Suchergebnisse

Der Artikel fragt nach Konturen der Musikpädagogik im deutschsprachigen Teil der Schweiz, die sie sich in den letzten 50 Jahren in Abgrenzung zum benachbarten Ausland diskursiv ausbildeten. Dazu wurden 150 Rezensionen musikpädagogischer Literatur sowie von Schulbüchern unter einer Foucault'schen Perspektive analysiert. Die Resultate bestätigen Kleinens komparative Studie zur Musikpädagogik in der Schweiz (Kleinen, 2006), weisen in zwei wichtigen Punkten aber darüber hinaus. Zum einen erscheint die Fachdidaktik als Leerstelle; zum anderen wird der Sprache als Vermittlungsinstanz zentrale Bedeutung zugeschrieben. Die Ergebnisse werfen Fragen auf zu verschiedenen Wissensarten und ihrer Kommunikation und legen nahe, dass sich politische Kultur und pädagogisches Denken gegenseitig durchdringen. (DIPF/Orig.) ; This article examines music education in the German-speaking part of Switzerland, which has developed discursively over the last 50 years in a way that is distinct from neighbouring countries. To this end, 150 reviews of music education literature and textbooks were analysed through a Foucauldian lens. The results confirm Kleinen's comparative study of music education in Switzerland (Kleinen, 2006) but point beyond it in two important respects. On the one hand, the didactics appear as a blank space; on the other hand, language takes on a central role in mediation. The results raise questions about different types of knowledge and their communication and suggest a mutual exchange between the political culture and educational thinking. (DIPF/Orig.)

In 1938, the heyday of fascism and nazism, the historian, philosopher and dissident politician Benedetto Croce, published La storia come pensiero e come azione. It was a cri de coeur. Deeply convinced that reality is 'nothing but history', Croce believed that historical thinking is the only way of coming to grips with our world. Croce shared this belief with a whole generation of philosophers of history such as Rickert, Weber, Meinecke, Troeltsch, Collingwood, Oakeshott, Becker, Aron, Gentile, and Ortega y Gasset. 'History as thought and action' was the credo of the golden age of the philosophy of history. Seventy- five years later, this credo has become an idle dream. After the war, philosophers of history kept aloof from what they considered as grandiloquent aspirations of the previous generation. Focusing on detailed analyses of historical explanation, description, and narrative, they gradually lost sight of the relationship between historical theory and practice. As a result of this, philosophy of history has become a fragmented field of study in which experts are no longer able to explain the practical relevance of their inquiries. This paper seeks to overcome the impasse by reinterpreting the relationship between historical experience and historical writing from a pragmatist point of view. Starting from Ankersmit's notion of sublime historical experience, it shows how experience of the past leads to historical inquiries which are conducted in a practical context. On this basis, the paper makes the radical claim that historical representations are not only proposals to see the past from a certain perspective, but also offer new perspectives on the future. Next, the paper elaborates the practical implications of this claim for the notions of meaning, truth and reference in historical writing. Finally, it will be shown how the scattered fields of explanation, narrative and historical experience can be related into a new unity which not only vindicates the tradition of history as thought and action, but also the practical relevance of history for life.

AbstractA new opportunity, and a new challenge, presents itself to urban historians. In order to obtain a deeper understanding of historical urban space and spatial relationships, the contributors to this Special Issue deploy new techniques of spatial analysis using mapping tools to explore the density, frequency and proximity of various features of towns and cities. The contributors focus on case-studies at various urban scales – from major commercial centres (New York, Rome, Paris and London) – to smaller towns in the urban hierarchy. They also range across the tenth to the twentieth centuries and so challenge a common assumption that mapping the town is essentially an approach best suited to the modern period. Individually and collectively, the authors demonstrate how the urban morphology of the city developed and how durable that spatial patterning can be.

Gjergj Fishta is one of the most extensively analyzed writers of Albanian literature. Although he was disowned during the communist period in Albania, his undeniable literary values brought about a restored interest into his work by many scholars. For a long time, during the communist censorship up. until 2014, many discussions and writings occurred regarding the ban of some writers during the period 1912 to 1939, including Fishta. Such a conclusion emerges due to the fact that various critical and literary works into the history of literature, as well as post-war anthologies, whether individual or group writings, failed to afford Fishta with his due place. Furthermore, following the democratization of Albania, the prohibition of Fishta's writings over the course of half a century has been the subject of many writings. Therefore, this paper will analyze Fishta in communist times, his inclusion in histories of Albanian literature after 1968, which coincided with the year when the manuscript "The History of Albanian Literature 1912 – 1939" was prohibited. In particular, the proceeds with an evaluation and analysis of Fishta's writings in these histories, including the manuscript itself.

Gjergj Fishta is one of the most extensively analyzed writers of Albanian literature. Although he was disowned during the communist period in Albania, his undeniable literary values brought about a restored interest into his work by many scholars. For a long time, during the communist censorship up. until 2014, many discussions and writings occurred regarding the ban of some writers during the period 1912 to 1939, including Fishta. Such a conclusion emerges due to the fact that various critical and literary works into the history of literature, as well as post-war anthologies, whether individual or group writings, failed to afford Fishta with his due place. Furthermore, following the democratization of Albania, the prohibition of Fishta's writings over the course of half a century has been the subject of many writings. Therefore, this paper will analyze Fishta in communist times, his inclusion in histories of Albanian literature after 1968, which coincided with the year when the manuscript "The History of Albanian Literature 1912 – 1939" was prohibited. In particular, the proceeds with an evaluation and analysis of Fishta's writings in these histories, including the manuscript itself.

Eileen M. Hayes's ethnographic study of women's music festivals includes this simple testimony from African-American, festival-circuit stalwart Mary Watkins: "A triad is a triad" (54). The pianist and composer was intervening on the tendency to tether "musical structure" to "gender identity" in appraisals of the women's music festival circuit: a loose network of festivals that emerged in the mid-seventies (54). The festival circuit was produced by and primarily for lesbian women, many of who evinced strong feminist sensibilities. Contemporary women's music festivals are the sites for Hayes's escorted road trip in Songs and Black and Lavender: Race, Sexual Politics and Women's Music.

Songs dealing with illegal drugs have long dotted popular music. It was not until the aftermath of the sixties youth counterculture, however, that drug lyrics became a recurring musical motif. In the decades since, the lyrical treatment of drugs has undergone change. Heroin and cocaine have largely, though not exclusively, been treated antagonistically, with the animosity toward cocaine becoming more pronounced after crack cocaine was introduced in the mid‐1980s. Marijuana, on the other hand, has generally been perceived as innocuous, if not positively assessed, and this treatment has crossed the decades into the nineties. In more recent years, however, the positive assessment of marijuana has undergone change, with younger musicians more likely to decry the harm that drugs do than older musicians do. This prosocial aspect of contemporary popular music has been largely ignored.

Cover -- Half Title -- Series -- Title -- Copyright -- Contents -- List of contributors to the two volumes -- Preface -- 1 Prelude: from scholasticism to the Enlightenment -- 2 Pierre de Boisguilbert and the foundations of laissez-faire -- 3 John Law and the Mississippi System -- 4 Science of trade and "commerce politique -- 5 François Quesnay and Physiocracy -- 6 Turgot, Graslin and sensationist political economy -- 7 Political critiques of political economy -- 8 The spirit of geometry: quantification and formalisation -- 9 Postlude: intellectual exchanges and last developments -- Index.

An Economic History of the Silk Industry, 1830–1930, first published in 1997, is an ambitious historical analysis of the development of a major commodity. Dr Federico examines the rapid growth of the world silk industry from the early nineteenth century to the eve of the Great Depression of the 1930s. Silk production grew as a result of Western industrialisation, which in turn brought about increased incomes and thus increased demand for silk products. The author documents the changes in methods of production and the technical progress that enabled the silk industry to cope with this new influx in demand. Dr Federico then discusses the significant changes in the geographical distribution of world output that accompanied this growth. In conclusion, Federico points out that silk did indeed becomes the first example of a Japanese success story on the world market, Italy and China both losing their markets due to Japan's large agricultural supply of raw material (cocoons) and its adroitness in importing and adopting Western technology

Relevance of the study. The theater activities of M. Starytsky, a playwright, director, entrepreneur, have not received a worthy evaluation; in particular, there is no thorough development that touches upon to the analysis of his work on the repertoire formation of the music and drama theater during 1885–1891. This determines the choice of the subject and the relevance of the study.The aim of the article is to analyze M. Starytsky's dramatic activities in 1885–1891 and the information about the plays of the theater under his leadership during this period.Research Methodology. The research used the general scientific methods of cognition — analysis, synthesis, generalization, which allowed analyzing and systematizing a significant amount of material, and the methods of mathematical statistics (to determine the proportion of different genres in the repertoire of M. Starytsky theater).Results. The data analysis on the activities of M. Starytsky theater during 1885-1891 and his dramatic creative work at the same period of time has enabled to determine that the formation of the repertoire of this theater was influenced by both internal factors (the composition of the troupe, M. Starytsky's personal experience to create music and drama performances, obtained in collaboration with M. Lysenko, and the repertoire policies developed in the first Ukrainian professional troupe along with M. Kropyvnytskyi) and external ones (the need to compete with the powerful drama groups, the taste of the audience, censorship and diverse governmental prohibitions and restrictions, particularly on the subjects and translations of dramas).It is important that the main source of replenishment of the repertoire of the theater was mainly M. Starytsky's dramatic activity and the actors of his troupe.From the analysis of the genre representation of repertoire pieces of the troupes of M. Starytsky it turns out that of thirty works 16 pieces or 53% belong to music and drama genres, and 14, or 47% — to the drama works, which confirms the music and drama style of his theater.Novelty. The internal and external factors which influenced the repertoire formation of M. Starytsky theater during 1885–1891 are determined.The practical significance. The predominance of the music and drama genres in M. Starytsky's repertoire is shown, and thus the music and drama style of this theater is confirmed. ; Проаналізовано драматургічну діяльність М. Старицького протягом 1885–1891 рр. та відомості про вистави театру під його керівництвом у цей період. Визначено чинники, що впливали на формування репертуару означеного театру: внутрішні (склад трупи; особистий досвід М. Старицького) і зовнішні (необхідність конкурувати з великими театральними колективами; смаки глядацької аудиторії; цензурні й владні заборони та обмеження). Доведено, що репертуар театру поповнювався переважно творами, написаними М. Старицьким та учасниками його трупи. Показано, що більше половини репертуарних п'єс належали до музично-драматичних жанрів (а не до суто драматичних), що підтверджує музично-драматичне спрямування театру М. Старицького.

Relevance of the study. The theater activities of M. Starytsky, a playwright, director, entrepreneur, have not received a worthy evaluation; in particular, there is no thorough development that touches upon to the analysis of his work on the repertoire formation of the music and drama theater during 1885–1891. This determines the choice of the subject and the relevance of the study.The aim of the article is to analyze M. Starytsky's dramatic activities in 1885–1891 and the information about the plays of the theater under his leadership during this period.Research Methodology. The research used the general scientific methods of cognition — analysis, synthesis, generalization, which allowed analyzing and systematizing a significant amount of material, and the methods of mathematical statistics (to determine the proportion of different genres in the repertoire of M. Starytsky theater).Results. The data analysis on the activities of M. Starytsky theater during 1885-1891 and his dramatic creative work at the same period of time has enabled to determine that the formation of the repertoire of this theater was influenced by both internal factors (the composition of the troupe, M. Starytsky's personal experience to create music and drama performances, obtained in collaboration with M. Lysenko, and the repertoire policies developed in the first Ukrainian professional troupe along with M. Kropyvnytskyi) and external ones (the need to compete with the powerful drama groups, the taste of the audience, censorship and diverse governmental prohibitions and restrictions, particularly on the subjects and translations of dramas).It is important that the main source of replenishment of the repertoire of the theater was mainly M. Starytsky's dramatic activity and the actors of his troupe.From the analysis of the genre representation of repertoire pieces of the troupes of M. Starytsky it turns out that of thirty works 16 pieces or 53% belong to music and drama genres, and 14, or 47% — to the drama works, which confirms the music and drama style of his theater.Novelty. The internal and external factors which influenced the repertoire formation of M. Starytsky theater during 1885–1891 are determined.The practical significance. The predominance of the music and drama genres in M. Starytsky's repertoire is shown, and thus the music and drama style of this theater is confirmed. ; Проаналізовано драматургічну діяльність М. Старицького протягом 1885–1891 рр. та відомості про вистави театру під його керівництвом у цей період. Визначено чинники, що впливали на формування репертуару означеного театру: внутрішні (склад трупи; особистий досвід М. Старицького) і зовнішні (необхідність конкурувати з великими театральними колективами; смаки глядацької аудиторії; цензурні й владні заборони та обмеження). Доведено, що репертуар театру поповнювався переважно творами, написаними М. Старицьким та учасниками його трупи. Показано, що більше половини репертуарних п'єс належали до музично-драматичних жанрів (а не до суто драматичних), що підтверджує музично-драматичне спрямування театру М. Старицького.