Opposite Concepts Research Articles

The Effect of Game Technique on Learning Concepts in Preschool Period

In this study, preschool students' Mathematics. The effect of the game technique on learning some selected concepts in the field of science and Turkish-language was investigated. Numbers up to 20 are considered in the field of mathematics. Sense organs in the field of science and 10 antonyms in the field of Turkish language have been determined. The learning speeds of the students' concepts were compared by constructing traditional techniques and educational games. As a method, qualitative and quantitative methods were used Students were asked to complete worksheets containing numbers, sensory organ pictures and opposite concepts before the traditional method of mathematics on paper. Ziya Gökalp Primary School Kindergarten A branch students were chosen as the sample. Afterwards, educational game cards were constructed and card matching games expressing the concept and meaning were prepared. As a result of the applications, it was observed that the number of students who learned the determined concepts after using the game technique was higher. Keywords: Game technique, Preschool, Learning, Reinforcement, Concepts DOI: 10.7176/JEP/14-3-02 Publication date: January 31 st 2023

Rusija i Zapad kao konceptualna opozicija u smislu ruskog mentaliteta

The conceptual framework for the discussion the paper introduces is the idea of Russian messianism, which appeared in each period of Russian history, as well as the following characteristic of Russian mentality: the concepts and ideas, which appeared within the domains of social and legal in the West, were interpreted in spiritual and moral context in Russia. The paper traces the development of two aspects of how the conceptual opposition of Russia to the "collective West" was formed. The first aspect is connected with the cultural opposition of Russia to the Western countries in terms of spiritual heredity of the West. The aspect concerns the conceptualization of "the West" as an embodiment of a competitor of Russia in the modifications of the "big project".

Цинизм как базовая ценность современного англоязычного комического дискурса

The work is aimed at identifying and analyzing the main humorous characteristics of the axiological concept of cynicism. The relevance of the study is predetermined by the fact that cynicism is considered to be an important value of humorous discourse. This work develops an axiological approach for studying humor which consists of defining the reaction of the audience to cynicism (humorous or non-humorous, positive or negative), distinguishing value features of the axiological concept of cynicism (based on literature on cynicism, definitions in dictionaries, and analysis of data.), analyzing the language means used to express the axiological concept of cynicism, determining the conceptual opposition of the axiological concept of cynicism in a particular context, determining the archetype of the corresponding character to assess the level of possible empathy of the audience for a humorous object. The data analyzed in this article comprise recordings and scripts of more than 70 stand-up specials which are more than 4500 minutes long and more than 500 episodes of various sitcoms which are more than 12,500 minutes long. The research showed that in many cases manifestation of cynicism was accompanied by laughter and moderate applauding while in most cases cynicism caused only laughter. Cynicism is aimed at ridiculing such anti-values as insincerity, shame, stupidity, lust. The main cognitive features of the axiological concept of cynicism within the framework of humorous discourse include honesty and rudeness. In its extreme form (dark humor), cynicism can be considered as a significant lack of humanity. The research also found that the axiological concept of cynicism within the framework of humorous discourse is actualized through insulting people, describing taboo processes and violating the norms and principles of social interaction. Insulting is carried out through a humiliating assessment of actions or states of a person, a true designation of a person and a response to socially disapproved behavior. The main taboo topics are masturbation, deurination, flatulence, death, and declaring sexual intention. The main cases of violating norms and principles of social interaction include deviation from standard patterns of behavior and ridiculing cliched statements. The axiological concept of cynicism is usually expressed through obscene words, insulting words, verbs denoting corresponding processes, new metaphors, similes, irony, etc. Moreover, in modern English sitcoms some of main characters behave cynically.

Небесный ангел Михаила Лермонтова (Духовный опыт как творческая категория)

The article is devoted to a comprehensive examination of the religious and moral origins of M. Yu. Lermontov’s creative work. The poetic movement of the great artist can be imagined as the realization and expression of a unique spiritual experience associated with the only in Russian literature in terms of its intensity experience of the Christian thought about the lost heavenly bliss, the ways to find it or the eternal loss in a person’s earthly life. Within this framework the poem “Angel” becomes a kind of “program” that covers the work of Lermontov in all his spiritual range. The article analyzes the ways of returning to the lost harmony with the Creator sung by Lermontov — the heroic service of Heavenly truth (“Borodino,” “Song about Tsar Ivan Vasilyevich…”), the feat of maternal love (“Cossack lullaby”), as well as the poet’s catastrophic experiences of human Godforsakenness (“Meditation,” “Both boring and sad,” “Gratitude”). The novel “A Hero of Our Time” is studied in terms of of the conceptual opposition “boring — fun.” Much attention is given to an attempt to determine the true hierarchy of light and darkness, delight and obscurity in Lermontov’s work, where the height of the spiritual ideal and the perfection of poetic speech ultimately transform the “Pechorinsky” meanings and moods.

경관·예술·관광의 상호관계를 통해 본 문화·자연유산의 탈경계성

This paper traces the process of the heritagization of the landscape of Fontainebleau Forest in France, while trying to understand interrelationship between landscape and tourism as heritage through historical approach on representation of a place. The artistic and aesthetic landscape of the Fontainebleau Forest was represented as a work of art through the gaze of the 19th century painters. Through the activities of these artists, who were also visitors, the forest became an artistic conservation area and a beloved place for Parisians, and the landscape gradually began to be protected as an institutionalized heritage. On one hand, tourism could be seen as an opposite concept to forest conservation, but on the other hand, the aesthetic and historical value of the landscape has been developed together as a tourism component. Local governments and actors are trying to preserve the landscape and the identity of place through the development and promotion of artistic visits, following the footsteps of painters. In the ever-expanding concept of heritage, this case study shows the necessity of an integrated approach to understanding the interaction between cultural and natural heritage, and the possibility of developing organically in relation to landscape and art rather than a separated policy.

Jak zwracamy się do osób nieznajomych? Granica między swoim a obcym we współczesnej polszczyźnie

The subject of this article is the manner of addressing strangers in Polish. In order to verify the current use of the language in this regard, two research methods were used: a survey method and an analysis of comments on a website aimed at the business community. As the respondents of the survey indicated, the contemporary Polish language speakers recognise the importance of the traditional border of officiality when choosing the appropriate forms of address. However, a problem in communication arises when the conceptual opposition of the official / unofficial intersects with the opposition of ours / others. This problem is sometimes observed in a business conversation, in which a recruiter addresses a job candidate using Polish ty form from the first contact and treats them as a person on the “our” side. The analysis of the comments from the internet showed that the relationship between the recruiter and the candidate basically remains between strangers and it is better to avoid the use of unofficial forms, especially those which use the addressee's first name.

GENERAL REGULARITIES OF LINGUO-COGNITIVE REPRESENTATION OF CONCEPTUAL OPPOSITION (ASPECT: CREATION- DESTRUCTION)

The article is devoted to the integrated characteristic of the conceptual opposition presented on the basis of the analysis of oppositional concepts in the consideration aspect of the opposition paradigm Creation – Destruction in the political and media discourse. The purpose of the study is to substantiate the implementation specifics of conceptual opposition within the framework of the presented dichotomy in the Russian and Anglo-American language spaces. The scientific novelty of the study lies in the author’s proposed dichotomous model Creation – Destruction compared with the classical dyad “Us – Them”.
 Materials and methods. The materials of the study were fragments of speeches by the top leadership of the Russian Federation, analytical comments and publications by representatives of the Russian and foreign media Internet space, statements by experts of the political programs on Channel One and Russia-1 TV channels in 2022. When writing the article, the following methods were used: conceptual analysis, undertaken on the basis of comparative characteristics of the nominees of the concepts under study, contextual analysis, including lexico-semantic analysis of definitions fixed in Russian and English lexicographic sources.
 Results. A structured organization of conceptual opposition was revealed, the levels of realization of opposition were presented, as well as the distinctive-feature classification of opposition subjects Creation – Destruction on the example of the model Us – Them. According to the author the analysis of the conceptual opposition of the concepts studied on the basis of the dichotomy Creation – Destruction makes it possible to conclude its semantic similarity with the dichotomy Us – Them.

PECULIARITIES OF THE CONCEPTUAL OPPOSITION REALIZATION OF THE CONCEPT “VALUES” (ON THE EXAMPLE OF THE DICHOTOMY “US” / “THEM”)

The article is devoted to the specifics of the linquocognitive representation of the concept “VALUES” in Russian and English linguocultures. The purpose of the study is to reveal the special aspects of the conceptual opposition of the concept under study implemented on the ground of the basic dichotomy “US / THEM”. The scientific novelty of the study lies in the definition of the concept “VALUES” as an oppositive components-concept demonstrating the structured specificity of opposition.
 Materials and methods. The materials of the study were the speeches of the famous Russian journalists, historians, political scientists ‒ participants on the political talk show “Who is against?” on the TV channel “Russia-1” in August 2022, as well as the publication of the Australian researcher Peter Harrison. When writing the article, the following methods were used: conceptual analysis including juxtaposition, generalization, interpretation of the representatives of the studied concept, comparison and collation, lexical-semantic analysis of dictionary definitions, contextual analysis.
 Results. As a result of the study, a level (explicit-implicit) representation of opposition of the concept VALUES in the Russian and English language spaces has been established on the example of the basic opposition “US / THEM”.
 Conclusions. In the author’s opinion, the distinctive features of the opposition subjects “US / THEM” regulate their categorical fixing on the ground of the basic evaluation model of this dichotomy.

Concept of the Exhibition at the Martynas Mažvydas National Library of Lithuania ‘The Chameleon Colours’: Lithuanian Soviet Photography as a Construct of Ideological Reality in 1978–1982

The article presents an explication of the concept of the exhibition ‘The Chameleon Colours’ held at the Martynas Mažvydas National Library of Lithuania from 7 July to 26 August 2022. The exhibition is treated as a response to severe issues related to the political, cultural and even mental legacy of the Soviet era emerging against the background of today’s geopolitical upheavals, one them being the war in Ukraine. The exhibition, the title of which replicates that of the novel by the Lithuanian Soviet author Jonas Avyžius, compared the 1979–1982 propaganda photo reportages by the news agency Elta and samples of visual underground avant-garde works. The factor bridging these works are (social) realities of that time period, but these two categories of works demonstrate diametrically opposite conceptions. The analysis of photo essays by Elta revealed the official Soviet ideological ‘filter’, which was being ‘put’ onto the reality. The samples of the so-called artistic underground, on the one hand, stem from the contemporary situation within the social peripheral or even the out-of-the-margin zones (feelings, conditions and impulsive reflections). On the other hand, the ‘chaos’ and eclecticism of these art objects, photographs and collages are characterized by an internal logic typical for the Western neo avant-garde of the 50s and 60s of the 20th century as well as for the informal conceptualism of Central and East Europe (including the Soviet Union). These works represent the effort to deidealize, disclose and depoliticize and, in a particular way, re-politicize the per se (social) reality.

Participative opposition applied

Opposition theory is one of the main outcomes of structural linguistics of the last century. While it is still valid and used in the field of phonology, it has not had the same fortune in other linguistic disciplines and has been replaced by other theoretical concepts. The present paper aims to revisit the opposition theory, particularly Louis Hjelmslev’s theory of participative opposition. Participative opposition seems to have a high application potential not only in linguistics but also in other scientific fields. The first part of the paper outlines a brief history of the binary opposition theory within structural linguistics, while the second part introduces the somewhat forgotten concept of participative opposition, shows its explanatory power and, finally, its possible applicability in biology.

Little Armageddon by Gregory Fraser

Reviewed by: Little Armageddon by Gregory Fraser Kathryn Pratt Russell (bio) little armageddon Gregory Fraser Triquarterly Books/Northwestern University Press https://nupress.northwestern.edu/9780810143104/little-armageddon/ 79 pages; Print, $17.00 Of Greg Fraser's third collection, Designed for Flight, published in 2014, poet Richard Howard wrote, "What astonishes the reader is that the poems are not confident or even hopeful, but correct, obviously true." Now, with his most recent book, Little Armageddon, Fraser continues his clear-eyed gazing into the tiny and tremendous abysses of modern American life. This collection is a significant achievement that portrays the poetic speaker's experience of the comedy and the burden of midlife, sandwiched between generations. What makes Little Armageddon singular is Fraser's mastery of poetic form and his incorporation of both complex thought and nuanced feeling into his poetic meditations. The contemporary poetry scene (largely centered in academia) has a horror of sentimentality. This aversion has resulted in the small-press publication of many poems that are lyrical or intellectual at the expense of feeling. On the other hand, popular and spoken-word poetry have filled the resulting cultural hole with a churning mass of emotional melodrama for more mainstream readers. Fraser's collection transcends the incompleteness of both literary scenes. The truthfulness of the poems is achieved by the employment of a consistent, present-day speaker who ranges over past and present experiences with authority and compassion. Other than the rare venture into a dramatic [End Page 119] persona in the first part of the book, Fraser's voice is that of a father in middle age who empathizes both with his children's innocence and with the weary wisdom of his parents and in-laws. The first section (there are three) could quite fairly be described as "vast." The poems in this part range from poems of mystical (if comic) vision, like "Lucky Gnarl," to poems touching upon how one should live ("My Idea of Heaven") and self-judgment ("Little Armageddon"), to the ominous voicing of a conquering people's drive to dominate the weak in "Like Angels." The opening poem, "Business," is a study in the interweaving and balancing of opposite concepts to achieve an enlarged view of a man's life in the city, when this man not only works but also thinks: A man hands me his business card, and asks for mine.How should I know my business? The worldis my business, and the world is none of my business. In the hands of a lesser writer, this play on words might constitute the entire message of the poem, and be teased out and elaborated ad nauseam. Fraser's speaker, though, surges on to pile oppositions on top of this first one, questioning his own personal responsibility to take up a profession, in the fullest sense. And by the end of the poem, he does. The most formally fascinating poem here, "Nothing but a Few Bare Trees," employs both internal rhymes and end rhymes in an organic, nontraditional form to hypnotize the reader into seeing as the residents of the city neighborhood see: across acres of ice,something about their fixtureunder a hard white sky, caught and held the eye. Still, they werenothing but a few bare trees—nothing,nonetheless, a few of us at first, then more whose houses lined the south end'ssmoother shore, came to take for masts. As this first part of the book ends with an almost Yeatsian vision of a manger crèche, a forlorn, pregnant figure appears, in a foreshadowing of the explosion of childhood in the second section. [End Page 120] This next part of Fraser's collection features a speaker brought down from his intellectual and spiritual heights by the demands of fatherhood. The changing diction and mood of the first poem, "Hide and Seek," emphasize his inner fall: My kids humped under the bedspread lookLike a meal inside a python. SometimesI wish my kids werea meal inside a python. Fatherhood, I sometimes think,is a python that swallowed me whole. Then I remember my wifeis the python. The lumpy, misshapen lines here evoke hard-to-digest...

Technical safety considerations for construction sites

The article introduces the issue of technical safety, characterises selected activities that create hazards on construction sites and suggests ways to eliminate them.Knowledge of reliability is essential to carry out construction works. The need for the structural engineer to consider safety issues and the obligation to have a general knowledge of safety and technical safety arises. Knowledge of technical safety allows for the proper execution of works on site.The level of safety on a construction site depends on many factors, and a significant group of these are technical factors that determine the possibility of adverse events occurring.Safety is defined as a state that provides a sense of certainty and a guarantee that it will be maintained and an opportunity for improvement. The level of safety on a construction site depends on many factors, and a significant group of these are technical factors that determine the possibility of adverse events occurring. The possibility of adverse events occurring is called unreliability. It is the opposite concept of the reliability, which is more commonly used in the construction industry.A useful tool for ensuring technical safety on construction sites is the Health and Safety Plan or HSE Plan, and the Instructions for the Safe Execution of Work - IBWR instructions. Those documents are intended to protect the health and lives of workers by providing information on how to prevent hazards associated with the execution of certain construction work and how to deal with them should they occur.

KUR’AN’DA İFFET KAVRAMI: SEMANTİK BİR ARAŞTIRMA

Kur’an’da bahsedilen pek çok ahlâkî kavram vardır. Bunlardan iffet kavramının bütün ahlâkî kavramlar içerisinde önemli bir yer teşkil ettiği görülmektedir. Dolayısıyla onun özel olarak ele alınması yararlı olacaktır. Bu çalışma, Kur’an’da iffet kavramının semantik olarak incelenmesini hedeflemektedir. İffet kelimesi bu şekliyle Kur’an’da yer almamakla birlikte onun türemiş olduğu aff/عفف kökü, dört âyette geçmektedir. Arapça’da aff/عفف kelimesi, temelde “az bir şeyi almakla yetinmek” anlamına gelirken daha sonra “helal ve hoş olmayan şeylerden sakınmak, gayri meşru olandan kaçınmak” anlamlarında kullanılmıştır. Kur’an’da da bu doğrultuda geçtiği âyetlerden ikisinde “mala yönelik isteklere gem vurma”, diğer iki âyette ise “meşru olmayan cinsel isteklere set çekme” anlamında kullanıldığı görülmektedir. Bu kullanımlara göre iffetin, insanın imtihanı sırasında başına dert olabilecek en önde gelen iki zaafını dizginlemeyi sağlayan önemli bir erdem olduğu anlaşılmaktadır. Özellikle Kur’an’da kelimenin üç yerde “iffetli olmayı isteme”, bir yerde de “güçlüğe katlanarak iffeti elde etme” anlamlarını ifade eden fiil kalıplarında kullanıldıkları görülmektedir. Bu kullanımlara göre iffetin ancak ilâhî bir destekle ulaşılabilecek değerli bir fazilet olduğu söylenebilir. Kur’an’da hayâ, gınâ ve tehassun iffete yakın anlamlı kavramlar olarak öne çıkarken bigâ, teberrüc ve ilhâf ise ona zıt kavramlar olarak alınabilir. İffet kişide cömertlik, sabır ve kanaat gibi erdemlerin oluşmasına katkı sağlayan ve aynı zamanda hırs, riya ve haset gibi kötü ahlâka da engel teşkil eden önemli bir erdemdir.

Applied Folklore – Historical Process

Son yıllarda küreselleşme kavramı ile bağlantılı söylemlerin vurgu yaptığı hususlardan biri, teknolojik alandaki iktidarı elinde tutan kültürlerin sahip olduğu araçlar vasıtasıyla baskın kültür hâline gelerek dünya üzerinde kültürel mozaiği renklendiren diğer kültürleri yok olma tehlikesiyle karşı karşıya bırakmasıdır. Bu endişeyi taşıyan ulusal ve uluslararası kuruluşların, kültürel ifadelerin çeşitliliğinin korunabilmesi ve kültürel sürekliliğin sağlanabilmesi için birtakım girişimlerde bulunduğu ve konuyla ilgili farkındalık oluşturmaya çalıştığı görülmektedir. Halk kültürünü kendine araştırma sahası olarak belirlemiş olan halk bilimi alanında da koruma, canlandırma, aktarma ve yeniden yaratarak dönüştürme yoluyla kültürel unsurların gündelik hayatta pratiğe dönüştürülmesi hususunda yeni bir yaklaşım ortaya çıkmıştır. Literatürde uygulamalı halk bilimi kavramı ile yerini alan bu yaklaşım, halk bilimini daha önceki derleme, arşivleme ve metin üzerinde inceleme yapma yönteminden farklı bir cepheye doğru yönlendirerek uygulama boyutuna taşımıştır. Böylece halk bilimi, hem küreselleşme karşısında kültürlerin kendini koruyabilmesinin destekleyebilecek bir işlev taşıyacak hem de kendisine sahip olduğu bilgiyi, sosyal yaşamda karşılaşılan birtakım problemleri çözmede pratiğe dökebileceği yeni bir uygulama alanı yaratabilecektir. Bu çalışma, uygulamalı halk bilimi yaklaşımının ortaya çıkışına zemin hazırlayan gelişmelere, ortaya çıkış şartlarına, adı konulduktan sonra etrafında şekillenen tartışmalara, bu tartışmalar neticesinde ortaya atılan karşıt kavramlara, terimin tanımlanma girişimlerine, folklorun kullanılabileceği alanlara odaklanmaktadır. Kısaca söylemek gerekirse bu çalışmada uygulamalı halk biliminin ortaya çıkışı, gelişimi ve bugünkü durumu izah edilmeye çalışılacaktır.

UN English-language discourse: pecularities and applications in describing the world order

This research paper is set in the context of growing interest towards globalization and its effects on contemporary English-language discourse. The focus on the United Nations’ discourse can be explained by the pivotal role of this organization in identifying, shaping and spreading global trends. The underlying assumption is that conceptual, cognitive and semantic analyses of the English-language UN discourse enable deeper understanding of the western worldview, which expands into other types of discourse with a broad audience (media, educational, etc). The application of the conceptual metaphor theory has allowed to discover a conceptual-definitional level as well as image and value levels of the employed concepts in order to find out cognitive linguistic tools which construct the world order model and the view of today’s reality. The study has shown that the language behaviour can be described with the dichotomy “uniting – separating”. On the one hand, reality is represented as a “family” field of life (based on the conceptual metaphor THE WORLD IS A FAMILY) with inherent family values and obligations. On the other hand, the world is subject to explicit categorization through the conceptual opposition of FRIEND vs. FOE and the conceptual and metaphorical model of “The fairy tale of the just war”. Mechanisms of linguistic hierarchization of participants’ relations were also revealed with the help of conceptual metaphors RELATIONS AMONG STATES ARE PARENT-CHILD RELATIONS and LEADER STATE IS A NURTURANT PARENT. The results of the study may be useful for further research on contemporary English-language discourse in a cognitive-pragmatic way, with the possibility of using the identified conceptual metaphors to detect speech tactics and strategies, as well as for comparative analysis of the constructed English-language world view with language models represented by other official UN languages: Russian, French, Spanish, Chinese and Arabic.

The Problem of the Actress in Modern German Theater and Thought by S. E. Jackson

Reviewed by: The Problem of the Actress in Modern German Theater and Thought by S. E. Jackson Ellwood Wiggins The Problem of the Actress in Modern German Theater and Thought. By S. E. Jackson. Rochester, NY: Camden House, 2021. Pp. xiii + 232. Cloth $99.00. ISBN 9781640140868. S. E. Jackson's fascinating monograph opens by connecting Nietzsche's "Problem of the Actor" to his problem with women (1). This brilliant move heralds her exploration of the centrality of gender to performance and performers in fin-de-siècle Germany. Actresses are not just a side issue or specialized topic when it comes to modernist theater. The questions posed by performing women instead point to the most pressing theoretical and practical issues of the day. Jackson's book is a veritable treasure trove of materials, narratives, and perspectives from German-language sources around 1900. It should be mandatory reading for anyone interested in gender, performance, or theater history in German modernism. The Problem of the Actress successfully straddles intellectual history and theater historiography by showing how intimately related conceptual debates (about issues as seemingly disparate as femininity and temporality, for instance) were to influential stage performances in the early 1900s. In the process of this back and forth between pseudo-philosophical publications (such as the repulsive misogynist Otto Weininger's Geschlecht und Charakter) and "paratheatrical writing" (production reviews, memoirs, and metatheatrical fiction), the book unfolds a striking cultural history of Wilhelmine Germany. Especially impressive is the way Jackson has marshaled a rich collection of little-known (and never-translated) contemporary treatises on acting and reviews of performances to paint a thickly textured portrait of the age. The first two chapters lay out the conceptual oppositions that both animated theoretical debates and constricted the practical conditions of female performers. These are followed by three chapters that use close readings of texts and performances to open up explorations of wider themes. All five chapters explore the creation of identity as a site of negotiation between heteronomous subjects who must respond to the ineluctable gender expectations of others. One admirable strength of the book is the way it weaves the longer tradition of German performance history into its lively account of Wilhelmine theater. Jackson [End Page 579] clearly demonstrates her reliance on previous scholarship about women in performance in the long eighteenth century both as methodological models for her own project and to outline the powerful continuities between acting traditions. Too often studies of modernism present the era as radically new and fail to notice the prevalence of older forms of thought even in what seem to be reactions against the past. Jackson avoids this trap by tracing the transformations of established paradigms in the new age. Her frequent citations of Mary Helen Dupree's groundbreaking study of Enlightenment and Romantic actress-writers, The Mask and the Quill (Bucknell University Press, 2011), in particular, show how abiding were the paradoxical demands of naturalness and artifice constructed around performing the feminine. In many ways, Jackson's study can be read as an exciting sequel to Dupree's, carrying the same incisive and sensitive readings of women's performance and women's writing forward into the next century. It is heartbreaking to see how little had changed for women in the intervening years. Jackson sums up a 1928 novel by the actress Tilla Durieux, for instance, by saying that it "presents the obligatory performance of femininity as destructive for women" (149). This quote could easily function as a precise digest of Mary Wollstonecraft's argument in the Vindication of the Rights of Woman (1792). But Jackson's acknowledgement of continuity simultaneously allows her to showcase even more precisely the very real novelties in intellectual concepts and theatrical practice that make the early twentieth century such a momentous era in European history. This achievement of the book becomes most evident in the final chapter. By focusing on the actress Gertrud Eysolt's 1903 performance of Elektra, Jackson persuasively shows how the character and in fact the entire drama would have been inconceivable without the actress's creative contributions. In a way, the book invites a recasting of the three-way antagonism between actor, writer, and director—all...

Response

Response Elizabeth Carolyn Miller (bio) Let me begin by expressing gratitude to the editors of Victorian Studies for dedicating this review forum to Extraction Ecologies and the Literature of the Long Exhaustion (2021) and for the invitation to reflect on my project in response to and in dialogue with these three reviews. I also want to express my thanks to the reviewers for the time they have spent with my book and its arguments. As a scholar I have learned and benefited from the work of these three critics, and it is a privilege now to be in the position to respond to their responses to my work. Written scholarship is at its most interactive in forums such as this, and from 2020 to 2022, interaction has been a resource in short supply, so I am all the more grateful for the exchange.1 Extraction Ecologies is a study of the rise of industrial extraction and of the ways in which the industrialization of underground resource extraction interacted with literary form and genres from the 1830s to the 1930s. This is the book's particular contribution, but the book is also, more broadly, a prehistory of the literature and culture of climate change and the Anthropocene, one that is intended to explore the roles of language and culture, of genre and discourse, in extenuating and, sometimes, mitigating the environmental degradations of extractive industry and imperial extractivism. How can humanities scholarship possibly intervene in environmental catastrophes of such long duration and awful extent? Contemplating such scales and degrees in the course of writing this book has certainly led me to a perspective of critical humility, which Extraction Ecologies expresses in part by establishing limits on what it attempts to achieve. And yet, in my view—and I presume most readers [End Page 450] of this forum will agree—humanities scholarship can and does work slowly and collaboratively to influence and change language and thought. In terms of this broader goal, Extraction Ecologies is one contribution among many: a book written at the precipice of a new era, feeling and thinking its way toward a new understanding of the modern world, in dialogue with other writers and critics in the environmental humanities. Even should the worst catastrophes be averted in the era to come—and I remain hopeful that they will, despite mounting evidence to the contrary—it is evident that we are living through a moment of acute social and environmental change. Much suffering is already happening; much is yet to come. A beast of some manner of roughness is slouching toward Bethlehem, and whether that roughness translates to two degrees or five degrees Celsius is yet to be determined. Critics witnessing the dawn of this base new world are perhaps inevitably drawn to reconsider the past that birthed this rough beast—including its literary histories. Narrative and discourse are, of course, central to the culture that has produced and been produced by the long exhaustion, to use my term from the book. Such a realization raises questions about the work of criticism: Have we been asking the wrong questions of literature? Has literary criticism been too apt to treat texts as immune from environmental concerns? Has it participated in the pernicious conceptual opposition between humans and nature that many environmental thinkers see at the root of modern ecological crises? Reading texts differently is surely no protection from wildfires, hurricanes, and wet-bulb temperatures, but the way we read texts is a symptom of and a guide for patterns of thought and perception, and it is remarkable, in this moment, to work one's way through a portion of the literary archive and to realize how little of the environmental knowledge of this archive has been reckoned with by critics at all. My book seeks to explore the epistemological and representational dimensions of extractivism, a term that I define in two ways: as, to use my book's words, a "complex of cultural, discursive, economic, environmental, and ideological factors related to the extraction of underground resources on a large, industrial scale" (6), and as, to use Naomi Klein's words, a "resource-depleting model," a "nonreciprocal, dominance-based relationship with the...

청년후계농사업 선정 농가의 가족기업농적 성격 고찰

Improving the agricultural manpower structure is an urgent issue in our agriculture. The Young Farming Project is a major project of the youth farmer support policy, targeting young farmers who want to start a new independent farming by further developing the existing succession farm selection project. In our laws and regulations, agricultural holdings are defined as farmers and agricultural corporations, and individual economic units, such as youth successors, are targeted for support. However, since there are various individual economic units within the agricultural holdings, it is necessary to try the business target from various angles in the policy project to introduce new farmers from the outside. In this study, the production unit called the young successor farm, which has the characteristics of the production unit called the family farm, is identified as an individual production unit called the farmhouse, and its characteristics are examined through the concept of the family farm business. In Korea, we are used to understanding family farm and corporate farm as opposite concepts, but in the West, family farm and corporate farm are no longer viewed as opposing concepts due to the past debate on the existence of family farm, and the focus is on how family relationships and business activities are regulated within the farmhouse. By understanding family farm through the concept of a family business, it will be possible to provide a richer perspective for policy improvement in the future.

Fragility of life

The problem of objective threats and subjective experiences of fragility, insecurity of human life in the conceptual opposition to the boundlessness of the life force of humanity as a global community is discussed. Modernity multiplies both risks and threats, as well as the protection and omnipotence of man, leaving the individual a wide space of self-determination, in which, however, dangerous tendencies independent of man continue to persist. They are connected both with the progress of the technical and intellectual environment, and with unexpected outbursts of militarism and political arbitrariness.

Sense Of Meanings: A Deconstructive Lens On Time, Space And Opposites In The Film The Host (2016) Directed By Miranda Pennell

Deconstruction has been used in theater practice and performance art since the 1960s -1970s as a strategy to guide viewers to observation of things and people in and around the performance practice, questioning meaning and its making. This paper proposes that deconstruction is relevant and of value to screendance practitioners for the way in which it supports the challenging of dominant narratives, and invites us to notice and question fixed truths, including our own. For the purpose of my argument I will focus on a film, The Host (2016) by Miranda Pennell, a film made from archive images, which are deconstructed by the filmmaker as part of her narrative making. Among the numerous studies and contributions Derrida has made within philosophical debate, I will focus solely on his theory of deconstruction of text and meaning to contextualize the deconstructive approach adopted by Miranda Pennell in her film The Host (2016). Pennell’s approach includes her research into the narrative of the film. This inclusion gives the film a performative attribute, which I argue to be a point for considering the film a work of screendance. The combination of the archive material and Pennell’s approach to it, allows her to shift between various possible truths that cohabit within a broad spectrum of time and space. In the words of Trinh T. Minh-ha in “The Totalizing Quest of Meaning” from Theorizing Documentary edited by Michael Renov: To compose is not always synonymous with ordering to persuade, and to give the filmed document another sense, another meaning, itis not necessarily to distort it. If life’s paradoxes and complexities are not to be suppressed, the question of degrees and nuances isincessantly crucial. Pennell’s deconstructive approach favors the consideration of such “degrees and nuances” when presenting her narrative, constructing meaning that is complex in its subtleties and implications by pairing opposite concepts and looking at their relation and their relation to herself and others. In The Host (2016) this pairing is consistent throughout the film, openly inviting viewers to question what is being shown. Through a close analysis of The Host, contextualized both with reference to Derrida and to the wider field of screendance, I conclude that a deconstructive approach offers filmmakers and screendance practitioners interested in reinterpreting archive materials through film editing the opportunity to expand choreography to another discipline. As a screendance practitioner, I find that this opens up a world of narrative possibilities, and this is reason enough to shine more light on works that do so.