Literature as a Meaningful Life Laboratory
Meaningful life is emotionally marked off. That’s the general point that Johansen (IPBS: Integrative Psychological & Behavioral Science 44, 2010) makes which is of great importance. Fictional abstractions use to make the point even more salient. As an example I’ve examined Borges’ famous fiction story. Along with the examples of Johansen it provides an informative case of exploring symbolic mechanisms which bind meaning with emotions. This particular mode of analysis draws forth poetry and literature in general to be treated as a “meaningful life laboratory”. Ways of explanation of emotional effect the art exercises on people, which had been disclosed within this laboratory, however, constitute a significant distinction in terms that I have designated as “referential” and “substantive”. The former appeals to something that has already been charged with emotional power, whereas the latter comes to effect by means of special symbolic mechanisms creating the emotional experience within the situation. Johansen, who tends to explain emotions exerted by the art without leaving the semiotic perspective, is drawn towards the “referential” type of explanation. Based upon discussions in theory of metaphor and Robert Witkin’s sociological theory of arts it is demonstrated an insufficient of “referential” explanation. To overcome a monopoly of “referential” explanation of emotional engagement, in particular, in literature, means to break away from the way of reasoning, stating endless references to “something else”, presupposing the existence of something already significant and therefore sharing its effects.
The article discusses one argument in favor of descriptive theory of reference of proper names against the theory of direct reference which appeals to a famous example of the ship of Theseus. The author defends the latter theory by means of distinguishing the object of direct reference and its principles of individuation. The argument is discussed with reference to the works of H. Chandler, L. Linsky, S. Kripke, N. Salmon and other theorists.
In March 2011 scholars met in Prague at the conference Interculturalism, Meaning and Identity. This event revitalised this important theme related to Diversity and Recognition. The terms 'interculturalism' and 'integration' are experiencing a renaissance. As the extent of human movement between nations increases attempts are made to balance cultural difference and social cohesion. In some contexts immigration and settlement policies are becoming more draconian in response. Because of this, interculturalism can take on many meanings. However, pivotal to the way interculturalism is understood is identification. As the relationship between nation, ethnicity and language becomes more complex so too do the ways in which people represent them selves. The cultural resources drawn on and the processes used to form identities are examined in this truly international collection. So too are the implications of these developments for how we theorise culture, meaning and identity.
The article identifies and justifies the distinction between subjective and event-driven approach in psychology way of life of the individual. Position disclosed approaches to key issues of psychology way of life: determination and self-determination, the lifetime of the person, life development and maturity. Outlines possible prospects for cooperation and integration approaches.
This article considers the model of metaphorical transfer of names of natural (atmospheric) phenomena. The worn inner form of many metaphors needs to consult the diachronic aspect, which allowes us to determine the conceptual transfer vector - the emotional attitude of speakers to natural phenomena, deterministic fear of them, faith in their supernatural origin.
The article offers a detailed analysis of Louis-Ferdinand Celine’s individual style on the material of his novel Voyage au bout de la nuit. In particular it is focused on the author’s characteristical choice of the invective vocabulary, aimed at creation of a peculiar esthetic space of the literary work under study.
Human communication is basically the exchange of information. How can this be realized? Each communicant proceeds from a subjective perception of an objective reality; however in order to exchange information relating to this reality communicants are obliged to coordinate their perceptions. Each of us entertains personal experiences based on individual impressions and associations. But communication presupposes the presence of a common experience and the possibility of the coordination of subjective perceptions. It is presumed that communicants share common experiences: this seems to be the natural premise of communication.
How is this possible? How can I be certain, for example, that my interlocutor understands the words in the same way I do? How can we correlate our understanding? It seems obvious that the necessary condition of communication is an agreement between the communicants. But how can this agreement be reached? Where is the initial point of the coordination of individual experience of different persons?
The present book deals with this and related questions. Special attention is given to the role of deixis in the process of communication and to the mechanisms of linguistic comprehension.
The paper is focused on the study of reaction of italian literature critics on the publication of the Boris Pasternak's novel "Doctor Jivago". The analysys of the book ""Doctor Jivago", Pasternak, 1958, Italy" (published in Russian language in "Reka vremen", 2012, in Moscow) is given. The papers of italian writers, critics and historians of literature, who reacted immediately upon the publication of the novel (A. Moravia, I. Calvino, F.Fortini, C. Cassola, C. Salinari ecc.) are studied and analised.
In the article the patterns of the realization of emotional utterances in dialogic and monologic speech are described. The author pays special attention to the characteristic features of the speech of a speaker feeling psychic tension and to the compositional-pragmatic peculiarities of dialogic and monologic text.