Opera, Anti-opera, Anti-Anti-opera. On the Issue of the Musical Theatre's Evolution in the 1960s-1970s

Статья посвящена проблеме эволюции музыкального театра в 1960-1970-е годы. Появление в данный период целого ряда произведений, декларирующих деконструкцию, разрушение существующих канонов и традиций музыкально-театрального искусства дало начало диалектическому противостоянию традиционного оперного и нового антиоперного направлений. В статье предпринимается попытка осмыслить природу антиоперы и пришедшей ей на смену антиантиоперы, оценить их значение для развития нового музыкального театра, сформулировать ключевые особенности данных феноменов. The article is devoted to the problem of the musical theatre's evolution in the 1960s-1970s. The appearance of a number of works declaring a deconstruction of existing canons and traditions of the musical theatre gave rise to dialectical opposition between opera and anti-opera. An attempt is made to reflect on the nature of antiopera and anti-antiopera that replaced it, define their significance for the development of New Music Theater, and formulate the essential features of these phenomena.

Initiatory nature of the opposition “child – adult” opposition in the mythopoetic paradigm of Vladimir Mayakovsky's works of the early period

This research analyzes Vladimir Mayakovsky’s works of the early period (1912-1916) within the framework of a neo-mythological approach, which allows reconstructing the individual authorial mythopoetic discourse. The article substantiates the inclusion of the literary works of Mayakovsky into the philosophical-culturological context, the importance of their consideration as a poetic and peacebuilding whole with its own patterns of transformation of the archetypal and mythological. The object of this research is the individual mythopoesis of the writer. The described “Dionysianism” of the lyrical hero takes roots in the typological similarities established by the author and noted by other researchers of Mayakovsky’s works, which indicates the consistency of referring to the Nietzschean dialectical opposition of Apollonian and Dionysian. The author notes multifacetedness of the category of the borderline as one of the defining dominants of mythopoetic worldview of the lyrical hero. Therefore, the subject of this research is a particular level of this category: the peculiarity of existence and evolution of a human within the world paradigm in the context of “child – adult” opposition. The novelty of the research consists in establishing the initiatory nature of the category of borderline in the works of V. Mayakovsky. This substantiates the specific, liminal personality traits of the lyrical hero, and proves the furute path of his mythopoetic evolution outlined in the pre-October texts. The author traces the dependence of transformation of mythopoetic constructions on the number of connotational changes in the dialectical opposition “child – adult”. The main result of the conducted research lies in the establishment of causal links between the incompleteness of overcoming the own liminality by the lyrical hero and the fundamental incompleteness of the process of his initiatory “maturing”. The author's special contribution to examination of the mythopoetic structure of the texts of V. Mayakovsky of the early period consists in proving the defining role of the “child – adult” opposition within the paradigm of other mythopoetic characteristics. The author outlines the way for further research of the individual authorial mythological discourse of Mayakovsky's works in the context of subsequent initiatory transformations of human and the world.

GENESIS OF THE CONCEPT OF INTELLECTUAL PROPERTY

The growing importance of intellectual property as an economic asset raises the issue of the content of intellectual property in the scientific discussions and the identification of scientific prerequisites for the formation and development of the intellectual property theory. The paper aims at the improvement of the conceptual and theoretical views on the economic category of intellectual property through establishing the dialectical interrelation with the concept of property. The authors propose considering intellectual property as a materially expressed result of the mental (intellectual) activity of a person, which invests its creator (author) or legal entities with the exclusive right for it, and it is confirmed by the relevant officially issued protection documents (patents or certificates) or statutory prescribed copyright norms. The research revealed the dichotomous nature of intellectual property. The study of property and intellectual property categories allowed establishing their dialectical opposition in terms of materiality and possibility of copying a legal object, the urgency and territorial limitation of property rights, and, most important, the dynamics of value in the process of consumption. However, the property and intellectual property categories also have a dialectical unity, which is not noted in the scientific literature. It is expressed in the mechanism of origin of property rights (in both cases, they are related to the problem of limited resources resulting in the necessity to choose the variant of an asset use), and in the mechanism of application of these rights, associated with the presence of both the right and the restrictions of this right, as well as liabilities of a copyright holder.

The subject of ashes

This article has two aims: to examine the effects of victim proximity to crematoria ashes and ash pits both consciously and unconsciously in a subset of Holocaust survivors, those who were incarcerated at the dedicated death camps of Belzec, Sobibor, Treblinka, as well as Auschwitz-Birkenau; and to contrast these effects, the subject positions they produce, with their suppression as the basis both for a strategy of survival during incarceration and for a reimagined identity after the war. Within a cohort of four survivors from Rudolf Reder (Belzec), Esther Raab (Sobibor), Jacob Wiernik (Treblinka) and Shlomo Venezia (Auschwitz), I trace the ways in which discrete memories and senses became constitutive in the formation of the subject prior to and after escape – the experience of liberation – so that essentially two kinds of subjects became visible, the subject in liberation and the subject of ashes. In conjunction with these two kinds of subjects, I introduce the compensatory notion of a third path suggested both by H. G. Adler and Anna Orenstein, also Holocaust survivors, that holds both positions together in one space, the space of literature, preventing the two positions from being stranded in dialectical opposition to each other.

The Future is Analog

This chapter traces the parallel development of the concept of standardization in architecture and of the idea of the architect as an artist / individual. The juxtaposition between the two goes back to Leon Batista Alberti, underlines modern architecture and reaches the current day where it still defines two different approaches for the production of architectural form through with the aid of digital media. The chapter proposes a third direction that breaks free from the dialectical opposition of the two and follows Deleuze's idea of the analog as a way to operate through modulation. That new direction is illustrated through an example in digital fabrication.

Prožitek a reflexe stáří ve vybraných prózách Bohumila Hrabala ze 70. let

Experience and reflection of old age in selected Bohumil Hrabal’s novels from the 70sThis study contains an interpretation of two novels written by Bohumil Hrabal, Too Loud a Solitude and Harlequin’s Millions, focusing on the poetic rendition of old age on the background of a certain idea about human life as well as an experience and reflection of old age in the consciousness of main characters. In these novels there are two concepts of the run of human life: in Too Loud a Solitude it is a dynamic and dialectical opposition of youth and old age characterizing individual human life, but also the dynamics of historical development; in Harlequin’s Millions we can find the traditional concept of human life as a circle analogous to the seasons and months of the year. Haňťa, the character of Too Loud a Solitude, is living either through his memories, or through his work, by which he is being ritually placed beyond the framework of time. Marie, the protagonist of Harlequin’s Millions, also lives in her memories, and though she emphatically and with interest perceives her surroundings and day to day events in a retirement home, she does not live in the real spacetime, because her imagination transforms her reality so much, so that it becomes an intricately constructed and strongly surrealistic fiction.Prežitok a reflexie staroby vo vybraných prózach Bohumila Hrabala zo 70. rokovV tejto štúdii interpretujem dve Hrabalovej prózy, Príliš hlučnú samotu a Harlekýnovy milióny, so zameraním na poetické stvárnenie staroby na pozadí určitej predstavy o ľudskom živote a na prežitok a reflexiu staroby hlavnými postavami oboch diel. V oboch prózach sú dve predstavy vývoje ľudského života: v Príliš hlučné samote je to dynamická a dialektická opozícia protikladov mladosti a staroby charakterizujúca individuálny ľudský život, ale aj dynamiku dejinného vývoja; v Harlekýnových miliónoch je to tradičná predstava ľudského života podobajúceho sa kruhu mesiacov a ročných období. Haňťa, hrdina Príliš hlučnej samoty, žije buď v spomienkach, alebo svojou prácou, ktorou sa rituálne uvádza do situácie mimo čas. Marie, protagonistka Harlekýnových miliónov, žije tiež spomienkami, a hoci živo a so záujmom vníma svoje okolie a dianie v domove dôchodcov, nežije v reálnych časopriestorových súradniciach, pretože skutočnosť, ktorú vníma, presycuje natoľko svojou imagináciou, že sa jej realita stáva zložito konštruovanou a výrazne kontrarealistickou fikciou.

Sibling Logic; or, Antigone Again

A recent wave of commentary on Sophocles's Antigone by critics from Judith Butler to Bracha Ettinger to Simon Goldhill has begun to emerge from the shadow of two paradigmatic interpretations: Lacan's reading of the title character in splendid structural isolation and Hegel's dialectical opposition of familial and political spheres. Even the newer criticism, however, continues the critical elision of Antigone's siblings (particularly her sister, Ismene) and of her relationship to them. This oversight is emblematic of the problematic omission of the sibling from theoretical discourses in general. The neglected sibling is a model that allows us to move beyond both self-other dualisms and the mother-child dyad, which form the only grounds for intersubjectivity in contemporary debates. Sibling logic recognizes the subject as embedded in a transsubjective network of partial others, whose subjectivities are nonetheless partially, though differentially, shared. This article thereby provides a new approach to poststructuralist debates on subjectivity and the political.