scholarly journals Błogosławiony widok i architektura pustelni. Stefana Żeromskiego epizod z dziejów szlaku na Kalatówki

2019 ◽  
Vol 12 ◽  
pp. 277-286
Author(s):  
Małgorzata Łoboz
Keyword(s):  
Active Part ◽  
The Novel ◽  
Spiritual Renewal ◽  
Social Activist ◽  
Mountain Landscape ◽  
The Status ◽  
History Of ◽  
Evolutionary Continuity

A blessed sight and architecture of a hermitage: Stefan Żeromski’s episode from the history of the Kalatówki trailThe article seeks to interpret the motif of Brother Albert Chmielowski participant in the January Uprising, social activist as well as a Young Poland painter in Stefan Żeromski’s 1913 novel Nawracanie Judasza Converting Judas and to answer the question about the role of the Albertine hermitage on Kalatówki. The Albertine congregation played an active part in the development of infrastructure in Zakopane, with the brothers working, for example, on the construction of the most popular tourist trail in the Tatras — to Giewont — an important thread in Żeromski’s novel. Żeromski sees Brother Albert not only as a spiritual idealist and social activist, but also a fine artist creating works typical of modernism painting in the altar in the Kalatówki chapel featuring the crucifix with the suffering Christ. The crucial motif of “converting Judas” lies in the enhancement of the status of landscape, an example of Żeromski’s typical lyricisation of descriptions of nature. For the author of Converting Judas, the subjectification of landscape as well as numerous metaphorised images of nature are used mostly as means to illustrate the protagonist’s inner landscape. The dominant myth in the novel — of eternal creative nature: changeable but personifying the evolutionary continuity of life — is an optimistically soothing answer to decadent dilemmas. In the mountain landscape, surrounded by nature and accompanied by a friar, the protagonist experiences a real katharsis. The “blessed sight” generates strength needed for the construction of the trail and personal spiritual renewal.

Tom Jones

2008 ◽  
Author(s):  
Henry Fielding
Keyword(s):  
Eighteenth Century ◽  
Public Sphere ◽  
The Novel ◽  
Fourth Edition ◽  
Tom Jones ◽  
History Of

Fielding's comic masterpiece of 1749 was immediately attacked as `A motley history of bastardism, fornication, and adultery'. Indeed, his populous novel overflows with a marvellous assortment of prudes, whores, libertines, bumpkins, misanthropes, hypocrites, scoundrels, virgins, and all too fallible humanitarians. At the centre of one of the most ingenious plots in English fiction stands a hero whose actions were, in 1749, as shocking as they are funny today. Expelled from Mr Allworthy's country estate for his wild temper and sexual conquests, the good-hearted foundling Tom Jones loses his money, joins the army, and pursues his beloved across Britain to London, where he becomes a kept lover and confronts the possibility of incest. Tom Jones is rightly regarded as Fielding's greatest work, and one of the first and most influential of English novels. This carefully modernized edition is based on Fielding's emended fourth edition text and offers the most thorough notes, maps, and bibliography. The introduction uses the latest scholarship to examine how Tom Jones exemplifies the role of the novel in the emerging eighteenth-century public sphere.

Reflections on the Status and Direction of Psychology: An External Historical Perspective

2013 ◽  
Vol 44 (2) ◽  
pp. 244-261 ◽  
Author(s):  
Amedeo Giorgi
Keyword(s):  
Historical Perspective ◽  
Phenomenological Approach ◽  
Natural Sciences ◽  
Gestalt Theory ◽  
The Everyday ◽  
The Status ◽  
History Of ◽  
A Minor ◽  
Aron Gurwitsch

Abstract Whenever one reads internal histories of psychology what is covered is the establishment of a lab by Wundt in 1879 as the initiating act and then the breakaway movements of the 20th Century are discussed: Behaviorism, Gestalt Theory, Psychoanalysis, and most recently the Cognitive revival. However, Aron Gurwitsch described a perspective noted by Cassirer and first developed by Malebranche, which dates the founding of psychology at the same time as that of physics in the 17th Century. This external perspective shows the dependency of psychology upon the concepts, methods and procedures of physics and the natural sciences in general up until the present time. Gurwitsch argues that this approach has blocked the growth of psychology and has assured its status as a minor science. He argued that the everyday Lifeworld achievements of subjectivity are the true subject matter of psychology and that a phenomenological approach to subjectivity could give psychology the authenticity it has been forever seeking but never finding as a naturalistic science. Some clarifying thoughts concerning this phenomenologically grounded psychology are offered, especially the role of desire. The assumption of an external perspective toward the history of psychology fostered the insights about psychology’s scientific role.

scholarly journals The First Production of The Brothers Karamazov on the Russian stage in the Mirror of the Press (Based on the Collections of the Vladimir Dahl State Museum of the History of Russian Literature)

2020 ◽  
pp. 219-241
Author(s):  
Pavel E. Fokin ◽  
Ilya O. Boretsky
Keyword(s):  
Russian Literature ◽  
The Novel ◽  
Theatrical Production ◽  
Distinctive Features ◽  
The Brothers Karamazov ◽  
The Press ◽  
State Museum ◽  
History Of ◽  
Brothers Karamazov

The first Russian theatrical production of Dostoevsky's novel The Brothers Karamazov premiered on the eve of Dostoevsky’s 20th death anniversary on January 26 (February 7) 1901 at the Theater of the Literary and Artistic Society (Maly Theater) in St. Petersburg as a benefit for Nikolay Seversky. The novel was adapted for the stage by K. Dmitriev (Konstantin Nabokov). The role of Dmitry Karamazov was performed by the famous dramatic actor Pavel Orlenev, who had received recognition for playing the role of Raskolnikov. The play, the staging, the actors’ interpretation of their roles became the subject of detailed reviews of the St. Petersburg theater critics and provoked controversial assessments and again raised the question about the peculiarities of Dostoevsky’s prose and the possibility of its presentation on stage. The production of The Brothers Karamazov at the Maly Theater in St. Petersburg and the controversy about it became an important stage in the development of Russian realistic theater and a reflection of the ideas of Dostoevsky’s younger contemporaries about the distinctive features and contents of his art. The manuscript holdings of the Vladimir Dahl State Museum of the History of Russian Literature includes Anna Dostoevskaya’s collection containing a set of documentary materials (the playbill, newspaper advertisements, reviews, feuilletons), which makes it possible to form a complete picture of the play and Russian viewers’ reaction to it. The article provides a description of the performance, and voluminous excerpts from the most informative press reviews. The published materials have not previously attracted special attention of researchers.

scholarly journals Genrens tøven

2007 ◽  
Vol 35 (103) ◽  
pp. 108-137
Author(s):  
Carsten Sestoft
Keyword(s):  
Seventeenth Century ◽  
The Novel ◽  
Book Market ◽  
English Novel ◽  
The Social ◽  
The Status ◽  
Historical Semantics ◽  
History Of ◽  
Insight Into ◽  
Or History

Romanens status i det 17. århundredes Frankrig The hesitations of a genre: The status of the novel in seventeenth-century FranceIn answering the question: What was the novel in seventeenth-century France? – this article provides insight into some important points of the early history of the genre. The contradiction between its non-existence in official (Aristotelian) poetics and its existence as a popular commodity on the book market was, in the course of the seventeenth century, reconciled in the emergent category of belles lettres as a plurality of genres mainly defined by their public of honnêtes gens, while attempts at legitimizing the novel as belonging to such Aristotelian genres as epic or history generally failed; and at the end of the century a number of convergences – between epic and novel, between the designations roman and nouvelle, and between the ‘high’ and ‘low’ forms of the novel – seem to point to the fact that the social existence of the genre had been strengthened, even if it was the English novel of the eighteenth century that could be said to reap the profits of this stronger position. Using historical semantics and cultural sociology to study the status of the novel in seventeenth-century France thus leads to a clearer understanding of the specificity of the novel as a literary and cultural genre.

scholarly journals The First Production of The Brothers Karamazov on the Russian stage in the Mirror of the Press (Based on the Collections of the Vladimir Dahl State Museum of the History of Russian Literature)

2020 ◽  
pp. 219-241
Author(s):  
Pavel E. Fokin ◽  
Ilya O. Boretsky
Keyword(s):  
Russian Literature ◽  
The Novel ◽  
Theatrical Production ◽  
Distinctive Features ◽  
The Brothers Karamazov ◽  
The Press ◽  
State Museum ◽  
History Of ◽  
Brothers Karamazov

The first Russian theatrical production of Dostoevsky's novel The Brothers Karamazov premiered on the eve of Dostoevsky’s 20th death anniversary on January 26 (February 7) 1901 at the Theater of the Literary and Artistic Society (Maly Theater) in St. Petersburg as a benefit for Nikolay Seversky. The novel was adapted for the stage by K. Dmitriev (Konstantin Nabokov). The role of Dmitry Karamazov was performed by the famous dramatic actor Pavel Orlenev, who had received recognition for playing the role of Raskolnikov. The play, the staging, the actors’ interpretation of their roles became the subject of detailed reviews of the St. Petersburg theater critics and provoked controversial assessments and again raised the question about the peculiarities of Dostoevsky’s prose and the possibility of its presentation on stage. The production of The Brothers Karamazov at the Maly Theater in St. Petersburg and the controversy about it became an important stage in the development of Russian realistic theater and a reflection of the ideas of Dostoevsky’s younger contemporaries about the distinctive features and contents of his art. The manuscript holdings of the Vladimir Dahl State Museum of the History of Russian Literature includes Anna Dostoevskaya’s collection containing a set of documentary materials (the playbill, newspaper advertisements, reviews, feuilletons), which makes it possible to form a complete picture of the play and Russian viewers’ reaction to it. The article provides a description of the performance, and voluminous excerpts from the most informative press reviews. The published materials have not previously attracted special attention of researchers.

Veronicas and Artists

2017 ◽  
Keyword(s):  
Contemporary Art ◽  
Religious Images ◽  
The Public ◽  
The Past ◽  
History Of Art ◽  
The Status ◽  
History Of ◽  
The Way ◽  
Contemporary Artists

Chapter One deals with several central issues with regard to understanding the role of religious motifs in contemporary art. Besides being a repetition of imagery from the past, religious motifs embedded in contemporary artworks become a means to problematise not only the way different periods in the history of art are delimited, but larger and seemingly more rigid distinctions as those between art and non-art images. Early religious images differ significantly from art images. The two types are regulated according to different sets of rules related to the conditions of their production, display, appreciation and the way images are invested with the status of being true or authentic instances of art or sacred images. Chapter One provides a discussion of the important motif of the image not made by an artist’s hand, or acheiropoietos, and its survival and transformation, including its traces in contemporary image-making practices. All images are the result of human making; they are fictions. The way the conditions of these fictions are negotiated, or the way the role of the maker is brought to visibility, or concealed, is a defining feature of the specific regime of representation. While the cult image concealed its maker in order to maintain its public significance, and the later art image celebrated the artist as a re-inventor of the old image, contemporary artists cite religious images in order to reflect on the very procedures that produce the public significance and status of images.

Nietzsche Reads Dostoevsky: Chronology and Reception Material

2021 ◽  
pp. 210-232
Author(s):  
Igor A. Ebanoidze ◽  
Keyword(s):  
Friedrich Nietzsche ◽  
The Novel ◽  
History Of

he study, based on the analysis of the correspondence, notebooks of Friedrich Nietzsche and other sources from his closest circle, is devoted to the history of the acquaintance of the German thinker with the Dostoevsky’s books and it’s reception in the works of Nietzsche. There are three documented stages of this reception: the end of the winter of 1887, the spring of 1887, and the turn of 1887–1888. The results of the study suggest, first of all, the importance for Nietzsche of acquaintance with the story “Notes from the Underground” (despite the fact that Nietzsche read a French compilation from “Notes” and “Hostess”), as well as the role of the novel “Demons” in the concept of Nietzsche’s “Antichrist”.

Burke, Edgeworth, and Ireland’s Discontents

2019 ◽  
pp. 156-196
Author(s):  
John Owen Havard
Keyword(s):  
Edmund Burke ◽  
The Novel ◽  
Political Systems ◽  
Left Behind ◽  
Emergent Systems ◽  
Party Identity ◽  
History Of ◽  
Vantage Points ◽  
Unique Vantage

This chapter re-examines the party-political career of Edmund Burke and the writings of Maria Edgeworth in relation to a deep history of Anglo-Irish ‘discontents’ and their challenges to the ‘count’ of politics. Complicating ‘Burkean’ appeals to hierarchy and order, the chapter uncovers the conflicted party identity that is apparent within writings by and about Edmund Burke, returning to view the various channels of feeling engaged, for example, during his involvement in debates over ‘absentee’ landlords. The chapter goes on to give a reading of The Absentee (1812) that calls attention to recalcitrant elements that exceed systems of representation in Edgeworth’s novel, which remains animated in this reading by those elements left behind, in both senses, by emergent systems of governance. The chapter’s opening section speculates about the role of biography in Lewis Namier’s History of Parliament and asks how the novel form, in the hands of women writers, provided unique vantage points on political systems organized around men.

Patriarchy, Spirituality, and Power

2015 ◽  
Vol 14 (3) ◽  
pp. 210-225
Author(s):  
Emma Kathryn Cleveland
Keyword(s):  
Political Organizations ◽  
Subsequent Formation ◽  
Sacred Spaces ◽  
Status Mobility ◽  
The Status ◽  
History Of ◽  
Political Conditions ◽  
Ghanaian Women ◽  
Queen Mother

The reorganization of Akan society in the early 1300’s-1400, the subsequent formation of Asante in 1701, and the introduction of the trans-Atlantic slave trade in the former Gold Coast created new social, economic, and political conditions which initiated a change in the status, mobility, and role of women. Societal restrictions were placed upon female title-holders through language and spiritual taboos which prohibited them from sacred spaces and shrines. Akan cosmology and spirituality were monopolized as a tool for the acquisition of authority. A desire for the accumulation of wealth and power reconceptualised masculine identities as military victories began to be associated with manliness and honor. Patriarchal systems of governance were later established, specifically the institutions of chieftaincy and kingship, which were key contributors to the deterioration of political positions for females, for example, the Queen Mother. As the dominant political organizations, these institutions have seemingly functioned to shape the experiences of Ghanaian women throughout the history of Asante. This paper argues that the significance of women in the realm of politics and cultural affairs in Akan society were effectively lessened as a result of patriarchy, the manipulation of spirituality, and the influence of militaristic ideals.

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