Encyclopedic narratives, as conceptualized by Edward Mendelson, "attempt to render the full range of knowledge and beliefs of a national culture, while identifying the ideological perspectives from which that culture shapes and interprets its knowledge." The development of system paradigms in the sciences and humanities have shown that the complexity of the modern world-system preclude any such move towards totality. From this ideological shift in contemporary American culture, it follows that recent encyclopedic narratives incorporate these new dynamic perspectives. By applying systems paradigms to works by John Barth, Richard Powers, Annie Proulx, and Junot Díaz, the emergence of the epic encyclopedic narrative as a distinct form signifies the necessity of diversity, ambiguity, and noise in the operation of systems and the production of knowledge. Rather than presenting totalized representations of a culture, epic encyclopedic narratives represent the dynamic modern world-system by emphasizing the presence of the emergent phenomena, recursive symmetry, and noise that are central to complex systems theories. The work Ludwig von Bertalanffy, Immanuel Wallerstein, and Ilya Prigogine, amongst others, posits that complexity spurs the development of increased order and organization in socio-cultural systems; epic encyclopedic novels incorporate this philosophy by subverting hegemonic ideologies (i.e., mythopoetic narratives) by introducing alternative and marginalized discourses that disrupt the status quo. The goal of an epic encyclopedic narrative is to revise or complicate the readers' perception of reality through discursive instruction. As such, these novels purposively introduce noise, such as data-dense passages of unfamiliar discourses, within the narrative to force the reader into discovering contexts needed to derive understanding. Ultimately, epic encyclopedic narratives argue that systems will become corrupted and stagnant if marginalized elements are not synthesized into a heterogeneous whole that recognizes individuality.

<p style="text-align: justify;">Izrada osnovnih principa za rodno osetljiv pristup u enciklopedijskom tekstu važan je korak ka sveobuhvatnijoj slici na&scaron;e stvarnosti u procesima demokratizacije dru&scaron;tva danas.<br />Važno je i iz istorijske perspektive obratiti posebnu pažnju na sve one žene iz prethodnih vekova koje su značajne u različitim domenima na&scaron;e istorijske prakse, a nisu do sada o njima izno&scaron;eni valjani podaci (Tomin, 2011). Cilj istraživanja je provera postojanja implicitne diskriminacije prema ženama iz različitih grupa u postojećim enciklopedijskim projektima i predlog za prezentaciju žena u enciklopedijskom tekstu kojim se uvažavaju rodne i druge razlike i specifičnosti kako iz istorijske tako i iz savremene perspektive. Pretpostavka je da je u postojećim enciklopedijama nedovoljno odrednica o zaslužnim ženama, &scaron;to je rezultat implicitne rodne diskriminacije onih koji uređuju enciklopedijski tekst, ali i spor proces sazrevanja enciklopedijskog teksta kao posebnog žanra. Odabrana je teorija drugosti za osnovu analize enciklopedijskih odrednica o ličnostima; metod kritičke analize teksta za formiranje institucionalnog žanra.<br />Korpus čini ukupno 106 enciklopedijskih jedinica, sačinjen na osnovu literature dostupne u poslednjih petnaest godina, iz različitih disciplina, pre svega interdisciplinarnih i onih koje su nove, a karakteristične su za oblasti delovanja žena danas.<br />Korpus od 106 enciklopedijskih odrednica prati Uputstvo za pisanje enciklopedijske odrednice, spisak literature koji sadrži sve bibliografske jedinice koje su kori&scaron;ćene u formiranju korpusa i spisak skraćenica.<br />Rezultati istraživanja pokazuju da je u postojećim enciklopedijama nedovoljan broj žena; u odrednicama odsustvuje rodno osetljiv pristup koji je (delimično) posledica uređivačke koncepcije. Osnovni rezultat je autorov predlog 106 enciklopedijskih odrednica o zaslužnim ženama iz svih oblasti života i rada (sa 95 fotografija), odabran u skladu sa uspostavljenim kriterijumima za izbor odrednica i napisane prema uputstvu za pisanje rodno osetljivim jezikom. U zaključku se konstatuje da je žanr enciklopedijskog teksta sazrevao u srpskom jeziku tokom gotovo jednog veka i da danas u njemu odsustvuje rodno osetljiva dimenzija. Zato rezultati u ovom radu mogu biti od koristi u neposrednom radu timova okupljenih oko enciklopedijskih i leksikonskih projekata u zemlji u daljem radu za pokolenja koja dolaze.</p>

Considerado a culminação do projeto literário do escritor chileno Roberto Bolaño (1953-2003), o romance 2666, publicado postumamente em 2004, é formado por cinco partes de encaixes não harmônicos. Argumento, neste estudo, que 2666 assimila diferentes gêneros literários consagrados, como o romance realista norte-americano, o romance policial em mais de uma variante e, por fim, o romance de formação alemão. Num primeiro momento da tese, um close reading do livro analisa a estrutura e as modulações do narrador e do estilo de Bolaño de cada parte, num afã de compreender como esses gêneros são assimilados. Os principais temas do autor a relação entre ética e estética, arte e violência são alcançados a partir da análise formal, em diálogo constante com a fortuna crítica e, num esforço comparativo, com obras canônicas cujos gêneros Bolaño busca assimilar. Ao abordar 2666 por este viés, levanta-se uma série de questões que orbitam ao redor de duas perguntas fulcrais: que espécie de romance é 2666? E o que ele representa para a poética do início do século XXI? Uma vez que 2666 é ocasionalmente classificado como enciclopédico ou maximalista e posto em diálogo com outros romances longos norte-americanos, questiono essa taxonomia, buscando apresentar suas limitações e refletir sobre como o livro resiste a catalogações e leituras definitivas. Partindo de ligações sugeridas pelo próprio romance, aproximo 2666 de obras que lidam com o conceito de romance total escritas no entreguerras. Em uma leitura diacrônica, postulo, então, que Roberto Bolaño ressuscita o que é possível resgatar de um ideário modernista, que, por sua vez, ganha uma nova significação na sua poética, indissociável dos espectros do fracasso das utopias, da crise do humanismo e do triunfo do capitalismo tardio em toda a sua violência. A relação entre 2666 e o alto modernismo, no entanto, não é estável ou pacífica. A partir das fissuras, dos rastros, do excesso e do desconjuntado, elaboro, por fim, o conceito de um romance monstruoso que assimila com voracidade outros gêneros, expondo contradições inerentes ao fazer poético contemporâneo. / Regarded as the high point of Chilean writer Roberto Bolaños (1953-2003) oeuvre, the novel 2666, published posthumously in 2004, is divided in five disharmoniously connected parts. In this thesis, I argue that 2666 assimilates different literary genres such as the American realist novel, crime fiction in more that one variant, and finally the bildungsroman. The first part of the thesis is dedicated to a close reading of the novel, analyzing its structure, the narrators modulation and Bolaño\'s stylistic changes in each section, in order to understand how such genres are assimilated. The authors main themes the link between ethic and aesthetic, art and violence are reached through formal analysis, in a constant dialog with other works that belong to genres which Bolaño tries to assimilate. By approaching 2666 this way, many questions are raised regarding two main issues: what sort of novel is 2666? And what does it represent to the literary writing in early 21st century? The book is often classified as encyclopedic and maximalist, and placed side by side with other long American novels; I disagree with those labels, and seek to show how limited they are, reflecting upon the way 2666 rejects common categorical interpretations. Based on connections the novel itself suggests, I establish a link between 2666 and modernist novels that deal with the concept of a total novel. I propose then a diachronic reading that claims that Bolaño recovers what is still possible from the modernist ideology, which gains new meaning in his own poetics, inseparable from the specters of failed utopias, the crisis of humanism, and the ubiquity of late capitalism in all its violence. The connection between 2666 and high modernism, however, is not stable or simple. It is through its gaps, leftovers, excess and disharmony that I develop the concept of a monstrous novel that assimilates other genres and exposes contradictions intrinsical to contemporary poetics.

My thesis aims to anatomize the cognitive theory of metaphor and suggests a Peircean semiotic perspective on metaphor study. As metaphorical essentialists, Lakoff/Johnson tend to universalize a limited number of conceptual metaphors and, by doing this, they overlook the dynamic relation between metaphorical tenor and vehicle. Such notion of metaphor is not compatible with the polysemous nature of the sign. The diversity and multivalency of metaphorical vehicle, in particular, cast serious doubts on the hypothesis of “conceptual metaphors” which, being meta-metaphorical constructs, can tell us nothing but a dry and empty formula “A is B”. Consequently, Lakoff/Johnson’s notion of conceptual metaphor is very much a Chomskyan postulation. Also problematic is the expedient experientialism or embodied philosophy they have put forward as a middle course between objectivism and subjectivism. What is missing from their framework is a structural space for dynamic interpretation on the part of metaphor users. In contrast, cognitive linguists may find in Peirce’s theory of the sign a sound solution to their theoretical impasse. As a logician, Peirce sees metaphor as the realization of iconic reasoning at the language level. His exposition on iconicity and iconic reasoning has laid a solid foundation upon which may be erected a fresh epistemology of metaphor fit for the contemporary study of language and mind. Broadly speaking, metaphor in Peirce can be examined from roughly two perspectives. Macroscopically, metaphor is an icon in general as opposed to index and symbol, whereas, microscopically, it is a subdivided hypoicon on the third level as opposed to image and diagram. Besides, Peirce also emphasized the subjective nature of metaphor. Semioticians after Peirce have further developed his theory on metaphor. For example, through his concept of “arbitrary iconicity”, Ersu Ding stresses the arbitrary nature of metaphorization and tries to shift our attention away from Lakoff/Johnson’s abstract epistemological Gestalt to the specific cultural contexts in which metaphors occur. Umberto Eco, on the other hand, sees interpretation of signs as an open-ended process that involves knowledge of all kinds. Encyclopedic knowledge thus serves as unlimited source for metaphorical association. For Eco, the meaning of a metaphor should be interpreted in the cultural framework based on a specific cultural community. Both Ding’s and Eco’s ideas are in line with Peirce’s theoretical framework where the meaning of a metaphor depends on an interpreter in a particular socio-historical context. They all realize that we should go beyond the ontology of metaphorical expressions to acquire a dynamic perspective on metaphor interpretation. To overcome the need for presupposing an omnipotent subject capable of knowing the metaphor-in-itself, we turn to Habermas’s theory of communicative action in which the meaning of metaphor is intersubjectively established through negotiation and communication. Moreover, we should not overlook the dynamic tension between metaphor and ideology. Aphoristically, we can say that nothing is a metaphor unless it is interpreted as a metaphor, and we need to reconnect metaphors with the specific cultural and ideological contexts in which they appear.

No description available.

The dissertation focuses on the challenges of teaching “Foundations of Orthodox Culture” course to junior teenagers in general schools. Based on the analysis of age-specific psychological, pedagogical and cultural traits of younger teenagers as a specific cultural group, the author explores the main challenges faced by teachers of “Foundations of Orthodox Culture” curriculum in Russian general education schools. As a potential approach to overcoming some of these challenges, the author has designed a digital encyclopedic dictionary to facilitate modern (i.e. utilizing information and communication technologies) presentation of course materials both during the lessons and in extracurriculum activities. / Диссертация посвящена проблемам преподавания предмета «Основы православной культуры» младшим подросткам в общеобразовательной школе. На основе анализа возрастных психолого-педагогических и культурных особенностей младших подростков (как особой культурной группы) анализируются основные проблемы преподавания предмета «Основы православной культуры» в российских общеобразовательных школах. Как вариант разрешения ряда проблем предлагается авторский электронный энциклопедический словарь, ориентированный на современное (с использованием информационно-коммуникационных технологий) изложение материала на уроках и во внеурочной деятельности.

En raison de l’hétérogénéité et de l’extravagance de leur contenu, les lapidaires ont souvent été délaissés et restent, encore à ce jour, très peu considérés dans les études sur la littérature médiévale. Le nombre important de manuscrits répertoriés attestent pourtant de leur grande popularité et de la place qu’occupaient les pierres précieuses dans la société et la littérature médiévales. Le lapidaire anonyme tanscrit par le manuscrit Paris, BnF, fonds français, 2007, un lapidaire en prose daté du XVe siècle, n’est à ce jour abordé que dans une seule étude, celle de Barbara Geromel, qui s’est intéressée surtout à un autre témoin (le Turin, Biblioteca Reale, Varia 110) dont le contenu – même s’il est incomplet – correspond en tout point à celui du manuscrit de Paris. Ce lapidaire en prose s’inscrit dans une histoire longue et riche, celle des pierres précieuses depuis l’Antiquité, mais s’en démarque également par son organisation complexe de la matière, puisqu’il adopte de manière partielle et imparfaite le paradigme alphabétique, jusqu’alors très peu employé dans les encyclopédies dû aux tensions qu’il incarnait vis-à-vis l’ordre théologique. Témoin matériel d’une sphère plus considérable encore – celle de l’encyclopédisme médiéval –, ce lapidaire participe à la compilation du savoir de jadis et invite à une étude plus approfondie, à la fois de la matière qu’il recèle, de ses sources, issues d’une quantité importante de traditions manuscrites, et de son classement alphabétique. / Regarding the heterogeneity and extravagant nature of their content, the lapidaries have too often been put aside from studies concerning medieval literature, and, still to this day, only a few of them have been studied by scholars. However, the very high number of known manuscripts of such texts does tell us a lot about the popularity and the role played by precious gems within medieval society and litterature. The prose lapidary copied in ms Paris, BnF, fonds français, 2007, a prosaic lapidary dated from the XVth century, has yet only been mentioned once, in a study by Barbara Geromel, who was mostly interested by another manuscript – albeit incomplete – of the same text : ms Turin, Biblioteca Reale, Varia 110. The content remaining in this manuscript corresponds precisely to the one found within the Paris manuscript. This manuscript written in prose represents one single step in a long and rich history (the tradition of describing precious stones dating back to the Antiquity). Nervertheless, it also differs from this tradition by its complex inner organisation of the subject, since it puts to use to this effect an imperfect and incomplete alphabetical paradigm as a mean of classification, an unpopular paradigm at the time, as it embodied elements difficult to correlate with the theological order. This lapidary, a material witness of an even larger intelectual context – the world of mediaeval encyclopedism –, participates to the compilation of knowledge from older times, and calls for deeper studies of its general content, sources (themselves coming from varied manuscript traditions) and usage of an alphabetical classification.

No description available.