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The article provides a thorough review of the theory of a literary motif and its modern adaptation in termsof cognitive narratology and cognitive stylistics in order to introduce methods of linguistic analysis into the researchof the motif of pain in works of American and British modernists. Pain depiction in a literary text is studiedby encoding unpleasant emotions while using methods of conceptual metaphor and metonymy, as well as corpusanalysis. The research presupposes five stages: a) analysis of the keywords in the text which are eitherpain-indicative or pain-descriptive; b) corpus analysis of lemmas “pain”, “hurt” and others pain-related words;c) reconstruction of conceptual metaphors and metonymies of PAIN; d) reconstruction of narrative patternsof the motif of pain; e) analysis of affected character's profile. The initial research suggests the following:i) the motif of pain has a tendency to be marked by descriptive and indicating verbal units which are widely usedin the medical field; ii) conceptual metaphors and metonymies of PAIN tend to be less prototypical in a literarytext than those in a natural language; iii) the motif of pain appears in a literary narrative through a set of imagesand actions zoomed on the characters' traumatic unpleasant experience; iv) the two main sets of narrativeevents, that are structurally indicative of the motif of pain are believed to exist. The first set revolves aroundany explicit traumatic experience, with the latter becoming a salient point of the plot, while the second setresorts to depicting a more implicit process of a character accumulating discomfort and emotional traumain the studied novels.

In this qualitative study, nine adolescent girls between the ages of eleven and fourteen (M=12) reacted to how romance is depicted in The Hunger Games book and film series. Although some feminist researchers have been disappointed in the series ending, arguing that it reinforces post-feminist, repronormative and heteronormative ideas, most of the participants in this study felt that the inclusion of romance was appropriate for protagonist Katniss Everdeen, stating that this did not take away from what they saw as the “girl power” message of the series. Study participants believed that authors write heterosexual romance as a way of appealing to adolescent girl readers; several girls, however, expressed their desire to see this change. Furthermore, study participants provided alternative endings to the series that did not always include heterosexual romance or marriage for Katniss, thereby providing a nuanced critique of heteronormativity and gender roles in the series.

This chapter demonstrates the continuing importance of speech and thought presentation in the stylistic analysis of prose fi ction. It focuses in particular on the category of free indirect thought, which has historically been of great interest to narratologists and literary critics. Recent attacks on the usefulness of the speech and thought presentation categories, for example by adherents of a ‘theory of mind’ approach, have singled out free indirect thought as being unrepresentative of the variety of mental functioning to be found in prose fi ction. While supporting many of this group’s insights concerning the importance of ‘intermental thought’ and ‘the intermental mind’ in the novel, this chapter argues that this does not mean that the traditional categories of speech and thought presentation should be disregarded altogether. With particular attention to one recent experimental novel, David Foster Wallace’s posthumously-published The Pale King (2011), the chapter suggests that free indirect thought remains widespread in twenty-fi rst century fi ction, albeit in a different form to the most commonly studied examples of the style in the nineteenth-and twentieth-century novel. It demonstrates that free indirect thought can do more than represent a solitary individual consciousness in isolation, and that it is in fact ideally suited to the contemporary novel’s depiction of the confl ict between the individual and the vast impersonal and institutional forces of our current age.

Background Woman centred care is purported to underpin Midwifery philosophy. However, the evidence and focus of this concept within midwifery professional standards has yet to be verified. Further to this, woman centred care is, at this time, mostly depicted as a way of assisting, supporting and interacting with a woman and her family. It is however, without a substantive universally accepted definition. Objective This study aimed to review midwifery standards documents. An organised and targeted methodology was conducted to identify the approaches to woman centred care that currently underpin midwifery governance. Methods A comprehensive and specific search for ‘woman centred care’ was conducted across a global collection of midwifery standards. A professional document was included if it represented either or all of the underpinnings of midwifery education, contained statements related to standards of practice, overall governance or any equivalence. Individual documents were initially searched for the words ‘woman centred care’, followed by ‘women centred care’, ‘patient/person centred care’ and ‘client centred care’. Findings An extensive review of 142 documents was undertaken. These included: thirty independent nations, thirty represented by the European Midwives Association and a further twenty-one identified through the International Confederation of Midwives (ICM). The World Health Organisation (WHO), yielded midwifery information from a further sixty-one nations. The phrase ‘woman centred care’ was located within 3.5% of the documents reviewed. Overall, five examples were found that directly referred to the actual phrase ‘woman centred care’ and one to the use of ‘person centred care’. Therefore, it was established, that at the time of this review, there was limited formal depiction of the concept of woman centred care.

Previous research suggests that particular formal features of film, such as the use of close-ups, can affect the levels of empathy experienced by viewers. As empathy is a key aspect of audience’s filmic experience, creative decisions in editing and cinematography may be motivated by the filmmaker’s intention of eliciting empathy. The goal of this study is to investigate what film scenes intended to elicit empathy look like in terms of those visual formal features theoretically or empirically linked to viewer empathy, and if these features converge on something that might be dubbed an empathic style of cinema. Formal features included concern shot scale, face depiction, cut rate, camera perspective and angle, saturation, lighting, motion, and background clutter. Exploratory quantitative formal analyses of scenes sampled from contemporary popular empathy-eliciting Hollywood films (N = 100) revealed that such scenes are, at first glance, highly dissimilar in form. Further investigation through principal component analysis and correlational analysis, however, hints not so much at a singular empathic style of cinema as it does at certain general principles, namely the reduction of perceived distance through close-ups and face depiction, the balancing of arousing features with comprehensible levels of visual complexity, and the prioritization of coherence and reduced visual contrast to enable a smooth viewing experience.

Laksmi Pamuntjak’s first novel, Amba (2012) is one of several contemporary Indonesian novels by the post-1965 generation that breaks the silence on the violent suppression of the Indonesian left in the mid-1960s. Like other recent creative responses and initiatives by Indonesian artists and civil society, Amba represents the “postmemory” of the 1965-66 events. This paper examines the modes of internal exile triggered by 1965 as portrayed in three characters in Amba and how exile disrupts and delays identity formation across different generations of Indonesians—hence, exiled identities. The history of Moluccan exile post-1950 is also crucial to the novel’s representation of people whose identities were displaced, ruptured, or in limbo as a result of political violence. The depiction of internal exile in Amba is examined based on work done by scholars on Indonesian exile narratives (Hill, Hearman) and concepts of transgenerational trauma (Schwab) and postmemory (Hirsch). This paper then discusses the various acts of “re-membering” to recover a coherent sense of self and of the nation depicted in Amba, such as through literal and figurative journeys, re-establishing kinship ties, narrating personal memories of the traumatic past, and the role of art in revealing suppressed memories of the 1965 event.

The substantiation of the methodological viability and hermeneutic potential of the category conflict is given. The role of conflict as a category of world modeling in fiction is pointed out. Consideration of the conflict in the aspect of dialogism is suggested. Conflict in fiction is a special kind of communicative act arising from the antagonism of misunderstanding of the opposing sides, but providing a new level of understanding to the perceiving consciousness of the reader, making it intellectually armed (R. Jacobson) in the face of conflicting structures. Analytical strategies for the study of conflict are presented in the semantic aspect (conflict as an object of artistic depiction) and the aspect of structure (conflict as a fundamental structural principle). It is proved that the dual nature of the conflict presupposes taking into account in research practice the possibilities of textocentric and anthropological approaches to the study of conflict, understood as antagonistic relations of oppositional units. The development of epistemology, axiology and poetics of conflict in fiction is seen in the way of studying all levels of conflict dialogue.

Paintings of Our Lady of Krakow presenting various half–figures of Mary and Child, were among the most popular cult objects in the Middle Ages. In Poland the most renowned Hodegetria was the one held in the Jasna Gora Monastery. Somewhat earlier, since the beginning of 15th century, grew the cult of St. Mary of Krakow. However, in contrast to the Czestochowa image, we today know at least fifty Cracovian Hodegetria which were created in that century and were stored in churches of the Krakow diocese. The practice of copying depictions of Mary was widespread in Medieval Europe. However, such endeavours were typically short–term, with a local scope, and any given series of reproductions would not exceed several or a dozen copies. In this context, the initiatives that gave rise the Cracovian series can be regarded as largely unprecedented on the European scale (we know of approx. 80 of such dating back to before mid–16th centur, and the practice of copying the model painting is still alive today). Currently, it is increasingly more probable that the key to answering this question might be the apotropaic function ascribed to the depictions. The source of this interpretation is the incipit taken from the antiphon, closely linked with the paintings: Regina coeli.... It is highly likely that the Cracovian Hodegetria were the first paintings in Poland in which the text of the antiphon: Regina coeli... was coupled with the depiction of Madonna. The inscription appearing either in the rim of the halo or on the frame of the painting was one of the original components of this iconographic type. The chief reasons for associating the Krakow Hodegetria images with the account of Durand, who emphasized the protective powers of the paintings against the plague, include the sheer scale of the phenomenon, the extraordinary number of the depictions, their spread within the Krakow diocese, as well as the long history of their copying.

The article is devoted to the study of the linguistic expression of the phenomenon of pain in the texts of F.M. Dostoevsky. The material of the analysis is the texts of works of fiction, journalism and letters of the Great Russian writer. The study of Dostoevskys texts is preceded by an analysis of entries in explanatory and specialized dictionaries and encyclopedias, including articles in the Dictionary of Dostoevskys Language. The relevance of the study is determined by the approaching bicentennial of F.M. Dostoevsky, in whose works the phenomenon of pain has become one of the important subjects of the image. The specificity of this work lies in the reliance on linguistic methods of studying the phenomenon of pain while maintaining the interdisciplinary focus of the research as a whole. Various associative connections of the word pain and its derivatives in the contexts of the writers works of different genres are being studied. At the initial stage, the selection of material is carried out by the method of continuous sampling using the DiaWin software system of the Department of Experimental Lexicography of the V.V. Vinogradov Russian Language Institute of the Russian Academy of Sciences. The material thus obtained, is subjected to a multilevel analysis, in course of which the specificity of the conceptualization of pain in language and culture is revealed and the features of the depiction and interpretation of the phenomenon of pain in the discourse of Dostoevsky and his characters are revealed. Conclusions are formulated about the stable associative connections of the lexeme pain, the specificity of the linguistic depiction of various states of pain in the writers texts is revealed, the original interpretations of the concept of pain in the discourses of heroes-ideologists are analyzed. As a result, the analyzed phenomenon appears in multidimensional illumination. The general structure of the frame is established. The relationship between external symptoms and internal sensations of physical and mental pain is revealed. It is postulated that the explication of the concept of pain by a native speaker is fraught with significant difficulties, since pain is introspective and subjectively experienced. This special state is experienced and lived on. The contextual combinations of meanings of the word pain in Dostoevskys texts are highlighted. The specificity of the figurative representation of pain situations in the writers works is revealed. The increments of meaning characteristic of Dostoevskys contexts are analyzed. As a result, pain is interpreted as a complex phenomenon of language and culture and an important concept in the discourse of F.M. Dostoevsky.

André Brouillet’s (1857-1914) famous group tableau ‘A Clinical Lesson at La Salpêtrière’ (French: Une leçon clinique à la Salpêtrière) is possibly the most celebrated painting in the history of neurology. His depiction of one of Jean-Martin Charcot’s legendary “Tuesday Lessons” includes portraits of not only one of the master’s most famous patients, but also of his pupils, the heirs to the founder of modern neurology. However, the painter himself has long been neglected, and even his other paintings on medical subjects are little acknowledged. The authors aim to bring attention to Brouillet’s life and times, as well as the remainder of his notable works; and in giving a proper context to the famous painting, neurologists today may be able to appreciate better the early history of our field and its cultural impact. RESUMO A famosa pintura ‘Une leçon clinique à la Salpêtrière’, de André Brouillet’s (1857-1914), é possivelmente a representação mais célebre da história da Neurologia. Seu retrato de uma das lendárias “lições de terça-feira” dirigidas por Jean-Martin Charcot inclui ainda não apenas uma das pacientes mais famosas do mestre como também seus pupilos, os fundadores da Neurologia moderna. Entretanto, o pintor propriamente dito é ainda negligenciado, e mesmo outras pinturas suas sobre temas médicos são pouco reconhecidas. Os autores trazem à atenção a vida e época de Brouillet, bem como o restante de seus outros trabalhos notáveis; dando contexto apropriado à pintura, neurologistas atuais podem compreender melhor a própria história de nossa especialidade e seu impacto cultural.

This article defines Malay identity through their portrayal of the Malay Other – the Arabs, Indian Muslims and the Europeans. The Arabs and Peranakan Arabs were identified as foreigners in disguise, the Europeans colonisers as harbingers of modernity. From this perspective not much have been written, using editorial cartoons in Malaysia. This article then focuses on the depiction by the Malay of what constitutes the foreigner (and the West). The medium of the cartoon was a recent innovation in Malay-language newspapers, having first appeared in the first issue of Warta Jenaka a weekly pictorial newspaper on 7 September of 1936. This article surveys three major periodicals in the 1930s including that of Warta Ahad and Utusan Zaman in their construction of ambivalence toward colonialism and Western influence. These were the inter-war years. The periodicals capture Malay sentiments couched in humor and sarcasm ranging from the “proximate” culture of the Arabs to British or European notions of “race”, “modernity” and “progress.” It is cognizant of the colonial condition and the milieu and the inherent character of the Malay press, serving as instruments of criticism and satire. The visual “ethno- nationalistic” discourse is observed with regard to the trajectory of “modernity” brought into Malay awareness during the period. Key words: Editorial Cartoons, Malay periodicals, the Other, Sarcasm, Europeans

The Moors have been regarded by Graeco-Roman authors with a mixture of ambivalence and admiration. From the highly positive characterizations of Moorish giants like Masinissa (238-148 BCE) whose achievements the Romans lauded, to figures like Jugurtha (fl. 118-104 BCE) and Gildo (fl. 396-398 CE) whose hostilities with Rome earned them both scorn and ridicule, Moorish figures loom large in the pages of ancient historians from Herodotus to Procopius. This thesis examines the shifting portrayal of Moors from their earliest literary depictions in Greek literary sources to the late Roman literary portrayals of the sixth century CE. It argues that certain stereotypes regarding Moors, a problematic term that will be discussed in greater detail, continued relatively unchanged in Graeco-Roman authors, and that this was highly dependent on genre, political context, and intertextuality. It further argues that negative vs. positive portrayals of Moors can be understood better via an examination of the context of an author on an individual level, where political background was key to an historian’s evaluation of a certain Moorish figure or of Moors in general.

Background: This study focuses on the representation of Syrian refugees in Canadian online news media. It examines 375 articles selected from three of the most visited Canadian news sites, namely the Toronto Star, which favours the Liberal Party, and the Toronto Sun and National Post, which favour the Conservative Party. Analysis: The basis of this research is a topoi analysis, whereby instances of the topos of burdening are identified, examined, and categorized as either positive or negative. Conclusion and implications: A distinction is drawn between the depiction of Syrian refugees in conservative- and liberal-leaning news sources. The findings aim to provide some insight into the possible impact of media representation on both the Syrian refugees and the Canadian public. Contexte: Cette etude porte sur la representation des refugies syriens dans les medias d’information canadiens en ligne. Elle examine 375 articles choisis a partir de trois des sites de nouvelles canadiens les plus visites, a savoir le Toronto Star, partisan du Parti liberal, le Toronto Sun et le National Post, partisans du Parti conservateur. Analyse: Cette recherche se fonde sur l’analyse de topoi pour identifier, examiner et categoriser des topos sur les fardeaux comme etant positif ou negatifs. Conclusion et implications: Cette etude etablit une distinction entre la maniere dont les sources de nouvelles a tendance conservatrice depeignent les refugies syriens et la maniere dont les sources a tendance liberale le font. L’objectif est de mieux comprendre l’impact possible des representations mediatiques sur les refugies syriens ainsi que sur le public canadien.

The article examines the elements of the representation of the artistic image in a literary work, individual speech features, phonetic devices, morphological categories and expressions of the character's speech. The literary device of stanzas of Edgar Allan's works is analyzed and examined, the semantic features of the features of images and all kinds of reproduced linguistic means are traced. Keywords: reproducible linguistic means, element of artistic image, phonetic devices, individuality, expressiveness, versatility, vivid and expressive meaning, disgusting abomination, deep feeling of loneliness, personification, inanimate objects, human qualities.

This research aims to identify and describe cultural appropriation that were found in Moana. Cultural appropriation is one of the negative actions that can harm one culture. This action generally occurs due to a lack of understanding and appreciation of a culture. Based on Rogers[6] cultural appropriation as the use of a culture's symbols, artifacts, genres, rituals, or technologies by members of another culture, is inescapable when cultures come into contact, including virtual or representational contact. Rogers also divided cultural appropriation into four types, there are cultural exchange, cultural dominance, cultural exploitation, and transculturation. Based on Rogers theory above, cultural appropriation that were found in Moana is cultural exploitation. This research was used Qualitative descriptive method. The source data of this research are from “Moana” by Ron Clements and John Musker. This movie was released in 2016 with 113 minutes duration. This analysis shows there are four points of cultural appropriation that were found in “Moana”. Firstly, depiction figure of “Maui”, a demigod figure illustrated very different from the original form in the movie Moana. Secondly, depiction of Kakamora people. Thirdly, depiction of the cliché coconuts. Fourthly, Disney removing Maui’s family out of the tale. This leads to deviations in views towards the representatives of the population and Polynesian beliefs.

Agatha Christie’s Murder on the Orient Express (1934) remains well-read, and its hero Hercule Poirot continues to enjoy popular currency. Yet the text has not aged well due to some of its now clichéd plot developments and dialogue, as well as Christie’s depiction of class, ethnic and national prejudices in it and her other novels. This study hopes to re-energize discussion on Murder by finding defensible reasons for its apparent flaws. Not only do the stereotypical behaviors of the passengers narratively distract Poirot and the reader from a solution, but their flaws serve as foils against which Poirot’s heroic gravitas and cultural values are positively contrasted. Further, criticism often misses the point that the passengers are performing their behaviors, and if so, the deployment of stereotypes as only acted performances destabilizes them as permanent aspects of national or ethnic identity. Can Murder then be read as an anti-racist text?

The article focuses on Dārā Shukoh’s Majma‘-ul-Baḥrain (written, 1654–55), which is basically a comparative and systematic study of modes of Hindu thought and belief from the view point of Islamic Sufism. There is thus the need to establish the degree of authenticity achieved in Dārā Shukoh’s exploration of the different Hindu philosophical and religious beliefs, especially keeping in view his own preference for pantheistic aspects. This naturally involves also a partial re-exploration of the field in which Dārā Shukoh had sought what he deemed to be the ultimate truth.

During the 2018 campaign at Olba (Silifke District of Mersin Turkey), a broken sard was recovered from a child’s grave. Its fragmentary condition renders identification difficult. Markings at the top suggest that it might portray a figure associated with Dionysiac worship; however, the iconography fairly clearly suggests a representation of Priapus. The confident design and skilful modelling of the limbs, and the considerable formal rigour that combines classical style with a simplified rendering of the knees and feet characteristic of the Italic-Republican ‘pellet style’, allow the sard to be dated to the second century BC.

Summary The article presents a previously unpublished block coming from the Southern Lower Portico (also known as the Punt Portico) in Hatshepsut’s temple of millions of years at Deir el-Bahari. It contains a depiction of a young Nubian man carrying two mysterious objects. The one is the double tjsw-staff, while the other is most likely a wooden stool. In order to support his identification of the objects in question, the author discusses some parallels coming from early 18th dynasty private tombs at Thebes.

While the predominant focus of the philosophical literature on scientific modeling has been on single-scale models, most systems in nature exhibit complex multiscale behavior, requiring new modeling methods. This challenge of modeling phenomena across a vast range of spatial and temporal scales has been called the tyranny of scales problem. Drawing on research in the geosciences, I synthesize and analyze a number of strategies for taming this tyranny in the context of conceptual, physical, and mathematical modeling. This includes several strategies that can be deployed in physical (table-top) modeling, even when strict dynamical scaling fails. In all cases, I argue that having an adequate conceptual model—given both the nature of the system and the particular purpose of the model—is essential. I draw a distinction between depiction and representation, and use this research in the geosciences to advance a number of debates in the philosophy of modeling.

Literary works across cultures are never written in a vacuum. They depict the reality of the society where they are set. With the societal obligation of the writers to serve as righters, especially in Africa, this study attempts a pragmatic inquiry of the state of the Nigerian society as implicitly and artistically painted in Remi Raji’s poetry collection, A Harvest of Laughters. The known literature on Remi Raji’s A Harvest of Laughters have analysed the collection mainly from literary and ideological perspectives. Attention has not been given to the collection from a pragmatic perspective, hence the intervention of this study. Drawing insights from Jacob Mey’s Pragmatic Acts Theory, the study analyses the pragmatic imports in the collection with fourteen (14) randomly selected excerpts across different segments of the collection constituting the data. Data was purposively selected from different poems in the collection. The findings show that the two major discursive issues in the text are the depiction of the government as cruel and the portrayal of the citizenry as victims. The former was conveyed through the practs of oppressing, embezzling and deceiving, while the latter was revealed through the practs of suffering and hoping. The study concludes that pragmatics is a valuable tool in the demystification of texts.

The artists of the Italian Renaissance were keen observers of nature. Their works are often enriched with realistic details that inform us about the high degree of their scientific knowledge. In the particular case of the Baptism of Christ (1470-1475 c.) by Andrea del Verrocchio and Leonardo da Vinci, the careful depiction of certain bird species, including a red-backed shrike and a redstart, reveals precise meanings closely related to Christological symbolism.

Theodore Taylor’s The Cay received a great deal of criticism upon its publication in 1969 for its racism, yet it has remained in American public school curricula for over fifty years. Defenders of the novel have argued that it advocates for color-blindness, a position that has helped entrench it in schools. Meanwhile, few critics have taken issue with the novel’s depiction of disability. This article brings together those critiques, showing how the novel leans on blindness as a narrative prosthetic to champion color-blindness, a problematic and outdated ideology. Here, color-blindness refers to the claim well-meaning people make when they insist they do not see someone’s skin color because they see the “person underneath.” The novel’s ideology reduces racism to an ocular problem and discourages readers from interrogating racism on a systemic level. This article advocates for The Cay’s censorship or pedagogical usage only in the most critical contexts by examining the ways the novel evades systemic racism, stigmatizes disability by portraying it as a lesson in moral development, and glorifies a white fantasy of racial forgiveness. The continued uncritical, or pseudo-critical investment in The Cay is much more troubling than the novel itself.

For decades, scholars have called into question the patriarchal depiction of images of women. For example, Mulvey (2004) described in detail how the male gaze controls the image of the woman in Hol...

Este artículo tiene como objetivo examinar si la representación poética de la figura de Beatriz en la Comedia se corresponde con el sí mismo dantesco a la manera de una proyección, de una ensoñación idealizada. A partir de los estudios sobre el fenómeno de la ensoñación poética de Gastón Bachelard y los de C. G. Jung sobre los sueños y la naturaleza andrógina del alma humana (anima anima-animus), se hace una lectura en perspectiva crítico hermenéutica de la Comedia, considerando dos interrogantes principales: ¿cuál es el estatuto psíquico de la ensoñación dantesca? Y ¿cuál es la simbología que entraña el ideal femenino de Beatriz y que el mismo Dante –por no poseer– desea y proyecta poéticamente? Se argumenta que la Comedia puede entenderse como un elogio del sumo amor idealizado, interpretando que los valores expresados en las palabras y en el êthos de Beatriz no son más que la proyección del anima dantesca, es decir, que desde la teoría de la ensoñación poética de Bachelard, Beatriz se erige como una idealización del deseo de virtud del propio Dante.

This paper develops Richard Wollheim’s claim that the proper appreciation of a picture involves not only enjoying a seeing-in experience but also abiding by a standard of correctness. While scholars have so far focused on what fixes the standard, thereby discussing the alternative between intentions and causal mechanisms, the paper focuses on what the standard does, that is, establishing which kinds, individuals, features, and standpoints are relevant to the understanding of pictures. It is argued that, while standards concerning kinds, individuals and features can be relevant also to ordinary perception, standards concerning standpoints are specific to pictorial experience. Drawing on all this, the paper proposes an ontology of depiction according to which a picture is constituted by both its visual appearance and its standard of correctness.

Harihara is the amalgamation of two great gods in Hinduism, Siva and Vishnu. During the Late Classical Era (Majapahit period, 13th-15th centuries AD) three deification statues which portrayed the kings as Harihara have been found. Out of these three, two of them are not located in Indonesia anymore, one is part of the collection of Hermitage Museum, St. Petersburg, and one is in Christie’s Auction Gallery. Since these two statues are not widely known, they are barely mentioned or studied in the field of classical archaeology and art. This research focuses on the physical attributes of those two statues, particularly the clothing elements and divine attributes, in comparation to the deification statue of Raden Wijaya as Harihara, which is originated from Candi Simping and now is located in National Museum, Jakarta. The research was conducted using a qualitative-comparative method with iconographic and historical approach. It is found that while these statues show the amalgamation of Siva and Vishnu’s attributes, the depiction of Harihara in those statues are not exactly following Harihara iconography as regulated in the canons of Silpasastra and Manasara. While the canon physical attributes of Shiva and Vishnu side by side equally, in the depiction of Harihara in Java, those attributes are mixed and not always follows a rigid pattern. It is suggested that the depiction of kings as Harihara show an attempt to project them as the unifier of different factions and religious sects. The inequal depiction of Vishnu and Siva’s attributes in king’s deification statues indicates not only the dynamics of the religion in the era, but also as mean to build king’s image in the image of the God.

Most scholars have argued that Shakespeare shifted Romeo and Juliet’s setting from the winter of his source material to summer in order to intensify the play’s depiction of hot-blooded violence (To...

In the era of covid 19 masks have become a necessity in activities, the obligation to use masks for daily use, this makes masks more and more stylish. One of the fashion styles that creates fashion masks is Gerry Yo. Gerry's fashion masks are regularly uploaded on social media, namely Instagram. The photos of masks uploaded to Gerry Yo's account are a symbol that masks with various fashion patterns, accessories and styles are different from masks in general. By using sequins even to the Swarovski stone. The purpose of this study is to describe the construction of the meaning of fashion in the use of masks on Instagram. The theory used in this research is the theory of social reality construction, the paradigm used is the constructivism paradigm. The method used is descriptive qualitative with analytical knife using triangle meaning semiotics Charles Sanders Pierce Semiotics. The result of the research is that the reality that you want to build on the @gerryyoheadpiece instagram account creates a new culture with masks as fashion, using masks is still trendy. Furthermore, it is objective about the depiction of women using masks but still beautiful. Externalization describes the use of masks that used to be considered for health but this time for glamorous fashion. The meaning built on Instagram @gerryyoheadpiece is that masks can now express high social class for a woman.

In September 2019 Indonesia was busy discussing the revision of the Corruption Eradication Commission Law which was passed, in this condition Tempo magazine depicts the symbol of President Jokowi with the silhouette of Pinocchio on the cover of the 16-22 September 2019 edition of Tempo magazine. The purpose of this study describes the meaning of the signs and symbols is included in the cover of the Tempo magazine edition dated 16-22 September 2019. Apart from that, he also wants to reveal the meaning contained in the cover of the Tempo magazine. This study uses a constructivist paradigm, with a descriptive qualitative research approach using Charles Sander Pierce's triadic semiotic analysis model. The results showed that the sign of a man dressed in white with wrinkles on the forehead and pouting lips, this shows the problems that occur in Indonesia so that the president is responsible for handling corruption cases. The silhouette of President Jokowi with a long nose resembling Pinocchio here is a depiction of Pinocchio's character. Here, Tempo tries to be critical about events in the community, and with this picture the people have their own perceptions of the current situation. Keywords: Reality Construction, Magazine Cover, Triadic Model SemioticsCharles Sander Pierce.

(Tittle: Adults-Children Power Relations in Judy Blume’s “Blubber”). This study aims to uncover the power relations between adults and children in Judy Blume’s novel entitled Blubber. This study used a qualitative method by paying attention to the expressions used in the novel related to the topic of power relations of adults-children. Peer debriefing techniques were applied in this study in order to achieve the validity of the research results. The collected data of dialogues and narrations suggest that adults assert dominance toward children especially physically and psychologically as a consequence of the adults’ ideologies while trying to retain the image of a mentor. On the other hand, they also give spaces for children to grow and develop themselves. The research also revealed how Blubber paints a more realistic depiction of children and explores more of their human nature beyond images of innocence and naivety. Keywords: abuse, Blubber, children’s literature, egalitarian, power relations

In this research, the development of racism based on the different formations of socio-cultural and historical aspects was the standpoint that was shown by the interpretation of poetical depiction of meaning and messages. The gap between Langston Hughes in “I, too, sing America” (1926) and Amy Saunders in “You’re not Black” (2019) as the data advocates for racist transformation in natural past and present American socialization. Several critical studies have examined the racial issues reflected in poems however they didn’t elaborate on racism specifically rather than segregation and discrimination although racism is classified in several types. Moreover, the critical studies have been done only analyzed the racism happened on the past while this study compares the past and present racism as the concern of social construction among black American as the target of unfair treatments. The descriptive qualitative method using documentation, descriptive analysis, and note-taking technique was used to identify and elaborate meaning correlation with racial issues in the poems. This research aimed to classify the figurative language and its meaning related to racism while illustrating the development of racism from the perspective of socio-cultural and historical aspects that influenced the poets and their poetry. Theory of Critical Race was used to demonstrate that racism was developing in a different formation. The research has found the interconnection between historical values of slavery system constructed stereotypes of black people as minor American. Social construction formed a cultural differentiation which led to segregation and discrimination towards black in any form of everyday aspects.

In order to improve visual communication of disaster research, this article provides a systemist visual representation of the cause and effect relationships, trends, and logical impacts of differen...

This article focuses on the history of a series of paintings by Alexey Bogolyubov which was devoted to Peter the Great’s naval campaigns and created between 1860 and 1877 at the commission of Alexander II. Bogolyubov’s series of naval battle scenes has not been studied individually before.Dispersed across various public and private collections, the paintings have lost their role as a pictorial ensemble. Besides, the fate of three of the eight paintings remains unknown, and they can only be judged by indirect sources: archival and literary sources, copies, studies, and preparatory graphic works. Collected and systematised in this article, these materials make it possible to present the development of the series and Bogolyubov’s pictorial language over a decade and a half at the peak of his artistic career. An analysis of the pictorial features of this cycle of paintings and some other works reveals a change in the artistic techniques during the creation of the series. Also, the author identifies works of Bogolyubov’s predecessors on similar subjects and reveals features of their stylistic similarities and differences from those of Bogolyubov’s.The author traces the connection between Bogolyubov’s choice of subjects in the paintings and the state of naval history, more particularly, their connection with the works of Feodosy Veselago. In addition, the author reveals a case of change in the original idea of the composition of The Battle of Gangut and its division into three paintings consistently reflecting the course of the battle. Additionally, the article compares the routes of hydrographic expeditions and travels as part of the entourages of Tsesarevich Nicholas Alexandrovich and Tsesarevich Alexander Alexandrovich and places related to events of Peter the Great’s reign. Thus, the research demonstrates Bogolyubov’s search for a maximum accumulation of historical material and documentary depiction of events., Статья посвящена истории создания серии картин на темы из русской военно-морской истории времен Петра I, написанных А. П. Боголюбовым в 1860–1877 гг. по заказу императора Александра II. Серия батальных марин Боголюбова впервые стала темой отдельного исследования.Рассредоточенные по различным коллекциям, государственным и частным, эти картины потеряли свое ансамблевое значение. Кроме того, судьба трех из восьми картин остается неизвестной, и судить о них можно лишь по косвенным данным: архивным и литературным источникам, копиям и подготовительным живописным и графическим работам. Собранные воедино и систематизированные, в данной статье эти материалы дали возможность представить последовательное развитие серии и живописного языка Боголюбова на протяжении полутора десятилетий, в период наибольшего подъема деятельности художника. Анализ живописных особенностей этого цикла работ и некоторых других произведений выявил изменение художественных приемов в ходе выполнения заказа. Обозначены работы предшественников на близкие сюжеты, выявлены черты их стилистического сходства и различия с картинами Боголюбова.Прослежена связь выбора сюжетов картин с состоянием военно-морской истории, в частности с трудами Ф. Ф. Веселаго. Кроме того, выявлен случай изменения первоначального замысла художника — разделение композиции «Гангутское сражение» на три последовательно отображающих события картины. Были сопоставлены также маршруты гидрографических экспедиций и путешествий в составе свиты цесаревичей Николая Александровича и Александра Александровича и места событий Петровского царствования. Таким образом подчеркивается стремление Боголюбова к максимальному овладению историческим материалом и документальному изображению событий.

This article discusses the principles of psychologism in the early works of A. Green. The material for analysis is his “Birk’s Story” (1910), in which the realistic experience of describing human consciousness is combined with features of romantic psychopoetics. Lermontov’s traditions are indicated in the depiction of the protagonist’s psyche and his thinking. Focus is given to the specific features of the prose of from 1900 to 1910 with the display of the inner world of a person, namely, a modernist transformation of space, dissociation of the person, and the autonomy of consciousness. Later analyzed are the expressive details of the hero’s state before, during and after the failed suicide. A series of psychological techniques used by Green to create the image of a person in extraordinary circumstances are summarized: the motivation of illogical actions, the interconnection and sequence of mental impulses, the reflection of thoughts in reflection, the conflict of desire and logic, the introduction of an imaginary reality into the narrative, and the destruction of the effect of mystery. Two types of consciousness are correlated — the adequate and the pathological. The conclusion is made about the increased functionality of the image of consciousness in the plot and composition of “Birk’s Story”. The polemicity of the question about the degree of reliability and fiction of events are noted by Green. An assumption is made about their psychiatric basis — the image of such an ailment as a double orientation, which allows us to conclude that the narrative is quasi-fantastic.

The purpose of the article is consideration of stylistic and conceptual innovative ideas directed by the modern French avant-garde theater Nanter-Amandier. The methodology consists of the application of empirical, art history, analytical, axiomatic, functional methods of researching the concept of ideas of avant-garde directing of Nanterre-Amandier theater, its innovations, and search for radical reforms of stage skills, phenomenal artistic techniques of theatrical forms. Scientific Novelty. For the first time, empirical analysis and substantiation of the concept of ideas of avant-garde directing of the Nanterre-Amandier Theater, its innovations in the search for original artistic and creative solutions of stage forms. Conclusions. Directors of the modern French avant-garde theater J.-P. Vincent, J.-L. Martinelli and F. Ken successfully embodied innovative artistic techniques by transforming the reality surrounding the modern human and transmitting it to the viewer - this breaks the close relationship of artistic intentions with the socio-cultural environment. The depiction of the world by modern directors of the French avant-garde theater is characterized by a deep and holistic rethinking of it in accordance with the specifics of socio-historical processes, the development of scientific and technological progress, the general philosophical and aesthetic picture of the world, and others.

An oft-referenced but little scrutinized depiction of a puppet performance in Herrad of Hohenbourg’s Hortus deliciarum (ca. 1185, destroyed 1870) provides an opening into the study of the r...

The Ascension of the Prophet (Miraj) and the Stations of his Journey, was edited by Ayşe Taşkent and Nicole Kançal-Ferrari and published in December 2021 both in Turkish and English, is a comprehensive work that approaches the highly significant topic in the history of Islam, Miraj from philosophical, historical, literal and artistic aspects. The book is a product of a project supported by prestigious institutions such as The Republic of Turkey Ministry of Culture and Tourism, Topkapi Palace and The Turkish and Islamic Arts Museum. Through the eighteen writers’ contributions, this book is comprised of twenty-six articles and around two hundred visuals., Ayşe Taşkent ve Nicole Kançal-Ferrari editörlüğünde Aralık 2021 tarihinde yayın hayatına kazandırılan, Türkçe ve İngilizce hazırlanan, Osmanlı Kültür Ortamında Miraç ve Yolculuk Durakları başlıklı iki ciltten müteşekkil eser, İslâm tarihinde hususî bir öneme sahip olan miraç hadisesini; felsefî, tarihî, tasavvufî, edebî ve sanat boyutlarıyla ele alan kapsamlı bir çalışmadır. Kitap, T.C. Kültür ve Turizm Bakanlığı, Topkapı Sarayı ve Türk ve İslam Eserleri Müzesi gibi çeşitli saygın kurumların desteğiyle yürütülen kapsamlı bir projenin çıktısıdır. Projenin devamında on sekiz müellifin katılımıyla, yirmi altı makale ve yaklaşık iki yüz görselden oluşan kitap çalışması ilim dünyasına sunulmuştur.

Lower status of women is a stain on any society. The problem is becoming glaring in India in the wake of atrocities caused against women ‘from womb to tomb’. Even in this twenty first century, the impact of manuvadi ideology is getting evidently felt. ‘A thinking woman spoils everything’ is still the mindset. Maladies like honour killing, bride burning are still gloating over the security of women in the wake of the internalized mindset of patriarchal dictum, viz. ‘A woman does not deserve any freedom’ (Na stri swatantryam arhati). Since time immemorial, she was always taken for granted though she had never remained silent. The depiction of Draupadi in various writings underscores woman’s protest against male dichotomy and her refusal to live by disabling definitions that mark women as inferior.

Prosthodontists usually stick to the dictum by MM Devan, “preservation of what remains than meticulous replacement of what has been lost.1” “Microtia” is a term used to describe congenital anomaly of the external ear. It is a combination of the words “micro” and “otia” each of the term denoting small and ear respectively. It includes a range of deformities which may consist of presence of a rudimentary ear, a grossly normal or smaller ear or complete absence of the entire external ear. These deformities usually account for 3 in every ten thousand births, with less than 10 % of all the cases showing bilaterally missing ears.2-4 Facial deformities are common for the microtia patient as the auricle develops from tissues of the branchial arches. Figure 1 describes the patient having congenitally missing unilateral ear. Maxillofacial prosthodontics deals with prosthetic rehabilitation of disfigured or missing parts of head and neck. Prosthetic replacement of the exterior part (Epithesis) can be related to as old as civilization. References to it are available in Indian, Greek, Roman, Egyptian Civilizations.5 Ambroise Pare is credited with making various contributions to the materials and techniques in facial prosthetics. Fabrication of an extra-oral prosthesis is probably more of an art than science. Throughout the recorded history, humans have attempted to restore missing parts of the body by using various artificial materials. MPF materials have evolved since centuries right from metals, ivory, porcelain, waxes, natural rubber, gelatin, and latex to modern day materials such as methacrylate or acrylic resins, polyurethane elastomers, and silicone elastomers each having their own set of advantages and disadvantages. But silicone is most commonly used because of its assorted benefits over other MFP materials. This case report describes an auricular prosthesis for the patient with congenital ear deformity using an acrylic template for colour depiction and room temperature volcanizing (RTV) silicone.6

According to the OECD definition of innovative learning environments (ILEs), inclusion is considered a pillar of its design. The depiction of an inclusive ILE from the OECD outlines the importance ...

How could research on memory politics in Eastern Europe speak to the wider concerns of International Relations (IR)? This article argues that research on historical memory (politics) that is common in area studies could help to rethink the study of crises in IR by demonstrating how crises change discourses and yield opportunities for memories to be challenged and defended – not only by the ‘strong’, but also by the ‘weak’ (or ‘peripheral’) actors. It further shows how conflicts over memory can become new crises. To illustrate this argument, the paper presents a comparative study of memory politics in Ukraine and Lithuania, tracing major discursive changes, their domestic and international impact, and offering a depiction of how hegemonic historical accounts were created before and during the 2013/2014 crisis in Ukraine and how they were contested in the aftermath of the crisis. By linking the study of international crises to memory politics of ‘weak’ actors, this paper attempts to develop a ‘provincialising’ platform for global IR.

This study examines scenes from two important 14th-century tableaus depicting Christ with his disciples: On the Road to Emmaus and the Supper at Emmaus. While such portrayals of the post-Resurrection cycle were rare in Eastern/Byzantine art, they were far more prevalent in Western/Latin art. The earliest example of On the Road to Emmaus in Eastern art is at the Basilica of Ravenna Sant’Apollinare Nuovo, dating to the 6th century. The earliest instance in Western art is a 9th-century depiction on an ivory plaque. Latin samples of the scenes are popular in illustrated manuscripts. The study scope can be divided into two parts. The first part examines Eastern/Byzantine examples and the second part analyzes Western/Latin samples per a hierarchical classification. In the conclusion and evaluation section, the selected examples are compared. Eastern examples of the two scenes are rare and quantitatively outnumbered in Western/Latin art. This study explores the reasons for the rareness of these scenes in Eastern art and their abundance in Western art; different interpretations of the same are presented in the conclusion. Finally, the iconography of the two scenes differs in Eastern and Western examples. Therefore, our evaluation is focused on solving these questions. Our primary aim was to answer these problematic questions on the sources and reasons for the differences in iconography. The selection of the Byzantine and Latin samples was limited to those from the end of the 14th century to evaluate them in their synchronicity.

This study aims to explain the feminism of the Suar character in the novel “Catatan Juang” by Fiersa Besari in terms of liberalist feminism and post-modern feminism. This research method is a qualitative descriptive method. The source of data in this research is the novel "Catatan Juang" by Fiersa Besari. The research data is in the form of the depiction of the main character in the novel. The results of this study indicate that,1) the liberal feminism of the Suar character who wants to be considered equal to men through strengthening in the public space, and 2) the post-modern feminism of the Suar character which shows the equality of men and women based on language and thought patterns.

In I Care a Lot, we follow Marla Grayson, a self-proclaimed "Professional Carer" who makes a living by financially abusing older adults. Elder abuse, financial or otherwise, is seldom explored in cinema and must be handled with care. Cinema can help raise awareness on this social problem and play an important role in the de-stigmatization of older adults. Unfortunately, in our opinion, I Care a Lot fails to do so.

The paper presents the preliminary results of an ongoing project that combines historical cartographic and economic sources on Cyprus through the employment of geospatial analysis. The main sources are: the 1883 trigonometrical survey of the island by Horatio Herbert Kitchener; the 1572 fiscal survey and 1832/33 property survey by the Ottomans; and the 1931 British agricultural census. The Ottoman and British censuses, different though they are and separated by three and a half centuries, provide vital information on production, economic activity, population, and toponymy. The project correlates this data with the detailed recording of topographical, hydrological, and land use features of the Kitchener map, which constitutes an extremely close depiction of Ottoman conditions given that the transformation of the countryside witnessed during the British colonial period was not yet initiated. This allows the identification of certain constants in the Cypriot environment and landscape. The paper presents the interdisciplinary methodological challenges the project has encountered and proposes a framework for the combination of these different datasets and their analysis in order to better record and understand certain long-term patterns in the Cypriot economy, environment and landscape. It uses viticulture as a case study for the visualisation of data to determine the spatial distribution of vines in the historical long term. Finally, the paper situates its conclusions within broader historiographical discussions on the historical development of viticulture in the Mediterranean.