492 research outputs found
Hunt the author: Vadim, Zola and La Curée
No full textIn spite of their differences, Émile Zola's 1872 novel La Curée and Roger Vadim's 1965 cinematic adaptation, La Curée/The Game is Over, are linked by images of hunting. This article asks: What is the quarry being chased in both works? It comes to the conclusion that it is authorship itself. Vadim has been criticized for his alterations to Zola's ‘original’ text. However, it is clear upon inspection that it is precisely such a notion of an ‘original’ text or a founding moment of authorship that Zola undermines in his novel. On an intratextual level, Zola dramatizes the lack of authorship of his characters. He extends this dramatization to incorporate his own authorship, demonstrating that far from constituting a moment of original textual presence, his novel is rather a palimpsest, an adaptation of earlier adaptations. By incorporating the images of ever earlier sources, Vadim and Zola enter into a dialogue on the nature of authorship itself, demonstrating that the author may be hunted, but s/he will never truly be caught
Barbarella: Cravo e Canela
Get PDFArticle on Ernesto Neto's work as part of Ernesto Neto's exhibition catalogue
Kasevich Vadim B., Buddizm, kartina, mira, jazyk [Buddhism, Worldview, and Language], 1996, St. Petersburg, Centr "Peterburskoe Vostokovedenie" [Petersburg Center for Oriental Studies], 288 pages. Summary by the author
No full textKasevich Vadim B., Buddizm, kartina, mira, jazyk [Buddhism, Worldview, and Language], 1996, St. Petersburg, Centr "Peterburskoe Vostokovedenie" [Petersburg Center for Oriental Studies], 288 pages. Summary by the author. In: Aséanie 1, 1998. pp. 223-226
Kasevich Vadim B., Buddizm, kartina, mira, jazyk [Buddhism, Worldview, and Language], 1996, St. Petersburg, Centr "Peterburskoe Vostokovedenie" [Petersburg Center for Oriental Studies], 288 pages. Summary by the author
No full textKasevich Vadim B., Buddizm, kartina, mira, jazyk [Buddhism, Worldview, and Language], 1996, St. Petersburg, Centr "Peterburskoe Vostokovedenie" [Petersburg Center for Oriental Studies], 288 pages. Summary by the author. In: Aséanie 1, 1998. pp. 223-226
Are We Really Going to Have an Eschatological Future?
Get PDFThe article analyzes the interpretation of the future, in which the person either does not have a place or is expected by a sad fate. Other past religious interpretations of the future are also being con-sidered. The problem arose only in the culture of the new time, when faith and reason were contrasted and understood as opposing realities, and the universe was interpreted in the spirit of natural sciences, that is, as a physical reality. There were various paradoxes. A vivid example of such paradoxes the author sees in the works of Vadim Kazyutinsky, who studied the concepts of the universe and galaxies. In particular, his research allows us to assert that cosmology by basic parameters should be attributed to a scientific discipline of the humanitarian type, which does not exclude the presence in it of various physical and other natural sciences disciplines. The position of the well-known Russian philosopher Alexey Losev, who points to the boundaries of explanation in the spirit of the natural sciences, is also analyzed. In the second half of the article, alternative scenarios (Vadim Kazyutinsky, Hannah Arendt and the author) are discussed to overcome the pessimistic understanding of the future. For the author it is humanitarian nature of philosophy. For Kazyutinsky, the worldview that the Stoics professed, as well as faith man and humanity. For Hannah Arendt — the clarification of the crisis of our thought and civilization. The conclusion is drawn that the considered vision of reality, characteristic of rationalism and natural sciences, is an alternative, and not one
Barthes, Bakhtin, Structuralism: A Reassessment
No full textPhDThe thesis is a comparative analysis of the shared ideas and concerns in the works of
Mikhail Bakhtin and Roland Barthes from the point of view of differences between
French and Slavic literary structuralisms. Its background argument is that the
structuralism developed in the later works of the Russian Formalists and by Prague
Structuralists and Soviet Semioticians is more historically and socially oriented than its
French version, defining the structure of a literary work as a system of all of its
elements and effects (even those that take us outside of the text, like literary tradition
and historical and political circumstances). In this sense, Bakhtin can be seen as a part
of the Slavic structuralist tradition (and not opposed to it as is often claimed), and
Barthes (seen throughout his career) is on the whole perhaps closer to the Slavic
structuralism than he is to the French.
The particular problems discussed are those of the relationship between
literature and ideology, the notions of intertextuality, heteroglossia, dialogism and
polyphony and the differences between them, and the role of the author.
Barthes and Bakhtin shared a lifelong interest in the role of ideology in literature
and the influence of authoritarian language or myth on culture in general and the literary
text in particular. They looked for ways in which the deadening effect of the
mythological (epic, monological) thought and word can be counteracted through
literature, and different versions of what Kristeva termed 'intertextuality' played an
important part in their treatment of the subject. They also both discussed the role of the
author and their voice in the literary text, and the question of their power over the text,
its characters (Bakhtin) and the reader (Barthes).
The main thread of Barthes and Bakhtin's thought focuses on the problem of
counteracting authoritarian language through literature, and the solutions they proposed
can fruitfully be seen in the light of Slavic structuralism's notions of literary structure
Urbanisme, géographie et autres sciences socio-économiques
No full textThe author attempts to demonstrate that unlike a too-readily accepted belief, the principles of urbanistic policies throughout the history of the Soviet Union would have provided a solution for an integrative vision of scientific disciplines and problems rather than for sectorized approaches. In the last decades, the development of regional systems of settlement, better understanding of architectural and environmental dimensions, would provide the proof of this behavior.L'auteur tend à montrer que contrairement à une conception trop facilement reçue, les principes des politiques urbanistiques tout au long de l'histoire de l'Union Soviétique auraient répondu à une vision intégrative des problèmes et des disciplines scientifiques plutôt qu'à des approches sectorisées. Dans les dernières décennies, la mise au point des systèmes de peuplement régionaux, la meilleure prise en compte des dimensions architecturales et environnementales, seraient la preuve de cette attitude.Pokchichevski Vadim. Urbanisme, géographie et autres sciences socio-économiques. In: Villes en parallèle, n°26-27, décembre 1998. La ville soviétique avant la Pérestroïka. pp. 68-79
Vadim Shershenevich as a translator, librettist and critic in a theatrical dialogue with Shakespeare
Get PDFThe reception of the works of William Shakespeare in the work of the poet and translator Vadim Shershenevich (1893—1942) is considered. The relevance of the study is due to the insufficient study of the reception of Shakespeare’s work in the legacy of Shershenevich. The novelty of the study lies in the reference to the little-known texts by Shershenevich, which are translations and adaptations of Shakespeare’s plays for the early Soviet theater, as well as in understanding the specifics of the perception of these theater projects in the press of the 1920s—1930s. Particular attention is paid to archival documents, which make it possible to recreate in detail the landscape of the literary and theatrical process of that period. It is proved that Shershenevich became the author of adapted texts for three productions based on Shakespeare in pre-war Moscow: «Romeo and Juliet» at the Chamber Theater (1921), «Hamlet» in the version of A. Dumas at the «Romanesque» Theater (1923, work on the performance stopped in rehearsal time), “The Twins” based on the play “Twelfth Night” at the Moscow Operetta Theater (1939). The concept of two translation approaches in the work of V. Shershenevich is proposed: an accurate literary translation (this is how he translates «King John» and «Cymbeline») and an adapted translation for theatrical needs
Vadim Fedorov - Biography and Work
No full textBakalářská práce je věnována životu a tvorbě ruského spisovatele Vadima Nikolajeviče Fedorova, žijícímu v České republice.
Cílem bakalářské práce bylo charakterizovat rysy poetiky a tvorby V. N. Fedorova.
Při psaní bakalářské práce byly použity následující metody: popisná, biografická, srovnávací a historická.
Na základě výzkumu je možné shrnout následující závěry:
V. N. Fedorov je typickým zástupcem moderní mužské prózy, pro kterou jsou v dnešní době charakteristické tradiční maskulinita (silný muž a slabá žena) a běžné hrdinství.
Představa hrdiny vznikající při čtení povídek V. N. Fedorova je zcela v souladu s popisovaným typem ruského muže: pracovitý, zpravidla věrný, ochraňující svou milovanou, pečující, pozorný, jednoduchý v komunikaci, nezaujatý atd.
Typy žen V. N. Fedorova v povídkách jsou různorodé: potvora, hysterka, nána, vypočítavá, hýřivá, rozkošná kráska, žena s ocelovým charakterem, silná duchem, atd.
Hlavním tématem povídek je téma vztahu mezi muži a ženami, nejběžnějšími motivy - nevěra, mužské a ženské chtíče.
Stylistika povídek V. N. Fedorova se vyznačuje stručností uměleckých prostředků a syntaxe - úsečností a neúplností vět. Jazyk hlavních postav je moderní a plný žargonů, obsahuje nejen slang, urážlivá slova, ale také mat.
Ráz a styl psaní V. N. Fedorova spisovatele odpovídají této době, a to především komunikaci na internetu na sociálních sítích. Proto jsou povídky autora čtivé, dynamické, čas v nich je prchající, témata jsou koncentrovaná a stlačená, příběhy jsou jednoduché, počet hlavních postav je minimalizován.
Spisovatel se současně zabývá propagací své tvorby a podnikání s nemovitostmi.
Dělá vše samostatně, přes internet, rozmisťuje informace na speciálních stránkách a v sociálních sítích. Sociální síť je pro autora nejen místem k propagaci jeho tvorby a umístění reklamy v oblasti nemovitostí, ale také platformou pro objasnění tvůrčího procesu, osobního života, projevy politických a ideologických názorů, literárních preferencí, stejně tak jako způsob komunikace se čtenářem, získání zpětné vazby.ObhájenoBachelor's thesis is devoted to the study of biography and work of the Russian writer Vadim Nikolayevich Fedorov, who lives in the Czech Republic.
The aim of the work was to reveal the peculiarities of poetics and problems of
V. N. Fedorov's work.
During the study the following methods were used: descriptive, biographical, historical, structural.
The following conclusions were made:
V. N. Fedorov is a bright representative of modern men's prose, which today is characterized by: traditional masculinity (a strong man and a weak woman) and domestic heroism.
The image of the hero that emerges when reading V. N. Feodorov's stories align with the typical Russian man: hardworking, generally faithful,protect and defend his beloved, caring, careful, simple in communication, selfless, etc.
Types of women in the stories of V. N. Feodorov are diverse: bitch, hysterical, fool, mercenary, promiscuous, a charming beauty, a strong-minded, hardy spirit etc.
The central theme of the stories is the relationship between man and woman, the most common motifs are unfaithfulness, male and female lust.
The writing style of V. N. Fedorov's stories are distinguished by the laconic use of artistic means, and syntax - truncation and incompleteness of sentences. The language of the characters is modern and jargonized, containing not only slang, but swear words, as well as filthy words.
The character and writing style of the writer corresponds and are up-to-date with nowadays, especially communication on the Internet, more specifically on social networks. Therefore, the author's stories are readable, dynamic, the timeline is fast-paced, the plots are concentrated and compressed, the stories are simple, the number of characters is minimalized.
The writer is simultaneously engaged in advertising of his works and real estate business. He does it on his own, through the Internet, posting information on special websites and social networks. The social network has become not only a place for the author to promote his work and advertise in real estate, but also a platform for consecration on his creative process, personal life, political and ideological views, literary preferences, as well as a way to communicate with readers and receive feedback
The ideological and the dialogical
Get PDFHaye A, Carvacho H, Larraín A. The ideological and the dialogical. Journal für Psychologie. 2011;19(1).In this paper we follow researchers on ideology in that one way of dealing with this problem is by conceiving language as a common ground between the social and the psychological, and then we focus on Bakhtin's theory of discourse to show how language practices can be regarded as the locus of ideology. We will approach the Bakhtinian concepts of discourse and utterance, showing the ideological nature of language practices in three steps. First, because language practices consist of position-taking movements in a social field. Second, because these acts of discourse are evaluations, that is, value-laden positioning effort. And finally because any utterance involves a social background that roots the evaluative positioning movement in a history of language practices common among speaking subjects. Then we explore this third aspect in terms of the common social life that is discursively assumed in communication and thinking activity
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