Search results for " Slavic"

FOREWORD a Musicologie sans frontières/Muzikologija bez granice/Musicology without frontiers. Essays in Honour of Stanislav Tuksar

2010

La vita e l'opera di Stanislav Tuksar e il suo contributo alla musicologia internazionale. In particolare gli studi di estetica della musica e di storiografia, nonché il suo lavoro di editor della "International Review of the Aesthetics and Sociology of Music" e i saggi importanti sul rapporto tra le culture nazionali e il cosmopolitismo nell'Europa centrale, in relazione alla Croazia e agli Slavi del Sud dal sedicesimo al diciannovesimo secolo.

Hybridity Maintained, Reduced, Abolished and Redefined: The Czech Graphic Novel Alois Nebel (Jaroslav Rudiš, Jaromír 99, 2006) in Polish and German

2016

This study is devoted to comparative analysis of hybridity in Jaroslav Rudis’s and Jaromir Svejdik’s Graphic Novel Alois Nebel – the trilogy in book-form, 2006 (2011) – and the Polish and German translations. The basic forms of hybridity are intermedial (picture and text) hybridity, linguistic hybridity (given by elements of German, Russian, English, Polish and Slovak together with Czech main text), graphic hybridity (between Latin and Cyrillic script, printed and hand-written characters), and hybridity of discourse (interpersonal communication, telling, personal reflection, non-fiction text etc.). While the Polish text – privileged by translation between two West Slavic languages – maintai…

From the Morlack to the Slav: Images of South Slavic People between Exoticism and Illyrism in Italian Literature and Opera during the 19th Century

2012

Alberto Fortis’ “Viaggio in Dalmazia” (Padua, 1774) described for the first time the Morlacks (Cr. “Vlasi”) of the inner Dalmatia as the true model of a primitive group, whose characteristics became a source of inspiration until 1830s for some Italian writers and ballet composers devoted to exoticism. Contemporaneously, Homer’s paradigm, introduced by Melchiorre Cesarotti in the foreword to the Italian version of the poems of Ossian (1763), as quoted by Fortis, was in turn transformed by the composer and doctor of Split Giulio Bajamonti. Even though published in Italian, Bajamonti’s “Morlacchismo d’Omero” (Venice, 1797) must be considered as the first contribution to the romantic Croatian l…

Programm des städtischen Realgymnasiums zu Riga, 1864

1864

Inhalt: 1. Die Königinhofer Handschrift / vom Gymnasial-Lehrer C. Haller -- 2. Schulnachrichten / vom Director

Morlacchismo, illirismo, involuzioni esotiche. L’immagine degli slavi del sud nel teatro e nella musica dell’Ottocento in Italia/Morlakizem, ilirizem…

2014

Alberto Fortis’ Viaggio in Dalmazia (Venice, 1774) described for the first time the Morlacks of the interior of Dalmatia as the true model of a primitive group, whose characteristics became an exotic source of inspiration for some Italian writers and ballet composers until 1830s. Contemporaneously, the Homer’s paradigm was introduced by Melchiorre Cesarotti in the foreword joined to the Italian version of the poems of “Ossian” (1763), and it was in turn transformed by the composer and doctor of Split Giulio Bajamonti. Even though published in Italian, Bajamonti’s Morlacchismo d’Omero (Venice, 1797) can be considered the first contribution to the romantic Croatian literature. The essay of Ba…

Baltu filoloģija, 30, sēj., Nr. 1/2

2021

Dizionari e storie della musica nei paesi slavi dell'Europa centro-orientale. Riflessioni su un rapporto complesso

2019

The essay identifies key patterns in a group of music dictionaries printed in some Slavic Central-Eastern European lands from the time of national awakening to the 20th-century’s post war period. The common approach of first Polish, Bohemian, and Croatian lexica imply the difficulty in choosing between two different criteria. Given that the three lands were under the administration of Prussian, Russian and Austrian governments, the problem emerged either in creating an exclusive list of names based on the concept of nationality, or in writing an inclusive list of “stranger” and domestic musicians, who contributed together to the development of music culture. Except a rare case, the second o…

Nation and/or Homeland: Identity in 19th-Century Music and Literature between Central and Mediterranean Europe

2012

The aim of this book is to focus on the development of national awareness elaborated around a series of different case studies, in which the terms nation, homeland and people have been applied. This Romantic lexicon identifies similar but various conceptions of the national idea in some countries dominated by Italian, German and Slavic cultures, and in some groups or minorities such as the Jews and the Vlachs in Central and Mediterranean Europe. In order to clarify the cultural framework, the authors explore the construction of identity through folk tunes, poetry inspired by popular culture, and opera in which the national myths or heroes appear. In the self-making tradition, the national t…

INTRODUCTORY WORD

2012

The aim of this book is to focus on the development of national awareness elaborated around a series of different case studies, in which the terms nation, homeland and people have been applied. This Romantic lexicon identifies similar but various conceptions of the national idea in some countries dominated by Italian, German and Slavic cultures, and in some groups or minorities such as the Jews and the Vlachs in Central and Mediterranean Europe. In order to clarify the cultural framework, the authors explore the construction of identity through folk tunes, poetry inspired by popular culture, and opera in which the national myths or heroes appear. In the self-making tradition, the national t…

Paradigma culturale e canone popolare: musica e nazione nei paesi slavi della Mitteleuropa nel diciannovesimo secolo

2016

The national identity of Slavic Mitteleuropa is examined by means of a new approach to different cultural paradigms, namely the historical events out of which the popular canon in music flourished at the end of eighteenth-century Poland and in nineteenth-century Bohemia, Slovenia and Croatia. This phenomenon must be analysed within a framework in which cosmopolitism and nationalism co-existed in a mix of functional and autonomous music, superseding the boundaries of subordination, adaptation and autonomy.