Circus as idée fixe and Hunger

In her article Circus as idée fixe and Hunger Anna-Sophie Jürgens discusses circus fiction in which characters often display extreme, intense psychological traits. They are for example irascible, pyromaniac, sadistic, or megalomaniac. Particularly striking are protagonists with alternative psychological attitudes in fictional circus texts of the twentieth century such as Franz Kafka\u27s hunger artist, Michael Raleigh\u27s ringmaster Lewis Tully or Richard Schmitt\u27s aerialist Garry, who can be seen as incubators of circus-related idées fixes. These literary circus characters develop fixations on circus that manifest themselves as a physical sensation of desiring circus like food, in other words: in circus fiction, circus-fixation appears and is realized as hunger. Jürgens explores this voracious circus enthusiasm that consumes so many protagonists of twentieth-century novels by drawing on related arguments such as the long tradition of showing (off) the deviant in mental asylums and circuses as sites of the other based on psychological explanations of idées fixes and monomania

Little Eichmanns: A Composition for Chamber Octet

An original composition in one movement for a chamber octet comprised of a string quartet and a jazz piano quartet with tenor saxophone. The work develops an idée fixe, introduced in the opening bars, through a wide variety of transformations, textures, and styles. The two quartets begin in antiphonal alteration, united in thematic material, yet separated by style. A modern art music style contrasts with an improvisational jazz style. Gradually, the two quartets, and their concomitant musics, bleed into one another, breaking down stylistic boundaries. In the conclusion of the work, the idée fixe, the supplementary themes, and the two quartets coalesce into an organic sonic whole

“Transformer" Sebuah Karya Musik Program Berdasarkan Idée Fixe

Karya sastra terdiri dari dua jenis: fiksi dan nonfiksi. Salah satu bentuk karya nonfiksi adalah autobiografi. Autobiografi merupakan karya sastra mengenai kisah hidup individu yang ditulis oleh individu itu sendiri dan bersifat subjektif. Bentuk autobiografi yang dialih wahanakan biasanya menggunakan bentuk musik program, yaitu karya musik yang didasarkan rangkaian peristiwa. Karya musik “Transformer” yang menggunakan konsep idée fixe merupakan bentuk alih wahana autobiografi penulis sendiri. Ide cerita yang akan diangkat adalah kisah hidup penulis dalam belajar bermusik. Dalam penelitian ini yang ingin dijawab adalah bagaimana mengalih wahanakan sebuah autobiografi ke dalam karya musik dengan konsep idée fixe dan format string quartet, vokal, dan piano. Metode yang dilakukan dalam penciptaan “Transformer” adalah merumuskan ide penciptaan dengan mendengarkan karya-karya yang relevan, membuat merancang suasana dan unsur musik apa saja yang akan ditonjolkan dari masing-masing movement, mengobservasi karya-karya musik program naratif dan meninjau pustaka yang relevan dengan rumusan ide penciptaan, mengeksplorasi idée fixe tiap movement agar sesuai dengan karakter yang ingin ditonjolkan , membuat sketsa dasar, dan menggarap detail karya dengan memperhatikan idée fixe agar dapat merepresentasikan suasana tiap movement dalam karya. Pengalih wahanaan autobiografi ke dalam karya berformat string quartet, vokal, dan piano dengan konsep idée fixe dilakukan dengan cara membuat dan memadatkan alur cerita, menentukan suasana, dan menentukan judul yang merepresentasikan suasana masing-masing movement. Motif idée fixe ditentukan dan disesuaikan dengan karakter masing-masing movement. Timbre dan jangkauan masing-masing instrumen dieksplor supaya sesuai dengan kesan yang ingin ditonjolkan pada tiap movement. Setelah selesai, barulah dibuat karya secara keseluruhan menggunakan tanda-tanda musikal yang mampu menggambarkan karakter movement. Kata kunci: musik program, autobiografi, idée fix

“True Happiness in Gratitude” Sebuah Karya Musik Program Chamber Orchestra dari Kisah “The Fisherman And His Wife”

Musik program terdiri dari beberapa jenis, salah satunya musik program naratif. Menurut Jean- François Lyotard, narasi adalah bentuk inti dari pengetahuan mengenai kebiasaan. Narasi hadir dalam berbagai bentuk, salah satunya dongeng. Penulis mengangkat musik program naratif dengan ekstramusikal cerita dongeng. Dongeng adalah cerita prosa rakyat yang tidak dianggap benar-benar terjadi. Dongeng yang penulis ambil adalah “The Fisherman and His Wife”. Penulis menemukan hal menarik saat penggarapan skripsi, yaitu permintaan-permintaan istri yang beragam dan pemikiran istri yang serakah, sehingga penulis melakukan penelitian bagaiamana penggambaran permintaan-permintaan istri dengan konsep leitmotif, dan karakter serta bagaimana penggambaran karakter dan pemikiran istri melalui konsep idée fixe. Metode yang dilakukan dalam membuat karya musik “True Happiness in Gratitude” adalah pertama, merumuskan ide penciptaan dan penentuan judul dengan menjadikan dongeng sebagai ekstramusikal lalu judul ditentukan dari pesan moral yaitu “True Happiness in Gratitude”. Kedua, tahap perancangan dengan memilih format chamber orchestra dan menjadikan karya kedalam 3 movement. Ketiga, tahap konsep dengan menentukan leitmotif dan idée fixe sebagai konsep yang akan dipakai. Keempat, tahap studi pustaka, yaitu mencari dan mempelajari buku-buku untuk proses pembuatan skripsi. Kelima, proses pembuatan sketsa dasar untuk ketiga movement. Keenam, penggarapan detail karya dan penentuan instrument. Terakhir tahap eksplorasi menggambarkan cerita kedalam bentuk musik. Kesimpulannya adalah konsep leitmotif digambarkan dengan cara mengidentifikasi tiap elemen yang ada pada cerita lalu mengelompokkan kedalam beberapa grup. Kedua, penggambaran karakter dan pemikiran istri melalui konsep idée fixe dengan mengidentifikasi subjek idée fixe dan konteks idée fixe nya, lalu memakai tangga nada minor karena idee fixenya membuat karakter si istri gelisah. Kedua konsep tersebut digunakan pada satu karya musik berjudul “True Happiness in Gratitude”

If You Can't Change What You Believe, You Don't Believe It

I develop and defend the view that subjects are necessarily psychologically able to revise their beliefs in response to relevant counter-evidence. Specifically, subjects can revise their beliefs in response to relevant counter-evidence, given their current psychological mechanisms and skills. If a subject lacks this ability, then the mental state in question is not a belief, though it may be some other kind of cognitive attitude, such as a supposi-tion, an entertained thought, or a pretense. The result is a moderately revisionary view of belief: while most mental states we thought were beliefs are beliefs, some mental states which we thought were beliefs are not beliefs. The argument for this view draws on two key claims: First, subjects are rationally obligated to revise their beliefs in response to relevant counter-evidence. Second, if some subject is rationally obligated to revise one of her mental states, then that subject can revise that mental state, given her current psychological mechanisms and skills. Along the way to defending these claims, I argue that rational obligations can govern activities which reflect on one’s rational character, whether or not those activities are under one’s voluntary control. I also show how the relevant version of epistemic ‘ought’ implies ‘can’ survives an objection which plagues other variants of the principle

Modern Ukrainian Drama: Rapport Between Autor and Reader (Based on Sociolinguistic Survey)

The article provides results of a sociolinguistic survey conducted among students in order to determine successful or unsuccessful encoding of information by author in paratext elements of modern Ukrainian plays. The research confirmed advanced hypothesis and proved that the majority of respondents expect shock and experiments from modern dramas. 250 respondents, who are students of Oles\u27 Honchar Dnipro National University Faculty of Ukrainian and Foreign Philology and Arts, aged 19 to 23, have completed a questionnaire. These were students of philological department, whose professional qualification requires knowledge of works of art, including dramas, selected as respondents since modern Ukrainian drama tends to be rather unpopular and readers are disinterested in reading plays. Analysis of the responses to the questionnaire showed that paratext elements shape future hypothetical communication between author and reader, as well as provide the later with a certain set of expectations from reading the drama text. Genre features of drama stipulate a rich ground for reader\u27s imagination, the range of which has diametrical limits and which determines recipient\u27s personality. Association experiment proved consistency of reader\u27s perception of author\u27s intentions

Karen L. Cox, ed. Destination Dixie: Tourism & Southern History.

William Faulkner’s well-known statement: “The past is never dead. It’s not even past” captures an idée fixe Southerners have about history, past, and memory. Southerners’ pride in their region and their fetish for explaining its distinctive past found its way into booming heritage tourism. There seems to be a peculiar national interest in the region which is so much unlike the rest of the country. Karen Cox’s volume, Destination Dixie: Tourism & Southern History, offers a thought-provoking, f..

Following the mob? How diversity as dogma can damage public services

The OECD claims that diversity among public service leaders is a business imperative that leads to ‘improved governance outcomes’. At best, the empirical evidence for this assertion is mixed. At worst, it renders the OECD claim to be simply untrue. This article demonstrates how diversity as dogma, idée fixe and intellectual sophistry can damage public services. Job-related (rather than demographic) diversity can improve business performance but needs to be aligned with appropriate leadership structures, governance systems and accountability arrangements

Program Notes for the Graduate Degree Recital of Michael Wheatley

The purpose of this document, in partial fulfillment of the degree requirement for the Master of Music degree in Orchestral Conducting, is to explore the historical, contextual, stylistic, programmatic, and general thematic aspects of the major works performed in a set of two graduate degree recitals which included Claude Debussy’s Prelude to the Afternoon of a Faun; Sergei Rachmaninoff’s Piano Concerto No. 3, Op. 30 in d; Hector Berlioz’ Symphonie Fantastique; and, Gustav Mahler’s Symphony No. 4. The works programmed range from early in the Romantic era of western classical music history through the first half of the twentieth-century. Supporting materials are included in several appendices at the end of this document