8,368 research outputs found

    ‘Un-boarding’ the window trom faca mi an àird an Iar/ through which I saw the West: Excavating the practices of Anne Campbell, Marnie Keltie, Moira MacLean, Mary Morrison and Ishbel Murray

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    This thesis provides a close examination of artists’ Anne Campbell, Marnie Keltie, Moira MacLean, Mary Morrison and Ishbel Murray’s work and practices from 2000-2022. Prior to this study, the artists in question were unresearched in academia. The paper’s urge to highlight the artists’ practice derives from their timely engagement with decolonisation. To best understand the decolonising processes in the artists’ work, the paper proposes looking at them through a metaphorical lens: comparing the way the artists uncover stories from history to ‘un-boarding’ Sorley MacLean’s boarded house gazing West (as described in MacLean’s poem Hallaig from 1954). Then, the decolonising strategies deployed by each artist are unpacked through a postcolonial, loosely Bhabhanian, lens. The fruitful results of this application show the benefit of applying postcolonial theory to (disputedly) internal colonies and fringe nations. The decolonising themes dealt with include discussions of (re)writing history, establishing the effects of Colonial Alienation, utilising mapping to discuss land issues in relation to Imperial intervention, reasserting the credibility of indigenous methods (both scientific and historical) and regaining indigenous autonomy. This paper looks at how the ‘un-boarding’ artists deconstruct representations of the Gael, representations which had roots in art made amidst the greatest Imperial intervention in the Gàidhealtachd – the Clearances of the 1800s. Critically, the paper also looks at how the artists went on to make radically hybrid, new representations of the Gàidhealtachd and its inhabitants - employing progressive temporal and spatial tools to do so

    Effects of artificial sweeteners on antioxidant enzymes and physiological parameters in Triticum aestivum (Poaceae)

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    Due to increased consumption, artificial sweeteners are often present in the environment but their effects on plants are largly unknown. In this research, the effects of four artificial sweeteners on plant stress markers in Triticum aestivum L. were investigated. Wheat seedlings were grown from seeds in soil containing artificial sweeteners (saccharin, sodium cyclamate, sucralose, aspartame) in different concentrations (0, 25, 50, 100 mg kg-1). Plants were irrigated at regular intervals to maintain field capacity moisture and harvested after 15 days of growth. Electrolyte leakage, chlorophyll and carotenoid content, and antioxidant enzyme (superoxide dismutase, peroxidase, catalase) activities were determined in harvested leaves. Comparisons between control samples and test samples were statistically evaluated at a 95% confidence interval to determine significant differences. Overall, significant increases in chlorophyll and carotenoid content, and some antioxidant enzyme activities were observed in wheat plants exposed to artificial sweeteners in the soil. A significant increase in electrolyte leakage was observed with saccharin and aspartame treatment, indicating that these sweeteners can cause membrane damage in wheat. Chlorophyll a nd POX activity were the most sensitive stress parameters in wheat. This study showed the importance of evaluating the potential impact of anthropogenic pollutants that may be present in treated wastewater and consequently affect plants

    “What will become of my work?”: Genius, Gender, and Legacy in the Life of Clara Wieck/Schumann

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    Clara Wieck/Schumann (1819 – 1896) was a musician living in an era increasingly concerned with posterity and canon formation, yet she believed that as a performer, she was destined for posthumous obscurity. On this matter, she clearly misjudged her historical significance. More than 125 years after her death, Wieck/Schumann is still remembered as a child prodigy whose father trained her to become one of the greatest pianists of the day and whose dedication to the highest artistic ideals was matched only by her unconditional devotion to her husband and children. Wieck/Schumann’s artistic accomplishments as an individual—her remarkable success as a virtuosa and her significant compositional output—are frequently juxtaposed with her roles as a mother of eight and the romantic(ized) partner to fellow composer Robert Schumann. The seeming incongruity of her public and private lives has also lent a certain ambiguity and openness in biographical treatments. As such, Wieck/Schumann has been a canvas upon which writers could project contradictory dogmatic images: eternally faithful and adulterous wife, selfless and neglectful mother, humble and glamorous performer, contentedly domestic and artistically stifled.Through close reading of archival material (diaries and correspondence of Wieck/Schumann and her closest associates) and secondary sources (biographies, historical news and entertainment media, and music analyses), this dissertation traces the origins and evolutions of Wieck/Schumann’s legacies through the dual lenses of gender and genius. This project presents a historiographic study of prescriptive ideologies in Wieck/Schumann biographies with attention to shifts in genre conventions and feminist ideas, engages in psychobiographic analysis of her attitudes toward and justification of her own creativity as a function of her personal relationships, investigates how her image was used in Nazi propaganda with consequent backlash, and culminates in critical consideration of the limitations of biography as a tool to analyze her compositions. Taken together, these components demonstrate the (potentially dangerous) cultural power of biography to perpetuate narratives of gender values and genius with direct implications for the musical and cultural reception of creative women like Wieck/Schumann

    All Things New: An Analysis of Alfred Gaul’s “A New Heaven and a New Earth”

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    These program notes originally accompanied the performance of a vocal piece, “A New Heaven and a New Earth” by English composer Alfred Robert Gaul. The notes provide a brief overview of the historical context of Gaul’s work as well as an examination of classification difficulties that arise when dealing with sacred works of the mid-to-late nineteenth century. They further detail the unique challenges that are inherent in presenting an underperformed musical work. As part of a performing arts research project, these program notes also address the methods of expression and creative process that went into preparing the performance of this vocal selection. The objectives of this research project were to 1) give performers guidance in the performance process for underperformed works, and 2) to provide a concise musicological background of Alfred Gaul’s sacred work, The Holy City. This research project utilized a variety of research techniques to achieve the above objectives, including experience and historical-based research methods drawn from the field of artistic practice

    Health Risk of Food Additives: Recent Developments and Trends in the Food Sector

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    Certain chemical substances have been recognized and used for centuries through different cultures and civilizations either to enhance or preserve flavor, freshness, appearance, taste, texture or keeping quality attributes of foods. Many of these substances are of little or no nutritive value, but are added in small quantities during food processing, seasoning, packaging, storage, or display of both human and animal foods for a specific desired effect. Food additives provide an opportunity to feed the world through sustaining availability of convenient nutritious and affordable food for human consumption, while also providing an avenue to minimize food loss and waste. Sustained research innovations and advancement in food technology that began in the 20th century have led to introduction of over 3000 natural and artificially made substances that are added to food during preparation or processing to impart specific desirable characteristics. However, although use of food additives has contributed to the rapid growth of the food industry, this has also brought other unwanted health consequences that are of public health concern. This chapter explores the important role of food additives in the food industry, recent developments and trends and in the food sector to uncover some health risks associated with certain food additives to promote safe use and minimize negative health consequences

    “Geniuses really are losers who try harder”

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    Introduction The genius of Ralph Steadman can be found in the more than 50 books he’s written or illustrated (or both written and illustrated), in his famous partnership with Hunter Thompson and their co-creation of Gonzo journalism—the two not just covering a story but becoming it Steadman’s creative brilliance shines in the lyrics he wrote for Richard Harvey's oratorio Plague and the Moonflower [Enjoy the choral movement here https://www.youtube.com/watch?v=gIQJiPlklyk], in the songs he’s w..

    The Crossroads We Make: Intergenerational Trauma and Reparative Reading in Recent Asian American Memoirs (2018-2022)

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    This project extends reparative reading practices to recent Asian American memoirs, specifically trauma memoirs from the past five years (2018-2022) that detail personal trauma and communal, intergenerational trauma. Reparative reading is explored within five memoirs: Stephanie Foo’s What My Bones Know (2022), Esmé Weijun Wang’s The Collected Schizophrenias (2019), Phuc Tran’s Sigh, Gone (2020), Cathy Park Hong’s Minor Feelings (2020), and Nicole Chung’s All You Can Ever Know (2018). In considering the reparative turn in Asian American memoirs, this thesis draws on and extends Eve Kosofsky Sedgwick’s reparative frameworks and bell hooks’ theories on pedagogy and love. A critical analysis of self-writings through pre-existing reparative reading models alongside traditional Asian American scholarship on racial melancholia resists the monopolistic dominance of overwhelming negative affects (such as shame, guilt, and anger) that saturate Asian American lives and life-writing. Instead, this alternative interpretative practice exposes how authors seek love, pleasure, and positivity within their texts and within their own lives, while also exploring the methods through which the memoirists themselves embody the reparative in writing and self-analysis. Thus, shaping the reparative turn for Asian America illuminates the productive ways reshaped methods of writing and criticism, and its resultant ethics of living, can push back against lived racial oppression and pain as well as decades of cultural erasure and intergenerational trauma. This varied engagement with love-based and reparative frameworks allows Asian American authors to begin healing from trauma, and this is evidenced through non-traditional psychiatric healing methods, literary methods, and strategies of communal formation

    Музикологија / Musicology (34 I/2023)

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    Обележавање пола века од када је преминуо Игор Стравински (1882–1971) протекло је у сенци пандемије ковида, па се научно разматрање подстакнуто том годишњицом продужило. Тако се њему придружује и Главна тема у новом броју Музикологије (34), с низом студија посвећених Стравинском, које потичу из излагања на Студијском дану организованом 2021. године на Одсеку за музичке студије Националног и Каподистријасовог универзитета у Атини. Заступљене теме покривају широк спектар проблематике у вези са свим трима фазама стваралаштва Стравинског (руска, неокласична и серијална), укључујући при томе и питања естетике, као и утицаја и рецепције његовог дела. Стаматис Зохиос изнова отвара питање везе Стравинског с руским фолклором, контекстуализујући дела овог композитора из такозваног „руског” периода с референцама на историјат руске фолклористике. Зохиос закључује да је Стравински пратио пут својих претходника из 19. века (Глинка и Петорица) у употреби фолклорних извора за своје композиције, али, за разлику од њих, није користио студије настајале у његовом времену; стога, није се упустио у екстензивну и дубинску претрагу постојећих извора о руском фолклору, већ се уместо тога ослањао на проверене изворе и студије из 19. века. Чланак Ивана Мудија осветљава део стваралаштва Стравинског с фокусом на његова духовна дела из перспективе његовог познавања филозофије Жака Маритена, а у контексту филозофских потреса у међуратној Француској. Муди обраћа посебну пажњу на то како Стравински интерпретира Маритенову идеју homo faber-a, „човека-творца”. Истовремено, он не занемарује композиторово руско порекло, закључујући да су дела која су овде сагледавана једнако утемељена у руском пореклу Стравинског као и у његовим искуствима на Западу. Катерина Левиду даје нови поглед на Поетику музике, а нарочито на питање доприноса Пјера Сувчинског овом подухвату. Њено истраживање креће се изван очекиваних места за посматрање, односно изван петог поглавља (које је написао Сувчински) и добро познате референце ка идејама Сувчинског о музици и времену. На тај начин ће Поетика интригантно постати најмање очекивана платформа за презентацију и дисеминацију позиција повезаних с одређеним нитима „евроазијства”, руског емигрантског интелектуалног и политичког покрета, с којим је Сувчински био близак. Кристоф Флам фокусирао се на касно стваралаштво Стравинског и разматрао га из перспективе експресивности. Конкретно, овај аутор је истакао експресивне, семантичке и самореференцијалне димензије у касним делима, које се у њима појављују с нарочитом јасноћом и делимично противрече уобичајеним оценама ове музике као апстрактне и конструктивистичке, а такође изазивају и композиторове личне изјаве. С чланком Едварда Кембела остајемо у послератном добу, али се фокус помера с дела Стравинског по себи на утицај његовог рада на франкофону послератну авангарду, односно на Пјера Булеза, Жана Барака, Анрија Пусера и Мишела Филипоа. Кембелова анализа извлачи на површину утицај који је Стравински имао на ове композиторе на нивоима ритмичке иновације, употребе звучности, хармонија, инструменталне боје, музичке форме, као и поларитета висине тона. Последња два чланка прилазе раду Стравинског из перспективе естетике, с референцама ка филозофији његовог савременика, Хелмута Плеснера. Јаковос Штајнхауер расправља о значењу телесности и плеса у стваралаштву Стравинског, одлазећи изван историјски документованог интересовања овог композитора за балетску музику. Балетска музика Стравинског, како Штајнхауер показује, постиже стање „посредоване непосредности”, одржавајући тако дистанцу у односу на субјективни израз, без којег, пак, постаје апстрактна. Коначно, Маркос Цецос нуди нову критику Адорнове критике Стравинског, реферирајући на Плеснерову филозофску антропологију. Он, стога, изазива Адорнове погледе који Стравинског сврставају у нехумане и примитивне, показујући уместо тога да његова музика достиже, у историјски адекватним модерним терминима, конститутивну рефлексивност људског отелотвореног стања. Рубрика Varia овом је приликом нешто сажетија – доноси три студије, али су њима маркирана различита поља музиколошких истраживања. Бојана Радовановић студиозно се бавила проучавањем експресивних средстава у делима за глас српског композитора Југа Марковића, али и питањима из домена односа композитора и вокалног извођача. Циљ овог подухвата био је да путем анализе одабраних композиција допринесе осветљавању Марковићевог еклектичног стила, као и да се он позиционира у међународне кругове стваралаца који се гласом баве на нетрадиционалне начине. Истраживање Марије Динов представљено овом приликом односи се на кинестетичке гестове, односно телесне покрете извођача током перформанса, а укључујући сопствена пијанистичка искуства, посебну је пажњу посветила Бетовеновим клавирским сонатама. Објашњење утицаја карактера физичких покрета тела на музичко дело укључило је осврт на стварање музичког дела, а с друге стране и на сензације током његовог извођења, што је сугерисало шири закључак о посебној важности разумевања ’кинетичке енергије музике’. Последњи у овом делу часописа је чланак Дине Војводић Николић, посвећен музичким критикама Петра Бингулца, као посебно важном делу његовог доприноса српској културној историји и музикологији. Анализирани су текстови публиковани у часопису Мисао, указано је на Бингулчев начин мишљења и метод рада, а компаративном анализом с критикама других аутора дата је основа за његово позиционирање у српској музичкој критици у периоду између двају светских ратова, када је поменути часопис излазио. Прилози у рубрици Научна критика и полемика односе се на недавно одржан научни скуп и на зборник за који је изостала дужна пажња због публиковања током пандемије ковида. Марија Маглов припремила је критички осврт на међународни симпозијум посвећен раној дискографској индустрији, актуелној теми у контексту студија медијализације и индустријализације музике, који су организовале хрватске колеге, марта ове године. Овај прилог нарочито је важан, с обзиром на то да се не очекује уобичајен тематски зборник радова свих учесника симпозијума. Ни зборник Rethinking Prokofiev, који је представио Милош Браловић, није настао на основу научног скупа, већ је резултат оригиналних архивских, аналитичких, односно извођачко-интерпретативних истраживања опуса овог композитора. Реч је о издању на којем су ангажовани водећи стручњаци у интерпретацији остварења Прокофјева, од уредника до аутора, те завређује посебну пажњу научне јавности. Редакција часописа Музикологија срдачно захваљује на сарадњи др Катерини Левиду, доценту на Одсеку за музичке студије Националног и Каподистријасовог универзитета у Атини, која је овом приликом преузела дужност гошће-уреднице за рубрику Тема броја. Изузетну захвалност изражавамо свим колегама које су прихватале посао рецензената и допринеле квалитету публикованих студија.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 “Russian” 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, “man 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 “Eurasianism”, the Russian émigré 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 Barraqué, 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 “mediated 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 Radovanović has studiously examined the expressive means in the works for the voice of the Serbian composer Jug Marković, 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 “kinetic energy of music”. The last article in this section of the journal is Dina Vojvodić 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 Miloš Bralović, 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

    Of Mamak stalls and Malaysian weather: Sinitic languages and identity in Ah Niu (阿牛)’s sinophone Malaysian pop music

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    Malaysia is home to a sizeable ethnic Chinese community that speaks several Sinitic languages. As such, it is not only an importer of Sinophone culture, but also an important site of Sinitic-language cultural production. In the field of popular music, Malaysia has been a hotbed of many transnational Sinophone talents whose Malaysianness, however, has often gone unnoticed. Nevertheless, some international artists such as Ah Niu have consistently showcased their Malaysian identity. Through a close reading of his songs, I aim to show how the use of Sinitic languages conveys Malaysianness and presents local features, thus challenging the opinion that only culture expressed in Bahasa Malaysia has the right to be considered as having national value. Moreover, I demonstrate that the use of Sinitic languages in Ah Niu’s musical production is an example of how such languages can express a thriving local identity that goes beyond Chineseness and the center-periphery dynamics

    Vol. 56 No. 1 - Whole No. 388

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    Mythprint is the monthly bulletin of the Mythopoeic Society, a nonprofit educational organization devoted to the study, discussion, and enjoyment of myth and fantasy literature, especially the works of J.R.R. Tolkien, C.S. Lewis, and Charles Williams. To promote these interests, the Society publishes three magazines, maintains a World Wide Web site, and sponsors the annual Mythopoeic Conference and awards for fiction and scholarship, as well as local and written discussion groups
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