scholarly journals Cultural project «Soviet man»

2021 ◽  
pp. 36-45
Author(s):  
Tatyana S. Zlotnikova ◽  
Keyword(s):  
Cultural Practices ◽  
Human Experience ◽  
Works Of Art ◽  
The World ◽  
Cultural Project ◽  
Artistic Image ◽  
Empirical Material

The article actualizes the concept of «Soviet man» as a socio-cultural and philosophical-anthropological phenomenon. Based on a broad empirical material, the author substantiates the idea of the project «Soviet man» as a generalized artistic image, a set of social and moral characteristics, visual and verbal matrices. The integration of the cultural project with the world tradition (in particular, the ancient one) is established, and the artistic-aesthetic and socio-political aspects of works of art as cultural practices are substantiated. It is concluded that the considered concept incorporates human experience, which is in demand due to its diversity, tendentiousness, structural certainty, strangeness and recognizability.

Problems of the interaction of reality and fiction in Russian literature in the 20s of the XX century

2021 ◽  
pp. 119-124
Author(s):  
Jyldyz K. Bakashova ◽  
Keyword(s):  
Twentieth Century ◽  
Russian Literature ◽  
Actual Problem ◽  
Artistic Creation ◽  
Works Of Art ◽  
The World ◽  
The Aesthetic ◽  
Creative Understanding ◽  
Artistic Image

The article is devoted to one of the important problems of literature at the end of the nineteenth and the first half of the twentieth century — documentary artistic creation. Writers, and later filmmakers, introduce real materials into their works that create a historical narration. Writers of different creative orientations are united in their attitude to the documentary trend. The article examines the actual problem of using prototypes by Russian writers when they create works of art. The views of Russian writers on the problem of interaction between reality and fiction in their work are considered on the example of the statements of L.N. Tolstoy, N.K. Hudzia, F.M. Dostoevsky, N.V. Gogol, V.G. Belinsky, A. Serafimovich, A. Todorsky, A. Blok. Russian writers believed that artistic truth is inseparable from the truth of life, real reality is the basis that feeds art. But no less significant is the creative understanding of the facts of life. The path from the prototype to the artistic image created by the writer in the work is closely connected with the figurative vision of the world, with generalization and individualization, with the aesthetic comprehension of real facts, there is a dialectical connection between art and life. Adequate reconstruction of events presupposes their aesthetic comprehension by the writer.

Hard Objects in George Oppen's Discrete Series

2018 ◽  
Vol 13 (4) ◽  
pp. 496-517
Author(s):  
Ned Hercock
Keyword(s):  
Twentieth Century ◽  
Ludwig Wittgenstein ◽  
Discrete Series ◽  
Human Experience ◽  
John Ruskin ◽  
Gerard Manley Hopkins ◽  
Marcel Duchamp ◽  
The World ◽  
Production History ◽  
History Of

This essay examines the objects in George Oppen's Discrete Series (1934). It considers their primary property to be their hardness – many of them have distinctively uniform and impenetrable surfaces. This hardness and uniformity is contrasted with 19th century organicism (Gerard Manley Hopkins and John Ruskin). Taking my cue from Kirsten Blythe Painter I show how in their work with hard objects these poems participate within a wider cultural and philosophical turn towards hardness in the early twentieth century (Marcel Duchamp, Adolf Loos, Ludwig Wittgenstein and others). I describe the thinking these poems do with regard to industrialization and to human experience of a resolutely object world – I argue that the presentation of these objects bears witness to the production history of the type of objects which in this era are becoming preponderant in parts of the world. Finally, I suggest that the objects’ impenetrability offers a kind of anti-aesthetic relief: perception without conception. If ‘philosophy recognizes the Concept in everything’ it is still possible, these poems show, to experience resistance to this imperious process of conceptualization. Within thinking objects (poems) these are objects which do not think.

RISHTAN SCHOOL OF CERAMICS

2019 ◽  
Vol 16 (2) ◽  
pp. 73-77
Author(s):  
Akmal Marozikov ◽  
Keyword(s):  
Central Asia ◽  
Building Materials ◽  
Works Of Art ◽  
The World ◽  
Ferghana Valley ◽  
History Of ◽  
Made In ◽  
National Style

Ceramics is an area that has a long history of making clay bowls, bowls, plates,pitchers, bowls, bowls, bowls, pots, pans, toys, building materials and much more.Pottery developed in Central Asia in the XII-XIII centuries. Rishtan school, one of the oldest cities in the Ferghana Valley, is one of the largest centers of glazed ceramics inCentral Asia. Rishtan ceramics and miniatures are widely recognized among the peoples of the world and are considered one of the oldest cities in the Ferghana Valley. The article discusses the popularity of Rishtan masters, their products made in the national style,and works of art unique to any region

Words in the World

2018 ◽  
Author(s):  
Jerusha Tanner Lamptey
Keyword(s):  
Jesus Christ ◽  
Human Experience ◽  
Marginal Groups ◽  
Rosemary Radford Ruether ◽  
The World ◽  
Divine Words

Using the analogy of the two Divine Words, this chapter begins by exploring pressing debates in contemporary Islamic feminist and Muslima theological engagement with the Qur’an, debates that arise out of the underlying problematic of the Word in the world. The chapter, then, explores Christian perspectives on Jesus Christ from Rosemary Radford Ruether, Jacquelyn Grant, Kwok Pui-lan, and Ada María Isasi-Díaz. These theologians discuss topics ranging from the language and symbols invoked to describe Jesus to the value assigned to particular human markings of Jesus (inclusive of but not limited to Jesus’s maleness) to the affiliations of Jesus with power and marginal groups. The chapter concludes by returning to Muslima theology and constructively proposing an approach to the Qur’an that embraces hybridity, human experience, and a preference for the marginalized.

The Poetics of Friendship in Early Modern Spain

2020 ◽  
Author(s):  
Donald Gilbert-Santamaria
Keyword(s):  
Early Modern ◽  
Spanish Literature ◽  
Human Experience ◽  
Important Work ◽  
Early Modern Spain ◽  
Shared Experiences ◽  
The World ◽  
Key Concepts ◽  
Alternative Modality ◽  
Sancho Panza

This book posits the Aristotelian-Ciceronian notion of perfect male friendship as an independent poetic force within the development of Spanish literature in the sixteenth and early seventeenth centuries. Through a re-examination of Spanish critic Juan Bautista Avalle-Arce’s notion of the “tale of two friends” tradition, the book shows how the poetics of friendship evolves in relation to other key concepts from the period—most notably exemplarity and imitatio—in a series of carefully selected examples from several important genres including the pastoral novel, the picaresque, and the Spanish comedia. Particular attention is given to the trajectory whereby the highly formalized narrativization of the traditional Aristotelian paradigm for friendship gives way to representations of personal intimacy grounded in a recognition of the idiosyncratic particularity of human experience in the world beyond the text. This alternative modality for representing friendship, which encompasses a variety of relationships beyond the Aristotelian paradigm—between women, erstwhile lovers, and pícaros, to take just three examples—reaches its fullest expression in the depiction of the evolving intimacy that grows up between the two unlikely companions, Don Quixote and Sancho Panza, whose shared experiences provide the main focus for Cervantes’s most important work.

Reconciliation in the Cathedral: Isaac's Religion in “Owen-Mass”

10.34690/125 ◽  
2021 ◽  
pp. 6-36
Author(s):  
Роман Александрович Насонов
Keyword(s):  
Song Cycle ◽  
Human Experience ◽  
Christian Religion ◽  
Religious Symbolism ◽  
The World ◽  
The Face ◽  
War Requiem ◽  
The Military ◽  
The Church ◽  
Church Tradition

Статья представляет собой исследование религиозной символики и интерпретацию духовного смысла «Военного реквиема» Бриттена. Воспользовавшись Реквиемом Верди как моделью жанра, композитор отдал ключевую роль в драматургии сочинения эпизодам, созданным на основе военных стихов Оуэна; в результате произведение воспринимается подобно циклу песен в обрамлении частей заупокойной мессы. Военная реальность предстает у Бриттена амбивалентно. Совершая надругательство над древней верой и разбивая чаяния современных людей, война дает шанс возрождению религиозных чувств и символов. Опыт веры, порожденный войной, переживается остро, но при всей своей подлинности зыбок и эфемерен. Церковная традиция хранит веру прочно, однако эта вера в значительной мере утрачивает чистоту и непосредственность, которыми она обладает в момент своего возникновения. Бриттен целенаправленно выстраивает диалог между двумя пластами человеческого опыта (церковным и военным), находит те точки, в которых между ними можно установить контакт. Но это не отменяет их глубокого противоречия. Вера, рождаемая войной, представляет собой в произведении Бриттена «отредактированный» вариант традиционной христианской религии: в ее центре находится не триумфальная победа Христа над злом, а пассивная, добровольно отказавшаяся защищать себя перед лицом зла жертва - не Бог Сын, а «Исаак». Смысл этой жертвы - не в преображении мира, а в защите гуманности человека от присущего ему же стремления к агрессивному самоутверждению. The study of religious symbolism and the interpretation of the spiritual meaning of “War Requiem” by Britten have presentation in this article. Using Verdi's Requiem as a model of the genre, the composer gave a key role in the drama to the episodes based on the war poems by Wilfred Owen; as a result, the work is perceived as a song cycle framed by parts of the funeral mass. The military reality appears ambivalent. While committing a blasphemy against the ancient belief and shattering the aspirations of modern people, the war offers a chance to revive religious feelings and symbols. This experience of war-born faith is felt keenly, but for all its authenticity, it is shaky and ephemeral. The church tradition keeps faith firmly, but this faith largely loses the original purity and immediacy. Britten purposefully builds a dialogue between the two layers of human experience (church and military), finds those points where contact can be established between them. But this does not change their profound antagonism. In Britten's work, faith born of war is an “edited” version of the traditional Christian religion: in its center is not the triumphant victory of Christ over evil, but a passive sacrifice that voluntarily refused to defend itself in the face of evil-not God the Son, but “Isaac.” The meaning of this sacrifice is not in transforming the world, but in protecting the humanity of a person from his inherent desire for aggressive self-assertion.

Breaking through the Ordinary: The Arts and Future Possibility

1980 ◽  
Vol 162 (3) ◽  
pp. 18-26 ◽  
Author(s):  
Maxine Greene
Keyword(s):  
Vantage Point ◽  
Musical Piece ◽  
Future Possibility ◽  
Works Of Art ◽  
The Arts ◽  
The World ◽  
Opening Up ◽  
Common Action

Informed and active engagements with works of art make new experimential openings visible as they turn attention to the concreteness of the world. The ordinary and the taken-for-granted must be bracketed out if a poem or a painting or a musical piece is to be achieved. Viewed within the brackets and from an unfamiliar vantage point, reality may become questionable, in need of interpretation, perhaps in need of repair. If learners are provided opportunities for understanding their part in realizing illusioned worlds, they may come to confront their contributions to the construction of their social realities. Teachers who create situations that permit this to happen will be opening up their classrooms, not only to a new sense of the totality, but to a consciousness of what might be, what is not yet. And this, in turn, may provide a ground for common action, for desired change.

A review of the biology and ecology of Florida beggarweed (Desmodium tortuosum)

Weed Science ◽  
2004 ◽  
Vol 52 (2) ◽  
pp. 185-200 ◽  
Author(s):  
Theodore M. Webster ◽  
John Cardina
Keyword(s):  
United States ◽  
Plant Pathogens ◽  
Cultural Practices ◽  
The United States ◽  
Western Hemisphere ◽  
Southern United States ◽  
Southeast United States ◽  
Forage Crop ◽  
Disturbed Areas ◽  
The World

Florida beggarweed is native to the Western Hemisphere but is naturalized around the world. During the last century, the mechanization of agriculture has transitioned Florida beggarweed from an important forage component to a weed of significance in the coastal plain of the southeast United States. This herbaceous annual is naturalized and found in fields and disturbed areas throughout the southern United States. The characteristics that made Florida beggarweed a good forage crop also make it a formidable weed. This review describes the importance of Florida beggarweed as a weed in the southern United States and the taxonomy of this species and details the distribution throughout the world and within the United States. The ecology of Florida beggarweed and its interactions with crop plants, insects, nematodes, and plant pathogens also are summarized. Finally, management of Florida beggarweed in agricultural systems using cultural practices and herbicides is reviewed.

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