Inspirations, interactions and associations: On some links between the works of Vladimir Vysotsky and English-, French- and German-language poetry, theatre and pop music

Tekstualia ◽  
2018 ◽  
Vol 2 (53) ◽  
pp. 99-114
Author(s):  
Wojciech Paszkowicz
Keyword(s):  
20Th Century ◽  
Bertolt Brecht ◽  
German Language ◽  
Pop Music ◽  
Language Poetry ◽  
Foreign Literature ◽  
Diffi Cult ◽  
The Subject ◽  
19Th And 20Th Century ◽  
The Way

The threads binding the poetry of Vladimir Vysotsky with Russian and foreign literature have a diverse character – some convergences, similarities of his works to those of other authors can be identifi ed in the content, the subject, and the metre of the poems. Some of the literary associations are easily detectable for any recipient, others are more diffi cult to fi nd. The article focuses on the identifi ed links between the works of Vysotsky and those of foreign authors such as Pierre-Jean de Béranger, Robert Burns, and Bertolt Brecht. The convergences observed between Vysotsky’s and de Béranger’s poems, in the subject, form, and metre, indicate the affi nity of the way of thinking and ideals, as well as both poets’ love of freedom, despite the 150 year gap between their birth dates. The presented links with literature of the 18th, 19th, and 20th century widen the opportunities for interpreting the works of Vladimir Vysotsky.

scholarly journals Communion songs not regulated by the typicon in the recent tradition of Serbian church singing

Muzikologija ◽  
2004 ◽  
pp. 121-152
Author(s):  
Vesna Peno
Keyword(s):  
20Th Century ◽  
Fundamental Question ◽  
Orthodox Church ◽  
Liturgical Texts ◽  
Historical Themes ◽  
19Th And 20Th Century ◽  
The Church ◽  
The Way

In notated collections of Serbian church hymns from the 19th and 20th century there are, among others, communion songs with texts that were not regulated by the Typicon. These so-called "arbitrary communion songs" have been very popular in the recent tradition of Serbian church chanting. They have been gradually pushing out the hymns that are regulated for singing on concrete days and feasts during the church year. Analysis of possible influences that determined the way texts and the melodies delved into the recent Serbian church chanting follows two possible directions. The first commenced from late-Byzantine singing tradition; more specifically, from a group of songs that although based on liturgical texts, were performed in extra-liturgical occasions. These are calophonic irmoi which were composed by a great number of known late-Byzantine masters of singing. The second direction had its beginning in Russian spiritual music that generated a new melodic genre kant, based on western models. The majority of those compositions have freely written spiritual texts, too, and not part of the liturgy. Kanti were, namely, singing numbers in liturgical dramas - theatrical pieces with Christian historical themes. The majority of arbitrary communion hymns from Serbian collections have texts from the psalms or use texts for irmoi of specific canons. There is only one text that does not belong to the output of church hymnography. In spite of that, the melodies of the analyzed hymns reflect the presence of traditional compositional procedures characteristic of late-Byzantine and Serbian traditions. On either side, they possess atypical musical phrases that relate them to the the kanti. The usage of paraliturgical songs instead of communion hymns is commentated upon from the liturgic aspect also. That song belongs to the central part of the Liturgy and most fundamental during the service of the Orthodox church. Therefore the deviation in Serbian practice from the rules that define its place and role demonstrate the distancing from the tradition, raises a fundamental question: is liturgical meaning being compromised.

scholarly journals El texto de El ser sobrenatural como contexto próximo para entender la noología, la metafísica y la visión de Dios sobre Zubiri

2021 ◽  
Vol 17 ◽  
pp. 137-165
Author(s):  
Rafał S. Niziński
Keyword(s):  
20Th Century ◽  
The Self ◽  
Self Presentation ◽  
Early Christian ◽  
Diffi Cult ◽  
Core Meaning ◽  
The Way

The philosophy of Xavier Zubiri is recognized as one of the most diffi cult to understand because there is something unclear in it. Therefore one may guess that there is a hidden presumption done by Zubiri. Zubiri in the self-presentation of his philosophical backgrounds acknowledges that his philosophy owes most to the phenomenology of Husserl and metaphysics of Heidegger. He also admits of being infl uenced by Aristotle to a certain degree. Zubiri starts his analyses from perception of things, with which he fulfi lls phenomenological requirement of beginning philosophy with the description of reality. As the fi nal step he ads metaphysics, which explains the description of reality. Following this code of interpretation of Zubiri’s philosophy it is difficult to grasp its core meaning. What is this hidden supposition? In The Supernatural Being: God and Deifi cation in Saint Paul’s Theology, which he wrote in the 30s’ and 40s’ of the 20th century, Zubiri presents early Christian Neoplatonic theology. In the same work Zubiri also states that it is possible to discover the same ideas following the way up, i.e. departing from the creatures and ascending to God. And this will be the hidden supposition of his philosophy. This paper tries to show the philosophy of Zubiri can be understood as a kind of proof that the Neoplatonic vision of the reality presented in The Supernatural Being: God and Deifi cation in Saint Paul’s Theology is true and can be discovered by reason alone, i.e. departing only from description of facts.

scholarly journals Dziecięce zabawki świąteczne w świetle wybranych źródeł ikonograficznych 2. połowy XIX i początku XX wieku

2020 ◽  
pp. 89-112
Author(s):  
Katarzyna Kabacińska-Łuczak ◽  
Monika Nawrot-Borowska
Keyword(s):  
20Th Century ◽  
Subject Matter ◽  
The Other ◽  
Other Hand ◽  
The Subject ◽  
The One ◽  
The Way

The aim of this study is the reconstruction of children’s toys received by them during the Christmas period in the second half of the 19th and at the beginning of the 20th century. In its subject matter, the article refers, on the one hand, to the deliberations about Christmas toys and, on the other hand, it is part of the ever-growing trend of research on children’s toys from the historical and pedagogical perspective. The text is part of the triptych prepared by the authors on the subject of children’s Christmas toys during the period of Partitions of Poland. Selected iconographic sources – press graphics, Christmas postcards and photographs on which children’s toys can be found, comprise the source basis of this part. They are sources important for cognitive reasons, because they show the image of toys of the time, their appearance, shape, size, the way they were made, decorated, etc. They also indicate which toys were particularly popular (fashionable) and liked by children in the analysed period, and show the ways they were used.

Private Lives and Public Worlds: Changes in Americans' Social Ties and Civic Attachments in the Late‐20th Century

2003 ◽  
Vol 2 (2) ◽  
pp. 143-163 ◽  
Author(s):  
Daniel J. Monti, Jr. ◽  
Colleen Butler ◽  
Alexandra Curley ◽  
Kirsten Tilney ◽  
Melissa F. Weiner
Keyword(s):  
20Th Century ◽  
Social Ties ◽  
Private Life ◽  
Alexis De Tocqueville ◽  
Late 20Th Century ◽  
Robert Putnam ◽  
Private Lives ◽  
The Subject ◽  
Interpersonal Ties ◽  
The Way

The tension between one's private life and larger public obligations has been the subject of much speculation, captured powerfully in works as diverse as those of Alexis de Tocqueville and Robert Putnam. This matter is explored to an extent not previously undertaken in a study of Americans' interpersonal ties and civic attachments at the end of the 20th century. Evidence from the GSS for 1974, 1984, and 1994 suggests that a person's gender, race, age, education, occupation, and mobility became a little more strongly associated with the way one socialized informally and less strongly associated with the kinds of organizations one joined. Regardless of where they live or what generation they came from, Americans have managed the tension between their private lives and broader public duties better and more creatively than we could have imagined.

scholarly journals Od binarności do nowej fali – między modernizmem a postmodernizmem w nowej socjologii dzieciństwa

2020 ◽  
Vol 49 (2) ◽  
pp. 81-90
Author(s):  
Małgorzata Kowalik-Olubińska
Keyword(s):  
20Th Century ◽  
New Wave ◽  
Holistic Understanding ◽  
The Subject ◽  
Sociology Of Childhood ◽  
The Way

The area of the author’s investigations is the new study paradigm, known as the new sociology of childhood, formulated at the end of the 20th century. The subject of the author’s interest is one of the currents, known as the new wave, which the author considers in the context of modernism, out of which the current of the new wave has emerged, and postmodernism, which constitutes the significant intellectual background for it. The objective of the article is to depict the way of understanding both the child and childhood contained within the investigative current of the new wave, which has enabled the child to be considered as a fully dimensional and biological, psychological and social being, as well as adaptation of the holistic understanding of childhood as a phenomenon within which culture meets nature, whereas what is social inextricably intertwines with what is natural. The author discusses the modernistic dichotomies, the criticism of which has contributed to the emergence of the new wave of study, within the context of the assumptions of the new sociology of childhood. The author presents conceptual categories which make it possible to get out of dichotomy when describing and analyzing childhood. At the end of the article the author indicates the implications of the assumptions of the new wave analyzed in the article for education of the child.

Wilhelma z Newburgh Noc Żywych Trupów

2019 ◽  
Vol 110 (1) ◽  
pp. 1-18
Keyword(s):  
20Th Century ◽  
Geoffrey Of Monmouth ◽  
Apparent Contradiction ◽  
12Th Century ◽  
Rational Explanation ◽  
Other Information ◽  
The Status ◽  
History Of ◽  
The Subject ◽  
The Way

Although William of Newburgh’s 12th-century chronicle Historia rerum Anglicarum regularly appears in scholarly papers, researchers focus their attention only on a small portion of the text. They write either about the famous prologue, in which the chronicler criticises Geoffrey of Monmouth for making up a fantastic history of ancient Britain, or about the extraordinary tales of the dead rising from their graves. This apparent contradiction — a critical and rational author writing about unreal beings — has not attracted much attention. William applied the same criticism with regard to Geoffrey and the information he had about th e revenants. This is visible when the chronicler’s tales are placed against a broader background of other narratives about revenants. What also deserves closer scrutiny is the structure of the chronicle and the way in which William introduced the various stories. As a result it will become obvious that in the case of this chronicle we are dealing with a deliberately structured narrative in which the author regularly uses stories he regards are true in order to illustrate good and bad deeds. For him, these are not fictional constructs, but events the status of which is determined on the basis of accounts by reliable witnesses. He approaches them carefully and determines their veracity, looking for other information about the subject. Whenever he has — from our 20th-century perspective — a rational explanation of an extraordinary event, he recounts it. However, in the same way he also confirms the veracity of the stories about revenants.

scholarly journals Sztuka performansu po "The Artist Is Present". Kontynuacja działań Mariny Abramović w twórczości jej uczniów

Panoptikum ◽  
2019 ◽  
pp. 149-162
Author(s):  
Weronika Metlenga
Keyword(s):  
Qualitative Research ◽  
20Th Century ◽  
Contemporary Art ◽  
Performance Art ◽  
Turning Point ◽  
Work Of Art ◽  
Marina Abramovic ◽  
The Subject ◽  
The Difference ◽  
The Way

Performance art, recognized in the second half of the 20th century as niche and alternative, is currently perceived as one of the most popular genres of contemporary art. The difference that has raised due to the development of performance art is evident not only in the way a performance is created, but mainly in changing the perception of the work of art. The opening of the Marina Abramović Institute and the performance The Artist Is Present, became the main turning point showing this change. The aim of this article is to present how the art of Marina Abramović, which she consistently created for more than four decades, evolves in the works of the new generations of performers. Qualitative research based on film, interviews, exhibitions and publications related to the subject is the base for these considerations.

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.

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