Let’s talk about “cultural baggage”

2020 ◽  
pp. 37-45
Author(s):  
Sandra Smidt
Keyword(s):  
Cultural Baggage

SOUND, MEANING AND MUSIC-DRAMA IN LACHENMANN'S DAS MÄDCHEN MIT DEN SCHWEFELHÖLZERN

Tempo ◽  
2014 ◽  
Vol 68 (268) ◽  
pp. 20-33
Author(s):  
Laurence Osborn
Keyword(s):  
Theoretical Framework ◽  
Musical Language ◽  
Search For Meaning ◽  
Cognitive Capacities ◽  
Music Drama ◽  
Avant Garde ◽  
Unique Approach ◽  
The 1960S ◽  
Musique Concrete ◽  
Cultural Baggage

AbstractThis article argues that Das Mädchen mit den Schwefelhölzern demonstrates a unique approach to music-drama that stems from the perceptual capacities of listeners, and their desire to search for meaning in what they hear. Beginning with the claim that Das Mädchen mit den Schwefelhölzern can be viewed as the culmination of an aesthetic project begun at the point of Lachenmann's emergence as a distinctive voice of the European avant-garde during the 1960s, the article first examines two major aspects of Lachenmann's aesthetics – musique concrète instrumentale and aura – outlining a composing philosophy that has been at the heart of Lachenmann's practice throughout his career. The article claims that Lachenmann sought to establish a rejuvenated semiotics, freed from cultural baggage and tied to the perceptual and cognitive capacities of listeners. Drawing upon the studies of Naomi Cumming and Luke Windsor, it outlines a theoretical framework that takes into account this composing philosophy and its implications, applying it in analyses of various excerpts from Das Mädchen mit den Schwefelhölzern. My analysis illuminates a music-drama that forms around the interplay of internally represented images and sensations, the emergence of which is facilitated by a musical language that prepares sounds to take on certain types of meaning. The article concludes with a brief discussion of the possible implications this has for audience members.

The cultural baggage of the desert island

2017 ◽  
Author(s):  
Will Straw
Keyword(s):  
19Th Century ◽  
17Th Century ◽  
Literary Works ◽  
Desert Island ◽  
The 19Th Century ◽  
Cultural Baggage

The notion of the desert island disc has its roots in ideas of travel and self-improvement extending at least as far back as the 17th century. Lists of records to be taken to a desert island follow on from collections of books to be taken on long sea voyages. Descriptions of these collections recur throughout 19th century journalism, then become fashionable in the 1910s and 1920s, when the concept of ‘literature as luggage’ enjoys a brief vogue. By the 1930s, musical recordings begin to take their place alongside lists of literary works, laying the groundwork for Desert Island Discs and other manifestations of a music-oriented turn towards personal musical canons. Noting the ways in which such lists move between expressions of personal affinity and acknowledgements of public canons, the chapter traces the evolution of the travel-list and the shipwreck-list through literature and music from the 19th century onward.

scholarly journals NOVO OLHAR DA PRODUÇÃO E DO CONSUMO DE ALIMENTOS: UMA EXPERIÊNCIA DE HORTA URBANA NO LAR DOS IDOSOS E SEGURANÇA ALIMENTAR (NEW LOOK AT FOOD PRODUCTION AND CONSUMPTION: AN URBAN HORTICULTURE EXPERIENCE AT THE MIDDLE EAST AND FOOD SAFETY)

2019 ◽  
pp. 173-186
Author(s):  
Maria Lúcia Da Silva Sodré ◽  
Ubirani Oliveira Santos ◽  
Altemar S. Dias
Keyword(s):  
Food Safety ◽  
Food Production ◽  
Field Research ◽  
The Elderly ◽  
Structured Interviews ◽  
Nutritional Security ◽  
Production And Consumption ◽  
Food And Nutritional Security ◽  
Cultural Baggage ◽  
Urban Horticulture

RESUMO:O objetivo aqui proposto foi demostrar a experiência da produção e consumo de hortaliças no lar dos idosos localizado em Cruz das Almas, BA. Metodologicamente, foi desenvolvida uma pesquisa de campo, com entrevistas semiestruturadas. Anterior a este processo foi construída a horta. Os principais resultados apontaram que os alimentos produzidos além de representar acesso ao consumo de alimentos livres de agroquímicos, que proporcionou segurança alimentar e nutricional, retrataram ainda histórias de vidas dos internos, as lembranças familiares, à memória de um tempo que desenvolvia atividades no campo. E assim, com fortes referências da sua identidade, muitas das quais, pautadas em questões subjetivas e simbólicas, aproveitando sua bagagem cultural no território urbano.Palavras-chave: referências identitárias, terceira idade, produção agroecológica. ABSTRACT:The objective here was to demonstrate the experience of the production and consumption of vegetables in the home of the elderly located in Cruz das Almas, BA. Methodologically, a field research was developed, with semi-structured interviews. Prior to this process the vegetable garden was built. The main results pointed out that the food produced besides representing access to the consumption of food free of agrochemicals, which provided food and nutritional security, also portrayed histories of the inmates' lives, the familiar memories, the memory of a time that developed activities in the field. And so, with strong references of their identity, many of them, based on subjective and symbolic issues, taking advantage of their cultural baggage in the urban territory.Keywords: identity references, third age, agroecological production.

scholarly journals Exporting ‘The Cotter's Saturday Night’: Robert Burns, Scottish Romantic Nationalism and Colonial Settler Identity

Romanticism ◽  
2019 ◽  
Vol 25 (1) ◽  
pp. 81-89
Author(s):  
Sarah Sharp
Keyword(s):  
Nineteenth Century ◽  
South African ◽  
The Self ◽  
The South ◽  
Saturday Night ◽  
Cultural Baggage ◽  
The Way ◽  
At Home

A Scottish literary icon of the nineteenth century, Burns's ‘The Cotter's Saturday Night’ was a key component of the cultural baggage carried by emigrant Scots seeking a new life abroad. The myth of the thrifty, humble and pious Scottish cottager is a recurrent figure in Scottish colonial writing whether that cottage is situated in the South African veld or the Otago bush. This article examines the way in which Burns's cotter informed the myth of the self-sufficient Scottish peasant in the poetry of John Barr and Thomas Pringle. It will argue that, just as ‘The Cotter’ could be used to reinforce a particular set of ideas about Scottish identity at home, Scottish settlers used Burns's poem to respond to and cement new identities abroad.

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