3,802 research outputs found

    Personality Dysfunction Manifest in Words : Understanding Personality Pathology Using Computational Language Analysis

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    Personality disorders (PDs) are some of the most prevalent and high-risk mental health conditions, and yet remain poorly understood. Today, the development of new technologies means that there are advanced tools that can be used to improve our understanding and treatment of PD. One promising tool – indeed, the focus of this thesis – is computational language analysis. By looking at patterns in how people with personality pathology use words, it is possible to gain access into their constellation of thinking, feelings, and behaviours. To date, however, there has been little research at the intersection of verbal behaviour and personality pathology. Accordingly, the central goal of this thesis is to demonstrate how PD can be better understood through the analysis of natural language. This thesis presents three research articles, comprising four empirical studies, that each leverage computational language analysis to better understand personality pathology. Each paper focuses on a distinct core feature of PD, while incorporating language analysis methods: Paper 1 (Study 1) focuses on interpersonal dysfunction; Paper 2 (Studies 2 and 3) focuses on emotion dysregulation; and Paper 3 (Study 4) focuses on behavioural dysregulation (i.e., engagement in suicidality and deliberate self-harm). Findings from this research have generated better understanding of fundamental features of PD, including insight into characterising dimensions of social dysfunction (Paper 1), maladaptive emotion processes that may contribute to emotion dysregulation (Paper 2), and psychosocial dynamics relating to suicidality and deliberate self-harm (Paper 3) in PD. Such theoretical knowledge subsequently has important implications for clinical practice, particularly regarding the potential to inform psychological therapy. More broadly, this research highlights how language can provide implicit and unobtrusive insight into the personality and psychological processes that underlie personality pathology at a large-scale, using an individualised, naturalistic approach

    UMSL Bulletin 2023-2024

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    The 2023-2024 Bulletin and Course Catalog for the University of Missouri St. Louis.https://irl.umsl.edu/bulletin/1088/thumbnail.jp

    Graduate Catalog of Studies, 2023-2024

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    Essays on Corporate Disclosure of Value Creation

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    Information on a firm’s business model helps investors understand an entity’s resource requirements, priorities for action, and prospects (FASB, 2001, pp. 14-15; IASB, 2010, p. 12). Disclosures of strategy and business model (SBM) are therefore considered a central element of effective annual report commentary (Guillaume, 2018; IIRC, 2011). By applying natural language processing techniques, I explore what SBM disclosures look like when management are pressed to say something, analyse determinants of cross-sectional variation in SBM reporting properties, and assess whether and how managers respond to regulatory interventions seeking to promote SBM annual report commentary. This dissertation contains three main chapters. Chapter 2 presents a systematic review of the academic literature on non-financial reporting and the emerging literature on SBM reporting. Here, I also introduce my institutional setting. Chapter 3 and Chapter 4 form the empirical sections of this thesis. In Chapter 3, I construct the first large sample corpus of SBM annual report commentary and provide the first systematic analysis of the properties of such disclosures. My topic modelling analysis rejects the hypothesis that such disclosure is merely padding; instead finding themes align with popular strategy frameworks and management tailor the mix of SBM topics to reflect their unique approach to value creation. However, SBM commentary is less specific, less precise about time horizon (short- and long-term), and less balanced (more positive) in tone relative to general management commentary. My findings suggest symbolic compliance and legitimisation characterize the typical annual report discussion of SBM. Further analysis identifies proprietary cost considerations and obfuscation incentives as key determinants of symbolic reporting. In Chapter 4, I seek evidence on how managers respond to regulatory mandates by adapting the properties of disclosure and investigate whether the form of the mandate matters. Using a differences-in-differences research design, my results suggest a modest incremental response by treatment firms to the introduction of a comply or explain provision to provide disclosure on strategy and business model. In contrast, I find a substantial response to enacting the same requirements in law. My analysis provides clear and consistent evidence that treatment firms incrementally increase the volume of SBM disclosure, improve coverage across a broad range of topics as well as providing commentary with greater focus on the long term. My results point to substantial changes in SBM reporting properties following regulatory mandates, but the form of the mandate does matter. Overall, this dissertation contributes to the accounting literature by examining how firms discuss a central topic to economic decision making in annual reports and how firms respond to different forms of disclosure mandate. Furthermore, the results of my analysis are likely to be of value for regulators and policymakers currently reviewing or considering mandating disclosure requirements. By examining how companies adapt their reporting to different types of regulations, this study provides an empirical basis for recalibrating SBM disclosure mandates, thereby enhancing the information set of capital market participants and promoting stakeholder engagement in a landscape increasingly shaped by non-financial information

    UMSL Bulletin 2022-2023

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    The 2022-2023 Bulletin and Course Catalog for the University of Missouri St. Louis.https://irl.umsl.edu/bulletin/1087/thumbnail.jp

    Speculative futures on ChatGPT and generative artificial intelligence (AI): a collective reflection from the educational landscape

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    While ChatGPT has recently become very popular, AI has a long history and philosophy. This paper intends to explore the promises and pitfalls of the Generative Pre-trained Transformer (GPT) AI and potentially future technologies by adopting a speculative methodology. Speculative future narratives with a specific focus on educational contexts are provided in an attempt to identify emerging themes and discuss their implications for education in the 21st century. Affordances of (using) AI in Education (AIEd)and possible adverse effects are identified and discussed which emerge from the narratives. It is argued that now is the best of times to define human vs AI contribution to education because AI can accomplish more and more educational activities that used to be the prerogative of human educators. Therefore, it is imperative to rethink the respective roles of technology and human educators in education with a future-oriented mindse

    β€œSo what if ChatGPT wrote it?” Multidisciplinary perspectives on opportunities, challenges and implications of generative conversational AI for research, practice and policy

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    Transformative artificially intelligent tools, such as ChatGPT, designed to generate sophisticated text indistinguishable from that produced by a human, are applicable across a wide range of contexts. The technology presents opportunities as well as, often ethical and legal, challenges, and has the potential for both positive and negative impacts for organisations, society, and individuals. Offering multi-disciplinary insight into some of these, this article brings together 43 contributions from experts in fields such as computer science, marketing, information systems, education, policy, hospitality and tourism, management, publishing, and nursing. The contributors acknowledge ChatGPT’s capabilities to enhance productivity and suggest that it is likely to offer significant gains in the banking, hospitality and tourism, and information technology industries, and enhance business activities, such as management and marketing. Nevertheless, they also consider its limitations, disruptions to practices, threats to privacy and security, and consequences of biases, misuse, and misinformation. However, opinion is split on whether ChatGPT’s use should be restricted or legislated. Drawing on these contributions, the article identifies questions requiring further research across three thematic areas: knowledge, transparency, and ethics; digital transformation of organisations and societies; and teaching, learning, and scholarly research. The avenues for further research include: identifying skills, resources, and capabilities needed to handle generative AI; examining biases of generative AI attributable to training datasets and processes; exploring business and societal contexts best suited for generative AI implementation; determining optimal combinations of human and generative AI for various tasks; identifying ways to assess accuracy of text produced by generative AI; and uncovering the ethical and legal issues in using generative AI across different contexts

    ΠœΡƒΠ·ΠΈΠΊΠΎΠ»ΠΎΠ³ΠΈΡ˜Π° / Musicology (34 I/2023)

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    ОбСлСТавањС ΠΏΠΎΠ»Π° Π²Π΅ΠΊΠ° ΠΎΠ΄ ΠΊΠ°Π΄Π° јС ΠΏΡ€Π΅ΠΌΠΈΠ½ΡƒΠΎ Π˜Π³ΠΎΡ€ Бтравински (1882–1971) ΠΏΡ€ΠΎΡ‚Π΅ΠΊΠ»ΠΎ јС Ρƒ сСнци пандСмијС ΠΊΠΎΠ²ΠΈΠ΄Π°, ΠΏΠ° сС Π½Π°ΡƒΡ‡Π½ΠΎ Ρ€Π°Π·ΠΌΠ°Ρ‚Ρ€Π°ΡšΠ΅ подстакнуто Ρ‚ΠΎΠΌ Π³ΠΎΠ΄ΠΈΡˆΡšΠΈΡ†ΠΎΠΌ ΠΏΡ€ΠΎΠ΄ΡƒΠΆΠΈΠ»ΠΎ. Π’Π°ΠΊΠΎ сС ΡšΠ΅ΠΌΡƒ ΠΏΡ€ΠΈΠ΄Ρ€ΡƒΠΆΡƒΡ˜Π΅ ΠΈ Π“Π»Π°Π²Π½Π° Ρ‚Π΅ΠΌΠ° Ρƒ Π½ΠΎΠ²ΠΎΠΌ Π±Ρ€ΠΎΡ˜Ρƒ ΠœΡƒΠ·ΠΈΠΊΠΎΠ»ΠΎΠ³ΠΈΡ˜Π΅ (34), с Π½ΠΈΠ·ΠΎΠΌ ΡΡ‚ΡƒΠ΄ΠΈΡ˜Π° посвСћСних Бтравинском, којС ΠΏΠΎΡ‚ΠΈΡ‡Ρƒ ΠΈΠ· излагања Π½Π° Π‘Ρ‚ΡƒΠ΄ΠΈΡ˜ΡΠΊΠΎΠΌ Π΄Π°Π½Ρƒ ΠΎΡ€Π³Π°Π½ΠΈΠ·ΠΎΠ²Π°Π½ΠΎΠΌ 2021. Π³ΠΎΠ΄ΠΈΠ½Π΅ Π½Π° ΠžΠ΄ΡΠ΅ΠΊΡƒ Π·Π° ΠΌΡƒΠ·ΠΈΡ‡ΠΊΠ΅ ΡΡ‚ΡƒΠ΄ΠΈΡ˜Π΅ Националног ΠΈ ΠšΠ°ΠΏΠΎΠ΄ΠΈΡΡ‚Ρ€ΠΈΡ˜Π°ΡΠΎΠ²ΠΎΠ³ ΡƒΠ½ΠΈΠ²Π΅Ρ€Π·ΠΈΡ‚Π΅Ρ‚Π° Ρƒ Атини. ЗаступљСнС Ρ‚Π΅ΠΌΠ΅ ΠΏΠΎΠΊΡ€ΠΈΠ²Π°Ρ˜Ρƒ ΡˆΠΈΡ€ΠΎΠΊ спСктар ΠΏΡ€ΠΎΠ±Π»Π΅ΠΌΠ°Ρ‚ΠΈΠΊΠ΅ Ρƒ Π²Π΅Π·ΠΈ са свим Ρ‚Ρ€ΠΈΠΌΠ° Ρ„Π°Π·Π°ΠΌΠ° ΡΡ‚Π²Π°Ρ€Π°Π»Π°ΡˆΡ‚Π²Π° Бтравинског (руска, нСокласична ΠΈ ΡΠ΅Ρ€ΠΈΡ˜Π°Π»Π½Π°), ΡƒΠΊΡ™ΡƒΡ‡ΡƒΡ˜ΡƒΡ›ΠΈ ΠΏΡ€ΠΈ Ρ‚ΠΎΠΌΠ΅ ΠΈ ΠΏΠΈΡ‚Π°ΡšΠ° СстСтикС, ΠΊΠ°ΠΎ ΠΈ ΡƒΡ‚ΠΈΡ†Π°Ρ˜Π° ΠΈ Ρ€Π΅Ρ†Π΅ΠΏΡ†ΠΈΡ˜Π΅ њСговог Π΄Π΅Π»Π°. Бтаматис Зохиос ΠΈΠ·Π½ΠΎΠ²Π° ΠΎΡ‚Π²Π°Ρ€Π° ΠΏΠΈΡ‚Π°ΡšΠ΅ Π²Π΅Π·Π΅ Бтравинског с руским Ρ„ΠΎΠ»ΠΊΠ»ΠΎΡ€ΠΎΠΌ, ΠΊΠΎΠ½Ρ‚Π΅ΠΊΡΡ‚ΡƒΠ°Π»ΠΈΠ·ΡƒΡ˜ΡƒΡ›ΠΈ Π΄Π΅Π»Π° ΠΎΠ²ΠΎΠ³ ΠΊΠΎΠΌΠΏΠΎΠ·ΠΈΡ‚ΠΎΡ€Π° ΠΈΠ· Ρ‚Π°ΠΊΠΎΠ·Π²Π°Π½ΠΎΠ³ β€žΡ€ΡƒΡΠΊΠΎΠ³β€ ΠΏΠ΅Ρ€ΠΈΠΎΠ΄Π° с Ρ€Π΅Ρ„Π΅Ρ€Π΅Π½Ρ†Π°ΠΌΠ° Π½Π° ΠΈΡΡ‚ΠΎΡ€ΠΈΡ˜Π°Ρ‚ рускС фолклористикС. Зохиос Π·Π°ΠΊΡ™ΡƒΡ‡ΡƒΡ˜Π΅ Π΄Π° јС Бтравински ΠΏΡ€Π°Ρ‚ΠΈΠΎ ΠΏΡƒΡ‚ ΡΠ²ΠΎΡ˜ΠΈΡ… ΠΏΡ€Π΅Ρ‚Ρ…ΠΎΠ΄Π½ΠΈΠΊΠ° ΠΈΠ· 19. Π²Π΅ΠΊΠ° (Π“Π»ΠΈΠ½ΠΊΠ° ΠΈ ΠŸΠ΅Ρ‚ΠΎΡ€ΠΈΡ†Π°) Ρƒ ΡƒΠΏΠΎΡ‚Ρ€Π΅Π±ΠΈ Ρ„ΠΎΠ»ΠΊΠ»ΠΎΡ€Π½ΠΈΡ… ΠΈΠ·Π²ΠΎΡ€Π° Π·Π° својС ΠΊΠΎΠΌΠΏΠΎΠ·ΠΈΡ†ΠΈΡ˜Π΅, Π°Π»ΠΈ, Π·Π° Ρ€Π°Π·Π»ΠΈΠΊΡƒ ΠΎΠ΄ ΡšΠΈΡ…, нијС користио ΡΡ‚ΡƒΠ΄ΠΈΡ˜Π΅ Π½Π°ΡΡ‚Π°Ρ˜Π°Π»Π΅ Ρƒ њСговом Π²Ρ€Π΅ΠΌΠ΅Π½Ρƒ; стога, нијС сС упустио Ρƒ СкстСнзивну ΠΈ дубинску ΠΏΡ€Π΅Ρ‚Ρ€Π°Π³Ρƒ ΠΏΠΎΡΡ‚ΠΎΡ˜Π΅Ρ›ΠΈΡ… ΠΈΠ·Π²ΠΎΡ€Π° ΠΎ руском Ρ„ΠΎΠ»ΠΊΠ»ΠΎΡ€Ρƒ, Π²Π΅Ρ› сС умСсто Ρ‚ΠΎΠ³Π° ослањао Π½Π° ΠΏΡ€ΠΎΠ²Π΅Ρ€Π΅Π½Π΅ ΠΈΠ·Π²ΠΎΡ€Π΅ ΠΈ ΡΡ‚ΡƒΠ΄ΠΈΡ˜Π΅ ΠΈΠ· 19. Π²Π΅ΠΊΠ°. Π§Π»Π°Π½Π°ΠΊ Ивана ΠœΡƒΠ΄ΠΈΡ˜Π° освСтљава Π΄Π΅ΠΎ ΡΡ‚Π²Π°Ρ€Π°Π»Π°ΡˆΡ‚Π²Π° Бтравинског с фокусом Π½Π° њСгова Π΄ΡƒΡ…ΠΎΠ²Π½Π° Π΄Π΅Π»Π° ΠΈΠ· пСрспСктивС њСговог познавања Ρ„ΠΈΠ»ΠΎΠ·ΠΎΡ„ΠΈΡ˜Π΅ Π–Π°ΠΊΠ° ΠœΠ°Ρ€ΠΈΡ‚Π΅Π½Π°, Π° Ρƒ контСксту филозофских потрСса Ρƒ ΠΌΠ΅Ρ’ΡƒΡ€Π°Ρ‚Π½ΠΎΡ˜ Π€Ρ€Π°Π½Ρ†ΡƒΡΠΊΠΎΡ˜. ΠœΡƒΠ΄ΠΈ ΠΎΠ±Ρ€Π°Ρ›Π° посСбну ΠΏΠ°ΠΆΡšΡƒ Π½Π° Ρ‚ΠΎ ΠΊΠ°ΠΊΠΎ Бтравински ΠΈΠ½Ρ‚Π΅Ρ€ΠΏΡ€Π΅Ρ‚ΠΈΡ€Π° ΠœΠ°Ρ€ΠΈΡ‚Π΅Π½ΠΎΠ²Ρƒ ΠΈΠ΄Π΅Ρ˜Ρƒ homo faber-a, β€žΡ‡ΠΎΠ²Π΅ΠΊΠ°-творца”. Π˜ΡΡ‚ΠΎΠ²Ρ€Π΅ΠΌΠ΅Π½ΠΎ, ΠΎΠ½ Π½Π΅ Π·Π°Π½Π΅ΠΌΠ°Ρ€ΡƒΡ˜Π΅ ΠΊΠΎΠΌΠΏΠΎΠ·ΠΈΡ‚ΠΎΡ€ΠΎΠ²ΠΎ руско ΠΏΠΎΡ€Π΅ΠΊΠ»ΠΎ, Π·Π°ΠΊΡ™ΡƒΡ‡ΡƒΡ˜ΡƒΡ›ΠΈ Π΄Π° су Π΄Π΅Π»Π° која су ΠΎΠ²Π΄Π΅ саглСдавана јСднако ΡƒΡ‚Π΅ΠΌΠ΅Ρ™Π΅Π½Π° Ρƒ руском ΠΏΠΎΡ€Π΅ΠΊΠ»Ρƒ Бтравинског ΠΊΠ°ΠΎ ΠΈ Ρƒ њСговим искуствима Π½Π° Π—Π°ΠΏΠ°Π΄Ρƒ. ΠšΠ°Ρ‚Π΅Ρ€ΠΈΠ½Π° Π›Π΅Π²ΠΈΠ΄Ρƒ дајС Π½ΠΎΠ²ΠΈ ΠΏΠΎΠ³Π»Π΅Π΄ Π½Π° ΠŸΠΎΠ΅Ρ‚ΠΈΠΊΡƒ ΠΌΡƒΠ·ΠΈΠΊΠ΅, Π° Π½Π°Ρ€ΠΎΡ‡ΠΈΡ‚ΠΎ Π½Π° ΠΏΠΈΡ‚Π°ΡšΠ΅ доприноса ΠŸΡ˜Π΅Ρ€Π° Бувчинског ΠΎΠ²ΠΎΠΌ ΠΏΠΎΠ΄ΡƒΡ…Π²Π°Ρ‚Ρƒ. ЊСно ΠΈΡΡ‚Ρ€Π°ΠΆΠΈΠ²Π°ΡšΠ΅ ΠΊΡ€Π΅Ρ›Π΅ сС ΠΈΠ·Π²Π°Π½ ΠΎΡ‡Π΅ΠΊΠΈΠ²Π°Π½ΠΈΡ… мСста Π·Π° ΠΏΠΎΡΠΌΠ°Ρ‚Ρ€Π°ΡšΠ΅, односно ΠΈΠ·Π²Π°Π½ ΠΏΠ΅Ρ‚ΠΎΠ³ ΠΏΠΎΠ³Π»Π°Π²Ρ™Π° (којС јС написао Бувчински) ΠΈ Π΄ΠΎΠ±Ρ€ΠΎ ΠΏΠΎΠ·Π½Π°Ρ‚Π΅ Ρ€Π΅Ρ„Π΅Ρ€Π΅Π½Ρ†Π΅ ΠΊΠ° идСјама Бувчинског ΠΎ ΠΌΡƒΠ·ΠΈΡ†ΠΈ ΠΈ Π²Ρ€Π΅ΠΌΠ΅Π½Ρƒ. На Ρ‚Π°Ρ˜ Π½Π°Ρ‡ΠΈΠ½ Ρ›Π΅ ΠŸΠΎΠ΅Ρ‚ΠΈΠΊΠ° ΠΈΠ½Ρ‚Ρ€ΠΈΠ³Π°Π½Ρ‚Π½ΠΎ постати најмањС ΠΎΡ‡Π΅ΠΊΠΈΠ²Π°Π½Π° ΠΏΠ»Π°Ρ‚Ρ„ΠΎΡ€ΠΌΠ° Π·Π° ΠΏΡ€Π΅Π·Π΅Π½Ρ‚Π°Ρ†ΠΈΡ˜Ρƒ ΠΈ Π΄ΠΈΡΠ΅ΠΌΠΈΠ½Π°Ρ†ΠΈΡ˜Ρƒ ΠΏΠΎΠ·ΠΈΡ†ΠΈΡ˜Π° ΠΏΠΎΠ²Π΅Π·Π°Π½ΠΈΡ… с ΠΎΠ΄Ρ€Π΅Ρ’Π΅Π½ΠΈΠΌ Π½ΠΈΡ‚ΠΈΠΌΠ° β€žΠ΅Π²Ρ€ΠΎΠ°Π·ΠΈΡ˜ΡΡ‚Π²Π°β€, руског Смигрантског ΠΈΠ½Ρ‚Π΅Π»Π΅ΠΊΡ‚ΡƒΠ°Π»Π½ΠΎΠ³ ΠΈ ΠΏΠΎΠ»ΠΈΡ‚ΠΈΡ‡ΠΊΠΎΠ³ ΠΏΠΎΠΊΡ€Π΅Ρ‚Π°, с којим јС Бувчински Π±ΠΈΠΎ Π±Π»ΠΈΠ·Π°ΠΊ. ΠšΡ€ΠΈΡΡ‚ΠΎΡ„ Π€Π»Π°ΠΌ фокусирао сС Π½Π° касно ΡΡ‚Π²Π°Ρ€Π°Π»Π°ΡˆΡ‚Π²ΠΎ Бтравинског ΠΈ Ρ€Π°Π·ΠΌΠ°Ρ‚Ρ€Π°ΠΎ Π³Π° ΠΈΠ· пСрспСктивС СкспрСсивности. ΠšΠΎΠ½ΠΊΡ€Π΅Ρ‚Π½ΠΎ, овај Π°ΡƒΡ‚ΠΎΡ€ јС истакао СкспрСсивнС, сСмантичкС ΠΈ ΡΠ°ΠΌΠΎΡ€Π΅Ρ„Π΅Ρ€Π΅Π½Ρ†ΠΈΡ˜Π°Π»Π½Π΅ димСнзијС Ρƒ касним Π΄Π΅Π»ΠΈΠΌΠ°, којС сС Ρƒ њима ΠΏΠΎΡ˜Π°Π²Ρ™ΡƒΡ˜Ρƒ с Π½Π°Ρ€ΠΎΡ‡ΠΈΡ‚ΠΎΠΌ Ρ˜Π°ΡΠ½ΠΎΡ›ΠΎΠΌ ΠΈ Π΄Π΅Π»ΠΈΠΌΠΈΡ‡Π½ΠΎ ΠΏΡ€ΠΎΡ‚ΠΈΠ²Ρ€Π΅Ρ‡Π΅ ΡƒΠΎΠ±ΠΈΡ‡Π°Ρ˜Π΅Π½ΠΈΠΌ ΠΎΡ†Π΅Π½Π°ΠΌΠ° ΠΎΠ²Π΅ ΠΌΡƒΠ·ΠΈΠΊΠ΅ ΠΊΠ°ΠΎ апстрактнС ΠΈ конструктивистичкС, Π° Ρ‚Π°ΠΊΠΎΡ’Π΅ ΠΈΠ·Π°Π·ΠΈΠ²Π°Ρ˜Ρƒ ΠΈ ΠΊΠΎΠΌΠΏΠΎΠ·ΠΈΡ‚ΠΎΡ€ΠΎΠ²Π΅ Π»ΠΈΡ‡Π½Π΅ изјавС. Π‘ Ρ‡Π»Π°Π½ΠΊΠΎΠΌ Π•Π΄Π²Π°Ρ€Π΄Π° КСмбСла ΠΎΡΡ‚Π°Ρ˜Π΅ΠΌΠΎ Ρƒ послСратном Π΄ΠΎΠ±Ρƒ, Π°Π»ΠΈ сС фокус ΠΏΠΎΠΌΠ΅Ρ€Π° с Π΄Π΅Π»Π° Бтравинског ΠΏΠΎ сСби Π½Π° ΡƒΡ‚ΠΈΡ†Π°Ρ˜ њСговог Ρ€Π°Π΄Π° Π½Π° Ρ„Ρ€Π°Π½ΠΊΠΎΡ„ΠΎΠ½Ρƒ послСратну Π°Π²Π°Π½Π³Π°Ρ€Π΄Ρƒ, односно Π½Π° ΠŸΡ˜Π΅Ρ€Π° Π‘ΡƒΠ»Π΅Π·Π°, Π–Π°Π½Π° Π‘Π°Ρ€Π°ΠΊΠ°, ΠΠ½Ρ€ΠΈΡ˜Π° ΠŸΡƒΡΠ΅Ρ€Π° ΠΈ МишСла Π€ΠΈΠ»ΠΈΠΏΠΎΠ°. КСмбСлова Π°Π½Π°Π»ΠΈΠ·Π° ΠΈΠ·Π²Π»Π°Ρ‡ΠΈ Π½Π° ΠΏΠΎΠ²Ρ€ΡˆΠΈΠ½Ρƒ ΡƒΡ‚ΠΈΡ†Π°Ρ˜ који јС Бтравински ΠΈΠΌΠ°ΠΎ Π½Π° ΠΎΠ²Π΅ ΠΊΠΎΠΌΠΏΠΎΠ·ΠΈΡ‚ΠΎΡ€Π΅ Π½Π° Π½ΠΈΠ²ΠΎΠΈΠΌΠ° Ρ€ΠΈΡ‚ΠΌΠΈΡ‡ΠΊΠ΅ ΠΈΠ½ΠΎΠ²Π°Ρ†ΠΈΡ˜Π΅, ΡƒΠΏΠΎΡ‚Ρ€Π΅Π±Π΅ звучности, Ρ…Π°Ρ€ΠΌΠΎΠ½ΠΈΡ˜Π°, инструмСнталнС бојС, ΠΌΡƒΠ·ΠΈΡ‡ΠΊΠ΅ Ρ„ΠΎΡ€ΠΌΠ΅, ΠΊΠ°ΠΎ ΠΈ ΠΏΠΎΠ»Π°Ρ€ΠΈΡ‚Π΅Ρ‚Π° висинС Ρ‚ΠΎΠ½Π°. ПослСдња Π΄Π²Π° Ρ‡Π»Π°Π½ΠΊΠ° ΠΏΡ€ΠΈΠ»Π°Π·Π΅ Ρ€Π°Π΄Ρƒ Бтравинског ΠΈΠ· пСрспСктивС СстСтикС, с Ρ€Π΅Ρ„Π΅Ρ€Π΅Π½Ρ†Π°ΠΌΠ° ΠΊΠ° Ρ„ΠΈΠ»ΠΎΠ·ΠΎΡ„ΠΈΡ˜ΠΈ њСговог саврСмСника, Π₯Π΅Π»ΠΌΡƒΡ‚Π° ΠŸΠ»Π΅ΡΠ½Π΅Ρ€Π°. Јаковос Π¨Ρ‚Π°Ρ˜Π½Ρ…Π°ΡƒΠ΅Ρ€ расправља ΠΎ Π·Π½Π°Ρ‡Π΅ΡšΡƒ тСлСсности ΠΈ плСса Ρƒ ΡΡ‚Π²Π°Ρ€Π°Π»Π°ΡˆΡ‚Π²Ρƒ Бтравинског, ΠΎΠ΄Π»Π°Π·Π΅Ρ›ΠΈ ΠΈΠ·Π²Π°Π½ ΠΈΡΡ‚ΠΎΡ€ΠΈΡ˜ΡΠΊΠΈ Π΄ΠΎΠΊΡƒΠΌΠ΅Π½Ρ‚ΠΎΠ²Π°Π½ΠΎΠ³ ΠΈΠ½Ρ‚Π΅Ρ€Π΅ΡΠΎΠ²Π°ΡšΠ° ΠΎΠ²ΠΎΠ³ ΠΊΠΎΠΌΠΏΠΎΠ·ΠΈΡ‚ΠΎΡ€Π° Π·Π° балСтску ΠΌΡƒΠ·ΠΈΠΊΡƒ. БалСтска ΠΌΡƒΠ·ΠΈΠΊΠ° Бтравинског, ΠΊΠ°ΠΊΠΎ Π¨Ρ‚Π°Ρ˜Π½Ρ…Π°ΡƒΠ΅Ρ€ ΠΏΠΎΠΊΠ°Π·ΡƒΡ˜Π΅, постиТС ΡΡ‚Π°ΡšΠ΅ β€žΠΏΠΎΡΡ€Π΅Π΄ΠΎΠ²Π°Π½Π΅ нСпосрСдности”, ΠΎΠ΄Ρ€ΠΆΠ°Π²Π°Ρ˜ΡƒΡ›ΠΈ Ρ‚Π°ΠΊΠΎ дистанцу Ρƒ односу Π½Π° ΡΡƒΠ±Ρ˜Π΅ΠΊΡ‚ΠΈΠ²Π½ΠΈ ΠΈΠ·Ρ€Π°Π·, Π±Π΅Π· којСг, ΠΏΠ°ΠΊ, ΠΏΠΎΡΡ‚Π°Ρ˜Π΅ апстрактна. ΠšΠΎΠ½Π°Ρ‡Π½ΠΎ, ΠœΠ°Ρ€ΠΊΠΎΡ ЦСцос Π½ΡƒΠ΄ΠΈ Π½ΠΎΠ²Ρƒ ΠΊΡ€ΠΈΡ‚ΠΈΠΊΡƒ АдорновС ΠΊΡ€ΠΈΡ‚ΠΈΠΊΠ΅ Бтравинског, Ρ€Π΅Ρ„Π΅Ρ€ΠΈΡ€Π°Ρ˜ΡƒΡ›ΠΈ Π½Π° ΠŸΠ»Π΅ΡΠ½Π΅Ρ€ΠΎΠ²Ρƒ филозофску Π°Π½Ρ‚Ρ€ΠΎΠΏΠΎΠ»ΠΎΠ³ΠΈΡ˜Ρƒ. Он, стога, ΠΈΠ·Π°Π·ΠΈΠ²Π° АдорновС ΠΏΠΎΠ³Π»Π΅Π΄Π΅ који Бтравинског ΡΠ²Ρ€ΡΡ‚Π°Π²Π°Ρ˜Ρƒ Ρƒ Π½Π΅Ρ…ΡƒΠΌΠ°Π½Π΅ ΠΈ ΠΏΡ€ΠΈΠΌΠΈΡ‚ΠΈΠ²Π½Π΅, ΠΏΠΎΠΊΠ°Π·ΡƒΡ˜ΡƒΡ›ΠΈ умСсто Ρ‚ΠΎΠ³Π° Π΄Π° њСгова ΠΌΡƒΠ·ΠΈΠΊΠ° достиТС, Ρƒ ΠΈΡΡ‚ΠΎΡ€ΠΈΡ˜ΡΠΊΠΈ Π°Π΄Π΅ΠΊΠ²Π°Ρ‚Π½ΠΈΠΌ ΠΌΠΎΠ΄Π΅Ρ€Π½ΠΈΠΌ Ρ‚Π΅Ρ€ΠΌΠΈΠ½ΠΈΠΌΠ°, конститутивну рСфлСксивност људског ΠΎΡ‚Π΅Π»ΠΎΡ‚Π²ΠΎΡ€Π΅Π½ΠΎΠ³ ΡΡ‚Π°ΡšΠ°. Π ΡƒΠ±Ρ€ΠΈΠΊΠ° Varia ΠΎΠ²ΠΎΠΌ јС ΠΏΡ€ΠΈΠ»ΠΈΠΊΠΎΠΌ Π½Π΅ΡˆΡ‚ΠΎ ΡΠ°ΠΆΠ΅Ρ‚ΠΈΡ˜Π° – доноси Ρ‚Ρ€ΠΈ ΡΡ‚ΡƒΠ΄ΠΈΡ˜Π΅, Π°Π»ΠΈ су њима ΠΌΠ°Ρ€ΠΊΠΈΡ€Π°Π½Π° Ρ€Π°Π·Π»ΠΈΡ‡ΠΈΡ‚Π° ΠΏΠΎΡ™Π° ΠΌΡƒΠ·ΠΈΠΊΠΎΠ»ΠΎΡˆΠΊΠΈΡ… ΠΈΡΡ‚Ρ€Π°ΠΆΠΈΠ²Π°ΡšΠ°. Π‘ΠΎΡ˜Π°Π½Π° Π Π°Π΄ΠΎΠ²Π°Π½ΠΎΠ²ΠΈΡ› студиозно сС Π±Π°Π²ΠΈΠ»Π° ΠΏΡ€ΠΎΡƒΡ‡Π°Π²Π°ΡšΠ΅ΠΌ СкспрСсивних срСдстава Ρƒ Π΄Π΅Π»ΠΈΠΌΠ° Π·Π° глас српског ΠΊΠΎΠΌΠΏΠΎΠ·ΠΈΡ‚ΠΎΡ€Π° ΠˆΡƒΠ³Π° ΠœΠ°Ρ€ΠΊΠΎΠ²ΠΈΡ›Π°, Π°Π»ΠΈ ΠΈ ΠΏΠΈΡ‚Π°ΡšΠΈΠΌΠ° ΠΈΠ· Π΄ΠΎΠΌΠ΅Π½Π° односа ΠΊΠΎΠΌΠΏΠΎΠ·ΠΈΡ‚ΠΎΡ€Π° ΠΈ Π²ΠΎΠΊΠ°Π»Π½ΠΎΠ³ ΠΈΠ·Π²ΠΎΡ’Π°Ρ‡Π°. Π¦ΠΈΡ™ ΠΎΠ²ΠΎΠ³ ΠΏΠΎΠ΄ΡƒΡ…Π²Π°Ρ‚Π° Π±ΠΈΠΎ јС Π΄Π° ΠΏΡƒΡ‚Π΅ΠΌ Π°Π½Π°Π»ΠΈΠ·Π΅ ΠΎΠ΄Π°Π±Ρ€Π°Π½ΠΈΡ… ΠΊΠΎΠΌΠΏΠΎΠ·ΠΈΡ†ΠΈΡ˜Π° допринСсС ΠΎΡΠ²Π΅Ρ‚Ρ™Π°Π²Π°ΡšΡƒ ΠœΠ°Ρ€ΠΊΠΎΠ²ΠΈΡ›Π΅Π²ΠΎΠ³ Π΅ΠΊΠ»Π΅ΠΊΡ‚ΠΈΡ‡Π½ΠΎΠ³ стила, ΠΊΠ°ΠΎ ΠΈ Π΄Π° сС ΠΎΠ½ ΠΏΠΎΠ·ΠΈΡ†ΠΈΠΎΠ½ΠΈΡ€Π° Ρƒ ΠΌΠ΅Ρ’ΡƒΠ½Π°Ρ€ΠΎΠ΄Π½Π΅ ΠΊΡ€ΡƒΠ³ΠΎΠ²Π΅ стваралаца који сС гласом Π±Π°Π²Π΅ Π½Π° Π½Π΅Ρ‚Ρ€Π°Π΄ΠΈΡ†ΠΈΠΎΠ½Π°Π»Π½Π΅ Π½Π°Ρ‡ΠΈΠ½Π΅. Π˜ΡΡ‚Ρ€Π°ΠΆΠΈΠ²Π°ΡšΠ΅ ΠœΠ°Ρ€ΠΈΡ˜Π΅ Π”ΠΈΠ½ΠΎΠ² прСдстављСно ΠΎΠ²ΠΎΠΌ ΠΏΡ€ΠΈΠ»ΠΈΠΊΠΎΠΌ односи сС Π½Π° кинСстСтичкС гСстовС, односно тСлСснС ΠΏΠΎΠΊΡ€Π΅Ρ‚Π΅ ΠΈΠ·Π²ΠΎΡ’Π°Ρ‡Π° Ρ‚ΠΎΠΊΠΎΠΌ пСрформанса, Π° ΡƒΠΊΡ™ΡƒΡ‡ΡƒΡ˜ΡƒΡ›ΠΈ сопствСна ΠΏΠΈΡ˜Π°Π½ΠΈΡΡ‚ΠΈΡ‡ΠΊΠ° искуства, посСбну јС ΠΏΠ°ΠΆΡšΡƒ посвСтила Π‘Π΅Ρ‚ΠΎΠ²Π΅Π½ΠΎΠ²ΠΈΠΌ клавирским сонатама. ОбјашњСњС ΡƒΡ‚ΠΈΡ†Π°Ρ˜Π° ΠΊΠ°Ρ€Π°ΠΊΡ‚Π΅Ρ€Π° Ρ„ΠΈΠ·ΠΈΡ‡ΠΊΠΈΡ… ΠΏΠΎΠΊΡ€Π΅Ρ‚Π° Ρ‚Π΅Π»Π° Π½Π° ΠΌΡƒΠ·ΠΈΡ‡ΠΊΠΎ Π΄Π΅Π»ΠΎ ΡƒΠΊΡ™ΡƒΡ‡ΠΈΠ»ΠΎ јС осврт Π½Π° ΡΡ‚Π²Π°Ρ€Π°ΡšΠ΅ ΠΌΡƒΠ·ΠΈΡ‡ΠΊΠΎΠ³ Π΄Π΅Π»Π°, Π° с Π΄Ρ€ΡƒΠ³Π΅ странС ΠΈ Π½Π° ΡΠ΅Π½Π·Π°Ρ†ΠΈΡ˜Π΅ Ρ‚ΠΎΠΊΠΎΠΌ њСговог ΠΈΠ·Π²ΠΎΡ’Π΅ΡšΠ°, ΡˆΡ‚ΠΎ јС сугСрисало ΡˆΠΈΡ€ΠΈ Π·Π°ΠΊΡ™ΡƒΡ‡Π°ΠΊ ΠΎ посСбној ваТности Ρ€Π°Π·ΡƒΠΌΠ΅Π²Π°ΡšΠ° ’кинСтичкС Π΅Π½Π΅Ρ€Π³ΠΈΡ˜Π΅ музикС’. ПослСдњи Ρƒ ΠΎΠ²ΠΎΠΌ Π΄Π΅Π»Ρƒ часописа јС Ρ‡Π»Π°Π½Π°ΠΊ Π”ΠΈΠ½Π΅ Π’ΠΎΡ˜Π²ΠΎΠ΄ΠΈΡ› Николић, посвСћСн ΠΌΡƒΠ·ΠΈΡ‡ΠΊΠΈΠΌ ΠΊΡ€ΠΈΡ‚ΠΈΠΊΠ°ΠΌΠ° ΠŸΠ΅Ρ‚Ρ€Π° Π‘ΠΈΠ½Π³ΡƒΠ»Ρ†Π°, ΠΊΠ°ΠΎ посСбно Π²Π°ΠΆΠ½ΠΎΠΌ Π΄Π΅Π»Ρƒ њСговог доприноса ΡΡ€ΠΏΡΠΊΠΎΡ˜ ΠΊΡƒΠ»Ρ‚ΡƒΡ€Π½ΠΎΡ˜ ΠΈΡΡ‚ΠΎΡ€ΠΈΡ˜ΠΈ ΠΈ ΠΌΡƒΠ·ΠΈΠΊΠΎΠ»ΠΎΠ³ΠΈΡ˜ΠΈ. Анализирани су тСкстови ΠΏΡƒΠ±Π»ΠΈΠΊΠΎΠ²Π°Π½ΠΈ Ρƒ часопису Мисао, ΡƒΠΊΠ°Π·Π°Π½ΠΎ јС Π½Π° Π‘ΠΈΠ½Π³ΡƒΠ»Ρ‡Π΅Π² Π½Π°Ρ‡ΠΈΠ½ ΠΌΠΈΡˆΡ™Π΅ΡšΠ° ΠΈ ΠΌΠ΅Ρ‚ΠΎΠ΄ Ρ€Π°Π΄Π°, Π° ΠΊΠΎΠΌΠΏΠ°Ρ€Π°Ρ‚ΠΈΠ²Π½ΠΎΠΌ Π°Π½Π°Π»ΠΈΠ·ΠΎΠΌ с ΠΊΡ€ΠΈΡ‚ΠΈΠΊΠ°ΠΌΠ° Π΄Ρ€ΡƒΠ³ΠΈΡ… Π°ΡƒΡ‚ΠΎΡ€Π° Π΄Π°Ρ‚Π° јС основа Π·Π° њСгово ΠΏΠΎΠ·ΠΈΡ†ΠΈΠΎΠ½ΠΈΡ€Π°ΡšΠ΅ Ρƒ ΡΡ€ΠΏΡΠΊΠΎΡ˜ ΠΌΡƒΠ·ΠΈΡ‡ΠΊΠΎΡ˜ ΠΊΡ€ΠΈΡ‚ΠΈΡ†ΠΈ Ρƒ ΠΏΠ΅Ρ€ΠΈΠΎΠ΄Ρƒ ΠΈΠ·ΠΌΠ΅Ρ’Ρƒ Π΄Π²Π°Ρ˜Ρƒ свСтских Ρ€Π°Ρ‚ΠΎΠ²Π°, ΠΊΠ°Π΄Π° јС ΠΏΠΎΠΌΠ΅Π½ΡƒΡ‚ΠΈ часопис ΠΈΠ·Π»Π°Π·ΠΈΠΎ. ΠŸΡ€ΠΈΠ»ΠΎΠ·ΠΈ Ρƒ Ρ€ΡƒΠ±Ρ€ΠΈΡ†ΠΈ Научна ΠΊΡ€ΠΈΡ‚ΠΈΠΊΠ° ΠΈ ΠΏΠΎΠ»Π΅ΠΌΠΈΠΊΠ° односС сС Π½Π° Π½Π΅Π΄Π°Π²Π½ΠΎ ΠΎΠ΄Ρ€ΠΆΠ°Π½ Π½Π°ΡƒΡ‡Π½ΠΈ скуп ΠΈ Π½Π° Π·Π±ΠΎΡ€Π½ΠΈΠΊ Π·Π° који јС изостала Π΄ΡƒΠΆΠ½Π° паТња Π·Π±ΠΎΠ³ ΠΏΡƒΠ±Π»ΠΈΠΊΠΎΠ²Π°ΡšΠ° Ρ‚ΠΎΠΊΠΎΠΌ пандСмијС ΠΊΠΎΠ²ΠΈΠ΄Π°. ΠœΠ°Ρ€ΠΈΡ˜Π° Маглов ΠΏΡ€ΠΈΠΏΡ€Π΅ΠΌΠΈΠ»Π° јС ΠΊΡ€ΠΈΡ‚ΠΈΡ‡ΠΊΠΈ осврт Π½Π° ΠΌΠ΅Ρ’ΡƒΠ½Π°Ρ€ΠΎΠ΄Π½ΠΈ ΡΠΈΠΌΠΏΠΎΠ·ΠΈΡ˜ΡƒΠΌ посвСћСн Ρ€Π°Π½ΠΎΡ˜ Π΄ΠΈΡΠΊΠΎΠ³Ρ€Π°Ρ„ΡΠΊΠΎΡ˜ ΠΈΠ½Π΄ΡƒΡΡ‚Ρ€ΠΈΡ˜ΠΈ, Π°ΠΊΡ‚ΡƒΠ΅Π»Π½ΠΎΡ˜ Ρ‚Π΅ΠΌΠΈ Ρƒ контСксту ΡΡ‚ΡƒΠ΄ΠΈΡ˜Π° ΠΌΠ΅Π΄ΠΈΡ˜Π°Π»ΠΈΠ·Π°Ρ†ΠΈΡ˜Π΅ ΠΈ ΠΈΠ½Π΄ΡƒΡΡ‚Ρ€ΠΈΡ˜Π°Π»ΠΈΠ·Π°Ρ†ΠΈΡ˜Π΅ ΠΌΡƒΠ·ΠΈΠΊΠ΅, који су ΠΎΡ€Π³Π°Π½ΠΈΠ·ΠΎΠ²Π°Π»Π΅ хрватскС ΠΊΠΎΠ»Π΅Π³Π΅, ΠΌΠ°Ρ€Ρ‚Π° ΠΎΠ²Π΅ Π³ΠΎΠ΄ΠΈΠ½Π΅. Овај ΠΏΡ€ΠΈΠ»ΠΎΠ³ Π½Π°Ρ€ΠΎΡ‡ΠΈΡ‚ΠΎ јС Π²Π°ΠΆΠ°Π½, с ΠΎΠ±Π·ΠΈΡ€ΠΎΠΌ Π½Π° Ρ‚ΠΎ Π΄Π° сС Π½Π΅ ΠΎΡ‡Π΅ΠΊΡƒΡ˜Π΅ ΡƒΠΎΠ±ΠΈΡ‡Π°Ρ˜Π΅Π½ тСматски Π·Π±ΠΎΡ€Π½ΠΈΠΊ Ρ€Π°Π΄ΠΎΠ²Π° свих учСсника ΡΠΈΠΌΠΏΠΎΠ·ΠΈΡ˜ΡƒΠΌΠ°. Ни Π·Π±ΠΎΡ€Π½ΠΈΠΊ Rethinking Prokofiev, који јС прСдставио Милош Π‘Ρ€Π°Π»ΠΎΠ²ΠΈΡ›, нијС настао Π½Π° основу Π½Π°ΡƒΡ‡Π½ΠΎΠ³ скупа, Π²Π΅Ρ› јС Ρ€Π΅Π·ΡƒΠ»Ρ‚Π°Ρ‚ ΠΎΡ€ΠΈΠ³ΠΈΠ½Π°Π»Π½ΠΈΡ… архивских, Π°Π½Π°Π»ΠΈΡ‚ΠΈΡ‡ΠΊΠΈΡ…, односно ΠΈΠ·Π²ΠΎΡ’Π°Ρ‡ΠΊΠΎ-ΠΈΠ½Ρ‚Π΅Ρ€ΠΏΡ€Π΅Ρ‚Π°Ρ‚ΠΈΠ²Π½ΠΈΡ… ΠΈΡΡ‚Ρ€Π°ΠΆΠΈΠ²Π°ΡšΠ° опуса ΠΎΠ²ΠΎΠ³ ΠΊΠΎΠΌΠΏΠΎΠ·ΠΈΡ‚ΠΎΡ€Π°. Π Π΅Ρ‡ јС ΠΎ ΠΈΠ·Π΄Π°ΡšΡƒ Π½Π° којСм су Π°Π½Π³Π°ΠΆΠΎΠ²Π°Π½ΠΈ Π²ΠΎΠ΄Π΅Ρ›ΠΈ ΡΡ‚Ρ€ΡƒΡ‡ΡšΠ°Ρ†ΠΈ Ρƒ ΠΈΠ½Ρ‚Π΅Ρ€ΠΏΡ€Π΅Ρ‚Π°Ρ†ΠΈΡ˜ΠΈ ΠΎΡΡ‚Π²Π°Ρ€Π΅ΡšΠ° ΠŸΡ€ΠΎΠΊΠΎΡ„Ρ˜Π΅Π²Π°, ΠΎΠ΄ ΡƒΡ€Π΅Π΄Π½ΠΈΠΊΠ° Π΄ΠΎ Π°ΡƒΡ‚ΠΎΡ€Π°, Ρ‚Π΅ Π·Π°Π²Ρ€Π΅Ρ’ΡƒΡ˜Π΅ посСбну ΠΏΠ°ΠΆΡšΡƒ Π½Π°ΡƒΡ‡Π½Π΅ Ρ˜Π°Π²Π½ΠΎΡΡ‚ΠΈ. Π Π΅Π΄Π°ΠΊΡ†ΠΈΡ˜Π° часописа ΠœΡƒΠ·ΠΈΠΊΠΎΠ»ΠΎΠ³ΠΈΡ˜Π° срдачно Π·Π°Ρ…Π²Π°Ρ™ΡƒΡ˜Π΅ Π½Π° ΡΠ°Ρ€Π°Π΄ΡšΠΈ Π΄Ρ€ ΠšΠ°Ρ‚Π΅Ρ€ΠΈΠ½ΠΈ Π›Π΅Π²ΠΈΠ΄Ρƒ, Π΄ΠΎΡ†Π΅Π½Ρ‚Ρƒ Π½Π° ΠžΠ΄ΡΠ΅ΠΊΡƒ Π·Π° ΠΌΡƒΠ·ΠΈΡ‡ΠΊΠ΅ ΡΡ‚ΡƒΠ΄ΠΈΡ˜Π΅ Националног ΠΈ ΠšΠ°ΠΏΠΎΠ΄ΠΈΡΡ‚Ρ€ΠΈΡ˜Π°ΡΠΎΠ²ΠΎΠ³ ΡƒΠ½ΠΈΠ²Π΅Ρ€Π·ΠΈΡ‚Π΅Ρ‚Π° Ρƒ Атини, која јС ΠΎΠ²ΠΎΠΌ ΠΏΡ€ΠΈΠ»ΠΈΠΊΠΎΠΌ ΠΏΡ€Π΅ΡƒΠ·Π΅Π»Π° дуТност Π³ΠΎΡˆΡ›Π΅-ΡƒΡ€Π΅Π΄Π½ΠΈΡ†Π΅ Π·Π° Ρ€ΡƒΠ±Ρ€ΠΈΠΊΡƒ Π’Π΅ΠΌΠ° Π±Ρ€ΠΎΡ˜Π°. Π˜Π·ΡƒΠ·Π΅Ρ‚Π½Ρƒ захвалност ΠΈΠ·Ρ€Π°ΠΆΠ°Π²Π°ΠΌΠΎ свим ΠΊΠΎΠ»Π΅Π³Π°ΠΌΠ° којС су ΠΏΡ€ΠΈΡ…Π²Π°Ρ‚Π°Π»Π΅ посао Ρ€Π΅Ρ†Π΅Π½Π·Π΅Π½Π°Ρ‚Π° ΠΈ Π΄ΠΎΠΏΡ€ΠΈΠ½Π΅Π»Π΅ ΠΊΠ²Π°Π»ΠΈΡ‚Π΅Ρ‚Ρƒ ΠΏΡƒΠ±Π»ΠΈΠΊΠΎΠ²Π°Π½ΠΈΡ… ΡΡ‚ΡƒΠ΄ΠΈΡ˜Π°.The commemoration of the fiftieth anniversary of Igor Stravinsky’s death (1882–1971) remained in the shadows of the covid-19 pandemic, which caused the prolonged response of the scientific community in terms of new readings of the composer’s opus. The Main Theme in the new issue of Muzikologija-Musicology (No. 34) makes a contribution to this response with a series of studies dedicated to Stravinsky, originating from presentations at the Study Day organized in 2021 by the Department of Music Studies of the National and Kapodistrian University of Athens. The topics cover a wide range of issues relating to all three phases of Stravinsky’s creation (the Russian, the Neoclassical and the Serial), including questions of aesthetics, as well as the impact and reception of his work. Stamatis Zochios revisits the question of Stravinsky’s relationship with Russian folklore, by contextualising the composer’s output of the so-called β€œRussian” period with reference to the history of Russian folkloristics. Zochios concludes that Stravinsky followed in the footsteps of his nineteenth-century predecessors (Glinka and the Mighty Five) in drawing on folk sources for his compositions, yet unlike them, he did not make use of studies from his own time; hence, he did not delve into an extensive and in-depth survey of the existing sources of Russian folklore but, instead, relied on established sources and studies from the nineteenth century. Ivan Moody’s article sheds light on Stravinsky’s output with a focus on his religious works through the perspective of his acquaintance with Jacques Maritain’s philosophy, in the context of the philosophical ferment in Interwar France. Moody pays particular attention to Stravinsky’s interpretation of Maritain’s idea of homo faber, β€œman the maker”. At the same time, he does not ignore the composer’s Russian origins, concluding that the works under examination are equally grounded in Stravinsky’s Russian background and his experiences in the West. Katerina Levidou sheds new light on the Poetics of Music, specifically the question of Pierre Souvtchinsky’s contribution. Her examination moves beyond the obvious places to look, namely the fifth chapter (written by Souvtchinsky) and the well-known reference to Souvtchinsky’s ideas on music and time. The Poetics thus emerges as a most unexpected platform for the presentation and dissemination of positions associated with a certain strand of β€œEurasianism”, the Russian Γ©migrΓ© intellectual and political movement, with which Souvtchinsky was closely associated. Christoph Flamm focuses on Stravinsky’s late output and considers it from the perspective of expressiveness. Specifically, he highlights expressive, semantic and self-referential dimensions in the late compositions, which emerge there with particular clarity and partly contradict the usual assessments of this music as abstract and constructivist, but also challenge the composer’s own statements. With Edward Campbell’s article we remain in the post-War era, yet the focus shifts from Stravinsky’s work per se to the impact his output had on the Francophone post-war avant-garde, namely Pierre Boulez, Jean BarraquΓ©, Henri Pousseur and Michel Philippot. Campbell’s analysis brings to the surface the influence Stravinsky had on such composers on the level of rhythmic innovation, and the use of sonorities, harmonies, instrumental colour, musical form as well as pitch polarity. The last two articles approach Stravinsky’s work from the perspective of aesthetics, with reference specifically to the philosophy of Stravinsky’s contemporary, Helmuth Plessner. Iakovos Steinhauer discusses the meaning of corporeality and dance in Stravinsky’s work, moving beyond Stravinsky's historically-documented interest in ballet music. Stravinsky’s ballet music, as Steinhauer demonstrates, attains a β€œmediated immediacy”, thus maintaining a distance from subjective expression, without, however, becoming abstract. Finally, Markos Tsetsos offers a new critique of Adorno’s criticism of Stravinsky with reference to Plessner’s philosophical anthropology. He, therefore, challenges Adorno’s view that Stravinsky regresses to the inhuman and primitive, demonstrating, instead, that his music affirms, in historically adequate modern terms, the constitutive reflectivity of the human embodied condition. On this occasion, the Varia section is more concise, to balance out the breadth of the Main Theme. It contains three studies that map out three different fields of musicological research. Bojana RadovanoviΔ‡ has studiously examined the expressive means in the works for the voice of the Serbian composer Jug MarkoviΔ‡, including the questions from the domain of the relationship between the composer and the vocal performer. By analysing Marković’s selected works, she aims to illuminate his eclectic style and situate him in the international circles of composers who deal with the voice in non-traditional ways. Marija Dinov’s research presented in this issue deals with kinesthetic gestures, i.e. bodily movements of pianists (including herself) during performances, focusing on the performances of Beethoven’s piano sonatas. The explanation of the influence of physical movements on the musical work includes an overview of the creation of the musical work, and, on the other hand, of the sensations during its performance, which leads to a broader conclusion about the special importance of understanding the β€œkinetic energy of music”. The last article in this section of the journal is Dina VojvodiΔ‡ Nikolić’s article dedicated to Petar Bingulac’s music criticism, as a particularly important segment of his contribution to Serbian cultural history and musicology. The author analyses Bingulac’s texts published in the journal Misao [Thought] and points to Bingulac’s way of thinking and methods of work, whilst also providing a comparative analysis with the music reviews of other contemporary critics and thus situating Bingulac’s writings within Serbian music criticism from the interwar period, when the journal Misao was published. Contributions in the section Scientific criticism and polemics refer to the recently held conference and to the collection which has hitherto attracted insufficient attention due to its publication during the covid-19 pandemic. Marija Maglov has prepared a review of the international symposium dedicated to the early recording industry, a current topic in the context of studies of medialisation and industrialisation of music, which was organized by Croatian colleagues in March 2023; this contribution is particularly important considering that the publication of the proceedings of the symposium is not expected. The collection Rethinking Prokofiev, reviewed by MiloΕ‘ BraloviΔ‡, did not result from a scientific conference either; it is the outcome of original archival, analytical, and performance-interpretive research of Sergei Prokofiev’s oeuvre. This collection has gathered together leading experts on Prokofiev’s works, from the editors to the authors, and it deserves special attention from the scientific community. The Editorial Board of the journal Muzikologija-Musicology would like to thank Dr Katerina Levidou, Assistant Professor at the Department of Music Studies of the National and Kapodistrian University of Athens, who served as Guest Editor of the Main Theme. We are very grateful to all colleagues who accepted the roles of peer reviewers and contributed to the quality of published studies

    An American Knightmare: Joker, Fandom, and Malicious Movie Meaning-Making

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    This monograph concerns the long-standing communication problem of how individuals can identify and resist the influence of unethical public speakers. Scholarship on the issue of what Socrates & Plato called the β€œEvil Lover” – i.e., the ill-intended rhetor – began with the Greek philosophers, but has carried into [post]Modern anxieties. For instance, the study of Nazi propaganda machines, and the rhetoric of Hitler himself, rejuvenated interest in the study of speech and communication in the U.S. and Europe. Whereas unscrupulous sophists used lectures and legal forums, and Hitler used a microphone, contemporary Evil Lovers primarily draw on new, internet-related tools to share their malicious influence. These new tools of influence are both more far-reaching and more subtle than the traditional practices of listening to a designated speaker appearing at an overtly political event. Rhetorician Ashley Hinck has recently noted the ways that popular culture – communication about texts which are commonly accessible and shared – are now significant sites through which citizens learn moral and political values. Accordingly, the talk of internet influencers who interpret popular texts for other fans has the potential to constitute strong persuasive power regarding ethics and civic responsibility. The present work identifies and responds to a particular case example of popular culture text that has been recently, and frequently, leveraged in moral and civic discourses: Todd Phillips’ Joker. Specifically, this study takes a hermeneutic approach to understanding responses, especially those explicitly invoking political ideology, to Joker as a method of examining civic meaning-making. A special emphasis is placed on the online film criticisms of Joker from white nationalist movie fans, who clearly exemplify ways that media responses can be leveraged by unethical speakers (i.e., Evil Lovers) and subtly diffused. The study conveys that these racist movie fans can embed values related to β€œtrolling,” incelism, and xenophobia into otherwise seemingly innocuous talk about film. While the sharing of such speech does not immediately mean its positive reception, this kind of communication yet constitutes a new and understudied attack on democratic values such as justice and equity. The case of white nationalist movie fan film criticism therefore reflects a particular brand of communicative strategy for contemporary Evil Lovers in communicating unethical messages under the covert guise of mundane movie talk
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