1,721,678 research outputs found
Landscape and place
No full textThis chapter explores the diverse ways in which specific landscapes and places were captured and conveyed in and through Peter Maxwell Davies’s own musical language. It considers, essentially, the compositional, stylistic and structural approaches employed by Davies to create connections to landscape, place and the soundscapes of nature. It examines the central role that Orkney and its land- and seascape played in Davies’s development as a composer, and also reflects on Davies’s affection for and engagement with specifically non-Orkney landscapes and places
The sound of Raasay: Birtwistle's Hebridean experience
No full textI was never going to write a Cuillin Rhapsody; I don't write that sort of music. The importance of landscape and place to the music of Harrison Birtwistle has long been acknowledged by a number of commentators. Jonathan Cross, for instance, has observed that: Specific locations form the starting-points for a number of his works, such as the story of his witnessing a carnival in the medieval Italian walled town of Lucca which generated his trumpet concerto, Endless Parade [1986–7], or the mysterious prehistoric Silbury Hill in Wiltshire which inspired Silbury Air [1977]. In Yan Tan Tethera [1983–4], another Wiltshire hill even has its own music … But perhaps more important for him is a general notion of landscape, and in particular the English landscape. Landscapes, real or imaginary, are ubiquitous in Birtwistle's work. However, the composer himself has been careful to point out on numerous occasions that the role landscape and place play in his music should not be understood on a sentimental level. In his programme note for Silbury Air, for example, Birtwistle firmly asserts that the music ‘is not in any way meant to be a romantic reflection of the hill's enigmatic location’. More recently, in an interview from 2009, he states that: The idea of modern music when I was a kid, particularly in England, was something which reflected landscape. In the case of Elgar, I think that that's something that has been imposed on it, it's English so this is what landscape sounds like – but in fact a landscape doesn't sound like anything. That sort of mystical thing never interested me
Higher-order metaphysics: an introduction
No full textThis chapter provides an introduction to higher-order metaphysics as well as to the contributions to this volume. We discuss five topics, corresponding to the five parts of this volume, and summarize the contributions to each part. First, we motivate the usefulness of higher-order quantification in metaphysics using a number of examples, and discuss the question of how such quantifiers should be interpreted. We provide a brief introduction to the most common forms of higher-order logics used in metaphysics, and indicate a number of questions which can be raised in such systems using logical vocabulary alone. Using a further example, we return to applications of higher-order logics in metaphysics. We also mention key developments in the history of higher-order logic as it pertains to metaphysics. Finally, we mention certain arguments which have been raised against the use of higher-order logic, and some ways of responding to them
by Glen Norcliffe, Una Brogan, Peter Cox, Boyang Gao, Tony Hadland, Sheila Hanlon, Tim Jones, Nicholas Oddy, and Luis Vivanco (eds)
No full textDekker H-J. Book Review: by Glen Norcliffe, Una Brogan, Peter Cox, Boyang Gao, Tony Hadland, Sheila Hanlon, Tim Jones, Nicholas Oddy, and Luis Vivanco (eds). The Journal of Transport History. 2023;44(2):330-332
The Erskine Williams Collection
No full textThis archive article documents the career of lightning cartoonist Erskine Williams, known as 'Little Erskine', and follows on from my previous article that gave an historical overview of this stage act, which played a central role in the development of animation. This archive article begins with Daphne Jones' own account of her father’s career. There are then a number of reproductions of the most interesting visual items within the collection. It ends with a number of excerpts from Erskine’s diaries, presenting his experiences as recorded at the time and providing a unique insight into the lightning cartoon act, music hall in general, and the arrival of moving images
Going Beyond Counting First Authors in Author Co-citation Analysis
Full text linkThe present study examines one of the fundamental aspects of author co-citation analysis (ACA) - the way co-citation
counts are defined. Co-citation counting provides the data on which all subsequent statistical analyses and mappings
are based, and we compare ACA results based on two different types of co-citation counting - the traditional type that
only counts the first one among a cited work's authors on the one hand and a non-traditional type that takes into
account the first 5 authors of a cited work on the other hand. Results indicate that the picture produced through this non-traditional author co-citation counting contains more coherent author groups and is therefore considerably clearer. However, this picture represents fewer specialties in the research field being studied than that produced through the traditional first-author co-citation counting when the same number of top-ranked authors is selected and analyzed. Reasons for these effects are discussed
Variations on the Author
Full text link“Variations on the Author” discusses two of Eduardo Coutinho’s recent films (Um Dia na Vida, from 2010, and Últimas Conversas, posthumously released in 2015) and their contribution to the general question of documentary authorship. The director’s filmography is characterized by a consistent yet self-effacing form of authorial self-inscription: Coutinho often features as an interviewer that rather than express opinions propels discourses; an interviewer that is good at listening. This mode of self-inscription characterizes him as an author who is not expressive but who is nonetheless markedly present on the screen. In Um Dia na Vida, however, Coutinho is completely absent form the image, while Últimas Conversas, on the contrary, includes a confessional prologue that moves the director from the margins to the center of his films. This article examines the ways in which these works stand out in the filmography of a director who offers new insights into the notion of cinematic authorship
- …
