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A Rhetorical Analysis of the “Metal Gear Solid” Saga
More...The Problem of Good and Evil in the Novels “Pronalazak Athanatika” by Vladan Desnica and “Koraljna vrata” by Pavao Pavličić
More...Refleksja nad gnostycką wizją świata w badaniach nad dystopiami
The inquiry delivered in Fryderyk Kwiatkowski’s chapter of possible affinities between ancient Gnosticism, perceived as an interpretative and heuristic category, and utopian/ dystopian texts has not been performed in comparative studies. The aim of this article is therefore to fill this void to demonstrate that gnostic thought is replete with notions that may have served as the verifiable pre-modern source of the constructive characteristics of utopias and dystopias. Alex Proyas, the author, examines "Dark City" (1998) as his primary case study for his investigative research on gnostic thought characteristics in utopias and dystopias. Other sources of his substantive research include twenty-first century American film. It is worthy to note that Proyas classifies all of his research sources as “gnostic dystopias”. Proya’s notion of “gnostic dystopias” refers to texts embedded with structural and narrative traits of classical examples of dystopias. Novels such as the likes of "Brave New World" by Aldous Huxley or "Nineteen Eighty- Four" by George Orwell can be construed as being literarily consistent with gnostic ideals.
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In the chapter “Queering Frankenstein: the motifs of otherness and non-normativity in »Penny Dreadful«”, Barbara Braid offers an interpretation of Frankenstein’s creatures presented in the series from the perspective of queer theory. The queer is understood here as a wide range of non-normativity and difference, including subjectivities and actions which subvert stabilities and norms. The author identifies the links between queer theory and the gothic, which allow to see the characters which are monstrous, undead, abject—or simply Other—as representations of difference. In this light, the presented analysis shows the three creatures made by Frankenstein and Victor Frankenstein himself as characters related to each other in non-normative ways, creating a queer quasi-family. This discussion is also contextualized by references to Mary Shelley’s original novel and some of its classic film adaptations and their comparison with Penny Dreadful. Frankenstein’s creature is, due to its nature as the undead made of fragments of corpses, an abject thing, an embodiment of Otherness. In the series, Victor creates three beings, which are in a constant tension with each other. The firstborn John Clare murders the second creature, Proteus, out of hatred for their “father” Victor; the third being is Lily, another embodiment of the Bride of Frankenstein, destined to be with the creature, but desired by Victor. She becomes a dangerous fiend, femme castratrice, who desires a new world order and subordination of human beings. These two surviving Others—John and Lily—represent two different attitudes to their otherness. John Clare yearns normality and tries to achieve it by establishing a family with a human woman; Lily, a demonic man-eater, terrifies him. On the other hand, Lily strikes a relationship with Dorian Gray, equally non-normative, in order to achieve a queer monstrous supremacy over the world. However, both Frankenstein’s creatures fail and become alone. Therefore, the chapter is concluded with suppositions that question whether the motifs of otherness play an unequivocally subversive role in Penny Dreadful.
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Although the composite structure of literature in Bosnia and Herzegovina had developed under rather specific social, cultural and historical circumstances, only, and on rare occasions in the past, some authors from these parts wrtote their works in exile (Habiba Rizvanbegović-Stočević, Arif-beg Rizvanbegović), but the separation from a homeland was the topic that some of its prominent writers from all its constituent segments came back to from time to time (Šantić, Andrić, Šop, La Bohoreta, etc.). It was only during the horrible war events towards the end of 20th century, which had forced not only hundreds of thousands of people to leave their native soil, but also inspired diverse forms of literary activities to emerge in exile. Their fundamental defining element was the attempt of securing and preserving ethnic, cultural and any other form of identity in the new surroundings. The paper tries to find some answers to the basic question posed in relation to a determination of literature in/and from Bosnia and Herzegovina, more specifically in view of its Bosniak component, which has been expresed in the published collections of poetry and short stories, rarely in plays, and in the majority of cases, in novel forms – from Norway, Denmark and USA, as well as some other parts of contemporary world. It points out to the situation in the immediate neighbourhood, nowadays largely referred to as the ‘region’, where some authors have continued to write their works, although they remained deeply connected to the language, culture, custioms and identity of the ethnic background they had come from, despite the fact that, in the meantime, they became citizens of the countries of admission. They all have continued to add a characteristic exile expression to the literary output in these new homelands. A rather specific issue deals with the concurrent belonging to literatures those Bosniak authors contributed to with their works, irrespective if their books had been published originally in the languages of these places, or in their mother Bosnian tongue. The works of Bekim Sejranović, Alen Mešković and Ismet Prcić have been analysed in the paper, together with some other names, as the possible examples of either proving or disapproving the initial hypothesis on the identity duality in the Bosniak or any other literature(s) for that matter.
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An interdisciplinary look on the emotional “portrait” that postmodern society has been offering us for the past decades could use the lens of the authors who imperatively announce the mobilization of emotions by appealing to stories, “heart-opening” histories. The narrative skills held by communication professionals become indispensable in an era of “emotions management”, “emotions marketing”, along with their transformation into goods, ready to be evaluated, quantified, dissected... (É. Illonz). The appeal to emotions is more “human” in a hyper-technological era, communication is personalized in an era of standardization, of informational uniformity. It is also more efficient, since the art of “exploiting” emotions (through psychological persuasion) brings benefits for the purpose of obtaining awareness and the participation of social actors. Practiced in politics, media, business, NGOs etc., the appeal to emotions mobilizes people and humanizes organizations. In this context, we aim to highlight the virtues of emotion management through the storytelling technique in two successful samples: Magic HOME and PRIME.
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The article addresses the need to form the aesthetic taste of primary school students, as the presence of arts in education is based on the need to create a cultural capital, with all the associated positive effects, but also to pursue the collateral benefits that arts insertion can have on learning, teaching and assessment of certain school subjects. The formation of cultural consumer behaviors and of a cultural capital market are objectives of modern didactics, as it is found in all normative regulations based on the concept of aesthetic taste. Being an objective of aesthetic education, aesthetic taste is required to be achieved through all types of teaching and extracurricular activities in order to form intellectual feelings, moral beliefs and other aspects of the structure of human personality. The cultivation of sensitivity through aesthetic taste ensures favorable premises for the realization of the educational ideal.
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The famous writing Communing with himself of the Roman Emperor Marcus Aurelius reveals itself to us today as a work of present interest, not only seen as a philosophical guide for the state rulerʼs life, but also under the feature of a psychological handbook sui generis that regulates the communication between rational beings and their self, and the world, in every historical time. This aspect has been grasped by Gabriel Liiceanu, who writes that Communing with himself is a treatise on techniques of improvement and restraint of oneʼs ego. But the remarkable thing is that the desideratum to acquire and improve the control on the egoʼs adverse phenomena (such as, for instance, carelessness, hatred, envy, the desire for revengeor glory etc.) applies both to sovereigns and their subjects (common people). In our view, the major consequence of this controlʼs success – in exceeding the Stoic presuppositions of Marcus Aurelius – is a better communication with others and with the self, the last one being made better just through the improvements of the first one.
More...Две истории с преводи от XII в
Two translation procedures from the 12th century are the subject of consideration in this critical essay: the way in which Anselm of Havelberg’s debates were translated in Constantinople in 1136 and the reading by Gerhoh of Reichersberg and his followers of the resolutions of the Synod of the Church in Constantinople in 1166. The aim of the analysis is to refute the widely held view that the nature of Latin translations in the 12th century was constantly the execution verbum pro verbo.
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The gesture of leaving a given environment/milieu or an exteriorization of "interiority" and "subjectivity" is as risky as that of suicide to understand death. Forgetting, ultimate sincerity, exaltation, deconstructive memory could be quite unexpected and unwanted forms of death by anchoring in an unknown port marked by anxiety, or eviscerating an eye, that is, restricting vision, vision and creative imagination under the tyranny of the ideas. I added three individual models. "Notebooks" are a threshold, e.g. a space for intermediation, exit or entry, or stumbling. The warning in the pavilion would sound like this: We can be guided by utopias and generous ideas, but they can degrade, becoming ideologies that lead to dystopias, nihilism, disasters, frustrations and self-frustrations, regrets. "Let's leave the door open for us," Theodor W. Adorno urges us somewhere in A Message from The Bottle, that is, to leave neither hope nor the possibility of returning to ourselves, that is, after the beautiful Romanian saying of "come to our senses", to return to our (human) nature.
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