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Milton’s England experiences military conflict, sociopolitical change, religious reform, and scientific progress. Seeking stability in a world of uncertainty, a substantial part of seventeenth-century English literature expresses millennial expectations, faith in the birth of a new and better humanity. Paradise Lost is a millenarian work that advocates humanity’s perfection through the proper use of reason. The latter has as prerequisite man’s self-knowledge—within a philosophical context—and union with God, Who is the supreme reason (Logos), within a religious context. Specifically, this article discusses Milton’s definition of human reason and its implications for humanity’s perception of reality/truth, through the examination of specific imageries reflecting four different levels of human reason in a hierarchical order: the lowest/first level, the low/second level, the high/third level, and the highest/fourth level. Imageries of sterility, erotic pervasion, ugliness, restrainment, concealment, sorrow, and power relationships mirror human reason in the first and second levels. Human reason in the first and second levels is corrupt and inadequate to perceive reality because it is based on the physical senses (natural reason). In contrast, imageries of fertility, erotic innocence, beauty, excess, revelation, bliss, and love relationships reflect human reason in the third and fourth levels. In the third and fourth levels, human reason incorporates love and creative imagination beyond the senses to endow humanity with a deep and comprehensive understanding of reality. The discussion of Milton’s imageries of human reason and its redemptive function for humanity is mainly built on Christian philosophy.

This article is devoted to the investigation of Ukrainian national identity transformation, conditioned by the events of the Revolution of Dignity in the novel “Under the Wings of Big Mother” by S. Protsiuk. It was found out that the problem of national identity is the key one on the thematic, problematic, ideological, and figurative levels. The basic categories in the process of the new national identity formation in the novel “Under the Wings of Big Mother” by S. Protsiuk are pain, suffering, sorrow, and fear. The transformation of the national identity is subordinate to the moral and ethical discourse of changes, which were prompted by the revolution. The article serves to analyze political obstacles, mental traps and drawbacks of Ukrainian psychological character that prevented Ukrainians from forming a strong national identity. Changes of Ukrainian national identity is caused by the traumatic experience of Ukraine being a part of USSR, marked by genocide, linguicide, culturicide, Holodomor, and political repressions. The transformation of Ukrainian national identity in the beginning of the 21st century made possible the establishment of the key national identities (identitas): history, language, territory, basic national symbols and codes. It was proved that the modification of the national identity and the awareness of the ethnic value and self-identification are possible on the condition of understanding of mental traps and psychological drawbacks of Ukrainians that impeded the Ukrainian people of forming their identity and world view to the full extent.

Janelle Monae’s, Dirty Computer, tackles issues like feminism, racism, sexuality, Black womanhood, self-assurance, and growth. Each song on the album is presented from a first-person point of view, offering a unique insight into a story that shares an intimate portrait of what it means to embrace authentic Black womanhood. Monae’s lyrical storytelling brings to life stories of love, loss, fear, and celebration, offering an experience that cannot be ignored. Still, the numerous ways Black women experience joy and celebration are often overlooked in higher education. Thus, in this article, we center Monae’s album and offer the framework, Black Feminist Wondaland (BFW), to account for how Black women reckon with the misogynoir enacted against us, celebrate ourselves as an act of radical resistance, and reclaim our joy in a society bent on keeping us in a state of sorrow.

The author's approach to the problem of metaphorization of post-nonclassical educational process in higher school is substantiated in the article. Reliance on metaphor is becoming an alternative to traditional pedagogy in order to reorient it to human focus. The metaphorization of the educational process is directly related to the mechanism of thinking: it is an integral part of it. Metaphor is considered as a part of the cognitive processes that enables the path from the perception of the artistic image to the formation of the concept. It is emphasized that the metaphor allows assess positively the organization of the educational process. Metaphorical thinking is seen as thinking based on the movement from specific objects to the understanding of value-based ideas and their associative connections. The article provides examples of tasks related to the diagnostics and development of value-based orientations of students of higher art institutions. Based on the analysis of the storytelling scenario "We both mourned with the same sorrow, and both rejoiced with the same happiness…" the possibilities of approbation of the metaphor in the content of art education are shown. The analysis of the performed tasks testifies to the fact of expediency of reorientation of the educational process organized in the spirit of post-nonclassical pedagogy. The intellectual and creative forces of teachers and students are involved in the implementation of the project, which covers various types of artistic activity. It is noted that, guided by nonlinear logic, we get the main product of the student's work – his personality that enables transition from image to concept (image-metaphor-symbol-concept).

In Matthew 6 and Luke 12, Christ instructs his listeners to consider the “birds of the air” and “lilies of the field.” For Martin Luther, this instruction essentially amounts to a reprimand: as human beings are naturally dominant over non-rational animals, Christ’s instruction to learn from these creatures is intended to elicit guilt and shame. Against this backdrop, I explore a fundamentally different interpretation in Søren Kierkegaard’s “Godly,” “Upbuilding,” and “Christian” discourses with normative implications for humanity’s reciprocity with other animals.

The aim of this interdisciplinary study is to gain a comprehensive understanding of individuals’ subjective experiences after leaving a high-cost religious group and how these experiences have affected their lives. In-depth interviews were done with 18 participants who had left different religious communities in Finland. The interviews were analysed through a thematic analysis. The results show that religious disaffiliation is a life change that may affect an individual’s life in profound ways. Life after being a member of a high-cost group may involve experiences of fear, guilt, sorrow, pain, loss and even suffering on an existential level. These experiences can have serious implications for one’s well-being and health. However, life after religious disaffiliation also includes many positive aspects, such as experiences of joy, freedom, relief, gratitude and empowerment.

This article re-reads Lyric VII of the poem Advent, the dialogue of Mary and Joseph. The division of speeches in this lyric has been debated, largely on grounds of the plausibility of the emotions that are apparently expressed by the characters, but there are in fact clear pragmatic grounds for seeing only three speeches in the poem. The emotional expression in these speeches should not be seen in terms of character psychology, but rather the establishment and negotiation of relational stances. In her first speech, Mary expresses bitter grief and draws attention to her weeping, which is because of the insults and gossip she is suffering; the accent on shame and reputation is a distinctive emphasis in the poet’s treatment of the material. Her display of grief elicits Joseph’s response and paves the way to resolution in Mary’s final speech. Mary’s tears are gendered, but not so much because tears are inherently feminine as because they are associated with petition and dependence, and reflect Mary’s social subordination to her betrothed spouse. Lyric VII prompts its audience to a partial identification with Mary and reflection on their need for God and his mercy; such identification would work differently for female and male readers.

Purpose of the study: The main purpose of this study is to analyze the novel The Golden Legend by Nadeem Aslam in the light of the concept of Nationalism given by Benedict Anderson in Imagined communities. Methodology: The entire data is evaluated by the entire text related to nationalism. This research is based on qualitative research skills. The basic resource of this research is the novel of Nadeem Aslam, named The Golden Legend. Further, the other resources used in this research are the journals or the articles regarding or reflecting the explanation of this novel (The Golden Legend). Main Findings: The findings depict a wonderful series of characters who have humanity in their hearts; they have love and respect for others, either the other person is from their religion or a different one. It is a story of sorrow and the game of religions in the world which is being played under the acts of the political authorities. Applications of this study: This study can be applied to the nationalism literature. Novelty/Originality of this study: The study is one of its kind because, after a careful analysis of the literature available, it is safe to say that no study is done up till now on analyzing the concept of nationalism in the Golden Legend.

The article analyzes the linguistic features of Andrzej Stasiuk in terms of the stylistic meaning of the lexemes denoting color. A case study material is the translation of the novel “East”. Andrzej Stasiuk is a modern Polish writer, whose prose depicts the real images and real pictures of life, which are often created through sounds, smell, and, especially, color. This distinguishing feature of the author’s style, namely lexemes used for color nomination, has become the subject of this research work. The emphasis is laid on the most productive groups of color names, which became the centers of the artistic image creation manner in the author’s text. The study has revealed that particularly productive are the lexemes related to the green color. In general, we can argue that A. Stasiuk’s prose is ‘green’. It is commonly known that green is the color-symbol of life, youth, and hope. The writer uses it both in direct meaning (in depicting landscapes or even water objects) and figuratively (strengthening the impressions of certain events, the emotional state of the character, as a feature of the character). The study has also identified a high frequency use of the lexeme red, which belongs to the spectrum of hot colors. A. Stasiuk uses it mostly in the direct meaning (describing fire, sunset). Frequently, the epithet red is used to bring some emotional detail to the description in the text, thus, increasing the expressiveness of the whole novel. Significant semantic and stylistic load in the works of A. Stasiuk falls on the adjective black. In the author's text, it is traditionally an attribute of evil, sorrow, and the like. The use frequency of color-lexeme gray is insignificant. The study has revealed its usage in both direct and figurative meaning. There are some examples with such color names as blue, brown, white, gold. They are mostly used in the metaphorical structures and in common word combinations. A small number of examples illustrate a group of words-characteristics: colorful, another color, parti-colored, sandy (all their use cases are in the direct meaning).

Thirukkural is believed to have been written in the 1, 2nd century AD. The period when bhuddhism flourished. Foremost among the text of justice is the screw cap. Various virtues of Buddhism can be found in Thirukkural. Mourning is said tobe the foremost of the Buddhist rites. The first truth is that wordly life is full of sorrow. Thus, the desire that led to patriarcly is fae from essential to human life. The desire for human beings will continue to grow. The mental state of not having enough. The Emphasis is on renonuncing desire to make human life superior. The purpose of this study is to examine the messages that thirukural talks about such Buddhist sleep.

Music, which is a universal media as the language of emotions and passion, has inspired many artistic and literary works. While written works occupy an important place in the cultural sphere, musical works have fed many movements of thought in the same way, maybe even more, and have been determinative in creating meaning. In this study, a representation of the strong bond formed by music, which is considered to be the greatest form of art, with Jean Echenoz’s Ravel and Pascal Quignard’s All the Mornings in the World is shown based on Schopenhauer’s philosophy noting that the effect of music is stronger than other forms of art because it expresses the essence of the events in life. After addressing the role of music on the literary creativity of the stated authors, this essay will discuss how music shows that the idea in everything is represented by literature through the musician-characters trying to attribute a meaning to their existence with the art of music. In the said narration models which develop a discourse on music, the art of music is one of the elements making up the narration rather than a simple ornament or form of narration. As Schopenhauer emphasized, just as words are the language of the mind, music is the language of emotions and love. In the studies examined; themes of pain, loneliness, sorrow, mourning, desire and longing are narrated with the help of the strength and effect inherent in music and attempts are made at communicating with the soul of the reader.

Background The flare-up of Covid-19 in India caused open turmoil and pressure on emotional wellbeing among university students. At first, it was about course finishing; later, the issues moved to assessment. This scourge increases mental issues, stress, dissatisfaction, sorrow, and nervousness. Aim The aim of this study was to assess the mental health and behaviour of Mizoram University students during the Covid-19 lockdown period. Methods This study was a cross-sectional investigation, and a snowball method sampling technique was utilised for obtainging information from the students. Results There were 65.2% of students who revealed that they were giving more consideration to their emotional wellbeing during this pandemic. More than half of the participants (67.2%) reported no expanded worry of stress from scholastic work, and 65.2% reported that they were paying more attention to their emotional wellbeing and mental health following the pandemic. Further, 69.7% reported that they were spending more time exercising. Nearly 55% of students took part in Zoom classes, with a length of 35 to 40 min. About 65.7% of students gained proficiency in their course by means of a learning management system. Students performed activities at home during the lockdown period, watching TV (75.4%), reading books (38.7%), and on writing assignments (34.8%); and 34.5% of the students viewed news from TV, newspapers, and social media about the Covid-19 pandemic each day. Conclusion The positive effects on psychological wellbeing may have helped the students adapt to other negative effects and expanded pressure on emotional wellbeing. This pandemic impact will probably be engraved on every individual surveyed.

Change is constant, as nothing stays the same. Consider the words of the Chinese philosopher Lao Tzu, “Life is a series of natural and spontaneous changes. Don't resist them—that only creates sorrow. Let reality be reality. Let things flow naturally forward in whatever way they like.” Some changes are the result of biology and the passage of time, within the natural cycle or order of things. Others are self-generated, under our own control and resulting from willful efforts, or dependent upon encounters with significant others—family, friends, colleagues, and others close to us. Still, other changes occur because of circumstance or fate, a proverbial "date with destiny" and often beyond what we feel is our control. Whether it is our personal life or occupational, like metalcasting, this change can facilitate transition and transformation. I have coined the term metalmorphasis and this lecture as reflection of how to embrace change, recognize the opportunities presented and utilize it as a vehicle for new beginnings. This is not just philosophical but also a look how we as metallurgist and metalcasters apply and control input variables (time, temperature, pressure, chemical reactions, etc.) to transform metals and create metalmorphasis.

Purpose The purpose of this study is to examine whether users’ perceived moral affect explains the effect of perceived intensity of emotional distress on responsibility judgment of a perpetrator and company, respectively, in an ill and good intention breach. Design/methodology/approach Participants completed a questionnaire containing items measuring their perceived intensity of emotional distress, perceived moral affect and responsibility judgment of a perpetrator and company, respectively. Findings The results support the mediating hypothesis on responsibility judgment of a perpetrator regardless of intention. The mediating hypothesis is also supported in an ill intention breach in responsibility judgment of a company. However, the mediating effect is not observed in a good intention breach when users assess a company’s responsibility. Originality/value The findings support the notion that users use the consequentialism approach when assessing a perpetrator’s responsibility because they focus on the victims’ emotional distress and discount a perpetrator’s intent, resulting in similar mediating effect of perceived moral affect in an ill and good intention breach. The results also indicate that perceived moral affect increases the negative effect of perceived intensity of emotional distress on responsibility judgment of a company, suggesting that users may exhibit empathetic feelings toward a company and perceive it as a victim of an ill intention breach. The lack of mediating effect in responsibility judgment of a company in a good intention breach may be attributed to the diminished effect of a perpetrator’s feelings of regret, sorrow, guilt and shame for causing emotional distress to the victims.

This article explores what contribution poetry and the arts can make to the human experience in a time of pandemic. It argues that artistic productions can ‘enlarge the heart’ such that sorrow and anxiety are not removed or defeated but are, as in the biblical text, ‘woven […] into a larger imaginative story.’ This argument is made through close examination of three poems: T. S. Eliot’s “The Waste Land”, written in 1922 during the Spanish flu epidemic; “Quarantine” by Eavan Boland, set during the Irish Potato Famine of the 1840s; and Malcolm Guite’s “Easter 2020”.

Art means creation. This ability of creation is the highest and invaluable gift given by God almighty to mankind. From the very beginning art has been the strongest medium of expressing emotions. World’s great pieces of art have been created by the ability to express the basic emotions of human heart like joy, sorrow, faith, aesthetic sense etc. in various forms.

This paper is focused on private tomb scenes with mourners dated to the end of the 18th Dynasty located in the Egyptian Memphite necropolis, with a special interest on the artistic resources and the clear division of groups according to the gender of mourners, as mourning men in expressive attitudes are particularly rare in ancient Egyptian scenes. The presence of men in grief, together with the traditional female mourners, within the funerary procession is striking, portraying expressive poses which provoke feeling of empathy and sorrow in the beholder. Indeed, the expressions of feelings in mourning scenes and their diverse artistic treatment in Memphite tomb decoration reveals the innovation and originality of the artists, features that could be traced back to the reign of Akhenaten. This paper explores the complex process of creation of the funerary iconography of the Post-Amarna art, a period of religious, political and social changes which were mirrored in private tomb scenes. El presente trabajo se centra en las escenas de duelo de tumbas privadas de finales de la XVIII Dinastía ubicadas en la necrópolis menfita egipcia, con un especial interés en los recursos artísticos utilizados y la clara división de grupos de acuerdo con su género, ya que los hombres en duelo en actitudes expresivas son especialmente raros en las escenas del arte egipcio. La presencia de hombres en duelo, junto con las tradicionales plañideras, dentro del cortejo funerario es sorprendente, con poses expresivas que provocan sentimientos de empatía y tristeza en el que las contempla. De hecho, la expresión de sentimientos en las escenas de duelo y el variado tratamiento artístico en la decoración de tumbas menfitas es indicativo del nivel de innovación y originalidad de los artistas, rasgos que pueden rastrearse hasta el reinado de Tutankhamón. En un ámbito más amplio, esta investigación explora el complejo proceso de formación del arte post-amarniense, un periodo de cambios religiosos, políticos y sociales que tienen reflejo en las escenas de las tumbas privadas.

The paper comparatively analyzes the modification of the laudatory prayer “Rejoice, Mary!” in the poems by V. Vovk and P. Tychyna. The comparison helps to reveal the peculiarities of the authors’ styles in the modifications of the prayer and makes it possible to see the deep unity of emigrational and continental literature. The prayer of Vira Vovk has its sources in the akathist to the Mother of God. In the poem “Rejoice!”, the poetess retains the general structure of the akathist, modifying some details: she uses twelve lines instead of thirteen and keeps the address “Rejoice!” not in every line but only in odd numbers. In the poem “Celestial Tit”, the akathist acquires the features of a verse form, and the address “Rejoice” is present only in the first and ninth lines. However, the second strophes of the poems “Rejoice!” and “Heavenly Tit” give grounds to consider these texts as variants of the same work. The works by Vira Vovk show a combination of images being characteristic of the church akathist to the Mother of God (lilies, roses, universe of joy, virgin and mother) with individual authorial ones (heavenly forget-me-not, four-leaf clover, sparkling star, chorale of winged, celestial tit). The address “Oh, rejoice, Mary!” from the poem “The Dolorous Mother” by P. Tychyna refers to the scene of the Annunciation and the prayer “Ave, Maria” (“Rejoice Mary, full of grace”), which is part of the rosary prayer. Despite the address “Rejoice”, P. Tychyna’s poem is imbued with sorrow. The events of the poem take place after the Crucifixion, before the Resurrection. The address “Oh, rejoice” is contrasted with the drama of a mother looking for a crucified son and also with Ukrainian history and the landscape. In V. Vovk’s piece “Dormition”, the events take place after the Resurrection, and therefore the Mother of God is not sad but smiling, full of joy; she merges with the landscape and not contrasts with it.

In this short essay, Zhang Qinghua discourses on three aspects of Zhu Wenying’s novel Aunt Lili’s Small South (Lili yima de xixiao nanfang 莉莉姨妈的细小南方). He argues that the ineluctable qualities of th...

As a fourteen-year-old seminarian in a Benedictine monastery in the mid-Sixties, I was circumscribed in my reading by the watchful eyes of the monks and, particularly, of the monastery’s librarian,...

This article examines the essence of music education in the comprehensive improvement of the child's personality. One of the hallmarks of the human psyche is feeling, emotion, and excitement. Man is in constant communication with the material being that surrounds him in the course of his life activities. As a result, many other tendencies and emotions, such as joy and sorrow, excitement and excitement, pride and arrogance, anger and rage, amazement, and sadness, represent a person's emotional state. Form) is divided into positive and negative types. Positive: joy, excitement and excitement, pride and admiration, amazement and so on.

Communication using sound is perhaps a boon in humans. The sounds were made and heard by humans to convey codes in primitive societies. The child’s requirements are recognized by the mother through its sound expressions. Sounds materials are used as a prime means of communication, and also to denote expressions of joy and sorrow, anger, anguish and such other feelings. Apart from humans, beasts and birds also use sounds. The rhythmic music renders enjoyment, the symphony consoles the soul, the sound of joy is splendid and definite sounds are made to indicate win or success. There are several implications to the language of music and sound. So far so good, there are darker sides of the sound too. The aim of the research to determination of outdoor noise quality in two different Auditoriums such as Music Academy, Chennai and TPG Auditorium SRMIST, Kattankulathur, Chengulpet. The results were noted Music Academy in overall higher than the TPG Auditorium SRMIST.

As a medievalist, I have cause to be worried about emotions in history. I do not worry about the emotions themselves: people in the past, as now, expressed joy, sorrow, anger, fear, and many other feelings; these emotions had multiple meanings then (as they do today); they had their effects on others and were manipulated in turn (as ours do and are). What medievalists - indeed, all historians who want to get their history right - must worry about is how historians have treated emotions in history. The purpose of this article is to survey the historiography of emotions in Western history and to suggest some fresh ways to think about the topic.

COVID-19 has plunged us into times of loss—loss of friends and family, loss of purpose, and loss of a sense of certainty about the immediate future. As we traverse this time of anomie and loss between pre-and post-COVID-19 times, through pandemic surges that threaten to exhaust our resources and seemingly endless troughs of calm, we need to care for each other. Care provided to those in need of hospitalization due to COVID-19 should undoubtedly be prioritized, but we should not forget to care for those who are physically well but suffering, by recognizing the fear and sorrow that flavor changed experiences due to COVID-19. Narratives that reveal challenges and triumphs are central to this kind of care. Frank (2007) argues that care is about “helping people find their stories.” We find comfort in telling these stories and in hearing them; recognizing ourselves in another’s tale allows us to find meaning in our own suffering. This paper tells the narratives of three health professionals on the COVID-19 frontline.

Murder in the Cathedral appears to be a poetic play on the surface that recreates the story commemorating the archbishop’s martyrdom. However, internally, it demands sharp criticisms and reflections on the church, the church priests, and the leaders who have become secularized. For this reason, Murder in the Cathedral is a play that constantly makes the minds of the audiences and also the readers uncomfortable. In a dark and painful wasteland world, it is the mission of the church to illuminate the darkness and to give the meaning and taste of life, that is, to play the role of ‘light and salt,’ which is clearly documented in the Bible. However, not only at that time, but also through the Middle Ages and modern times to the present day, the church and its leaders led the church with too much secular interest, like Judas, who sold his teacher for money. Even now, they often lead their sheep/church people in the wrong way. In Murder in the Cathedral, Eliot shows that the most miserable and poor Canterbury women suffering from toil, sin, fear, and sorrow did not neglect to praise the Lord. So it shows that they were able to grasp the signs of God and had the wisdom to know the secrets of Heaven. Through the chorus, Eliot clearly explains the reason and relationship between God, humans, and all things, and brings them back to the humble attitude of early Christians. In harmony with the characters in the play, the chorus presented the core theme of Christianity leading to martyrdom and salvation. In addition, ‘keys of the kingdom’ is not just a secret appropriation of the priests, but the ordinary ability that has already been given to all Christians/priesthood/people.

An exploration of feminine desire through the lens of Luce Irigaray’s caress is afforded here through the feminist film-philosophical analysis of Claudia Llosa’s The Milk of Sorrow (La teta asustada, 2009) and Women Without Men (Zanan-e Bedun-e Mardan, 2009), by Shirin Neshat. Drawing on key scholarship (Watkins 2000; Bainbridge 2008; Bolton [2011] 2015; Quinlivan [2012] 2014), this article offers a novel contribution through its emphasis on the Irigarayan caress. Despite important limitations and silences in Irigaray’s work (Rifeser 2020; Ingram 2008; Bloodsworth-Lugo 2007; Deutscher 2003; Jones, 1981), here the usefulness of Irigaray’s caress is discussed. An exploration of the narrative, formal and aesthetic strategies of Llosa’s and Neshat’s feature films attune the viewer to the embodied, lived experiences of the main women characters, sothat we can envision the Irigarayan caress and the lived experience of feminine desire as woman with oneself, as well as the desire for the other.

Islam is a religion of peace and harmony. It wants a peaceful society where everyone could spend his life with peace. Patience has been given great importance in Islam. The meaning of patience is to control oneself in times of pleasure, sorrow, trouble, and distress and avoiding actions that are against the teachings of Islam. A group of different people, where people are connected with each other for the basic needs of life is called society. Islamic society is one that is free from all unethical things and where everyone can freely spend his life according to Islamic teachings. But the situation of contemporary society is entirely different, each one is in trouble and is facing intolerance. This situation is creating an unbalance environment in society such as; extremism, aggression, anger, and lawlessness, etc. In reality, with the passage of time the situation of society is moving towards ruin, here is a need to produce the teachings of Islam in society. As well as, the right and wrong concept would be cleared in the mind of people and they would follow the teachings of Islam to make their lives easy and peaceful. This research can be valuable in its specific field because the prevailing situation of tolerance in contemporary society is discussed from the Islamic perspective.

This paper aims to describe (1) the causes of the emergence of religious multiculturalism (Christian and Muslim) in Kupang City; (2) How are the efforts of Christian and Muslim families in internalizing multicultural values to each child to strengthen tolerance between religious communities in Kupang City; and (3) what is the result of the merger of multicultural societies in Kupang City. This research is a qualitative descriptive study and focuses on the social interactions of the Christian and Muslim communities in Kupang City. Data were collected using interview techniques, observation and literature study then analyzed qualitatively which includes data reduction, data presentation and drawing conclusions. The results of this study conclude that (1) the emergence of religious multiculturalism (Christian and Muslim) is due to the fact that Kupang City is the center of government, economy, education for the people of NTT, and inter-religious and ethnic mixed marriages; (2) there are two steps by Christian and Muslim families in Kupang City in internalizing multicultural values to children, namely directly educating and practicing. First, educating, giving understanding to children to always have the spirit of mutual cooperation, communicative, tolerant, respect, respect and friendly to others; second, direct practice, namely being directly involved in social activities in the community such as celebrating joy and sorrow; and (3) “Beta Orang Kupang” is a new civilization that emerged as a result of the fusion of the people of Kota Kupang from various backgrounds

La relación formal que la historiografía artística siempre ha advertido entre el desaparecido Crucificado de la iglesia madrileña de Gracia y el Cristo del Desamparo de Escurial, nos ha permitido, una vez autorizado el Cristo de Gracia como obra de Luis Salvador Carmona a partir del Compendio de 1775, concluir la larga serie de atribuciones que ha tenido el de Escurial y proponer a Carmona como autor de su hechura, teniendo en cuenta, además, la documentada procedencia madrileña de la obra. Forma pareja con una Dolorosa de la misma fecha, 1730-1732, que el artista talló junto al Crucifijo cuando aún trabajaba en el taller de su maestro Juan Alonso Villabrille y Ron, una etapa inicial de su trayectoria aún poco conocida y en la que hemos logrado situar las tres obras citadas. Las esculturas de Cristo también nos suministran el modelo vivo del Crucificado tan poco frecuente en Carmona.

The folklores are the exclusive manifestation of symbiosis between folk and environment for any ethnic group which portray the way of folk life. The Gambhira cultural milieu is built around religious beliefs and the focal theme is centered on God Shiva. The study aims to explain how the mango culture is deeply associated with the livelihoods of people of Malda that have been cited and illuminated in Gambhira folklore. Mango is the principal as well as traditional fruit crop of the district. The crop has a wide range of acceptability amongst the masses. This descriptive study found that mango culture has profound influence on the livelihoods of the people belonging in different socio-economic strata encompassing basket makers to international traders. This exotic crop is so deeply entrenched in the cultural dimension of rural people of Malda that a number of folklores portraying the happiness, sorrow and melancholy associated with its cultural operation, production, trade and economy took the place of pride and centrality in everyday amusement events. In addition to the socio-economic significance, this exotic fruit crop has religious-cultural relevance in everyday lives of the people. No doubt, the mango is the economic base while the Gambhira forms the socio-cultural base for this geographic milieu. The duo cultures cannot go differently and indeed represent the region to the outer world.

Igala proverbs play a very important role in everyday language of the Igala people. The language has beautiful proverbs which cover all aspects of the people’s life and culture. These proverbs are drawn from careful observation of social events, the lives of people and animals. Also, some proverbs have traces of experiences of the people’s occupations such as farming, fishing, hunting, weaving, wrestling and dancing. The language has proverbs that talk above family and human relations, good and evil, poverty and riches, joy and sorrow. It is on this basis that this study examines how the elders/traditional leaders who are custodians of Igala cultural values use proverbs as a generalized code for establishing standards in ethical and moral values, enthroning respect for elders and constituted authorities and discouraging the youths from embracing social vices prevalent in our society. This study adopts Dan Sperber’s and Wilson’s (1986) relevance theory. Participant observation and interview were the means of data collection. The data collected were analyzed using descriptive and analytical tools. The work uses the traditional contexts of Ogugu and Ankpa proverbs to present their epistemological significance in Igala kingdom. Keywords: Igala Proverbs, Correctional Tools, Traditional Elders, Relevance Theory, Traditional Institutions

Portraiture is arguably one of the most celebrated genres of art and artistic expression through the ages. Artists have always sought to create depictions of themselves in self-portraits as well as the depiction of sitters through in-person posed sessions, referencing, or imagination. They have also used portraiture for artistic expression particularly when aiming to depict human feelings and emotions for the practical reason that human expression itself is synonymous with facial expression. It is only through the study of physical facial expression that an artist is able to derive artistic expression in a continuum that ranges from extreme joy signified by laughter to extreme distress, signified by tears. In between the continuum is a whole retinue of feelings and emotions, such as amusement, happiness, irritation, anger, sorrow, despair, fear, anxiety, sadness, and many other human manifestations that emanate from life’s experiences. Apart from the obvious outer facial expressions, there are also the innate expressions that underscore personality and character that artists wish to unearth, study, and explore in their subjects. To execute and achieve these expressions in portraiture, the artist uses selected media, styles, and techniques that best suit the desired objective. This paper posits that there exists a correlation between individual style and the effectiveness of the intended purpose of portraiture where effectiveness applies to the communicative or expressive value of a portrait as well as its overall acclaim. It must be noted that there is no portraiture that lacks intent, be it portrayal of likeness from self-portraits or sitters or portraits derived from photographs, thematic referencing that leads to the depiction of certain facial expressions in subject matter or creating portraiture from imagination including surrealistic inspirations. When certain portraiture is at times perceived as not being effective in terms of its intent, it is fair to conclude that this may often be as a result of the personal style of the artist or its execution being incompatible with the intended purpose. Hence viewers fail to see or extract what was intended for them to decipher essentially because they are distracted by the personal style. In the same token, when portraiture is seen to be effective, it is often presupposed that this is a result of the personal style of the artist and its execution being deemed compatible with its intended purpose. Hence to a significant extent, the viewer is able to extract this purpose because they are aided by rather than distracted by the style and specifically, personal stylistic rendition. This paper examines the portraiture of Eddy Ochieng, an outstanding Kenyan hyperrealist in order to ascertain whether there exists this visual correlation between his personal style and the intent of his portraiture. He embraces the hyperrealism style featuring some self-portraits as well as of others derived from photographs. The inquiry is whether this style delves into any other meaning other than the quest for the photographic representation of likeness and whether the likeness itself is effectively extracted.

This article considers the work of Colombian artist Erika Diettes (b. 1978), specifically her projects Sudarios, Rio Abajo and Relicarios, as a reflection on the possibilities and limitations of ma...

لقد تفجع الشعراء بموت أحمد شوقي لما له من منزل کبرى في قلوبهم، ولما لا وهو أميرهم وصاحب فضل عليهم، وتأثير کبير على فنهم، إذ هو إمام المحافظين وزعيم المجددين، باعث الشعر بعد ضعفه، ووطني أخلص لوطنه؛ فرفع راية مجده وخلد ذکره ، ومن ثم حينما سمع الشعراء خبر وفاته أحسوا بمرارة فقده، وبالفراغ الذي کان يملؤه شوقي في دفاعه عن وطنه وغيرته على العربية ،فأخذوا يسکبون عليه الدموع والعبرات حزنا وأسى، کما أقاموا الملتقيات والمحافل تکريما له وإحياء لذکراه. ومن البديهي في فن الرثاء أن يرثى الفقيد بصفاته الخلقية والخلقية؛ لذا کان من اللافت للنظر أن يرکز الشعراء الباکين لشوقي على شعره وأعماله الأدبية، لاسيما أن هؤلاء الشعراء من مدارس أخرى غير التي کان يتزعمها شوقي، وکثير ما عارضوه في حياته واتهموه بالجمود، لکنهم على إثر موته ذکروا محاسن شعره واعترفوا بقيمته الفنية، فرجعوا إلى أنفسهم محافظين على ثوابت القصيدة العربية في رثائهم له، ولم يتمردوا على ذلک إلا في القليل النادر. وخلاصة القول أن فن الرثاء من أقوى الفنون الشعرية عاطفة؛ لذا وجدنا الشعراء الباکين لشوقي قد أفصحوا عن هذا الشعور من خلال مراثيهم له، حيث جاء المعجم الشعري في تلک المراثى- عند الحديث عن شعره وموهبته الشعرية - فريدا، لقد لقبوه بألقاب ووصفوه بأوصاف لم ولن تکون إلا لأمير الشعراء أحمد شوقي. الکلمات المفتاحية: شوقي – شوقيا - نبي الشعر – أمير الشعراء - شاعر الکون – شاعر الدنيا- الساحر - عرش يتهدم - بکائيات – بکائياتهم- دولت الشعر- الفجيعة المخرسة -أميره وکبيره. Poets talk about Shawqi poetry Read their cries for him Hamid Saad Ali Khudarji Jawish Lecturer of Literature and Criticism, College of Studies Islamic and Arab boys in Desouk Email: Hamedkhadragy782.el@azhar.edu.eg Abstract: The poets were mourned by the death of Ahmed Shawky because of his great house in their hearts, and when he is not their prince and the owner of a favor over them, and a great influence on their art, as he is the imam of conservatives and the leader of the innovators, the emitter of poetry after his weakness, and my patriot is loyal to his homeland, so he raised the banner of his glory and immortalized his memory Then, when the poets heard the news of his death, they felt the bitterness of his loss, and the emptiness that was filled with my longing in defending his homeland and changing it to Arabia, so they poured tears and tears on him in grief and sorrow, and they held gatherings and forums in honor of him and to commemorate his memory. It is evident in the art of lament that the deceased is inherited by his moral and ethical qualities. Therefore, it was remarkable that the weeping poets of Shawqi focus on his poetry and literary works, especially since these poets from other schools than the one that Shawqi was leading, and many in his life opposed him and accused him of stagnation, but they are on After his death, they mentioned the virtues of his poetry and recognized its artistic value, so they returned to themselves preserving the constants of the Arabic poem in their mourning for him, and they did not rebel against that except in a rare few. In sum, the art of elegy is one of the strongest poetic arts with emotion. So we found the weeping poets of Shawqi to have expressed this feeling through their lamentations to him, as the poetic lexicon came in that Marathi - when talking about his poetry and his poetic talent - Farida. key words:Shawky - Shawqia - the prophet of poetry - the prince of poets - the poet of the universe - the poet of the world - the magician - a throne collapsing - weeping - their cries - the state of poetry - the bereaved bereavement - his princess and his elder.

This article aimed to show God's justice in the midst of lives of His people. The method used is the historical and grammatical exposition of Amos 1: 1-15. The struggle of faith of God's people is never loose in sorrow, sadness, and cheering. In the book of Amos 1: 1-15 teaches us that the people's struggle is inseparable from God's justice. God gives protection to His people to pass through every issue or problem of life. God also does His justice both to good doers and condemnation to those who do evil. Thus every people should live what God promised and hold in hope in God.

In teaching culturally sensitive and difficult issues, tensions and interruptions may arise, and educators and students may retreat to their respective comfort zones to avoid conflict and suffering, a pedagogical aporia occurs. This article introduces and examines Bodhisattva compassion from the Buddhist tradition, which offers insights and wisdom in transforming unexamined emotional responses into healthy and nonviolent expressions and embodiment of difference and dissonance. By tracing the Chinese etymological history of the term compassion and its use in Buddhist literature, I argue that Bodhisattva compassion embodies 悲心, a somatic, but unattached and awakened responsive heartmind. Bodhisattva compassion recognizes and accepts the unavoidability of human suffering, but it also liberates us from the common assumption of fellow-feeling and pity subsumed in sorrow and suffering. Guided by the concepts of wisdom and transforming the mind in Buddhism, bodhisattva compassion focuses on lucid awareness of one’s responsive heartmind and skillful actions to engage suffering. Pedagogy enlightened by bodhisattva compassion has curricular and instructional implications. In the struggle of identity politics or for social justice, it is probably more critical to develop ethical and undifferentiated compassion pedagogy than wrestling with power dynamics in our teaching.

Systemic discrimination, racism, and inequality have garnered renewed and intense attention following the George Floyd murder and demonstrations of Black Lives Matter (BLM) around the world. In sharing our anger and sorrow, we reached out to several colleagues and scholars in the Black community. We wanted to provide a forum [1] for them to express their grief, share their experiences and help us move forward. The response to our invitation to write was overwhelming, but also heartbreaking. Our colleagues were devastated and broken. They expressed immense difficulty in writing because of anger, despair, and sadness. Stella Nkomo (personal correspondence) asked if “the burst of recognition of systemic racism for real this time?” It is our hope that their collective voices, captured in this collection of essays, will help us find a way forward as academics, researchers, and mentors. We need to refocus our efforts to combat anti-Black racism, dismantle systemic discrimination, restore racial justice, and enable Blacks and other racially oppressed groups to fully participate in society and life.

This paper offers a brief overview of the contributions provided by widely recognised phytoplankton ecologists to honour the memory of an undisputed leader in the field of aquatic sciences: Colin S. Reynolds. Colin passed away quite unexpectedly in December 2018 causing a wave of sorrow that rapidly circulated among friends and colleagues all over the world. The 14 review papers collected in this Special Issue form a tribute to Colin’s scientific thinking, which survives the man and represents a legacy to all the scientists in the field, especially to young generations. Although authors and editors carefully selected 14 different topics, a certain degree of overlap exists among the collected contributions. This, far from being a limit, further underlines the holistic nature of Colin’s vision about phytoplankton and shows the need to develop a comprehensive cultural framework when analysing this complex ecological group of organisms.

The phenomenon of stress among humans, has become a disturbing one and a source of worry and sorrow for millions of people all over the world. This, in most cases, has resulted in deaths, strokes and paralysis, and if these occur with individuals that are bread winners in families, the consequences could be devastating as members of such families who are dependent on the bread winners would be put into untold hardship which could result in further stress related problems. One important cause of this phenomenon is poor management of stress and the lack of a suitable stress management strategy. This paper examines this phenomenon and argues that the natural theorist approach could be therapeutic. The method adopted is expository and content analysis.

This paper explores education as a context for facing what Susie Orbach has termed ‘climate sorrow’ and asks: what ‘relations to the world’ are we imagining might help youth stay with difficult feelings about the future by enabling them to develop a living relationship to the more-than-human world in the present? By way of response, the paper offers a conceptual shift from ‘relations to the world’ to ‘encounters of the world’. I draw on the work of David Abram to reframe our relations as sensory encounters and on the work of Bruno Latour to reframe the world as a living multiplicity. What both authors enable is a complex understanding of the temporality of our living in and with our environment. To explore this further, I offer a reading of Olafur Eliasson's climate artwork, Ice Watch. Consisting of 24 blocks of melting glacial ice outside the Tate Modern in London, the installation holds two temporal dimensions together through the kinds of encounters it makes possible: chronological time (chronos) and living time (kairos). In the final section , I locate the time of environmental teaching at the juncture of chronos and kairos as a way of creating encounters of the world that educate about the climate emergency while also giving time for climate sorrow.

The film tells stories and theme about the suffering of others as a humanist always aim to arouse the emotions and feelings of the audiences. This Film get a lot of positive responses from various parties, especially films that emphasize the sorrow. The purpose of this paper is to analyze the narrative structure of the film Dancing In The Rain as a representation and commodification of depression for the audience. The author uses a qualitative descriptive study in which the representation and commodification of heartache in Dancing In The Rain movie is analyzed through the analysis of narrative structure according to Tzvetan Todorov, the presentation of moral values in the film, and the relation with the culture industry as a medium for image formation. How the sadness and heartache of autistic sufferers is commodified as a product that entertains and motivates the audiences. The conclusion, the reality in the film will be a learning through representation and the commodification of heartache give a description of the conditions, experiences and problems faced by the main character (autistic sufferers) struggling to faced life.

Men Improve With The Years was written by W. B. Yeats in 1916 by the time he had turned 50 years old. This paper argues that in this poem, Yeats presents his philosophical thoughts of the tragic life among human beings, highlighting that the joy in tragedy is “the way to survive” while the sorrow in tragedy is “being towards death”. Influenced by Nietzsche’s aesthetic notions of the Apollonian and Dionysian art, Yeats holds a kind of tragic aesthetic view towards death—“the unity of being” of individual life and nature, and aims to seek the joy of growing old and the freedom to create life out of life. As Apollonian dream covers the tragedy of life and Dionysian intoxication discloses it, the nameless old protagonist in the poem or Yeats himself attempts to bear the plight with stoicism and fortitude like a marble Triton so as to conquer and welcome all the sorrows in the process of aging and dying. Since men improve with the years, “being towards death” is the nature of living. Yeats hopes to achieve the aesthetic redemption from the tragic life in his early fifties, thus giving enlightenment to the predicament of human existence.

African American literature has been one of the chief purveyors of African American culture’s folklore tradition. Writers, through fiction and nonfiction accounts, keep alive the stories of such figures as Br’er Rabbit, High John the Conquerer, and John Henry. Other than these manifest folktales, there is also a canon of latent folktales that modern writers are attempting to bring back to African American consciousness. Such is the case with Toni Morrison’s Song of Solomon, a novel that shares the informative and inspirational folktale of flying Africans. This article explores the role that flying plays not only in Morrison’s novel but also its continued relevance and effectiveness for African Americans, and other oppressed communities, seeking liberation. I propose that flying is a mode of religious conversion (i.e., an act of (re-)turning) that has enabled African Americans to come in touch with supernatural resources during times of sociopolitical, communal, and personal sorrow.

This article introduces the cycle of essays of Kokhanovskaya “Trip to Volhynia” (1866–1867) published in I.S. Aksakov’s “Moscow” journal, that did not attract the attention of researches before. She made that trip to visit one of the Orthodox congregations in a village of Rovno region, where she was a “junior sister”. In her sketches the past glory of Volhynia and the state of desolation into which this land plunged during the period of Polish rule still present in the middle of the 19th century, is depicted in bright colors. In one of the essays the Belarusians of Polesie are also mentioned. For the first time the letter to M.P. Pogodin dated 1866 is published.

This study aims at describing the types of personal deixis and finding the reference of personal deixis. The object to be analyzed is personal deixis in the form of words. The data in this study was obtained from Frozen Movie Script was taken from dialogue 0:03:39.94 to dialogue 0:11:12.82. The type of the research is descriptive qualitative research. In clarifying the types of personal deixis the researcher uses pragmatics analysis especially deixis theory. Then, the technique of analyzing data are finding the types of personal deixis used in Frozen movie script, describing the reference of the use of personal deixis in movie script of Frozen, drawing the conclusion and suggestion based on the data analysis. The research finding of the study shows that there are three types of personal deixis first personal deixis, second personal deixis and third personal deixis and three kinds of the reference on Frozen Movie include that reference that refers to first person, the reference which refers to second person and the reference which refers to third person. The data of this research consists of 85 personal deixis include that 43 data type of first personal deixis, 22 data type of second personal deixis and 12 data type of third personal deixis.