High Culture in the Flint Hills

2021 ◽  
pp. 238-249
Keyword(s):  
2017 ◽  
Vol 14 (2) ◽  
pp. 162-178
Author(s):  
Aagje Swinnen

This article employs Boden's (2004) understanding that creativity can be defined in terms of both ‘big C creativity’ associated with high culture and ‘small c creativity’ concerned with constructive, life-affirming strategies in its comparative study of the films Quartet (2012) and Youth (2015) focusing on their representations of ageing artists and musicians and the ways in which each film suggests that life experience informs artistic endeavour and vice versa. With each film based on varying scenarios of late-life ‘big C creativity’, the article explores the contrasts with ‘small c creativity’ that are suggested in storylines. The article argues that to varying degrees and with different ideological implications each film points to the importance of relationality and embodiment in late-life creativity.


2019 ◽  
Vol 7 (8) ◽  
pp. 12
Author(s):  
Kunal Debnath

High culture is a collection of ideologies, beliefs, thoughts, trends, practices and works-- intellectual or creative-- that is intended for refined, cultured and educated elite people. Low culture is the culture of the common people and the mass. Popular culture is something that is always, most importantly, related to everyday average people and their experiences of the world; it is urban, changing and consumeristic in nature. Folk culture is the culture of preindustrial (premarket, precommodity) communities.


Author(s):  
A. S. Koval

This article is devoted to the studying hermeneutic circle in the development of methodological culture of future music teacher. Under the conditions of globalization processes, tendencies of convergence of world cultures improvement of culturological training of student youth requires new approaches, in particular, culturological training of students of pedagogical specialties. The task of pedagogical education is to develop a teacher as a specialist and as a person of high culture, who has a special positive effect on the personality of school student. This article analyses the works of scientists dedicated to the issues of establishment and development of the hermeneutic approach in philosophical, psychological, and logical and gnosiological contexts. It is defined the essence of the concept of “hermeneutic circle” as one of the basic principles of the hermeneutic approach. There have been provided the examples of interpretation of the principle of hermeneutic circle by various scientists. Hermeneutic approach is applied in sciences such as pedagogy, psychology, economics, sociology etc. In pedagogical science the hermeneutic approach at the level of conceptual use was elaborated by A. Zakirova. She introduced the term “pedagogical hermeneutics”. Hermeneutic circle as a principle of text understanding is based on the interrelation of the part and the whole. Understanding of the whole consists of the understanding of the individual parts, and understanding of the parts requires understanding of the whole. The concepts of the part and the whole are correlated: the text is a part concerning the whole creative activity of the author, which in its turn is a part of the particular genre or literature in general, as well as the part of spiritual life and biography of the author. The idea of hermeneutic circle means also that there is no understanding of the text without certain prerequisites: understanding is preceded by some idea of what is yet to understand. There have been determined the peculiarities of the use of the principle of hermeneutic circle in the development of methodological culture of the future teacher of musical art. In light of hermeneutical trends, the penetration of which in the realm of musical art can be traced quite clearly, the use of the hermeneutic circle principle in the development of methodological culture of the future teacher of musical art appears not only in the narrow interpretation of the particular phenomenon or group of phenomena, but much wider — as a means of learning and understanding of the worldview by a person.


Author(s):  
Nargis - ◽  
Imtihan - Hanim

The different cultures, power distance could be the obstacle in intercultural communication. The aim of this research to identify the types of Cross-Cultural Communication Style Choice between British and American in the Leap Year movie. The researchers attempt to reveal kinds of Cross-Cultural Communication Style Choice between Declan as British and Anna as American for three days. This Qualitative research method analyses data of utterances and are classified into four types of Cross-Cultural Communication Style Choice. The result shows that there are 356 utterances of Anna and Declan. for three days. Anna has 204 utterances with 44,3 % direct style and indirect 5,8 %.. Declan uses 155 utterance with 37 % and 12 % indirect style. British tend to use more indirect styles in expressing their intention to save the interlocutor’s face.Meanwhile, American use direct styles to reveal their intentions as they belong to the high culture communication.Key words: across culture communication,direct style, indirectstyle


2020 ◽  
Vol 8 (1) ◽  
pp. 30-43
Author(s):  
Enggin Valufi ◽  
Retno Budi Astuti

Hedonism is a view of life in philosophy that seeks to avoid pain and make pleasure as the main goal in life. People who embrace hedonism tend to over-pursue pleasure. The hedonism lifestyle is mostly carried out by 18th century people especially the nobles who live in high culture. They are as close to hedonism as they are in the Persuasion novel by Jane Austen. Sir Walter Elliot the main character is a nobleman who did a lot of hedonism. Hedonism which is seen as too glorifying personal pleasure to ignore others. The purpose of this study was to find out the types of hedonism done by Sir Walter Elliot in Persuasion. This research uses descriptive qualitative method because all data are in the form of sentences. The researcher uses a philosophical approach and analyzes data using Weijers' theory as the main theory. The results of this study found that Sir Walter Elliot performed two types of hedonism, namely aesthetic hedonism and selfish hedonism.


2008 ◽  
Vol 20 (3) ◽  
pp. 241-268
Author(s):  
HEDY LAW

AbstractIn 1779 Chabanon noted the potential danger inherent in gesture because it might produce instantaneous and harmful effects. This article examines how Rameau, Rousseau and Grétry incorporated putatively dangerous gestures into the pantomimes they wrote for their operas, and explains why these pantomimes matter at all. In Rameau's Pygmalion (1748), Rousseau's Le Devin du village (1752–3) and Grétry's Céphale et Procris (1773, 1775), pantomime was presented as a type of dance opposite to the conventional social dance. But the significance of this binary opposition changed drastically around 1750, in response to Rousseau's own moral philosophy developed most notably in the First Discourse (1750). Whereas the pantomimes in Rameau's Pygmalion dismiss peasants as uncultured, it is high culture that becomes the source of corruption in the pantomime of Rousseau's Le Devin du village, where uncultured peasants are praised for their morality. Grétry extended Rousseau's moral claim in the pantomime of Céphale et Procris by commending an uneducated girl who turns down sexual advances from a courtier. Central to these pantomimes are the ways in which musical syntax correlates with drama. Contrary to the predictable syntax in most social dances, these pantomimes bring to the surface syntactical anomalies that may be taken to represent moral licence: an unexpected pause, a jarring diminished-seventh chord, and a phrase in a minuet with odd-number bars communicate danger. Although social dances were still the backbone of most French operas, pantomime provided an experimental interface by which composers contested the meanings of expressive topoi; it thus emerged as a vehicle for progressive social thinking.


2011 ◽  
Vol 3 (1) ◽  
pp. 36-52
Author(s):  
David Tacey

Jung was aware that any new experience of the sacred would not be welcomed as sacred by religious tradition or intellectual high culture. In fact, new experiences of the sacred are often rejected by religions, and regarded with utmost scepticism by critical traditions. I suggest that a grassroots spirituality movement is to be viewed in this context today. I distinguish this movement from the New Age movement with which it is often conflated and confused. I argue that the grassroots movement is an expression of the holistic directions of the collective psyche. Finally, I explore the Vatican's recent attack on Jungian psychology as an example of a senex tradition that seeks to destroy creativity, and suggest that Jung's theory of the religious function of the psyche is being deliberately misread by a besieged and failing tradition.


1973 ◽  
Vol 26 (3) ◽  
pp. 185 ◽  
Author(s):  
Clenton E. Owensby ◽  
John Bruce Wyrill
Keyword(s):  

Society ◽  
1986 ◽  
Vol 23 (4) ◽  
pp. 65-69 ◽  
Author(s):  
Judith R. Blau
Keyword(s):  

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