scholarly journals Qui êtes-vous ? L’imaginaire du retrait dans la vieillesse

2021 ◽  
Vol 41 ◽  
pp. 127-142
Author(s):  
Catarina Sant’Anna ◽  
Keyword(s):  
Old Age ◽  

"This article proposes the approach of the imaginary of the retreat in old age and its identity implications. The rich semantism of the term retreat implies different states of mind, different worldviews and behaviours, on a scale between normality and pathology, between self-preservation and self-alienation."

Author(s):  
G. O. Hutchinson

Tragedy presents motion visually, but this is only part of one level of motion. Actual but unseen motion and metaphorical motion interact with stage motion in the rich mythology and language of tragedies. Tragic plots involve motion beyond the stage and are part of larger myths of motion; lyric and speech in Antigone and OT exhibit dense complexes of poetry, events, action. The tragic language of motion is elaborate; each of Sophocles’ plays has its specialities. Tragedy likes speed; but the Philoctetes and OC exploit laborious movement, fraught with long suffering. They survey through motion Philoctetes’ solitary disability and Oedipus’ old age with his daughter. The passages looked at include Philoctetes telling of his endeavours to get food, an attack on stage in which he falls down, the moral and dramatic intricacies of attempted joint motion with Neoptolemus, Antigone being carried off, the winds assailing old age, the failed journey of Oedipus’ son. They manifest: the difficult specifics of movement, graphic stage movement, interweaving of drama and metaphor, groups and individuals, near-authorial lyric, obstinate immorality. Motion in the plays ranges from imagined entry into heaven or the underworld to pain within the body and awkward sitting down. The chamber Philoctetes offers a vast breadth of motion; the fixed OC shows constant fluctuation.


Vox Patrum ◽  
2011 ◽  
Vol 56 ◽  
pp. 185-197 ◽  
Author(s):  
Jerzy Jurkiewicz

When does man begin to be old: when he is sixty, sixty-five and perhaps seventy? Nothing is more uncertain than the beginning of the old age. Is man`s age the matter of his heart, brain, mood, or chronological time? In the ancient world, there was no clear understanding regarding the beginning of the old age. We have different classifications of the stages of human life, but there was no specified year, which would mark the old age. It was a year between 46 and 60 years of age. Today the age of 46 is not the beginning of the old age. In the ancient world, life was much shorter, so it is not surprising that 46 years old was regarded as the beginning of old age. There were two trends in ancient Greece and Rome. One represented by Plato and Cicero: older people are wise, experienced, worthy of reverence and respect. The second trend represented by Aristotle: older people are quarrelsome, greedy, cowardly. The life of old people was different. The rich lived very well, but in general the old age in ancient times was a difficult time.


Risks ◽  
2021 ◽  
Vol 9 (4) ◽  
pp. 65
Author(s):  
Damian Walczak ◽  
Jacek Wantoch-Rekowski ◽  
Robert Marczak

The aim of this paper is to present life expectancy of both genders depending on their income and to determine the impact of a possible regularity on the state pension policy. The study was based on the income of pensioners in Poland (over 5 million people receiving old-age pension). The results obtained made it possible to formulate several important conclusions: the rich live longer; the impact of income on life expectancy is much stronger among men than women; and with age, income has less and less impact on life expectancy. Consequently, in the capital model that is in force in Poland, the state should take this fact into account in its pension policy when calculating the amount of the benefit.


2021 ◽  
pp. 491-505
Author(s):  
Karl Hinrichs ◽  
Julia F. Lynch

Welfare states within the traditional OECD area arranged their pension systems after 1945 so that complete exit from paid employment during an ever-longer retirement period became a universal entitlement. The institutionalization of old-age pensions in the OECD area resulted from an expansion of pension systems in several dimensions: coverage was broadened to almost the entire (working) population, eligibility criteria for enjoying a pension became liberalized (e.g. flexible retirement), the range of benefits was expanded (e.g. survivors’ pensions) and, most importantly, the generosity of benefits substantially increased. This chapter describes the origins, organization, and social consequences of mature pension systems in the developed welfare states; discusses the challenges posed to these systems by demographic, economic, and societal transformations occurring since the 1970s; and traces trajectories of reform, both actual and anticipated. Throughout, our focus is on the pension systems of the rich democracies of Western Europe, North America, and the Antipodes, with more selective attention given to developments in Latin America, Asia, and Eastern Europe.


2005 ◽  
Vol 48 (6) ◽  
pp. 1442-1451 ◽  
Author(s):  
Gitit Kavé ◽  
Yonata Levy

Purpose: Taking advantage of the rich morphological structure of Hebrew, the current article aims to examine whether age affects the processing of morphological forms through an investigation of 2 systematic morphological paradigms. Method: Forty-eight young and 48 old Hebrew speakers completed 2 experiments: the 1st investigated sensitivity to subject-verb gender incongruity in a reading task, and the 2nd examined parsing of pseudoverbs containing existing and nonexisting consonantal roots in a lexical-decision task. Results: Older adults were slower relative to the young, but both groups were slower on incongruent relative to congruent targets and on a pseudoverb with a real root relative to a pseudoverb with a nonexistent root. In both experiments the interaction between condition and age was statistically significant. Conclusions: While older adults demonstrate preserved morphological parsing abilities, possible explanations for the interaction effect include cognitive slowing or deficient inhibitory control.


2017 ◽  
Vol 163 ◽  
pp. 35-45
Author(s):  
Nina Osipova

„Once upon a time there lived an old man and an old woman…”: Archetypical base and its transformationThe article discusses the archetype Wise Old man in the folk world view. It appears in the universal scheme of „Once upon a time there lived an old man and an old woman…” Semantics motif is included in the context of binary field of culture, its archaic system. The representation of the „basic myth” generally reflects the cultural specifics of this model. Drawing on the theory of archetypes Jung, the author analyzes mythopoethic frame „old age”, which includes the main archetype. The rich material of Russian fairy tales shows the transformation of the archetype in the dual model „old men and old woman”, its relationship with the cultural hero Child, its transition to the art space „trickster”, comic old men dell ‘Arte on the one hand, and the wise elders — with another.„Жили-були стаий зi старою…”: архетипная основа i семантична трансформация моделi У статті розглянуті деякі аспекти трансформації архетипу Мудрого Старця уфольклорній картині світу, де він постає в універсальній схемі „Жили-були старий зі старою…”. Семантика мотиву вписується в бінарне поле архаїчної культури з її системою опозицій, репрезентацією „основного міфу” і в цілому відображає таку специфіку представленої моделі, яка породжує певні культурні смисли. З опорою на теорію архетипів К. Юнга аналізується міфопоетична основа культурного фрейма „старість”, що включає основне ядро архетипу. На матеріалі пере­важно російських казок показана трансформація архетипу в дуальні моделі старого і старої, їх зв’язок з культурним героєм „божественним немовлям” і перехід у художній простір „трикстери”, комічні старі dell’Arte, з одного боку, і мудрі старці — з іншого.


Doxa ◽  
2021 ◽  
pp. 32-43
Author(s):  
Roman Galuyko

Vasyl Stafanyk entered into Ukrainian literature XIX – XX century as a master of the short story, where he emotionally passionately violates the existential problems of an individual person, lost in a world indifferent to him, of which he is forced to make certain decisions and take responsibility for his choices. The artist’s special attention is drawn to the loneliness of man, which often causes him despair and confusion. In particular, this is reflected in Stefanyk’s short stories on the lives of rural workers. The writer knew well the Ukrainian village, the problems of the peasants. There was already a gradual departure of the rural community from the collective responsibility for the fate of each of its members, which deepened the alienation, created a sense of abandonment, in his time. For example, the village and the community are calmly watching the decline of Anton’s farm – the hero of Stefanyk’s short story «Blue Book». In this short story, the cry of the soul of a once wealthy owner, who was unlucky, who in despair drinks the whole farm. In his drunken bravado there is sadness, rage and hopelessness, deep despair – Anton feels that everyone is indifferent to his grief, there is no compassion in his home community. Such loneliness, alienation and despair of man, indifference of others permeate the pages and short stories «Paliy». Its protagonist, old Fedor, worked all his life for the rich Andriy Kurochka, lost his strength and health on his farm, and is now forced to beg from strangers. The thought of this hurts Fedor’s aching soul, he goes mad with loneliness, deeply offends his human indifference. In despair, deeply offended, lonely in his grief, Fedor sets fire to the hen’s barn, taking revenge on him for his mutilated life. The lyrical hero of V. Stefanyk’s short story «My Word» chooses a different way of reacting to unfavorable life circumstances from the previous character. It is the confession of a lonely, abandoned man in a world indifferent to the fate of everyone. Detached from his native land, the hero of the novel doesn’t find peace and joy in the new world. His longing comrades, who agreed with this new world, don’t understand him. So, abandoned by them, he builds himself a world of his own imagination, in which he is comfortable and where he truly lives, hoping to find happiness. Accordingly, the author of the short story convinces that everyone is lonely and doomed to fight for their happiness, and therefore responsible for their choices. Very often Vasyl Stefanyk addresses the topic of lonely old age, when adult children become busy with their worries and do not need their parents, as, for example, in the short story «Angel», where old Tymchykha, feeling unnecessary for children, prepares for death as a salvation from loneliness. The writer raises a similar theme of loneliness of old parents with living children in such short stories as, in particular, «Sama samisinka», which depicts a gruesome picture of the death of a helpless mother left to fend for her children who went to work. The other side of lonely old age depicts the image of old Maxim, who can’t forget his dead sons. A lone widower who sent two sons to fight for Ukraine, he complains about his fate, rages in the field at work, shouts at the horses. At the same time, in despair, Maxim doesn’t accept any sympathy from neighbors, proudly carries his loneliness and despair, lamenting the whole world. He is disgusted by everything around him, he lives only by memories of the past, when his sons and wife were alive, when life was raging in his house. Thus, as we can see, many of Vasyl Stefanyk’s short stories are imbued with existential problems of man concerning the negative nature of human existence. Among them the loneliness and despair of the person in difficult life situations are especially penetratingly considered by the writer.


2017 ◽  
Vol 163 ◽  
pp. 643-653
Author(s):  
Miron Pukan

Artistic patterns of old age expression in the works by Slovak authors Milo Urban, Július Barč-Ivan,Karol HorákThe cultural and social phenomenon of old age as an object of artistic literature from middle ages till contemporary period has been interpreted mostly ambivalently as asource of the wisdom as well as the weakness, experience and psychic degradation, the loss of authority and suffering. Within the various poetic methods realizing in the world and European literary production including Slovak literature, the rich reflections and different artistic patterns of an old age expression can be found. To manifest various forms of this cultural and social phenomenon in the literature three works from different social and historical periods representing various development stages of the Slovak literature will be analysed — the novella Staroba “Old Age” from the collection Výkriky bez ozveny “Yells without Echoing”, 1928 written by the prosaic writer and journalist Milo Urban, the tragedy Matka “Mother” written by prosaic and drama writer Július Barč-Ivan, and the play Cesta “Journey” written by prosaic and drama writer, literary and theatre scientist, university professor Karol Horák. The given texts prosaic one and two dramatic ones are integrated by common milieu with identical archetypal value — the world of Slovak village which is often described in the works by Slovak authors.Whereas the protagonist of the first work is an old village man tossing up between passionate desire to live and the awareness of the death inevitability, in the second and third work the key role is played by older women fulfilling their role of mothers. In Barč´s drama the mistaken fatalistic faith in predetermination of human fates leads towards the religious negativism and becomes the source of evil criminal act. As opposed to Barč´s play Matka the protagonist of Horák´s play Cesta, Kata Pohlodková, believes in the better future on the basis of Christian philosophy. The author stratifies his narration to produce the inward portrayal of aman in the extreme life situation on the background of historical events. Taking into consideration the miscellaneous aspects of this phenomenon, the research of this topic in the literary works is still open provoking the questions like — In which way is life represented in the literature through this phenomenon? Is this phenomenon presented stereotypically or are the generally valid stereotypes overcome? What is the influence of this phenomenon on aman and his/her attitude towards life transience? It can be generally accepted that the phenomenon of old age intervenes into human life and modifies it in abig way.Artystyczne ujęcie zjawiska starości w twórczości wybranych autorów słowackich Milo Urban, Július Barč-Ivan, Karol HorákSpołeczno-kulturowy fenomen starości w literaturze artystycznej od średniowiecza aż po współczesność interpretowany jest ambiwaletnie: z jednej strony jako źródło mądrości i doświadczenia, z drugiej zaś jako czas słabości, degradacji psychicznej, utraty autorytetu oraz cierpienia. W literaturze światowej, europejskiej, więc również, co oczywiste, w kontekście słowackim, stosunkowo często spotykamy się z refleksją na temat ostatniej fazy życia człowieka i z jej różnorodnym artystycznym opracowaniem. Za ilustrację możliwych literackich ujęć owego zjawiska posłużyły nam trzy dzieła autorów piszących po słowacku: nowela Staroba Starość ze zbioru Výkriky bez ozveny 1928; Okrzyki bez echa prozaika, tłumacza i dziennikarza Mila Urbana, tragedia Matka 1943 prozaika i dramatopisarza Júliusa Barča-Ivana oraz sztuka Cesta 1988; Droga dramatopisarza, prozaika, teatrologa i literaturoznawcy — profesora Karola Horáka. Wybrane utwory jeden prozatorski, dwa dramatyczne łączy pewien element archetypiczny — topos wsi słowackiej, skądinąd silnie obecny w rodzimej literaturze.Głównym bohaterem tekstu prozatorskiego jest uwięziony między pragnieniem życia a świadomością nieuniknionej śmierci mężczyzna, natomiast w przypadku dramatów kluczową rolę odgrywają starsze kobiety — matki. W dramacie Júliusa Barča-Ivana ślepe przekonanie o nieodwracalności ludzkiego losu prowadzi do zaprzeczenia religii i— w ostateczności — do zbrodni. Inaczej jest u Karola Horáka. Protagonistka sztuki Cesta Kata Pohlodková zgodnie z duchem filozofii chrześcijańskiej wierzy w lepszą przyszłość. Swoją opowieść autor wzbogaca, na tle wydarzeń historycznych pokazując introspektywę bohatera, który znalazł się w tragicznej sytuacji życiowej.Należy pamiętać o tym, że szeroki horyzont omawianego zjawiska, również dzięki jego wieloaspektowości, nie ogranicza pola badawczego, lecz wręcz przeciwnie — prowokuje do dalszych odkryć oraz prób odpowiedzi na liczne pytania. Bardzo interesująca wydaje się na przykład kwestia rzutowania starości na wizerunek życia w literaturze pięknej. Czy przedstawianie starości podlega powszechnie przyjętemu stereotypowi, czy mu się opiera, przełamuje go? Jaki wpływ ma starość na człowieka i świadomość przemijania? I tak dalej. Z pewnością jednak można stwierdzić, że omawiane przez nas zjawisko determinuje człowieka, określając i formując jego los.


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