scholarly journals POETRY BY DZIGA VERTOV AND ANATOLY MARIENHOF: COMPARATIVE ANALYSIS

2021 ◽  
Vol 6 (2) ◽  
pp. 124-140
Author(s):  
Ekaterina Yu. Belash
Keyword(s):  
Comparative Analysis ◽  
Mutual Influence ◽  
Historical Context ◽  
Traumatic Experience ◽  
Documentary Evidence ◽  
Revolutionary Era ◽  
Avant Garde ◽  
Main Technique ◽  
Dziga Vertov ◽  
Personal Histories

The article focuses on a comparative analysis of poems written by Dziga Vertov and Anatoly Marienhof. Despite the fact that the two poets were not acquainted and there is no documentary evidence of their mutual influence, they share a number of similarities in the development of their lives and artistic endeavours, in which the cultural and historical context of their era was reflected. The authors’ early writings share a common cutting technique. Montage became the main technique for describing both the rapidly changing reality of the post-revolutionary era and the fragmentation of the world and consciousness. That explains the duality of the protagonist and the appearance of the image of a buffoon. The similarity between Marienhof’s early poems and Vertov’s ones is also revealed in the predominant tragicomic tone, which is conditioned by the perception of the Revolution as a traumatic experience. Similarity can also be traced in the composition of images: it is cutting again that they use while organizing their metaphors (separate images are combined by thematic or associative links). In later works Marienhof and Vertov reevaluate their personal histories, using the antithesis of “now” and “then”, which shows a tragic turn in the lives of both artists. Apart from that, they turn from avant-garde poetic forms to more traditional ones. Thus, the article explores important stylistic, ideological, and biographical correlations in the work of two Russian avant-gardists.

Market Reforms in Russia: Can the Vicious Circle Be Teared Open?

2004 ◽  
pp. 114-128
Author(s):  
V. Nimushin
Keyword(s):  
Economic Policy ◽  
Comparative Analysis ◽  
Historical Context ◽  
Vicious Circle ◽  
Modern World ◽  
Market Reforms ◽  
Main Task ◽  
Forward Movement ◽  
Socially Responsible ◽  
The Way

In the framework of broad philosophic and historical context the author conducts comparative analysis of the conditions for assimilating liberal values in leading countries of the modern world and in Russia. He defends the idea of inevitable forward movement of Russia on the way of rationalization and cultivation of all aspects of life, but, to his opinion, it will occur not so fast as the "first wave" reformers thought and in other ideological and sociocultural forms than in Europe and America. The author sees the main task of the reformist forces in Russia in consolidation of the society and inplementation of socially responsible economic policy.

Creative communication of artistic systems M. Tsvetaeva and B. Pasternak

2021 ◽  
Vol 6 (2) ◽  
pp. 74-82
Author(s):  
Anastasia Valerievna Sebeleva
Keyword(s):  
Comparative Analysis ◽  
Comparative Studies ◽  
Mutual Influence ◽  
Integrated Approach ◽  
Literary Studies ◽  
Textual Information ◽  
Priority Direction ◽  
Literary Process ◽  
History Of ◽  
Mutual Communication

This article proceeds from the fact that the problem of interaction and mutual influence is quite acute in literary studies. In this regard, the relevance of the research is due, firstly, to the correspondence to the priority direction of modern literary studies associated with the comparative analysis of the text, and secondly, to the need to disclose the deep theoretical and artistic content of creative communication of such artistic personalities of the XX century as M. Tsvetaeva and B. Pasternak, whose legacy still contains many lacunae. The methodological basis of the research is an integrated approach, including comparative-historical, historical-literary, comparative-typological, system-analytical and biographical methods, as well as the method of comparative studies, which allows to study literary analogies and connections of different national literatures, their refraction in the texts of the authors studied. Hermeneutics contributed to the mental comprehension of the analyzed texts, the mental processing of textual information. An important episode in the history of world poetry was the correspondence-dialogue of iconic poets for their time: M. Tsvetaeva and B. Pasternak. Correspondence is valuable not only because it shows us the life of poets in relation to time. The creative aspect of correspondence is very important. The rapprochement manifested in it and at the same time the repulsion was deeply creative and left deep traces in the legacy of all its participants. Poets, albeit to varying degrees, concentrated and passionately, sought to define for themselves the essence of life and poetry. In the course of the research, the author of the article comes to the conclusion that, firstly, the literary process is characterized by a systematic nature in which authors and their works are in certain relationships to each other. Secondly, the thirteen-year correspondence of M. Tsvetaeva with B. Pasternak was very significant for literature. Thanks to mutual communication, creative interaction, the poets created unique, emotionally deep works.

scholarly journals Notes on the nature of avant-garde and constructivism

2020 ◽  
pp. 106-119
Author(s):  
Vadim Markovich Rozin
Keyword(s):  
Comparative Analysis ◽  
Avant Garde ◽  
Analysis Methods ◽  
Figurative Art ◽  
The Family ◽  
Methods Of Reconstruction ◽  
Applied Arts

Based on the materials of the family of architects Zimonenko-Feierstein, this article examines the peculiarities of avant-garde and constructivism. Roman Feierstein and Lyubov Zimonenko graduated the Moscow University of Arctitecture and were taught by pedagogues – the representative of avant-garde and constructivism. To understand the nature of avant-garde and constructivism, the author characterizes the goals and tasks solved by these trends and concepts, as well as analyzes the works of Roman Feierstein and Lyubov Zimonenko. It is demonstrated that constructivists create artistic reality, juxtaposing and simultaneously combining various processes and contents, sending over consciousness of a spectator to a particular reality. This pattern is inherent not only to figurative art, but also literature. The article employs situational and comparative analysis, methods of reconstruction of the works of applied arts and generalization. As a result, the author was able to reveal certain peculiarities of avant-garde and constructivism as an approach and activity, as well as underline that avant-garde and constructivism as approaches also suggest conceptualism. The role of conceptualism consists in outlining and explaining of reality, created by an artist for their audience.

scholarly journals Expressionism in European and Chinese painting (late XIX – early XXI centuries)

2020 ◽  
pp. 27-46
Author(s):  
Jitai Wang
Keyword(s):  
Comparative Analysis ◽  
Mutual Influence ◽  
Cultural Factors ◽  
Chinese Painting ◽  
Oil Painting ◽  
New Concepts ◽  
Similarities And Differences ◽  
The Individual ◽  
The Impact

This article examines the impact of Chinese traditional painting upon the formation of Western expressionism, as well as interprets the influence of Western expressionism upon Chinese painting in expressionist manner of different periods. The author reveals the mutual influence, similarities and differences between Western expressionism and Chinese painting in expressionist manner, Chinese imagery oil painting, Chinese colored ink painting, and Chinese imagery painting in Western style. Based on correlation between the spiritual ideology of painting and artistic form, the author carries out a comparative analysis of spiritual and formal factors of Chinese and Western painting systems for the purpose of determination of their mutual influence, and how it affects the emergence of new concepts in painting. The structure of brush stroke of the artist defines his aesthetic spirit. The article determines the “cyclic” nature of interinfluence processes between Chinese and Western painting systems that stimulate the development of human civilization. The analysis of corresponding cultural factors allows assessing the individual artistic characteristics of painting. Both, Chinese and Western painting systems entered the period when spiritual ideology of painting interacts with the artistic forms, opening the era of “globalization” of the language of painting.

scholarly journals Hardiness and Resilience Versus Personality Work in Visually Impaired

2017 ◽  
Vol 3 (1) ◽  
pp. 99
Author(s):  
Olga Kvasova ◽  
Olga Savina
Keyword(s):  
Comparative Analysis ◽  
Visual Impairment ◽  
Life Experience ◽  
Positive Outcome ◽  
Traumatic Experience ◽  
Future Perspective ◽  
Trauma Research ◽  
Loss Of Vision ◽  
Life Problems ◽  
Family Breakdown

Personality, trauma, research last 20 years showed that people in crisis are not only injured, suffering, but able to resist, withstand also solves life problems: not only adapt, but take courage to overcome difficulties, to love, to work, to construct, to let personality grow? Theoretically described in activity-meaning approach, focusing on positive aspects of extreme situation and meaning personality work with a traumatic experience (M. Magomed-Eminov, 1990, 2009) so that demonstrate resilience, coping, overcoming and hardiness. The study was aimed at identifying resistance in extreme situations by the comparative analysis of discourses of people with normal vision and impaired people with its various etiologies (blind from birth and have lost their vision due to injury). We tested manifestation of resistance in people with visual impairment (congenital or acquired as a result of injury), and sighted by a "Test of hardiness" (S. Maddi) and developed life situation interview. The sample (90 people) of three groups: 1) with intact vision, 2) loss of vision due to trauma, 3) with congenital visual impairment. The overall level of viability, control and risk taking). The third group demonstrated the highest score of hardiness. Comparative analysis showed statistically significant differences in these parameters between people with congenital impairment and two other groups, differences between people who lost vision due to trauma, and sighted are not significant. Qualitative analysis of crises experience showed that in traumatic loss the fact of blindness becomes one of the central problems in life experience and possibility of positive transformation and integration is less probable because loss of vision “completely changed their lives, former life meaning”. People with congenital visual impairment, showing similarities with sighted in allocation of types of loss and crisis situations (loss of a loved one, family breakdown, etc. ), but in description of effects and what they do with experience - more active and positive view on situation, future perspective and own efforts to overcome difficulties, to care of others, fulfill personality work which actually makes it possible to transform the hardiness into resilience, positive outcome of the disaster.

Vertov, Dziga (b. January 2, 1896, Bialystok, Poland; d. February 12, 1954, Moscow, Russia)

2018 ◽  
Author(s):  
Ivan Eubanks
Keyword(s):  
Production Methods ◽  
Avant Garde ◽  
Cognitive Limitations ◽  
Dziga Vertov

Derived from the sound of a working film-reel and the word "vertet´sia" (to spin), Dziga Vertov is the pseudonym of David (aka Denis) Kaufman, a Soviet documentarian and prominent avant-garde director. Like his Futurist and Constructivist associates, Vertov believed machines would liberate people from their physical and cognitive limitations. Viewing cinema as a hybrid human-mechanical mode of perception, he asserted that it could transcend subjectivity and unveil aspects of reality not otherwise accessible, because the camera’s ability to show us "life caught unawares" (Kino-Eye, 41) helped the edited film product to "show and elucidate life as it is" (Kino-Eye, 47). Vertov’s neo-empiricist methodology originated with his early journalistic experience making a newsreel series called Kino-nedelia (Cinema-Week; 1918–1919). In 1919, he formed a group named "Kino Glaz" (Cinema Eye), along with his editor, Elizaveta Svilova (whom he married in 1923) and his brother Mikhail Kaufman. The members called themselves "kinoki" (cine-eyes). Vertov outlined their principles in "We: Variant of a Manifesto" (1922). Decrying theatrical cinema, he insisted that film’s potential to reveal truth could only be realized when filmmakers overcame their addiction to scripts, actors, costumes, and sets. From his perspective, the production methods of theatrical cinema obligated filmmakers to peddle illusions and thereby perpetuated bourgeois values.

“Experience that Generates Experience”: The Influence of the Comedy in three South African Writings

2021 ◽  
pp. 131-142
Author(s):  
Marco Medugno
Keyword(s):  
South Africa ◽  
Comparative Analysis ◽  
Creative Writing ◽  
South African ◽  
Historical Context ◽  
Divine Comedy ◽  
The South ◽  
Literary Context ◽  
Divine Justice

This article aims to explore the intertextual relationships between Dante’s Divine Comedy and three pieces of creative writing: Chariklia Martalas’ “A Mad Flight into Inferno Once Again”, Thalén Rogers’ “The Loadstone” and Helena van Urk’s “The Storm”. By employing a comparative analysis, I argue that, even though decontextualised, the Comedy still represents a fruitful aesthetic source for representing particularly war-torn and violent contexts such as South Africa during apartheid and colonialism. I explore how the authors, through intertextual references and parodic rewriting, both re-configure the poem and challenge some of the Comedy’s moral assumptions and the idea of (divine) justice. I aim to show how Dantean Hell, far from being an otherworldly realm, is in fact transfigured and adapted to effectively represent (and make sense of) a historical context. In other words, through an intertextual analysis, this analysis tries to understand why and how the Comedy resonates with the South African socio-political (and literary) context.

Dziga Vertov

2015 ◽  
Author(s):  
Alla Gadassik
Keyword(s):  
Soviet Union ◽  
Early Adulthood ◽  
Human Beings ◽  
Media Technology ◽  
Subsequent Work ◽  
Avant Garde ◽  
Political Cinema ◽  
The Soviet Union ◽  
Dziga Vertov ◽  
Movie Camera

Dziga Vertov (b. 1896, Bialystok, Russian Empire–d. 1954, Moscow, USSR) was a pioneering Soviet filmmaker, whose films and manifestos played a central role in 20th century documentary, experimental film, and political cinema traditions. Working in the USSR in the 1920s–1950s, Vertov led the radical Kino-Eye (Cine-Eye) collective, which championed a new film language that would draw on the unique mechanical and audiovisual properties of cinematography, rather than on theatre or literature traditions. His polemical resistance to narrative fiction films contributed to the development of avant-garde documentary techniques in the Soviet Union and abroad. Long after Vertov fell out of favor in his native country, his work continued to influence international documentary cinema and political media groups. Born as David Abelevich Kaufman, Dziga Vertov adopted his pseudonym in early adulthood, and his subsequent work often blurs the lines between the filmmaker’s personal experiences and ideas ascribed to his alter ego. This split between Vertov’s personal life and his constructed persona reflected his belief that cinema, too, could simultaneously document observed reality and construct an entirely new reality from captured slices of life. Vertov maintained that filmmakers should seek out and expose the hidden social and political forces that govern life, using moving images and sound to shape spectator consciousness. His films were in dialogue with several avant-garde art movements, and he often experimented with different film techniques in hopes of both depicting and transforming reality. Moreover, Vertov argued that media technology, especially the movie camera and the wireless radio, would radically change how human beings navigated the world and how they understood their place in society. His theoretical writings are foundational to the discipline of film studies and to writings on film cinematography and montage. His seminal 1929 film Man with a Movie Camera (Chelovek s Kinoapparatom) is a cornerstone of film courses worldwide.

scholarly journals V-v-Vertov R-r-Re-Made

2014 ◽  
Vol 9 (1) ◽  
pp. 77-106 ◽  
Author(s):  
Peter Ole Pedersen ◽  
Jan Løhmann Stephensen
Keyword(s):  
Digital Media ◽  
Documentary Film ◽  
Participatory Culture ◽  
New Materialism ◽  
Film Genre ◽  
Avant Garde ◽  
American Artist ◽  
Dziga Vertov ◽  
Film Language ◽  
Movie Camera

Abstract The seminal work of pioneering avant-garde filmmaker Dziga Vertov, The Man with the Movie Camera (Chevolek s kino-apparatom, 1929) has given rise to a number of discussions about the documentary film genre and new digital media. By way of comparison with American artist Perry Bard’s online movie project entitled Man With a Movie Camera: The Global Remake (2007), this article investigates the historical perspective of this visionary depiction of reality and its impact on the heralded participatory culture of contemporary digital media, which can be traced back to Russian Constructivism. Through critical analysis of the relation between Vertov’s manifest declarations about the film medium and his resulting cinematic vision, Bard’s project and the work of her chief theoretical inspiration Lev Manovich are examined in the perspective of ‘remake culture,’ participatory authorship and the development a documentary film language. In addition to this, possible trajectories from Vertov and his contemporary Constructivists to recent theories of ‘new materialism’ and the notion of Man/Machine-co-operation is discussed in length.

scholarly journals Makna Kafir dalam Al-Qur'an (Studi Komparatif Penafsiran Ibnu Kasir dan Quraish Shihab)

2021 ◽  
Vol 10 (1) ◽  
pp. 67
Author(s):  
Ahmad Farhan ◽  
Deden Bagus Putra
Keyword(s):  
Comparative Analysis ◽  
Comparative Study ◽  
Significant Influence ◽  
Research Method ◽  
Historical Context ◽  
Ordinary People ◽  
Historical Approach ◽  
Library Research ◽  
Similarities And Differences ◽  
The Difference

The word infidel is mentioned 525 times in the Qur'an. The use of this word infidel has various meanings as in the QS. Ali 'Imran:151, the word infidels are those who associate partners with Allah while in QS. Luqman:12, the Qur'an calls the disbelievers those who disbelieve in the favors of Allah. The difference in the term infidel is not only limited to the verses of the Qur'an, but also applies among commentators, scholars, intellectuals, to ordinary people, including in the understanding of Indonesian society. This research is entitled "The Meaning of Kafir in the Qur'an (Comparative Study of the Interpretation of Ibn Kasir and M. Qurais Shihab)". In order to significantly answer the questions that arise; what is the meaning of infidel in the Qur'an according to Ibn Kasir in the book of Tafsir al-Qur'an al-'Azhim and M. Quraish Shihab in the book of Tafsir al-Misbah, similarities and differences in interpretation, and the relevance of their interpretation in the Indonesian context. This research is a library research that uses descriptive comparative analysis research method with a historical approach. The results of this study are: the socio-historical context, sources of interpretation, methods, and styles have a significant influence in producing differences in the interpretation of the Qur'an, especially regarding the meaning of kafir. Between Ibn Kasir and M. Quraish Shihab agreed to interpret the word infidel in the form of isim jama 'muzakkar salim (الكَافِرُوْنَ) in five (5) verses, namely QS. al-Mai'dah: 44, QS. al-A'raf: 45, QS. al-Taubah: 32, QS. al-Ankabut: 47, and QS. al-Rum: 8 with the meaning of denying and covering, but differing in explaining the interpretation of the five verses, although the difference is not that far away. The interpretations of the two figures in this thesis are very relevant to the context of Indonesia which is multi-religious and multi-cultural.

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