scholarly journals ON SEVERAL ‘HERMITAGE’ EKPHRASES BY VIKTOR KRIVULIN

2021 ◽  
Vol 13 (1) ◽  
pp. 83-89
Author(s):  
Aleksandr A. Zhitenev ◽  
Keyword(s):  
Cultural Identity ◽  
Art Music ◽  
Fine Art ◽  
Typical Feature ◽  
Reading Experience ◽  
Soviet Literature ◽  
History Of ◽  
Cultural Layers

In the practice of the Soviet literary underground, it was important to restore connections with tradition, hidden or edited according to the ideological models. Dialogue with tradition was recognized as a condition for achieving creative independence and cultural identity. Naturally, many texts created outside official Soviet literature have a wide layer of intertextual and intermedial references, often pointing to cultural layers and semantic areas that are not related to each other. A typical example of such an allusional multilayeredness and polyreferentiality is poetic ekphrasis. One of the most important literary figures of the Soviet samizdat was the poet Viktor Krivulin. In his samizdat books, many texts have obvious markers of ekphrastic descriptions referring to fine art, music, and cinema; a typical feature of his poetry is ‘complex ekphrasis’, which combines references to different works. This article deals with several of his poems related to the collection of paintings at the Hermitage, in particular the texts devoted to the paintings by Bartolomeo Murillo and Tiziano Vecellio. Krivulin’s reception of fine art was found to be influenced by his reading experience: the interpretation of the paintings is correlated with other examples of cultural reception of the same artist. Thus, ekphrasis is not only a description of a particular work but also the experience of reflection on the history of perception of an artist in culture, as well as the experience of self-relation with other ekphrases. The form of ekphrastic text thus appears for the poet as a means of historical and culturological reflection.

Tiki Taane’s With Strings Attached: Alive & Orchestrated and postcolonial identity politics in New Zealand

2018 ◽  
Author(s):  
Oli Wilson
Keyword(s):  
New Zealand ◽  
Cultural Identity ◽  
Identity Politics ◽  
Performance Practice ◽  
Art Music ◽  
Western Art ◽  
Performance Group ◽  
Representational Practices ◽  
Colonial Experience ◽  
Television Documentary

This chapter explores how the New Zealand popular music artist Tiki Taane subverts dominant representational practices concerning New Zealand cultural identity by juxtaposing musical ensembles, one a ‘colonial’ orchestra, the other a distinctively Māori (indigenous New Zealand) kapa haka performance group, in his With Strings Attached: Alive & Orchestrated album and television documentary, released in 2014. Through this collaboration, Tiki reframes the colonial experience as an amalgam of reappropriated cultural signifiers that enraptures those that identify with colonization and colonizing experiences, and in doing so, expresses a form of authorial agency. The context of Tiki’s subversive approach is contextualized by examining postcolonial representational practices surrounding Māori culture and orchestral hybrids in the western art music tradition, and through a discussion about the ways the performance practice called kapa haka is represented through existing scholarly studies of Māori music.

Spaces of Exclusion: The Significance of Cultural Identity in the Formation of European Residential Districts in British Hong Kong, 1877–1904

10.1068/d310 ◽  
2003 ◽  
Vol 21 (2) ◽  
pp. 223-252 ◽  
Author(s):  
G Alex Bremner ◽  
David P Y Lung
Keyword(s):  
Hong Kong ◽  
Cultural Identity ◽  
Social History ◽  
Urban Form ◽  
European Population ◽  
Capital City ◽  
The Social ◽  
History Of ◽  
Residential District ◽  
Cultural Self

In this paper we discuss the role and significance of European cultural identity in the formation of the urban environment in 19th-century and early-20th-century British Hong Kong. Our purpose is to offer an alternative reading of the social history of Hong Kong-the orthodox accounts of which remain largely predominant in the general historical understanding of that society-by examining the machinations that surrounded attempts by the European colonial elite to control the production of urban form and space in the capital city of Hong Kong, Victoria. Here the European Residential District ordinance of 1888 (along with other related ordinances) is considered in detail. An examination of European cultural self-perception and the construction of colonial identity is made by considering not only the actual ways in which urban form and space were manipulated through these ordinances but also the visual representation of the city in art. Here the intersection between ideas and images concerning civil society, cultural identity, architecture, and the official practices of colonial urban planning is demonstrated. It is argued that this coalescing of ideas, images, and practices in the colonial environment of British Hong Kong not only led to the racialisation of urban form and space there but also contributed to the apparent anxiety exhibited by the European population over the preservation of their own identity through the immediacy of the built environment.

Anthology of Goethe Songs

10.31022/n023 ◽  
1994 ◽  
Keyword(s):  
Eighteenth Century ◽  
Johann Wolfgang Von Goethe ◽  
Art Music ◽  
Ferruccio Busoni ◽  
Late Eighteenth Century ◽  
Late Eighteenth ◽  
German Art ◽  
History Of ◽  
Voice And Piano

Few poets have had so profound an influence on the history of German art music as Johann Wolfgang von Goethe. Since the late eighteenth century, over seven hundred of his poems have been set by nearly six hundred composers as lieder for voice and piano. This anthology gathers twenty-two such settings, in a wide variety of styles, by composers ranging from Goethe's friend Carl Zelter to Hans von Bülow, Ferruccio Busoni, and Othmar Schoeck.

Rom e Sinti, cittadini senza patria?

2009 ◽  
pp. 139-170
Author(s):  
Maurizio Cermel
Keyword(s):  
Cultural Identity ◽  
Deliberative Democracy ◽  
National Identities ◽  
The Other ◽  
Social Rights ◽  
Political Democracy ◽  
Economic Democracy ◽  
International Organisations ◽  
Small Communities ◽  
History Of

- The condition of the Rom and Sinti peoples represents very well the contradictions present in European society and the problems that Europe has to tackle if it is to pursue the path of political integration. There are several million people in the Rom and the Sinti population, distributed in small communities all over the continent. Because of their lifestyle and different language and customs, they are in practice denied access to the civil, political and social rights due to other citizens, both in Italy and in the majority of other European countries. This denial of their cultural identity sometimes verges on racial discrimination: as they lie on the margins of civil society, the authorities often treat them in ways that are incompatible with the principles of freedom, equality and solidarity on which today's modern democracies are founded. What the institutions in the various states ought to do, on the other hand, is work together with the Rom and Sinti organisations and with the international organisations to safeguard a cultural identity that enriches Europe as a whole just as much as its national identities do, while at the same time contributing at making these people fully entitled European citizens. Eligio Resta, God and the Majority Award The history of the principle of majority is still a powerful indicator for interpreting contemporary developments in economic democracy and in political democracy. The work by F. Galgano that led to these notes illustrates a line of commentary about the form and the contents of the rule of the majority that is pursued right up to the decline perceived in the present day. Overwhelmed by the crisis afflicting the concept of representation today, the principle of the majority has come back to question us about the space reserved for deliberative democracy.

Landmarks in the Study of Improvisation

2014 ◽  
Author(s):  
Bruno Nettl
Keyword(s):  
Middle East ◽  
Folk Music ◽  
Research Study ◽  
Art Music ◽  
Jazz Improvisation ◽  
Single Model ◽  
Oral Transmission ◽  
Western Art ◽  
Music Making ◽  
History Of

Historically, research on improvisation has been related to the discovery of non-Western musics, folk music, and jazz, and has depended on the development of recording techniques for its principal kinds of data. The concept of improvisation is not unitary, but includes many vastly different kinds of un-notated music-making, which casts some doubt on the efficacy of the term itself. In the history of Western art music, improvisation was originally ignored or seen as craft rather than art, but since ca. 1980 it has occupied increased attention. The association of improvisation with oral transmission has sometimes been misunderstood. The most successful standard research study has been the comparison of performances based on a single model, for example, raga in India, maqam and dastgah in the Middle East, or a series of chord changes or a tune in jazz. Improvisation as a concept—for example, as a metaphor of freedom—has been important in recent research.

scholarly journals Mordva-Murza from Bashkiria: The History of Formation and Ethno-cultural Features of Ethnic-Class Community

2020 ◽  
Vol 20 (3) ◽  
pp. 237-248
Author(s):  
Ranus R. Sadikov
Keyword(s):  
Cultural Identity ◽  
18Th Century ◽  
Language And Culture ◽  
Republic Of Bashkortostan ◽  
History Of ◽  
The Republic ◽  
The Village ◽  
History Of Formation ◽  
Cultural Features ◽  
Class Community

Introduction. One of the regions of compact settlement of the Mordovian people is the Republic of Bashkortostan. The Mordovian population of the region was formed during the resettlement migration process of the ethnic groups to the Bashkir lands in the 17th and early 20th centuries. There is a small stand-out group of Mordva-Erzya in Bashkiria. They call themselves Murza and they have their own identity. They live in the village of Kozhay-Andreevo in the Tuimazinskiy district and in the village of Kozhay-Maximovo in the Ermekeevskiy district. Materials and Methods. This work attempts to reconstruct the history of formation of the class community of Mordva-Murza and to identify its ethno-cultural features. The study is based on the principle of historicism; the main methods are historical-genetic, comparative-historical, and problematic-chronological. Results. Based on the study of published sources and literature, it is shown the chronology and the main stages of the formation of the Mordva-Murza community in Bashkiria. It was revealed, this community was formed on the basis of a resettlement group of the Mordovian sluzhilye-served people in the 18th century. Field ethnographic materials testify to their ethno-cultural identity. Discussion and Conclusion. Mordva living in the villages under consideration can be defined as a separate ethnic-class community, which has its own identity, self-name, specific linguistic and ethno-cultural characteristics. In their language and culture, it is interweaved both Erzya and Moksha traits. Almost disintegrated in the 1980s the community of the “Kazhay Murzas” began to revive in the year of 2000. The observations show the desire of the inhabitants and natives from these villages to preserve and develop their “Murza language” and traditions.

scholarly journals الإبداعات المغربية باللغات الأجنبية بين سلطة اللغة وسلطة الهوية: قراءة تراتبية

2015 ◽  
Vol 20 (80) ◽  
pp. 142-111
Author(s):  
فؤاد بوعلي
Keyword(s):  
Cultural Identity ◽  
Foreign Language ◽  
Literary Text ◽  
Post Colonial ◽  
Colonial Studies ◽  
Cultural Alienation ◽  
History Of ◽  
Points Of View ◽  
Creative Writings ◽  
The Relationship

أثارت الكتابة الإبداعية باللغات الأجنبية العديد من المواقف المتعارضة في الحقلين: الأكاديمي، والثقافي. فقد عرف تاريخ المغرب الحديث سجالاً قوياً بخصوص هوية الكتابات الإبداعية باللغات الأجنبية، بين مَن يرى فيها استلاباً ثقافياً، ومَن يرفض ربط الجنسية الأدبية بالانتماء اللغوي، بل وربطها بالمتخيّل الجماعي أكثر من أيّ شيء آخر، ثمّ بالمنتوج الأدبي بوصفه تجسيداً لهذا المتخيّل. فالتعبير عن الذات بلغة أجنبية يطرح للنقاش مفاهيم، مثل: الهوية الثقافية، والسلطة، والخصوصية، والعلاقة بالآخر. وباستخدام القراءة التراتبية التي ظهرت في الدراسات بعد الكولونيالية أمكننا إثبات التلازم بين استعمال اللغة الفرنسية في الإبداع ومسار الفرنكفونية بوصفها إيديولوجيا استعماريةً تفرض لغتها على الشعوب والفضاءات الذيلية. The debate over literary writing in a foreign language has instigated a lot of dichotomous points of view in Moroccan academic and cultural circles. History of modern Morocco has witnessed strong ongoing debates about the identity of creative writings in foreign language. There are those who would consider such writings as cultural alienation. Contrary to that, there are those who refuse to link literary text to language belonging, and link it instead to the collective imaginary and to the literary product as a manifestation of this imaginary. In fact, expressing the self by using a foreign language puts into question notions such as cultural identity, authority, nation-building, and otherness. By applying the theory of hierarchical reading which appeared in the post colonial studies, we have established the relationship between using French in creative writings and La Francophonie as a colonial ideology imposed on people and annexed spaces.

scholarly journals Χορευτική-μουσική ταυτότητα και ετερότητα

2007 ◽  
Author(s):  
Χρήστος Παπακώστας
Keyword(s):  
Cultural Identity ◽  
Cultural Practices ◽  
Professional Activity ◽  
Collective Identities ◽  
Theory Of Practice ◽  
The Social ◽  
History Of ◽  
Positive Perspective ◽  
The Times ◽  
Dynamic Quality

The present dissertation aims at studying dancing and music and the relationship between these two forms of culture in the construction of the cultural identity of the Roma in Heracleia of the Prefecture of Serres. Nowadays, Heracleia is a town with 4,000 residents. Its population has a mixed ethnological composition: Vlachs, natives (Greek speakers, and Slavic speakers), refugees, Sarakachans, Roma and Gypsies. In the past Heracleia was known as Tzumaya and was flourishing both financially and culturally thanks to its geographical position in the times of the Ottoman Empire and thanks to its famous bazaar. Thus, for a more complete understanding of the changes and transitions that took place it is significant to embody history as a new fundamental framework of interpretation. An important research tool for the accentuation of the principal arguments of thedissertation is the space. In this specific experiential paradigm the construction of identities and the distinction between the ethnic groups is also reflected on the organization of space. The neighborhood, the space of the Roma(sedentary gypsies), is juxtaposed to the respective neighborhood of the Vlachs, the market. Thus, the space is not only examined a “geography” but as a historical and dynamic category connected and interacting with culture. The dynamic quality of dancing and music, the ethnic mosaic and the history of Heracleia and the neighboring area as well as the continuous mobility of the Roma musicians invites us to investigate if there is actually a total isomorphism of space and culture. Music and dancing are not seen as static and fixed cultural phenomena but as historical, dynamic and fluid categories that are the object of negotiation of collective identities and variants. Dancing and music are simultaneously products and processes and do not merely reflect the social structures but are closely related to the cultural identity of a group. For the transgression of the dichotomy structure/action we adopt the theory of practice (Bourdieu 1977). In this way, dancing and music become cultural practices, by which the Roma of Heracleia handle their cultural identity in any historical conditions. Especially in the case of the Roma, this approach is even more helpful, because, as a social group with a low social status, within music and dancing they are given the chance to re-determine their identity in relation to the others. That is to say that by applying various practices of resistance, acquiescence, conflict and acceptance, they attempt to give a positive perspective to their cultural identity. In the framework of this dissertation the dancing phenomenon in the neighbourhood of the Roma and the music, as a prominent form of their professional activity, are examined.

scholarly journals SEMANTICS OF POEM IN «DIV TICS OF POEM IN «DIVANI LUGATI-T-TURK»

2021 ◽  
pp. 36-45
Author(s):  
Qosimjon SODIQOV ◽  
Govhar RAHMATOVA
Keyword(s):  
World Literature ◽  
Fine Art ◽  
Oral Poetry ◽  
Verbal Art ◽  
Specific Expression ◽  
Artistic Value ◽  
Aesthetic Taste ◽  
History Of ◽  
Extensive Information ◽  
The Aesthetic

Lyric songs depict how rich is the aesthetic taste of the Turkic peoples and their special love for verbal art for a long period, and the fact that they possessed artistic resources capable of competing with the most agile peoples of their time. Moreover, these songs illustrate the artistic views of the Turks. Pure lyrical experiences, with their novelty, the richness of images, and unique pathos, have always engaged the reader. The poetry of the Turkic peoples is studied as a separate phenomenon in the history of world literature. Mahmud Kashgari’s Divani lugat at-Turk provides extensive information about the foundations of Turkish poetry and its scope. We can see the first paradigms of lyric poetry in the oral poetry of the Turkic peoples in the Divani lugat at-Turk. As a great linguist of his time and an advanced thinker – Kashgari proves each word with its specific expression or a piece of poetry. Each poem in his work is unique regarding its artistic value and semantics. We can see this, especially in these lyrical poems. Even simple episodes in lyrical songs demonstrate the ability of our ancestors to express thoughts beautifully. The lyrical passages in the Divani lugat at-Turk consist of the description of the mistress, the sad moments of the separation of beloved ones, and the poems addressed to his beloved one. The issue of fine art and its location is noteworthy in them. The devices used in them play an essential role as the initial version in the context of the literature of the Turkic peoples. The author cites some examples of such poetic art: tashbih, oxymoron, metaphor, tajnis, repetition, hyperbole (mubalaga), irsali masal, etc. These devices were actively reflected in all types of poetry of the later period. This article discusses the semantics of lyrical poems in the Divani lugat at-Turk and reveals their fine art.

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