The Art and Literature Areativity, Kurdish Poets and Poems As An Example

The art and literature creativity, Kurdish poets and poems as an example is the name of a theoretical and practical research. It is theoretical because in the first part it presents the principles and the regulations of the research for the first time. And it is practical because in the second and third parts of the the research is : Supported in a way of practicing the ideas in Kurdish pomes and the experiences of Kurdish poets, the situation of stopping creativity is a situation of repletion, fullness, giving up, satisfaction,missing creativity and initiative for creativity that happens to the producers person in which the producer is not able to produce new products or things. This repletion could be temporary or permanent. It has two types ( psychological and formational repletion) This research can be applied to all types of practical arts but in this research it is just practiced on Kurdish pomes only. This research is based on both the psychological and the formational terms. The research presents the important aims of the research , defining the terms, classifying the motivators of creativity and it is effects on the poets products.

THE PORTRAIT OF A MODERN WOMAN IN THE POETRY OF WANDA MELCER

The article tackles the topie of womanhood as a typical motif in Wanda Melcer' s poetry, a topie which in historical-literary studies has so far been insufficiently discussed. Through the analysis of selected poems from her two published volumes as well as from other scattered poems, the portrait of a modern woman as presented in that poetry has been sketched out. This woman is a person who takes part in civilisational, social and manner-related changes. Her relations to culture, art and literature, her vitality and being active in life, all attest to her abandonment of roles imposed by the patriarchal system. It has been shown that the "new woman" breaks taboos and is educated. Above all she is independent and selfreliant, desires success and thirsts for new experiences, as demonstrated by how she frequently changes her surroundings and appropriates new spaces. She moulds her identity in confrontation with the outside world, she is open to otherness and changeability. At the same time she maintains personal consistency. Her creative identity is related to acting upon the principle of choice, and not obligation. Due to the multitude of biographical references present, the portrait of the female heroine contained in Wanda Melcer's poetry can be seen as a self-portrait of the author herself.

Le Génie du Nord: Sélection and the Advocacy of a Cosmopolitan Northern Culture

The article discusses the francophone review of art and literature Sélection published in Brussels (1920–22) and Antwerp (1923–33), Belgium, by André de Ridder and Paul-Gustave van Hecke. It takes as its point of departure the concept Le Génie du Nord [The Genius of the North], which was the title of a 1925 book published in Antwerp by De Ridder. The book mainly consists of essays previously published in Sélection between 1923 and 1924. De Ridder argues that France should not claim autonomy in the field of cultural production since throughout the centuries Nordic influence played a central role in its evolution. Although the book attracted little attention from the contemporary press, it offers a novel approach to the Nordic idea through the anticipation of a new classical order that distinguished itself from Southern classicism. While German expressionism is equally renounced, the book proposes a synthetic style — similar to the one that marked the gothic period — that also found expression in the art presented in Sélection. This style furnished a visual model for the invention of a new classical order stemming from the successful mingling of French rationalism with Flemish expressionism, a ‘constructive expressionism’ that became the precondition for a universal Nordic culture. The magazine was supportive of those French and Belgian artists who achieved a combination of the two styles — an ‘eclectic dualism’, in the words of Edmond Picard. Taking the origins of Gothicism and the Nordische Gesellschaft as case points of ideological complexity, the Génie du Nord concept forms an alternative discourse which intervenes in an ongoing art-historical and cultural debate that defines the identity of Sélection.

The literary field of queer cultural production in contemporary India: considering popular queer texts via Bourdieu

In The Field of Cultural Production: Essays on Art and Literature, sociologist Pierre Bourdieu puts forward the idea that culture is discursively produced and that the field that informs, constitutes, and problematizes cultural production is crucial towards understanding how cultural transactions, dynamics, and politics work. Since literature is a key marker of society’s outlook on and reception of sensitive subjects like non-heteronormativity, this article focuses on the queer literary field – LGBTQ+-related texts and publication – in/of contemporary India. To this end, I look into trends in publication of Indian queer literary texts in English since 1976 through Bourdieu’s concept of the cultural production of the field of queer literature and consider popular texts like Shikhandi: And Other Queer Tales They Don’t Tell You; Our Impossible Love; She Swiped Right into my Heart, and read them vis-à-vis Bourdieu’s theorization, in order to conceptualize an idea about how texts and contexts interact with each other towards (re-)producing and (re-)constructing contemporary queer culture(s) in the Indian context.

"Shaking His Hairy Chaps": The Iconography of Bearded Snakes

<p>The bearded snake is an unusual motif that appears in a variety of contexts and media throughout the Classical world. It is used in Greek, Etruscan, Roman, and Egyptian art and literature. This thesis addresses the Greek use of the bearded snake. The beard of the snake, much like the beard of a human figure, varies in terms of its size, shape, and level of detailing. It may be a simple single line or a series of long, clearly defined hairs. The use of this human feature on serpents has received minimal attention. When the motif is discussed it is generally only considered in terms of its use in one context, such as on depictions of Zeus Meilichios or on the Lakonian hero reliefs. The aim of this thesis is to discuss the use of the bearded snake in the most common contexts in which it may occur in order to provide a better understanding of the meaning of this unusual motif. Such contexts include anguiform deities, pure serpents, hybrid creatures, and attributes of monsters and deities. Two of the more influential explanations of the use of the beard are those by Aelian, from the third century AD, and Jane Harrison, from 1903. These interpretations consider the bearded snake in slightly different terms. Where Aelian believes the beard to indicate a male serpent, Harrison considers the feature to be a means through which the snake is implied to be an anthropomorphic deity. Chapter One provides the background interpretations of the snake and the beard as distinct motifs. The findings from this chapter will form the basis for the interpretations given in Chapters Two and Three. Chapter Two considers the flaws of Aelian’s explanation of the beard as an indicator of gender, by looking at the use of the beard in the context of divine and monstrous women such as Medusa and Athena. Chapter Three addresses Harrison’s anthropomorphic argument, by considering both anguiform and non-anguiform figures. This will provide a wider range of contexts than either Aelian or Harrison discuss. In doing so, I intend to consider the meaning of the bearded snake using a considerably larger range of sources, in order to give the best possible explanation for this unusual motif.</p>

"Shaking His Hairy Chaps": The Iconography of Bearded Snakes

<p>The bearded snake is an unusual motif that appears in a variety of contexts and media throughout the Classical world. It is used in Greek, Etruscan, Roman, and Egyptian art and literature. This thesis addresses the Greek use of the bearded snake. The beard of the snake, much like the beard of a human figure, varies in terms of its size, shape, and level of detailing. It may be a simple single line or a series of long, clearly defined hairs. The use of this human feature on serpents has received minimal attention. When the motif is discussed it is generally only considered in terms of its use in one context, such as on depictions of Zeus Meilichios or on the Lakonian hero reliefs. The aim of this thesis is to discuss the use of the bearded snake in the most common contexts in which it may occur in order to provide a better understanding of the meaning of this unusual motif. Such contexts include anguiform deities, pure serpents, hybrid creatures, and attributes of monsters and deities. Two of the more influential explanations of the use of the beard are those by Aelian, from the third century AD, and Jane Harrison, from 1903. These interpretations consider the bearded snake in slightly different terms. Where Aelian believes the beard to indicate a male serpent, Harrison considers the feature to be a means through which the snake is implied to be an anthropomorphic deity. Chapter One provides the background interpretations of the snake and the beard as distinct motifs. The findings from this chapter will form the basis for the interpretations given in Chapters Two and Three. Chapter Two considers the flaws of Aelian’s explanation of the beard as an indicator of gender, by looking at the use of the beard in the context of divine and monstrous women such as Medusa and Athena. Chapter Three addresses Harrison’s anthropomorphic argument, by considering both anguiform and non-anguiform figures. This will provide a wider range of contexts than either Aelian or Harrison discuss. In doing so, I intend to consider the meaning of the bearded snake using a considerably larger range of sources, in order to give the best possible explanation for this unusual motif.</p>

Do imaginário para a literatura: a confusão feminina na mentalidade do cristianismo europeu | From the Imaginary to Literature: female confusion in the mentality of European Christianity

Foi graças à perpetuação de certos preceitos de feminilidade que uma mentalidade antifeminina vingou no imaginário do cristianismo primitivo, enraizando-se na cultura europeia e revelando-se nas demonstrações de arte e literatura desde o baixo-medievo. Neste artigo busca-se discorrer sobre uma importante parte dessa maneira de pensar – a associação do feminino a um estado confuso ou à propagação da confusão, seja através da fala ardilosa ou da simples exposição à presença do feminino, que, para o cristianismo primitivo, estava intimamente ligado ao pecado original e à Queda. Dessa maneira, tenciona-se demonstrar como uma mentalidade antifeminina transpassou para a representação literária de feminino e de amor na Europa medieval, apresentando-se em cantigas e trovas variadas.Palavras-chave: Imaginário. Confusão Feminina. Cristianismo. AbstractIt was due to the perpetuation of certain precepts of femininity that an anti-feminine mentality took hold in the imagination of primitive Christianity, taking root in European culture and revealing itself in art and literature demonstrations since the low-medieval period. This paper seeks to discuss an important part of this way of thinking – the association of the feminine with a confused state or the spread of confusion, whether through cunning speech or through simple exposure to the presence of the feminine, which for early Christianity was closely linked to the original sin and the Fall. This paper seeks, then, to demonstrate how an anti-feminine mentality was transferred to the literary representation of the feminine and of love in medieval Europe, presenting itself in different lyrics and songs.Keywords: Imaginary. Feminine Confusion. Christianity. ORCIDhttp://orcid.org/0000-0003-2526-7214

LEONID ANDREYEV’S AND PÄR LAGERKVIST’S WORKS IN THE CONTEXT OF EXPRESSIONISM: THE PROBLEM STATEMENT

The article substantiates the classification of the creative methods of Leonid Andreyev (1871-1917) and Pär Lagerkvist (1891-1974) as expressionistic. Expressionism was the leading art and literature direction in the early XX century. The authors trace back the Russian and foreign academic tradition of viewing certain periods of these writers’ creative career as expressionistic. This tradition is based on some of the characteristics present in their works, such as heightened expression, one-dimensional characters, static scenes, grotesque forms, colour contrasts, the depiction of a chaotic world, and a nervous and alienated person within it. The authors come to the conclusion that the expressionist works of Leonid Andreyev and Pär Lagerkvist can be most effectively compared by employing the historical typological method developed by Victor Zhirmunsky.

Keeping Men on Track: The Management of Single Male Employees by the New Zealand Government Railways Department 1923-1940

<p>The New Zealand Government Railways Department undertook a wide range of reforms in the 1920s as a result of concerns about the threat of road competition and the longevity of New Zealand’s railway infrastructure. Some of these reforms were structural and financial, but many were motivated by desires to create a more efficient, modern and useful workforce. Unmarried men made up a third of the NZGRD’s workforce in 1927 and this thesis is an investigation of how the management of the NZGRD attempted to mould them. By investigating and analysing the ways in which the New Zealand Railways Department communicated with its workforce, this study will address how the New Zealand Government Railways Department used soft power to affect its worker’s lives. From the designs of railway houses through the range of publications given to employees the New Zealand Railway Department had indirect influence on almost every aspect of the lives of their employees, from their physical existence to what art and literature they were exposed to.</p>