scholarly journals La metodología comparatista en los estudios literarios

2019 ◽  
pp. 97
Author(s):  
Davide Mombelli
Keyword(s):  
Comparative Literature ◽  
Final Part ◽  
The Third ◽  
History Of ◽  
The One

This article is a first essay of classification of the main terms and concepts related to the methodology of Comparative Literature. The material is organized in three different sections. In the first section we proceed to some brief terminological and conceptual preliminary clarifications about the Comparison and Comparative Literature as a discipline. The second part describes the first comparative operation, namely the one inherent to the delimitation of the objects to be compared. The third and final part deals with the mode of comparison in its different conceptual and terminological concretions. In our analysis we have taken into account the main manuals of Comparative Literature, as well as other theoretical works about the methodology, the theory or the history of the discipline.

(A review). BRAUN-BLANQUETIA. Recueil de travaux de geobotanique / review of geobotanical monographs. Vol. 46. Centenaire de la phytosociologie. CAMERINO, 2010. 423 p.

2011 ◽  
pp. 143-147
Author(s):  
L. G. Naumova ◽  
V. B. Martynenko ◽  
S. M. Yamalov
Keyword(s):  
Plant Association ◽  
Northern Asia ◽  
The Third ◽  
International Botanical ◽  
International Botanical Congress ◽  
History Of ◽  
Definition Of

Date of «birth» of phytosociology (phytocenology) is considered to be 1910, when at the third International Botanical Congress in Brussels adopted the definition of plant association in the wording Including Flaó and K. Schröter (Flahault, Schröter, 1910; Alexandrov, 1969). The centenary of this momentous event in the history of phytocenology devoted to the 46th edition of the Yearbook «Braun-Blanquetia», which began to emerge in 1984 in Camerino (Italy) and it has a task to publish large geobotanical works. During the years of the publication of the Yearbook on its pages were published twice work of the Russian scientists — «The steppes of Mongolia» (Z. V. Karamysheva, V. N. Khramtsov. Vol. 17. 1995), and «Classification of continental hemiboreal forests of Northern Asia» (N. B. Ermakov in collaboration with English colleagues and J. Dring, J. Rodwell. Vol. 28. 2000).

Borat, Multiculturalism,Mnogonatsional'nost

Slavic Review ◽  
2008 ◽  
Vol 67 (1) ◽  
pp. 19-34 ◽  
Author(s):  
Steven S. Lee
Keyword(s):  
Civil Rights ◽  
The Other ◽  
Final Part ◽  
Jewish American ◽  
Third Way ◽  
Slavoj Zizek ◽  
Slavoj Žižek ◽  
History Of ◽  
The One

In this article, Sacha Baron Cohen'sBoratappears as just the latest in a decades- long exchange between American and Soviet models of minority uplift: on the one side, civil rights and multiculturalism; on the other,druzhba narodov(the friendship of peoples) andmnogonatsional'nost’(multi-national- ness). Steven S. Lee argues diat, with Borat, multiculturalism seems to have emerged as the victor in this exchange, but that the film also hearkens to a not-too-distant Soviet alternative. Part 1 shows how Borat gels with recent leftist critiques of multiculturalism, spearheaded by Slovenian philosopher Slavoj żižek. Part 2 relates Borat to a largely submerged history of American minorities drawing hope from mnogonatsional'nost', as celebrated in Grigorii Aleksandrov's 1936 filmCircus.The final part presents Borat as choosing neither multiculturalism nor mnogonatsional'nost', but rather the continued opposition of the two, if not a “third way.” For a glimpse of what this might look like, the paper concludes with a discussion ofAbsurdistan(2006) by Soviet Jewish American novelist Gary Shteyngart.

“A composItIon wrItten wIthout creatIve lImItatIons” – Wanda Landowska and concerto for harpsichord and five instruments by ManueL de Falla (1923)

2021 ◽  
Vol 1 (15) ◽  
pp. 67-107
Author(s):  
Ines R. Artola
Keyword(s):  
Strict Sense ◽  
Sonata Form ◽  
Historical Sources ◽  
Avant Garde ◽  
20Th Century Music ◽  
The Third ◽  
Word Analysis ◽  
The Past ◽  
History Of ◽  
The One

The aim of the present article is the analysis of Concerto for harpsichord and five instruments by Manuel de Falla – a piece which was dedicated by the composer to Wanda Landowska, an outstanding Polish harpsichord player. The piece was meant to commemorate the friendship these two artists shared as well as their collaboration. Written in the period of 1923-1926, the Concerto was the first composition in the history of 20th century music where harpsichord was the soloist instrument. The first element of the article is the context in which the piece was written. We shall look into the musical influences that shaped its form. On the one hand, it was the music of the past: from Cancionero Felipe Pedrell through mainly Bach’s polyphony to works by Scarlatti which preceded the Classicism (this influence is particularly noticeable in the third movement of the Concerto). On the other hand, it was music from the time of de Falla: first of all – Neo-Classicism and works by Stravinsky. The author refers to historical sources – critics’ reviews, testimonies of de Falla’s contemporaries and, obviously, his own remarks as to the interpretation of the piece. Next, Inés R. Artola analyses the score in the strict sense of the word “analysis”. In this part of the article, she quotes specific fragments of the composition, which reflect both traditional musical means (counterpoint, canon, Scarlatti-style sonata form, influence of old popular music) and the avant-garde ones (polytonality, orchestration, elements of neo-classical harmony).

Origins

2018 ◽  
Author(s):  
Peter Mitchell
Keyword(s):  
Short Distance ◽  
Cervical Vertebra ◽  
Genetic Studies ◽  
Human Interactions ◽  
The Third ◽  
Wild Ass ◽  
History Of ◽  
Kill Site ◽  
The One ◽  
The Right

Over 50,000 years ago a Neanderthal hunter approached a wild ass on the plains of northeastern Syria. Taking aim from the right as the animal nervously assessed the threat, he launched his stone-tipped spear into its neck, penetrating the third cervical vertebra and paralyzing it immediately. Butchered at the kill site, this bone and most of the rest of the animal were taken back to the hunter’s camp at Umm el Tlel, a short distance away. Closely modelled on archaeological observations of that vertebra and the Levallois stone point still embedded within it, this incident helps define the framework for this chapter. At the start of the period it covers, human interactions with the donkey’s ancestors were purely a matter of hunting wild prey, but by its end the donkey had been transformed into a domesticated animal. Chapter 2 thus looks at how this process came about, where it did so, and what the evolutionary history of the donkey’s forebears had been until that point. Donkeys and the wild asses that are their closest relatives form part of the equid family to which zebras and horses also belong. Collectively, equids, like rhinoceroses and tapirs, fall within the Perissodactyla, the odd-toed division of hoofed mammals or ungulates. Though this might suggest a close connection with the much larger order known as the Artiodactyla, the even-toed antelopes (including deer, cattle, sheep, and goats), their superficial resemblances may actually reflect evolutionary convergence; some genetic studies hint that perissodactyls are more closely related to carnivores. Like tapirs and rhinoceroses, the earliest equids had three toes, not the one that has characterized them for the past 40 million years. That single toe, the third, now bears all their weight in the form of a single, enlarged hoof with the adjacent toes reduced to mere splints. This switch, and the associated elongation of the third (or central) metapodial linking the toe to the wrist or ankle, is one of the key evolutionary transformations through which equids have passed. A second involves diet since the earliest perissodactyls were all browsers, not grazers like the equids of today.

scholarly journals Complementary apologetics: An attempt for the integration of apologetic schools

2016 ◽  
Vol 50 (1) ◽  
Author(s):  
Willem Van Vlastuin
Keyword(s):  
Human Mind ◽  
Final Part ◽  
The Third ◽  
Concentric Circles ◽  
Christian Apologetics ◽  
To Come

Within Christian apologetics several schools of thought exist. This article is firstly an attempt to come to a classification of these different schools. Next, the agreements and disagreements between these schools are investigated. It appears that despite the differences there are several common convictions between the several apologetic approaches, namely ‘knowing as basis for showing’, and ‘faith seeks understanding’. These common convictions appear to be fundamental if compared with the differences. The third part of this article explores the arguments for an integration of the different approaches. However, the concept of a strict integration will be problematic, and this leads in the final part to a proposal. The proposal is for a complementary model of concentric circles, starting with the convictions of the heart in the centre in fideism and presuppositionalism, continuing with apologetics which refer to the human mind in classical apologetics and culminating in apologetics that refer to senses in evidentialism.

THE MEDIEVAL ARCHIVE AND THE HISTORY OF THEATRE: ASSESSING THE WRITTEN AND UNWRITTEN EVIDENCE FOR PREMODERN PERFORMANCE

2011 ◽  
Vol 52 (1) ◽  
pp. 29-58 ◽  
Author(s):  
Carol Symes
Keyword(s):  
Religious Life ◽  
The Body ◽  
Read Aloud ◽  
The Third ◽  
History Of ◽  
The One ◽  
As If

Soon after he was consecrated bishop in 963, Æthelwold of Winchester (909–84) began to promulgate a series of new rules for worship and religious life in the monasteries of England. In one passage that is well known to theatre historians, Æthelwold insisted on the following performance of the Easter morning liturgy.While the third lesson is being read aloud, four of the brothersshould dress themselves.One of them, wearing an alb,should come in as though intent on other businessand gostealthilyto the place of the sepulchre, and therehe should sit quietly….The three remaining brothers …should make their way slowly and haltingly, coming before the place of the sepulchreas if they are seeking something. For these things are done in imitation of the angel seated on the tomb and of the women coming with perfumes to anoint the body of Jesus.When, therefore, the one sitting there sees the three drawing near, who are still wandering aboutas though seeking something, he should begin to singsweetly, in amoderatevoice: “Whom do you seek?”

scholarly journals “Letter of a Sicilian to one of his Friends” in Translation by Antiochus Cantemir (1726): History of the Text and Features of its Language

Slovene ◽  
2019 ◽  
Vol 9 (1) ◽  
pp. 223-253
Author(s):  
Dmitry Rudnev ◽  
Heng Fu
Keyword(s):  
French Text ◽  
Everyday Life ◽  
Final Version ◽  
The Third ◽  
Fourth Part ◽  
Building Models ◽  
The Everyday ◽  
History Of ◽  
French Original ◽  
The One

The article presents a many-sided analysis of a pamphlet by Giovanni Marana translated by Antiochus Kantemir into Russian in 1726. In the first part of the article, we describe various editions of Marana’s pamphlet and establish the one that became the source for Kantemir’s translation. This source is found out to be the publication of the pamphlet in one of the “Élite des bons mots” collections. Next, the correspondence between the text of the translation and the French text is analyzed, the deviations and errors in the Kantemir’s text are revealed and their explanation is given. It is concluded that the surviving manuscript of the translation was made from an earlier one and was not the final version of the text. The manuscript of the translation was published in 1868 as a part of the collected works by Antiochus Kantemir and was subjected to a considerable revision. The second part of the article is devoted to comparing the text of the manuscript and the published text, describing spelling and punctuation corrections, as well as mistakes made during the publication of the manuscript. The contradictions in introduced spelling corrections are noted. In the third part of the article, the technique of translation, ways of transferring lexical and syntactic units to Russian are analyzed. Kantemir uses a large number of borrowed words to describe the everyday life in Paris and France, however, mainly Slavic word-building models are used for translating the behavioral sphere vocabulary. The fourth part of the article describes the stylistic key of translation. While making the language of translation closer to the language of the French original, the translator left Russian as a basis, which he slavicised in two ways: first, with a small number of “background slavonicisms”, evenly distributed throughout the text; secondly, with “slavonicisms-inclusions”, creating points of stylistic tension. It is concluded that the degree of slavicisation of the text is not great.

scholarly journals Organology of Dreams and Archi-Cinema (

2016 ◽  
Vol 24 (47) ◽  
Author(s):  
Stiegler Bernard
Keyword(s):  
The Other ◽  
The Unconscious ◽  
The Third ◽  
Other Hand ◽  
The Matrix ◽  
History Of ◽  
Cinematic Time ◽  
The One

Stiegler argued in Cinematic Time and the Question of Malaise (the third volume of Technics and Time) that we must refer to archi-cinema just as Derrida spoke of archi-writing. In this article he proposes that in principle the dream is the primordial form of this archi-cinema. The archi-cinema of consciousness, of which dreams would be the matrix as archi-cinema of the unconscious, is the projection resulting from the play between what Husserl called, on the one hand, primary and secondary retentions, and what Stiegler, on the other hand, calls tertiary retentions, which are the hypomnesic traces (that is, the mnemo-technical traces) of conscious and unconscious life. There is archi-cinema to the extent that for any noetic act – for example, in an act of perception – consciousness projects its object. This projection is a montage, of which tertiary (hypomnesic) retentions form the fabric, as well as constituting both the supports and the cutting room. This indicates that archi-cinema has a history, a history conditioned by the history of tertiary retentions. It also means that there is an organology of dreams.

scholarly journals Motet “Jesu, Meine Freude” by Johann Sebastian Bach: Comparative Analysis of Editions of Musical Text

2021 ◽  
pp. 167-181
Author(s):  
Dmytro Savon
Keyword(s):  
Comparative Analysis ◽  
Johann Sebastian Bach ◽  
Historical Reconstruction ◽  
The Third ◽  
Choral Repertoire ◽  
History Of ◽  
Baroque Era ◽  
The One ◽  
First Time

Relevance and scientific novelty of the selected subject for the research. In the Ukrainian musicology, the motets written by Johann Bach were mainly studied from the compositional means standpoint, considering the system of polyphony, the role of chorale and fugue in dramaturgy as well as the composition of works. Scientists have not previously researched the motets performance specificity. Meanwhile, motets, particularly the one reviewed in the article “Jesu, meine Freude”, are among the most frequently performed works of the choral repertoire. For the first time in the Ukrainian musicology, three edited versions of the motet “Jesu, meine Freude” are analyzed from the standpoint of historically oriented performance. Based on the study of editors’ comments and source literature (mostly German), the question of compliance of the musical text with the task of performing reconstruction of the baroque vocal and choral style was studied. The aim of the article lies in the need to find out specificity of the editors’ interpretation of motet “Jesu, meine Freude” written by Johann Bach and suitability extent of different edited versions for the historical reconstruction of the vocal-choral style of the German Baroque. During the development of particular article, such methods were utilized: historical — the history of edited versions of “Jesu, meine Freude” motet was traced, comparative — the comparative analysis of three edited versions of motet “Jesu, meine Freude” written by Johann Bach (Franz Wulner, Konrad Ameln and Mykhailo Berdennykov) was completed. Main results and conclusions. According to the completed comparative analysis, the first two of the three considered edited versions are textual, while the third one is adopted for performing. Textual versions are characterized by the preservation of the composer’s text in the smallest details, including comments to clearly identify the extent of changes made by the editor in the text. The peculiarities of the version adopted for performing contain the large amount of remarks added by the editor, covering dynamic shades, strokes, tempo notation, etc. It is noted that the choice of version type is determined by performance goals: to perform the works of Johann Bach in an authentic manner, the conductor should focus on facsimile versions, and if they are absent (as in the case of the “Jesu, meine Freude” motet), the one should use textual type of edited versions. The version developed for performing cannot correspond to the authentic performing, as the first does not reflect specific tendencies of the time when it was created. It is specified that the conductor should be familiar with the peculiarities of fixing the means of performance in the musical text of the Baroque era.

Religious Offences in Italy: Recent Laws Concerning Blasphemy and Sport

2011 ◽  
Vol 13 (2) ◽  
pp. 182-197 ◽  
Author(s):  
Anna Gianfreda
Keyword(s):  
Criminal Law ◽  
Religious Freedom ◽  
Church And State ◽  
The Third ◽  
Recent Developments ◽  
History Of ◽  
Historical Remarks ◽  
The One ◽  
The 19Th Century ◽  
The Relationship

Religious offences in Italy, as in many European countries, have a long and complex history that is intertwined with the events in the history of the relationship between church and state and the institutional and constitutional framework of a nation.This article is divided into three parts. The first part aims to offer some historical remarks concerning the rules on the contempt of religion and blasphemy in Italian criminal law from the end of the 19th century to the present day. The second part focuses on changes to the law on vilification introduced in 2006 and the third part deals with the recent developments in blasphemy law in the context of sport.The article shows that, on the one hand, reforms of the offences grouped under vilification of religion are anachronistic and do not stand up against the religious freedom of individuals, yet on the other, despite the traditional rules for the protection of religion being considered obsolete, they are applied in new areas of law, for example sport, and are used to curb bad manners and bad behaviour. The relationship between the new functions of these criminal rules and the traditional ones, however, remains uncertain and fluctuating, and reveals a moralistic approach to religious offences.

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