of Okri’s 13 rhapsodies in prose, showing how each stoku serves to illustrate a poetically rendered moment of insight, a vision or a paradox. In Okri’s Tales of freedom, the mythic conjunction between short story and haiku reveals hitherto hidden aspects of life. Through this innovative medium, akin to flash fiction, the subconscious can illuminate unknown worlds. This is akin to experiencing serendipity, linked to interiority, to inner vision. The argument concludes by pointing to the serendipities captured obliquely yet poetically in the stokus selected for discussion.Die pleidooi vir die digterlike in Ben Okri se stokus uit Tales of freedom (2009). Hierdie artikel illustreer die tema van die poëtiese in Ben Okri se stokus uit sy Tales of freedom. Dit ondersoek hierdie nuwe literêre vorm en die gelukkige (maar onbedoelde) saamval van denke en poësie (serendipiteit) daarin. As ‘n skielike insig, word serendipiteit in die Nigeriese skrywer se hande ‘n digterlike kunsgreep vergelykbaar met illuminasie of epifanie. Die inleiding is ‘n poging om die onderlinge verwantskap aan te dui tussen poësie en denke, enersyds, en digterlike ervaring, kreatiewe bewussyn en serendipiteit, andersyds. Daarna volg ‘n kort uitweiding oor die gebrek aan kritiese reaksie op hierdie prosaversameling, gevolg deur ‘n gefokusde bespreking van die vertelling in die algemeen, en die stoku, in die besonder. Hierdie elliptiese vorm, wat Ben Okri die stoku noem, is, soos hy sê in Tales of freedom sê, ‘n ‘amalgaam van kortverhaal en haikoe’. Daarop volg ‘n vergelyking tussen die konvensies van die antieke Japannese kunsvorm van die tanka of haikoe (kort gedigte), ook bekend as waku, waarin die digter sy kreatiewe geestigheid (Engels wit, afgelei van die Angel-Saksiese witan, ‘weet’) ten toon stel, en Okri se nuwer kunsvorm, die stoku. Die kern van die artikel is ‘n kort analise van ‘n aantal van Okri se 13 rapsodieë in prosa, wat aantoon dat elke stoku ‘n oomblik van insig, visie of ‘n paradoks digterlik vasvang. In Okri se Tales of freedom onthul die mitiese samevloeiing van kortverhaal en haikoe tot nog toe verborge aspekte van die lewe. Deur hierdie innoverende medium, verwant aan blitsstories, kan die onbewuste onbekende wêrelde belig. Dit is soortgelyk aan die ervaring van serendipiteit, verwant aan innerlikheid en innerlike visie. Ten slotte word die digterlike (maar indirekte) serendipiteit in die gekose stoku aangedui.Keyword: Ben Okri; haiku; literary humanities; new directions in the humanities; stoku; storytelling; Tales of Freedom

Ritual Elements in the New Comedy

1943 ◽  
Vol 37 (1-2) ◽  
pp. 46-54 ◽  
Author(s):  
Gilbert Murray
Keyword(s):  
Middle Class ◽  
Fifth Century ◽  
The Other ◽  
Religious Ritual ◽  
Old Comedy ◽  
Colloquial Language ◽  
Art Form ◽  
The One ◽  
New Comedy

The New Comedy as an art form is descended both from the Old Comedy and from fifth-century Tragedy. It is a middle style of the sort that Diderot called le genre sérieux. On the one side it made an expurgation of the Old Comedy by dropping the gross elements of the primitive ritual ⋯ϕέσεωςκ⋯μος which still survived in Aristophanes, the phallic dress, the ϒεϕυρɩομός in language, and the reckless personal satire, while it kept and emphasized the final Gamos, or union of lovers, and developed a more elaborate plot. On the other side it reformed Tragedy by getting rid of the supernatural stories and the stiff conventions. To quote some words of my own written in 1912, it ‘introduced all the simplifications and improvements which seem to a modern’—I meant a modern philistine—‘so obviously desirable. It developed an easy colloquial language, a flexible and unexacting metre. It left the Chorus quite outside the play, a kind of entr'acte, not worth writing down. It frankly abandoned religious ritual’—please observe that statement, which I now wish to correct—‘and heroic saga. It drew its material from the adventures and emotions of contemporary middle class life, and boldly invented its own plots.’ Menander in particular was considered in antiquity to have held a mirror up to life; a verse by Aristophanes of Byzantium asks.

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