Journal articles on the topic 'Tragedy paradox'
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Arancibía Carrizo, Juan Pablo. "Comunidad, Tragedia y Melancolía: Estudio para una Concepción Trágica de lo Político." Revista Grafía- Cuaderno de trabajo de los profesores de la Facultad de Ciencias Humanas. Universidad Autónoma de Colombia 10, no. 2 (July 14, 2013): 111. http://dx.doi.org/10.26564/16926250.496.
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Resumen:El presente artículo propone el examen de cuatro categorías y cuatro paradojas de la experiencia política moderna, que a partir de su problematicidad y significación, pudieran ser repensadas y reinscritas en una «concepción trágica de lo político». Primera paradoja: La «comunidad» se quiere y no se alcanza. Segunda paradoja: la tragedia deviene «sentido trágico». Tercera paradoja: Gubernamentalidad biopolítica: queriendo libertad, la niega. Cuarta paradoja. «melancolía»: despotencia que en su retiro, deviene fuerza.Palabras clave: Comunidad, Tragedia, Biopolítica, Melancolía*******************************************************************Community, tragedy and melancholia: Study for a tragic conception of the PoliticsAbstractThe present article proposes the examination of four categories and four paradoxes of modern politics experience, which as low as their quandary and signification could be re-thought and registered en a “tragic conception of the politics”. Firs paradox: The “community” is wanted but not reached. Second paradox: the tragedy becomes “tragic sense”. Third paradox: Bio-politics government: wishing liberty, it is denied. Fourth paradox: “melancholia”: de strengthen that in its leaving becomes force.Key words: Community, tragedy, bio-politics, melancholia. *********************************************************Comunidade, Tragédia e Melancolia: Estudo para uma ConcepçãoTrágica do PolíticoResumoO presente artigo propõe o exame de quatro categorias e quatro paradoxos da experiência política moderna, que a partir de sua problematicidade e significação, puderam ser repensadas e reinscritas numa «concepção trágica do político». Primeiro paradoxo: a «comunidade» se quer e não se consegue. Segundo paradoxo: a tragédia devem «sentido trágico». Terceiro paradoxo: Governamentalidade biopolítica: querendo liberdade, a nega. Quarto paradoxo. «melancolia»: dês-potência que no seu retiro, devem força.Palavras chave: Comunidade, tragédia, biopolítica, melancolia.
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Weinberg, Kurt. "Nietzsche's Paradox of Tragedy." Yale French Studies, no. 96 (1999): 86. http://dx.doi.org/10.2307/3040719.
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Packer, Mark. "Dissolving the Paradox of Tragedy." Journal of Aesthetics and Art Criticism 47, no. 3 (1989): 211. http://dx.doi.org/10.2307/431001.
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Tippens, Darryl, and Barbara Joan Hunt. "The Paradox of Christian Tragedy." South Central Review 4, no. 4 (1987): 108. http://dx.doi.org/10.2307/3189032.
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PACKER, MARK. "Dissolving The Paradox of Tragedy." Journal of Aesthetics and Art Criticism 47, no. 3 (June 1, 1989): 211–20. http://dx.doi.org/10.1111/1540_6245.jaac47.3.0211.
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Chou, Mark. "Democracy in an Age of Tragedy: Democracy, Tragedy and Paradox." Critical Horizons 11, no. 2 (May 21, 2010): 289–313. http://dx.doi.org/10.1558/crit.v11i2.289.
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Price, A. "NIETZSCHE AND THE PARADOX OF TRAGEDY." British Journal of Aesthetics 38, no. 4 (April 1, 1998): 384–93. http://dx.doi.org/10.1093/bjaesthetics/38.4.384.
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Schlueter, June. "Reviews: The Paradox of Christian Tragedy." Christianity & Literature 37, no. 1 (December 1987): 75–77. http://dx.doi.org/10.1177/014833318703700117.
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Evers, Daan, and Natalja Deng. "Acknowledgement and the paradox of tragedy." Philosophical Studies 173, no. 2 (May 8, 2015): 337–50. http://dx.doi.org/10.1007/s11098-015-0495-0.
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Slurink, Pouwel. "Paradox and Tragedy in Human Morality." International Political Science Review 15, no. 4 (October 1994): 347–78. http://dx.doi.org/10.1177/019251219401500403.
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Hick, Darren Hudson, and Craig Derksen. "The Problem of Tragedy and the Protective Frame." Emotion Review 9, no. 2 (January 30, 2017): 140–45. http://dx.doi.org/10.1177/1754073916639660.
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We explore the classical philosophical problem of the “paradox of tragedy”—the problem of accounting for our apparent pleasure in feeling pity and terror as audiences of staged tragedies. After outlining the history of the problem in philosophy, we suggest that Apter’s reversal theory offers great potential for resolving the paradox, while explaining some of the central intuitions motivating philosophical proposals—an ideal starting point to bridge a narrowing gap between philosophy and psychology.
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Yanal, Robert J. "Hume and Others on the Paradox of Tragedy." Journal of Aesthetics and Art Criticism 49, no. 1 (1991): 75. http://dx.doi.org/10.2307/431651.
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Charles Lewis. "HÖLDERLIN ON TRAGEDY AND PARADOX: ‘DIE BEDEUTUNG DER TRAGÖDIEN […]’." Modern Language Review 109, no. 1 (2014): 139. http://dx.doi.org/10.5699/modelangrevi.109.1.0139.
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YANAL, ROBERT J. "Discussion: Hume and Others on The Paradox of Tragedy." Journal of Aesthetics and Art Criticism 49, no. 1 (December 1, 1991): 75. http://dx.doi.org/10.1111/1540_6245.jaac49.1.0075.
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Delicata, Nadia. "Religion and Violence: The Paradox of a Human Tragedy." Religious Studies Review 35, no. 1 (March 2009): 13–22. http://dx.doi.org/10.1111/j.1748-0922.2009.01311.x.
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LaMothe, Ryan. "The Paradox and Tragedy of Helplessness: Freud, Winnicott, and Religion." Pastoral Psychology 63, no. 5-6 (February 21, 2014): 673–87. http://dx.doi.org/10.1007/s11089-014-0598-0.
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Dulgheriu, Ionuț. "Euripides – Dramatic Concept, Innovation and Style." Theatrical Colloquia 7, no. 2 (December 1, 2017): 257–66. http://dx.doi.org/10.1515/tco-2017-0024.
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Abstract We can say that the Europidian Greek tragedy situated at the outset man to extreme limits, on the border where the divine begins. Any tragedy signifies and stimulates the energy of the hero to surpass himself through an incredible act of courage, to give a new measure of his greatness in the face of obstacles, to the unknown he meets in the world and in the society of his time. The tragedy shows us that in the very fact of human existence there is a challenge, or a paradox, it tells us that sometimes the aspirations of man come into conflict with the forces of the unexplained and destructive, which is beyond and yet very close to us. The poet and philosopher Euripides turns out to be a great humanist, he loves and sympathizes with the people, suggesting that by birth we are all equal.
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Burkett, Paul. "Lukács on Science: A New Act in the Tragedy." Historical Materialism 21, no. 3 (2013): 3–15. http://dx.doi.org/10.1163/1569206x-12341313.
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Abstract The rejection of the ‘dialectics of nature’ has long been thought of as the most fundamental factor distinguishing Western Marxism from official Soviet-style Marxism. Yet, in Tailism and the Dialectic, Georg Lukács – perhaps the most influential figure in Western Marxism – strongly endorses the existence of an objective dialectic in nature. A close examination of Lukács’s main writings on science shows, however, that he still in effect denied the possibility of applying dialectical method to nature. This paradox is bound up with a dualistic conception of natural and social science with distinctly adverse implications for the development of an ecological Marxism.
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Neidleman, Jason. "Politics and Tragedy: The Case of Rousseau." Political Research Quarterly 73, no. 2 (March 31, 2019): 464–75. http://dx.doi.org/10.1177/1065912919839144.
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There is a growing body of scholarship in political theory that explores the ways in which a tragic heuristic can be useful for understanding politics. This scholarship has generally seen Rousseau as having articulated a political theory that might be illuminated by the application of a tragic heuristic but not one that might itself illuminate tragic predicaments in democratic politics. Readers have criticized Rousseau for inadvertently succumbing to a series of tragic conflicts, primarily by virtue of his insistence on a homogeneous political culture. Through an analysis of Rousseau’s theory of sovereignty, this essay argues that Rousseau has something more to contribute to the scholarship on tragedy and politics. His political theory includes both moments of tragic overreach as well as moments of tragic narration. More than simply a victim of tragic dissolution, Rousseau deployed his own tragic prism for conceptualizing what he called the “fundamental problem” of politics. This tragic prism, the essay concludes, expands the applicability of Rousseau’s political theory beyond the small, homogeneous republics he took as his model. The final section of the essay makes use of the “paradox of politics” to illustrate the applications of Rousseau’s theory of sovereignty to democratic theory writ large.
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Erianto, Narlius Reinal. "Racialism Slavery As Reflected In Paul Laurence Dunbar’s Poems To Social Life." Jurnal Ilmiah Langue and Parole 1, no. 1 (June 23, 2017): 30–41. http://dx.doi.org/10.36057/jilp.v1i1.5.
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Slavery to Social life's Racialism analyzes the disclosure of a black-life tragedy of slavery and racism in their social life. The author takes data from Dunbar's poems: We Wear the Mask, The Debt, Sympathy, Life's Tragedy and The Paradox. In these five poems the author analyzes how slavery that has taken place in America on the basis of the five poems of Dunbar, some kind of racism that the author finds in the five poems of Dunbar, and the result of social slavery to the black social life in America that the author finds in The five poems of Dunbar.
This research method is descriptive qualitative, which try to explain about correlation between writer life background which pour through poetry and its influence to human social life. In analyzing the five poems of Dunbar, the author uses a psychological approach that discusses the psychology of human personality which is the theory of Sigmund Freud including the id, ego, and the human superego. The main source of data obtained from the five poems Dunbar namely: We Wear the Mask, The Debt, Sympathy, Life's Tragedy and The Paradox. Other sources come from articles and internet books.
From the analysis of the five poems of Dunbar, the authors found that (1) Slavery and human rights abuses against blacks in America are reflected through the five poems of Dunbar. (2) The author finds some form of racism such as the occurrence of discrimination and persecution that caused the suffering of blacks in America on the basis of the fifth poems of Dunbar and (3) There have been proven consequences of the slavery experienced by blacks in America that the author has discovered from the fifth Dunbar's poetry is like feeling oppressed or experiencing the mental stress that causes blacks in America to suffer.
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Pereira, Anthony W. "The Neglected Tragedy: the Return to War in Angola, 1992–3." Journal of Modern African Studies 32, no. 1 (March 1994): 1–28. http://dx.doi.org/10.1017/s0022278x00012520.
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The state system during the so-called ‘cold war’ rested on a paradox. Peace and stability in the developed countries was accompanied by scores of ‘hot’ wars in the Third World, fuelled and at times created by the United States, the Soviet Union, and their allies. Each superpower had a high incentive to arm client states and rebel armies, in return for political loyalty and access to primary products. Nowhere did the logic of this system have such negative effects as in Africa. There, the result was the militarisation of states, the escalation of wars, and the strengthening of authoritarian forms of rule.
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Chaves, Ernani. "O “Silêncio Trágico”: Walter Benjamin Entre Franz Rosenzweig e Friedrich Nietzsche." Philosophica: International Journal for the History of Philosophy 23, no. 46 (2015): 67–78. http://dx.doi.org/10.5840/philosophica2015234622.
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This article seeks to present, in its most general terms, the question of the tragic silence and its function within the analysis concerning the Greek tragedy in The Origin of German Tragic Drama, which was written by Walter Benjamin. For this purpose, we turn to two sources related to Benjamin’s analysis: The Star of Redemption, by Franz Rosenzweig, and The Birth of Tragedy, by Nietzsche. However, in addition to the two other thinkers, Benjamin thinks about the issue of the “tragic silence” from the confrontation between “ambiguity” and “paradox”, between “myth” and “history”, in such a way that silence is a means of resistance: while expressing the guilt of the hero, what you see is his/her “silent suffering”, and, instead of being found guilty, the gods themselves are the ones who must recognize their guilt.
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Rosen, Matthew. "Between Conflicting Systems." Anthropological Journal of European Cultures 28, no. 2 (September 1, 2019): 1–22. http://dx.doi.org/10.3167/ajec.2019.280202.
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‘Business as usual’ in contemporary Albania takes place between different and conflicting systems of meaning and value. Drawing from ethnographic material collected in Tirana, Albania, this article examines the complexities of social and economic life in a city where distinct moral economies routinely clash with the capitalist principle of profit. Starting from the ethnographic impulse to learn how two local booksellers made sense of the contradictory systems of meaning operating in their everyday lives, the analysis shows how a grinding of discordant value systems produced the more general paradox of an ‘ordinary tragedy’.
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Pratarelli, Marc E., and Sarah M. Johnson. "Exploring the Paradox in Hardin's “Tragedy of the Commons”: A Conservation Psychology Classroom Exercise." Ecopsychology 4, no. 2 (June 2012): 158–65. http://dx.doi.org/10.1089/eco.2012.0015.
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Shaw, J. Clerk. "Poetry and Hedonic Error in Plato’s Republic." Phronesis 61, no. 4 (September 15, 2016): 373–96. http://dx.doi.org/10.1163/15685284-12341312.
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This paper reads Republic 583b-608b as a single, continuous line of argument. First, Socrates distinguishes real from apparent pleasure and argues that justice is more pleasant than injustice. Next, he describes how pleasures nourish the soul. This line of argument continues into the second discussion of poetry: tragic pleasures are mixed pleasures in the soul that seem greater than they are; indulging them nourishes appetite and corrupts the soul. The paper argues that Plato has a novel account of the ‘paradox of tragedy’, and that the Republic and Philebus contain complementary discussions of tragic and comic pleasure.
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Choi, Kunhong. "The Paradox of Tragedy as the Singular Phenomenon: The Causal Approach and the Motivational Approach." Mihak - The Korean Journal of Aesthetics 84, no. 2 (June 30, 2018): 265–95. http://dx.doi.org/10.52720/mihak.84.2.8.
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Carpenter, Stanley R. "Sustainability and Common-Pool Resources Alternatives to Tragedy." Society for Philosophy and Technology Quarterly Electronic Journal 3, no. 4 (1998): 170–83. http://dx.doi.org/10.5840/techne19983420.
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The paradox that individually rational actions collectively can lead to irrational outcomes is exemplified in human appropriation of a class of goods known as "common-pool resources" ("CPR"): natural or humanly created resource systems which are large enough to make it costly to exclude potential beneficiaries. Appropriations of common-pool resources for private use tend toward abusive practices that lead to the loss of the resource in question: the tragedy of the commons. Prescriptions for escape from tragedy have involved two institutions, each applied largely in isolation from the other: private markets (the "hidden hand") and government coercion (Leviathan). Yet examples exist of local institutions that have utilized mixtures of public and private practices and have survived for hundreds of years.Two problems further exacerbate efforts to avoid the tragic nature of common- pool resource use. One, given the current level of knowledge, the role of the resource is not recognized for what it is. It is, thus, in a fundamental, epistemological sense invisible. Two, if the resource is recognized, it may not be considered scarce, thus placing it outside the scrutiny of economic theory. Both types of error are addressed by the emerging field of ecological economics.This paper discusses common pool resources, locates the ambiguities that make their identification difficult, and argues that avoidance of a CPR loss is inadequately addressed by sharply separated market and state institutions. When the resource is recognized for what it is, a common-pool good, which is subject to overexploitation, it may be possible to identify creative combinations of public and private institutions that can combine to save that resource. Disparate examples of self-organized enterprises, public/private utilities, and "green" taxes, to name a few, provide empirical content for developing theories of self-organized collective action.
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Killingback, Timothy, Jonas Bieri, and Thomas Flatt. "Evolution in group-structured populations can resolve the tragedy of the commons." Proceedings of the Royal Society B: Biological Sciences 273, no. 1593 (March 15, 2006): 1477–81. http://dx.doi.org/10.1098/rspb.2006.3476.
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Public goods are the key features of all human societies and are also important in many animal societies. Collaborative hunting and collective defence are but two examples of public goods that have played a crucial role in the development of human societies and still play an important role in many animal societies. Public goods allow societies composed largely of cooperators to outperform societies composed mainly of non-cooperators. However, public goods also provide an incentive for individuals to be selfish by benefiting from the public good without contributing to it. This is the essential paradox of cooperation—known variously as the Tragedy of the Commons, Multi-person Prisoner's Dilemma or Social Dilemma. Here, we show that a new model for evolution in group-structured populations provides a simple and effective mechanism for the emergence and maintenance of cooperation in such a social dilemma. This model does not depend on kin selection, direct or indirect reciprocity, punishment, optional participation or trait-group selection. Since this mechanism depends only on population dynamics and requires no cognitive abilities on the part of the agents concerned, it potentially applies to organisms at all levels of complexity.
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Fossett, Judith Jackson. "Sold Down the River." PMLA/Publications of the Modern Language Association of America 122, no. 1 (January 2007): 325–30. http://dx.doi.org/10.1632/pmla.2007.122.1.325.
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in that city foreign and paradoxical, with its atmosphere at once fatal and languorous, at once feminine and steel-hard—William Faulkner, Absalom, Absalom! (1936)Do you know what it means to miss New OrleansAnd miss it each night and dayI know I'm not wrong, the feeling's getting strongerThe longer I stay awayDo you know what it means to miss New OrleansSince that's where you left your heart(And there's something more)I miss the one I care for more than I miss New Orleans—Louis Alter (music) and Eddie DeLange (lyrics),“Do You Know What It Means to Miss New Orleans” (1946)BOMBARDED BY THE DISCOURSE OF “TRAGEDY” FROM MAINSTREAM MEDIA AND GOVERNMENTAL OFFICIALS TRYING TO CHARACTERIZE post-Katrina New Orleans, I decided to reread William Faulkner. Ungluing myself from the computer screen, I hoped to distract myself with a literary version of another tragedy of the South. Faulkner's sense of the city's “paradox” and “foreign”-ness—in the case of this hurricane, the fury of climatic events that inexorably led to incomprehensible effects: much of its citizenry's forced migration, dispossession of property, and denial of the right of return as well as ecological catastrophe—was geographically and culturally resonant.
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Kotok, Stephen, Brian Beabout, Steven L. Nelson, and Luis E. Rivera. "A Demographic Paradox: How Public School Students in New Orleans Have Become More Racially Integrated and Isolated Since Hurricane Katrina." Education and Urban Society 50, no. 9 (June 19, 2017): 818–38. http://dx.doi.org/10.1177/0013124517714310.
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Following the tragedy of Hurricane Katrina, New Orleans public schools underwent a variety of changes including a mass influx of charter schools as well as a demographic shift in the racial composition of the district. Using school-level data from the Louisiana Department of Education, this study examines the extent that New Orleans public schools are more or less racially integrated, racially segregated, and concentrated by poverty almost a decade after Katrina. The study utilizes exposure indices, inferential statistics, and geospatial analysis to examine how levels of school integration and segregation have changed over time. Our findings indicate that though a greater share of New Orleans schools are considered racially diverse than prior to Katrina, a greater share of minority students are now attending dually segregated schools, where over 90% of students are classified as minority and are receiving free/reduced lunch.
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LEGROS, CHRISTINE. "A Form to Dwell In: Narrative and ‘Rhetorical’ Unreliability in Alejandra Pizarnik’s Diaries." Bulletin of Hispanic Studies 99, no. 3 (March 1, 2022): 271–89. http://dx.doi.org/10.3828/bhs.2022.19.
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This article examines the impact of form on the delivery of information in Alejandra Pizarnik’s Diaries. Literary unreliability - both narrative and what I call ‘rhetorical’ - questions the one-to-one correspondence between content and form. Through rhetorical strategies such as paradox and metaphor, the Diaries subvert notions of authorial control, revisiting the ‘death of the author’, as well as the relationship between the literary and the psychological. Instead of promoting an autobiographical reading of this work as a linear story marked by tragedy, these considerations suggest an alternative, interpretive path: one in which the diaristic text tends towards the absurd and the production of a fruitful ‘nothingness’. Considering linguistic manipulation in this way allows us to situate the Diaries within Pizarnik’s aesthetic evolution, not in terms of biographical content, but according to its critical and experimental engagement with a central, theoretical issue: the (im)possibility for language to represent a reality beyond itself.
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Fitriyanto, Andry. "Sharing the Role of Peace." Al-Albab 6, no. 1 (June 1, 2017): 151. http://dx.doi.org/10.24260/alalbab.v6i1.863.
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Eka Hendry Ar., Sharing the Role of Peace. Pontianak: IAIN Pontianak Press, 2016
The tragedy of Habil’s death in the hands of Qabil shows that from the very beginning of human life on earth, it has been filled by conflict. It is a necessity in our lives. Just like crime and good, peace and conflict are also two things that continue to fill the human life. Then, can we materialize true peace where there is no conflict in it?
This book, Sharing Role of Peace begins with a very philosophical study. It is like inviting the reader to reflect again on the meaning of peace and conflict. Both are a paradox. In contrast to each other, but they need each other. Conflict is caused by the realization of a peace which requires the non-existence of conflict. If there is a conflict, then peace will be gone. But on the other hand, they also need each other. Peace requires conflict as a driver of change for the better. Conflict requires peace as the ultimate goal.
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Friesen, Courtney J. P. "Virtue and Vice on Stage." Journal of Ancient Judaism 8, no. 2 (May 19, 2017): 241–56. http://dx.doi.org/10.30965/21967954-00802008.
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Philo’s claims to have attended the theater are well known; yet the extent to which dramatic themes inform his writings remains to be explored. This study juxtaposes two of Philo’s treatises that engage with drama in disparate ways. First, in the Legatio ad Gaium, drawing on contemporary disdain for acting, Philo criticizes the emperor’s theatrical pretentions. Coupled with his aspirations for divine honors, Philo depicts Gaius’ passion for performing as particularly contemptuous. More than mere personal folly, however, Gaius’ administration was an enactment of a tragic plot in which the Jews had become the dramatic victims. By contrast, in Quod omnis probus liber sit, Philo provides a string of exempla in support of the Stoic paradox that the virtuous person is truly free, even if enslaved; among these are two popular dramatic heroes: Polyxena and Heracles. The contrast between these two treatises foregrounds the complexity of Philo’s relationship with the stage: on the one hand, the bloody violence of tragedy is emblematic of Gaius’ policies toward the Jews; on the other, individual dramatis personae are evoked as embodying the ideals of virtue.
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Andújar, Rosa. "UNCLES EX MACHINA: FAMILIAL EPIPHANY IN EURIPIDES’ ELECTRA." Ramus 45, no. 2 (December 2016): 165–91. http://dx.doi.org/10.1017/rmu.2016.9.
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At the close of Euripides’ Electra, the Dioscuri suddenly appear ‘on high’ to their distraught niece and nephew, who have just killed their mother, the divine twins’ mortal sister. This is in fact the second longest extant deus ex machina (after the final scene in Hippolytus), and the only scene in which a tragedian attempts to resolve directly the aftermath of the matricide. In this article, I argue that Castor's and Polydeuces’ sudden apparition to Orestes and Electra constitutes a specialised point of intersection between the mortal and immortal realms in Greek tragedy: familial epiphany, an appearance by a god who has an especially intimate relationship with those on stage. Euripides’ focus on the familial divine as a category accentuates various contradictions inherent to both ancient Greek theology and dramaturgy. The Dioscuri are a living paradox, ambiguously traversing the space between dead heroes and gods, managing at the same time to occupy both. They oscillate uniquely between the mortal and immortal worlds, as different sources assign different fathers to each brother, and others speak of each one possessing divinity on alternate days. As I propose, the epiphany of these ambiguous brothers crystallises the problem of the gods’ physical presence in drama. Tragedy is the arena in which gods burst suddenly into the mortal realm, decisively and irrevocably altering human action. The physical divine thus tends to be both marginal and directorial, tasked with reining in the plot or directing its future course. The appearance of the familial divine, on the other hand, can in fact obscure the resolution and future direction of a play, undermining the authority of the tragic gods. In the specific case of Electra, I contend that the involvement of the Dioscuri, who are Electra's and Orestes’ maternal uncles, produces a sense of claustrophobia at the close of the play, which simultaneously denies the resolution that is expected from a deus ex machina while also revealing the pessimistic nature of what is typically considered a reassuringly ‘domestic’ and character driven drama.
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PAVLENKO, Natella, Irina UTIUZH, Karim EL GUESSAB, and Parviz VELIIEV. "Postmodern Interpretation of the Metaphysical Grounds of the Wealth Phenomenon." WISDOM 15, no. 2 (August 23, 2020): 33–44. http://dx.doi.org/10.24234/wisdom.v15i2.340.
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The article deals with the methodological interpretation of the phenomenon of wealth that is represented by various philosophical systems: the ideas of Nietzschean philosophy, theoretical models of analytical attitudes, interpretation in certain categories of existentialism and other conceptual aspects.
Philosophical thought of the twentieth century that gave a rise to one of the controversial and super critical paradigms – postmodern philosophy.is presented. Exactly within this philosophy the structuralist and poststructuralist discourse is formed. It is a topical issue for postmodern philosophers to conduct the analysis of societies, starting from primitive ones and ending with post-industrial, which presents the implementation of the technology of man’s enslavement by oppression of his affective component, where the system of production and accumulation has become the apogee. Therefore, identification of the metaphysical grounds for the economic cathexis in the modern era has become more relevant than ever.
The authors present the analysis of the works of the classics of postmodern philosophy, G. Bataille and M. Foucault, who attempted to reveal and explain the paradox and tragedy of modern man and social relations.
The article emphasizes that there is the unresolved question: why diverse related philosophical topics are united within the framework of a single discourse, the discourse of the socio-philosophical interpretation of wealth.
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Hirsch, Alexander Keller. "The promise of the unforgiven." Philosophy & Social Criticism 39, no. 1 (December 16, 2012): 45–61. http://dx.doi.org/10.1177/0191453712467319.
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Hannah Arendt’s work on violence is bedeviled by a series of paradoxes. On the one hand, Arendt is clear in arguing that violence is utterly powerless and yet, on the other hand, she is equally clear in her portrayal of beginnings as necessarily violent. These two positions conflict insofar as Arendt holds beginnings to be the source of all power. Thus power and violence are at once opposed and yet alloyed. This tension is deepened by yet another. For Arendt, action, of which power is composed, would not be possible without the twofold human faculties of promising and forgiveness. Promising undoes the hold of the future on the present by pacifying its unpredictability, while forgiveness loosens the grip of the past by alleviating its irreversibility. The trouble, however, is that Arendt argues that the power of forgiveness stems from its unpredictability, and unpredictability is precisely that which promising is meant to thwart. Taking these two paradoxes together one might say that Arendt, however unwittingly, leaves us promising never to forgive. This article works to flesh these paradoxes out. It also contextualizes Arendt’s paradoxes in terms of the literature that claims democratic political life is beset by tragedy. In the end, I argue that, following Arendt, democracy is ultimately about learning to live with the vivid disquiet of the miracle of paradox.
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Kristensen, Lars, and Christo Burman. "Painful Neutrality: Screening the Extradition of the Balts from Sweden." Baltic Screen Media Review 6, no. 1 (December 1, 2018): 72–92. http://dx.doi.org/10.2478/bsmr-2018-0005.
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Abstract The article deals with the extradition of Baltic soldiers from Sweden in 1946 as represented in Per Olov Enquist’s novel The Legionnaires: A Documentary Novel (Legionärerna. En roman om baltutlämningen, 1968) and Johan Bergenstråhle’s film A Baltic Tragedy (Baltutlämningen. En film om ett politiskt beslut Sverige 1945, Sweden, 1970). The theoretical framework is taken from trauma studies and its equivalent within film studies, where trauma is seen as a repeated occurrence of a past event. In this regard, literature and moving images become the means of reaching the traumatic event, a way to relive it. What separates the extradition of the Baltic soldiers from other traumas, such as the Holocaust, is that it functions as a guilt complex related to the failure to prevent the tragedy, which is connected to Sweden’s position of neutrality during World War II and the appeasement of all the warring nations. It is argued that this is a collective trauma created by Enquist’s novel, which blew it into national proportions. However, Bergenstråhle’s film changes the focus of the trauma by downplaying the bad conscience of the Swedes. In this way, the film aims to create new witnesses to the extradition affair. The analysis looks at the reception of both the novel and film in order to explain the two different approaches to the historical event, as well as the two different time periods in which they were produced. The authors argue that the two years that separate the appearance of the novel and the film explain the swing undergone by the political mood of the late 1960s towards a deflated revolution of the early 1970s, when the film arrived on screens nationwide. However, in terms of creating witnesses to the traumatic event, the book and film manage to stir public opinion to the extent that the trauma changes from being slowly effacing to being collectively ‘experienced’ through remembrance. The paradox is that, while the novel still functions as a vivid reminder of the painful aftermath caused by Swedish neutrality during World War II, the film is almost completely forgotten today. The film’s mode of attacking the viewers with an I-witness account, the juxtaposition and misconduct led to a rejection of the narrative by Swedish audiences.
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Tarkowski, Mikołaj. "Pomiędzy relacyjnością a ambiwalentnością. Rozwój idei własności i wolności w warunkach politycznych samodzierżawia rosyjskiego w XIX wieku jako lejtmotyw w twórczości naukowej Richarda Pipesa." Studia nad Autorytaryzmem i Totalitaryzmem 43, no. 2 (December 27, 2021): 149–69. http://dx.doi.org/10.19195/2300-7249.43.2.9.
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The article illustrates that property rights, including in particular property and the relationship between property rights and the category of freedom in the nineteenth-century Russian Empire, was one of the most important areas of scientific activity of Richard Pipes. For centuries, both the institution of freedom and property were highly politicised. Based on Richard Pipes’ findings, it can be concluded that the relationship between ownership and freedom manifested itself in the feature of relativity or ambivalence, depending on the time and individual parts of the Russian Empire. In the 19th century, the former mainly influenced the development of the monetary economy, while the latter strengthened the idea of samoderzhavyie in the political system. Richard Pipes noticed the sources of the antinomy between the idea of freedom and property in nineteenth-century Russia in the dynamically developing economic life and the “stillness” of the autocratic political power system. Following this concept, the article presents the doubts appearing among the St Petersburg ruling elite as well as provincial officials related to establishing the personal freedom of peasants in Russia, which finally took place in 1861. The system of tsarist autocracy in Russia, which was developing throughout history, noticed significant links between property and freedom. A good example of this process was the confiscation of land property. In this regard, the article mentions political premises, the impact of the phenomenon of “paradox and tragedy,ˮ as well as the socio-economic calculations carried out in the field of confiscating private property in the western governorates of the Russian Empire, after the January Uprising of 1863.
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Manchikanti, Laxmaiah. "The Tragedy of the Implementation of ICD-10- CM as ICD-10: Is the Cart Before the Horse or Is There a Tragic Paradox of Misinformation and Ignorance?" July 2015 18;4, no. 4;18 (July 14, 2015): E485—E495. http://dx.doi.org/10.36076/ppj.2015/18/e485.
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The forced implementation of ICD-10-CM (International Classification of Diseases, Tenth Revision, Clinical Modification) codes that are specific to the United States, scheduled for implementation October 1, 2015, which is vastly different from ICD-10 (International Classification of Diseases, Tenth Revision), implemented worldwide, which has 14,400 codes, compared to ICD-10-CM with 144,000 codes to be implemented in the United States is a major concern to practicing U.S. physicians and a bonanza for health IT and hospital industry. This implementation is based on a liberal interpretation of the Health Insurance Portability and Accountability Act (HIPAA), which requires an update to ICD-9- CM (International Classification of Diseases, Ninth Revision, Clinical Modification) and says nothing about ICD-10 or beyond. On June 29, 2015, the Supreme Court ruled that the Environmental Protection Agency unreasonably interpreted the Clean Air Act when it decided to set limits on the emissions of toxic pollutants from power plants, without first considering the costs on the industry. Thus, to do so is applicable to the medical industry with the Centers for Medicare and Medicaid Services (CMS) unreasonably interpreting HIPAA and imposing existent extensive regulations without considering the cost. In the United States, ICD-10-CM with a 10-fold increase in the number of codes has resulted in a system which has become so complicated that it no longer compares with any other country. Moreover, most WHO members use the ICD-10 system (not ICD-10-CM) only to record mortality in 138 countries or morbidity in 99 countries. Currently, only 10 countries employ ICD-10 (not ICD-10-CM) in the reimbursement process, 6 of which have a single payer health care system. Development of ICD-10-CM is managed by 4 non-physician groups, known as cooperating parties. They include the Centers for Disease Control and Prevention (CDC), CMS, the American Hospital Association (AHA), and the American Health Information Management Association (AHIMA). The AHIMA has taken the lead with the AHA just behind, both with escalating profits and influence, essentially creating a statutory monopoly for their own benefit. Further, the ICD-10-CM coalition includes 3M which will boost its revenues and profits substantially with its implementation and Blue Cross Blue Shield which has its own agenda. Physician groups are not a party to these cooperating parties or coalitions, having only a peripheral involvement. ICD-10-CM creates numerous deficiencies with 500 codes that are more specific in ICD-9-CM than ICD-10-CM. The costs of an implementation are enormous, along with maintenance costs, productivity, and cash disruptions. Key words: ICD-10-CM, ICD-10, ICD-9-CM (International Classification of Diseases, 10th Revision, Ninth revision, Clinical Modification), Health Insurance Portability and Accountability Act (HIPAA), Health Information Technology (HIT), costs of implementation
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Mikeladze, Natalia E. "Again about “My Kingdom for a Horse”: the Way of Interpretation of “Richard III”." Studia Litterarum 7, no. 3 (2022): 156–73. http://dx.doi.org/10.22455/2500-4247-2022-7-3-156-173.
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The article reveals a new way of interpreting the last words of Shakespeare’s Richard III on the Bosworth battlefield (5.4.7, 13). As evidenced by numerous parodies and anecdotes the phrase became an idiom in the age of Shakespeare, and in the 19th century Russian translations has survived metamorphoses ranging from the fairy “half the kingdom” to the alternative “the whole kingdom” for a horse. The available interpretations in scientific editions don’t clarify the expression. It is absent in historical (Hall, Holinshed) and possible literary (Richardus Tertius, True Tragedy) sources, but corresponds to the logic of character and actions of Shakespeare’s Richard. We traced the development of the “white horse” motive, identified its heraldic symbolism and the leading biblical allegory associated with the image of the victor in the battle for the world (Rev. 19: 11, 16), as well as the playwright’s emphasis on the tyrant’s progressing madness. The revealed increase in biblical lexis (“irons of wrath,” “cast,” etc) and imagery (non-sunrise, the paradox of “George” and “dragon”), the symbolism of the stage space (set in accordance with the iconography of the Crucifixion and the Last Judgment) allow us to read the denouement of the cross-cutting theme of the fight between “the world” and “nothing” (1.2.240) in spirit and tradition of religious play. Richard’s “wager” takes the play beyond the boundaries of the genres codified by the Folio (Histories and Tragedies) and raises it to a mystery play, demonstrating the last battle in Heaven. Paradoxically, the first Russian translator of the play, S. Sergievsky, at the end of the 18th century most accurately succeeded in conveying the meaning of the “bet,” following the French translation by Pierre Antoine de La Place.
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Kaplan, Robert. "Soaring on the Wings of the Wind: Freud, Jews and Judaism." Australasian Psychiatry 17, no. 4 (January 1, 2009): 318–25. http://dx.doi.org/10.1080/10398560902870957.
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Objectives: This paper looks at Freud's Jewish identity in the context of the Jewish experience in Eastern and Central Europe after 1800, using his family history and significant figures in his life as illustration. Sigmund Freud's life as a Jew is deeply paradoxical, if not enigmatic. He mixed almost exclusively with Jews while living all his life in an anti-Semitic environment. Yet he eschewed Jewish ritual, referred to himself as a godless Jew and sought to make his movement acceptable to gentiles. At the end of his life, dismayed by the rising forces of nationalism, he accepted that he was in his heart a Jew “in spite of all efforts to be unprejudiced and impartial”. The 18th century Haskalla (Jewish Enlightenment) was a form of rebellion against conformity and a means of escape from shtetl life. In this intense, entirely inward means of intellectual escape and revolt against authority, strongly tinged with sexual morality, we see the same tensions that were to manifest in the publication by a middle-aged Viennese neurologist of a truly revolutionary book to herald the new 20th century: The Interpretation of Dreams. Freud's life and work needs to be understood in the context of fin-de-siécle Vienna. Mitteleuropa, the cultural renaissance of Central Europe, resulted from the emancipation and urbanization of the burgeoning Jewish middle class, who adopted to the cosmopolitan environment more successfully than any other group. In this there is an extreme paradox: the Jewish success in Vienna was a tragedy of success. Conclusions: Freud, despite a deliberate attempt to play down his Jewish origins to deflect anti-Semitic attacks, is the most representative Jew of his time and his thinking and work represents the finest manifestation of the Litvak mentality.
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BRASSETT, JAMES. "British irony, global justice: a pragmatic reading of Chris Brown, Banksy and Ricky Gervais." Review of International Studies 35, no. 1 (January 2009): 219–45. http://dx.doi.org/10.1017/s0260210509008390.
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AbstractThe article provides a critical analysis of the concept of irony and how it relates to global justice. Taking Richard Rorty as a lead, it is suggested that irony can foreground a sense of doubt over our own most heartfelt beliefs regarding justice. This provides at least one ideal sense in which irony can impact the discussion of global ethics by pitching less as a discourse of grand universals and more as a set of hopeful narratives about how to reduce suffering. The article then extends this notion via the particular – and particularly – ethnocentric case of British Irony. Accepting certain difficulties with any definition of British Irony the article reads the interventions of three protagonists on the subject of global justice – Chris Brown, Banksy and Ricky Gervais. It is argued that their considerations bring to light important nuances in irony relating to the importance of playfulness, tragedy, pain, self-criticism and paradox. The position is then qualified against the (opposing) critiques that irony is either too radical, or, too conservative a quality to make a meaningful impact on the discussion of global justice. Ultimately, irony is defended as a critical and imaginative form, which can (but does not necessarily) foster a greater awareness of the possibilities and limits for thinking/doing global justice.%‘‘The comic frame, in making a man the student of himself, makes it possible for him to ‘transcend’ occasions when he has been tricked or cheated, since he can readily put such discouragements into his ‘assets’ column, under the heading of ‘experience’. . . . In sum, the comic frame should enable people to be observers of themselves, while acting.Blackadder: Baldrick, have you no idea what irony is?Baldrick: Yes, it’s like goldy and bronzy only it’s made out of iron.’’
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Majambu, Eliezer, Salomon Mampeta Wabasa, Camille Welepele Elatre, Laurence Boutinot, and Symphorien Ongolo. "Can Traditional Authority Improve the Governance of Forestland and Sustainability? Case Study from the Congo (DRC)." Land 8, no. 5 (April 26, 2019): 74. http://dx.doi.org/10.3390/land8050074.
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With about 107 million hectares of moist forest, the Democratic Republic of Congo (DRC) is a perfect paradox of a natural resources endowed country caught in repeated economic and socio-political crises. Democratic Republic of Congo possesses about 60% of the Congo basin’s forest on which the majority of its people rely for their survival. Even if the national forest land in the countryside is mainly exploited by local populations based on customary rights, they usually do not have land titles due to the fact that the state claims an exclusive ownership of all forest lands in the Congo basin including in DRC. The tragedy of “bad governance” of natural resources is often highlighted in the literature as one of the major drivers of poverty and conflicts in DRC. In the forest domain, several studies have demonstrated that state bureaucracies cannot convincingly improve the governance of forestland because of cronyism, institutional weaknesses, corruption and other vested interests that govern forest and land tenure systems in the country. There are however very few rigorous studies on the role of traditional leaders or chiefdoms in the governance of forests and land issues in the Congo basin. This research aimed at addressing this lack of knowledge by providing empirical evidence through the case study of Yawalo village, located around the Yangambi Biosphere Reserve in the Democratic Republic of Congo. From a methodological perspective, it used a mixed approach combining both qualitative (field observations, participatory mapping, interviews, focal group discussions, and desk research,) and quantitative (remote sensing and statistics) methods. The main findings of our research reveal that: (i) vested interests of traditional rulers in the DRC countryside are not always compatible with a sustainable management of forestland; and (ii) influential users of forestland resources at the local level take advantage of traditional leaders’ weaknesses—lack of autonomy and coercive means, erratic recognition of customary rights, and poor legitimacy—to impose illegal hunting and uncontrolled forest exploitation.
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Kruczkowska, Joanna. "The Use of Ulster Speech by Michael Longley and Tom Paulin." Text Matters, no. 1 (November 23, 2011): 241–53. http://dx.doi.org/10.2478/v10231-011-0018-3.
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The article examines the application and exploration of Ulster dialects in the work of two poets of Northern Irish Protestant background, Tom Paulin and Michael Longley. It depicts Paulin's attitude to the past and the present of their community of origin, the former positive and the latter negative, which is responsible for the ambiguities in his use of and his comments on the local speech. Both poets employ the vernacular to refer to their immediate context, i.e. the conflict in Ulster, and in this respect linguistic difference comes to be associated with violence. Yet another vital element of their exploration of the dialect is its link to their origins, home and the intimacy it evokes, which offers a contrary perspective on the issue of languages and makes their approach equivocal. This context in Paulin's poetry is further enriched with allusions to or open discussion of the United Irishmen ideal and the international Protestant experience, and with his reworking of ancient Greek myth and tragedy, while in Longley's poetry it is set in the framework of "translations" from Homer which, strangely enough, transport the reader to contemporary Ireland. While Longley in his comments (interviews and autobiographical writings) relates the dialect to his personal experience, Paulin (in his essays and in interviews) seems to situate it in a vaster network of social and political concepts that he has developed in connection with language, which in Ireland has never seemed a neutral phenomenon detached from historical and political implications. Longley's use of local speech is seldom discussed by critics; Paulin's, on the contrary, has stirred diverse reactions and controversies. The article investigates some of these critical views chiefly concerned with the alleged artificiality of his use of local words and with his politicizing the dialects. Performing the analysis of his poems and essays, the article argues for Paulin's "consistency in inconsistency," i.e. the fact that his application of dialectal words reflects his love-hate attitude to his community of origin, and that in the clash of two realities, of the conflict and of home, his stance and literary practice is not far from Longley's, which has been regarded as quite neutral as one can infer from the lack of critical controversy about it. The voices of the two poets and their use of local speech provide a crucial insight into the Northern Irish reality with all its intricacy and paradox.
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Henrichs, Albert. "The Tomb of Aias and the Prospect of Hero Cult in Sophokles." Classical Antiquity 12, no. 2 (October 1, 1993): 165–80. http://dx.doi.org/10.2307/25010992.
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Sophocles' Oedipus at Colonus has traditionally been regarded as the poet's primary tragedy involving hero cult; this essay explores the more subtle but no less ritually explicit hero cult of the Aias first outlined by Burian. The passage, as Burian saw, occurs when the young Eurysakes kneels at his father's body and Teukros conducts an unusual combination of rites: supplication, curse, offering of hair, and magic (1168-84). One crucial direction to the child, kai phulasse (1180), however, is here not understood to be a paradox of the suppliant who "protects" what he seizes but rather his physical attachment to the locus where he abides as well as his ritual dependence on the source of protection (as with Orestes in Eum. 242f., 439f.). By saying a curse and obtaining protection, Teukros and Eurysakes indicate how the still-warm body of the dead hero has already acquired special powers after death: specifically, the power to bestow both blessings and curses on mortals. The argument turns from the body to the tomb, the physical and lasting monument of hero cult, which the Sophoclean audience would know. The preceding scene ends with a pivotal choral passage where the hero's burial and cult are prescribed in highly Homeric terms (1163-67). This passage forms an important link between the opposing views of the fate of the corpse (Menelaos vs. Teukros) and also between the hero's death and burial. This choral celebration of the hero's future status is cast in traditional Homeric language, but with some revealing inversions. One is the reversal of the verb whereby the earth "holds" (katechei) or possesses heroes in Homer, while Aias occupies and possesses his tomb (1167, kathexei). The evolution of Homeric views of death is traced (Archilochos, Simonides). In Sophocles' Aias the chorus performs the burial as a ritual act establishing a cult, long before it happens at the end of the play. The article concludes with a discussion of the historical cults of Aias known to the Athenians and of the more significant way that Aias (a suicide) becomes a hero: not self-consciously, as Oedipus did, but through rituals performed by his family and community. In the Aias, the poet's sense of hero cult lies closer to Homer and the epic tradition than it does, for instance, to Aeschylus.
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ANDRIANOVA, Elena V., Vladimir A. DAVYDENKO, and Yuliya Khudyakova. "PARADOXES OF MODERN INSTITUTIONAL DEVELOPMENT OF PEASANT (FARMER) FARMS." Tyumen State University Herald. Social, Economic, and Law Research 8, no. 1 (2022): 51–101. http://dx.doi.org/10.21684/2411-7897-2022-8-1-51-101.
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The work is devoted to the study of the constructive nature of institutions in the space of rural territories in the context of social contradictions, often taking paradoxical formats. Methodologically, the article is written in the traditions of modern critical institutional economics and institutional sociology. The authors’ results of the analysis of statistical data from open sources within the framework of the proposed issues over the past 20 years are presented. Three main historical stages of institutional dynamics in agriculture are characterized, the main of which included the introduction and institutionalization of private ownership of land, effectively returning Russia to the number of global players in the agricultural market. The article presents data on the modernization of agriculture resulting from institutional changes “from above” and institutional mutual obligations in rural areas “from below”. The conclusion is made about the increase in land assets and the growth of the total income of landowners. Quantitative indicators of the development of small- and medium-sized peasant (farmer) farms and large landholdings in Russia (agricultural holdings) according to various reporting data are presented. The socio-economic contradictions are revealed that point to the paradoxical development of rural areas of Russia. The foreign experience of managing modern rural business is presented, which can be considered as options for a possible future of Russia. The authors come to the conclusions that the Russian institutional dynamics in rural areas demonstrates several positive changes that have created the basis for the existence and further development of the country in a short period by historical standards. The article puts forward five hypotheses regarding the institutional development of rural areas, some of which are practically verified. It is proved that at present in Russia the risks and dangers of quantitative and qualitative food shortages have really been overcome, and that sufficiently powerful socio-class groups of landowners have been formed who are fundamentally interested in the qualitative reproduction of rural areas, despite the deepening processes of poverty, which marks the paradoxical institutional dynamics. However, there are indications that application of the concept of global instability (including determinants of СOVID-19 pandemic and “special military operation in Ukraine” after 24 February 2022) marks the existence of a new paradox related to the tragedy of agriculture’s future in Russia. It may realistically result in evolutionary crisis of the civilization if we take into account the paradigm of a “folding civilization” introduced by Arkady and Boris Strugatsky, which means that the civilization under study is left defenseless against “Masters of Fools”.
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Staudinger, Ursula M. "Viele Gründe sprechen dagegen, und trotzdem geht es vielen Menschen gut: Das Paradox des subjektiven Wohlbefindens." Psychologische Rundschau 51, no. 4 (October 2000): 185–97. http://dx.doi.org/10.1026//0033-3042.51.4.185.
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Zusammenfassung. Gegenstand der vorliegenden Überlegungen ist das Paradox des subjektiven Wohlbefindens, das darin besteht, daß viele Menschen sich auch unter widrigen Umständen wohlfühlen. Der empirische Mittelwert des Wohlbefindens scheint zudem im moderat positiven Bereich zu liegen. Es wird gezeigt, daß dieses Paradox des subjektiven Wohlbefindens nicht nur ein Methodenartefakt ist. Subjektives Wohlbefinden läßt sich mit relativer Reliabilität und prädiktiver Validität messen. Das Paradox läßt sich auch nicht durch ungenaue Messung der Risikoindikatoren aufklären, wenn auch abmildern. Ebenso tragen bereichsspezifische, dimensionale und längsschnittliche Erfassung des Wohlbefindens einiges zur Aufläsung des Paradox bei. Zentral sind für die Wohlbefindensregulation jedoch Merkmale und Mechanismen von Selbst und Persänlichkeit, wie Vergleichsprozesse, Anspruchsniveauveränderungen, Zielanpassungen, Bewältigungsformen und aber auch die Struktur der Selbstdefinition und trait-ähnliche Persänlichkeitscharakteristiken. Aspekte biologischer und kultureller Evolution scheinen dazu beigetragen zu haben, daß der empirische Mittelwert des subjektiven Wohlbefindens im positiven Bereich liegt, aber auch daß der Wohlbefindensregulation Grenzen gesetzt sind. Schließlich wird ein übergreifendes Entwicklungsmodell, das der selektiven Optimierung mit Kompensation, als integrativer Denkrahmen angeboten.
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Boyle, A. J. "SENECAN POSTSCRIPT." Ramus 46, no. 1-2 (December 2017): 197–204. http://dx.doi.org/10.1017/rmu.2017.10.
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Eliot was always right to a degree, banally so. Much of the visceral, emotional and intellectual force of Senecan tragedy, like that of the great Elizabethan and Jacobean dramatists whom Seneca inspired, is necessarily verbal. But, as Trinacty's closural analysis and the other studies of this volume attest, there are ‘further realities’—many and diverse: poetic, theatrical, political, rhetorical, psychological, moral, cultural—‘behind’ the language itself. This collection of critical essays is the latest manifestation of the resurgence of Senecan scholarly and intellectual energy which has taken place in the thirty plus years since the 1983 publication of the Ramus volume on Seneca Tragicus. That volume not only displayed with disdain the above quotation from Eliot, but paraded itself lamentably as ‘the first collection of critical essays devoted specifically to Senecan tragedy to be published in English’.
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Greve, Werner. "Furcht vor Kriminalität im Alter." Zeitschrift für Entwicklungspsychologie und Pädagogische Psychologie 32, no. 3 (July 2000): 123–33. http://dx.doi.org/10.1026//0049-8637.32.3.123.
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Zusammenfassung. Diskutiert wird das in der kriminologischen Literatur vielfach replizierte sogenannte “Viktimisierungs-Furcht-Paradoxon”, demzufolge Ältere mehr Furcht vor Kriminalität als jüngere Personen haben, obwohl sie statistisch das geringste Risiko krimineller Viktimisierung tragen. Jüngere Studien zeigen jedoch, daß sich dieses Paradox auflösen läßt, wenn Kriminalitätsfurcht differenziert (kognitiv, affektiv, behavioral) erfaßt wird. Ältere Menschen fürchten sich nicht häufiger als jüngere und halten eine Viktimisierung auch nicht für wahrscheinlicher, verhalten sich jedoch deutlich vorsichtiger als Jüngere. Eine eigene Studie mit N = 737 Personen zwischen 10 und 98 Jahren repliziert diesen Befund und belegt darüber hinaus, daß diese Vorsicht adaptiv ist. Die Tendenz zu akkommodativen Bewältigungsressourcen sagt nicht nur Vorsichtsverhalten im Alter vorher, sondern trägt überdies dazu bei, mögliche negative Folgen dieses Verhaltens für das allgemeine Wohlbefinden abzumildern. Offene Forschungsfragen für mögliche Anschlußuntersuchungen werden diskutiert.
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Wang, Duangui. "Re-semantization of A. Pushkin’s poetry in the creative work of V. Kosenko (on the example of “The Five Romances”, op. 20)." Problems of Interaction Between Arts, Pedagogy and the Theory and Practice of Education 50, no. 50 (October 3, 2018): 89–102. http://dx.doi.org/10.34064/khnum1-50.07.
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Formulation of the problem. In the chamber-vocal genre, the composer exists in two images: he is both the interpreter of the poetic composition and the author of a new synthetic music and poetic composition. The experience of the style analysis of one of the best examples of Ukrainian vocal lyrics of the first third of the 20th century shows that the cycle op. 20 characterizes the mature style of the composer, which was formed, on the one hand, under the influence of European Romanticism. On the other hand, the essence of the Ukrainian “branch” of the Western European song-romance (“solo-singing”) is revealed by the prominent national song-romance intonation, filled with not only a romantic worldview, but also with some personal sincerity, chastity, intimate involvement with the great in depth and simplicity poetry line, read from the individual position of the musician. The paradox is as follows. Although Pushkin’s poetry is embodied in a “holistic adequacy” (A. Khutorskaya), and the composer found the fullest semantic analogue of the poetic source, however, in terms of translating the text into the Ukrainian language, the musical semantics changes its intonation immanence, which naturally leads to inconsistency of the listeners’ position and ideas about the style of Russian romance. We are dealing with inter-specific literary translation: Pushkin’s discourse creates the Ukrainian romance style and system of figurative thinking. The purpose of the article is to reveal the principle of re-semantization of the intonation-figurative concept of the vocal composition by V. Kosenko (in the context of translating Pushkin’s poetry into the Ukrainian language) in light of the theory of interspecific art translation. Analysis of recent publications on the topic. Among the most recent studies of Ukrainian musicology, one should point out the dissertation by G. Khafizova (Kyiv, 2017), in which the theory of modelling of the stylistic system of the vocal composition as an expression of Pushkin’s discourse is described. The basis for the further stylistic analysis of V. Kosenko’s compositions is the points from A. Hutorska’s candidate’s thesis; she develops the theory of interspecific art translation. The types of translation of poetry into music are classified according to two parameters. The exact translation creates integral adequacy, which involves the composer’s finding a maximally full semantic analogue of the poetic source. The free translation is characterized by compensatory, fragmentary, generalized-genre adequacy. Presenting the main material. The Zhitomir period for Viktor Kosenko was the time of the formation of his creative style. Alongside the lyrical imagery line, the composer acquired one more – dramatic, after his mother’s death. It is possible that the romances on the poems of A. Pushkin are more late reflection of this tragic experience (op. 20 was created in 1930). “I Loved You” opens the vocal cycle and has been dedicated by A. V. Kosenko. The short piano introduction contains the intonation emblem of the love-feeling wave. The form of the composition is a two part reprising (А А1) with the piano Introduction and Postlude. The semantic culmination is emphasized by the change of metro-rhythmic organization 5/4 (instead of 4) and the plastic phrase “as I wish, that the other will love you” sounding in the text. Due to these melodies (with national segments in melo-types, rhythm formulas and harmony) V. Kosenko should be considered as “Ukrainian Glinka”, the composer who introduced new forms and “figures” of the love language into the romantic “intonation dictionary”. In general, V. Kosenko’s solo-singing represents the Ukrainian analogue of Pushkin’s discourse – the theme of love. The melos of vocal piece “I Lived through My Desires” is remembered by the broad breath, bright expression of the syntactic deployment of emotion. On the background of bass ostinato, the song intonation acquires a noble courage. This solo-singing most intermediately appeal to the typical examples of the urban romance of Russian culture of the 19th century. “The Raven to the Raven” – a Scottish folk ballad in the translation by A. Pushkin. V. Kosenko as a profound psychologist, delicately transmits the techniques of versification, following each movement of a poetic phrase, builds stages of the musical drama by purely intonation means. The semantics of a death is embodied through the sound imaging of a black bird: a marching-like tempo and rhythm of the accompaniment, with a characteristic dotted pattern in a descending motion (like a raven is beating its wings). The middle section is dominated by a slow-motion perception of time space (Andante), meditative “freeze” (size 6/4). The melody contrasts with the previous section, its profile is built on the principle of descending move: from “h1” to “h” of the small octave (with a stop on S-harmony), which creates a psychologically immersed state, filled by premonition of an unexpected tragedy. In general, the Ukrainian melodic intonation intensified the tragic content of the ballad by Pushkin. The musical semantics of V. Kosenko’s romances is marked by the dependence on the romantic “musical vocabulary”, however, it is possible to indicate and national characteristics (ascending little-sixth and fifth intervals, which is filled with a gradual anti-movement; syllabic tonic versification, and other). Conclusion. The romances (“solo-singings”) by V. Kosenko belongs to the type of a free art translation with generalized-genre adequacy. There is a re-semantization of poetic images due to the national-mental intonation. Melos, rhythm, textural presentation (repetitions), stylization of different genre formulas testify to the rare beauty of Kosenko’s vocal style, spiritual strength and maturity of the master of Ukrainian vocal culture. Entering the “Slavic song area”, the style of Ukrainian romance, however, is differenced from the Russian and common European style system of figurative and intonation thinking (the picture of the world).