scholarly journals Pathetic Predicament and Resistance of the Subaltern in Trishna Gurung’s Selected Songs

2021 ◽  
Vol 2 (3) ◽  
pp. 41-54
Author(s):  
Tara Lal Shrestha ◽  
Bidhya Shrestha ◽  
Dipankar Senehang ◽  
Bibechana Sharma Timsina
Keyword(s):  
Visual Representation ◽  
Music Culture ◽  
Creative Space ◽  
The Aesthetic ◽  
Aesthetic Expression

This article overviews the distress situation of the Nepalese ethnic subaltern concerning Trishna Gurung’s five selected songs- “Sajha Ko Bela”, “Gainey Dajai”, “Khani Ho Yahmu”, “Rail Lai Ma” and “Maya Man Bhari” and explores how the aesthetic expression and the pathetic predicament of the subaltern come to be a subtle form of resistance. Her songs hold the spirit of remoteness and auratic root and counter the western musical hegemonic propensity and the dominant music culture of Nepal. Articulating subaltern sighs as a major concern of her songs in the auditory and visual representation she presents the repressed aesthetics as a constructive and creative space formation for the resistance. 

scholarly journals Cultural Rights of Traditional Musicians in Ethiopia: Threats and Challenges of Globalisation of Music Culture

2015 ◽  
Vol 2 (4) ◽  
pp. 315-326
Author(s):  
R.N. Pati ◽  
Shaik B. Yousuf ◽  
Abebaw Kiros
Keyword(s):  
Western Music ◽  
Music Culture ◽  
Cultural Changes ◽  
Modern Music ◽  
Culture Industries ◽  
Cultural Rights ◽  
Traditional Songs ◽  
The Aesthetic ◽  
Local Traditions ◽  
Music Tradition

Ethiopia upholds unique cultural heritage and diverse music history in entire African continent. The traditional music heritage of Ethiopia has been globally recognized with its distinct music culture and symbolic manifestation. The traditional songs and music of the country revolves around core chord of their life and culture. The modern music of Ethiopia has been blended with combination of elements from traditional Ethiopian music and western music which has created a new trend in the music world. The music tradition of the country not only maintains the cultural identity but also maintains social cohesion through cultural expression at different social occasions and resists cultural changes infused through globalization. The globalization has brought a series of transformation and changes in the world of Ethiopian music through commercialization, commodification and digitalization of cultural expressions apart from hijacking the cultural rights of traditional musicians. The younger generations have been attracted towards western music undermining the aesthetic and cultural value of music tradition of the country. The international enactments relating to protection and safeguarding of cultural rights of people are yet to be appropriately translated into reality. The emergence of culture industries and entertainment houses has posed serious threats to local culture and led to disappearance of local traditions, musical heritage and their replacement by popular global music. The cultural homogeneity and commodification has replaced the multiplicity of cultures in this globalized era. This paper based on review of published articles and content analysis critically unfolds sensitive areas of cultural shock and violation of cultural rights exposed to traditional musicians and traditional singers of Ethiopia during last couple of decades.Int. J. Soc. Sci. Manage. Vol-2, issue-4: 315-326

Introduction

2018 ◽  
pp. 1-12 ◽  
Author(s):  
David Weir
Keyword(s):  
Nineteenth Century ◽  
Urban Geography ◽  
Oscar Wilde ◽  
Charles Baudelaire ◽  
Fin De Siecle ◽  
Period 1880 ◽  
Fin De Siècle ◽  
Nineteenth Century France ◽  
The Aesthetic ◽  
Aesthetic Expression

The Introduction first considers the etymological and historical meanings of decadence. Different interpretations of the word “decadence” point to historical decline, social decay, and aesthetic inferiority. Decadence today may be best understood as the aesthetic expression of a conflicted attitude toward modernity, which first arose in nineteenth-century France and is best expressed by the author Charles Baudelaire (1821–1867). Decadence then “travelled” to London, where Oscar Wilde (1854–1900) became the preeminent decadent writer. Other metropolitan centers that made up part of the urban geography of decadence during the fifty-year period (1880–1930) of decadence’s peak were fin-de-siècle Vienna and Weimar Berlin.

Psychopathology, Inner Space and the Automotive Death Drive: J.G. Ballard

2002 ◽  
Vol 32 (2) ◽  
pp. 55-60 ◽  
Author(s):  
James Sey
Keyword(s):  
Science Fiction ◽  
The Novel ◽  
Death Drive ◽  
Aesthetic Form ◽  
The Aesthetic ◽  
The Relationship ◽  
Aesthetic Expression

This paper uses a detailed reading of the 1973 novel Crash!, a work of dystopian science fiction by British author J.G. Ballard, to outline a new theory of psychopathology in a thoroughly technologised culture. The paper proposes that, in the light of the evidence of the novel, it may be possible to reconceptualise both trauma and the somatic relationship to pathology, through the mediation of a saturated technoculture, at least in the sense of a closer investigation of the relationship between perversity and aesthetic expression. The argument concludes that there is a privileged relationship between such extreme forms of pathological symptom as are presented in the novel, and the aesthetic form itself, which leads to a more productive understanding of psychopathology.

scholarly journals ESTETIKA PERMAINAN MUSIK BARAT PADA BIG BAND SALAMANDER

2021 ◽  
Vol 11 (1) ◽  
pp. 99
Author(s):  
Oki Dirgualam ◽  
Dadang Suganda ◽  
Buky Wibawa ◽  
Kunto Sufianto
Keyword(s):  
Descriptive Analysis ◽  
Music Culture ◽  
Big Band ◽  
Aesthetic Experiences ◽  
Band Music ◽  
Jazz Music ◽  
Music Aesthetics ◽  
The Aesthetic ◽  
The Right ◽  
Aesthetic Values

<p>This article describes the aesthetics of the big band jazz music by Salamander Big Band. Aesthetics is a study of the processes that occur in three basic elements: aesthetic objects, aesthetic subjects, and aesthetic values related to aesthetic experiences, aesthetic properties, and attractive and unattractive parameters. This paper presents the basic elements of western music aesthetics, especially big band jazz music, and how Salamander Big Band can implement the aesthetic values of western jazz big band music in the music played. This research uses a qualitative approach with a descriptive analysis method. Through a process of appreciation, habituation, additional insight into jazz music and continuous and consistent practice, Salamander Big Band members can adapt to cultures from outside Indonesia's popular music culture, namely playing American big band music with the right aesthetic.</p>

scholarly journals GRAPHICAL PARAMETER OF UKRAINIAN RHYME

2020 ◽  
pp. 155-165
Author(s):  
Larysa MOVCHUN
Keyword(s):  
Scientific Literature ◽  
Visual Representation ◽  
Visual Images ◽  
Modern Poetry ◽  
Visual Identity ◽  
The Aesthetic

This study deals with the classification of Ukrainian rhymes based on visual and phonic signs. Ukrainian orthography is based on the phonemic principle, taking into account morphological, traditional and differential. It is well adapted to reproduce the consonance of words in a letter, so predominantly the reader does not experience the feeling of splitting the image of the rhyme. Despite the clarity of the concepts ‘visual’ and ‘phonic’, the terms ‘visual rhyme’ and ‘phonic rhyme’ defined in the scientific literature differently. Our purpose was to study the means of visual representation of rhyming words and analyze the degree of coincidence of the visual images of the rhyme components. Mainly the aesthetic intention is an impulse of employing graphic techniques that estrange visual images of components from each other or bind them on the basis of orthographic deviation. The authors of modern poetry actively apply foreign letter inclusions, rows of dots, figures and other non-alphabetic signs. Analysed material gave grounds for the rhymes distribution to phonic, formally phonic, phonic-and-visual, visual-and-phonic, formally visual. In phonic rhymes, the relative parts of the rhyming words are not identical in the letter. Formally phonic group includes rhymes with non-literal or foreign-literal components. Phonic-and-visual rhymes takes into account the cases of traditional notation of some letters. The vowels of these rhymes are identical. Visual-and-phonic rhymes expect complete correspondence between the vowels and the letters of the correlative parts of the rhyming words. Formally visual rhymes cover cases of visual identity of correlated parts of the rhyming words and dissimilarity of vowels. A refined rhyme classification will help to originate a modernized general systematics of Ukrainian rhymes.

scholarly journals Aesthetic labouring and the female entrepreneur: ‘Entrepreneurship that wouldn’t chip your nails’

2019 ◽  
Vol 37 (4) ◽  
pp. 343-364 ◽  
Author(s):  
Katrina Pritchard ◽  
Kate Mackenzie Davey ◽  
Helen Cooper
Keyword(s):  
Visual Representation ◽  
Entrepreneurial Success ◽  
Female Entrepreneurship ◽  
Female Entrepreneurs ◽  
Cultural Icon ◽  
Female Entrepreneur ◽  
Contemporary Media ◽  
The Aesthetic ◽  
The Impact

Recognising significant interrelations between neoliberal and postfeminist discourses, we advance understandings of constructions of female entrepreneurs by unpacking their visual representation and exploring the role of aesthetic labour. Given the impact of contemporary media, we focus on key images integral to the marketing of Mattel’s Entrepreneur Barbie as a postfeminist cultural icon and investigate how these representations of female entrepreneurship are consumed. First, we highlight the practical demands and emotional risks of the aesthetic labour required to achieve such postfeminist glamour. Second, links between conventional femininity and entrepreneurial success are both celebrated and challenged, highlighting perceived limits to achievement. Finally, we unpack understandings of the relations between entrepreneurialism and aesthetic labour to move beyond assumptions of the instrumental power of the makeover. Our findings thus enrich understandings of the consumption of postfeminist images of entrepreneurs.

Creating a Quilt: An Aesthetic Expression of Caring for Nursing Students

2001 ◽  
Vol 5 (3) ◽  
pp. 25-29
Author(s):  
Charlotte D. Barry,
Keyword(s):  
Nursing Students ◽  
Nursing Practice ◽  
Collective Experience ◽  
Caring Relationship ◽  
The Aesthetic ◽  
The Individual ◽  
Aesthetic Expression

An assignment for beginning nursing students provides the milieu for reflection on a nursing situation, appreciation of a caring relationship between the nurse and nursed, and expression of the caring through an aesthetic project. Each student represented a unique situation on a square, and the squares were sewn together to form a quilt. The quilt is apprehended as a whole but closer scrutiny reveals squares of many colors that have been sewn together. The distinct squares represent the work of students and teachers on a journey of understanding. Each of the squares reveals a unique story of caring from nursing practice. The aesthetic project provides the opportunity for the individual and collective experience of caring as the students share their stories of caring with each other and the larger community of nurses.

scholarly journals Dancefloor-driven literature: subcultural big bangs and a new center for the aesthetic universe

Popular Music ◽  
2016 ◽  
Vol 36 (1) ◽  
pp. 43-54
Author(s):  
Simon A. Morrison
Keyword(s):  
Black Hole ◽  
Electronic Music ◽  
Dance Music ◽  
Music Culture ◽  
Drug Experience ◽  
Written Word ◽  
The Aesthetic ◽  
Literary Output ◽  
Literary Techniques ◽  
The Universe

AbstractThis paper sets coordinates squarely for Holleran's ‘aesthetic center of the universe’ – venturing towards the black hole of the nightclub dancefloor. Further, it will investigate those writers determined to capture the electronic essence of this at times alien dance music culture within the rather more earth-bound parameters of the written word. How might such authors write about something so otherworldly as the nightclub scene? How might they write lucidly and fluidly about the rigid, metronomic beat of electronic music? What literary techniques might they deploy to accurately recount in fixed symbols the drifting, hallucinatory effects of a drug experience? In an attempt to address these questions this paper will offer an altogether outerspace overview of this subculture and its fictional literary output.

scholarly journals Witold Szalonek Seen Through His Own Views

2015 ◽  
Vol 12 (1) ◽  
pp. 31-44
Author(s):  
Daniel Cichy
Keyword(s):  
Contemporary Music ◽  
Music Culture ◽  
Left Behind ◽  
Artistic Activity ◽  
Artistic Work ◽  
Instrumental Works ◽  
The Aesthetic ◽  
And Function ◽  
Musical Heritage

Abstract Witold Szalonek (1927-2001) did not limit himself in his artistic activity to composing instrumental, vocal and vocal-instrumental works. He was also very active as a pedagogue, music promotor and musicologist-theorist. His writings reflect the tendency (popular among composers in the 2nd half of the 20th century) to comment on the aesthetic phenomena of historical and contemporary music culture, with particular emphasis on his own works. His views on art and selfcommentaries are contained in published and unpublished articles and manifestos. With regard to character and function, the writings that he left behind can be divided into four categories. Among the nearly thirty texts, printed mostly in Poland, we can thus distinguish: 1) essays on general musical subjects, commenting on elements of the European musical heritage important for this composer and on inspirations from non-European cultures; 2) artistic manifestos, in which sonoristic concepts play a major role; 3) self-analyses and self-commentaries on selected works, which are of major value to performers interpreting his pioneering scores; 4) critical texts on current subjects and events, coming from the first years of Witold Szalonek’s artistic work, when he was active as a music critic.

scholarly journals UKRAINIAN ELECTRONIC MUSIC IN GLOBALISATION AND NATIONAL REVIVAL

10.23856/4301 ◽  
2021 ◽  
Vol 43 (6) ◽  
pp. 9-15
Author(s):  
Andriy Bondarenko
Keyword(s):  
National Identity ◽  
Electronic Music ◽  
World Culture ◽  
Music Culture ◽  
Stages Of Development ◽  
Musical Culture ◽  
The World ◽  
The Republic ◽  
The Aesthetic ◽  
The Impact

The article considers the impact of globalisation and national revival processes on the development of electronic music in Ukraine. It is shown that in the early stages of development (the late 1990s – early 2000s) Ukrainian electronic music is dominated by the focus on Western European music culture, and early festivals of dance electronic music (“The Republic of Kazantip”, “Ultrasonic”) also borrow Russian traditions, which indicates the predominance of globalization and peripheral tendencies in this area. At the same time, the first creative searches related to the combination of electronic sounds with the sounds of Ukrainian folklore are intensified. In particular, the article considers the works of the 2000s-2010s by O. Nesterov and A. Zahaikevych, representing folk electronics in the academic sphere, and works by Katya Chilly, Stelsi, Kind of Zero representing folk electronics in non-academic music. The aesthetic basis of such combinations was the musical neo-folklore of the last third of the XX century and the achievements of folk rock in the late 1990s. Intensification of these searches in the late 2010s, in particular the popularity of such artists as Ruslana, Onuka, Go_A allow us to talk about intensifying the national revival processes in the musical culture of Ukraine and involving Ukrainian music in the world culture preserving its national identity.

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