Emotions have long been considered by philosophers as a fundamental element to understand human thought and existence in general. This present study examines how Roberto Rossellini＇s early neorealist films, Rome, Ope...Emotions have long been considered by philosophers as a fundamental element to understand human thought and existence in general. This present study examines how Roberto Rossellini＇s early neorealist films, Rome, Open City （1945） and Paisan （1946）, utilize the emotion of compassion to examine the social and historical significance of women in the postwar Italy. Furthermore, it also focuses on the role of the female protagonists and the compassionate responses they suggest to clarify their position in society. In fact, by depicting the female protagonists as modest dissenter that attempt to perform traditional domestic roles, the director proposes a unique perspective on the conditions and social involvement of women in Italy during that time. Additionally, this study will propose interesting observations on the emotion of compassion itself, and its mechanisms that produce an image of idealized womanhood.展开更多
Kuquradi （1994）, in a paper entitled ＂The concept of Justice,＂ makes a determination in terms of the situation of injustice by comparing individual situations. In her opinion, when we consider the injustice in ind...Kuquradi （1994）, in a paper entitled ＂The concept of Justice,＂ makes a determination in terms of the situation of injustice by comparing individual situations. In her opinion, when we consider the injustice in individual situations, we consider two different things and compare them through a third （middle） term. In other words, we consider： （1） some things that a person possesses at a certain moment, （2） the things that another person possesses at a certain moment, and （3） we compare human beings as a species, in respect of the actualisation of the human potentialities at this historical moment. From the Ku^uradi＇s point of view, conceptualization of the idea of justice, that is, giving an answer that can be established by knowledge to the question of ＂what is justice？＂ is the inevitable condition for surpassing this situation （1994）. But, here we may claim that the situation of injustice can be surpassed by the feeling of respect for human being in the Kantian sense without the conceptualizing the idea of justice as a precondition. If certain persons who actualize the human potentialities in a higher degree than others at the same historical moment and act with a will determined by the law of moral, shall inevitably be respected by other persons who have not yet actualized such potentialities in themselves. It seems that the appearance of this feeling is possible only through a moral education in the Kantian sense, through which persons who have actualized human potentialities in a higher degree will possess a will determined by the moral law.展开更多
As a literary slogan given to a special meaning by history, ‘reality＇ has constituted a dominant clue in the evolution of the ideological trend of realism in 20th Century Chinese Literature. In the ‘New Literature ...As a literary slogan given to a special meaning by history, ‘reality＇ has constituted a dominant clue in the evolution of the ideological trend of realism in 20th Century Chinese Literature. In the ‘New Literature Movement＇ of May 4th Movement,‘reality＇, as the characterization of scientific rationality spirit and an imposition on the description of the objective reality, has been incorporated into the perspective of Modern Chinese literature： In the 1950s and 1960s, it protested to obtain an independent literary discourse as a saving weapon; in the early 1980s, it‘restored＇ realism as a theory starting point of ‘re-enlightenment＇. In the late 1980s, with the conversion of historical context, and the subversion and reconstruction of Western ‘refer to＇ concept to ＂reality＂ concept of traditional epistemology, ‘reality＇ ended its historic mission, and thus to retire展开更多
This paper delves into Anton Chekhov＇s The Seagull and George Bemard Shaw＇s The Apple Cart to extensively analyze their infusion of certain comical elements in depicting ostensibly tragic concerns. The paper aims at...This paper delves into Anton Chekhov＇s The Seagull and George Bemard Shaw＇s The Apple Cart to extensively analyze their infusion of certain comical elements in depicting ostensibly tragic concerns. The paper aims at exploring the use of the comic elements that is not without purpose. Instead through this incorporation of farce, linguistic humor, witty repartee and exaggeration, the holistic vision of life is obtained which was earlier compartmentalized by the Greeks and Roman playwrights. Comic elements including slapstick humor, the singing of songs, and certain character portrayal are discussed as techniques employed at the hands of the playwrights to reflect over the real historical milieu of their respective times, yet giving a boost to realism as a theory and a practice. This is a qualitative study based upon hermeneutic theory of textual analysis. The paper establishes the similarities in Bernard Shaw＇s and Anton Chekhov＇s employment of comical elements as well as the difference between their essential purposes in generic transgression. Although the two writers have their roots in different countries, their humorous portrayal of various issues is seen to be similar. From the microanalysis of these plays, the same comic strains can be traced out in modern drama at macro level that will enhance the implication of this research paper. This paper therefore concludes that comic and tragic elements are not antagonistic rather complimentary to each other.展开更多
This study endeavours to assess the deliberate distortion of historical memory in two works written in different periods of time by the same author, namely Vedat Kokona with the novel Me Valet e let,s （With the Waves...This study endeavours to assess the deliberate distortion of historical memory in two works written in different periods of time by the same author, namely Vedat Kokona with the novel Me Valet e let,s （With the Waves of Life） published in the 1960s, as well as his own autobiography Endur ne Tisin e Kohes （Woven in the Veil of Time）, which was written and published after the 1990s. The novel was written under the censorship conditions of social realism, and consequently the stance toward historical war figures was shaped by the ideological prism： ＂Enver Hoxha leads the war, opponents like Lumo Skendo collaborate with the enemy, and the indifferent intelligentsia must feel blameworthy for their non-engagement with the communists＂. This scheme apparently collapses after the 1990s, when Kokona took it upon himself to narrate his autobiography, in the abridgment entitled Woven in the Veil of Time. Therein is revealed his realistic assessment of the figures of Enver Hoxha, Lumo Skendo, Ernest Koliqi, etc. Freed at the time from the chains of ideological censure, in his memoirs, Kokona discusses these historical characters. Supplied with individual human sensitivity, facing good and evil, he reflects upon the past, with the consciousness of the intellectual who has witnessed an era permeated with major changes.展开更多
The fundamental task of Marxist philosophical studies today is to uncover contemporary social actuality. It was Hegel who first showed a possible way to social actuality in philosophical terms via sharp critiques of s...The fundamental task of Marxist philosophical studies today is to uncover contemporary social actuality. It was Hegel who first showed a possible way to social actuality in philosophical terms via sharp critiques of subjective consciousness and its external reflection. Marx critically inherited this legacy from Hegel. His critiques not only undermined the speculative, idealist alliance of Idea and Actuality, but also thoroughly reconstructed the essential dimension of social actuality. A Kantian interpretation of Marxist philosophy on this theme presupposes a dismissal of the dimension of social actuality, which means a return to the philosophy of subjective consciousness. The latter in turn means the actual collapse of historical materialism. The path to social actuality is vital to historical materialism. It is only through this path that the truth of the theory of historical materialism can be upheld.展开更多
文摘Emotions have long been considered by philosophers as a fundamental element to understand human thought and existence in general. This present study examines how Roberto Rossellini＇s early neorealist films, Rome, Open City （1945） and Paisan （1946）, utilize the emotion of compassion to examine the social and historical significance of women in the postwar Italy. Furthermore, it also focuses on the role of the female protagonists and the compassionate responses they suggest to clarify their position in society. In fact, by depicting the female protagonists as modest dissenter that attempt to perform traditional domestic roles, the director proposes a unique perspective on the conditions and social involvement of women in Italy during that time. Additionally, this study will propose interesting observations on the emotion of compassion itself, and its mechanisms that produce an image of idealized womanhood.
文摘Kuquradi （1994）, in a paper entitled ＂The concept of Justice,＂ makes a determination in terms of the situation of injustice by comparing individual situations. In her opinion, when we consider the injustice in individual situations, we consider two different things and compare them through a third （middle） term. In other words, we consider： （1） some things that a person possesses at a certain moment, （2） the things that another person possesses at a certain moment, and （3） we compare human beings as a species, in respect of the actualisation of the human potentialities at this historical moment. From the Ku^uradi＇s point of view, conceptualization of the idea of justice, that is, giving an answer that can be established by knowledge to the question of ＂what is justice？＂ is the inevitable condition for surpassing this situation （1994）. But, here we may claim that the situation of injustice can be surpassed by the feeling of respect for human being in the Kantian sense without the conceptualizing the idea of justice as a precondition. If certain persons who actualize the human potentialities in a higher degree than others at the same historical moment and act with a will determined by the law of moral, shall inevitably be respected by other persons who have not yet actualized such potentialities in themselves. It seems that the appearance of this feeling is possible only through a moral education in the Kantian sense, through which persons who have actualized human potentialities in a higher degree will possess a will determined by the moral law.
文摘As a literary slogan given to a special meaning by history, ‘reality＇ has constituted a dominant clue in the evolution of the ideological trend of realism in 20th Century Chinese Literature. In the ‘New Literature Movement＇ of May 4th Movement,‘reality＇, as the characterization of scientific rationality spirit and an imposition on the description of the objective reality, has been incorporated into the perspective of Modern Chinese literature： In the 1950s and 1960s, it protested to obtain an independent literary discourse as a saving weapon; in the early 1980s, it‘restored＇ realism as a theory starting point of ‘re-enlightenment＇. In the late 1980s, with the conversion of historical context, and the subversion and reconstruction of Western ‘refer to＇ concept to ＂reality＂ concept of traditional epistemology, ‘reality＇ ended its historic mission, and thus to retire
文摘This paper delves into Anton Chekhov＇s The Seagull and George Bemard Shaw＇s The Apple Cart to extensively analyze their infusion of certain comical elements in depicting ostensibly tragic concerns. The paper aims at exploring the use of the comic elements that is not without purpose. Instead through this incorporation of farce, linguistic humor, witty repartee and exaggeration, the holistic vision of life is obtained which was earlier compartmentalized by the Greeks and Roman playwrights. Comic elements including slapstick humor, the singing of songs, and certain character portrayal are discussed as techniques employed at the hands of the playwrights to reflect over the real historical milieu of their respective times, yet giving a boost to realism as a theory and a practice. This is a qualitative study based upon hermeneutic theory of textual analysis. The paper establishes the similarities in Bernard Shaw＇s and Anton Chekhov＇s employment of comical elements as well as the difference between their essential purposes in generic transgression. Although the two writers have their roots in different countries, their humorous portrayal of various issues is seen to be similar. From the microanalysis of these plays, the same comic strains can be traced out in modern drama at macro level that will enhance the implication of this research paper. This paper therefore concludes that comic and tragic elements are not antagonistic rather complimentary to each other.
文摘This study endeavours to assess the deliberate distortion of historical memory in two works written in different periods of time by the same author, namely Vedat Kokona with the novel Me Valet e let,s （With the Waves of Life） published in the 1960s, as well as his own autobiography Endur ne Tisin e Kohes （Woven in the Veil of Time）, which was written and published after the 1990s. The novel was written under the censorship conditions of social realism, and consequently the stance toward historical war figures was shaped by the ideological prism： ＂Enver Hoxha leads the war, opponents like Lumo Skendo collaborate with the enemy, and the indifferent intelligentsia must feel blameworthy for their non-engagement with the communists＂. This scheme apparently collapses after the 1990s, when Kokona took it upon himself to narrate his autobiography, in the abridgment entitled Woven in the Veil of Time. Therein is revealed his realistic assessment of the figures of Enver Hoxha, Lumo Skendo, Ernest Koliqi, etc. Freed at the time from the chains of ideological censure, in his memoirs, Kokona discusses these historical characters. Supplied with individual human sensitivity, facing good and evil, he reflects upon the past, with the consciousness of the intellectual who has witnessed an era permeated with major changes.
文摘The fundamental task of Marxist philosophical studies today is to uncover contemporary social actuality. It was Hegel who first showed a possible way to social actuality in philosophical terms via sharp critiques of subjective consciousness and its external reflection. Marx critically inherited this legacy from Hegel. His critiques not only undermined the speculative, idealist alliance of Idea and Actuality, but also thoroughly reconstructed the essential dimension of social actuality. A Kantian interpretation of Marxist philosophy on this theme presupposes a dismissal of the dimension of social actuality, which means a return to the philosophy of subjective consciousness. The latter in turn means the actual collapse of historical materialism. The path to social actuality is vital to historical materialism. It is only through this path that the truth of the theory of historical materialism can be upheld.
