scholarly journals Franz Liszt under the Light of Progress

2021 ◽  
Author(s):  
Willy Bettoni
Keyword(s):  
19Th Century ◽  
Music Theory ◽  
Paradigm Shift ◽  
Franz Liszt ◽  
Musical Language ◽  
Aesthetic Thinking ◽  
The 19Th Century ◽  
The Ideal

The idea of progress became increasingly relevant during the 19th century, eventually instigating a paradigm shift. This transformation facilitated not only the emergence of numerous philosophical and literary trends, but also engendered new perspectives in music theory. The composer Franz Liszt was also influenced by the spirit of the epoch. This study’s analysis of his piano compositions from the Sonata in B Minor to the Bagatelle sans tonalité shows how he shaped and adapted his musical language and aesthetic thinking on the basis of what he called the ‘ideal of the time’.

A New Pattern of Old Fabric: Taʻlīm-i fārisī and the Grammatical Description of the Persian Language in the Ottoman Empire

2021 ◽  
Vol 27 (41) ◽  
pp. 31-48
Author(s):  
Munir Drkić ◽  
Ahmed Zildžić
Keyword(s):  
Ottoman Empire ◽  
19Th Century ◽  
Paradigm Shift ◽  
Traditional Approach ◽  
New Approach ◽  
Persian Language ◽  
European Languages ◽  
Language Students ◽  
The 19Th Century

This paper aims to examine the work entitled Taʻlīm-i fārisī in the context of the Ottoman tradition of the grammatical study of the Persian language. Taʻlīm-i fārisī, most likely penned by Kemal-pasha, is a short yet exceedingly significant primer for Persian language students dated in the middle of the 19th century. After a brief overview of the Persian grammar studies in the Ottoman Empire, the authors present the work and its author and conduct an analysis of the content of Taʻlīm-i fārisī. In terms of its underlying methodology, this work stands halfway between two principal tendencies: one is the traditional approach to studying the Persian language in the Ottoman Empire; another is a new approach developed under the influence of grammatical description of European languages. This paradigm shift in the Persian language's grammatical description within the Ottoman Empire is readily observable in the primer under review.

A New Pattern of Old Fabric: Taʻlīm-i fārisī and the Grammatical Description of the Persian Language in the Ottoman Empire

2021 ◽  
Vol 27 (41) ◽  
pp. 31-48
Author(s):  
Munir Drkić ◽  
Ahmed Zildžić
Keyword(s):  
Ottoman Empire ◽  
19Th Century ◽  
Paradigm Shift ◽  
Traditional Approach ◽  
New Approach ◽  
Persian Language ◽  
European Languages ◽  
Language Students ◽  
The 19Th Century

This paper aims to examine the work entitled Taʻlīm-i fārisī in the context of the Ottoman tradition of the grammatical study of the Persian language. Taʻlīm-i fārisī, most likely penned by Kemal-pasha, is a short yet exceedingly significant primer for Persian language students dated in the middle of the 19th century. After a brief overview of the Persian grammar studies in the Ottoman Empire, the authors present the work and its author and conduct an analysis of the content of Taʻlīm-i fārisī. In terms of its underlying methodology, this work stands halfway between two principal tendencies: one is the traditional approach to studying the Persian language in the Ottoman Empire; another is a new approach developed under the influence of grammatical description of European languages. This paradigm shift in the Persian language's grammatical description within the Ottoman Empire is readily observable in the primer under review.

scholarly journals "We pay no heed to the ideal… We pay heed to trifle and trifle…" The issue of moral and ethical evaluation of Alexander Ostrovsky's works in literary criticism of the second half of the 19th century

2019 ◽  
pp. 95-99
Author(s):  
Yelena N. Belyakova
Keyword(s):  
Literary Criticism ◽  
19Th Century ◽  
Public Life ◽  
Critical Evaluation ◽  
Creative Work ◽  
Ethical Assessment ◽  
Ethical Evaluation ◽  
Literary Process ◽  
The 19Th Century ◽  
The Ideal

In terms of newspaper-magazine reviews of Alexander Ostrovsky's works, published in the 1850s-70s, the problem of artistic text literary-critical evaluation is examined in the article. The author of the article assumes that artistic text evaluation is directly related to ideology and to the main request of time in terms of which, the text receives this assessment. According to Georgiy Fridlender, one of the most important tasks that Russian public life of the second half of the 19th century set for literature was to create an image of a viable and still positive hero. Alexander Ostrovsky in his work was oriented to answers to the most pressing social requests. Nevertheless, his works often did not satisfy his contemporaries, and sometimes insulted their moral feelings. An attempt to trace how the negative moral and ethical assessment of the playwright's creative work was conditioned and the role that newspaper and magazine criticism played in shaping the literary process is undertaken in the article.

scholarly journals Musical Shevchenko Series of Vladyslav Zaremba

2019 ◽  
pp. 78-92
Author(s):  
Tetiana Krulikovska
Keyword(s):  
19Th Century ◽  
Social Issues ◽  
Musical Language ◽  
Main Attention ◽  
Musical Culture ◽  
Inner World ◽  
Vocal Works ◽  
The Individual ◽  
The 19Th Century

The article deals with a generalized musicological analysis of the songs from two vocal collection series, titled «Kobzar Tarasa Shevchenka» (Taras Shevchenko’s Kobzar) by the 19th century Ukrainian composer of Polish origin Vladyslav Zaremba in order to attract attention to the composer’s creative heritage, reveal the most typical features of his musical language and determine their stylistics in the context of the 19th century musical culture. Also the article attempts to specify the significance of the vocal works collection in the context of developing the Ukrainian romance and the 19th century Ukrainian T. Shevchenko series.The article focuses on the content of vocal compositions associated with typical folk characters, as well as the composer’s vision of his characters’ complex and rich inner world. The article considers the works devoted to the themes of orphanhood, loneliness, alien land, love, typical romantic motives of the Cossack will, sentiments of grief and melancholy, which form the figurative and poetic content of Shevchenko’s poems.The analysis is focused not only on V. Zaremba’s lyrical songs, but also his vocal works, which raise the complex social issues of difficult maidenhood, orphanhood, the search for better life, the main characters’ romantic attempts to realize their dreams and the sad realities. The main attention is focused on the role of the piano, which is interpreted by the composer as an active participant in the dramatic action. However, the piano version of V. Zaremba’s vocal works highlights an extremely important and vivid element of the national sound sphere, namely the imitation of playing the bandura, which performs the semantic role of the national Ukrainian symbol and is perceived as an important component of the national culture. Thus, the conducted analysis allows visualizing the figurative and emotional world of T. Shevchenko’s poetry and deducing the values of the bandura as a semiotic sign in the 19th century Ukrainian musical culture, which will become especially noticeable in M. Lysenko’s works. An important issue in analyzing the composer’s style is the focus on the synthesis of European school achievements with the individual elements of the national school as a certain stage in the development of Ukrainian professional music, which replaces amateurism and dilettantism.

”A CONVENCIONAL RECUSA DA POPULAÇÃO A CERTOS TRABALHOS AGRáCOLAS, QUE JULGáƒO DESTINCTIVO DA ESCRAVIDáƒO”: o trabalhador ideal para o Cariri Cearense da segunda metade do século XIX

2014 ◽  
Vol 11 (18) ◽  
Author(s):  
ANA SARA RIBEIRO PARENTE CORTEZ
Keyword(s):  
Labor Supply ◽  
19Th Century ◽  
National Context ◽  
Palabras Clave ◽  
Freed Slaves ◽  
Siglo Xix ◽  
The 19Th Century ◽  
Migratory Pathway ◽  
The Ideal

Na segunda metade do século XIX, ao Cariri Cearense se delineou uma via migratória. Eram trabalhadores livres e pobres que, fugindo da seca, buscavam um espaço que não era severamente assolado por esse fenômeno. Unidos aos livres, libertos e escravos da região compunham a oferta de mão de obra. Por outro lado, nessa época, as autoridades e proprietários dessa região se ressentiam da falta de trabalhadores, sobretudo para a lavoura. Isso ocorria pela noção referente ao trabalho escravo, como aviltante e degradante, condicionar a percepção dos trabalhadores livres sobre as lidas que eles deveriam se vincular. Nacionalmente ocorria a discussão em torno da formação do trabalhador nacional em contraposição ao ócio e vadiagem percebidos nos setores pobres da sociedade. Assim como no contexto nacional, no sul cearense, mudar a noção de trabalho foi vista como necessária a fim de alterar a percepção sobre os serviços ”˜de escravos”™. Palavras-chave: História. Trabalho. Século XIX.  ”THE REGULAR REFUSAL FROM POPULATION CERTAIN AGRICULTURAL WORKS, JUDGED TO BE DISTINCTIVE OF SLAVERY”: the ideal work for the Cariri region of Ceará in the second half of the 19th centuryAbstract: In the second half of the 19th century, the Cariri region of Ceará became a migratory pathway. Free and poor workers fleeing from the drought, sought a space not severely hit by this phenomenon. Along with the free man and freed slaves from the region comprised the labor supply. Moreover, at that time, the authorities and farm owners from the region complained about the lack of labor, especially for farming. This occurred from the notion of slave work as demeaning and degrading condition the perception of free laborers on the rules that they should be bound to. Nationally occurred the discussion around the formation of national worker as opposed to idleness ad vagrancy perceived in poor sectors of society. As in the national context a change in the notion of work was seen as necessary in southern Ceará in order to change the perception of the ”slave” jobs. Keywords: History. Work. 19th century.  ”EL RECHAZO DE LA POBLACIÓN A CIERTOS TRABAJOS AGRáCOLAS PORJUZGAR DESTINCTIVO LA ESCLAVITUD”: el empleado ideal para el Carirá­ - Ceará de la segunda mitad del siglo XIXResumen: En la segunda mitad del siglo XIX, en el Cariri - Cearense surgió una ruta migratoria. Eran trabajadores libres y pobres, huyendo de la sequá­a, buscaban un espacio que no fuera duramente afectado por este fenómeno. Unidos a los libres, libertos y esclavos de la región comprendieron la oferta de trabajo. Por otra parte, en ese momento, las autoridades y los propietarios de esta región sintieron la deficiencia de trabajadores, en especial para la agricultura. Esto ocurrió por la idea en referirse a la esclavitud como humillante y degradante, condicionar la percepción de los trabajadores libres en la lectura que deberá­an estar vinculados. A nivel nacional, ocurrió la discusión sobre la formación del trabajador nacional en oposición a la ociosidad y vagancia percibida en sectores pobres de la sociedad. Al igual que en el contexto nacional, en el sur de Ceará, cambiar el concepto de trabajo fue visto como necesario para cambiar la percepción de los servicios de 'esclavos'. Palabras clave: Historia. Trabajo. Del siglo XIX.

,,Ein Vorhof zum Paradies". Das Czernowitz-Bild in der deutsch-jüdischen Literatur

2006 ◽  
Vol 58 (3) ◽  
pp. 216-226
Author(s):  
Anna-Dorothea Ludewig
Keyword(s):  
20Th Century ◽  
19Th Century ◽  
Holocaust Survivors ◽  
The Real ◽  
Real Place ◽  
Time Period ◽  
The 19Th Century ◽  
The Relationship ◽  
The Ideal

AbstractThe present research on Czernowitz focuses mostly on the 20th century and on the works and memoirs of Holocaust survivors. But Czernowitz was at its cultural and economical height at the end of the 19th century, and it was during that time that the myth of the ,,ideal city" was established. This essay stresses the importance of that time period for understanding the ,,Czernowitz myth," and it analyzes the relationship between the ,,real" place Czernowitz and the literary topos of a ,,sunken city" (Rose Ausländer).

scholarly journals Medieval religious intellectual culture in the works of V.S. Soloviev

2021 ◽  
Vol 21 (3-4) ◽  
pp. 56-62
Author(s):  
Vadim L. Afanasevsky
Keyword(s):  
19Th Century ◽  
Middle Ages ◽  
Western Europe ◽  
Intellectual Culture ◽  
Religious Worldview ◽  
Man In The Middle ◽  
The Subject ◽  
The 19Th Century ◽  
The Ideal ◽  
The Middle Ages

The article discusses the views of V.S. Solovyov on the medieval religious worldview. The main problem for historical and historical and philosophical thought at the end of the 19th century was the question of the degree of influence of Christian ideology on the perception of man in the Middle Ages. And since it was V.S. Soloviev who expressed doubts about the absolute significance of the Christian doctrine for the consciousness of medieval Western Europe, Byzantium and Russia, then his constructions are especially interesting. The author proceeds from the assumption that all his reflections can be characterized as Christian utopianism, however, it is presented in the space of liberal teachings of Russia in the second half of the 19th century. Attention is focused on the aspiration of V.S. Solovyov to solve problems through the completeness and purity of the ideal of Christianity. Therefore, the world-historical process itself appears as a condition for the functioning of this ideal. The key point for the Russian philosopher is the conviction that in the Middle Ages pagan elements persist and affect the consciousness of people under the guise of the Christian faith. And this leads to the antinomy of the order of life and the spirit of the Middle Ages. It is this moment that serves as the subject of this article.

scholarly journals Den Postmoderne Biografi

2012 ◽  
Vol 14 (1) ◽  
pp. 34-44
Author(s):  
Johnny Kondrup
Keyword(s):  
19Th Century ◽  
Human Life ◽  
Social Structures ◽  
New Criticism ◽  
Literary Biography ◽  
Literary Research ◽  
Traditional Patterns ◽  
The 1960S ◽  
The 19Th Century ◽  
The Ideal

ABSTRACT This article concerns the return of the literary biography in the humanistic fields, especially in Danish literary research, since 1980. During the New Criticism in the 1960s biography was regarded as a superfluous genre, and during the neoMarxism of the 1970s as a naive genre. But around 1980 it returned in the form of a number of new scholarly works especially in the fields of literature and history. This article points to two elements in the postmodern Zeitgeist which might have played a role in promoting the return of biography: first, the collapse of the grand systems of interpretation, and second a change in the ideal of scholarship in the direction of constructivism. Then the article investigates how ‘the new biography’ is distinguished from the old and outlines three points in particular: 1) a greater understanding of the significance of social structures; 2) an increased focus on contingency, incoherence and indeterminacy in a human life; and 3) a rising interest in the ‘ordinary’ human being. On a fourth point, postmodern biography has not come as far as one might expect. Although it could be more experimental and theoretically self-conscious, in fact it employs surprisingly traditional patterns of narrative, most of which are stamped by the Bildungsroman of the 19th century.

The Music of the Modern Greeks in Western and Eastern Music Literature, from the 9th to the 19th Centuries

2019 ◽  
pp. 257-278
Author(s):  
Katy Romanou
Keyword(s):  
19Th Century ◽  
Music Theory ◽  
Strong Influence ◽  
18Th Century ◽  
Asia Minor ◽  
The West ◽  
Cultural Changes ◽  
French Enlightenment ◽  
Eastern Music ◽  
The 19Th Century

This chapter concerns the interactions between Eastern and western music from the ninth to the 19th century. Through observations of western writers (such as Zarlino, Burney, Martini, Villoteau, Fétis) about the music of their contemporary Greeks, it is shown that most of the Eastern terms and concepts described in western treatises of the 9th century (when the East influenced the West) have been preserved almost unchanged in the Greek church over the centuries. By the end of the 18th century, westernisation of the East and the spread of nationalism brought great political and cultural changes to the population of Asia Minor. In Constantinople, music theory and the notation of the Greek chant were then rationalised (westernised). In the books of the reformer, Chrysanthos of Madytos, the strong influence of the French Enlightenment is most evident, side by side though with, still vivid, Eastern concepts and ideas.

scholarly journals Towards perfect unity: himnography and some musical reinterpretations within Serbian chanting practice

2019 ◽  
Vol 1 (1) ◽  
pp. 71-79
Author(s):  
Predrag DJOKOVIĆ
Keyword(s):  
19Th Century ◽  
Orthodox Church ◽  
Poetic Structure ◽  
Specific Manner ◽  
The Status ◽  
Rhythm And Meter ◽  
The 19Th Century ◽  
The Church ◽  
The Ideal

This paper explains the musical treatment of the hymnographic genres within the Serbian chanting practice. As it is known, the original Byzantine poetic structure written in verse — which was in perfect unity with the Byzantine chant concerning the rhythm and meter — was lost in Church-Slavonic translations. The Slavonic hymnography in prose inevitably caused modification of the music language, i.e. establishing of the new bond between the word and a tone. Accordingly, a creative practise of “tailoring” the church melodies to the structure and semantics of the particular hymnographic genre occurred within Serbian chanting practise. Eventually, many songs from the Octoechos, General Chanting, as well as certain songs of the Festal Chanting, gained the status of the “fixed” chants, the proof of which are the first Serbian chanting collections from the 19th century written in staff notation. In these chants semantics and music are set in a specific manner and they represent a model by which the chanters govern themselves while singing other church hymns. Ideal unity of hymnography and music in the fixed chants is reflected in coinciding of textual and music phrases. Such an ideal balance contributes to the clear transmission of the hymnographic content to the faithful. However, sticheras, irmoses, troparions and kontakions which lack the ideal balance, may cause the hymnographic narration and, at some places, even the theological points to be incomprehensible and imprecise. To creative chanters it is an opportunity to “tailor”, i.e. to reinterpret the chants in order to compensate for these imperfections. Such a creative interpretation is possible only by skilled chanters who, above all, thoroughly understand the meaning and structure of a particular hymnographic work. Amongst such chanters were some of the bishops and patriarchs of the Serbian Orthodox Church. Certain chants related to this problem are examined in this paper.

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