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KIRJANDUSE KRONOTOOBILINE MAAILM: DOSTOJEVSKI PILDIKEEL
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Good morning!' Dis ain't no place.' I'm going abroad, old man.' Abroad?' To America.' America? ... When they ask you about it, tell them he's gone to America. ... – PowerPoint PPT presentation
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Title: KIRJANDUSE KRONOTOOBILINE MAAILM: DOSTOJEVSKI PILDIKEEL
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KIRJANDUSE KRONOTOOBILINE MAAILM DOSTOJEVSKI
PILDIKEEL
- TARTU 5.04.2008
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KRONOTOOBILISUS
- M.BAHTIN
- 1. JUTUSTUSE
- KRONOTOOP
- 2. TEGELASE
- KRONOTOOP
- 3. AUTORI
- KRONOTOOP
- NARRATOLOOGIA
- G.GENETTE
- FAKTUAALSUS-
- FIKTSIONAALSUS
- TRANSMEEDIALINE
- NARRATOLOOGIA
- D.HERMAN
- NARRATIIV-MEEDIUM
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KUJUTLUSLIKUD PILDID
- 1. TEGELIKKUSE PILDID
- 2. TEGELIKKUST TÄIENDAVAD PILDID
- 3. MENTAALSED PILDID
- 3. PROTSESSUAALSED PILDID (KÄSIKIRJA
SEMIOOTILINE STRUKTUUR) - 4. POEETIKA JA PILDIKEEL (STSEENID,
MISANSTSEENID, KIRJELDUSED, INTERTEKSTUAALSUS) - 5. PILDILINE INTERPRETEERIMINE (INTERSEMIOOTILINE
TÕLGE, INTERLINGVISTILINE TÕLGE)
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DOSTOJEVSKI PILDIKEEL
- 1.Käsikirja struktuur
- 2.Topograafiline äratuntavus (vahemaad, rakursid)
- 3.Ajaloo konstantsuse käsitlus (vähe protsesse,
palju nimesid) - 4.Ideaalikäsitlus (inimene Kristus, sõna
kehastumine, profaansed ja sakraalsed rollid) - 5.Ideoloogiline ja kõlbeline kaksmaailmsus
- 5.Aegruumiline simultaansus ja neomütologism
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Crystal Palace 1854
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Hans Holbein d.J., Der Leichnam Christi im Grabe,
1521/22
Claude Lorrain Landscape with Acis and Galatea
(1657)
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KURITÖÖ JA KARISTUS
- A little man wrapped in a grey soldiers
coat and with a carved Achilles helmet leaned
with his shoulder against the large closed gates
of the house. He cast a drowsy and cold glance at
Svidrigaylov. His face wore that everlastingly
peevish and woebegone look, which has been so
sourly imprinted on all the faces of the Jewish
race without exception. Both of them,
Svidrigaylov and Achilles, stared at each other
in silence for some time. Achilles at last
thought it highly irregular for a man who was not
drunk to be standing three feet away from him and
staring at him without uttering a word. Vot you
vont, pliss?, he said, without stirring from his
place or changing position. Nothing at all, old
man, replied Svidrigaylov. Good morning! Dis
aint no place. Im going abroad, old man.
Abroad? To America. America? Svidrigaylov
took out the revolver and cocked it. Achilles
raised his eyebrows. Vot you vont? Dese shokes
(jokes) no place here. And why not, pray? Cos
it aint de place. Why, old man, it makes no
difference to me. The place looks all right. When
they ask you about it, tell them hes gone to
America. He put the revolver to his right
temple. You can't do dis here it aint de
place! Achilles gave a violent start, his eyes
growing bigger and bigger. Svidrigaylov pulled
the trigger. (Dostoevsky s.a. 522-523,).
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KUROSAWA IDIOOT
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KATSHANOV DOWN HOUSE
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BORTKO IDIOOT
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Michael Coventry, Peter Felten, David Jaffee,
Cecilia OLeary, andTracey Weis, with Susannah
McGowan. Ways of Seeing Evidence and Learning in
the History Classroom, An Introduction. Textbooks
and Teaching. Journal of American History 2006.
http//www.indiana.edu/jah/textbooks/2006/introdu
ction.shtml
- First, the scholarship of teaching and
learning, or the pedagogical turn in the
profession, engages historians in investigations
of how students learn to think historically,
treating student work as evidence to be evaluated
using discipline-specific research methods.
Second, the pictorial turn in culture studies
prompts historians to reconsider the significance
of images in the construction of historical
understanding. Despite the ubiquity of images in
online archives, in classrooms, and in the
broader culture, many history students and
scholars struggle to devise reading strategies or
protocols that are as rigorous and rewarding as
those used to interrogate textual sources.
Finally, the digital turn in the profession
encourages scholars and students to experiment
with the use of digital media to develop new
forms of historical discourse, through the
creation of Web- and multimedia-based articles,
archives, and narratives.
