Freedom Of Interpretation Research Articles

"[...] über die outrirte, willkürliche Bezeichnung"

Instructive editions from the late 19th and early 20th century include various annotations regarding musical and interpretative aspects, such as articulation, bowings, fingerings, dynamics, note values, or vibrato As a popular medium at the time, instructive editions were often in the centre of contemporary discussions and attracted the attention of musicians and music teachers, bequeathing us a wide corpus of valuable sources. Joseph Joachim was arguably the most prominent violinist and a sought-after pedagogue in the German-speaking world at the time. Hitherto unknown letters as well as revisited statements by Joachim lead to new insights regarding his attitude towards instructive editions: he viewed them - despite his (few) publications in this genre - very critically, as he was convinced that detailed instructions would limit the freedom of the performer. He instead preferred editions without annotations, but interpreted the music freely andd variably in what he considered the spirit of the composer. Joachim's attitude thus poses general questions as to the role and freedom of performance and interpretation in the second half of the nineteenth century.

The Straussian Reception of Xenophon's Cyropaedia

In 1948, Leo Strauss wrote about Xenophon’s Cyropaedia: “This work has never been studied by modern historians with even a small fraction of the care and concentration it merits and which is needed if it is to disclose its meaning.” Thanks in part to his students, this is no longer true, and this article reviews the Straussian reception of the Cyropaediabetween 1969 and 2015. But it begins with Strauss, who could scarcely have recognized the difficulties involved in disclosing “its meaning” unless that meaning had disclosed itself to him, and it is the elusive nature of that disclosure that has given his students the interpretive freedom to reach conclusions that are sometimes diametrically if not explicitly opposed to Strauss’s own. An investigation of those differences sheds light on both Strauss and his followers, and also on the distinction between Strauss’s interpretive methods and his political philosophy. No less importantly, such an investigation also helps us to better understand Xenophon’s Cyropaedia.

THE CONCEPT OF "BEST INTEREST OF THE CHILD" IN INTERNATIONAL

The article examines the problem of defining the concept of "child's interest" in international and national law. Examples of different approaches to the definition of the "child's interest" in international acts, regulatory legal acts of the Republic of Belarus are given. The approaches of researchers to the question of defining the concept of "child's interest" are analyzed. It is concluded that, by defining the child's interest as the best, international law leaves freedom of interpretation to the law enforcement officer. In turn, in the national legislation, the child's interest is interpreted on the basis of the criterion of legality, which limits the interpretation of the "child's interest", does not meet modern conditions with rapidly developing social relations, which do not always have time to be reflected at the legislative level.

Musical Totem: A Collaborative Composition Methodology During the Covid-19 Pandemic

As part of the Action Research Network of the Americas, the Musical Learning Community is a collaborative group, founded during the COVID-19 global pandemic, that has brought together musicians, artists, and educators to generate shared experiences. As members of this community, we explore new ways for collaborative music-making. Through creative, cultural, and conceptual influences, the idea of the Musical Totem emerged as a collaborative music composition methodology to transcend geographical distancing. We sought interpretative freedom by adopting methods of the surrealist technique Cadavre Exquis (Exquisite Corpse) while relying on the rich concept of totems to find thematic material and set compositional parameters. The process was carried out using arts-based and autoethnographic research approaches, which provided insights into our creative musical responses and remote collaborative working processes. This endeavor showed us that symbolism can provide compositional and performative challenges and that, as a methodology, the Musical Totem can create freedom and constraints depending on the musician, the conceptual influences, and the instrumentation. We also learned that engaging in a collaborative music-making process led to increased community bonding through shared creative expression.

Heteronomy of architecture. Between hybridation and contamination of knowledge

Heteronomy of architecture. Between hybridation and contamination of knowledge

Expectation of being affected: an enactive perspective of spectators' expectations of contemporary dance

PurposeThis article examines how spectators describe their expectations of contemporary dance by referring to action. Through discussing a qualitative audience study, the article argues that spectators always have an expectation of being affected by performances they attend. This expectation can guide their interest in attending performances of certain genres instead of other possible ones on offer. Additionally, the article points out how spectators can actively manage their expectations in order to be affected.Design/methodology/approachThe study is based on 21 in-depth interviews with spectators at a dance venue, a company and a festival in Finland. The analysis of the interviews combines thematic analysis with metaphor analysis. Employing the paradigm of enaction and the concept of affordances, this article approaches expectations as embodied and dynamic, created in interactions between artists, producers and spectators.FindingsThe analysis shows that when speaking about their expectations of performances, spectators use bodily and spatial metaphors. Focusing on metaphors reveals how, for the spectators, performances afford a possibility for action that affects them. The interviewed spectators describe that contemporary dance is “not set in its ways”, and therefore it keeps them “awake” and their thoughts do “not fossilize”. This way, they understand contemporary dance as a genre that affords a possibility to be affected by allowing a freedom of own interpretation and surprising experiences if they desire such.Originality/valueConcentration on the metaphors of language offers a deeper understanding of the active nature of spectators' expectations. Understanding how spectators describe their expectations by referring to action that enables the shaping of their emotions and thoughts can help the development of arts marketing and audience engagement.

Sappo: Sulapa Eppa Walasuji as the Ideas of Creation Three Dimensional Painting

Lontara is a traditional script of the Bugis-Makassar community, derived from the word lontar, a type of plant in South Sulawesi, which is still used and maintained. Sappo (Bugis): fence used to limit (surround, insulate) land and houses. The Bugis-Makassar community as a whole always has a Sappo / fence to protect themselves, their families, and their nation. Sulapa eppa (four sides) is a mystical form of classical Bugis-Makassar belief that symbolizes the universe’s composition, wind-fire-water-earth. Walasuji is a kind of bamboo fence in a rhombic ritual. Walasuji comes from the word wala, which means separator/fence/guard, and suji means daughter (metaphor of something of value, which must be under protection). The research aims to create three-dimensional paintings with the idea of creation, Sappo: Sulapa eppa walasuji. The symbolic expression concept borrows the Lontara tradition’s idioms, making works of metaphorical Sappo (montage) titles; Posi’ Symbolic expressions are used as research methods to create works. Researchers borrow traditional idioms as a place of expression. Symbolic abstraction works are conceptually a form of modern art by utilizing the Lontara tradition's idiom as a basic element of preparing the work. The contextual use of idioms is no longer intact because there is a degradation in the artists’ processing when interpreting symbolic forms. The expression of tradition is no longer a thematic pouring of ideas, still, as a textual symbol offered by artists to provide freedom of interpretation, Sappo: Sulapa eppa walasuji as the idea of creating paintings. The results of the study explore the elements of form and express the message conveyed through the work of three-dimensional images with the concept of creation, Sappo: Sulapa eppa walasuji, a work of metaphorical painting Sappo (montage) title: Posi, which is essentially God, as the protector of everything from the whole Sappo metaphor. Sappo, an idiom of tradition, is portrayed as a form of the symbolism of reflections on researchers’ lives visualized in the entire artwork. The visual elements used, stone, wood, bamboo, and paint, are at the same time a metaphor for the universe, which is God’s creation.

The New Moon Festival in the Priestly Calendar of the Pentateuch. Exegesis of Fragments from The Book of Leviticus (Lev. 23:23–25) and The Book of Numbers (Num. 28:11–15; 29:1–6)

In the present article the author deals with pericopes from the priestly layer in the Pentateuch, which include references concerning the New Moon Festival. In the first point of this article, the author underlines connections of Hebrew words with other Semitics languages in terms of naming this feast. The controversial issue is the translation of Lev. 23:23–25, in which many scholars see not the New Moon Festival, but the New Year Festival. The author sets himself the task, using synchronous methods of work on the biblical text, to present his translation proposal of this disputed fragment. Also, he deals with the problem of the Hebrew expression תְּרוּעָה , which leaves some interpretative freedom as to how to celebrate this festive day. An important point in the presented analysis is an attempt to outline the difficulties associated with placing the examined fragments in one of the layers. However, the author does not intend to solve this issue. In his last point, the author analyzes the fragments mentioned in the title, often juxtaposing them with each other or referring to biblical texts that come from a different layer (Deuteronomist) or extra-biblical testimonies.

Поэма С. А. Есенина «Черный человек» в польских переводах и в оригинальном поэтическом творчестве

The paper examines Polish reception of the poem by Sergei Yesenin “The Black Man”. It attempts to intertextually analyze the work at the level of various kinds of analogies with Polish poetic texts, translated and original. The subject of comparative analysis is the content-formal aspects of translated texts. At the same time, the theory of translation, becoming a part of the comparative methodology, allows one to reach a broader level of generalizations, cultural projections, and socio-historical parallels. The study addresses a number of translations (W. Słobodnik, L. Podhorski-Okołów, W. Broniewski, A. Pomorski), illustrating the degree of freedom of interpretation of a literary text, proportion of congeniality as a special criterion of poetic correspondence. The very process of circulation, transfer, continuous cultural exchange of motives, lyrical situations between the texts of different national literatures and linguistic elements came to be an undeniably important aspect of artistry as a new quality of imagery and the birth of “explosive” poetic meanings. The issue of cultural transfer allows perceiving in individual translation versions mental worlds of the authors refracted in them, life-creating and biographical contexts, as well as historical collisions. In this case literary translation acts as a reliable tool, through which typological and comparative-historical comparisons of poetic worlds are carried out. Analysis of the micro-poetics of texts, motif structure and sensory layer appears more or less convincing on the way of studying reception and a broad intertextual field of selected works.

Interpretation of Proverb Meaning: Theory and Practice

When encountering the necessity to interpret a written proverb, paremiographer has to find practically applicable solutions that would not require a lengthy and detailed investigation process. Solving the issue of objectivity and subjectivity is also necessary, as well as appreciating the extent to which one can get personally involved into interpretation of proverb meaning. According to studies of proverb semantics by Lithuanian and foreign researchers, and as indicated by the recent experience accumulated in the process of editing the 3rd and 4th volumes of the series “Lithuanian Proverbs and Proverbial Phrases” it can be concluded that interpretations may be facilitated by: 1) Comments, remarks and contextual information recorded along the proverb; 2) Occasional extended variants of the proverb, supplemented with directly understandable fragments that explain the trope in the main part; 3) Analogies – comparisons to the proverbs belonging to the same semantic field or characterized by a similar structure; 4) Lexical analysis; 5) Comparisons with equivalents from other languages; 6) Folklore competence. In order to maximize objectivity and impartiality, editors of the fundamental source edition “Lithuanian Proverbs and Proverbial Phrases” limit themselves to the recorded additional data, however large. Nevertheless, additional means of decoding the meaning are required when preparing the titles of the proverb types for the translation process. The digital space, in which the proverbs published in the source edition are stored (http://archyvas.llti.lt/ eLPP/en), is characterized by a greater freedom of interpretation because of mobility of this repository: here, an interpretation may be corrected or supplemented at any time. Therefore folklorists updating the electronical repository can rely not only on the objective semantic means in their interpretations of proverb meaning, but also on their own folklore competence, or, if possible, also on that of the older generation of researchers.

CONSTITUTIONAL INTERPRETATION OF ORIGINAL INTENT ON FINDING THE MEANING OF SOCIAL JUSTICE IN THE CONSTITUTIONAL REVIEW

<p><em>This article will study whether original intent method able to find justice in constitution and formulate constitutional interpretation that will able to perform constitutional supremacy. This study uses a doctrinal approach or also referred to as the normative legal approach. The method taken in this writing is analysis descriptive which describes and analyses constitutional interpretation with original intent method. Formulating constitution interpretation which answers people dynamic but doesn’t lose its original constitutional intent. This research shows that Constitutional interpretation with original intent method can mean as an interpretation which assimilate the spirit of how the original written constitution was formulated when building UUD 1945, the opinion of constitution’s founders in their understanding on the purpose and the nation’s ground principals. Basically, All the rules must not contradict with constitution’s intention. The freedom of judges to decide is not freedom without limits. The limitations of judges' freedom of interpretation are Pancasila and the 1945 Constitution. Decisions made by judges must not conflict with Pancasila and the 1945 Constitution, constitutional judges have great power in interpreting the 1945 Constitution. This power is vulnerable to various interests which make the decisions of constitutional judges not objective. Accountability of decisions in public and academics should be a legal idea that can be realized, not to judge the verdict but to know the basis of interpretation and or legal discovery by constitutional judges</em></p>

Preparing for Successful Collaborative Contracts

Preparing well before entering a contract is always vital, independent of the characteristics of the project and type of contract. However, as projects become larger and more complex, and value for stakeholders and society becomes the dominating perspective on success, the need for well-developed collaboration is becoming more and more critical. In this paper, we investigate how the parties should prepare for a collaborative project. The purpose is to help owners secure the success of the project for its key stakeholders. We choose to address the issues as an active risk mitigation strategy that serves as a vehicle to reduce uncertainty, avoid unnecessary risks, and utilize opportunities as a project owner. We look at the project mainly through a project owner perspective, but on key points, we contrast this with contractor perspectives. The research was performed in Australia in 2020 and includes public and private sector investment projects. The methodology is qualitative case studies and includes primarily in-depth interviews supplemented with document studies and two workshop group discussions. The paper highlights the difference between being collaborative in a contract and using a collaborative contract. The results document significant differences in preparations depending on the degree of complexity of the projects. One major difference is illustrated in the different levels of precision in terms and definitions used in communication. Complex projects require freedom of interpretation only gained by allowing wide and less precise expressions.

André Bazin's Film Theory: Art, Science, Religion

Always keen on the spectators’ freedom of interpretation, André Bazin’s film theory not only asks the famous question “What is cinema?,” but it also explores what is a human. By underlining the importance of personalist ethics, Angela Dalle Vacche is the first film specialist to identify Bazin’s “anti-anthropocentric” ambition of the cinema in favor of a more compassionate society. Influenced by the personalist philosophy of his mentor, Emmanuel Mounier, Bazin argued that the cinema is a mind-machine that interrogates its audiences on how humankind can engage in an egalitarian fashion towards other humans. According to Bazin, cinema’s ethical interrogation places human spirituality or empathy on top of creativity and logic. Notwithstanding Bazin’s emphasis on ethics, his film theory is rich with metaphors from art and science. The French film critic’s metaphorical writing lyrically frames encounters between literary texts and filmmaking styles, while it illuminates the analogy between the élan vital of biology and cinema’s lifelike ontology. A brilliant analyst of many kinds of films from Europe, Asia, and Latin America, ranging from fiction to documentary, from animation to the avant-garde, Bazin felt that the abstractions of editing were as important as the camera’s fluidity of motion. Furthermore, he disliked films based on a thesis or on an a priori stance that would rule out the risks and surprises of life in motion. Neither a mystic nor an animist, Bazin was a dissident Catholic and a cultural activist without membership of a specific political party. Eager to dialogue with all kinds of communities, Bazin always disliked institutionalized religions based on dogmas.

The conditions for learning musical interpretation in one-to-one piano tuition in higher music education

Research has indicated that one-to-one teaching in higher music education in Western classical music typically favours technical over interpretive aspects of musicianship, and imitation of the teacher’s rather than the student’s explorative interpretation. The aim of the present study is to investigate students’ and teachers’ understandings of how musical interpretation of Western classical music is learned in this context. Semi-structured qualitative interviews with six piano students and four teachers in Sweden were conducted and hermeneutically analysed using haiku poems and poetical condensations. The analysis found that the conditions for learning musical interpretation centred upon students achieving a high level of autonomy, as affected by three key aspects of teaching and learning: (1) the student’s and the teacher’s understandings of what musical interpretation is, (2) the student’s experience of freedom of interpretation as acknowledged by the teacher, and (3) (expectations of) the student’s explorative approach. As none of these aspects were reported as being explicitly addressed during lessons, there might be a need for both teachers and students to verbalise them more clearly to support piano students’ development.

Анализ идеологического потенциала видеоигры с точки зрения теории аффордансов Джеймса Гибсона

The purpose of this article is to propose a method for analyzing the ideo­logical content of video games while taking into account the agency of the players. The interactivity of video games as a medium has been attracting the attention of researchers for many years, raising, in particular, the ques­tion of how this unique property serves to broadcast certain ideologies. The ability of games to make ideological statements was discussed by Bogost, Frasca, Aarseth, and many other pioneers of game studies. Video games were analyzed both in the context of older media forms that promoted certain ideas through plots, visuals, and other traditional means, and as unique types of objects that can make statements through rules. I aim to introduce the player — as a subject who is able to transform and conceptual­ize the game based on their own cultural background — to this discussion. Using James Gibson’s theory of affordances, I want to acknowledge the player’s freedom of interpretation, the potential to assign one or another ideology to the game in each playthrough. On the one hand, the player acts as a consumer of content; on the other hand, they are a co-author who will use the tools offered by the video game to produce their own state­ments, to be interpreted independently. This leaves the final decision about the ideology of the game to the consumer; thus, game studies need an ap­proach that allows the analysis of the ideological content of specific games. It is especially important in the light of more and more games prioritizing player freedom and not providing any clear plot or even victory conditions. Of course, research can still proclaim, and rightfully so, that the specific rules in such games bear traces of certain ideological systems — capitalism or secularism, for example. But individual players could undermine such interpretations both at the level of reading the game as a “text”, and at the level of interactive actions inspired by those readings.

Data Badges: Making an Academic Profile Through a DIY Wearable Physicalization.

In this pictorial, we present the design and making process of Data Badges as they were deployed during a one-week academic seminar. Data Badges are customizable physical conference badges that invite participants to make their own independent and personalized expressions of their academic profile by choosing and assembling a collection of predefined physical tokens on a flat wearable canvas. As our modular and intuitive design approach allows the construction to occur as a shared, collective activity, Data Badges take advantage of the creative, affective, and social values that underlie physicalization and its construction to engage participants in reflecting on personal data. Among other unexpected phenomena, we noticed how the freedom of assembly and interpretation encouraged a variety of appropriations, which expanded its intended representational space from fully representative to more resistive and provocative forms of data expression.

SENI RUPA SEBAGAI MEDIA PENYADARAN

Fine Art as a form of expression of artists, certainly not like economists who need advantages in currency values. Art is not likely to be intervened by fields of pragmatic size. Then it will be so difficult to place art as part of the aesthetic element. So, in this case, we can see the strengths that are in the art itself. Art as a matter of which considered unconstitutional is certainly very paradoxical when it is part of standard rules. So when art works, it becomes part of aesthetic polarization and not being as a reading room in the future. The method used in this study is study of literature with an emphasis on the philosophy of art that gives bargaining power to change in thinking, freedom of interpretation Then The aim of study of literature is to gain an understanding that art gives its weight in thinking about renewal art with a constructive approach through aesthetic understanding. For this reason, fine arts should see forms of visualization as a form of social reality. With it, the artist must be able to create novelty as well as from ethics, aesthetics, and the philosophy of art itself. Without it, the existence of artists cannot be expected to advance the world of art, if the artists themselves lack understanding of the principles in creating fine arts. Therefore, in this paper, the author is obliged to offer solutions, as an effort to improve the quality of the concept of works and at the same time associated with the cultural movement in the public.

SENI RUPA SEBAGAI MEDIA PENYADARAN

Fine Art as a form of expression of artists, certainly not like economists who need advantages in currency values. Art is not likely to be intervened by fields of pragmatic size. Then it will be so difficult to place art as part of the aesthetic element. So, in this case, we can see the strengths that are in the art itself. Art as a matter of which considered unconstitutional is certainly very paradoxical when it is part of standard rules. So when art works, it becomes part of aesthetic polarization and not being as a reading room in the future. The method used in this study is study of literature with an emphasis on the philosophy of art that gives bargaining power to change in thinking, freedom of interpretation Then The aim of study of literature is to gain an understanding that art gives its weight in thinking about renewal art with a constructive approach through aesthetic understanding. For this reason, fine arts should see forms of visualization as a form of social reality. With it, the artist must be able to
 create novelty as well as from ethics, aesthetics, and the philosophy of art itself. Without it, the existence of artists cannot be expected to advance the world of art, if the artists themselves lack understanding of the principles in creating fine arts. Therefore, in this paper, the author is obliged to offer solutions, as an effort to improve the quality of the concept of works and at the same time associated with the cultural movement in the public.

A liberdade em A montanha mágica

Em meio à paisagem montanhosa dos Alpes suíços, um sanatório para doenças respiratórias. As muitas tosses ali em longo tratamento não possuem compromissos mais sérios que não sejam seguir o horário habitual das refeições e dos repousos. Diante desse meio espacialmente estagnado e temporalmente hermético de A montanha mágica, de Thomas Mann, a liberdade mostra-se amortecida. Não nos referimos, evidentemente, à liberdade criativa do autor alemão, cuja prova de grandeza é o romance em si, tampouco à liberdade interpretativa do leitor, mas à liberdade – ou, antes, sua atenuação – problematizada pelas personagens dessa longa história. É o caso do jovem protagonista Hans Castorp, cujo aprendizado a respeito do tema paradoxalmente ocorre durante sua estada num lugar que sequestra sua liberdade. Isso se dá não apenas porque a personagem principal é incapaz de eleger, sem constrangimentos, os valores que embasam suas escolhas, mas também porque isso é dificultado pela situação espaçotemporal anômala ou, segundo o título, “mágica” da montanha. Como essa problemática é apresentada narrativamente, por meio de alguns índices de liberdade – ou seja, elementos que modificam, para as personagens e para o leitor, a indeterminação da narrativa –, é o que queremos apresentar.

Why Shakespeare? Irony and Liberalism in Canonization

AbstractWhen scholars consider Shakespeare’s rise and lasting popularity in modern culture, they usually tell us how he assumed his position at the head of the canon but not why. This essay contends that Shakespeare’s elevation in the early nineteenth century resulted from the confluence of his strategy as an author and the political commitments of his canonizers. Specifically, Shakespeare’s ironic mode made his drama uniquely appealing to the political liberals at the forefront of English culture. In their own ways, Shakespeare and his proponents were antiauthoritarian: the literary antiauthoritarianism in his drama (the irony granting audiences the freedom of interpretation) perfectly matched the political antiauthoritarianism (liberalism) advocated by the likes of Adam Smith and John Stuart Mill. Thus it is possible to speak of bardolatry as an allegorical intertext for liberal politics.