THE MOTIVE OF TOXICITY AND ABUSE AS A MEANS OF IMPLEMENTATION OF THE CONCEPT “LOVE” IN KLAVA KOKA’S SONGS

Введение. Клава Кока – одна из наиболее популярных исполнительниц на современной российской сцене, в этой связи представляет интерес анализ концептуального содержания ее творчества. Устанавливается главенствующая роль мотива токсичности и абьюза в реализации концепта «любовь» в песенном творчестве Клавы Коки, проявляющаяся на лексическом и когнитивном уровнях: в ценностных установках, лежащих в особенностях межличностных отношений героев песен. Под токсичностью понимается свойство человека либо отношений провоцировать эмоциональную боль и полное истощение ресурсов партнера по взаимодействию либо одной из сторон отношений. Абьюзивные отношения в широком смысле характеризуются контролирующим, принудительным, угрожающим, унижающим и насильственным поведением одного из партнеров. Хотя восприятие любви как боли и страдания является рекуррентной идеей западной поп-музыки, в творчестве Клавы Коки такое отношение к любви приобретает признаки токсичности и в ряде случаев абьюзивности. Цель – доказать главенствующую роль мотива токсичности и абьюза в реализации концепта «любовь» в песенном творчестве Клавы Коки. Материал и методы. К рассмотрению привлекаются 26 песен, написанных Клавой Кокой самой либо в соавторстве с текстовиками лейбла «Black Star». Основными методами исследования являются метод целостного анализа художественного произведения и лингвистический (концептуальный) анализ. Результаты и обсуждение. Мотив токсичности и абьюза в творчестве Клавы Коки проявляется в следующих ценностных установках, лежащих в его основе: метафоризация любви как боли и страдания, антагонизм между партнерами в отношениях, доминирование/подчинение как паттерн отношений, насилие как важная составляющая отношений, зависимость от партнера или от отношений, интенсификация любовного чувства одним из партнеров. Подобные установки приводят к наполнению концепта «любовь» семемами «боль», «страдание», «насилие», «зависимость», «доминирование», «подчинение», «недостижимость», «противостояние», проявляющемуся как на лексическом уровне, так и на когнитивном уровне. Во всех рассмотренных песнях в той или иной степени представлены перечисленные особенности, что дает основание говорить о главенствующей роли мотива токсичности и абьюза в реализации концепта «любовь» в творчестве певицы. Заключение. Токсичность и абьюз склонны романтизироваться в текстах певицы, выступая в качестве неотъемлемой составляющей «настоящих» отношений, будучи проявлением «истинной» любви. Мотив токсичности и абьюза становится главным средством реализации концепта «любовь» в творчестве Клавы Коки, тем самым позволяя говорить о соединении концептов «любовь» и «боль» в единую концептуальную пару в творчестве певицы. Introduction. Klava Koka is one of the most popular performers on the modern Russian musical stage, and therefore it is of interest to analyze the motivational content of her work. We have established the key role of the motive of toxicity and abuse in Klava Koka’s songs. It manifests itself in the peculiarities of the interpersonal relations of the characters of the songs, as well as in their values and attitudes. Toxicity refers to the ability of a person or relationship to provoke emotional pain and the complete depletion of the resources of the partner of interaction. Abusive relationships in a broad sense are characterized by the controlling, coercive, threatening, humiliating and violent behavior of one of the partners. Although the perception of love as pain and suffering is a recurrent idea of Western pop music, in Klava Koka’s songs, this attitude to love acquires signs of toxicity and, in some cases, abusiveness. Aim and objectives. The aim of the article is to prove the dominant role of the motive of toxicity and abuse in Klava Koka’s songs. Material and methods. We have analyzed 26 songs written by Klava Koka herself or in co-authorship with the lyricists of the Black Star label. The main research methods are the method of holistic analysis of a work, as well as conceptual analysis. Results and discussion. The motive of toxicity and abuse in Klava Koka’s songs is manifested in the following features of the characters’ relationships and their values: metaphorization of love as pain and suffering, antagonism between partners in relationships, dominance / submission as a pattern of relationships, violence as an important component of relationships, dependence from a partner or from a relationship, intensification of love feelings by one of the partners. The fact that in all the songs that we have considered, the listed features are presented to certain degree, enables us to speak about the dominant role of the motive of toxicity and abuse in Klava Koka’s work. Conclusion. Toxicity and abuse tend to be romanticized in the singer’s lyrics, being presents as an integral part of “genuine” relationships and a manifestation of “true” love. The motive of toxicity and abuse is functioning as the main means of realization of the concepts of “love” and “pain” in Klava Koka’s songs, where the both concepts are linked into a single conceptual pair.

Fate and Free Will in Chronicle of a Death Foretold

In García Márquez, the magical is associated with fantasy, myth, literariness, and the unknowability of reality, while realism suggests seeing through fictitious versions of reality constructed by hegemonic discourses. Chronicle of a Death Foretold (1981) is about fate and ambiguity, but also encourages the challenging of convention and the assertion of an independent identity: the “magic” of the imagination is a path to alternative ways of being and a new reality. The title suggests the circularity of a mystical destiny and the investigative desire to recuperate historical truth. Santiago Nasar’s death is inevitable because of an honor code rooted in religious and social conformity (his killing is necessary to purify the Vicario family name following a bridegroom’s discovery that his bride, Angela Vicario, has already lost her virginity, possibly to Santiago). Moreover, there is a performative, ritualistic, sacrificial dimension to the planning of the death, as Angela’s brothers act out their compulsion according to what they believe is required of them. Behind this is the idea that the magic of love has become little more than a social contract and has ceased to be “real.” The investigation of the detective-like chronicler (into a real event now being transformed into a fiction) implies a quest for “truth,” and the final outcome is a not entirely ironic achievement of “true” love, independently chosen. This article explores how agency and authorship are mobilized to test the limits of fatalism and convention.

CHITTA PARIKARMA OF YOGA DARSHANA AND ITS APPLICATION IN THE AYURVEDA

Patanjali’s Yoga Darshana deals with the Chitta Parikarma as certain sublime attitudes to imbibe and to incul- cate in life. The Parikarmas are described as Maitri, Karuna, Harsha, Upeksha with Sukhi, Dukhi, Punyatma, Papatma respectively. These are four elements of true love and are the four immeasurable virtues, helps to calm the mind in a troubled and complicated world. Ayurveda is the science of life aimed at developing the physical, mental, intellectual, emotional, and spiritual levels of the human being and it states that health is the root cause for the attainment of Dharma, Artha, Kama and Moksha. Both Ayurveda and Yoga Darshana consider Moksha as the highest goal of life as both Ayurveda and Yoga Darshana has been evolved from the same source, the Veda. Both are practical and applied sciences and are said to be contemporary, the Yoga chiefly deals with the removal of psychological Vedanas and attainment of salvation, while Ayurveda is more concerned with physical and mental ailments. To achieve the goals of both Yoga Darshana and Ayurveda, the Chitta Parkarmas of Yoga Darshanaplays a very important role as these are the ways to keep the mind happy and calm hence the Ayurveda explained these Chitta Parikarmas under Sadvritta and while explaining the qualities of a physician. Keywords: Yoga Darshana, Chitta Parikarma, Vaidya Vrutti, Ayurveda

“Exfoliation, Cheese Courses, Emotional Honesty, and Paxil”

This article applies a conjunctural analysis to four US “hangout sitcoms”—Friends, How I Met Your Mother, The Big Bang Theory, and New Girl—to examine the tensions faced by masculinities in a neoliberal era. After establishing the “hangout sitcom” subgenre, I use critical discourse analysis to unpack three male subject positions. The postfeminist male singleton reacts neurotically to a perceived loss of power with a desperate search for true love. The douchebag responds with excessive performances of both masculinity and neoliberal subjectivity, while the househusband’s stable job and long-term heterosexual relationship reflect neoliberalism’s relationships with intimacy and the family. I argue that the hangout sitcom, and specifically its representation of masculinities, offers an under-explored opportunity to examine the politics of masculinities, postfeminism, and neoliberalism.

Twelfth Night and Epiphany

This chapter explores William Shakespeare’s Twelfth Night. Beyond any reasonable doubt, Twelfth Night is pervasively an Epiphany play; it calls for a set positively festooned with holly. Twelfth Night marks the end of a festive season in which there were other occasions alluded to by Shakespeare rather than Twelfth Night. But the correlations with Twelfth Night itself are salient: its customary activities provide plot material, and its emotional tone, as the last of festivity, can be sensed in the melancholy atmosphere of transience. Viewed as a seasonal mélange, the themes of Twelfth Night fall into place and gain coherence. The chapter then looks at the Platonic and Pythagorean content of Twelfth Night. Meanwhile, in Shakespeare’s unfolding of true love, narrative motifs are not the only resource; others range from implicit emblem to rhetorical explication. If Twelfth Night presents a philosophy of love, and traces the moderating of various erotic passions, there is nevertheless a focus on one excess in particular: love melancholy.

For family, for friends, for (true) love

We examine promotional materials produced by two organisations in Singapore, TrueLove.Is and Pink Dot, to investigate how these two groups employ discourses of love to support their opposing views regarding the reconcilability of Christianity and same-sex desire. TrueLove.Is is a Christian ministry that encourages LGB Christian Singaporeans to “come out, come home”, while Pink Dot is Singapore’s largest and foremost LGBTQ movement. We identify similarities and differences in their persuasive discourse strategies regarding ideas of love as discussed by lesbian Christian pastors. Although they position the idea of love similarly, their agendas are completely polarised. TrueLove.Is takes the position that non-heteronormative activity is ungodly and sinful, while Pink Dot offers a reconciliation between Christianity and same-sex desire. We employ Peterson’s (2016) approach to homophobic discourse analysis based on Systemic Functional Linguistics and a comparative discourse analysis to investigate the ideologies that inform the two organisations’ materials about the treatment of LGBTQ Singaporeans.

A influência de Shakespeare em Grande sertão: veredas – as Três Mulheres e os Três Metais / Shakespeare’s Influence in Grande sertão: veredas – The Three Women and the Three Metals

Resumo: Este artigo aborda como é atualizado, no Grande sertão: veredas, um motivo fundamental para a tragédia Rei Lear: a escolha amorosa envolvendo três mulheres relacionadas ao ouro, à prata e ao chumbo. A simbologia subjacente aos metais é determinante para a caracterização das personagens femininas tanto do romance quanto da tragédia, analisadas, aqui, em perspectiva comparativa. Em Rei Lear, os metais preciosos, o ouro e a prata, estão associados a Goneril e Reagan, as filhas más que herdam o reino, enquanto Cordélia, a filha bondosa e preferida do rei, é representada pelo chumbo e acaba deserdada. Em Grande sertão: veredas, o ouro e a prata figuram na caracterização de Nhorinhá, a prostituta por quem Riobaldo se apaixona, e Otacília, sua esposa, enquanto Diadorim, o verdadeiro amor, está relacionado ao chumbo e permanece sublimado. Assim, os metais preciosos simbolizam, em ambas as obras, o equívoco amoroso, enquanto o chumbo guarda a mulher certa – Cordélia na tragédia, e Diadorim no romance. Diadorim e Cordélia possuem, ainda, outras analogias: ambas são filhas de grandes líderes, dedicam fidelidade irrestrita ao pai, possuem ligação com o arquétipo da donzela-guerreira e suas mortes representam momentos de anagnórisis para Riobaldo e Lear.Palavras-chave: literatura comparada; Grande sertão: veredas; João Guimarães Rosa; Rei Lear; William Shakespeare.Abstract: This article discusses how it is updated, in Grande sertão: veredas, a fundamental theme for the tragedy King Lear: the love choice involving three women related to gold, silver and lead. The symbology related to the metals is decisive for the characterization of the female characters of both the novel and the tragedy, analyzed here, in a comparative perspective. In King Lear, the precious metals, gold and silver, are associated with Goneril and Reagan, the evil daughters who inherit the kingdom, while Cordelia, Lear’s kind and preferred daughter, is represented by lead and ends up disinherited. In Grande sertão: veredas, gold and silver emerge in the characterization of Nhorinhá, the prostitute with whom Riobaldo falls in love, and Otacília, his wife, while Diadorim, the true love, is related to lead, and remains sublimated. Thus, the precious metals, in both works, symbolize the loving mistake, while the lead keeps the right woman – Cordelia, in the tragedy, and Diadorim in the novel. Diadorim and Cordélia also have other analogies: both are daughters of great leaders, dedicate unrestricted fidelity to their father, have a connection with the warrior-maiden archetype, and their deaths represent moments of anagnorisis for Riobaldo and Lear.Keywords: comparative literature; Grande sertão: veredas; João Guimarães Rosa; King Lear; William Shakespeare.