The Traditional and the Innovative in the Dramaturgy and Composition of Béla Bartók’s Ballets

This article investigates the development of the 20th century ballet genre on the example of the Hungarian composer Béla Bartók (1881—1945). The study aims to reveal the features of B. Bartók’s ballets in the context of trends in Western European art of the 20th century and to show the composer’s innovative techniques. The article identifies specific musical formative means that reflect the genre definition of “pantomime”, and emphasizes his innovation. The early 20th century ballet art is an extremely bright phenomenon associated with the active search for new ways of developing the genre, which took place at the turn of the 19th and 20th centuries. Classical ballet, which had reached its peak in the works of the Russian ballet school and the works of M. Petipa, was suddenly recognized as outdated and unviable. The new generation of choreographers sought to refute, to a certain extent, the genre’s old laws. The idea of searching for new means of expression became the leading one, and the canon of classical choreography was replaced by pantomime and a new unusual dance technique, which later became known as modern dance. B. Bartók’s ballets “The Wooden Prince” (1917) and “The Miraculous Mandarin” (1919) are examples of the new type of ballet performance of the early 20th century. The article shows that the composer focused on creating a symphonic score corresponding to the ideas of pantomime. His appeal to this had been primarily dictated by the librettos themselves, in which B. Balázs and M. Lengyel had defined the work character in this way. Naturally, the rejection of classical ballet’s traditional forms influenced the works’ compositional features. The article demonstrates that the scores of “The Wooden Prince” and “The Miraculous Mandarin” are distinguished by a new approach to the musical structure, in which the principles of instrumental forms play a significant role. At the same time, each of the ballets expresses the dialectical pair of “canon and heuristic” in its own way: “The Wooden Prince” retains to a certain extent the flair of classical ballet; in “The Miraculous Mandarin”, this genre pattern is violated almost ostentatiously. In this work, B. Bartók’s appeal to such an anti-classical subject reflects the era’s new trends associated with the artistic movement of expressionism. In the Hungarian composer’s ballets, the dualism of the traditional and the innovative gives rise to a different type of ballet score itself.

NON-CLASSICAL SUBJECT OF VISION. PART II

The article is a continuation of the previous article Non-Classical Subject of Vision. Part I and is devoted to the analysis of the eventivity of a non-classical subject. The analysis of non-classical subjectivity in the article is based on the three-part mechanism of the power of distance, power of gaze and power of memory proposed by W. Benjamin. The concept of the image as a mediator through which the subject regains the lost distance with the world is discussed. The article deals with the concepts of the non-classical subject of visuality by J.-P. Sartre and G. Didi-Huberman as different types of transformation of the power of gaze and the role of memory in non-classical vision. Important elements of the concept of «scanty image» by J.-P. Sartre are analyzed: criticism of the naive understanding of the immanence of consciousness and the world, criticism of images as a weak copy of the object of observation, the development of a specific givenness of a thing in an image through its distant present absence. It is shown that the theory of «scanty image» breaks the unreal objects of visual consciousness and the sensually perceived world into two poles that are not connected with each other. Therefore, in Sartre’s concept, the relationship with the world — both in visual and sensory comprehension of reality, turns out to be problematic. In the theory of G. Didi-Huberman, built on the reorganization of the understanding of the aura in technically reproducible art, a deeper understanding of the image is given. The presence as well as the absence of things of the world do not appear as separate from each other, but turn out to be the dialectical unity of the game of near and far (Fort-Da). The article discusses this dialectical understanding of the relationship between the man and the world, which acts as an incessant rhythm of approaching and removing a visible object. In this eventful space of a vision (D. Joselit) turns a thing into a hybrid object, and the person appears as a flickering subject of vision.

Before and After MOOCs, Before and After Institutions

Digital learning practice using ubiquitous personal technologies can lead to teachers using their craft professionalism to create artfully-crafted, student-centered, learning experiences. Supportive and progressive organisational architectures of participation reveal adaptive institutions working across collaborative networks. The question now is what might adaptive institutions look like if they have been subjected to transformational processes, rather than just “e-enabling” the traditional practice of content delivery within the existing classical subject taxonomies? MOOCs seem to be a continuation of a learning catered for content through delivery; they are not a new paradigm, despite their promotion in this way by universities and the technology companies selling their platforms. In order to look at what transformation rather than e-enabling might look like, the authors review their framing ideas with long-run historical views of education, learning, knowledge, and institutions with a process called “before and after.”

Subject in Classical Logic and Speculative Logic

The paper presents the classical theory of the subject in the predication judgment, and then the Hegelian doctrine on the subject, with the intention of conducting a comparative analysis. The results of the analysis sustain the viewpoint according to which between the classical subject and the subject of speculative judgment there are some relations that entitle one to consider speculative judgment as a development of classical judgment, for the cases in which the subject is taken as a process.

Non-classical subject of vision. Part I

This article explores a fundamental shift in the humanities called the «visual turn». We are talking about the transformation of visuality in the late 19th – early 20th centuries. The difficulty of analyzing this phenomenon is due to the fact that the modern humanities have not yet developed a single subject and method for studying the visual turn. In this article, the turn as a transition from the classical to the non-classical observer is analyzed as a transformation of the very human presence in the world. The change in visuality is primarily associated with a change in the concept of the classical transcendental subject and the transition to understanding the affected and temporal subject of our time. In this article, we analyze the transformation of subjectivity based on the three-part mechanism of the power of distance, the power of gaze, and the power of memory, which was proposed by W. Benjamin. We show that at the beginning of the 20th century there takes place rethinking of a person’s presence in the world through the understanding of the destruction of the distance between the subject and the object (the world), a change in the power of gaze and a change in the role of memory in the perception of what is seen. The visible no longer acts as directly given to the subject, but presupposes the power of visual perception and the special role of memory in what is seen. This means that in modern non-classical concepts of visuality, an attempt is made to understand the act of seeing as an event of the formation of a subject. In this three-part mechanism of visual distance, the power of gazing into the visible and the role of memory in what is seen, the act of seeing becomes the very presence of modern man. However, in this case, the presence in the act of seeing eludes the subject of experience himself. Thus, visual experience in the form of a present consciousness of the world that is eternally and always does not correspond to it, is an unconscious atrophy of the most apathetic «narcissist» of vision. The article concludes that the lack of understanding of this moment of presence of the modern subject results in the fact that both the return of distance within the framework of the concept of the classical observer and the complete destruction of the aura within the concepts of the non-classical observer lead to a theoretical impasse in understanding the very experience of non-classical vision.

Real Algebraic Curves on Real del Pezzo Surfaces

The study of the topology of real algebraic varieties dates back to the work of Harnack, Klein, and Hilbert in the 19th century; in particular, the isotopy-type classification of real algebraic curves in real toric surfaces is a classical subject that has undergone considerable evolution. On the other hand, not much is known for more general ambient surfaces. We take a step forward in the study of topological-type classification of real algebraic curves on non-toric surfaces focusing on real del Pezzo surfaces of degree 1 and 2 with multi-components real part. We use degeneration methods and real enumerative geometry in combination with variations of classical methods to give obstructions to the existence of topological-type classes realized by real algebraic curves and to give constructions of real algebraic curves with prescribed topology.

“COSÌ, VESTIVA IN BARBARI ACCENTI, / IL VERO AFFETTO A UN AUSONIO”: SUGLI SCRITTI IN ITALIANO DI P.B. SHELLEY

P.B. Shelley’s attempts at writing in Italian date to the period from late Autumn 1820 to August 1821. They consist of self-translations, loose fragments, the draft of an original verse composition, an allegorical prose piece, the review of an “improvvisazione” on a classical subject by Tommaso Sgricci, and some more or less fragmentary letters. What is the value of these writings in relation to Shelley’s works? What knowledge of Italian do they suggest? What is their expressive import? How can they be best presented in a modern edition of Shelley’s works? In addressing these questions, I will suggest that these writings should be neither overvalued, nor completely ignored, and I will conclude that they have a biographical, rather than a literary, or linguistic, relevance.

WAVE PULSE EVOLUTION FOR FULLY NONLINEAR SERRE EQUATION

Although the shallow-water theory is a classical subject of investigations with a huge number of papers devoted to it, it still remains very active field of research with many important applications. When one neglects dissipation effects and non-uniformity of the basin’s bottom, the interplay of nonlinearity and dispersion effects leads to quite complicated wave patterns which form depends crucially on the initial profile of the pulse. If the nonlinearity and dispersion effects are taken into account in the lowest approximation and one considers a one-directional propagation of the wave, then its dynamics is governed by the famous Korteweg-de Vries (KdV) equation. Comparison with experiments shows that the KdV approximation is not good enough and one needs to go beyond it. Therefore considerable efforts were directed to the derivation of the corresponding wave equation that was able to better describe the system. One of the most popular models was first suggested and studied in much detail by Serre (Serre, 1953). For such a model, in which evolution is described by the Serre (Su-Gardner, Green- Naghdi) equation, El made an important study of the law of conservation of the “number of waves” and its soliton analogue (El, 2006). Using El’s method one can find the laws of motion of the edges of the dispersive shock waves (DSW) in problems related with self-similar evolution of step-like initial discontinuities. In (Kamchatnov, 2018) these methods were shown that allow one to go beyond such an initial profile. In this report, we will show the application of the methods of this work to study of simple wave initial pulses evolution in the theory of the Serre equations and give an analytical solution for the laws of motion of edges of DSW formed in the process of evolution of the initial pulses. Analytical results are confirmed by numerical calculations. The reported study was funded by RFBR according to the research project №19- 01-00178 А.

Comparative Contract Law

This chapter discusses contract law in relation to comparative law. It first considers some of the reasons why contract law has become the classical subject matter of comparative law before explaining the practical relevance of the rules on general contract law to comparative studies. It then examines the similarities and differences between civil law and common law, along with the enforceability of agreements on the basis of the parties’ intention to create legal relations, the ‘doctrine of consideration’, and formal requirements of the contract. The chapter goes on to describe the two processes of ascertaining the content of a contract, namely: interpretation and supplementation. It also looks at illegal, immoral, and unfair contracts as well as the provisions on mistake, claims for performance of contractual obligations, termination of contracts, and claims for damages in case of non-performance or if a party does not perform its obligations properly.

"Rustici" y bagaudas en Vasconia: la elección de un vocablo en Hidacio / XXX

This work looks at the classical subject of 5th Century Historiography, the famous Bagaudae Conflict mentioned in Hydatius' Chronicle. Having briefly introduced the events and historiographical explanations, we will analyze the texts by looking at the features of intellectual production in the Late Antiquity. To be precise, we will study the meaning of the term bagaudae in work by other authors prior to Hydatius, in particular Orosius, and the parallelisms in the accounts of these authors. On the one hand we look to confirm the existence of a certain consolidated tradition amongst the intellectuals of the Antiquity in the meaning and usage of the term and on the other hand, hold that Hydatius did not refer to bagaudae as rebel peasants, as was hitherto maintained, but as a certain type of local troop known as rustici. This interpretation is in line with the decisive role that the rustici had in the evolution of Post-Roman Vasconia according to an in depth explanation being prepared for publication.