Trial as Theatre in the Russian Revolution

1998 ◽  
Vol 23 (1) ◽  
pp. 7-13 ◽  
Author(s):  
Richard Stites

In an extraordinary passage of The Mind and Face of Bolshevism, the Hungarian journalist and philosopher, René Fueloep-Miller, made this observation in the 1920s on the innate theatricality of the Russian people:If a Russian recounts an incident in company, in his political club, or even in the street, he does not for long confine himself to verbal description. Suddenly, he sends a gesture into space, like an arrow from a bow, at the same time giving a cue to another in the circle, who immediately becomes an actor in the drama. Though at first the whole thing looks like a very excited discussion, soon many emphatic gestures and words creep in and an increasing number of bystanders begin to take part in the scene. Suddenly the recital takes living form: chairs and tables are shifted with a few touches, and soon stand in a particular relation to each other and to the events being enacted. Men and things are now subject to new and different laws. Those taking no part look on in astonishment and soon become an audience, just as the story, which was at first merely related, becomes reality and attains complete actuality in the people acting and the improvised scenery … This lasts as long as the anecdote enacted, then the company at once returns to ordinary life … and the members of the circle sit smoking and talking again in their former quiet tones as if nothing had happened.

Author(s):  
Sergey Nickolsky

The question of the Russian man – his past, present and future – is the central one in the philosophy of history. Unfortunately, at present this area of philosophy is not suffciently developed in Russia. Partly the reason for this situation is the lack of understanding by researchers of the role played by Russian classical literature and its philosophizing writers in historiosophy. The Hunting Sketches, a collection of short stories by I.S. Turgenev, is a work still undervalued, not fully considered not only in details but also in general meanings. And this is understandable because it is the frst systematic encyclopedia of Russian worldview, which is not envisaged by the literary genre. To a certain extent, Turgenev’s line is continued by I. Goncharov (the theme of the mind and heart), L. Tolstoy (the theme of the living and the dead, nature and society, the people and the lords), F. Dostoevsky (natural and rational rights), A. Chekhov (worthy and vulgar life). This article examines the philosophical nature of The Hunting Sketches, its structure and content. According to author’s opinion, stories can be divided into ten groups according to their dominant meanings. Thus, in The Hunting Sketches the main Russian types are depicted: “natural man,” rational, submissive, cunning, honest, sensitive, passionate, poetic, homeless, suffering, calmly accepting death, imbued with the immensity of the world. In the image and the comments of the wandering protagonist, Ivan Turgenev reveals his own philosophical credo, which he defnes as a moderate liberalism – freedom of thought and action, without prejudice to others.


2020 ◽  
Vol 3 (1) ◽  
pp. 527-549
Author(s):  
Harald Atmanspacher

AbstractThe dual-aspect monist conjecture launched by Pauli and Jung in the mid-20th century will be couched in somewhat formal terms to characterize it more concisely than by verbal description alone. After some background material situating the Pauli–Jung conjecture among other conceptual approaches to the mind–matter problem, the main body of this paper outlines its general framework of a basic psychophysically neutral reality with its derivative mental and physical aspects and the nature of the correlations that connect these aspects. Some related approaches are discussed to identify key similarities to and deviations from the Pauli–Jung framework that may be useful for cross-fertilization.


2021 ◽  
Author(s):  
Deep Bhattacharjee

Psychiatric disorders’ or as emphasized in the paper in the form of somatic-symptom disorder, a sub-category of Schizophrenia has been from the ancient of the human civilization, when the medicinal approach and treatment of the subject hasn’t been developed yet, the notion of the affected subject to be under some spiritual subjugation has automatically been implied on the minds of the people which leads to immense torture and torment of the subject by the society. However, in the modern medical scenario, the situation has shifted from spiritual/evilness to the extreme derision where it has been already implied on the healthy societies brain that, the subject is intentionally acting like a patient or it’s a ‘disease of the mind’ with no associated physical pain which being attributed to the tendency of late diagnosis and recovery, makes the subject a sheer block of ‘sarcasm’ among the healthy society where they tries their best to make ‘the fun out of him’ as regards to his continuous pain and suffering. This generally amplified by the delay in the starting of the treatment for the difficulty of the doctors to diagnose the disease, as not so developed instruments are still in their infancy to detect and derelict the mental disorders, where in most of the time, the golden period of diagnosis is either over or even if psychiatric treatment is initiated can lead to a more defocused effects as doctors itself finds it difficult to approach the right medicine to the disordered person, where, in case, they have to go from one doctor to another in the risk of a trial and error effect.


Author(s):  
Sandra Walklate

Beck (2015: 81) observes, metamorphosis ‘is proceeding latently, behind the mind walls of unintended side effects, which are being constructed as ‘natural’ and ‘self-evident’. Thus Beck’s concept of metamorphosis conceives of social change as unnoticed and unacknowledged. Such change is evident in the contemporary ever present invocation of the ‘victim’ in a wide range of different, crime-soaked circumstances. This paper is concerned to explore this metamorphosis of the ‘victim’ in reflecting on two narratives: the victim narrative and the trauma narrative. The contemporary conflation of these two narratives has led Agamben (1999: 13) to suggest that policy has proceeded as if ‘“testis” (the testimony of a person as a third party in a trial or a law suit) can be conflated with “superstes” (a person who has lived through something and can thereby bear witness to it)’. The paper makes the case that this conflation has consequences for understandings of justice.


2021 ◽  
Author(s):  
◽  
German Molina

<p><b>The fact that comfort is a subjective state of the mind is widely accepted by engineers, architects and building scientists. Despite this, capturing all the complexity, subjectivity and richness of this construct in models that are useful in building science contexts is far from straightforward. By prioritizing usability, building science has produced models of comfort (e.g., acoustic, visual and thermal) that overly simplify this concept to something nearly objective that can be directly associated with people’s physiology and measurable and quantifiable environmental factors. This is a contradiction because, even if comfort is supposed to be subjective, most of the complexity of “the subject” is avoided by focusing on physiology; and, even if comfort is supposed to reside in the mind, the cognitive processes that characterize the mind are disregarded. This research partially mitigates this contradiction by exploring people’s non-physical personal factors and cognition within the context of their comfort and by proposing a way in which they can be incorporated into building science research and practice. This research refers to these elements together—i.e., people’s non-physical personal factors and cognition—as “the mind”.</b></p> <p>This research proposes a new qualitative model of the Feeling of Comfort that embraces “the mind”. This model was developed from the results of a first study in which 18 people—from Chile and New Zealand—were asked to describe “a home with good daylight” and “a warm home” in their own words. These results were then replicated in a second study in which another group of 24 people—also from Chile and New Zealand—described “a home with good acoustic performance”, “a home with good air quality” and “a pleasantly cool home”. The Feeling of Comfort model not only was capable of making sense of the new data (gathered in this second study) but also proved to be simple enough to be useful in the context of comfort research and practice. For instance, it guided the development of a quantitative Feeling of Comfort model and also of a prototype building simulation tool that embraces “the mind” and thus can potentially estimate people’s Feeling of Comfort.</p> <p>This research concludes that embracing “the mind” is not only possible but necessary. The reason for this is that “the mind” plays a significant role in the development of people’s comfort. Thus, theories and models of comfort that ignore it fail to represent properly the concept of comfort held by the people for whom buildings are designed. However, incorporating “the mind” into building science’s research and practice implies embracing tools, research methods and conceptual frameworks that have historically not been used by such a discipline. Specifically, it concludes that building science should normalize a more holistic view of comfort and perform more exploratory and qualitative research.</p>


2004 ◽  
Vol 24 (33) ◽  
pp. 141
Author(s):  
Andréa Vilela Gouvêia Quadra

<p>Como nação que lentamente se liberta do jugo da colonização, mas que  já foi (e ainda é) marcada pela cultura do outro, Moçambique tem, na  literatura, autores que conseguiram evidenciar a tensão existente entre a  tradição e a “cultura nova” que se infiltrou no território africano  principalmente a partir do processo de colonização. É de forma sensível  e desvestida de preconceitos que um desses autores, Mia Couto, em seu  romance <em>Terra sonâmbula</em>, aponta a existência dessa teia de influências  que atua na construção da identidade do povo moçambicano. Oral/ escrita;  sonho/ lógica e racionalidade: dois pares de aspectos que, se em princípio  parecem se constituir como dicotômicos, acabam por revelar, na obra, a  defesa de uma mestiçagem como condição harmonizadora da tensão entre  tradição e “cultura nova”. O caráter mestiço da nova Moçambique seria um terceiro “estado de alma” do povo; na obra, um estado <em>sonhambulante</em>:  estado de quem sonha, mas age como se estivesse acordado. Assim o  visível e o invisível, o possível e o impossível formam um novo <em>estado  de vivência</em>, onde seres e acontecimentos fantásticos dividem espaço (de  forma mais concreta que se pode pensar) com a guerra.</p> <p>As a nation that slowly frees itself from the colonization, but has been  (and it still is) stamped by other cultures, Mozambique has, in its literature,  autors that were able to show the tension between tradition and the new  culture, that had entered in Africa manly by the colonization process.  It´s in a sensitive way, with no prejudice that one of these authors, Mia  Couto, in his romance <em>Terra sonâmbula</em>, shows the existence of this  influence net that performs the identity building process of the people  from Mozambique. Oral/ written, dream/ logic and sense: two pairs of  aspects that, if in the beginning seem to be opposites, in this work, they  reveal themselves the defense of the halfcasteness as a balancing condition  of the tension between tradition and new culture. The halfcaste side of  the new Mozambique would be a third “soul state” of the people; in the  work, a “sonhambulante” state (this word is formed by three words:  dream sleep-walker and walking): the state of one who dreams, but acts  as if were awake. Thus, the visible and the invisible, possible and impossible  form a new living state, where beings and fantastic events share the  spaces (in a more concrete way that one may think) with the war.</p>


2021 ◽  
Author(s):  
◽  
German Molina

<p><b>The fact that comfort is a subjective state of the mind is widely accepted by engineers, architects and building scientists. Despite this, capturing all the complexity, subjectivity and richness of this construct in models that are useful in building science contexts is far from straightforward. By prioritizing usability, building science has produced models of comfort (e.g., acoustic, visual and thermal) that overly simplify this concept to something nearly objective that can be directly associated with people’s physiology and measurable and quantifiable environmental factors. This is a contradiction because, even if comfort is supposed to be subjective, most of the complexity of “the subject” is avoided by focusing on physiology; and, even if comfort is supposed to reside in the mind, the cognitive processes that characterize the mind are disregarded. This research partially mitigates this contradiction by exploring people’s non-physical personal factors and cognition within the context of their comfort and by proposing a way in which they can be incorporated into building science research and practice. This research refers to these elements together—i.e., people’s non-physical personal factors and cognition—as “the mind”.</b></p> <p>This research proposes a new qualitative model of the Feeling of Comfort that embraces “the mind”. This model was developed from the results of a first study in which 18 people—from Chile and New Zealand—were asked to describe “a home with good daylight” and “a warm home” in their own words. These results were then replicated in a second study in which another group of 24 people—also from Chile and New Zealand—described “a home with good acoustic performance”, “a home with good air quality” and “a pleasantly cool home”. The Feeling of Comfort model not only was capable of making sense of the new data (gathered in this second study) but also proved to be simple enough to be useful in the context of comfort research and practice. For instance, it guided the development of a quantitative Feeling of Comfort model and also of a prototype building simulation tool that embraces “the mind” and thus can potentially estimate people’s Feeling of Comfort.</p> <p>This research concludes that embracing “the mind” is not only possible but necessary. The reason for this is that “the mind” plays a significant role in the development of people’s comfort. Thus, theories and models of comfort that ignore it fail to represent properly the concept of comfort held by the people for whom buildings are designed. However, incorporating “the mind” into building science’s research and practice implies embracing tools, research methods and conceptual frameworks that have historically not been used by such a discipline. Specifically, it concludes that building science should normalize a more holistic view of comfort and perform more exploratory and qualitative research.</p>


Panggung ◽  
2015 ◽  
Vol 25 (4) ◽  
Author(s):  
Acep Iwan Saidi ◽  
Agung Eko Budiwaspada

ABSTRACTThis research is entitled “Visualization and Transformation of Embodiment in the Film of Planes Animation”. As an animation film, Planes is interesting because it is using inanimate objects, in this case the planes, as characters. This fact indicates that the character transformation is done by an animator, from the character of inanimate objects in to live character. By using the methods of structural and semiotic analysis, found that the transformation is done not only for personification (it is made as if the inanimate objects becomes alive). In the Planes, “the living things” not only exist in the mind as imagination, but it is exist out of the mind, as an autonomous reality. Based on that, Planes is the animation film which opens space for creating a new myth in the history of culture. Like the fable as a myth in the tradition of primary orality, Planes allows the formation of myth in digital oral tradition.Key Words: Transformation, visualization, embodiment, personification, metaphor, tradition, myth ABSTRAKPenelitian ini bertajuk “Visualisasi dan Transformasi Kebertubuhan dalam Film Animasi Planes”.Sebagai film animasi, Planes menarik karena menggunakan benda-benda mati, dalam hal ini pesawat, sebagai tokoh cerita. Fakta ini mengindikasikan dilakukannya transformasi karakte r ole h animator, yakni dari karakte r “yang mati” ke “yang hidup”.Dengan menggunakan metode analisis structural dan semiotik, ditemukan bahwa transformasi tersebut dilakukan melampaui sarana retorika personifikasi (membuatseolah- olah yang mati menjadi hidup).Di dalam Planes, “yang hidup” itu tidak berada di dalam pikiran dan imajinasi apresiator sebagai yang seolah-olah, melainkan hadir di luar pikiran, berdiri sendiri sebagai realita sotonom. Berdasarkan hal itu, Planes merupakan film animasi yang membuka ruang bagi terciptanya mitos baru dalam sejarah cerita. Jika fable merupakan mitos dalam tradisi kelisanan primer, Planes memungkinkan terbentuknya mitos dalam tradisi lisan digital.Kata kunci: transformasi, visualisasi, kebertubuhan, personifikasi, metafora, tradisi, mitos.


Oryx ◽  
1976 ◽  
Vol 13 (3) ◽  
pp. 281-286 ◽  
Author(s):  
Raymond F. Dasmann

One of the key papers at the Technical Meetings that accompanied the IUCN General Assembly in Zaïre was Dr Dasmann's showing how the emphasis in nature conservation has shifted. No longer can the ‘biosphere people’ – the people of the developed nations who draw on the resources of the whole world to maintain their life-style – simply urge developing countries to ‘protect’ wildlife and establish national parks while at the same time pressing them to cut back their population growth. One extra person in the USA will consume more in energy and materials than 20 extra people in Tanzania. What Dr Dasmann calls the ‘ecosystem people’—those who depend for all their resources on supplies within their local ecosystem – lived in balance with nature and, moreover, did not live impoverished lives, Today we can only solve our world problems by getting back to some better balance, ‘the old partnership with nature that existed without people being aware of it’. What we need, he suggests, is ‘conservation as if people mattered’ and ‘development as if nature mattered’. Nature conservation today demands new life-styles.


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