The Spatialization of Time and the Eternal “Now Moment”

2020 ◽  
pp. 364-374
Author(s):  
Christopher Hasty
Keyword(s):  
New Music ◽  
The Novel ◽  
Avant Garde ◽  
Experience Of Time ◽  
The Subject ◽  
The Moment

This concluding chapter assesses the attribution of spatiality and timelessness to musical events. The novel experiences offered by the New and post-New Music have been the subject of considerable speculation concerning the temporality of postwar compositions and people's experience of “time” in general. These speculations have centered on two characteristics that distinguish the new music from the old: the spatialization of time and the experience of the moment as an autonomous, timeless, or eternal present. These notions already appeared in earlier discussions of structure and of meter conceived as cyclic return. There it was argued that the spatialization of time and the autonomy of a present freed from becoming are products of conceptualization. However, in postwar avant-garde aesthetics, these categories are adamantly applied to perceptual acts.

Are Puns Mere? Christine Brooke-Rose's Amalgamemnon

2021 ◽  
Vol 16 (4) ◽  
pp. 529-545
Author(s):  
Julia Jordan
Keyword(s):  
The Novel ◽  
Late Modernism ◽  
Distinctive Character ◽  
Avant Garde ◽  
Jacques Ranciere ◽  
Jacques Rancière ◽  
The Face ◽  
The Moment ◽  
Secret Knowledge ◽  
The Relationship

This article will explore the relationship between linguistic puns and knowledge, in particular puns in Christine Brooke-Rose's work, and what they tell us about knowledge: secret knowledge; encoded knowledge; latent knowledge that remains latent; and the refusal of knowledge. My title is an allusion to Frank Kermode's 1967 essay ‘Objects, Jokes, and Art’, where he puzzles away at his own difficulty with distinguishing avant garde writing and art, especially what he calls the ‘neo-avant garde’ of the 60s, from jokes. ‘I myself believe’, he writes anxiously, ‘that there is a difference between art and a joke’, admitting that ‘it has sometimes been difficult to tell.’ Brooke-Rose, whose work Kermode admired, is a perfect example of this. Her texts revolve around the pun, the surprise juxtaposition between semantic poles, the unexpected yoking together of disparate elements. Puns, for Brooke-Rose, sit at the juncture between the accidental and the overdetermined. So what is funny about the pun? Not much, I propose, or rather, it provokes a particular sort of ambivalent laughter which becomes folded into the distinctive character and affective potency of late modernism itself: its deadpan silliness; its proclivity to collision and violence; its excitability and its melancholy. Brooke-Rose's humour is thus of the difficult sort, that is, humour that reveals itself at the moment of its operation to be not all that funny. The unsettling laughter, I propose, that exposes literature's own incommensurability with itself. For Jacques Rancière, the novel must illuminate somehow the ‘punctuation of the encounter with the inconceivable’, in the face of which all is reduced to passivity. The pun, in particular, forces the readers’ passivity, and exposes us to limits of what can be known.

scholarly journals Sublime and precise: Mind sonorities of Vlastimir Pericic

Muzikologija ◽  
2008 ◽  
pp. 167-183
Author(s):  
Dragana Stojanovic-Novicic
Keyword(s):  
String Quartet ◽  
Theoretical Work ◽  
New Music ◽  
Professional Activity ◽  
Theoretical Studies ◽  
Compositional Process ◽  
Avant Garde ◽  
Professional Recognition ◽  
Technical Realization ◽  
The Moment

Author discusses the course and results of the professional activity of Serbian composer and musicologist Vlastimir Pericic (1927-2000). At the beginning of his career Pericic was a promising young composer who won a prestigous Vercelli Competition Prize in 1950 for his String quartet. His style was characterized by post-romantic musical expression. He was convinced that a tonal system was the only acceptable base for making new music. In that sense, he came close to Paul Hindemith's approach to the world of new sonorities. The author explains Pericic's position in the context of Serbian music of the second half of the 20th century. He was considered somewhat conservative because he never accepted avant-garde techniques and procedures. His imagination and concentration on compositional process made him competent in the technical realization of his rich musical ideas. On the other hand, he was a shy personality who had never been penetrating enough to promote his own works. Hence, during the last decades of his life (when he stopped composing) almost no one was conscious of the great value of his works. Pericic suddenly interrupted his compositional career in the mid 1960s and thereafter devoted himself to theoretical work. His books on counterpoint harmony, and Serbian composers, many articles on contemporary Serbian composers, as well as his major multilingual dictionary of musical terms which includes seven languages, were among the finest fruits of Serbian theoretical achievements in the field of music. Now is the moment to reexamine Pericic's opus because his compositional achievements, as well as his theoretical studies, were of the highest quality. Pericic was a real part of the European music elite as a composer and musicologist, but he never received adequate professional recognition, especially in a broader European context.

scholarly journals EXISTENTIALISM IN “FIRE ON THE MOUNTAIN”

2018 ◽  
Vol 5 (43) ◽  
Author(s):  
Manisha Sharma
Keyword(s):  
Literary Work ◽  
The Novel ◽  
Anita Desai ◽  
Avant Garde ◽  
Modern Age ◽  
Human Predicament ◽  
The Face ◽  
The Subject ◽  
Almost All ◽  
In Fire

Existentialism, a quite contemporary dogma apparent in the philosophical and literary work of Sartre, was much in vogue in the European literature dating back from mid-twentieth century. Existentialism dealing greatly with the alienated trepidation, preposterousness, prejudice, escapism, over attraction for liberation, started becoming the subject matter of almost all the writers of the modern age. As an avant-garde novelist, Anita Desai in “Fire on the Mountain” exhibits a strong inclination towards the existentialist interpretation of the human predicament.” Desai’s characters of Nanda Kaul, Raka and Ila Das are studies of women in the utter maze of isolation and ennui. The novel espouses the universal human struggle for survival, especially in the face of a never ending spiral of human failures and misfortunes.

Virus as Metaphor

October ◽  
2020 ◽  
Vol 172 ◽  
pp. 159-162
Author(s):  
David Joselit
Keyword(s):  
Pop Art ◽  
The Novel ◽  
History And Criticism ◽  
Health Crisis ◽  
Avant Garde ◽  
Viral Spread ◽  
New Meanings ◽  
The Moment ◽  
The One ◽  
Novel Coronavirus

Establishing a connection between the novel coronavirus pandemic and the viral spread of misinformation emanating from the Trump administration, this essay suggests that we are now experiencing a general condition of the de-authorization of information—what Trump calls “fake news—in which the legitimacy of every form of knowledge is rendered questionable. The health crisis, Joselit argues, is equally a crisis of the authorization of information gone viral. This situation heightens a contradiction within the history and criticism of modern and contemporary art, which, on the one hand, has typically valued avant-garde practices for their capacity to challenge authority, and on the other hand, has taken postmodern calls to de-authorize canons to heart. The essay concludes with a call for critics and art historians to risk authorizing new historical narratives, just as artists, since at least the moment of Pop art, have appropriated viral images in order to furnish them with new authors—to author-ize new meanings.

scholarly journals The genre of spiritual autobiography features in the novel by B. L. Pasternak “Doctor Zhivago”

2019 ◽  
Keyword(s):  
Hierarchical Organization ◽  
Eternal Life ◽  
Spiritual Awakening ◽  
The Novel ◽  
Spiritual Autobiography ◽  
Level Of Consciousness ◽  
The Subject ◽  
Multi Level ◽  
The Moment ◽  
First Time

The article deals with realization of the canonical spiritual autobiography genre in the novel by B. L. Pasternak Doctor Zhivago. For the first time the classical canon of spiritual autobiography is embodied in the Confession by St. Augustine. The following genre signs of spiritual autobiography are distinguished: the choice from the series of events only those moments that contributed to the spiritual growth of the hero; focusing not on the external course of events, but on the internal spiritual processes; the moment of insight, spiritual awakening as a plot-compositional pointe, the culmination of the narrative and, accordingly, the turning point of the hero's life. According to the establishment of eternal history that leads to the beginning in the human spirit with Christ`s sacrifice, the theme of the path is revealed in the new Gospel light in spiritual autobiography - as a person’s ascension from the carnal to the spiritual level of consciousness and achievement of “eternal life”. The main genre-forming principle, besides the listed ones, is the moment of insight, spiritual awakening as a plot-compositional pointe of a work that gets multi-level realization in the novel by B. L. Pasternak Doctor Zhivago: on an individual and biographical, historical, eternal, sacral levels. Such a multi-level realization of the moment of spiritual awakening determines the polyphonic and tiered hierarchical organization of the subject component of the story. The architectonic center of the subject component includes hero-author, hero-generation and hero-Christ paradigms. The interrelation of the subject components is based on the model of the symbolic-iconic generalization of being. The artistic detachment from specific prototypes makes Yuri Zhivago and his contemporaries symbolic figures, connecting microcosms. They interact and become parts and symbols of each other and the whole world at this level of generalization. Such complex subject organization contributed to the transformation and modernization of the canon of spiritual autobiography in the novel by B. L. Pasternak “Doctor Zhivago”.

scholarly journals European musical context in the works of Sukhbat Aflatuni

2020 ◽  
pp. 32-40
Author(s):  
Irina Sergeevna Yukhnova
Keyword(s):  
The Novel ◽  
Special Interests ◽  
Avant Garde ◽  
Musical Harmony ◽  
History Of ◽  
Entire History ◽  
The Subject ◽  
Musical Context ◽  
Magic Flute

The object of this research is two works of Sukhbat Aflatuni: “Tashkent Novel” and “Balthazar”, as well as the last part of the trilogy “Adoration of the Magi”. The subject of the research is the authorial interpretation of music theme, revealing the uniqueness of musical images in the indicated novels. Special attention is given to the European musical context with emphasis on most significant musical pieces that not just create a background sound in the novels, but also affect their structure. The author examines the functions of musical references, and proves that mentioning of the composers’ names and composition in works of the writer fulfills the function of “other storyline”. The conclusion is made that musical context in works of the writer is diverse and multifunctional. The structure of “Tashkent Novel” directly correlates with the Opera “The Magic Flute” by Mozart. Another significant musical text in the novel is “For Elise” by Beethoven. In the trilogy “Adoration of the Magi”, of special interests from musical perspective is the last novel of the writer “Balthazar”. The protagonist is the avant-garde composer, who seeks for the new forms that allow presenting the entire history of music; from his perspective, music is the highest manifestation of spirit. By this, Sukhbat Aflatuni brings to life Plato's idea of the celestial meaning of musical harmony.

scholarly journals Reanimating/Resisting Late Soviet Monstrosity: Generational Self-Reflection and Lessons of Responsibility in Alexei Ivanov’s Pischeblok [The Food Unit]

2021 ◽  
Vol 10 ◽  
pp. RLS88-RLS111
Author(s):  
Ksenia Robbe
Keyword(s):  
Turning Point ◽  
Coming Of Age ◽  
Russian Literature ◽  
The Novel ◽  
Self Reflection ◽  
Ethical Implications ◽  
The Subject ◽  
Late Socialism ◽  
The Moment ◽  
Reading Approaches

Remembering late socialism through child perspectives in (auto)fictional writing has been a prominent practice in contemporary Russian literature. In particular, the early 1980s focalized by young protagonists have become the subject of three recent novels, by Alexei Ivanov, Shamil’ Idiatullin and Alexander Arkhangelsky. This article closely examines one of these novels, Alexei Ivanov’s Pischeblok [The Food Unit] published in 2016, asking how it articulates the generation that was coming of age during the 1980s and considering the ethical implications of this articulation. The reading approaches this question by examining the genre characteristics of the novel which involve a tension between ‘generatiography’ and fantasy, and between the realist and post-post-modernist modes. It argues that this hybridity of genre and a metamodernist oscillation allow for creating a multilayered representation of the late Soviet as a space of improvisational possibilities involving play with petty monsters as well as of genuine monstrosity embodying the darker side of the Soviet. The article outlines the novel’s generational self-reflection which involves re-familiarizing the readers with the ideals that existed within socialism but were not realized by the generation which internalized state socialism’s monstrous side. At the same time, the return to the moment of struggling with this monstrosity creates an alternative turning point and the possibility of responsibility-taking.

Flaubert's Concept of The Novel

PMLA ◽  
1965 ◽  
Vol 80 (1) ◽  
pp. 84-89
Author(s):  
B. F. Bart
Keyword(s):  
General Theory ◽  
The Other ◽  
The Novel ◽  
Madame Bovary ◽  
The Subject ◽  
The Moment

Ever since the first appearance of Madame Bovary, Flaubert's concept of the novel has occasioned so many and such persistent misunderstandings that it seems well, now that a century or more has elapsed, to seek once again to understand what he did conceive the novel to be. Flaubert made numerous, isolated statements on the subject throughout his life, but these are scattered and in a sense always random, related only to the particular aspect of general theory which happened at the moment to be attracting his attention. It has even been urged that these should not and cannot be used to establish his concept of the novel. Moreover he did state that he execrated what was called realism; and he had no greater use for any of the other schools of his day, naturalism or impressionism or even those which baptized him their “chef d'école.”

scholarly journals ELECTROACOUSTIC MUSIC AND THE SLOVAK MUSICAL AVANT-GARDE IN THE 1960S

2021 ◽  
Vol 11 (1) ◽  
pp. 59-64
Author(s):  
ALENA ČIERNA
Keyword(s):  
Performing Arts ◽  
Western Europe ◽  
Developmental Stages ◽  
Electroacoustic Music ◽  
New Music ◽  
The Novel ◽  
Compositional Techniques ◽  
Avant Garde ◽  
The 1960S ◽  
The Given

In the 1960s, the development of music in Slovakia was marked by prominent generational and stylistic confrontations of the compositional poetries of the previous generations of composers and the just emerging one. In the composers’ community, an initiative was gaining a foothold that reassessed the practices, norms, and achievements of the previous developmental stages of Slovak music and looked for new points of departure. In certain stages of the given period, the first graduates of the Academy of Performing Arts (Ilja Zeljenka, Juraj Pospíšil, Pavol Šimai, Ladislav Kupkovič, Peter Kolman, Roman Berger, Jozef Malovec, Miroslav Bázlik, Ivan Parík, Tadeáš Salva, and others) entered the musical scene. The genesis and the formation of the Slovak musical avant-garde in the 1960s was determined by their quest for the novel possibilities of expression and the compositional techniques of the so-called New Music of Western Europe. They included experimenting with previously unknown electrogenic compositional materials and techniques of electroacoustic music. Slovak electroacoustic music, which achieved success in Slovakia and abroad already in the 1960s, emerged first on a private basis, later in the Sound Studio of the Czechoslovak Television, and, primarily, in the Experimental Studio of the Czechoslovak Radio.

scholarly journals Analysis of Publications of the Russian Trauma and Orthopaedic Surgeons in Foreign Top-Rated Journals

2018 ◽  
Vol 24 (4) ◽  
pp. 9-19
Author(s):  
A. P. Sereda ◽  
M. A. Andrianova
Keyword(s):  
Sports Medicine ◽  
Google Scholar ◽  
Pubmed Central ◽  
Orthopaedic Surgeons ◽  
Avant Garde ◽  
National Trauma ◽  
The Subject ◽  
Number Of Publications ◽  
The Moment ◽  
Number Of Citations

The present paper is dedicated to the publications analysis by Russian authors in top-rated foreign journals. The aim of the research to define the avant-garde status of the national trauma and orthopaedics science. The authors of the present paper analyzed the publications in the first thirty journals under the heading «Orthopaedics and sports medicine» from Scimago Journal & Country Rank rating. The search was conducted from the moment of the first issue of each journal. Total number of publications was calculated, total number of publications from each author, number of publications per institution, citations of each publication in PubMed Central и Google Scholar. The subject, chronologic characteristics and relation of the year of publication with number of citations were analyzed. 

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