O ARTEMIDORU I ANTIČKOJ ONIROMANTICI
Bavitii se nekom oblašću klasičnih studija znači danas, sem ostaloga, i biti na meti mnogome pitanju koje, najšire, dotiče grčko-rimski svet.
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Bavitii se nekom oblašću klasičnih studija znači danas, sem ostaloga, i biti na meti mnogome pitanju koje, najšire, dotiče grčko-rimski svet.
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Tvorac »najznačajnijeg filosofskog speva čovečanstva« (A. Savić Rebac), tragični, tmurni pesnik Lukretije, o čijem životu jedva da nešto znamo, a i to nepouzdano, poduhvatio se retko teškog, do naivnosti optimističkog pesničkog zadatka, da ljude oslobodi straha od smrti, straha koji je valjda neminovan i večit koliko i sam životni kraj, ali koji ljudi obično ne umeju da prevladaju ni da prihvate ni u psihičko-emotivnom ni u racionalnom pogledu.
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Kako dolazimo do pojma o snu? Skloni smo da o snu mislimo kao o unutarnjem duševnom stanju ili procesu i da pretpostavimo kako svako od nas do pojma sna dolazi obraćajući pažnju na ovaj proces u samome sebi.
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Literatura o snu uvek je bila fascinirana time što je svet naših snova toliiko različit od sveta svesnog doživljavanja. Tako se u toj literaturi naglašava da se Ja-kompleks u snu raspada, da dolazi do disocijacije, da više ne postoje nikakve granice Ja, ili da Ja više ne raspolaže odgovarajućom sposobnošću koordinacije pojedinačnih psihičkih komponenta.
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U ovim raspravama Vitgenštajn je bio kritičan prema Frojdu. Međutim, on je takođe iznosio onoliko koliko je bilo u onome što Frojd kaže o pojmu »simbolizam snova«, ili, na primer, u tvrđenju da ja, kad sanjam, u iizvesnom smislu »nešto govorim«. Vitgenštajn je pokušavao da ono što je kod Frojda vredno odvoji od tog »načina mišljenja« koji je želeo da pobije.
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O važnosti koju su najranije kulture pridavale snovima i tumačenju snova svedoče i sanovnici čija je starost oko 20. veka p.n.e. (sačinjeni u Egiptu i Mesopotamliji).
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Poznato je da Kafka nije volio simbole. Smatrao je da mogu biti uzrokom teških nesporazuma, da iz njih proističu mnoge nejasnoće. Pa ipak, njegovo djelo nije nikada neposredni iskaz nekog nedvojbenog empirijskog iskustva, zbilja je uvijek prelomljena kroz prizmu, koja premda ne izobličuje sliku, zasigurno je projicira u neku drugu plohu.
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Karl Gustav Jung je uspešno nastavio, proširio i produbio učenje o snovima Sigmunda Frojda, kome nesumnjivo pripada uloga »prvog pokretača« i originalnog otkrivaoca istine o snu.
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U »periodu priprema« (Breton je tako nazvao period započet posle objavljivanja Drugog manifesta nadrealizma: radilo se o pripremama za društvenu revoluciju) revandikacija sna postala je oštrija kod nadrealista, prava snevača branjena su od njih s povećanom žestinom. Moglo bi da izgleda paradoksalno što ljudi koji teže političkoj akcija, koji prihvataju realističke nužnosti borbe za novi svet, u isto vreme ističu ono što na izgled protiivreči toj akciji, himeru, utopiju, beg u imaginarno.
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Klasična psihoanaliza često se služila simbolima kao konceptima. čak se može reći da su psihoanalitički simboli osnovni koncepti psihoanalitičkog istraživanja.
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Danas više niko pametan i pošten ne govori o »mraku srednjega veka«, ima ih čak dosta koji emfatično insistiraju na njegovoj »svetlosti« (Gustave Cohen: »La grande clarté du moyen âge«, i dr.).
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Kada Hamlet izgovara znamenite reči o tome kako je bolje »Umreti, spavati, spavati: / niištavilo sanjati: da, tu je ključ; to, kakvi bi nam sinovi došli u snu, / kad se otresemo tih zemaljskih spona« (navedeno prema prepevu Otona Župančiča), on snovima daje onaj jezovito-slatki prizvuk kojii snovi limaju u celokupnoj literaturi od antike do danas.
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Tumačenje snova je i danas povlastica oneiromanta i psihoanalize, njen kraljevski put, kako je to Frojd rekao i posle njega više puta ponovljeno. Doduše, pokadšto i iz raznih razloga, analitičari kažu da nije baš sve tako sa snovima kao što je Frojd mislio.
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Oduvek je proučavanje mita zauzimalo centralno mesto u antropološkim istraživanjima, ali su se stanovišta antropologa međusobno umnogome razlikovala, i to kako u pogledu definisanja osnovnih pojmova, tako i u interpretaciji samih mitova.
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From a theoretical point of view, this paper considers the evidentiary action of recognizing the voice of the perpetrator by the witness. It is the identification of the voice by a person who is usually an "unprofessional listener". Due to the specificity of the voice as an object of recognition, the involvement of forensics (linguists and phoneticians) in the organization and immediate realization of the voice recognition action seems inevitable. Their activity would be manifested in giving guidance to the authority on how to increase the efficiency of voice identification and the accuracy of witness testimony. The witness gives evidence based on his perceptual (auditory) abilities in a procedure prescribed by the law, in which the credibility of his/her testimony is simultaneously checked and assessed. The Criminal Procedure Code of the Republic of Serbia establishes the legal framework for taking the voice recognition action, while the content of performing the direct recognition action is determined by the criminal-tactical rules.
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In the course of the past centuries, the Macedonian folk song embraced all significant moments of the lives of the Macedonian people. These songs pay tribute to the years of servitude, resistance, military feats, whether individual or group, spontaneous or organized. Throughout the conducted research, the question we focused on was whether these Macedonian songs created in the course of the 19th century -period of active struggle for liberation and independence of the Macedonian nation; evoke feelings of patriotism among the young in contemporary time when the Republic of Macedonia has acquired its sovereignty and independence. For the purpose of determining the influence of music on the emotions, and identifying the emotions, thoughts, ideas and behavior ‘touched upon’ and evoked by the Macedonian epic folk song, experimental research was conducted. The experiment was realized in a time period of 2 hours with a group of 18 students that participated on a voluntary basis. The findings from the analysis of the emotions experienced by the respondents in the experiment indicate that the respondents can identify the different emotions, thoughts and ideas embodied in two popular Macedonian epic folk songs. Hence, these epic songs (especially when listened with lyrics) not only evoke negative emotions but cause negative thoughts and ideas as well. In this sense, the main conclusion is that the Macedonian epic folk songs created in 19th century still “‘touch upon” the present generations.
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This study has adopted the quantitative research approach for collecting data from different branches of the Bank of Khyber that are operating in the vicinity of the Saddar region, Peshawar city of Khyber Pakhtunkhwa province of Pakistan. The sample size consists of 60 employees. A total of 18 questions were asked based on the 5-point Likert scale responses. In order to perform numerous procedures, SPSS is used to analyse statistical tests in this study. Regression analysis is employed to test the hypothesis. Employee participation in the organization improves the overall productivity and contributes to organizational improvement. Job stress has a negative influence on the employee job performance. The results indicate that there is a negative and significant relationship between the employee’s involvement and employee job stress. Although job stress is a negative phenomenon and may have a positive impact on the performance of the employees and eventually the organization.
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Qualitative research aims at unwrapping the ordinary and the exceptional in order to bring us closer to a complete description and interpretation of life. People’s narratives are particularly effective in revealing deeper dimensions of experience and of meaning. Narratives always need to be read against the background of the empirical reality in which they are embedded. Most of the narratives referred to in this article are situated against the empirical reality of South Africa as a society in transition, still marred by inequality and inequity. One narrative, from a project conducted in the Czech Republic, shares some contextual characteristics with the South African examples—the Czech Republic is also a society in transition, previously employing institutional violence to suppress political dissent. An important aspect when dealing with intense political and social transformation is the presence of highly charged feelings and emotions. As part of the contextualization for this article I briefly argue that the South African Truth and Reconciliation Commission (1996-1998) in many ways did the groundwork for a new appreciation of the sharing of emotional accounts and revelations pertaining to atrocities, injustices, and suffering. This Commission’s work prepared the way for recognition of the potential of such sharing to create a better understanding of the experience of life in a deeply divided context. In the article, I argue for the establishment of a social encounter—a concept frequently used in the micro-sociological writings of Randall Collins—between researcher and research participant in an attempt to come to deeper levels of understanding. During episodes of emotional sharing of experiences and feelings a research participant often reveals deeper levels of social interaction—these revelations have the potential to open the way for a hermeneutical process towards understanding. Dramatic recall can lead to reconstructing a story that contains all the elements of what was originally heard, seen, and felt. The article uses five examples of narratives containing moments of high levels of emotion—each example opening the way for better understanding of the experiences of the research participants.
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The importance of storytelling in the 21st Century’s media is indisputable. Facts alone do not satisfy our desire for identity. Only stories can provide us with a sense of identification and belonging. However, stories can also exacerbate our emotional and narcissistic response; and this is precisely what post-truth storytelling is all about: fact-devaluation, appeal to the emotions, extreme partiality and aggressive rhetoric. Based on Freud’s theory of narcissism, our research article proposes an objective and interdisciplinary model from which we can recognise, depict and analyse narcissistic patterns in today’s cross-media storytelling. In effect, this will help us to better understand the story of the refugee Nujeen Mustafa, which seems to illustrate so well our explicit and implicit dynamics of self-love.
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