Watching Out for the World

2020 ◽  
pp. 101-108
Keyword(s):  
Historical Events ◽  
Literary Genres ◽  
The Third ◽  
The World

This interview discusses Le monde incréé, defined as ‘poétrie’, which refers to a destructuring of conventional literary genres. It consists of three ‘unstageable’ plays, the final one of which is devoted to Marie Celat, who features in much of Glissant’s other work. Drama is a place of revelation, more openly than prose or poetry. The uncreated world is a world that proceeds from historical events rather than a creation or genesis: in other words, a ‘digenesis’. The third play also features the ‘déparleur’ or delirious speaker, who is searching for a poetics, and manifests the ambiguous presence of poetry combined with its impossibility. Glissant rejects postcolonialism because he thinks it implies that colonialism is over. Literature is threatened with disappearance, because it has become banal and consumable.

appealed to the Queen on being besieged by the wild sense, especially in the concluding cantos, of leaving Irish (see Vi4.1n). In reading this ‘darke conceit’, an iron world to enter a golden one. But do these no one could have failed to recognize these allusions. ways lead to an end that triumphantly concludes the The second point is that Spenser’s fiction, when 1596 poem, or to an impasse of the poet’s imaginat-compared to historical fact, is far too economical ive powers? For some readers, Book VI relates to the with the truth: for example, England’s intervention earlier books as Shakespeare’s final romances relate in the Netherlands under Leicester is, as A.B. Gough to his earlier plays, a crowning and fulfilment, ‘a 1921:289 concludes, ‘entirely misrepresented’. It summing up and conclusion for the entire poem and would seem that historical events are treated from for Spenser’s poetic career’ (N. Frye 1963:70; cf. a perspective that is ‘far from univocally celebratory Tonkin 1972:11). For others, Spenser’s exclamation or optimistic’, as Gregory 2000:366 argues, or in of wonder on cataloguing the names of the waters what Sidney calls their ‘universal consideration’, i.e. that attend the marriage of the Thames and the what is imminent in them, namely, their apocalyptic Medway, ‘O what an endlesse worke haue I in hand, import, as Borris 1991:11–61 argues. The third | To count the seas abundant progeny’ (IV xii point, which is properly disturbing to many readers 1.1–2), indicates that the poem, like such sixteenth-in our most slaughterous age, especially since the century romances as Amadis of Gaul, could now go matter is still part of our imaginative experience as on for ever, at least until it used up all possible virtues Healy 1992:104–09 testifies, is that Talus’s slaughter and the poet’s life. As Nohrnberg 1976:656 aptly of Irena’s subjects is rendered too brutally real in notes, ‘we find ourselves experiencing not the allegorizing, and apparently justifying, Grey’s atrocit-romance of faith or chastity, but the romance of ies in subduing Irish rebels (see V xii 26–27n). Here romance itself ’. For still others, there is a decline: Spenser is a product of his age, as was the Speaker ‘the darkening of Spenser’s spirit’ is a motif in many of the House of Commons in 1580 in reporting studies of the book, agreeing with Lewis 1936:353 the massacre of Spanish soldiers at Smerwick: ‘The that ‘the poem begins with its loftiest and most Italians pulled out by the ears at Smirwick in solemn book and thence, after a gradual descent, Ireland, and cut to pieces by the notable Service of a sinks away into its loosest and most idyllic’; and with noble Captain and Valiant Souldiers’ (D’Ewes Neuse 1968:331 that ‘the dominant sense of Book 1682:286). As this historical matter relates to Book V, VI is one of disillusionment, of the disparity between it displays the slaughter that necessarily attends the the poet’s ideals and the reality he envisions’; or that triumph of justice, illustrating the truth of the common the return to pastoral signals the failure of chivalry in adage, summum ius, summa iniuria, even as Guyon’s Book V to achieve reform (see DeNeef 1982b). destruction of the Bower shows the triumph of tem-Certainly canto x provides the strong sense of an perance. This is justice; or, at best, what justice has ending. As I have suggested, ‘it is as difficult not to become, and what its executive power displayed in see the poet intruding himself into the poem, as it is that rottweiler, Talus, has become, in our worse than not to see Shakespeare in the role of Prospero with ‘stonie’ age as the world moves towards its ‘last the breaking of the pipe, the dissolving of the vision, ruinous decay’ (proem 2.2, 6.9). In doing so, Book and our awareness (but surely the poet’s too) that his V confirms the claim by Thrasymachus in Plato’s work is being rounded out’ (1961a:202). Republic: justice is the name given by those in power Defined as ‘doing gentle deedes with franke to keep their power. It is the one virtue in the poem delight’ (vii 1.2), courtesy is an encompassing virtue that cannot be exercised by itself but within the book in a poem that sets out to ‘sing of Knights and Ladies must be over-ruled by equity, circumvented by mercy, gentle deeds’ (I proem 1.5). As such, its flowering and, in the succeeding book, countered by courtesy. would fully ‘fashion a gentleman or noble person in vertuous and gentle discipline’ (Letter to Raleigh 8). Courtesy: Book VI

2014 ◽  
pp. 36-36
Keyword(s):  
Strong Sense ◽  
Executive Power ◽  
House Of Commons ◽  
Historical Events ◽  
The Third ◽  
The World ◽  
Historical Fact ◽  
The Common ◽  
The One

Audi, Thomas, . . . Audi a me signa quae futura sunt in fine huius saeculi – Zum Textbestand und zur Überlieferung der apokryphen Thomas-Apokalypse

2016 ◽  
Vol 20 (1) ◽  
Author(s):  
Matthias Geigenfeind
Keyword(s):  
Roman Empire ◽  
20Th Century ◽  
Short Form ◽  
Fifth Century ◽  
The Other ◽  
Roman Emperor ◽  
Historical Events ◽  
Medieval Manuscripts ◽  
The Third ◽  
The World

AbstractThe Revelation of Thomas (ApkTh) is certainly rather an unknown apocryphal apocalypse. Its existence has long been known only by its reference in the Decretum Gelasianum. Today the revelation’s text is testified not only by medieval English homilies but also interestingly by three various text forms all having been written in Latin and most of them discovered by scholars in different monastery libraries at the beginning of the 20th century. The so-called „short form“ of the apocalypse, which is - because of the dating of the oldest of the relevant manuscripts - considered to be the earliest witness created in the fifth century, consists of an address by Christ to Thomas, where he announces that famine, wars, and pestilences will appear when the End of Times approaches. After that, a list of the single events taking place on the last and final days follows. This distribution of the de-creation of the world on seven days before Christ’s arrival on the eighth - events which are moreover all testified in the second transmitted „abbreviated form“ of the ApkTh variant containing only the list predicting the End - hereby is what makes the Revelation of Thomas so fascinating and simultaneously unique among all the other apocalypses known so far. In the third variant of testification, which for its part can be named the „long recension,“ the relevant medieval manuscripts of the ApkTh additionally deal with the calamities striking the humans on earth and preceding Christ’s parusia. This prophetic introduction of the Revelation of Thomas contains insinuations to historical events having taken place in the fifth century C. E. Among those observable references the allusion to Arcadius and Honorius, the two sons of the Roman Emperor Theodosius I, is quite unambiguous, while other scourges described in the text cannot be assigned to actual occurrences without doubt. In any case the setting seems to be the Western part of the Roman Empire, although the Eastern part can’t be totally excluded.

scholarly journals In the Trace of Gerardo Mello Mourão: The Inter-Gender Hybridism and the Formation of Epiliric Poetry in Contemporary Brazilian Literature

2020 ◽  
Vol 8 (2) ◽  
pp. 35-50
Author(s):  
Junior César Ferreira de Castro
Keyword(s):  
Qualitative Research ◽  
Contemporary Literature ◽  
Historical Events ◽  
Brazilian Literature ◽  
Literary Genres ◽  
Avant Garde ◽  
The Past ◽  
The World ◽  
Deductive Method ◽  
The Aesthetic

In its configurative and representational basis, contemporary literature has established a warm dialogue with the classic and modern canons for the formation of literary genres that distance themselves from the poetics in force in order to establish their own aesthetics since the contemporary is in maintaining this gaze fixed on the present by returning to the past to deny or affirm it as the tradition of the new or the new of tradition (PAZ, 2000). The present study is justified in raising the reflection on the form of the epic and the lyric based on the transformations that occurred over the centuries to found an epic-lyric poetry as a renewing style of contemporary Brazilian poetry, the object of this research, which is based on the works Invention of the sea and Os peãs, by Gerardo Mello Mourão. The objective is to demonstrate the resistance of the epic in the current world by the hybrid composition that is established in the act of its production by the exteriority of the real along with the narrator's subjectivity. The problem of intergeneric hybridism is developed through bibliographic and qualitative research with intermediation of the deductive method and through the aesthetic-philosophical bias to demonstrate that it becomes the guiding element of this avant-garde style capable of establishing historical events through the temporality built by the world text. This whole discussion is centered on Aristotle (1992) and Boileau (1990), going through Hegel (1997), Lukacs (2000) and Bakhtin (2010) until arriving at Staiger (1997), Lima (2002), Greenfield (2006) and Kristeva (1995), showing that the epic-lyric poem is supported by the pluridiscursive dialogism maintained between the nature of the stylization of the lyric and epos as a style and not as a novelized process.

Optimum Structure of the Banking Market: How Many Banks Are Necessary for Russia?

2006 ◽  
pp. 75-92 ◽  
Author(s):  
S. Moiseev
Keyword(s):  
Banking Sector ◽  
Optimum Structure ◽  
Population Number ◽  
The Third ◽  
Banking Market ◽  
The World ◽  
The Usa ◽  
Per Capita ◽  
The Empirical Analysis ◽  
Equilibrium Number

The number of classical banks in the world has reduced. In the majority of countries the number of banks does not exceed 200. The uniqueness of the Russian banking sector is that in this respect it takes the third place in the world after the USA and Germany. The paper reviews the conclusions of the economic theory about the optimum structure of the banking market. The empirical analysis shows that the number of banks in a country is influenced by the size of its territory, population number and GDP per capita. Our econometric estimate is that the equilibrium number of banks in Russia should be in a range of 180-220 units.

Overcoming “The Third Way” Concept

2006 ◽  
pp. 126-134
Author(s):  
L. Evstigneeva ◽  
R. Evstigneev
Keyword(s):  
Economic Research ◽  
Economic Uncertainty ◽  
Third Way ◽  
The Third ◽  
Linear Approach ◽  
The World ◽  
Non Linear

“The Third Way” concept is still widespread all over the world. Growing socio-economic uncertainty makes the authors revise the concept. In the course of discussion with other authors they introduce a synergetic vision of the problem. That means in the first place changing a linear approach to the economic research for a non-linear one.

Staging the World: The Devils as Theatrum Mundi

2015 ◽  
Vol 12 (4) ◽  
pp. 496-514
Author(s):  
Christophe Van Eecke
Keyword(s):  
Seventeenth Century ◽  
Tidal Wave ◽  
Historical Events ◽  
Political Issues ◽  
Mise En Abyme ◽  
Political Allegory ◽  
The World

When Ken Russell's film The Devils was released in 1971 it generated a tidal wave of adverse criticism. The film tells the story of a libertine priest, Grandier, who was burnt at the stake for witchcraft in the French city of Loudun in the early seventeenth century. Because of its extended scenes of sexual hysteria among cloistered nuns, the film soon acquired a reputation for scandal and outrage. This has obscured the very serious political issues that the film addresses. This article argues that The Devils should be read primarily as a political allegory. It shows that the film is structured as a theatrum mundi, which is the allegorical trope of the world as a stage. Rather than as a conventional recreation of historical events (in the tradition of the costume film), Russell treats the trial against Grandier as a comment on the nature of power and politics in general. This is not only reflected in the overall allegorical structure of the theatrum mundi, but also in the use of the film's highly modernist (and therefore timeless) sets, in Russell's use of the mise-en-abyme (a self-reflexive embedded play) and in the introduction of a number of burlesque sequences, all of which are geared towards achieving the film's allegorical import.

Epidemias y Religión

2020 ◽  
pp. 49-81
Author(s):  
Bruno Van der Maat
Keyword(s):  
Pastoral Care ◽  
Key Words ◽  
Adverse Reactions ◽  
Religious Groups ◽  
Government Regulations ◽  
The Third ◽  
The Bible ◽  
The World ◽  
Ethical Reflections

The current pandemic has seen some adverse reactions from the most diverse religious groups all over the world to government regulations. After having described some of their manifestations, this contribution analyzes what the Bible and some post biblical (patristic and Talmudic) traditions say about illness and pandemics. As it is ascertained that these sources contain very limited material on these subjects, the third part of this article proposes some ethical reflections regarding the official response to the pandemic as well as some pastoral implications. Key Words: Pandemic, Religion, Bible, Talmud, Pastoral Care.

Interpretation of Nonsense as a Method of Children Imagination Development (as exemplified in Carroll L. «Through the Looking-Glass and What Alice Found There»)

2020 ◽  
pp. 200-212
Author(s):  
Larisa V. Kalashnikova
Keyword(s):  
Creative Thinking ◽  
Language Model ◽  
Word Formation ◽  
The Third ◽  
New Meanings ◽  
The World ◽  
Looking Glass ◽  
Rules Of The Game ◽  
Powerful Incentive ◽  
Algorithmic Thinking

The article enlightens the probem of nonsense and its role in the development of creative thinking and fantasy, and the way how the interpretation of nonsense affects children imagination. The function of imagination inherent to a person, and especially to a child, has a powerful potential – to create artificially new metaphorical models, absurd and most incredible situations based on self-amazement. Children are able to measure the properties of unfamiliar objects with the properties of known things. It is not difficult for small researchers to replace incomprehensible meanings with familiar ones; to think over situations, to make analogies, to transfer signs and properties of one object to another. The problem of nonsense research is interesting and relevant. The element of the game is an integral component of nonsense. In the process of playing, children cognize the world, learn to interact with the world, imitating the adults behavior. Imagination and fantasy help the child to invent his own rules of the game, to choose language elements that best suit his ideas. The child uses the learned productive models of the language system to create their own models and their own language, attracting language signs: words, morphs, sentences. Children’s dictionary stimulates word formation and language nomination processes. Nonsense-words are the result of children’s dictionary, speech errors and occazional formations, presented in the form of contamination, phonetic transformations, lexical substitution, implemented on certain models. The first two models are phonetic imitation and hybrid speech, based on the natural language model. The third model of designing nonsense is represented by words that have no meaning at all and can be attributed to words-portmonaie. Due to the flexibility of interframe relationships and the lack of algorithmic thinking, children can not only capture the implicit similarity of objects and phenomena, but also create it through their imagination. Interpretation of nonsense is an effective method of developing imagination in children, because metaphors, nonsense as a means of creating new meanings, modeling new content from fragments of one’s own experience, are a powerful incentive for creative thinking.

A war hero or a Hitler soldier?

2019 ◽  
pp. 50-57
Author(s):  
Pavel Gotovetsky
Keyword(s):  
Twentieth Century ◽  
World War Ii ◽  
Interwar Period ◽  
Military Service ◽  
Third Reich ◽  
National Committee ◽  
World War ◽  
The Third ◽  
The World ◽  
The Third Reich

The article is devoted to the biography of General Pavlo Shandruk, an Ukrainian officer who served as a Polish contract officer in the interwar period and at the beginning of the World War II, and in 1945 became the organizer and commander of the Ukrainian National Army fighting alongside the Third Reich in the last months of the war. The author focuses on the symbolic event of 1961, which was the decoration of General Shandruk with the highest Polish (émigré) military decoration – the Virtuti Militari order, for his heroic military service in 1939. By describing the controversy and emotions among Poles and Ukrainians, which accompanied the award of the former Hitler's soldier, the author tries to answer the question of how the General Shandruk’s activities should be assessed in the perspective of the uneasy Twentieth-Century Polish-Ukrainian relations. Keywords: Pavlo Shandruk, Władysław Anders, Virtuti Militari, Ukrainian National Army, Ukrainian National Committee, contract officer.

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