Andreas Herberg-Rothe
- Published in print:
- 2007
- Published Online:
- May 2007
- ISBN:
- 9780199202690
- eISBN:
- 9780191707834
- Item type:
- book
- Publisher:
- Oxford University Press
- DOI:
- 10.1093/acprof:oso/9780199202690.001.0001
- Subject:
- Political Science, International Relations and Politics
This book argues that Clausewitz developed a wide-ranging political theory of war by reflecting not only on the success, but also on the limitations and the failure of Napoleon's method of waging ...
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This book argues that Clausewitz developed a wide-ranging political theory of war by reflecting not only on the success, but also on the limitations and the failure of Napoleon's method of waging war. Successes, failures, and defeats of Napoleon forced Clausewitz to reflect on questions that went beyond purely military matters and led him to develop a political theory of war. Analyses of three paradigmatic campaigns — which are symbolized by Jena, Moscow, and Waterloo — are placed at the center of understanding surrounding Clausewitz's On War and it's inherent problems, like the relation of absolute and real war, theory and practice, the primacy of politics, the enigma of the first chapter, and the dialectics of attack and defense. Clausewitz's analysis of these war campaigns are the cornerstones of On War and redounded to the ‘wondrous trinity’, which is the basis for a general theory of war and which is quite different from the so-called trinitarian war.Less
This book argues that Clausewitz developed a wide-ranging political theory of war by reflecting not only on the success, but also on the limitations and the failure of Napoleon's method of waging war. Successes, failures, and defeats of Napoleon forced Clausewitz to reflect on questions that went beyond purely military matters and led him to develop a political theory of war. Analyses of three paradigmatic campaigns — which are symbolized by Jena, Moscow, and Waterloo — are placed at the center of understanding surrounding Clausewitz's On War and it's inherent problems, like the relation of absolute and real war, theory and practice, the primacy of politics, the enigma of the first chapter, and the dialectics of attack and defense. Clausewitz's analysis of these war campaigns are the cornerstones of On War and redounded to the ‘wondrous trinity’, which is the basis for a general theory of war and which is quite different from the so-called trinitarian war.
Jee Yeon Ryu
- Published in print:
- 2014
- Published Online:
- May 2014
- ISBN:
- 9780199936182
- eISBN:
- 9780199361304
- Item type:
- chapter
- Publisher:
- Oxford University Press
- DOI:
- 10.1093/acprof:oso/9780199936182.003.0004
- Subject:
- Music, Theory, Analysis, Composition, History, Western
For Beethoven and Bartók, the employment of contrast became a major part of their stylistic and structural vocabulary in the works of their middle and late periods. In Beethoven's Piano Sonata Op.101 ...
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For Beethoven and Bartók, the employment of contrast became a major part of their stylistic and structural vocabulary in the works of their middle and late periods. In Beethoven's Piano Sonata Op.101 and Bartók's Third String Quartet, the pairing of musical materials plays an important role in terms of formal process. Employing topical juxtaposition as a compositional technique to create larger-scale formal connections within and between movements, the two composers share a strikingly similar dualistic approach towards redefining traditional sonata form. The salient aspect of duality in Bartók's formal plan, however, was achieved as the composer strived to synthesize modernist ideals with dialectical thinking inherited from the Beethovenian tradition. While both composers used similar formal procedures in these works, Bartók ultimately responded to Beethoven's dialectical concepts by emulating and re-contextualizing the earlier composer's dualistic formal perception to reflect his own aesthetic goals. This chapter compares Beethoven's and Bartók's dialectical approach to musical form in the aforementioned works, illuminating their compositional strategies to integrate and juxtapose ideas of contrast/interruption, disunity/unity and beauty/essence, thereby underscoring Beethoven's profound influence on the Hungarian composer.Less
For Beethoven and Bartók, the employment of contrast became a major part of their stylistic and structural vocabulary in the works of their middle and late periods. In Beethoven's Piano Sonata Op.101 and Bartók's Third String Quartet, the pairing of musical materials plays an important role in terms of formal process. Employing topical juxtaposition as a compositional technique to create larger-scale formal connections within and between movements, the two composers share a strikingly similar dualistic approach towards redefining traditional sonata form. The salient aspect of duality in Bartók's formal plan, however, was achieved as the composer strived to synthesize modernist ideals with dialectical thinking inherited from the Beethovenian tradition. While both composers used similar formal procedures in these works, Bartók ultimately responded to Beethoven's dialectical concepts by emulating and re-contextualizing the earlier composer's dualistic formal perception to reflect his own aesthetic goals. This chapter compares Beethoven's and Bartók's dialectical approach to musical form in the aforementioned works, illuminating their compositional strategies to integrate and juxtapose ideas of contrast/interruption, disunity/unity and beauty/essence, thereby underscoring Beethoven's profound influence on the Hungarian composer.
Markus Eberl
- Published in print:
- 2017
- Published Online:
- May 2018
- ISBN:
- 9780813056555
- eISBN:
- 9780813053486
- Item type:
- chapter
- Publisher:
- University Press of Florida
- DOI:
- 10.5744/florida/9780813056555.003.0002
- Subject:
- History, Cultural History
This chapter employs the famous rabbit-duck illusion to develop a dialectical approach to change. While individuals perceive only rabbit or duck at a given moment, most, if not all, can also see the ...
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This chapter employs the famous rabbit-duck illusion to develop a dialectical approach to change. While individuals perceive only rabbit or duck at a given moment, most, if not all, can also see the other. Switching back and forth between the rabbit and the duck creates consciousness about knowledge. This dialectical approach is applied to a symbolic model of creativity. The latter refers to the human capacity to question interpretations of the world and to find new relationships among constituent elements. Metonyms and metaphors are fundamental to human discourse and link knowledge domains in newbutincomplete ways. By hovering between domains, they build meta-awareness. The ancient Maya creator, the god Itzamnaaj, helps to illustrate key aspects of this model of creativity.Less
This chapter employs the famous rabbit-duck illusion to develop a dialectical approach to change. While individuals perceive only rabbit or duck at a given moment, most, if not all, can also see the other. Switching back and forth between the rabbit and the duck creates consciousness about knowledge. This dialectical approach is applied to a symbolic model of creativity. The latter refers to the human capacity to question interpretations of the world and to find new relationships among constituent elements. Metonyms and metaphors are fundamental to human discourse and link knowledge domains in newbutincomplete ways. By hovering between domains, they build meta-awareness. The ancient Maya creator, the god Itzamnaaj, helps to illustrate key aspects of this model of creativity.
Hadley Kruczek-Aaron
- Published in print:
- 2015
- Published Online:
- January 2016
- ISBN:
- 9780813061085
- eISBN:
- 9780813051369
- Item type:
- chapter
- Publisher:
- University Press of Florida
- DOI:
- 10.5744/florida/9780813061085.003.0003
- Subject:
- Archaeology, Historical Archaeology
Second Great Awakening preachers and commentators prompted believers to reconceptualize the meaning of their everyday lives, but researchers know little about how they actually altered their material ...
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Second Great Awakening preachers and commentators prompted believers to reconceptualize the meaning of their everyday lives, but researchers know little about how they actually altered their material worlds in order to affirm and reflect their faith. After reviewing the ways that historians have approached lived religion as it relates to the Second Great Awakening, this chapter explores how and why historical archaeologists are uniquely positioned to make significant contributions to this research domain. It reviews the ways that past archaeologists have already begun to do so and describes the areas that require further exploration. The value of a dialectical approach to this research (with its focus on lived experience, social relations, and the process of abstraction that takes place when interpreting material and textual sources) is explained.Less
Second Great Awakening preachers and commentators prompted believers to reconceptualize the meaning of their everyday lives, but researchers know little about how they actually altered their material worlds in order to affirm and reflect their faith. After reviewing the ways that historians have approached lived religion as it relates to the Second Great Awakening, this chapter explores how and why historical archaeologists are uniquely positioned to make significant contributions to this research domain. It reviews the ways that past archaeologists have already begun to do so and describes the areas that require further exploration. The value of a dialectical approach to this research (with its focus on lived experience, social relations, and the process of abstraction that takes place when interpreting material and textual sources) is explained.