Madrigals, Part 6

Il sesto libro de madrigali a cinque voci, Marco da Gagliano's final book in the genre, was published in 1617, nine years after its predecessor. In the book's dedication Gagliano indicated that its music was composed the year before, and not earlier in the gap between the two books. Book 6 was popular enough that it was reprinted in 1620, and although he lived another twenty-six years, Gagliano published no more madrigals. There are sixteen compositions in the book, fourteen of them by Gagliano, one by Lodovico Arrighetti, and one by an unnamed composer who was most certainly Ferdinando Gonzaga, duke of Mantua. The poets now recognized as authors of the texts are Giovanni Battista Guarini, Torquato Tasso, Francesco Petrarca, Ottavio Rinuccini, Gabriello Chiabrera, Gasparo Murtola, and Antonio Ongaro. In the diversity of their style, the madrigals of the Sesto libro provide a conspectus of the compositional craft evinced in Gagliano's earlier books: now the rush and brevity of canzonetta-influenced madrigals like those in the fourth and fifth books stand next to madrigals with the more traditional manner of text setting so often found in his first three books. There is also a drinking song that alternates duets with a refrain and a seven-voiced concertato piece, both taken from Medici court entertainments. One of the most telling madrigals in the book, “Filli, mentre ti bacio,” is an abbreviation and a recasting of the madrigal as it appears in his Primo libro, thereby disclosing the remarkable change in Gagliano's aesthetic thinking about the genre during the fifteen years that lie between his first and last books. Shortly after the appearance of the Sesto libro, a vicious attack on its madrigals and on Gagliano himself was made by Mutio Effrem. Although its condemnation of the book on theoretical grounds is misguided and without merit, Effrem's Censure seems to have damaged Gagliano's standing in Florence and to some degree may have influenced his decision to abandon the genre.

The Book of Poetry Hysterical Fans and Its Preface by Theodor Chakarmov

The most famous book of poetry by the yambol poet Teodor Draganov, Hysterical Fans (Истерични веери), deserves to be the subject of wider scholarly interest. This article aims to show the functional and pragmatic characteristics of its preface, written by the poet Theodor Chakarmov. The functional characteristics of the preface that make it a pretext for a manifesto, as well as its interpretive functions are analyzed in the text. Attention is paid to the place this book of poetry takes in the context of both the Bulgarian and European avant-garde. The text will answer the following questions: who and what are the influences on the author of the preface and the author of the main text, what is the nature of their aesthetic thinking, what is the "appropriate" readership for the book, and what features of the preface and the volume make them suitable for analysis in an international context.

Muqimi's Relations With His Contemporaries and The Work He Did With Them

The field of textual literature and literary source studies play an important role in thedevelopment of world culture and literary-aesthetic thinking. One of the urgent tasks is to study theancient sources of different periods, which have been preserved for centuries, and to use them to raisethe morale of society. The analysis and discussion of manuscript sources is also important in terms ofidentifying the scientific truth about literary heritage.

LITERATURE OF THE ERA OF MIRZO ULUGBEK IN THE INTERPRETATION OF ALISHER NAVOI

The article analyzes the views of the great Uzbek poet and thinker Alisher Navoi on the literature of the era of Mirzo Ulugbek. The study of the characteristics of the literature of this period, the literary heritage of the leading representatives, the development of poetic genres and images reveals the value of the work of the great poet «Majolis un-nafois» as the main source. Based on the assessment of their work by Alisher Navoi, the existence of the literary environment in Samarkand during the reign of Mirzo Ulugbek with its creative traditions, the significant contribution of the works of representatives of this creative environment to the development of national artistic and aesthetic thinking was investigated

Poetic Updates In Uzbek Literature (On The Example Of Prose Masterpiece)

As a result of the renewal of national thinking, the events of life and the principles of the approach to the human person in Uzbek prose also changed and began to take on new forms. In a number of prose works, we find images of courageous people who have not lost their identity and faith over the years. At the same time, we are confronted with those who, under ideological pressure, have turned to "modernity", apostatized, deceived and become servants of a deceptive and violent ideology. We see that the hypocrisy inherent in such images is portrayed in all its horrors. It can be seen that in Uzbek prose works the attempt to reflect the unique nature, unique world, past and feelings of the nation has become a certain aesthetic principle, and such positive research serves as a basis for significant growth in prose. The works we have analyzed not only renew epic thinking in one way or another, but also serve as a basis for the emergence of new trends, currents and directions in literary life. As a result, it influences the development of socio-spiritual and artistic aesthetic thinking.

Franz Liszt under the Light of Progress

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’.

CONTRAST AS A FEATURE OF THE KARACHAY-BALKAR PROSE OF THE FIRST HALF OF THE XX CENTURY (ON THE EXAMPLE OF THE WORK OF S. KHOCHUEV)

The article is devoted to one of the stable parameters of the aesthetic thinking of the Karachai-Balkarian people - the desire for absolute statues of what is described in literary texts. Using the example of S. Khochuev's creativity, the process of axiological identification of the heroes of Karachai-Balkarian prose at the initial stage of its development is considered and a conclusion is drawn about the extremely stable nature of the modal definitions of national writers. This situation is explained by the obvious continuity: the standards of epic positioning of heroes of solar and chthonic origin in folklore remained in demand at the initial stages of the development of national literature, which developed during this period due to the understanding of problems of a class-ideological nature and needed systems of clear distinction and identification of heroes.

Schopenhauer e Nietzsche: Vida, Arte e Tragédia

This book is about tragedy in Schopenhauer and Nietzsche aesthetics thinking. Schopenhauer, like a pessimistic philosopher, presents the tragedy as the summit of poetic art and like "representation" of the infortunes and sufferings of life.The philosopher understands the tragedy as a great work. Nietzsche based his tragedy aesthetic thinking and cited Schopenhauer aesthetic, but the tragic phenomenon has in Nietzsche a big revolution.This book is about this revolution.