Alderson Creek (AC) is a small stream, approximately 2.4 km long, located about 100 kilometers from Kelowna, British Columbia. It passes through seven private properties that produce alfalfa-grass hay, raise cattle, horses and poultry. The creek and riparian corridor is substantially degraded, with sinking stream banks, siltation of the watercourse, loss of native riparian vegetation, and loss of fish habitat (Alderson Creek Remediation Plan, 2014). Channelization of the stream, lack of maintenance, as well as other inadequate management practices, have resulted in permanently flooded farmland (10.4 acre), cases of animals drowning in one part of the creek (due to unrestricted access for cattle) and disease problems such as foot rot for animals that are frequently in wet conditions. In 2014, landowners along the creek formed a non-profit society called the "Alderson Creek Restoration Environmental Society" (ACRES) to cooperatively address issues resulting from the state of the creek. In the same year, the proposal for a Group Environmental Farm Plan (GEFP) was submitted to BC Government. The plan proposed a set of solutions including fencing to keep cattle out of the creek, installing off-stream livestock watering and/or controlled livestock access to the stream, installing additional drainage infrastructure and planting natural vegetation to support the stream bank and provide shading and habitat. This document presents an accounting of the costs and benefits of the project. Some of these costs and benefits are experienced by the land owners themselves, while others impact the larger community. Riparian corridors in particular provide extensive environmental services which include water flow regulation, attractive visual aesthetics, and habitat for terrestrial and aquatic flora and fauna. This study relies on the Benefit Transfer methodology to attach values to the expected ecosystem services after the restoration. The analysis was conducted for two possible project scenarios, a three meter and a five meter riparian buffer on either side of the creek. The lifetime of the project was taken to be 20 years and the net benefits (Benefits – Costs) were discounted using a 3% and 5% discount rate. Results showed positive net benefits for both scenarios when cash flows are discounted at 3%. Results suggest that a five meter riparian buffer results in the largest net benefit, calculated as Net Present Value (NPV= $53,422). With a three meter riparian buffer and using a 5% discount rate, net benefits are negative (NPV= - $5,865). The internal rate of return (IRR) for the three and five meter buffer scenarios was 4.64% and 5.41% respectively. ; Irving K. Barber School of Arts and Sciences (Okanagan) ; Land and Food Systems, Faculty of ; Economics, Philosophy and Political Science, Department of (Okanagan) ; Unreviewed ; Faculty ; Graduate
This study tackles the aesthetics, politics and ethics of androgyny, focusing on five novels of contemporary British writers: Brigid Brophy's In Transit, Angela Carter's The Passion of New Eve, Jeanette Winterson's Written on the Body, Peter Ackroyd's Dan Leno and the Limehouse Golem and Will Self's Cock and Bull. The first part examines the aesthetic dimension of androgyny, a myth of metamorphic value that destabilizes notions of space, time, bodily constraints and gendered identity. The second part analyses the interplay between the grotesque and hybrid dimensions of the hermaphroditic body in reclaiming the monstrous as a means to renegotiate identity in terms of a multiplicity and to redefine the relationship of the individual to Otherness. This finally allows to examine the political and ethical values of the hermaphrodite that articulates the non‐foundational Levinasian ethics of alterity with the more practical approach to otherness of the ethics of care. ; Ce travail traite de la figure de l'androgyne dans la littérature britannique contemporaine, à travers un corpus de cinq œuvres de la seconde moitié du 20ème siècle : les romans de Brigid Brophy, In Transit, d'Angela Carter, The Passion of New Eve, de Jeanette Winterson, Written on the Body, de Peter Ackroyd, Dan Leno and the Limehouse Golem et de Will Self, Cock and Bull. La première partie examine la valeur plastique de l'androgyne qui agit dans les textes comme opérateur de métamorphoses et balise un terrain textuel de l'instabilité et de la réversibilité, permettant de penser les opposés dans un rapport de pro‐thèse plus que synthèse. La seconde partie étudie les divers aspects de la monstration, dans la perspective de dégager la double logique de l'exhibition et de la renégociation de la norme liées à l'hermaphrodisme. Enfin, la troisième partie traite des dimensions éthique et politique de la figure, dans la mesure où l'androgyne permet de réarticuler la notion de sujet comme étant interconnecté à, constitué par et responsable de l'Autre, ...
This study tackles the aesthetics, politics and ethics of androgyny, focusing on five novels of contemporary British writers: Brigid Brophy's In Transit, Angela Carter's The Passion of New Eve, Jeanette Winterson's Written on the Body, Peter Ackroyd's Dan Leno and the Limehouse Golem and Will Self's Cock and Bull. The first part examines the aesthetic dimension of androgyny, a myth of metamorphic value that destabilizes notions of space, time, bodily constraints and gendered identity. The second part analyses the interplay between the grotesque and hybrid dimensions of the hermaphroditic body in reclaiming the monstrous as a means to renegotiate identity in terms of a multiplicity and to redefine the relationship of the individual to Otherness. This finally allows to examine the political and ethical values of the hermaphrodite that articulates the non‐foundational Levinasian ethics of alterity with the more practical approach to otherness of the ethics of care. ; Ce travail traite de la figure de l'androgyne dans la littérature britannique contemporaine, à travers un corpus de cinq œuvres de la seconde moitié du 20ème siècle : les romans de Brigid Brophy, In Transit, d'Angela Carter, The Passion of New Eve, de Jeanette Winterson, Written on the Body, de Peter Ackroyd, Dan Leno and the Limehouse Golem et de Will Self, Cock and Bull. La première partie examine la valeur plastique de l'androgyne qui agit dans les textes comme opérateur de métamorphoses et balise un terrain textuel de l'instabilité et de la réversibilité, permettant de penser les opposés dans un rapport de pro‐thèse plus que synthèse. La seconde partie étudie les divers aspects de la monstration, dans la perspective de dégager la double logique de l'exhibition et de la renégociation de la norme liées à l'hermaphrodisme. Enfin, la troisième partie traite des dimensions éthique et politique de la figure, dans la mesure où l'androgyne permet de réarticuler la notion de sujet comme étant interconnecté à, constitué par et responsable de l'Autre, engendrant une pensée de la relation éthique mais également pratique de la sollicitude.
The Art of the Modernist Body explores the fraught relationship between corporeality and the genesis of new language in modernist literature. The dissertation argues that the history of disability in the early twentieth century facilitates a revised account of Anglo-American modernism; specifically, the modernists' formal preoccupation with loss, deficiency, and absence, long regarded as a vital aspect of the movement, can be re-imagined productively through the heuristic of disability theory. The project likewise reveals that many of modernism's signature novelties, including free verse, Imagism, and the embrace of ordinary speech, are influenced by artists' attempts to represent physical deviance. Each text in question is generated out of repeated encounters with extraordinary figures or forms, and the artists openly challenge the conceptual, social, and political parameters that delimit the ideal human body. Their literature also reminds us that the modernist period is a remarkably inchoate time in terms of how the body is imagined. Two World Wars, the rise of the machine age, and advances in prosthetic and rehabilitative medicine are just a few of the phenomena that brought the human form to the forefront of British and American culture, with politicians, cultural critics, industrial scions, workers, artists, and soldiers all tussling over the social and economic value of imperfect bodies. Accordingly, many accounts from the period resist any entrenched, discrete notions of normality and abnormality, and acts of corporeal discipline, normalization, and rehabilitation are neither roundly condemned nor applauded. The confluence of multiple visions of corporeality not only alters the cultural landscape, but it also affects the very language through which the experience of physical difference is articulated. The novelists and poets herein record both processes, namely by producing what might be called a "contingency of corporeality:" they define the superlative modernist body as a hybrid entity, a form that registers the dueling forces of normalization and destabilization.
The Matter of Beauty proposes that Victorian aesthetic theory is not a branch of philosophy focusing on art; rather, it is best understood as an interdisciplinary investigation of how humans relate affectively to physical things. The central claim of the dissertation is that aesthetic theory in the late-Victorian period enabled a significant reconsideration of what a "human" was, and of how distinctions could be drawn between self and other. I pursue this claim across four authors -- Walter Pater, William Morris, Grant Allen, and Vernon Lee -- who represent different modes in which a materialist strain of aesthetics led to a recognition that individuals constitutively lack autonomy from one another and from their surroundings.My analysis of a wide range of late-Victorian writing demonstrates that aesthetic theory responded to a question that was powerfully raised by nineteenth-century science, and that remains with us today: If our most elevated emotions can be localized as electrical activity in the brain, is there a "self" that transcends our material being? The intellectual tradition that I reconstruct reveals that considering aesthetic experience is a productive step toward answering this question. In their discussions of art and literature, Pater, Morris, Allen, and Lee develop a discourse of bodily sensations rather than of moral feelings; for them, aesthetic pleasure is important not because it is uplifting, but because it makes enjoyable the interconnectedness of bodies, minds, and matter. Furthermore, recovering this discourse allows us to revisit critical commonplaces about the political significance of Victorian aesthetics. Over the past two decades, the tendency has been to frame questions about the politics of aesthetics in oppositional terms: e.g., is aestheticism queer or misogynist, progressive or reactionary? I look elsewhere in order to evaluate the politics of aestheticism: representations of the individual as a material thing lacking autonomy reconfigured the relation between self and society. Materialist aesthetics showed individuals to be inherently dependent upon their contingent environments, thereby calling into question context-free ideals of personal freedom and individualism.
The seventeenth century in Britain produced a distinct and unique genre of embroideries; embroideries that were the work of women who have in general maintained, historically, a low profile. In recent years, with an increased 'female consciousness', attention has been given to these textiles, and much of what has been said is a matter of some controversy. The concerns of this thesis are therefore two-fold: to look at the women and their work, and in so doing to attempt to clarify some of the arguments surrounding them. No art form exists independently of its creators, and they in turn are the product of their society, so a section of this work is concerned with the place of women in seventeenth century society. Differences in this position from one period to another may indicate the reasons for corresponding changes in the work they created. Similarly, these attitudes and aesthetics do not spring fully fledged into a new century, so it was necessary to pick up the threads of the sixteenth century, and then to look at the trends that were to be more fully developed in the eighteenth century. The scope of the objects covered in this thesis is therefore wide; a major part of the study being concerned with pattern sources of the period, in an attempt to understand the true context of the embroideries in the general aesthetic of the seventeenth century. In doing so, one may also gain an understanding of personal concerns, economic changes and political tensions of the period, as they affected the embroiderer, as well as that of the economic and sociological power bases of the period – and in the seventeenth century the influence of religion on both.
From blog posts to critical work, to the writing of fanfiction narratives, that extend the serial narrative, the serial form has established itself since the 1990s as a mass cultural device. The use of costumes from The Handmaid's Tale in demonstrations across the world has proved the political efficiency of TV series, through the borrowing of their imagery in contemporary political movements. This work aims to prove that the political efficiency of the serial form lies above all in its aesthetic organization. The way in which series make bodies visible, and cut out abilities and inabilities in the sensitive world they have created, points out their intrinsically political dimension. The study of female gender in Black Mirror, Mad Men, Orange is the New Black, The Handmaid's Tale, This is England and Top of the Lake shows that the series is a place of political exploration. Conceptions of femininity can indeed vary according to the diegetic universes, and are shown through a singular division of fictional time and space, revealing that the serial medium is the site of the construction and deconstruction of gender identities. The series sets itself up as a factory of femininity, since female characters always stand out onscreen according to modalities that translate creative and political choices. In reaction to the intra-diegetic of metafictional limitations that weigh on female characters, the intimate gesture or relationship amount to a form of dissent. The establishment of relationships that are not governed by the rules of the diegetic universe indeed authorizes an interchangeability in gendered postures. The political efficiency of the series under study lies in their aesthetic capacities to foster new versions of femininity. ; Des billets de blogs aux travaux critiques, jusqu'à la conception de récits de fanfiction, qui viennent prolonger le récit sériel, la forme sérielle s'établit depuis les années 1990 comme un dispositif culturel de masse. L'utilisation des costumes de The Handmaid's Tale pour des manifestations dans le monde a également prouvé l'efficacité politique des séries, grâce à l'emprunt de leur imagerie dans les mouvements politiques contemporains. Ce travail a pour but de prouver que l'efficacité politique des séries réside avant tout dans leur organisation esthétique. La manière dont elles mettent en visibilité les corps, et découpent des capacités et des incapacités dans le monde sensible qu'elles ont créé, nous renseigne sur leur dimension intrinsèquement politique. L'étude du genre féminin dans les séries Black Mirror, Mad Men, Orange is the New Black, The Handmaid's Tale, This is England et Top of the Lake permet de montrer que la série est le lieu d'une exploration politique. Les conceptions de la féminité varient selon les univers diégétiques, et se traduisent par un découpage des espaces et des temps fictionnels singulier, révélant ainsi que le médium sériel est le lieu de la construction et de la déconstruction des identités de genre. La série s'érige en fabrique de la féminité, puisque les personnages féminins se distinguent à l'écran selon des modalités qui expriment toujours des choix créatifs et politiques. Face aux limitations intra-diégétiques ou métafictionnelles qui pèsent sur le genre féminin, le geste ou la relation intimes viennent faire dissidence. L'établissement de relations qui ne sont pas régies par les règles des univers diégétiques autorise en effet une interchangeabilité des postures genrées. L'efficacité politique des séries du corpus tient alors à leurs capacités esthétiques à proposer de nouvelles versions de la féminité.
From blog posts to critical work, to the writing of fanfiction narratives, that extend the serial narrative, the serial form has established itself since the 1990s as a mass cultural device. The use of costumes from The Handmaid's Tale in demonstrations across the world has proved the political efficiency of TV series, through the borrowing of their imagery in contemporary political movements. This work aims to prove that the political efficiency of the serial form lies above all in its aesthetic organization. The way in which series make bodies visible, and cut out abilities and inabilities in the sensitive world they have created, points out their intrinsically political dimension. The study of female gender in Black Mirror, Mad Men, Orange is the New Black, The Handmaid's Tale, This is England and Top of the Lake shows that the series is a place of political exploration. Conceptions of femininity can indeed vary according to the diegetic universes, and are shown through a singular division of fictional time and space, revealing that the serial medium is the site of the construction and deconstruction of gender identities. The series sets itself up as a factory of femininity, since female characters always stand out onscreen according to modalities that translate creative and political choices. In reaction to the intra-diegetic of metafictional limitations that weigh on female characters, the intimate gesture or relationship amount to a form of dissent. The establishment of relationships that are not governed by the rules of the diegetic universe indeed authorizes an interchangeability in gendered postures. The political efficiency of the series under study lies in their aesthetic capacities to foster new versions of femininity. ; Des billets de blogs aux travaux critiques, jusqu'à la conception de récits de fanfiction, qui viennent prolonger le récit sériel, la forme sérielle s'établit depuis les années 1990 comme un dispositif culturel de masse. L'utilisation des costumes de The Handmaid's Tale pour des ...
My dissertation tracks the dialectical development of liberal subjectivity from eighteenth-century cultures of sensibility to the development of pragmatist-feminism at the turn of the twentieth century. Scholars have recently developed models for understanding transatlantic circuits of exchange and their importance in the development of interiority. Secularizing Sentiment , in focusing on the shift from sensibility and sentiment to pragmatism and feminism, participates in these discussions by framing liberal discourse in terms of affective conflict and aesthetic innovation. In particular, it anatomizes the generative contradictions of liberal subjectivity, on the one hand enamored of the text's power to order experience, on the other terrified of the threat to selfhood posed by iteration. Secularizing Sentiment theorizes the shift from sentimentalism to pragmatist-feminism as transatlantic states struggle with economic liberalization, industrialization, and growing rates of literacy. It emphasizes literacy as a technology accompanied by predictable conflicts, providing new lines of inquiry across an expanding archive of print and material culture made available by digitization.Chapter One considers Bluestocking sociality and Della Cruscan poetics by way of Sarah Wilmot nee Morris, a presumably unpublished poet whose manuscript miscellanies I found while doing archival research at Chawton House Library. Chapters Two and Three, through close attention to transatlantic novels and poetry of sensibility and sentiment, characterize sentimental subjectivity in terms of manic literacy, referred to by Jacques Derrida as the pharmakon, and how manic literacy gives rise to regulatory hermeneutic regimes. These regimes of interpretation - such as sensibility, sentimentalism, realism, and pragmatism - check the free play of the text according to powerful social and institutional structures. Chapters Four and Five complicate my theorization of liberal subjectivity, considering how the Civil War and the rise of clinical discourse threaten sentimental presumptions. Chapter 6, through readings of John Dewey, Jane Addams, and William James, demonstrates how pragmatist-feminism emerges as a sentimental critique of clinical discourse, thus placing it in the broader genealogy of liberal subjectivity explicated in Chapters One through Five.
This thesis studies Oscar Wilde's encounter with the idea of China in late nineteenth century Britain. After Marcartney's embassy to the Qing court and the two Opium Wars, "China" became an increasingly negative idea in nineteenth century Britain. Wilde's sympathy with China under such historical circumstances induces reconsiderations of the relationship among aestheticism, orientalism, and modernism. The story of how Wilde utilized and appropriated Chinese culture is at the same time a story about how orientalism was used by British aestheticism to protest against the late Victorian middle-class ideology and invent the politics of modernist aesthetics. This thesis contributes to the study of the idea of China in nineteenth century Britain in general and to the scholarship on Oscar Wilde, aestheticism and modernism in particular. Wilde's reading of Chuang Tzu and his appreciation of the anti-realist Chinese aesthetic and visual power embodied in patterned blue and white china helped him articulate his aestheticism. The thesis examines Chinese influence on his aesthetic, social and political ideas against British middle-class ideology. The historical contexts of Wilde's encounter with Chinese philosophy and material culture are also scrutinized to show that China, as an exotic-familiar antithesis to British bourgeois ideology, became a critical point of reference for Wilde to launch his trenchant criticism of Western society. Works and collections by other proponents of British aestheticism, such as James McNeill Whistler and Dante Gabriel Rossetti, are also included to further demonstrate China's role in the British Aesthetic Movement. The thesis is based on three interrelated central arguments: first, British aestheticism was a reaction to the social problems and consumer culture in late Victorian Britain, and it aims to aestheticize not only art, but also life and society; second, the nineteenth-century British construction of China, especially in the translation and deciphering of Chuang Tzu in early British sinology in Chapter one, and in Chapter Two, blue and white china's visual anti-realism widely discussed and condemned in the late Victorian mass media, crucially participated in Wilde's theory of art and British aestheticism in general; third, Wilde's aestheticism, by incorporating Chinese thought and aesthetics, had experimented with modernist aesthetics before it came to be known as such. Although Wilde and other British aesthetes were complicit in the orientalist construction of China when placing China and the West into a binary position, they revised the nineteenth-century British imperial discourse that subjugated and denigrated the Orient and invested in the kind of Sino-British communication advocating and incorporating the aesthetic values of Chinese culture. ; published_or_final_version ; English ; Master ; Master of Philosophy
The article critically analyzes the methodological state of linguocultural conceptology and touchesupon the problematic issues that require their further development. The main attention is focused on the need to revise thestructure of linguistic and cultural concepts and, in this regard, to clarify the terminological designation of these mentalformations. It is assumed that each concept of the linguoculture acquires conceptual status only when it is value-evaluative toits members, and therefore a synergetic combination of such entities is axioconceptosphere – motivational continuum of theirexistence. It is defined that the main task of linguoconceptologists is associated with the search of the relevant for thereconstruction of such motivational continuum of British and Ukrainian ethnic cultures methodological tools, to prove thatthe allocation of linguistic and cultural concepts of the value layer only as one of the components of their structures simplifiesthe mental and panchronic (deeply diachronic, etymological, historical and modern) nature of this type of formations. It isproposed three-orthodox (dimensional, cognitive-linguocomparative and linguo-synergetic) methodological approach for theanalysis of diachronic and synchronic structure of actually value concepts – TRUTH, GOOD, BEAUTY, BENEFIT that havebeen identified by ancient thinkers and successive generations of philosophers as the basic value categories and whosubsequently laid the foundations of the entire sciences – logic, ethics, aesthetics, which were considered to be a complexsystem of significant priorities (individual, collective and universal) in the life of each ethnic group and its individualrepresentative. In the article the researcher defined the stages of effective methods and techniques application for thereconstruction in British and Ukrainian axioconceptospheres: the first stage involves the application of methods of cognitiveand linguo-comparative studies, in particular, the method of a diachronic review of the etymological versions of the originalvalues of the names of these concepts, their synonyms and derivatives of the etymological sources of the English andUkrainian languages (with the help of Indo-European etymological dictionaries), the second stage – methods of structurallinguistics, modern lexical and cognitive semantics. References Alefirenko, Nikolay. 2013.Lingvokulturologiya: cennostno-smyslovoeprostranstvoyazyka.Moskva: Flinta; Nauka. 2.Chekulay, Igor, Prohorova, Olga. 2016. "Cennostno-deyatelnostnye metaforicheskie modeli v sozdanii sistemy cennostnyh konceptov angliyskogo yazyka".Nauchnyi rezultat: setevoi zhurnal 2, 1(7):44–47. 3.Fesenko, Tamara. 2000. "Konceptualnoe modelirovanie kak metod izucheniya mentalnoy realnosti cheloveka".Kognitivnaya semantika. Tambov.2:149–151.4.Fevr, Lyus'en.1991. Boi za istoriyu. Translated by A. A. Bobovicha, M. A. Bobovicha i Yu. N. Stepanova. Moskva: Nauka. 5.Hrolenko, Aleksandr. 2004. Osnovy lingvoku'turologii. Moskva: Flinta; Nauka. 6.Karasik, Vladimir, Slyshkin, Gennadiy. 2001. Lingvokulturnyi koncept kak edinica issledovaniya metodologicheskie problemy kognitivnoi lingvistiki. 7.Karasik, Vladimir. 2009. Lingvokulturnaya konceptologiya. Volgograd. 8.Knyazeva, Elena, Kurdyumov, Sergey. 1994. Zakony evolyucii i samoorganizacii slozhnyh system.Moskva: Nauka. 9.Leskov, Leonid.2004. "Sinergetika kultury". Vestnik MGU.Seriya 7. Filosofiya 45:14–36.10.Marchuk, Uliana. 2008. "Asotsiatyvnyi eksperyment yak metod doslidzhennia linhvokulturnykh kontseptiv". Naukovi zapysky. Kirovohrad: RVV KDPU im. V. Vinnichenka 75:242–246. 11.Maslova, Valentina. 2013. "Koncepty raznyh tipov i puti ih rekonstrukcii."Problemy konceptualizacii deystvitelnosti i modelirovaniya yazykovoy kartiny mira6:160–169.12.Mezhuev, Vadim.2006. Ideya kultury. Ocherki po filosofii kultury. Moskva: Progress-Tradiciya.13.Mescheryakova ,Yuliya. 2007. Krasota. Antologiya konceptov.Moskva: Gnozis.14.Pantelei M. 2006. "Otsinka u strukturi linhvokulturnoho kontseptu politican / polityk".Visnyk KhNU im.V.N.Karazina725:33–36. 15.Pimenova, Marina. 2007. "Metodologiya konceptualnyh issledovaniy".Antologiya konceptov. Moskva: Gnozis.16.Popova, Zinaida, Sternin, Iosif. 2005. Polevaya model koncepta. Vvedenie v kognitivnuyu lingvistiku. –Kemerovo: Kuzbassvuzizdat.17.Rikkert, Heinrich.1995. Nauki o prirode i nauki o duhe. Kulturologiya. XX vek: Antologiya. – M.: Yurist.18.Semehyn, Tetiana. 2011. "Dynamika semantychnoi struktury binarnykh kontseptiv PREKRASNYI/POTVORNYI v anhliiskii ta ukrainskii movakh". PhD diss., Kyiv: Nats. ped. un-t imeni M.P.Drahomanova.19.Slyshkin, Gennadiy. 2004. Lingvokulturnye koncepty i metakoncepty.Volgograd: Peremena.20.Stefanova, Nataliia. 2018. "Cognitive and ontological essence of axiological dominants and principles of their taxonomy in diachronic and synchronic review". Advanced Education:scientific journal9:225–230. doi.10.20535/2410-8286.131680>21.Stepanov,Yuriy.2007. Koncepty. Tonkaya plenka civilizacii. Moskva: Yazyki slavyanskih kultur.22.Sternin, Iosif. 2001. "Metodika issledovaniya struktury koncepta". Metodicheskie problemy kognitivnoy lingvistike. Voronezh: Izd-vo Voronezhskogo gos. u-ta.23.Stolovich, Leonid. 1988. "The aesthetic value in the world of values". Aesthetica et Calonologia67–76.24.Tkachuk A., Kurenkova T., Strekaleva T. "Cennostnyy faktor i specifika mirovospriyatiya naroda (na materiale analiza lingvokulturnyh konceptov)".Kulturologiya. URL: http://econf.rae.ru/article/6740.25.Tokarev,Grigoriy. 2000. Problemy lingvokulturologicheskogo opisaniya koncepta (na primere «Trudovaya deyatelnost»).Tula.26.Uryson, Elena. 2003. Problemy issledovaniya yazykovoy kartiny mira: analogiya v semantike. Moskva: Yazyki slavyanskoy kultury.27.Valickaya, Alisa. 2013. Aksiosfera soderzhanie ponyatiya i ego instrumentalnyi status.Aksiosferasovremennosti: filosofsko-esteticheskiyanalizinravstvennoeobosnovaniesociokulturnyhpraktik.28.Vorkachev, Sergey. 2010. "Kudazhnamplyt? Lingvokulturnayakonceptologiya: sovremennoesostoyanie, problemy, vektorrazvitiya".Yazyk,kommunikaciyaisocialnayasreda 8:5–27. ; У статті критично схарактеризовано методологічний стан лінгвокультурної концептології й порушено тіпроблемні питання, які потребують подальшого розроблення. Основну увагу зосереджено на необхідності переглядуструктури лінгвокультурних концептів і у зв'язку з цим уточнення термінологічного позначення цих ментальнихутворень. Зроблено припущення, що кожен концепт лінгвокультури набуває концептуального статусу лише тоді,коли він є ціннісно-значимим для її представників, і тому синергетична сукупність таких утворень складаєаксіоконцептосферу – мотиваційний континуум їхнього побутування. Сформульоване головне завданнялінгвоконцептологів, пов'язане з пошуками придатних для реконструкції подібного мотиваційного континуумубританської та української етнокультур методологічних інструментів, за допомогою яких вдасться довести, щовиокремлення в лінгвокультурних концептах ціннісного шару лише як одного з компонентів їхніх структур спрощуєментальну й панхронічну (глибоко діахронічну, етимологічну, історичну й сучасну) природу такого типу утворень.Запропоновано тріортодоксальний (димензіональний, когнітивно-лінгвокомпаративний, лінгвосинергетичний)методологічний підхід для аналізу діахронно-синхронної структури власне ціннісних концептів – TRUTH, GOOD,BEAUTY, BENEFIT / ІСТИНА, ДОБРО, КРАСА, КОРИСТЬ, визначених античними мислителями та подальшимипоколіннями філософів як базові ціннісні категорії і які згодом заклали основи цілих наук – логіки, етики, естетики,де їх розглядали як складноорганізовану систему ЗНАЧУЩИХ пріоритетів (індивідуальних, колективних,загальнолюдських) у житті кожного етносу й окремого його представника. Визначено етапи застосуванняефективних методів і методик для реконструкції британської і української аксіоконцептосфер: перший етаппередбачає застосування методів когнітивної лінгвокомпаративістики, зокрема методу діахронічного коментаряетимологічних версій первісних значень імен зазначених концептів, їх синонімів і дериватів в етимологічнихджерелах англійської та української мов (із залученням словників індоєвропейської етимології), другий – методівструктурної лінгвістики, сучасної лексичної і когнітивної семантики.
The Government of the Senses is a study of how the changes in aesthetic culture that occurred in the wake of empiricism operated as regulating social processes. Tracking the rise of a new concern with tastefulness as well as various approaches to aesthetic detachment, I describe how these critical discourses translated into different styles of subjectification. Each chapter identifies figural representations in literature and visual culture that reflect what it felt like to participate in the new aesthetic culture. Chapter One describes the new interest in ideas of taste and "gust" in John Milton's work and models of aesthetic detachment in John Dryden, showing how Lord Shaftesbury and Joseph Addison developed these models of aesthetic behavior into a comprehensive social program. Chapter Two argues for a continuity between the cultivation of pleasure in the Restoration libertine discourse of Lord Rochester and George Etherege and the eighteenth-century cultivation of aesthetic pleasures. I show the importance of the fop character type in the transition to socially acceptable enjoyments: at the center of ambivalence about cultural consumption, the fop is the first figure that condenses the experience of modern aesthetic subjectivity. Chapter Three follows the inner sense tradition, arguing that Daniel Defoe's Robinson Crusoe narrates an aesthetic self-fashioning by testing the limits of detachment from social life. This wildly popular novel shows how culturally relevant the new aesthetic culture had become beyond the stratified elites. Chapter Four studies the emergence of a socially intelligible figure of the person of taste between Jonathan Richardson's theory of connoisseurship and the major statements on the standard of taste in the 1750s. It shows that the methods, tensions, and models of authority associated with the new aesthetics were most fully exemplified in the literary career of Alexander Pope. Methodologically, this project studies the regulating effects of aesthetics using Michel Foucault's late theory of "governmentality" and it describe aesthetics as a self-sustaining social process using the theory of Niklas Luhmann. The chapters also include discussions of the Cartesian theory of pleasure, Hobbesian psychology, the theory of the je ne sais quoi of Dominique Bouhours, the models of conduct in Baltasar Gracián and the Chevalier de Méré, John Locke on secondary qualities and self-education, inner sense theory in Ralph Cudworth and Francis Hutcheson, Adam Smith on self-regulation, William Hogarth on utility, and the theories of taste in Edmund Burke, Alexander Gerard, and David Hume. I show that the first phase of modern British aesthetics fashioned a coherent model for the conduct of conduct using the intensities of the sensitive body.
Meera Syal's latest novel, The House of Hidden Mothers (2015), depicts the current practice of international surrogacy and raises questions about this form of reproduction which commodifies babies and constructs poor women's bodies in India and elsewhere as sites of reproductive exploitation. Nonetheless, Syal's novel challenges an initial reading of Indian surrogate mothers as mere passive victims of western capitalist demands and depicts a surrogate mother, Mala, who constantly subverts her position as a disempowered, 'third world' woman. I shall argue that the novel bridges the discursive western-constructed gap between 'poor and disempowered' Indian women and 'rich and empowered' British ones explicitly through its ending, but also implicitly by engaging with gender concerns related to the perception, (re)presentation and exploitation of women's bodies in the United Kingdom and India alike. ; The research for this article was conducted as part of the research project "The Politics, Aesthetics and Marketing of Literary Formulae in Popular Women's Fiction: History, Exoticism and Romance" (FFI2016-75130-P) (AEI/FEDER, UE).
Emerging in the UK in the 1980s, Scratch Video established a paradoxical union of mass-media critique, Left-wing politics, and music-video and advertising aesthetics with its use of moving-image appropriation in the medium of videotape. Enabled by innovative professional and consumer video technologies, artists like George Barber, The Gorilla Tapes, and Sandra Goldbacher and Kim Flitcroft deployed a style characterized by the rapid sampling and manipulation of dissociated images drawn from broadcast television. Inspired by the cut-up methods of William Burroughs and the audio sampling practiced by contemporary black American musicians, these artists developed strategies for intervening in the audiovisual archive of television and disseminating its images in new contexts: in galleries and nightclubs, and on home video. Reconceptualizing video's 'body,' Scratch's appropriation of televisual images of the human form imagined a new hybrid image of the post-industrial body, a 'third body' representing a new convergence of human and machine.
In 'War Pictures', Puckett looks at how Britain imagined, saw, and sought to represent its war during wartime. How did the material and conceptual pressures of total war affect what it meant to see or to make art? How did culture and, in particular, cinema function as propaganda, as criticism, as a form of self-analysis, as a reflection on war and the kinds of violence it tends to unleash? How did British filmmakers, writers, critics, and politicians understand the nature and consequence of total war as it related to ideas about freedom and security, the idea of national character, and the daunting persistence of human violence? 'War Pictures' is also about violence, aesthetics, and conceptual difficulties of war in general; in other words, beginning with a close and critical analysis of a particular cultural scene, the author makes strong and important claims about where the historiography of war, the philosophy of violence, and aesthetics come importantly together.
