scholarly journals IMPOLITENESS IN: “A 14 YEAR OLD GROOM” BY ANDON Z. ÇAJUPI

2015 ◽  
Vol 9 (2) ◽  
Author(s):  
Aulona Beqo
Keyword(s):  
The Other ◽  
Female Characters ◽  
Works Of Art ◽  
Turn Taking ◽  
The Face

Various studies have been carried out on The Impoliteness Theory, in various contexts as well as in works of art where dialogue is present. One reason why it is considered as a source of humor would be the fact that it encourages willingness to read, another reason would be the fact that characters appear with a variety of behaviors, alongside Politeness we meet Impoliteness. This paper aims to analyze the dialogue between Tana and Kote, two female characters from “A 14 year old groom” written by Andon Z. Çajupi . The Impoliteness super strategies, the face threatening acts, the fulfillment of Grice’s Cooperation Maxims, turn- taking in dialog, the sentence structures and the lexical units will serve as the basis for this analysis. Through the dialogue analysis of these two characters, it is seen how the Impoliteness  is realized in the works of the Albanian author and the other dimensions of the characters’ behavior it provides us with, adding thus to the totality of a characters’ behavior.

Mimetic Monsters

2010 ◽  
Vol 4 (1) ◽  
pp. 85-93
Author(s):  
Timothy Beal
Keyword(s):  
The Other ◽  
Jewish Tradition ◽  
Book Of Job ◽  
Edge Of Chaos ◽  
The Face ◽  
The Relationship

This article reads between two recent explorations of the relationship between religion, chaos, and the monstrous: Catherine Keller’s Face of the Deep and Author's Religion and Its Monsters. Both are oriented toward the edge of chaos and order; both see the primordial and chaotic as generative; both pursue monstrous mythological figures as divine personifications of primordial chaos; both find a deep theological ambivalences in Christian and Jewish tradition with regard to the monstrous, chaotic divine; both are critical of theological and cultural tendencies to demonize chaos and the monstrous; and finally, both read the divine speech from the whirlwind in the book of Job as a revelation of divine chaos. But whereas one sees it as a call for laughter, a chaotic life-affirming laughter with Leviathan in the face of the deep, the other sees it as an incarnation of theological horror, leaving Job and the reader overwhelmed and out-monstered by God. Must it be one way or the other? Can laughter and horror coincide in the face of the deep?

Óscar Romero and the Politics of Sainthood

2011 ◽  
Vol 5 (3) ◽  
pp. 265-291
Author(s):  
Manuel A. Vasquez ◽  
Anna L. Peterson
Keyword(s):  
Human Rights ◽  
Civil War ◽  
El Salvador ◽  
The Other ◽  
Post Colonial ◽  
Holy See ◽  
The Poor ◽  
The Face ◽  
Crisis Of Modernity ◽  
The One

In this article, we explore the debates surrounding the proposed canonization of Archbishop Oscar Romero, an outspoken defender of human rights and the poor during the civil war in El Salvador, who was assassinated in March 1980 by paramilitary death squads while saying Mass. More specifically, we examine the tension between, on the one hand, local and popular understandings of Romero’s life and legacy and, on the other hand, transnational and institutional interpretations. We argue that the reluctance of the Vatican to advance Romero’s canonization process has to do with the need to domesticate and “privatize” his image. This depoliticization of Romero’s work and teachings is a part of a larger agenda of neo-Romanization, an attempt by the Holy See to redeploy a post-colonial and transnational Catholic regime in the face of the crisis of modernity and the advent of postmodern relativism. This redeployment is based on the control of local religious expressions, particularly those that advocate for a more participatory church, which have proliferated with contemporary globalization

“My Power is in My Infirmity”: Illness and Death of Yu.F. Samarin

2019 ◽  
Vol 54 ◽  
pp. 412-431
Author(s):  
Svetlana I. Skorokhodova
Keyword(s):  
The Other ◽  
Russian Philosopher ◽  
Bodily Resurrection ◽  
The Face

This article is devoted to the insufficiently known topic of the disease and death of Y. F. Samarin, a great Russian philosopher, ascetic and warrior, politician and scientist. On the basis of the extensive archival materials the author of the article presents the events panorama that allows to reconstruct certain fragments of Samarin’s life. According to the author, the strongest aspects of Samarin’s personality, supported by his belief in bodily resurrection, were revealed in the face of bodily affliction and death. His love for congenial people, relatives, and Russia dominated all the other feelings of the philosopher both during his life and at the time of his departure. The article shows that something mysterious and undisclosed still remains in Samarin s death.

The Hierophanic Facets of the Seraphic Hymns

Trictrac ◽  
2018 ◽  
Vol 10 ◽  
Author(s):  
Petru Adrian Danciu
Keyword(s):  
Mutual Recognition ◽  
The Other ◽  
Human Being ◽  
Material World ◽  
Face To Face ◽  
The People ◽  
Musical History ◽  
The Face ◽  
The One

Starting from the cry of the seraphim in Isaiahʹ s prophecy, this article aims to follow the rhythm of the sacred harmony, transcending the symbols of the angelic world and of the divine names, to get to the face to face meeting between man and God, just as the seraphim, reflecting their existence, stand face to face. The finality of the sacred harmony is that, during the search for God inside the human being, He reveals Himself, which is the reason for the affirmation of “I Am that I Am.” Through its hypnotic cyclicality, the profane temporality has its own musicality. Its purpose is to incubate the unsuspected potencies of the beings “caught” in the material world. Due to the fact that it belongs to the aeonic time, the divine music will exceed in harmony the mechanical musicality of profane time, dilating and temporarily cancelling it. Isaiah is witness to such revelation offering access to the heavenly concert. He is witness to divine harmonies produced by two divine singers, whose musical history is presented in our article. The seraphim accompanied the chosen people after their exodus from Egypt. The cultic use of the trumpet is related to the characteristics and behaviour of the seraphim. The seraphic music does not belong to the Creator, but its lyrics speak about the presence of the Creator in two realities, a spiritual and a material one. Only the transcendence of the divine names that are sung/cried affirms a unique reality: God. The chant-cry is a divine invocation with a double aim. On the one hand, the angels and the people affirm God’s presence and call His name and, on the other, the Creator affirms His presence through the angels or in man, the one who is His image and His likeness. The divine music does not only create, it is also a means of communion, implementing the relation of man to God and, thus, God’s connection with man. It is a relation in which both filiation and paternity disappear inside the harmony of the mutual recognition produced by music, a reality much older than Adam’s language.

Challenging Gender Hierarchies in Narratives of the Nation: Representations of Women in Zintgraff and the Battle of Mankon and Hard Choice

Imbizo ◽  
2020 ◽  
Vol 11 (2) ◽  
Author(s):  
Naomi Epongse Nkealah ◽  
Olutoba Gboyega Oluwasuji
Keyword(s):  
The Other ◽  
Literary Texts ◽  
Gender Differentiation ◽  
Hard Choice ◽  
Other Hand ◽  
Gender Hierarchies ◽  
The Face ◽  
The One ◽  
Representations Of Women ◽  
Do So

Ideas of nationalisms as masculine projects dominate literary texts by African male writers. The texts mirror the ways in which gender differentiation sanctions nationalist discourses and in turn how nationalist discourses reinforce gender hierarchies. This article draws on theoretical insights from the work of Anne McClintock and Elleke Boehmer to analyse two plays: Zintgraff and the Battle of Mankon by Bole Butake and Gilbert Doho and Hard Choice by Sunnie Ododo. The article argues that women are represented in these two plays as having an ambiguous relationship to nationalism. On the one hand, women are seen actively changing the face of politics in their societies, but on the other hand, the means by which they do so reduces them to stereotypes of their gender.

Metamorphosen des Autors im Internet

2018 ◽  
Vol 2018 (1) ◽  
pp. 73-82
Author(s):  
Julia Genz
Keyword(s):  
Web 2.0 ◽  
Digital Media ◽  
Intrinsic Value ◽  
The Other ◽  
Cultural Conditions ◽  
Works Of Art ◽  
Periodic Schedule ◽  
Literary Authorship ◽  
The One ◽  
Death Of The Author

Digital media transform social options of access with regard to producers, recipients, and literary works of art themselves. New labels for new roles such as »prosumers « and »wreaders« attest to this. The »blogger« provides another interesting new social figure of literary authorship. Here, some old desiderata of Dadaism appear to find a belated realization. On the one hand, many web 2.0 formats of authorship amplify and widen the freedom of literary productivity while at the same time subjecting such production to a periodic schedule. In comparison to the received practices of authors and recipients many digital-cultural forms of narrating engender innovative metalepses (and also their sublation). Writing in the net for internet-publics enables the deliberate dissolution of the received autobiographical pact with the reader according to which the author’s genuine name authenticates the author’s writing. On the other hand, the digital-cultural potential of dissolving the autobiographical pact stimulates scandals of debunking and unmasking and makes questions of author-identity an issue of permanent contestation. Digital-cultural conditions of communication amplify both: the hideand- seek of authorship as well as the thwarting of this game by recipients who delight in playing detective. In effect, pace Foucault’s and Barthes’ postulates of the death of the author, the personality and biography of the author once again tend to become objects of high intrinsic value

Retroaktive Neuverhandlung

2018 ◽  
Vol 63 (1) ◽  
Author(s):  
Daniel Martin Feige
Keyword(s):  
Original Work ◽  
The Other ◽  
Final Part ◽  
Critical Reading ◽  
The Third ◽  
Works Of Art ◽  
The Relationship

Der Beitrag widmet sich der Frage historischer Folgeverhältnisse in der Kunst. Gegenüber dem Gedanken, dass es ein ursprüngliches Werk in der Reihe von Werken gibt, das späteren Werken seinen Sinn gibt, schlägt der Text vor, das Verhältnis umgekehrt zu denken: Im Lichte späterer Werke wird der Sinn früherer Werke neu ausgehandelt. Dazu geht der Text in drei Schritten vor. Im ersten Teil formuliert er unter der Überschrift ›Form‹ in kritischer Abgrenzung zu Danto und Eco mit Adorno den Gedanken, dass Kunstwerke eigensinnig konstituierte Gegenstände sind. Die im Gedanken der Neuverhandlung früherer Werke im Lichte späterer Werke vorausgesetzte Unbestimmtheit des Sinns von Kunstwerken wird im zweiten Teil unter dem Schlagwort ›Zeitlichkeit‹ anhand des Paradigmas der Improvisation erörtert. Der dritte und letzte Teil wendet diese improvisatorische Logik unter dem Label ›Neuaushandlung‹ dann dezidiert auf das Verhältnis von Vorbild und Nachbild an. The article proposes a new understanding of historical succession in the realm of art. In contrast to the idea that there is an original work in the series of works that gives meaning to the works that come later, the text proposes to think it exactly the other way round: in the light of later works, the meanings of earlier works are renegotiated. The text proceeds in three steps to develop this idea. Under the heading ›Form‹ it develops in the first part a critical reading of Danto’s and Eco’s notion of the constitution of the artworks and argues with Adorno that each powerful work develops its own language. In the second part, the vagueness of the meaning of works of art presupposed in the idea of renegotiating earlier works in the light of later works is discussed under the term ›Temporality‹ in terms of the logic of improvisation. The third and final part uses this improvisational logic under the label ›Renegotiation‹ to understand the relationship between model and afterimage in the realm of art.

Emmanuel Levinas: Um estudo sobre a ética da alteridade

2020 ◽  
Author(s):  
Abimael Francisco do Nascimento
Keyword(s):  
Emmanuel Levinas ◽  
Transcendental Philosophy ◽  
The Other ◽  
New Thought ◽  
Philosophical Criticism ◽  
The Face ◽  
The Subject ◽  
Theoretical Foundations ◽  
First Philosophy

The general objective of this study is to analyze the postulate of the ethics of otherness as the first philosophy, presented by Emmanuel Levinas. It is a proposal that runs through Levinas' thinking from his theoretical foundations, to his philosophical criticism. Levinas' thought presents itself as a new thought, as a critique of ontology and transcendental philosophy. For him, the concern with knowledge and with being made the other to be forgotten, placing the other in totality. Levinas proposes the ethics of otherness as sensitivity to the other. The subject says here I am, making myself responsible for the other in an infinite way, in a transcendence without return to myself, becoming hostage to the other, as an irrefutable responsibility. The idea of the infinite, present in the face of the other, points to a responsibility whoever more assumes himself, the more one is responsible, until the substitution by other.

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