The mode of theatricality in the work of representatives of “Bu-Ba-Bu” group

The article deals with the phenomenon of theatricalization of the artistic picture of the world in the works of authors-representatives of the group “Bu-Ba-Bu”, (Yuriy Andrukhovych, Viktor Neborak, Oleksandr Irvanets) who carry out a large-scale renewal of Ukrainian literature by dramatizing reality. That is why the mode of theatricality best shows the basic artistic principles of the group (burlesque-balagan-buffoonery). The relevance of the study is due to the need to analyze the work of representatives of Bu-Ba-Bu in the mode of theatricality. The subject of research is the poetic features, the system of characters and the principles of characterization of the group. The purpose of this article is to identify the ideological identity of the literary work of the group “Bu-Ba-Bu” in terms of revealing the theatrical discourse, which provides the research novelty. Research methods: comparative, comparative-historical and descriptive were used. Results of the research. Yu. Andrukhovych’s great prose and O. Irvanets’ drama are considered in the context of the postmodern concept of “theater society”, which treats various forms of social and cultural life as a kind of performance, as well as in connection with the concept of camp, which is characterized by ironic reflection on mass culture and aestheticization of everyday life. Dimensions of theatricality are realized by groups primarily in the form of carnival, which is a means of overcoming postcolonial trauma and a special space of existence (active involvement of the public in theatrical action, blurring the line between “theater” and real life). Addressing the main tenets of Bakhtin’s theory of carnival revealed the peculiarities of the aesthetics of “crisis periods” in prose and drama of modern authors (opposition to official discourses, total freedom and familiarity, accentuation of the bodily “bottom”). Particular attention is paid to corporeality, which reveals carnival features (grotesqueness, fluidity, dynamism) and at the same time becomes a means of rehabilitating human freedom and vitalistic energy, correlating with postcolonial social context. It is proved that the national originality of artists’ creativity is manifested primarily in the constructive nature of the carnival, which, formally correlated with the rhizome, implicitly affirms the value vertical.

Wind Farm Area Shape Optimization Using Newly Developed Multi-Objective Evolutionary Algorithms

In recent years, wind farm layout optimization (WFLO) has been extendedly developed to address the minimization of turbine wake effects in a wind farm. Considering that increasing the degrees of freedom in the decision space can lead to more efficient solutions in an optimization problem, in this work the WFLO problem that grants total freedom to the wind farm area shape is addressed for the first time. We apply multi-objective optimization with the power output (PO) and the electricity cable length (CL) as objective functions in Horns Rev I (Denmark) via 13 different genetic algorithms: a traditionally used algorithm, a newly developed algorithm, and 11 hybridizations resulted from the two. Turbine wakes and their interactions in the wind farm are computed through the in-house Gaussian wake model. Results show that several of the new algorithms outperform NSGA-II. Length-unconstrained layouts provide up to 5.9% PO improvements against the baseline. When limited to 20 km long, the obtained layouts provide up to 2.4% PO increase and 62% CL decrease. These improvements are respectively 10 and 3 times bigger than previous results obtained with the fixed area. When deriving a localized utility function, the cost of energy is reduced up to 2.7% against the baseline.

Modern Heritage, organic space, material permanence: Torres Posse House in Tafí del Valle

The Torres Posse House (1957-1958) is a testimony to the particular forms that the modern house took in the context of northern Argentina, and at the same time shows how the conservation and sustainability of modern heritage come in large part from the quality of its original project. Built to enjoy the holidays, it was rationally organized, according to the demands of economy, topography of the site, climate, and orientation. The gallery, the most memorable space, is a typological approach that remains in good condition. The project established a stone box within which to arrange a demanding interior program with total freedom. The durability of the material proposed it as a modern architecture, capable of transcending the obsolescence of the modern image to resist the passage of time and aging without conflict.

The Global Lakou World-System

This work highlights the Haitian sociopolitical economic organization, Lakous, as a form of libertarian communism that must be vertically integrated at the nation-state level so that people can experience total freedom from capitalist relations of production. I conclude the work by extrapolating the lakou system to the world-system level in order to offer it as an alternative to the Protestant capitalist world-system, which threatens all life on earth.

Icons of Hell 7 Dictators, 700 Portraits, 7 Pages

Without an encounter with the unknown, creativity is impossible. In this encounter, there is no possibility for understanding anything, neither in terms of culture nor psychology. This is no dead end. Quite on the contrary: by finding your way out of the dead end, you can attain total freedom. Encounters with the unknown are extremely rare. The unknown is something you need to search out, overcoming the stereotypes of your thinking, the attitudes of your life and the dummies of your emotions. Our (creative) paths need to strike up against the unknown, no matter how thoroughly we build them and no matter which goal we pursue. The edges of my activity are always in some extreme, liminal state. My face is turned toward the unknown, while my masks address that which can be recognized by culture.

The Rejection of Men’s Exploitation by Fellow Men: A Literary Approach in Les Bouts De Bois De Dieu

The scramble for the partitioning of Africa during the Berlin Conference of 1884-85 in Germany created the ground for the colonialists to make Africans the victims of social alienation and mental dehumanization during that era of colonialism. Thus, African writers that flayed these social and economic vices armed themselves with different approaches both theoretically and stylistically, for the purpose of engagement littéraire. Reading the Senegalese Sembène Ousmane’s Les Bouts de Bois de Dieu (1960), published few days after the independence of most of the African countries, this paper extrapolates the writer as a Marxist, with the prevalence of Marxist tendencies in his literary creation. The paper seeks to establish the fact that women too could be relevant in the nation’s building as they play pivotal roles in the rejection of men’s exploitation by fellow men from the perspective of Marxist Theory. With the methodology of textual analysis, the paper gives the synopsis of the novel before the theoretical approach adopted, the Marxist Theory. This is followed by the Marxist deconstruction of the novel on the rejection of men’s exploitation by men which also sees the women complementarities of men in the modern African society. The paper concludes by recommending how the oppressed could gain a total freedom from the oppressors.

Preliminary Conclusions from Interviews and Fieldwork

This chapter offers eight conclusions about Scientology, Scientologists, and the Church of Scientology that emerged in the course of the author’s interviews and fieldwork. The conclusions are as follows: (1) Scientology is not merely a religion of belief or faith—but self-knowledge; (2) L. Ron Hubbard is not God to Scientologists—but he is the model OT (Operating Thetan); (3) the path to Clear and OT is codified in the “Bridge to Total Freedom;” (4) materials from the OT Levels are confidential and copyrighted; (5) most Scientologists are on the lower half of the Bridge to Total Freedom; (6) movement up the Bridge usually costs money and always costs time; (7) the church is theoretically all-denominational but functionally sectarian—at least most of the time; and (8) most Scientologists are ordinary people seeking extraordinary potential for themselves and others—not staff members and certainly not Hollywood celebrities.

Ashcan School

The Ashcan School was a group of American artists that began exhibiting together in the early 20th century and advocated for total freedom in style and subject matter. Also known as Urban Realists because of their focus on urban, public spaces including trains, streets and parks, restaurants and bars, and other spaces of popular entertainment, Ashcan members included Robert Henri, John Sloan, George Luks, William Glackens, Everett Shinn, and George Bellows. "Ashcan" was initially a pejorative term applied to the group because they employed dark colors and painterly, unblended brushstrokes, which were thought to make their works appear dirty or unfinished. The Ashcan School was initially associated with a secessionist art group called The Eight, which also included postimpressionists Arthur B. Davies, Maurice Prendergast, and Ernest Lawson. The Eight rebelled against the National Academy of Design, the principal art school and host of prestigious juried exhibitions in New York, because they sought greater stylistic freedom and more control over their exhibition opportunities. Implicitly, the Ashcan painters also rebelled against The Ten, a group of American Impressionists, because they thought their predecessors’ works were too delicate in style and genteel in subject matter.