the gamelan digul and the prison camp musician who built it: an australian link with the indonesian revolution. by margaret j. kartomi. rochester: university of rochester press, 2002. pp. 123. maps, plates, appendixes, bibliography, index, cd recording.

2005 ◽  
Vol 36 (3) ◽  
pp. 492-494
Author(s):  
jan mrazek
Keyword(s):  
1947 ◽  
Vol 100 (1) ◽  
pp. 24-31
Author(s):  
Arthur L. Irons
Keyword(s):  

Journeys ◽  
2013 ◽  
Vol 14 (1) ◽  
Author(s):  
Florence Fröhlig
Keyword(s):  

Tempo ◽  
2021 ◽  
Vol 76 (299) ◽  
pp. 30-43
Author(s):  
Sam Cave

AbstractThis article focuses on Radulescu's 1984 Subconscious Wave, for guitar and pre-recorded digital sound, a work that features on my 2019 solo CD recording Refracted Resonance, for Métier Records, alongside music by Tristan Murail, Christopher Fox, George Holloway and myself. The article places the work in the context of Radulescu's output, demonstrates how it displays the key aesthetic concepts that drive his music and shares my insights into the technical and interpretive aspects of preparing the piece for performance and recording. The article has been adapted from a lecture-recital given at the 2021 edition of the 21st Century Guitar Conference, which was hosted by the Faculty of Social Sciences and Humanities at the Universidade NOVA de Lisboa (NOVA FCSH), Portugal in March 2021.


Prostor ◽  
2021 ◽  
Vol 29 (1 (61)) ◽  
pp. 30-41
Author(s):  
Vladi Bralić ◽  
Damir Krajnik

The island Goli otok (north Adriatic, Croatia) cultural landscape is a complex system of interactions between people and nature, which has arisen through the anthropogenic use of this unique natural space with the aim of implementing ideas of the ideological re-education of political prisoners between 1949 and 1956, and the punishment of criminals and some political prisoners between 1956 and 1988. The most significant elements of the cultural landscape of the island are comprised of the anthropogenic structures of the political prison camp which deliberately used the natural features of the landscape in such a way as to enable methods of coercion of prisoners, which finally resulted in the unique identity of the space as a unit.


2017 ◽  
pp. 87-104
Author(s):  
Caleb Richardson
Keyword(s):  

Author(s):  
Belden C. Lane

Spiritual reading can be dangerous. I’m not talking about the devotional pabulum you find in most religious bookstores, but the truly risky stuff—from Hāfez and Eckhart to Toni Morrison and Oscar Romero. This is especially true of the spiritual “classics,” says theologian David Tracy. They confront us with the disturbing notion that “something else might be the case.” They haunt us with fundamental questions, overthrowing our previous ways of viewing the world. Reading a potentially dangerous book in a landscape perceived to be dangerous can be doubly hazardous. The place heightens the vulnerability occasioned by the text. Challenging books lose their bite when they’re read comfortably at home in a favorite armchair. Their riskiness increases, however, when read by firelight in a forest glade, ten miles from the nearest road. The place where you encounter a book indelibly affects the way you receive it. Claus Westermann read the Psalms in a Russian prison camp, discovering patterns that changed his life as well as his approach to biblical scholarship. Eldridge Cleaver read Thomas Merton in Folsom Prison. Aleksandr Solzhenitsyn read Dostoyevsky in a Soviet cancer ward. Karl Marx read the history of capitalism in the elegance of the British Museum. Potentially revolutionary changes occur when people read explosive texts in unsettling places. The stories of the saints are filled with instances of this. Isaac of Nineveh’s world was turned upside down as he read the Scriptures in the desert solitude of the Zagros Mountains in sixth-century Persia. He allegedly made himself blind through his constant pondering of the tear-stained pages. Near the end of his life, Francis of Assisi read the story of Christ’s passion not simply from the pages of the Gospels, but from the huge, split rocks atop Mt. La Verna. He said these cracks had appeared on Good Friday when the stones on Calvary were also rent. He experienced their truth in the opening of wounds in his body through the gift of the stigmata. The mountainous terrain and his body’s interaction with it became active participants in his reading of the text.


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