scholarly journals A History - based Analysis as a Driving Force of the Creation of Literary Works - Focusing on “Sumai - no - sechie(Seasonal Court Banquets for Sumo)” -

2016 ◽  
Vol null (73) ◽  
pp. 229-254
Author(s):  
윤승민
Keyword(s):  
Driving Force ◽  
Literary Works ◽  
The Creation

Maximising Soft Power: the Role of Digital Diplomacy in Building Trust with Nation-Branding

2021 ◽  
Vol 1 (2) ◽  
pp. 1-19
Author(s):  
Jess Gosling
Keyword(s):  
Crucial Role ◽  
Soft Power ◽  
Driving Force ◽  
Public Diplomacy ◽  
Essential Role ◽  
Nation Branding ◽  
Building Trust ◽  
The Creation ◽  
Digital Diplomacy

Perceptions of attractiveness and trustworthiness impact the prosperity and influence of countries. A country's soft power is not guaranteed. Countries have their brands, an image shaped by the behaviour of governments, by what they do and say, whom they associate with, and how they conduct themselves on the global stage. Increasingly, digital diplomacy plays a crucial role in the creation and application of soft power. This paper argues that digital diplomacy is increasingly vital in the articulation of soft power. Digital diplomacy is a new way of conducting public diplomacy, offering new and unparalleled ways of building trust with previously disengaged audiences. Soft power is now the driving force behind reputation and influence on the global stage, where increasingly digital diplomacy plays an essential role.

Porter, Edwin S. (1870–1941)

2018 ◽  
Author(s):  
Vito Adriaensens
Keyword(s):  
New York ◽  
Motion Picture ◽  
Driving Force ◽  
Full Potential ◽  
American Film ◽  
Continuous Action ◽  
Narrative Structures ◽  
Short Films ◽  
The Creation ◽  
Narrative Film

Edwin Stanton Porter was an American film exhibitor, producer, and director. He started his career in cinema in 1896 as a traveling exhibitor and moved on to become the motion picture operator of the New York Eden Musee wax museum. He also built motion picture machinery, which he continued doing until well after his retirement in 1925. As an operator and programmer, Porter edited short films into programs with narrative structures, effectively acting as producer and director. When the Edison Company was reorganized in 1900 he was hired to improve their cameras and projectors, but quickly became a cameraman, producer, and director. He produced over a hundred short films for Edison by collaborating with theater-trained directors, and became an important driving force behind the creation of modern, elaborate multishot films, the most famous of which is undoubtedly The Great Train Robbery (1903). Musser and Everson see Porter as a technician at heart—an editor who did not fully grasp the possibilities and principles of editing or acting, but who had an instinctive understanding of "continuity," or the safeguarding of smooth, continuous action through the combination of fragmented shots. Though Porter had been instrumental in lifting cinema out of what Tom Gunning has dubbed the "cinema of attractions" era, he arguably never realized his full potential as he was unwilling to invest himself in narrative film. When his methods had become antiquated in 1909, Edison fired him.

scholarly journals The differentiation between elegance and popularity in the orthography of popular literature of the Ming Dynasty and its causes

2018 ◽  
Vol 3 (1) ◽  
pp. 29-44
Author(s):  
Zhang Meilan ◽  
Zhan Hao
Keyword(s):  
Ming Dynasty ◽  
Cultural Awareness ◽  
Popular Literature ◽  
The West ◽  
Literary Works ◽  
Modern Fiction ◽  
The Creation ◽  
Journey To The West ◽  
Water Margin ◽  
The Ming Dynasty

Through examination of variants in two versions of Jinpingmei, three versions of Water Margin, two versions of Journey to the West, and between relevant sections of Qingpingshantang Scripts, Ancient and Modern Fiction, Jingshi Tongyan, and Amazing Stories, the existence of two trends of elegance and popularity in the orthography of different versions and literary works may be detected. Those texts with a more elegant character have been largely influenced by a strategy of standardized orthography, which is closely related to the creation purpose, knowledge, and cultural awareness of the authors, the willingness of booksellers to produce and sell such works, and their target consumers and readership. The differentiation between elegance and popularity in the character of literary works truly reflects the divergence of different texts within different social strata, which is not only a linguistic and philological question, but also a sociological one.

The Living Legacy: Hajo Holborn as a Teacher of Power and Responsibility

1970 ◽  
Vol 3 (1-2) ◽  
pp. 157-171
Author(s):  
John L. Snell
Keyword(s):  
Driving Force ◽  
European History ◽  
Central European ◽  
The Creation ◽  
The Relationship ◽  
Human Kind

Theodore S. Hamerow provided the driving force within the Conference Group for Central European History for the creation of this journal. Both he and the editor became historians under the sensitive supervision of Hajo Holborn, as did many others who read Central European History. Less directly, Holborn taught other colleagues who never registered for a course at Yale; any roster of these would start with his fellow students in Germany in the 1920's and include all of us who ever met the man. It seems imperative, therefore, that the formative influence Holborn exerted as a teacher not be overlooked in this number of Central European History, least of all in a reviewessay on the Festschrift presented him in 1967; for—directly or indirectly—he taught all twenty-four contributors. Twelve can loosely be described as Holborn's colleagues. The remaining dozen studied with Holborn (I include his daughter). Taken together, they comprise a remarkable array of talent. Holborn himself might well have memorialized these friends in the lines from Addison that he once quoted on the relationship between Prince Eugene and Marlborough: “To souls like these in mutual friendship joined / Heaven dares intrust the cause of human kind.”

scholarly journals PUISI BERHUMOR: STRATEGI TUTUR REMY SYLADO

SUAR BETANG ◽  
2018 ◽  
Vol 12 (2) ◽  
pp. 197
Author(s):  
NFN Basori
Keyword(s):  
Literary Works ◽  
Language Play ◽  
Cooperative Principle ◽  
Pragmatic Theory ◽  
The Creation

Poetry, as well as other literary works, is a speech. If poetry is a speech, it indicates the presence speaker and hearer. In this study, a poetry as speech is examined using pragmatic theories which include implicatures, language play, as well as the implications of the meaning to the reader as a hearer. This study will describe the Remy Sylado strategy and skill in the use of language elements in the creation of poetry that has the effect of humour for readers. The theory is used to dissect the data is pragmatic theory relating to implicature, cooperative principle, and politeness principle. The use of cooperative and politeness principle concerned with the analysis that these poems can be included in the category of humour. In general, humour was identified as a symptom that violates the language. The principle of inequality, unpredictability, and pornography is a humour characteristic. This carefully situations produced four strategies used by Remy Sylado to convey his ideas to the reader, namely puns, pornography, slip of the tongue, and unpredictability.

scholarly journals Human Language as a Natural Artifact of Planetary-Noospheric Mind: Coevolutionary-Macromutational Reinterpretation

2020 ◽  
Vol 9 (34) ◽  
pp. 17-23
Author(s):  
Roman Vasko ◽  
Alla Korolyova ◽  
Tetiana Tolcheyeva ◽  
Yan Kapranov
Keyword(s):  
Human Brain ◽  
Driving Force ◽  
Homo Sapiens ◽  
Cultural Development ◽  
High Tech ◽  
Subsequent Stage ◽  
Human Language ◽  
The Creation ◽  
Fusion Theory ◽  
New Hypothesis

The article discusses a new hypothesis of coevolutionary-macromutational origin of human language, through the prism of which this planetary-noospheric phenomenon is proposed to be considered as a natural artifact of holisticsynergetic coevolution of nature, society and culture. The following assumption has been suggested: the proposed hypothetical idea is a resonance of the former two philosophical theories: the fusion theory and the thesis theory, which were regarded by scientists either as natural or artificial (conventional / conditional) nature of human language. At the same time, they did not completely deny the origin of the human language as a result of various types of activities. The represented arguments helped to confirm the views of anthropologists, culturologists and other scholars. The creation of various artifacts (tangible and intangible) took place in all stages of evolution: geogenesis – biogenesis – psychogenesis – anthropogenesis and at a subsequent stage of Homo sapiens. However, language as the most important product of global evolutionism was formed at the stage of anthropogenesis, in particular as a corollary to the molecular mutations of human brain. The term “coevolution” has been transferred to the sphere of linguoanthropogenesis. In conjunction with the hypothesis of macromutation the natural artifact origin of human language is consistently explained under the scenario of biogenesis – sociogenesis – culturogenesis. The essence of the hypothetical result is that a qualitatively new driving force for the continuation of this scenario can be noospherogenesis, which is determined by historical and cultural development of mankind, its activities in all spheres of life and, most importantly, by the planetary high-tech mind.

scholarly journals TO PROBLEM OF EXAMINING ANIMALISTIC SYMBOLISM IN THE POETRY OF IVAN ZLATOKUDR

2021 ◽  
pp. 27-34
Author(s):  
Nemchenko I.V.
Keyword(s):  
Textual Analysis ◽  
Literary Analysis ◽  
Human Relations ◽  
Literary Works ◽  
Methods Of Analysis ◽  
The World ◽  
The Creation ◽  
Observation Selection ◽  
Artistic Image ◽  
Historical Epoch

Purpose. Many writers from various epochs and countries have been admirers and propagandists of the bestiary space. The purpose of the work is to analyze the animalistic images and symbols in the Ukrainian poet Ivan Zlatokudr’s lyrics in the late of 20th and early 21st century.Methods. The elements of the following methods are used in the research: cultural and historical (helps to investigate the functions of poet’s lyrical images in the process of representation of the features of Ukrainian national nature and historical epoch), aesthetic (allows analyzing each text as a phenomenon of literature and art), miphological (for coverage of reproduction of miphological images by poet), hermeneutic (ensures free and open interpretation of texts with the possibility for new explanations), biographic (helps to describe autobiographic markers in the writer's literary works), descriptive (systematization of various elements of the animalistic space in the lyrics of the poet), intertextual (links between writer’s poems and folklore songs and literary general tradition), textual analysis (for coverage of the animalistic motifs and images of Zlatokudr’s collection). The research is based on the general methods of analysis, synthesis, observation, selection and systematization of the material.Results. The author of this article represented the results of literary analysis accomplished over the texts of Ivan Zlatokudr with animalistic motifs and images. The symbols of a horse, dog, cow, ox, sheep, cat, deer, wolf, fox, bear and other animals play an important role in the creation of the artistic image of the world in the writer’s version and show his psychology. The article finds out that Ivan Zlatokudr has delicate understanding of bestiarial space. The effect of a hero’s co-living with the environment depicted by the author, with the animalistic environment in particular, is characteristic of writer’s lyrical collection. Ivan Zlatokudr’s works combine real and fairy plans, have characteristics of legends, tales and mysteries. The poet’s bestiarial dimension deepens understanding of nature and difficult world of human relations and feelings and it has national and similarity sounding. Мета. Бестіарний світ приваблює багатьох письменників різних часів і народів – від давнини й до сьогодення. Метою нашої статті є висвітлення особливостей творення образів-символів звірів у ліричних текстах українського поета з Польщі Івана Златокудра кінця ХХ – початку ХХІ століття.Методи. У статті використано елементи таких методів: культурно-історичного (допомагає виcвітлити функції ліричної образності у процесі відтворення поетом рис українського національного характеру та історичної епохи), естетичного (забезпечує розгляд творів митця як літературно-мистецького феномену), міфологічного (використовується для відстеження репродукування поетом міфологічних образів), герменевтичного (пропонується вільна інтерпретація текстів із можливістю подальших витлумачень), біографічного (простежуються риси автобіографізму в поезіях співця), описового (здійснюється систематизація різноманітних елементів анімалістичного простору в текстах поета), інтертекстуального (звертається увага на зв’язки між віршами митця й українським та світовим фольклором і літературною традицією), текстуального аналізу (застосовується для окреслення анімалістичних мотивів та образів у Златокудровому доробку). Дослідження засноване на загально-науковій методиці аналізу, синтезу, спостереження, добору та систематизації матеріалу.Результати. Автор статті репрезентує результати аналізу текстів Івана Златокудра, присвячених анімалістичним мотивам та образам. Символіка коня, собаки, корови, вола, вівці, кота, оленя, вовка, лисиці, ведмедя та інших тварин виконує важливу роль у розбудові автором художньої картини світу, сприяє розумінню його психології. Для поетичної творчості Івана Златокудра досить характерним є ефект органічного вживання ліричного героя в зображуваний світ, зокрема простір фауни рідного краю. Митець поєднує в текстах реальний і феєричний плани, переплітає дійсність із легендою, казкою, містичними уявленнями. Бестіарний вимір у поета поглиблює й розуміння природної стихії, і складність людських взаємин і почуттів, має як національне, так і загальнолюдське звучання. Висновки. Анімалістична образність у поетичній творчості Івана Златокудра закорінена у світ міфології та фольклору укра-їнського та інших народів, ґрунтується на літературних традиціях. Анімалістичні образи-символи в доробку митця відбивають особливості української ментальності, історико-культурний досвід нашого етносу, віддзеркалюють естетичні цінності нації.Ключові слова: лірика, фольклор, міфологія, зооморфні образи, анімалістична символіка.

The Eddas and Sagas of Iceland

2020 ◽  
Author(s):  
Gísli Sigurðsson
Keyword(s):  
North America ◽  
Educational System ◽  
Viking Age ◽  
The Sun ◽  
Literary Works ◽  
Medieval Church ◽  
The World ◽  
The Creation ◽  
Verse Form

The eddas and sagas are literary works written in Iceland in the 13th and 14th centuries but incorporating memories preserved orally from preliterate times of (a) Norse myths, in prose and verse form, (b) heroic lays with common Germanic roots, (c) raiding and trading voyages of the Viking Age (800–1030 CE), and (d) the settlement of Iceland from Norway, Britain, and Ireland starting from the 870s and of life in the new country up to and beyond the conversion to Christianity in the year 1000. In their writing, these works show the influence of the learning and literature introduced to Iceland from the 11th century on through the educational system of the medieval Church. During these centuries, the Icelanders translated the lives of the principal saints, produced saga biographies of their own bishops, and recorded accounts of events and conflicts contemporary with their authors. They also produced conventional chronicles on European models of the kings of Norway and Denmark and large quantities of works, both translated and original, in the spirit of medieval chivalry. The eddas and sagas, however, reflect a unique and original departure that has no direct analogue in mainland Europe—the creation of new works and genres rooted in the secular tradition of oral learning and storytelling. This tradition encompassed the Icelanders’ worldview in the 12th, 13th and 14th centuries and their understanding of events, people, and chronology going back to the 9th century, and their experience of an environment that extended over the parts of the world known to the Norsemen of the Viking Age, both on earth and in heaven. The infrastructure that underlay this system of learning was a knowledge of the regnal years of kings who employed court poets to memorialize their lives, and stories that were told in connection with what people observed in the heavens and on earth, near and far, by linking the stories with individual journeys, dwellings, and the genealogies of the leading protagonists. In this world, people here on earth envisaged the gods as having their halls and dwellings in the sky among the stars and the sun, while beyond the ocean and beneath the furthest horizon lay the world of the giants. In Viking times, this furthest horizon shifted little by little westwards, from the seas around Norway and Britain to the Faroes, Iceland, Greenland, and eventually still farther south and west to previously unknown lands that people in Iceland retained memories of the ancestors having discovered and explored around the year 1000—Helluland, Markland, and Vínland—where they came into contact with the native inhabitants of the continent known as North America.

The Holy War (1682)

2018 ◽  
Author(s):  
Nancy Rosenfeld
Keyword(s):  
Great Success ◽  
John Bunyan ◽  
Human Soul ◽  
Holy War ◽  
Literary Works ◽  
Life And Death ◽  
Pilgrim's Progress ◽  
Future Events ◽  
The Creation ◽  
Literary Characters

By the early 1680s John Bunyan had achieved respect and popularity for his public preaching. As an author he attempted to build on the great success of The Pilgrim’s Progress, first with The Life and Death of Mr. Badman (1680) and then with The Holy War, which was published in 1682. Bunyan’s most ambitious and elaborate work of fiction took the form of an allegorical battle epic depicting the Christian scheme of salvation, the struggle of the human soul towards salvation, and contemporary and future events. This chapter discusses The Holy War in the context of the religious and literary works available to Bunyan, and as an impressive example of Bunyan’s skill in the creation of individuated literary characters.

scholarly journals Shakespeare and Stoppard: Chess and Diabolo

Literator ◽  
1982 ◽  
Vol 3 (3) ◽  
pp. 20-40
Author(s):  
B. Claassen
Keyword(s):  
Literary Works ◽  
The Creation

Hamlet must he given the first word in this, because he underlines the intricacy of the creation with whom one is concerned here, i.e. man. Trying to outline, interpret and contrast the representative literary works of two vastly differing); ages may well be considered the task of a lifetime. Shakespeare’s Hamlet may be considered as representative of the drama of the Elizabethan age, while Stoppard’s Rosencrantz and Guildenstern Are Dead and dogg's Hamlet are representative of contemporary drama.

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