Search results

One of the standard practices of Communist Parties around the world is to employ art, including music, as a channel to spread political ideologies. This study aims to scrutinize the reception of Beethoven's music, particularly from a political viewpoint, by the Chinese Communist Party (CCP) in the People's Republic of China (PRC) during the early years of its rule, i.e. from 1949–1959. The ambiguity of Beethoven's own political outlook may have provided an opportunity for the CCP to choose the composer and his music in support of its aims.

To understand why and how the CCP could exploit Beethoven and his music to support its political ideologies, a series of Chinese writings on Beethoven between 1949 and 1959 have been studied. Those literatures not only helped the composer gain reputation and popularity in the PRC, but also provided a platform for the CCP to manipulate such candidate and his music. Finally, the reception of the performances of the Ninth Symphony in 1959 in the PRC is singled out for close examination.

During the first ten years of the establishment of the PRC, the quantity and quality of the articles on Beethoven expanded considerably. These writings continued to reflect the reception of Beethoven and his music with the addition of political nuances that could be interpreted in the CCP's favour.

This paper seeks to examine the PRC's artistic policies, with a particular emphasis on the reception of Beethoven and western classical music.

The purpose of this article is to examine the similarities between creative business leadership and successful artists and to illustrate how the label “outside artist” is a romantic myth.

Making use of four cases in classical music history, this study analyzes how a quartet of musical artists negotiated their space inside highly organized and changing environments.

Many qualities exhibited by musical artists are similar to those required of successful organizational managers. One of the reasons that insider artistry is a complex phenomenon is that socio-organizational conditions are not fixed, they change. Therefore, each new generation of artists has to invent new strategies to get the job done.

Understanding the nature of these similar qualities will help clarify the issue of making art work inside organizations and dispel erroneous assumptions about the role of artists in these organizations.

This article will contribute to the practical as well as the philosophical conversation about the place of artists inside successful organizations in society.

Map of this detour: This is one of a series of detours compelled by consideration of inheritance law as an aspect of cultural transmission. ¹ This course draws attention to three problematic time forms (temporalities) through which the “self” and its relations with history are often written and read. These implicit time forms are all too common and all too easily go unrecognized. Each involves the illusion of some kind of exalted and immediate convergence between the self (the subject) and an object of exaggerated importance to this self (the world, the universe, the metaphysical or artistic beyond, the origin, etc.). Three figures are explored here: that of Hercules in Hegel’s Aesthetics, and those of Adrian and Breisacher in Thomas Mann’s Doctor Faustus. Each of these invites attention to a different temporality through which an exalted convergence may be imagined: the first involves a fantasy of immediate belonging to the whole of history, the second, that of escape forward from history (toward a self-created “ultimate” object), and the third, that of return to fullness in origin (before history). This detour also suggests ways of reading history (including “reading for mana through glances,” which will be explained) that protect against the problems just described. The detour closes considering implications of all of the above for U.S. inheritance law. The tutor text for this last leg is François Mauriac’s Le noeud de vipères.

Biographical data, including authorized name information, adds depth, richness and retrievability to bibliographic records and archival finding aids. The use of encoded archival description (EAD) has enabled the description of archival collections in fine detail. EAD allows for biographical information to be coded directly into finding aids in several ways. However the process is time consuming and may result in duplication of effort and inconsistency. This article presents the Nomen XML DTD for biographical data, and puts forth the idea that its use could simplify and enhance the encoding of biographical data in EAD. The Nomen DTD provides a record structure for encoding the authorized name, variant names and biographical details of a person or a group being associated with informational items as subjects or creators. The structure of the Nomen DTD is described in relation to the MARC21 name authority format followed by a discussion of how it may be used as a means to create an authority file for EAD biographical data encoding and linking.

This work addresses what Michael E. Brown calls the immanence of sociality to individuality. It does so by focusing on the essentially social nature of human consciousness. I explore Durkheim’s analysis of human consciousness, beginning with totemism and concluding with his analysis of German consciousness at the time of World War I. I do so in order to provide some insight into the rise and nature of political movements, with a focus on extreme right wing political groups and leaders today as well as the spirit of the French Revolution in European and American history. With reference to Marx’s early writings on consciousness, spiritual nourishment, and the fettering of forces of production and his later writings on the critical significance of fetishism, and the role of “fictitious” capital, I conclude by claiming that bringing together the insights of Durkheim, Marx, and Spinoza can provide a way to analyze and address the interlocking social, political, economic, and cultural crises of today.

This preliminary study aims to investigate and describe aggression-supportive normative beliefs among patients of a high-secure hospital.

Therapy data from a sample of high-secure forensic hospital patients (N = 11) who had participated in Life Minus Violence-Enhanced, a long-term violence therapy, was examined using interpretative phenomenological analysis (IPA). During therapy, cognitions linked to past incidences of aggression were explored using aggression choice chains.

IPA was applied to data generated through this process to examine the presence and nature of normative beliefs reported, identifying seven themes: rules for aggressive behaviour; use of violence to obtain revenge; processing emotions with violence; surviving in a threatening world; do not become a victim; using violence to maintain status; and prosocial beliefs.

Findings demonstrate that forensic patients have specific aggression-supportive normative beliefs, which may be malleable. Limitations and implications are discussed.