scholarly journals Traditions in the Discussions about the obrabotvane of Folklore in the Avtorski Pesni v Naroden Duh from Bulgaria

Arts ◽  
2020 ◽  
Vol 9 (3) ◽  
pp. 89 ◽  
Author(s):  
Lozanka Peycheva
Keyword(s):  
20Th Century ◽  
Michel Foucault ◽  
Critical Discussion ◽  
Folk Songs ◽  
Musical Culture ◽  
Critical Attention ◽  
The Subject ◽  
The Creation ◽  
The 1950S ◽  
Rich History

The avtorski pesni v naroden duh (authored songs in folk spirit) are a modern and multifaceted phenomenon, which has accumulated a rich history in Bulgarian musical culture. This research presents the essential characteristics of these songs and a two-part typology (1. authorized/avtorizirani folk songs; 2. newly composed songs ‘in folk spirit’), which is based on both models of authorship (according to Michel Foucault, authorial function is manifested in two basic forms of authorship—plagiarism and appropriation). This study provides an overview of some of the thematic debates that attempt to resolve the inevitable contradictions and tensions surrounding songwriting in folk spirit. The avtorski pesni v naroden duh have attracted the critical attention of Bulgarian musicians and society and have been the subject of lively discussions, criticisms, and controversy in numerous publications from the first decades of the 20th century to the present. This survey offers different perspectives, opinions and arguments focused on one of the main discussion topics related to the creation and functioning of the avtorski pesni v naroden duh: pro and contra the obrabotvane (transformation, polishing, processing, cultivation) of folklore. This problem has been at the heart of intellectual discussions since the 1930s and during the 1950s–1980s. The critical discussion of the question pro and contra the obrabotvane of folklore, with its whole inconsistency, complexity and impossibility to be reduced to unambiguous answers, leads to sharp confrontations between the holders of different opinions.

6. Synthesis

2016 ◽  
pp. 110-132
Author(s):  
William H. Brock
Keyword(s):  
Quantum Mechanics ◽  
20Th Century ◽  
Chemical Industry ◽  
Big Science ◽  
Artificial Materials ◽  
The Us ◽  
The Subject ◽  
The Creation ◽  
Japan And China ◽  
Coal To Oil

‘Synthesis’ considers how the shape and scale of chemistry has been transformed since the start of the 20th century. A series of world wars; a shift from coal to oil as the feedstock for the chemical industry; the introduction of physical instrumentation, quantum mechanics, and electronic theories; the organization of academia and industry to create Big Science as opposed to the more individualized research of previous centuries; a shift from European dominance of the subject to the US and then Russia, Japan, and China; and more women joining the profession have all been important. Underlying these changes was the theme of synthesis of natural chemicals and the creation of artificial materials.

Creating the Past: Schelling’s Ages of the World

2010 ◽  
Vol 4 (1) ◽  
pp. 23-43 ◽  
Author(s):  
Alistair Welchman ◽  
Judith Norman
Keyword(s):  
20Th Century ◽  
A Priori ◽  
Philosophy Of History ◽  
Viewing Time ◽  
The Past ◽  
Hegelian Dialectic ◽  
The World ◽  
Critical Attention ◽  
The Creation ◽  
To Receive

AbstractF.W.J. Schelling’s Ages of the World has just begun to receive the critical attention it deserves as a contribution to the philosophy of history. Its most significant philosophical move is to pose the question of the origin of the past itself, asking what “caused” the past. Schelling treats the past not as a past present (something that used to be a ’now’ but no longer is) — but rather as an eternal past, a different dimension of time altogether, and one that was never a present ’now’. For Schelling, the past functions as the transcendental ground of the present, the true ’a priori’. Schelling’s account of the creation of this past takes the form of a theogeny: in order to exist, God needed to separate the past from the present. By grounding the creation of the past in a free decision of God, Schelling tries to conceptualize temporality so as to preserve the sort of radical contingency and authentic freedom that he considers essential features of history. In so doing, he opens up a way of viewing time that avoids the pitfalls of the Hegelian dialectic and anticipates some of the 20th century developments in phenomenology.

scholarly journals DENIS BRIHAT PIERRE CORDIER JEAN-PIERRE SUDRE: a European experiment

2021 ◽  
Author(s):  
Raquel Moliterna
Keyword(s):  
20Th Century ◽  
Critical Discussion ◽  
History Of Photography ◽  
Printing Process ◽  
History Of ◽  
The Creation

The most evident aspect that the photographic works of Pierre Cordier, Denis Brihat and Jean-Pierre Sudre have in common is their use of chemical interventions in the printing process to produce unique photographic objects. Sudre, Brihat and Cordier are important to the history of photography because their work questions the mainstream practices of 20th century analog photography. They do this by transforming conventional photographic materials into non-conventional images, and by being active agents in the creation of these images. Sudre’s, Brihat’s and Cordier’s works bring questions about photographic materiality back into the critical discussion of what defines photography. I intend to investigate how the nature of photographic materiality has been addressed during significant periods and movements in the history of photography before Sudre, Brihat and Cordier did their work, in order to understand how and why their approach is innovative and important.

scholarly journals THE SONGS OF THE SHENEHEN BURYATS

2020 ◽  
pp. 92-101
Author(s):  
Лариса Батоевна Бадмаева
Keyword(s):  
20Th Century ◽  
Subject Matter ◽  
Folk Songs ◽  
Lexical Unit ◽  
Figures Of Speech ◽  
Political Events ◽  
Long Time ◽  
History Of ◽  
The Subject ◽  
First Time

В статье впервые рассматриваются тематика и особенности языка текстов песен шэнэхэнских бурят в авторском переводе на русский язык. Уникальность шэнэхэнских бурят, проживающих в течение 100 лет в Китае, в том, что им удалось сохранить свою аутентичную культуру: язык, традиционное монгольское письмо, национальный костюм, традиции, обычаи и народные песни. Долгое время тема о бурятской эмиграции находилась под запретом. В статье также освещены причины и история эмиграции агинских бурят в местность Шэнэхэн АРВМ КНР, с опорой на работу Бодонгут Абиды (1983), написанной на старомонгольской письменности. Природа миграции бурятской диаспоры в Баргу носила этнозащитный характер и связана с политическими событиями в России в начале XX в. Наличие жанра одических песен (магтаал) в песенной традиции бурят свидетельствует об их развитой системе письменной культуры, различении письменных и устных текстов, стилистической дифференциации языка текстов песен. Выявлено, что лексика гимнических песен (магтаалов) выдержана в высоком стиле с ориентацией на нормы старописьменного монгольского языка. Анализ полевых материалов свидетельствует о мастерстве стихосложения безымянных поэтов, строго соблюдающих начальную аллитерацию в строфах, использующих различные фигуры речи, весь арсенал грамматических форм для передачи оттенков семантики лексической единицы. Это позволяет утверждать, что песенные тексты бурят создавались и передавались не только в устной форме, но и в письменной еще задолго до революции 1917 г. Abstract. For the first time, the article discusses the subject matter, features of the language of the songs of the Shenehen Buryats in the author's translation into Russian. The uniqueness of the Shenehen Buryats, who have been living in China for about 100 years, is that they have preserved their authentic culture: language, traditional Old Mongolian script, national costume, traditions, customs and folk songs. For a long time, the topic about Buryat emigration was banned. The article also highlights the reasons and history of the emigration of the Aga Buryats to the Shenehen locality of the China, based on the work of Bodongut Abida (1983), written in Old Mongolian script. The migration of the Buryat diaspora to Bargu was ethnically protective in nature and was associated with political events in Russia at the beginning of the 20th century. The presence of the genre of odic songs (magtaal) in the song tradition testifies to their developed system of written culture, the distinction between written and oral texts, and the stylistic differentiation of the language of the lyrics. It has been revealed that the vocabulary of the Magtaals is sustained in a high style with an orientation towards the norms of the Old Mongolian language. An analysis of the field materials testifies to the mastery of versification of nameless poets, strictly observing the initial alliteration in strophes, using various figures of speech, the entire arsenal of grammatical forms to convey shades of semantics of the lexical unit. This allows us to argue that the lyrics are created and transmitted not only verbally, but also in writing long before the 1917 revolution.

scholarly journals Transformation of the Krasnoyarsk Urban Space in the 90s of the 20th Century

2019 ◽  
pp. 1017-1034
Author(s):  
Vladimir S. Lusan ◽  
Natalia N. Pimenova ◽  
Mikhail Ya. Khrebtov ◽  
Anastasia E Khudonogova ◽  
Ekaterina A. Sertakova ◽  
...  
Keyword(s):  
20Th Century ◽  
Urban Space ◽  
Culture Industry ◽  
Transport Infrastructure ◽  
Main Research ◽  
The Third ◽  
The Subject ◽  
The Moment ◽  
The City ◽  
Rich History

The article attempts to uncover the transformation of the urban environment of Krasnoyarsk, starting from the moment of its foundation until the end of the 20th century, as well as the influence of certain spheres of life (culture, industry, transport infrastructure, administrative and territorial position, etc.) and the environment on its formation. The article notes that the analysis of domestic and foreign studies of urban space confirms the validity of an appeal to an interdisciplinary type of research. The object of the research is the city of Krasnoyarsk as an actively developing metropolis with a rich history and its own administrative and cultural characteristics. The subject of research is the urban space of Krasnoyarsk. Observation and analytical and descriptive methods, which include the analysis of individual elements of the development of urban space in the specified period, followed by a generalization of the data, as well as comparative historical and dialectical methods, are used to solve the problems of the study. In addition, the main research methods include the analysis of architectural objects constructed in various years. In conclusion, the general conclusions and trends that characterize the specifics of the urban space of Krasnoyarsk, formed by the end of the 20th century and largely predetermined its development in the third millennium, are indicated

scholarly journals The Cultural and Musical Tradition of Elbasan (16th - 20th Century)

2021 ◽  
Vol 12 (3) ◽  
pp. 99
Author(s):  
Kastriot Tusha
Keyword(s):  
20Th Century ◽  
Folk Music ◽  
17Th Century ◽  
Middle Part ◽  
Folk Songs ◽  
Early Years ◽  
Cultural Tradition ◽  
Musical Tradition ◽  
The North ◽  
The Creation

The aim of this paper is to explore and review the role and contribution of Elbasan city in the well-known cultural and musical tradition of Albania. Referring to documents, this tradition dates back in the 16th century with the creation of the first musical bands, characteristic of that time, known otherwise as fanfarat or tajfat. During Ottoman invasion, especially during the 16th-17th century, oriental influence on Albanian folk music has been quite evident. Some musicologists think that this impact has been more evident especially in the music of the middle part of Albania. It needs to be emphasized that this influence has not been absolutely strict, since in most songs it appears either as a collaboration or a parallel version. After the 17th century in Elbasan, as well as in its surrounding regions, there was born folk music, firstly as the music of beano, and later on as a typical civic folk music accompanied by the orchestra. Ethnomusicologists think that prior to folk city music, there used to be country folk music, in the north eastern part of Elbasan, in the villages around Zaranika estuary, where old songs were sung, and very soon they were spread even in Elbasan. Meanwhile, by the years 20s and 30s of the 20th century in Elbasan there was spread civid folk music whose founders were the trio of: Isuf Myzyri, Leksi i Vinit as well as Mustafa Bodini. Folk songs of Elbasan belong to the musical style of the middle part of Albania; since they are sung in the dialect of Elbasan, they are considered as the civic folk songs of Elbasan. There needs to be highlighted that even during the first half of the 20th century, a great role in the musical and cultural tradition was played by the social and patriotic clubs, such as “Bashkimi” (1908), “Drita”, Vllaznia (18 April 1908) as well as the creation of patriotic society known as “Afërdita”. The latest one, in 1917 reestablished a musical band as well with the same name “Afërdita”, which existed before. This band besides various marches, it used to play hymns too by using wind instruments, folk music not only in Elbasan but even in other towns in Albania. The band “Afërdita” functioned until the early years of World War 2.   Received: 6 February 2021 / Accepted: 20 April 2021 / Published: 17 May 2021

Introduction

Border Blurs ◽  
2019 ◽  
pp. 1-18
Author(s):  
Greg Thomas
Keyword(s):  
Twentieth Century ◽  
National Identity ◽  
Subject Matter ◽  
Women Poets ◽  
Concrete Poetry ◽  
Early Twentieth Century ◽  
Current Thinking ◽  
Critical Attention ◽  
The Subject ◽  
The 1950S

This chapter presents the critical context and overarching narrative of the text. Concrete poetry has not been subject to extensive literary-critical attention, particularly in a British context, partly because of the very diversity of thematic associations it is able to support, which makes it difficult to process conceptually in retrospect. To bring some clarity to current thinking around concrete poetry, and in response to some recent critical revaluations of the style, this text posits that the style represented an ongoing exploration of the legacy and relevance of early-twentieth-century vanguard activity during the 1950s-70s, especially the interplay between broadly constructivist and neo-dada tendencies in international literary and artistic culture during those decades. In England and Scotland, where the style emerged simultaneously during the early 1960s, the development of concrete poetry – and criticism around it – reflected these competing positions but also became bound up with questions of nationalism and national identity, particularly in Scotland. This chapter deals with those themes while also contextualising some gaps in the remit of the text, including the geographical restrictions placed around the subject-matter, and the relative absence of women poets from the scenes surveyed.

scholarly journals DENIS BRIHAT PIERRE CORDIER JEAN-PIERRE SUDRE: a European experiment

2021 ◽  
Author(s):  
Raquel Moliterna
Keyword(s):  
20Th Century ◽  
Critical Discussion ◽  
History Of Photography ◽  
Printing Process ◽  
History Of ◽  
The Creation

The most evident aspect that the photographic works of Pierre Cordier, Denis Brihat and Jean-Pierre Sudre have in common is their use of chemical interventions in the printing process to produce unique photographic objects. Sudre, Brihat and Cordier are important to the history of photography because their work questions the mainstream practices of 20th century analog photography. They do this by transforming conventional photographic materials into non-conventional images, and by being active agents in the creation of these images. Sudre’s, Brihat’s and Cordier’s works bring questions about photographic materiality back into the critical discussion of what defines photography. I intend to investigate how the nature of photographic materiality has been addressed during significant periods and movements in the history of photography before Sudre, Brihat and Cordier did their work, in order to understand how and why their approach is innovative and important.

Immigrant Arab Women in Chile during the Renaissance (Nahda), 1910s-1920s

1970 ◽  
pp. 47-55
Author(s):  
Sarah Limorté
Keyword(s):  
20Th Century ◽  
19Th Century ◽  
Thematic Analysis ◽  
New World ◽  
Arab Women ◽  
Arab Woman ◽  
The Subject ◽  
The 19Th Century

Levantine immigration to Chile started during the last quarter of the 19th century. This immigration, almost exclusively male at the outset, changed at the beginning of the 20th century when women started following their fathers, brothers, and husbands to the New World. Defining the role and status of the Arab woman within her community in Chile has never before been tackled in a detailed study. This article attempts to broach the subject by looking at Arabic newspapers published in Chile between 1912 and the end of the 1920s. A thematic analysis of articles dealing with the question of women or written by women, appearing in publications such as Al-Murshid, Asch-Schabibat, Al-Watan, and Oriente, will be discussed.

Planification: Potential and role in XXI century market economy

2016 ◽  
pp. 63-80 ◽  
Author(s):  
A. Buzgalin ◽  
A. Kolganov
Keyword(s):  
Economic Development ◽  
20Th Century ◽  
Market Economy ◽  
Critical Analysis ◽  
New Economy ◽  
Real Socialism ◽  
The Subject ◽  
Planning Institutions

The authors, basing on a critical analysis of the experience of planning during the 20th century in a number of countries of Europe and Asia, and also on the lessons from the economics of "real socialism", set out to substantiate their conclusions on the advisability of "reloading" this institution. The aim is to create planning mechanisms, suited to the new economy, that incorporate forecasting, projections, direct and indirect selective regulation and so forth into integral programs of economic development and that set a vector of development for particular limited spheres of what remains on the whole a market economy. New planning institutions presuppose a supersession of the forms of bureaucratic centralism and a reliance on network forms of organization of the subject and process of planning.

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