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1
Sathotho, Surya Farid. "ABSURDITY IN PUTU WIJAYA’S SHORT PLAY." TONIL: Jurnal Kajian Sastra, Teater dan Sinema 18, no. 2 (2021): 76–82. http://dx.doi.org/10.24821/tnl.v18i2.4458.
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Short play known as Drama Pendek (Drapen) is the latest form of Putu Wijaya's work. The play only ranges from two to twelve pages. From the number of pages, it is assumed that the drapen performance will only last five to ten minutes. Although only a short duration, Putu Wijaya is consistent with the aesthetic concept of terror. This concept, if traced further, is a derivative of the concept of the theater of the absurd. To see the possibility of performing the drapen, an analysis of the structure and texture of randomly selected drapes will be carried out. The analysis is carried out with a theoretical approach that sees the terror in the structure and texture in a drafted text. It is hoped that the results will show whether the short play meets the rules of dramaturgy to be performed on stage Key words: Short play, Theater of the Absurd, Putu Wijaya
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Ciocoi-Pop, Miruna, and Emilian Tîrban. "Absurdity in Ernest Hemingway’s The Sun Also Rises." East-West Cultural Passage 19, no. 2 (2019): 159–74. http://dx.doi.org/10.2478/ewcp-2019-0017.
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Abstract The purpose of this essay is to capture and convey, through the use of different works of philosophy that encapsulate thoughts on the same idea, the motif of the absurdity of life in Ernest Hemingway’s first novel The Sun Also Rises. The concept of the absurd will be, first and foremost, examined through absurdist criticism of the novel, using the philosophical thought of Albert Camus, Soren Kierkegaard, Friedrich Nietzsche and other philosophers who captured the essence of the absurd in their philosophy, all in order to represent this concept in Hemingway’s novel and to show how it truly manifests itself upon some of the most important characters’ psychology and their actions, portrayed throughout the three parts of the book. Mention will be made of the concept of “Lost generation” as it is the cornerstone to understanding, firstly, the characters’ background and current psychological status and the effects that the war had on an entire generation, leading them to an unwilling search for meaning in what this essay strives to present as a meaningless life.
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Kiyanskaya, O. I., and D. M. Feldman. "The pragmatics of absurdity." Voprosy literatury, no. 5 (November 9, 2019): 108–37. http://dx.doi.org/10.31425/0042-8795-2019-5-108-137.
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The analysis is focused on the pragmatics of V. Lenin’s articles ‘Party Organization and Party Literature’ [‘Partiynaya organizatsia i partiynaya literatura’] (1905) and ‘How to Ensure Success of the Constituent Assembly (on freedom of the press)’ [‘Kak obespechit uspekh Uchreditelnogo sobraniya (o svobode pechati)’] (1917). Foreign and Russian scholars alike considered the two works as components of the concept of Socialist state literature and journalism, conceived before the Soviet era. Based on examination of the political context, this work proves that Lenin was driven to write the articles by his fight for leadership in RSDRP. In 1905, Lenin obtained control over Novaya Zhizn, the newspaper under M. Gorky’s editorship, and insisted that opponents had to follow his censorship guidelines: the press had to become a propaganda tool rather than a source of income. Twelve years on, Lenin’s principles still reigned.
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Fahmi, Ari Khairurrijal. "ABSURDITAS ALBERT CAMUS DALAM NOVEL TERJEMAHAN KARYA ZURIYATI MENCARI PEREMPUAN YANG HILANG." Hortatori : Jurnal Pendidikan Bahasa dan Sastra Indonesia 3, no. 2 (2020): 81–90. http://dx.doi.org/10.30998/jh.v3i2.219.
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Abstract: The aim of this study is to describe depthly about an Albert Camus Absurdity in a translation novel by Prof Zuriyati "Mencari Perempuan yang Hilang". The focus of this research is an expressions and words in the novel which have elements of life uncertainty, feelings of turmoil, and death in Albert Camus's concept. This study uses the Content Analysis method with expressions in the form of sentences as data derived from the novel book " Mencari Perempuan yang Hilang " as a data source. The researcher noted several patterns of expressions found in the novel in the form of uncertainty in life, fluctuations in feelings, to feelings of desire to commit suicide which are manifestations of albert camus's absurdity in real life. Key Words: (Absurdity; Albert Camus; Novel; Mencari Perempuan yang hilang).
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Dacko, D. "Analysis of the interpretation field of the CORONAVIRUS concept in German-language poetic Internet texts." Scientific Research and Development. Modern Communication Studies 9, no. 6 (2020): 18–22. http://dx.doi.org/10.12737/2587-9103-2020-18-22.
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Classical concepts LEBEN (LIFE), TOD (DEATH), LIEBE (LOVE), NATUR (NATURE) as well as representations from other fields: religion (АPOKALYPSE, ARMAGEDDON), domestic life (ALLTAG (EVERYDAY LIFE), FAMILIENKRISE (FAMILY CRISIS), economics and politics (FINANZKRISE (FINANCIAL CRISIS), sport (FUßBALL (FOOTBALL), SPORT, DOPING (PERFORMANCE-ENHANCING DRUG), philosophy (ABSURDITÄT DES MENSCHLICHEN LEBENS (ABSURDITY OF HUMAN EXISTENCE) are explicated within the context of the German poetry discourse of the XXI century. However in 2020 due to the spread of coronavirus infection, which had an impact on world society, it becomes relevant to consider the methods of the CORONAVIRUS concept implementation in the context of German poetry Internet discourse of the XXI century. 
 Special attention focuses on three main groups of poetic texts: a poem- appeal; a poem-advice; a poem that creates a positive attitude; a poem that creates a sense of anxiety, which raise this problem. In the texts under study, the main set of linguostylistic means has been identified that serve as ways of manifestation of the CORONAVIRUS concept: epithets, chains of negative-evaluative lexical items, metaphors, rhetorical questions. However, the prevailing means are imperative constructions that have an influential character.
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Barański, Jarosław, and Wojciech Mackiewicz. "Absurdity in Medicine. Stanisław Trzebiński’s Philosophy of Medicine." Kwartalnik Historii Nauki i Techniki, no. 1 (2021): 9–23. http://dx.doi.org/10.4467/0023589xkhnt.21.001.13385.
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Stanisław Trzebiński (1861–1930), professor at Stefan Batory University in Vilnius, was one of the most distinguished representatives of the Polish School of Philosophy of Medicine before the Second World War. He undertook studies in neurology, philosophy of medicine, and literature. The article explores Trzebiński’s philosophical ideas, especially his call for rationality in medicine and the concept of absurdity in medicine as a precondition for the development of medical knowledge and practice. Today this method is an essential background in Evidence-Based Medicine and confirms cultural and scientific forms of cognition.
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Lundberg, Randolph. "Velocity and absurdity in modern physics." Physics Essays 33, no. 2 (2020): 118–39. http://dx.doi.org/10.4006/0836-1398-33.2.118.
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When physicists write the variable v, they usually mean the velocity of an object in an inertial coordinate system, otherwise known as a reference frame. This is the most common velocity concept in modern physics. The velocity of an object in this sense depends on which inertial coordinate system one is working with. For example, an airplane in flight has a velocity of about 500 miles per hour in a coordinate system anchored in a nearby mountain, a velocity of more than 60 000 miles per hour in a coordinate system anchored in the sun, and a velocity of 0 in a coordinate system anchored in the airplane itself. The widely accepted idea that the ticking rate of a clock is a function of this type of clock velocity is absurd. It implies that a human analyst can control the ticking rates of physical clocks through the mental act of selecting a coordinate system. This is a nonsensical mingling of imagination with reality that is akin to believing that a movie character can jump out of your television set and take a seat in your living room. Despite this absurdity, the idea that a clock’s ticking rate depends on its velocity in an inertial coordinate system is a staple of modern physics. It is a pillar of Einstein’s special theory of relativity. It is central to the standard analysis of the so-called twin paradox. It underlies the predictions of Hafele and Keating concerning the ticking rates of clocks that travel in airplanes. Velocity absurdity of this sort flourishes today, and it may well continue to flourish for many years to come.
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Yasa, I. Nyoman. "DUNIA ABSURD DAN PERLAWANAN KELAS PADA DRAMA DAG-DIG-DUG KARYA PUTU WIJAYA." Lingua Didaktika: Jurnal Bahasa dan Pembelajaran Bahasa 3, no. 2 (2010): 136. http://dx.doi.org/10.24036/ld.v3i2.7374.
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Research on drama in Indonesia is an effort to apply and express the theory in Indonesia. Naturally a theory existence from research accumulation to applied skills. It is hoped that this research can accumulate the science, mainly drama. The term of absurd was used by Martin Esslin for kind of theater that used the failure of language as main of communication. Besides, this term is popularized by Eugene Ionesco. He is a writer of absurd theater. Many of his drama already translated and performed in Indonesia. The data that already collected is analyzed by using the concept of absurdity to reveal the absurdity in Dag-Dig-Dug drama. In other side, the concept of class from Karl Marx is used to comment the domination and class resistance that are taken from Dag-Dig-Dug drama. Dag-Dig-Dug shows the social problems, mainly domination and hegemony of powerful person toward proletarian people. The domination and hegemony are in form of physics and psychology.
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Makhamatov, Tair M., Valeriy S. Khaziyev, Timour T. Makhamatov, Radik Z. Yulbayev, and Lucio Giuliodori. "Existential aspects in modern education." SHS Web of Conferences 103 (2021): 01022. http://dx.doi.org/10.1051/shsconf/202110301022.
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The authors analyse the current objectives of modern education, based on recent studies of human existence revealing its multidirectional and multifaceted nature and determining the life position and behaviour of a person. The levels of the modern education system often do not focus on the existential aspect because of the educational goals and objectives, which is to prepare the workforce for the labour market. The transformation of the negative form of a student’s existence into the existence of a person struggling with the absurdity and meaninglessness of life is not included in the educational process. The authors propose an original way of solving this urgent problem of modern education. The research methodology is based on the concepts introduced by M. Gordon, S. Bakewell, T. Staehler, and V.V. Varava about the possibility of using the “dark aspects” of existence as a source for personal development. Besides, the concept developed by T.M. Makhamatov about the multidirectional phenomena of existence has been used to analyse the problem. The authors conclude that today, the education system focuses not only on high professionalism among students but also on such existential aspects as Sisyphean dedication and determination, as well as the ability to deal with meaninglessness, absurdity, anxiety, and fear and the ability to turn them into a source for self-affirmation. It is possible to implement this task by developing such an ability to overcome the absurdity of human interaction with external being, as Sisyphean labour, as a search for meaning in something meaningless.
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Schinckus, Christophe. "Essay on performance writing: Pataphysical Oulipo-ian perspective on the rationalist programme." Journal of Writing in Creative Practice 14, no. 1 (2021): 59–77. http://dx.doi.org/10.1386/jwcp_00014_1.
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This article exemplifies the concept of performance writing through an essay that falls at the crossover point between academic (Apollonian) and artistic (Dionysian) piece of work caricaturing rationalist conservatism. By using an unconventional approach coming from French literature (pataphysics), this article explores the hilarity of well-constructed rationalist conservatism by irrationalizing it through a rigorous absurdity and visual entities. Such writing experience leads the reader to a visual Oulipo-ian dialogue illustrating the tension that an extreme rationalism might generate between thinkers.
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Kanaeva, Nataliya. "Indian Tradition of Rationality." Russian Journal of Philosophical Sciences, no. 6 (October 10, 2018): 73–82. http://dx.doi.org/10.30727/0235-1188-2018-6-73-82.
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The article touches upon the problem of concept “Indian tradition of rationality”. The author recalls a genetic link of the concept with Western philosophy. She notices the complexity of its application to Indian material, gives some examples in which the use of Western concepts of “reason”, “methods of cognition”, etc., leads to a distortion of the text’s meaning, and when an application of the criteria of Western logic to analysis of Indian philosophical discourse gives the readers an impression of its absurdity. However, according to the author’s mind, the difficulties with the applying of Western concepts are not the sufficient grounds to abandon them. This conclusion follows from the presence of comparative studies by researchers belonging to both traditions (for example, B.K. Matilal, J. Mohanty, A. Chakrabarti, etc.), who compare successfully Western and Indian kinds of logico-epistemological type of rationality. The difficulties just bring up the questions about new instrumental concepts and methods of comparative studies more adequate to Indian culture. There are two possible directions for the studies of Indian tradition of rationality in connection with the revision of contents of the concepts in Western post- modern philosophy. In the first of them the concept of rationality can not to be used at all, then the phenomenology of practices of Indian discourse becomes the subject of research, i.e. the discourse images in different contexts (religious, philosophical, scientific), its explicit and implicit foundations and aims, which aren’t coincide with Western ones. In the second case Indian rationality can be analyzed in accordance with the criteria of transversal reason and transversal rationality.
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Castro, Flávia Rodrigues de, and Natália Cintra de Oliveira Tavares. "The refugee status in brazilian law, based on Kafka’s dystopia." ANAMORPHOSIS - Revista Internacional de Direito e Literatura 5, no. 2 (2019): 587–611. http://dx.doi.org/10.21119/anamps.52.587-611.
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This article aims at critically analyzing the concept of eligibility for refugee status in Brazilian law, by approaching administrative processes of refugee status pleas, as well as the legal defense given to applicants for refugee status in the legal system. Based on the central aim of this article, we scrutinize how the decision-making mechanisms work, especially considering the collective decision-making spaces and the confidential aspect of these lawsuits under the allegation of protecting the interested parts. This critical analysis is thought of as a reflection on the possible existence of connections between present practices and policies regarding the eligibility for refugee status in Brazil and the dystopia of absurdity presented in the narrative by Kafka about bureaucracy in lawsuits and the legal defense system.
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Moshchenko, Irina A. "The concept of “love” in the early works of Zhang Ailing (张爱玲 1920–1995)". Philological Sciences. Scientific Essays of Higher Education, № 3 (травень 2021): 59–67. http://dx.doi.org/10.20339/phs.3-21.059.
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This article presents a study designed to analyse the concept of love in the early work of chinese writer Zhang Ailing. The research reveals conceptual binary oppositions which are formed arround the core of the concept of love that is: ai (爱), qing (情) and lian (恋). The oppositions are the following: absurdity — conciseness; frivolous / pretense — serious / sincerity; material — spiritual / sacred; isolation — openness; selfishness — generosity; cowardice — courage; overseas — traditional. This ambiguity of the concept is the key to understanding how early works of Zhang Ailing differs from the previous literature tradition, which understands love as а supreme good. The research shows the transformation of the concept of love in the early work of Zhang Ailing. The writer confronts the tradition, she tries to destroy the romantic-sentimental attitude to love that was formed in Chinese literature in the first decades of the twentieth century. Breaking with the conventional image of “love above all” (恋爱之上), Zhang Ailing begins to build up her own world of love. She starts from the denying of romantic love and attachment, and only then tries to fit love into the social structure, to turn ordinary love into a social value equal to success in work, financial well-being, etc.
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Inya, Blessing T., and Onwu Inya. "Conversational humour in a Nigerian radio news programme: A case study of Lati inu aka aka Biodun/Kayode." European Journal of Humour Research 6, no. 4 (2018): 75. http://dx.doi.org/10.7592/ejhr2018.6.4.inya.
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This paper investigates the Generic Structure Potential (GSP) of Lati inu aka aka Biodun/Kayode (LIABK), a Nigerian secondary gatekeeping radio news programme, with the aim of indicating the stages of the genre where conversational humour typically occurs, and then it analyses humour types in the data through the neo-Gricean concept of untruthfulness and pragmatic act theory. The data for the study constitute a ten hour audio recording of Lati inu aka aka Biodun/Kayode from two radio stations in Ekiti and Ondo States, South-Western Nigeria. The GSP of LIABK is constituted by five obligatory elements: Opening (O), Advertisement (A), Pre-news Presentation (PnP), News Presentation (NP) and Closing (C). The genre-based expectations for O, PnP and C, and then NP are to provide entertainment and information to the listeners respectively. Thus, humour typically occurs in the O, PnP, and C stages of the programme, and rarely occurs in NP. Four humour types are indicated: song-as-humour, absurdity, joint fantasising and speaker-meaning-telic humour respectively. While song-as-humour resists being neatly categorised as autotelic humour, absurdity and joint fantasising are easily characterised as thus. The pragmatic act analysis reveals the incremental, sequential and co-constructed nature of the humour types. Furthermore, the pragmemes of entertainment and offering of opinion by the news presenters constitute the affordances or genre-based expectations that constrain the social activities that constitute LIABK. The study contributes to the scholarship on secondary gatekeeping in Nigeria broadcast media, conversational humour and pragmatics.
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Šemelák, Martin. "The suffering of existence in Kazuo Ishiguro’s Never Let Me Go." Ars Aeterna 10, no. 2 (2018): 8–17. http://dx.doi.org/10.1515/aa-2018-0008.
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AbstractThis paper deals with the British dystopian novel Never Let Me Go by Kazuo Ishiguro, in which human clones are forced to donate their organs in an alternate reality set in 1990s England. Through the characters of the novel, various manifestations of suffering are examined from the viewpoint of existentialism. The whole concept of donation might be understood as a metaphorical expression for human life, as well as the omnipresent consciousness of its finitude. Ishiguro has prepared the ground for disturbing discussion where two ostensibly different groups of people – clones, whose only purpose is to donate their vital organs, and “normal people” as the recipients – suddenly appear to be indistinguishable in terms of mortality and the general experience of human existence. This paper focuses on the concept of existential anguish in the context of the novel’s story. Using an unobtrusive science fiction narrative, Never Let Me Go encourages readers to contemplate the essence, meaning and purpose of human life, and it quietly points to topics that are usually treated as highly sensitive: the inevitability of death and apparent absurdity of human existence.
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Adi, Birul Sinari. "ABSURDITAS DALAM DRAMA LES MOUCHES KARYA JEAN-PAUL SARTRE." Dharmasmrti: Jurnal Ilmu Agama dan Kebudayaan 15, no. 28 (2016): 45–56. http://dx.doi.org/10.32795/ds.v15i28.59.
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This study is an attempt to assess absurdity in Les Mouches as a concept of pessimistic humanism. Regarding the issues expressed through the work may be understood on the humanism perspective, then, the aims to be achieved through this research is the understanding of the humanity issues, which have a great extent of possibilities expressed through the literary work. The drama play of Les Mouches is actually the manifestation of the problems of the human life, which deal with many possibilities as well. As a text, Les Mouches is a structure that arranges its constituent elements to create meaning. And within its function, Les Mouches, as a social and cultural phenomenon, is a communication act. This means that a literary work is a sign, and through this sign the literary work may be the expression thrusting concrete and fictitious experiences of the entire human life.
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Mensch, James. "Phenomenology and Aristotle’s Concept of Being-at-Work." Investigaciones Fenomenológicas, no. 7 (February 22, 2021): 511. http://dx.doi.org/10.5944/rif.7.2018.29956.
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Husserl, as is well known, bases his study of appearing on subjective functions. He also makes appearing prior to being insofar phenomenology grants being to entities only to the point that they can appear. Both positions result in the paradox that he presents in the Crisis, where he asks: “How can human subjectivity, which is a part of the world, constitute the whole world, i.e., constitute it as its intentional product…? The subjective part of the world swallows up, so to speak, the whole world including itself. What an absurdity!”. The paradox arises from Husserl’s taking being as presence and asserting that presence is established through constitution and, as such, is the work of subjectivity. In this article, I explore an alternative based on Aristotle's concept of functioning. This is a functioning that is prior to both subjects and objects, a functioning that is responsible for both being and appearing. The introduction of this concept, I argue, does not change Husserl’s description of the functioning of constitution. It does, however, add an ontological basis that prevents phenomenology from falling into this paradox.Husserl, como es bien sabido, basa su estudio del aparecer en funciones sujetivas. También presenta el aparecer como anterior al ser en tanto en cuanto la fenomenología le concede ser a las entidades sólo hasta el punto de que puedan aparecer. Ambas posiciones dan como resultado la paradoja que presenta en La crisis, donde pregunta: "¿Cómo puede la subjetividad humana, que es parte del mundo, constituir el mundo entero, es decir, constituirlo como su producto intencional...? La parte subjetiva del mundo se traga, por así decirlo, todo el mundo, incluido él mismo. ¡Qué absurdo!". La paradoja surge del hecho de que Husserl toma el ser como presencia y de que afirma que la presencia se establece a través de la constitución y que, como tal, es el trabajo de la subjetividad. En este artículo, exploro una alternativa basada en el concepto de funcionamiento de Aristóteles. Este es un funcionamiento que es anterior a ambos sujetos y objetos, un funcionamiento que es responsable de ser y aparecer. La introducción de este concepto, sostengo, no cambia la des-cripción de Husserl del funcionamiento de la constitución. Sin embargo, agrega una base ontológica que evita que la fenomenología caiga en esta paradoja.
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Ali Esmaeili, Zohreh, Bahram Kheiry, and Farzin Farahbod. "Authentic marketing pragmatic marketing (components, foregrounds, outcomes): interactions & conflicts." Independent Journal of Management & Production 11, no. 6 (2020): 1778. http://dx.doi.org/10.14807/ijmp.v11i6.1150.
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The age of new technology is fraught with contradictions, engagement and communications that the customer with the crisis of meaning and absurdity that stems from obedience and consumption. And in the same vein, authenticity, which Katler considers to be the most effective element in this era, in order to achieve a sustainable development and response to the psychological adventures of the customer, which he calls the human soul. Also, the efforts of brands to maintain and develop their own beliefs and philosophies have made it necessary to study the concept of authentic marketing. And, on the other hand, the study of its interaction with the pragmatic marketing, which is a response to the material needs of the client, is necessary, therefore, their consequences can be the answer to the theoretical vacuum of marketing science to solve customer's contradictions in the new paradigmatic shift. The present research is applied in terms of purpose and uses the method of qualitative research in the form of the Structural Foundation data theory. Methods of collecting data is through in-depth interviews and observing. Eventually, data were analyzed using the principles related to underlying theory (open and selective coding, continuous comparative analysis, creation of concepts and compilations). Finally, this study suggests that changing marketing paradigm to solve the problems of new age for authentic brand production.
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BrittoJenobia, J., and Dr V. Sekar. "The Anxiety of Death in Don DeLillo’s White Noise." Think India 22, no. 3 (2019): 212–18. http://dx.doi.org/10.26643/think-india.v22i3.8151.
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Anxiety is a human condition which prevails common in many people. Anxieties can be differentiated into ‘ Primal anxiety’, ‘ Ontological anxiety’, ‘ Reality anxiety’, Psychological anxiety’, ‘Social anxiety’, and so on. The real fact is all these anxieties are in some way existential.Paul Tillich, a Christian existentialist says that according to him anxiety can be of three forms: Anxiety of Death, Anxiety of meaninglessness and Anxiety of Condemnation. Paul Tillich declares, “The Anxiety of death is the permanent horizon within which the anxiety of fate is at work”. In the modern world anything that follows negativity triggers intense anxiety. A strong sense of psychological isolation also leads to anxiety. Incidents of guilt, fear, absurdity, alienation also lead to anxiety of death. Don DeLillo himself in an interview to William Goldstein in Publishers Weekly (August 19, 1988) explained anxiety as being “about danger, modern danger”. The main characters in Don DeLillo novels face some of the causes for anxieties such as the necessity of choice, terrorism, technological and scientific advancement, lack of freedom, fear of death, dissatisfaction in life, boredom and loneliness. This paper examines Don DeLillo’s White Noise based on the concept Anxiety of Death.
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Sneed, Gillian. "The Disciplinary and the Domestic." Diacrítica 34, no. 2 (2020): 107–31. http://dx.doi.org/10.21814/diacritica.534.
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This essay focuses on works of video art from the 1970s and early 1980s by Letícia Parente (1930–1991), a first-generation video art pioneer in Brazil, whose video performances associated household imagery, domestic spaces, and quotidian chores and objects with violence, repression, and incarceration during the period the Brazilian dicatorship (1964–1985). Parente worked in video performance, an approach to performance art in which she performed for the video camera, rather than for a live audience. I argue that in her video performances, Parente performs domestic and quotidian actions in ways that enact self-harm and confinement in order to marshal a response to gender oppression in women’s daily lives that paralleled the violence and imprisonment Brazilians experienced under the dictatorship. By enacting disciplinary “punishments” (or the threat of such punishments) on herself, cloaked as daily domestic tasks, her works demonstrate the ways that the same forces that structure public disciplinary society also configure the private spaces of the home. I propose that she positions domestic space as a zone of containment and imprisonment, and that her resistance occurs not in the space itself but through the absurdity and ironic bathos of their bodily performances, as well as her actual or implied self-harm and violence, themes I address by engaging Kathy O’Dell’s theorization of “masochistic performance art,” and Hal Foster’s concept of “mimetic adaptation.”
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Zlotnikova, Tatiana S. "Chekhov’s Discourse of World Culture (To the 160th Anniversary of A.P. Chekhov’s Birth)." Observatory of Culture 17, no. 3 (2020): 292–304. http://dx.doi.org/10.25281/2072-3156-2020-17-3-292-304.
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The purpose of this article is to prove that world culture, whether it is a picture of the world in its generalized quality or specific artistic practices in different types of art, still remains under the unabated influence of A.P. Chekhov’s personality and creativity. This applies not only to his characters, life conflicts, or individual artistic and aesthetic techniques, but also to the meaning-setting, qualitatively changed by A.P. Chekhov, which we define as “Chekhov’s discourse”. It is understood as a frame of reference in which intercultural communication takes place, and designated by a cultural matrix with its inherent codes and sometimes unexpected meanings, born of decades of Chekhov’s attention and understanding.The author believes that the main features of Chekhov’s discourse of world culture are: the creator’s penetration, unique by its depth and paradoxical nature, into the social and moral world of man (a kind of “diagnosis”); the conceptual integration of the intertext and context of individual creativity and world cultural experience; and the formation of aesthetic foundations for the art of absurdity as a characteristic cultural phenomenon of the Chekhov and post-Chekhov eras.The “diagnosis” was a product of Chekhov’s unique intellectual insight and intuitive talent. The property of Chekhov’s diagnosis, and the explanation that there were no recipes, is the presence of Chekhov’s figure and his picture of the world in the cultural continuum. The continuation of Chekhov’s thoughts and imaginative systems, with all their details and models, are several layers of creative “products” created in different types of art and in different periods that have passed in the life of mankind after Chekhov.Chekhov’s intertext is a dialogue between a Russian person and other epochs and authors; this dialogue is not without irony in relation to the “interlocutors”, to the subject of discussion, to life itself, a source of unexpected associations and ideas about the paradoxical connections of life and being. The author believes that Chekhov’s context as a semantic facet of Chekhov’s discourse has been manifested primarily in those connections and influences that were and continue to be of a personalistic nature: researchers from different countries, followers in his creativity.In the space of eternity, against the background of paradoxical cultural trends, a phenomenon has been formed that we previously designated as the concept of “Russian absurdity” first introduced into scientific circulation. On the one hand, Chekhov’s discourse of world culture, had unobtrusively introduced into artistic practice the principles of alogism, mutual misunderstanding, alienation, ironic discrepancies of everyday manifestations and details, on the other hand, it had marked the existence of ordinary people in the space of eternity, in an empty and dangerous, alien and incomprehensible world.
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Derek Illing, Sean. "Camus and Nietzsche on politics in an age of absurdity." European Journal of Political Theory 16, no. 1 (2016): 24–40. http://dx.doi.org/10.1177/1474885114562977.
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This article examines the significance of Friedrich Nietzsche to Albert Camus’ concepts of absurdity and revolt. It rests on three related claims. First, that Nietzsche’s critique of metaphysics (foundationalism) is the point of departure for Camus’ absurdist inquiries. Second, that Camus’ philosophy of revolt is informed in crucial ways by Nietzsche’s views on the sources of moral and intellectual authority in the modern world. Finally, that Camusian revolt is an attempt to deal with the political crisis of foundationalism in a way that preserves Nietzsche’s anti-essentialism while also avoiding the excesses of absolutist politics. Ultimately, I suggest that the origins and implications of Camus’ project cannot be grasped apart from an account of its engagement with Nietzsche.
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Zaheer, Faiza, and Kamal ud Din. "American Dream or Avaratia: Critical Circumspectis of American Dream Through Ages." International Journal of English Linguistics 9, no. 3 (2019): 57. http://dx.doi.org/10.5539/ijel.v9n3p57.
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This paper is an attempt to apply Jacques Derrida’s theory of Deconstruction to American Dream and its treatment in the language of Edward Albee’s play American Dream and other American Playwrights. Different deconstructive terms have been applied to understand and analyze the language of Albee’s The American Dream. Deconstructive terms; Différance, Erasure and Aporia have been applied to the language used by Albee to analyze the concept of American dream and its relation to its context of old American Dream as envisaged by the founding fathers and the new American Dream as defined by James Truslow Adams. These deconstructive terms will help readers to understand the themes and language of postmodern and post war American drama in general and those of Albee’s in particular. This, in turn, makes the reader realize that American dream as depicted in modern American Playwrights is materialistic, illogical, futile and bizarre: Albee’s play reflects modern American society and its sensibility. Language of modern is simple yet it communicates multi-faceted interpretations and those interpretations have been explored in the light of all these deconstructive terms. The basic purpose of involving these deconstructive terms in analyzing the language of Albee’s The American Dream and the other major postmodern American plays is not only to understand the mutability and fluidity in the diction but also to expose absurdity and apparent meaninglessness in it.
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LODATKO, Evgen. "INTERPRETATIONS OF TEACHING METHODS IN CONTEMPORARY SCIENTIFIC DISCOURSE: SOPHISTIC DIMENSION." Cherkasy University Bulletin: Pedagogical Sciences, no. 1 (2021): 10–18. http://dx.doi.org/10.31651/2524-2660-2021-1-10-18.
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Introduction. This paper focuses on the issue of conceptual thinking inherent in modern scientific dis-course. The idea is emphasized that in any field of pedagogical activity, the acquisition of subject knowledge and thinking skills requires an understanding of the subject content, which is considered to be a complex and methodologically im-portant task not only in secondary school instruction, but also in professional training. An equally important aspect related to the understanding and interpretation of the senses embedded in texts is the awareness of the semantic core of those concepts that form the pivotal foundation of scholarly text. It is posited that the semantic essence of concepts is always formed at the stage of their emergence in a particular field of knowledge and has to remain unchanged while it is further being evolved. Extending the foregoing, the emergence of new concepts involves their logical coordination with the semantic foundations of the conceptual system inherent in the relevant field of knowledge. Under other conditions, new concepts do not get enrooted, and the tentative to make use of them is at variance with the systemic and conventionally accepted interpretations of other concepts. Besides, it and confuses their semantic interrelations. Therefore, for each field of knowledge, the logical completeness and unambiguity of the semantic attributes of the employed concepts is essential. Purpose. This article is aimed to review the positions of the contemporary scholars in interpreting the tradi-tional concept "teaching methods". Furthermore, it illus-trates the paradoxical essence of the proposed conceptual oxymorons, and to this end, it attempts to prevent the distortion of the conceptual meanings of the established pedagogical entities. Among the employed research methods, the priority is given to “modi operandi” of content analysis, which are non-inherent in the qualitative characteristics of the pedagogical concept “teaching method”. Nonetheless, in recent decades they have been actively implanted in pedagogical discourse by budding researchers. Results. The study has analyzed the issues of conceptual thinking immanent to contemporary scientific discourse. In particular, it has concentrated on investigating the semantic dimensions of interpreting the pedagogical concept “teaching method”. In addition, it has illustrated the semantic maxims of its gradual modifications to the levels of “active”, “effective’, and “innovative”. Furthermore, the article has revealed the inaccurate and incorrect usage of the qualitative characteristics of the notion “teaching method”. Hence, it has actualized the necessity to eradicate the previously introduced conflicting concepts from a pedagogical domain in order to prevent the attempts of modifying the domestic pedagogical system in accordance with foreign educational practices. The proposed study stands out for its originality, since it presents the scholarly substantiation and multi-tudinous illustrations of the absurdity of the artificially coined and adopted qualitative characteristics of the notion “teaching method”, which are continuously employed in contemporary scientific discourse. Conclusion. On this basis, it has been summarized that in the last decade the spreading of illogical and contradictory interpretations of pedagogical concepts has caused confusion in the system of basic pedagogi-cal dominants (principles, concepts, and relations). This requires an uncompromising response from leading educationalists and scholars in order to eradicate from Pedagogy, which is a systematized field of knowledge, the imposed contradictory notions, and to prevent the attempts to modify the domestic pedagogical system to conform to foreign standards, which run counter to the pedagogical system of domestic Pedagogy. This study though far from being conclusive, yet proposes several insights into understanding the core of domestic pedagogical notions and provides implications for further research in this domain in terms of conceptual content and pedagogical entities in order to rid domestic Pedagogy of the conceptual disorder that is actively introduced by unknown "experts" into pedagogical information resources.
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Siame, Mukundwe. "The Robotic Man by Habit: An Existential Analysis of Albert Camus’ The Misunderstanding." Journal of Law and Social Sciences 3, no. 1 (2020): 93–100. http://dx.doi.org/10.53974/unza.jlss.3.1.445.
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Human existence is essentially characterised by habit. It is habit that
 carries us most of the times, from one day to another as our daily activities
 are mostly routine in nature. As Albert Camus (1942) notes, most of our
 daily activities are commanded by habit. This is why Camus compares the
 human condition to that of Sisyphus. Camus submits that like Sisyphus, the
 same rhythm carries us from one day to another and this makes our actions
 automatic, if not robotic. Furthermore, Camus notes that habit usually
 leads to monotony, boredom and meaninglessness of our actions. This is
 what he refers to as the absurdity of human existence; a feeling of futility we
 may experience when we become aware of the repetitiveness of our routines
 and rituals (Craig, 2005); grosso modo, a lack of fundamental meaning
 in life. In this paper, our analysis of Camus’ play, ‘The Misunderstanding’
 (1943) is hinged upon Sartre’s existentialism, which has close affinities with
 Camus’ philosophical concept of the absurd. In ‘Being and Nothingness’
 (1943), Sartre submits that the problem of being is the most important
 phenomenological problem. According to Sartre, there are essentially, two
 modes of existence; Being-in-itself and Being-for-itself. Being-in-itself is
 the type of being that objects in this world have; for example, Being-foritself is the being of human beings. In this article, we have submitted that
 habit robotises the characters in Camus’ play in that it (habit) transforms
 them into Being-in-itself whose existence is passive and absurd.
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Baranova, Jūratė. "MAIŠTO PRASMĖ IR BEPRASMYBĖ: NE TIK APIE JULIĄ KRISTEVĄ." Religija ir kultūra 9 (January 1, 2011): 110–21. http://dx.doi.org/10.15388/relig.2011.0.2744.
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Sartre’as teigė, kad esame įmesti į laisvę. Pasmerkti laisvei. Galime laisvai rinktis, bet negalime nesirinkti. Kur surasti kriterijų, nusakantį, kad maišto pasirinkimas iš tiesų yra laisvas pasirinkimas, o ne prichologinė neišvengiamybė, spaudžiant pasąmonės kompleksams? Ar įmanoma iki galo nuosekli laikysena pasirinkus laisvę kaip vertybinį išeities tašką. Šiame straipsnyje bus siekiama atskleisti maišto kaip laisvės išraiškos sampratos dviprasmybę per Sartre’o kaip filosofo, literato ir maištininko fenomenų refleksiją. Bus keliamas klausimas kaip hipotezė: ar Sartre’o kaip maištininko laikysena nekvestionuoja jo tekstuose išskleistos laisvės sampratos esmės ir prasmės.Pagrindiniai žodžiai: laisvė, maištas, individualus pasipriešinimas, Kristeva, Sartre, Camus.THE SENSE AND NON-SENSE OF REVOLT: NOT ONLY ABOUT JULIA KRISTEVAJūratė Baranova SummaryJean-Paul Sartre presupposed that we are condemned to liberty. One is open to free choice. There is no possibility not to choose. In this article when formulating hypotheses of investigation several rhetorical questions are asked: how to find the criterion for justification that the choice of revolt is really free choice, but not the psychological determinism caused by the pressure of unconsciousness. The other relevant question the answer for is researched in this article is such: if one is choosing freedom as the starting value point for one’s views, is it possible to him / her to stay consequently devoted to freedom in practical life? In this article we are investigating the ambiguity of the concept of freedom choosing the example of Sartre as philosopher, literary man, and practical rebel. The main issue of the article is such: there in no possibility to reconcile the practical Sartrean attitude towards revolt and his theoretical conception of freedom. His practical standpoint demonstrates the ambiguity and split of value points. The conception of revolt suggested by Albert Camus as individual’s resistance against the absurdity of existence demonstrates the possibility of much more consequent standpoint in theory and practical life.Keywords: liberty, revolt, individual resistance, Kristeva, Sartre, Camus.
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Boyle, A. J. "Introduction." Ramus 16, no. 1-2 (1987): 1–3. http://dx.doi.org/10.1017/s0048671x00003222.
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oratio certam regulam non habet; consuetudo illam ciuitatis, quae numquam in eodem diu stetit, uersat.Style has no fixed rules; the usage of society changes it, which never stays still for long.Seneca Epistle 114.13This is the first of two volumes of critical essays on Latin literature of the imperial period from Ovid to late antiquity. The focus is upon the main postclassical period (A.D. 1-150), especially the authors of the Neronian and Flavian principates (A.D. 54-96), several of whom, though recently the subject of substantial investigation and reassessment, remain largely unread, at best improperly understood. The change which took place in Roman literature between the late republic/early Augustan period and the post-Augustan empire, between the ‘classicism’ of Cicero, Virgil, Horace, Livy and the ‘postclassicism’ of Seneca, Lucan, Persius, Tacitus is conventionally misdescribed (albeit sometimes with qualifications) as the movement from Golden to Silver Latin. The description misleads on many counts, not least because it misconstrues a change in literary and poetic sensibility, in the mental sets of reader and audience, and in the political environment of writing itself, as a change in literary value. What in fact happened awaits adequate description, but it seems clear that the change began with Ovid (43 B.C. to A.D. 17), whose rejection of Augustan classicism (especially its concept of decorum or ‘appropriateness’), cultivation of generic disorder and experimentation (witness, e.g., Ars Amatoria and Metamorphoses), love of paradox, absurdity, incongruity, hyperbole, wit, and focus on extreme emotional states, influenced everything that followed. Ovid also witnessed and suffered from the increasing political repression of the principate; he was banished for — among other things — his words, carmen. And political repression seems to have been a signal factor, if difficult to evaluate, in the formation of the postclassical style.
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FENG, YING, ROBERT L. GOLDSTONE, and VLADIMIR MENKOV. "A GRAPH MATCHING ALGORITHM AND ITS APPLICATION TO CONCEPTUAL SYSTEM TRANSLATION." International Journal on Artificial Intelligence Tools 14, no. 01n02 (2005): 77–99. http://dx.doi.org/10.1142/s0218213005002004.
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ABSURDIST II, an extension to ABSURDIST, is an algorithm using attributed graph matching to find translations between conceptual systems. It uses information about the internal structure of systems by itself, or in combination with external information about concept similarities across systems. It supports systems with multiple types of weighted or unweighted, directed or undirected relations between concepts. The algorithm exploits graph sparsity to improve computational efficiency. We present the results of experiments with a number of conceptual systems, including artificially constructed random graphs with introduced distortions.
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Aich, Tapas Kumar. "Existential Psychology & Buddha Philosophy: It's Relevance in Nurturing a Healthy Mind." Journal of Psychiatrists' Association of Nepal 3 (January 2, 2015): 22–28. http://dx.doi.org/10.3126/jpan.v3i3.11836.
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The term "existentialism" have been coined by the French philosopher Gabriel Marcel in the mid-1940s and adopted by Jean-Paul Sartre. The label has been applied retrospectively to philosophers like Martin Heidegger, Karl Jaspers and Søren Kierkegaard and other 19th and 20th century philosophers who, despite profound doctrinal differences, generally held that the focus of philosophical thought should be to deal with the conditions of existence of the individual person and his or her emotions, actions, responsibilities, and thoughts. The early 19th century philosopher Søren Kierkegaard, posthumously regarded as ‘the father of existentialism’, maintained that the individual solely has the responsibilities of giving one's own life meaning and living that life passionately and sincerely, in spite of many existential obstacles and distractions including despair, angst, absurdity, alienation, and boredom. Over the last century, experts have written on many commonalities between Buddhism and various branches of modern western psychology like phenomenological psychology, psychoanalytical psychotherapy, humanistic psychology, cognitive psychology and existential psychology. In comparison to other branches of psychology, less have been studied and talked on the commonalities between Buddhist philosophy and modern existential psychology that have been propagated in the west. Buddha said that the life is ‘suffering’. Existential psychology speaks of ontological anxiety (dread, angst). Buddha said that ‘suffering is due to attachment’. Existential psychology also has some similar concepts. We cling to things in the hopes that they will provide us with a certain benefit. Buddha said that ‘suffering can be extinguished’. The Buddhist concept of nirvana is quite similar to the existentialists' freedom. Freedom has, in fact, been used in Buddhism in the context of freedom from rebirth or freedom from the effects of karma. For the existentialist, freedom is a fact of our being, one which we often ignore. Finally, Buddha says that ‘there is a way to extinguish suffering’. For the existential psychologist, the therapist must take an assertive role in helping the client become aware of the reality of his or her suffering and its roots. As a practising psychiatrist, clinician, therapist we often face patients with symptoms of depression where aetiology is not merely a reactive one, not an interpersonal conflict, not simply a cognitive distortion! Patients mainly present with some form of personal ‘existential crisis’. Unless we understand and address these existential questions, we probably, will fail to alleviate the symptoms of depression, by merely prescribing drugs, in these patients! DOI: http://dx.doi.org/10.3126/jpan.v3i3.11836
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Suwandana, Engkin. "EKSISTENSIALISME DAN ABSURDISME DALAM DRAMA KARYA PUTU WIJAYA." Jurnal Pena Indonesia 2, no. 1 (2017): 12. http://dx.doi.org/10.26740/jpi.v2n1.p10-21.
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This study aims to (1) describe the existential drama Oh, Edan, and Dag Dig Dug works of Putu Wijaya which include: (a) freedom, (b) anxiety, (c) the failure, (d) the futility, (e) death, (2) describe absurdism in drama Ah, Edan, and Dag Dig Dug by Putu Wijaya which includes: (a) suicide philosophical, (b) the nature of the symbolic, and (c) of tragedy and comedy. This study focuses on (1) existentialism in the drama Oh, Edan, and Dag Dig Dug by Putu Wijaya which include: (a) freedom, (b) anxiety, (c) the failure, (d) the futility, (e) death and (2) absurdism in drama Ah, Edan, and Dag Dig Dug. This study is qualitative research, using descriptive qualitative research data collection. Descriptive method is a method which seeks to describe a phenomenon, the events that occurred at that time. In this study, descriptive method is used to describe the concept of existentialism and absurdism. This research data use existantialism theory and absurdism in playwrights by PutuWijaya. By using the technique with the data source in the form of three plays, the relevant data collection technique is a technique read. Reading the drama text data collection activities conducted by member’s attention totally focused on the object. Reading and listening is a set of techniques to obtain valid data followed by activities recorded data. This study concluded five concepts of existentialism and three concepts of absurdism. The results showed that existentialism in the drama Oh, Edan, Dag Dig Dug by Putu Wijaya, looked in terms of freedom, anxiety, failure, futility, and death. Three absurdism concepts in drama Ah, Edan, Dag Dig Dug by Putu Wijaya looked through suicide philosophical, symbolic nature, tragedy and comedy.
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Дышкант, Т. Н. "О ЗНАЧИМОСТИ МЕТАФИЗИКИ ДЛЯ ЧЕЛОВЕКА". Humanities journal, № 3 (22 грудня 2018): 78–85. http://dx.doi.org/10.32620/gch.2018.3.08.
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The modern worldview inherent in postmodern culture consists in the negation of metaphysics. Metaphysics is a teaching that has its subject universal, considered in the forms or absolute basis, or the ultimate cause of the universe, the universe itself as an ordered whole (cosmos), as well as the soul as a principle of unity. In the modern era, the absolute beginning (the absolute can be described as complete infinity) moves from the transcendent to nature and to the human race. This naturally led to the «loss» of metaphysics in the culture of postmodernism. The logical development of the opposing theories of empiricism and rationalism ultimately led to one result – the absurdity of the world and the «disappearance» of man. Metaphysics is inextricably linked with the concept of «sacred», which characterizes the absolute beginning, the highest and perfect value of something for a person. Therefore, it is not by chance that in post-metaphysical time there is a process of desacralization of the world and man, and all ties that root man in the unchanging and eternal are broken. The essential characteristic of man is consciousness. The component structure of consciousness includes will, knowledge, emotions and self-consciousness. If metaphysics as a doctrine is correlated with the rational aspect of the mastering of the world, the sacred is correlated with the strong-willed and emotional. The widest range of feelings is connected with the sacred: faith, love, worship, awe, etc. The sacred is what causes these feelings. Hostile attitude to integrity, as the implementation of violence, affects and distorts all components of consciousness: rational, strong-willed, sensual and emotional. The true sacred sphere complements metaphysics as the highest level of the value component of consciousness. The «deformation» of metaphysics and the sphere of the sacred has led to two consequences in modern culture: mass man (in the presence of affects) and man-made man (in the absence of affects).Efforts to «restore the integrity of man» are opposed by the logic of the development of modern society, carried out by methods of specialization and «prosthetics». If the logic of development is higher than the sense of self-preservation of man, then he can expect an anthropological catastrophe.
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Yakovleva, E. L. "DESIGNING A FEMALE ELEGANCE MODEL BASED ON THE IDEAS OF MAGGI RUFF." Intelligence. Innovations. Investment, no. 5 (2020): 152–60. http://dx.doi.org/10.25198/2077-7175-2020-5-152.
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The relevance of the article is due to the fact that the attention of a modern personality is focused on the formation of the image. It helps not only to present it favorably, but at the same time to develop your own individual style. Among the significant components of style is elegance, which contributes to the uniqueness of the personality and its memorization in the environment. In this regard, the aim of the study was an attempt to construct a model of elegance, the analysis of which is built using the phenomenological and systemic approaches. A fairly complete phenomenological description of elegance in the first half of the twentieth century was carried out by the French fashion designer Maggi Ruff. The appeal to the systems approach of R. Barthes helped to create a theoretical construction of elegance, which became the novelty of the undertaken research. The elegance model is based on image (formal aspect) and fashion code (content aspect). In turn, the image of elegance is procedural: it includes the idea of an elegant image-design, realized in the image-embodiment, and the visibility of the latter contributes to the formation of the image-perception both by the person himself and by the people around him. The image of elegance corresponds to the aesthetic standards of the cultural and historical era, and its understanding is made possible thanks to the stories-descriptions using the fashion code. It includes semantic units with a rather abstract character and their metaphorical description (rhetoric). Among the semantic units of elegance, one can distinguish beauty, femininity, taste, life experience and improvisation, which manifest themselves already at the level of an image-concept, as well as chic, quality, well-groomed, additional details (accessories, aroma), clearly presented in the image-embodiment. The above affects the image-perception and its description. Today, there are certain transformations in the understanding of elegance. The intellectual component, harmony and taste gradually begin to disappear in it, and simulations and semantic units unacceptable for elegance (ugliness, absurdity, grotesque, lack of quality, simulative chic, lies) come to the fore. In modern times, knowledge of the features of the elegance model helps not only in building your own image, but also in diagnosing celebrity.
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Smith, Tyron Tyson, and Ajit Duara. "Postmodernism: The American T.V. Show, 'Family Guy, As a Politically Incorrect Document." Revista Gestão Inovação e Tecnologias 11, no. 4 (2021): 4868–84. http://dx.doi.org/10.47059/revistageintec.v11i4.2510.
Full textAbstract:
Postmodernism is a movement that grew out of modernism. Movements in art, literature, and cinema focused on a particular stance. The visual artists who created entertainment focused on expressing the creator herself/himself beginning from German expressionism to modernism, surrealism, cubism, etc. These art movements played an important part in what an artist (literature, art, and visual) portrayed to his or her audience. As perspectives played an important part, an understanding of what the artist needed to portray was critical. Modernism dealt with this portrayal, which came about due to the changes taking place in society. In terms of the industry, where the overall product dealt with features like individualism, experimentation and absurdity, modernism dealt with a need to overthrow past notions of what painting, literature, and the visual arts needed to be. "After World War II, the focus moved from Europe to the United States, and abstract expressionism (led by Jackson Pollock) continued the movement's momentum, followed by movements such as geometric abstractions, minimalism, process art, pop art, and pop music." Postmodernism helped do away with these shortcomings. An understanding of postmodernism is explored in this paper. The main point which sets it apart is concepts like pastiche, intersexuality, and spectacle. Concerning pop culture, an understanding of referencing is a constant trait used by postmodern art. Postmodern television and the central part of this study applied to the popular animated American TV show, 'family guy' is a postmodern show in its truest form, while attempting to use certain aspects of postmodernism tropes to help emphasize that visual art can be considered a historical document while doing an in-depth analysis of the visual text of 'family guy by itself, several other research papers were used to help further put in stone that 'family guy' is a true representation of postmodern television. It is divided into two phases of data collection: context analysis, which involves a qualitative study. The second being in-depth interviews (also qualitative) which in itself helps give a subjective view of participants between the ages of 20 and 28. These comprise students who are familiar with the show and the concepts of the show. All of them, both frequent viewers of the show and those also politically informed of world politics, helped further emphasize the concept of the paper, which was the idea of how a television show in all its absurd narrative and pastiche functions as a historical document. The purpose of this study, along with the results for this research, is to help bring about the comprehension of how postmodern shows are influenced by other past events, figures of history, etc.; this understanding can explain how a television show like 'family guy could be considered a historical document – by its narrative, by the cultural references connected to these said events, and also with the help of paintings, which the makers of the show use to design the episode of the show, and which reflect and refer to the actual historical figures. Historiography is being proven to be biased in more ways than one, which leads us to an understanding of a different narrative depending on one’s own opinions of history and historical documents as we know it.
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O.V., Goniuk, та Sydorenko O.Yu. "КОНЦЕПТОСФЕРА ХРОНОТОПУ ВІЙНИ В КНИЗІ КАТЕРИНИ КАЛИТКО «ЗЕМЛЯ ЗАГУБЛЕНИХ, АБО МАЛЕНЬКІ СТРАШНІ КАЗКИ»". South archive (philological sciences), № 85 (12 квітня 2021): 13–18. http://dx.doi.org/10.32999/ksu2663-2691/2021-85-2.
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Стаття є спробою дослідження провідних складників концептосфери хронотопу війни в книзі малої прози сучасної української письменниці та перекладачки Катерини Калитко «Земля Загублених, або Маленькі страшні казки» на прикладі циклу оповідань із середньовічно-лицарською темпоральністю та оповідання «Мартин», в якому художньо висвітлено сучасну війну на Сході України. Концептний аналіз оповідань дозволяє простежити, яким чином сучасна війна концептуалізується в хронотопі художніх творів покоління українських письменників, передусім Катерини Калитко, та як це позначається на особливостях творчої манери, індивідуального стилю авторки, а також способах взаємодії з читачем. Мета роботи – виявити та дослідити провідні компоненти концептосфери хронотопу війни в книзі короткої прози Катерини Калитко «Земля Загублених, або Маленькі страшні казки».Методи. В основі дослідження – методи біографічного, порівняльного, герменевтичного аналізу.Результати. З’ясовано, що для творчості сучасної письменниці характерне концентроване смислове та вербальне напо-внення хронотопічних концептів, їх герметичність і водночас зовнішня простота. Концептосфера війни в аналізованій збірці складається з концептів води (субконцепти дощу, зливи, річки, моря), субконцептів кам’яного простору (стіни, кам’яної брили та фортеці) та субконцептів-символів національної ідентичності (материнської мови, дерева черешні). Традиційні національні концепти в художньому світобаченні авторки трансформуються та зазнають несподіваних способів переосмислення, що є яскравим індикатором глибоких зсувів у соціальному, духовному, філософському та творчому мисленні письменниці.Висновки. Концептуальними домінантами авторського хронотопу в збірці малої прози К. Калитко є простір землі як притулку в умовах війни не лише як збройної агресії, а і як протиріччя та дисгармонії всередині самої людини, що спричинені усвідомленням своєї інакшості, загубленості, відстороненості й відкинутості соціумом. Моделювання метафоричного та фантасмагорійного часу та простору для письменниці є чи не єдиною адекватною стратегією опису абсурдності війни, як явища у загальнолюдському масштабі: через закладені в оповіданнях багатошарові сенси, переосмислення та конструювання тра-диційних і самобутніх, новаторських, суто авторських концептів хронотопу авторка наголошує на антигуманності будь-якого воєнного конфлікту, що загострює й до того складну екзистенцію людей, переконаних у власній інакшості, несумісності з тією географією, в якій з певних причин вони змушені перебувати.Ключові слова: війна, концепт, субконцепт, художній час/простір, ідіостиль. The article studies the leading components of the conceptosphere of the chronotope of the war in the book of the small prose of the modern Ukrainian writer and translator K. Kalytko “The Land of All Those Lost, or Little Scary Tales” on the example of the cycle of short stories with medieval and chivalrous temporality, and the short story “Martyn”, which artistically enlightens the current war in the East of Ukraine.Purpose of the work is to identify and study the leading components of the conceptosphere of the chronotope of war in the book of short prose by Kateryna Kalytko “Land of the Lost, or Little Scary Tales”.Methods. The study is based on the methods of biographical, comparative, hermeneutic analysis.Results. Short prose of a modern writer is characterized by a concentrated semantic and verbal content of chronotopic concepts, their tightness and at the same time external simplicity. The conceptual sphere of war presented through the concept of water (subconcepts of rain, river, sea), subconcepts of stone space (wall, stone block) and fortress) and subconcepts-symbols of national identity (mother tongue, cherry trees). Traditional national concepts in the author’s artistic worldview are transformed and undergo unexpected ways of rethinking, which is a clear indicator of deep shifts in the social, spiritual, philosophical and creative thinking of the writer.Conclusions. The conceptual dominants of the author’s chronotope short prose by K. Kalytko are the space of the earth as a refuge in conditions of war not only as armed aggression, but also as contradictions and disharmony within man himself, caused by the realization of his otherness, loss, alienation and rejection. Modelling metaphorical and phantasmagoric time and space for the writer is almost the only adequate strategy for describing the absurdity of war as a phenomenon on a universal scale: through the multilayered meanings embedded in the stories, rethinking and constructing traditional and original, innovative, purely authorial concepts – some military conflict, which exacerbates the already complex existence of people convinced of their own otherness, incompatibility with the unelected geography in which for some reason they are forced to be.Key words: war, concept, subconcept, artistic time/space, idiostyle.
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Allen, Rob. "Transformational and digital change: a UK perspective." Organisational and Social Dynamics 19, no. 2 (2019): 143–67. http://dx.doi.org/10.33212/osd.v19n2.2019.143.
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This article is based on a qualitative interpretivist methodology that helps to analyse, interpret, and explain the meanings that executives and consultants (as social actors), construct regarding so called transformational and digital change in the corporate setting. It explores change interventions through a psychodynamic perspective that recognises many of the forces operating in an organisation may be “under the surface” and may need to be made explicit if collective progress is to be made. The author has attempted to produce research that is relevant to both practitioners and scholars by following some suggestions of Toffel (2016) to bridge the potential gap between perceptions and workplace realities, including conducting site visits, practitioner interviews, and working as a practitioner. The study is exploratory in nature and was primarily concerned with discovering what management practices (if any) are used by executives and consultants in the operationalisation and implementation of transformational and digital change and what (if any) were the implications. It hopefully provides a stimulus for further research. Qualitative interviews and site visits were conducted with executives, consultants, and workers in ten large UK companies who had all taken the decision to instigate multi-million-pound “transformational change” and “digital transformation”. The companies operate across a range of sectors including manufacturing, retail, financial services, food and beverage, and facilities management. This study finds that executives and consultants search for tools and techniques to deliver effective change capability, change leadership, and project management of change. These imply order, rationality, stability, and manageability in change that often takes place amidst absurdity, irrationality, uncertainty, and disorder. Digital transformation is underpinned by new technology, driving new business models, and new “agile” and “iterative” processes, and “dare to fail” ways of working, but it was a century-old doctrine that provided the framework for change. Executives and consultants explicitly and implicitly advocated and enacted the primary functions of management as outlined by Fayol (1916); they were obsessed with accountability and control. Despite the rhetoric of agile and iterative approaches, they were wedded to top–down mechanistic management. The espoused visions, values, principles, and behaviours, were often counterbalanced by the shadow organisation, the covert processes, coalitions, secret alliances, and counter-values. Narcissism and Machiavellian behaviour was rife. In conclusion, this article calls for a move away from mechanistic management to enlightened management, a concept based on the work of Nonaka (2008) that values individuals and interactions over processes and tools. This may go some way to ameliorate the impacts of change at the individual level and bridge the chasm between espoused culture and the living hell of organisational reality.
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Kalenichenko, O. N. "Fernand Crommelynck’s dramaturgy and its interpretation by Vsevolod Meyerhold and Les Kurbas." Problems of Interaction Between Arts, Pedagogy and the Theory and Practice of Education 51, no. 51 (2018): 102–14. http://dx.doi.org/10.34064/khnum1-51.05.
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Background. The modernist dramaturgy of Fernand Crommelynck allows some literary critics to attribute it to symbolism: continuing the symbolist traditions, the author builds his works “on the development of an abstract position, personified by dramatic characters that can be perceived both as living people and as figurative designations of concepts” [8]. Other researchers believe that the F. Crommelynck’s works are expressionistic, since the Crommelynck Theater is “poetic, but full of pathos, hyperbolized images, in the characteristics of his personages exaggeration is brought to the point of absurdity” [2]. Some scientists attribute Crommelynck to surrealism because the playwright is one of the burlesque theater renovators [3]. At the same time, there is an opinion that a number of later plays by the playwright anticipate the aesthetics of the theater of the absurd [11]. Ambiguously critics evaluate the genre features of Crommelynck’s plays. They are also interpreted as “psychological dramas that combine farce and tragedy”, therefore “the characters of Crommelynck’s plays are tragic jesters, the embodiment of the “eternal” principles of love, jealousy, and stinginess. His highlight is human passions, paradoxes, absurdity” [15]. His pieces are considered and as varieties of drama filled with elements of the grotesque, and “characters often act as personifications of certain moral qualities: jealousy (“Le Cocu magnifique” – “The Magnanimous Cuckold”), stinginess (“Tripes d’or” – “The Golden Womb”), played out virtues (“Carine, ou la jeune fille folle de son âme” –“Carine, or the Mad Girl of self soul”)”, etc. [11]. Neither Vsevolod Meyerhold (production of the play “The Magnanimous Cuckold” in 1922), nor Les Kurbas (production of the play “The Golden Womb” in 1926), who were innovators in theatrical field, revolutionists of the Soviet theater, could not pass by the creativity of the contemporary modernist playwright. The purpose of this study is to identify the peculiarities of the Crommelynck’ dramas produced by stage directors and the lines of the pioneering searches of two great representatives of the theater went when staging Crommelynck’s plays. Methods. The basis of the research methodology is historical analysis. Results. Meyerhold, as shown by his notes and the memoirs of his contemporaries, moved in the 1920s in his theatrical searches went towards formalist experiments, in particular, constructivism and biomechanics. According to the director, the Crommelynck’ grotesque-farcical play “The Magnanimous Cuckold” on the theater stage, saturated with complex diverse physical movements of the actors, was supposed to show one of the workers’ leisure activities. Les Kurbas, also seeking to radically renew the Ukrainian stage, relied on a completely different theatrical concept. Speaking for an active-revolutionary life installation, for the restructuring of social psychology and, consequently, for spiritual and moral values, Kurbas in his articles and conversations called for fighting the limited outlook of the Nepmen and provincial inhabitants who only think about endless prosperity [9; 10]. Realizing his concept in life, it is not by chance that the director chooses for the premiere of the first season of “Berezil” in Kharkov the play “Tripes d’or” (“The Golden Womb”) just written by Crommelynck (1925). Note that “Tripes d’or” in its content is much more complicated than the “Le Cocu magnifique”. In our opinion, the playwright, using allusions to the work of European prose writers of the XIX century, seeks to show that even an honest and decent person, becoming the owner of a large inheritance, will begin to degrade morally; gold, sooner or later, will become a fetish. Moreover, in “Tripes d’or” it is quite clearly shown that the uncle of Pierre-Auguste himself (the hero of the piece) – AnnaRomainHormidas deGutem– passed through the temptation of wealth. Hormidas’ niece Melina, who eventually got the “throne” with a pottery filled with gold dust, will also pass along this path. In addition, Crommelynck in his play reveals a number of stages of Pierre-Auguste’s painful struggle with the attractive power of gold: from understanding that gold will soon turn into a dragon that will kill a knight, through the realization that “gold in itself is fascinating”, to recognition: “I want to destroy everything ... what is near money .. so that there is no – neither the past, nor the present, nor the future ...” [7: 149, 160]. At the same time, the author in a number of scenes departs from the tragic pathos and appeals to the grotesque, which allows in the “Tripes d’or” to organically combine the real and the fantastic. Thoughtfully approaching the text of the play, Kurbas saw in its plot not the single tragedy of Pierre-Auguste, on which a huge inheritance had suddenly fallen, but a rather common phenomenon in the world of ordinary people thinking only of profit. Therefore, the director chooses not a psychological disclosure of characters, but a grotesque beginning, which allows exposing the thinking of the Nepmen and bourgeois living in petty, personal interests. The original design of the play “The Golden Womb”, semi-grotesque and half-realistic costumes of the actors, their playing and characters’ associations with animals to clarify the understanding of the stage images – all this, on the one hand, exposes the mercantile consciousness of the modern tradesman, on the other – discloses the original approach of the director to modernist text. Conclusions. By turning to modernist dramaturgy and relying on the modern possibilities of the avant-garde theater, both outstanding directors created original productions. If Meyerhold, during this period, was interested in formal experiments and revealing the possibilities of constructivism and biomechanics, so for Kurbas, who was also interested of constructivism, nevertheless, other tasks came to the fore. It was necessary for him to bring up a new theater audience in a short time: to change philistine psychology demonstrating new horizons for the development of public life and the wide possibilities of man in it. It is evidently, that the analysis of the new European dramaturgy and new experiments in the Soviet theater of the 1920–1930s is not limited to what has been said, and further careful study of these problems is required.
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Couder, Olivier. "Problem solved? Absurdist humour and incongruity-resolution." Journal of Literary Semantics 48, no. 1 (2019): 1–21. http://dx.doi.org/10.1515/jls-2019-2005.
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Abstract This article explores the role absurdist humour fulfils in the narrative structure of novels as well as its impact on the process of literary interpretation. Tracing the historical and philosophical roots of absurdist humour, the article emphasises the importance of the concept of incongruity. It then critically evaluates current and influential cognitive and linguistic theories of humour, specifically incongruity-resolution theories and their purported suitability for literary analysis. Drawing on schema-theory, the article examines a passage from Douglas Adams’s The Restaurant at the End of the Universe (1980; henceforth The Restaurant) and illustrates why literary humour cannot be analysed in the same manner as short, often specifically designed, joke texts as is common practice in most humour research. Subsequently, the traditional classification of absurdist humour as a type of humour where resolution cannot be achieved is also challenged as the analysis reveals how absurdist humour is part and parcel of the narrative structure of The Restaurant and how the incongruity is resolved at the moment of literary interpretation.
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Winegar, Reed. "To Suspend Finitude Itself: Hegel’s Reaction to Kant’s First Antinomy." Hegel Bulletin 37, no. 1 (2016): 81–103. http://dx.doi.org/10.1017/hgl.2016.4.
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AbstractHegel famously criticizes Kant’s resolution of the antinomies. According to Sedgwick, Hegel primarily chastises Kant’s resolution for presupposing that concepts are ‘one-sided’, rather than identical to their opposites. If Kant had accepted the dialectical nature of concepts, then (according to Sedgwick) Kant would not have needed to resolve the antinomies. However, as Ameriks has noted, any such interpretation faces a serious challenge. Namely, Kant’s first antinomy concerns the universe’s physical dimensions. Even if we grant that the concept of the finite is necessarily related to that of the infinite, the physical universe cannot both have and lack a temporal beginning. I argue that Hegel neither adopts Sedgwick’s view that Kant’s antinomies require no resolution nor absurdly accepts that the physical universe both has and lacks a temporal beginning. Instead, Hegel proposes a sophisticated resolution of Kant’s first antinomy (including its physical aspect) that depends on Hegel’s theory of the Absolute.
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Saldanha, Arun. "Michaux: Xenopathic Ontology." Deleuze Studies 6, no. 3 (2012): 411–37. http://dx.doi.org/10.3366/dls.2012.0072.
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The hallucinogenic art of Michaux and other surrealists should never be regarded as advocating unbridled sensuous experimentation. The affects they generate may index absurdity, incongruity and comedy – they may ‘ridiculise’ our systematic thinking – but these affects thereby serve a more serious production of concepts. Through an abstemious aesthetics of existence Michaux becomes an ontologist of the prephilosophical sort. Carefully but ambiguously he explores the truths of matter, movement, body and modernity. As Deleuze saw clearly, the resulting ontology has strong affinities with that of Leibniz, though we have to insist on Simondon's transindividual dimension to obtain the full ontological purchase of hallucinogenic surrealisation.
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Ciobanu, Estella. "Give Us This Day Our Daily Absurd, As We Also Have Given It to Our Absurd-mongers! One Look at the Absurd in Romanian Culture." East-West Cultural Passage 19, no. 1 (2019): 39–63. http://dx.doi.org/10.2478/ewcp-2019-0004.
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Abstract An unpublished piece of prose in the style of Romanian writer Urmuz has rekindled my interest in absurdist writings and/or absurd cases which, in Romanian culture, are associated with the likes of Urmuz, Caragiale or Ionesco. I will ponder here, with the aid of the aforementioned authors and also by comparing their work with Lewis Carroll’s, the absurdist spirit of certain Romanian literary and dramatic pieces, or only of certain scenes therein, to propose a typology of the absurd as distinct from satire (the latter often a companion piece to the former). Mine is an investigation that crisscrosses texts, cultures and ages more than it offers an in-depth analysis by recourse to concepts and theories; asks questions more than it offers answers; plays more than it does sober research; and laughs – lest it should weep.
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Lozhkina, Anastasiya Vitalievna. "Ethics and Ontology in the Theravāda Buddhism: Talks on ethically good and bad deeds in “Kathāvatthu” I.1.200–I.1.216." Philosophy of Religion: Analytic Researches 5, no. 1 (2021): 107–23. http://dx.doi.org/10.21146/2587-683x-2021-5-1-107-123.
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This article focuses on the development of ethical issues in early Buddhism. The author focuses on the concepts “good deed” (kālyana-kamma) and “bad deed” (pāpa-kamma). These concepts are discussed in the text “The Section on Ethical Goodness” from “The Points of Discpute” (Kathāvaththu). The article begins with a brief description of “Points of Discpute”. The author then analyzes the semantics of the concepts of good and evil in early Buddhism. Beside therms kālyana – pāpa, a pair of concepts kusala – akusala is used in early Buddhist philosophy. The author concludes that the concepts kusala – akusala are used in later Buddhist texts and their use is more regular. The main part of the article is an analysis of the “The Section on Ethical Goodness”. Using specific examples, the discussion techniques characteristic of the Kathāvattu are revealed: interrogation, repetition and reduction to absurdity. It is demonstrated that scrutinizing of ethical topics in the Buddhist text cannot be separated from solving of metaphysical issues, that of the existence of the substantial doer besides deeds being most important one. Just this issue proved fundamental in discordance in opinions between the orthodox Buddhism of the therāvada school and heterodox lines of the puggalavāda. Attached is the first Russian translation from Pali of sections I.1.200, I.1.201, I.1.212 from Kathāvaththu text of the Abhidhamma-piţaka.
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Wautischer, Helmut. "On Love and Awareness." Dialogue and Humanism 4, no. 2 (1994): 31–40. http://dx.doi.org/10.5840/dh199442/34.
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In this paper I will discuss some aspects of a humanistic perpsective on love which include both elements, idealistic (e.g. concepts of oneness) as well as realistic (e.g., social anthropology) ones. I will argue, that any experience of love is directly affected by an individual's love of self-awareness that enables a person to recognize the origins of his feeelings and allows him to act upon them in an intentional manner. Through such realizations, an individual can remain an autonomous actor, utilizing his knowledge of oneself to explore one's emotions beyond the limits of social restraints. For it is the authentic experience of one's awareness that enables a rational person to master the existential absurdity of one's existence. I will claim that the origin of love does not reside in the realm of emotionality. Instead, love relates directly to an individual's state of self-awareness.
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Backman-Rogers, Anna. "Making nothing happen." Alphaville: Journal of Film and Screen Media, no. 2 (February 14, 2012): 76–87. http://dx.doi.org/10.33178/alpha.2.06.
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This article draws from Gilles Deleuze’s interpretation of the Nietzschean concept of “the eternal return” in order to read Jim Jarmusch’s film Broken Flowers as being not merely a study in duration, apathy and reactive nihilism, but also a film which, through its formal repetitive structure, also offers pathways to transformation and affirmation. As such, I argue that the central protagonist, Don Johnston undergoes a subtle yet crucial change in the course of the film from a state of ressentiment to affirmation and becoming. I also characterise the film as an absurdist quest or road movie.
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Portelli, Daniel. "Music Gesture and the Correspondence of Lines: Collaborative Video Mediation and Methodology." Leonardo Music Journal 30 (December 2020): 50–55. http://dx.doi.org/10.1162/lmj_a_01081.
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Music Gesture can be thought of as being made up of dynamic, multisensorial lines. From this, the author draws from Ingold's “correspondence of lines” as a conception of music and a transformative compositional process, informing gestural line expressions and the development of notation systems for the body. The author outlines the technology he has developed for two compositions, involving a video scoring methodology and software that enables interactive video gestural sampling in a collaborative art music context. The author also engages with Ingold's concept of the “mesh,” as lines that overflow, and imagines how the mesh could be perceived through sensory modalities. This discourse of lines is contextualized through examples of absurdist instrumental pieces and corporeally based music.
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McGuire, Sarah. "A defense of the modern, high-tech redneck on reality TV: Why the world loves Duck Dynasty and its resulting redemptive representation of Rednecks." SURG Journal 7, no. 3 (2014): 5–14. http://dx.doi.org/10.21083/surg.v7i3.2972.
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This article uses key terms and concepts from Television Studies to “close read” the reality TV show Duck Dynasty in its visual form. This article questions not only how Duck Dynasty represents rednecks, but also how the representation of the “redneck” is understood by the TV audience. It explores the success of Duck Dynasty as a reality TV show and argues that it redeems “rednecks” from Hollywood’s previous portrayals of the overly caricatured redneck stereotype. The Robertsons have the ability to convey truth – even if it is through a partially fake/mediated realm – and what they actually represent is a more subdued, modern form of redneck identity in comparison to classic Hollywood depictions. However, viewers cannot trust reality TV to wholly or singularly inform how they understand other social groups despite how “real” reality may appear on reality TV shows. Instead of viewing the redneck jokes and portrayal on reality TV as offensive, Duck Dynasty’s jokes and portrayals can be powerful tools for exposing the absurdity of the stereotypes previously perpetuated by Hollywood and can help subvert them. 
 
 Keywords: Duck Dynasty; Duck Commander; Buck Commander; Robertson; redneck (representations of); reality TV; television studies; hillbilly; Southern culture; stereotypes; sitcom; American dream; American television
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Matveeva, Alla, Roman Krasnov, Elena Atmanskykh, and Stanislav Bannykh. "Antirealism of new reality or art against personality: with the eyes of the philosophy." SHS Web of Conferences 72 (2019): 03051. http://dx.doi.org/10.1051/shsconf/20197203051.
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In the article, the authors provide an assessment of the modernism art, cultivated for decades, in terms of the possibilities of its social and ideological influence. It is argued that the ideologists of the bourgeoisie had to admit that Western art culture was at an impasse. The article analyzes the works of philosophers and artists, such as: Lenin, Schwartz, Nietzsche, Brooke, Leist, Meyer, Reed, Bergson, Lauterbach, Huxley, Weir, etc. Among the many concepts - the theory of "cultural circles", "cultural lag" and "cultural traditions"; Theory of Art Evolution - Professor Munroe; theory of social and cultural dynamics P. Sorokin and others. However, none of these theories could put forward any significant, practically effective ideas that could breathe life into bourgeois art. Summing up the results of more than half a century of the modernism art, we can say that it did not enrich the artistic culture. Starting with contrasting itself with traditional art in a philosophical, theoretical and aesthetic sense, modernism fell outside the scope of art itself due to the absurdity of its practice. The authors believe that in search of a way out of the impasse, bourgeois scholars could not escape from "anti-realism" and art was against the individual. The path traveled by modernist art proves the futility of bourgeois art culture in the first half of the twentieth century, but does not deny its revival in the XXI century.
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Wlodarczyk, Justyna. "When pigs fly: emotional support animals, service dogs and the politics of legitimacy across species boundaries." Medical Humanities 45, no. 1 (2019): 82–91. http://dx.doi.org/10.1136/medhum-2018-011625.
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This paper probes the distinction between the so-called emotional support animals (ESAs), a term that is specific to the USA and that has recently been the subject of significant media attention, and service animals. The attention devoted to ESAs has largely taken on the form of jokes and critical comments related to the absurdity of the ‘political correctness’ that makes it possible for pigs to fly in the passenger cabin of airplanes and llamas to accompany their owners on trips to the supermarket. Much criticism is meted out, also from within the disability community, against animal guardians who try to ‘pass their animals off’ as service dogs and ESAs, with a call for the establishment of clear-cut criteria for the definition of ESAs and service animals. The paper’s methodology is an analysis of the media accounts of legitimate and illegitimate service animals; an analysis that reveals how the boundary between legitimate and illegitimate is constructed through the building blocks of these stories. ESAs are something of a limit case that points to the cultural paradoxes that govern Americans’ relationships with companion animals and with concepts of disability. The paper also argues that the insistence on establishing firm boundaries between ‘legitimate’ service animals and ESAs actually fosters a politics of suspicion, which can easily slip into suspicion directed at the human handlers of the animals.
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Spokes, Matthew. "The Democratic People’s Republic of Korea, Procedural Rhetoric and the Military-Entertainment Complex: Two Case Studies from the War on Terror." Media, War & Conflict 13, no. 2 (2019): 153–69. http://dx.doi.org/10.1177/1750635219828761.
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This article explores how the Democratic People’s Republic of North Korea is represented in video games developed and played during the height of the War on Terror. Drawing on Šisler’s article, ‘Digital Arabs: Representation in video games’ (2008) and Robinson’s articles ‘Videogames, persuasion and the War on Terror: Escaping or embedding the military-entertainment complex? (2012) and ‘Have you won the war on terror? Military videogames and the state of American exceptionalism’ (2015), this article explores two case studies Tom Clancy’s Splinter Cell: Chaos Theory (2005) and Tom Clancy’s Ghost Recon 2 (2004) using Bogost’s (2008, 2010) concept of ‘procedural rhetoric’ to unpack and detail the visual signifiers and gameplay mechanics of these titles in comparison with other work on games set in ‘Axis of Evil’ countries. The article concludes by situating the games within the military-entertainment complex more broadly (here focusing on film), arguing that North Korea is ultimately framed paradoxically in video games, a country that is viewed on the one hand as a threat to world peace and on the other as an absurdist dictatorship.
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Dovhanych, Myroslava. "The Image of the Lost Home in the Works of Kazuo Ishiguro." Pitannâ lìteraturoznavstva, no. 100 (December 27, 2019): 25–41. http://dx.doi.org/10.31861/pytlit2019.100.025.
Full textAbstract:
The image of home has been examined and the peculiarities of the artistic interpretation of this symbol in the novels of a British novelist of Japanese origin Kazuo Ishiguro have been revealed in the article. The essence of the category “image” has been determined; the symbolic significance of home in the life of a person has been analyzed; the differences between the interpretation of the archetypal image of home within the framework of European and Japanese cultures have been indicated; the role of the house in the literary works of K. Ishiguro has been considered, which makes it possible to understand the individual style of the author more deeply. Conducted investigation proved that the image of home belongs to the central spiritual and cultural concepts in any social environment. Home comfort is the dominant of people’s life, although not always realized. The house serves as sacred space for an individual or the whole family in the novels of K. Ishiguro. The loss of one’s own safe home leads to the feeling of loneliness, hopelessness, absurdity of existence, and also transmits the mood and state of spirit of the modern era. Representation of home is closely linked with the problem of identity, since the house embodies the loss of the unity of perception of the world and one’s place in it as a result of emigration. The feature of Ishiguro’s novels is that the house personal space exists only in the memories of heroes.
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Merkushov, Stanislav F. "AUTHOR IN PLAYS BY ALEXEY SHIPENKO." Practices & Interpretations: A Journal of Philology, Teaching and Cultural Studies 5, no. 3 (2020): 126–41. http://dx.doi.org/10.18522/2415-8852-2020-3-126-141.
Full textAbstract:
Various modes of the author in the plays of Alexey Shipenko fi x the variety of forms and types, the complex interpretation of which suggests the idea of possible accumulation of the playwright’s creative energy in a single point, called “the Author”. Consideration of the author’s explications in characteristic combinations, designated as “author and author”, “author and reader / viewer”, “author and character”, allows us to put forward and to a certain extent confi rm the hypothesis about the concept of “author-universe”, actualized in the work of the playwright. Reseach is based on the texts of the book “Introduction” by A. Shipenko (“Mehr Licht (More light)”, “Tsurikon”). A. Shipenko’s dramatic art, being primarily absurdist, is a kaleidoscope where literary genres, cultural universals, historical epochs, styles, plots, and images are mutually refl ected. Surrealistic and cinematic merge of realities, “universal” and intertextual connections, diversity of images, non-standard textual form, a constant focus on alogism, which are innate for life, culture, and literary process, are the dominants of his texts, which are very explicitly represented through such a type of creative substance as the “author-universe”.