scholarly journals „WYJRZAŁEM W ZA-ŚWIAT”. KILKA UWAG O TRADYCJI ROZMÓW ZMARŁYCH W TWÓRCZOŚCI CYPRIANA NORWIDA

2017 ◽  
Vol 20 (1) ◽  
pp. 195
Author(s):  
Agata Seweryn
Keyword(s):  
Literary Imagination ◽  
The Other ◽  
Other Hand ◽  
The Dead

“Wyjrzałem w za-świat” [I Glanced into the Nether-world]. Some Remarks on the Tradition of the Conversations among the Dead in Cyprian Norwid’s Works The study focuses on the tradition of the conversations among the dead in Cyprian Norwid’s works, especially in the poem Vendôme. While noting Norwid’s transformations of classical and classicist conventions, the author points to the mannerist and baroque contexts, and on the other hand, to ekphrastic qualities of Norwid’s literary imagination.

Gendering grief: The Strī Parvan of the Mahābhārata

2020 ◽  
Vol 7 (2) ◽  
pp. 109-120
Author(s):  
Kumkum Roy
Keyword(s):  
The Other ◽  
Small Section ◽  
Other Hand ◽  
The Dead

The article focuses on Śānti Parvan, a small section of the Mahābhārata, describing the scene after the cataclysmic war. It explores the convergences and divergences between masculine and feminine expressions of grief in response to bereavement, as described here. The former appears to be concerned with identities of the dead as kshatriyas and kings. The latter, on the other hand, focuses more centrally on the dead as kinsmen-related through both natal and marital ties, even as there are overlaps.

scholarly journals Kant, Nietzsche and the idealization of friendship into nihilism

2013 ◽  
Vol 54 (128) ◽  
pp. 401-417
Author(s):  
Paul van Tongeren
Keyword(s):  
19Th Century ◽  
Literary Imagination ◽  
The Other ◽  
Other Hand ◽  
History Of ◽  
The One ◽  
Articles Of Faith ◽  
The 19Th Century

Is friendship still possible under nihilistic conditions? Kant and Nietzsche are important stages in the history of the idealization of friendship, which leads inevitably to the problem of nihilism. Nietzsche himself claims on the one hand that only something like friendship can save us in our nihilistic condition, but on the other hand that precisely friendship has been unmasked and become impossible by these very conditions. It seems we are struck in the nihilistic paradox of not being allowed to believe in the possibility of what we cannot do without. Literary imagination since the 19th century seems to make us even more skeptical. Maybe Beckett provides an illustration of a way out that fits well to Nietzsche's claim that only "the most moderate, those who do not require any extreme articles of faith" will be able to cope with nihilism.

On the Etymology of ΤΡΑΓΩΙΔΙΑ

1912 ◽  
Vol 6 (1) ◽  
pp. 60-63 ◽  
Author(s):  
Louis H. Gray
Keyword(s):  
The Other ◽  
Greek Religion ◽  
Other Hand ◽  
Introductory Article ◽  
Religion And Ethics ◽  
The Dead ◽  
Griechische Mythologie

In the course of the preparation of the introductory article on ‘Drama’ for Hastings Encyclopaedia of Religion and Ethics, my attention was directed, not only to the problem of the origin of this type of drama, but also to the basal meaning of the Greek term . It need scarcely be said that the rise of tragedy is almost universally connected with the cult of Dionysos (for the most recent exponents of this theory see Miss Harrison, Prolegomena to the Study of Greek Religion, pp. 568 sqq., Cambridge, 1908; Gruppe, Griechische Mythologie und Religionsgeschichte, p. 1436, Munich, 1906; Farnell, Cults of the Greek States, v. 229 sqq., Oxford, 1909). On the other hand, the theory has been advanced by Crusius (Preussische Jahrbiicher, lxxiv. [1893], 394), Hirt (Indogermanen, pp. 477 sq., 727, Strassburg, 1905–07), and especially Ridgeway (Address before the Hellenic Society, May, 1904 [cf. Athenaeum, No. 3995, p. 660, and Maas in Wochenblatt für klassische Philologie, 1904, pp. 779–783]; and particularly in his Origin of Tragedy, Cambridge, 1910), that tragedy arose not from the Dionysos-cult, but from the desire to honour and appease the dead. It is to this latter theory that I strongly incline, and I feel that tragedy can be connected with the cult of Dionysos only through this deity's aspect of a chthonic god who gave release from the lower world and who was later identified with Attis, Adonis, and Osiris (cf. Harrison, chap. viii.; Farnell, chap, v.; Gruppe, pp. 1407–1440).

A Group of Plastic Vases

1938 ◽  
Vol 58 (2) ◽  
pp. 255-255
Author(s):  
Martin Robertson
Keyword(s):  
The Other ◽  
Other Hand ◽  
The Dead ◽  
Formed Part ◽  
Italian Origin ◽  
Made In

(JHS lviii, pp. 41 ff.). Fragments of two vases in the form of dead hares were found at Lindos (Blinkenberg, nos. 1934–5, pl. 85). These are certainly not Corinthian; Blinkenberg describes the fabric of 1934 as ‘ terre rouge fine ’ and that of 1935 as ‘ terre d'un chamois rougeâtre,’ and compares the Copenhagen vase, my no. 12. If these fragments belong to the group, the theory of an Italian origin cannot stand. On the other hand, I pointed out that the dead hare in Berlin (no. 13) has a vase-mouth differing in form and decoration from those of the rest of the group, and also lacks the distinctive colouring of the ears. It is therefore possible to detach it from the group, and suppose that vases of this type were made in two centres besides Corinth. The Lindos fragments lack ears and vase-mouth, and so cannot be definitely placed. If they go with the Berlin vase, the Italian origin of the rest of the group can still be supported. The Lindos head, however, looks in illustration more like those of the vases in Copenhagen and the Vatican (no. 11) than of that in Berlin, while the latter was found at Vulci, and so formed part of the balance of evidence for an Italian origin. The question remains open, but the probability is that the Lindos fragments belong, and so that the group was not made in Italy.

Intimations of Immortality in the Thought of Jesus: The Ingersoll Lecture for 1959

1960 ◽  
Vol 53 (1) ◽  
pp. 1-26
Author(s):  
Henry J. Cadbury
Keyword(s):  
The Other ◽  
Post Mortem ◽  
The Bible ◽  
Other Hand ◽  
Resurrection Of The Dead ◽  
The Dead ◽  
The Individual ◽  
Immortality Of The Soul ◽  
Technical Terms

The historic Ingersoll lectureship on the Immortality of Man requires of the lecturer both some legitimate extension of its terms and some necessary limitation of his field. One is justified in supposing that the pious layman who planned the foundation was not thinking in highly technical terms, but like laymen of our day was thinking of a widely shared belief in the post mortem survival or revival of those who die. If he had wished to specify the indiscriminate persistence of the individual as a philosophical tenet of the nature of man, he could well have used the more familiar term — the immortality of the soul. On the other hand, if he had wished to be faithful to the wording of much of the Bible and to the Church's creeds, he would have spoken of the Resurrection of the Dead.

scholarly journals Антропология смерти в творчестве Дмитрия Мережковского

2018 ◽  
Vol 167 ◽  
pp. 233-247
Author(s):  
Andrzej Dudek
Keyword(s):  
Human Nature ◽  
The Other ◽  
Fear Of Death ◽  
Dead Body ◽  
Other Hand ◽  
The Dead ◽  
Cultural Forms ◽  
Dmitrii Merezhkovskii

Anthropology of deathin the works by Dmitrii Merezhkovskii Death-related images and thoughts belong to key motives in the works by Dmitrii Merezhkovskii. Biological and metaphysical aspects of death appear to be the most important issues in the analyzed texts. By means of placing plots and themes in various epochs Merezhkovskii revealed the universality of the fear of death and its importance as far as shaping human conscience is concerned. In fictional and essayistic texts either, the Russian writer stressed the importance of the attitude to the dead body, funeral ceremonies and graveyards. That motif focuses value-orien­tations and patterns of culture specific for various communities. Merezhovskii reveals mutual interdependence between death and culture: on one hand — death inspires to express the essence of human nature in cultural forms, on the other hand — death is considered a tool used in order to achieve ideological and political goals. Antropologia śmierciw twórczości Dymitra Mierieżkowskiego Śmierć to jeden z kluczowych motywów twórczości Dymitra Mierieżkowskiego. Wśród różnych obrazów śmierci i myśli o niej w omawianych tekstach istotną rolę odgrywają rozważania o biologicznych i metafizycznych aspektach śmierci. Uniwersalność doświadczenia lęku tanato­logicznego i jego znaczenie dla formowania świadomości człowieka podkreślana jest przez arty­styczne ujęcia ulokowane w kulturowej przestrzeni różnych epok. W utworach beletrystycznych i eseistycznych Mierieżkowskiego szczególne znaczenie mają fragmenty prezentujące rozmaite podejścia do martwego ciała, ceremonii pogrzebowych i cmentarzy. Motywy te ogniskują charak­terystyczne dla różnych zbiorowości orientacje wartościujące i wzory kultury. Między śmiercią i kulturą, jak pokazuje pisarz, istnieje dwustronna zależność: z jednej strony śmierć inspiruje do wyrażenia istoty natury ludzkiej w formach kulturowych, z drugiej — jest wykorzystywana doosiągania celów ideologicznych i politycznych.

scholarly journals Offervilje. Om ret og rimelighed blandt venner og fjender og om at komme og dømme levende og døde i Max Kestners film "I am Fiction"

2013 ◽  
Vol 28 (70) ◽  
Author(s):  
Louise Brix Jacobsen ◽  
Henrik Skov Nielsen ◽  
Rikke Andersen Kraglund
Keyword(s):  
Freedom Of Expression ◽  
Publishing House ◽  
The Other ◽  
The Novel ◽  
Main Character ◽  
Artistic Collaboration ◽  
Other Hand ◽  
The Dead ◽  
The One ◽  
Alleged Victim

Louise Brix Jacobsen, Rikke Andersen Kraglund & Henrik Skov Nielsen: “Selfsacrifice. On Right and Reasonableness among Foes and Friends, and on Judging the Living and the Dead in Max Kestner’s film I am Fiction”In 2011, the performance artist Thomas Skade-Rasmussen Strøbech lost a lawsuit against his former friend and collaborator Helge Bille Nielsen and the publishing house of Gyldendal. This led to a debate about copyright, freedom of expression, identity, and the line between fiction and reality. In 2008, Nielsen or Das Beckwerk published the novel The Sovereign where Strøbech – seemingly without his knowledge and apparently against his will – is the main character. About a year after losing the lawsuit Strøbech and film director Max Kestner gives his version of the events before, during, and after the trial in the film I am Fiction (Identitetstyveriet). This article analyzes I am fiction in order to show how the film on the one hand outlines Strøbech’s version of the events as a story about a victim but on the other hand undermines this version with humor and irony and points towards an artistic collaboration between alleged victim and villain.

scholarly journals Vegetable Decomposition in Ditch Water Simulating Sewage Contamination

1924 ◽  
Vol 22 (4) ◽  
pp. 389-396
Author(s):  
Louis Cobbett
Keyword(s):  
Anaerobic Bacteria ◽  
The Other ◽  
Early Winter ◽  
Other Hand ◽  
Sewage Contamination ◽  
The Dead

In autumn and early winter certain ditches around Cambridge became offensive, and their water turned milky. This led to a grave suspicion of sewage contamination, which, however, was satisfactorily disproved. On the other hand certain bacilli with single flagella were isolated from the water of the ditches and found capable of giving off from their artificial cultures an odour comparable to that of the ditches. And to these bacilli, acting on the dead leaves which found their way into the water, and, probably, in conjunction with other anaerobic bacteria which were generating hydrogen disulphide, the sewage-like odour is attributed.Certain patchy changes of colour in the leaves and wood immersed in the water are attributed to a chromogenic flagellate which was found growing on them.

The activity of hair follicles in parabiotic rats

Development ◽  
1964 ◽  
Vol 12 (3) ◽  
pp. 425-438
Author(s):  
F. J. Ebling ◽  
G. R. Hervey
Keyword(s):  
Hair Follicle ◽  
Hair Growth ◽  
Hair Follicles ◽  
The Other ◽  
Complete Cycle ◽  
Other Hand ◽  
Different Ages ◽  
The Dead ◽  
Graft Skin ◽  
Follicular Activity

Hair growth in the rat occurs in a series of waves, which start ventrally and pass over the flanks to the back (Dry, 1926; Butcher, 1934; Johnson, 1958a). The activity of the hair follicle is cyclic; when the hair has been fully formed there is a period of quiescence during which the dead hair is retained as a ‘club’. The duration of the complete cycle varies with site and age, ranging from 24 to about 100 days (Ebling & Johnson, 1964). When hair follicles are translocated, they continue to maintain the periodicity characteristic of their sites of origin (Ebling & Johnson, 1959). On the other hand, when skin is exchanged between rats of different ages and thus with their hair growth waves out of phase, follicular activity in the graft skin in some circumstances comes into line with the activity of the host (Ebling & Johnson, 1961).

Material Remains: Doris Salcedo

2017 ◽  
Vol 39 (1) ◽  
pp. 42-64
Author(s):  
Rebecca Comay
Keyword(s):  
Traumatic Event ◽  
The Other ◽  
Other Hand ◽  
Doris Salcedo ◽  
The Dead ◽  
Cultural Forms ◽  
The One

Doris Salcedo's artworks seem to confront the challenge that Adorno expressed so brutally: how to commemorate a traumatic event which both demands and refuses commemoration; where all available cultural forms threaten to trivialize, sentimentalize, mystify, embellish, instrumentalize, or otherwise betray the memory of the dead; and where every attempt to acknowledge injury seems only to compound it. On the one hand, it is the task of art to commemorate suffering. On the other hand, art, by its very existence—its status as a thing among things—is complicitous in this suffering. This essay reflects on the antinomies of mourning and politics in Salcedo's work.

Sign in / Sign up

Export Citation Format

Share Document