scholarly journals O olhar de Medusa e a reparação do mundo: 6 flashes e um álbum aberto

2021 ◽  
pp. 53-65
Author(s):  
Ana Paula Coutinho
Keyword(s):  
Social Communication ◽  
Contemporary Literature ◽  
Vantage Point ◽  
The Other ◽  
Photographic Image ◽  
The Gaze ◽  
The World ◽  
The One

In Thinking about the “salvation of the world” from the vantage point of photography, understood not so much as the product of an optical mechanism or as a form of social communication but as the art of the gaze, has led me to gather a series of reflections which seek to elucidate, on the one hand, the idea of “salvation” as a “reparation” paradigm in contemporary literature and, on the other, some intrinsic and extrinsic conditions, through a more or less protracted process that extends from the rendering of the photographer’s gaze by the camera to its reception by the gaze(s) of different spectators, that allow the photographic image to effectively participate in a leisurely and life-enhancing revelation of reality that all kinds of viewers can enjoy

scholarly journals Artistic Polemic with A.P. Chekhov in the Story by T.L. Shchepkina-Kupernik “Loneliness”

2021 ◽  
Vol 2021 (1) ◽  
pp. 10-18
Author(s):  
Alexander V. Kubasov
Keyword(s):  
Contemporary Literature ◽  
The Other ◽  
Complex Nature ◽  
Reading Public ◽  
One Dimensional ◽  
The World ◽  
Mass Literature ◽  
The One ◽  
Young Writer

From the earliest works, Chekhov acts as a polemicist with both contemporary literature and with the literature of the immediate past. This polemic is expressed not so much in the direct statements of the writer in letters or in conversations recorded by the memory of the memoirists, but in an artistic form, with the help of an imaginative system. However, there were people who polemicized with Chekhov. On the one hand, these were magazine critics, and on the other, fellow writers. One of these authors was T.L. Shchepkina-Kupernik, who wrote the story "Loneliness" at the age of twenty, which was published in the authoritative journal “Russian Thought” in 1894. The works of Chekhov, which caused the greatest resonance among the reading public: “The Jumping Girl”, “Boring Story”, “Ward No. 6”, became the material for the polemic of the young writer. Shchepkina-Kupernik actually agrees with the opinion of the readers who recognized the element of libel in the story "The Jumping girl", and the element of distortions of reality in others. The author of “Loneliness” creates an artistic picture of the world, which seems to her more realistic than Chekhov’s. However, the story of the young writer does not go beyond the bounds of stencil mass literature. All her claims against the author of “Ward No. 6” turn out to be untenable and demonstrate her lack of understanding of the innovative nature of Chekhov’s work. The complex nature of the dialogic character of his works, based on the art of parody stylization, was not perceived by the opponent, who opposed it with a one-dimensional and simplified image of reality.

Conclusion

2017 ◽  
Author(s):  
Reiko Ohnuma
Keyword(s):  
Vantage Point ◽  
The Other ◽  
Other Hand ◽  
The World ◽  
The One ◽  
Identity And Difference ◽  
Endless Variety

The potency of the animal as a symbol lies in humanity’s dualistic relationship with the animal. On the one hand, we ourselves are animals; on the other hand, we define ourselves in opposition to all other animals. There is thus both kinship and otherness, identity and difference, attraction and repulsion in humanity’s relationship to the animal. Through this dualistic interplay, animality becomes a fruitful resource for defining what it means to be human. As Buddhism—arguably, more so than any other major religion—is a profoundly human-centered tradition, we should not be surprised to see Buddhist texts from India making ample use of animality in expressing Buddhism’s vision of the project of being human. Animality manifests itself, moreover, through an endless variety of different species (with different qualities, characteristics, and habitats), and thus presents us with an extremely rich pool of symbolic possibilities. The availability and potency of this pool in the world of premodern India is perhaps difficult to imagine from our own vantage point in the modern, industrialized West, where animals are retreating more and more from our everyday view and experience. This book constitutes a very preliminary effort to gain a glimpse of some of the ways in which this pool of symbolic possibilities was employed....

scholarly journals Representación y comprensión de la fotografia: uma epistemologia Del mundo de Cartier-Bresson

2017 ◽  
Vol 20 (2) ◽  
pp. 215
Author(s):  
Juan Bautista Bengoetxea ◽  
Joana Maria Roig
Keyword(s):  
General Theory ◽  
Case Studies ◽  
The Other ◽  
Photographic Image ◽  
Partial Isomorphism ◽  
New Knowledge ◽  
The World ◽  
The One

http://dx.doi.org/10.5007/1808-1711.2016v20n2p215 The article aims to conceptualize both representation and understanding in photography, an activity whose main goal consist in elucidating the process through which the photographic image is constructed on a partial isomorphism relationship, as well as in enabling to understand a meaningful message. We appeal to Nelson Goodman’s account, according to which such a construction is based on data provided by the image, on the one hand, and by viewer’s knowledge, on the other. Given that those sources give viewer a new knowledge about the world and that the inferential processes depend upon a general theory of symbols, we both show and account for the inferential procedure that raises from the photographic ‘information’ in several case-studies taken from Henry Cartier-Bresson’s work.

One Belt – One Way: Perspectives on the Research and Distribution of Contemporary Literature in China

2019 ◽  
Vol 15 (2) ◽  
pp. 178-185
Author(s):  
Salida Sharifova
Keyword(s):  
Literary Criticism ◽  
Chinese Literature ◽  
Contemporary Literature ◽  
The Other ◽  
Literary Analysis ◽  
Foreign Languages ◽  
The World ◽  
World Cultural Heritage ◽  
The One ◽  
Contemporary Chinese

Project One Belt – One Way opens up new opportunities. On the one hand, to provide for the translation of contemporary Chinese authors into foreign languages, and on the other, to carry out a literary analysis of these works in terms of principles and methods characteristic of Western literary criticism. And this will allow the literary circles of various countries to consider contemporary Chinese literature as part of the world cultural heritage.

scholarly journals Калмыцкая и тувинская поэзия в антологии «Современная литература народов России. Поэзия»

2020 ◽  
Vol 12 (1) ◽  
pp. 55-71
Author(s):  
Rimma M. Khaninova ◽  
◽  
Wurisigala ◽  
Keyword(s):  
Comparative Method ◽  
Contemporary Literature ◽  
Russian Language ◽  
The Other ◽  
Generational Change ◽  
Comparative Aspect ◽  
Wide Range ◽  
The World ◽  
The One

The article discusses the dialogue of ethnocultures within the anthology titled ‘Contemporary Literature of Russia’s Peoples. Poetry’. The case study of contemporary Russia’s literary processes through works of Kalmyk and Tuvan poetry makes it possible — to a certain degree — to identify its present-day state, examines the existing literary contacts and interrelations, including by means of Russian-language literary translations of compositions by national poets, reveals the translation problem faced by national literatures of our country. Goals. The article presents poetic collections of Kalmyk and Tuvan poets, reveals ethnic worldviews of the Turko-Mongolic peoples through the use of Russian translations. The novelty of the work lies in the fact that this is the first study of Kalmyk and Tuvan poetic lyrics in the format of a modern anthology of literature of Russia’s peoples as a presentation of ethnic poetry for a wide range of Russian-speaking readers. Materials and 57 Фольклористика и литературоведение Methods. The comparative method delineates specific features of Kalmyk and Tuvan poetic works, identifies mental and individual vectors of authors. In terms of gender, the anthology contains works by Kalmyk men poets only. Kalmyk poetry is represented by 5 authors, Tuvan poetry — by 3 authors. The distinctive line is the age. The selected works include none by representatives of senior or junior generations which evidently attests to the fact, on the one hand, there is a problem of generational change and, on the other hand, the compilers faced quite a challenge when it actually came to select authors to be introduced in such anthologies. In genre perspective, both the sections seem to have little to do with the traditional poetic structures and patterns; so, there are some borrowed genres of ballad and poetic legend without any mention of post-modernist experiments. Still, the thematic landscape is traditional enough: motherland, genealogies, national history, nature of ancestral lands, love, and family. The Tuvan poems by E. Mizhit are published in the author’s translations (a bilingual poet), works by the other poets — in V. Kulle’s translations. Results. The study of modern Kalmyk and Tuvan poetry in this book in a comparative aspect reveals similarities and differences in cultures of the Turko-Mongolic peoples, artistic pictures of the world inherent to related ethnic groups.

scholarly journals Aporetic Apparatus

2016 ◽  
Vol 37 (1) ◽  
pp. 143-155
Author(s):  
Janne Seppänen ◽  
Juha Herkman
Keyword(s):  
Digital Camera ◽  
The Other ◽  
Camera Obscura ◽  
Photographic Image ◽  
Photographic Camera ◽  
Other Hand ◽  
The World ◽  
The One ◽  
True Knowledge

Abstract In this article, we examine the epistemology of the camera today. In order to answer this question, we concentrate on three social and technological forms: the camera obscura, the photographic camera, and the digital camera. On the one hand, the camera extends our human sensibilities and helps us to obtain knowledge of the world. On the other hand, it works as a device for delusion, bodily vision and spectacle. Historically, these two functions are meshed together in complicated ways and this establishes the paradoxical epistemology of the camera. We argue that, even if contemporary debates about the truthfulness of the photographic image have persistently been tied to the digitisation of the photographic process, the very origin of these debates actually lies in the camera itself and its contradictory epistemology. The camera has worked, and still works, as an apparatus that relentlessly produces irresolvable ambiguity, aporia, between true knowledge and illusory vision.

scholarly journals God’s spirit (of wisdom) has been sent into the world, not Covid-19: A contextual systematic-theological perspective

2020 ◽  
Vol 76 (1) ◽  
Author(s):  
Daniël P. Veldsman
Keyword(s):  
God Image ◽  
Image Of God ◽  
Vantage Point ◽  
Theological Reflection ◽  
The Other ◽  
God Images ◽  
Doctrine Of God ◽  
The World ◽  
Theological Perspective ◽  
The One

How are we to make theological sense of the Covid-19 pandemic? In response to the viewpoint of Wilhelm Jordaan as expressed in a popular newspaper that it is foolish to understand Covid-19 as God’s punishment or nature’s way for restoration, it is critically argued that Jordaan mostly helps us with what not to think, but not so much with what to think of the current situation from a Christian theological perspective. The theological perspective that is presented in response to Jordaan takes as the vantage point a different interpretative line of an image of God (as ‘regretting/sorrow God’) over against more popular and established lines of God images such as God the Almighty. It is argued that the different God image of a ‘silent God’ and the need for wisdom that is prompted by the image challenges us here and now with an invitation to take (self)responsibility for the Covid-19-pandemic before a silent (distanced) God.Contribution: This article represents original systematic-theological reflection on the doctrine of God and anthropology within contemporary theology-science discourses. It focuses on a Christian biblical neglected God image of a ‘regretting/sorrow God’ (Genesis) in relation to embodied personhood within the current Covid-19 pandemic. It proposes a newly formulated understanding of a ‘silent God’ on the one hand and human self-responsibility and the seeking of wisdom on the other hand.

Indonesian Literature’s Position in World Literature

TEKNOSASTIK ◽  
2018 ◽  
Vol 14 (2) ◽  
pp. 1
Author(s):  
Dina Amelia
Keyword(s):  
World Literature ◽  
The Other ◽  
National Literature ◽  
Western World ◽  
The World ◽  
The One ◽  
The Voice

There are two most inevitable issues on national literature, in this case Indonesian literature. First is the translation and the second is the standard of world literature. Can one speak for the other as a representative? Why is this representation matter? Does translation embody the voice of the represented? Without translation Indonesian literature cannot gain its recognition in world literature, yet, translation conveys the voice of other. In the case of production, publication, or distribution of Indonesian Literature to the world, translation works can be very beneficial. The position of Indonesian literature is as a part of world literature. The concept that the Western world should be the one who represent the subaltern can be overcome as long as the subaltern performs as the active speaker. If the subaltern remains silent then it means it allows the “representation” by the Western.

scholarly journals Hiketeia

1973 ◽  
Vol 93 ◽  
pp. 74-103 ◽  
Author(s):  
John Gould
Keyword(s):  
Dominant Role ◽  
Ancient Greece ◽  
Social Institutions ◽  
The Other ◽  
Sixth Century ◽  
Dead Body ◽  
Greek Literature ◽  
The World ◽  
The One ◽  
Working Out

To Professor E. R. Dodds, through his edition of Euripides'Bacchaeand again inThe Greeks and the Irrational, we owe an awareness of new possibilities in our understanding of Greek literature and of the world that produced it. No small part of that awareness was due to Professor Dodds' masterly and tactful use of comparative ethnographic material to throw light on the relation between literature and social institutions in ancient Greece. It is in the hope that something of my own debt to him may be conveyed that this paper is offered here, equally in gratitude, admiration and affection.The working out of the anger of Achilles in theIliadbegins with a great scene of divine supplication in which Thetis prevails upon Zeus to change the course of things before Troy in order to restore honour to Achilles; it ends with another, human act in which Priam supplicates Achilles to abandon his vengeful treatment of the dead body of Hector and restore it for a ransom. The first half of theOdysseyhinges about another supplication scene of crucial significance, Odysseus' supplication of Arete and Alkinoos on Scherie. Aeschylus and Euripides both wrote plays called simplySuppliants, and two cases of a breach of the rights of suppliants, the cases of the coup of Kylon and that of Pausanias, the one dating from the mid-sixth century, the other from around 470 B.C. or soon after, played a dominant role in the diplomatic propaganda of the Spartans and Athenians on the eve of the Peloponnesian War.

scholarly journals Two Conceptions of Second Nature

2020 ◽  
Vol 3 (1) ◽  
pp. 68-80 ◽  
Author(s):  
Georg W. Bertram
Keyword(s):  
The Other ◽  
Human Beings ◽  
Open Future ◽  
Second Nature ◽  
Other Hand ◽  
The World ◽  
Cognitive Activities ◽  
The Open Future ◽  
The One ◽  
First Nature

AbstractThe concept of second nature promises to provide an explanation of how nature and reason can be reconciled. But the concept is laden with ambiguity. On the one hand, second nature is understood as that which binds together all cognitive activities. On the other hand, second nature is conceived of as a kind of nature that can be changed by cognitive activities. The paper tries to investigate this ambiguity by distinguishing a Kantian conception of second nature from a Hegelian conception. It argues that the idea of a transformation from a being of first nature into a being of second nature that stands at the heart of the Kantian conception is mistaken. The Hegelian conception demonstrates that the transformation in question takes place within second nature itself. Thus, the Hegelian conception allows us to understand the way in which second nature is not structurally isomorphic with first nature: It is a process of ongoing selftransformation that is not primarily determined by how the world is, but rather by commitments out of which human beings are bound to the open future.

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