Sport and Contemporary Culture

This publication presents manuscript of the famous Russian-Lithuanian philosopher Vasily Seseman (1884-1963) accompanied by a preface. The manuscript "Sport and Contemporary Culture" is the text of Seseman's manuscript collection, which is located in Vilnius University (F122-79). Manuscript is a preparatory text for the article "Time, Culture and Body" (first published in 1931 under the pen name "V. Chukhnin", and then in 1935 under his real name). In "Time, Culture and Body" Sesemann develops his ideas concerning the objectifying attitude, which leads to human's alienation towards body and time. Sesemann claims that the time is perceived as a meaningful entirety only when the time is contemplated from the point of view of work. Work is a purpose-attaining activity where subjective creativity is oriented towards an objective result in future. Working in pursuit of one's goals helps to avoid facing the emptiness of time, but at the same time it alienates the present. Work helps the subject to overcome his individual limitations and to become a part of the objective culture. By hiding behind the results of an objective activity people avoid direct contact with the time because it may appear as an interruption of meaningful relations and as a boredom. The tendency to objectify time is accompanied by the process of objectification of body. Previously, a primitive person could trust his body more than tools. In the modern culture body is gradually downgraded because tools, machinery and even separate institutions take over its functions. In this way the centre of culture is moved to the world of objects which is beyond a subject's control and body plays a merely auxiliary part. A person can overcome his alienation towards time and body only by being wakeful - here and now, by self-knowledge and self-control. Sesemann describes the self-control as the practical ability and mood, which he called "presence of mind". In this state of mind person is able to fing oneself, concentrate and mobilise all his strength to his utmost, maintain inner composure, calmness and balance of spirit.

Body and Time in Sesemann's Philosophy of Culture: Preface to the Publication of the Vasily Sesemann's Manuscript "Sport and Contemporary Culture"

This publication presents manuscript of the famous Russian-Lithuanian philosopher Vasily Seseman (1884-1963) accompanied by a preface. The manuscript "Sport and Contemporary Culture" is the text of Seseman's manuscript collection, which is located in Vilnius University (F122-79). Manuscript is a preparatory text for the article "Time, Culture and Body" (first published in 1931 under the pen name "V. Chukhnin", and then in 1935 under his real name). In "Time, Culture and Body" Sesemann develops his ideas concerning the objectifying attitude, which leads to human's alienation towards body and time. Sesemann claims that the time is perceived as a meaningful entirety only when the time is contemplated from the point of view of work. Work is a purpose-attaining activity where subjective creativity is oriented towards an objective result in future. Working in pursuit of one's goals helps to avoid facing the emptiness of time, but at the same time it alienates the present. Work helps the subject to overcome his individual limitations and to become a part of the objective culture. By hiding behind the results of an objective activity people avoid direct contact with the time because it may appear as an interruption of meaningful relations and as a boredom. The tendency to objectify time is accompanied by the process of objectification of body. Previously, a primitive person could trust his body more than tools. In the modern culture body is gradually downgraded because tools, machinery and even separate institutions take over its functions. In this way the centre of culture is moved to the world of objects which is beyond a subject's control and body plays a merely auxiliary part. A person can overcome his alienation towards time and body only by being wakeful - here and now, by self-knowledge and self-control. Sesemann describes the self-control as the practical ability and mood, which he called "presence of mind". In this state of mind person is able to fing oneself, concentrate and mobilise all his strength to his utmost, maintain inner composure, calmness and balance of spirit.

Widowhood practices and the church in south-east Nigeria

Widowhood practice is an unjust cultural practice directed against women who lose their husbands. The effects of this long-time culture on society, especially women, are continuing even in the 21st century as a result of rules, laws and regulations, and cultural values that have been laid down by the ancestors and nurtured by subsequent generations. The findings of the research indicated that discriminatory widowhood practices were humiliating to women and were made by men to relegate women to the background. This article, therefore, studied this cultural practice in Igboland in order to create a niche for the church in its alleviation. Nevertheless, it is on record that Christian churches have made remarkable efforts to alleviate the plight of widows. However, a lot is still expected for the total eradication of this age-old tradition.Contribution: The church has an enormous role to play in the fight against unjust cultural practices against women in Igboland. The church was chosen because of the respect that people of Igboland give to priests and other members of a religious community.

Acting in the context of feature films

Acting is an ancient art form that has existed since time immemorial. Acting as a creative activity is one of several types of performing arts, and they all have three common phases of development; training/preparation, rehearsal/practice and performance. In addition, any study of the performing arts must take into account the reality that a performer is always embedded in the contextual environment and participates in one or more of the three phases of development. Acting in modern cinema remains an activity that involves instantaneous interaction with others, while maintaining the ability to draw from personal past experiences and imaginations about oneself, others and/or the environment. The purpose of this study was to identify the features of acting in cinema and to identify the difference with the work in the theatrical environment. The main methods of this study were analysis and comparison. Although theatrical and cinematographic traditions represent stylistic and aesthetic differences, the actor's training and the concepts of the play are more similar than contradictory. What crosses time, culture and the environment is the need to train the actor.

Othello Thou art Translated: Examining Equivalence in Othello in the Folk culture of Uttarakhand

Translation as an activity involving two languages and two cultures poses severe challenges for a translator aiming to produce a cultural equivalent of the source text. This negotiation between the source and the target texts consumes most of the time dedicated to the translation activity. This study makes a contribution to the exposure of local culture of Uttarakhand (India) into the larger field of translation studies. Though much study has been conducted in the field of equivalence in translation with respect to known languages, the concept needs to be explored in the regional and vernacular translations. This paper aims to examine a stage adaptation of Othello- the landmark tragedy of Elizabethan age, aiming to understand the use of equivalence to mitigate the cultural difference between ST and TT. The study undertakes a close reading of Othello by Shakespeare and its Garhwali version Rumelo, critical works based on translation studies, and the recordings of stage performances of the play in Garhwali. An interview with the translator (Bijalwan) and director (Dobhal) aided in understanding the significance of cultural and linguistic elements introduced by the translator and the dramatist for the target audience. The study involving domestication of a text of global significance asserts the universal value of Shakespeare’s plays transcending time, culture and geographical boundaries, and furthermore emphasizes the importance of translation, and equivalence in translation, in making the source text more audience-friendly and comprehensible.