scholarly journals Conscience as an Experiment: The Russian Subtext of John Galsworthy’s Short Story “Conscience”

2020 ◽  
pp. 110-121
Author(s):  
Svetlana B. Koroleva ◽  
◽  
Natalya B. Shibaeva ◽  
Keyword(s):  
Short Story ◽  
Social Life ◽  
Point Of View ◽  
Moral Voice ◽  
Significant Motif ◽  
Human World ◽  
The Aesthetic ◽  
The Voice ◽  
English Culture ◽  
Russian Model

John Galsworthy, as it is quite widely known, was strongly influenced by Russian literature. What is much less known, or even realized, is that this influence had at least two major lines: (1) a literary line, connected with a vivid perception of style, plot, other aesthetic and ideological discoveries of Russian novelists, and (2) a cultural line that carried Galsworthy to philosophizing on such problems as national character, national culture, and the historical development of the European civilization. In this second respect, Chekhov can be considered the central figure for the English writer. This supposition is based on some Galsworthy’s essays in which Chekhov’s name is directly connected with the idea of “Russianness”, with such typical, according to the English writer’s point of view, Russian traits as “a passionate search for truth”, emotionality, self-knowledge, and self-declaration. Thus, these were, primarily, Chekhov’s works that served for Galsworthy as the basis for his very special—both aesthetic and ideological—experiment. Galsworthy conducted this experiment in his short story under a “Russian”, if not “Chekhovian”, title “Conscience” (cf., Chekhov’s short story “Bezzakonie” [Iniquity, Lawlessness]). Conscience is a very significant motif in Chekhov’s works, and it obviously plays an important role in works by many other Russian authors, including Dostoevsky, which is not something inexplicable. Unlike English culture, which, during the 17th–19th centuries, shifted from reliance on the inner moral voice in a human being to faith in outer moral rules, Russian culture, on the eve of the 20th century, still preserved the authentic Christian belief that conscience is the voice of truth in man. Since, in his essays, Galsworthy declared Chekhov the most authentic Russian writer of all he had known, it is natural to assume that whenever we speak about the English writer’s experiment dealing with the Russian concept, we should bear in mind Chekhov (as the key point to understand the experiment). The essence of the experiment can be described in terms of transplanting the Russian model of “life according to the voice of conscience” to the everyday English reality contemporary with the author within the aesthetic texture of his short story. As a result, the hero, who starts—rather unexpectedly both for himself and everybody around him— living according to his conscience, loses his social status, money, job, home, as well as trust of all those who know him. He excludes himself (and is excluded) from social life and from all possible connections with the human world: the only “world”, the only environment open for him is nature. The experiment Galsworthy made in his short story “Conscience” proves that the Russian model of “life according to the voice of conscience” is not viable in the circumstances of English reality (contemporary with the author).

scholarly journals The level of educational values that are practiced by the secondary school students in Bani Obaid Brigade based on their point of view: درجة ممارسة طلبة المرحلة الثانوية في لواء بني عبيد للقيم التربوية من وجهة نظرهم

2019 ◽  
Vol 3 (26) ◽  
Author(s):  
Asem ABDALLA SALAMEH AL- ISSA
Keyword(s):  
Secondary School ◽  
Secondary Schools ◽  
Social Life ◽  
Secondary School Students ◽  
Point Of View ◽  
Validity And Reliability ◽  
Educational Values ◽  
School Students ◽  
National Values ◽  
The Aesthetic

This study aims to identify the level of educational values that are practiced by the secondary school students' in Bani Obaid Brigade in Irbid city based on their point of view. This study seeks to identify the differences in the responses of the sample members on their practices of educational values ​​according to two variables which are gender and streams. The study covered the total number of all students in the 11th grade of secondary school in Bani Obaid Brigade which is (1884) in the second semester of the academic year 2018/2019. Then, A random sample was chosen from the study population which consist of (754) equal to (4%) percent. After the researcher completed the investigation, the number of respondents who answered the questionnaire was (700). In order to achieve the objectives of the study, the researcher prepared a questionnaire which was finalized after the procedures of validity and reliability for (36) paragraphs. The paragraphs were divided into four scopes: worship scope, moral scope, the national scope, and the aesthetic scope. The results of the study are summarized in the following points: 1- Practicing of the secondary school students in the Bani Obaid Brigade for educational values ​represents the highest average which is (3.89) 2- There are statistically significant differences for the educational value ​​ attributed to the gender variable. The responses of the sample members showed the differences for the male students at level (α = 0.05) 3- There are not statistically significant differences at level (α = 0.05) in the responses of the sample members on the fields of educational values ​​due to the streams variable. 4- Based on the results of this study, the researcher recommends the teachers at the secondary schools at Bani Obaid Brigade in Irbid city to help the students to be more conscious about the necessity of the educational values which play a major role in their personal and social life. Similarly, the national value is one of most important values that the schools have to take care about it by encouraging the student to participate in the national events and festivals. Moreover, the researcher recommends the teachers to encourage the students to buy the national products in order to support the national economic. 5- The researcher suggests holding training courses for the teachers at Bani Obaid Brigade in Irbid city to improve their ability for learning students about the national values. Additionally, he recommends them to conduct researches that help to follow up the students’ behaviors for the educational values in the secondary schools.

“THE ROSE SULTANA OF THE NIGHTINGALE” ORIENTAL IMAGES, CHARACTERS AND SETTING IN BYRON’S THE GIOAUR

2018 ◽  
Vol 28 (7) ◽  
pp. 2289-2294
Author(s):  
Natalija Pop Zarieva
Keyword(s):  
Point Of View ◽  
Don Juan ◽  
Main Interest ◽  
Grand Tour ◽  
Male Characters ◽  
Animal Imagery ◽  
The Aesthetic ◽  
Oriental Tale ◽  
The Rose ◽  
The Voice

It is surprising that Romanticism, a literary movement generally associated with nature, emotions and imagination, had close connection with imperialism, through its most distinguished cultural characteristic - Orientalism. Most of the major Romantic poets found in the Orient not just a noteworthy point of reference for various cultural or political backgrounds, but an important backdrop in the realization of their literary careers. However, most of the writers of this period had never visited the East. Hence, their attitudes towards it differ from Lord Byron’s, who not only embarked on the Grand Tour, among other countries to Albania, Greece and Turkey, early in his career, but also eternalized the theme of escapism in some of his greatest poetry like Childe Harold’s Pilgrimage and Don Juan. The exotic East offered Byron the basis for the aesthetic achievement in his Oriental Tales: The Giaour, Lara, The Corsair, The Siege of Corinth and The Bride of Abydos, but also his play Sardanapalus. The main interest of this paper, however, is the study of Oriental elements in Byron’s first Oriental tale - The Gioaur. I have come to realize that Byron emerges as distinct from and rises above his contemporaries in the treatment of the Orient with regard to the broad range, accurate portrayal and his creative empathy. One of the purposes of this paper would be to acknowledge this uncommon responsiveness to the Orient and to enlighten Byron's use of Oriental allusions. The poem represents an artistic mixture of Eastern and Western elements. This paper will focus on the depiction of the East in images, settings, characters and themes, and explore the way the poet skillfully incorporates a Western hero in an Eastern setting and increases the overall impression by the poem’s various narrators. Byron was the first author who allowed an Oriental character to relay a story from his Islamic point of view. This makes Byron different from his contemporaries; he does not throttle the Oriental voice. The voice of the Muslim narrator emphasizes the Oriental character of the poem as his references and viewpoints bestow a specific Oriental colour. In the depiction of the two main male characters, Byron has skillfully employed the effect of doubling which excludes the position of the Giaour as superior over his Oriental rival. Just as Hassan does not feel any remorse for the death of Leila, so does the Giaour’s regret not stem in the immorality of his deeds or social transgressions. He is endowed with the same weaknesses and vices as Hassan. Artistically threading together, a diversity of Oriental details, such as natural and animal imagery, creatively incorporating picturesque similes and allusions, Byron has managed to fashion a faithful Oriental story.

Towards a Rewilding of the Ear

2017 ◽  
Vol 22 (1) ◽  
pp. 51-60 ◽  
Author(s):  
André G. Pinto
Keyword(s):  
Aesthetic Experience ◽  
Human Life ◽  
Point Of View ◽  
Human Being ◽  
Semiotic System ◽  
The World ◽  
Human World ◽  
The Aesthetic ◽  
Deep Listening

In this article I outline the idea of an empirical/experiential reconnection to the natural non-human world through the practice of deep listening. I believe that the aesthetic experience is central to a more ecological positioning of the human being on earth and that aesthetic experience should involve a ‘rewilding of the ear’. To discuss this concept, I build an argument from Edgard Varèse’s music as ‘organised sound’ and approach it from a perceptual point of view. This leads to the discussion of other concepts, such as David Dunn’s ‘grief of incommunicability’ (Dunn 1997) and Jean-François Augoyard and Henry Torgue’s ‘sharawadgi effect’ (Bick 2008). Further to this I discuss parallels between Truax’s continuum (Speech–Music–Soundscape) and Peirce’s semiotic system. Taking points from these theories, we can discuss the possibility of the re-tuning of our ears to the wider sound palette of the world. I consider George Monbiot’s concepts of ‘rewilding’ and ‘rewilding of the human life’ (Monbiot 2014), in order to create a parallel to our relationship with the soundscape.

scholarly journals Social Cognition in the Mirrors of «Cognitive Revolutions»

2017 ◽  
Vol 8 (4) ◽  
pp. 55-71 ◽  
Author(s):  
D.A. Khoroshilov
Keyword(s):  
Social Cognition ◽  
Social Life ◽  
Social Representations ◽  
Historical Analysis ◽  
Point Of View ◽  
Russian Society ◽  
Social Psychological ◽  
The Social ◽  
Art Research ◽  
The Aesthetic

The article discusses the problem of the social determination of cognition from the point of view of «cognitive revolutions» (R. Harré) in dialogue between psychology, social theory and history, neurobiology and aesthetics. The research inquiry is the cultural-historical analysis of the social representations of the everyday life. The «aesthetic paradigm» (T.D. Martsinkovskaya) uses the art-based methods to study the cultural forms of social cognition. Theoretical discussions are illustrated by the social psychological, clinical and contemporary art research of the mass consciousness of the Russian society at the beginning of the 21st century. The article presents the experience of the genre analysis of the tragedy of culture (G. Simmel), personal drama (L.S. Vygotsky) and comedy of social life (A.P. Chekhov). The final result is a new aesthetic concept of social cognition.

scholarly journals THE IDEA OF THE POLYFUNCTIONAL ESSENCE OF ART AS A PROBLEM OF MODERN AESTHETICS

2021 ◽  
pp. 91-99
Author(s):  
G.G. Kolomiets ◽  
◽  
Ya.V. Parusimova ◽  
Keyword(s):  
Human Life ◽  
Cultural Knowledge ◽  
Point Of View ◽  
New Meanings ◽  
Phenomenological Methodology ◽  
History Of ◽  
Human World ◽  
The Aesthetic ◽  
Definition Of ◽  
Communicative Discourse

The appeal to the problem of polyfunctionality of art is caused by the modern post-postmodern situation in the field of philosophical and cultural knowledge, which raised the problem of understanding the essence of art and its existence. A stochastic state was revealed, an uncertainty in view of the transformations of art itself, following not only the footsteps of the changing world, but also anticipating civilizational shifts, guessing a lot of probabilities and possibilities in the cultural movement of humanity. In this regard, the article rethinks the problem of the polyfunctionality of art and puts forward the idea of the polyfunctionality of art in the problematic field of aesthetics. Art is considered by the authors from the point of view of phenomenology and axiology as an aesthetic way of being in the human world, as a valuable interaction of a person with the world, as a subject of constructing new meanings and meanings by the consciousness when meeting with art. The article asserts the polyfunctional essence of art, which, according to the authors, stems from the variety of interpretations of the concept of «art» in the history of aesthetic thought and modern discourse, due to the multidimensional nature of its manifestations in the human life world. After analyzing various approaches to the understanding of art, and following the phenomenological methodology, as well as the ontological method and axiological approach, the authors came to the conclusion that definitions do not answer the question «what is art?», they rather say «what is art for?». In other words, it is not «what is» that is defined, but «what it means». It is noted that the leading functions recognized in aesthetics, such as aesthetic, communicative, harmonizing, transforming, are predominant at certain stages of culture, but they are separate functions of art that do not exhaust the fullness of the multifunctional essence, the ideological integrity of art in culture. It is pointed out that at the present stage, the features of openness, isolation, and «atomicity» of the communicative discourse are becoming more and more acute, leading to a change in the models of art functions, determining the problematic nature of the aesthetic «super-function» of art in the promotion of civilizational and cultural space. The idea of the polyfunctional essence of art presupposes a specific form of mental development of the polyfunctionality of art, is the principle of explaining the existence of art and includes the process of further searching for the definition of art on the basis of its multi-valued existence in culture.

scholarly journals Post-Human Aesthetics of Apocalypse

2019 ◽  
pp. 77
Author(s):  
Özgür Yaren
Keyword(s):  
Media Studies ◽  
Visual Language ◽  
Point Of View ◽  
Political Crisis ◽  
The Aesthetic ◽  
The Voice ◽  
Genre Films

This paper aims to illustrate the transformation of point of view in apocalyptic/dystopian genre films, abandoning the lamenting tone in favor of other species. It also intends to exhibit the aesthetic strategies conforming to the shifting tone of these genre films towards a post-human stance. It can be argued that the conjuncture which is shaped by several coinciding narratives of crisis from the Anthropocene to the more recent political crisis of rising Populism led Posthumanist discourse gain prevalence. The paper will try to link the shifting tone of genre films with the lineages of Posthumanist discourse and contemporary collective anxieties. Through analyzing the voice of narrative and its visual language, this paper will attempt to layout significant characteristics of post-human aesthetics in apocalyptic/dystopian genre films. Article received: April 23, 2019; Article accepted: June 15, 2019; Published online: September 15, 2019; Review articleHow to cite this article: Özgür, Yaren. "Post-Human Aesthetics of Apocalypse." AM Journal of Art and Media Studies 19 (2019): 77-83. doi: 10.25038/am.v0i19.309

Wacana Kolonial dalam Novel Max Havelaar: Sebuah Kajian Poskolonial

Metahumaniora ◽  
2017 ◽  
Vol 7 (3) ◽  
pp. 411
Author(s):  
Abu Bakar Ramadhan Muhamad
Keyword(s):  
Point Of View ◽  
The Other ◽  
The Novel ◽  
Colonial Discourse ◽  
The Impact ◽  
The Voice

AbstrakHegemoni kolonialisme dalam budaya poskolonial merupakan alasan penelitian inikemudian mengkaji wacana kolonial dalam novel Max Havellar (MH) khususnya dampakditimbulkannya. Dampak dimaksud adalah posisi keberpihakan pemikiran tersirat darikarya tersebut. Hasil pembahasan menunjukkan, secara temporal maupun permanen MHmenyuarakan ketidakadilan dalam kondisi-kondisi kolonial menyangkut penindasan sangpenjajah terhadap terjajah. Hanya saja, upaya mengatasnamakan atau mewakili suarakaum terjajah terbukti mengimplikasikan ciri ideologis statis kerangka kolonialisme(orientalisme); yakni cara pandang Eropasentris, di mana “Barat” sebagai self adalah superior,dan “Timur” sebagai other adalah inferior. Dalam konteks poskolonialisme, MH dengan sifatkritisnya yang berupaya “menyuarakan” nasib pribumi terjajah, justru menampilkan stigmapenguatan kolonialitas itu sendiri secara hegemonik. Artinya, “menyuarakan” nasib pribumidimaknai sebagai keberpihankan kolonial yang kontradiktif, di mana stigma penguatankolonialitas justru lebih terasa, ujung-ujungnya melanggengkan hegemoni kolonial. Tidakmembela yang terjajah, tetapi memperhalus cara kerja mesin kolonial.AbstractThe hegemony of colonialism in the culture of postcolonial society is the reason this studythen examines the colonial discourse in the novel Max Havellar (MH) in particular the impactit brings. The impact in question is the implied position of thought in the work. The resultsof the discussion show that, temporarily or permanently, MH voiced injustice in the colonialconditions regarding the oppression of the colonist against the colonized. However, the effort toname or represent the voice of the colonized has proven to imply a static ideological characterin the framework of colonialism (orientalism); ie Eropacentric point of view, in which “West” asself is superior, and “East” as the other is the inferior. In the context of postcolonialism, MH withits critical nature that seeks to “voice” the fate of the colonized natives, actually presents thestigma of strengthening coloniality itself hegemonicly. That is, “voicing” the fate of the pribumiis interpreted as a contradictory colonial flare, where the stigma of strengthening colonialityis more pronounced, which ultimately perpetuates the hegemony of colonialism. No longerdefending the colonized, but refining the workings of the colonial machinery.

POLIVARIABILITY OF THE BASTARD MOTIF IN THE SHORT STORIES BY GUY DE MAUPASSANT: CHARACTER IN SEARCH OF SELF-IDENTIFICATION

2018 ◽  
pp. 20-27
Author(s):  
Oksana Galchuk
Keyword(s):  
Short Stories ◽  
Short Story ◽  
Social Institutions ◽  
Point Of View ◽  
Guy De Maupassant ◽  
Traditional Values ◽  
The Social ◽  
Role Of It ◽  
Structural Methods

The theme of illegitimacy Guy de Maupassant evolved in his works this article perceives as one of the factors of the author’s concept of a person and the plane of intersection of the most typical motifs of his short stories. The study of the author’s concept of a person through the prism of polivariability of the motif of a bastard is relevant in today’s revision of traditional values, transformation of the usual social institutions and search for identities, etc. The purpose of the study is to give a definition to the existence specifics of the bastard motif in the Maupassant’s short stories by using historical and literary, comparative, structural methods of analysis as dominant. To do this, I analyze the content, variability and the role of this motive in the formation of the Maupassant’s concept of a person, the author’s innovations in its interpretation from the point of view of literary diachrony. Maupassant interprets the bastard motif in the social, psychological and metaphorical-symbolic sense. For the short stories with the presentation of this motif, I suggest the typology based on the role of it in the structure of the work and the ideological and thematic content: the short stories with a motif-fragment, the ones with the bastard’s leitmotif and the group where the bastard motif becomes a central theme. The Maupassant’s interpretation of the bastard motif combines the general tendencies of its existence in the world’s literary tradition and individual reading. The latter is the result of the author’s understanding of the relevant for the era issues: the transformation of the family model, the interest in the theory of heredity, the strengthening of atheistic sentiments, the growth of frustration in the system of traditional social and moral values etc. This study sets the ground for a prospective analysis of the evolution the bastard motif in the short-story collections of different years or a comparative study of the motif in short stories and novels by Maupassant.

Graffiti als Version und Subversion–Praxen kultureller Re-Regulierung und die Möglichkeit von Gratiforschung

2010 ◽  
Vol 55 (2) ◽  
pp. 11-25 ◽  
Author(s):  
Bernd Dollinger
Keyword(s):  
Social Life ◽  
Point Of View ◽  
Theoretical Point ◽  
Research Practice ◽  
Wird Eine ◽  
Multiple Perspectives

Der Beitrag geht von Versuchen aus, integrative Perspektiven einer überaus heterogenen Graffitiforschung zu bestimmen. In Auseinandersetzung insbesondere mit Bruno Latours Ansatz des »Iconoclash« wird eine kulturtheoretische Referenz bestimmt, die Graffiti als Version identifiziert, d. h. als semiotisch orientierte Veränderung räumlich situierter Ordnungs- und Regulierungspraxen. Ihnen kann, wenn auch nicht zwingend, eine subversive Qualität zukommen. Durch die Ausrichtung am Konzept einer Version wird beansprucht, Forderungen einer normativ weitgehend abstinenten, nicht-essentialistischen und für komplexe Fragen der Identitäts- und Raumpolitik offenen Forschungspraxis einzulösen.<br><br>The contribution attempts to integrate multiple perspectives of current largely heterogeneous graffiti scholarship. Referring to Bruno Latour’s concept »iconoclash«, we discuss graffiti from a cultural-theoretical point of view as a »version«. It appears as a semiotically oriented modification of spatially situated practices that regulate social life. Often, but not necessarily, these practices involve subversive qualities. The concept of »version« facilitates a non-normative and non-essentialist strategy of research. This enables an explorative research practice in which the complex matters of identity and space politics that are associated with graffiti can be addressed.

Lying in Early Modern English Culture

2017 ◽  
Author(s):  
Andrew Hadfield
Keyword(s):  
Early Modern ◽  
Cultural History ◽  
Identity Politics ◽  
Social Life ◽  
Thomas More ◽  
Early Modern English ◽  
Wide Range ◽  
Constant Feature ◽  
The Right ◽  
English Culture

Lying in Early Modern English Culture is a major study of ideas of truth and falsehood from the advent of the Reformation to the aftermath of the Gunpowder Plot. The period is characterized by panic and chaos when few had any idea how religious, cultural, and social life would develop after the traumatic division of Christendom. Many saw the need for a secular power to define the truth; others declared that their allegiances belonged elsewhere. Accordingly there was a constant battle between competing authorities for the right to declare what was the truth and so label opponents as liars. Issues of truth and lying were, therefore, a constant feature of everyday life, determining ideas of identity, politics, speech, sex, marriage, and social behaviour, as well as philosophy and religion. This book is a cultural history of truth and lying from the 1530s to the 1610s, showing how lying needs to be understood in practice and theory, concentrating on a series of particular events, which are read in terms of academic debates and more popular notions of lying. The book covers a wide range of material such as the trials of Anne Boleyn and Thomas More, the divorce of Frances Howard, and the murder of Anthony James by Annis and George Dell; works of literature such as Othello, The Faerie Queene, A Mirror for Magistrates, and The Unfortunate Traveller; works of popular culture such as the herring pamphlet of 1597; and major writings by Castiglione, Montaigne, Erasmus, Luther, and Tyndale.

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