The specific characteristics of the "new Bosnian narrative" as exemplified by Karim Zaimović's short stories book Tajna džema od malina

The article is an attempt to describe the specifics of the „new Bosnian narrative” as exemplified by Karim Zaimovic’s short stories collected in the book Tajna džema od malina. The text synthetically presents the new generation of prose writers clearly referring to the heritage of the so-called „narrative Bosnia” (J. Kršić). The generation of writers contemporary to Zaimovic, which dominated the literary scene in Bosnia and Herzegovina in the last decade of the 20th century and at the beginning of the 21st century, was united by a creative motivation generated by common experiences, which was a reaction to the tragedy of the homeland war. The article briefly characterizes the „new narrative Bosnia”, highlighting the great tradition of narrative (pripovijetka) in local literature. Narrative/Short story is considered to be the most important and valued genre, which in its meaning goes far beyond purely literary boundaries – it has played and still plays an important role in the cultural, social, political and ideological context. In the text, it is shown that Zaimović’s stories, compared with (anti)war writing, are distinguished by: the way of constructing scenes that make up the story adapted from comic art, the presence of fantastic elements known from the work of „Borges writers”, as well as a characteristic, humorous style –where the author deals with the absurdity of war by the use of grotesque and satire, and describes the Sarajevo apocalypse using numerous metaphors and allegories. Even though, Zaimović’s texts cannot be treated as a model or the most representative example of “the new Bosnian narrative“, their unconventional way of presentation of the main theme as well as structural and compositional innovation have earned them an iconic status. The circumstances of the stories, and above all the fate of the young writer, made him a tragic symbol of the drama of war in Bosnia and Herzegovina.

Karbala Mourning among the Fāṭimid-Ṭayyibī Shīʿa of India: Doctrinal and Performative Aspects of Sayyidnā Ṭāhir Sayf al-Dīn’s Arabic Marthiya, “O King of Martyrs” (Yā Sayyida l-Shuhadāʾī)

The Sayyid al-Shuhadāʾ lament—a poignant fifty-one-stanza Arabic marthiya composed by the Ṭayyibī Dāʿī l-Muṭlaq Sayyidnā Ṭāhir Sayf al-Dīn (d. 1385/1965)—holds an iconic status in the Karbala tradition of the Fāṭimid-Ṭayyibī Shīʿa of India. This article transcribes, translates, and analyses the lament to showcase a distinct religious tradition within a hybrid cultural milieu. The lament’s forms intersect with Arabic poetic conventions set in pre-Islamic times; its themes overlap with Twelver-Shīʿī Karbala laments in Arabic, Persian, and Urdu from the Middle East and South Asia; and its performance stems from melodic Persianate-Urdu recital. Simultaneously, it reflects the Fāṭimid-Ṭayyibī heritage, particularly the teachings of al-Muʾayyad al-Shīrāzī (d. 470/1078), including the fundamentals of their Imāmate doctrine and the salvific importance of weeping for Ḥusayn.

Bearing the ring: the audience and consumers of The Lord of the Rings.

"I will examine who the contemporary film industries target as well as how they relate to the creation and maintenance of fan communities, who are either familiar with the original text from which the films are adapted or are initially attracted to the films and then cross over to the texts, resulting in even larger fan bases. These communities are essential in insuring a film studio that there are very active audiences that will pay for a ticket in order to judge for themselves how successful the adaptation is. In the process, these fan communities simultaneously become responsible for the creation of mythologies while also taking pleasure in experiencing them, pitting their allegiances towards the mythopoetic against the logic of commodification. A logical case study to use in this compendium is The Lord of the Rings, an assemblage of multiple products and texts adapted from a narrative trilogy written by J.R.R. Tolkien. Since its publication, it has achieved a cultural iconic status within a culture that embraces the gray zone, appealing to audiences in search of a cerebral comic book to those who seek comfort in a reinforcement of the good versus evil trope."--Page 5.

Bearing the ring: the audience and consumers of The Lord of the Rings.

"I will examine who the contemporary film industries target as well as how they relate to the creation and maintenance of fan communities, who are either familiar with the original text from which the films are adapted or are initially attracted to the films and then cross over to the texts, resulting in even larger fan bases. These communities are essential in insuring a film studio that there are very active audiences that will pay for a ticket in order to judge for themselves how successful the adaptation is. In the process, these fan communities simultaneously become responsible for the creation of mythologies while also taking pleasure in experiencing them, pitting their allegiances towards the mythopoetic against the logic of commodification. A logical case study to use in this compendium is The Lord of the Rings, an assemblage of multiple products and texts adapted from a narrative trilogy written by J.R.R. Tolkien. Since its publication, it has achieved a cultural iconic status within a culture that embraces the gray zone, appealing to audiences in search of a cerebral comic book to those who seek comfort in a reinforcement of the good versus evil trope."--Page 5.

Exploring the Iconic in History Museums

This chapter explores how iconic events and objects manifest themselves in museum exhibitions, providing case studies on the representation of the World War II Blitz and the abolition of the transatlantic slave trade in the UK. De Bruijn shows how these historical events have acquired iconic status and how museums further contribute to their ‘iconization’ through the repetitive use of objects relating to air raid precautions and shelters, and of images and objects that have their roots in the abolition campaign of the eighteenth and nineteenth century. With some exhibitions also showing attempts to confront the ‘iconization’ process, the chapter offers insight into how museums navigate the dynamic cultural memory of specific histories, whilst preserving their own aim and mission.

Fracking, fashion and the environmental activism of Vivienne Westwood

Vivienne Westwood frequently utilizes her iconic status to advocate for a variety of social, political and economic issues (Moir 2021). Since 2008, environmental politics, climate change and fracking policies have been the focus of her activism. Westwood regularly attends anti-fracking protests, such as in 2015, when she gained significant news attention for driving a tank across British Prime Minister David Cameron’s lawn. This article explores the possibilities of Westwood’s design activism within visual culture to communicate the grave environmental consequences of fracking and climate change. In addition to her political activities, Westwood has incorporated an environmental critique into her fashion collections, such as transforming her 2015 London Fashion Week performance into an anti-fracking protest. Westwood consequently draws upon her privileged status as a cultural icon to position her runway and subsequent media attention as a platform encouraging critical debate in regard to ethical fashion and environmental change.

“The Farcical Tragedies of King Richard III”: The Nineteenth-Century Burlesques

Unlike other Shakespearean tragedies, King Richard III was never turned into a comedy through the insertion of a happy ending. It did, however, undergo a transformation of dramatic genre, as the numerous Richard III burlesques and travesties produced in the nineteenth century plainly show. Eight burlesques (or nine, including a pantomime) were written for and/or performed on the London stage alone. This essay looks at three of these plays, produced at three distinct stages in the history of burlesque's rapid rise and decline: 1823, 1844, and 1868. In focusing on these productions, I demonstrate how Shakespeare burlesques, paradoxically, enhanced rather than endangered the playwright's iconic status. King Richard III is a perfect case study because of its peculiar stage history. As Richard Schoch has argued, the burlesque purported to be “an act of theatrical reform which aggressively compensated for the deficiencies of other people's productions. . . . [It] claimed to perform not Shakespeare's debasement, but the ironic restoration of his compromised authority.” But this view of the burlesques’ importance is incomplete. Building on Schoch's work, I illustrate how the King Richard III burlesques not only parodied deficient theatrical productions but also called into question dramatic adaptations of Shakespeare's plays. In so doing, these burlesques paradoxically relegitimized Shakespeare.

THE DIALECTIC OF SELF-KNOWLEDGE PORTRAYED IN ARTISTIC IMAGERY IN THE PAINTINGS OF V.M. VASNETSOV “ALYONUSHKA”

The purpose of the research is a philosophical and art criticism analysis of V.M. Vasnetsov’s work “Alyonushka” in 1881, aimed at identifying its ideological essence. The methodological and theoretical foundations of the research are: the conceptual provisions of the theory of reflection By G.V.F. Gelel, the structuralist method in art studies, in particular, the semiotic approach that justifies the idea of a holistic consideration of the form and content (phenomenon and essence) of a work of art, the principle of classification of signs by C.S. Peirce. Research problem. To present the work of V.M. Vasnetsov “Alyonushka” as a complex multi – level structure of the dialectical unity of the essence (meaning) and the phenomenon (sign) – a logogram, where the logos is the cause, the creative principle that binds and holds together the essence (meaning) of the work and its sign phenomenon. In the process of creative relationship (dialogue) between the work and the viewer in the space of an artistic image, reveal the content of the three levels of the logogram of the work. Vasnetsov’s “Alyonushka”: an index level consisting of elementary cells-figures filled with paint of a certain color, an iconic level that collects index elements into a visual “image-icon”, and finally, a symbolic level that keeps the content of the index and icon statuses in the removed quality and is crystallized in the compositional formula of the work. To reflect on the meaning of the symbolism of the compositional formula of the logogram of V.M. Vasnetsov’s painting “Alyonushka” as a special kind of communication between the viewer and the work. A consistent study of the content of the index, iconic and symbolic levels of the logogram of the artistic image of V.M. Vasnetsov's painting “Alyonushka” of 1881 presents the following conclusions. The analysis of the index status of the logogram of the work revealed a complex horizontal “score” of the canvas in an even metric alternation of four layers. The image of water, earth, forest and sky in the picture in the form of wide horizontal monumental tiers embodies the universality, stability and fundamental laws of the infinite transcendent universe. The analysis of the iconic status of the logogram of the work reveals the image of a solitary, prayerful process of contemplation by the heroine of a pantheistically presented image of nature. The analysis of the symbolic level of the logogram of the painting reveals the main compositional formulas of the work as a concentrated expression of the essence of an integral artistic image. The study of the symbolism of the compositional formulas of the artistic image allows one to formulate the essence of the work of art V.M. Vasnetsov, expressed in the contemplative dialectic of the emanative movement from the infinite transcendental to the human finite and immanent movement from the finite human to the infinite absolute, represented as the ratio of the teenage girl and the surrounding pantheistic image of nature.

GARIBALDI IN AUSTRALIA

One of the most famous public figures in later nineteenth-century Australia was Giuseppe Garibaldi. The man known as the ‘hero of two worlds’ – Europe and South America – was in fact also the hero of a third. The nature of Garibaldi's iconic status in the Australian colonies was complex, multi-faceted, and fractured and it occurred at a moment when the notion of celebrity was being transformed amid what was effectively a fundamental democratization of the public sphere in the Anglophone world. As such, it provides an important opportunity to ponder the implications of what has been called ‘intimacy at a distance’.

The Aging Enterprise: A 40-Year Retrospective

Dr. Carroll Estes has long been recognized as one of our most influential social gerontologists beginning with the publication of the Aging Enterprise over 40 years ago. This book quickly achieved iconic status among gerontologists and other social scientists as one of the founding texts in critical gerontology, which Dr. Estes has played a leading role in developing with numerous publications over the course of her illustrious career. The panelists will focus on Dr. Estes’ application of the theoretical frameworks offered by the social construction of reality and the political economy of aging to a critique of federal and state policies designed to improve the quality of life of older Americans. Many of the programs and policies included in Dr. Estes’ critique are still in place, including the Older Americans Act and the nonprofit aging network. On the other hand, much about the aging enterprise has changed since 1979. The panelists, Drs. Chris Phillipson, Pamela Herd and Larry Polivka, will discuss the value of and challenges to these theoretical and empirical perspectives within the current contemporary neoliberal political economy that has gradually displaced the welfare state capitalism of the postwar period. As this shift has occurred in the political economy, a neoliberal policy agenda featuring for-profit privatization of public services, including aging services, has become dominant at the federal and state levels. Dr. Estes will respond to the panelists’ presentations and discuss the future of critical gerontology. Women's Issues Interest Group Sponsored Symposium.