Landscape in Theory. The Unexpected Virtue of Archaeological Approach

This contribution offers a perspective on the intimate link that is established between theory, practice and results in the field of contemporary Landscape Archeology. With particular reference to the Anglo-Saxon and Mediterranean academic tradition, the discourse aims to investigate the specific way in which the adoption of broad categories and methodological procedures is key to reading the real and ideal Landscape. This analysis highlights how the many different interpretations of the Landscape represent the reflection of the type of questions pertaining to the context of a specific cultural background. I will pay particular attention to the phenomenological approach that seems to cannibalize the debate. Ultimately, I argues for a vision of landscape as a place of asymmetrical relations between human and non-human that cannot be done justice from too strong a phenomenological or materialistic perspective. Even the neo-materialistic collapse of subject and object must be tempered by this idea of ‘asymmetry,’ in which a landscape beyond the human must be accounted for. It is in this framework that I must consider time and space not only as contextual coordinates but as articulations of one another, with time structuring to one and space giving form to the other. All of this is done ‘in/with/from the landscape’; the landscape is neither solely setting nor actor but can be thought of both as a language, a field in which all resides and of which all is composed, and the sign, the contextual manifestations of this field constantly invoking and at play with the whole, a whole that can never be disassociated from its concretization. A new heuristic tool for investigating landscapes will also be proposed.

LEONID ANDREYEV’S AND PÄR LAGERKVIST’S WORKS IN THE CONTEXT OF EXPRESSIONISM: THE PROBLEM STATEMENT

The article substantiates the classification of the creative methods of Leonid Andreyev (1871-1917) and Pär Lagerkvist (1891-1974) as expressionistic. Expressionism was the leading art and literature direction in the early XX century. The authors trace back the Russian and foreign academic tradition of viewing certain periods of these writers’ creative career as expressionistic. This tradition is based on some of the characteristics present in their works, such as heightened expression, one-dimensional characters, static scenes, grotesque forms, colour contrasts, the depiction of a chaotic world, and a nervous and alienated person within it. The authors come to the conclusion that the expressionist works of Leonid Andreyev and Pär Lagerkvist can be most effectively compared by employing the historical typological method developed by Victor Zhirmunsky.

An Intellectual on a Mission: Abdullah Jalal Fatah, his dissertation on Kurdish culture (1978) and heritage making inspired by Józef Chałasiński and Polish academia

The paper presents a previously unknown doctoral dissertation prepared in the 1970s in Polish by Abdullah Jalal Fatah under the guidance of Polish sociologist Józef Chałasiński. The thesis, entitled ‘Development and Dissemination of the Kurdish Culture in Iraq’, bears the mark of communist ideology but also of Polish heritagisation, in which culture and intellectuals became an important driving force in the process of nation-building and in seeking international recognition. Following David C. Harvey’s definition of heritage, and focusing primarily on its intangible aspects, we suggest that Fatah’s thesis can be read today as an interesting document of Kurdish heritage-making inspired by Polish experience and academic tradition. Abstract in Kurmanji Rewşenbîrekî bi peywir: Evdila Celal Fetah, teza wî ya li ser çanda kurdî (1978) û mîratsazkirina bi îlhama Yuzêf Xalasînskî û akademisyenên polonî Ev nivîsar tezeke doktorayê ya nenas pêşkêşî xwendevanan dike ku di salên 1970î de, ji hêla Evdila Celal Fetah ve û bi çavdêriya civaknasê polonî Yuzêf Xalasînskî, bi polonî hat nivîsandin. Di bin navê ‘Pêşketin û belavbûna çanda kurdî li Iraqê’ de, ev tez nîşanên bandora îdeolojiya komunîst di xwe de vedihewîne, digel mîratsaziya polonî ya ku çand û rewşenbîr tê de rola hêzeke çalakger û bingehîn dileyizin di pêvajoya netewesazkirin û pesenda navneteweyî de. Li gorî pênaseya mîratê ya David C. Harvey, ku bi taybetî li ser aliyên wê yên neguherbar radiweste, em pêşniyazî vê yekê dikin ku teza Fetah wek belgeyeke balkêş a mîratsazkirina kurdî bi îlhama tecrube û adeta akademîk ên polonî bê xwendin. Abstract in Sorani Rewşenbîrêk be peyamêkewe: ‘Ebdullah Celal Fetah, doktoranamekey le ser keltûrî kurdî (1978) û kelepûrsazî le jêr karîgerî Yuzêf Xallasînskî û ekadimyay pollend de Em nûsîne basî le doktoraname nenasrawekey ‘Ebdullah Celal Fetah dekat ke le sallekanî 1970 da be zimanî pollendî û be serpereştî komellnasî pollendî Yuzêf Xalasînskî bû. Nawnîşanî doktoranameke, ‘Geşesendin û bellawbûney keltûrî kurdî le ‘Êraq’, karîgerî aydyolojyay komînîzim û kelepûrî pollendî le ser diyar e. Têda keltûr û roşnbîran bûn be hêzêkî cullêner bo prosey nîştîmansazî û danpyananî nêwdewlletî. Bepişbestin be pênasey kelepûrî Devîd Harvî we be giringîdan be layene bercestenekrawekanî, pişnyardekeyn ke doktoranamekey nawbraw le êsta da babetêkî benirx debêt leser kelepûrsazî le jêr karîgerî ezmûnî ekadîmyay Pollenda de. Abstract in Zazaki Roşnvîrêko bimîsyon: Ebdullah Celal Fatah, bi îlhamê Józef Chałasińskî akademîsyenanê Polonya tezê ey ê doktora derheqê kulturê kurdan (1978) û mîrasviraştoxîye de No nuşte tezê doktora ke verê cû nêamebî zanayene û 1970an de binê rayberîya sosyologê polonî Józef Chałasińskî de hetê Ebdullah Celal Fatahî ra bi ziwanê polonkî ameyo nuştene, ey pêşkêş keno. Tezê bi sernuşteyê “Îraq de Averşîyayîş û Vilabîyayîşê Kulturê Kurdan” hem wayîrê nîşanê îdeolojîya komunîstan o hem kî yê mîrassazîya polonan o ke tede kultur û roşnîvîrî benê hêzê averşîyayîşî yo muhîm seba prosesê neteweviraştişî û girewtişê tesdiqê mîyanneteweyî. Goreyê tarîfê mîrasî yê Davîd C. Harveyî û bi giranîya hetanê ci yê nemadîyan ser o, ma pêşnîyaz kenîme ke tezê Fatahî yo ke hetê tecrube û edetanê akedemîsyananê polonan ra îlham girewto, ewro sey belgeyê mîrasviraştoxîya kurdan o balkêş bêro wendene.

Broken Ship, Dead Ship

While we think of ships as transporters and connectors, once they break, they become forgotten rejectamenta, removed from the human-social sphere. And yet archaeologists go to great lengths to reinstate their ‘authentic’ sociocultural statuses. This chapter identifies the longstanding metaphorical connections between ships and bodies and the religious associations of bodily failure and fragmentation as the driving forces behind archaeological resurrection. Because the Western academic tradition has developed alongside Early Modern Christian theology, and because archaeology developed out of its defense, there appear to be latent theological motivations behind the ways that nautical archaeologists approach wreckage, especially when located underwater. The sixteenth-century Yarmouth Roads Protected Wreck, of presumed Spanish origin located in English waters, helps flesh out arguments against exhumation.

USING FILMS AT THE LESSONS OF ENGLISH TO EXPAND STUDENTS’ VOCABULARY (LIVING AND DEAD WORDS IN THE FILM “DEAD POETS SOCIETY”)

The article discusses the use of the authentic film at the lessons of English to expand the vocabulary of students. Working with the vocabulary of the feature film "Dead Poets Society" allows to see the possibilities of using each of the three functional styles - official, scientific and poetic styles. Lexical analysis of the speech of the main characters of the film - the official and scientific language of the director and teachers of the school and the poetic language of the teacher of literature Keating - helps to reveal the character of each personage. Particular attention is paid to Latinisms in the speech of teachers, as an element of the academic tradition in European culture, as well as the language of fiction prose and poetry, which is included in the film through quoting poems by romantic poets. Contrasting the dry, "dead" language of the director and his supporters and Keating's "living word" creates dramatic tension and helps to better understand the essence of the depicted conflict. As a consolidation of the studied vocabulary, written creative work is proposed, expanding not only the lexical reserve, but also the general cultural training of students.

«THE LANGUAGE OF CLOTHES» IN THE ARTISTIC WORLD OF SEMUEL RICHARDSON’S NOVEL «PAMELA»

The article contains the review of researchers’ opinions about the poetological function of a suit detail in Semuel Richardson’s «Pamela». The theme of clothes in the text attracts the researchers of academic tradition, which estimate a suit detail as a resource of deepening of characters, complication of a plot line of the novel. Feminist literary criticism turns to the wide sociocultural understanding of the problem. Leaning on the category of gender, femininity, masculinity, attracts attention of readers and critics to the new substantive aspects: complications of existence of a woman in the masculine world, where power belongs to the men, as well as the description of a model of conduct in a family, the meaning of Christian values that form the ideal of “the Angel in the House”. Its origin is connected with the emergence of “domesticity” concept in the English culture of the XVIII – XIXth centuries.

Polystylism in the context of Postmodern Music. Alfred Schnittke’s Concerti Grossi

One of the multiple orientations of the musical postmodernism is polystylism – a concept used and theorized by the Russian composer and musicologist Alfred Schnittke. He identified its specific techniques in previous academic tradition and organized its principles by writing many essays, papers and by applying these compositional methods in his own work. The approach of polystylism offers the opportunity to observe artistic phenomena in a synthetic perspective and to understand the compositional methods by which tradition is still revalued in some directions of the postmodern period. This paper deals with the problems encountered in the research on this subject, the lack of this term in the dictionaries, the political and cultural context when polystylism was introduced, the tendency to consider unorganized and unoriginal those works based on quotes, previous writing techniques and musical languages, traditional genres or structures and therefore, the perception of some musicians to underestimate Schnittke’s talent and mastery as a composer.