scholarly journals MYSTERY AS A META-GENRE IN THE DRAMA OF THE TWENTIETH CENTURY

2021 ◽  
pp. 18-26
Author(s):  
K. Oliinyk
Keyword(s):  
Twentieth Century ◽  
World Order ◽  
Semantic Content ◽  
Point Of View ◽  
Dramatic Works ◽  
Life And Death ◽  
The Matrix ◽  
General Feeling ◽  
The Aesthetic ◽  
Definition Of

The article examines the specificity of existence of the renewed mystery genre as a meta genre in the twentieth century. The main literary study views on the definition of ancient and medieval / Christian ritual mystery are analyzed. The beginning of the twentieth century was full of a general feeling of catastrophe and tragic hopelessness. In artistic terms, the consequence of this was the activation of Christian issues, motives, plots, religious genres (miracles, morality and mystery). The most universal from the point of view of the ideological message and content for the writers of the twentieth century. was the matrix of the medieval mystery, which retained the ritual basis in its primary structure. This made it possible for the multilevel organization of the action and the space for it. The genre of medieval mystery is being modified, it ceases to be a purely form of religious action and acquires the quality of a meta genre. There is a transition from the religious sphere to the secular one, and the aesthetic one is replacing the didactic load. Mystery begins to exist on the edge of genres as a synthetic formation, showing intentions to “help” other genres. A large number of dramatic works of the twentieth century. ("Forest Song" by Lesia Ukrainka, "Iconostasis of Ukraine" by Vіra Vovk) comes close to the mystery, using its archetypal components: the ideas of faith in the absolute beginning, governing the eternal rotation of life and death, world order and harmony, death and rebirth, transformations of the human soul, chosenness and initiation associated with trials, sacrifice, deepening into mysticism. Such works are a certain imitation with elements of mythological or religious subjects. So, the twentieth century, actualizes a certain involvement of the semantic content of dramas to the mysteries, bringing the mystery to the level of the meta genre.

Austrians versus Market Socialists

2015 ◽  
pp. 93-114 ◽  
Author(s):  
Jesús Huerta de Soto
Keyword(s):  
Twentieth Century ◽  
Classical Model ◽  
Point Of View ◽  
Market Socialism ◽  
Analytical Treatment ◽  
Definition Of ◽  
Modern Varieties

In this chapter, the position of market socialists is critically analyzed from the Austrian point of view. First, the definition of socialism is introduced, based on the concept of institutional coercion acting on Kirznerian entrepreneurship. Second is a review of the different aspects of the theorem of the impossibility of socialism, as it was originally developed by Mises and Hayek. Then market socialism is defined and studied, along with the main contributions of its sponsors. A special analytical treatment is provided on the classical model of market socialism from Oskar Lange and its main perpetuators during the twentieth century. Finally, the chapter analyzes the implicit contradiction of market socialism which also affects its most modern varieties and authors. The conclusion is that the position of market socialists is naive and paradoxical.

scholarly journals Stateless Memory

2019 ◽  
Vol 2 (3) ◽  
pp. 416-434
Author(s):  
Marianne Hirsch
Keyword(s):  
Twentieth Century ◽  
Time Frame ◽  
Space Time ◽  
Nation State ◽  
Time And Space ◽  
National Community ◽  
Artistic Works ◽  
The Aesthetic ◽  
Definition Of

Abstract Responding to current conditions of statelessness by way of Hannah Arendt's mid- twentieth century reflections, this article proposes the aesthetic encounter as a practice of alternative, counter-national community and belonging. Artistic works exploring the vulnerabilities and the vicissitudes of statelessness by Mirta Kupferminc and Wangechi Mutu inspire a definition of stateless memory as a suspension or hiatus in time and space. Stateless memory, the article suggests, can mobilize the memory of painful pasts in a different time frame than the progression toward preordained futures that often seem inevitable in the space-time of the nation-state and the catastrophes it causes and suffers.

scholarly journals Playing Cute: Sensation Villainy and the Aesthetics of Small Things in The Woman in White and Lady Audley’s Secret

2021 ◽  
Author(s):  
Laura Eastlake
Keyword(s):  
Twentieth Century ◽  
Print Culture ◽  
Sensation Fiction ◽  
Literary Character ◽  
Woman In White ◽  
Lady Audley's Secret ◽  
The Aesthetic ◽  
Definition Of ◽  
Small Things ◽  
Physical Sensation

Abstract In Our Aesthetic Categories (2012), Sianne Ngai defines ‘cute’ as an aesthetic ‘preoccupation with small, easy to handle things . . . an aesthetic that celebrates the diminutive and the vulnerable’. Although Ngai identifies the cute as a predominantly twentieth-century phenomenon, and one which is inextricably bound up with the mass-market commodification, even eroticization and fetishization of the cute object or person, it is difficult to imagine a literary character more enamoured with ‘small things’ – from tiny, sugary confections to his menagerie of pet mice – than Wilkie Collins’s Count Fosco, or a character who so perfectly conforms to the definition of the cute commodity itself as ‘appealing specifically . . . for protection and care’ than the ‘childish, helpless, babyfied’ Lucy Audley in Mary Elizabeth Braddon’s Lady Audley’s Secret (1862). This article reads Count Fosco and Lady Audley through the characteristics of cuteness to better understand the aesthetic and economic dynamics of their villainy, and to establish for the twentieth-century phenomenon of cuteness identified by Ngai a discernible genealogy in the specific conjunction of print culture, theatricality, commodification, and physical sensation that we now recognize as the sensation fiction of the 1860s.

scholarly journals “Bobok” as a Mirror of Surprise

2021 ◽  
Vol V (4) ◽  
pp. 157-174
Author(s):  
Svetlana Neretina
Keyword(s):  
World Literature ◽  
Emotional State ◽  
Point Of View ◽  
The Other ◽  
Life And Death ◽  
Physiological Processes ◽  
The One ◽  
Definition Of ◽  
True Definition ◽  
The Voice

The article considers the phenomenon, on the one hand, of a mirror, in which any thing, subject, person, first of all, is fixed in a reflection that makes it possible to observe oneself for the sake of self — understanding, on the other hand, the boundaries, mainly the boundaries between life and death, which can be crossed for the same purpose with the help of certain mental and physiological processes that affect the psycho — emotional state (in this case, sleep). Both phenomena, which seem similar, are in fact different: in one case, the emphasis is placed on contemplation, in the other — on speculation and hearing, tuned to the voice of another world. It is not by chance that Dostoevsky chose the place of the event: the cemetery as the border between life and death and the cemetery monument as a symbol of memory, where the hero “thought accordingly”. Since the hero of the story is in an inadequate state after the funeral, the theme of menippea, a seriously funny genre, appears as if by itself, especially since M. M. Bakhtin considered the story “Bobok” “one of the greatest menippe in world literature.” The author of the article considers Bakhtin's approach to the story from the standpoint of menippea justified, because he defines this genre not from the point of view of the effect it produces on the reader, but from the standpoint of the philosophy of action, which Bakhtin considered to be the true definition of this genre. The author draws attention to the “logic of turning”, or tropologic, on the basis of which the story is built with its oxymorons, comparisons, and irony. The story, according to the author, is characterized not by ambivalence, but by the convergence of beginnings and ends. The philosophical thought of one of the characters in the story correlates the thoughts of the living and the dead, i.e. those who are in different space-time realities, so that they seem to be embedded in each other. This similarity, which does not deprive the story of carnivalization, which always deals with duality, is internally focused on the idea of like-mindedness having one source, anticipating the question that has not yet been born about the way of modifying being in possibility into being in reality.

Zones grises. Diversité religieuse et pouvoir en institution

2018 ◽  
Vol 65 (2) ◽  
pp. 199-214 ◽  
Author(s):  
Irene Becci
Keyword(s):  
Public Institutions ◽  
Point Of View ◽  
Ethnographic Approach ◽  
Religious Plurality ◽  
The Matrix ◽  
Penal Institutions ◽  
Definition Of

This article proposes an interpretational strategy allowing us to study religious plurality in a variety of institutions based on the case of penal institutions. The matrix is a synthesis of various recommendations shared by many researchers working on religion in public institutions. To get beyond an approach limiting itself to an institutional, or even organisational, definition of the religious and its representatives and to take the importance of the power issues permeating it in this context into account, the author looks at three aspects: focusing on the religion of various people present in the institution; paying attention to the material and spatial arrangements; taking the ‘symbolic’ dimension of the institution studied into account; from a methodological point of view, making room for an ethnographic approach. Such an approach allows us to grasp the religious in the institution’s ‘grey areas’. This concept is defined and illustrated by the Swiss case.

scholarly journals HAPPINESS A QURANIC PERSPECTIVE

2021 ◽  
Vol 03 (05) ◽  
pp. 334-346
Author(s):  
Doaa Abdulkareem ABDULLAH ◽  
Nesaif Jassim Mohammed AL-KHAFAJI
Keyword(s):  
Basic Research ◽  
Semantic Content ◽  
Point Of View ◽  
Ibn Sina ◽  
Wise Person ◽  
Fundamental Goal ◽  
Islamic Thought ◽  
Huge Impact ◽  
Definition Of ◽  
Relative Concept

In this study, we will study the concept of happiness, a view of happiness from the point of view of famous psychologists and philosophers, and combining Islamic thought with philosophy. This study is a basic research the different debates on the concept of happiness in the Quran. And we discuss in this article tools of happiness in life. Happiness in the hereafter, or everlasting felicity, is the ultimate goal of the believer. Although happiness is a very relative concept, it is generally the feeling that occurs when people are satisfied with the material and spiritual states, they are in. The greatest blessing bestowed upon mankind is within us and within our reach. A wise person knows how to be happy with what he has no matter what, rather than wishing what he does not have. It is a state of coinciding with what happens and what they want. All normal people desire happiness and want their happiness to be permanent. Anyone who sees that this world cannot satisfy their desire for happiness understands that this desire cannot be satisfied without God. Sometimes even love and compassion can make one feel happy. The research dealt with the names of the happiness in the Quran with their semantic aspects, then we restricted these names, and these were placed alphabetically in the letters that indicate how many times they appeared in the Quran. Later it was divided into semantic groups and analyzed within these groups, this analysis focuses on the presentation of the lexical concept and semantic content for each. In fact, the subject was also discussed within the rational framework. happiness does have a pretty important role in our lives, and it can have a huge impact on the way we live our lives. The first part of the present study focuses on how ethics philosophers explain an interpret happiness and whether it is possible to reach real happiness. In the second part, the virtues that ethics philosophers view as the fundamental elements in attaining happiness. Also, this section examines the definition of virtue, virtue types, sub-virtues, and the characteristics of virtuous acts. Consequently, this study disclosed that ancient and medieaval philosophers regarded the pursuit of happiness as a fundamental goal in one‟s life, and that these philosophers agreed that this goal could be accomplished by leading a virtuous life ‎. Keywords: Quran, Translation of The Qur’an, Sura index, Happiness, Platon, ibn Sina, Al-Farab

scholarly journals THE IDEA OF THE POLYFUNCTIONAL ESSENCE OF ART AS A PROBLEM OF MODERN AESTHETICS

2021 ◽  
pp. 91-99
Author(s):  
G.G. Kolomiets ◽  
◽  
Ya.V. Parusimova ◽  
Keyword(s):  
Human Life ◽  
Cultural Knowledge ◽  
Point Of View ◽  
New Meanings ◽  
Phenomenological Methodology ◽  
History Of ◽  
Human World ◽  
The Aesthetic ◽  
Definition Of ◽  
Communicative Discourse

The appeal to the problem of polyfunctionality of art is caused by the modern post-postmodern situation in the field of philosophical and cultural knowledge, which raised the problem of understanding the essence of art and its existence. A stochastic state was revealed, an uncertainty in view of the transformations of art itself, following not only the footsteps of the changing world, but also anticipating civilizational shifts, guessing a lot of probabilities and possibilities in the cultural movement of humanity. In this regard, the article rethinks the problem of the polyfunctionality of art and puts forward the idea of the polyfunctionality of art in the problematic field of aesthetics. Art is considered by the authors from the point of view of phenomenology and axiology as an aesthetic way of being in the human world, as a valuable interaction of a person with the world, as a subject of constructing new meanings and meanings by the consciousness when meeting with art. The article asserts the polyfunctional essence of art, which, according to the authors, stems from the variety of interpretations of the concept of «art» in the history of aesthetic thought and modern discourse, due to the multidimensional nature of its manifestations in the human life world. After analyzing various approaches to the understanding of art, and following the phenomenological methodology, as well as the ontological method and axiological approach, the authors came to the conclusion that definitions do not answer the question «what is art?», they rather say «what is art for?». In other words, it is not «what is» that is defined, but «what it means». It is noted that the leading functions recognized in aesthetics, such as aesthetic, communicative, harmonizing, transforming, are predominant at certain stages of culture, but they are separate functions of art that do not exhaust the fullness of the multifunctional essence, the ideological integrity of art in culture. It is pointed out that at the present stage, the features of openness, isolation, and «atomicity» of the communicative discourse are becoming more and more acute, leading to a change in the models of art functions, determining the problematic nature of the aesthetic «super-function» of art in the promotion of civilizational and cultural space. The idea of the polyfunctional essence of art presupposes a specific form of mental development of the polyfunctionality of art, is the principle of explaining the existence of art and includes the process of further searching for the definition of art on the basis of its multi-valued existence in culture.

scholarly journals Infernal discourse of prose by Leonid Andreev

2019 ◽  
Keyword(s):  
Twentieth Century ◽  
Human Life ◽  
Point Of View ◽  
Significant Part ◽  
Late Work ◽  
Judas Iscariot ◽  
The Third ◽  
Rapid Pace ◽  
Definition Of ◽  
The Devil

Despite the fact that since the middle of the last century, Andrei has been developing at a rapid pace, many facets of the writer’s work remain «in the background». To a sufficient extent this is also characteristic of the coverage of Andreev’s demonology. Infernal character – a figure of supernatural origin, personifying evil, destructive principle, the term «infernal» is used along with the definition of «demonic». A significant part of the prose work of L. Andreev can be considered as a kind of original «devil» («hoffmaniad»). These are works on the temptation of the «superhuman» («devilish») reason of man («The Story of Sergey Petrovich» (1900), «Thought» (1902), «Darkness» (1907), «My Notes» (1908), etc. ) and works on the themes of the devil («Something about the Devils» (1901), «About the Writer» (1902), «Peace» (1911), «Rules of Good» (1912), «Diary of Satan» (1919)). Some of them are narratives, as if narrated by the devil («It Was» (1905), «Ben-Tovit» (1905), «Eleazar» (1906), «Judas Iscariot» (1907), «Witness of Truth» («Miraculous Image») (1915) and others); others are stories in which the devil himself is a protagonist («Peace» (1911), «Rules of Good» (1912), «Damn at a Wedding» (1915), «Diary of Satan» (1919), etc.); the third – in which human heroes, combining the «superman» and «devil» and non-infernal in origin, take the place of carriers of destructiveness, i.e. – infernal heroes (Ivan Koprov – «The Life of Vasily Thebes» (1903), «grandfather» – «My Notes» (1908), Norden – «He (The Story of the Unknown)» (1913), Thomas Magnus – «The Diary of Satan» (1919 )). In the late work of the writer, the Andreev infernal theme undergoes a significant transformation. If at the beginning of creativity it was a devil testing a person, then in the future the writer’s imagination occupied the paradoxically ridiculous image of a devil who wants to do good. Throughout the career of L. Andreev, in his prose, ironic demonological discourse continued to function, which is of great importance and plays an important role in understanding the entire work of the writer as a whole. He allowed L. Andreev to pose the «damned questions» of human life, comprehending them from an anti-didactic point of view, as well as resist the latest ideas of Nietzscheanism, positivism and God-seeking, so widespread at the beginning of the twentieth century.

Understanding functional illiteracy from a policy, adult education, and cognition point of view: Towards a joint referent framework

2019 ◽  
Vol 30 (2) ◽  
pp. 109-122
Author(s):  
Aleksandar Bulajić ◽  
Miomir Despotović ◽  
Thomas Lachmann
Keyword(s):  
Adult Education ◽  
Operational Definition ◽  
Literacy Skills ◽  
Point Of View ◽  
Industrialized Countries ◽  
Functional Illiteracy ◽  
Scale Levels ◽  
Components Of Reading ◽  
The One ◽  
Definition Of

Abstract. The article discusses the emergence of a functional literacy construct and the rediscovery of illiteracy in industrialized countries during the second half of the 20th century. It offers a short explanation of how the construct evolved over time. In addition, it explores how functional (il)literacy is conceived differently by research discourses of cognitive and neural studies, on the one hand, and by prescriptive and normative international policy documents and adult education, on the other hand. Furthermore, it analyses how literacy skills surveys such as the Level One Study (leo.) or the PIAAC may help to bridge the gap between cognitive and more practical and educational approaches to literacy, the goal being to place the functional illiteracy (FI) construct within its existing scale levels. It also sheds more light on the way in which FI can be perceived in terms of different cognitive processes and underlying components of reading. By building on the previous work of other authors and previous definitions, the article brings together different views of FI and offers a perspective for a needed operational definition of the concept, which would be an appropriate reference point for future educational, political, and scientific utilization.

Towards a Minor Poetry: Reading Twentieth-Century French Poetry with Deleuze–Guattari and Bakhtin

Paragraph ◽  
2019 ◽  
Vol 42 (2) ◽  
pp. 135-153
Author(s):  
Daisy Sainsbury
Keyword(s):  
Twentieth Century ◽  
French Language ◽  
Poetic Language ◽  
Minor Literature ◽  
Language System ◽  
Poetic Discourse ◽  
Poetry Reading ◽  
Century Poetry ◽  
Definition Of ◽  
A Minor

Drawing on Deleuze and Guattari's analysis of minor literature, deterritorialization and agrammaticality, this article explores the possibility of a ‘minor poetry’, considering various interpretations of the term, and interrogating the value of the distinction between minor poetry and minor literature. The article considers Bakhtin's work, which offers several parallels to Deleuze and Guattari's in its consideration of the language system and the place of literature within it, but which also addresses questions of genre. It pursues Christian Prigent's hypothesis, in contrast to Bakhtin's account of poetic discourse, that Deleuze and Guattari's notion of deterritorialization might offer a definition of poetic language. Considering the work of two French-language poets, Ghérasim Luca and Olivier Cadiot, the article argues that the term ‘minor poetry’ gains an additional relevance for experimental twentieth-century poetry which grapples with its own generic identity, deterritorializing established conceptions of poetry, and making ‘minor’ the major poetic discourses on which it is contingent.

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