scholarly journals Charles Edward Ives Amerykański śpiew wolności

2019 ◽  
pp. 151-160
Author(s):  
Małgorzata Janicka-Słysz
Keyword(s):  
Mikhail Bakhtin ◽  
Emotional Memory ◽  
Musical Thought ◽  
The World ◽  
American Composer ◽  
Roger Scruton

Charles E. Ives (1874–1954), an American composer – wanted to preach in music and music – freedom and truth. The essence of the composer’s outlook on the world is included in his Essays Before a Sonata, which can be interpreted as a unique composer’s treaty – the only one of its kind. Ives believed that music was an internally dialectic set of values, composed of two subsets – a higher subset of substance, and a lower subset of style or manner, a manner of expression. He wrote: “Why can’t a musical thought be presented as it is born – perchance ‘a bastard of the slums,’ or a ‘daughter of a bishop’”. Ives recalls an important thought by Ralph Emerson, the leading figure of American transcendentalism, and his spiritual mentor: “What you are talks so loud, that I cannot hear what you say?” The generation of Stalowa Wola – „new humanists” or „new romantics” – entered the ax-iological space marked by Ives’s thought: Eugeniusz Knapik (1951), Andrzej Krzanowski (1951–1990) and Aleksander Lasoń. They came back to what – after Mikhail Bakhtin and Roger Scruton – I call emotional memory; they were returning through the reception of the views of Ives and his concept of music as a set of values.

‘from a musical point of view, the world is musical at any given moment’: an interview with bill fontana

2005 ◽  
Vol 10 (2) ◽  
pp. 97-101 ◽  
Author(s):  
jøran rudi
Keyword(s):  
New York ◽  
New York City ◽  
York City ◽  
Large Scale ◽  
Urban Environments ◽  
Point Of View ◽  
Naturally Occurring ◽  
The World ◽  
American Composer ◽  
Brooklyn Bridge

bill fontana is an american composer and artist who has been working with large-scale sound installations since the 1970s. in his installations he recontextualises sounds by transmitting them from one location to another, and uses the transported sounds as acoustical ‘overlay’, masking the sounds naturally occurring in the installation spaces. his installations often occur in central urban environments, and he has, for example, been commissioned in conjunction with the fifty-year anniversary of d-day (1994, paris), and the 100-year anniversary of brooklyn bridge (1983, new york city).

Ethics and the Sacred: Can Secular Morality Dispense with Religious Values?

2017 ◽  
Vol 39 (1) ◽  
Author(s):  
Richard Norman
Keyword(s):  
Human Life ◽  
Religious Values ◽  
Moral Thinking ◽  
Religious View ◽  
Living Things ◽  
Art Works ◽  
The World ◽  
Special Value ◽  
Individual Human ◽  
Roger Scruton

AbstractIn this paper I explore the role that the concept of the sacred can play in our moral thinking. I accept that the assertion that ‘human life is sacred’ can be one way of articulating the special value of individual human lives as in some sense inviolable. I cautiously allow that the idea of ‘sacred value’ might also apply to other things such as certain kinds of human commitments, uniquely precious art-works, and some other kinds of living things. In conclusion I offer reasons for resisting the claim, made especially by Roger Scruton, that the experience of the sacred, when properly understood, draws us ineluctably into a religious view of the world.

scholarly journals Principle of dialogue in Mikhail Bakhtin’s poetics

2020 ◽  
Vol 3 (2) ◽  
pp. 109-119
Author(s):  
Phan Trong Hoang Linh
Keyword(s):  
Mikhail Bakhtin ◽  
Great Influence ◽  
Linguistic Theory ◽  
Systematic Relationship ◽  
The World ◽  
Cultural Poetics ◽  
History Of ◽  
The Relationship ◽  
Counter Argument

Mikhail Bakhtin (1895 - 1975) had a great influence on the history of modern poetics in the world. From the 1980s onwards, the adoption of Bakhtin's poetics was of great significance, contributing to the development of poetics in Vietnam in nearly four decades. One of the essential foundations for his theory is the principle of dialogue. However, applying the principle of dialogue in a systematic relationship with Bakhtin's academic legacy, especially its relation to the principle of carnaval, has never become easy for a consensus. The duty of this essay is to analyze the principle of dialogue in a systematic view. Dialogue is first a linguistic principle proposed on the basis of counter-argument of the linguistic theory of F.D. Saussure. The carnaval principle is a cultural basis for applying the principle of dialogue into the study of literature. By connecting these two principles to a system, Bakhtin wanted to promote the study of literature to cultural poetics. Applying the principle of dialogue for study Dostoievski’s work, he discovered the kind of novel that had never appeared before: polyphonic novel. This type of novel contains a new structure in the relationship between the author and the character, and if not based on the principle of dialogue, it is difficult to understand its full value.

Review of Roger Scruton, The Soul of the World

Sophia ◽  
2015 ◽  
Vol 54 (2) ◽  
pp. 235-238
Author(s):  
William J. Meyer
Keyword(s):  
The World ◽  
Roger Scruton

scholarly journals Face to Facelessness: Imagined Intimacies and Socially Distant Desires

2022 ◽  
Author(s):  
Steve Fossey
Keyword(s):  
Social Interactions ◽  
Public Space ◽  
Emmanuel Levinas ◽  
Mikhail Bakhtin ◽  
Text Messages ◽  
Face To Face ◽  
Digital Devices ◽  
Art Practices ◽  
The World ◽  
Falling In Love

This paper revisits a performance titled Falling in Love Again - and Again which was first performed in 2014 as part of a series of works I created questioning relational intimacy and proximity in public space. During Falling in Love Again - and Again participants were invited to explore public space with the intention of anonymously falling in love with strangers. The details of these encounters were shared with me as the leader of the piece via mobile phone text messages, but never with the subjects of the participants' desires.  Understanding the dynamics of intimacy and proximity in 2014 was a very different experience to how I understand them in 2021. The Covid-19 pandemic, social distancing, and two periods of lockdown has drastically influenced how relationality and physically being in the world with others is performed.  This paper is concerned both with the intimate and proximate dynamics of relational bodies during that performance as I understood it then, and, as a consequence, how we might understand relational proximity and intimacy now.Critical points of departure for the paper include art historian Grant Kester's writing on conversational art practices and his framing of dialogic encounters through the use of Jeffrey T. Nealon's Alterity Politics: Ethics and Performative Subjectivity (1998).  Models of 'dialogical' experience and 'responsibility', as situated by Mikhail Bakhtin and Emmanuel Levinas respectively (Nealon, 1998, cited in Kester, 2004, 118) are used in this article to frame a rethinking of the dynamics and ethics of face to face contact and physical proximity, as bodies in space maintain distance from one another, connected only by our digital devices and our imaginations.  The voyeuristic practices of Sophie Calle and Vito Acconci converge with theatre makers Forced Entertainment's 'writing over' of place (Kaye, 2000) to explore imaginary relational connectivity.  The writing of geographer Doreen Massey supports this framing through the use of Massey's thoughts on the fictional poetics of social interactions and 'stories so far' (Massey, 2005).  Ultimately the paper asks what happens when we are required to imagine being with others in physically distant and imaginary ways with only our mobile devices as depositories for our fictional desires. 

scholarly journals The Bakhtin Circle’s dialog in Vietnam

2021 ◽  
Vol 8 (1) ◽  
Author(s):  
Le Huy Bac ◽  
Dao Thi Thu Hang ◽  
Le Nguyen Phuong
Keyword(s):  
Mikhail Bakhtin ◽  
Common Life ◽  
The World ◽  
Dialogic Theory

AbstractIn this article, we use Jacques Derrida’s deconstructive method to study the influence of Mikhail Bakhtin in Vietnam in the 1990s and 2000s. By using evaluations of Bakhtin by researchers in Vietnam and around the world, we argue that he is not the only owner of the theory of dialog and polyphony. His friends, Pavel Medvedev and Valentin Voloshinov, also played important roles in defining these concepts. The Bakhtin Circle’s dialog theory is related to the sense of democracy in society. The work of Bakhtin was introduced to Vietnam in the 1980s and led to a “Bakhtin fever” throughout Vietnam. However, he has been less overrated recently. We also discover a mistake in the dialogic theory of the Bakhtin Circle. The members of the Circle said that the nature of language is dialogic, which means that whenever language is used, either in literature or in common life, it is always polyphonic. Based on this claim, novels use language to tell stories, so novels are polyphonic. The Bakhtin Circle was mistaken when labeling Dostoevsky’s novels as polyphonic and Tolstoy’s novels as monologic. In the same vein, the Bakhtin Circle strongly believed that language in poetry is always monologic. We think this claim is also wrong. Dialogicality appears in all kinds of poetic languages.

Cognitive extension and musical consciousness

2019 ◽  
pp. 34-54 ◽  
Author(s):  
Lawrence M. Zbikowski
Keyword(s):  
Middle Ages ◽  
Distributed Cognition ◽  
Musical Instruments ◽  
Musical Thought ◽  
Material Resources ◽  
Mnemonic Devices ◽  
Andy Clark ◽  
Musical Scores ◽  
The World ◽  
Musical Practices

This chapter explores how the notion of cognitive extension, which is the idea that cognitive processes can be extended through material resources, reshapes the way we think about musical consciousness. A brief review of recent work on cognitive extension by Andy Clark is provided and linked with Edwin Hutchins’s idea of distributed cognition. Examples of cognitive extension from musical practices are discussed, including mnemonic devices employed during the middle ages, musical scores, and the use of musical instruments. It is proposed that musical sound itself can be thought of as a means through which musical thought is extended out into the world, especially where a distributed cognitive system is manifested as a musical ensemble.

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