Haere Mai Me Tuhituhi He Pukapuka: Muri Iho Ka Whawhai Ai Tatou: Reading Te Rangikaheke

<p>This thesis reads Te Rangikaheke's texts through the editorial, Te Arawa and biographic dimensions of the writer and the texts. Te Rangikaheke was a prolific nineteenth century writer who produced over 800 pages of manuscript material. 1 Although he has enjoyed a moderate amount of scholarly attention, this has tended to focus on attribution, cataloguing and tracing publication, transcription and translating, commentary on authenticity and literary quality and his account of history. Specifically, the first core chapter explores issues concerning the editing of Te Rangikaheke's manuscripts by Governor George Grey and the effects of Grey's editing decisions on the texts. This chapter explores the nature of the relationship between Grey and Te Rangikaheke, the effects of this relationship on Te Rangikaheke's texts, and what the dualities of Pakeha/Maori and Governor/Native might mean in terms of the texts. Responding to the calls of American Indian Literary Criticism for studies of Indigenous topics to engage deeply with the contexts of iwi and place, the second core chapter looks at Te Rangikaheke as an Arawa writer and explores issues around identity and articulating an Arawa literary history. Finally, a biography of Te Rangikaheke elaborated from previously known and new biographic details combined with a close reading of his name and three of Te Rangikaheke's letters. Ultimately, it is anticipated that this thesis will forge new pathways into in the study of Wiremu Maihi Te Rangikaheke and his writing, and that these new pathways will clear some much needed space in which a deeper analysis of Te Rangikaheke's writing can be articulated. Furthermore, beyond its focus on a single writer, this thesis extends the scholarship on nineteenth century Maori writing, Maori historical studies, and Maori intellectual history and in this way speaks to a contemporary Indigenous intellectual agenda.</p>

Haere Mai Me Tuhituhi He Pukapuka: Muri Iho Ka Whawhai Ai Tatou: Reading Te Rangikaheke

<p>This thesis reads Te Rangikaheke's texts through the editorial, Te Arawa and biographic dimensions of the writer and the texts. Te Rangikaheke was a prolific nineteenth century writer who produced over 800 pages of manuscript material. 1 Although he has enjoyed a moderate amount of scholarly attention, this has tended to focus on attribution, cataloguing and tracing publication, transcription and translating, commentary on authenticity and literary quality and his account of history. Specifically, the first core chapter explores issues concerning the editing of Te Rangikaheke's manuscripts by Governor George Grey and the effects of Grey's editing decisions on the texts. This chapter explores the nature of the relationship between Grey and Te Rangikaheke, the effects of this relationship on Te Rangikaheke's texts, and what the dualities of Pakeha/Maori and Governor/Native might mean in terms of the texts. Responding to the calls of American Indian Literary Criticism for studies of Indigenous topics to engage deeply with the contexts of iwi and place, the second core chapter looks at Te Rangikaheke as an Arawa writer and explores issues around identity and articulating an Arawa literary history. Finally, a biography of Te Rangikaheke elaborated from previously known and new biographic details combined with a close reading of his name and three of Te Rangikaheke's letters. Ultimately, it is anticipated that this thesis will forge new pathways into in the study of Wiremu Maihi Te Rangikaheke and his writing, and that these new pathways will clear some much needed space in which a deeper analysis of Te Rangikaheke's writing can be articulated. Furthermore, beyond its focus on a single writer, this thesis extends the scholarship on nineteenth century Maori writing, Maori historical studies, and Maori intellectual history and in this way speaks to a contemporary Indigenous intellectual agenda.</p>

Légitimité littéraire de la littérature jeunesse : les Hunger Games de Suzanne Collins

The Hunger Games trilogy, an international commercial success, enables us to question the relationship between sales records and literary quality as well as to think critically about the literary status of Young Adult Literature. Are there some objective criteria that make it possible to establish a literary status, and can they be applied to Young Adult literature, especially as those works are usually perceived as “popular culture”?

Liudmyla Bruievych’s water-colors in the 1990s

The aim of this study is to analyze in detail the watercolors by Liudmyla Bruievych, made in the 1990s: “Tuha” (1992), “Raiuvannia” (1993), “Trapeza” (1995), “Myslyvets” (1998) and others. Methodology. The study of the works of the new generation of Ukrainian artists, which was completely formed after 1991, is just beginning. In particular, it refers to Liudmyla Bruievych, one of the most famous contemporary domestic graphic artists. The vast majority of publications about her works are popular and belong more to the genre of essay or interview (Bychkova (2000), Ivanochka (2012), Taran (1998, 2000, 2001, 2002, 2002), Shapiro (2012)) or are reviews for personal exhibitions of the artist (Lamonova (2004, 2004), Ostrovskyi (2002)). Among them there are extremely interesting texts of high literary quality (Tytarenko (2004), Borysova (1998), Panasiuk (1998, 1999)), but it is hardly possible to call them scientific researches. Results. Liudmyla Bruievych is one of the most famous contemporary domestic graphic artists. The most popular of her works are etchings, for which the author uses watercolor of four colors (cerise paint, emerald green, ocher and gold): “Nich” (1991), series “Spokii” (“Koty”, “Rusalka”, “Try ryby”, “Ryba”, “Vaza”, all — 1994),” “Tanok vuzhiv abo Neskinchennist”, “Doistorychna tvaryna abo Drakon” (both — 1997). But during the 1990s, Liudmyla Bruievych actively worked not only on etchings, but also on watercolors. Among them there are works based on the unexpected use of folklore sources (“Tuha” (1992), “Rusalochka”, “Koroleva-rusalka”), biblical images (“Trapeza”, “Hallelujah” (all — 1995)), techniques of naive art (“Myslyvets” (1998)). The artist also created watercolor miniatures. Novelty. This article is in fact the first scientific publication about the works of an interesting modern domestic graphic artist. The practical significance. The research is a part of the individual planned theme of the author “Peculiarities of national tradition interpretation in the Ukrainian graphics of the 90s of the XX century. — 10s of the XXI century” and the general planned theme of Fine and Decorative Applied Arts department of the Institute of Art History, Folklore and Ethnology of M. T. Rylsky Institute of Art Studies, Folklore and Ethnology of the NAS of Ukraine “Ukrainian art from the Middle Ages to modern times: the search and formation of national identity in the context of world cultural space”. Conclusions. Watercolors are an organic and integral part of the artist’s graphics. Plastic images found in watercolors could later be used in etchings.

Comics' reception as literature and the subjugation of the image

[Para. 1] Scholars disagree on how comics should be defined in relation to other media. Some, such as Barbara Postema, assert that comics are representative of a medium featuring unique formatting and iconography that sits outside the traditional considerations of art and literature. The counter-point, as proposed by individuals such as Thierry Groensteen, is that comics are a hybrid or mixed medium, representing the combination of the written word and fine art working in conjunction to convey different perspectives within a single narrative. Historically, comics have been rejected by both fine art and literary communities due to their failure to conform to the standards presented in either discipline. However, due in large part to the narrative elements of the prose present in a comic text, comics settled primarily in the domain of literary consideration, albeit with some negative critique initially directed at the content and marketing that popularized the medium. Once considered rudimentary writing supported by gimmicky illustrations, the ongoing discourse concerning their status as either a unique medium or hybrid media has coincided with comics gaining academic merit in recent years. One of the issues that complicates this debate is whether the text and image in comics to be given equal consideration when determining the function of a comic narrative, as “one of the significant consequences of the literary turn in the study of comics has been the tendency to drive attention away from comics as a form of visual culture” (Beaty, Comics vs. Art 18). Compounding this tendency is the suggestion that narrative is exclusive to the domain of literary prose. Comics’ inclusion of sequential art challenges literary tradition through the levels of signification applied to formatting, such as “the image, the layout, the sequence, word-image combination, and finally narrative” (Postema 105). Historically, the use of image in comics has been condemned for lowering the literary quality of the narrative through claims made by critics such as Fredric Wertham that will be explored at length throughout this paper. The assertion that image in comics had no narrative value was compiled with the art actively rejected by the “fine” art community as failing to attain the level of “high” art. This has led to the devaluing of the image and its influence on narrative in comics, as “comic[s], [as] many critics will tell you, are not art” (Beaty, Comics vs. Art 18). Instead, comics have stood in opposition to art: “largely ignored by critics and art historians, and consequently disdainful of the interests of those groups, comics have long levelled in their lowbrow, badboy image” (Beaty, Comics vs. Art 19). Without the support of the artistic community to help establish a standard of critical approach, the comics industry evolved to place more emphasis on the literary element, as seen in the rise of the 'graphic novel' as a legitimating label for rebranding of the medium. Although scholars and critics such as Barbara Postema, Bart Beaty, and Scott McCloud recognize the importance of the image when critiquing narrative, the tendency to emphasize the writer over the artist as primary contributor of narrative value to a comics work has put the image and text of comics in separate categories, causing one to rise at the expense of the other.

Comics' reception as literature and the subjugation of the image

[Para. 1] Scholars disagree on how comics should be defined in relation to other media. Some, such as Barbara Postema, assert that comics are representative of a medium featuring unique formatting and iconography that sits outside the traditional considerations of art and literature. The counter-point, as proposed by individuals such as Thierry Groensteen, is that comics are a hybrid or mixed medium, representing the combination of the written word and fine art working in conjunction to convey different perspectives within a single narrative. Historically, comics have been rejected by both fine art and literary communities due to their failure to conform to the standards presented in either discipline. However, due in large part to the narrative elements of the prose present in a comic text, comics settled primarily in the domain of literary consideration, albeit with some negative critique initially directed at the content and marketing that popularized the medium. Once considered rudimentary writing supported by gimmicky illustrations, the ongoing discourse concerning their status as either a unique medium or hybrid media has coincided with comics gaining academic merit in recent years. One of the issues that complicates this debate is whether the text and image in comics to be given equal consideration when determining the function of a comic narrative, as “one of the significant consequences of the literary turn in the study of comics has been the tendency to drive attention away from comics as a form of visual culture” (Beaty, Comics vs. Art 18). Compounding this tendency is the suggestion that narrative is exclusive to the domain of literary prose. Comics’ inclusion of sequential art challenges literary tradition through the levels of signification applied to formatting, such as “the image, the layout, the sequence, word-image combination, and finally narrative” (Postema 105). Historically, the use of image in comics has been condemned for lowering the literary quality of the narrative through claims made by critics such as Fredric Wertham that will be explored at length throughout this paper. The assertion that image in comics had no narrative value was compiled with the art actively rejected by the “fine” art community as failing to attain the level of “high” art. This has led to the devaluing of the image and its influence on narrative in comics, as “comic[s], [as] many critics will tell you, are not art” (Beaty, Comics vs. Art 18). Instead, comics have stood in opposition to art: “largely ignored by critics and art historians, and consequently disdainful of the interests of those groups, comics have long levelled in their lowbrow, badboy image” (Beaty, Comics vs. Art 19). Without the support of the artistic community to help establish a standard of critical approach, the comics industry evolved to place more emphasis on the literary element, as seen in the rise of the 'graphic novel' as a legitimating label for rebranding of the medium. Although scholars and critics such as Barbara Postema, Bart Beaty, and Scott McCloud recognize the importance of the image when critiquing narrative, the tendency to emphasize the writer over the artist as primary contributor of narrative value to a comics work has put the image and text of comics in separate categories, causing one to rise at the expense of the other.

SEMIOTICA DEGLI AFFETTI E MANIFESTAZIONI FISICHE NEI TESTI MEDICO-FILOSOFICI DI HALLE

In the mid-eighteenth century in Halle the so-called doctors-philosophers tried to develop a scientifically-based map of emotions, which included their causes and their manifestations on the body. Thanks to their scientific rigour, to the literary quality of those studies and to the growing circulation of the journals of the time – above all Unzer’s famous Der Arzt – the subject was so popular that it became central in the debate on physiognomy and pathognomics which was so vivid in the second half of the century. These theories had a powerful import on literature, contributing to the birth of the new ‘character’ in novels as different from the traditional and stereotypical sense of the term as ‘temper’ or ‘nature’. In the field of aesthetics, the effect of these studies had important repercussions on Winckelmann’s revolutionary theories related to the representation and interpretation of emotions in art.

Cognitive Algorithms for Learning Foreign Languages: Psycholinguistics Approach

The relevance of the undertaken research consists in considering psycholinguistics an interdisciplinary field, which studies the interrelation between mind and language. It is important to perceive learning foreign language as an act of cognition, experience, and creativity in the psycholinguistic aspect of studying. Psycholinguistics concerns with the study of the cognitive process that supports the acquisition and use of language. The purpose of the paper is to reveal the importance of psycholinguistics approach and cognitive science for learning a foreign language in the context of psycholinguistic approach and cognitive methods for learning second language, based on achievements of the “Scientific School of A.V. Khutorsky”. Methodology is of an overview-analytical nature with an attempt to apply cognitive techniques to learning. Our observations on the psycholinguistic approach and the cognitive methods are based on the “Myth of Niels Bohr and the barometer question” by Alexander Calandra. Results. The analysis made it possible to determine how the logic of reflections has been explored from the lens of psycholinguistics and how the range of cognitive methods can be enlisted to learn a foreign language. It turns next to an overview of cognitive techniques used in psycholinguistics as applied to study. The verbal presentation of the idea is not only a form of compressed thought or interactive, creative cognition, but it also has a literary quality and makes use of a range of devices in a way. In the article, the solution formation reflects the features of transforming mental representations about the multidimensional space of life. Conclusions. According to the research, the paper concludes that cognitive methods are the ability to create judgments that are paradoxical in form and deep in content, perceived as deviating from the norm, and humor also presupposes the presence of the inverse ability to perceive such judgments in their entirety and depth and emotional brightness.

Developing Christology in the Javanese farmer communities

Christology is the effort to find the answer on Christ illustration of human life which always experiences a development. Christology should build based on the inter-textual and intercultural. With noticing the cultural context, so Christology can develop itself widely and always up to date, the literary quality aimed to find the dynamics of the development of Christology in the Javanese farmer community context. The Research obtains the important findings about Christology. Learn from Christological thinking which always develops according to the times, it might be developed the Christological thinking in the Javanese farmer communities’ context. The myth regarding Dewi Sri (and Sadono) and Ratu Adil, which has become ingrained in the Javanese farmer community, can be appointed the development of a distinctive Christology for Javanese farmer community. The developed Christology should describe that Christ as the incarnate form of Allah can be found in the realm of agriculture. Christ presents in nature (Panentheism) becomes increasingly context for Javanese farmer community, Christology which emphasize Jesus as incarnation form, Jesus is the compassion of God, Jesus is the political act of God's love which experienced by Javanese farmer community. This finding has benefit for the efforts to develop the Church in the context of agricultural society in Java.

Walter Benjamin and Erich Kästner. The Story of Two Moralists

The article focuses on the life and work of two German intellectuals, the philosopher Walter Benjamin and the writer Erich Kästner, who played a prominent role in the cultural life of Berlin in the 1920s. The idea of a comparative analysis of these two figures was prompted by Kästner’s novel Fabian. The Story of a Moralist. This novel is of interest due to its high literary quality, on the one hand, and the authenticity of the representation of the Weimar Republic on the other, which allows us to consider Kästner’s book as a document of the era. According to German researchers, the main characters of the novel have real-life prototypes, namely the author himself and the famous philosopher Walter Benjamin. This idea is developed and reinforced in the article. Therefore, the article parallels draws parallels between biographical facts and plot devices while reconstructing the context of the novel’s creation and highlighting events that occurred after its appearance. Based on this analysis, we argue that the key characters represent two ways of ethical existence in a society where moral values are negated by cynical reason. Thus, involving Benjamin’s philosophical theories, as well as Kästner’s war diaries, we outline the background of the debate on moral priorities that takes place in the pages of the novel.