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Journal articles on the topic 'Early Romantic Concerto'

Author: Grafiati

Published: 4 June 2021

Last updated: 14 February 2022

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1

Dashak, Yevhen. "“Romantic Concert” for Piano and Orchestra by Joseph Marx in the Aspect of Aesthetics of Late Romanticism." Scientific herald of Tchaikovsky National Music Academy of Ukraine, no. 130 (May 17, 2021): 69–88. http://dx.doi.org/10.31318/2522-4190.2021.130.231198.

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There is considered the “Romantic Concert” for piano and orchestra in E major (1919) by the Austrian composer, pianist, teacher, theoretician and public figure Joseph Marx (1882–1964). The “Romantic Concert” was included in the repertoire of such pianists as W. Gieseking, J. Bolet, M.-A. Hamelin and D. Lively. The relevance of the study consists not only in the absence in Ukraine publications devoted to the study of the “Romantic Concert”, but also in the need to introduce this work into the creative practice of native performers. The main objective of this study is to explore how

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LOUGHRIDGE, DEIRDRE. "Magnified Vision, Mediated Listening and the ‘Point of Audition’ of Early Romanticism." Eighteenth Century Music 10, no. 2 (2013): 179–211. http://dx.doi.org/10.1017/s1478570613000043.

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ABSTRACTEmploying the term ‘point of audition’ to describe the spatial position musical works imply for their listeners, this article examines the use of technologies for extending the senses to define new points of audition in the late eighteenth and early nineteenth centuries. Popular literature on natural philosophy promoted magnifying instruments as windows onto distant or hidden realms and as tools for acquiring knowledge. On the operatic stage and in writers' metaphorical musings, kindred sensory extensions were imagined for hearing. These contexts connected (magic) mirrors and magnifyin

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Kopeliuk, O. O. "First Piano Concerto by Ivan Karabyts in terms of the renewal of concertо genre in Ukraine". Problems of Interaction Between Arts, Pedagogy and the Theory and Practice of Education 56, № 56 (2020): 8–29. http://dx.doi.org/10.34064/khnum1-56.01.

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Background. The political and cultural movement of the “Sixtiers” in XX century opened wide horizons for Ukrainian composers to search for a new artistic and imaginative sphere, for new means of expressiveness, stylistics, form etc. The aspirations of young Ukrainian composers for concert genre renewal are realized through a rethinking of reality, intellectual and philosophical searching and psychologism in creativity. One of the brightest creative assets of this time is the First Piano Concerto by Ivan Karabyts, the talented Ukrainian composer, the outstanding representative of Ukrainian musi

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Knysh, P. O. "Gender approach in the analysis of performing versions (on the example of F. Chopin’s Second Piano Concerto performed by E. Kissin, C. Arrau, Lang Lang, M. Argerich, B. Davidovich)." Problems of Interaction Between Arts, Pedagogy and the Theory and Practice of Education 56, no. 56 (2020): 189–99. http://dx.doi.org/10.34064/khnum1-56.12.

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Background. The work focuses on studying gender peculiarities of interpretations of the Second Piano Concerto by F. Chopin. Presenting the results of the scientific works that concern the issue of gender peculiarities of performing music, the author comes to the conclusion about lack of research of this question in the field of piano art. While the contemporary social and psychological works of the domain of gender turn to the primary signs of gender differences, embodied still at the point of the earliest stage of personality formation, starting with the very birth of a child (Bendas, T., 200

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Kutluieva, Daria. "Piano quartets by F. Mendelssohn as a phenomenon of the Romantic era." Aspects of Historical Musicology 16, no. 16 (2019): 143–57. http://dx.doi.org/10.34064/khnum2-16.08.

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Background. Nowadays, the typology of the piano quartet is actively studied by the modern scientists. The genesis of this genre is becoming more contentious. As pointed out by L. Tsaregorodtseva (2005), and earlier I. Byaly (1989), a connection of concerts for clavier solo accompanied by a string ensembles and a string quartet form a foundation for a genre of the piano quartet. N. Samoilova (2011) sees the origin of this genre in ensembles with clavier, L. Tsaregorodtseva (2005) &#8210; in the historical and cultural situation of the last third of the 18th century, including the genre (str

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Palić-Jelavić, Rozina. "Mise Ferde Wiesnera Livadića - O 220. obljetnici rođenja i 140. obljetnici skladateljeve smrti." Nova prisutnost XVII, no. 2 (2019): 285. http://dx.doi.org/10.31192/np.17.2.3.

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Through his compositional contributions, Ferdo Wiesner Livadić enriched the Croatian (sacral) musical creativity of the age of Romanticism, realizing – alongside thirty church/sacral »small form« pieces – also one mass in Latin (Missa in C), and one in Croatian, with the title (Missa croatica pastoralis) as well as the titles of its parts/movements in Latin. By observing the autographical scores of the two Livadić’s masses, certain reflections regarding their similarities and differences had resulted; first of all, in terms of textual and language base, composition structure, performers’ ensam

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BIONDI, FABIO. "EDITORIAL." Eighteenth Century Music 15, no. 1 (2018): 5–8. http://dx.doi.org/10.1017/s1478570617000367.

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The revival of early music performed on original instruments has resurrected the role of the violinist-conductor ‘maestro dei concerti’, one historical designation among many describing a conductor equipped with an instrument rather than a baton. Prior to this revival, one rarely saw an orchestra led without a baton, particularly if the orchestra was sizeable. Exceptions included a few historically minded ensembles – here I'd like to mention I Musici of Rome for the baroque repertory and, for a case involving a large symphonic orchestra, the Vienna Philharmonic's 1996 New Year's Eve Concert, a

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Svetlova, Anna. "The poet who failed his best play? Podmiot mówiący w utworach zespołu Nightwish wobec paradygmatu romantycznego." Annales Universitatis Paedagogicae Cracoviensis. Studia de Cultura 3, no. 10 (2018): 72–87. http://dx.doi.org/10.24917/20837275.10.3.6.

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The poet who failed his best play? Speaking subject in the tracks of Nightwish in the face of the romantic paradigm The article gives an insight into the problem of lyrical subject in songs recorded by Nightwish, along with the myth of the damned poet led by the group’s leader, Tuomas Holopainen, and romantic concepts of poetry, love and nature. It raises issues of autobiography and authenticity of artists, as well as the multidisciplinary narrative in rock music led on literary, iconic and musical levels. This text focuses primarily on the early Nightwish songs, the Century Child concept albu

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Glanz, Berit. "Icelandic Nature and Global Evils – Concepts of Nature in Romantic Poetry and Nordic Noir TV Series from Iceland." European Journal of Scandinavian Studies 49, no. 1 (2019): 128–40. http://dx.doi.org/10.1515/ejss-2019-0008.

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Abstract This paper takes concepts from spatial theory and globalization discourse and uses them in order to analyze the narrative function of descriptions of nature in romantic Icelandic poetry from the beginning of the 19th century and an Icelandic TV-Series from 2015. In Iceland’s romantic poetry of the early 19th century, especially in poems written by Bjarni Thorarensen, sublime nature is described as a form of guardian against foreign influences that threaten the way of living on the peripheral island. This romantic concept of Icelandic nature is closely connected to narrative patterns i

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Savoniakaitė, Vida. "A romantic nation: Eduards Volters’ concepts of ethnographical-statistical studies of Lithuania." Prace Kulturoznawcze 25, no. 1 (2021): 107–26. http://dx.doi.org/10.19195/0860-6668.25.1.7.

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The aim of this paper is to show the academic links inherent in the idea of ethnographical-statistical studies of Lithuania conceived by the Latvian ethnographer Eduards Volters (1856–1941). In as early as the end of the nineteenth century, the Latvian linguist and ethnographer was working at the Imperial Russian Geographical Society and was developing ethnographical-statistical studies to determine the “tribal” composition of the population. In an original way the theory integrated the concepts of the history of ideas and ethnographical statistics. In 1930 Volters engaged in the activities of

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DELANEY, JEAN H. "Imagining El Ser Argentino: Cultural Nationalism and Romantic Concepts of Nationhood In Early Twentieth-Century Argentina." Journal of Latin American Studies 34, no. 3 (2002): 625–58. http://dx.doi.org/10.1017/s0022216x0200648x.

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This article reexamines early twentieth-century Argentine cultural nationalism, arguing that the movement's true significance rests in its promotion of a vision of Argentine nationhood that closely resembled the ideal of the folk nation upheld by German romanticism. Drawing from recent theoretical literature on ethnic nationalism, the article examines the political implications of this movement and explores the way in which the vigorous promotion of the ethnocultural vision of argentinidad by cultural nationalists served to detach definitions of Argentine identity from constitutional foundatio

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Kartashova, I. V. "ABOUT CONCEPTS OF PERSONALITY AND ITS RELATIONS TO THE WORLD IN THE THEORETICAL JUDGMENTS OF EARLY ROMANTICS." Science of the Person: Humanitarian Researches 4, no. 34 (2018): 10–15. http://dx.doi.org/10.17238/issn1998-5320.2018.34.10.

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Gorokhov, Aleksandr Aleksandrovich. "Personality as a subject of creation in the concepts of Novalis and F. Schlegel." Философия и культура, no. 5 (May 2020): 35–45. http://dx.doi.org/10.7256/2454-0757.2020.5.32536.

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The subject of this research is the doctrine of personality in philosophy of the early German romanticism. As the main source of establishment of the romantic concept of personality, the author examines I. Kant&rsquo;s doctrine of the genius nature of creation. Detailed analysis is conducted on the artistic-philosophical fragments of Novalis and F. Schlegel, in which the concept of personality as a subject of creation is described most vividly. The article substantiates the fundamental significance of the concept of personality of all elements of the philosophy of romanticism, namely for t

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Shcherbak, N. F., and A. I. Gerus. "Transcendentalism, Network Concepts and American Poetry." Discourse 6, no. 1 (2020): 106–20. http://dx.doi.org/10.32603/2412-8562-2020-6-1-106-120.

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Introduction. The paper aims at describing the philosophy of transcendentalism as viewed by 19th century American philosopher Ralph Emerson, one of its founders and, above all, the direct application of this framework to the contemporary view of network concepts introduced as a state-of the art paradigm of cultural and social development, often viewed as directly applicable to the study of social processes as well as literary texts.Methodology and sources. The chosen methodology includes the structural semantic study of Emerson’s texts and the analysis of the view of contemporary philosophers

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Klendiy, O. M. "Interpretative aspect of C. Saint‑Saëns’s piano music." Problems of Interaction Between Arts, Pedagogy and the Theory and Practice of Education 56, no. 56 (2020): 136–53. http://dx.doi.org/10.34064/khnum1-56.09.

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Background, the objective of the research. From the perspective of interpretative discourse, C. Saint-Sa&#235;ns’s heritage widens the contemporary views of his performance career and explains the nature of his pianoforte mentality. Moreover, an interpretative approach is becoming an important part of its investigation methodology, which makes it possible to state the aim of the paper, which is to determine the priorities of C. Saint-Sa&#235;ns as being an outstanding virtuoso performer of his historical era (what is necessary to understand his artistic mentality). According to the aim

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Kodenko, I. I. "Concepts of Early Music Re-creation in Wanda Landowska’s Work." Aspects of Historical Musicology 17, no. 17 (2019): 261–79. http://dx.doi.org/10.34064/khnum2-17.17.

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Background. The XIX century presented the world with many wonderful musicians, among them there is Wanda Landowska (1879–1959), a researcher of the musical culture of the past. She is considered as one of the founders of the authentic movement in academic musical art, a representative of the first generation of “historical performers” who returned long-forgotten ancient music to their contemporaries. Landowska’s creativity, whose concerts with historical programs in the early XX century enjoyed extreme popularity, was covered in the press of that time, and, after, in special literature, althou

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Dubka, O. S. "Sonata for the trombone of the second half of the 16th – the beginning of the 19th centuries in the context of historical and national traditions of development of the genre." Problems of Interaction Between Arts, Pedagogy and the Theory and Practice of Education 54, no. 54 (2019): 55–70. http://dx.doi.org/10.34064/khnum1-54.04.

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The present article is devoted to the general characteristics of the historical process of the formation of the sonata for the trombone (or with the participation of the trombone) in the European music of the Renaissance – Early Classicism era. A particular attention in the research has been paid to the study of the national stylistic, which was the main driving force in the evolution of the trombone at the level of the chamber instrumental and concert genres. It has been noted that since the time of A. Willaert and A. and J. Gabrieli brothers, the trombone and trombone consorts have been the

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Mits, Oksana. "The genre of the piano miniature in the creative work of M. Moszkowski." Problems of Interaction Between Arts, Pedagogy and the Theory and Practice of Education 50, no. 50 (2018): 136–48. http://dx.doi.org/10.34064/khnum1-50.10.

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Statement of the problem. Recently, there has been growing interest in the personality of the outstanding Polish composer, pianist, teacher and conductor M. Moszkowski (1854–1925), whose creativity occupies a significant place in the history of European musical art of the second half of the nineteenth – early twentieth centuries. The multifaceted composer’s legacy of M. Moszkowski gives a large variety of materials for researchers. His piano creativity, which encompasses composing, performing, teaching and editorial activities, is an outstanding phenomenon in the European musical culture. One

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Leistra-Jones, Karen. "Hans von Bülow and the Confessionalization of Kunstreligion." Journal of Musicology 35, no. 1 (2018): 42–75. http://dx.doi.org/10.1525/jm.2018.35.1.42.

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Hans von Bülow often used pointedly religious rhetoric in his statements about music: “I believe in Bach the Father, Beethoven the Son, and in Brahms the Holy Ghost of music,” he famously proclaimed. Elsewhere, he called Bach’s Well-Tempered Clavier the “Old Testament” and Beethoven’s sonatas the “New Testament” of piano music. Beginning in the 1870s, these types of pronouncements became a central aspect of Bülow’s public image. This occurred as he began to position himself as a Beethoven specialist, with his celebrated edition of Beethoven’s piano sonatas (1871) and his new practice of perfor

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MIRZEYEVA, Gulnar. "AZERBAYCAN BESTECİLERİNİN ESERLERİNDE ETÜD TÜRÜ THE GENRE OF ETUDE IN THE WORKS OF AZERBAIJANI COMPOSERS." IEDSR Association 6, no. 12 (2021): 77–86. http://dx.doi.org/10.46872/pj.270.

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The etude genre is one of the examples characterized by the emergence of different types of music that develop at certain stages of musical art. Although the introduction of studies as an independent genre in musical literature dates back to the XVII-XVIII centuries, its main function in the development of piano art was already present in other musical genres. The next stage in the development of the study genre is related to the work of the Romantic Movement representatives F.Chopin, R.Schumann, F.List. The acquisition of new features of the genre is due to the work of Russian composers. Thus

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21

Gedi, A. "The evolution of B. Bartok’s piano style." Problems of Interaction Between Arts, Pedagogy and the Theory and Practice of Education 57, no. 57 (2020): 45–60. http://dx.doi.org/10.34064/khnum1-57.03.

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Subject actuality. The article highlights the evolution of the compositional style of the Hungarian composer, taking into account the performance component of Bartok as a pianist. Based on existing musicological sources (works by A. Alekseev, B. Sabolcha, S. Sigitov, J. Uyfalushi, I. Martynov, I. Nestev, A. Malinkovskaya) the historical periodization of the general interest in Bartok’s work is indicated. Despite the study of many aspects of his creative activity, the performance of B. Bartok still remains without special analysis. Therefore, the process of studying the work of B. Bartok today

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Sun, NataliiaYuriyivna. "Solo piano compositions by Hsiao Tyzen in the aspect of performing problems." Problems of Interaction Between Arts, Pedagogy and the Theory and Practice of Education 57, no. 57 (2020): 165–77. http://dx.doi.org/10.34064/khnum1-57.10.

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Background. The article is dedicated to the piano work of Hsiao Tyzen (1938–2015) – one of Taiwan’s most famous composers. The solo piano compositions of the musician are considered, which make up a significant part of his compositional heritage: three cycles, united under the general name “Poetic Response” – op. 37 (1974), op. 38 (1975) and op. 40 (1977); “The Amazing Grace” (1984), cycle “Memories of Home” op. 49 (1987), consisting of six plays – “Prelude”, “Memory”, “Playground”, “Ancient Taiwanese Melody”, “Elegy”, “Frolicking”; “Farewell Etude”, Op. 55 (1993), “Toccata”, op. 57 (1995), “D

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Cherniavska, Marianna. "I. B. KRAMER’S PIANO WORK IN THE ASPECT OF INTERRELATION OF PERFORMANCE AND COMPOSITION." Problems of Interaction Between Arts, Pedagogy and the Theory and Practice of Education 58, no. 58 (2021): 96–112. http://dx.doi.org/10.34064/khnum1-58.06.

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Background. The article is devoted to the piano work of the famous English pianist, teacher and composer Johann Baptist Kramer (1771–1858), whose 250th anniversary is celebrated in 2021. I. B. Kramer, like other pianists of the late XVIII – early XIX centuries, tried to solve a significant problem – mastering the basics of composition, its laws, principles, techniques, their combination with the game nature and capabilities of the piano. Objectives. The purpose of the article is to reveal the relationship between performing and compositional means in I. B. Kramer’s piano works. Methods. The ba

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Nisbet, Rachel. "James Joyce's Urban EcoAnarchism // El ecoanarquismo urbano de James Joyce." Ecozon@: European Journal of Literature, Culture and Environment 7, no. 2 (2016): 10–28. http://dx.doi.org/10.37536/ecozona.2016.7.2.860.

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In this paper I contend James Joyce invests Finnegans Wake’s river-woman Anna Livia Plurabelle with the agency to reconnect Dublin’s inhabitants to the environs that resource their urban ecology. In early twentieth-century Dublin, Nature retained the fearsome power of Giambattista Vico’s thunderclap. Regular typhoid outbreaks contributed to increased infant mortality rates in the inner city; and, as Anne Marie D’Arcy observes, the River Liffey delta could not absorb the raw sewerage discharged from the city’s wealthy coastal townships, so this washed upriver, offering the ideal conditions for

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Serdiuk, Ya O. "Chamber music works by Amanda Maier in the context of European Romanticism." Problems of Interaction Between Arts, Pedagogy and the Theory and Practice of Education 56, no. 56 (2020): 121–35. http://dx.doi.org/10.34064/khnum1-56.08.

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Background. The name of Amanda Maier (married – R&#246;ntgen-Maier), the Swedish violinist, composer, pianist, organist, representative of the Leipzig school of composition, contemporary and good friend of С. Schumann, J. Brahms, E. Grieg, is virtually unknown in the post-Soviet space and little mentioned in the works of musicologists from other countries. The composer’s creativity has long been almost completely forgotten, possibly due to both her untimely death (at the age of 41) and thanks to lack of the research interest in the work of women composers over the past century. The latter,

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Aziz, Andrew I. "The Evolution of Chopin’s Sonata Forms." Music Theory Online 21, no. 4 (2015). http://dx.doi.org/10.30535/mto.21.4.1.

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This study examines the evolving use of sonata form by Chopin, with specific focus on the ways that formal innovations in his early sonatas (opp. 4 and 8) and piano concertos (opp. 11 and 21) anticipate formal patterns in his late piano sonatas (Nos. 2 and 3) and the Cello Sonata; in particular, I excavate Chopin’s application of the second theme group (S) as a primary form-defining unit. In doing so, I investigate additional sonata forms by Chopin and Schubert, introduce a new formal function called “resetting of the formal compass” (RFC), and reconsider a recent debate between Hepokoski/Darc

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Kerasidou, Xaroula (Charalampia). "Regressive Augmentation: Investigating Ubicomp’s Romantic Promises." M/C Journal 16, no. 6 (2013). http://dx.doi.org/10.5204/mcj.733.

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Machines that fit the human environment instead of forcing humans to enter theirs will make using a computer as refreshing as taking a walk in the woods. Mark Weiser on ubiquitous computing (21st Century Computer 104) In 2007, a forum entitled HCI 2020: Human Values in a Digital Age sought to address the questions: What will our world be like in 2020? Digital technologies will continue to proliferate, enabling ever more ways of changing how we live. But will such developments improve the quality of life, empower us, and make us feel safer, happier and more connected? Or will living with techno

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McMichael, Anna. "Violin Effects from the Early Nineteenth Century: the Extended Techniques of Pierre Baillot." Nineteenth-Century Music Review, March 11, 2021, 1–22. http://dx.doi.org/10.1017/s147940982000049x.

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Pierre Baillot (1771–1842), an eminent French violinist and pedagogue of the early nineteenth century, offers a surprisingly modern role model to musicians in today's fast-changing world of music. First, Baillot's career foreshadows the resilience and versatility required of entrepreneurial musicians today. Baillot lived in turbulent times through the French Revolution, the Napoleonic years, and restoration of the Bourbon monarchy. His life spanned the transition from Classical to Romantic eras of music and he combined a virtuoso performance career with that of teacher, composer, concert entre

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Urralburu, Marcelo. "Entronizar la nadería: analogía, ironía y metaironía en el ready-made duchampiano según Octavio Paz." Cartaphilus. Revista de investigación y crítica estética 18 (January 13, 2021). http://dx.doi.org/10.6018/cartaphilus.414691.

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En este artículo vamos a desarrollar una serie de conceptos críticos de la obra ensayística de Octavio Paz, concretamente, los de analogía e ironía, de raigambre claramente romántica y simbolista, y el metaironía, conceptualizado específicamente por el autor para explicar un fenómeno estético propio de las vanguardias artísticas. Sin embargo, no nos dedicaremos a todos los artistas que renovaron las formas de creación cultural a principios del siglo XX, sino que nos detendremos en la obra temprana de un figura que interesó especialmente a Octavio Paz: Marcel Duchamp. De esta manera, explicamos

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Bruns, Axel. "Old Players, New Players." M/C Journal 1, no. 5 (1998). http://dx.doi.org/10.5204/mcj.1729.

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If you have a look at the concert schedules around Australia (and elsewhere in the Western world) these days, you could be forgiven for thinking that you've suddenly been transported back in time: there is a procession of old players, playing (mainly) old songs. The Rolling Stones came through a while ago, as did the Eagles, Creedence Clearwater Revival's John Fogerty, and James Brown. Jimmy Page and Robert Plant played updated versions of Led Zeppelin's music, with some new songs strewn in on occasion. The Beach Boys served up a double blast from the past, touring with America ("Horse with No

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Miller, Edward D. "Why Does Love Tear Us Apart?" M/C Journal 5, no. 6 (2002). http://dx.doi.org/10.5204/mcj.2006.

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"Love Will Tear Us Apart" When routine bites hard, And ambitions are low, And resentment rides high, But emotions won't grow, And we're changing our ways, taking different roads. Then love, love will tear us apart, again. Love, love will tear us apart again. Why is the bedroom so cold? You've turned away on your side. Is my timing that flawed? Our respect runs so dry. Yet there's still this appeal that we've kept through our lives But love, love will tear us apart, again. Love, love will tear us apart, again. You cry out in your sleep, All my failings exposed. And there's a taste in my mouth,

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Bowles-Smith, Emily. "Recovering Love’s Fugitive: Elizabeth Wilmot and the Oscillations between the Sexual and Textual Body in a Libertine Woman’s Manuscript Poetry." M/C Journal 11, no. 6 (2008). http://dx.doi.org/10.5204/mcj.73.

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Elizabeth Wilmot, Countess of Rochester, is best known to most modern readers as the woman John Wilmot, Earl of Rochester, abducted and later wed. As Samuel Pepys memorably records in his diary entry for 28 May 1665:Thence to my Lady Sandwich’s, where, to my shame, I had not been a great while before. Here, upon my telling her a story of my Lord Rochester’s running away on Friday night last with Mrs Mallet, the great beauty and fortune of the North, who had supped at Whitehall with Mrs Stewart, and was going home to her lodgings with her grandfather, my Lord Haly, by coach; and was at Charing

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McCosker, Anthony, and Rowan Wilken. "Café Space, Communication, Creativity, and Materialism." M/C Journal 15, no. 2 (2012). http://dx.doi.org/10.5204/mcj.459.

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IntroductionCoffee, as a stimulant, and the spaces in which it is has been consumed, have long played a vital role in fostering communication, creativity, and sociality. This article explores the interrelationship of café space, communication, creativity, and materialism. In developing these themes, this article is structured in two parts. The first looks back to the coffee houses of the seventeenth and eighteenth centuries to give a historical context to the contemporary role of the café as a key site of creativity through its facilitation of social interaction, communication and information

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Dawson, Andrew. "Reality to Dream: Western Pop in Eastern Avant-Garde (Re-)Presentations of Socialism's End – the Case of Laibach." M/C Journal 21, no. 5 (2018). http://dx.doi.org/10.5204/mcj.1478.

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Introduction: Socialism – from Eternal Reality to Passing DreamThe Year of Revolutions in 1989 presaged the end of the Cold War. For many people, it must have felt like the end of the Twentieth Century, and the 1990s a period of waiting for the Millennium. However, the 1990s was, in fact, a period of profound transformation in the post-Socialist world.In early representations of Socialism’s end, a dominant narrative was that of collapse. Dramatic events, such as the dismantling of the Berlin Wall in Germany enabled representation of the end as an unexpected moment. Senses of unexpectedness res

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Stewart, Jonathan. "If I Had Possession over Judgment Day: Augmenting Robert Johnson." M/C Journal 16, no. 6 (2013). http://dx.doi.org/10.5204/mcj.715.

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augmentvb [ɔːgˈmɛnt]1. to make or become greater in number, amount, strength, etc.; increase2. Music: to increase (a major or perfect interval) by a semitone (Collins English Dictionary 107) Almost everything associated with Robert Johnson has been subject to some form of augmentation. His talent as a musician and songwriter has been embroidered by myth-making. Johnson’s few remaining artefacts—his photographic images, his grave site, other physical records of his existence—have attained the status of reliquary. Even the integrity of his forty-two surviving recordings is now challenged by audi

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Marsh, Victor. "The Evolution of a Meme Cluster: A Personal Account of a Countercultural Odyssey through The Age of Aquarius." M/C Journal 17, no. 6 (2014). http://dx.doi.org/10.5204/mcj.888.

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Introduction The first “Aquarius Festival” came together in Canberra, at the Australian National University, in the autumn of 1971 and was reprised in 1973 in the small rural town of Nimbin, in northern New South Wales. Both events reflected the Zeitgeist in what was, in some ways, an inchoate expression of the so-called “counterculture” (Roszak). Rather than attempting to analyse the counterculture as a discrete movement with a definable history, I enlist the theory of cultural memes to read the counter culture as a Dawkinsian cluster meme, with this paper offered as “testimonio”, a form of q

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Brennan, Joseph. "Slash Manips: Remixing Popular Media with Gay Pornography." M/C Journal 16, no. 4 (2013). http://dx.doi.org/10.5204/mcj.677.

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A slash manip is a photo remix that montages visual signs from popular media with those from gay pornography, creating a new cultural artefact. Slash (see Russ) is a fannish practice that homoeroticises the bonds between male media characters and personalities—female pairings are categorised separately as ‘femslash’. Slash has been defined almost exclusively as a female practice. While fandom is indeed “women-centred” (Bury 2), such definitions have a tendency to exclude male contributions. Remix has been well acknowledged in discussions on slash, most notably video remix in relation to slash

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Rodriguez, Mario George. "“Long Gone Hippies in the Desert”: Counterculture and “Radical Self-Reliance” at Burning Man." M/C Journal 17, no. 6 (2014). http://dx.doi.org/10.5204/mcj.909.

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Introduction Burning Man (BM) is a festival of art and music that materialises for one week each year in the Nevada desert. It is considered by many to be the world’s largest countercultural event. But what is BM, really? With record attendance of 69,613 in 2013 (Griffith) (the original event in 1986 had twenty), and recent event themes that have engaged with mainstream political themes such as “Green Man” (2007) and “American Dream” (2008), can BM still be considered countercultural? Was it ever? In the first part of this article, we define counterculture as a subculture that originates in th

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