scholarly journals Ироническое начало в фельетоне Киев-город Михаила Булгакова

2021 ◽  
Vol 46 (2) ◽  
pp. 125-134
Author(s):  
Antoni Bortnowski
Keyword(s):  
The Novel ◽  
Spiritual Values ◽  
Characteristic Element ◽  
The Past ◽  
Depth Analysis ◽  
The Subject ◽  
Stark Contrast ◽  
Colloquial Speech ◽  
The City

The subject of the article is the analysis of the image of Kiev, presented in Mikhail Bulgakov’s feuilleton Kiev, the City. This work has rarely been the subject of in-depth analysis, despite the fact that it is one of the few texts in which the writer presents the image of his hometown. A characteristic element of the description of Kiev’s past and present is the irony. It is noticeable in the title of the feuilleton, as well as in the names of its parts. The ironic image of Soviet Kiev stands in stark contrast to the vision of the city captured in the novel The White Guard. The analysis of the techniques used by the writer in the text of Kiev, the City (e.g. the naive narrator’s mask, a combination of pompous style and colloquial speech) is carried out in order to prove that the feuilleton, in its style and ideas expressed, also shows the author’s rejection of post-revolutionary reality and his attempt to overcome the trauma of the past through laughter. The ironic image of the Soviet reality on the background of eternal spiritual values makes Kiev, the City a harbinger of the problems covered inMikhail Bulgakov’s later works.

scholarly journals Heterogeneity of SARS-CoV-2 virus produced in cell culture revealed by shotgun proteomics and supported by genome sequencing

2021 ◽  
Author(s):  
Fabrice Gallais ◽  
Olivier Pible ◽  
Jean-Charles Gaillard ◽  
Stéphanie Debroas ◽  
Hélène Batina ◽  
...  
Keyword(s):  
Molecular Structure ◽  
Cell Culture ◽  
Shotgun Proteomics ◽  
Rapid Analysis ◽  
Diagnostic Tools ◽  
Tandem Mass ◽  
The Past ◽  
Viral Particles ◽  
Depth Analysis ◽  
The Subject

AbstractCOVID-19 is the most disturbing pandemic of the past hundred years. Its causative agent, the SARS-CoV-2 virus, has been the subject of an unprecedented investigation to characterize its molecular structure and intimate functioning. While markers for its detection have been proposed and several diagnostic methodologies developed, its propensity to evolve and evade diagnostic tools and the immune response is of great concern. The recent spread of new variants with increased infectivity requires even more attention. Here, we document how shotgun proteomics can be useful for rapidly monitoring the evolution of the SARS-CoV-2 virus. We evaluated the heterogeneity of purified SARS-CoV-2 virus obtained after culturing in the Vero E6 cell line. We found that cell culture induces significant changes that are translated at the protein level, such changes being detectable by tandem mass spectrometry. Production of viral particles requires careful quality control which can be easily performed by shotgun proteomics. Although considered relatively stable so far, the SARS-CoV-2 genome turns out to be prone to frequent variations. Therefore, the sequencing of SARS-CoV-2 variants from patients reporting only the consensus genome after its amplification would deserve more attention and could benefit from more in-depth analysis of low level but crystal-clear signals, as well as complementary and rapid analysis by shotgun proteomics. Graphical abstract

Re-membering Syria’s Traumatic Past: Gender, Poetics, and Loss in Manhal al-Sarrāj’s As a River Should

2021 ◽  
Vol 52 (1-2) ◽  
pp. 202-227
Author(s):  
Linda Istanbulli
Keyword(s):  
Armed Conflict ◽  
Armed Conflicts ◽  
Traumatic Memory ◽  
The Novel ◽  
Historical Interpretation ◽  
The Past ◽  
Traumatic History ◽  
History Of ◽  
And Gender ◽  
The City

Abstract In a system where the state maintains a monopoly over historical interpretation, aesthetic investigations of denied traumatic memory become a space where the past is confronted, articulated, and deemed usable both for understanding the present and imagining the future. This article focuses on Kamā yanbaghī li-nahr (As a river should) by Manhal al-Sarrāj, one of the first Syrian novels to openly break the silence on the “1982 Hama massacre.” Engaging the politics and poetics of trauma remembrance, al-Sarrāj places the traumatic history of the city of Hama within a longer tradition of loss and nostalgia, most notably the poetic genre of rithāʾ (elegy) and the subgenre of rithāʾ al-mudun (city elegy). In doing so, Kamā yanbaghī li-nahr functions as a literary counter-site to official histories of the events of 1982, where threatened memory can be preserved. By investigating the intricate relationship between armed conflict and gender, the novel mourns Hama’s loss while condemning the violence that engendered it. The novel also makes new historical interpretations possible by reproducing the intricate relationship between mourning, violence, and gender, dislocating the binary lines around which official narratives of armed conflicts are typically constructed.

scholarly journals The art of exhibiting chandeliers as art objects in the open air

2021 ◽  
pp. 151-159
Author(s):  
Margarita Andreevna Mitnik
Keyword(s):  
Environmental Effects ◽  
Open Space ◽  
Wide Audience ◽  
Particular Solutions ◽  
Art Objects ◽  
Applied Art ◽  
Depth Analysis ◽  
Stylistic Elements ◽  
The Subject ◽  
The City

This article examines the exhibition of chandeliers in the open air. The subject of this research is the projects that display the actual texture and functionality of the historical models of chandeliers, as well as their modern interpretations within the independent art projects that use structural and stylistic elements of chandeliers as part of the topic or material for the viewers’ reflection. For more in-depth analysis of the chandelier as the object of exposition in the open air, the author explored the websites and exhibition catalogues, methodological textbooks, articles and books that demonstrate methods of presenting the objects of decorative and applied art. Similar projects were found. Based on the extensive sampling, the author conducted typological analysis of such projects was carried out, considering the environmental effects and concepts, namely ecological, which underlie the particular solutions. The conclusion is made that open space of the city and garden allow displaying classical chandeliers and various interpretations of ceiling lighting to wide audience, emphasize the texture of the material, and demonstrate the aesthetics of lighting devices not as a historically reserved or subordinate to some household concept, but as aesthetics that expands the customary concepts associated with space.

scholarly journals "Wszystko już tu było, od samego początku" - "Mikrokosmosy" Claudia Magrisa jako triesteńska auto/bio/geografia

2018 ◽  
Vol 17 ◽  
pp. 183-199
Author(s):  
Natalia Chwaja
Keyword(s):  
The Other ◽  
Multiple Role ◽  
Active Factor ◽  
The Past ◽  
Other Hand ◽  
City Space ◽  
State Of Mind ◽  
The Subject ◽  
The City

„It was all there already, from the beginning” – Microcosms by Claudio Magris as a Triestineauto/bio/geographyAbstractThe aim of my article is to study the relation between the subject and the city, focusing on thecase of an autobiographic essayistic novel by a contemporary Italian writer Claudio Magris.The space of Trieste, author’s native city, plays a multiple role in the Microcosms narration.On one hand, it works as a “mnemotechnical pretext” for the protagonist’s sentimentaljourney into the past, both individual and collective. On the other hand, the city space canbe seen as an active factor, shaping the hero’s “triestine” state of mind and reflecting itself inthe novel’s poetics. In my analysis, I refer to some essential categories of geopoetics (“auto/bio/geography” by Elżbieta Rybicka, Tadeusz Sławek’s and Stefan Symotiuk’s interpretationsof genius loci), as well as to Walter Benjamin’s oeuvre, which I consider one of the mostimportant Microcosms’ intertexts.Keywords: Claudio Magris, Trieste, city, auto/bio/geography, space, genius loci

scholarly journals Bernard Cohen’s Snowdome: somewhere in a postmodern time

2007 ◽  
pp. 185
Author(s):  
Andrés Romero Jódar
Keyword(s):  
Space Dimension ◽  
World Order ◽  
The Novel ◽  
Contemporary Society ◽  
Time Space ◽  
The Media ◽  
The Subject ◽  
The Individual ◽  
Near Future ◽  
The City

Occidental societies, according to certain visions of a postmodern future as reflected in literature and arts, are heading towards a dystopian decadent world order. It is inside this perspective that I place the following essay with the aim to analyse the representation of Postmodernism and Postmodernity in Bernard Cohen’s experimental work, Snowdome. This novel can be conceived as a complex portrayal of contemporary existence and life in the city. By means of three different narrations and two stories separated by the unstable boundary of time, Cohen depicts contemporary Sidney from a nightmarish present of noise that leads to the complete isolation of the subject in a near future. The novel emphasises the multiplicity of information in contemporary society and the way in which that information becomes a constant noise flooding the city. The individual is unable to grasp a bit of that “pure reality” outside the simulacrum offered by the media and by the terrifying museum. Sidney and Australia become, in Cohen’s work, a prolongation of contemporary North-American invasive culture, based on the power of the TV screen and the falsehood of simulacrum, whereas individuals are plunged into a new time-space dimension which is placed somewhere in a postmodern time.

COVID-19 Vaccination Efficacy and Safety Literature Review

2021 ◽  
Author(s):  
Michael Halim
Keyword(s):  
Active Immunization ◽  
Control Measures ◽  
World Health ◽  
The Novel ◽  
The Past ◽  
The Subject ◽  
Novel Coronavirus ◽  
Health Organization ◽  
Guidelines And Recommendations ◽  
Roll Out

Since the emergency of the novel coronavirus disease (COVID-19) that is caused by SARS-Cov-2 in 2019, researchers have been on the move to find solutions to mitigate the spread of the virus. Various control measures have been put in place by governments under guidelines and recommendations of key global agencies with the world health organization (WHO) leading in providing information to help fight the pandemic. Multi-agency research efforts have been geared towards developing vaccines for active immunization to prevent COVID-19 infection. This paper is geared towards providing a detailed review and analysis of developments of the current vaccines in terms of safety and efficacy. Approaches that have been taken by different researchers and their findings are the subject of this work. Based on the mechanism by which a vaccine protects an individual against COVID-19 infection, it has been found that the already rolled out vaccines are mRNA (Pfizer and Moderna) and vector (Astrazeneca) vaccine structured. There is also China's Sinovac vaccine which has been in place for the past few years. The four vaccines reviewed here are administered in two doses some days apart. Currently, no vaccine has a safety threat and the efficacies are 95% for COVID-19 mRNA vaccine BNT162b2 (Pfizer), 94.1% for mRNA-1273 vaccine (Moderna), 70.4%forChAdOx1 nCoV-19 vaccine / AZD1222 (AstraZeneca) vaccine and 78% for sinovac respectively. Findings of this paper show that other vaccines are awaiting clinical roll out for trials. Even though these efficacies imply that the vaccines offer significant protection against the infection, further research and evaluation should go on to achieve higher efficacies while addressing any safety concerns that may go beyond local and systemic reactions that occur on patients after vaccination. This study concludes that even with the protection of the present vaccines, individuals must continue wearing personal protective equipment (PPEs) such as masks.

Audible City

2021 ◽  
pp. 115-146
Author(s):  
Dolly Kikon ◽  
Duncan McDuie-Ra
Keyword(s):  
Popular Culture ◽  
Urban Landscape ◽  
Music Industry ◽  
Conspicuous Consumption ◽  
Music Videos ◽  
Music Schools ◽  
The Past ◽  
The Subject ◽  
Recording Studios ◽  
The City

This chapter follows the sounds of Dimapur through the lives of musicians and the nascent music industry. Dimapur has become a home for Naga musicians to establish music schools and recording studios and to hold events across many genres. Dimapur is also the subject of the city’s music. Musicians write and sing about the city, giving the urban landscape a presence in popular culture. The city also appears in music videos, circulated digitally through YouTube and other platforms, putting the city ‘on the map’ for the consumers of contemporary Naga music, whether in the frontier, in cities in other parts of India, or in diaspora. Through these networks, Dimapur is experienced as sound and image, some of which draw conspicuously on the past of militarism, though much eschews the past to project notions of a future, a capitalist future of wealth and conspicuous consumption played out in the urban landscape.

scholarly journals Paris, « un lieu centre de tous les centres ». Est-ce toujours d’actualité ?

2020 ◽  
Vol 25 (2) ◽  
pp. 435-442
Author(s):  
Anne-Marie Le Baillif
Keyword(s):  
New York ◽  
New Media ◽  
French Language ◽  
The Internet ◽  
The Past ◽  
Greenwich Meridian ◽  
The World ◽  
The Subject ◽  
World Centre ◽  
The City

Paris, “The Centre of All Centres”. Is It Still the Case? In La République Mondiale des Lettres published in 1999 and 2008, Ms. Casanova wrote: “Paris is the Greenwich meridian for literature” for the 19th and 20th centuries. Writers and artists have come to the city in the past because it was extremely attractive for creative and economic reasons. But at the beginning of the 21st century, with the rise of the New Media for writing, publishing and diffusing, is it correct to say that Paris is still supreme? Is location more important than the time devoted to writing and reading? The claims on which Ms. Casanova builds her assertions are not supported by the facts of recent history and geography. She refers to “La belle santé économique et la liberté” in Paris but she forgot to mention why artists came from central Europe. It was just because the life was cheaper in Paris than in Berlin, as Walter Benjamin observed in 1926. She notes that Paris was the world centre for high fashion and that writers came together there to be inspired by the place and each other. But these things are no longer true: Paris is one of the most unaffordable cities in the world. Fashion in clothes is determined in many centres, with fashion weeks held in New York, Milan and China; aesthetics no longer depend on a single country. Literary creativity has spread across many continents and the internet and social media provide access to millions of people around the globe. Globalisation has unified the world, note Jean-Philippe Toussaint and Sylvain Tesson, and brought the standardization of cultures. There is also the matter of the dominant language today. The French language has not changed since Ms. Casanova was doing her research, but French writers now dream of being translated into English to reach the largest audience around the world. Publishers also favour English to make the most profit because literature and art are now worldwide commodities. Writers and researchers use the Internet, which connects them with documents, libraries and people all over the world. Newspapers such as Le Monde and Le Figaro in France provide literary reviews from around the world; for example, Histoire de la Traduction Littéraire en Europe Médiane, compiled by Antoine Chalvin, Marie Vrinat-Nikolov, Jean-Léon Muller and Katre Talviste, was written up in Cahiers Littéraires du Monde. What about the readership? If publishing and merchandizing are accelerating and globalizing because of how the Internet changes time and distance, the writer still has to follow the rhythm of the subject.

scholarly journals «Немецкая Казань»: имагологический анализ художественных произведений Гузель Яхиной

2021 ◽  
Vol 16 (2) ◽  
pp. 141-152
Author(s):  
Michael Kuhn
Keyword(s):  
The Novel ◽  
Literary Works ◽  
Language And Culture ◽  
The Past ◽  
The Status ◽  
History Of ◽  
The Republic ◽  
Cultural Code ◽  
Analysis Of The Images ◽  
The City

German Kazan”: Imagological Analysis of Guzel Yakhina’s Literary Works| The capital of the Republic of Tatarstan is a multicultural city. It is a combination of “Russian,” “Tatar” and, not least, “German elements”. The writer Guzel Yakhina has repeatedly addressed this cultural diversity in her literary works. In them a native of Kazan explores the past and present of the city. Excellent knowledge of German language and culture allows her to study in detail the “German trace” in the history of the capital of Tatarstan to determine its status. The article offers a brief imagological analysis of the images of “German Kazan” presented in the novel Zuleikha and the essay Garden on the Border, or the Garden “Russian Switzerland”. The imagological study conducted at the macro-, meso- and micro-levels shows that in Yakhina’s literary works the images of “German Kazan” are equivalent to the images of “Russian Kazan” or “Tatar Kazan.” The “German elements” are firmly rooted inthe texture of the city and have been an integral part of its cultural code for several centuries. At the same time, following the novel and the essay, they do not have the status of an exotic “foreign,” but a familiar “other.” „Niemiecki Kazań”: imagologiczna analiza utworów Guzel Jachiny Stolica Republiki Tatarstanu to miasto wielokulturowe. To połączenie „rosyjskiego”, „tatarskiego” i, co nie mniej ważne, „niemieckiego” pierwiastka. Pisarka Guzel Jachina wielokrotnie odnosiła się do tej różnorodności kulturowej w swoich tekstach literackich. Rdzenny mieszkaniec Kazania odkrywa w nich przeszłość i teraźniejszość miasta. Doskonała znajomość języka i kultury niemieckiej pozwala autorce na szczegółowe zbadanie „niemieckiego śladu” w historii stolicy Tatarstanu w celu określenia jego statusu. Artykuł zawiera krótką analizę imagologiczną obrazów „niemieckiego Kazania”, przedstawionych w powieści Zulejkaotwiera oczy i eseju Ogród na granicy, czyli Ogród „Rosyjska Szwajcaria”. Badania imago-logiczne, przeprowadzone na poziomach makro-, mezo- i mikro-, pokazują, że w dziełach literackich Jachiny obrazy „niemieckiego Kazania” są równoważne obrazom „rosyjskiego Kazania” czy „tatarskiego Kazania”. „Elementy niemieckie” są mocno zakorzenione w strukturze miasta i od kilku stuleci stanowią integralną część jego kodu kulturowego. Jednocześnie, w powieści i eseju, nie mają one statusu egzotycznego Obcego, ale znajomego Innego.

scholarly journals Nikolay Gogol about Rome and the Roman Carnival

2020 ◽  
Author(s):  
Елена Дмитриевна Федотова
Keyword(s):  
National Character ◽  
Creative Work ◽  
The Novel ◽  
European Culture ◽  
The Subject ◽  
Great Love ◽  
The City ◽  
The Town ◽  
Artistic Legacy

Статья посвящена повести Н.В. Гоголя Рим , в которой воссоздан образ Вечного города 1840-х годов. В слова героя повести молодого римского князя, возвратившегося в Рим из Парижа, писатель вложил свои мысли и эмоциональные впечатления о Риме: о величии его художественного наследия, об отношении римлян к традиции, о национальном характере. Именно в Риме Гоголь ощутил ту духовную свободу в творчестве, которой был лишен в России. Большой любовью к Италии, ее народу, истории, культуре страны проникнуты строки повести. В Риме сосредоточено множество памятников архитектуры, культуры и искусства. Именно этим интересен предмет художественного изложения и исследования. Являясь эпицентром и источником европейской культуры, Рим в течение тысячелетий привлекал к себе внимание художников в поисках вдохновляющих образов, в том числе образа города. The article is devoted to the novel Rome by Nikolay Gogol, in which the author recreated the image of Eternal town in the year 1840. Into the words of the character of a novel young roman prince, which returned to Rome from Paris, the author put his thoughts and emotional impressions by Rome: about greatness of Roman artistic legacy, about the attitude of the town-dwellers to tradition, about national character. It was in Rome that Gogol felt that spiritual liberty in the creative work, which he was deprived of in Russia. Great love for Italy, its people, history and culture of this country are inherent in the lines of Gogols story. In Rome, many monuments of architecture, culture and art are concentrated. This is what is interesting in the subject of artistic exposition and research. As the epicenter and source of European culture, Rome for thousands of years has attracted the attention of artists in search of inspirational images, including the image of the city.

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