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Cengiz Aytmatov, who is one of the distinguished writers not only of Kyrgyz literature but also of all Turkish world literatures, is known to have special interactions between space and people in many of his works. It is possible to say that one of the main pillars of the author, who develops an eye-opening understanding of human psychology in his works, is the knowledge of geography, nature, space and place to which he is passionately attached. In this respect, the spatial elements in the works of the author, who are seen to deal with issues such as environmental problems and the deterioration of the human essence in parallel with the deterioration of the natural balance, in his stories and novels appear as the main determinants in reaching "human" and understanding "human". It is certain that detailed spatial studies on Aitmatov's works will create awareness in terms of understanding the author and the characters he creates in his works. In this respect, this article focuses on the subject of space and identity in Cengiz Aytmatov's novel The Ala Dog Running on the Seashore. The character of the place in the work has dimensions beyond visual and spatial features. It is seen that many spatial units of nature are symbolized through an identity value and take place in the novel as a spiritual value in terms of culture. Every effort to glorify and mythologize the place in the work has resulted in the place gaining a unique identity and its inhabitants owning it. This situation shows parallelism with the phenomenon of "owning" the place where people live. Spatial units, which are mostly told from the eyes and point of view of the child character Kirisk in the novel, are shaped around the concept of "owning" through place identity. In this context, in this article, the identity value of the place in the work is read through the phenomenon of place identity and the process of transition from place identity to identity around the concept of "owning" is mentioned.
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In what way have recent literary texts responded to impulses that have emanated from the concept of “interdiscursivity”? Based on the thesis that impulses have emanated from this concept to literature itself, which have been reflected on a thematic as well as on a formal level, examples of a specific text form are presented: that of the alphabetic-lexicographic compendium of terms and keywords. Referring to the concept of literary interdiscursivity, the article shows how and from which motives knowledge-discursive forms of representation are unfolded in lexicographic-literary texts – also and especially with a view to individual expressions of knowledge as well as to margins and boundaries of knowledge. Here, lexicography becomes an occasion to undermine the boundary between the factual and the imaginary (Jorge Luis Borges), to deal with theoretical discourses as with a pharmaceutical construction kit (Jochen Hörisch), to look at encyclopedic knowledge from its margins (Christine Blättler – Erik Porath Margins of the Encyclopedia) and to sketch imaginary philosophical discourses (Andreas Urs Sommer).
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The article discusses the concept of memory and remembrance in Marcel Proust’s chef d’oeuvre on three levels: 1) the memory of literature, 2) memory in literature, and, 3) literature as the medium of memory. It can be shown how Proust’s notions of mémoire involontaire touch the Bergsonian concept of memory and remembrance, which is rather a commonplace. In some respect, Proust’s reflections on memory as a “cognitive archive” are open to Gestalt psychology, but they also have several implications to the Freudian concept of remembrance and forgetting. It is worth mentioning that the author’s conceptualization of then-new technology (the airplane, the telephone, photography, etc.) also intervenes strongly into his notion of memory.
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Јас ја проширувам категоријата на нефилозофската концептуализација на себството со цел да вклучам други форми на теориски-методолошки излез од филозофската доволност како негов принцип, со тоа и Маркс исто така, психоанализата и лингвистиката, не ја редуцираат радикалната дијада на физикалноста/ автоматичноста во еден од нејзините конституенти. Детерминирано е од радикалната дијада како нејзин идентитет во последната инстанца и е детерминирана од материјалноста на реалното на последната инстанца. Реалното е тоа на дијадата, на нејзината внатрешна унилатералност и меѓупросторност во нејзиниот центар. Ова го нарековме реалитет на себството на нечовечкото: меѓупросторот е ненадминлив; физикалното и автоматичното се едно под идентитетот во последната инстанца, но унивикацијата не зазема место. Физикалното, анималното и природата, е материјалност на „употребна вредност“ и реална продукција која треба да биде распределена од експлоатацијата, не само „работниците“, особено затоа што многу од светската работна сила се лишени од статусот (работници). Потребата да се направи не е само единствената морална, туку исто така и политичка во смисла на политичката економија: капитализмот е втемелен на недостатна погрешна фантазма дека универзумотод чиста вредност е себе-доволен на одржлива основа, втемелен на апстрактна материјалност како бескраен променлив извор. Политичката економија отклонета од материјалното е неодржлива.
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The reality that cultures have values intrinsic to the region that they grow in is reflected in their tales, stories, and myths. Legendary discourses that spread abroad have become cults in time and continue to exist. The frightening and scary perception of deep and dark waters has affected people profoundly in a psychological manner, and several mythological creatures that are believed to live under those waters have kept their mystery. The respect for those glamorized and sanctified waters has turned into a social anxiety in a sense. Navigating in those waters has begun with the offering of sacrifices to the pagan gods by people living by the sea. In fact, the skulls of sacrificed animals have been transformed into an apotropaic hypostasis and placed on the foretop. Skull cults have begun to be symbolized with wood carved figures within time. The metamorphosis allowed the birth of ship adornment art and ships to have an aesthetic appearance. From this point of view, it can be stated that art traces back to the history of humanity’s fears. It is apparent that afreets, creatures, and monsters of water, have significantly similar features across different societies. This study deals with the transformation of the monster image into iconography through theological inferences. It aims to explain this through the narratives specific to the Lake Van Monster from the universal mythology of the monster. Lake Van, which is located in the Eastern Anatolia Region of Turkey, is a part of the socio-cultural life of the local community and is believed to be sacred. Contingently, the Monster of Lake Van is a reality that is far from an idea or vice versa. The study is conducted to examine the creatures that are especially believed to live under the water and to evaluate the mythical features of the Monster of Lake Van. The study was conducted within the scope of qualitative research methods.
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Review of: MİRCEA ELİADE, İNİSİYASYON, ÂYİNLER, GİZLİ CEMİYETLER, (ÇEV.: AYŞE MERAL), ANKARA: DOĞU BATI YAYINLARI, 2022. [ISBN: 978- 625-8123-04-3/SERTİFİKA NO: 48847, 252 SAYFA.]
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The aim of this paper is to reflect the directions proposed by the new materialism’s theorists by revealing them in a field in which the new materialist perspective has not experienced the same emergence as in cultural studies or philosophy: literature, an area whose socio-cultural implication will enable the correlations with the art of performance. For this purpose, after a brief theoretical introduction, “hypothesis”, of the approach, whose role is in fact to clarify the ideas that the new materialism supports, we reveal a series of neo-materialist “contexts” in the literatures of Urmuz and Matei Vişniec, and in the performances of Marina Abramović, in which the hybridization of the human is the central aspect that allows to present neo-materialist perspective of the corpus.
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This paper is aiming to analyze the occurence and some functional and pragmatic aspects of the types of negation in all Lucian Blaga’s volumes of poetry. By using a quantitative approach, we have proved the stylistic effect of negation in his poetry and the importance of the negation with positive connotations in his verse. Beginning with the verbal negation, this paper goes through all the other types of it acoording to Rodica Zafiu’s classification: the negation of constituent, the expletive negation, the pro-sentence and the restrictions with a negative form.
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What the present paper advances is the creation of a living context through which the protagonist-creator, Axente Creangă, from Luntrea lui Caron / Caron’s Boat by Lucian Blaga, accumulates the depths of private life during the World War II, as well as during the early days of communism. The action takes place exclusively in the Transylvanian space, which we analyzed through a quantitative study aimed at the level of emotions in these two important historical periods and the placement of the work in an interdependent relationship with all the events that took place.
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Božidar Knežević (1862–1905) was a Serbian philosopher, writer and moralist. His philosophico-historical system is presented in his two-volume Principi istorije [The Principles of History]. As a positivist and evolutionist, he contemplated history as an evolutionary ascent of the universe and nature, since its creation, towards a moral and intellectual unification of humankind. There are different theories on the origin of Knežević’s Misli [Thoughts], his most influential work, which appeared in 1902. This moralistic book was considered to contain some simplified ideas already explored in The Principles of History. The comparison of the two books, however, sheds further light on the problem since most of the aphorisms published in the Thoughts cannot be traced back to The Principles of History. Some thoughts are based on the ideas Knežević brought to the fore in his capital work, but others are products of the author's authentic experiences and deep feelings.
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The paper highlights the relevance of time for the clinic of psychoses. It links time, language and being in order to illuminate possible ways to (re)consider psychosis. The author argues that the dimension of time is equally important for Jacques Lacan as those of repression and the return of the repressed are for Freud (as asserted in the paper, the dimension of time completes the mirror stage). In fact, time represents a third dimension and a solution for a difficult dualist Freudian interpretation, allowing the therapist to observe and interpret the patient’s symptom more effectively. The symptom (or its absence) is particularly evident in the case of psychosis where the relation the patient has with time reveals ones attempt of finding a solution to a precarious way of being more astutely. Both hallucination and delirium are such attempts and involve a suspension of time. Given this contextualization, the author concludes that an interpretation is possible for psychotic cases and, even more, that the question of interpretation in psychosis is at the heart of what psychoanalysis itself is.
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In this paper, the author takes advantage of the findings of Lacanian psychoanalytic theory in order to re-evaluate the classic Freudian interpretation of perversion. According to it, sadism and masochism are not necessarily coupled but are two different ways of finding satisfaction, which are not mutually interchangeable. Even though they are both related to the same structure defined by what the author identifies as “le suspens” (i.e. suspense), a third element is needed in order for them to be satisfied. This third element is indicated by the expression “la suspension”, which denotes someone (or something) being “between sexes”. Using masochism as paradigmatic of perversion, the author demonstrates that being “in suspense” and being “in suspension” are two possible ways to differentiate between perversion and psychosis.
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The paper seeks to reconstruct transcendental phenomenology building upon Maurice Merleau-Ponty’s work The Visible and the Invisible. The author makes the remark that such an endeavor presupposes, among other things, the reevaluation of both the psychoanalytic hypothesis of the unconscious as well as of the main operation through which the unconscious can be analyzed, namely the famous Freudian operation of après coup. In this thematic context, Merleau-Ponty becomes interested in the new type of phenomena that occur in the intervals between different phases of our apperception as an effect of a particular type of trans-eidetic “serpentine” which represent a new version of the Husserlian zigzag. The architectural problem of resonance and transfer (Übergang) thus becomes a central one. The paper argues that Merleau-Ponty goes beyond the inter-subjective context of the fifth Cartesian Meditation, thus opening the horizon of a secondary experience that arises in the very discontinuity of apperceptive time redefined as forgetting. The paper concludes that the shift analyzed by Merleau-Ponty indicates a very particular “synthesis” à double fond without a determined schematism.
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The following paper discusses and contrasts two important works about the development of the concept of truth in Husserl’s oeuvre: Alphonse de Wæhlens’ book Phénoménologie et vérité and Ernst Tugendhat’s better known work Der Wahrheitsbegriff bei Husserl und Heidegger. The goal of the paper is to show the way in which Husserl’s position with regard to truth reaches certain impasses in his Logical Investigations and how these impasses were reframed in a positive manner so as to form a basis for a radically new philosophical undertaking: his transcendental phenomenology. The paper focuses on the immanent destruction of the classical concept of truth, unwillingly engendered by the conceptual framework of the Logical Investigations.
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In one of the most seminal works of philosophy, Husserl’s Logical Investigations, light mention is made of the acts of command, and one can’t keep count of how many times their summon ends up with a kind of murky dismissal, dispensed by an eidetic epistemology enamored with the objectifying, meaning-constitutive acts of a logically bound consciousness. This paper tries to show that Husserl’s works are amenable to a more complicated and rich theory of commands that views them from at least three different perspectives: as non-objectifying acts, social acts, and practical acts. This fertile reading is abetted by the concept of intentionality whose facets and multi-thematic development cast many nourishing theoretical seeds for a phenomenology of command. At the same time, this paper tries to cull a few scattered ideas on command of such thinkers as the München phenomenologists, Alexander Pfänder and Adolf Reinach, as well as Eric Voegelin and Hans Kelsen, who all showed an interest in a theory of command. The first two influenced Husserl’s thinking on social and practical acts, whereas the latter two were both avid readers of Husserl’s works.
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