scholarly journals Zwierzęta domowe w trzech modelach ludowego opisu świata

LingVaria ◽  
2019 ◽  
Vol 14 (27) ◽  
pp. 217-230
Author(s):  
Olga Kielak

Pets in Three Models of Folk Description of the WorldThe goal of the paper is to show how three models of the world co-exist in folk narrations about pets. Identified in accordance with the methodology of the Lublin Słownik stereotypów i symboli ludowych (‘A dictionary of folk stereotypes and symbols’), the three models are: the mythological (inherited from the Proto-Indo-European and Proto-Slavic past), the religious (biblical, Judaeo-Christian), and the colloquial (common-sense, pragmatic). The author also speculates whether it is possible to connect the individual models with specific genres of folklore. The basis for the analyses is the rich material covering contexts from the end of the 18th to the beginning of the 21st century, which comprises three types of data: lexicographic, folkloristic, and ethnographic.

2017 ◽  
Vol 9 (2) ◽  
pp. 189-207
Author(s):  
AN Ras Try Astuti ◽  
Andi Faisal

Capitalism as an economic system that is implemented by most countries in the world today, in fact it gave birth to injustice and social inequalityare increasingly out of control. Social and economic inequalities are felt both between countries (developed and developing countries) as well as insociety itself (the rich minority and the poor majority). The condition is born from the practice of departing from faulty assumptions about the man. In capitalism the individual to own property released uncontrollably, causing a social imbalance. On the other hand, Islam never given a state model that guarantees fair distribution of ownership for all members of society, ie at the time of the Prophet Muhammad established the Islamic government in Medina. In Islam, the private ownership of property was also recognized but not absolute like capitalism. Islam also recognizes the forms of joint ownership for the benefit of society and acknowledges the ownership of the state that aims to create a balance and social justice.


Author(s):  
Bas van der Vossen ◽  
Jason Brennan

The humane and workable solution to global poverty is freedom. We can help the poor—and help ourselves at the same time—by tearing down our walls and trade barriers. Both justice and good economic sense require that we open borders, free up international trade, and respect the economic liberties of people around the world. What global justice requires is an open world. Most books on global justice see the world’s poor as little more than mouths to be fed. Their authors see justice as a zero-sum game: some must lose so that others may win. They rely on controversial moral intuitions and outdated or mistaken economic beliefs about economic growth. Van der Vossen and Brennan present global justice as a positive-sum game: the methods that can best help the world’s poor also help everyone else. Using mainstream development economics and common-sense moral intuitions, they argue that instead of treating the world’s poor as helpless victims who must be rescued by the rich, we should remove the coercive limits that keep people poor in the first place. We should offer people the freedom to work, produce, trade, and migrate, in ways that help better themselves and others who are willing to cooperate with them. In Defense of Openness offers a new approach to global justice: we don’t need to “save” the poor. The poor will save themselves, if only we would get out of their way and let them.


Author(s):  
Piotr Dziemidok ◽  
Daria Gorczyca-Siudak ◽  
Marzena Danielak

Diabetes is considered an epidemic of the 21st century. On 11 March 2020, two months after the outbreak of COVID-19 (coronavirus disease of 2019) epidemic in China, the World Health Organization announced COVID-19 to be a pandemic. From that time, many hospitals and wards have started to function as both infectious and non-infectious ones; so did the Diabetes Clinic Institute of Rural Health in South-Eastern Poland. Considering the global importance of diabetes and its prevalence worldwide, it seemed important to investigate how the Diabetes Clinic passed through the individual phases of the pandemic, and the possibility of protecting hospitalized patients against future pandemic infection. We present detailed characteristics of the situation in a ward which used to treat non-infectious patients with diabetes only and, nowadays, has been obliged to take into account the risk of spreading SARS-Cov-2 (severe acute respiratory syndrome coronavirus-2) infection also. Moreover, we suggest solutions to avoid cases of infectious diseases in non-infectious wards in the future.


Author(s):  
Duangui Wang

Formulation of the problem. An analysis of the genre-dramaturgical patterns in a poorly studied composition by the Chinese composer Zhao Jiping (2011) has been proposed. The relevance of the topic and the novelty of the received results of the genre-semantic analysis of the chosen vocal cycle are concluded in the search for the definition dictated by the artistic concept of its author – a cantata-type vocal poem (a small choir is introduced into the score). Among its criteria there are reliance on the orchestral accompaniment, the timbre variation of each song of the cycle, the poetry dictated by the presence of the image of the Poet, the symbolization of the poetic and intonation language, the cultural chronotope uniting the Time of History and its inclusion into the culture of the 21st century. The purpose of the article is to perform a genre-semantic analysis of “The Eight Songs” for Zhao Jiping’s voice and orchestra and to identify the main sound-image concepts of “the Chinese world view” that make up the drama of the vocal cycle. Analysis of the recent publications on the topic. In the second half of the 20th century, a new compositional approach to organizing vocal songs into a whole, poemness, appeared. In the articles by A. Belonenko (about “Petersburg” by G. Sviridov) and T. Zharkikh (about “Poemes pour Mi” by O. Messiaen), the research emphasis is placed on other problems of the organization of the vocal whole. For the first time, in the conditions of the poly-timbre vocal and orchestral synthesis and the national picture of the world poemness becomes the subject of a special interest of the singer-researcher. Research methods: the structural-functional analysis concerns the components of the composer’s text (the vocal melody and textural and timbre thematism of the orchestral part); the semantic one – reveals the symbolism of poetic texts; the genre analysis – aims to identify the individual interpretation of typical models of vocal music. The presentation of the main material. The poem principle became the embodiment of the author’s desire to unite several vocal miniatures into a single musical universe based on the common concept – the image of the Poet. The philosophical and religious feelings and thoughts contained in the texts chosen by the composer reflect not only his worldview, but also the national mentality and psychology of the world view of the “Chinese world view” (the chronotope of History). This rare quality of poetry – to unite the personality (I) and society (We) into a single “national image of the world” – is the essence of the symbolism of the ancient Chinese poetry of the Tang era. The desire to individualize the timbre composition in each of the parts of the cycle is a characteristic feature of many vocal and instrumental compositions of the 20th century. However, in Zhao Jiping’s work, the search for diversity acts simultaneously with the desire to preserve the timbre constants. As such, with this composer this role is represented by a string and bow group, as the carrier of the song beginning, which performs the function of the instrumental “nimbus” (more rarely, of the dialogue-counterpoint) in relation to the singer. In contrast to Western composers, Zhao Jiping does not seek to use “pure” timbres: vocals and xiao can be duplicated with the wind and plucked strings. The composer does not look for contrasting timbres in search of the associative community: on the contrary, he creates single-timbre groups (pipa + guzheng + harp, triangle + bells + cymbals) to vary the shades of the poetic text. Their “consonance” is close to assonance in poetry (from assono – “I sound in tune”), which in the musical context creates the timbre assonance. The symphonic instruments are combined in timbre groups (string, wind), and the ethnic often perform an individualized function (for example, guzheng with its irregular glissando in No. 2–4 gives a national flavour). The orchestral density, along with the gradual “academic turning” of timbres, increases from the second half of the sound of the cycle (No. 5) to the final. Xiao is replaced by the wind and brass (with No. 5), while the ethnic plucked is replaced by the harp. The gradual increase in the timbre multidimensionality of the texture also has the “opposite effect”, since it is combined with the enhancement of the timbre contrast in the final parts of the cycle and as a result of the “aggravation” of the chamberness. The most chamber part is number 6, where the brass is for the first time silenced, and only the pipa and guzheng are heard. The culmination of the “chamberness” is in the first stanza of the final: a duet of the voice and harp. Conclusion. The vocal-instrumental synthesis in the poem genre, identified in Zhao Jiping’s “The Eight Songs”, is characterized by the organic interaction of the national and European principles of musical thinking. The performers are faced with complex technical and psychological tasks that require a developed orchestral-timbre hearing, intellectualism and associative thinking. A vocal-instrumental poem is a way of modelling spiritual reality, in which the unity of time and space is manifested due to the poetic text, in which the integral sense-image of the Poet acts, personifying the sound-like concepts of the culture of its time and the history of an entire people (“national view of the world”), their “inclusion” into the musical chronotope of the 21st century.


2022 ◽  
pp. 311-332
Author(s):  
Rodolfo Andrade de Carvalho ◽  
Jorge Lima de Magalhães

Health gained a global prominence and became a right declared by the World Health Organization in 1948. In the 21st century, it is understood as a complete well-being of the individual, far beyond the absence of disease. In this context, the right to happiness translates as an expression of the aspirations for the realization of the right to health. Thus, this chapter aims to understand, in the light of the Freudian perspective, the aspects of soul life that lead the individual to the exhausting task of seeking happiness and seeks to reflect the possible contributions that legal science can offer to the improvement of individual well-being as a right health in the context of global health. Freud's theories about the formation of the psychic apparatus, his conception of malaise caused by culture and legal interventions that can possibly contribute to the reduction of individual unhappiness are presented.


2013 ◽  
Vol 17 (1) ◽  
pp. 73-88
Author(s):  
Styliane Philippou

Ian Fleming's recently-opened Floridiana Hotel, in Miami Beach, where James Bond's client, Mr Junius du Pont, ‘promise[s] to make [him] comfortable’, was correctly matched in the film adaptation of Goldfinger with Morris Lapidus's Modernist Fontainebleau Hotel (1952–54) rather than with Miami's Mediterranean-style Hotel Floridian. Fleming was not enthusiastic about the architecture of the most expensive hotel in the world (at the time of its opening), nor about its ‘rich and dull’ gardens. He obviously chose it as a representation of the ‘easy, soft, high’ life of 1959 in Miami, and as the perfect setting for a gathering of American millionaires and secret agents, gamblers, gangsters, hitmen and prostitutes.Directly below Bond['s Aloha Suite], the elegant curve of the Cabana Club swept down to the beach – two storeys of changing-rooms below a flat roof dotted with chairs and tables and an occasional red and white striped umbrella. Within the curve was the brilliant green oblong Olympic-length swimming-pool fringed on all sides by row upon row of mattressed steamer chairs on which the customers would soon be getting their fiftydollar-a-day sunburn.The evening before, Bond had ‘the most delicious meal […] in his life’, at the most expensive restaurant of Miami. But the thought of ‘eating like a pig […] the easy life, the rich life revolted him. He felt momentarily ashamed of his disgust […] It was the puritan in him that couldn't take it'. It was also Fleming's nod to his readers, barely out of the grim austerity of postwar Britain, where food was rationed until 1954, bombsites abounded, housing was severely substandard or temporary, smog was thick and yellow, and wartime shortages lingered to the end of the decade. Despite Prime Minister Harold Macmillan's optimistic 1957 assurance to his fellow Conservatives that most of them had ‘never had it so good’, outside lavatories and no central heating were still common. His calls for ‘restraint and common sense’ were hardly answered by Bond's life of oyster-and-champagne dining and air-conditioned vacationing.


2021 ◽  
Vol 10 (86) ◽  

Technological education has moved away from material understanding. It will be initiated as these formal indicators that can be applied in the world surrounded by technological content. These technological objects have become the indispensable production material of the artist. In the rich material world of art, artists continue to surprise the audience with the interesting materials they use. Each material has its own characteristics. In this rich world of objects, light as an art production material has attracted the attention of some artists. This research focuses on examining how light is used in art production and its reflection on works of art from a plastic point of view. Readings were made on the works of artists who use light with a plastic understanding. Thus, it has been seen that light is used as a conceptual and visual artistic expression tool. Keywords: Art, Object, Light


2020 ◽  
Vol 15 (1) ◽  
pp. 79-90
Author(s):  
Slobodan Milić

In this paper author is dealing with the problem of democracy and neoliberal capitalism, through the prism of history; it explains the difference in certain socio-economic and political-economic systems. The concept of the neoliberal capitalist system that has been current for the last forty years has become unsustainable due to the enormous inequalities in the society that it has created. Therefore today, the rich are getting richer, while the poor are getting poorer. It has also been shown that without the economic intervention of a state, no economic system can survive. The growing protests throughout Europe and the world have prompted the author to consider the following questions' What are the alternatives to neoliberal capitalism? Why are Marxism and socialism always current when we talk about changing? Can we talk about socialism in the 21st century?


Author(s):  
Chad Hansen

Technically, classical China had semantic theory but no logic. Western historians, confusing logic and theory of language, used the term ‘logicians’ to describe those philosophers whom the Chinese called the ‘name school’. The best known of these were Hui Shi (380–305 bc) and Gongsun Lung (b. 380 bc?). This group now also includes the Later Mohists and the term ‘distinction school’ (translated as ‘dialecticians’) has become common. The importance of the more detailed Mohist work came to light in modern times. The Confucian tradition had lost access to it. Rescuing that text rekindled a long-lost interest in Chinese theories of language. The restored Mohist texts give us a general theory of how words work. A term picks out part of reality. Some terms are more general than others; terms like ‘dobbin’ or ‘horse’ or ‘object’ might pick out the same thing. When we use a term to pick something out, we commit ourselves to using the name to pick out similar things and ‘stopping’ with the dissimilar. Thus, for each term we learn an ‘is this’ and an ‘is not’. ‘Is not’ generates an opposite for each name and marks the point of distinction or discrimination. Chinese doctrine portrays disagreements as arising from different ways of making the distinctions that give rise to opposites. The word bian (distinction/dispute) thus came to stand for a philosophical dispute. The Mohists argued that, in a ‘distinction/dispute’, one party will always be right. For any descriptive term, the thing in question will either be an ‘is this’ or an ‘is not’. Mohists were realistic about descriptions and the world. Real similarities and differences underlie our language. They rejected the claim that words distort reality; to regard all language as ‘perverse’, they noted, was ‘perverse’. The Mohists failed, however, to give a good account of what similarities and differences should count in making a distinction. Mohists also found that combining terms was semantically fickle. In the simplest case, the compound picked out the sum of what the individual terms did. Classical Chinese lacked pluralization so ‘cat–dog’ works like ‘cats and dogs’. Other compound terms (such as ‘white horse’) worked as they do in English. The confusion led Gongsun Long to argue, on Confucian grounds, that we could say ‘white horse is not horse’. Confucius’ linguistics centred on his proposal to ‘rectify names’. Confucius used a code with fixed formulations, and therefore tended to treat moral problems as turning on which terms we use in stating them. The abortion dispute illustrates this well. Both sides agree to the rule ‘do not kill an innocent person’: the dispute becomes one of whether to use the term ‘person’ or ‘foetus’. In contrast, Mohists argued that we should not alter normal term use to get moral results. We simply accept that guiding compounds may not follow normal use. A thief is a person, but killing a thief (executing) is not killing a person (murdering). These results bolstered Daoist scepticism about words. We never will fashion a ‘constant’ dao. According to Zhuangzi, even a realistic theory of language (like that of the Mohists) will not give constant guidance. He drew from Hui Shi’s approach to language, which emphasized relative terms such as ‘large’ and ‘small’. We may talk of a large horse (relative to other horses) or a large horsefly (relative to other flies), but ‘large’ itself has no constant standard of comparison. From the premise, ‘all such distinctions are relative’, Hui Shi fallaciously concluded that ‘reality has no distinctions in itself’. Zhuangzi rejected this conclusion and ridiculed Hui Shi’s monism. If we say ‘everything is one’, then our language attempts to ‘point to’ everything. If it succeeds, then in addition to the ‘one–everything’ there is the reference to it. That makes two. The whole consisting of everything and saying so then makes three. Referring to that whole makes four, and the fact that we have referred to it makes five, and so on. Zhuangzi shifted Hui Shi’s focus slightly, and concentrated on ‘this’ and ‘that’. These do refer to things, but each use is different. Language, he argued, is not fixed on the world but on our relationships with it. Each existing language (different ways of making guiding distinctions) is equally natural. Human debate is as natural as the chirping of birds. We cannot appeal to nature to settle our disputes about ethics. The standards are not constant; they are historical, variable and diverse in different moral communities. Distinctions are real, but we can never know if we have found the right ones. Zhuangzi accepts a real world in which language works. Thus, he celebrates the endless possible ways of distinguishing ‘this’ from ‘not-this’. Some alternatives will certainly work better (assuming our present values) than the one we have now. The problem is that any standard we could use to decide about that would itself be controversial. The final word came from Xunzi and his student Han Feizi. The former, a Confucian, understood Zhuangzi’s arguments to show that the only standard of correct usage must be convention itself. Thus he renewed Confucian tradition and promoted it politically as the only viable and valid conventional system. He advocated government suppression of dissenting voices who ‘confuse language’ and ‘create new terms’. In the end, only the ruler may change language (and then only the ‘descriptive’ terms). The standards of social assent and dissent come from the Confucian ‘sage-kings’. We must adhere to these as the only acceptable ideals; the alternative is anarchy in moral discourse and, consequently, in society. Han Feizi, seized on Xunzi’s attitude toward coercion while discarding the appeal to ancient tradition. Han Feizi had considerable influence on the draconian Qin emperor who ruthlessly carried out his injunction to stamp out philosophical disputes about ethics. This brought the rich tradition of creative philosophy to an abrupt end; religious thought and scholasticism dominated the rest of Chinese intellectual history.


Author(s):  
Marlene Salas-Provance ◽  
Margarita Marchino ◽  
Margot Escobedo

Today more than ever, people are making global connections. Socially, Facebook allows us to stay in touch with family and friends around the world, as easy as swiping the iScreen. In education, millions of learners are connected digitally through Massive Open Online Programs or MOOCs. There is a worldwide sharing of knowledge every minute of every day through online learning. In healthcare, the World Health Organization (WHO) is leading the discussion on the state of disability in the world through the WHO Report on Disabilities. In our social, education, and healthcare circles, the goal is for individuals in every part of the world to engage in behaviors that will improve lives. The idea of connectivity goes further when we think of volunteerism. Volunteerism in its best sense is a benefit to the individual and society. More often than not, volunteers have deeply held beliefs about making a positive contribution as a volunteer, and are motivated by values such as social justice, equity, and freedom. As practitioners and scholars unite in shared endeavors worldwide our bonds of trust and societal cohesion grow. This leads to a story of three professionals working from a common sense of purpose, a shared vision, a destiny.


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