In the article the mutual influence of folk theatre, Austrian Singspiel and Viennese opera in the genres of comic opera, operetta and drama performances involving music, singing and dancing is studied. The powerful influence of Italian and French opera schools, as well as the Italian Commedia Dell'arte led to the flourishing of music and theatre art in Austria: opera buffa (A. Salieri, Ch. W. Glück, J. Haydn, W. A. Mozart), fairy-tale comedies of F. Raimund and satirical dramas of Nestroy. Their (...) game-like nature finds its expression in musical turns, satirical songs and duets. Viennese dance operetta has absorbed the traditions of Viennese popular comedy and comic opera. Recitative, vocal music and folk dances were the key elements of operettas (J. Strauss junior, F. von Suppe, K. Millöcker, K. Zeller, F. Lehar). The music and the game in Austria are the results of theatralization of life: the life turns into something like art. Austrian culture, which is addressed directly to the human being and short of complex philosophical musings and speculative schemes, has genetically built-in playful, musical and theatrical basis, as well as German. Strongly-pronounced playful and musical source as an important national component of the culture, its code, determine its highly fictitious character (staginess) and integrity (both genre and intermediately), thereby maintain its special status in the European culture. (shrink)

In Nos. 105 and 121 of the Kuang-ming Daily "Philosophical Supplement," there were two articles by Ch'ieh Ta-yu: "Some Opinions on the Problem of Determining the Object of Dialectical Logic" and "The Marxist Dialectical Method and Dialectical Logic." The first is quite general, while the second "elucidates the connections and differences" between dialectics and dialectical logic discussed in the first article. Almost all the basic points in both articles are erroneous. Actually, the author waves the banner of antidogmatism and expounds (...) a revisionist point of view. We will now refute his contentions. (shrink)

탈냉전 탈이념의 시대상을 피력하고, 21세기 세계사 주도권 참여를 위한한국인의 역사적 소명, 문명론적 근거를 제시한 저술.

1. Yu Hyŏng-wŏn ŭi ppuri wa Pan'gyehak ŭl nonhada -- 1.1. Pan'gye Yu Hyŏng-wŏn kagye punsŏk -- 1.2. Chiyŏkhak ŭrosŏ Pan'gyehak yŏn'gu -- 2. Pan'gye Sŏnsaeng palchach'wi rŭl ch'aja kada -- 2.1. Sirhak ŭi mek'a, Puan Uban-dong -- 2.2. Pan'gye Sŏnsaeng i namgin palchach'wi -- 2.3. Puan chiyŏk Yugyo munhwa yusan ŭi hyŏnhwang kwa kwaje -- 3. Pan'gye Sŏnsaeng ŭl kirida -- 3.1. Puan Tongnim Sŏwŏn ŭi kŏllip kwa pyŏnch'ŏn e taehan yŏn'gu -- 3.2. Tŏkch'on Yang Tŭk-chung ŭi kagye wa (...) ch'usung e kwanhan yŏn'gu -- 3.3. Hong Kye-hŭi Kyŏngseron ŭi chaejijŏk kiban. (shrink)

This book is an inquiry into ki-energy, its role within Eastern mind-body theory, and its implications for our contemporary Western understanding of the body. Yuasa examines the concept of ki-energy as it has been used in such areas as acupuncture, Buddhist and Taoist meditation, and the martial arts. To explain the achievement of mind-body oneness in these traditions he offers an innovative schematization of the lived body. His approach is interdisciplinary and cross-cultural, offering insights into Western philosophy, religion, medical science, (...) depth psychology, parapsychology, theater, and physical education. To substantiate the relationship that ki-energy forms between the human body and its environment, Yuasa introduces contemporary scientific research on ki-energy in China and Japan, as well as evidence from acupuncture medicine and from the experience of meditators and martial arts practitioners. This evidence requires not only a rethinking of the living human body and of the mind-body and mind-matter relation, but also calls into question the adequacy of the existing scientific paradigm. Yuasa calls for an epistemological critique of modern science and explores the issue of the relation of teleology to science. (shrink)