Abstract The main objective of the following text is to focus on and exemplify the basic axioms of theories of happiness that come from historical and philosophical tradition and are still, at least in some cases, relevant nowadays. As philosophers claim, the longing for happiness is a naturally human desire that has taken various forms in their thinking: happiness was connected with beatitude (Aristotle), with self-preservation (Spinoza), social helpfulness (Hume), living in the present moment without expostulations or false illusions (Comte-Sponville), and others. The desire for happiness means the main aim of a human life drives particular life goals and the values of individuals. Concepts of happiness have accrued in diachronic and synchronic cross-sections. The Aristotelian/Spinozan conception or Kantian, modern and postmodern traditions formed in a diachronic cross-section. Those that accrued in a synchronic cross-section segregated themselves on the basis of an individual’s spiritual and bodily aspect. Spiritual happiness (spiritual bliss, and inner equilibrium, ataraxis) was preferred by the eudaimonic (ευδαιμονία) tradition (Democritus, Socrates, Aristotle, Hellenism, French materialism and others); bodily pleasures were accentuated by the hedonistic traditions (Lipovetsky, Bauman, Keller). Some conceptions examined the problem of happiness through the optics of society and the individual, stressing general goodness and helpfulness (Plato, Aristotle, Kant); or personal goodness, pleasure and benefit – the contemporary hedonistic concepts (Lipovetsky, Maffesoli, Comte-Sponville) All these conceptions of happiness are united by the common desire of people to live happily; however, their means and ways to reach such a goal are different.
{"title":"Reflections on happiness and a happy life","authors":"V. Jakubovská, Jana Waldnerová","doi":"10.2478/aa-2020-0009","DOIUrl":"https://doi.org/10.2478/aa-2020-0009","url":null,"abstract":"Abstract The main objective of the following text is to focus on and exemplify the basic axioms of theories of happiness that come from historical and philosophical tradition and are still, at least in some cases, relevant nowadays. As philosophers claim, the longing for happiness is a naturally human desire that has taken various forms in their thinking: happiness was connected with beatitude (Aristotle), with self-preservation (Spinoza), social helpfulness (Hume), living in the present moment without expostulations or false illusions (Comte-Sponville), and others. The desire for happiness means the main aim of a human life drives particular life goals and the values of individuals. Concepts of happiness have accrued in diachronic and synchronic cross-sections. The Aristotelian/Spinozan conception or Kantian, modern and postmodern traditions formed in a diachronic cross-section. Those that accrued in a synchronic cross-section segregated themselves on the basis of an individual’s spiritual and bodily aspect. Spiritual happiness (spiritual bliss, and inner equilibrium, ataraxis) was preferred by the eudaimonic (ευδαιμονία) tradition (Democritus, Socrates, Aristotle, Hellenism, French materialism and others); bodily pleasures were accentuated by the hedonistic traditions (Lipovetsky, Bauman, Keller). Some conceptions examined the problem of happiness through the optics of society and the individual, stressing general goodness and helpfulness (Plato, Aristotle, Kant); or personal goodness, pleasure and benefit – the contemporary hedonistic concepts (Lipovetsky, Maffesoli, Comte-Sponville) All these conceptions of happiness are united by the common desire of people to live happily; however, their means and ways to reach such a goal are different.","PeriodicalId":37754,"journal":{"name":"Ars Aeterna","volume":"12 1","pages":"34 - 44"},"PeriodicalIF":0.0,"publicationDate":"2020-12-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"42942249","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Abstract Tim O’Brien’s Vietnam-based The Things They Carried has been criticized for exclusively depicting the painful and traumatic experiences of the American soldiers in the war zone. Despite the limited number of Vietnamese characters in the novel, and despite their relegation to the role of powerless and voiceless onlookers, their presence shows the degree of the power imbalance between Vietnam and America. This article demonstrates how O’Brien infused sentiments in his stories to emphasize his opposition to the war and his concern for the dignity of the Vietnamese people. O’Brien asserts that the main purpose of the United States’s invasion was to make Vietnam a learnable and controllable place. Through his critique of the United States’s imperial ambitions in Vietnam, O’Brien provides a representative voice for the people of Vietnam to share their sufferings from an unjust war.
{"title":"Tim O’Brien’s representation of the subjugated other’s voice against war in The Things They Carried","authors":"Ammar Aqeeli","doi":"10.2478/aa-2020-0008","DOIUrl":"https://doi.org/10.2478/aa-2020-0008","url":null,"abstract":"Abstract Tim O’Brien’s Vietnam-based The Things They Carried has been criticized for exclusively depicting the painful and traumatic experiences of the American soldiers in the war zone. Despite the limited number of Vietnamese characters in the novel, and despite their relegation to the role of powerless and voiceless onlookers, their presence shows the degree of the power imbalance between Vietnam and America. This article demonstrates how O’Brien infused sentiments in his stories to emphasize his opposition to the war and his concern for the dignity of the Vietnamese people. O’Brien asserts that the main purpose of the United States’s invasion was to make Vietnam a learnable and controllable place. Through his critique of the United States’s imperial ambitions in Vietnam, O’Brien provides a representative voice for the people of Vietnam to share their sufferings from an unjust war.","PeriodicalId":37754,"journal":{"name":"Ars Aeterna","volume":"12 1","pages":"20 - 33"},"PeriodicalIF":0.0,"publicationDate":"2020-12-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"45003920","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Abstract The paper deals with the translation of the film adaptation of the literary work Das Blaue Licht (‘The Blue Light’), primarily intended for child recipients. The aim of this paper is to present a conceptual framework to describe specific aspects of communication-translation (translating children’s and youth literature, aspects of age and the projection of ideas in a different mode of adaptation), and subsequently provide a comprehensive evaluation related to the optimality of the chosen translation procedures and strategies in the Slovak dubbed version of the above-mentioned audiovisual work. The focus is on how the semantic and expressive function of the original is preserved, taking into account the way linguistic reality is depicted in communication with the child recipient.
{"title":"Fairy-tale motifs in a translation of the film adaptation of the literary work Modrý lampáš (Das Blaue Licht)","authors":"Andrej Zahorák","doi":"10.2478/aa-2020-0010","DOIUrl":"https://doi.org/10.2478/aa-2020-0010","url":null,"abstract":"Abstract The paper deals with the translation of the film adaptation of the literary work Das Blaue Licht (‘The Blue Light’), primarily intended for child recipients. The aim of this paper is to present a conceptual framework to describe specific aspects of communication-translation (translating children’s and youth literature, aspects of age and the projection of ideas in a different mode of adaptation), and subsequently provide a comprehensive evaluation related to the optimality of the chosen translation procedures and strategies in the Slovak dubbed version of the above-mentioned audiovisual work. The focus is on how the semantic and expressive function of the original is preserved, taking into account the way linguistic reality is depicted in communication with the child recipient.","PeriodicalId":37754,"journal":{"name":"Ars Aeterna","volume":"12 1","pages":"45 - 58"},"PeriodicalIF":0.0,"publicationDate":"2020-12-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"46162532","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Abstract This article pursues the elements of architectural Modernism in James Graham Ballard’s 1975 novel High-Rise (1975). The enormous tower block represents a triumph of technological and constructional progress envisioned by the pioneers of modernist architecture. However, Ballard’s vision of social development within it is regressive and violent. In order to decipher the nature of the role, or lack thereof, of the tower block in the reformulation of its own social fabric, the paper studies the ways in which the narrative presents aspects analogous to the key elements of architectural modernism. Particular attention is paid to the narrative’s reflections of radical and often contradictory visions of key figures of theoretical roots of modernism, such as Le Corbusier and Karel Teige. Their ambiguous stance on the core of modernism not only determines the outcome of the social experiment performed by Ballard in High-Rise, but can also be seen as deforming the building practice until today.
{"title":"Echoes of architectural modernism in J.G. Ballard’s High-Rise","authors":"Tereza Topolovská","doi":"10.2478/aa-2020-0007","DOIUrl":"https://doi.org/10.2478/aa-2020-0007","url":null,"abstract":"Abstract This article pursues the elements of architectural Modernism in James Graham Ballard’s 1975 novel High-Rise (1975). The enormous tower block represents a triumph of technological and constructional progress envisioned by the pioneers of modernist architecture. However, Ballard’s vision of social development within it is regressive and violent. In order to decipher the nature of the role, or lack thereof, of the tower block in the reformulation of its own social fabric, the paper studies the ways in which the narrative presents aspects analogous to the key elements of architectural modernism. Particular attention is paid to the narrative’s reflections of radical and often contradictory visions of key figures of theoretical roots of modernism, such as Le Corbusier and Karel Teige. Their ambiguous stance on the core of modernism not only determines the outcome of the social experiment performed by Ballard in High-Rise, but can also be seen as deforming the building practice until today.","PeriodicalId":37754,"journal":{"name":"Ars Aeterna","volume":"12 1","pages":"1 - 19"},"PeriodicalIF":0.0,"publicationDate":"2020-12-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"47670192","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2020-11-24DOI: 10.31124/advance.13268939
Mesut Günenç
Abstract Jez Butterworth’s The Ferryman (2017) is a play about the Carney family living in 1980s Ireland during the period of insurgency of the Irish Republican Army (IRA – also known as the Provisional IRA) and its efforts to end British rule in Northern Ireland, a period known as “the Troubles”. This paper focuses on Jez Butterworth, one of the most distinctive voices of the contemporary British theatre scene and a typical representative of the 1990s cultural trend, and his tragedy The Ferryman, which portrays the struggle and conflicts between Catholic nationalists and Protestant loyalists in Northern Ireland in the last decades of the 20th century. The second major point of the study is that the power of the Irish Republican Party has a heavy impact on the play. The paper also discovers how Sean Carney and other members of his family both embody and apply the story of Eugene Simons and other members of “the Disappeared”. Like other young men, Seamus Carney became a victim during the Troubles and the campaign of political violence. The discovery of his body symbolizes how political violence created the Disappeared and shows that re-victimization and retraumatisation continue in the aftermath of the Troubles.
{"title":"Political violence and re-victimization in The Ferryman","authors":"Mesut Günenç","doi":"10.31124/advance.13268939","DOIUrl":"https://doi.org/10.31124/advance.13268939","url":null,"abstract":"Abstract Jez Butterworth’s The Ferryman (2017) is a play about the Carney family living in 1980s Ireland during the period of insurgency of the Irish Republican Army (IRA – also known as the Provisional IRA) and its efforts to end British rule in Northern Ireland, a period known as “the Troubles”. This paper focuses on Jez Butterworth, one of the most distinctive voices of the contemporary British theatre scene and a typical representative of the 1990s cultural trend, and his tragedy The Ferryman, which portrays the struggle and conflicts between Catholic nationalists and Protestant loyalists in Northern Ireland in the last decades of the 20th century. The second major point of the study is that the power of the Irish Republican Party has a heavy impact on the play. The paper also discovers how Sean Carney and other members of his family both embody and apply the story of Eugene Simons and other members of “the Disappeared”. Like other young men, Seamus Carney became a victim during the Troubles and the campaign of political violence. The discovery of his body symbolizes how political violence created the Disappeared and shows that re-victimization and retraumatisation continue in the aftermath of the Troubles.","PeriodicalId":37754,"journal":{"name":"Ars Aeterna","volume":"13 1","pages":"80 - 95"},"PeriodicalIF":0.0,"publicationDate":"2020-11-24","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"47553731","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Abstract Sir Arthur Conan Doyle’s Sherlock Holmes stories involve a hermeneutic game in which Holmes attempts to uncover the mystery of unsolved crime. The work of Hans-Georg Gadamer enables Holmes’s methods to be seen as both playful and creative as he seeks to understand what G. K. Chesterton refers to as the poetry of the modern world. Holmes is therefore a creative and scientific detective, one who loses himself in the game of detection in order to find himself in the search for truth in the wider world. Through the agency of Dr Watson, the reader is invited to join the game and attempt to work out the solution to the mystery as the narrative unfolds before them. Peter Hühn’s work on the detective as reader and writer is extended in relation to the work of understanding and creation carried out by authors who add new works to the genre of Holmesian fiction. This process is explored in the context of two playful writing workshops in which participants passed the opening of a piece of Holmesian fiction they had written to another participant to continue, before sharing the results with the group. Hans Robert Jauss’s ideas about genre and other perspectives on reimagining Holmes help contextualize the strategies used by participants, while Gadamer’s conception of the festive enables insights into the communal processes of creation and understanding.
阿瑟·柯南·道尔爵士的福尔摩斯故事包含了一个解释学游戏，在这个游戏中，福尔摩斯试图揭开悬案的神秘面纱。汉斯-乔治·伽达默尔(Hans-Georg Gadamer)的作品使福尔摩斯的方法被视为既有趣又有创造性，因为他试图理解g·k·切斯特顿(G. K. Chesterton)所说的现代世界的诗歌。因此，福尔摩斯是一位富有创造力和科学的侦探，他在侦探游戏中迷失自我，以便在更广阔的世界中寻找真理。通过华生医生的代理，读者被邀请加入游戏，并试图在他们面前展开的叙述中找出谜团的解决方案。彼得·h恩作为读者和作家的侦探作品在理解和创作方面得到了扩展作者们为福尔摩斯小说类型增添了新的作品。这个过程是在两个有趣的写作工作坊中进行的，在这个工作坊中，参与者将他们写的一篇福尔摩斯小说的开头递给另一个参与者，让他继续写下去，然后与小组分享结果。汉斯·罗伯特·约斯(Hans Robert Jauss)关于类型的想法和重新想象福尔摩斯的其他观点有助于将参与者使用的策略纳入背景，而伽达默尔(Gadamer)的节日概念使人们能够洞察创造和理解的公共过程。
{"title":"“The game is afoot”: Sherlock Holmes, hermeneutics and collaborative writing","authors":"R. Middleton","doi":"10.2478/aa-2020-0003","DOIUrl":"https://doi.org/10.2478/aa-2020-0003","url":null,"abstract":"Abstract Sir Arthur Conan Doyle’s Sherlock Holmes stories involve a hermeneutic game in which Holmes attempts to uncover the mystery of unsolved crime. The work of Hans-Georg Gadamer enables Holmes’s methods to be seen as both playful and creative as he seeks to understand what G. K. Chesterton refers to as the poetry of the modern world. Holmes is therefore a creative and scientific detective, one who loses himself in the game of detection in order to find himself in the search for truth in the wider world. Through the agency of Dr Watson, the reader is invited to join the game and attempt to work out the solution to the mystery as the narrative unfolds before them. Peter Hühn’s work on the detective as reader and writer is extended in relation to the work of understanding and creation carried out by authors who add new works to the genre of Holmesian fiction. This process is explored in the context of two playful writing workshops in which participants passed the opening of a piece of Holmesian fiction they had written to another participant to continue, before sharing the results with the group. Hans Robert Jauss’s ideas about genre and other perspectives on reimagining Holmes help contextualize the strategies used by participants, while Gadamer’s conception of the festive enables insights into the communal processes of creation and understanding.","PeriodicalId":37754,"journal":{"name":"Ars Aeterna","volume":"12 1","pages":"29 - 39"},"PeriodicalIF":0.0,"publicationDate":"2020-06-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"47819157","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Abstract A secret identity is one of the definitional characteristics of comic-book superheroes. However, American popular literature had been populated by characters with secret identities long before the first superhero comics appeared. The crime-fighting dual-identity vigilantes enjoyed their heyday in the 1930s and 1940s, during the golden era of pulps. Selling usually for 10 cents, pulp magazines were the best source of cheap thrills and heroics. In this era, dozens of costumed avengers appeared and the most popular was undoubtedly The Shadow. Between 1931 and 1949, Street and Smith published more than three hundred stories featuring The Shadow, most of them written by Walter B. Gibson. In the late 1930s, several of the pulp conventions, including costumed avengers, were adopted by the creators of the superhero comic books, and The Shadow served as a main inspiration for Bill Finger’s and Bob Kane’s Batman. The article discusses the evolution of crime-fighting pulp heroes with a particular emphasis on The Shadow as the most influential dual-identity avenger of the era.
{"title":"The Shadow and the dual-identity avenger tradition in American popular fiction","authors":"Jozef Pecina","doi":"10.2478/aa-2020-0005","DOIUrl":"https://doi.org/10.2478/aa-2020-0005","url":null,"abstract":"Abstract A secret identity is one of the definitional characteristics of comic-book superheroes. However, American popular literature had been populated by characters with secret identities long before the first superhero comics appeared. The crime-fighting dual-identity vigilantes enjoyed their heyday in the 1930s and 1940s, during the golden era of pulps. Selling usually for 10 cents, pulp magazines were the best source of cheap thrills and heroics. In this era, dozens of costumed avengers appeared and the most popular was undoubtedly The Shadow. Between 1931 and 1949, Street and Smith published more than three hundred stories featuring The Shadow, most of them written by Walter B. Gibson. In the late 1930s, several of the pulp conventions, including costumed avengers, were adopted by the creators of the superhero comic books, and The Shadow served as a main inspiration for Bill Finger’s and Bob Kane’s Batman. The article discusses the evolution of crime-fighting pulp heroes with a particular emphasis on The Shadow as the most influential dual-identity avenger of the era.","PeriodicalId":37754,"journal":{"name":"Ars Aeterna","volume":"12 1","pages":"63 - 71"},"PeriodicalIF":0.0,"publicationDate":"2020-06-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"41566513","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Abstract David Copperfield shows an advance in Dickens’s treatment of stained women in his earlier works. In this novel he takes the subject inside the closed doors of respectable people to influence their attitudes and to bring a shift in society’s attitude towards them. Dickens’s presentation of stained women is lapped by romantic pathos and supported by a number of devices which aim at securing the sympathy of his readers. In saving them from public retribution, Dickens has turned the bitterest aspect of conventions to a more generous end trying to indicate that it requires sympathy and an ameliorating Christian response, rather than downright condemnation. He supports reformation which leads to rehabilitation and a return to respectability. In his treatment of Emily, Martha Endell, Rosa Dartle and other tarnished women, Dickens could reconcile his charitable inclinations with the imperatives of respectability and could also show the necessity of giving stained women a second chance at home or abroad.
{"title":"Dickens’s nonconformist treatment of stained women in David Copperfield","authors":"Taher Badinjki","doi":"10.2478/aa-2020-0006","DOIUrl":"https://doi.org/10.2478/aa-2020-0006","url":null,"abstract":"Abstract David Copperfield shows an advance in Dickens’s treatment of stained women in his earlier works. In this novel he takes the subject inside the closed doors of respectable people to influence their attitudes and to bring a shift in society’s attitude towards them. Dickens’s presentation of stained women is lapped by romantic pathos and supported by a number of devices which aim at securing the sympathy of his readers. In saving them from public retribution, Dickens has turned the bitterest aspect of conventions to a more generous end trying to indicate that it requires sympathy and an ameliorating Christian response, rather than downright condemnation. He supports reformation which leads to rehabilitation and a return to respectability. In his treatment of Emily, Martha Endell, Rosa Dartle and other tarnished women, Dickens could reconcile his charitable inclinations with the imperatives of respectability and could also show the necessity of giving stained women a second chance at home or abroad.","PeriodicalId":37754,"journal":{"name":"Ars Aeterna","volume":"12 1","pages":"72 - 87"},"PeriodicalIF":0.0,"publicationDate":"2020-06-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"49184536","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Abstract This study focuses on the verbal representation of life strategies in Vetalapanchavimshati, an old Indian collection of stories, which is part of Somadeva’s Kathasaritsagara. On the basis of the aspect of gain ~ loss, two basic life strategies are identified. The first one, the lower strategy, is defined by an attempt to obtain material gain, which is attained at the cost of a spiritual loss. The second one, the higher strategy, negates the first one (spiritual gain attained at the cost of a material loss) and it is an internally diversified series of axiological models. The core of the study explains the combinatorial variants which, in their highest positions, even transcend the gain ~ loss opposition. The final part of the study demonstrates the intersections between the higher strategy and selected European cultural initiatives (gnosis).
{"title":"West – East: The semiotics of axiological convergences and divergences","authors":"Ľubomír Plesník","doi":"10.2478/aa-2020-0004","DOIUrl":"https://doi.org/10.2478/aa-2020-0004","url":null,"abstract":"Abstract This study focuses on the verbal representation of life strategies in Vetalapanchavimshati, an old Indian collection of stories, which is part of Somadeva’s Kathasaritsagara. On the basis of the aspect of gain ~ loss, two basic life strategies are identified. The first one, the lower strategy, is defined by an attempt to obtain material gain, which is attained at the cost of a spiritual loss. The second one, the higher strategy, negates the first one (spiritual gain attained at the cost of a material loss) and it is an internally diversified series of axiological models. The core of the study explains the combinatorial variants which, in their highest positions, even transcend the gain ~ loss opposition. The final part of the study demonstrates the intersections between the higher strategy and selected European cultural initiatives (gnosis).","PeriodicalId":37754,"journal":{"name":"Ars Aeterna","volume":"12 1","pages":"40 - 62"},"PeriodicalIF":0.0,"publicationDate":"2020-06-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"46122532","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Abstract The paper presents the idea of the chronotope in the novel Far from the Madding Crowd by Thomas Hardy, with special attention paid to idyllic time and space. The research is mainly based on the theory of chronotopes according to Mikhail Bakhtin, who distinguishes various types and motifs within this notion. The author presents here the features of an idyllic chronotope, among them vast descriptions of nature and its connection with human life, as well as the destruction of an idyll, unhappy love and the motif of a road or path, which seems to be one of the most significant motifs in the work. The paper also presents the importance of coincidence and the sudden decisions of characters in the process of constructing the whole story of Gabriel and Bathsheba.
{"title":"The idyllic chronotope in Far from the Madding Crowd by Thomas Hardy","authors":"A. Buda","doi":"10.2478/aa-2020-0001","DOIUrl":"https://doi.org/10.2478/aa-2020-0001","url":null,"abstract":"Abstract The paper presents the idea of the chronotope in the novel Far from the Madding Crowd by Thomas Hardy, with special attention paid to idyllic time and space. The research is mainly based on the theory of chronotopes according to Mikhail Bakhtin, who distinguishes various types and motifs within this notion. The author presents here the features of an idyllic chronotope, among them vast descriptions of nature and its connection with human life, as well as the destruction of an idyll, unhappy love and the motif of a road or path, which seems to be one of the most significant motifs in the work. The paper also presents the importance of coincidence and the sudden decisions of characters in the process of constructing the whole story of Gabriel and Bathsheba.","PeriodicalId":37754,"journal":{"name":"Ars Aeterna","volume":"12 1","pages":"1 - 9"},"PeriodicalIF":0.0,"publicationDate":"2020-06-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"43432705","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
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