scholarly journals POETICS AND PRAGMATICS OF GENRES OF FUNERAL RITUALS OF THE ALTAIANS

2019 ◽  
Vol 29 (6) ◽  
pp. 1081-1087
Author(s):  
N.R. Oynotkinova
Keyword(s):  
Twentieth Century ◽  
Human Dignity ◽  
Southern Siberia ◽  
Loved One ◽  
Scientific Problem ◽  
Funeral Rites ◽  
The Road ◽  
Conceptual Semantics ◽  
The World ◽  
Rhetorical Questions

The article is devoted to the poetics and pragmatics of the genres sygyt ‘lamentations’ and kerees sӧs ‘memorable word’ in the funeral rites of the Turks of Southern Siberia (Teleuts, Chalkans, Altaians). The material of the study was the texts recorded at the beginning and end of the twentieth century in different dialect groups of Altai people. The posed scientific problem is related to the identification of genres of funeral and memorial rituals of the Altai people, as well as to the study of the conceptual semantics of these texts. The genre sygyt plays an emotionally evaluative function: it is performed to express sorrow, the severity of the loss of a loved one. For cries recorded at the beginning of the twentieth century a developed system of metaphors that perform the functions of imagery and allegory is characteristic. In lamentations, built in the form of a dialogue between the mourner and the deceased, rhetorical questions allow expressing regret, sorrow for those who have gone to another world. The key motives for crying are the road to another world, the irreversibility of life. Another genre, kerees sӧs, is characterized by an assessment of the human dignity of the deceased, an expression of sympathy for his family. The brief blessing formulas contained in them are pronounced for spell-seeking purposes - to close for the soul of the deceased the road to the world of the living.

Genius Loci

2014 ◽  
Vol 4 (4) ◽  
pp. 97-101
Author(s):  
Jonah Raskin
Keyword(s):  
Twentieth Century ◽  
San Francisco ◽  
Jack London ◽  
Grapes Of Wrath ◽  
The Road ◽  
The World ◽  
On The Road

This essay takes a literary journey to Jack London State Historic Park, the National Steinbeck Center, and the Beat Museum. An exploration of the shrines that are devoted to writers and which attract readers from around the world as well as close to home, the essay explores California’s identity as a cultural destination for tourists as well as for natives of the Golden State. By linking specific geographical places, such as Glen Ellen, Salinas, and San Francisco to books and to their authors, California’s literary shrines weave a kind of cultural magic that transcends time and place and invigorates twentieth-century classics such as Steinbeck’s The Grapes of Wrath, Kerouac’s On the Road, and Jack London’s The Iron Heel.

scholarly journals The interaction of theater and cinematography in Uzbekistan culture in the first half of the xx century

2020 ◽  
Vol 5 (4) ◽  
pp. 94-104
Author(s):  
Amina Azizova
Keyword(s):  
Twentieth Century ◽  
Individual Characteristics ◽  
Scientific Problem ◽  
The World ◽  
The Subject ◽  
Factors Of Influence ◽  
The Relationship ◽  
Image Type ◽  
Creative Life

The form, typology, essence and causes of the interaction between theater and cinema in the world is one of the priorities in the field, and a number of scientific studies have been conducted on the subject. In world experience, during the development of cinematography, it has been used the help of theatrical figures in overcoming the problems of acting, directing and dramaturgy. The study of theater and cinema as the main types of artistic worldview, in which the relationship between the two independent arts, exchanges of actors, process of interaction, individual characteristics were assessed, and it was considered as a new phenomenon. The article studies issues, causes and factors of influence of the same process in 1920–1930. The interaction of Uzbek theater and cinema, the study of creative ties, see it as a scientific problem has attracted attention in recent years. The article examines the role of Uzbek stage leaders in the development of screen art as a separate process, as well as the phenomenon of interaction between theater and cinema. The author explores a new creative life, a biography of a stage actor in cinema, opened for theater actors on the eve of the twentieth century. The art of filmmaking, which has been fighting for the actor for half a century, studies on facts that have attracted theater performers. Theatrical art has proven to be a model for cinematography in terms of decorating, makeup, music, lighting, and acting. Keywords: theater, actor, cinema, director, genre, image, type, role, phenomenon, screen art, character.

Epilogue

2018 ◽  
Author(s):  
Piotr H. Kosicki
Keyword(s):  
Twentieth Century ◽  
Social Justice ◽  
Human Dignity ◽  
Church And State ◽  
Ethical Life ◽  
Pope John Paul Ii ◽  
Head Of State ◽  
The World ◽  
Solidarity Movement ◽  
To Come

The book’s epilogue sketches the afterlife of the anti-political alternative to Catholic socialism: dialogue, solidarity, and a pastorally driven, pluralistic “ethical life” (the answer to G.W.F. Hegel’s search for Sittlichkeit). When the Stalinist bubble ultimately burst in the years 1955–1956, Catholic Poland’s non-Stalinist “revolutionaries” joined forces with the dispossessed young radicals from PAX. Together, they looked to reform not only Communist Poland, but Catholicism, too. Poland’s Solidarity movement of 1980–1981 was born in the space of encounter between Catholic socialists and pastoral radicals. Karol Wojtyła became Pope John Paul II, while Tadeusz Mazowiecki co-founded Solidarity and went on to become the Soviet Bloc’s first non-Communist head of state. Yet the lessons of Catholics’ twentieth-century quest for “revolution” dwarf matters of Church and state. The ultimate revolutionary answer to the ethical life was to seek genuine encounters with other “persons” on a similar quest for social justice, human dignity, and solidarity in the world—whatever the Judgment of Heaven to come.

King of the Road

2011 ◽  
Vol 1 (3) ◽  
pp. 80-87
Author(s):  
Chris Carlsson
Keyword(s):  
Nineteenth Century ◽  
Twentieth Century ◽  
San Francisco ◽  
Critical Mass ◽  
The Road ◽  
The World

The bicycle was at the heart of a strong citizens' movement for Good Roads in the nineteenth century. By the end of the twentieth century, it had re-emerged as a signifier for a new, ecologically based urban radicalism. Critical Mass bike rides, starting in San Francisco in 1992, spread throughout the world and anchored a new renaissance of bicycling and bicycling politics.

Europe Before and After Munich: Random Notes on Recent Publications

1939 ◽  
Vol 1 (2) ◽  
pp. 212-228
Author(s):  
Sigmund Neumann
Keyword(s):  
Twentieth Century ◽  
Turning Point ◽  
Social Forces ◽  
World War ◽  
The Real ◽  
The Road ◽  
The World ◽  
Before And After ◽  
History Of ◽  
Post War

Munich marks the end of an epoch, a “turning point in history,” as Arnold J. Toynbee recently states in a most suggestive article. In fact, these decisive events were foreshadowed long before September 1938, by actions almost necessarily leading the road to Munich. If one can speak of the end of a period, one might better say: Hitler's march into the Rhineland, March 7, 1936, was the real water-shed between two political continents. Indeed what had been said about the World War, that it merely precipitated a development of political and social forces which were moulding the twentieth century, could be repeated of this greatest diplomatic upset of our time too. It had its roots in the history of post-War Europe, and it may be that even the more we win distance from this “water-shed of Munich” the clearer it will become that the currents of history are running in the same old beds and in the same directions as before September, 1938.

Development of the Jewish religious movement "Khabad" in Ukraine in the 20's of the twentieth century

2001 ◽  
pp. 85-90
Author(s):  
O. V. Kozerod
Keyword(s):  
Twentieth Century ◽  
Religious Movement ◽  
Important Research ◽  
The World ◽  
Research Problems

The development of the Jewish religious movement "Khabad" and its organizations in the first quarter of the twentieth century - one of the important research problems, which is still practically not considered in the domestic Judaica. At the same time, this problem is relevant in connection with the fact that the religious movement "Khabad" during the twentieth century became the most widespread and influential area of Judaism in Ukraine and throughout the world.

Experiment role in the world music (based on the «The Road» album of the Ukrainian «Dakha Brakha» band)

2018 ◽  
pp. 215-227
Author(s):  
Iia Fedorova
Keyword(s):  
Folk Music ◽  
World Music ◽  
The Other ◽  
Modern Music ◽  
Musical Practice ◽  
The Road ◽  
Music Practice ◽  
The World ◽  
Binary Oppositions ◽  
Musical Practices

The main objective of this study is the substantiation of experiment as one of the key features of the world music in Ukraine. Based on the creative works of the brightest world music representatives in Ukraine, «Dakha Brakha» band, the experiment is regarded as a kind of creative setting. Methodology and scientific approaches. The methodology was based on the music practice theory by T. Cherednychenko. The author distinguishes four binary oppositions, which can describe the musical practice. According to one of these oppositions («observance of the canon or violation of the canon»), the musical practices, to which the Ukrainian musicology usually classifies the world music («folk music» and «minstrel music»), are compared with the creative work of «Dakha Brakha» band. Study findings. A lack of the setting to experiment in the musical practices of the «folk music» and «minstrel music» separates the world music musical practice from them. Therefore, the world music is a separate type of musical practice in which the experiment is crucial. The study analyzed several scientific articles of Ukrainian musicologists on the world music; examined the history of the Ukrainian «Dakha Brakha» band; presented a list of the folk songs used in the fifth album «The Road» by «Dakha Brakha» band; and showed the degree of the source transformation by musicians based on the example of the «Monk» song. The study findings can be used to form a comprehensive understanding of the world music musical practice. The further studies may be related to clarification of the other parameters of the world music musical practice, and to determination of the experiment role in creative works of the other world music representatives, both Ukrainian and foreign. The practical study value is the ability to use its key provisions in the course of modern music in higher artistic schools of Ukraine. Originality / value. So far, the Ukrainian musicology did not consider the experiment role as the key one in the world music.

Coda: The Rosetta Stone

2018 ◽  
Author(s):  
Jesse Schotter
Keyword(s):  
Twentieth Century ◽  
New Media ◽  
Digital Media ◽  
The Novel ◽  
Digital Code ◽  
Media Technologies ◽  
Rosetta Stone ◽  
The World ◽  
Western Imagination ◽  
Origin Point

Hieroglyphs have persisted for so long in the Western imagination because of the malleability of their metaphorical meanings. Emblems of readability and unreadability, universality and difference, writing and film, writing and digital media, hieroglyphs serve to encompass many of the central tensions in understandings of race, nation, language and media in the twentieth century. For Pound and Lindsay, they served as inspirations for a more direct and universal form of writing; for Woolf, as a way of treating the new medium of film and our perceptions of the world as a kind of language. For Conrad and Welles, they embodied the hybridity of writing or the images of film; for al-Hakim and Mahfouz, the persistence of links between ancient Pharaonic civilisation and a newly independent Egypt. For Joyce, hieroglyphs symbolised the origin point for the world’s cultures and nations; for Pynchon, the connection between digital code and the novel. In their modernist interpretations and applications, hieroglyphs bring together writing and new media technologies, language and the material world, and all the nations and languages of the globe....

Modernism, Empiricism, and Rationalism

2016 ◽  
Vol 46 (1) ◽  
pp. 38-47
Author(s):  
Geoffrey Squires
Keyword(s):  
Twentieth Century ◽  
The Other ◽  
Modern Poetry ◽  
Philosophical Perspective ◽  
Irish Poetry ◽  
Dimensional Spectrum ◽  
Culture History ◽  
The World ◽  
The Impact ◽  
Rule Out

Modernism is usually defined historically as the composite movement at the beginning of the twentieth century which led to a radical break with what had gone before in literature and the other arts. Given the problems of the continuing use of the concept to cover subsequent writing, this essay proposes an alternative, philosophical perspective which explores the impact of rationalism (what we bring to the world) on the prevailing empiricism (what we take from the world) of modern poetry, which leads to a concern with consciousness rather than experience. This in turn involves a re-conceptualisation of the lyric or narrative I, of language itself as a phenomenon, and of other poetic themes such as nature, culture, history, and art. Against the background of the dominant empiricism of modern Irish poetry as presented in Crotty's anthology, the essay explores these ideas in terms of a small number of poets who may be considered modernist in various ways. This does not rule out modernist elements in some other poets and the initial distinction between a poetics of experience and one of consciousness is better seen as a multi-dimensional spectrum that requires further, more detailed analysis than is possible here.

Hard Objects in George Oppen's Discrete Series

2018 ◽  
Vol 13 (4) ◽  
pp. 496-517
Author(s):  
Ned Hercock
Keyword(s):  
Twentieth Century ◽  
Ludwig Wittgenstein ◽  
Discrete Series ◽  
Human Experience ◽  
John Ruskin ◽  
Gerard Manley Hopkins ◽  
Marcel Duchamp ◽  
The World ◽  
Production History ◽  
History Of

This essay examines the objects in George Oppen's Discrete Series (1934). It considers their primary property to be their hardness – many of them have distinctively uniform and impenetrable surfaces. This hardness and uniformity is contrasted with 19th century organicism (Gerard Manley Hopkins and John Ruskin). Taking my cue from Kirsten Blythe Painter I show how in their work with hard objects these poems participate within a wider cultural and philosophical turn towards hardness in the early twentieth century (Marcel Duchamp, Adolf Loos, Ludwig Wittgenstein and others). I describe the thinking these poems do with regard to industrialization and to human experience of a resolutely object world – I argue that the presentation of these objects bears witness to the production history of the type of objects which in this era are becoming preponderant in parts of the world. Finally, I suggest that the objects’ impenetrability offers a kind of anti-aesthetic relief: perception without conception. If ‘philosophy recognizes the Concept in everything’ it is still possible, these poems show, to experience resistance to this imperious process of conceptualization. Within thinking objects (poems) these are objects which do not think.

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