Day Stars and Pervorossiisk by Olga Berggolts in the Light of Poetic Cinematograph

The paper considers the book Day Stars and the narrative poem Pervorossiisk by Olga Berggolts from an interdisciplinary perspective. The works were screened by Igor Talankin and Evgenii Shiffers. According to the author of the research, it is these films that define meaning-making mechanisms of Berggolts’s creative activity. A night dream mode of film narration is determinant for I. Talankin’s Day Stars; the search for the form, which is able to communicate the book structure as well as a whimsical game of human memory, comes to the fore. The film making became a testing site for Evgenii Shiffers where his religious and philosophical ideas were performed. The film Pervorossiyane is not just setting an event line in terms of visual patterns but the narrative poem reproduced via a film and thought solely in a religious and drama mystery light.

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Clues to Human Creativity

Secrets of Creativity ◽

10.1093/oso/9780190462321.003.0005 ◽

2019 ◽

pp. 86-104

Author(s):

Charlotte Stagg ◽

Geraint A. Wiggins

Keyword(s):

Empirical Study ◽

Mathematical Models ◽

Domain Knowledge ◽

Human Memory ◽

Creative Activity ◽

Human Memory And Learning ◽

Memory And Learning ◽

Human Creativity ◽

The Relationship

Creativity is one of the defining features of humanity. However, the mechanisms involved in the generation of novel and interesting ideas are not, at least from this perspective, extensively studied. Creativity as a property is easily (if subjectively) identified but notoriously hard to do define. One aspect on which most definitions agree is the necessity for domain knowledge: to be significantly creative in an area of endeavor, one needs knowledge of that area. Such a need entails the involvement of human memory and learning as a precursor to creative activity. In this chapter, the authors discuss the relationship between memory and creativity, looking at the potential for mathematical models and empirical study to elucidate the connections between them.

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Translation, Recovery, and “Ethnic” Archives of Africana: Inscribing Meaning beyond Otherness

PMLA ◽

10.1632/pmla.2012.127.2.360 ◽

2012 ◽

Vol 127 (2) ◽

pp. 360-364

Author(s):

Greg Carr

Keyword(s):

Meaning Making ◽

Human Memory ◽

Cultural Groups ◽

Archival Research ◽

Material Texts

Scholars who conduct ethnic archival research and who use material texts and practices in institutions in order to examine human memory and interpret human meaning-making face the challenge of placing differently archived traces of intellectual genealogies in conversation, conflict, and convergence with Western-oriented intellectual genealogies and methodologies. Such a challenge reveals the question at the heart of the proposition of the “ethnic” archive: how do scholars use archival collections as only part of the larger constellation of inscription systems produced, maintained, and institutionalized by cultural groups no longer beholden to the relational dynamic of “othering”?

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Constructing negative emotions in cinematic discourse: a cognitive-pragmatic perspective

Cognition communication discourse ◽

10.26565/2218-2926-2019-19-04 ◽

2019 ◽

Keyword(s):

Cognitive Linguistics ◽

Meaning Making ◽

Negative Emotion ◽

Negative Emotions ◽

Cognitive Model ◽

Integrative Approach ◽

Semiotic Resources ◽

Dynamic Perspective ◽

Film Making ◽

Emotive Meaning

This article reveals cognitive-pragmatic properties of constructing negative emotions in English feature cinematic discourse. This research is underpinned by semiotic theories, linguistic theory of emotions, discourse studies, cognitive linguistics, the theories of conceptual integration and joint attention, which stipulate an integrative approach to the multisemiosis of negative emotive meanings by verbal, non-verbal, and cinematographic semiotic resources. This research stressess the polycoded and multimodal nature of cinematic discourse, where a combination of visual and acoustic modes changes dynamically in the film time and space. Adopting an interactional-dynamic perspective on emotive meaning making in film, I claim that negative emotions in cinematic discourse are emergent multimodal dynamic constructs resulting from the online interaction of verbal, non-verbal, and cinematic resources, which takes place at primary and secondary stages of film making. The primary semiosis of negative emotive meaning occurs in the screenplay, which is an integral part of cinematic discourse and presents a film cognitive model. The secondary semiosis takes place in the film diegesis through a combination of verbal, non-verbal and cinematographic means specific for a particular negative emotion. In feature cinematic discourse, I distinguish eight combination patterns of multimodal semiotic resources depending on a set of criteria: quantitative vs qualitative or synchronous vs sequential configuration patters. The collective author’s intention and film genres influence the choice of cinematic techniques and their configuration patterns.

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Human Memory Systems: A Framework for Understanding Dementia

ASHA Leader ◽

10.1044/leader.ftr1.12162007.8 ◽

2007 ◽

Vol 12 (16) ◽

pp. 8-11 ◽

Cited By ~ 2

Author(s):

Nidhi Mahendra ◽

Allegra Apple

Keyword(s):

Human Memory ◽

Memory Systems

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The “How” of Animacy Effects in Episodic Memory

Experimental Psychology (formerly Zeitschrift für Experimentelle Psychologie) ◽

10.1027/1618-3169/a000308 ◽

2015 ◽

Vol 62 (6) ◽

pp. 371-384 ◽

Cited By ~ 25

Author(s):

Patrick Bonin ◽

Margaux Gelin ◽

Betty Laroche ◽

Alain Méot ◽

Aurélia Bugaiska

Keyword(s):

Memory Load ◽

Recall Performance ◽

Memory Task ◽

Human Memory ◽

Recall Rate ◽

Interactive Imagery ◽

Ultimate Explanation ◽

Better Than ◽

Observation Results

Abstract. Animates are better remembered than inanimates. According to the adaptive view of human memory ( Nairne, 2010 ; Nairne & Pandeirada, 2010a , 2010b ), this observation results from the fact that animates are more important for survival than inanimates. This ultimate explanation of animacy effects has to be complemented by proximate explanations. Moreover, animacy currently represents an uncontrolled word characteristic in most cognitive research ( VanArsdall, Nairne, Pandeirada, & Cogdill, 2015 ). In four studies, we therefore investigated the “how” of animacy effects. Study 1 revealed that words denoting animates were recalled better than those referring to inanimates in an intentional memory task. Study 2 revealed that adding a concurrent memory load when processing words for the animacy dimension did not impede the animacy effect on recall rates. Study 3A was an exact replication of Study 2 and Study 3B used a higher concurrent memory load. In these two follow-up studies, animacy effects on recall performance were again not altered by a concurrent memory load. Finally, Study 4 showed that using interactive imagery to encode animate and inanimate words did not alter the recall rate of animate words but did increase the recall of inanimate words. Taken together, the findings suggest that imagery processes contribute to these effects.

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