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The symbolism of bird images occupies one of the central places in the system of Romantic worldview. It represents the Romantic attitude towards the outside world in Гайдук С. Образ орла як уособлення поета у поезії епохи романтизмуISSN 2411-4758109general and towards the closest human «partners» in nature, in particular. In literary works, it also shows Romantic orientations on certain artistic traditions: folk, biblical, antique. It is noted that the eagle image is one of the main bird images of the wild fauna which can be found in Romantic poetry. The purpose of the article is to highlight the peculiarities of the eagle symbolism as the personifi cation of poet in the poetry of T. Shevchenko, O. Pushkin, N. Yazykov, and J. Keats. It is stated that the eagle image is the personifi cation of such features of Romantic outlook as freedom, creative inspiration, high spiritual demands. Thus, in Romantic culture, the eagle is a symbol of poet. The poet’s personality is directly associated with such features of this bird as, high aspirations and sharp eyesight. This emphasizes the poet’s need to be over events and situations in order to depict them adequately, without conformism. To a certain extent, this is a manifestation of a Classical tradition. This eagle symbolism is very typical of Classicism. It is indicated that the aforementioned Romantic poets carry such features of eagle as pride, majesty, safety, independent glory, freedom, on the poet image as a creator. Therefore, the eagle image in their poetry becomes the personifi cation of poet, a distinctive symbol of the literary Olympus and literary fame. However, it should be remembered that symbol as one of the most signifi cant components of Romantic poetry is characterized by ambiguity. The ways of representing the eagle image in the works of Romantic poets form a multi-dimensional range of symbols. That is why the interpretation of other symbolic meanings of the eagle image in the poetry of the Romantic era is the prospect of our further research.

This article reviews a recent wave of literature on the resurgence of vinyl records, examining what it has claimed about vinyl's capacity for tangibility and the contrast to digital media, associated with intangibility. These claims are explained with reference to other literatures on touch, and it is suggested that vinyl's haptics mediates and embodies the emotionally rewarding production of a sense of self. The apparent contrast of vinyl aesthetics with classical music aesthetics is also discussed, and the presence of contemporary classical music within the vinyl resurgence is considered.

This article suggests that the English Hours travel essays written in the 1870s were the crucible in which James perfected his technique of literary representation. Focusing on progress across space and tropes of liminality, the study highlights the presence, as of 1872, of the scenario of ghostly vision which dramatizes the shift from observation to reflection in the author’s fiction. It also shows how the 1877 essays mirror the novelist’s ethical concerns as he was working his way towards a poetical rendering of prosaic urban modernity. Cet article aborde les essais des années 1870 publiés dans English Hours comme le creuset dans lequel s’est élaborée la technique de représentation jamesienne. En analysant le parcours spatial et les lieux liminaux, il fait ressortir la mise en place, dès 1872, du scénario de vision spectrale figurant le passage de l’observation à la réflexion par le langage dans l’œuvre fictionnelle de l’auteur, et dans les récits de 1877, l’ouverture d’une voie permettant de concilier le prosaïsme de la réalité urbaine moderne et les exigences éthiques de l’art.

Artykuł jest przedrukiem tekstu z pisma Biuletyn Historii Sztuki, 1-2, 2008, s. 163-176.

Comentario sobre el libro de Shoichi Sato: "The Merovingian accounting documents of Tours: form and function", Early Medieval Europe, 2000, 9: 143-161.

The article offers an outline of the history of literary biography, in particular the lives of philosophers, to identify a corresponding tradition in twentieth-century Polish prose. The most important category of analysis is the literariness of texts that border on literature and philosophy. This accounts for the key signifi cance of the problem of genre.

Evelyn Waugh’s Black Mischief (1932) has been accepted as one of the satiric novels of the 20th century English literature. Being Waugh’s third novel, Black Mischief includes a high concentration of satire and criticism through which the writer expresses his ideas on colonialism and the modern man in general. The novel is about an unsuccessful attempt at establishing a country in the heart of the oriental world. Seth, the Oxford-graduate emperor of a fictional Azania, fails to establish a correlation between the English-like Azania in his aspirations with the real cannibal-oriented country and its half-naked inhabitants. This study will analyze Waugh’s Black Mischief in terms of Frantz Fanon’s essay “On National Culture” (1959). A political philosopher and an intellectual from Martinique, Frantz Fanon has become highly influential in the discourse on colonialism and post-colonialism. His writing titled “On National Culture” outlines the steps to embrace the notion of national identity and national consciousness. This study will outline to what degree Waugh’s protagonist Seth fits into Fanon’s category of an endeavor to establish national culture. The study will conclude that Seth’s failure to establish his country heavily depends on the contemporary human conditions in the psychologically devastated universe.

In this article, I argue that the ritual experience of water-baptism plays an essential role in Paul's metaphorical expression and rhetorical purpose in 1 Corinthians 12:13. To explore the role of baptism, I use conceptual blending theory from cognitive linguistics to define and demonstrate the metaphorical ways in which ritual functions in the human mind. In so doing, I emphasize the performance of a ritual itself and the contextual perception of its performance, arguing for a metaphorical relationship between the two. I apply conceptual blending analysis to interpret the complex interplay of three metaphors in 1 Corinthians 12:13. I argue that Paul forms a conceptual blend of three metaphors in this verse, and that baptism, the water-rite, plays a pivotal role in this blend by providing the physical pattern of immersion and the cultural understanding of this immersion as a new belonging. Using baptism, Paul achieves his purpose of re-picturing the reception of the Spirit and appealing for social union. This verse thus presents an excellent case of the role of ritual in the emergence of early Christianity and the explanatory power of ritual studies to the New Testament texts.

This paper analyzes a parody of the tango “A media luz” that was performed by Rodolfo Garcia, a Mexican American comedian who worked in his family’s tent show, the Carpa Garcia, in the early 1940s. I argue that by juxtaposing the generic conventions of the tango with those of the canción ranchera and by introducing carnivalesque humor, Mr. Garcia’s parody articulated a distinctly local Mexican American identity which was strongly linked to a sense of working-class masculinity. In this way, the parody highlights the class- and gender-based contradictions that were inherent in ongoing processes of Mexican American identity fonnation at mid-century.

In this paper, we present a data-driven approach for beautifying freehand sketches. Our key premise is that the artist-drawn vector shapes equip visual merits for sketching visually appealing shapes, such as clean local shapes and better global structure relationships such as symmetry. However, it is hard to characterize these merits as general rules across different object categories. To overcome this issue, we leverage a neural network feature representation to capture local and global merits across different object categories, and we design our method around this feature representation. We first match the correspondences between sample points on the input sketches and the collected vector shapes using the extracted feature representations. We then design an optimization that encourages the deformed sketch to resemble the vector shape correspondents in the representation space but keeps its original semantic meaning and style. We demonstrate our method on sketches across different shape categories.

The article aims at showing how far the technologies of audiovisual registration affect not only the ontology of images but also our sense of realism in politics and history. As argue Jacques Derrida and Bernard Stiegler, historical events have become “tele-events” after the birth of these technologies. Our handling with images has changed accordingly. As argues Pietro Montani, we no longer consider them as “copies” of real objects but rather as “occasions” for initiating processes of “validation” of history. Hannah Arendt’s opposition between the ancient concept of history being based on praxis and the modern concept of history as “fabrication” (poiesis) of the humankind must be therefore reconsidered. History is rather the negotiation between these two attitudes (praxis and poiesis): cinema might be one of the exemplary sources of this negotiation, as epitomized by the documentary work in the audiovisual archives conducted by Esfir Shub (1927) and Harun Farocki (1992). Representation (Louis Martin) becomes thus a dynamical power of imagination dealing with historical and political reality; consequently, the “ideal spectator”, just as the “ideal reader” for novels (Umberto Eco), is charged with a new task of actualizing the sense of images with regard to their historical and political references.

‘Excitement struggles with the restraint of form and language and the artifice of verbal repetition… runs riot.’ The repetition is more pronounced and personal here than in another Lesbia epigram, no. 70, where ‘the repetition dicit…dicit makes it certain that Catullus had [Callimachus, Ep. 25 Pf.] in mind’. Poem 70 illustrates how Catullus might allude to and adapt a Hellenistic model in expressing his personal feelings; while the longer elegiac poems in particular (and 66, the translation of Coma Berenices) show the depth of his engagement with Callimachean literary technique. We should not be surprised to find Callimachean elements here too, given the demonstrable correspondences with poem 68 in particular, a composition noted for its use of Alexandrian artifice. But while there are close echoes of the high emotion, the doctus poeta of 68 seems to be largely missing from 107. Here Catullus exults ipsa refers te / nobis (5–6); there his mistress se nostrum contulit in gremium (132).

Drawing on the life stories of Native Americans solicited by historians during the 19th century and, later, by anthropologists concerned with amplifying the cultural record, Arnold Krupat examines the Indian autobiography as a specific genre of American writing.

El artículo presenta los resultados de una investigación cuyo tema fue la lectura literaria como práctica, en especial, en los espacios de enseñanza de la literatura y, en general, en la formación de los niños y los jóvenes. Los objetivos del trabajo son, en primer lugar, efectuar un desarrollo conceptual de lo que denominamos experiencia literaria, como relación de la subjetividad del lector con el texto y, consecuentemente, del rol de la imaginación vinculado con la capacidad productiva del lenguaje. En segundo lugar, realizar una explicación teórica acerca de lo que entendemos por lectura crítica, en el sentido de la comprensión de los significados ideológicos que están detrás de los textos. Metodológicamente se utilizaron la encuesta, entrevistas, observaciones de clase, y análisis documental aplicado a los planes de clase. La población objeto fueron estudiantes de primer ingreso a la Facultad de Humanidades de la Universidad Nacional de Catamarca y estudiantes de una institución de educación media. Se presenta un ejemplo concreto de cada uno de los conceptos desarrollados, surgidos de prácticas educativas analizadas.

In this qualitative study, nine adolescent girls between the ages of eleven and fourteen (M=12) reacted to how romance is depicted in The Hunger Games book and film series. Although some feminist researchers have been disappointed in the series ending, arguing that it reinforces post-feminist, repronormative and heteronormative ideas, most of the participants in this study felt that the inclusion of romance was appropriate for protagonist Katniss Everdeen, stating that this did not take away from what they saw as the “girl power” message of the series. Study participants believed that authors write heterosexual romance as a way of appealing to adolescent girl readers; several girls, however, expressed their desire to see this change. Furthermore, study participants provided alternative endings to the series that did not always include heterosexual romance or marriage for Katniss, thereby providing a nuanced critique of heteronormativity and gender roles in the series.

This paper explores the narrativization of sports icons within the context of nationalist discourse. The authors explore New Zealand media coverage surrounding the death of Colin Meads in August 2017. Meads, a former all Black rugby captain, coach and administrator, media pundit, and corporate spokesman, was a high-profile public icon. His death was met with saturation national media coverage. The authors’ cultural studies informed analysis of Meads’ narrativization is twofold. First, the authors contextualize the cultural scripts surrounding him prior to his death. Second, they critically read media narrativization following his death within the context of narratives of nation. They explore this mediation in the context of intersecting themes of rurality, Whiteness, masculinity, and rugby. Print media coverage widely articulated Meads to the nation as the archetypical “kiwi,” liturgized his contribution to rugby during and after his playing career, and his “no-nonsense” character. In doing so, it reinforced a selective national narrative, premised on a combination of both remembering and forgetting. This narrative reaffirms White-settler, male heroism, and rugby as central to New Zealand nationhood and assuages contemporary national anxieties and the cultural hierarchies they entangle.

Keen observational skills are essential for veterinarians; however, the development of these skills is not usually an explicit part of the veterinary curriculum. Fine arts–based (FAB) observation training has been shown to improve medical students’ observational skills and might also improve veterinary students’ observational skills. We compared FAB and pathology-based (PB) observation training in a veterinary cytology course. Students initially wrote a pre-test in which they described two cytology images and one art image, followed by participation in either FAB or PB observation training. Both groups completed a similar post-test immediately after training and a delayed post-test 4 weeks later following instruction in cytology. Differences between groups were noted only in the immediate post-test cytology descriptions. The PB group used significantly more specific vocabulary terms and significantly more accurate observations than the FAB group, suggesting an immediate benefit to the discipline-specific information gained in the PB observation training. In the delayed post-test, results for both groups were similar. The FAB group significantly increased their use of specific vocabulary terms and maintained but did not increase accurate observations following cytology instruction, while accurate observations decreased significantly for the PB group. The FAB group might have been able to generalize their observation skills to the discipline of cytology and to better retain these skills. Neither type of training resulted in both achievement and maintenance of the highest recorded scores for accurate observations. Both FAB and PB training led to improved observational skills, and explicit observation training may be useful for veterinary students.

This article discusses the underground cinema of the German Democratic Republic during the 1980s in regard to its contributions to the arts and the avant-garde. While scholars including Claus Löser and Katrin Frietzsche have contributed greatly to the remembrance of the East German underground cinema, its influences have been disregarded by film studies, not least within the anglophone field. As a result, little to no research has been conducted regarding its contributions to the avant-garde or through the scope of other art movements as the political aspect continues to be emphasized. This article draws upon multiple art developments such as dada, surrealism, performance and body art as well as Eastern European-specific movements. Therefore, it evaluates how the East German underground interprets those influences and further contributes to them. Significant works by Cornelia Schleime, Gabriele Stötzer, Thomas Frydetzki and Tohm di Roes are subject to analyses to reveal anarchist feminist tendencies and surrealism with anarchist aspects. It concludes that the East German underground must be seen as a contribution to the less-researched necrorealism as an art movement paralleling the constitutional socialist realism. As such, political implications cannot be subtracted altogether but shall rather be viewed alongside the emergence of anarchist surrealism during the Cold War.

The purpose of this study is to develop the stories as the learning sources for teaching character at English lesson. This research was conducted by using research and developmental design (R & D) because the goal is to develop a product, i.e. the translated stories of Prophets. By developing the adapted model of Borg and Gall (1983), some procedures had been carried out. The product of the research is a book consisting of the translated stories of Prophet which were reviewed by experts in terms of its plot, content, language and design. In short, through this story book of Prophets, students and readers can learn the virtuous – worthy character – of Prophets as the good model for them. Besides, they can also learn English Language, especially in increasing their vocabulary in English. The suggestion given to the product of research was related to quantity of Prophet stories. Since this book just contains the story of the outstanding Prophets, it was suggested to cover all the Prophet stories for the next study. Key words: stories of the Prophets, character education, English lesson

This study undertakes a thorough analysis of the aspects of intertextuality and their undertones in William Blake’s companion poems:The Lamb (1789) from the Songs of Innocence and The Tyger (1794) from the Songs of Experience. These poems are often read side by side since they are described as counterparts to one another reflecting Blake’s dualistic ideology on the conflicting states of the human soul (good vs. evil). The researchers adopted Charles Bazerman’s(2004) theory in analyzing intertextuality within texts. The analysis of the poems revealed that there are 22 instances of religious and literary intertextual allusions within both poems and their type of textual integration was mainly description. In addition, a great percentage of those allusions consist of religious undertones which help reflect the dualistic approach that Blake adopted in his volumes of poetry.

Scholars have generally recognized the Ottoman poet Nefʿī (d. 1635) for his refinement of the panegyric in Turkish and his skill in its unflattering twin, the invective. They have thus paid little attention to the fact that he composed poems in Persian, and sufficient to compile a collection of them, simply viewing his output as a byproduct of his taste for the fresh style emanating from the East, particularly India, with no consideration of other factors at play. The article addresses this contextual gap by situating Nefʿī's engagement with the fresh style in relation to wider efforts at poetic renewal and also to literati disputes about the extent to which the fresh style and other currents from the East ought to be adopted and assimilated, in which differing formal and generic preferences, as well as linguistic and rhetorical concerns, were central. The article ultimately suggests that Nefʿī's overall work should be seen as part of those wider efforts that also aimed at making Ottoman practice distinctively fresh.

Numerous jazz releases are called the last date or the final concert, to underline that they document the end of a musical career. Biographies, documentaries, and liner notes tend to zoom in on these moments, which accrue new meaning in light of the impending death of the musician. This chapter looks at how such performances are fetishized and mythologized. It introduces a number of case studies: Miles Davis’s revisiting of earlier work at the Montreux Jazz Festival, Chet Baker’s fatal fall from an Amsterdam hotel window, Clifford Brown’s supposed final concert, and Ben Webster’s last recording and “prophetic words” in public.

This chapter is concerned with surveying the works of various sixth-century Latin historians (the anonymous Italian writer of the Excerpta Valesiana , Cassiodorus, Jordanes, Gildas and Gregory of Tours) with a focus on how they conceptualised and executed their historiographical task, as well as how their audience and purpose influenced their historical narratives. As investigations of sixth century culture and society have begun to displace explanatory paradigms of decline and fall with those of change and continuity, the focus has now shifted to understanding the development of Christian literary culture and to delineating its distinctive and novel features. By the sixth century, however, the sharp distinctions between church and state, between sacred and profane, and between 'Roman' and 'barbarian', with which Eusebius and Augustine had grappled, had given way to a more integrated view of public and private life in a Christian world. Keywords: Augustine; barbarian kingdoms; Christian literary culture; church; Eusebius; Latin historiography; Roman

In 2010, Stephen Hawking commented that, “Science is not only a disciple of reason but, also, one of romance and passion.” This is not a connection we might readily make in the modern world. Science is technology, laboratories, facts and figures. It is experiment, cold, hard evidence, and equally cold, hard environments. Yet, visitors to the Science Museum Group’s museums (and readers of the Science Museum Group Journal) know that this is not the case. Many have recently stood in awe at the Soyuz TMA-19M descent module that brought Tim Peake and colleagues back to Earth from the International Space Station, cowed by the fragility, complexity and humanity of such an object: its romance. Indeed, Hawking was talking about sending astronauts on dangerous missions when he spoke about romance. Although unmanned space flight was perfectly possible at the time, and eliminated the risk to human life, he believed that human participants were a fundamental part of the endeavour. The exploration, the adventure and the risk were essential. There is romance in the stars that inspires humans to advance, but a romance that technology devoid of human connection cannot convey. Yet, technology also has its own romance. There is a nostalgia, an emotional pull, to technologies that we have known and spent time with over the course of our lives. Technologies facilitate romance – the phone call, the dating app, the email, the letter, the train journey, the meal, the contraceptive pill. Technologies open a new world of experience to us, whether through travel, enhanced vision, means of recording, or display. But technologies can also be ‘romanticised’, over-simplified into a black box that masks realities of labour, discrimination, resource exploitation or environmental damage. This complex relationship, as well as the sheer variety of what we might consider technology, or romance, to be was investigated as part of a collaboration between the Science Museum Group, Central Saint Martins, and eeodo publishing in 2018, and is further developed in the papers that make up this mini collection.

In this paper the author discusses three works of video art featured in the Technologies of Romance symposium held at the Science Museum, London, in 2018. The author searches within video art, as a genre or medium, within its technical apparatuses and within the three particular works, for contributions to the particular notion of ‘object love’ as drawn from a paper by Hilary Geoghegan and Alison Hess (2014). The author interprets the three video artists’ works with the aim of gleaning comparative examples that might illustrate or extend the ‘object love’ concept. Mathilde Roman’s book (2016) on the ‘staging’ of video art is an influence on the text, as are two short but profound statements by Walter Benjamin, one from his Theses on a Philosophy of History (1940), another from his essay on Surrealism (1929). History, ‘the past’, museology and ‘object love’ are all woven into the core of the article. As it moves towards its conclusion the author is inspired by the image of an empty, machine-made stocking (a classic symbol of Freudian fetishism) in Elizabeth Price’s video K, in such a way that the article ends by skewing both the idea of ‘object’, and that of ‘love’ in the direction of the fetish, while concluding that the past – just as much as any particular object from or of the past – tends to be subject to fetishisation. Meanwhile, video’s relative immateriality as an art medium, and its current use by artists, is seen as representative of an age of image-based archival practices that, assisted by digital technology, might now divert traditional, object-based processes of the museum – a shift that might be summed up in the phrase ‘screen becomes vitrine’. This shift, from vitrined objects to screened images might then, in turn, have implications for the ‘object love’ that initially interested Geoghegan and Hess and which began the author’s article and this dialogue with the Science Museum. This paper was published in Science Museum Journal's special 'Technologies of Romanc edition, which was based on, and featured several papers from a day-long symposium at the museum to celebrate the launch of my 2018 book 'Technologies of Romance - Part II. Both the symposium event and the spcieal edition of the journal featured my own paper and contributions from leading academics, curators and artists drawn from CSM, ScienceMuseum and beyond.

In 1971 Japan-based second-generation Korean writer Lee Hoe Sung became the first ‘foreigner’ in Japan to win the esteemed Akutagawa Prize for Belles Lettres for his semi-autobiographical novel Kinuta o utsu onna [The cloth fuller]. It recounts the life and death of a young Korean woman, Chang Suri, during the 1940s, as remembered by her son. Whilst fascism, democracy, and Korean nationalism constitute the meta-narratives that informed the lives of Lee’s generation in (post)colonial Japan between the 1940s and 1960s, the writer underscores the importance of the little narrative for exploring identity and a sense of belonging. Eschewing hyper-political approaches that attempt to explain the whole movement of history and social life or nationhood as a ‘grand narrative’, Lee’s poignant rendition of the life and death of a young woman is rather a ‘little narrative’ of personal suffering and redemption. Lee’s story functions as a sinse t’aryong (i.e., a traditional Korean form of oral lamentation and narrative storytelling), which allows him to point to ‘Korean-ness’ as an anchor. This anchor secures the listener to a solid ‘home’ or cultural place of reference that can support them in their search for a sense of identity and belonging in the context of colonialist oppression and dislocation.

How do we understand types of cinema that offer experiences of discomfort, awkwardness or disquieting uncertainty? This book examines a number of examples of such work at the heart of contemporary art and indie film. While the commercial mainstream tends to offer comforting viewing experiences – or moments of discomfort that exist largely to be overcome – The Cinema of Discomfort analyses films in which discomfort is offered in a sustained manner. Cinema of this kind confronts us with material such as distinctly uncomfortable sexual encounters. It invites us into uncertain relationships with awkward and sometimes unlikable characters. It presents us with challenging behaviour or what are presented as uncomfortable realities. It often refuses information on which to base judgments. More discomfortingly, cinema of this kind tends to provoke uncertainty at the level of what emotional responses we are encouraged to have towards difficult, sometimes controversial, characters or events. The Cinema of Discomfort examines a number of case-studies, including Palindromes by Todd Solondz (US) and Dogtooth from Yorgos Lanthimos (Greece), along with other examples from Austria, Sweden, the UK, the US and Germany. Offering close textual analysis of the manner in which discomfort is generated, it also asks how we should understand the appeal of such work to certain viewers and how the existence of films of this kind can be explained, as products of both their socio-cultural context and the more particular institutional realms of art and indie film.