scholarly journals „Odgadnąć i uzewnętrznić wielką tajemnicę […] Chopinowskiej muzyki” – Dusze niektórych melodii. Chopin Cezarego Jellenty

2021 ◽  
pp. 265-299
Author(s):  
Karolina Orłowska
Keyword(s):  
Twentieth Century ◽  
Detailed Analysis ◽  
World Literature ◽  
Music Criticism

The article constitutes a detailed analysis and interpretation of one of the most important texts written at the turn of the twentieth century, which was devoted to the reception and interpretation of Frédéric Chopin’s compositions in the Young Poland period. In his work, Cezary Jellenta presents the nervous perception of the Polish composer’s music typical of the era and refers in his reflections to numerous works of painting and both Polish and world literature, which perfectly illustrates the fascination with the idea of the correspondence of arts. It is also a testimony to the foundations of the emerging music criticism and evidence of the undying adoration for Frédéric Chopin’s works.

Життєтворчість Іллі Саца у вітчизняному культурному просторі початку ХХ століття

2019 ◽  
Vol 4 (36) ◽  
Author(s):  
O. Badalov
Keyword(s):  
Twentieth Century ◽  
Cultural Context ◽  
Creative Activity ◽  
Analysis Method ◽  
Music Criticism ◽  
Comprehensive Understanding ◽  
Musical Life ◽  
Humanitarian Space ◽  
The Subject ◽  
Creative Life

The subject of the study is comprehensive understanding of the life and creativity by I. Sats – a significant figure in the national musical life of the early twentieth century.The purpose of the article is exploring the circumstances of I. Sats’ activity in the socio-cultural context of the era.The methodology of the article includes: historical and chronological method – for studying the events of the artist’s biography; source method – for research of archival materials, correspondence, reconstruction of composer’s creative life; hermeneutical analysis method – for interpretation of literary inheritance (libretto, music criticism) by I. Sats in the context of the early twentieth century; logic-generalization method – to summarize the results of the study.As a result of the research, a complex view on the multivectoral creative activity by I. Sats was formed, his significant role in the formation of new genres of musical and theatrical creativity, development of the humanitarian space of Chernihiv, Irkutsk, and Moscow was proved. The application of the results of the research in scientific, music-pedagogical and educational activities will significantly expand the established ideas about the development of the national musical culture.Key words: music for theater, Moscow Art Theater, satirical opera, I. Sats, Chernihiv region, Irkutsk music classes.

scholarly journals An Overview of Models for Assessment of Organization Virtuality

Organizacija ◽  
2009 ◽  
Vol 42 (5) ◽  
pp. 189-197
Author(s):  
Peter Veber
Keyword(s):  
Twentieth Century ◽  
World Literature ◽  
Virtual Organization ◽  
Organization Structure ◽  
The Other ◽  
The World ◽  
Mutual Relations

An Overview of Models for Assessment of Organization VirtualityA virtual organization is a network of legally independent organizations and/or individuals that produce products and/or services based on a common business understanding. This new organization structure is posited as radical departure from the traditional, hierarchic, bureaucratic and co-located mode of organizing that dominated the twentieth century. In contrast, the characteristics of the new, virtual organization forms are seen to be dynamic, networked, distributed, digital, flexible, collaborative and innovative. The challenge, however, is to determine which organization as a subject employs virtual form and which not. The answer to this question is decidedly complex as most organizations have forms that are somewhere in between; therefore, it is usually only possible to determine how virtual one organization is on certain aspects. In the other words: what is the level of its virtuality? Several models for the assessment of organization virtuality have been developed by many different authors. The purpose of this paper is to investigate and present all the published models of virtual organization that are publicly available in the world literature. The strengths and weaknesses of all models found are presented, together with their mutual relations.

scholarly journals Serbian music criticism in the first half of the twentieth century: Its canon, its method and its educational role

Muzikologija ◽  
2008 ◽  
pp. 185-202
Author(s):  
Aleksandar Vasic
Keyword(s):  
Twentieth Century ◽  
Negative Attitude ◽  
Music Criticism ◽  
Educational Mission ◽  
Violin Concerto ◽  
The Public ◽  
Educational Role ◽  
And Performance ◽  
The Aesthetic ◽  
Professional Critics

Serbian music criticism became a subject of professional music critics at the beginning of the twentieth century, after being developed by music amateurs throughout the whole previous century. The Serbian Literary Magazine (1901- 1914, 1920-1941), the forum of the Serbian modernist writers in the early 1900s, had a crucial role in shaping the Serbian music criticism and essayistics of the modern era. The Serbian elite musicians wrote for the SLM and therefore it reflects the most important issues of the early twentieth century Serbian music. The SLM undertook the mission of educating its readers. The music culture of the Serbian public was only recently developed. The public needed an introduction into the most important features of the European music, as well as developing its own taste in music. This paper deals with two aspects of the music criticism in the SLM, in view of its educational role: the problem of virtuosity and the method used by music critics in this magazine. The aesthetic canon of the SLM was marked by decisively negative attitude towards the virtuosity. Mainly concerned by educating the Serbian music public in the spirit of the highest music achievements in Europe, the music writers of the SLM criticized both domestic and foreign performers who favoured virtuosity over the 'essence' of music. Therefore, Niccol? Paganini, Franz Liszt, and even Peter Tchaikowsky with his Violin concerto became the subject of the magazine's criticism. However their attitude towards the interpreters with both musicality and virtuoso technique was always positive. That was evident in the writings on Jan Kubel?k. This educational mission also had its effect on the structure of critique writings in the SLM. In their wish to inform the Serbian public on the European music (which they did very professionally), the critics gave much more information on biographies, bibliographies and style of the European composers, than they valued the interpretation itself. That was by far the weakest aspect of music criticism in the SLM. Although the music criticism in the SLM was professional and analytic one, it often used the literary style and sometimes even profane expressions in describing the artistic value and performance, more than it was necessary for the genre of music criticism. The music critics of the SLM set high aesthetic standards before the Serbian music public, and therefore the virtuosity was rejected by them. At the same time, these highly professional critics did not possess a certain level of introspection that would allow them to abstain from using sometimes empty and unconvincing phrases instead of exact formulations suitable for the professional music criticism. In that respect, music critics in the SLM did not match the standards they themselves set before both the performers and the public in Serbia.

“A History of Man and His Desire”: Ferruccio Busoni and Faust

2017 ◽  
Vol 41 (2) ◽  
pp. 151-179
Author(s):  
Erinn Knyt
Keyword(s):  
Twentieth Century ◽  
Detailed Analysis ◽  
Johann Wolfgang Von Goethe ◽  
Christopher Marlowe ◽  
Dark Side ◽  
Ferruccio Busoni ◽  
Dance Suite ◽  
History Of ◽  
Alter Ego ◽  
The Devil

Relying on knowledge of Karl Engel's edition of the Volksschauspiel, Karl Simrock's version of the puppet play, Gotthold Lessing's Faust fragments, and versions of the Faust legend by Christopher Marlowe and Johann Wolfgang von Goethe, among others, Ferruccio Busoni crafted his own hybrid libretto that depicts a mystical and broadminded Faust. Busoni's music reflects the richness of Faust's mind, combining heterogeneous timbres, forms, and styles. Busoni juxtaposes a Gregorian Credo, Palestrina-style choral settings, a reformation hymn, a Baroque instrumental dance suite, an organ fantasia, recitatives, a lyrical ballad, and orchestral variations, with impressionistic symphonic writing, and experimental passages. While stylistic heterogeneity can be heard throughout many of his mature instrumental and vocal works, Busoni also used this heterogeneity in a descriptive way in Doktor Faust to characterize Faust. At the same time, Busoni sought to write “a history of man and his desire” rather than of a man and the devil. It is Faust's own dark side, rather than the devil, that distracts him and prevents him from completing his greatest work. With Kaspar removed from the plot, Mephistopheles, who as spirit is not always distinct from Faust the man, becomes Faust's alter ego. This duality is expressed musically when Faust assumes Mephistopheles's characteristic intervals. Although Busoni's incomplete Doktor Faust, BV 303, has already been studied by several scholars, including Antony Beaumont, Nancy Chamness, and Susan Fontaine, there is still no detailed analysis of Busoni's treatment of Faust. Through analyses of autobiographical connections, Busoni's early settings of Faustian characters, and the text and music in Doktor Faust, with special attention on the Wittenberg Tavern Scene that has no precedent among the versions of the Faust legend, this article reveals Busoni's vision of Faust as a broadminded, and yet conflicted character, shaped idiosyncratically to convey Busoni's personal artistic ideals. In so doing, the article not only contributes to ongoing discourse about Doktor Faust, but also expands knowledge about ways the Faust legend was interpreted and set musically in the early twentieth century through intertextual comparisons.

Rebuilding Finance’s “Action Man” through CNBC’sThe Closing Bell

2018 ◽  
Vol 20 (7) ◽  
pp. 702-719
Author(s):  
Diane L. Cormany
Keyword(s):  
Twentieth Century ◽  
Financial Crisis ◽  
Detailed Analysis ◽  
Global Financial Crisis ◽  
Structural Reform ◽  
Short Term ◽  
Market Change ◽  
Finance Capital ◽  
Late Twentieth ◽  
Late Twentieth Century

CNBC’s The Closing Bell contributed to the expansion of finance capital in the late twentieth century through its televisual emphasis on incremental market change that functions affectively to call for action. Such emphasis on short-term stock movement was called into question during the 2008 global financial crisis. However, detailed analysis demonstrates that The Closing Bell did not alter course. I argue that its ongoing focus on incremental movement has worked affectively to shore up a masculinized culture of finance during a period that demanded structural reform.

Intellectuals

2016 ◽  
Author(s):  
Michael Allan
Keyword(s):  
Twentieth Century ◽  
World Literature ◽  
Andre Gide ◽  
Early Twentieth Century ◽  
The World ◽  
Literary Writing ◽  
Epistolary Exchange ◽  
André Gide

This chapter examines the provincialism of a literary world in early twentieth-century Egypt and France by focusing on two scenes of epistolary exchange: the letters exchanged between André Gide and Taha Hussein in 1939, and a series of imagined letters exchanged in the context of Hussein's 1935 novella Adīb (A Man of Letters). It first considers the transformation of theological questions into literature in the correspondence between Gide and Hussein before asking about the world that literature makes thinkable. It then analyzes the imaginary correspondence staged in Adīb that recounts the story of a friendship between two intellectuals from the same village. The Gide–Hussein correspondence invites us to contemplate on the circulation and dissemination of literary writing—the sorts of transnational exchanges by now integral to discourses of world literature and access to texts across languages and nationalities.

Introduction

2020 ◽  
pp. 1-147
Author(s):  
Stephen Menn ◽  
Justin E. H. Smith
Keyword(s):  
Twentieth Century ◽  
Eighteenth Century ◽  
Early Modern ◽  
Detailed Analysis ◽  
The Political ◽  
Medical Philosophy ◽  
Archival Documents ◽  
History Of ◽  
Intellectual Context ◽  
Academic Dissertations

The life of Anton Wilhelm Amo is summarized, with close attention to the archival documents that establish key moments in his biography. Next the history of Amo’s reception is considered, from the first summaries of his work in German periodicals during his lifetime, through his legacy in African nationalist thought in the twentieth century. Then the political and intellectual context at Halle is addressed, considering the likely influence on Amo’s work of Halle Pietism, of the local currents of medical philosophy as represented by Friedrich Hoffmann, and of legal thought as represented by Christian Thomasius. The legacy of major early modern philosophers, such as René Descartes and G. W. Leibniz, is also considered, in the aim of understanding how Amo himself might have understood them and how they might have shaped his work. Next a detailed analysis of the conventions of academic dissertations and disputations in early eighteenth-century Germany is provided, in order to better understand how these conventions give shape to Amo’s published works. Finally, ancient and modern debates on action and passion and on sensation are investigated, providing key context for the summary of the principal arguments of Amo’s two treatises, which are summarized in the final section of the introduction.

Is Gandhi’s Approach to Technology Irrelevant in the Modern Age of Technology?

2019 ◽  
pp. 99-137
Author(s):  
Douglas Allen
Keyword(s):  
Climate Change ◽  
Twentieth Century ◽  
Detailed Analysis ◽  
Herbert Marcuse ◽  
Power Elite ◽  
Important Work ◽  
Modern Age ◽  
The Future ◽  
The Power Elite

Gandhi’s most important work on technology, Hind Swaraj, seems hopelessly ignorant, anti-modern, and anti-technology. This essay focuses on Gandhi’s perplexing writings on technology, maintaining that Gandhi’s critiques and alternatives are very significant today, but only if we are creatively selective in appropriating, reformulating, and reapplying what remains insightful. It presents a detailed analysis of Hind Swaraj and technology and Gandhi’s debates with Nehru, Tagore, and others. This essay then considers Gandhi’s positions on “modern civilization,” true civilization, and technology, and the future significance of Gandhi’s approach to technology. Included are contributions from Herbert Marcuse and other twentieth-century scholars and formulations of contemporary crises such as climate change and growing inequality with the concentration of wealth and power in the hands of the power elite. We consider the insights of a dynamic, contextually relevant Gandhian position on the appropriate role of technology in addressing such personal existential and global crises.

Breaking White Supremacy

2018 ◽  
Author(s):  
Gary Dorrien
Keyword(s):  
Twentieth Century ◽  
Civil Rights ◽  
Detailed Analysis ◽  
Civil Rights Movement ◽  
White Supremacy ◽  
Social Gospel ◽  
Christian Leadership ◽  
Civil Rights Movements ◽  
Southern Christian Leadership Conference ◽  
Martin Luther King

Breaking White Supremacy analyzes the twentieth-century heyday of the black social gospel and its influence on the Civil Rights Movement. Asserting that Martin Luther King Jr. did not come from nowhere, it describes major figures who influenced King, offers a detailed analysis of King’s leadership of the Southern Christian Leadership Conference and his catalyzing and unifying role in the southern and northern Civil Rights Movements, and interprets the legacy of King and the black social gospel tradition.

scholarly journals Hybridization and the Creation of “Third Spaces”: an Analysis of Two Works by Tomás Gubitsch

2011 ◽  
Vol 30 (2) ◽  
pp. 75-100
Author(s):  
Alberto Munarriz
Keyword(s):  
Twentieth Century ◽  
Detailed Analysis ◽  
Dirty War ◽  
Artistic Collaboration ◽  
The Creation ◽  
Third Spaces ◽  
The Many ◽  
Shed Light

Tango’s recent resurgence has greatly intensified the momentum of a long process of “international dissemination” that began with the genre’s arrival in Paris during the first decade of the twentieth century. The many dialogues promoted by this renewed popularity have set the stage for an unprecedented period of development marked by artistic collaboration, experimentation, and hybridization. As a result, the genre is undergoing numerous changes; among the most striking are the new sonic shapes it is assuming. Through the detailed analysis of two compositions by Argentine guitarist and composer Tomás Gubitsch, who since the 1970s—the time of the country’s notorious and brutal “Dirty War”—has resided in Paris, this paper examines some of the processes currently shaping the sonic form of some of tango’s numerous variants. This work hopes to shed light on Gubitsch the composer and on the current tango phenomenon itself, as well as to contribute to a better understanding of the ways musical hybrids are constructed.

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