European culture

Initially published on 28th November 2004 in Buzzle

Excerpts:
If Giscard neglects Turkey, Alexander the Great rejected Europe!
How can one consider king Alexander of Macedonia, rejected by the Athenians and by the famous orator Demosthenes, as a 'European' without taking his model into proper account? Alexander did not see the Adriatic coast of Illyria, did not set foot on the Greek islands of the Ionian Sea, and did not advance even 1 km beyond the western borders of Macedonia, whereas his military expeditions and invasions drove him more than 4000 km away in the East, on rather Asiatic territory!

For Alexander, Egypt (Africa) was more important than the Ancient Greek cities – colonies of the Black Sea.

Syria and Judea were more valuable to him than Iberia.

Even more so, Persia was more precious for Alexander than the Italian peninsula.

For Alexander, apparently Amun - Ra was far more sublime than Zeus, Jupiter and the Celtic gods.

Furthermore, Bactria, Sogdiana, Transoxiana, in Central Asia, Arachosia, Gedrosia, Pentapotamia, in Eastern Iran and Pakistan, were the circumferences he wished to unify under his scepter – not the Scandinavian Peninsula, the Alps, and the plains of Scythia/Russia.

The border was not in the Azores or the Faeroes, but in the North of India, whereas the epicenter, the capital of Alexander’s vast empire, was at Babylon, Mesopotamia! What a blow for … Europe!

As a consequence, Alexander the Great, the embodiment of military virtue for Julius Caesar, becomes now a non-European!

Interior design came into existence with the need for housing, and has been developed with respect to several needs. After a certain point of time, the development process led to mulitple branches. Different lifestyles of different communities living in different geographies and cultural differentiation have caused variation in interior design. Throughout the history, culture, by means of its elements, creates different lifestyles in the same period of time, and influences the formation of interiors. The aim of this study is to explore cultural values that play an important role in the process of interior designing, to shape our daily lives and, thus, to assess how they influence interior designs. The study mainly focuses on cultural differences in Asian and European societies, which makes us. understand the similarities and differences of interior design principles. The information obtained by the historical analysis was synthesised, classified and finally interpreted. In conclusion, both in western and far eastern cultures, many elements such as climate, human values, religion, thinking, trade, class distinction, type of management, personal interests, social events, industrial and technological developments were found to have influence on the lifestyle with regard to interior design.

12 доказано полезни резултата за децата
от занимания с паневритмия

РЕЗЮМЕ
1) Паневритмията е приятно, достъпно и високоефективно средство за възпитание.
2) Заниманията на децата с паневритмия изграждат и развиват самоконтрола, самонаблюдението и дисциплината,  а също помагат за осъзнаване на собствената значимост и достойнство. 
3) Участието в начално обучение по паневритмия намалява тревожността.
4) Паневритмичните песни действат възпитателно. 
5) Паневритмията оказва силно благотворно влияние върху сферата на общуването и социалното формиране.
6) Заниманията с паневритмия развиват характеристиките на вниманието. 
7) Заниманията с Паневритмия развиват паметта на децата.
8) Песните на паневритмията имат текст, който подпомага създаването на нагласи за успешно справяне с трудностите в живота.
9) Обучението по паневритмия намалява завишената агресивност и повишава положителните емоции на децата
10) Заниманията с паневритмия са арт терапия – те изграждат характера и подобряват състоянието на децата чрез силата на изкуството.
11) Паневритмията за децата е още една възможност за увеличаване нивото на тяхната здравословна физическа активност.
12) Заниманията с паневритмия за деца могат да бъдат едно интересно за тях и много полезно занимание, което развива многостранно личността и укрепва здравето.
 

In this discusssion, Krzysztof Czyżewski, Ivaylo Dichev & Georgi Tenev consider the rise in identity politics, the dynamics of multilateral societies and the role which the other plays in the creation of European identities.
Czyżewski begins by looking at how the new right makes use of the dichotomy around what is considered to be native and what is seen to be foreign, contemplating whether this can be considered to be a new development of the newly redemocratised European fringe or whether it is instead part of the very DNA of European culture and an integral by-product of modernity. Lamenting that voices of unity are often overheard and that the development of a European cultural community appears to be so challenging, Czyżewski ends his speech by proposing that the solution to our problems may lie in embracing a new form of polis, the xenopolis, which puts the other at the centre of society.

Interior design entered the human life together with the need for housing, and has been developed in respect to several needs. But after a certain point, the development process has shown an improvement in their separated into different branches. Different lifestyles of different communities living in different geographies, in short, cultural differentiation have caused variation in interior design. Throughout the history, culture, by means of its elements, creates different lifestyles in the same periods of time, and influences the formation of interiors. The aim of this study is to explore cultural values, that play important role in design process of interiors, shape our daily lives and thus, to assess how they influence interior designs. The study mainly focuses on cultural differences in Asian and European societies, where these differences can be clearly observed. Examining Asian and European cultures also gives us an opportunity to understand the similarities and differences of interior design principles. The information obtained by the historical analysis was synthesized, classified and finally interpreted. In conclusion, both in western and far eastern cultures, according to the periods, many elements within the concept of culture as climate, human values, religion, thinking, trade, class distinction, type of management, personal interests, social events, industrial and technological developments were found to have influence on the lifestyles and interior design.

"Wurruk is wurruk if ye're paid to do it an' it's pleasure if ye pay to be allowed to do it." (Finley Peter Dunn)
This is not the kind of article I used to write. This is not a conventional, scientific piece of writing carried out in cold blood, with no emotions, highly respecting each and every one of those sacred tenets we preach about to our students and our better selves. It does not follow many, if any, of the golden rules of how a “B1” [addition: nowadays A1] article is expected to be written.
Rather, this is a rhizome of some themes that continue to intrigue and puzzle me. It is fragmentary, as life is. It is eclectic, as science is. It is personal, as it should be. It highlights bits and pieces — bits and bytes — about what is going on in my mind, with what ontologies, epistemologies and axiologies my conscious and cognisant mind is preoccupied at any moment. Although a dozen other rhizomatic issues had to be omitted, I hope Annikki that you will enjoy this rhizome, because it is what it should be, a rhizomatic spectre of ideational insights, mental representations of Popper’s Worlds 1, 2 and 3, fuzzy images, soul-forbidding frustrations, empowering nanoseconds of joy, and fluid perceptible foresights of artefacts of the third kind. In a word, this is a kaleidoscope of where we came from, where we are, and, perhaps, in the best of worlds, where we might be heading.

CHAIR OF EUROPEAN STUDIES, UNIVERSITY OF WROCLAW and POLISH SOCITY OF EUROPEAN STUDIES are pleased to invite you to 3rd CONGRESS FOR EUROPEAN STUDIES, which will take place on 14-16 September 2020.

The leading topic od the Congress will be “multi-speed Europe”.

Application form and detailed information available at www.kongres2020.uni.wroc.pl/en

In case of any questions, please contact us at kongres2020@uwr.edu.pl

This special issue re-evaluates the 1950s as a period of transnationalism in ideas and political practices, offering innovative insights into political history and political ideas. Without setting the national and transnational spheres against each other, the issue argues that the dialectics between the two was a defining element of Europe in this period. The articles explore transnational cooperation and exchanges among intellectuals, politicians and trade unionists, showing how they were changing in their interaction. The editorial sets out from the research on the postwar configuration of Europe based on the retake of the nation state, combining it with new research of transnational history and putting out some methodological innovations. The editorial also highlights some significant themes across the articles: the central role of translation and localisation, the interaction with local interests and disputes, the Cold War, the acceleration of European integration, the rise of the Third World, the tensions between hope and fear or between nihilism and rebirth of Europe, the centrality of science.

EU films make up 14% of all unique titles in the 79 non -European SVOD catalogues studied
North America (16 SVOD services) and China (3 SVOD services) have the largest number of unique EU film titles in their catalogues with respectively 4 095 and 2 585 unique EU titles.
The biggest buyer for EU film titles is Amazon with 3 281 unique titles in its 14 country catalogues, followed by Netflix with 1 816 unique titles for its 20 catalogues. Russian service Ivi and the 3 Chinese services Youku, iQiyi, Tencent Video were the biggest single country services acquiring EU films.
Christian Grece, Observatory European Television and On-demand Audiovisual Markets Analyst, has focused on a sample of 79 non-EU SVOD services and their catalogues in 21 countries across the globe. The aim of this study, based on new data collected in June 2019, is to determine the market for EU films on SVOD beyond the borders of the European Union. Ce rapport a été soutenu par le programme Creative Europe de l'Union européenne.

1. Production and export: Which countries are the biggest exporters of EU films to SVOD beyond Europe’s borders?
The majority of EU films found on SVOD services around the world are produced in EU-5. The United Kingdom is by far the biggest supplier of EU films with 38% of all unique EU titles, followed by France with 18%, Germany with 12%, Italy with 11% and Spain with 6%. Together, these 5 countries account for 85% of all unique EU film titles available on SVOD outside of Europe in the sample catalogues studied.

However, medium size film producing countries, with diversified filmographies (Belgium, the Netherlands, Austria), special genres (e.g. Nordic noir: Sweden, Denmark, Finland), or English-speaking (Ireland), manage also to export films outside of Europe. These 7 countries account for 11% of all unique film titles found in the SVOD catalogues analysed.

With 7 450 unique film titles, EU film titles represent 14% of film titles on offer in the 79 SVOD catalogues studied.

2. Which regions and SVOD services are the biggest buyers of EU film titles?
North America (16 services) and China (3 services) offer the largest number of unique EU film titles with respectively 4 095 and 2 585 unique EU titles. Russia (3 services) and Australia & New Zealand (8 services) are other regions with an above average number of unique EU films titles with respectively 1 813 and 1 644 unique titles.

The biggest buyer for EU film titles is Amazon with 3 281 unique titles in its 14 country catalogues, followed by Netflix with 1 816 unique titles for its 20 catalogues

Russian service Ivi and the 3 Chinese services Youku, iQiyi, Tencent Video were the biggest single country buyers of EU films.

Indian service Eros Now, Canadian service Sundance Now, Viu (6 countries) and CBS All Access on the other hand carry between 31 and 3 unique EU film titles in their catalogues.

Paneurhythmy was created in Bulgaria between 1922 and 1944. It is a system of musical physical exercises performed in the morning in the open. The exercises are done in pairs who move in a circle, integrating music and poetry, movement and thought in a harmonious unity. Paneurhythmy is executed for 70-80 min every day in the period between March, 22nd - September, 22nd. It is extremely accessible regardless of the age, financial condition or physical characteristics of the practitioners.
The aim of this study was to investigate the effect of playing Paneurhythmy for 6 months on perceived Stress, Anxiety and Resilience. The subjects in the experimental group (EG) and control group (CG) are healthy adults aged 22-70. The EG contained 57 adults -14 males and 43 females, who have been practised Paneurhythmy for 1 - 35 years and in the period of the survey lived in 3 locations: Sofia, Plovdiv and Pernik. The EG subjects had 25-160 (mean 76) practices of Paneurhythmy in the 6-months period of study. The CG contained 54 people similar in socio-demographic characteristics to the EG - 13 males and 41 females.
The following psychological scales were used in the study: STAI-Y – test for measuring state and trait anxiety by Spielberger; PSS – test for measuring perceived stress by Cohen, Kamarck & Mermelstein; ER-89 - Ego-Resiliency Scale by Block & Kremen. The EG and CG subjects were tested twice: in the beginning of Paneurhythmy season and six month later. There were no statistically significant differences for any of the variables before and after the Paneurhythmy season in the control group (95% Cl; P > 0.05). Statistically signicant differences were observed in trait anxiety (95% Cl, 8,21% below baseline; P =0.001), perceived stress (95% Cl, 8,41% below baseline; P =0.007) and resilience (95% Cl, 1,82% above baseline; P =0.022) in the experimental group. Results show that practicing Paneurhythmy for 6-month significantly decreases the level of trait anxiety and perceived stress; while at the same time increasing resilience.

The world urgently needs to return to humanism, the emancipatory movement born in the Renaissance and founded on a surge of critical thought, a return to ancient sources, and the development of universities - a notion which seems to some obsolete, to others politically appropriated. Researchers and professors at UCLouvain say that university education, beyond the seven liberal arts which comprise the mastery of figures and letters, can only be humanist, today like yesterday: its goal is to forge citizens who use their talents and skills to serve others and in whom intelligence is inseparable from ethical awareness.
In 1425, the institutional bull of the University of Louvain expressed in surprisingly simple and visionary terms the university's founding principles, as well as its vocation, its rootedness in society, and the unique bonds that unite its students, researchers and professors. Thanks to Guido Latré, this modest volume includes a previously unpublished English translation of this essential document of the late Middle Ages.
This book is a compass for the mind.

La Nationaal Jeugd Orkest (NJO), bajo la batuta de Antony Hermus y junto trombonista Sebastiaan Kemner, interpretan un concierto el 18 de agosto de 2015 en la Konzerthaus de Berlín. En el marco del festival Young Euro Classic, su programa aborda sin complejos bellas rarezas como On the Town – Three Dance Episodes, de Leonard Bernstein (1945), el Concierto para trombón de Christopher Rouse (1991), y el poema sinfónico Heldenleben, o Vida de héroe Op. 40 (1898) de Richard Strauss.

In order to fulfill these functions, a society needs convinced individuals who are able to live according to a new mentality and corresponding attitudes. Only such individuals are able to build a society which can become a critical-corrective civil society. To use and fight with values as “arguments” in a political debate is a path which is not only not expedient but could also have catastrophic consequences for Europe: Getting stuck in our ossified understanding of these values. Krzysztof Michalski believed that Europe is not simply something found but a task: „Die Frage: Was ist Europa? – ist eine Frage, die ständig aufs Neue gestellt werden muss und nie abschließend beantwortet werden kann – solange Europa Gegenwart ist, nicht bloß Vergangenheit.“  Contemporary questions and problems, therefore, cannot simply be answered according to a „list of values“, but only through the development of a particular attitude which moves between history and the present, according to the principles, which the four pillars suggest.

From the 1960s, the distinction between commercial and fine art, usually expressed as ‘low’ and ‘high’ art, has been regarded as obsolete, and in that same process cultural expertise has lost its authority and was replaced by the cultural power of media corporations. Yet, if fine art had lost its distinctive status entirely, it would become redundant; and, indeed, the distinction is still intact within the art world’s common practice: the art market’s business model and the legitimacy of not for profit art institutions depend on it. The more surprising is that the art world’s critical discourse is taking the obsolescence of that distinction for granted. Apparently, then, there is a gap between discursive claims and real-life practices. The aim of this article is to cast some light on the distinction’s historical emergence as a result of cultural interactions between Europe and the US during the 19th and 20th century and to encourage a discussion about its multi-layered meaning.
The article was originally written in German to accompany the exhibition, conceived by its author, America! Disney, Rockwell, Pollock, Warhol, to be held at the Bucerius Kunst Forum Hamburg from October 19 2019 through January 12 2020. The author would like to express his gratitude to Andrew Boreham for the permission to publish his superb translation.