Priest, parishioner and posterity: A Dutch urban legend or historical fact?

2010 ◽  
Vol 15 (2) ◽  
pp. 174-190 ◽  
Author(s):  
Angelo Somers ◽  
Frans van Poppel
Keyword(s):  
2014 ◽  
Vol 44 (2) ◽  
pp. 357-380
Author(s):  
Ríona Nic Congáil

Séamus Ó Grianna and Éilís Ní Dhuibhne, whose lifespans overlapped only briefly, rank among the most prolific Irish writers of the twentieth century. Their bilingualism, moreover, offers them access to two languages, cultures, and viewpoints. Their shared interest in the Donegal Gaeltacht during the revivalist period, and their use of fiction to explore and represent it, provide their readers with a remarkable insight into the changing ideologies of twentieth-century Ireland, and particularly Irish-Ireland, touching on broad issues that are linguistic, cultural, political, gendered, and spatial. This essay begins by analyzing the narrative similarities between Ó Grianna's Mo Dhá Róisín and Ní Dhuibhne's Hiring Fair Trilogy, and proceeds to examine how both writers negotiate historical fact, the Irish language, the performance of Gaelic culture, the burgeoning women's movement, and the chasm between rural and urban Ireland of the revival. Through this approach, the essay demonstrates that the fictions of these two writers reveal as much about their own agendas and the dominant ideas of the epoch in which they were writing, as they do about life in the Donegal Gaeltacht in the early twentieth century.


1970 ◽  
Vol 7 (1) ◽  
Author(s):  
Moh. Salman Hamdani

This paper aims to provide explanation about John Louis Esposito’s insights on therelationship between Islam and The West. The relationship is a fluctuative one, some tensionsand even open conflict may occur. Some events become the entry point to the relationship, forinstance, the crusades that is not only happened physically but also, through this war, the meetingbetween Islam and The West establishes inter cultural dialogue among them.John Louis Esposito’s views on the relationship between Islam and The West ispositioned in view of some Muslim intellectuals and orientalists to emphasize its originality. Theintellectual positions do not put it on pros or cons side in the context of the relationship betweenIslam and The West.Historically, the relationship between Islam and The West actually has a theologicallystrong bond that there is common ground and similarities between Islam and The West. Islamand The west are inherited with Jewish and Christian traditions. Islam like Christianity andJudaism are religions ‘of the sky’ that are allied in Abrahamic religions. Therefore, according toJohn L. Esposito, based on historical fact, there were a real strong bond between Islam and theWest and it started centuries ago .


Philosophies ◽  
2021 ◽  
Vol 6 (2) ◽  
pp. 40
Author(s):  
Said Mikki

The goal of this article is to bring into wider attention the often neglected important work by Bertrand Russell on the philosophy of nature and the foundations of physics, published in the year 1927. It is suggested that the idea of what could be named Russell space, introduced in Part III of that book, may be viewed as more fundamental than many other types of spaces since the highly abstract nature of the topological ordinal space proposed by Russell there would incorporate into its very fabric the emergent nature of spacetime by deploying event assemblages, but not spacetime or particles, as the fundamental building blocks of the world. We also point out the curious historical fact that the book The Analysis of Matter can be chronologically considered the earliest book-length generic attempt to reflect on the relation between quantum mechanics, just emerging by that time, and general relativity.


Philosophy ◽  
1974 ◽  
Vol 49 (187) ◽  
pp. 13-32 ◽  
Author(s):  
H. J. McCloskey

Liberalism is commonly believed, especially by its exponents, to be opposed to interference by way of enforcing value judgments or concerning itself with the individual's morality. My concern is to show that this is not so and that liberalism is all the better for this. Many elements have contributed to liberal thought as we know it today, the major elements being the liberalism of which Locke is the most celebrated exponent, which is based upon a belief in natural, human rights; the liberalism of which Kant is the best known exponent, which is based on respect for persons as ends in themselves; and the liberalism of Bentham and the Mills, which is based upon utilitarian ethical theories and most especially with concern for pleasure and the reduction of pain. These different elements of liberalism have led to different emphases and different political and social arrangements, but all have involved a concern to safeguard values and to use force to that end. Today they constitute strands of thought which go to make up liberal thought as we now know it, hence it is not simply a historical fact about liberalism, but a fact about its philosophical basis, that liberalism is firmly involved in certain value and moral commitments. In the remainder of this paper I shall seek to bring this out.


1972 ◽  
Vol 4 (1) ◽  
pp. 23-28
Author(s):  
Llewellyn Ligocki

After Sir Walter Scott made the historical novel popular with his Waverley novels, many other writers, including the major novelists Dickens and Thackeray and the minor novelists Ainsworth, G. P. R. James, Bulwer-Lytton, and Reade, took up the form. But while the major novelists are credited with artistry in their use of history, the minor ones are generally regarded as hacks who used history indiscriminately in any way they wished in order to “make saleable novels.” The disparaging criticism of William Harrison Ainsworth's use of history exemplifies this unreflective critical tendency.For several probable reasons, critics have not been inclined to credit Ainsworth with using history responsibly; however, none of the reasons is based on an examination of his sources: his rapid ascension and decline as an important literary figure, his popularity with the common reading public, and his failure to progress artistically after his first few good novels. His artistic growth seems to have ended in 1840, forty-one years before the publication of his last novel. These critics have seen him as a “manufacturer of fiction,” and therefore not responsible in his treatment of historical fact and his use of historical documents, even though time and place are of crucial importance to Ainsworth. One could hardly regard Ainsworth more incorrectly. A close reading of Ainsworth's historical sources demonstrates that Ainsworth's history is extremely reliable in both generalities and particulars; his alterations, usually minor, serve only to adumbrate his concept of history as cycle. Thus, even though he is a novelist and not a historian, the faithful revelation of the past is central to his work. He examines history carefully in order to present truths about life and in order to demonstrate how history reveals these truths.


PMLA ◽  
1924 ◽  
Vol 39 (3) ◽  
pp. 581-611 ◽  
Author(s):  
Austin K. Gray

[In the following paper, for reasons of brevity, a working hypothesis has been presented in narrative form: wherever a definite statement of historical fact has been made in support of a literary theory, the authority has been given in the footnotes. The article aims at elucidating certain problems in Love's Labour's Lost by correlating them with certain matters of historical fact which took place in and about the year 1591. The following points constitute problems in Love's Labour's Lost: (a) date of composition and first performance; (b) The unexpected dénoûment in the postponed marriages; (c) The choice of names for the leading male characters, Navarre, Berowne, etc.; (d) The curious emphasis laid upon the killing of the deer by the Princess; (e) The similarity of the Pageant scene at the close of the play to the Tragedy of Pyramus and Thisbe in The Midsummer Night's Dream; (f) The satire on Euphuism and Sonnets and other courtly affectations; (g) The unique observance by Shakespeare of the unities of time and place. The ensuing narrative has been evolved by applying to these problems the following matters of historical fact: (a) Burleigh's attempts, 1589–94, to force Southampton into marriage with his grand-daughter, Elizabeth de Vere, and Southampton's successful evasion of his betrothal; (b) Southampton's flight to France, 1591, to take part in the war in Normandy; (c) The Royal Progress, 1591, to Portsmouth and certain incidents in the entertainment of the Queen at Cowdray House.]


2009 ◽  
Vol 34 (3) ◽  
pp. 74-80
Author(s):  
Judith Erasmus

This paper focuses on Ponte City, a high rise residential tower within the inner city of Johannesburg, South Africa - the highest of its kind in the southern hemisphere. This equally visually and socially notorious cylindrical building has since its erection in the 1970's become an icon and simulacrum of Johannesburg city life. It is located on the border of the suburb of Hillbrow, a restless transcendental suburb, known for its well mixed population of locals and migrant non South Africans, especially from other African countries. The inner city suburbs of Hillbrow and surround is furthermore notorious for being overcrowded and dangerous, with crime and xenophobia reaching peak statistics within the country. Famous for its peculiar shape and size, and somehow the epitome of what has and is happening in these areas, are Ponte City. It has become the first point of arrival for thousands of migrants from the rest of Africa and functions as a beehive of tangible and non-tangible systems and myths. Although it primarily provides a big concentration of homes for many, its purpose and influence has always been about something bigger - a reference to visual and structural feat, to social elitism, to African migration, and to urban legend of both horror and delight. The paper investigates the significance of Ponte as built form within this milieu of fear and transition. The building is seen as an urban body that has moved beyond the borders of its physical existence. It is described how it functions and exercises influence in the collective imaginations of its users and spectators. It also looks into how it asserts traditional definition and the significance of volatility in such inner-city environments. Experimental theories of homelessness, concept cities and cities with people as infrastructure are investigated and utilized in order to grasp a new understanding of the building within this unique milieu.


2021 ◽  
pp. 116-125
Author(s):  
М.В. Михеева

Весной 2021 года семья ленинградского композитора В. В. Щербачёва опубликовала за свой счет партитуру самого значительного сочинения в его симфоническом наследии — Симфонии № 2 для солистов, хора и оркестра на тексты Александра Блока. Созданное в первой половине 1920-х годов, произведение к настоящему моменту исполнялось лишь дважды: при жизни автора в 1927 году (дирижер В. А. Дранишников) и после его смерти в 1987 году (дирижер В. В. Катаев), в  связи с  чем предпринимается попытка объяснить этот исторический факт. Отдельное внимание посвящено обстановке премьерного показа и впечатлению, произведенному им на первых слушателей и отразившемуся в периодике тех лет. На основе личных бесед автора рецензии с внучкой композитора Е. О. Кучумовой воссоздаются обстоятельства исполнения симфонии, приуроченного к 100-ле тию со дня рождения композитора. Отмечается кропотливая работа редакторов— сотрудников Санкт-Петербургской консерватории Н. А. Мартынова и А. А. Красавина — по восстановлению нотного текста на основе сохранившейся рукописной копии переписчика и  стеклографического издания в  библиотеке «Дома музыки на  Старо-Петергофском» (в  прошлом библиотека Музфонда Ленинградского отделения Союза композиторов). Обосновывается необходимость включения данного монументального симфонического произведения в современную концертную жизнь. In spring 2021 the descendants of the Leningrad composer Vladimir Scherbachyov published for their own money the score of his most significant symphonic opus — Second Symphony for soloists, choir and orchestra with lyrics from Alexander Blok. Composed at the beginning of XX century, it has been performed just twice — during the life of the author at 1927 (conductor Vladimir Dranishnikov) and after his death at 1987 (conductor Vitaliy Kataev), which makes it necessary to explain this historical fact. Special attention is paid to premiere and impression on public, reflected in critical articles. Based on the personal conversation with Vladimir Scherbachyov’s granddaughter Elena Kuchumova circumstances about 100th anniversary of the composer’s birth performance are recreated. Nicolay Martynov and Alexey Krasavin performed rigorous work of on recreation of the score on the basis of a manuscript copy of autograph and steklograph edition held at library of “Musical House on Staro-Peterhofsky” (previously the library of Musical Fond of the Union of Composers of Leningrad). The necessity of including this monumental symphonic piece in the modern concert life is justifed.


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