2018. gada latviešu metālmūzikas albumi

2020 ◽  
pp. 185-200
Author(s):  
Ingars Gusāns
Keyword(s):  
Heavy Metal ◽  
Metal Music ◽  
Knowing That ◽  
Music Scene ◽  
Digital Format ◽  
First Impression ◽  
The World ◽  
The Common

The aim of the study is to describe metal music albums of the year 2018 from the genre, textual and artistic aspects, looking for the common and diverse in the Latvian metal music world. It is recognised that there is still no unified collection of Latvian rock and metal music resources, and that makes the researcher’s work more interesting. Even though only ten metal albums came out in 2018, their metal styles are quite wide-ranging from symphonic metal and through thrash, groove, industrial metal to classic heavy metal, which is also played in an acoustic format. Album designs, in the author’s opinion, are classic but qualitative and do not damage the first impression, especially designs of those albums that were released on physical media. Because physical media is becoming an exclusive case, the trend continues to sell albums only in digital format (at least at first); this has been done by the bands “Revelation Attic”, “Yomi”, “Seira”, “NUVO”. Perhaps knowing that Latvia is too small to live on music only, as well as wishing to expand their audience and be noticed abroad, the 5 of the albums in question are recorded in English. The debuts of several newly formed bands (“Seira”, “Revelation Attic”, “Māra”) confirm the unlost interest in metal music and also show the attempts of these groups to build their way to Latvian and the world metal music scene, which manifests in their search for a strange sound (“NUVO”) or a strong female vocal use (“Oceanpath”, “Seira”, “Māra”). In general, Latvian metal music representatives continue the world’s metal music traditions, where it is extremely difficult to surprise because the number of existing bands is so large that it is almost impossible to be original, while the population of the planet is so big that many bands can access the listener so that each band also searches for its audience, both online and in concerts.

Pedagogical Values of Olympic Education

2016 ◽  
Vol 20 ◽  
pp. 21-26
Author(s):  
Magdalena Mika
Keyword(s):  
Everyday Life ◽  
Olympic Games ◽  
Human Values ◽  
Fair Play ◽  
Modern Education ◽  
Knowing That ◽  
The World ◽  
The Common ◽  
Olympic Education ◽  
Universal Nature

Olympic education is currently perceived as one of the most eff ective forms of upbringing, which is why it should be included in modern pedagogy. It is important because of the values of Olympism and education through sport. When speaking of Olympic education, its origins and precursor should be studied as well. It is worth knowing that it was Pierre de Coubertin’s philosophical and pedagogical concept that played the key role in the development of Olympic education in the world. The values of Olympism, including equality, fraternity, collaboration, friendship, respect, solidarity and striving for excellence are now commonly accepted. The timeless and universal nature of those values, the generally accepted fair play rule that is important not only in sport, but also in everyday life, looking at sport through the prism of social and human values, as well as the common global recognition of the Olympic Games, all may contribute to Olympic education becoming a marvel of modern education.

scholarly journals IN SEARCH OF PERFECTA: THE CONUNDRUM OF INCORRECTLY PRICED GOODS UNDER THE CONSUMER PROTECTION ACT 68 OF 2008

Obiter ◽  
2014 ◽  
Author(s):  
Neville Melville ◽  
Tanya Woker
Keyword(s):  
Consumer Protection ◽  
Common Law ◽  
The Past ◽  
Consumer Protection Act ◽  
Knowing That ◽  
Personal Interaction ◽  
The World ◽  
Legal Precedent ◽  
Flat Screen ◽  
The Common

In spite of the sea change over the past sixty-odd years in the way we shop, from a personal interaction with the local shopkeeper to a cashierless self-checkout, and the billions of transactions that take place daily in stores and supermarkets around the world, there is a dearth of legal precedent regarding the legal mechanics of these transactions. This is particularly so as far as determining the very important practical issue of at what point the sale is perfecta (irrevocably concluded) is concerned. For example, a consumer receives a catalogue from a well-known store in which a flat screen television is advertized on special for R599. Well knowing that such television sets are normally sold for over R6000 the consumer rushes off to purchase a set only to be faced with a large sign which reads as follows: “Unfortunately the advertised price was incorrect, the correct price is R5 999. We apologise for the inconvenience.”A slightly different scenario is where the consumer is only informed of this mistake after she has removed the television set from the shelf and taken it to the cashier who proceeds to ring up the price of R5 999. When the consumer points out that this is not the advertised price the cashier informs her that a mistake was made and that in fact R5 999 is the correct price. Is there a point in time when the supplier, despite a mistake, may be bound by the advertised price? (The purpose of this article is to consider the point in time when the contract is regarded as perfecta. The scenario set out above may also constitute bait-advertising. This is an issue which we intend to consider in our next article.) It is against this backdrop that we attempt to provide some guidance to those who are obliged to comply with the provisions of the Consumer Protection Act, relating to displayed prices.In doing so, we shall consider the extent to which the Roman-Dutch-based common law has been influenced by English Law in this area of consumer protection. Reference will be made to the principles of the common law regarding the formation of a contract (particularly the point at which the contract comes into effect), quasi consent and mistake as well as relevant foreign precedent. We shall then deal with the changes brought about by the CPA.

Metal Rules the Globe: Heavy Metal Music around the World

2013 ◽  
Vol 37 (1) ◽  
pp. 106-108
Author(s):  
Michael P. Marino
Keyword(s):  
Heavy Metal ◽  
Metal Music ◽  
Heavy Metal Music ◽  
The World

scholarly journals From Bach to Helloween: ‘Teutonic’ stereotypes in the history of popular music and heavy metal

2020 ◽  
Vol 6 (1) ◽  
pp. 87-108 ◽  
Author(s):  
Jan-Peter Herbst
Keyword(s):  
Heavy Metal ◽  
Popular Music ◽  
Music History ◽  
First Century ◽  
Metal Music ◽  
The World ◽  
Outright Rejection ◽  
History Of ◽  
Production Practices ◽  
Popular Music History

Throughout the centuries, German popular music has caused various foreign reactions from admiration to outright rejection. Sometimes, international audiences perceived it as too ‘Teutonic’; other times, this was exactly the reason for its appeal. This article traces ‘Teutonic’ features in 400 years of German popular music history, seeking to identify the emergence and development of ‘Teutonic’ stereotypes as well as their perception inland and abroad. The metal discourse was analysed based on a corpus of nearly 200,000 pages from magazines such as the British Kerrang! and the German Metal Hammer, Rock Hard and Deaf Forever. Stereotypes such as perfectionism, precision and rigidity seem to stem from historical roots, yet their projection onto ‘Teutonic metal’ is over-simplified and often out of context. History suggests that German metal bands were most successful when they exaggerated Germanness. Occasionally, bands became successful because their German features made them sound unique, even though they did not promote their heritage proactively. More often, though, bands that were unintentionally perceived as typically German were less appealing to a foreign audience. In the magazines, discussion of Teutonic attributes almost vanished in the twenty-first century. Global production practices needing to conform to international expectations of ever faster, tighter and heavier records likely made metal artists around the world adopt qualities that previously defined ‘Teutonic music’. It will therefore be interesting to see if or how German stereotypes in metal music will live on.

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