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Dead Heroes and Living Saints: Orthodoxy
Dead Heroes and Living Saints: Orthodoxy, Nationalism, and Militarism in Contemporary Russia and Cyprus By Victoria Fomina Submitted to Central European University Department of Sociology and Social Anthropology In partial fulfillment of the requirements for the degree of Doctor of Philosophy Supervisors: Professor Vlad Naumescu Professor Dorit Geva CEU eTD Collection Budapest, Hungary 2019 Budapest, Hungary Statement I hereby declare that this dissertation contains no materials accepted for any other degrees in any other institutions and no materials previously written and / or published by any other person, except where appropriate acknowledgement is made in the form of bibliographical reference. Victoria Fomina Budapest, August 16, 2019 CEU eTD Collection i Abstract This dissertation explores commemorative practices in contemporary Russia and Cyprus focusing on the role heroic and martyrical images play in the recent surge of nationalist movements in Orthodox countries. It follows two cases of collective mobilization around martyr figures – the cult of the Russian soldier Evgenii Rodionov beheaded in Chechen captivity in 1996, and two Greek Cypriot protesters, Anastasios Isaak and Solomos Solomou, killed as a result of clashes between Greek and Turkish Cypriot protesters during a 1996 anti- occupation rally. Two decades after the tragic incidents, memorial events organized for Rodionov and Isaak and Solomou continue to attract thousands of people and only seem to grow in scale, turning their cults into a platform for the production and dissemination of competing visions of morality and social order. This dissertation shows how martyr figures are mobilized in Russia and Cyprus to articulate a conservative moral project built around nationalism, militarized patriotism, and Orthodox spirituality. -
Kiosk Wars/CD Review
December 1, 2010 Hi John- Here are the CD reviews for the Januaary 2011 issue. I'll be by your office later today to give you the CD covers for scanning. Sending file as back up. Talk soon, Perri Kiosk Wars: The Big Guns Battle for Minimarket Shelf Space Perri Pagonis [email protected] The music industry has gone through such dramatic changes in the past twenty years, that it’s hard to keep track of what’s happening with the record companies at any given moment. Vinyl records, although widely accepted by audiophiles as the most satisfying way to hear recorded music, is for collectors and DJs only. CDs are still the storage medium being most widely manufactured and distributed, however, they are becoming more technologically passé on a daily basis. Downloading digital music off of the Internet in MP3 and other forms is the current youth rage, but kids seem to download scads of stuff on a whim, often times an artist’s entire oeuvre in one fell swoop, and then forget to listen to it. The MySpace phenomenon on the web has made any band’s music, I mean any band’s music, from Micronesian punk rock goofball stuff to selected arias from monumental Italian opera stars, available to download into your computer’s hard disk in seconds. As the age of global stadium stars has dwindled down to a mere handful of selected acts: Rolling Stones, Madonna, U2, AC/DC, Metallica etc, so too has the Greek music scene splintered into a few revered giants and hordes of mewling newbies. -
Prof. Costas A. Courcoubetis Department of Informatics Athens University of Economics and Business
Prof. Costas A. Courcoubetis Department of Informatics www.aueb.gr/users/courcou Athens University of Economics and Business Short Biography Costas Courcoubetis was born in Athens. He obtained his Electrical and Mechanical engineering diploma from NTUA (1977), the M.S. (1980) and Ph.D (1982) from the EECS department at the University of California, Berkeley. From 1982 until 1990 he was Member of Technical Staff in the Mathematics Research Center at Bell Laboratories, Murray Hill, NJ, and from 1990 until 1999 he was Professor in the Computer Science Department at the University of Crete at Heraklion. While in Crete he was Head of the Telecommunications and Networks Laboratory at the Institute of Computer Science of FORTH, and Director of the Network Management Center of the University of Crete. Since 1999 he is Professor at the Computer Science Department of the Athens University of Economics and Business and Director of the Economics and Theory of Systems Laboratory. In the past he was Visiting Lecturer at the University of California, Berkeley and Adjunct Professor at Columbia University and IMAG, Grenoble. His networking group while at ICS FORTH provided the initial funding and the technical staff of FORTHnet, a major Greek ISP, a spinoff of FORTH’s wide area network. Research Interests His current research interests focus on the economics of communication networks, grid and cloud computing, demand-response systems for smart grids, the performance and pricing of broadband networks and of the Internet, by combining tools from operations research, applied probability and computer science. He is also involved in regulation issues for telecommunications and the Internet, the design of auctions, and network cost models. -
Iberia De Isaac Albéniz: Estudio De Sus Interpretaciones a Través De “El Puerto” En Los Registros Sonoros
Tesis doctoral Iberia de Isaac Albéniz: Estudio de sus interpretaciones a través de “El Puerto” en los registros sonoros por María de Lourdes Rebollo García Director: Dr. Francesc Cortès i Mir Programa de Doctorado en Historia del Arte y Musicología Departament d'Art i de Musicologia Facultat de Filosofia i Llletres Universitat Autònoma de Barcelona Mayo 2015 Tesis doctoral Iberia de Isaac Albéniz: Estudio de sus interpretaciones a través de “El Puerto” en los registros sonoros Autora: María de Lourdes Rebollo García Director: Dr. Francesc Cortès i Mir Programa de Doctorado en Historia del Arte y Musicología Departament d'Art i de Musicologia Facultat de Filosofia i Llletres Universitat Autònoma de Barcelona Mayo 2015 A Adrián y Ana Victoria, mis tesoros 4 AGRADECIMIENTOS En primer lugar quiero expresar mi más sincero agradecimiento al doctor Francesc Cortès i Mir por aceptar ser el director de esta tesis, por orientarme en la investigación, y por sus observaciones y correcciones puntuales a este texto. Pero sobre todo, por sus valiosos consejos y sugerencias siempre de manera cordial y abierta que me motivaron a llevar a buen fin esta investigación. Agradezco al doctor Joaquim Rabaseda i Matas su orientación y asesoría al inicio de este trabajo, y a la doctora Montserrat Claveria su apoyo en la tramitación de mi ingreso al doctorado. La realización de mis estudios de doctorado en la Universitat Autònoma de Barcelona fue posible gracias al apoyo de una beca concedida por el Programa de Becas para Estudios en el Extranjero del Fondo Nacional para la Cultura y las Artes (FONCA) en México. -
Composer, Pianist, Woman
Rena Kyriakou (1917-1994): Composer, Pianist, Woman Athina Fytika Ionian University (Corfu) [email protected] The career of Greek pianist and composer, Rena Kyriakou (1917-1994), exemplifies the obstacles placed before foreign-trained women musicians who aspired to be taken seriously as composers in twentieth-century Greece. By all accounts Kyriakou was a remarkable musician who demonstrated an early talent for both composing and playing the piano. Nevertheless, by her late twenties she decided to forego her promising future as a composer and instead limit herself to the career of a performing virtuoso. The pivotal moment seems to have been the poor reception of her First Piano Concert, which she premiered in Athens in 1943.1 Considering all her efforts to become a composer and all she had achieved toward that end, her decision to stop composing after the 1943 concerto performance demands closer scrutiny. Clearly, one must be careful when attributing motivations to any historical figure. Nonetheless, in Kyriakou’s case considerable evidence suggests that prevailing social and aesthetic prejudices against women and certain kinds of foreign influence, expressed by a hostile critical press, led her to her reluctant decision to abandon composition. Kyriakou’s musical talents were apparent from an early age. In 1923, at age six, she performed her premier recital at the Athens Parnassos Hall, drawing the infatuation of the Greek press. She also attracted the intense interest of Elena Venizelou, wife of the Greek prime minister, who sponsored Kyriakou’s subsequent studies in Europe. This initially involved a 1925 visit to Paris, where, despite having no formal musical training, she was permitted to present her own compositions to Vincent d’Indy and Albert Roussel, both of whom praised the eight-year- old’s innate talent.2 Kyriakou continued her youthful studies in Vienna with Paul Weingarten (piano) and Richard Stöhr (composition), eventually returning to Paris to enter the Paris Conservatoire in 1930, at age thirteen. -
Militarism in Post-2003 Cyprus 160
A University of Sussex DPhil thesis Available online via Sussex Research Online: http://sro.sussex.ac.uk/ This thesis is protected by copyright which belongs to the author. This thesis cannot be reproduced or quoted extensively from without first obtaining permission in writing from the Author The content must not be changed in any way or sold commercially in any format or medium without the formal permission of the Author When referring to this work, full bibliographic details including the author, title, awarding institution and date of the thesis must be given Please visit Sussex Research Online for more information and further details i Nationalism, Militarism and Masculinity in post-2003 Cyprus Stratis Andreas Efthymiou Doctor of Philosophy University of Sussex April – 2014 ii For Andreas and Angelos Toumazou i Acknowledgments There are many people I would like to thank, and decided to not select some of them, as I have been fortunate to have many lovely companions in this academic, but above all personal, journey. I would like to wholeheartedly thank Katie Clerides who has several times read my work and who has warmly encouraged me throughout this academic journey, always showing much belief in my abilities and potentials, from undergraduate to present day. My special appreciation and thanks to Prof. Maria Hadjipavlou who has opened up the space of research on gender in Cyprus and has, from the beginning of my undergraduate to the completion of my PhD, patiently guided and supported me through this journey. I would like to thank Prof. Gillian Bendelow who strongly encouraged me, especially in doing a PhD. -
Mimis Plessas
:: SEP 2009 $2.95 6 37 14 22 08 21 Greek Americans to 28 host U. S. House and The New A different kind of Senate Leaders Generation of Leaders Universal Care 16 Lefteris Bournias: 29 Clarinet master of St. Spyridon Youth music East and West Help hellenicare 13 10 22 Mimis Plessas: 19 Maria’s Slate featuring… 34 A Man for All Seasons Beverly Hills event A Special Interview My Summer Journey Returns to New York to support Dina Titus with Elli Kokkinou to the Ionian Village 19 20 Harry Markopolos, 26 38 10 the man who Undefined by their HACC Young Professionals 33 Alexi goes to…Hollywood! uncovered Madoff Circumstance Happy Hour A Musical Issue This issue has a lot of music in it, from the new sensation of singing star Elli Kokkinou, to the :: magazine synthesized mix of old and new by clarinet virtuoso Lefteris Bournias, to the long line of popular music tradition by grand master Mimis Plessas. Editor in Chief: Dimitri C. Michalakis I was born in Chios and still love the klarino more [email protected] than any other instrument. The hairs stand on the :: Features Editor back of my head when I hear the clarinet player Katerina Georgiou tuning up before every wedding and the first dance [email protected] usually has me up on the dance floor immediately—and staying there—as long as the :: klarino is playing. And when a virtuoso of both the old and new like Lefteris Bournias Lifestyle Editor Maria Athanasopoulos begins to play a tsifteli in the old style then I feel no pain and life has become just one [email protected] sweet glendi that I wish would never end. -
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WNIB Program Schedule February 1971
PROGRAM SCHEDULE I 97.1 fm February, 1971 I annou e 1111111 r I lectro Ill ... a new, limited production line of receivers, amplifiers, and tuners, featuring measurably superior performance, consistently high quality and utmost reliability. L I L Beverly Near North Morton Grove Oak Park 2035 W. 95 th 48 E. Oak 5700 W. Dempster 7045 W. North 779-6SOO 337-4150 967-6690 383-7006 TUESDAY, WEDNESDAY, FRIDAY & SATURDAY 10 AM 6 PM; MONDAY & THURSDAY 10 AM - 9 PM Ogdon, p (Ser S 60170) PROKOFIEFF Mephisto Waltz from PROGRAM SCHEDULE "Lermentov" - Moscow Radio Orch/Gennadi Rozhdestvensky (Mel/Ang SR 40075) I 97.1 fm February, 1971 7 PM NEW CLASSICAL RECORDINGS 8 PM SCHUBERT "Der Kampf", D, 594 (1817) (Schill.er); "Der Knabe in der Wiege",D. 579b (1817) {Ottcnwalt); "Auf der Riesenkoppe", D. 6.U (1818) (Koerner); "An den Mond in einer Hcrbstnacht", D. 614 (1818) {Schreiber); "Grab WNIB Program Schedule is published by Radio Station WNIB, 25 East Chestnut, licd fucr die Mutter", D. 616 (1818) (Anonymous) Chicago, Illinois 60611. Phone: 337-5252. Subscription rates: one year $5. 00; - Dietrich Fischer-Dieskau, ht; Gerald Moore, two years $9. 00; three years $12. 00. p (DGG 2720 006) BEETHOVEN String Quartet #5 in A, Op. 18#5 - Guarneri Quartet (RCA VCS 6195) FRONT COVER: "Portrait of Else Sohn-Rethe.!" (1873) by Carl Rudolf Sohn; 9 PM DU PUY "Youth and Folly" Overture- BACK COVER: "Portrait of the Painter Wilhelm Steinhausen" (1869) by Hans Swiss Italian Radio Orch/Armin Jordan (Swiss Thoma. Both paintings are from the exhibition, "German Painting of the 19th Composers CTS 32) Century", to be presented at the Art Institute of Chicago from February 27lli MENDELSSOHN Organ Sonata #6 in d through March 28th, 1971. -
Nea Paralias 38 - April 2015 3
Nea Paralias . Tiende jaargang - Nummer 38 - April 2015 . Lees in dit nummer : . 3 Voorwoord Voorbeschouwingen van André, onze voorzitter . 4 Agenda Lees de details voor onze komende activiteiten en die van derden . 5 Ledennieuws Nieuwe leden vervoegen ons, maar . helaas gingen verwanten van onze leden heen . 6 Terugblik Nabeschouwingen over de Nieuwjaarsreceptie, de voordracht over . de moderne Griekse schilderkunst en het etentje in El Greco . 7 10 jaar EGV We stellen even voor: de El Greco Vrienden uit Roeselare . 8 Actueel Het wel en wee van drie maanden Griekenland . 12 Athene De ervaringen van Greet: Athene, hel en hemel . 15 Muziekrubriek Griekse deelname aan ESC, 2 vertalingen van Griekse liedjes . en over de zangers van deze liedjes (A. Remos en F. Pliatsikas) . 19 Over de leerlingen Georges en Kostas, over een dief, . Humor . 29 over Paultje en over kakkerlakken . 20 Peloponnesos Messina, Laconia, Arkadia en Argolida: reisverslag van Frans & Anita – deel 2 . 22 Synergia We stellen onze nieuwe sponsor voor: Synergia . Naar aanleiding van de EP-groepsreis naar Milos en Mykonos, brengen we ter . 23 Mykonos kennismaking een aartal artikels over de te bezoeken eilanden. Let wel: deze . artikels staan volkomen los van het reisprogramma. Veel Grieken hebben naam gemaakt in Griekenland en daarbuiten, sommige . 24 BG’s zijn hier nauwelijks bekend of onder een andere naam; In deze reeks NP’s . gaan we van een veertigtal BK’s opzoeken waarom ze hun beroemd zijn . 28 Wistje datjes Dingen over Griekenland die je wellicht niet weet of al lang vergeten was . 29 Boekenplank Goden, monsters en helden . 30 Projecten Dankwoord van Jevma Agapis en voorstelling van Pilis tis Agapis . -
December 1971
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Giorgos Sakallieros* the SYMPHONIC CONCERTO FOR
New Sound 54, II/2019 Article received on August 25th 2019 Article accepted on November 28th 2019 UDC: 785.11 78.071.1 Каломирис М. Giorgos Sakallieros* Aristotle University of Th essaloniki School of Music Studies THE SYMPHONIC CONCERTO FOR PIANO AND ORCHESTRA (1935) BY MANOLIS KALOMIRIS: REAFFIRMING THE NATIONAL-IDEAL TOPOS THROUGH THE (OLD) WESTERN CANON1 Abstract: Manolis Kalomiris’s Symphonic Concerto for piano and orchestra (1935) consolidates the virtuosic piano performance and the complexity of romantic sym- phonic texture with the appearance of authentic Greek folk material, its westernized treatments, and symbolic self-references arising from the Greek National School prin- ciples. The work is critically examined through historical and analytical perspectives, aiming at a better understanding of the composer’s aspirations expressing the indige- nous artistic, cultural and political circumstances of the period when it was completed. Examples of the relative Greek and international “concertante” repertoire, from the late 19th to the mid-20th century, are also taken into comparative consideration. Keywords: Greek art music, piano concerto typology, modality, folk song, texture, variation, fugue, national identity, self-referential portrayal. Th e cultivation of instrumental solo concerto was sporadic in Greek art mu- sic during the fi rst half of the 20th century, either in or beyond nationalistic * Author contact information: [email protected] 1 An initial version of this paper, in Greek, was presented at the musicological sympo- sium “Manolis Kalomiris and the Greek National School of Music” as part of the 14th Hellenic Music Festival (Hellēnikes Mousikes Giortes), Music Library of Greece, Athens, 1-2 June 2018.