scholarly journals Le influenze italiane in Karol Szymanowski

2020 ◽  
pp. 101-111
Author(s):  
Leonardo Masi
Keyword(s):  
Italian Renaissance ◽  
Cultural Environment ◽  
Italian Culture ◽  
Karol Szymanowski

Like many other artists, Szymanowski was hugely attracted to Italy. In this article, I will briefly expose, firstly, the “Italian” tracks that can be found in the Polish composer’s music, and, secondly, the declarations on Italy in Szymanowski’s writings, in particular on his art and music, trying to relate these elements between them to see what image of Italian culture emerges. I will show how Szymanowski’s cultural environment remains German-based nevertheless looking for the lost unity between man, art and nature in the heritage of the Italian Renaissance.

Dancing Italian Culture: Venezia et al.

2016 ◽  
Vol 2016 ◽  
pp. 337-343
Author(s):  
Clara Sacchetti ◽  
Batia Stolar
Keyword(s):  
Italian Renaissance ◽  
Thunder Bay ◽  
Italian Culture

How does Le Stelle, an ethnic dance group in the multicultural city of Thunder Bay, Ontario, Canada, represent Italian culture? Our article broaches this question by analyzing Le Stelle's 2012 “Carnivale of Venezia” dance. While the number is meant to evoke the Italian Renaissance, it creatively uses kinetic movements from ballet, Irish step dancing, and the Italian tarantella. It is staged to a 1950s Mantovani song mixed with music from Assassin's Creed II; and it utilizes Italian peasant costuming and Venetian masks. Our paper examines Le Stelle's use of these hybridities in staging Italian culture.

The idea of renewal in Girolamo Aleander’s conciliar thought

1977 ◽  
Vol 14 ◽  
pp. 175-186
Author(s):  
W. B. Patterson
Keyword(s):  
Sixteenth Century ◽  
Italian Renaissance ◽  
Catholic Reformation ◽  
Single Generation ◽  
Italian Culture ◽  
The Church

The climax of the Italian renaissance in the early sixteenth century merges almost imperceptibly and rather surprisingly with the beginnings of the catholic reformation. Within a single generation, it seems, religious and moral interests came to rival, or even to supplant, that interest in pagan antiquity which had long been the inspiration of Italian culture. The stages by which this transformation occurred have not been clearly defined, but the process can be seen at work in the case of one prominent humanist who decided to devote his career to the defence and then to the renewal of the church of Rome.

Some Polish Composers of To-Day

Tempo ◽  
1948 ◽  
pp. 25-28
Author(s):  
Andrzej Panufnik
Keyword(s):  
Twentieth Century ◽  
Fertile Soil ◽  
Early Twentieth Century ◽  
Progressive Group ◽  
Karol Szymanowski

It is ten years since KAROL SZYMANOWSKI died at fifty-four. He was the most prominent representative of the “radical progressive” group of early twentieth century composers, which we call “Young Poland.” In their manysided and pioneering efforts they prepared the fertile soil on which Poland's present day's music thrives.

Fairbairnian approaches to King Roger , the opera by Karol Szymanowski

2020 ◽  
Vol 14 (1) ◽  
pp. 66-86
Author(s):  
Graham S. Clarke
Keyword(s):  
Object Relations ◽  
Object Relations Theory ◽  
Personal Relations ◽  
Karol Szymanowski

In what follows I will develop an account of Fairbairn's object relations theory as I have understood and developed it, and, apply that theory to an understanding of the threeact opera King Roger, Op. 26 (1926) by Karol Szymanowski. My Fairbairnian approaches to the opera come from my previous work on Fairbairn's object relations theory. In order to fully understand the first of the approaches I employ you may need to read my book Personal Relations Theory (Clarke, 2006), in particular chapters one, five, and six. In order to fully understand the second of the approaches I am using you need to read Thinking Through Fairbairn (Clarke, 2018a), in particular chapters two, three, and four, as well as my paper in the journal Attachment (Clarke, 2018b) on MPD/DID and Fernando Pessoa's heteronyms.

Leslie Burrowes: A Young Dancer in Dresden and London, 1930–34

2010 ◽  
Vol 28 (2) ◽  
pp. 153-178 ◽  
Author(s):  
Larraine Nicholas
Keyword(s):  
Modern Dance ◽  
Small Scale ◽  
Cultural Environment ◽  
Home Studio ◽  
To Receive

Leslie Burrowes (1908–1985) was the first British dancer to receive the full diploma of the Wigman School in Dresden and subsequently became Wigman's official UK representative. The letters she wrote to her benefactor, Dorothy Elmhirst, with the addition of my commentary and annotations, provide a lens through which to view the School as she experienced it. Her return to London brought her into a quite different cultural environment. I argue that she energetically launched her career, performing and teaching in her new style and contesting what she considered to be false charges against modern dance. But it appears that, by the end of this period, she had adjusted her expectations, away from solo theatrical recitals (in the Wigman mode) and more towards the education of children and students, and a small-scale but intense programme centred on her home studio.

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