Introduction

2019 ◽  
pp. 1-22
Author(s):  
Alexandra Kieffer
Keyword(s):  
Twentieth Century ◽  
Aesthetic Experience ◽  
Reception History ◽  
Musical Experience ◽  
Intellectual Culture ◽  
Musical Culture ◽  
Pelleas Et Melisande ◽  
Recent Developments ◽  
History Of ◽  
The Many

A reception history of Debussy’s music in the years after the 1902 premiere of Pelléas et Mélisande reveals the many interconnections between musical culture and early-twentieth-century intellectual culture in Paris, including recent developments in the human sciences, and can reorient the broader narrative of musical culture in this period away from comparisons to Symbolist poetry and Impressionist painting. This reception history likewise invites a reconsideration of musical experience in musicological scholarship and its relationship to hermeneutics, offering an alternative to the tendency in recent accounts of aesthetic experience to reify a problematic dualism between live, ephemeral “presence” and the inert historical artifact.

Transforming Historical Objectivism into Historical Hermeneutics: From “Historical Illness” to Properly Lived Historicality

2019 ◽  
Vol 61 (4) ◽  
pp. 490-515
Author(s):  
Thomas Tops
Keyword(s):  
Reception History ◽  
Biblical Studies ◽  
Historical Study ◽  
Necessary Condition ◽  
New Paradigm ◽  
History Of Interpretation ◽  
Critical Methodology ◽  
Recent Developments ◽  
History Of ◽  
Biblical Texts

Summary The present study analyses recent criticisms against the use of modern-historical methodologies in Biblical Studies. These methodologies abstract from the historical horizon of the researcher. In order to relate properly to the historicality of the researcher, historical objectivism needs to be transformed into historical hermeneutics. Recent developments in the historical methodology of biblical scholars are unable to reckon with the historicality of the researcher due to the partial or incorrect implementation of Gadamer’s views on reception history. I analyse the views of Nietzsche, Kierkegaard, and Gadamer on historicality and contend that the study of reception history is a necessary condition for conducting historical study from within the limits of our historicality. Reception history should not be a distinct methodological step to study the “Nachleben” of biblical texts, but needs to clarify how the understanding of these texts is already effected by their history of interpretation. The awareness of the presuppositions that have guided previous interpretations of biblical texts enables us to be confronted by their alterity. This confrontation calls for a synthesis between reception-historical and historical-critical methodology that introduces a new paradigm for conducting historical study in Biblical Studies in dialogue with other theological disciplines.

Rise, Character, and Development of Jesuit Education

2018 ◽  
pp. 152-176
Author(s):  
Cristiano Casalini
Keyword(s):  
Twentieth Century ◽  
Jesuit Education ◽  
Early Modernity ◽  
Contemporary World ◽  
History Of ◽  
The Many

One key to the success of Jesuit education has been the tension between the recognizable mark of uniformity that long distinguished the methods, contents, and practices of Jesuit schools and their ability to adapt to different contexts and times. Both of the aspects could be said to have found explicit support in that unique foundational document, the Ratio Studiorum, which retained some sway up until the middle of the twentieth century despite the many variations and complexities that had arisen since early modernity. Soon after the Ratio fell into oblivion, Jesuit schools began to think about what made them distinctively Jesuit. There was a need to clarify the profile of their mission in the contemporary world. This chapter will sketch a history of Jesuit education, focusing on both the permanent and changing traits of its distinctive pedagogy.

Situating Tribes in History: Lessons from the Archives and the Social Sciences

2021 ◽  
Vol 53 (3) ◽  
pp. 473-476
Author(s):  
Nadav Samin
Keyword(s):  
Social Sciences ◽  
Twentieth Century ◽  
Middle East ◽  
Middle Eastern ◽  
Record Keeping ◽  
Know How ◽  
The Social ◽  
History Of ◽  
The Many ◽  
Official Records

The tribe presents a problem for the historian of the modern Middle East, particularly one interested in personalities, subtleties of culture and society, and other such “useless” things. By and large, tribes did not leave their own written records. The tribal author is a phenomenon of the present or the recent past. There are few twentieth century tribal figures comparable to the urban personalities to whose writings and influence we owe our understanding of the social, intellectual, and political history of the modern Middle East. There is next a larger problem of record keeping to contend with: the almost complete inaccessibility of official records on the postcolonial Middle East. It is no wonder that political scientists and anthropologists are among the best regarded custodians of the region's twentieth century history; they know how to make creative and often eloquent use of drastically limited tools. For many decades, suspicious governments have inhibited historians from carrying out the duties of their vocation. This is one reason why the many rich and original new monographs on Saddam Hussein's Iraq are so important. If tribes are on the margins of the records, and the records themselves are off limits, then one might imagine why modern Middle Eastern tribes are so poorly conceived in the scholarly imagination.

scholarly journals Biography and Life-Writing

2020 ◽  
pp. 76-102
Author(s):  
Christopher Wiley
Keyword(s):  
Nineteenth Century ◽  
Life Writing ◽  
Strong Relationship ◽  
Music History ◽  
Reception History ◽  
Close Reading ◽  
Intellectual Culture ◽  
History And Criticism ◽  
History Of ◽  
The Impact

This chapter outlines the proliferation of musical biography and life-writing in its multifarious forms across Europe in the long nineteenth century, and its role in establishing and perpetuating the canon, shaping the reception history of specific composers, constructing exemplary lives, providing firm foundations for the intellectual culture of the time, and maintaining a strong relationship to music history and criticism. Two case studies explore distinctive examples of “popular” manifestations of nineteenth-century music-biographical writing by influential authors to educate and entertain wide communities of autodidactic readers. This first concerns a two-volume compilation of anecdotes, surveyed for its reflection of Victorian values and musical preoccupations; the second, a collected biography whose close reading reveals much about the passive role into which women were repeatedly cast in contemporaneous life-writing on the Great Composers. A concluding section considers the extent of the impact and continued indebtedness of modern musical biography and musicology to the legacy of nineteenth-century intellectual developments.

scholarly journals The Past and its Possibilities in Nahḍa Scholarship

2021 ◽  
Vol 6 (3-4) ◽  
pp. 265-287
Author(s):  
Feras Krimsti ◽  
John-Paul Ghobrial
Keyword(s):  
Twentieth Century ◽  
Special Issue ◽  
Record Keeping ◽  
The Past ◽  
History Of ◽  
Historical Heritage ◽  
The Many ◽  
Historical Reflection ◽  
Shed Light

Abstract This introduction to the special issue “The Past and its Possibilities in Nahḍa Scholarship” reflects on the role of the past in nineteenth- and early twentieth-century nahḍa discourse. It argues that historical reflection played a pivotal role in a number of scholarly disciplines besides the discipline of history, notably philosophy and logic, grammar and lexicography, linguistics, philology, and adab. Nahḍawīs reflected on continuities with the past, the genealogies of their present, and the role of history in determining their future. The introduction of print gave new impulses to the engagement with the historical heritage. We argue for a history of the nahḍa as a de-centred history of possibilities that recovers a wider circle of scholars and intellectuals and their multiple and overlapping local and global audiences. Such a history can also shed light on the many ways in which historical reflection, record-keeping practices, and confessional, sectarian, or communalist agendas are entwined.

scholarly journals PRESERVATION THE TRADITIONS OF UKRAINIAN SPIRITUAL CHOIR CULTURE IN MUSIC SCIENTIFIC RESEARCH BY MYRON FEDORIV

2021 ◽  
Author(s):  
Yatsiv I. V.
Keyword(s):  
United States ◽  
Twentieth Century ◽  
Catholic Church ◽  
Scientific Research ◽  
The United States ◽  
Musical Culture ◽  
Public Figure ◽  
Spiritual Culture ◽  
History Of ◽  
Ukrainian Catholic

The article is devoted to the evaluation of scientific works of the well - known in the Ukrainian diaspora musicologist and publicist Myron Fedoriv in the context of the preservation of national song traditions outside the ethnic territory. The information on the most important theoretical achievements of the scientist is given, the place and value of activity of the cultural public figure in the history of musical and choral culture of Ukraine and the western diaspora is defined. The author notes that Myron Fedoriv lived most of his life in the United States. He left a large amount of musical material and theoretical works in the history of Ukrainian choral culture, so he stopped the destruction of song traditions and examples of canonical liturgical singing in Ukrainian churches of the diaspora. In his works, Myron Fedoriv wrote that the singing tradition is the basis of the Ukrainian national spiritual culture, and therefore it should be preserved in the Ukrainian Catholic Church in America. As a result, the musicological heritage of Myron Fedoriv is very valuable for the Ukrainian musical culture of the twentieth century. Thus, its activities deserve more detailed study.

scholarly journals The Moor’s Political Colour: Race and Othello in Poland

2020 ◽  
Vol 22 (37) ◽  
pp. 171-190
Author(s):  
Anna Kowalcze-Pawlik
Keyword(s):  
Nineteenth Century ◽  
Twentieth Century ◽  
Reception History ◽  
Social Contexts ◽  
Racial Stereotypes ◽  
Skin Colour ◽  
The Political ◽  
History Of ◽  
Stage Adaptations ◽  
The Way

This paper provides a brief outline of the reception history of Othello in Poland, focusing on the way the character of the Moor of Venice is constructed on the page, in the first-published nineteenth-century translation by Józef Paszkowski, and on the stage, in two twentieth-century theatrical adaptations that provide contrasting images of Othello: 1981/1984 televised Othello, dir. Andrzej Chrzanowski and the 2011 production of African Tales Based on Shakespeare, in which Othello’s part is played by Adam Ferency (dir. Krzysztof Warlikowski). The paper details the political and social contexts of each of these stage adaptations, as both of them employ brownface and blackface to visualise Othello’s “political colour.” The function of blackface and brownface is radically different in these two productions: in the 1981/1984 Othello brownface works to underline Othello’s overall sense of alienation, while strengthening the existing stereotypes surrounding black as a skin colour, while the 2011 staging makes the use of blackface as an artificial trick of the actor’s trade, potentially unmasking the constructedness of racial prejudices, while confronting the audience with their own pernicious racial stereotypes.

scholarly journals POLISH AESTHETIC DISCOURSE OF THE 20TH CENTURY: INTERPRETATION OF INTERPRETATIONS

2018 ◽  
pp. 25-29
Author(s):  
E. I. Onishchenko
Keyword(s):  
Twentieth Century ◽  
Aesthetic Experience ◽  
Aesthetic Theory ◽  
Specific Nature ◽  
Theoretical Orientations ◽  
Culture Studies ◽  
National University ◽  
Aesthetic Consciousness ◽  
History Of ◽  
The Aesthetic

The article is devoted to the analysis of the Polish aesthetic discourse of the twentieth century and the prospects for its interpretation in the Ukrainian aesthetics, particularly in the works by Kateryna Shevchuk, defended at the department of ethics, aesthetics and culture studies of Taras Shevchenko National University of Kyiv. These research greatly extend the idea of the aesthetic canon of the Polish thought, classically represented by the aesthetics R. Ingarden and W. Tatarkiewicz and reveal the names of virtually unknown in Ukraine Polish scientists, including special interest is the legacy of L. Blaustein, M. Wallis, H. Elzenberg and G. Ossowski. In particular, this perspective covers traditional for the twentieth century aesthetics problems, including psychology of art, collective aesthetic experience, ratio, fantasy, and imagination. Also, new interpretive perspectives of sublime and ugly, aesthetical experience are opened. The theoretical orientations of the Polish scholars, in one way or another, were connected with the cornerstones of the aesthetic science - its subject, the conceptual-categorical apparatus, the structure of aesthetic consciousness, the phenomenon of artistic creativity, the specific nature of art, and others. In the process of conceptual concretization, in the field of Polish aesthetics a number of problems have been rather clearly distinguished, among which the special attention of practically all of its leading representatives has attracted the phenomenon of aesthetical experience. K. Shevchuk’s investigation opens up an opportunity, at least in the format of a secondary interpretation, to join the research of the Polish scholars, whose work proved to be a giant "white spot" for the Ukrainian aestheticians. Introducing actually unexplored concepts Polish scientists to the modern Ukrainian aesthetic theory not only facilitates the opening of "unknown pages" in the history of the twentieth century aesthetics, but also makes actual mark of new approaches to the analysis of classical problems, the relevance of which will never be a subject of doubt.

Manuscripts of the Book of Revelation

2020 ◽  
Author(s):  
Garrick V. Allen
Keyword(s):  
Early Modern ◽  
Critical Edition ◽  
Digital Age ◽  
Reception History ◽  
Holy War ◽  
Book Of Revelation ◽  
New Jerusalem ◽  
The New Testament ◽  
History Of ◽  
The Many

The book of Revelation is a disorienting work, full of beasts, heavenly journeys, holy war, the End of the Age, and the New Jerusalem. It is difficult to follow the thread that ties the visions together and to makes sense of the work’s message. This book argues that one way to understand the strange history of Revelation and its challenging texts is to go back to its manuscripts. The texts of the Greek manuscripts of Revelation are the foundation for the words that we encounter when we read Revelation in a modern Bible. But the manuscripts also tell us what other ancient, medieval, and early modern people thought about the work they copied and read. The paratexts of Revelation—the many features of the manuscripts that help readers to navigate and interpret the text—are one important point of evidence. Incorporating such diverse features like the traditional apparatus that accompanies ancient commentaries to the random marginal notes that identify the identity of the beast, paratexts are founts of information on how other mostly anonymous people interpreted Revelation’s problem texts. This book argues that manuscripts are not just important for textual critics or antiquarians, but that they are important for scholars and serious students because they are the essential substance of what the New Testament is. This book illustrates ways that the manuscripts illuminate surprising answers to important critical questions, like the future of the critical edition in the digital age, the bibliography of the canon, and the methods of reception history.

Debussy's Critics

2019 ◽  
Author(s):  
Alexandra Kieffer
Keyword(s):  
Twentieth Century ◽  
Claude Debussy ◽  
Intellectual Culture ◽  
Aesthetic Value ◽  
Scientific Methods ◽  
Empirical Psychology ◽  
Pelleas Et Melisande ◽  
Music Aesthetics ◽  
Affect And Cognition ◽  
Musical Listening

Around the turn of the twentieth century, the work of Claude Debussy spurred a reimagining of music and musical listening in which Parisian musicians and intellectuals, informed by recent scientific discourse on affect, perception, and cognition, attempted to articulate a music aesthetics appropriate to the fully embodied, material self of psychological modernism. Important themes in debussyste music criticism are prefigured in the Symbolist wagnérisme of the late 1880s, which elaborated a model of affect and cognition drawn from the empirical psychology of Théodule Ribot. Following the premiere of Debussy’s opera Pelléas et Mélisande in 1902, Debussy’s supporters, attempting to explain the opera’s novelty, turned away from a music aesthetics that gave primacy to inner emotion and toward an aesthetics oriented instead toward listening, sensation, and the materiality of sound. Over the following decade, critics Jean Marnold and Louis Laloy, drawing from a wide swath of early-twentieth-century intellectual culture that included empirical psychology and post-Helmholtzian acoustics, were particularly influential as defenders of the ostensibly scientifically valid nature of Debussy’s innovations as well as his historical importance. After 1910, however, the cultural relevance of debussysme quickly declined as standards of aesthetic value shifted toward the abstract and universal (as opposed to the fleeting ephemerality of sensation) and as the deepening divide between scientific methods and humanistic ones made the intellectual culture of debussysme untenable.

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