Proceedings of the 6th Arts & Humanities Virtual Conference, Prague最新文献

{"title":"THE ‘ACT’ IN THE WORK OF KÔBÔ ABE AND FRANZ KAFKA","authors":"Nina Habjan","doi":"10.20472/ahc.2020.006.001","DOIUrl":"https://doi.org/10.20472/ahc.2020.006.001","url":null,"abstract":": This paper is an analysis of four literary works by the authors Kôbô Abe and Franz Kafka. Using the theory of the philosophy of action as the theoretical background, the paper explores the different acts the characters try to commit. Through the analysis of their action, the author of the article is trying to understand the motivation for the acts themselves, while also considering the wider social environment and how it might have affected the success or failure of the acts. The paper includes two of Abe’s short stories, the first one being the story “Beyond the Curve”, the English translation of which has been published in the collection by the same name and was translated by Juliet Winters Carpenter. The other short piece by Abe has not been translated to English as of yet, thus the English quotations of the work used in this paper will have been done by the author of the paper. The title of the story can be roughly translated as “The Raccoon dog of the Tower of Babel”. The pieces by Kafka which are analyzed in the paper are “The Burrow” and “The Judgement”. While the authors come from different sides of the planet, with different backgrounds and quite different influences, there are certain similarities in their approaches to the characters in their work. This paper explores to what degree the environment of the characters is to blame for their ultimate demise or victory, through the exploration of their willingness to act according to their own capabilities.","PeriodicalId":244695,"journal":{"name":"Proceedings of the 6th Arts & Humanities Virtual Conference, Prague","volume":"15 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"1900-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"122265312","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}

{"title":"THE REPRESENTATION OF THE DEFEAT. THE GREEK-TURKISH WAR OF 1897 THROUGH THE HAND OF ITS ARTISTS: DRAWINGS AND PAINTINGS OF THE FRONT","authors":"Konstantina Ntakolia","doi":"10.20472/ahc.2020.006.003","DOIUrl":"https://doi.org/10.20472/ahc.2020.006.003","url":null,"abstract":": The defeat of Greeks in the short, in terms of duration, war that broke out in 1897 against the Turks, constituted the motive for researching the way that the Greek and foreign artists chose to illustrate this unpleasant outcome of war, since so far, a concertation of the images of that war has not been conducted. Through the study of c.150 drawings, oil paintings and folk images a first attempt is realized to approach and interpret the way that the ‘infelicitous’ war of 1897 was presented and illustrated, mainly in the national and international Press of that time, where the documentary painting meets Ernst Gombrich’s principle of the “eyewitness”. Although the 1897 war lasted approximately only a month the artistic production was immense. Hundreds of correspondents managed to reach the to execute drawings of the battles that took place in the Thessalian and Epirus These fast drawings were sent back home, and they were published (Acropolis, Empros, Pinakothiki, Script, Gli Avvenimenti d’ Oriente, L’ Illustratión, Le Monde Illustré, La Tribuna Illustrata della Le Petit Journal Supplément Ιllustré, Le Petit Parisien, The Daily Graphic, The Illustrated London News etc.) creating a “point of view” of that war. To this end, a second wave of Philhellenism was arisen, motivating the Philhellenes around the world to join once again the Greeks in the battle, e.g., the Italians Garibaldini fought and died heroically in Thessaly. Paris with the avant-garde while Roilos was a prestigious professor in School of Fine Arts-Athens), this facet of their work remains undiscovered. Therefore, in this study, Galanis’ drawings of the front are presented for the first time, while a new approach to Roilos’ paintings is attempted. Based on the analysis and study of the images of the war, we present our conclusions on the depiction of the 1897 Greek-Turkish war: Realism and Naturalism are alternate, while the soldiers are portrayed mainly as ordinary people fighting, suffering and dying for their homeland. Perhaps the foreigners, influenced by these pictures, felt sympathy for the Greek troops and reached for help regardless the continuous recessions. It was a matter of representation of the defeat.","PeriodicalId":244695,"journal":{"name":"Proceedings of the 6th Arts & Humanities Virtual Conference, Prague","volume":"29 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"1900-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"121601084","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}

{"title":"ALICIA PARTNOY AND THE LITERARY PROJECT OF TRANSCONTEXTUAL MEMORY MAKING","authors":"Deanna H. Mihaly","doi":"10.20472/ahc.2020.006.002","DOIUrl":"https://doi.org/10.20472/ahc.2020.006.002","url":null,"abstract":": Alicia Partnoy reconfigures the experience of trauma, as a disappeared Jewish woman detainee during the Dirty War in Argentina, into an alternative heroic survivor narrative, titled The Little School (1986). The author recently published ¡Escuchá!: Cuentos y versitos para los más chiquitos (2016) letters and poems she had sent her daughter from prison, returning again to the time of her capture and invoking personal memories in the service of a decades-long commitment to international memory-making. In her writing, Partnoy’s struggles are set against a backdrop of surging neo-Fascism ideology, interpreted by historian Federico Finchelstein as a transcontextualization of Holocaust practices on the South American continent manifested in the atrocities committed during the Dirty War. Partnoy’s work indicates the repressive violence of her captivity, and she refers to symbolic acts of anti-Semitism directed at her and other disappeared people as victims, yet the focus of her narrative is instead a tale of resistance and survival. This study identifies in Partnoy’s work a transcontextual literary rendering of the experience of trauma.","PeriodicalId":244695,"journal":{"name":"Proceedings of the 6th Arts & Humanities Virtual Conference, Prague","volume":"86 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"1900-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"122490413","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}