Baroque period

In the arts, Baroque is a period as well as the style that used exaggerated motion and clear, easily interpreted detail to produce drama, tension, exuberance, and grandeur in sculpture, painting, literature, dance, and music. The style started around 1600 in Rome, Italy and spread to most of Europe. In music, the Baroque applies to the final period of dominance of imitative counterpoint, where different voices and instruments echo each other but at different pitches, sometimes inverting the echo, and even reversing thematic material.

One of the defining aspects of music of the Baroque era was its connection to an expression of liturgical themes. Since many important composers of the era were in the employ of the church in Europe, sacred music composed for specific religious occasions was the norm. The rationale for composing for many composers of the Baroque era was to honor God.

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Leonardo da Vinci: a genius driven to distraction

Five hundred years have passed since the death of Leonardo da Vinci, and much has been written about him. Leonardo the artist, the scientist, the architect, the inventor, whose genius has been perceived as the allure of an unfathomable riddle. But some of the words written about Leonardo after he died at Clos-Lucé in France on 2 May 1519, hint at a very different man to the one many of us presume to know. According to his first biographer Giorgio Vasari, Leonardo died lamenting ‘that he had offended God and mankind in not having worked at his art as he should have done’ (Vasari, 1996; Nicholl, 2004; Vecce, 2006).

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Nikolay Bogdanov-Belsky

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Leonardo da Vinci

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Leonardo da Vinci

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Paul Gauguin

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Drama for developing integrity in Higher Education

Developing academic integrity is context-based and ineffective through formal courses. The article explores the meanings of academic integrity, reviews the literature on educational strategies towards its development and presents the design and results of the author’s research on how drama may augment the development of academic integrity of MBA students in the innovation camp setting. The philosophical framework for integrity learning and its perception by students comes from Bakhtin’s dialogical theory of self and critical pedagogy of Freire. Drama is offered as a learning medium which provides context to explore multiple perspectives and imaginary dialogues of characters who may take ethically dubious positions. Assessment of integrity at the input stage and after completion of the drama sessions was two-fold. A self-efficacy test was used for standardized measurement and sociometry was applied to asses four areas of ethical education: (1) being sensitive to ethical dilemmas at stake; (2) reasoning/reflective skills and; (3) motivation/conviction to give over other considerations to the values, principles, or ideals that prompt the action to be taken; (4) strategizing to act ethically. The findings suggest that drama effectively augments the development of otherwise stable integrity of MBS students by making them more optimistic about their courage to adhere to values in face of adversity, especially to defend diversity as a human right and pre-condition for innovation. This article is published as part of a collection on integrity and its counterfeits.

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