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Journal articles on the topic 'Transfiguration of reality'

Author: Grafiati
Published: 4 June 2021
Last updated: 10 February 2022

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1

Negrotti, Massimo. "Music and Naturoids: The Third Reality." Leonardo 45, no. 3 (2012): 269–73. http://dx.doi.org/10.1162/leon_a_00370.

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At a high level of abstraction, it can be shown by analogy that attempts to reproduce natural phenomena occur not only in technological endeavors but also in human communication and the arts, including music. This paper presents the parallel development of artificial devices—or “naturoids”—in the fields of technology, message communication and musical composition, highlighting the transfiguration that unavoidably affects the resulting device, message or musical work. In the technological field and, to an extent, in the communications field, the transfiguration of the natural object is taken as
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2

Ricketts, Matthew. "Texts—Textures—Intertexts: Brian Cherney’s Transfiguration (1990)." Intersections 37, no. 1 (2019): 181–200. http://dx.doi.org/10.7202/1059894ar.

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Transfiguration ([1990] 1991) is one of Brian Cherney’s most ambitious compositions. Scored for large orchestra, the piece explores how memories transfigure reality and what that process might sound like. Cherney weaves together a dizzying mise en abyme of quotations—from the canonic repertoire, simulacra of European folk tunes, and his own earlier music (including most prominently Shekhinah for solo viola from [1988] 1992). Orchestral textures alternatively obscure and reveal material both directly and indirectly related to and inspired by the Holocaust, including the photograph of a Hungaria
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3

Bharadwaj, S. "Dylan Thomas’s “In the White Giant’s Thigh”:A Wild Love of Art Song." Advances in Language and Literary Studies 12, no. 4 (2021): 91. http://dx.doi.org/10.7575/aiac.alls.v.12n.4.p.91.

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In the poem “In the White Giant’s Thigh,” Dylan Thomas projects the contemporary poets’ wild passion for Eliotian amoral art song and their suffering and the contradistinction of his own occasional love of Yeatsian Grecian altruistic art song and his delight. The poem is at bottom optimistic as it offers the metaphysical and the metempirical wild lovers an alternative process of art song and also carries salvation to transcend their sorrowful failure. It is Thomas’s faith in the Yeatsian process of transfiguration and transformation, the possibility of deliverance from the bondage of experienc
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4

Butnaru, Tatiana. "Arhetipul Dochiei în etnogeneza mitică a lui Bogdan Petriceicu-Hasdeu." Limba, literatura, folclor, no. 1 (August 2021): 70–76. http://dx.doi.org/10.52505/llf.2021.1.07.

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Hasdeu’s interest for autochthon mythology found its embodiment in a series of investigations folklore, where discussion were proposed more assertions, opinions, research issues of spirituality Dacian. The autochthon mythology in its modern expression is based on the traditions, revealing ways of artistic transfiguration of reality in terms of visions and representations that characterizes the creative personality of the Romanian people. The archetype of Dochia that returns repeatedly is a hypothetical model, is an emblematic symbol of a sacred space circumscribed aspects of its fundamental va
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5

CROITORU, Ion Marian. "THE FACT OF CREATION AND THE LIMITS OF SCIENTIFIC KNOWLEDGE." International Multidisciplinary Scientific Conference on the Dialogue between Sciences & Arts, Religion & Education 4, no. 1 (2020): 85–101. http://dx.doi.org/10.26520/mcdsare.2020.4.85-101.

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Although scientific research is in full bloom regarding, for instance, the environment, the fact of creation cannot be ignored either, even if some scientists deny it, while others ascertain it, albeit from perspectives, however, foreign to the patristic vision specific of the Orthodoxy. Consequently, the limits of cosmology are structured as well by Christian theology, which shows that the study of the world, guided by laws of physics in a limited framework, is carried out inside the creation affected by the consequences of the primordial sin, so that the reality of the world before sin is kn
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6

Ziaulhaq, Mochamad, and Hasbi Sen. "Transforming Hate into Compassion as an Islamic Nonviolent Thought of Bediüzzaman Said Nursi." Wawasan: Jurnal Ilmiah Agama dan Sosial Budaya 6, no. 1 (2021): 13–30. http://dx.doi.org/10.15575/jw.v6i1.13159.

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The study of hatred that emerges as human nature can provide an analytical picture of how hatred arises, develops, and turns into humanitarian incidents. With an in-depth, systematic, and genealogical study, it can come up with a panacea for this hatred. The elixir can turn hatred into compassion, violence into nonviolence, and find creative ways to turn conflict into peace; thus, creating a new, better reality. This qualitative research uses a literature study from Risale-i Nur by Bediüzzaman Said Nursi (1877-1960). In this study, Nursi's religious and psychological explanations are compared
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7

Hetzel, Mechthild, and Andreas Hetzel. "The Distribution of Facts and Fictions." MedienJournal 37, no. 3 (2017): 45–57. http://dx.doi.org/10.24989/medienjournal.v37i3.119.

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In our paper we discuss the political aesthetics of Jacques Rancière, specially his writings on the documentaries of the French director Chris Marker. In a first section we give an introduction to Rancière’s political philosophy, which explains political acts in terms of seizing the word by those who have no share in our societies. Such a seizing of words reconfigures the discursive regimes that decide who can say what and under what conditions publicly. In a second section we will show how Rancière’s aesthetical writings discuss works of art in a similar way as agents of a transfiguration of
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8

Hetzel, Mechthild, and Andreas Hetzel. "The Distribution of Facts and Fictions." MedienJournal 37, no. 3 (2017): 45. http://dx.doi.org/10.24989/mj.v37i3.119.

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In our paper we discuss the political aesthetics of Jacques Rancière, specially his writings on the documentaries of the French director Chris Marker. In a first section we give an introduction to Rancière’s political philosophy, which explains political acts in terms of seizing the word by those who have no share in our societies. Such a seizing of words reconfigures the discursive regimes that decide who can say what and under what conditions publicly. In a second section we will show how Rancière’s aesthetical writings discuss works of art in a similar way as agents of a transfiguration of
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9

López Díaz, Yenny Patricia. "La transfiguración en la autobiografía como experiencia terapéutica / Transfiguration in the Autobiography as a Therapeutic Experience." Revista Internacional de Humanidades Médicas 5, no. 2 (2016): 57–64. http://dx.doi.org/10.37467/gka-revmedica.v5.832.

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ABSTRACTThis text presents the phenomenon of transfiguration that has been revealed during the development of a biographical-narrative research with Colombian and Spanish teachers. It has been observed that this change occurs in the person when he narrates his experiences, shaping the memory and altering a lived reality. This alteration in the perception of the memories can profoundly transform the person and give the possibility to rewrite the life history. The purpose of the research is the deep knowledge of significant experiences of a group of participants through autobiography and biograp
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10

Mejdanija, Mirza. "PARADIGMA ITALIJANSKOG DRUŠTVA U ROMANU "CRVENI KARANFIL" ELIJA VITTORINIJA / A PARADIGM OF THE ITALIAN SOCIETY IN "THE RED CARNATION" BY ELIO VITTORINI." Journal of the Faculty of Philosophy in Sarajevo / Radovi Filozofskog fakulteta u Sarajevu, ISSN 2303-6990 on-line, no. 23 (November 10, 2020): 288–304. http://dx.doi.org/10.46352/23036990.2020.288.

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Following 1925, Italy was facing a downright fascist dictatorship. The ruling politics imposed dictatorship starting with oaths of faithfulness to the regime, all the way to newspapers and school textbooks censorship. The first novel by Elio Vittorini, The Red Carnation, was confiscated by fascist censors, then revised and edited by a Florentine official. The edited and censored novel was published for the first time in 1948 by Mondadori publishing and the version published was not the original version the author himself no longer possessed. The novel tells a story of a local youth, Alessio Ma
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11

Oleg D., Agapov. "The Joy of Being as Anthropological Practice." Humanitarian Vector 16, no. 2 (2021): 66–73. http://dx.doi.org/10.21209/1996-7853-2021-16-2-66-73.

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The joy of being is connected with one’s activities aimed at responding to the challenges of the elemental forces and the boundlessness of being, which are independent of human subjectivity. In the context of rising to the challenges of being, one settles to acquire a certain power of being in themselves and in the world. Thus, the joy of being is tied to achieving the level of the “miraculous fecundity” (E. Levinas), “an internal necessity of one’s life” (F. Vasilyuk), magnanimity (M. Mamardashvili). The ontological duty of any human being is to succeed at being human. The joy of being is clo
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12

Ilin, Boris Borisovich. "Space transformations in the hagiographies (based on the materials of Uspensky Collection)." Litera, no. 10 (October 2021): 31–43. http://dx.doi.org/10.25136/2409-8698.2021.10.36484.

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Fragments of the text that represent the category of space in the Old Russian hagiographies from the Uspensky Collection became the sources for this research. The object this article is the contexts that depict spatial images in dynamics. The subject is the semantics of the analyzed contexts. The relevance of the selected topic is substantiated by undiminishing interest to the interpretation of the category of space in the Old Russian texts, as by elaboration of the concept of sanctity in studying the hagiographic literature. The goal of this research lies in determination and description of t
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13

Canilha, Samla Borges. "Ser dividido: concepções modernas na poesia de Sophia de Mello Breyner Andresen." Revista do Centro de Estudos Portugueses 38, no. 60 (2019): 81. http://dx.doi.org/10.17851/2359-0076.38.60.81-96.

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Resumo: Entre os grandes poetas que os portugueses legaram ao mundo, está Sophia de Mello Breyner Andresen. Com uma obra notável, tanto pela extensão quanto pela qualidade, a poeta destaca-se como um objeto ainda a se tratar na academia, de forma que o tempo apenas serve à sua consagração. É buscando reforçar o refinamento característico de sua obra que, neste artigo, demonstro como, a partir da leitura de Coral, a poesia de Andresen pode ser pensada a partir da concepção de lírica moderna proposta por Hugo Friedrich. Para tanto, a leitura do texto literário foi realizada considerando-se a dis
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14

Журавлев, Сергей Александрович. "Многозначность мотива преображения народной культуры в творчестве В. А. Солоухина (на материале рассказа «Двадцать пять на двадцать пять»)". ТРАДИЦИОННАЯ КУЛЬТУРА, № 5 (10 грудня 2019): 189–95. http://dx.doi.org/10.26158/tk.2019.20.5.016.

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Рассказ В.А. Солоухина «Двадцать пять на двадцать пять» (1974) становится эмпирическим материалом для рассмотрения ситуации, связанной со сменой социокультурных парадигм в жизни села Центральной России. Автор использует в тексте рефлексивное переплетение хронологических пластов, посредством которого показан процесс постепенной утраты живых народных традиций как в городе, так и на селе. Личностно окрашенные воспоминания об особенностях проведения народных праздников в русской деревне первой половины ХХ в. соотносятся с наблюдениями за реалиями 1960-1970-х годов. Действие рассказа происходит в с
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15

Putt, B. Keith. "Blurring the Edges: Ricoeur and Rothko on Metaphorically Figuring the Non-Figural." Études Ricoeuriennes / Ricoeur Studies 7, no. 2 (2017): 94–110. http://dx.doi.org/10.5195/errs.2016.353.

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This essay examines Ricœur’s mimetic and transfigurative perspective on non-objective art and adopts it as an idiom for examining Mark Rothko’s artistic intention in the multiform canvases of his “classical” period from 1949 until his death in 1970. Rothko unequivocally denied being an abstractionist, a colorist, or a formalist, insisting, on the contrary, that he desired to communicate discrete dimensions of experience and emotions to his viewers, specifically, experiences of the sacred and the spiritual. His large canvases, with their blurred edges, force the spectator into an intimacy of ex
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16

Belasova, Inga. "FEATURES OF THE STRUCTURE OF LATGALIAN ANIMAL ANECDOTES IN THE CONTEXT OF ANIMAL EPICS." Via Latgalica, no. 1 (December 31, 2008): 20. http://dx.doi.org/10.17770/latg2008.1.1595.

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The objective of the paper is to reveal the main structural features of Latgalian animal anecdotes in the context of animal epics. According to the fundamental and universal laws of folklore it can hypothetically be assumed that Latgalian animal anecdotes are an ethnic version of international zoomorphic anecdotes. When analyzing the structure of the zoomorphic anecdotes, it is essential to consider them in the context of the whole animal epic, which allows to acknowledge typological similarities and coherence in the creation of the animal images and the most typical motives. A comparative ana
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17

Ivanova, I. L. "The Time-Space Dimension in mass and multifigure scenes of “Manon Lescaut” by G. Puccini." Aspects of Historical Musicology 18, no. 18 (2019): 8–24. http://dx.doi.org/10.34064/khnum2-18.01.

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Recent years have seen a resurgence of researchers’ interest in theatricality in opera of XX century. In this case, by theatricality we mean not the staging of the operatic work, spectacle, but the mechanisms of the musical dramaturgy allowing achieve more active development of plot events and dynamicity of their embodiment. The similar tendencies one can find in works by Giacomo Puccini, a composer belonging to the period known as fin de siècle, the period when the continuation of Romantic tradition was synchronized in time with the growth of artistic innovations that have defined th
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18

"TRANSFIGURATION OF THE REPRESENTATION OF ART." Journal of V. N. Karazin Kharkiv National University, Series "The Theory of Culture and Philosophy of Science", no. 61 (2020). http://dx.doi.org/10.26565/2306-6687-2020-61-05.

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The article is devoted to the current situation in the art world, due to the COVID-19 pandemic and its consequences. Humanity has found itself in a new world of limitation and isolation. Art cannot be displayed in classic exhibition format. Recently, it seemed that the philosophy of art space is an exhibition format. art exhibitions, galleries, museums of classical and modern art, provided a global connection between various representatives of humanity. This was the unifying language of society. Art found itself in a pandemic situation. Art, as a means of communication, responds to an environm
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19

Rodrigues, Cecília. "Mito e transfiguração em Órfãos do Eldorado, de Milton Hatoum." Journal of Lusophone Studies 13 (April 1, 2015). http://dx.doi.org/10.21471/jls.v13i0.11.

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Drawing on João Loureiro’s characterization of the sfumato nature of Amazonian people, in which real and imaginary elements form a single experience, this paper analyzes the interconnection between myth and reality in Órfãos do Eldorado (2008), Milton Hatoum’s fourth novel. Understanding Amazonian culture to be imbued with impulses leading to both reason and enchantment, I argue that a transfiguration of the Eldorado myth occurs via its literary redefinition. This phenomenon emerges through dialogue with Constantine P. Cavafy’s poem, "Η Πόλις" 'The City.' Departing from the common portraya
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20

"Folklore and Mythological Symbolism of Lunar Images in the Poetry of Vasyl Holoborodko." Journal of V. N. Karazin Kharkiv National University, Series "Philology", no. 83 (2019). http://dx.doi.org/10.26565/2227-1864-2019-83-17.

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The article considers the interpretation of the lunar symbols of V. Goloborodko's poetry in the folklore and mythological context. The poetry of this representative of the Kyiv School is analyzed in line with mythological representations of both world culture and ethno-national mental principles. The mythological thinking of the artist is represented through the verbal poetical system of images, axiology and ontology concepts, etc. The article establishes that, in the interpretation of the lunar mythology, V. Holoborodko refers to fairy tales, fantasy elements, folk symbols, magical and ritual
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