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Journal articles on the topic 'The Cave of Forgotten Dreams'

Author: Grafiati

Published: 4 June 2021

Last updated: 11 February 2022

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1

Klinger, Barbara. "Cave of Forgotten Dreams: Meditations on 3D." Film Quarterly 65, no. 3 (2012): 38–43. http://dx.doi.org/10.1525/fq.2012.65.3.38.

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Werner Herzog's Cave of Forgotten Dreams features the oldest known art in the world—Paleolithic-era paintings in France's Chauvet Cave. His documentary not only reveals the cave's wonders, but offers a subtle commentary on 3D and its relationship to cinematic space, spectacle, science, art, and older media techniques and forms.

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Evans, Georgina. "Deep time in Cave of Forgotten Dreams." Screen 61, no. 2 (2020): 306–14. http://dx.doi.org/10.1093/screen/hjaa025.

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Wright, Amy. "Cave of Forgotten Dreams, and: Seven-Second Meditation." Appalachian Heritage 47, no. 1 (2019): 34–35. http://dx.doi.org/10.1353/aph.2019.0022.

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4

Poskett, James. "Forgotten Dreams: Recalling the Patient in British Psychotherapy, 1945–60." Medical History 59, no. 2 (March 13, 2015): 241–54. http://dx.doi.org/10.1017/mdh.2015.4.

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AbstractThe forgotten dream proved central to the early development of Sigmund Freud’s psychoanalytic technique inThe Interpretation of Dreams(1900). However, little attention has been paid to the shifting uses of forgotten dreams within psychotherapeutic practice over the course of the twentieth century. This paper argues that post-war psychotherapists in London, both Jungian and Freudian, developed a range of subtly different approaches to dealing with their patients’ forgotten dreams. Theoretical commitments and institutional cultures shaped the work of practitioners including Donald Winnicott, Melanie Klein, Anna Freud, and Edward Griffith. By drawing on diaries and case notes, this paper also identifies the active role played by patients in negotiating the mechanics of therapy, and the appropriate response to a forgotten dream. This suggests a broader need for a detailed social history of post-Freudian psychotherapeutic technique, one that recognises the demands of both patients and practitioners.

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5

McCall, Grant. "Cave of Forgotten Dreams (film) Directed by Werner Herzog." Lithic Technology 37, no. 1 (March 2012): 61–62. http://dx.doi.org/10.1179/lit.2012.37.1.61.

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Cook, Roger F. "CINEMA RETURNS TO THE SOURCE Werner Herzog’s Cave of Forgotten Dreams." Film International 11, no. 1 (January 1, 2013): 26–41. http://dx.doi.org/10.1386/fiin.11.1.26_1.

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Christopher Johnson. "SCIENCE IN THREE DIMENSIONS: WERNER HERZOG'S CAVE OF FORGOTTEN DREAMS." Modern Language Review 109, no. 4 (2014): 915. http://dx.doi.org/10.5699/modelangrevi.109.4.0915.

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Lord. "Only connect: ecology between ‘late’ Latour and Werner Herzog’s Cave of Forgotten Dreams." Global Discourse 6, no. 1 (January 2, 2016): 119–32. http://dx.doi.org/10.1080/23269995.2015.1011865.

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Soares, Lilian. "Gesto Furtivo." Revista Prumo 5, no. 8 (April 23, 2020): 76–81. http://dx.doi.org/10.24168/revistaprumo.v0i8.1252.

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The article was part of the thesis Indelible Horizon, a research in which writing, and its fables are confused with the materiality of artistic practice. This article-essay seeks to initiate a reflection on the act of drawing and its gesture, having as a background the language of the works of Cy Twombly and the film “Cave of forgotten dreams” by Werner Herzg. Authors such as Badiou, Barthes, Blanchot are interlocutors in this writing.

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Steinbach, Katherine. "Werner Herzog and the Posthuman in encounters at the end of the world and cave of forgotten dreams." Studies in Documentary Film 11, no. 1 (December 12, 2016): 16–27. http://dx.doi.org/10.1080/17503280.2016.1266902.

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박노출. "Remediation of the Sublime - Werner Herzog's Cave of Forgotten Dreams (2010) and the Problem of the Sublime in Documentary -." Contemporary Film Studies 12, no. 3 (November 2016): 201–40. http://dx.doi.org/10.15751/cofis.2016.12.3.201.

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Kempna-Pieniążek, Magdalena. "Beneath the surface: On the significance of the underground and underwater landscapes in selected documentaries by Werner Herzog." Polish Journal of Landscape Studies 3, no. 6 (October 9, 2020): 121–29. http://dx.doi.org/10.14746/pls.2020.6.8.

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Werner Herzog’s films grow out of landscapes. The frames opening his works very often present landscapes whose role goes beyond illustrative or informative functions. Analyzing films such as Encounters at the End of the World, Cave of Forgotten Dreams, and Into the Inferno, the text reconstructs the meanings inscribed in Herzog’s underground and underwater landscapes. The journey beneath the surface of spaces dominated by nature usually constitutes an equivalent of the journey into culture in the director’s works. In a sense, they are films laced with reflection about experiencing landscapes. What is more, Herzog undertakes his reflections in the realm of documentary cinema, which is firmly entangled with the category of truth. Entering a landscape is therefore a way of reaching truth for the director—however, not objective but “poetic” and “ecstatic” truth, which, according to the creator, has a much more significant quality than mundane facts.

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Martins, José Manuel. "‘Crows’ vs. ‘Avatar,’ or: 3D vs. Total-Dimension Immersion." Acta Universitatis Sapientiae, Film and Media Studies 8, no. 1 (September 1, 2014): 79–96. http://dx.doi.org/10.2478/ausfm-2014-0027.

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Abstract 3D film’s explicit new space depth arguably provides both an enhanced realistic quality to the image and a wealth of more acute visual and haptic sensations (a ‘montage of attractions’) to the increasingly involved spectator. But David Cronenberg’s related ironic remark that “cinema as such is from the outset a ‘special effect’” should warn us against the geometrical naiveté of such assumptions, within a Cartesian ocularcentric tradition for long overcome by Merleau-Ponty’s embodiment of perception and Deleuze’s notion of the self-consistency of the artistic sensation and space. Indeed, ‘2D’ traditional cinema already provides the accomplished “fourth wall effect,” enclosing the beholder behind his back within a space that no longer belongs to the screen (nor to ‘reality’) as such, and therefore is no longer ‘illusorily’ two-dimensional. This kind of totally absorbing, ‘dream-like’ space, metaphorical for both painting and cinema, is illustrated by the episode Crows in Kurosawa’s Dreams (1990). Such a space requires the actual effacement of the empirical status of spectator, screen, and film as separate dimensions, and it is precisely the 3D characteristic unfolding of merely frontal space layers (and film events) out of the screen towards us (and sometimes above the heads of the spectators before us) that reinstalls at the core of the film-viewing phenomenon a regressive struggle with reality and with different degrees of realism, originally overcome by film since the Lumière’s Arrival of a Train at Ciotat (L’Arrivée d’un train en gare de la Ciotat, 1896) seminal demonstration. Through an analysis of crucial aspects in Avatar (James Cameron, 2009) and the recent Cave of Forgotten Dreams (Werner Herzog, 2010), both dealing with historical and ontological deepening processes of ‘going inside,’ we shall try to show how the formal and technically advanced component of those 3D-depth films impairs, on the contrary, their apparent conceptual purpose on the level of contents, and we will assume, drawing on Merleau-Ponty and Deleuze, that this technological mistake is due to a lack of recognition of the nature of perception and sensation in relation to space and human experience.

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Gough, Barry. "Charles Duncan, Cape Flattery, and the Strait of Juan de Fuca: A Voyage to the Waterway of Forgotten Dreams." Terrae Incognitae 49, no. 1 (January 2, 2017): 37–49. http://dx.doi.org/10.1080/00822884.2017.1295597.

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15

Wigginton, Nicholas S. "Cave of Forgotten Fungi." Science 336, no. 6077 (April 5, 2012): 13.3–13. http://dx.doi.org/10.1126/science.336.6077.13-c.

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16

Denti, Louis G., and Michael S. Katz. "Escaping the Cave to Dream New Dreams." Journal of Learning Disabilities 28, no. 7 (August 1995): 415–24. http://dx.doi.org/10.1177/002221949502800705.

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17

Fine, Gary Alan. "Review Essay: Forgotten Classic: The Robbers Cave Experiment." Sociological Forum 19, no. 4 (December 2004): 663–66. http://dx.doi.org/10.1007/s11206-004-0704-7.

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18

Aspöck, Edeltraud. "Werner Herzog, director, writer, narrator. Cave of Forgotten Dreams (Producer: Erik Nelson, Adrienne Ciuffo; Executive Producers: Erik Nelson, Dave Harding, Julian Hobbs, Tabitha Jackson; Cinematographer: Peter Zeitlinger; Editors: Joe Bini, Maya Hawke; Sound: Eric Spitzer; Music: Ernst Reijseger; International Sales Agent: Submarine Entertainment; Production Company: Creative Differences Productions, Inc.; 2010, 3D, 90 minutes)." European Journal of Archaeology 15, no. 2 (2012): 327–32. http://dx.doi.org/10.1179/1461957112z.00000000023.

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Koepnick, Lutz. "Herzog's Cave: On Cinema's Unclaimed Pasts and Forgotten Futures." Germanic Review: Literature, Culture, Theory 88, no. 3 (July 2013): 271–85. http://dx.doi.org/10.1080/00168890.2013.820632.

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20

Saletta, Ester. "Forgotten dreams: revisiting romanticism in the cinema of Werner Herzog." Journal of Contemporary European Studies 25, no. 3 (July 3, 2017): 389–90. http://dx.doi.org/10.1080/14782804.2017.1354149.

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21

Hivnor, Mary O. "Theatrical Cave: A Frame for Dreams or Entrance to the Underworld?" Bulletin of the Comediantes 52, no. 1 (2000): 83–96. http://dx.doi.org/10.1353/boc.2000.0017.

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22

Anzieu-Premmereur, Christine, Denia G. Barrett, and Ruth K. Karush. "Prologue: Psychoanalytic Work with the Dreams of Children: The Forgotten Royal Road." Psychoanalytic Inquiry 36, no. 3 (April 2, 2016): 197–98. http://dx.doi.org/10.1080/07351690.2016.1145963.

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Neely, Carla. "Discussion ofPsychoanalytic Work with the Dreams of Children: The Forgotten Royal Road." Psychoanalytic Inquiry 36, no. 3 (April 2, 2016): 266–68. http://dx.doi.org/10.1080/07351690.2016.1145980.

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Anzieu-Premmereur, Christine, Denia G. Barrett, and Ruth K. Karush. "Epilogue: Psychoanalytic Work with the Dreams of Children: The Forgotten Royal Road." Psychoanalytic Inquiry 36, no. 3 (April 2, 2016): 269–70. http://dx.doi.org/10.1080/07351690.2016.1145983.

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25

Koppenfels, Martin von. "From Flibbertigibbet to Ernest Jones and Ernst Simmel: Nightmares under Analysis." Psychoanalysis and History 22, no. 2 (August 2020): 159–74. http://dx.doi.org/10.3366/pah.2020.0335.

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Freud's The Interpretation of Dreams denies itself any reference to the immemorial folklore and demonology of nightmares. This telling omission can be linked to the marginal role assigned to the affective dimension of dreams in Freud's book. It can also be linked to Freud's life-long struggle to determine the place of anxiety dreams in the framework of his dream theory. This conceptual problem became even more urgent when, in the wake of World War I, the anxiety dreams of traumatized soldiers appeared on the psychoanalytic agenda. Among Freud's closest collaborators, Ernest Jones was the first to turn his attention to the mythology of nightmares. Interestingly enough, Jones's study treats the nightmare complex exclusively as a problem of cultural theory instead of dream theory. In this essay I explore the theoretical implications of this half-forgotten chapter of psychoanalytic dream theory focusing on Freud, Jones and Ernst Simmel.

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26

Köhler, Thomas, and Michael Prinzleve. "Is Forgetting of Dreams due to Repression? Experimental Investigations Using Free Associations." Swiss Journal of Psychology 66, no. 1 (March 2007): 33–40. http://dx.doi.org/10.1024/1421-0185.66.1.33.

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This study investigated whether forgetting of dream material is due to repression. Under this assumption, free associations starting from forgotten elements are expected to encounter successively growing resistance. In Experiment 1, 25 participants brought along notes of dreams and were asked to freely associate to five elements from their own dreams and five stimuli from someone else’s dreams. One week later, they were tested for recognition of sequences of their dreams. Afterwards they produced free associations to five elements they had remembered and to five elements not identified (Experiment 2). Skin conductance responses (SCR) and perceived unpleasantness were recorded. Results of Experiment 1 were in line with previous findings from our laboratory: Associations starting from own dream material provoke greater SCRs. Results of Experiment 2 were: In comparison to recognised dream material, unrecognised elements elicited associations accompanied by greater activation. During associations to the latter stimuli, increase of SCR was more frequent, and unpleasant feelings were reported more often. Our findings are in line with Freud’s assumptions on forgetting of dreams.

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Rodado, Juan, and Maria J. Rodado. "What We Think Today on the Interpretation of Dreams, Forgotten and Double Senses." Psychology 09, no. 04 (2018): 773–84. http://dx.doi.org/10.4236/psych.2018.94049.

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28

Jackson, L. J. "New Paris No. 2: A Pennsylvania Cave Site Revisited." North American Archaeologist 8, no. 2 (October 1987): 143–50. http://dx.doi.org/10.2190/hte6-c2kc-art6-ppee.

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An association of man and extirpated fauna brought to light almost forty years ago in southern Pennsylvania is reconsidered. Originally investigated by the Carnegie Museum of Natural History, the New Paris sinkholes are well-known for their extensive Pleistocene cave fauna and are most often associated with the dedicated work of the late Dr. John Guilday. The initial find in sinkhole #2 of an adult bull elk skeleton with an arrowhead embedded in its neck vertebrae had long been forgotten. In the pre-Libby era of scientific research, the elk was assessed as Holocene in age and the stone arrowhead as probable evidence of an early Colonial period Amerindian hunting event. Recent review of this discovery and radiocarbon analysis of a portion of the elk skeleton suggests a somewhat greater age and significance.

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Haque, Kamaal. "Forgotten Dreams: Revisiting Romanticism in the Cinema of Werner Herzog by Laurie Ruth Johnson." Goethe Yearbook 24, no. 1 (2017): 309–11. http://dx.doi.org/10.1353/gyr.2017.0029.

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Fileva – Ruseva, Krasimira Georgieva. "SANCTITY OF CHRISTMAS AND OPTIMISM OF NEW YEAR REFLECTED IN AN ELECTRONIC TEXTBOOK ON MUSIC." KNOWLEDGE INTERNATIONAL JOURNAL 31, no. 6 (June 5, 2019): 1811–15. http://dx.doi.org/10.35120/kij31061811g.

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The celebration of Christmas over the centuries has involved many folk and even regional traditions that are passed away, rejected and gradually forgotten by the modern man. Now more and more the main meaning of the feast the intimate reverence for the newborn God, sacrificing himself for all of us and for his mother, the Virgin Mary has been shifted from buying and receiving interesting, impressive, spectacular Christmas gifts, from arranging a lavish dining table, from a rich Christmas revel. On the other hand sending the old and welcoming the new year is traditionally associated with the anticipation of something new and good, positive change, happiness, prosperity, fulfillment of dreams. Increasingly, these personal, intimate expectations are shifting from care, where will we welcome the New Year, what will we wear to make a stronger impression, what will we eat in the festive evening. Christmas is a religious holiday specific to the Christian faith, while New Year is celebrated in the cultures where there is a chronology. Christmas has a certain date, and the New Year for Different Cultures begins in a different season. More by this glimpse is clear, first, that the two holidays differ essentially, and second, that the commercialization of our lifestyle and thinking largely unified and increasingly unifies those, essentially many different holidays. In order to limit the manifestations of negative trends that shift the main emphasis of the holidays, making them occasions to demonstrate our own success in society, it is important to to further influence the on educating adolescents. When looking for an impact to overcome already rooted in the minds of youth attitudes, it is necessary to select tools that are modenn, that evoke confidence, that are likable, attractive to young people. Spending more and more time in front of the computer screen communicating through their phones, teenagers are increasingly accustomed to trusting the electronic way of communicating as well as searching and finding the necessary information electronically. In sync with these attitudes is the new educational tool electronic textbook. True to the notion that luxuriance, spectacularity, self assertion and egotism are unrelated and should not disturb one of the two brightest Christian feasts Christmas, I set as the aim of this study highlighting by placed in the electronic textbook tasks of the different nature of the two large following in rapid succession holidays, i.e. of the gracious intimacy, modesty and kindness of Christmas, and the glamorous splendor and catcing optimism of the New Year. In this study I review the electronic music textbook for the fourth grade of the general education school in Bulgaria of Publishing House "Prosveta". The two holidays are reflected with: 2 presentations organized as team tasks. Since teamwork contributes to creating relations of mutual assistance, to neglecting of individualistic attitudes for the sake of the success of the common cause, this kind of organization is in line with the objectives of the study. 2 photo galleries designed to support the impressionsaccumulated by the presentations with additional brightly sighted visual information. As one gets the main part of the information with which he operates, visually, the acquaintance with the exhibited photographs further enhances the impact of student presentations.

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Snow, Dean R. "Sexual dimorphism in Upper Palaeolithic hand stencils." Antiquity 80, no. 308 (June 1, 2006): 390–404. http://dx.doi.org/10.1017/s0003598x00093704.

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Sexual roles in deep prehistory are among the most intriguing puzzles still to solve. Here the author shows how men and women can be distinguished by scientific measurement in the prints and stencils of the human hand that occur widely in Upper Palaeolithic art. Six hand stencils from four French caves are attributed to four adult females, an adult male, and a sub-adult male. Here we take a step closer to showing that both sexes are engaged in cave art and whatever dreams and rituals it implies.

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Bogunia-Borowska, Małgorzata. "Metafora konsumpcji. Sposób opisu zmian kulturowych i społecznych w Ameryce lat 80. i 90. XX wieku w filmie Co gryzie Gilberta Grape’a Lassego Hallströma." Kultura Popularna 2, no. 56 (June 29, 2018): 66–88. http://dx.doi.org/10.5604/01.3001.0012.1138.

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The purpose of the paper is to present an image of American society presented in the movie What is eating Gilbert Grape by Lasse Hallström. It is the film that not only represents a consumer society, but promises the coming crises as a result of such social idea. This somewhat forgotten film is a penetrating analysis of consumer society. It points to the traps of the social and cultural model of consumption, which came to life after the Second World War an idea - a valve of security for Western societies, and which was to unload tensions and eliminate problems. The author of the movie uses food perfectly as a literal implementation of the next American dream about the ideal society and ideal citizens-consumers. Noting the risks and threats associated with it and anticipating the crisis of long-term implementation of the consumer society model.

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Qureshi, Bilal. "Elsewhere." Film Quarterly 71, no. 3 (2018): 77–80. http://dx.doi.org/10.1525/fq.2018.71.3.77.

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Columbus is the feature-film debut of Korean American director Kogonada, known to cinephiles for his video essays on auteurs. His film stars John Cho (Star Trek, Harold and Kumar) as Jin, a grieving son arriving in Indiana from Seoul to care for his ailing father, a renowned scholar of modernist architecture. The architectural imagery in Columbus serves as something more: it provides narrative punctuation, forming elegantly placed interludes in a moving story of the real people who live in and visit today's Columbus. It's a film about the forgotten heartland ambitions of young dreamers like Casey who face the precarious economic realities of a city beyond the thriving coasts. At a time when ideas of diversity, Middle Americanness, and technology-fueled attention-deficiency sit at the center of national cultural debates, Columbus elegantly glides across all those themes, speaking to yet not confronting them.

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Hake, Sabine. "August Winnig: From Proletariat to Workerdom, in the Name of the People." New German Critique 48, no. 1 (February 1, 2021): 125–52. http://dx.doi.org/10.1215/0094033x-8732173.

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Abstract In the social imaginaries that sustained Nazi ideology from the 1920s through the 1930s, Arbeitertum, translated here as “workerdom,” played a key role in integrating socialist positions into the discourse of the Volksgemeinschaft. Workerdom proved essential for translating the class-based identifications associated with the proletariat into the race-based categories that redefined the people, and hence the workers, in line with antisemitic thought. The writings of the prolific but largely forgotten August Winnig (1878–1956) can be used to reconstruct how workerdom came to provide an emotional blueprint, an identificatory model, and a compensatory fantasy in the reimagining of class, folk, and nation. The influential Vom Proletariat zum Arbeitertum (1930), as well as select autobiographical and fictional works by Winnig, are used to uncover these continuities through the political emotions, dispositions, and identifications that can properly be called populist. In the larger context of worker’s literature, conservative revolution, and völkisch thought, the Nazi discourse of workerdom not only confirms the close connection between political emotion and populist (un)reason but also opens up new ways to understand the continued attractions of populism as a particular kind of politics of emotion based on the dream of the people.

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Kashchey, O. A., and L. F. Nedashkovsky. "ЗАБЫТЫЕ ДРЕВНОСТИ ДОЛИНЫ РЕКИ УГАМ." Uchenye Zapiski Kazanskogo Universiteta. Seriya Gumanitarnye Nauki 162, no. 6 (2020): 9–21. http://dx.doi.org/10.26907/2541-7738.2020.6.9-21.

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This paper is devoted to one of the urgent problems of modern archaeological research, i.e., to analysis of the discoveries of pre-revolutionary archaeology and to actualization of its achievements. Archaeological monuments of the Ugam River valley (within the territories of modern Kazakhstan and Uzbekistan, where the Ugam River flows into the Chirchiq River) that had been lost during the Soviet times were used as an example. These monuments have literally fallen out of the research interest. The analysis of data available in the written sources on the archaeological findings in the Ugam River basin dating between the late 19th and early 20th centuries enabled us to identify the location of eight monuments forgotten by modern researchers, to map the routes of N.I. Veselovsky (1885) and J.-A. Castagné (1913) – the discoverers of the Ugam antiquities, and to single out two stages in the development of pre-revolutionary archaeology. N.I. Veselovsky described a cave with ancient paintings in red and purple colours, a stone construction, and two tepes. J.-A. Castagné provided data on four caves. The results of our research indicate the need for field archaeological investigations in order to rediscover the monuments that had been found by the pre-revolutionary researchers, as well as to expand the current research focus to the unjustly forgotten antiquities of the Ugam River basin.

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Kwatsha, L. L. "A psychoanalytical interpretation of the characters in A.C. Jordan’s novel Ingqumbo yeminyanya." Literator 28, no. 3 (July 30, 2007): 75–90. http://dx.doi.org/10.4102/lit.v28i3.169.

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Psychoanalysis is a way of treating certain nervous disorders of the mind by examining all the ways that sufferers can be helped to remember their past life, dreams, et cetera. This is an effort to find hidden forgotten anxieties or desires influencing one’s behaviour without one’s knowledge thereof. The aim of this article is to make a detailed interpretation of the characters Zwelinzima and Thembeka/Nobantu in A.C. Jordan’s novel, “Ingqumbo yeminyanya”, so as “to uncover the hidden causes of the neurosis in order to relieve the character of his or her conflicts, thus dissolving the distressing symptoms” (Gräbe, 1986). This article will look at the behaviour of the different characters in Jordan’s novel. Psychoanalysis is rooted in the idea that humans have unconscious longings that must be analysed in order to understand behaviour. The accent of the article will fall on how psychoanalysis can help the reader, critic or analyst to penetrate the inner workings of the minds of the characters.

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FOWLER, WILL. "Dreams of Stability: Mexican Political Thought During the 'Forgotten Years?1 An Analysis of the Beliefs of the Creole Intelligentsia (1821-1853)2." Bulletin of Latin American Research 14, no. 3 (September 1995): 287–312. http://dx.doi.org/10.1111/j.1470-9856.1995.tb00012.x.

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FOWLER, W. "Dreams of stability: Mexican political thought during the ?forgotten years?.1 An analysis of the beliefs of the creole intelligentsia (1821 ? 1853)2." Bulletin of Latin American Research 14, no. 3 (September 1995): 287–312. http://dx.doi.org/10.1016/0261-3050(94)00040-n.

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Rostagno, Irene. "Waldo Frank's Crusade for Latin American Literature." Americas 46, no. 1 (July 1989): 41–69. http://dx.doi.org/10.2307/1007393.

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Waldo Frank, who is now forgotten in Latin America, was once the most frequently read and admired North American author there. Though his work is largely neglected in the U.S., he was at one time the leading North American expert on Latin American writing. His name looms large in tracing the careers of Latin American writers in this country before 1940. Long before Franklin D. Roosevelt launched the Good Neighbor policy, Frank brought back to his countrymen news of Latin American culture.Frank went to South America when he was almost forty. The youthful dreams of Frank and his fellow pre-World War I writers and artists to make their country a fit place for cultural renaissance that would change society had waned with the onset of the twenties.1 But they had not completely vanished. Disgruntled by the climate of "normalcy" prevailing in America after World War I, he turned to Latin America. He started out in the Southwest. The remnants of Mexican culture he found in Arizona and New Mexico enticed him to venture further into the Hispanic world. In 1921 he traveled extensively in Spain and in 1929 spent six months exploring Latin America.

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40

Grieb, Margit. "Forgotten Dreams: Revisiting Romanticism in the Cinema of Werner Herzog. By Laurie Ruth Johnson. Rochester, NY: Camden House, 2016. 298 pages + 25 color illustrations. $90.00." Monatshefte 109, no. 3 (September 2017): 512–14. http://dx.doi.org/10.3368/m.109.3.512.

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Manikutty, S. "From a Manager to a Leader: Bridging a Gulf or Jumping a Chasm?" Vikalpa: The Journal for Decision Makers 28, no. 4 (October 2003): 53–62. http://dx.doi.org/10.1177/0256090920030405.

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This paper argues that the transition from being a manager to becoming a leader is more like jumping a chasm than walking smoothly on a bridge over a gulf. Traditional methods of management education, training, and mentoring are not likely to be very helpful in making this transition because they fail to recognize that leadership involves fundamentally different processes as compared to managing and hence leaders cannot be developed by more liberal doses of traditional management inputs. This paper identifies five dimensions for the transition from a manager to a leader: From a manager of ‘facts’ and ‘data’ to a manager of emotions: Leadership has less to do with cold analysis of hard facts and more with managing the emotions that exist among people in the organization. From a manager of emotions to a generator of emotions: ‘Managing’ the emotions is not enough; generating the right kind of emotions is also essential. People must be inspired by the goals and must seek fulfillment in attaining them. Emotions such as loyalty and passion for a cause are to be generated. From a follower of standards to a setter of standards: Leaders do not follow standards; they set their own standards often at variance with prevailing and accepted views. It is this characteristic that sets leaders apart from run-of-the-mill managers. From a realist to a dreamer: Leaders are not necessarily realists they are great dreamers. Great dreams, they know, are what inspire people. These may or may not be ‘practical’ dreams, but, often, the leaders are governed less by the practicality of the dreams than by the fact that they are worth pursuing. From an optimizer to a compromiser: Leaders do not try to optimize for they know that such solutions exist only in books. They are constantly driven by the need to compromise, to make the best of a situation, and pry open loose bricks to gain entry into their world of dreams. They are also very keen on making sure that their compromises do not dilute the basic objectives and become a sell-out. These are shown to be major transitions involving development of new skills and schemas. Making the transition involves three steps: Knowing oneself, i.e., one's strong as well as weak points, potential, and capabilities. Becoming oneself, i.e., shedding the masks worn so long that the person has forgotten what his true face is like. One has to again become oneself. Deciding what to become in future and mo1ing towards it : This is essentially a process of self-development of gathering of new perspectives, fresh interpretation of facts, reflection, and developing a fresh worldview that is all one's own. Nietzsche's poser, ‘This is my way, what is yours?’ captures the essence of this transformation. Self-development is a vital ingredient of leadership; leaders have to find their own paths to their goals.

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Ballesteros, Jesús A., Carlos E. Santibáñez López, Ľubomír Kováč, Efrat Gavish-Regev, and Prashant P. Sharma. "Ordered phylogenomic subsampling enables diagnosis of systematic errors in the placement of the enigmatic arachnid order Palpigradi." Proceedings of the Royal Society B: Biological Sciences 286, no. 1917 (December 18, 2019): 20192426. http://dx.doi.org/10.1098/rspb.2019.2426.

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The miniaturized arachnid order Palpigradi has ambiguous phylogenetic affinities owing to its odd combination of plesiomorphic and derived morphological traits. This lineage has never been sampled in phylogenomic datasets because of the small body size and fragility of most species, a sampling gap of immediate concern to recent disputes over arachnid monophyly. To redress this gap, we sampled a population of the cave-inhabiting species Eukoenenia spelaea from Slovakia and inferred its placement in the phylogeny of Chelicerata using dense phylogenomic matrices of up to 1450 loci, drawn from high-quality transcriptomic libraries and complete genomes. The complete matrix included exemplars of all extant orders of Chelicerata. Analyses of the complete matrix recovered palpigrades as the sister group of the long-branch order Parasitiformes (ticks) with high support. However, sequential deletion of long-branch taxa revealed that the position of palpigrades is prone to topological instability. Phylogenomic subsampling approaches that maximized taxon or dataset completeness recovered palpigrades as the sister group of camel spiders (Solifugae), with modest support. While this relationship is congruent with the location and architecture of the coxal glands, a long-forgotten character system that opens in the pedipalpal segments only in palpigrades and solifuges, we show that nodal support values in concatenated supermatrices can mask high levels of underlying topological conflict in the placement of the enigmatic Palpigradi.

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Hadi, Fatkhul. "A Literature Approach of The Story in the Qur'an (Study About Muhammad Ahmad Khalafullah’s Interpretation on the Story of Ashab Al-Kahf )." Journal Intellectual Sufism Research (JISR) 3, no. 2 (May 27, 2021): 35–45. http://dx.doi.org/10.52032/jisr.v3i2.96.

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Al-manhaj al-adabi that is used by Khalafullah implies that the stories in the Qur'an not only is purely historical data, but it is also a narrative that could be included in literature that is loaded with the message contained in it. This literary method, according to him, is very appropriate to be used as a knife of analysis in uncovering the stories of the Qur'an. He said that the mistakes of the commentators so far lie in the methods that they use. They have involuntarily forgotten knowing the sociological and religious aspects of the message in the stories of the Qur’an. In his research, he emphasizes the psychological aspect, according to him, a story has a psychological impact due to it can explain the meaning of universal gloom and touch in the soul of his audience. In the story of Ashab al-Kahf Khalafullah proves that the stories in the Qur’an are not merely historical data. Because this story historical elements such as characters, places and times tend to be eliminated. The Qur'an does not clearly state the number of young Ashab al-Kahf and the time they lived in the cave. The narrative of the story of Ashab al-Kahf which is meant to prove Muhammad's apostolate and as an answer to some of the questions of the polytheists of Mecca to Muhammad when testing the truth of his apostleship and teachings. Such narrative has a psychological impact on the listeners so that it can reveal the messages stored in it.

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Damkjær, Maria. "AWKWARD APPENDAGES: COMIC UMBRELLAS IN NINETEENTH-CENTURY PRINT CULTURE." Victorian Literature and Culture 45, no. 3 (August 25, 2017): 475–92. http://dx.doi.org/10.1017/s1060150317000018.

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In a letter “To the Editorof the Times,” a G. S. Hatton of Brompton writes furiously in May 1850:[This afternoon] three ladies, a member of my family with two friends, visited the Society of Arts in John-street, Adelphi, having ridden all the way from their own doors in a private carriage. Shortly after they had entered the society's rooms, they noticed a tall man of a shabby genteel appearance, with an umbrella in his hand, who was studiously watching their movements, and every now and then placed himself in their way and pushed past them, much to their annoyance. As they were on the point of leaving, he came close to them, and they distinctly felt his umbrella rubbed against them. On regaining their carriage, two of them found the skirts of their dresses bespattered with a most filthy and disgusting semi-fluid, as if propelled from a syringe, emitting a most noisome and sickening odour, and at the same time effectually staining and damaging the material. The ladies have not the slightest shadow of a doubt but that the umbrella carried by this man was the vehicle of the abominable filth. (6)Immediately, certain interpretive possibilities present themselves. I am sure most of my readers are struck by the possibility of bawdy jokes about an ejaculating umbrella; twenty-first-century eyes will struggle to unsee the “disgusting semi-fluid,” “propelled [as if] from a syringe” out of the tip of the leering gent's loathsome umbrella. Is Mr Hatton using the umbrella as a euphemism? If so, is that not a rather odd way of masking a sexual assault in a national newspaper? Or is this a literal account of an unpleasant occurrence? If this is truly what happened, how can we determine whether the outraged Mr Hatton was aware of the sexual connotations that present themselves so easily to us? Our modern inexorable sexual reading of the sticky umbrella stems from two circumstances: the very real sexual menace posed by a stranger who rubs himself against women's skirts in a public place (nothing funny about that), and more than a hundred years of being conditioned to notice, and snigger at, elongated objects. Since the popularisation of Sigmund Freud's theories of dream interpretation, the umbrella has been repeatedly interpreted as an unconscious substitution for the male genitals. Freud specifically mentioned umbrellas in his 1916–17 publication ofA General Introduction to Psychoanalysis, along with trees, poles, firearms, pencils, nail files, etc. (Freud 154–55). It was perhaps this which led Katherine Mansfield to quip in 1917 of E. M. Forster's 1910 novelHoward's Endthat: “I can never be perfectly certain whether Helen was got with child by Leonard Bast or by his fatal forgotten umbrella. All things considered, I think it must have been the umbrella” (121). Mansfield's joke is on the umbrella as a phallic substitution. She equates Leonard's insecure grasp on middle-class respectability with a lack of sexual virility, while also casting aspersions on the probability of E. M. Forster's plot. But that is only half the joke. The other half of the joke is much older, that of the “fatal forgotten umbrella.” This refers back to a long tradition, as I shall show, of the unassuming umbrella as a catalyst, a plot engine with a will of its own which pitches its owner into social embarrassment, romantic entanglements or worse.

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Helvaci, Ayhan. "The Music’s Role in Socialization of the Romani in Turkey: “Musician School” Project Example." European Journal of Multidisciplinary Studies 1, no. 2 (April 30, 2016): 286. http://dx.doi.org/10.26417/ejms.v1i2.p286-290.

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The Romani, who are the people always looked from a distance throughout the history, scared and feared, have always been so close and so far away at the same time. It is hard for every society to accept what is not the same with it, the “other”. However, a Project was planned, with the idea of from local to universal, so that The Romani, who can perform the intercultural carrier, transfer their life-style in a fun way through their language with the music they create, could socialize, instead of being seen as the “other”. Within this Project, it is planned that various groups with a certain musical talent, consisting of The Romani, will have a four-year education in different areas of music and will be helped to share their talent with the society. With this Project, The Romani will tell their dreams, sadness, fights, and their nonchalance of life and their forgotten lives that no one doesn’t want to see or could not see through their songs and dances, which comes from the assumption that it will contribute their unity with society. The artistic activities of the Romani, who are different color in our country, having a rich cultural variety, should be supported. That the natural ability to music and dance in the Gypsies are not limited within them, and that these talents are turned into productivity in different areas of music will both support their development and increase their social value. In this study, Bursa Metropolitan Municipality Conservatory “Musician School” (Çalgıcı Mektebi) Project, designed in 2011 within the scope of music’s role in socialization of the Romani, is examined and it is aimed to present this Project.

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Algura, Patricia O. "Living Among the Dead in the Manila North Cemetery: A Cartographic Re-Imagination." Abstracts of the ICA 1 (July 15, 2019): 1–2. http://dx.doi.org/10.5194/ica-abs-1-6-2019.

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<p><strong>Abstract.</strong> Cemeteries are often regarded as left behind landscapes: scary and lifeless, abandoned and forgotten. Despite this derelict image, residents of Manila North Cemetery are living and co-existing in tombs and mausoleums. They celebrate life and live behind the shadows of those who have passed on. The maps present the unseen life in the spaces of the cemetery. Behind the dark and shadows of the departed are faces of people with bright smiles and with inspiring dreams. Through ethnographic research, interviews and observations were conducted to uncover and recover stories of life and experiences that were used as the basis, foundation, and inspiration of the maps. Using the actual map of the cemetery, a series of maps were realized to portray stained-glass images of mother and child, Mother Mary, and angel, where colors represent the vibrant life and the promise of afterlife in the cemetery.</p><p>These maps tell a whole different story, giving light to the life rather than the dead. The Mother and child map shows how adults in the cemetery are doting parents and siblings. Elders were responsible for providing the needs and nourishing the family. As part of the Philippine culture, Filipinos are family-oriented, and they tend to remain close to their families even if the child is grown up - gainfully employed or has married. The portrait of Mother Mary symbolizes Filipinos’ Christian faith. The smiles on faces are evidences of hope and faith. Living in what society considers an undesirable disposition, the people are determined and always hopeful for tomorrow. The departed are depicted as the angel, as it shows how the living and the dead are at peace and coexisting in the same environment. We, as outsiders, often hear about ghosts, horror stories, and consider cemeteries as haunted, but these events and stories are uncommon to the residents. They had established a relationship with the place and those around it. For them, the cemetery is not merely a place, but a place they call home.</p><p>The maps demonstrate that the living and the dead can co-exist in the same space rather than separated. These cartographic works are interventions to depict, portray, and represent urban life that exist in the peripheries of the city of Manila.</p>

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Микадзе, Манана. "Литературные аллюзии и языковые параллели у Николоза Бараташвили и Адама Мицкевича (стихотворение Мерани и поэма Фарис)." Studia Wschodniosłowiańskie 20 (2020): 63–72. http://dx.doi.org/10.15290/sw.2020.20.05.

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“Of the Georgian romantics, the greatest poet and the greatest philosopher is Nikoloz Baratashvili” – these words of Professor Giorgi Dzhibladze best express the genius of Nikoloz Baratashvili, who at the age of 26 ended his turbulent and tragic life, having failed to fulfill his dreams because of the physical trauma, unable to embody her great love in reality, although Ekaterina Chavchavadze-Dadiani (the object of his unrequited love) saved his poetry from oblivion: it was she who gave the great Georgian writer Ilya Chavchavadze Baratashvili’s manuscript, thanks to which she actually returned the great poet’s Georgian literature to this time, unfortunately, is almost forgotten. In our opinion, Nikoloz Baratashvili could get acquainted with Faris by Adam Mitskevich through Russian translation. This circumstance led some scholars (Iona Meunargia, Kit Abashidze) to believe that the Georgian Merani was allegedly created under a certain influence of the poem of the Polish poet. Such a view of this issue, in our opinion, is devoid of a real foundation, primarily due to the fact that these two works in their artistic form show a very distant, almost insignificant similarity, while the ideological relationship is indisputable. The poetic spirit of Mitskevich was undoubtedly close to Nikoloz Baratashvili. A. Mitskevich dedicated his poem to the Polish scientist Vaclav Razhevsky, who suffered the same fate as the hero of the poem. V. Razhevsky conducted scientific research in Arabia, where he died. Mickiewicz paints a heroic image of a rider who is not afraid of anything; Baratashvili, on the other hand, describes the despair of his rider, who is in a state when nothing in the world matters to him and who prefers death to life, but meaningful death, sacrificed to descendants. The genius of the author of Merani is manifested precisely in the fact that in the harsh, gloomy atmosphere of his time, he still managed to discern that a person in the future will still win, that the time will come and justice will triumph: there will be a holiday on his street. N. Baratashvili was able to unite reason and faith, and in their selfless, titanic confrontation with blind fate, he saw the highest meaning and justification of human existence. Merani for all Georgian poetry is the same crown as The Knight in the Panther’s Skin by Shota Rustaveli. If classic epic thinking found its fullest reflection in Rustaveli’s poem, Merani is a brilliant example of lyrical self-expression characteristic of romantic poetry.

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Danylyuk, Nina. "The Crimea’s linguistic image in the poetry of Lesia Ukrainka." Culture of the Word, no. 93 (2020): 88–99. http://dx.doi.org/10.37919/0201-419x-2020.93.7.

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The article is devoted to the linguistic image of the Crimea, conceptualized on the basis of the analysis of Lesia Ukrainka’s poetic texts from the cycles “The Crimean Recollections” (the collection “On the Wings of Songs”, Lviv, 1893), “The Crimean Reminiscences” (the collection “Thoughts and Dreams”, Lviv, 1899) and two poems “A Memory from Yevpatoria” (1904) and “A Wave” (1908) which do not belong to any collections. In these texts Lesya Ukrainka’s recollections about the visit to the Crimea in 1890–1891, 1897–1898, and in 1907–1908 are reflected with the help of figurative means. A linguistic image of the Crimea is a segment of the individual-authorial map of the world of the writer that reflects her language-thinking, Ukrainian origin, and profound knowledge of folklore resources. It has been found out that the image is consists of the descriptions of such cities as Yalta, Yevpatoria, and Bakhchysarai where the writer stayed or visited them. A special distinction is given to Bakhchysarai with its realia of the khan’s palace and muslimness to which three poems were devoted. With the help of figurative means the lines of mountains and certain places, connected with the Crimean legends (Baidary, Chortovi skhody (Devil’s stairs)), obtain their prominence. The nature and elements of the Black sea are thoroughly depicted – quiet in the bright weather and wild during the storm. Many contexts prove that the poetess perceived the sea as a living creature, relevant to her moods and feelings. It has been pointed out that Lesia’s Crimea is associated with her dear ones – first of all with her brother Mykhailo and beloved Serhii, with the forgotten poet Nadson, with the Crimean Tatars (the appearance and clothes of a young female Tatar (who is called by a diminutive form of the ethnic name Tatar - tatarochka) is described in the brightest way). Most of the appellatives of the peninsular (God’s given land, a land of constant rays, a bright country, a country of light, a joyful country, a beautiful side (of the world) and others) have a positive connotation caused by the author’s admiration of its gorgeous nature. But there have been found negative evaluative expressions that resulted from the understanding of the decay of the traditional Crimean Tatar material and spiritual culture, enslavement of the indigenous people (Неволя й досі править в сій країні! - Captivity still rules in this country!). That is why the author compared the captivated land with a boat, broken by a storm, and a steppe horse that dies in the sands of a desert.

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Johan Kjellman, Anders. "Family business explained by field theory." Journal of Family Business Management 4, no. 2 (October 7, 2014): 194–212. http://dx.doi.org/10.1108/jfbm-06-2012-0019.

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Purpose – The purpose of this paper is to present a model concerning family business participation. The model can both be used to explain why somebody chooses to become a family business member and how family entrepreneurs act inside their firms. In this paper the author will present a holistic, socio-cultural and constructivist model concerning entrepreneurship behaviour. Design/methodology/approach – The model is based on field theory or the perceptions of human behaviour presented by Kurt Lewin. However, the model is expanded to include modern system theories and family business aspects. The author sees family business participation as an emerging behaviour in a complex social system. The central concept or construct, to help the author understand this emerging behaviour, is the psychological life space of the individual. It is not only family that affects the life space. This life space is affected by the current life situation, the past activities as well as the potential aspirations or “dreams” about the future. Findings – A holistic, socio-cultural and constructivistic model is developed. It starts from the notion of a “psychological life space” construct, suggested by Kurt Lewin. The author has developed the concepts further, thereby expanding the area concerning entrepreneurship and modern theories of human behaviour by adding environment and culture to the model. The temporal dimension can be divided into three parts: i.e. the past (experience), the present (real-time) and the future (aspirations). All actions and changes happen in the present, although they are affected by the past and the aspirations for the future. These three parts will continually affect the individual's decision making. In other words the life space is never static, but constantly changing over time Thus, an individual's choice to enter, expand or exit a family business can be explained by the complex relationship between realistic and unrealistic views of the past, present and the future. Research limitations/implications – It is only a model. However, it can cast new light on the understanding of how family businesses work and could transfer knowledge to the next generation of the family business. Practical implications – A better understanding of the development of the complex behavioural patterns and factors behind entrepreneurial family formation is given. This enables the author to design methods to explore and analyse individual life spaces. If the author would have such methods, the author might be able to see how and why individuals’ behaviour becomes family entrepreneurially oriented, thereby giving use effective ways and new instruments to support growth and stability in our society. Originality/value – The field theory, or as it has also been named, topological psychology, has been more or less forgotten for a long time, or overshadowed by other theories of human behaviour. However, according to Martin Gold (1999), Lewin has in recent years again become one of the most frequently quoted social researchers. The paper contributes in this process by applying it to a family business context.

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Pešalj, Gordana, Svetlana Uršič, Ivana Jovanović, Svetlana Zdravković, Ljubica Presetnik, and Gorana Isailović. "Measuring the Effects of Forest SPA Programme in Urban Parks Using Active Imagination." Acta Economica Et Turistica 2, no. 2 (December 1, 2016): 231–34. http://dx.doi.org/10.1515/aet-2016-0020.

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AbstractNature has been shown to be beneficial to our overall health and well-being. We are all connected to nature and it is important to maintain this vital connection for our health and well-being. Spending time outside in nature or urban parks has been shown to positively affect a person’s emotions and improve their sense of well-being. Access to nature balances circadian rhythms, lowers blood pressure, reduces stress and increases absorption of Vitamin D. Increasingly, evidence demonstrates that contactwith the living world around us is an important part of healing and recovery. The natural world’s role in human well-being is an essential, yet often forgotten, aspect of healthcare. Of particular importance are the benefits one can derive through interaction with natural environments. Reincorporating the natural world is practiced to move healthcare toward being more “green”. Spiritual well-being is enhanced through the experience of greater interconnections, and it occurs when interacting with the natural world. One study examined the physiological and psychological responses to real forest landscapes as well as the therapeutic uses of forests relative to urban environments.Lower levels of the stress hormone cortisol have been reported in adults subsequent to performing the same mental activities in a garden setting vs. an indoor classroom. A separate study involving over 11,000 adults from Denmark showed that living more than 1 km away from green space (forests, parks, beaches, lakes) were 42 percent more likely to report high stress and had the worst scores on evaluations of general health, vitality, mental health and bodily pain The landscape itself offers retreat from daily routine. The aim of our research was to measure the effects of Forest SPA programs on attendants’ well-being. Research has been organized in cooperation between Health college Belgrade and Medical SPA Association of Serbia. There were fourteen participants taking part in the research. Prior to Forest SPA program all participants, 14 students on specialization in Medical Wellness were invited to half-an-hour active imagination (mandala drawing) workshop. Drawing Mandala is a meditation in motion, dreaming with open eyes, and during the process of active imagination the unconscious self is active and not passive like in dreams. Using the data and research methodology from Henderson’s Empirical Study of the Healing Nature of Artistic Expression we designed our investigation. After 90 minutes of Forest SPA program in selected Urban park, participants were invited to draw mandala to describe how they feel at that moment. Several participants (8 of them) attended a 90-minute City SPA program with Tibetan bowls vibration massage. At the end of the SPA program they were invited to draw mandala. Analyzing symbols and colors, number of symbols and their relationship in presented mandalas we can realize the effects of the Forest SPA programs in urban parks on achieving better emotional balance and enhancing individualization process in participants. Our pilot research of Active imagination (by drawing mandalas) revealed that it can be used as a part of Forest SPA program as ART therapy and at the same time as an instrument for individual approach to the client of Forest SPA program as a medical SPA concept.

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