scholarly journals Особенности иконографии в калмыцкой вышивке: традиционные и современные практики

2021 ◽  
Vol 14 (2) ◽  
pp. 314-336
Author(s):  
Tatyana I. Sharaeva ◽  
Keyword(s):  
20Th Century ◽  
18Th Century ◽  
Spiritual Guidance ◽  
Late 20Th Century ◽  
Early 21St Century ◽  
Historical Factors ◽  
Late 18Th Century ◽  
Religious Cult ◽  
Private And Public

Introduction. The Kalmyks are a Mongolic Buddhist people that arrived in the Volga region in the 17th century. The specific ethnic features of Buddhism professed by the Kalmyks took shape over centuries of Russian suzerainty and were determined by various historical factors, including prolonged remoteness from Buddhist centers, the total eradication of Buddhist monasteries and centuries-long ban on spiritual guidance experienced in the 20th century, and the official Buddhist restoration by the early 21st century. Goals. The work aims at identifying and comparing traditional and contemporary Buddhist thangka patterns as elements to mirror particular features of Kalmyk iconography, as essential objects of religious cult and cultural heritage at large. Results. The paper shows that in the pre-20th century period Kalmyks used different techniques for producing thangkas — painting, embroidery, and applique ones. In the late 18th century onwards, imports of religious attributes from Tibet and Mongolia were restricted, and the role of art workshops affiliated to local Buddhist temples increased. That resulted in further development of thangka painting schools and the shaping of somewhat ethnic style in depicting Buddhist deities characterized by certain differences from canonical images. The old thangkas from private and public collections have served a basis for the restoration of ethnic painting traditions integral to Kalmykia’s Buddhism proper. The contemporary practices of producing divine images are closely related to stages in the regional development of Buddhism from the late 20th century to the present, lay Buddhist experiences, women’s leisure-time activities, and ethnic entrepreneurship. The study concludes contemporary Kalmyk needlewomen are guided by traditional rules of religious craftsmanship.

scholarly journals Metacritique on Bentham and Foucault’s Panoptic Theories as Analytic Tools for Three Modes of Digital Surveillance

Plaridel ◽  
2021 ◽  
Author(s):  
Feorillo A. Demeterio III, ◽  
June Benedict Parreno
Keyword(s):  
Social Media ◽  
20Th Century ◽  
18Th Century ◽  
Data Gathering ◽  
Digital Age ◽  
Late 20Th Century ◽  
Digital Surveillance ◽  
Late 18Th Century

The panopticon was originally a prison design made by Bentham in the late 18th century to efficiently reform offenders. Foucault appropriated Bentham’s panopticon in the late 20th century to conceptualize and critique the society and state’s coercive practices in making individuals conform to social and state norms. Although Foucault’s appropriation of Bentham’s panopticon was done prior to the full emergence of the digital age, a number of present day scholars use the panopticon in conceptualizing and critiquing digital surveillance. This paper problematizes the applicability of both Bentham and Foucault’s panoptic theories to such contemporary phenomenon. This paper dissected both panoptic theories into five components—subjects; observers; data gathering, storage, and analysis; goals and effects of the systems; and management of the systems—and compared and contrasted these to their corresponding components from three cases of digital surveillance representing state digital surveillance, social media digital surveillance, and e-commerce digital surveillance. This paper established that Bentham and Foucault’s panoptic theories have moderate resemblance to each other; that both Bentham and Foucault’s panoptic theories are applicable to the conceptualization and critique of state digital surveillance; and that both Bentham and Foucault’s panoptic theories are not applicable to the conceptualization and critique of social media and e-commerce digital surveillances. As a metacritique this paper is significant in the sense that its findings will hopefully enlighten other scholars about the actual levels of usefulness of both panoptic theories in conceptualizing and critiquing different modes of digital surveillance.

scholarly journals Place matters: geographical context, place belonging and the production of locality in Mediterranean Noirs

GeoJournal ◽  
2021 ◽  
Author(s):  
Nicola Gabellieri
Keyword(s):  
20Th Century ◽  
Crime Fiction ◽  
The Novel ◽  
Late 20Th Century ◽  
Literary Works ◽  
Geographical Discourse ◽  
Detective Stories ◽  
Narrative Medium ◽  
Geographical Context

AbstractScholars have been investigating detective stories and crime fiction mostly as literary works reflecting the societies that produced them and the movement from modernism to postmodernism. However, these genres have generally been neglected by literary geographers. In the attempt to fill such an epistemological vacuum, this paper examines and compare the function and importance of geography in both classic and late 20th century detective stories. Arthur Conan Doyle’s and Agatha Christie’s detective stories are compared to Mediterranean noir books by Manuel Montalbán, Andrea Camilleri and Jean Claude Izzo. While space is shown to be at the center of the investigations in the former two authors, the latter rather focus on place, that is space invested by the authors with meaning and feelings of identity and belonging. From this perspective, the article argues that detective investigations have become a narrative medium allowing the readership to explore the writer’s representation/construction of his own territorial context, or place-setting, which functions as a co-protagonist of the novel. In conclusion, the paper suggests that the emerging role of place in some of the later popular crime fiction can be interpreted as the result of writer’s sentiment of belonging and, according to Appadurai’s theory, as a literary and geographical discourse aimed at the production of locality.

Wonder, Horror, Mystery: Letters on Cinema and Religion in Malick, Von Trier, and Kieślowski

2021 ◽  
Author(s):  
Morgan Meis ◽  
J.M. Tyree
Keyword(s):  
20Th Century ◽  
21St Century ◽  
Film Theory ◽  
The Other ◽  
Life Meaning ◽  
Late 20Th Century ◽  
Early 21St Century ◽  
Lars Von Trier ◽  
Creative Writer ◽  
Film Critic

Wonder, Horror, Mystery is a dialogue between two friends, both notable arts critics, that takes the form of a series of letters about movies and religion. One of the friends, J.M. Tyree, is a film critic, creative writer, and agnostic, while the other, Morgan Meis, is a philosophy PhD, art critic, and practicing Catholic. The question of cinema is raised here in a spirit of friendly friction that binds the personal with the critical and the spiritual. What is film? What’s it for? What does it do? Why do we so intensely love or hate films that dare to broach the subjects of the divine and the diabolical? These questions stimulate further thoughts about life, meaning, philosophy, absurdity, friendship, tragedy, humor, death, and God. The letters focus on three filmmakers who challenged secular assumptions in the late 20th century and early 21st century through various modes of cinematic re-enchantment: Terrence Malick, Lars von Trier, and Krzysztof Kieślowski. The book works backwards in time, giving intensive analysis to Malick’s To The Wonder (2012), Von Trier’s Antichrist (2009), and Kieślowski’s Dekalog (1988), respectively, in each of the book’s three sections. Meis and Tyree discuss the filmmakers and films as well as related ideas about philosophy, theology, and film theory in an accessible but illuminating way. The discussion ranges from the shamelessly intellectual to the embarrassingly personal. Spoiler alert: No conclusions are reached either about God or the movies. Nonetheless, it is a fun ride.

scholarly journals Post- Modern elements in the novels of Chetan Bhagat

2018 ◽  
Vol 6 (8) ◽  
pp. 11
Author(s):  
Dr. Radha ◽  
Dr. Premalatha. C 
Keyword(s):  
20Th Century ◽  
Real Life ◽  
16Th Century ◽  
Western Philosophy ◽  
Economic Power ◽  
Late 20Th Century ◽  
Distant Observer ◽  
Post Modernism ◽  
The Difference

Postmodernism is a Western philosophy, a late 20th-century movement characterized by broad skepticism, subjectivism, or relativism; a general suspicion of reason; and an acute sensitivity to the role of ideology in asserting and maintaining political and economic power”.Post-Modernists are independent while expressing their ideas, they never drop their statements and theory. It is more personal than identify with some other categories. The post-modernism was started in America around 16th century later it extended to Europe and other countries.Post-modern civilization fails to accept the modification between high and low class. There is a little place for modernism, originality or individual thinking. Bhagat has concentrated on the preconceptions of toppers, however there is more to life than these things your family, your friends, your internal desires and goals and the grades you get in dealing with each of these areas will define you as a person.The post-modernism has defused the difference between good and bad, moral and immoral, right and wrong. If there is a choice to select modern generation would not hesitate to go for one which is traditionally named as bad. Bhagat imbibed all these qualities in his writing. His characters go against the traditional customs and values. Bhagat represents intricate, deeply engrained socio-cultural complications of multicultural India, light-heartedly. He wishes readers to giggle at themselves, at their stupidities, their partialities, and their wrong-actions; not as a member but as a distant observer. He doesn’t bout them directly, but through fiction he attempts to understand their errors and gives a chance to rectify in the real life. Bhagat’s linking story telling method and the funny situations appeal readers.

scholarly journals Мансийские исследования: от истоков к современности

2020 ◽  
Vol 13 (3) ◽  
pp. 743-765
Author(s):  
Natalia A. Koshelyuk ◽  
◽  
Keyword(s):  
20Th Century ◽  
18Th Century ◽  
Field Studies ◽  
Online Research ◽  
Late 20Th Century ◽  
Research Activities ◽  
Language Research ◽  
The 19Th Century ◽  
Historical Methods ◽  
First Time

Introduction. The article reviews background studies on the Mansi language and its dialects performed by European and Russian (Soviet) linguists. Goals. The paper seeks to provide a comprehensive historical description of Mansi language research. Methods. The descriptive and comparative-historical methods have been employed thereto. Results. The work arranges the studies chronologically — from earliest research activities to contemporary ones — highlighting most essential achievements. Mansi is one of the least studied languages with earliest written accounts dating to the 16th-17th centuries. The earliest Mansi dictionaries were compiled by explorers and missionaries (I. Kuroedov, S. Cherkalov, P. S. Pallas, etc.) in the 18th century. In the 19th century, the Mansi language officially became a subject of scientific research, and expeditions by Finnish and Hungarian linguists (Antal Reguly, August Engelbrekt Ahlqvist, Bernát Munkácsi, Artturi Kannisto) proved the first field studies. In the 20th century, quite a number of European scientists have contributed to Mansi language research, namely: W. Steinitz, L. Honti, K. F. Кarjalainen, M. Bakró-Nagy, K. Rédei, M. Szilasi, and others. In Russia, the first Mansi studies were initiated by Soviet scholars in the 1930s (V. Chernetsov, A. Balandin). Studies in spoken Mansi evolved into a national Cyrillic alphabet, and for the first time ever there were published comprehensive works dealing with Mansi studies, textbooks on Mansi phonetics, morphology, and grammar. Experimental phonetic explorations emerged in the mid-to-late 20th century resulting in new Mansi dictionaries (A. Sainakhova, T. FrankKamenetskaya, E. Rombandeeva, and others). Mansi studies in the 21st century in Russia and Europe have reached a brand new level: there appeared online research laboratories and linguistic platforms which make it possible to further investigate the Mansi language and verify up-to-date materials.

What is “Toxic Masculinity” and Why Does it Matter?

2020 ◽  
pp. 1097184X2094325
Author(s):  
Dr. Carol Harrington
Keyword(s):  
Social Policy ◽  
20Th Century ◽  
21St Century ◽  
Gender Politics ◽  
Gender Inequalities ◽  
Late 20Th Century ◽  
Early 21St Century ◽  
Gender Hierarchies ◽  
The Early 21St Century ◽  
Men's Movements

Coined in late 20th-century men’s movements, “toxic masculinity” spread to therapeutic and social policy settings in the early 21st century. Since 2013, feminists began attributing misogyny, homophobia, and men’s violence to toxic masculinity. Around the same time, feminism enjoyed renewed popularization. While some feminist scholars use the concept, it is often left under-defined. I argue that talk of toxic masculinity provides an intriguing window into gender politics in any given context. However, feminists should not adopt toxic masculinity as an analytical concept. I consider the term’s origins, history, and usage, arguing that it appears in individualizing discourses that have historically targeted marginalized men. Thus, accusations of toxic masculinity often work to maintain gender hierarchies and individualize responsibility for gender inequalities to certain bad men.

Crime and Punishment in Colonial Latin America

2020 ◽  
Author(s):  
Mark Lentz
Keyword(s):  
Latin America ◽  
Law Enforcement ◽  
18Th Century ◽  
Colonial Latin America ◽  
Late 20Th Century ◽  
Race And Gender ◽  
Early 21St Century ◽  
Crime And Punishment ◽  
Ecclesiastical Law ◽  
Cartagena De Indias

Spanish and Portuguese claims to American territories led to the passage of many early laws and the establishment of courts overseas. For the first decade after contact, few regulations restricted the behavior of the earliest Europeans abroad, and no laws governed their treatment of the indigenous inhabitants or, later, enslaved Africans. Questions over the reach and application of laws passed in Spain, specifically Castile, led to thousands of royal laws and decrees guiding jurists in the application of laws in the Americas. This body of law is known as derecho indiano. To bring order to the unruly conquistadors and resistant indigenous inhabitants of the Americas, Spain imposed laws governing relations between Spaniards and indigenous Americans. Abundant documentation on indigenous-Spanish interactions in courts has led to an outpouring of research on the intersection between crime and punishment and indigenous society in colonial Latin America. Compared to France and its territories’ Code Noir, however, no overarching legal code addressed Spanish and Portuguese colonists’ dealings with slaves. Determinations regarding slaves drew from medieval and early modern precedents, such as the Siete partidas. The three American tribunals of the Inquisition intervened into the lives of enslaved people as well. Except for a few studies on enslaved people’s interactions—usually unwilling—with the Inquisition, there are fewer studies of slavery and crime than those covering indigenous, European, and mixed-descent subjects. One key characteristic of the legal regime in Latin America is the tenuous division between ecclesiastical jurisdictions and secular law enforcement. The Inquisition, with seats established in Mexico City, Lima, and Cartagena de Indias, combined elements of both secular and ecclesiastical courts. Its jurisdiction over “sin crimes” has received more coverage than other judicial institutions in the colonial Americas. Studies of civil and ecclesiastical law enforcement skew toward the 18th century, due in part to the abundance of documentation for the later colonial period. In the early 21st century, however, scholars have turned their attention to the second half of the 17th century, beginning to fill a historiographical void. Mid- and late-20th-century scholars worked to reconstruct a comprehensive institutional and philosophical framework of the Iberian law in the Americas, which included both regional studies and empire-wide surveys. Overall, research on crime and punishment in Latin America has shifted away from institutional histories toward social histories of crime that delve more deeply into topics of race and gender, typically more narrow in geographic scope.

Oliver Goldsmith

2016 ◽  
Author(s):  
Michael Griffin
Keyword(s):  
20Th Century ◽  
18Th Century ◽  
Good Deal ◽  
Late 20Th Century ◽  
Oliver Goldsmith ◽  
Relative Lack ◽  
Critical Scholarship ◽  
Tremendous Amount ◽  
Critical Heritage ◽  
The 1960S

The life and work of the Irish poet, playwright, essayist, historian, and novelist Oliver Goldsmith (b. 1728–d. 1774) had not received a tremendous amount of attention since the 1960s, a decade that saw a substantial burst of editorial and critical work, and, in particular, the publication of Arthur Friedman’s five-volume edition of the Collected Works (Goldsmith 1966, cited under Editions) and Roger Lonsdale’s edition of The Poems of Goldsmith, Gray and Collins (Goldsmith, et al. 1969, cited under Editions). A good deal of the critical scholarship that has emerged since then has been in dialogue with, or in response to, those editions and to two-book length works of criticism by Ricardo Quintana (Quintana 1967, cited under General Collections and Studies) and Robert H. Hopkins (Hopkins 1969, cited under General Collections and Studies), which argued for a greater appreciation of the ironic registers of Goldsmith’s work. Indeed, much Goldsmith criticism has focused on the question of whether he should be understood as a sentimentalist or as a satirist, since the oeuvre as a whole exists along a seam between the satirical tenor of his Augustan predecessors and the emerging sensibility of his literary milieu and an expanding middle-class audience. As such, Goldsmith’s writings are in many ways highly representative of his mid-18th-century contexts. The relative lack of sustained scholarly and critical work on Goldsmith since the 1960s is also partly attributable to his work being in some senses too various to accommodate in single thematic or generic studies: he moved across the modes of 18th-century writing with considerable ease and success. The eclectic nature of his oeuvre, and the variety of tones and registers he used in writing across the genres, has resulted in his being characterized in various, often-inconsistent ways. That said, clusters of essays and articles have appeared since the late 20th century that have illustrated the richness and instructive ambiguities of his writing and thinking. Also, his Irishness has been intermittently, and with varying degrees of insight or success, studied throughout the critical heritage as a contributing factor in his social and political worldview. In this article, items that Friedman acknowledged and incorporated into the editorial apparatus of his 1966 edition—including earlier scholarship on the history and sources of Goldsmith’s Greek, Roman, and English histories, the prefaces to which feature in Friedman’s work—are largely omitted. The emphasis here is primarily on the biographical tradition, on criticism and scholarship published after 1966, and within that period on the substantial bodies of criticism surrounding the major poetry and Goldsmith’s one novel.

Melodrama

2019 ◽  
Author(s):  
Monique Rooney
Keyword(s):  
18Th Century ◽  
Mixed Form ◽  
Digital Platforms ◽  
Early 21St Century ◽  
Plastic Arts ◽  
Mise En Scene ◽  
Experimental Adaptation ◽  
Development Of Language ◽  
Aesthetic Structure

Melodrama is a mixed or transmedial artform that, having migrated from stage to film, television and digital screens, typically combines plastic arts (tableau, mise en scène, filmic close-up, sculptural poses) with performative arts (stage and screen acting, declamation, singing, orchestral or other music). It emerged first in the 18th century when Jean-Jacques Rousseau wrote and composed his “scène lyrique” Pygmalion, a formally innovative and experimental adaptation of the story from Ovid’s Metamorphoses. In the context of the speculative and neoAristotelian ideas that Rousseau contributed to public debate about the significance of imitation or mimesis in the development of language, Rousseau’s foundational melodrama represented the coming-to-life of Pygmalion’s beloved statue, Galatea, as a mimetic scene in which metamorphosis takes place through the statue’s responsiveness to the artist and vice versa. More than simply a theme, imitation is intrinsic to the musical-dramatic and, thus, transmedial structure of the ur-melodrama, through which the alternation of spoken lyric with musical phrasing was intended to draw attention to the mimetic role of vocal accent within the arrangement. This aesthetic structure opened the possibility of representing a diversity of voices on the metropolitan stage and beyond. Since its Enlightenment-era beginnings, the mixed form of melodrama has persisted even as it has been transformed in its itinerary from the 18th century to the early 21st century, transmedially adapting to new modalities and formats as it has moved from stage to print formats and then to film, television, and digital platforms. The transmedial form and reach of melodrama is discernible in latter-day performance and film, in which the mixed form—particularly vocal accent, melody, and gesture—continue to disrupt normative identities and hegemonic systems.

Sign in / Sign up

Export Citation Format

Share Document