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Kad god se želi povesti (raz)govor o ljudskim pravima u islamu treba imati na umu da sva prava, sa stajališta islama, pripadaju jedino Bogu Uzvišenom, Koji je, zatim, neka od njih, iz Svoje milosti i dobrote darovao čovjeku kao kruni stvorenja Svojih na Zemlji. Ovo proistječe iz jasnog Kur''anskog stava: "Bogu pripada sve što je u Nebesima i što je na Zemlji i sve se Bogu vraća" - Kur''an, 3:109. Također, u islamu je sam Bog Milostivi definirao sva osnovna prava i dužnosti, zabrane i obaveze. Prema tome, ljudska prava prethode nastanku ljudske zajednice i postoje neovisno o njoj. Tako je pitanje o pravima ljudi, zapravo, pitanje o njihovom povratku Stvoritelju. Taj njihov povratak u Prazavičaj je osnovno pravo iz koga proistječu sve dužnosti koje ljudi imaju u svojoj zemaljskoj misiji. Suština pravičnosti u islamu je zahtjev da "svakom bude dato pravo njegovo", i samo ono ljudsko društvo koje udovolji ovom općem zahtjevu može se s pravom smatrati da je "najbolja zajednica koja je ikada podignuta radi čovječanstva... " -Kur''an, 3:110.
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O neiscrpnoj duhovnoj riznici islamske filozofijske misli ponajbolje svjedoči djelo Ibn Sinaa kojeg, zbog njegove iznimne upućenosti u grčku osobito Aristotelovu filozofiju te odveć razuđenog, višedimenzionalnog i višeperspektivnog filozofskog i religijskog opusa, suvremeni povijesničari ideja često oslovljavaju "neoplatoničkim oplemenjivačem aristotelizma i krunom muslimanske peripatetičke škole". Bez njegova filozofskoga opusa ne bismo mogli zamisliti kasniji razvoj islamske filozofijske, teologijske i teozofijske misli (Ibn Rušd, al-Gazali, Mulla Sadra Širazi) kao ni razvoj krišćanske skolastike (Bonaventura, Albert Veliki, Toma Akvinski, itd.).
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Tekstom pod gornjim naslovom smo željeni razriješiti jednu prijepornu i posvema lažnu dilemu u vezi sa šiijskom muslimanskom populacijom koja bi prema mišljenju nekih religijskih i političkih autoriteta u sunijskom islamu trebala označavati šiije kao muslimane na drugi način, što ne samo da odriče šiijskim muslimanima pristup i sudioništvo u izvornim i iskonskim vrelima islamskog vjerovanja, nego ih čini metom političkih i svakih drugih vidova napadanja i nasrtanja na njihov religijski, kulturni, nacionalni i politički identitet.
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U okviru usmenih predaja, koje su početkom XIX stoljeća, zahvaljujući braći Grimm, izdvojene kao zasebna grupa usmenih proznih ostvarenja, iz više razloga naročito zanimljivim se doima skupina historijskih predaja. Zasnovane na nekom "općem objektivnom događaju", ove predaje kazuju o različitim historijskim događajima i ličnostima. Mada historičnost ove skupine usmenih predaja treba shvatiti vrlo uslovno i vrlo široko, ipak upravo mogućnost da u ovim predajama prepoznamo makar i blijede tragove nekog davnašnjeg u historiji potvrđenog događaja, predstavlja onu njihovu odliku koja je često bila presudna da se historijskim predajama u nauci o usmenoj književnosti posvećivala znatna pažnja. Historijske predaje shvatane su kao usmena historija naroda koji ih je iznjedrio i one su u suštini predstavljale odraz historijske zbilje onako kako ju je kao dio naslijeđene tradicije poimao, pamtio i prenosio običan čovjek,.
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sv. I/1 str. 679; sv. I/2. str. 601; sv. II str. 652; sv. III str. 595, Bošnjački institut Zürich - Odjel Sarajevo, Orijentalni institut u Sarajevu, Sarajevo, 2000. godine
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Muslimansko stanovništvo na prostoru Beogradskog pašaluka, u kojem je bilo veoma malo etničkih Turaka, koje su nazivali "Turkušama" ("tursko čeljade"), "Gangrcima" ili "Mandžukama", je početkom XIX stoljeća činilo većinsko stanovništvo, naročito u Beogradu, Šapcu i Užicu. U jedanaest nahija ovoga pašaluka oni su predstavljali 58 odsto stanovništva. Semantički sadržaj izraza "Turčin" bio je artikuliran momentom religioznosti a ne momentom etničke identifikacije. Jezgro muslimanskog stanovništva formiralo se kroz dugotrajan i složen proces islamiziranja lokalnog slavenskog življa raznorodne etničke pripadnosti, doseljavanjem s istoka, trajnim nastanjivanjem i asimilacijom grupa i pojedinaca neslavenskog porijekla, te zadržavanjem relativno malobrojnih turskih enklava. Muslimani su bili u veoma nezavidnoj materijalnoj situaciji zbog svega što su pretrpjeli od kraja XVIII stoljeća, a pogotovo u doba Karađorđeve pobune. U tom vremenu morali su četiri puta napuštati svoje domove.] Proces iseljavanja je nastavljen i u vremenu vlade Miloša Obrenovića. Svako raseljavanje lišavalo ih je svega što su do tada stekli, dovodeći ih do prosjačkog štapa i potištenosti. U Beogradu su predstavljali četiri petine u odnosu na drugo stanovništvo, u Užicu su činili 96,7 odsto populacije, a 65 odsto u Pomoravlju. Po nekim srpskim izvorima, u Sokolu i osam okolnih sela bilo je 1.600 muslimana, od kojih je 300 nosilo oružje; u Užicu je ova naseobina brojala 1.500-2.000 pušaka; u šabačkom gradu bilo je oko 1.000 muslimana od čega oko 200 pod oružjem. Isti izvori su procjenjivali da se uoči krize 1862. godine, u kneževini Srbiji nalazilo "oko 12.500 Turaka, od čega je skoro 3.000 bilo vojnika".
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The actual number of the Bulletin deals with the selected aspects of the working time organisation. The comparison of the Directive 2003/88/EC of the European Parliament and of the Council of the EU concerning of the organisation of working time with the Slovak legal enactments, mainly with Labour Code and implementation of the cited Directive to the Slovak legislation is the starting-point of the bulletinʹs content. Subsequently the analysis of the results of the labour inspection performed in enterprises and identification of most frequent branches of regulations of working time by the emploeers are presented. The short review of the of work-psychology and occupational-health knowledge concerning of work-schedule, shift work and work at night elaborated on grounds of secondary analyses completes the view of the above mentioned issues.
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The magnificence of The fountains of Villa d'Este - which advanced the impressionist music - launched the idea to found out what were the antecedents and maybe the after life of the attitude toward this theme in the Liszt’s life works concerning the music written for piano. My main goal was not to analyze some works, because anyway it exist a large literature about. I’ve clung into this theme as to a connecting thread which would help me to discover what kind of content attitude could be observed among some works and what kind of musical toolbar was born in the composer’s workshop. To make it simple, what was the meaning or how it happened that this “watery” theme came into the light and in what formal solution was this concluded.
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It is hard to grasp how a composer acknowledged as a symbol of the 20th century musical avant-garde, re-formed in the laboratory of electronic music in Cologne at the end of the 1950s and always eager to take on fresh stylistical challenges, resorted to folk music as a source of inspiration. If the intersection with Hungarian and extra-european elements has been studied in depth, the connection with his Romanian folk heritage remains unexplored. The study will therefore show that Ligeti’s interest in this went far beyond composition, comprising transcriptions of Romanian folk music (during his stay at the Folk Music Institute in Bucharest, in 1949-1950) and also broad theoretical approaches, later published in Budapest. The analytical reading will show that long after Ligeti had repudiated Bartók’s influence, he appeared to revisit his predecessor in exploring folk music as source of inspiration. From early pieces, such as the Romanian Concerto and Baladă şi Joc, to Hora lungă (from the Viola Sonata), Hamburgisches Konzert, Automne à Varsovie and further on to the „mash up” of folk influences from all over the world which he promoted in his works from the beginning of the 1980s onwards, leit-motifs such as „bucium”, „bocet”, „hora lungă”, „Romanian folk instruments” etc., they all mark constant references in Ligeti’s manuscripts stored at the Paul Sacher Fondation in Basel. The study will demonstrate that the composer’s music engages in a subtle discourse with his roots, forging an underground connection between Western and Eastern European culture.
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The present study provides an overview of the musical life of the Romanians in Sebeş, with a deeper insight into the choral work performed by them in the late 19th century and the first half of the 20th. The existence of the four choir groups presented here is related to the names of institutions or associations under the patronage of which they functioned: the Sebeş Orthodox Parish, the Astra Division of Sebeş and the “Sfântul Gheorghe” Association. The material is compiled, to a large extent, from documents belonging to the funds of Astra, the Sebeş division and the Orthodox Parish of Sebeş preserved in the Romanian National Archives, Alba County Branch.
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This study investigates implementation of new technologies in vocal assessment pertaining to university degree artistic education. One of our objectives represents the collection of information regarding changes occurring in singing voice as a result of professional training. This approach fully validates recent research in the field, proving that vocal training has a significant effect on human voice, and close follow-up of the subsequent development brings numerous benefits for both young singers and teachers. A relevant advantage of ICT use is represented by the precision in following-up of the vocal development process, creating also the possibility of organizing custom diagrams regarding the progress of vocal parameters. So, computerized means open up new perspectives and opportunities, becoming a way of objectifying musical and artistic performance. Another important factor is the possibility of early tracing of a possible wrong development of the voice and thus, preventing it in time. This study presents a comparative table based tracking of vocal evolution on some voice students from singing department of ‘G. Dima’ Music Academy from Cluj-Napoca. Data presented here was processed through ICT means.
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Starting with March 2008, we launched the release of a new series of musicology magazines under the name of “Studia Universitatis Babeş-Bolyai”, with the title of “Musica”. In 2010, after three years of being published, we can announce that CNCSIS graded the magazine as a B+ category and CNCS since December 2012 with B classification.
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On a sun dial II by Petru Stoianov, for clarinet and reciter strats from Nichita Stănescu’s verses (like many others of the composer’s opuses) and offers sonorous meditation on the poetic text. From a musical point of view, we distinguish an outlook where musical morphology subordinates its syntax through the supremacy of cellular-motivic thinking, with “parsimony of means”. We remark a tight connection between music and the poetic text, both from the point of view of artistic atmosphere and from the perspective of the annalogies and symbols it highlights, unveiling, at the same time, the profound meanings of the literary text.
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CONSTANŢA CRISTESCU: CONTRIBUTIONS TO THE VALORIFICATION OF THE MUSICAL TRADITION OF BANAT AND TRANSYLVANIA, MUSICAL PUBLISHING HOUSE, BUCHAREST, 2011. CONSTANŢA CRISTESCU, IZVOARE BIZANTINE ÎN METAMORFOZE ENESCIENE, (BIZANTINE SOURCES IN THE ENESCIAN METAMORPHOSES), ED. MUŞATINII, SUCEAVA, 2011. CONSTANŢA CRISTESCU: SIGISMUND TODUŢĂ ŞI STILUL LITURGIC DE LA BLAJ (SIGISMUND TODUŢĂ AND THE LITURGICAL STYLE OF BLAJ), FUNDAŢIA SIGISMUND TODUŢĂ – ED. ARPEGGIONE, CLUJ-NAPOCA, 2011.
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The present study advances for analysis the lieder cycle 3 Autumn songs for soprano, oboe, two clarinets and violin from composer Dan Voiculescu’s youth. The three lieder are based on poems Autumn song and Song by Emil Isac and Autumn by Nicolae Labis. The analysis reveals technical, stylistic, aesthetic and rhetoric elements characteristic for this stage in the creative trajectory of the composer, such as the choice of Symbolist poetry and the use of post-Expressionist language, represented by the intensely chromatized melodic, the preference for dissonance and the feeling of temporal suspension generated by rhythm abounding in suspensions and exceptional rhythmic divisions.
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The aim of the paper hereby is the analysis of Zoltán Kodály’s Seven Easy Choral Pieces for Children, an aim set out of mere curiosity. Theoretically I analyzed these choral pieces years ago during my classes of score transcription for choirs. I noticed already then that despite their simplicity and absolute clearness these pieces are very logical and masterly elaborated. Zoltán Kodály composed his Seven Easy Choral Pieces for Children in 1936. His thoughtfulness and precision is proven also by the fact that he wrote the year of composition to every piece, although these small pieces belong to the same cycle.
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Despite the vast research on Verdi’s compositional as well as dramatic achievements, little attention seems to have been paid to the early reception of his works in Victorian London. A review of such periodicals as The Times, The Musical Times, The Athenaeum has drawn attention to two particular aspects of relevance; Verdi’s first operas impinged upon the model represented by Rossini’s light-spirited melodiousness and provoked a sense of general bewilderment; even when opera-goers began to show clear signs of appreciation and to crowd the theatres where Verdi’s operas were performed, critics continued to object to their value and to ascribe their success to the singers’ new vocal and dramatic skills.
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In the midst of the written records of protestant missions held among the Transylvanian Romanians we put a great store on translating the congregational songs, mainly the psalms from Geneva to Romanian. With this effort they tried to take the common people into the cultic acts with the use of active and understandable language, in an acceptable form.
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