Rondo

2019 ◽  
pp. 87-106
Author(s):  
Peter J. Schmelz
Keyword(s):  
Critical Reception ◽  
Concerto Grosso ◽  
Philosophical Questions

One of the most distinctive, and most famous, movements in Alfred Schnittke’s Concerto Grosso no. 1 is the fifth, Rondo, which returns to the frantic baroque gestures of the second movement but with a promise of redemption. Most notably, these gestures, among them thrumming strings, are interrupted by the seductive strains of a tango, resulting in one of Schnittke’s most obvious and yet most effective polystylistic collisions. The Rondo points to the larger philosophical questions raised by the score. This chapter examines the construction and meaning of the Rondo, as well as its critical reception, focusing particularly on the larger implications of its clashes between high and low. The chapter closes by examining choreographer John Neumeier’s use of the Concerto Grosso no. 1 in his 1985 ballet Othello.

Slavery's Bestiary: Joel Chandler Harris's Uncle Remus Tales

Paragraph ◽  
2011 ◽  
Vol 34 (1) ◽  
pp. 30-47
Author(s):  
Christopher Peterson
Keyword(s):  
Critical Reception ◽  
Human Response ◽  
American Slavery ◽  
Animal Fables ◽  
Philosophical Questions

The critical reception of Joel Chandler Harris's Uncle Remus Tales has often interpreted these animal fables as allegories of American slavery. Such an approach, however, risks what Steve Baker calls the ‘denial of the animal’, which displaces animal signifiers onto human signifieds. Through readings of ‘The Wonderful Tar-Baby Story’ and ‘How the Birds Talk’, I ask what it might mean to take seriously the numerous historical, political and philosophical questions posed by the animal ‘form’ that these characters assume, including Heidegger's ontological differentiation between thing, animal and human, and Derrida's displacement of the conventional Cartesian distinction between animal reaction and human response. I argue that the racist equation of blacks with mimicry relies precisely on this dubious opposition. Remus's stories thus challenge our understandings of both race and language by showing how repetition and mimicry condition every ‘human’ response.

‘What we are up against’: Lindsay Anderson and The Old Crowd

2014 ◽  
Vol 11 (2-3) ◽  
pp. 332-350
Author(s):  
Tom Sutcliffe
Keyword(s):  
Critical Reception ◽  
Production History

Drawing on the invaluable experience of watching Lindsay Anderson at work and on lengthy interviews with the director, this article traces the production history and critical reception of The Old Crowd, an Alan Bennett play which Anderson directed for London Weekend Television in 1979. In so doing it paints a picture of an ITV environment very different from that of today, one in which there was far more scope for formal experimentation and innovation, but it also demonstrates all too clearly the critical hostility and incomprehension which greeted directors like Anderson who were determined to take advantage of this relatively liberal climate in order to stretch the medium to its limits.

Walter Pater: Personality and Persons

2015 ◽  
Vol 5 (3) ◽  
pp. 234-250
Author(s):  
Stephen Cheeke
Keyword(s):  
Critical Reception ◽  
The Self ◽  
Walter Pater ◽  
History Of ◽  
Knowledge Of Persons

This article argues for the centrality of notions of personality and persons in the work of Walter Pater and asks how this fits in with his critical reception. Pater's writing is grounded in ideas of personality and persons, of personification, of personal gods and personalised history, of contending voices, and of the possibility of an interior conversation with the logos. Artworks move us as personalities do in life; the principle epistemological analogy is with the knowledge of persons – indeed, ideas are only grasped through the form they take in the individuals in whom they are manifested. The conscience is outwardly embodied in other persons, but also experienced as a conversation with a person inhabiting the most intimate and sovereign dimension of the self. Even when personality is conceived as the walls of a prison-house, it remains a powerful force, able to modify others. This article explores the ways in which these questions are ultimately connected to the paradoxes of Pater's own person and personality, and to the matter of his ‘style’.

The Fascist Turn in the Dance of Serge Lifar

2020 ◽  
Author(s):  
Mark Franko
Keyword(s):  
Nineteenth Century ◽  
World War Ii ◽  
World War I ◽  
Critical Reception ◽  
World War ◽  
Close Attention ◽  
Before And After ◽  
Gradual Development ◽  
Critical Discourses

This book is an examination of neoclassical ballet initially in the French context before and after World War I (circa 1905–1944) with close attention to dancer and choreographer Serge Lifar. Since the critical discourses analyzed indulged in flights of poetic fancy a distinction is made between the Lifar-image (the dancer on stage and object of discussion by critics), the Lifar-discourse (the writings on Lifar as well as his own discourse), and the Lifar-person (the historical actor). This topic is further developed in the final chapter into a discussion of the so-called baroque dance both as a historical object and as a motif of contemporary experimentation as it emerged in the aftermath of World War II (circa 1947–1991) in France. Using Lifar as a through-line, the book explores the development of critical ideas of neoclassicism in relation to his work and his drift toward a fascist position that can be traced to the influence of Nietzsche on his critical reception. Lifar’s collaborationism during the Occupation confirms this analysis. The discussion of neoclassicism begins in the final years of the nineteenth-century and carries us through the Occupation; then track the baroque in its gradual development from the early 1950s through the end of the 1980s and early 1990s.

Wilde’s New Republic

2017 ◽  
Author(s):  
Marylu Hill
Keyword(s):  
Oscar Wilde ◽  
Specific Focus ◽  
Classical Training ◽  
Picture Of Dorian Gray ◽  
New Republic ◽  
Dorian Gray ◽  
Definition Of ◽  
Philosophical Questions

As a result of his classical training in the Honours School of Literæ Humaniores at Oxford, Oscar Wilde drew frequently on the works of Plato for inspiration, especially the Republic. The idea of a New Republic and its philosophy resonated profoundly with Wilde—so much so that the philosophical questions raised in Plato’s Republic become the central problems of The Picture of Dorian Gray. This chapter maps the parallels between the Republic and Dorian Gray, with specific focus on several of Plato’s most striking images from the Republic. In particular, the depiction of Lord Henry suggests not only the philosophical soul gone corrupt, but also the ‘drone’ who seduces the oligarchic young man into a life of ‘unprincipled freedom’, according to Plato’s definition of democracy. By invoking the Socratic lens, Wilde critiques Lord Henry’s anti-philosophy of the ‘New Hedonism’ and contrasts it with the Socratic eros.

Oxford Studies in Experimental Philosophy, Volume 2

2018 ◽  
Keyword(s):  
Political Philosophy ◽  
Social Science ◽  
Experimental Philosophy ◽  
Cognitive Sciences ◽  
Disciplinary Boundaries ◽  
Interdisciplinary Field ◽  
New Research ◽  
Philosophical Questions

This is the second volume in Oxford Studies in Experimental Philosophy, a series with the aim of providing a venue for publishing work in this emerging field. Experimental philosophy is a new movement that seeks to use empirical techniques to illuminate some of the oldest issues in philosophy. It is an interdisciplinary field at the intersection of philosophy, psychology, and related disciplines, such as linguistics and sociology. Although the movement is only a few years old, it has already sparked an explosion of new research, challenging a number of cherished assumptions in both philosophy and the cognitive sciences. This volume includes both theoretical and experimental chapters as well as chapters that cross traditional disciplinary boundaries. It is divided into three parts that explore epistemology, moral and political philosophy, and metaphysics and mind, showcasing the diversity of work that has arisen as traditionally philosophical questions have met the tools of social science.

Introduction

2017 ◽  
Author(s):  
Mark Textor
Keyword(s):  
Simple Event ◽  
Philosophical Questions

The introduction outlines and motivates the main questions of the book. I will engage with two philosophical questions—‘What is the nature of mind?’ and ‘What is the structure of consciousness’—through Brentano’s work. My interest is not so much to find a plausible reading of Brentano’s often dense and difficult texts, but to evaluate the arguments and views that can be distilled from them for truth. I will argue that Brentano’s answer to the first question is in interesting ways wrong. Intentionality is not the mark of the mental. I will argue that Brentano’s student Husserl succeeded where Brentano failed: he developed a mark of the mental. Brentano’s answer to the second question is defensible and illuminating. The relation between a mental act and awareness of the mental act is identity. There is one metaphysically simple event or process that can be brought under different partial concepts because it is directed on several objects, among them itself.

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