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This essay narrates my experiences as a congenital amputee and survivor of traumatic brain injury (TBI) through analysis of artwork. With art history and art therapy, I have cathartically mediated conscious and corporeal loss. I will analyse key visual examples to illustrate my disability, trauma and mind/body transformations. The article maintains that trauma is not an isolated event, but a conscious, collective and dynamic phenomenon.
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The article attempts at responding the question how art can possibly function in public space. A reply to this question assumes that associations between art, politics and ethics, fulfilling their potential in (a) public space, will be evidenced. The article evokes our contemporary concepts of such associations, in conclusion, however, predominantly referring to Julia Kristeva.s views. Kristeva namely treats mutiny in terms of individual revolt, expressing itself in opposing dominant forms of social life. Being a form of individual expression, art can thereby become part of a discourse in public space.
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Creativity and personality creative potential is provoked mostly by the means of fine art when at school, or at home during one’s spare time. To what extent - does art education meet these new requirements at present? The school and in particular the teacher continue to teach by following the old norms and rules. Students, on the other hand, listen to things that are boring for them or incomprehensible. A gulf and misunderstanding develops between the two most important levels in the education process - teacher-student. Art is one of the basic means in the formation of values; but when it is not taught felicitously and comprehensively to students, it loses its formative power.This calls for experimenting different new forms of education in order to establish their effectiveness according to the expected results. In response, the fine arts curriculum should be in conformity with the needs of the time and the dynamics of the surrounding reality development. It should be an open, flexible and dynamic system of learning and education through art.A kind of new non-traditional art education is considered. A total change of teachers’ views should ensue so as to form a new way of thinking, acceptable for the new environment. As the children change, the environment around them changes, the only thing that remains the same is the teacher of fine art classes. It’s not enough to be a good artist or a good pedagogue; you have to be a modern person as well.
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This article explores an actual and online street protest which unfolded over a series of weeks in the Spring of 2013 when Cyprus experienced an economic crisis following the ‘bailout’-‘haircut of March 2013. In an effort to contextualize and explore the performative aspects of these events the author links this to art and protest as an expression of alternativeness and an avant-garde spirit embodying resonances of 1960’s and 1970’s art and protest as performative happenings. It is argued, unlike other similar contemporary contexts of economic crisis in the EU, such as Greece, Portugal and Spain, protests in Cyprus may not have been so massively populated but the spirit of performative art was expressed in innovative ways, as documented and shared through social media as an alternative platform of expression, which ultimately fills a void that exists in the contemporary Cypriot political landscape.
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From 2002 to 2015 a considerable number of large-scale, geopolitical bannered exhibitions have been dedicated to the ‘the Balkans.’ This article aims to analyze and compare two types of regional, large scale exhibitions from/on the Balkans: contemporary art exhibitions and interpretative (dedicated to historical and ethnographic themes) exhibitions. The pervasiveness of the stereotypical visual representations of ‘the Balkans’ – called by the Bulgarian artist Luchezar Boyadjiev the ‘Balkan blue’ – as a region of everlasting conflicts and binary oppositions coincides with the birth of contemporary Balkan art. By attempting to overcome the stereotypical images of the Balkans (‘the Balkan ethos’) still prevalent in our days, the travelling exhibition ‘Imagining the Balkans: Identities and Memory in the Long 19th Century’ – opened in Ljubljana (Slovenia) at the National Museum of Slovenia, in April 2013 and then displayed in other national museums of history from the Balkan region – endeavors to place national histories in a perspective where they interact.
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This research aims to explore the visual arts from 1918 to 1935 in Germany, France and Italy. This philosophical analysis shows how the athletes’ body is transformed into the machine that produces medals and fame for the totalitarian regimes. In this period the rise of propaganda and its establishment are a matter of fact.
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This article aims to show the dressing in philosophical and anthropological perspective. The author defends the idea that dressing is above all an opportunity to adapt the body to a desired image. The dressing and the fashion are interpreted as part of the human experience.
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Art, as well as the theoretic approach to art, is doubtlessly undergoing changes or at least a rethinking in the context of the new ‘digital’ reality. With regard to cinema art, to reveal the mechanisms that mediate interactions in the system, already more complex and liberated from mediation, of relations between author (authors, creators), film (films) and viewer (public, mass audience) is essentially to uncover the paradigm of cinematic communication in the general cultural field, and particularly in the field of cinema, as well as to explore the degree in which they are able to influence the processes of establishing of certain aesthetical, cultural, social etc., ideas, attitudes, norms and models as dominating not solely in the context of film art.
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The forth issue of Studia Universitatis Babeș-Bolyai Digitalia focuses on digital classics and ancient history. The initiative was rooted in the Digital Ancient History and Archaeology workshop hosted by the Babeș-Bolyai University in June 2018. Some of the papers published herewith were presented there, while others are later additions, which we believed best-fitted to the thematic of the volume in order to help us render a more thorough image of what studia digitalia in these fields mean today.
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The article discusses some problems that arose while implementing two sets of annotation rules for treebanking Ancient Greek (the first set by Bamman and Crane, the second by Celano). Educational uses of treebanking are discussed, together with the most common problems that occurred while treebanking the Iudicium vocalium by 2nd-century writer Lucian of Samosata.
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The study of an abundant number of inscriptions leads to the conception of schemas and forms that can be organized into databases. This procedure allows us to arrange information with precision and to draw data and create connections between them in quickly and easily. For this reason, the relational database model has proved to be a valid support, as it makes possible to arrange data and information logically according to pre-established constraints and relationships, reducing errors and repetitions. The aim of this paper is to present an example of the use of a relational database created to catalogue inscriptions and highlight the positive aspects and difficulties found out during the process. The complexity of this method is mostly related to making choices about entities and identifying relationships between them; another obstacle is connected to the complexity of inscriptions as group of words and formulae. Nevertheless, the relational database allows the researcher to mix up data and information and create new relationships between them using SQL operators. The software used for the case study that will be presented in this paper is an open source administration and development platform pgAdmin (for PostgreSQL).
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The present paper has the goal to document the usage of the Romans 1by1, a database which records the people attested in the epigraphic sources coming from the Roman provinces; so far, we have registered Dacia, Moesia Inferior and Moesia Superior in full and are currently working on the epigraphy of Pannonia. The information started to be collected in 2015, and it is still in progress, the intention being to extend the geographical area as much as possible. The database represents an extremely useful resource in the study of ancient population, as well as a very user- friendly research tool, which allows primary browsing and selective, advanced searches alike.
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The treasure from the Golyama Brestnitsa village in North-Central Bulgaria consists of one cylindrical vessel and five dippers with total weight of 1.650 kg highest grade silver. The dippers are not identical in size and ornamentation. An inscription is incised on the bowl and on one of the dippers, which reads: Κυριω Ηρωι Πυρουμηρουλα Φλ(αβιος) Μεστριανος β(ενε)φ(ικιαριος) ευχαριστηριον (“To master Heros Purumerulas from Flavius Mestrianos beneficiarius, as a sign of gratitude”). The prevalent opinion in the literature is in favour of the meaning “big/ brilliant fire” for the epithet Πυρουμηρουλας, and for the name of the beneficiarius Μεστριανος – that it is a Latinised Thracian name. The making of the vessels is dated to the end of the 1st or the beginning of the 2nd century, and its burying is associated with the barbarian incursions and more specifically with the late 3rd century. The paper interprets for the first time the treasure and the inscription from a functional and a ritual point of view in the context of the Romanisation to the north of the Balkan Range. Inscriptions with the epithet Πυρ(ου)μηρουλας, Pirmerulas occur to the south of the Balkan Range and along the Struma valley. An assumption is given in the paper that the donor of the treasure with a dedication to a god-horseman (and hunter) with fiery-solar characteristics may originate from these regions. Another possibility is the epithet to have been carried to the north by Thracians who settled in the region after their military service. The treasure from Golyama Brestnitsa supports the theory that two types of transformations took place during the first two centuries of the first millennium AD between the Balkan Range and the Danube as a result of the inclusion of the Thracian lands within the Roman Empire, namely: visible, formal Romanisation of urban and communication infrastructure and the emergence of multicultural enclaves, name system and formation of a shared trade space, and actual Romanisation – of the lifestyle, faith and ritual.
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The loss of independence, and then the collapse of the national uprisings against Russia (1831, 1863) forced many Poles to emigrate. Many former military in emigration began working as engineers. A major center of the Polish immigration was the Ottoman Empire and the Polish engineers contributed to the modernization of the state. Some of them worked in Bulgarian lands, building telegraph lines, roads and railways. Several of them remained in Bulgaria after its liberation. Boleslav Anz served as Principal Engineer of Bulgarian railways and Sabin Halatkevich participated in the expansion and completion of the Bulgarian railway network until his death in 1935.
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This paper presents an unknown photograph from the time immediately after the Liberation of Bulgaria. It depicts a collective portrait of the members of the European Commission for the organization of Eastern Roumelia. The photo document is created outside a studio in a natural environment and could be defined as one of the early examples of reportage photography on socio-political affairs that took place on the Bulgarian lands.
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