Classical Tradition Research Articles

Global Shinqīṭ: Mauritania’s Islamic Knowledge Tradition and the Making of Transnational Religious Authority (Nineteenth to Twenty-First Century)

Today, Bilād-Shinqīṭ or Mauritania is often portrayed as an unparalleled center of classical Islamic tradition supposedly untouched by modernity. While previous scholarship has concerned itself mostly with Mauritania’s local intellectual history on one hand and its recent global fame on the other, in this paper, I document instead how, in less than two centuries, Mauritania has become not only a point of scholarly reference and symbolic/representational space of excellence in Islamic knowledge, but also one with an astonishing amount of global reach. Thus, I explore the ways in which Mauritania has continued to asserts its relevance and scholarly authority on a global scale. Drawing on a variety of historical, literary, and anthropological sources, I historicize the rise and mythologization of Mauritania as a peerless center of traditional sacred scholarship. I specifically examine how a number of widely different Muslim actors under changing circumstances continue to invoke, perform and re-invent Shinqīṭ/Mauritania. In documenting what I call Global Shinqīt over the longue durée, rather than simply illustrate how the so-called Muslim peripheries shape central traits of transnational normative Islamic authority, I argue instead that mobility, historical circumstances, and scholarly performance combined are at least as instrumental in the credible articulation of authoritative Islamic knowledge as normative discourses issued by supposedly central institutions, personalities, and religious bodies located in the so-called “heartland of Islam.” In so doing, I destabilize the center/periphery framework altogether in order to explore how Islamic religious authority is actually construed and operates under shifting cultural and political conditions.

Novel Traces of the Qur'an?

Novel Traces of the Qur'an?

Национальный стиль «Вариаций на темы Субэя» для кларнета и фортепиано Чжана У в контексте китайского композиторского творчества 1949-1966 годов

Clarinet compositions occupy a significant place in the creative work of Chinese composers of the middle of the XX century. The paper aims to reveal national specificity of Zhang Wu’s creative work most vividly represented in “Variations on Subei Theme”. Scientific originality of the study lies in the fact that for the first time in domestic musicology, the researcher analyzes Zhang Wu’s composition through the prism of synthesis of European classical and romantic compositional norms and Chinese musical tradition. As a result, it is shown that the work is experimental in nature and harmoniously combines national and foreign compositional and genre elements. The conclusion is made that the mentioned period was crucial to the development of clarinet music.

DIRECTIONS OF STYLISTIC SEARCHES OF SILVER AGE ARCHITECTS ON THE EXAMPLES OF VINNYTSYA

Manifestations of stylistic decisions aimed at finding national means of expressiveness are analyzed on the example of architectural works in Vinnytsya.
 Visual prints of the main paradigms of national or international self-awareness in Vinnytsya were: in the "international" spirit of the Viennese Secession – the mansion of a retired captain, teacher O.M. Chetkov (1910-1911, with outdoor services and decorative fencing); in the modernized Neo-Russian – the Church of the Resurrection of Christ in the Orthodox cemetery (project 1902, construction 1910); in the Ukrainian folk, or, as they said in Vinnytsia, "Galician" style – the mansion of the future figure of the UPR doctor M.A. Stakhovsky (1914).
 Artistic ideologues were differently affected by the awareness of the intelligentsia of the Russian Empire of the importance and common heritage of historical Russia. In addition, on the example of the work of G.G. Artinov, against the background of the search for "new-national" (in the words of the bright memory of Y.S. Aseev), the dominance of the classicist tradition is indisputable, especially in the imagery for public buildings. The modernization of the forms of classical orders with the observance of Renaissance architecture and, thus, the emphasis on belonging to the centuries-old cultural development was associated with the best achievements of European architecture.
 Stylistic means reflected three main paradigms of self-awareness of artists in the river of architecture of Modern: internationalist and two of Rus – neo-Russian and Ukrainian. Each of the paradigms or their combination became the focus of certain aesthetic experiences and conceptual embodiments of cultural inheritance. This analysis allowed us to formulate the concept of aesthetic compassion on the theory of creative work.

Reclaiming 'The Land', Restoring 'The Garden'? Georgian Georgic in the Modernist Moment and Beyond

To scrutinize georgic’s position between progress and tradition, this article will focus on the way those forces become legible in poems composed between the end of the First and Second World Wars. I will examine Vita Sackville-West’s long georgics The Land (1926) and The Garden (1946) to argue that they indicate the scope of what is possible in the genre given the challenges of both modernity and modernism. Her poems demonstrate that, in seeking to navigate the changing material and cultural landscapes, the labour of maintaining an imaginative tradition can be both productive and problematic. The article will assess the way Sackville-West positions herself as a writer in relation to the figures of the agricultural labourer and gardener and to the classical tradition, as well as her claims about the language in which georgic can and should be written. Each poem will also be compared to the poetry and criticism of her modernist contemporary T.S. Eliot, with particular reference to The Waste Land, Four Quartets and his essay “Tradition and the Individual Talent.” Engaged in a struggle on both agricultural and cultural fronts, The Land and The Garden are prone to inconsistency and, even by their own standards, failure. But in these failures as well as their successes both poems are committed to finding a way of writing human engagement with the land and literature. As such, they can be instructively read in the present moment to prompt questions about the way we engage with land and language in the Anthropocene, negotiating between competing modes of writing and more broadly between natural and human agency.

The Great Poet of Today’s Kafi: Afzal Hussain Gilani

اجوکی کافی دا وَڈا شاعر:افضال حسین گیلانی
 Kafi is a genre of Poetry that is found in the poetry of Sufis. It contains accessories such as Naat, Manqabat, and Qasida where the state of distance and the pleasure of connection are maintained. Kafi began with Shah Hussain and many Sufi poets experimented with it. One of them is Syed Afzal Hussain Gilani who has described Kafi as a classical tradition as well as a contemporary one. This article discusses Syed Afzal Hussain Gilani's Kafies.

Material Science for catalysis: Quo vadis?

Material Science for catalysis: Quo vadis?

Hybride Temporalitäten

Abstract When the astronomical clock of the Strasbourg Cathedral was inaugurated in 1574, Nicodemus Frischlin, humanist and professor of poetics in Tübingen, responded to this monumental, ‘time-defining event’ with a didactic poem – in Latin, and profoundly informed by the great models of Classical Antiquity – in which he embedded the stages of human life in an encompassing horizon of both secular and religious temporality. With his ‘carmen’, Frischlin aimed to complement the ambitious technological construction with an equally ambitious literary account, gradually tracing the building’s multiple and hybrid conceptions and semantics of ‘time’ in versified description. This article examines how Frischlin’s didactic poetry organizes knowledge of anthropological, historical, and eschatological times; moreover, illuminating the motifs of the moon disc, the ‘Lebensalterautomat’, and the mechanical figure of Death, it sheds light on the emulating adaptation of Classical tradition (Lucretius; Ovid). Frischlin portrays the Strasbourg clock as a technological masterpiece without equal in Classical Antiquity.

INTEGRALISTIK-INTERKONEKTIF PENDIDIKAN SALAF DAN KHALAF PONDOK PESANTREN TEBUIRENG JOMBANG

Along with the development of the education system in Indonesia, pesantren are classified into two parts, namely the Salafi pesantren (pesantren that maintains classical traditions) and the Khalafi pesantren (pesantren that incorporate general knowledge or open school institutions). Not all educational institutions have integrated relationships with other knowledge, but from several Islamic boarding schools, there are many that have integrated salaf and khalaf education, such as the one in Pondok Pesantren Tebuireng Jombang.
 Keywords : Education, Integrated, Islamic boarding school

The modern innovative methods of musical pedagogy and the disciplines of musical performance at high school in the context of distance study

The article deals with the topic of how specialist can find and implement methods connected with the musical education. The author writes about methods of musical pedagogy, adopted to the conditions of reality. There is a translation of idea about a great importance of communication between teacher and student. There is an opinion that the most effective method of modern musical pedagogy is a synthesis of classical traditions of study and sources of innovative technologies. The perspectives of distance study are outlined and an assumption is made about what results it can have. The author also shares his own experience connected with the organization the lessons online. The author gives recommendations not only for teachers of musical academies, institutions but also for pedagogues of musical schools and kindergartens. The importance of realization the innovative and the classical methods of musical education is the main question as for as the high musical school and the educational organizations of pre-school work with children.

A LOOK AT AZER DADASHOV’S PIANO WORK

The article we presented is devoted to the analysis of A.Dadashov's piano music. Although some of the composer's piano works have been examined in various studies, this heritage has not been examined in its entirety. The images created by A.Dadashov include the relationship between man and the universe, the desire for the creation of the individual world, as well as aspects related to the inner world of man. Piano music, which is an important part of A.Dadashov's work, is represented by various genres, large and small. Here you can find all kinds of genres, from piano and orchestral concerts to small preludes. Thus, the composer's piano music offers a wide choice for pianists of different ages. Azer Dadashov's piano works include three concerts written for piano and camera orchestra, as well as a series of small miniatures and independent plays. The composer composed three concerts for piano and orchestra. The first concert took place in 2004, the second in 2009 and the third in 2010. Miniature genres dominate Azer Dadashov's piano music. The series for young pianists is particularly noteworthy here. A.Dadashov’s “Six Preludes”, “Six Miniatures”, “For the Flower” consisting of seven dances, as well as four sonatinas, pastoral, etc. There are piano works. Taking into account the technical abilities of the young pianist, who has mastered the art of performance, the composer tried to portray the children's colorful dance power, the world of bright images and create interesting musical panels. The composer's piano series “Six Preludes” (1966), “Six miniatures” (1968), “Six melancholy miniatures” (1985), “For Flowers” (1986), and “Atmacalar” (2001) are included in the children's music teaching repertoire. These miniatures are widely included in the concert program of school and young pianists. As the name suggests, most of these sequences are programmed. In sequences of a particular genre, each instance has its own image-emotional content and is ordered within the sequence according to a certain linking principle. Azer Dadashov's piano music is also characteristic of independent plays of different volume and content. These include “Poema” (2012), “Space song” (2015), “Bagatel” (2010), “Praise”, “Funny dance” (2009), four sonatas, “Three almonds and a walnut” for piano and chamber orchestra. ”, “Sacrifice of God”, “My Flag”, “Trial”, “Grace” and others. Although the use of modern means of expression and the writing techniques of the composer are observed in A.Dadashov's piano music, the composer prefers classical traditions to embody the form. In the composer's music, each motif serves to embody the main idea down to the smallest detail, depending on its general content.

TRADITION AND INNOVATION IN MODERN KAZAKH POETRY (XX century and independence)

The article analyzes views on innovation in the literary science of the early twentieth century and the work of Alash representatives in an era that is a period filled with profound changes and large-scale innovations in Kazakh society. In addition, works related to freedom, enlightenment, politics, spiritual values, the position of the people as a whole and social changes are considered the idea of independence and continuity. On the way of evolutionary development of the Kazakh literature, artistic power, thematic and ideological character, substantial and stylistic features of poetry of poets in the beginning of the XX century and during the Great Patriotic War, in subsequent years and years of independence are discussed in detail. In addition, on the basis of literary traditions and novelty, the works of prominent poets of Kazakh poetry of the 20th century and Independence are considered and comprehensively characterized, i.e. internal motives, the content of life phenomena in national poetry are analyzed in close connection with the works of poets. The original vision of the traditional and differentiated in the literature of the Soviet period in the works of poets from a new perspective, from the point of view of today. In addition, the works of outstanding poets of Kazakh poetry in the period of the 20th century and independence are considered on the basis of classical tradition and novelty in literature.

Temuriylar renessansida musiqa san’ati

The advanced musical traditions that developed during the reign of the great Amir Temur were perceived by his successors-rulers as symbols of classical art and were adequately continued in their palaces. Thanks to the favorable conditions created by them, the comprehensive support of scientists and art workers, during this period science flourishes, important socio-cultural progress in the field of music takes place, professional cre-ativity and performing arts reach a qualitatively new level of development. Especially, the art of maqom reaches unprecedented heights. In particular, on the basis of the system of the Twelve Maqoms, which has be-come widespread in the palace culture, the musicians have created many works expressing national and universal values. In general, the classical musical traditions of this era, which largely determined the further pros-pects and trends in the development of the musical art of the Uzbek people, also had a significant impact on the cultural development of the peoples of Central Asia and beyond. At the same time, the fruitful activity of great musicians and theoretical scientists has left an indelible mark on the his-tory of the culture of all mankind. For the musical art of the Timurid Renaissance is of epochal importance and therefore is highly valued in world civilization.

Morphogenesis – “The Riddles of Form” in Twenty-First Century Science

Morphogenesis – “The Riddles of Form” in Twenty-First Century Science

Kiev ex-libris school as a xylography traditions keeper in printmaking of modern Ukraine

The article is dedicated to Kiev ex-libris school role (EL) in modern Ukrainian printmaking. The loss process by a bookplate of utilitarian, applied functions and its transformation into an independent work of art, collectors' object of interest with an appreciated art value is described. The ex-libris schools formed in the first quarter of the 21st century are emphasized, the main trends of the bookplate development predominant centers are defined (Kiev, Lvov, Odessa, Luhansk). Printmaking techniques, typical for a particular ex-libris school, are marked. Kiev bookplate school, as one of the leading centers for the classical xylography traditions preservation, is underlined. The most significant masters, working in these techniques, are presented, the technological process evolution is indicated and its main reasons are emphasized. The problem of opposition between the old and new in the art of printmaking is touched upon by example of classical techniques and gathering momentum computer graphics (CGA) coexistence.

Should a Christian Party Conceive Policies in Line with the Preferential Option for the Poor? Italian Historical Experience, 1946–1993

AbstractItaly was governed by one party from 1946 to 1993: the Christian Democrats (Democrazia Cristiana or DC). Initially, the DC Party adopted policies in the classical and conservative tradition to cope with poverty: agrarian reform, expansive fiscal policies, and social housing. After the Second Vatican Council, which led to growing acceptance of the “preferential option for the poor,” a radical change emerged in the DC Party regarding some social‐democratic policies: the party endorsed universal healthcare and social pensions and assistance. The fundamental idea was the “decommodification” of basic services. In these reforms, there were some good results as well as some failures. There were also difficulties with public finances.

Entexted Heritage: Calligraphy and the (Re)Making of a Tradition in Contemporary China

From medieval times to the present, calligraphy has been theorised as a product of “spirit” rather than of the hand, and has b­een situated atop the Chinese aesthetic hierarchy. Recognising calligraphy as a key aspect of national identification, the People’s Republic of China applied for its recognition to the Representative List of the Intangible Cultural Heritage of Humanity. Through the process of constructing calligraphy as Intangible Cultural Heritage (ICH), a simplified calligraphic canon emerged, which epitomises the “correct spirit of tradition.” Building on art historical and anthropological questions of transmission and authentication of the classical tradition of calligraphy, this paper challenges this idealised conceptualisation by investigating how a contemporary Chinese ICH regime has worked to “entextualise” calligraphy into present social and political circumstances.

Style trends of modern vocal performance

The purpose of the article is devoted to the peculiarities of creative interpretation of musical works in vocal performance, namely the consideration of a number of professional and personal characteristics of singers, as well as three interrelated stages of the process of creative interpretation. The methodology of the study is dialectical and systemic methodologies used in the field of cultural studies. General scientific and logical methods of analysis, synthesis, induction, and deduction, historical and comparative research of the problem are used. The author applies a hermeneutic approach to the study of the essence of vocal-performing style, identifying the personal content of objects to be interpreted. The scientific novelty of the work lies in deepening ideas about modern stylistic trends in vocal performance, clarifying the essence of the concepts of «performing style», «vocal-performing style», substantiating the tendency to interest in classical vocal works in modern vocal performance. Conclusions. Nowadays there is a steady tendency to interest in classical vocal works. The more significant, richer, and deeper in content the works of the past, the greater the preconditions for the interpretations of performers of one era and subsequent eras to be quite diverse and modified in the future, by bringing unique and individual means of expression in the interpretation of classical works. Active development of the classical tradition can be considered a stable and natural trend in the development of modern vocal and performing arts.

Carducci y Gutiérrez Nájera: dos ejemplos de lectura de Horacio en la tradición clásica del siglo XIX

Manuel Gutiérrez Nájera and Giosuè Carducci are two of the most important authors of Mexico and Italy respectively. Both were inspired by the French poetry of their time and shared a literary ideal of definition and construction of their national identity. Among the different ways to do this work, the use of Classical tradition, and specifically in the presence of Horace, allows us to recognize the differences and similarities of the nineteenth-century ideas of both authors.

Метафора и сравнение в повести А. Козлачкова «Запах искусственной свежести»

The purpose of the research is to address the question as to what role metaphor and simile play in creating emotive background of a literary work and how they participate in expression of the author’s standpoint. Scientific novelty of the research lies in analysing linguistic distinctness of Alexei Kozlachkov’s novella “The Scent of Artificial Freshness”, identifying and considering the tropes used by the writer, as well as in studying specific nature of metaphors and similes functioning in the work text. As a result, it is proved that the way in which metaphor and simile are used in A. Kozlachkov’s novella testifies to originality and uniqueness of the writer’s linguistic manner and allows the researchers to refer to him as a successor of the Russian classical prose traditions.