La modernité baudelairienne et son impact sur la pensée et la poésie d'Ilyās Abu Šabaka

2021 ◽  
Vol 1 (138) ◽  
pp. 1-20
Author(s):  
Abbas Krimich Khudhur
Keyword(s):  
The Other ◽  
Literary Production ◽  
Arabic Poetry ◽  
Avant Garde ◽  
Profound Influence ◽  
Other Hand ◽  
Poetic Texts ◽  
The One ◽  
Modern Arabic ◽  
The Universe

This study reveals a clear and profound influence of Baudelaire's poetics, philosophy and thought on the literary production of the Lebanese poet and the avant-garde of modern Arabic poetry Ilyās Abu Šabaka (1903 - 1947). Abu Šabaka's poetic texts evoke part of what the read of Baudelaire's poetry, but he did not resort to the method of dialogue in his relations with the texts. It is due to the fact that the two poets have the same perception towards the universe and the life, based on two opposites: the hatred of the life on the one hand and the inclination and the passion for it until the ecstasy on the other hand. The study therefore deals with the question of influence and effect among poets, intellectual dualism, the presence of the absent text and cultural beauty.

The avant-garde’s visual arts in the context of Santayana’s idea of vital liberty

Human Affairs ◽  
2012 ◽  
Vol 22 (2) ◽  
Author(s):  
Krzysztof Skowroński
Keyword(s):  
Twentieth Century ◽  
Visual Arts ◽  
The Other ◽  
Political Life ◽  
The Political ◽  
Human Beings ◽  
Political Dimension ◽  
Avant Garde ◽  
Other Hand ◽  
The Universe

AbstractIn the present paper, the author looks at the political dimension of some trends in the visual arts within twentieth-century avant-garde groups (cubism, expressionism, fauvism, Dada, abstractionism, surrealism) through George Santayana’s idea of vital liberty. Santayana accused the avant-gardists of social and political escapism, and of becoming unintentionally involved in secondary issues. In his view, the emphasis they placed on the medium (or diverse media) and on treating it as an aim in itself, not, as it should be, as a transmitter through which a stimulating relationship with the environment can be had, was accompanied by a focus on fragments of life and on parts of existence, and, on the other hand, by a de facto rejection of ontology and cosmology as being crucial to understanding life and the place of human beings in the universe. The avant-gardists became involved in political life by responding excessively to the events of the time, instead of to the everlasting problems that are the human lot.

scholarly journals UN REPER FUNDAMENTAL AL ESHATOLOGIEI: DISTINCȚIA DINTRE NECREAT ȘI CREAT, DAR NU ȘI INCOMPATIBILITATEA COMUNIUNII LOR

2021 ◽  
Vol 2 (3) ◽  
pp. 73-79
Author(s):  
Mădălin-Ștefan PETRE ◽  
Keyword(s):  
The Other ◽  
Clear Distinction ◽  
Divine Grace ◽  
Other Hand ◽  
The One ◽  
The Universe ◽  
The Church ◽  
Second Coming

Orthodox eschatology is based, on the one hand, on the affirmation of the clear distinction between the uncreated nature of God and the created nature of His creatures, and, on the other hand, on the possibility of their union through divine Grace. Towards this eschatological union creation is called ontologically, through the divine reasons based on Reason-Christ, Who draws to Himself man and the universe, because He is at the same time Cause and Target, Alpha and Omega. The Church is working and preparing for the Feast of the Great Union, which will take place at the Second Coming of the Lord

scholarly journals Concertante techniques in Trois images by Ivo Petrić

2001 ◽  
Vol 37 (1) ◽  
pp. 103-112
Author(s):  
Niall O'Loughlin
Keyword(s):  
20Th Century ◽  
Large Scale ◽  
The Other ◽  
Violin Concerto ◽  
Avant Garde ◽  
Other Hand ◽  
The One ◽  
The Individual ◽  
Frank Martin ◽  
Movement Structure

The large-scale romantic concerto has been reevaluated by many composers of the 20th century. These have included Stravinsky, Honegger and Frank Martin, who have all tended to compose on a much smaller scale. One such work is Ivo Petrić's Trois images, a violin concerto dating from 1972-73. It displays an ambiguous approach to form, the relationships between the soloist and orchestra, the use of musical motives and the idea of the concerto. On the one hand, it has links with tradition in that it uses the title and three-movement structure of the concerto, the traditional relationships of dialogue, solo and accompaniment, development of motives and virtuoso techniques. On the other hand, it breaks with tradition by disguising the contrasts and separation of the individual movements, and transforming traditional concerto techniques for use in the freely coordinated idiom that the composer was using at the time. It proves to be an excellent example of how concerto techniques can be combined with the techniques of the avant-garde.

scholarly journals 2012: Ideas Mayas Acerca De La Renovación Cí­clica Del Universo

Xihmai ◽  
2013 ◽  
Vol 5 (9) ◽  
Author(s):  
Manuel Alberto Morales Damián
Keyword(s):  
Key Words ◽  
The Other ◽  
Western Thought ◽  
Global Crisis ◽  
Other Hand ◽  
Palabras Clave ◽  
The World ◽  
The One ◽  
The Universe

2012:  IDEAS  MAYAS  ACERCA  DE  LA  RENOVACIÓN CíCLICA DEL UNIVERSO. 2012:                MAYA‟S    CIVILIZATION     IDEAS   ABOUT    THE CYCLIC RENEWAL OF THE UNIVERSE.       Resumen El pensamiento maya con respecto a la astronomí­a y el calendario poseen una gran originalidad y corresponden a una forma de entender la realidad completamente  diferente  a  la  del  pensamiento  occidental.  Los  mayas conciben que el tiempo está sujeto a recurrencias cí­clicas (dí­a-noche, año solar, perí­odos de 52 años), cada una de las cuales supone la destrucción y renovación del cosmos. Por otra parte, las supuestas profecí­as mayas acerca de un evento astronómico el próximo 21 de diciembre de 2012, en realidad no son acordes a la cosmovisión maya prehispánica, coinciden sin embargo con temores milenaristas propios del pensamiento occidental que se agudizan en una época de crisis global.   Palabras Clave: Mayas, religión, astronomí­a, profecí­as del 2012.   Abstract Mayan  thought  in  respect  to  astronomy  and  the  calendar  have  a  great originality and correspond to a way of understanding a complete different reality to the one of the western thought. Mayan people conceive that time is subject to cycle recurrences (day-night, solar year, and periods of 52 years), each one supposes destruction and renovation of cosmos. On the other hand, the supposed Mayan prophecies about an astronomical event next December 21st  2012, do not in fact agree with the view of the world of the pre Hispanic Mayans, however they coincide with millennial fear proper of the western thought that worsen in this times of global crisis.   Key words: Mayans, religion, astronomy, 2012 prophecies.      

scholarly journals El pintor que escribe en un muro de papel: David Alfaro Siqueiros en la Revista Multicolor de los Sábados (1933)

2019 ◽  
Vol 6 (11) ◽  
pp. 149-169
Author(s):  
María de los Ángeles Mascioto
Keyword(s):  
The Other ◽  
Literary Production ◽  
Art Theory ◽  
Other Hand ◽  
The One ◽  
The Way

The article analyses David Alfaro Siqueiros participation in Revista Multicolor de los Sábados(Argentina). On the one hand, it studies the way this periodic publication apropriates and re-significate the predominant idea on Siqueiros Art Theory: take the art out of the museums to the street. On the other hand, this paper explores the way in which the literary production of the Mexican muralist overshadows his political proposal because of the conditions of mass press.

scholarly journals The Cantatas by Pierre Boulez in the Context of the Main Trends in the Development of Choral Composition of the 20th Century

2021 ◽  
Vol 11 (1) ◽  
pp. 21-38
Author(s):  
Aleksandr S. Ryzhinskii ◽  
Keyword(s):  
20Th Century ◽  
The Other ◽  
Important Place ◽  
Choral Works ◽  
Avant Garde ◽  
Work In Progress ◽  
Pierre Boulez ◽  
Other Hand ◽  
Choral Composition ◽  
The One

The article focuses on Pierre Boulez’s choral style in the cantatas “Le visage nuptial” and “Le soleil des eaux”. The versions of these works, created over the course of almost 40 years (from 1951 to 1989), represent a complex of techniques in regard to texture and timbre, which, on the one hand, are a continuation of experiments by composers of the New Vienna School (A. Schönberg, A. Webern), and on the other hand, they preface a number of innovations in the choral style of Boulez’s contemporaries (L. Nono, L. Berio, K. Stockhausen, I. Xenakis). Evidence is provided in favor of the idea that Boulez’s choral works were the logical link between the vocal and choral opuses of the composers of the first and second Western European avant-garde. The article examines the peculiarities of the interaction between the verbal and musical series, the specifics of the textural organization of Boulez’s works, and systematizes the information about the timbre techniques used. Links are identified between the heterophonic presentation typical of Boulez’s choral works and the use of quarter tone notation, glissando reception, and various variants of speech singing (Sprechgesang). The connections between stereophonic effects in the music of Boulez and Nono are traced. An important place is occupied by the study of vocal sound recovery or “vocal emission” technologies (as defined by Boulez). The significance of Schönberg and Webern’s experience in the formulation of the technical foundations of Boulez’s choral timbres is stressed. Special attention is paid to the problem of “work in progress” as one of the defining features of the composer’s choral heritage. Comparing the works by Nono, Maderna, and Bulez, the author concludes the different reasons for which composers came to the concept of “opera aperta” (U. Eco).

Real Modalities

2017 ◽  
Author(s):  
John Heil
Keyword(s):  
The Other ◽  
Other Hand ◽  
The One ◽  
Causal Laws ◽  
The Universe

Sometimes we take ourselves to be saying some-thing about what really is possible (even if not actual), what is not possible, what is inevitable, what would or would not happen were certain conditions to obtain; we take ourselves to be saying something about how matters stand modally. When this is our aim, what features of the universe are responsible for the truth or falsity of what we say? I shall offer reasons for thinking that an ontology of interrelated powers or dispositionalities provides the resources requisite for an accounting of real modalities, truth makers for important modal truths. Consideration of these reasons will, in addition, disclose surprising connections between dispositionality, on the one hand, and, on the other hand, causation and causal laws as these are commonly understood in philosophy.

The Place of Mathematics in the Interpretation of the Universe

Philosophy ◽  
1933 ◽  
Vol 8 (29) ◽  
pp. 14-29 ◽  
Author(s):  
F. A. Lindemann
Keyword(s):  
Point Of View ◽  
The Other ◽  
Recent Advances ◽  
Other Hand ◽  
Euclidian Geometry ◽  
The One ◽  
The Universe

Recent advances in physics render a reconsideration of the Place of Mathematics in the Interpretation of the Universe particularly timely. On the one hand, we have the introduction of non-euclidian geometry, which has given rise to much controversy informed or otherwise; on the other hand, we find mysterious forms of mathematics, invented to cope with the quantum difficulties, which so far have escaped metaphysical investigation or criticism. It would seem most desirable that these modes of interpreting reality should be examined from the broader philosophical point of view.

Islamic Mysticism in Modern Arabic Poetry and Drama

1979 ◽  
Vol 10 (4) ◽  
pp. 517-531
Author(s):  
Khalil I. Semaan
Keyword(s):  
Mystical Experience ◽  
The Other ◽  
Arabic Poetry ◽  
Religious Consciousness ◽  
Other Hand ◽  
Islamic Mysticism ◽  
History Of ◽  
Age Of Aquarius ◽  
Modern Arabic

It is customary to view the mystic and his experience from at least three angles: the theological, the philosophical, and the psychological. To be sure, the mystical experience represents an extraordinary phenomenon of the highest psychological complexity. Mysticism, nowadays, in this age of Aquarius, many would dismiss as a sick or superstitious accident; on the other hand, those who are acquainted with the phenomenon of religion and the history of its development would view it as a true and viable human state, as man's religious consciousness.

scholarly journals Quand la chair de l’interprète européenne hante la chaire des hérauts européanistes…

2011 ◽  
Vol 1 (3) ◽  
pp. 71
Author(s):  
Chris Reyns-Chikuma
Keyword(s):  
Real Life ◽  
The Other ◽  
Minor Role ◽  
European Policy ◽  
The Real ◽  
Avant Garde ◽  
Other Hand ◽  
National Boundaries ◽  
The One ◽  
A Minor

On the one hand, there is a great number of « national » fictions. To various degrees (patriotic, nationalistic) and consciously or not, these fictions participate in the construction of a nation. On the other hand, there are also a lot of fictions that we can characterize as cosmopolitan or postnational and which are situated outside any clear national boundaries. On the contrary, one can count very few fictions on the construction of a European supranationality. To my knowledge, Constellation by Alain Lacroix (2008) is the only one in French and that is the one I am going to write about in this essay. My goal here is threefold. It is first to show that although the interpreter seems to play a minor role (according to the number of pages) and although she is apparently considered an insignificant quantity by both male protagonists, as her regular and obsessive return in the text proves it she is actually important since she haunts the characters sexually and ideologically. I will also show that this haunting spreads through the whole novel through the issue of the interpretation of signs. The second goal is to show that the interpreter, who is explicitly presented as an impersonation of Europe, actually incarnates the ambivalence of any « europeanist » project. She is indeed a bridge not only between two languages & cultures but also between both faces of any European policy. The first one, concrete, tries to incorporate the real life of the Europeans, their daily concerns which themselves are often inscribed within their « national habitus», and the other one to exceed it within a transnational project which is often perceived as too abstract. Finally, I will conclude showing how Constellation “foreignizes” (Venuti, 2008, 6) its translation of the European realities, not by its choices but by the choice of avant-garde esthetic techniques.

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