Why Venice? Venetian Society and the Success of Early Opera

2006 ◽  
Vol 36 (3) ◽  
pp. 331-353 ◽  
Author(s):  
Edward Muir
Keyword(s):  
Free Speech ◽  
Public Art ◽  
Art Form ◽  
Counter Reformation ◽  
Two Generations ◽  
New Form ◽  
The One ◽  
Early Opera

Why did opera first succeed as a public art form in Venice between 1637 and 1650 when all the elements of the new form were fully evident? The answer is to be found in the conjunction between Venetian carnival festivity and the intellectual politics of Venetian republicanism during the two generations after the lifting of the papal interdict against Venice in 1607. During this extraordinary period of relatively free speech, which was unmatched elsewhere at the time, Venice was the one place in Italy open to criticisms of Counter Reformation papal politics. Libertine and skeptical thought flourished in the Venetian academies, the members of which wrote the librettos and financed the theaters for many of the early Venetian operas.

Preventive Confinement of Dangerous Offenders

2004 ◽  
Vol 32 (1) ◽  
pp. 56-72 ◽  
Author(s):  
Stephen J. Morse
Keyword(s):  
Legal Theory ◽  
The Other ◽  
Legal Issue ◽  
Central Theme ◽  
Sexual Predators ◽  
Dangerous Offenders ◽  
New Form ◽  
The Law ◽  
The One ◽  
Constitutional Regime

How to respond justly to the dangers persistent violent offenders present is a vexing moral and legal issue. On the one hand, we wish to reduce predation; on the other, we want to treat predators fairly. The central theme of this paper is that it is difficult to achieve both goals without compromising one of them, and that both are being seriously undermined. I begin by explaining the legal theory, doctrine and practice governing dangerous offenders (DO) and demonstrate that the law leaves a gap in the ability to confine them. Next I explore the means by which the law has overtly or covertly sought to fill the gap. Many of these measures, especially the new form of civil commitment for sexual predators, dangerously conflate moral and medical categories. I conclude that pure preventive detention is more common than we usually assume, but that this practice violates fundamental assumptions concerning liberty under the American constitutional regime.

Glorious Apollo: Poetic and Political Themes in the First Opera

1979 ◽  
Vol 32 (4) ◽  
pp. 485-513 ◽  
Author(s):  
Barbara Russano Hanning
Keyword(s):  
Art Form ◽  
History Of ◽  
The Subject ◽  
The Universe ◽  
Early Opera

Historians of early opera have occasionally noted the appropriateness of Orpheus’ appearance as artistic spokesman for the new art form. Poet-singer par excellence of antiquity, whose music shook the very depths of the universe as he retrieved Eurydice from the Underworld, Orpheus surely appealed to the early opera composers and their humanist program—to recreate the moving power of an entirely sung drama by forging a new union of poetry, music, and gesture.In the history of opera, however, primacy of place must be given to the god Apollo, for the legend of Apollo and Daphne was the subject of the first favola per musica, La Dafne, written by Ottavio Rinuccini, with music composed by Jacopo Corsi and Jacopo Peri, and first performed in 1598 at Corsi's home in Florence.

scholarly journals Von Expeditionsberichten zum Führer — die Anfänge der Ratgeber für Riesengebirgereisende an der Jahrhundertwende des 18. zum 19. Jahrhundert

2019 ◽  
Vol 12 ◽  
pp. 33-53
Author(s):  
Jan Pacholski
Keyword(s):  
Point Of View ◽  
Mountain Range ◽  
Special Role ◽  
The North ◽  
Counter Reformation ◽  
Border Dispute ◽  
History Of ◽  
Nature Studies ◽  
The One ◽  
Travel Accounts

From travel accounts to guidebooks: The beginnings of guidebooks to the Giant Mountains Karkonosze for travellers in the late 18th and early 19th centuryIn the history of European tourism the Giant Mountains Karkonosze occupy a unique place thanks to the Chapel of St. Lawrence, funded by Count Christoph Leopold Schaffgotsch and located on the summit of Śnieżka. Its construction in the Habsburg dominions in the turbulent period of the Counter-Reformation was meant to finally put an end to the Silesian-Bohemian border dispute and become a visible sign of Catholic rule over the highest mountain range of the two neighbouring countries. The construction of the chapel also marked the beginning of tourism in the highest range of the Sudetes; initially, its nature was religious and focused on pilgrimages to the summit of Śnieżka, featuring, in addition to local inhabitants, also sanatorium visitors to Cieplice Warmbrunn, which was owned by the Schaffgotschs.After the three Silesian Wars, as a result of which the lands to the north of the mountains were separated from the Habsburgs’ Kingdom of Bohemia, the situation in the region changed radically. The Counter-Reformation pressure ceased and the Lutherans began to grow in importance, supported as they were by the decidedly pro-Protestant Prussian state, governed by its tolerant monarch.The period was also marked by an unprecedented growth in the literature on the Giant Mountains — there were poems Tralles, nature studies Volkmar and travel accounts GutsMuths, Troschel and others written about the highest range of the Sudetes. A special role among these writings was played by works aimed at introducing the public from the capital Berlin to the new province of the Kingdom of Prussia, especially to the mountains, so exotic from the point of view of the “groves and sands” of Brandenburg. These publications were written primarily by Lutheran clergymen, which was not without significance to the nature of the works. This was also a time when the first guidebooks to the Giant Mountains were written, with many of their authors also coming from the same milieu.What emerges from this image is a kind of confessionalisation of tourism in the highest mountains of Silesia and Bohemia: on the one hand there are mass Catholic pilgrimages and on the other — a new type of individual tourists who, with a book in hand, traverse mountain paths in a decidedly more independent fashion.

scholarly journals An analysis of the circumstances and factors that have influenced the development of Animation Industry in Iran in the 1960-2002 periods

2015 ◽  
Vol 16 (SE) ◽  
pp. 61-77
Author(s):  
Naser Golmohammadi
Keyword(s):  
Cultural Policy ◽  
Animation Industry ◽  
Historical View ◽  
Feature Films ◽  
Art Form ◽  
Iranian History ◽  
The Government ◽  
Printed Materials ◽  
The One ◽  
The Impact

In the early part of 20th century animation emerged as a revolutionary way of making art. It evolved into a powerful means of expression and creativity of artists who could merge all art genres into one art form. The subsequent developments of animation have opened its diverse uses in entertainment business, education and political propaganda. This article attempts to examine the factors that have influenced and shaped the development of animation industry in Iran. It takes a historical view and investigates the impacts of changing socio-economic and political forces that have determined the functions of animation in the Iranian society. The study traces the establishment of the industry to the government-run centres, describing the pioneering role of artists who gave rise to the ‘golden age’ of animation in the pre-revolutionary Iran. Especial attention is throughout paid to the long and rich cultural and artistic heritages, as the thematic basis for indigenously produced animated films in Iran. The growth of the industry is considered in conjuncture with the expansion of feature films cinema and expansion of television networks. The latter is particularly important for the fact that it provides a secured market for a sizeable audience of children and young people in Iran. The study analyses the impact of the 1979 Islamic Revolution on the animation industry from a period of stagnation to a highly promoted and government sponsored artistic and industrial activity. In the post-revolutionary period, the industry was transformed from one reflecting the Iranian history and culture to the one that emphasises the Islamic-Iranian values and Islamic traditions; hence animation has become an ideological means in propagating the cultural policy of the state. Thus, animation has increasingly become a cultural industry assigned to supply growing needs of television and artistic works reserved for international festivals.This research is largely based on extensive interviews with animation artists and those who are working in the industry complemented with a sample of questionnaires addressed to both Iranian artists and foreign observers and participants in the Iranian International festivals on animation. The research methodology is also supplemented with the research on printed materials – very few and often descriptive- and personal experience of working over twenty years in the industry.

The Epistemologia Imaginabilis in Eighteenth-Century Science and Philosophy

2017 ◽  
Author(s):  
Vincenzo Ferrone
Keyword(s):  
Eighteenth Century ◽  
Immanuel Kant ◽  
Thomas Hobbes ◽  
Modern Science ◽  
Denis Diderot ◽  
New Form ◽  
The One ◽  
Epistemological Debate ◽  
Unity Of Knowledge ◽  
Century Science

This chapter examines the change in science's image and the revelation of the philosophers of science's so-called epistemologia imaginabilis in the context of eighteenth-century science and philosophy. Many eminent scholars, from Thomas Hobbes to Denis Diderot, have engaged in the epistemological debate over extending the methods of the natural sciences to the study of human experience. The idea of the unity of knowledge across all disciplines on the basis of scientific methodology reached its peak with Immanuel Kant. Among the great historians, Marc Bloch was the one who best understood the role that a radically new conception of science could play in redefining and reviving the legitimacy of historical knowledge. The chapter considers the intense intellectual debate between historians of science and philosophers of science on the foundations of knowledge and how modern science acquired definitive legitimacy as a new form of knowledge over the course of the eighteenth century.

Events Reconsidered

2003 ◽  
Author(s):  
J. S. Weiner ◽  
Chris Stringer
Keyword(s):  
Scientific Literature ◽  
British Museum ◽  
Primary Sources ◽  
The Public ◽  
Public Meeting ◽  
Real Importance ◽  
New Form ◽  
To Come ◽  
The One ◽  
Work Done

It is unfortunately not possible to follow in any detail every stage of Smith Woodward’s activities at Piltdown. No diaries or note-books exist of the work done, there is nowhere a complete record of the various finds as they were made. Woodward kept copies of very few of his own letters and we have only the letters written to him and now preserved at the British Museum. When the American palaeontologist Osborn came over in 1920, Woodward dictated some notes which help to allocate the various discoveries. Apart from these notes and the one-sided record of the correspondence, there are only the reports in the scientific literature and popular lectures on Piltdown as primary sources. Woodward does not appear in general to have been a secretive man, but over the Piltdown material he went to some lengths to keep the whole affair as quiet as possible until near the time of the public meeting in December 1912. He did not consult any of his colleagues in the Museum about the finds or about the interpretation he was to place on them. Mr. Hinton says that to his colleagues at South Kensington Woodward’s diagnosis of E. dawsoni came as a surprise mingled with some dismay, for there was much scepticism of the new form amongst his museum colleagues, including Oldfield Thomas and Hinton himself. They would have advised caution, he says. Keith knew nothing of the events in Sussex until rumours reached him in November. He wrote asking for a view of the exciting material, but on his visit on 2 December to the Museum he was received rather coldly and allowed a short twenty minutes. But, judging from Dawson’s letters in 1912, it seems fair to say that Woodward was merely seeking to avoid a premature disclosure, for he had decided early on that Piltdown would indeed prove a sensational event. Woodward did not want any of Dawson’s ‘lay’ friends to come along on his first visit to the gravel when he had yet to make up his mind about the real importance of Dawson’s find and of the necessity for systematic excavation.

French Impressions: The Transnational Afterlives of Verlaine’s ‘La lune blanche’ in Song

2021 ◽  
pp. 150-152
Author(s):  
David Evans
Keyword(s):  
Art Song ◽  
National Identities ◽  
The Other ◽  
Mode I ◽  
Source Text ◽  
The Real ◽  
Art Form ◽  
The One

In this chapter I compare settings of Verlaine’s ‘La Lune blanche’ (‘The White Moon’) by composers of different nationalities (Delius, Webern, Sorabji, Loomis, Nevin, Loeffler, Hennessy, Poldowski, McEwen, Szulc, Stravinsky) in order to show how different ideas of French song – and of art song itself – emerge through the multiple dialogues of its transnational crossings. Two opposing approaches become clear: on the one hand, songs which maintain a reverence towards the source text as a symbol of the cultural cachet which French mélodie has enjoyed since its 1880-1930 heyday; and on the other, songs which offer a curiously unplaceable musical material, staking a claim for music as an mode of articulation which functions independently from language and, indeed, from national identities which are always in danger of falling into repetition, cliché, and pastiche. This latter mode, I suggest, comes closest to the real heart of mélodie as understood by its foremost French purveyors, Fauré and Debussy, and which composers like Stravinsky draw out of Verlaine’s text: a conception of song as an art form uniquely placed to offer a critique of fixed national paradigms and stable interpretative systems, by constantly calling into question, through their formal complexities, the very processes by which meaning itself is produced.

scholarly journals Harold Cohen and AARON: Collaborations in the last six years (2010–2016) of a Creative Life

Leonardo ◽  
2020 ◽  
pp. 1-10
Author(s):  
Louise Sundararajan
Keyword(s):  
The Other ◽  
Art Form ◽  
Machine Interface ◽  
The One ◽  
Creative Life

This article documents Harold Cohen’s last phase of creativity from 2010 till his death in 2016, a period which witnessed an accelerated co-evolution of Cohen’s relationship with AARON, on the one hand; and his technological and artistic innovations, on the other, culminating in a new art form featuring the void. Implications for the human and machine interface are discussed.

scholarly journals Assessment of the susceptibility status of Aedes aegypti (Diptera: Culicidae) populations to pyriproxyfen and malathion in a nation-wide monitoring of insecticide resistance performed in Brazil from 2017 to 2018

2020 ◽  
Vol 13 (1) ◽  
Author(s):  
Kauara Brito Campos ◽  
Ademir Jesus Martins ◽  
Cynara de Melo Rodovalho ◽  
Diogo Fernandes Bellinato ◽  
Luciana dos Santos Dias ◽  
...  
Keyword(s):  
Insecticide Resistance ◽  
Mosquito Control ◽  
Natural Populations ◽  
Adult Emergence ◽  
World Health ◽  
Two Generations ◽  
Wide Scale ◽  
Susceptibility Tests ◽  
The One ◽  
Health Organization

Abstract Background Chemical mosquito control using malathion has been applied in Brazil since 1985. To obtain chemical control effectiveness, vector susceptibility insecticide monitoring is required. This study aimed to describe bioassay standardizations and determine the susceptibility profile of Ae. aegypti populations to malathion and pyriproxyfen, used on a national scale in Brazil between 2017 and 2018, and discuss the observed impacts in arbovirus control. Methods The diagnostic-doses (DD) of pyriproxyfen and malathion were determined as the double of adult emergence inhibition (EI) and lethal doses for 99% of the Rockefeller reference strain, respectively. To monitor natural populations, sampling was performed in 132 Brazilian cities, using egg traps. Colonies were raised in the laboratory for one or two generations (F1 or F2) and submitted to susceptibility tests, where larvae were exposed to the pyriproxyfen DD (0.03 µg/l) and adults, to the malathion DD determined in the present study (20 µg), in addition to the one established by the World Health Organization (WHO) DD (50 µg) in a bottle assay. Dose-response (DR) bioassays with pyriproxyfen were performed on populations that did not achieve 98% EI in the DD assays. Results Susceptibility alterations to pyriproxyfen were recorded in six (4.5%) Ae. aegypti populations from the states of Bahia and Ceará, with Resistance Ratios (RR95) ranging from 1.51 to 3.58. Concerning malathion, 73 (55.3%) populations distributed throughout the country were resistant when exposed to the local DD 20 µg/bottle. On the other hand, no population was resistant, and only 10 (7.6%) populations in eight states were considered as exhibiting decreased susceptibility (mortality ratios between 90 and 98%) when exposed to the WHO DD (50 µg/bottle). Conclusions The feasibility of conducting an insecticide resistance monitoring action on a nation-wide scale was confirmed herein, employing standardized and strongly coordinated sampling methods and laboratory bioassays. Brazilian Ae. aegypti populations exhibiting decreased susceptibility to pyriproxyfen were identified. The local DD for malathion was more sensitive than the WHO DD for early decreased susceptibility detection.

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