scholarly journals Nostalgia as a contemporary cultural phenomenon

2020 ◽  
pp. 37-49
Author(s):  
Ana Petrov
Keyword(s):  
20Th Century ◽  
Emotional State ◽  
Contemporary Society ◽  
Emotional Connection ◽  
Cultural Phenomenon ◽  
Theoretical Approaches ◽  
Frederic Jameson ◽  
The Times

In this article, I point to the most relevant characteristics of the discourses on nostalgia in the 20th and 21st centuries. The focus of the analysis is on the transformation of the concept of nostalgia from a mental and emotional state to a product in contemporary consumerist society. The text entails two crucial issues: nostalgia in the context of postmodernism and nostalgia in the context of consumerism. The expansion of the concept brought to an interpretation according to which nostalgia discourse in the postmodern age reproduces itself without necessary reference to a specific past, thus becoming a certain ahistorical autonomous style, which, as such, can be available for consumption independently from any emotional connection with the times and places on which the style alludes. This kind of nostalgia is labeled as ?nostalgia mode? by Frederic Jameson. The aim of the article is to point to the basic theoretical approaches to the process of commodification of the concept of nostalgia in the contemporary society. Even though there are copious typologies of nostalgia, since the end of the 20th century dealing with this phenomenon is mostly imbued in the context of consumerism. Hence, contemporary nostalgia is sometimes also seen as both consumed and consuming nostalgia.

D. KATSAROV ON THE MAIN PRINCIPLES OF PEDAGOGY

2018 ◽  
Vol 28 (3) ◽  
pp. 815-822
Author(s):  
Reni G. Hristova - Kotseva
Keyword(s):  
Social Control ◽  
20Th Century ◽  
Emotional State ◽  
Social Process ◽  
Physical Development ◽  
Three Dimensions ◽  
Or Education ◽  
Educational Work ◽  
Full Extent ◽  
To Come

Prof. D. Katsarov was a prominent scholar who worked in the field of Psychology and Pedagogy in Bulgaria during the 20th century. In his rich pedagogical heritage, he defined three basic pedagogical principles - love, freedom and experience.D. Katsarov's humanism is expressed in his deep faith in man, in his conviction that every human being possesses good talents and that every child deserves trust. His humanism manifests itself in his love of both the child and the adult, in his deep faith in their powers and capabilities.He declared this love to be the first basic pedagogical principle, without which upbringing, training or education cannot exist to the full extent of their meaning.The pedagogical principle of love is not perceived as a temporary emotional state but as an active attitude both in the child and the teacher. Love is expressed through concern, attention to the needs and interests of the child, and through active attitude to what is necessary to satisfy these needs and interests.The importance of this basic, according to Prof. D. Katsarov, principle can be seen in its three dimensions: the attitude of the child, of the teacher and of the education system.D. Katsarov formulated several kinds of freedom. Physical freedom, according to him, is expressed in freedom of deeds and actions. Any limitation of the freedom of the child inevitably leads to obstructing of their proper physical development "because this freedom enables the child to come into the widest range of contacts with the things that surround them, which is the only opportunity to get to know them comprehensively".According to Prof. D. Katsarov, it is the American philosopher, pedagogist and psychologist John Dewey that provides the most profound analysis of experience as a pedagogical principle, in its broad sense, as the basis of education.The true educational experience, according to the author, is a social process of sharing. Educational work is a source of social control only when it is a common work involving all individuals and those individuals feel somewhat responsible.

scholarly journals socialist city

2021 ◽  
Vol 18 (68) ◽  
pp. 1-1
Author(s):  
Elena Grigoryeva
Keyword(s):  
Economic Development ◽  
Civil Society ◽  
20Th Century ◽  
Good Thing ◽  
Main Topic ◽  
Social Experiments ◽  
House Construction ◽  
Socio Economic Development ◽  
Historical Heritage ◽  
The Times

The period of the “socialist project” occupied the biggest part of the 20th century. Hugescale social experiments have greatly shaped the present-day city’s appearance. The second half of the 20th century evidenced an unprecedented volume of housing and industrial technologies in house construction and design. Most of us, today’s citizens, live in the neighborhoods and houses built during the socialist era.Belgrade and Split, Sverdlovsk, Sevastopol, Magnitogorsk, Irkutsk, Krasnoyarsk, Khabarovsk, Odessa, Moscow – all the cities represented in this issue demonstrate the achievements of the period of the “socialist project”.Having defined the historical heritage as a phenomenon of the socio-economic development, the civil society of Irkutsk pointed out again the urgency of this issue. It also concerns other cities that respect their history. Without history, without heritage, there is no future. Including the heritage of the 20th century.We would like to devote the main topic of the issue to recollections of how residential neighborhoods were formed in socialist cities, what people and what processes defined that formation, in which cases the ideology influenced the appearance of cities, and in which cases cities grew and developed according to their internal regularities. The purpose is not only to pay our respect to wonderful masters, but also to learn the humanistic approaches to space arrangement from them again. It is a good thing in the times of domination of completely different goals related to making a quick profit. It is a good thing for all.

scholarly journals POLITIK HUKUM DALAM PEMBAHARUAN PERATURAN EKSTRADISI DI INDONESIA DIHUBUNGKAN DENGAN UNITED NATIONS MODEL TREATY ON EXTRADITION OF 1990

2019 ◽  
Vol 4 (1) ◽  
pp. 1-19
Author(s):  
Zarisnov Arafat ◽  
Muhammad Gary Gagarin Akbar
Keyword(s):  
International Relations ◽  
United Nations ◽  
20Th Century ◽  
Criminal Law ◽  
The State ◽  
Territorial Sovereignty ◽  
Similarities And Differences ◽  
The United Nations ◽  
The Times ◽  
Made In

Ekstradisi secara universal hingga saat ini mengalami perubahan yang semakin baik, terutama setelah kehidupan bernegara sudah mulai tampak lebih maju sampai abad 20 ini. Hubungan dan pergaulan internasional menemukan bentuk dan substansinya yang baru dan berbeda dengan zaman sebelum Perjanjian Perdamaian Westphalia tahun 1648. Negara-negara yang berdasarkan atas prinsip kemerdekaan kedaulatan dan kedudukan sederajat mulai menata dirinya masing-masing terutama masalah domestik dengan membentuk dan mengembangkan hukum nasionalnya, yang salah satunya di bidang hukum pidana nasional. Hukum pidana nasional masing-masing negara, terutama jenis-jenis kejahatan atau tindak pidananya, disamping pula ada kesamaan dan perbedaannya. Semakin menguat batas wilayah dan kedaulatan teritorial masing-masing negara, semakin menguat pula penerapan hukum nasionalnya di dalam batas wilayah negara masing-masing. Semakin banyaknya perjanjian-perjanjian yang dibuat oleh negara-negara baik bilateral ataupun multilateral untuk mengatur suatu masalah tertentu yang sudah, sedang, dan akan dihadapi. Dalam pembuatan perjanjian tersebut mulai dilakukan pengkhususan atas substansinya, jadi tidak lagi satu perjanjian mencakup berbagai macam substansi yang berbeda-beda. Di Indonesia peraturan mengenai Ekstradisi dibuat pada tahun 1979, mengingat hingga saat ini belum terjadi perubahan di dalam Undang-Undang Nomor 1 Tahun 1979 padahal PBB telah membuat suatu model pembuatan perjanjian ekstradisi pada tahun 1990, sehingga sudah selayaknya peraturan mengenai ekstradisi di Indonesia harus mengalami pembaharuan ke depan yang lebih baik. Kata Kunci: Ekstradisi, Politik Hukum, Hukum Pidana.   Abstract Extradition is universally up to now experiencing increasingly good changes, especially after the state of life has begun to appear more advanced until the 20th century. International relations and relationships find new and different forms and substance from the times before the Treaty of Peace of Westphalia in 1648. Countries that are based on the principle of freedom of sovereignty and equal position begin to organize themselves, especially domestic problems by forming and developing national laws, which one of them is in the field of national criminal law. The national criminal law of each country, especially the types of crime or criminal acts, besides there are similarities and differences. The stronger regional boundaries and territorial sovereignty of each country, the stronger the application of national laws within the borders of each country. The increasing number of agreements made by countries both bilaterally and multilaterally to regulate a particular problem that has been, is being, and will be faced. In making these agreements, specialization of the substance began to be carried out, so no more than one agreement covers a variety of different substances. In Indonesia, the Extradition regulation was made in 1979, considering that until now there had been no changes in Law Number 1 of 1979 even though the United Nations had made a model for making an extradition treaty in 1990, so that proper regulations on extradition in Indonesia must undergo reform better future.                                   Keyword: Extradition, Politics of Law, The Criminal Law.                                                                        

scholarly journals Sadayakko és Hanako Budapesten

2020 ◽  
Vol 11 (2019/1) ◽  
Author(s):  
Petra Doma
Keyword(s):  
20Th Century ◽  
Theatre History ◽  
Death Scene ◽  
The Press ◽  
The Times ◽  
In The Beginning

In the beginning of the 20th century, two celebrated Japanese actresses, Kawakami Sadayakko (1871–1946) and Hanako (1868–1945), visited Budapest. Sadayakko, accompanied by the Kawakami troupe, arrived in February 1902 and performed at the Uránia Theatre. Hanako visited the Hungarian capital twice: in 1908 and 1913. Both of them played in ‘Japanese-style’ performances, which at first seemed traditional and authentic to the Hungarian audience. The most important and spectacular element of these plays was the death scene and the supernatural way the actresses performed this on stage. In the present paper I analyse various kinds of contemporary articles and examine how the two actresses appeared in and influenced Hungarian theatre history. Additionally, through the analysis of the press of the times, I will argue that Hanako’s second visit was less successful than her first or than Sadayakko’s, and show that the audience’s opinion about the authenticity of the performance changed completely.

scholarly journals Motywy sportowe w polskiej sztuce międzywojennej — rekonesans

2017 ◽  
Vol 22 ◽  
pp. 75-89
Author(s):  
Michał Mazurkiewicz
Keyword(s):  
Physical Activity ◽  
Human Activity ◽  
Positive Influence ◽  
Great Strength ◽  
Cultural Phenomenon ◽  
Art And Literature ◽  
The World ◽  
History Of ◽  
Polish Art ◽  
The Times

Sports Motifs in Interwar Polish Art — a ReconnaissanceSport is an important cultural phenomenon permeating many spheres of human activity. It has a great strength of influence and is constantly present in art and literature, also in Poland. Artists, especially the ones being lovers of sport, have always been fascinated with the potential existing in different kinds of games. After regaining independence in 1918, physical activity enjoyed great popularity in the awaken­ing Polish state. Sport was seen as achance of broadly understood renaissance of the nation; in addi­tion, its role in preparing the army to fight in the times of still real threats was appreciated. A positive influence of sport on youth was also seen. It also entered the world of art. The aim of this paper is to present Polish artists inspired by sport, also including laureates of the Art Competitions at the Summer Olympics, like for example poet Kazimierz Wierzyński, painter Władysław Skoczylas or sculptor Józef Klukowski. The author analyses both their motivations and the artistic output. The examination is preceded by an introduction showing the beginnings of Polish art inspired by sport and entertainment, whose elements one will find for example in the case of Leon Wyczółkowski or Wojciech Kossak, as well as the beginnings of sports literature. The history of the presence of sport in Polish art and literature is quite rich. The research enquired exploration of the history of Polish antebellum sport, looking over the works of artists interested in sport, as well as familiarising oneself with numerous publications devoted to this phenomenon.

scholarly journals Avant-Garde Children’s Magazines and Newspapers of the 1920s – 1930s in Siberia

2019 ◽  
Vol 14 (2) ◽  
pp. 84-105
Author(s):  
Ksenia V. Abramova
Keyword(s):  
20Th Century ◽  
Children And Youth ◽  
Children's Books ◽  
Self Presentation ◽  
Avant Garde ◽  
Black And White ◽  
Children's Magazines ◽  
New Type ◽  
The Times ◽  
Design Techniques

The purpose of this article is to analyze the magazines and newspapers for children and youth issued on the territory of Siberia in 1920s – 1930s. A great many children’s books were issued that years, moreover, the approach to design of that books and to the contents of writings for children changed significantly: the topics had to be actual, associated with the construction of the new society. At the same time, exactly in children’s press in 1920s, the new principles of book graphics were formed. There are a large number of magazines and newspapers aimed at youth audiences were published in Siberia in the 1920s and 1930s, but they did not have a long history. Some of them appeared only once or twice, after that they closed. But all the more interesting is the study of these rare publications as experiments that influenced how the Soviet children’s and youth magazine was formed. Viewing magazines and newspapers allows you to observe how the rubrication and the genre system of Soviet publications for children evolved, as well as identify trends that have become a definite “sign of the times”. The article explores archive materials and examines the contents of printed issues, peculiarities of the approaches to the inner composition of the material and design techniques, discovers the features of the “Soviet avant-garde” development in children’s and youth periodicals. It indicates that the majority of the Siberian Children’s and youth magazines issued within that period has demonstrated a strongly demonstrated ideological overtone, claiming its purpose raising the new type of human and orientation on the “iterature of fact”. The article covers the peculiarities of the illustration techniques in Siberian post-revolutionary magazines. The article marks that up to the mid – late 1920s, the children’s and youth periodicals design became composed of such elements as insets, plane drawings based on a contrast combination of black and white, photography and photographic compilation. Furthermore, it describes a number of self-presentation techniques, developed exactly by the avant-garde art. As can be seen from the above, it can be stated that Siberian children’s and youth journalism acquired the avant-garde trends of the first third of the 20th century, however, they haven’t been gradually and fully realized.

Folklorism and the Chronotope in the Works of Komitas

10.34690/03 ◽  
2019 ◽  
pp. 166-175
Author(s):  
А.И. Демченко
Keyword(s):  
20Th Century ◽  
National Character ◽  
Early 20Th Century ◽  
Deep Insight ◽  
Time And Space ◽  
Artistic Value ◽  
Perception Of Time ◽  
The Times ◽  
Insight Into

Будучи одним из самых самобытных музыкантов начала ХХ века, Комитас претворил в своем искусстве ряд характерных для этого времени художественных идей, наиболее примечательные из которых связаны с музыкальным фольклоризмом и с понятием хронотопа. Блистательное композиторское мастерство Комитаса выводило его очень далеко за пределы привычных представлений о жанре фольклорной обработки. Глубокое проникновение в дух и законы родной музыкальной речи позволяло ему широко применять методы полифонической обработки народных мелодий, активно развивать фактуру сопровождения, которая в ряде случае приобретала самостоятельную художественную ценность. Самобытность песен и хоров Комитаса в ряде случаев определяется связью с восточным миросозерцанием, для которого в сравнении с европейским менталитетом характерно особое восприятие времени и пространства. При этом наибольший интерес представляют те образцы, где раскрывается сопричастность к категориям всеобщей материи и вечности. Особенно широко представлено в творчестве Комитаса погружение в природную сферу с растворением в ней человеческого начала. Восхождение к надвременным категориям композитор чаще всего совершает, когда делает основой сочинений фольклорные мелодии, пришедшие из толщи времен и запечатлевшие в себе устойчивые, коренные черты народного характера. Особым достижением Комитаса является то, что он не ограничивается претворением пантеистического и надвременного как отдельных сущностей. В ряде сочинений композитор дает их в соединении, чему опять-таки способствовали особенности восточного понимания хронотопа. Being one of the most original musicians of the early 20th century, Komitas has put into his art a number of typical for this time of artistic ideas, the most notable of which are associated with the musical folklorism and with the concept of the chronotope. His brilliant compositional skills took him far beyond the usual ideas about the genre of folklore processing. A deep insight into the spirit and laws of his native musical speech allowed him to widely apply the methods of polyphonic processing of folk melodies, actively develop the texture of accompaniment, which in some cases acquired an independent artistic value. The identity of Komitass songs and choirs is in some cases determined by the connection with the Eastern worldview, which is characterized by a special perception of time and space in comparison with the European mentality. At the same time, the most interesting are the samples, which reveal participation in the categories of universal matter and eternity. Especially widely represented in the works of Komitas deep immersion in the natural sphere with the dissolution of the human principle in it. The ascent to supra-temporal categories the composer often does, when making the basis of the works of folk tunes, came from strata of the times and depicting in a sustainable, indigenous features of the national character. A special achievement of Komitas is that it is not limited to the implementation of the pantheistic and supra-temporal as separate entities. In a number of works the composer gives them in conjunction, which again contributed to the features of the Eastern understanding of the chronotope.

I Compute, Therefore I Am

2014 ◽  
Author(s):  
Subrata Dasgupta
Keyword(s):  
World War Ii ◽  
20Th Century ◽  
Social Systems ◽  
Nobel Laureate ◽  
Feedback Systems ◽  
Rabindranath Tagore ◽  
No Man's Land ◽  
Living Organisms ◽  
The Times ◽  
Fellow Scientist

The 1940s witnessed the appearance of a handful of scientists who, defying the specialism characteristic of most of 20th-century science, strode easily across borders erected to protect disciplinary territories. They were people who, had they been familiar with the poetry of the Nobel laureate Indian poet–philosopher Rabindranath Tagore (1861– 1941), would have shared his vision of a “heaven of freedom”: . . .Where the world has not been broken up into fragments by narrow domestic walls. . . . Norbert Wiener (1894–1964), logician, mathematician, and prodigy, who was awarded a PhD by Harvard at age 17, certainly yearned for this heaven of freedom in the realm of science as the war-weary first half of the 20th century came to an end. He would write that he and his fellow scientist and collaborator Arturo Rosenbluth (1900–1970) had long shared a belief that, although during the past two centuries scientific investigations became increasingly specialized, the most “fruitful” arenas lay in the “no-man’s land” between the established fields of science. There were scientific fields, Wiener remarked, that had been studied from different sides, each bestowing its own name to the field, each ignorant of what others had discovered, thus creating work that was “triplicated or quadruplicated” because of mutual ignorance or incomprehension. Wiener, no respecter of “narrow domestic walls” would inhabit such “boundary regions” between mathematics, engineering, biology, and sociology, and create cybernetics, a science devoted to the study of feedback systems common to living organisms, machines, and social systems. Here was a science that straddled the no-man’s land between the traditionally separate domains of the natural and the artificial. Wiener’s invention of cybernetics after the end of World War II was a marker of a certain spirit of the times when, in the manner in which Wiener expressed his yearning, scientists began to create serious links between nature and artifact. It is inevitable that this no-man’s land between the natural and the artificial should be part of this story.

Memoryscapes and mediascapes: musical formations of ‘pensioners’ in late 20th-century Sweden

Popular Music ◽  
2012 ◽  
Vol 31 (2) ◽  
pp. 279-295
Author(s):  
Sverker Hyltén-Cavallius
Keyword(s):  
20Th Century ◽  
The Other ◽  
Music Listening ◽  
Contemporary Society ◽  
Central Theme ◽  
Late 20Th Century ◽  
Music Selection ◽  
Study Circle

AbstractThe late 20th century in Sweden saw the growth of music solely aimed at an elderly audience. This article discusses music within pensioner organisations, first assessing a cassette compilation marketed through the members' magazine of Sweden's largest pensioner organisation and, second, embarking on ethnographies of meetings within a study circle in music-listening arranged through a pensioner organisation, conducted in 1999–2000. The music selection in the cassette compilation diminishes certain genres of the included period and foregrounds others, adding up to a specific homogeneous national memoryscape. A central theme in the study circle was the production and negotiation of generational and individual memoryscapes. The two mediascapes produced different memoryscapes, one being nationally and temporally bounded, the other being at the same time local, transnational and transtemporal. To conclude, the article claims that if we wish to understand the nexus of ageing and music in contemporary society, we need to listen not only to musicians, entrepreneurs and care institutions, but also to their intended audiences.

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