Мрежа од малечки приказни, феминистички лов во постбиолошкиот пејзаж
Review of: Donna J. Harraway, Towards Modest_Witness@Second_Millenium. Femaleman Meets Oncomouse: Feminism and Technoscience, New York, London: Routledge, 1997.
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Review of: Donna J. Harraway, Towards Modest_Witness@Second_Millenium. Femaleman Meets Oncomouse: Feminism and Technoscience, New York, London: Routledge, 1997.
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Review of: Маја Бојаџиевска, Андрогинот-утопија на совршениот пол, Скопје: Сигмапрес, 1999
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The aim of the article Different faces of old age as perceived by the students of Polish studies is to present how old teachers perceive old age. The exemplification material consists of three texts: Winter tale. An essay on the old age of Ryszard Przybylski, “The Old Man’s Route”. An attempt at old age politics by Tadeusz Sławek and Lala Jacek Dehnel. Hermeneutical reading allowed for the creation of several images of autumn of life: a painful, marked by suffering attempts to overcome and suffering in a creative act; old age as a possibility of a deeper look at the spiritual dimension of human existence and old age reconciled with the laws of transiting the events immersed in the act of memorization.
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The paper argues that the contemporary model of musical education, as we know it to- day, has been shaped over a long process conditioned by the general reception of music as a form of art on the one hand, and on the other remaining in direct relation with various pedagogical concepts. The article, as an attempt to highlight the most influential trends af- fecting the model of musical education throughout the ages, demonstrates how the role of music in human life was interpreted in Ancient, Medieval and Modern periods. The author presents opinions on music and education as articulated by philosophers, pedagogues, psy- chologists, but also music theorists and composers. Finally, the paper critically discusses contemporary questions that arise in reflections on musical education pertaining to its es- sence but also its purposes, methodology, etc.
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Martin Straus (1946-2019) was one of the music educators of the last decades who at- tracted attention beyond Luxembourg with his new creative and innovative ideas. His work “Music – Playing with Sound” which was developed in cooperation with a teacher and a sec- ond teacher, is based on a parameter concept, in which the six musical parameters – tone color, form, rhythm, dynamics, melody and harmony – are connected to the six activities of singing, playing, moving, composing, listening, recording/understanding so that it results in 36 points of contact for didactic-methodical considerations. The visual symbol is the “Klangmännchen” (“little sound man”), a cephalopod figure, which, much as a soap bub- ble, you can see, but which you cannot hear. From this elementary direction of thinking, the “Luxembourg Model” works well for both non-specialist teachers in the elementary field and for advanced music lessons in general education schools. The first scientific stud- ies have shown that it is also of practical use in special needs education programs. The concept “Music – Playing with Sound” is suitable for multi-perspective lessons using ex- amples of music from the past and the present as well as for pedagogical challenges in the areas of inclusion and integration.
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The article is based on the interaction of two genres, namely travel notes, including the author’s impressions of a trip to the German cities of Halle, Bad-Lauchstedt and Bernburg, as well as reviews of modern productions of Baroque operas. Halle is famous as the birth- place of the outstanding composer Georg Friedrich Handel (1685-1759). The international Handel music festival is held here every year, which also includes an international scien- tific Symposium dedicated to the study of the great Saxon and his contemporaries. The concept of this year’s Symposium, “Sensitive, heroic, sublime: Handel’s women”, was to study the female images embodied in his operas. The authors traveled to Halle as journal- ists to describe their impressions of both the trip and the contemporary productions of Handel’s stage works. But in considering the history and cultural events of this city, we were able to go beyond ordinary observations into the sphere of scientific generalizations and come to the conclusion that the directors’ understanding of these operas through the in- tegration of musical drama with related arts was unusually expanded. To study this phe- nomenon, we turned to the scientific tools developed in Russia by two Soviet researchers who have become seminal in their field. One of them was the psychologist Lev Vygotsky, who, exploring the spiritual world of the hero in fiction, revealed his psychological contra- dictions, expressed in the conflict of the narrative and the plot. The other, Sergei Eisenstein, who knew Vygotsky’s manuscript of his study “Psycholo- gy of Art” and, with some influence from these ideas, created his own “psychology of art”, which is set out in the pages of his works of different years. The core of this concept was “the transition from the Expressive Movement to the image of a work of art... as a process of the interaction of layers of consciousness”29, which allowed for multiple entries into the artistic image. Such entries are also supported by some features of the cinematograph where the first among equals is the principle of intellectual editing, based on Eisenstein’s montage theory. In Eisenstein’s theory, other types of editing – linear, parallel, associative – have been generalized and developed into a large-scale system of the psychology of he- roes in art. In this article, the identification of the essence of these processes made it possi- ble for the authors to discern the phenomenon of increasing the meaning in the Halle direc- tors’ interpretations of Handel’s operas, which arises from the merger of two seemingly irreconcilable and conflicting layers of consciousness: Baroque and eclectic modern, which developed at the turn of the last century.
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Review of Stepan Ivanyk: Filozofowie ukraińscy w Szkole Lwowsko-Warszawskiej. [Ukrainische Philosophen in der Lemberg-Warschau-Schule.] Semper. Warszawa 2014. 224 S., Ill. ISBN 978-83-7507-161-0. (PLN 37,–.). Reviewed by Sylwia Werner.
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This article examines A. F. Losev’s 1929 text, which was written when the author worked at the Moscow Conservatory. It details a program of ‘aesthetic sciences,’ which was mandatory at the Conservatory. Losev discusses the need to increase the amount time allotted for the study of aesthetic sciences in the student’s schedule. Losev’s text was considered a rare document, given the author’s stance on the impact of the sciences on art in general and particularly on music. The system comprised the following: I. a) General aesthetics (determined by logic, either strictly dialectical or by dialectics b) Special aesthetics (the aesthetics of music at the Conservatory, or the aesthetics of visual arts at other institutions) c) Sociological aesthetics II. History of Aesthetic Doctrines III. Art Research (Musical analysis at the Conservatory, or theories of appropriate arts at other institutions) This article considers: 1) Losev’s system of concepts and the reasons they differ from the established norm. Specifically it addresses the concepts of ‘art research’ as a complex of theoretical subjects (harmony, analysis, etc.), ‘general aesthetics’ as the logic of art, and the concept of ‘musical aesthetics’ as the history of musical styles within their historical and social contexts. 2) The article considers specific features of Losev’s system of ‘aesthetic sciences’ and their ideal model as a source of systemic unity.
More...A Dialog on Heidegger's Ontology in Father D. Stăniloae and J.-L. Marion
This approach focuses on a convergence point between father Stăniloae’s theology and Jean-Luc Marion’s phenomenology, as concerns Heidegger’s ontology. The German philosopher launches a challenge as to the role that the Embodiment of Logos actually plays in human existence. According to him, the Incarnation event is for man only a corrective to the ontic, while father Stăniloae and the French philosopher consider that we are facing a true ontological reconfiguration of human existence. This is because the One who has stepped into the ontological field of the human being has the power to take man out of the being-toward-death paradigm and give him the opportunity to become being-toward-resurrection. Both father Stăniloae and Marion resort to Areopagitic thinking, in which God is above the being, i.e. supra being, so He cannot be considered a being among others, even if He were considered a supreme being. At the same time, God is love because He is the Trinity of People and it is only through this reality that the human being gains more in terms of existence.
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Antithetical desires displayed throughout Kierkegaard’s authorship indicate the disjunctive assumption that the individual exists either in a state of increasing autonomy, expressed negatively as striving for freedom from divine constraint, or in a state of self-annihilating submission, expressed positively in terms of kenotic unification. Proximity to the divine thereby entails forfeiture of individuality, contrary to the explicit aim of Kierkegaard’s authorial project, and aversion to materiality. This essay enunciates the conflict (I), traces the crescendo of loss that births the pseudonymous authorship and ends in realized longing for death (II), and approaches a more holistic vision of psycho-spiritual development (III).
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This study has pursued a microcosmic perspective of the Maximian ethics, the doctrine of love and friendship, and the role of love in the manifestation of virtuosity through ongoing ethical transformation. In Saint Maximus’ view, the internal integrity of the spiritual microcosm is closely connected with the integrity of the interrelations in the new form of politeia. One of the most beautiful ethical themes of this interpretation is the theme of friendship (philia), highlighted by Saint Maximus to demonstrate the integrity of love and, implicitly, of ethical virtue, as an expression of cosmic reconciliation. I have illustrated the interpretation of one of the spiritual models of ethical virtue, namely the spiritual friendship (philia), seen as that state whereby virtue, and also vice, can be surprised directly and can be involved in virtue education.
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Interview with Gayatri Chakravorty Spivak by Suzana Milevska
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Interview with Gayatri Chakravorty Spivak by Suzana Milevska
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Review of: Miranda Fricker, Jennfer Hornsby (eds.), The Cambridge Companion to Feminism in Philosophy, Cambridge: Cambridge University Press, 2000.
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