Academic literature on the topic 'Primordial embodiments'
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Journal articles on the topic "Primordial embodiments"
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Pallavi, Gupta. "DEGRADATION OF HUMAN VALUES IN HIGHER EDUCATION: AN ANALYSIS." International Journal of Research – Granthaalayah 4, no. 1 (2017): 165–70. https://doi.org/10.5281/zenodo.848521.
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Values are defined most oftenly as standards for determining levels of goodness or desirability. Values are generally loaded with affective thoughts about ideas, objects, behavior etc. India’s higher education system is one of the oldest systems of the world. In spite of this there is no uniform expansion & development in this field. Our primordial embodiments i.e. Dharma, Artha, Kama, Moksha, on which education was based, are not even completely realized by scholars today. This is the main reason for degrading the level of human values in higher education in India. On one hand, people are getting rich by the degrees full of knowledge about various fields, simultaneously, loosing values and ethics etc. We ourselves are to be blamed for this. Our existing environment including family system, education system and media including newspapers, T.V. etc is responsible for such poor conditions. This research paper aims at explaining the factors how & why human values are consistently degrading in India, as the time passes, although we are rich in culture & traditions, still our higher education is unable to cherish or enhance it.
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Persson, Disa. "Imperial Story." Groundings Undergraduate 8 (April 1, 2015): 116–28. http://dx.doi.org/10.36399/groundingsug.8.212.
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This article examines the relationship between the French fin-de-siècle painter Paul Gauguin’s (1848-1903) anti-modernism and the ideology behind the colonial project. Setting out to refute the Western materialistic ‘civilisation’, Gauguin embraced the supposed savage, primitive, and pure ‘Other’. In paintings such as ‘Breton Calvary’ (1889) and ‘The Specter Watches Her’ (1892), Gauguin uses Breton farmers and Tahitian women as formal embodiments of his imagined ‘earthly paradise’ and the primordial ‘savage’ character. However, as the postmodern philosopher Michel Foucault (1926-1984) argues, there is always a relationship of power within a discourse. Through defining what is ‘primitive’ and what is ‘civilised’ from within a Western paradigm, Gauguin is testifying to a Western hegemony. Though Gauguin’s idealisation of the ‘primitive’ essentially sought to criticise the Western colonial discourse, it essentially reinforces its main ideological justification: the hierarchical dichotomy between the ‘primitive’ and the ‘civilised’.
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Gupta, Pallavi. "DEGRADATION OF HUMAN VALUES IN HIGHER EDUCATION: AN ANALYSIS." International Journal of Research -GRANTHAALAYAH 4, no. 1 (2016): 165–70. http://dx.doi.org/10.29121/granthaalayah.v4.i1.2016.2860.
Full textAbstract:
Values are defined most oftenly as standards for determining levels of goodness or desirability. Values are generally loaded with affective thoughts about ideas, objects, behavior etc.
 India’s higher education system is one of the oldest systems of the world. In spite of this there is no uniform expansion & development in this field. Our primordial embodiments i.e. Dharma, Artha, Kama, Moksha, on which education was based, are not even completely realized by scholars today. This is the main reason for degrading the level of human values in higher education in India. On one hand, people are getting rich by the degrees full of knowledge about various fields, simultaneously, loosing values and ethics etc. We ourselves are to be blamed for this. Our existing environment including family system, education system and media including newspapers, T.V. etc is responsible for such poor conditions.
 This research paper aims at explaining the factors how & why human values are consistently degrading in India, as the time passes, although we are rich in culture & traditions, still our higher education is unable to cherish or enhance it.
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Menezes, Jean Henrique de Oliveira. "From Tinkering Methods to Design Thinking: Primordial Thoughts in Design Research." Proceedings of the Design Society: International Conference on Engineering Design 1, no. 1 (2019): 3911–18. http://dx.doi.org/10.1017/dsi.2019.398.
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AbstractDesign thinking as explored by Bernard Roth from the Stanford d.School, Roger Martin from the Rothman School of Management, and the IDEO merger trio by Tom and David Kelley, as well as current its CEO Tim Brown, dominates the narrative of the contemporary schools of design thinking since the late `90s. This article aims to investigate the underlying philosophies, authors, and events that laid the foundation in which these contemporary designers based their strategies on planning for complex environments. To satisfy this intent, the turbulent origin of design methods is explored, following the post-war environment that allowed these ideas to flourish, the generations of methods in design from the `60s to the `90s, and the encroachment of design methods to the embodiment of a commercialized design thinking methodology.
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KONTOS, PIA C. "Ethnographic reflections on selfhood, embodiment and Alzheimer's disease." Ageing and Society 24, no. 6 (2004): 829–49. http://dx.doi.org/10.1017/s0144686x04002375.
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Explicit in the current construction of Alzheimer's disease is the assumption that memory impairment caused by cognitive deficiencies leads to a steady loss of selfhood. The insistence that selfhood is the exclusive privilege of the sphere of cognition has its origins in the modern western philosophical tradition that separates mind from body, and positions the former as superior to the latter. This dichotomy suggests a fundamental passivity of the body, since it is primarily cognition that is held to be essential to selfhood. In contrast to the assumed erasure of selfhood in Alzheimer's disease, and challenging the philosophical underpinnings of this assumption, this paper presents the findings of an ethnographic study of selfhood in Alzheimer's disease in a Canadian long-term care facility. It argues and demonstrates that selfhood persists even with severe dementia, because it is an embodied dimension of human existence. Using a framework of embodiment that integrates the perspectives of Merleau-Ponty and Bourdieu, it is argued that selfhood is characterised by an observable coherence and capacity for improvisation, and sustained at a pre-reflective level by the primordial and socio-cultural significance of the body. The participants in this study interacted meaningfully with the world through their embodied way of ‘being-in-the-world’.
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GAJIĆ, VESNA. "PRIMORDIAL SYMBOLS – THE COMMON TREASURY OF MANKIND." Kultura polisa, no. 44 (March 8, 2021): 223–38. http://dx.doi.org/10.51738/kpolisa2021.18.1r.3.05.
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The paper explores the wide distribution of symbols whose religious and folklore interpretations are the same or similar among different cultures. The definition of symbols and their origin are considered, with reference to the theory of the "Mundus Imaginalis" of the orientalist Henry Corben, and its similarity with the "active imagination" of the psychoanalyst Carl Gustav Jung. The resemblances of the legends about the Cosmic man and the Centre of the world are followed through various mythologies, folklore traditions and cults. The Cosmic man – the first human being – who usually makes a sacrifice in order for the world to emerge and survive, in many cultures represents the embodiment of the highest virtues, towards which one should strive. The human form as the basis for temples or various sacral diagrams can be found in all ancient religious traditions and always symbolizes Imago Mundi – image of the world. At its center is the "navel" of the world, the Pillar of the Universe, Axis Mundi, which connects the earth with the sky and the underworld, and represents the axis around which the world revolves. Exploring these sets of symbols, we see that their essential aspect should not be understood as geographical places to be located, or personifications of some historical figures whose true identity needs to be interpreted. On the contrary, the symbols indicate that the search for meaning is, above all, internal; immersing ourselves in the domain of the archetype, we reflect on the essential questions of the purpose and origin of the universe, the nature of the self, kinship with the rest of humanity, which is why the symbolic layer of the human psyche helps us fight against the general alienation of the modern world.
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Kontos, Pia, Alisa Grigorovich, and Romeo Colobong. "Creativity and Dementia: New Directions From Embodiment, Relationality, and Citizenship Discourse." Innovation in Aging 4, Supplement_1 (2020): 34. http://dx.doi.org/10.1093/geroni/igaa057.110.
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Abstract There have been important advances in research on creativity that have provided a more inclusive view of everyday and ordinary creativity, including that of persons living with dementia. However, these developments are limited by a lack of engagement with scholarship on embodiment, relationality, and citizenship. We address these limitations by drawing on a relational model of citizenship that offers a critical rethinking of the nature of creativity and the imperative that these be supported in long-term dementia care. We draw on transcribed video-recorded interactions between elder-clowns and residents living with dementia in one long-term care home in central Canada. These are analyzed with reference to key theoretical tenets of the relational model of citizenship. Embodied selfhood (i.e., the primordial and socio-cultural dispositions of the body that are fundamental sources of self-expression and relationality), are identified as key to the creativity of persons living with dementia. We argue that creativity is not an individual cognitive trait but rather emerges from the complex intersection of enabling environments and the embodied intentionality of all involved. We conclude that creativity must be supported in everyday life through organizational practices and socio-political institutions that more fully support the relational, interpersonal, and affective dimensions of care.
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Lopushan, T. "THE MYTHOLOGY "WATER" AS A SYMBOLIC EMBODIMENT OF THE CREATIVE BEGINNING IN THE DRAMATURGY OF LESYA UKRAYINKA." SCIENTIFIC-DISCUSSION, no. 89 (June 16, 2024): 13–17. https://doi.org/10.5281/zenodo.11865890.
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The article attempts to highlight the peculiarities of Lesya Ukrainka's interpretation and transformation of the archetypal meanings of the mythologeme "water" in the extravaganza drama "Forest Song". The results of the study make it possible to state that the writer does not abandon the meanings of the water element produced by the folklore tradition as the embodiment of the primordial substance, the beginning, the idea of the androgynous fusion of the masculine and feminine in the ecstasy of love, metaphorical renewal, purification, the death of the old world and the creation of a new and, at the same time, the finitude of being. and a new rebirth. However, it can be noted the presence in the text of the author's symbolic, emotionally colored personal subtext, in which water symbolizes a transgression beyond the boundaries of everyday life in order to acquire the energy of creativity, without which art is impossible.
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Langdon, Esther Jean. "From rau to sacred plants: Transfigurations of shamanic agency among the Siona Indians of Colombia." Social Compass 64, no. 3 (2017): 343–59. http://dx.doi.org/10.1177/0037768617713654.
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Translations of the native notion of shamanic agency of the Siona Indians of Colombia is explored throughout different historical and social contexts. The polysemic concept rau is central to the shaman’s capacity for establishing relations of exchange and negotiation with humans and non-humans. As the embodiment of his power, it fits within a semantic field that conveys the waxing and waning of life cycles. Sharing a series of qualities with the Melanesian concept of mana, rau should be understood as a social phenomenon whose use and meaning has transfigured through time and space. However, unlike the globalization of new mana, the important notion of Siona shamanic agency has been substituted by representations of the ritual substance of yajé as key symbol for power and knowledge as Siona rituals have been revitalized in their dialogue with the ethnic identity movement and the neo-shamanic network that associates sacred plants with primordial knowledge and agency.
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Virolainen, Maria N. "Pushkin anthological epigram: Poetics of self-referentiality." Vestnik of Saint Petersburg University. Language and Literature 21, no. 2 (2024): 320–31. http://dx.doi.org/10.21638/spbu09.2024.203.
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“Beauty in front of the mirror”, “Statue in Tsarskoye Selo”, “Who grew the tender roses of Theocritus in the snow?” by Pushkin, as well as some anthological epigrams of his contemporaries). The ancient Greek epigram, distinguished by clear formal features and a wide variety of content, recorded, as a rule, only something static or instantaneous. This quality ensured, in the eyes of Pushkin’s contemporaries, the authenticity of the transmission and perception of the object depicted in the epigram. In anthological epigrams of the first third of the 19th century, deviations from such primordial features of the genre as the elegiac distich and the absence of rhyme were allowed, but the static nature, anti-narrativeness, and embodiment of an instantaneous, non-deployable state characteristic of ancient models were preserved. In connection with the last feature, the question arises as to whether a lyrical plot can be realized within the framework of such a genre. Using the example of Pushkin’s epigrams, which are not an inscription addressed to a really existing object, but create a convincing plastic image (creating their own denotation), it is shown that the event component of such texts (their lyrical plot) lies in the very act of embodiment of a visible object, in the act of its acquisition of existence. In a number of cases, this act becomes the subject of poetic reflection, the epigram comprehends itself and becomes self-referential. The substance of poetry, cleared of narration (Yu. N. Chumakov’s terms), is presented in such cases as a self-creating and self-interpreting principle.
Dissertations / Theses on the topic "Primordial embodiments"
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Livingstone, Glenys D., University of Western Sydney, and of Arts Education and Social Sciences College. "The female metaphor - virgin, mother, crone - of the dynamic cosmological unfolding : her embodiment in seasonal ritual as a catalyst for personal and cultural change." THESIS_CAESS_XXX_Livingstone_G.xml, 2002. http://handle.uws.edu.au:8081/1959.7/205.
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This research is a study of the Female Metaphor in her three aspects of Virgin, Mother and Crone. It is an interpretation of these three faces as representing the Dynamic by which the Cosmos unfolds, that is, the extant Creativity that is in continual transformation and has always been so. Accordingly, as this thesis takes the Cosmos to be a seamless whole, the conscious alignment with the continual process of transformation innate to Being. Thomas Berry and Brian Swimme call the composition of these three, cosmic grammar. The ritual celebration of seasonal points are then developed as a method of embodying and sensualizing, and speaking this deep Dynamic of Creativity. These ritual celebrations are based in ancient Western spiritual practice that relates with Earth's cyclical transitions. Through methods of ritual, meditation, imagination, dance and storytelling, over the period of the annual seasonal cycle, I created a context, which sought to enable more harmonious relationship with self, other and Cosmos through identification of the self with an organic and primordial process innate to the unfolding Cosmos. I found it to be a process that catalyzed personal transformation of the participants over time - a transformation that has clear and inevitable cultural implications. While it is not the focus of this thesis to track these cultural changes, such change is implicit in the personal and relational changes experienced and noted, since the personal and the cultural are mutually embedded in a shamanic process like this is.<br>Doctor of Philosophy (PhD)
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Livingstone, Glenys D. "The female metaphor - virgin, mother, crone - of the dynamic cosmological unfolding : her embodiment in seasonal ritual as a catalyst for personal and cultural change." Thesis, View thesis View thesis, 2002. http://handle.uws.edu.au:8081/1959.7/205.
Full textAbstract:
This research is a study of the Female Metaphor in her three aspects of Virgin, Mother and Crone. It is an interpretation of these three faces as representing the Dynamic by which the Cosmos unfolds, that is, the extant Creativity that is in continual transformation and has always been so. Accordingly, as this thesis takes the Cosmos to be a seamless whole, the conscious alignment with the continual process of transformation innate to Being. Thomas Berry and Brian Swimme call the composition of these three, cosmic grammar. The ritual celebration of seasonal points are then developed as a method of embodying and sensualizing, and speaking this deep Dynamic of Creativity. These ritual celebrations are based in ancient Western spiritual practice that relates with Earth's cyclical transitions. Through methods of ritual, meditation, imagination, dance and storytelling, over the period of the annual seasonal cycle, I created a context, which sought to enable more harmonious relationship with self, other and Cosmos through identification of the self with an organic and primordial process innate to the unfolding Cosmos. I found it to be a process that catalyzed personal transformation of the participants over time - a transformation that has clear and inevitable cultural implications. While it is not the focus of this thesis to track these cultural changes, such change is implicit in the personal and relational changes experienced and noted, since the personal and the cultural are mutually embedded in a shamanic process like this is.
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De, Lange Beverley. "A visual interpretation of consciousness as a continuous process of self-organisation and embodiment." Thesis, 2019. http://hdl.handle.net/10500/26544.
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That consciousness is ubiquitous, and relevant to autopoietic self-organisation and embodiment within every living being and/or organism, is a prevalent idea in contemporary consciousness research. However, because ‘consciousness’ as a word is derived from con or cum, meaning ‘with’ or ‘together’ and scire, ‘to know’ or ‘to see’ it infers the experience of knowing with an ‘other’ and/or ‘others’.
The narrative that follows, while expressing a life of its own, documents the interdisciplinary research conducted and questions who and/or to what ‘other’ might infer. My visual diary, Dust from dust: Microorganisms and other tales: An Artist’s diary, created as the visual component of a creative practice-as-research undertaking, was silently performed amidst ‘others’ in the Unisa gallery, in an attempt to render visible, the autopoietic, self-organising embodiment essential to the conscious self-developmental component of the project.
Once upon a time, I grew bacterial yeast cells in a glass vitrine to observe how they self-organised their own embodiment and photographed the process. At the same time, I conducted interdisciplinary research into consciousness as a self-developmental process, and utilising the cellular symbiosis unfolding in the vitrine as a self-reflexive mirror, came to visualise how indispensable bodily feelings are to conscious self-development, and being-in-the-world-with-others processes.
As a creative-practice-as-research undertaking, I grew, manipulated and photographed the cellular imagery in the vitrine over many years in an attempt to unfold personal bodily feeling associations the imagery held captive, while gathering photographic footage I considered capable of expressing the primordial nature of certain emotive feeling experiences. Once obtained, I choreographed and performed a stop-frame video, entitled Dust from Dust: Microorganisms and other tales. An artist’s diary. The stop-frame video, along with a catalogue that focuses on the processes engaged with, accompanies the written narrative.
Once edited, I macroscopically projected different phases of the video into a three-walled enclosure in the UNISA Art gallery. The three videos, representing a facet of my praxis, ran concurrently over a two week period. The fourth facet, presented with the video projections to emphasise conscious self-development as an in-the-world-with-others process, was the glass vitrine. It was positioned in a darkened enclosure in the gallery space, opposite the video projections.
This narrative documents how I projected myself into the cellular imagery developing in the glass vitrine, in a way akin to how the ancient alchemists ‘projected’ themselves into the prima materia with which they worked. While the alchemists seemingly worked unconsciously, and my praxis initially started somewhat unconsciously, the process developed into a conscious attempt to embody the research findings. So, while the video choreographed, champions a microbial cell story, by referring to it as an artist’s diary, I emphasise the subjective nature of my praxis as a whole.
In this creative-practice-as-research undertaking, I address the significance of bodily feelings and their relevance to being-in-the-world-with-others processes. In doing so, I aim to offer insight into how and why feelings are essential to inter-subjectivity and/or sociality, self-organisation and conscious self-development, as well as how and why conscious self-development can lead to immersive experiences, which I interpret as embodied adaptation to the rich diversity and/or fullness of life itself.<br>Art History, Visual Arts and Musicology<br>D. Litt. et Phil. (Art History)
Book chapters on the topic "Primordial embodiments"
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Mathur, Reena. "SPIRITUAL SOUND AS THE ESSENCE OF CONSCIOUSNESS IN DIFFERENT WORLD RELIGIONS- A FUTURISTIC APPROACH FOR A UNIFIED WORLD RELIGION." In Futuristic Trends in Social Sciences Volume 3 Book 12. Iterative International Publishers, Selfypage Developers Pvt Ltd, 2024. http://dx.doi.org/10.58532/v3bisop5ch14.
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Different faiths around the world perceive the spiritual essence as the conscious self and uphold the significance of sound. These various religious traditions, while following distinct routes to fathom the ultimate reality, often converge in their underlying objectives. They expound upon the essence of consciousness, its multifaceted dimensions, its materialization in divine embodiments, and the methods and approaches for cleansing it in order to achieve self-realization, salvation, and other spiritual goals. With basic scientific understanding and universal law of physics that any type of moving energy or force current is inherently accompanied by sound, or what we can call sound-current. Furthermore, each sound-current inherently carries the distinctive attributes of its origin and engenders an energy field in its vicinity. If we accept this premise, then it logically follows that the primordial source of energy, which is the spiritual energy residing within us and animating our existence, must manifest itself through spiritual sound currents, giving rise to spiritual sounds. This paper tries to explore “Sound as the Essence of Consciousness in Different World Religions” and paves the way for logical establishment of a futuristic approach for a Unified World Religion.
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Paolo, Ezequiel Di, and Hanne De Jaegher. "Neither Individualistic nor Interactionist." In Embodiment, Enaction, and Culture. The MIT Press, 2017. http://dx.doi.org/10.7551/mitpress/9780262035552.003.0005.
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We summarize some of the main proposals of the enactive approach to social understanding and discuss some common misreadings of the notion of participatory sense-making. The emphasis on the role played by social interaction in the enactive perspective is sometimes misinterpreted as the adoption of an interactionist stance, whereby individual processes are less relevant. This is not the case, and we proceed to explain and exemplify the central role played by individual agency, subpersonal processes and subjective personal experience in the framework of participatory sense-making. This is clear from how social interaction is defined as involving the co-arising of autonomous relational patterns, not under the full control of any participant, but without loss of individual autonomy of those engaged in the social encounter. We discuss how interactive patterns can sustain a deep entanglement between brain, body and interactive dynamics during social engagement, as well as the functional role played in some case by collective dynamics. The enactive approach is neither individualistic, nor interactionist. However, we express skepticism regarding the usefulness of hybrid approaches, which perpetuate dualistic distinctions between mind and body. Instead, the tensions in the notion of participatory sense-making are elaborated dialectically, demonstrating how complex forms of social agency, including language, develop from the primordial tension in participatory sense-making.
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Orlov, Andrei A. "Leviathan and Yahoel." In Supernal Serpent. Oxford University PressNew York, 2023. http://dx.doi.org/10.1093/oso/9780197684146.003.0004.
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Abstract The third chapter, “Leviathan and Yahoel,” deals with the traditions reflected in chapter 10 of the Apocalypse of Abraham, where the main angelic protagonist of the story, Yahoel, is portrayed as a restraining force over Leviathan. The chapter demonstrates that the angel’s credentials as the personification of the divine Name and the embodiment of God’s Glory are closely related to his ability to exercise control over Leviathan. The chapter shows that the closest antecedent for Yahoel’s controlling powers over the monster comes from God’s own battle against Leviathan. It is these divine strategies for subduing the primordial reptile, reflected in early and late Jewish accounts, that eventually provide the ultimate insight into Yahoel’s way of handling monster in the Apocalypse of Abraham.
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Furlotte, Wes. "Embodiment: Spirit, Material– Maternal Dependence, and the Problem of the in utero." In The Problem of Nature in Hegel's Final System. Edinburgh University Press, 2018. http://dx.doi.org/10.3366/edinburgh/9781474435536.003.0007.
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Chapter six, in turn, begins to critically read Hegel against Hegel. It reads his notion of spirit (beginning with finite subjectivity) in terms of the concept of nature established in Part I. The chapter argues that the problem nature poses for subjective spirit presents itself in two ‘symptomatic’ moments of Hegel’s anthropology. First, in his analysis of subjectivity’s embodiment, its “primordial grasp on the world.” Second, in his analysis of the fetus-mother dynamic. Reconstructing both analyses, the chapter argues that they reveal spirit as over-immersed in exterior determinations and unable to assert itself as an autarkic center, as subject. Over-immersion in its environmental milieu, the chapter argues, is the problem of spirit’s origins, i.e. the problem of nature. It must move beyond this displacement in externality. However, there are no facile guarantees that this will transpire in the concrete actuality of life. Therefore, the origin of spirit is a developmental confrontation with nature and a protracted attempt to break with it.
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Orlov, Andrei A. "Leviathan’s Theophany." In Supernal Serpent. Oxford University PressNew York, 2023. http://dx.doi.org/10.1093/oso/9780197684146.003.0002.
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Abstract The first chapter, “Leviathan’s Theophany,” explores the depiction of Leviathan in the Apocalypse of Abraham, paying special attention to the theophanic features of the monster and their connection with biblical and rabbinic understandings of Leviathan’s apparitions as theophanies. The chapter argues that the Apocalypse of Abraham presents Leviathan in an anti-theophany, a revelation of the underworld’s ruler. In its theophanic guise Leviathan is envisioned as a living embodiment of the divine mysteries, many of which have been preserved by God since the beginning of creation only to be revealed fully in the eschaton to the elect. The book demonstrates that this symbolism of reified divine knowledge, embodied in the primordial monster, is deeply rooted in ancient understandings of the divine knowledge as the reality that is objectively present in otherworldly realms.
Conference papers on the topic "Primordial embodiments"
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Korzhova, Inessa. "THE IMAGE OF SMOLENSCHINA IN K.M. SIMONOV'S WORKS." In FIRST KULAKOV READINGS: ON THE FIELDS OF RUSSIA'S MILITARY. LCC MAKS Press, 2023. http://dx.doi.org/10.29003/m3632.khmelita-19/45-59.
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The article, based on the material of a wide body of texts, shows the key aspects of the image of the Smolensk region in K. Simonov's work. For the first time, in addition to literary texts and diaries, military journalism and a screenplay are used to identify ideological and thematic unity in the author's work. The image of the Smolensk region was formed by Simonov during the Great Patriotic War and includes stable, repeatedly repeated motives and situations in various works. Smolensk region appears as a chronotope, a capacitor of historical continuity. This idea is most directly embodied in the appeal to the name “Old Smolenskaya Road” and in the landscape connecting the villages and the cemetery, the present and the past. Images of women blessing warriors, an old man and an old woman in a hut acquire a symbolic reading - they almost personify the idea of the Motherland, its merciful forgiving love and the duty and responsibility of a male defender. It is important that these paintings were originally associated with the Mogilev region, but due to the strong position of the title and the direct movement of memories, they are identified as Smolensk. The idea of Smolensk and especially Vyazma as the key to Moscow is also significant for Simonov. The loss of these cities is especially acutely felt by the author himself and his heroes, it becomes a sign of the almost accomplished catastrophe of the first months of the war. The writer almost does not depict the partisan movement in the Smolensk region. The images of the Smolensk region returned, but devastated to the ground, became creatively significant. Triumphal pathos is alien to the image of the conquered land, a sense of tragedy prevails. Recreating the image of the Smolensk region, Simonov is far from topographical descriptive or culturological research, the image is colored by personal experiences: for the writer and his heroes, the Smolensk region becomes the embodiment of the idea of the Motherland, of its deep, primordial features.