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Kulturowe uwarunkowania przywództwa politycznego w Chinach kontynentalnych — przykład konfucjanizmu

100%
Smolik B.
Wrocławskie Studia Politologiczne
|
2011
|
vol. 12
227-247
EN
This article describes a cultural specificity of China, influencing the Chinese perception of political relations and that type of political leadership. In case of China, what matters is a much greater human dependence on the natural environment and on other people than in the European countries. The traditional cult of the ancestors has had a huge impact on the attitude of the present generation towards the political leadership. In the past Confucianism made the relations between the emperor and the subjects resemble those in the family. This article details such basic Confucian virtues as: ren and li, it also explains the concept of the emperors as “the Sons of Heaven’’ and the “Mandate of Heaven’’ associated with it. Even today the Chinese society is fond of these concepts. The concept of Confucian harmony (he), understood as a reconciliation and unification of the opposites, still present in the political life of the continental China, was also described. From the point of view of the author, the present glorification of the higher level of education as a road to career constitutes a combination of the requirements of the modernity with the tradition of the Confucian meritocracy.
2

AKTUÁLNE INŠPIRÁCIE EKOLOGICKÝMI PODNETMI Z MYSLENIA HILDEGARDY Z BINGENU

86%
Volek P.
Verba Theologica. Teologický časopis
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2022
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vol. 21
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issue 2
73 - 87
EN
This article looks at the inspiration from the ideas of Hildegard of Bingen to change people's behaviour to solve the current ecological crisis. This topic is very actual, it was also addressed by Pope Francis in the encyclical Laudato Si’. Hildegard of Bingen based her works on the visions she had. According to her, the world was created in harmony and in the fullness of life, which manifested itself in nature as greenness (viriditas). It was violated by the first sin of Adam. Jesus’ redemptive work restored this harmony. Every person can restore harmony in nature by striving for a virtuous life, by sins and vices he moves away from it and thereby causes spiritual decline in the soul. It also contributes to the destruction of greenness in nature and the increase in dryness (ariditas). Hildegard of Bingen recommends abandoning extreme anthropocentrism in the relation to the nature and obedience to God. Compared to the encyclical of Pope Francis Laudato Si’, Hildegard considers the cause of dryness and ecological damage not only ecological sins, but all sins, because human actions affect all things all things that are interconnected.
3
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MODALITY IN POLYPHONY AND THE TRANSFORMATIONS OF THE SOUND TECHNIQUE IN THE MUSIC OF THE MIDDLE AGES AND RENAISSANCE IN THE LIGHT OF 'HISTORIA HARMONII I KONTRAPUNKTU' BY JÓZEF M. CHOMINSKI

86%
Dobrzanska-Fabianska Z.
Muzyka
|
2006
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vol. 51
|
issue 1-2
7-31
EN
The article examines the views of Professor Józef M. Chominski, expounded in the first two volumes of his monumental 'Historia harmonii i kontrapunktu' (A History of Harmony and Counterpoint), written over fifty years ago. The purpose of the article is to define the relationship between Chominski's methodological assumptions and views on the development of sound technique (tonality), and the German musicological tradition (represented by, among others, G. Adler and H. Riemann). Particular attention is paid to the issues of (1) Chominski's understanding of the categories of 'tonality' and 'modality' in polyphony from the ninth to the fourteenth century, (2) his interpretation of features of modality and its role in the shaping of polyphony, and (3) the transformations in the language of sound in the music of the Middle Ages and the Renaissance. Since Chominski's interpretation of the term 'tonality' approximates to the meaning of 'sound technique', he relates this category to resources of pitch and scale, and clearly associates it with the vertical dimension of polyphony; in a particular sense, he identifies it with functional tonality. By regarding modal scales as the substratum of the ordering of sounds in a composition, Chominski recognizes 'modality' as a kind of tonality; at the same time, by describing 'modality' as a (purely diatonic) system, he contrasts it with the system of functional tonality. He ascribes to modality the status of a factor which orders the horizontal and vertical dimensions of polyphony from the ninth to the sixteenth century, comparable to the role played by the major-minor harmonic tonality in the shaping of homophonic music of the seventeenth to the nineteenth century. Chominski presents the process of change in the sound technique in polyphonic music of the Middle Ages and the Renaissance as a long-term, complicated and multithreaded process, close in a general sense to the universal interpretation of the development of harmonic tonality proposed by C.Dahlhaus.
4
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ANOTHER LOOK AT JARED S. MOORE’S COMPREHENSIVE VIEW OF BEAUTY

86%
Focosi F., Corvino P. F.
ESPES
|
2023
|
vol. 12
|
issue 2
45 - 59
EN
According to what is known as the classic theory, beauty can be defined as unity or formal harmony. To overcome some of the criticisms that it encountered, the American philosopher Jared S. Moore proposed, in his paper from 1942, a modernisation of such theory, by distinguishing various types and subtypes of harmony which, taken together, are intended to cover both the objective and the subjective sides of beauty. Our goal is to look closer to some of the main principles that emerge within Moore’s intricate taxonomy of harmony – most notably, the principles of organic unity, fittingness, and empathy – which in his article are only sketched or implicitly suggested. Employing such supplementations, we hope to make J.S. Moore’s comprehensive view of beauty even more complete from a theoretical standpoint and suitable to face the challenge posed by the modernist and postmodern artistic practices, which seemingly undermined the notions of beauty and formal harmony.
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