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“In compliance with the Advice contained in these Letters”: Benjamin Franklin’s correspondence networks and the making of the Autobiography

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Thomas J. Haslam

College of Liberal Arts, Shantou University, China.  Email: haslam@stu.edu.cn

Volume IX, Number 3, 2017 I Full Text PDF

DOI: 10.21659/rupkatha.v9n3.09

Received August 11, 2017; Revised September 15, 2017; Accepted September 18, 2017; Published September 20,  2017.

Abstract

This study offers a quantitative approach to mapping out and examining Benjamin Franklin’s writing of his memoirs. It does so by situating the memoirs in the context of Franklin’s other and indeed primary writing activities: his participation in various correspondence networks. Both drawing upon and differing from previous scholarship, this study ascribes key aspects of the memoirs less to intentional design and literary craft, and more to Franklin’s writing habits and cognitive style as manifested over his career. This study further argues for a reconsideration of how Jane Mecom and William Franklin influenced the memoirs.
Keywords: Correspondence Networks, Benjamin Franklin, Data Analysis, Autobiography.

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Spatial Images of Subjective Perception of Time in a Literary Text

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Ella Nesterik1, Fazira Kakzhanova1, Gaukhar Issina1, Tatyana Shelestova1, Yelena Tsay2, Gulzhibek Kusmanova3 and Taliya Pecherskikh4

 1Karaganda State University, Karaganda, Kazakhstan

2Almaty Management University, Almaty, Kazakhstan

3D. Serikbayev East Kazakhstan State Technical University, Ust-Kamenogorsk, Kazakhstan

4Karaganda State Medical University, Karaganda, Kazakhstan

*Corresponding author: Ella Nesterik, Karaganda State University named after academician E.A.Buketov, Karaganda, Kazakhstan, Tel: 77778891091; E-mail: ella_nesterik@mail.ru

Volume IX, Number 3, 2017 I Full Text PDF

DOI: 10.21659/rupkatha.v9n3.08

Received June  16, 2017; Revised July 11, 2017; Accepted July 30, 2017; Published September 20,  2017.

Abstract

The analysis presented in this article is based on the hypothesis that the category of subjective perception of time or psychological time expresses different concepts and it is formed by means of different textual categories in a literary text, including those of the category of fictional space. The hypothesis, in its turn, has been put forward on the basis of the results of literary investigations of time in the study of literature, psychology and textual linguistics. The urgency and novelty of the research is conditioned by the need for a more comprehensive study of conceptual categories of text and in particular their formal aspect (the plane of expression) as well as the interest of modern linguistics in the problem of conceptualization of the world by the means of language, the specificity of the reflection of such fundamental categories as time, space, consciousness, human being in everyday consciousness and naive linguistic world-image.

Keywords: Fictional space, Fictional time, Psychological time, Spatial images, Subjective perception of time.

Le Joyau Des Arts Décoratifs Européens: The Sèvres Porcelain Factory Resuscitation from 1804 to 1815

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Johannis Tsoumas

Technological Educational Institute of Athens / Hellenic Open University. Email: iannis33@hotmail.com

Volume IX, Number 3, 2017 I Full Text PDF

DOI: 10.21659/rupkatha.v9n3.07

Received July 16, 2017; Revised September 11, 2017; Accepted September 15, 2017; Published September 20,  2017.

Abstract

 The following article is a research focusing on the Sèvres porcelain factory restart on the occasion of the rise of Napoleon Bonaparte in the post-French Revolution political scene. The emergence of a new decorative style in the early 19th century, the Empire Style, which seemed to be created in order to meet the aesthetic and political needs of the new regime having as main incentive the ambitious personality of Napoleon, in conjunction with the managerial post occupation of the -until then- decadent factory by the capable scientist Alexandre Brongniart, were the two main reasons for its successful re-opening. But what were the main innovations introduced for its resuscitation and in which sectors? How was developed the production of luxury porcelain objects up to 1815, i.e. until the official cessation of the Empire Style and what were the new prospects of the factory production? What changes were made to the form and decoration of new objects? These are only some of the many issues arisen which will be examined and analyzed.

Keywords: Porcelain, Sèvres, Empire Style, Brongniart, innovation 

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Psychological-pedagogical Potential of Media Culture: Principles and Prospects for the Development of Cinema Pedagogy

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Elena Nikolaevna Likhanova1 & Oleg Denisovich Nikitin2

1,2 Institute of Art Education and Cultural Studies of the Russian Academy of Education, Moscow, Russia. Email: eka53.170@gmail.com

Volume IX, Number 3, 2017 I Full Text PDF

DOI: 10.21659/rupkatha.v9n3.06

Received July 30, 2017; Revised September 02, 2017; Accepted September 05, 2017; Published September 20,  2017.

Abstract

The article reveals the psychological-pedagogical potential of media culture in the categories of its morphology: statics (the internal structure of media culture in the totality of the presented concepts of media education) and cultural dynamics (principles and conditions for the development of audiovisual literacy). The priority area of media education – cinema pedagogy – is considered as an institutional cultural and educational practice. The theoretical basis of research includes the content of the concepts of Ya. A. Ponomarev (comprehensive nature of creative activity), A. A. Melik-Pashayev (artistic and creative talent), S. A. Chursanov (personal anthropological model), and L. F. Shekhovtsova (integral personal development). The principles of new programs of the subject area “Art” in the sphere of cinema pedagogy and media education in general are formulated. The interdisciplinary nature of the forms, methods and means of education in the context of interaction between additional education and information technologies is substantiated. The advantages of the personality-oriented direction of cinema pedagogy are revealed. Within the framework of this approach, the potential of development of creative activity and aesthetic attitude to the world of all subjects of the educational process is indicated. The novelty of the research lies in changing the focus of the pedagogical process from professionally orienting positions (knowledge, abilities, skills) to the situation of creative interaction (pedagogy of cooperation) and a personal vector of development of all subjects of educational activity.

Keywords: cinema pedagogy, media text, audiovisual literacy, interdisciplinary approach, creative activity, culture, personal dominant.

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What is Performance Studies?

Richard Schechner Tisch School of the Arts, New York University  Download PDF Version Because performance studies is so broad-ranging and

Interpretation: New Focus within Literary Research

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Julieta Leo

Universidad de Monterrey. ORCID ID: 0000-0003-4180-2985. Email: julieta.leo@udem.edu

Volume IX, Number 3, 2017 I Full Text PDF

DOI: 10.21659/rupkatha.v9n3.05

Received July 31, 2017; Revised September 13, 2017; Accepted September 17, 2017; Published September 20,  2017.

Abstract

The differences and difficulties found upon doing literary research are analyzed.  The fact that researchers also interpret is highlighted as well as the need for sufficient time and freedom to do their research.  The use of adequate selection criteria, the subjectivity and intuition of the exegete, as well as the use of concepts such as respect for the literal meaning (Umberto Eco) and the analogy of proportion (Inger Enkvist) are proposed as appropriate guidelines for establishing renovated, but systematic reading of texts.

Keywords: literary theory, hermeneutics, research strategies, reading.

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Factors of Positioning and Accreditation of Cultural Agents in a Local Field of Cultural Production

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Jesús Eduardo Oliva Abarca

Universidad Autónoma de Nuevo León, México

ORCID ID 0000-0001-7150-4693. Email: jesus.olivaabr@uanl.edu.mx

Volume IX, Number 3, 2017 I Full Text PDF

DOI: 10.21659/rupkatha.v9n3.04

Received August 09, 2017; Revised September 02, 2017; Accepted September 09, 2017; Published September 20, 2017.

Abstract

This study aimed to analyze the attitudes, skills, and practices, which an aspiring cultural agent must accomplish in order to gain a position in the field of cultural production and to be credited as a functional actor of the art system. The research was limited to the Mexican state of Nuevo León, with the objective of obtaining an overview of the local artistic field from their own actors’ experiences, opinions, and perspectives. The research results demonstrated that the aspiring cultural agents must be capable of fulfilling different roles, being creators, as well as their own promoters and managers at the same time. Also, they must be involved in institutional events in order to be recognized by other cultural agents. Finally, the organization of the local artistic field is defined by intrinsic cultural factors, as well as by extrinsic political and economic circumstances.

Keywords: art world, cultural agent, distribution context, field of cultural production, production domain

On Secular Spirituality in the Duffer Brothers’ Stranger Things, Series 1

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Liesl E. King

York St John University, England. Email: l.king@yorksj.ac.uk

Volume IX, Number 3, 2017 I Full Text PDF

DOI: 10.21659/rupkatha.v9n3.03

Received August 07, 2017; Revised September 12, 2017; Accepted September 17, 2017; Published September 20,  2017.

 Abstract

This paper explores the way in which the Duffer Brothers’ popular Netflix series Stranger Things draws on religious symbolism in order to create an allegorical landscape, one which invites viewers to consider the most pressing topics of our time—climate change and ideological opposition. It argues that apocalyptic sf, with its focus on urgent contemporary questions related to technological advancement, is the perfect genre for exploring secular spirituality and ethics, as it potentially impacts as well as appeals to religious and non-religious viewers alike. The paper concludes by considering the way Stranger Things encourages viewers to consider what a ‘spiritual’ response to disaster might look like, and what we might do individually and collectively to become more aware of the damaged “hyperobjects” (Morton, 2013) that surround and move through us, but which can be extremely difficult to keep in clear view.

Keywords: Netflix series, Stranger Things, hyperobjects, climate change, ideological opposition.

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Haptic Perception Meets Interface Aesthetics: Cultural Representations of Touchscreen Technology in the Aftermath of the iPhone 2007

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Katheryn Wright

Associate Professor, Core Division, Champlain College, USA

ORCID: orcid.org/0000-0002-6485-9549. Email: kwright@champlain.edu

Volume IX, Number 3, 2017 I Full Text PDF

DOI: 10.21659/rupkatha.v9n3.02

Received August 10, 2017; Revised September 12, 2017; Accepted September 15, 2017; Published September 20,  2017.

Abstract

The touchscreen is something other than a boundary between real and illusory worlds, or what Anne Friedberg (2009) calls a “virtual window” (p. 96). The aesthetics of that ‘something else’ is not determined by the technology itself, but by its use in a myriad of cultural practices including how it is represented as a commodity and an experience. This article examines the representation of touchscreen technology following the release of the iPhone in 2007, comparing a Nine Inch Nails rock concert and Blackberry commercial from 2008 with Bjork’s album/app Biophilia and an American Express advertisement from 2011. Comparing these media experiences reveals a representational shift that occurs between the introduction of the touchscreen and the cultural integration of this technology just three years later. A focus on breaking through the frame of the screen shifts into screen interfaces as the building blocks for the virtual construction of “hybrid space” (De Souza e Silva, 2006).

 Keywords: screen, touch, interface, haptic, body

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Editorial: Special Issue dedicated to the Bicentennial of Mexican Independence

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Reynaldo Thompson

School of Digital Arts, Universidad de Guanajuato, Mexico. Email: thompson@ugto.mx

Volume 2, Number 3, 2010 I PDF Version

DOI: 10.21659/rupkatha.v2n3.01

On the occasion of the bicentennial anniversary of Independence in different countries of Latin America and the centennial of the Mexican Revolution in 2010, we are bringing out this issue with a view to celebrating and exploring the past and the present. The rich culture, geography and national resources in Latin America, united by the Iberian languages that function like irrigating blood keep the organs alive and moving. The anniversary may not happen during the best years of those nations; however it is a good time for reflection, criticism and balance of what those new republics have achieved and what it continues to be: the ghost in the everyday life of its inhabitants. No doubt some countries have grown faster, economically, culturally or demographically speaking; though corruption, poverty, insecurity and improvisation are among the problems that are still affecting what was called, the New World after two hundred years of self-governance. In this issue writers from various parts of the planet have critically focused on the history and culture of Latin America.

Bearing the Burden of Native Experience: A Stylistic Analysis of Chinua Achebe’s Arrow of God

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Debaleena Dutta

Banaras Hindu University, India

Volume 2, Number 1, 2010 I Full Text PDF

DOI: 10.21659/rupkatha.v2n2.07

Abstract

Chinua  Achebe has  made  a  creative Africanization  of  the  English  language  in  all  his  literary  works.  In  the  process  of  writing  counter-narratives  to  Euro-centric  misrepresentations  of  Africa, Achebe  has  successfully  harnessed  the  colonizer’s  language  to  make  it  bear  the  burden  of  his  native  experience.  The  present  paper  proposes  to  take  up  the  third  novel  by  Achebe, namely  Arrow  of  God (1964) to  introspect  the  different  kinds  of  narrative  strategies  involved  in  it.  This  includes  a  study  of  the  kind  of  narrator  used,  and  a  survey  of  the  various  ways  in  which  the  language  is  maneuvred—through  the  usage  of  standard  and  pidgin  English, through  linguistic  devices  like  humour, satire  and  irony, through  symbols, proverbs, images, metaphors  and  songs—in  order  to  capture  a  vivid  picture  of  Nigeria  of  the  late  1920s, in  which  the  novel  is  set. In  a  nutshell, this  stylistic  criticism  aims  to  illustrate  in  effect  how  Achebe  creatively  extends  the  frontiers  of  English  language  to  accommodate  the  various  shades  of  Nigerian  reality  within  it.

Keywords:  Chinua  Achebe, Arrow  of  God, Narrative  strategies, Linguistic  devices. Keep Reading

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