171,358 research outputs found
The Christian Right and US Foreign Policy in the Twenty-first Century
No full textThe thesis discusses the role of the Christian Right in the US foreign policy decision making process. The research revealed that the Christian Right has long been fascinated with some international issues in general and US foreign policy in particular. The Christian Right’s interest in international issues increased markedly during years of the George W. Bush presidency. It successfully widened its activities from domestic social conservative issues to foreign policy issues by participating in, articulating and lobbying for its religious version of American foreign policy. In assessing the role of the Christian Right in US foreign policy making, this dissertation examines three aspects of US foreign policy, namely Israel, international religious freedom and global humanitarianism. Based on these aspects, the Christian Right is seen as skilled in framing and defining issues. The Christian Right seems effective in selecting and prioritizing international issues that have a reasonable chance of being selected by foreign policy decision makers, especially in Congress. Moreover, the Christian Right has shown its maturity in seeking engagement and cooperation with other organizations, secular and religious, in order to advance its international goals. Finally, in pursuing and conveying its international agenda, the Christian Right has adopted a more moderate and less overtly religious approach. Instead of using its traditional religious rhetoric, the Christian Right has successfully projected its foreign policy preferences into the conventional realist discourse of American foreign policy that is largely based on the objective of national interest and national security. Nevertheless, this study does not, in any way, conclude that the Christian Right was able to influence or determine the direction of US foreign policy and its outcomes; however, it does suggest that the Christian Right did contribute and have an impact on the formulation of some US foreign policy. As such, the research contends that the role of the Christian Right is similar to other interest group lobbies and that its perceived influence on US foreign policy should not be exaggerated. Finally, the research suggests that the emergence of the Christian Right as an actor in asserting its global agenda through US foreign policy can possibly provide an example of how religious beliefs and values can become a potential source of “soft power”. Together with the “climate of opinion” of the American public during the Bush administration, the “soft power” at domestic level could serve as a valuable new explanatory variable in understanding how the US foreign policy was formulated in the early 21st century
Christians in Al-Andalus ( 8th-10th centuries)
No full textThe historiography of early Islamic Spain has become polarised between the Arabic narrative histories and the Latin sources. Although the Arabic sources have little directly to say about the situation of the conquered Christians, a willingness to engage with both Latin and Arabic texts opens up a wide range of material on such controversial topics as acculturation and conversion
to Islam.
This thesis examines a number of texts written by or attributed to Christians living in Al-Andalus
before the fall of the caliphate, early in the eleventh century. It begins with two eighth-century Latin chronicles and their wholly Christian response to the conquest and the period of civil wars which followed it. The reliability of Eulogius' testimony to the Cordoban martyr movement of
the 850s is considered in the light of Alvarus' Vita Eulogii and other evidence. Tenth-century Cordoba is briefly described as a backdrop to the later sources. The passions of two Cordoban martyrs of this period show that hagiography allowed for different accounts of dissident
Christians. The status of bishop Recemund as the author of the Calendar of Cordoba and the epitome of 'convivencia' is re-evaluated. The translation into Arabic of Orosius' Seven Books of History Against the Pagans is set in the context of other Christian texts in Arabic. The final chapter considers the episodes in Ibn al-QuTiya's History of the Conquest of Al-Andalus dealing with the Christian population, and especially with the Visigothic family from whom he may have been descended.
Whilst an attempt is made to draw this material together, the result is a series of Christian perspectives on the Islamic conquest, rather than a new narrative of cultural survival or assimilation
Maktabat Al Muthanna Baghdad Feb-May 1962
No full textOn the same date, Ali Al-Mansouri issued an official financial statement confirming that the Al-Khanji Foundation owed a total of 11.375.أصدر علي المنصوري بيانًا ماليًا رسميًا بتاريخ 25 نيسان 1962 يُفيد بأن مؤسسة الخانجي مدينة بمبلغ إجمالي قدره 11,375
Le support sonore comme instrument de musique chez Christian Marclay
No full textÉTAT DE L’ART (PRATIQUE MUSICALE)
Christian Marclay est un plasticien, performeur, improvisateur et compositeur né aux États-Unis en
1955. Son oeuvre se situe à la frontière de la performance et des arts plastiques. Il s’est particulièrement intéressé aux relations entre les sons et les images (Marclay, 2000). Depuis la fin des années soixante-dix, une grande partie de son travail explore le détournement des platines et des disques vinyles, qu’il transforme en instruments d’expression musicale. Sa démarche, très différente des pratiques populaires, l’a
conduit à s’investir dans l’improvisation collective avec des instrumentistes d’origines diverses. Sa reconnaissance et son influence internationales n’ont cessé de se développer depuis de nombreuses années.
ÉTAT DE L’ART (MUSICOLOGIE)
La plupart des nombreux ouvrages généraux ou catalogues mentionnant ou se concentrant sur le travail artistique de Christian Marclay ont été écrits par des spécialistes des arts plastiques (Criqui, 2007 ; Ferguson, 2003 ; Gonzáles et al., 2005). L’artiste lui-même a collaboré à des textes parus dans divers ouvrages ou revues (Marclay, 2000). Cependant, l’engagement de l’artiste dans la sphère musicale a suscité, ces dernières années, l’intérêt des musicologues. Jean-Yves Bosseur a publié un important article sur Marclay dans son dernier livre (Bosseur, 2008). Enfin, un ouvrage important sur l’artiste est sur le point de paraître, faisant suite à la journée d’étude Phonophilia : l’art à l’épreuve des sons qui s’est tenue à l’Université Rennes 2 en 2008. Cette publication comprendra un article consacré à la diversité des pratiques musicales de Marclay (Bossis, Dufeu, 2009). Cependant, aucune étude ne s’est précisément attachée à
l’instrumentalisation du support sonore chez Marclay.
OBJECTIFS
Le but de notre proposition est l’examen de la pratique instrumentale de Christian Marclay, centrée sur les relations entre disque, platine, son enregistré et production musicale. L’étude des utilisations remarquables des supports de son et particulièrement des disques vinyles comme instruments à part entière peut s’appuyer sur l’analyse de l’enregistrement des performances de l’artiste. Elle mettra en évidence l’originalité des détournements de ces objets, des gestes instrumentaux qui leur sont associés et de
l’esthétique qui en résulte. Le travail sur le timbre, la préparation de l’objet lui-même et les techniques instrumentales de Marclay sont très éloignés des utilisations habituellement opérées par les DJs. Cet article montrera comment l’artiste a développé une pratique musicale très personnelle, fortement influencée par Fluxus et les oeuvres de Nam June Paik ou de John Cage. La performance artistique se nourrit d’une
instrumentalité renouvelée au travers d’une large expérience de l’improvisation.
CONTRIBUTION PRINCIPALE
Le contributeur central de cette recherche est sans conteste Christian Marclay lui-même, dont le regard permet de témoigner directement de ses intentions artistiques. Les musicologues associés à l’artiste pour cet article appartiennent aux laboratoires MIAC (Musique et Image : Analyse et Création) de l’Université Rennes 2 et MINT (Musique, Informatique et Nouvelles Technologies) de l’Université Paris-Sorbonne. Le premier centre de recherche interroge les relations entre arts visuels et pratiques musicales au sein de la
création contemporaine ; le second étudie l’intervention des technologies dans la musique, notamment l’histoire de la lutherie électronique et ses conséquences esthétiques.
RETOMBÉES
Dans cette recherche, production artistique, performance et musicologie sont étroitement liées. Ce travail à la croisée de différents domaines permet non seulement d’éclairer une instrumentalité encore trop peu étudiée en profondeur, celle qui agit à même le son enregistré par l’intermédiaire d’interfaces gestuelles détournées, mais aussi de poser la question de la méthodologie à adopter lorsque l’interdisciplinarité est mise en jeu. Tout en complétant des réflexions théoriques sur l’improvisation (Levaillant, 1996 ; Rivest,
2003 ; Siron, 2007), cet article pourra ainsi montrer l’avancée des recherches en musicologie sur l’art de la performance à partir des productions, du vécu et de la pensée de l’un des grands plasticiens-performeurs de notre temps.
Christian Marclay is an artist and musician whose work explores the intersection between visual art and sound. He is well known for his work in a wide range of media, including sculpture, video, collage, photography, and music. For almost 30 years, Marclay has been engaged in an exploration of the visual and the audible, and creates
work in which these two distinct sensibilities enrich and challenge each other. Marclay has pioneered an experimental use of records and turntables in performances since the late 1970s, while engaged in collective improvisation with many instrumentalists from very diverse backgrounds.
Most of the writing on Marclay is by visual arts historians (Criqui, 2007; Ferguson 2003, Gonzáles et al., 2005).
The artist’s own writing is rare and mostly published in the form of interviews published in various journals or books (Marclay, 2000, 2003). Lately the interest of musicologists for Marclay has been growing (Bosseur, 2008 ; Bossis, Dufeu, 2009). However, until now, no study has specifically focused on Marclay’s sound production. The aim of our proposal is to focus on Christian Marclay’s instrumental practice, especially his relationship to vinyl records, turntable manipulations, and recording. This study will highlight the originality of Marclay’s
misappropriation of the recording medium, the instrumental gestures associated with it, and the aesthetic results. This study will show how the artist has developed a very personal music, strongly influenced by Fluxus and Cage, if less so by pop deejays, and how influential his practice has been.
At the center of this study will undoubtedly be Christian Marclay himself, who will describe his artistic practice, while assisted by musicologists from MIAC (Music and Image: Analysis and Creation) from Rennes, and MINT
(Music, Computer Science and New Technologies) from Paris-Sorbonne, two laboratories of musicology researches. In this study, artistic production, performance and music are closely linked, highlighting a new sort of instrumentality and questioning the methodology of this approach
Aesthetics of Byzantine Christian Art
No full textThe current study addressed the study of (The aesthetics of Byzantine Christian art). Its problem was identified by answering the following question: What are the aesthetics of Christian art represented by the Byzantine icon? Also, it aims to (recognize the aesthetics of Byzantine icon art). The research community was identified to achieve the goal, which consisted of icons and religious drawings that the researchers could count as a framework for the research community after collecting pictures of the subject from foreign and Arab sources and Internet sites. The sample was drawn according to the following reasons: a) It covers the temporal and spatial limits of the research and what fits with the data to achieve the goal, b) Diversity of technical methods adopted in drawing icons and c) The study sample models witnessed a diversity of contents and ideas. The research study reached the following conclusions. First, they borrow iconographic products, religious images and semantic symbols related to the Christian tradition and employ them through analytical visual inferences, in harmony with the structural and structural treatments of the elements and organizational foundations. Second, the products of icon art are associated with the nature of the transition from the tangible to the ideal and in line with the loading of the composition structure with an expressive energy, explaining the necessity of interpretation of religious discourse, and defining the operational vision with a clear dramatic sense. Third, the iconographic models depend on philosophical data supporting the religious meaning carried in them and giving endless explanations for the public discourse affecting the functionality of (idea) or (event). Fourth, the models of iconographic art are close to the nature of the functional induction of spiritual and sacred tendencies. At the level of deep interpretations accompanying visual forms with a clear aesthetic impact, we find that icon art carries with it religious reference effects related to the sacred. Lastly, Icon art invests in accumulating aesthetic knowledge to produce the artistic image and summons the largest possible amount of data affecting its formulation and output
Título: Kitāb Al-šamārīẖ fī ʿilm al-taʾrīẖ
No full textPort. adicional en árabeTexto en árabe con introducción en alemánTít. de la port. adicional: Kitāb Al-šamārīẖ fī ʿilm al-taʾrī
Qilādat al-jawāhir fī dhikr al-Ghawth al-Rifāʻī wa-atbāʻih al-akābir
No full textA book on Sufism on the Rifa'i way, in which the author collects virtues, conditions, dignity, sayings, behavior, method, and the realizations of the truth of Sheikh Ahmed Muhyi al-Din Abu al-Abbas al-Kabeer al-Rifa'i. Furthermore, the user talked about the widespread support he receives from his followers and the key aspects of his method
The Visual Culture of al-Andalus in the Christian Kingdoms of Iberia
No full textThis book addresses the reception of Islamic visual culture by the northern Iberian kingdoms, by systematically comparing works of art from both sides and fleshing out their historical context. This study includes figurative and iconographic motifs, architectural forms, and even the spolia from constructions and Arabic inscriptions that were embedded in Christian buildings. The Islamic visual culture of al-Andalus was often transformed as it was recreated by Christian hands, bringing to the fore various nuances in the relationship between the two religious communities. Artistic transfer was conditioned by social coexistence between Christians and Muslims—both in the caliphate al-Andalus and in the northern realms—and military conflict. To approach the different ways in which Andalusi visual culture was received in the northern kingdoms, while embracing the vast diversity of case studies available, this book is divided into three thematic sections: Reinterpretation, Appropriation, and Artistic Transfers. This book will be of interest to scholars working in art history, visual culture, and medieval studies
ʿAbd al-Bāsiṭ al-Malaṭīs (st. 1514 in Kairo) ‚al‑Maǧmūʿ al-bustān an-nawrī ‘ (‚Die erblühende Gartensammlung‘)
No full textAbstractAt the turn from the 15th to the 16th century, the Mamluk Sultanate experienced a period of succession conflicts when a number of Sultans came to power in rapid sequence. With the ascension of Qānṣawh al-Ghawrī to the throne in 1501, the history of the Sultanate entered into a final phase of relative tranquility. Nevertheless, the previous crisis had proven that the person of the ruler was a highly contingent element in the late Mamluk political landscape. This article will examine how the panegyrist ʿAbd al-Bāsiṭ al-Malaṭī justified Qānṣawh al-Ghawrī’s reign in the light of the previous succession crisis in his unedited work ‚al-Majmūʿ al-bustān al-nawrī li-ḥaḍrat mawlānā al-Sulṭān al-Ghawrī‘. After preliminary theoretical remarks and a contextualization of the author and his work it will be shown that in the text under study, al-Malaṭī mainly described Sultan al-Ghawrī’s deeds and achievements. Accordingly, al-Malaṭī addressed the man-made experience of contingency during the succession crisis by focusing on the intra-mundane actions of the ruler he praised. He thus stepped out of the common tradition of Arabic panegyric works in the later Islamic middle period which usually emphasized the ruler’s immutable moral qualities and virtues and paid much less attention to his individual actions. Moreover, al-Malaṭī’s work is notably devoid of any attempts to legitimize al-Ghawrī’s rule on religious grounds
- …
