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Journal articles on the topic 'Criticism, interpretation, etc.ʼʼ'
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1
Boltz, William G. "Textual Criticism More Sinico." Early China 20 (1995): 393–405. http://dx.doi.org/10.1017/s0362502800004569.
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Textual transmission is viewed in the West typically as a destructive process that results in ever greater corruption and error in a text, and the enterprise of textual criticism in correspondingly seen as the task of restoring the damaged text to a form as close to its original as possible. In China such a negative view of the process of textual transmission does not normally obtain, and textual criticism therefore does not carry the image of being primarily a rehabilitative procedure.An important part of the reason for the different perception of the consequences of textual transmission and of the goals of textual criticism lies with the nature of the writing systems involved. Western texts in alphabetic scripts directly reveal errors at the level below that of the word, e.g., spelling errors, grammar errors, pronunciation errors, etc., for which no interpretation is available save that of seeing them as mistakes. Orthographic errors in Chinese texts, written in logographic script, are not prone to such immediate identification as mistakes. All variants in a text written in a logographic script have the potential to be meaningful and therefore are perceived as different, but are not stigmatized automatically as wrong.
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Mahlberg, Michaela, and Dan McIntyre. "A case for corpus stylistics." English Text Construction 4, no. 2 (November 17, 2011): 204–27. http://dx.doi.org/10.1075/etc.4.2.03mah.
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In this article we investigate keywords and key semantic domains in Fleming’s Casino Royale. We identify groups of keywords that describe elements of the fictional world such as characters and settings as well as thematic signals. The keyword groups fall into two broad categories that are characterized as text-centred and reader-centred, with the latter providing particular clues for interpretation. We also compare the manually identified keyword groups with key semantic domains that are based on automatic semantic analysis. The comparison shows, for instance, how words that do not seem to fit a semantic domain can be seen as reader-centred keywords fulfilling specific textual functions. By linking our analysis to arguments in literary criticism, we show how quantitative and qualitative approaches can usefully complement one another.
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Bodrova, Anna. "Ivan Cankar’s mystery: The multiplicity of interpretation codes." Slavic Almanac, no. 1-2 (2019): 400–419. http://dx.doi.org/10.31168/2073-5731.2019.1-2.6.02.
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The article deals with numerous interpretations of works of Ivan Cankar, who occupies an honorable place in the canon of the Slovenian literature. We put under the scrutiny the intensive reception of Cankar, not only within Slovenia and Yugoslavia, but also in the Soviet Union and Russia. Many research works have been written about Cankar, while his texts still evoke completely heterogeneous interpretations and reactions of readers (from enthusiastic to extremely negative). Various research methods are used in the works about Cankar’s writings: historical and biographical method, immanent analysis, close reading, method of system analysis, comparative, cultural, psychological and psychoanalytic method, reading against the grain, sociological method, the method of feminist criticism etc. The figure of the mother occupies a central place in the Cankar’s works, therefore there is no coincidence that the theme of the mother in the Cankar’s texts has attracted many researchers, while it gets a completely different interpretation. The specificity of some of his works was manifested in a combination of aestheticism, ethical issues and the modernist memory problem. When reading the story, one can perceive it from a purely aesthetic point of view, enjoying the rhythmic language of the narrative, think about memory problems and experience emotions as well. Cankar’s writings often generate anxiety in the reader, while opening the endless potential of new meanings. His works have wide interpretative potential, and some of his texts are superior to any interpretive efforts.
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Kapran, Svitlana B. "The Bible in the Works of I. Franko." Ukrainian Religious Studies, no. 39 (June 13, 2006): 67–73. http://dx.doi.org/10.32420/2006.39.1744.
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Many scholars have already considered the interpretation of the Bible in the works of I. Franko, including Vera Sulim, Larisa Bondar, Oksana Zabuzhko and others. However, these studies touch upon some aspects of Frank's vision of the Bible, or consider individual works of thinkers written on biblical subjects, such as "Moses," "The Death of Cain," "The Legend of Pilate," etc. Let us try here to show that the work of Ivan Franko demonstrates not only a deep philosophical understanding of the Bible, a new, not dogmatic reading of its ancient stories, but also an objective and scientific analysis of the knowledge about it that has accumulated in its time by world scientific criticism.
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Omar Perez, Daniel. "Ontology, metaphysics and criticism as Transcendental Semantics as of Kant." Revista de Filosofia Aurora 28, no. 44 (April 7, 2016): 459. http://dx.doi.org/10.7213/aurora.28.044.ds04.
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The aim of this paper is to present the core of Kant´s critique of traditional metaphysics and ontology as a transcendental semantics that allows reformulating the problem about the objects and their reality. In order to achieve this purpose, we propound a paper divided in two parts: 1. A brief justification of Kant’s semantics interpretation; 2. A work program based on a semantics comprehended as a fundamental part of a method of resolution of philosophical problems. Basically, we can state that the critical position against traditional metaphysics and ontology leads to the question upon: how are a priori synthetic judgments possible? This question leads to its conditions of possibility, that is: sensible representations; intellectual representations; syntactic rules; semantic rules (or referential rules, on the relation between intellectual representations and some sort of sensibility or affection); the operator of the syntactic and semantic rules (subject, man, human nature, gender, people etc.). This is what we call the core of Kant’s critique and with which we may begin to solve philosophical problems even beyond those presented by our philosopher. As such, we are briefly going to observe the following steps: 1. From metaphysics in its various senses to the ontology of sensible objects; 2. A critique of pure reason against dogmatic metaphysics; 3. Criticism as semantics; 4. The semantic project and the kinds of judgments; 5. Human nature and the theory of judgment; 6. The work program within Kant’s own work; 7. Subsequent results of Kant’s project
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Lasmiyati, Lasmiyati. "DIPATI UKUR DAN JEJAK PENINGGALANNYA DI KECAMATAN CIPARAY KABUPATEN BANDUNG (1627-1633)." Patanjala : Jurnal Penelitian Sejarah dan Budaya 8, no. 3 (May 5, 2017): 381. http://dx.doi.org/10.30959/patanjala.v8i3.15.
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Figures are people who have the charisma and work. The work of a person can be a text or historical relics, either as a live or as petilasan (traces of something in the past eg. buildings, etc.). Dipati Ukur served the adipati (Duke) in Tatar Ukur and served as regent wedana of Priangan (1627-1733), suffered an unfortunate fate. He must bear removal as regent wedana and nomadic, following a dispute with Mataram Kingdom. This study was conducted to answer the question who is Dipati Ukur?, has been active in what field?, and what legacy? The method used is the historical method which includes heuristics, criticism, interpretation, and historiography. The research results are to be obtained information that Dipati Ukur born in Purbolinggo Banyumas, Central Java. He was a descendant of Sunan Jambu Karang. From his wanderings after fighting a war against the Dutch in Batavia, he makes the building which is now a relic and petilasan (traces of something in the past eg. buildings, etc.). One proof of his legacy is the largest hill horn legacy in Sub-Ciparay, Bandung regency.
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Bratko, Tatiana Dmitrievna. "Taxation of potential income from rentals: reality and illusion of equal tax burden." Налоги и налогообложение, no. 4 (April 2020): 30–41. http://dx.doi.org/10.7256/2454-065x.2020.4.33165.
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Different forms of income taxation often become the subject of criticism among taxpayers in the Russian Federation and abroad. From this perspective, the tax for potential income from rental set by Taxation Code of the Russian Federation, paid within the framework of patents system of taxation, is not an exception: in 2019, a Russian taxpayer Sergey Aleksandrovich Glukhov disputed its constitutionality with reference to incompliance to the principles of equality and economic feasibility of taxation. This article provides a comparative-legal analysis of provisions of the Constitutional Court of the Russian Federation and the Supreme Court of the Unites States dedicated to constitutional principles of taxation: fairness, equality, economic feasibility, adequacy, etc. The author offers an original systemic interpretation of the Russian principle of economic feasibility of taxation and other legal principles, considering their interpretation by the Constitutional Court of the Russian Federation and practice of implementation of the constitutional principles of taxation in the United States. Based in this interpretation, the article gives an alternative assessment to taxation of potential income from rentals, paid within the framework of patent system of taxation in Russia. The conclusion is formulated that due to the principle of separation of powers, the questions of fair and economically feasible allocation of tax burden comprise an exclusive prerogative of legislators.
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De Vos, Benjamin. "The Role of the Homilistic Disputes with Appion (Hom. 4-6)." Vigiliae Christianae 73, no. 1 (February 26, 2019): 54–88. http://dx.doi.org/10.1163/15700720-12341369.
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Abstract The Pseudo-Clementines is the traditional title of a unique Christian novel (3rd- 4th century) transmitted in several versions. This article focuses on the Greek version, called the Homilies, and more specifically on a much discussed part of these, namely the discussions with the pagan Appion. The passage in which the main character Clement enters into discussion with Appion shows us how those characters claim truth and argue about true culture, philosophy, education, sexuality etc.. This passage is all too often considered as “separate” and “alien” in Pseudo-Clementine source criticism, making it underexposed territory in rhetorical and literary but also philosophical research. This contribution offers a rhetorical and narrative analysis of those disputes with Appion including some philosophical insights. This analysis also serves as a case study for the overall reading experience and the general interpretation of the Pseudo-Clementine Homilies.
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Barañano, Leire, Naroa Garbisu, Itziar Alkorta, Andrés Araujo, and Carlos Garbisu. "Contextualization of the Bioeconomy Concept through Its Links with Related Concepts and the Challenges Facing Humanity." Sustainability 13, no. 14 (July 12, 2021): 7746. http://dx.doi.org/10.3390/su13147746.
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The concept of bioeconomy is a topic of debate, confusion, skepticism, and criticism. Paradoxically, this is not necessarily a negative thing as it is encouraging a fruitful exchange of information, ideas, knowledge, and values, with concomitant beneficial effects on the definition and evolution of the bioeconomy paradigm. At the core of the debate, three points of view coexist: (i) those who support a broad interpretation of the term bioeconomy, through the incorporation of all economic activities based on the production and conversion of renewable biological resources (and organic wastes) into products, including agriculture, livestock, fishing, forestry and similar economic activities that have accompanied humankind for millennia; (ii) those who embrace a much narrower interpretation, reserving the use of the term bioeconomy for new, innovative, and technologically-advanced economic initiatives that result in the generation of high-added-value products and services from the conversion of biological resources; and (iii) those who stand between these two viewpoints. Here, to shed light on this debate, a contextualization of the bioeconomy concept through its links with related concepts (biotechnology, bio-based economy, circular economy, green economy, ecological economics, environmental economics, etc.) and challenges facing humanity today is presented.
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Zarytska, Olena. "FEMINIST ART GRIZELDY POLLOK AS A CHALLENGE TO THE ART OF THE PAST." Sophia. Human and Religious Studies Bulletin 17, no. 1 (2021): 40–44. http://dx.doi.org/10.17721/sophia.2021.17.8.
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The theoretical work of one of the founders and leading figures of modern feminist art Griselda Pollock is considered. Representing researchers whose ideas were shaped by the radical cultural and social revolution of the 1960s and 1970s, she belongs to the second generation of feminist art criticism. The author points to the eclectic methodological position of G. Pollock, which combines a number of areas associated with its "radicalism" in relation to the classical areas of art history and social thought. In particular, it is Marxism, poststructuralism of R. Bart and M. Foucault, Freudian psychoanalysis etc. Methodological eclecticism G. Pollock suggests that the leading in her work is her ideological attitude, rather than research position. Although G. Pollock's theoretical constructions are formally based on specific biographical and art studies of artists of the past, methodological eclecticism does not allow to characterize them as scientific or at least consistently logical in their construction. The author concludes that substantively, the concept of G. Pollock is based on the interpretation of female (and male) principles in the artist's work as a gender category, defined by the prevailing social roles and stereotypes in society. G. Pollock uses the concept of "bourgeoisie" in relation to the culture of the masculine society of the past; attempts to develop the concept of "death of the author" by R. Bart in the interpretation of the socially determined figure of the artist (on the example of W. Van Gogh); quite arbitrarily uses the apparatus of Freudian psychoanalysis to read ("deconstruct") works of art, in particular, paintings by W. Van Gogh and A. de Toulouse-Lautrec. Thus, G. Pollock turns feminist art criticism into an ideological platform for the development of a range of ideological and theoretical currents, united by their radicalism and opposition to classical art and the ideological foundations of modern civilization as a whole.
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Alamsyah. "Rattan as a Craft Material of Community on the North Coast of Java (Rattan Craft Study in Teluk Wetan Jepara)." E3S Web of Conferences 125 (2019): 09018. http://dx.doi.org/10.1051/e3sconf/201912509018.
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Rattan was the main raw material used in rattan craft in Teluk Wetan Jepara. This research uses historical methods namely heuristic, criticism, and interpretation. The results of this study show that the rattan could be made into various craft products such as parcel baskets, bags, chairs, tables, and etc. Rattan craft in Teluk Wetan involved local workers, craftsmen, and entrepreneurs. The products had been marketed on Java, out of Java island, Europe and America. The craft development was around 1972 and still developed rapidly to this day. Rattan craft was soft skills owned by Teluk Wetan community and had an impact on the local economy. The craft existence was supported by workers, craftsmen, and entrepreneurs, both who had small and large scale. The existence of workers, craftsmen, and entrepreneurs encouraged the craft to live and develop. The existence of rattan craft made the community’s economic life of Teluk Wetan became dynamic as well as made this region became a craft center that recognized locally, regionally and nationally.
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Strilchyk, B. A. "THE ONEIRIC TOPOS “SATELLITES” IN A. ZHURAKIVSKII’S NOVEL “SATELITY” AS A LOCUS OF ALLUSIVE-POSTMODERN SIMULATION (ALLUSIONS, QUOTES AND REMINISCENCES IN AMERICAN POPULAR CULTURE)." PRECARPATHIAN BULLETIN OF THE SHEVCHENKO SCIENTIFIC SOCIETY Word, no. 2(54) (January 22, 2019): 413–20. http://dx.doi.org/10.31471/2304-7402-2019-2(54)-413-420.
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This article regards the work “The Satellites” by Andrii Zhurakivskii as an object for literary and psychoanalytical analysis. In the text of this work we have formed the oneiric structure (according to chronotopic division into dream levels and sub-levels, as proposed by plot collisions) and have explicated fragments of ideological and mass-cultural discourse (that episodes being the part of the early 90th popular culture matrix and the ideological scheme of the criticism of capitalism, the methodology offered by Slavoi Zizek have been used), and, furthermore, have been analyzed the parallel «Zhurakivskii-Carroll» as the basis for image and archetype exchange, as well as the basis for creation of the post-modern textual discourse due to parodying, intertextuality, etc. Oneiric space of “The Satellites” by Andrii Zhurakivskii is full of the post-modern artifacts: calques of plot twists here correlates not only with Carroll, but with Tolkien, “The Matrix” by Wachowski brothers and lots of others popular culture phenomena from the late 90th and early 2000th. Thus, textual dream-picture as well is a field, where the post-modern play is held, and oneiric criticism is applicable to this play, as well as ideological, semiotic and psychoanalytic interpretation. Especially important are diffusional elements on the brink of hallucinations and dreams which play initial plot-building role and to some degree indicate the correlation between real and irreal chronotopes (within nonsonscious textual dimensions as well).
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Armit, Ian. "Hillforts at War: From Maiden Castle to Taniwaha Pā." Proceedings of the Prehistoric Society 73 (2007): 25–37. http://dx.doi.org/10.1017/s0079497x00000049.
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Following Wheeler's excavations at Maiden Castle, the multivallate hillforts of Wessex came to be seen as responses to a specific form of warfare based around the massed use of slings. As part of the wider post-processual ‘rethink’ of the British Iron Age during the late 1980s and 1990s, this traditional ‘military’ interpretation of hillforts was increasingly subject to criticism. Apparent weaknesses in hillfort design were identified and many of the most distinctive features of these sites (depth of enclosure, complexity of entrance arrangements, etc) were reinterpreted as symbols of social isolation. Yet this ‘pacification’ of hillforts is in many ways as unsatisfactory as the traditional vision. Both camps have tended to view warfare as a detached, functional, and disembedded activity which can be analysed in terms of essentially timeless concepts of military efficiency. Consideration of the use of analogous structures in the ethnographic record suggests that, far from being mutually exclusive, the military and symbolic dimensions are both essential to a more nuanced understanding of the wider social role of hillforts in Britain and beyond.
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Vasic, Aleksandar. "Serbian musical criticism and essay writings during the XIXth and the first half of the XXth century as a subject of musicology research." Muzikologija, no. 6 (2006): 317–42. http://dx.doi.org/10.2298/muz0606317v.
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The beginning of 2006 marked two decades since the death of Stana Djuric-Klajn, the first historian of Serbian musical literature. This is the exterior motive for presenting a summary of the state and results of up-to-date musicology research into Serbian musical criticism and essay writings during the XIXth and the first half of the XXth century, alongside the many works dedicated to this branch of national musical history, recently published. In this way the reader is given a detailed background of these studies ? mainly the authors' names, books, studies, articles, as well as the problems of this branch of Serbian musicology. The first research is associated with the early years of the XXth century, that is, to the work of bibliography. The pioneer of Serbian ethnomusicology, Vladimir R. Djordjevic composed An Essay of the Serbian Musical Bibliography until 1914, noting selected XIXth century examples of Serbian literature on music. Bibliographic research was continued by various institutions and experts during the second half of the XXth century: in Zagreb (today Republic of Croatia); the Yugoslav Institute for Lexicography, Novi Sad (Matica srpska); and Belgrade (Institute for Literature and Art, Slobodan Turlakov, Ljubica Djordjevic, Stanisa Vojinovic etc). In spite of the efforts of these institutions and individuals, a complete analytic bibliography of music in Serbian print of the last two centuries has unfortunately still not been made. The most important contributions to historical research, interpretation and validation of Serbian musical criticism and essay writings were given by Stana Djuric-Klajn, Dr Roksanda Pejovic and Dr Slobodan Turlakov. Professor Stana Djuric-Klajn was the first Serbian musicologist to work in this field of Serbian music history. She wrote a significant number of studies and articles dedicated to Serbian musical writers and published their selected readings. Prof. Klajn is the author and editor of the first and only anthology of Serbian musical essay writings. Her student Roksanda Pejovic published two books (along with numerous other factually abundant contributions), where she synthetically presented the history of Serbian criticism and essay writings from 1825 to 1941. Slobodan Turlakov, an expert in Serbian criticism between the World Wars, meritorious researcher and original interpreter, especially examined the reception of music of great European composers (W. A. Mozart, L. v. Beethoven, F. Chopin, G. Verdi, G. Puccini etc) by Serbian musical critics. Serbian musical criticism and essay writings were also the focus of attention of many other writers. The work quotes comments and additions of other musicologists, but also historians of theatre, literature and art philosophers, aestheticians, sociologists, all members of different generations, who worked or still work on the history of the Serbian musical criticism and essay writings. The closing section of the text suggests directions for future research. Firstly, it is necessary to begin integral bibliographical research of texts about music published in our press during the cited period. That is a project of capital significance for national science and culture; realization needs adequate funding, the involvement of many academic experts, and time. Work on bibliography will also enable the collection and publication of sources: books and articles by Serbian music writers who worked before 1945. A separate problem is education of scholars. To study musical literature, a musicologist needs to be knowledgeable about the history of Serbian literature, aesthetic theory, and theatre, national social, political and cultural history, and methodology of literary study. That is why facilities for postgraduate and doctorial studies in musicology are necessary at the Faculties of Philology and Philosophy.
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MATVIEIEVA, T. "THE MYTHOMODEL OF THE UNIVERSE IN THE INTERPRETATION OF P. KULISH (STORY «FIRE SNAKE»)." Philological Studies, no. 33 (April 19, 2021): 49–55. http://dx.doi.org/10.33989/2524-2490.2020.33.228232.
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The paper is devoted to insufficiently investigated subject of modern Ukrainian literary criticism – the novelette by P. Kulisha «Fire snake». The purpose of the paper is to outline the features of the world, modeler by the author, using the three-tier structural division of reality scheme tested in the literature.The main attention was focused on the study of the peculiarities of the functioning of the mechanism of simultaneous interaction and reciprocation of the levels of the world model. The following techniques have been identified – gradation, oxymoron, antinomy, mirroring, etc., by them the author builds each of the simulated spaces, namely: the upper world – the heaven as the abode of God; median space – antroposphere; the lover world is the chaos of unholy power.A separate aspect of interests is the specificity of the presentation of the through character of the story – gold – as a dual phenomenon that accumulates binary meanings. Also, it was about folk and philosophical semantics of the meaning – and structure-forming image of the story – a fire snake – the materialized embodiment of the temptation and the sin.The basic means of creation of characters are analysed: the author’s characteristic, the use of a doubleimage. The semantics of irrational is in the sphere of interest of the author of the paper as well.It was proved that modeled by P. Kulish world is incomplete, deformed by an incorrect understanding of its own existence. In fact, this is a model, the basis of which is the paradox: the man essence ruined by the vanity of humanity destroys the antroposphere, shifts the world axis down into the world of chaos, eventually dehumanizing its own perspective, restructuring the universe on the principle of absolute character of pre-term.
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Belov, Vladimir N., Aleksandra Yu Berdnikova, and Yulia G. Karagod. "Immanuel Kant and Herman Cohen’s philosophy of religion." Vestnik of Saint Petersburg University. Philosophy and Conflict Studies 37, no. 1 (2021): 30–40. http://dx.doi.org/10.21638/spbu17.2021.103.
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The article analyzes the main characteristic features of the philosophy of religion of the founder of the Marburg school of neo-Kantianism Hermann Cohen. Special attention is paid to Cohen’s criticism and reinterpretation of Kant’s “practical philosophy” from the point of view of the philosophy of religion: Cohen supplements and expands Kant’s provisions on moral law and moral duty, interpreting them as divine commandments. The authors emphasize the fundamental importance for Cohen of the “internal similarity” between Kant’s ethical teaching and the main provisions of Judaism. The sources of Kant’s own ideas about the Jewish tradition are shown, which include the work of Moses Mendelssohn “Jerusalem” and the “Theologicalpolitical treatise” by Baruch Spinoza. Cohen’s criticism of these works is analyzed an much attention is paid to the consideration of Cohen’s attitude to Spinoza’s philosophical legacy in general. The interpretation of the postulates of Judaism by Cohen (and their “inner kinship” with Kant’s moral philosophy) in ethical, logical, and political contexts is presented. Cohen’s understanding of such religious-philosophical and doctrinal phenomena as law, grace, Revelation, teaching, the Torah, messianism, freedom, the Old Testament and the New Testament, etc. is provided and analyzed. The main points of Cohen’s religious teaching as “ethical monotheism” are considered; in particular, the authors analyze his understanding of the idea of God as “the only one”, which is highlighted in the works of Paul Natorp. It is concluded that Cohen’s philosophy of religion, which is based on the postulates of Judaism as well as Kant’s “practical philosophy”, could be characterized by the terms “ethical monotheism”, “universalism” and “humanism”.
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Кожухов, Сергий. "A Polemic Against the Anthropomorphism in the Alexandrian Christian Tradition and Its Origins (Antiquity, the Aristobulus, Philo and Clement of Alexandria)." Theological Herald, no. 2(37) (June 15, 2020): 123–53. http://dx.doi.org/10.31802/2500-1450-2020-37-2-123-153.
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Цель данного исследования - рассмотреть, как в александрийской экзегетической традиции происходила полемика с антропоморфизмом. Анализируются метод и экзегеза главным образом трёх авторов: Аристовула, Филона Александрийского и Климента Александрийского. В связи с этим приводятся данные об истоках антропоморфизма и его критике, причинах, методах экзегезы и истории споров вокруг понимания и толкования священных текстов в разных традициях: в античной философии, александрийском иудео-эллинизме и христианстве. Главная идея, объединяющая представителей этих разных традиций, состоит в том, что сказанное в священных текстах (Гомера, Гесиода или Ветхого Завета) о Боге посредством антропоморфных категорий не должно пониматься буквально, но с применением аллегорического, символического и т. п. подходов. Цель такого подхода - дать благочестивое толкование, подобающее Богу. The purpose of this study is to examine how in the Alexandrian exegetical tradition was polemic with anthropomorphism. The method and exegesis of mainly three authors Aritstobul, Philo of Alexandria and Clement of Alexandria are analyzed. In this regard, data is provided on the origins of anthropomorphism and its criticism, the causes, methods of exegesis, and the history of disputes over the understanding and interpretation of sacral texts in different traditions: in ancient philosophy, Alexandrian Judeo-Hellenism, and Christianity. The main idea that unites representatives of these different traditions is that what is said about God in the sacral texts (Homer, Hesiod, or the Old Testament) by anthropomorphic categories should not be understood literally, but using allegorical, symbolic, etc. approaches. The purpose of this approach is to give a pious interpretation befitting of God.
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Vorozhbitova, Aleksandra A., Serhiy I. Potapenko, Natalya Yu Khachaturova, and Yuliya N. Khoruzhaya. "Linguistic rhetoric of Soviet discourse: official vs personal register (J. Stalin – A. Dovzhenko)." Revista Amazonia Investiga 9, no. 29 (May 18, 2020): 224–33. http://dx.doi.org/10.34069/ai/2020.29.05.25.
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Within the conception of the Sochi Linguistic & Rhetorical School the paper discusses the diglossia of the Soviet discourse employed in the former USSR, distinguishes official and personal registers as well as shows their difference drawing on Joseph Stalin’s speech of 31 January 1944 to the Politburo of the Central Committee of the All-Union Communist Party of Bolsheviks concerning Alexander Dovzhenko’s screenplay “Ukraine in Flames” and in the writer’s diaries. The comparison reveals a few specific linguistic rhetorical features of cognitive communicative type ontologically characteristic of the Soviet linguistic personality’s communicative cognitive activity in a totalitarian state. The cognitive features of Stalin’s individual discourse representing the official register and his system of argumentation rest on the significative component of linguistic units, arguments from literature to illustrate the postulates and dogmas of Marxist-Leninist doctrine forming the foundation of the Soviet discourse. It is also found that the official register represented by Stalin’s speech is characterized by the following features: 1) repetition; 2) sarcastic remarks; 3) dramatic mutually exclusive contrast of mental spaces (“our own, true in the last resort” and destructed, represented by the opponent’s discourse); 4) rigidly adversarial characteristic of the alternative linguistic rhetorical worldview; 5) appeal to the Soviet collective linguistic personality’s opinion; 6) ideological translation from one subdiscourse into the other, from personal register into the official one; 7) biased retelling of the discourse regarded as anti-Soviet; 8) appeal to the facts lacking in the discourse under criticism; 9) “ideological editing” taking on the form of peremptory lecturing with consequences threatening the liberty of the person under criticism. The personal register of the Soviet Ukrainian writer Dovzhenko is characterized by a broad interpretation of reality devoid of the “Marxist-Leninist blinds” and a more objective interpretation of the world due to a bigger ratio of denotative references (“evidential arguments” like “I say” and “I heard” etc) and communicative cognitive activity relative to two axiological hierarchies: national and Christian, i.e. the dominance of human values over class morality. It is proved that Dovzhenko’s screenplay was criticized within Stalin’s official register for its deviation from the cognitive schemas and the model of the Soviet discourse, for the focus on Ukraine and its citizens rather than on class struggle.
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Kasatkin, Sergey. "The Problems of Specification of Legal Principles in the Doctrine of the “Earlier” R. Dworkin." Legal Concept, no. 3 (November 2020): 52–59. http://dx.doi.org/10.15688/lc.jvolsu.2020.3.7.
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Introduction: the subject of the paper is the analysis of the concept of legal principles of the authoritative American jurist Ronald Dworkin, formulated by him in the essay “The Model of Rules” and formed the core of his initial challenge to the doctrine of legal positivism. The paper based on the general scientific and specific scientific methods pursues a dual goal – first, to systematize R. Dvorkin’s understanding of the specifics of legal principles and their consequences for the criticism of positivism, and second, to assess the potential of the author’s considered ideas outside of American-British law. Results: the paper summarizes the proposed R. Dworkin’s interpretation of legal principles as standards that differ from legal rules in terms of “logical and regulatory” parameters, the grounds for legalizing and significance in judicial justification, and also shows the connection of this interpretation with the negation of the key ideas of positivism. At the same time, it is noted both an unconventional view of R. Dworkin for the domestic jurisprudence and legal practice, the otherness of the criteria for understanding and specification of legal principles, and the insufficiency of a number of the author’s statements. Conclusions: on the one hand, the paper states the “weakness” of the arguments of R. Dworkin’s explanation of the grounds for legalizing the principles and their strict opposition to the rules; on the other hand, it emphasizes the value of these arguments for explaining the “weight” of the principles and conflicts between them, for understanding the procedures for restricting the fundamental rights, etc., which makes it necessary and possible to further develop the concept of the American jurist, including taking into account the experience of continental and Russian law.
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Wang, Bojian. "The role of E. Mravinsky in the triumph of Shostakovich’s Symphony No 5." PHILHARMONICA. International Music Journal, no. 4 (April 2021): 1–10. http://dx.doi.org/10.7256/2453-613x.2021.4.36033.
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The author reconsiders the interpretation of the concept of Shostakovich’s Symphony No 5 based on the fact that the composition was created during Stalin’s Great Terror of the 1930s and after a harsh criticism of his compositions by the Communist Party and the USSR government in the early 1930s. During the creation of the Symphony No 5, the Soviet music experts defined its concept as a celebration of a “happy” life of Soviet people, However, in the author’s opinion, the symphony has another idea. The researcher notes that the triumph of the Symphony No 5 in the global culture had happened only owing to the director’s interpretation by Yevgeny Mravinsky during the premiere at Leningrad Philharmonic Hall on November 21, 1937, after which the Symphony was performed all over the world and became the gold standard of the Soviet music. Probably, Shostakovich intended to create an optimistic finale for the Symphony. But there are many examples when the composer’s goal doesn’t correspond with the final result. The author provides the conclusion that almost all music experts, who analyze this symphony, use abstract phrases: contrast themes, lyrical image, enemy, etc. But the only proven fact is that a “mechanistic” march is a heavy and ponderous advance of the power of a tyrant eliminating everything he wants based on the principle “who is not with us is against us”. This idea pierces into the Forth and later the Seventh Symphonies by Shostakovich. Today, the Symphony is still a music masterpiece and a part of the global music heritage, but the new socio-cultural interpretations of modern directors each time reveal the new faces of this composition.
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Kuznetsova, Ekaterina V. "Traditions of franciscanism and pilgrimage in the life and work of A. Dobrolyubov." Verhnevolzhski Philological Bulletin 2, no. 25 (2021): 19–30. http://dx.doi.org/10.20323/2499-9679-2021-2-25-19-30.
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The fate and personality of Alexander Dobrolyubov gave rise to a kind of Dobrolyubov myth about the eternal wanderer in the culture of the Russian Silver Age and in many ways unfairly obscured his literary work. The article traces the influence of Francis of Assisi on Dobrolyubov's own life-creating strategy and his contemporaries' perception of him as a «Russian Francis. The author considers the peculiarities of artistic interpretation of the whole complex of motifs associated with the fate and personality of the Italian saint in the last collection of Dobrolyubov's works, From the Book Invisible (1905). The author analyzes the image of the pilgrim, glorification (preaching) of the poor, hermit’s life and the unity of man and wildlife, plants and the elements of nature in the context of teachings of St. Francis and the Russian franciscanism of the modernist era; the features of their modernist reception are traced in Dobrolyubov’s works written after his «departure». On the other hand, the author reveals evidence that the poet implements the individual author's interpretation of the characteristic Russian cultural and historical phenomenon of pilgrimage (real, metaphysical and spiritual), which was reflected, for example, in N. S. Leskov’s works, and philosophically interpreted in science and criticism of the early 20th century (V. Rozanov, N. Berdyaev, etc.). The author suggests that the poet was influenced by an anonymous work of Russian religious literature «A Pilgrim's Confessional Stories to his Spiritual Father». As a result, the author concludes that the poet creates a modern variation of the Franciscan image of the «simple man» and the divine man, possessing the gift of communication with nature, who combines the features of an Italian ascetic preacher with the type of a Russian pilgrim-god-seeker.
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Дубініна Віра Олександрівна. "ГЕРМЕНЕВТИЧНА ІНТЕРПРЕТАЦІЯ ЯК ПОРЯДОК ДИСКУРСУ." International Journal of Innovative Technologies in Social Science, no. 4(25) (May 31, 2020): 3–7. http://dx.doi.org/10.31435/rsglobal_ijitss/31052020/7054.
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The modern philosophical hermeneutics is considered in the context of ideas about the transformation of discursive practices and their influence on the formation of philosophical theories. Hermeneutics as a theory of understanding and interpretation itself acts as a family of discursive strategies, conditionally combined into a single whole and representing a new type of communication with the primary source of philosophical knowledge, which is especially important for understanding its individual components. The relationship of philosophical hermeneutics with the philosophy of language and the theoretical uncertainty of the most important elements of hermeneutic discourse are shown. In this article, we combine the idea of philosophical hermeneutics, as it developed in German philosophy of the XIX-XX centuries. with the notion that every philosophical theory, not to mention philosophical directions, develops, establishes a new, own order of discourse and that it is philosophical hermeneutics that is this new order that is somehow present in all directions of twentieth-century philosophy without exception: phenomenology, analytical philosophy, Marxism, psychoanalysis, etc. This interpretive discourse penetrates the flesh and blood of modern philosophy, being its quintessence and main motive.One can imagine the space of interpretation as a certain common space of the collective unconscious in which each interpreter, as a dreamer, moves along its own path, i.e. this interpreter’s dream is something larger, larger than what each of us sees in a dream. Then the figure of the coordinator, meta- interpreter, moderator, standing above individual interpretations, arises or becomes in demand.For all its ambiguity and vagueness of its theoretical foundations, philosophical hermeneutics undoubtedly seeks to constitute itself as a discursive norm, absorbing and subjugating all other speech practices. This allows us to talk about the hermeneutic paradigm of modern philosophy, the ideal of discourse, developing since antiquity and finding its embodiment and resolution in a wide range of modern philosophical theories. In a certain sense, one can speak of hermeneutics as a specific agent that penetrates into the very depths of interpretation schemes and methodologies. Perhaps this position of hermeneutics may cause criticism and suspicions of inescapable totality and peculiar repressiveness if the very nature of hermeneutic discourse did not contradict this point of view. Hermeneutics, by definition, opposes any violence against interpreted material, striving to reflect the whole spectrum of possible meanings and definitions.
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S., Euis Thresnawaty. "SEJARAH SOSIAL-BUDAYA KABUPATEN KUNINGAN." Patanjala : Jurnal Penelitian Sejarah dan Budaya 8, no. 1 (March 1, 2016): 85. http://dx.doi.org/10.30959/patanjala.v8i1.62.
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AbstrakKuningan adalah salah satu kabupaten di Provinsi Jawa Barat yang terletak di ujung Timur. Dari sisi sejarah sosial budayanya Kabupaten Kuningan menarik untuk dikaji, karena sejak beberapa abad yang lalu daerah Kuningan telah menjadi daerah pemukiman manusia. Dari penemuan-penemuan benda seperti menhir, dolmen, dan lain-lain dapat disimpulkan bahwa daerah Kuningan telah didiami oleh manusia sejak masa neolitik. Namun demikian, mengingat panjangnya sejarah yang dilalui Kabupaten Kuningan dengan melalui beberapa masa maka penelitian ini difokuskan pada masa kolonial hingga kemerdekaan untuk mengetahui bagaimana kondisi sosial budaya di Kabupaten Kuningan pada masa tersebut. Metode yang digunakan adalah metode sejarah yang meliputi heuristik, kritik, interpretasi, dan historiografi. Hasil penelitian menunjukkan bahwa sejak dahulu posisi Kabupaten Kuningan yang strategis membuat wilayah dan masyarakatnya senantiasa mampu mengikuti dinamika kehidupan, sehingga memungkinkan terjadinya interaksi dengan kelompok masyarakat lainnya baik secara teritorial maupun kultural. AbstractKuningan District is one area in West Java province located at the end of Northeast. In terms of social and cultural history of Kuningan regency, it is interesting to be investigated since from several centuries ago Kuningan has become the area of human settlements. From the discoveries of objects such as menhirs, dolmen, etc , it can be concluded that the Kuningan has been inhabited by humans since the Neolithic era. Nevertheless, due to the long history of Kuningan, this study only focused on the colonial to independence period to determine how the social and cultural conditions in the district of Kuningan in that era. The method used is the historical method which includes heuristics, criticism, interpretation, and historiography. The results showed that from long ago, the strategic position of Kuningan District makes this area and the community is able to follow the dynamics of life, thus it enables the interaction with other community, both territorially and culturally.
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Miroshnychenko, Pavlo. "Conceptualization of Fear in the News About the Coronavirus." Scientific notes of the Institute of Journalism, no. 2 (77) (2020): 9–21. http://dx.doi.org/10.17721/2522-1272.2020.77.1.
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The main objective of the study is to identify and to characterize the main verbal methods of conceptualization of fear in the Ukrainian-language Internet news about the coronavirus. A method of analysis of relevant scientific information on the research topic was used, which contributed to the development of its concept. The method of interpretation of sociological research data was used, the Ukrainian-language Internet news about coronavirus was monitored. The concept of fear in the Ukrainian language consciousness is a complex cognitive structure that has a large number of components of sensory-emotional nature: fear, anxiety, disquiet. Fear is fixed in the language as a psychophysical condition, a person’s symptomatic reaction to danger, uncertainty, indeterminacy, therefore, it has a negative assessment. The conceptual analysis of the emoseme «fear» in the Ukrainian linguistic and cultural picture of the world postulates its connection with psychological lack of freedom. Mass media as the active agents of social development with all its dynamics, stagnation, crises and challenges are a powerful sociocultural factor of generating fear in the individuals and the communities. The media misuses the technique of “magic of numbers”, namely the expressively colored words (“victim”, “died”, “infected”, etc.) in the news headlines, which are primarily and usually uncritically perceived by the media consumer, without proper immersion in the body of news, without checking the message for reliability and accuracy. As a consequence, a poorly prepared text (according to professional journalistic and ethical standards) on extremely relevant social issues, multiplied by low media literacy and media criticism of the vast majority of mass audience, can become an excellent tool for misinformation and manipulation as well as shaping erroneous public opinion and touching off panic.
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Rineau, Valentin, Anaïs Grand, René Zaragüeta, and Michel Laurin. "Experimental systematics: sensitivity of cladistic methods to polarization and character ordering schemes." Contributions to Zoology 84, no. 2 (July 7, 2015): 129–48. http://dx.doi.org/10.1163/18759866-08402003.
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Phenotypic characters are essential to study the evolution of extant and extinct life forms and to reconstruct the tree of life. Inside the cladistics theory, parsimony is used by a large majority of systematists working on phenotypic characters, whereas 3ta is much less widespread but has triggered important debates. Many important differences in the interpretation of the cladistic theory exist between these methods, e.g. meaning and treatment of reversals, character representation as ‘data-matrices’ in parsimony (ordered and unordered), and as rooted trees (hierarchies) in 3ta. Although 3ta has received severe criticism, mostly focused in the use of software intended to be used in parsimony, only a few empirical studies have compared these methods so far. We present the results of simulations of the evolution of phenotypic traits under a Brownian motion model to characterize differences in sensitivity between parsimony and 3ta to (1) outgroup branch length, which affects the reliability of ancestral character state estimates, (2) character state ordering scheme, and (3) ingroup branch lengths that reflect the geological age of studied taxa. Our results show that the ‘nihilistic’ attitude of leaving multistate characters unordered when criteria to order are available (e.g. , similarity, ontogeny, etc…) can decrease resolving power of the method (by 13.4% to 29.3%) and increase the occurrence of artefactual clades (by 5% to 15.6%). Increasing outgroup branch length significantly decreases resolving power and increases artefactual resolution, at least for paleontological trees. All simulations show that ordered parsimony is always superior to 3ta in tested parameter space. These results depend on the assumption in parsimony that reversals (as implied by the Brownian motion, as in most other models) can be evidence for the support of a clade a posteriori from an analysis or a priori on simulations with a known pattern. We discuss implications of these points of view compared to the assumption inherent in 3ta (i.e. , that reversals should not support a clade as other synapomorphies do) on evolutionary models.
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Perović, Željko. "Was Saint Bishop Nicholai a Fascist? A Review of His Addresses from March 1935 to April 1941." Nicholai Studies: International Journal for Research of Theological and Ecclesiastical Contribution of Nicholai Velimirovich I, no. 2 (July 26, 2021): 395–434. http://dx.doi.org/10.46825/nicholaistudies/ns.2021.1.2.395-434.
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Abstract: The author addresses the issue of Nicholai Velimirovich’s attitude towards fascism, responding to the criticism of Bishop Nicholai as a sympathizer of Adolph Hitler’s policy and the interpretation of Velimirovich’s thoughts that enabled such constructions. In the present article, special attention is paid to the public addresses of Nicholai Velimirovich during the period of the rise of the Nazi state, i.e. from 1935 to 1941. The main topic of this article is to deconstruct the great myth of Bishop Nicholai’s critics, which reads: Saint Bishop Nicholai is a fascist because he received a decoration from Hitler in 1934, and in 1935 he gave a lecture at Kolarac called “Nationalism of Saint Sava” where he praised Hitler as few people did during the life of the Reich leader, comparing him with Saint Sava, “whereby Hitler turned out to be bigger than Saint Sava.” This accusation comes from the critics of Bishop Nicholai from Peščanik, whose pamphlets are adopted and passed on by a part of the Serbian intelligentsia in which there are historians, linguists, political scientists, and even theologians. However, such constructions are possible only if we ignore the legacy of Bishop Nicholai and his thought. For instance, it is interesting that in the same year, namely in 1926, Hitler and Velimirovich published two completely opposite works — Hitler the second part of his Mein Kampf in which he revealed his racial theory to the world, and Nicholai a short article entitled “The Problem of Races,” in which he explained that the problem of race can not solve anthropologists, nor historians and psychologists, but only Christianity, urging Serbian youth not to make a value difference between races, but to consider whether a black earthen pot with honey or a white porcelain pot with vinegar is better. In his later works, there are much more references to the issues of racism, nationalism, chauvinism, etc., where he clearly holds moderated and balanced Christian worldview.
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Knieža, Skirmantas. "The Intrinsic and Extrinsic. Latinitas in the Research of the Grand Duchy of Lithuania." Literatūra 62, no. 3 (December 14, 2020): 93–110. http://dx.doi.org/10.15388/litera.2020.3.6.
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This paper analyses the reception of Latin language and culture in the research of the Grand Duchy of Lithuania. It focuses on the works of various disciplines – social and cultural history, literary research, art criticism, etc. – and seeks to identify the recurring themes, symbols and topics that comprise homogenous narratives and interpretations. They consolidate the findings of different fields of study and thus allow to analyse the Latinitas of the Grand Duchy of Lithuania as an integral part of the political community’s identity.The symbols of Latin language and culture can be identified as a basis for a Shift from oral to written culture. It conveys the ideas of order and organisation, as it transforms customary law into a codified one, a natural religion into that based on Scripture, etc. It alters the society as well, mainly because writing and written culture marks a shift in identity and behaviour. Also, by focusing on social and educational aspects, the Shift marks an institutional change, which permeates the developments of the state and society as a whole.The multipolar cultural field of the Grand Duchy of Lithuania is described by four cultural models – Polish, Lithuanian, Ruthenian, and Latin. The metaphor of Interaction shows how Latin culture and language is seen as one of the four ideological alternatives that legitimize the state, dynasty and sovereignty.Thirdly, the metaphor of Tension depicts Latinitas as part of the dichotomy between Eastern and Western civilizations by expressing the symbolical content of the latter. This narrative also emphasizes the internal confessional disputes inside the Western Church, and by exploiting the specific understanding of the Renaissance humanism, it becomes a means to understand sociocultural conflicts of the Early Modern state.The interpretation of Latinitas as a communication channel is nested under the metaphor of Medium. Works in this category usually portray Latin language as an expression of a social, economic, political, etc. status quo, which differs in each European state. Latin culture thus helps to articulate national interests and identity, and enables the cultural exchange among the Western countries as well.Finally, by emphasizing the poor literacy of the society and only limited possibilities to learn Latin and acknowledge its cultural code, researchers portray Latinitas as a Secret. The speakers and writers of Latin form a hermetic group, possessing the knowledge of a cultural matrix inaccessible to others. The dignity of Latin language also strengthens the status of vernacular languages, and thus accumulates the process of identity formation.These five narratives exemplify how Latinitas is embedded within the economic, political, and cultural activities of the society. It also depicts the different ways by which it becomes an integrating principle of the identity of the intellectual and political classes in the Grand Duchy of Lithuania. It provides an account of Roman descent, sustains the claim for political sovereignty, and indicates the civilizing process. By adopting those five different narratives, researchers may further analyse Latinitas not only as a separate cultural layer, but as a part of social identity as well.
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Абдоков, Ю. Б. "Eduard Serov as Interpreter of Boris Tchaikovsky’s First Symphony: On the Problem of Style Authenticity." OPERA MUSICOLOGICA, no. 4 (November 15, 2020): 19–40. http://dx.doi.org/10.26156/om.2020.12.4.002.
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В статье впервые в отечественном искусствознании рассматривается феномен творческого взаимодействия одного из крупнейших оркестровых композиторов ХХ столетия Бориса Александровича Чайковского (1925–1996) и выдающегося российского дирижера, профессора Санкт-Петербургской консерватории Эдуарда Афанасьевича Серова (1937–2016). Основным предметом анализа является интерпретация, запечатленная в премьерной студийной записи Первой симфонии Б. Чайковского, осуществленной Серовым в июне 2006 года. Масштабный оркестровый опус, сочиненный Б. Чайковским, когда он был студентом в консерваторском классе Д. Д. Шостаковича, никогда прежде не исследовался в российском музыкознании. Тембровая поэтика и архитектоника самой ранней циклической партитуры Б. Чайковского осмыслены в контексте изучения авторского оркестрового стиля и его слагаемых, включая те, которые обозначены самим композитором («тембровая оптика», «перспективные планы», «атмосферная среда» и т. д.). Принципиально важным в оценке дирижерской трактовки Серова является анализ стилевой адекватности, проявляющейся в исполнительской расшифровке того, что Б. Чайковский, анализируя музыку других авторов, называл «темброво-поэтическим кодом» оркестровой партитуры. В статье впервые публикуется уникальный эпистолярный документ — послание Шостаковича своему ученику (после показа симфонии на композиторской кафедре Московской консерватории); также приводятся суждения самого Б. Чайковского, в которых он оценивает профессиональные качества Серова-дирижера и делится личными представлениями о стилевом аутентизме в дирижерском и шире — исполнительском искусстве. The article represents the first attempt in the Russian art criticism to deal with the phenomenon of creative interaction between one of the greatest orchestral composers of the twentieth century — Boris A. Tchaikovsky (1925–1996) and an outstanding Russian conductor — professor of Saint Petersburg Conservatoire Eduard A. Serov (1937–2016). The main subject of the analysis is the interpretation of B. Tchaikovsky’s First Symphony performed by Serov in June 2006, provided in the premiere studio record. This large-scale orchestral opus composed by B. Tchaikovsky while being a student in the Conservatory class of Dmitri D. Shostakovich has never been studied in Russian musicology before. Timbre poetics and architectonics of the earliest cyclic score by B. Tchaikovsky are conceptualized in the context of the author’s orchestral style and its components, including those designated by the composer himself (“timbre optics”, “perspective plans”, “atmospheric environment”, etc.). The analysis of stylistic adequacy, which B. Tchaikovsky called the “timbral-poetic code”, is fundamentally important in the conductor’s interpretation of the score by Serov. B. Tchaikovsky himself used this term while analyzing the music of other authors. This article is the first to publish a unique epistolary document — Shostakovich’s letter to his pupil (written after the performance of the Symphony at the Moscow Conservatory’s composition department), as well as the previously unpublished judgements of B. Tchaikovsky himself concerning Serov’s professional qualities as a conductor, and style authenticity in conducting and — more widely — in the performance practice.
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Shishin, M. Y. "The triptych “Fear and Despair in the Third Empire” by Vitaly Volovich." Iskusstvo Evrazii [The Art of Eurasia], no. 3(18) (September 30, 2020): 195–202. http://dx.doi.org/10.46748/arteuras.2020.03.018.
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The article is devoted to the work of Vitaly Volovich, graphic artist, author of several large cycles of illustrations for classical works: “Heather Honey” by R. Stevenson; Shakespeare's Othello and Richard III; series “Circus”, “Workshop”, etc. The purpose of the article is to reveal the peculiarities of the artist's creative method on the example of analysis and interpretation of the triptych “Fear and Despair in the Third Empire”. This goal required an integrated methodological approach to the analysis of the artist's work, combining a philosophical, art analysis with elements of literary criticism. As a result of the study, the following conclusions were obtained. First, V.M. Volovich gravitated towards deep generalizations, strove, using the language of symbols and allegories, to find a reflection of the contemporary problems that worried him. Secondly, the triptych “Fear and Despair in the Third Empire” marks a turning point in the artist's work, and is an artistic and philosophical reflection on the drama of B. Brecht. Third, the example of this work shows that the artist does not become an illustrator of a literary text, but, having understood the writer's intention, turns to his central idea and it is for it that he creates his own plastic and symbolic-metaphorical language. Статья посвящена творчеству В.М. Воловича, графика, автора нескольких крупных циклов иллюстраций к классическим произведениям: «Вересковый мед» Р. Стивенсона; «Отелло» и «Ричард III» Шекспира; серий «Цирк», «Мастерская» и др. Цель статьи — раскрыть особенности творческого метода художника на примере анализа и интерпретации триптиха «Страх и отчаяние в Третьей империи». Данная цель потребовала комплексного методологического подхода к анализу творчества художника, сочетающего философский, искусствоведческий анализ с элементами литературоведческого. В результате исследования получены следующие выводы. Во-первых, В.М. Волович тяготел к глубоким обобщениям, стремился, используя язык символов и аллегорий, найти отражение современных, волнующих его проблем. Во-вторых, триптих «Страх и отчаяние в Третьей империи» знаменует поворотный момент в творчестве художника и представляет собой художественно-философскую рефлексию над драмой Б. Брехта. В-третьих, на примере данного произведения видно, что художник становится не иллюстратором литературного текста, а, поняв замысел писателя, обращается к центральной его идее и именно для нее создает свой пластический и символико-метафорический язык.
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Афанасов, Н. Б. "К визуальной семиотике фашистской утопии: «Звездный десант» Пола Верховена." Гуманитарные исследования в Восточной Сибири и на Дальнем Востоке 53, no. 3 (2020): 165–73. http://dx.doi.org/10.24866/1997-2857/2020-3/165-173.
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Статья предлагает анализ идеологических нарративов в культовом фильме Пола Верховена «Звездный десант» (1997). Нидерландско-американский автор известен своим особенным и провокационным подходом к режиссуре, который объединяет низкое и высокое. Помимо прочего, Пол Верховен предлагает в своих фильмах высказывания о таких философских категориях, как власть, насилие, утопия, сексуальность и др. «Звездный десант» является одним из самых противоречивых произведений режиссера, представляя собой экзотерическую критику фашистской утопии. Автор статьи указывает, что разночтения в интерпретациях, которые можно обнаружить в исследовательской литературе, заслуживают отдельного анализа. Прибегая к методологической рамке визуальной семиотики, а также обращаясь к литературному прототипу фильма, одноименному роману Роберта Хайнлайна, статья показывает, что в плане критического высказывания фильм вышел за границы замысла режиссера. В конечном итоге прямая интерпретация фильма как апологетики насилия и шовинизма имеет свою реальную основу, что порождает ряд вопросов о нейтральности роли первоисточника, сценаристов и самой избранной Верховеном визуальности. Ключевые слова: утопия, социальная философия, анализ фильма, философия кино, фашизм, национал-социализм, Пол Верховен, «Звездный десант» The article offers an analysis of ideological narratives in Paul Verhoeven’s cult film «Starship troopers» (1997). The Dutch-American author is known for his special and provocative approach to directing, which combines the low-brow with the high-brow. Among other things, in his films Paul Verhoeven offers statements about such philosophical categories as power, violence, utopia, sexuality, etc. «Starship troopers» is one of his most controversial works, representing an exoteric criticism of the fascist utopia. The author of the article points out that discrepancies in interpretations of the film, which can be found in the research literature, are worth analyzing. Using the methodological framework of visual semiotics and referring to the literary prototype of the film, Robert Heinlein’s novel of the same name, the article shows that in terms of critical expression the film went beyond the boundaries of the director’s plan. In the end, the direct interpretation of the film as apologetics for violence and chauvinism has its own real basis, which raises a number of questions about the neutrality of the role of the original source, the screenwriters’ work, and the visual style chosen by Verhoeven. Keywords: utopia, social philosophy, film analyses, philosophy of cinema, fascism, national socialism, Paul Verhoeven, «Starship troopers»
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Афанасов, Н. Б. "К визуальной семиотике фашистской утопии: «Звездный десант» Пола Верховена." Гуманитарные исследования в Восточной Сибири и на Дальнем Востоке 53, no. 3 (2020): 165–73. http://dx.doi.org/10.24866/1997-2857/2020-3/165-173.
Full textAbstract:
Статья предлагает анализ идеологических нарративов в культовом фильме Пола Верховена «Звездный десант» (1997). Нидерландско-американский автор известен своим особенным и провокационным подходом к режиссуре, который объединяет низкое и высокое. Помимо прочего, Пол Верховен предлагает в своих фильмах высказывания о таких философских категориях, как власть, насилие, утопия, сексуальность и др. «Звездный десант» является одним из самых противоречивых произведений режиссера, представляя собой экзотерическую критику фашистской утопии. Автор статьи указывает, что разночтения в интерпретациях, которые можно обнаружить в исследовательской литературе, заслуживают отдельного анализа. Прибегая к методологической рамке визуальной семиотики, а также обращаясь к литературному прототипу фильма, одноименному роману Роберта Хайнлайна, статья показывает, что в плане критического высказывания фильм вышел за границы замысла режиссера. В конечном итоге прямая интерпретация фильма как апологетики насилия и шовинизма имеет свою реальную основу, что порождает ряд вопросов о нейтральности роли первоисточника, сценаристов и самой избранной Верховеном визуальности. Ключевые слова: утопия, социальная философия, анализ фильма, философия кино, фашизм, национал-социализм, Пол Верховен, «Звездный десант» The article offers an analysis of ideological narratives in Paul Verhoeven’s cult film «Starship troopers» (1997). The Dutch-American author is known for his special and provocative approach to directing, which combines the low-brow with the high-brow. Among other things, in his films Paul Verhoeven offers statements about such philosophical categories as power, violence, utopia, sexuality, etc. «Starship troopers» is one of his most controversial works, representing an exoteric criticism of the fascist utopia. The author of the article points out that discrepancies in interpretations of the film, which can be found in the research literature, are worth analyzing. Using the methodological framework of visual semiotics and referring to the literary prototype of the film, Robert Heinlein’s novel of the same name, the article shows that in terms of critical expression the film went beyond the boundaries of the director’s plan. In the end, the direct interpretation of the film as apologetics for violence and chauvinism has its own real basis, which raises a number of questions about the neutrality of the role of the original source, the screenwriters’ work, and the visual style chosen by Verhoeven. Keywords: utopia, social philosophy, film analyses, philosophy of cinema, fascism, national socialism, Paul Verhoeven, «Starship troopers»
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Baliutytė, Elena. "“Don’t go picking apples with the devil”: the myth of Faust in the works of Eduardas Mieželaitis." Literatūra 61, no. 1 (December 20, 2019): 78–89. http://dx.doi.org/10.15388/litera.2019.1.4.
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This article analyzes the reflection on the myth of Faust in the work of Eduardas Mieželaitis (1919–1997). The author’s initial hypothesis that the interpretation of this myth can be used as another argument for revealing the poet’s dramatic feelings and self-reflection of inauthentic Soviet existence is tested. Together with other signs of existential self-abuse (such as the metaphors of “the ringed bird” and “the masked word”), this could help answer the question of whether the description of the 1920s generation (Alfonsas Nyka-Niliūnas, Bronius Krivickas, etc.) as “tragic” would fit Mieželaitis. Intertextuality is the best way to describe the nature of the analysis and socio-criticism would describe the interpretation of the results.E. Mieželaitis was (and still is) one of the most intertextual Lithuanian authors. The use of the “alien word” in his texts was a conceptual position of the poet’s creative consciousness. For him the world’s culture has become a central topic, and his texts have been occupied by the masters of arts and sciences of antiquity, Renaissance, or New Age, as well as modern European authors, Oriental classics, Bible quotations, paraphrases, allusions and other forms of culture. For the poet, Goethe’s Faust is one of such foundational texts, even if the Soviet era did not favor the “myths of the great contemplation” (Vytautas Kubilius). The forever relevant myth of Faust raises a fundamental question of person’s life choice – what one is prepared to sacrifice for one’s purpose, and what the results of that “sacrifice” are. But in the Soviet times Mieželaitis did not focus on this myth as a “symbol of the duality of human’s nature” – his human is rather one-dimensional and monolithic, full of positive energy directed towards technological progress and an absolute belief in the cognitive powers of man. This is the exact aspect that Faust embodies in Mieželaitis’ works, as if it was his “new man”, the product of the Enlightenment era. Mieželaitis did not care about the moment of negotiations between Faust and Mephistopheles – for him there could easily be no Mephistopheles. However, in late works (Postskriptumai, 1986; Gnomos, 1987; Laida, 1992), where the poet reflects on his life and creative path, there are many signs of disillusionment with the myth of human omnipotence as the results of his labor have turned against him – he wanted to create a heaven, but got a hell in the form of Hiroshima. It is at this point that Mephistopheles dominates the duet with Faust, but in general they have both become a “common place” and their function is limited by the text’s aesthetic figurativeness.My conclusion is that eventually the rich allusions to Faust in Mieželaitis’ works did not translate into reflections on the essence or meaning of being – he was not concerned with the problematics of human’s choices, duality, or contradictions. Thus, my initial expectation that the interpretation of the Faust myth may be another argument for revealing the poet’s dramatic feelings and self-reflection of inauthentic existence in the Soviet times was essentially not confirmed. And that could have been another argument for adding him to the social group of the 1920s.On the other hand, looking from the distant present, it is my opinion that Mieželaitis is still a part of the tragic generation, as the whole generation – whether they retreated to the West, or remained in Soviet Lithuania, collaborated or resisted – became hostages of the Second World War and the Soviet occupation.
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Pakhnenko, Irina, and Svitlana Tielietova. "Language game as a means of linguistic anecdote organization." Vìsnik Marìupolʹsʹkogo deržavnogo unìversitetu. Serìâ: Fìlologìâ 12, no. 21 (2019): 148–57. http://dx.doi.org/10.34079/2226-3055-2019-12-21-148-157.
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The article discusses specific features of the anecdote as a speech genre, analyzes communicative-pragmatic principles of creating a comic effect in anecdotes based on the wordplay. It is noted that the concept of «anecdote», despite the fact that it is widely used in modern literary criticism and linguistics, does not have a single interpretation and a precise theoretical definition, which is explained by its genre uniqueness and complexity of a cognitive-pragmatic nature. It is emphasized that the most important part of the work of this genre is its finale, originally known to the narrator. It is the last climax phrase that contains the unexpected and unpredictable final semantic resolution that constitutes the anecdote as such. Among the features inherent in the actual anecdotal texts are: small volume, lack of authorship, reproducibility, indefinite chronotope, stereotypicality of plot schemes, relatively constant set of characters, ambivalence of the meaning of language units, intertextuality, situational functioning, etc. The dominant category of the anecdote text is minimalism, manifested in the choice of details, the number of heroes, laconic form, the volume of compositional components. It is stated that formation of the types of anecdotes took place along two lines: folk and literary. A modern anecdote, in contrast to the literary jokes of previous years, as a rule, is a speech genre, not a literary one, which determines its specificity. It is noted that anecdotes are divided into situational (subject, referential), in which the comic nature of the described situation is not related to the linguistic design, and language (linguistic), which are based on the playing out of certain linguistic phenomena. The comic effect in the latter is based on purely linguistic mechanisms and depends on the choice of the used speech means. An integral part of creating a comic effect in linguistic anecdotes is violation of certain norms, or incongruence, in the implementation of which the leading role is played by the language game. The game potential of phonetic, lexical, word-building, morphological and syntactic means, as well as precedent phenomena involved in speech works of this type are described. Particular attention is paid to punning outplaying of polysemy and various types of homonymy as one of the most popular means of creating a language joke. It is concluded that peculiarity of the game means, used for creating a humorous effect, lies in their function: they have an additional evaluative connotation, express different degrees of negative loading and take part in creating comic ambiguity in the statement.
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Akbar, Akbar, Najamuddin Najamuddin, and Bustan Bustan. "Ilegal Fishing: Penggunaan Alat Tangkap Ikan di Kepulauan Kabupaten Pangkep 1975-2015." Jurnal Pattingalloang 7, no. 1 (April 1, 2020): 23. http://dx.doi.org/10.26858/pattingalloang.v7i1.13283.
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Karya ini menjelaskan tentang penangkapan ikan secara ilegal di Kepulauan Kabupaten Pangkep pada masa pemerintahan Presiden ke-2 sampai tahun 2015. Alat tangkap tersebut mulai ada sejak tahun 1975 seperti Dodoro’ (Bom ikan), dan Racun potassium yang digunakan oleh sebagian nelayan yang ada di Kepuluan Kabupaten Pangkep. Masuknya orang Jawa ke perairan Selam Makassar Pada tahun 1989 memperkenalkan alat tangkap baru kepada nelayan dan melakukan aktivitas penangkapan ikan dengan menggunakan alat tangkap Catrang atau yang biasa disebut Trawl (Trol). Dari sinilah awal nelayan mengenal yang namanya Cantrang/trawl. Sebagai akibatnya, sebagian nelayan di Kecamatan Liukang Tupabiring khusunya Pulau Podang-podang Lompo terdorong melakukan praktek penangkapan ikan secara ilegal karena permintaan pasar semakin meningkat serta, cara prakteknya pun mudah dilakukan dan bisa mendapatkan hasil yang sangat memuaskan. Semasa penggunaan alat illegal (Bom ikan, Potasium, dan Trawl) terus beroperasi sampai mengalami perkembangan dari tahun 2000-2015 dan berdampak pada rusaknya terumbu karang dan memiliki potensi besar mengancam kepunahan ikan dan biota laut lainnya selain itu membahayakan nyawa orang lain..Penelitian ini adalah penelitian kualitatif dengan pendekatan penelitian historis (Historical Research), yang terdiri atas beberapa tahapan yakni: (1) Heuristik, dengan melakukan wawancara terhadap para nelayan Kecamatan Liukang Tupabiring seperti Dg. Mudo, Dg. Ilyas, Dg. Harrang, Haerul, dll. Mengumpulkan sumber di Perpustakaan Fakultas Perikanan dan Kelautan Universitas Hasanuddin Makassar, Perpustakaan Wilayah Provinsi Sulawesi-selatan, data-data Kecamatan Liukang Tupabiring, sera artikel-artikel yang ada dikoran Fajar. (2) Kritik atau proses verifikasi keaslian sumber sejarah. (3) Interpretasi atau penafsiran sumber sejarah, dan (4) Historiografi, yakni tahap penulisan sejarah. Kata Kunci: Illegal fishing, alat tangkap, Kecamatan Liukang Tupabiring. AbstractThis work describes illegal fishing in the Pangkep Regency Islands during the 2nd President's administration until 2015. The fishing gear began to exist since 1975 such as Dodoro (Fish Bomb), and Potassium Poisons used by some fishermen in Head of Pangkep Regency. The entry of Javanese into the waters of Makassar Submarine In 1989 introduced new fishing gear to fishermen and carried out fishing activities using Catrang fishing gear or commonly called Trawl. From here the fishermen knew the name Cantrang / trawl. As a result, some fishermen in the Liukang District of Tupabiring, especially Podang-podang Island, Lompo, are encouraged to practice illegal fishing because market demand is increasing and the practice is easy and can get very satisfying results. During the use of illegal tools (Fish bombs, Potassium and Trawlers) continued to operate until they developed from 2000-2015 and had an impact on the destruction of coral reefs and had great potential to threaten the extinction of fish and other marine biota in addition to endangering the lives of others ... This study is a qualitative research with historical research approach (Historical Research), which consists of several stages, namely: (1) Heuristics, by conducting interviews with fishermen in the Liukang Tupabiring District such as Dg. Mudo, Dg. Ilyas, Dg. Harrang, Haerul, etc. Gathering resources in the Library of the Faculty of Fisheries and Maritime Affairs, University of Hasanuddin Makassar, Regional Library of South Sulawesi Province, data from the Liukang Tupabiring District, as well as articles in the newspaper Fajar. (2) Criticism or the process of verifying the authenticity of historical sources. (3) Interpretation or interpretation of historical sources, and (4) Historiography, namely the stage of historical writing. Keywords: Illegal fishing, fishing gear, Liukang Tupabiring District.
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Aristova, Alla V. "Christian visions of homosexuality: new debates of old churches." Religious Freedom, no. 21 (December 21, 2018): 144–63. http://dx.doi.org/10.32420/rs.2018.21.1256.
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The article is devoted to the study of the relationship between the processes of erosion of the traditional norm vs deviation matrix in the public consciousness and changes in the position of Christian denominations and churches, new tendencies in theological research, canon law, social work, pastoral practice.
The purpose of the work is to characterize the processes of diversification of Christian churches for their attitude towards homosexuality under the pressure of changes in the structure of social deviations and the liberalization of the Christian environment. The author defines the main types of historical stigma of homosexuality; characterizes changes in the public opinion of the population of traditionally Christian countries (based on the modern sociological studies); highlights the main innovations in the social doctrine and practice of various Christian denominations; and identifies the dominant trends in eastern and western Christianity in relation to homosexuality.
It is substantiated that the contradiction between the official doctrine, the conservative position of the church hierarchy, on the one hand, and liberal tendencies in the public opinion of the secular community, on the other hand, are more or less common to all Christian denominations. The most difficult situation related the Roman Catholic Church, whose followers live in Western countries with a high level of tolerance for homosexuality. Under the pressure of changes in legal institutions, public morals and public opinion, the traditional Christian interpretation of homosexuality is filled with new connotations; changes were introduced in canon law, institute of spiritual education, other religious institutions; the church becomes more open to discuss problems that have long been taboo. Church policy and pastoral practice are based on the clear delineation of the concepts of "homosexuality", "acts of homosexuality", "homosexual inclinations", "homosexual intentions", "homosexual temptation", etc.
It has been shown that despite the existing changes in rhetoric, canon law and church practice, the official position of churches is subject to constant critical attacks. Criticism refers not only to the "lack of" acts of homosexuality, the preservation of religious stigma of homosexuality as sin, the condemnation by the church of homosexual behavior, same-sex marriages and gay culture, but also the rooting of patterns of such behavior in monastic and priestly structures. An alternative to the official position of traditional Christian churches is the growing theological movement, which was called "Queer-Theology", which produces its own version of Christian anthropology.
Processes of destroying of traditional structure of deviations in the globalized world, from one side, and processes of post-secularizing - from other, generate contradictory consequences for functioning of religious institutes; the palette of possible attitudes to homosexuality becomes complicated. Overall, the differently directed trends were done distinctly in western and east Christianity. In Catholicism, there are processes of liberalization of Christianity, the search for ways to adapt homosexuals to the religious environment, and in the problem field of Christian anthropology new theological interpretations of gender ethics are proposed. In the flow of Orthodoxy, especially of Russian, the fundamentalization and nationalization of Orthodoxy, the defense of the matrix of traditional values will preserve the religious stigma of homosexuality in the future.
Research results can be drawn on in the courses of religious-studies and sociological disciplines; in research of the problems of social and religious deviation.
Foreseeable assumptions about the development of the research object are finding the best ways to investigate the newest tendencies in attitude of Christian churches toward the social issues of the day; to provide comparative and cross-cultural analysis of processes of diversification of Christian environment.
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Kocherzhuk, D. V. "Sound recording in pop art: differencing the «remake» and «remix» musical versions." Aspects of Historical Musicology 14, no. 14 (September 15, 2018): 229–44. http://dx.doi.org/10.34064/khnum2-14.15.
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Background. Contemporary audio art in search of new sound design, as well as the artists working in the field of music show business, in an attempt to draw attention to the already well-known musical works, often turn to the forms of “remake” or “remix”. However, there are certain disagreements in the understanding of these terms by artists, vocalists, producers and professional sound engineer team. Therefore, it becomes relevant to clarify the concepts of “remake” and “remix” and designate the key differences between these musical phenomena. The article contains reasoned, from the point of view of art criticism, positions concerning the misunderstanding of the terms “remake” and “remix”, which are wide used in the circles of the media industry. The objective of the article is to explore the key differences between the principles of processing borrowed musical material, such as “remix” and “remake” in contemporary popular music, in particular, in recording studios. Research methodology. In the course of the study two concepts – «remake» and «remix» – were under consideration and comparison, on practical examples of some works of famous pop vocalists from Ukraine and abroad. So, the research methodology includes the methods of analysis for consideration of the examples from the Ukrainian, Russian and world show business and the existing definitions of the concepts “remake” and “remix”; as well as comparison, checking, coordination of the latter; formalization and generalization of data in getting the results of our study. The modern strategies of the «remake» invariance development in the work of musicians are taken in account; also, the latest trends in the creation of versions of «remix» by world class artists and performers of contemporary Ukrainian pop music are reflected. The results of the study. The research results reveal the significance of terminology pair «remix» and «remake» in the activities of the pop singer. It found that the differences of two similar in importance terms not all artists in the music industry understand. The article analyzes the main scientific works of specialists in the audiovisual and musical arts, in philosophical and sociological areas, which addressed this issue in the structure of music, such as the studies by V. Tormakhova, V. Otkydach, V. Myslavskyi, I. Tarasova, Yu. Koliadych, L. Zdorovenko and several others, and on this basis the essence of the concepts “remake” and “remix” reveals. The phenomenon of the “remake” is described in detail in the dictionary of V. Mislavsky [5], where the author separately outlined the concept of “remake” not only in musical art, but also in the film industry and the structure of video games. The researcher I. Tarasovа also notes the term “remake” in connection with the problem of protection of intellectual property and the certification of the copyright of the performer and the composer who made the original version of the work [13]. At the same time, the term “remix” in musical science has not yet found a precise definition. In contemporary youth pop culture, the principle of variation of someone else’s musical material called “remix” is associated with club dance music, the principle of “remake” – with the interpretation of “another’s” music work by other artist-singers. “Remake” is a new version or interpretation of a previously published work [5: 31]. Also close to the concept of “remake” the term “cover version” is, which is now even more often uses in the field of modern pop music. This is a repetition of the storyline laid down by the author or performer of the original version, however, in his own interpretation of another artist, while the texture and structure of the work are preserving. A. M. Tormakhova deciphered the term “remake” as a wide spectrum of changes in the musical material associated with the repetition of plot themes and techniques [14: 8]. In a general sense, “a wide spectrum of changes” is not only the technical and emotional interpretation of the work, including the changes made by the performer in style, tempo, rhythm, tessitura, but also it is an aspect of composing activity. For a composer this is an expression of creative thinking, the embodiment of his own vision in the ways of arrangement of material. For a sound director and a sound engineer, a “remix” means the working with computer programs, saturating music with sound effects; for a producer and media corporations it is a business. “Remake” is a rather controversial phenomenon in the music world. On the one hand, it is training for beginners in the field of art; on the other hand, the use of someone else’s musical material in the work can neighbor on plagiarism and provoke the occurrence of certain conflict situations between artists. From the point of view of show business, “remake” is only a method for remind of a piece to the public for the purpose of its commercial use, no matter who the song performed. Basically, an agreement concludes between the artists on the transfer or contiguity of copyright and the right to perform the work for profit. For example, the song “Diva” by F. Kirkorov is a “remake” of the work borrowed from another performer, the winner of the Eurovision Song Contest 1998 – Dana International [17; 20], which is reflected in the relevant agreement on the commercial use of musical material. Remix as a music product is created using computer equipment or the Live Looping music platform due to the processing of the original by introducing various sound effects into the initial track. Interest in this principle of material processing arose in the 80s of the XXth century, when dance, club and DJ music entered into mass use [18]. As a remix, one can considers a single piece of music taken as the main component, which is complemented in sequence by the components of the DJ profile. It can be various samples, the changing of the speed of sounding, the tonality of the work, the “mutation” of the soloist’s voice, the saturation of the voice with effects to achieve a uniform musical ensemble. To the development of such a phenomenon as a “remix” the commercial activities of entertainment facilities (clubs, concert venues, etc.) contributes. The remix principle is connected with the renewal of the musical “hit”, whose popularity gradually decreased, and the rotation during the broadcast of the work did not gain a certain number of listeners. Conclusions. The musical art of the 21st century is full of new experimental and creative phenomena. The process of birth of modified forms of pop works deserves constant attention not only from the representatives of the industry of show business and audiovisual products, but also from scientists-musicologists. Such popular musical phenomena as “remix” and “remake” have a number of differences. So, a “remix” is a technical form of interpreting a piece of music with the help of computer processing of both instrumental parts and voices; it associated with the introduction of new, often very heterogeneous, elements, with tempo changes. A musical product created according to this principle is intended for listeners of “club music” and is not related to the studio work of the performer. The main feature of the “remake”is the presence of studio work of the sound engineer, composer and vocalist; this work is aimed at modernizing the character of the song, which differs from the original version. The texture of the original composition, in the base, should be preserved, but it can be saturated with new sound elements, the vocal line and harmony can be partially changed according to interpreter’s own scheme. The introduction of the scientific definitions of these terms into a common base of musical concepts and the further in-depth study of all theoretical and practical components behind them will contribute to the correct orientation in terminology among the scientific workers of the artistic sphere and actorsvocalists.
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Shchetynskyi, O. "Composer’s Word." Aspects of Historical Musicology 13, no. 13 (September 15, 2018): 5–13. http://dx.doi.org/10.34064/khnum2-13.01.
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Background. During the last century composers show an increasing activity in the fi eld of a literature while writing texts that explain specifi c features of their musical works, their aesthetic, philosophy or attitude to certain cultural phenomena. Sometimes even an analytical essay produced by the composer may characterize the composer’s personality and his/her position in the art. In this aspect, the composer’s texts deliver a vast number of facts directly connected to the heart of aesthetic, social, psychological phenomena of a composer’s activity. In the article an ill-defi ned phenomenon of texts and speeches of a composer on his/her works and on music and art in general is analyzed. The objectives of the study are fi nding the connection between literal and musical works of the composer. The main source of the analysis of a composer’s personality should be musical works, because they contain the complete information about the author, and they may lead to construction of the author’s “portrait” in various aspects – psychological, historical, ideological, etc. Understanding the artistic personality through analysis of his/ her works, although being the most trustworthy method, sometimes is also the hardest, since the author not always manifests himself/herself directly while using various kinds of play-acting. That’s why the analysis of a composer’s speech as an additional fi eld, that refl ects the composer’s personality, may be effective. This method is applied to the published speeches and the interview of Valentyn Sylvestrov. Being applied to his “case”, this analytical instrument explains the reason of his critical speeches against avant-garde aesthetic and its typical adepts (Helmuth Lachenmann, Karlheinz Stockhausen and others). This critic does not mean the change of Sylvestrov’s position since his youth. Although he became known as an avant-gardist in the 1960s, even then – and his early interview (published in 1967) demonstrates this quite clearly – he declared his position which strongly differed from typical avant-garde ideas. His speeches of later time shows similar attitude of the composer to many musical problems, despite these speeches were made almost half a century after his early interview. They describe quite strange situation when the composer’s text, while saying almost nothing about the objects of its criticism, shows fi rst of all Sylvestrov’s own evolution from “soft” avant-garde of the early 1960s to the specifi c and extremely individual stylistics that combines radical and quasiconservative features. This combination in itself is quite unusual both in avant-garde and conventional styles, and proves lyrical nature of his artistic personality, as well as some favorite subjects typical of him both now and half century ago. Composer’s letters show the mental condition of the author in a certain period of his/her life and creative evolution. They give exact information on facts, events, dates, etc., so in this aspect they are irreplaceable. Certain words and a way of description used by an author – and also what he/she omits – directly shape the artist’s nature. It is important to take into account that we do not have to deal with absolute truth but subjective interpretation which may contain (apart the trustworthy details) exaggeration, misunderstanding and wrong conclusions. These very deviations add new features to the artistic “portrait” and may explain the reason this or that feature appears in a musical work. Analysis and even reading composer’s (and any other) letters raise some moral problems. Usually letters are addressed to a certain person or an institution and not intended to be seen by anybody else. We cannot know whether the author would be happy if he/she would know his/her letters are published. Only in the case of a publication during the author’s life this problem may be totally fi xed, as the author’s agreement to such publication seems to be mandatory. While artist’s letters are usually not intended for publication, an interview or dialogues of the artist with “authorized person”, as well as autobiography, an article or memoirs are always created for the public, so the “master” depicts himself in accordance with the way he/she wants the others see and treated him/her. While the literature knows classical example of this genre back from the early 19th century (we mean the wellknown Peter Eckermann’s Conversations with Goethe), the composers start to regularly produce similar texts much later in the 20th century. Despite the technical and aesthetical progress of the 20th century culture stimulated the musicians to create texts, they did not became the obligatory (sometimes because of personal reason). While almost all more or less known musicians gave an interview and created brief speeches on various occasion, just a part of them left the dialogues with extended explanation of the composer’s views on various problems and facts of the art and life. The model example of such texts are the Dialogues if Igor Stravinsky with Robert Craft. Later other outstanding musicians followed them, exactly Jannis Xenakis, Olivier Messiaen, Witold Lutoslawski, Alfred Schnittke and Edison Denisov among the mostly known. Another kind of the author’s word to be widely circulated is an author’s annotation or commentary to the piece. Such a commentary written for a concert leafl et or a festival (LP, CD) booklet is always expected by the recipients, so it plays an exceptional role in understanding the new work and may help to promote it or, in unlucky case, prevent its success. The results of the research prove the importance of the composer’s text for understanding his/her music. Although being a sort of paradox, such texts may show the shortest way to fi nd secret senses and codes of music. so we conclude the literal texts gradually become an integral part of the composer’s work and composer’s life.
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Panasiuk, Valerii. "Ideas’ stories and people’s stories in A. Zholdak’s directorial conception." Aspects of Historical Musicology 19, no. 19 (February 7, 2020): 358–73. http://dx.doi.org/10.34064/khnum2-19.21.
Full textAbstract:
Problematic field, objectives and methodology of the study. The “star” figure of A. Zholdak, one of the most shocking directors intriguing with his unpredictability, cannot be overlooked in the sky of modern theatrical art. True, not of national art, but Western European or Russian – the stage productions of the avant-garde director resonate with the priority world trends in theatrical culture. This also applies to musical performances, where the staging process in last time has been carried out under the sign of the “Regio-Theater”, under the director’s concept, which is often radical and revisionist in relation to the author’s source and the interpretive experience of critics and the public. This is evidenced by the A. Zholdak’s “operatic opuses”, namely, “Eugene Onegin” (St. Petersburg, Mikhailovsky’s Theater, 2012–2013 season), “Love drink” (Poznan, Teatr Wielki named after Stanislav Moniuszko, 2018–2019 season), The “Enchantress” (Lyon, Opera National de Lyon, 2018–2019 season). “Opera opuses” by A. Zholdak, being in the “European trend”, remain unknown in Ukraine, not mastered by domestic scientists and, in general, are ignored by the theatrical community. This also applies to the production of Р. Tchaikovsky’s opera “Iolanta” in the 2018–2019 season at the Mikhailovsky Theater in St. Petersburg, one of the last, carried out by the director. Like any other “director’s” production, A. Zholdak’s performance touches upon problem areas of the modern musical and drama theater. The first of them is the definition of a system of principles that are guided by contemporary directors, embodying their “radical” concepts on stage. The second is related to the choice of interpretive methodology that is commonly used in the process of radical stage expression’s interpretation. The present study, using the parameters of culturological and theatrical critic analysis, aims to determine the conceptual ideological attitudes, aesthetic paradigms, features of the organization of the narrative in the aforementioned production by A. Zholdak. The results of the study. The first of above-mentioned problem is solved through the understanding of the fact that the libretto and the musical text, i.e. the source material, remain indestructible for any modern opera director. On its basis, a director (co-authored with a playwright and an artist) creates a new narrative with the help of own stage means: set design, costumes, light equipment, video etc. As a result, a “radical reading” effect provokes a conflict of interpretations. The second problem, owning or mastering interpretative mechanisms, is related to the processes of sensing text in the receiving area. It refers to the level of development of skills of “unlocking” the text, skillful possessing (often not possessing) the “keys”, which are appropriate for using in work with a text of modern musical theater.These very problems are actualized by P. Tchaikovsky’s opera “Iolanta” embodiment, performed by A. Zholdak on the stage of the Mikhailovsky’s Theater. As the staging practice of the last decade shows, it is the composer’s work that is undergoing a radical conceptual rethinking. The plot of “Iolanta”, its system of characters and basic metaphors, are completely meeting with the aesthetic principles of symbolism. This explains A. Zholdak’s transfer of opera’s action to the end of XIX and early XX centuries, that is, into the period of establishing symbolism as a worldview and artistic dominant of the era. Aesthetically, the visual decision of the performance of the Mikhailovsky’s Theater (artistic directors – Andriy Zholdak and Daniel Zholdak, director of multimedia and author of light design – Gleb Filshtinsky) meets the criteria of postmodernism. At the same time, the stage story is a parallel unfolding of two autonomous stories: blindness, love and insight of Iolanta and the story of the eponymous P. Tchaikovsky’s opera’s creation. For staging the stories, A. Zholdak chooses the principles of the novel genre with its story linearity, psychological reasoning, obligatory causation. At the same time, the director, not refusing basic (symbolist) expressive means, adds to the novel narrative the “visible symbols” of holiness of the main character Iolanta (the nimbus, the interior of the Orthodox church with its exaggerated Byzantine richness and luxury), which are in fact a purely external expression of this internal idea, which is very difficult for scenic implementation. As a consequence, there is a complication of the characters’ system, the restructuring of the primordial playwriting and re-montage of the opera score. The scale of the stage narrative does not fit into the author’s timing of a one-act opera, and therefore P. Tchaikovsky’s musical material is “added to the load” with the fragments borrowed from other works of the composer (for example, from “Nutcracker’). All this leads to a violation of the unbreakable ethical law of the “Regio-Theater” − the inviolability of the author’s (verbal and musical) text. The story of P. Tchaikovsky’s creation of his last opera opus is not convincingly staged. Considering the nature of the theater and its expressive capabilities, it is impossible to reveal on the stage the visual equivalent of the creative process and the artist who is in it. Therefore, in A. Zholdak’s play, the actor depicting the composer in the process of working on “Iolanta” performs the row of consistent physical actions, which only demonstrates his professional movement skills, imitating the convulsive-ecstatic tension of the creator. Conclusions. Thus, A. Zholdak attempts “to open” P. Tchaikovsky’s latest opera score by “the key of symbolism” by working with universal ideas and refining hidden meanings. The hints at this grandiose design are the postponement of the opera action in appropriate “epoch” − the end of XIX to the beginning of XX centuries, in the era of active functioning of symbolism in artistic culture, and the emergence of the “Alter Iolanta” as a new character. But the ideas of symbolism do not have their proper implementation. A. Zholdak tries to presents two stories at the same time (blindness, love and insight of Iolanta and the story of P. Tchaikovsky’s creation of the eponymous opera) based on the principles of the novel genre, which leads to the substitution of “the ideas’ history” on “the human stories”. The result is an artistically contradictory stage build up, which provokes conflict interpretative relationships both by the audience and by the professional criticism.
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Scafuto, Isabel Cristina, Priscila Rezende da Costa, and Marcos Rogerio Mazzieri. "What we expect from papers submitted to IJI." International Journal of Innovation 9, no. 1 (April 26, 2021): 1–10. http://dx.doi.org/10.5585/iji.v9i1.19849.
Full textAbstract:
The quality of articles submitted to Brazilian journals has been a source of criticism (Ferreira Falaster, 2016), not only in the International Journal of Innovation - IJI but also in other journals. Journals also usually receive work outside their scope. It motivated us to write this editorial comment. We aim to help the authors better understand the scope of the IJI and understand what we expect from the submitted works. Our concern is related to the format and the elements necessary for each type of work. In addition to the authors, the reviewers can also consult this editorial comment to guide their evaluations.The predominant field of IJI is innovation with a focus on emerging markets. Within innovation, the themes of interest to the journal are: Innovative Entrepreneurship, Innovation and Learning, Innovation and Sustainability, Internationalization of Innovation, Innovation Systems, Emerging Themes of Innovation and Digital Transformation. As scope, the IJI brings: Scientific research, theoretical essays, and reviews that advance the understanding and variety of innovation, improve its efficiency and critical approaches. We prioritize the development of new challenging theories, clarify existing theories, and identify new theoretical issues. Example: Systematic reviews, Bibliometrics, Theoretical essays, Reviews, among others.Empirical investigations or applied tests that, based on theories or references formulated, show state of the art and practical application in innovation; priority is given to unpublished technological contributions and their importance for studies in the area. Example: Empirical articles (quantitative and qualitative), Technological articles, Articles with guidelines for practice, among others.Perspectives that show the advance of established and emerging methodologies that are used in the area of innovation such as: Experimental, Technometrics, Text Mining, Data Mining, Modeling, Bibliometrics, Netnography, Neuroscientific Methods, Design Science Research, Grounded Theory and others.We will continue discussing what we expect from the papers submitted to IJI. We will contextualize some of the types of papers we accept: Articles, Technological articles, Perspectives, Reviews, and Editorial Comments. When submitting the work at IJI, the author must choose one of these options mentioned. We remind the authors that all types of papers must contain a structured summary in Portuguese, English, and Spanish. This structured summary can be adapted for reviews and perspectives, using only the elements that fit the study. Editorial commentLast year, we started the editorial comment section at IJI. This section is exclusively authored by the editors of IJI and their guests. Eventually, we invite members of the editorial board or scholars to contribute with their knowledge. Editorial comments do not go through peer review. Therefore, they are not considered articles.With the editorial comments from IJI, our goal is to assist authors and readers in understanding the various aspects related to scientific research, the publication of articles, and themes related to innovation. We want to help the researchers in their scholarly productions, orienting their articles in the best possible way. We intend to guide the IJI community through our editorial comments, minimizing the desks rejects of the articles, and maximizing authors' publications in the area of innovation. Articles[1]At the time of submission, authors who choose this type of work option may include empirical articles (qualitative and quantitative), theoretical and review articles (systematic literature reviews, bibliometric, theoretical essays)—always taking care of the scope of the IJI with a focus on innovation in emerging countries.In addition to the formatting guidelines that are found in the IJI, we suggest that the articles follow the following structure: Introduction; Literature review; Conceptual Development (Propositions or Hypotheses, when applicable); Methods; Results; Discussions and Conclusions. This structure, which will be suggested below, may undergo some changes depending on the article type. For example, a review article may not have a literature review section, as its results play this role. We suggest that an article has approximately 8000 (eight thousand) words.Introduction: When developing the introduction note the following aspects with greater specificity: if it is clear what the theoretical focus is used, present the research question that motivates the article, indicates the method, present the main results and the contributions or implications. Some failure possibilities deserve special attention from the authors: (1) the article indicates the research question, and (2) the article includes an explanation of the desired contribution.Literature review: Aspects to be considered by the authors: (1) the author is not limited to exposing a set of previous works on a theme with little connection to the current article; (2) links previous works to this article - the authors must clarify how previous referenced works relate to this article; and (3) it has a good balance in the inclusion of classic, or seminal, pertinent references, and more recent references.Conceptual development (propositions or hypotheses, when applicable): An article may or may not have propositions or hypotheses, but it must always have specific conceptual support that motivates the study. Authors should pay attention to the text of the propositions or hypotheses, the consistency between the various hypotheses, and whether they are adjusted to the research question. Authors should give special attention to the argument that supports each of the propositions or hypotheses. Check that it is consistent.Method: The method section needs to be elaborated on several aspects, especially on the data collection procedures and instruments, sample, variables, and data analysis procedures. Check if the data are appropriate to the objectives and if they are not biased. The article should include an adequate explanation of the data and sources used, given that primary data or lesser-known sources require further explanation. Likewise, it is important to understand the characteristics of the data and their representativeness, for which the sample description must be complete. An adequate description if an instrument is used is crucial, and it is not enough to send the questionnaire as an attachment to the article. The questionnaire items, the measurement method, and the source of the items are important. Finally, it is necessary to check the data analysis procedures. In empirical studies, the article must indicate which statistical technique is most effective for testing hypotheses.Results: The authors must include some descriptive elements. The descriptive component is relevant to observe the distribution of the data. A quantitative article should include the correlation table, for example. The article must contain tables with the statistical results, and in the text, the authors need to indicate sequentially if each hypothesis is verified. The text must contain an interpretation of at least the most important results.Discussion: It is a whole section for articles submitted to IJI. The authors must briefly mention the purpose of the article and how it was pursued throughout it. Here the authors must integrate the theory used in the theoretical framework, the hypotheses or propositions, and the results. It is time to show the contributions and/or implications of the study given the existing knowledge. Authors must present an analysis of the main results about the exposed theory. The discussion must be sustained in the analyzes so as not to run the risk of being speculative.Final considerations: the authors must pay special attention to some aspects. The conclusion does not need be too long. One can start by remembering the purpose of the article and how it was achieved. Authors should bring the limitations of the study and suggestions for future research. The ideal is a paragraph for each limitation and any future research. All of these elements must flow coherently and without ramblings for similar subjects or with references to other studies in progress. Technological articleWe will now conceptualize the technological article and show its difference from an academic article. The technological article is a production with a professional emphasis, with an approach mainly focused in problem-solving (Motta, 2017). It is the fundamental difference between a technological article and a production with an academic emphasis. The technological article generally describes experiences in organizations. Even so, authors must follow scientific and methodological rigor in their writing (Biancolino et al., 2012).We propose that the authors submit in this technological article section applied research that prioritizes the learning description, presenting the practical results experienced in the organizations. The CIMO logic (Van Aken, 2007) brings us some insights for a technical production:Context (problem situation);Intervention (intervention proposed to solve the problem presented);Mechanisms adopted (description of how the problem was solved);Results Obtained (objectively describe the results obtained in the organization).It is worth mentioning that in a technological article, reports of solutions implemented with results already obtained are expected. It does not make sense to report something that has not yet been implemented in the organization. So, it is expected that the technological article submitted to IJI will offer contributions to knowledge, as an example (Gregor and Hevner, 2013):Focus on innovation: new solutions to new problems;Focus on improvement: new solutions to known problems;Focus on extrapolation: known solutions to new problems.Another point that we would like to clarify is the size of a technological article. Even if some journals accept technological articles with fewer pages, we suggest that the submission to IJI has at least 6000 (six thousand) words. Also, authors should follow the format available in the guidelines for the author, including the structured abstract and adopting the structure[2] presented below.Introduction: its purpose is to present what the technological article is about briefly, and the intervention carried out, making it clear which problem situation will be solved. Quickly inform how the research was carried out and how the data collected to interpret the technological article were interpreted.Literature review: must be related to the intervention carried out in the organization. The theoretical framework will give theoretical support to the findings of the technological article and contribute to the discussion of the results obtained.Technical production method: despite being a technical production, the technological article must follow a method, which must be well detailed. It should contain a description of the procedures used to collect the data and information relevant to the technological article's realization. It needs to indicate whether it was a direct observation or direct participation, among other examples.Context and problem situation: the authors must present the problem or the opportunity and characterize the organization.Types of intervention and mechanisms adopted: the authors must analyze the problem situation and discuss the possible alternatives for its resolution: innovation, improvement or extrapolation, and describing the activities developed to solve the problem situation.Results obtained and analysis: the authors must bring the most relevant contributions according to the subjects dealt with in the technological article. Its relevance for similar cases with lessons from the reported experience should be emphasized. Describe the results obtained and analyze the data.Discussions and final considerations: the discussion is also welcome in the technological article. It is time to compare the analysis of the results with the researched theory. Show that the objectives of the technological article have been achieved. The authors can comment on the limitations for the research to be carried out and propose new ideas for studies of a technical nature that can continue what was presented.References: the authors must insert at the end all authors used in the theoretical framework, according to APA standards found in the IJI guidelines. Reviews[3]Review is the analysis of a work in an evaluative and critical way, exposing the summary of its main points. Authors who choose this option at the time of submission should exercise caution. They must remember that the review is an academic work to encourage authors and readers to understand and criticize the reviewed work.With this review section, the IJI proposes to provide, for its readers and the wider community of academics, interesting reviews that deal with topics relevant to research or the practice of innovation. The reviews can be, for example, of recently published books and seminal or classic books, which are important for the academic community and complement the training of graduate students.The suggested steps in the review, presented below, should make sense for the author and the reader. All of these elements must appear coherently and fluidly in the text of the review. We suggest that a review has at least 6000 (six thousand) words, depending on the work reviewed.Bibliographic reference: presents a brief description of the work's registration data, such as author's name, title/subtitle, edition (place of publication, publisher, edition, etc.), number of pages.References of the author of the work: this phase is dedicated to the author's data, such as date and place of birth and death (if applicable), his main works, and the works' main themes.What are the issues that mobilized the work being examined: explain why, according to the author, the work is important for studies in this field. This information is generally placed in the introduction and can be important to understand the meaning of the work.Context of the work: indicates the period and place in which the work was carried out, especially in the case of publications and works considered seminal.Methodology of the work (if it is the case especially works of a theoretical-practical nature): point out the main methodological axes described by the author.Summary of the work's main conclusions: this phase is dedicated to the conclusions/contributions of the work, according to the author.Most important bibliographic references of the reviewed work: identify the main references most cited in the work.Reviewer's Opinion: Main contributions of the work, according to the reviewer;For which target audience can this work be recommended?What is your opinion about the work? Strengths and weaknesses, specific limitations.The reviewer can complement the review with results from other research on the topic in question. For example, present the results of a systematic review or a bibliometric for possible additions to the theme or comparisons. PerspectiveIn the perspective section, we want to reach specialist readers who are not necessarily academic to disseminate ideas and concepts that can contribute to practice and reflection on their day-to-day activities in the scope of innovation. These articles seek to focus on evidence, much more than on the development of theory. However, they can demonstrate the advancement of established and emerging methodologies that are used in the area of innovation, such as Experimental, Technometrics, Text Mining, Data Mining, Modeling, Bibliometrics, Netnography, Neuroscientific Methods, Design Science Research, Grounded Theory, and others, as we mentioned earlier. Thus, this section proposes to receive articles reviewing concepts, articles that integrate theories and results, new ideas about the field, and integration of fields of study.Our intention with the perspectives section is to raise debates and increase the IJI community's discussion to attract the public to thoughts and reflections on the theme of innovation. In addition to having another channel to disseminate academic research progress, so distant from executives and undergraduate students, or even academics from other areas of knowledge. We suggest that a prospect has at least 6000 (six thousand) words. Main reasons for work failures at IJIWe will share with the IJI community the main reasons for rejection of the submitted works. The aim is to bring our experience as editors in the conduct of editorial processes. This way, we minimize rejections in the desk reviews and the works that peers are already evaluating. The desk review is a moment before peer review; it takes place before the editors send the submitted article to the reviewers. The IJI desk review takes place in two stages, which will be described below.In the first stage, as soon as the work is submitted to IJI, it undergoes a technical desk review to verify that the work is minimally in the journal's rules. It is at this point that many authors need to resubmit their work. The main reasons are:Authors forget to exclude the indication of their names in the file sent;The work goes through plagiarism identification software, and we often find similarities outside of good academic practices;The authors do not place the work within the rules presented in the submission guidelines. For example, the IJI only accepts papers within the APA standards, or with a certain maximum number of pages. Moreover, the authors do not adapt their article in our format.After the technical verification, we, the editors, carried out the second stage of the desk review. In this step, we assess the work scope as adherent to IJI, as presented at the beginning of this editorial comment. We also check if the work is adequate according to the suggestions we present in the articles we receive for submissions. The main reasons for rejections at this stage of the desk review are:The works are not within the scope established in the IJI;The works do not meet the suggested structure suggestions for each type of study. As an example: they do not have a discussion section; or do not have a literature review section in the empirical articles; they do not have a minimum number of words, making it a superficial job; they have serious method errors.After the works go through these two stages of desk review, we proceed with the editorial process, and the works are sent to the reviewers. Right now, there are several reasons for rejection. But most of the time, the works are rejected because the authors do not heed the suggestions of the reviewers. An important item that facilitates this process of rounds between the authors and the reviewers is the letter of reply from the authors regarding changes in the work. Our guideline is that when the authors send the revised paper, send a letter and all the changes suggested by the reviewers made in this new version.We take the opportunity to thank the authors for their confidence in submitting their work to the IJI. We also thank the efforts of all the reviewers, who were involved with the IJI, for their extraordinary work and to offer authors valuable suggestions for improvement. We hope that readers will appreciate our editorial comment and that the guidelines will be useful to further improve their submissions to IJI. And that they serve as an incentive to send your research papers on innovation to our journal.[1] (Adapted from Ferreira, 2014).[2] (Adapted from Biancolino et al., 2012).[3] (Adapted from Marconi Lakatos, 2010).
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Cichosz, Mariusz. "Individual, family and environment as the subject of research in social pedagogy – development and transformations." Papers of Social Pedagogy 7, no. 2 (January 28, 2018): 6–18. http://dx.doi.org/10.5604/01.3001.0010.8133.
Full textAbstract:
The cognitive specificity of social pedagogy is its interest in the issues related to social conditionings of human development and, respectively, the specific social conditionings of the upbringing process. The notion has been developed in various directions since the very beginning of the discipline, yet the most clearly visible area seems to be the functioning of individuals, families and broader environment. Simultaneously, it is possible to observe that the issues have been entangled in certain socio-political conditions, the knowledge of which is substantial for the reconstruction and identification of the research heritage of social pedagogy. All these interrelationships allowed to distinguish particular stages of development of social pedagogy. Contemporarily, it is a discipline with descent scientific achievements which marks out and indicates new perspectives both in the field of educational practice and the theory of social activity. Social pedagogy, similarly to other areas (subdisciplines) of pedagogy, deals with the notion of upbringing in a certain aspect – in a certain problem inclination. It specializes in social and environmental conditionings of the upbringing process. It is the thread of the social context of upbringing what proves to be the crucial, basic and fundamental determinant of upbringing and, thus, decisive factor for human development. This notion was always present in the general pedagogical thought however, its organized and rationalized character surfaced only when the social pedagogy was distinguished as a separate, systematic area of pedagogy. It occurred in Poland only at the beginning of the 19th century. From the very beginning the creators and precursors of this subdiscipline pointed out its relatively wide range. It has been the notion of individual – social conditionings of human development, yet, social pedagogists were interested in human at every stage of their lives i.e. childhood, adolescence, adulthood and old age. Another area of interest were the issues related to family as the most important “place” of human development and, in this respect, the issues connected with institutions undertaking various activities: help, care, support and animation. Finally, the scope of interest included issues related to the environment as the place where the upbringing process is supposed to realize and realizes. Since the very beginning of social pedagogy these have been the prominent threads for exploration. At the same time it ought to be stated that these threads have always been interwoven with various social-political conditions both with regards to their interpretation as well as possible and planned educational practice. Therefore social pedagogy and its findings must be always “read” in the context of social-political conditions which accompanied the creation of a given thought or realization of some educational practice. As these conditions have constantly been undergoing certain transformations one may clearly distinguish particular stages of development of social pedagogy. The stages reflect various approaches to exploring and describing the above-mentioned areas of this discipline. Following the assumptions regarding the chronology of social pedagogy development and the three distinguished stages of development, it seems worthwhile to study how the issues related to an individual, family and environment were shaped at these stages. The first stage when the social psychology was arising was mainly the time of Helena Radlińska’s activities as well as less popular and already forgotten Polish pedagogists – precursors of this discipline such as: Anna Chmielewska, Irena Jurgielewiczowa, Zofia Gulińska or Maria Korytowska. In that period social pedagogists mainly dealt with individuals, families and the functioning of environments in the context of educational activities aimed at arousing national identity and consciousness. However, their work did no focus on indicating the layers of threats and deficits in functioning of individuals, social groups or families but on the possibilities to stimulate their development and cultural life. Therefore social pedagogy of those times was not as strongly related to social work as it currently is but dealt mainly with educational work. The classic example of such approach in the research carried out in the social pedagogy of that time may be the early works by Helena Radlińska who undertook the narrow field of cultural-educational work targeted to all categories of people. The works described such issues as the organization of libraries, organizing extra-school education (H. Orsza, 1922, H. Orsza-Radlińska, 1925). It ought to be stated that this kind of work was regarded as public and educational work, whereas currently it exists under the name of social work. Frequently quoted works related to the issues of arising social pedagogy were also the works by Eustachy Nowicki e.g. “Extra-school education and its social-educational role in the contemporary Polish life” from 1923 or the works by Stefania Sempołowska, Jerzy Grodecki or Jadwiga Dziubińska. Such an approach and tendencies are clearly visible in a book from 1913 (a book which has been regarded by some pedagogists as the first synthetic presentation of social pedagogy). It is a group work entitled “Educational work – its tasks, methods and organization” (T. Bobrowski, Z. Daszyńska-Golińska, J. Dziubińska, Z. Gargasa, M. Heilperna, Z. Kruszewska, L. Krzywicki, M. Orsetti, H. Orsza, St. Posner, M. Stępkowski, T. Szydłowski, Wł. Weychert-Szymanowska, 1913). The problem of indicated and undertaken research areas and hence, the topics of works realized by the social pedagogists of that times changed immediately after regaining independence and before World War II. It was the time when the area of social pedagogists interests started to include the issues of social inequality, poverty and, subsequently, the possibility of helping (with regards to the practical character of social pedagogy). The research works undertaken by social pedagogists were clearly of diagnostic, practical and praxeological character. They were aimed at seeking the causes of these phenomena with simultaneous identification and exploration of certain environmental factors as their sources. A classic example of such a paper – created before the war – under the editorial management of H. Radlińska was the work entitled “Social causes of school successes and failures” from 1937 (H. Radlińska, 1937). Well known are also the pre-war works written by the students of H. Radlińska which revealed diagnostic character such as: “The harm of a child” by Maria Korytowska (1937) or “A child of Polish countryside” edited by M. Librachowa and published in Warsaw in 1934 (M. Librachowa, 1934). Worthwhile are also the works by Czesław Wroczyński from 1935 entitled “Care of an unmarried mother and struggle against abandoning infants in Warsaw” or the research papers by E. Hryniewicz, J. Ryngmanowa and J. Czarnecka which touched upon the problem of neglected urban and rural families and the situation of an urban and rural child – frequently an orphaned child. As it may be inferred, the issues of poverty, inefficient families, single-parent families remain current and valid also after the World War II. These phenomena where nothing but an outcome of various war events and became the main point of interest for researchers. Example works created in the circle of social pedagogists and dealing with these issues may be two books written in the closest scientific environment of Helena Radlińska – with her immense editorial impact. They are “Orphanage – scope and compensation” (H. Radlińska, J. Wojtyniak, 1964) and “Foster families in Łódź” (A. Majewska, 1948), both published immediately after the war. Following the chronological approach I adopted, the next years mark the beginning of a relative stagnation in the research undertaken in the field of social pedagogy. Especially the 50’s – the years of notably strong political indoctrination and the Marxist ideological offensive which involved building the so called socialist educational society – by definition free from socio-educational problems in public life. The creation and conduction of research in this period was also hindered due to organizational and institutional reasons. The effect of the mentioned policy was also the liquidation of the majority of social sciences including research facilities – institutes, departments and units. An interesting and characteristic description of the situation may be the statement given by Professor J. Auletner who described the period from the perspective of development of social policy and said that: “During the Stalinist years scientific cultivation of social policy was factually forbidden”. During the period of real socialism it becomes truly difficult to explore the science of social policy. The name became mainly the synonym of the current activity of the state and a manifestation of struggles aimed at maintaining the existing status quo. The state authorities clearly wanted to subdue the science of social activities of the state […]. During the real socialism neither the freedom for scientific criticism of the reality nor the freedom of research in the field of social sciences existed. It was impossible (yet deliberated) to carry out a review of poverty and other drastic social issues” (J. Auletner, 2000). The situation changes at the beginning of the 60’s (which marks the second stage of development of social pedagogy) when certain socio-political transformations – on the one hand abandoning the limitation of the Stalinist period (1953 – the death of Stalin and political thaw), on the other – reinforcement of the idea of socialist education in social sciences lead to resuming environmental research. It was simultaneously the period of revival of Polish social pedagogy with regards to its institutional dimension as well as its ideological self-determination (M. Cichosz, 2006, 2014). The issues of individuals, families and environments was at that time explored with regards to the functioning of educational environments and in the context of exploring the environmental conditionings of the upbringing process. Typical examples here may be the research by Helena Izdebska entitled “The functioning of a family and childcare tasks” (H. Izdebska, 1967) and “The causes of conflicts in a family” (H. Izdebska, 1975) or research conducted by Anna Przecławska on adolescents and their participation in culture: “Book, youth and cultural transformations” (A. Przecławska, 1967) or e.g. “Cultural diversity of adolescents against upbringing problems” (A. Przecławska, 1976). A very frequent notion undertaken at that time and remaining within the scope of the indicated areas were the issues connected with organization and use of free time. This may be observed through research by T. Wujek: “Homework and active leisure of a student” (T. Wujek, 1969). Another frequently explored area was the problem of looking after children mainly in the papers by Albin Kelm or Marian Balcerek. It is worthwhile that the research on individuals, families or environments were carried out as part of the current pedagogical concepts of that time like: parallel education, permanent education, lifelong learning or the education of adults, whereas, the places indicated as the areas of human social functioning in which the environmental education took place were: family, school, housing estate, workplace, social associations. It may be inferred that from a certain (ideological) perspective at that time we witnessed a kind of modeling of social reality as, on the one hand particular areas were diagnosed, on the other – a desired (expected) model was built (designed) (with respect to the pragmatic function of practical pedagogy). A group work entitled “Upbringing and environment” edited by B. Passini and T. Pilch (B. Passini, T. Pilch, 1979) published in 1979 was a perfect illustration of these research areas. It ought to be stated that in those years a certain model of social diagnosis proper for undertaken social-pedagogical research was reinforced (M. Deptuła, 2005). Example paper could be the work by I. Lepalczyk and J. Badura entitled: “Elements of pedagogical diagnostics” (I. Lepalczyk, J. Badura, 1987). Finally, the social turning point in the 80’s and 90’s brought new approaches to the research on individuals, families and environments which may be considered as the beginning of the third stage of the development of social pedagogy. Breaking off the idea of socialist education meant abandoning the specific approach to research on the educational environment previously carried out within a holistic system of socio-educational influences (A. Przecławska, w. Theiss, 1995). The issues which dominated in the 90’s and still dominate in social pedagogy with regards to the functioning of individuals, families and local environments have been the issues connected with social welfare and security as well as education of adults. Research papers related to such approach may be the work by Józefa Brągiel: “Upbringing in a single-parent family” from 1990; the work edited by Zofia Brańka “The subjects of care and upbringing” from 2002 or a previous paper written in 1998 by the same author in collaboration with Mirosław Szymański “Aggression and violence in modern world” published in 1999 as well as the work by Danuta Marzec “Childcare at the time of social transformations” from 1999 or numerous works by St. Kawula, A. Janke. Also a growing interest in social welfare and social work is visible in the papers by J. Brągiel and P. Sikora “Social work, multiplicity of perspectives, family – multiculturalism – education” from 2004, E. Kanwicz and A. Olubiński: “Social activity in social welfare at the threshold of 21st century” from 2004 or numerous works on this topic created by the circles gathered around the Social Pedagogy Faculty in Łódź under the management of E. Marynowicz-Hetka. Current researchers also undertake the issues related to childhood (B. Smolińska-Theiss, 2014, B. Matyjas, 2014) and the conditionings of the lives of seniors (A. Baranowska, E. Kościńska, 2013). Ultimately, among the presented, yet not exclusive, research areas related to particular activities undertaken in human life environment (individuals, families) and fulfilled within the field of caregiving, social welfare, adult education, socio-cultural animation or health education one may distinguish the following notions: the functioning of extra-school education institutions, most frequently caregiving or providing help such as: orphanage, residential home, dormitory, community centre but also facilities aimed at animating culture like youth cultural centres, cultural centres, clubs etc., the functioning of school, the realization of its functions (especially educational care), fulfilling and conditioning roles of student/teacher, the functioning of peer groups, collaboration with other institutions, the functioning (social conditionings) of family including various forms of families e.g. full families, single-parent families, separated families, families at risk (unemployment) and their functioning in the context of other institutions e.g. school, social pathologies, the issues of violence and aggression, youth subcultures, participation in culture, leisure time, the role of media, the functioning of the seniors – animation of activities in this field, various dimensions of social welfare, support, providing help, the conditionings of functioning of such jobs as the social welfare worker, culture animator, voluntary work. It might be concluded that the issues connected with individuals, families and environment have been the centre of interest of social pedagogy since the very beginning of this discipline. These were the planes on which social pedagogists most often identified and described social life – from the perspective of human participation. On the course of describing the lives of individuals, families and broader educational environments social pedagogists figured out and elaborated on particular methods and ways of diagnosing social life. Is it possible to determine any regularities or tendencies in this respect? Unquestionably, at the initial stage of existence of this discipline, aimed at stimulating national consciousness and subsequent popularization of cultural achievements through certain activities – social and educational work, social pedagogists built certain models of these undertakings which were focused on stimulating particular social activity and conscious participation in social life. The issues concerning social diagnosis, though not as significant as during other stages, served these purposes and hence were, to a certain extent, ideologically engaged. The situation changed significantly before and shortly after the World War II. Facing particular conditions of social life – increase in many unfavourable phenomena, social pedagogists attempted to diagnose and describe them. It seems to have been the period of clear shaping and consolidation of the accepted model of empirical research in this respect. The model was widely accepted as dominating and has been developed in Polish social pedagogy during the second and subsequent stages of developing of this discipline. Practical and praxeological character of social pedagogy became the main direction of this development. Consequently, social diagnosis realized and undertaken with regard to social pedagogy was associated with the idea of a holistic system of education and extra-school educational influences and related educational environments. Therefore, the more and more clearly emphasized goal of environmental research – forecasting, was associated with the idea of building holistic, uniform educational impacts. After the systemic transformation which occurred in Poland in the 90’s, i.e. the third stage of social pedagogy development, abandoning the previous ideological solutions, environmental research including diagnosis was reassociated with social life problems mainly regarding social welfare and security. Individuals, families and environment have been and still seem to be the subject of research in the field of social pedagogy in Poland. These research areas are structurally bound with its acquired paradigm – of a science describing transformations of social life and formulating a directive of practical conduct regarding these transformations. A question arouses about the development of social pedagogy as the one which charts the direction of transformations of practices within the undertaken research areas. If it may be considered as such, then it would be worthwhile to enquire about the directions of the accepted theoretical acknowledgments. On the one hand we may observe a relatively long tradition of specifically elaborated and developed concepts, on the other – there are still new challenges ahead. Observing the previous and current development of Polish social pedagogy it may be inferred that its achievements are not overextensive with regards to the described and acquired theoretical deliberations. Nevertheless, from the very beginning, it has generated certain, specific theoretical solutions attempting to describe and explain particular areas of social reality. Especially noteworthy is the first period of the existence of this discipline, the period of such social pedagogists like i.a. J.W. Dawid, A. Szycówna, I. Moszczeńska or Helena Radlińska. The variety of the reflections with typically philosophical background undertaken in their works (e.g. E. Abramowski) is stunning. Equally involving is the second stage of development of social pedagogy i.e. shortly after the World War II, when Polish social pedagogy did not fully break with the heritage of previous philosophical reflections (A. Kamiński, R. Wroczyński) yet was developed in the Marxist current. A question arouses whether the area of education and the projects of its functioning of that time were also specific with regards to theory (it seems to be the problem of the whole Socialist pedagogy realised in Poland at that time). The following years of development of this discipline, especially at the turn of 80’s and 90’s was the period of various social ideas existing in social pedagogy – the influences of various concepts and theories in this field. The extent to which they were creatively adapted and included in the current of specific interpretations still requires detailed analysis, yet remains clearly visible. Another important area is the field of confronting the theories with the existing and undertaken solutions in the world pedagogy. A. Radziewicz-Winnicki refers to the views of the representatives of European and world social thought: P. Bourdieu, U. Beck, J. Baudrillard, Z. Bauman and M. Foucault, and tries to identify possible connections and relationships between these ideas and social pedagogy: “the ideas undertaken by the mentioned sociologists undoubtedly account for a significant source of inspiration for practical reflection within social pedagogy. Therefore, it is worthwhile to suggest certain propositions of their application in the field of the mentioned subdiscipline of pedagogy” (Radziewicz-Winnicki 2008). The contemporary social pedagogy in Poland constantly faces numerous challenges. W. Theiss analysed the contemporary social pedagogy with regards to its deficiencies but also the challenges imposed by globalisation and wrote: “Modern social pedagogy focuses mainly on the narrow empirical research and narrow practical activity and neglects research in the field of theory functioning separately from the realms of the global (or globalising) world or pays insufficient attention to these problems. It leads to a certain self-marginalisation of our discipline which leaves us beyond the current of main socio-educational problems of modern times. In this respect, it seems worthwhile and necessary to carry out intensive conceptual and research work focused on e.g. the following issues: metatheory of social pedagogy and its relationship with modern trends in social sciences; the concepts of human and the world, the concepts of the hierarchy of values; the theory of upbringing, the theory of socialization, the theory of educational environment; a conceptual key of the modern reality; new terms and new meanings of classical concepts; socio-educational activities with direct and indirect macro range e.g. balanced development and its programmes, global school, intercultural education, inclusive education, professional education of emigrants”. Considering the currently undertaken research in this field and the accepted theoretical perspectives it is possible to indicate specific and elaborated concepts. They fluctuate around structural spheres of social pedagogy on the axis: human – environment – environmental transformations. It accounts for an ontological sphere of the acknowledged concepts and theories. Below, I am enumerating the concepts which are most commonly discussed in social pedagogy with regards to the acquired and accepted model. Currently discussed theoretical perspectives (contexts) in social pedagogy and the concepts within. I. The context of social personal relationships social participation, social presence; social communication, interaction; reciprocity. II. The context of social activities (the organization of environment) institutionalisation; modernization; urbanization. III. The context of environment space; place; locality. The socially conditioned process of human development is a process which constantly undergoes transformations. The pedagogical description of this process ought to include these transformations also at the stage of formulating directives of practical activities – the educational practice. It is a big challenge for social pedagogy to simultaneously do not undergo limitations imposed by current social policy and response to real social needs. It has been and remains a very important task for social pedagogy.
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Tsygankov, Alexander S. "History of Philosophy. 2018, Vol. 23, No. 2 TABLE OF CONTENTS Theory and Methodology of History of Philosophy Rodion V. Savinov. Philosophy of Antiquity in Scholasticism This article examines the forms of understanding ancient philosophy in medieval and post-medieval scholasticism. Using the comparative method the author identifies the main approaches to the philosophical heritage of Antiquity, and to the problem of reviving the doctrines of the past. The Patristics (Epiphanius of Cyprus, Filastrius of Brixia, Lactantius, Augustine) saw the ancient cosmological doctrines as heresies. The early Middle Ages (e.g., Isidore of Seville) assimilated the content of these heresiographic treatises, which became the main source of information about ancient philosophy. Scholasticism of the 13th–14th cent. remained cautious to ancient philosophy and distinguished, on the one hand, the doctrinal content discussed in the framework of the exegetic problems at universities (Albert the Great, Thomas Aquinas, etc.), and, on the other hand, information on ancient philosophers integrated into chronological models of medieval chronicles (Peter Comestor, Vincent de Beauvais, Walter Burleigh). Finally, the post-medieval scholasticism (Pedro Fonseca, Conimbricenses, Th. Stanley, and others) raised the questions of the «history of ideas», thereby laying the foundation of the history of philosophy in its modern sense. Keywords: history of philosophy, Patristic, Scholasticism, reflection, critic DOI: 10.21146/2074-5869-2018-23-2-5-17 World Philosophy: the Past and the Present Mariya A. Solopova. The Chronology of Democritus and the Fall of Troy The article considers the chronology of Democritus of Abdera. In the times of Classical Antiquity, three different birth dates for Democritus were known: c. 495 BC (according to Diodorus of Sicily), c. 470 BC (according to Thrasyllus), and c. 460 BC (according to Apollodorus of Athens). These dates must be coordinated with the most valuable doxographic evidence, according to which Democritus 1) "was a young man during Anaxagoras’s old age" and that 2) the Lesser World-System (Diakosmos) was compiled 730 years after the Fall of Troy. The article considers the argument in favor of the most authoritative datings belonging to Apollodorus and Thrasyllus, and draws special attention to the meaning of the dating of Democritus’ work by himself from the year of the Fall of Troy. The question arises, what prompted Democritus to talk about the date of the Fall of Troy and how he could calculate it. The article expresses the opinion that Democritus indicated the date of the Fall of Troy not with the aim of proposing its own date, different from others, but in order to date the Lesser World-System in the spirit of intellectual achievements of his time, in which, perhaps, the history of the development of mankind from the primitive state to the emergence of civilization was discussed. The article discusses how to explain the number 730 and argues that it can be the result of combinations of numbers 20 (the number of generations that lived from the Fall of Troy to Democritus), 35 – one of the constants used for calculations of generations in genealogical research, and 30. The last figure perhaps indicates the age of Democritus himself, when he wrote the Lesser Diakosmos: 30 years old. Keywords: Ancient Greek philosophy, Democritus, Anaxagoras, Greek chronography, doxographers, Apollodorus, Thrasyllus, capture of Troy, ancient genealogies, the length of a generation DOI: 10.21146/2074-5869-2018-23-2-18-31 Bembya L. Mitruyev. “Yogācārabhumi-Śāstra” as a Historical and Philosophical Source The article deals with “Yogācārabhūmi-Śāstra” – a treatise on the Buddhist Yogācāra school. Concerning the authorship of this text, the Indian and Chinese traditions diverge: in the first, the treatise is attributed to Asanga, and in the second tradition to Maitreya. Most of the modern scholars consider it to be a compilation of many texts, and not the work of one author. Being an important monument for both the Yogacara tradition and Mahayana Buddhism in general, Yogācārabhūmi-Śāstra is an object of scientific interest for the researchers all around the world. The text of the treatise consists of five parts, which are divided into chapters. The contents of the treatise sheds light on many concepts of Yogācāra, such as ālayavijñāna, trisvabhāva, kliṣṭamanas, etc. Having briefly considered the textological problems: authorship, dating, translation, commenting and genre of the text, the author suggests the reconstruction of the content of the entire monument, made on the basis of his own translation from the Tibetan and Sanskrit. This allows him to single out from the whole variety of topics those topics, the study of which will increase knowledge about the history of the formation of the basic philosophical concepts of Yogācāra and thereby allow a deeper understanding of the historical and philosophical process in Buddhism and in other philosophical movements of India. Keywords: Yogācārabhūmi-śāstra, Asaṅga, Māhāyana, Vijñānavāda, Yogācāra, Abhidharma, ālayavijñāna citta, bhūmi, mind, consciousness, meditation DOI: 10.21146/2074-5869-2018-23-2-32-43 Tatiana G. Korneeva. Knowledge in Nāșir Khusraw’s Philosophy The article deals with the concept of “knowledge” in the philosophy of Nāșir Khusraw. The author analyzes the formation of the theory of knowledge in the Arab-Muslim philosophy. At the early stages of the formation of the Arab-Muslim philosophy the discussion of the question of cognition was conducted in the framework of ethical and religious disputes. Later followers of the Falsafa introduced the legacy of ancient philosophers into scientific circulation and began to discuss the problems of cognition in a philosophical way. Nāșir Khusraw, an Ismaili philosopher of the 11th century, expanded the scope of knowledge and revised the goals and objectives of the process of cognition. He put knowledge in the foundation of the world order, made it the cause and ultimate goal of the creation of the world. In his philosophy knowledge is the link between the different levels of the universe. The article analyzes the Nāșir Khusraw’s views on the role of knowledge in various fields – metaphysics, cosmogony, ethics and eschatology. Keywords: knowledge, cognition, Ismailism, Nāșir Khusraw, Neoplatonism, Arab-Muslim philosophy, kalām, falsafa DOI: 10.21146/2074-5869-2018-23-2-44-55 Vera Pozzi. Problems of Ontology and Criticism of the Kantian Formalism in Irodion Vetrinskii’s “Institutiones Metaphysicae” (Part II) This paper is a follow-up of the paper «Irodion Vetrinskii’s “Institutiones Metaphysicae” and the St. Petersburg Theological Academy» (Part I). The issue and the role of “ontology” in Vetrinskii’s textbook is analyzed in detail, as well as the author’s critique of Kantian “formalism”: in this connection, the paper provides a description of Vetrinskii’s discussion about Kantian theory of the a priori forms of sensible intuition and understanding. To sum up, Vetrinskii was well acquainted not only with Kantian works – and he was able to fully evaluate their innovative significance – but also with late Scholastic textbooks of the German area. Moreover, he relied on the latters to build up an eclectic defense of traditional Metaphysics, avoiding at the same time to refuse Kantian perspective in the sake of mere reaffirming a “traditional” perspective. Keywords: Philosophizing at Russian Theological Academies, Russian Enlightenment, Russian early Kantianism, St. Petersburg Theological Academy, history of Russian philosophy, history of metaphysics, G.I. Wenzel, I. Ya. Vetrinskii DOI: 10.21146/2074-5869-2018-23-2-56-67 Alexey E. Savin. Criticism of Judaism in Hegel's Early “Theological” Writings The aim of the article is to reveal the nature of criticism of Judaism by the “young” Hegel and underlying intuitions. The investigation is based on the phenomenological approach. It seeks to explicate the horizon of early Hegel's thinking. The revolutionary role of early Hegel’s ideas reactivation in the history of philosophy is revealed. The article demonstrates the fundamental importance of criticism of Judaism for the development of Hegel's thought. The sources of Hegelian thematization and problematization of Judaism – his Protestant theological background within the framework of supranaturalism and the then discussion about human rights and political emancipation of Jews – are discovered. Hegel's interpretation of the history of the Jewish people and the origin of Judaism from the destruction of trust in nature, the fundamental mood of distrust and fear of the world, leading to the development of alienation, is revealed. The falsity of the widespread thesis about early Hegel’s anti-Semitism is demonstrated. The reasons for the transition of early Hegel from “theology” to philosophy are revealed. Keywords: Hegel, Judaism, history, criticism, anti-Semitism, trust, nature, alienation, tyranny, philosophy DOI: 10.21146/2074-5869-2018-23-2-68-80 Evgeniya A. Dolgova. Philosophy at the Institute of Red Professors (1921–1938): Institutional Forms, Methods of Teaching, Students, Lecturers The article explores the history of the Institute of the Red Professors in philosophy (1921–1938). Referring to the unpublished documents in the State Archives of the Russian Federation and the Archive of the Russian Academy of Sciences, the author explores its financial and infrastructure support, information sphere, characterizes students and teachers. The article illustrates the practical experience of the functioning of philosophy within the framework of one of the extraordinary “revolutionary” projects on the renewal of the scientific and pedagogical sphere, reflects a vivid and ambiguous picture of the work of the educational institution in the 1920s and 1930s and corrects some of historiographical judgments (about the politically and socially homogeneous composition of the Institute of Red Professors, the specifics of state support of its work, privileges and the social status of the “red professors”). Keywords: Institute of the Red Professors in Philosophy, Philosophical Department, soviet education, teachers, students, teaching methods DOI: 10.21146/2074-5869-2018-23-2-81-94 Vladimir V. Starovoitov. K. Horney about the Consequences of Neurotic Development and the Ways of Its Overcoming This article investigates the views of Karen Horney on psychoanalysis and neurotic development of personality in her last two books: “Our Inner Conflicts” (1945) and “Neurosis and Human Grows” (1950), and also in her two articles “On Feeling Abused” (1951) and “The Paucity of Inner Experiences” (1952), written in the last two years of her life and summarizing her views on clinical and theoretical problems in her work with neurotics. If in her first book “The Neurotic Personality of Our Time” (1937) neurosis was a result of disturbed interpersonal relations, caused by conditions of culture, then the concept of the idealized Self open the gates to the intrapsychic life. Keywords: Neo-Freudianism, psychoanalysis, neurotic development of personality, real Self, idealized image of Self DOI: 10.21146/2074-5869-2018-23-2-95-102 Publications and Translations Victoria G. Lysenko. Dignāga on the Definition of Perception in the Vādaviddhi of Vasubandhu. A Historical and Philosophical Reconstruction of Dignāga’s Pramāṇasamuccayavṛtti (1.13-16) The paper investigates a fragment from Dignāga’s magnum opus Pramāṇasamuccayavṛtti (“Body of tools for reliable knowledge with a commentary”, 1, 13-16) where Dignāga challenges Vasubandhu’s definition of perception in the Vādaviddhi (“Rules of the dispute”). The definition from the Vādaviddhi is being compared in the paper with Vasubandhu’s ideas of perception in Abhidharmakośabhāṣya (“Encyclopedia of Abhidharma with the commentary”), and with Dignāga’s own definition of valid perception in the first part of his Pramāṇasamuccayavṛtti as well as in his Ālambanaparīkśavṛtti (“Investigation of the Object with the commentary”). The author puts forward the hypothesis that Dignāga criticizes the definition of perception in Vādaviddhi for the reason that it does not correspond to the teachings of Vasubandhu in his Abhidharmakośabhāṣya, to which he, Dignāga, referred earlier in his magnum opus. This helps Dignāga to justify his statement that Vasubandhu himself considered Vādaviddhi as not containing the essence of his teaching (asāra). In addition, the article reconstructs the logical sequence in Dignāga’s exegesis: he criticizes the Vādaviddhi definition from the representational standpoint of Sautrāntika school, by showing that it does not fulfill the function prescribed by Indian logic to definition, that of distinguishing perception from the classes of heterogeneous and homogeneous phenomena. Having proved the impossibility of moving further according to the “realistic logic” based on recognizing the existence of an external object, Dignāga interprets the Vādaviddhi’s definition in terms of linguistic philosophy, according to which the language refers not to external objects and not to the unique and private sensory experience (svalakṣaṇa-qualia), but to the general characteristics (sāmānya-lakṣaṇa), which are mental constructs (kalpanā). Keywords: Buddhism, linguistic philosophy, perception, theory of definition, consciousness, Vaibhashika, Sautrantika, Yogacara, Vasubandhu, Dignaga DOI: 10.21146/2074-5869-2018-23-2-103-117 Elizaveta A. Miroshnichenko. Talks about Lev N. Tolstoy: Reception of the Writer's Views in the Public Thought of Russia at the End of the 19th Century (Dedicated to the 190th Anniversary of the Great Russian Writer and Thinker) This article includes previously unpublished letters of Russian social thinkers such as N.N. Strakhov, E.M. Feoktistov, D.N. Tsertelev. These letters provide critical assessment of Lev N. Tolstoy’s teachings. The preface to publication includes the history of reception of Tolstoy’s moral and aesthetic philosophy by his contemporaries, as well as influence of his theory on the beliefs of Russian idealist philosopher D.N. Tsertelev. The author offers a rational reconstruction of the dialogue between two generations of thinkers representative of the 19th century – Lev N. Tolstoy and N.N. Strakhov, on the one hand, and D.N. Tsertelev, on the other. The main thesis of the paper: the “old” and the “new” generations of the 19th-century thinkers retained mutual interest and continuity in setting the problems and objectives of philosophy, despite the numerous worldview contradictions. Keywords: Russian philosophy of the nineteenth century, L.N. Tolstoy, N.N. Strakhov, D.N. Tsertelev, epistolary heritage, ethics, aesthetics DOI: 10.21146/2074-5869-2018-23-2-118-130 Reviews Nataliya A. Tatarenko. History of Philosophy in a Format of Lecture Notes (on Hegel G.W.F. Vorlesungen zur Ästhetik. Vorlesungsmitschrift Adolf Heimann (1828/1829). Hrsg. von A.P. Olivier und A. Gethmann-Siefert. München: Wilhelm Fink, 2017. XXXI + 254 S.) Released last year, the book “G.W.F. Hegel. Vorlesungen zur Ästhetik. Vorlesungsmitschrift Adolf Heimann (1828/1829)” in German is a publication of one of the student's manuskript of Hegel's lectures on aesthetics. Adolf Heimann was a student of Hegel in 1828/29. These notes open for us imaginary doors into the audience of the Berlin University, where Hegel read his fourth and final course on the philosophy of art. A distinctive feature of this course is a new structure of lectures in comparison with three previous courses. This three-part division was took by H.G. Hotho as the basis for the edited by him text “Lectures on Aesthetics”, included in the first collection of Hegel’s works. The content of that publication was mainly based on the lectures of 1823 and 1826. There are a number of differences between the analyzed published manuskript and the students' records of 1820/21, 1823 and 1826, as well as between the manuskript and the editorial version of H.G. Hotho. These features show that Hegel throughout all four series of Berlin lectures on the philosophy of art actively developed and revised the structure and content of aesthetics. But unfortunately this evidence of the permanent development was not taken into account by the first editor of Hegel's lectures on aesthetics. Keywords: G.W.F. Hegel, H.G. Hotho, philosophy of art, aesthetics, forms of art, idea of beauty, ideal DOI: 10.21146/2074-5869-2018-23-2-131-138 Alexander S. Tsygankov. On the Way to the Revival of Metaphysics: S.L. Frank and E. Coreth Readers are invited to review the monograph of the modern German researcher Oksana Nazarova “The problem of the renaissance and new foundation of metaphysics through the example of Christian philosophical tradition. Russian religious philosophy (Simon L. Frank) and German neosholastics (Emerich Coreth)”, which was published in 2017 in Munich. In the paper, the author offers a comparative analysis of the projects of a new, “post-dogmatic” metaphysics, which were developed in the philosophy of Frank and Coreth. This study addresses the problems of the cognitive-theoretical and ontological foundation of the renaissance of metaphysics, the methodological tools of the new metaphysics, as well as its anthropological component. O. Nazarova's book is based on the comparative analysis of Frank's religious philosophy and Coreth's neo-cholastic philosophy from the beginning to the end. This makes the study unique in its own way. Since earlier in the German reception of the heritage of Russian thinker, the comparison of Frank's philosophy with the Catholic theology of the 20th century was realized only fragmentarily and did not act as a fundamental one. Along with a deep and meaningful analysis of the metaphysical projects of both thinkers, this makes O. Nazarova's book relevant to anyone who is interested in the philosophical dialogue of Russia and Western Europe and is engaged in the work of Frank and Coreth. Keywords: the renaissance of metaphysics, post-Kantian philosophy, Christian philosophy, S.L. Frank, E. Coreth DOI: 10.21146/2074-5869-2018-23-2-139-147." History of Philosophy 23, no. 2 (October 2018): 139–47. http://dx.doi.org/10.21146/2074-5869-2018-23-2-139-147.
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Zelik, Oksana. "IN GONZO STYLE: TETIANA TROFYMENKO’S LITERARY REVIEWS." Young Scientist 9.1, no. 85.1 (September 2020). http://dx.doi.org/10.32839/2304-5809/2020-85.1-9.
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The proposed research is an attempt to analyze gonzo-criticism in the context of the modern Ukrainian literary process. The change of aesthetic orientations in the Ukrainian literary process had significant impact on the role and status of literary criticism. The analysis of gonzo-criticism is based on the example of texts of Tetiana Trofymenko, literary critic, cultural manager, lecturer, participant of various literary and artistic events. She taught at the universities of Kharkiv and Lviv, worked at the Kharkiv Literary Museum. The reviewer cooperated at various times with the magazine “SHO”, the sites “Novynarnia”, “MediaPort”, “ZAXID.NET”, “LitAktsent” etc. The article summarizes the views on gonzo journalism and approaches to its characteristics. The analysis of Tetiana Trofymenko’s reviews is conducted on the stylistic and genre levels taking into account the problem-thematic contexts, features of the presentation of works of art and compositional peculiarities. Gonzo is a special kind of criticism with the dominant subjective view on literature. Its main criteria are impressions and emotions of the critic, this style does not have clearly regulated rules but mainly depends on the author’s personality, his perception and understanding of the artistic work, the vision of text in the context of literary process, the author’s creativity, the ability to present his position vividly and convincingly. The critic conducts a dialogue with the reader, exchanges opinions, reflections and estimations with him. The characteristic features of review are personalized point of view, personal beginning, factuality, reasoned position of the author. The narrative in review is polythematic, because it aims to highlight a variety of facts, usually united by the author’s opinion. The author of the artistic review demonstrates to the reader an analytical work aimed at cognition, understanding, interpretation and evaluation of a literary work. The stylistic features of gonzo-criticism are analyzed in details. The attention is focused on the peculiarities of the presentation of fiction texts through the ironic, subjective view of the critic. The researcher found out that this style of literary criticism manifests in emotional expressions, the use of irony, sarcasm, and the critic offers an unexpected look at the literary work, shocks and provokes the audience.
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Chenail, Ronald. "A Case for Clinical Qualitative Research*." Qualitative Report, September 1, 1992, 1–12. http://dx.doi.org/10.46743/2160-3715/1992.2034.
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For the most part, that which is called qualitative research has been developed, understood, and justified within scientific and quantitative contexts. Sharing common interests (e.g., description, interpretation, criticism, subjectivity, etc.) with this scientific qualitative research are two contrasting traditions of research and practice, which have originated and evolved in domains of inquiry other than science and technology, namely those methods and ways of knowing from the arts and humanities, and from the clinical fields. This latter type, clinical qualitative or practitioner-generated research, is defined and contrasted with the scientific and artistic varieties. A number of clinical qualitative research projects are presented from the field of family therapy, which demonstrate how clinical inquiry may be conducted from a therapist's way of acting and knowing, or may be focused on learning more about a therapist's way of practicing and thinking in the world. Finally, implications of conducting clinical qualitative research or practitioner-generated inquiry in traditional research environments is discussed.
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Volt, Marek. "Kunst kui tundenakkus: Lev Tolstoi kunstidefinitsioon analüütilises perspektiivis / Art as emotional infectiousness: Lev Tolstoy’s definition of art in the analytical perspective." Methis. Studia humaniora Estonica 15, no. 19 (June 13, 2017). http://dx.doi.org/10.7592/methis.v15i19.13440.
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Artiklis käsitlen Lev Tolstoi kunstiteooria retseptsiooni anglo-ameerika esteetikas. Esiteks formuleerin Tolstoi kunstidefinitsiooni ja selle põhimõistete kanoonilise tõlgenduse. Seejärel analüüsin määratlust ekstensionaalse adekvaatsuse alusel, keskendudes nii tavapäraste kui võimalike uute etteheidete paikapidavuse uurimisele. Kolmandaks püstitan küsimuse, kas Tolstoi kunstidefinitsiooni kriitika ekstensionaalse adekvaatsuse alusel on üldse õigustatud. Väidan, et kuigi senistel Tolstoi meta-esteetilise rehabiliteerimise katsetel esineb puuduseid, paljastab Tolstoi kunstiteooria immanentne kriitika – teooria vaagimine eeldustelt, millelt see kritiseerib oponeerivaid teooriaid –, et ekstensionaalsest adekvaatsusest lähtuv kriitika on õigustatud. My article discusses Tolstoy’s theory of art in the context of Anglo-American aesthetics. Although Tolstoy’s What is Art touches upon a very wide spectrum of subjects (the place of art in the world, justification of sacrifices made for completing art works, criticism of previous theories of aesthetics, especially of the theory of beauty, defining of art as the expression of feelings, judging of art as such based on the religious knowledge of the era, action mechanisms of beauty/pleasure-centred art, consequences, conditions of the value of art, the relations between art and science, etc.), it has mainly been examined from the aspects of judging and defining of art.The article focuses on Tolstoy’s definition of art and consists of three notional parts. First, I present the canonical formulation of Tolstoy’s definition of art – something is a work of art if and only if the person, who lives through the feeling(s), causes by external signs that the recipients live through the same feelings. I also present the canonical interpretation of its main concepts – the conditions for creation, transmitting and reception.Second, I have an analytical insight into the criticism of the canonical treatment, displaying and commenting on, but also responding and complementing the presented arguments. The extensional adequacy-based analysis of Tolstoy’s definition of art shows that although it is possible to eliminate some of the typical criticisms, none of the three necessary conditions was necessary by itself, nor were all three of them sufficient when taken together.As Tolstoy’s definition of art has sometimes earned quite serious criticism, then, as my third point, I also examine some possibilities for rehabilitating Tolstoy’s theory of art: whether and in what sense can the extensional adequacy-based analysis of Tolstoy’s definition of art be justified at all? So far, the attempts of meta-aesthetic rehabilitation of Tolstoy (e.g., Mounce centrism) have not achieved the expected result. Furthermore, the immanent criticism of Tolstoy’s theory of art (criticism of the theory, based on the prerequisites it uses to criticize its opposing theories) reveals that the extensional adequacy-based criticism of Tolstoy’s definition of art is justified, but it is not necessarily the only yardstick for the theory.
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"D.F. WATSON and A.J. HAUSER, Rhetorical Criticism of the Bible. A Comprehensive Bibliography with Notes on History and Method. Biblical Interpretation Series 4. xx + 207 pp. E.J. Brill, Leiden, etc., 1994. 110.00 guilders." Vetus Testamentum 45, no. 4 (1995): 573–74. http://dx.doi.org/10.1163/1568533952662315.
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"EVALUATION OF THE SYMBOLED VISUAL ELEMENTS IN THE COVID-19 PANDEMIC PROCESS IN TERMS OF VISUAL COMMUNICATION DESIGN." Ulakbilge Dergisi 8, no. 50 (July 30, 2020). http://dx.doi.org/10.7816/ulakbilge-08-50-04.
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Covid-19, a type of the corona virus family, spread from Wuhan, China to the whole world in December 2019 and turned into a pandemic. The Covid-19 pandemic, which threatens the whole world, has caused negative situations in the health, education, industry and many other areas of the countries. Since there is no medicine or vaccine to cure this disease (pandemic) yet, experts in the business focus on drug and vaccine development studies, while country governments are making an intense effort to slow down and eliminate its spread. All kinds of platforms and alternatives should be used effectively in the fight against Covid-19. Visual media studies constitute the most important pillar of the struggle for this purpose. It is of great importance to create awareness in people with communication studies prepared in the fight against the disease. In today's intense information abundance and pollution, it is not easy to get the necessary attention from a large part of the society. It is observed that the sensitivity of the society towards these studies (news, articles, posters, etc.) at the beginning decreased significantly over time and started to lose its effect to a great extent. The job of a visual communication designer is getting harder every day in studies related to the pandemic as well as in other subjects. In order to attract the attention of the audience, it is a necessity to go beyond the known design elements and the same style of expression and prepare them in different structures. In the article, the common design elements used from randomly selected samples among different visual communication studies were categorically classified and defined. Since these definitions and classifications are made with a personal point of view, they are open to all kinds of criticism and interpretation. Keywords: Covid-19, visual elements, visual communication, design
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"Foucault, Lenin, and Western Marxism." Philosophical Literary Journal Logos 29, no. 2 (2019): 251–67. http://dx.doi.org/10.22394/0869-5377-2019-2-251-264.
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This article others a brief historical account of the complex relationship between Michel Foucault and certain theorists in the Western Marxist philosophical tradition. In the context of the history of the “short twentieth century,” Western Marxism is an intellectual trend based on an interpretation of non-Western revolutionary praxis (by Bolsheviks, Maoists, Guevaristas, etc.). Comparative analysis of several schematic portraits - of Lenin’s revolutionary intellectual, of traditional as opposed to organic intellectuals in Gramsci, and of Foucault’s public intellectual - shows that Foucault in a certain instances was not an external enemy of the Western Marxist tradition, but rather its internal critic. Foucault comes across as a revisionist who engaged in a debate with Lenin about the strategy of the revolutionary movement in France of the 1960s and the 70s. Foucault’s criticism of Leninism unexpectedly turns out to be consistent with the basic struggle of post-WWII Western Marxism to find an alternative to the Bolshevik experience of revolution. This deliberate concurrence makes Foucault one of the significant figures in the history of late Western Marxism, but this becomes a real problem for current historians of neo-Marxist thought when coupled with his generally anti-Marxist views. The article discusses two possible solutions to this problem devised by Perry Anderson and Daniel Bensaid. Anderson’s description of the role of Foucault in the fate of Western Marxism is limited to conceptual questions about the relationship between Marxism and (post) structuralism. Bensaid tries to explain how Foucault fits into the Marxist tradition by appealing to social changes, specifically the changing ideology of capitalist society (in the spirit of The New Spirit of Capitalism by Luc Boltanski and Ève Chiapello). Building on Bensaid’s work, the article shows the link between Foucault’s position on public intellectuals and the crisis of the revolutionary movement of the last half-century, in particular by reference to the famous “Iranian episode” in Foucault’s biography.
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Tkachuk, Iryna. "Development of Venture Philanthropy in Ukraine in the Context of Strengthening of the Social Responsibility of Civil Society Organizations." Scientific Journal of Yuriy Fedkovich Chernivtsi National University. Economics, no. 829 (April 5, 2021). http://dx.doi.org/10.31861/ecovis/2020-829-9.
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The main aim of the article is to highlight the venture philanthropy in the context of strengthening the social responsibility of non-governmental organizations in countries that are at the initial stage of developing a culture of charity. Design/methodology/approach. In fulfilling the purpose of the study a set of general and special research methods were used (methods of analogy and comparison, induction and deduction, scientific abstraction (to clarify the conceptual apparatus of the problem under study, and to justify the benefits of venture philanthropy compared to the traditional approach to charity); logical generalization and systematization (to justify the use of crowdfunding approach for projects that have not passed the initial competitive selection in the social purpose organization), etc.). Research results. The article discusses the national Ukrainian features of the social responsibility of non-governmental organizations. It also highlights some existing approaches to the interpretation of the content of venture philanthropy and substantiates its main differences from the traditional approach to charity. The author explains that criticism of venture philanthropy is mainly caused by the lack of understanding of its content and the possibility of applying venture approaches in charity. The author also substantiates the importance of applying a venture approach to charity as one that helps to solve the root causes of existing problems in society. Given the initial stage of development of venture philanthropy in Ukraine, the author proposes to introduce it in combination with a crowdfunding approach. Such a mechanism will contribute not only to the faster introduction of venture philanthropy into domestic charity practice, but also to a significant increase in the social responsibility of NGOs and citizens involved in the processes. The elements of scientific novelty. The article substantiates the feasibility of using a venture approach to charity in comparison with the traditional approach. For the first time in Ukrainian practice, the peculiarities of the formation of venture philanthropy in Ukraine from a scientific point of view are studied and it is proposed to use its flexibility to improve the charity process and the development of philanthropy culture in Ukraine. This can be achieved through a combination of venture and crowdfunding approaches to charity. Practical significance. The main results of the study can be used as the basis for further scientific research devoted to the problems of the activities of NGOs, and will also be useful for decision-making process for development of the civil society policy in Ukraine creation.
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Шульц, Сергей. "Достоевский, Аполлон Григорьев, Бахтин." Studia Slavica Academiae Scientiarum Hungaricae, September 17, 2021. http://dx.doi.org/10.1556/060.2020.00009.
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Аполлон Григорьев и Бахтин затрагивали достаточно разные вопросы творчества Достоевского, но корреляция между их работами очевидна на уровне их металогики, их философии, их культур-философских оснований. Григорьев, вместе с Достоевским, находился у истоков почвенничества, хотя отзывы Григорьева о творчестве Достоевского эпизодичны и довольно инвективны. Григорьев, в основном, отказывал Достоевскому в том, что его искусство соответствует «правде жизни». Но и первый вариант книги Бахтина о Достоевском не был апологетическим. Григорьев и Бахтин реализуют свою философию через эстетику (философию искусства). Искус-ство, согласно Григорьеву, имеет истоки в самой жизни, а жизнь через искусство реализует себя и сама себя понимает; поэтому критик – также «художник». Бахтин также исходит из принципа корреляции искусства и жизни, выводя отсюда свое понятие «творческий хронотоп». У Григорьева, Бахтина, Достоевского дело идет об онтологии искусства, как и об искусстве онтологии. Искусство онтологии подразумевает самую широкую эстетизацию жизни: ее вдвижение в горизонт искусства. Данная установка – предмодернистская и модернистская. В генезисе понятия «органическая критика» отозвались уроки Канта как автора трех философ-ских «Критик». Идеи Канта были значимы также для Достоевского и Бахтина. Григорьева могло за-интересовать философское измерение, приданное Кантом понятию «критика». Поэтому «органиче-ская критика» относится преимущественно к философии, поднимая объемный перечень вопросов, превышающих собственно эстетические. Согласно Бахтину, полифония Достоевского заключается в том, что автор выступает «медиумом», «пропускающим» через себя различные идеи («голоса» персонажей, различные «точки зрения» и т. п.) Автор-медиум «проводит» «через себя» и «из себя» массу различных идей без сущностного отвержения какой-либо из них. «Автор-медиум» пытается говорить от лица жизни, но также и даже «вместо жизни», что ведет к логической и смысловой подмене «мира» – «картиной мира». Отвер-жение сущностное вовсе не означает отсутствия у автора отвержения формального, т. е. просто констатированного. Однако сущностное неотвержение означает гораздо больше, чем то или иное формальное отвержение. Жизнь, историческое бытие в таком случае оказывается для Достоевского практически «хаосом». В развитие идей Бахтина следует, что при внедрении в свой художественный мир карнавального начала Достоевский утверждает «связку» чувствительность / физиологизм. Ее истоки – в сентимен-тализме XVIII в. Данная «связка» находит религиозную проекцию в феномене юродства. Поэтому итоговой бахтинской трактовкой Достоевского (1963) движет пафос «оправдания» писателя, полно-та художественного мира которого в главном реализована через религиозно трактованную Досто-евским «картину мира» (все-таки «картину мира», но не сам «мир»). Apollon Grigoriev and Bakhtin touched upon quite different issues of Dostoevsky’s work but the correlation between their works is obvious at the level of their metalogic, their philosophy, and their cultural-philosophical foundations. Grigoriev, together with Dostoevsky, was at the origins of “pochvennichestvo” (a grassroots movement), although Grigoriev’s comments on Dostoevsky’s work are episodic and rather injective. Grigoriev basically denied Dostoevsky that his art corresponded to the “truth of life”. But even the first version of Bakhtin’s book about Dostoevsky was not apologetic. Grigoriev and Bakhtin realize their philosophy through aesthetics (philosophy of art). Art, according to Grigoriev, has its origins in life itself, and life through art realizes itself and understands itself; therefore the critic is also an “artist”. Bakhtin also proceeds from the principle of correlation between art and life, deriving from this his concept of “creative chronotope”. Grigoriev, Bakhtin, and Dostoevsky deal with the ontology of art as well as the art of ontology. The art of ontology implies the broadest aestheticization of life: its movement into the horizon of art. This attitude is pre-modern and modern. In the genesis of the concept of “organic criticism”, the lessons of Kant as the author of three philosophical “Critics” could be echoed. Kant’s ideas were also significant for Dostoevsky and Bakhtin. Grigoriev might have been interested in the philosophical dimension that Kant gave to the concept of “criticism”. Therefore, “organic criticism” refers primarily to philosophy, raising a voluminous list of issues that exceed the aesthetic ones themselves. According to Bakhtin, Dostoevsky’s polyphony consists in the fact that the author acts as a “medium”, “passing” various ideas through himself (“voices” of characters, different “points of view”, etc.). The author- medium “conducts” “through himself” and “out of myself” a lot of different ideas without the essential rejection of any of them. The “author-medium” tries to speak on behalf of life but also even “instead of life”, which leads to a logical and semantic substitution of “the world” – “an image of the world”. Essential rejection does not at all mean that the author has no formal rejection, i.e. just stated. Essential non-rejection, however, means much more than any formal rejection. Life, historical being in this case turns out to be practically “chaos” for Dostoevsky. In the development of Bakhtin’s ideas, it follows that, when introducing carnivalization into his artistic world, Dostoevsky affirms a “link” of sensitivity / physiology. The origins of this “link” are in the sentimentalism of the 18th century. This “link” finds a religious projection in the phenomenon of “yurodstvo” (foolishness). Therefore, Bakhtin’s final interpretation of Dostoevsky (1963) is driven by the pathos of the “justification” of the writer, whose integrity of the artistic world is mainly realized through the religious “image of the world” (aft er all, the “image of the world” and not the “world” itself).
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Yalovenko, Olha V. "FOOD AS A CONCEPT OF CULTURE AND INDIAN CODE IN JHUMPA LAHIRI`S WRITING." Alfred Nobel University Journal of Philology 1, no. 21 (2021). http://dx.doi.org/10.32342/2523-4463-2021-1-21-9.
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The purpose of the article is to analyze the culinary concept with Indian gastronomy code analysis in the context of the transcultural paradigm in Jhumpa Lahiri`s writing (an American writer of Bengali origin). In the article we used the following methods: cultural and historical (defining the role and place of Lahiri`s writing in US literature of the twentieth century), historical and typological (determining the specifics of themes, motifs, images, story features of the writer`s works), functional (clarifying the features of Lahiri`s poetics), hermeneutic (interpretation of various aspects of the literary text), narratological analysis (specifics` analysis of Lahiri`s narrative manner), biographical (revealing the reflection of author`s personal experience in her writing), the principles of postcolonial and decolonial criticism (rethinking the problem of �otherness� in transculture discourse). The author of the article notes that food serves as conditional language for characters and as cultural code that interprets by �ours� only � Indian culture representatives. It is indicated that in the context of transcultural understanding, food and the process of its preparation are of particular importance: usual home-cooked dishes are synonymous of protection, security, peace, belonging to one�s home; instead, the presence of �other� exotic dishes makes it possible to get acquainted with the culinary preferences of another culture, as well as to trace the basic similarities and differences.Therefore, cultural culinary differences are found in the kitchen, where the characters are accustomed to spend most of the day and especially carefully prepare the dishes. An interpretation of cooking as a true art is associated with Jhumpa Lahiri`s marginalized / border characters: you need to remember how much, when, and what kind of spices add to the dishes. As a true Bengali women, the characters skillfully prepare �their� traditional dishes. As a result of cooking of two dozen dishes, the smell of mutton curry and pulao (a traditional Indian vegetable pilaf) is especially heard in the rooms. There is a �cultural mix� in the kitchen: Indian dishes are prepared with the help of American household appliances. The �food� concept embodies a cultural phenomenon and allows understanding the features of national Indian cuisine; it is a cultural code that gives meaningful information. The semantic structure of lexical units that fill the �food� concept in Lahiri`s works, as well as cultural and value aspects of this concept are widely represented. It is important to distinguish between home-made daily food or holiday treats, and food as an element of Indian national culture. The writer describes in detail the traditional Indian dishes and the usual, hastily prepared, daily American ones. The reader gets a complete picture of the traditional festive dishes of Indian cuisine. Thus, the structure of the �food� concept can be represented as follows: the names of traditional everyday food (Americans and Bengalis) and traditional American and Bengali holiday dishes. Food is directly connected with gender issues. Eating habits and the way of cooking determine a woman`s identity as well as her difference. Food emphasizes woman`s cultural affiliation: in Lahiri`s writing it is shown that food serves as sacred ritual and art for Indians, in contrast to the American habit of hunger satisfying with semi-finished products. It is noticeable that within Lahiri`s texts the verb �to eat� has a lot of synonyms: to consume, to guzzle, to have, to lunch, to be full of something, to throw down, etc. Using such a variety of lexical and semantic series of one verb, the author reveals the characters` attitude towards traditional Indian cuisine. But what important is not what synonymous series of the word �food� the author uses, but that it conveys Indian culinary customs and traditions. Expressing not meaning but sense, food continues to be an element of Indian national culture.