scholarly journals Gardens in “Trilistniks” (trefoils) by I. Annensky (on “real” and symbolic meaning of the image)

2021 ◽  
Vol 61 ◽  
pp. 166-176
Author(s):  
Yulia V. Shevchuk
Keyword(s):  
Fairy Tale ◽  
Personal Space ◽  
Natural World ◽  
Closed Space ◽  
The Past ◽  
The World ◽  
The Subject ◽  
Lyrical Subject ◽  
Perception Of Time ◽  
The Individual

The development of garden space at Annensky contributes to an understanding of the individual symbolism of the poet and the principles of organizing semantic unity of the “Trilistniks” (trefoils). In the first trilistniks, the subject occupies an ambivalent position of attraction and repulsion in relation to the garden space (flowers, birds, earth). The intensity of color and smell, as well as the principle of contrast, oxymoron, are important in the description. The garden refers to biblical mythology (“Trefoil of temptation”). Nature is renewed, and man cannot get rid of the burden of the “evil” past and the idea of inevitability of death (“Sentimental trefoil”). Observing the phenomenon of light and shade in the garden, the lyrical “I” thinks about the existence of the world simultaneously outside and inside a man (“Lunar trefoil”). The garden in the “Trefoil of doomness” dedicated to the perception of time is a closed space, “the door is clogged there.” Gardens are gradually growing dim, become flatter, empty and move inside the consciousness of a lyrical subject (sleep, nonsense, fiction). The flowers on the window, the dead garden and the sky are perceived as solid, frozen surfaces (“Ghostlike trefoil”). The image of the garden takes on fantastic features: the old manor is placed in the space of a fairy tale (“Trefoil from the old notebook”), shadows in the garden turn into ghosts of the past and are condensed (“Spring trefoil”). “Trefoil of the loneliness,” the last in the series, is dedicated to the issue of alienation of a modern man from natural world and people, the bright image of the garden (lilacs, sun, bees) is located outside the personal space of the “I.”

Delving into Horror

2019 ◽  
Vol 29 (5) ◽  
pp. 135-150
Keyword(s):  
The Self ◽  
Time And Space ◽  
The Third ◽  
The World ◽  
The Subject ◽  
Perception Of Time ◽  
Definition Of

The springboard for this essay is the author’s encounter with the feeling of horror and her attempts to understand what place horror has in philosophy. The inquiry relies upon Leonid Lipavsky’s “Investigation of Horror” and on various textual plunges into the fanged and clawed (and possibly noumenal) abyss of Nick Land’s work. Various experiences of horror are examined in order to build something of a typology, while also distilling the elements characteristic of the experience of horror in general. The essay’s overall hypothesis is that horror arises from a disruption of the usual ways of determining the boundaries between external things and the self, and this leads to a distinction between three subtypes of horror. In the first subtype, horror begins with the indeterminacy at the boundaries of things, a confrontation with something that defeats attempts to define it and thereby calls into question the definition of the self. In the second subtype, horror springs from the inability to determine one’s own boundaries, a process opposed by the crushing determinacy of the world. In the third subtype, horror unfolds by means of a substitution of one determinacy by another which is unexpected and ungrounded. In all three subtypes of horror, the disturbance of determinacy deprives the subject, the thinking entity, of its customary foundation for thought, and even of an explanation of how that foundation was lost; at times this can lead to impairment of the perception of time and space. Understood this way, horror comes within a hair’s breadth of madness - and may well cross over into it.

Time and the Testator, 1370–1540

2002 ◽  
Vol 37 ◽  
pp. 133-144
Author(s):  
Judith Middleton-Stewart
Keyword(s):  
Middle Ages ◽  
Late Medieval ◽  
Men And Women ◽  
The Past ◽  
Late Middle Ages ◽  
The World ◽  
The Future ◽  
Perception Of Time ◽  
Limited Duration ◽  
At Will

There were many ways in which the late medieval testator could acknowledge time. Behind each testator lay a lifetime of memories and experiences on which he or she drew, recalling the names of those ‘they had fared the better for’, those they wished to remember and by whom they wished to be remembered. Their present time was of limited duration, for at will making they had to assemble their thoughts and their intentions, make decisions and appoint stewards, as they prepared for their time ahead; but as they spent present time arranging the past, so they spent present time laying plans for the future. Some testators had more to bequeath, more time to spare: others had less to leave, less time to plan. Were they aware of time? How did they control the future? In an intriguing essay, A. G. Rigg asserts that ‘one of the greatest revolutions in man’s perception of the world around him was caused by the invention, sometime in the late thirteenth century, of the mechanical weight-driven clock.’ It is the intention of this paper to see how men’s (and women’s) perception of time in the late Middle Ages was reflected in their wills, the most personal papers left by ordinary men and women of the period.

scholarly journals Young People: Between Literature and Advanced Technologies

2017 ◽  
Vol 1 (1) ◽  
pp. 13-23
Author(s):  
Ahmad Idris Asmaradhani
Keyword(s):  
Life Choices ◽  
Face To Face ◽  
Human Essence ◽  
The Past ◽  
Technological Advances ◽  
The World ◽  
Simple Question ◽  
The Media ◽  
The Individual ◽  
The Ideal

In the eyes of literature, existentialist thinkers focus on the question of concrete human existence and the conditions of this existence rather than hypothesizing a human essence, stressing that the human essence is determined through life choices. The ideal, however, is that humans exist in a state of distance from the world that they nonetheless remain in the midst of. This distance is what enables humans to project meaning into the disinterested world of in-itselfs. This projected meaning remains fragile, constantly facing breakdown for any reason— from a tragedy to a particularly insightful moment. In such a breakdown, humans are put face to face with the naked meaninglessness of the world, and the results can be devastating. It is porposed that literature and the media combined have a powerful impact on those who wish to truly realize and understand their message. By studying, reading, learning, experiencing, and knowing the culture of the present and those cultures of the past then one can understand the ideas of life and how the two work together to help us better understand each other and ourselves. In what ways our present culture, our technological advances, and the media shape who we are as individuals is not a simple question. The answer seems to elusively hide in a world filled with cultural complexities. But, it is no secret to find that literature is a source of power. It does influence, guide, and shape the human become as they continue their journey through life. Hence, since human are never without the influence of literature, they will always have factors working to modify the human being. However, it is their choice as to how they internalize what they are exposed to, and in turn, it is up to them to determine the individual that ultimately prevails.

scholarly journals Military museums in Poland – between the past and the future

2020 ◽  
Vol 8 (3) ◽  
pp. 5-39
Author(s):  
Dagmara Chylińska ◽  
Łukasz Musiaka
Keyword(s):  
Collective Memory ◽  
Subject Matter ◽  
Cultural Tourism ◽  
The Past ◽  
Current Trends ◽  
The World ◽  
The Subject ◽  
Museum Practice ◽  
Further Development ◽  
Special Mirror

Museums are a constantly developing segment of cultural tourism. Poland is in line with current trends in museums, expanding its offer and adapting it to the requirements of the world of contemporary image culture and multisensory experiences, which is increasingly dominated by technology. The authors of the paper undertook to recognise the specificity of military museums, by conducting a survey of approximately a third of all such institutions in Poland. Due to the subject-matter of their exhibitions, military museums create a broad field of research both in terms of aesthetics and museum practice, as well as the issues of shaping and maintaining collective memory and the identity of the nation. They form a special mirror in which the country’s ideas and aspirations are reflected more often than any real characteristics. In reference to contemporary trends in museums, the article aims to place Polish military museums between locality and universality, education and entertainment, stability and dynamism, knowledge and experience. The results obtained allowed the authors to distinguish three groups of military museums in Poland, as well as indicate conditions conducive to the further development of such attractions in the country.

scholarly journals History and Historiography in Early Christian Ireland

2020 ◽  
Vol 13 (33) ◽  
pp. 197-227
Author(s):  
Dominique Santos
Keyword(s):  
Early Christian ◽  
The Past ◽  
The World ◽  
History Of ◽  
The Subject ◽  
Theory Of History ◽  
Bilingual Literacy

Despite modern writers noticing the importance of Premodern historiographical phenomena for a deeper comprehension of both Theory of History and History of Historiography, the Irish contribution to the subject is often left aside. Topics such as the Seanchas Tradition and Medieval Irish Classicism are not well integrated into such historiographical narrative. The Seanchaidh, the Irish Artifex of the Past, for example, is broadly mentioned as not a historian, but a chronicler, antiquary, genealogist, hagiographer or pedigree systematizer. This article addresses these issues and, more specifically, we focus on two Irish narratives produced in 7th century by Muirchú and Tírechán. Since they belong to the world of orality and bilingual literacy of Early Christian Ireland, perhaps their works could be understood as bounded by the Seanchas Tradition and Medieval Irish Classicism, hence, both could be considered as great examples of the producers of History and Historiography at the time.

The Animistic Way: Contemporary Paganism and the Posthuman

Poligrafi ◽  
2021 ◽  
pp. 107-127
Author(s):  
Victoria Dos Santos
Keyword(s):  
Natural World ◽  
Julia Kristeva ◽  
The Other ◽  
Relational Ontology ◽  
Other Hand ◽  
The World ◽  
Human World ◽  
The Subject ◽  
The One ◽  
Contemporary Paganism

This article aims to explore the affinities between contemporary Paganism and the posthuman project in how they approach the non-human natural world. On the one hand, posthumanism explores new ways of considering the notion of humans and how they are linked with the non-human world. On the other hand, Neopaganism expands this reflection to the spiritual domain through its animistic relational sensibility. Both perspectives challenge the modern paradigm where nature and humans are opposed and mutually disconnected. They instead propose a relational ontology that welcomes the “different other.” This integrated relationship between humans and the “other than human” can be understood through the semiotic Chora, a notion belonging to Julia Kristeva that addresses how the subject is not symbolically separated from the world in which it is contained.

History and Theory in Anthropology

2021 ◽  
Author(s):  
Alan Barnard
Keyword(s):  
North America ◽  
New Developments ◽  
The Past ◽  
Award Winning ◽  
The World ◽  
The Subject ◽  
Post Colonialism ◽  
New Generation ◽  
History And Theory

In the past twenty years, there have been exciting new developments in the field of anthropology. This second edition of Barnard's classic textbook on the history and theory of anthropology has been revised and expanded to include up-to-date coverage on all the most important topics in the field. Its coverage ranges from traditional topics like the beginnings of the subject, evolutionism, functionalism, structuralism, and Marxism, to ideas about globalization, post-colonialism, and notions of 'race' and of being 'indigenous'. There are several new chapters, along with an extensive glossary, index, dates of birth and death, and award-winning diagrams. Although anthropology is often dominated by trends in Europe and North America, this edition makes plain the contributions of trendsetters in the rest of the world too. With its comprehensive yet clear coverage of concepts, this is essential reading for a new generation of anthropology students.

GENRE OF IN MODERN TATAR LITERATURE: FEATURES OF FUNCTIONING (BASED ON THE MATERIAL OF R. GABDULKHAKOVA'S "SMALL" PROSE)

2021 ◽  
pp. 83-90
Author(s):  
В.Р. Аминева
Keyword(s):  
Space Time ◽  
Moral Truth ◽  
First Person ◽  
The Third ◽  
Third Person ◽  
The Subject ◽  
Lyrical Subject ◽  
The Individual ◽  
The Relationship ◽  
The Third Person

На материале произведений современной татарской писательницы Р. Габдулхаковой выявляются конститутивные черты жанра парча в современной татарской литературе. Охарактеризованы жанровые разновидности парчи в творчестве Р. Габдулхаковой, которые соответствуют двум направлениям сюжетного движения: от внешнего к внутреннему или от единичного к универсальному и двум типам повествования - от 1-го или от 3-го лица. Художественное завершение в парчах первого типа определяется постижением некой нравственной истины, вытекающей из лично пережитой лирическим субъектом ситуации, в парчах второго типа оно создается переходом от отдельных явлений к их суммирующему итогу. Сделан вывод о том, что внутреннюю меру жанра определяет характер соотношения повествовательной фабулы и обобщающей ее «концовки». Описаны свойственные этому жанру пространственно-временные отношения и принципы организации субъектной сферы. Структурообразующая роль в парчах Р. Габдулхаковой отводится субъективно-лирическому началу в повествовании. В произведениях писательницы проявились как особенности ее творческой индивидуальности, так и типологические черты женской прозы в целом с ее повышенной эмоциональностью, автобиографичностью и проникновенностью. Большинство миниатюр Р. Габдулхаковой написаны от первого лица и представляют сознание женщины, сосредоточенной на переживании своего одиночества и «холода жизни», безответной любви и позднего раскаяния, боли утраты, преследующей каждого человека после ухода матери. Парчи, написанные от третьего лица, раскрывают сознание человека, знающего о существовании объективных закономерностей и пытающегося найти личный выход из безнадежных ситуаций. В творчестве Р. Габдулхаковой парча функционирует как синтетический жанр, вбирающий в себя элементы других жанровых форм. On the material of works of the modern Tatar writer R. Gabdulhakova the constitutive features of the genre of the parcha are revealed. Genre varieties of parcha in the work of R. Gabdulkhakova are characterized, which correspond to two directions of plot movement: from the external to the internal or from the individual to the universal, and two types of narrative-from 1 or 3 persons. Artistic completion in the parcha of the first type is determined by the realization of a certain moral truth arising from the situation personally experienced by the lyrical subject, in the parcha of the second type it is created by the transition from individual phenomena to their summing result. It is concluded that the internal measure of the genre determines the nature of the relationship between the narrative plot and its generalizing "ending". Space-time relations and principles of organization of the subject sphere peculiar to this genre are described. The structure-forming role in the parcha of R. Gabdulkhakova is assigned to the subjective-lyrical beginning in the narrative. The works of the writer manifested both the features of her creative individuality and the typological features of female prose in general with its increased emotionality, autobiography and penetration. Most of R. Gabdulhakova’s miniatures are written in the first person and represent the consciousness of a woman focused on experiencing her loneliness and “cold life”, unrequited love and late repentance, the pain of loss that haunts every person after leaving her mother. Рarcha written in the third person reveal the consciousness of a person who knows about the existence of objective laws and tries to find a personal way out of hopeless situations. Allegorical or symbolic imagery at the same time turns a personal scenario - into a typical, universal human one. In the work of R. Gabdulhakova parcha functions as a synthetic genre, incorporating elements of other genre forms.

scholarly journals Three Mothers (2006) by Dina Zvi-Riklis: The Repressed Israeli Trauma of Immigration

Arts ◽  
2020 ◽  
Vol 9 (2) ◽  
pp. 71
Author(s):  
Yael Munk
Keyword(s):  
The Other ◽  
Jewish Family ◽  
Outstanding Achievement ◽  
Left Behind ◽  
The Past ◽  
Promised Land ◽  
Complex Approach ◽  
The World ◽  
The Individual ◽  
Jewish Religion

This article relates to the complex approach of Dina Zvi-Riklis’ film Three Mothers (2006) to immigration, an issue that is central to both the Jewish religion and Israeli identity. While for both, reaching the land of Israel means arriving in the promised land, they are quite dissimilar, in that one is a religious command, while the other is an ideological imperative. Both instruct the individual to opt for the obliteration of his past. However, this system does not apply to the protagonists of Three Mothers, a film which follows the extraordinary trajectory of triplet sisters, born to a rich Jewish family in Alexandria, who are forced to leave Egypt after King Farouk’s abdication and immigrate to Israel. This article will demonstrate that Three Mothers represents an outstanding achievement, because it dares to deal with its protagonists’ longing for the world left behind and the complexity of integrating the past into the present. Following Nicholas Bourriaud’s radicant theory, designating an organism that grows roots and adds new ones as it advances, this article will argue that, although the protagonists of Three Mothers never avow their longing for Egypt, the film’s narrative succeeds in revealing a subversive démarche, through which the sisters succeed in integrating Egypt into their present.

Stereotyping by historicizing: The journalistic writing technique of locating foreign societies in the past

Journalism ◽  
2019 ◽  
pp. 146488491987032
Author(s):  
Miki Tanikawa
Keyword(s):  
Lived Experience ◽  
Quantitative Method ◽  
The United States ◽  
Qualitative Approach ◽  
Ancient History ◽  
Cultural Stereotypes ◽  
The Past ◽  
Foreign Culture ◽  
The World ◽  
The Subject

Drawing mainly on cultural theories, this article probed the ‘myth’ in the news (international) using a combined quantitative and qualitative approach for investigation with a goal of revealing common characteristics of articles that revolve around a mythical image of a foreign culture, or a national cultural stereotype. Three major newspapers from three different regions of the world, the United States, United Kingdom, and Japan, were content analyzed and found that articles that pivot on well-known foreign cultural stereotypes invoke one of three types of theme/content: a well-known point of ancient history, a media myth built over decades, or a ‘lived’ experience of the audience. In essence, articles that utilize foreign myth are characterized by the technique of ‘historicizing’ the subject matter. They portray the culture as being embedded in history, tradition, and inertia indicating to readers that the foreign country – and collectively the world outside – has remained the same and stagnant culturally in the process stereotyping foreign societies as the Other. This article discusses the intersection of myth and national cultural stereotypes, using the concept, ‘the culture peg’ as a bridging notion that allows for a measure of quantitative method of investigation.

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