scholarly journals La Universitat de Cervera: Un projecte reformista frustrat

2020 ◽  
Vol 15 ◽  
pp. 241
Author(s):  
Joaquim Prats
Keyword(s):  
Key Words ◽  
Present Article ◽  
Domestic Politics ◽  
18Th Century ◽  
The Other ◽  
Louis Xiv ◽  
The Future ◽  
The One ◽  
The University ◽  
Important Milestone

Resum: La universitat de Cervera, fundada per Felip V, suposà una fita important per a Catalunya: per un costat, naixia com un projecte borbònic de futur i, per un altre, significava que les universitats catalanes històriques havien estat abolides, en virtut de la política repressora del nou monarca. El present article analitza aquella institució i el fracàs d’aquell projecte. La creació de la Universitat ha de situar-se en un context reformista de tall centralista, propi de les noves monarquies europees que van prendre com a imatge la cort i l’acció en política interna de Lluís XIV. Tanmateix, amb el pas dels anys, aquella proposta es va veure frustada. Paraules clau: Universitat de Cervera, orígens, declivi, Catalunya, segle XVIII Abstract: The University of Cervera, founded by Philip V, was an important milestone for Catalonia: on the one hand, it was born as a Bourbon project for the future and, on the other, it meant that historic Catalan universities had been abolished, under the policy repressive of the new monarch. This article discusses that institution and the failure of that project. The creation of the University must be situated in a reformist context of a centralist nature, typical of the new European monarchies that took as their image the court and action in domestic politics of Louis XIV. However, over the years, that proposal was thwarted. Key words: University of Cervera, foundation, declivity, Catalonia, 18th. century

scholarly journals Professional and Transversal Competencies in the Accounting Field: Do Employers’ Expectations Fit Students’ Perceptions? Evidence from Western Romania

2017 ◽  
Vol 12 (3) ◽  
pp. 126-140 ◽  
Author(s):  
Cristina Nicolaescu ◽  
Delia David ◽  
Pavel Farcas
Keyword(s):  
Young People ◽  
Data Collection ◽  
Labour Market ◽  
The Other ◽  
Accounting Profession ◽  
Reference Mark ◽  
The Future ◽  
The One ◽  
The University ◽  
Western Romania

Abstract The changes that occur in the labour market due to the recent evolution registered in the field of accounting, led us to initiate a study in which we have as a purpose to analyse the perception that employers and students enrolled in the faculties for accounting from the Western part of our country have regarding the importance of the professional and transversal competencies when they get hired. The research tools used within this research are on the one side grounded on the quiz for data collection, and on the other side the ANOVA method for the analysis of the perception differences found in these two groups discussed upon. The results found in this work represent in the opinion of the authors an important reference mark for the university instruction of the young people who are about to enter the accounting profession, but also for the future employers who are about to interact with them.

Friedrich Ludwig's ‘Musicology of the Future’: a commentary and translation

2003 ◽  
Vol 12 (2) ◽  
pp. 129-164 ◽  
Author(s):  
John Haines
Keyword(s):  
Twentieth Century ◽  
The Other ◽  
Synthetic Approach ◽  
Academic Environment ◽  
Late Medieval ◽  
Medieval Music ◽  
The Future ◽  
The One ◽  
The University ◽  
Formal Lecture

Friedrich Ludwig's appointment in medieval music at the University of Straßburg came at a crucial time for German musicology, then a new discipline in a flourishing academic environment. Upon entering his post at Straßburg in the autumn of 1905, Ludwig delivered a formal lecture, here translated, in which he outlined the goals for twentieth-century medieval musicology. While many of these goals, in particular the editing of certain theorists and late medieval repertories, have been achieved, other directions implied in Ludwig's synthetic approach have received less attention. Ludwig's own musicology was a creative combination of forces: on the one hand, a reaction to earlier French scholarship in archaeology and philology; on the other, a borrowing of recent German trends in historiography, philosophy and music. Most notable is the influence of Ranke and Hegel on Ludwig's then new concept of latent rhythm (i.e., ‘modal rhythm’) in medieval music. A century of scholarship later, Ludwig's vision for musicology as an innovative interdisciplinary conjunction has much to teach us.

scholarly journals A APAIXONADA EXALTAÇÃO DA FIGURA DE SÓCRATES POR MEIO DO LOGOS DE ALCIBÍADES NO BANQUETE DE PLATÃO.

Sapere Aude ◽  
2019 ◽  
Vol 10 (19) ◽  
pp. 104-121
Author(s):  
João Raniery Silva
Keyword(s):  
Key Words ◽  
Present Article ◽  
The Other ◽  
Discursive Construction ◽  
Platonic Dialogue ◽  
The One

O presente artigo pretende analisar o discurso de Alcibíades no diálogo platônico Banquete, evidenciando a forma apaixonada que o discípulo exalta a figura do mestre. Partindo de sua enigmática chegada no simpósio, presença cheia de significados, procura refletir sobre o seu plano discursivo em que acorda não elogiar a um deus, como fizera os demais convivas, mas a construção discursiva de um encômio a um homem em especial, sábio e justo, personificação mesma do erotismo pedagogicamente instruído: Sócrates. Depois da celebração desse acordo que quebra o linear caminho argumentativo do discurso, busca perceber os elementos elogiosos suplantados no referido logos, que versa a respeito das capacidades físicas, morais e intelectuais de Sócrates. Com efeito, é possível encontrar um quadro significativamente importante montado por um discípulo (Alcibíades), fazendo uso até mesmo de imagens como a dos Silenos e dos sátiros Mársias, figuras camufladoras que mostram a contradição entre realidade exterior e realidade interior, com o substancial objetivo de exaltar seu admirado mestre (Sócrates) dando-lhe características atópicas. PALAVRAS-CHAVE: Éros. Banquete. Filosofia. Elogio. Paixão. ABSTRACT The present article will be analyzed in the speech of Alcibades in the platonic dialogue The Banquet, evidencing a passionate form that the learner exalts the figure of the máster: Socrates. Starting from its enigmatic no symposium, presence full of meanings, seeks to reflect on its discursive plan in what follows is not to praise a god, as the other guests had done, but a discursive construction of an encumbrance to a man in particular, wise and fair, personification same of pedagogically learned eroticism: Socrates. After the celebration of this agreement that breaks the linear argumentative path of discourse, seeks to perceive the complimentary elements supplanted in said logos, which deals with the physical, moral and intellectual capacities of Socrates. In fact, it is possible to find a significantly important picture mounted by a disciple (Alcibiades), making use even of images like the one of Silenos and the satyrs Mársias, camouflage figures that show the contradiction between outer reality and inner reality, with the substantial aim of extolling his admired teacher (Socrates) by giving him atopic characteristics. KEY-WORDS: Éros. Banquet. Philosophy. Praise. Passione. 

scholarly journals FRAME SIMULATIONS IN 18TH CENTURY AZULEJOS

ARTis ON ◽  
2016 ◽  
pp. 42-53
Author(s):  
Ana Raquel Machado ◽  
Rosário Salema de Carvalho
Keyword(s):  
Present Article ◽  
18Th Century ◽  
The Other ◽  
Future Research ◽  
Research Project ◽  
Research Directions ◽  
Ongoing Research ◽  
Other Hand ◽  
Future Research Directions ◽  
The One

The present article is the result of an ongoing research project and aims to draw attention to simulated azulejo frames. On the one hand, these decorative elements isolate the compositions, closing them in on themselves. On the other hand, simulated azulejo frames help integrate with the tile decoration they are part of, which in turn is part of a global decorative system in line with the concept of artistic totality typical of the Baroque period. This article will examine the various solutions that resort to this kind of frame, known as canvas-frame, including decorative elements, plastic compositions and their effects or consequences for the overall decorations. Finally, the focus will turn to future research directions, based on the systematic cataloguing of the known examples.

scholarly journals Refiguring the Primitive: Institutional Legacies of the Filmology Movement

2009 ◽  
Vol 19 (2-3) ◽  
pp. 169-182
Author(s):  
Peter J. Bloom
Keyword(s):  
Present Article ◽  
The Other ◽  
Psychological Attributes ◽  
Positive Science ◽  
University Of Paris ◽  
The One ◽  
Institutional Legacies ◽  
The University ◽  
Point Of Reference

AbstractThis contribution examines how the discourse of “the primitive,” as an institutional point of reference developed by the philosopher Lucien Lévy-Bruhl (1857-1939), influenced the establishment of the Institute of Filmology at the University of Paris in 1948. Filmology, a term introduced by Gilbert Cohen-Séat, is described as a positive science with its own strategy of systematizing the study of film as object and institution with its own series of emerging methods. The present article describes the formulation of the “filmic fact” as a positive science indebted to Durkheimian methods, but also as a means of engaging with the multiple strands of “primitivism.” On the one hand, this article elaborates upon the significance of Lévy-Bruhl’s discussion of “primitivism” as an effective cosmology for causation and related inferences which asserts a space of difference to be further explored, and on the other, it explains how “primitivism” has been used to designate historical and psychological attributes within the institution of cinema as an emerging structure of producing meaning.

Kunstschilders, gilde en academie Over het probleem van de emancipatie van de kunstschilders in de Noordelijke Nederlanden van de 16de en 17de eeuw

1987 ◽  
Vol 101 (1) ◽  
pp. 1-33 ◽  
Author(s):  
Hessel Miedema
Keyword(s):  
Art History ◽  
18Th Century ◽  
17Th Century ◽  
Source Material ◽  
The Other ◽  
Literary Sources ◽  
Artistic Freedom ◽  
The One ◽  
The University ◽  
Craft Guilds

AbstractThis article is a report on research undertaken in 1984-5 by a working group of art history students of the University of Amsterdam into the problem of the emancipation of artists f rom the craft guilds (Note 1). The research was based on Hoogewerff's excellently documented book on the Guilds of St. Luke and on published source material. The idea that artists and especially painters regarded the guilds as oppressive is a deeply rooted one (Note 2) and people are all too readily inclined to write of 'the artists' gaining their emancipation' from the Guilds of St. Luke. However, it is now clear that professional painters covered such a wide social spectrum that it is impossible to lump them all together under a single heading (Note 5), while a provisional investigation mainly, focussed on the first half of the 17th century even suggested that there could have been no question at all of emancipation. It became clear that the guilds continued to function all over the Northern Netherlands in the 17th century as Protectors of the profession, that there was no evidence of their hampering artistry and that if there was any emancipation, it took place within the guild itself. A factor that makes such research difficult is that the literary sources are by no means unambiguous or even reliable. In contrast to the meaning current in their day qf someone who does something with paint and a brush, Vasari and Van Mander used the term 'painter' only for those who painted scenes and portraits, not, for example, for those who did banners or ornamental work (Notes 7,8). Thus Van Mander's freguently cited tirade against the guild (Note 9) loses much of its force in respect of the emancipation theory. Moreover, it is the only text of that type in the Netherlands. Houbraken twisted the facts to fit his vision of the artist, projecting his idea of the artist's superiority on to the historical situation (Note II). Thus this study moved between two poles : on the one hand it again confirmed (Note 12) that the guilds continued to function until late in the 18th century, while on the other there was a growing need among their more successful members for an enhanced status and regard, which manifested itself in their assuming control of the guild and restructuring it more clearly and also in their uniting in additional groupings, in which the emphasis was laid on more intellectual and theoretical, aspects and links were sought with amateurs. Although both these moves could be regarded as a certain form of emancipation, neither can be ascribed to an urge for artistic freedom which was hampered by the guilds.

36. Practicing medicine and music II: Ophthalmology and music

2007 ◽  
Vol 30 (4) ◽  
pp. 46
Author(s):  
L. P. Hwi ◽  
J. W. Ting
Keyword(s):  
Chamber Music ◽  
18Th Century ◽  
Johann Sebastian Bach ◽  
Active Member ◽  
Active Researcher ◽  
Silver Medal ◽  
Medical Career ◽  
The One ◽  
The University ◽  
Over 40 Years

Cecil Cameron Ewing (1925-2006) was a lecturer and head of ophthalmology at the University of Saskatchewan. Throughout his Canadian career, he was an active researcher who published several articles on retinoschisis and was the editor of the Canadian Journal of Ophthalmology. For his contributions to Canadian ophthalmology, the Canadian Ophthalmological Society awarded Ewing a silver medal. Throughout his celebrated medical career, Ewing maintained his passion for music. His love for music led him to be an active member in choir, orchestra, opera and chamber music in which he sang and played the piano, violin and viola. He was also the director of the American Liszt Society and a member for over 40 years. The connection between music and ophthalmology exists as early as the 18th Century. John Taylor (1703-1772) was an English surgeon who specialized in eye diseases. On the one hand, Taylor was a scientist who contributed to ophthalmology by publishing books on ocular physiology and diseases, and by advancing theories of strabismus. On the other hand, Taylor was a charlatan who traveled throughout Europe and blinded many patients with his surgeries. Taylor’s connection to music was through his surgeries on two of the most famous Baroque composers: Johann Sebastian Bach (1685-1750) and George Frederick Handel (1685-1759). Bach had a painful eye disorder and after two surgeries by Taylor, Bach was blind. Handel had poor or absent vision prior to Taylor’s surgery, and his vision did not improve after surgery. The connection between ophthalmology and music spans over three centuries from the surgeries of Taylor to the musical passion of Ewing. Ewing E. Cecil Cameron Ewing. BMJ 2006; 332(7552):1278. Jackson DM. Bach, Handel, and the Chevalier Taylor. Med Hist 1968; 12(4):385-93. Zegers RH. The Eyes of Johann Sebastian Bach. Arch Ophthalmol 2005; 123(10):1427-30.

The Futurists. Experts in World Futures

2018 ◽  
Author(s):  
Jenny Andersson
Keyword(s):  
Cold War ◽  
Status Quo ◽  
The Other ◽  
Futures Studies ◽  
The Future ◽  
The Status ◽  
The One ◽  
The Cold War ◽  
Images Of The Future ◽  
The Way

Alvin Toffler’s writings encapsulated many of the tensions of futurism: the way that futurology and futures studies oscillated between forms of utopianism and technocracy with global ambitions, and between new forms of activism, on the one hand, and emerging forms of consultancy and paid advice on the other. Paradoxically, in their desire to create new images of the future capable of providing exits from the status quo of the Cold War world, futurists reinvented the technologies of prediction that they had initially rejected, and put them at the basis of a new activity of futures advice. Consultancy was central to the field of futures studies from its inception. For futurists, consultancy was a form of militancy—a potentially world altering expertise that could bypass politics and also escaped the boring halls of academia.

Monotheism in Isaiah

2020 ◽  
pp. 218-248
Author(s):  
Matthias Albani
Keyword(s):  
Historical Context ◽  
The Other ◽  
Divine Power ◽  
Crisis Situation ◽  
Catalytic Function ◽  
Other Hand ◽  
The Future ◽  
The One ◽  
Religious Crisis

The monotheistic confession in Isa 40–48 is best understood against the historical context of Israel’s political and religious crisis situation in the final years of Neo-Babylonian rule. According to Deutero-Isaiah, Yhwh is unique and incomparable because he alone truly predicts the “future” (Isa 41:22–29)—currently the triumph of Cyrus—which will lead to Israel’s liberation from Babylonian captivity (Isa 45). This prediction is directed against the Babylonian deities’ claim to possess the power of destiny and the future, predominantly against Bel-Marduk, to whom both Nabonidus and his opponents appeal in their various political assertions regarding Cyrus. According to the Babylonian conviction, Bel-Marduk has the universal divine power, who, on the one hand, directs the course of the stars and thus determines the astral omens and, on the other hand, directs the course of history (cf. Cyrus Cylinder). As an antithesis, however, Deutero-Isaiah proclaims Yhwh as the sovereign divine creator and leader of the courses of the stars in heaven as well as the course of history on earth (Isa 45:12–13). Moreover, the conflict between Nabonidus and the Marduk priesthood over the question of the highest divine power (Sîn versus Marduk) may have had a kind of “catalytic” function in Deutero-Isaiah’s formulation of the monotheistic confession.

scholarly journals When ‘You’ Means ‘I’: The German 2Nd Ps.Sg. Pronoun Du between Genericity and Subjectivity

2018 ◽  
Vol 4 (1) ◽  
pp. 280-309
Author(s):  
Peter Auer ◽  
Anja Stukenbrock
Keyword(s):  
18Th Century ◽  
The Other ◽  
Subjective Interpretation ◽  
Close Analysis ◽  
Data Capturing ◽  
The One

Abstract In this paper, we first present a close analysis of conversational data, capturing the variety of non-addressee deictic usages of du in contemporary German. From its beginnings, it has been possible to use non-addressee deictic du not only for generic statements, but also for subjective utterances by a speaker who mainly refers to his or her own experiences. We will present some thoughts on the specific inferences leading to this interpretation, making reference to Buhler’s deixis at the phantasm. In the second part of the paper, we show that non-addressee deictic du (‘thou’) as found in present-day German is not an innovation but goes back at least to the 18th century. However, there is some evidence that this usage has been spreading over the last 50 years or so. We will link non-addressee deictic du back historically to the two types of “person-shift” for du discussed by Jakob Grimm in his 1856 article “Uber den Personenwechsel in der Rede” [On person shift in discourse]. Grimm distinguishes between person shift in formulations of “rules and law” on the one hand, and person shift in what he calls “thou-monologue” on the other. The subjective interpretation of non-addressee-deictic du in present-day German may have originated from these “thou-monologues”

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