Cultures of knowledge and spirituality developed in the high Middle Ages

 

 

Main prompt:
What new cultures of knowledge and spirituality developed in the high Middle Ages? What relationships existed between philosophical knowledge and mystical knowledge, and why were both so powerful during this period?
Answer these questions (and the appropriate sub-questions) using ONE of the following sources:

A) Peter Abelard, The Story of My Misfortunes (c. 1132)

What do we learn about the culture of learning and knowledge in the twelfth century through Abelard’s account? How is knowledge acquired, distributed, and defended? What issues does Abelard want to discuss, and why is he attacked?

B) Thomas Aquinas, Summa Theologica (1273)

Summarize some part of Aquinas’ argument for the existence of a God. What is Aquinas trying to do in this excerpt? How does he approach the problem, and what does this reveal about the culture of knowledge in the thirteenth century?

C) Hadewijch of Brabant, Letters and Poems (1200-1240)

How does Hadewijch define and explain her mystic experiences and relationship with God? Many late medieval mystics were female; can we analyze Hadewijch’s writings in terms of gender? Comparing her writings to others we have read, why do you think lay mystics (particularly female ones) might have been objects of suspicion?
[It might also be helpful to look at the optional reading on mystics I posted in my blog , though not required.]

Remember to situate your source historically and to informally cite it.

 

 

 

Vaporwave took commending the past from hypnagogic pop and subverted the tunes to be practically evil, painting the passings of music long past.

The vaporwave development brought to fulfillment numerous new subgenres. Mallsoft, one of the many, is a subgenre of vaporwave that centers around the sentiments of realism and industrialism that accompany being within a shopping center. Numerous tunes right now intended to be the perfect melody for tuning in to while entangled in the advances and blinding forms of publicity inside a strip mall (Chandler, Genre As Method). This branch was probably brought about by the enormous measure of vaporwave craftsmanship featuring strip malls and shopping centers. The following stage for specialists was to interface their ways of thinking and convictions about industrialism to music that they felt spoke to best what it feels like to be within a shopping center.

Future Funk is a subgenre of vaporwave that is fundamental center is the sentimentality. A large number of the examples utilized right now music are from the 1970’s, originating before the music by and large used to make vaporwave (Chandler, Genre As Method). This is the place the “funk” some portion of the name originates from. The objective of this classification is additionally very not quite the same as the topic of vaporwave. Rather than tossing industrialism notwithstanding audience members to constrain them to acknowledge it, future funk intends to get audience members far from commercialization. Future funk specialists make music that is nostalgic and lovely, intended to divert audience members from getting got up to speed in the consumerist media encompassing them (Chandler, Genre As Method).

Vaporwave itself is a sublet of the electronic music class. The term of electronic music can apply to any kind of music created by electrical or advanced methods; be that as it may, “for music to be unequivocally electronic then the author of the music must interface with the electronic medium and electronic preparing applied to his melodic idea” (Misachi). Right now, music is more a procedure of making music than a class. Vaporwave specialists apply an electronic procedure to recently made melodies or sound clasps to make a totally new sonic picture.

 

 

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Specialists legitimately collaborate with the tracks inside their works, including reverberation, reverberation highlights, new rhythms, synthesizers, and many included additional layers. By handling each track and segment of a tune, vaporwave craftsmen are dynamic in utilizing the electronic and advanced world to make their works. The musicality in vaporwave, however not in every case aurally satisfying, is available innately in the piece made. A political point on the devastation of humankind through private enterprise, the vaporwave development has been a totally one of a kind expansion to the music business.

Works Cited

Baghale, Audrin. “Vaporwave: The Genre That Never Was.” The Daily Lobo, 25 Apr. 2017, 16:49.

Chandler, Simon. “Getting away from Reality: the Iconography of Vaporwave.” Bandcamp Daily, 16 Sept. 2016, 11:04.

Chandler, Simon. “Classification As Method: The Vaporwave Family Tree, From Eccojams to Hardvapour.” Bandcamp Daily, 21 Nov. 2016, 11:06.

Chandler, Simon. “Music of the Spectacle: Alienation, Irony and the Politics of Vaporwave.” Bandcamp Daily, 23 Aug. 2016, 11:00.

Galil, Leor. “Vaporwave and the Observer Effect.” Chicago Reader, Chicago Reader, 19 Feb. 2013.

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