«Kaddisch» par Ravel dans les miroirs hermeneutiques. Un miroir sonore infini de l’hebraïque «alas»

"We are proposing to situate Maurice Ravel in a refined poetic aesthetic. Our desire is to offer an original philosophical and musicological perspective on Kaddisch, because, personally, this composition determines us to reflect on what is “beyond” Being. We note that there is a particular Hebraic stylistic continuity at the time, and in this sense we also remember Joseph Achron, on the distinguished Hebrew Melody, op. 33. More than that, Yehudi Menuhin devoted himself playing both the composition of Achron and this special composition by Maurice Ravel on the violin. Maurice Ravel composed a part for the liturgical ceremony entitled Kaddish, and critics claim that he did not introduce this song as a novelty, because the composition already existed in the Hebrew tradition. However, behind that, we try to defend Ravel by observing what are the aesthetic-compositional novelties introduced in this beautiful song. Being a mystical song of a man who mourns death but, at the same time, weeps on infinite love, Kaddisch still let us to find various interpretations, whether it is a liturgical text or sheet music. Advancing with the observations along this paper, in the final part of the paper, we made a comparison between Maurice Ravel and Leonard Bernstein’s perspective on Kaddisch. Keywords: “Kaddisch (Kaddish)”; Maurice Ravel; Leonard Bernstein; Alexander Veprik; Yehudi Menuhin; violin’s aesthetic; metaphysical sadness; sacredness; mournfulness; mourning; the Hebrew-ʻalasʼ; the Portuguese ʻalémʼ. "

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REVOLUTIONARY OR NEW? ROMANTICISM IN K. SIMONOV’s POEM “THE RETURN”

Bulletin of Udmurt University. Series History and Philology ◽

10.35634/2412-9534-2021-31-6-1299-1305 ◽

2021 ◽

Vol 31 (6) ◽

pp. 1299-1305

Author(s):

I.N. Korzhova

Keyword(s):

Literary Tradition ◽

Secondary Phase ◽

Final Part ◽

Special Significance ◽

Soviet Literature ◽

Revolutionary Romanticism ◽

The Aesthetic ◽

The City

The article presents an analysis of Simonov's poem “The Return” in the aspect of interaction with the literary tradition. In the poem, the motifs and values of revolutionary romanticism, neo-romanticism and romanticism coexist in conflict. Thus, the romantic motif of flight structurally equates the city of childhood with a vulgar reality and calls into question the ideas of camaraderie and labor exploits that are important for Soviet literature. In the story of the hero's brief return to the city of his childhood, a "secondary phase of alienation" (Mann's term) is realized. The myth of the beloved as the embodiment of the heavenly ideal takes on special significance in the poem. The source of certain motifs and images is the romantic tradition as a whole, besides, allusions and quotations referring directly to the works of Byron, Zhukovsky, Pushkin and to the lyrics of Gumilev and Esenin based on the romantic heritage have been identified. The removal of the metaphysical vertical and the courageous optimism of the final part of the poem suggest that it belongs to neo-romanticism. This study allows us to clarify the idea of the aesthetic orientation of Simonov's early work.

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Faith in God, philanthropy and foundations of criticism of religious violence in Mulla Sadra’s philosophy

HTS Teologiese Studies / Theological Studies ◽

10.4102/hts.v76i1.6046 ◽

2020 ◽

Vol 76 (1) ◽

Author(s):

Sayyed M. Emami Jome ◽

Mahdi Ganjvar ◽

Nafiseh Ahl Sarmadi

Keyword(s):

Human Rights ◽

Religious Violence ◽

Final Part ◽

Human Beings ◽

Peaceful Coexistence ◽

Islamic Philosophy ◽

Necessary Being ◽

Mulla Sadra ◽

The Aesthetic ◽

Religious Understanding

This article aims at showing the potentiality of Transcendent Theosophy (Al-Hikmah Al-Muta’aliyah) in the creation of peace and denial of religious violence. Belief in Necessary Being that is identical to beauty and perfection is one of the central issues in Islamic philosophy, particularly Mulla Sadra’s Transcendent Theosophy. This belief has different stages, the highest one of which is a love-based sense of humbleness before God who is the source of beauty. Thus, faith in the thought of Mulla Sadra is one of the aesthetic categories. Surrender to such a Being leads to love in him and his effects. Thus, in Transcendent Theosophy, love in God is followed by the love in people. This love is associated with the sense of responsibility and the effort for the realisation of people’s rights. In the final part of the article under the title ‘Mulla Sadra and Confrontation of Two Types of Religious Understanding’, through the analysis of Mulla Sadra’s dialogue with a religious radical, we have criticised the discourse of religious violence and concluded that Transcendent Theosophy is a defender of human rights and a pioneer of peace and a despiser of religious violence. The most important finding of this study is that according to Mulla Sadra, religious radical interpretations are the source of the emergence of religious violence, and the solution to this problem is the promotion of rational and conscious religiosity. The method used in this research is of descriptive-analytic type.Contribution: The article brought to fore the potentiality of Islamic philosophy for the realisation of peace and the denial of religious violence. The authors analytically studied Mulla Sadra’s pacifist foundations in order to ascertain its relation with non-violence towards humans. The main contribution of this article is that the teachings of Transcendent Theosophy are very useful for creating peaceful coexistence between human beings.

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Reflections on Immediatism and Aesthetics

eTopia ◽

10.25071/1718-4657.36753 ◽

2016 ◽

Author(s):

Victor Cirone

Keyword(s):

Technological Development ◽

Felix Guattari ◽

Final Part ◽

Artistic Practice ◽

Ancient India ◽

Political Implications ◽

Musical Traditions ◽

The Aesthetic ◽

Musical Forms

This paper considers the aesthetic and political implications of Hakim Bey’s (also known as Peter Lamborn Wilson) Immediatist project. The paper begins with a discussion of the cosmogonic notions of Chaos and nothing that Bey adopts in his work and explores the ways in which these notions are foundational to his concept of Ontological Anarchy. It is then explained how, through indiscriminately drawing on a variety of mystical and magical traditions (from those of Pagan Greece and Ancient India to the contemporary Western Occult world) Immediatism aims to establish an experiential foundation for the reality of interdependent non-dual wholeness. In order to advance Bey’s critique of ‘the sleep of Order’, pathological (calculative) reason, and Western technological development, his work is brought into dialogue with that of schizoanalyst and philosopher Felix Guattari. The final part of this paper discusses the implications of Bey’s Immediatist project for contemporary artistic practice, with special emphasis placed on musical forms and the possibility of reviving Occidental sacred musical traditions. KEYWORDS: Hakim Bey, Peter Lamborn Wilson, Felix Guattari, Chaos, Nothing, Ontological Anarchy

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Ravel’s ‘Trois Poèmes de Stéphane Mallarmé’: A Philosophy of Composition

Music and Letters ◽

10.1093/ml/gcaa001 ◽

2020 ◽

Author(s):

Emily Kilpatrick

Keyword(s):

Stephane Mallarme ◽

French Language ◽

Maurice Ravel ◽

Compositional Process ◽

Detailed History ◽

Crucial Element ◽

The Aesthetic ◽

Aesthetic Ideas ◽

The Way

Abstract In a 1927 interview Maurice Ravel declared that Stéphane Mallarmé was ‘not merely the greatest French poet, but the only French poet, since he made the French language, not designed for poetry, poetical’. Around the same period, he twice asserted that in his Trois poèmes de Stéphane Mallarmé (1913) he had sought to ‘transpose’ Mallarmé’s poetry into music. A crucial element of Mallarmé’s allusive poetry is the way it meshes content and form: his chosen forms do not merely contain the sentiment, but make it manifest. How much more complicated is the task of a composer seeking to ‘transpose’ a work from one medium to another, when form and expression are so inextricably intertwined? The present study considers how Ravel’s Mallarmé Poèmes sought to ‘transpose’ imagery and structure, and how tellingly these elements interact with Mallarmé’s reflexive poetic technique. It offers a detailed history and context for his chosen poems, suggesting a rationale for his choices, and outlining the aesthetic ideas that link them as a triptych. Exploring aspects of the songs’ harmonic and proportional design, as well as the symbolic properties of tonality, pitch, and timbre, the study argues that Ravel’s Mallarmé Poèmes realize long-held preoccupations with the nature of form and the compositional process.

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Queerness of Hallyu 2.0: Negotiating Non-normative Identities in K-pop Music Videos

Res Rhetorica ◽

10.29107/rr2020.2.8 ◽

2020 ◽

Vol 7 (2) ◽

Author(s):

Agata Waszkiewicz ◽

Anna Oleszczuk

Keyword(s):

Social Norm ◽

Music Videos ◽

Final Part ◽

Pop Music ◽

Short History ◽

Korean Culture ◽

Social Rules ◽

South Korean ◽

The Aesthetic

This paper discusses the visual encodings of non-normativities in the selected K-pop music videos and seeks to establish them within the aesthetic of gendered desirability that deviates from what is considered a social norm in South Korean culture. The first part presents a short history and current boundaries of Korean pop music and the construct of gender and its (inter)relation with sex and rhetoric of desire are discussed. The next section maps out the changes in the understanding of normativity and the concept of queerness. The final part of the paper relates the theories and practices of non-normative identities to the visualities from post-2007 K-pop music videos, using examples to illustrate and contextualize them. The authors focus on the representations of masculinities and show how selected texts can be read as spaces of liminality defying normative cultural and social rules.

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Organization of tight junctions in the choroid plexus epithelium

Proceedings, annual meeting, Electron Microscopy Society of America ◽

10.1017/s0424820100082546 ◽

1978 ◽

Vol 36 (2) ◽

pp. 336-337

Author(s):

B. Van Deurs ◽

J. K. Koehler

Keyword(s):

Choroid Plexus ◽

Present Report ◽

Freeze Fracture ◽

Barrier Properties ◽

Cell Junctions ◽

Structural Basis ◽

Apical Surface ◽

Choroid Plexus Epithelium ◽

Solid Nitrogen ◽

Special Composition

The choroid plexus epithelium constitutes a blood-cerebrospinal fluid (CSF) barrier, and is involved in regulation of the special composition of the CSF. The epithelium is provided with an ouabain-sensitive Na/K-pump located at the apical surface, actively pumping ions into the CSF. The choroid plexus epithelium has been described as “leaky” with a low transepithelial resistance, and a passive transepithelial flux following a paracellular route (intercellular spaces and cell junctions) also takes place. The present report describes the structural basis for these “barrier” properties of the choroid plexus epithelium as revealed by freeze fracture.Choroid plexus from the lateral, third and fourth ventricles of rats were used. The tissue was fixed in glutaraldehyde and stored in 30% glycerol. Freezing was performed either in liquid nitrogen-cooled Freon 22, or directly in a mixture of liquid and solid nitrogen prepared in a special vacuum chamber. The latter method was always used, and considered necessary, when preparations of complementary (double) replicas were made.

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