scholarly journals Map-and-territory of modern geopoetics: sources and artistic practice

2020 ◽  
pp. 113-120
Author(s):  
O. O. Brovko ◽  
Keyword(s):  
Cultural Landscape ◽  
Contemporary Literature ◽  
Root Cultures ◽  
Artistic Practice ◽  
Methodological Basis ◽  
The World ◽  
Local Space ◽  
Modern Fiction

The purpose of this article is an attempt to outline the specifics of artistic mapping in contemporary literature through conceptualization to understand the „map” and territory "in the context of geopoietics studios. Philosophical and cultural works, which supplement the theoretical and methodological base of geopoetics, were chosen as the methodological basis for the research. Metaphor „A map is not the territory” (Alfred Korzybski) serves to explain the representation of the world, the description of reality. Artistic expictations of cartography are considered on the material of the works „Voroshilovgrad” by Sergey Zhadan, „The Map and the Territory” by Michel Welbeck, „Certain Judgments about Byzantium” by Velimir Churgus Kazimir. This article analyzes the problem of reality and literature interrelation and the problem of man and landscape relations. It is memory and place through the landscape that allow to connect local, ethnic and global aspects into a single whole. Cultural and civilization projections, map and territory designs are perceived in modern humanities as a manifestation of struggle and mutual overlay of „tree” and „root” cultures. The research of the transcultural communications in the artistic space, allows to define modern aesthetics as the universalistic functions. Local space and limited geo-cultural landscape inspires individual mythology of modern writers. In modern fiction we often observe incorporation of historical facts, fragments of pseudo-documents, description of real landscapes and maps of invented territories into the text.

Unpacking the self

Forum+ ◽  
2020 ◽  
Vol 27 (3) ◽  
pp. 29-37
Author(s):  
Manju Sharma
Keyword(s):  
Visual Arts ◽  
Personal Narrative ◽  
The Self ◽  
Cross Linking ◽  
Artistic Practice ◽  
Content Type ◽  
Personal Stories ◽  
The World ◽  
Visual Artist ◽  
Sensitive Issues

Abstract In this essay, visual artist and writer Manju Sharma reflects on the use of autobiography as a methodology for storytelling in the visual arts. She focuses on the methods that she uses to explore the self and its relatedness to the world that she wishes to grasp. She also sheds light on how autobiography fits into her artistic practice as a means of finding hidden narratives and to keep the personal narrative related to the world. The essay touches upon the use of personal stories, cross-linking and note-taking to unpack everyday sensitive issues that can allow people to find their voice and to speak out.

The “Idea of Human” Literary Category: Epistemological Potential

2021 ◽  
pp. 23-31
Author(s):  
Vyacheslav M. Golovko ◽  
Keyword(s):  
Literary Criticism ◽  
Modern Science ◽  
Artistic Practice ◽  
Object Knowledge ◽  
Human Type ◽  
A Value ◽  
The World ◽  
Literary Process ◽  
Relevant Category ◽  
Successive Change

The “idea of human” (“type of attitude to the world”) is considered as a relevant category of the conceptual apparatus of the modern science of literature. The aim of the work is to analyze the theoretical and methodological potential of this category on the basis of large typological units of the literary process, marked with the concepts of “historical and literary era”, “artistic and cognitive cycle”, “literary direction”, “big style”, “artistic method”. The research used the methods of a typological and complex study of literary works, which in the synthesis of literary criticism and philosophy determine the strategy of searches in the field of theoretical and methodological content of the “idea of human” category as the foundation of the literary and philosophical anthropology of cultural and historical eras. The historical and genetic links between the worldview aesthetic principles and the artistic practice of literary trends are problematized. The logic of the research reveals the concept “object – knowledge”, fundamental for epistemology, in the aspects of the structuring of the knowledge of the methodological semantics of the “idea of human” category and of the functioning of the definitions “generalized idea of human”, “type of attitude to the world”, “concept of human and reality”, “whole of human”, “human as a value”. The article shows that the “idea of human” as a philosophical and aesthetic interpretation of the nature and essence of human at a certain stage in the development of artistic consciousness, worked out by the whole culture (R.R. Moskvina, G.V. Mokronosov) and defining integrity and logical consistency of the artistic system, is a synergistically functional semantic core of the historical and cultural era, and this core contains the dialectical potential of “negation of the negation”. As a variable, the historical “idea of human”, in the perspective of the stage development of artistic consciousness, undergoes dramatic changes and is realized in the logic of the successive change of historical and cultural epochs and their philosophical paradigms, in the constant alternation of “realistic” and “mystical”, materialistic and idealistic methods of cognition and images of human and the world (D.I. Chizhevsky, A.M. Panchenko, and others). The conclusions are substantiated that the successive development of literary trends, creative methods and their axiological systems is conditioned by the dynamics of “types of attitude to the world”; that the functioning of the “idea of human” category in literary discourse is focused on argumentation of the ontological nature of fiction, on the identification of philosophical and aesthetic principles that determine the systematic nature and the successive change of artistic and cognitive cycles; that the evolution of the “idea of human” within the framework of one artistic and cognitive cycle is fixed by the dynamics of genre systems since, in the correlations of method, genre and style, “the idea of human” acts as a factor in genre formation.

XXVI. Maurice Barrès as a Romanticist

PMLA ◽  
1926 ◽  
Vol 41 (2) ◽  
pp. 462-487
Author(s):  
Frederic D. Cheydleur
Keyword(s):  
Comparative Study ◽  
Contemporary Literature ◽  
The Political ◽  
New Order ◽  
Profound Influence ◽  
The World ◽  
French Culture ◽  
Pierre Loti ◽  
Literary Movements

During the last two and a half years France has lost three great writers, Pierre Loti, Anatole France, and Maurice Barrès. Loti, because of his impressionistic novels of the most artistic kind which record his tireless quest of sensations in all countries of the world, France, because of his epicurean philosophy and Voltairean wit expressed in two-score works of the most finished style, and Barrès, because of his triple rôle of author, politician, and leader of traditionalism in France,—all three have left a profound influence on the contemporary literature of their country. Of these three, Barrès, in spite of the conceit of his early egotism, the narrowness of his nationalism, and the occasional arrogance of his confidence in the superiority of French culture, is by far the most highly endowed and representative; and on this account his work will receive more and more attention from serious students of the political, social, and literary movements of the last thirty years in France. He was one of the first to make his voice heard against the extreme naturalism of Zola and his school; he founded a group of enthusiastic young writers striving toward a new order of things; and, after a period of hesitation, he stood forth as the champion of the best traditions of his country. The purpose of this paper is not, however, to make a comparative study of the relative greatness of these three writers, but rather to trace the struggle between the classical and romantic elements in Barrès' composition, and to show that the latter were not only predominant in his first writings but continued to the end of his life as a strong undercurrent in his novels and books of travel.

scholarly journals En dynamisk kulturarv – Dybbøls 12 metamorfoser

1970 ◽  
pp. 55
Author(s):  
Inge Andriansen
Keyword(s):  
Cultural Heritage ◽  
Cultural Landscape ◽  
Local Population ◽  
Active Role ◽  
Large Mass ◽  
Mass Graves ◽  
North East ◽  
The World ◽  
Set Up ◽  
The Many

Dybbøl is the brow of a hill located about 30 km north-east of the border between Denmark and Germany. This area was once the former Danish Duchy of Schleswig, which was under German rule in the period from 1864 to 1920. Dybbøl was also the site of intense fighting during the Schleswig-Holstein Revolt of 1848–50 and the Danish-German War of 1864. There are remains of both Danish and German fortifications and earthworks, along with large mass graves in which troops from Denmark, Schleswig-Holstein and Germany lie buried. After a plebiscite about the placing of the border was held in 1920, Schleswig was divided up, and the northern part – which included Dybbøl – became part of Denmark. This was followed by a comprehensive ”Danishification” of the cultural landscape, which had previously been dominated by a large Prussian victory monument and numerous German memorial stones. A Danish national park was set up at Dybbøl in 1924, with the backing of the local population and financial sup- port from a national collection appeal, and formally opened by the Danish prime minister. After this, Dybbøl became the epitome of the institutionalised cultural heritage of the state of Denmark, and would almost certainly be included in any ”cultural canon” of the most significant geographical locations that have helped shape the Danish sense of national identity. However, Dybbøl also features another – less comfortable – aspect of the Danish cultural heritage, bearing witness to Danish acts of vandalism perpetrated against the German monuments found here. Any study of the use of the history associated with Dybbøl uncovers layer upon layer of episodes that speak of conflicting interests and countless metamorphoses that led to the site being imbued with new values and a sequence of new identities. And in step with the resurgence of nationalist sentiments in Denmark since the mid-1980s, there has been a corresponding, strengthened re-annexation of the cultural heritage associated with Dybbøl. The need to cling on to and retain establis- hed, familiar positions and a fundamental sense of belonging are well-known aspects of the process of globalisation, and are seen throughout the world. In Dybbøl, this deep-felt need has resulted in the construction of a Danish fortification, and the Danish flag flying atop the many flagpoles has become more frequent sight. This process can also be interpreted as an expression of Danish foreign policy taking on a more active role in the world.

scholarly journals From Japanese Schulz to Polish Parnicki – around the year 1974

2019 ◽  
Vol 26 ◽  
pp. 487-500
Author(s):  
Tokimasa Sekiguchi
Keyword(s):  
French Literature ◽  
World Literature ◽  
Contemporary Literature ◽  
Witold Gombrowicz ◽  
Polish Literature ◽  
The World ◽  
Polish Language ◽  
The 1960S ◽  
Polish Government ◽  
Bruno Schulz

The major works by Bruno Schulz and Witold Gombrowicz were translated into Japanese in the 1960s, mainly by Yukio Kudō. I was enchanted by those Japanese texts to such an extent that I decided to abandon French literature and switch to Polish contemporary literature. In 1974, I came to Poland on a post-graduate fellowship of the Polish government, and I began studies in literature and the Polish language at the Jagiellonian University. During that two-year stay in Krakow, my view of Polish literature changed several times. The phase well established in the Japanese translations I had known ended quickly. Then I began to “hunt” for promising Polish authors not yet present in world literature. I thus discovered the prolific, esoteric and difficult Teodor Parnicki (1908–1988). This essay is my description of my “penetrating” the world of the Polish language at that time.

Artistic Research as a Process of Unfolding

2018 ◽  
Author(s):  
Darla Crispin
Keyword(s):  
Risk Taking ◽  
New World ◽  
Research Work ◽  
Point Of View ◽  
Artistic Practice ◽  
Professional Discourse ◽  
Political Discourses ◽  
The World ◽  
Empathic Communication ◽  
Artistic Research

As artistic research work in various disciplines and national contexts continues to develop, the diversity of approaches to the field becomes ever more apparent. This is to be welcomed, because it keeps alive ideas of plurality and complexity at a particular time in history when the gross oversimplifications and obfuscations of political discourses are compromising the nature of language itself, leading to what several commentators have already called ‘a post-truth’ world. In this brutal environment where ‘information’ is uncoupled from reality and validated only by how loudly and often it is voiced, the artist researcher has a responsibility that goes beyond the confines of our discipline to articulate the truth-content of his or her artistic practice. To do this, they must embrace daring and risk-taking, finding ways of communicating that flow against the current norms. In artistic research, the empathic communication of information and experience – and not merely the ‘verbally empathic’ – is a sign of research transferability, a marker for research content. But this, in some circles, is still a heretical point of view. Research, in its more traditional manifestations mistrusts empathy and individually-incarnated human experience; the researcher, although a sentient being in the world, is expected to behave dispassionately in their professional discourse, and with a distrust for insights that come primarily from instinct. For the construction of empathic systems in which to study and research, our structures still need to change. So, we need to work toward a new world (one that is still not our idea), a world that is symptomatic of what we might like artistic research to be. Risk is one of the elements that helps us to make the conceptual twist that turns subjective, reflexive experience into transpersonal, empathic communication and/or scientifically-viable modes of exchange. It gives us something to work with in engaging with debates because it means that something is at stake. To propose a space where such risks may be taken, I shall revisit Gillian Rose’s metaphor of ‘the fold’ that I analysed in the first Symposium presented by the Arne Nordheim Centre for Artistic Research (NordART) at the Norwegian Academy of Music in November 2015. I shall deepen the exploration of the process of ‘unfolding’, elaborating on my belief in its appropriateness for artistic research work; I shall further suggest that Rose’s metaphor provides a way to bridge some of the gaps of understanding that have already developed between those undertaking artistic research and those working in the more established music disciplines.

Slavernijverleden werpt schaduw vooruit

2020 ◽  
Vol 5 (3) ◽  
pp. 152-168
Author(s):  
DAVID KOREN
Keyword(s):  
Cultural Landscape ◽  
Salt Water ◽  
World Heritage ◽  
Systematic Research ◽  
Port City ◽  
Knowledge Gaps ◽  
Popular Support ◽  
World Heritage List ◽  
The World ◽  
Plantation System

Slavery past casts a shadow. A World Heritage Status for the plantation system of western Curaçao? The possible nomination of the western plantations for the World Heritage List of UNESCO offers a possibility to safeguard this rather unique - but eroding - relict landscape. However, an important precondition for a successful nomination is consensus on a clear strategy and goals of a nomination. The strategy could involve a new nomination, but also an extension of the existing site of Willemstad. This latter option retroactively gives the opportunity to clarify the (architectural) wealth of Willemstad and to explain why people from different continents came together in this port city. Another precondition is popular support, which is rather shallow due to the centuries-long connection of plantations with slavery. A nomination definitely should acknowledge the dark pages of history, including the intangible aspects of this past. More systematic research into the various aspects of the slave society could help to fill such ‘knowledge gaps’. It seems wise to diminish the traditional focus on the architecture of the plantations and to consider them as a cultural landscape, as well as to focus on the ingenious ways people tried to make a living in this dry landscape. This implies that the selection needs to be revised, taking into account other modes of production, like salt, water and mining.

METHODOLOGICAL FOUNDATIONS OF THE CONCEPT OF GENERAL THEORY OF LAW J.-L. BERGEL

2021 ◽  
pp. 14-23
Author(s):  
Вадим Леонидович Афанасьевский
Keyword(s):  
General Theory ◽  
Scientific Knowledge ◽  
Legal Discourse ◽  
Scientific Methodology ◽  
Existential Philosophy ◽  
Objective Reality ◽  
Methodological Basis ◽  
The World ◽  
The Subject ◽  
Theory Of Law

Предметом статьи является экспликация методологического базиса разработанной французским правоведом Жаном-Луи Бержелем концепции общей теории права. Автор фиксирует, что методология этой конструкции отличается принципиальной спецификой от классического рационализма научного знания. Бержель для разработки проблем теории права использовал импрессионистский метод, принципиально выходящий за рамки научной методологии. Это приводит к тому, что читатель превращается в соавтора, выстраивая свое представление о предмете теории права. Причем фантазия автора и читателя ничем не ограничена, ибо она уходит от исторических трансформаций развития правовой реальности и традиций теоретического правового дискурса. В статье показано, что предложенная методология привела Бержеля к размытости и непроясненности понятийного аппарата и «терминологическому анархизму». Представив свой анализ его концепции общей теории права, автор статьи приходит к выводу, что основанием методологии Бержеля являются характерные для французской социогуманитарной мысли принципы экзистенциальной философии и постмодернистских штудий. Именно в этом коренится отсутствие целостности в теоретических построениях, наличие эклектизма и туманности употребляемых терминов и понятий. В эту парадигму прекрасно укладывается импрессионистский метод, используемый французским правоведом. Если читатель сам определяет понимание читаемого текста, то смысл уже не определяется объективной реальностью. Он выступает проблемой изолированного индивида, находящегося в произвольно выстроенном им фрагментированном мире, в том числе и мире права The subject of the article is the explication of the methodological basis of the concept of the general theory of law developed by the French jurist Jean-Louis Bergel. The author notes that the methodology of this construction differs in fundamental specificity from the classical rationalism of scientific knowledge. Bergel used the impressionist method to develop problems in the theory of law, which fundamentally went beyond the framework of scientific methodology. This leads to the fact that the reader turns into a co-author, building his own idea of the subject of the theory of law. Moreover, the imagination of the author and the reader is not limited by anything, for it moves away from the historical transformations of the development of legal reality and the traditions of theoretical legal discourse. The article shows that the proposed methodology led Bergel to a vague and unclear conceptual apparatus and «terminological anarchism». Having presented his analysis of his concept of the general theory of law, the author of the article comes to the conclusion that the basis of Bergel's methodology is the principles of existential philosophy and postmodern studies that are characteristic of French socio-humanitarian thought. This is the root of the lack of integrity in theoretical constructions, the presence of eclecticism and the vagueness of the terms and concepts used. The impressionistic method used by the French jurist fits perfectly into this paradigm. If the reader himself determines the understanding of the text being read, then the meaning is no longer determined by objective reality. It acts as a problem of an isolated individual who is in a fragmented world arbitrarily built by him, including the world of law

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