Spectre of the Author, a Double with a Flaw. Photographies in Nabokov's Autobiography

2016 ◽  
Author(s):  
Adam Lipszyc
Keyword(s):  
The Past ◽  
Historical Authenticity ◽  
The Creation ◽  
The Way

The author analyzes "Speak, Memory" in the context of the role of documentary and photographic materials in the text. He also comments on the aura of historical authenticity ascribed to photography and the way it helps in the creation of the fictionalized narrative about one's past and the past of his close ones.

Maiakovskii and the Mobile Monument: Alternatives to Iconoclasm in Russian Culture

Slavic Review ◽  
2012 ◽  
Vol 71 (4) ◽  
pp. 766-791 ◽  
Author(s):  
James Rann
Keyword(s):  
Cultural Change ◽  
Political Change ◽  
Urban Landscape ◽  
Soviet Power ◽  
Russian Culture ◽  
The Past ◽  
The Creation ◽  
Shed Light ◽  
The Way

This article examines Vladimir Maiakovskii's frequent references to statues and monuments in his poetry in relation to traditions of iconoclasm in Russian culture in order not only to shed light on the poet's attitude toward the role of the past in the creation of a new culture but also to investigate the way in which the destruction, relocation, and transformation of monuments, both in the urban landscape and in art, reflects political change in Russia. James Rann demonstrates that, while Maiakovskii often invoked a binary iconoclastic discourse in which creation necessitates destruction, his poetry also articulated a more nuanced vision of cultural change through the symbol of the moving monument: the statue is preserved but also transformed and liberated. Finally, an analysis of “Vo ves' golos” shows how Maiakovskii's myth of the statue helped him articulate his relationship to Soviet power and to his own poetic legacy.

scholarly journals MODERN MIDDLE AGE IN HIGH FASHION THROUGH THE DESIGN OF ALEKSANDAR JOKSIMOVIĆ

2019 ◽  
Vol 31 (3) ◽  
pp. 777-783
Author(s):  
Dragana Frfulanović-Šomođi ◽  
Milena Savić
Keyword(s):  
Middle Age ◽  
Cultural Tradition ◽  
Clear Indication ◽  
Cultural Aspects ◽  
The Past ◽  
Historical Figures ◽  
The Social ◽  
One Step ◽  
The Creation ◽  
The Way

The design of socialist Yugoslavia received a particularly new look through the creation of Aleksandar Joksimović, which gave the new elements a traditional look, equally putting them in rank with world-famous designs of celebrated designers. This paper was created with the idea of emphasizing the importance of the creativity of Joksimović, which is within the framework of socialist norms, as an artist, remained insufficiently recognized, although his work was in the service of exclusive promotion of the cultural aspects of his country. His concept of design based on the medieval cultural tradition emerged from the framework of the then socialist clothes, and it is called grandiose exoticism. The names of the first collections given by the historical figures of medieval Serbian history are a clear indication that it is possible to draw inspiration from the past, if it is professionally approached and adequately, by contemporary trends, the audience and the market. Joksimovic's individualism, apart from design, was also reflected in the way the collection itself was modeled through models and choreographies, and clearly once again showed his step ahead of time, while the social and political circumstances forced him to stay one step behind.

scholarly journals Individualism as a Cultural Syndrome in Recent American Cinema

2017 ◽  
Vol 9 (2) ◽  
pp. 114-122
Author(s):  
Nina A Tsyrkun
Keyword(s):  
Moral Responsibility ◽  
Cultural Constructs ◽  
American Cinema ◽  
The Past ◽  
Individualism And Collectivism ◽  
The Face ◽  
Survival Condition ◽  
The Way

The article explores the balance of the two basic cultural constructs - individualism and collectivism - and the way it is represented in the American cinema of 2015-2016 as exemplified by a number of films set in the past, present and future. The author comes to the conclusion that in the face of a global peril the idea of individual moral responsibility inevitably leads to the role of collectivism as the essential survival condition.

Narratives of human trafficking: Defining policy, practice and positioning in a contested field

2021 ◽  
Author(s):  
◽  
Bryony Cornforth-Camden
Keyword(s):  
Human Trafficking ◽  
Migrant Workers ◽  
Sex Trafficking ◽  
Policy Practice ◽  
Local Responses ◽  
The Past ◽  
Crime Type ◽  
Counter Narrative ◽  
The Way

<p><b>This research uses narrative criminology to investigate the way the problem of human trafficking is narrated in New Zealand and international settings. It draws on accounts from professionals who are responsible for defining and responding to human trafficking, and reports, policy, and other guiding documents. The main issue driving this research is the contested nature of human trafficking. Human trafficking is a crime type that has been highly politicised resulting in shifts and changes to the way the problem of trafficking has been approached over the past 20 years, with differing trends coming to the fore and dominating trafficking practices at different times. The internationally dominant approaches which emphasise prostitution, harsh criminal responses, and border security have come under criticism for having harmful impacts for migrant workers. This research aims to understand how human trafficking is defined, what discourses are drawn on, and how international narratives may be influencing local responses with the overall aim of identifying new and less problematic ways of conceptualising human trafficking and responding to migrant exploitation.</b></p> <p>This thesis finds that different ways of narrating human trafficking are constitutive of different trafficking realities. Narratives determine the shape the problem takes, who is involved, what the causes and solutions are, who responds, and who are classed as victims and perpetrators. This research concludes that as narratives structure reality and action, in order to change how we deal with certain problems, the way the problem is narrated must also change.</p> <p>The findings of this thesis reflect current challenges in the wider international anti-trafficking field of how to avoid positioning western states and systems as outside of the problem of trafficking, issues with broadening definitions of victimhood, and questions of the role of international versus local bodies in defining problems involving migration and crime. As well as reflecting these current challenges, the findings from this research provide insights for moving forwards by proposing an alternative narrative. This counter narrative is created through drawing together components of narratives identified in this research. It avoids the issues of western exceptionalism, narrow forms of victimhood, and a focus on sex trafficking, and provides a different method for conceptualising migration, exploitation, and harm.</p>

Veronicas and Artists

2017 ◽  
Keyword(s):  
Contemporary Art ◽  
Religious Images ◽  
The Public ◽  
The Past ◽  
History Of Art ◽  
The Status ◽  
History Of ◽  
The Way ◽  
Contemporary Artists

Chapter One deals with several central issues with regard to understanding the role of religious motifs in contemporary art. Besides being a repetition of imagery from the past, religious motifs embedded in contemporary artworks become a means to problematise not only the way different periods in the history of art are delimited, but larger and seemingly more rigid distinctions as those between art and non-art images. Early religious images differ significantly from art images. The two types are regulated according to different sets of rules related to the conditions of their production, display, appreciation and the way images are invested with the status of being true or authentic instances of art or sacred images. Chapter One provides a discussion of the important motif of the image not made by an artist’s hand, or acheiropoietos, and its survival and transformation, including its traces in contemporary image-making practices. All images are the result of human making; they are fictions. The way the conditions of these fictions are negotiated, or the way the role of the maker is brought to visibility, or concealed, is a defining feature of the specific regime of representation. While the cult image concealed its maker in order to maintain its public significance, and the later art image celebrated the artist as a re-inventor of the old image, contemporary artists cite religious images in order to reflect on the very procedures that produce the public significance and status of images.

History Repeating Itself. The function of turning points and continuity in three historical narratives on operetta

2017 ◽  
Vol 29 (1) ◽  
pp. 102
Author(s):  
Mikael Strömberg
Keyword(s):  
Turning Points ◽  
Source Material ◽  
Historical Narrative ◽  
Historical Narratives ◽  
Complex Relationship ◽  
Narrative Strategy ◽  
The Past ◽  
History Of ◽  
The Way

The article’s primary aim is to discuss the function of turning points and continuity within historiography. That a historical narrative, produced at a certain time and place, influence the way the historian shapes and develops the argument is problematized by an emphasis on the complex relationship between turning points and continuity as colligatory concepts within an argumentative framework. Aided by a number of examples from three historical narratives on operetta, the article stresses the importance of creating new narratives about the past. Two specific examples from the history of operetta, the birth of the genre and the role of music, are used to illustrate the need to revise not only the use of source material and the narrative strategy used, but also how the argument proposed by the historian gathers strength. The interpretation of turning points and continuity as colligatory concepts illustrate the need to revise earlier historical narratives when trying to counteract the repetitiveness of history.

Indigenous approaches to the past: ‘Creative histories’ at the Hyde Park Barracks, Sydney

2020 ◽  
Vol 9 (1) ◽  
pp. 83-102 ◽  
Author(s):  
Kiera Lindsey
Keyword(s):  
Visual Art ◽  
The Other ◽  
Cultural Relations ◽  
Form And Function ◽  
The Past ◽  
Cultural Responses ◽  
And Function ◽  
The Way

This article discusses a recent art project created by the Wiradjuri and Kamilaroi artist Jonathon Jones, which was commissioned to commemorate the opening of the revitalized Hyde Park Barracks in Sydney in early 2020. Jones’ work involves a dramatic installation of red and white crushed stones laid throughout the grounds of the barracks, merging the image of the emu footprint with that of the English broad convict arrow to ‘consider Australia’s layered history and contemporary cultural relations’. This work was accompanied by a ‘specially-curated programme’ of performances, workshops, storytelling and Artist Talks. Together, these elements were designed to unpack how certain ‘stories determine the ways we came together as a nation’. As one of the speakers of the Artist Talk’s programme, I had a unique opportunity to experiment with what colleagues and I have been calling ‘Creative histories’ in reference to the way some artists and historians are choosing to communicate their research about the past in ways that experiment with form and function and push disciplinary or generic boundaries. This article reflects upon how these two distinct creative history projects – one visual art, the other performative – renegotiate the complex and contested pasts of the Hyde Park Barracks. I suggest that both examples speak to the role of memory and creativity in shaping cultural responses to Australia’s colonial past, while Jones' programme illustrates how Indigenous artists and academics are making a profound intervention into contemporary understandings of how history is ‘done’ in Australia.

The Role of Play in the Life of the Child

1998 ◽  
Vol 3 (3) ◽  
pp. 113-114 ◽  
Author(s):  
Ann Cattanach
Keyword(s):  
Real Situation ◽  
Children's Play ◽  
Children’S Play ◽  
The Creation ◽  
Situational Constraints ◽  
The Way

Pellegrini and Smith (1998) have provided a challenging review of the forms and possible functions of play during childhood, and Blatchford's (1998) paper on children's play reports a programme of research about the nature of play at school breaktimes that seems to be the sort of research that Pellegrini and Smith recommend in their conclusion, calling for more descriptive studies of children's play. When considering the nature and possible functioning of play during childhood Pellegrini and Smith explore general definitional issues. They suggest that play theorists such as Piaget and Vygotsky considered that play was the way that children learnt skills necessary for successful functioning in adulthood. Perhaps this is a simple way to express, for example, Vygotsky's (1978) descriptions of play in ‘The Role of Play in Development’ in Mind in society. Vygotsky states that in play a child creates an imaginary situation; that play is the place where a child spontaneously makes use of his ability to separate meaning from an object without knowing he is doing it. The creation of an imaginary situation is the first manifestation of the child's emancipation from situational constraints and the primary paradox of play is that the child operates with an alienated meaning in a real situation. Vygotsky may be describing an important skill for successful functioning in adulthood, but it is also an important function in childhood.

How Berlusconi will be remembered: notoriety, collective memory and the mediatisation of posterity

Modern Italy ◽  
2015 ◽  
Vol 20 (1) ◽  
pp. 91-109 ◽  
Author(s):  
Stephen Gundle
Keyword(s):  
Mass Media ◽  
Collective Memory ◽  
Collective Consciousness ◽  
The Past ◽  
Personality Cult ◽  
The Mass Media ◽  
Silvio Berlusconi ◽  
The Way

This article explores the ways in which Silvio Berlusconi might figure in collective memory. It approaches this from a number of angles. First, consideration is given to the way political figures of the past have resonated culturally and the role of institutions including the mass media in this. Second, Berlusconi's own efforts to situate himself in relation to a shared past are explored, with reference to the place of three nostalgic appeals that figured with varying intensity at different points in his career. Third, Berlusconian aesthetics are investigated to explore the relative roles of kitsch and glamour. It is shown that kitsch gained the upper hand and that this also manifested itself in the monarchical aspects that his personality cult took on. Finally, Berlusconi is considered as a possible subject for a biopic and a discussion is offered of the way his life and career might be presented in different variants of this genre. Overall, it is suggested that expectations that he will be damned by history fail to take account both of the way he imposed himself on the collective consciousness and of the generic requirements of the mass media.

scholarly journals “A turn to ontology” in neo-kantianism (P. Natorp and E. Lask)

2021 ◽  
Vol 14 (2) ◽  
pp. 51-65
Author(s):  
Leonid Yu. Kornilaev ◽  
Keyword(s):  
20Th Century ◽  
Total Domination ◽  
The Past ◽  
Starting Point ◽  
General Logic ◽  
Ontological Turn ◽  
The Way

In the late 1910s and early 1920s, the intellectual situation within neo-Kantianism began to change: there were philosophical projects attempting to overcome the total domination of epistemology in Neo-Kantian doctrines and making place for ontology. Ontological tendencies are typical mainly for P. Natorps’s projects of general logic and E. Lask’s logic of philosophy. I analyze the continuity of Natorp’s early epistemological ideas, developed in the spirit of the Marburg interpretation of Kant’s transcendentalism, and his later ideas, focused on speculative ontological constructions. In particular, I investigate the methodo­logical relationship between the characteristics of knowledge in his early and late philo­sophy: dynamism, creativity, categoriality, unity of the starting point and the goal. The ba­sic structure of Natorps’s project of general logic is reconstructed. Lask’s main texts re­veal the provisions that open the way to an ontological turn. These factors include a cri­tique of the identification of the realm of value and that of the extrasensory in the meta­physics of the past, the postulation of a prereflexive stage of knowledge, interpreting the doctrine of judgment as a doctrine of immanent sense, and treating truth as a con­stitutive-aleteological phenomenon. Both Neo-Kantian philosophers build their systems on an on­tological foundation, making subjectivity dependent on objectivity in cognition, which can be interpreted as a kind of retreat from Kantian criticism. The ontological basis is ex­pressed in the postulation of a universal character of the logical expressed in Natorp’s idea of “poiesis” and Lask’s idea of “panarchy of the Logos”. The analysis of Natorp’s and Lask’s onto-epistemological projects allows us to clarify and reveal the role of Neo-Kantianism in the formation of the new ontologies of the 20th century a.k.a. the “ontologi­cal turn”.

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