La revista La PUSmoderna se convirtio en una plataforma de encuentro entre generaciones artisticas, campos y escenas culturales marginales o alternativos, a la manera de un espacio alternativo, incluso tridimencional, pero ademas documento un momento de cambio en el desarrollo de las escenas culturales subterraneas de la capital de Mexico, justo cuando esos circuitos comenzaron su proceso de institucionalizacion dentro del sistema de mercado mundial. La revista provenia de una larga tradicion de practicas culturales marginales o descentradas, producto de la crisis de legitimidad de las instituciones a partir de 1968, que tejieron una red de redes descentradas con distintas posturas hacia el Estado, el cual transitaba ya hacia el neoliberalismo.
{"title":"La posmodernidad purulenta","authors":"José Luis Paredes Pacho","doi":"10.4000/transtexts.1308","DOIUrl":"https://doi.org/10.4000/transtexts.1308","url":null,"abstract":"La revista La PUSmoderna se convirtio en una plataforma de encuentro entre generaciones artisticas, campos y escenas culturales marginales o alternativos, a la manera de un espacio alternativo, incluso tridimencional, pero ademas documento un momento de cambio en el desarrollo de las escenas culturales subterraneas de la capital de Mexico, justo cuando esos circuitos comenzaron su proceso de institucionalizacion dentro del sistema de mercado mundial. La revista provenia de una larga tradicion de practicas culturales marginales o descentradas, producto de la crisis de legitimidad de las instituciones a partir de 1968, que tejieron una red de redes descentradas con distintas posturas hacia el Estado, el cual transitaba ya hacia el neoliberalismo.","PeriodicalId":42064,"journal":{"name":"Transcultural Studies","volume":"24 1","pages":""},"PeriodicalIF":0.0,"publicationDate":"2019-12-31","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"80894294","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}
This article analyses the aspects of the so-called “Argentinisation” process in the National Territory of Rio Negro during the early twentieth century. Using examples from the regional press, an essential actor in development, we examine two key facets of the nation-building process. These include the regional particularities of the process designed for the whole Argentine territory, and the intrinsic exchanges that take place between discourse, theory and practice in the construction of a regional space.
{"title":"Imagining the Nation, Building the Region: Discourses and Practices in the Río Negro Press (1900–1930)","authors":"Cielo Zaidenwerg, Melisa Pesoa","doi":"10.4000/transtexts.1251","DOIUrl":"https://doi.org/10.4000/transtexts.1251","url":null,"abstract":"This article analyses the aspects of the so-called “Argentinisation” process in the National Territory of Rio Negro during the early twentieth century. Using examples from the regional press, an essential actor in development, we examine two key facets of the nation-building process. These include the regional particularities of the process designed for the whole Argentine territory, and the intrinsic exchanges that take place between discourse, theory and practice in the construction of a regional space.","PeriodicalId":42064,"journal":{"name":"Transcultural Studies","volume":"3 1","pages":""},"PeriodicalIF":0.0,"publicationDate":"2019-12-31","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"78297619","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}
This article presents a sympathetic critique of degrowth scholarship, which reproduces anthropocentric, Cartesian views of nature. I suggest overcoming these by drawing on the modernity/coloniality discourse, as well as engaging with indigenous scholarship and decolonial practices such as Buen Vivir. I make the argument for extending agency and rights to non-human nature, beginning with a shift from the language of “materials” to that of “the living world.” A focus on ecological, multi-species justice centred on the rights of nature would not only allow for a decolonisation of the degrowth debate, but also highlight issues around ecological debt and environmental justice.
{"title":"Struggling for Another Life: The Ontology of Degrowth","authors":"Katharina Richter","doi":"10.4000/transtexts.1242","DOIUrl":"https://doi.org/10.4000/transtexts.1242","url":null,"abstract":"This article presents a sympathetic critique of degrowth scholarship, which reproduces anthropocentric, Cartesian views of nature. I suggest overcoming these by drawing on the modernity/coloniality discourse, as well as engaging with indigenous scholarship and decolonial practices such as Buen Vivir. I make the argument for extending agency and rights to non-human nature, beginning with a shift from the language of “materials” to that of “the living world.” A focus on ecological, multi-species justice centred on the rights of nature would not only allow for a decolonisation of the degrowth debate, but also highlight issues around ecological debt and environmental justice.","PeriodicalId":42064,"journal":{"name":"Transcultural Studies","volume":"66 1","pages":""},"PeriodicalIF":0.0,"publicationDate":"2019-12-31","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"76819055","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 : 2019-10-21DOI: 10.1163/23751606-01502003
V. Koroleva
The article examines the ‘Hoffmann’s complex’ in the lyrical trilogy of A. Blok: pictorial and musical harmony (synesthesia of arts); romantic irony and grotesque; the problem of mechanization of life and a human, which is revealed in the images-symbols of the mask, a doll, a puppet and a double. Synesthesia is an important part of Blok’s style, manifested in the special lyricism of the works, which helps to reveal the subtle soul of the lyrical hero. The problem of mechanization of life and human in the Blok’s dramas is revealed in the images of a mask, a doll, a double, which express one of the sides of the poet’s contradictory soul and appear as a reaction to the imperfection of the modern world. Another embodiment of the mechanization of life and a human is the problem of merging the mask and the actor, as a result of which the actor loses his true face. Important elements of Aleksandr Blok’s lyrical style in the trilogy are rooted in the tradition of Hoffmann’s romantic irony and the grotesque, which get a new semantic content in dramas: the creative irony of Hoffmann transforms in a devastating irony in Blok’s works.
{"title":"The ‘Hoffmann’s complex’ in the Dramatic Trilogy of A. Blok (A Puppet Show, King on the Square and The Unknown Woman)","authors":"V. Koroleva","doi":"10.1163/23751606-01502003","DOIUrl":"https://doi.org/10.1163/23751606-01502003","url":null,"abstract":"The article examines the ‘Hoffmann’s complex’ in the lyrical trilogy of A. Blok: pictorial and musical harmony (synesthesia of arts); romantic irony and grotesque; the problem of mechanization of life and a human, which is revealed in the images-symbols of the mask, a doll, a puppet and a double. Synesthesia is an important part of Blok’s style, manifested in the special lyricism of the works, which helps to reveal the subtle soul of the lyrical hero. The problem of mechanization of life and human in the Blok’s dramas is revealed in the images of a mask, a doll, a double, which express one of the sides of the poet’s contradictory soul and appear as a reaction to the imperfection of the modern world. Another embodiment of the mechanization of life and a human is the problem of merging the mask and the actor, as a result of which the actor loses his true face. Important elements of Aleksandr Blok’s lyrical style in the trilogy are rooted in the tradition of Hoffmann’s romantic irony and the grotesque, which get a new semantic content in dramas: the creative irony of Hoffmann transforms in a devastating irony in Blok’s works.","PeriodicalId":42064,"journal":{"name":"Transcultural Studies","volume":" ","pages":""},"PeriodicalIF":0.0,"publicationDate":"2019-10-21","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"https://sci-hub-pdf.com/10.1163/23751606-01502003","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"48792508","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 : 2019-10-21DOI: 10.1163/23751606-01502006
O. Shalygina
Questions of teleology of art rhythm are closely related with concept of time. Objectives address the problem: to consider the relationship of aesthetic effects poetic prose associated with the manifestation of the reverse time in the story and vertical time in the architectonics of the artistic whole with literary codes. The article analyzes the aesthetic effects of poetic prose, considers the imposition of codes Hamlet’s and Macbeth’s in the plays by A.P. Chekhov and the novel by B. Pasternak Doctor Zhivago. The article analyzes the aesthetic effects of poetic prose, considers the imposition of this codes. Objectives address the problem: to consider the relationship of aesthetic effects poetic prose associated with the manifestation of the reverse time in the story and vertical time in the architectonics of the artistic whole with literary codes. In the novel of Pasternak, the Macbeth’s code in poetic prose appears in the rhythmic structure, the Hamlet’s code - in a symbolic structure. The allusion to Shakespeare’s text creates a strong voltage point between the inner dialogue with Shakespeare and something occurring in silence. Probably, the teleology of rhythm in the recent literature tematizada using these codes as the most adequate of modern European consciousness.
{"title":"Shakespeare’s Codes in Poetic Prose","authors":"O. Shalygina","doi":"10.1163/23751606-01502006","DOIUrl":"https://doi.org/10.1163/23751606-01502006","url":null,"abstract":"Questions of teleology of art rhythm are closely related with concept of time. Objectives address the problem: to consider the relationship of aesthetic effects poetic prose associated with the manifestation of the reverse time in the story and vertical time in the architectonics of the artistic whole with literary codes. The article analyzes the aesthetic effects of poetic prose, considers the imposition of codes Hamlet’s and Macbeth’s in the plays by A.P. Chekhov and the novel by B. Pasternak Doctor Zhivago. The article analyzes the aesthetic effects of poetic prose, considers the imposition of this codes. Objectives address the problem: to consider the relationship of aesthetic effects poetic prose associated with the manifestation of the reverse time in the story and vertical time in the architectonics of the artistic whole with literary codes. In the novel of Pasternak, the Macbeth’s code in poetic prose appears in the rhythmic structure, the Hamlet’s code - in a symbolic structure. The allusion to Shakespeare’s text creates a strong voltage point between the inner dialogue with Shakespeare and something occurring in silence. Probably, the teleology of rhythm in the recent literature tematizada using these codes as the most adequate of modern European consciousness.","PeriodicalId":42064,"journal":{"name":"Transcultural Studies","volume":" ","pages":""},"PeriodicalIF":0.0,"publicationDate":"2019-10-21","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"https://sci-hub-pdf.com/10.1163/23751606-01502006","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"46555140","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 : 2019-10-21DOI: 10.1163/23751606-01502007
A. Gacheva
The article is devoted to the peculiarities of the interpretation of the image of the future in the philosophical tradition of Russian cosmism, as well as the echoes of this vision of the future in Russian writers of the xx century. Cosmists consider reality from the point of view of what it should be, respectively, the image of the future is a model of the perfect state of the world and man. The future for them is projective, and this project should be embodied in reality. Key characteristics of the image of the future in Russian cosmism: axiology, alternative, universality, cosmicity, immortalism, unity of personality and community, assuming the completeness of the development and interaction of both. The future for Russian cosmists is connected with the transition from technical progress, increasing the power of man in the world through artificial tools, to organic progress, associated with the improvement of the human body. Artistic projections of the image of the future are given in the literary texts of the cosmists themselves (K.E. Tsiolkovsky’s sci-Fi works, V. N. Muravyev’s philosophical mystery Sofia and Kitovras), as well as in the poetry of V. Bryusov, V. Mayakovsky, V. Khlebnikov, N. Zabolotsky, in the novels of A. Belyaev and I. Efremov.
{"title":"The Image of the Future in the Philosophical and Artistic Versions of Russian Cosmism","authors":"A. Gacheva","doi":"10.1163/23751606-01502007","DOIUrl":"https://doi.org/10.1163/23751606-01502007","url":null,"abstract":"The article is devoted to the peculiarities of the interpretation of the image of the future in the philosophical tradition of Russian cosmism, as well as the echoes of this vision of the future in Russian writers of the xx century. Cosmists consider reality from the point of view of what it should be, respectively, the image of the future is a model of the perfect state of the world and man. The future for them is projective, and this project should be embodied in reality. Key characteristics of the image of the future in Russian cosmism: axiology, alternative, universality, cosmicity, immortalism, unity of personality and community, assuming the completeness of the development and interaction of both. The future for Russian cosmists is connected with the transition from technical progress, increasing the power of man in the world through artificial tools, to organic progress, associated with the improvement of the human body. Artistic projections of the image of the future are given in the literary texts of the cosmists themselves (K.E. Tsiolkovsky’s sci-Fi works, V. N. Muravyev’s philosophical mystery Sofia and Kitovras), as well as in the poetry of V. Bryusov, V. Mayakovsky, V. Khlebnikov, N. Zabolotsky, in the novels of A. Belyaev and I. Efremov.","PeriodicalId":42064,"journal":{"name":"Transcultural Studies","volume":" ","pages":""},"PeriodicalIF":0.0,"publicationDate":"2019-10-21","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"https://sci-hub-pdf.com/10.1163/23751606-01502007","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"42312324","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 : 2019-10-21DOI: 10.1163/23751606-01502001
Yu.Yu. Anokhina
The article is devoted to the question of how in the late lyric of the Russian poet of Pushkin’s circle Yevgeny Abramovich Baratynsky (1800–1844), namely in his final book of verses Sumerki [Twilight] (1842), in spatial images metaphysical and aesthetic principles are reflected. The author focuses on three ‘programmatic’ poems: Knjazju Petru Andreevichu Vjazemskomu [an epistle to Prince Pyotr Andreyevich Vyazemsky] which opens the poetic book, a poem Osen [Autumn], kind of coda of Sumerki and poem Rifma [Rhyme], which placed in the final of the book. The embodiment of the synthesis of metaphysical and aesthetic principles in spatial images is considered on the example of images of a coffin and a grave. The article shows that the analysis of these images makes it possible to better understand the uniqueness of the artistic philosophy which reflected in the book. The author comes to the conclusion that images of the coffin, the tomb and the grave affect the specifics of the artistic space in the poetic book, performing aesthetic functions. At the same time, directly connected with the motives of death and the memory of death, these images allow the poet to express more clearly the philosophical thoughts about the idea of that the place of poetry and of art in general in the world.
这篇文章致力于探讨普希金圈子的俄罗斯诗人叶夫根尼·阿布拉莫维奇·巴拉廷斯基（1800–1844）的晚期抒情诗，即他的最后一本诗集《暮光之城》（1842），如何在空间意象中反映形而上学和美学原则。作者专注于三首“纲领性”诗歌：Knjazju Petru Andreevichu Vjazemskomu[致Pyotr Andreyevich Vyazemsky王子的一封信]，这本诗集的开篇，一首诗Osen[秋天]，一首Sumerki的尾音，以及一首诗Rifma[韵律]，这首诗放在了本书的最后。以棺木和坟墓的图像为例，探讨了形而上和美学原则在空间图像中的综合体现。通过对这些意象的分析，我们可以更好地理解这本书所体现的艺术哲学的独特性。认为灵柩、墓室、墓室等意象影响着诗书艺术空间的具体性，发挥着美学功能。同时，这些意象直接与死亡的动机和死亡的记忆联系在一起，使诗人能够更清晰地表达关于诗歌和艺术在世界上的地位的哲学思想。
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Pub Date : 2019-10-21DOI: 10.1163/23751606-01502004
M. Zayats
In this work we decided to examine the creative path of Innokenty Annensky, since his attitude to some extent seems close to us, who have recently passed the Turn of the centuries. The Turn of the centuries is a shift of epochs not only in philosophy and history, but also in the history of culture. Namely during this period a new human personality is formed, its soul is utterly exposed in the face of life and time, which is tragically contradictory, full of expectations of terrible catastrophic changes in the universe, anxiety about the fate of mankind. The article traces how the works of I. Annensky were influenced by the ancient aesthetics, based on the power of Beauty, its opportunities to transform and change the universe. The poetic premonitions of the poet of the Silver Age in the era of the Turn of the centuries are shown in this article.
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Pub Date : 2019-10-21DOI: 10.1163/23751606-01502002
Sergei M. Zayats
In our work we decided to look at the creative path of Alexander Blok, since his attitude to some extent seems close to us, who have recently passed the Turn of the centuries. The turn of the centuries is a shift of epochs not only in philosophy and history, but also in the history of culture. It is during this period that a new human personality is formed, whose soul is utterly exposed in the face of life and time, which is tragically contradictory, full of expectations of terrible catastrophic changes in the universe, anxiety about the fate of mankind. The article traces how the works of A. Blok were influenced by philosophy of Vl. Solovyov, his theological ideas about the saving power of Beauty, its opportunities to transform and change the universe. The religious premonitions of the poet of the Silver Age in the pre-revolutionary era are shown in this article.
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