This article aims to determine a close "polyphonic" connection between lyrics and music in choral music. The subject of this research is the synergism of literary-textual sources and polyphonic form. The object of this research is the consideration of polyphonic works for a cappella chorus by the contemporary Russian composers. Using the synthesis of research methods, which includes musicology, poetics and choral studies, the author reveals the parameters of a musical composition: literary-textual source and musical form. Detailed (...) analysis is conducted on the dialectical interaction of constructive and destructive formants of the architectonics of musical form of polyphonic compositions for chorus. Special attention is given to differentiation of the structure of the literary-textual source and attribution of the polyphonic forms of motet, madrigal, fugue, and fugato. The main conclusion lies in the paradigm of artistic correlations between the literary and musical text as paralinguistic means that are the bearers of heterogeneous information and add additional colors to the content of the composition. Emphasis is placed on the need to explore the problematic associated with the architectonics of modern choral composition, substantiated not only by the general artistic-historical potential of choral culture, but its crucial importance for modern musical art as well. The novelty lies in the analysis of polyphonic forms of a cappella choral works as multimodal texts, synthesizing the scientific achievements of linguistics and musicology. The author’s special contribution consists in examination of the compositions for a cappella chorus of A. Koroleva and Y. Evgrafov that have not previously been the object of special research, and their introduction to modern scientific discourse. (shrink)

Name der Zeitschrift: Semiotica Jahrgang: 2017 Heft: 215 Seiten: 341-364.

This article provides support for the argument that horror media “works” by activating evolved cognitive and affective systems that are flexibly tailored to local socio-ecological contexts. Guided by previous work using evolutionary theory to study horror literature (e.g., Clasen 2012, 2018, 2019), I investigate horror manga’s popularity and international market, which indicate a cross-cultural preoccupation with horror transmedia that is expli­cable in terms of the form’s ability to target evolved psychological systems. Specifically, these multimodal texts elicit the evolved (...) emotions of anxiety, fear, and disgust in response to culturally specific and evolutionarily relevant narratives, characters, antagonists, and environments. Thus, horror manga reflects the myths, folklore, and religious traditions of Japanese society in addition to salient ubiquitous evolutionary threats such as predators, antisocial conspecifics, and infectious diseases. (shrink)

The new contexts of literary education allow for the creation of digital reading and writing practices related to what specialised literature calls digital literature. Among these practices and with an eminently theoretical content and with an example of this content, in this paper, we want to focus our gaze on cyberpoetry, conceived as an exercise in literary creativity that firstly involves use of technology and specific software for the digital creation of poetic texts and, last but not least, (...) knowledge and mastery of poetic language and the literary conventions linked thereto. From this point of view, in initial teacher training, we work with future teachers to create cyberpoems with a dual purpose: on the one hand, to reflect on what literary reading in digital format entails and to rehearse reading mediation processes that can be carried out with this type of literature, and, on the other, to begin in the digital creation of cyberpoems that, later, may be presented and worked in a real context of the school classroom. In this paper, we present digital practices of literary reading that have been created by student teachers in initial training. The creation of these practices has been carried out with the Genially tool. For data collection, the URL of each creation is accessed in order to analyse them. The analysis of the data follows the parameters of the qualitative methodology, specifically based on three categories of analysis for each digital creation: multimodality, hypertextuality and the interaction of each digital reading proposal. The conclusions of all this allow us to affirm that the creation of cyberpoems is an exercise in literary creativity that has to take into account the digital dimension of the literary text and its reading comprehension in a multimodal environment. Thus, the teacher in initial training carries out a digital literary mediation exercise, of a creative type, which he will later carry out in his pedagogical practice. (shrink)

Though it is inter-disciplinary in scope, situated as it is on the borderlines of ontology and logic, philosophy of literature and theory of language, Ingarden's work has a deliberately narrow focus: the literary work, its structure and ...

This long-awaited translation of Das literarische Kunstwerk makes available for the first time in English Roman Ingarden's influential study. Though it is inter-disciplinary in scope, situated as it is on the borderlines of ontology and logic, philosophy of literature and theory of language, Ingarden's work has a deliberately narrow focus: the literary work, its structure and mode of existence. The Literary Word of Art establishes the groundwork for a philosophy of literature, i.e., an ontology in terms of which (...) the basic general structure of all lliterary works can be determined. This "essential anatomy" makes basic tools and concepts available for rigorous and subtle aesthetic analysis. (shrink)

This commentary discusses Oatley's proposal that literary works considered as simulations that run on minds can fulfill similar epistemic functions as computer simulations of mental processes. Whereas in computer simulation, both the input data and the computations to be performed on these data are explicit, only the input is explicitly known in the case of mental simulation. For this reason, literary simulations cannot play exactly the same epistemic role as computer simulations. Still, literary simulations can provide (...) knowledge (e.g., about the phenomenal quality of emotions or about possible emotional dynamics) that is relevant for emotion science: it adds to the corpus of facts about emotions that need to be explained, and it may suggest hypotheses about the constitution of the mechanisms that generate emotions. In addition, the hypotheses suggested by a literary simulation can be tested in new mental simulations. However, at least for the purpose of hypothesis testing, the simulation of a multiplicity of experimentally manipulated scenarios should be more revealing than that of a single literary work describing only one possible course of events. (shrink)

The author studies selected fundamental literary records from Great Moravia of the 9th century (The rules of the holy fathers [Zapovědi svatych otcov], Judicial law for laymen [Zakon sudnyj ljudem], Nomocanon [Nomokanon], Adhortation to rulers [Vladykam zemle Božie slovo velit]) presumably compiled, translated or created by Constantine (Cyril) and Methodius, the Thessaloniki brothers. In the context of defining early and medieval Christian ethics, the author concluded that the texts in question contain elements of the Christian code of ethics, by (...) means of which Constantine (Cyril) and Methodius, following the model of the Byzantine Emperors Leo III and Constantine V, wished to form the social morality of Great Moravia. Based on this, the author holds the opinion that the history of Christian ethics in Moravia, Slovakia and Bohemia goes as far back as the activities of Constantine (Cyril) and Methodius and the period of Great Moravia. (shrink)

In this paper, I attempt to formulate an Ingardenian conception of the literary work’s aesthetic value. Following Mitscherling’s lead, I attempt to place Ingarden’s aesthetics within his overall phenomenological-ontological project. That is, I argue that Ingarden’s aesthetics can only be properly fathomed in the context of his ontological deliberations, since, as he himself often enunciated, all his philosophical investigations constitute a realist rejoinder to Husserl’s turn toward transcendental idealism. To this end, I bring together insights from his aesthetics and (...) ontology to establish a coherent account of values, where artistic and aesthetic values are analyzed as they manifest themselves in the literary work of art. By attending to the ontology of its aesthetic (and artistic) values, I argue, the literary work’s stratified formation becomes more explicit. Keywords: Roman Ingarden, aesthetic value, artistic value, the literary work of art, ontology, aesthetics. (shrink)

This long-awaited translation of _Das literarische Kunstwerk_ makes available for the first time in English Roman Ingarden's influential study. Though it is inter-disciplinary in scope, situated as it is on the borderlines of ontology and logic, philosophy of literature and theory of language, Ingarden's work has a deliberately narrow focus: the literary work, its structure and mode of existence. _The Literary Word of Art _establishes the groundwork for a philosophy of literature, i.e., an ontology in terms of which (...) the basic general structure of all lliterary works can be determined. This "essential anatomy" makes basic tools and concepts available for rigorous and subtle aesthetic analysis. (shrink)

This long-awaited translation of Das literarische Kunstwerk makes available for the first time in English Roman Ingarden's influential study. Though it is inter-disciplinary in scope, situated as it is on the borderlines of ontology and logic, philosophy of literature and theory of language, Ingarden's work has a deliberately narrow focus: the literary work, its structure and mode of existence. The Literary Work of Art establishes the groundwork for a philosophy of literature, i.e., an ontology in terms of which (...) the basic general structure of all literary works can be determined. This "essential anatomy" makes basic tools and concepts available for rigorous and subtle aesthetic analysis. (shrink)

Gerold Tietz was born in 1941 in Horka (north Bohemia) in a family of Sudeten Germans. Germans lived in this village together with Czechs, Roma people and Jews. The family also involved Czech relatives and many of German relatives spoke good Czech and kept relations with Czech cultural groups. After the war Gerold Tietz and his family were expelled to Swabia. He studied history, French and political science. From 1969 the graduated historian lived in Esslingen where he taught in the (...) grammar school for thirty years. In the autobiographically oriented novels _Böhmische Fuge _(1997), _Böhmisches Richtfest _(2007) and in _Böhmische Grätschen _(2009) Tietz tried to depict official social-political events connected with famous political and cultural figures as well as the stories of ordinary days of “small people” who had to face the consequences of historic changes which influenced their lives. The paper analyses the conditions of Czech and German coexistence and confronts the authentic historic context. Nevertheless, negative features of these ethnic groups are not overlooked and the positive ones are presented as a positive contribution to the current European multiculturalism. (shrink)

This paper develops a Lockean account of literary property. Seana Shiffrin has recently argued, on the basis of an egalitarian interpretation of Locke's theory of property, that the Lockean view does not justify property rights in intellectual works. I argue that Shiffrin fails to take an important strand of Locke's view into account, namely, the view that makers have rights to what they have made. If this aspect of Locke's view is given its proper place, a plausible Lockean (...) account of property in literary works can be developed. This account of literary property places us in a better position to appreciate both the strengths and weaknesses of the Lockean theory of intellectual property. (shrink)

Roman Ingarden published his two major works in aesthetics in the 1930’s. The Literary Work of Art was published first in a German edition in 1931 and The Cognition of the Literary Work of Art was published first in a Polish edition in 1937. A revised and enlarged edition of the second book was published in Germany in 1968 and it is the German edition translated into English in 1973 which is the subject of this review. Ingarden’s (...) two works, founded on the antipsychologism of Edmund Husserl are intended as companion volumes, the first responding to the question, "How is the object of cognition, the literary work of art, structured?" and the second answering the question, "What is the procedure which will lead to knowledge of the literary work?" In The Cognition of the Literary Work of Art, Ingarden is concerned with the mode of cognition which corresponds to the necessary structures of the literary work of art which he has analyzed in his earlier study. He sets out to show that such a cognition is composed of heterogenous but closely connected processes and that it is accomplished in a temporal process. (shrink)

This article is a reaction to the following argument that has been offered in favor of abstract realism about fictional characters: fictional characters do not impose any extra ontological cost on our ontology, because they belong to the same ontological kind as literary works, which we already accept. I address arguments that have been adduced by Jeffrey Goodman in defense of this argument, and I show that there is no relevant parallelism between fictional entities and literary (...) class='Hi'>works that the abstract fictional realist can use to bolster her theory. (shrink)

This long-awaited translation of Das literarische Kunstwerk makes available for the first time in English Roman Ingarden's influential study. Though it is inter-disciplinary in scope, situated as it is on the borderlines of ontology and logic, philosophy of literature and theory of language, Ingarden's work has a deliberately narrow focus: the literary work, its structure and mode of existence. The Literary Work of Art establishes the groundwork for a philosophy of literature, i.e., an ontology in terms of which (...) the basic general structure of all literary works can be determined. This "essential anatomy" makes basic tools and concepts available for rigorous and subtle aesthetic analysis. (shrink)

This long-awaited translation of Das literarische Kunstwerk makes available for the first time in English Roman Ingarden's influential study. Though it is inter-disciplinary in scope, situated as it is on the borderlines of ontology and logic, philosophy of literature and theory of language, Ingarden's work has a deliberately narrow focus: the literary work, its structure and mode of existence. The Literary Work of Art establishes the groundwork for a philosophy of literature, i.e., an ontology in terms of which (...) the basic general structure of all literary works can be determined. This "essential anatomy" makes basic tools and concepts available for rigorous and subtle aesthetic analysis. (shrink)

This research paper centers on the folk literary works of Siquijor Island. This study analyzes the Siquijor folk literary works as a reflection of the historical and socio-cultural development of Siquijor Island. Descriptive and exploratory research methodology with triangulation method and interpretive analysis and adapting the historical, sociological and anthropological theories. The study analyzes the nature of the Siquijodnon folklore as a reflection of its historical and socio-cultural development. The results disclose that Siquijodnon folks’ lifestyle are (...) established based on their perceptions and interpretations on things and circumstances happening around them clouded with influences from personal beliefs and colonization. Hence, Siquijodnon folk literary works manifest and explain Siquijodnons’ involvement in the community and the historical and socio-cultural development of their island, Siquijor. Keywords - Literature, Siquijor folk literary works, human experiences and social realities, historical and socio-cultural practices and beliefs, social sciences, descriptive survey, Siquijor Province, Philippines. (shrink)

This long-awaited translation of Das literarische Kunstwerk makes available for the first time in English Roman Ingarden's influential study. Though it is inter-disciplinary in scope, situated as it is on the borderlines of ontology and logic, philosophy of literature and theory of language, Ingarden's work has a deliberately narrow focus: the literary work, its structure and mode of existence. The Literary Work of Art establishes the groundwork for a philosophy of literature, i.e., an ontology in terms of which (...) the basic general structure of all literary works can be determined. This "essential anatomy" makes basic tools and concepts available for rigorous and subtle aesthetic analysis. (shrink)

This text presents an assessment of the literary work of Karel Čapek from a perspective that has not yet been discussed. It focuses on analysing Čapek’s works from the viewpoint of their possible inspiration by bioethical issues. Čapek’s philosophy and the powerful ethical charge of his texts tend to be associated with his interest in pragmatism, a subject to which he, however, took an individual and critical approach. One of the most important categories of his way of thinking (...) is life. In his prose works and plays we therefore see motifs that may be associated with the thematic definition of bioethics. These are questions concerning the value and quality of human life, issues concerning the dehumanizing impact of science and technology, as well as reflections upon the moral dimension of man’s relationship to nature and also to the relationship between people and animals. Čapek’s work may therefore provide inspiration from the perspective of the history of the gradual formation of the bioethical point of view. (shrink)

There are two quite common views which appear to be embraced by a large number of aestheticians as well as a large number of nonaestheticians. It is quite commonly believed by many of both groups that God is omniscient with respect to the future, that is, that God knows everything that will ever occur. I refer to this belief as the doctrine of divine omniprescience. It is also quite common to many of both groups to believe that literary authorship (...) is creative in the sense that by means of his composing activity an author is an agent who brings about the existence of some thing which did not exist prior to the composing activity of that agent and which would not exist without the composing activity of that agent or some similar agent. I shall call this belief the doctrine of literary creativity. What does not appear to be recognized is that these two doctrines cannot both be consistently endorsed. I argue that the two doctrines jointly entail a contradiction and I will point out some of the logical consequences of trying to avoid that contradiction. (shrink)

The persistence of some central instances of social injustice in European democracies governed by the rule of law; despite abundant resources for durably reducing them, is poorly understood. Understanding better the nature of law as constructive interpretation may strongly motivate future applications of the rule of law to alleviating substantially the social injustice of unnecessary yet continuing destitution among many persons, particularly in affluent and resourceful Paris. However, recent critical examinations of the nature of law as constructive interpretation have uncovered (...) a crucial problem with this otherwise cogent account. Here, I show how some eco-ethical reflection on the nature of aesthetic interpretation may suggest a way for resolving this problem with the nature of jurisprudential interpretation. If correct, a further developed version of this analysis may re-open constructively interpretive ways towards more socially effective means for applying the rule of law to help in the elimination of the persistent social injustice of widespread impoverishment in Paris and in other similarly governed major world cities. (shrink)

The time of the literary work of art is a schematized aspect of the represented objectivities of the literary work. Roman Ingarden’s analysis of the time of the literary work extends upon Husserl’s phenomenology of time consciousness but nevertheless remains consistent with it, insofar as within a literary work as well as actuality, an objective time or literary objective time is constituted from an experience of temporal objects. The time of the literary work of (...) art is experienced through its represented objectivities and depends on an already existent concept of objective time. The time of the literary work, however, gains an indeterminacy, as the author of the literary work is able to manipulate our experience of time within the literary work by predicting how the reader will concretize its events, characters, and objects with respect to time. I use Alain Robbe-Grillet’s representation of the centipede in La Jalousie as an example of the possible manipulations of time, explicable through Ingarden’s analysis of time in the literary work of art. (shrink)

Publication date: 21 March 2019 Source: Author: Solehah Yaacob, Ismail Haron Contradictory views on ancient literary works provide a panorama of historical development. However, the validity of the texts was considered as issue of prime importance. The critics on its literary authenticity would reveal whether it was real or just a fabrication. The Epic Gilgamesh was ascertained by Said Ghanimi to be unauthentic. The contentions by S. N. Kramer and Taha Baqir were with regard to the differences (...) of language usage in the Epic Gilgamesh either Sumerian or Akkadian as well. The acknowledgment of the West on Iliad and Odyssey by Homer as the first document written in world history was unfounded although this was highlighted by B. Lansberger in 7th conference in Paris on 1958. The Code Hamurabbi is a well preserved Babylonian Code of laws, unfortunately, it was considered as a fabrication of Old Testament which came 800 years later, especially on the narration of Big Flood Story as mentioned in the Book of Genesis. It is regrettable that the paucity of materials on the ancient history of the ancient people available from the Muslim sources poses as constrain on this study. The research is compelled to refer almost entirely to Western and Jews sources. Thus, the approach used in this study is based primarily on historical and linguistic analysis of ancient literary works. (shrink)