Dark Empathy: Algernon Blackwood and the Aesthetics of Rapture

В статье рассматривается понятие «зоны обмена», разработанное для анализа междисциплинарной коммуникации, разбирается его сущность и значение для онтологии события (на примере онтологии Ж. Делеза). Данный анализ оказывается необходимым, поскольку в имеющейся литературе по данной проблеме (Галисон, Коллинз, Эванс, Горман и др.) к предмету «зоны обмена» подходят либо с точки зрения “case studies” (в рамках предмета истории науки), либо активно применяют к междисциплинарной коммуникации, когда парадигмы, в которых работают исследователи, трудно совместимы, а какое‑либо взаимодействие тем не менее происходит. В настоящей статье мы пробуем рассмотреть онтологию зон обмена, выделить и обозначить имеющиеся философские основания данного понятия, имеющиеся в литературе типологии зон обмена и, таким образом, раскрыть вопрос о сущности зон обмена и разобрать механизм их возникновения, развития, исчезновения. Рассматривая вопрос о сущности зон обмена, авторы обращаются к определению Коллинза, Эванса, Гормана и к идее Колинза рассмотреть зону обмена как форму жизни. В статье разбирается определение формы жизни по Витгенштейну и рассматривается возможность его использования для зон обмена, для чего разбираются типологии зон обмена и анализируются позиции гомогенность – гетерогенность (стремление к объединению в одну форму жизни – сохранение разъединенных форм жизни), наличие – отсутствие принуждения к взаимодействию. Далее авторы обращаются к анализу события как точки, обозначающей невозможность «быть так, как ранее», и зоны обмена, формирующей невозможный «обмен» нескольких несовместимых, но в рамках нее начавших взаимодействовать парадигм (посредством языка или общих используемых материальных предметов). Здесь авторы обращаются к акторно‑сетевой теории Латура, уделяющей внимание не только деятельности ученых, но и объектам, инструментам и проч. В конце статьи делаются выводы о сущности зон обмена, о значении различия для их существования. the article highlights the issue of “trading zones”, the term created for analysis of interdisciplinary communication, its essence and meaning for ontology of event (on the basis of Deleuze ontology). This analysis becomes crucial due to the fact that in existing literature on the issue (studies of Galison, Colins, Evans, Gorman and etc.) “trading zones” are in use in “case studies” (in frameworks of history of science subject) or in studies of interdisciplinary communication in a case when paradigms in which researchers work hardly connect to each other, but exchange somehow happens. In given paper we try to look through ontology of trading zones, emphasize philosophical foundations of the term, existing in the literature on subject typologies of trading zones and thus uncover the essence of trading zones and analyze the mechanism of its appearance, development, extinction. Studying the issue of the sense of trading zones authors turns to definitions of Colins, Evans, Gorman and to the idea of Colins to view trading zone as a form of life. The article looks through the Wittgenstein’s idea about forms of life and the possibility of its use in studies of trading zones is taken into consideration, therefore typology of trading zones are studied and positions analyzed such as homogeneity‑heterogeneity (tendency to merge in one form of life – conservation of different forms of life), existence‑non existence of enforcement to interaction. Then authors turns to studying the event as a point which marks the impossibility to “be the same as earlier” and trading zone which forms impossible “trade” (exchange) between several incompatible, but in the frameworks of trading zone started to interact paradigms (with the help of language of mutually used material objects). Here the authors analyses the possibility of using the model of Latur, putting emphasis on not only actions of researchers but also on objects, materials, instruments, etc. Finally the authors sum up ideas about essence of trading zones and the importance of differences for their operation.

Collins discusses the concept of alternation. He explains that he learned of it from Peter Berger’s book Invitation to Sociology (1963). The idea of alternation also fits in with Wittgenstein’s notion of “forms of life” – alternation is switching between forms of life. There are many related concepts such as Schutz’s “taken-for-granted reality”, Durkheim’s “social collectivity”, Flecks “thought collective” and Kuhn’s “paradigms.” These concepts allow us to see individuals as constituted by the forms of life in which they participate. Forms of life can be big or small and are embedded within each other after the fashion of a fractal. They can also overlap in multi-dimensional ways. Collins argues that forms of life are sometimes incommensurable and sometimes not, with Kuhn’s notion of “incommensurability” being a better way of thinking about these relationships than Berger’s “logical incompatibility” Using the example of his many case studies and different ways of handling them, Collins shows that social analyses of science based on forms of life can be of many different types. Crucially, where forms of life in science are incommensurable, their investigation, at least in Western societies, takes place within a higher level shared culture with academic culture encouraging cooperation.

As a criticism of certain forms of life, the standpoint of everyday life in the context of a postmodern society points to the relationship of an individual with the mechanisms of the global market, the state and new information-communication technologies. It is the time of the Internet and social networks in which the terms of 'convergence', 'interactivity', 'global connectivity' are encountered. If the connection between the development of the media and communication in sports in the age of civilization is placed at the center of the reconsideration of the influence of media sphere on changes in daily life of people and their creativity as well as changes in the aesthetic being, then one should start from seeing the benefits that the audience receive by watching sports spectacles. Since sport is an integral part of people's everyday activities, it has long become addicted to the media (and vice versa) and should be seen as their product omnipresent in mass media communication. The purpose of this paper is to contribute to the revitalization of interest in theoretical thinking and practical research of everyday life in the field of social experience that began in the 1970s; to point out the connection between the world of the media spectacle and the everyday life of mass audience; to indicate, in the case of sports as the most popular and most productive media event, how the audience, in their everyday interaction with mass media, accepts modern lifestyles, uses new technologies and identifies itself with sports idols. From the perspective of technology of sport spectacle broadcasting, the television transmission of 2018 FIFA World Cup was analyzed.

Experience and the Ultimacy of God: In Memoriam John Edwin Smith

The study of pragmatic deixis is crucial in discourse analysis, as it contextualizes speech in relation to the speaker, place, time, and social context. These features are particularly significant in short stories, where the narrative relies on the proper use of deictic markers. Understanding pragmatic deixis requires familiarity with the grammatical structure of the language and the relationship between text and context, including elements like time, place, and shared knowledge between the speaker and listener. These factors contribute to conveying the intended meaning and purpose in discourse. Pragmatic deixis links the speaker’s language to the surrounding context, making it an essential part of pragmatic analysis, especially in literary works like short stories. This study, titled “Pragmatic Deixis in Kurdish Short Stories,” focuses on the book "Xewin jî qedegene" as a case study. The research explores the frequent use of deictic markers, which often appear in literary texts, especially short stories. Due to time constraints and the limited scope of the research, it is not possible to analyze every instance of deixis. Therefore, the study concentrates on two short stories, "Eve kiça mine" and "Mudirê nû," to demonstrate how pragmatic deixis functions in these narratives. The research consists of an introduction, two main chapters, and a conclusion. Chapter One contains two sections: the first addresses the theoretical framework, explaining pragmatic deixis, its concept, and its various types. The second section explores the structure of the short story, including its title, introduction, and content. Chapter Two analyzes the use of pragmatic deixis in the selected short stories, providing insights into how these linguistic markers are employed effectively. Keywords: Pragmatic deixis, speech deixis, sections of speech deixis, deictic expressions, short story.

This research is intended to find out the types of code switching that is used in short stories and to describe the reasons why a writer does code switching in her short stories. It is a case study involving a writer of short story. Three short stories as document analysis and interview served as the data collection method. The result of this research indicated that the intra-sentential type of code switching occurs mostly in her short stories, followed by inter-sentential code switching. In addition, the reasons why code switching occurs are firstly, that certain notions or concepts are simply better expressed in the other language; secondly, code switching is used as a communicative or social strategy to show speaker involvement, mark group identity, exclude someone, raise one’s status, show expertise, and so on; thirdly, it is used to refill a linguistic need for a word or an expression; and finally, the last reason is to strengthen command. Keywords: Code switching, short stories

The Animal Anthropology of Linda Schele’s Spirits Matthew C. Watson (bio) For Linda A wide range of current scholarship challenges the prioritization of life, or bios, as a central political and epistemic category. The trend in ethnography has been to challenge this prioritization from the inside by extending forms of representation previously reserved for human subjects to other living beings. While such efforts in the anthropology of life and multispecies ethnography shift the field toward a more open ontology and a more ambitious empiricism, they also risk substituting biocentrism for anthropocentrism, thus reifying “life” in the effort to undo it. Here I address this problem by integrating experimental ethnographic writing on the late artist and Mayanist Linda Schele with a sympathetic critique of contemporary cultural anthropologists’ efforts to extend the field’s subject or object of knowledge beyond the human. I explore animal art in the margins of Schele’s letters and narrate the conditions and consequences of my ethnographic encounter with Schele’s husband. Drawing on both “Western” and “Maya” cosmologies, I trace her rich engagements with other beings (including Maya hieroglyphs, animal spirit companions, ancient Maya scribes, and her scholarly collaborators). I follow as Schele walks edges that demarcate life and death, present and past, human and animal, writing and art, scholar and amateur, science and religion, and rationality and irrationality. The essay ultimately seeks to host and model an experimental and affirmative ethnographic conjuring of former life forms such as Schele, engaged as beings and traces suspended in and constantly reconstituting webs of significance and forms of (non)life. [End Page 125] SPINNING LIFE Life oozes. Life oozes off tongues and fingertips, sticking to screens that feed us. Life itself. We eat it up.1 We anthropologists have long obsessed with the human as a form of life. In 1851 Robert Gordon Latham carved out a chasm between history and anthropology, those two means of studying “Man.” The inheritors of Herodotus were to study “Man’s Civil history” (4). The rest of us were charged with the rather impure science of “Man’s Natural history,” or, “the study of Man as an animal” (5). Latham’s anthropology was the branch of zoology that treated the specificities of Man the species. He put it this way: “Anthropology deals with Man as compared with the lower animals” (5). Latham had much to offer the few, curious higher-animal specimens of the Victorian era who sought self-knowledge on pan-specific scale. But his transspecific comparative impulse, his considerations of Man vis-à-vis monkey, apparently discomforted readers in the age of the penny press: “Anthropology deals too much with such matters as these to be popular. Unless the subject be handled with excessive delicacy, there is something revolting to fastidious minds in the cool contemplation of the differentiæ of the Zoologist ‘Who shows a Newton as he shows an ape’” (6).2 But despite the pathology of our revolting fastidiousness—that is, our evolving empiricism—anthropology has not yet succumbed to selective pressures leading to extinction. We live on despite the best efforts of predatory politicians and university administrators wreaking environmental havoc on the habitats of the liberal arts and sciences. Specters of Scopes? Through such trials of strength, anthropology’s life endures. As does its fascination with life, with Man as a form of life, and an animal form at that. In his oft-repeated definition of culture, Clifford Geertz pegged Man as an animal before declaring his unique entanglement in those confounding “webs of significance.” While, for this reader at least, the cadence of Geertz’s phrasing retains allure, his metaphor proves odd, even a bit clumsy: “Man is an animal suspended in webs of significance he himself has spun. I take culture to be those webs” (1973, 5). [End Page 126] Consider the trope for a moment. The sovereign signifier’s a venomous, predatory arachnid.3 Geertz’s Man is an arthropod.4 Well, that, or a mythic monster, a chimerical hybrid. Are we spiders? Spider-Men? Spiders spin threads of silk from abdominal glands, composing webs that their arachnologist companions divide into different architectural types (e.g., Blackledge et al.). There are two-dimensional orb...

This paper addresses the issue of musician’s character in the short stoires by Kazuo Ishiguor, a well-known British writer, and their translations into Ukrainian. The paper aims to define author-specific cognitive and stylistic features of construing the character of musician by depicting his verbal portrait, interpreting his behaviour, emotions, and actions through the lens of human personality. The analysis resulted in singling out and systematising a set of key concepts and conceptual metaphors, pertaining to the characters of musicians in Ishiguro’s five short stories included in “Nocturnes: Five Stories of Music and Nightfall”. Among these concepts are LIFE, LOVE, FRIENDSHIP, MARRIAGE, MUSIC, SUCCESS, CAREER, etc. Within the range of conceptual metaphors that find their manifestation in the texts under analysis prevail those, which are associated with various facets of life, love, and music. As a result, several kinds of conceptual metaphors were identified: global, e.g., LIFE IS MUSIC, conventionally used (local), e.g., MUSIC IS INSPIRATION, paradoxical, e.g., LOVE IS А FAREWELL, mirror-like, e.g., LIFE IS MUSIC– MUSIC IS LIFE, and the author’s (idiosyncrаtic) ones, e.g., MUSIC IS A NIGHTFALL. Though recreating literary characters by other languages should embrace all textual levels, the translation of musicians’ verbal portraits in the Ukrainian version of Ishiguro’s short stories under study is mostly affected by their syntax. The choice of syntactical constructions is to a great extent determined by the personages’ professional sphere as part of respective cultural context. Thus, with regards to musicians’ characters the stories under translation abound in grammatical transformations − transpositions: (і) word transposition; (іі) transposition of phrases and word-combinations; and (ііі) transposition of elements within a complex sentence − and substitutions. Кeywords: character of musician; conceptual metaphor; literary translation; verbal portrait; grammatical transformations.

<i>The Green Depression: American Ecoliterature in the 1930s and 1940s</i> by Matthew M. Lambert

This thesis considers the novel and the short story in the decades following the achievement of Irish independence from Britain in 1922. During these years, many Irish practitioners of the short story achieved both national and international acclaim, such that 'the Irish Short Story' was recognised as virtually a discrete genre. Writers and critics debated why Irish fiction-writers could have such success in the short story, but not similar success with their novels. Henry James had noticed a similar situation in the United |States of America in the early nineteenth century. James decided the problem was that America's society was still forming - that the society was too 'thin' to support successful novel-writing. Irish writers and critics applied his arguments to the newly-independent Ireland, concluding that Irish society was indeed the explanation. Irish society was depicted as so unstructured and fragmented that it was inimical to the novel but nurtured the short story. Ireland was described variously: broken and insecure (Colm Toibin), often bigoted, cowardly, philistine and spiritually crippled (John McGahern) and marked by inward-looking stagnation (Dermot Bolger). This study examines the validity of these assertions about Irish society, considering whether day-to-day life in Ireland was so exceptionally different to other contemporary states where the novel did prosper. The conclusion from the evidence is that Ireland was different but not unique. One chapter examines literacy and the reading traditions in Ireland, and it is clear that there was a skilled audience for the novels and an effective book trade. The novel in Ireland is discussed and three case studies (Elizabeth Bowen, Kate O'Brien and Liam O'Flaherty) are discussed. The study concludes with the confirmation, through two case studies (Sean O'Faolain and Frank O'Connor), that the short story continued to be widely acclaimed and widely practised by many Irish writers. The conclusion reached is that Irish society was not as popularly depicted nor was it exceptional. It was a matter of writers' talents not society's failings.

Martha Gellhorn’s career as a foreign correspondent was defined by a commitment to reporting the effects of total war on everyday people. This article traces the feminist and political ramifications of Gellhorn’s human interest perspective in her fictional writing, particularly her novel about Czechoslovakia, A Stricken Field (1940), and her short story about Corsica, “Luigi’s House” (1941). Gellhorn’s mid-century modernist writing unites a tradition of aesthetic experimentation with concerns about the state of democracy, the positioning of nationality, and the resulting crises of human rights and citizenship. Within the specific historical context of the mid-century period when the divide between home front and warfront ceased to exist and the connection between home and nation was ruptured, Gellhorn raises the private space of the home to the level of public, political importance where the most basic human rights are defended and safeguarded. By reading A Stricken Field and “Luigi’s House” through the combined lens of refugee studies and feminist approaches to domesticity, this article investigates how Gellhorn reconfigures the home as a radical site of resistance, examines the role of women in community and national belonging, and critiques democratic nations like the United States and Britain for their own histories of isolationism and occupation.

Explores the relationship between magazine culture and the development of the modern short story form in Britain Foregrounds the role of magazine culture in the development of the modern short story form Analyses a wide range of publications, from standard illustrated popular magazines to avant-garde little magazines Sheds new light on well-known publications and examines others that are as yet obscure or understudied Explores the impact of social and publishing networks on the production, dissemination and reception of short stories Helps recover neglected writers/editors and cast new light on more canonical ones This collection of original essays highlights the intertwined fates of the modern short story and periodical culture in the period 1880–1950, the heyday of magazine short fiction in Britain. Through case studies that focus on particular magazines, short stories and authors, chapters investigate the presence, status and functioning of short stories within a variety of periodical publications – highbrow and popular, mainstream and specialised, middlebrow and avant-garde. Examining the impact of social and publishing networks on the production, dissemination and reception of short stories, it foregrounds the ways in which magazines and periodicals shaped conversations about the short story form and prompted or provoked writers into developing the genre.

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The Convergence Potentials of Collaboration & Adaptation: A Case Study in Progress

The short story is commonly – and very productively – treated in the spirit of critical terms such as marginality and liminality. Quite surprisingly, though, New Weird Fiction, which postulates similar interests in, e.g., formal and aesthetic innovation as well as literary ambition, is primarily associated with the novel. The underlying lack of interest in the New Weird Short Story in both popular culture and academic work is scrutinised in this article. In a first step, it will survey the short story as a liminal form, both formally and aesthetically, and contextualize it by drawing upon the state of the literary market in the twenty-first century. The contribution’s main argument is that the short story has always either been considered to be too ‘popular’ or too ‘literary’ in order to contest the novel as the prevalent literary form. Step two will perform a similar move regarding Weird Fiction, thus highlighting the parallels between the short and the Weird, and the need for more academic attention dedicated to the New Weird short story.