Zu Brahms’ Intermezzo a-Moll op. 118/1 werden auf Grundlage der Theorie Heinrich Schenkers drei Deutungen, die als Urlinie einen Terzzug postulieren (Lamb, Leekam und Barcaba) zwei Deutungen ...gegenübergestellt, die als Urlinie einem Quintzug den Vorzug geben (Schenkers und Eybl). Im Anschluss ergehen Vorschläge für die klangliche Realisierung am Instrument. Abschließend werden einige Aspekte diskutiert, die für die Wahl der einen oder anderen Deutung sprechen.
Im ersten Teil des Beitrags wird ausgehend von der Diskussion diverser Instantiierungen und Verknüpfungen satztechnischer Modelle in Johannes Brahms’ Intermezzo h-Moll op. 119/1 eine teilweise ...Rekomposition des Originals vollführt. Der Vergleich zeigt, dass herkömmliche Formen musikalischen Zusammenhangs bei Brahms nicht einfach in die Latenz zurücktreten, sondern durch andere ersetzt werden. Eine Beschäftigung mit Beiträgen der Schenkeranalytik und die Verknüpfung von Überlegungen Moritz Hauptmanns zur Darstellung der Tonart mit der ›Theorie der Tonfelder‹ nach Albert Simon und Bernhard Haas führen im zweiten Teil zum Postulat einer post-schenkerianischen Ursatzform. Auf dieser Grundlage folgt im abschließenden dritten Teil eine Schichtenanalyse der gesamten Komposition.
This brief outline of fish genomics will concentrate on some general genome features, as investigated in our laboratory using a “compositional approach”. In the first phase (1976–1991) the main ...experimental tool was density gradient ultracentrifugation, both analytical and preparative. This led to a number of conclusions that were very relevant as far as the genome structure and evolution of vertebrates are concerned. After an intermezzo (1991–2001) in which investigations started to take advantage of the short but increasing supply of nucleotide sequences, a second phase (2001–present) developed on the basis of completely sequenced fish genomes. This led us to the current level of knowledge and to further insights.
El tema de este ensayo es el "pobre diablo". Un tipo especifico, además: el pobre diablo literario. La obra de Bolano, y en especial Los detectives salvajes, contiene un numeroso repertorio de ..."pobres diablos". El "pobre diablo" es lo que no tiene peso, lo que no puede fijarse ni asentarse bien en una tradition literaria. Es, de cierta manera, lo opuesto a la memoria: lo que no se recuerda, lo que vive en el olvido permanente. Su figura, además, puede servir como instrumento metodologico: podemos utilizarla para adentrarnos en el funcionamiento de una tradicion literaria (en el caso de Bolano, de la cultura literaria latinoamericana del siglo XX). De ahi, precisamente, su valor como categoria crîtica. El "pobre diablo" se inscribe en la frontera entre lo visible y lo invisible, lo válido y lo inválido: senala todo aquello que una cultura literaria busca separar o "invisibilizar". De muchas maneras, funciona como un borde que sirve para trazar las lineas divisorias dentro de una cultura literaria, para marcar sus tiempos, sus niveles y también sus contradicciones. The topic of this essay is "the poor devil," specifically a literary version of that type. Bolano's work, especially The Savage Detectives, presents an extensive repertoire of "poor devils," characters who have no importance, or who cannot be set or fit well into a literary tradition. In a way it is the opposite of memory: that which is not remembered and lives permanently in obscurity. Nevertheless, this figure can also serve as a methodological tool to thoroughly study a literary tradition, Latin American literary culture of the 20th century in Bolano's case, and thus its value as a critical category. The poor devil resides in the border between the visible and the invisible, the valid and the worthless, standing for all that a literary culture wants to dismiss o "make invisible." In many ways the poor devil functions as a border that draws limits within a literary culture, to mark its times, levels, and also its contradictions.
Workforce mobility and cultural diversity within contemporary international organizations pose unique challenges for managers and HR professionals. Overcoming the challenges of developing and ...training such a workforce requires the ability to bridge diverse working, learning and communication styles.
In contrast with conventional organizational approaches to international HRD, International Human Resource Development: A Leadership Perspective explores workforce development from a personal perspective, challenging practitioners to develop their own leadership, learning and communication skills. As a point of departure, the book uses a demographic analysis of the workforces of a number of key countries in order to examine cultural implications for training and development, and for best practice.
Drawing on a unique anthropological perspective and complete with case studies, exercises and an extensive glossary this text will prove an important resource for students of human resource development, human resource management and international business.
'This timely and original book addresses issues of international complexity and workplace diversity. Relevant materials from a broad range of disciplines, visual presentations, the charts and graphs, the interesting and diverse cases, the classroom- tested exercises, will facilitate both learning and teaching.' Erika Bourguignon, Emeritus Professor of Anthropology, Ohio State University, USA.
1. Breaking the Code 2. The Limitations of Language 3. Recognizing the Others are Us: Demographic Trends in Countries around the World 4. Learning: One Size Does Not Fit All 5. Intermezzo: The Changing Face of Management 6. Management’s New Face 7. Building Learning Organizations through Learning Landscapes 8. Best Practices in IHRD 9. Communication Design Issues of the Future 10. The Future of IHRD
Elaine S. Potoker is a Professor in the Loeb-Sullivan School of International Business and Logistics at Maine Maritime Academy, USA. She has extensive experience as a practitioner in international business and cross-cultural management and training. Her research focuses on management across cultures, workforce development, international management, and marketing.
이 논문은 복잡하게 얽혀있는 요한계시록 구조를 밝히는 것이다. 이를 위해서 이 논문은 요한계시록 본문에 있는 주요 구성요소들의 의미관계를 탐구할 것이다. 요한계시록은 머리말(1:1-8)과 꼬리말(22:6-21), 그리고 본말(1:9-22:5)로 이루어져 있는데, 본말은 다시 세 부분(1:9-3:22; 4:1-19:10; 19:11-22:5)으로 나눌 수 ...있다. 각 부분은 “예수 그리스도의 계시”(1:1)라는 틀에 근거하여 전개된다. 1) 1:9-3:22에서는 그 분은 일곱 금 촛대(교회) 사이에 계시는 인자 같으신 분이시다. 그 분은 7교회에 현 상황, 해결책과 약속을 말씀하신다. 2) 4:1-19:10에서 그 분은 하늘에서 어린양이시다. 그 분만이 보좌에 앉으신 이의 손에 있는 책을 펴서 7인들을 뗄 수 있으시다. 7인 이후에 7나팔과 7대접이 연이어 나온다. 7인-7나팔-7대접에는 막간극들이 있다. 3) 19:11-22:5에서는 그 분은 하늘에서 백마 탄 자로 등장하셔서, 모든 이들을 심판하신다. 모든 이들의 최후 목적지는 불못이나 새 하늘과 새 땅이다.
The purpose of this article is to reveal the intricately interwoven structure of Revelation. To this end, this paper will explore the semantic relationship of the major components in the texts of Revelation. The book of Revelation consists of the prologue (1:1-8), epilogue (22:6-21) and the body (1:9-22:5). The body is divided into three parts (1:9-3:22; 4:1-19:10; 19:11-22:5). Each part is developed in the frame of the “revelation of Jesus Christ” (1:1). 1) In 1:9-3:22, He is like the Son of Man in the midst of the seven golden lampstands (churches). He tells the seven churches about the present sit-uation, remedies and promises. 2) In 4:1-19:10, He is the Lamb in heaven. He alone can open the scroll in the hand of the one sitting on the throne, and break its seven seals. Seven seals are followed by seven trumpets and seven bowls. There are intermezzi among 7 seals, trumpets, and bowls. 3) In 19:11-22:5, He appears as the one sitting on a white horse, and judges everyone. The ultimate destination for all is the lake of fire, or the new heaven and the new earth.
A screenplay, being a new and objectively separate form of the modern art and at the same time a new type of text, takes an autonomous niche in the literary canon. Though and nowadays too little ...scientific attention is paid to the script legacy of one writer/scenarist/artist or another. Normally screenplays are incorporated into the complete works of a writer on the rights of addendum to the main body of texts as merely a minor work in spite of the fact that a screenplay can be written more masterly than its film interpretation. If it comes to an editor or a scenarist who did not manifest themselves actively on the field of literature then their texts can be found at best in collections of screenplays or in archives in typewritten form albeit the texts as separate creations can appear really valuable from the aesthetic standpoint. Even more complicated situation is with a screenplay-interpretation of a literary text: first of all because of uncertainty of the status it does not just stay on peripheries of the genre hierarchy but is ignored as a text. A scenarist-adapter in such a case appears not quite an original author of his text: he does not bear full responsibility for his creation as the aesthetic value of adaptation on the one hand depends on quality of the original and on the other hand on competence of the screenplay's reader (the whole film crew), capable of noticing, evaluating and accepting the scenarist's version. Hence the reference to the literature classics, proven by the receptive environment and by time, argues “the technology” of creation of an original film model. Thus the minor status of the text-intermediary must not necessarily evidence of the minor quality. The more original are properties of a literary primary source, the greater unbalancing of them creates the screen adaptation, the bigger creative talent is needed to strike a new balance, may be not the same but equivalent in artistic value to the previous one. In line with the defined vector the original minority demonstrates itself on the example of the screenplay “Intermezzo” (1970) by Serhii Parajanov based on the text of the same name of Mykhailo Kotsiubynsky.
Tonfelder sind Typen des musikalischen Zusammenhangs, die durch einzelne Kompositionen instantiiert werden. Sie analytisch zu zeigen, heißt immer auch, den jeweils singulären Bedingungen ...nachzuspüren, unter denen sie stehen. Tonfelder zeigen sich bei Brahms indirekt: Rhythmische Verschiebungen von Tönen, die zu traditionellen Strukturen gehören, lassen ›sekundär‹ neue Tonverbindungen hören. Dem gegenüber lassen sich die Tonfelder bei Debussy als ›primäre‹ Erscheinungen verstehen. Zwischen den Quintenreihen, die das Satzganze artikulieren, und den übrigen Tonfeldern, die den Kontrast schaffen, bestehen vielfältige Beziehungen, die vor allem dann deutlich werden, wenn man die Tonfelder als Skalen notiert. Schließlich wird gezeigt, dass die Analyse nach Tonfeldern auch bei Stockhausen zu einem schlüssigen Ergebnis führt, wenn man anerkennt, dass die sogenannte ›serielle Technik‹ als Voraussetzung zur Artikulation von Tonfeldern dienen kann.
It is not widely known that Dimitri Mitropoulos first public appearances in Greece were as a composer. His early works (ca. 1912-1924), distinguished by the blend of elements of the late-romantic ...style with intensely impressionistic references, reflect the search for a personal, 'advanced' harmonic musical language. In his works written after 1924, Mitropoulos abandons tonality and adopts more modern idioms of composition (atonality and 12-tone method). He is the first Greek composer to follow the modern musical tendencies of Europe, when music by Manolis Kalomiris and the other composers of the Greek National School was dominant in Greece.
Malo je poznato da je Dimitri Mitropulos (1896-1960) svoja prva javna istupanja u Grckoj ostvario kao kompozitor. Njegova rana dela (oko 1912-1924), koja se odlikuju kombinovanjem poznoromanticarskih i impresionistickih stilskih elemenata, ukazuju na kontinuitet mladalackog traganja za licnim, 'naprednim' harmonskim jezikom. U ostvarenjima posle 1924, autor napusta tonalnost i usvaja mnogo moderniji kompozicioni jezik (atonalnost i dodekafoniju). Sledeci liniju neoklasicizma, Mitropulos se inspirase muzickim formama minulih vremena (pasakalja, invencija, fuga sonata itd). Ipak, ne prepusta se pasivno njihovim zakonitostima. On rado prihvata revolucionarne kompozicione tenedencije svoga doba i primenjuje ih u ka- snim delima. Zalazi u podrucje atonalnosti, ali ne odustaje od tradicionalnih tonaliteta. U vecini dela koristi atonalnost, pa cak i metode dodekafonskog komponovanja, svesno nastojeci da poveze staro sa novim, odnosno da dodje do kreativnog spoja kompozicione tehnike svog vremena i blize i dalje proslosti. Medju ostvarenjima nastalim izmedju 1924. i 1928, tri dela su sagledana kao najznacajnija: Passacaglia, Intermezzo e Fuga (prva atonalna kompozicija), Ostinata za violinu i klavir (prvo dodekafonsko delo) i Concerto Grosso (poslednje delo ovog perioda koje u potpunosti svedoci o postizanju licnog stvaralackog izraza). Uprkos intelektualnoj privlacnosti neoklasicnih principa, koja je delovala na Mitropulosa, sva tri ostvarenja ukazuju na kompozitorovu unutrasnju borbu sa romanticarskom izrazito emocionalnom prirodom. Kada se obracao delima 'apsolutne muzike', za njega su neoklasicni elementi predstavljali svojevrsno sredstvo 'samozastite' od nekontrolisanih stvaralackih izliva sopstvene romanticarske prirode.
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