56 research outputs found
Austin also must be remembered. The Augustinian legacy in Milton's work
No full textWhen I started working on this project, with a limited knowledge of Augustine, but determined to spot his presence in Miltonâs poetry, I was little aware of the intricacy of the relationship between the two authors. At this stage of my research, I do subscribe to Savoyeâs opinion, that this relationship is pervasive. However, one could safely add, it is as pervasive as it is hidden, primarily because of changed cultural paradigms, so that Miltonâs references are no longer familiar to the reader.
As I have pointed out in my presentation of the state of the art, these articulations are hardly made explicit in Miltonâs Oeuvre and also in critical literature they are hardly brought to the surface. My objective has been to make them a little more visible.
I have started my own process of discovery from the works where Milton more openly (but not completely) acknowledges his Augustinian sources, although arguably mediated. As concerns Samson Agonistes, I have presented a reading through Augustinian lenses. I am by no means claiming that mine is the best of all possible readings, but through those lenses I have been able to see a coherence, in Miltonâs dramatic poem, that is not generally recognized.
On the other hand, I thoroughly agree that âone cannot simply take any English poet and turn the post-structuralist critical machine loose on him or her in good faithâ. In particular, I am aware that I have read Miltonâs works against the current critical grain which, with a powerful turn impressed by Empsonâs Miltonâs God, is continually surfacing Miltonâs idiosyncrasies in order to cancel the received picture of a Christian author. Rather, I agree with Cirillo that Miltonâs perspective is that of âa professed Christian poet whose Christian consciousness, no matter how heterodox, colored virtually everything he wrote.â.We may ask, echoing Febvre on Rabelais, âMais de quel christianisme? In accordance with very traditional, even traditionalist Milton Criticism, I think it can safely be stated that Milton is a post-Reformation religious author, and one whose endeavour to âjustify the ways of God to menâ had to come to terms with the difficult task to find signs of providential history in the aftermath of a civil war and in the adverse context of the Restoration. His last published poems deal with this problem in different terms. As readers, we can come to different conclusions as to the texts. Behind them there is the man, âest abyssus humanae conscientiae,â in front of which, after Augustine, I can only say: "nescio"
Julius Kambarage Nyerere (1922-1999) and the quest for decolonizing African mind: Reflection on first generation of African nationalist leadership
No full textThe colonization of the African continent mainly in the 19th century was neither for the African interest nor for the interest of Africans. The alien domination caused the greatest damage to the African continent nearly in every aspect of life. Though most of the African countries became independent in the early 1960s and 1970s, many are still connected to Neo-colonialism for more than five decades. Julius Kambarage Nyerere is one of the African freedom fighters, Pan-Africanists, sages, and one of the founding leaders and First president of independent Tanganyika (Present-day Tanzania mainland). There is abundant literature on the role of the first generation of African nationalist leaders including Nyerere on African anticolonialism and nationalism but, relatively less has been covered on how they contributed to the decolonization of African minds which is the centre of the coloniality of power and decolonal processes on the continent. Therefore, this paper seeks to uncover Nyerere\u27s quest for decolonization of the African mind. The paper also aims to analyze historiographical trends in the African decolonization process. The study is purely qualitative and uses secondary sources to enrich it. It has been revealed that Nyerere\u27s philosophy on politics, education, development, policies, and socio-economic aspects is highly focused on the decolonizing African mental landscape. The paper concludes that in order to achieve true liberation and development, African leaders are called to lead their people and direct their efforts decolonize the minds by reconstructing and deconstructing important aspects such as language, education systems, traditions, and customs as well as building a transformative Pan-Africanism
In pursuit of continuity: Maji Maji war and nationalistic movement in 1940s-1950s in Southern Tanganyika
No full textDar es Salaam School’s Historians in the 1960s and 1970s established that the Majimaji war fought 1905-1907 had an undeviating connection with nationalistic movements which culminated in Tanganyika’s (Today\u27s Tanzania mainland) independence on December 9th, 1961. This implies that Majimaji and the later nationalistic movements are inseparable since the war started the independence struggles initiatives. Nationalist view was challenged but only until early 1990 when new interpretations emerged and the former was regarded as outlived since its main purposes of building the nation and instilling nationalism to the people were outmoded. It is more than five decades, since Nationalist School presented their interpretation. This paper seeks to check if the contemporary generation perceives the Majimaji in similar consonant with the Dar es Salaam School of African History when nation building through the recovery of African traditional values and instilling patriotism were paramount. Since neither society nor history is static, a study aiming at writing the history of the people by the people through verification. The study is qualitative employing both, primary and secondary sources of data. Oral accounts serves as primary source and documentary reviews from books and journal articles constitutes secondary source. The findings shows that the contemporary peoples’ understanding of the Majimaji war in juxtaposition with nationalistic movements in 1940s and 1950s. Furthermore, it has been reveled that the people in Songea, Southern Tanganyika still have the nationalist view on Majimaji war apparently due to different factors but not limited to it’s nature, history memory, role of the elites and pedagogical practices. Its put forward that Majimaji war has a special place in the history of Tanganyika due to its connectedness, continuity and Change in socio-economic and political aspects. It has also been discovered that Majimaji war had a link with nationalistic movements and its continuity and change prevail to post-independence period
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
'A secret pleasure in being mastered': Play, Power and the Morality of Art in J. M. Barrie's Sentimental Tommy and Tommy and Grizel.
No full textThis dissertation analyses J.M. Barrie's novels Sentimental Tommy (1896) and Tommy and Grizel (1900) in terms of their narrative explorations of the moral implications of art. In particular, it finds the novels preoccupied with the power relations between reader and text, and with the question of whether the playful pleasures of art can ever justify the moral problems created when its power relations are reproduced in social relationships.
The introduction identifies these concerns in the style of the novels through close reading. Chapter one establishes the thesis that, within these novels, art is defined as excess and inconsistency, producing some surprising correspondences to late Nineteenth-Century art theory. This ‘art’ is personified by the protagonist, Tommy, who is shown to have both learned and inherited his artistic disposition. Chapter two identifies a complementary personification, of social morality, in the character of Grizel, which enables their relationship symbolically to play out tensions between art and society. This chapter also finds that these tensions are conceived in the novels as a debate on the gendering of power within heterosexual erotic relationships, wherein the intruding power dynamics of art disturb normative gender roles.
Chapter three, conversely, examines a selection of Tommy's non-romantic relationships and finds them to reveal a model of human selfhood as innately inconsistent, though necessarily modified by social relations. As such, Barrie also, and equally, portrays art as potentially therapeutic, since it allows the expression of individualistic concerns. Finally, the conclusion proposes that this ambivalence towards the morality of art culminates, both in these novels and in Barrie's later work, in a symbolic and paradigmatic mother/eternal boy relationship. Acknowledgement of the complexity of this symbolism, I propose, is of consequence, partly because it is precisely this aspect of Barrie's work that has survived and become significant within Western culture
Il ‘debole’ Sansone
No full textIl carme Quam velim virginum, componimento tipico della letteratura latina del secolo XII, fu edito da Wright nel 1838 per poi comparire nella raccolta dei Carmina Arundeliana di Meyer aus Speyer (Die Arundel Sammlung mittellateinischer Lieder, Berlin 1908). Dronke attribuì la paternità del carme a Pietro di Blois. Il carme desta interesse perché – di là dalle congetture sull’autore – rappresenta un esempio perfetto di poesia ‘di secondo grado’, costruita su suggestioni letterarie classiche e bibliche abilmente fuse assieme. Accanto a temi tipici dell’ars amatoria (e quindi a Ovidio), troviamo la figura di Sansone, così come è raffigurata nel Liber Iudicum. Il lusus poetico di autori come Pietro di Blois sta alla base degli esordi della lirica volgare europea.The Quam velim virginum poem, typical of Latin American literature of the twelfth century, was published by Wright in 1838 and then appears in the collection of the Carmina Arundeliana of Meyer aus Speyer (Die Arundel Sammlung mittellateinischer Lieder, Berlin 1908). Dronke attributed the authorship of the poem to Peter of Blois. The poem is interesting because – apart from conjecture about the author– is a perfect example of ‘second degree’ poetry, built on biblical and classics literary suggestions fused together. Along with typical themes of the ars amatoria (and then with Ovid), we find the figure of Samson, as depicted in the Liber Iudicum. The poetic lusus by authors such as Peter of Blois is the basis of the beginning of European vernacular poetry
'One equal music’: The royal college of music, its inception and the legacy of Sir George Grove 1883-1895
No full textThe establishment of the Royal College of Music (RCM) in 1883 represents the denouement of an eighteenth-century movement to found a conservatoire with a national remit in Britain. Whether motivated by the desire to rival Continental conservatoires to generate and develop an environment in which a worthy successor to Purcell could be nurtured or to create an indigenous musical workforce to obtain direct control of market forces, the RCM was seen as a panacea in the light of the demise of the experimental National Training School for Music (1876-1882) and the ineffectual Royal Academy of Music founded in 1822. The NTSM's financial concerns led Sir Henry Cole to approach the Royal Commission of 1851 for aid. In return for a meagre grant, the Commission insisted the NTSM remodel its management and constitution on pain of eviction from buildings on the Kensington Estate. Cole's approach to 1851 Commissionets precipitated the involvement of the Prince of Wales and other senior members of the Court that led directly to the establishment of the RCM in 1878.Attempts to institute the RCM as a quango to regulate the music profession alongside music education both at elementary school and university level were intended to provide ideal circumstances for inducing comprehensive treasury assistance where the NTSM failed. When this proved elusive, a contingency was provided by George Grove (first RCM Director from 1882) who, at the request of the Prince of Wales, imtiated a capital fund. The introduction of fee-paying students alongside scholars provided financial security that distanced the College & insolvency. Substantial growth in numbers during the first few years forced Grove and the Council to address the issue of a new building. Grove's appointment of an unrivalled professorial staff and the development of a rigorous curriculum, whose inspiration was to be found within the Continental traditions in France and Germany, had paid dividends. By 1894, the results of RCM's pedagogical methods were respected across Europe. The appointment of Grove's neighbour, Alexander Mackenzie, as Principal of the RAM heralded an environment for mutual co-operation between two rival institutions. The institution of local examinations under the Associated Board of the Royal Academy of Music and the Royal College of Music from 1889 marked the conclusion of further attempts to amalgamate the two institutions. The foundation of both the Associated Board was intended to provide a remedy to the shortage of suitably-qualified candidates entering for scholarships and to improve music tuition among school children as set out in the RCM's 1883 charter. The coalition created formidable opposition to Halle's proposal to establish a chartered Royal College of Music in Manchester (RMCM) in 1893 and Parliament's attempts to include music within the provision of the bill for the regulation and registration of teachers. The foundation of the Associated Board allowed Grove to begin implementing the RCM's remit to lead the music profession on both a national and imperial scale. The RCM's national and European reputation established by Grove was consolidated under the directorate of his successor, c. Hubert H. Parry, who confirmed the RCM's global reputation to which other, fledgling institutions, such as New York's Juilliard School of Music, came to aspke. Grove's initiatives, which began the process of emancipating composer and performer alike, went on to transform Britain's international musical reputation within a generation, the ramifications of which continue to affect us more than a century later
Does Culture Matter? The Relevance of Culture in Politics and Governance in the Euro-Mediterranean Zone. ZEI Discussion Paper: 2002: C 111
No full text[Table of Contents]: Culture and Governance in the Mediterranean – A Rationale and Overview, by Indra de Soysa and Peter Zervakis; The Relevance of Culture in Democratic Governance – Lessons from the Western Hemisphere, by Lawrence E. Harrison; Culture in Politics and Governance – European Experiences, by Klaus von Beyme; Penser L’Espace Mediterranean, by Mohammed Arkoun; Muslim and Western Civilization – Is Co-Prosperity and Peace Possible?, by Erich Weede; Political Culture and Democracy in Turkey, by Ergun Özbudun; The Crisis of Political Culture in the Arab World – A Conflict of Paradigms, by Paul Salem; Euro-Mediterranean Formations – Cultural Imperatives of System Change, by Dimitris K. Xenakis and Dimitris Chryssochoou; Cross-cultural Currents in the Mediterranean – What Prospects, Stephan Calleya; Politics and Governance in the Mediterranean, by Franck Biancheri; The Mediterranean - New Directions of Research and Policy-Making, by Ludger Kühnha
Pierre de Sampson et Bernard de Montmirat. Deux canonistes français du XIIIe siècle
No full textBertram (Martin), Pierre de Sampson and Bernard de Montmirat. Two french Kanonists of the XlIIth century.
Peter of Samson and his pupil Bernard de Montmirat (Abbas Antiquus) have left each a Lectura on the Decretals of Gregory IX and on the Novellae of Innocent IV. These canon law texts are transmitted in at least 76 manuscripts, listed and attribued to the two authors respec¬ tively in this paper. Bernard’s Lectura presents an uniform text confor¬ ming to the printed editions of Strasbourg (1510/1 1) and Venice (1588), whereas Peter’s writings, probably not having had a final redaction, appear very inconsistent in the manuscripts. However, the recent conjecture, that both sets of writings were identical with Peter alone as author, has to be discarded.Pierre de Sampson et son élève Bernard de Montmirat (Abbas Antiquus) nous ont laissé une Lectura consacrée soit aux Décrétales de Grégoire IX, soit aux Novellae d’innocent IV, ainsi que des Distinctiones. Ces écrits canoniques ont été transmis par 76 manuscrits au moins, ici recensés avec attribution des commentaires à chacun des deux auteurs. Il s’en dégage un texte uniforme de la Lectura bemardienne, qui correspond aux éditions imprimées de Strasbourg (1510/11) et de Venise (1588). Par contre, la Lectura de Pierre, n’ayant évidemment pas connu une rédaction finale, est transmise de manière très variée dans les manuscrits. En tout cas, il faut rejeter la thèse récemment émise que les écrits des deux canonistes, dont Pierre serait l’auteur exclusif, sont absolument identiques.Bertram Martin. Pierre de Sampson et Bernard de Montmirat. Deux canonistes français du XIIIe siècle. In: L'Eglise et le droit dans le Midi. Toulouse : Éditions Privat, 1994. pp. 37-47. (Cahiers de Fanjeaux, 29
Author Correction: Elucidating causative gene variants in hereditary Parkinson’s disease in the Global Parkinson’s Genetics Program (GP2)
No full textCorrection to: s41531-023-00526-9 npj Parkinson’s Disease, published online 27 June 2023 In this article the Global Parkinson’s Genetics Program (GP2) members names and affiliations were missing in the main author list of the Original article which are listed in the below
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