scholarly journals Profil “Kontemporer” Musik Kelahiran Minang

2021 ◽  
Vol 20 (1) ◽  
Author(s):  
Mahdi Bahar
Keyword(s):  
Twentieth Century ◽  
Cultural Context ◽  
Foreign Languages ◽  
Contemporary Perspective

one of musical entities in West Sumatera is the Minangkabau cultural music. The existence of the music has changed significantly since the second half of twentieth century, as an intergral change of Indonesian music in general. Following the situation I see the emergence of academic discussions on the music in a member of forums in this republic. In the discussion, many terms are adopted from foreign languages, especially English, such as “contemporary”. Various meanings given to “contemporary” are used to define the phenomena of changes in music in the countri. One of a newly-created music as a phenomenon of change in the Minangkabau cultural context is “Kawin Silang” composition. The composition in this article is discussed in the contemporary perspective.

A Machine for Feeling: Ping's Posthuman Affect

2017 ◽  
Vol 26 (1) ◽  
pp. 87-102
Author(s):  
Alys Moody
Keyword(s):  
Twentieth Century ◽  
Scholarly Work ◽  
Active Involvement ◽  
Affective Quality ◽  
Contemporary Perspective ◽  
The Moment ◽  
Natural Emotion ◽  
Archival Quality ◽  
Historical Moment

Beckett's famous claim that his writing seeks to ‘work on the nerves of the audience, not the intellect’ points to the centrality of affect in his work. But while his writing's affective quality is widely acknowledged by readers of his work, its refusal of intellect has made it difficult to take fully into account in scholarly work on Beckett. Taking Beckett's 1967 short prose text Ping as a case study, this essay is an attempt to take the affective qualities of Beckett's writing seriously and to consider the implications of his affectively dense writing for his texts’ relationship to history. I argue that Ping's affect emerges from the rhythms of its prose, producing a highly ‘speakable’ text in which affect precedes interpretation. In Ping, however, this affective rhythmic patterning is portrayed as mechanical, the product of the machinic ‘ping’ that punctuates the text and the text's own mechanical rhythms, demanding the active involvement of the reader. The essay concludes by arguing that Ping's mechanised affect is a specifically historical feeling. Arising from a specifically twentieth-century anxiety about technology's tendency to evacuate ‘natural’ emotion in favour of inhuman affect, it participates in a tradition of affectively resonant but curiously blank or indifferent performances of cyborg embodiment. Read in this historical light, Ping's implication of the reader in the production of its mechanised affect grants it, from our contemporary perspective, an archival quality. At the same time, it asks us to broaden the way in which we understand the Beckettian text's relationship to history, pointing to the existence of a more complex and recursive relationship between literature, its historical moment, and our contemporary moment of reading. Such a post-archival historicism sees texts as generated by but not bound to their historical moments of composition, and understands the moment of reception as an integral, if shifting, part of the text's history.

The Bible in the Twentieth-Century Anglophone World

2018 ◽  
Author(s):  
Mark P. Hutchinson
Keyword(s):  
Twentieth Century ◽  
North Carolina ◽  
Cultural Context ◽  
Biblical Interpretation ◽  
Public Knowledge ◽  
Protestant Churches ◽  
The Bible ◽  
Public Debates ◽  
Billy Graham ◽  
Anglophone World

This chapter looks at the tensions between biblical interpretation and the political, social, and cultural context of dissenting Protestant churches in the twentieth century. It notes that even a fundamental category, such as the ‘inspiration’ of Scripture, shifted across time as the nature of public debates, social and economic structures, and Western definitions of public knowledge shifted. The chapter progresses by looking at a number of examples of key figures (R. J. Campbell, Harry Emerson Fosdick, H. G. Guinness, R. A. Torrey, and R. G. McIntyre among them) who interpreted the Bible for public comment, and their relative positions as the century progressed. Popularization of biblical interpretation along the lines of old, new, and contemporary dissent, is explored through the careers of three near contemporaries: Charles Bradley ‘Chuck’ Templeton (b. 1915, Toronto, Canada), William Franklin ‘Billy’ Graham, Jr (b. 1918, North Carolina), and Oral Roberts (b. 1918, Oklahoma).

Життєтворчість Іллі Саца у вітчизняному культурному просторі початку ХХ століття

2019 ◽  
Vol 4 (36) ◽  
Author(s):  
O. Badalov
Keyword(s):  
Twentieth Century ◽  
Cultural Context ◽  
Creative Activity ◽  
Analysis Method ◽  
Music Criticism ◽  
Comprehensive Understanding ◽  
Musical Life ◽  
Humanitarian Space ◽  
The Subject ◽  
Creative Life

The subject of the study is comprehensive understanding of the life and creativity by I. Sats – a significant figure in the national musical life of the early twentieth century.The purpose of the article is exploring the circumstances of I. Sats’ activity in the socio-cultural context of the era.The methodology of the article includes: historical and chronological method – for studying the events of the artist’s biography; source method – for research of archival materials, correspondence, reconstruction of composer’s creative life; hermeneutical analysis method – for interpretation of literary inheritance (libretto, music criticism) by I. Sats in the context of the early twentieth century; logic-generalization method – to summarize the results of the study.As a result of the research, a complex view on the multivectoral creative activity by I. Sats was formed, his significant role in the formation of new genres of musical and theatrical creativity, development of the humanitarian space of Chernihiv, Irkutsk, and Moscow was proved. The application of the results of the research in scientific, music-pedagogical and educational activities will significantly expand the established ideas about the development of the national musical culture.Key words: music for theater, Moscow Art Theater, satirical opera, I. Sats, Chernihiv region, Irkutsk music classes.

MONUMENTAL PAINTING DURING THE PERIOD OF INDEPENDENCE

2021 ◽  
Vol 4 (6) ◽  
pp. 4-9
Author(s):  
Omonulla Salikhov ◽  
Keyword(s):  
Twentieth Century ◽  
Urban Planning ◽  
Silk Road ◽  
Foreign Languages ◽  
Analytical Information ◽  
History Of ◽  
National Bank ◽  
Academic School ◽  
Almost All ◽  
Mother Earth

The article analyzes the features of the formation of the school of painting in Uzbekistan in the twentieth century, the harmony of painting with modern urban planning, analysis of the work of greatpainters. In particular, in the works of B. Jalolov, one of the most prominent artists in the field of monumental painting, we see that he skillfully combined the strong traditions of the academic school, the aesthetics of Western and Eastern art. His work can be seen in a series of frescoes. The interior of theTurkiston concert palace in Tashkent contains analytical information about the work of Umar Khayyam on oriental lyrics, “Nobody said why I was born” at the National Bank of Uzbekistan, as well as about his monumental works in many other regions. On the example of Samarkand, A. Isaev was one of the most versatile artists in the field of monumental painting, he also wrote “The Great Silk Road” on the walls of the foyer of the Institute of Foreign Languages and “Friendship of Peoples” for the foyer of the academic lyceum of the Institute, Examples “History of Samarkand” for the hotel “ Afrosiyab ", at the Samarkand Agricultural Institute, such as" The Generosity of Mother Earth ", 41 ceramic panels on Tashkent Street and many other monumental paintings. By the colors in the artist's works, one can imagine that the artist played the melody in a lyrical tone. The article notes that almost all compositions are characterized by a description of the artist's work, such as the observation ofwarmth, a set of warm colors, oriental colors, a patriotic mood, which is typical for all artists

Caught between Two Empires: The Teaching of Persian in Bosnia at the Time of Transition from Ottoman to Austro-Hungarian Rule

DIYÂR ◽  
2021 ◽  
Vol 2 (2) ◽  
pp. 186-207
Author(s):  
Munir Drkić
Keyword(s):  
Ottoman Empire ◽  
Educational System ◽  
Cultural Context ◽  
Foreign Languages ◽  
Primary Sources ◽  
Similar Process ◽  
British India ◽  
The Balkans ◽  
Lively Debate ◽  
Mass Expansion

This article considers the presence of Persian within the educational system of Bosnia and Herzegovina, the westernmost frontier of the ‘Persianate world’, between the 1860s and the first decade of 1900. Based on a survey of primary sources, such as the first journals introduced in Bosnia by the Ottoman administration, I show that the introduction of new educational establishments in the 1860s and 1870s brought a mass expansion of the teaching of Persian in Bosnia. Even after the Austro-Hungarian occupation of 1878, Persian continued to be taught in old and some newly founded schools. However, the following decades saw a lively debate on the teaching of Persian, highlighting the redundancy of this language in a new social and cultural context. As a result, Persian was completely removed from Bosnian schools at the beginning of the 20th century. In addition to presenting new knowledge about the spread of Persian in the Balkans, and the instruction of foreign languages in the Ottoman Empire, I intend to demonstrate here that a similar process of withdrawing and removing Persian from the educational system was occurring in Habsburg Bosnia simultaneously with the decline of Persian in British India.

The Only Tone for Terror: Tony Harrison and the Gorgon’s Gaze

2019 ◽  
pp. 205-220
Author(s):  
Henry Stead
Keyword(s):  
Twentieth Century ◽  
Cultural Context ◽  
Documentary Film ◽  
European History ◽  
Class Politics ◽  
Experimental Medium ◽  
The Gaze ◽  
Current Affairs ◽  
The Holocaust ◽  
Film And Video

This chapter introduces the reader to Tony Harrison’s audiovisual poetry, composed for and broadcast on British television through the late 1980s and 1990s. Harrison has to date made twelve full documentary film-poems, and one film-poem feature, entitled Prometheus (1998). They all brim with the darker side of European history, current affairs and class politics, and explore what limits of what poetry might do, and how it might do it, in the televisual age. The chapter sets Harrison’s film poetry in its cultural context by paying attention to the poet’s major influences in the experimental medium (John Grierson’s GPO film unit and early Soviet filmmaking), before homing in on his 1992 film-poem The Gaze of the Gorgon as a species of social psychotherapy. The act of gazing at the Medusa-like and thus usually petrifying image of twentieth-century atrocity is offered here not as a ‘dope’ to mankind, but a stimulant towards its cure. The film-poem draws explicitly on Nietzsche’s concept of ‘Dionysiac art’ and Simone Weil’s pacifist notion of ‘force’, and Robert Jay Lifton’s work on trauma and the holocaust. Harrison’s hugely ambitious and uniquely accessible film-poems are currently publically unavailable. Are they the ‘missing link’ in the evolution of contemporary film and video poetry?

Zur Bedeutung der Didaktik der nichtlinguistischen Disziplinen im FSU

2021 ◽  
pp. 37-53
Author(s):  
Petra Besedová ◽  
Karolína Soukupová ◽  
Kristýna Štočková
Keyword(s):  
Foreign Language ◽  
Cultural Context ◽  
Language Teaching ◽  
Language Skills ◽  
Foreign Language Teaching ◽  
Language Teachers ◽  
Foreign Languages ◽  
Young Generation ◽  
Foreign Language Teachers ◽  
Teaching Learning

IMPORTANCE OF THE DIDACTICS OF NON-LINGUISTIC DISCIPLINES IN FOREIGN LANGUAGE TEACHING Learning does not mean anything but learning with all your senses and feelings. The young generation lives nowadays in a complex media world to which foreign language didactics also has to respond. Educators and teachers should use numerous materials that do not only develop language skills, but also conveycultural approaches. The teaching of non-linguistic disciplines plays a key role in foreign language teaching, and foreign language teaching is currently very modern in its cultural context. The paper attempts to outline the existence of the so-called didactics of non-linguistic disciplines in foreign language teaching in the Czech Republic. On the basis of a questionnaire survey among foreign language teachers, the extent to which foreign language teachers are confronted with the content of didactics of non-language subjects was examined. The authors were also interested whether there are differences between teachers of different foreign languages (English, German, Russian, French), and which preferences teachers of these foreign languages manifest when choosing their teaching material. We believe that the content of the didactics of non-linguistic disciplines is an essential part of foreign language teaching and can greatly enrich this field.

Beyond What We Are Told Is Fact

2021 ◽  
pp. 33-66
Author(s):  
Zack Kruse
Keyword(s):  
Twentieth Century ◽  
Cultural Context ◽  
Theoretical Framework ◽  
Industrial Workers ◽  
Immigrant Community ◽  
Ayn Rand ◽  
The Mind ◽  
Key Terms

This chapter more fully introduces the theoretical framework for Kruse’s reading of Ditko’s work and includes more thorough definitions for the key terms as well as a historical and cultural context for those terms. The contextualization provided in this chapter offers a look into Ditko’s hometown Johnstown, Pennsylvania and its immigrant community of industrial workers, along with the liberal political voices such as Ayn Rand and Nathaniel Branden alongside occult and mystic voices such as H.P. Blavatsky, and how popular twentieth-century advocates of the mind power movement like Norman Vincent Peale, Dale Carnegie, and other members link each of these seemingly disparate ideas and methodologies. The result of this entanglement—in theory and in practice—is mystic liberalism.

Samuel Beckett Et La Mécanisation D'echo

2007 ◽  
Vol 17 (1) ◽  
pp. 434-447
Author(s):  
Yoshiki Tajiri
Keyword(s):  
Twentieth Century ◽  
Cultural Context ◽  
Samuel Beckett ◽  
Avant Garde ◽  
Friedrich Kittler ◽  
The Voice

This paper wants to situate Beckett's work within the cultural context of the beginning of the twentieth century when acoustic technology was strongly linked to the art of the avant-garde. I am going to analyze the 'voice of the telephone' in and I shall accentuate the pertinence of the idea of "the discourse network of 1900" (Friedrich Kittler) regarding Beckett's work. Finally I want to show how acoustic technology appears in and in In these processes the figure of Echo has been mechanized and materialized by Beckett in our view.

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