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Data about scientific events in the field of the humanities in Bulgaria in 2016
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Data about scientific events in the field of the humanities in Bulgaria in 2016
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This article deals with silence in which one may see the main feature of friendship between Georges Bataille and Maurice Blanchot and the basis of literary friendship further developed by Jacques Derrida and Jean-Luc Nancy. Since silence is analysed here as something that one can keep but also pass over, friendship somehow appears as the effect of overcommenting and can be interpreted as mythologem. The shape of the latter largely results from comments by Blanchot and other commentators who invoke him. In consequence, taken from Bataille, the notion of friendship loses its significance and comes to assume different meanings, including contradictory ones. Friendship between Bataille and Blanchot starts when a biographical fact turns to a literary fact and then comes back as a as form of thought. This article aims at revising the philological value of the latter in order to reveal what silence may hide.
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This paper aims to show how the development of music and sound design formed an inseparable bond with such concepts as immersion, narrative formation, mood, and even gameplay of video games. The first part analyses the diegetic and non-digetic elements, as well as some special cases were the two intermingle, creating new forms: spatial representations and meta representations. The forms discussed bear many similarities to the sound design theories of cinematography. Nevertheless, it is the aim of this paper to elucidate upon some significant differences and note that making straightforward parallels may lead to skewed perceptions of what video game sound actually is. The results of this analysis may shed a new light upon the largely unexplored aspect of interactive entertainment and emphasise the necessity for a new approach to the analysis of music and sound in video games.
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Sound art is a term used to classify works which incorporate sound as the main artistic means of communication with the audience. If we look at the presence of sound in art from a historical viewpoint, our attention can be drawn by “Cabaret Voltaire” and the performances of Dadaists on its stage. Sound became also an element of performances, and constituted an integral part of many of them. However, it only accompanied the artworks and was not an independent object of art. The text focuses on materiality which is an integral part of Sergei Tcherepnin’s sound artworks. In his artworks, both, a material object and sound constitute a specific unity.
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The main goal of the article is to show phenomenon of transculturalism in Haruki Murakami’s novels. Through analysis of western music on japanese ground I will try to demonstrate that there are pieces created with a completely new interpretative undertone. In his novels, among characters listening to Miles Davis, Radiohead or The Beatles, reading Franz Kafka or Fyodor Dostoyevsky and watching American westerns, we encounter traditions and aesthetic categories typical of Japan. Mono no aware, regardless of the writer’s intentions, builds up the background of all his novels. Moreover, this fact does not only result from his original style of writing but from the character of Japanese culture. I have employed this fact as a key to deciphering to what extent Murakami’s writings are postmodernist.
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The article analyzes the structure of one of Alexander Pushkin’s last poems—“Ot menia vechor Leila…” (1835—36): from the level of phonetics to the levels of grammar and lexis. Aft er completing the formal analysis, Fyodor Dvinyatin moves on to the poem’s semantics: he singles out the opposition musk vs. camphor, and focuses on the description of its function in Pushkin’s poem and in poetic tradition.
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My article will take issue with some of the scholarship on current and prospective configurations of the Caribbean and, in more general terms, postcolonial literary criticism. It will give an account of the turn-of-the century debates about literary value and critical practice and analyze how contemporary fiction by Caribbean female writers responds to the socioeconomic reality that came into being with the rise of globalization and neo-liberalism. I will use David Scott’s thought provoking study -Refashioning Futures: Criticism after Postcoloniality (1999)- to outline the history of the Caribbean literary discourse and to try to rethink the strategic goals of postcolonial criticism.
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In this text Emilia Kałuzińska is trying to reconstruct socializing offer of advertising. For this purpose, she analyzes the linguistic picture of the world in the spoken texts ads shown on children’s channel. High vocabulary attendance in the field of buying and selling contributes to extract CONSUMPTION AREA, among which stands out exposing of NEWNESS, as well as LOANS that are in commercials autotelic value.
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The internet has seen an increase in the number of media standing in opposition to the so-called mainstream and questioning the stale state of affairs. The main tool they use to challenge the mainstream is language. To distinguish itself from traditional information providers, online alternative media use it in a highly provocative way. An example of such media is the internet radio KonteStacja. The online community of its supporters has coined a specific language, in which provocation is present in nearly all types of texts.
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he image of Babylon was popular in historical writings and fiction of the late 19th and early 20th centuries. Alexander V. Chayanov’s book “My brother Alexei’s journey into the land of peasant utopia” (1920) contains a lot of allusions to the Tower of Babel, such as numerous references to the works of Peter Breugel the Elder, author of paintings of the Tower of Babel whose works are appreciated by the peasants. His utopian governers, the “augurs of spirit”, who changed the course of history and restored the State, considered their deeds theurgic, and it was no coincidence that the state anthem in this utopia was Alexander Skriabin’s “Prometheus”. In the country of peasant utopia, an artificial selection is put in practice, the so-called “therapy of failed lives”, and all the aspirations are not to waste a single talent. Thus, a man sees himself the centre of the world. The conception of collaboration with God is depreciated. Having embodied in the novel his futurologic, scientific and economic, artistic ideas Chayanov warned against the idea of Man as a God whose symbol is the Tower of Ancient Babel.
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One of the modern spiritual fiction works is analyzed in this article. The following article shows how the author follows the criteria dividing the emotional and spiritual parts of a Christian’ life, basing on the Orthodox traditions. The Holy Father’s doctrine is shown in relation with multistep “heart purification” experience. The author refers to Tolstoy’s soul dialectics which is connected to ascetic practice of self-knowledge. The text brings us back to the subject of man fighting his sins and passions. This tradition was exchanged by the hagiographic canon that shows only the external feat of the saint. The deep understanding of the patristical principle of perceiving everything as a God’s sign, becomes the conceptual point organizing the process of knowledge and self-knowledge. The process of creation and the nature of talent are comprehended in a completely new way. Autobiography, documentary and the reference to the gospel teaching, masterly combined with the figured word and writer’s knowledge about the imaginative fiction.
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The article attempts to analyze in philosophical terms the integral ties between conspiracy theories and the process by which the cultural and political paradigm of Modernity is constituted, equated by the author with a wider project: the rational emancipation of the subject. The author argues that conspiracism represents an important element in the ideas that provide philosophical concepts with their power to affect reality and is a constant element accompanying theoretical constructs representing subsequent stages in this process of emancipation and demarcating their hidden structure. The ideas outlined here are based on an original conceptual model of how conspiracy narratives are constructed.
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The article represents an attempt to explain the relationship between the modern phenomenon of conspiracy theories and nineteenth-century messianism. This relationship is not confined exclusively to the diagnosis of a need to return to a symbolic and romantic style in political performance. Messianism, understood as a philosophical and religious project for redefining progress, makes use of the same compensatory and emancipatory functions as conspiracy theories. Both phenomena, supported by metaphysical schema, tellingly point to a crisis in the means of representing national identity and its instability in Polish society.
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The article is devoted the material “infrastructure” of conspiracy theories, co-created by the same technical artefacts and recorded on various material media “traces”. Following Wolfgang Ernst, the author assumes that the tools used to record and read data have their own non-human, machine temporality, which affects our understanding of time and history. Paranoid thinking therefore does not have to be merely the result of content circulating in media networks, but is also a result of human encounters with material technical artefacts. The article also addresses this issue from within the context of the contemporary media landscape, in which the materiality of media is increasingly hidden by ever-“thicker” layers of interface, limiting our control over the devices and tools we use.
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The article analyses contemporary conspiracy narratives in the context of Spanish society and the media in Spain. It focuses on the contradicting conspiracy theories that have arisen around the tragic terrorist attack that took place on 11 March 2004 in Madrid. This event continues to feed a number of widely varying assumptions about its perpetrators and causes, as well as the socio-political goals this brutal act was intended to achieve. Narratives concerning the attack basically follow two paths, with two major suspects being presented in the Spanish media: Islamic fundamentalists and the Basque terrorist organization ETA.
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This article attempts to offer a brief description of the overall situation in contemporary linguistics in the context of the changes taking place. Specifically, it refers to the ongoing discussions in the areias of various contemporary humanist disciplines on the subject of the achievements of structuralism and is future prospects in studies on language. The main theses considered here are: 1. One should not speak of the decline structuralism without indicating how this term should be understood and defining the scope of the teoretical-methodological principles developed by de various structuralist schools. 2. Taking into account the general principles and methods of the description, as given in the majority of contemporary literature on the subject it may reasonably be supposed that as yet no theoretical-methodological counter-proposal has emerged which, opposing structuralism, would discard al its basic premises while at the same time protecting the autonomy of linguistics as a science. The author endeavours to show that it would be more rational to speak of a successive – and broadly enriched – stage of evolution of the idea of structuralism.
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