How to become aware of its contemporaneousness without sacralizing it?
|
|
Elizabeth Gaskell is insistent about the contemporaneousness of her 1854 narrative.
|
|
The value of firsthand observations, chosen from the sources with care, compensates, however, for his lack of originality and contemporaneousness.
|
|
And so on and on, to an infinity of modulations on this endless impasse that makes up artistic modernity and contemporaneousness.
|
|
Thus subjective, chronological and historical time flow together, by giving rise to more or less conscious phenomena of contemporaneousness of the uncontemporary.
|
|
Joe's condition, the seriousness of the wound, the relatively contemporaneousness of the statements and the dominance of the event all lead me to that conclusion.
|
|
Such contemporaneousness contributes to the poignancy of the production, which is directed by Joe Grifasi with schoolboy relish and designed by Cyrus E. Newitt with the makeshift ingenuity of a dinner made of leftovers.
|
|
Graham-Leigh, 31.Siberry, 160, who believes that Augier blames the Crusaders for the murder. It has been described as a "funeral oration", but its contemporaneousness with the death of Raymond Roger has been called into question recently. It was probably written at a much later date.
|
|
" Cynthia Citron of Curtain Up said: "With just a minimal amount of furniture and Meghan Hong's effective lighting design, the production bounces along with a fast-paced contemporaneousness. Director Warren Davis leads these seasoned professionals through the ramifications of a felony committed by a child and to the consequences for all involved. It's a gripping story told by a superb cast, and well worth a visit." Daryl Miller of the Los Angeles Times called the script, "Well-intended...", stating: "The story is complicated by layer upon layer of social, economic and ethnic detail.
|
|
This attractive location was first inhabited in about 6,000 B.C. at the time of the first farmers, and more or less it was inhabited intensively through the whole of prehistory. The period between 3,350 – 2,300 B.C. was the most intensive period of its existence and in that period it was undoubtedly the most significant European centre. Since this was also the time of the early settlements of Troy (Troy I and II) many analogies can also be found with the archaeological material from Vučedol. More precisely, we can also characterise Vučedol as the European Troy by its contemporaneousness, but even more so by the continental significance of the site and its finds.
|
|
While G. Vernadsky's writings about the historical past were based upon solid archive sources, his flight from Russia separated him from original materials of the latest periods. Thus, some critics of early editions were doubtful about certain figures and estimates he made for contemporaneousness, pointing out that some of them were rather a guess than hard evidence. After a new, edition of A History of Russia appeared in 1930, S.B.Clough from Columbia University reviewed it in Annals of the American Academy of Political and Social Science: :Most serious criticism of the book seems justified by the discussion of the Soviet period. Professor Vernadsky is a Russian refugee and has not been able to throw off an anti-Bolshevik bias.
|
|
Peričić states that Ristić's Bagatelles are "humorous, of clear formal structure, and transparent sound," and labels the composer "a master of neoclassic expression," to whose works are attributed "gaiety, lyricism, and amiable humor," but always "rationally controlled" (Peričić 1969, 471-72). Evoking his Second symphony's Scherzo, Ristić in Bagatelles utilizes 5/8 meter, thus "implying folklore," but also includes a very important modernist epithet which by its "unusual harmonies" speaks about the composer's "individuality" and "contemporaneousness" (Peričić 1969, 472). The published reviews of Ristić's works at the time of their performances reinforce "the closeness with the man of our reality," "the results yielded by the synthesis of talent, healthy life outlook, and studious, hard work," and a "sound orchestral style in our music" (Bergamo 1977, 80).
|
|
The language "contemporaneousness" however, is not unambiguous since it does not pertain to dodecaphony or tonal means, while at the same time both the procedures with twelve tones and clear "tonal" centers exist in the work. Here, Ristić also demonstrated his contrapuntal and orchestration skills, though without indication of communicating an extra musical narrative. This composition does not contain a "strict, determined program," but, as Peričić states "it operates by its sole musical content." The "non-discursive" trait of this symphony is emphasized by its traditional four-movement formal plan: Allegro moderato—Vivace, Come una Marcia funebre, Tempo I—Andante mosso— Allegro assai, in which individual movements follow the sonata form (first and fourth movements), and binary—ternary architectural patterns (second and third movements).
|
|
The Templar House The Templar House in Toledo, in Castile-La Mancha, Spain, was built and decorated between the years 1085 and 1114, belonging to this period the general structure, typically Al-Andalusian, supported by the vaults of the basement and organized around the courtyard. The strict contemporaneousness existing between this monument of Toledo, the Aljafería palace of Zaragoza (1046–1082), and the roofing of the church of San Millán of Segovia (cut and put on around 1110) is shown by the fact that the large majority of the construction elements for the roofs and ornamental designs are practically the same on all three buildings. Various sources agree that the property was once owned by the Knights Templar, and it is said that it was used as a guest house in the 14th century.
|
|