MARINE DIMENSION OF DMYTRO SHUPTA’S STANZAS COLLECTION “AUTUMN FACET”

2021 ◽  
pp. 28-33
Author(s):  
Nemchenko I.V.
Keyword(s):  
Marine Environment ◽  
21St Century ◽  
Literary Tradition ◽  
Literary Works ◽  
Early 21St Century ◽  
Literary Traditions ◽  
The World ◽  
Observation Selection ◽  
Artistic Image ◽  
General Method

Purpose. Many writers from various epochs and countries have been admirers and propagandists of marine literature. The article examines the marine motifs and images of the Ukrainian poet Dmуtro Shupta’s lyrics in the early 21st century. The purpose of the work is to analyze the marine space in his stanzas collection “Autumn facet”.Methods. The elements of the following methods are used in the research: aesthetic (allows analyzing each text as a phenomenon of literature and art), hermeneutic (ensures free and open interpretation of texts with the possibility for new explanations), biographic (helps to describe autobiographic features in the writer’s literary works), intermedial (systematization of various elements of marine, musical and artistic presence in the lyrics of the poet), comparative (provides wide possibilities for the coverage of interdependence between poetry, music and painting micro-images), intertextual (links between writer’s poems and folklore songs and literary tradition), textual analysis (for coverage of the main motifs of stanzas collection). The research is based on the general method of analysis, synthesis, observation, selection and systematization of the material.Results. The effect of a hero’s co-living with the environment depicted by the author, with the marine environment in particular, is characteristic of D. Shupta’s stanzas collection “Autumn facet”. The article finds out that the Ukrainian writer has delicate understanding of music and painting, and can embody it in his own marine texts, combining different artistic elements. He uses auditory, visual and tactile impressions. Marine motifs and images of the literary works of D. Shupta play an important role in the creation of the artistic image of the world by verbal means. Marine space in his interpretation is a symbol of the nature and the world of human passions and life difficulties, their creative sources and ruinous essence. Shupta’s marine works combine real and fairy plans, have characteristics of legends, tales and mysteries. Close relations between the writer’s marine poetry and Ukrainian folklore songs and literary traditions are traced in the article.Conclusions. D. Shupta’s stanzas collection «Autumn facet» is an original artistic work on the crossing of literary, musical and descriptive imagery. The author presents different variants of stanzas, proposes many marine motifs, images, attributes, his own vision of the sea in its power and beauty. The collection confirms that the poet appertains to the best representatives of the national and the world marine literature.Key words: motif, image, metaphor, symbol, poetry, music, painting. Мета. Морська тематика є однією з найулюбленіших у доробку багатьох митців різних часів і країн – шанувальників і пропагандистів літературної мариністики. У статті розглядаються морські мотиви та образи в творчості українського поета Дмитра Шупти початку ХХІ століття. Метою нашої статті є висвітлення особливостей художнього осмислення мариністично-го простору письменником у його збірці стансів «Осіння грань».Методи. У статті використано елементи таких методів: естетичного (забезпечує розгляд творів митця як літературно-мистецького феномену), герменевтичного (пропонується вільна інтерпретація текстів із можливістю подальших витлумачень), біографічного (простежуються риси автобіографізму в поезіях співця), інтермедіального (здійснюється систематизація різноманітних мариністичних, музичних, живописних елементів, наявних у текстах поета), компаративного (висвітлюються взаємозалежності та взаємовпливи між поетичними, музичними, живописними мікрообразами), інтертекстуального (звертається увага на зв’язки між віршами митця та українським фольклором і літературною традицією), текстуального аналізу (застосовується для окреслення провідних мотивів cтансової збірки). Дослідження засноване на загальнонауковій методиці аналізу, синтезу, спостереження, добору та систематизації матеріалу.Результати. Для ліричної збірки Дмитра Шупти «Осіння грань» характерним є ефект органічного вживання героя в зображуване автором середовище й це насамперед мариністичний світ. Цей нерозривний зв’язок український письменник, який тонко розуміє музику і живопис, уміє передавати через переплетіння елементів різних мистецьких стихій. Він майстерно використовує слухові, зорові враження. Морські мотиви та образи виконують важливу функцію у творенні автором художньої картини світу. Мариністичний простір у поета символізує й природну стихію, й амплітуду людських почуттів, і складний вир життя, і творче начало, і руйнівну сутність. У мариністичних замальовках збірки Д. Шупти поєднуються реальний і феєричний плани, дійсність переплітається з легендою, казкою, містичними уявленнями. У статті простежено зв’язки між віршами письменника-мариніста та українським фольклором і літературною традицією. Висновки. Збірка стансів Дмитра Шупти «Осіння грань» є самобутнім мистецьким витвором, що заснований на перехресті літературної, музичної та живописної образності. Варіюючи різні стансові форми, видозмінюючи найрізноманітніші мариністичні мотиви, образи, атрибутику, автор зумів передати своє власне бачення моря у всій його cилі та красі. Збірка потверджує належність митця до найяскравіших представників вітчизняної і світової літературної мариністики. Ключові слова: мотив, образ, метафора, символ, поезія, музика, живопис.

scholarly journals TO PROBLEM OF EXAMINING ANIMALISTIC SYMBOLISM IN THE POETRY OF IVAN ZLATOKUDR

2021 ◽  
pp. 27-34
Author(s):  
Nemchenko I.V.
Keyword(s):  
Textual Analysis ◽  
Literary Analysis ◽  
Human Relations ◽  
Literary Works ◽  
Methods Of Analysis ◽  
The World ◽  
The Creation ◽  
Observation Selection ◽  
Artistic Image ◽  
Historical Epoch

Purpose. Many writers from various epochs and countries have been admirers and propagandists of the bestiary space. The purpose of the work is to analyze the animalistic images and symbols in the Ukrainian poet Ivan Zlatokudr’s lyrics in the late of 20th and early 21st century.Methods. The elements of the following methods are used in the research: cultural and historical (helps to investigate the functions of poet’s lyrical images in the process of representation of the features of Ukrainian national nature and historical epoch), aesthetic (allows analyzing each text as a phenomenon of literature and art), miphological (for coverage of reproduction of miphological images by poet), hermeneutic (ensures free and open interpretation of texts with the possibility for new explanations), biographic (helps to describe autobiographic markers in the writer's literary works), descriptive (systematization of various elements of the animalistic space in the lyrics of the poet), intertextual (links between writer’s poems and folklore songs and literary general tradition), textual analysis (for coverage of the animalistic motifs and images of Zlatokudr’s collection). The research is based on the general methods of analysis, synthesis, observation, selection and systematization of the material.Results. The author of this article represented the results of literary analysis accomplished over the texts of Ivan Zlatokudr with animalistic motifs and images. The symbols of a horse, dog, cow, ox, sheep, cat, deer, wolf, fox, bear and other animals play an important role in the creation of the artistic image of the world in the writer’s version and show his psychology. The article finds out that Ivan Zlatokudr has delicate understanding of bestiarial space. The effect of a hero’s co-living with the environment depicted by the author, with the animalistic environment in particular, is characteristic of writer’s lyrical collection. Ivan Zlatokudr’s works combine real and fairy plans, have characteristics of legends, tales and mysteries. The poet’s bestiarial dimension deepens understanding of nature and difficult world of human relations and feelings and it has national and similarity sounding. Мета. Бестіарний світ приваблює багатьох письменників різних часів і народів – від давнини й до сьогодення. Метою нашої статті є висвітлення особливостей творення образів-символів звірів у ліричних текстах українського поета з Польщі Івана Златокудра кінця ХХ – початку ХХІ століття.Методи. У статті використано елементи таких методів: культурно-історичного (допомагає виcвітлити функції ліричної образності у процесі відтворення поетом рис українського національного характеру та історичної епохи), естетичного (забезпечує розгляд творів митця як літературно-мистецького феномену), міфологічного (використовується для відстеження репродукування поетом міфологічних образів), герменевтичного (пропонується вільна інтерпретація текстів із можливістю подальших витлумачень), біографічного (простежуються риси автобіографізму в поезіях співця), описового (здійснюється систематизація різноманітних елементів анімалістичного простору в текстах поета), інтертекстуального (звертається увага на зв’язки між віршами митця й українським та світовим фольклором і літературною традицією), текстуального аналізу (застосовується для окреслення анімалістичних мотивів та образів у Златокудровому доробку). Дослідження засноване на загально-науковій методиці аналізу, синтезу, спостереження, добору та систематизації матеріалу.Результати. Автор статті репрезентує результати аналізу текстів Івана Златокудра, присвячених анімалістичним мотивам та образам. Символіка коня, собаки, корови, вола, вівці, кота, оленя, вовка, лисиці, ведмедя та інших тварин виконує важливу роль у розбудові автором художньої картини світу, сприяє розумінню його психології. Для поетичної творчості Івана Златокудра досить характерним є ефект органічного вживання ліричного героя в зображуваний світ, зокрема простір фауни рідного краю. Митець поєднує в текстах реальний і феєричний плани, переплітає дійсність із легендою, казкою, містичними уявленнями. Бестіарний вимір у поета поглиблює й розуміння природної стихії, і складність людських взаємин і почуттів, має як національне, так і загальнолюдське звучання. Висновки. Анімалістична образність у поетичній творчості Івана Златокудра закорінена у світ міфології та фольклору укра-їнського та інших народів, ґрунтується на літературних традиціях. Анімалістичні образи-символи в доробку митця відбивають особливості української ментальності, історико-культурний досвід нашого етносу, віддзеркалюють естетичні цінності нації.Ключові слова: лірика, фольклор, міфологія, зооморфні образи, анімалістична символіка.

scholarly journals Art of the second half of XX — early XXI centuries as visual philosophy

2021 ◽  
Vol 4 ◽  
pp. 95-106
Author(s):  
Natalia Dyadyk ◽  
Keyword(s):  
20Th Century ◽  
Contemporary Art ◽  
21St Century ◽  
Visual Art ◽  
Conceptual Art ◽  
Early 21St Century ◽  
The World ◽  
Analysis And Synthesis ◽  
Death Of The Author ◽  
Contemporary Artists

Introduction. The article is focused on studying the area of intersection of contemporary art and philosophy, it is a continuation of the research project on conceptual art and its intersection with philosophy, which we started earlier. By conceptual art, we mean art aimed at intellectual comprehension of what has been seen, art that appeals to thinking and generates philosophical meanings. But if earlier we explored conceptual cinema and mainly visual art of the early 20th century, then in this article we want to turn to the visual art of the second half of the 20th century — the beginning of the 21st century, which is also called contemporary art by art critics. The empirical material of the study was the works of such contemporary artists as E. Warhol, D. Koons, D. Hirst, J. Ono, F. Bacon, I. Kabakov, D. Kossuth, the movement of “new realists” and photorealists, the movement of Moscow conceptualists and etc. Contemporary art is one of the ways of understanding the world, visual philosophy, which is of interest for philosophical understanding. The purpose of the article is to conduct a philosophical analysis of visual art of the second half of the 20th — early 21st I centuries in order to identify its philosophical sources and content. Methods. The author uses the following general scientific methods: analysis and synthesis, induction, deduction, abstraction. When analyzing works of conceptual art, we use hermeneutic and phenomenological methods, a semiotic approach. We also use the symbolic-contextual method of analyzing exhibition concepts, which is based on identifying the philosophical meanings and ideas of exhibitions of contemporary art. Scientific novelty of the study. We regard contemporary art as a visual philosophy. Philosophizing, in our opinion, can exist in various forms and forms from everyday practical (the so-called naive philosophizing) to artistic-figurative, that is, visual. Philosophical ideas or concepts are born not only from professional thinkers, but also from artists. The artistic concepts of contemporary artists are similar to the concepts of philosophers, since the goal of both is to cognize the world and grasp being. We find and describe the area of intersection of modern philosophy and contemporary art, each of which is in a situation of crisis separately and continuous dialogue together. Results. In the course of our research, we identify and describe the philosophical origins of visual art in the second half of the twentieth century - early twenty-first century: postmodern philosophical consciousness, conceptualism, the idea of “death of the author” and “death of art”, simulacrum, kitsch and camp, the method of deconstruction and its application in modern art. Conclusions. Visual art of the second half of the 20th century — early 21st century is a visual form of philosophical questioning about the essence of art itself, about the existence of a person and being in general. The works of contemporary artists are based on philosophical problems: meaning, speech and meaning, the ratio of the rational and the irrational, the problem of abandonment and loneliness of a person, the problem of the “death of the author” and the alienation of the creator from his work, the idea of the impossibility of objective knowledge of reality.

scholarly journals World politics, globalization and the crisis

2013 ◽  
Vol 65 (1) ◽  
pp. 24-41
Author(s):  
Predrag Simic
Keyword(s):  
International Relations ◽  
Economic Crisis ◽  
21St Century ◽  
World Politics ◽  
Human Environment ◽  
Early 21St Century ◽  
The World ◽  
Multilateral System ◽  
World Economic ◽  
World Economic Crisis

In the early 21st century, globalization and the world economic crisis changed the balance of powers between the old (declining) and new (emerging) industrial states replacing the unilateral with a multilateral system of international relations and changing the way in which world politics was functioning. Globalization has increased the number of transnational problems (protection of human environment, international traffic and communications, flows of capital, energy, migrations, etc.) that require global governance. However, these trends also indicate that in the 21st century, international relations and world politics will function in a significantly different manner than they did within the bipolar and unipolar order, which characterized the second half of the 20th century.

Global Anti-LGBT Politics

2019 ◽  
Author(s):  
Barry D. Adam
Keyword(s):  
21St Century ◽  
Well Being ◽  
Social Forces ◽  
Early 21St Century ◽  
Christian Morality ◽  
The World ◽  
Lgbt Politics ◽  
Global North ◽  
Major Transformation ◽  
Lgbt People

Anti-LGBT politics around the world have undergone a major transformation over the last half century. While European powers once held themselves up as defenders of Christian morality and patriarchy, characterizing Asia, Africa, and the Americas as locations of sexual disorder, in the 21st century many of the countries of the Global South construct LGBT sexualities as pathological, threatening, or criminal, while many countries of the Global North incorporate sexual orientation in a discourse of human rights, democracy, and individual freedom. Many of the social forces of nationalism and populism of the early 21st century place the well-being of LGBT citizens in jeopardy, and conflicts between these divergent visions of the good society continue to have grave consequences for LGBT people around the world.

Surface

2020 ◽  
Author(s):  
Shiamin Kwa
Keyword(s):  
21St Century ◽  
Film Studies ◽  
Decorative Arts ◽  
Literary Texts ◽  
Early 21St Century ◽  
Graphic Narratives ◽  
The World ◽  
History Of ◽  
Digital Stories ◽  
History Of Architecture

Thinking about surface and its historiography in the early 21st century is a way of thinking about ways of seeing in the world, and how people define themselves in relation to the things around them. From literary texts to the decorative arts, from graphic narratives to digital stories, and from film to the textile arts, the ways of reading those texts frequently raise questions about interactions with surfaces. Theories of surface have been engaged in many ways since their invocation by French theorists in the final decades of the twentieth century. They have a steady but by no means identical presence in the field of visual studies, history of architecture, and film studies; they have found an application in discussions of race and identity; they have enjoyed an early 21st century turn in the spotlight under the auspices of a broadly defined call for a “surface reading.” This critical move defines surface as worthy of scrutiny in its own right, rather than as something that needs to be “seen through,” and makes its most profound claims less by reactivating attention to reading surfaces, which arguably has been done all along, but by a shifting away from a model of interpretation that makes claims for authoritative symptomatic readings by an all-knowing interpreter.

The Challenge of Poverty, Near-Poverty, and Inequality in 21st-Century Hong Kong

2017 ◽  
Author(s):  
Yue Chim Richard Wong
Keyword(s):  
Hong Kong ◽  
Income Inequality ◽  
Middle Class ◽  
21St Century ◽  
Social Condition ◽  
Early 21St Century ◽  
Property Prices ◽  
Poverty And Inequality ◽  
The World ◽  
Political Problem

The essays in this volume show that poverty, near-poverty, and inequality are multi- faceted conditions. They have coalesced into a growing economic and social condition in Hong Kong, which is also developing into a difficult political problem. The origins can be traced to the effects of economic globalization and China’s opening in the 1980s. It then grew during the late 1990s and worsened in the early 21st century. Many rich cities in the world have experienced similar phenomena. First, a small fraction of the population is in poverty; some may even be destitute. Second, the middle class begins sinking as growing numbers of its members become less able to afford a comfortable life in the manner they are used to. Third, income inequality and inequality in the ownership of wealth rise, especially as a result of escalating property prices. Unlike in other places, in Hong Kong these conditions are developing at a faster pace and with greater severity.

3. Secularism diversifies

2019 ◽  
pp. 31-46
Author(s):  
Andrew Copson
Keyword(s):  
21St Century ◽  
Early 21St Century ◽  
Religious Traditions ◽  
The World ◽  
The Early 21St Century

In Asia in the 19th and 20th centuries, many reformers saw European secularism as an exemplar for their new political orders. Many Asian states went on to adopt a form they called secular, but that in practice conceals a diversity of ways of organizing religion. ‘Secularism diversifies’ examines two avowedly secular states—Turkey and India—who had resources within their own political and religious traditions with which to form their secularism. In the early 21st century, secularism is contested from all quarters, but is also winning new adherents in many parts of the world as populations subject to strong religious sanctions see it still as one of the essential aspects of modernity.

scholarly journals Post-Crisis Reckoning: Making Sense of Early 21st-Century Civilizational Ruptures

2021 ◽  
Vol 13 (1) ◽  
pp. 1-17
Author(s):  
György Kalmár
Keyword(s):  
21St Century ◽  
Sense Making ◽  
Cultural Logic ◽  
Early 21St Century ◽  
Making Sense ◽  
The World ◽  
Key Concepts ◽  
Default Position ◽  
Fault Lines

Abstract As the world is struggling with the Covid crisis and its numerous aftereffects, it is easy to forget that the present pandemic is only the latest of a whole series of paradigm-changing 21st-century crises. Indeed, the word “crisis” has become one of the key concepts for the understanding of the early 21st century. Thus, crisis seems very much to be the default position of the 21st century, the new norm. In this paper, I argue that the 21st century has a recognizably different cultural logic from what the previous one had: most of our social, ideological, political, financial, and ecological paradigms are either changing or will (or must) change soon. As most of our critical concepts, intellectual tools, and ideological frameworks were made during the boom years of the late 20th century, they are clearly outdated and inadequate today. Thus, in this paper, through taking account of these shifting intellectual and artistic paradigms, I attempt to indicate how the present crisis of knowledge and sense-making may be turned into a process of knowing and making sense of crisis, and thus help us meet the challenges of the new century. It is often through these fault-lines, breakdowns, and inconsistencies of our narratives that one may recognize those pre-crisis assumptions that we have to critically re-evaluate and update in order to understand the new century.1

scholarly journals Smrt kao dvostruki eksces u poeziji Darka Cvijetića

2019 ◽  
Vol 168 ◽  
pp. 565-579 ◽  
Author(s):  
Andrijana Kos-Lajtman
Keyword(s):  
21St Century ◽  
Violent Death ◽  
Emotional Intensity ◽  
Semantic Framework ◽  
Early 21St Century ◽  
The World ◽  
The Dead ◽  
Post War ◽  
Basic Semantic

Death as a double excess in poetry of Darko CvijetićThe paper deals with the treatment of the theme of death in the poetry of the contemporary Bosnian author Darko Cvijetić. The author’s opus is full of motifs of death, it is a kind of “poetics of death” which generates not only a complex “poetic gallery of the dead”, but also a “gallery of the wounded”, through a dehumanized image of war and post-war Bosnia. A demonic face of the late 20th and early 21st century Balkans is the basic semantic framework for most of Darko Cvijetić texts, death and wounds are his central motif places. In this postmodern opus with expressive neo-avantgarde poetic gestures, death takes on determinants of accident and incident of the world, but of language as well. These two categories present in Cvijetić’s poetics are paired on the principle of a clepsydra — the experiential signs of these two categories, however, are opposite to each other: accidental/violent death as a fact of maximum cognitive and emotional intensity in the poetic realization manifests as linguistically inferior or self-evident place devoid of rhetoric and pathos. The process of a mute language gesture sometimes goes to the level which is beyond reason; as such, it is in counterpoint to the semantics of signifier. The result of this tension is resolved as an implosion in the reader, while the text to the end remains rhetorically restrained.  Śmierć jako podwójny eksces w poezji Darko CvijeticiaPraca porusza zagadnienia śmierci w poezji współczesnego bośniacko-hercegowińskiego autora Darko Cvijeticia. Śmierć jest kluczowym motywem całego zbioru Cvijeticia i można tu mówić o „poetyce śmierci”, która generuje nie tylko złożoną galerię martwych, lecz także galerię ranionych na podstawie zdehumanizowanego obrazu wojennej i powojennej Bośni. Demoniczna twarz Bałkanów na przełomie stuleci jest podstawową ramą semantyczną większości tekstów Cvijeticia, podczas gdy śmierć i rany są wiodącymi motywami miejscowymi. W tej postmodernistycznej twórczości wyrażonej neoawangardowymi szkicami śmierć staje się wyznacznikiem przypadkowości i ekscesu — zarówno świata, jak i języka. Dwie ostatnie kategorie w poezji Cvijeticia łączą się na zasadzie klepsydry — ich empiryczne oznaki są jednak przeciwne: przypadkowa/gwałtowna śmierć jako fakt maksymalnego poznawczo-emocjonalnego nasilenia w poetyckiej realizacji manifestuje się jako językowo gorsze lub oczywiste miejsce pozbawione retoryki i patosu. Proces wyciszania językowych gestów czasami sięga do krawędzi rozumu i jako taki staje w kontrapunkcie z semantyką oznaczonego. Efekt przytoczonych napięć rozwiązuje się jako implozja w czytelniku, podczas gdy tekst do końca pozostaje retorycznie ograniczony.

Empowerment of Women Through Microfinance

2019 ◽  
pp. 345-355
Author(s):  
Prity Purushottam Patilkale ◽  
Shabana Haque ◽  
Sathya T.
Keyword(s):  
21St Century ◽  
Poverty Reduction ◽  
Women Empowerment ◽  
Microfinance Institutions ◽  
Development Programs ◽  
Regeneration Strategy ◽  
Early 21St Century ◽  
Individual Level ◽  
The World ◽  
Family Level

One of the most popular goals of most of the development programs and especially of microfinance programs is empowerment of women. Empowerment is closely related to the concept of power, which can be understood in terms of “power to,” “power within,” “power with,” and “power over.” Empowerment can be judged at various levels such as at individual level, family level, and collective level. Microfinance has become an important component of development, poverty reduction, and economic regeneration strategy around the world. By the early 21st century, tens of millions of people in more than 100 countries were accessing services from formal and semi-formal microfinance institutions (MFIs).

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