The Importance of a Sense of Nationalism in the Millennial Generation in the Era of Globalization

A strong feeling of nationalism is critical for Indonesia's younger generation's ability to evolve into a developed nation, a new nation, a safe and peaceful nation, just and prosperous in the face of globalization's mounting challenges to the Indonesian state. As a nation and a country surrounded by other nations, it is critical for Indonesia's population to have a strong sense of identity, particularly among the younger generation. The spirit of nationalism is still required for the Indonesian nation and state to exist. A strong nationalism based on state-society or the millennial generation will foster a positive and beneficial attitude toward the nation and state. In the current period of globalization, various trends aim to erode the younger generation's sense of nationalism. It is demonstrated by several indicators, like the younger generation's lack of appreciation for indigenous Indonesian culture, Westernized adolescents' habits, lifestyles. Given that the Indonesian state can not avoid globalization's challenges, the Indonesian country adheres to Pancasila to guide national life to preserve its identity and existence because globalization has altered individual prosperity and the millennial generation's feeling of nationalism. Especially with the presence of an outside culture that has westernized today's youth. This article discusses the millennial generation's feelings about nationalism in an era of globalization. This research approach employs the LR technique, or Literature Review, in which sources are gathered from journal readings and publications. Then case studies are gathered and compared to form an article.

Tłumacz jako istota historyczna: o (auto)cenzurze w pierwszym polskim przekładzie "Anne of Green Gables" oraz "Anne of Avonlea" Lucy Maud Montgomery w świetle koncepcji dziejów efektywnych Hansa-Georga Gadamera

The main objective of this paper is to uncover potential historical sources and traces of self-censorship, which in the first Polish rendition of both Anne of Green Gables and Anne of Avonlea by Lucy Maud Montgomery have manifested themselves on the following levels: stylistic and lexical means, the translation of culture-specific elements and characteristics of the main protagonist. The analysis of the many culture-specific items which were naturalized by Rozalia Bernsteinowa, author of the first Polish renditions of the two volumes of Montgomery’s famous series under investigation, allow the author of the paper to put forward a tentative translatological hypothesis which posits that by resorting to self-censorship the literary translator attempts to maintain both a sense of cultural stability and the strong feeling of national identity among the target audience, which is always determined by the impact exerted on the translator’s decisions by so-called effective history, a concept delineated by Hans-Georg Gadamer. This hermeneutically-oriented paper also wishes to deploy one of the most important hermeneutic tenets into an analysis of the said translations. By doing so, the author of the article intends to contribute to the now developing field referred to as translational hermeneutics.

IDEAS OF THE NATIONAL SCHOOL IN THE LEGACY OF V. N. SOROKA-ROSINSKY

The article deals with the analysis of V. N. Soroka-Rossinsky's pedagogical heritage about the national school reflected in his pre-revolutionary articles. Based on the analysis of the articles, it is concluded that V. N. Soroka-Rosinsky in his views on the national school is close to the K. D. Ushinsky’s principle of the nationality of education. At the same time, the research scientist tends to the psychology of feeling, the energy theory of the American psychologist Stanley Hall - the creator of pedology, which was reflected in his further practical work and collaboration with A. F. Lazursky and V. M. Bekhterev. The central concept in his theory is a national feeling, which is not perceived by the mind, but is lived and experienced by the heart. This strong feeling is associated with the adolescent thirst for heroism and feat, the attraction to a strong personality, which should be applied in education. The scientist finds the roots of sacrificial civic feeling in genetic memory and connects the personal experience of a teenager with the genetic one...

The Roles of Urban Park’s Elements in Creating Beautiful Place for The Visually Impaired

This paper is an attempt to reveal the setting of a beautiful park according to people with visual impairment. It contributes to the practice of architecture that is enjoyable to live by all members of society, including the visually impaired. A general notion of beauty from Kant (2000) and Dutton (2009), along with the notion of a multisensory architecture from Pallasmaa (2012) are used as an approach to understanding these phenomena. The research was conducted by observing, recording, and interviewing a group of visually impaired in relation to their activity and how they inhabit the space of an urban park. The finding shows that the sound of the fountain, the smell of the park, and the cool atmosphere are the combinations of elements necessary to create a strong feeling of beauty within urban space that is projected by the visually impaired.

L’impérialisme écologique ou la recolonisation par l’agriculture industrielle: Une lecture de La Banane de Franck Bieleu

This article studies The Big Banana, a film by Cameroonian director Franck Bieleu, which shows how the intrusion of a cash crop such as bananas in a local environment brings about several ecological transformations with important sociocultural and ethical ramifications. Using concepts from ecocriticism to analyse the narrative structures of the film, the article explains how the Njombé Penja banana plantation (PHP), construed as a replica of the colonial model of production and spatial organization, leaves the local populations with a strong feeling of dispossession and alienation. It concludes that geographical and ecological forms of imperialism contributed, alongside sociopolitical issues, to the failure of the post-independence African utopia.

The ‘Cycle’ of Arignota. Sappho’s frr. 95 and 96 V.

After preparing a detailed new edition of Sappho’s frr. 95 and 96 V., continuously transmitted in the parchment codex P. Berol. 9722, the author proposes that they constitute a ‘cycle’ of three homometric poems with a common theme articulated in successive episodes (i. 95, ii. 96.1–20, iii. 96.21–36). In the first, Sappho conveys her despair for her separation from her beloved pupils, Arignota being one of them. In the second, Arignota is presented in Sardis, where she excels among the Lydian women. She expresses a strong feeling of nostalgia for her stay in Lesbos with Sappho and for her beloved friend there, Atthis. In the third, Sappho addresses Atthis and, employing the mythological exemplum of Aphrodite’s love to Adonis and their distant meetings, declares that they will sail to the port of Geraistion in Asia Minor’s Aegean coast, whence they will travel to Sardis for meeting their old friend. The author also meditates on the possibility that the name Ἀριγνώτα (= ‘One-easy-to-be-known, Easy-to-identify’), is a renaming by Sappho of Ἀρύηνιc, the daughter of the Lydian king Alyattes, who is yearning to see her old teacher and her childhood girlfriend before her marriage to Astyages, son of Kyaxares, king of the Medes. The marriage was negotiated for ending a many years war between the two nations, a peace that coincided with the eclipse of the sun, usually dated on May 28, 585 BC.

The Poetics of Anger in Ali's Dramatic Art

Anger is a strong feeling of indignation and displeasure; it is the fundamental human emotion which has a potential for destructive as well as constructive motives. Outrageous displeasure is both style and material in his actor compositions, which marks him out as a contemporary lobbyist. This examination paper plans to dissect the utilization of outrage in Ali's chosen plays: The Guilt (2014), The Last Metaphor (2014) and The Odyssey (2016), where the utilization of outrage is obvious and piercing. For this reason, the analyst draws upon the idea of outrage speculated by Harriet Lerner in her book The Dance of Anger (1985). The investigation features that outrage is the beginning stage for Ali and presumes that outrage is the rousing power and material for Ali's emotional work in addition to this. The findings reveal that although anger enunciated in Alis plays seems to be frenzied, yet it is very much cerebral.

Introduction

This introductory chapter discusses the peculiar combination of the unfelt emergence and motions of strongly felt feelings, which appears all over eighteenth-century writing. The usages express something deep but inexplicit about how affect was understood in the eighteenth century, how feeling, passions, the emotions, and even perception itself were seen subtly to come into existence and move people. Instead of drawing attention to itself as an especially significant, well-defined concept or idea, a word like insensibly occurs almost in passing in the period's writing. But this unstudied casualness, far from rendering its meaning insignificant, holds a key to its power. A scarcely noticed but crucial and consistent set of gestures to an affect that cannot be felt: that is the terrain this book explores. Instead of indicating a mere lack of feeling—an affective blockage, impassivity, stupefaction—insensibly unfolding processes initiate and build strong feeling or make it possible.

St. Augustine’s Tears

In St. Augustine’s society, men’s tears were not considered a sign of weakness, but an expression of strong feeling. Tears might be occasional, prompted by incidents such as those Augustine described in the first books of his Confessiones. Or they might accompany a deep crisis, such as his experience of conversion. Possidius, Augustine’s contemporary biographer, reported that on his deathbed Augustine wept copiously and continuously. This essay endeavors to understand those tears, finding, primarily but not exclusively in Augustine’s later writings, descriptions of his practice of meditation suggesting that a profound and complex range of emotions from fear and repentance to gratitude, love, rest in beauty, and delight in praise richly informed Augustine’s last tears.

Ashraf ʿAli Thanavi

Chapter 7 looks at the sermons of Ashraf ‘Ali Thanavi, known for the Bihishti Zewar, his best-selling advice book for female readers. At first sight, Thanavi fitted perfectly into the pattern of reading reformist Islam as a contributing force both to modernity and to the disciplining project. The ideal and the practices he encouraged seemed to aim at a constant vigilance over the movements of the soul and at a control of emotional outbursts. However, in apparent contradiction, the anecdotes surrounding Thanavi’s life point to a valuation of religious passions. His sermons very often overwhelmed his audience, leaving them shaking and crying or bringing about spiritual ecstasy— features which added to his reputation as a preacher and which he did not want to censor or prevent, though like the other reformers, he was much more comfortable with men giving in to strong feeling than with emotional women. Righteous emotions and righteous behavior, for him, were intertwined with the creation of the righteous polity.