Encounters with Tadeusz Różewicz 1990–2014

Tekstualia ◽  
2021 ◽  
Vol 1 (64) ◽  
pp. 5-16
Author(s):  
Tony Howard ◽  
Barbara Bogoczek

This essay contains recollections of the working relationship between Tadeusz Różewicz and two of his British translators between 1990 and his death in 2014. It includes quotations from their correspondence. The essay is particularly focused on the fi rst London production of Kartoteka, over forty years after its Warsaw premiere, and on the British reception of Różewicz’s late works recycling and Mother Departs.

2010 ◽  
Vol 51 (1-2) ◽  
pp. 141-152 ◽  
Author(s):  
Roger Grant

In recent years, music theorists and analysts have devoted a great deal of attention to the phenomenon of hypermeter, drawing some of their most representative examples from the late works of Haydn. Although this recent trend in analysis has shed much light on Haydn’s music, it has left questions of history distinct from the mode of listening it engages. This article argues that the way we understand conceptualizations of listening and aesthetic experience can greatly inform the way that we understand hypermeter and the question of style in history. Drawing on eighteenth-century theories of music and literature, it recontextualizes Haydn’s hypermetric style with respect to a larger world of aesthetic experience.


Author(s):  
Harry White

The Musical Discourse of Servitude examines the music of Johann Joseph Fux (ca. 1660–1741) in relation to that of Johann Sebastian Bach and George Frideric Handel. Its principal argument is that Fux’s long indenture as a composer of church music in Vienna gains in meaning (and cultural significance) when situated along an axis that runs between the liturgical servitude of writing music for the imperial court service and the autonomy of musical imagination which transpires in the late works of Bach and Handel. To this end, The Musical Discourse of Servitude constructs a typology of the late Baroque musical imagination which draws Fux, Bach, and Handel into the orbit of North Italian compositional practice. This typology depends on two primary concepts, both of which derive and dissent from Lydia Goehr’s formulation of the “work-concept” in The Imaginary Museum of Musical Works (1992), namely, the “authority concept” and a revised reading of the “work-concept” itself. Both concepts are engaged through the agency of two musical genres—the oratorio and the Mass ordinary—which Fux shared with Handel and Bach respectively. These genres functioned as conservative norms in Fux’s music (most of Fux’s working life was spent in writing for the church service), but they are very differently engaged by Bach and Handel. To establish a continuity between Fux, Bach and Handel, and between the servitude of common practice and the emerging autonomy of a work-based practice in the early eighteenth-century musical imagination are the principal objectives of this study.


Author(s):  
Ralph Henham

This chapter explains the practical consequences of what has been proposed. It begins by evaluating current models and suggested approaches for incorporating public opinion into sentencing, explaining how the proposed changes would differ. It then sets out some practical reforms to sentencing in England and Wales, including greater coordination between the national regulation of sentencing discretion through the Sentencing Council and regional or community-based sentencing practices. Regional branches of the Sentencing Council are also advocated. In addition to further practical reforms, a greater role for the Sentencing Council in the ethical surveillance of sentencing, the development of new procedural rules, and enhanced training for judges and magistrates are proposed. Finally, a closer working relationship between the Sentencing Council, the courts, the CPS, defence lawyers, and the Probation Service is advocated to develop guidance clarifying their role within the new sentencing framework.


2021 ◽  
pp. 1476718X2096974
Author(s):  
Sara Cervantes ◽  
Anna Öqvist

Preschool teachers and caregivers have a close working relationship as part of a working team to benefit the children in Swedish preschools. In 2011, a new educational reform was introduced according to which preschools became a school form in their own right within the overall educational system in Sweden. The objective of the policy was to strengthen the profession of preschool teachers by affording them clearer responsibility over the quality of educational practices and curriculum work. It also entailed a division of labour between the preschool teachers and caregivers in the working team. The current study explored how Swedish preschool teachers and caregivers positioned themselves in response to these changes in responsibility. In this qualitative study, data were collected from 17 preschool teachers and caregivers via an open-ended questionnaire. Preschool teachers and caregivers viewed themselves as having equal responsibility in the working team. Specifically, preschool teachers upgraded the competence and position of caregivers while downgrading their own professional competence and position. Caregivers downgraded the profession and position of preschool teachers and upgraded their own competence and position to be equal to that of preschool teachers.


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