scholarly journals Early plays by Anton Chekhov: a dialogue with Ivan Turgenev

2021 ◽  
Vol 27 (1) ◽  
pp. 166-171
Author(s):  
Olga V. Bigildinskaya
Keyword(s):  
Don Quixote ◽  
The Body ◽  
Creative Work ◽  
Anton Chekhov

This article tells about the influence of the poetics of Ivan Turgenev's works on the features of early Anton Chekhov’s drama – the student play “Platonov” (1880–1881), “Ivanov” (edited in 1888–1889) and “The Wood Demon” (1888–1889). The author studies in detail the degree of Chekhov's familiarity with the body of Turgenev's dramatic texts. The author reveals the unity of the chronotope of the noble nest, distant plot similarities (self-serving motivations of actions), and the thematic motif of self-condemnation of the characters. It is shown that in Chekhov's plays there are characters typologically close to Turgenev (Superfluous Man, Hamlet, Don Quixote, “Turgenev's girl”, sponger), and there are also such elements of the poetics of Turgenev's drama as monologue, the reception of interruptions, micro-plots. The article draws attention to the fact that Chekhov was the successor of the dramatic tradition established in Turgenev's work, and developed, rather than making direct borrowings. Thus was the nature of Chekhov's creative work, focused on a dialogue with the Turgenev heritage.

The Series of Archaeological Dance: A Historical Study and Dance Move Recording with Labanotation | ระบำ􀄕ชุดโบร􀄕ณคดี: ก􀄕รศึกษ􀄕เชิงประวัติศ􀄕สตร์ และก􀄕รบันทึกท่􀄕ร 􀄕ด้วยล􀄕บ􀄕นโนเทชัน

2021 ◽  
Author(s):  
Dharakorn Chandnasaro ◽  
Keyword(s):  
The Body ◽  
Historical Study ◽  
Historical Period ◽  
Creative Work ◽  
Archaeological Evidence ◽  
Unique Identity ◽  
Unique Style

The Series of Archaeological Dances is a creative work of Thai dance inspired by information and evidence of ancient antiquities and sites discovered in Thailand to make the archaeological evidence found to be alive again in the form of Thai theatre and dance. The name of the historical period of art identified by the scholars are used to define the names of five performance of the Archaeological Dances, namely, Dvāravatī Dance, Srīvijaya Dance, Lopburi Dance, Chiang Saen Dance, and Sukhothai Dance. Each performance has its own unique style with no related content to each other. This series of dances were premiered on 25 May 1967, in front of King Rama IX and Queen Sirikit. Regarding to the movement of the body, there is unique identity that reflects the ethnicity of the area and the civilization from the land where the archaeological evidence of each era was discovered. They were created according to the imagination of the choreographers of the dance posture. In addition, The Series of Archaeological Dances are popularly performed on various occasions continuously until present day. ระบ􀄬ำชุดโบรำณคดี เป็นผลงำนสร้ำงสรรค์ด้ำนนำฏศิลป์ของประเทศไทยที่ได้รับแรงบันดำลใจจำกข้อมูลและหลัก ฐำนด้ำนศิลปะโบรำณวัตถุสถำนที่ถูกค้นพบได้ในพื้นที่ประเทศไทย เพื่อต้องกำรให้หลักฐำนโบรำณคดีที่ค้นพบได้ กลับมำมีชีวิตชีวำอีกครั้งในรูปแบบของนำฏศิลป์ โดยใช้ชื่อยุคสมัยทำงศิลปะที่นักวิชำกำรประวัติศำสตร์ระบุไว้ มำ ก􀄬ำหนดเป็นชื่อของกำรแสดงจ􀄬ำนวน 5 ชุด คือ ระบ􀄬ำทวำรวดี ระบ􀄬ำศรีวิชัย ระบ􀄬ำลพบุรี ระบ􀄬ำเชียงแสน และระบ􀄬ำ สุโขทัย กำรแสดงแต่ละชุดเป็นลักษณะแบบเอกเทศ ไม่มีเนื้อหำเกี่ยวข้องกัน จัดแสดงรอบปฐมทัศน์เมื่อวันที่ 25 พฤษภำคม พ.ศ. 2510 ต่อหน้ำพระที่นั่งของในหลวงรัชกำลที่ 9 และพระรำชินีในรัชกำลที่ 9 ในด้ำนกำรเคลื่อนไหว ร่ำงกำยมีเอกลักษณ์ที่สะท้อนควำมเป็นชำติพันธุ์ของพื้นที่และอำรยธรรมดินแดนที่ค้นพบหลักฐำนโบรำณคดีแต่ละ ยุคสมัย ซึ่งใช้รูปแบบกำรสร้ำงสรรค์ของนำฏศิลป์ไทยตำมจินตนำกำรของผู้ประดิษฐ์ท่ำร􀄬ำ นอกจำกนี้ระบ􀄬ำชุด โบรำณคดีได้รับควำมนิยมในกำรจัดแสดงอย่ำงต่อเนื่องในวำระต่ำง ๆ มำจนถึงปัจจุบัน

scholarly journals ENSAIO PARA O ACIDENTAL: A LOUCURA E A QUEDA EM RANCIÈRE, BAS JAN ADER E DOM QUIXOTE / Essay for the accidental: loucura and fall in Rancière, Bas Jan Ader and Dom Quixote

2021 ◽  
Vol 27 (41) ◽  
pp. 233-250
Author(s):  
Daniela Cunha Blanco
Keyword(s):  
Rene Descartes ◽  
Causal Chain ◽  
Don Quixote ◽  
The Body ◽  
Jacques Ranciere ◽  
Jacques Rancière ◽  
The Status ◽  
René Descartes ◽  
Contemporary Artist ◽  
Modes Of Thought

A partir de duas figuras que marcam a modernidade – René Descartes e dom Quixote – pensamos como configuram modos de pensamento diversos e opostos. Entre o método que busca o encadeamento causal das coisas e a errância do corpo entregue às aventuras da imaginação, o filósofo e o cavaleiro instauram um embate que não é aquele entre a razão e o sensível, mas sim, entre dois modos da razão. Nosso intuito é pensar, especialmente a partir de Jacques Rancière, como o cavaleiro errante teria aberto um novo campo da experiência sensível que denominamos acidental, cujo gesto é a recusa da lógica do encadeamento causal cartesiano. Damos a ver, ainda, o modo como o gesto inaugurado por dom Quixote será reverberado nos gestos do artista contemporâneo Bas Jan Ader, com seu empenho em buscar a queda tal qual dom Quixote buscara a loucura. O que surgiria com a recusa da causalidade no cavaleiro e no artista, em nossa hipótese, é uma mudança de estatuto da própria noção de acidente ou acidental que, deixando de ser considerado erro a ser evitado, passará a ser experienciado como a única possibilidade para um mundo pautado na contingência da vida.Palavras-chave: Heterogêneo sensível; Experiência acidental; Jacques Rancière; Errância; Modos de pensamento. AbstractBased on two figures that marks the modernity − René Descartes and Don Quixote − we think about how they configure different and opposite modes of thought. Between the method that seeks the causal chain of things and the wandering of the body given over to the adventures of the imagination, the philosopher and the knight establish a clash that is not that between reason and sensible, but between two modes of reason. We think, especialy from Jacques Rancière, how the errant knight would have opened up a new field of the sensible experience that we call accidental, whose gesture is the refusal of the logic of the Cartesian causal chain. We also show how the gesture inaugurated by Don Quixote will be reflected in the gestures of the contemporary artist Bas Jan Ader, with his efforts to seek the fall just as Don Quixote sought madness. What would arise with the refusal of causality in the rider and in the artist, in our hypothesis, is a change in the status of the very notion of accident or accidental that, no longer being considered as an error to be avoided, will now be experienced as the only possibility for a world based on the contingency of life.Keywords: Heterogeneous sensible; Accidental experience; Jacques Rancière; Wandering; Forms of thinking.

scholarly journals Co mówi, kiedy nikt nie mówi. Praktyka poetycka Alice Oswald jako przekład

2018 ◽  
pp. 309-326
Author(s):  
Magda Heydel
Keyword(s):  
Body Movement ◽  
Natural World ◽  
The Body ◽  
Physical Aspect ◽  
Creative Work ◽  
Oral Poetry ◽  
Poetic Practice ◽  
The Voice ◽  
Muscular Effort

The paper looks at two book-length poems by Alice Oswald’s: Dart (2002) and Memorial (2011) as translation projects, with an aim to understand both the nature of Oswald’s poetic practice and her concept of what is the meaning and goal of translation in creative work. I claim that translation, in the special sense the poet gives to this term, is at the very core of her work. In my analysis I concentrate on the physical aspect of Oswald’s poetic practice, the role of the body, movement in space, muscular effort, rhythm and memorization of poetry in her projects. I also look at the ways of crossing the divide between the human and non-human, linking language to the voice of the natural world and returning to oral poetry in her work.

scholarly journals Women's principle and the issue of universal guilt in the novel 'Petruša i Miluša' by Petar Sarić

2020 ◽  
Vol 50 (4) ◽  
pp. 41-56
Author(s):  
Marija Jeftimijević-Mihajlović
Keyword(s):  
Human Nature ◽  
The Body ◽  
The Other ◽  
Creative Work ◽  
The Novel ◽  
Human Soul ◽  
Self Renewal ◽  
Artistic Creation ◽  
The Family ◽  
Philosophical Assumption

The main characteristic of the novel Petruša i Miluša by Petar Sarić is an elaborate narrative scheme in the form of two voices, mother's and daughter's, two stories that flow and intertwine, and build a third-a story about a story. With this novel and its specific structure, Sarić, on one hand, continued the formal refinement that begun in his previous novels. On the other hand-on the issue of basic poetic-philosophical assumption connected to the question of personal and general (metaphysical) human guilt-he went further concerning both his creative work and the entire Serbian prose with similar thematic preoccupations. The Dionysian principle is represented by the imperatives of the body, the laws of blood, and Petruša's instinctive reaction, through her unrestrained nature that, at the same time, strives for self-renewal and self-destruction. It is a form of the female principle-creative and destructive at the same time, dark, chthonic as opposed to Miluša's Apollonian orientation, worshiping of light, and her mental illumination. Petruša i Miluša is not a model of a family novel (although it can be assumed). Still, in Sarić's novel, the family is just a focus into which the courses of overall existence converge and in which things are condensed and reflected by their true dimensions. This fact is not at all surprising bearing in mind his previous novels (Sutra stiže Gospodar, and especially Dečak iz Lastve), Sarić has already proved himself as a writer who searches for the deepest secrets of human nature, introducing a reader to the dark realm of the human soul, which is shaped according to his artistic creation and creative intuition.

scholarly journals Don Quixote and Saint John of the Cross’s Spiritual Chivalry

Religions ◽  
2021 ◽  
Vol 12 (8) ◽  
pp. 616
Author(s):  
Luce López-Baralt
Keyword(s):  
Body Part ◽  
Don Quixote ◽  
The Body ◽  
Close Encounter ◽  
Dead Body ◽  
Face To Face ◽  
Dark Night ◽  
The Dead ◽  
John Of The Cross ◽  
Dead Man

Despite its ludic appearance, “The adventure Don Quixote had with a dead body” (part I, chapter XIX) is one of the most complex pieces of Cervantes’ famous novel. In the midst of a dark night, the Manchegan knight errant confronts an otherwordly procession of robed men carrying torches who transport a dead “knight” on a bier. Don Quixote attacks them to “avenge” the mysterious dead man, discovering they were priests secretly taking the body from Baeza to Segovia. He wants to see face to face the relic of the dead body, but humbly turns his back, avoiding the “close encounter”. Curiously enough, his easy victory renders him sad. Cervantes is alluding to the secret transfer of St. John of the Cross’ body from Úbeda to Segovia, claimed by the devoted widow Doña Ana de Peñalosa. However, Cervantes is also establishing a surprising dialogue with St. John’s symbolic “dark night”, in which he fights as a brave mystical knight. Concurrently, he is quoting the books of chivalry‘s funeral processions and the curiosity of the occasional knight who wants to glance at the dead body. Furthermore, we see how extremely conversant the novelist is with the religious genre of spiritual chivalry, strongly opposed to the loose fantasy of the books of chivalry. Unable to look at St. John’s relic, an authentic knight of the heavenly militia, Don Quixote seems to silently acknowledge that there are higher chivalries than his own that he will never reach. No wonder he ends the adventure with a sad countenance, gaining a new identity as the “Caballero de la Triste Figura”.

Vibrations of the Body: Sounding Out a Way

2021 ◽  
Author(s):  
Angela G Joosse
Keyword(s):  
Computer Animation ◽  
Digital Video ◽  
The Body ◽  
Dynamic Processes ◽  
Creative Work ◽  
Embodied Experience ◽  
Primary Research ◽  
Working Through ◽  
Close Proximity ◽  
2D And 3D

Vibrations of the body: sounding out a way carves out a way to write in close proximity to creative work and embodied experience. The primary research examined in this paper is the group of four films and videos constructed by Angela Joosse during her Master's study. This body of work includes, Ear after ear (5 min. 16mm, 2D and 3D computer animation), City window (10 min. digital stills, digital video, computer annimation), 4C (7.5 min. digital video), and Shapes eat shapes (3 min. digital stills, computer animation). By working through an acoustic epistemology, this thesis proposes a means of including dynamic processes in writing and analysis. How might thinking, speaking and creating through metaphors of sound engender a more dynamic and embodied relation with being? Thinking through metaphors of sound necessarily includes elements of duration and modulation in time, as well as simultaneity and layering of disparate tones and textures.

scholarly journals The Cultural and Philosophical Meaning of the Motif of Loneliness: The Personality and Creative Work of I.S. Turgenev

2018 ◽  
pp. 96-108
Author(s):  
Tatiana Zlotnikova
Keyword(s):  
Don Quixote ◽  
Cultural Tradition ◽  
Creative Work ◽  
Actual Problem ◽  
Creative Personality ◽  
Russian Author ◽  
General Opinion

The article deals with the little-studied but actual problem of loneliness of an outstanding creative personality as a consequence of stereotypical understanding of his works and activity. The cultural and philosophical meaning of Ivan Turgenev’s motif of loneliness is that he was a lone creator, recognized by Russian critics and historians of literature (V. Belinsky, D. Merezhkovsky, V. Rozanov) only in the context of the activities of other recognized great writers: Pushkin, Gogol, Dostoevsky, Tolstoy, Chekhov. The problem of loneliness is revealed through the paradoxical statement by Turgenev (in the essay “Hamlet and Don Quixote”) on the question about strange loners and aggressive crowd. The paper presents the loneliness of I.S. Turgenev as a rejection of the understandable and normality among the non-understandable and weirdness. In Russian literatury critical and historico-cultural tradition, during the discussion of Russian classics, the general opinion (N. Berdyaev, D. Andreev, V. Nabokov) has been formed: Turgenev is apparently non-Russian author (because he is very European unlike N. Berdyev and V. Nabokov themselves), moreover he is not a classic writer indeed (if you count that a classic writer should be irrational, when Turgenev is understandable).

scholarly journals The Rhetoric of Madness in Kathy Acker’s Don Quixote

2017 ◽  
Vol 5 (3) ◽  
pp. 72
Author(s):  
Claudia Cao
Keyword(s):  
Literary Tradition ◽  
Judith Butler ◽  
Theoretical Concept ◽  
Don Quixote ◽  
The Body ◽  
Luce Irigaray ◽  
Narrative Strategies ◽  
Kathy Acker ◽  
Value System ◽  
Semantic Level

This essay examines the rhetorical experimentation of Don Quixote by Kathy Acker, starting from a theoretical concept central in the author’s thought: her search for a “language of the body”. A brief introduction to Kathy Acker’s plagiaristic poetics frames her narrative strategies between postmodern rewriting and pastiche. It shows the way in which her Don Quixote transposes the representative scheme of the chivalric quest into the contemporary value system with the aim of questioning Cervantes’ text as one of the canonical works of the Western literary tradition. The following section deepens three focal concepts of Acker’s theoretical works – body, madness, and norm – illuminating the connections between her rhetorical experimentation and the works by Luce Irigaray and Judith Butler. Finally, the paper will demonstrate how these concepts in Acker's rewriting of Don Quixote are strictly related to paradox, which she uses in order to actualize a “language of the body”: in the passage from the former novel to the postmodern work, madness has become the device which, from the semantic level to the rhetorical one, expresses Acker’s idea of language of the body, as an alternative and in contrast to the canonical language of the logos.  

scholarly journals Don Quixote’s Quixotic Trauma Therapy: A Reassessment of Cervantes’s Canonical Novel and Trauma Studies

2017 ◽  
Vol 1 (1) ◽  
pp. 244-256
Author(s):  
Suzanne LaLonde
Keyword(s):  
Psychological Trauma ◽  
Don Quixote ◽  
The Body ◽  
Creative Expression ◽  
Traumatic Experience ◽  
Trauma Therapy ◽  
Trauma Studies ◽  
Miguel De Cervantes ◽  
Self Identity ◽  
Traumatized Self

Abstract This article presents a non-canonical reading of Miguel de Cervantes Saavedra’s canonical novel Don Quixote. Using a trauma theory lens (from both cultural studies and psychiatry) to understand the pre-Don Quixote character Alonso Quijano, this research first advances several new arguments as to why Quijano appears to have endured a traumatic experience of ageing. Instead of interpreting his obsessive behaviour as madness, it is argued that he engages in a form of both individual and collective therapy consisting of reading to educate himself about emotions; engaging the body in adventures; listening to others’ stories of traumatic suffering; and stimulating “empathic unsettlement” toward others and his previously traumatized self, one of the main critical suggestions advanced. This article takes an original turn in trauma studies too by putting forward that Quijano’s therapy is effective because it addresses the “central dialectic of psychological trauma.” He embarks on an imaginative and collective adventure of self-identity, transforming himself into another who is exempt from the traumatic experience; he knows without knowing and speaks without speaking. His trauma therapy occurs outside the reality of trauma or inside the “unreality” of creative expression, and this is how he endures a traumatic experience of ageing.

scholarly journals Stress (PTSD) as a natural mechanism of situation solution and personal changes in conditions of the abrupt change of circumstances

2019 ◽  
Vol 1 (II) ◽  
pp. 83-103
Author(s):  
Ігор ГЕРАІМЧУК
Keyword(s):  
Decision Making ◽  
World War Ii ◽  
Abrupt Change ◽  
Sensory Deprivation ◽  
The Body ◽  
Direct Access ◽  
Moral Problem ◽  
Creative Work ◽  
The Past ◽  
State Of Stress

The article discusses the concept of stress as a mechanism of decision-making, situation solving and "ineffective personality" changing in contexts of the abrupt change of conditions and circumstances of habitation. When circumstances appear to be unsolvable by ordinary measures, i. e., a person cannot handle them; the extreme decision-making mechanism is activated, which in essence is a holisticinsight mechanism. More precisely, the mechanism hidden behind the holistic insight of creativity, allowing by inspiration comprise and combine enormous volumes of material, as we show in [1], may have roots in the holistic insight mechanism of solving ambiguous, complex and deadly situations. This "mechanism", including deep delta rhythms and involving a holistic system in solution of the situation through hyper attention or hyper concentration, may also include, as in hypnosis, the mechanisms of identity change (you are the painter Repin, you are fearless warriors, berserks, etc.). We assume that this is not a pathological mechanism, but an insuperable mechanism of development and survival, which blockade is caused by culture sets. If an individual continues fighting, the insight mechanism and mechanism of personality transformation are actuated. This may be achieved by a holistic coverage of personal experience. If an individual fails to solve the situation, then it may result in a blackout, when a person imitates the others, not remembering it afterwards, running with others, etc. If there is no such example, then various scenarios may exist; with the "blackout", the searching may be carried out appropriate of behavior patterns in the person's memory and abrupt change of personality to a completely different one (Napoleons, fearless movie warriors, some dreams, etc.). The delta state is related to some sleep phases in brain waves (delta rhythms as in a deep sleep), and as of in sleep we can be different personalities, so in the delta state a person can experience other personalities in reality. In the state of sleepwalking a person can walk in a night of sleep without remembering it. We believe that the delta state of stress is the same mechanism as in sleep, only the body is completely subordinated to a sleeping or new personality. As sleep is the processing of daily information, so the delta state of stress is the processing and determination of information in reality. In a state of heightened danger, you actually get direct access to this “processing center”. But you need to be able to use it. It is possible to easily imitate the majority of stressful disorders with sleep deprivation or prolonged sensory deprivation (resulting in a direct request). But since there is no real reason, some disorders will cease manifesting when the normal regime is restored. With creativity, we generally see the direct control of the "processing center" (the same as in a night of sleep and in deadly danger) without side effects. Anxiety, or more properly, attention and concentration on a problem, are consciously arisen in creative work. And all processes, like in a sleep being controlled, are controlled in the creative work: instead of flashes ‒ flashes of ideas; instead of hallucinations ‒ control of auditory, visual, tactile images; instead of chaos ‒ sounding music or pictures; instead of compulsive thoughts ‒ concentration; instead of manias ‒ super concentration; instead of “dissociation” of personality ‒ almost living heroes of literary writings; instead of torn feelings ‒ strong rueful feelings; instead of uncontrollably rushing thoughts ‒ unprecedented speed of creativity, etc. A controlled analogue corresponds to each disorder, which is the most complex evolutionary advantage of species and achievement of humanity. In essence, stress is the same attempt to solve a problem, especially when the problem cannot be solved by the means of a given personality. PTSD is apparently the same attempt to solve a problem by anxiety on the problem and other remedies of the organism to draw attention, typically, to the unresolved and previously unfinished problem, especially when it cannot be solved. Frequently, PTSD occurs when the problem has not been resolved by one or another way, even post factum. Most commonly, a person with PTSD did not take actions against its repetition: he/she did not conquer an enemy, did not learn to win, does not have experience and protective measures, etc. Winners who do not want to change the past, allegedly, were out of PTSD (compare the World War II (better the Great Patriotic War for Russia) and the Vietnam War when it was first diagnosed PTSD: those who wanted to replay, change or abolish the past, experience variants of PTSD; those who are proud of victory or of themselves call the same situation the best time of life). The rider recalls with tenderness children's falls from a horse. PTSD is essentially an open problem for those who could not solve the problem at that time (young children, women), or cannot solve the problem (injured or maimed, have a moral problem or injury), or do not want to solve the problem. In essence, the work with PTSD should begin with a problem solving, temporary or artificial, ensuring security, changing a person so that he/she can cope with the problem, and providing him/her with remedies to cope with the problem, directing activity to the problem, getting used to think about the problem ‒ the person must solve the problem inside oneself, be prepared for solving this or a similar problem outside, prepare ways to to solve the problem. In other words, create a positive view of the problem means solve the problem. In essence, PTSD is a challenge that must end with the renewal of person and the creation of a new one, as in creativity.

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