scholarly journals Eastern naturalness versus western artificiality: Rimsky Korsakov's influence on Manoles Kalomoires' early operas

Muzikologija ◽  
2005 ◽  
pp. 101-117
Author(s):  
Aikaterini Romanou
Keyword(s):  
Nineteenth Century ◽  
National Identity ◽  
Present Article ◽  
Ancient Greece ◽  
Greek Literature ◽  
Ancient Greek ◽  
The West ◽  
The World ◽  
First Time ◽  
Language Question

In this article the writer investigates the relations between perceptions of the East and the West in nineteenth century Greece, their connection to national identity, to the language question and to political tendencies. The composer Manoles Kalomoires was influenced by a group of progressive intellectuals striving to liberate Greek literature and language from its dependence on Ancient Greek legacy, a dependence motivated by Western idealists (who saw in the Greek Revolution of 1821 a renaissance of Ancient Greece). Most were educated in the West, but promoted an oriental image of Greeks. Kalomoires' musical expression of this image was inspired by Rimsky-Korsakov's Sheherazade and the Golden Cockerel. In 1909-910 he wrote an unfinished opera, Mavrianos and the King, on the model of the Golden Cockerel. He later used this music in his best known opera, The Mother's Ring (1917). In the present article the similarities in the three works are for the first time shown. An essential influence from Rimsky-Korsakov's work is the contrast between the world of freedom, nature and fantasy and that of oppression.

Understanding Cultural Heritage: Multiplicity and Contestations in Chamba Town in the Western Himalayas

2018 ◽  
Vol 3 (2) ◽  
pp. 159-172
Author(s):  
Chandan Kaushal
Keyword(s):  
Nineteenth Century ◽  
Twentieth Century ◽  
Cultural Heritage ◽  
Present Article ◽  
Decisive Role ◽  
Tourist Attraction ◽  
Western Himalayas ◽  
The West ◽  
Colonial Policy ◽  
The World

The idea of heritage is not new; originating in the West in the nineteenth century, it travelled in the world through colonial policy. However, heritage or world heritage, as it is known today, was conceived and propagated by global agencies like UNESCO in the second half of the twentieth century. The present article aims to explore the heritage status demand for Chamba town located in the Western Himalayas. Heritage is treated here not as a thing, but as a different kind of attitude towards past. Drawing form Ericksen’s idea heritage in this article is understood as different ‘historicity regimes’. Pursuance for heritage status for Chamba which was ruled by a single dynasty until Independence, having vibrant past, can be seen as part of globalization. Heritage here means for some a ‘brand’ for marketing a place for tourist attraction and for others preservation of antiquities or veneration of past which plays a decisive role in negotiating, maintaining and creating a group identity. Official and unofficial heritage practices coexist which sometimes lead to contestation over meaning and practice. Analysing categories that organize experiences of temporality in Chamba such as antiquity and heritage employed by scholars and practitioners are coexistent with folklore, memory and beliefs that are part of everydayness and differ from how practitioners make sense of past.

Are We the Greeks? Understanding Antiquity and Ourselves in Television Documentaries

2018 ◽  
pp. 24-43
Author(s):  
Fiona Hobden
Keyword(s):  
National Identity ◽  
North America ◽  
Cultural Diversity ◽  
Ancient Greece ◽  
Psychological Needs ◽  
Ancient Greek ◽  
The West ◽  
Greek Society ◽  
Direct Investigation

The notion that the West has its cultural and political roots in ancient Greece has long been a mainstay of discourses on national identity in Britain, as in other countries (primarily in Europe and North America) that imagine themselves as belonging to ‘the West’. This chapter examines how this supposition of a ‘Greek legacy’ or ‘Greek inheritance’ has been mediated through British television documentaries. Whether the legacy is used as a framing device for wider assessments of ancient Greek society, or is the focus of direct investigation, the notion of a legacy is sustained. However, at every turn the proposition is undercut. Assertions of similarity between ‘us’ and ‘them’ coexist alongside demonstrations of difference; or the legacy is a modern invention that serves social, political and psychological needs; or it can be problematic and undesirable. At the same time as its existence is maintained, the ‘Greek legacy’ is revealed to be a fiction, or even a fetish: a fantasy that hides its own lack. In a Britain (and Europe) marked by cultural diversity and political division, television exposes the untenability of an ideology that elides such differences by making us all ancient Greeks, whilst continuing to ascribe it power.

scholarly journals Hiketeia

1973 ◽  
Vol 93 ◽  
pp. 74-103 ◽  
Author(s):  
John Gould
Keyword(s):  
Dominant Role ◽  
Ancient Greece ◽  
Social Institutions ◽  
The Other ◽  
Sixth Century ◽  
Dead Body ◽  
Greek Literature ◽  
The World ◽  
The One ◽  
Working Out

To Professor E. R. Dodds, through his edition of Euripides'Bacchaeand again inThe Greeks and the Irrational, we owe an awareness of new possibilities in our understanding of Greek literature and of the world that produced it. No small part of that awareness was due to Professor Dodds' masterly and tactful use of comparative ethnographic material to throw light on the relation between literature and social institutions in ancient Greece. It is in the hope that something of my own debt to him may be conveyed that this paper is offered here, equally in gratitude, admiration and affection.The working out of the anger of Achilles in theIliadbegins with a great scene of divine supplication in which Thetis prevails upon Zeus to change the course of things before Troy in order to restore honour to Achilles; it ends with another, human act in which Priam supplicates Achilles to abandon his vengeful treatment of the dead body of Hector and restore it for a ransom. The first half of theOdysseyhinges about another supplication scene of crucial significance, Odysseus' supplication of Arete and Alkinoos on Scherie. Aeschylus and Euripides both wrote plays called simplySuppliants, and two cases of a breach of the rights of suppliants, the cases of the coup of Kylon and that of Pausanias, the one dating from the mid-sixth century, the other from around 470 B.C. or soon after, played a dominant role in the diplomatic propaganda of the Spartans and Athenians on the eve of the Peloponnesian War.

scholarly journals The sportification of judo: global convergence and evolution

2013 ◽  
Vol 8 (2) ◽  
pp. 299-317 ◽  
Author(s):  
Shohei Sato
Keyword(s):  
Nineteenth Century ◽  
Global Convergence ◽  
Martial Arts ◽  
Way Of Life ◽  
The West ◽  
Modern Times ◽  
The World ◽  
History Of ◽  
Almost All ◽  
Olympic Sport

AbstractThis article re-examines our understanding of modern sport. Today, various physical cultures across the world are practised under the name of sport. Almost all of these sports originated in the West and expanded to the rest of the world. However, the history of judo confounds the diffusionist model. Towards the end of the nineteenth century, a Japanese educationalist amalgamated different martial arts and established judo not as a sport but as ‘a way of life’. Today it is practised globally as an Olympic sport. Focusing on the changes in its rules during this period, this article demonstrates that the globalization of judo was accompanied by a constant evolution of its character. The overall ‘sportification’ of judo took place not as a diffusion but as a convergence – a point that is pertinent to the understanding of the global sportification of physical cultures, and also the standardization of cultures in modern times.

Western Countries: Future of Multiculturalism in Context of Employment

2012 ◽  
pp. 16-25
Author(s):  
M. Klupt
Keyword(s):  
Social Structure ◽  
Present Article ◽  
Empirical Data ◽  
Statistical Information ◽  
Western World ◽  
The West ◽  
Western Countries ◽  
The World

Will immigrant minorities change the Western world? Two decades ago this question seemed irrelevant as it was expected that the West will change the world in its image. Today, the same question is perceived as rhetorical. The answer is obvious, and the dispute is merely over directions, extent and possible consequences of future changes. The center of this dispute is the multiculturalism – the concept, policy and praxis praising diversity of cultures and denying any of them a vested right to dominate not only in the world at large, but even in a particular country. The assessment of its perspectives presupposes a variety of research approaches in view of its complexity. In the present article only one of them is be used for the analysis focused on the employment of immigrant minorities from the world's South. The viability of such approach is based on two circumstances. Firstly, the employment indexes considered in ethnical context belong to the most important characteristics of ethno-social structure of a society. Secondly, the availability of broad statistical information about employment allows for resting upon empirical data, possibly avoiding a needless bias toward purely theoretical constructions.

scholarly journals Ironia i nihilizm. Figura bibliotekarza w Posłuchaniu u Lucypera Józefa Sękowskiego

2019 ◽  
pp. 83-94
Author(s):  
Jarosław Ławski
Keyword(s):  
National Identity ◽  
Present Article ◽  
Short Story ◽  
Subject Matter ◽  
Russian Literature ◽  
Absolute Power ◽  
Polish Literature ◽  
The World ◽  
History Of ◽  
The Subject

The subject matter of the present article is the image of library and librarian in a forgotten short story by a Polish-Russian writer Józef Julian Sękowski (1800−1858). Sękowski is known in Polish literature as a multi-talented orientalist and polyglot, who changed his national identity in 1832 and began to write only in Russian. In the history of Russian literature he is famous for Library for Reading and Fantastic Voyages of Baron Brambeus, an ironic-grotesque work, which was precursory in Russian prose. Until 1832 Sękowski was, however, a Polish writer. His last significant work was An Audience with Lucypher published in a Polish magazine Bałamut Petersburski (Petersburgian Philanderer) in 1832 and immediately translated into Russian by Sękowski himself under the title Bolszoj wychod u Satany (1833). The library and librarian presented by the author in this piece are a caricature illustration proving his nihilistic worldview. Sękowski is a master of irony and grotesquery, yet the world he creates is deprived of freedom and justice and a book in this world is merely a threat to absolute power.

Mandel’štam. Rom. Pasolini

2021 ◽  
Vol 62 (1) ◽  
pp. 291-320
Author(s):  
Chiara Caradonna
Keyword(s):  
Present Article ◽  
Small Volume ◽  
The Political ◽  
Pier Paolo Pasolini ◽  
Political Dimension ◽  
The World ◽  
First Time

Mandel’štam. Rome. Pasolini In 1972 a small volume presented for the first time a varied choice of poems by the Russian poet Osip Mandel’štam to the Italian public, translated by Serena Vitale. One of the book’s first and most enthusiastic readers was the poet, film director and intellectual Pier Paolo Pasolini, who immediately reviewed it for the Italian newspaper Il Tempo. This review shows the great significance that Mandel’štam’s poetry acquired for Pasolini in the very last years of his life. So much so, that the first verse of Mandel’štam’s late poem, With the world of the powerful …, became the motto of Pasolini’s last, unfinished novel Petrolio. While offering a reading of this poem by Mandel’štam, the present article investigates the reasons for Pasolini’s passionate interest in the Russian poet, and sheds light on the political dimension of both Mandel’štam’s and Pasolini’s œuvre.

Introduction

2013 ◽  
Author(s):  
Anna Sun
Keyword(s):  
Nineteenth Century ◽  
Religious Life ◽  
World Religion ◽  
World Religions ◽  
The West ◽  
The World ◽  
Chinese Religions ◽  
Religious Nature

This introductory chapter talks about the confusions and controversies over the religious nature of Confucianism. It argues that the confusions come mainly from three sources. First, they come from the conceptualization of Confucianism as a world religion at the end of the nineteenth century in Europe, which was a historical product of the emergence of the “world religions” paradigm in the West. Second, they are caused by the problematic way in which Confucianism—and Chinese religions in general—has been studied and represented by questions which are based on a Judeo-Christian framework that cannot capture the complexity of Chinese religious life. Finally, confusion arises from the often contradictory development of Confucianism in today's China.

Modern domestic cinema and the legacy of shaken Aimanov

Keruen ◽  
2020 ◽  
Vol 4 (69) ◽  
Author(s):  
A.S. Jumadilov ◽  
Keyword(s):  
National Identity ◽  
Soviet Union ◽  
National Culture ◽  
Film Industry ◽  
National Cinema ◽  
Soviet State ◽  
The Soviet Union ◽  
The World ◽  
History Of ◽  
First Time

Following the collapse of the Soviet Union, the post-Soviet state of post-Soviet autonomous republics turned out to be the ideology for which cinematographers and screenwriters have to make a film epic of epoch - national cinema. In this article, the author can only use the ever-present cinematography, the unmerciful nationalistic culture, the ideological orientation of the film industry, the uniqueness or national identity. It's a good idea to have a world-renowned artisan who is doing all the same, seeking internationalization and gloss? Another - cinematic and astrophysical art of Shaken Aimanov, whose works live in volumes or polls, and others. For many years, many changes have taken place in the national cinema, such as national culture, a national emblem of national culture. For the first time in the history of national cinema, national cinema and the world of cinema, the future and future films have been transformed into a lot of changes. The Concept of distinguished singer Shaken Aimanova is embodied in the volume, which, unlike the researchers and artists all over the world of cinema Shaken Aimnayev, the director of which, as long as he is a filmmaker, creates a film studio as part of national culture.

Confronting the Ancient Greek Golden Age in Jules Dassin’s Phaedra (1962)

2018 ◽  
pp. 119-136
Author(s):  
Emma Scioli
Keyword(s):  
Visual Imagery ◽  
Golden Age ◽  
Ancient Greece ◽  
Ancient Greek ◽  
Greek Myth ◽  
The World

In the second of three chapters examining Athens’ golden-age legacy, Scioli traces how Jules Dassin repeatedly draws attention to the origins of his 1962 melodrama Phaedra in Greek myth and tragedy through visual imagery, as a complement to his 1960 comedy Never on Sunday. Phaedra’s use of ancient Athenian art, and its suggestive modernization of elements from the ancient Athenian tragedyHippolytusand Racine’s 1677 adaptation Phèdre, force a confrontation with a particular modern formulation of the ancient Greek past. Dassin draws upon the golden age to characterize the world of ancient Greece that irrupts into the early 1960s setting of the film both visually and thematically. Rather than fostering nostalgia for a golden age that might prompt a desire for its return, Phaedra presents it as an intrusive presence from which its characters feel alienated, only to demonstrate that they are inextricably bound, in their modern dress, to repeat what the tragic past has prescribed for them. Such self-conscious appropriation of Athens’ literary-dramatic and artistic-material remains informs the tragic belatedness of Phaedra and reflects upon the American expatriate director’s sense of foreignness in the homeland of his lover and artistic muse, Greek actress and activist Melina Mercouri.

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