Suchergebnisse

У статті розглядаються особливості міського тексту у книзі російського письменника-емігранта, написаній на основі вражень від революційних катаклізмів. Цикл нарисів, який сповнений антибільшовицьким пафосом, пронизують образи смерті, руйнування, деградації відтворені в соціально-політичному і людському аспектах. В ході аналізу акцентовано авторське використання фактів, статистики, топографічних описів, історичних алюзій, які розширюють перспективу рецепції радянської влади. В текстах О. В. Амфітеатрова розкривається проблема ставлення уряду до інтелігенції та народу. Характерними засобами відображення реалій Петро­града і доль його мешканців виступають уособлення, типізація та символіка. ; В статье рассматриваются особенности городского текста в книге русского писателя-эмигранта, написанной на основе впечатлений от революционных катаклизмов. Цикл очерков, наполненный антибольшевистским пафосом, пронизывают образы смерти, разрушения и деградации, которые решаются в социально-политическом и человеческом аспектах. В ходе анализа акцентировано авторское использование фактов, статистики, топографических описаний, исторических аллюзий, расширяющих перспективы рецепции советской власти. В текстах А. В. Амфитеатрова раскрывается проблема отношения правительства к интеллигенции и народу. Характерными приемами отражения реалий Петрограда и судеб его жителей выступают олицетворение, типизация и символика. ; The basis of A. V. Amfiteatrov's book is his impressions of revolutionary cataclysms. It is correlated with the problem of «urban text». On the other hand, the work directly relates to the issue of anti-Bolshevik pathos of Russian publicistics in 1917–1921. According to Y. M. Lotman classification of city, the series of essays «Woeful Notes» is a part of eccentric tradition of urban text. The idea of collapse and death develops by using political connotations. The study tested that the images of destruction and degradation are revealed through the socio-political and human aspects. At the same time, the motive of hope for saving the country from Bolshevism sounds as a refrain in the book. The publicist provides statistics on life in Petrograd, he uses historical allusions that expand the perspective for the reception of Soviet authority and perform an evaluative function.A. V. Amfiteatrov works with facts and information of various origins in an original and productive way. The author compares Petrograd to another city — Vyborg, which managed to avoid the accession of Bolsheviks. This parallel is accentuated through transfer of impressions of what he saw and experienced, of memories and topographic descriptions. The apotheosis of destructive policies of the Soviets in «Woeful Notes» is the activity of VChK.The problem of the government's attitude towards Russian intelligentsia is shown in A. V. Amfiteatrov's texts. The writer tells stories about the characters and tragic fate of N. S. Gumilyov, A. N. Chebotarevskaya, A. E. Kaufman. The author, narrating the about events, a participant or a witness of which he was, depicting the life and the activities of real people, uses typing technique. Personification and symbolism are among other means of reflecting the reality of Petrograd and the lives of its inhabitants. Also, intertextuality plays an important role in revealing the image of Petrograd in the series.

У статті розглядаються особливості міського тексту у книзі російського письменника-емігранта, написаній на основі вражень від революційних катаклізмів. Цикл нарисів, який сповнений антибільшовицьким пафосом, пронизують образи смерті, руйнування, деградації відтворені в соціально-політичному і людському аспектах. В ході аналізу акцентовано авторське використання фактів, статистики, топографічних описів, історичних алюзій, які розширюють перспективу рецепції радянської влади. В текстах О. В. Амфітеатрова розкривається проблема ставлення уряду до інтелігенції та народу. Характерними засобами відображення реалій Петро­града і доль його мешканців виступають уособлення, типізація та символіка. ; В статье рассматриваются особенности городского текста в книге русского писателя-эмигранта, написанной на основе впечатлений от революционных катаклизмов. Цикл очерков, наполненный антибольшевистским пафосом, пронизывают образы смерти, разрушения и деградации, которые решаются в социально-политическом и человеческом аспектах. В ходе анализа акцентировано авторское использование фактов, статистики, топографических описаний, исторических аллюзий, расширяющих перспективы рецепции советской власти. В текстах А. В. Амфитеатрова раскрывается проблема отношения правительства к интеллигенции и народу. Характерными приемами отражения реалий Петрограда и судеб его жителей выступают олицетворение, типизация и символика. ; The basis of A. V. Amfiteatrov's book is his impressions of revolutionary cataclysms. It is correlated with the problem of «urban text». On the other hand, the work directly relates to the issue of anti-Bolshevik pathos of Russian publicistics in 1917–1921. According to Y. M. Lotman classification of city, the series of essays «Woeful Notes» is a part of eccentric tradition of urban text. The idea of collapse and death develops by using political connotations. The study tested that the images of destruction and degradation are revealed through the socio-political and human aspects. At the same time, the motive of hope for saving the country from Bolshevism sounds as a refrain in the book. The publicist provides statistics on life in Petrograd, he uses historical allusions that expand the perspective for the reception of Soviet authority and perform an evaluative function.A. V. Amfiteatrov works with facts and information of various origins in an original and productive way. The author compares Petrograd to another city — Vyborg, which managed to avoid the accession of Bolsheviks. This parallel is accentuated through transfer of impressions of what he saw and experienced, of memories and topographic descriptions. The apotheosis of destructive policies of the Soviets in «Woeful Notes» is the activity of VChK.The problem of the government's attitude towards Russian intelligentsia is shown in A. V. Amfiteatrov's texts. The writer tells stories about the characters and tragic fate of N. S. Gumilyov, A. N. Chebotarevskaya, A. E. Kaufman. The author, narrating the about events, a participant or a witness of which he was, depicting the life and the activities of real people, uses typing technique. Personification and symbolism are among other means of reflecting the reality of Petrograd and the lives of its inhabitants. Also, intertextuality plays an important role in revealing the image of Petrograd in the series.

Abstract
With acute historical awareness, African American playwright Suzan-Lori Parks uses abundant signs in the form of words, movements, sights, and sounds in her plays to create an imagined world, helping readers and audiences to revisit forgotten and neglected history and contemplate on how to read Africana history. In Venus, she wields rapid transformation of space, inserts a play-within-the-play, and presents historical extracts to reconstruct history. This article uses theatrical space as a critical tool to investigate how Parks uses the configuration of theatrical space within and theatrical space without to express historical allusions, reconstruct historical events, and bridge the gaps hidden between remembered and forgotten history in Venus.

This study examines polarisation in citizens' online discourses about Biafra agitations in Nigeria. Using critical discourse analysis and the appraisal framework, it analyses 350 Biafra-related posts sampled from Nigerian digital communities. Analysis reveals that polarisation is discursively strengthened through labelling, ethnocentrism, generalisations, and historical allusions. This study concludes that the creation, consumption and unfettered distribution of such polarised discourses reflect Nigeria's unitarist-federalism. It adds that the instigation of this socio-political fact about Nigeria can foster the cultivation/reinforcement of cognitive biases, harmful ideologies, and consequently, radicalisation/violence. It recommends that the minders of the Nigerian state should amicably address the Biafran agitations.

The article deals with the Southern gothic genre, which is characterized by American authors' close attention to the history of the South, tragic worldview, and interest in the barely noticeable movements of the human soul as well as by a focus on religious themes, bitter humor, detailed description of various types of violence, the use of 'shock therapy' techniques, and bringing into the plot a minute analysis of the actions of an endless string of marginal characters. The article gives a brief excursus into the history of the genre and its roots: from its emergence in the first half of the 20th century to its present authoritative position in the American literary process. The paper highlights the reasons for the Southern gothic's serious influence on world literature and for the scholars' special interest in it. In addition, the religious aspect of this genre is discussed, in particular its Biblical reminiscences within the framework of postmodern poetics and the use of those as tools for creating the image of a versatile hero and building an allegorical plot. The study aims to highlight some of the abovementioned features in Mark Richard's short story Gentleman's Agreement. Using the cultural-historical method with some elements of structuralist analysis, the article reveals the distinctive stylistic features of the writer's text, while considering Mark Richard a successor to the traditions of such masters of the genre as Flannery O'Connor, Eudora Welty, Erskine Caldwell, Harper Lee, and others.

Honorable Mention winner of the Friends of Fondren Library Undergraduate Research Awards, 2014. ; When King William III and Queen Mary II ascended to the English throne in 1689 they were relatively well received. However, by 1692 their relationship with the public was strained. This created a need for image rehabilitation that could be partially satisfied by a public work, such as semi-opera. The Fairy Queen, Henry Purcell's 1692 semi-opera, can be interpreted as a vehicle for this rehabilitation. Rehabilitation is achieved in this work through literary and historical allusions as well as an allegorical relationship between The Fairy Queen's Queen Titania and England's Queen Mary. Purcell subtlety reinforces these references and this relationship through instrumental, harmonic, and dramatic choices.

This study seeks to highlight the image of the Moroccan leader Yusuf ibn Tashafin from the perspectives of history and literature – specifically poetry – as a military leader who helped delay the demise of al-Andalus by more than four centuries. The significance of this study stems from the degree of variation in the narratives and reports about his military and political role recorded in the historical and literary sources. That is due, on the one hand, to differences in interpretations of the events that occurred, and, on the other hand, to the scarcity of poetic texts that praise him other than some about him and al-Mu'tamid ibn 'Abbad following their victory in the battle of al-Zallaqah (479 A.H./1086 A.D.). To achieve that purpose, the study examines references to Yusuf ibn Tashafin in the historical sources and modern Arabic and foreign scholarship and what was said about him in literary works and collections of poetry in order to answer the following questions: Is there a divergence in reports about Ibn Tashafin in historical narratives and poetic texts? If so, what are the reasons for that divergence? Why do poets ignore him? The article attempts to do him justice by clarifying his image in the manifold references, allusions, allegories and religious meanings that the study of poetry found.

The lesson of history, is that there is no lesson. It is not a stricture, however, that has ever enjoyed much acknowledgment, let alone acceptance. Quite the contrary. In the past few months, a fresh spasm of analogizing the past to the present has taken place as politicians and journalists, at home and abroad, draw upon a rich treasure chest of events -- World War I, whose one hundredth anniversary arrives this August, the Munich agreement in 1938 or the Cold War -- to explain foreign affairs. At times, the battles over the meaning of the past almost seem to eclipse in intensity the original events themselves. In the US, which did not enter World War I until 1917 and, unlike Great Britain, doesn't have an uneasy conscience about the conflict, most historical allusions have centered on World War II. If a historical analogy can help to explain current events, then the most salient one is probably not a war, but the Treaty of Versailles. Adapted from the source document.

Abstract
This article examines the construction of lyric identities by Li Xuanti, a classical-style poet, cultural celebrity and prominent civil servant in collaborationist regimes based in Nanjing during the Second Sino-Japanese War. It argues that Li used his poetry to explore the confusion, ambivalence and sense of cultural pride while living with the occupiers. Despite his collaboration, a frequent identity that appears in Li's poetry is that of a yimin (loyalist), who has retreated to the inner world of reclusion. With the progress of the war, however, another identity eventually emerged in Li's poetry, namely that of a patriot. Historical allusions in Li's poems thus acquire double-entendre, expressing his ambivalent loyalty. Li was also at the social centre of a group of like-minded collaborators and accommodators in Nanjing, bound by their common practice of classical-style poetry and arts. Their community thus becomes a special case of study for the sociology of survival under the Japanese occupation.

This article examines the construction of lyric identities by Li Xuanti, a classical-style poet, cultural celebrity and prominent civil servant in collaborationist regimes based in Nanjing during the Second Sino-Japanese War. It argues that Li used his poetry to explore the confusion, ambivalence and sense of cultural pride while living with the occupiers. Despite his collaboration, a frequent identity that appears in Li's poetry is that of a yimin (loyalist), who has retreated to the inner world of reclusion. With the progress of the war, however, another identity eventually emerged in Li's poetry, namely that of a patriot. Historical allusions in Li's poems thus acquire double-entendre, expressing his ambivalent loyalty. Li was also at the social centre of a group of like-minded collaborators and accommodators in Nanjing, bound by their common practice of classical-style poetry and arts. Their community thus becomes a special case of study for the sociology of survival under the Japanese occupation.

Ali Mazrui's "The Semitic Impact on Black Africa: Arab and Jewish Cultural Influences" is interesting reading. That is perhaps the only kind thing one can say about it. As sheer academic exercise, it is its own justification. However, its purpose is much more obscure, its pontifical pronouncements shaky, and its historical allusions as accurate as often as not. The theme of Africa as a "cultural bazaar" where "a wide variety of ideas and values, drawn from different civilizations compete for the attention of African buyers" has been labored to a nauseating degree. Its hidden premise is the existence of an African cultural vacuum, or near-vacuum, destined to be filled by "universalistic" civilizations such as Greco-Roman (Christian, European, Western, etc.) or Judaeo-Arabic (Semitic, Hebraic, Arabic, etc.), although Judaism has not historically exhibited a proselytizing strain, and insularity, on the contrary, appeared to characterize it.

Abstract This article provides a preliminary historical survey of Brazilian biological anthropology from the second half of the twentieth century. Even today, little historiographic information on the last 50 or 60 years is available and/or has been explored, while few allusions to bioanthropology can be found in existing works on the history and contemporary state of anthropology in Brazil; this article attempts to span this gap. The first section examines various aspects of the general development of biological anthropology as it radiated from the centers (Europe and the United States) outward over time. This initial survey affords a clearer understanding of the Brazilian case, which is the topic of the second section. This is followed by a brief historical and bibliographic account of the most recent state of biological anthropology in the country, including a number of specialized areas of research. The article concludes with a short discussion of the material covered.

Abstract
The Allegory of the Cave (Pl. Resp. 514a1–520e2) is often analyzed in terms of metaphysical, epistemological, political, and psychic hierarchies that are clarified and reinforced by philosophical education. But the Allegory also contains an important historical allusion to the silver mining that took place in classical Attica. Examining the Cave in light of the enslaved miners around Lavrio leads us to reconsider the philosophical 'liberation' (λύσιν … τῶν δεσμῶν, 515c4) at the Allegory's heart in the context of Athenian slavery and Plato's thoughts on the practice. Elsewhere in his work Plato generally uses servile metaphors in two ways: to depict 'bad' internal psychic subjection and 'good' submission to logos as manifested in various entities. This historical dimension of the Allegory works to undermine the ostensible naturalness of the slave/citizen distinction and suggest that philosophical education has the potential to 'free' the former and 'subjugate' the latter. The implication that these juridical categories are, to an extent, arbitrary and mutable reveals important differences between Plato's views and those of his classical peers, and it adds to the dialogue's protreptic dimension for its readers then and now.

The purpose of the article: analysis of socio-historical circumstances of musical and religious creativity of Ukrainian composers of the 19th century in the conditions of belonging of the Ukrainian lands to different empires – Russian and Austrian (Austro-Hungarian). The methodology of the research includes the historical method necessary for the peculiarities analysis of the composers' music-religious creativity development of the Dnieper and Western Ukraine in the long evolutionary process, the traditions of performance and the formation of the foundations of composer's creativity; retrospective and structural-systemic methods in the studios of specific music and religious artifacts; historical and comparative principle in tracing the socio-political circumstances of composing religious music of the nineteenth century, as well as in determining its role in a particular socio-historical environment. The research novelty of the article is to present religious works of the most prominent representatives of the musical culture of the Dnieper and Western Ukraine of the 19th century, M. Lysenko and M. Verbitsky – canonical or religiously related – from the standpoint of historical processes in the Russian Empire and the Austrian Empire, as well as in covering the peculiarities of the musical language of the works mentioned. The connection between the choice of genre model and the system of musical and expressive means and the specific historical and social circumstances in which they were written, allows understanding the motivation of the composers' appeal to sacred genres or religious subjects, the intensity of their creative ideas regarding the choice of means and forms of spiritual content. The Conclusions. Thus, the historical and political prerequisites that emerged in the Ukrainian society of the nineteenth century in the Russian and Austrian empires, conditioned both the motivation of the composers to appeal to religious genres and themes, and the specificity of their individual interpretation of the musical language in these works. For M. Lysenko, the most important thing was to emphasize the national and patriotic orientation of spiritual works, as well as the reliance on folk-ritual sources and the conscious continuation of the centuries-old tradition of spiritual music. Instead, the post-Lysenko school, especially his students and followers, give such vivid examples of spiritual music as the liturgical opuses of Kyrylo Stetsenko, Mykola Leontovych, Oleksandr Koshyts and others. In them, the "sacral and secular" parity is already being revealed in a new worldview dimension, in accordance with new historical realities in the struggle for the consolidation of the Ukrainian idea. In Western Ukrainian music and religious work, the Bortniansky tradition, and more broadly – the spiritual concert of the eighteenth century, played the role of a national standard up to the beginning of the twentieth century, when young generations (Stanislav Liudkevych, Vasyl Barvinskyi, Nestor Nyzhankivskyi, etc.) define the task of music in society in a new way, and thus rethink its artistic and expressive system. They do not abandon the numerous and varied allusions to biblical themes, the use of characteristic intonational appeals formed in spiritual genres, but give them a completely different, more modern figurative-aesthetic and stylistic interpretation, consistent with the historical changes in the life of Ukrainian society.

The purpose of the article: analysis of socio-historical circumstances of musical and religious creativity of Ukrainian composers of the 19th century in the conditions of belonging of the Ukrainian lands to different empires – Russian and Austrian (Austro-Hungarian). The methodology of the research includes the historical method necessary for the peculiarities analysis of the composers' music-religious creativity development of the Dnieper and Western Ukraine in the long evolutionary process, the traditions of performance and the formation of the foundations of composer's creativity; retrospective and structural-systemic methods in the studios of specific music and religious artifacts; historical and comparative principle in tracing the socio-political circumstances of composing religious music of the nineteenth century, as well as in determining its role in a particular socio-historical environment. The research novelty of the article is to present religious works of the most prominent representatives of the musical culture of the Dnieper and Western Ukraine of the 19th century, M. Lysenko and M. Verbitsky – canonical or religiously related – from the standpoint of historical processes in the Russian Empire and the Austrian Empire, as well as in covering the peculiarities of the musical language of the works mentioned. The connection between the choice of genre model and the system of musical and expressive means and the specific historical and social circumstances in which they were written, allows understanding the motivation of the composers' appeal to sacred genres or religious subjects, the intensity of their creative ideas regarding the choice of means and forms of spiritual content. The Conclusions. Thus, the historical and political prerequisites that emerged in the Ukrainian society of the nineteenth century in the Russian and Austrian empires, conditioned both the motivation of the composers to appeal to religious genres and themes, and the specificity of their individual interpretation of the musical language in these works. For M. Lysenko, the most important thing was to emphasize the national and patriotic orientation of spiritual works, as well as the reliance on folk-ritual sources and the conscious continuation of the centuries-old tradition of spiritual music. Instead, the post-Lysenko school, especially his students and followers, give such vivid examples of spiritual music as the liturgical opuses of Kyrylo Stetsenko, Mykola Leontovych, Oleksandr Koshyts and others. In them, the "sacral and secular" parity is already being revealed in a new worldview dimension, in accordance with new historical realities in the struggle for the consolidation of the Ukrainian idea. In Western Ukrainian music and religious work, the Bortniansky tradition, and more broadly – the spiritual concert of the eighteenth century, played the role of a national standard up to the beginning of the twentieth century, when young generations (Stanislav Liudkevych, Vasyl Barvinskyi, Nestor Nyzhankivskyi, etc.) define the task of music in society in a new way, and thus rethink its artistic and expressive system. They do not abandon the numerous and varied allusions to biblical themes, the use of characteristic intonational appeals formed in spiritual genres, but give them a completely different, more modern figurative-aesthetic and stylistic interpretation, consistent with the historical changes in the life of Ukrainian society.