cyclical time
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2021 ◽  
Vol 22 (1) ◽  
pp. 100-106
Author(s):  
Thomas Kemple

Rather than refuting or challenging the claims by Baert, Morgan, and Ushiyama to originality, the objective of this commentary is to flesh out “existence theory” by extending its repertoire of examples and by expanding on its classical and philosophical sources. Drawing on precedents in canonical statements by Vico, Weber, Durkheim, Simmel, and Marx, this response poses questions about the model’s implied assumption of a time-line that traces a “straight” path from the past to the present and future by invoking the alternative imagery of a circular history, cyclical time, or “queer” life course. To support this argument, contemporary queer theories are invoked to supplement the concept-metaphor of “existential milestones” with that of “existential cornerstones,” which do not always suggest that human development follows a single path or a binding timeline. The civil institutions of religion, marriage, and burial, as discussed by both classical sociologists and queer theorists, for instance, may be defined by a sense of necessity and inevitability but also by contingency and coincidence.


2021 ◽  
pp. 322-340
Author(s):  
Mercedes López-Baralt

One Hundred Years of Solitude has frequently been approached from a historical perspective, focusing on the colonial imprint in Latin America’s destiny. Yet in his Nobel Prize acceptance speech, García Márquez made it clear that he wished to be remembered for the poetry that permeates his writing. This article is inspired by this assertion, as well as by a quote from Ernesto Sabato, who claims that for philosophers and artists, myth and poetry are keys to access the Absolute: truth, beauty, and perfection. Taking into account the few previous attempts to pursue these motifs in the novel, the article undertakes a search of the traces of both myth and poetry in García Márquez’s opera magna. The faces of myth are many: Oedipus, prophecies, magic, utopia, the mandala of the tree of life, cyclical time, alchemy, one-dimensional characters (actants), genesis, and apocalypse. On the other hand, poems and metaphors are ever present in the novel. This search led to a new reading of One Hundred Years of Solitude, discovering García Márquez’ celebration of ambiguity. For the novel’s conclusion moves the reader to two opposing interpretations: apocalypse (the destruction of Macondo and the solitary Buendía dynasty) and hope (solidarity in a new mankind). The possibility of clashing readings confirms Italo Calvino’s definition of a classic as a book that never finishes saying what it has to say.


2021 ◽  
Vol 71 (2) ◽  
pp. 219-241
Author(s):  
Nachiket Chanchani

Abstract The focus of this essay is a spectacular scroll in the British Museum's collections that has been neither exhibited nor published since its acquisition. Perhaps that is because several fundamental questions about it remain unanswered: Where and when was it made? Who made it, and for whom? What purpose and meaning did it have for the first people who saw it and those who subsequently came into contact with it? In this essay, I begin to address these elementary questions. I establish that this eleven-foot-long scroll was created in Mewar in western India in 1769, and that since then it has cleaved many realms. Those realms include art and devotion, text and textile, astral science and genealogy, classical epics and vernacular histories, and cyclical time and linear time. I then postulate that understanding this short scroll's ability to nimbly separate and join those realms can help us critically appreciate the forms, layouts, and functions of two other contemporaneous cloth scrolls from the same region that are considerably longer and also have received sparse scholarly attention. Ultimately, I show how micro studies of scrolls and scrolling practices can allow us to understand forms of knowledge in Mewar on the eve of British colonialism, and to participate in challenging certain perceptions of the region's past that remain inflected by James Tod's writings nearly two hundred years after their publication.


2021 ◽  
pp. 217-236
Author(s):  
Thomas Fuchs

While linear time results from the measurement of physical events, the temporality of life is characterized by cyclical processes, which also manifest themselves in bodily experience. This applies for the periodicity of heartbeat, respiration, sleep–wake cycle, or circadian hormone secretion, among others. Cyclical repetitions are also found in the recurring phases of need, drive, and satisfaction. Finally, the cyclical structure of bodily time manifests itself at an extended level in the form of body memory. However, this cyclical structure of lived time comes into tension with the orders of linear time which have been increasingly established in Western societies since the modern age. This tension creates both individual as well as societal conflicts and may also result in psychopathological phenomena such as depression and burn-out syndromes.


2021 ◽  
Vol 9 (16) ◽  
pp. 130-152
Author(s):  
Mónica Barrientos

Nona Fernández's work has been catalogued within what is known as the "generation of the children" to refer to those narrations by authors who were children during the Chilean dictatorship. The work of the Chilean writer Nona Fernández will be analyzed to understand how the writing process, its relationship with the event and the processes of subjectivation of the characters, from a narrative perspective towards the autobiographical and autofictional genres, have been crossed by fiction to question the constructed certainties and the failures of memory. We will focus mainly on two works which have a thread of narratological and historical continuity, such as Space Invader (2013) and La dimensión desconocida (2016). Both works are related by the terrible events that happened during the Chilean dictatorship. Everything narrated in a cyclical time, like an unknown dimension, living in the present the horrors that we thought were past.


Religions ◽  
2021 ◽  
Vol 12 (7) ◽  
pp. 461
Author(s):  
Svetlana Efimova

This article offers a new interpretation of Boris Pasternak’s novel Doctor Zhivago in the cultural and historical context of the first half of the 20th century, with an emphasis on the interrelationship between religion and philosophy of history in the text. Doctor Zhivago is analysed as a condensed representation of a religious conception of Russian history between 1901 and 1953 and as a cyclical repetition of the Easter narrative. This bipartite narrative consists of the Passion and Resurrection of Christ as symbols of violence and renewal (liberation). The novel cycles through this narrative several times, symbolically connecting the ‘Easter’ revolution (March 1917) and the Thaw (the spring of 1953). The sources of Pasternak’s Easter narrative include the Gospels, Leo Tolstoy’s philosophy of history and pre-Christian mythology. The model of cyclical time in the novel brings together the sacred, natural and historical cycles. This concept of a cyclical renewal of life differs from the linear temporality of the Apocalypse as an expectation of the end of history.


2020 ◽  
Vol 2020 (4) ◽  
pp. 158-168
Author(s):  
Sergey A. Khomyakov

The article examines the specificity of the artistic time and space of V. Borisov’s poetry «Shortening the parting» (2018). The purpose of the study is to identify the features of the spatio-temporal organization and semantics of the frame elements. During the research, textological and hermeneutic methods were implied. The book’s architectonics is based on the opposition of spatial and temporal forms. Such a construction is directly related to the semantics of poetry and the formation of a certain picture of the world of Borisov, whose lyrical character overcomes loneliness. The name of each poem is not only a reference to a specific source, but also a «key» important for understanding the underlying meaning (an indication of a fact or event). Seven color illustrations introduced into the collection make it possible to combine two types of art, and the poet to make his poems «visible» and create a chronicle of the main events. Contrasting in the collection near and far (city and village), closed and open (room and street) spaces, both in texts and in illustrations, V. Borisov focuses on the feelings the protagonist experiences when he is forced to gradually overcome loneliness. The season depicted in the figures is summer, the semantics and images of which appear throughout the collection and which is often contrasted with winter paintings. The main topos, where events unfold, appears to be Moscow as a city that “absorbed” the features of Dostoevsky’s Petersburg. The space of the capital appears as an alien to the lyrical character, who is forced to «wade through traffic, advertising, movie trailers.» Physical or cyclical time is either stated specifically («today»), or is present in allegorical images with accompanying motives. The effect of «slowed down» time can be achieved not only by the lack of indication of dates, but also by attachment to generally accepted or national events. Various spatial and temporal forms are presented in the book of poems «Shortening the Parting» by V. Borisov, which testifies to the complex organization of the collection and the author’s intention.


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