This paper examines possibility to use fantasy movies in education of tolerance. Tolerance problem is very relevant nowadays, especially when it is being considered in relationship with latter political and social events. Also it is very inportant to find an appropriate tool for increasing tolerance of contemporary young people. This paper connects relevance of tolerance and attracness of hipotetical teaching tool – fantasy movies. It was determined that fantasy movies can be used to teach tolerance, also the list of appropriate for teaching tolerance fantasy moviesi is given.
This paper examines possibility to use fantasy movies in education of tolerance. Tolerance problem is very relevant nowadays, especially when it is being considered in relationship with latter political and social events. Also it is very inportant to find an appropriate tool for increasing tolerance of contemporary young people. This paper connects relevance of tolerance and attracness of hipotetical teaching tool – fantasy movies. It was determined that fantasy movies can be used to teach tolerance, also the list of appropriate for teaching tolerance fantasy moviesi is given.
In 2015, Vremya Publishing House issued A Flute Solo, a book by V. Shenderovich, a multigenre and, according to the author of the article, intermedial work, since the peculiarities of the content of a political satire and a tragedy, a farce and a fantasy on the one hand and some features of musical pieces, a fugue in particular, on the other hand, have merged there. The author provides a detailed characterization of the plot, constructed as a grotesque depiction of the reality, the composition as relating a verbal text to a piece of music, and the symbolic value of certain elements, allowing not to agree to the definition of the book as being "desperately hopeless".
In 2015, Vremya Publishing House issued A Flute Solo, a book by V. Shenderovich, a multigenre and, according to the author of the article, intermedial work, since the peculiarities of the content of a political satire and a tragedy, a farce and a fantasy on the one hand and some features of musical pieces, a fugue in particular, on the other hand, have merged there. The author provides a detailed characterization of the plot, constructed as a grotesque depiction of the reality, the composition as relating a verbal text to a piece of music, and the symbolic value of certain elements, allowing not to agree to the definition of the book as being "desperately hopeless".
In 2015, Vremya Publishing House issued A Flute Solo, a book by V. Shenderovich, a multigenre and, according to the author of the article, intermedial work, since the peculiarities of the content of a political satire and a tragedy, a farce and a fantasy on the one hand and some features of musical pieces, a fugue in particular, on the other hand, have merged there. The author provides a detailed characterization of the plot, constructed as a grotesque depiction of the reality, the composition as relating a verbal text to a piece of music, and the symbolic value of certain elements, allowing not to agree to the definition of the book as being "desperately hopeless".
In 2015, Vremya Publishing House issued A Flute Solo, a book by V. Shenderovich, a multigenre and, according to the author of the article, intermedial work, since the peculiarities of the content of a political satire and a tragedy, a farce and a fantasy on the one hand and some features of musical pieces, a fugue in particular, on the other hand, have merged there. The author provides a detailed characterization of the plot, constructed as a grotesque depiction of the reality, the composition as relating a verbal text to a piece of music, and the symbolic value of certain elements, allowing not to agree to the definition of the book as being "desperately hopeless".
Based on the semi-structured interviews with imprisoned men at Alytus correctional facility conducted in 2012, the article analyzes what it means to have a "good life" and what fantasies of good life these men espouse in their austere ordinary. What does their normative fantasy of good life consist of and how can it be achieved? The article also discusses the ways in which the masculinity of the respondents influences their rather conventional good life fantasies confronted by both their life experiences and the economic, social and political environment of Lithuania. Alytus correctional facility is one of the biggest prisons in Lithuania. In January 2013, it housed 1424 men repeatedly sentenced for their crimes. Both inmates and prison officials acknowledge that most men incarcerated here are drug addicts. Drug use is rather widespread in this correctional facility. A number of HIV-infected men also reside here. Fourteen semi-structured interviews with prisoners sentenced from 3 to 11 times were conducted in August 1–31, 2012. The age of the respondents ranged from 22 to 52 years. The crimes they commited included thefts, robberies, illegal possession of drugs, homicides, illegal use of electronic payment devices and electronic data and forgery. During the interviews, the topics of fatherhood, masculinity, prison subculture and the relationship between masculinity and criminality were discussed. Questions on the topic of good life, its objects and emotions related to good. [to full text]
Based on the semi-structured interviews with imprisoned men at Alytus correctional facility conducted in 2012, the article analyzes what it means to have a "good life" and what fantasies of good life these men espouse in their austere ordinary. What does their normative fantasy of good life consist of and how can it be achieved? The article also discusses the ways in which the masculinity of the respondents influences their rather conventional good life fantasies confronted by both their life experiences and the economic, social and political environment of Lithuania. Alytus correctional facility is one of the biggest prisons in Lithuania. In January 2013, it housed 1424 men repeatedly sentenced for their crimes. Both inmates and prison officials acknowledge that most men incarcerated here are drug addicts. Drug use is rather widespread in this correctional facility. A number of HIV-infected men also reside here. Fourteen semi-structured interviews with prisoners sentenced from 3 to 11 times were conducted in August 1–31, 2012. The age of the respondents ranged from 22 to 52 years. The crimes they commited included thefts, robberies, illegal possession of drugs, homicides, illegal use of electronic payment devices and electronic data and forgery. During the interviews, the topics of fatherhood, masculinity, prison subculture and the relationship between masculinity and criminality were discussed. Questions on the topic of good life, its objects and emotions related to good. [to full text]
Based on the semi-structured interviews with imprisoned men at Alytus correctional facility conducted in 2012, the article analyzes what it means to have a "good life" and what fantasies of good life these men espouse in their austere ordinary. What does their normative fantasy of good life consist of and how can it be achieved? The article also discusses the ways in which the masculinity of the respondents influences their rather conventional good life fantasies confronted by both their life experiences and the economic, social and political environment of Lithuania. Alytus correctional facility is one of the biggest prisons in Lithuania. In January 2013, it housed 1424 men repeatedly sentenced for their crimes. Both inmates and prison officials acknowledge that most men incarcerated here are drug addicts. Drug use is rather widespread in this correctional facility. A number of HIV-infected men also reside here. Fourteen semi-structured interviews with prisoners sentenced from 3 to 11 times were conducted in August 1–31, 2012. The age of the respondents ranged from 22 to 52 years. The crimes they commited included thefts, robberies, illegal possession of drugs, homicides, illegal use of electronic payment devices and electronic data and forgery. During the interviews, the topics of fatherhood, masculinity, prison subculture and the relationship between masculinity and criminality were discussed. Questions on the topic of good life, its objects and emotions related to good. [to full text]
The classical conception of capital constructed by Marx and notions of cultural and symbolical capital suggested by P. Bourdieu's are compared in the article. Disney's products are connected with institutionalisation and manipulation of the three forms of capital. Author of the article discusses relations and conflicts between cultural capital and the making of fetish and personification. Disney's politics of institutionalisation eliminates these conflicts and solves the problem of alienation among people within the corporation. Disney's practices of auteur and animation prevents antagonism between property of the corporation and ambitions of creators. Historical analyses show how ideologies, conceptual paradigms, action models developed by Disney met wishes of the masses, implemented modern multiculturalism, diversification and supported social fragmentation. The article criticises Th. Adorno's and W. Benjamin's views where Disney's corporation is considered as an expression of hegemonic industrial imperialism and a propagandist of American ideology. However, Disney is rather a producer of social discourses and new models of education. If even any corporation is ideological one, however stories and characters produced by Disney corporation (for example, ones about Winnie-the-Pooh, Aladdin, Alice, Mickey Mouse, Pinocchio, Pocahontas, Hercules) are mythological and philosophical parables which overpass ideological borders and open the door to the live and huge world. Humanistic and individualistic activities of Disney Corporation's creation, co-operation with consumers, and development of education programs are emphasized in the article. Disney relies on investigation of basic cultural habitus, archetypes and symbols of thinking. In this way, Disney creates the world of fantasy, dreams and Utopias. The corporation uses pragmatism as a philosophical foundation. The only truth for the corporation is production of pleasure and profit for all consumers. Everybody could find a pleasure, psychological satisfaction and stimuli for socialization and cooperation in these miraculous lands. It gives Disney profit and growth opportunities.
The classical conception of capital constructed by Marx and notions of cultural and symbolical capital suggested by P. Bourdieu's are compared in the article. Disney's products are connected with institutionalisation and manipulation of the three forms of capital. Author of the article discusses relations and conflicts between cultural capital and the making of fetish and personification. Disney's politics of institutionalisation eliminates these conflicts and solves the problem of alienation among people within the corporation. Disney's practices of auteur and animation prevents antagonism between property of the corporation and ambitions of creators. Historical analyses show how ideologies, conceptual paradigms, action models developed by Disney met wishes of the masses, implemented modern multiculturalism, diversification and supported social fragmentation. The article criticises Th. Adorno's and W. Benjamin's views where Disney's corporation is considered as an expression of hegemonic industrial imperialism and a propagandist of American ideology. However, Disney is rather a producer of social discourses and new models of education. If even any corporation is ideological one, however stories and characters produced by Disney corporation (for example, ones about Winnie-the-Pooh, Aladdin, Alice, Mickey Mouse, Pinocchio, Pocahontas, Hercules) are mythological and philosophical parables which overpass ideological borders and open the door to the live and huge world. Humanistic and individualistic activities of Disney Corporation's creation, co-operation with consumers, and development of education programs are emphasized in the article. Disney relies on investigation of basic cultural habitus, archetypes and symbols of thinking. In this way, Disney creates the world of fantasy, dreams and Utopias. The corporation uses pragmatism as a philosophical foundation. The only truth for the corporation is production of pleasure and profit for all consumers. Everybody could find a pleasure, psychological satisfaction and stimuli for socialization and cooperation in these miraculous lands. It gives Disney profit and growth opportunities.
The classical conception of capital constructed by Marx and notions of cultural and symbolical capital suggested by P. Bourdieu's are compared in the article. Disney's products are connected with institutionalisation and manipulation of the three forms of capital. Author of the article discusses relations and conflicts between cultural capital and the making of fetish and personification. Disney's politics of institutionalisation eliminates these conflicts and solves the problem of alienation among people within the corporation. Disney's practices of auteur and animation prevents antagonism between property of the corporation and ambitions of creators. Historical analyses show how ideologies, conceptual paradigms, action models developed by Disney met wishes of the masses, implemented modern multiculturalism, diversification and supported social fragmentation. The article criticises Th. Adorno's and W. Benjamin's views where Disney's corporation is considered as an expression of hegemonic industrial imperialism and a propagandist of American ideology. However, Disney is rather a producer of social discourses and new models of education. If even any corporation is ideological one, however stories and characters produced by Disney corporation (for example, ones about Winnie-the-Pooh, Aladdin, Alice, Mickey Mouse, Pinocchio, Pocahontas, Hercules) are mythological and philosophical parables which overpass ideological borders and open the door to the live and huge world. Humanistic and individualistic activities of Disney Corporation's creation, co-operation with consumers, and development of education programs are emphasized in the article. Disney relies on investigation of basic cultural habitus, archetypes and symbols of thinking. In this way, Disney creates the world of fantasy, dreams and Utopias. The corporation uses pragmatism as a philosophical foundation. The only truth for the corporation is production of pleasure and profit for all consumers. Everybody could find a pleasure, psychological satisfaction and stimuli for socialization and cooperation in these miraculous lands. It gives Disney profit and growth opportunities.
The classical conception of capital constructed by Marx and notions of cultural and symbolical capital suggested by P. Bourdieu's are compared in the article. Disney's products are connected with institutionalisation and manipulation of the three forms of capital. Author of the article discusses relations and conflicts between cultural capital and the making of fetish and personification. Disney's politics of institutionalisation eliminates these conflicts and solves the problem of alienation among people within the corporation. Disney's practices of auteur and animation prevents antagonism between property of the corporation and ambitions of creators. Historical analyses show how ideologies, conceptual paradigms, action models developed by Disney met wishes of the masses, implemented modern multiculturalism, diversification and supported social fragmentation. The article criticises Th. Adorno's and W. Benjamin's views where Disney's corporation is considered as an expression of hegemonic industrial imperialism and a propagandist of American ideology. However, Disney is rather a producer of social discourses and new models of education. If even any corporation is ideological one, however stories and characters produced by Disney corporation (for example, ones about Winnie-the-Pooh, Aladdin, Alice, Mickey Mouse, Pinocchio, Pocahontas, Hercules) are mythological and philosophical parables which overpass ideological borders and open the door to the live and huge world. Humanistic and individualistic activities of Disney Corporation's creation, co-operation with consumers, and development of education programs are emphasized in the article. Disney relies on investigation of basic cultural habitus, archetypes and symbols of thinking. In this way, Disney creates the world of fantasy, dreams and Utopias. The corporation uses pragmatism as a philosophical foundation. The only truth for the corporation is production of pleasure and profit for all consumers. Everybody could find a pleasure, psychological satisfaction and stimuli for socialization and cooperation in these miraculous lands. It gives Disney profit and growth opportunities.
The article embarks upon the discrepancy in time between the establishment of the first translation schools in Europe and in Lithuania, where the first translation school dates back as late as the last decades of the twentieth century, after regaining Independence. The historical overview accounts, in a sense, for at times lesser importance of the quality of translation than anticipated. The article aims at a study of Lithuanian and French translations of A Game of Thrones by George R. R. Martin; the novel opens a series of books under the title A Song of Ice and Fire. The analysis is based on Henri Meschonnic's concepts of poetics of translation, ethics and policies. It also adopts Anthony Pym's principles of translation ethics. George R.R. Martin's phenomenon is briefly discussed in the article, his role in the contemporary world of science fiction genre, specifically in the niche of epic fantasy novels is presented. Having discussed concepts of poetics of translation, translation and translator's ethics, as well as policies of translation, the author procedes with selected samples of French and Lithuanian translations and presents them in problem-based units, such as translation of proper names of the literary characters, metaphorical expressions and literal translation. Having analysed the corpus of samples in Lithuanian and French the author arrives at the conclusion that the translator into French has preserved the poetics of the original and has demonstrated adherence to the principles of translator's ethics, while the translator into Lithuanian has failed in her attempt to reveal the poetics of the text, and the big number of word-for-word translation passages indicates some lack of fidelity to the original text and its translation, as well as translator's ethics in general. Thus it may be assumed, from a broader perspective, that the recently established school of translation in Lithuania lacks some tradition of quality as applied to translation text and that may cause such unfortunate results as the study has revealed.
The article embarks upon the discrepancy in time between the establishment of the first translation schools in Europe and in Lithuania, where the first translation school dates back as late as the last decades of the twentieth century, after regaining Independence. The historical overview accounts, in a sense, for at times lesser importance of the quality of translation than anticipated. The article aims at a study of Lithuanian and French translations of A Game of Thrones by George R. R. Martin; the novel opens a series of books under the title A Song of Ice and Fire. The analysis is based on Henri Meschonnic's concepts of poetics of translation, ethics and policies. It also adopts Anthony Pym's principles of translation ethics. George R.R. Martin's phenomenon is briefly discussed in the article, his role in the contemporary world of science fiction genre, specifically in the niche of epic fantasy novels is presented. Having discussed concepts of poetics of translation, translation and translator's ethics, as well as policies of translation, the author procedes with selected samples of French and Lithuanian translations and presents them in problem-based units, such as translation of proper names of the literary characters, metaphorical expressions and literal translation. Having analysed the corpus of samples in Lithuanian and French the author arrives at the conclusion that the translator into French has preserved the poetics of the original and has demonstrated adherence to the principles of translator's ethics, while the translator into Lithuanian has failed in her attempt to reveal the poetics of the text, and the big number of word-for-word translation passages indicates some lack of fidelity to the original text and its translation, as well as translator's ethics in general. Thus it may be assumed, from a broader perspective, that the recently established school of translation in Lithuania lacks some tradition of quality as applied to translation text and that may cause such unfortunate results as the study has revealed.
