Lost Paradise Research Articles

Development Strategy of Jumog Waterfall as a Tourist Attraction in Karanganyar Regency, Central Java

This study focuses on the development strategies of Jumog Waterfall as a tourist attraction in Berjo Village, Ngargoyoso District, Karanganyar Regency, Central Java. Known as the "Lost Paradise," Jumog Waterfall offers a unique natural appeal with its pristine water sourced directly from Mount Lawu. The main objectives of this research are to identify the tourism potential of the waterfall, analyze the challenges faced by the local community in developing the site, and propose strategies for sustainable development. The research employs a qualitative approach, incorporating observational studies and semi-structured interviews with various stakeholders, including local residents, tourism managers, and visitors. The findings reveal that Jumog Waterfall possesses significant tourism potential due to its natural beauty, accessible facilities, and the active involvement of the local community. However, the development of this site is hindered by issues such as land ownership disputes, insufficient government support in training local entrepreneurs, and a lack of distinctive local products that could enhance the tourist experience. The study suggests that collaboration between the local government and the community is crucial to overcoming these challenges. Recommended strategies include improving infrastructure, offering training programs for local businesses, enhancing promotional efforts through digital platforms, and developing unique local products that reflect the cultural heritage of the area. This research contributes to the broader discourse on sustainable tourism development in rural areas and underscores the importance of community participation in managing and preserving natural attractions. The findings are expected to inform policymakers and stakeholders involved in the tourism sector, ultimately fostering economic growth and improving the quality of life for the residents of Berjo Village.

THE PERSONAL AND THE COLLECTIVE: A STUDY OF THE EXILE OF KASHMIRI PANDITS THROUGH MULTIPLE GENRES

This paper will probe the meaning of “home” as a subjective category for healing through a comparative examination of selected poems by Lalita Pandit Hogan (1950- ) and two documentaries Tell them: ‘The Tree they had planted has now Grown’ and The Lost Paradise : A documentary on plight of Kashmiri Pandits by Ajay Raina and Akshay Labroo respectively. Both the poems and the documentaries summon the notion of Home as a potential “end”, with the latter deliberately invested in the double meaning of loss and purpose. In identifying the “end” of return to home, the two genres fuse the personal with the trans-personal, blend the concrete with the political, mix the haunting memory of past with a confusing present and an uncertain future. The welding of diverse poles in each evokes the tragedy of the unending conflict in modern Kashmir. While the erasure of hope in the “end” of home is strongly present in Lalita Pandit’s poems, the documentaries appeal to the political establishment to rend the wall between the despair of present and the free home of the future. For Raina and Labroo, as with Pandit, the present is rife with desolation and fear. However, while documentaries hint at the transience of the Now, Pandit, rooted in the fear of the radical other in the altered political scenario, evokes the permanent migration of the Self from the healing home. Both cautiously present the past as far more adjusting and accommodative than the insularly exclusivist perceptions of the present saturated with the growing cries of liberation from a country with which her Hindu community has deep cultural connections. In all, personal expression transcends the individual limits to acquire a putative representative voice for their respective cultural configurations. Neither is dedicated to a narrow essentialist rendering of those configurations.

Paradise Lost?

This article examines the memorial aesthetics of loss in Madhulika Jalali's documentary film Ghar ka Pata (Home Address, 2021). The article examines the documentary as a memory project made by a Kashmiri Pandit filmmaker of the “1.5 generation”—a woman who left Kashmir with her family at the age of six in the wave of Kashmiri Pandit migrations that followed the beginning of armed rebellion in Kashmir. The article examines the film's memorial aesthetics and politics by attending to the archival features of the film, and shows how the film, in a conventional diasporic mode, reconstructs idealized memories of Kashmir as a “lost paradise,” animating a fading sense of home for the filmmaker and future generations of her family (and, by extension, for future generations of Kashmiri Pandits). But while Ghar ka Pata mobilizes the family's visual archive to document familial loss with great emotional and pedagogical impact, its fixation on vertical genealogical descent at the level of both blood and memory leads it to enshrine a bordered and vulnerable Kashmiri Pandit family, obscuring the violence of the family itself, ruling out a horizontal examination of Kashmiri Pandits' historical relationship to Kashmiri society at large. This in turn curtails other modes of affiliation outside the family that could be much more generative for a future of coexistence in Kashmir.

Beauty Reminding Us of the Lost Paradise or of the Kingdom to Come?

Based on a paper given at a conference, this article seeks to go beyond a mere recounting of leading theologians’ writings on beauty and aesthetics. Rather it focuses onan exploration of where most people concrete instances of beauty in our world that may remind them/us of both the lost paradise and of the kingdom of God. The paper asks whether beauty reminds us of a lost paradise, a beauty to which we desire to return, or of the Kingdom of God, the Kingdom of justice, peace and goodness, to which we are inexorably drawn. It suggests that beauty pertains to both paradise and the kingdom of God, not least as they are not entirely separate entities but are linked with one another.

Fibrates: one more lost paradise in lipid treatment.

Fibrates: one more lost paradise in lipid treatment.

Lost Paradise? The Amazon as a space of political globalization or what environmental and global history can tell us about the Brazilian civil-military dictatorship

Lost Paradise? The Amazon as a space of political globalization or what environmental and global history can tell us about the Brazilian civil-military dictatorship

‘Wevers aan hetzelfde web van verhalen’

In this case study, the concept of ‘multiple translatorship’ (Jansen & Wegener, 2013) is used to examine the international distribution of Cees Nooteboom’s novel Paradijs verloren (Lost Paradise). Many hands and minds contribute to making the literary text suitable for other target cultures with other literary systems. The transformative interventions of the actors involved are described in terms of the reception processes that Lüsebrink distinguishes in his model of structural elements of cultural transfer (Lüsebrink, 2008). The focus in this contribution is on the nature of the choices made by individual actors in a given context and the observable effects of their interventions. Special attention is given to the following three structural elements of reception processes formulated by Lüsebrink: the cultural adaptation form, the productive reception and the commentary form. In this contribution, insights are gained into the role of the translators, publishers, reviewers and also the author himself, in the dynamic processes surrounding the literary translation and the inter national distribution of Paradijs verloren (Lost Paradise) in German, French, English and Brazilian-Portuguese speaking areas.

Narratives About the Future, the End of Times, and the Colonization of the Future

This article aims to argue about the colonization of the future and its narratives. Historically, the future has been determined by a linear Jewish-Christian timeline with a beginning, and an end. Beyond Apocalypse (Armageddon), and Utopia (the dream of Paradise on Earth), the turn of the millennium (the year 2.000) introduced new narratives to these. Technology, the bug of the millennium, and data science become predominant aspects to which the future relates to. This paper argues that the colonization of the future is the act of producing a future in which dominance is still in the power of some, and not available to all. Unless equality and equal distribution of forces win the battle, humanity will continue being a prisoner of the organizations that control and discourse about the future. The colonization of the future, likewise the Church and its final days, or Utopia’s discoveries of Lost Paradise, is being set to determine the future using technology and predictability. It is concluded that the turn of the millennium posts a new time to society, but again, it does not seem that all individuals have been invited. The colonization of the future is a key concept to discuss the forces that are creating the future, and it highlights the necessity to decolonize it.  

Erratum to: The Lost Paradise of Colombia's Marijuana Smugglers

Erratum to: The Lost Paradise of Colombia's Marijuana Smugglers

Becoming Human: The Archaeology of John C. Barrett

Becoming Human: The Archaeology of John C. Barrett

DAS MOTIV DER GRENZÜBERSCHREITUNG IN KARPATENDEUTSCHEN AUTOBIOGRAFIEN

The Motif of Crossing Borders in Carpathian German Autobiographies. Josef Derx's Memories is the autobiography of a Wehrmacht soldier who becomes a banker after the war. Free of mythology and biblical references, but often with humorous-parodic undertones, the narrative focuses on spatial and temporal details of Derx's life story. In the description of everyday life in a prison camp and the escape from it, the transformation of the remembered self into a remembering self can be observed textually and stylistically by means of changes in tempo and rhetorical figures. Elisabeth Metzl's Ein Paradies verloren aber wir leben (A Lost Paradise but We Live) tells the story of a young woman who has to flee from Bratislava to Austria in her “travelling prison” before the war, without knowing that she will leave her homeland behind forever. The search for her lost sons becomes a personal odyssey. REZUMAT. Motivul trecerii frontierelor în autobiografiile germane din Carpați. Memoriile lui Josef Derx sunt de fapt o autobiografie a unui soldat din Wehrmacht care devine bancher după război. Fără mitologie și referințe biblice, dar adesea cu o nuanță umoristico-parodistică, narațiunea se concentrează pe detaliile spațiale și temporale ale poveștii de viață a lui Derx. În descrierea vieții de zi cu zi într-un lagăr de prizonieri și a evadării din el, transformarea eului amintit în eul rememorator poate fi observată textual și stilistic prin intermediul schimbărilor de tempo și al figurilor retorice. Ein Paradies verloren aber wir leben (Un paradis pierdut, dar trăim), de Elisabeth Metzl, spune povestea unei tinere care trebuie să fugă din Bratislava în Austria în „închisoarea ei ambulantă” înainte de război, fără să știe că își va părăsi patria pentru totdeauna. Căutarea fiilor ei pierduți devine o odisee personală. Cuvinte-cheie: autobiografie, eul amintit, eul rememorator, odisee personală

The Lost Paradise of Colombia's Marijuana Smugglers

Lina Britto’s book, Marijuana Boom: The Rise and Fall of Colombia’s First Drug Paradise, spotlights the growth of the marijuana industry in Colombia’s northern Guajira peninsula and Sierra Nevada de Santa Marta region in response to the growing demand bred by the rise of the 1960s counterculture. Part of a longer history of agrarian modernization, the marijuana boom was a dramatic turning point in the history of Colombia, which transformed the country from a coffee republic into one of the world’s principal producers of drugs. The drug business brought with it a unique culture and greater economic integration with the United States. By the late 1970s, the Guajira peninsula and Sierra Nevada de Santa Marta region had also become an experimental laboratory for the War on Drugs. The consequences were overwhelmingly negative, as violent competition over control of the drug trade corrupted Colombia’s political structure, and the drug war...

“A WONDERFUL CORNER OF THE EARTH”. LA FAVIÈRE AS LOCUS AMOENUS IN THE LITERATURE OF THE RUSSIAN EMIGRATION

The article is dedicated to representations of the southern French village of La Favière in the literature of the first wave of Russian emigration. It aims to examine the representations of a colony founded on the Côte d’Azur by Russian refugees, scholars, writers and artists, which existed until the outbreak of World War II. The objects of study include Favière-inspired poetry by Sasha Chernyi, published in the Poslednie novosti journal between 1927 and 1932, Aleksandr Kuprin’s series of essays entitled Huron Headland (1929), and Marina Tsvetaeva’s poems written in the summer of 1935. Emphasis is also placed on the epistolography and memoirs of Russian emigrants visiting the “Russian village”: letters by Georgi Griebenshchikov, memoirs by Ludmila Wrangel, Ksenia Kuprina, and Galina Rodionova. The La Favière phenomenon in the works of Russian emigrants has not been discussed before, which is what makes this article timely. The analysis of the above-mentioned works covers primarily their subject matter, but their connections with composition, stylistics and the question of genre affiliation are also discussed. Research demonstrates that despite the different ways in which the countryside is portrayed (its idealization in the poetry of Chernyi, comparison with Crimea — a true but lost paradise in Kuprin’s prose, rejection of Provence in Tsvetaeva’s poems), the tendency in Russian expatriate literature to interpret La Favière as locus amoenus persisted. In the works of Russian emigrants, the countryside evokes positive connotations, enchants with its landscape and tranquility, the naturalness of life replete with manual labor and close contact with nature. As a result, in the system of local texts of Russian emigration, bound together by the motif of foreignness as locus horribilis, La Favière holds a unique place, representing a rare example of Arcadia found in exile.

GENDERED DISCOURSE THROUGH PATRIARCHAL SOCIETY

This paper aims to articulate the problem of relationship between an individual and society and its outreach through literary texts. I argue that the paradigms of interrelation of women, men, and society, particularly in the communities with pivotal patriarchal status have been directly adapted to the concepts and theories of society development. In the history of philosophy and sociology, various paradigms of society have been developed; the most popular among them are associating society with a bio-organism, analyzing society and an individual from an anthropological point of view, constructing a functionalist approach to this problem. J.J. Rousseau, Spinoza, Diderot, R. Merton, E. Durkheim for centuries have attempted to define a society and highlight its essential features. In this research, the problem is developing through the literary texts of the prominent Azerbaijan writer Anar and his literary characters, focusing on their moral and ethical priorities. As a basis for our research, we have chosen the Robert Merton’s structural functionalism approach. In addition, I agree with many scholars who believe that the movement of history has a spiral shape and at each turn of this spiral, the assessment of the individual by society is equivalent to the totality of values determined by society itself. It is accepted that the number of moral values is stable, but their combination is changing, corresponding to the Fibonacci Sequence, where spirals have a fixed proportion determining their shape (Vauclair 2009). I propose that in all patriarchal societies, the mode of perception of a woman by a man occurs at the level of his genetic memory. Moreover, the memory dictates him the same values as it was centuries ago. The code has not been changed since the period of the Lost Paradise. We will trace this formula of stable genetic memory and changing forms of assessment in a male-dominant society on the examples of the literary characters in Anar’s “White harbor” and Edgar Poe’s “Ligeia”.

نرجسية احتضان الحلم الأول في رواية الصحراء:, مقاربة نفسانية لرواية التبر لإبراهيم الكوني

Freudian psychological theory refers all of the novels to an ancient, original and forgotten novel in the early years of childhood. The novel tells the story of a lost childish dream held by a child who remained clinging to a family monkey threatened with loss. The first narration is forgotten and time stores the dream in areas of pent-up desires, but they do not decay, but return later in fictional writings that write the old dream in a persuasive language. Evidence that each novel was found before it was written, and that it is merely a distorted version of the original novel hidden behind the screening, which merely sends dreamy signals that defraud linguistic censorship to leak something of the forbidden longing. This study will seek to track these signs floating on the surface of the poetic language in which the Libyan novelist Ibrahim Al-Kony writes his novels on the desert. Trying to trace the traces of a childhood whose wound is still bleeding And listening to the echoes of a distant dream calls for pure worlds free of human beings, in whose arms the old child, exhausted from the journey of repression and forgetfulness, threw back his lost paradise. I chose Al-Tabbar as a field to work on this unbridled tendency in the tale of the desert narration because of its richness, and the dream spread in it over large areas of mythical, metaphysical and ontological ...

Tracing the Muffled Screams from a Lost Paradise: Exploring the Experimental Narrative Strategies and Human Rights Concerns in the 21st-century Kashmiri Literature

Tracing the Muffled Screams from a Lost Paradise: Exploring the Experimental Narrative Strategies and Human Rights Concerns in the 21st-century Kashmiri Literature

ОСОБЕННОСТИ ФУНКЦИОНИРОВАНИЯ ИНТЕРТЕКСТЕМЫ «ПОТЕРЯННЫЙ РАЙ» В РУССКОЙ РОК-ПОЭЗИИ XX–XXI ВЕКОВ

The article is centered on the study of poetic phraseology in Russian rock poetry exemplified in songs by famous rock musicians such as S. Namin from the rock group «Tsvety», V. Tsoy from the rock group «Kino», Kipelov from the rock group «Aria», V. Butusov from the rock group «Nautilus Pompilius», S. Surganova from the rock group «Surganova and Orkestr» and others. The purpose of this article is to analyze peculiar qualities of reminiscence quote ‘lost paradise’ in the poetic discourse of the XX–XXI century in lyric texts of famous rock bands. The objectives of the study are to examine the features of the phraseological unit ‘lost paradise’ in the individual author’s use in the poetic works in which this phraseological unit receives a clearly-figurative embodiment, as well as to determine the features of verbalization of the concept of happiness through this phraseological unit. The main methods applied in the research are a philological analysis of the text and a structural-semantic method of analyzing language units. The study of the phraseological unit ‘lost paradise’ within the framework of poetic discourse resulted in the conclusion that poetic phrase ‘lost paradise’ is often used in poetic discourses among rock performers of the past and present centuries, verbalizing the concept of happiness in different ways. Phraseologiсal units with a ‘paradise’ component form a phraseological field, which includes such phraseological units as lost paradise, earthly paradise, heavenly paradise, from paradise to paradise, an unknown paradise. These phraseological units come into various systemic connections, i.e. synonymous, antonymic, associative, which allows us to represent the axiological category of happiness in different ways. The axiological connotation of these phraseological units, which arises as a result of revealing the associative-figurative basis of phraseological units, inclusion in the artistic-figurative system, building new contextual connections and relationships, also allows you to understand the author's value guidelines.

REMARKS ON ATLANTIS RESEARCH WITH REGARD TO V. BRUSOV’S LIFE AND CREATIVITY

The goal of the paper is to trace the origin of V. Brusov’s interest in Atlantis research. The idea of the Lost Paradise, or Atlantis, is inherent in the poet’s early stuff. The paper’s author analyzes V. Brusov’s works devoted to Atlantis, including those unpublished, and concludes that to resolve «the non-scientific» issue referring to Atlantis V. Brusov had been the first who intended to involve the interdisciplinary sciences that were applied only in the mid-XX century.

译者主体性视域下的林少华日本文学翻译研究——以渡边淳一小说《失乐园》为例

译者主体性视域下的林少华日本文学翻译研究——以渡边淳一小说《失乐园》为例

The Lost Paradise: Andalusi Music in Urban North America, written by Jonathan Glasser

The Lost Paradise: Andalusi Music in Urban North America, written by Jonathan Glasser