Dekadencka Madonna, Biała Diablica, Lorelei... Zinaida Gippius w egodokumentach współczesnych

2017 ◽  
Vol 10 (0) ◽  
pp. 112-126
Author(s):  
Iwona Krycka-Michnowska
Keyword(s):  
The Other ◽  
Internal Conflict ◽  
Silver Age ◽  
Literary Portraits ◽  
The One ◽  
Significant Figures ◽  
Zinaida Gippius

The paper is devoted to Zinaida Gippius’s literary portraits left on the pages of ego-documents, especially memoirs. She was one of the most significant figures of the Russian Silver Age. At the end of the 19th and the beginning of the 20th centuries, the writer created her own legend and image based on internal conflict, which in turn influenced the diversity of her portraits in memoirs. Their analysis leads to the conclusion that these portraits fit into the stereotyped, ambivalent perception of a woman, and majority of the authors reveal the tendency to mythologize and dehumanize her heroine: on the one hand her divinization, and on the other – reification. It also proves that the memoirist had perpetuated and widened the legend about her.

scholarly journals The motive of love melancholy and the variability of feminine images in the structure of the "melancholy of life" ("l'ennui de vivre") complex

2019 ◽  
Keyword(s):  
The Other ◽  
Internal Conflict ◽  
Subjective Feeling ◽  
Femme Fatale ◽  
Female Images ◽  
Male And Female ◽  
Gender Conflict ◽  
Russian Symbolism ◽  
The One ◽  
Main Factor

The article deals with the connection of the motive of love melancholy with the motive complex of the "melancholy of life" ("l'ennui de vivre"), examines the specifics of its realization in the female images in the poetry of French and Russian symbolism. In addition to internal conflict, the decadent worldview is characterized by the opposition of "I – Other", including the conflict of male and female primes, which is the main factor in the origin of the motive of love melancholy. Female images of the Decadence era are ambivalent. On the one hand, the woman for the decadent lyric hero is a beast creature, the embodiment of an animal principle. The passion for woman is destructive, and the image of a woman is represented by the "femme fatale". On the other hand, at the same time, the romantic concept of "beautiful lady", a female angel, whose image is devoid of erotic context and embodies an unattainable ideal, striving for which emphasizes the horror of being and the subjective feeling of "l'ennui de vivre", is developing. In Russian poetry of symbolism, the connection of love motives with the "melancholy of life" is revealed mainly through the motives of separation, lost love. The motive of lost love is related to the intimate lyrics of I. Annensky and P. Verlaine. Instead, in B. Bryusov's poetry, the love appears as an irreconcilable gender conflict, a duel between a man and a woman, doomed to a fatal passion. Thus, the motive of love melancholy is a part of the structure of the motive complex "l'ennui de vivre" because of the specificity of the implementation of female images and their attitude to the lyrical hero.

scholarly journals International System and Technologies of Rebellion: How the End of the Cold War Shaped Internal Conflict

2010 ◽  
Vol 104 (3) ◽  
pp. 415-429 ◽  
Author(s):  
STATHIS N. KALYVAS ◽  
LAIA BALCELLS
Keyword(s):  
Cold War ◽  
Civil War ◽  
Civil Wars ◽  
Structural Characteristics ◽  
International System ◽  
The Other ◽  
Internal Conflict ◽  
Other Hand ◽  
The One ◽  
The Cold War

Because they are chiefly domestic conflicts, civil wars have been studied primarily from a perspective stressing domestic factors. We ask, instead, whether (and how) the international system shapes civil wars; we find that it does shape the way in which they are fought—their “technology of rebellion.” After disaggregating civil wars into irregular wars (or insurgencies), conventional wars, and symmetric nonconventional wars, we report a striking decline of irregular wars following the end of the Cold War, a remarkable transformation of internal conflict. Our analysis brings the international system back into the study of internal conflict. It specifies the connection between system polarity and the Cold War on the one hand and domestic warfare on the other hand. It also demonstrates that irregular war is not the paradigmatic mode of civil war as widely believed, but rather is closely associated with the structural characteristics of the Cold War.

scholarly journals CONFLICT OF INTERPRETATIONS OF THE LETTER FROM SKIFFS TO DARIUS THE FIRST

2019 ◽  
pp. 52-57
Author(s):  
Olha Haidamachuk
Keyword(s):  
Cultural Differences ◽  
The Other ◽  
Internal Conflict ◽  
Political Involvement ◽  
Other Hand ◽  
The One ◽  
Different Cultures

Sum of the things as a short letter of the Scythians to Persian King Darius the First, which were collection of a bird, a frog, a mouse and arrows, contains no intonations, because the Scythians themselves refrained to explain its contents. Pure articulation is silent. That’s why the addressee has to become co-author the Scythian message to intonate it in his way. Actually Darius was forced to intone, on the one hand, his imperious desires, and, on the other hand, the plausible Scythians intentions. Such self-split causes internal conflict and pushes Darius to an impasse. His desire to read the Scythian message as their own recognition of their surrender contradicts with their obviously disobedient behavior. It works as a trap. Darius himself inclines to surrender, because his intonations work as detonations - the secret psychological weapon of the Scythians in the field of symbols. That’s the case when the interpretation demoralizes its own interpreter. The composition of the letter reflects the Scythians cosmological representations and reveals their outlook. When Herodotus, Clement d'Alexandrie, J.-J.Rousseau and others retell and interpret the letter, both their retelling and interpretation reflect their cultural differences and their different worldviews. Only Darius dealt with pure things, while the rest of interpreters dealt with different languages words denoting those things. But in any case this message requires live intonations. The Scythian letter allows you to subtract from it some jokes or mock the same as a demand of surrender or as an open threat etc. Conflict of interpretations can be caused by both linguistic untranslatability either worldview untranslatability of different cultures and political involvement of interpreters. Therefore, the interpretation of the message through things, the same as through words, also depends on its intonation content.

Dostoevsky’s Petersburg in the Story by G.I. Chulkov “Autumn Mists” (1916)

2021 ◽  
pp. 98-115
Author(s):  
Olga A. Bogdanova ◽  
Keyword(s):  
19Th Century ◽  
The Other ◽  
Synthetic Image ◽  
Russian History ◽  
The Novel ◽  
Silver Age ◽  
Cultural Dialogue ◽  
The Many ◽  
The One ◽  
The 19Th Century

The article examines the metamorphoses of the image of St. Petersburg created in the works of F.M. Dostoevsky, in the literature of the Silver age, in particular in the half-forgotten, but significant story of a major symbolist writer G.I. Chulkov “Autumn mists” (1916). It is shown that, on the one hand, Chulkov’s artistic experience is intertwined with the general trend of “rewriting the classics” for the Silver age, which was first noted by D.M. Magomedova, at the same time on the other — proved that “Autumn mists”, is primarily focused not on the “great five books” of Dostoevsky with the hero-ideologist in the center of each piece, and the synthetic image of St. Petersburg in the novel “Humiliated and offended” (1861), incorporates the positive connotations early works of the famous classics and accusatory — late, are the most complete polemical conclusion cultural dialogue with Dostoevsky at the end of the “Petersburg period” of Russian history. It is pointed out that Dostoevsky’s mythologized images were transformed into elements of symbolist and, more broadly, modernist poetics, as well as the rejection of psychologism and the reinterpretation of the writer’s historiosophical prophecies of the 19th century. Thus, “Autumn mists” is a restored link of the “Petersburg text” of Russian literature at the break of cultural and historical epochs, which, in the context of famous works on the same subject by I.F. Annensky, D.S. Merezhkovsky, A. Bely, A.A. Blok, and others of Chulkov’s contemporaries, has an indisputable value due to the many-sided meanings contained in it.

Estate transgression in the story “Nastya” by Vladimir Sorokin

2020 ◽  
pp. 311-322
Author(s):  
Pavel E. Spivakovsky ◽  
Keyword(s):  
Human Nature ◽  
Short Story ◽  
The Other ◽  
Russian Society ◽  
Silver Age ◽  
Postmodern Theory ◽  
Avant Garde ◽  
The World ◽  
The One ◽  
Almost All

The article is devoted to the metaphorical image of pre-revolutionary Russian society in Vladimir Sorokin’s short story “Nastya”. Recreated in the exhibition traditionalist space of the estate is here the background for the demonstration of radical axiological changes in the minds of educated Russians at the turn of the XIX–XXth centuries. These changes are twofold. On the one hand, the writer interprets them as an ethical catastrophe: it is not by chance that they are metaphorically depicted as an act of cannibalism approved by almost all the heroes of the story, on the other handshows that transgressive avant-garde experiments with ethics and attempts to transform human nature are closely intertwined with very significant aesthetic achievements of the culture of the Silver Age. With this stems, in particular, and Gnostic transformation of Nastya in the final of the story. The article shows that the depth and tragedy of the depicted make us see in the story a metamodernist view of the world, free from the rigid restrictions of postmodern theory (the ban on seriousness, tragedy, the ban on non-ironic depiction of depth of being, etc.). All this creates a multidimensional metaphorical picture of the culture of the Silver Age, transgressed the limits and threw Russia into the improbability of the previously unthinkable.

scholarly journals PUBLICISM OF KAZAKHSTAN AT THE PRESENT STAGE

Keruen ◽  
2020 ◽  
Vol 3 (68) ◽  
Author(s):  
A.K. Mashakova ◽  
◽  
М.М. Khabutdinova ◽  
Keyword(s):  
Modern Society ◽  
Moral Values ◽  
The Other ◽  
Present Stage ◽  
Modern Life ◽  
Dynamic Development ◽  
The One ◽  
Significant Figures ◽  
Historical Past

The article deals with modern publicism of Kazakhstan. The novelty of the research is related to the fact that the authors of the paper have identified the most significant figures among contemporary Tatar publicists. The material for the study include publicist books, feature articles, essays, papers by M. Erzin, G. Khayrullin, R. Bikmukhametova, F. Baygeldinov, T. Karimov, S. Bagautdinov. The study showed that modern Tatar publicism in Kazakhstan is distinguished by dynamic development. The Tatar publicists, on the one hand, turn to the historical past of the Tatar people, on the other – devote their works to the modern life. They highlight not only the life of the Tatars in Kazakhstan, but also relevant issues, the phenomena of the current life of modern society in our country, comprehending aesthetic ideals and moral values.

scholarly journals El artista modernista y el discurso psiquiátrico: Los Raros de Rubén Darío y la mirada médica finisecular

(an)ecdótica ◽  
2021 ◽  
Vol 5 (1) ◽  
pp. 11-30
Author(s):  
José Luis Gamarra La Rosa ◽  
◽  
Keyword(s):  
Buenos Aires ◽  
The Other ◽  
Consumer Society ◽  
Ruben Dario ◽  
Late 19Th Century ◽  
Literary Portraits ◽  
Psychiatric Discourse ◽  
The One ◽  
Clinical Gaze ◽  
The Relationship

This article focuses on the relationship between literary discourse and psychiatric discourse in the late 19th century; especially, in what refers to the establishment of knowledge about the abnormal and the configuration of artistic genius as a pathology. Furthermore, the work aims to examine the construction of a “rhetoric of the disease”, their strategies and functions, in Los Raros (1896-1905) by Rubén Darío, from the analysis of the normal/abnormal conceptual binomial and the emergence of psychiatric discourse as power of normalization in end-of-century artistic productions. The author proposes that the literary portraits that Darío draws in his work reveal a tension between two types of gaze on the normal and the pathological. On the one hand, the artistic gaze of end-of-century artists with an ambivalent discourse that informs about a use of a pathological genius as an artistic ideal; on the other, the psychiatric gaze, which establishes a series of diagnostic and classification devices for abnormal subjects. Darío will face this clinical gaze from the pages of his literary portraits through a discourse that dismantles the episteme of the medical-psychiatric discourse and questions the fluctuating place that modernist writers occupy in the incipient Buenos Aires consumer society.

scholarly journals ŻYDZI I KWESTIA ŻYDOWSKA W PROZIE NIEFIKCJONALNEJ ZINAIDY GIPPIUS

2017 ◽  
Vol 27 ◽  
pp. 71-86
Author(s):  
Iwona Krycka-Michnowska
Keyword(s):  
The Other ◽  
Religious Movements ◽  
Orthodox Church ◽  
Negative Stereotypes ◽  
Bolshevik Revolution ◽  
The Status ◽  
Ambivalent Attitude ◽  
The One ◽  
Zinaida Gippius

In this paper the views of Zinaida Gippius on the status, place and role of the Jews in history, expressed in the diaries, journalistic writing and essays were analysed. A reading of these texts leads to the conclusion that the writer had an ambivalent attitude to the Jews. On the one hand, her position, especially soon after the Bolshevik revolution, corresponding to negative stereotypes, but on the other hand overcome it. The journalistic writing and Gippius’ diaries comes belief in the need for reconciliation and in the possibility of achieving it. The hope for a harmonious coexistence of people connects Gippius with religious movements in Russia, the revival of the Orthodox Church and the opening of the Jews to Christianity.

Chrysanthemum and Christianity: Education and Religion in Occupied Japan, 1945––1952

2010 ◽  
Vol 79 (3) ◽  
pp. 393-417 ◽  
Author(s):  
Okazaki Masafumi
Keyword(s):  
World War Ii ◽  
Public Education ◽  
Church And State ◽  
The Other ◽  
Internal Conflict ◽  
Democratic Institutions ◽  
World War ◽  
Post World War Ii ◽  
American Style ◽  
The One

American occupying forces had an unprecedented opportunity to establish Christianity in post-World War II Japan, but their efforts failed. This article argues that Gen. Douglas MacArthur's efforts at Christianization failed because of a fundamental contradiction within the goals of the Occupation. On the one hand, MacArthur saw Christianity and American-style democratic institutions as inextricably linked and serving similar purposes, including fending off communism. On the other, the American ideal of the separation of church and state, which explicitly criticized the influence of State Shinto in pre-war Japan and was embodied in the Occupation's Shinto Directive, ran counter to the promotion of Christianity to replace Shinto. This internal conflict eliminated one of the Occupation's more promising avenues for Christianization——public education.

scholarly journals Text as Palimpsest: Gender in the Work of Agota Kristof

2014 ◽  
Vol 6 ◽  
pp. 6-17
Author(s):  
Simona Cutcan
Keyword(s):  
Gender Roles ◽  
The Other ◽  
Female Voice ◽  
Internal Conflict ◽  
Masculinity Studies ◽  
Literary Genres ◽  
Male Characters ◽  
The Family ◽  
The One ◽  
Materialist Feminism

This paper investigates the portrayal of gender in the work of Swiss-Hungarian writer Agota Kristof. Texts from her oeuvre that belong to different literary genres and creative periods are analyzed through a framework of materialist feminism, masculinity studies and narratology. Based on an analysis of the incidence of the female voice, two aesthetic strategies can be observed: on the one hand, Kristof’s early texts show a certain interest in women’s subjectivity, on the other, her later writings foreground male characters and their perspective. Overall, women are portrayed as homebound wives and mothers and men are dominant as narrators, writers and protagonists. While this seems to reflect the patriarchal dichotomy, other elements undermine this reading: male characters are weak and marginal, and in a few significant texts, women’s life in the family is represented as a prison from which they wish to escape. In these texts, the female character’s voice reveals the internal conflict between her aspirations and the pressures to conform to prescribed roles, which, in some instances, leads to subversion in the form of violence against her husband. Thus, though on the surface Kristof’s work seems to reinforce or merely reflect patriarchy, the deeper layers of meaning bring into succeeding focus a fundamental interrogation of gender roles.

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