Quality Of Literature Research Articles

“A sinister creature is on the loose”: Anti-Jesuit Conspiracy Allegations as Political and Poetological Strategies in the First Half of the Nineteenth Century in Tyrol

Abstract The restoration of the Jesuits in Tyrol in 1838/39 shocked the region’s liberals and this shock found expression in the medium of poetry as exemplified by the polemical “Jesuitenlieder” (Jesuit songs) that circulated throughout Tyrol and southern Germany. A few years later a debate developed in German newspapers about the influence of the Jesuits in Tyrol. While older, but also more recent studies often only focused on the literary quality and the liberal elements of the debate, the affinity of this discourse for the tropes of the conspiracy theory has been overlooked until now. Ultimately, the appeal of invoking such tropes was the possibility it afforded of branding the so-called “Jesuitism” and, in doing so, covertly criticizing the government.

ДУЭЛЬ НАД ПРОПАСТЬЮ ВО РЖИ: МЕТАМОДЕРНИСТСКИЕ СТРАТЕГИИ СЕРИАЛА «ЧЕРНАЯ ВЕСНА»

the present moment in art is marked by the transition to a new key concept of development, defined by researchers as "metamodernism". This concept suggests a dichotomy of many features of modernity and postmodernity. Art, developing in the key of metamodernism, enters the space of semiotic dialogue with what was before it, and produces a reconstruction procedure. At the same time, within the framework of the collision of the incomparable at first glance, a special tension and “depth similarity” arise. This happens, for example, in the modern series «Black Spring», where the author of the article traces connections of many difficult-to-connect themes, such as: duel ethics and modernity, neo-romanticism and brutality, irony, heroes copied from literary characters or from the heroes of other movies. The article attempts to semantic analysis of images of the series for a better understanding of nature of metamodernism.

Evolution, Adam, and the Catholic Church

Evolution, Adam, and the Catholic Church Kenneth W. Kemp (bio) Key Words Science and Theology, Evolution and Theology, Paleoanthropology, Adam and Eve, Monogenesis, Human Exceptionalism, Human Antiquity, Human Origins, Genesis We read in our central theological texts—in Genesis and in St. Paul’s Epistle to the Romans, in the decrees of the Council of Trent and in the Catechism of the Catholic Church—references to Adam. We see him depicted on the walls and windows of our churches. Was he a historically real person, genealogically the father of us all? Or is he the father of us all only in the way that George Washington was the father of his country? Or is he not even a real person at all, but only a literary character, like Gilgamesh or the Good Samaritan? I will address three questions connected to the idea of a historically real Adam. The first is the question of whether the human race evolved from a prehuman species—the question of Adam and his ancestors. This is, of course, a general question about anthropogenesis, one that will arise no matter what position one takes about Adam. The second is the question of whether there was a single human couple who were the ancestors of all other human beings who ever lived—the question of Adam and his cousins. The third is the question of whether we can say anything about when Adam lived—the question of Adam and the cavemen. The term “cavemen” is, of course, not a scientifically approved taxon and I am not really focused precisely on cave-dwellers, but on what scientists used to call hominids, and at the moment are [End Page 22] calling hominins—those of our ancestors, and their relatives, who are not also ancestors of the great apes. These three questions—the questions of animal ancestry, of singularity, and of antiquity—are all mixed questions, answers to which will have to draw on, and draw together, the conclusions of science, philosophy, and theology. I. Adam And his Ancestors, or, The Question of Animal Ancestry Where did Adam and Eve come from? A. The Scientific Extension of Common Ancestry to Man The general idea that biological species originate by descent with modification from earlier species, Darwin pointed out in his work On the Origin of Species in 1859, explains a wide array of facts: the distribution of plants and animals in time and space (paleontology and bio-geography), the morphological and embryological similarities found in superficially quite different species (e.g., the structural similarity of bat wings and whale flippers), and the fact that biological species, unlike, say, chemical elements, can be neatly classified as groups within groups. Does this theory also explain the origin of the human race? Darwin argued that it does. He recognized, of course, that the defense of his thesis would be a two-part task, and he discussed, in The Descent of Man, both bodily structure and mental faculties.1 Following his example, I will address the two points of comparison separately. Darwin began with the human body and cited, as evidence for animal ancestry, “three great classes of facts”: “That man and all other vertebrate animals have been constructed on the same general model, [that] they pass through the same early stages of development, and [that] they retain certain rudiments in common.”2 Subsequent research has only added to the evidence cited by Darwin. When Darwin wrote of a “general model” shared by various species of living things, he was referring to morphology, such as the skeletal similarities just noted. More recent research has revealed the same pattern of similarity at the biochemical level. The protein cytochrome-C is [End Page 23] found in both animals and in plants. Differences in detail increase as one goes from man to monkey to mackerel to moth to marigold. And similarly for chromosomes. Most primates have twenty-four pairs. Although humans have only twenty-three, there is strong evidence that human chromosome-2 is the product of the fusion of two separate primate chromosomal pairs. The antievolutionist objection that common features merely show evidence of a common designer who used...

Ciężar biografizmu i legendy. O pracy Witoldo wyobrażony. Recepcja twórczości Witolda Gombrowicza w Argentynie i obraz pisarza w argentyńskim imaginarium kulturowym Paua Freixy Terradasa

Burden of Biographism and Legend. On Witoldo wyobrażony. Recepcja twórczości Witolda Gombrowicza w Argentynie i obraz pisarza w argentyńskim imaginarium kulturowym [Witoldo Imagined. Oeuvre Reception of Witold Gombrowicz in Argentine and the Writer Image in Argentinian Cultural Imagination] by Pau Freixa Terradas This article is a review of Pau Freixa Terradas’ book on reception of Witold Gombrowicz’s literary works in Argentina, which is presented in the context of the research on the Argentinian period in Witold Gombrowicz’s oeuvre, which includes his attempts at entering the local literary circulation, the posthumous reception of his work as well as his image in the local culture – especially as a literary character appearing in literary works of Argentinian writers.

Knight, Traveller, or Author? The Question of Authorship in The Book of John Mandeville

Academic studies have been paying less and less attention to the importance of Sir John Mandeville as a literary character. Given the quantity of detail the author gives about himself, he cannot be ignored. In this study, I will take into consideration the theories about authorship and authority that emerged in the Late Middle Ages while referring to some contemporary texts that questioned the role of the auctor as heir of an old literary tradition to arrive at some preliminary conclusions about The Book ofJohn Mandeville(c. 1375) and the role of its alleged author in the narrative.

Fear and Loathing in Zarahemla: The Viper on the Hearth and the Book of Mormon as Denominational Attack

Fear and Loathing in Zarahemla: <i>The Viper on the Hearth</i> and the Book of Mormon as Denominational Attack

An Exploration of Musicality and Literary Qualities in Translated Lyrics on Online Music Platforms: A Case Study of the Translated Lyrics of "Young and Beautiful"

An Exploration of Musicality and Literary Qualities in Translated Lyrics on Online Music Platforms: A Case Study of the Translated Lyrics of "Young and Beautiful"

CRITICAL REVIEW OF LITERARINESS IN CULTURAL CREATIVE DANCES PERFORMED IN THE KENYA SCHOOLS AND COLLEGES DRAMA FESTIVALS

The Kenya Schools and Colleges Drama Festival is a series of student-theatre competitions in, held from January to April annually. Students across all learning institutions take part in these festivals. The competitive nature of these festivals provides an opportunity for participants to be creative in their submissions. The festivals feature many genres, including cultural creative dances. Traditional dances, as a sub-genre of orature, play are integral to the appreciation and maintenance of traditional cultures. They tell creative or literary stories orally and in a modern context. Therefore, this article seeks to articulate how cultural creative dances performed during drama festivals tell creative or literary stories orally. The study sought to describe the literary stories told and themes addressed through the dances, analyse the dramatic and oral literary features of these stories and the literary features included during performance and adjudication of cultural creative dances. The study used descriptive and analytical methods to underline important practical, philosophical, aesthetic, and psychological considerations in determining the artistic quality of cultural dances in Kenya’s Drama Festivals. It thus relied on qualitative data obtained through textual analysis, interviews, focus group discussions and participant observation. The study employed the performance theory and theatre semiotics to examine the unique literary quality of these dances. The study found that cultural creative dances tell stories unique to the cultures from which they are composed. They also address themes of human or universal relevance out of those cultures. Moreover, cultural creative dances exhibit all features of literariness in terms of their composition. Some of these features make it to the stage performance and adjudication process. However, adjudication examines other technical aspects of production based on the themes prescribed for the festival by the government. This research underlines the place of cultural creative dance as dramatic genre and oral literary performance.

"ПОЧЕМУ Я ОКАЗАЛСЯ ЗДЕСЬ?": ПРОСТРАНСТВО ПОТЕРЯННОЙ ИДЕНТИЧНОСТИ В ПЬЕСАХ "ТРИ СЕСТРЫ" А.П. ЧЕХОВА И "ЧЕРНАЯ ПУРГА" А.А. БУКРЕЕВОЙ

In the article, we make an attempt to study the interaction between the problematics of literary space and character’s identity in a dramaturgical work on the material of the plays “Three Sisters” by Anton Chekhov and “The Black Snowstorm” by Anastasia Bukreeva. The analysis is based on certain statements of chronotope theory developed by Mikhail Bakhtin. The paper considers the motif structure that in a certain way forms the literary space, in particular, the motifs of higher place and lower place, certain characteristics of the organization of space and time, such as isolation, “corpuscularity”, and cyclicity. An analysis is made of the complex interconnection between the place and the way of the characters’ self-determination, which is associated both with the structure of space and with the way the character perceives this space and himself within its boundaries. The nature of dramaturgy defines how the stage and off-stage spaces are organized, and the exploration of the significance of the off-stage chronotope may provide an additional perspective to navigating the character’s inner live determined by his perception of the place of acting. The purpose of this paper is to compare the approaches of the two playwrights to the existential aspects of literary space, as well as the problematics of the connection of a person’s identity with the world in which he finds himself for some reason.

The Wandering Holy Man: The Life of Barsauma, Christian Asceticism, and Religious Conflict in Late Antique Palestine ed. by Johannes Hahn and Volker Menze

Reviewed by: The Wandering Holy Man: The Life of Barsauma, Christian Asceticism, and Religious Conflict in Late Antique Palestine ed. by Johannes Hahn and Volker Menze Scott Johnson The Wandering Holy Man: The Life of Barsauma, Christian Asceticism, and Religious Conflict in Late Antique Palestine. Edited by Johannes Hahn and Volker Menze. (Oakland: University of California Press. 2020. Pp. x, 324. $95.00. ISBN: 9780520304147.) The fifth-century Life of Barsauma is one of the longest and most intriguing Syriac hagiographical texts to survive from Late Antiquity. Until this volume, only excerpts had been published in a modern language, by François Nau in French in [End Page 175] 1913/14. With this volume we now have, in addition to seven excellent chapters on the text, an English translation of the full work, made by Andrew Palmer (pp. 187–271), based on his forthcoming critical text of the Life. This book thus represents a fantastic success both in bringing the Life to a larger audience while also exploring some of the nuanced aspects of a largely unknown (or misunderstood) work. Toward the end of this book, Daniel Caner remarks in his chapter “Wandering Monks Remembered” that the Life of Barsauma is a “hagiographical masterpiece” (p. 151). Elsewhere, Jan Willem Drijvers, in his chapter “Barsauma, Eudocia, Jerusalem, and the Temple Mount,” calls it a “fascinating hagiographical report” (p. 103), and Günter Stemberger, in his chapter “Barsauma’s Travels to the Holy Land and Jewish History,” lauds its “consistently literary character” (p. 74). Almost across the board this book praises the high quality of this long Syriac text. At the same time, these scholars strike a discordant note: Stemberger calls the Life “pure fiction” (p. 88); Drijvers “predominantly fiction” and “a literary construct and a historical fabrication” (p. 103). Simon Corcoran, in his chapter “Barsauma and the Emperors,” puts it more delicately: “When [the author] gives sufficient details for his account to be checked, he is often found wanting” (p. 49). The Life of Barsauma is fascinating in a number of ways and repays close reading. It defies genre characterization, being structured by ninety-nine “signs” and not written with precise chronology in mind—its closest analogues would be the familiar miracle collections from the Greek world, of which we have no other examples in Syriac. In it we gain a full picture of one of the most rigorous fifth-century holy men of the vaunted Syriac tradition, a contemporary of Simeon the Stylite’s, and, according to Simeon himself in this Life, even more holy. He was a “chief of mourners (risha d-abile)” and achieved ascetic perfection (gmiruta), in technical Syriac parlance. But that full picture also includes close relationships with both the emperor Theodosius II and his empress Eudocia, four violent pilgrimages to Jerusalem, repeated assaults on Jews, pagans, and fellow Christians, and the complete destruction of a synagogue. The Life, therefore, claims a great deal for its saint that, if verifiable, would transform our understanding of the social category of holy man in Late Antiquity. Alas, much of the Life appears to have been written from thin air. Theodosius II certainly invited Barsauma the archimandrite to Ephesus II in 449, and he played a role there and at Chalcedon, where he was the only attendee to speak on the floor in Syriac (as we learn from the Acta). But his relationship to the imperial house and formal leadership in the Miaphysite movement were minimal. The anti-Judaism of the work is significant, but his direct actions against the Jews in Palestine cannot be proven and seem to be echoes of anti-Julian rhetoric which had a long half-life in Syriac. As Johannes Hahn explains in his excellent conclusion to this very stimulating volume, “What we can primarily gain from the Life is an artfully crafted image or rather remembrance of Barsauma the saint, not a representation of the historical person” (p. 172). The book (and Life) are, however, a goldmine for readers interested in the exploration of genre, Syriac ascetic categories, and, further, [End Page 176] how hagiographical tropes could, at times, serve to countenance violence in an age of doctrinal and social unrest. Scott Johnson...

МЕЛОДРАМА В СОВРЕМЕННОЙ ПОДРОСТКОВОЙ ПРОЗЕ О ХОЛОКОСТЕ: CТАНОВЛЕНИЕ ЭМПАТИЧЕСКОГО ЧИТАТЕЛЯ

The article is devoted to issues of empathetic reader formation in YA prose about the Holocaust. These texts’ emotional impact has often been seen as additional and less critical. In the last decade, there has been a significant shift in the appreciation of children’s literature about the Holocaust as a tool for creating and cultivating empathy as a basis for creating a society in which sympathy and empathy become an essential part of everyday existence. This empathetic connection between the reader and the character in a literary work, understanding the behavior of one’s hero/heroine in extreme circumstances, and practicing empathy should become a new school of emotional maturation. Using the examples of novels by Dutch author Peter van Gestel and American writer R. J. Palacio, the article analyzes the stages by which narrative empathy is formed — from cognitive, empathy, based on knowledge of historical facts, to emotional empathy, which arises as the reader identifies with literary characters situated in a specific historical context. The characters’ personal history is described in the mode of melodramatic writing as a way of depicting a private, intimate space, creating an alternative model to describe the great cataclysms of the world around the young reader.

Knez Mihailo - pokrovitelj umetnosti, stvaralac i inspiracija

The figure of Prince Mihailo Obrenović is illuminated in the work through three aspects: patronage, embodied in the merits for the creation and development of cultural institutions, such as the National Theater in Belgrade and the "Vuk Karadžić" National Library in Kragujevac, financing the work of numerous artists such as Anastas Jovanovic, Branko Radicevic, Kornelije Stankovic and others, as well as educational workers such as Vuk Karadzic; authorship thanks to which we learn about the prince's relationship to the state, people, religion, mother and beloved wife; an nspiration, which is followed through the treatment of the prince's character in poetry, prose and drama. Accordingly, clear differences were established between two opposing currents in poetic literary expression. One group of poets, like Zmaj, was a fierce opponent of Mihailo's rule, while the other, which included Laza Kostic, glorified his actions with their works. As for the prose, the characteristics of male and female narratives, the chronological difference in the treatment of the literary character Prince Mihailo, the position of the narrator, as well as the aesthetic value of certain literary works in which the prince is either the main character or an episodic role, were examined. The last segment of the work follows the development of the prince's character through four plays, which are stylistically different, and in some of them we meet not only fantastical elements, but also otherworldly spaces. Based on the above, a comparison of literary and historical biographies was made and the conclusion was reached that there is no great difference between them. The last segment of the work follows the development of the prince's character through four plays, which are stylistically different, and in some of them we meet not only fantastical elements, but also otherworldly spaces. Based on the above, a comparison of literary and historical biographies was made and the conclusion was reached that there is no great difference between them. The last segment of the work follows the development of the prince's character through four plays, which are stylistically different, and in some of them we meet not only fantastical elements, but also otherworldly spaces. Based on the above, a comparison of literary and historical biographies was made and the conclusion was reached that there is no great difference between them.

Faktografija i fikcija - o diskurzivnom i imaginativnom sloju dnevnika-romana Sabor poginulih Dragana Lakićevića

Dragan Lakićević's novel Sabor poginulih: Svetozar Jovanović's diary-novel is based on the story and then the manuscript of the diary of lawyer Svetozar Jovanović, which he kept during his unique venture from May to October 2000 in his native village of Lutovo in Montenegro: carving the names of all the dead people from Lutovo. Although small in scope, this multi-layered and compositionally complex novel can be read and interpreted from several different poetic aspects, none of which is secondary or less important. The multitude of interpretive perspectives is conditioned by the non-linear concept of storytelling and the change of the narrator's perspective, but above all by the relationship between the factual (documentary) basis of the novel and its fictional (imaginative) superstructure. With the development of the story about Jovanović's unusual venture, we often lose from sight the clear line (which becomes less and less important) between the questions: who is narrating and which sentence is from the diary and which belongs to the author? Although the facts say otherwise, it seems that Lakićević does not have a prototype of a hero in real life on the basis of which he will build a literary character, but that he built the characterization of his literary hero by adding meanings and nuances to what Svetozar Jovanović himself wrote about himself and his venture. That is why the third hero of the novel can be considered to be the monument, around which the story is essentially woven and all the layers and meanings of the novel are interconnected. The story is told in both an imaginative and a discursive key, whereby the imaginative superstructure does not call into question the probability of events and their motivation.

Образ «новой женщины» в романах Ш. Бронте и Н. Г. Чернышевского

The article presents a comparative analysis of the images of the main heroines of the novel «What is to be done?» N. G. Chernyshevsky and «Villette» by Ch. Brontё. The general theme and historical era provide grounds for comparing literary characters. Similar features in the development of female characters have been identified: origin, personality formation, motives of behavior, determination, lifestyle. It is also noted that these novels are characterized by certain genre characteristics of Bildungsroman. The analysis allows us to conclude that Vera Pavlovna and Lucy Snow represent the type of a “new woman” for European society of the mid-19th century.

Religion in the anti-imperial strategy of Ivan Nechuy-Levytsky

The research subject is the role of religion in Ivan Nechuy-Levytsky's anti-imperial practice. Past studies have focused on general issues of the author's discourse against the empire in his novels, essays, and correspondence. However, the religious aspect of his anti-imperial approach remains unexplored. This study aims to uncover Nechuy-Levytsky's use of religion against the Russian Empire in his writings. To achieve this goal, we analyzed the concept of human nature in his novels through the lens of Christian anthropology. We also explored the author's explanation of the emergence of Protestantism on Ukrainian territory during the second half of the 19th century, along with his portrayal of Protestants in his literary works. Finally, we presented the Nechuy-Levytsky view on the essence of religion. Our primary methods of analysis are analogy and hypothesis. Three main conclusions have been reached. 1. Nechuy utilizes the Christian doctrine of passion as a sin to depict literary characters. He grounds passions not in metaphysical evil but in social ones, a result of the societal structure of the Russian Empire. The redefined idea of passion is a challenge to imperial power. 2. The imperial narrative suggests that German settlers and Ukrainian believers were responsible for the spread of Protestantism. On the contrary, Nechuy-Levytsky attributes responsibility to the Orthodox clergy, who exerted dominance by using the Russian language in religious rituals and eventually disconnected from their congregations. The author's portrayal of Protestantism shows an understanding of its rational nature as a religious creed, its potential to satisfy the spiritual needs of its adherents, and its role in promoting enlightenment and religious freedom. Protestantism serves as an additional argument against the empire. 3. According to Nechuy-Levytsky, religion can be viewed as a form of magic. However, he contrasts ancient Ukraine's pantheism and Christianity's monotheism regarding the transmission of this magic. Pantheism relies on imagination to create an imaginative and poetic world, while monotheism fixates on a single object and limits creativity. Nechuy-Levytsky argues that pantheism, as a form of unrestrained religious imagination, is inherently linked to national identity. Conversely, Christian monotheism, which restricts and centralizes imagination, carries inherent imperial connotations. These religions embody the dichotomy between the nation and the empire. Christianity's limitation of pantheistic creativity thus also serves as an anti-imperial position. These concepts may lead to further examination of the role of religion in Ivan Nechuy-Levytsky's literature, his opposition to imperialism, and the anti-imperialistic intentions of Ukrainian literature.

Чтение и библиотека в русской литературной традиции (от помещичьей усадьбы до дачи советского периода)

A personal or family library is an indispensable and significant element of an educated person’s life. Of particular value are writers’ libraries, which are formed both by buying new publications and by receiving books as a gift, and usually with friendly inscriptions. The study of a writer’s library helps to clarify the author’s reading circle and identify possible influences. Gift inscriptions help to determine the level of relationship. Interest in books, reading circle, possibility to understand and discuss the readings are important characteristics of literary characters. The article examines the legacy of N. V. Gogol, I. S. Turgenev, L. N. Tolstoy, B. K. Zaitsev, K. G. Paustovsky, M. M. Prishvin and A. T. Tvardovsky. The analysis shows that the literary tradition of homestead and dacha reading and library collecting, which was formed in the 19th century, was developed in the works of the 20th century authors.

Поэтика «романа в письмах» Б. Пастернака и М. Цветаевой (Статья первая)

The correspondence of M. I. Tsvetaeva and B. L. Pasternak, which has a vivid literary character, is one of the unique documents of the history of Russian literature of the 1920s–1930s. Since its full publication in 2004, it has repeatedly become the subject of multiple scientific research projects: interpretations of texts and their fragments were proposed, and biographies of poets were built through the correspondence. However, the poetics of the entire corpora of their letters as a whole was not considered in detail. The final paper offers an analysis of the content and poetics of the poets' letters to each other, as well as traces and illustrates the peculiar myth that develops in their correspondence, which we designate as a “novel in letters”. Further, it is considered how the main themes and motives of correspondence were reflected in the work of both correspondents on the basis of the key motives of this “novel”.

Al-Mas‘udi on the Important Personalities of the Arabic Olden Days. The Legendary Tradition about the Nizar’s Sons’ Partition of Fatherly Legacy

Among the materials of Murudj al-Dhahab wa Ma‘adin al-Djawhar (“The Meadows of Gold and the Mines of Gems”) by al-Mas‘udi (10th century), dedicated to pre-Islamic Arabia, one notes the legendary tradition about the sons of Nizar, the for-father of the so called Northern Arabs: Unable to comprehend their father’s testimony, they turned for help to the wise king al-Af‘a b. al-Af‘a al-Djuhumi. On their way to the sage and during their stay at his lodging Nizar’s sons manifested unusual power for insight, earned the host’s favour and managed with the king’s help to understand their father’s will. It appeared that the testimony later influenced Nizar’s sons’ descendants’ way of life, as well as that of the members of major Arab tribes and tribe unions. The author displays the folklore origin of the story under study and also shows that, from the viewpoint of al-Mas‘udi, Nizar’s sons proved to be the masters of kiyafa, the specific Bedouin art of divination. Some tribes and clans of their descendants were later renowned for practicing that sort of skill. In addition to the study the author presents an academic translation of al-Mas‘udi’s version of the legendary tradition under question, as it is framed by an important cultural and historical context. Besides, the legend as presented by al-Mas‘udi possesses uncontestable literary qualities. For the sake of comparison, the academic translation of the version, presented by al-Tabari (839–923), is also delivered.

Critics’ Reception of Women’s Novels in Saudi Arabia

This paper examines how male critics in Saudi Arabia received the pre-1980 works of Saudi female novelists in their critical studies. It seeks to explain why many Saudi and Arab male literary critics either ignored or decried these pioneering novels by highlighting the essential criteria they adopted in their evaluation and criticism of such texts. This paper establishes that these novels were poorly received—and unjustly so—compared to those written by men in the same period. Male critics subconsciously dismissed or disregarded these novels on the grounds that they were of limited literary quality, did not belong to what was accepted as the Saudi social and cultural environment, or did not represent the reality of Saudi women’s lives. Many Saudi male novelists would have been characterized as having no artistic value or failing to represent the Saudi social reality had these same core evaluative criteria been adopted in the criticism of their early works. KEYWORDS Cultural criticism; gender bias; Saudi environment; Saudi literature; Saudi novel; women’s writing

메타버스와 재즈의 모순 연습

A world where the contradiction of the metaverse becomes non-contradiction has arrived. However, there is a tendency to ignore the metaverse because there is no place to learn the nature of the metaverse, the philosophy of the metaverse, or the ethics of the metaverse. Since the metaverse is not a simple device, it should not be approached from an instrumental point of view, but rather it should be understood from a conceptual point of view. Therefore, the role of literature is greater than ever. However, it would be more effective to go through other media with literary quality rather than simply the form of literature. It is Jazz. Because jazz, like the metaverse, is a contradiction in itself. Jazz improvisation makes us experience the virtuality, and jazz