The Question of Universals: Bolesław Leśmian in Europe and the World

Tekstualia ◽  
2021 ◽  
Vol 1 (7) ◽  
pp. 3-8
Author(s):  
Żaneta Nalewajk
Keyword(s):  
Higher Order ◽  
Literary Creation ◽  
Literary Works ◽  
Polish Literature ◽  
The World

The question of universals helps address ways in which the unique aspects of Bolesław Leśmian’s literary creation refl ect crucial concerns of Polish literature and culture. The local and the singular become international and universal. This article demonstrates that Leśmian’s idiomatic, seemingly untranslatable literary works enable translators and foreign readers to experience what appears to be a higher order of universality

The Question of Universals: Leśmian in Europe and in the World

Tekstualia ◽  
2018 ◽  
Vol 1 (52) ◽  
pp. 5-10
Author(s):  
Żaneta Nalewajk
Keyword(s):  
Higher Order ◽  
Literary Creation ◽  
Literary Works ◽  
Polish Literature ◽  
The World

The question of universals helps address the ways in which the unique aspects of Bolesław Leśmian’s literary creation refl ect important concerns of Polish literature and culture. The local and singular becomes international and universal. The article demonstrates that idiomatic, seemingly untranslatable literary works by Bolesław Leśmian enable translators and foreign readers to experience what appears to be a universality of a higher order.

scholarly journals The Schizomorphism of the world of visions in Bruno Schulz’s prose

2017 ◽  
Vol 44 (6) ◽  
Author(s):  
Marzena Karwowska
Keyword(s):  
Literary Works ◽  
Polish Literature ◽  
Research Perspective ◽  
The Core ◽  
The World ◽  
Research Gap ◽  
Myth Criticism ◽  
Research Tools

In the article, I undertake to interpret Bruno Schulz’s prose using the methodological proposals introduced in the humanities by Gilbert Durand, a French anthropologist of imagination. Based on the implemented research perspective, the aim of the hermeneutics of The Street of Crocodiles and Sanatorium Under the Sign of the Hourglass was to unveil and discuss the imagined figures which form the anthropological network of meanings. The purpose of the array of anthropological and myth-criticism research tools used for analysing and interpreting the literary works which constitute the core of Polish literature was to define the author as an imagination phenomenon that seems to fill a research gap visible in Polish Schulz studies.

Vagueness and the World

2018 ◽  
Author(s):  
Andrew Bacon
Keyword(s):  
Higher Order ◽  
Formal Models ◽  
Logical Space ◽  
The World ◽  
The Way

According to a fairly widespread assumption, there is some definite collection of completely factual or fundamental propositions upon which all truths supervene and which are unaffected by vagueness. This assumption manifests itself in formal models of vagueness as well—for example, the supervaluationist who represents propositions as sets of world-precisification pairs may divide logical space into propositions that only depend on the world-coordinate. This chapter argues that this assumption leads to paradoxes of higher-order vagueness, and, ultimately, should be rejected in favour of a weaker notion of fundamentality or factuality. It suggests an alternative picture in which there is vagueness ‘all the way down’: logical-space can be divided into basic propositions that settle all precise matters, but it is vague where those divisions lie.

Translation as Resistance

2017 ◽  
Author(s):  
Joanna Rzepa
Keyword(s):  
Cultural Identity ◽  
Paradise Lost ◽  
Historical Account ◽  
Cultural Transfer ◽  
Polish Literature ◽  
Political Sovereignty ◽  
Epic Poem ◽  
Complex Modes ◽  
The World ◽  
The Rich

This chapter offers a historical account of the presence of Paradise Lost in translation and Polish literature, especially how the poem’s reception in Poland has been shaped by complex modes of linguistic and cultural transfer. The chapter explores the historical and political contexts in which Paradise Lost was translated into Polish, discusses the most important actors involved in its publication, and analyses the strategies employed by the translators. It demonstrates that the eighteenth- and nineteenth-century translators of Milton, who worked at a time when Poland had lost its political sovereignty, focused specifically on the form of the poem, presenting models for a modern Polish epic poem that could help sustain Polish cultural identity. The focus of the twentieth-century translators, who lived through the world wars, shifted from the form to the rich imagery of Milton’s poem, in particular his exploration of the themes of vanity, destruction, and exile.

Page, Stage, Location

2021 ◽  
Vol 6 (3) ◽  
pp. 297-313
Author(s):  
David Damrosch
Keyword(s):  
Home Country ◽  
Literary Works ◽  
The World ◽  
Contemporary Cinema

Abstract The growth of globalization has greatly expanded the exposure of writers and now filmmakers to the wider world beyond their home country or region, offering new opportunities to bring elements of the outside world into their works, and in turn to take their works out to distant audiences. This essay discusses the increasing presence of foreign cultures in the progression from the literary detail to the stage prop and then the movie location, and then focuses on three films based on literary works, films that display the growing presence of the world in contemporary cinema and of the films in the world.

Some Thoughts About Genre in Old Javanese Literature

2021 ◽  
Vol 12 (2) ◽  
Author(s):  
Peter John Worsley
Keyword(s):  
Fourteenth Century ◽  
Thirteenth Century ◽  
Poetic Form ◽  
Literary Works ◽  
Present Essay ◽  
Epic Poem ◽  
The World ◽  
History Of ◽  
Poetic Work

Robson in 1983 and 1988 in his reconsideration of the poetics of kakawin epics and Javanese philology drew readers’ attention to the importance of genre for the history of ancient Javanese literature. Aoyama in his study of the kakawin Sutasoma in 1992, making judicious use of Hans Jauss’s concept of “horizon of expectation”, offered the first systematic discussion of the genre of Old Javanese literary works. The present essay offers a commentary on the terms which mpu Monaguna and mpu Prapañca, authors of the thirteenth century epic kakawin Sumanasāntaka and the fourteenth century Deśawarṇana, themselves, employ to refer to the generic characteristics of their poems. Mpu Monaguna referred to his epic poem as a narrative work (kathā), written in a prakṛt, Old Javanese, and rendered in the poetic form of a kakawin and finally as a ritual act intended to enable the poet to achieve apotheosis with his tutelary deity and his poem to be the means of transforming the world, in particular to ensure the wellbeing of the readers, listeners, copyists and those who possessed copies of his poetic work. Mpu Prapañca described his Deśawarṇana differently. Also written in Old Javanese and in the poetic form of a kakawin—he refers to his work variously as a narrative work (kathā), a chronicle (śakakāla or śakābda), a praise poem (kastawan) and also as a ritual act designed to enable the author in an ecstatic state of rapture (alangö), and filled with the power and omniscience of his tutelary deity, to ensure the continued prosperity of the realm of Majapahit and to secure the rule of his king Rājasanagara. The essay considers each of these literary categories.

scholarly journals “Yay! Yuck!” Toddlers use incongruent emotions to reason about hidden objects

2020 ◽  
Author(s):  
Alexis Sierra Smith-Flores ◽  
Lisa Feigenson
Keyword(s):  
Early Development ◽  
Present Experiment ◽  
Single Agent ◽  
Emotional Responses ◽  
Higher Order ◽  
Single Stimulus ◽  
Developmental Trajectory ◽  
Infants And Toddlers ◽  
The World ◽  
Do So

Infants show impressive sensitivity to others’ emotions from early on, attending to and discriminating different facial emotions, using emotions to decide what to approach or avoid, and recognizing that certain objects and events are likely to produce certain emotional responses. But do infants and toddlers also recognize more abstract features of emotions—features that are not tied to any one emotion in particular? Here we examined the development of the higher order expectation that emotions are more or less mutually exclusive, asking whether young children recognize that people generally do not express two conflicting emotions towards a single stimulus. We first asked whether 26-month old toddlers can use an agent’s incongruent versus congruent emotional responses (“Yay! Yuck!” versus “Yay! Wow!”) to reason about how many objects were hidden in a box. We found that toddlers inferred that incongruent emotions signaled the presence of two numerically distinct objects (Experiment 1). This inference relied on the incongruent emotions being produced by a single agent; when two different agents gave two incongruent emotional responses, toddlers did not assume that two objects must be present (Experiment 2). Finally, we examined the developmental trajectory of this ability. We found that younger, 20-month olds failed to use incongruent emotions to individuate objects (Experiment 3), although they readily used incongruent novel labels to do so (Experiment 4). Our results suggest that by 2-years of age, children use higher order knowledge of emotions to make inferences about the world around them, and that this ability undergoes early development.

scholarly journals The reality of fiction in a literary world: on an excerpt from Stanisław Lem’s Solaris

2020 ◽  
Vol 11 (1) ◽  
pp. 101-107
Author(s):  
Y. Domanskii
Keyword(s):  
Physical Reality ◽  
Literary Text ◽  
Higher Order ◽  
Fictional World ◽  
Actual Reality ◽  
The World ◽  
The Way

Using an excerpt from Stanisław Lem’s Solaris, this article explores the idea that, in a literary text, a fictional world and the world of physical reality may interact to form such a reality that can paradoxically turn out to be more real than what we believe to be the actual reality. It is also shown that the fictional world realized in a literary text may bring the reader to certain conclusions about the world in which he or she lives. Thus, even if literature is in­capable of affecting reality, it can change the way the latter is perceived. A fictional world is not just a reality — it is a reality of a higher order.

scholarly journals Vedic Philosophy and Swami Nigamananda

2019 ◽  
Vol 7 (12) ◽  
pp. 17
Author(s):  
Sangram Keshari Mallik ◽  
Dr. Braja Kishore Sahoo
Keyword(s):  
Cultural Heritage ◽  
Code Of Conduct ◽  
Literary Creation ◽  
Ancient India ◽  
Vedic Literature ◽  
The World ◽  
Independent Entity ◽  
The Creation ◽  
Rig Veda ◽  
The Individual

Wonder that is India. India is wonderful because of its abundant and affluent cultural heritage. The cultural heritage of India is prudential of its spiritual richness and classical creativity. Vedic literature is the most wonderful and unparallel literary creation of Ancient India. Vedic literature has made this country worthy of worship. Vedas are without beginning and without end. Veda is author-less. It is Apauruseya. They are considered to be the direct word of the Divine.  Vedic knowledge appeared in the dawn of the cosmos within the heart of Brahma. Brahma imparted this knowledge in the form of sound (Sabda) to his sons who are great sages. They transmitted the Vedic sound heard from Brahma to their disciples all over universe. There are four Vedas. They are the Rig Veda, Yajur Veda, Sama Veda and Atharva Veda.  Four Vedas contain four types of texts such as The Samhitas, The Arankayas, The Brahmanas and The Upanishads. Veda is accepted as a code of conduct to Sanatan Dharma. The teaching of Veda is the concept that the individual is not an independent entity, but, rather, a part of the Universal Consciousness.  Upanishads is the manifestation of Vedantic thought. Sada Darshan (Six Systems of Vedanta) is a very important part of Vedic philosophy.  Swami Nigamananda a great Master of Vedic Literature achieved Nirbikalpa Sidhi of Vedanta in the year 1904.  The philosophy of Vedanta is reflected in the creation of Swami Nigamananda. In his writings (Yogi Guru, Jnani Guru, Tantrik Guru, Premik Guru, Brahmacharya Sadhana and Vedanta Viveka) he has explained the main scriptures of Vedas such as The Upanishads, The Bramha Sutras and The Bhagavad Gita. His philosophy teaches us to love and live in a state of eternal freedom. The Philosophy of Swami Nigamananda is a synthesis of Sankar and Gouranga i.e. knowledge and love. Knowledge envisages the path of analysis and Love, the path of synthesis. In this way Nigamananda convincingly reconciled the two apparently contradictory creeds of Adi Shankaracharya and Gauranga Mohapravu. “He advised his disciples to combine Shankara’s view and Gournaga’s way and walk on this path of synthesis. In fact attainment of Jnana through Bhakti is the nucleus of his philosophy. Through his teachings and works, he proclaimed to the world the fundamental harmony of all religions that there are many paths which lead to the same goal”.

scholarly journals Istanbul 2007

2007 ◽  
Author(s):  
Gönül Dönmez-Colin
Keyword(s):  
International Competition ◽  
Film Festival ◽  
Literary Works ◽  
The Us ◽  
The World ◽  
First Time

ISTANBUL INTERNATIONAL FILM FESTIVAL Istanbul International Film Festival (31 March-15 April 2007) celebrated its 26th birthday this spring with more than 200 films from around the world. This year, for the first time in its history, the festival opened with a film by a Turkish director, Ferzan Özpetek although the Italian production Saturn Opposite about depressed 40-year olds nostalgic about their youth, featuring some of the well-known actors of Italy could hardly be considered a Turkish film. The closing film was the US production, The Good German by Steven Soderbergh featuring George Clooney and Cate Blanchett. The films that compete for the Golden Tulip award are chosen for their relation to art and the artist or are adaptations from literary works. The fact that Istanbul takes place shortly before Cannes makes it rather difficult to find quality films for the International Competition, which had not been previously screened elsewhere....

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