scholarly journals Ritratto dell’artista da effeminato. Agatone e Zambinella

2021 ◽  
Vol 16 ◽  
pp. 75-99
Author(s):  
Anna Beltrametti
Keyword(s):  
Social Criticism ◽  
Binary Opposition ◽  
The City ◽  
Established Order

The essay starts from the figure of the poet-gynnis, Agatone, with whom Aristophanes opens the Thesmophoriazusae’s seemingly conventional plot, that heightened the men/women historically binary opposition in the Athenian polis. The elusive and metamorphic figure of the effeminate-asexual poet, who explicitly recalls an Aeschilean representation of Dionysus, the god of the theatre, strongly confirms the familiarity of Aristophanes with the Orphic-Dionysian sphere also attested in his masterpiece The Birds and in Plato’s Symposium. Aristophanes’ attention for the reasons of this line of thought, an alternative to the dominant thought in the city, has obvious implications of political and social criticism towards the historically established order and, at the same time, poses the topic of theatre and poetry. The gynnis is a poet’s ambiguous portrait and, in this particular comedy, it also questions the reasons and working of dramatization between mimesis and fantastic deformation.

The Church, the City, and Modernity

2017 ◽  
Vol 72 (1) ◽  
pp. 101-111
Author(s):  
Florian Mazel
Keyword(s):  
Political Philosophy ◽  
Political History ◽  
The State ◽  
Protestant Reformation ◽  
Binary Opposition ◽  
Institutional Church ◽  
The City ◽  
The Town ◽  
The Church ◽  
Political Figure

Dominique Iogna-Prat’s latest book, Cité de Dieu, cité des hommes. L’Église et l’architecture de la société, 1200–1500, follows on both intellectually and chronologically from La Maison Dieu. Une histoire monumentale de l’Église au Moyen Âge (v. 800–v. 1200). It presents an essay on the emergence of the town as a symbolic and political figure of society (the “city of man”) between 1200 and 1700, and on the effects of this development on the Church, which had held this function before 1200. This feeds into an ambitious reflection on the origins of modernity, seeking to move beyond the impasse of political philosophy—too quick to ignore the medieval centuries and the Scholastic moment—and to relativize the effacement of the institutional Church from the Renaissance on. In so doing, it rejects the binary opposition between the Church and the state, proposes a new periodization of the “transition to modernity,” and underlines the importance of spatial issues (mainly in terms of representation). This last element inscribes the book in the current of French historiography that for more than a decade has sought to reintroduce the question of space at the heart of social and political history. Iogna-Prat’s stimulating demonstration nevertheless raises some questions, notably relating to the effects of the Protestant Reformation, the increasing power of states, and the process of “secularization.” Above all, it raises the issue of how a logic of the polarization of space was articulated with one of territorialization in the practices of government and the structuring of society—two logics that were promoted by the ecclesial institution even before states themselves.

The City of Oslo in Jan Erik Vold’s Poems

2021 ◽  
Vol 66 (1) ◽  
pp. 219-230
Author(s):  
Raluca-Daniela Duinea
Keyword(s):  
Cultural Identity ◽  
Urban Areas ◽  
Social Criticism ◽  
Capital City ◽  
Urban Landscapes ◽  
Reading Technique ◽  
Social Critical ◽  
The 1960S ◽  
The City ◽  
Selection Of

"The City of Oslo in Jan Erik Vold’s Poems. The aim of this paper is to examine, from a cultural and social perspective, the Norwegian urban areas and everyday situations in Jan Erik Vold’s (b. 1939) poems. Our close-reading technique reveals important social aspects, different places and streets, located in the capital city of Norway, Oslo. These urban poems written by the contemporary Norwegian poet Jan Erik Vold contribute to the reconstruction of a new Norwegian cultural identity as it is reflected in a selection of poems taken from Mor Godhjertas glade versjon. Ja (Mother Goodhearted’s Happy Version. Yes, 1968), followed by the poet’s wanderings in the city of Oslo in En som het Abel Ek (One Named Abel Ek, 1988), and concluding with his bitter social criticism in Elg (Moose, 1989) and IKKE. Skillingstrykk fra nittitallet (Not: Broadsides from the Nineties, 1993). Vold’s urban poems emphasise the transition from nyenkle (new simple), friendly and descriptive poems which present closely the city of Oslo on foot, to short, political and social critical poems from the 90s. Thus, it is of great importance to traverse various urban ‘landscapes’ in different periods of time, beginning with the 1960s, followed by the 80s and the 90s. Keywords: Jan Erik Vold, urban poems, social criticism, Norwegian urban areas, the city of Oslo "

scholarly journals ANALISIS STRUKTUR VISUAL LAMBANG KOTAPRAJA JAMAN HINDIA BELANDA DARI PERSPEKTIF WACANA POSKOLONIAL

2018 ◽  
Vol 1 (2) ◽  
Author(s):  
Novian Denny Nugraha ◽  
Sonson Nursholih
Keyword(s):  
Postcolonial Theory ◽  
Theory Approach ◽  
Binary Opposition ◽  
Interesting Phenomenon ◽  
Colonial Era ◽  
East Indies ◽  
Dutch East Indies ◽  
Visual Structure ◽  
The Government ◽  
The City

The simbol of municipality (big city) in Indonesia is changing from time to time, as well as changing according to the social and cultural conditions of the city. If in colonial era the simbol of the city is a representation of the power of the government or rule, and then the phenomenon is now beginning to change in the current era, where the simbol of the city functioned also for the needs of tourism. In the late Dutch East Indies colonial era around 1930s, some cities were considered to be self-reliant by government and economy, so that the government at that time made a simbol for the need to run the wheels of his government. The interesting phenomenon of the simbol of the city simbolically is the existence of simbols that are displayed, both simbols affiliated to the ruler (Dutch East Indies) and also the simbol that is a typical simbol of the city's local tradition. Composition and relationship between simbols in the city simbol is interesting to be studied and analyzed. Especially at visual structure area and meaning representation. The analysis is done by qualitative research method which is descriptive interpretative with semiotics theory approach for sign analysis and using postcolonial theory for understanding the meaning of the city simbol. The results of the analysis both in the visual structure and in the meaning shows the existence of different types of simbols that appear, as well as the discovery of the difference of simbol dominance in each simbol of the city. The relation between the simbols generated from the composition of the visual structure results in a new understanding, which in the postcolonial perspective will be interpreted by a binary opposition relationship, or the dominant/hegemonic relationship between the colonial government and the colony state, between “The Other” and “The Occident”, or between colonizing and colonized countries. Furthermore, the simbolic relation on the visual structure and meaning resulted in the ideological significance of the sociocultural conditions of the community at that time.

scholarly journals A religião nas narrativas utópicas

2019 ◽  
Vol 02 ◽  
pp. 156-169
Author(s):  
Luís Machado de Abreu
Keyword(s):  
Social Ethics ◽  
Social Criticism ◽  
Francis Bacon ◽  
Literary Genre ◽  
Thomas More ◽  
Religious Issue ◽  
The One ◽  
The City ◽  
Tommaso Campanella

Thomas More’s Utopia and the subsequent literary creations that belong to the same literary genre represent the affirmation of human initiative and its exclusive responsibility for the laws that rule the destiny of the City. This political autarchy points at an organisation of the society, so zealous of autonomy, that it seems to exclude from itself any divinity or religion. This is not, however, what we see in most of the utopic narratives, starting with the one by More that deals extensively with the religious issue. What statute and significance does religion have in the utopias? The answer can be attempted at three principal levels, which correspond to the same amount of ways of presence and articulation of the religious element in the described societies. There is, firstly, the consecration of Christianism as supreme religion in More’s Utopia. However, this consecration does not prevent the dimension of social criticism, characteristic of the utopic imagination, from applying also to the religious phenomenon. We have, then, the Christian reference to narratives in which the Christianism of origins appears as inspiration and model. Let us remember, for example, the «New Christianism» by Saint-Simon. Lastly, in the last two centuries, the horizon of Christianism tends to dissipate itself in narratives that advocate the implantation of a new social ethics. In this communication, we deal solely with the «Utopias of the Renaissance», the utopias of Thomas More, Tommaso Campanella and Francis Bacon.

The homeland and the city: Rural and urban decolonization in Patricia Grace’s Potiki

2021 ◽  
Vol 9 (1) ◽  
pp. 25-42 ◽  
Author(s):  
Pia Brückner
Keyword(s):  
Literary Criticism ◽  
Academic Disciplines ◽  
The Novel ◽  
Binary Opposition ◽  
Aotearoa New Zealand ◽  
Rural And Urban ◽  
Binary Oppositions ◽  
Urban Rural ◽  
The City

Over the last decade, studies from multiple academic disciplines have started to examine the city’s role as a place of decolonization for Māori people in Aotearoa New Zealand. This article uses those multidisciplinary findings as a basis for literary criticism by re-examining the role of the city in Patricia Grace’s second novel Potiki (1986). Indigenous urbanites are generally deemed impossible and ‘unnatural’ within the inherited colonial ideology. And even though the novel foregrounds a Māori family’s return to their ancestral land, this article argues that the very success of this return is based on the interrelation between ‘rural’ and ‘urban’ strategies of decolonization. While the colonial urban–rural binary often seems reinforced, the novel inverts the power positions between colonizer and colonized, thereby promoting decolonization. At the same time, some characters become unconsciously entrapped in a romanticized pre-migration idyll, which the harsh reality of agricultural working life cannot satisfy. In order to assess the effectiveness of the different decolonizing strategies employed by the characters, my analysis utilizes the postcolonial key concepts of binary opposition, the liminal, the interstice, ambivalence, double consciousness and cultural appropriation, and examines the degree to which inherited binary oppositions are either maintained or defied by Pākehā and Māori within the novel.

BINARY FORMULA “HOME-CITY” AS METAVALUE OF ARCITECTURAL OBJECT AND A BINATY OPPOSITIONS MATRIX OF COMPOSITIONAL TECHNIQUES

2016 ◽  
Vol 6 (2) ◽  
pp. 69-74
Author(s):  
Sergey A. MALAKHOV
Keyword(s):  
Fundamental Aspect ◽  
Gradual Transition ◽  
Compositional Techniques ◽  
Binary Opposition ◽  
Interconnected System ◽  
Cultural Space ◽  
Architectural Form ◽  
Almost All ◽  
The City

Based on the research of humanitarian specifics of architectural form and architectural objects, three aspects are defined, from the position of which the CM system is adjusted the concept of the architectural object as megaobject (interconnected system of object and the physical environment) and how metaobject (conditioning facility, cultural space). The first aspect - the role of the binary opposition, meaning that in the architectural form of the object and system identification, or in a non-obvious, presented meanings that oppose each other, but do not displace each other. The second aspect - the presence of external environment (URBO landscape and cultural space). The presence of the environment, the environment has a formal aesthetic and ethical justification. As a result, the environment may become a challenge no less important than the object. The third aspect - the fundamental metavalue of architectural object, the method adopted in the composite as a basis. It relates to the interaction between the city and the house - two metavaluesi, covering almost all the layers and subsystems which appear in the process of interaction between the author and architectural form. This fundamental aspect is defined in the article as a universal binary formula House-City. The binary formula House- City determines the methodological structure and content of the genesis of the CM process carried out in phases as a gradual transition from the experience of abstract form to the project.

scholarly journals „Piedmont”, „Banderstadt”, and the „Cradle of nationalism”. Ethnopolitical study of a city

2021 ◽  
pp. 142-162
Author(s):  
Mykola Riabchuk ◽  
Keyword(s):  
Well Being ◽  
Soviet Rule ◽  
Binary Opposition ◽  
The West ◽  
Norms And Values ◽  
Western Ukraine ◽  
Social Modernization ◽  
The 19Th Century ◽  
The City

The West Ukrainian city of Lviv is often described as a „cradle”, or „hotbed”, of Ukrainian nationalism, within a broader media-spread narrative that counter-opposes Ukraine’s allegedly „nationalistic West” and so-called „pro-Russian East”. The article questions this quasi-binary opposition at the both formal-logical and substantive level, and examines the factors that informed and still tend to support the „nationalistic” image of the region. It finds out no data-based evidence of a higher level of xenophobia or intolerance in Western Ukraine if compared with other Ukrainian regions or some neighboring states, and concludes that the primary reason for the „nationalistic” othering of the city of Lviv and the Western Ukraine was their defiance of the Soviet rule, Soviet norms and values in the post-WWII period. That defiance had many forms but the most manifestly observable was a brazen free use of Ukrainian in the urban environment, deemed „nationalistic” and stigmatized elsewhere in Ukraine. The article draws on the earlier observations of close connection between Ukrainian identity (nationalism) and pro-Western orientation (set of values), determined by a peculiar development of the Ukrainian national project since its very inception in the first half of the 19th century. The higher patriotic mobilization in Lviv (and in Western Ukraine in general) is seen as the main reason for a higher level of social optimism and apparently exaggerated assessments of personal well-being in Lviv vis-à-vis Ukraine’s average. Nowadays, West Ukrainians and the denizens of Lviv face a difficult dual task: to tackle their burdensome „nationalistic” image and to play the self-assigned role of Ukrainian „Piedmont” that leads both the national revival and social modernization. The emphasis on the latter, the essay implies, might be a good key to the successful managing of the former. Key words: Lviv, Western Ukraine, nationalism, xenophobia, propagandistic othering and stereotyping.

scholarly journals Odessa text and Odessa myth in the Russian prose of the 1920s-1930s

2020 ◽  
Keyword(s):  
Urban Space ◽  
Childhood And Adolescence ◽  
Binary Opposition ◽  
The South ◽  
Temporal Dimension ◽  
Distinctive Features ◽  
The Past ◽  
Time Gap ◽  
Main Components ◽  
The City

The article analyzes the Odessa text of Russian literature formed during the first post-revolutionary decades. The unfailing interest that modern literary studies show towards urban studies as well as the urban space and urban texts problems and also a substantial understudy of the Odessa urban text of the 1920s – 1930s determines the relevance of the chosen topic. The purpose of this article is to identify the main components of the Odessa urban myth and the aspects of their representation in the Odessa text of Russian literature.The analysis of the works of I. Babel, V. Zhabotinsky, I. Ilf and Y. Petrov, Y. Olesha, S. Yushkevich, K. Paustovsky, V. Kataev allows us to highlight such unique features of the Odessa text as ludic aspect (carnivalization, theatrical and musical nature, gambling); the myth of Odessa being the free city, the city of peace, and the myth of Odessa Golden age; motives of memories and nostalgia; actualization of city toponyms – Deribasovskaya street, the Duke of Richelieu monument, the Opera House, the dachas of Big Fountain, as the symbols of Odessa glitz and gloss and Moldavanka, Peresyp, and Port as symbols of freedom and adventurous spirit. Odessa myth is described as an ambivalent construct, co-opting the archetypes of the mother and the whore along with the features of the concentric and eccentric cities, a construct where transcendental “capital/province”, “friend/foe” oppositions become blurred. The motive of nostalgia realized through the idealized toponyms of Odessa, the autobiographical nature of the texts, personal memories of childhood and adolescence, focus on past events – those are the chief unitizing aspects in the prose of the selected period. The instantaneous actualization of several timelines along with the longing for a place with no time at all, for a place at the crossroads of several historical eras – those are the distinctive features of a nostalgia concept in Odessa text. At the same time, the pathos of nostalgia is associated with a time gap and with geographical distance marked as impassable. The “past / present” opposition correlate with the other oppositions: the "past" means the “south”, the "friends", the harmony of the center and the province, the truce between the mother and the whore. The “past/present” binary opposition overlapping the “south/north” dichotomy introduces not only spatial but also temporal dimension into the semantics of the “south”.

scholarly journals Running in everyday life and festive culture of the Renaissance and the Modern Age

2021 ◽  
pp. 143-154
Author(s):  
Stanislav Vladimirovich Kannykin
Keyword(s):  
Everyday Life ◽  
Well Being ◽  
Social Philosophy ◽  
The Body ◽  
Social Classes ◽  
Binary Opposition ◽  
Endurance Running ◽  
Human Capabilities ◽  
Modern Age ◽  
The City

The subject of this research is determination of the peculiarities of running as a type of activity in the sociocultural situation of the Renaissance and the Modern Age of the Old and New World. The relevance of studying the socially important aspects of running in everyday life and festive, carnival culture of the XV – XIX centuries is substantiated by the fact that namely this period marks the onset of mental requests and revival of physical practices, which in 1896 would become the heart of the First Olympic Games, the beginning and culmination of which were the athletic competitions. The ancient ideal of kalokagathia at this time is instilled with the ideas of self-sufficiency and self-projectivity of a person, whose creative aspirations equally captivate the spirit and the body. Running develops physical and mental qualities that broaden human capabilities, being that instrument for existential growth through overcoming the boundaries of physical and spiritual “normality”, conditioned by the stereotypes and norms of everyday life. The author views running from the perspective of culturological concepts of “everyday life”, “festivity”, “carnival”, as well as the binary opposition sacred/profane. The fields of application of the acquired results include social philosophy, philosophical anthropology, and philosophy of sports. The novelty of this research consists in the interpretation of endurance running as an existential measurement of everyday life, the method of communication between different types of communities and population groups, and formation of the prototype of a “cultural body” of that time. Running is examined as a type of activity that is characteristic mostly to the lower, marginal social classes. Participation in the city festival in the format of a “carnival” running was a way to integrate into society, a manifestation of collective solidarity. Their buffoonery running distracted the audience from the everyday routine, becoming its counterpoint. The author also determines the contribution of the upper social classes to the development of running practices d: economic (funding of professional runners and material reward for the non-professional winners of the city festivals); practical (amateur running or other athletic practices as a component of a gentleman's everyday life); ideological (Renaissance humanists assumed that physical activity is a non-religious way to overcome time through maintaining physical well-being).

scholarly journals EL HOLLYWOOD DE CHANDLER: LA CONSTRUCCIÓN DE UN IMAGINARIO CINEMATOGRÁFICO EN CLAVE NOIR

2019 ◽  
pp. 63
Author(s):  
José Ismael Gutiérrez
Keyword(s):  
Film Industry ◽  
Social Criticism ◽  
Literary Genre ◽  
American Film ◽  
Studio System ◽  
American Film Industry ◽  
Established Order

La narrativa de Chandler, especialmente su novela The Little Sister, proporciona una visión distópica acerca de Hollywood durante el periodo de “sistema de estudios” de la industria cinematográfica norteamericana. Esta imagen desfavorable está en consonancia con los parámetros del género literario que cultivó el escritor: el género negro, que se caracteriza por el sórdido realismo, la presencia de villanos que rompen el orden establecido y la crítica social. La fusión de los códigos de esta modalidad narrativa que rezuma violencia con la ambigua actitud de Chandler ante la Meca del Cine daría como resultado la construcción de un universo criminal que revela muchos de los puntos débiles, ansiedades y conflictos de la colonia del cine hollywoodense.ABSTRACTChandler’s narrative, especially his novel The Little Sister, provides a dystopian view of Hollywood during the period of the studio system in the American film industry. This unfavorable image is in line with the parameters of the literary genre that the writer cultivated: the noir gender, which is characterized by sordid realism, the presence of villains that break the established order and social criticism. The fusion of the codes of this narrative modality that oozes violence with the ambiguous attitude of Chandler before the Mecca of Cinema will result in the construction of a criminal universe that reveals many of the weaknesses, anxieties and conflicts of the film colony of Hollywood. 

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