scholarly journals THE SPECIFICS OF METAPHYSICAL DEFAMILIARISATION IN SIGIZMUND KRZHIZHANOVSKY’S PROSE

2020 ◽  
pp. 191-197
Author(s):  
Oleg S. Gorelov
Keyword(s):  
Creative Work ◽  
Magic Realism ◽  
The Unconscious ◽  
Space And Time ◽  
Mise En Scene ◽  
The World ◽  
Real Objects ◽  
The Subject ◽  
The Fantastic ◽  
The Invisible

The article analyses the creative work of Sigizmund Krzhizhanovsky with the help of a surrealist code. Associations with magic realism, with imaginism and partly with the literary nonsense naturally arise when considering the elements of the fantastic, the miraculous, the imaginary, the oneiric in Sigizmund Krzhizhanovsky’s aesthetic and artistic system. The surrealistic is present in the work of Sigizmund Krzhizhanovsky implicitly. At the external levels of the structure, the most obvious signs of surrealist writing (nonlinear architectonics of the subject and the world, the representation of the desire of the unconscious, automatism, chains of «stupéfi ant images») either have a circumstantial nature or are not detected at all. However, as shown in the article, those signifi cant elements that appear and are almost obsessively repeated in Sigizmund Krzhizhanovsky’s writing (minimal metaphysic defamiliarisation, framing, contemplation of the invisible, metonymic parallax) can be called minimal surreal gestures. The article analyses the main features and specifi cs of the implementation of the metaphysic defamiliarisation, one of such gestures. This defamiliarisation is realised through complex work with space and time. The metaphysical is not beyond, but appears in this world, imperceptibly changing the perception of real objects, the atmosphere itself, drawing the subject into a strange mise-en-scène of nothingness, which does not violate the general specifi city and immanence of the landscape.

scholarly journals Tatiana Koltochikhina’s batiks: «From the beginning without the end»

2016 ◽  
Author(s):  
И.В. Октябрьская
Keyword(s):  
Space And Time ◽  
The World ◽  
Art Forms ◽  
The Subject

Батик роспись по ткани один из древнейших видов искусства, восходящих к ремеслам, преобразующим вещный мир по законам красоты. Рукотворная природа делает причастным это декоративное творчество к творению. Под руками художника по батику Татьяны Колточихиной пространство ткани превращается в пространство мира. Ее мир не имеет границ в пространстве и времени. Он древний и вечный. Поверхность бытия на полотнах художника растресканная, как поверхность старых картин, напоминает о глубине памяти и непреходящем характере творческих исканий. Batik, the textile painting, is one of the most ancient art forms, dating back to the crafts, transformed the subject world according to the laws of beauty. Manmade nature makes this decorative work involved into creation. At the Tatiana Koltochikhina’s hands, craftsman in batik, the space of textile turns into the space of the world. Her world does not have the borders of space and time. It is ancient and eternal. The surface of the existence on the artist’s canvases is cracked, as the surface of the old pictures, reminds the memory depth and the imperishable nature of the artistic explorations.

The Nightmare of Reason and Regression into the Night of the World

2018 ◽  
pp. 119-139
Author(s):  
Wes Furlotte
Keyword(s):  
Mental Illness ◽  
Significant Problem ◽  
The Unconscious ◽  
The World ◽  
The Subject ◽  
Radical Freedom ◽  
Finite Subjectivity

This chapter critically reads finite subjectivity in terms of its natural, instinctual dimension. The chapter’s objective is to further substantiate the significant problem Hegel’s conception of nature poses to his project of radical freedom. Developing a sense of subjectivity’s potential for “regression”, the chapter seeks to outline how, as in the case of acute psychopathology, subjectivity’s ordering of its instinctual dimension might be undermined. Hegelian regression, therefore, is a haywire inversion where the logical superiority of spirit’s freedom is subordinated to the ontologically prior register of instinct. Extrapolating from this analysis, the chapter contends that the unconscious-instinctual depth of the subject is never entirely abandoned; this abyss (Schacht) of indeterminacy lingers within the matrices of finite spirit and has the perpetual possibility of breaking-loose to the detriment of subjectivity’s free self-actualizing activity. Consequently, a reconstruction of Hegel’s account of mental illness forcefully demonstrates how nature remains a perpetual source of trauma for finite subjectivity and, therefore, the life of spirit.

scholarly journals Categories of everyday knowledge in German professional discourse

2019 ◽  
Vol 69 ◽  
pp. 00063
Author(s):  
Natalia Shnyakina ◽  
Anna Klyoster
Keyword(s):  
Scientific Knowledge ◽  
Frame Analysis ◽  
Professional Discourse ◽  
Space And Time ◽  
The World ◽  
Categorical Structure ◽  
Cognitive Action ◽  
The Subject ◽  
Subject Of Cognition ◽  
Everyday Knowledge

The study of language as a cognitive phenomenon makes it possible to identify patterns of categorical division of the world. This paper considers the issue of the characteristics of everyday knowledge categories verbalization in professional discourse. On the basis of language fragments, objectifying ideas about the cognitive situation, through frame analysis, surface realizations of significant cognitive categories are investigated, among which are the subject of cognition, the object, the cognitive action, the instrument, the result, space and time. The named semantic nodes form the categorical structure of the frame behind the language fragment. The analysis demonstrates the compatibility of everyday and scientific knowledge division by a speaker; still, it illustrates the specificity of the language expression of frame nodes within the framework of professional discourse.

Fantastic Phenomena

2011 ◽  
Vol 41 (2) ◽  
pp. 228-237 ◽  
Author(s):  
Jean-Luc Nancy ◽  
Mark Sentesy
Keyword(s):  
The World ◽  
Thing In Itself ◽  
The Subject ◽  
The Fantastic ◽  
Opening Up

AbstractThe subject of this essay is the thing itself, examined through the fantastic character of phenomenality, that is, through the coming into being or opening up of the world. The world of appearance emerges from a simple, absolute nothing: there is nothing behind or before the world. There are right away many things, a world: one thing implies others, since for one to be it must distinguish itself from another. Thus, if ‘to be’ means ‘to distinguish,’ Being begins with the parting of things that makes their connection possible. Thus the thing in itself is straightaway the undergoing of its own parting; being is a passion. The Imago, then, is not a picture or figure, but the arriving in presence, which imagination elicits or welcomes by advancing in response. Imagination, then, is not first of all open to an image, but to world. It opens itself to the Thing, to the possibility of something, to parting, and in so doing brings itself toward creation.

scholarly journals COVID-19 in modern Russian laughter discourse: psycholinguistic method of devaluation of danger as an effective method of psychological protection

2020 ◽  
Vol 1 (2) ◽  
pp. 4-16
Author(s):  
Irina S. Karabulatova
Keyword(s):  
Theory And Practice ◽  
Fake News ◽  
The Unconscious ◽  
Russian People ◽  
News Stories ◽  
The Everyday ◽  
The World ◽  
The Subject ◽  
The Stability ◽  
Modern Russian

The mysterious Russian soul is always looking for non-trivial aspects of a problem. The modern coronavirus pandemic (COVID-19) has become the subject of ridicule in the everyday laughing practices of Russian people. In this case, the laughing discourse acts as a form of psychological defense and struggle against the inevitable evil. The importance of the research is due to the lack of knowledge of the communicative and cognitive aspects of laughter discourse and the need to study the modern anecdote on the topic "coronavirus pandemic" in the aspect of forming the stability of the human psyche in the conditions of pandemics and isolation. The relevance of this work is also determined by the fact that it expands the empirical base of discourse linguistics, LSP theory and practice, motivology and emotive linguistics, whose interests include consideration of the problem of the influence of emotions on language. The relevance of the work also lies in the fact that special attention is paid to the little-studied phenomenon of "black humor", which is vividly represented in the laughing discourse about coronavirus. Unfortunately, today Russia occupies the leading positions in terms of the number of people infected with virus COVID-19. Archetypal fear of unknown Evil, of invisible death evoke chthonic experiences of the unconscious from the depths of the subconscious, actualizing the laughable techniques of devaluing danger as one of the effective methods of psychological protection. The world stereotype defines Russian people as frowning and unsmiling, extremely hostile to the world around them. The article reveals the specifics of modern Russian anecdotes about COVID-19. This allows the reader to understand what the stress resistance and resilience of the Russian person in a situation of degenerate press of negative information in various media is. This situation is complicated by fake news stories about the pandemic. What are Russian people laughing at during the pandemic? What helps them survive and stay mentally healthy in this situation? What is the specifics of Russian jokes about the pandemic? How do these anecdotes structure a person's inner space in a new way? What Parallels can we find in a laughing culture that plays up the stigmatized situations of tragedies, wars, and epidemics? This article is intended as an attempt to answer these and other questions.

scholarly journals MF Husain’s Hindi Autobiography Em. Ef. Husain kī kahānī apnī zubānī

2020 ◽  
Author(s):  
Alessandra Consolaro
Keyword(s):  
Public Spaces ◽  
The Body ◽  
The Self ◽  
Imagined Community ◽  
Space And Time ◽  
Cultural Artefact ◽  
The World ◽  
Private And Public ◽  
The Subject

Drawing from Elizabeth Grosz’s notion of the body as a socio-cultural artefact and the exterior of the subject bodies as psychically constructed, and Rosi Braidotti’s concept of nomadic identities, in this article I introduce world-renowned Indian painter MF Husain’s verbal and visual autobiography Em. Ef. Husen kī kahānī apnī zubānī as a series of sketches of a performative self, surfing the world in space and time. Bodies and spaces are envisioned as “assemblages or collections of parts” in constant movement, crossing borders and creating relationships with other selves and other spaces. People and places become a catalyst for manifestations of the self in art – MF Husain being foremost a painter – and eventually also in literature. I look for strategies that MF Husain uses in order to construct or deconstruct the self through crossings and linkages. I try to investigate how the self is performed inside and outside private and public spaces, how the complex (sometimes even contradictory) relationship between self and community is portrayed, and how this autobiography does articulate notions of (imagined) community/ies, nationalism, transnational subjectivity, nostalgia.

scholarly journals Teologiczne podstawy monastycznej mistyki nestoriańskiej (syro-orientalnej) w listach Jana z Dalijata

Vox Patrum ◽  
2018 ◽  
Vol 70 ◽  
pp. 281-294
Author(s):  
Andrzej Uciecha
Keyword(s):  
Golden Age ◽  
Spiritual Experience ◽  
Human Soul ◽  
Current Analysis ◽  
The World ◽  
Christian Literature ◽  
The Subject ◽  
Literary Output ◽  
The Invisible

The article attempts to draw an outline of the mystic theology of the Nesto­rian monk John of Dalyatha (John Saba, „the Elder”), who lived at the border of what is now Turkey and Iraq at the turn of the 7th and the 8th centuries. His literary output consists of the letters and the homilies and belongs to the „golden age” of the East Syrian Christian literature. In line with the Nestorian Orthodoxy, John Saba denied the perception of the God’s nature, which was identified by him with the transcendent nature of Father. He accepted, however, a contemplation of God’s glory, understood as a radiance and a reflection of the invisible nature. John of Dalyatha was the only mystic who attempted to explain this distinction in the light of ideas of St. Paul (2Cor 3:18 and 4:6). The subject of the current analysis is the idea behind the expressions „remembrance of God” and „the world of changeability”. Unceasing looking at the God, and searching for Him deep into the heart is necessary for the development of mystical sensitivity. The psychological depth of John’s religious programme is striking. In the human soul, the heart is the place of a union with the God, as it was in „the Holy of Holies”. John conveys his spiritual experience, although he is fully conscious of imperfect means through which man can communicate the mysteries of God.

The Last Laugh

CNS Spectrums ◽  
2001 ◽  
Vol 6 (12) ◽  
pp. 953-953
Author(s):  
Michael Trimble
Keyword(s):  
Central Nervous System ◽  
Nervous System ◽  
Web Site ◽  
Mental Life ◽  
The Unconscious ◽  
Arthur Koestler ◽  
The World ◽  
The Central Nervous System ◽  
The Subject ◽  
Set Up

Freud writes in his startlingly innovative book, Wit and Its Relation to the Unconscious, that “…our philosophical inquiries have not awarded to wit the important role that it plays in our mental life.” He pointed out the difficulties of studying the phenomenon scientifically, and went on to analyze the meanings of jokes and why we laugh. He emphasized the “pleasure in economy” that the central nervous system derives from the pithy nature of the witty synthesis. Since then, several authors have brought forward their own theories, Arthur Koestler among them. However, neuroscientists have shown little interest in the subject.This needs urgent attention. It is therefore welcome that at least one group of scientists is taking jokes seriously. They set up a “Laugh Lab” Web site to investigate humor, and respondents from all over the world were asked to vote for the “best” of several jokes displayed on the site. Their responses will be analyzed and hypotheses tested.

scholarly journals Notas para uma reflexão sobre consciência e inconsciente na fenomenologia

2010 ◽  
Vol 16 (1) ◽  
pp. 45-53
Author(s):  
Adriano HOLANDA
Keyword(s):  
Semantic Analysis ◽  
The Unconscious ◽  
The World ◽  
The Subject

The article proposes to discuss the concepts of the unconscious and conscience, from a phenomenological reference. Starting from the metaphor of a semantic analysis of the word “unconscious”, seek to develop reflections around its significance, making a contraposition with “awareness” and “conscious”. In this sense, still permeates the ideas of structure and process, as well as act and content, in the direction of the distinction between substantive and adjective. As analogy, take some ideas of Theodor Lipps in respect of the unconscious, as an entry to the subject of conscience in phenomenology using psychopathology and the criticism of Merleau-Ponty about the idea of interiority in psychology, to defend, finally, the idea of a conscience as position of the subject in the world, and affirm the phenomenology as a phenomenology of conscience in the world.

scholarly journals Misrepresentation of The Druse Community in Browning’s Unsuccessful Tragedy

2020 ◽  
Vol 3 (1) ◽  
pp. 69-72
Author(s):  
Ismael M. Fahmi ◽  
Lanja A. Dabbagh
Keyword(s):  
Subject Matter ◽  
Robert Browning ◽  
Literary Texts ◽  
Literary Genre ◽  
Creative Work ◽  
The World ◽  
The Subject ◽  
Literary Histories

There are a number of literary texts which earn their raison d’etre from the exotic nature or unfamiliar features in the subject matter of the creative work. One of the brilliant and of standing poets of all ages is Robert Browning. Robert Browning (1812-1889) chose a literary genre alien to his powers as a poet, and a topic beyond the range of a man who had little firsthand knowledge of the Levant. Since he had the power to transfer historical stories magically to forever recited and read poems all over the world and through all ages till the recent one. This poet composed a tragic play entitled The return of the Druses (1843). Literary histories tell us that it was a failure on all accounts. One of the logical reasons for this failure was presumably Browning’s ignorance of the culture he wished to depict in this work. This article is an analysis of the play, to which very little attention was paid even by the specialists in Browning studies. The conclusion is that Browning provided for the readers and spectators a rather weak image of the Druses as individuals and as a community. They are shown to be gullible and misguided as a community. Their leadership is shown as cunning, dishonest, and Machiavellian.

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