Underground World Research Articles

A Study on the Image and Meanings of the Underground World in Mongolian Oral Narrative Literature

A Study on the Image and Meanings of the Underground World in Mongolian Oral Narrative Literature

The underground world of plant disease: Rhizosphere dysbiosis reduces above-ground plant resistance to bacterial leaf spot and alters plant transcriptome.

Just as the human gut microbiome is colonized by a variety of microbes, so too is the rhizosphere of plants. An imbalance in this microbial community, known as dysbiosis, can have a negative impact on plant health. This study sought to explore the effect of rhizosphere dysbiosis on the health of tomato plants (Solanum lycopersicum L.), using them and the foliar bacterial spot pathogen Xanthomonas perforans as model organisms. The rhizospheres of 3-week-old tomato plants were treated with either streptomycin or water as a control, and then spray-inoculated with X. perforans after 24 h. Half of the plants that were treated with both streptomycin and X. perforans received soil microbiome transplants from uninfected plant donors 48 h after the streptomycin was applied. The plants treated with streptomycin showed a 26% increase in disease severity compared to those that did not receive the antibiotic. However, the plants that received the soil microbiome transplant exhibited an intermediate level of disease severity. The antibiotic-treated plants demonstrated a reduced abundance of rhizobacterial taxa such as Cyanobacteria from the genus Cylindrospermum. They also showed a down-regulation of genes related to plant primary and secondary metabolism, and an up-regulation of plant defence genes associated with induced systemic resistance. This study highlights the vital role that beneficial rhizosphere microbes play in disease resistance, even against foliar pathogens.

A Data Analytics Strategy to the Underground Economy of Cybercrime

Massive cyberattacks and cybercrimes such as ransomware and distributed denial of service (DDoS) attacks have become more and more of a danger, and individuals, organizations, and governments have struggled to discover effective means to defend against them. In 2017, the WannaCry ransomware was to blame for roughly 45,000 strikes across almost 100 nations. Governments have come under pressure to enhance their cybersecurity spending as a result of the increasing impact of cybercrime. In his fiscal year 2017 budget, United States President Barack Obama suggested investing more than $19 billion in cybersecurity, a rise of more than 35% from 2016.Thus, a new sort of organizationknown as the "cybercrime underground" has developed, one that both runs underground marketsand fosters the growth of cybercrime conspiracies. The threat posed by the emergence of highly skilled network-based cybercrime business models, such as Crimeware-as-a-Service (CaaS), is mostly invisible to governments, organizations, and individuals becausecybercrime networks are lateral, diffuse, fluid, and dynamic. Although cyber dangers are rapidly increasing, there hasn't been much research done on the methodology or theoretical underpinnings of the field that could help inform information systems researchers and practitioners whowork in the field of cyber security. Additionally, little is understood about Crime-as-a-Service (CaaS), the illegal business model that supports the underground world of cybercrime.

ETAT DES LIEUX ET SPECIFICITES GEOLOGIQUES DES CAVITES KARSTIQUES DES FORMATIONS DU SOUS-GROUPE SCHISTO-CALCAIRE DES REGIONS DE MBANZA-NGUNGU, KIMPESE ET SONGOLOLO (KONGOCENTRAL, REPUBLIQUE DEMOCRATIQUE DU CONGO).

Karst, and particularly endokarst, has been little studied in the formations of the Schisto-calcaire subgroup in the Mbanza-Ngungu, Kimpese and Songololo regions of Kongo Central Province (DRC), and is therefore poorly understood. Caves are a window on the underground world and play an important role in societal fields such as geology (mineral resources, very important water reservoir), archaeology/anthropology (sites of very ancient human activities) and biology (reserve of endemic cavernicolous animals). They can also be the cause of cave-ins. Studying the endokarst is therefore important for society. This knowledge cannot be acquired without a prior inventory made available to scientists wishing to further research in this field. Inventories existed prior to this study, but they were confined to listing the caves cited in documents, often old ones, produced by archaeologists, biologists and rarely by geologists. The caves cited were generally with approximate locations, or even without locations, which led to confusion as to the uniqueness of the caves cited, or even compared, by the various authors. This study is the result of a compilation of bibliographical data, with relocation in GIS where data permitted, supplemented by field surveys carried out from 2019 to 2022 with the aim of verifying the locations of the caves.

Underground Empire: Charles Warren, William Simpson, and the Archeological Exploration of Palestine

AbstractBritish army officer Charles Warren's archeological excavations in Jerusalem in the late 1860s on behalf of the Palestine Exploration Fund and Scottish artist William Simpson's paintings of those activities articulated a new kind of imperial space: the underground empire. The imperial underground was a place that had not yet been conquered and where the British had limited visibility. In contrast to picturesque and panoramic views that created an illusion of order and omniscience, Simpson's sketches depict an imperial presence that was confined, constrained, and in danger of collapse. Yet as the British began to probe this subterranean frontier, they turned the underground world into a place not just of darkness and danger but of exploration and excitement. In the process, Warren's work and Simpson's portrayal of it helped lay the foundation for Britain's eventual conquest of Palestine during the First World War by burrowing beneath Jerusalem's dilapidated Ottoman present in search of its ancient and Judeo-Christian past. Jerusalem was not the only node in Britain's nascent underground empire—British work there occurred alongside the construction of sewers and railway tunnels in London and the mining of gold and diamonds in Australia and South Africa—but it was in Jerusalem that an imperial underground was first and most fully articulated, a space that embodied both the precariousness and the potential of Britain's embryonic efforts to establish a presence in the Middle East.

Casual Planetarities

Planetary awareness has become synonymous with awareness of large-scale temporal, geographic, and geologic events. Given the scalar multiplicities and instabilities of life on earth, concepts such as planetarity, the Anthropocene, and even the global have provided analytic reprieve. They name that which is difficult to objectify: the geographic and historical vastness of geological presence. But those concepts grow from knowledge habits inherited from imperial and Cold War logics and can presume the existence of an all-encompassing observer who can grasp the unity of the planet as such. This article explores alternative assumptions. It asks how other practices of the earth deal with planetary scales of sense-making. It conceptualizes those practices as forms of casual planetarity that, instead of drawing on preexisting scales such as the planet or the Anthropocene, produce senses of closeness and/or distance between everyday life and the geological implications of human presence. It follows the work of geologists in Costa Rica who rely on a 3D physical model to bring about scalar oscillations that connect human experiences with the vastness of underground worlds. This association is made possible by focusing on the movement of water as a hydro-geo-social choreography of everyday life. The article shows how the resonant power of the 3D model geologists use to enact these choreographies opens pathways for people to come to terms with their geological presence without having to see the planet as a whole or presume the capacity for total observation.

Writing with Multiple Appendages

Four pairs of images from the Postcards from the Underground (2022) print series are presented here as experiments in translating invertebrate underground worlds. Artist Perdita Phillips and cultural theorist Astrida Neimanis collaborated to create an interdisciplinary ‘walkshop’ event to the coal mining town of Lithgow, as part of Phillips’ Artsource both/and artist in residence at Artspace, Sydney in 2017. The many forms of stygofauna—small invertebrate animals including worms, mites, snails, insects and many crustacea—can be found in the millimetreswide in-between spaces in groundwater. Short-range endemism is common—due to their distribution in isolated patches beneath semi-arid to rainforest landscapes in Australia—and sporadic relic distribution world-wide. Working between Neimanis’ text and Phillips’ drawings and found images, the conversations with and through stygofauna, underground water and mining were then developed into colour postcards, that use a red/cyan optical masking technique. The images can be decoded with a red filter that is held up to the eye. The previously invisible cyan delineations are then revealed from beneath—alluding to the layers of concern and the double state of both/and—“caught up in both the noticing and notnoticing of each other” that the artist/author were articulating (Neimanis and Phillips 137). The swirling patterns of swimming and the complex fingering of many limbs were rendered into cryptic scores. The postcards explore notions of hiding/revealing and comprehension and miscomprehension of subterranean ecosystems, through the multiple scratchings of the skittering limbs of stygofauna.
 Phillips, Perdita and Astrida Neimanis. Postcards from the Underground. 2022. Private Collection.

｢김원전｣의 흥미 요소 고찰

Kimwonjeon is a story of a protagonist, Kim Won, who wins the confrontation with the evil character through his extraordinary ability and the help of a supporting character and ends up in an amicable relationship with the two female characters. This story organically structured the plot by arranging various types of characters rather than simply enumerating the motifs. It implies that the interest factors of tales familiar to the readership are developed into novelistic features. Firstly, the protagonist was embodied by inheriting the narrative tradition of heroic characters. The story structure of a hero's journey whose life undergoes trials at a young age but escapes from the crisis with helpers and achieves something great based on his outstanding abilities. Kim Won's oviparity and conquest were used to enhance his heroism. Secondly, the antagonist in the story was put into a process called characterization to create an adversary of the protagonist. What draws readers' attention is the enormous appearance and power of the monster and the detailedly described underworld while simultaneously arousing curiosity about how Kim Won would defeat such a strong presence. The stunning portrayal of the antagonist is to embody the protagonist's activities against it in a more exciting way. Thirdly, female characters in the story play a role in making the narrative more vivid. The princess contributes to exterminating the monster, devotes herself to Kim Won, and supports her parents-in-law. The princess of the Sea God even leaves her hometown at Kim Won's request and plays a significant role in reviving him. In this way, the two female characters, the princess and the princess of the Sea God, are actively involved in making the story more interesting. By embracing narrative elements into the classic novel, Kimwonjeon established a worldview that readers would be enthusiastic about. The protagonist who descended from the celestial realm defends the ideology of loyalty, filial piety, and fidelity in the process of performing heroic activities in unique spaces such as the underground world and the underwater world, and returning to the earthly world to enjoy wealth and glory. The Confucian perspective was set up so that the protagonist and female characters protect it, naturally pleasing readers' desires.

“The Cloven Hoof under the Cassock”: Sacrifice Hidden in the Hebrew Bible and Roger Scruton

A typology of sacrifice is applied to the study of Roger Scruton’s religious philosophy, in order to contemplate the ways in which dissidence against totalitarianism can become a positive form of self-giving. The mimetic theory of René Girard can help us to see how totalitarianism creates a sacrificial crisis by demanding, on the one hand, that individuals sacrifice themselves for the regime, and yet, on the other hand, empties such sacrifices of the type of self-giving that makes a sacrifice not just efficacious but also nonviolent. The deprivations that a regime inflicts on its subjects, for example with respect to education and careers, are enforced forms of sacrifice. With respect to the self-giving enacted in visible dissidence, there is a performative dimension to such self-giving that brings both sacrifices and rewards of a public nature. In his novel, Notes from Underground, Scruton explores the private, underground world of people who are excluded even from such careers of public dissidence. The difficult question Scruton confronts is how any regenerative self-giving is possible among people who in their isolation and powerlessness have nothing to give. While Girard’s mimetic theory helps account for the systematic desecration at work in totalitarian cultures, the biblical typology of sacrifice offered by Moshe Halbertal in his disagreement with Girard offers improvements to such a theoretical framework. Halbertal’s typology of sacrifice better accounts for the instances of spiritual transcendence considered by Scruton in his novel, and also in Scruton’s posthumous final work, Wagner’s Parsifal: The Music of Redemption.

Stygofaunal Worlds

Abstract How can we cultivate an underground multispecies justice with beings whose lifeworlds are unknown and unknowable? This article examines this question through a consideration of stygofauna: miniscule deep-time creatures who make their home in the watery seams of the earth. Taking a cue from these critters—many of whom have evolved without eyes to make their way differently in the darkness of their watery subterranean homes—the article troubles the assumption that knowledge, care, and justice must be predicated on a kind of knowing that insists that humans literally bring other worlds to light. Through a specifically situated exploration of stygofaunal worlds, knowledge, and mining in Australia, the article asks, How is knowledge-as-illumination complicit with complex regimes of knowledge where knowing in the name of justice is tangled up in knowing as a further (colonial, speciesist, ableist) violence? Refusing purity politics, the article's first aim is to demonstrate our complicity with extractive knowledge regimes even in a quest to care for underground worlds. Second, the article insists that knowing otherwise is both possible and already at work. It argues that to know stygofauna otherwise, one cannot eschew science or knowledge altogether. Instead, it proposes that multispecies justice depends on two moves: first, on safeguarding a mode of unknowability that the article refers to as estrangement, and second, on recognizing and cultivating knowledge practices that can cultivate nonextractive relations with subterranean species, even if imperfectly. It concludes with a short overview of several examples of knowing otherwise that push readers to think differently about knowledge as a practice of care and justice.

The mythopoetics of narcissus/asphodel in Ivan V. Lalic’s poem Exercise

The mythopoetic framework of Lalic?s poem Exercise implies complex figures of Demeter, Persephone and Hades and their manifestations within the Eleusinian Mysteries. The paper focuses on the floral symbolism associated with the mythological figuration of Kore/Persephone, ?the flower-faced maiden?, as characterized in The Homeric Hymn to Demeter, since at the root of this Greek myth lies a floral symbolism (initial fascination with the flowers: roses, irises, violets, saffron, hyacinths, then picking the fatal daffodil, and lastly consuming pomegranate seeds). The dual nature of Kore/Persephone is also indicated through the symbolism of the flowers that determine her destiny - the narcissus/asphodel. Lalic?s poem is concentrated on this binary opposition. The Asfodel in the underground world appears as a counterpart of the daffodil, it is placed as a central symbol in Lalic?s poem and recognized as a variant of the afterlife daffodil - a fallen daffodil. The title of Lalic?s poem suggests that it is not just a mere reproduction of a myth, but it can be viewed as a kind of poem-poetics within which the lyrical subject engages in thinking about the creative process itself. This interpretation is supported by the fact that a specific species of white daffodil is called Narcissus poeticus, in our culture also known as sunovrat, and such a pale-faced flower symbolizes the poet himself.

Falling Stories: Cinematic Naturalism and Disability in Frank Norris’ and Stephen Crane's City Sketches

Falling Stories: Cinematic Naturalism and Disability in Frank Norris’ and Stephen Crane's City Sketches

Höhlen, Katakomben, Steinbrüche und Vulkane. Italien ‚von unten‘ gesehen auf dem ‚Spaziergang‘ von Dresden nach Syrakus von J. G. Seume

In 1802, the German writer J. G. Seume travelled from Dresden to Sicily on foot and published an account of his journey a year later titled Spaziergang nach Syrakus im Jahre 1802 [A Stroll to Syracuse]. Seume’s particular way of travel allowed him to experience the poorest and the most problematic aspects of the foreign land, which he depicted in a representation of Italy from a downward perspective enriched with political considerations, which critics have usually juxtaposed to that of J. W. Goethe in Italienische Reise [Italian Journey], published in 1816-1817. Spaziergang nach Syrakus im Jahre 1802 devotes quite a bit of attention to inferior realities and marginality, and in this work, the underground is what precisely allows the relevant characteristics of the text and of his representation of The Other to be highlighted. This article focuses on these aspects by analyzing Seume’s text both linguistically and in terms of content. With regards to language, the underground world gives liveliness and vigor to the representation of the Italian reality and to the political dimension of the account of the journey due to the references to holes, cloisters, and troglodytes. Thematically, Seume’s experiences in caves, catacombs, quarries, and calderas also offer some interesting insights into the author’s way of approaching the beloved literature of the past, the traditional Grand Tour through Europe, and the troubled present. These experiences also bring into focus the irony, critical spirit, and subjectivity that characterize the account of his journey, which “does not give [sic] a complete picture, but an honest contribution to the configuration [of an] era [offered by] a man who is truthful, open, frank [and] independent” (Seume, 1803, p. 164).

SHEARS IN THE FOLKLORE OF LATVIAN CASTLE MOUNDS

Shears (Fig. 1) is an instrument for cutting thin materials (cloth, wool etc.) and it consists of two edges opposed to each other. Since the early Iron Age (1–4 century) till the Middle Ages shears have been a frequent item in the sites of Latvian archaeology, especially in castle mounds; however, massive findings have never been discovered. Shears have beenmentioned in the folklore of castle mounds. At present, there are about 2200 folklore texts about 450 Latvian castlemounds at our disposal. Figures about shears aremore modest: 29 folklore texts about shears about six castle mounds (Table 1.). All castle mounds are located on the territory of ancient Semigallians (Fig. 2). The most numerous texts are written about Mount Īles Spārnu (12) and the Zvārdes Striķu castle mound (10). There have been no archaeological excavations in any of these six castle mounds, therefore the dating is set approximately for the last centuries of the I millennium and the first centuries of the II millennium (Table 2). Part of castle mounds are related to the centres of Zemgaļi districts (Table 3, Fig. 3). The plot of legends about shears is rather homogeneous: a woman receives shears from an inhabitant of the castle mound; these shears should be returned back in the same place. In case these conditions are not carried out, next time it is prohibited to lend shears. Shears obtained from the castle mound are especially qualitative (Table 4). In the folklore texts shears are frequently borrowed; and that could be true as they were not an instrument that was used on a daily basis. Folklore texts prove that shears were a symbol of an instrument. Shears were put in the coffin of dead women, as dead persons go to the underground world. In the folklore of castle mounds a woman of this earth borrows shears from a woman of the underground. The castle mound is a place where the connection between this world and the underground world is closer than anywhere else. As it can be concluded from the folklore, the items obtained from the underground have special value. In a way a borderline is crossed and a woman of this world receives an item belonging to the underground, however, it is not for a long time. The initial order of things is regained quickly and the item from the underground world should be returned.

The Underground World of Secret Jews and Africans: Two Tales of Sex, Magic, and Survival in Colonial Cartagena and Mexico City , by Jonathan Schorsch

The Underground World of Secret Jews and Africans: Two Tales of Sex, Magic, and Survival in Colonial Cartagena and Mexico City , by Jonathan Schorsch

The Underground World of Secret Jews and Africans: Two Tales of Sex, Magic, and Survival in Colonial Cartagena and Mexico City

In this concise volume, Jonathan Schorsch focuses on two cases covered in his much longer work, Swimming the Christian Atlantic: Judeoconversos, Afroiberians and Amerindians in the Seventeenth Century (2009). Here the emphasis is on four individuals caught up in two different persecutions done by the Holy Office in its Novohispanic and neogranadino tribunals. Schorsch examines the extremely complex topic of the connections and conflicts that these case studies reveal as existing between judeoconversos and African-descended subjects within the Spanish empire. In the preface, the author acknowledges that a study of the tensions that simmered between these groups will resonate with current and highly polemical debates.This book has a different structure and analytical style than a conventional academic work of history, which allows Schorsch's text to range broadly and creatively in terms of both sources and the interpretations that he applies to his provoking topic. After an introduction providing brief background information on the two groups and the setting, there are really only two long chapters in the book, which are further divided into short sections.The first case study delves into the well-documented witch crazes of the 1620s and 1630s in Cartagena de Indias. Of course, these particular Holy Office trials have been studied since the nineteenth century. Several excellent historians working out of Colombia revived the topic in the 1990s. Since then a number of scholars writing in English have entered the discussion, to the point that the focal figure of the trials, Paula de Eguiluz, probably has now joined Sor Juana Inés de la Cruz among the most famous women from the era of the Spanish viceroyalties. Eguiluz's investigation alone numbers over 800 pages. When combined with the prosecution of Diego López, the main focus of Schorsch's analysis, there are endless possibilities for interpreting this material.Schorsch examines the relationship between López; one of his mistresses, an enslaved woman named Rufina; and the Portuguese surgeon and alleged judiazante Blas de Paz Pinto. Along with an excellent medical education, a specialty in local herbs, and hardworking, detail-oriented leadership of Catholic brotherhoods, Pinto also made an incredible fortune as a slave trader. Over the course of years of interrogations and statements made by witnesses on trial themselves, Pinto gradually developed a persona as a ringleader, even a rabbi, for a significant Jewish community. López and Rufina provided damning evidence through their strange hobby of spying on Pinto, which led them to testify bizarre and stereotypical tales of his desecration of Christian images and symbols as well as disturbing reports of his hemorrhaging as a kind of twisted menstruation. Schorsch speculates on why Rufina and López would choose to destroy Pinto's reputation as a leader in Cartagena's Catholic society. Is it a form of race-based rebellion? A facet of magic practitioners who thrived on gossip and persuasive talk? A desire to feminize converso men? Simply an attempt to bring down a professional rival, because of course López was also a surgeon practicing in Cartagena? There is certainly a range of interpretations of these testimonies. Ultimately however the end remains tragic—Pinto died an agonizing death 11 days after a horrific torture session and only participated in the later auto de fé in effigy.If possible, Schorsch's second case study is even more complex, involving an enslaved Spaniard with a New Christian father, Esperanza Rodríguez, who married a German and resided in Mexico City when she came before the Holy Office in the viceregal court city. Rodríguez seems to have belonged to a circle of practicing Jews, and she supplemented her meager resources by performing some form of religiously framed fasts to spiritually assist others in her extensive circle. While Rodríguez and her three daughters endured autos de fé, lashes, and incarceration, unlike Pinto they survived the ordeals. Although fitting into a community seems to have motivated the Rodríguez family, Schorsch also speculates on the potential rebelliousness of Esperanza's actions.The book ends with a provocative conclusion regarding the lack of unity between these two oppressed groups under Spanish rule. In his final pages, Schorsch argues that any Judaism practiced among them was not as coherent as some scholars assume. He also observes that many of the testimonies, similar to those made by Rufina and López, more resemble Catholic fantasies than any actions that so-called crypto-Jews actually did. Overall, Schorsch seeks to both appreciate the sophisticated survival skills of his subjects and complicate the responses of two dominated groups within the Spanish empire. This unique book should be read by scholars and students interested in the historical complexities of religious and racial identity and power. It will certainly provoke a debate, which one can only hope will be more fruitful and lack the bitterness and violence of the cases presented in this book.

Мистика у Платона

The article deals with the theme of mysticism in the works of Plato. The study begins with the concept of magic and comes to the conclusion that modern scientists do not know what the word μαγεία/magic really meant for the ancient Greeks. However, Plato is considered to be the philosopher who laid down all the basic concepts of mysticism. The original ancient Greek definition of the word ‘mysticism’, derived from the Greek μυστικός, differs from the modern understanding of this concept and is directly related to the ancient Greek mysteries and the cult of the goddesses of fertility Demeter and Persephone. Very little is known about the mysteries, but it is obvious that for the ancient Greeks it was a way to gain immortality, a kind of action during which the soul descended to the underground world of the dead and returned from there. Many researchers note that such journeys of the soul among the Greeks are extremely similar to shamanic ones. But we are talking here about archaic views, and not about the shamanism that modern ethnography describes. The most important part of the mysteries was contemplation. What exactly the participants of the mysteries contemplated, what the high priest showed them, remains a mystery. However, Plato in the dialogue “Republic” gives a lesson on how to reveal the ability to such contemplation with the help of mimesis, or imitation. This is not just an external theatrical imitation, namely, it is getting used to what is being contemplated. Plato believed that actors and temples are not needed for a real mystery, it should unfold in contemplation, and therefore only you are needed for it. The author of the article finds confirmation of this idea in the dialogue between Socrates and Cephalus, which ends with the myth of Er’s travels to the world of the dead. Plato describes these journeys in such a way that his disciples, if desired, can enter the state of Er and, with the help of contemplative imitation, live everything that happened to him. These journeys are similar to the shamanic journeys of the soul to the underground world. The author concludes the article with the assumption that Plato tried to create a kind of mysteries within his school for a philosopher who wants to master contemplation.

THE IDENTITY CRISIS OF AN OUTSIDER: EXCEPTION AND RULE IN GÜNTER GRASS´ DANZIG TRILOGY

Günter Grass (1926–2015), in his Danzig Trilogy (The Tin Drum – Cat and Mouse – Dog Years), depicted exceptional existences, who are not like most of the Germans before, during and after World War II, resulting in their isolation and the absence of guidance and support from the adults around them. The small-statured Oskar Matzerath critically observes and challenges the world from a frog’s perspective and uses his tin drum as a means of provoking the people around him. Joachim Mahlke, tortured by an inferiority complex, is not able to stand the pressure of social isolation. The half-Jew Eduard Amsel establishes his own underground world, in order to flee the dangers of the aggressive real world. They all experience a deep identity crisis and struggle to strike the right path in their lives, with a greater or lesser degree of success. The subjects of the analysis in this paper are these main figures, their common features and differences, their identity crises and their struggle to deal with these crises. The concept of an identity crisis is discussed here from two aspects: as identity deficit and identity conflict. An identity deficit (crisis of motivation) is the lack of a guiding commitment and struggle to establish personal goals and values. When going through an identity conflict (legitimation crisis), a person has several commitments, and in some situations at least one of them has to be betrayed. The examples of Oskar and Eduard show that art is and remains the only successful means to overcome the discord between the agreement with oneself and with society, and to overcome the identity crisis, which is the result of loss and/or inadequate choice of guiding commitments and values. However, Grass was of the opinion that it is the duty of artists to use their creative potential and talent with a responsibility towards society, to bring enlightenment with their criticism, and therefore help the people to become aware of the reality as it is.

ЕЙДЕТИКА УКРАЇНСЬКОГО НАРОДНОГО КОСТЮМУ В КОНСТРУКЦІЇ ТЕОРІЇ НЕЙРОАРТУ ТА АНТРОПОЛОГІЇ

The purpose of the article is to outline the relationship between the traditions of the Ukrainian folk costume and the theory of neuroart based on the anthropology of art. The cultural and artistic foundation of the Ukrainian nation is embodied in the folk costume, and the worldview of Ukrainians is personified in its sign and symbolic system. The artistic image of the Ukrainian costume is a phenomenon that embodies the historical, cultural and artistic progress of the Ukrainian people, which has a visual-material and immaterial component expressed in the semantics of the costume. Among the plant motifs, the central symbol is the Tree of Life, which encodes a rather simple form of manifestation, the archaic perception of Ukrainians of the construction of the world, where the heavenly, earthly and underground worlds are represented. Plant symbols in embroidery and weaving include images of roses (roses), lilies, oak leaves, hops, and grapes. The use of geometric signs personifies the agricultural orientation of the Ukrainian nation. The schematic representation of various combinations of these figures in the ornaments present on the elements of the costume represents the material world. That is, land, field, and, therefore, fertility. The most common signs include the cross (straight, oblique, double) as a symbol of nature and its four elements. As for the sign of strife, it is a cross in motion – one of the oldest solar symbols, representing the dynamics of the Sun (summer and winter, night and day). The structure of the universe and all life cycles is embodied in the spiral. Among anthropomorphic images of animals and birds, preference is given to the image of Berehyna. The image is a structural model of human eidetic thinking and a way of human communication with the real and divine world. The complex of clothing of the Ukrainian people is considered as an image that has been formed over the centuries and represents, first of all, a peculiar eidetic of the primacy of life. Because each material and immaterial element of a traditional costume is created by the power of human creative thought and a thousand-yearold ethno-cultural background, realized with the help of a number of techniques of decorative and applied art with a utilitarian and aesthetic purpose and, as a result, introduced into human life. Creative understanding of the worldview of previous generations gives us the opportunity to analyze the traditional costume of the Ukrainian people from the point of view of eidetics. The eidetic aspect of the image problem in Ukrainian folk costume has not been studied. The determining influence of the surrounding environment on the formation of eidetic ideas of a person and his search for an emotional and artistic expression of the worldview concept of life has been clarified. In the costume, it was a sign-symbolic system of ornamenting the outfit with the help of embroidery, weaving, beadwork, etc. This includes the range of colors, where white, black and red play a key role – the colors of the natural cycle. In the construction of the theory of neuroart and the anthropology of art, the eidetics of the Ukrainian folk costume appear as a vivid affirmation of the worldview dominant, the sources of which take their origins in the primitiveness of human existence.

К вопросу разграничения поэтики и мироощущения (на материале «Женитьбы» Н.В. Гоголя)

Gogol’s works are very promising for the demarcation between the author’s attitude and the text’s idea and poetics that, usually, successively generate one another. However, Gogol’s attitude came from the archaic and normally could not become the text’s idea - including the motif of a marriage threat. In Evenings on a Farm Near Dikanka and Viy, this motif was part of the depicted folklore world and, thanks to it, was detached from the author. The motif spawns new ties between attitude, idea, and poetics in the comedy Marriage (1833, 1842). Here idea (satire on marriage-related estate swagger) is formally given, and so the motif of marriage threat (shown in Podkolesin’s indecision) goes beyond it and approves itself by contradiction. Kochkarev shows unconsciously in his praise of women the infinity of their bodies as the archaic background of Podkolesin’s attraction to and fear of marriage. This infinity comes from the Slavic belief that during menses the female body ties the people’s world with the underground world of the dead and the infinity of the Earth. The kinship between the woman and the animal, which is constantly voiced in the comedy, makes marriage shameful and transforms its diabolic symbolism into “devil’s laughter”. Placing the story of the failed marriage in the “non-Russian” Petersburg world (perceived by the Russian folk mind as a realized chimera), Gogol gives the hidden explanation of his fear of women personified in Podkolesin. At the very beginning of the comedy, the invasion of the real world by the chimeric one is manifested in “new mirrors” that show people their caricatures. The character’s obscene language is the sign of his high position in society (it is legitimated by the “sodomic” names); lies become an unconscious replacement of the truth, and the hyperbole approves the opposite. Zhevakin and Kochkarev reflect the succession of the archaic and laughter worlds in Marriage. The former represents the “alive deceased” and an old-Russian beggar; the latter a joker and a devil-matchmaker. The explicit and banal “idea” in Marriage is the starting point for the poetical expression of Gogol’s attitude. However, personifying it in the comical hero, who lives in a comical world, Gogol, like in Evenings on a Farm Near Dikanka and Viy (though in a different way), distanced himself from this attitude. Gogol’s late works show his own and hard-fought ideas. The archaic attitude was a fatal threat for them. The author declares no conflicts of interests.