scholarly journals Uni ja unenäod udmurdi kultuuris

Mäetagused ◽  
2021 ◽  
Vol 80 ◽  
pp. 155-184
Author(s):  
Nikolai Anisimov ◽  
◽  
Eva Toulouze ◽  
◽  
Keyword(s):  
Significant Role ◽  
Real World ◽  
Sacred Space ◽  
Real Space ◽  
Time And Space ◽  
Knowledge And Skills ◽  
The Real ◽  
The World ◽  
The Dead ◽  
To Come

In Udmurt culture sleep (iz’on, kölon, um) as well as dreams (vöt, uyvöt) have occupied a significant place. According to ordinary understandings, dreams are not subjected to this world’s rules of time and space: in a dream, places and spaces may suddenly change, and time moves quickly, or it does not move at all; it has stopped. Sleep and dreams are not thoroughly explained phenomena, and as such, they play a significant role in the communication between the world of the living and the world of the deities (spirits). Their importance is confirmed by the rules one has to follow when going to bed. The dream becomes a sacred space, in which it is possible to acquire sacred knowledge and skills. The narratives we are acquainted with tell us that during sleep one of the person’s souls, called urt, can fly away. Probably this is the reason why it is forbidden to suddenly awake a person sleeping: they may not wake up at all or may even lose their reason. Earlier the Udmurt even organised special rituals to catch the second soul. In the Udmurt culture, sleep and dreams constitute a non-real space, in which the living and the dead are able to meet and communicate. The initiators of the dreams can be both the living and the dead, in different situations. Through dreams, the dead are able to transmit to the living their wishes, their knowledge about events or accidents to come; they may complain about certain circumstances, etc. Today, the Udmurt are attentive to all dreams; they see in them signs connected to the real world and given from above, and they must be considered in order not to disturb the balance between the worlds.

Playing With Time: An Analysis of Time and Space in Tom Stoppard’s Rosencrantz and Guildenstern Are Dead

2017 ◽  
Author(s):  
Johanna Lawrie
Keyword(s):  
Real World ◽  
Time And Space ◽  
The Real ◽  
Opening Scene ◽  
The World

In this paper I will examine the multiple layers of time within Tom Stoppard’s play, Rosencrantz and Guildenstern Are Dead. Typically, a script plays with two definitions of the term: stage time being that of the audience and the “real world,” and dramatic time, the passing of time within the world of the play and the characters’ lives. Rosencrantz and Guildenstern Are Dead is unique in its multitude of times, each occupying its own space within the story. Hamlet resides in a time that extends beyond that of Rosencrantz and Guildenstern Are Dead, while presenting the same story through different characters. When are these stories presented harmoniously, and when can gaps be found between the two plays in terms of time? In contrast, the play‐within‐a‐play presented in Rosencrantz and Guildenstern Are Dead, titled “The Murder of Gonzago,” represents the story even prior to the opening scene of Hamlet and has an omniscient quality, presenting elements of both Hamlet and Rosencrantz and Guildenstern Are Dead. Though this play‐within‐a‐play represents the longest view of the overlapping stories, it is presented in the shortest amount of time. “The Murder of Gonzago” plays with the limitations of time and space and the acknowledgment of their presentation in theatrical terms. Throughout the paper I will determine the overlapping nature of times within the plays, how they are structured around one another, and what this symbolises for both the spaces of each play and the characters within.  

The Road Map

2020 ◽  
pp. 39-65
Author(s):  
Emma Gee
Keyword(s):  
Real World ◽  
Real Space ◽  
Imaginary World ◽  
Spatial Expression ◽  
The Real ◽  
The Road ◽  
Road Map ◽  
The World

This chapter studies the underworld journey of Virgil, Aeneid 6. It examines a series of possible models for afterlife space in Aen. 6. In particular it looks at the underworld journey of Aen. 6 in the light of ancient geographical traditions. We learn that a point-by-point idiom of representing space was much more widespread than you might imagine in antiquity. It’s found across many different genres, involving real and imagined space: geography, poetry, and art. The author argues that idioms of spatial expression are constant across representations of imagined and real space and across image and text. It is possible for Virgil to use the components of a “real” geography to construct his imaginary world. The afterlife is modeled on our concept of the “real” world, but in turn the “reality” we model it on is in large part a construct of the human artistic imagination, of our propenstiy for simplification and schematization. Like a map, the afterlife landscape allows us to simplify and schematize our environment, because it imposes no limits: it is imaginary. The afterlife landscape, in Virgil and elsewhere, acts as a fulcrum between real and imaginary space. There is no strict dichotomy between real and imagined space; instead there is a continuity between the “imagined” space of Virgil’s underworld, and the space of geographical accounts; between the world of the soul and the “real” world.

When Time Gets Off Track

2002 ◽  
Vol 50 ◽  
pp. 1-17
Author(s):  
Jan Faye
Keyword(s):  
Real World ◽  
The Real ◽  
Full View ◽  
Dynamic View ◽  
The World ◽  
The Future ◽  
Future Events ◽  
To Come ◽  
Temporal Becoming ◽  
Backward Causation

Over the last forty years, philosophers have argued back and forth about backward causation. It requires a certain structure of time for something as backward causation to be not only possible but also to take place in the real world. In case temporal becoming is an objective feature of the world in the sense that the future is unreal, or at least ontologically indeterminate, it is impossible to see how backward causation can arise. Th e same difficulty does not hold with respect to forward causation. For even though it is assumed according to one dynamic view of time, the instant view or presentism, that merely present events exist—and past events therefore are no longer real or have become ontologically indeterminate—such a view can still maintain that past events once were there to cause present events. Future events, however, are still to come, and being indeterminate or nothing at all, they cannot cause any events in the present. In other words, causation backwards in time can occur only if we think of time as static; that is, no objective becoming exists, and the world consists of tenselessly occurring future events that exist in the same sense as past and present events. Backward causation requires the so-called full view, or possibly the half-full view, of time.

Multiple original spellings, living authors and the Code: The case of Malachius raniansis Mawlood, Hammamurad & Abdulla, 2017 (Coleoptera: Melyridae)

Zootaxa ◽  
2021 ◽  
Vol 4927 (2) ◽  
pp. 297-300
Author(s):  
ISIDOR S. PLONSKI
Keyword(s):  
Real World ◽  
Zoological Nomenclature ◽  
International Code ◽  
Present Communication ◽  
The Real ◽  
The World

The present communication is primarily nomenclaturial–classical taxonomy is only touched in a side note on a diagnosis. It uses technical terminology coined by Alain Dubois, who is interested in the study of the concepts and theory of biological nomenclature (i.e. the “objective connection between the real world of populations of organisms and the world of language” (Dubois & Ohler 1997)), and who discusses the current ‘International Code for Zoological Nomenclature’ [hereafter just called ‘the Code’] in great detail. The terms are explained where necessary–but see also the glossaries in Dubois et al. (2019) and the works by A. Dubois cited below. 

scholarly journals Animal Real-Unreal in Traditional Conceptions of the World in Croatian Areas

2021 ◽  
pp. 298-319
Author(s):  
Lidija Bajuk
Keyword(s):  
Real World ◽  
Animal Species ◽  
The Other ◽  
Time And Space ◽  
The World

Trying to interpret oneself and the other in the world, the traditional Man has established a real world and an otherworld. Specific herbal and animal attributes were ascribed to particular people who allegedly had the power to communicate between worldliness and transcendence. Also some human characteristics were linked with herbal and animal mediators. These attributes were folklorized as miraculous powers. Such supernatural beings from South Slavic traditional conceptionsof the world have been largely associated with the pre-Christian deities and their degradations, based on the observed real attributes of the vegetal and animal species. The interdisciplinary comparative way of treating South Slavic folklore real-unreal motifs through time and space in this article is its ethnological, animalistic and anthropological contribution.

scholarly journals Afanasy Afanasyevich Fet as a poet-thinker

2020 ◽  
pp. 9-23
Author(s):  
Alexey V. Fedorov
Keyword(s):  
Late Period ◽  
The Real ◽  
Life And Death ◽  
Religious Issues ◽  
The World ◽  
To Come ◽  
Good And Evil ◽  
Critical Reviews

The article proposes to consider the creative individuality of A.A. Fet as a poet-thinker. It places a special emphasis on his ideological views, expressed in his enthusiasm for the teachings of A. Schopenhauer’s and in disputes with L.N. Tolstoy; extensive epistolary material is involved (this correspondence with Ya.P. Polonsky, L.N. and S.A. Tolstoy, N.N. Strakhov, K.R. and others); a brief overview of the critical reviews of contemporaries on the poet’s poetry collections is given. Here, Fet’s philosophical lyrics are analyzed in particular detail (first of all – the late, period of “Evening Lights”, in which there is an understanding of the universal categories of being – life and death, good and evil, the world and man, time and eternity), some parallels are drawn with F.I. Tyutchev. The article traces the development of spiritual and religious issues in the work of Fet’s (gospel stories and motives, the image of the Lord, the genre of prayer, etc.). The article raises the question of expanding the concept of “poet-thinker” taking into account the category “mind of the heart” designated by Fet himself. From these positions, his poem “I am waiting, embraced by anxiety...” from the “Evening Lights” collection is analyzed. Considering Fet’s work as “the poetry of thought” does not cancel, but enriches his airy image in our minds, allows us to present Fet’s personality in more volume, to clarify and expand the idea of the real complexity and versatility of his artistic nature, to come closer to understanding “lyrical insolence” as “the property of great poets” (words of L.N. Tolstoy about A.A. Fet).

scholarly journals Biblical Inspirations in Nikifor’s Paintings

2019 ◽  
Vol 26 (3) ◽  
pp. 31-46
Author(s):  
Krzysztof Wałczyk
Keyword(s):  
Real World ◽  
The Self ◽  
Creative Activity ◽  
The Real ◽  
Ideal World ◽  
The World ◽  
Biblical Anthropology ◽  
Divine Order ◽  
The Ideal

Nikifor Krynicki (Epifaniusz Drowniak, 1895-1968) was one of the most popular non-academic Polish painters worldwide. To show the biblical inspiration in his creative output I chose two categories from various thematic aspects: self-portraits and landscapes with a church. There are plenty of Nikifor’s paintings showing him as a teacher, as a celebrating priest, as a bishop, or even as Christ. A pop­ular way to explain this idea of self-portraits is a psychological one: as a form of auto-therapy. This analysis is aims to show a deeper expla­nation for the biblical anthropology. Nikifor’s self-portraits as a priest celebrating the liturgy are a symbol of creative activity understood as a divine re-creation of the world. Such activity needs divine inspira­tion. Here are two paintings to recall: Potrójny autoportret (The triple self-portrait) and Autoportret w trzech postaciach (Self-portrait in three persons). The proper way to understand the self-identification with Christ needs a reference to biblical anthropology. To achieve our re­al-self we need to identify with Christ, whose death and resurrection bring about our whole humanity. The key impression we may have by showing Nikifor’s landscapes with a church is harmony. The painter used plenty of warm colors. Many of the critics are of the opinion that Nikifor created an imaginary, ideal world in his landscapes, the world he wanted to be there and not the real world. The thesis of this article is that Nikifor created not only the ideal world, but he also showed the source of the harmony – the divine order.

Augmented Reality and Experiences

2019 ◽  
pp. 66-93 ◽  
Author(s):  
Prabha Selvaraj ◽  
Sumathi Doraikannan ◽  
Anantha Raman Rathinam ◽  
Balachandrudu K. E.
Keyword(s):  
Augmented Reality ◽  
Real World ◽  
New Technology ◽  
Handheld Devices ◽  
The Real ◽  
The World ◽  
Extensive Range ◽  
Different Types ◽  
Medicine Education

Today technology evolves in two different directions. The first one is to create a new technology for our requirement and solve the problem, and the second one is to do it with the existing technology. This chapter will discuss in detail augmented reality and its use in the real world and also its application domains like medicine, education, health, gaming, tourism, film and entertainment, architecture, and development. Many think that AR is only for smartphones, but there are different ways to enhance the insight of the world. Augmented realities can be presented on an extensive range of displays, monitors, screens, handheld devices, or glasses. This chapter will provide the information about the key components of AR devices. This chapter gives a view on different types of AR and also projects how the technology can be adapted for multiple purposes based on the required type of view.

Inception and the Arts

Inception ◽  
2019 ◽  
pp. 95-98
Author(s):  
David Carter
Keyword(s):  
Real World ◽  
Visual Simulation ◽  
Francis Bacon ◽  
The Real ◽  
The Arts ◽  
The World ◽  
Indirect Reference

This chapter looks at the specific artistic references in Christopher Nolan's Inception (2010). One artist is referred to by indirect reference and visual simulation of some of his works, and another is paid homage to by the inclusion of one of his works in a scene. The artists in question are M.C. Escher and Francis Bacon. The Dutch artist Maurits Cornelis Escher, famous for his works featuring constructions which would be impossible in the real world, is not directly named in the film, but he is referred to indirectly by the mention of a phenomenon which he utilised in his work: the so-called 'Penrose Steps'. Meanwhile, in a sequence in which Cobb is talking to Mal, there is a painting visible on the wall of the room, Bacon's Study for a head of George Dyer, 1967. Nolan clearly shares some perspectives on the world with Bacon: a fascination with distorted reality, a sense of horror as in a nightmare, and, in some cases, the real world being actually torn apart.

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