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György Kurtág (born 1926)—a master of musical aphorism is probably the most important Hungarian living composer. In relation to the musical form he is widely recognized as the successor of Anton Webern. Kafka-Fragmente op. 24 is a key score in Kurtág’s output, widely regarded as a masterpiece of European music of the last half century. The compositions are broken down into many small parts, and their forms take a very condensed shape. This poses a number of analytical problems for the performer and researcher. Kurtág’s music is very dense, almost calligraphic. Each note means something, has its own justification (although sometimes deeply hidden). Some of the fragments function like Augenmusik, many of them are built on allusions and understatements. The multitude of details present in his works influences the atomization of expression. This results in a kind of “stratification” of musical piece into many, extremely diverse expressive tones. This article tries to define the functioning of Kurtág’s musical expression on selected examples from Kafka-Fragmente op. 24.

The paper proposes a comparative analysis at a formal and compositional level of a series of aphorisms and similar or complementary proverbs. Of the volumes of aphorisms: Discobolus, Stones for my Temple, The Ardor of the Island, Hourglass of the Sand, From the Spirit of the Heresy, the first two are the object of study of this work

Al-Hikam aphorism is a descriptive factual genre in which the patterns of the text structure are distinctive and aesthetic. The structure of the information facilitates the linear pattern to be arranged in any micro manner. The structured information may have various themes (topical, textual, and interpersonal). The aphorisms, which are originally Arabic, have been translated into English. This study investigates the techniques, methods, and ideology of al-Hikam English translation and the impact of the shift in thematic structure on the quality of translation. Using a qualitative design by utilizing Spradley model data analysis modified by Santosa (2021), this study suggests that al-Hikam aphorism translation has the tendency towards the target language with the ideology of domestication as seen from the translation techniques being used. The application of translation techniques also causes the phenomenon of thematic structures shift that affects the quality of translation. Therefore, textual competence must be understood by a translator.

This brilliant outline of Blake's thought and commentary on his poetry comes on the crest of the current interest in Blake, and carries us further towards an understanding of his work than any previous study. Here is a dear and complete solution to the riddles of the longer poems, the so-called \"Prophecies,\" and a demonstration of Blake's insight that will amaze the modern reader. The first section of the book shows how Blake arrived at a theory of knowledge that was also, for him, a theory of religion, of human life and of art, and how this rigorously defined system of ideas found expression in the complicated but consistent symbolism of his poetry. The second and third parts, after indicating the relation of Blake to English literature and the intellectual atmosphere of his own time, explain the meaning of Blake's poems and the significance of their characters.

Mimesis is one of the oldest, most fundamental concepts in Western aesthetics. This book offers a new, searching treatment of its long history at the center of theories of representational art: above all, in the highly influential writings of Plato and Aristotle, but also in later Greco-Roman philosophy and criticism, and subsequently in many areas of aesthetic controversy from the Renaissance to the twentieth century. Combining classical scholarship, philosophical analysis, and the history of ideas--and ranging across discussion of poetry, painting, and music--Stephen Halliwell shows with a wealth of detail how mimesis, at all stages of its evolution, has been a more complex, variable concept than its conventional translation of \"imitation\" can now convey. Far from providing a static model of artistic representation, mimesis has generated many different models of art, encompassing a spectrum of positions from realism to idealism. Under the influence of Platonist and Aristotelian paradigms, mimesis has been a crux of debate between proponents of what Halliwell calls \"world-reflecting\" and \"world-simulating\" theories of representation in both the visual and musico-poetic arts. This debate is about not only the fraught relationship between art and reality but also the psychology and ethics of how we experience and are affected by mimetic art. Moving expertly between ancient and modern traditions, Halliwell contends that the history of mimesis hinges on problems that continue to be of urgent concern for contemporary aesthetics.

Of all the many, mostly female, love deities that populate the polytheistic religions of the world, the most famous are the Roman goddess Venus and her Greek counterpart Aphrodite. Venus has contributed disreputably to the English vocabulary, giving us venery and venereal diseases, while Aphrodite has contributed more fancifully in the form of aphrodisiacs. The word “aphrodisiac” is first recorded in an English text from 1710, Thomas Fuller’s Pharmacopoeia extemporanea, in his description of “An Electuary of Satyrion.” If anyone can identify the plant that was called satyrion, his electuary could be recreated and put to the test in a randomised double-blind clinical trial. Until then we shall have to make do with other traditional aphrodisiacs.