4,553 research outputs found

    Harbingers of A New Age: Irish and Scots Irish Indian Fighters on the Colonial American Frontier

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    Through the examination of various points of Irish and Scots Irish settlement in the New World, a previously underrepresented portion of American history emerges to tell the story of a hearty and industrious people who literally went out into the wilderness and settled their own communities. Through their hard work and enterprising nature, they were able to not only survive in the face of extreme adversity on the frontier, but they preserved their culture for generations and contributed to the cultural, political, military, religious, and environmental influences that shaped the New World and the American nation. Their martial prowess and military ingenuity enabled them to survive through frontier warfare, and to emerge as highly valued soldiers in North America. In doing so, they created an identity that has come to be known as uniquely American. Through an understanding of the history of the Irish history and the evolution of Irish Indian Fighters in the New World, a unique perspective of American history comes to light

    Panacea or producer? Analysing the relationship between international Law and disaster risk

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    This thesis seeks to critically analyse the relationship between international law and disaster risk. Despite the increasing global threat that disasters present, international law’s engagement with their prevention remains at a relatively nascent stage compared to the development of other areas of the law. However, the progress that has been made since the United Nation’s International Decade for Natural Disaster Reduction in the 1990s suggests that international law is widely viewed as a valuable tool in addressing the issue and reducing the risk of disasters. In contrast to this, however, relatively little attention has been paid to the ways that international law itself may also play a role in the creation of disaster risk. It is here that the project makes an important and original contribution, by interrogating this presupposition and analysing the ways that international law itself may be culpable in the creation and exacerbation of risk. Through a novel, compound theoretical lens combining Marxist and Third World approaches to international law and insights from disaster theory, the thesis highlights the longstanding complicity of international law in the production of disaster risk. The thesis draws on understandings of disasters as processes that reach back through time, and thus begins its analysis with an examination of the early history of international law and the role of its colonial doctrines in the historic construction of vulnerability and hazards. It then turns to modern international law, particularly within the realm of international economic law, to examine the continuing legacies of these early developments and the ongoing role of international law in disaster risk creation. Overall, the thesis offers an original contribution to conversations on the connection between international law and disaster risk. Rather than focusing only on the positive role that international law can have in the reduction of disaster risk found in the majority of the literature, it seeks to highlight more pathological aspects of the relationship between the two and the implications of this. It ultimately concludes that unless the burgeoning field of international disaster law engages more with such critical accounts of international law and their understandings of the harm the law produces, then it will remain blind to a major source of disaster risk creation and be unsuccessful in achieving its normative aims

    Law\u27s Legitimacy: Lon Fuller in a Consequentialist Frame

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    This thesis argues that Lon Fuller’s approach to jurisprudence offers more important support to the rule of law than has been generally recognized. It argues further that a consequentialist lens allows clearer views of Fuller’s strengths in this regard, despite Fuller’s own resistance to consequentialism and despite consequentialism’s blindness to some of Fuller’s depth and texture. This thesis supplies a formula, although one intended only as a guide to thinking, not for actual computation, to drive judicial decision-making. The inputs into this formula are six values widely shared in the United States, modified by case-by-case salience. Kantian deontology strongly influences at least one such value. The thesis defends this unusual pluralistic version of consequentialism. It hopes to encourage jurists to find common ground based on those values, values themselves deeply rooted in American culture, and in so doing, may strengthen the legitimacy of American law and legal institutions. It also gleans from Fuller’s work a sense of his likely metaethics, whose modesty offers an illuminating symmetry with his jurisprudence, especially in comparison with the metaethics and jurisprudence of his two principal rivals, H.L.A. Hart and Ronald Dworkin. Finally, it argues that American law would do well to adopt his approach to the interpretation of legal documents

    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

    'The Disbandment of the Southern Irish Regiments - 1922'

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    The disbandment of the Southern Irish Regiments of the British army occurred in July 1922 due to the creation of the Irish Free State and the effects of the so-called β€˜Geddes Axe’ on the British army. Special arrangements meant that officers and men who wished to continue their service in the British army were able to transfer to other regiments and there were very few compulsory redundancies. This saw limited public concern about these regiments. The preservation of those regiments associated with Northern Ireland was, however, the subject of extensive lobbying and James Craig, the first Prime Minister of Northern Ireland, showed considerable ability in negotiations which ensured the survival of the Royal Inniskilling Fusiliers and Royal Irish Fusiliers

    β€œMUSICA FATTA SPIRITUALE”: AQUILINO COPPINI, CLAUDIO MONTEVERDI, AND MADRIGAL CONTRAFACTS IN EARLY SEVENTEENTH-CENTURY MILAN

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    Between 1607 and 1609, the Milanese professor of rhetoric, Aquilino Coppini (d. 1629), published three volumes of spiritual contrafacts, mostly of madrigals by Claudio Monteverdi (1567–1643). Musicologists have already noted some of the ingenuities of Coppini’s close readings of Monteverdi’s music, but have treated them as an interesting yet inconsequential footnote. My dissertation offers a necessary reappraisal of Coppini’s approach to contrafacts both by contextualizing his project within post-Tridentine spiritualities in Milan under its new archbishop, Cardinal Federico Borromeo, and by reading his texts and their musical consequences far more carefully than has hitherto been the case. Informed by archival research and interdisciplinary approaches to music, literature, art, and religious studies, my close reading of these works demonstrates new intertextualities that connect a network of Humanists linked by a highly elaborate form of Milanese syncretism joining the sacred and the secular. Coppini’s contrafacts place Monteverdi’s music within a Milanese constellation of texts (musical, artistic, and literary) that sought to confront the rapidly changing world of the early seventeenth century. I argue that they provide a first-hand account of how Monteverdi’s madrigals were heard by reading them through the lens of Coppini’s rhetorical and poetic practices based on his own syncretic sense of religious affectivity. He catered both to secular audiences and to those in religious institutions, not least convents. It also becomes clear that Coppini must reconstruct texts that Monteverdi first deconstructed, which requires attention to musical rhetoric and not just oratory, prompting new analytical readings of the original madrigals themselves. My approach challenges the typical narratives of β€œCounter Reformation” contrafacts as didactic instruments of power to create a more nuanced view of works that served not just Coppini’s personal and professional needs, but also broader communities seeking new ways to perform their spiritual lives.Doctor of Philosoph

    Accustomed to Obedience?

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    Many histories of Ancient Greece center their stories on Athens, but what would that history look like if they didn’t? There is another way to tell this story, one that situates Greek history in terms of the relationships between smaller Greek cities and in contact with the wider Mediterranean. In this book, author Joshua P. Nudell offers a new history of the period from the Persian wars to wars that followed the death of Alexander the Great, from the perspective of Ionia. While recent scholarship has increasingly treated Greece through the lenses of regional, polis, and local interaction, there has not yet been a dedicated study of Classical Ionia. This book fills this clear gap in the literature while offering Ionia as a prism through which to better understand Classical Greece. This book offers a clear and accessible narrative of the period between the Persian Wars and the wars of the early Hellenistic period, two nominal liberations of the region. The volume complements existing histories of Classical Greece. Close inspection reveals that the Ionians were active partners in the imperial endeavor, even as imperial competition constrained local decision-making and exacerbated local and regional tensions. At the same time, the book offers interventions on critical issues related to Ionia such as the Athenian conquest of Samos, rhetoric about the freedom of the Greeks, the relationship between Ionian temple construction and economic activity, the status of the Panionion, Ionian poleis and their relationship with local communities beyond the circle of the dodecapolis, and the importance of historical memory to our understanding of ancient Greece. The result is a picture of an Aegean world that is more complex and less beholden narratives that give primacy to the imperial actors at the expense of local developments

    Ableism and Exclusion: Challenging Academic Cultural Norms in Research Communication

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    Academic institutions are abelist. This, however, does not have to be the case. How do individuals involved in research management address this culture? In the context of the drastic changes in Higher Education since the 1990s, and an increasing emphasis on equality and inclusion, initiatives such as Athena Swan and the Race Equality Charter have led to more awareness of exclusionary practices. However, statistics on disability highlight serious issues in relation to disclosure rates for staff and staff report being stigmatised and their career choices undermined or invalidated. This can be particularly true for those who research into or around ableism. In this environment how can research managers raise awareness and empower all academics to ask for and gain adjustments to support their work? How has the Covid-19 pandemic and the impact on higher education institutions and their finances affected this issue? In this paper we consider some of the challenges of conducting research on ableism in academia and what it can tell us. We then discuss the changes that can be made to research management that would help address and challenge the ableist academic culture. This would be achieved through raising expectations, placing inclusivity and accessibility at the heart of research communication and encouraging, equipping and challenging the academic community to embed these practices in the dissemination of their research
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