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Journal articles on the topic 'French literature, history and criticism, 21st century'
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1
Liu, Jie. "The Narrative Style and Aesthetics Study of French Literature in the 21st Century." Learning & Education 10, no. 7 (June 7, 2022): 55. http://dx.doi.org/10.18282/l-e.v10i7.2949.
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Since the 21st century, some French literary writers began to make corresponding adjustments to the road of French
literature, starting from the narrative style, a series of innovation and transformation, at the same time, writers also opened up a
road connecting French literature, philosophy and history and culture.With writing as the basis point, they poured their imagination
and creation into all aspects of literary works, thus opening the door to the new world and causing people to think and criticize
themselves and their own society.All these express people’s innovative thinking and indomitable pioneering spirit in the postindustrial period, but also express people’s creative pursuit of literary beauty.This paper discusses the narrative style and aesthetic
research of 21 French literature, and aims to analyze the French literature works to a certain extent with different perspectives as
the foothold.
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Hagedorn, Hans Christian. "Don Quijote en el jazz francés." Çédille, no. 18 (2020): 515–49. http://dx.doi.org/10.25145/j.cedille.2020.18.21.
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The intense reception that Don Quixote has had in French music is a well-known, well-documented and well-researched phenomenon. However, criticism has focused pri-marily on classical music and opera; few studies have been devoted to pop music, rock or folk, and none has so far dealt with the traces that the Cervantine novel has left in French jazz. In this paper we document, analyse and compare twenty examples of French jazz compositions that are inspired by the masterpiece of Cervantes, taking into account aspects such as its reception in jazz from other countries, or the interesting presence of the myth of Don Quixote in French jazz of the 21st century.
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Shahab, Ali, Faruk Faruk, and Arif Rokhman. "French Literature: From Realism to Magical Realism." Jurnal Poetika 8, no. 2 (December 26, 2020): 170. http://dx.doi.org/10.22146/poetika.v8i2.58651.
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The purpose of the article is to explore the evolution of French literature between the late 19th century and early 21st century. Although French literature has long been dominated by rationalistic ways of thinking, based on the thoughts of René Descartes and John Locke, authors have used different means to express their perceptions of society. The novel Madame Bovary (1856), including its depiction of conjugal relationships, can be considered to have pioneered realism in French literature. During the Second World War, existentialism and absurdism appeared as new ways of examining not only the relationship among humans, but also between humans and God. In the late 20th century, magical realism emerged as a new literary stream that explicitly recognized the irrationality of human thinking. This article finds that the rationality of realism was necessary for magical realism to be accepted; in this rationality, although works of magical realism were irrational, they had to be recognized as fine examples of French literature that embodied such revolutionary ideas as liberté (liberty), égalité (equality), and fraternité (fraternity). To study this phenomenon, we examine the history of french literature by applying archeological method in order to understand the world views of the authors and how they change over time.
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Pavlova, Svetlana Yu. "Russian literary criticism of the 20th century on Moliere’s comedy “The Misanthrope”." Izvestiya of Saratov University. Philology. Journalism 23, no. 1 (February 21, 2023): 48–54. http://dx.doi.org/10.18500/1817-7115-2023-23-1-48-54.
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The article addresses the reception of J.-B. Moliere’s comedy “The Misanthrope” (1666) by the Russian literary critics of the 20th century, reflected in monographs, academic publications, textbook, articles and the scientific apparatus to the complete works of the great French playwright. The reason of this persistent interest to this play is determined by two essential factors: its ambiguity and its influence on A. S. Griboyedov’s comedy “Woe from Wit”. The author of the article traces the transformation of the researchers’ evaluations, ranging from the pre-revolutionary period and up to the latest reviews. It is stated that the reception of “The Misanthrope” can be generally traced back to the ideas of A. N. Veselovsky, the founder of the Russian studies of Moliere. Having been perceived controversially by the closest followers of the scientist, they became ideological in the works of the Soviet researchers of the 1930–1940s, then they were in the focus of attention of the literary critics of the middle of the century and were further developed in the studies of the turn of the 20th – 21st centuries. Addressing “The Misanthrope”, the Russian researchers of the French literature of the 17th century focus on the distinguishing features of the comic, on the biographical basis of the play, on the system of images, prototypes of the main character and the essence of his conflict with the society. They invariably concentrate on the issue of the author’s viewpoint, and on the question of who Moliere sides with – Alceste or Philinte. The carried-out analysis shows that the research thought has changed from the biographical, social and political interpretation of the comedy “The Misanthrope” to refocusing on ethical issues. It appears that, despite the importance of all of these aspects, clearly significant for the comprehension of the play, a cultural studies approach, characteristic for the French literary studies and based on the most recent studies of the gallant epoch, will facilitate a more sensible perception of the play.
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Maritchik-Sioli, Youlia A. "“Very Russian, the French Would Say... Very French, the Russians Would Say”: The Metamorphosis of E. Bakunina’s Novel ‘The Body’ in French and Russian Literary Criticism." Literary Fact, no. 1 (31) (2024): 217–41. http://dx.doi.org/10.22455/2541-8297-2024-31-217-241.
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The article is devoted to the reception of the novel “The Body” (1933) by emigré writer E.V. Bakunina in French and Russian literary criticism in the early 1930s. A number of researchers have already analyzed the responses of Russian critics to the publication of the novel but have not paid enough attention to a cross-sectional view of the perception of the writer’s work. This question is of interest insofar as it allows us to identify weaknesses and strengths of Bakunina’s work and rethink the literary and cultural norms established in the early 20th century. One of the article’s crucial questions is critics’ reaction to the verbalization of the female character’s body experience. In France, the literary context of the 1920s and 1930s, the presence of progressive journals, and some trends in the history of French literature contributed to the fleeting but genuine interest of critics in the novel. At the same time, the focus on preserving the best traditions of Russian literature in exile, the historical “memory of culture,” and the requirement to observe the artistic measure led to a sharp rejection of body discourse among emigré critics. The conclusion focuses on the stereotypical perception of the novel by French and Russian literary criticism, and emphasizes the importance of studying the creative heritage of “minor” authors. If French literary criticism often perceived Bakunina’s novel through the prism of the distinctive features of the “Slavic soul,” then Russian criticism judged the writer’s novel through an established grid of artistic criteria (measure, taste, femininity).
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Eiben, Ileana Neli. "Writing the History of French Translation in the 21st Century. Towards a New Paradigm?" Translationes 14, no. 1 (December 1, 2022): 9–22. http://dx.doi.org/10.2478/tran-2022-0001.
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Abstract To write the history of translation in the digital age, we must devise and use new analytical tools. Starting from this premise, this study proposes to examine the ways in which recent technologies influence (the quality of) research in the history of translation as well as to discuss scientific work that seeks to “modernize” the history of translation in accordance with contemporary trends. By adopting a descriptive approach, I will review several traditional materials and instruments of analysis that can be identified in the specialized literature, and then I will move on to modern ones. A corpus of academic texts about the history of French translation serves my purposes well, given the existence of a large body of translation studies of “French expression” produced since the latter half of the 2oth century by numerous Francophone researchers. Main preliminary findings show that we can witness a paradigm shift and that research in the history of translation must change and adapt itself to the current developments that have impacted every field of work.
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Amangazykyzy, Moldir, and Flera Sayfulina. "MODELS OF WORLD CAPITALS IN THE PROSE OF THE XXI CENTURY." Bulletin of the Eurasian Humanities Institute, Philology Series, no. 1 (March 24, 2022): 6–11. http://dx.doi.org/10.55808/1999-4214.2022-1.01.
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The paper dwells on the topical problem of modern literary criticism – the study of the creation of a literary image – a model of the capitals of the world in prose of the 21st century. The article also engages the following socially important issues, such as city life, a little man the city, the problem of loneliness, aloofness of an individual.The work is directly connected with the actualization of urban theme in literature at the beginning of the third millennium. The article begins with a review of the theoretical literature on matters under investigation. The methodological basis of the research is the works by the scholars, such as M. Beville, A. Wessels, P.Torkamane, S.V. Pirogov, V. V. Tsurkan, T.I.Vasilieva, N.L. Karpicheva and others. The following postmodern novels are the object of research – Just Together (2004) by French writer Anna Gavalda, The Book Without Photos (2011) by Russian prose writer Sergei Shargunov, White Orda (Ақ Орда) (2005) by Kazakh author Dukenbay Doszhan. Using hermeneutic analysis of the selected literary works which depict the world capitals such as Paris, Moscow and Nur-Sultan, we have identified the following models of the capital: 1. «Capital – a chronotope»; 2. «Capital – a beautiful city»; 3. «Capital is a city of memories»; 4. «Capital is an Orthodox city»; 5. «Capital is a city of career»; 6. «Capital is a symbol of a new country».
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Pechenkin, Alexander A. "The History of Science in the Context of the State Ideology." Epistemology & Philosophy of Science 60, no. 2 (2023): 168–86. http://dx.doi.org/10.5840/eps202360231.
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Mandelstam’s criticism of the Rayleigh theory of the blue color of the sky (1907) and his polemic with M. Planck (1907–1908) did not become notable events in the history of physics. However, the method of their coverage in the Soviet and in the post-Soviet physics literature is remarkable. Most of Soviet physicists and historians of physics supported Mandelstam's point of view in his criticism of both Raleigh and Planck. The situation changed only at the beginning of the 21st century: in the Russian literature the publications appeared emphasizing that in the Raleigh–Mandelstam and Planck–Mandelstam controversies Mandelstam was not right, Raleigh and Planck were closer to the truth. Which presumptions of this trend can be noted? This was patriotism of the scientific school peculiar to Mandelstam’s graduate students and the former graduate students, the patriotism connected with solidarity which helped Mandelstam’s community to survive in the Soviet totalitarian regime and in the totalitarian organization of science. This was also progressionism which was popular among academics and among men in the street. The phenomenon of common knowledge, mutual knowledge among the members of a scientific community should be taken under consideration. Common knowledge is connected with the non-thematized anonymous inclusion of the ideological terminology into scientific discourse.
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Brandes, Georg, and Lynn R. Wilkinson. "The 1872 Introduction to Hovedstr⊘mninger i det 19de Aarhundredes Litteratur (Main Currents of Nineteenth-Century Literature)." PMLA/Publications of the Modern Language Association of America 132, no. 3 (May 2017): 696–705. http://dx.doi.org/10.1632/pmla.2017.132.3.696.
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From Comparative Literature to Cultural Renewal: Georg Brandes's 1872 Introduction to Main Currents of Nineteenth-Century Literature“The only literature that is alive today is one that provokes debate.” These words ring out in the first published version of a lecture Georg Brandes gave at the University of Copenhagen on 3 November 1871. The lecture was the introduction to a series that changed the course not only of his life but also of Scandinavian and European cultural history. Born in Copenhagen in 1842 to assimilated Jewish parents, Brandes had recently completed a dissertation on French aesthetics and literary criticism and hoped that his lecture series would allow him to replace Carsten Hauch as professor of aesthetics at the university. Brilliant and iconoclastic, the lectures also responded to the Danish defeat in the 1864 war with Prussia, portraying Danish literature and culture as morbidly inward and insular. Brandes urged his countrymen to look abroad, to traditions such as the French, whose literature included many notable writers who grappled with social and political issues, especially those who came of age during the revolutions of 1789 and 1830.
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Kantoříková, Jana. "Melancholy, Hanuš Jelínek and Miloš Marten." Acta Musei Nationalis Pragae – Historia litterarum 61, no. 1-2 (2016): 77–82. http://dx.doi.org/10.1515/amnpsc-2017-0022.
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The aim of this article is to present the roles of Miloš Marten (1883–1917) in the Czech–French cultural events of the first decade of the 20th century in the background of his contacts with Hanuš Jelínek (1878–1944). The first part of the article deals with Marten’s artistic and life experience during his stays in Paris (1907–1908). The consequences of those two stays to the artist’s life and work will be accentuated. The second part takes a close look at Miloš Marten’s critique of Hanuš Jelínek’s doctoral thesis Melancholics. Studies from the History of Sensibility in French Literature. To interpretate Marten’s reasons for such a negative criticism is our main pursued objective. Such criticism results not only from the rivality between Czech critics oriented to France, but also from different conceptions of the role of critical method and the role of the critic and the artist in the international cultural politics. The third part concludes with the critics’ „reconciliation‟ around 1913 by means of the common interest in the work and personality of Paul Claudel.
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Dydrov, Artur A. "Apologetics and Criticism of Posthumanism (Review)." Journal of Frontier Studies 9, no. 2 (June 10, 2024): 205–26. http://dx.doi.org/10.46539/jfs.v9i2.594.
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Posthumanistic ideas associated with the rejection of anthropocentric discourses and practices and implying (in transhumanism) the technological transition of man and society to a fundamentally new level of existence and organization of life, have a solid history of almost four decades. In Russia, with the exception of top essays such as “A Cyborg Manifesto” by Donna Haraway or “The Transhumanist FAQ” by Nick Bostrom, posthumanist conceptology began to take root intensively since the 10s. 21st century. Then “Cannibal Metaphysics” by Eduardo de Castro and “Being Ecological” by Timothy Morton first appeared on the Russian market. Gradually, the transmission of posthumanist ideas gained more intense momentum. Today, the domestic literary market features transhumanist literature (“Upgrade to Superhumans”), new anthropology, or “postanthropology,” marking the boundaries “beyond man,” representation of indigenous thinking, a series of books about socio-natural phenomena (“Insectopedia,” by Hugh Raffles, “How forests think” by Eduardo Kohn, “Gathering moss” by Robin Kimmerer), as well as new ontologies (Graham Harman, Ian Bogost), revising the classical subject-object picture of the world. Posthumanism can no longer be considered an inconspicuous cultural phenomenon. It is not surprising that sharp critical reactions appeared in the form of monographic studies. The article provides reviews of current Russian posthumanist literature and criticism. Particular attention is paid to the critical agenda, which positions posthumanism as a carrier of apocalyptic strategies for humans. The need for a careful study of the intellectual phenomenon and the search for common grounds for a constructive dialogue between cultures and concepts are argued.
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Agratina, Elena E. "THE EMERGENCE OF ART CRITICISM IN FRANCE IN THE SECOND HALF OF THE 17TH AND THE FIRST HALF OF THE 18TH CENTURY." RSUH/RGGU Bulletin. Series Philosophy. Social Studies. Art Studies, no. 3 (2022): 146–64. http://dx.doi.org/10.28995/2073-6401-2022-3-146-164.
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The topic of the emergence of art criticism in France in the second half of the 17th and the first half of the 18th century, being rather widely covered in foreign academic literature, is still underdeveloped in Russian art history. Nevertheless, that issue is extremely important for understanding the processes that took place in the French and more widely in the European artistic milieu. The article aims to highlight the process of the criticism formation not only as a literary genre but primarily as a phenomenon of cultural life. Based on original written sources and foreign academic literature, the author traces how the appearance of fine art in the light of publicity was prepared in the Parisian artistic milieu. The author addresses the important questions that arose during the formative and legitimizing phase of criticism, such as its distinction from pre-existing art theory, as well as the distinction between the critic and the theorist or fine art historian. The artwork must now satisfy not only the master and the customer and a small circle of connoisseurs, society also becomes an active participant in artistic life, and the viewer enshrines the right to judge the art. The author shows how criticism is gradually becoming more diverse and polyphonic. Works written on behalf of a wide variety of characters are appearing, writers are adapting various literary genres that already exist: epistolary, diary, plays, poems, dialogues. For many years, criticism becomes an active channel of communication linking all participants in artistic life.
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Franek, Ladislav. "L’essence éthique du dialogue culturel." Interlitteraria 25, no. 2 (December 31, 2020): 298–309. http://dx.doi.org/10.12697/il.2020.25.2.3.
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The ethical essence of cultural dialogue. The definition of comparative literary studies in Slovakia. Historical poetics in the works of D. Ďurišin, focused on the typological essence of literary phenomena on the basis of interrelating theoretical and developmental aspects of national literature. The differences of Slovak methodology from Western positivist models of the study of interliterariness. Parallel existence of the principles of literary history and criticism in the reception analyses of Russian, German and French literatures by older Slovak scholars. The onset of realism in Slovak literature at the end of the 19th century (S. Hurban Vajanský). The important contribution of J. Felix’s critical reflection of universalist tendencies in European and esp. modern French writing. The complexity of organically incorporating these impulses into the context of Slovak literature as a result of the provincial character of a “small” nation. The wealth of translations from contemporary world literatures and its positive impact on the work of many Slovak writers in spite of the discontinuity of research in this area after 1989. Urgent need to return to similar forms of literary-cultural reflection and self-reflection through reviving an intensive philological, linguistic, theoretical-critical and historical study at our universities.
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Franek, Ladislav. "L’essence éthique du dialogue culturel." Interlitteraria 25, no. 2 (December 31, 2020): 298–309. http://dx.doi.org/10.12697/il.2020.25.2.3.
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The ethical essence of cultural dialogue. The definition of comparative literary studies in Slovakia. Historical poetics in the works of D. Ďurišin, focused on the typological essence of literary phenomena on the basis of interrelating theoretical and developmental aspects of national literature. The differences of Slovak methodology from Western positivist models of the study of interliterariness. Parallel existence of the principles of literary history and criticism in the reception analyses of Russian, German and French literatures by older Slovak scholars. The onset of realism in Slovak literature at the end of the 19th century (S. Hurban Vajanský). The important contribution of J. Felix’s critical reflection of universalist tendencies in European and esp. modern French writing. The complexity of organically incorporating these impulses into the context of Slovak literature as a result of the provincial character of a “small” nation. The wealth of translations from contemporary world literatures and its positive impact on the work of many Slovak writers in spite of the discontinuity of research in this area after 1989. Urgent need to return to similar forms of literary-cultural reflection and self-reflection through reviving an intensive philological, linguistic, theoretical-critical and historical study at our universities.
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Averkina, Svetlana Nikolajevna, Diana Vladimirovna Mosova, Sergei Matveivich Fomin, and Alexey Sergeevich Shimichev. "Francophone literature in search of happiness." SHS Web of Conferences 122 (2021): 05003. http://dx.doi.org/10.1051/shsconf/202112205003.
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The article deals with modern French-language literature on the loss of a person’s sense of happiness and harmony. The study authors explore the work of Western European novelists, who not only record the next decline of Europe but also try to return a sense of dignity to their fellow citizens. For centuries, literature has offered various forms of describing the uniqueness of human interaction with the world. If realism gives rise to a literature of explication that thinks aloud, and modernism tries to free the art of realists from layers of pretense, then the oppositional postmodern aesthetics proposes the so-called pluralism of reading practices, which frees both the reader and the literary critic from the need to search for forerunners and origins. Having experienced postmodern delight at the turn of the 21st century, the modern Western European writer en masse returns into the fold of realistic literature, in which a person is determined both socially and historically. At the same time, preference is given to documentary literature, which includes both memoirs, diaries, and essays, and the auto-fictional novel, known today as the “non-fiction” novel which has been in the focus of scholars’ attention for many years. Whatever forms modern literature may use to disguise itself, even if these forms are the most flowery, its main task is to describe a contemporary who lives with an inescapable feeling of the end of the world, trying to regain the meaning of life, to find footholds that are described in such detail by centuries of aesthetic practice. Therefore, the subject of the study is the classical categories: life, family, love, and peace of mind. The purpose of the study is to describe the current state of literature in Western European countries, identify the trends of its development and genre preferences of the experts of culture. The novelty of the study consists in the fact that the concept of “happiness” is investigated for the first time using the example of French-language literature, and the works of writers little studied in Russian criticism, such as A. Makine and Catherine Lovey, are introduced into academic circulation.
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Galtsova, E. D. "RUSSIAN CONTEXTS OF THE WORKS OF CHARLES MORICE." Lomonosov Journal of Philology, no. 5, 2023 (October 23, 2023): 103–14. http://dx.doi.org/10.55959/msu0130-0075-9-2023-47-05-8.
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The article is devoted to the influence of ‘Russian fashion’ on the work of the French symbolist Charles Morice (1860–1919), who in the 1880s participated in translations of F.M. Dostoevsky’s and N.A. Nekrasov’s writings into French. The methodological basis of the article is the combination of a historical and literary approach with the study of the essence of cultural clichés in the field of literary relationships (Russian literature — French literature). The article is built on the littlestudied facts of the life and work of Morice, undeservedly forgotten in modern literary criticism both in Russia and in France. The analysis of the actual connections of Morice with cultural mediators (translator Ilya Danilovich Halperin-Kaminsky, diplomat and novelist Eugène Melchior de Vogüé), and the general context of the perception of Russian culture in France in the last quarter of the 19th century, when Russian literature for the first time in history began to be perceived as a source of inspiration for French. Being greatly influenced by the ideas of Vogüé, developed in the book Russian Novel (1886), Morice sees in Russian literature a reflection of his mystical and social concepts. Religious searches of Tolstoy and especially religious and philosophical ideas of Dostoevsky were influential in the conversion of Morice to Catholicism. The article deals with cases of direct reception of both ideas about Russian literature and the work of individual writers (mainly Dostoevsky) in the literary books of Morice, as well as in his works, the unfinished novel The Lonely Spirit (1886) and the play He is Risen! (1911).
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Cao, Bo. "The Chinese Translation of Samuel Beckett: A Critical History." Irish University Review 51, no. 2 (November 2021): 282–95. http://dx.doi.org/10.3366/iur.2021.0519.
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In light of the relevant merits and defects of translation practice over sixty years, this article presents a critical history of the Chinese translation of the work of Samuel Beckett. The article argues that the history may be divided into two periods: the pre-1980 period and the post-1980 period, with China's reopening to the outside world in the late 1970s as the watershed. The first period is dominated by the politically propelled translation of Waiting for Godot and harsh criticism of Beckett as a ‘decadent’ author. The second period, characterized by a more complex aesthetic response, may be further divided into three stages: the first stage is marked by the pioneering Proust as a booklet on irrationalism and the debatable Collection of Samuel Beckett translated from French; the second stage by the annotated Complete Works of Samuel Beckett; the third stage by the scholastically motivated Letters of Samuel Beckett. In retrospect, the transition between the two periods is a dramatic one from political misreading to aesthetic appreciation. Or, rather, the progress of the Chinese translation since the turn of the twentieth century mirrors both the re-evaluation of Beckett as an innovative artist and the ‘inward turn’ of Chinese intellectual circles.
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Glazkova, Marina M., and Yana V. Ikonnikova. "Virtual-creative interethnic dialogue (A. Gide – F. Nietzsche – F. Dostoevsky) in French and Russian literary criticism." Neophilology, no. 25 (2021): 51–61. http://dx.doi.org/10.20310/2587-6953-2021-7-25-51-61.
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The review of literature on the problem of “Dialogue of cultures in A. Gide’s works” establish extensive contact and typological convergence, a rollcall of images and ideas, reveal new interpretation of the story. All this became the basis of intertextual analysis, which allows us to understand more deeply the intention of the artists of the word, especially F.M. Dostoevsky, with whom A. Gide enters into a virtual dialogue. The work purpose is to address the ethical and philo-sophical ideas of F. Nietzsche and F.M. Dostoevsky in the context of A. Gide’s works, which turns out to be the most important moment and the basis for understanding the essence of the work of prominent French writer. The system of analysis includes a peculiar dialogue between F. Nietzsche, A. Gide and F.M. Dostoevsky – artists belonging to different nationalities and cul-tures, who did not coincide in time, did not know each other personally, which turned out to be evidence of their inextricable cultural connection. We determine the study degree and A. Gide’s artistic world originality on the basis of the rich factual material contained in the studies of the creative heritage of the French writer, which allows us to trace the evolution of A. Gide’s work from the beginning of the 20th to the beginning of the 21st century, to determine the literary signi-ficance of the problems posed in his work. The methodology of the work includes an overview of what has already been done in French and Russian literary studies on this issue in the context of the embodiment of national ideas in their work, which is the novelty and relevance of this study. Conclusions: for A. Gide, an appeal to F.M. Dostoevsky was immersed in his literary texts in order to understand the Russian mentality in comparison with the Western European system of values. The French writer emphasized that in the Russian environment, depicted by F.M. Dostoevsky, love prevails, which is “inclusive”, so the writer called it “world responsiveness”. People go to such love through compassion, sacrifice, meekness and deep faith in the Savior and the Mother of God. Realizing their messianic role in the world, the Russian people, represented by F.M. Dostoevsky, according to A. Gide, in the future will renew the Catholic Church, which dis-torted Christianity and brought strife in the world community. The dialogical perspective requires a deeper study, because French, German and Russian writers-thinkers turn their gaze not only to the interpretative part, not only to the interpretation, interpretation of the works of F.M. Dos-toevsky, but also scattered in the works of A. Gide rolls with his thoughts, disputes with his heroes, allusions to his plots, to playing out individual episodes, which did not find a detailed study and justification in this interesting virtual dialogue.
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Torstendahl, R. "TELLING HISTORIES OR ACCOUNTING FOR ASPECTS OF THE PAST: A HISTORIOGRAPHICAL CHOICE IN A EUROPEAN HISTORICAL PERSPECTIVE." Uchenye Zapiski Kazanskogo Universiteta. Seriya Gumanitarnye Nauki 163, no. 3 (2021): 9–20. http://dx.doi.org/10.26907/2541-7738.2021.3.9-20.
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The article departs from the difference between two types of historical writings, one narrating stories about actors and the other trying to bring about evidence that justify claims to know certain things about specific aspects of the past. From the Iliad and the Odyssey, telling stories have been a common way of presenting past events. Inscriptions and annals, as well as graves and monuments, urged to present posterity with evidence for acts and occurrences. Storytelling was always more popular than searching for evidence. In the 19th century, historians began to systematise their doubts about the truth of many stories. This source criticism has been refuted by many “historical theorists” in the late 20th and the early 21st centuries with the argument that claims that it is impossible to bring truth about the past and that all history is to be regarded as a kind of literature with, at best, symbolic “truth”. I want to reject this standpoint as based only on an internal “theory of history”-discourse and ask for analyses of actual historical research, which claims to produce new historical knowledge.
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Perfilieva, I. Yu. "Architectural Motifs in Jewellery Art of the 20th — the First Quarter of the 21st Century." Art & Culture Studies, no. 4 (December 2023): 310–43. http://dx.doi.org/10.51678/2226-0072-2023-4-310-343.
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Throughout the history of jewellery, craftspeople have appealed to architectural motifs in the composition of church utensils or jewellery. In different historical periods, this process developed in accordance with the aesthetic requirements of the time, the peculiarities of the artistic and stylistic development of art in general and jewellery in particular. As a result, a number of certain artistic techniques have been formed; they were used by masters in past eras and are used by modern artists and jewellers, as well as architects and designers working in this field of decorative art. This article is devoted to the analysis of the formation and development of these artistic and stylistic techniques at the present stage. This topic has not yet been adequately reflected in scientific literature. The research problem is only mentioned in general works of foreign and Russian researchers on various historical periods (to a greater or lesser extent). Most interest in the topic is shown by bloggers who popularize certain brands or master jewellers in various electronic resources. In the first quarter of the 21st century, the appeal to architectural motifs as a key element of artistic, figurative, and compositional solutions in jewellery became very widespread both in the luxury segment and in the author’s jewellery art. This article is the first experience of art criticism research on this artistic and stylistic phenomenon. The research uses descriptive, formal, stylistic, and comparative methods. As a result, the author of the article identifies and formulates the main methods of using architectural motifs in the compositional, artistic, and figurative solutions in works of modern author’s jewellery art.
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Lisson, Jelle. "Onroerend erfgoed, van verliezen tot ‘bevriezen’. De bescherming van historische stads- en dorpskernen in Vlaanderen (19de-21ste eeuw)." Revue belge de philologie et d'histoire 99, no. 2 (2021): 499–530. http://dx.doi.org/10.3406/rbph.2021.9670.
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“A monument is not alone”. This catchphrase was coined in the Low Countries during the European Architectural Year in 1975, which aimed to develop a common European policy for the protection of architectural heritage. One of its key concerns was to criticize the piecemeal protection of isolated monuments. In the sixties and seventies, a wave of legislative initiatives hit Northwestern European countries, introducing heritage laws that were tailored to the safeguarding of urban areas, often entire villages or city centers, including groups of buildings, infrastructure and open spaces. Early examples are Beschermde stads-en dorpsgezichten in the Dutch Monumentenwet (1961), Secteurs sauvegardés in the French Loi Malraux (1962) and conservation areas in the British Civic Amenities Act (1967). In Flanders too, this principle was echoed in a new legal instrument to protect urban landscapes (1976) : “stads-en dorpsgezicht”. Contrary to popular opinion in the seventies, however, the concern for the architectural context in Flanders was not a recent phenomenon. In this essay, we explore the evolution of the care for architectural ensembles in historic cities, towns and villages in Belgium and Flanders from the nineteenth century onwards, considered both from a legal and application-oriented perspective. In other words, we examine the gradual juridical embedment of the attention to architectural ensembles and its relation to regional, national and international societal trends. Finally, we elaborate upon the consequences of these developments for the conservation of architectural ensembles today. It turns out that these ensembles are currently not protected in the most appropriate manner possible. This way, we contribute to the history of cultural heritage and urban planning, while also indicating particular present-day problems in the management of architectural ensembles in historic cities, towns and villages that need urgent fixing.
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Струкова, Т. Г. "A New Character of French Novels of the 21st Century (M. Page “How I Became Stupid”)." Вестник Рязанского государственного университета имени С.А. Есенина, no. 3(68) (October 6, 2020): 107–15. http://dx.doi.org/10.37724/rsu.2020.68.3.012.
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В статье анализируется появление нового типа героя-трикстера во французской литературе первого десятилетия XXI века, фиксация М. Пажем иных, чем прежде, стратегий и тактик приспособления человека к стремительно изменяющейся технологической и информационной среде. Повседневная жизнь современного горожанина формируется на пересечении сектора, которым он управляет, и сектора, который ему не подвластен. Именно на этих стыках происходит вечно изменяемое столкновение между естественными (физиологическими) и социальными ритмами. Уже во второй половине XX века повседневная жизнь горожанина превратилась в зону чистого потребления, порождая скуку, ухудшая качество жизни, препятствуя реальному самовыражению. Герой романа «Как я стал идиотом» намеренно надевает маску шута и использует гибкую тактику ускользания, сопротивляясь жесткой рациональности буржуазного общества. Установка эмпирического автора нацелена на осмеяние безграничного потребления, ироническое осмысление основных положений постиндустриального общества. В романе критически переосмысливаются практически все европейские метаповествования (религия, история, образование, медицина, социальные структуры, финансы, роль Франции во Второй мировой войне и т. д.). Ирония автора нацелена на высвечивание повседневных реалий скуки, насмешку над социальными обещаниями свободного времени и досуга, которые вместо духовного развития ведут человека в тупик безграничного потребления. Герой романа, предприняв попытку приспособиться к жестким законам консюмеризма, прилагает все усилия к изменению собственной повседневной жизни. Ускользание героя в невидимую зону, которая не контролируется «дивным новым миром», позволяет ему сохранять собственную индивидуальность и судьбу. The article analyzes the appearance of a new type of trickster characters in French literature of the first decade of the 21st century. It analyzes the way M. Page depicts strategies and means used by a person to adapt to the rapidly changing technological and information environment. Everyday life of a modern city dweller teeters between spheres subservient to the city dweller and spheres they fail to control. This juxtaposition results in a conflict between natural (physiological) and social rhythms. In the second half of the 20th century, everyday life of a city dweller focused on consumption, generating boredom and deteriorating the quality of life, depriving one of real self-expression. The character of the novel “How I Became Stupid” intentionally wears the disguise of a jester and, repelled by the cruel rationality of bourgeois society, uses a slithering-away tactic. The author mocks at endless consumption and treats the major principles of post-industrial society with irony. The novel critically reassesses practically all European metanarrations (religion, history, education medicine, social structures, finances, the role of France in World War II and so on). The author’s irony is aimed at highlighting everyday boredom, at mocking at social promise of leisure and spare time which instead of spiritual development lead people to endless consumption. After an attempt to adjust to the rigidity of comsumerism, the character of the novel does his best to change his everyday life. The character eludes the brave new world and escapes its manipulative grasp, which enables him to preserve his individuality and shape his own destiny.
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Hu, Xuemeng. "The Impact of Frances Abandonment of Gaullism on Its National Defense Policy." Communications in Humanities Research 4, no. 1 (May 17, 2023): 354–58. http://dx.doi.org/10.54254/2753-7064/4/20220577.
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France has long regarded Gaullism as its national policy, and it has a strong independent color in politics, military and economy. In the early 2000s, French President Nicolas Sarkozy abandoned the Gaullist policy. A few years later, President Macron has shown signs of a return to Gaullism with wobbly attitude. This paper will analyze the impact of France's abandonment of de Gaullism on its national defense policy at the beginning of the 21st century from the perspective of changes in France's domestic and world situations, and discuss the international impact of this policy change. Studying this issue is conducive to making a certain degree of prediction and judgment on France's recent strategic layout of China and Russia in the context of the current international situation. This paper will use the literature survey method to find information on French policy changes, and use the data collection method to count the French military spending in the past few decades and visualize it for phased analysis of its defense policy. In addition, the conclusion part of this paper creatively links the change of French defense policy with world multi-polarization, and analyzes its impact on world multi-polarization and domestic military industry. The changes in the defense policy of France, an important European power, during a critical period in its history can also provide some constructive inspiration for China.
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Neklyudova, Maria. "«Мертвые Цари всегда должны по смерти своей быть судимы»: Посмертная судьба одного древнеегипетского обычая в русской и европейской словесности XVI – XIX вв. [“Dead Kings Must Always be Judged after Their Demise”: The Afterlife of an Ancient Egyptian Custom in the Russian and European Literature of the 16th to 19th Centuries]." Slavica Revalensia 8 (2021): 9–47. http://dx.doi.org/10.22601/sr.2021.08.01.
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In his Bibliotheca historica, Diodorus Siculus described a peculiar Egyptian custom of judging all the dead (including the pharaohs) before their burial. The Greek historian saw it as a guarantee of Egypt’s prosperity, since the fear of being deprived of the right to burial served as a moral imperative. This story of an Egyptian custom fascinated the early modern authors, from lawyers to novelists, who often retold it in their own manner. Their interpretations varied depending on the political context: from the traditional “lesson to sovereigns” to a reassessment of the role of the subject and the duties of the orator. This article traces several intellectual trajectories that show the use and misuse of this Egyptian custom from Montaigne to Bossuet and then to Rousseau—and finally its adaptation by Pushkin and Vyazemsky, who most likely became acquainted with it through the mediation of French literature. The article was written in the framework (and with the generous support) of the RANEPA (ШАГИ РАНХиГС) state assignment research program. KEYWORDS: 16th to 19th-Century European and Russian Literature, Diodorus Siculus (1st century BC), Jean-Jacques Rousseau (1712—1778), Alexander Pushkin (1799—1837), Prince Pyotr Vyazemsky (1792—1878), Egyptian Сourt, Locus communis, Political Rhetoric, Literary Criticism, Pantheonization, History of Ideas.
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Dickson, Polly. "Tracing Squiggles: Laurence Sterne, E. T. A. Hoffmann, and Honoré de Balzac." Comparative Literature 72, no. 1 (March 1, 2020): 53–67. http://dx.doi.org/10.1215/00104124-7909972.
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Abstract This article examines the figure of an undulating line, or “squiggle,” printed initially in Laurence Sterne’s Tristram Shandy and copied by two nineteenth-century writers: first, by the German E. T. A. Hoffmann, in a little-known fragment, and, second, more famously, by the French Honoré de Balzac as the epigraph to his novel La peau de chagrin. These three squiggles form a triangulated relationship of imitation across two centuries, three countries, and three languages. Through attention to William Hogarth’s line of beauty and Johann Caspar Lavater’s physiognomic contour lines, the article considers the history of the undulating line as a figure for reading. It suggests that, for Sterne, Hoffmann, and Balzac, the inclusion of a pictured line within text may be seen as a “reverse ekphrastic” maneuver, one that aims to reflect the movement of narrative in visual form. In this way, the “squiggle” is foregrounded as a new and concrete motif for comparative criticism on Hoffmann and Balzac, identifying a shared interest in Sterne, as well as in the relationship and entanglement of text and image.
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Vardoshvili, Eka. "Romanticism as an Expression of Rebel Ideas in Literature." Balkanistic Forum 33, no. 1 (January 10, 2024): 266–74. http://dx.doi.org/10.37708/bf.swu.v33i1.20.
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The best manifestation of rebel romanticist poetry is in the works of Byron in England, H. Heine – in Germany, J. Leopard – in Italy, N. Baratashvili – in Georgia, A. Mickie-wicz – in Poland. However, the socio-political situation of the country somewhat de-fined the nature of romanticism. The rebellious Romanticists put the following issues on the agenda: criticism of the bourgeois order, aspiration from singularity to gen-eral, thus they confronted rationalism, the attitude to ideal and reality, development of new literary genres, collecting, processing and publication of literary and folklore works. As a science the history of the world literature was founded, which is derived from Goethe. Although Goethe called romantic sick, and classical – healthy, in doing so, he literally acknowledged that common trends could be reflected in the literary processes of other peoples independently or influenced by those who have common values and gave impetus to development of the issues of globalization and cultural integration. The fusion of personal, national and universal has led to revolutionary shifts in the literary world. However, the French critic F. Brunetiere calls this an evolutionary method in literature (“The Evolution of lyric poetry in France in the XIX century”). The question is how to review Romanticism, as an expression of rebel ideas or as an evolutionary process. We think that Romanticism in its essence includes both, because the society that lacks a sense of protest cannot develop and cannot create values.
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Tomamichel, Serge. "Le latin dans l’enseignement secondaire français. Formes et légitimités sociales d’une discipline scolaire entre monopole et déclin (XVIe-XXe siècles)." Espacio, Tiempo y Educación 4, no. 2 (July 1, 2017): 209. http://dx.doi.org/10.14516/ete.141.
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Up until the 1960s, before scientific courses attracted the best performing students, the Queen’s highway of secondary education was paved with Latin declensions. For centuries, from the very birth of «secondary» education until the disappearance of Latin in the sixth grade in 1968, Latin literature imposed its dominance. At the same time, however, it attracted criticism and opposition, the vast majority of students were facing great difficulties in the learning process, and Latin was the focal point for recurrent debate regarding the modernisation of education. Throughout this article, the «Latin question», subject of many controversies of the late 19th century, takes the form of the «Latin enigma» directed at History. This «enigma» is discussed from a perspective linking together the status of secondary education within general educational provision, its uses in society, the educational methods used and its function in the world of secondary education. The author particularly focuses on the constructed and ingrained forms and legitimacies characterizing the monopoly - until the 1860s – and then the hegemony of Latin literature not only on French literature but also on science, modern languages and more generally, on modern disciplines. Nevertheless, the teaching of the latter could have met the constantly renewed socio-political and economic requirements more appropriately.
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Spadijer, Sonja. "La domesticité, phénomène socioculturel, représentée dans les œuvres Zoune chez sa ninnaine de Justin Lhérisson et Rêves amers de Maryse Condé." French Cultural Studies 33, no. 1 (February 2022): 3–18. http://dx.doi.org/10.1177/09571558211044965.
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That childhood should be everywhere at home whatever the circumstances, has been implored by poets. Their powerful voices call on the international community to mobilize to protect the rights of the child. However, there are unfair practices; child domestic work is one of them. These children are called ‘domestic children’, ‘service children’ and les ‘restavèk’. Denounced by humanitarian institutions, child domestic work unfortunately still exists today. This issue has been taken up by writers, thus becoming one of the key themes of literature in French and Creole languages. Our aim is to recall the major role that this literature has played, for more than a century, in raising the awareness of a very large readership on the harmful effects of this practice on children and adolescents. This study will focus on two authors and their works talking about this phenomenon in the context of Haiti, Justin Lhérisson (late 19th and early 20th centuries) with his lodyans Zoune chez sa ninnaine (1906) and Maryse Condé (20th and 21st centuries) with her novel Rêves amers (1987), both closely tied to Haitian culture. While using different literary frameworks, either Creolity in Maryse Condé or Social Realism in Justin Lhérisson, they chose in their fictions to tell about the condition of a child placed in domestic service. Dealing with this phenomenon is also talking about the quest for identity in Haitian literature, which at the beginning a literature of imitation. The expression of J. Lhérisson proves that this literature has become autonomous and that it represents its culture and its society. Because of the originality and the impact exerted, his work deserves to be remembered as part of the universal cultural heritage. M. Condé pleads for freedom of expression, literary cosmopolitanism, universal values, refusing any classification within the borders of a single country or a single language. Thus, the Haitian social realism represented in the expression of these two authors of the Caribbean space brings Creole literature closer to word literature.
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Li-Hua, Richard, and Lucy Lu. "MBA at the cross road." Journal of Management History 20, no. 3 (June 3, 2014): 246–65. http://dx.doi.org/10.1108/jmh-10-2013-0046.
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Purpose – The purpose of this paper is to bridge the knowledge gap in designing MBA strategy between China and the West by examining the content, context and process of MBA delivery. This paper challenges the assumptions and pedagogical approach underpinning the current design and delivery of MBA programmes that were originally moulded with Western management history and development in the era of globalization. There is consensus that MBA was used to train business managers; however, nowadays, people are inclined to state that MBA is used to develop global business leaders or full-fledged global competitors. How can we develop global business leaders without a global vision when designing MBA strategy? Design/methodology/approach – Based on extensive literature review and critical analyses through the strategic management approach, this paper examines the status quo of current MBA programmes in the West and in China. This paper presents a conceptual framework that draws on the current MBA literature and on-going debates around management education and development in the West and in China. Findings – The designing strategy of MBA has been originally strongly influenced by Western ideology and ethos. Therefore, the difficulties of management knowledge transfer are often explained through culture acclimatization and emphasize has been on cultural divergence rather than convergence. With synthesis between Western and Eastern management identified, we argue that the appropriateness and effectiveness of the traditional philosophy of MBA designing strategy based on Western management history has been challenged in the 21st century. The perception has fuelled criticism of business schools in the post-recession. They have come under fire for allegedly failing in their obligations to educate socially responsible business leaders (Barker, 2010). This leads to rethinking of the philosophy and vision underpinning the MBA designing strategy. A new philosophical approach – integration of Western management with Eastern philosophy has been under scrutiny, which is necessary in business education to enable future business leaders to become full-fledged competitors in the global market. Originality/value – The output of this discussion helps to establish a conceptual framework which will provide strategic insight in enabling business/management school and MBA providers to address the current deficiency in MBA teaching and learning strategy and develop more appropriate arrangement when considering the design and development of a successful MBA programme in the 21st century.
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Jaumann, Herbert. "Wozu hütete Abel seine Schafe, wenn es keine Diebe gab? ‒ Altes und Neues zu Isaac La Peyrère und seiner Präadamiten-These (1655)." Scientia Poetica 23, no. 1 (October 21, 2019): 22–43. http://dx.doi.org/10.1515/scipo-2019-002.
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Abstract The two treatises of 1655, entitled Prae-Adamitae and Systema theologicum ex Praeadamitarum hypothesi, are among the principal works of the French Huguenot author Isaac La Peyrere (1596-1676). Peyrere ‘s theses have occupied a key position within the heretical branch of 17th-century Biblical Criticism: God must have created a human race before Adam, the Bible does not tell the history of mankind but of the elect people of Israel only, and the books of the Pentateuch were certainly not written, if at all, by Moses alone. The present contribution offers an outline of the recent La Peyrere Edition of 2019 and considers a few questions for further study. (1) How close are the Preadamites to early modern utopian literature? (2) What are we to make of Adriaan Beverland’s reference to the Praeadamitae in his infamous book on the Peccatum originale of 1678? (3) Taking up Isaac Popkin’s (1987) interesting suggestion, should we not as well consider a “pre-Eveite theory” alongside La Peyrere’s Preadamite hypothesis? This article concludes by addressing (4) another special desideratum: the early reception of La Peyrere and its continuing effects after the first critical responses as early as 1655/56.
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Lönnroth, Harry. "“Sie sagen skål und Herre gud und arrivederci”: On the Multilingual Correspondence between Ellen Thesleff and Gordon Craig." Journal of Finnish Studies 19, no. 1 (June 1, 2016): 104–20. http://dx.doi.org/10.5406/28315081.19.1.07.
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Abstract The Finnish painter Ellen Thesleff (1869 − 1954) is one of the most famous female painters in Scandinavian art history. During her stay in Florence, Italy, at the beginning of the twentieth century, she became acquainted with the British theater personality and artist (Edward) Gordon Craig (1872 − 1966). Their correspondence from the first half of the century is a part of European cultural history and art criticism; they write, among other things, about painting and graphics, literature and theater. Of linguistic importance is that the original letters preserved for posterity contain traces of many European languages: not only German, which is a central language in the correspondence, but also French, Italian, and English. The focus of this paper is the coexistence of languages in the multilingual correspondence—about 200 dated and 60 undated letters—kept at the National Library of France in Paris. In this paper, microfilms are used instead of the original material, and the selection of letters is limited to twenty-five. The particular interest lies in Ellen Thesleff as a multiliterate, writing individual, and her choices of and switches between different languages. My study shows that Thesleff used a variety of languages when writing letters. This can, for example, be seen from the perspective of the personal nature and the communicative function of the personal letters, where the “self” of the writer is present. In a way, multilingualism has among other things an emotional function for her: one could, for instance, argue that it was used as a kind of “secret writing” or language play between Thesleff and Craig.
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LOPES, LEONARDO ESTEVES, MICHELLE NORONHA DA MATTA BAPTISTA, JÉSSICA NAIARA REIS, JOSÉ FERNANDO PACHECO, and NEANDER MARCEL HEMING. "Two centuries of ornithological exploration of the Rio Doce basin, southeastern Brazil. Part I—A history of the landscape, its explorers, and their collections." Zootaxa 5343, no. 1 (September 6, 2023): 1–30. http://dx.doi.org/10.11646/zootaxa.5343.1.1.
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The Rio Doce Hydrographic Basin (RDB) was once covered by magnificent tropical forest, which remained untouched by Europeans for three centuries after the arrival of the Portuguese colonists in the Brazilian coast in 1500. Nevertheless, a dramatic change in land use occurred throughout the entire RDB after the turn of the 19th century. Currently, the RDB is one of the most degraded regions in southeastern Brazil and, recently, it was the scenario of the worst environmental disaster in Brazilian history. In this series of papers, we aim to construct a baseline biodiversity assessment that documents the changes in bird communities within the RDB throughout the last two centuries. In this first part, we present the history of the RDB landscape, its explorers, and their collections based on an extensive literature review and museum data. Early biological surveys in the RDB only started at the beginning of the 19th century and were conducted mostly by German and French naturalists. During the first eight decades of ornithological exploration, foreign field naturalists conducted expeditions to the RDB and collected hundreds of bird specimens. Unfortunately, labelling and curatorial procedures were often poor and despite the prodigious efforts of those naturalists, results obtained were often meagre. The second phase of exploration occurred from the 1900s to the 1960s and was dominated by expeditions conducted by Brazilian natural history museums. During this phase, labelling and curatorial procedures improved considerably and the material collected significantly advanced our knowledge about the RDB avifauna The third phase occurred from the 1970s to the first decade of the 21st century, when collection of specimens decreased sharply and the research activity slowly shifted from museums to universities, with a focus on ecology and natural history. We are now in a fourth, more pluralistic phase, in which research continues to be done by universities, Brazilian natural history museums have resumed their collection activity, and birdwatching has emerged as a popular activity in Brazil, producing a tremendous amount of data in a short period of time.
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Stuchlik-Surowiak, Beata. "Fighting Pestilence in Old Poland as Presented in the 18th Century Żywiec Chronicle." Rocznik Filozoficzny Ignatianum 25, no. 1 (July 30, 2021): 37–54. http://dx.doi.org/10.35765/rfi.2019.2501.4.
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The article presents the problem of dealing with the pestilence (pol. morowe powietrze, “pestilent air”) on the territory of the old Republic of Poland, with particular focus on the Żywiec County in the 16th to 8th century. The paper attempts to answer the questions of how the medics of that time dealt with epidemics, what actions were taken by ordinary people for whom the raging plague was often the result of the interference of demonic forces, and finally, what preventive measures against the plague were proposed to the faithful by the Church.
The source for the considerations is the Chronografia albo Dziejopis żywiecki [Chronography or the Żywiec Chronicle], the account of history of the town of Żywiec and the surrounding area covering the years 1400–1728, written by the mayor, Andrzej Komoniecki (1659–1729). The Chronicle brings back an extraordinarily colorful picture of old customs, beliefs and superstitions, as well as paramedical practices, which to our contemporary cultural sensitivity may appear bizarre, gruesome and terrifying.
In preparing the article, the author also used extensive literature, primarily in the history of medicine.Among the research methods used in the study, it is worth mentioning, first of all: the explicative method, the method of document research, the method of analysis and criticism of sources, the method of cultural analysis and the method of stylistic-rhetorical analysis.
In contemporary socio-cultural reality, the reading of the Chronografia takes on new meanings. In the context of the pandemic that struck the world in the 21st century, the extremely accurate accounts of the Żywiec chronicler seem particularly interesting, as they allow us to compare the attitude of our old Polish ancestors and ourselves in the face of a similar threat. This comparative leads us to believe that some of the measures taken to prevent the spread of infections, such as keeping a distance, limiting the number of participants at funerals, or not letting strangers into towns, are still taken today, while others, such as locking the sick up in huts, setting fire to infected houses, burying plague victims under fences, drowning them in rivers, or desecrating the bodies of the dead suspected of having caused the plague, are now happily forgotten.
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Minsky, Amir. "Home Is Where the Heart Is: The Rise of Emotional Spaces in the German Late Enlightenment." Eighteenth-Century Life 45, no. 3 (September 1, 2021): 88–115. http://dx.doi.org/10.1215/00982601-9273013.
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The emergent political arena of the late eighteenth century, and the literary one that preceded it, were claimed to be based upon a functional dichotomy between a private sphere of emotive ties and associations, and a “public sphere” of rational criticism (Habermas, 1962). This categorical distinction, however, scantily registered the emergence of a corollary affective economy in this period, which redefined social, political, and physical spaces according to their emotional content, or lack thereof. This article focuses on the rise of emotional language, its spatial configurations, and its dissemination during the late German Enlightenment in three thematic contexts: the “popular Enlightenment” (Volksaufklärung) and its emphasis on the enhancement of literacy among the lower classes to achieve emotional refinement; the visual representation of domestic emotional scenarios in the context of the Franco-German cultural exchange surrounding the French Revolution; and the emergence of “homeland” (Heimat) as an increasingly ubiquitous emotion-bound metaphor in the nationalization of space toward the century's end. These contexts reveal major shifts in the cultural dynamics of space and emotion in this period: first, the reaffirmation of emotion as a culturally viable interpretive mode, set against earlier concerted attempts to suppress or control it; second, the osmosis between private and public that enabled emotional protocols to transgress supposedly natural boundaries of class, status, and gender across society, and establish new contacts between exclusive and excluded communities; and last, the article shows how the spatial imaginary that emerged in the second half of the eighteenth century—despite its reliance on older dispositions regarding space in German culture—deployed emotional vocabularies for engendering new forms of sociability, which went on to became central determinants of Germanness in the early nineteenth century.
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Di Stefano, Eugenio. "The Rules of the Game in Carlos Reygadas’s “Serenghetti”." Praktyka Teoretyczna, no. 4(50) (March 28, 2024): 75–108. http://dx.doi.org/10.19195/prt.2023.4.4.
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At first glance, Mexican filmmaker Carlos Reygadas’ Serenghetti (2009) appears to be a documentary, capturing nothing more than an amateur women’s soccer match filmed in Santo Domingo Ocotitlán (Morelos, Mexico). Commentary on the film has focused on social issues such as urban development, anthropocentrism, and sport as spectacle. This essay, however, argues that Serenghetti is much more interested in examining the aesthetic dimension of cinema, or what Reygadas calls the film’s “fiction.” In some respects, Serenghetti recalls Douglas Gordon and Philippe Parreno’s Zidane: A 21st Century Portrait (2006), as both movies record complete soccer matches. But where Gordon and Parreno’s film engages, as Michael Fried contends, with the issue of absorption in contemporary art, this essay suggests that Reygadas’s film is concerned with contesting an anti-representational account of cinema, particularly the question of time, which has been central to how slow cinema scholarship has understood his work. Indeed, since his Cannes award-winning film Japón (2001), Reygadas’ films have been labeled as slow cinema—films that are understood less as a representation of time than as what Thiago de Luca calls “duration itself.” This essay proposes that through the concept of the soccer game, Serenghetti not only asserts itself as fiction but also, in doing so, provides a reading of cinematic time that challenges many political and aesthetic fantasies endorsed by contemporary cultural criticism.
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Petrošienė, Lina. "Singing Tradition of the Inhabitants of Lithuania Minor from the Second Half of the 20th Century to the Beginning of the 21st Century." Tautosakos darbai 61 (June 1, 2021): 97–121. http://dx.doi.org/10.51554/td.21.61.04.
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The article analyses how the folk singing tradition of the Lithuania Minor developed in the late 20th and in the early 21st centuries. It examines the activities of the folklore groups in the Klaipėda Region during the period of 1971–2020, focusing on those that assert fostering of the lietuvininkai singing tradition as their mission or one of their goals. The study employs the previously unused materials, which allow revising the former research results regarding the revival of the Lithuanian ethnic music and show the folklore ensembles working in the Klaipėda Region as a significant part of the Lithuanian folklore movement and the revival of the ethnic music, emerging from the 1960s. Special emphasis is placed on the early phase in adoption of the lietuvininkai singing tradition related to the activities of the folklore ensemble “Vorusnėˮ established in 1971 at the Klaipėda faculties of the State Conservatory of the former LSSR, and the role it had in prompting the creation of other folklore groups in Klaipėda, as well as its impact on the broader cultural and educational processes taking place in the Klaipėda Region.In the 20th century, the prevailing narrative regarding the Lithuanian inhabitants of the Lithuania Minor maintained that books, hymns, schools, church, social and cultural organizations, and choral or theatre activities were the most significant factors influencing the cultural expression of lietuvininkai, while the Lithuanian folklore was hardly practiced anymore or even considered an inappropriate thing. Judging from the folklore recordings, the folk singing tradition supported by the lietuvininkai themselves disappeared along with the singers born in the late 19th century. However, after the WWII, it was adopted and continued by the folklore groups appearing the Klaipėda Region. These groups included people from the other regions of Lithuania who had settled there. This is essentially the process of reviving the ethnic music, which began in Europe during the Enlightenment period and continues in many parts of the world.“Vorusnėˮ was founded in 1971 as the first institutional student folklore ensemble in Klaipėda Region. For 27 years, its leader was a young and talented professor of the Baltic languages Audronė Jakulienė (later Kaukienė). She became the founder of the linguistic school at the Klaipėda University (KU). In the intense and multifaceted activities of the “Vorusnėˮ ensemble, two different stages may be discerned, embracing the periods of 1971–1988 and 1989–2000.In 1971–1988, the ensemble mobilized and educated students in the consciously chosen direction of fostering the Lithuanian ethnic culture, sought contacts with the native lietuvininkai, collected and studied ethnographic and dialectal data, prepared concert programs based on the scholarly, written, and ethnographic sources, gave concerts in Lithuania and abroad, and cooperated with folklore groups from other institutions of higher education.In 1989–2000, the “Vorusnėˮ ensemble engaged in numerous other areas of activity. The children‘s folklore ensemble “Vorusnėlėˮ was established in 1989; both “Vorusnėˮ and “Vorusnėlėˮ became involved in the activities of the community of the Lithuania Minor founded in 1989. The leader of the ensemble and its members contributed to the establishment of the Klaipėda University, which became an important research center of the Prussian history and culture. The leader of the ensemble and her supporters created a new study program of the Lithuanian philology and ethnology at the KU, which during its heyday (2011–2014) had developed three levels of higher education, including bachelor’s, master’s and doctoral studies. The Folklore Laboratory and Archive was established at the Department of the Baltic Linguistics and Ethnology, headed by Kaukienė, and young researchers in philology, ethnology, and ethnomusicology were encouraged to carry out their research there. In the course of over two decades, Kaukienė initiated organizing numerous research conferences dealing with lietuvininkai language and culture.Until 1980, “Vorusnėˮ was the only folklore ensemble in the Klaipėda Region, but in 1985, there were already ten folklore ensembles. These ensembles developed different creative styles that perhaps most notably depended on the personal structure of these ensembles and their leaders’ ideas and professional musical skills. Generally, at the beginning of their activity, all these ensembles sang, played and danced the folklore repertoire comprising all the regions of Lithuania. The activities of “Vorusnėˮ and other folklore ensembles in Klaipėda until 1990 showed that revival of folklore there essentially followed the lines established in other cities and regions of Lithuania.During the first decade after the restoration of independence of Lithuania in 1990, folklore was in high demand. In Klaipėda, the existing ensembles were actively working, and the new ones kept appearing based on the previous ones. The folklore ensembles of the Klaipėda Region clearly declared their priorities, embracing all the contemporary contexts. Some of them associated their repertoire with the folklore of lietuvininkai, others with Samogitian folklore.The lietuvininkai singing tradition was adopted and developed in two main directions.The first one focused on authentic reconstruction, attempting recreation with maximumaccuracy of the song‘s dialect, melody, and manner of singing, as well as its relationship tocustoms, historical events or living environment. The second direction engaged in creativedevelopment, including free interpretations of the songs, combining them with other stylesand genres of music and literature, and using them for individual compositions. These twoways could be combined as well. Lietuvininkai are not directly involved in these activities, butthey tolerate them and participate in these processes in their own historically and culturallydetermined ways.The contemporary artistic expression of the promoters of the lietuvininkai singing tradition is no longer constrained by the religious and ideological dogmas that were previously maintained in the Lithuania Minor and in a way regulated performance of these songs. It is determined nowadays by consciousness, creativity, resourcefulness, and knowledge of its promoters. The dogmas of the Soviet era and modernity have created a certain publicly displayed (show type) folklore. The ensembles took part of the institutionalized amateur art, subsequently becoming subject to justified and unjustified criticism, which is usually levelled on them by the outsiders studying documents and analyzing processes. However, favorable appreciation and external evaluation by the participants of the activities and the local communities highlight the meaning of this activity.
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Lyakhovskaya, Nina D. "The fate of African mask in the works of French-speaking writers in West and Central Africa." Vestnik of Kostroma State University 27, no. 3 (October 28, 2021): 202–9. http://dx.doi.org/10.34216/1998-0817-2021-27-3-202-209.
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The article examines the attitude of contemporary African writers to the traditional zoomorphic and anthropomorphic masks. In the 1960s–70s, for the supporters of the theory of negritude, the sacred mask embodied the spirit of ancestors and an inextricable connection with tradition. In a transitional era (the 1990s – the early 21st century), the process of desacralisation of the mask has been observed and such works appear in which the idea of the death of tradition is carried out. The article consistently examines the history of the emergence and strengthening of interest in the image of the African mask as the most striking symbol of African traditions on the part of cultural, art and scientific workers and the reflection of this symbol in the works of representatives of Francophone literature in West and Central Africa in different periods of time. The article concludes about the transformation of the views of the studied writers on the future of African traditions from an enthusiastic and romantic (as, for example, in the lyrics of Léopold Sédar Senghor or Samuel-Martin Eno Belinga) attitude to the images of the African past and tradition – masks, ancestor cult – to despair and bitterness from the awareness of the desacralisation of traditional objects and images and the profanation of tradition under the pressure of the realities of the present day (drama by Koffi Kwahulé). The attitude of African writers to the image of the mask, which is directly related to the themes of preserving traditions and the search of their identity by African literary heroes, is gradually changing, demonstrating the pessimistic view of Francophone African writers on the future of African traditions.
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Žarskienė, Rūta. "The Music Making at the Church Feasts, or Baroque of the 20th–21st Centuries." Tautosakos darbai 49 (May 22, 2015): 145–70. http://dx.doi.org/10.51554/td.2015.29010.
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The subject of this article is the music making during the Catholic Church feasts and its development since the Christianization of the Grand Duchy of Lithuania until nowadays, with special emphasis on the music making tradition of the 20th–21st centuries. Following the spread of Christianity, the tradition of the religious feasts was quick to catch on, along with its peculiar Western European customs and culture of the musical styling. According to the historical sources, as early as in the end of the 14th century (that is, barely ten years after the official Christianization) the wind and percussion instruments were played in the Vilnius Cathedral. The academic wind and percussion instruments, having been since ancient times used in the army of various European countries, including the Grand Duchy of Lithuania, became adapted by the musical culture of the manors and dioceses, finding their use during pilgrimages, celebratory processions, services, etc. During the Renaissance and Baroque periods, an especially important social and cultural role was played by the Vilnius Academy, established by the Jesuits, at which also instruction in music was offered. The Jesuits organized particularly pompous processions of the Corpus Christi, which included theatrical performances, participation of numerous musicians and singers, firing guns, etc. According to the archived data, during the Baroque times the majority of the churches or the affiliated brethrens used to possess both the brass and the percussion instruments: usually – two or more trumpets, French horns, and kettledrums. These instruments were regarded necessary in order to celebrate the titular feasts of the parish in the appropriate way, that is, with musical accompaniment, or to travel likewise to the festivities held in the neighborhood. Thus the folk piety tradition of the brass bands got shaped, which, having already disappeared in other Lithuanian regions, continues to live on in Samogitia in the 20th–21st century. It is particularly important in relation to the rituals of visiting the Samogitian Calvary (Žemaičių Kalvarija) – a variety of the popular baroque European tradition of the Way of the Cross (Via Crucis), the first one of which in the Grand Duchy of Lithuania was established in Samogitia. Quite likely, these Stations of the Cross since their very establishment used to be visited ceremoniously, including singing and the appropriate accompaniment by wind instruments and kettledrums. This tradition survived in spite of being prohibited both during the tsarist Russian oppression and during the Soviet atheism periods. During the Soviet occupation the musicians, although being harassed or even arrested, still used to go to play at the religious feasts, thus expressing not only their devotion, but also their protest against the regime of the religious oppression. After Lithuania regained its independence in the end of the 20th century, the new kind of worshipers who had been brought up unaware of the traditional Calvary Hymns singing started the new way of singing accompanied by kanklės (Lithuanian cithertype instrument) and guitars. Still, in spite of this wave of musical pluralism, the brass bands preserved their positions. Until the present day, worshipers visiting the Stations of the Cross at the Samogitian Calvary are accompanied by the musicians playing the brass instruments, who are traditionally rewarded with money. Depending on the particular worshipers’ needs, three kinds of functions performed by the musicians can be discerned: firstly, the group of 4 to 6 musicians may only play; secondly, 2 to 5 musicians lead the prayers both singing and playing; and thirdly (a medium variant), the group of 4 to 6 musicians both plays and sings. The analysis presented in the article allows maintaining that prior to becoming part of the wedding, christening and funeral rituals of the village people, brass instruments had already become an integral part of the musical expression of the exceptional solemnity of folk piety.
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Martyanova, Svetlana A. "PUSHKIN-DOSTOEVSKY MYTH ABOUT “DEVILRY” IN THE WORKS OF T. YU. KIBIROV." Tyumen State University Herald. Humanities Research. Humanitates 7, no. 4 (2021): 180–91. http://dx.doi.org/10.21684/2411-197x-2021-7-4-180-191.
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The article is devoted to the analysis and interpretation of the myth of “devilry” in the works of the modern Russian poet T. Yu. Kibirov. The myth of “devilry”, which goes back to the poem “Demons” by Alexander Pushkin (1830), has a special place in the history of Russian literature of the 19th and 21st centuries. V. A. Grekhnev identified its main components, and D. M. Magomedova traced the path of myth in post-Pushkin literature, from M. Yu. Lermontov to M. A. Bulgakov. At the same time, the life of the Pushkin-Dostoyevsky myth of “demonic” in post-symbolist literature, in independent Russian literature of the 20th century and modern literature remains unexplored. The author of the article, referring to the material of T. Yu. Kibirov’s “Message to Lev Rubinstein” (1989), “Give me a deconstruction! Gave…”, “Good for Chesterton — he lived in England”, “Historiosophical centon”, “We did not sell Christ”, “Happy New Year” etc., the poem “Kara-Baras”, dramatic experiments “The night before and after Christmas”, “Victory over Phoebus”, the chronicles “Lada, or Joy”, reveals elements of similarity with the traditions of A. S. Pushkin and F. M. Dostoevsky: images of empty darkness and chaos, loss of the path, value orientations, an appeal to the symbolism of the ballad genre, presented in a serious, playful, ironic tone. The classical tradition contains important keys and values for understanding new reality and becomes an integral part of the artistic language of its description. At the same time, fidelity to the classics is devoid of a sense of exclusivity, loud pathos, moralism, often includes idyllic, sentimental, humorous tones. The poet’s return to the classical literary tradition occurs after oblivion or denial of its values in Soviet times, which gave rise to the cultural problems of the post-Soviet period. In the course of the work, the methods of comparative literary criticism, intertextual analysis, mythopoetic and historical and cultural studies were used.
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SMARI, Ibtissem, and Ildikó HORTOBÁGYI. "Language policies and multilingualism in modern Tunisia." Bulletin of the Transilvania University of Brașov, Series IV: Philology. Cultural Studies 13 (62), Special Issue (December 15, 2020): 207–32. http://dx.doi.org/10.31926/but.pcs.2020.62.13.3.12.
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"In a multicultural and multilingual world, people negotiate their identities along contextual lines. Online mediated information about countries and cultures build bridges at the individual level and create a sense of “global citizenship” (Hortobagyi 2015; 2017). Languages policies and linguistic landscapes facilitate the exploration of the multilingual texture of a country, thus research in imminently multicultural environments fosters a better understanding of multiple linguistic identities. Situated at the intersection of social and language sciences, drawing on relevant literature and using a comparative approach, the presentation highlights Tunisia’s long history of linguistic and political confrontation since its independence from France (Riguet 1984) and focuses on the educational reforms that have been undertaken, particularly on the various policies and guidelines pertaining to modifying the language policy of the country. Since the 1970s, a significant process of Arabization has been underway, alongside the strengthening of bilingual education, which was launched as early as 1956. Considering that English started to be taught in Tunisian schools shortly after the independence (Battenburg 1997), Tunisian education has always been trilingual with English as the most common foreign language added to Arabic and French. The first years of the 21st century were marked by the introduction of additional foreign languages in secondary education, such as Russian, Spanish, Italian, Chinese, German, and Turkish among others. All these policies have allowed Tunisia to access modernity (Messadi 1967 cited in Belazi 1991, 53). Currently, Tunisian Arabic and Berber are languages that have not yet been added to the political agenda. Nevertheless, the return to the standardization of Arabic through teaching, the noticeable decline of the use of French, and the emergence of English as a new alternative, indicate linguistic policies in which multilingualism is becoming the new norm, with manifest representations both at the societal level and in the new media communication."
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Le Baillif, Anne-Marie. "Paris, « un lieu centre de tous les centres ». Est-ce toujours d’actualité ?" Interlitteraria 25, no. 2 (December 31, 2020): 435–42. http://dx.doi.org/10.12697/il.2020.25.2.14.
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Paris, “The Centre of All Centres”. Is It Still the Case? In La République Mondiale des Lettres published in 1999 and 2008, Ms. Casanova wrote: “Paris is the Greenwich meridian for literature” for the 19th and 20th centuries. Writers and artists have come to the city in the past because it was extremely attractive for creative and economic reasons. But at the beginning of the 21st century, with the rise of the New Media for writing, publishing and diffusing, is it correct to say that Paris is still supreme? Is location more important than the time devoted to writing and reading?
The claims on which Ms. Casanova builds her assertions are not supported by the facts of recent history and geography. She refers to “La belle santé économique et la liberté” in Paris but she forgot to mention why artists came from central Europe. It was just because the life was cheaper in Paris than in Berlin, as Walter Benjamin observed in 1926. She notes that Paris was the world centre for high fashion and that writers came together there to be inspired by the place and each other. But these things are no longer true: Paris is one of the most unaffordable cities in the world. Fashion in clothes is determined in many centres, with fashion weeks held in New York, Milan and China; aesthetics no longer depend on a single country. Literary creativity has spread across many continents and the internet and social media provide access to millions of people around the globe. Globalisation has unified the world, note Jean-Philippe Toussaint and Sylvain Tesson, and brought the standardization of cultures.
There is also the matter of the dominant language today. The French language has not changed since Ms. Casanova was doing her research, but French writers now dream of being translated into English to reach the largest audience around the world. Publishers also favour English to make the most profit because literature and art are now worldwide commodities. Writers and researchers use the Internet, which connects them with documents, libraries and people all over the world. Newspapers such as Le Monde and Le Figaro in France provide literary reviews from around the world; for example, Histoire de la Traduction Littéraire en Europe Médiane, compiled by Antoine Chalvin, Marie Vrinat-Nikolov, Jean-Léon Muller and Katre Talviste, was written up in Cahiers Littéraires du Monde. What about the readership? If publishing and merchandizing are accelerating and globalizing because of how the Internet changes time and distance, the writer still has to follow the rhythm of the subject.
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Le Baillif, Anne-Marie. "Paris, « un lieu centre de tous les centres ». Est-ce toujours d’actualité ?" Interlitteraria 25, no. 2 (December 31, 2020): 435–42. http://dx.doi.org/10.12697/il.2020.25.2.14.
Full textAbstract:
Paris, “The Centre of All Centres”. Is It Still the Case? In La République Mondiale des Lettres published in 1999 and 2008, Ms. Casanova wrote: “Paris is the Greenwich meridian for literature” for the 19th and 20th centuries. Writers and artists have come to the city in the past because it was extremely attractive for creative and economic reasons. But at the beginning of the 21st century, with the rise of the New Media for writing, publishing and diffusing, is it correct to say that Paris is still supreme? Is location more important than the time devoted to writing and reading?
The claims on which Ms. Casanova builds her assertions are not supported by the facts of recent history and geography. She refers to “La belle santé économique et la liberté” in Paris but she forgot to mention why artists came from central Europe. It was just because the life was cheaper in Paris than in Berlin, as Walter Benjamin observed in 1926. She notes that Paris was the world centre for high fashion and that writers came together there to be inspired by the place and each other. But these things are no longer true: Paris is one of the most unaffordable cities in the world. Fashion in clothes is determined in many centres, with fashion weeks held in New York, Milan and China; aesthetics no longer depend on a single country. Literary creativity has spread across many continents and the internet and social media provide access to millions of people around the globe. Globalisation has unified the world, note Jean-Philippe Toussaint and Sylvain Tesson, and brought the standardization of cultures.
There is also the matter of the dominant language today. The French language has not changed since Ms. Casanova was doing her research, but French writers now dream of being translated into English to reach the largest audience around the world. Publishers also favour English to make the most profit because literature and art are now worldwide commodities. Writers and researchers use the Internet, which connects them with documents, libraries and people all over the world. Newspapers such as Le Monde and Le Figaro in France provide literary reviews from around the world; for example, Histoire de la Traduction Littéraire en Europe Médiane, compiled by Antoine Chalvin, Marie Vrinat-Nikolov, Jean-Léon Muller and Katre Talviste, was written up in Cahiers Littéraires du Monde. What about the readership? If publishing and merchandizing are accelerating and globalizing because of how the Internet changes time and distance, the writer still has to follow the rhythm of the subject.
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Butska, Kateryna V. "UKRAINIAN POSTCOLONIAL NOVEL AS A NATIONAL NARRATIVE: “THE MUSEUM OF ABANDONED SECRETS” BY O. ZABUZHKO AND “THE BEECH LAND” BY M. MATIOS." Alfred Nobel University Journal of Philology 2, no. 26/1 (December 20, 2023): 33–46. http://dx.doi.org/10.32342/2523-4463-2023-2-26/1-3.
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The article examines the seminal novels of Ukrainian women writers from the first and second decades of the 21st century, namely “The Museum of Abandoned Secrets” (“Музей покинутих секретів”, 2009) by O. Zabuzhko and “The Beech Land” (“Букова земля”, 2019) by M. Matios. The selected works are analyzed through the lens of postcolonial criticism, that is, from the point of view of the historical experience of the statelessness of the Ukrainian community and its reflection in literary texts. The main attention is paid to the narrative features of the works, namely the tendency to broad narrative, integrity, and narrative completeness. The purpose of the study is to highlight the postcolonial content of the narrative strategies implemented in the selected novels by O. Zabuzhko and M. Matios. Given that “The Museum of Abandoned Secrets” and “The Beech Land” represent different periods and ideological and aesthetic paradigms, namely postmodernism and metamodernism, one of the tasks of the study is to assert the relevance of postcolonialism in the context of metamodernism. The article aims to highlight the peculiarities of the artistic realization of “postcolonial” narrativity in postmodern and metamodern texts. Additionally, the narrative features of the selected novels are compared. The stated purpose necessitates the application of hermeneutic (interpretation of a literary text), comparative (identification of common and distinctive features of the selected works) methods, as well as the method of structural analysis (examining the narrative structure of the texts). As a result of the study, it is established that postcolonialism, inherent in Ukrainian postmodern prose, remains relevant in the second decade of the twenty-first century. The postcolonial orientation of the novels “The Museum of Abandoned Secrets” and “The Beech Land” is manifested in their intention to affirm the continuity of Ukrainian history by building a panoramic narrative that covers different historical periods and establishes a hereditary connection between them. The study identified the following features common to both novels: the intertwining of family genealogy with national history; the development of narratives at different generational levels – children, parents, grandparents, etc.; the theme of the perpetual war for independence that continues to this day; the image of God as a transcendent guardian of history, capable of seeing the intertwining of human destinies in their entirety. The defining theme shared by both novels is the anti-colonial struggle, particularly the military campaign of the Ukrainian Insurgent Army. This theme necessitates depicting the tragic consequences of imperial oppression. In “The Beech Land”, these are devastation and turmoil, fratricide, ruptured familial ties, the destruction of the Bukovynian “utopia”. In “The Museum of Abandoned Secrets”, these repercussions are shown through the lens of postmodern hypertextuality – as “burnt manuscripts”, irretrievably lost archives, fragmented stories. In addition, the selected novels exhibit an inclination to transcend the boundaries of realistic storytelling. Employing the montage technique, “The Museum of Abandoned Secrets” incorporates a mystical discourse of dreams that operates as a parallel reality, recounting events of the past. The oneiric discourse resonates with the image of an endless virtual archive storing memories of everything that has ever happened in the world. In “The Beech Land”, the departure from realistic historiography occurs through metamodern fantastisation, where the historical panorama is framed by the story of the “Heavenly Chancellery” – a celestial archive inhabited by the Creator and the Angels. The appeal to mystical and imaginative discourses is interpreted as a manifestation of postcolonial longing for lost integrity and completeness. The images of endless imaginary repositories of information complement the incompleteness of history, aiding in overcoming its fragmentary nature and opacity.
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Pavlenko, Yuliia. "SELF-WRITING IN THE DIMENSION OF EVERYDAY LIFE: DYNAMICS, CHALLENGES, PERSPECTIVES." CONTEMPORARY LITERARY STUDIES, no. 18 (December 13, 2021): 101–7. http://dx.doi.org/10.32589/2411-3883.18.2021.246984.
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The article presents a study of the everyday life discourse in writing about the Self of a fictional subject. It seems obvious that involvement of self-writing in everyday practice calls into question the power of self-writing in the context of everyday life for the self-knowledge of the individual. The purpose of this scientific research is to debunk this illusion and explain the connection between the everyday life and self-writing. It transforms the practice of incorporating one’s own «I» in writing into the dimension of constructing the subject’s identity. There are no works on this topic in modern literary criticism and this fact also indicates the relevance and novelty of the research that is unfolding in the following article. Nowadays, the history of everyday life is booming. It is evidenced by a whole array of scientific papers on this issue. The study of self-writing in the dimension of everyday life appeals to the semiotic approach of Y.M. Lotman and G. Knabe for the analysis of the sign-symbolic nature of everyday life, to the sociological studies of A. Schutz, P. Berger and T. Lukman to identify the ways of constructing everyday life as reality or as a «life world», to the works of V.D.Leleko in the field of aesthetics and culturology of everyday life. The works of the philosophical and anthropological school serve the basis for the research. Particular attention is given to the text-letter of the Enlightenment. The protagonists of the Enlightenment Age invest the issues of everyday life in the work of writing that is a daily practice in the XVIII century. Due to its characteristics, the sphere of everyday life is a measure of self-knowledge and self-affirmation of the individual that was first artistically embodied by enlightened characters. The study shows that everyday life asa strong ground for self-affirmation of the subject was discovered with the help of the personal writing in the novel of the XVIII century, but this discovery became a lost testament to the text-writing of the Enlightenment. Changing the picture of everyday life under the influence of new technologies does not interfere with the text-writing. In the dynamic picture of everyday life offered to us by the 21st century, writing about the Self of a fictional subject opens up new facets of the power of everyday life discourse for the anthropological laboratory of literature. The study is illustrated by thesuch texts as: «Robinson Crusoe» by D.Defoe, «Nun» by D. Diderot, «Memoirs of two young wives» by O. de Balzac, «Poison of Love» by E.-E. Schmitt, «Self-portrait of the radiator» by K. Boben.
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Находкина, А. А. "Якутское эпическое наследие и его международный перевод (1970-е гг. – начало 21 в.)." Эпосоведение, no. 4(16) (December 24, 2019): 80–87. http://dx.doi.org/10.25587/svfu.2019.16.44318.
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The article is a review of translations of the Yakut heroic epic olonkho into Russian and foreign languages. The review captures a large period, from Soviet times to the present. For the first time, such a study included unknown and little-known translations, as well as reviews on translations. The need to preserve and popularize the Yakut cultural heritage, represented by outstanding works of the Yakut classics, is confirmed by the history of Russia and of all mankind. The relevance of translation projects is due to the fact that in 2005 UNESCO recognized the Yakut heroic epic olonkho as a masterpiece of the oral intangible heritage of mankind, which, in turn, caused attention to olonkho in different countries. This fact inspired an interest to Yakut epic worldwide and stimulated translations of it into various languages and the research of these translations that supposed to be a tool for Northern cultural heritage preservation. The subject of the research is the EnglishThe significance of translations of the olonkho epic is determined by the features of the development of traditional communities at the present stage, their cultural heritage, which is in danger of extinction, is of particular concern. Olonkho - the ancient heroic epic of the Yakuts - is one of the brightest examples of the archaic folk epic. The olonkho formed the ideas of the Yakut people about the universe, a system of moral values, traditional beliefs and customs, the originality of language and culture. Particularly relevant is the question of the features of the translation of the Yakut heroic epic olonkho into the world languages. The uniqueness of the artistic world and the language of the epic olonkho determines the extreme complexity of its translation and significantly distinguishes it from all other kinds of literature. At the end of the twentieth century the Yakut heroic epic olonkho spoke not only in Russian, but also in other languages of the world. This paper considers translations of the Yakut epic olonkho into Russian, English, French, Korean, in particular, the full-text English translation of the olonkho Nurgun Botur the Swift by P.A. Oyunsky translations of olonkho Eles Bootur by P.V. Ogotoev and other epic texts. Translators of German, Turkish and Japanese also paid attention to various olonkho texts.
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Svitlenko, Serhiy. "Ukrainian intellectual Trokhym Zinkivskyi and preservation of historical memory of Taras Shevchenko." Chornomors’ka Mynuvshyna, no. 17 (December 31, 2022): 71–78. http://dx.doi.org/10.18524/2519-2523.2022.17.268828.
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The personality of Trochym Zinkivskyi (1861–1891) remains little known and insufficiently developed in modern Ukrainian historiography. The purpose of the article is to study the figure of Trokhym Zinkivskyi in the context of the problem of preserving the historical memory of Taras Shevchenko. Research methods are personalistic, historical-genetic and historical-systemic. Sources: published epistolaries of T. Zinkivskyi and his addressees, memories of contemporaries, biographical articles in the Ukrainian press of the beginning of the 20th century etc. The main results consist in elucidating the peculiarities of the formation of T. Zinkivskyi's worldview under the conditions of the oppression of the Southern Ukrainian lands by the Russian imperial regime, in particular in Berdyansk, Feodosia and Odesa, the establishment of his Ukrainian national-democratic views during his studies and military service in Smila, Shpola and Uman, in Kyiv and St. Petersburg. It is noted that an important factor in the development of his Ukrainian consciousness and identity was his family upbringing, which instilled love for his native language and formed Christian, religious values. A prominent role was played by the reading circle, which included Shevchenkov's «Kobzar» along with other literary works of Ukrainian and foreign writers; as well as Ukrainian folk art. V. Kravchenko, L. Smolenskyi, B. Grinchenko, M. Komarov, and a number of representatives of the Ukrainian colony in St. Petersburg were included in the closest circle of persons who significantly influenced the formation of the worldview of the Ukrainian figure. The article traces the main stages of the intellectual and public activity of the Ukrainian figure in the matter of preserving the historical memory of Kobzar. It is noted that already in the middle and second half of the 80s of the 19th century. T. Zinkivskyi began work in the field of Ukrainian literature, took care of translation activities. In St. Petersburg, he was able to begin wider work for the benefit of Ukrainianism and became an ideological leader of young Ukrainians. The powerful vital energy of the activist was organically combined with consistent and convinced actions in the name of the Ukrainian cause. In the youth group at Shevchenko's anniversary, T. Zinkivskyi read a number of essays, such as «The National Question in Russia», «Shevchenko in the Light of European Criticism», «Young Ukraine» and others. His essay «Taras Shevchenko in the Light of European Criticism», which was read in Ukrainian on the evening of February 25, 1889 in the capital of the empire, was of exceptional importance. This speech, prepared mostly on the basis of French, Austrian, German, and Polish historiographical sources, presented Kobzar as a figure of global poetic scale and destroyed the perception of the Russian metropolitan public about Ukrainians and the Ukrainian language as something provincial and inferior. Conclusions.T. Zinkivskyi became one of the brightest representatives of the «Young Ukraine» generation. The short-lived but important intellectual activity of the ideological leader of young Ukrainians, in particular, speeches at the Shevchenko anniversary, publication of abstracts, epistolaries, drew the attention of contemporaries to the figure of Taras Shevchenko, to his poetic heritage; actualized the issue of preserving the historical memory of Kobzar as a leader of the national values of Ukrainians. It has been proven that during the 1880s and early 1890s, T. Zinkivskyi's intellectual activity contributed to the progress of Ukrainian public affairs and national science, the establishment of Ukrainian national consciousness among the generation of young Ukrainians. The practical significance of the article is that the given material will be of interest to specialists in the context of studying the ethno-national history of Ukraine in the second half of the 19th century. The originality of the article lies in the understanding of insufficiently studied aspects of the activity of the Ukrainian intellectual, who stood at the origins of the idea of «Young Ukraine». Scientific novelty in updating the intellectual activity of T. Zinkivskyi in the matter of preserving Ukrainian national memory and forming national consciousness and identity.
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БРИТАЕВА, А. Б. "THE LULLABY GENRE IN MODERN OSSETIAN CHILDREN'S POETRY: TRADITIONS AND INNOVATION." Kavkaz-forum, no. 16(23) (December 11, 2023): 5–18. http://dx.doi.org/10.46698/vnc.2023.23.16.010.
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В статье впервые представлен анализ жанра авторской колыбельной песни в современной осетинской детской литературе. В последние годы большое внимание уделяется изучению культурных кодов этносов, традиций, художественной культуры, именно этим обусловлена актуальность статьи. Автор прослеживает отражение истории вопроса в северокавказском и осетинском литературоведении. Различные аспекты темы были в свое время рассмотрены Ш.Ф. Джикаевым, однако его анализ (1986) коснулся литературного процесса до 80-х гг. XX в., а настоящее исследование прослеживает развитие жанра в конце XX – начале XXI в., при этом особое внимание уделяется фольклорным традициям и авторским новшествам, привнесенным в жанр. Кроме того, научная новизна предпринятого изыскания состоит и в том, что многие имена и произведения впервые введены в научный оборот (А. Кибиров, Р. Гаджинова-Хабаева, З. Бзыкова и др.). Для более глубокого анализа сопоставляются колыбельные «взрослые» (произведения Н. Джусойты, Ш. Джикаева, З. Хостикоевой), в которых форма колыбельной служит лишь средством выражения авторской позиции на явления окружающей действительности, злободневные проблемы современности и «детские», адресат которых – ребенок. С опорой на сравнительно-сопоставительный метод анализа в процессе работы была подтверждена тесная связь литературных колыбельных песен с устным народным творчеством в плане сюжетных линий, структуры, образов, внешней атрибутики. В заключительной части автор сформулировал выводы, свидетельствующие, что каждое произведение индивидуально и от традиционной колыбельной песни порой остаются лишь жанровые маркеры: адрес, структура, речевые формулы. В теоретическом и практическом плане работа внесет вклад в разработку истории осетинской детской литературы, изучение ее национальной специфики. The article presents for the first time an analysis of the genre of the author's lullaby in modern Ossetian children's literature. In recent years, much attention has been paid to the study of cultural codes of ethnic groups, traditions, and artistic culture; this is precisely what determines the relevance of the article. The author traces the reflection of the history of the issue in North Caucasian and Ossetian literary criticism. Various aspects of the topic were at one time considered by Sh.F. Dzhikaev, however, his analysis (1986) touched on the literary process until the 80s. XX century, and this study traces the development of the genre at the end of the 20th and beginning of the 21st centuries, with special attention paid to folklore traditions and author's innovations introduced into the genre. In addition, the scientific novelty of the research undertaken lies in the fact that many names and works were introduced into scientific circulation for the first time (A. Kibirov, R. Gadzhinova-Khabaeva, Z. Bzykova, etc.). For a deeper analysis, lullabies for adults are compared (works by N. Dzhusoity, Sh. Dzhikaev, Z. Khostikoeva), in which the form of the lullaby serves only as a means of expressing the author’s position on the phenomena of the surrounding reality, topical problems of our time and “children”, the addressee of which is child. Based on the comparative method of analysis, the close connection of literary lullabies with oral folk art in terms of plot lines, structure, images, and external attributes was confirmed in the process of work. In the final part, the author formulated conclusions indicating that each work is individual and sometimes only genre markers remain from a traditional lullaby: address, structure, speech formulas. In theoretical and practical terms, the work will contribute to the development of the history of Ossetian children's literature and the study of its national specifics.
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Andreichykova, Olena A. "THE MOTIVE OF CATASTROPHISM IN THE DYSTOPIAN GENRE POETICS: KAZUO ISHIGURO AND YAROSLAV MELNIK." Alfred Nobel University Journal of Philology 2, no. 24 (December 20, 2022): 29–37. http://dx.doi.org/10.32342/2523-4463-2022-2-24-3.
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The article examines the concept of catastrophe as an art theme, which is extremely relevant in our time and is also marked by the entropy features. We can confirm that this phenomenon grows and affects many spheres of human life, both external (global, social) and internal (psychological). The author of the article focuses on how modern dystopia reflects an awareness of a catastrophe, which is happening or has already happened. We have analyzed two novels from this point of view: “Masha, or the Fourth Reich” by the French writer of Ukrainian origin Yaroslav Melnyk and “Never Let me Go” by the English writer of Japanese origin Kazuo Ishiguro. The article emphasizes that the dystopias of our time correct classical dystopia attitudes, because they tend to the diffusion of new genres, acquiring the features of a parable novel, a myth novel, an alternative history fiction, and a philosophical novel. We have also noted the controversial nature of new formations, which combine signs of utopia and dystopia. Regarding the ideological and thematic component, the author of the article states that Ya. Melnyk and K. Ishiguro focus on the traditional problems of humanism and the relationship between “man and society” and on individual’s catastrophic depopulation issues in the conditions of nowadays turbulent challenges. The purpose of the article is to study the specificity of catastrophism artistic embodiment in the novels “Masha, or the Fourth Reich” by Yaroslav Melnyk and “ Never Let me Go ” by Kazuo Ishiguro and its functions in the structure of the dystopia genre. To achieve this goal we used historical-literary, cultural-historical and hermeneutic research methods. It was determined that the catastrophism motif realization in the dystopia genre contributes to searching for new experimental forms, activates the processes of transformation and diffusion in the genre creation field, paradoxically and organically combines classic and modern elements of dystopia, renewing the poetics of the genre. Conclusion. Kazuo Ishiguro’s novel “Never Let me Go” demonstrates a powerful example of genre synthesis: “stream of consciousness” coexists with the classic English estate novel, which is emphasized by confessional and allegorical intonations and does not prevent the writer from resorting to some possibilities of a detective story. Features of the traditional parable form and mythological genre are also observed. Fantastic elements are interspersed with realistic ones. But allegorical, mythological, fantastic, and realistic features organically coexist in the novel, reinforcing the author’s main ideas. Yaroslav Melnyk in his novel “Masha, or the Fourth Reich” successfully synthesizes an alternative history novel, an adventure novel and a classic philosophical novel. Here conflicting utopia and dystopia also organically coexist, reinforcing each other. A dystopia genre structure becomes open and acquires unlimited hybridization, losing its classical features and even postmodern boundaries. Thus, the catastrophic reality of the 21st century promotes the search for new experimental forms, activates unpredictable processes in the genre creation field, and paradoxically and organically combines classical and modern elements of literary art. Once again, modern dystopian literature shows that “common issue” as a social slogan cannot satisfy individual human needs. The problem of egocentrism with the insufficient development of the political machine is becoming more and more acute. As a general phenomenon, consumer society does not justify itself and makes the lives of its sons doomed. Unfortunately, the heroes of modern dystopias less and less often choose to fight and more often to humble themselves or flee, which is the main difference from their classical predecessors. The prospects of further work are to deepen the understanding of the causes of stylistic and substantive differences in dystopias, the influence of socio-cultural reality on modern dystopias genre synthesis, the differences in the methods of utopian representation and artistic means of enhancing catastrophization within stories framework.
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Birkett, Jennifer, R. C. Richardson, Richmond Barbour, Joan Thirsk, Elizabeth Truax, Peter J. Parish, V. G. Kiernan, et al. "Reviews: Encyclopaedia of Historians and Historical Writing, Turks, Moors, and Englishmen in the Age of Discovery, Urbane and Rustic England: Cultural Ties and Social Spheres in the Provinces, 1660–1780, Myth and National Identity in Nineteenth-Century Britain: The Legends of King Arthur and Robin Hood, the Debate on the American Civil War Era, under Western Eyes: India from Milton to Macaulay, Realms of Memory: The Construction of the French Past. Volume III: Symbols, Literary Journals in Imperial Russia, Criticism and Modernity: Aesthetics, Literature, and Nations in Europe and its Academies, Railways and the Victorian Imagination, Virginia Woolf: Icon, Gertrude Stein: Modernism, and the Problem of ‘Genius’, History of Suicide: Voluntary Death in Western Culture, English Literature of the 1920s, the Vices of Integrity: E. H. Carr 1892–1982, Literary Theory from Plato to Barthes: An Introductory History, Why History? Ethics and PostmodernityBoydKelly (ed.), Encyclopaedia of Historians and Historical Writing , Fitzroy Dearborn, 1999, 2 vols, I: pp. xl + 742; II: pp. xxxii + 820, £175.MatarNabil Turks, Moors, and Englishmen in the Age of Discovery , Columbia University Press, 1999, pp. xi+268, $32.50.EstabrookCarl B., Urbane and Rustic England: Cultural Ties and Social Spheres in the Provinces, 1660–1780 , Manchester University Press, 1998, pp. xiv + 317, £49.00.BarczewskiStephanie L., Myth and National Identity in Nineteenth-century Britain: The Legends of King Arthur and Robin Hood , Oxford University Press, 2000, pp. 267, £40.TullochHugh, The Debate on the American Civil War Era , Manchester University Press, 1999, pp. xi + 255, £45.00, £14.99 pb.RajanBalachandra, Under Western Eyes: India from Milton to Macaulay , Duke University Press, 1999, pp. 288, £34, £11.95 pb.NoraPierre, Realms of Memory: The Construction of the French Past. Volume III: Symbols , Columbia University Press, n.d. [1998], pp. xii + 751, £31.95.MartinsenDeborah A. (ed.), Literary Journals in Imperial Russia , Cambridge Studies in Russian Literature, Studies of the Harriman Institute, Columbia University, Cambridge University Press, 1997 pp. xiv + 265, $64.95.DohertyThomas, Criticism and Modernity: Aesthetics, Literature, and Nations in Europe and its Academies , Oxford University Press, 1999, pp. vi + 248, £40.00.FreemanMichael, Railways and the Victorian Imagination , Yale University Press, 1999, pp. 271, £25.FletcherA. and HusseyS. (eds), Childhood in Question: Children, Parents and the State , Manchester Univesity Press, 1999 pp. 177, £12.99 pb.SilverBrenda, Virginia Woolf: Icon , University of Chicago Press, 2000, pp. 324, $19.WiltBarbara, Gertrude Stein: Modernism, and the Problem of ‘Genius’ , Edinburgh University Press, 2000, pp. 180, £40.MinoisGeorges, History of Suicide: Voluntary Death in Western Culture , trans. CochraneLydia G., Johns Hopkins University Press, 1999, pp. 387, £30.AyersDavid, English Literature of the 1920s , Edinburgh University Press, 1999, pp. 223, £40.HaslamJonathan, The Vices of Integrity: E. H. Carr 1892–1982 , Verso Press, 1999, pp. 306, £25.HarlandRichard, Literary Theory from Plato to Barthes: An Introductory History , Macmillan Press, 1999, pp. xiii + 302, £14.99 pb.JenkinsKeith, Why History? Ethics and Postmodernity , Routledge, 1999, pp. 232, £12.99." Literature & History 10, no. 1 (May 2001): 70–92. http://dx.doi.org/10.7227/lh.10.1.7.
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Whalen, Brian. "Introduction." Frontiers: The Interdisciplinary Journal of Study Abroad 9, no. 1 (August 15, 2003): vii—x. http://dx.doi.org/10.36366/frontiers.v9i1.112.
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This volume of Frontiers: The Interdisciplinary Journal of Study Abroad offers a wide variety of approaches and topics in international education research. First, readers will note the geographic diversity that the articles represent; they examine study abroad topics in Africa, Argentina, Costa Rica, France, Nepal, Thailand, and Vietnam. Second, the articles cover a wide-range of issues, including language acquisition, risk management, recruitment of minority students for study abroad, evaluation of cultural integration, and financial inequities in study abroad. Third, this volume contains articles by a variety of authors, including U.S.-based study abroad administrators, faculty members, and on-site resident directors. Finally, the modes of inquiry are as varied as the topics and authors. Research approaches in this volume include survey instruments, interviews, participant observation, case studies, literature review, as well as analytical essays.
This diversity of geography, issues, authors, and modes of inquiry has from the beginning characterized the content of Frontiers and been one of its chief strengths. When the first volume of Frontiers appeared in 1995, one was hard pressed to find many research-based and analytical studies in the field, let alone the diversity of such work that this volume represents. In this regard, Frontiers has matured along with the field of international education, and today, almost ten years later, this volume reflects the growing importance being placed on research on the critical aspects of our work.
The opening article by Lilli Engle and John Engle, “Study Abroad Levels: Toward a Classification of Program Types,” offers a revolutionary perspective by which international educators may categorize and judge study abroad programs. Their proposed typology makes qualitative distinctions between study abroad program models based on their view of a spectrum of cultural immersion. Frontiers readers will find their analysis provocative, stimulating study abroad professionals to examine programming in useful ways.
In “Women and Cultural Learning in Costa Rica: Reading the Contexts,” Adele Anderson reviews research on Costa Rica’s cultural context, student adjustment and tourism theory, relating them to American student experiences, and she includes data from ethnographic observations and interviews collected during three years as a resident director of short-term programs. Anderson introduces a tool that may be used by resident directors to guide student cultural adjustment more systematically.
Mark Ritchie, an on-site resident director in Thailand, provides a very useful analysis of study abroad risk management in his article, “Risk Management in Study Abroad: Lessons from the Wilderness.” Ritchie draws upon the principles of wilderness education, especially as it is conducted in developing countries, in offering recommendations for study abroad risk management. Readers will appreciate his suggestions for reducing risk by applying the experiential techniques of wilderness education.
J. Scott Van Der Meid’s study, “Asian Americans: Factors Influencing the Decision to Study Abroad,” examines the factors that influence Asian American students’ decision to study abroad, and provides useful suggestions for considering ways to increase study abroad participation among this population. As the field of study abroad continues to seek ways to increase minority participation in study abroad, Van Der Meid’s study offers a model for examining this question among all ethnic groups.
In their analysis of an innovative Vietnam study abroad program, “History Lived and Learned: Students and Vietnam Veterans in an Integrative Study Abroad Course,” Raymond Scurfield, Leslie Root, and Andrew Wiest et al, analyze the collaborative learning experience of students and Vietnam veterans in a program that combined the teaching of Vietnam culture and military history with an exploration of the mental health aspects of combat and post-war recovery of the veterans. This article discusses the lessons learned from the experience of designing and implementing a study abroad program that integrates history education with therapeutic objectives. Jennifer Coffman and Kevin Brennan analyze the economic imbalance of African educational exchange with the United States in their article, “African Studies Abroad: Meaning and Impact of America’s Burgeoning Export Industry.” Coffman and Brennan recommend developing more equitable models of reciprocity by examining the economics of U.S. – African exchanges, and by reconsidering the ways in which African study abroad programs are conceived and implemented in light of their social and intellectual impact.
“Development of Oral Communication Skills Abroad” by Christina Isabelli-Garcia examines the impact of a semester study abroad program in Argentina on the second language acquisition of three American university Spanish learners. Isabelli-Garcia’s study measures the development of two aspects of communications skills: first, fluency and performance in the oral functions of narration, and, second, description and supporting an opinion. Her study provides insight into the conditions of a study abroad program that best promote the acquisition of improved oral communication skills in a target language.
In “Studying Abroad in Nepal: Assessing Impact,” Patricia Farrell and Murari Suvedi present the perceived impact of studying in Nepal on students’ academic program, personal development, and intellectual development. Using a survey instrument as well as interviews and case studies, the authors link the reported outcomes to the objectives of the study abroad program.
We are pleased to include in this volume of Frontiers an essay by Patti McGill Peterson, “New Directions for the Global Century.” McGill Peterson’s analysis of the changing and challenging context for global education inspires us to meet the demands of the 21st century with determination, creativity, and enhanced global collaboration.
This volume of Frontiers concludes with reviews of books of interest to international educators, each relating to diverse intellectual foundations of the field: Jean-Philippe Mathy’s Extrême-Occident: French Intellectuals and America, Louis Menand’s The Metaphysical Club: A Story of Ideas in America, and First Great Triumph: How Five Americans Made Their Country a World Power by Warren Zimmermann. We encourage our readers to continue to suggest books of interest, and to submit reviews for consideration.
The update on the Forum on Education Abroad that appears at the back of this volume reflects the continuing fruitful collaboration between Frontiers and the Forum. Together with the Forum, Frontiers will continue to encourage and support research studies on study abroad topics, and to disseminate this research as widely as possible.
The next volume of Frontiers, due to be published in November, 2004, will be our tenth anniversary volume. It is appropriate that this anniversary volume will be a Special Issue that focuses on the assessment of the learning outcomes of study abroad, a topic that reflects the maturation of a field that is now beginning to document the results of its activity. Other Special Issues that are in the planning stages include: curriculum integration and study abroad, the arts and study abroad, and student development and study abroad.
Finally, I want to thank the new sponsors of Frontiers who, together with our existing sponsors, make the publication of this journal possible. The sponsors of Frontiers are institutions with a strong commitment to international education, and we are proud to be supported by them. The editorial board takes seriously its responsibility to provide the very best writing about and research on study abroad to our readers, and the support of our sponsors makes this mission possible.
Brian J. Whalen
Editor