A Qualitative Study on the Effects of Hidden Cameras on the Everyday Lives and Romantic Relationships of Female College Students
In: Asian women, Band 37, Heft 3, S. 75-93
ISSN: 2586-5714
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In: Asian women, Band 37, Heft 3, S. 75-93
ISSN: 2586-5714
In: Koreanische Zeitschrift fuer Wirtschaftswissenschaften, Band 38, Heft 3, S. 39-59
In: Voprosy Filosofii, Heft 12, S. 62-72
For Alfred Schnittke (1934–1998), a representative of the Soviet musical avant-garde, the story of Faust was a life-defining text. A particularly important role in his biography was played by the novel Doctor Faustus by Thomas Mann, which became a kind of encyclopedia of the composer's life and works. Mann's novel reflects his philosophy of music, which was greatly influenced by Theodor Adorno's reflections on modern music. Schnittke considered Mann's main character Leverkuhn to be his musical alter ego and throughout his life followed the musical pursuits of this fictional composer. This article describes in parallel the musical evolution of Leverkuhn and Schnittke. The Soviet composer has realized in his life Leverkuhn's musical pursuits: the important elements in the development of Schnittke's music, such as serialism, monogram and polystylism, were a reflection of Leverkuhn's musical experiments in the novel. The author of this article, analyzing the peculiarity of genre and musical, as well as meta-musical structure of Schnittke's Faust Cantata, explains the composer's polystylism as a polyphony and also investigates his philosophy of music. For Schnittke, music was not so much an imitation of natural sounds, an expression of human feelings and emotions, or a representation of absolute harmony, as a kind of semiotic system within which there happens a free dialogue between musical forms, meta-musical reflections on musical languages, intellectual plays with abundant musical material. The pinnacle of Schnittke's musical evolution Faust Cantata was a realization of his philosophy of music as a polyphony not only in art, but also in life.
In: Marriage & family review, Band 58, Heft 7, S. 619-646
ISSN: 1540-9635
In: Voprosy filosofii: naučno-teoretičeskij žurnal, Heft 12, S. 81-92
The article examines the religious and philosophical components of K. Malevich's Suprematist paintings and the origin of their revolutionariness in the wide context of theoretical works: N. Lobachevsky's "pangeometry", El Lissitsky's axonometry, P. Ouspensky's fourth dimension, P. Florensky's reverse perspective, Z. Freud's attraction to death, J. Lacan's the symbolic and the real, the absolute presence of God through invisibility in the religious philosophy of J.-L. Marion. The author traces the stages of conceptualization of K. Malevich's Suprematism: from the sketch of stage sets in opera «Victory over the Sun» (1913), where the predecessor of "Black square" (1915) first appeared, to the Suprematist abstract paintings with three-dimensional axonometric views of geometric figures and, finally, to their complete destruction. The phenomenon of total invisibility, being a method of negative theology, becomes a condition for the birth of the Suprematist icons "Black square" and "White on white" (1917‒1918), which should be taken not as a regression to the two-dimensionality of paintings, but as an absolute form of the axonometric projection, the invisibility as a total seeing. The complete negation of geometric forms – a dead end, «an utterly dark spot» – can be understood as a space for transition toward the sacred transcendental Being, the presence of an absolute artistic form, which is endowed with the highest sacred meaning. The revolutionariness of Suprematism in this sense does not lie in its utopian contents. On the contrary, it is present in the "zero degree of forms" that denies even itself and in the contemplation per se on this emptiness as fullness.
In: Bulletin of the World Health Organization: the international journal of public health = Bulletin de l'Organisation Mondiale de la Santé, Band 98, Heft 12, S. 842-848
ISSN: 1564-0604
Objectives: The aim of this study was to examine the status of community care services regarding traditional Korean medicine (TKM) for older adults and raise awareness on current opinions and services of TKM institutions. Methods: The National Development Institute of Korean Medicine conducted a survey of 16 local governments by sending official letters through an electronic document system from October 2020 to November 2020. The survey items included basic demographic information and information about TKM service. Results: Eleven (68.8%) of the 16 local governments provided TKM home care services. A total of 136 TKM clinics provided home care services for 598 older adults with musculoskeletal disorders. The number of TKM services provided in five or more local governments were cupping 11 (100.0%), acupuncture 11 (100.0%), education and consulting 10 (90.9%), and moxibustion 9 (81.8%). Moreover, pain (recorded on visual analogue scale) and quality of life significantly improved following TKM services (p < 0.001). Conclusions: Covered under medical policy, TKM homecare services could function as a viable alternative for continued medical care disrupted during the coronavirus disease 19 pandemic. In addition, standardisation and legalisation of these services could ensure and improve their efficiency.
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