scholarly journals Poetics of the visual image in the poem “Predators at the Chegem” by A. S. Grigoyedov

2021 ◽  
Vol 59 ◽  
pp. 174-184
Author(s):  
Ksenia A. Potashova
Keyword(s):  
Comparative Analysis ◽  
Visual Image ◽  
White Paper ◽  
The Caucasus ◽  
The World ◽  
The Subject ◽  
Symbolic Images ◽  
Artistic Image

The relevance of the issue is due to the need of clarifying the features of A. S. Griboyedov’s creative method. The subject of research is the poetics of pictorial depiction developed in Caucasian texts of the poet. Poetic system of the poem by A. S. Griboyedov's “Predators on Chegem” (1825), which is characterized by the symbolism of images, appears as the beginning of established tradition of a realistic depiction of the Caucasus. The paper outlines a peculiar way of seeing the poet, which consists in examining pictures around him, which according to his artistic system turns out to be identical to the process of comprehending the world. The novelty of the research is associated with the analysis of little-known sources in terms of poetics, renown for its successful attempts of visualizing an artistic image. The author displays the results of a comparative analysis of the draft and the white paper of the poem “Predators on Chegem”: identified and commented text corrections of the poet help to trace the evolution of the author's thought. Identifying of the features of recreation of space turns out to be the key to understanding the A. S. Griboyedov’s artistic thinking. The study highlights peculiarities of the artistic method in the “Caucasian text” A. S. Griboedov, emphasizes the importance of visualizing tools for creating natural, national, everyday pictures of the Caucasus. Representing Caucasian conflict in visual and symbolic images, A. S. Griboyedov synthesizes the genres of landscape lyrics, elegy, battle ode, and lays down the tradition of a realistic depiction of the Caucasus, further developed in M. Y. Lermontov’s works.

scholarly journals THE WORLD OF IMAGES IN SANTTU KARHU’S POETRY

2019 ◽  
Vol 13 (2) ◽  
pp. 248-257
Author(s):  
Natalia Valerievna Chikina
Keyword(s):  
Language Poetry ◽  
Language And Culture ◽  
Life And Death ◽  
Systemic Analysis ◽  
The World ◽  
The Subject ◽  
Symbolic Images ◽  
Good And Evil ◽  
Folk Poetry ◽  
Original Concept

The paper analyzes the works of a well-known poet and rock musician S. Karhu, who writes in the Karelian language. The aim of the study is to highlight the author’s artistic system of images. The following tasks were set for the study: to formulate the poet’s original concept, to scrutinize and comment on the images in Karhu’s lyrics. The object is verses from the first and so far only volume. The subject of the study is the specific ethnic traits of Karhu’s poetry, as seen in the system of images. Literary-historical and comparative methods were used in the analysis. The scientific novelty is in the absence of similar studies on the poet’s works. Systemic analysis of the ethnic sources, the evolution and genre choices of the Karelian language literature associated with the changing artistic consciousness are coming to the foreground in this time of global change, when preserving the people’s cultural heritage is especially important. The poet’s personal background has brought him into the sphere of artistic creativity, enabled him to verbalize the world of ethnic life that had been opened up to him. The article points out some specific features of the world of images, language and culture of the Karelian people. Karelian literature shows a tendency to use folklore heritage. The transformation of folk poetic symbolic images is arguably the most characteristic trait of folklorism in contemporary Karelian-language poetry, where folk poetry symbols tend to be equaled with the image of the native land. Karhu’s philosophical verses increasingly pose and confidently resolve the questions of good and evil, happiness and pain, life and death. It is essential for him that the character retains the folklore origins, for he deems it to be the spiritual source of modernity.

The Untouchable Soldier: Caste, Politics, and the Indian Army

1969 ◽  
Vol 28 (3) ◽  
pp. 453-468 ◽  
Author(s):  
Stephen P. Cohen
Keyword(s):  
Comparative Analysis ◽  
Social Systems ◽  
Indian Politics ◽  
The World ◽  
The Subject ◽  
Caste Politics ◽  
Relationship Of

Military establishments are omnipresent if not everywhere omnipotent. While these costly bureaucracies are the bane of finance ministers around the world, they do provide an important opportunity for comparative analysis. This paper examines a military system—the Indian one—through time, and attempts to demonstrate the changing relationship of that system to Indian politics and society in general, and to the low-caste communities of India in particular. We select the low-caste untouchables because they represent an extreme challenge to the integrative capacity of both political and social systems, and because they have recently been the subject of intensive political and academic concern.

scholarly journals “Congenial people”, “dissonant people” and “image of the word” of a mature person

2020 ◽  
pp. 54-68
Author(s):  
Valeriya Alperovich
Keyword(s):  
Comparative Analysis ◽  
Theoretical Study ◽  
Psychological Characteristics ◽  
Basic Principles ◽  
The World ◽  
Different Types ◽  
Communication Partners ◽  
Positive Assessment ◽  
The Subject ◽  
Mature Person

This research is dedicated to the problem of correlation between perception of other people by a subject and phenomenon of the “image of the world”. This topic is relevant for scholars of humanities in different countries in conditions of aggravation of various macrosocial conflicts. A theoretical study is conducted on correlations between the phenomena of “image of the world”, “worldview”, “model of the world”,  and approaches of the Russian psychology towards them. The author explores the results of empirical study of the “image of the world”, reflected in drawings, through the prism of metaphorical representations of a mature person on “congenial people” and “dissonant people”. The goal consists on carrying out a comparative analysis of peculiarities of the “image of the world” among persons differing in metaphorical representations on “congenial people” and “dissonant people”. The subject of this research is the metaphors of "congenial person” and “dissonant person”, the basic principles of a person and types of the “image of the world” depicted in drawings and verbal characteristics. The scientific novelty lies in the development of additional parameters for the analysis of the “image of the world” of a person, reflected in drawings. This article is first to determine correlations between different types of metaphors of “congenial person” and “dissonant person” as communication partners, and parameters of the “image of the world” of a person depicted in drawings. The conclusion is made that attribution of positive metaphorical socio-psychological characteristics to “congenial people” and “dissonant people” is associated with positive assessment of the objects of surrounding world. Stereotypization of images of other people as communication partners correlates with such of the “image of the world” in consciousness of a subject. The research results indicate that perceptions of “congenial people” and “dissonant people” by the subject affect their “image of the world”. The presented materials can be used in socio-psychological counseling for elaboration of the programs of correcting the system of relations of the subject to themselves and other people.

scholarly journals Children of an Epoch or a Slave of His Time (about the System of Images and the Image of an Epoch in Literature)

2021 ◽  
Vol 4 (2) ◽  
pp. 10-19
Author(s):  
Albina Fedorovna Myshkina ◽  
Inessa Vladimirovna Iadranskaia
Keyword(s):  
Subject Matter ◽  
Historical Time ◽  
Philosophical Work ◽  
The People ◽  
The World ◽  
Ancient Times ◽  
The Subject ◽  
Artistic Image ◽  
Time Continuum ◽  
Historical Epoch

In human culture, since ancient times, fiction has developed as a mirror of time. Therefore, a dual understanding of time is reflected in the poetics of the work: firstly, it is the time that is connected with the narrative and is developed in the plot of the work (artistic time), and secondly, it is the time, the epoch of writing the work itself (historical time). The artistic image of the time is reflected not only in historical genres, but also in all other genres and styles of literature. The historical era of writing a work can be captured in the thoughts and worldview of the characters, in the conflict being developed, the subject matter and the problems involved. The relevance of the study is related to the fact that the tragic periods of history depicted in the work must be analyzed through the worldview and moral standarts of the people. In this regard, the purpose of this article is to identify the philosophical and aesthetic connection between the artistic time continuum and the historical epoch. The subject of the research in this article is the novelette of the literary scholar and prose writer Georgy Fedorov “Ai, mantaran hir mulkaci” ("Oh, poor hare »). In the course of the study, the following results were obtained: in an artistic and philosophical work, the category of time becomes both a method of deepening the character's personality, and an indicator of the figurative model of the world, and the subject of research.

scholarly journals The image of Boris Godunov in the drama by A. S. Pushkin and opera by M. P. Mussorgsky: comparative analysis of philosophical-aesthetic, psychological and social components

2020 ◽  
pp. 31-40
Author(s):  
Hui Zhang
Keyword(s):  
Comparative Analysis ◽  
Psychological Traits ◽  
Philosophical Idea ◽  
Unique Interpretation ◽  
The Subject ◽  
Boris Godunov ◽  
Social Components ◽  
Artistic Image

The subject of this research is the image of Boris Godunov viewed in three different aspects in the eponymous drama by A. S. Pushkin and in the opera by M. P. Mussorgsky. The goal consist in description of multifacetedness and complexity of image of the Tsar, as well as his main traits in representation of the poet and the composer, which helps the performers in staging the opera “Boris Godunov”. A comparative analysis of drama and opera is conducted in accordance with the tree main categories: philosophical-aesthetic foundation, psychological portrait, peculiarities of social environment and place of the hero therein. The main conclusions consist in determination of the important sides of possible interpretation of the image of Tsar as: 1) basic philosophical idea that underlies the entire play, and thus defines the role of Godunov in the artistic concept of stage director and actor; 2) key psychological traits that set the emotional tone for the image of Tsar Boris Godunov; 3) nature and specificity of relations between the protagonist and other characters. The scientific novelty of this article is defined by an attempt to determine the key trends in creating an artistic image of the hero by means of theoretical analysis of representations on protagonist in the drama by A. S. Pushkin and opera by M. P. Mussorgsky. The author believes that the range of qualities and traits imposed by these prominent upon Boris Godunov would help the novice actors to find the key to their unique interpretation of this character.

Symphonic compositions of Boris Tishchenko and the world music culture

2021 ◽  
pp. 10-17
Author(s):  
Iurii Eduardovich Serov
Keyword(s):  
World Music ◽  
Musical Language ◽  
Music Culture ◽  
The World ◽  
The Subject ◽  
The 1960S ◽  
Artistic Image

The subject of this research is the symphonic works of the prominent Russian composer of the late XX century Boris Ivanovich Tishchenko (1939 – 2010). His symphonic pieces synthesize different images, ideas, genres, and forms. This article explores various stylistic and linguistic effects upon his works, reveals the origins of fresh and unique artistic thinking. Emphasis is placed on the innovative role of B. Tishchenko in the revival of Russian symphonic style of the 1960s. Special attention is given to Tishchenko's succession of the great Russian symphonic tradition. The main conclusion lies in the thought that B. Tishchenko is one of the few among his contemporaries to remain faithful to the genre of great, “pure” symphony, as well as is the successor of the symphonic line of his brilliant teacher D. Shostakovich. The novelty consists in proving the thesis that symphonic style of B. Tishchenko is a holistic, meaningful, and truly modern phenomenon. Tishchenko amusedly delved into the new composing techniques, highlighting dodecaphony, aleatoric music, sonorism, pointillist music; however he did no remain faithful to these genres to the end; he constantly “refined” his musical language, introduced novelties for creating an artistic image.

scholarly journals An Ontological Politics of Comparative Environmental Analysis: The Green Economy and Local Diversity

2015 ◽  
Vol 15 (3) ◽  
pp. 140-151 ◽  
Author(s):  
Tim Forsyth ◽  
Les Levidow
Keyword(s):  
Comparative Analysis ◽  
Environmental Analysis ◽  
Science And Technology Studies ◽  
Domestic Politics ◽  
Green Economy ◽  
Policy Framework ◽  
Local Diversity ◽  
The World ◽  
The Subject ◽  
Tacit Assumptions

This article contributes to comparative environmental politics by integrating comparative analysis with debates about ontological politics as well as science and technology studies. Comparative environmental analysis makes two tacit assumptions: that the subject of comparison (e.g., an environmental policy framework) is mobile and can be detached from its contexts; and that studying this subject in more than one location can identify its diffusion and implementation anywhere. These assumptions are sites of ontological politics by predetermining (or restricting) environmental outcomes. Environmental analysis needs to consider how its own comparative acts might reify supposedly global frameworks rather than acknowledging how different localities appropriate and give meaning to them in diverse ways. The concept of civic epistemologies illustrates how domestic politics are organized around supposedly global concepts, rather than how global concepts diffuse around the world, as illustrated here by a comparative analysis of the United Nations’ Green Economy Initiative.

scholarly journals F. M. Dostoevsky – a writer or a thinker?

2020 ◽  
pp. 29-35
Author(s):  
Alexander Usachev
Keyword(s):  
Social Movements ◽  
Comparative Analysis ◽  
Social Practice ◽  
Research Method ◽  
Literary Text ◽  
Literary Texts ◽  
Philosophical Text ◽  
Time Space ◽  
The Subject ◽  
Artistic Image

The object of this research is the works of the prominent Russian writer F. M. Dostoevsky. The subject of this research is the opinion whether F. M. Dostoevsky first and foremost is the Russian philosopher and thinker, and only then a writer. The author examines the peculiarities of such roles in culture as philosopher, thinker and writer, which gives grounds to question unambiguous reference of the works of prominent Russian writer as activity of the thinker. The peculiarity consists in the fact that F. M. Dostoevsky’s literary texts is so rich in images and themes, that shifting the specificity of his artistic image into the background is not quite justified. Special attention is given to clarification of the essence of activity of the philosopher and the writer. The key research method is the comparative analysis of the facts of such types of social practice as the profession of writer, philosopher and thinker in their relation to the fundamental concepts of time, space, text and nature of its perception from the outside perspective .The main conclusion consists in the statement that the philosophical text maintains neutrality in relation to time, as is being written from the standpoint of eternity. Literary text, in turn, is “submerged” in time and space of the events taking place within it, and relies on recognizability of the characters and their existential characteristics. F. M. Dostoevsky appears to the audience as the creator of storylines and images, rather than a person who sets the trends and concepts of social movements.

scholarly journals The problem of novelty in legal science: to the question on methodological aspects of studying legal doctrines

2020 ◽  
pp. 28-39
Author(s):  
Vladimir Sergeevich Gorban
Keyword(s):  
Comparative Analysis ◽  
Scientific Knowledge ◽  
The Past ◽  
Legal Science ◽  
The World ◽  
History Of ◽  
The Subject ◽  
Methodological Approaches ◽  
Scientific Value ◽  
Methodological Aspects

The subject of this research is the problem of interpretation of continuity and novelty in carrying out historical-philosophical and problematic-theoretical reconstructions of legal doctrines of the past and modernity. The absence of due knowledge on the origin, history of acquisition and application of theoretical ideas of the past often leads to significant modifications, distortions and loss of historical linkage within the legal picture of the world. The repetition of legal ideas and theoretical constructs of the past is natural, but firstly it can and should be viewed as a methodological prerequisite for searching of approaches and means to substantiate the interests to certain aspects of law, and secondly, for ensuring scientific value of modern research, it must be clarified not by the conventionality of scientific knowledge, but based on the reconstruction of origin, application and valid meaning and designation of ideas. The methodology leans on the comparative analysis of legal ideas of the past and modernity in synchronic and diachronic angle. The novelty of the conducted research consists in interpretation of the problem of novelty in legal science based on the requirement for preservation of continuity in terms of their historical-philosophical and problematic-theoretical reconstruction. At the same time, such requirement reveals in a number of specific reconstructions and examples of utilization of methodological approaches for their conduct.

scholarly journals DEMONOLOGICAL IMAGES IN THE KARACHAY-BALKAR HEROIC EPOS "NARTA"

Kavkaz-forum ◽  
2021 ◽  
Author(s):  
Л.С. ГЕРГОКОВА
Keyword(s):  
Comparative Analysis ◽  
Research Methods ◽  
The Caucasus ◽  
Heroic Epic ◽  
The World ◽  
Characteristic Features ◽  
Good And Evil ◽  
Oral Stories

В статье рассматриваются демонологические (зооморфные, антропоморфные и зооантропоморфные) образы на материале памятника карачаево-балкарского фольклора героического эпоса «Нарты». Из текстов духовного памятника исследуемого этноса приводятся характерные примеры данных образов, встречающихся в качестве действующих персонажей. Актуальность работы обусловлена тем, что виды демонических персонажей карачаево-балкарского нартского эпоса рассматривались в некоторых трудах исследователей-фольклористов, но все еще этот вопрос не изучен в достаточной мере. Для раскрытия некоторых характерных особенностей антогонистов эпических героев при написании работы использованы текстологический, описательный, сравнительно-сопоставительный и структурно-смысловой методы исследования. В статье проведен сопоставительный анализ антропоморфных образов в мифологических обычаях территориально близких народов Кавказа. Материалами исследования послужили тексты, напечатанные в академическом издании «Нарты», опубликованном в 1994 г. (составитель Т.М. Хаджиева). В нем зафиксированы записи устных рассказов карачаевских и балкарских сказителей, собранные в ходе полевых экспедиций. К категории представленных демонических персонажей карачаево-балкарского нартского эпоса относятся, прежде всего, «эмегенле» − «великаны», «сарыуекле, желмауузла» – «змеи, многоголовые драконы», «алмосту» – «алмасты, антропоморфными существа женского пола», «губула» – «пауками», «джинле» – «джинны», «обур, къуртха» – «старуха-колдунья», обитающие в параллельном от нартов мире. В фольклорных текстах довольно подробно описан внешний вид, место обитания, физические и умственные возможности зооморфных, антропоморфных и зооантропоморфных образов. Мифологические герои несут в себе разрушительную мощь, что является причиной их несовместимости в мире с нартскими богатырями, которые в свою очередь обладают созидательной силой. Следовательно, между ними зарождается вражда (борьба добра со злом). Проведенный анализ показал, что благодаря имеющимся в устных произведениях мифическим образам, устные произведения народного эпоса карачаевцев и балкарцев наполнены богатым воображением и живописным содержанием. The article examines demonological (zoomorphic, anthropomorphic and zooanthropomorphic) images based on the oral monument of the Karachai-Balkarian folklore of the heroic epic "Narts". Characteristic examples of these images are given, who are protagonists in the texts of the spiritual heritage of the studied ethnos. The relevance of the work is due to the fact that the types of demonic characters of the Karachai-Balkarian Nart epic were discussed in a number of research works, but this issue has not yet been sufficiently studied. To reveal some of the characteristic features of antagonists of epic heroes, when writing the work, textological, descriptive, comparative, structural-typological and structural-semantic research methods were used. The article provides a comparative analysis of the anthropomorphic images in mythological customs of the geographically neighbouring peoples of the Caucasus. The materials of the research were the texts published in the 1994 academic edition "Narts" (compiled by Khadzhieva T.M.), which contains records of oral stories of Karachai and Balkarian storytellers collected during the field expeditions. The category of presented demonic characters of the Karachai-Balkarian Nart epic includes, first of all, "emegenle" − "giants", "saryuekle, zhelmauuzla" − "snakes, many-headed dragons", "almostu" − "almasts, female anthropomorphic creatures", " gubula "−" spiders "," jinle "−" jinn "," obur, kurtha "−" old woman-witch ", living in a world parallel to the Narts. The folklore texts describe in some detail the appearance, habitat, physical and mental capabilities of zoomorphic, anthropomorphic and zooanthropomorphic images of the studied epic. Mythological heroes carry destructive force, which leads to their incompatibility in the world with the Nart heroes, who in their turn are the creators. Therefore, a constant enmity appears between them (the struggle between good and evil). The analysis showed that thanks to the mythical images available in oral works, the epic of "Narta" is filled with rich imagination and picturesque content.

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