Der Sturm

2018 ◽  
Author(s):  
Jenny Anger
Keyword(s):  
Franz Liszt ◽  
Wide Audience ◽  
Concert Hall ◽  
Avant Garde ◽  
The People ◽  
Oskar Kokoschka

Der Sturm (Storm) was the fulcrum of the international avant-garde in Berlin from 1910 to 1932. Herwarth Walden (born Georg Levin, 1878–1941) founded the journal Der Sturm, in 1910. His first wife, the poet Else Lasker-Schüler, likely suggested both his nom-de-guerre and the newspaper’s title. Walden, a pianist who had studied with Conrad Ansorge, a former prodigy of Franz Liszt, had ambitions that exceeded the concert hall. Suggesting both the multiplicity of arts that Der Sturm would embrace, and the intention to reach a wide audience, the pianist-impresario-editor Walden traveled with the poet-playwright-artist Lasker-Schüler and the painter-printmaker-dramatist Oskar Kokoschka across Germany to distribute the first edition to the people. The group and their paper met with incomprehension, however, so they returned to cultivate a more select audience in the metropolis.

scholarly journals Speaking for the People in Early Modern England*

2019 ◽  
Vol 244 (1) ◽  
pp. 51-88 ◽  
Author(s):  
David Coast
Keyword(s):  
Early Modern ◽  
Political Thought ◽  
Early Modern England ◽  
English Civil War ◽  
Common People ◽  
Wide Audience ◽  
The People ◽  
The Reformation ◽  
The Common ◽  
The Voice

Abstract The voice of the people is assumed to have carried little authority in early modern England. Elites often caricatured the common people as an ignorant multitude and demanded their obedience, deference and silence. Hostility to the popular voice was an important element of contemporary political thought. However, evidence for a very different set of views can be found in numerous polemical tracts written between the Reformation and the English Civil War. These tracts claimed to speak for the people, and sought to represent their alleged grievances to the monarch or parliament. They subverted the rules of petitioning by speaking for ‘the people’ as a whole and appealing to a wide audience, making demands for the redress of grievances that left little room for the royal prerogative. In doing so, they contradicted stereotypes about the multitude, arguing that the people were rational, patriotic and potentially better informed about the threats to the kingdom than the monarch themselves. ‘Public opinion’ was used to confer legitimacy on political and religious demands long before the mass subscription petitioning campaigns of the 1640s.

Transnational Networking and Elite Self-Empowerment

2018 ◽  
Author(s):  
Cristina E. Parau
Keyword(s):  
Eastern Europe ◽  
Central And Eastern Europe ◽  
Institutional Design ◽  
Causal Explanation ◽  
Social Scientists ◽  
Wide Audience ◽  
Legal Studies ◽  
The People ◽  
Transnational Networking ◽  
Transitional Democracies

Studies of the fate of Judiciaries in post-Communist Central and Eastern Europe (CEE) have been rare and attempts at causal explanation rarer. This study found that interlocked transnational networking empowered a minority of elite Judiciary revisionists to entrench their institutional template in Eastern European constitutions, setting these transitional democracies on a trajectory toward a global trend of the judicialization of politics. The first, crucial step in that process is traced: the formal disempowerment of democracy through Judiciary revisions that ordinary people and politicians in Central and Eastern Europe little heeded. The causal nexus converging on this outcome is explained. Why it matters is because the revisionist template reorients that most venerable of non-majoritarian institutions beyond adjudication of the guilt or innocence of subjects of state power under legal certainty – the classical role of modern courts – toward the improvisation of public policy, with or without the consent of the majority of the governed, by ‘finding’ it in constitutions; the unique legitimacy of which derives from the prior ratification of a supermajority. The question of who shall have the final disposition of contested constitutional meaning – the Executive, Legislature, Judiciary, the People, or All of these – implicates sovereignty itself and whom it shall rest on: the last word is sovereign for practical purposes. The interdisciplinarity of this study will appeal to a wide audience: scholars of law and politics and socio-legal studies, social scientists researching elite transnationalism and European integration beyond the EU, even institutional design practitioners.

Cardew as a Basis for a Discussion on Ethical Options

2001 ◽  
Vol 11 ◽  
pp. 13-15
Author(s):  
Coriún Aharonián
Keyword(s):  
Avant Garde ◽  
The People ◽  
The Relationship

The author discusses the relationship between the music and the politics of Cornelius Cardew, placing it in the context of his background and the period in which he worked. As a socially committed composer trained in elite and avant-garde conventions, Cardew struggled to create a music “for the people.” The results, if contradictory, have nevertheless proven to be of enduring value for his contemporaries and successors.

scholarly journals OPTIMIZATION OF PROSECUTORS COMMISSIONS SUPERVISORY FUNCTION IN DEALING WITH COMPLAINT ABOUT PROSECUTORS PERFORMANCE

2021 ◽  
Vol 9 (06) ◽  
pp. 503-512
Author(s):  
Murni Yanti ◽  
◽  
Wicipto Setiadi ◽  
Keyword(s):  
Data Collection ◽  
Attorney General ◽  
Monitoring Data ◽  
Public Attention ◽  
Avant Garde ◽  
The People ◽  
Commission Regulation ◽  
Public Report ◽  
The Right

After about 15 (fifteen) years of its formation, the Prosecutors Commission is deemed not optimal in its performance of duties, especially in dealing with public report or complaint, considering that the provisions of Article 4 item a and b Presidential Regulation on Prosecutors Commission that is the basis for the Prosecutors Commission to perform its duties as set forth in Article 3 Presidential Regulation concerning Prosecutors Commission causes multiple interpretations that, according to the provisions of Article 4 item a in performance of its duties of supervising, monitoring and assessing the performance and behaviors of prosecutors and/or employees of Prosecutor Office, the Prosecutors Commission has the authority to accept and follow up public reports or complaints, the extent of the Prosecutors Commissions authority to follow up public reports or complaints are not clearly regulated. However, according to the provisions of Article 4 item b, it is the Prosecutors Commissions authority to forward public reports or complaints to the Attorney General for follow-up. According to the provisions of Article 10 Presidential Regulation No. 18 of 2011 concerning Prosecutors Commission, the Prosecutors Commission has the right to participate in the hearing of a case which attracts public attention. Therefore, the Prosecutors Commission needs to make efforts to optimize its duties performance in dealing with public complaints, for example, by using the concept of the progressive law theory popularized by Satjipto Raharjo, that in progressive law application, law is not enforced according to the letter, but according to the very meaning of laws or regulations in a broad sense. Similarly, in performance of the Prosecutors Commissions authority in dealing with complaints, in which the authority is deemed to have weaknesses, the Prosecutors Commission cannot perform its functions optimally as an external supervisory agency. All this time, the Prosecutors Commission, in dealing with complaints, only focuses on reviewing the substance of complaint without performing functional supervisory activities such as monitoring, data collection, inspection and review. The reason is since the Prosecutors Commission has not applied the progressive law, while in dealing with public complaints related to cases which attract public attention, the Prosecutors Commission should have the psychology and morality to position itself as the avant-garde in dealing with cases which attract public attention, so as to give justice to the people in dealing with cases transparently and accountably. As a concrete measure of optimizing its duty performance, the Prosecutors Commission has internally amended the Prosecutors Commission regulations which are deemed not conforming to the progressive law, such as the amendment to the provisions of Article 1 point 14 of Prosecutors Commission Regulation number PER-05/KK/04/2012. In addition, the progressive law should be applied to Prosecutors Commissions preventive supervision by participating in the hearing of important cases dealt with by Prosecutors, either directly or by using technology, such as attending a hearing online, thus the presence of the Prosecutors Commission will be felt better, which means that the purpose of the Prosecutors Commission formation as an external supervisory agency for better transparency and accountability is achieved.

scholarly journals Cesare Zavattini’s Poetics of Objectivity

Anafora ◽  
2020 ◽  
Vol 7 (2) ◽  
pp. 505-520
Author(s):  
Etami Borjan
Keyword(s):  
Social Issues ◽  
Pivotal Role ◽  
Documentary Films ◽  
Italian Cinema ◽  
Wide Audience ◽  
Subjective Judgment ◽  
Avant Garde ◽  
Real People ◽  
The World ◽  
The Masses

Cesare Zavattini was an acclaimed neorealist screenwriter and a theorist of neorealism. He has played a pivotal role in the critical rethinking of the new postwar Italian cinema although many of his concepts were considered avant-garde for that period. He stood for a direct, spontaneous, and immediate cinema with real people and real events. Despite his desire to eliminate all that was fictional from his films, Zavattini’s concept of new realist cinema cannot simply be described as a documentary approach. He was not so much interested in making documentary films but in making documentary-like fictions. He believed in the potential of cinema to reach a wide audience and in its capacity to be aesthetically subversive. The aspiration for an avant-garde cinema that would reach the masses was a naïve attempt that was too radical for the Italian cinema at the time. Most of his ideas were not accepted in Italy, but he was admired by young filmmakers all over the world. Some of his ideas were realized a few decades later in the works of the famous cinéma vérité and independent avant-garde filmmakers. Throughout his career, Zavattini argued that cinema should be socially committed art. He believed that neorealist films should direct the viewer’s gaze toward specific social issues and voice a subjective judgment on it. In neorealist films, fictional style and documentary rhetoric make the illusion that the experience of characters stands for the experience of the audience.

The Press and the People

2020 ◽  
Author(s):  
Adam Fox
Keyword(s):  
Early Modern ◽  
Popular Literature ◽  
Wide Audience ◽  
The People ◽  
The Press ◽  
Production And Distribution ◽  
Single Sheet ◽  
Popular Texts ◽  
Cheap Print ◽  
British Culture

This is the first full-length study of cheap print in early modern Scotland. It traces the production and distribution of ephemeral publications from the nation’s first presses in the early sixteenth century through to the age of Burns in the late eighteenth. It explores the development of the Scottish book trade in general and the production of slight and popular texts in particular. Focusing on the means by which these works reached a wide audience, it illuminates the nature of their circulation in both urban and rural contexts. Specific chapters examine single-sheet imprints such as ballads and gallows speeches, newssheets and advertisements, as well as the little pamphlets that contained almanacs and devotional works, stories and songs. The book demonstrates just how much more of this reading matter was once printed than now survives and argues that Scotland had a much larger market for such material than has been appreciated. By illustrating the ways in which Scottish printers combined well-known titles from England with a distinctive repertoire of their own, The Press and the People transforms our understanding of popular literature in early modern Scotland and its contribution to British culture more widely.

scholarly journals ‘OPERETTAS’ FROM THE OTTOMAN PERIOD TO THE PRESENT

2021 ◽  
Vol 13 (1) ◽  
pp. 313-333
Author(s):  
Ömer TÜRKMENOĞLU ◽  
Gülay LAÇİN
Keyword(s):  
Nineteenth Century ◽  
Musical Theater ◽  
Lower Class ◽  
Western Music ◽  
Wide Audience ◽  
The Public ◽  
Comic Opera ◽  
The People ◽  
Simple Language ◽  
The 19Th Century

We need to give information about the definition and historical process of “operetta” before starting this study titled “Operettas from the Ottoman period to the present”. Operetta was a term used for short and unpretentious operas in the eighteenth century. At the end of the nineteenth century, "operetta" was called "small opera" and "musical theater" as a stage work, born out of the comic opera genre, developed in Paris and Vienna, one of the cultural and artistic centers of Europe. The operettas, which explained fun and emotional subjects in a simple language and appealed to a wide audience, also had the satiric feature of the lower class. In the Nineteenth Century Ottoman Period, when the influence of westernization began to be seen, interest in western style music increased along with the developments in Turkish music. Western style music was initially adopted by the people around the palace and later by the public and began to be performed. During this period, operettas were staged by Italian groups, and operettas were written by Turkish composers using Turkish and Western music together in the last quarter of the 19th century. In operettas written, the musical and instrumental features of Turkish music were used together with the harmony of Western music, and works were tried to be written using two different structures together. In this study, the development of operetta from the Ottoman period to the present day, which emerged in line with the Westernization movement, was discussed. The operettas that were written in this period but were not supported by the conditions of that period, could not be completed and therefore were not performed and forgotten, and operettas that have survived to the present day and have the characteristics of Turkish Music have been identified according to the sources. "Arif's Hilesi", known as the first Turkish operetta written in the Ottoman period and composed by Dikran Çuhaciyan, and the "İstanbulname" operetta composed by Turgay Erdener, one of the last generation composers, were also examined. Keywords: Ottoman, Republic, Period, Turkish, Operetta

Almada Negreiros, José Sobral de (1883–1970)

2018 ◽  
Author(s):  
Antonio Trinidad Muñoz
Keyword(s):  
Short Stories ◽  
Boarding School ◽  
Literary Work ◽  
Early 20Th Century ◽  
Childhood And Adolescence ◽  
Avant Garde ◽  
The People ◽  
Sao Tome E Principe ◽  
University Degree ◽  
Graphic Work

José Sobral de Almada Negreiros was a Portuguese artist (mainly writer and painter) and a most dynamic and multifaceted figure in early 20th-century Portuguese culture. Moving constantly between literature and the visual arts, he produced a multidisciplinary oeuvre. Both in his literary work, which includes poetry, short stories, drama, and essays, and in his painting and graphic work, Almada Negreiros took a rebellious and combative stance towards traditional academism and aesthetic conservatism. One of the main advocates of avant-garde in Portugal, he also championed the modernization of the country, motivated by the ideal of "educating the people through scandal." Born in the then Portuguese African colony of São Tomé e Príncipe, Almada Negreiros lost his mother at the age of three. Because his father was organizing the Pavilion of Portuguese Colonies for the 1900 World Fair in Paris, he spent his childhood and adolescence in a boarding school in Lisbon. Later on he attended a secondary school in Coimbra and the International School in Lisbon. Almada Negreiros would never obtain a university degree; he was a self-taught artist and a fervent reader and drawer from a very young age. In 1911 he started his career as a collaborator of the newspaper A Sátira; a year later, he participated in the I Salão dos Humoristas (first Salon of Humorists), an exhibition of caricatures and graphic humor in Lisbon.

« La musique nous accompagne du berceau à la tombe »

2013 ◽  
Vol 54 (4) ◽  
pp. 443-454
Author(s):  
Katalin Gellér
Keyword(s):  
Franz Liszt ◽  
Second Variation ◽  
Symphonic Poem ◽  
Concert Hall ◽  
Life And Death ◽  
Saint Petersburg ◽  
Musical Education ◽  
The Subject ◽  
Graphic Work

In 1881 Hungarian painter Mihály Zichy gave a pen drawing entitled Du berceau jusqu’au cercueil as a gift to Franz Liszt who was responsible for the musical education of Zichy’s daughter. Inspired by the drawing, Liszt composed the symphonic poem Von der Wiege bis zum Grabe / Du berceau jusqu’à la tombe (From the Cradle to the Grave). The first edition of the symphonic poem was illustrated by Zichy’s drawing. The painter later extended the subject with a number of narrative parts in order to illustrate those variety in which music can appear. This new graphic work Music Accompanies from the Cradle to the Grave was composed of consecutive and juxtaposed images associating film stills. He utilized this second variation in 1892 for planning the decoration of a concert hall in Saint Petersburg. In the shift from narrative to allegorical content these two graphic works together contain a hidden allegory of life and death.

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