Search

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.

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 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.

‘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).

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.

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.

No ano de 1826 a escritora inglesa Mary Shelley publica o romance apocalíptico The Last Man, contando a história de como a humanidade fora dissipada por uma peste em 2100, restando apenas um sobrevivente que, imune à pandemia, resolve deixar registrado em forma de diário, a história do fim do mundo como ele o conhecia. Ao apresentar o relato que levou à escritura da narrativa, Mary Shelley nos coloca em contato com o mito da Sibila de Cumas, revelando ter encontrado o manuscrito que indicava os fatos que ela narrou em seu romance. Este artigo visa discutir a importância do texto introdutório do romance, considerando as molduras estabelecidas entre o mito da Sibila e as capacidades criadoras de Shelley.

A look at our great poetic heritage with poems by John Keats and Charles Baudelaire (the latter in translation), and to the present with a new poem by Catherine Savage Brosman.

In today's buyer-empowered world, it is critical to design event marketing materials in a more effective way to attract potential event goers. Not surprisingly, official event websites and promotional videos have been widely used to allow the potential visitors to preexperience the events. Yet, although acknowledging the power of this technique, the effects of using different media in attracting the visitors remain unclear. Hence, this study analyzes the visual patterns of potential event goers towards differing promotional materials as well as how the attentional processes relate to their motivational aspects and visiting intentions. Results indicated that event goers focused more on the center of the screen when it comes to the promotional video; when browsing the website, their attention was attracted mainly by programs related to dance. In practice, the findings benefit event marketers by providing important directions and implications for the design of the promotional materials.

Résumé Le contexte actuel de pandémie conduit à s’interroger sur les conséquences de la COVID-19 en Assistance médicale à la procréation (AMP). En effet, suite aux premières recommandations de l’Agence de la Biomédecine en Mars 2020, les centres d’AMP ont suspendu leurs activités. La reprise progressive des tentatives en Mai 2020 s’est accompagnée de nombreux questionnements, concernant les effets directs et indirects du SARS-CoV-2 sur la qualité des gamètes, la gamétogenèse, la fertilité, la grossesse et la santé néonatale. L’objectif de cette revue de la littérature, est de synthétiser les données disponibles, pour informer les patient(e)s pris(es) en charge et adapter les pratiques d’AMP en cette période de la COVID-19. La plupart des études récentes, se basent sur l’évaluation des effets du syndrome infectieux, sur l’analyse des facteurs hormonaux, et sur l’expression des protéines d’entrée virale (ACE2 et TMPRSS2) au niveau des cellules impliquées dans la gamétogenèse pour évaluer les répercussions de la COVID-19. La transmission materno-fœtale du SARS-CoV-2 n’a pas pu être démontrée à ce jour, mais l’infection néonatale reste possible. Néanmoins, les hommes seraient plus à risque d’être infectés par le SARS-CoV-2, d’être symptomatiques et la spermatogenèse est vraisemblablement affectée. La présence du virus dans le sperme est un évènement rare, mais l’ensemble de ces paramètres sont à prendre en compte dans la prise en charge des couples en AMP. Cependant, aucune conséquence sur la qualité des gamètes féminins n’a été mise en évidence jusqu’à présent.

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.

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

The present article sought to offer a semiotic analysis of Pinter’s The Caretaker’s characters as signifiers in their own right. The article also aimed at studying the play’s dramatis personae as loci of multi-coded expressions, with a focus on the various modes of signification associated with them. Using semiotics as an analytical method, the author explored the linguistic and paralinguistic features of the characters’ discourses as signs in relation to the play’s pivotal themes, their kinesic and body expressions as indexical signs, as well as their distinctive proxemic behavior(s) onstage. Some attention was also given to the characters’ handling of stage props and the special meanings attached to them as replicators of character personality. The results of the discussion showed that using a semiotic approach to analyze The Caretaker’s characters can yield positive outcomes in terms of comprehensive analysis and interpretation of the characters as dynamic unities of interrelated sign-systems.

Este artículo trata de recordar a los autores y personajes del cómic italiano de los últimos 40 años de todos los géneros y para todo tipo de lectores que se han dado a conocer en publicaciones españolas. Entre los personajes más emblemáticas destacan: Lupo Alberto, Martin Mystère, Pimpa , Tex Willer, Cocco Bill, Corto Maltese o Valentina.

Demystifying the puzzle of the ancient Mariner's real story and identity has been the aim of many critics. Direct analysis of the poem would always propound a crossing of boundaries between the real and the uncanny without providing a clear interpretation of the actual context of the mariner’s tale. The mariner’s dilemma occurs when he shoots an albatross without any distinct reason, thus resulting in the death of all the crew members who turn into eccentric creatures. Accentuating his sense of guilt, the mariner stops a guest from entering a wedding and starts narrating his story. Whereas the guest never questions the reliability of the fictitious elements of the mariner's account, the readers do. Similarly, Edgar Allan Poe’s speaker posits questions to an un-welcomed guest, a raven, who visits him at night and gets infuriated at the consistent answer he receives from him: ‘Nevermore’. The readers are aware that the speaker is suffering from a psychological disorder since he insists the raven would reply to his distorted inquiries. This paper reads the mariner’s as well as the Raven’s speaker’s quandaries in association with trauma theory highlighting their traumatic experiences and underscoring the unreliability of their narration by diagnosing them as patients of post-traumatic stress disorder (PTSD). Reference will be made to the importance of the albatross and the raven as fundamental motifs that project the characters’ psychological predicaments resulting in the implausible tales they both recount.