Panel1

The Transformation and Representation of Folk Rituals in the Caucasus under theSoviet Paradigm Shift

After the formation of the Soviet Union, it was necessary to create a “new” culture. It was the
dream of modern Europe to create the universal cultural system common to all people.
The new regime brought certain freedoms to the people, including the elimination of status and genderinequalities, it is however, undeniable that it also imposed strict controls on traditional culture becausethat the regime, which orientated toward universalization, considered the diversity of traditional
cultures was destructive to the unity of the State.
As symbolized by the famous slogan, “Nationalist in form, socialist in content”, there was atendency to control and use traditional culture within the official culture. At the same time, there wereelements of traditional culture that remained, even partially, in daily life or artistic expression. Thoseremnants of tradition could not be erased despite efforts to control them. Not a few of avant-garde
artists use elements of traditional cultures as a source of inspiration.
By examining how the rituals of ethnic cultures were remembered in Soviet culture, which wasoriented toward ultimate universalization, we may also find hints about the possibilities of expressing
diversity in contemporary globalization.

1. Armenian Soviet Wedding in Transition
Gayane Shagoyan (National Academy of Sciences of Armenia)

A wedding, in addition to being a ritual start of a family, best reflects the identity of the married
couple and the significant changes in their group identity. In this sense, the wedding is especiallyremarkable, because, as far as it claims to be a traditional and conservative ritual, it is just as sensitive
to any fashion and innovation, responding to the questions and moods of the present.
The fundamental differences between the three generalized versions of the Armenian marriage

ritual will be briefly presented: traditional (ethnic), modern (Soviet), and postmodern (national/global)
weddings with an emphasis on the features of the Soviet version. The most important changes in the
traditional wedding took place especially during the period of Soviet modernization, when the rite
adopted the essential elements of the secularized Red Avant-garde wedding in form and retained somenational features in content.

2. Russian Sectarians in Soviet Caucasus:
Traditions and Transformation in Daily Life, Religious Rituals and Self-Identity
Liudmila Zhukova (Russian State University)

In my paper I am going to discuss two groups who are still living in Armenia and Georgia –Molokans and Subbotniks. This research is mostly based on fieldwork consisting of interviews withrepresentatives and leaders of these groups.
The both movements came to the being in 18th century. Molokans rejected the authority oforthodox priests, the orthodox way of God's worship as a whole and especially the practice of icons
veneration because all this seemed to be a contradiction to the biblical laws. Besides the rejecting of
the Orthodox Church, molokans remained Christians, but as concerning Subbotniks movement, itsdistinctive feature was that the members of this sect did not want to remain Christians at all. They
believed that the only true religion was Judaism. The members of this movements were exiled fromthe central part of Russia to Caucasus, Siberia and some other remote areas. In the Soviet period, theboth groups were the objects of the anti-religious propaganda and pressure. At the same time they were
impressed by some ideas - social equality justice, kolkhozes - which were similar to Evangelical ethicalprinciples. That is why some marks of the soviet ideology were mirrored in Molocans and Subbotnics
everyday and even religious practices.

3. Impact of Soviet Reality on the Ritual Practice in Georgia
Ketevan Khutsishvili (Tbilisi State University)

Georgian everyday life was/is highly tide up with the rich religious traditions that have beendeveloped as a result of the century-long synthesis of pre-Christian and Christian practices andworldviews. The rapid changes in religious and ritual life of Georgians are connected to the Soviet
period. The atheistic propagation of the Soviet Union has not passed without leaving a trace. One ofits consequences was if not completes extermination of religious knowledge and values, than their
partition. Insufficiency of traditional religious knowledge or their fragmentation has caused thealienation of a society from traditional religious practice. The folk religious practice has appeared
disowned from a real life that gradually, in a number of cases, has resulted denying of religion fromthe side of the certain part of a society. The ideological machine of the Soviet state, for all period of
the existence, formed the negative attitude to religions and the whole generations have grown under
the ideology of fighting atheism and negative representation of religious rituals. The religious practice
moved to the household level and was highly paganized. Some holidays and festivals were slowly
forgotten, several has changed their forms or meanings. I will discuss the transformation processes ofritual practice.

4. Fork Rituals in Georgia between the Past and the Future:
Representations of Georgian Rituals in Tretyakov's Film Scripts
Kumi Tateoka (University of Tokyo)

Sergei Tretyakov (1892-1937) was a futurist poet in the early Soviet Union. His activities
included theatre and cinema. He travelled to various places as the Far East (including Vladivostok andChina), the Caucasus (Georgia). He wrote many works based on what he learned there. In this papers
we would use Tretyakov's essays on Georgia and his films “Eliso” (directed by N. Shengelaya, 1928),“The Salt of Svaneti” (directed by M. Kolotozishvili (Kalatozov), 1930), “Khabarda” (director M.
Chiaureli, 1931). Oksana Bulgakova, the editor of Tretyakov's collection of works on Georgia, notesthat Tretyakov regarded Svaneti in the mountainous region as a place of futuristic transition from thepast to the future. Indeed, Tretyakov's vivid depiction of local customs give the audience a sensoryreality. By these material senses he tried to separate the Caucasus from the romanticised image
developed in the tradition of Russian literary history, and portray it as a world where people actually
live and where traditional ways of life change in response to daily changing society. I would like toconsider what new possibilities of life Tretyakov was trying to portray in early Soviet Georgia."

Panel 2“Hybrid Culture” in the Age of Globalization: Theories and Practices
ReconsideredThis panel sheds light on some of the emerging phenomena and questions due to the accelerating“hybridization of culture” in our age of globalization. The first two presentations lay out our overall
theoretical framework; while Liu discusses the pioneering significance of Kato’s Hybrid Culture(1955), which affirmed Japan’s hybrid character as its “little hope” in reference to Bhabha’s
paradigmatic post- colonialist work, The Location of Culture (1994), Yurt presents a criticalperspective on the “narrative of hybrid” taking clues from postmodern ideas in order to seek thenarrative’s deeper potentials.
The following two presentations brings into light the intellectual intersections in East Asia andthe West; while Zhang highlights the intra- and inter-cultural importance of “compassion andeducation” by contrasting the classical views of Mencius and Norinaga with those of American
philosopher Nussbaum, Chen analyses the implications of the phenomenal popularity of Japanese
feminist Ueno’s works in today’s China.
In the last paper, Abalos-Orendain discusses the possibility of “solidarity,” beyond national
borders, that can be created by immigrants in intercultural spaces. Before a general discussion, Kazashi
shall bring thrust of the session into closer relief from the viewpoint of comparative thought.

1. Traditional Culture’s Multi-Layeredness and Breaking Points:
From Kato Shuichi’s Hybrid Culture and Homi Bhabha’s Location of Culture
Zheng Liu (Kansai International University)

Against the backdrop of the intellectual engagements to problematize and overcome the questions
concerning “modernity” and postwar (negative) legacies, this study attempts to bring into light thepioneering contributions of Shuichi Kato’s ”The Hybridity of Japanese Culture”(1955) in suchengagements, and to find its correlations, not discussed till now, to Homi K. Bhabha’s thoughts
presented in “The Location of Culture” (1994). I believe that Bhabha's thoughts cannot, and should
not, be easily reduced to “postcolonial theory.” Fusion and reshaping of cultures contain logic that canbe applied to the areas that have not been considered in terms of “postcolonial” questions. For example,
Shuichi Kato's thinking about “hybrid culture” has something in common in that sense.
It would be of great importance for us to note that both thinkers call into question, from their
distinctive respective angles, the historical multi-layeredness of cultures and their “breaking” points
where each culture begins to undergo creative transformation with emerging critical perspectives on
itself and the others. This study focuses on the commonality between the two pioneering thinkers, whowere separated in time and region, and attempts further to open passages between the previously
unrelated cultural theories.

2. After the Narrative of Hybrid: Deleuze and Derrida
Engin Yurt (Ondokuz Mayıs University)

As the terms like “hybrid”, “hybridity”, “hybridization” etc. are made relevant to the fields ofhumanities and social sciences, there has been an ongoing interest in using these terms within different
types of cultural and political studies, especially with the ones that have the characteristics ofpostmodern attitudes and tendencies. All the while this intellectual fad or trend might help humanity
to understand certain aspects of societal changes that have been occurring through 19th, 20th and 21st
century (so far) in places where especially globalization is a one of the major factors (both in positive
and negative ways) of shaping the social structures and features, it is still rather obvious that usage ofthese terms usually lacks of a philosophical depth and comprehensiveness, due to the fact that, from ahistorical perspective, their contexts are still newly developing.
In this paper, with the help of Deleuze’s and Derrida’s remarks on relevant issues, we willproblematize, deepen, and deconstruct the narrative of hybrid with a phenomenological and existential
layer, especially with a specific characterization of the famous “difference”. With this deconstruction,
we aim to understand what the narrative of hybrid can turn into after it has exhausted all its current
potential meanings.

3. Reconsidering “Compassion and Education” with Martha ・ C ・ Nussbaum, Mencius andMotoori Norinaga
Bowen Zhang (University of Nottingham Ningbo China)

I will discuss the thoughts of Martha Nussbaum, one of the leading contemporary American
philosophers, on the question of “compassion and education.” First, I will compare Nussbaum’s viewof compassion and Mencius’s similar view of “spontaneous empathy as irrepressible feeling,” with the
purpose of exploring the commonality and difference between them, especially in terms of the self’s
relation to others.
Next, I’ll also refer to the thought of “mono-no-aware” (poignant appreciation of transient beingsand their beauty), advocated by Motoori Norinaga, Japanese representative scholar of Edo period, who
criticized Confucian thought as too moralistic. We will try to capture the distinctive characteristics of
the “thoughts on compassion” developed by these cardinal scholars. It will help us to understandcompassion’s essential roles played in self-cognition and its relation to others with different cultural
backgrounds.
Through such comparative reconsideration of the thoughts on compassion presented by thesethree thinkers, greatly separated in time and area, I hope we can appreciate their respective thoughts
much better, but also that we can explore the possibilities of their thoughts by mobilizing them together
in order to highlight the critical importance of compassion in our times tormented by wars andconfrontations.

4. How has Japanese Feminist Sociologist Ueno Chizuko become an Influential Icon in Today's
China?
Shiyu Chen (Oriental Daily News)A “Ueno Chizuko” frenzy has been sweeping Chinese mainland. As a contemporary Japanese
feminist sociologist, her works have sold over 200,000 copies just within the first 2 months of 2023,
and her lecture/dialogue videos received over a million views in a few hours. Despite being awareof the various controversies surrounding her in her home country of Japan, Chinese readers tend tointerpret her with goodwill and positive expectation.
Based on the development of gender understanding in Chinese mainland, this presentation
attempts to characterize how gender studies have become a "relatively safe" counter-issue incontemporary China, and why Ueno's theories further strengthened this kind of safety. Meanwhile,
we also try to explore the theoretical sharing potential in East Asian societies.

5. Iterations of Solidarity through Immigration:
Multilayered Conceptions of Solidarity beyond Community
Karen Abalos-Orendain (University of the Philippines)

I invite readers to look beyond the definition of solidarity as a communal value. Instead, theexercise of these ethical concepts on a different social setting should be seen as individual expressionsof ethical frameworks. The freedom to express these ethical concepts enables and, may even, empower
immigrants, for example, to conceptualize a notion of solidarity that is not only unique to theirexperience but is also in keeping with the relational aspect needed for them to settle in their new-foundhomes.
Dr. Rahel Jaeggi analyses the concept of solidarity by delving into forms of associations andattitudes. She states that there is virtue in conceiving of solidarity “as a certain kind of cooperationthat can be related to Hegel’s concept of ‘ethical life’” and proposes Durkheim’s notion of organic
solidarity to further provide a multilayered conception.
This open but critical account of solidarity paves the way for a wider and more robust
understanding of the term, especially if viewed within the discourse of immigration, which will beexplored in this paper.

Panel 3

Image der Alpen und „das Nationale“

Dieses Panel stellt die Politik der Kultur über Images der Alpen im 19. und 20. Jahrhundert inden Vordergrund. Bis zur ersten Hälfte des 17. Jahrhunderts waren die Berge der Schweiz riesige
Auswüchse, die für Reisende hässlich und gefährlich waren. Gegen Ende des 17. Jahrhunderts ändertesich das Image der Alpen jedoch drastisch. Scheuchzers Begriff "heilige Natur" ist ein markanter
Ausdruck für diesen Wandel. Im 19. Jahrhundert begannen die Nationalstaaten, Symbole für die
Einheit ihres Volkes zu "erfinden". Für die Schweiz, eine lose Föderation von Kantonen mit einem
hohen Maß an Unabhängigkeit und Eigenart, war dies ein noch dringlicheres Thema. So wurden die
Alpen, die sich über die vier Sprachregionen der Schweiz erstrecken, zum Symbol für einenmehrsprachigen und multikulturellen Bundesstaat. Im 20. Jahrhundert, als die Ära des "totalen
Krieges" begann, wurde die nationale Identität der Schweiz noch stärker betont. Die französische
Adaption von "Heidi", die " Eroberung" alpiner Bilder in deutschen Bergfilmen und die"Rückeroberung" der Alpen in der schweizerischen Kulturpolitik der "geistigen Landesverteidigung"sind allesamt Spiegelbilder dieser Situation. Mit dem Ende des Zweiten Weltkriegs, als die
benachbarten totalitären Staaten verschwanden, wurde dieses Alpenbild jedoch von Schriftstellern wie
Frisch und Dürrenmatt als eine Art Selbstgerechtigkeit dekonstruiert.

1. Das Alpenbild als ein anderes Europa
Kazunori Hayanagi (Nagasaki University)

In den 1930er Jahren befand sich die Schweiz in der Krise der nationalen Identität. Bundesrat
Philipp Etter (1891-1977) bemühte sich, diese Krise zu überwinden, indem er die patriotische

Kulturbewegung "Geistige Landesverteidigung" zu einer nationalen Politik erhob. Das von ihm
entworfene Bild der Schweiz war "Alpenrepublik" oder “ein anderes Europa". Dieser Vortraguntersucht den Entstehungsprozess dieses Alpenbildes anhand von Texten, die Etter in den 1930er
Jahren selbst verfasst hat.
Angesichts der beiden Krisen der Grenzüberschreitung, dem deutschen Großdeutschtum und der"Italia irredenta (dem italienischen Irredentismus)", musste die Schweiz, die mit diesen totalitären
Staaten ihre nationale Sprache und Kultur teilte, die Eigentümlichkeit ihrer eigenen Kultur
unverkennbar

herausstellen.

In

dieseminternationalen

Kontext

entstanddie"geistige

Landesverteidigung". Etter suchte dabei nach einer Logik, um sich unter anderem der deutschen
Politik der “Gleichschaltung" zu widersetzen. Dabei stellte Etter das Bild der Alpen in den Mittelpunkt
dieser Bewegung. Die Alpen, die sich über die vier Sprachregionen der Schweiz erstrecken, waren ein
passendes Symbol für die nationale Einheit. Das daraus entstandene Modell des Staates war ein
anderes Europa als das "Neue Europa" von Nazideutschland, nämlich die Schweiz als einemehrsprachige und multikulturelle "Alpenrepublik".

2. Gegen wen kämpft die Schweizer Armee?
Feindbilder in Dürrenmatts Erzählung Der Winterkrieg in Tibet
Hiroko Masumoto (Kobe University)

Friedrich Dürrenmatt (1921-1990) hat seine dystopische Erzählung Der Winterkrieg in Tibet(1981) während des Zweiten Weltkriegs konzipiert und erst in den 1970er Jahren vollendet. Nachdem
der größte Teil der Welt im Dritten Weltkrieg durch Atomwaffen zerstört worden ist, begibt sich der
Ich-Erzähler, ein Schweizer Söldner, für den darauf folgenden Krieg nach Tibet. Die Kämpfe finden
in einem Tunnellabyrinth unter dem Himalaja statt, dabei tragen alle die gleichen weißen
Militäruniformen, so dass es schwierig ist, Freund und Feind zu unterscheiden. So wie die Schweizer
einst (militärisch oder geistig) für ihre Freiheit und Unabhängigkeit gegen Angreifer wie die
Habsburger, Napoleon oder Hitler kämpften, so sollen die Schweizer wieder gegen einen äußeren
Feind kämpfen. In der Erzählung ist jedoch nicht klar, wer der Feind ist, den der Ich-Erzähler bekämpft.
Gegen wen sollte die Schweiz in den 70er Jahren kämpfen? In meinem Vortrag werde ich mich auf
die spezifische Verteidigungspolitik der Schweiz während des Kalten Krieges beziehen und überlegen,welche Art von Krieg Dürrenmatt in diesem Werk thematisiert.

3. Berge und fiktive Landschaften in der Literatur
Der Übergang der menschlichen Mentalität gegenüber NaturYasuko Nakamura (Nagoya University)

Marjorie Hope Nicholsons Buch „Mountain Gloom and Mountain Glory: The Development of
the Aesthetics of the Infinite“ (1997) beschreibt, wie die Alpenberge in der Antike wahrgenommen
und beschrieben wurden. Diese Literatur gibt Aufschluss darüber, wie sich die Mentalität der
Menschen im Laufe der Zeit entwickelt hat. Nicholson zufolge wurden die Berge lange Zeit als
unbewohnbar, gefährlich und beängstigend gemieden. Mit der Entwicklung der modernen
Wissenschaft und der Ausweitung und Bereicherung des Verkehrs in den europäischen Gebieten habensich die Vorstellungen von den Alpen jedoch grundlegend geändert. Ausgehend von Nicholsons
Vorschlag zeichnet dieser Aufsatz den Übergang der alpinen Darstellungen von der theologischen
Naturauffassungen zur Landschaften nach, die geografische Informationen auf der Grundlage dermodernen Wissenschaft widerspiegeln. Konkret werde ich den Übergang von Scheuchzers "heiliger
Natur" im frühen 18. Jahrhundert über Goethes Reisen in die Schweiz und Schillers
Naturbeschreibungen in seinen literarischen Werken bis hin zu Alexander Humboldts statistischen undnaturgeographischen Beschreibungen der Alpen im frühen 19.. Ziel dieses Aufsatzes ist es, anhand
dieser Analysen die Entwicklung des Verhältnisses zwischen Mensch und Natur zu verdeutlichen.

4. Mobilisierung des Heidi-Mythos zur „Geistigen Landesverteidigung“ bei Charles Tritten
Takashi Kawashima (Kyoto University)

Die Heidi-Romane von Johanna Spyri (1827-1901) sind bisher in fast 70 Sprachen übersetzt undgelten heute sogar als „Nationalmythos“ der Schweiz. „Heidi“ als globales Phänomen umfasst
inzwischen unzählige mediale Umsetzungen, verkürzte Versionen, Adaptionen usw., die manchmal
starke Abweichungen vom Spyrischen Original zeigen. Die französischen Fortsetzungen von Charles
Tritten (1908-1948) stellen ein typisches Beispiel davon. Tritten, der sich zuerst als Übersetzer mit
den beiden Heidi-Romanen beschäftigt hatte, schrieb dann eigens spätere Entwicklungen derProtagonistin: Heidi wächst da zu einem schüchternen Mädchen, besucht ein Pensionat in derfranzösischen Schweiz (wie die Autorin Johanna Spyri selbst), wird Lehrerin bei einer Dorfschule,heiratet dann plötzlich den Gärtner gewordenen Geißenpeter, wird Mutter der drei Kinder undschließlich Großmutter vieler Enkel. Aus dieser Nachdichtung entsteht nämlich eine ordentliche
Familiensaga, wozu manche Erzählungen Spyris, die eigentlich mit „Heidi“ nichts zu tun haben,
integriert worden sind. Trittens Heidi ist übrigens eine sehr patriotische Frau, die die harte Zeit mit
zwei Weltkriegen als gute Frau, gute Mutter und gute Bürgerin der Schweiz erlebt – was der Ideologieder „geistigen Landesverteidigung“ der Zeit genau entspricht. In meinem Vortrag sollen diese
Fortsetzungen mit deren englischen Version verglichen werden, wo fast alle nationalistischen Züge
ausgelöscht worden sind.

5. Bergbild von den Städtern.
Das Alpenbild als Reflektion der Modernität zur Zwischenkriegszeit
Takuya Nakagawa (Nagoya University)

Zu Beginn der zwanziger Jahre erschien ein neues Filmgenre, das sich danach gleichermaßen
beim Publikum wie bei Kritikern großer Popularität erfreute: der Bergfilm. Im Gegensatz zu anderen
Filmen in der Weimarer Republik, die generell im Studio gedreht wurden, zeigte der Bergfilm dem
Publikum spektakuläre und gefährliche Landschaftsbilder, die tatsächlich in dem alpinen Hochgebirge
gedreht wuruden. Seitdem Siegfried Kracauer in seinem Werk From Caligari to Hittler betonte,
betrachtetman

dieses„ausschlisslich

deutsche

Genre“alsSymtomderkommenden

nationalsozialistischen Ideologie. Nach Kracauer verfilmt der deutsche Bergfilm die irrationale undantimoderne Ästhetik, die zum Führerkult führt, durch die charakteristischen Inszenierungen:
Mystisch umgerahmte Alpenwelt, Vergottung von Gletschern und Felsen, die Kameradschaft derelitären Bergsteiger. Aber die Forschungen in den letzten Jahren beleuchten die Modernität desBergfilms. In diesem Vortrag handelt es sich um den Blick, der Alpenbilder im Bergfilm modern
konstruiert. Der Schöpfer des Bergfilms Arnold Fanck (1889-1974) war nie Antimodernist, sondern
vielmehr Anhänger der neuesten Technologien. An Fancks Bergfilmen lässt sich zeigen, dass die
filmische Alpenwelt nach dem ersten Weltkrieg ebenso ein Asyl aus Urbanisierung wie moderne
Erfahrungen gab.

Panel 4

Tbilisi avant-garde as a multilingual and multicultural art movement

During the short period of existence of the First Georgian Republic (1918-1921), formed shortly
after the Russian Revolution, a unique cultural situation developed in the Georgian capital of Tbilisi.
Many prominent representatives of Russian artistic life found a refuge here and came into contact withlocal poets and artists. This situation made possible the mutual influence of different traditions andartistic styles and created opportunities for their productive creative development.
The papers of the section discuss various aspects of the cultural situation in Tbilisi at that time,
concentrating mainly on representatives of the avant-garde and modernist movements. The first paper,
along with a general characteristic of the cultural scene in Tbilisi, presents an analysis of its linguistic
aspect. The specificity of the situation consisted in the fact that the traditional multilingualismcharacteristic of the Caucasian region was complemented by the linguistic experiments of the Futurists,
who created their own "transmental" poetic language. The second paper examines the work of theprominent futurist poet Ilya Zdanevich. In particular, attention is drawn to Zdanevich's attitude to thereproduction of the human voice, which stood in the context of the rapidly developing sound recording
technology of the time. Also highlighted is the connection of this issue with Zdanevich's experiments
in typography and book design. The final paper of the panel examines the activities of the avant-gardegroup "41°" and its contacts with representatives of the Georgian cultural scene. In particular, it
analyzes the premises and main features of the synergic creative effect that arose from the interactionof artists with different cultural, linguistic, and aesthetic backgrounds.

1. The Fantastic City in the first Third of the 20th Century:
The Linguistic Shaping and Re-shaping of the Georgian Cultural Scene
Alexander Kartozia (Tbilisi State University)

Following the Revolution 1917 and the outbreak of Civil War in Russia, many Russian artists
found refuge in Georgia. The Georgian capital became a ‘Fantastic City’. The most influential
Georgian author of that period, Grigol Robakidze, wrote 1919: “People coming from different nations
and cultures are brothers in art. We believe in that new International. Here in Tiflis must be laid thefoundations for its construction.” The literary life of the ‘Fantastic City’ took a multilingual form. The
meaning of ‘multilingual’ is two-fold. On the one hand magazines and books appeared with texts in
Georgian, Russian and Armenian, and some Georgian authors wrote even in Russian; on the other
hand the so called 'Zaum language' of Futurism developed, whose main aim was the alienation from
'normal' language. After the occupation of Georgia by the Russian Red Army in 1921, the protest
against the occupation and annexation led to a linguistic re-shaping of the cultural scene in the'Fantastic City'. Again in two respects: firstly all Georgian authors – including those who previously
had tried to please their Russian colleagues by writing in Russian – now used only Georgian. Secondly,
the futurist alienation from the ‘normal’ language was replaced by an archaic form.

2. Фонограф как новый литературный медиум в 1910-20 годах:об отношении Ильи Зданевича к голосу и письму.
Naoto Yagi (Waseda University)Такие технологии акустического воспроизведения, как фонографы и граммофоны,изобретенные в конце 19 века, очень сильно оказало влияние на саундскейп в начале 20 века.
Цель данного доклада состоит в том, чтобы рассмотреть взаимоотношения между фонографамии поэзией в 1910-20-е годы. Центральной фигурой данного доклада будет Илья Зданевич (18941975), поэт-футурист и писатель из Тбилиси.
Суда по архивным материалам, Илья Зданевич пытался предложить реформу русской
орфографии около 1913 года. Содержанием этой реформации, короче говоря, была замена

традиционной орфографии формой, более близкой к произношению реальной речи. Это можно
назвать своего рода "воспроизведением голоса". Между тем, он известен и общепризнан какэкспериментатор в области типографики и дизайна книги. Важно отметить, что эти егоэксперименты следует рассматривать в контексте такого "воспроизведения голоса". Хотяхарактеры этой тенденции встречаются и в экспериментах других футуристов, кроме него, вданном докладе будет прояснена уникальность типографики Ильи Зданевича. На основе этого
рассмотрения мы также обнаружим значение фонографа для Зданевича, который рассматривалего как новый литературный медиум.

3. Интернациональный авангард в Тбилиси: опыт синергии творчества
Valerij Grecko (University of Tokyo)В докладе рассматривается специфическая культурная ситуация в Тбилиси в период,последовавший после распада Российской империи и образования независимой Грузинской
республики. Особое внимание уделяется деятельности авангардистской группы «41°»,оставившей заметный след в истории русского футуризма, и ее контактам с представителями
грузинской культурной сцены. Анализируется, в какой степени мультикультурная имногоязычная среда Кавказа повлияла на творчество русских поэтов и как, в свою очередь,местное грузинское авангардное движение могло извлечь пользу из этой ситуации. Также
обращается внимание на особенности культурных процессов, рассмотренных из перспективы
оппозиции «центр – периферия». Рассматриваются предпосылки и основные особенности
синергического творческого эффекта, который возник в результате взаимодействия артистов сразличным культурным, языковым и эстетическим опытом. В заключение доклада
прослеживается, как изменился характер этого мультикультурного «симбиоза» после
включения Грузии в состав СССР, а также то влияние, которое оставил этот краткий период накультурную жизнь сегодняшней Грузии.

Panel 5

Technology and the Transformation of “Being-in-the World”

This panel questions the drastic transformations of our “being-in-the World” (Heidegger) causedby the accelerating advances of technology. The first two presentations offer new perspectives to grasp
them in terms of radical change of the spatial configuration and the man-nature relationship. Koga
tries to do it based on the Kyoto School philosopher’s innovative thinking centering around theirpivotal notion of basho (place) and Zhang calls into light the human responsibility and the need ofdegrowth in the age of Anthropocene.
The following two papers try to zoom in on the concrete aspects of the change of human existenceinterlinked with technological transformations. Oie seeks a new way to think about the “care of theself” in our high-tech society, taking clues from the ideas of Stiegler and Verbeek, two leading
philosophers of technology. Wang questions the actual implications of the vision of “well-being”
depicted by the so-called “Society 5.0” promoted currently by Japanese government.
In the last presentation Kazashi proposes to change our self-comprehension of “human nature” taking
clues from the Buddhist “Ten-Worlds View” so that we can engage better with the human predicament
as witnessed in the form of perpetual exposure to the reality of technology-mediated “hybrid” war.

1. Technology, Space and Place: From the Perspectives of Nishida, Miki, and Tosaka
Takao Koga (Tohoku University)

We can think of technology from various perspectives. Contemporary philosophy of technology
has mainly focused on its aspect as artifacts and explored how technological artifacts affects society
and community, our perceptions and actions, etc. But it is just one perspective. For example, we canalso see technology in relation to space- or place-organizing practices. Since prehistoric times, humans
have been exploring and making their way through vast spaces on earth. And they have opened lands
and places to dwell and inhabit. These could not have been done without technologies. In this sense,humans are spatial animals with spatial technologies.
However, technology as space- or place-organizing practices is becoming increasingly
problematic in our era: the problem is whether we can continue to secure the space for human existencein this time of the “Anthropocene” and, if possible, how. To address this problem, we need to deepen
our philosophical thinking on the relationship between technology, space, and place. As a starting point
for this task, I think, it is useful to focus on the thoughts of Kyoto School philosophers because theconcept of “Place” (basho/ 場所）lies in the core of their thoughts. In this presentation, I will examine
the ideas related to technology, space and place in three Kyoto School philosophers: NISHIDA Kitaro,
MIKI Kiyoshi, and TOSAKA Jun.

2. Reconsidering the Man-Nature Relationship in the Anthropocene:
Nature's Intrinsic Value, Human Responsibility and Degrowth Discourse
Lingxiao Zhang (Kobe University)

I discuss how we should rethink and redefine the concept and value of “nature,” as well as how
to manage the relationships among humans, nature, and technology in the age of the Anthropocene.
Firstly, I examine whether the interdisciplinary discussion of the Anthropocene undermines theconcept of nature. Then, I focus on one of the most important debates in the discourse of the
Anthropocene, which concerns the question of whether the environmental crisis should be regarded ashaving been caused by a small group of people or by the survival mode based on fossil capital. Thisissue not only involves the question of responsibility but also aims to find workable solutions toachieve sustainable development.
In order to seek an alternative relationship between man and nature, I returned to the spiritualresources drawn from the Minakata Mandala, which is based on Kegon Thought and Shingon Esoteric
Buddhism. The ultimate goal of this article is to prove that abandoning the concept of nature cannot
accelerate the resolution of the environmental crisis, nor can it provide guidance for ecologicalpractices. Reflecting critically on the shortcomings of the current economic development model andshifting from “growth” to “degrowth” can stimulate the potential of sustainable development strategies.

3. Care of the Self in a Technological Society: Stiegler and Verbeek
Shinya Oie (Kobe University)

In general, care of oneself is characterized as a practice to live better by protecting one’s self andproviding something one needs. This idea can have ethical importance because it articulates a set ofhuman capabilities to be good: those of self-direction. Later Foucault, for example, placed this selfcaring at the center of his ethical investigation.
In this presentation, I seek to consider the ethical importance of the care of oneself in societies
where technological artifacts are highly developed and incorporated into one’s life. For this purpose,
I will refer to two studies in the ethics of technology: Bernard Stiegler’s critique of hyper-industrial
society and Peter-Paul Verbeek’s theory of freedom in terms of technological mediation. I would liketo pick out key points from their arguments to consider the care of oneself in a technological society,and then elaborate on their ethical significance. By doing so, this study will contribute not only toresearch on the ethics of technological life but also to the way technological artifacts are designed fora better way of life.

4. Well-Being in the Era of New Capitalism: What is Japan's Society 5.0 Aiming for?
Xiaomei Wang (Kobe University)

Well-being is one of the goals of the SDGs, which is interpreted as "Good health and well-being".
According to the Constitution of the World Health Organization, “well-being” indicates "a good
physical, mental, and social state of being”, not merely the absence of disease or infirmity. Recently
in Japan, “well-being” is becoming an important issue of social reform with the concept of “newcapitalism” promoted by Prime minster Kishida, and the concept of “Society 5.0” has been proposed
as a vision of future society with emerging technology.
Well-being, especially the idea of “new capitalism” in Japan is advocated to overcome theharmful effects of inequality, poverty, environmental destruction, climate change caused by marketbased neoliberalism. While it is claimed that the “new capitalism” aims to create a well-being-centeredeconomic development society, it also raises a question whether necessary social transformations will
be implemented to improve well-being of human formation and development, or it is intended to turn

human resources and human capital into economic growth. In this presentation, I’d like to explore
what sort of new society must be conceived with what sorts of reform policy and challenge to achieve“well-being.”

5. Empathy in the Age of Hybrid War:
Re-imaging ‘Human Nature’ Based on the Buddhist ‘Ten-Worlds’ View
Nobuo Kazashi (Hiroshima City University)

In the preface to The Age of Empathy: Nature’s Lessons for a Kinder Society (2009), Dutch
ethologist Frans de Waal wrote: “Greed is out, empathy is in. … American politics seems poised for a
new epoch that stresses cooperation and social responsibility.” Apparently, such hopeful perspective
has been betrayed not only in the U.S. but worldwide, especially in the recent situation in Ukraine. If
de Waal’s message should be considered valid and viable, however, we have to seek a way to view“human nature” not in terms of the binary “selfish or altruistic.”Thus, I propose to re-image “human nature” based on the Buddhist “Ten-Worlds View (Jikkairon), which comprehends “human being” as an “in-between” stage of existence between “hell andgreedy ogres,” on the one end, and the “enlightenment seekers and the “compassionate Buddhahood,”on the other. Then, we try to understand the very difficult roles which the human capacity for empathy
has to perform in our current age of “hybrid war,” in which there is no clear demarcation between thestate of war and everyday life; in other words, being perpetually exposed to the scenes of humanviolence, we are expected to respond to them with empathy somehow.

Panel 6

Deutschsprachige Literatur als Filter von wechselnden Paradigmen derGeisteswissenschaften im Krisenzeitalter

Krisen im modernen Zeitalter resultieren meistens aus einem Krieg, einer Pandemie, drastischen

Antagonismen von Weltmächten, (Nuklear-)Waffenwettstreit, radikalen Klimaveränderungen,rigoroser Umweltverschmutzung, Wirtschaftskollaps, Terrorismus, menschenunwürdiger Kontrolle
mithilfe von Wissenschaft und Technologie, Missbrauch von sozialen Medien bzw. Massenmedien etc.
Solche Krisen, ob interkontinental oder global, rufen nicht nur Angst, Schock, Verwirrung und sogar
Krankheiten hervor. Zugleich entstehen Proteste gegen das bestehende System, Zweifel am Leben
sowie an existenziellen Wertenormen, Zukunftsskepsis, Wahrheits- und Tatsachenverdrehung etc.
Die Aufgabe des Panels besteht darin, anhand deutschsprachiger Literatur die oben genannten
Krisen und die damit zusammenhängenden Phänomene zu untersuchen. Es werfen sich beispielsweise
folgende Fragen auf: Wie nehmen deutschsprachige Autoren ihre Rolle als Schriftsteller im
Krisenzeitalter wahr? Wie reflektieren sie über die epochalen Krisen und deren Einflüsse auf ihre
Zeitgenossen? Wie werden die Krisen und deren repräsentative Phänomene in der deutschsprachigen
Literatur dargestellt? Welche Paradigmen zeigen sich im Wandel? Wie werden die literarischen
Figuren mit wandelnden Paradigmen konfrontiert?
Durch eine signifikante Krise werden Paradigmen infrage gestellt. Jedoch kann eine Krise auchein entscheidender Wendepunkt zum Besseren sein, indem man Paradigmen erneut unter die Lupe
nimmt und deren Zeitgemäßheit überprüft. Positiv gesehen gleicht der Überprüfungsprozess einem
Verfahren, Paradigmen zu beleben und anzureichern.

1. Reaktionen auf die Krisen des Jahres 1923 – Parallelaktionen oder Zeichen eines
Paradigmenwechsels?
Christine Frank (FU Berlin)

Der Vortrag arbeitet in einem panoramatischen Überblick verschiedene Antworten, Aktivitäten,Aktionen und vielleicht auch Ausflüchte heraus, in denen und mit denen AutorInnen,
WissenschaftlerInnen und KünstlerInnen auf die Krisen des Jahres 1923 in Deutschland und über die
Grenzen Deutschlands hinaus – Ruhrbesetzung, Hyperinflation, Putschversuche – reagierten, sich zu
ihr verhielten oder sich ihr entgegen zu stemmen suchten, um Freiheit und Würde des Menschen durch
geistige und künstlerische Leistungen als unantastbar unter Beweis zu stellen. Oftmals geschah diesin Form von ‚Parallelaktionen’, die einen unmittelbaren Bezug zur krisenhaften Realität kaum

erkennen lassen – wie etwa Walter Benjamins Übersetzung von Baudelaires Fleurs du mal, denen er
seinen später so berühmt gewordenen Essay zur „Aufgabe des Übersetzers“ vorangestellt hat. Sieerschien im selben Moment und am selben Ort wie Vladimir Nabokovs Übersetzung von Lewis
Carroll’s Alice in Wonderland ins Russische – in Berlin 1923. An diesen und anderen Beispielen läßt
sich

zeigen,dassdie‚geistigen

Kräfte’eher

konservativ

und

gegen

einen

‚Paradigmenwechsel‘ agierten – im Sinne der ‚Rettung‘ kultureller Errungenschaften vor dem
drohenden Rückfall in die Barbarei (die sich in den kommenden Jahren dann durchsetzte), während
die Vertreter von Politik und Ökonomie genau diese Entwicklung riskierten.

2. Paradigmenwechsel in der sprachmusikalischen Erzählliteratur in der Krise nach 1968. Zu
Gert Jonkes Webern-Rezeption
Hiroshi Yamamoto (Waseda University)

Seit den 1970er Jahren wird Gert Jonke in Hinsicht auf die literarische Nachahmung
musikalischer Strukturen oft mit Thomas Bernhard verglichen: In den Texten der beiden kommen nicht
nur thematische Bezüge auf die Musikgeschichte zum Vorschein, sondern sie ahmen auch diemusikalische Struktur nach, in der zunächst ein kleines Thema exponiert und dann immer wieder in
Variationen und Kombinationen abgewandelt wird. Allerdings blieben die wesentlichen Unterschiedebislang nicht ausreichend beachtet, so dass Jonke lange im Schatten seines weltberühmten
Landsmanns stand. Während Bernhard bei klassischer Musik wie jener von Mozart, Beethoven und
Schubert Anleihe macht, richtet Jonke sein Augenmerk auf die Neue Musik um die Jahrhundertwende
wie Arnold Schönberg, Alban Berg und nicht zuletzt Anton Webern, um dem Prinzip der Linearität zu
entkommen und um mit ästhetischen Innovationen einen Ausweg aus der Krise nach 1968 zu finden.
In meinem Vortrag soll am Beispiel seiner Musiker-Romantrilogie Schule der Geläufigkeit (1977),
Der ferne Klang (1979) und Erwachen zum großen Schlafkrieg (1982) sowie Der geblendete
Augenblick. Anton Weberns Tod in der Prosa- (1996) und Filmskript-Fassung (1983) untersucht
werden, wie Jonke die Miniatur-Methode Weberns nicht nur auf inhaltlich-thematischer, sondern auch
auf formaler Ebene auf seine eigene Literatur anwendet. Dabei sollen auch die musiktheoretischenÜberlegungen Adornos und Boulez berücksichtigt werden.

3. Konflikte der Abgrenzung:
Golem – ein „Menschenbild“ zwischen Phantasie und Technik im 21. Jahrhundert
Shoou-Huey Chang (Wenzao Ursuline University of Languages)

Die Gestalt des Golems hat ihren Ursprung in der jüdischen Tradition. Das Wort „Golem“ taucht
in vielen literarischen, künstlerischen und musikalischen Werken, insbesondere denen des 20.
Jahrhunderts, sowie im Rahmen von komplexen Diskussionen auf. Dabei ist die mystische Faszination
bzw. Phantasie unübersehbar. Der Golem kann als Thema bzw. Stoff der deutschen Literatur, derWeltliteratur, aber auch im Film auf eine lange Tradition zurückblicken. Zahlreiche Bearbeitungendieses Motivs finden sich sowohl in der deutschen als auch jüdischen bzw. jiddischen Literatur. In derzeitgenössischen Literatur erfreut sich das Golem-Motiv ebenfalls einer großen Beliebtheit.
Im Zentrum dieses Beitrags steht die Auseinandersetzung mit der Tradition der phantastischen
Literatur. Darüber hinaus werden Texte untersucht, in denen der Golem sowohl bei deutschen als auchbei jüdischen Autoren eine wichtige Rolle spielt. Es sind Geschichten, die die Ambivalenz dieser
Schöpfungen verhandeln, in ihnen ist der Golem eine zentrale Figur, die bis in unser digitales Zeitalterund den Errungenschaften der Technik zum Trotz überdauert. In Reflexion der welthistorischen
Situation wird in diesem Beitrag über phantastische Literatur zuletzt die Debatte über die Grenzen
zwischen Phantasie und Realität sowie deren Überwindung als auch die Diskussion über die
Entwicklung der Technik im 21. Jahrhundert erweitert.

4. Das Falsche des Wahren des Falschen im Roman Fake von Frank Rudkoffsky
Chieh Chien (National Taiwan University)

Dank der Popularität des sozialen Netzwerkes oszilliert man heutzutage leicht zwischen realer
und virtueller Welt, woraus Phänomene entstanden, die in vieler Hinsicht menschliche Kompetenzenübertreffen. Der Roman Fake (2019) thematisiert manche außer Kontrolle geratenen Phänomene insozialen Netzwerken, wie z.B. Fake News, verworrene Wahrheitsverständnisse und gezielte
Meinungsmanipulierung, die darin zum Fokus gemacht werden. Auch menschliche Beziehungenbauen sich auf Lügen und Täuschungsabsichten auf. Der ganze Themenkomplex erinnert sehr an
Theodor W. Adornos Spruch: „Es gibt kein richtiges Leben im falschen.”Basierend auf dem theoretischen Diskurs über Fake News versucht die Untersuchungaufzuzeigen, aus welchen Gründen und mit welchen Strategien die Hauptfiguren des Romans beim
Trolling Fake News ins Rollen bringen. Da der Roman die Meinungsfreiheit und verdeckte
Recherchen problematisiert, geht die Untersuchung auch auf die damit verbundenen Rechtsfragen bzw.
deren Grauzonen ein. In diesem Zusammenhang wird auch über Rudkoffskyʼsche Lebenserkenntnisse
im postfaktischen Zeitalter reflektiert. Auf einen Nenner gebracht steht das vielschichtige
Durcheinander vom Falschen und Wahren im Fokus der Untersuchung.

Panel 7

Слово и идея в переменах времени

Тема нашей группы — русский модернизм в начале ХХ века, статьи посвящены
прозаическим произведениям Л. Андреева, манифестам акмеизма и поэмам будетлянина В.
Хлебникова. Леонид Андреев как «властитель дум» своего времени лучше всего изображает всвоих произведениях кризисное, болезненное состояние общества и человечества.
Исповедальный дискурс в рассказе «Мыслях» и в повести «Моих записках» служит не только
повествовательным приемом, но и формой, которая дает возможность создать особый типпсихологизма и способствует выявить внутренние конфликты в экзистенциальном сознании
человека.
В начале XX века в русской поэзии сложились различные поэтические школы,единственной общей чертой среди них является манифест. Акмеизм зародился из кризиса
символизма, его манифесты в основном вращаются вокруг критики символизма, но они как быигнорируют интерпретацию самого себя, и это нарочное пренебрежение с точки зрения автора
статьи свидетельствует именно о некоторой дискурсивной стратегии акмеистов.
Футуристы стремятся к новому прекрасному миру, и В. Хлебников не был исключением. Всвоих поздних поэмах, таких как «Ладомир», «Ночь перед советами», «Воззвание
председателей земного шара» и «Художники мира!», поэт продолжает воплощать своеразмышление о социально- утопических концепциях единения всех народов.

1. Исповедальное слово в прозе Л. Андреева («Мысль» и «Мои записки»)Chieh-han Chiang (National Chengchi University)Доклад посвящен исповедальному дискурсу как одному из ключевых аспектов творчества
Л. Андреева. Особое внимание уделено таким прозаическим произведениям, как рассказ
«Мысль» и повесть «Мои записки». Сюжет «Мысли» разворачивается в адресованных судьям
записях героя, находящегося в тюремной психиатрической лечебнице, а в «Моих записках»повествование от первого лица выстроено как разговор с воображаемым читателем. Вназванных текстах исповедь имеет существенное значение не только как нарративный приемдля сообщения сведений о персонажах, но и как форма, которая дает возможность создать
особый

типпсихологизма

испособствует

выявить

внутренние

конфликты

вэкзистенциальном сознании человека. Важно, что в этом случае исповедальная интенция
характеризуется, с одной стороны, готовностью субъекта к самораскрытию, для которого
необходима предельная откровенность, с другой, она становится игрой и перформансом,зачастую превращается в самообман и фиктивное конструирование личности. В данном
исследовании предлагается изучение динамики исповедального слова как в контексте
мировоззренческих идеей Андреева, так и с точки зрения модификации жанров, в которой
выражено отношение писателя к философским и литературным традициям.

2. Дискурсивная стратегия в манифестах акмеизма
Serafima Tsung-Huei Hsiung (National Taiwan University)Начало XX века было периодом крутых перемен в русской поэзии, когда одно за другим
зарождались новые поэтические направления, воспользовавшись кризисом символизма, иакмеизм был одним из них. Именно в этом контексте неудивительно, что дискурс вакмеистических манифестах вращается вокруг критики символизма. В качестве претендента
акмеизм в определенной степени справедливо критикует символистов за злоупотребление

«бесконечной значимостью символа», а также и их пресловутую «теории соответствий». Обаони с точки зрения акмеизма являются основными причинами упадка символизма. Посравнению с точностью критики символизма собственная интерпретация акмеизма кажется
далеко неполной, будь то акцент Н. Гумилева на «большей равновесии и более точном знании
отношений между субъектом и объектом» или призыв С. Городецкого к «борьбе за мир» и «занашу планету Землю», или восхищение М. Кузмина «прекрасной ясности» и т. п., все онирасплывчаты и двусмысленны, даже если эти выражения воспринимаются как попытки
обозначить себя как поэтическую тенденцию. В данной статье предпринимается попытка
обсудить манифесты акмеизма с точки зрения дискурсивной стратегии, потому что, когда
сильна сила критики, будет сильна и сила отскока. Акмеисты, хорошо зная это, все жепренебрегают усилением изложений о себе в манифестах. Следовательно, такого роданебрежность можно рассматривать как преднамеренное действие в рамках дискурсивной
стратегии.

3. Утопическая идея в позднем творчестве Велимира Хлебникова
Tingchia Yen (National Chengchi University)Утопизм является доминантным типом сознания русского футуризма, формирование
которого

обусловлено

социокультурными

факторами,прежде

всегопереходом

отантропоцентрической картины мира и утверждения индивидуализма символистов к культу
коллективного сознания. Концепция будущего футуристов часто связана с верой в продвижениеи необходимостью устранения препятствий на его пути, поэтому в их произведениях
господствуют такие темы, как тема войны, тема построения будущего города и др. Будетлянина
Велимира Хлебникова по праву можно считать певцом утопической идеи, в которой
соединяются

историософское,религиозное,социальное,научное,космическое

ихудожественное мышление о новом социальном порядке. Если в ранних произведениях В.
Хлебникова господствует лингвистическая утопия, проявляющая абстрактную идею всеобщего
языка будущего, то для послереволюционных произведений поэта характерна институция
«нового блистающего мира» с помощью многообразных мифологических образов иисториософских контекстов.

В данной статье рассматриваются послереволюционные произведения В. Хлебникова,такие, как поэмы «Ладомир», «Ночь перед советами», «Воззвание председателей земного
шара», «Художники мира!» и др. Автор исследует утопизм будетлянина в целом, делая акцентна социально-утопические концепции единения всех народов, воплощенные в поздних
творениях «председателя земного шара». В процессе размышлений над этой темой выделяютсятри ракурса: 1) чертежи будущего; 2) пророческая картина мира; 3) сближение будущего мирас научными осмыслениями.

Panel 8The Role of Literature and Narratives in Fostering Contemporary Critical andCreative Thinking

Michel Foucault (Discipline and Punish: The Birth of the Prison, 1977), Jean Baudrillard(Modernity, 1987) and Henry Lefebvre (The Urban Revolution, 1970; Critique of Everyday Life I-III,
1988) observe crisis as an anthropological constant. The contemporary society is without a doubt
witness to economic crisis, wars, migration crisis, crisis of civil liberties and human values, health(hunger, poverty, COVID19), energy and eco-crisis. The permanence of crisis in combination with
Hans-Georg Gadamer's observation on the significance of e. g. literature and its references to lifecontext to which it belongs and helps shape (The Relevance of the Beautiful, 1986) and the claim that
there is no understanding of the world without language nor language without the world (Truth andMethod, 1960), provides a solid theoretical foundation to explore the significance of literature and/or
narratives in fostering critical and creative thinking. The proposed panel in its interdisciplinarity
between literary, architectural, performance and legal studies seeks to explore how humanities
contribute to recognising personal and social responsibility in times of crisis. The papers offer
theoretical perspectives arising from practical experience with students and recipients in general, on
several of the posed key questions of the conference: literature and art in critical periods of history,
the role of education in dealing with global problems, political ideologies in literature, art and media,

as well as changing relationship between man and nature in the Anthropocene.

1. Fostering Critical Thinking with Contemporary Law Students - can literature and arts serve
as a tool for remaking legal education?
Zvonimir Jelinić (University of Osijek)“Of all the things in this world the only constant is ever present change" is a famous quote of
Croatian poet Petar Preradovic who lived in the 19th century. Indeed, changes in the world are
unstoppable, progressive, sometimes dramatic and as the world changes, people and societies change
too. For instance, it is not a secret that younger generations of law students (and not only law students)
are very different from before because they live in a world which is technologically advanced hence
very different from the world thirty or forty years ago. It is obvious that employing old educational
methods with younger generations does not work anymore (especially ex-cathedra type of teaching).
That essentially means that we need to adjust the way the law is taught because the potential of younger
generations can be maximized only if the approach is renewed.
The main thesis in the paper is that using literature and arts in the legal educational process canmake the educational process much more interesting and effective, thus helping law students to better
develop the ability of critical and practical thinking while acquiring the foundational legal knowledge
at the same time. Future lawyers must be able to resist bad political ideologies, deal efficiently with
global problems, promote human rights and other values critical for the prosperity, maybe evensurvival of mankind. Making sensible young generations of lawyers is the primary responsibility ofthe teachers as they must respect the fact that legal education, just as in many other fields, needs toconstantly adapt to societal change.

2. From Literary Metaphor to Literary Motif – The Impact of Interpretation on the Readers
Horizon of Expectation
Stephanie Jug (University of Osijek)

The horizon of expectation is according to Hans Robert Jauß and Wofgang Iser the central term

of the act of reading. It includes the search for potential meanings of the literary text based on
identifying those reactions by the readers which the author could have anticipated. On the other hand,readers read the text based on their previous reading experience, historical knowledge and cultural
background. Regardless of the fact, that any given text is a result of a specific time and backgroundand could be reduced to an interpretation limited only to that specific time and state of knowledge, awider understanding of the role of literature in forming the conscious self is by far more gratifying.
The reader is not only trying to understand the text but also himself while reading. It is a two-way
process that can be supported according to contemporary educational standards: from easy to difficultand from smaller to bigger items. The paper examines the interpretative potential of a literary text
starting from a single metaphor to the literary motif, to show that the horizon of expectation can betreated as a work in progress and its fragmental nature effectively exploited by readers and authors.

3. Contemporary German Drama as a Platform for Raising Environmental Awareness
Sonja Novak (University of Osijek)

Nature has always been a recurring motif in literature and arts and the recent developments of/in
literary eco-crticism as a research discipline enhance this connection and steer towards emphasizing
responsibility and influence of literature on the environment. The German playwright Bertolt Brecht
observes that „we are now faced […] by the complete destructibility of this planet that has barely been
made fit to live in“ (Brecht on Theatre, 1964: 275). According to current theories of the anthropocene,
man has had such an impact on the planet that the ecosystem can be viewed as a sociocultural systemand the anthropocene as a form of crisis of the global ecosystem. An overview of contemporary
German drama shows there are obvious reactions to the problems of climate change, working towards
a theatre that is engaged and active in raising awareness about climate change and environmental
problems. Examples since the year 2000 include works by Thomas Köck, Ferdinand Schmalz, Kevin
Rittberger, Alexander Eisenach, Kathrin Röggla, Teresa Dopler, Rimini Protokoll, Alexander Giesche,
lunatiks collective, Christoph Ransmayr, Elfriede Jelinek. The paper offers an insight into thematic
frequency of ecological crisis in contemporary German drama, the variety of forms it takes, theprominence of the topic in individual plays from explicit focus to latent, subtle allusion, explaining
their critical and engaging potential.

4. Architecture and the City in Times of Crisis: City Novels in Architectural Education
Angeliki Sioli (TU Delft)

The urban environment is an important field of investigation for architects and urban planners,
especially as an active lived space (Maurice Merleau-Ponty, 1954). How diverse people experience
the space of a city is important information for designers, who are usually trained to work withgeometric space, instead of lived space (Griffero, 2016). Urban novels can be a rich repository of the
lived experience of place (Gadamer, 1981), especially works that depict real cities without
fictionalizing their architectural and urban characteristics. Such works can become valuable tools in
understanding the particularities of different urban environments, particularly useful in architectural
education.
Steaming from this theoretical context the paper focuses on two urban narratives which depict
two respective European cities during times of crisis. Given that crisis is a recurrent historicalcondition of European cities it is necessary for architectural students to study it and prepare for it.
Unpacking specific urban descriptions from Jason Webster’s A Death in Valencia (2012)—capturingillicit urban changes and violent neighbourhood protests in Valencia—and Robert Menasse's The
Capital (2017)—describing social crisis and farmers’ strikes in Brussels—the paper explores how
literary language can enhance architectural and spatial thinking, particularly within a pedagogicalcontext.

Panel 9Sergei Tretyakov and Soviet Literary Criticism

Shortly after the October Revolution in Russia, the young Soviet state witnessed a lively debate
about the ways of development of new literature and art. Along with the movement of Russian
formalism, such movements as constructivism, productivism, etc. gained influence. Their theoreticallegacy remains important for literary criticism to the present day. This panel examines some important
aspects of Soviet literary criticism of the 1920s, focusing on the figure of Sergei Tretiakov and its
other representatives united around the journal LEF (Left Front of the Arts).
The first paper of the panel examines Tretyakov's views on the role and function of the emotional
effect exerted by a literary work. On the example of his work A Chinese Testament: The Autobiographyof Tan Shi-hua (1930) it is shown that Tretyakov sought to portray the emotions of his protagonist insuch a way that they would not provoke the reader to an immediate emotional response, but would
encourage him to analyze their social significance. The second paper is devoted to a discussion of the
problem of "knowledge" in literature. In particular, the polemic on this issue between the leading LEF
theorist S. Tretyakov and the influential Soviet literary critic A. Voronsky is presented. The final paperof the panel examines the influence of early Soviet literary criticism on contemporary aesthetic
theories. In particular, it analyzes the use of certain ideas of S. Tretyakov and B. Arvatov in developing
the concept of "circulationism" by contemporary filmmaker and media theorist Hito Steyerl.

1. Social Heaviness of Emotions: Tretyakov and Triaging Other’s Feelings
Masumi Kameda (Chukyo University)

Soviet writer and playwright Sergei Tretyakov (1892-1937), in 1929, criticizing that in many
novels protagonist’s emotions celebrate “an absolute and insolent victory over the intellect,” advocatedthat we were required to “learn the social heaviness of an emotion” through literary works. Aroundthe 1930s, it was widespread concern that strong empathetic responses to protagonists could cause
harm to society since it could result in driving people into irrational behavior. What Tretyakov
problematized was something more drastic – he thought that empathetic response to protagonists could
lead people to ignore the social significance of emotions, and this situation is indeed what the concept“post- truth” means.
This paper analyzes Tretyakov’s “bio-interview” Den Shi-khua (English translation entitled A
Chinese Testament: The Autobiography of Tan Shi-hua) of 1930. In Den Shi- khua, Tretyakovdescribed Shi-khua’s emotion in a way it didn’t induce empathetic responses through its selfreferential narrative structure and the overwhelming quantity of information about the environment

where one of his Chinese students Shi-khua was born and raised. Instead of inducing readers to bemerged into Shi-khua’s emotions, Tretyakov attempted to lead readers to examine, question, andmeasure Shi-khua’s emotions, that is, to instigate to triage emotions.

2. The Problem of “Knowledge” in LEF and A. Voronsky’s Literary Controversy
Michiko Komiya (University of Tokyo)

In the 1920s, the avant-garde group LEF advocated the “art of life construction” and proposed
the “literature of fact,” a distinct documentary literature. A notable critic opposing LEF was A.
Voronsky, who believed in “art as the cognition of life”. This report compares their contrasting viewson the role of “knowledge” in art.
Voronsky saw art as depicting the world’s essence. According to him, writers must cultivate apure, direct sense within themselves. For this, they need an infantile “ignorance” of the subject matterthey depict.
The “literature of fact” aims to overcome ignorance. In his essay “Through Unwiped Glasses,”
S. Tretiakov discusses perspective in literary works based on his experience flying in a passenger plane.
Tretiakov compares his first bird’s-eye view of the country to a pair of unwiped glasses. According to
Tretiakov, the world cannot be fully perceived without a detailed knowledge of the subject.
For the avant-garde, who sought to incorporate human action into the cycle of material production,
literature about the production process was a means of involving people in it. LEF’s emphasis on
depicting knowledge of the production process was also a strategy to involve the reader in that very
process.

3. Boris Arvatov Revisited: Hito Steyerl’s Reinvention of Circulationism
Soo Hwan Kim (Hankuk University of Foreign Studies)

In her theoretical essays Steyerl has dealt head-on with issues related to the ontology and political
economy of the image in the post-internet era, drawing form a variety of contemporary thought (criticaltheory and media theory). What attracts our attention is that she also presents an attempt toreappropriate the legacy, of the Soviet avant-garde, Constructivism in particular, in her own way. For

instance, the experimental thought of Sergei Tretyakov is revisited in a fascinating way in her video
Free Fall (2010), resonating with the prominent trend in contemporary art characterized by the“(re)orientation toward things.”
But there is another name which appears as a legitimate reference point for her concept of image– it is Boris Arvatov, who alongside Tretyakov served as a theoretical pillar of the aesthetics of Soviet
avant-garde Productivism. Steyerl finds in Arvatov an alternative image of a “thing” as a legitimate
agent of social change that contains the power and energy of a dynamic labor structure. Arvatov
argued that the so-called “socialist object” must be seen “as a force for social labor, as an instrument
and as a co-worker.”

Furthermore, the name Arvatov is essentially related to the total andmacroscopic change that Steyerl has referred to as the move “from productivism to circulationism” ina way that it represents the indispensable reference point for contemplating the specific replacementof the image regime that defines our age.
In the following presentation, I will show in what way ‘Arvatov and his era’ acquires thisunexpected contemporaneity. To this end, I examine from various angles, which aspects ofcirculationism could correspond to the ideas presented in the Soviet Union at the beginning of the lastcentury, and in so doing I seek to provide an opportunity to reflect on the significant implications
contained in Steyerl’s concept of circulationism from a historical perspective.