scholarly journals The world of animals in The Tragic Menagerie by L. D. Zinovieva-Annibal

2021 ◽  
Vol 21 (4) ◽  
pp. 427-432
Author(s):  
Wang Liuyang ◽  
◽  
Maria V. Mikhailova ◽  
Keyword(s):  
Philosophical Problem ◽  
Main Character ◽  
Environmental Discourse ◽  
Silver Age ◽  
The World

The article reveals the images of animals in the cycle of stories The Tragic Menagerie (1907) by the writer of the Silver Age L. D. Zinovieva-Annibal (1866–1907) and their role in molding the character of the heroine. These images perform several functions. They establish the environmental discourse of the narrative, shape the moral and philosophical problem range, facilitate the religious self-identification of the main character.

Environmental Management in the Anthropocene

2016 ◽  
Author(s):  
David Schlosberg
Keyword(s):  
Environmental Management ◽  
Main Character ◽  
Central Question ◽  
Natural Systems ◽  
Human Needs ◽  
The World ◽  
Technological Intervention ◽  
Preservation And Restoration ◽  
End Of The World ◽  
Visible Human

In the filmBeasts of the Southern Wild, the main character, Hushpuppy, lays out the dilemma of environmental management in the Anthropocene: “For the animals that didn’t have a dad to put them in the boat, the end of the world already happened.” The Anthropocene will not recede, and the central question of environmental management will be whether we can develop ways to reflexively and sustainably manage ecosystems, habitats, and human needs. This chapter examines four possible normative underpinnings for such management: traditional notions of preservation and restoration, the idea of ecological limits and boundaries, the continued hubris of promethean technological intervention, and a conception of ecological receptivity or a “politics of sight” that makes visible human immersion in natural systems. As sight is a particular characteristic of the Anthropocene, this form of receptivity may hold some promise for environmental management.

scholarly journals BIG AND SMALL WORLDS OF CHILDREN CHARACTERS IN ‘A LITTLE PRINCESS’ BY F. H. BURNETT

2020 ◽  
Vol 12 (3) ◽  
pp. 70-78
Author(s):  
Varvara A. Byachkova ◽  
Keyword(s):  
Charles Dickens ◽  
Fairy Tale ◽  
Literary Tradition ◽  
Small World ◽  
Protective Mechanism ◽  
The Novel ◽  
Main Character ◽  
Small Worlds ◽  
The World ◽  
Space Organization

The article raises the topic of space organization in writings by Frances Hodgson Burnett. The object of analysis is the novel A Little Princess. The novel, addressed primarily to children and teenagers, has many similarities with David Copperfield and the works of Charles Dickens in general. The writer largely follows the literary tradition created by Dickens. The space of the main character is divided into three levels: the Big world (states and borders), the Small world (home, school, city) and the World of imagination. The first two worlds give the reader a realistic picture of Edwardian England, the colonial Empire, through the eyes of a child reveal the themes of unprotected childhood, which the writer develops following the literary tradition of the 19th century. The Big and Small worlds also perform an educational function, being a source of experience and impressions for the main character. In the novel, the aesthetic of realism is combined with folklore and fairy-tale elements: the heroine does not completely transform the surrounding space, but she manages to change it partially and also to preserve her own personality and dignity while experiencing the Dickensian drama of child disenfranchisement, despair and loneliness. The World of imagination allows the reader to understand in full the character of Sarah Crewe, demonstrates the dynamics of her growing up, while for herself it is a powerful protective mechanism that enables her to pass all the tests of life and again become a happy child who can continue to grow up and develop.

scholarly journals CELIE: A PORTRAYAL OF AN AFRO-AMERICAN WOMAN'S REJECTION OF TRADITIONAL VALUES

2017 ◽  
Vol 2 (2) ◽  
pp. 129
Author(s):  
Ekawati Marhaenny Dukut ◽  
Nuki Dhamayanti
Keyword(s):  
Women Characters ◽  
Alice Walker ◽  
The Novel ◽  
Main Character ◽  
Traditional Values ◽  
Female Characters ◽  
American Women ◽  
The Color Purple ◽  
The World ◽  
Color Purple

The world of literature can be a medium of expressing the writer's expressions and ideas. Universal topics such as, love, death, and war often become subject mailers in the world of literature. In the novel, of The Color Purple. Alice Walker describes the oppression experienced by Afro American women in the female characters of Celie, Nellie, Shug Avery, Sofia, and Mary Agnes who faced sexual discrimina!ions in a patriarchal society. Womanhood, education, and lesbianism are factors that help the Afro American women to free themselves from traditional values. The Color Purple puts into words the process of its main character, Celie, who tries to reject and escape from the male domination of her world. The other Afro American women characters that help Celie to find her selfidentity represent the manifestation of the rejection of the traditional values. This article. which uses the socio-historical alld feminism approach. is intended to analyse the Afro-American women's rejection of traditional values by focusing on the major character of' Walker's The Color Purple. Celie. as she develops from being a victim of traditional values to the rejoiceful discovery of her selfidentity.

scholarly journals Two Sisters: the Sculptor Hanna Nałkowska in the Light of Zofia Nałkowska’s Novel Węże i Róże

2019 ◽  
Vol 67 (4 SELECTED PAPERS IN ENGLISH) ◽  
pp. 125-150
Author(s):  
Magdalena Kasa
Keyword(s):  
Main Character ◽  
Literary Character ◽  
Polish Version ◽  
The World ◽  
Real Person

The Polish version of the article was published in Roczniki Humanistyczne vol. 65, issue 4 (2017). The article focuses on Ernestyna Śniadowiczówna, the main character in a novel by Zofia Nałkowska, Węże i róże [Snakes and Roses] (1913). The main purpose of the work is to show that the character had its real counterpart in Zofia’s younger sister, the sculptor Hanna Nałkowska. The words of Zofia herself were crucial, who in her Diary confessed that all her novels were autobiographical to some extent. Still, researchers have not paid sufficient attention to the significant similarities between Ernestyna and Hanna Nałkowska. Węże i róże is the only piece in the writer’s output in which she analyzed the issues related to art and pointed out some characteristics of the artist. Zofia was writing her novel when Hanna was entering the world of art. A comparison between Ernestyna Śniadowiczówna and Hanna Nałkowska, as well as the information from Zofia’s Dziennik and reminiscences of their friends show that the literary character is likely to be based on a real person.

scholarly journals A técnica como modo de existência em Gilbert Simondon: Tecnicidade, alienação e cultura

DoisPontos ◽  
2015 ◽  
Vol 12 (1) ◽  
Author(s):  
Diego Viana de Oliveira
Keyword(s):  
Philosophical Problem ◽  
Central Position ◽  
Philosophical Thought ◽  
The World ◽  
Gilbert Simondon

resumo: Redescoberta a partir da década de 1990, a obra de Gilbert Simondon coloca a técnica em uma posição central na reflexão filosófica. Mais do que uma faculdade do humano, a técnica aparece em Simondon como uma afecção determinante para todo regime do coletivo e do psíquico, fundadora de configuração do modo de estar no mundo. Este artigo visa retraçar o caminho pelo qual Simondon encontra a técnica como um problema filosófico antigo e escamoteado, cuja recuperação se torna urgente com a contemporânea imbricação entre a tecnologia e o devir do fenômeno humano.abstract: The work of Gilbert Simondon, recovered in the 1990s, places technicity in a central position for philosophical thought. More than a human faculty, technicity appears in Simondon as a determinant affection for the entire regime of collective and psychic existence. It finds thus a plethora of configurations of the modalities of being in the world. This essay seeks to retrace the ways in which Simondon discovers technicity as an ancient philosophical problem that has been veiled, the recovery of which becomes ever more urgent given the contemporary interpenetration between technology and the becoming of the human phenomenon. 

‘The poetry’s domain is shrinking like a piece of shagreen — and primarily in people’s hearts’

2021 ◽  
pp. 98-123
Author(s):  
E. I. Konstantinova ◽  
S. V. Kekova
Keyword(s):  
Silver Age ◽  
Metaphysical Poetry ◽  
The World

Kekova’s new interview recorded by E. Konstantinova shows a combined portrait of Kekova as a poet adhering to the ‘neoclassical’ tradition of 20th-c. metaphysical poetry as well as a scholar specialising in works by A. Tarkovsky and N. Zabolotsky and their intertextual relations. The interview raises the issues of contemporary philological research, the tradition of Christian poetics, of ‘sermon’ in literature, and the legacies of the Silver and Golden Ages. According to Kekova, Tarkovsky’s and Zabolotsky’s poetic oeuvres have more in common with the Golden rather than Silver Age, hence their rejection of the delusions of Symbolism and the yearning for philosophical comprehension of their place in the world; she admits to sharing this pursuit as a poet. Kekova’s on point comments to poems by her beloved authors ensure better understanding of her own poetics, and Konstantinova’s questions reveal their semantic and stylistic interconnectedness.

Vitaly Ryabinin’s “Japanese watercolors”: genre and stanza experiments

2021 ◽  
pp. 100-112
Author(s):  
Elena Yu. Kulikova ◽  
Keyword(s):  
Silver Age ◽  
Black And White ◽  
The World ◽  
Words And Images

“Exotic” themes, extremely popular in art at the turn of the 19th-20th centuries, craving for “foreign,” for extraordinary travels to Africa, India, the East, determined not only the properties of plot-motive complexes in literature, painting, and music but also the features of genre structure of the Silver Age works. In his microcycle “Japanese watercolors” from the poetic book “Melody-trill chords,” the poet V. Ryabinin operates with lyric genres (sonnet, romance) and stanza forms (sextins, hexameters). Stylized genres and stanzas reveal the author’s technique and show classic solid forms in a new aspect. The poet uses Japanese names (“Niavari,” “Nipu,” “Kitamura”), immerses the reader into the world of Japanese words and images (“Harakiri,” “Arigato,” “Geisha,” “Sayonara,” “hasivar”), mentions geographical names (“Fujiyama,” “Sumidagawa,” “Kurisan”), and even composes the poems in the hokku (haiku) genre. These are exactly “watercolors” - the poems combining the richness of tone, dense and bright construction of space, and “black and white” graphicality of images and motives. To emphasize this protuberant solidity, “sketches” are placed in strict forms. Thus, from “drawing” to “drawing”, from text to text, the reader moves in the world of Japanese shadows created by Ryabinin. “Watercolors” are an attempt to comprehend the colors and shades of the Japanese soul by a European - sometimes in a European manner, using “Western tools.” From the oriental genres, the poet chooses only the hokku, and the rest of the poems are created in terms of European classical forms, the Japanese theme entirely penetrating the cycle of “Watercolours.”.

The Gwenaissance

2018 ◽  
pp. 251-284
Author(s):  
Gabriel Gianola ◽  
Janine Coleman
Keyword(s):  
Comic Books ◽  
Comic Book ◽  
Silver Age ◽  
The World ◽  
Book World

Gwen Stacy, who first appeared in Amazing Spider-Man #31 (1965),soon became Peter Parker’s perfect girlfriend—attractive, kind, smart, and completely devoted to him. June 1973 saw the death of this “idealized 1960s ingénue” in an especially tragic and controversial manner—by a “‘snap’heard ‘round the comic book world.” This blow to both Marvel’s fictional denizens and its readers culminated in fans, creators, and scholars dubbing “The Night Gwen Stacy Died” as the “coda of the Silver Age” of comics. Four decades later, women, both as consumers and creators, have become a more visibly and vocally significant force in the world of comics. Itis a force that is demanding representation as fully-formed heroes, villains, and supporting characters. The historical progression of Gwen Stacy from 1965 to the present is curiously emblematic of the parallel revolution of fictional women in comic book universes and real women reading and creating those comic books.

Introduction

2019 ◽  
pp. 1-36
Author(s):  
Stanley J. Rabinowitz
Keyword(s):  
Golden Age ◽  
Initial Phase ◽  
New Age ◽  
Modern History ◽  
Silver Age ◽  
The World ◽  
Original Works ◽  
Broad Scale

HISTORIANS OF CULTURE LOOK at Russia’s Silver Age—the period of aesthetic activity roughly between 1895 and 1915—as one of the great artistic revivals of modern history, the initial phase of what eventually became more generally known as modernism. Even more than the previous Golden Age of Pushkin, Lermontov, and other Romantic poets some sixty years earlier, this period reveals a flowering of cultural refinement rarely seen on such a broad scale. Not only writers and poets but musicians, painters, and figures in the world of theater and dance cultivated a greater sensitivity to art, which placed a premium as much on the artists’ unique personalities as on the variety and quality of the original works they produced. An early and defining emblem of the new age was Sergei Diaghilev’s lavishly illustrated ...

3. Growth Unlimited: The Promethean Response

2017 ◽  
Author(s):  
John S. Dryzek
Keyword(s):  
Environmental Problems ◽  
Greek Mythology ◽  
Environmental Discourse ◽  
The World ◽  
Unlimited Growth ◽  
Central Argument ◽  
Human Capacity ◽  
Environmental Limits ◽  
The Impact

This chapter focuses on the Promethean response to unlimited growth. Discourses do not need conscious articulation. They can be so ingrained and taken-for-granted that it would never occur to anyone to mention them. Such was the case for the environmental discourse which can be styled Promethean. In Greek mythology Prometheus stole fire from Zeus, thus significantly increasing the human capacity to manipulate the world. Prometheans have unlimited confidence in the ability of humans and their technologies to overcome any problem — including environmental problems. The term ‘cornucopian’ is sometimes associated with this denial of environmental limits. After providing a background on the central argument of the Promethean discourse with respect to growth, the chapter considers various criticisms levelled against it. It also explores Promethean environmentalism and the impact of Promethean discourse.

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