scholarly journals The Conceptual Foundations of Vojin Matić's Paleopsychology in the Context of Serbian Ethnology

2021 ◽  
Vol 16 (2) ◽  
pp. 353-374
Author(s):  
Marko Teodorski ◽  

Vojin Matić was a leading figure in Serbian post-war psychoanalysis, particularly in the 1950s and 1960s. Paleopsychology, looked upon extremely favorably, even in a revolutionary way, by the Serbian psychoanalysts of the time, was the last and indisputably most problematic part of his oeuvre. The absence of necessary anthropological methodology, the uncritical adoption of discredited and rejected concepts (such as matriarchy), the promotion of 19th-century unilineal evolutionism viewing prehistory as the childhood of mankind – these are just some of the problems of Matić's paleopsychological oeuvre. Nevertheless, this did not prevent him from leaving an indelible imprint on the thinking of numerous generations which would go on to position Serbian psychoanalysis on the international stage. Although untenable by contemporary anthropological standards, Matić's paleopsychology is interwoven with the Serbian psychoanalysis of the 1970s and 1980s, exerting a decisive influence on its application in the humanities, from Vladeta Jerotić's psychoanalytical culturology to Zoran Gluščević's literary criticism. Matić, in turn, actively adopted some outdated positions from the Serbian ethnology of the time. By providing this broader theoretical, historical and academic context, the paper seeks to shed light not only on the occurrence of this scientifically questionable theory, but also on its (surprisingy "uncritical") acceptance outside the anthropological community. The paper therefore presents, in turn: 1) the tenets of Matić's paleopsychology, with emphasis on the features it shared with contemporary anthropology; 2) the biographical and disciplinary/historical background of paleopsycholgy in the works of world psychoanalysts and anthropologists, and in the practices of Serbian ethnology; it is pointed out that Matić's paleopsychology merely provided a psychoanalytic perspective to conventional Serbian ethnology; 3) a reading of Matić's paleopsychological system as a "strong" paranoid theory, that is to say, a theory which, through specific mechanisms os associativity and anticipation, absorbs every ethnographic, anthropological and archaeological fact, thus metastasizing into a self-contained and hermetic system (something that Matić himself noted as a possible structure of his own thinking).

2008 ◽  
Vol 67 (2) ◽  
pp. 99-114
Author(s):  
Pieter-Jan Van Bosstraeten

Op 11 oktober 1978 splitste de Belgische Socialistische Partij zich als laatste van de drie unitaire partijen op in twee autonome partijen. Langs Franstalige zijde werd éénzijdig de Parti Socialiste opgericht, twee jaar later volgde de Socialistische Partij. De splitsing vormde het eindpunt van een lange en bewogen geschiedenis van de socialistische eenheidspartij.Ondanks het feit dat heel wat auteurs reeds een licht hebben geworpen op de belangrijkste gebeurtenis uit de na-oorlogse geschiedenis van de BSP, is het antwoord op de vraag naar de oorzaken van de splitsing vrij eenduidig. Overwegend wordt aangenomen dat de splitsing van de BSP het gevolg is van een moeilijke samenwerking in het kader van het communautaire dossier. Andere oorzaken worden amper aangehaald, of onvoldoende verduidelijkt. Tevens wordt slechts het politiek-tactische aspect van het communautaire dossier uitvoerig besproken. In de bestaande literatuur wordt zo goed als nergens dieper ingegaan op de inhoudelijke elementen die binnen de partij problemen teweegbrachten.Onderzoek van twee cruciale documenten heeft de mogelijkheid geboden het verhaal van de splitsing beter te reconstrueren. Daarbij is gebleken dat de splitsing van de partij in een ruimer kader dient te worden geïnterpreteerd dan het communautaire dossier. Aan de splitsing van de partij ging een lang proces van autonomisering en vleugelvorming vooraf. Bovendien werd aangetoond dat de problematiek inzake het Egmont-Stuyvenbergpact niet de enige directe oorzaak vormde voor de splitsing van de partij, in de periode 1977-1978. Enkele andere oorzaken hebben daartoe eveneens bijgedragen.________The division of the Belgian Socialist Party. Two explanatory documentsOn 11 October 1978 the Belgian Socialist Party divided into two autonomous parties, the last of the three unitary parties to do so. First the French speaking section unilaterally founded the ‘Parti Socialiste’, two years later the ‘Socialistische Partij’ followed. The division constituted the termination of the long and eventful history of the socialist unitary party.In spite of the fact that many authors have already shed light on the most important event from the post-war history of the BSP, the answer to the question about the causes for the division are fairly unequivocal. The majority of opinions favour the view that the division of the BSP was the consequence of the difficulty of collaborating within the framework of the community dossier. Other causes are hardly cited, or insufficiently elucidated. Moreover only the politico-tactical aspect of the community dossier is discussed in detail. The existing literature hardly ever carries out a more thorough examination of the intrinsic elements that caused problems within the party.The investigation of the two crucial documents has offered the opportunity to provide a better reconstruction of the division. This showed that the division of the party should be interpreted within a larger framework than the community dossier alone. A long process of autonomisation and the formation of political wings preceded the division of the party. It also demonstrated that the issues concerning the Egmont-Stuyvenberg pact were not the only direct cause for the division of the party, during the period 1977-1978. There were several other causes that also contributed to this division.


Literator ◽  
1983 ◽  
Vol 4 (1) ◽  
pp. 24-33
Author(s):  
A. L. Combrink

Within the British tradition of literary criticism, and then more specifically the Formalist tradition of the post-war years, the idea of value judgement implied by the appellation Christian (or by the use of the concept of world view within the confines of an essay in literary criticism) would seem to be positively repugnant. The use of any criterion in literary criticism that deals with philosophical concepts has to be very carefully considered.


2016 ◽  
Vol 57 (1-2) ◽  
pp. 91-104
Author(s):  
Lorenz Luyken

György Ligeti’s comments on his last large orchestral piece San Francisco Polyphony show a remarkable understatement, if not neglect, of this work. This paper intends to find reasons for this attitude. It analyzes the correlation between title and substance, in particular the description of the work as being polyphonic, showing that the piece is less polyphonic than it is melodic or even thematic, resulting from coherent stylistic development as well as from an innate spatial conception rather than from a switchback to 19th-century procedures. At the end, San Francisco Polyphony proves to be a very personal comment on the state of the post-war musical avant-garde and the discussion about postmodernism in music.


2019 ◽  
Vol 5 (1) ◽  
pp. 55
Author(s):  
Francesco Bono

This essay deals with a number of Italian and Austrian films produced around the mid-1930s as a result of the cinematic cooperation that developed between Rome and Vienna at the time. The essay’s goal is to investigate a complex chapter in the history of Italian and Austrian film which has yet received little attention. The Austro-Italian cooperation in the field of film, which developed against the backdrop of the political alliance between Fascist Italy and Austria’s so-called Corporate State, involved some of the biggest names in Italian and Austrian cinema of the time, including Italian directors Carmine Gallone, Augusto Genina and Goffredo Alessandrini, Viennese screenwriter Walter Reisch, and Italian novelist Corrado Alvaro. In particular, the essay will consider the Italian film Casta Diva (1935) and its debt to one of the most famous Austrian productions of the 1930s, Willi Forst’s film Leise flehen meine Lieder (1933). Further films to be discussed include Tagebuch der Geliebten (1935), Una donna tra due mondi (1936), Opernring (1936), and Blumen aus Nizza (1936). Tagebuch der Geliebten was based on the diary of Russian painter Marie Bashkirtseff, who lived in Paris in the late 19th century. Una donna tra due mondi starred Italian diva Isa Miranda, Opernring Polish tenor Jan Kiepura, Blumen aus Nizza German singer Erna Sack.These films should be truly regarded as transnational productions, in which various cultural traditions and stylistic influences coalesced. By investigating them, this essay aims to shed light on a crucial period in the history of European cinema.


Author(s):  
John Breen

In January 2010, the Supreme Court delivered a historic verdict of unconstitutionality in a case involving Sorachibuto, a Shinto shrine in Sunagawa city, Hokkaido. All of the national newspapers featured the case on their front pages. As the case makes abundantly clear, issues of politics and religion, politics and Shinto, are alive and well in 21st century Japan. In this essay, I seek to shed light on the fraught relationship between politics and Shinto from three perspectives. I first analyze the Sorachibuto case, and explain what is at stake, and why it has attracted the attention it has. I then contextualize it, addressing the key state-Shinto legal disputes in the post war period: from the 1970s through to the first decade of the 21st century. Here my main focus falls on the state, and its efforts to cultivate Shinto. In the final section, I shift that focus to the Shinto establishment, and explore its efforts to reestablish with a succession of post LDP administrations the sort of intimacy, which Shinto enjoyed with the state in the early 20th century.


2021 ◽  
Vol 27 (3) ◽  
pp. 92-101
Author(s):  
Valeria G. Andreeva

The article examines the concept of an epic novel – a special historical genre phenomenon that arose as a result of the successful implementation by Russian classics of the second half of the 19th century. The author discusses the pseudo-names that appeared in Soviet literary criticism due to its politicisation and ideologisation back in the 1920s –30s and she shows that the terms of epic novel and epopee novel were used at the indicated time for the sake of the Communist party tasks, but contrary to their true meanings. As noted in the article, this required a rejection of the traditions of Russian classical literature, a rejection of the genetic memory of the universal vision of the world and human inherent in the epic novel. Analytical comprehension of the polemics of literary critics of different generations made it possible to show that a number of researchers who rightly saw the problem, forgot to “rehabilitate” the above concepts and transferred the line of denial of Soviet ideology to the terms themselves. The author of the article explains the importance of using the concept of an epic novel in its true meaning, in relation to the voluminous works of Russian classical literature.


2020 ◽  
Vol 3 (2(6)) ◽  
pp. 109-123
Author(s):  
Alla Ozhoha-Maslovska

The stages of the formation of Japanese art collections on the territory of Ukraine from the beginning of the 19th century to the present are highlighted on the basis of archival materials, periodicals and professional literature. Information about Japanese collections of the pre-war and post-war periods are systematized, while their composition and sources of formation are determined. The influence of the socio-political system on the development of the process of collecting Japanese art in Ukraine is also analysed. The sources of the formation of collections of Japanese art in the collections of The Bohdan and Varvara Khanenko National Museum of Arts in Kyiv, Odessa Museum of Western and Oriental Arts, the Chinese Palace of “Zolochiv Castle” Museum-Reserve, as well as Kharkiv Art Museum are explored. Finally, modern tendencies in the collection of Japanese art in Ukraine are determined.


2019 ◽  
Author(s):  
Stefan Brönnimann ◽  
Luca Frigerio ◽  
Mikhaël Schwander ◽  
Marco Rohrer ◽  
Peter Stucki ◽  
...  

Abstract. Historians and historical climatologists have long pointed to an increased flood frequency in Central Europe in the mid and late 19th century. However, the causes have remained unclear. Here, we investigate the changes in flood frequency in Switzerland based on long time series of discharge and lake levels, of precipitation and weather types, and based on climate model simulations, focusing on the warm season. Annual series of peak discharge or maximum lake level, in agreement with previous studies, display increased frequency of floods in the mid 19th century and decreased frequency after the Second World War. Annual series of warm-season mean precipitation and high percentiles of 3-day precipitation totals (partly) reflect these changes. A daily weather type classification since 1763 is used to construct flood probability indices for the catchments of the Rhine in Basel and the outflow of Lake Lugano, Ponte Tresa. The indices indicate an increased frequency of flood-prone weather types in the mid 19th century and a decreased frequency in the post-war period, consistent with a climate reconstruction that shows increased (decreased) cyclonic flow over Western Europe in the former (latter) period. To assess the driving factors of the detected circulation changes, we analyse weather types and precipitation in a large ensemble of climate model simulations forced with observed sea-surface temperatures. In the simulations, we do not find an increase in flood-prone weather types in the Rhine catchment in the 19th century, but a decrease in the post-war period related to the sea-surface temperature anomalies.


2021 ◽  
pp. 188-203
Author(s):  
Elena A. Tacho-Godi ◽  
◽  
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The paper considers the methodological principles of Yu.I. Aykhenvald’s literary criticism. Attention is drawn to the relationship between Aykhenvald’s declared “immanent method” and “principled impressionism” and his own “philosophy of life”. It is proved that Aykhenvald’s version of “impressionism” is much closer to the theory of symbolism than it seemed to contemporaries and researchers. The analysis takes into account both the aesthetic “sympathies” (Apollon Grigoryev, Vladimir Solovyov, Oscar Wilde, Remy de Gourmont, Émile Faguet) and “antipathies” (Vissarion Belinsky, Vasily Rozanov), that influenced Aykhenvald’s interpretation of the heritage of literary critics, philosophers, and writers of the 19th century — Pushkin, Tolstoy, Chekhov.


2021 ◽  
pp. 39-52
Author(s):  
Thomas Waldman

This chapter examines the peculiar trait of an empire and the implications of imperial dominion. The chapter presents broad insights from the Roman Empire and the 19th-century European empires (mainly the largest of these, the British Empire) to shed light on the pressures and possibilities that foreign dominion brings. It also analyzes how states produced a distinct mix of strategic requirements, motivating incentives, emerging opportunities and changing social and cultural patterns, which serve to promote the adoption of vicarious approaches. However, imperial factors are only conditioning rather than determinative in this respect. Deep normative factors such as military and strategic culture may largely preclude a drift toward vicariousness. Ultimately, the chapter argues that these explorations are suggestive, if not determinative, in pointing to issues associated with the contemporary US experience. It provides whispers of warnings about the dangers that might threaten states that follow too closely in similar footsteps.


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