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1

Transitional Society: (Re) Evolution of Values

100%
Matusevych T.
Dialogue and Universalism
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2017
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issue 2
159-166
EN
This article examines the attributes of the existence and the transformation of values in transitional society (eclecticism). Also the possibilities and limits of the relativistic application of the concepts of revolution and evolution in defining the processes of transformation of values in a transitional society are discussed.
2
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Элегические традиции в лирике поэта В. В. Бородаевского

88%
Михайлова И., Курский государственный университет Ф. ф.
Acta Universitatis Lodziensis. Folia Litteraria Rossica
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2014
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vol. 07
EN
The article is devoted to the elegiac tradition in the works of Valeryan Borodayevsky, a poet of the Silver Age. The peculiarity of Borodayevsky’s elegy is pointed out and connections with the elegies of Yevgeny Baratynsky and Fyodor Tyutchev are traced. The article brings the first research of the subject.
3
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Y. Buida’s Novel "Boris and Gleb" as a Phenomenon of Postmodern Literature: the Perspectives of Chaosmos and Eclecticism

75%
Karczewicz J.
Slavia Orientalis
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2020
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vol. LXIX
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issue 2
4
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Птичий Рай: о судьбе райских птиц на Руси в Новое время

63%
Кузнецова О.
Acta Universitatis Lodziensis. Folia Litteraria Rossica
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2021
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issue 14
9-16
EN
The article discusses the model of synthesising literary images (eclecticism) with reference to the history of birds of paradise in Early Modern Russia. In medieval Russian books, legendary birds (Sirin, Alkonost, Phoenix, Gamayun, etc.) are depicted and described with their individual characteristics. Some of them have human features (anthropomorphism), others have no legs and never sit on the ground; some can heal, others can be reborn; some fascinate with their singing, others control the elements. In medieval culture, the images of these miraculous birds almost never merge. In the Early Modern Russian culture, a new “bird pantheon” is being created, the representatives of which are united on a twofold basis: external splendour and special properties of voice. The pantheon includes both characters of medieval legends and real-life birds, especially exotic ones, with which the Russian people begin to get acquainted then, mixing truth and fiction in stories about them. Birds of the “paradise pantheon” replace each other and are being combined. The symbolic paradise in folk culture becomes a space in which their various features are permitted to interact. The hyperbolisation of brightness, beauty and magical properties is perceived in this context as natural and harmonious, and various birds, getting into the “pantheon”, lose their individual characteristics and acquire features of their “neighbours”. In a drawing a parrot is called a peacock. A canary and a parrot in a wood carving look like a rooster. Gamayun and Alkonost become anthropomorphic (like Sirin) and acquire peacocks’ tails. The Sirin’s images bear the inscription “Pharaoh”, because the siren (sirena) is called “faraonka” in the Russian culture. However, the same eclecticism of images and features receives an ironic interpretation in fables and journalistic genres of the 18th century. The enumeration of beauties and wonders turns into grotesque, the multiplication of birds’ names, where a peacock and a crow, a parrot and an eagle appear alongside, leads to ridiculing the overall image. The parrot and the raven can replace each other in different translations of a fable because both of them have the ability to speak, but the expectation of a beautiful singing from the crow is a subject of a comic story. Alexander Shishkov enhances the confusion, naming not only well-known allegories (the parrot as a stupid chatterbox and imitator; a crow in peacock’s feathers), but also turning the narrative (a peacock in a crow’s feathers). Beautiful and great things become comic and ridiculous in the new culture, but remain relevant in modern kitsch.
RU
Статья посвящена истории образов чудесных птиц в русской культуре XVII-XVIII веков. На стыке Средневековья и pаннего Нового времени сирин, алконост, феникс, гамаюн и дру- гие райские птицы претерпевают метаморфозы: они сближаются, приобретают общие черты и в конечном счете начинают смешиваться в текстах и визуальной культуре. Кроме того, в круг райских птиц включаются реально существующие виды с ярким оперением или необычным го- лосом: павлины, канарейки, попугаи, снегири. Этот новый «птичий пантеон» возникает под вли- янием перехода от средневекового книжного мышления к новому, рационалистическому, и од- новременно при переходе образов из элитарной культуры в массовую. Народное воображение создаёт идеализированный топос рая с лубочно-яркими персонажами и их диковинными свой- ствами: гротеск в этом художественном пространстве служит для усиления экспрессии. В то же время в литературе гиперболические описания птиц уходят в сферу комического: с помощью чрезмерных характеристик персонажи басен и публицистических произведений высмеиваются (ворона с «ангельским» голосом, в павлиньих перьях и др.).
5
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Eklektyzm organizacyjny

63%
Piwowarski T., Grabiński T., Luty Z.
Zeszyty Naukowe Wyższej Szkoły Ekonomii i Informatyki w Krakowie
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2023
|
issue 19
231-259
EN
This article discusses how modern individuals aspire to fully express themselves, their emotions, cultivate their passions, and explore their spiritual dimension. This, in turn, influences the structure of contemporary organizations, which are more eclectic than homogeneous.
PL
Niniejszy artykuł traktuje o tym, że współczesny człowiek pragnie w pełni wyrażać siebie, swoje emocje, rozwijać swoje pasje, odkrywać siebie w wymiarze duchowym, a to z kolei przekłada się na kształt dzisiejszych organizacji, które są bardziej eklektycznie niż jednorodne.
6
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„Magické noci počal čas“: new-age spiritualita a subkultury v čase změn

51%
Daniel O.
Studia Ethnologica Pragensia
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2017
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issue 1
96-106
EN
This scholarly article investigates different levels of appropriation of new-age spirituality in three subcultural contexts. The research focuses on the period of changes from state socialism to liberal democracy in Czechoslovakia. The three subcultural contexts in question are those of black metal scene around Prague-based band Törr, “underground” dissident subcultural formations and a peculiar personality of Vincent Venera and his hardcore-experimental musical band Saint Vincent. Three different strategies of using new-age spirituality are examined with the help of hypothesis of (sub)cultural transfer.
7
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Non-modern modernity? Neomodern architecture

51%
Ciarkowski B.
Art Inquiry. Recherches sur les arts
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2016
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vol. XVIII (XXVII)
87-97
EN
Neo-modernism, as both a philosophical and an architectural current, evolved as a critical response to postmodernism, the movement described by Agnes Heller as “neither conservative, nor revolutionary, nor progressive”. At the same time, neo-modernism adopted some post-modernist assumptions, resulting from the criticism of the modernist movement. Rem Koolhaas emphasized that although contemporary architecture is clearly inspired by modernist aesthetics, it has little in common with the two major attributes of the modern movement – opposition towards context and towards history. Thus, neo-modernism can be described as “unmodern modernity”. According to Jürgen Habermas, being modern is closely related to being free of external axioms. Neo-modernism appears rather to be another form of eclecticism or “a strategy without an aim”, than a new modern movement.
PL
Neomodernizm, zarówno jako kierunek filozoficzny, jak i nurt w architekturze, zrodził się jako krytyczna odpowiedź na postmodernizm, zdefiniowany jako ruch nadmiernie pluralistyczny, który sam w sobie nie jest „ani konserwatywny, ani rewolucyjny, ani postępowy”. Jednocześnie przyjął niektóre z postmodernistycznych założeń wynikających bezpośrednio z krytyki ruchu nowoczesnego. Rem Koolhaas słusznie zwracał uwagę, że współcześni architekci chętnie sięgają ku modernistycznym wzorcom zapominając jednocześnie o dwóch immanentnych cechach ruchu nowoczesnego w architekturze – akonstektualności i ahistoryczności. Neomodernizm może zatem być określony mianem „nienowoczesnej nowoczesności”. Zgodnie z koncepcją Jurgena Habermasa, bycie nowoczesnym jest ściśle związane z odrzuceniem zewnętrznych pewników. Neomodernizm jawi się raczej jako kolejne oblicze eklektyzmu, „strategia bez ostatecznego celu”, niż nowy ruch nowoczesny.
8
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Eklektyzm jako postawa filozoficzna

51%
Węcławski M.
Internetowy Magazyn Filozoficzny Hybris
|
2018
|
vol. 41
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issue 2
126-146
EN
The aim of this paper is to explore some of the meanings of frequently underestimated and misunderstood topic of eclecticism. In doing so, we would like to ask how the phenomenon of eclecticism was perceived in the past and whether it is correct to regard it as something more than just an abstract notion, namely: as a philosophical mindset and particular approach to life in general. The text is divided into two parts. The first one contains an outline of the history of eclecticism, understood as a notion and a kind of attitude. It is shown that, among others, it was thanks to the eclectic approach that emerging Christian civilisation would open itself to the heritage of the classical era; late antiquity and the Renaissance, both having produced ideas of religious humanism, are also indicated as the most eclecticism-related epochs. The second part aims at describing the phenomenon of eclecticism as, unlike syncretism, depending on a selection of elements rather than combining them together. It is presented as a way of philosophising and thus as a way of being, potentially creative and open to different viewpoints, yet, unlike skepticism, committed to the truth. All in all, the paper shall be perceived as a praise of eclecticism, assuming that it deserves far more appreciation and scholarly attention than has been given to it thus far.
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