scholarly journals LINGUOCOGNITIVE ASPECT OF THE TRANSLATION OF SUSTAINABLE WORD COMPLEXES (BASED ON RUSSIAN AND AZERBAIJANI LANGUAGES)

2020 ◽  
Author(s):  
Leyla Ilyas Hamidova
Keyword(s):  
Conceptual Analysis ◽  
Translation Studies ◽  
Transformation Process ◽  
Translation Process ◽  
Work Of Art ◽  
Metaphorical Thinking ◽  
Communicative Function ◽  
Semantic Categories ◽  
The World ◽  
Pragmatic Aspects

The article deals with one of the main and actual problems of modern translation studies - the transformation of sustainable word complexes, namely, the principles of translating SWC through the prism of the linguocognitive aspect. An attempt is made to reveal the main linguistic and translation aspects of the transformation process through the prism of the communicative function of these units in the context. Using examples that demonstrate the versatility of metaphorical thinking, the depth of the translation process is revealed, taking into account the comparison of the cognitive, cultural and pragmatic aspects of languages. By highlighting specific phenomena, each author of a work of art conceptualizes the world, filling the realities of existence with meanings, thereby constructing their own reality. The article proves that in the process of translation there is a problem of correlation of concepts presented in the USC, expressed in the relations of "content plan" and "expression plan", and related discursive possibilities for comparing these semantic categories in the translation language. Given this fact, it is possible to linguistically confirm many of the provisions concerning the content of the SWC concept. Namely, drawing a parallel between different ways of thinking, the comparison of certain concepts "spills out" the irregularities of the linguistic-cognitive worldview, that is, in order to identify these discrepancies, the article provides a conceptual analysis of options by comparing two different languages.

Erfahrung ohne Erfahrenden

2009 ◽  
Vol 2009 (1) ◽  
pp. 61-78
Author(s):  
Petr Kouba
Keyword(s):  
Phenomenological Approach ◽  
Work Of Art ◽  
New Beginning ◽  
Individual Structure ◽  
The World ◽  
Il Y A ◽  
Individual Existence ◽  
The Moment ◽  
The Individual ◽  
Intentional Structure

This article examines the limits of Heidegger’s ontological description of emotionality from the period of Sein und Zeit and Die Grundbegriffe der Metaphysik along the lines outlined by Lévinas in his early work De l’existence à l’existant. On the basis of the Lévinassian concept of “il y a”, we attempt to map the sphere of the impersonal existence situated out of the structured context of the world. However the worldless facticity without individuality marks the limits of the phenomenological approach to human existence and its emotionality, it also opens a new view on the beginning and ending of the individual existence. The whole structure of the individual existence in its contingency and finitude appears here in a new light, which applies also to the temporal conditions of existence. Yet, this is not to say that Heidegger should be simply replaced by Lévinas. As shows an examination of the work of art, to which brings us our reading of Moravia’s literary exposition of boredom (the phenomenon closely examined in Die Grundbegriffe der Metaphysik), the view on the work of art that is entirely based on the anonymous and worldless facticity of il y a must be extended and complemented by the moment in which a new world and a new individual structure of experience are being born. To comprehend the dynamism of the work of art in its fullness, it is necessary to see it not only as an ending of the world and the correlative intentional structure of the individual existence, but also as their new beginning.

Race, Criminal Justice, and Migration Control

2018 ◽  
Keyword(s):  
Criminal Justice ◽  
Social Control ◽  
Conceptual Analysis ◽  
Its Analysis ◽  
The World ◽  
Migration Control ◽  
Key Sites ◽  
And Migration ◽  
The Way

In an era of mass mobility, those who are permitted to migrate and those who are criminalized, controlled, and prohibited from migrating are heavily patterned by race. By placing race at the centre of its analysis, this volume brings together fourteen essays that examine, question, and explain the growing intersection between criminal justice and migration control. Through the lens of race, we see how criminal justice and migration enmesh in order to exclude, stop, and excise racialized citizens and non-citizens from societies across the world within, beyond, and along borders. Neatly organized in four parts, the book begins with chapters that present a conceptual analysis of race, borders, and social control, moving to the institutions that make up and shape the criminal justice and migration complex. The remaining chapters are convened around the key sites where criminal justice and migration control intersect: policing, courts, and punishment. Together the volume presents a critical and timely analysis of how race shapes and complicates mobility and how racism is enabled and reanimated when criminal justice and migration control coalesce. Race and the meaning of race in relation to citizenship and belonging are excavated throughout the chapters presented in the book, thereby transforming the way we think about migration.

For a translational sociology: Illuminating translation in society, theory and research

2021 ◽  
pp. 136843102110021
Author(s):  
Esperança Bielsa
Keyword(s):  
Meaning Making ◽  
Social Process ◽  
Translation Studies ◽  
Point Of View ◽  
Sociological Perspective ◽  
Cultural Globalization ◽  
Methodological Nationalism ◽  
The World ◽  
Sociology Of Translation ◽  
Basic Social Process

This article argues for a non-reductive approach to translation as a basic social process that shapes both the world that sociologists study and the sociological endeavour itself. It starts by referring to accounts from the sociology of translation and translation studies, which have problematized simplistic views of processes of cultural globalization. From this point of view, translation can offer an approach to contemporary interconnectedness that escapes from both methodological nationalism and what can be designated as the monolingual vision, providing substantive perspectives on the proliferation of contact zones or borderlands in a diversity of domains. The article centrally argues for a sociological perspective that examines not just the circulation of meaning but translation as a process of linguistic transformation that is necessarily embodied in words. Only if this more material aspect of translation is attended to can the nature of translation as an ordinary social process be fully grasped and its intervention in meaning-making activities explored. This has far-ranging implications for any reflexive account of the production of sociological works and interpretations.

The world in Auerbach’s mouth: Weltliteratur after philhellenism

2019 ◽  
Vol 11 (4) ◽  
pp. 427-452
Author(s):  
Mathura Umachandran
Keyword(s):  
Nineteenth Century ◽  
Comparative Literature ◽  
Human Activity ◽  
World Literature ◽  
Translation Studies ◽  
Complex Structures ◽  
Intercultural Understanding ◽  
The World

Abstract We live in an age of globalized and globalizing phenomena: the contemporary agenda of academic inquiry takes in ‘networks’, ‘connectivity’, and other modes of articulating complex structures of human activity. In Comparative Literature and beyond, the idea of world literature has borne the weight of idealist intercultural understanding, the hopes of translation studies, and the anxieties around the failure of communication. Erich Auerbach offers a touchstone in the conceptual genealogy of world literature (Weltliteratur). This article illuminates how Auerbach’s Weltliteratur is predicated on a polemic with German philhellenism, tracked through Auerbach’s declaration that his idea is ‘ungoethisch’. Auerbach’s revisions to Weltliteratur constituted a strategy to render it a historicist concept. Since Auerbach’s notion of historicism was itself derived from nineteenth-century German humanism, this essay argues that Auerbach was attempting to go with Goethe beyond Goethe. Finally, this essay assesses how successful Auerbach’s decoupling of Weltliteratur from universalism, under the sign of Goethe and the Greeks. I suggest that Weltliteratur is still a pertinent concept today because of Auerbach’s intervention to install historicist and dialectical resources therein.

Digital transformation of face-to-face focus group methodology: engaging a globally dispersed audience in management of institutional change (Preprint)

2021 ◽  
Author(s):  
Mohamed Mahmoud ◽  
Anna TOKAR ◽  
Melissa ARRIAS ◽  
Christos MYLONAS ◽  
Heini UTUNEN ◽  
...  
Keyword(s):  
Focus Group ◽  
Learning Strategy ◽  
Transformation Process ◽  
World Health ◽  
Global Learning ◽  
Group Discussions ◽  
Face To Face ◽  
Global Workforce ◽  
The World ◽  
Health Organization

UNSTRUCTURED As part of its transformation process to meet the health challenges of the 21st century by creating a motivated and fit-for-purpose global workforce, the World Health Organization (WHO) is developing the first-ever global Learning Strategy for health personnel around the world. Focus group discussions (FGDs) were organized as part of in-depth qualitative research on staff views, visions, and suggestions. Due to the pandemic, a flexible, multi-linguistic, participatory, iterative methodology for digitization of face-to-face FDGs to engage a globally dispersed workforce was implemented.

Postscript: charismatic things and social transaction in Renaissance Italy

Urban History ◽  
2010 ◽  
Vol 37 (3) ◽  
pp. 474-482
Author(s):  
THOMAS V. COHEN ◽  
ELIZABETH S. COHEN
Keyword(s):  
Cultural Production ◽  
Urban Culture ◽  
New Age ◽  
Italian Renaissance ◽  
Low Countries ◽  
Work Of Art ◽  
Cultural Products ◽  
The World ◽  
Renaissance Italy ◽  
The Individual

In 1860, Jacob Burckhardt published his view, still influential today, of an artful, urban Italian Renaissance that launched Europe on its passage to modernity. A lively revisionary scholarship has challenged Burckhardt on many points, but his famous formulae still resonate: the state as work of art; the development of the individual; the discovery of the world and of man. Although we now know that Italy did not alone invent the new age, it was for many years a trendsetter, especially in the domains of cultural production at the centre of this collection of essays. Republican and princely polities alike framed these developments, but, whoever ruled, Italy's unusually intense urbanization (paired with that in another well-spring of culture in the Low Countries) fostered innovation. In Renaissance cities, people and groups invested heavily in special actions, objects and places – charismatic cultural products empowered by holiness, beauty, fame and ingenuity – that fortified solidarity and resilience in uncertain times. This essay collection addresses a conjunction of urban culture and society distinctive to Renaissance Italy: an array of encounters of artifacts with ways of living in community.

scholarly journals The Absurd Man in camusiana philosophy and poetry drummondiana: language as a source of (trans)formation

2017 ◽  
Vol 27 (3) ◽  
pp. 361
Author(s):  
Sara De Castro Cândido ◽  
Nàvia Regina Ribeiro da Costa ◽  
Ruzileide Epifânio Nogueira
Keyword(s):  
Discourse Analysis ◽  
Interdisciplinary Approach ◽  
Albert Camus ◽  
Dialectical Materialism ◽  
Anglo Saxon ◽  
Work Of Art ◽  
Carlos Drummond De Andrade ◽  
The World ◽  
Poetic Text ◽  
The Subject

This article seeks to an approach between the poetry of Carlos Drummond de Andrade, in Feeling of the world (1940), and the philosophy of Albert Camus, in The Myth of Sisyphus - the work of art as adventure of a spiritual destiny (2012), for, to think through by the language praticed by Drummond in two poems – Poem of necessity and Holding hands –, the be in the world and the passing of the man's condition of the being ontic to the be ontological, using also Durand (2012) and another theorists. Making use, as methodology, by the bibliographical research, and theory express of poetic text, concepts and analysis based on the phenomenological critique. Still in an interdisciplinary approach, to reflect the subject and its constitution as speech, will use theories of French line of discourse analysis (DA) and the line Anglo-Saxon (ADC), whose leading exponents are respectively, Michel Pêcheux and Norman Fairclough, relying on the concept of dialectical materialism. O Homem Absurdo na filosofia camusiana e na poesia drummondiana: a linguagem como fonte da (trans)formação Este artigo busca aproximações entre a poesia de Carlos Drummond de Andrade, em Sentimento do Mundo (1940), e a filosofia de Albert Camus, em O mito de Sísifo – a obra de arte como aventura de um destino espiritual (2012), para, por meio da linguagem praticada por Drummond em dois poemas – Poema da necessidade e Mãos dadas –, pensar o estar no mundo e a passagem do homem da condição de ser ôntico para ser ontológico, valendo-se, também, de Durand (2012) e de outros teóricos. Utiliza, como metodologia, a pesquisa bibliográfica e expressa teorias do texto poético, conceitos e análises com base na crítica fenomenológica. Ainda, numa atitude interdisciplinar, para refletir sobre o sujeito e sua constituição como discurso, baseia-se nas teorias da Análise de Discurso de linha francesa (AD) e de linha anglo-saxã (ADC), cujos principais expoentes são, respectivamente, Michel Pêcheux e Norman Fairclough, apoiando-se na concepção do materialismo dialético.

scholarly journals Exhibiting an Unapologetic Fascist: Mario Sironi

Perceptions ◽  
2018 ◽  
Vol 4 (2) ◽  
pp. 20
Author(s):  
Fiona Fackler
Keyword(s):  
Public Perceptions ◽  
The Political ◽  
Contemporary Culture ◽  
National History ◽  
Work Of Art ◽  
The Public ◽  
Public Displays ◽  
Contemporary Politics ◽  
The World ◽  
Primary Focus

Benito Mussolini's Fascist dictatorship over Italy in the period between world wars remains a troubling element of the nation's history. It has heavily affected the contemporary politics and public displays of in addition to scholarship about the thriving artistic scene of that time, yet, the weight of Italy's Fascist legacy has either comprised the primary focus of or been entirely absent from studies on art in the 1920s-1930s until a recent academic interest in reinvestigating the political and cultural atmosphere of the period. This paper underlines the importance of such renewed critical interests in chapters of painful history and how those interests can influence public perceptions of national history and its outreach into contemporary culture. Specifically, I will examine the written and exhibited discrepancies between the life of the painter Mario Sironi under the regime and the life of selected paintings that perpetuate his existence in contemporary Italy. By comparing La Famiglia del Pastore in "Roma Anni Trenta: La Galleria d'Arte Moderna e Le Quadriennali (1931 - 1935 - 1939)" at the Galleria d'Arte Moderna and La Solitudine in "Time is Out of Joint" at the Galleria Nazionale I will analyze how exhibitions of art shape the Italian public's reception of this period. I contend that certain exhibiting styles can either deepen public reception and consideration for a work of art and the time from which it stems or can reduce understanding to that inspired by instantaneous connections, dependent on the institution's or curator's approach to context. For, no trip to a museum is simply a trip to a museum – whether actively or passively, museums shape how the public approaches the works in its halls and through these works, how the public approaches themselves and the world surrounding them.

scholarly journals Painting as a prayer of the spirit

2020 ◽  
Vol 16 (4) ◽  
pp. 113-132
Author(s):  
Petr Dobrolyubov
Keyword(s):  
Fine Arts ◽  
Work Of Art ◽  
General Process ◽  
Russian School ◽  
Russian Art ◽  
Short Period ◽  
The World ◽  
Artistic Images ◽  
Moscow School ◽  
Artistic Image

The article is devoted to the work of the Russian painter Dobrolyubov Vladimir Petrovich, who in 2020 marks the centenary of his birth. Special attention is paid to the presentation of his ideals, which inspired the artist to create wonderful paintings depicting the world around him, landscapes and landscapes, urban environment, monuments of ancient Russian architecture, decoration and interiors of the oldest churches from Moscow to Yaroslavl, Pereslavl Zalessky, Staraya Ladoga. From the Russian North to the Crimean mountains and Tsemeskiy Bay. Vladimir Petrovich Dobrolyubov (05.07.1920-24.02.1975) - a student of I.I. Mashkov, N.P. Krymov, G.G. Ryazhskiy, K.F. Yuon, V.V. Krainev, P.I. Kotov, V.I. Finogeev, K.G. Dorokchov. Dobrolyubov V.P., was the veteran of the Great Patriotic war (1941-1945), - the 75th anniversary of the Victory which we celebrate this 2020 year. The author analyzes the paintings of V.P. Dobrolyubov - a natural colorist, nugget, artist, philosopher and citizen of his country. His thoughts on the art of painting based on the beauty and traditions of the Russian school of iconography were the Foundation, the spiritual platform, for all of his painting, created in a short period of life. The author's paintings Dobrolyubov V.P. is of well-deserved interest for art studies and make a worthy, significant contribution to it not only by their high appreciation of color, color spot, and lyrical appearance, but also as works of the history of Russian painting and in particular, the Moscow school of painting, 30-60-ies of XX century, of which he was a representative. Also noteworthy is his understanding of art, his creative pictorial, original, author's handwriting, and also an amazing vision of color and color spot, his own, individual. As well as the interpretation of personal perception, the attitude and understanding of the fundamental foundations of realism in the domestic and world fine arts, expressed and approved in their own, no one repeats, coloristic pictorial language. Dobrolyubov V.P. considered icons, the Russian icon, as a work of art, which following the tradition of Byzantine masters of iconography, undoubtedly constitutes the core of the soul of the artistic creative process, and especially the work of iconographers such as Andrei Rublev, Theophanes the Greek, Vladimir-Suzdal, Moscow, Yaroslavl school of icon-painting as an objective reality of the world of spiritual images in their own work. Artistic creativity, in his opinion, as a representative of the Moscow school of painting, is not an abstract search and self-expression of the artist's beliefs and ideas, but the result of a deep, divine transformation of the soul, its path to truth and to the foundations of realistic art, through the perception of artistic images. Russian iconography of the XIV-XVII centuries, brought to Russia from Byzantium, Dobrolyubov V. P. considered the Russian school of iconography the main, unsurpassed, imperishable Foundation and a masterpiece of Russian fine art. Everywhere in his memories, in his understanding of the basics of art, the artist renounces the concept of copying the image and the icon for him is like a conditional historical symbol, indicating the spiritual image of past centuries. An artistic image is born in the soul of the painter and of course exists outside of iconography, but then it can appear in the minds of other people who contemplate the master's canvases, in which the image of the universal universe and the beauty of the universe is encoded, if you want, encrypted in the very deep images of Russian iconography. Therefore, the icon itself, its image and composition, as a work of art created once in the depths of past centuries, is personified in the mind of the author, as grace and inspiration sent from heaven. Dobrolyubov V.P. confirms the aesthetic and spiritual platform created for any person. Therefore, Russian icons created as spiritually and artistically perfect, self-sufficient works of Russian culture are inextricably linked to the General process for Russian art history, its ability to testify to its highest level in the hierarchy of world art. For the artist Dobrolyubov, Russian iconography is an inseparable part of his spiritual platform, and his works of painting – and, temple art, in conjunction with ancient Russian architecture, with the interiors of churches and their decoration, as well as the sacrament of divine services, baptisms, weddings and funerals, and are the most essential foundation, being, as the very artistic image of all his art work and now, in 2020. Today, 45 years after his death in 1975, his artistic paintings are just as beautiful and heartfelt.

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