Hai Zi – Chinese Sergei Yesenin: tanatological poetics and “romance with death”

The article considers the work of the Chinese poet Hai Zi (mostly based on works not translated into Russian) as a characteristic example of the spiritual and artistic influence of Sergei Yesenin's work on modern Chinese poetry. The poetic dialogue of Hai Zi and S. Yesenin is considered from the point of view of tanatological poetics, which allows us to present their work as a single meta text, developing various variations of tanatopoetics in order to achieve absolute self-identification by synthesising “self” – death – art. The category of death is considered as the integral basis of the work of S. Yesenin and Hai Zi, which ultimately leads to the realisation of their personal attitude to death as the ontological, epistemological and axiological basis of life and creative work. The article justifies that the “romance with death” of S. Yesenin and Hai Zi is a manifestation of their life-building strategy, consonances in motif and figuration are revealed in the aspect of tanatological poetics, taking into account the different nature of those motifs: the spontaneous-organic feeling of death in S. Yesenin and the tanatological ideology of Hai Zi, based on the synthesis of Western philosophy, Confucianism, Taoism. Particular attention is paid to the consideration of S.Yesenin's poem “The Black Man” and the poem “Spring. Ten Hai Zi” as works that expose the key settings of the poets' tanatological discourse, as well as an analysis of Hai Zi's poem "Life Was Interrupted" as prisms for the reinterpretation of S. Yesenin's life and work within the framework of the tanatological paradigm of "Chinese Yesenin" and the most important act of semiotisation of life and creative work of the Chinese youth, when suicide is positioned as the final statement.

WHAT THE 18TH CENTURY RUSSIAN TRANSLATOR LEFT OUT

В центре внимания в статье находятся опущения фрагментов английского романа в русском рукописном переводе середины XVIII в. Пропущенные части относятся к темам восприятия смерти, отношения к вере и понимания роли женщины. Это свидетельствует о том, что подобные опущения носят не случайный и не субъективный характер, но продиктованы различиями в национальной философской традиции двух культур. The article focuses on the omission of considerable parts of the English novel in the 18th century manuscript Russian translation. The left out pieces deal with the topics of attitude to death, attitude to religion and the image of a woman, which gives enough evidence that these omissions are not occasional but they reveal the difference in the national philosophic traditions of both cultures.

Death Existentiality in Philosophical Novels of Aldous Huxley: Culturological Approach

Cultural studies cover the genesis and development of culture as a specific human lifestyle. Its universals are representations of human cultural experience, including humans, their life and death. The meaning of human life, death, and immortality became the main objects for consideration and research at all stages of Aldous Huxley’s literary activity.The analysis of his early philosophical novels and novels that offer an anti-utopian model of culture shows his tendency to destroy his characters in order to defend their personalities, a refusal to accept the patterns of ordinary being, when the man’s will is aimed only at self-preservation and reproduction. To identify this tendency, we studied the novels Crome Yellow, Antic Hay, Point Counter Point, Eyeless in Gaza, After Many a Summer, Time Must Have a Stop, Brave New World, Ape and Essence. At this stage of spiritual search, A. Huxley justifies suicide as a way of self-realization.Having reached the level of the philosophical outlook, A. Huxley proposes and promotes the spiritual ideals of self-improvement, love for neighbour as for ‘another one’, the attitude to death as an existential, which is a certain stage of human existence, not tragic but natural. It is reflected in the novel Island. Thanatology is one of the main subjects at school. The yoga of death is promoted: it treats life and death as a single entity, as a kind of art, which should result in Paranirvana.The article proves that A. Huxley’s stance on the problems of purpose of life, death, and immortality had been changing along with the evolution of his outlook. It is shown how this genesis is reflected in A. Huxley’s literary works. Death in A. Huxley’s works is interpreted via meta-anthropological approach as the existential transcendent being of man.

The Effect of Attitude to Death on Self-Management in Patients With Type 2 Diabetes Mellitus During the COVID-19 Pandemic

This study was conducted to examine the effect of attitude to death on self-management in patients with Type 2 Diabetes Mellitus during the COVID-19 pandemic. This study was carried out in a descriptive and correlational type with the participation of n = 103 type 2 diabetes mellitus patients registered in the Internal Medicine Unit at a University Hospital. Personal Information Form, Death Attitude Profile-Revised (DAP-R), Diabetes Self-Management Questionnaire and Fear of COVID-19 Scale were used in data collection. According to the results of the study, it was determined that diabetes patients' fear of COVID-19 increased their fear of death and self-management. Similarly, neuropathy and nephropathy developed in these patients. In addition, it was determined that the diabetic patients who worked 6–7 days a week outside the home had higher levels of fear. It was found that those with high fear were more attentive to social distancing, wearing masks and hand sanitizer use. Staying at home is also not always possible for patients with chronic diseases, and people struggle with COVID-19 by working in crowded workspaces. It is necessary to recognize the struggle of patients with chronic diseases and provide social, economic and psychological support.

The Phenomenon of Death and the Possibility of Immortality

This paper is about death and about immortality. It explores the experience and philosophical implications of death from different perspectives. Firstly, in the light of Mamardashvili’s philosophy, it deals with the interconnection and interdependence of death and thinking. Secondly, through Jankélévitch’s philosophy, it changes the perspective on the interdependence of death and thinking from the general to the personal perspective, when death becomes an intimate part of life. Further, thanks to Aries’ research, the paper introduces historical details about what people brooded over death and how they expressed their thoughts in more explicit way. This makes it possible to look at the mediology of death as a philosophy that leads to reflection and critique of our contemporary attitude to death. On the one hand, the mediology of death motivates us to think about death – in this way it follows the philosophical tradition, on the other hand, it attempts to convince us for the first time of the immortality that can happen only in material form – and it is its novelty.

TRANSFORMATION OF FOLKLORE TRADITION IN SMALL PROSE BY SERGEY SILIN

Введение. Малая проза С. Силина еще недостаточно изучена литературоведами, однако его произведения вызывают интерес среди читателей разных возрастов и могут быть отнесены к двухадресной литературе, т. е. литературе, адресованной как детям, так и взрослым. Анализ произведений писателя, использующего приемы садистских стишков, страшной истории и анекдота, способствует более глубокому осмыслению основных тенденций развития современной российской прозы для детей. Цель – выявить жанровое своеобразие малой прозы С. Силина в соотнесении с фольклорной традицией. Материал и методы. Теоретической базой исследования послужили труды фольклористов Е. М. Мелетинского, Е. Курганова, О. Н. Гречиной, М. В. Осориной и др. Материал исследования – рассказы С. Силина. Результаты и обсуждение. Проведенный анализ позволил выявить характерные особенности малой прозы С. Силина. Писатель использует приемы нескольких фольклорных жанров: легкое отношение персонажей к смерти, гротеск, парадокс, юмористическая концовка, мнимое благополучие финала. Дети и взрослые представлены носителями гипертрофированно усиленных отрицательных качеств. Малая проза писателя адресована как взрослым, так и юным читателям. Заключение. В своем творчестве С. Силин трансформирует жанры городского фольклора: страшных историй, садистских стишков, анекдотов, чтобы заострить проблемы «отцов» и «детей», дать возможность взрослым и детям увидеть друг друга со стороны. К характерным особенностям малой прозы писателя относятся: легкое отношение к смерти, отсутствие катарсиса, абсурдный финал, наделение персонажей гипертрофированными качествами (жестокость, недисциплинированность, непослушание и т. д.). Рассказы чаще всего имеют кольцевую композицию, свидетельствующую о том, что основной конфликт произведения остался неразрешенным. Важную роль играют заглавия: в них содержится основная проблема рассказа. Использование фольклорных жанров позволяет автору донести до своих читателей в привычной с детства игровой форме важные педагогические идеи, а также выявить социальные, общественные и семейные проблемы. Introduction. Sergey Silin’s small prose has not yet been sufficiently researched by literary critics, but it arouses interest among readers of different ages and can be attributed to dual addressed literature. The study of the writer using the techniques of sadistic poems, horror stories and jokes contributes to a deeper understanding of the main trends in modern Russian prose. The purpose of the article is to reveal the genre originality of small prose by Sergey Silin. Material and methods. Theoretical basis for the study were the works of folklorists E. M. Meletinsky, E. Kurganov, O. N. Grechina, M. V. Osorina and others. The research material is short stories and horror stories by S. Silin (“The Fatal Five”, “The Fatal Four”, “Don’t Drown Five Graders!”, “Sambo Lesson”). Result and discussion. The analysis revealed the characteristic features of Silin’s small prose. In his work the author transforms the techniques of urban folklore genres: scary stories, sadistic poems, jokes. Conclusion. S. Silin’s works are dually addressed: not only to children, but also to adults. In his works, the writer uses techniques typical of urban folklore genres – they reflect the cynical attitude to death which is characteristic of sadistic poems; the use of clericalism; the absence of a clear confrontation between good and evil; the division into «good» and «bad» characters; the catharsis is replaced by a humorous ending; the idea of retribution is replaced by a paradoxical ending which emphasizes the immutability of what is happening. The stories most often have a circular composition, indicating that the main conflict of the work remained unresolved.

The phenomenon of "digital" death: formation and genesis of the attitude to death in social networks of students

In this paper, we study the phenomenon of “digital” death, its genesis and the attitudes towards death in the context of social networks of students. As a result of the investigation we have discovered different forms of “digital death and the ways students react to it in social networks. We further investigate the origins of different user attitudes towards “digital death” and the impact of manipulative relation to death in social networks on the social reality. Some students stage their own death on social networks by posting images on their homepage, which has the intentions (i) to attract public attention, (ii) to express their auto aggression (iii) to make fun of death and (iv) to reduce their own anxiety of death by "sharing" the fear with other students. Our analysis shows that the main purpose of staging one’s death on social networks is to reduce the fear of death by creating plans, playing. Keywords: Students, cyberspace, social networks, death, "digital" death, attitude to the death in the social networks.

ПОГРЕБАЛЬНЫЕ ПРАКТИКИ В СОВРЕМЕННОЙ ЧУКОТСКОЙ КУЛЬТУРЕ

В настоящей статье исследуются погребальные чукотские традиции, сохранившиеся до настоящего времени. Многие ученые полагали, что архаичные формы похорон уступят место современному унифицированному обряду. Однако, в некоторых национальных селах Чукотки попрежнему хоронят путем сожжения или оставления тела умершего на холме или на открытой местности; современный похоронный обряд также часто сопряжен с некоторыми элементами традиционной культуры. Авторы рассматривают мировоззренческие установки, связанные со смертью, отношение к смерти у чукчей и соседних этнических групп. Для сравнительного анализа обрядов, бытующих в разные годы, авторы приводят описания погребального обряда учеными и путешественниками XVIII–XX вв. Существующие обрядовые практики в современной чукотской культуре представлены следующими способами погребения умерших: сожжение, оставление тела под открытым небом, захоронение «по-русски». Среди традиционных погребальных практик наиболее распространен обряд сожжения. Причем, в с. Ваеги Анадырского района, похороны «по-чукотски» наиболее предпочтительны для коренных жителей. Исключения составляют случаи, когда супруги, близкие родственники – представители другой национальности, могут не исполнить волю умершего на обряд сожжения. Остальные традиционные способы погребения немногочисленны, однако еще встречаются в с. Илирней (Билибинский район), с. Рыткучи (Чаунский район), в некоторых селах Анадырского и Чукотского районов. Опросы жителей показали, что чаще всего «по-чукотски» хоронят стариков, которые озвучили свою волю еще при жизни, или «тундровиков», занимающихся традиционным хозяйством вдали от поселков. Следует отметить, что сейчас мало кто из информантов может описать обряд целиком, многие знают порядок ритуальных действий, но при этом не могут раскрыть их смысл. Да и сами погребальные обряды не редко проводятся в «усеченном» варианте (некогда обязательные манипуляции с умершим уже не производят, например, надрез сухожилий, «открывание» груди и т. д.). В сельской местности до сих пор остаются знатоки, владеющие традиционными погребальными практиками. Они участвуют в подготовке и проведении обряда, учат молодое поколение проведению ритуалов.This article examines the funeral Chukchi traditions that have survived to the present time. Many scientists believed that archaic forms of funerals would give way to a modern unified ritual. However, in some national villages of Chukotka people are still buried by burning or leaving the dead body on a hill or in an open area; modern funeral rites are also often associated with some elements of traditional culture. The authors consider the worldview associated with death, the attitude to death in the Chukchi and neighboring ethnic groups. For a comparative analysis of the rites occurring in different years, the authors give descriptions of the funeral rites by scientists and travelers of the XVIII–XX centuries. Existing ritual practices in modern Chukchi culture are represented by the following methods of burial of the dead: burning, leaving the body in the open air, laying the body with stones, burial "in Russian". Among the traditional burial practices, the most common is the ritual of burning. Moreover, in the village of Vaegi of Anadyr districts the funeral "in Chukchi" is the most preferable for residents. The exceptions are the cases when the spouses and close relatives of the representatives of other nationalities can not do the will of the dead in the ceremony of burning. Other traditional methods of burial are few but still occur in the village of Ilirney (Iultinsky district), Rytkuchi village (Chaunsky district), in some villages of Anadyr and Chukotka district. Surveys of residents showed that most often "in Chukchi" they bury the old people, who voiced their will during his lifetime, or "tundra-people" engaged in traditional farming away from the villages. It should be noted that nowadays few informants could describe the ritual as a whole, many people know the order of ritual acts, but cannot disclose their meaning. The funeral rites are frequently held in a "truncated" version (once the mandatory manipulations with the dead are no longer produced, for example, tendons cut, "open" chest, etc.). In rural areas, there are still experts who own traditional burial practices. They participate in the preparation and conduct of the rite, teach the younger generation to conduct rituals.