DECONSTRUCTION OF THE SACRAL CHRONOTOPE IN POSTMODERN POETRY (BASED ON S. ZHADAN’S POETRY)

2018 ◽  
pp. 88-90
Author(s):  
Olena Rosinska
Keyword(s):  
Complex Form ◽  
Time And Space ◽  
One Dimensional ◽  
Time Space ◽  
The World ◽  
Cyclic Time ◽  
Perception Of Time ◽  
Postmodern Poetry

The research considers the main aspects of the formation of a chronotop in the postmodern text. The article analyzes the ways of ironic desacralization of time and space in S. Zhadan’s poetry. The sacred time by cyclicality, which is its main organizing feature, a guarantee of harmonious existence in the world. Images of cyclic time allow postmodern author to reproduce the usual for mythological consciousness perception of time on another aesthetic-mental level, providing otherwise the filling of the traditional. The cyclicity of any time space, in particular, everyday, historical, cyclicity and, accordingly, sensuality and absurdity of any phenomenon, individual or collective residence, a sense of uniqueness, is stated. In fact, the cosmic meaning of the sacred time space is individualized, coming from the macrocosm into the microcosm, becoming the property of each individual in its everyday existence, often remote from holiness or even the opposite of it. The author emphasizes that the postmodern deconstruction of the chronotope does not necessarily imply his absolute unveiling and the removal of the opposition of the sacral and profane, since it is possible to superimpose chronotopes in the subject’s reflection. Need to clarify the thesis that postmodern space (wider time space) is a space in which the opposition «sacred-profane» disappears, because in the discourse of Ukrainian postmodern poetry the desacralization of time space has a more complex form and a non-one-dimensional realization.

Delving into Horror

2019 ◽  
Vol 29 (5) ◽  
pp. 135-150
Keyword(s):  
The Self ◽  
Time And Space ◽  
The Third ◽  
The World ◽  
The Subject ◽  
Perception Of Time ◽  
Definition Of

The springboard for this essay is the author’s encounter with the feeling of horror and her attempts to understand what place horror has in philosophy. The inquiry relies upon Leonid Lipavsky’s “Investigation of Horror” and on various textual plunges into the fanged and clawed (and possibly noumenal) abyss of Nick Land’s work. Various experiences of horror are examined in order to build something of a typology, while also distilling the elements characteristic of the experience of horror in general. The essay’s overall hypothesis is that horror arises from a disruption of the usual ways of determining the boundaries between external things and the self, and this leads to a distinction between three subtypes of horror. In the first subtype, horror begins with the indeterminacy at the boundaries of things, a confrontation with something that defeats attempts to define it and thereby calls into question the definition of the self. In the second subtype, horror springs from the inability to determine one’s own boundaries, a process opposed by the crushing determinacy of the world. In the third subtype, horror unfolds by means of a substitution of one determinacy by another which is unexpected and ungrounded. In all three subtypes of horror, the disturbance of determinacy deprives the subject, the thinking entity, of its customary foundation for thought, and even of an explanation of how that foundation was lost; at times this can lead to impairment of the perception of time and space. Understood this way, horror comes within a hair’s breadth of madness - and may well cross over into it.

Land, (In)Justice and Poverty

2019 ◽  
Vol 26 (3-4) ◽  
pp. 338-360
Author(s):  
Johann-Albrecht Meylahn
Keyword(s):  
Private Property ◽  
Time And Space ◽  
Time Space ◽  
The World ◽  
And Control

Abstract In this paper, land will be interpreted as space, which, together with time, carries out the world in which to live, namely, to exist (Dasein). One is never alone in these time-spaces (Mitsein), as one shares these time-spaces with others, and therefore these time-spaces are conflictual or antagonistic. The main reason for this antagonism is the role that power plays in the carrying out of a particular time-space. The play between time and space can also be interpreted as metaphysics: Zeit-Spiel-Raum. As there are different and competing metaphysical constructions, these time-spaces will be riddled with antagonism. Capitalism, with its focus on private property, is one possible metaphysical system that carries out a certain time-space, yet there are other metaphysical systems which carry out a more communal time-space. These competing metaphysical systems often cannot be reconciled, which then forces the question: on what basis, or with which criteria would one discern between these different time-spaces – which brings one into the field of ethics and consequently justice and its inverse injustice. The paper will seek to propose a trans-fictional praxis as an agonistic approach to these competing and antagonistic metaphysical worlds, who are seeking to determine and control the time-spaces.

scholarly journals SPACE AND TIME RELATIONSHIP IN METAPHYSICAL PAINTINGS OF THE 20TH CENTURY

2020 ◽  
Vol 9 (71) ◽  
Keyword(s):  
20Th Century ◽  
Space Time ◽  
Time And Space ◽  
Life And Death ◽  
Making Sense ◽  
Social Events ◽  
Time Space ◽  
The World ◽  
The Universe

Metaphysics, which deals with concepts such as existence, existentialism, space and god in its general content, is a branch of philosophy. It sought answers to questions related to these concepts through methods and perspectives different from science. The reason for all these questions is the effort to define the universe. Metaphysical philosophy has been the search for a solution to helplessness caused by the uncertainties caused throughout the history by life and death. Perspectives developed in parallel with the perception of the period have also shaped the questions and propositions. All these metaphysical approaches do not contain a definition that is independent of time and space. Time and space, as one of the most fundamental problematics of metaphysics, are accepted as the most important elements in placing and making sense of the human into the universe. In this context, metaphysics, which has a transphysical perspective as well as the accepted scientific expansions of real and reality, was mostly visible in the field of art rather than science. The aim of this article is to analyze the role of metaphysical philosophy in the emergence of metaphysical art in the context of the effects of social events, especially the destructions and disappointments caused by the world wars in the 20th century, on the artists and the reflections of the existential inquiries related to this. Furthermore this study includes definitions and processes of metaphysics. The works of Giorgio de Chirico and Carlo Carra have been interpreted in terms of form and content within the scope of metaphysics by considering the concepts of time-space. Keywords: Metaphysics, Space, Time, Metaphysical Art

scholarly journals Bodies, Camera, Screen: Eiko & Koma’s Immersive Media Dances

2014 ◽  
Vol 4 ◽  
Author(s):  
Rosemary Candelario
Keyword(s):  
United States ◽  
New York ◽  
Performing Arts ◽  
Japanese American ◽  
Time And Space ◽  
Human Relationships ◽  
The World ◽  
Perception Of Time ◽  
Immersive Media

Eiko & Koma are New York-based Japanese American dance artists known for their subtle, focused, and finely controlled movement vocabulary through which they alter the perception of time and space. For over forty years they have created works for the proscenium stage, outdoor sites, galleries, and the camera that address elemental issues of life, survival, death, and rebirth. Their close and unsparing attention to nature, mourning, and human relationships to other humans and the world around them has won them prestigious awards including Guggenheim, MacArthur, and United States Artist Fellowships, Bessies, and Doris Duke Performing Arts Awards.

scholarly journals Paradise Lost: Explaining Populism as a Response to the Fragmentary Nature of Time, Space, and the Rapid Pace of Technological Advancement

2019 ◽  
Vol 4 ◽  
pp. 149-159
Author(s):  
Dora Vrhoci
Keyword(s):  
Information And Communications Technology ◽  
Technological Advancement ◽  
Time And Space ◽  
Daily Lives ◽  
Time Space ◽  
Technological Advances ◽  
Identity Narratives ◽  
Social Media Platforms ◽  
Rapid Pace ◽  
Perception Of Time

Contemporary societies and technologies are evolving at an ever-swifter pace. Advances in the field of Augmented Reality (AR) and in Computer Science at large have led to games that let us immerse ourselves in worlds stuffed with zombies, robots, or pokemon critters. Globalization is making the world ever more interconnected, and the development of diverse social media platforms is changing the way people engage with politics and culture in their daily lives. Time and space have arguably never been more liquid, fragmentary, and compressed. Against this host of developments, Postmodern ideas on the fragmentation of time and space,the rupture in personal and national identity narratives, as well as the concept of «utopia,» can provide theoretical tools, shedding light on how various agents react to the rapid pace of technological change (such as Information and Communications Technology (ICT) and digitalization), and subsequent alterations in Man’s perception of time and space. This paper reconstructs the key tenets of Postmodern thinking on cultural phenomena, showing how the changing experience of time and space (induced by globalization, and technological advances) bear on the recent successes of populist parties in Europe and beyond. Furthermore, the paper places populists’ narrative of and nostalgic mourning for an ideal past in a longer continuum of utopian and dystopian thinking. This is then interpreted as an attempt to build a vision of a homeostatic space that, once conceptualized as a rhetorical tool, serves to forgebonds among ‘(good) people

Time on the Stage

KronoScope ◽  
2004 ◽  
Vol 4 (1) ◽  
pp. 95-126
Author(s):  
Erica Magnus
Keyword(s):  
Eighteenth Century ◽  
Middle Ages ◽  
Catholic Church ◽  
Human Life ◽  
Theatre History ◽  
Time And Space ◽  
Time Space ◽  
The World ◽  
Individual Human ◽  
The Middle Ages

AbstractTime on the Stage - in its most pedestrian sense, the interval between an actor's entrance and exit - has also had a long history as a metaphor for an individual human life. More broadly, the theatre's imaginative conflation with the world at large, a notion of the "theatre of the world," was prevalent to the point of cliché from the Middle Ages through the eighteenth century. Apart from well-worn analogy, does the detached time/space of performance have any salient relationship with quotidian experience? This study engages two moments in Western theatre history, Greece in the seventh to the fifth centuries B.C.E. when theatre first appeared, and the Middle Ages, when it reappeared in the practices of the Catholic Church after several centuries of ostensible absence. The analysis suggests that theatrical praxis emerges in response to psychic needs engendered by profound changes in notions of time and space and that performance itself, is ultimately a chronotopic technology which is mensural in nature. In the historicized stage setting and in the temporally coded body of the actor, time is found to be very much on the stage.

scholarly journals The Perception of Time in European and Chinese Cultures

2021 ◽  
Vol 63 (12) ◽  
pp. 47-67
Author(s):  
Sergey A. Prosekov
Keyword(s):  
Comparative Analysis ◽  
Chinese Culture ◽  
Developed Countries ◽  
Modern Times ◽  
European Culture ◽  
Time Space ◽  
Sacred And Profane ◽  
The World ◽  
Perception Of Time ◽  
The Right

The article provides a comparative analysis of the perception of time in Europe and China. Time is considered as one of the fundamentals of mentality. The author presents the specifics of mythological time, distinguishing sacred and profane times and analyzing the correlation between time, space, things, and their repetition. European logos time, which becomes mainstream in  Modern Times, is examined. The article describes the postmodern period that took shape in the 20th and early 21st centuries. The formation and contemporary image of time in China is traced in detail. This perception of time suddenly turns out to be the most relevant to today’s needs: in Chinese culture, time and space are closely connected, linearity is combined with cyclicality, involvement is combined with distancing, immovability and the ability to wait for the right moment – with an instant reaction. In Chinese culture, innovations are introduced under the guise of tradition (repetition), and activism, which has always been especially emphasized as the specificity of the modern Europe, as it turns out, is the most important characteristic of the Chinese (in contrast to traditional European ideas about Chinese passivity). Under modern “network” conditions, the substantial understanding of things, which is characteristic of European culture, has given way to a networking perception, which is specific to the Chinese (things as a network, a person as a plurality). This is a network in which interactions are carried out simultaneously and in different directions. By itself, a comparative analysis of mentalities yields important results and allows to draw far-reaching conclusions that are essential for understanding both the European and Chinese visions of the world. In conclusion, it becomes clearer what features of the Chinese mentality made possible not only the entry of China into the group of developed countries but also its transformation into one of the leaders among the world powers.

War of Perception, Perception of Time

2018 ◽  
Vol 12 (2) ◽  
pp. 252-267
Author(s):  
Kuniichi Uno
Keyword(s):  
Michel Tournier ◽  
Crucial Question ◽  
History Of Art ◽  
The World ◽  
History Of ◽  
Desert Island ◽  
Perception Of Time

For Gilles Deleuze's two essays ‘Causes and Reasons of Desert Islands’ and ‘Michel Tournier and the World Without Others’, the crucial question is what the perception is, what its fundamental conditions are. A desert island can be a place to experiment on this question. The types of perception are described in many critical works about the history of art and aesthetical reflections by artists. So I will try to retrace some types of perception especially linked to the ‘haptic’, the importance of which was rediscovered by Deleuze. The ‘haptic’ proposes a type of perception not linked to space, but to time in its aspects of genesis. And something incorporeal has to intervene in a very original stage of perception and of perception of time. Thus we will be able to capture some links between the fundamental aspects of perception and time in its ‘out of joint’ aspects (Aion).

Beyond the Fife and Drum: Northern Protestant Working Class Cultures

Public Voices ◽  
2017 ◽  
Vol 9 (1) ◽  
pp. 73
Author(s):  
Paul Burgess
Keyword(s):  
Northern Ireland ◽  
Working Class ◽  
World Order ◽  
Cultural Traditions ◽  
One Dimensional ◽  
Dimensional Image ◽  
The Troubles ◽  
Meaning Systems ◽  
The World ◽  
Symbolic Systems

The author contends that throughout the duration of the present conflict in NorthernIreland, the world has been repeatedly given a one-dimensional image of this culture depicting it as mainly a product of ethnicity and also a reflection of class sentiment and lived experience.As drummer and songwriter of Ruefrex, a musical band internationally renowned for its songs about the Troubles conflict in Northern Ireland, Burgess discusses the need to express Protestant cultural traditions and identity through words and music. Citing Weber’s argument that individuals need to understand the world and their environment and that this understanding is influenced by perceptions of world order and attitudes and interpretations of symbolic systems or structures, the author argues that losing the importance of symbolic structures in relation to actual events will result in failure to understand why communities embrace meaning systems that are centrally informed by symbol and ritual. In his mind, rather than seeking to promote an understanding of Protestant or Catholic reality, it is important to speculate how the practice of difference might be used in developing any kind of reality of co-operation and co-ordination

scholarly journals Experimental and Numerical Investigations on Conductive Drying of Phosphate Washing Waste Clay

Minerals ◽  
2021 ◽  
Vol 11 (5) ◽  
pp. 482
Author(s):  
Fatiha Berroug ◽  
Yassir Bellaziz ◽  
Naaila Ouazzani ◽  
Fatima Ait Nouh ◽  
Abdessamad Hejjaj ◽  
...  
Keyword(s):  
Scale Up ◽  
Free Water ◽  
Moisture Diffusivity ◽  
Sample Thickness ◽  
Total Production ◽  
Drying Process ◽  
One Dimensional ◽  
Numerical Investigations ◽  
The World ◽  
Drying System

Morocco is the leading producer of phosphate and its derivatives in the world with a total production of 35 Mt. However, the extraction and the valorization of this mine generate huge quantities of phosphate washing waste clay (PHWWC) that constitute a main environmental and economic concern. To facilitate this waste clay storage and handling, it is necessary to decrease its moisture content that represents 80% of PHWWC. The present paper is devoted to studying the conductive drying of PHWWC. Drying experiments were conducted in a laboratory pilot. Afterwards, the experiment results were implemented in a one-dimensional numerical model of heat and mass transfer in a porous media to identify the drying parameters and performances. It was found that most of the water contained in PHWWC is free water that is removed with a constant drying rate. The volume reduction with a marked cracks phenomenon attained 65% without any significant effect of drying temperature and sample thickness. The effective moisture diffusivity of the PHWWC for a conductive drying process is ranged between 10−9 and 1.1 × 10−8 m2·s−1. The thermal efficiency of the drying system is up to 86%. The results could be used for the purpose of design and scale-up of the industrial dryer based on laboratory-scale experiments.

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