CP – Number 13 (2008)

Issue:

CP, Number 13

Section:

No. 13 (2008)  Editorial

Abstract:

The substantial opposition of modern culture is that of public space and private space. A modern European thinks of it as of ‘natural’. Yet, it has not always been the same. Cultural analysis of non-ecclesiastical Anglo-Saxon and Norse literature shows that ‘public’ was opposed to ‘non-public’ rather than to ‘private’, and ‘non-public’ was identified with ‘non-human’. Secluded space was not seen as cosily private but, rather, as dangerously isolated.

Keywords:

Anglo-Saxon, longhouse, Norse, public space, privacy, seclusion.

Code [ID]:

CP200813V00S01A0001 [0002595]

Issue:

CP, Number 13

Section:

No. 13 (2008)  Editorial

Abstract:

The paper is an attempt to offer a structural-semantic basis for the classification of texts such as the novel, the short story, the tale. The structural distinction of the epic genres is carried out on the basis of five main properties: number of plot lines; the prevailing form of rhetorical mode of discourse; the existence of separately formed free narrative motives; monothematic or polythematic structural units of text; monofunctional or polyfunctional text units. The semantic classification is based on the archetypal meaning of the Solar myths that represent the outer or inner life of the protagonists.

This approach enables us to regard each prose species not as an isolated phenomenon but as a part of a system and to define them according to some general principles. Thе novel is regarded as the most complex of prose genres, combining the others structurally as well as semantically and is characterized by stable properties, such as: a panoramic depiction of events in their interrelation, polyphony and definite types of combination of plot lines.

Keywords:

prose genres, structure, short story, story, tale, short novel, novel.

Code [ID]:

CP200813V00S01A0002 [0002596]

Issue:

CP, Number 13

Section:

No. 13 (2008)  Editorial

Abstract:

Behind Woolf’s Orlando. A Biography (1928) and behind Vita’s creation of her garden at Sissinghurst, since 1930, there is the attempt at re-creating Knole, the ancestral country house of the Sackvilles. Knole is the great text encoded in the national heritage of England, and both Vita and Virginia, albeit for different reasons and with different tools, intend to rewrite it and recreate it into new texts, namely biography and the garden.

Keywords:

Virginia Woolf, Vita Sackville-West, the art of fiction and the art of gardening, Orlando and Sissinghurst as texts, the palimpsest of Knole.

Code [ID]:

CP200813V00S01A0003 [0002597]

Issue:

CP, Number 13

Section:

No. 13 (2008)  Editorial

Abstract:

After World War II, the world was swept by a strong wave of anticolonial movement, which caused the collapse of former colonial empires, including the British Empire. As a result of the fall of the British Empire, its former colonies in Asia, Africa, on the Caribbean Islands formed independent states. Decolonization was accompanied by the appearance of new culture and literature, national by character, carrying a strong anticolonial sentiment. Still it was deeply rooted in English literary tradition. Often was the new literature superimposed upon English literary canon, giving new versions and interpretations to well-known works of English literature. This phenomenon became known as “re-thinking”, “writing back” or “counter-discourse” of the English literary canon. One of the works of English literary canon often “written back” with anticolonial spirit is Daniel Defoe’s novel Robinson Crusoe, which has been used for counter-discourse in such works as A.D.Hope’s poem Man Friday, Sam Selvon’s novel Moses Ascending and J.M.Coezee’s novel Foe.

Keywords:

decolonization, postcolonialism, deconstruction, counterdiscourse, literary canon, pre-text, the castaway, the author, the narrator.

Code [ID]:

CP200813V00S01A0004 [0002598]

Issue:

CP, Number 13

Section:

No. 13 (2008)  Editorial

Abstract:

The Arts are powerful forms of personal, social, and cultural expressions. They are unique ‘ways of knowing’ that enable individuals and groups to create ideas and images that reflect, communicate, and change their views of the world (O’Connor, Holland, Brodie, Dunmill, Hong 2003). The creative alliance between Arts and Business is an emerging field of practice and part of a new trend of thinking and learning (Stenstroem 2000). However, citing Jackson (2006) creativity as an outcome of higher education, at least in the UK, is more by accident than by design and although academia recognises qualitative shortfalls, analytical and critical ways of thinking might still dominate the academic curriculum. Government control has increased significantly through competence standards and benchmark systems, which, might, according to White (2006), still suppress the level of creativity, and limit the degree of risk-taking and the willingness for experimentation, which counter-effects the lecturers’ engagement to bring ‘arts-based learning’ into the classroom. Lecturers, according to Oreck, feel inhibited towards creative, open-ended, or artistic approaches, allowing students to explore and to discover, to find and to pursue problems and to arrive at unique solutions, whilst stimulating questions and communicating in multiple modalities (Oreck 2006). Therefore, and citing Jackson, the key challenge facing Higher Education is to change the prevailing culture so that greater value is placed on the students’ creative development alongside more traditional forms of academic development. Hence, management and business students at the European Business School London work increasingly in partnership or in competition with publishers, film-makers and broadcasters as the growth of information technology opens up new ways of learning and teaching (National Committee of Inquiry into Higher Education 2001). The Arts, offer EBS-L students new methods of experiencing; they trigger perceptions, stimulate connections and unfold, what Jackson (2006) calls the quality of newness whilst inventing, discovering, exploring and moving from the known to the unknown. Through images, structures, motions and symbols, arts-based learning implies experimenting, trying-things-out, making a mess, establishing contexts with high levels of disorder, uncertainty and indeterminacy (Danvers, Buss 2007). The Arts provide a refuge for reflection, sympathy, quietude, inspiration where students acquire the skills of architects, developers, shapers and catalysts for ideas and agents for change and therefore, according to Jackson: “Every educator can change the way he/she thinks and acts, every group of teachers responsible for creating students’ educational experiences can choose or not choose to provide experiences that will help students’ develop their creative potential, and every institutional decision maker can shape policy, strategy or management practices so that creativity will flourish or be inhibited” (Jackson 2006).

Keywords:

arts and business, innovation, creativity, new culture, curriculum.

Code [ID]:

CP200813V00S01A0005 [0002599]