scholarly journals In the Trace of Gerardo Mello Mourão: The Inter-Gender Hybridism and the Formation of Epiliric Poetry in Contemporary Brazilian Literature

2020 ◽  
Vol 8 (2) ◽  
pp. 35-50
Author(s):  
Junior César Ferreira de Castro
Keyword(s):  
Qualitative Research ◽  
Contemporary Literature ◽  
Historical Events ◽  
Brazilian Literature ◽  
Literary Genres ◽  
Avant Garde ◽  
The Past ◽  
The World ◽  
Deductive Method ◽  
The Aesthetic

In its configurative and representational basis, contemporary literature has established a warm dialogue with the classic and modern canons for the formation of literary genres that distance themselves from the poetics in force in order to establish their own aesthetics since the contemporary is in maintaining this gaze fixed on the present by returning to the past to deny or affirm it as the tradition of the new or the new of tradition (PAZ, 2000). The present study is justified in raising the reflection on the form of the epic and the lyric based on the transformations that occurred over the centuries to found an epic-lyric poetry as a renewing style of contemporary Brazilian poetry, the object of this research, which is based on the works Invention of the sea and Os peãs, by Gerardo Mello Mourão. The objective is to demonstrate the resistance of the epic in the current world by the hybrid composition that is established in the act of its production by the exteriority of the real along with the narrator's subjectivity. The problem of intergeneric hybridism is developed through bibliographic and qualitative research with intermediation of the deductive method and through the aesthetic-philosophical bias to demonstrate that it becomes the guiding element of this avant-garde style capable of establishing historical events through the temporality built by the world text. This whole discussion is centered on Aristotle (1992) and Boileau (1990), going through Hegel (1997), Lukacs (2000) and Bakhtin (2010) until arriving at Staiger (1997), Lima (2002), Greenfield (2006) and Kristeva (1995), showing that the epic-lyric poem is supported by the pluridiscursive dialogism maintained between the nature of the stylization of the lyric and epos as a style and not as a novelized process.

Shattered Hopes amid Violent Repression: The 1956 Hungarian Revolution and the United Nations (Part 2)

2018 ◽  
Vol 20 (4) ◽  
pp. 127-153
Author(s):  
András Nagy
Keyword(s):  
United Nations ◽  
Specific Aspect ◽  
Historical Events ◽  
The Past ◽  
International Response ◽  
Hungarian Revolution ◽  
The World ◽  
Archival Documents ◽  
The United Nations ◽  
The Revolution

Few historical events over the past 70 years have rivaled the 1956 Hungarian revolution in its domestic and international impact. The research presented in the first part of this article (published in the Fall 2017 issue of the journal), which was based largely on recently declassified archival documents, focused on a specific aspect of the international response to the revolution—namely, the efforts of the United Nations (UN) to deal with urgent events during and immediately after the revolution. This second part focuses on the tragic consequences of the revolution, including trials, imprisonments, and executions, in the years that followed. The limitations of the UN in this instance have rarely been discussed, particularly by the organization's supporters. The silence surrounding these issues has affected dissidents and others throughout the world confronting dictatorial regimes. An understanding of what went wrong is crucial if the UN is to be more effective in the future.

Choreographies of the Living

2018 ◽  
Author(s):  
Carrie Rohman
Keyword(s):  
Visual Art ◽  
Contemporary Literature ◽  
Natural World ◽  
Felix Guattari ◽  
Avant Garde ◽  
Human Endeavor ◽  
Theatrical Performance ◽  
Aesthetic Practice ◽  
And Performance ◽  
The Aesthetic

Animals seem to be everywhere in contemporary literature, visual art, and performance. But though writers, artists, and performers are now engaging more and more with ideas about animals, and even with actual living animals, their aesthetic practice continues to be interpreted within a primarily human frame of reference—with art itself being understood as an exclusively human endeavor. The critical wager in this book is that the aesthetic impulse itself is profoundly trans-species. Rohman suggests that if we understand artistic and performative impulses themselves as part of our evolutionary inheritance—as that which we borrow, in some sense, from animals and the natural world—the ways we experience, theorize, and value literary, visual, and performance art fundamentally shift. Although other arguments suggest that certain modes of aesthetic expression are closely linked to animality, Rohman argues that the aesthetic is animal, showing how animality and actual animals are at the center of the aesthetic practices of crucial modernist, contemporary, and avant-garde artists. Exploring the implications of the shift from an anthropocentric to a bioaesthetic conception of art, this book turns toward animals as artistic progenitors in a range of case studies that spans print texts, visual art, dance, music, and theatrical performance. Drawing on the ideas of theorists such as Elizabeth Grosz, Jane Bennett, Gilles Deleuze and Félix Guattari, Jacques Derrida, Una Chaudhuri, Timothy Morton, and Cary Wolfe, Rohman articulates a deep coincidence of the human and animal elaboration of life forces in aesthetic practices.

Modernism, Functionalism, and Tradition: The Music of Friedrich Goldmann

Tempo ◽  
1995 ◽  
pp. 27-30
Author(s):  
Alastair Williams
Keyword(s):  
Eastern Europe ◽  
Western Europe ◽  
The West ◽  
Avant Garde ◽  
The Past ◽  
High Modernism ◽  
The Aesthetic ◽  
The Moment ◽  
Socialist Politics

The current reappraisal of tradition, along with an interest in a music that deals with concrete emotions and which has a direct appeal to audiences, sounds a certain resonance with the aesthetic doctrines that prevailed in the former communist bloc. A sense of history is vital to socialist politics, but the availability of a symphonic tradition to Soviet composers after a break with that heritage suggests a state of posthistoire; a condition normally associated with postmodernism. The postmodernist reappraisal of the past is anticipated by, for example, Shostakovich's complex and sometimes ironic relationship to the symphonic tradition. Conservative traditionalism in the East maintained to be a critique of high modernist principles; in the West, ironically, a turn to tradition is now put forward as an alternative to the same rationalist modernism. At the moment when the achievements of the historical avant-garde and of high modernism have become fully available to the former Eastern Europe, the former Western Europe is engaged with the reappraisal of tradition. Even where a modernist music did develop in Eastern Europe – as, for example, it did in Poland – it was followed by a move back to more traditional techniques. The consequence of this inclination is that composers such as Górecki and Pärt, who employ traditionally-based expressive languages, have shot onto centre stage. The point is that composers from the former communist bloc have already encountered many of the issues that now preoccupy some contemporary composers in the capitalist West.

The Poetics of Ruins in Renaissance Literature

2017 ◽  
Author(s):  
Andrew Hui
Keyword(s):  
Early Modern ◽  
Classical Tradition ◽  
Cultural Context ◽  
Renaissance Literature ◽  
The Past ◽  
Cultural Phenomenon ◽  
The World ◽  
Architectural Decay ◽  
Basic Ideas ◽  
The Aesthetic

When we think of ruins and literature, we usually think of Romanticism. The Poetics of Ruins in Renaissance Literature dislodges this critical commonplace by locating European literature’s fascination with architectural decay in the aesthetic culture from Petrarch to Spenser. The Renaissance was the Ruin-naissance, the birth of the ruin as category of discourse, one that inspired voluminous poetic production. The ruin thus became the material sign—the broken cipher—that marked the rupture between the world of the humanists and their idealized classical past. In the first full-length book to document this cultural phenomenon, Hui explains how the invention of the ruin propelled poets into creating works that were self-aware of their absorption of the past as well as their own survival in the future. To make this case, Hui embraces a philological method, a venerable tradition that has recently undergone a resurgence of interest. Philology is particularly appropriate to the study of ruins, since philology and ruins are both fundamentally about imagining the whole through its parts. Specifically, the book traces three words in three authors as semantic case studies: vestigia in Petrarch, cendre in Du Bellay, and moniment in Spenser. By starting from the smallest unit of linguistic speech—the word—and enlarging our view to its larger cultural context, The Poetics of Ruins in Renaissance Literature not only revises some of our most basic ideas about early modern texts and how they came to be, but also offers a new way for understanding the fundamental theme of survival in the classical tradition at large.

scholarly journals Studi Kritis Terhadap Pemahaman Fahmi Basya Terkait Dengan Ayat-Ayat Negeri Saba

2020 ◽  
Vol 2 (1) ◽  
pp. 38-51
Author(s):  
Ahmad Fudoli Zaenal Arifin
Keyword(s):  
Qualitative Research ◽  
The State ◽  
The Past ◽  
Library Research ◽  
Scientific World ◽  
The World ◽  
The Right ◽  
Scientific Facts

Criticism is something that must be built in the scientific world. Because, in science there is no such thing as a definite truth. Criticism here to bring it in the right direction. Especially about the story of the past contained in the Qur'an. A story that is explained in it contains truth, lessons and teachings evidently undeniable for all creatures of Allah, for the happiness of the world and the hereafter. This study uses qualitative research in the form of library research, the author uses the approach of the theory of the Qur'an and Interpretation and the theory of Diltheiy thinking and interpretive writing ideas in Indonesia. Meanwhile, the collection of data by means of documentation, namely the book Indonesia Negeri Saba'by Fahmi Basya and also taken from various related sources. Furthermore, the analysis is done by reading and examining Fahmi Basya's understanding writing, which is written in his book. In summary, Fahmi Basya confirmed 14 comparative accounts of Indonesia and Yemen based on the Qur'an and 53 scientific facts which he discovered that Indonesia was the State of Saba'. Fahmi Basya's understanding is very contrary to the commentators at least caused by two problems. Finally, Fahmi Basya wants to prove that the State of Saba 'in the Qur'an in Indonesia. Based on the study of Fahmi Basya's understanding it was found that Fahmi Basya was not an expert in the field of the Qur'an and Tafsir. So, when he understands the Qur'an and reveals the results of his research in the community it needs to be reviewed. Seeing with the scientific viewpoints of the Qur'an, Fahmi Basya's interpretation seems to match his discoveries with the Qur'anic Verses. And forcing all that can be matched look for verses of the Qur'an.

scholarly journals IMAGINATIVE-EVALUATIVE CONSTITUENT OF THE CONCEPT FAMILY IN THE BRITISH PUBLICISTIC DISCOURSE

2021 ◽  
Vol 1 (11(79)) ◽  
pp. 29-33
Author(s):  
Iryna Matiiash-Hnediuk ◽  
Kseniia Lysak
Keyword(s):  
Mass Media ◽  
Language Development ◽  
Social Life ◽  
Social Practice ◽  
English Speakers ◽  
Historical Events ◽  
The Past ◽  
New Meanings ◽  
The World ◽  
Similarities And Differences

The aim of the article is to study the metaphorization peculiarities of the concept FAMILY in the British publicistic discourse of the XVIII – XXI centuries. The question of a language segmenting, categorizing the surrounding reality and the experience of its speakers, which has always been in the center of attention of scholars is raised. The importance of lexical nomination as a means of fixing the changes that occur continuously and are understood by humans in their social practice is highlighted. The focus of the study is to trace the process of forming an image of ​​the world of English speakers using publicistic material in diachrony over the past four centuries and to identify the specifics of conceptualization and categorization of this segment of reality. The modifications of the imaginative-evaluative constituent, the loss of the existing and the acquirement of new meanings and their shades are bound with both the language development and with the extralinguistic factors such as the development of the community, social, political and historical events. Printed mass media have always been an important and influential part of social life. They take part in the creation and exchange of ideas and opinions as people receive knowledge about the world indirectly through mass media. These facts contribute to the analysis of a lingvocultural element of words both synchronically and diachronically. Comparing newspapers texts it becomes possible to highlight similarities and differences in the interpretation of the notion expressed by some lexeme. Moreover, the analysis of articles indicates social understanding of the notion. Since newspapers are affordable and available for all members of the society, they are the representatives of live language which unites knowledge and experience.

scholarly journals Changing the World Through Poetry: Confessions, Poems and Banners of Adam Borzič

Porównania ◽  
2020 ◽  
Vol 27 (2) ◽  
pp. 325-339
Author(s):  
Markéta Kittlová
Keyword(s):  
Turning Point ◽  
Social Role ◽  
First Century ◽  
Cultural Work ◽  
Avant Garde ◽  
The Past ◽  
Strong Current ◽  
The Social ◽  
The World

This study focuses on Adam Borzič, one of the most distinctive contemporary Czech poets. The study contextualises his work within current Czech poetry but also examines his other work that is not strictly classified as art as though it were cultural work with avant-garde features. It investigates four volumes of Borzič’s work in terms of the changes in the author’s creative gesture, which expands from his conviction that the world is at a turning point and the avant-garde longing to change the world by poetry. In the four volumes of Borzič’s poetry (written so far), this gesture is embodied through delicately intimate, acutely physical, or even gigantically all-embracing positions, where he employs motives of the heart, head, hand and mouth. The study attempts to evaluate the change in Borzič’s work in the lightof T. S. Eliot’s understanding of the social role of poetry and avant-garde longing to change reality through art. The Czech poet, Adam Borzič, is one of the most distinctive figures of the current Czech literary scene. His poetry is distinct because of its unique gesture andalso represents a strong current in the poetry production of the past decade with its emphasis on the social function of poetry7 and the poet’s role as somebody who should nurture the world through his/her work or even change it. This study attempts to portray Borzič’s work as focused on the mentioned topics and related issues of the end of the first decade of the twenty-first century and renew interest in them, contextualise his work within current Czech poetry but also investigate his other work, which is not strictly artistic but which possesses some avant-garde features.

REKA BENTUK DAN MOTIF TEPAK SIRIH: WARISAN BUDAYA MASYARAKAT MELAYU MERENTAS ZAMAN

2020 ◽  
Vol 8 (1) ◽  
pp. 56-73
Author(s):  
MOHD SAWARI RAHIM ◽  
SURAYA HANI ZAKARIA
Keyword(s):  
Qualitative Research ◽  
Research Methodology ◽  
Research Paper ◽  
The Other ◽  
Aesthetic Value ◽  
The Past ◽  
Qualitative Research Methodology ◽  
The Aesthetic

Kertas penyelidikan ini membincangkan tentang nilai estetika pada sesebuah tepak sirih dari sudut reka bentuk serta motif rekacoraknya. Tepak sirih yang terdiri daripada cembul-cembul, bekas sirih, kacip dan gobek tampil dalam pelbagai gaya dan citarasa membuktikan keunikan, kreativiti dan daya fikir masyarakat Melayu terdahulu. Proses penciptaannya diungkapkan menerusi garapan keindahan flora dan fauna yang hidup di alam sekeliling ini. Penyelidikan yang dijalankan ini berbentuk deskriptif, hasil dari kajian lapangan dan pustaka bagi mengutip data. Maka, kaedah kualitatif digunakan bagi tujuan mengumpul segala maklumat yang diperoleh. Kaedah temubual, pemerhatian, dokumentasi dan rakaman visual dapat menjelaskan lagi tentang segala maklumat yang diperlukan. Kerelevanan kajian ini sangat perlu memandangkan zaman kini serba maju dan canggih menyaksikan golongan muda dan pewaris lebih cenderung mengagungkan budaya barat dan teknologi gajet. Mereka janggal untuk mengenali budaya dan adat Melayu warisan nenek moyang sendiri. Maka, destinasi hasil peninggalan warisan tersebut berakhir di galeri dan muzium yang kurang impaknya kepada golongan tersebut. Justeru itu, tepak sirih dilihat sebagai satu set kesenian yang dapat melambangkan ketinggian estetika dan kesantunan berbudaya masyarakat Melayu. Ia mementingkan kehidupan bersatu menerusi nilai, adat dan budaya berperaturan, kekal dan mekar sepanjang zaman menggenggam erat pepatah Melayu lama iaitu “Tak Lapuk Dek Hujan dan Tak Lekang Dek Panas”.   This research paper discusses the aesthetic value of an object called "Tepak Sireh" from the perspective of its design and pattern motifs. Consisting of betel-Handset, container betel, incisors and gobek, a Tepak sireh comes in various styles and tastes. This indicates the uniqueness, creativity and energy of the past thinking of Malay Society. The process of its creation is revealed through the application of the beauty of the flora and fauna that live in this environment. The qualitative research methodology was adopted. Data were collected by conducting interviews, observations, documentation and visual recordings The relevance of this study is crucial given that the Malay culture has not received as much attention as the other cultures from the youngsters.. This has left the legacy in galleries and museums hence inevident impact on the group. Therefore, Tepak Sireh can be viewed as a set of art that symbolizes the highly aesthetical and modestly cultured Malay community. It is concerned with life united by values, customs and culture of rules, that stay forever adhering to the old Malay proverb which is “Tak Lapuk Dek Hujan dan Tak Lekang Dek Panas”.

scholarly journals Editorial: Time Travel

2017 ◽  
Vol 42 (3) ◽  
pp. 245-248
Author(s):  
PAUL RAE
Keyword(s):  
Social Economic ◽  
Time Travel ◽  
The West ◽  
American Power ◽  
Avant Garde ◽  
The Past ◽  
Aesthetic Form ◽  
The World ◽  
And Performance ◽  
The Way

One of the most forbidding and yet rewarding challenges in a substantive internationalization of arts scholarship is accounting for the experience and passage of time. The extent to which developments in theatre and performance over the past 150 years have been tied up with the larger social, economic and technological transformations reflexively understood as ‘modernity’ is a key reason an international journal readership is able to find interest and value in scholarship on performances they may not have seen, that are practised in places they have never been. At the same time, any such research – it is tempting to say ‘from outside the West’, but in fact the requirement holds everywhere – must register how the work under discussion complicates an otherwise oversimplified narrative of developmental modernity. This narrative treats a homogenized industrial and postindustrial ‘West’ as having led the way and established a model for how other parts of the world would modernize subsequently. The assumption is quickened in discussions of art because arguably one characteristic of those transformations as they happened in numerous centres of Euro-American power was the role that artists played in giving them aesthetic form and expressing their meanings. This is prominent in the emergence of modernism and the avant-garde, and it is logical that in recent times scholars of modernism have been particularly energetic in questioning the developmental narrative and demonstrating not only how such phenomena were constitutively reliant on processes elsewhere, but also how artistic developments everywhere both informed each other (often inequably) and manifested local and highly contingent characteristics.

An Earwitness to History: Street Hawkers and Their Calls in Early 20th-Century Egypt

2016 ◽  
Vol 48 (1) ◽  
pp. 129-134 ◽  
Author(s):  
Ziad Fahmy
Keyword(s):  
Social Sciences ◽  
Middle East ◽  
20Th Century ◽  
Historical Narrative ◽  
Early 20Th Century ◽  
Historical Events ◽  
The Past ◽  
The World ◽  
Five Senses ◽  
Embodied History

Historians have recently started listening to the past, contributing to what David Howes has described as a “sensorial revolution in the humanities and social sciences.” In the same way that all five senses are relevant to our daily understanding of the world around us, they should be vital to our understanding of historical events. Interpreting how peoples of the past sensorially experienced their world makes possible a richer, more comprehensive grasp of historical events. A sensorially grounded historical narrative is an embodied history that is connected to everyday people and lives. Historians of the Middle East, however, with few exceptions, are still largely producing soundproof, devocalized narratives of the past.

Sign in / Sign up

Export Citation Format

Share Document