690 research outputs found
A chance for ontology
No full textThis paper speaks to Hook’s thesis that a National Māori University needs to be established. However, it sets about this task by designating Hook’s intended central concerns to the outer reaches of his article’s limits, and moving towards the core those more ephemeral issues, which, despite their haziness, still demand attention. Hook builds an argument premised on assertions to do with the functional need for a National Māori University, and only hints at the nature of the knowledge to be experienced at such an institution – yet as the commentator I found that the various elements of that peripheral issue coalesced to demand my attention. In this peer commentary I consider how issues to do with the very nature of knowledge – if indeed we want to call it that – become absolutely vital (and hence central) to any discussion about a National Māori University
Music for classical guitar by South African composers : a historical survey, notes on selected works and a general catalogue
No full textIncludes abstract.Includes bibliographical references (leaves 296-309).This is the first comprehensive investigation of music for, or including, the classical guitar by South African composers. The focus of this research has been, firstly, to uncover as much of the repertoire as possible, and, secondly, to collate, study, catalogue and report on the information. A brief historical survey of the guitar in South Africa provides the context within which this study was conducted. The primary sources of quantitative data collection were through the archival catalogues of the South African Music Rights Organisation and through personal contact with guitarists, composers and guitar teachers. Other sources consulted were publishers, broadcasting corporations, recording companies, libraries and the internet. The body of the dissertation comprises biographical sketches, background notes, analyses and technical notes on 17 selected solo and chamber works dating from 1947 to 2007 by some of South Africa's most prominent composers and guitaristcomposers. The repertoire ranges in style from the traditional and ethnically inspired to the experimental and abstract. As this is an empirical survey, each selected entry includes details on instrumentation, duration, level of difficulty, number of pages, scordatura, commissions or requests, sources or publishers, premières and recordings. A biography of each composer is provided as well as background notes which offer an overview of the selected work. The notes discuss historical, cultural, musical and extra-musical influences, and frequently include references to interview material. The commentaries on the selected works, with musical examples, include an analytical component describing structure, form, stylistic and compositional elements, while the technical observations include performance suggestions and a grading for each work
”Lärda nyheter” i Peter Hernquists korrespondens till Carl von Linné och Abraham Bäck - med kommentarer och utvikningar
Full text linkI detta Meddelande nr 55 från Veterinärhistoriska museet har författaren - professor emeritus Lars-Erik Appelgren - gjort ett urval av den korrespondens som Peter Hernquist hade med sina mentorer Carl von Linné och Abraham Bäck under sin vistelse i Frankrike, varvid ”Lärda nyheter” varit en ledstjärna för urvalet. Speciellt har breven till Bäck försetts med författarens personliga kommentarer men även kompletterats med faktaupplysningar från andra källor än breven om berörda nyheter. För att underlätta läsningen har dessa kommentarer omgetts med enkelkonturerad och utvikningarna med dubbelkonturerad ram. Lars-Erik Appelgren har inte bara genom sitt veterinärhistoriska författarskap utan också genom att ställa sina fackliga kunskaper och sin eminenta estetiska läggning till förfogande gjort Veterinärhistoriska museet ovärderliga tjänster. Det är med stor glädje jag noterar att region Uppsala nyligen visat sin uppskattning genom att tilldela Lars-Erik sitt Medicinhistoriska stipendium med motiveringen att de vill ”lyfta fram ett viktigt men ofta förbisett område inom medicinhistorien: veterinärmedicinen”. Med de varmaste gratulationer
Zechariah 9-14 as the substructure of 1 Peter’s eschatological program
No full textThe principal aim of this study is to discern what has shaped the author of 1 Peter to regard Christian suffering as a necessary (1.6) and to-be-expected (4.12) component of faithful allegiance to Jesus Christ. Most research regarding suffering in 1 Peter has limited the scope of inquiry to two particular aspects—its cause and nature, and the strategies that the author of 1 Peter employs in order to enable his addressees to respond in faithfulness. There remains, however, the need for a comprehensive explanation for the source that has generated 1 Peter’s theology of Christian suffering. If Jesus truly is the Christ, God’s chosen redemptive agent who has come to restore God’s people, then how can it be that Christian suffering is a necessary part of discipleship after his coming, death and resurrection? What led the author of 1 Peter to such a startling conclusion, which seems to runs against the grain of the eschatological hopes and expectations of Jewish restoration ideology?
This thesis analyzes the appropriation of shepherd and fiery trials imagery,
and argues that the author of 1 Peter is dependent upon Zechariah 9-14 for his
theology of Christian suffering. Said in another way, the eschatological program of
Zechariah 9-14, read through the lens of the Gospel, functions as the substructure
for 1 Peter’s eschatology and thus its theology of Christian suffering.
In support of this hypothesis, this study highlights the fact that Zechariah 9-
14 was available and appropriated in early Christianity, in particular in the Passion
Narrative tradition; that the shepherd imagery of 1 Pet 2.25 is best understood
within the milieu of the Passion Narrative tradition, and that it alludes to the
eschatological program of Zechariah 9-14; that the fiery trials imagery found in 1
Peter 1.6-7 and 1 Pet 4.12 is distinct from that which we find in Greco-Roman and OT
wisdom sources, and that it shares exclusive parallels with some unique features of
the eschatological program of Zechariah 9-14; that Zechariah 9-14 offers a more
satisfying explanation for the modification of Isa 11.2 in 1 Pet 4.14, the transition
from 4.12-19 to 5.1-4, why Peter has oriented his letter with the term διασπορά,
and why he has described his addresses as οἶκος τοῦ θεοῦ; and finally that 1 Peter
contains an implicit foundational narrative that shares distinct parallels with the
eschatological program of Zechariah 9-14.
We can conclude that 1 Peter offers a unique vista into the way in which at
least one early Christian witness came to understand and to communicate the fact
that Christian suffering was a necessary feature of faithful allegiance to Jesus Christ
Musikstädte as real and imaginary soundscapes: urban musical images as literary motifs in twentieth-century German modernism
No full textPhDThis study examines German literary images of musical life as part of the wider sound identity of the modern German city at the turn of the twentieth century. Focussing on a forty-year period from 1890 to 1930, synonymous with the emergence of the modern German metropolis as an aesthetic object, the project assesses, compares and contrasts how musical life in the Musikstädte was perceived and portrayed by writers in an increasingly noisy urban environment. How does urban musical life influence and condition city writings? What are the differences and similarities between the writings on various musical cities? Can an urban textual sound identity be derived from these differences and similarities? The approach employed to answer these questions is a new, cross-disciplinary one to urban sound in literature, moving beyond reading the key sounds of the urban soundscape using urban musicology, sensorial anthropology and cultural poetics towards a literary contextualisation of the urban aural experience.
The literary motifs of the symphony, the gramophone and urban noise are put under the spotlight through the analysis of a wide range of modernist works by authors who have a special relationship with music. At the centre of this analysis are the Kaffeehausliteratur authors Hermann Bahr, Alfred Polgar and Peter Altenberg, the then Munich-based author Thomas Mann and the lesser known René Schickele. The analysis of these particular works is framed in the music-geographical context of the Musikstadt and literary underpinnings of this topos, ranging from Ingeborg Bachmann to Hans Mayer and, once again, Thomas Mann. In analysing these texts, the methodological approach devised by Strohm, who identifies the blending of a range of urban sounds as a definition of urban space and identity, is applied. His ideas combine historical literary
analysis, musical history and urban sociology. They are rarely used in the analysis of the auditory environment.Arts and Humanities Research Council
Westfield TrustWestfield Trust Studentship
Arts and Humanities Reseach Council (AHRC
Bernard Brodie and the bomb: at the birth of the bipolar world
No full textBernard Brodie (1910-1978) was a leading 20th century theorist and philosopher of war. A key architect of American nuclear strategy, Brodie was one of the first civilian defense intellectuals to cross over into the military world. This thesis explores Brodie’s evolution as a theorist and his response to the technological innovations that transformed warfare from World War II to the Vietnam War. It situates his theoretical development within the classical theories of Carl von Clausewitz (1780-1831), as Brodie came to be known as “America’s Clausewitz.” While his first influential works focused on naval strategy, his most lasting impact came within the field of nuclear strategic thinking. Brodie helped conceptualize America’s strategy of deterrence, later taking into account America’s loss of nuclear monopoly, the advent of thermonuclear weapons, and proliferation of intercontinental ballistic missiles. Brodie’s strategic and philosophical response to the nuclear age led to his life-long effort to reconcile Clausewitz’s theories of war, which were a direct response to the strategic innovations of the Napoleonic era, to the new challenges of the nuclear age. While today’s world is much changed from the bipolar international order of the Cold War period, contemporary efforts to apply Clausewitzian concepts to today’s conflicts suggests that much can be learned from a similar endeavor by the previous generation as its strategic thinkers struggled to imagine new ways to maintain order in their era of unprecedented nuclear danger.acceptedVersionei tietoa saavutettavuudest
Unearthing the anticrystal: Criticality in the linear response of disordered solids
Full text linkThe fact that a disordered material is not constrained in its properties in the same way as a crystalline one presents significant and yet largely untapped potential for novel material design. However, unlike their crystalline counterparts, disordered solids are not well understood. Though currently the focus of intense research, one of the primary obstacles is the lack of a theoretical framework for thinking about disorder and its relation to mechanical properties. To this end, we study a highly idealized system composed of frictionless soft spheres at zero temperature that, when compressed, undergos a jamming phase transition with diverging length scales and clean power-law signatures. This critical point is the cornerstone of a much larger ``jamming scenario that has the potential to provide the essential theoretical foundation that is sorely needed to develop a unified understanding of the mechanics of disordered solids. We begin by showing that jammed sphere packings have a valid linear regime despite the presence of a new class of ``contact nonlinearities, demonstrating that the leading order behavior of such solids can be ascertained by linear response. We then investigate the critical nature of the jamming transition, focusing on two diverging length scales and the importance of finite-size effects. Next, we argue that this jamming transition plays the same role for disordered solids as the idealized perfect crystal plays for crystalline solids. Not only can it be considered an idealized starting point for understanding the properties of disordered materials, but it can even influence systems that have a relatively high amount of crystalline order. As a result, the behavior of solids can be thought of as existing on a spectrum, with the perfect crystal at one end and the jamming transition at the other. Finally, we introduce a new principle for disordered solids wherein the contribution of an individual bond to one global property is independent of its contribution to another. This principle allows the different global responses of a disordered system to be manipulated independently of one another and provides a great deal of flexibility in designing materials with unique, textured and tunable properties
Communicational Aspects of the Symphonic Music of Carl Nielsen : How does a contemporary audience respond to Carl Nielsen's Symphony No. 2 after receiving "an elementary introduction?"
No full textIn 1931, Danish composer Carl Nielsen made the following seminal statement to the newspaper Berlingske Tidende:
"It's a fact that quite a few people stay away from music because they think they don't really understand its essence. And yet in reality it's so obvious that all it takes is an elementary introduction for the ear to be tuned in and thus opened to all the beauty of music".
In order to test "Carl Nielsen's Communicational Condition" as the above comes to be identified, a descriptive design is used to document how a contemporary audience relatively unfamiliar with Carl Nielsen's music will respond after having been provided an elementary introduction to his Symphony No. 2 ("The Four Temperaments"). In connection with a performance of this work given by the University of Wyoming Symphony Orchestra, an empiric study of audience receptivity is undertaken.
A mixed-measure approach is utilized, whereby both a quantitative survey of the attending audience and a semi-structured qualitative study with a group of local high school students are employed. Carl Nielsen's intentions concerning form and content of any desired introductory remarks are explored with the aid of classical rhetorical theory together with the author's theory of Communicational Musical Elements (CMEs) in the context of his music.
Over the course of the study, the author assumes three juxtaposed roles: Researcher, Conductor, as well as Communicating Conductor, with the latter conveying the "elementary introduction" of which Carl Nielsen speaks. An argument is proffered that this particular tri-partition of roles serves as the most favorable design for embodying the guidelines specified by Carl Nielsen in his Communicational Condition. Findings of this study – that 82.2% of respondents are positive towards the idea of hearing the symphony again and as many as 98.9% of the respondents are not explicitly opposed to hearing other works by Carl Nielsen – lead to the conclusion that his music, when introduced in accordance with Carl Nielsen's Communicational Condition, resonates significantly with the present day time spirit.Taiteilijakoulutuksen tohtorintutkintoon liittyvä kirjallinen työ.fi=ei tietoa saavutettavuudesta|sv=okänd tillgänglighet|en=unknown accessibility
Origen’s References to Heracleon : A Quotation-Analytical Study of the Earliest Known Commentary on the Gospel of John
No full textIn this monograph, Carl Johan Berglund reassesses Origen's references to the second-century philologist Heracleon, without presuming that Heracleon's exegesis is determined by views described in heresiological sources or that every reference is equivalent to a verbatim quotation. The author uses variations in Origen's attribution formulas to categorize almost two hundred references as either verbatim quotations, summaries, explanatory paraphrases, or mere assertions. Heracleon's views are assessed by considering the over fifty quotations and seventy summaries so identified in a context of literature to which Heracleon refers – John, a gospel similar to Matthew's, a collection of Pauline epistles, and the Preaching of Peter. The author concludes that Origen is likely to have inferred views he knew from his exegetical opponents (the heterodox and "those who bring in the natures") that were never expressed by Heracleon.Die Ursprünge der frühchristlichen Exegese werden durch die mangelnde Unterscheidung antiker Autoren zwischen wörtlichen Zitaten, Zusammenfassungen, erklärenden Paraphrasen und bloßen Behauptungen verdeckt. Carl Johan Berglund ermittelt, was wir aus Origenes' Annahmen über gnostische Häresien über Herakleons literarkritischen Evangelienkommentar wissen können.</p
The pattern and the power : the example of Christ in 1 Peter.
No full textIn 1 Peter, the example of Christ not only provides the pattern for Christian life; it also enables the moral transformation necessary to live that life. The author writes to audiences who are being maligned and ostracized for joining the Christian community in order to encourage them to continue "doing good" in the midst of their fiery ordeal. God was responsible for giving them new birth through his word, and that word remains with them in the form of the pattern of Christ, nourishing them into eschatological salvation. The authorial audience would have understood the example of Christ as both pattern and power because of widespread assumptions about the function of exempla in moral transformation. In paraenetic literature, exempla functioned as more than illustrations or embellishments; they served to compel and enable the student's moral transformation. This robust understanding of the function of exempla depends on the concept of "transformation by vision," a pervasive concept that could be expressed through various metaphors by thinkers from various philosophical schools and religious backgrounds. Philo, for example, imagines the exemplum imprinting its form on the soul of the student, like a seal in wax. Plutarch describes the exemplum implanting in the student's soul a desire for imitation. Seneca encourages his student to picture before his eyes a model who will act as his witness, guardian, and protector. Among early Christian writings, 1 Clement evinces a similar understanding of exempla. The author encourages his audience to cling to examples of humble-mindedness, chief among whom is Christ himself, so that they might become like them. In 1 Peter, the author also calls attention to the pattern of Christ, though he uses a different metaphor to express its transforming power. He uses neonatal imagery to describe the pattern of Christ—the proclamation of Christ's death and resurrection that precipitated his audience's conversion—as nourishing milk that they should crave. Thus, with his example Christ provides both a pattern for Christian virtue and an enduring means of enabling the imitation of that pattern
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