scholarly journals The Vision of a Deductive Meta-Biology: From Goodwin to Spinoza

2021 ◽  
Author(s):  
Harvey Shoolman
Keyword(s):  
Mathematical Modelling ◽  
20Th Century ◽  
Direct Influence ◽  
Biological Vision ◽  
Historical Reality ◽  
Biological Relevance ◽  
Biological Movement ◽  
René Thom

This paper attempts to delineate a 20th century movement towards the formation of a truly 'deductive' metabiology. The aim is to reify and crystallize the historical reality of this new meta-biological ‘movement’ by suggesting that what essentially united it was an ontological or epistemically heuristic commitment to a biological vision whose grammar and syntax were provided by utilising non-classical forms of qualitative rather than quantitative mathematical modelling and expression. The paper primarily focusses on the anti-Darwinian metabiology of the Canadian born, yet UK domiciled, biologist Brian Goodwin, as well as comparing and contrasting his ideas withose those of other metabiological such as Per Alberch, Hal Waddington, Rene Thom and Vladimir Vernadsky. It is the contention of his paper that, historically, the purest expression and the philosophical consummation of many of the meta-biological ideas propounded by Goodwin and others discussed in this paper can actually be found in the extraordinary metaphysical vision of Benedict de Spinoza (1632-1677) particularly as expressed in his posthumously published masterpiece the Ethics (1677), and so this paper incorporates an account of the meta-biological relevance of Spinoza’s thinking in relation to these more modern metabiological thinkers, not in order to indicate direct influence, but as an attempt to reveal the potential metabiological inspiration of such an metaphysical hermeneutic for those concerned to increasingly understand the phenomenon of 'life' in deductive terms.

scholarly journals Identitas Budaya Masyarakat Kota: Teater Tradisi di Kota Surabaya Pada Awal Abad XX

2019 ◽  
Vol 3 (1) ◽  
pp. 1
Author(s):  
S. Samidi
Keyword(s):  
Cultural Identity ◽  
20Th Century ◽  
Daily Practice ◽  
Original Art ◽  
Historical Sources ◽  
Cultural Elements ◽  
Historical Reality ◽  
Historical Method ◽  
The People ◽  
Hybrid Art

This study examines why does Ludruk represent the cultural identity of the people of Surabaya? How does society appreciate the traditional theater, especially in Ludruk in their daily practice? The purpose of this article explains the historical reality of Ludruk art that serves as entertainment and cultural identity. This article using the historical method by relying on historical sources. The result shows that theater traditions that existed and famous in Surabaya at the beginning of the 20th century were Comedy Stambul, Wayang Wong, and Ludruk, then appeared Ketoprak in the late 1930s. The appearance of this theater has been adapted to the tastes of the support community. Comedy Stambul is a theater that originated in India, then spread to Southeast Asia. Comedy Stambul is considered as a hybrid art because it comes from a blend of local cultural elements, while Wayang Wong, Ludruk, and Ketoprak an original art derived from customs and local values. Theater that represents the cultural identity of the people of Surabaya is Ludruk.

scholarly journals Kraj hegemonije i dominacije u Jugoistočnoj Europi

Geoadria ◽  
2017 ◽  
Vol 9 (2) ◽  
pp. 173
Author(s):  
Damir Magaš
Keyword(s):  
European Union ◽  
Czech Republic ◽  
20Th Century ◽  
Bosnia And Herzegovina ◽  
Core Region ◽  
European Countries ◽  
Direct Influence ◽  
The European Union ◽  
Serbia And Montenegro

At the end of the 20th century the SE European region was surviving one of the most difficult periods of changing hegemony and dominance circumstances. The disintegration of the communist world and the collapse of former Yugoslavia, as part of the process, could be considered as the result of the new relations among big powers’ hegemonic systems. The NATO spreads to the European east (Hungary, Czech Republic, Poland etc.), which has direct influence on SE Europe. After new countries (Slovenia, Croatia, Bosnia and Herzegovina, Macedonia) had been internationally recognised in 1992, and the loyal Slovenian and Croatian partnership with NATO in the Kosovo action in 1999 was proved, it is obvious that regional hegemony of the Serbia core region does not exist any more. Also Russian (former Soviet) attempts to play the role of the dominant leader in this region have been suppressed to a minimum. The author discusses European Union interests in this zone, and the way European countries include themselves in the process of pacifying and developing the region. After Slovenia joined the European Union in 2004, Bulgaria, Romania, and Croatia are expected to satisfy the conditions for entering EU in next 3 to five years. In the same time Serbia and Montenegro enters a new, more democratic phase of its development. 

Literary reconstructions of the 1904-1908 Herero Nama conflict in Namibia

2020 ◽  
Vol 1 (3) ◽  
pp. 7-31
Author(s):  
Coletta M. Kandemiri ◽  
Nelson Mlambo ◽  
Juliet S. Pasi
Keyword(s):  
West Africa ◽  
20Th Century ◽  
Historical Event ◽  
Historical Novels ◽  
Historical Events ◽  
Historical Reality ◽  
South West ◽  
The People ◽  
General Welfare ◽  
South West Africa

At the beginning of the 20th century (1904-1908), a genocide took place where Herero and Nama people of the then German South West Africa (present day Namibia) were nearly completely decimated by German soldiers. Through the selected factional novels, Parts Unknown (2018) by Zirk Van Den Burg, The Lie of the Land (2017) David Jasper Utley, The Weeping Graves of Our Ancestors (2017) by Rukee Tjingaete, The Scattering (2016) by Lauri Kubuitsile, and Mama Namibia (2013) by Mari Serebrov, this article explores the literary reconstruction of this Herero Nama conflict of 1904 to 1908 with German as the aggressor. The paper considers the pragmatic disposition of the Herero Nama conflict with the Germans as presented from a fictional perspective (faction) and how it is relevant to the reconstruction of the Herero Nama history. Additionally, there are various art forms that specify new modes of expression for the reconstruction of the same historical event and this paper pays attention to some of these forms as presented in the selected texts. Through the analysis, it was found that the selected historical novels recreate the same event but from different angles yet several incidents emerging in the novels relate to the historical reality that is now reenacted through art. Through the analysis of the historical novels, the researchers also found that there seems to be a thin line between the imaginative literary works and the historical events that took place. Lastly, the selected novels demonstrate literature’s immediacy to recreate some critical arguments that are still unsolved even in present day Namibia about the general welfare of the people with the problems that are still linked to the nation’s history.

The plot “notification of the imminent parent death” in Russian literature of the 20th century

2021 ◽  
pp. 124-136
Author(s):  
Inessa N. Korzhova ◽  
Keyword(s):  
20Th Century ◽  
Short Story ◽  
Adult Child ◽  
Russian Literature ◽  
Direct Influence ◽  
Indirect Communication ◽  
The Road ◽  
Death Of A Parent ◽  
Imminent Death ◽  
The 1960S

The paper identifies and investigates a motif complex formed in the Russian literature of the first half of the 20th century and implemented mainly in the works of the 1960s. It develops the theme of parental melancholy that is widely represented in literature and, influenced by Yesenin’s “Letter to mother,” acquires the motif of death and indirect communication. The plot takes its final shape in K. Simonov’s poems “The Return” and “First love” and develops a stable semantic core in Paustovsky’s short story “The telegram”. This study proves the direct influence of Simonov’s works on Paustovsky. Basic to the plot is the situation of a lonely parent, abandoned by an adult child. There are several stages in the plot development, with the news of the imminent death of a parent being the central event. The younger character receives a letter or a telegram from the parent or his or her surroundings, with a possible duplicate message telling about the forthcoming or incurred parent’s death. In all plot implementations, the child fails to find the parent alive and sometimes ignores the call, actualizing the idea of guilt. Included in the plot is the motif of indirect communication from the parent and the child, both realized and possible. This written communication is perceived as an ersatz of genuine contact and does not relieve the parent’s pain and loneliness. An important micro-detail of the complex is the iconography of waiting: the description of the parent looking at the road (window, door).

scholarly journals Вооk as a genre: medieval tradition in Russian prose of 20th century (V.P. Astafiev, F.A. Abramov)

2021 ◽  
pp. 123-130
Author(s):  
Alla Yu. Bolshakova ◽  
Keyword(s):  
Twentieth Century ◽  
20Th Century ◽  
Russian Literature ◽  
Free Form ◽  
The Novel ◽  
Medieval Studies ◽  
Historical Reality ◽  
Verbal Creativity ◽  
Definition Of ◽  
The Village

The author aims to observe the phenomenon of “thinking by books” which has been born in the verbal creativity of Medieval Russia and promoted in Russian literature of the XX century but has been little studied yet. A special attention is paid to the formation of the book genre by such writers as V.P. Astafyev (“The Last Bow”, “The King-Fish”, “Zatesi”) and F.A. Abramov (“The Pure Book”). To fulfill the tasks set, the author relies on both the provisions of medieval studies and the concepts of genre theorists and historians of modern Russian literature. Definition of “book” as a specific meta-genre; dialectics of the novel and book genres is considered. A special attention is paid to the processes of formation of the “book” by uniting text elements into a super-genre unity. The author shows how the free form of the “book”, consisting of chapters and stories, provides creative freedom to the author and allows, in the medieval spirit, to expand the original version adding new and new texts to it. The article substantiates the position of the “book” as a narrative consisting of seemingly separate, but cyclically connected chapters and parts. This is a meta-genre that is becoming and moving along with historical reality. In conclusion the author of the article draws a conclusion about the productivity of genre of the book in the Village prose as a leading literary direction of the second half of the twentieth century and marks a continuation of this tradition in contemporary Russian prose.

Beaux-Arts Ideals and Colonial Reality: The Reconstruction of Williamsburg's Capitol, 1928-1934

1990 ◽  
Vol 49 (4) ◽  
pp. 373-389 ◽  
Author(s):  
Carl R. Lounsbury
Keyword(s):  
20Th Century ◽  
Cultural Context ◽  
18Th Century ◽  
Design Principles ◽  
Colonial Period ◽  
Early America ◽  
Architectural Heritage ◽  
Historical Evidence ◽  
Historical Reality

The design principles associated with the Ecole des Beaux-Arts subtly shaped the manner in which a generation of architects viewed the architectural heritage of America's colonial past. Trained to appreciate and emulate the classical detailing, proportion, symmetrical balance, and axiality that they saw in the Georgian architecture of early America, they failed to understand fully the cultural context and social and economic circumstances that produced these buildings. A conflict between fundamental classical ideals and historical reality arose when architects became involved in the restoration and reconstruction of colonial houses and public buildings in the early part of the 20th century. This is clearly illustrated in one of the largest restoration projects ever undertaken in America: the task of restoring and recreating hundreds of early structures in the colonial city of Williamsburg, Virginia. Executing this project was the Boston firm of Perry, Shaw, & Hepburn. In reconstructing the first capitol building in the late 1920s and early 1930s, they ran up against historical evidence that challenged many of their preconceived notions of colonial design. Although the final result is a testament to the architects' skills in handling 18th-century detailing, the capitol now stands as a monument to the near past and tells us as much about the influence of Beaux-Arts design principles on the restoration of Williamsburg as about the architecture of the colonial period.

scholarly journals Stravinsky and Russian Music of the 20th Century

2007 ◽  
Vol 43 (2) ◽  
pp. 93-98
Author(s):  
Svetlana Savenko Savenko
Keyword(s):  
20Th Century ◽  
Direct Influence ◽  
Modern Music ◽  
Ideological Criticism ◽  
Avant Garde ◽  
Russian Music ◽  
Musical Tradition ◽  
The Press ◽  
Main Factors ◽  
Specific Sense

The discussion of this important question presupposes two different aspects: the first one is connected with the perception of Stravinsky’s music in his fatherland, the second with the influence of his music in the specific sense of the word. The most important stations of the perception of Stravinsky: 1. 1910–1920. Stravinsky’s works were regularly performed in Russia during this period. The reaction of the audience and the press was various and partly controversial. 2. End of the 30’s to the middle 1950’s. In this period Stravinsky’s music has almost disappeared from the USSR concert life. It became the target for most violent ideological criticism, which reached its zenith at the threshold of 1940’s 1950’s. 3. Stravinskys visit to the USSR (1962) had a crucial meaning for the expansion of his influence. The main factors of the influence: 1. After the 1920’s the direct influence of Stravinsky on the Russian music was at first rather obvious. At that time, one could observe it through a whole set of compositions by “leftist” composers from the circle of The Association Of Modern Music; they understood Stravinsky’s music as a renewed, contemporary musical tradition of Russia. 2. A revival of the influence of Stravinsky’s music began in the 1960’s, probably in connection with “the new folkloristic wave” in the national oriented works of young composers, who belonged to a large extent to “the Soviet avant-garde”. Resumé: Stravinsky’s work was ideal as a model for the development of the Russian music in the 20th century.

scholarly journals Fernando-Lopes Graça and Mikis Theodorakis: Music, poetry and ideology in the 20th century

New Sound ◽  
2015 ◽  
pp. 92-106
Author(s):  
Kalliopi Stiga
Keyword(s):  
20Th Century ◽  
Political Context ◽  
Literary Works ◽  
Historical Reality ◽  
The Social ◽  
The Face

Considering that "music of resistance" is the expression of the dialectic relation between society and history as well as the reflection of the ideological and intellectual position of the creator-interpreter in the face of social and historical reality, the aim of this paper is: a) to present the social-political context which inspired Fernando Lopes-Graça and Mikis Theodorakis, to be creative, b) to highlight how their ideology is expressed in their musical and literary works and c) to reveal the 'epic character' of their music through a music-poetical analysis of the Cançôes Herôicas of F.L. Graça and of the Trauoûbt toû Ayœva of M. Theodorakis.

scholarly journals Primary Education schools and pedagogical renewal: Reviewing experiences

2019 ◽  
Vol 21 (36) ◽  
pp. 176-193
Author(s):  
Francisco Javier Pericacho Gómez ◽  
Felipe Jiménez Mediano ◽  
Jose Luis Estrada Chichón ◽  
Roberto Sánchez Cabrero
Keyword(s):  
20Th Century ◽  
Primary Education ◽  
Traditional Model ◽  
Direct Influence ◽  
Educational Community ◽  
Organizational Flexibility ◽  
Model Method

Objective: In this article we review the support of several representative Primary Education schools in Spain (2015-16) for a pedagogical renewal that move away from the traditional model. Method: The methodology focuses on the study of outstanding bibliography, interviews with significant members, observation of centres and analysis of the content of educational projects. Results: The centers selected for analysis show multiple common pedagogical aspects, such as the participation of the educational community, the promotion of creativity among the students, as well as curricular, methodological and organizational flexibility. Discussion and Conclusion: Despite the uniqueness of each project, all show multiple common pedagogical aspects. This is due to the direct influence of the Spanish pedagogical renewal developed throughout the 20th century which has shaped the current renewing map of which this article analyses specific examples

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