LIRSKA PARADIGMA NJEGOŠEVOG DJELA GORSKI VIJENAC THE LYRICAL PARADIGM OF NJEGOŠ'S LITERARY WORK THE MOUNTAIN WREATH

For many researchers who deal with the domain of literary and theoretical thought the lyrical component of Njegoš's literary work The Mountain Wreath is interesting for a number of reasons. Naimely, the epoch of Romanticism created the predomination of lyric poetry as a type of poetry which became a concept and a criterion of one's creative endeavor. However, it was in the period of Romanticism that Njegoš decided to create a dramatic epic, but with recognisable lyrical qualities. The elements of lyrisation are highly pointed out in the literary work and have the purposeful function – to highlight the emotionality of certain individuals, the members of heroic community, to represent the relation toward a woman and her presentation as well as her beauty as a specific cultural layer but also to contribute to the comprehension of folkloristic features through the prism which is more subtle than epic and more poetically concrete than dramatic. Therefore, the lyrical places in The Mountain Wreath present broader, typological and cultural spread given throughout the scenes of the ''kolo'', descriptions of the beauty of woman, the dream of Vuk Mandušić but also through the lyrical and sacral, sometimes even humoristic (depending on the purpose and aim) relation towards weapons, beliefs, poems, ''gusle'', other cultures, jokes, dreams and future.

MASTERS OF THE SPOKEN WORD OF RUSSIA’S UGRIC- SAMOYEDIC PEOPLES: ETHNIC PROJECTS, TRADITIONALISM, REGIONAL CONTEXT

The article systematically defines and analyzes the project initiatives by the masters of the spoken word among three generations of the Mansi, Nents, and Khanty peoples. The first generation includes those born in the 1910s (Ivan Istomin — Nenets; Anna Konkova — Mansi; Taisiya Chuchelina — Khanty), the second one — those born in the 1930s (Yuvan Shestalov and Andrey Tarkhanov — Mansi; Leonid Laptsuy — Nenets; Mariya Vagatova and Roman Rugin — Khanty), and the third one — those born at the turn of the 1940s–1950s (Anna Nerkagi and Yuriy Vella — Nenets; Yeremey Aypin — Khanty). The authors of the article describe motivational environment for the creative endeavor of the spiritual leaders of indigenous minorities within the historical and cultural dynamics of the region they are biographically related to. In addition, the semiotic foundations of syncretism and traditionalism of the ethnosubjects’ fiction are presented in all the diversity of their written and action projects. This article indicates the transformation in the identities of the masters of the spoken word during the country’s transition from the Soviet to the post-Soviet experience, as well as difficulties and nature of their presence in writers’ associations among Russian authors. Along the historical axis, one can see growing creative endeavor, initiative, and national identity of the representatives of the indigenous minorities of the northern regions. The authors of the article consider Ugric-Samoyedic writers’ experience within the framework of contemporary understanding of historical poetics of Russian philology.

Conclusion

After considering oral history and memory in the context of the Oxford Group study, this chapter summarizes the content of the book, relating the Oxford Group case study to the theoretical framework outlined in the introduction. It confirms that the solitary genius model of creative endeavor is not, for the most part, supported. That is, the work produced by members of the Oxford Group, and Singer’s in particular, was the product of collaboration. The Oxford Group had many of the characteristics of a collaborative circle as identified by Farrell. However, some nuances of this particular collaborative circle are identified. In addition, some challenges to the model as an explanatory device are raised. Collaborative circles do not exist in isolation, and account needs to be taken of wider social networks, the academic environment to which, Singer in particular, was exposed, and the prevailing social, economic, and political environment.

Contextualizing the Disagreement of Intellectual Property Rights and Open Innovation Systems in Realizing the Goal of Innovation Society in India

Innovation has always been the creative endeavor throughout the history of human civilization. With the inception of intellectual property rights (IPR) to protect the innovations almost 500 years back, the free flow of knowledge was obstructed, and further advancement of knowledge is somehow stunted. Emerging open innovation system with the sharing of knowledge beyond geographical boundaries has opened a new door to many possibilities. India, with her vast pool of scientists and engineers, can become an innovation society with a judicious combination of IP and open innovation systems. This chapter seeks to contextualize the trajectory evolves due to philosophical conflict that arises among intellectual property rights (IPR), open innovation systems, innovation society formation in India. It inquires to find a realistic sustainable path.

The Scientific Imagination

Science is both a creative endeavor and a highly regimented one. It involves surprising, sometimes unthinkably novel ideas, along with meticulous exploration and the careful exclusion of alternatives. At the heart of this productive tension stands a human capacity typically called “the imagination”: our ability, indeed our inclination, to think up new ideas, situations, and scenarios and to explore their contents and consequences in the mind’s eye. This volume explores our capacity to imagine and its implications for the philosophy and practice of science. One central aim is to integrate philosophical and psychological philosophical viewpoints and to assess central questions both empirically and theoretically. Such questions include the roles of models, metaphors, and thought experiments; the correct way to understand scientific fictions; the development of imaginative capacities; and the connection between the imagination and scientific practices such as abstraction, idealization, and counterfactual reasoning.

Introduction

Science is both a creative endeavor and a highly regimented one. It involves surprising, sometimes unthinkably novel ideas, along with meticulous exploration and the careful exclusion of alternatives. At the heart of this productive tension stands a human capacity typically called “the imagination”: our ability, indeed our inclination, to think up new ideas, situations, and scenarios and to explore their contents and consequences in the mind’s eye. The volume explores our capacity to imagine and its implications for our understanding of science and its practice, from both psychological and philosophical viewpoints. This introduction surveys key questions and issues discussed in the volume and provides summaries of the various chapters.

The End of the Poem

This chapter assesses the end of Horace's Ars Poetica. In considering the poem's final lines, the chapter returns to its opening ones, showing how they are linked through a concern with the visual and with making and creating in numerous manifestations. It proposes that the Ars Poetica be read as an ars poiētikē, art of creating, for Horace's interests lie in the overlap of all human pursuits. The source of Latin poetica—and with it “poet,” “poem,” and “poetry”—the Greek verb poiein is rather more wide ranging in its senses, encompassing “make, produce, bring into existence, cause, and do,” that is, making and creating in a multitude of forms. In addition, in concluding the Ars Poetica by indulging himself in a flight of the sublime, Horace ends the poem's conversation on creative endeavor by revealing definitively his superior and unmatchable mastery of the literary art.

God’s Playthings: Eugen Fink’s Phenomenology of Religion in Play as Symbol of the World

Although Eugen Fink often reflected upon the role religion, these reflections are yet to be addressed in secondary literature in any substantive sense. For Fink, religion is to be understood in relation to “play,” which is a metaphor for how the world presents itself. Religion is a non-repetitive, and entirely creative endeavor or “symbol” that is not achieved through work and toil, or through evaluation or power, but rather, through his idea of play and “cult” as the imaginative distanciation from a predictable lifeworld. This paper describes Fink’s understanding of religion and its most relevant aspects found in Spiel als Weltsymbol. The paper is organized into five sections—1: An introduction to his phenomenological approach in general, and description of the role of “play”; 2: investigations into the relation between play and world; 3: a description of his phenomenology of religion; 4: engagements in the idea of cult-play and the sacred sphere, and 5: reflection on his idea of the play of God.

In Your Dreams

Chapter Four features the cartoon-character-turned-comic-book-star Little Audrey.Appearing in her first issue in 1948, the spunky little character would become one of the most beloved and most widely recognized personalities in comics over the next quarter of a century.While the Little Audrey comic books were a wholly separate commercial and creative endeavor from cartoon movie shorts, they retained one powerful link to the version on the big screen:the title character's penchant for dreaming.In numerous issues of the comic book, Little Audrey falls asleep and embarks on an imaginative adventure that constitutes the bulk of the storyline.This chapter places the Little Audrey comic books in general and the dream sequences that occur within them in particular back within their original postwar setting that was fascinated with Freudian psychology.As this discussion contends, these features do far more than simply expand the postwar reach of pop psychology.In an arguably even more important implication, they also challenge the era's prevailing views about child psychology.Accordingly, this chapter explores what Freudian theory can reveal about the dream sequences in Little Audrey and, in turn, what the series' traffic in postwar psychoanalysis can tell us about the role that comics storytelling for young people played in efforts to question, resist, and challenge this climate.

Franz Kafka’s Novel der Prozess (The Trial) As A Novel About Creative Endeavor, Choice and Faith

In this article, the author discusses the topic of adequate interpretation of F. Kafka’s novel The Trial, one of the most well-known works of literature of the early 20th century, this topic being very relevant for contemporary literature studies. The introduction states the purpose of the article, and points out that the theme of creative pursuits, which is touched upon in the writer’s diaries and letters, is one of the main topics that help understand the environment in which the novel was created. The principal part of the paper reveals approaches used to analyze the novel. Additionally, the article discusses records from the writer’s diary and letters; shows the direct link between the works and the biography of the Prague writer. The article presumes that the novel models a real-life situation. It argues S. Kierkegaard had an impact on F. Kafka’s writing, and uncovers a link between works of the Danish philosopher and the emergence of the novel. Moreover, the paper draws a conclusion on the role that F. Kafka’s lover, F. Bauer, played in creating The Trial, proposes a possible plot of the novel and summarizes observations on the work. In conclusion, the article speaks about the results of the “modeling” that F. Kafka obtained, and about the influence of that novel and S. Kierkegaard’s ideas on the latter part of the Prague writer’s career.