scholarly journals JOAN OF ARC BY D. S. MEREZHKOVSKY: SOURCES AND IMAGERY

2021 ◽  
Vol 19 ◽  
pp. 282-300
Author(s):  
Veronica Zuseva-Özkan
Keyword(s):  
19Th Century ◽  
17Th Century ◽  
The Other ◽  
Joan Of Arc ◽  
The Third ◽  
Other Hand ◽  
The One ◽  
The 19Th Century

The article examines the eternal image of the warrior maid in the works of D. S. Merezhkovsky, its constant features and evolution. His later book Joan of Arc (1938) is compared in this aspect to his early poem “A Legend from T. Tasso” (1882). Special attention is heeded to the analysis of the sources of Joan of Arc and the interpretation of the heroine as a warrior maid in comparison with the preceding texts, on the one hand, and “A Legend from T. Tasso,” on the other hand. Merezhkovsky’s creative reception of the historiographic tradition depicting Joan of Arc combines the topoi of its different versions (he reproduces a number of ideas characteristic of the texts written for the rehabilitation trial of Joan; the heroic discourse of the Renaissance historiography; the position of the 17th-century historians with Providentialist views; the representation of Joan of Arc as a folk heroine, typical for the liberal historians of the 19th century), but this conglomerate is subject to his own concept of the Kingdom of the Third Testament. It is established that, although in Joan of Arc Merezhkovsky sticks closer to the prior texts than in “A Legend from T. Tasso” on the superficial level and seeks to create the impression of documental accuracy, in fact, he uses the same mythologization method, as in his earlier work. The direction of modifications made by the author to the historiographic canon depends on his religious, mystical, and historiosophical notions.

scholarly journals Kant, Nietzsche and the idealization of friendship into nihilism

2013 ◽  
Vol 54 (128) ◽  
pp. 401-417
Author(s):  
Paul van Tongeren
Keyword(s):  
19Th Century ◽  
Literary Imagination ◽  
The Other ◽  
Other Hand ◽  
History Of ◽  
The One ◽  
Articles Of Faith ◽  
The 19Th Century

Is friendship still possible under nihilistic conditions? Kant and Nietzsche are important stages in the history of the idealization of friendship, which leads inevitably to the problem of nihilism. Nietzsche himself claims on the one hand that only something like friendship can save us in our nihilistic condition, but on the other hand that precisely friendship has been unmasked and become impossible by these very conditions. It seems we are struck in the nihilistic paradox of not being allowed to believe in the possibility of what we cannot do without. Literary imagination since the 19th century seems to make us even more skeptical. Maybe Beckett provides an illustration of a way out that fits well to Nietzsche's claim that only "the most moderate, those who do not require any extreme articles of faith" will be able to cope with nihilism.

scholarly journals PEMIKIRAN JAMALUDDIN AL-AFGHANI (JAMAL AD-DIN AL-AFGHANI) (1838 – 1897 M)

2017 ◽  
Vol 13 (1) ◽  
pp. 9-24
Author(s):  
Akmal Hawi
Keyword(s):  
20Th Century ◽  
19Th Century ◽  
The Other ◽  
The West ◽  
Unique Position ◽  
Islamic Reform ◽  
Other Hand ◽  
The People ◽  
The One ◽  
The 19Th Century

The 19th century to the 20th century is a moment in which Muslims enter a new gate, the gate of renewal. This phase is often referred to as the century of modernism, a century where people are confronted with the fact that the West is far ahead of them. This situation made various responses emerging, various Islamic groups responded in different ways based on their Islamic nature. Some respond with accommodative stance and recognize that the people are indeed doomed and must follow the West in order to rise from the downturn. Others respond by rejecting anything coming from the West because they think it is outside of Islam. These circles believe Islam is the best and the people must return to the foundations of revelation, this circle is often called the revivalists. One of the figures who is an important figure in Islamic reform, Jamaluddin Al-Afghani, a reformer who has its own uniqueness, uniqueness, and mystery. Departing from the division of Islamic features above, Afghani occupies a unique position in responding to Western domination of Islam. On the one hand, Afghani is very moderate by accommodating ideas coming from the West, this is done to improve the decline of the ummah. On the other hand, however, Afghani appeared so loudly when it came to the question of nationality or on matters relating to Islam. As a result, Afghani traces his legs on two different sides, he is a modernist but also a fundamentalist. 

Quaternary Research in France

1971 ◽  
Vol 1 (03) ◽  
pp. 369-388
Author(s):  
H. Alimen
Keyword(s):  
19Th Century ◽  
The Other ◽  
Other Hand ◽  
Evolution Of Mammals ◽  
The One ◽  
The 19Th Century

Between the two wars, studies on the Quaternary were scarcely in favor in France. However. from the beginning of the 19th century recent terrains had held the attention of our country’s eminent geologists, and later that of the prehistorians, and starting in the 1850s these terrains were given the first chronological classifications based, on the one hand, on the evolution of Mammals. and on the other hand, on the succession of prehistoric civilizations.

scholarly journals Guidance Behind Criticisms: The Good Parenting as Portrayed in the First Malay Autobiography

2019 ◽  
Vol 15 (2) ◽  
pp. 116
Author(s):  
Rahimah Hamdan ◽  
Arba’ie Sujud
Keyword(s):  
19Th Century ◽  
The Other ◽  
Single Study ◽  
Other Hand ◽  
The Family ◽  
New Form ◽  
The One ◽  
Harsh Criticism ◽  
The 19Th Century

This paper was aimed at identifying the guidance to parenting that emerged in the first Malay autobiography, the Hikayat Abdullah, and subsequently, to analyse those instructions on parenting in the context of the traditional Malay society of the 19th century. The recognition accorded to Abdullah Munshi as the Father of Modern Malay Literature has attracted various reactions from scholars. Some scholars regard Abdullah Munshi as the one who brought renewal to Malay literature through his courageous criticism of the customs and culture that had been in practice for generations. On the other hand, there are scholars who disapprove of that recognition being given to him and who consider Abdullah Munshi’s criticisms in his works as a deviation from the reality expressed in previous works. Nevertheless, not a single study has suggested that perhaps Abdullah Munshi firmly emphasized those criticisms with the intention of providing some sort of guidance. Hence, by analysing certain texts in the Hikayat Abdullah and by reviewing the evidence from the perspective of Swettenham (1895), who objectively evaluated the thinking and culture of the Malay community, this study was able to rectify the image of Abdullah Munshi, who, all this while, was considered to be pro-British because of his harsh criticism of the Malay community. Moreover, those criticisms were meant to provide guidance for the family institution, especially for parents. This indirectly proves that Abdullah Munshi took a serious view of parenting and believed that improvements were necessary to produce a dignified and civilized generation. In conclusion, the autobiography, the Hikayat Abdullah, was not just a new form of writing that deviated from the conventions of traditional Malay literature, but was the fruit of the wisdom of the author that was meant to benefit his readers.

scholarly journals Eesti- ja Liivimaa libahundipärimus rahvapärase ontoloogia muutumise peegeldajana

Mäetagused ◽  
2021 ◽  
Vol 80 ◽  
pp. 71-88
Author(s):  
Merili Metsvahi ◽  
Keyword(s):  
20Th Century ◽  
19Th Century ◽  
Modern Society ◽  
17Th Century ◽  
Human Mind ◽  
The Other ◽  
Human Being ◽  
The World ◽  
The One ◽  
The 19Th Century

The article gives a short overview of the Estonian werewolf tradition in the 16th and 17th centuries and a glimpse into the 19th–20th-century werewolf beliefs. The image of werewolf of the earlier and later periods is compared. The differences between the images of these two periods are explained with the help of the approaches of Tim Ingold and Philipp Descola, which ground the changes in the worldview taking place together with the shift from the pre-modern society into modernity. The mental world of the 16th–17th-century Estonian and Livonian peasant did not encompass the category of nature, and the borders between the human being and the animal on the one side and organism and environment on the other side were not so rigid as they are in today’s people’s comprehension of the world. The ability to change into a wolf was seen as an added possibility of acquiring new experiences and benefits. As the popular ontology had changed by the second half of the 19th century – the human mind was raised into the ultimate position and the animal was comprehended as being inferior – the transformation of a man into an animal, if it was seriously taken at all, seemed to be strange and unnatural.

scholarly journals Une cartographie des traductions belges au XIXe siècle : centralisation et périphérisation des langues nationales

2021 ◽  
Vol 68 ◽  
pp. 69-84
Author(s):  
Lieven D’hulst
Keyword(s):  
19Th Century ◽  
The Other ◽  
Crucial Point ◽  
Other Hand ◽  
Multilingual Societies ◽  
Xixe Siecle ◽  
The One ◽  
The 19Th Century ◽  
Administrative Domains ◽  
Xixe Siècle

The metaphors of centre and periphery tend to reduce the complexity of language relations and interlingual exchanges that are featured by multilingual societies. At a crucial point of multilingual Belgium’s evolution, i.e. during the 19th century, exchanges between its two major languages, namely French and Flemish, offer a suitable angle to capture the processes of centralisation and peripherisation of both languages. Translingual practices, including translation, are at the heart of these processes. On the one hand, they sustain continuous attempts to impose and maintain the centrality of official French in the legal and administrative domains; on the other hand, they nurture counterbalancing claims for recognition and officialisation of Flemish as an equal language. This contribution puts focus on three major aspects of interlingual exchange: the design and management of Belgian translation policies, the asymmetric translation flows between French and Flemish vs. Flemish and French, and the emancipatory efforts of Flemish and its modest effects, notably in the literary domain.

scholarly journals Sælsomme beretninger i lægen og anatomen Thomas Bartholins skrifter

2018 ◽  
Vol 57 ◽  
pp. 61
Author(s):  
Jesper Brandt Andersen
Keyword(s):  
20Th Century ◽  
19Th Century ◽  
Case Reports ◽  
The Other ◽  
Lymph Vessels ◽  
Other Hand ◽  
New Knowledge ◽  
The One ◽  
Scientific Judgment ◽  
The 19Th Century

Jesper Brandt Andersen: Curious case reports in the works of the Danish physician and anatomist Thomas Bartholin Scattered through the voluminous authorship of the Danish physician and anatomist Thomas Bartholin (1616–1680), famous for his discovery of the lymph vessels in the early 1650s, case reports can be found, for which Bartholin was criticized and accused for verbosity and lack of scientific judgment by contemporary scholars and later medical historians. In this article 15 such case reports, mainly from the work Historiarum Anatomicarum Rariorum 1654–1661, are presented, analyzed and perspectivated. It is concluded, that much of the criticism, especially the one submitted by the posteriority and especially during the era of positivism by the end of the 19th century and the beginning of the 20th century and the one concerning observations made by Bartholin himself, is unjustified. When practising science himself Bartholin felt responsible for reproducing his observations correctly and trustworthy, and he was not satisfied by making conclusions on the basis of knowledge handed over by others. The author of this article has not succeded in finding one single example indicating that Bartholin doesn’t reproduce his own observations correctly and truthfully. On the other hand there are in his authorship numerous examples of case reports originating from others, which he either didn’t believe himself or at least doubted. When he published case reports originating from other people, he didn’t feel responsible for the truthfulness. His purpose bringing these case reports was to present his reader for new and interesting matter, to entertain his reader, to arouse his reader’s curiosity and to challenge his reader’s own judgment. Thomas Bartholin was one of the most excellent, diligent and passionate intermediaries of scientific matter of his time, and as a scientist he was characterized by openness. Often he was among the first to recognize, verify and publish new knowledge.

scholarly journals The Diplomatic Status of the Joseon Kingdom in the Context of the Competition among China, Japan and Russia on the Korean Peninsula (Late 19th Century)

2020 ◽  
Vol 34 ◽  
pp. 83-89
Author(s):  
L. E. Kozlov ◽  
Keyword(s):  
19Th Century ◽  
Great Powers ◽  
The Other ◽  
Late 19Th Century ◽  
The Third ◽  
Fourth Level ◽  
Qing Government ◽  
The One ◽  
Global Arena ◽  
The 19Th Century

At the end of the 19th century Korea took the first steps towards developing a modern model of diplomacy. This process was hampered by the inertia of vassal-suzerain relations with China and the uncertain status of Korea on the global arena. The author analyzed the indications of incomplete sovereignty of the Joseon Kingdom and its attempts to conduct sovereign diplomacy. The attitude of the great powers to Joseon has been considered. The uncertainty of Korea's diplomatic status at the end of the 19th century can be illustrated by the following contradiction. On the one hand, the great powers recognized Korea's sovereignty as a limited one and assigned a minister resident or consul general, which corresponds to the third and fourth level of a diplomatic representative. On the other hand, the Qing government prevented Joseon from pursuing an independent foreign policy, but could not shape it at its discretion. In 1901-1902, the diplomatic status of the Joseon Kingdom finally became fully sovereign de jure, de facto though internal problems and weaknesses did not disappear, and in 1904–1905 a Japanese protectorate over Korea was established.

Zur Rezeption der Oratorien Haydns in Paris zwischen 1800 und 1850: Institutionelle und ästhetische aspekte

2010 ◽  
Vol 51 (1-2) ◽  
pp. 201-213
Author(s):  
Martin Loeser
Keyword(s):  
19Th Century ◽  
Financial Risk ◽  
The Other ◽  
Music Festivals ◽  
Other Hand ◽  
German Speaking ◽  
Choral Societies ◽  
The One ◽  
The 19Th Century ◽  
Concert Life

In German speaking countries Haydn’s oratorios, and particularly TheCreation , have played an important role in the repertoire of choral societies and music festivals since the 1810s. However, in France, and also in Paris — “the capital of the 19th century” —, Haydn’s oratorios were performed only on rare occasions, and then they were given mostly in parts. The reasons for these circumstances can be seen in the institutional and esthetical context of the Parisian concert life. With respect to professional concert societies, like the Société des Concerts du Conservatoire , rigid obstacles were on the one hand the enormous financial risk of a complete oratorio performance. On the other hand the established type of concert programmes with its varied mixture of vocal and instrumental pieces functioned as a barrier. Most important was a lack of mixed amateur choral societies, which developed in Paris quite late, primary in the 1840s, and then only little by little. Since oratorio performances lasted to be mostly a private affaire in the first half of the 19th century, it is not surprising, that Haydn’s oratorios were studied in aristocratic salons of Princesse de Belgiojoso and Baron Delmar with the intention of both education and entertainment.

scholarly journals Concerto for Oboe and Orchestra in the Works by Modern Time Composers: Aspects of Genre Stylistics

2019 ◽  
Vol 54 (54) ◽  
pp. 71-93
Author(s):  
V.I. Martynova
Keyword(s):  
Great Britain ◽  
19Th Century ◽  
The Other ◽  
Main Trend ◽  
General Tendency ◽  
English Horn ◽  
Modern Time ◽  
Other Hand ◽  
The One ◽  
The 19Th Century

Introduction. Concerto for oboe and orchestra in the music of modern time (20th – early 21st centuries), on the one hand, is based on the traditions of past eras, on the other hand, it contains a number of new stylistic trends, among which the leading trend is the pluralism of composer’s decisions. Despite this, the works created during this period by the composers of different national schools can be divided into three groups – academic, experimental, and pastoral. The article gives the review of them. Objective. The main objective of the article is to identify the features of genre stylistics in oboe concertos by composers of the 20th – early 21st centuries. Methods. In order to realize this objective, the elements of a number of general scientific and special musicological research methods have been used – historical-and-genetic, deductive, comparative, organological, stylistic, genre and performing analysis. Results and Discussion. The article discusses and systematizes the features of the genre stylistics of modern time oboe concertos. Based on the analysis of the historical-and-stylistic context, the correlation of traditions and innovations in the oboe-concerto genre, as well as the nature of the relationship between concerto and chamber manners as its common features are revealed. The classification of oboe concertos of the specified period by three genre-and-style groups – academic, experimental, and pastoral, is proposed. The main development trends in each of these groups are analyzed, taking into account the genre, national and individual-author’s stylistics (more than 70 pieces are involved). For the first time, the generalizations are proposed regarding the oboe expressiveness and techniques, generally gravitating towards universalism as a style dominant in the concerto genre. It is noted that, in spite of this main trend, the oboe in the concertos by modern time masters retains its fundamental organological semantics – the aesthetics and poetics of pastoral mode. The music of modern time, the count of which starts from the last decade of the 19th century and to present, comes, on the one hand, as a unique encyclopedia of the previous genres and styles, and on the other hand, as a unique multicomponent artistic phenomenon of hypertext meaning. The first is embodied in the concept of the style pluralism which means the priority of the person’s (composer’s and performer’s) component in aesthetics and poetics of a musical work. The second involves an aspect of polystylistics that is understood in two meanings: 1) aesthetic, when different stylistic tendencies are represented in a particular artistic style; 2) purely “technological”, which is understood as the technique of composing, when different intonation patterns in the form of style quotations and allusions (according to Alfred Schnittke) constitute the compositional basis of the same work. It is noted that the oboe concertos of the modern time masters revive the traditions of solo music-making, which were partially lost in the second half of the 19th century. At the new stage of evolution, since the early 20th century (1910s), the concerto oboe combines solo virtuosity with chamber manner, which is realized in a special way by the authors of different styles. Most of them (especially in the period up to the 1970s–1980s of the previous century) adhere to the academic model which is characterized by a three-part composition with a tempo ratio “fast – slow – fast” with typical structures of each of the parts – sonata in the first, complex three-part in the second, rondo-sonata in the third, as well as traditional, previously tried and used means of articulation and stroke set (concertos by W. Alvin, J. Horovitz – Great Britain; E. T. Zwillich, Ch. Rouse – USA; O. Respighi – Italy; Lars-Erik Larrson – Switzerland, etc.). The signs of the oboe concertos of the experimental group are the freedom of structure both in the overall composition and at the level of individual parts or sections, the use of non-traditional methods of playing (J. Widmann, D. Bortz – Germany; C. Frances-Hoad, P. Patterson – England; E. Carter – USA; J. MacMillan – Scotland; O. Navarro – Spain; N. Westlake – Australia). The group of pastoral concertos is based on highlighting the key semantics of oboe sound image. This group includes concertos of two types – non-programmatic (G. Jacob, R. Vaughan Williams, M. Arnold – Great Britain; О. T. Raihala – Finland; M. Berkeley, Е. Carter – USA and other authors); programmatic of two types – with literary names (L’horloge de flore J. Françaix – France; Helios, Two’s Company T. Musgrave; Angel of Mons J. Bingham – Great Britain); based on the themes of the world classics or folklore (two concertos by J. Barbirolli – Great Britain – on the themes of G. Pergolesi and A. Corelli; Concerto by B. Martinu – Czechia – on the themes from Petrushka by I. Stravinsky, etc.). This group of concertos also includes the genre derivatives, such as suite (L’horloge de flore J. Françaix); fantasy (Concerto fantasy for oboe, English horn and orchestra by V. Gorbulskis); virtuoso piece (Pascaglia concertante S. Veress); concertino (Concertino by N. Scalcottas, R. Kram, A. Jacques); genre “hybrids” (Symphony-Concerto by J. Ibert; Symphony-Concerto by T. Smirnova; Chuvash Symphony-Concerto by T. Alekseyeva; Concerto-Romance by Zh. Matallidi; Concerto-Poem for English horn, oboe and orchestra by G. Raman). Conclusions. Thus, the oboe concerto in the works by modern time composers appears as a complex genre-and-intonation fusion of traditions and innovations, in which prevail the individual-author’s approaches to reproducing the specificity of the genre. At the same time, through the general tendency of stylistic pluralism, several lines-trends emerge, defined in this article as academic, experimental, and pastoral, and each of them can be considered in more detail in the framework of individual studies.

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