scholarly journals “Intermedialism” as a category of literary studies and mediology

2019 ◽  
Keyword(s):  
Twentieth Century ◽  
Cognitive Function ◽  
Rapid Development ◽  
Literary Analysis ◽  
Street Art ◽  
The Sixties ◽  
The Subject ◽  
Net Art ◽  
Definition Of ◽  
Modern Era

The article is devoted to theoretical problems of the interaction of arts and the term "intermedialism", which has certain amorphous features. The causes of attention to intermedial aspects of culture in the last decade are explained. In particular, it is a question of weakening of the cognitive function of literature and, accordingly, enhancing its aesthetic component and the development of hybrid genres. The study of intermedial aspects actualizes the study of literature in general. In the literary dictionary the term "intermedialism" was first introduced by Oge A. Hansen-Leo in 1983. The structure of this concept, the word-building aspect are analyzed. In modern mediology the phenomenon of art is considered at the level of other semiotic entities, so the work of art is a media, mediator, ingot of information and a quiz. The positions of M. Maklyueen and L. Elström are given. The terms "interaction of arts", "synthesis of arts", "interpenetration of arts" have exhausted their lexical potential, faced with the specifics of new types of creativity (for example, net art, street art), although they are still actively used in art studies studios. The correlation between the concepts of "intermedialism" and "intertextuality" is outlined. The definitions of "intermedialism", interpretation of the interaction of art by Y. Lotman, Y. Kristeva, A. Hansen-Löve, N. Tishunina, V. Prozalova and other researchers are given. The definition of V. Prozalova is considered to be the most adequate (intermedialism – “is a way of correlating artistic phenomena, the presence in artistic works of elements transposed from other forms of art"). Attention to the fact that "intermedialism" is also a methodology of literary analysis is drawn. The example of the new Ukrainian literature shows the extremes of the index of intermedialism: the works of T. Shevchenko, the end of the XIX – early of the XX century, 20-30 years of the twentieth century, the epoch of the sixties, the era of postmodernism. The reasons for the writers’ appeal to other types of art are explained: the universalism of the artistic thinking of T. Shevchenko, the image of the Subject in modernism, the rapid development of arts in Ukraine after the revolution of 1917 and others. It is concluded that in the modern era the term "intermedialism" is relevant because the person of the XXI century is influenced by many media, is intermedial in the broadest sense of the word.

„Zurück zu Schleiermacher! und von Schleiermacher aus vorwärts!“

2012 ◽  
Vol 19 (2) ◽  
Author(s):  
Brent A. R. Hege
Keyword(s):  
Twentieth Century ◽  
World War I ◽  
The State ◽  
World War ◽  
Psychological Method ◽  
Dialectical Theology ◽  
Complex Picture ◽  
History Of ◽  
The Subject ◽  
Definition Of

AbstractAs dialectical theology rose to prominence in the years following World War I, the new theologians sought to distance themselves from liberalism in a number of ways, an important one being a rejection of Schleiermacher’s methods and conclusions. In reading the history of Weimar-era theology as it has been written in the twentieth century one would be forgiven for assuming that Schleiermacher found no defenders during this time, as liberal theology quietly faded into the twilight. However, a closer examination of this period reveals a different story. The last generation of liberal theologians consistently appealed to Schleiermacher for support and inspiration, perhaps none more so than Georg Wobbermin, whom B. A. Gerrish has called a “captain of the liberal rearguard.” Wobbermin sought to construct a religio-psychological method on the basis of Schleiermacher’s definition of religion and on his “Copernican turn” toward the subject and resolutely defended such a method against the new dialectical theology long after liberal theology’s supposed demise. A consideration of Wobbermin’s appeals to Schleiermacher in his defense of the liberal program reveals a more complex picture of the state of theology in the Weimar period and of Schleiermacher’s legacy in German Protestant thought.

scholarly journals Ezra Pound's Poetry between Victorianism and Modernism: A Historical-Biographical Analysis

2021 ◽  
Vol 21 ◽  
pp. 826-832
Author(s):  
Kizhan Salar Abdulqadr ◽  
Roz Jamal Omer ◽  
Ranjdar Hama Sharif
Keyword(s):  
Twentieth Century ◽  
Ezra Pound ◽  
Literary Analysis ◽  
English Verse ◽  
Early Twentieth Century ◽  
Critical Approaches ◽  
The Subject ◽  
Academic Discussion ◽  
Biographical Analysis

This paper examines the short poems of Ezra Pound, a group of works that have long been the subject of academic discussion in the field of literary analysis. Although Ezra Pound is typically considered a Modernist poet, some clear elements of Victorianism can be discerned within his revolutionary forms of poetry. The paper will offer a historical and biographical background to Pound's work before moving on to an analysis and discussion of the poet's short poems. While previous studies of Ezra Pound's poetry have adopted various critical approaches, we believe that this is the first study that compares the influence of Modernism and Victorianism on the work of this important figure in English verse of the early twentieth century.

“A Page from the History of Marxism”: Gefter’s Edevours to Read Marx Anew

2021 ◽  
Vol 13 (3-1) ◽  
pp. 11-34
Author(s):  
Svetlana Neretina ◽  
Keyword(s):  
Twentieth Century ◽  
Ussr Academy ◽  
Strategy Development ◽  
Early 20Th Century ◽  
Historical Science ◽  
Historical Process ◽  
The Sixties ◽  
History Of ◽  
The Subject ◽  
Academy Of Sciences

The purpose of this paper is to show how the thought and speech of people holding and defending directly opposite positions affect the change in the thought and speech of people of their own and subsequent generations, with different life orientations, and to find ways of this influence. The author describes the situation that arose at the end of the sixties of the twentieth century, known as the ideological dispersal of philosophical, historical and sociological trends that ran counter to the policy of the CPSU, which became especially fierce in the fight against opponents after the USSR’s invasion of Czechoslovakia in August, 1968. One of the results of such an ideological battle was the defeat of the sector of the methodology of history of the Institute of General History of the USSR Academy of Sciences, headed by M. Ya. Gefter, who published a series of books in which the so-called laws of historical development (formational approach) were questioned and the fundamental provisions of the classics of Marxism-Leninism were criticized. The subject of analysis is Gefter’s article “A Page from the History of Marxism in the Early 20th Century”, published in the book “Historical Science and Some Problems of the Modernity”, dedicated to the analysis of Lenin’s tactics and strategy development which changed the views of many, especially young, historians on the historical process, and most importantly - on the methods of seeking and expressing the truth. The differences were expressed primarily in the fact that the proponents and defenders of the Soviet regime, which was based on their own established norms of Marxism-Leninism, fearlessly used all means of pressure on unwanted opponents. Professionals, however, who tried to understand the true sense of the historical process, the sense of judgments about it, especially the sense of the revolutionary struggle against the autocracy, unfolding at the beginning of the twentieth century, were forced to use the Aesopian language, which also provoked a distortion of this sense in many ways: due to the nebulous and veiled expressions, which give the impression of theoretical blackmail, causing such consequences as speech irresponsibility.

Carmelo Bene e la decostruzione delle arti del secondo Novecento

2018 ◽  
Vol 4 (1) ◽  
Author(s):  
Cosetta Saba
Keyword(s):  
Twentieth Century ◽  
Modern Art ◽  
Interdisciplinary Practice ◽  
The Arts ◽  
The Sixties ◽  
First Results ◽  
Extended Field ◽  
The Subject

This essay collects the first results of a reflection launched in the context of the Conference "The Arts of the 1900s and Carmelo Bene" curated by Edoardo Fadini and based in Turin, at the Gallery of Modern Art, between 24 and 26 October 2002. The intent is to focus on how in the first phase of the interdisciplinary practice of Carmelo Bene, between the Sixties and the Seventies, an aesthetic reflection and a deconstructive attitude emerge that involve questions (such as the subject, subjectivity and singular / plural dimension of art) that were being defined in the philosophical field and in the extended field of art during the second half of the twentieth century.

Heroic Aesthetics and Modernist Critique: Extrapolations from Bakhtin's Author and Hero in Aesthetic Activity

Slavic Review ◽  
2008 ◽  
Vol 67 (3) ◽  
pp. 551-566 ◽  
Author(s):  
Ilya Kliger
Keyword(s):  
Twentieth Century ◽  
Eighteenth Century ◽  
Aesthetic Experience ◽  
Literary Analysis ◽  
Modernist Literature ◽  
The Status ◽  
Longue Duree ◽  
The Subject ◽  
Longue Durée ◽  
Modernist Discourse

Ilya Kliger addresses the question of Mikhail Bakhtin's intervention in modernist discourse by taking a step back from Bakhtin's views on modernist literature and outlining instead a more general Bakhtinian conception of the modernist condition as characterized by what Kliger calls “a crisis of authorship.” The article focuses on Bakhtin's early work in narratological aesthetics and situates it within the longue durée context of debates about the status of the subject of aesthetic experience and, more generally, of knowledge, debates that can provisionally be seen as originating at the end of the eighteenth century and coming to a head within the intellectual and creative milieu of twentieth-century modernism. Early Bakhtin helps us formulate a specifically modernist—by contrast with what will be called “transcendental” and “realist“—critique, a critique not limited to the field of literary analysis alone but applying to all forms of thinking that either presuppose abstract subject-object division or rely on modes of synthetic reconciliation.

scholarly journals Facebook groups as a tool in high education

2020 ◽  
pp. 31-43
Author(s):  
Nikola Dojčinović
Keyword(s):  
Social Network ◽  
High Education ◽  
Rapid Development ◽  
Educational Tools ◽  
Modern Age ◽  
The Social ◽  
Scientific Papers ◽  
The Subject ◽  
Definition Of ◽  
Key Terms

The modern age is characterized by the Internet era, the rapid development of technology and new means of communication and education, including social networks. The aim of this paper is to examine the degree of utilization of Facebook in higher education by students, and educational tools within the network. The first part of the paper refers to definition of key terms in relation to the subject matter of the research, chapters on the social network Facebook in function of education and Facebook groups in education. This section also presents interpretations of previous researches, from published scientific papers and books, on the use of the Facebook social network in high education. The second part presents the research conducted for the purposes of this paper, which showed that a group of surveyed students from the Faculty of Philosophy in Niš use Facebook for educational purposes through Facebook groups. Finally, the results that led to the conclusion are summarized.

THE SUBJECT AND THE WORK OF DIFFERENCE: GENDER, SEXUALITY, AND INTELLECTUAL HISTORY

2011 ◽  
Vol 8 (1) ◽  
pp. 213-225
Author(s):  
SANDRINE SANOS
Keyword(s):  
Twentieth Century ◽  
Intellectual History ◽  
Liberal Democracies ◽  
Social Expression ◽  
The Subject ◽  
Late Nineteenth ◽  
The Law ◽  
Definition Of ◽  
Historical Past ◽  
Central Term

In her epilogue, Tracie Matysik argues that “questions of universalism, difference, and morality beyond the law have returned with a new force” (256). Similarly, in hers, Judith Surkis shows how the recent virulent controversies around the headscarf in republican French schools and their attendant legislation have a genealogy in the vibrantfin de siècledebates on pedagogy, secularism, and citizenship (243–8). Few would argue with Surkis and Matysik's contention that contemporary debates on universalism, citizenship, and secularism which haunt Western liberal democracies have a historical past, yet few have explored this past in such an illuminating manner. By reflecting on these issues, both studies illustrate how intellectual history, far from being the abstract and arcane sub-field of history it is still considered by some critics, has contemporary purchase and speaks to a present that must be thought historically. These authors show how (sexual)differenceconstituted a central term in the late nineteenth- and early twentieth-century definition of the nature and social expression of the subject.

The Immortality of the Soul

1969 ◽  
Vol 5 (2) ◽  
pp. 207-222 ◽  
Author(s):  
J. A. Harvie
Keyword(s):  
Twentieth Century ◽  
Public Opinion ◽  
London Borough ◽  
Life After Death ◽  
The Bible ◽  
The Sixties ◽  
The Subject ◽  
Immortality Of The Soul ◽  
The Church ◽  
Meaningful Sense

In 1944–45 a survey was carried out on the topic of religion in a London borough, and in 1960 the survey was repeated in the same borough. In both 1945 and 1960 over forty per cent of those attending Anglican services said that they did not believe in a life after death. When due allowance has been made for the relative unreliability of public opinion sampling, it is nevertheless obvious that incredulity on this issue is widespread and probably increasing, even within the Church. There are at least two main reasons for this—that personal immortality is commonly held to be incompatible with the scientific view of man, and the apparent irrelevance of the belief for life in the here and now. The question in people's minds today is no longer what the Bible says about immortality, nor what the churches teach on the subject [if indeed they teach anything at all]. These questions can be answered by reading the Bible and by consulting manuals of doctrine. The problem is this: How is it possible in any meaningful sense to believe in a life after death in the 'sixties of the twentieth century?

The Methodology of the Modernists: Process in American Protestantism

2006 ◽  
Vol 75 (2) ◽  
pp. 374-402 ◽  
Author(s):  
Kathryn Lofton
Keyword(s):  
Twentieth Century ◽  
Cultural Adaptation ◽  
The Body ◽  
Empirical Science ◽  
Early Twentieth Century ◽  
American Protestantism ◽  
Definition Of ◽  
Shared Commitment ◽  
Self Examination ◽  
Modern Era

Scholarship on early-twentieth-century American Protestant modernism appears to have arrived at an impasse. Although scholars continue to explore the biographical contours of modernist individuals, and theologians still review the capacity of modernist theologies, the body of analytical scholarship on the “modernist impulse” has failed to keep apace with the glut of materials addressing its fraternal twin, fundamentalism. Published in 1976, William Hutchison's The Modernist Impulse in American Protestantism remains the last significant historical commentary on the cultural and intellectual dynamics of Protestant modernism. In that masterful exegesis, Hutchison supplied the classic definition of this impulse, arguing that despite the diversity of its participants and complexity of their thought, the modernist movement in America could be accurately summarized as a shared commitment to cultural adaptation, God's immanent role in human development, and a postmillennial progressivism. While this tripartite formulation still provides the authoritative elucidation of early-twentieth-century Protestant thought, a reappraisal of the modernist canon reveals that Christian liberals not only were invested in theological overhaul and intellectual malleability, but also persistently specified an elaborate methodological structure for belief. In works such as Minot Savage's Jesus and Modern Life (1898), Margaret Benson's The Venture of Rational Faith (1908), Douglas Clyde Macintosh's Theology as an Empirical Science (1919), J. Macbride Sterrett's Modernism in Religion (1922), and Henry Nelson Wieman's The Wrestle of Religion with Truth (1927), seminarians and ministers offered detailed descriptions of how Protestants should think in the modern era. These were not expansive tracts bent on exploring the fluid boundaries of faith in a plural culture; rather, these were precise, pointed exhortations on the virtue of scrupulous historical research, scriptural comparison, and relentless self-examination. Rather than continue to translate Protestant modernism as cultural acquiescence and enthusiastic historicism, this essay suggests that a recalibrated portrait of this movement is needed.

scholarly journals Does Artwork Have to be Beautiful?

2015 ◽  
Vol 1 (2) ◽  
pp. 1-7
Author(s):  
Mary Benedicta Maier
Keyword(s):  
Status Quo ◽  
Necessary Condition ◽  
Philosophy Of Art ◽  
Broad Definition ◽  
Art Form ◽  
The Status ◽  
History Of ◽  
The Subject ◽  
Definition Of ◽  
Modern Era

Beauty’s relation to art work is a contentious problem for the philosophy of art. The problem is not new to the history of philosophy. Hume and Kant attempted to tackle the question in the modern era. Contemporary philosophers have broadened the definition of art to include works that stretch modern philosophers’ conceptions. With philosophers shifting their definition from the object to the subject, they have effectively marginalized beauty in place of another good or valued concept. Considering the status quo, this paper argues that beauty is a necessary condition for art work. It argues that philosophers have a problem when their broad definition of art disregards the beautiful to incorporate art work that is intentionally ugly or is only considered art work because of its being on display. Comparing the focus of other philosophical disciplines with philosophy of art’s focus on beauty, it argues that philosophy of art blurs its vision when it directs its gaze to that other than to its proper transcendental. Examining the intelligent and elevating characteristics of the art form of sculpture, the paper compares two famous works: Michelangelo’s Pietà and Warhol’s Brillo Boxes. Because the sculptor is able to communicate the beauty of creation through his art work, a philosophy of art that changes its questions to incorporate existing objects that are deemed “art” has not fully addressed the problem of beauty’s place in art work.

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