scholarly journals ESTHETIC NOTION AS AN IMPORTANT ELEMENT OF LINGUISTIC CULTURE

2016 ◽  
pp. 160-163
Author(s):  
V. A. Maslova
Keyword(s):  
Natural Language ◽  
Special Kind ◽  
Works Of Art ◽  
The Everyday ◽  
The World ◽  
Poetic Text ◽  
The Subject ◽  
Linguistic Units ◽  
The Given

The subject of the research presented in the given paper is the esthetic notion as a special kind of a person’s attitude to the world and themselves. The objective of the paper is to find out the specificity of the implementation of the esthetic function in the language of poetry. The methodological bases of the research are the works by psychologists (L. S. Vygotsky, A. N. Leontiev), linguists (R. O. Yakobson, H. O. Vinokur, L. P. Yakubinsky), philologists (M.M. Bakhtin). The paper shows that the linguistic units in a poetic text subject to esthetic laws are caused by composition, intertextual relations, the author's vision, etc. At the same time, they get a completely new meaning different from the everyday one. As a result, we prove that dissimilarity of the natural language and the language used in works of art “makes” the recipient’s consciousness perceive the text as an esthetic object.

scholarly journals The Absurd Man in camusiana philosophy and poetry drummondiana: language as a source of (trans)formation

2017 ◽  
Vol 27 (3) ◽  
pp. 361
Author(s):  
Sara De Castro Cândido ◽  
Nàvia Regina Ribeiro da Costa ◽  
Ruzileide Epifânio Nogueira
Keyword(s):  
Discourse Analysis ◽  
Interdisciplinary Approach ◽  
Albert Camus ◽  
Dialectical Materialism ◽  
Anglo Saxon ◽  
Work Of Art ◽  
Carlos Drummond De Andrade ◽  
The World ◽  
Poetic Text ◽  
The Subject

This article seeks to an approach between the poetry of Carlos Drummond de Andrade, in Feeling of the world (1940), and the philosophy of Albert Camus, in The Myth of Sisyphus - the work of art as adventure of a spiritual destiny (2012), for, to think through by the language praticed by Drummond in two poems – Poem of necessity and Holding hands –, the be in the world and the passing of the man's condition of the being ontic to the be ontological, using also Durand (2012) and another theorists. Making use, as methodology, by the bibliographical research, and theory express of poetic text, concepts and analysis based on the phenomenological critique. Still in an interdisciplinary approach, to reflect the subject and its constitution as speech, will use theories of French line of discourse analysis (DA) and the line Anglo-Saxon (ADC), whose leading exponents are respectively, Michel Pêcheux and Norman Fairclough, relying on the concept of dialectical materialism. O Homem Absurdo na filosofia camusiana e na poesia drummondiana: a linguagem como fonte da (trans)formação Este artigo busca aproximações entre a poesia de Carlos Drummond de Andrade, em Sentimento do Mundo (1940), e a filosofia de Albert Camus, em O mito de Sísifo – a obra de arte como aventura de um destino espiritual (2012), para, por meio da linguagem praticada por Drummond em dois poemas – Poema da necessidade e Mãos dadas –, pensar o estar no mundo e a passagem do homem da condição de ser ôntico para ser ontológico, valendo-se, também, de Durand (2012) e de outros teóricos. Utiliza, como metodologia, a pesquisa bibliográfica e expressa teorias do texto poético, conceitos e análises com base na crítica fenomenológica. Ainda, numa atitude interdisciplinar, para refletir sobre o sujeito e sua constituição como discurso, baseia-se nas teorias da Análise de Discurso de linha francesa (AD) e de linha anglo-saxã (ADC), cujos principais expoentes são, respectivamente, Michel Pêcheux e Norman Fairclough, apoiando-se na concepção do materialismo dialético.

“To See the World in a Grain of Sand”: Wolfgang Laib and the Aesthetics of Interpenetrability

2013 ◽  
Vol 17 (1-2) ◽  
pp. 57-73 ◽  
Author(s):  
Celina Jeffery
Keyword(s):  
Way Of Life ◽  
Works Of Art ◽  
The World ◽  
Subject And Object ◽  
The Subject ◽  
Intense Process

Abstract For the artist Wolfgang Laib, pollen is an extraordinary substance that signifies renewal, boundless energy, the temporal, the eternal, and the memory of the seasons. Laib’s pollen works are the result of an intense process of gathering, a pursuit of art as a way of life even that gives rise to works of art that are remarkable in their visual luminosity and textual delicacy. This essay considers Indra’s net as a metaphor for interpenetrability to conceptualize the folding of the subject and object that Laib’s pollen works allude to, and offers a deliberation on the spiritual within art.

scholarly journals GAME PHENOMENON IN MEDIEVAL CULTURE

2020 ◽  
Keyword(s):  
Middle Ages ◽  
Social Role ◽  
Public Life ◽  
Medieval Literature ◽  
World Outlook ◽  
The World ◽  
Poetic Text ◽  
The Subject ◽  
Performing Art ◽  
The Middle Ages

The Middle Ages added their own ludological culture traditions to those which they had inherited from the Ancient Ages. First of all, such notions were connected with the form of existence and perceiving the Christianity which was a basis for the whole civilization. Epistemological notions of those times were also built in accordance to those norms of world outlook. A cognitive act of an individual was understood as entrance of the subject to the world of general tragic game where he is risen up from sensual forms of being to being of over-sensual beauty, which is defined only through forms of mental cognition and through beauty to over-essential being of its Creator. Philosophical thought of the Middle Ages inherited the Platonic ludological tradition. According to these notions, personal creativity of an individual (artistic, scientific etc.) was understood as being identical with cognition and perceived only as reproduction, retrieval of what had already been programmed by the Creator, that is, as a game and through the game. The brightest page of the Middle Ages is connected with chivalry and its comprehension because the phenomenon of chivalry is the top of medieval culture, its ethical and esthetical ideal, which was over-thought by its self-consciousness as a form of game. Distribution of roles covered all main manifestations of individual’s life. Therefore even usual outside manifestation of any personal emotions by an individual in his public life (happiness, satisfaction, anger, despair, sadness and so on) was subject to this “role dictate”. So, a sphere of public emotions display by an individual was also predetermined by imperativeness of his own social role he was playing. We can speak about consciousness of those times perceiving a poetic text as a played game and author art as predominantly performing art. Then constancy of plots and anonymity of works, which is a feature of medieval literature, becomes more understandable; as every author perceived it as a script and tried to play his role as best as possible; his role was written down as a corresponding    text. Moreover, we should add that a similar game was predetermined also by some other peculiarities of medieval mentality. The reason is that medieval people tried to identify themselves with a certain sample which had already had a certain approbation, to achieve full self-expression and make this self-expression understandable for the society. A role was determined and a model of behavior was built according to the admitted interpretation of this sample and its allegoric meanings (most often, there were widely known Biblical images). These established forms of self-expression made processes of understanding and interpersonal dialogue easier.

scholarly journals COVID-19 in modern Russian laughter discourse: psycholinguistic method of devaluation of danger as an effective method of psychological protection

2020 ◽  
Vol 1 (2) ◽  
pp. 4-16
Author(s):  
Irina S. Karabulatova
Keyword(s):  
Theory And Practice ◽  
Fake News ◽  
The Unconscious ◽  
Russian People ◽  
News Stories ◽  
The Everyday ◽  
The World ◽  
The Subject ◽  
The Stability ◽  
Modern Russian

The mysterious Russian soul is always looking for non-trivial aspects of a problem. The modern coronavirus pandemic (COVID-19) has become the subject of ridicule in the everyday laughing practices of Russian people. In this case, the laughing discourse acts as a form of psychological defense and struggle against the inevitable evil. The importance of the research is due to the lack of knowledge of the communicative and cognitive aspects of laughter discourse and the need to study the modern anecdote on the topic "coronavirus pandemic" in the aspect of forming the stability of the human psyche in the conditions of pandemics and isolation. The relevance of this work is also determined by the fact that it expands the empirical base of discourse linguistics, LSP theory and practice, motivology and emotive linguistics, whose interests include consideration of the problem of the influence of emotions on language. The relevance of the work also lies in the fact that special attention is paid to the little-studied phenomenon of "black humor", which is vividly represented in the laughing discourse about coronavirus. Unfortunately, today Russia occupies the leading positions in terms of the number of people infected with virus COVID-19. Archetypal fear of unknown Evil, of invisible death evoke chthonic experiences of the unconscious from the depths of the subconscious, actualizing the laughable techniques of devaluing danger as one of the effective methods of psychological protection. The world stereotype defines Russian people as frowning and unsmiling, extremely hostile to the world around them. The article reveals the specifics of modern Russian anecdotes about COVID-19. This allows the reader to understand what the stress resistance and resilience of the Russian person in a situation of degenerate press of negative information in various media is. This situation is complicated by fake news stories about the pandemic. What are Russian people laughing at during the pandemic? What helps them survive and stay mentally healthy in this situation? What is the specifics of Russian jokes about the pandemic? How do these anecdotes structure a person's inner space in a new way? What Parallels can we find in a laughing culture that plays up the stigmatized situations of tragedies, wars, and epidemics? This article is intended as an attempt to answer these and other questions.

The Russian Futuristic Experiment: the Language of the Poetic Resistance

2020 ◽  
Vol 29 (2) ◽  
pp. 261-272
Author(s):  
Magdalena Kostova-Panayotova
Keyword(s):  
Nineteenth Century ◽  
20Th Century ◽  
Artistic Expression ◽  
Poetic Language ◽  
Creative Mind ◽  
Avant Garde ◽  
The World ◽  
Poetic Text ◽  
The Subject ◽  
The Mind

The main Avant-garde trend in the first third of the 20th century, Futurism, through its various groups and creative personalities, upholds its own conception of art and creator, strives to give a contemporary image of the world, to reveal the hidden essence of things, the inner relation of the elements. According to Futurism, art is meant to change lives, but not as it seems in the writings of nineteenth-century realists: by influencing the rational and changing the mind of the reader. The development of a new artistic expression, in a new poetic language, the use of contemporary forms of artistic conditionality have become major tasks for the generation of poets and artists from the 1910s. Poet futurists reduce the language of literature to its traditional understandings, neglect its inherent rules and laws, because they accept it as something external to the subject, which impedes the expression of its essence. From the depiction of the object to its expression - this is how the break in the creative mind of the futuristic author can be characterized. The linguistic revolution, effected with poetic means by the futurists, is a desperate and utopian attempt to acquire the organic integrity of the world, thirsting for its transformation. Thanks to futurism, the register of poetic techniques was expanded in the 20th century and directions were created for the creation of new expressive means of writing poetic text.

SCIENTIFIC REVOLUTIONS

PEDIATRICS ◽  
1982 ◽  
Vol 70 (2) ◽  
pp. 234-234
Author(s):  
Keyword(s):  
Subject Matter ◽  
Scientific Theory ◽  
Scientific Work ◽  
The Other ◽  
The Public ◽  
Scientific Revolutions ◽  
Other Hand ◽  
Works Of Art ◽  
The World ◽  
The Subject

. . . Revolutions born in the laboratory are to be sharply distinguished from revolutions born in society. Social revolutions are usually born in the minds of millions, and are led up to by what the Declaration of Independence calls "a long train of abuses," visible to all; indeed, they usually cannot occur unless they are widely understood by and supported by the public. By contrast, scientific revolutions usually take shape quietly in the minds of a few men, under cover of the impenetrability to most laymen of scientific theory, and thus catch the world by surprise. . . . But more important by far than the world's unpreparedness for scientific revolutions are their universality and their permanence once they have occurred. Social revolutions are restricted to a particular time and place; they arise out of particular circumstances, last for a while, and then pass into history. Scientific revolutions, on the other hand, belong to all places and all times. . . . Works of thought and many works of art have a . . . chance of surviving, since new copies of a book or a symphony can be transcribed from old ones, and so can be preserved indefinitely; yet these works, too, can and do go out of existence, for if every copy is lost, then the work is also lost. The subject matter of these works is man, and they seem to be touched with his mortality. The results of scientific work, on the other hand, are largely immune to decay and disappearance.

From the realism to the Real. The „suicidal gesture” in the photography Self Portrait as a Drowned Man by Hippolyte Bayard and in the painting The Wounded Man by Gustave Courbet

Tekstualia ◽  
2017 ◽  
Vol 2 (49) ◽  
pp. 65-78
Author(s):  
Justyna Pyra
Keyword(s):  
Art History ◽  
Social Position ◽  
The Real ◽  
Works Of Art ◽  
The Social ◽  
Gustave Courbet ◽  
The World ◽  
The Status ◽  
The Subject ◽  
Death Of The Author

The article begins with an analysis of two works of art: the photography Self Portrait as a Drowned Man by Hippolyte Bayard (1839–1840), which is one of the fi rst photographs in history, and the painting The Wounded Man by Gustave Courbet (1845–1854). Both these images use the same iconographic theme: the death of the author. This comparison leads to a refl ection about the intersections of photography and death, in an artistic as well as an anthropological sense. The similarity of the subject of both the works, and their rootedness in the time of creation, induce a variety of questions: what was the status of photography shortly after the invention of this medium? How did it affect the notion of art, the social position of the artist, the comprehension of realism, and fi nally – the perception of the world itself? The article tries to answer some of these questions by bringing out the picture of a specifi c moment in (art) history, when both man’s interest in death and the realist’s aspiration to create mimetic representations have found a new refl ection in art thanks to photography.

scholarly journals Fenomenologi Imaji dalam Seni: Sebuah Pergeseran Peran Subjek menuju Saksi

MELINTAS ◽  
2018 ◽  
Vol 33 (2) ◽  
pp. 130-156
Author(s):  
Hadrianus Tedjoworo
Keyword(s):  
Works Of Art ◽  
The World ◽  
The Subject ◽  
The Spectator

Art seems to always deal with subjects, both the artist and the spectator. The awareness that an image is not a concept may provoke those doing and experiencing art to reposition themselves as appreciators of the image. This article shifts the focus from concept to image. Art event is a sort of lectio imaginem, an experience of reading and not merely interpreting the image. Each artwork is transcendent, since every time it will speak differently when reencountered. Yet it might even frightfully reinterpret the audience differently, recreating the identity as a different figure in its eyes. Phenomenologically, the spectators are looked upon by the image through the works of art. The subject is assessed and transformed from I into me, that it becomes a witness in the presence of an image revealing itself. This article is an invitation to maintain the equilibrium between critical and appreciative atitudes, between theory and image, within the world of art. All individuals, without exception, are assessed by art. Perhaps they only need to forbear, to let themselves deluged in the surface, to become the witnesses fascinated before and moved by the saturation of the image.

scholarly journals Freedom and the principles of morality

2003 ◽  
pp. 97-106
Author(s):  
Zagorka Golubovic
Keyword(s):  
Essential Difference ◽  
Vital Activity ◽  
The Core ◽  
The World ◽  
The Subject ◽  
The Individual ◽  
The Given ◽  
Good And Evil ◽  
Process Characteristic ◽  
Free Activity

Freedom as an authentic and willed process, characteristic of man as a human rational being, enables the individual to act in accordance with the principles of morality, since the individual can choose between good and evil (between two possibilities), and in this way to get out of the sphere of the given to which the rest of the living world is limited. We should recall the forgotten Marx and his famous text on the essential difference between the animal world and humanity as a genus: "The animal is immediately united with its vital activity. It does not differ from it. It is vital activity. Man makes his own vital activity the subject of his will and consciousness. He has conscious vital activity. This is not a determination with which he merges immediately. Conscious vital activity distinguishes man directly from animal vital activity. It is exactly in this way alone that he is a generic being. Or a conscious being, i.e. his own life is a subject for him precisely because he is a generic being. It is only for this reason that his activity is free activity..." (K. Marx, "Alienation", Early Works). In other words, while animals live just the life of their species and cannot choose anything else, since the choice has been made by the fact of their belonging to a species, man can choose the world in which to live, overcoming in this way the natural givens. Here lies the core of the anthropological explanation of the principle of morality, inconceivable without man's ability to be an authentic free being.

Lektury bohaterek Jane Austen – utopijna edukacja sentymentalna czy ucieczka przed odpowiedzialnością?

2019 ◽  
Vol 63 (2 (465)) ◽  
pp. 33-45
Author(s):  
Sylwia Grusza
Keyword(s):  
Literary Criticism ◽  
Cultural Context ◽  
Jane Austen ◽  
Interesting Phenomenon ◽  
Female Protagonists ◽  
The World ◽  
Gothic Novels ◽  
History Of ◽  
The Subject ◽  
The Given

The article is to describe an interesting phenomenon of the duplication of the literary patterns of behaviour among female protagonists created by Jane Austen. The subject of the paper is the analysis of the set books of the heroines invented by the British author in the both social and cultural context. Jane Austen’s novels can be regarded as the treasury of knowledge on the existence of the young girls at that time. The omnipresent conventions took away their right to dreams and self-fulfilment in almost every sphere of life. Lots of them found the coveted hope of improving their lives on the pages of overly aesthetic, sentimental novels. The characters from the books became inspirational among the female sex. The view of young ladies was based on their inner cultivation of the behaviour and mood which were inseparable from the girls from the popular romances. The patterns, continually given by fiction, took the place of humanistic and scientific knowledge, making the girls unaware – without the simplest information about the world. The subjects given in a wrong way by wrong teachers lowered their interest in education among youth, which also led to the popularity of sentimental, historical (especially those presenting the romance on the background of crucial events form the history of the given country) and Gothic novels. The text will concern the analysis of the attitude of the heroines created by the British author – on the basis of their set books and the position of Jane Austen in the range of literary criticism and the above-mentioned social phenomenon.

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