Revista Fundaţiilor Regale

Total Page:16

File Type:pdf, Size:1020Kb

Revista Fundaţiilor Regale i u REVISTA FUNDAŢIILOR REGALE ANUL VI i APRILIE 1939 NR. 4 T. ARGHEZI .... Versuri 3 N. M. CONDIESCU . Din „însemnările lui Safirim". 8 AL. PHILIPPIDE. In marile singurătăţi .... 16 E. LOVINESCU . Acord final (V) ...... 19 AL. T. STAMATIAD Din poezia chineză 37 IOANA POSTELNICU Bogdana 46 GHERGHINESCU VANIA Versuri 62 TEODOR SCORŢESCU Concina prădată 66 IORGU IORDAN . Don Quijote .... - .". 82 N. I. HERESCU . Despre condiţiile poeziei ... 102 LT.-COL. C. VERDES . Potenţialul de război al României 109 MIRCEA ELIADE . Cărţile populare în' literatura românească 132 VLADIMIR STREINU . Note despre stil 148 ŞERBAN CIOCULESCU Aspecte lirice contemporane . 162 CRONICI O NOUĂ MARE LUCRARE A D-LUI Dr. GH. BANU: L'HYGIENE DE LA RACE de G. K. Constantinescu (185); UN DIPLOMAT MORALIST: IOVAN DUCICI de Mihail Sebastian (187); LA O RETIPĂRIRE A POE­ ZIILOR LUI ST. O. IOSIF de M. Sb. (192); O CARTE ASUPRA DESTI­ NULUI OMENIRII de Constantin Micu (193); PROBLEMATICA CULTURII de Dan Berceanu (199); CRONICA GERMANĂ de Mircea Streinul (205); RETROSPECTIVA LUCHIAN de K. H. Zambaccian (210); O MONOGRAFIE GERMANĂ DESPRE DRAMATURGUL O'NEILL de Petre Comarnescu (214); CRONICA MUZICALĂ de Virgil Gheorghiu (219); ŞTIRI MUZICALE DIN STRĂINĂTATE de Nicolae Missir (225). REVISTA REVISTELOR NUMĂRUL — 240 PAGINI - 30 LEI REVISTA FUNDAŢIILOR REGALE REVISTĂ LUNARĂ DE LITERATURĂ, ARTĂ ŞI CULTURĂ GENERALĂ COMITETUL DE DIRECŢIEt I. AL. BRÀTESCU-VOINEŞTI, D. GUŞTI, E. RACOVITÀ, C. RĂDULESCU-MOTRU, I. SIMIONESCU Redactor şefi Redactori; PAUL ZARIFOPOL CAMIL PETRESCU (i.I - ..V.1934) RADU CIOCULESCU II! REDACŢIA BUCUREŞTI III 39, BULEVARDUL LASCAR CATARGI, 39 TELEFON 2-40-70 ADMINISTRAŢIA CENTRALA EDITURILOR FUNDAŢIILOR REGALE 22, STRADA LIPSCANI, 22 TELEFON 5-37-77 IIIIIIIIIIIIIIIIIIHIIIIIIIIIIIIIIIIIIIIIIIilIIIIIUIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIII ABONAMENTUL ANUAL LEI 360 PENTRU INSTITUŢII ŞI ÎNTREPRINDERI PARTICULARE LEI 1.500 EXEMPLARUL 30 LEI CONT CEC POSTAL NR. 1210 ABONAMENTELE SE POT FACE ŞI ACHITA PRIN ORICE OFICIU POSTAL DIN ŢARĂ MANUSCRISELE NEPUBLICATE NU SE ÎNAPOIAZĂ EDITATĂ DE SECRETARIATUL GENERAL AL FUNDAŢIILOR CULTURALE REGALE REVISTA FUNDAŢIILOR REGALE • ANUL VI, NR. 4, APRILIE 1939 BUCUREŞTI FUNDAŢIA PENTRU LITERATURĂ ŞI ARTĂ „REGELE CAROL II" 39, Bulevardul Lascar Çatargi, 39 UN PLOP USCAT Un plop uscat şi lângă plop o şcoală. Jurîmprejur, tăria goală. O veşnicie uriaşă, ne 'ntrerupt Albastră, 'n şes, în zări, sus, dedesubt. Atâta cer pentru atâta sat ! Atâta Dumnezeu la un crâmpei ! Un greiere de om stă 'ngenunchiat Cu cobza 'n rugăciunea ei. Tu te închini şi mai nădăjduieşti, Fărâmă de ceva ce eşti, Şi glasul tău cântat ţi se îngroapă Ca 'n heleşteu un strop de apă. Plopul uscat ştia mai mult : a fost. Fă şi tu trunchi, ca plopul din ogradă, Creşte la cer, de bunăvoie prost, Dă frunze 'n el şi lasă-le să cadă. STĂ SINGURATIC Stă singuratic câinele. De pază Nu ştie cui, pe la amiază: Fântânii rupte, spinului uscat, Drumului, cerului, omului ? A tremurat. Gerul îi ustură urechile, laba, Nevinovat, neîndurat şi de geaba. Carnea, vlaga, zgârciul, pe de-a'ncetul, I le-a mâncat şi mistuit scheletul. Barbă aspră i-a crescut, zbârlită. Vocea scânceşte isprăvită. Şi-a purtat ocărîte oasele Pe la toate şurile şi casele. II chem şi nu înţelege: Nu mai poate să se deslege. Dar ochii lui, într'un maidan, Părinte, Dau mărturia lucrurilor sfinte. CĂTUNUL Cătunul s'a mutat tiptil, din zare, In cimitirul lui, mai mare. Ce s'a născut, pe rând s'a şi 'ngropat Şi crucile-au intrat în sat, Viori de lemn încremenite într'un semn. Şi au ieşit din sat până departe, Lăsându-i drumurile moarte. Ia seama bine, dacă treci, La încâlcitele şi vechile poteci. Să nu te 'mpiedeci de ciulini. Morţi-s acolo, ca 'n cătun, vecini. Târît în ploaie de ciubote grele, Drumeţul, noaptea, poate să se 'nşele Şi, încercând cârligul pus la porţi, Să ceară găzduire delà morţi. ZIUA CENUŞIE Ziua cenuşie, vânata zi tristă îşi cocoloşeşte soarele 'n batistă. Printre canavaua ceţurilor, sură, Plopii de frânghie-s prinşi în ţesătură. Roiuri, porumbieii: vre-o câteva sute De scrisori şi plicuri albe, desfăcute. Negura urzeşte, molcomă şi mută, Noaptea ne 'ntreruptă, ne mai începută. Hornurile toate dau puţină ceaţă, Câlţ câte-o fărâmă şi tigaie creaţă. Soarele rămâne spânzurat: un bumb. Zi crochiu. Estompă şi condei de plumb. ZIUA ALBĂ Zi albă, zi uşoară, de zăpadă, Faţa de in se-aşterne sărutată Şi, proaspătă şi nouă, s'a întins Cu fluturii din ceruri care-au nins. In dreptul geamului de chihlimbar E pusă masa cinei în altar, învestmântaţi în aripi ca 'ntr'o haină, îngerii mici adus-au har în taină. Din înălţimi o rază aurie Ia parte 'n bolţi la sfânta liturghie Şi lingura rotundă, din potir, Lacrimi a scos şi rouă de safir. Un gust ce fuse 'n vin şi în prescură I s'a topit ca un surîs în gură Şi 'n sâni feciori i-a scăpărat scânteia. — Cuminecă-se roaba ta, Femeia. T. ARGHEZI DIN «ÎNSEMNĂRILE LUI SAFIRIM» « Nimicuri, — ai să te usuci aici prietene, pentru închipuiri care nu schimbă întru nimic rostul celor orânduite de mai înainte... Băiete, — mi-e milă de tine... ». Aşa mi-a spus acum un an, Pan. Are poate, dreptate. Un an de când n'am mai mânjit albul hârtiei cu slovele mele... O lâncezeală încordată, un fel de negaţiune, care poartă totuşi la temelie o afirmare a credinţelor mele despre viaţă şi de ce clo­ coteşte dincolo de ea, mi-a paralizat orice fel de manifestare, în afara haoticelor mele convorbiri cu morţii... Trăiesc cu morţii. In tăcerea lor desluşesc lămuriri, mult mai temeinice decât toată vorbăria oamenilor care încă pentru câtva mai pot duce furculiţa la gură, se mai pot îmbăia, pot să-şi umple sufletele cu acordurile muzicii, ale poeziei şi ale prostiei... şi mai pot să iubească... Strângeri şi contopiri de trupuri, — mâine pulbere. Nopţi de-a-rândul, în chilia tămâiată cu mireasma aducerilor aminte, am stat cu gândurile risipite, cu frământări fizice fără putinţă de descris împrăştiat tot în haos şi strâns ca un ghem, căutând iarăşi să mă desluşesc, ca şi cum ceva nou ar mai fi putut încă ţâşni din buhava mea făptură. In clipele de hâdă autoanaliză, îmi mângâiam barba mătăsoasă, uitându-mă în oglinda aburită, — dar al Băbicăi, în care ea de atâtea ori şi-a privit frumuseţea-i drăcească, — şi căutam să mă conving, că în ochii mei mai port încă aceeaşi flacără mistică cu care am târît după mine gloata... « Deşertăciune, — toate-s deşertăciuni... ». Ce straniu contrast, dovedesc, în mine cel de acum. Am fost pentru toţi un dinamic, un animator, o energie care ardea fără isprăvire; aceasta numai la suprafaţă. Eu, cel adevărat, am fost şi am rămas un static, un contemplativ, un negativ, după cum ultimele zile mă dovedesc. De unde această putere de a-mi ascunde adevărata fire şi manifestările de luptător în care m'am încrezut şi cu care am înşelat atâta lume? De bună seamă, din cearta neisprăvită a strigoilor, care îşi continuau socotelile prin mine, socoteli care vor fi continuate prin alţii... In fiecare zi, — stăpân pe o energie care nu-i a mea, dar, probabil, vine delà ei, — după noaptea nedormită, muncesc ală­ turi cu Ozie şi Isaia, la gospodăria schitului. Am făcut din el o inimă de flori şi de verdeaţă. Seara, stau de vorbă cu netrebnicii mei fraţi, spunându-le cuvinte în care eu am vrut să cred, dar nu pot să cred. Ei ascultă plini de evlavie poveştile mele. Ştiu eu ce diavoli muncesc aceste făpturi sărace de duh, — cu suflete de piatră, cu instinctele primitive din începuturi, când omenirea era poate încă fericită. El, a venit de nenumărate ori... Umple de frig chilia. Şopteşte blând : « Frate, atâta clocot de viaţă svâcnea în mine... Vocea cea neiertătoare mă mustră: « Cain, ce-ai făcut cu fratele tău ? ». Oameni buni, — la sfârşitul unei vieţi bogată în mulţămiri ca şi în dureri, — strig acum şi voi striga şi dincolo de nefiinţă : « Nici o morală, nici o lege omenească, nici o filosofie nu îngreu­ nează cântarul vieţii, cât o bătaie a inimii, care, odată oprită, ni­ meni şi nimic nu o mai poate readuce la pulsaţia ritmică şi ani­ mală, mai presus de toate animală, pentru care a fost croită. O iarnă aspră bântuie. A nins, a nins zile de-a-rândul. Neputincios întru gândire şi scris, priveam ceasuri după ceasuri, ninsoarea care cădea. Un ritm de flaşnetă, în toate. In cutia de rezonanţă aceeaşi gamă de sunete trezită prin învârteala manivelii, de către meşterul necunoscător si el de ce când învârteşte ies atâtea va- riaţiuni de sunete. Zăpada care îmbracă codrii la fel, — într'un alb cu totul dimpotrivă nuanţei cu care noi însemnăm albul, — îmi spune poveşti dintr'o lume care n'a fost a mea, cel de acum, dar pe care, totuşi, am trăit-o cândva. Trăiesc cu morţii. Ei spun mai mult decât cei vii. Pan mă priveşte batjocoritor. De atâtea ori, în lungul zilelor sbuciumate care m'au oprit să scriu, îl priveam, aureolizat de flăcările buştenilor, — şi-mi ziceam, că acest diavol, cinic şi înţe­ legător a atâtea şi atâtea, trebue înlăturat din preajma mea, sfă­ râmat cu mâinile mele care l-au adorat trei sferturi din viaţă ca să-1 urască acum. « Nimeni, nu poate opri viaţa... Ori viaţa e cântec, e sufe­ rinţă împletită cu iubire, e sacrificarea inconştientă a păpuşilor zişi oameni — la fel cu furnicile — pentru urmări încă nelămu­ rite, şi crede, prietene, că tot în cântec şi în frenetica înlănţuire de o clipă a trupurilor sunt eternizate toate cele trecătoare care însă, poartă în ele adâncul începuturilor... Stă afară, o lumină de lună, o lumină de îngheţ polar peste codrii ninşi. Pipăi, cu mâini tremurânde, Biblia în care stă, pitită, înţelepciunea omenirii.
Recommended publications
  • Parsifal and Canada: a Documentary Study
    Parsifal and Canada: A Documentary Study The Canadian Opera Company is preparing to stage Parsifal in Toronto for the first time in 115 years; seven performances are planned for the Four Seasons Centre for the Performing Arts from September 25 to October 18, 2020. Restrictions on public gatherings imposed as a result of the Covid-19 pandemic have placed the production in jeopardy. Wagnerians have so far suffered the cancellation of the COC’s Flying Dutchman, Chicago Lyric Opera’s Ring cycle and the entire Bayreuth Festival for 2020. It will be a hard blow if the COC Parsifal follows in the footsteps of a projected performance of Parsifal in Montreal over 100 years ago. Quinlan Opera Company from England, which mounted a series of 20 operas in Montreal in the spring of 1914 (including a complete Ring cycle), announced plans to return in the fall of 1914 for another feast of opera, including Parsifal. But World War One intervened, the Parsifal production was cancelled, and the Quinlan company went out of business. Let us hope that history does not repeat itself.1 While we await news of whether the COC production will be mounted, it is an opportune time to reflect on Parsifal and its various resonances in Canadian music history. This article will consider three aspects of Parsifal and Canada: 1) a performance history, including both excerpts and complete presentations; 2) remarks on some Canadian singers who have sung Parsifal roles; and 3) Canadian scholarship on Parsifal. NB: The indication [DS] refers the reader to sources that are reproduced in the documentation portfolio that accompanies this article.
    [Show full text]
  • ARSC Journal
    A Discography of the Choral Symphony by J. F. Weber In previous issues of this Journal (XV:2-3; XVI:l-2), an effort was made to compile parts of a composer discography in depth rather than breadth. This one started in a similar vein with the realization that SO CDs of the Beethoven Ninth Symphony had been released (the total is now over 701). This should have been no surprise, for writers have stated that the playing time of the CD was designed to accommodate this work. After eighteen months' effort, a reasonably complete discography of the work has emerged. The wonder is that it took so long to collect a body of information (especially the full names of the vocalists) that had already been published in various places at various times. The Japanese discographers had made a good start, and some of their data would have been difficult to find otherwise, but quite a few corrections and additions have been made and some recording dates have been obtained that seem to have remained 1.Dlpublished so far. The first point to notice is that six versions of the Ninth didn't appear on the expected single CD. Bl:lhm (118) and Solti (96) exceeded the 75 minutes generally assumed (until recently) to be the maximum CD playing time, but Walter (37), Kegel (126), Mehta (127), and Thomas (130) were not so burdened and have been reissued on single CDs since the first CD release. On the other hand, the rather short Leibowitz (76), Toscanini (11), and Busch (25) versions have recently been issued with fillers.
    [Show full text]
  • ARSC Journal
    ing notes is a welcome one. I do wish they spread out onto three sides to avoid the Adagio side-break. Peter Burkhardt's appreciation of Knappertsbusch is particularly appropriate in his paragraph noting the conductor's insistence, against general critical opinion, on Bruckner's "sensuousness." Given the extraordinary richness of this performance, that observation is particularly apt. Henry Fogel Alexander Kipnis from Historic Broadcast Recitals Given in 1943/44 and Now Issued for the First Time. MUSSORGSKY: Boris Godounov--Monologue; Clock Scene; Farewell (Shostakovich orchestration) (Philharmonic-Sym­ phony; Fritz Reiner, conductor, 23 July 1944); Prayer (Rimski-Korsakov orchestration); Song of the Flea (Orchestra; J. Stopak, conductor, 1 May 1943); MOZART: Don Giovanni--Madamina (29 May 1943); VERDI: Don Carlo-­ Ella giammai m'amo (12 June 1943); NICOLAI: Lustigen Weiher von Windsor--Als BUblein klein (29 May 1943); KOENEMANN: When the king went forth to war; KNIPPER: Meadowland (1 May 1943) (Stopak, conductor). SCHUMANN: Dichterliebe, (Op.48) (Wolfgang Rose, piano) (1943); SCHUBERT: Aufenhalt; Gute Nacht; Der Wanderer; Erlkonig (with piano) (1936). Comments by Kipnis from interview with Robert Sherman on WQXR Listening Room. DISCOCORP 210, 211, 2 discs. The first of these two discs is a historic document of first importance, for the Boris Godounov broadcast with Reiner was the world premiere of the Shostakovich orchestration. The three excerpts, with Kipnis in magnificent voice, are followed by Boris' prayer in the familiar Rimski-Korsakov version. Mussorgsky's Song of the Flea, with orchestra, follows, and the first side is filled out with some comments on Boris. Perhaps one does not think of Kipnis as Leporello (though he did sing the part at the Met).
    [Show full text]
  • Chronology 1916-1937 (Vienna Years)
    Chronology 1916-1937 (Vienna Years) 8 Aug 1916 Der Freischütz; LL, Agathe; first regular (not guest) performance with Vienna Opera Wiedemann, Ottokar; Stehmann, Kuno; Kiurina, Aennchen; Moest, Caspar; Miller, Max; Gallos, Kilian; Reichmann (or Hugo Reichenberger??), cond., Vienna Opera 18 Aug 1916 Der Freischütz; LL, Agathe Wiedemann, Ottokar; Stehmann, Kuno; Kiurina, Aennchen; Moest, Caspar; Gallos, Kilian; Betetto, Hermit; Marian, Samiel; Reichwein, cond., Vienna Opera 25 Aug 1916 Die Meistersinger; LL, Eva Weidemann, Sachs; Moest, Pogner; Handtner, Beckmesser; Duhan, Kothner; Miller, Walther; Maikl, David; Kittel, Magdalena; Schalk, cond., Vienna Opera 28 Aug 1916 Der Evangelimann; LL, Martha Stehmann, Friedrich; Paalen, Magdalena; Hofbauer, Johannes; Erik Schmedes, Mathias; Reichenberger, cond., Vienna Opera 30 Aug 1916?? Tannhäuser: LL Elisabeth Schmedes, Tannhäuser; Hans Duhan, Wolfram; ??? cond. Vienna Opera 11 Sep 1916 Tales of Hoffmann; LL, Antonia/Giulietta Hessl, Olympia; Kittel, Niklaus; Hochheim, Hoffmann; Breuer, Cochenille et al; Fischer, Coppelius et al; Reichenberger, cond., Vienna Opera 16 Sep 1916 Carmen; LL, Micaëla Gutheil-Schoder, Carmen; Miller, Don José; Duhan, Escamillo; Tittel, cond., Vienna Opera 23 Sep 1916 Die Jüdin; LL, Recha Lindner, Sigismund; Maikl, Leopold; Elizza, Eudora; Zec, Cardinal Brogni; Miller, Eleazar; Reichenberger, cond., Vienna Opera 26 Sep 1916 Carmen; LL, Micaëla ???, Carmen; Piccaver, Don José; Fischer, Escamillo; Tittel, cond., Vienna Opera 4 Oct 1916 Strauss: Ariadne auf Naxos; Premiere
    [Show full text]
  • Bruno Walter (Ca
    [To view this image, refer to the print version of this title.] Erik Ryding and Rebecca Pechefsky Yale University Press New Haven and London Frontispiece: Bruno Walter (ca. ). Courtesy of Österreichisches Theatermuseum. Copyright © by Yale University. All rights reserved. This book may not be reproduced, in whole or in part, including illustrations, in any form (beyond that copying permitted by Sections and of the U.S. Copyright Law and except by reviewers for the public press), without written permission from the publishers. Designed by Sonia L. Shannon Set in Bulmer type by The Composing Room of Michigan, Grand Rapids, Mich. Printed in the United States of America by R. R. Donnelley,Harrisonburg, Va. Library of Congress Cataloging-in-Publication Data Ryding, Erik S., – Bruno Walter : a world elsewhere / by Erik Ryding and Rebecca Pechefsky. p. cm. Includes bibliographical references, filmography,and indexes. ISBN --- (cloth : alk. paper) . Walter, Bruno, ‒. Conductors (Music)— Biography. I. Pechefsky,Rebecca. II. Title. ML.W R .Ј—dc [B] - A catalogue record for this book is available from the British Library. The paper in this book meets the guidelines for permanence and durability of the Committee on Production Guidelines for Book Longevity of the Council on Library Resources. For Emily, Mary, and William In memoriam Rachel Kemper and Howard Pechefsky Contents Illustrations follow pages and Preface xi Acknowledgments xv Bruno Schlesinger Berlin, Cologne, Hamburg,– Kapellmeister Walter Breslau, Pressburg, Riga, Berlin,‒
    [Show full text]
  • Official U.S. Bulletin
    : : : — : . PVBLISHEa DJIILY under order of THE PRESIDENT of THE UNITED STETES by COMMITTEE on PUBLIC INFORMATION GEORGE CREEL, Chairman ~k -k -k COMPLETE Record of U. S. GOUERNMENT Activities ' VoL. 3 WASHINGTON, MONDAY, FEBRUARY 24, 1919. No. 545 SIXTH BIWEEKLY OFFERING FIRST EDITION OF INCOME TAX CONDITIONS AT BREST CAMP OF TREASURY CERTIFICATES REGULATIONS READY THIS WEEK OUTLINED BY GEN. PERSHING OVERSUBSCRIBED $20,578,500 Second Edition for Use ef-Cor- porations Being Prepared IN RESPONSE TO REQUEST RESERVE BANK DISTRICT RESULTS Joint Edition Later. MADEBYPRESIDENTWILSON Aggregate Subscriptions in Anticipa- The Bureau of Internal Revenue issues the following; tion Victory Liberty Loan Now of The first edition of the income tax regu- INQUIRY RESULT OF $3,845,678,000-r—Bond Drive in lations which relate to the tax on individ- NEWSPAPER CHARGES ual incomes will be distributed by collec- Occupied Germany. tors of internal revenue early this week. The regulations were prepared under Complaints That Soldiers Secretary Glass announces that the the immediate direction of Hugh Satter- From Front and Red Cross sixth biweekly offering (Series V. F) of lee, of Rochester, N. Y. Mr. Satterlee Treasury certificates of indebtedness in was connected with the Bureau of In- Nurses Practically Held anticipation of the Victory Liberty Loan ternal Revenue last year as .special attor- was overscribed. The minimum amount ney and returned at the request of Com- Prisoners bsolutely offered was .'^GOO.000.000 and the total missioner Ddniel C. Roper to take charge Groundless/*Says Report, subscriptions aggregate $620,.578, 500. The of this branch of the work.
    [Show full text]
  • Concerts Conducted by Carl Schuricht Including Music of Anton Bruckner (1912-1965) Original Source
    Concerts conducted by Carl Schuricht including music of Anton Bruckner (1912-1965) Original source : http://carlschuricht.com/concert.htm Important Dates 3 July 1880 : Carl Adolph Schuricht was born at Danzig (Gdansk) into a family of organ-builders. His father, Carl Conrad Schuricht was born on 27 January 1856. He was an organ-builder and worked at his father's factory. He died on 9 June 1880 (3 weeks before his son was born !) when he tried to help an employee fallen into the sea, in the bay of Danzig. His mother, Amanda Ludowika Alwine Wusinowska was a well-known Polish Oratorio singer (1847-1935) . She didn't re-marry after her husband's death. 1886 : Began piano and violin lessons at the age of 6. Studied at the « Friedrichs Realgymnasium » in Berlin. 1891 : Began to compose at the age of 11. 1892 : Studied at the « Königliches Realgymnasium » in Wiesbaden. Written the music and the librettos for 2 Operas. 1895 : Started conducting at the age of 15. 1901-1902 : 1st professional job as « Korrepetitor » at the « Stadttheater » of Mainz. 1902 : Won a composition prize from the Kuszynski Foundation, and awarded a scholarship by Franz von Mendelssohn. Allowed him to continue his studies at the « Berliner Musikhochschule » (« der Königlichten Hochschule für Musik ») under Ernst Rudorff, piano ; Heinrich van Eyken (and not Engelbert Humperdink) , composition ; and, later, Max Reger in Leipzig. His musical compositions were published mostly by Drei-Lilien-Verlag, Berlin. Opus 1 : Piano Sonata in F minor. Opus 2 : « Herbst-Stücke » (Opuscules for autumn) for piano and orchestra. Opus 3 : « Fünf Lieder » (5 Songs) .
    [Show full text]
  • The Book of Greek and Roman Folktales
    © Copyright, Princeton University Press. No part of this book may be distributed, posted, or reproduced in any form by digital or mechanical means without prior written permission of the publisher. INTRODUCTION Give me a copper coin and you’ll hear a golden tale! — Roman storyteller’s street cry1 I begin with three instances of storytelling. One hot day Socrates and a companion Phaidros sought relief from the sun by strolling alongside the cool stream of the Ilissos outside the walls of Athens. The place brought to Phaidros’s mind an event from the distant past. “Tell me, Socrates,” he said, “wasn’t it from somewhere around here that Boreas is said to have carried off Oreithyia?” He was thinking of the myth according to which the Athenian king’s daughter was playing on the banks of the stream when suddenly the god of the north wind snatched her up and carried her off to his cold kingdom. “Yes, that’s what they say.” “Was it from here, then?” “No,” Socrates replied, “the spot is actually some distance downstream. There is an altar of Boreas there.” Phaidros asked if Socrates believed the story was true. Socrates replied that although clever men might explain the story away, he did not care to waste time on such speculations and was content to accept the usual beliefs (Plato Phaedrus 229a– 230b; cf. Finkelberg 2014). On a different occasion, a group of persons was traveling and partying together aboard a ship. One of the men, Eumolpus, made a comment on the unfaithfulness of women, adding that he had in mind not women in the old tragedies and legends but a woman of their own day.
    [Show full text]
  • Book VIII Seminar 1 16 November 1960
    THE SEMINAR OF JACQUES LACAN BOOK VIII Transference 1960 - 1961 Translated by Cormac Gallagher from unedited French typescripts FOR PRIVATE USE ONLY http://www.lacaninireland.com Book VIII Seminar 1 16 November 1960 Seminar 1: Wednesday 16 November 1960 I announced for this coming year that I would deal with transference, with its subjective oddity (sa disparite subjective). It is not a term that was easily chosen. It underlines essentially something which goes further than the simple notion of asymmetry between subjects. It poses in the very title... it rebels, as I might say from the beginning, against the idea that intersubjectivity can by itself alone provide the framework in which the phenomenon is inscribed. There are words which are more or less appropriate in different tongues. I am looking for some equivalent for the word impair, for the subjective oddity of transference, for the oddity that it contains essentially. There is no term, except the very term imparite which is not used in French, to designate it. "In its supposed situation" (dans sa pretendue situation) my title also says, indicating by that some reference to this effort over the last years in analysis to organise, around the notion of situation, what happens in analytic treatment. The very word supposed is there again to say that I dispute the validity of, or at least that I take up a corrective position with respect to this effort. I do not believe that one can say purely and simply about psychoanalysis that what we have here is a situation. If it is one, it is one of which one could also say: it is not a situation or again, that it is a false situation.
    [Show full text]
  • Model Musician Sounds Provided By: Jim Matthews Who Are YOUR
    Model Musician Sounds Provided by: Jim Matthews Who are YOUR models for music? Which performing artists do YOU listen to? Who do you play for your students as a STANDARD - model of excellence? This certainly is NOT a complete list as there are many models which are not listed. This is simply a start. Flute - Emmanuel Pahud, Andreas Blau, Sharon Bezaly, Julius Baker, Jean-Pierre Rampal, James Galway, Ian Clarke, Thomas Robertello, Mimi Stillman, Aurele Nicolet, Jasmine Choi, Paula Robison, Andrea Griminelli, Jane Rutter, Jeanne Baxtresser, Sefika Kutluer, Jazz: Hubert Laws, Nestor Torres, Greg Patillo (beatbox), Ian Anderson (Jethro Tull), Herbie Mann, Dave Valentine, Oboe - Albrecht Mayer, Marcel Tabuteau, John Mack, Joe Robinson, Alex Klein, Eugene Izotov, Heinz Holliger, Elaine Douvas, John de Lancie, Andreas Whitteman, Richard Woodhams, Ralph Gomberg, Katherine Needleman, Marc Lifschey, David Weiss, Liang Wang, Francios Leleux, Bassoon - David McGill, Arthur Grossman, Klaus Thunemann, Dag Jensen, Joseph Polisi, Frank Morrelli, Judith LeClair, Breaking Winds Bassoon Quartet, Albrecht Holder, Milan Turkovic, Gustavo Nunez, Antoine Bullant, Bill Douglas, Julie Price, Asger Svendsen, Carl Almenrader, Karen Geoghegan, Clarinet - Sabine Meyer, Julian Bliss, Andrew Mariner, Martin Frost, Larry Combs, Stanley Drucker, Alessandro Carbonare, John Manasse, Sharon Kam, Karl Leister, Ricardo Morales, Jack Brymer, Yehuda Gilad, Harold Wright, Robert Marcellus, Richard Stoltzman, Jazz: Benny Goodman, Artie Shaw, Paquito D’Rivera, Eddie Daniels, Pete
    [Show full text]
  • This Strongs Greek-English Glossary Has Been Generated Based On
    STRONGS GREEK-ENGLISH GLOSSARY This Strongs Greek-English Glossary has been generated based on “Lexical Form” glosses and Strong’s number assignment from the Lexham Greek-English Interlinear New Testament, available from Logos Bible Software (http://www.logos.com). Lexical Form glosses are general and relatively context-free; they are not formal definitions. While they serve some use for quick and easy lookup, if one is studying a particular word or word usage, one should further consult a formal Greek-English dictionary or lexicon. 1 ἄλφα alpha alpha 30 ἄγγος, ἀγγεῖον angos, angeion vessel 2 Ἀαρών Aarōn Aaron 31 ἀγγελία angelia message 3 Ἀβαδδών Abaddōn Abbadon 32 ἄγγελος angelos angel 4 ἀβαρής abarēs not burdensome 33 ἄγε — see 71 5 ἀββά abba Abba, Aramaic for “Father” 34 ἀγέλη agelē herd 6 Ἅβελ Habel Abel 35 ἀγενεαλόγητος agenealogētos without genealogy 7 Ἀβιά Abia Abijah 36 ἀγενής agenēs insignificant 8 Ἀβιαθάρ Abiathar Abiathar 37 ἁγιάζω hagiazō to make holy 9 Ἀβιληνή Abilēnē Abilene 38 ἁγιασμός hagiasmos sanctification 10 Ἀβιούδ Abioud Abiud 39 ἅγιος hagios holy; sanctuary 11 Ἀβραάμ Abraam Abraham 40 ἅγιος hagios holy 12 ἄβυσσος abyssos netherworld 41 ἁγιότης hagiotēs holiness 13 Ἅγαβος Hagabos Agabus 42 ἁγιωσύνη hagiōsynē holiness 14 ἀγαθοεργέω agathoergeō to do good 43 ἀγκάλη ankalē arm 15 ἀγαθοποιέω agathopoieō to do good 44 ἄγκιστρον ankistron fishhook 16 ἀγαθοποιί̈α agathopoiia doing good 45 ἄγκυρα ankyra anchor 17 ἀγαθοποιός agathopoios doing good 46 ἄγναφος agnaphos new 18 ἀγαθός agathos good 47 ἁγνεία hagneia purity 19 ἀγαθωσύνη
    [Show full text]
  • The Montana Kaimin, February 23, 1945
    University of Montana ScholarWorks at University of Montana Associated Students of the University of Montana Montana Kaimin, 1898-present (ASUM) 2-23-1945 The onM tana Kaimin, February 23, 1945 Associated Students of Montana State University Let us know how access to this document benefits ouy . Follow this and additional works at: https://scholarworks.umt.edu/studentnewspaper Recommended Citation Associated Students of Montana State University, "The onM tana Kaimin, February 23, 1945" (1945). Montana Kaimin, 1898-present. 2077. https://scholarworks.umt.edu/studentnewspaper/2077 This Newspaper is brought to you for free and open access by the Associated Students of the University of Montana (ASUM) at ScholarWorks at University of Montana. It has been accepted for inclusion in Montana Kaimin, 1898-present by an authorized administrator of ScholarWorks at University of Montana. For more information, please contact [email protected]. MontanaWON State University, Missoula, Montana VolumeAIMIK XLTV Friday, February 23, 1945 No. 33 Alexander Kipnis will sing “Time” survey reveals to music lovers tonight “vital” statistics of MSU Alexander Kipnis, the great* Russian-American bass-bari- coed views on dating ton of the Metropolitan Opera Association who will present a BY PAT NELSON recital in the Student Union They’re either too young or too old! Auditorium at 8:15 tonight, has Sighed campus coeds who were polled. voice, world background, per­ sonal magnetism—all the ne­ A poll, conducted this month for “Time” magazine by Dr. cessities for audience appeal. Catherine Nutterville’s Social Work Laboratory, has un­ Vocally, Mr. Kipnis has the phe­ earthed some “vital” statistics concerning MSU coeds: What nomenal range, the all-encompass­ they think about the men on the campus; how many of them ing emotional quality of the Rus­ are dating; how many expect to work after marriage.
    [Show full text]