scholarly journals FEATURES AND CONTENT OF COMMUNICATIVE MEMORY OF KENTAU’S AND ASHYSAY’S RESIDENTS AT THE BEGINNING OF THE XXI CENTURY

2020 ◽  
Vol 66 (3) ◽  
Author(s):  
Т.Т. Dalayeva ◽  
Keyword(s):  
20Th Century ◽  
Emotional State ◽  
Historical Narratives ◽  
Cultural Codes ◽  
The Difference ◽  
Cultural Code ◽  
The 1960S ◽  
Primary Socialization ◽  
Historical Periods ◽  
Speech Situation

The article is devoted to the study of the features of the manifestation of communicative memory based on the analysis of the content and implementation of the speech situation in historical narratives in the interviews of residents of Kentau and Ashysai in 2015-2019. Through the cognitive-communicative concept of mnemonic activity by Doctor of Filology Science Tivyaeva I.V. the author examines the features of the verbal coding of memory processes in the natural language of the respondents of three generations (conditionally divided by the author according to different historical periods in which the respondents' primary socialization took place): 1) those born in the 1920s-1930s; 2) those born in the 1940-1950s; 3) born in the 1960s. The purpose of the publication is to identify the discursive content of the memories of the residents of a monotown about their lives in the context of general historical events of the 20th century and the cultural code in the informational narrative of their interviews, the difference or similarity of the perception of their past by different generations. The character of identity in the memories of the Kentau-Ashhysai population is determined through such markers as the language of communication, cultural codes, and the emotional state of the respondents.

scholarly journals Peculiarity of Implementation of the National Cultural Code in Tatar Poetry and Prose of the Second Half of the XX Century

2019 ◽  
Vol 9 (1) ◽  
pp. 7421-7424
Keyword(s):  
20Th Century ◽  
Practical Interest ◽  
Creative Work ◽  
Spiritual Values ◽  
Cultural Codes ◽  
History Of ◽  
Cultural Code ◽  
National Poetry ◽  
Main Components ◽  
The Given

The study of the specifics of the manifestation of cultural codes in Tatar poetry and prose of the second half of the 20th century is of great scientific and practical interest. The timeliness of the chosen topic is conditioned by the need to identify the uniqueness, originality of Tatar national poetry and prose of the given period. At the same time, it should be noted that Tatar poetry and prose of the period of returning to national origins has not undergone comprehensive, holistic, detailed, structural study in terms of reflecting national identity. The goal of research: systematic and comprehensive study of the creative work of Tatar writers of the second half of the 20th century in respect of the aspect of the specifics of the manifestation of the national cultural code in them, identifying the nature of literary interactions and interrelations with Russian literature. The article deals with the specifics of the implementation of the Tatar national cultural code in the works of Amirkhan Eniki, Mirgaziyan Yunys, Ravil Bukharaev, Zulfat, Robert Minnullin, Renat Haris, Hassan Tufan and Ildar Yuzeev. The works under study reflect the Tatar national worldview and contain its main components: the image of homeland and native land, national holidays, moral and spiritual values and the history of the Tatar people. They also reflect the organic connection of the creative work of these writers and poets with the Tatar national culture and literature.

scholarly journals Ethnic Specificity of Cultural Codes

2020 ◽  
pp. 40-44
Author(s):  
Vladimir Mikhailovich Savitskij
Keyword(s):  
Cultural Analysis ◽  
Cross Cultural ◽  
Natural Phenomena ◽  
Cultural Codes ◽  
Historic Development ◽  
The Difference ◽  
Cultural Code ◽  
The Relationship ◽  
Communication Methods

The author compares and analyzes some definitions of the concept of cultural code offered by Russian and foreign linguists and semiologists. Aspects of this concept are singled out and described. Regulatory, semiotic and retransmitting functions of cultural codes are briefly characterized. The relationship between the concepts of cultural code and picture of the world is revealed. The author’s interpretation of the concept of cultural code is given, the ethnic specificity of cultural codes is revealed, its factors are described, participation of cultural codes in forming ethnic mentality is demonstrated. The author shows discrepancies in understanding reality due to the difference in the cultural codes used and points out that the role of cultural code can be performed by any perceptible area of reality: landscapes, natural phenomena, fauna, flora, artifacts (household utensils, tools, weapons, garments of clothes, dwelling places etc.) and actions with the listed items. All this is regarded in the article as semiotic means of thinking and communication. Methods. The analysis of cultural codes was carried out by using the methods of cross-cultural analysis and interlingual comparison on the material of English and Russian metaphoric set phrases. Conclusion. The conclusion is made concerning the influence of cultural codes on the choice of the path of historic development and, ultimately, on the fates of nations.

Klein with Lacan: A Study on the Reception of Lacanian Ideas in Uruguay and Its Effects on Clinical Practices (1955–82)

2020 ◽  
Vol 22 (3) ◽  
pp. 341-361
Author(s):  
Gonzalo Grau-Pérez ◽  
J. Guillermo Milán
Keyword(s):  
Clinical Practice ◽  
Clinical Material ◽  
Clinical Practices ◽  
Before And After ◽  
The Difference ◽  
The 1960S ◽  
The Relationship ◽  
Discursive Approach ◽  
The Way ◽  
Clinical Cases

In Uruguay, Lacanian ideas arrived in the 1960s, into a context of Kleinian hegemony. Adopting a discursive approach, this study researched the initial reception of these ideas and its effects on clinical practices. We gathered a corpus of discursive data from clinical cases and theoretical-doctrinal articles (from the 1960s, 1970s and 1980s). In order to examine the effects of Lacanian ideas, we analysed the difference in the way of interpreting the clinical material before and after Lacan's reception. The results of this research illuminate some epistemological problems of psychoanalysis, especially the relationship between theory and clinical practice.

Rewriting the Narrative

2019 ◽  
Vol 96 (4) ◽  
pp. 54-77
Author(s):  
Nicolas G. Rosenthal
Keyword(s):  
Twentieth Century ◽  
Native American ◽  
American Indian ◽  
Modern Society ◽  
Mixed Media ◽  
The State ◽  
Historical Narratives ◽  
Recent Scholarship ◽  
Art Scene ◽  
The 1960S

A vibrant American Indian art scene developed in California from the 1960s to the 1980s, with links to a broader indigenous arts movement. Native American artists working in the state produced and exhibited paintings, prints, sculptures, mixed media, and other art forms that validated and documented their cultures, interpreted their history, asserted their survival, and explored their experiences in modern society. Building on recent scholarship that examines American Indian migration, urbanization, and activism in the twentieth century, this article charts these developments and argues that American Indian artists in California challenged and rewrote dominant historical narratives by foregrounding Native American perspectives in their work.

D. KATSAROV ON THE MAIN PRINCIPLES OF PEDAGOGY

2018 ◽  
Vol 28 (3) ◽  
pp. 815-822
Author(s):  
Reni G. Hristova - Kotseva
Keyword(s):  
Social Control ◽  
20Th Century ◽  
Emotional State ◽  
Social Process ◽  
Physical Development ◽  
Three Dimensions ◽  
Or Education ◽  
Educational Work ◽  
Full Extent ◽  
To Come

Prof. D. Katsarov was a prominent scholar who worked in the field of Psychology and Pedagogy in Bulgaria during the 20th century. In his rich pedagogical heritage, he defined three basic pedagogical principles - love, freedom and experience.D. Katsarov's humanism is expressed in his deep faith in man, in his conviction that every human being possesses good talents and that every child deserves trust. His humanism manifests itself in his love of both the child and the adult, in his deep faith in their powers and capabilities.He declared this love to be the first basic pedagogical principle, without which upbringing, training or education cannot exist to the full extent of their meaning.The pedagogical principle of love is not perceived as a temporary emotional state but as an active attitude both in the child and the teacher. Love is expressed through concern, attention to the needs and interests of the child, and through active attitude to what is necessary to satisfy these needs and interests.The importance of this basic, according to Prof. D. Katsarov, principle can be seen in its three dimensions: the attitude of the child, of the teacher and of the education system.D. Katsarov formulated several kinds of freedom. Physical freedom, according to him, is expressed in freedom of deeds and actions. Any limitation of the freedom of the child inevitably leads to obstructing of their proper physical development "because this freedom enables the child to come into the widest range of contacts with the things that surround them, which is the only opportunity to get to know them comprehensively".According to Prof. D. Katsarov, it is the American philosopher, pedagogist and psychologist John Dewey that provides the most profound analysis of experience as a pedagogical principle, in its broad sense, as the basis of education.The true educational experience, according to the author, is a social process of sharing. Educational work is a source of social control only when it is a common work involving all individuals and those individuals feel somewhat responsible.

Strindberg's A Dream Play: Postmodernist Visions on the Modernist Stage

1999 ◽  
Vol 40 (2) ◽  
pp. 43-70
Author(s):  
Klaus van den Berg
Keyword(s):  
Michel Foucault ◽  
Historical Narrative ◽  
Historical Narratives ◽  
Spatial Relationships ◽  
Theatre History ◽  
Historical Events ◽  
Architectural Styles ◽  
Theatre Theory ◽  
Theatre Historiography ◽  
Historical Periods

Since the 1980s, new approaches to theatre historiography, the study of what Sue-Ellen Case has called the “convergence of history and theory,” have begun to arise in a challenge to generally accepted principles of theatre history, such as the supremacy of independent facts, the autonomy of dramatic texts, and the hierarchy of text, performance, and culture. The French critic and philosopher Michel Foucault has pointed out that the grouping and ordering of events into historical periods creates a “space of reference,” which lends some events a heightened meaning, while obscuring or submerging others. In a substantial challenge to traditional methods of theatre history, historiographers influenced by this view have begun to examine the theoretical underpinnings of historical periodization. In theatre theory, Thomas Postlewait has investigated the often unarticulated assumptions by which theatre historians isolate a group of historical events and designate them with period names.Many scholars now center their attention on historical discontinuity: searching for ruptures in the historical narrative, focusing on dynamics which lend instability rather than stability to historical periods, and reconceptualizing temporal historical narratives into spatial relationships. For example, from a perspective of discontinuity, a play is conceived not simply as a fixed entity created at some moment in history, but as a representation of layers of historical influences; likewise, a theatre building is not simply a material location in space, but a physical expression of historically emergent architectural styles and sociopolitical circumstances, and a performance is not simply a translation of a text to the stage, but a collage of past and emergent cultural and aesthetic processes.

Towards an Improved Parameter-Free Entrainment Model for Snow Avalanches

2021 ◽  
Author(s):  
Dieter Issler
Keyword(s):  
Snow Cover ◽  
Ad Hoc ◽  
Shear Stresses ◽  
Entrainment Rate ◽  
Snow Layer ◽  
Present Contribution ◽  
Weak Layer ◽  
Model Combining ◽  
The Difference ◽  
The 1960S

<p>On physical grounds, the rate of bed entrainment in gravity mass flows should be determined by the properties of the bed material and the dynamical variables of the flow. Due to the complexity of the process, most entrainment formulas proposed in the literature contain some ad-hoc parameter not tied to measurable snow properties. Among the very few models without free parameters are the Eglit–Grigorian–Yakimov (EGY) model of frontal entrainment from the 1960s and two formulas for basal entrainment, one from the 1970s due to Grigorian and Ostroumov (GO) and one (IJ) implemented in NGI’s flow code MoT-Voellmy. A common feature of these three approaches is their treating erosion as a shock and exploiting jump conditions for mass and momentum across the erosion front. The erosion or entrainment rate is determined by the difference between the avalanche-generated stress at the erosion front and the strength of the snow cover. The models differ with regard to how the shock is oriented and which momentum components are considered. The present contribution shows that each of the three models has some shortcomings: The EGY model is ambiguous if the avalanche pressure is too small to entrain the entire snow layer, the IJ model neglects normal stresses, and the GO model disregards shear stresses and acceleration of the eroded mass. As they stand, neither the GO nor the IJ model capture situations―observed experimentally by means of profiling radar―in which the snow cover is not eroded progressively but suddenly fails on a buried weak layer as the avalanche flows over it. We suggest a way to resolve the ambiguity in the EGY model and sketch a more comprehensive model combining all three approaches to capture gradual entrainment from the snow-cover surface together with erosion along a buried weak layer.</p>

Form and History in Modern Arabic Poetics

2021 ◽  
Author(s):  
Huda Fakhreddine
Keyword(s):  
20Th Century ◽  
Arab World ◽  
Prose Poem ◽  
Poetic Tradition ◽  
Literary Traditions ◽  
History Of ◽  
The Rich ◽  
The 1960S ◽  
Fundamental Forces ◽  
Modern Arabic

Modern Arabic poetic forms developed in conversation with the rich Arabic poetic tradition, on one hand, and the Western literary traditions, primarily English and French, on the other. In light of the drastic social and political changes that swept the Arab world in the first half of the 20th century, Western influences often appear in the scholarship on the period to be more prevalent and operative in the rise of the modernist movement. Nevertheless, one of the fundamental forces that drove the movement from its early phases is its urgent preoccupation with the Arabic poetic heritage and its investment in forging a new relationship with the literary past. The history of poetic forms in the first half of the 20th century reveals much about the dynamics between margin and center, old and new, commitment and escapism, autochthonous and outside imperatives. Arabic poetry in the 20th century reflects the political and social upheavals in Arab life. The poetic forms which emerged between the late 1940s and early 1960s presented themselves as aesthetically and ideologically revolutionary. The modernist poets were committed to a project of change in the poem and beyond. Developments from the qas̩īdah of the late 19th century to the prose poem of the 1960s and the notion of writing (kitābah) after that suggest an increased loosening or abandoning of formal restrictions. However, the contending poetic proposals, from the most formal to the most experimental, all continue to coexist in the Arabic poetic landscape in the 21st century. The tensions and negotiations between them are what often lead to the most creative poetic breakthroughs.

scholarly journals Russian Landscape Linocut, 1910-1970

2020 ◽  
Vol 16 (4) ◽  
pp. 101-112
Author(s):  
Taras Bocharov ◽  
Petr Kozorezenko
Keyword(s):  
20Th Century ◽  
Urban Landscape ◽  
Rural Landscape ◽  
Soviet Period ◽  
Graphic Art ◽  
Important Place ◽  
Landscape Art ◽  
The 1960S ◽  
The Moment ◽  
Almost All

The article examines the origin and development of Russian graphic landscape art, performed in the technique of engraving on linoleum. It covers the period from the early 20th century, the moment the first masters of this direction of graphic art appeared in Russia, until the late 1960s when linocut, the landscape, in particular, reached its prime and acquired its completely individual, unlike any other graphic technique, characteristic. The authors analyze the linocut landscapes of notable artists of the period described starting with the founder, N.Sheverdyaev, and the leading propagandist of linocut in Russia, I.Pavlov. The article describes the distinctive features of engraving and making prints by famous artists of the 20th century, graphic artists, and not only. This is M.Dobuzhinsky, B.Kustodiev, V.Falileev, K.Kostenko, N.Piskarev, later I.Sokolov, P.Staronosov, and many other not so famous artists. The Soviet period is represented by A.Kravchenko, M.Matorin, I.Sokolov, S.Yudovin, and, of course, A.Zyryanov, one of the well-known printers of the 1960s. The linocut technique is well established in almost all types of landscape. These were industrial, agitational works, glorifying the work of Soviet people, colorful sheets, and lyrical, delicate, and poetic works. The architectural and rural landscape occupied an important place in the work of the letterpress masters: in the urban landscape, of course, the images of the two capitals prevailed, which is not surprising since most of the artists studied and worked in Moscow and Leningrad. The authors of the article drew attention to the creative work of N.Lapshin, F.Smirnov, N.Novoselskaya, A.Smirnov, and others. In the article, the authors try to show how versatile and complex the linocut technique, especially colored, is. The authors want to show that the art of engraving on linoleum helped to view the landscape genre in graphics differently and, possibly, influenced the development of the landscape in other types of prints and painting. The authors are trying to prove that linoleum engraving rightfully takes an equal position with woodcut and etching. The works of masters working in this technique are exhibited in all museums in the country.

scholarly journals PERANG BUBAT, REPRESENTASI SEJARAH ABAD 14 DAN RESEPSI SASTRANYA

2018 ◽  
Vol 10 (1) ◽  
pp. 51
Author(s):  
Yeni Mulyani Supriatin
Keyword(s):  
Data Collection ◽  
20Th Century ◽  
18Th Century ◽  
The Other ◽  
16Th Century ◽  
Historical Aspect ◽  
14Th Century ◽  
Literary Structure ◽  
The Will ◽  
The Difference

Penelitian ini bertujuan mengungkap peristiwa Perang Bubat yang terjadi pada abad ke-14 atau tahun 1357 M dan resepsi sastranya. Masalah yang dibahas adalah bagaimana latar belakang terjadinya Perang Bubat, reaksi, dan tanggapannya. Teori yang digunakan adalah resepsi sastra. Metode untuk pengumpulan data adalah kualitatif dengan menerapkan prinsip resepsi sastra. Hasil penelitian menggambarkan bahwa terjadinya Perang Bubat adalah Raja Sunda tidak tunduk pada kehendak Gajah Mada dan Gajah Mada ingin menyatukan Nusantara. Resepsi sastra terhadap Perang Bubat dapat dikelompokkan menjadi 3, yaitu resepsi dari aspek kesejarahannya, resepsi pengaruhnya terhadap penciptaan karya baru, dan resepsi terhadap struktur sastra.  Simpulan penelitian ini adalah peristiwa Bubat diresepsi setelah dua abad berlalu, yaitu pada abad ke-16  dan peristiwa tersebut diresepsi ulang pada abad ke-20-an. Hasil resepsi sastra  dari abad ke-18 sampai dengan abad ke-20 cukup beragam. Keberagaman resepsi itu menunjukkan bahwa terdapat perbedaan horizon harapan pembaca.  This study aims to reveal the events of the Bubat War that occurred in the 14th century or the year 1357 AD and literary receptions that emerged after the incident occurred. The issue discussed is how the background of the Bubat War and the reactions and responses to the event through literary receptions. The theory used in analyzing data is literary receptions. The method used for data collection is qualitative by applying the principle of literary receptions. The results of this study illustrate that the background of the Bubat War have two versions and both controversial, the first version because the King of Sunda entourage do not obey to the will of Gajah Mada, on the other hand, the second version is that Gajah Mada tactics in unifying the archipelago while the Kingdom of Sunda is a state that has not been submitted. Literary receptions to the War of Bubat can be grouped into three, they are the reception of its historical aspect, the reception of its influence on the creation of new works, and the reception of the literary structure. The conclusion of this research is  Bubat event was perceived after two centuries passed, in the 16th century and the event was redrawn in the 20th century. Results of literary receptions in the 18th century until the 20th century quite diverse. The diversity of the receptions shows the difference in the horizon of readers' expectations.    

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