scholarly journals Transgressive consciousness as cultural and historical phenomenon

2017 ◽  
pp. 57-6o
Author(s):  
A. V. Timoshevskiy ◽  
Keyword(s):  
Middle Ages ◽  
Francois Rabelais ◽  
Folk Culture ◽  
Historical Phenomenon ◽  
The Middle Ages

The concept of the ultimate bases of culture is investigated. Specifi cs of transgressive consciousness as a cultural and historical phenomenon are revealed. The inadequacy of the reduction of the transgressive experience to the act of transgression is substantiated. The integrating functions of the transgressive consciousness are shown on the actual and theoretical material contained in M. Bakhtin’s study «The Creativity of Francois Rabelais and the Folk Culture of the Middle Ages and the Renaissance».

scholarly journals A socio-cultural history of the machine metaphor

2013 ◽  
Vol 11 (1) ◽  
pp. 145-162 ◽  
Author(s):  
Vladimir Glebkin
Keyword(s):  
Cultural History ◽  
Middle Ages ◽  
Industrial Revolution ◽  
Blow Up ◽  
Conceptual Metaphor ◽  
Early Modernity ◽  
Metaphor Theory ◽  
History Of ◽  
Historical Phenomenon ◽  
The Middle Ages

In Michelangelo Antonioni’s film Blow-up, a scene of affection, after enlarging the negatives, transforms into a scene of an attempted or an actual murder. It seems a good image to characterize the change of the initial view of conceptual metaphor from a more precise perspective. The conceptual metaphor theory emerged with the claim that primary metaphors, such as Categories Are Containers, More Is Up, Affection Is Warmth, and even Time Is Money, were determined by the fundamental constants of our perceptual experience; hence, they could not change or evolve, and had no history. Later, however, plenty of studies have provided strong evidence that such metaphors, being much more complicated structures, essentially rest on the cultural-historical ground. The article can be considered as a step in this direction. It addresses the machine metaphor as a cultural-historical phenomenon examining its development from Antiquity to Early Modernity. The author reveals that conceptual machine metaphor appears in the Middle Ages, long before Newton and the Industrial Revolution, in the wake of the transformation of basic elements of the cultural model from Antiquity to the Middle Ages.

scholarly journals C. Orff. stage cantata «Carmina Burana»: grotesque as a means of creating an artistic image of the Fried Swan

2021 ◽  
pp. 267-272
Author(s):  
Mykhailo Tyshchenko
Keyword(s):  
Middle Ages ◽  
Fine Arts ◽  
Art Nouveau ◽  
Folk Culture ◽  
Carmina Burana ◽  
Characteristic Features ◽  
Carl Orff ◽  
Artistic Image ◽  
The Middle Ages ◽  
The Grotesque

The purpose of the article is to analyze the image of the Fried Swan from the stage cantata of Carl Orff "Carmina Burana" through the category of grotesque - the worldview principle in the culture of the Middle Ages and one of the leading types of artistic imagery in art nouveau. The paper reviews literary and musicological research on the grotesque as an aesthetic category and its application as a method of revealing the artistic image. What is being analyzed: the aesthetics of vagrant poetry, which is the basis of the libretto of Karl Orff's stage cantata; traditions of interpretation of the image of a swan in mythology, folk culture, folklore of different peoples of Europe, Christianity, literature of the Middle Ages, the Renaissance and the New Age, in particular in Romanticism, as well as in the fine arts; features of Latin poetry in general and "Swan Song" from the poetry of vagrants in particular; application of alliteration; a variant of translation into Ukrainian is provided, which is intended for a more accurate understanding of the essence of the image, reveals its new facets and is addressed to the performers of the Fried Swan part in the preparatory period of work on the image, as well as listeners. The image of the Fried Swan is the embodiment of "grotesque realism" (A. Gurevich) of the Middle Ages. The methodology is based on the application of a holistic musicological analysis, which includes philosophical-aesthetic, literary-linguistic and musical-theoretical levels. The scientific novelty of the work lies in the application of the grotesque as a philosophical and aesthetic category for studying, in particular, one of the most original images of K. Orff's work and the concept of modern musical theater in general. Therefore, the artistic and aesthetic interpretation of the figurative sphere of the cantata is considered relevant, and this work is the first such attempt in Ukrainian musicology. Conclusions. The image of the Fried Swan embodies the grotesque, in which the high and the low, the believable and the unreal, the tragic and the comic, coexist. It reflects the mentality of the Middle Ages as a unity of antinomies and at the same time possesses the characteristic features of the culture of art nouveau, where the grotesque is a typical tool for perceiving reality. The image of the Fried Swan can be considered as a kind of "key" for understanding two "artistic mentality" at once - of the Middle Ages and of the Art Nouveau.

scholarly journals Europe as the "other" of Russian historiosophical consciousness: from the middle ages to modernity

2021 ◽  
Vol 9 (1) ◽  
pp. 11
Author(s):  
D. V. Semikopov ◽  
A. A. Zakhriapin
Keyword(s):  
National Identity ◽  
Middle Ages ◽  
Western Europe ◽  
The Other ◽  
Philosophical Analysis ◽  
Folk Culture ◽  
Russian Orthodox Church ◽  
National Education ◽  
History Of ◽  
The Middle Ages

Introduction. The paper reviews the phenomenon of perception of Western Europe as the "other" in Russian intellectual tradition. The purpose of this survey is to analyze and identify the features of Russian historiosophical consciousness in the transition of Russian civilization from the middle ages to modernity in the context of the idea of perceiving Europe as the "other".Materials and Methods. The main material of the paper is a monograph by Nizhny Novgorod researches «The problem of correlation of panhuman and national in the history of Russian thought». In addition, the material of the research is the works and articles by Russians and foreign authors focus on the subject under consideration. The article used the following methods: historical-philosophical analysis, interpretation, comparison and generalization.Results. In the medieval period the main consolidating power of society was religion, which identified the «other» as the Catholic of Western Europe. During the reign of Emperor Nicholas I, the «other» is still the same West, but the revolutionary West with its slogan «Liberty, equality, fraternity». The minister of national education – the earl S.S. Uvarov, in turn, proposed the following triad – «Orthodoxy, autocracy, nationality». Formation of the Russian nationality was under intense pressure from the West (the «other» of Russian civilization) during this period. The split of the Russian Orthodox Church (Raskol) in XVII century led to destruction of the Orthodox unity. The Orthodoxy was the source of sacralisation of monarchial power. However, the autocracy, having dealt a blow tothe Orthodoxy, set a course for the Western absolutism. Certain social circles, keeping up old traditions of the Orthodoxy, perceived the political authority as the «other». This led not only to the religion split (Orthodoxy), but also to the split in nationality. A pro-Western elite is being formed and, having lost its connection with Orthodoxy and traditional folk culture, it finds itself in the desert of its own historical identity. As a result, historiosophical projects, created by government and intelligentsia, caused an additional split, being unable to restore the lost unity.Discussion and Conclusions. The authors of the research managed to make systematic and detailed historical-philosophical analysis of sources and literature on this topic. The paper presents the main concepts that explain the phenomenon of Russian national identity. This makes it possible to consider and evaluate the key ideas of Russian thinkers. As a result, the authors of the research managed to make comprehensive and systematic historical-philosophical analysis of the development of the idea of Russian national identity through the prism of the concept of perception of Western Europe as the «other» of Russia.

A Cultural History of Memory in the Middle Ages

2020 ◽  
Keyword(s):  
Material Culture ◽  
Cultural History ◽  
Middle Ages ◽  
Social Life ◽  
Cultural Life ◽  
Social Fields ◽  
History Of ◽  
Historical Phenomenon ◽  
Almost All ◽  
The Middle Ages

This volume covers the vast field of memory, commemoration and the art of memory in the Middle Ages. Memory was not only a religious, social and historical phenomenon but also a driving factor in cultural life and in the production of art. It played an important role in medieval intellectual, visual and material culture, touching on almost all spheres of personal and social life. Yet the perception of memory did not remain static. The period covered by this volume, 500-1450, was one of enormous change in the way memory was understood, expressed, and valued. The authors of the essays trace the changes in the understanding of memory in its diverse forms and social fields, analysing everyday life as well as politics, philosophy and theology. As can be demonstrated, functions and perceptions evolved over the medieval millennium and laid the foundations for the modern understanding of individual and social memory.

scholarly journals Japanese Traditions of Oral Storytelling in the Middle Ages

2021 ◽  
Vol 6 (3) ◽  
pp. 282-303
Author(s):  
Anastasiya R. Sadokova
Keyword(s):  
Middle Ages ◽  
Musical Instrument ◽  
Japanese Culture ◽  
Folk Culture ◽  
Oral Storytelling ◽  
Divine Knowledge ◽  
New Type ◽  
Ancient Times ◽  
The Middle Ages

Japanese folk culture has long rendered traditions of oral storytelling very important. The article looks at the two main types of storytellers: the kataribe and the biwa hōshi. It aims to not only trace the transformation of the forms of storytelling, but also to analyze the changes in the perception of storytellers in the Japanese tradition. The author deems it important to study the activities and mythological perception of the ancient kataribe storytellers, as well as to look at the new type of storytellers, known as the biwa hōshi, who appeared in the Japanese culture in the 12th–13th centuries. They recited tales of battles and heroes of the old time to the accompaniment of biwa lutes. The article points out that in ancient times, storytellers were not just seen as regular performers. In the minds of people, they possessed special divine knowledge. However, their reputation changed in the Middle Ages with the appearance of stories linking the storytellers to otherworldly the forces and demons. People started seeing oral storytellers as mediums, and any musical instrument was thought to possess special powers. The role of storytellers went beyond that of simple performers. They became an important element of the Japanese concept of coexistence of people, gods, and demonic characters in the same world.

scholarly journals Skazanie o pismeneh by Constantine the philosopher Kostenecki as a source of folk culture in the middle ages

2011 ◽  
pp. 259-286
Author(s):  
Stanoje Bojanin
Keyword(s):  
Middle Ages ◽  
Methodological Approach ◽  
Close Connection ◽  
Similar Data ◽  
Southeastern Europe ◽  
Folk Culture ◽  
Cultural Concepts ◽  
15Th Century ◽  
The Creation ◽  
The Middle Ages

The research of folk culture in the Middle Ages requires a special methodological approach which includes both defining the notion of ?folk culture? and the question of the existing sources and their use. This study demonstrates the importance for the Skazanie o pismeneh by Constantine the Philosopher Kostenecki, as a source for the folk culture of medieval Serbia and Southeastern Europe at the end of the 14th and the beginning of the 15th century. Although this work is well-known in scholarly circles, so far it has not been considered in the context of the said domain of research. In order to correctly understand the data contained in the Skazanie, it was examined not only in relation to similar data but also in very close connection with the motives for the creation of the work and the cultural concepts advocated by its author, which had little affinity for folk culture.

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