Search

Publisher Summary This chapter discusses history and historiometry of creativity. Historians offer a picture of the past, a description of creative persons during earlier eras, and even predictions for the future. Historical interpretations that are creative may be biased or inaccurate, but that is actually how creativity works. It leads to things that have some value, but value varies from group-to-group and era-to-era. Zeitgeist imposes a value system and provides prerequisites for specific kinds of creativity. Historical actions can only really be understood by taking the Zeitgeist and context of those times into account. Zeitgeist may either facilitate creative work and discovery or inhibit them. Zeitgeist favors certain domains at certain times. Creativity often can be categorized as artistic, mathematical, musical, verbal, or as fitting neatly into a well-recognized domain, but sometimes it is much broader and more workaday. The economic perspective implies that creativity is predictable. Creative individuals often speak of the trauma or tension in their lives that motivated their creative efforts. It is suggested that creativity may sometimes be significantly influenced by serendipity, chance, and accidents.

The objective of this article is to discuss the novel O anjo branco, by Jose Rodrigues dos Santos, based on the idea of the literary field as an archive of memories that confront each other in dispute for a narrative authority over a time and the legitimacy of its specific events. The author places himself as a representative of his community of memory and dramatize, on the stage of his narrative, an ideological argument interested much more in the representation of what he calls the “spirit of the time” of Salazarism than in the factual reconstruction of the occurrences. This notion of the intentions that underpin the regime’s actions is closely related to the basis of contractual theories that justify the monopoly and the use of violence by the public power when they aim at the common good. Thus, the article discusses the relationship between history, memory, politics and literature from theorists such as Thomas Hobbes, Hayden White, Micheal Pollack, Margarida Calafate Ribeiro and Diana Klinger.

There is a longstanding tradition in the Netherlands to announce the birth of a child by sending out birth announcement cards to friends and family. These cards provide a glimpse of the ‘zeitgeist’ over the years regarding gender through the way in which the birth of a son or a daughter is announced. The current study examined the gender-typed content of birth announcement cards from 1940 until 2019. To this end, 4669 birth announcement cards were coded based on the following categories: gender of baby, use of color, different types of images, and different types of text. Logistic regression analyses revealed that boy cards were more likely than girl cards to include blue as the dominant color, masculine descriptions of the baby, and parental expressions of pride. Girl cards were more likely than boy cards to include pink as the dominant color and images of flowers. Over time there was a decrease in the inclusion of masculine descriptions on boy cards, as well as the likelihood that fathers were mentioned before mothers. However, the expression of pride on boy cards increased over time. Overall, the amount of gender-typed content in birth announcement cards was minimal. Birth announcement cards which included gender-typed content tended to reflect gender stereotypes and different expressions for boys and girls in subtle ways that continue to reinforce gender stereotypes.

While Dvořák’s Hymnus: Heirs of the White Mountain (1872) for chorus and orchestra is largely unknown today, its Prague premiere in 1873 was a landmark event in Dvořák’s career. This study shows that the work’s success at its first performance depended on cultural expectations and political circumstances that were particular to Prague in the 1870s. Audiences were accustomed to choral concerts of modest proportions, and the spectacle delivered by the Hlahol choral society on this occasion caught the public by surprise, as did Dvořák’s seemingly sudden emergence onto the scene. The performance also came in the midst of heated debates on the nature of Czech music, and Hymnus was harnessed in the service of certain critical agendas. Moreover, the work explores the aftermath of a crucial seventeenth-century Czech military defeat; this reference was timely in 1873, as Czech politicians had recently waged and lost their own battle in the Austrian parliament, leading audiences to relate in a unique way to Hymnus.

O objetivo deste artigo é debater a relação entre visão profética e crítica das ideologias no pensamento do filósofo brasileiro Roberto Mangabeira Unger. Procuraremos demonstrar como a promessa messiânica estrutura a obra de Unger, e a diferencia de outros trabalhos relacionados aos Critical Legal Studies (movimento que ele ajudou a fundar). A Modernidade secularizou a Teologia da História bíblico-cristã, interpretando a si mesma como momento derradeiro da trajetória humana, nos quadros de um painel escatológico. Assim, o Apocalipse mantém-se sempre presente em nosso campo de visão – embora, diversamente das Histórias da Salvação de cunho religioso, nosso Armagedom não seja sucedido por uma utopia, um tempo de perdão e reconciliação para os justos. Ora, se as ficções distópicas e pós-apocalípticas configuram-se nas mais completas traduções do Zeitgeist, o utopismo milenarista de Unger (secularizado) impõe-se como um cânon contra-hegemônico consistente. Em um primeiro momento, trataremos do niilismo que configura o capitalismo tardio, e que engendra “falsas necessidades” (na terminologia de Unger). Após, mostraremos como os Critical Legal Studies acabaram se deixando macular como uma lógica antiutópica. Finalmente, discorreremos, tomando como referência principal o livro The religion of future, sobre as visões proféticas de/em Unger.

The objective of this article was analyzing the book “The Jung-White Letters”, pointing out the importance of the themes considered as central in the publication: the archetype of Self, its expression in the psyche, its nature, dynamics and purpose, and the image of God for analytic psychology. The methodology applied to the study was contents analysis. Through an interdisciplinary debate, Jung and White approached themes as interdisciplinarity, science, theology; the image of God for analytic psychology; the study of Christianity as the expression of the spirit of the age or Zeitgeist; good and evil; the symbols. In the discussion about this book, it was highlighted the existence of symbolic indicators of the evolution of conscience, individual and collective, in the diverse representations of God, in the episodes of the Old and the New Testament and in the separation of the opposites in Christianity. Finally, the relevance of the psychological reading that focuses on historical and psychological aspects of religion and its topicality was reaffirmed.

In this lecture, I lay out my approach to populism, which falls within the now dominant ‘ideational approach’ of populism, discuss the complex relationship between populism and politics, and identify some of the main causes of the ongoing ‘populist Zeitgeist’. My main arguments are: (1) while populism is related to (real and perceived) ‘crises’, these so-called ‘crises’ are often catalysts rather than prime causes of the rise of populism; (2) populism is essentially an illiberal democratic response to undemocratic liberalism; and (3) populism can only be overcome by more rather than less liberal democracy. I illustrate my arguments on the basis of the recent rise of populism in Europe, but believe they also largely hold true beyond that specific regional and temporal context.

From 1904 to 1914, the British debate on women’s suffrage was at its height. Suffragism has been the subject of numerous studies, however, few have paid attention to its opponent, “antisuffragism”. This article focuses on antisuffragists’ speeches, pamphlets and books to examine their uses of “democracy” and grasp the conceptual struggles at play. Most “Antis” painted women’s suffrage as a step towards a degenerate democratic society. However, more surprisingly, some also mobilised the democratic vocabulary positively, as a reason to disallow women the vote. Several authors considered that “democracy” rested on the capacity of the majority to impose its decisions through physical force–thus rendering a government elected by women impotent. Politicians also opposed granting women suffrage on a censorial basis since it went against the “democratic spirit of the time”. These findings demonstrate the increased importance of “democracy” in Britain and how a “conservative subversion” of the concept was attempted.

University libraries are constituted in the literature by a range of overlapping and shifting conceptual models that are deployed to capture, express and legitimise their repurposing, progressive status and function within the university campus. Over the last two decades university libraries have been increasingly characterised as highly responsive and receptive to the fast-moving currents of technological innovation, and emergent teaching and learning paradigms. This paper charts and discusses the evolutionary trajectory of the university library set within an historical context, exploring the discursive influences that have both stimulated and propagated what might be described as progressive transformation. The paper seeks to portray and unpack the Zeitgeist of the academic library that has been cultivated in contemporary times;positioning the university library against a backdrop of global developments that have shaped the university sector from the early 1990s, and offering a macro-level exploration of the increasing status of the university library. © 2021 Patrick ODonnell and Lorraine Anderson Published with license by Taylor & Francis Group, LLC.

The Internet and the many technologies it has generated (for example, social media) create varying impacts in specific sectors. Trades Unions (TUs) are a case in point and are significant longstanding institutions which have developed over a number of centuries in many different national contexts. While the Internet has been adopted by TUs they have also generally been cast in an idealised light as if the Web should automatically be expected to radically transform and improve processes, communities (Wenger, 1998) and relations. The paper challenges this zeitgeist and suggests that the predominant ‘utopian’-style idealistic presentation of TU and the web is the product of technological determinism (Dafoe, 2015). This has important implications for TUs ‘lived experiences’ (Van Manen, 2016) and realpolitik. There is a risk that technologies will continue to operate at a macro, rather than a micro individual level, and be more dominated by managerial and commercial motives which encroach on legitimate TU representation and resistance rather than TU interests.

In order to explore the lessons that can be learned from history when these lessons have a relevance to our era and our near future, the author adopts a perspective of philasophy of history, grounded in the Weltanschauung or vision of the world of a civilization. He then studies the following paradigms of Christian history which provide enlightenment on Bahá’í history: the rise and decline of a civilization, the role of the Zeitgeist or spirit of the century, transculturalism, and political institutions.

For those of us who study early modern Iberian theater, there could not be a more appropriate and well-timed volume as this one, given the zeitgeist in which we find ourselves enmeshed. Social Just...

This article answers the question of why certain European mainstream parties have changed their policy positions on the GAL-TAN (Green/Alternative/Libertarian vs. Traditional/Authoritarian/Nationalist) dimension in recent years. I argue that these changes can be explained through the electoral success of new right-wing populist parties and the ideological proximity of conservative mainstream parties towards these parties. These arguments were tested with econometric models of mainstream parties’ policy positions in 11 Western European democracies between 2002 and 2019. The results indicate that mainstream parties chase the other “populist zeitgeist” by changing their policy positions on the GAL–TAN dimension in response to the electoral success of right-wing populist parties. Mainstream parties respond to this threat by closing the distance to these parties on the GAL–TAN dimension. However, this responsiveness is largely constrained to conservative mainstream parties. The findings have important implications for understanding mainstream party responsiveness towards rivalling right-wing populist parties.

The paper explores “The Blue Rose” (1896) by Lesia Ukrainka in terms of the ‘rite de passage’ as the text with a ritual function that reflects the cultural, gender, and author status transformations within the field of literature. In the most general sense, the first drama by Lesia Ukrainka is analyzed as an act of initiation into the fin de siècle culture. Peculiar features of this ritual are the critical comments of the modern culture, transformation of the autobiographical facts into aesthetic phenomena, and interiorization of the motif of death. “The Blue Rose” discusses a female genetic illness — a popular topic of the late 19th century — and depicts an attempt of escaping into the illusionary world of platonic love. Representation of the female insanity and ‘unconventional love’, as well as the critique of a bourgeois view of happiness and the patriarchal world, is also an important aspect of the drama. References to the unpublished materials of Lesia Ukrainka’s archive — her excerpts from the “Psychiatry” by Krafft-Ebing — allow concluding that “The Blue Rose” treats insanity as a psychiatric and not a psychological phenomenon. The mother-daughter relations as well as the tension of the mother-son relations in the family of Kosaches are also an important element in Lesia Ukrainka’s work. “The Blue Rose” (1896) is a multidimensional and experimental drama. Its author transforms numerous autobiographical facts into cultural situations and engages in a discussion on the topical themes and motifs of the fin de siècle, in particular female insanity, hysteria, and maternity. The writer employs naturalistic methods of analysis and reinforces descriptions of female insanity with the facts from psychiatric practice. “The Blue Rose” displays an interest of Lesia Ukrainka in Neoplatonism, which she would later associate with a Neo-romantic impulse ‘ins Blaue’. In general, the author did not follow the foreign patterns, as the critiques noted, but explored the Zeitgeist of the new era. She involved authentic practical experience of her own life and the lives of her relatives and friends, analyzed moral norms and psychological states referring to the cultural codes that ranged from “The Romance of the Rose”, Dante, Shakespeare, and Heine to Zola, Ibsen, and Nadson. This practice ensured Lesia Ukrainka’s initiation into the fin de siècle culture and paved her way to the modernist drama.

This scientific article is devoted to an extremely intriguing topic, so relevant among connoisseurs of fashion history and fashion costume (but not enough among ordinary fashion lovers) and is of great benefit to today's science, fashion and fashion industry, as it relates to the question of how socio-political events can greatly influence the construction of a completely new costume, radically different from the conventional one. One of the main goals of this scientific work is to reconsider and critically analyze the costumes of the most rebellious young people who lived in the late XVIII century. The so-called "Incroyables" and "Merveilleuses" emerged as the first autochthonous subculture in the history of fashion, contributing to fashion through the characteristic elements and variations of men's and women's costumes, thus defining a completely new social ideal of beauty, embodied and expressed with the help of fashionable women's and men's suits from this period. On the other hand, thanks to the knowledge and study of this new way and method of structuring the costume, the horizon is born in which it becomes clear how the new young people appeared after the second half of the 20th century, and the designers of the new age cleverly use accumulated historical material in their creative practice and embody the same in a way so characteristic of the spirit of the time. Due to the fact that fashion has various manifestations, I have also used cross-cultural research methods -attracting certain parts of sociology and structural and systematic analysis..

Photography; On the one hand, visual communication is one of the most important elements, on the other hand; its aesthetic aspect is a fun attitude. When viewed from this perspective, the photograph; is divided into various categories according to the purpose of use, types. It can also be said that new species will emerge and will emerge according to the developing and changing technology and the spirit of the age. Accordingly, the photo; manifests itself in different genres such as human photography, documentary photography, fashion photography, street photography, photo photography, underwater photography, aerial photography, animal photography, food photography, art photography, photography, advertising photographs, digital travel photographs, photojournalism. Due to the spirit of the age, more time is spent outside, on the street, in the city. Life takes shape, encounters, and contrasts occur. According to this, there is street formation and flow. Public spaces, buildings, walls, roads, people, traffic, etc. While the chaos is an important texture of crowded city streets; Quiet neighborhood houses and streets create a more calm and sincere perception. Streets; have the potential to provide alienating and organic effects by being in the here and now at the same time. They create a dynamic space by gathering the past, present, and future time periods in the street. This year, it was aimed to research street photographs and the processes of creating meaning in photography from the 1990s to the present, on the works of photography arts. The relationship between photography types and street photographs, the historical development of street photography, and other types of photography will be tried to be revealed

While states undertook railway construction targeting economic and military objectives, this article questions whether and to which extent their symbolic territorial cohesion was also at stake. The hypothesis we aim to verify is that railway buildings acted as recurrent visual signifiers of territorial coherence and had, therefore, the potential of being instrumental as state-building tools. This research explores how an architectural reading of railway networks can inform our understanding of state-building projects and processes. We expect that geographically scoped railway architectural history is capable of cross-fertilizing political and planning history, through a better understanding of empire, state, and regional building discourses. The investigation focuses on the stylistic architectural choices of edifices on two trunk lines in Transylvania, North-West Romania, before World War I, while this territory belonged to the Habsburg then, as of 1867, Austro-Hungarian Empire. The large-scale analysis of railway architecture is discussed in relation to railway-line ownership, political (central, regional, and local) agency, economic development, and architectural Zeitgeist, highlighting state-building and territorial integration patterns. The mapping carried out reveals two successive architectural layers. These denote a shift in the role of railway architecture from an initial liberal phase, before the 1880s, to a bloom phase, prior to World War I. While during the former there was little state control over architectural aspects, during the latter architecture became a foremost representation instrument for the state railway administration. At the same time, the extant railway architecture appears as a palimpsest, a genuinely cross-border, European heritage, documenting the dynamics between imperial, state, regional, and local agencies.

This paper examines China’s policies on legal awareness in mid-2021. It brings into focus the social dynamics of the continuous institutionalization of social norms that are shaping the legal culture in China. It is argued that the discovery of legal culture outweighed the sociocultural imaginations of orders by the institutionalization of social norms. On the utilization of laws, it shows that the utilization of the laws is the direct result of the psychological expectation in seeking Justice via the laws—i.e. the narrower the gap between law-on-the-book and law-in-action, the higher incentives the Chinese citizens resorting disputes to the laws. On enhancing the obedience of the laws, it shows that a powerful discourse would be engineered with the external ideological environment/social norms (values, beliefs, and Zeitgeist of the contemporary Chinese society) such as the political atmosphere of “anti-corruption”, “security”, and “safety” and the recall of the pure socialist spirit.

The article polemically comprehends the practice of considering the manor topos as a genre-defining feature of Turgenev's novel, since this strategy ignores the plot logic, the content of the main characters, the essence of their relationships and the final meanings of the works. In addition, this approach inevitably destroys the aesthetic unity of Turgenev's work, because “Smoke” and “Virgin Soil” do not fit into the “manor” genre paradigm, even at the level of formal criteria. In this article, based on the material of Turgenev's novels - mainly those in which there is a “Turgenev’s girl” (“Rudin”, “A Nest of Gentlefolk”, “On the Eve”, “Virgin Soil”), - it is shown that the vector of the heroine's fate is directed from the manor world to the big world of search and struggle. The thirst for active good lies at the heart of the choice of the heroine: her chosen one, in contrast to the usual environment, is a spokesman of the spirit of the time, a hero of time, which opens up new horizons of life for her. The plot logic of Turgenev's novel is due not to the chamber circumstances of the life of a noble estate, but to the pathos of the ideas proclaimed by the hero and the thirst for self-realization of the characters in a socially significant field. This determines the genre specificity of Turgenev's novel as an ideological novel.

The article is devoted to the activity of Ivan Theodor Rudnytzky, a military, social and political figure and a lawyer. His life is a vivid example of the fate of many Ukrainians from Galicia, who dedicated their lives to the struggle for Ukraine’s freedom and independence. Archival records, other documents and his memoirs were used to reclaim his name from oblivion.This article is the biography of one of the unsung heroes of Western Ukraine’s struggle for independence. In offers a brief genealogy of the Rudnytzky family and dwells on the formation of his character- beginning with Ivanʹs birth in Galicia (village Bedrykivci), on February 20, 1886 to 1920.Based on Ukrainian, Polish, Czech and Austrian archival materials and on secondary literature and memoirs, author traces the eventful life of an Austrian and, later, Ukrainian military officer, lawyer and freedom fighter who, although little known today, was one of the chief architects of the historic 1918 November Uprising in Lviv.While crystallizing the personality of her subject and describing his activities in military and civil life, both in Ukraine and in emigration, the author offers glimpses of new and heretofore unknown historical facts as well as insights into Zeitgeist of the inter and post bellum periods in Ukraine.Juli 1910 he is member a student demonstration at the University of Lviv. Beginning with the 1914, it describes Rudnytzkys career in the Austrian army, where he served as a commander of a machine-gun regiment and was wounded on the Italian front.It discusses as a key member of the Ukrainian Military Committee, which prepared the November Uprising of 1918, his work in the Ukrainian Galician Army. In Massаrykʹs Czechia (1920-1927), I. Rudnytzky served as a representative of the Ukrainian Galician Army in Vienna as well as a military attache in Prage until 1927.

In the decree of the Government of the Republic of Uzbekistan. The goal of the strategy, designed for 2017–2021, is to radically increase the effectiveness of the reforms, create conditions for the comprehensive and accelerated development of the state and society, implement priority directions for the modernization of the country and liberalize all spheres of life. As you know, in almost all countries of the world, the basis for modernization of the country, innovation in the education system becomes a priority. Only through education can we move on to a new path of development both in science and in production. Creation of a highly effective system of professional higher education in the search and application of a qualitatively new educational and scientific system that meets the modern requirements of the spirit of the time. It is gratifying to note that until now, changes in the system of education and science have occurred in accordance with the historical realities of the whole world, in particular our country. In order to maintain a unified educational space, to implement the continuity of state standards at all levels and levels of education. The theoretical foundations of solving the problem of the formation of intellectual skills are widely represented in a number of psychological and pedagogical studies. Conclusions and recommendations on the formation of skills of didactic activity of an elementary school teacher are proposed.

This study is an attempt at reading Jack Kerouac’s “The Subterraneans” in the light of the theory of Michel Foucault. “The Subterraneans”, written in 1958, grapples with the life of Leo, the alter ego of Jack Kerouac himself. The actions and interactions of its main characters, Leo Percepied and Mardou Fox, are observed and analyzed, focusing on the political philosophy of Foucault, specifically his conceptions of power, power relations, institutions, and surveillance to shed light on the ideas of Kerouac, the spokesperson of the Beat Generation. Kerouac’s novel represents the spirit of the age of a people who sought change, difference, and disobedience; the main characters are antiheroes who challenge their prisonlike structure of the society. In contrast, the government has the upper hand by means of its distinct and overlapping institutions that not only neutralize such acts or resistances but make normal and ordinary those individuals who were themselves the promoters and examples of abnormality. Jack Kerouac’s “The Subterraneans” is characterized by unfreedom, obedience, unthinking men, individuals without individuality, and disillusionment.

The populist repertoire relies on the glorification of the people against the elites and establishment; it operates through an antagonistic discourse driven by blame and emotional appeals. The opportunity to observe the populist style emerges during “critical moments” in political life when the appeal to the people becomes clear in the midst of the competition to determine how the conditions of life will be reproduced. There are a limited number of studies of female populist leaders that focus on their alternative role or form of political articulation. This article aims to contribute to our understanding of female populist leadership by examining the populist discourse and performance of Meral Aksener, the General Chair of the IYI Party (the Good Party) in Turkey. Aksener’s campaign speeches during the presidential election of 2018 are analyzed with a view to understanding how populist frames came to permeate the Zeitgeist in Turkey at that time.

COVID-19 is truly an unprecedented event, forcing nearly four billion people into isolation, social distancing, and requiring people to rigorously follow public health measures such as frequent hand washing and indoor face-covering. People around the world have spent months staying home-bound, enduring significant financial, social, and emotional costs. They have been feeling anxious, irritable, afraid, and ambivalent in the wake of an invisible, pervasive, and potent pandemic. A strength focus can help us mitigate unwarranted or excessive negative emotions engendered by maintaining social distancing. This paper posits that by using our strengths, we can enhance our psychological immunity through pragmatic actions to enhance our daily wellbeing. More importantly, we can reframe and reappraise challenges to build perspective in dealing with global crises such as pandemics and disasters. Strengths expressed through pragmatic actions can boost our coping skills as well as enhance our wellbeing. Consistent with the zeitgeist of our times-equity, social justice, digital connections, the paper offers easily implemented, concrete actions using character strengths in adaptive ways to reduce the likelihood that social distancing will result in overwhelming anxiety, lack of structure or stimulation, and demoralization.

Even though traditionally a major analyst of the status quo of the British nation, British theatre has barely responded to Brexit. Two recent plays that seem to have captured the Brexit zeitgeist p...

Este artigo busca fazer uma leitura da obra de Antonio Peticov à luz da psicologia analítica. Jung considerava a imaginação como uma das principais funções da psique, isto é, ela é a expressão direta da atividade vital e uma forma pela qual a energia psíquica manifesta-se na consciência. É pela fantasia que o homem é capaz de lançar-se em um processo de simbolização, de maneira a tornar-se um criador inesgotável de novas possibilidades culturais. A psique, ao encher-se de imagens em um fluxo contínuo, dá amplitude à experiência exterior. Desse modo, a obra de Peticov emerge como uma fotografia do inconsciente, revelando seus aspectos pessoais e coletivos. Contextualizada dentro de um tempo histórico, ela nos fornece uma leitura do movimento de seu tempo, do zeitgeist, ou seja, do espírito da época, e pode também ser prospectiva, nos indicando o que está por vir.

This contribution assesses the functioning of Europe's Economic and Monetary Union (EMU) during the first 20 years of the euro's existence. It argues that two formative intellectual currents converged at Maastricht to shape the design and reception of the euro regime: ordoliberalism and neoliberalism. Germany's ordoliberalism inspired and shaped the euro regime design. Neoliberalism fashioned the reception of what was agreed at Maastricht under the influence of Bundesbank dogma and power. As a product of the zeitgeist, Europe got stuck with a deeply flawed euro regime. The Maastricht Treaty institutionalized an asymmetric (growth-unfriendly) policy regime. This suited the macroeconomic mainstream well, fighting the ‘1970s stagflation war’ for the past 40 years. Twenty years of euro disillusion have produced the exact opposite: ‘stagdeflation.’

The transition towards a post-postmodern zeitgeist has attracted much scholarly attention over the last decade, highlighting the major traits of the coming post-postmodern condition, such as sincerity challenging irony, reconstruction despite paradoxes, hope despite difficult circumstances and structure counterbalancing anti-structure in lived experience. Nevertheless, we know little about what is happening with regard to nostalgia, a key characteristic of postmodernity, especially in terms of one of its major components, pastiche. From the start of the 1990s, marketing research on postmodern nostalgia and pastiche has largely focused on different models of cars. Through an interpretive analysis focusing on the dual comeback of an Italian car, the Giulia, this article aims to investigate the existence and forms that nostalgia and pastiche take under the new zeitgeist. It highlights a mutation of nostalgia that is becoming regenerative. The major consequence of this is the changing nature of pastiche, from stylistic to essentialist. Our understanding of the coming zeitgeist has also improved: in addition to confirming the major features of post-postmodernity already established in the literature, this study argues that the possibility of a (mini)miracle is another key feature of our times.

O texto que aqui apresnetamos pretende, partindo dos inúmeros escritos dispersos, fragmentários e plurais que Abel Gance nos legou, delinear uma poética do seu cinema tendo como base um elemento fundamental da criação cinematográfica: a luz. O objetivo é relevar o papel fundamental que a luz ocupa, não apenas no cinema de Gance, mas em toda a sua mundividência artística e na sua existência pessoal, indo do entusiasmo mais fervoroso de cariz religioso ao enlevo mais incisivo de cariz cinematográfico. O texto divide-se em três partes fundamentais. A primeira propõe um breve perfil do autor, enquadrando-o no seu contexto histórico e no universos estético em que se formou, aludindo às suas muitas influências e identificando possíveis descendências. A segunda, que constitui a parte fulcral e mais extensa do texto, aborda precisamente o tema central aqui problematizado, a luz, nas suas múltiplas modalidades e níveis, seja enquanto matéria ou enquanto metáfora. A terceira debruça-se sobre o lado oposto, escuro, lunar, que atravessa a vida do cineasta francês, seja pessoal seja criativamente. Visionário na sua obra fílmica e prolixo no seu legado textual, os seus pensamentos, vastos na sua amplitude temática, densos na sua erudição, plurais no seu estilo, enciclopédicos na sua ambição, constituem um valioso contributo para uma hipotética teoria do(s) cineasta(s), na medida precisamente em que raras vezes uma voz e uma visão foram tão entusiásticas e tão analíticas, tão rigorosas e tão confessionais, tão poéticas e tão elípticas, configurando-se num prisma de múltipla faces que nos permite mergulhar, vertiginosa e profundamente, no zeitgeist criativo de um momento fundamental da história do cinema, a década de 1920, e num dos seus realizadores mais espantosos.

The aim of the article is to conduct in-depth analysis of design activity of a leading Ukrainian avant-gardist Vadym Meller with the focus on his stage design and stage costume. Methodology of the research is determined by application of historical method and method of art criticism, namely formal stylistic analysis. Novelty of the research. The research includes detailed analysis of design activity of Vadym Meller and his ideological relationship with the Bauhaus. It is for the first time when problems and reconstruction experience of stage costume based on sketches by V. Meller, conducted by the Museum of Theater, Music and Cinema of Ukraine, have been studied. The article introduces the term costume construction which shows constructive approach of the artist to staging a play as a whole. Stage costume is seen being integrated into the stage setting; it interacts with the setting by movements and recurrence of colours. Thorough choice of details let the stage picture change, reinforcing the content of the play. Conclusion. Avant-garde design of Vadym Meller proves the fact that high quality of his art is the result of special search of inner-driven stylistic compliance with the spirit of the time. This idea provides basis for contemporary designers to reconsider the approach to interaction with avant-garde trends: not only to borrow avant-gardists forms and colours, but also to consider artistic searches and techniques to resolve ethical issues.

Цитирование: Ильин В.И. (2020) Человек на старом Русском Севере: между свободой воли и структурным принуждением (исторический очерк в терминах экзистенциальной социологии) // Мир России. Т. 29. № 3. С. 6–27. DOI: 10.17323/1811-038X-2020-29-3-6-27 Целью данной статьи является анализ мобильности населения старого Русского Севера в терминах экзистенциальной социологии. Задача решается на основе вторичного анализа исторической литературы и официальной статистики. Ключевой исследовательский вопрос: зачем люди жили и до сих пор живут в неблагоприятных климатических условиях при наличии в стране иных вариантов? Современный ракурс того же вопроса: зачем из этих мест уезжают люди, чьи предки жили тут веками? С одной стороны, миграционное поведение индивидов объяснимо конкретно-историческими объективными факторами, не зависящими от них: природными условиями, влияние которых зависит от характера производительных сил в данную эпоху и в данном месте, геополитической ситуацией, внутренней политикой государства, экономическим развитием страны, системой культуры и т.д. В русле этой логики индивид выступает лишь исполнителем навязанной ему воли. С другой стороны, индивиды обладают определенной свободой воли и выбора цели, а также пути к ней даже в самых узких щелях объективных структур. Интеграция двух типов факторов мобильности происходит через индивидуализацию обстоятельств: в одних и тех же условиях разные индивиды выбирают различные стратегии поведения, исходя как из своих индивидуальных возможностей, так и из личных устремлений, пропитанных духом эпохи. В итоге мы наблюдаем в каждый исторический период особый набор доминирующих или значимых моделей мобильности. Их важной составной частью являются степень индивидуальной свободы и комплекс мотивов мобильности.В современных условиях мобильность жителей данного региона обусловлена не только динамикой его социально-экономического развития, во многом предопределенной неолиберальными реформами и региональной политикой центра, но и серьезным сдвигом в системе доминирующих ценностных ориентаций, в которых все более заметное место занимают гедонистические ценности общества потребления. Результатом является тренд к сокращению общей численности населения региона и социальному опустыниванию части сельских территорий, и продолжавшаяся веками цивилизационная экспансия сменилась сжатием.

Este artigo analisa a noção de senso comum nos livros didáticos de sociologia brasileira, que normalmente o aplicam na conceituação do que é ciência para delimitar o lugar da sociologia de um ponto de vista epistemológico e pedagógico. Foram analisados livros de sociologia que abordaram o termo “senso comum” e o explicaram, seja de maneira direta ou de maneira indireta. O resultado da pesquisa apontou que a definição indireta se baseia no zeitgeist hegeliano – pois concebe o senso comum como um bloco monolítico de pensamento que se opõe dualmente à ciência – e que a definição direta se baseia na revisão do conceito na filosofia – e o “transplante” dele para o livro didático de sociologia, dado que gera interessantes consequências também para o ensino de filosofia. No fim, refletimos sobre a retirada e a colocada da sociologia e da filosofia nos currículos escolares brasileiras com base no modo como o conceito de senso comum se configurou no corpus empírico analisado, buscando contribuir para e explicação desse fenômeno.

Patrick Mahaffey’s Integrative Spirituality: Religious Pluralism, Individuation, and Awakening is a sophisticated and deeply considered series of relationships between Jungian and archetypal psycho...

Re-enchantment taps well into the current zeitgeist: The rising focus on emotions and post-material values also in organizational context. Enchantment is deeply tied to socially generated emotions. Our aim is to develop the concept of copassion, referring to the process of responding to the positive emotion of a fellow human being. Concepts are crucial as they shape our understanding of the world. Our core claim is relating to our colleagues’ positive emotions not only enables and maintains but also fosters enchantment at work. In this article, by laying the ground by discussing enchantment and the theoretical framework of intersubjectivity, we will link copassion to the physiological and evolutionary basis of humans, as well as explore its conceptual neighbors. Finally, we will discuss intersubjectivity, and particularly mutual recognition, as well as the inseparability of compassion and copassion in human experience at work, and its implications to the study of enchantment.JEL CLASSIFICATION: M14 Corporate Culture, Diversity, Social Responsibility

This article explores whether the current populist zeitgeist has changed the social representation of the political labels ‘left’ and ‘right’ in terms of their relevance, understanding and meaning. We merged two post-electoral quota samples of the Italian adult population. The first (N = 1,377) was collected in 2006 by the ITANES research group, the second in 2019 (N = 1,504) for this study. We analysed the relevance of left and right in politics as the frequency with which participants placed themselves on the left–right axis; its understanding as the frequency with which participants answered at least one of two open-ended questions about the meaning of such categories, and the meaning participants gave to left and right in politics through content analysis of their responses to the open-ended questions above. From 2006 to 2019, the relevance and understanding of left and right declined. In terms of meanings, references to the traditional elements of left and right became less common, while references to specific leaders, and the notion of ‘left’ and ‘right’ in politics no longer making sense, became more widespread; moreover, none of the other populist categories significantly changed their frequency. This study expands the scope of the previous research on this topic also by identifying the critical role that political interest plays in the changes on which we have focused. Strengths, limitations and implications of the study are discussed.

This text discusses the presence, among evangelical youth in Porto Alegre/RS,Brazil, of an ecclesiological ideology known as “Kingdom culture”, which is opposed to what young participants from different denominations consider a negative model of “religiosity”. It emphasizes how the notion of “Kingdom” is the starting point for a paradigm shift in youth evangelical relations with “culture” and the secular. It is demonstrated that the “Kingdom” imposes new theoretical challenges to the investigations on the evangelical presence in the public space, demanding an analysis which takes into account the multiple aspects of what is natively understood by “Kingdom”, and which seeks simultaneously, to understand the activation of the “religiosity” category from a descriptive undertaking of the articulations of concepts. Moreover, reflections on the generational character of the “Kingdom culture” movement are still within the scope of this article, seeking to understand it as a manifestation associated with young evangelicals who live the present “spirit of the time”.

Globalisation is a phenomenon that dominates the defining spirit (zeitgeist) of our historical time. The article revisits Popper’s critique of the methodology of the social sciences in the light of contemporary theories of globalisation. His standpoint contributes to the establishment of new arguments in the current debate between the pros and cons of globalisation. Here, neoliberalism, the dark side of globalisation, is carefully scrutinised since it is the most controversial consequence of the world’s transformation. Not only does neoliberalisation accelerate the rapid growth of the free market, but its consequences are such that most sovereign nation-states have abandoned the previously de rigueur welfare policies. Paradoxically, the neoliberal economic programme, invoking liberal values with which it has little in common, encourages activities which diminish the importance of regulations and control by the state, ultimately leading to increased social disparity among people and permanently threatening traditional liberal values. Against such a reductionist policy of global social engineering, we oppose the arguments presented in Popper’s critique of historicism and holism in order to revise the methodology that provides the grounds for current globalisation theories through philosophical research. We integrate the facts into a coherent critical argument to point out the shortcomings of these theories and how they can be corrected. Finally, in proposing plausible solutions for the new role of the sovereign nation-state in correcting the negative consequences of the globalisation process, we clarify which aspects within the theories of globalis ation require further philosophical research.

espanol"E Unibus Pluram" de David Foster Wallace es un relato del predominio de la ironia destructiva a fines del siglo XX. Tratando de liberarse del solipsismo provocado por el relativismo posmoderno, Wallace abrazo la sinceridad como la piedra angular del zeitgeist del nuevo milenio. Este articulo ofrece un analisis de dos fuentes de influencia destacadas que podrian considerarse como inspiracion para la alternativa de Wallace a la ironia posmoderna: el trascendentalismo estadounidense y las investigaciones filosoficas de Ludwig Wittgenstein. Se hace con la intencion de promover la comprension del significado cultural de la obra del autor para la generacion de escritores que siguieron su estela, y demostrar como la recuperacion de los ideales romanticos puede ser la clave para trazar la naturaleza del cambio de paradigma hacia el posmodernismo. EnglishDavid Foster Wallace’s “E Unibus Pluram” is an account of the prevalence of destructive irony at the end of the twentieth century. Trying to break free from the solipsism brought about by postmodern relativism, Wallace embraced sincerity as the cornerstone of the zeitgeist of the new millennium. This article offers an analysis of two salient sources of influence that could be considered as inspiration for Wallace’s alternative to postmodern irony: American transcendentalism and Ludwig Wittgenstein’s Philosophical Investigations. It does so with the intention of furthering the understanding of the cultural significance of the work of the author for the generation of writers that followed in his wake, and to demonstrate how the recovery of Romantic ideals may be the key to map out the nature of the paradigm shift to post-postmodernism.

When we first anticipated the research project concluded with this special issue, about eight years ago, it seemed timely and appropriate to investigate the opportunities and the challenges of self-management in mental health care. At the time self-management was well on the rise in general health care, offering both empowerment to patients and efficiency and cost-effectiveness to the health care system. It seemed a most promising approach in an era that celebrates individualistic self-reliance. And we were sure about our insight that self-management in mental health care would deserve comprehensive investigation because ‘the self’ that was supposed to do the management would itself be the core problem in psychiatric and psychosomatic conditions.Now that the project is over and done with some changes seemed to have happened in the general appreciation of individualism and of the dominant kind of management. As we are writing this during the COVID-19 crisis – locked up at home obeying the instruction to keep physical distance – these changes seem to accelerate. We cannot do it alone. And we shouldn’t think of self-regulation in terms of decisive control. Solidarity and entrustment markedly strike home. It may be that we have picked up the Zeitgeist in our research or have played a role ourselves in bringing about these changes. Either way, the results discussed in this issue certainly resonate with a transformation that might be in progress. In this concluding paper we want to highlight two novel features of our understanding of self-management as it turned out to find articulation in our investigations. One feature concerns a shift in our understanding of management, a shift away from decisive control towards an embedded facilitation. We can follow this shift along three lines of analysis, which concern different scaffolding resources: environmental cues, language and caregivers. The other feature concerns the acknowledgement of a potentially persistent ambiguity of the self as an element of self-management. The preceding papers display the conceptualization of this ambiguity along five different dimensions of ‘the self’: responsible agency, experiential subjectivity, personal integrity, narrative authority and existential concern.

Mit der Wiederentdeckung der Musik Johann Sebastian Bachs im 19. Jahrhundert kamen Klaviertranskriptionen von dessen Kompositionen, insbesondere seiner Orgelwerke, in Mode. Dementsprechend stammen aus dieser Zeit die wohl bekanntesten Beitrage zum Genre (z.B. von Busoni, Reger, Liszt, Stradal), aber auch im 20. Jahrhundert, zu Zeiten der historischen Auffuhrungspraxis, nahern sich Komponistinnen und Pianistinnen bis heute den Werken Bachs durch Klaviertranskriptionen an (z.B. Kempff, Kurtag, Kabalewsky, Bartok). Das Spektrum der Klaviertranskriptionen reicht von einer reinen Ubertragung des Notentextes auf die spieltechnischen Moglichkeiten des Konzertflugels, uber Bearbeitungen, die versuchen den Orgelklang so authentisch wie moglich auf dem Klavier zu imitieren, bis hin zur freien ›Nachdichtung‹. Die vorliegenden Analysen untersuchen, inwiefern die Bearbeiter die Werke Bachs an ihre eigenen, dem Zeitgeist entsprechenden Klangvorstellungen anpassten und wie weit die Bearbeitungen somit als Zeugnisse der Interpretations- und Rezeptionsgeschichte, aber auch der individuellen Klangvorstellung der Komponisten angesehen werden konnen. With the rediscovery of Johann Sebastian Bach’s music in the nineteenth century, piano transcriptions of his compositions, especially his organ works, became fashionable. Accordingly, the most well-known contributions to the genre originate from this period (e.g., Busoni, Reger, Liszt, Stradal). But also in the twentieth century, in times of historical performance practice, composers and pianists continued to approach Bach’s works through piano transcriptions (e.g., Kempff, Kurtag, Kabalewsky, Bartok). The spectrum of piano transcriptions ranges all the way from a mere transfer of the organ score onto the concert piano’s technical possibilities to arrangements that attempt to imitate the organ sound as authentically as possible on the piano to free adaption. The following analyses examine to what extent the arrangers adapted Bach’s works to their own concept of sound corresponding to the zeitgeist and to what extent the arrangements can thus be regarded as testimonies to the history of interpretation and reception as well as the composers’ individual sound conceptions.

The article explores the phenomenon of moral kindness, analyses its specificity, reveals its humanistic meaning and its chances for survival and affirmation in the present “unkind” world; outlines the moral necessity of the “courage of kind­ness”. The correlation between the idea of Good and kindness as an unaccount­able, “pre-notional” expression of orientation towards good in the life of human person and in individual and joint practices is traced. As shown in the article, en­gageability, often associated with significant moral hazard, is the characteristic feature of kindness. However, kindness is inherent in a special kind of insight. The principal addressing of kindness to the Other determines its relationship with conscience, spirituality, trust. It is shown that the pragmatic tendencies of nowaday epoch represent a challenge that requires not abandoning the culture of human kindness, but its consistent deepening in a reasonable polemic with the prevailing “spirit of the time”. A vector of kindness is an indispensable pre­condition for curbing the threats hanging over humanity and preserving human identity itself. On the basis of what has been said, the well-known communica­tive paradigm of “solidarity of the shocked” is rejected for the sake of an alterna­tive idea of the practical unity of people based on positive moral aspirations. It seems that our time opens up new paradoxical possibilities for the realization of this idea.

ملخص: حوى المذهب الاعتزالی بداخله الکثیر من الشخصیات اللغویة الذین تأثروا فی آرائهم وتوجیهاتهم به، ومن هذه الشخصیات البارزة فى تاریخ الثقافة العربیة ابن جنى اللغوى، فجاء البحث تحت عنوان: (أثر الاعتزال فی الجانب الکلامی عند ابن جنى) والذى انتهى إلى أن ابن جنى کان من أشد دعاة المذهب المعتزلى فى عصره حیث غلبت علیه النزعة الاعتزالیة، وتمثل جانبا کبیرا فى تکوینه ومنهجه العقدى، ویرجع ذلک إلى روح العصر الذى عاش فیه وتلمذته على کبار مشایخ المعتزلة، فبنى کلامه فى الصفات الإلهیة على مذهب أهل الاعتزل؛ فذهب إلى نفى صفات الله تعالى وتعطیلها عن معانیها بحجة التشبیه والتجسیم، کما عرض ابن جنى أفعال العباد وموقفه منها على طبیعة المذهب الاعتزالى حیث ذهب ابن جنى إلى أن أفعال العباد لیست مخلوقة لله، وأن العبد هو الخالق لأفعاله بنفسه ونفیه خلق الله تعالى للشر. Abstract: The school of Muʿtazilah had many linguists whose opinions and views were influenced by the Muʿtazilah doctrine. Among those prominent figures was Ibn Jinnī the linguist. So, the research is titled, "Effect of Iʿtizāl on Theological Thought of Ibn Jinnī". The research concludes that Ibn Jinnī was one of the strongest advocates of the Muʿtazilah doctrine. He was mentally possessed with the Muʿtazilah tendency, which formed a major part of his personality and belief. This was attributed to the zeitgeist prevailing in his era along with being a disciple of the senior scholars of the Muʿtazilah doctrine. His opinions on the Divine Attributes were based on the Muʿtazilah doctrine. He denied the Attributes of Allah Almighty and refused the interpretation thereof arguing that interpretation is a form of anthropomorphism. Besides, Ibn Jinnī touched upon the deeds of the servants of Allah and declared his opinion on the same according to the Muʿtazilah doctrine. He concluded that Allah is not the Creator of the servant's deeds. Rather, they are the creator of their own deeds. He also added that Almighty Allah did not create evil.

The advancement of technology, particularly the internet, has given cyber literature a prominent public recognition for its wide availability online and it has also acquired a place among the world of literature. Using the concept of zeitgeist proposed by Krause and relating it to the cyber literature on Instagram with the cultural phenomenon that is happening in Indonesia in 2018-2019, this research aims to address these questions: (1) why Instagram becomes the zeitgeist of cyber literature and (2) how Nanti Kita Cerita tentang Hari Ini (NKCTHI) reflects the zeitgeist of cyber literature on Instagram. Other than that, by considering Yongqing, Pignanolli, and Hayles’ works on digital media and cyber literature, this research found that the proliferation of cyber literature does not diminish printed literature. Instead, by investigating the phenomenon of the rising popularity of NKCTHI in Instagram, this research came to what Yongqing has suggested that cyber literature complements printed literature. Keywords: cyber literature, instagram, zeitgeist, NKCTHI Seiring dengan perkembangan teknologi internet, sastra siber yang dapat dengan mudah diakses khalayak ramai secara daring mulai mendapat tempat di dunia kesusastraan. Menggunakan konsep zeitgeist yang dibahas oleh Krause, penelitian ini bertujuan untuk memahami fenomena sastra siber di Instagram dengan mengaitkannya dengan fenomena kultural yang terjadi di Instagram di Indonesia pada periode tahun 2018-2019, untuk menjawab pertanyaan: (1) mengapa Instagram dapat menjadi zeitgeist dari sastra siber dan (2) bagaimana Nanti Kita Cerita tentang Hari Ini (NKCTHI) mewakili zeitgeist dari sastra siber yang ada di Instagram. Selain itu, merujuk pada penelitian yang sudah dilakukan oleh Yongqing, Pignanolli, dan Hayles, hasil penelitian ini menemukan bahwa adanya sastra siber tidak serta merta menghapus keberadaan sastra tradisional dalam bentuk cetak. Alih-alih, seperti yang Yongqing telah paparkan, dengan menyelidiki fenomena populernya NKCTHI di Instagram, penelitian ini berkesimpulan bahwa sastra siber melengkapi sastra tradisional yang telah ada. Kata Kunci: sastra siber, instagram, zeitgeist, NKCTHI

The Third Science Revolution described by Kristian Kristiansen (2014) has been openly embraced and is currently underway in archaeology. It has brought considerable improvement in terms of scientific methods and approaches, but at the same time, it brings with it the risk of transforming archaeology into something that is methodologically uniform, inflexible, and oversimplified, or in other words, a methodologically monistic discipline. This is particularly evident when it comes to Big Data: the Third Science Revolution has inaugurated a new understanding of data, one that reduces archaeological reality exclusively to those elements that are quantifiable. The aim of this paper is to demonstrate that archaeology needs to go beyond Big Data, and the Third Science revolution in general, and embody qualitative research. This can be done by incorporating methods and theories from history and anthropology that contextualize the purposeful character of past human action. This requires (re)embracing case-study research, but also recognizing a meaning of ‘case-study’ that has been largely ignored: as a paradigmatic example of a Zeitgeist - a context where different institutions, power relations, and ideologies are all entwined.

A literary work is not an object that stands by itself and offers the same view to each reader in each period, therefore literary works are always actualized and finally achieve a new existence. This study is aimed at describing (1) the actualization of women’s roles in Bertolt Brecht’s and Nano Riantiarno’s plays and (2) Nano Riantiarno’s horizons of expectation. The data sources were Brecht’s play Die Dreigroschenoperand Riantiarno’s play Opera Ikan Asin. The study was reception approach. Data analysis was performed by conducting a comparative analysis of the actualization of the women’s roles in the two plays and historical analysis to find Riantiarno’s horizons of expectation. The results show that the actualization of women’s roles appear in self-independence at work, sternness, and calmness in dealing with problems. Riantiarno’s horizons of expectation appear in his pre-experiences concerning women’s roles, implicit relationships with previous literary works on women’s roles, and opposition between fiction and reality, poetic and practical fuktion of language in the two plays. Riantiarno’s actualization of the women’s roles in Opera Ikan Asin is influenced by horizons of expectation and Zeitgeist (the soul of a different era).Keywords:women’s role, play, feminism, horizon of expectation, Zeitgeist

The purpose of this paper is to analyze the poetic techniques in Cathal Black’s Korea, a film in which he reconstructs the trajectory of the postliberation Irish family in the 1950s. In focusing on poetic aspects of repetition, defamiliarization, and irony in relation to the filmic techniques of symbol, montage, and voiceover, I will demonstrate how Black’s poetic reconstruction of the era goes against the grain of the forward movement of the narrative. First, Black adopts the repetition of symbolic objects like eels and electricity to represent the state of an era in which hope and despair coexist. Second, Black’s montage technique produces a defamiliarization effect. Juxtaposing disparate images and sounds, Black delivers a sense of shock and confusion, a key to understanding the spirit of the age. Finally, the ironic voiceover that unsuceessfully drives the narrative of the film works as a device for the reconstruction of recent Irish history. The narrator who lacks the capacity to overview his circumstance holds ambivalent attitudes toward the past, neither indiscriminately critical nor blindly nostalgic. With the repetition of symbolic objects, the radical montage, and the ironic voiceover, Black shows the anomalous state of postliberation Ireland in the 1950s, in which the trauma and nostalgia of the old generation and the hope and apprehension of the young generation are commingled like an oxymoron.

Although grand, explanatory theories of tort law come apart from one another in many ways, they also have a fair amount in common. One core claim found in the work of various Kantian theorists, as well as a number of leading rights theorists, is that tort law develops, incrementally, in such a way as to achieve ever greater coherence (where such coherence is measured according to key tenets of the particular theories). This article takes issue with that claim. It shows, by reference to a host of legal landmarks, that tort law neither does, nor must, develop in this way. A great many important innovations in tort cannot be reconciled with central aspects of the theories in view, but they are easily explained by reference to major changes in material conditions of life, shifts in the ideological Zeitgeist, judicial partiality and juristic influence. As long as such factors are free to exert their influence – and there is nothing to suggest that they are not so free – it is implausible to suggest that tort law will inexorably move towards a state of ever greater coherence.

Joan Didion’s «The White Album» – the key essay of the 1979 nonfiction book of the same name – offers the reader a reflection on the ethical and aesthetic predicament of chronicling the countercultural Zeitgeist of 1960s California by imposing a narrative line on «stories without a narrative». To do so, Didion hones her authorial persona as survivor and witness to the end of a decade that finds its metaphorical climax in the Manson Murders. «The White Album» is therefore by all means a narrative of survival: Didion survives her life in «a senseless killing neighborhood» in L.A., the paranoia of her time, her own multiple sclerosis diagnosis, and her overexposed subjectivity. This essay looks at some of the stylistic devices through which Didion weaves her narrative by juxtaposing disparate and highly idiosyncratic images of that season.