This humble one saw myself in the Ahi Çelebi mosque, near the Yemiş landing - a mosque built with money lawfully acquired, an ancient mosque where prayers are accepted by God. 10, 1630), in a state twixt sleep and wake, that I had a dream. It was the night of Ashura in the month of Muharram, the year 1040 (Aug. Here, we are truly within a process of mythologization of art, through the study of the aesthetic reception of the musical work.He narrated this dream: "I lay down on the pillow of lamentation, in the corner of my hovel, in my birthplace Istanbul, to a sleep of wish fulfillment. All art is transformed, becoming something outdated or even outmoded. A kitsch can, obviously, only work on the emotivity of the masses, as it represents one of the features of culture-language (the words which the masses identify with). Finally, the objective here will be to negate the theory that art is simply the intellectual definition of aesthetics. However, before considering the popularisation of this music in today’s culture, we will have to focus on the use of the word kitsch in Chopin’s times, through his own musical aesthetics. We will start by investigating the notion of kitsch through the study of Chopin’s popular compositions. This process is the topic of this contribution. Further, we can observe that a sort of ‘sacralisation of kitsch’ occurs at the intersection between the classical and popular music. However, we cannot ignore the fact that, very quickly, this music spread to the wealthiest strata of the European society of the nineteenth century, while likewise the lowest classes often listen to the intellectual classical music, so pleasant to listen to. It can be studied from a sociological viewpoint, or as sociological aesthetics. We only need to look back to the culture of the nineteenth century to realize that this ‘popular music’ refers to the ‘music of the low’. By ‘popular music’, we mean a category of everyday music, set against the more intellectual kind, referred to as ‘classical’. The subject of this abstract is related to the notion of 'popular music', a notion that should be treated with extreme care, particularly when applied to Frederic Chopin, one of the greatest composers of Romanticism. Philippine folklore texts are being analysed to define motifs connected to the image of a lonely hero in the folklore of the Tinguian (Itneg), Kalinga, Yattuka (Kallahan), Ifugao and other highlanders of the Northern Philippines, and compares them to corresponding themes in Philippine non-Cordilleran mythologies and beyond. The paper analyses the symbolism of betel chewing as compared to other chewing practices worldwide. Betel chewing as a cultural practice is of great importance in the depiction of key mythological figures, lonely heroes in particular. ![]() We find those personages in different genres: ritual myths, epics, charms, curses and tales. ![]() ![]() The ‘lonely/low hero’ is a personage depicted initially as a pitiful, isolated, friendless, sad orphan or foundling, but who appears to prove himself to be a powerful representative of a high-ranking family as the story unwinds.
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