scholarly journals A Timokratés elleni beszéd érvrendszerei

2021 ◽  
Vol 65 (2) ◽  
pp. 177-196
Keyword(s):  
19Th Century ◽  
Textual Criticism ◽  
The Other ◽  
Other Hand ◽  
Depth Analysis ◽  
New Perspective ◽  
The One ◽  
The 19Th Century

Jelen tanulmány célkitűzése kettős. Egyrészt a Timokratés elleni beszéd érvrendszereinek mélyreható elemzését kívánom nyújtani, másrészt ezen elemzésen keresztül a XIX. században felmerült és azóta is sokat vitatott szövegkritikai problémákat veszem górcső alá. Új aspektusból közelítve a korábban felvetett problémákhoz – az érveléstechnika elemzésén keresztül kiegészítve E. M. Harris meggyőző érveit – amellett érvelek, hogy a beszéd két része valójában egy jól átgondolt, precízen szerkesztett egészet alkot, így a szöveg integritását nem indokolt megkérdőjelezni.The current study has two objectives. On the one hand, it provides an in-depth analysis of the argumentation of the oration Against Timocrates. On the other hand, the analysis focuses on the issues of textual criticism that arose in the 19th century and have been debated ever since. Approaching the problems from a new perspective – augmenting the convincing arguments put forward by E. M. Harris with the analysis of the argumentation – the study argues that the two halves of the speech are in fact parts of a well-planned, and precisely edited whole, and the integrity of the text need not be questioned.

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 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.

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.

scholarly journals Selected Problems of Generating Apposition Groups in Old Polish

2020 ◽  
pp. 11-21
Author(s):  
Piotr Zbróg
Keyword(s):  
19Th Century ◽  
Deep Structure ◽  
The Other ◽  
Other Hand ◽  
Starting Point ◽  
The Subject ◽  
The One ◽  
The 19Th Century

The subject of interest in this chapter is the concepts of creating apposition groups that appear in the literature on the subject, e.g. zbawiciel Jesus, dziewica Maryja, matka jego, słudze Bryjidzie. Opposing theories on this topic indicated on the one hand that apposition was an element added to the parent unit, and on the other hand, that apposition was the effect of transforming the deep structure into surface constructs. These approaches were, usually intuitive, reflected by language courts describing the title expressions since the beginning of the 19th century. In this study, they were traced and proved the dominance of opinions about the syntactic starting point in the derivative of apposition. In addition, other aspects of the characteristics of the groups of positions are discussed, placing them in the basic dichotomy of the derivation of positions.

“Éloquence magique”, ou descriptions des mondes de l'au-delà explorés par le magnétisme animal: Au carrefour de la Naturphilosophie romantique et de la théosophie chrétienne (première moitié du XIXème siècle) “Magic Eloquence”, or Descriptions of the Worlds of the Beyond Explored by Animal Magnetism: At the Crossroad of Romantic Naturphilosophie and Christian Theosophy (first half of the 19th century)

Aries ◽  
2008 ◽  
Vol 8 (2) ◽  
pp. 191-228 ◽  
Author(s):  
Antoine Faivre
Keyword(s):  
19Th Century ◽  
The Other ◽  
Personal Contact ◽  
Human Being ◽  
Other Hand ◽  
The Subject ◽  
Five Senses ◽  
Animal Magnetism ◽  
The One ◽  
The 19Th Century

AbstractThe article opens with a distinction between three kinds of “clairvoyance” phenomena. 1) A faculty of seeing/hearing things which are normally outside the reach of the clairvoyant's five senses (like being able to read sentences from a book although it is closed), but which do not extend beyond the domain of our common reality. 2) A “higher” faculty, which consists in seeing/hearing entities like spirits of the dead, angels, demons, etc., and occasionally in having a personal contact with them. 3) A “highest” faculty, of a noetic (“gnostic”) character, which extends beyond the first two and consists in being able to have acess to some sorts of “ultimate realities”: the visions thus imparted to the subject bear on ontological mysteries that concern, for example, the divine world, the cosmos, the hidden sides of Nature, etc. The author bestows the name “magic eloquence” on the narratives of visions pertaining to that third kind of clairvoyance, which are documented in the literature of Christian theosophy (see Jacob Boehme's and Swedenborg' vivions, for instance) and of animal magnetism. After presenting a few examples of magic eloquence chosen in the literature of animal magnetism in the first half of the 19the century, the article discusses the interpretations thereof put forward in the same period by a number of representatives of some German romantic Naturphilosophen who were both interested in animal magnetism and influenced by Christian theosophy. Their interpretations were based, on the one hand, upon the theosophical version of the myth of Fall and Reintegration; on the other hand, upon the “traditional” tripartition spirit/soul/body. On that basis, they constructed a series of heuristic tools successively, around notions like “ethereal light-substance”, “ganglionic system”, and Nervengeist. In the latter, they eventually came to see the cornerstone of the “physicopsycho-spiritual” structure (made of five constitutive elements) of the human being as they imagined it. Moreover, if considered as such, the Nervengeist appears to be the key for understanding the physico-spiritual procedures that undergird the production of magic eloquence. Finally, after presenting a few relevant examples in the literature of fiction inspired by animal magnetism, and some considerations devoted to the continuation of magical eloquence in later spiritual movements, the article draws a parallel between two anthropological “constructs” of the “soul” – namely, by the Naturphilosophie discussed above; and by psychoanalysis.

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