MUSICAL SUBJECT AS A PHILOSOPHICAL CONCEPT

Brevity in experimental Italian theatre is not merely an expressive dimension of scenic creation, but a forma mentis, a conceptual vocation of young companies. The 2000s produced a minor theatre in Italy – first because of the reduced stage size, and second because of the brevity of works such as installation pieces. Moving from the linguistic disintegration of the historical avant-gardes of the twentieth century, this theatre is especially inspired by the visual arts, even though its historical roots remain fragmented and art is still seen in the synthetic language of modern dance and Futurist variety. Short forms actually become a tool for crossing artistic genres and languages. Starting from Deleuze’s and Guattari’s philosophical concept of minor literature, in this article Silvia Mei explores and analyzes work by such Italian contemporary companies as gruppo nanou, Città di Ebla, Anagoor, Opera, ErosAntEros, and Teatro Sotterraneo – all representative of what can be called installation theatre, a new theatrical wave that crosses the boundaries and specificities of artistic language, leading to the deterritorialization of theatre itself, a rethinking of the artistic work as well as its relationship with the audience. Silvia Mei is Adjunct Professor of the History of Theatre Directing and Theatre Iconography at the University of Bologna, having been a Research Fellow at the University of Turin. Her recent publications include ‘La terza avanguardia: ortografie dell’ultima scena italiana’, in Culture Teatrali, No. 14 (2015), and Displace Altofest (Valletta: Malta 2018 Foundation).

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Neo-Confucian Hermeneutics at Work:Cheng Yi's Philosophical Interpretation of Analects 8.9 and 17.3

Harvard Theological Review ◽

10.1017/s0017816008001776 ◽

2008 ◽

Vol 101 (2) ◽

pp. 169-201 ◽

Cited By ~ 5

Author(s):

Yong Huang

Keyword(s):

Song Dynasty ◽

Traditional View ◽

Philosophical Concept ◽

The Real ◽

The Song Dynasty ◽

Philosophical Interpretation ◽

Chinese Scholars ◽

First Time ◽

The Relationship

In this article, I discuss the Song 宋 Neo-Confucian Cheng Yi's 程頤 (1033–1107) interpretation of two related controversial passages in the Analects, the recorded sayings of Confucius. The term “neo-Confucianism” was coined by Western scholars to refer to the Confucianism of the period from the Song dynasty to the Ming 明 dynasty (and sometimes through the Qing 清 dynasty). Among Chinese scholars, neo-Confucianism is most commonly referred to as the Learning of Principle (li xue 理學). Although before Cheng Yi and his brother Cheng Hao 程顥 (1032–1085) there were three other philosophers who are normally also regarded as neo-Confucians— Shao Yong 邵雍 (1011–1077), Zhou Dunyi 周敦頤 (1017–1073), and Zhang Zai 張載 (1020–1077)—we can justifiably regard the Cheng brothers as the real founders of neo-Confucianism in the sense that principle becomes the essential philosophical concept for the first time in their works. There is no consensus among scholars as to the relationship between the philosophies of these two brothers. The traditional view regards them as substantially different due to the two different schools of neo-Confucianism that developed from their teachings, the realistic school synthesized by Zhu Xi 朱熹 (1130–1200) from the teachings of Cheng Yi and the idealist school culminating in Wang Yangming 王陽明 (1472–1529) from the teachings of ChengHao. I, however, tend to think that the philosophical positions of the two brothers are largely similar. Unfortunately, since Cheng Hao did not live as long as Cheng Yi, there is insufficient material to create a systematic picture of his view of the Analects passages with which this article will deal.

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Faithful Witnessing as Practice: Decolonial Readings ofShadows of Your Black MemoryandThe Brief Wondrous Life of Oscar Wao

Hypatia ◽

10.1111/hypa.12183 ◽

2015 ◽

Vol 30 (4) ◽

pp. 641-656 ◽

Cited By ~ 4

Author(s):

Yomaira C. Figueroa

Keyword(s):

Gender Violence ◽

Critical Element ◽

Philosophical Concept ◽

Point Of Departure

This article considers María Lugones's concept of faithful witnessing as a point of departure to think about the ethics and possibilities of faithful witnessing in literary contexts. For Lugones, faithful witnessing is an act of aligning oneself with oppressed peoples against the grain of power and recognizing their humanity, oppression, and resistance despite the lack of institutional endorsement. I engage the work of Linda Tuhiwai Smith, Denise Oliver, and other scholars who offer methodologies and discourses on recognition, witnessing, and resistance. I argue that the feminist philosophical concept of faithful witnessing is a critical element of reading decolonial imaginaries. The article undertakes close readings of two novels in the Afro‐Latinx and Afro‐Hispanic tradition: Donato Ndongo'sShadows of Your Black Memoryand Junot Díaz'sThe Brief Wondrous Life of Oscar Wao. In these readings, the concept of faithful witnessing enriches the analysis of religious colonization and the gender violence inherent to coloniality.

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Early (Avant-garde) Symphonies by Valentin Silvestrov As a Sound Universe

Studia Universitatis Babeş-Bolyai Musica ◽

10.24193/subbmusica.2021.1.21 ◽

2021 ◽

Vol 66 (1) ◽

pp. 329-343

Author(s):

Liudmyla Shapovalova ◽

Іryna Romaniuk ◽

Marianna Chernyavska ◽

Svitlana Shchelkanova

Keyword(s):

20Th Century ◽

Human Being ◽

Accurate Identification ◽

Philosophy Of Music ◽

Philosophical Concept ◽

Avant Garde ◽

The Third ◽

Ninth Symphony ◽

Human Ontology ◽

First Time

"In the article under consideration are the ways of symphony genre transformation in the early works of Valentin Silvestrov (Ukraine). For the first time, the First, Second, Third, and Fourth symphonies by the genius composers of the 20th century are analyzed as a certain stylistic system. These compositions are endowed with the features of avant-garde poetics, and as a subject of musicological reflection, they are associated with a rethinking of the semantic paradigm of the genre. V. Silvestrov's early symphonies stand out from the classical practice of European symphonies. Scientific awareness of their phenomenal nature necessitated a methodological choice aimed at the most accurate identification of the philosophical concept of the new sound universum of V. Silvestrov's music. Deep correlation of the image of a human being as a factor of the symphony poetics (the influence of philosophical concepts of human ontology in the 20th century with the transformation of the genre canon) is considered. This refers to the nonmusical dimension of the genre semantics. The study of V. Silvestrov's early symphonies reveal a new philosophy of music through gradual movement – modulation: from the neo-baroque First Symphony and ""cosmic pastorals"" Musica Mundana of the Second Symphony through the history anthropologisation in the Third Symphony ""Eschatology"" to the monodrama Musica Humana in the Fourth Symphony. The dichotomy of Musica Mundana – Musica Humana is not accidental: in V. Silvestrov's creative method, remains relevant, which is confirmed by the dramaturgy of his latest work – the Ninth symphony (2019). Keywords: V. Silvestrov's early symphonies, evolution of style, worldview, Musica Mundana, monodrama. "

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The Dualism of Place in Lattif Halmat’s Poetic Texts

Journal of Raparin University ◽

10.26750/vol(8).no(3).paper19 ◽

2021 ◽

Vol 8 (3) ◽

pp. 387-409

Author(s):

Sarkawt Omer Ibrahim ◽

Zanear Zyad Ibrahem

Keyword(s):

Analytical Study ◽

Theoretical Method ◽

Philosophical Concept ◽

Binary Oppositions ◽

The Aesthetic ◽

Poetic Texts ◽

Definition Of ◽

Horizon Of Expectations

This research, which is entitled “The Dualism of Place in Lattif Halmat’s Poetic Texts”, is a critically analytical study on the dualism of place, the role and position of the element of place within the frame of poetic texts. In the poet’s poetic texts, the element of place created a kind of reversal in the readers’ horizon of expectations. The binary oppositions have become the structure of art and the aesthetic of poetic texts. And often, they have become (purple patches) in the texts in a way that all the surrounding words are ablaze with their power and their beauty. This research is composed of two chapters: The first chapter is devoted to the concept and definition of dualism and the philosophical concept of dualism in a theoretical method. In terms of their presence in Lattif Halmat’s poetic texts, the second chapter deals with the dualism of place within the frame of poetic texts in a critically analytical way. And finally, the research ends with the conclusions and bibliography.

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Cosmopolitical and Biopolitical Aesthetics as Philosophical Approaches to Art Education

Oxford Research Encyclopedia of Education ◽

10.1093/acrefore/9780190264093.013.1436 ◽

2021 ◽

Author(s):

Modesta Di Paola

Keyword(s):

Social Sciences ◽

Philosophy Of Education ◽

The Other ◽

Mutual Understanding ◽

Human Beings ◽

Philosophical Concept ◽

Real Condition ◽

Social Growth ◽

Critical History ◽

Common World

Cosmopolitanism is an ancient idea with a wide theoretical and critical history. Scholars across the humanities and social sciences have been examining the meaning and trajectories of this concept, showing how it spotlights ways in which people can move beyond mutual understanding and cooperation. However, cosmopolitanism does not have to refer to a transcendental ideal but rather to the material and real condition of global interdependencies. Cosmopolitanism has been connected to the philosophical concept of “becoming-world,” which develops this idea in the context of plural and ecological societies. Under this approach, cosmopolitanism turns into cosmo-politics, which fuses notions of educational and cultural creativity. From the philosophy of education and artistic education in particular, cosmopolitics seeks to outline the advances of new creative educational theories, which center on globalization, hospitality ethics, politics of inclusion, and the ecological connection between human beings and ecosystems; overall, this concept reveals the possibilities for moral, political, and social growth in the encounter with the other (human and natural). Cosmopolitics is, therefore, associated with the idea of educating with creativity, even proposing the elaboration of new pedagogical methods. Here, cosmopolitics has arisen as a crucial artistic educational orientation toward reimagining, appreciating, and learning from our common world.

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