DOCSLIB.ORG

Jazz Scholar to Become Doctor Honoris Causa of the G

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
Jazz Scholar to Become Doctor Honoris Causa of the G RANSYLVANIAN EVIEW Vol. XXV T R No. 2 /REVUE DE TRANSYLVANIE Summer 2016 Contents/Sommaire ROMANIAN ACADEMY Chairman: • Paradigms Academician Ionel-Valentin Vlad Unde Malum? Dualist(oid) and Gnostic Imaginary, from Folk Mythology to Modern Romanian Literature 3 CENTER FOR Nicoleta Popa Blanariu TRANSYLVANIAN STUDIES Director: Edgar Allan Poe: Reflections on Poetry 21 Academician Ioan-Aurel Pop Saša Simović The Barbarianism of the Civilized Man: Literary Allegories 37 Alina Silvana Felea Dompter le modernisme – l’expressivité selon les modernes 48 Marius Nenciulescu The Failed Recovery of Dissidence Literature in Romania: I. D. Sîrbu—An Exemplary Case 56 Anca Ursa • Legacy La fondation de la Société littéraire (académique) et la session de constitution de 1867 65 Dan Berindei • Focus Laudatio 87 Viorel Rujea Discurso de recepción 94 Antonio Gamoneda Antonio Gamoneda: Vida y obra 100 The First Jazz Scholar to Become Doctor Honoris Causa of the G. Dima Music Academy in Cluj 109 On the cover: Virgil Mihaiu CRISTIAN OPRIº Jazz Journeys 112 Român 1999 (Romanian 1999) John Edward Hasse lithography (1999) • Fine Arts Transylvanian Review continues the A New Approach to Arts Management in the tradition of Revue de Transylvanie, Context of the Romanian Contemporary Art Scene 129 founded by Silviu Dragomir, which Florin ªtefan was published in Cluj and then in Sibiu between 1934 and 1944. Dana Altman Transylvanian Review is published Unfinished Measurements I, II, and III 144 quarterly by the Center for Transylvanian Miklos Onucsan Studies and the Romanian Academy. Adrian Ghenie: le travail de la figure 153 EDITORIAL BOARD Laura Marin CESARE ALZATI, Ph.D. Facoltà di Scienze della Formazione, Istituto • Contributors 160 di Storia Moderna e Contemporanea, Università Cattolica, Milan, Italy • Illustrations Following Page 160 HORST FASSEL, Ph.D. Institut für donauschwäbische Geschichte Florin ªtefan und Landeskunde, Tübingen, Germany Miklos Onucsan KONRAD GÜNDISCH, Ph.D. Cristian Opriº Bundesinstitut für Kultur und Geschichte der Deutschen im östlichen Europa, Oldenburg, Germany HARALD HEPPNER, Ph.D. Institut für Geschichte, Graz, Austria PAUL E. MICHELSON, Ph.D. Huntington University, Indiana, USA ALEXANDRU ZUB, Ph.D. Academician, honorary director of A. D. Xenopol Institute of History, Iaºi, Romania EDITORIAL STAFF Ioan-Aurel Pop Virgil Leon Nicolae Bocºan Daniela Mârza Ioan Bolovan Alexandru Simon Raveca Divricean Florian D. Soporan Maria Ghitta George State Rudolf Gräf Translated by Bogdan Aldea—English Publication indexed and abstracted in the Liana Lãpãdatu—French Thomson Reuters Social Sciences Citation Index® Desktop Publishing and in Arts & Humanities Citation Index®, Edith Fogarasi Cosmina Varga and included in EBSCO’s and ELSEVIER’s products. Correspondence, manuscripts and books ISSN 1221-1249 should be sent to: Transylvanian Review, Centrul de Studii Transilvane (Center for Transylvanian Studies) 12–14 Mihail Kogãlniceanu St., Cluj-Napoca 400084, Romania. All material copyright © 2016 by the Center for Transylvanian Studies and the Romanian Academy. Reproduction or use Printed in Romania by COLOR PRINT without written permission is prohibited. 66, 22 Decembrie 1989 St., Zalãu 450031, Romania [email protected] Tel. (0040)260-660598 www.centruldestudiitransilvane.ro paradIGMS Unde Malum? Dualist(oid) and Gnostic Imaginary, from Folk Mythology to Modern N I co LETA P O PA B LANARIU Romanian Literature “L’inconscience est une OUR STUDY relies, on the one hand, on the identification of a continuity patrie; la conscience, phenomenon in European culture— un exil.” the perpetuation, under various forms, over several centuries, of a paradigm of dualistic-gnostic imaginary—and, on the other hand, on the insufficient, rather sporadic representation of its Romanian component in the reference literature in the field. Dualistic mythol- ogy, once widespread across all conti- nents, subsisted in European folklore until the 20th century only in Eastern and Southeastern Europe, particularly in the Romanian space (Eliade 1995; see also Pamfile 2006; Cartojan 1974). Dualism has stood the test of time over the centuries, until today, being often assimilated by other philosophical and Nicoleta Popa Blanariu religious trends, including the different Lecturer at Vasile Alecsandri University Bacãu. Author of the vol. Când gestul versions of Gnosticism (Bianchi 1976, rupe tãcerea: Dansul ºi paradigmele 1978; Ivanov 1976; Marrou 1983; comunicãrii (When a gesture breaks Jonas 2001; Culianu 2002). We believe the silence: Dance and the paradigms that it is precisely this reminiscent and of communication) (2008). diffuse background of the autochtho- 4 • TRANSYLVANIAN REVIEW • VOL. XXV, NO. 2 (SUmmER 2016) nous mythical mentality that constituted, in the 19th–20th centuries, one of the premises—not necessarily the most relevant one—for the reiteration of dualistic imaginary in the Romanian classic literature, in specific forms (Bogomilism, Gnosticism), contaminated by the Western bookish tradition. Dualistic cosmogonies are the only relict of pre-Christian folk cosmogony in Europe (Eliade 1995). With ancient, yet unsolved origins, spreading over an extremely vast area in cultural geography and history, dualist myths have been traced back to Finno-Ugric, Ural-Altaic, Iranian, Slavic, Amerindian peoples and even later, in the Christian era, to European heretics such as the Bogomils (who contaminated the medieval Romanian spirituality) or the Provencal Ca- thars and their Italian successors, until the 15th century (Bianchi 1976, 1978; Ivanov 1976; Culianu 2002; Culianu 2005; Eliade 1995). In the form that they assumed within the “Western dualistic gnoses,” dualistic myths resurfaced in the 18th century with Goethe, Hegel, Sturm und Drang and the Romantics— themselves “creators of apparently gnostic myths” —, and in the literature of the 20th century (Culianu 2002, 2005; Bloom 1996). Ugo Bianchi was the first to highlight this “enigma of the history of religions,” consisting of the “repeated reactivation,” after the 1st century A.D., of ancient pre-Christian dualistic myths within those mythical-religious systems that Ioan Petru Culianu designated by the term “dualisms of the West” or “dualistic gnoses of the West” (Culianu 2002; also Bianchi 1976, 1978). Finding the continuity of these mythical-im- agistic structures, from ancient Gnosticism to the Romantics and later, Harold Bloom diagnoses a “purified Gnosticism” that almost turned, over time, into “a literary religion,” “an aesthetic and, at the same time, spiritual discipline” (Bloom 1996, 33). Like the other Western dualistic trends, Gnosticism is a “phenomenon of counterculture” (12). We should mention the fact that our interest lies not (necessarily) in the religious dimension of Gnosticism, but—as more appropriate to our corpus of analysis—in its functioning as an intellectual and existential paradigm. Our intention is to identify and analyze, in the wider context of the history of ideas and mentalities in Europe, the persistence of these ancient dualist(oid) structures of the imaginary in the work of representative authors of Romanian classic and interwar literature, as well as of the postwar diaspora. We have al- ready explained part of our conclusions and arguments in previous contribu- tions, hence we shall not repeat them in detail, but we shall rather attempt to complete and nuance them (Popa Blanariu 2008, 2015a, 2015b, 2015c). Such a mythical-imagistic paradigm, of a dualistic-gnostic type, may be iden- tified in the work of Goethe, Blake, Byron, Shelley, Leopardi, Baudelaire, with the Russian symbolists, Dostoyevsky, Kafka and existentialists, with Beckett, Thomas Mann, and Mikhail Bulgakov. Thus, it has been confirmed that “the PARADIGMS • 5 modern intellect resorts to old ways of thinking” which “confirm its laceration” (Friedrich 1969, 44; Pagels 2013, 204–206; Culianu 2002, 41–56; Culianu 2006; Bloom 1996, 2007). In Romanian literature, reminiscences and allu- sions to the dualistic-gnostic imaginary or even explicit references may be found with Mihai Eminescu, Alexandru Macedonski, Lucian Blaga, Mircea Eliade, Emil Cioran, Eugène Ionesco and, to a certain extent, with Ion Barbu or Mihail Sadoveanu (see Blaga 1969; Balotã 1976; Culianu 2006; del Conte 1990; Cifor 2000; L. Petrescu 1992; Petreu 1991; Borbély 2003; I. Em. Petrescu 1993; Paleologu 2006; Laurent 2015). It is interesting to note that—as a symptom of the interwar intellectual context in Romania—in his lectures on metaphysics delivered at the University of Bucharest, Nae Ionescu, the mentor of the gen- eration of intellectuals that emerged between the two wars (with everything, good and bad, that this quality contributed to Romanian culture and history), analyses Faust by Goethe from a dualistic perspective (N. Ionescu 1996). In our opinion, the works of Eminescu, Macedonski, Blaga, Eliade, Cioran, and Ionesco illustrate, in various ways and to different degrees, the actuality in litera- ture of a dualistic Weltanschauung, especially Bogomilic or gnostic, that is one of the “paths of utopic imagination” (see Wunenburger 2001, 227–228). Without dualistic motifs having a relevant presence in his work, Tudor Arghezi nevertheless unmasks the “jester,” the “juggler,” the “crazy” God (One Hundred Poems), who displays a family similarity with the trickster, the “evil,” “charlatan,” “rogue” Demiurge from dualistic mythology. Published during the rise of proletcultism and “marked by the fingerprint of time: war, draught, con- frontation
Load more

Recommended publications
  • The Purloined Life of Edgar Allan Poe by Jeffrey Steinberg Edgar Allan Poe
    Click here for Full Issue of Fidelio Volume 15, Number 1-2, Spring-Summer 2006 EDGAR ALLAN POE and the Spirit of the American Republic The Purloined Life Of Edgar Allan Poe by Jeffrey Steinberg Edgar Allan Poe great deal of what people think they know about dark side, and the dark side is that most really creative Edgar Allan Poe, is wrong. Furthermore, there geniuses are insane, and usually something bad comes of Ais not that much known about him—other than them, because the very thing that gives them the talent to that people have read at least one of his short stories, or be creative is what ultimately destroys them. poems; and it’s common even today, that in English liter- And this lie is the flip-side of the argument that most ature classes in high school—maybe upper levels of ele- people don’t have the “innate talent” to be able to think; mentary school—you’re told about Poe. And if you ever most people are supposed to accept the fact that their lives got to the point of being told something about Poe as an are going to be routine, drab, and ultimately insignificant actual personality, you have probably heard some sum- in the long wave of things; and when there are people mary distillation of the slanders about him: He died as a who are creative, we always think of their creativity as drunk; he was crazy; he was one of these people who occurring in an attic or a basement, or in long walks demonstrate that genius and creativity always have a alone in the woods; that creativity is not a social process, but something that happens in the minds of these ran- __________ domly born madmen or madwomen.
    [Show full text]
  • Network Map of Knowledge And
    Humphry Davy George Grosz Patrick Galvin August Wilhelm von Hofmann Mervyn Gotsman Peter Blake Willa Cather Norman Vincent Peale Hans Holbein the Elder David Bomberg Hans Lewy Mark Ryden Juan Gris Ian Stevenson Charles Coleman (English painter) Mauritz de Haas David Drake Donald E. Westlake John Morton Blum Yehuda Amichai Stephen Smale Bernd and Hilla Becher Vitsentzos Kornaros Maxfield Parrish L. Sprague de Camp Derek Jarman Baron Carl von Rokitansky John LaFarge Richard Francis Burton Jamie Hewlett George Sterling Sergei Winogradsky Federico Halbherr Jean-Léon Gérôme William M. Bass Roy Lichtenstein Jacob Isaakszoon van Ruisdael Tony Cliff Julia Margaret Cameron Arnold Sommerfeld Adrian Willaert Olga Arsenievna Oleinik LeMoine Fitzgerald Christian Krohg Wilfred Thesiger Jean-Joseph Benjamin-Constant Eva Hesse `Abd Allah ibn `Abbas Him Mark Lai Clark Ashton Smith Clint Eastwood Therkel Mathiassen Bettie Page Frank DuMond Peter Whittle Salvador Espriu Gaetano Fichera William Cubley Jean Tinguely Amado Nervo Sarat Chandra Chattopadhyay Ferdinand Hodler Françoise Sagan Dave Meltzer Anton Julius Carlson Bela Cikoš Sesija John Cleese Kan Nyunt Charlotte Lamb Benjamin Silliman Howard Hendricks Jim Russell (cartoonist) Kate Chopin Gary Becker Harvey Kurtzman Michel Tapié John C. Maxwell Stan Pitt Henry Lawson Gustave Boulanger Wayne Shorter Irshad Kamil Joseph Greenberg Dungeons & Dragons Serbian epic poetry Adrian Ludwig Richter Eliseu Visconti Albert Maignan Syed Nazeer Husain Hakushu Kitahara Lim Cheng Hoe David Brin Bernard Ogilvie Dodge Star Wars Karel Capek Hudson River School Alfred Hitchcock Vladimir Colin Robert Kroetsch Shah Abdul Latif Bhittai Stephen Sondheim Robert Ludlum Frank Frazetta Walter Tevis Sax Rohmer Rafael Sabatini Ralph Nader Manon Gropius Aristide Maillol Ed Roth Jonathan Dordick Abdur Razzaq (Professor) John W.
    [Show full text]
  • Premio Corso Salani 2015
    il principale appuntamento italiano con il cinema dell’Europa centro orientale un progetto di Alpe Adria Cinema Alpe Adria Cinema 26a edizione piazza Duca degli Abruzzi 3 sala Tripcovich / teatro Miela 34132 Trieste / Italia 16-22 gennaio 2015 tel. +39 040 34 76 076 fax +39 040 66 23 38 [email protected] con il patrocinio di www.triesteflmfestival.it Comune di Trieste twitter.com/TriesteFilmFest Direzione Generale per il Cinema – facebook.com/TriesteFilmFest Ministero dei Beni e delle Attività Culturali e del Turismo con il contributo di Regione Autonoma Friuli Venezia Giulia Creative Europe – MEDIA Programme CEI – Central European Initiative Provincia di Trieste Comune di Trieste Direzione Generale per il Cinema – Ministero dei Beni e delle Attività Culturali e del Turismo CCIAA – Camera di Commercio di Trieste con il sostegno di Lux Film Prize Istituto Polacco – Roma con la collaborazione di Fondazione Teatro Lirico Giuseppe Verdi – Trieste Fondo Audiovisivo FVG Associazione Casa del Cinema di Trieste La Cappella Underground FVG Film Commission Eye on Films Associazione Culturale Mattador Associazione Corso Salani Centro Ceco di Milano media partner mymovies.it media coverage by Sky Arte HD direzione artistica promozione, coordinamento volontari biglietteria Annamaria Percavassi e direzione di sala Rossella Mestroni, Alessandra Lama Fabrizio Grosoli Patrizia Pepi Gioffrè desk accrediti presidente comunicazione, progetto grafco Ambra De Nobili organizzazione generale immagine coordinata e allestimenti Cristina Sain Claimax -immagina.organizza.comunica-
    [Show full text]
  • LITERATURA HUNEDOREANĂ (De La Începuturi Până În Prezent) Ştefan NEMECSEK ______
    9 EDITURA REALITATEA ROMÂNEASCÃ - 2008 L I (de laînceputuri pânãînprezent) T E R scriitori hunedoreni A T U v R o A l Eugen Evu u Radu ª m T H Ciobanu E U u F l N A I I N E I D N E O M R E E C A Valeriu S N Paulina POPA Bârgãu E K Ã Ştefan NEMECSEK LITERATURA HUNEDOREANĂ (de la începuturi până în prezent) Ştefan NEMECSEK ___________________________________________________ ©Copyright – Editura REALITATEA ROMÂNEASCĂ şi autorul Toate drepturile sunt rezervate Editurii REALITATEA ROMÂNEASCĂ VULCAN, 336200, Str. Mihai Viteazu, nr. 24, bl. 17, sc. E, ap. 1-2 Jud. Hunedoara – ROMÂNIA Tel./Fax: 0254-571089, Tel.: 0723321466 Reproducerea integrală sau parţială - digitală, mecanică, fotocopiere sau în orice alt mod - a conţinutului acestei lucrări este posibilă numai cu acordul prealabil în scris al autorului sau al Editurii REALITATEA ROMÂNEASCĂ. Descrierea CIP a Bibliotecii Naţionale a României NEMECSEK, ŞTEFAN Literatura hunedoreană : (de la începuturi până în prezent) / Ştefan Nemecsek. – Vulcan: Realitatea Românească, 2008 3 vol. ISBN 978-973-88752-1-0-3 Vol. 3. – ISBN 978-973-88752-3-4 821.135.1.09(498-35 Hunedoara) Editor: ing. Daniela MIKLOS Coperta: ing. Elisabeta KOCSIK ing. Daniela MIKLOŞ Tehnoredactare computerizată: ing. Cristian NEMECSEK ing. Zoltan MIKLOS Culegere text: Mădălina CĂPRAR Corectură: Ioan VELICA 2 LITERATURA HUNEDOREANĂ (de la începuturi până în prezent) ___________________________________________________ Ştefan NEMECSEK LITERATURA HUNEDOREANĂ (de la începuturi până în prezent) VOLUMUL III SCRIITORI DIN ŢINUTUL HUNEDOAREI Editura REALITATEA ROMÂNEASCĂ - 2008 - 3 Ştefan NEMECSEK ___________________________________________________ 4 LITERATURA HUNEDOREANĂ (de la începuturi până în prezent) ___________________________________________________ A Ionel AMĂRIUŢEI Albert I.
    [Show full text]
  • 19Th Century American Authors, Literature, Informational Texts, and Visual Representation
    19th Century American Authors, Literature, Informational Texts, and Visual Representation (Correlating to Cottonwood Middle School’s 8th Grade Language Arts textbook: The Elements of Literature) Lisa Ashley Cottonwood Middle School Cottonwood, AZ NEH Summer Institute 2009 Introduction and Rationale Having participated in this year’s Picturing Early America: People, Places, and Events 1770-1870, a four-week-long summer institute on interpreting and teaching early American art, my goal for the upcoming 2009-2010 school year is to incorporate visual references to EACH of my 8th grade Language Arts literature lessons. Being a Title One, low income school, our classroom materials are limited. We do have, however, classroom sets of the Holt textbook, Elements of Literature. The text contains fictional prose from the American authors Edgar Allen Poe, Mark Twain, and Nathanial Hawthorne. Additionally, the text also contains a nonfiction piece on Harriet Tubman and The Underground Railroad. Goals I have begun to build files with 19th century images of authors and illustrations of their works. These files will be available for any other teachers who would like to use them and who teach similar content in their English/Language Arts classrooms. This Power Point is just the beginning presentation of my files. National Endowment for the Humanities “Picturing America” Images Because our district was awarded a set of these images, I hope to enrich our current Language Arts curriculum by creating lessons connecting the images to as many reading and writing activities as possible. This endeavor to couple texts with images will be an ongoing, continuous process for me this year: I will need to find images of prints, paintings, and illustrations that are suitable and engaging for my students and pair them with activities that will extend and enrich our already existing texts.
    [Show full text]
  • PDF the Migration of Literary Ideas: the Problem of Romanian Symbolism
    The Migration of Literary Ideas: The Problem of Romanian Symbolism Cosmina Andreea Roșu ABSTRACT: The migration of symbolists’ ideas in Romanian literary field during the 1900’s occurs mostly due to poets. One of the symbolist poets influenced by the French literature (the core of the Symbolism) and its representatives is Dimitrie Anghel. He manages symbols throughout his entire writings, both in poetry and in prose, as a masterpiece. His vivid imagination and fantasy reinterpret symbols from a specific Romanian point of view. His approach of symbolist ideas emerges from his translations from the French authors but also from his original writings, since he creates a new attempt to penetrate another sequence of the consciousness. Dimitrie Anghel learns the new poetics during his years long staying in France. KEY WORDS: writing, ideas, prose poem, symbol, fantasy. A t the beginning of the twentieth century the Romanian literature was dominated by Eminescu and his epigones, and there were visible effects of Al. Macedonski’s efforts to impose a new poetry when Dimitrie Anghel left to Paris. Nicolae Iorga was trying to initiate a new nationalist movement, and D. Anghel was blamed for leaving and detaching himself from what was happening“ in the” country. But “he fought this idea in his texts making ironical remarks about those“The Landwho were” eagerly going away from native land ( Youth – „Tinereță“, Looking at a Terrestrial Sphere” – „Privind o sferă terestră“, a literary – „Pământul“). Babel tower He settled down for several years in Paris, which he called 140 . His work offers important facts about this The Migration of Literary Ideas: The Problem of Romanian Symbolism 141 Roșu: period.
    [Show full text]
  • Ean Timi[Oara, the Pole of Cultural Tourism in Banat
    Timi[oara, pol al turismului Timi[oara, the pole of cultural cultural b`n`]ean tourism in Banat CapitalaCapitala Cultural`Cultural` European`European` 2021,2021, descoperit`descoperit` prinprin castele,castele, conace,conace, muzeemuzee [i[i casecase memorialememoriale EuropeanEuropean CapitalCapital ofof CultureCulture 2021,2021, discovereddiscovered throughthrough castles,castles, mansions,mansions, museumsmuseums andand memorialmemorial houseshouses Editor UEBR Edi]ie coordonat` de dr. Lia Lucia EPURE Tipar Waldpress ISBN 978-606-614-058-4 3 Istoria cl`dirilor noastre, parte din cultura regional` Cea de-a doua edi]ie a revistei ”Timi[oara, pol al turismului cultural b`n`]ean”, f`c=nd parte din agenda cultural` a proiectului din 2021, c=nd Timi[oara va fi Capital` Cultural` European`, cuprinde referiri la istoria arhitectural` ale unei zone minunate: Banatul. Timi[oara, dar [i ora[ele din \mprejurimi, sunt de]in`toarele unei comori de sute de ani: palate, conace, cl`diri istorice, unice sau similare celor din fostul Imperiu Habsburgic [i Austro - Ungar, muzee, case \n care s-a f`cut istorie. Acestea sunt repere ale turismului cultural [i istoric, atrac]ii pentru vizitatorii str`ini, dar [i din ]ar`, ba chiar [i pentru cei locali, mai pu]in cunosc`tori ai acestui patrimoniu. Revista pe care o realiz`m \n minunatul proiect al anului 2021 este dovada dorin]ei noastre (a unei echipe editoriale, din cadrul Uniunii Europene Banat Rom=nia – UEBR) de a fi parte din realiz`rile constante ale ATCC2021. Sper`m c` o revist` poate r`m=ne nu doar \n biblioteca unui pasionat al textului scris, ci [i \n geanta sport a unui turist, pe noptiera din hotelul \n care stau cei sosi]i \n Timi[oara, curio[i, deopotriv`, de a vizita \mprejurimile, Banatul, Timi[oara.
    [Show full text]
  • EAST-CENTRAL EUROPEAN & BALKAN SYMPHONIES from The
    EAST-CENTRAL EUROPEAN & BALKAN SYMPHONIES From the 19th Century To the Present A Discography Of CDs And LPs Prepared by Michael Herman Composers K-P MILOSLAV KABELÁČ (1908-1979, CZECH) Born in Prague. He studied composition at the Prague Conservatory under Karel Boleslav Jirák and conducting under Pavel Dedeček and at its Master School he studied the piano under Vilem Kurz. He then worked for Radio Prague as a conductor and one of its first music directors before becoming a professor of the Prague Conservatoy where he served for many years. He produced an extensive catalogue of orchestral, chamber, instrumental, vocal and choral works. Symphony No. 1 in D for Strings and Percussion, Op. 11 (1941–2) Marko Ivanovič/Prague Radio Symphony Orchestra ( + Symphonies Nos. 2, 3, 4, 5, 6, 7 and 8) SUPRAPHON SU42022 (4 CDs) (2016) Symphony No. 2 in C for Large Orchestra, Op. 15 (1942–6) Marko Ivanovič/Prague Radio Symphony Orchestra ( + Symphonies Nos. 1, 3, 4, 5, 6, 7 and 8) SUPRAPHON SU42022 (4 CDs) (2016) Symphony No. 3 in F major for Organ, Brass and Timpani, Op. 33 (1948-57) Marko Ivanovič//Prague Radio Symphony Orchestra ( + Symphonies Nos. 1, 2, 4, 5, 6, 7 and 8) SUPRAPHON SU42022 (4 CDs) (2016) Libor Pešek/Alena Veselá(organ)/Brass Harmonia ( + Kopelent: Il Canto Deli Augei and Fišer: 2 Piano Concerto) SUPRAPHON 1110 4144 (LP) (1988) Symphony No. 4 in A major, Op. 36 "Chamber" (1954-8) Marko Ivanovic/Czech Chamber Philharmonic Orchestra, Pardubice ( + Martin·: Oboe Concerto and Beethoven: Symphony No. 1) ARCO DIVA UP 0123 - 2 131 (2009) Marko Ivanovič//Prague Radio Symphony Orchestra ( + Symphonies Nos.
    [Show full text]
  • Fame After Life: the Mystery of Edgar Allan Poe's Death
    http://dx.doi.org/10.7592/FEJF2016.65.mollegaard FAME AFTER LIFE: THE MYSTERY OF EDGAR ALLAN POE’S DEATH Kirsten Møllegaard Abstract: Although contemporary legends often deal with the trials and anx- ieties of everyday life, a considerable body of folk narratives deals with famous historical people and the mysteries, rumors, and anecdotes ascribed to them. American author Edgar Allan Poe (1809–1849) was a trend-setting author of gothic horror and dark mysteries. His short, difficult life and strange death have fueled both academic and folkloristic narratives. Where the academic narratives often analyze his fiction biographically as reflections of his life such as his -im poverishment, alcoholism, and frustrated ambition, the folk narratives typically focus on his death at the age of forty. By straddling literary and popular fame, Poe-lore occupies a dynamic Spielraum in contemporary folklore because his haunted life and mysterious death, similar to the literary conventions for the gothic in literature, collapse ‘high’ and ‘low’ culture. The folklore of famous people is intimately – perhaps even mysteriously – tied to the perception of individual identity and the social experience of city crowds, strangers, and alienation. In Poe’s case, the intertwining of his fiction with his real-life struggles has made Poe scholarship the most biographically centered of any American writer, past or present, and produced Poe not only as a towering legend in American literature, but also as a legendary figure in the popular imagination. Keywords: biography, contemporary legends, death, Edgar Allan Poe, fame, gothic literature, Poe Toaster http://www.folklore.ee/folklore/vol65/mollegaard.pdf Kirsten Møllegaard The boundaries which divide Life from Death are at best shadowy and vague.
    [Show full text]
  • Kunstbericht 2011 Kunstbericht
    Kunstbericht-2011-FX.indd 1 Kunstbericht 2011 Kunstbericht 06.06.12 08:14 2011 Kunstbericht 2011 Bericht über die Kunstförderung des Bundes Struktur der Ausgaben Förderungen im Detail Service Glossar zur Kunstförderung Impressum Herausgeber Bundesministerium für Unterricht, Kunst und Kultur, Kunstsektion, 1010 Wien, Minoritenplatz 5 Redaktion Alexandra Auth, Herbert Hofreither, Robert Stocker Cover Christina Brandauer Grafische Gestaltung, Satz, Herstellung Peter Sachartschenko Herstellung Druckerei Berger, Horn Inhalt Vorwort Seite 5 I Struktur der Ausgaben Seite 7 II Förderungen im Detail Seite 81 III Service Seite 139 IV Glossar zur Kunstförderung Seite 263 V Register Seite 297 Kunstbericht 2011 5 Vorwort Der Kunstbericht 2011 ist mehr als nur ein Geschäftsbericht. Er stellt nicht nur transpa- rent Zahlen und Fakten dar, er zeigt vor allem die Bandbreite der Kunstförderung und den Erfolg des künstlerischen Schaffens in der Literatur, am Theater, in der Musik, im Film, in der bildenden Kunst sowie die Arbeit der regionalen Kulturinstitutionen. Gemeinsam können wir auf ein gutes Jahr für die Kunst zurückblicken: nationale und internationale Preise für den österreichischen Film, die Umsetzung der Kinodigitalisie- rung für die Programmkinos, ein vielbeachteter Beitrag Österreichs bei der Kunstbiennale in Venedig, weitere Stärkung des zeitgenössischen Kunstschaffens und die nachhaltige © Hans Ringhofer Umsetzung der Nachwuchsförderung und Kulturvermittlung. Um eine kontinuierliche Tätigkeit zu ermöglichen, bedarf es eines stabilen Budgets. Trotz der Konsolidierung des Staatshaushaltes, die zu Kürzungen in einigen Ressorts geführt hat, ist es uns im Bereich der Kunst und Kultur gelungen, die Budgets und die Ausgaben stabil zu halten. Darin drückt sich das klare Bekenntnis zur Verantwortung des Staates für die Förderung von Kunst aus.
    [Show full text]
  • Tactica Dublei Măsuri
    REVISTà LUNARà DE CULTURà A SOCIETÃÞII SCRIITORILOR TÂRGOVIªTENI Anul XVIII, Nr. 3 (204) martie 2017 Apare cu sprijinul Consiliului Local Municipal ºi al Primãriei Municipiului Târgoviºte Tactica dublei mãsuri A fãcut, pe la începutul lui martie, oarece valuri pe facebook postarea intitulatã Autodenunþ a unei profesoare de gimnaziu din Bucureºti care declara cã a decis sã nu respecte, în mod premeditat, programa ºcolarã de limba românã, ºi sã nu citeascã împreunã cu elevii sãi poeziile de Eminescu, Amintirile lui Creangã, baladele populare, pastelurile de 150 de ani, nuvelele lui Slavici... Cei care au luat cunoºtinþã de aºa ceva s-au împãrþit repede în douã tabere (ºi grupe de vârstã), unii aplaudând spiritul independent ºi reformator al autodenunþatei, alþii exprimându-ºi indignarea faþã de îndrãzneala de a-i respinge pe clasici. Primii se manifestau chiar pe wall-ul profesoarei ºi se legitimau, îndeobºte, ca reprezentanþi ai atitudinii #rezist. Ceilalþi, mai în vârstã, dar ºi ceva mai documentaþi, îºi exprimau separat rezervele. Dar atât le trebuia, dacã îndrãzneau s-o facã pe teritoriul #rezistenþilor! Am citit cu atenþie textul profesoarei ºi am consultat programa ºcolarã. Am constatat cã polemica se limita doar la refuzul clasicilor, aplaudat de unii ºi incriminat de ceilalþi. Numai cã ºi unii ºi alþii au exacerbat un element, totuºi, secundar. Pentru cã e sensibil. O problemã din registrul ideilor gingaºe, cum spunea Paul Zarifopol, al cãrui strãlucitor eseu despre clasici profesoara de gimnaziu din capitalã îl ignorã, probabil, cu desãvârºire. Dar nu faptul cã-l ignorã pe Zarifopol e problema ei, ci faptul cã ignorã ceva mult mai accesibil, ºi anume conþinutul programei ºcolare pe care spune cã nu mai vrea s-o respecte.
    [Show full text]
  • ”Lost Generation”. the Phoenix Bird of Aesthetics Arising from the Refusal of Aesthetics
    CCI3 LITERATURE THE NEW POETRY AND THE NEW POETICS OF THE ”LOST GENERATION”. THE PHOENIX BIRD OF AESTHETICS ARISING FROM THE REFUSAL OF AESTHETICS Sorin Ivan, Prof., PhD, ”Titu Maiorescu” University of Bucharest Abstract: The poets of the Albatros magazine are the heart of a generation that aims to revolutionize literature and to create a new poetry. At the origin of this movement there lies an ontologically based aesthetic explanation: the desire of separation from the literary tradition and the aesthetic canons (a polemical and iconoclastic breakup), the need for poetic renewal in a time under the sign of urgency, of change and of desire for rebirth from the ruins of the war. In the young poets’ vision, poetry must descend from the metaphysical heavens of an empty aesthetics into the immediate reality, as an instrument of life, as a way of living. The new poetry is born from the ashes of an outdated aesthetics and from the ashes of time, with a new, messianic meaning, proclaiming the future and the new man. The poets of the Albatros magazine, and others, who write in the literary press of the time, thus create a revolutionary movement in the literary mentality and poetry. Out of the anti-poetic and anti- aesthetic ideology of this movement, a new aesthetic is born, from which the new poetry grows. In this context, Geo Dumitrescu is an iconic poet for the new aesthetics, raised from negation, and for the new poetry. It is interesting to see which are the defining elements of the anti-aesthetic and anti-poetic aesthetics and what the ”new poetry”, promoted by the war generation, means compared to the ”old poetry”.
    [Show full text]