Hermeneutic Interpretation of Art: Shared and Divergent Views in the Thoughof M. Hiedegger and H.-G. Gadamer

The main outcome of the media education hermeneutical analysis of the Soviet fantasy genre of the 1950s - 1960s and its American screen transformation in media studies in a university classroom is not just the audience's understanding of historical, political, social and cultural contexts and the stereotype formation mechanisms of the epoch, but also the development of the audience's perception of media culture, analytical and interpretative skills applied to media texts, critical thinking development. Keywords: Hermeneutical analysis; fantastic films; genre; media education; media literacy; media competence; universities; students; Soviet films of the 1950s-1960s; USA; USSR. Introduction. The hermeneutic analysis of cultural context stands for study of the media text interpretation process, of cultural and historical factors that may have an impact both on the media texts authors/agencies and the audience's viewpoint. The hermeneutic analysis is connected with the comprehension of a media text by matching with the cultural tradition and reality; penetration into the logic of a media text; media text analysis based on artistic images comparison in the historical and cultural contexts. The objectives of the audience's media education in this case are the following: development of the audience's media culture; their apprehension, analysis and interpretation skills applied to media texts; critical thinking. Since nearly all modern universities are equipped with networked multi-media one can make the best use of e-libraries and web-archives in media studies. Among them we can name the American non-profit Internet archive founded in San Francisco in 1996 (www.archive.org). Its aim is to provide anytime access for researchers and the public at large to various digital historic artifacts (print, visual and audiovisual texts). As the great bulk of media texts presented in the Internet Archive is open and free, it is very convenient for educational aims. We offer a study guide for using fantasy genre media texts in teaching the media. The teaching methods used at such a lesson are based on the combination of the hermeneutic analysis with the structural, narrative, ethical, ideological, iconographic/visual analyses, the analysis of media stereotypes and media texts characters. We thought it interesting to pursue the transformation of such a typical (and archival) fantastic media text as Planet of Storm produced by P. Klushantsev (1961) in the American films - Voyage to the Prehistoric Planet (1965) by C. Harrington and Voyage to the Planet of Prehistoric Women (1968) by P. Bogdanovich. The comparative analysis of these media texts will enable us to touch upon not only the socio- cultural, historical, and ideological contexts but also the urgent problem of copyright infringement and counterfeit media products.

The interpretation of art involves examining the meaning behind a work of art, which may include its historical, cultural, social, and political contexts. Similarly, the interpretation of architecture involves analyzing the meaning behind a building's design, style, and construction. The architecture was essentially practical in ancient times, offering shelter and security for individuals and communities. As cultures got more complicated, though, architecture became increasingly intricate and symbolic. Gothic architecture, for example, arose throughout the medieval period as a representation of Europe's spiritual beliefs.Architecture has evolved to reflect shifting ideals and views in the contemporary period. The Industrial Revolution resulted in the development of new materials and construction processes, which resulted in the rise of new architectural styles such as Art Nouveau and Art Deco. In architecture, the twentieth century saw a trend towards functionalism and minimalism, with architects like Le Corbusier and Mies van der Rohe arguing for a machine aesthetic. The aim of this study is to explore the interpretation of art and architecture, focusing on the subjective nature of interpretation and how it is dependent on the viewer's understanding and cultural context. The objective is to analyze examples of famous architects and buildings, such as Frank Lloyd Wright's Fallingwater, Zaha Hadid's Guangzhou Opera House, and Le Corbusier's Villa Savoye, to illustrate the different forms and styles of architecture and the various interpretations that they can elicit. By examining these examples, this study aims to provide insights into the ways in which architecture can reflect cultural, social, and political values, as well as the personal beliefs of the architect.

This article realized the Russian way of theological media education literacy and hermeneutic analysis of specific examples of Soviet anti-religious audiovisual media texts: a study of the process of interpretation of these media texts, cultural and historical factors influencing the views of the media agency / authors. The hermeneutic analysis suggests media text comprehension through comparison with historical, cultural tradition and reality; penetration of its logic; through comparison of media images in historical and cultural context by combining analysis of the structural, plot, ethical, ideological, iconographic / visual, media stereotypes and analysis of media text characters. An analysis of such audiovisual media texts, in our opinion, is particularly important for media literacy education in the training of future historians, culture, art historians, sociologists, linguists, theologians, psychologists and educators.

Hermeneutic Analysis of Cultural Context is a study of the process of interpretation of media texts, cultural and historical factors influencing the viewpoint agencies / media text and the author's point of view on the audience. Hermeneutical analysis suggests a media text comprehension through comparison with cultural tradition and reality; penetration into the logic of media texts; analysis skills through comparison of artistic images in the historical and cultural context. Thus, the system is subject to analysis media and its operation in society, human interaction, language, and media using. For the purposes of media education in this case stand out: the creation of a culture of interaction with the media, the development of the perception of different types of information, skills analysis and interpretation of media texts, the formation of critical thinking, creativity in the field of media. This article presented the main directions for Hermeneutic Analysis of Cultural Context on media literacy education classes for student audience, including the examples of creative problems and issues associated with this type of the analysis in the context of media literacy education problems, ie based on six key concepts of media literacy education: agency, category, language, technology, audience, representation. The author supposes that the Hermeneutic Analysis of Cultural Context of media texts on media literacy education classes can significantly develop media competence of students, including critical thinking.

The study presents the analysis of Hamd, a Sufi Kalaam by Allama Iqbal at two different levels: firstly, it analyses the stylistic effects through the use of various literary devices the poet has tried to create, and secondly, it investigates the perceptions of the people to evaluate how literary devices are used to influence the meaning of the text. The study also aims to understand what the writer intended to convey and what the reader understood. To achieve the set objectives, a theory proposed by Gadamer (1994), Hermeneutics, and its three tenets: i.e., hermeneutics situation, hermeneutics circle, and thirdly, the fusion of horizons, are considered the theoretical framework for this study. The findings reveal that the poet has frequently used many literary devices, i.e., imagery, repetition, hyperbole, metaphors, and personifications to create rhythm, emphasis, and convey symbolic ideas and meanings. Additionally, the perceptions of 40 people in the form of their comments on the poem are selected for the hermeneutic analysis of the fusion of horizons to point out the effect of metaphors and personification upon the listeners. However, poetic texts can elicit novel and individualized interpretations from readers as the hermeneutic process facilitates the projection of personal perspectives onto the text. In the act of interpretation, meaning becomes inherently subjective, allowing personal significance to emerge.

This article argues in favor of the idea that works of art in Early German Romanticism, as conceived of by Friedrich Schlegel and Novalis, were conceptually considered as an integrated whole, consisting of very different and diverging elements that determine each other in a dynamic process. In this respect, the aesthetic views of this literary movement can be related to some basic postulations about dynamic systems, chaos, order, and emergence. The assumptions of system theory as well as of chaos theory can lead to their application to postmodern works of art that can be described by the categories of nonlinearity, self-reflectivity, irreversibility, and self-organization. Moreover, it can be supposed that these categories apply also to Romantic works of art. The article demonstrates it through the analysis of some late narrative texts of E.T.A. Hoffmann, who could be considered a very modern or an avant la lettre postmodern author.

The art of composing: between autonomy and heteronomy

Dr. Naseer Ahmad Nasir is a well-known Pakistani philosopher, literary critic, and cultural theorist who has made significant contributions to the fields of aesthetics and literary studies. His philosophy of aesthetics is often characterized as interpretive modernism, as it focuses on the interpretation of cultural and artistic artefacts and their significance in shaping our understanding of the world. In his works, Nasir emphasizes the importance of interpretation in understanding the meaning and significance of art and culture. He argues that our understanding of the world is shaped by the way we interpret and understand cultural and artistic artefacts, and that interpretation is a dynamic process that is constantly evolving as our perspectives change. Nasir's philosophy of interpretive modernism is also informed by his interest in the role of cultural and historical context in shaping our understanding of the world. He argues that cultural and historical context play a crucial role in shaping our interpretation of cultural and artistic artefacts, and that we must take these into account in order to fully understand their meaning and significance. Additionally, Dr. Naseer Ahmad Nasir is interested in the relationship between aesthetics and ethics, and argues that art and culture can play a crucial role in shaping our ethical and moral perspectives. He believes that art and culture can provide us with new ways of thinking about the world and can challenge and inspire us to think in new and innovative ways. In conclusion, Dr. Naseer Ahmad Nasir's philosophy of interpretive modernism provides a valuable framework for understanding the role of interpretation and cultural context in shaping our understanding of art and culture. Through his works, he has contributed to the ongoing discourse on the relationship between aesthetics and ethics, and the role of art and culture in shaping our perspectives on the world.

The scientific article is devoted to the substantiation of the procedural nature of the official interpretation of legal texts. The author emphasizes that it is on the official interpretation that legally significant decisions are based, which establish the specific rights and obligations of the subjects. However, today there are no systematized methodological recommendations, requirements, officially established legal procedure and principles of interpretive activity, which could determine common standards of official interpretation. The procedure of interpretation consists in the sequence of actions of the authorized subjects within separate stages.The article formulates the author’s definition of legal interpretation procedure as a system of successive legally significant actions of authorized entities, which are aimed at clarifying, constructing and explaining to other legal entities the meaning and scope of legal norms formulated in legal texts. Taking into account the latest methodological approaches to interpretation and the requirements of the rule of law,the author reveals the content of legal interpretation, which consists of separate stages, which in turn include a number of successive procedures. In particular, the stage of clarifying the content of the legal text involves the following procedures: initial study of the legal text and the form of its consolidation in the provisions of the legal act, comprehensive analysis of the legal text, analysis of the received interpretation in terms of justice, human rights, rule of law, design normative rule. The explanation, according to the author, includes the following procedures: preparation of a draft interpretative act, namely a legal document that contains an explanation of the content and application of the legal norm, formulated by the authorized body within its competence; adoption of a legal interpretation act, making it universally binding for all those who apply the clarified rules of law; promulgation of an interpretative act, namely, bringing its content to the attention of society or law enforcement agencies; control over the use of the act of interpretation of the law by the subjects of its application; generalization of legal interpretative acts in order to systematize them. Given the importance of official interpretation of legal texts, the feasibility of determining at least the general principles of legal interpretation at the regulatory level is considered. Keywords: interpretation of law, official interpretation, legal procedure, legal interpretation activity.

This study examines the transformation of self-image and hetero-image in literature and its intermedia adaptations, analyzing the impact that historical context, ideological objectives, and approach to reading have on the imagining of the “Other.” Drawing on the theoretical contributions of Jean-Marie Carré, Hugo Dyserinck, and Joep Leerssen, as well as methods of comparative and intermedia analysis, the study investigates how these imaginings change over time and space, particularly in the context of Ismail Kadare’s works and their adaptations for stage and screen. The hypothesis of this paper is that the conception of the “Other” in three dimensions – as a construct of the author, the characters, and the reader/adapter – is a non-linear process, shaped by historical realities, ideological discourse, and interpretive approach (be it author-centered, text-centered, or reader-centered). The research question guiding this analysis is: How do conceptions of the “Other” differ at the levels of the author, characters, and reader/adapter, depending on historical and cultural contexts, and how is this dynamic reflected in the construction of identity and alterity in literary discourse and its adapted variants? In conclusion, the study concludes that the image of the “Other” is not an immutable construct, but a transformable category that changes depending on historical contexts, ideological objectives and the reading approach that is given to the original text during the process of interpretation or adaptation. The analysis of stage and film adaptations of literary works supports this hypothesis, showing that the figure of the “Other” is reconfigured not simply because of the medium, but in accordance with the goals and vision of the adaptor. Imagology, in this sense, serves as a valuable theoretical framework to investigate the permanent changes in the perception of the “Other” in different cultural and discursive contexts.

The reliable reconstruction of the historical cultural past and the search for sources for such reconstructions remains important methodological task. This task becomes even more complex, if we deal with the reconstruction of the special spheres of human activity, such as Medicine. Culture science, historical psychology, cultural anthropology pay more and more attention to the analysis of complementary discourse. The author considers that the literary and art texts can prove to be incomparable sources on the value of information. When we study texts on the History of Medicine replacement of historical and cultural context by clinical one inevitably occur. Researcher moves from the field of culture into the space of the professional constructions, which reduce our thoughts about the investigated object. Thus medicine is to be considered not as the separate element of culture, taken out from the context, but as complex cultural configuration. During the late 30–40 years History of Medicine noticeably changed, it left beyond the framework of narrow medical themes and recognized historical and cultural contexts as really actual. The authentic narrations describe actions of concrete persons, and acts themselves cannot be separated from the cultural environment. Many themes of the History of Medicine become clear for us in their literary and artistic reflection and in correlation with the cultural experience. A. Chekhov, L. Tolstoy, M. Bulgakov are authors, for whom medical questions existed in the historical cultural and moral-philosophical context. The hermeneutic method of the considerate of the texts through comments and criticism can be described as the method, close to phenomenological description. Article demonstrates an ability of art text to penetrate directly to the cultural context of epoch. In the center of attention is the novel of Maupassant “Mont-Oriole” and the reconstructions, which can be made on the basis of the text analysis. In the novel in detail the picture of treatment on the waters is restored, that proved by the numerous revealed in the novel topics: the popular methods of treatment; the relation between the doctors and the patients; the types of doctors, medical ethics; fashion in medicine, the current theories of the origin of diseases; the methods of observation and inspection of patients; the role of advertisement in the popularization of health resorts, the first training equipment. The general conclusion that text analysis can be represented as a method of detecting of the general historical cultural component in the vital space of individual is made.

Several critical theories have emerged throughout the history of literary criticism, evolving with the different stages and eras in which they developed. One such theory, reception theory, originated in response to the critiques of Russian constructivists and formalists. Established in the early 1970s by Hans-Robert Jauss and Wolfgang Iser, this theory emerged under particular circumstances in Germany and marked a significant shift in literary criticism by placing a strong emphasis on the role of the reader. The founders introduced numerous concepts and principles for analyzing literary texts, one of the foundational principles being the "horizon of expectations" put forward by Hans-Robert Jauss. This research focuses on analyzing the poem Sweetheart by (Hazervan Abdullah) through the lens of Jauss "horizon of expectations." It examines how the poem’s textual horizons influence and shape the reader’s reception, as well as how new horizons emerge during the act of interpretation. A literary text, particularly a new one, contains limitless horizons, offering diverse possibilities and perspectives to the reader. The significance of this research lies in its innovative approach, particularly in exploring the concept of "expectation" as a key principle in reception theory for analyzing intellectual poetry. In the poem Sweetheart, the poet employs numerous linguistic, structural, and artistic deviations, using them to disrupt the reader’s preconceived horizons, creating a sense of shock and transformation. These deviations allow the poet to exceed the reader's expectations, prompting spontaneity, reflection, and change. As a result, the reader is not confined by the text or passively absorbed in it, but instead becomes an active participant in the reading process—deductive, productive, and driven to uncover alternative meanings within the text.

This chapter offers some generalizations regarding the place of autobiography and Bildungsroman in African literature. Although there appears to be a radical opposition between the “factual” autobiography and the “fictive” Bildungsroman , there are considerable correspondences and convergences, at least in the African context, between the two in terms of context, content, and form. An autobiography refers to an account, typically in the first person, retrospectively documenting the life of a real person who serves as both narrator and protagonist. The term Bildungsroman refers to a so-called “novel of formation,” that is, a fictional account tracing, usually in the third person, the spiritual, moral, psychological, or social growth of a fictional protagonist, typically from childhood to maturity. For all their normative insistence on literal truthfulness, autobiographies are carefully constructed esthetic objects. As Philippe Lejeune succinctly observes, “the paradox of the literary autobiography, its essential double game, is to pretend to be at the same time a truthful discourse and a work of art.” Under the guise of merely reproducing the story of a real-life character, the genre relies on a complex (and not always self-conscious) interplay among remembering, forgetting, revising, inventing, selecting, and arranging events. At the same time, even though the Bildungsroman – like any other work of art – normatively eschews literal truth claims, it nevertheless makes, under the guise of fiction, large truth claims about specific historical, political, and cultural contexts.

The article is devoted to the problems of theory and practice of philological text analysis in secondary schools. Despite the fact that the text belongs to the actively studied area of linguodidactics, the relevance of finding optimal forms of work on its analysis is not decreasing, but, on the contrary, taking into account the requirements of the new Federal State Educational Standards and modern realities, it is increasing. The author’s attention is focused on the reception of B. Pilnyak’s novel «The Volga flows into the Caspian Sea» as a text of culture. The author explores the ways of representing the cultural and historical context in the work, revealing its extralinguistic foundations. Considering the multidimensionality of approaches to the analysis of a literary text, we focus on the study of its connection with culture. Thus, the purpose of the article is to organize work on the formation of the skills of extralinguistic analysis of a literary text in high school students. The effectiveness and expediency of the proposed work lies in the organic combination of traditional methods of analysis and methods of modern pedagogical technologies. The subject of the study is B. Pilnyak’s novel «The Volga flows into the Caspian Sea». The analysis carried out is based on linguo-stylistic and comparative methods, as well as methods of citing and holistic analysis of a literary work. As a result of the study, an algorithm for extralinguistic analysis of B. Pilnyak’s novel was developed from the standpoint of its inclusion in the historical and cultural context of the era of the 1920s, which can be successfully applied to the analysis of other literary texts. The proposed format of work contributes to the development of subject and meta-subject results of students, the formation of research skills, the skills of individual, pair and group work, the development of communicative and linguistic competencies

Reviewed by: Euripides: Trojan Women Simon Perris Barbara Goff . Euripides: Trojan Women. Duckworth Companions to Greek and Roman Tragedy. London: Duckworth, 2009. Pp. 173. $24.00. With the Companions to Greek and Roman Tragedy, Duckworth has effectively cornered the market on what is presumably a popular commodity: introductions to individual Greek and Roman tragedies, written for nonspecialists. Not that this monopoly enforces any strict uniformity, for the Duckworth Companions are a mixed bag, and in the best possible sense. (For a review of the series, see JHS [End Page 231] 128 [2008], 192-93.) It is, of course, fair to say that certain features—common to Goff's Trojan Women volume as to the rest of the series—render them essential reading for comparativists. Firstly, all Greek is transliterated; Greek and Latin terms are translated, with glossaries included also. Secondly, trends in scholarship are outlined. Nor is detailed knowledge of ancient theatrical practice assumed, although some (such as Hanna Roisman's exemplary Philoctetes volume) explain more than others. Thirdly, historical and cultural contexts are detailed clearly. Finally, and this is perhaps of most import for readers of Comparative Drama, each includes an account of noteworthy productions and adaptations. Within these parameters, then, Goff does not so much introduce a new reading of Trojan Women as model a new way of reading Trojan Women, combining historicism and close reading with, crucially, a major emphasis on Rezeptionsgeshichte. "My strategy will be to set the play in its historical and cultural context, before proceeding to a close reading that allows a full appreciation of its dramatic development, and finally to an account of twentieth-century receptions" (10-11). I have no qualms with such a strategy per se. It mirrors precisely the fourfold aim of the series itself, viz., to cover themes, historical context, critical history, and reception history. I do, however, question the manner in which this schema is deployed. Note the relative weighting of material: "Twentieth-Century Receptions" spans fifty-eight pages, "Contexts" thirty-five, and "The Play" a mere forty-two. On the one hand, I endorse the use of reception history (à la Jauss) to illuminate classical literature, and I subscribe to the notion that any reading of classical literature is conditioned by reception (à la Charles Martindale). On the other, Goff neither explains quite why twentieth-century receptions merit more discussion than the play itself, nor establishes a clear enough link between these sections, in my opinion. Ultimately, she gives comparatively short shrift to her own enlightening analysis of the Euripidean text. What discussion there is of Trojan Women is uniformly excellent, and the first section ("Contexts," 9-35) does a particularly good job of introducing the necessary historical and critical contexts in which to embark on close reading. Goff first discusses possible modern perspectives on the text (9-16): Trojan Women as static, anti-theatrical non-tragedy; Trojan Women as popular, often-performed theatrical work; feminism and "women's voices"; the dialectic of victory and defeat, guilt and innocence; and audience response. These notions recur throughout, and could have constituted a helpful frame of reference for the book as a whole. An outline of the situation in Athens in 415 BCE follows: Athens and Sparta under the extreme pressure of war; Athenian mature radical democracy; sophistic interest in rhetoric and the power of speech. Goff next discusses tragedy in 415 BCE, making a pointed connection between later Euripides and the later Athenian empire. Trojan Women is to be considered mature, radical, and extreme theater, [End Page 232] in which Euripides eschews the spectacular stage effects commonplace by this time: multiple entrances and exits involving the three speaking parts, elaborate scene-painting, the crane (mêchanê), the wheeled platform (ekkuklêma), and the deus ex machina. "Its poverty of device is like the destitution of the women themselves, throwing the play on the resources of the actors in the rhythms of song, speech, and orchestrated action" (23). Finally, Goff provides a thoughtful discussion of the "Melos interpretation" (27-35): the claim that Trojan Women in some way expresses Euripides' feelings after the Athenians conquered Melos and killed all the adult male inhabitants. Goff navigates this unavoidable controversy with aplomb, offering...