Psychoanalytic and Existentialist Versions of Don Juanism: Lesia Ukrainka’s The Stone Host

The article substantiates the necessity of psychoanalytical and existential methodology in interpreting Lesia Ukrainka’s drama Kaminnyi hospodar (1912; The Stone Host), including the works of José Ortega y Gasset and Miguel de Unamuno on Don Quixote, Albert Camus on absurd characters (The Myth of Sisyphus. Essay on the Absurd), and Jacques Lacan’s The Mirror Stage. Biographical data testify to the critical attitude of the writer to world treatments of the legend. Her challenge to tradition was bold and conscious. It is regarded that the main point of Lesia Ukrainka’s polemics with tradition concerns Don Juan apologetics, introduced by romantics and developed by modernists. Exploring Don Juan’s psychological makeup provides the opportunity to show that all participants of the legend have become victims of Don Juan apologetics (that distinguish the tragic fi nale of the story). The Don Juan myth has played an integral role in the image of the Person (social mask) being accepted by characters as a trustful image of the Self. Interpretation of the Mirror Image in The Stone Host and its crucial role in the final scene allows for justifying that the mirror serves the narcissistic characters’ admiration of themselves and shows them not only an attractive appearance but an ideal version of the Self, created by myth.

Hedeggerian Thinking and The Role of Memory in Shakespeare's The Winter's Tale

Heidegger’s existentialism goes beyond the limits of the human brain’s functioning where thinking is more than what rationality may generate. In his essay “What is called Thinking?” Heidegger mentions that thinking and thanking are related. This relationship is clarified in Margaret Visser’s The Gift of Thanks, where she describes gratitude emphasizing the role of memory in expressing it. On this basis, one explores how thanking is performed in Shakespeare’s Winter’s Tale examining both memory and thinking interferences in the course of the characters’ thanking. Leontes sudden jealousy makes him loose all positive thoughts imprisoning Hermione, who expects reward having but obeyed his wishes to convince his friend to stay. After the trial scene, Paulina brings Leontes' recollections into life; by enumerating his wife's amiable personality. In act five, the remorseful king blames himself for his ingratitude. One considers this as the recovery of his memory since “both memory and thanks move their being in the thanc” as Heidegger asserts it. The final scene proves one’s assumption, that to thank is to think where Leontes thanks Paulina graciously by marrying her to his most honest servant Camillo. In short, to utter “thankfulessness would be thoughtlessness”

Traces of the Other Form of Life

Candra Aditya’s short film Dewi pulang (2018) shows how Dewi’s life in Jakarta is in tension with the life of her Javanese village, to which she returns when her father dies. Understanding Jakarta and the village as Wittgensteinean ‘forms of life’, I argue that the film portrays the two as simultaneously antagonistic and mutually intertwined, as each form of life is present in the other as a trace. The film uses the Javanese literary convention of sěmu, through which subtle messages are simultaneously revealed and concealed, to suggest that the transcendence of the conflict in the final scene defies reification through language because it seems impossible. By pointing to the reality of the unthinkable, the film proposes an understanding of incompatible forms of life and social locations as connected through complex interplays of presences and absences.

Voices of Edification Calls for Salvation – an Oratorio (Pilgrims to Saint Parascheva) by Viorel Munteanu

After the glorious reception of Voices of Putna – a key contribution to the genre – Viorel Munteanu makes now a new “offering of sound and letter”, a “different” sort of eulogy for the Orthodox Byzantine monody, meaning to encourage us to embark on the difficult journey of salvation together with the endless train of “pilgrims to Saint Parascheva”. It is, thus, a daring compositional effort that will be spiritually experienced by both its creator and its public, from the first contact with the graceful resonance of the title to the last shimmer of sound at the end of the final scene. If one considers the Orthodox art and its spirit, Viorel Munteanu’s Oratorio for Saint Parascheva is more than a creative act; it is an act of faith, of hope and of love, “a prayer to”, and “joy in”, Jesus Christ; it is living tradition and self-giving truth, by which we partake to one of the most memorable unions of Christian experiences and symbols.

The Function of the Writer in Dostoevsky’s Novel The Humiliated and the Insulted

Ivan Petrovich, the author of the notes, stands out among the other characters of the novel by F. M. Dostoevsky The Humiliated and the Insulted. He is an unremarkable and modest person, who has devoted all his time and energy to others. Everyone likes him, trusts him and feels brotherly love for him. The attitude to Vanya is inseparably linked with the attitude to his novel – “the firstborn”. Firstly each character reads the novel and then hurries to say to Vanya that he or she loved him and reveals his or her mind to him. The most important characteristics of Vanya’s character and of Vanya’s creative writing are honesty and frankness. These characteristics define the main function of the writer which is to console and transform the other characters. In the article, Ivan Petrovich, who is honest and clever, is also compared with honest and frank but stupid Alyosha, and with the observant and smart but heartless Prince. The latter even acts as a rival of Vanya and firstly defeats him with the help of cunning and deception. The article also focuses on Nelly, the Prince’s daughter, who inherited from her father not only her intelligence, but also the bitterness of her heart. She fights it throughout the novel. Attention is also drawn to the fact that Ivan Petrovich was going to write a new novel but was constantly busy in consoling other characters and answering their requests. The article suggests a possible resolution of the main conflict with the help of this new novel which, however, was never written. That may explain Ivan Petrovich’s helplessness during the final scene, when he was forced to beg Nelly to console everyone instead of doing it himself. Maybe Ivan Petrovich calls himself a “failed” writer and feels guilty because of using Nelly’s story instead of his unwritten novel.

The Function of the Writer in Dostoevsky’s Novel The Humiliated and the Insulted

Ivan Petrovich, the author of the notes, stands out among the other characters of the novel by F. M. Dostoevsky The Humiliated and the Insulted. He is an unremarkable and modest person, who has devoted all his time and energy to others. Everyone likes him, trusts him and feels brotherly love for him. The attitude to Vanya is inseparably linked with the attitude to his novel – “the firstborn”. Firstly each character reads the novel and then hurries to say to Vanya that he or she loved him and reveals his or her mind to him. The most important characteristics of Vanya’s character and of Vanya’s creative writing are honesty and frankness. These characteristics define the main function of the writer which is to console and transform the other characters. In the article, Ivan Petrovich, who is honest and clever, is also compared with honest and frank but stupid Alyosha, and with the observant and smart but heartless Prince. The latter even acts as a rival of Vanya and firstly defeats him with the help of cunning and deception. The article also focuses on Nelly, the Prince’s daughter, who inherited from her father not only her intelligence, but also the bitterness of her heart. She fights it throughout the novel. Attention is also drawn to the fact that Ivan Petrovich was going to write a new novel but was constantly busy in consoling other characters and answering their requests. The article suggests a possible resolution of the main conflict with the help of this new novel which, however, was never written. That may explain Ivan Petrovich’s helplessness during the final scene, when he was forced to beg Nelly to console everyone instead of doing it himself. Maybe Ivan Petrovich calls himself a “failed” writer and feels guilty because of using Nelly’s story instead of his unwritten novel.

manuscrito autógrafo del Padre Soler en Orihuela con el final de Didone abbandonata y otras composiciones inéditas

Las catalogaciones realizadas en 1909 y 1986 del Archivo de Música de la Catedral de Orihuela (ACO), asignaron al Padre Antonio Soler tres títulos sin advertir que el manuscrito con signatura 52/4, después del villancico A velar, pastores de Belén, tenía anotadas otras seis composiciones de la misma mano, fechadas entre 1763 y 1779. Este artículo tiene como objetivos catalogar y describir los siete títulos del manuscrito ACO 52/4, contextualizar su contenido y establecer los factores que permiten identificar al Padre Soler (1729-1783) como su autor y redactor. Se trata de un hallazgo doblemente importante porque incorpora seis títulos al catálogo de uno de los compositores españoles más importantes y, además, ofrece una faceta desconocida de su actividad creativa, pues uno de ellos pone música a la escena final de Didone abbandonata de Pietro Metastasio. The 1909 and 1986 catalogues of the Musical Archive in Orihuela Cathedral (ACO) assigned Father Antonio Soler three titles, without noticing that the manuscript 52/4 had, after the villancico A velar, pastores de Belén, another six compositions in hisown handwriting, dated between 1763 and 1779. The purpose of this article is to catalogue and describe the seven titles of the manuscript ACO 52/4, to contextualize its contents and to establish the factors that allow us to identify Father Antonio Soler (1729- 1738) as its author. This is a doubly important find as it adds six titles to the catalogue of one of the most importantSpanish composers, moreover, it offers an unknown facet of his creative activity, as one of them is the final scene of Pietro Metastasio’s Didone abbandonata.

EURIPIDEAN ASSEMBLAGES

In the final scene of Quentin Tarantino's The Hateful Eight (2015), Daisy Domergue, the sole female character among the titled eight, hangs suspended from the ceiling of the cabin in which they all have fought an operatically violent battle to the death. From her cuffed hand a chain dangles, at the other end of which is another cuffed hand, minus the rest of the body to which it had belonged. Its owner was her bounty hunter, who spent most of his time onscreen physically abusing her, including struggling with her over the control of weapons (e.g., machete and gun). We meet her with a black eye, to which are soon added a broken nose and teeth and a face repeatedly doused in her own blood and that of others. Two equally bloody antagonists string her up, pitting their injuries against her near-dead weight, so that for a time her body is triangulated by her attachment to them as well as to the remaining bit of the bounty hunter.

Chapter 26

Chapter 26 is devoted entirely to Cary Grant’s most famous and frequently revived film, North by Northwest (1959). It argues that North by Northwest is not just a great Cary Grant film, it is the Cary Grant film; that is, a summation of his entire career. The chapter discusses the making of the film, beginning with Ernest Lehmann’s screenplay. Lehmann set out to write “the Hitchcock film to end all Hitchcock films”, and this evidently included many elements of the three previous Hitchcock-Grant collaborations: Suspicion (1941), Notorious (1946), and To Catch a Thief (1955). Each of the five acts of North by Northwest, it is argued, puts the star through the paces of a single Cary Grant film. At the beginning of each act, his character is initially debonair and nonchalant, but then steadily becomes more tense, alarmed and threatened. This is brilliantly realized in the film’s climactic third act, when Roger O. Thornhill is chased across an empty prairie by a crop dusting plane. Both absurdly excessive and genuinely thrilling at the same time, the scene is now one of the most iconic moments in cinema history. The chapter details the film’s extensive location shooting, including time at Mount Rushmore for the final scene. It considers Eve Marie Saint as the quintessential Hitchcock blonde, and it discusses the film’s reception from its first release in 1959 to its modern reputation as a highly influential, classic film.

MAKNA KODE VISUAL DALAM SCENE FILM ANIMASI “ BATTLE OF SURABAYA”

The animated film "Battle of Surabaya" is one of the nation's children's work that is able to win various awards, both at national and international levels. In some scenes in this animated film, there is a visual code that contains information or messages delivered to the audience (audience). Through observing several scenes, it is found that there is a meaning of the visual codes contained in the scene. This study aims to analyze the aesthetic visual codes contained in the first, middle and end scenes of the animated film "Battle of Surabaya". Data collected through observation and literature study. Theories used as analysis are semiotics and postmodern aesthetic codes. The results of this study indicate that the meaning of the visual code in the animated film scene "Battle of Surabaya" namely: in the first scene, the action or action of the Indonesian government declared independence from the Dutch East Indies government as an act of the past that needed to be made; the scene is explaining the rejection of Indonesian independence, this action as the style of an animator in the sequence before and next; the final scene depicts the action of the main character (Musa) who unites the storyline sequence of the animated film "Battle of Surabaya", one of which implements the cultural value of please help as an act of popularizing Indonesian culture.