Penčo Slavejkovs „Arbeit in der Gegenwart“

2019 ◽  
Vol 64 (1) ◽  
pp. 23-39
Author(s):  
Sirma Danova
Keyword(s):  
Cultural Memory ◽  
Social Experience ◽  
National Literature ◽  
The Core ◽  
The Past ◽  
The Creation ◽  
Aesthetic Modernity ◽  
Definition Of

Summary This article focuses on Pencho Slaveykov’s concept of “work in the present,” which forms the core of his definition of modernity, blending together literature and social experience. Slaveykov’s literary project and author persona are viewed in the broader context of aesthetic modernity. The Bulgarian modernist is a cultural engineer pushing the idea of a differentiation of cultural and artistic spheres. His goal is to autonomize literature after the utilitarian imperatives of the Bulgarian National Revival. The author simultaneously embodies a Balkan ‘crank’ and a German conceptualist. Slaveykov’s work not only demonstrates that modernism has broken with the past, but also constructs an alternative cultural memory shaped in the generic modes of the epic, the lyric, and the anthology. The author entitles himself with the power to be a guardian of cultural memory. Pencho Slaveykov’s conceptualizations envisage the creation of the author as an institution pivotal for the construction of a national literature.

scholarly journals Contemporary understanding of the spiritual message of the Kosovo myth

2019 ◽  
pp. 313-325
Author(s):  
Borislav Grozdic ◽  
Valerija Dabetic
Keyword(s):  
Collective Identity ◽  
Historical Consciousness ◽  
Value System ◽  
National Integration ◽  
Common Value ◽  
The Core ◽  
The Past ◽  
Spiritual Community ◽  
The World ◽  
Definition Of

In the aggressive dominance of critical rational thinking over the mythical worldview, myth as a historical and effective force does not lose its actuality and importance, because myths often hide deeper messages than what history can offer. In such a social context, the significance of the spiritual message of the Kosovo myth - the commitment to the Heavenly Kingdom, as a lasting common value of the Serbian people, returns as a theme. In spite of its omnipresence, the opinion prevails that the myth belongs to the past, and if it is not yet obsolete, it certainly should be. The authors advocate the idea that myth, as a comprehensive experience of the world, and therefore the Kosovo myth as well, is a factor of national integration, a part of collective identity, and a common value system. Analysing the secular and spiritual understanding of the Kosovo myth, the authors point out the importance of the vivid memory of the prince Lazar?s commitment to the Heavenly Kingdom. For Christians, this represents the value and goal above all others and it forms the core of the Serbian historical consciousness and spiritual community. The paper shows that the spiritual message of the Kosovo myth is not understood or it is misunderstood nowadays, since the commitment to Kosovo is perceived as a call and an obligation to die for it. The authors conclude that the Kosovo myth is not a call to die in the war, on the contrary, it is a struggle for external and internal freedom, as well as for the highest values that are implied by the definition of the Heavenly Kingdom ? peace, love, honour, justice, dignity, and others.

scholarly journals Tradition and Innovation in the Work of Bashkir Artist Talgat Masalimov

ICONI ◽  
2019 ◽  
pp. 147-156
Author(s):  
Elsa E. Purik ◽  
◽  
Akhmadullin Mars L. ◽  
Shakirova Marina G. ◽  
◽  
...  
Keyword(s):  
Visual Arts ◽  
Avant Garde ◽  
The Core ◽  
The Past ◽  
Plastic Arts ◽  
Graphic Artist ◽  
Republic Of Bashkortostan ◽  
Applied Art ◽  
The Creation ◽  
The Republic

The article is devoted to the artistic legacy of Merited Artist of the Republic of Bashkortostan Talgat Masalimov — painter, graphic artist and master of decorative applied art. his work is examined in the article in the context of the processes taking place in the contemporary visual arts, marked with an exploration of new plastic means. The authors regard the legacy of Masalimov as a vivid example of the simultaneous infl uence of folk art, its symbolism and graphic structure, Eastern (Turkic) traditions and those of the Russian avant-garde with its aspiration towards primitive, laconic, conditional forms. The article cites examples among works of the artist created in the technique of graphics, pastel and artistic felt. At the core of the creation of these works lies the knowledge of principles of construction of the composition and depictive techniques characteristic for the Russian avant-garde and Early Russian icon-painting and Iranian miniatures, with an absence of direct associations with any concrete epoch or artistic direction. The authors see in the work of the artist a vivid example of the preservation and expansion of the heritage of the past, its development and enrichment by means of contemporary plastic arts.

New Problems in Banking

2011 ◽  
pp. 109-129
Author(s):  
Enid Mumford
Keyword(s):  
Organizational Structure ◽  
Case Studies ◽  
Fast Moving ◽  
Systematic Approach ◽  
White Collar ◽  
Management Of Change ◽  
The Past ◽  
The Creation ◽  
Definition Of

In the last three case studies there has been a logical progression through the management of change, considering first the definition of the problem; second, the development of a strategy for handling it; and third, the creation of an appropriate organizational structure. But, in today’s fast-moving world, there are many situations in which it is difficult to carry out this systematic approach. For example what do we do if change involves a technological jump, bringing with it new problems and challenges which have not been experienced before and which are poorly understood? This happened to white-collar work in the next case study. It has also happened many times in the past and is likely to happen many times in the future.

A Cultural History of Memory in Antiquity

2020 ◽  
Keyword(s):  
Cultural History ◽  
Cultural Memory ◽  
Ancient World ◽  
Collective Memories ◽  
The Past ◽  
History Of ◽  
The Many ◽  
Definition Of ◽  
The Right ◽  
Remote Past

The ancient world is a paradigm for the memory scholar. Without an awareness that collective memories are not only different from individual memories (or even the sum thereof) but also highly constructed, ancient research will be fundamentally flawed. Many networks of memories are beautifully represented in the written and material remains of antiquity, and it is precisely the ways in which they are fashioned, distorted, preserved or erased through which we can learn about the historical process as such. Our evidence is deeply characterized by the fact that ancient ‘identity’ and ‘memory’ appear exceptionally strong. Responsible for this is a continuing desire to link the present to the remote past, which creates many contexts in which memories were constructed. The ancient historian therefore has the right tools with which to work: places and objects from the past, monuments and iconography, and textual narratives with a primary purpose to memorize and commemorate. This is paired with our desire to understand the ancient world through its own self-perception. With the opportunity of tapping into this world by way of oral history, personal testimonies are a desideratum in all respects. Memory of the past, however, is profoundly about ‘self-understanding’. This volume surveys and builds on the many insights we have gained from vibrant research in the field since Maurice Halbwachs’ and Jan Assmann’s seminal studies on the idea and definition of ‘cultural memory’. While focusing on specific themes all chapters address the concepts and expressions of memory, and their historical impact and utilization by groups and individuals at specific times and for specific reasons.

scholarly journals On Some Features of Osip Mandelstam’s Representation in the Memories by Anna Akhmatova

Literatūra ◽  
2020 ◽  
Vol 62 (2) ◽  
pp. 138-153
Author(s):  
Galina Mikhailova
Keyword(s):  
Short Story ◽  
Cultural Memory ◽  
Historical Time ◽  
Personal Memory ◽  
Narrative Prose ◽  
Points Of View ◽  
The Creation ◽  
Definition Of ◽  
Oral Evidence ◽  
Anna Akhmatova

The article presents some considerations on the motives for the creation and text strategies of Akhmatova’s memories of Mandelstam. The Pages from a Diary are viewed from two points of view: first, as a fragment of Akhmatova‘s memoir prose of a certain historical time, as an actualization of personal memory in order to correct collective cultural memory; secondly, as a supertext formed by numerous drafts, lists and variations.Within the framework of this genre, it is possible to single out a number of principles that Akhmatova is guided by when creating a memoir text: for example, a dialogical mode of a “conversation” with existing memories, documents, oral evidence; intention of myth-fighting, etc. A look at the Pages from a Diary as a work of narrative prose (based on Akhmatova’s definition of memories as a “short story”), called “The Death’s Way,” allows us to add the hero of her memoir to a number of “damned poets” that are not alien to Mandelstam.

THE DEVELOPMENT OF LITTLE POETS’ CORNER BETWEEN CULTURAL MEMORY AND GEOPOLITICS

2013 ◽  
Vol 41 (2) ◽  
pp. 345-370
Author(s):  
Maurizio Ascari
Keyword(s):  
Cultural Memory ◽  
Giambattista Vico ◽  
New Science ◽  
The Core ◽  
The Past ◽  
Social Compact ◽  
The Social ◽  
The Dead ◽  
Burial Rituals

As Jan Assmann writes, the concept of “cultural memory” both “draws our attention to the role of the past in constituting our world” and also investigates “the motives that prompt our recourse to it” (ix). Cultural memory is transmitted through a variety of mediators ranging from texts and images to commemorative sites, whose complex aesthetic and ideological configurations – whether associated with trauma or glory – are a source of great interest. In his New Science (1725–44), Giambattista Vico claimed that “humanitas in Latin comes first and properly from humando” (8), highlighting the importance burial rituals had in the creation of civilised society. The commemoration of the dead is indeed at the core of cultural memory as the foundation on which the social compact between the living and the dead rests.

Phylogenetic position of Synarthonia (lichenized Ascomycota, Arthoniaceae), with the description of six new species

2018 ◽  
Vol 151 (3) ◽  
pp. 327-351 ◽  
Author(s):  
Dries Van den Broeck ◽  
Andreas Frisch ◽  
Tahina Razafindrahaja ◽  
Bart Van de Vijver ◽  
Damien Ertz
Keyword(s):  
Dna Sequences ◽  
Recent Literature ◽  
Apical Cell ◽  
Phylogenetic Position ◽  
Closely Related Species ◽  
The Core ◽  
The Past ◽  
Morphological Studies ◽  
Definition Of ◽  
First Time

Background and aims – The Arthoniaceae form a species-rich family of lichenized, lichenicolous and saprophytic fungi in the order Arthoniales. As part of taxonomic revisions of the African Arthoniaceae, a number of species assignable to the genus Synarthonia were collected and sequenced. The present study aims at placing the genus in a phylogeny for the first time and at clarifying its circumscription. Methods – Nuclear (RPB2) and mitochondrial (mtSSU) DNA sequences from freshly collected specimens were obtained and analysed with phylogenetic Bayesian and maximum likelihood (ML) methods. Key results – Synarthonia is closely related to the genera Reichlingia and Coniocarpon in the Arthoniaceae. Six Synarthonia species are described as new to science and ten new combinations into this genus are made. A worldwide identification key to the genus Synarthonia is provided. Lectotypes are chosen for Arthonia elegans, A. inconspicua, A. lopingensis, A. ochracea, A. subcaesia and A. translucens. Arthonia thamnocarpa is synonymized with Sclerophyton elegans, and Arthonia elegans with Coniocarpon fallax. Synarthonia ochracea is shown to be a misunderstood species in the past and recent literature, since it was erroneously synonymized with Coniocarpon elegans. Synarthonia ochracea appears to start its life cycle as a non-lichenized lichenicolous fungus on Graphis before developing a lichenized thallus or it might be a facultatively lichenicolous fungus. It belongs to a complex of closely related species whose biology and circumscription are still in need of further studies.Conclusions – Synarthonia forms a monophyletic but somewhat heterogeneous lineage closely related to Coniocarpon and Reichlingia. As delimited here, Synarthonia includes corticolous lichens with a trentepohlioid photobiont as well as non-lichenized lichenicolous fungi. The core group is characterized by white pruinose ascomata, but species producing orange pruinose or non-pruinose ascomata are also included. Ascospores are transversely septate with an enlarged apical cell or are muriform. Future molecular and morphological studies are needed for a better circumscription and definition of the genus.

Heidegger, Aristotle, and the Future of Art

2016 ◽  
Vol 50 ◽  
pp. 57-70
Author(s):  
Khafiz Kerimov ◽  
Keyword(s):  
Nicomachean Ethics ◽  
Human Beings ◽  
Work Of Art ◽  
The Past ◽  
The Earth ◽  
The Future ◽  
Self Knowledge ◽  
The Creation ◽  
Definition Of

The epilogue of Martin Heidegger's Der Ursprung des Kunstwerkes quotes Hegel's famous judgment: “[A]rt is and remains for us, on the side of its highest vocation, something past.” With this judgment, Hegel says that art has ceased to be the vehicle of self-knowledge for human beings; Hegel proclaims the pastness of art. But the future of art is thus put into question. This is how Heidegger transforms Hegel's verdict into a question: “Is art still an essential and necessary way in which […] truth happens which is decisive for our historical existence, or is art no longer of this character?” Thus, the question of the pastness of art turns into the question regarding whether art is to be or not to be, into the question of the future of art. Hegel's judgment proclaims the pastness of art, because art is implicated with material contingency. That means that the question of the rehabilitation of art, of the future of art, is at the same time the question of the phenomenological rehabilitation of the material. What is central to this project of rehabilitation is the figure of the work of art with its own peculiar kind of materiality. Therefore, Heidegger reformulates the material of art as earth which is a source not just of contingency but also of potentiality. Yet, Heidegger does not understand art as the creation of aesthetic objects, rather, art is concerned with ποίησιϛ, with the bringing forth of beings out of the unconcealment. Such is the formulaic definition of art as τέχνη in Aristotle's Nicomachean Ethics: “All art is concerned with the process of coming into being, and to practice art is also to consider how something capable of being or not being [τι τῶν ἐνδεχομένων καὶ εἶναι καὶ μὴ εἶναι] […] may come into being.” This formula, although it is nowhere present in the essay, is the hidden center of Heidegger's Der Ursprung des Kunstwerkes – such is the claim of this essay. Heidegger returns to the ancient definition of τέχνη to place art within the parameters of history, i.e., starting history anew by introducing new beings. But every bringing forth of beings is a retrieval of the past, i.e., of the earth rich with potentiality from which alone the future can unfold. Thus, every decision concerning the future always takes up the past, i.e., the already-there of the earth.

scholarly journals Memory and Movement in the Roman Fora from Antiquity to Metro C

2014 ◽  
Vol 73 (4) ◽  
pp. 478-506 ◽  
Author(s):  
Amy Russell
Keyword(s):  
Cultural Heritage ◽  
Cultural Memory ◽  
Movement Patterns ◽  
Recent Change ◽  
Street Networks ◽  
The Past ◽  
Places Of Memory ◽  
The Creation ◽  
The Way

Movement, particularly repeated or ritualized movement, can play an important role in the practices of cultural memory. Using Jan Assmann’s concept of cultural and communicative memory to explore the creation and reproduction of cultural memory through movement, Memory and Movement in the Roman Fora from Antiquity to Metro C illuminates the enduring influence of ancient street networks on the modern cityscape. The Forum Romanum and the neighboring Imperial Fora were places of memory in antiquity and are major tourist sites today, but they had different relationships to urban movement networks in the past. Amy Russell argues that the pattern of long-term continuity and recent change in each area’s relationship to the wider city and its movement patterns are direct consequences of the way cultural heritage has been consumed and cultural memory constructed through movement.

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