scholarly journals Discussion on the Self in "Milindapañha" on Chariot: New Translation and Comments

2021 ◽  
Vol 25 (2) ◽  
pp. 260-275
Author(s):  
Lev I. Titlin
Keyword(s):  
English Translation ◽  
Point Of View ◽  
The Self

Introduction A good example of emergentism - interpreted by M. Siderits [1] as - Buddhist reductionism) is an excerpt from the dialogue between King Milinda[4] and the monk Nāgasena[5] about the self, which is part of the text close to the Abhidhamma tradition entitled "Milindapaha" (or "Questions of King Milinda"). The text was published by V. Trenckner in 1880 in [2] and translated into English by T.W. Rhys Davids [3] in the series "Sacred Books of the East". Furthermore, there is an English translation by I. B. Horner [4] and Bhikkhu Pesala [5] and into Russian by A.V. Paribok [6]. There are also German [7] and French translations [8; 9]. Yet the classical translation by Rhys Davids is currently largely obsolete. Paribok's translation into Russian is not convenient for practical use as it would need to be further translated into English, and this double translation, which is not very good from the point of view of the philological approach to the text. We have therefore decided to make our own, new translation of the passage from "Milindapaha", in which the dialogue about the self is being held.

Vídeo experimental e autorretrato

2021 ◽  
Author(s):  
Filomena Antunes Sobral ◽  
Daniela Morgado Oliveira
Keyword(s):  
Crucial Role ◽  
Point Of View ◽  
The Self ◽  
Self Awareness ◽  
Cindy Sherman ◽  
Artistic Creation ◽  
Multiple Variable ◽  
The Relationship ◽  
Theoretical Foundations ◽  
Creative Production

In the development of the relationship between the artist and his artistic creation, the deconstruction of concepts and ideas within the scope of artistic praxis leads to the reflection of the crucial role that the artist has in the conception and meaning of the work. His creative production, in turn, appropriates not only the expressive force of the author to assert itself as an artistic creation, but can also assume to be the reflection of the self, its identity and materializes in the form of self-portrait. The self-portrait expands the artist’s interiority, externalizing concerns and questions, and conveys a subjective point of view about himself and his view of art. But how does self-portrait contribute to self-awareness? And how does the artist reveal himself and communicate beyond his appearance?Based on these questions, the objective of this paper is to provide a reflection on self-portrait presenting the results of an artistic installation project that involved photographic language in the form of self-portrait and experimental video to represent feelings of disquiet. Influences such as Cindy Sherman, Lais Pontes or Francesca Woodman, whose creations approach the self-portrait in a not only original, but critical style, stand out.It is a project of academic and artistic nature supported by theoretical foundations. The results allow us to conclude that the artistic installation, which began by presenting a self-portraying self-seeking identity, frees itself from its creator to enhance multiple variable interpretations depending on the observer’s attention.

scholarly journals Telling the Untellable: Negotiating Maternal Bereavement in Sophie Daull's Camille, mon envolée (2015)

2019 ◽  
Vol 19 (1) ◽  
pp. 165-185
Author(s):  
Julie Rodgers
Keyword(s):  
Bacterial Infection ◽  
Social Impact ◽  
Point Of View ◽  
The Self ◽  
Traumatic Loss ◽  
Death Scene ◽  
Self Blame ◽  
Mother Figure ◽  
Maternal Motivation ◽  
Insight Into

Sophie Daull's Camille, mon envolée (2015) is an autobiographical depiction of the sudden and traumatic loss of an only daughter (Camille) due to an undetected fatal bacterial infection. It is recounted uniquely from the maternal point of view and directly addresses the daughter throughout. It concerns an incredibly recent bereavement as the writing of the text, the author tells us, commences just one week after the daughter's death. Camille, mon envolée is a markedly intimate and brutally honest account of a mother who is an active witness to and, one could argue, participant in her daughter's agonizing death scene. The text captures the sense of powerlessness that is experienced by the mother, the incomprehensibility of the loss, the self-blame, and, finally, the coming to terms with it and the learning to live on, not without guilt, however. It also offers insight into maternal motivation for writing such a text, ranging from a quest for understanding and an outlet for grief, to a desire to preserve the daughter's memory. Furthermore, through close examination of the physical, psychological and social impact of the death of a child on mother figure subjectivity, Camille mon envolée successfully traces out for the reader the very specific characteristics of maternal bereavement and its overwhelmingly embodied nature. Finally, the text represents an engagement on the part of the grieving mother with what has been termed 'scriptotherapy' in a bid to negotiate this trauma and find a means, not only of remembering the daughter, but also of surviving the tragedy. In this respect, Camille, mon envolée is a text of resistance, where the unthinkable is confronted and the untellable bravely told.

scholarly journals Cartas privadas y actitudes lingüísticas en España y América durante los siglos XVIII y XIX. Algunos problemas en el modo de acceso al objeto de estudio

2019 ◽  
Vol 10 (1) ◽  
pp. 13
Author(s):  
Manuel Rivas Zancarrón
Keyword(s):  
Point Of View ◽  
The Self ◽  
Ordinary People ◽  
Good Education ◽  
Oral Manifestation ◽  
Language History ◽  
Implicit And Explicit

Together with an oral manifestation put into practice by tradition since birth, necessity drove ordinary people to develop the ability to speak with an absence of the self, the you and the communicative situation. Initially, it was the emigration to America, promoted by the miseries of a decadent homeland, which contributed to the development of a textual genre of urgency, without literary retensions, which in later years became a sign of good education on the part of those using it. With this work, we review the methodological pitfalls that are hidden when accessing this type of object. We analyse the difficulties that might be found by researchers when facing these documents from a philological point of view and from the sociolinguistic view of the attitudes of the speakers—both implicit and explicit. The concept of “discursive tradition” will act as a methodological moderator and will allow the construction of a bridge between diachronic Sociolinguistics and Language History in the recovery of oral remains from the speech of the 18th and 19th centuries in Spain and America.

TRANSLATION OF HUMOR IN SUBTITLING. A CASE STUDY OF THE ARMENIAN FILM “LOST AND FOUND IN ARMENIA”

2021 ◽  
pp. 62-73
Author(s):  
NARINE GISHYAN
Keyword(s):  
English Translation ◽  
Complete Loss ◽  
Point Of View ◽  
Translation Strategies ◽  
Sound Effects ◽  
Lost And Found ◽  
Semantic Point

NARINE GISHYAN - TRANSLATION OF HUMOR IN SUBTITLING. A CASE STUDY OF THE ARMENIAN FILM “LOST AND FOUND IN ARMENIA” The article touches upon the translation peculiarities of humor into Armenian and the ways of their preservation in English through the use of translation strategies. A contemporary Armenian movie “Lost and Found in Armenia” is selected to give the general insight of the transfer of Armenian humor in subtitling. As a result of the study, we can state that from a semantic point of view, the translator was able to convey the meaning, often through partial or complete loss of humor. Deviations were mainly associated with interjections, which were omitted in the English translation. In all the extracted examples, interjections and sound effects, partially providing the humor of the episodes, were omitted. However, their restoration did not create an additional technical obstacle, since it corresponded to the spatial and temporal standards of subtitling.

‘Be Me’: I-Vampire/I-Zombie

2016 ◽  
Author(s):  
Stacey Abbott
Keyword(s):  
Point Of View ◽  
The Self ◽  
First Person ◽  
Film And Television ◽  
Cultural Anxiety ◽  
New Meanings ◽  
Byronic Hero ◽  
Narrative Format ◽  
The Right ◽  
Subsequent Rise

This chapter examines the adoption and development of the first person narrative format within vampire, and more recently zombie, film and television. It considers how this trope has contributed to the rise of the sympathetic/romantic vampire figure from the Byronic hero within Polidori’s The Vampyre to Interview with the Vampire and Byzantium and the subsequent rise of the sympathetic zombie. This chapter questions if this first person point of view empties the vampire and zombie of symbolic agency, or manipulates the genre to explore new meanings. It considers how the genres of the vampire and the zombie are increasingly interconnected, moving away from themes of apocalypse and cultural anxiety to explore questions of identity and the self within a changing world, effectively queering the vampire and zombie for new audiences.Case studies include Let the Right One In, Byzantium, Only Lovers Left Alive, Warm Bodies, Colin, and In the Flesh.

Part I

Good Lives ◽  
2021 ◽  
pp. 3-124
Author(s):  
Samuel Clark
Keyword(s):  
Literary Criticism ◽  
Good Life ◽  
Ethical Reasoning ◽  
Point Of View ◽  
The Self ◽  
The Good Life ◽  
Self Presentation ◽  
Self Reflection ◽  
Wide Range ◽  
Self Knowledge

Part I investigates a wide range of autobiographies, alongside work on the history and literary criticism of autobiography, on narrative, and on the philosophies of the self and of the good life. It works from the point of view of the autobiographer, and considers what she does, what she aims at, and how she achieves her effects, to answer three questions: what is an autobiography? How can we learn about ourselves from reading one? About what subjects does autobiography teach? This part of the book develops, first, an account of autobiography as paradigmatically a narrative artefact in a genre defined by its form: particular diachronic compositional self-reflection. Second, an account of narrative as paradigmatically a generic telling of a connected temporal sequence of particular actions taken by, and particular events which happen to, agents. It defends rationalism about autobiography: autobiography is in itself a distinctive and valuable form of ethical reasoning, and not merely involved in reasoning of other, more familiar kinds. It distinguishes two purposes of autobiography, self-investigation and self-presentation. It identifies five kinds of self-knowledge at which autobiographical self-investigation typically aims—explanation, justification, self-enjoyment, selfhood, and good life—and argues that meaning is not a distinct sixth kind. It then focusses on the book’s two main concerns, selfhood and good life: it sets out the wide range of existing accounts, taxonomies, and tasks for each, and gives an initial characterisation of the self-realization account of the self and its good which is defended in Part II.

2. Literature

2019 ◽  
pp. 9-18
Author(s):  
Gary Gutting
Keyword(s):  
Point Of View ◽  
The Self ◽  
Death Of The Author ◽  
The Way

Foucault used his writing to escape from any pigeonholing of identity and to allow him to become someone else. Is being an author a matter of having an identity? ‘Literature’ considers this question and examines it from Foucault’s point of view. What did he see his role as? As an author, a person can assume a variety of roles, corresponding to a diversity of selves. Foucault was interested in the way that authors can relate to language, not as self-expression, but as a way to lose the self in language. This refers to the concept of the death of the author as self-expressive. The author is a vehicle for letting language reveal itself.

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