2,758 research outputs found
Counterfeits, Contraltos and Harmony in De Quincey’s Sublime
No full textWhat counts as legitimately sublime and what as counterfeit? The question of policing boundaries is internal to the sublime, and particularly fraught insofar as it is defined as transgressing limits of various kinds. If music is included in the sublime – by no means a foregone conclusion in its history – then what sort of music? Must it be violent, shocking or dissonant, transgressing orderly harmony in some obvious way? This chapter examines the fraught status and remit of harmony in the literary-critical discourse of the sublime. When music and musical concepts appear within broader scholarship on the sublime, they are often aligned with dissonance and irresolvability, as part of a construction of modernity likewise aligned with the breaking of old orders and harmonies. The chapter complicates this view through a double study of the late Romantic author Thomas De Quincey and his favourite singer, the Italian contralto Josephine Grassini. It examines both the multifaceted work to which music and harmony are put in De Quincey’s Confessions (1821), and the complexity of Grassini’s performances beyond the limits of the text, including her vocal traits, gendering, roles and repertoire during the Napoleonic wars, leading to reconsideration of sublimity’s relationship to pathos alongside harmony
Sonorous Sublimes: An Introduction
Full text linkThis introduction to the volume provides overviews of theories of the sublime and musicology’s engagement with the sublime, before outlining the fresh perspective brought by this collection. The focus is on historically specific experiences of the sublime: although the centre of gravity is the late eighteenth and early nineteenth centuries, in the well-known centres of intellectual debate on the sublime in Europe, a widened purview considers performers and audiences, as well as composers and works, as agents of power. The authors distinguish between the different aesthetics of production, representation and effect, while understanding these as often mutually reinforcing approaches. A significant cross-temporal finding to emerge from the collection is music’s strength in playing out the sublime as transfer, transport and transmission of power; this is allied to the persistent theme of destruction, deaths and endings. The density of this thematic complex in music is a keynote of the dialogue between the chapters. The volume opens up two avenues for further research, suggested by the adjective ‘sonorous’: a wider spectrum of sounds heard as sublime, and (especially for those outside musicology) a more multifaceted idea of music as a cultural practice that has porous boundaries with other sounding phenomena
Viajantes ex-cêntricas nas histórias de Ana Miranda
Full text linkTese (doutorado) - Universidade Federal de Santa Catarina, Centro de Comunicação e Expressão. Programa de Pós-Graduação em Literatura.No conjunto das narrativas ficcionais da escritora brasileira Ana Miranda, a temática da viagem # considerada uma das mais férteis da literatura ocidental de todos os tempos # ocupa um espaço de centralidade, podendo até mesmo ser vista como o mais importante eixo de estruturação de suas obras. O estudo realizado pela presente tese tem por objetivo analisar o tratamento dado ao tema da viagem nos romances Desmundo, O retrato do rei, Dias & Dias e Amrik, evidenciando que por intermédio das narradora-viajantes # Oribela, Mariana, Feliciana e Amina # a autora promove um diálogo entre diferentes culturas, gêneros, etnias e gerações, ao mesmo tempo em que estabelece um profícuo diálogo com o passado em sua invariante problematização concernente aos limites e cruzamentos entre o discurso ficcional e os discursos narrativos extraliterários que o cercam, sobretudo o histórico e o biográfico. In the whole of Brazilian writer Ana Miranda#s fictional narrative, the travel thematic # considered one of the most fertile themes of the western literature of all times # occupies a central space, and can even been seen as the most important structuring axis of Miranda#s works. The aim of the present thesis is to analyze the treatment given to the travel subject in the novels Desmundo, O retrato do rei, Dias & Dias and Amrik, emphasizing that, through the traveling narrators, Oribela, Mariana, Feliciana and Amina, the author promotes a connection between different cultures, genders, ethnics and generations, at the same time that establishes a profitable dialogue with the past in her invariant problematization concerning the limits and crossings between the fictional and the extra-literary narrative discourses that surrounds it, mainly the historical and the biographic ones
Statistical design
No full textThe experiment consisted of a 13 x 13 Lattice design composed of 97 inbred lines, 62 top crosses hybrids, and 10 controls. Author Daniel Pereira Miranda evaluated only 62 hybrids. All specifications can be found in the two attached files
The Prospero of Wonderland; or, Miranda Carroll, Author of Station Eleven
Full text linkAnalysis of Emily St. John Mandel\u27s novel Station Eleven and its Shakespearean antecedents, particularly The Tempest. This article reads Mandel\u27s character Miranda Carroll as an artist-figure comparable to Prospero. I argue that Miranda is the embedded author of the entire Station Eleven--both pre- and post-pandemic--in ways that mirror themes of revenge and forgiveness in The Tempest
Miranda: ustavna pravica ali ne?
No full textAvtorica v prispevku analizira razvoj mirande v ZDA od leta 1966 do danes in primerja današnjo ameriško mirando s slovensko. V prispevku zagovarja stališče, da je bistvena razlika med njima v tem, da ima slovenski kazenski postopek dve mirandi, ameriški pa eno. Ameriška miranda se namreč uporablja, ko je osumljencu od vzeta prostost in je ob tem zaslišan, medtem ko se slovenska miranda uporablja, ko je osumljencu odvzeta prostost ali ko je zaslišan s strani policije, ob tem da je miranda ob odvzemu prostosti ustavna pravica, miranda ob zaslišanju pa ne vedno. Avtorica z analizo odločb Vrhovnega sodišča ZDA pri kaže, da se je ameriška miranda v zadnjih letih zelo približala kontinentalnemu kazenskemu postopku, predvsem v smislu spreminjanja mirande v luči iskanja materialne resnice. Vrhovno sodišče ZDA je namreč s svojimi odločitvami uvedlo številne izjeme od originalne Mirande, ki so v lanskem letu pripeljale do tega, da se lahko na sojenju zoper obdolženca uporabi fizični dokaz, ki je bil pridobljen s kršenjem mirande. Avtorica je mnenja, da je takšna miranda zelo podobna slovenski mirandi v pred kazenskem postopku, ki dopušča policijsko zaslišanje osumljenca brez prisotnosti zagovornika, na podlagi katerega policija sicer res napravi »le« uradni zaznamek, vendar pa lahko policija na podlagi takega uradnega zaznamka zakonito zbira dokaze, hkrati pa se s takim za znamkom lahko seznani tudi sodnik, ki odloča o glavni stvari. Avtorica v razpravi opozori na pomembno dejstvo, da se slovenska in ameriška ureditev v svojih ustavnih določbah bistveno razlikujeta. Ustava ZDA namreč nima izrecnih določb o pravici do molka ali pravici do zagovornika ob odvzemu prostosti in policijskem zaslišanju, za to je miranda le eden iz med načinov varovanja privilegija zoper samoobtožbo. Miranda tako ni ustavno zavarovana pravica, njeno kršenje pa samo po sebi še ne predstavlja upravičenega razloga za izločitev tako pridobljenih dokazov. Ustava RS ima na drugi strani izrecno določbo o pravici do molka in pravici do zagovornika ob odvzemu prostosti, zato slovenska miranda ob odvzemu prostosti ni le način varovanja privilegija zoper samoobtožbo, tem več ustavna pravica. Prav zato ureditev policijske ga zaslišanja v pred kazenskem postopku v primerih, ko je to povezano z odvzemom prostosti in ko osumljencu obenem ni zagotovljena pomoč zagovornika, ni skladna z Ustavo RS. V takih primerih se na podlagi uradnega zaznamka ne bi smelo pridobivati drugih dokazov oziroma bi morali biti ta ki dokazi izločeni, prav tako pa bi moral bi ti izločen uradni za znamek, saj gre za neposredno kršitev ustavne določbe o pravici do zagovornika.The author analyzes and discusses the development of the American Miranda from 1966 until today and compares it with the Slovene miranda. She argues that the main difference between them is in the conditions under which Miranda applies and in the constitutional protection each of them is afforded. The American miranda applies when a suspect is taken into custody and she is interrogated, while the Slovene miranda applies if a suspect is either taken into custody or she is interrogated by the police. In the former case miranda is protected by the Slovene Constitution, but not in the latter. Through the analysis of the jurisprudence of the US Supreme Court the author demonstrates that the American regulation of miranda has become very close to what is considered to be the continental approach to the criminal procedure in the last few years, since the US Supreme Court, in the name of finding the material truth at trials has recognized numerous exceptions to miranda. The latest exception to miranda allows for the state at a trial to introduce the physical evidence derived from a statement of the defendant who had not been given the Miranda warnings. The author argues that the American miranda with the applicable exceptions is very similar to the miranda of the Slovene Criminal Procedure Act that allows for the police interrogation without the presence of an attorney, which is evidenced “only” by the official note, which is not regarded as a formal evidence, but on the basis of which the police may lawfully seek other evidence and which the trial judge is free to review. The author emphasizes the difference between the Slovene and the American constitutional provisions related to miranda, especially in the view of the nature of the protection that each provides for the miranda rights. Since the American Constitution has no explicit provisions regarding the right to remain silent and the right to the assistance of an attorney, miranda is only one of the ways to safeguard the privilege against self-incrimination. Therefore, miranda itself is not a constitutional right and a violation of miranda without more does not justify the exclusion of an evidence obtained in the violation of miranda. The Slovene Constitution, on the other hand, has explicit provisions concerning the right to remain silent and the right to the assistance of an attorney in cases where the freedom to move is restricted in a significant way, therefore the Slovenian miranda in cases where the suspect is taken into custody is not only a way of safeguarding the privilege against self-incrimination, but a constitutionally protected right. The author argues that precisely for this reason, the regulation of the police interrogation in cases where a suspect is taken into custody and is not afforded the assistance of an attorney is not in accordance with the provisions of the Slovene Constitution. In cases like that the evidence derived from such official note should be excluded as well as the official note itself, since it was obtained in a way that directly violates the constitutional provisions with respect to the right to the assistance of an attorney
Aleks Sierz, Good Nights Out
Full text linkAleks Sierz, author and theatre critic, also teaches courses on postwar British theatre for various universities, in the UK and in Germany. His most famous contribution to research on drama is probably his reference study of “in-yer-face theatre” (In-Yer-Face Theatre. British Drama Today, Faber, 2001), but he also published books on prominent playwrights (Martin Crimp, John Osborne), as well as more extensive studies of contemporary theatre in Britain (Rewriting the Nation: British Theatre To..
Carine Lounissi, Thomas Paine and the French Revolution.
Full text linkCarine Lounissi’s study of the ‘French Paine’ is a highly valuable and necessary contribution to the wealth of scholarly work devoted to the self-styled citizen of the world. The author builds on her more theoretical study of Thomas Paine’s writings, published in 2012, to construct a contextualized portrait of the international revolutionary during the years he spent in France as an observer, commentator and agent of the French Revolution between 1787 and 1802. In doing so, she has addressed ..
Laurent Curelly, An Anatomy of an English Radical Newspaper: The Moderate (1648-9)
Full text linkLaurent Curelly’s title is a tribute to the many Anatomies that were published in the early seventeenth century—not least to Burton’s Anatomy of Melancholy: the preface to the fifth edition lends an introductory quote that reveals and derides the contemporary crave for news. An Anatomy of an English Radical Newspaper: The Moderate (1648-9) indeed “dissects” [4] the 66 issues of The Moderate that were published between June 1648 and September 1649. The author further resorts to the metaphor of..
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