Formalistic Approach Research Articles

Modernism Edited: Marianne Moore and the Dial Magazine

<i>Modernism Edited: Marianne Moore and the</i> Dial <i>Magazine</i>

The role of lexical homogeneity in the poetry rhythm of Hazin Lahiji

Hazin Lahiji is one of the prominent poets of the twelfth century AH (1103-1180). A poet who has been the center of many literary controversies and conflicts of his time, he is also a rhythm and a criterion for measuring the poems of his contemporaries, and the so-called "corrector", he has personality that Indian grandee are proud to talk to him. The aim of this writing, with attention to the homogeneity of words in creating rhythm and integration into poetry and with analytical-descriptive method, and with formalistic approach; is to show how Hazin Lahiji creates the most rhythm from the beauties of rhetorical industries and the aspect of their order and coherence in their proper place and time, and how to connect the rhythm of poetry with other elements, in order to add value to the sound and music of poems. And he uses a kind of understanding between his thought and sympathy with the audience to show the distinctive poetic language. To explain this issue, he organized disciplines under two general categories "imperfect” and "perfect balance" and examined the role of industries related to each category as a process of de-familiarization through the music of Hazin (sad) poems. The present study shows that Hazin Lahiji, with the knowledge of the aesthetic aspects of word music, has been able to affect the soul and spirit of the audience by all kinds of repetition and observing the appropriateness of words and choosing beautiful words in the right place, and to express himself poetically as much as possible and to release his words from the usual hierarchy and linearity.

Pengajaran Kritik Seni Kontemporer melalui Pendekatan Semiotika

This article is about teaching art criticism in college. Nowadays, the use of approaches that are not conventional, or only using a formalistic approach, is starting to bloom. This is because to discuss contemporary artworks that discourse increasingly diverse contemporary ideas, it is even more difficult to interpret them as an alternative to using a semiotic approach. One of them refers to the thought of Umberto Eco. One theory that can be used is called the Theory of Lies. This theory is an interesting approach to interpreting signs in the subject of contemporary art criticism. In the use of this theory, a systematic approach is required, and application is based on semiotic principles. This is an effort to provide insight to students at the College of Arts in understanding the emergence of contemporary art works that are multi-interpretative, multi-interpretative, and subjective in nature.

“Somehow, I Wasn’t Drawn into The Editorial Office of Novyi Mir”: Digital Approaches to the Literary Environment of Late Socialist Journals

Boris Eikhenbaum’s 1927 essay on the literary environment (literaturnyi byt) marks an important conceptual turning point in the formalist approach to the study of literature, shifting the focus from immanent analysis of the text to what he called “literature’s social mode of being.” This article revisits Eikhenbaum’s approach as a point of departure for the study of late socialist literature. It explores literary periodicals in the 1960s through the lens of a bibliographical dataset which was developed as part of the digital humanities project Soviet Journals Reconnected.11The digital humanities project Soviet Journals Reconnected was developed during a year-long fellowship at the Center for Digital Humanities at Princeton and I am indebted to Natalia Ermolaev, Jean Bauer, Miranda Marraccini, Tom Mazanec, and Claude Willan for their support and feedback. I would like to thank Marijeta Bozovic for including me in this special issue and the two anonymous reviewers from Russian Literature for their suggestions. This project was made possible by Indiana University Library’s generous agreement to share the raw data of the digitized ‘Letopis’ zhurnal’nykh statei’. Applied to this data, quantitative methods reveal the emergence of centrifugal forces and a fragmented mode of literary production during this period. By providing a detailed discussion and documentation of computational methods and putting them into a dialogue with studies of the literary environment in the vein of Eikhenbaum, this article highlights the connections and potential research uses of digital humanities approaches for the Slavic field.

Pedro Penduko, Filipino Comic Superhero: comparative studies between comic and screen adaptation

This study intended to compare Filipino komiks from its film adaptation. In particular, it explores the form and content in Pedro Penduko (1954) and the film adaptation, Pedro Penduko, Episode II: The Return of the Comeback (2000) using the Formalistic Approach in literary criticism. The study highlights the elements such as characters, symbols, and themes. In brief, the characters in the komiks exemplify Filipino identity. However, the film version provides comic relief. Looking at symbols, the komiks used an amulet common to Filipino culture. The film, on the other hand, showcases a magical promotional vehicle. The theme in the komiks is concerned with issues as noteworthy as identity and culture, while the film spectacles self-interest. It was discovered that the komiks form contributes to a great sense of Filipino art. However, its film adaptation lacks the same qualities. The demand for significant visual outputs come from an audience who hope to see visual arts that are not just profitable works of art but are socially relevant and geared towards the promotion of nationalism

Music and Images in New Babylon between Literature and Visual Arts

Abstract This article discusses New Babylon (Novyi Vavilon), a silent film in eight parts by Grigory Kozintsev and Leonid Trauberg with music by Dmitri Shostakovich, produced in 1929 by Sovkino, the state film studio of the USSR. It reconstructs the genesis of New Babylon in the context of the artistic avant-garde of the Soviet Union in the 1920s and engages with the recent debate on the different versions of the film, siding with those who believe that the “official” version of New Babylon was the result of a conscious re-editing of the movie. To support this position, the author proposes a structural and aesthetic analysis of New Babylon that focuses on the literary and visual sources of the film and their relationship to sound. Shostakovich found compositional solutions that matched the choices of the directors perfectly, both in terms of musical quotes (corresponding to figurative references) and techniques. On the one hand, the composer employed strategies and topoi of the European musical tradition (such as the so-called figure of death), and on the other hand, he applied to his music the humour and grotesque style typical of literary works by the likes of Dostoevsky, Chekhov, and Gogol. The influence of Russian formalism on the filmic and musical language of New Babylon is also considered in some depth, especially in light of the formalistic concept of “estrangement.” The film is then compared with Eisenstein’s Battleship Potemkin, which helps to explain the original interplay between the arduous musical language and the complex configuration of the images. Finally, the formalistic approach of the authors of New Babylon—Kozinčev, Trauberg, and Shostakovich—is further analyzed by examining two sequences that exemplify the metatextual conception of the film, intended as a “symbolic form” that both generates processes of referring and requires an exegetical commitment.

Taste boundaries and friendship preferences: Insights from the formalist approach

What is the association between cultural tastes and the qualities we prefer in our friends? Previous research has studied cultural tastes and friendship preferences in conjunction but either relates both to people's occupancy of social-structural positions or limits attention to the association between high-culture preferences and preferences for cultured friends. Adopting an alternative approach, I reconceive tastes as “contentful forms” whose numerical or relational properties lend them inherent meanings. Performing OLS regression on 1993 General Social Survey data, I show that friendship preferences vary in relation to two such properties of tastes: (1) the popularity of respondents’ preferred musical genres and (2) conventionality, which concerns the frequency that respondents’ preferred musical genres are selected in tandem by others. I find that favoring highly disliked genres and atypical combinations of genres are each associated with making boundaries on aesthetic grounds. These results suggest that, affording us a sense of position vis-à-vis others, relational properties such as popularity and conventionality operate as platforms from which we render judgments regarding what kinds of people make appropriate candidates for friendship.

The Global Graphic Protest Narrative: India and Iran

AbstractThis article situates the graphic narrative form within the current politics of protest movements. It argues that the graphic narrative captures the forms of civil disobedience that shape late-twentieth-century and twenty-first-century protest. Protest movements increasingly operate within, or in accordance with, the systems they seek to challenge. The graphic narrative, similarly, combines complicity and critique in its narrative style and structure. The argument draws on two examples from different regional and political contexts—Vishwajyoti Ghosh's graphic narrative about the years of emergency rule in India in the 1970s,Delhi Calm, and Amir Soltani and Khalil's work on Iran's Green movement,Zahra's Paradise—to show how the global graphic narrative acts as an archive of popular protests that inform present-day movements and offers a platform for those movements to perform civic action. It advocates a new formalist approach to the global graphic narrative as a popular protest form.

Wesley Hohfeld's Some Fundamental Legal Conceptions as Applied in Judicial Reasoning (Annotated and Edited)

Wesley Hohfeld was an important legal theorist from the early 20th century. His article, Some Fundamental Legal Conceptions as Applied in Judicial Reasoning, which appeared in the Yale Law Journal in 1913, is one of the most-cited law articles of all time. It has had a profound impact not only in the field of jurisprudence but also on numerous scholars, lawyers, and jurists more broadly, notably including the drafters of the Restatement (First) of Property and judges of the U.S. Supreme Court and many lower courts. Although the article was intended for students, in actuality, it has been quite difficult to parse for students and professors alike. This chapter offers an annotated and slightly condensed version of the article. Textual annotations aim to explain key paragraphs and sentences in fairly basic terms, while footnote annotations are intended for scholars wishing to take a “deep dive” into the Hohfeldian typology. Although the chapter’s analysis generally endorses Hohfeld’s assertions, in part, it also provides friendly critique. This critique, along with careful interpretation of the original text, aligns Hohfeld’s typology more closely—though not completely—with a formalist approach than previous characterizations in the legal literature, which have largely viewed the typology and Hohfeld’s work as an early foray into legal realism.

A Formalist Theory of Contract Law Adjudication

Formalism has a bad name. It is often seen as a naive and unsophisticated approach to the adjudication of legal disputes. This negative view of formalism is widespread in American legal culture and has been particularly influential in contract law. This Article challenges this prevailing view and argues that a formalist theory of adjudication is the best approach to resolve contractual disputes. The argument of this Article starts from the assumption that contract law is not morally justified because of its enforcement of promissory rights or some other dimension of interpersonal morality. Instead, like contemporary law and economics, this Article assumes as its starting point that the law of contracts is an instrumentally justified legal institution (i.e., an institution justified because of its valuable social consequences). Starting from this assumption, this Article asks what approach to the adjudication of contractual disputes facilitates the achievement of contract law’s instrumental goals. Against the common assumption, the answer is that a formalist approach—the specific contours of which are set out below—would be instrumentally best. This is because formalism, with its commitment to an ex-post, rule-bound, doctrinalist, and modest approach to legal adjudication, has important instrumental benefits. Formalism contributes to simple, generalizable, and cost-effective decision-making; it is consistent with the institutional competence of courts; reduces the risks and overall costs of legal mistakes; and increases predictability, protecting contractual parties’ legitimate expectations. Moreover, formalism is an adequate means to deal with value pluralism and is consistent with the main values served by the law of contracts, such as autonomy and efficiency. Thus, encouraging judges to make socially optimal decisions in contractual disputes might not be the optimal strategy. The overall socially optimal outcome might, instead, be achieved through a decision procedure that directs judges to decide by applying pre-existing doctrine and expanding it incrementally. If that is the case, then, despite their disagreement about contract law’s foundations, instrumentalist and formalist theorists might agree about the narrower question of how judges should decide contractual disputes.

Korney Ivanovich Chukovsky about the Russian translation reception of Shakespeare (article two)

The first half of the 20th century in the Russian translation reception of Shakespeare was marked by the emerging of translations by B.L. Pasternak, S. Ya. Marshak, A.D. Radlova, W.V. Levik, I.B. Mandelstam. Characterizing their transcriptions, K.I. Chukovsky not only substantiated the artistic manner and creative position of the translators, but also presented his understanding of individual shortcomings and, conversely, successful findings. The articles «The Crippled Shakespeare», «Asthma in Desdemona» (1940) reflect his sharp rejection of the approach of A.D. Radlova to the interpretation of Shakespeare’s plays, he notes the mistakes made by the translator when working with the original texts. K.I. Chukovsky positively spoke about «Richard II» by I.B. Mandelstam; he considered its undoubted merit to be his free style and the absence of a formalist approach in observing certain parameters of the original text. The most complete features of the translation concept of K.I. Chukovsky are disclosed on the example of his translation of Shakespeare’s comedy «Love’s Labor’s Lost» (1945), which has been repeatedly staged in the theater.

Badiou and Lazzarato on the Politics of the Event: Formalism or Vitalism?

This paper addresses the question of what constitutes a political event through a comparison of the theories of Alain Badiou and Maurizio Lazzarato. Badiou's formalist approach to the event is contrasted with Lazzarato's vitalist, Deleuzian approach. Their different philosophical positions generate not only different perspectives on the nature of political events, but also different perspectives on subjectivity, political organization, and strategic relations to the state. Discussion of the differences between formalism and vitalism has often been pitched at an abstract, philosophical level, but the aim here is more to trace these differences through actual examples, namely Badiou's analysis of the Arab Spring and Lazzarato's analysis of the resistance of cultural workers in France.

Construction grammar for monkeys?

AbstractIn recent years, multiple researchers working on the evolution of language have put forward the idea that the theoretical framework of usage-based approaches and Construction Grammar is highly suitable for modelling the emergence of human language from pre-linguistic or proto-linguistic communication systems. This also raises the question of whether usage-based and constructionist approaches can be integrated with the analysis of animal communication systems. In this paper, we review possible avenues where usage-based, constructionist approaches can make contact with animal communication research, which in turn also has implications for theories of language evolution. To this end, we first give an overview of key assumptions of usage-based and constructionist approaches before reviewing some key issues in animal communication research through the lens of usage-based, constructionist approaches. Specifically, we will discuss how research on alarm calls, gestural communication and symbol-trained animals can be brought into contact with usage-based, constructionist theorizing. We argue that a constructionist view of animal communication can yield new perspectives on its relation to human language, which in turn has important implications regarding the evolution of language. Importantly, this theoretical approach also generates hypotheses that have the potential of complementing and extending results from the more formalist approaches that often underlie current animal communication research.

Fantasias on National Themes: Fantasy, Space, and Imperialism in Rebecca West

This article argues that Rebecca West’s sustained scrutiny of imperialism tends to coincide with her theoretical and formalist approaches to fantasy, and from this arises literary innovation significant both to modernist and late modernist contexts. It demonstrates that West’s creative achievement in Harriet Hume (1929), which partially adapts the conventions of other middlebrow and modernist fantasy literature of her day, is usefully read in conjunction with her assessment of interwar geopolitics, and especially her interest in the collective, sociopolitical fantasies that gather around contested national spaces. Furthermore, in Harriet Hume West elaborates a rhetoric of fantasy—stylistically whimsical, and ideologically what might be called a fantasia on national themes—that was elevated to new importance a decade later in her archetypal attack on imperialism, the Balkans travelogue Black Lamb and Grey Falcon (1941).

Sifax v. Migfo and Limitation Laws in Nigeria: Triumph of Pragmatism over Formalism?

The recent pronouncement of the Supreme Court of Nigeria in Sifax &amp; Ors v. Migfo &amp; Anor reveals the desirability of a pragmatic as against a formalistic approach to Nigerian limitation laws. This article critically examines Sifax and seizes the opportunity to flag up the inadequacies in the extant limitation laws in Nigeria. The article argues that a total overhaul of the limitation laws is long overdue as they are not only old-fashioned and ambiguous but also produce undesirable results. It predicts that it is very unlikely that any legislative intervention may be witnessed in the nearest future. Therefore the article suggests that the courts must continue to fill the gaps by a pragmatic interpretation of the laws within the bounds of the general policy objectives of the limitation laws. It advocates comparative judicialism as a useful methodology to achieve this task.

Counter-realities and conflicted place: Gee Vaucher’s The Feeding of the Five Thousand in the punk art tradition

Abstract This article celebrates and critically examines Gee Vaucher’s artwork for the Crass album The Feeding of the Five Thousand (1978), drawing upon the enduring fascination that the work retains. Vaucher’s work is complex, disconcerting and mesmeric, and my intention is to pin down the facets of the work that achieve these qualities. The work sits in a tradition of collage and montage taken up in British punk and post-punk scenes, and I examine a selection of classic punk artworks in comparison to Dada artworks that represent the origins of radical montage art. Whilst acknowledging the established mode of interpreting this work through indexical context of elements and the force of juxtaposition (e.g. Linder Stirling’s punk work), I argue that Vaucher’s work achieves something more and requires additional methods of analysis. By developing a formalist approach of illusionistic harmony and integrity, I consider the space of the picture plane, as a traditional art concept and the space and place of the depicted behind the picture plane. Vaucher’s work offers an enduring feeling of a conflicted, disrupted and corrupted space – you feel you can step into a real space within the picture but prefer to hover on the safe side of the picture plane. This property embodies what the author Mark Fisher calls the ‘weird and the eerie’. I then examine a number of artworks from within and around the canon of art – Alison and Peter Smithson, Martha Rosler and Tish Murtha – finding images that I feel have a strong resonance with Vaucher’s work in terms of the spaces they construct and the mode of construction. These canonical works offer some developed critical dialogue to bring to bear on Vaucher’s work in order to fully understand the power of this iconic record sleeve.

The Dawn for a New Antitrust Law Framework for Digital Platforms, Evidence from an Empirical Comparative Analysis of EU Antitrust Decisions

The Digital platforms are a unique creation of the late 20th and early 21st centuries. The digital economy may have replaced the industrial economy, but the rules created to oversee the fair operation of the industrial economy have not kept pace with that evolution. The digitalization of the economy with consumer data as a new critical resource is an advancement of a technological revolution which needs an adaptation of regulatory framework for markets and the world economy. This paper analyzed the privacy and data protection concerns in the digital economy from an economic perspective of small and medium-sized enterprises. The tech giants, by controlling user's data are exploiting it for their own commercial benefits and inflicting the threats to the privacy of users. This paper intends to shed light that it's not enough to look for policy solutions only within the competition or data protection law. Rather an integrated move from various regulatory perspectives is necessary. Therefore, the article focuses that the formalistic approach to article 101 and 102 of TFEU (Treaty On The Functioning OF The European Union which the EU Commission usually adopted as an effects-based approach) to counter exploitative, exclusionary practices, and potential harm to consumers is efficacious to regulate the digital platforms. Furthermore, this research presses the necessity of how the abusive conduct of data-driven entrants be regularized by forwarding the new concepts of antitrust law and its effective enforcement across the globe. The digital platforms have fundamentally changed the ways we interact with news, with each other, and with governments and business. Digital platforms act as intermediaries which connect two or more market participants via the platform and simplify their interaction.

A Formalistic Approach to Competition Law and Its Risks: The Curious Case of Roche/Novartis

The Roche/Novartis case raised an issue of European competition law so complex that it called upon the intervention of the most important and authoritative judicial body of the European Union, i.e. the Grand Chamber of the Court of Justice. Some of the outcomes of this case are, however, particularly worth analysing because they show to the highest degree the potential logical shortcomings that can be created by combining a too rigid and sterile application of competition law principles with complex factual circumstances. More specifically, in this case the legal questions of the definition of the relevant product market, of the competitive relationship between the parties and of the implications of a licensing agreement between them needed to be adjudicated with reference to the unlawfulness of the creation and marketing of the relevant product, of the marketing of such product by third-parties (and not by one of the infringers) and of the weight of regulatory issues within the competition law assessment. Despite the arguably unique set of facts of the case, the problematic – even contradictory – nature of its findings cautions us against a formalistic application of competition law and shows instead the preference of adopting a substantive approach within the competition law assessment. Hoffmann-La Roche, Novartis, Avastin, Lucentis, competition law, Article 101 Treaty on the functioning of the European Union (TFEU), off-label, pharmaceuticals, formalism, regulation.

PSIKOSOSIAL ANAK DALAM KUMPULAN DONGENG BAGAI BUMI BERHENTI PERPUTAR DAN SEJUTA WARNA PELANGI KARYA CLARA Ng

The purpose of this study is to: Describe the Psychosocial Form of1) Trust versus Suspicion. 2) Autonomy versus Shyness and Hesitation. 3) Initiative versus Error form. 4) Integrity versus Despair in a collection of Tales Like Earth Stop Rotating and Million Colors of Rainbow by Clara Ng.To understand and appreciate literary works (dogeng), researchers use a formalist / New Criticism approach, that is, researchers pay attention to the complexity of the structure and constructs of the work. A work is judged by its success and stability through its form, which is to see the integrity of its structure by examining the relationships and intertwined relationships of its supporting elements. According to the formalist approach, literary text is an object that must be analyzed in order to find its meaning. In short, the purpose of the formalist approach is to find out whether the contents of a work and how the content is delivered (Sarumpaet, 2010: 39).The results of the study are as follows. 1) I'm so scared to hear the words 2) It's great to go home to Indonesia 3) And the country is very far from Indonesia 4) Star, stay shining so Pipi know Mother is okay up there.

Uchybienia w treści faktur oraz uchybienie obowiązkowi ich posiadania a prawo do odliczenia podatku naliczonego od podatku należnego w orzecznictwie Trybunału Sprawiedliwości Unii Europejskiej

The subject of the article is an analysis of the case law of the Court of Justice of the European Union regarding VAT invoices. The author tries to determine whether the Court considers these invoices formalistically and whether it concludes that only correct invoices give the right to deduct input tax on output tax. The analysis of the jurisprudence of the Court of Justice of the European Union lead to the conclusion that it rejected the formalistic approach to possession of correctly issued invoices as a formal condition for exercising the right to deduct input tax on output tax. In practice, this means that the tax authorities of the Member States do not have the right to refuse the taxpayer the right to make this deduction if all the material requirements on which the entitlement is based have been met, even if some formal requirements, including those concerning invoices, have not been met. The rationale for this approach is that, according to the Court of Justice, possession of a valid invoice by a taxpayer does not constitute a formal requirement for a deduction. According to the Court, the invoice serves only as evidence, on the basis of which the taxpayer can prove his entitlement. The inability to take evidence under this measure does not, however, deprive the right to demonstrate the right to deductionby other means of proof.