SOVIETŲ LIETUVOS KINO FASADAI IR KULISAI
Rec.: Anna Mikonis-Railienė, Lina Kaminskaitė-Jančorienė, Kinas sovietų Lietuvoje: sistema, filmai, režisieriai, Vilnius: Vilniaus dailės akademija, 2015.
More...We kindly inform you that, as long as the subject affiliation of our 300.000+ articles is in progress, you might get unsufficient or no results on your third level or second level search. In this case, please broaden your search criteria.
Rec.: Anna Mikonis-Railienė, Lina Kaminskaitė-Jančorienė, Kinas sovietų Lietuvoje: sistema, filmai, režisieriai, Vilnius: Vilniaus dailės akademija, 2015.
More...
The aim of this research was to establish the linkage of a creative personality of students of visual arts and cognitive and emotional empathy and whether the assessment of empathy is related to the gender. 1st– 4th year students of two art profile higher schools participated in the research, their age was 18–32 years. The traits of a creative personality were evaluated in accordance with the “Questionnaire on assessment of characteristics of a creative personality” (Туник E. E., 2003). The cognitive and emotional aspects of empathy were evaluated on the basis of the “Interpersonal reactivity index” questionnaire (Davis M. H., 1983). The instrument consists of four seven-item subscales: the perspective-taking scale, contains items which assess spontaneous attempts to adopt the perspectives of other people. Items on the fantasy scale measure the tendency to identify with characters from movies, novels, plays and other fictional situations. The empathic concern scale inquires about respondents‘ feelings of warmth, compassion, and concern for others, while the personal distress scale measures the personal feelings of anxiety and discomfort which result from observing another‘s negative experience. It has been revealed that with the decrease of the assessment of predisposition to risk, personal distress assessment increases. Also, it has been established that with the decrease of complexity assessment, personal distress assessment decreases. With the increase of imagination assessment, fantasy assessment also increases. The assessment of creativity did not differ among males and females; however, the assessment of personal distress in females was higher. Perspective taking and fantasy assessments did not differ among males and females.
More...
The paper focuses on the artefacts produced and displayed by pupils in Lithuanian general education schools. Drawing on the empirical research “Dominant and demotic school culture: analysis of tensions fields” (2014–2015) the paper investigates the found visual artefacts in schools: artworks, paintings, and graduates’ farewell gifts. The visual data analysis seeks to find out what is the purpose and meaning of the displayed artefacts to the members of school community. On the one hand, these artefacts demonstrate pupils’ creativity, self-expression, and freedom to establish their private spaces in schools. On the Prosser, J. (2007). Visual methods and visual culture of schools. Visual Studies, 22(1), p. 13–30. doi: 10.1080/14725860601167143 Prosser J.; Warburton T. (1999). Visual sociology and school culture. In J. Prosser (Ed.) School culture (p. 82–97). London: Paul Chapman. Peters M.; Marshall J.; Fitzsimons P. (2000). Managerialism and Educational Policy in Global Context: Foucault, Neoliberalism, and the Doctrine of Self – Management. In N. C. Burbules, C. A. Torres (Eds.), Globalization and Education. Critical Perspective (p. 111–132). New York, London: Routledge. Popkewitz, T. S. (2000). Reform as the Social Administration of the Child: Globalization of Knowledge and Power. In N. C. Burbules, C. A. Torres (Eds.), Globalization and Education. Critical Perspective. New York, London: Routledge. Ranciere, J. (2009). Notes on the photographic image. Radical Philosophy, Vol. 156, p. 8–15. Prieiga per internetą: http://m.friendfeed-media.com/701009c 0a81ed6de4eee7407ae43d38b274b4fbc [žiūrėta 2015 m. gegužės 20 d.]. Rose, G. (2012). Visual Methodologies: An Introduction to Researching with Visual Materials. Los Angeles, London: Sage. Survutaitė, D. (2015). Unikalios kultūros mokykla. Švietimo problemos analizė, 3(127). Prieiga per internetą: https://www.smm.lt/uploads/lawacts/docs/5 75_2ee579ef9843cbbecdfacb0afa5c5158.pdf [žiūrėta 2015 m. gruodžio 28 d.]. Thomson, P. (Ed.) (2010). Doing visual research with children and young people. London and New York: Routledge. Želvys, R. (2009). Švietimo politikos kontekstas. L. Duoblienė, T. Bulajeva (Sud.), Lietuvos švietimo politikos transformacijos (p. 13–32). Vilnius: Vilniaus universiteto leidykla. ARTEFACTS IN GENERAL EDUCATION SCHOOLS: OPEN OR STANDARDISED CREATIVE WORK? Sandra Kairė, Lilija Duoblienė Summary other hand, pupils cannot avoid the existing norms, open or hidden control, which is maintained by teachers and school administration in order to restrict and standardize pupils’ creative work as it was showed by M. Foucault and other authors. The paper shows that one part of school community sees artefacts as a way to express oneself, demonstrate one’s world view or even resist existing restrictions and norms. Whereas the other part of school community sees artefacts only as a way to decorate school and create cosiness.
More...
The article deals with the analysis of the representations of space in the novel Chapaev and Void by Viktor Pelevin. The theoretical background of the research is based on the works of Bertrand Westphal and Robert Tally on geocriticism and literary cartographies. The authors seek to underline those aspects of the novel that reveal the refferentiality, transgressivity and spatiotemporality of the space represented in the text. In the novel, there are maps which suppose the relation of the fictive space to the reality as well as pictures that represent places already known from the creative works of Russian literature or visual arts. Thus the main character’s leaving for the void is the same as the author’s departure from the tradition of Russian literature. At the same time, this tradition persists as the “collective visual” that serves for Pelevin as an archive for the visual spatial images / pictures of the novel. Pelevin is keen on the observer and his interpretation of the visual images, what makes his novel highly topical in the context of the recent geopolitical catastrophes of the world.
More...
For a child, the school is like a separate “state” in which they are fully educated and influenced by a variety of environments, including aesthetic education. The significance of the environment in which the learner lives, matures, and creates has been found to be enormous. In Lithuania, there is a well-established “package” of environmental requirements for general education schools – educating, safe, functional, ergonomic, aesthetic. This article analyzes the relationship between the aesthetic education environment of the school and pupils’ artistic expression. Is it possible to develop the artistic self-expression of pupils in schools when creating an environment for aesthetic education? And is this a problematic question? The purpose of this article is to reveal the link between the aesthetic education environment of schools and pupils’ artistic expression. The following methods were used in the article: (1) an analysis of educational documents and scientific literature and (2) a review and comparative analysis of the realized projects. The educational document analysis method was used to review and analyze Lithuanian educational documents on school education environments. The analysis of educational documents on the educational environment of schools has led to the conclusion that a great deal of attention is paid to the ergonomic, functional, and aesthetic planning of educational spaces. The aim here is to create high standards for school education. The creativity of students, as well as the contribution of artistic self-expression, are identified as important aspects in creating an aesthetic education environment. The link between the creation and development of such an environment, and the involvement of the educational process participants in the creation of such spaces are emphasized. The creation of an aesthetic education environment in schools is more associated with visual and applied art. In applying the method of scientific literature analysis, this study includes a review of research conducted by Lithuanian and foreign authors about various school education environments, the influence of school education(s) on pupils’ learning, the aesthetic relationship of pupils with school education and the aesthetic education of schools; links between environmental and artistic activity are established. This article discusses the peculiarities and possibilities of modernizing the educational spaces of Lithuanian schools. After the analysis of scientific literature on the educational environment, it was concluded that the topics of the school educational environments were relevant to Lithuanian and foreign scientists. The environmental impact of school education was proven on the basis of a multi-faceted study; the concept of an aesthetic education environment has been revealed, its significance for personality development emphasized. The conclusion is that the aesthetic educational environment of a school can influence the formation of the students’ aesthetic attitudes. The active artistic expression of pupils can be provided by educators with certain conditions for their activities, or pupils can develop joint initiatives contributing to the creation of an aesthetic education environment. After discussing the modernization of the educational spaces of Lithuanian schools, an important link was identified between the creation of educational spaces and pupils’ artistic expression. The analysis of educational documents and scientific literature scientifically substantiated the link between the aesthetic environment of a school and pupils’ artistic expression. Examples of certain “dream school” projects in Lithuania and abroad were analyzed using the sample review method. This article contains an overview of the Lithuanian Primary School of the Veršvų Gymnasium in Kaunas (2018) and the Balsių Progymnasium in Vilnius (2011). Chosen for the review of foreign schools were the “Wish School” in Sao Paulo, Brazil (2016), We Grow and Blue School Preschool and Elementary Schools in New York, USA (2018), Lake Wilderness Primary School, Washington, USA (2017), Heart in Ikast International School and Multifunctional Center in Ikaste, Denmark (2018), Vittra Brotorp, Vittra Telefonplan, Vittra Södermalm School in Brotorp, Stockholm, Sodermalm, Sweden (2011–2012). An overview of architectural examples (analogues) implemented by Lithuania has revealed that Lithuanian architects can perfectly design schools that are modern, technologically equipped, ergonomic, etc. In the reviewed examples (analogies), the learning environment is safe and modern; they promote communality, creativity. The corridor system and the “four-walled” classrooms were retained in the design of Lithuanian schools. Pupils are encouraged to create and to participate in the creation of an aesthetic education environment through visual and applied art. Artistic self-expression is promoted by dancing, musical activities, and the like. Communality and a variety of after-school activities are promoted. An overview of architectural examples (analogues) implemented by foreign countries has revealed the latest architectural trends in global school design practice. It is noted that the design of new school buildings has been important for cities, societies, and education for decades. In many cases, the design process of the schools discussed was developed in conjunction with the needs of the community and adapted to the local architectural context. In the examples of foreign countries discussed, the functional zoning of premises was combined with modern design, educational principles, and the latest technologies. School interiors have been designed with a new concept of education and learning in mind. When designing the school spaces, it was emphasized that students are active subjects and space changers. In some of the examples of the discussed schools, the idea of a “class without borders” has been implemented. Non-formal seating, colorful furniture, and bright-colored walls are accentuated. Classrooms are modern and flexible and easily adaptable in accordance with the educational needs of the pupils. A diversity of activities, communication, and an atmosphere of creativity are promoted. Common spaces are easily adaptable and inspiring. Pupils’ artistic self-expression, curiosity, and the aim to “awaken” creativity are encouraged. Functional zoning allows students to work successfully together and independently. Attention is paid to communality and a diverse spectrum of activities. An overview of implemented Lithuanian and foreign architectural examples (analogues) has revealed the connection between the aesthetic environment of a school and the artistic expression of the pupils: 1) Students are encouraged to create and participate in the creation of an aesthetic education environment through visual and applied art; 2) Music, dance, and self-expression are promoted in school spaces; 3) The community is involved in the school design process. By comparing Lithuanian and foreign (analogous) examples, it may be stated that Lithuanian schools are wellplanned and meet high standards. The interior spaces could be more colorful and playful. In the cases of foreign (analogous) countries, internal spaces are more characterized by informal seating places, vibrant and colorful furniture and walls. The corridor system is more boldly eschewed, and the concept of “classes without walls” is implemented.
More...
By analysing Jacques Rancière’s conception of art regimes and taking the practical example of paintings by Lithuanian artist Vincas Kisarauskas, it is demonstrated that by thinking about the modern art in the 20th century as the intersection of the three art regimes by Rancière, we might escape from the binary oppositions still prevailing in the interpretations of modern art in post-soviet and post-socialist countries, and also escape the current narratives of late and silent modernisms implying the belatedness and disability of modern art created in Soviet Lithuania. By writing histories of modern art with Rancière, it is possible to claim that at least a part of Lithuanian modern art is neither late nor silent. On the contrary, the part operating in the aesthetic regime of art becomes a space of search for the new tropes of expression and of the common sensual fabric of life.
More...
This article contributes to the multimodal investigation of comics translation, a highly semiotic activity. The author discusses the visual representation of the text as an image through a case study of the Lithuanian translation of Art Spiegelman’s graphic novel MAUS (translated into Lithuanian by Juškienė and Lempert, 2012). While viewing multimodality as a translation tool and a challenging area, he claims that the visual representation of the text is an integral part of the original multimodal event, whereby the meaning is conveyed through an intrinsic relationship between verbal and non-verbal elements, and that any distortion of those would result in alterations or losses in meaning. The results demonstrated that indeed even the smallest alterations of the visual representation of the text produced shifts in meaning; most of those shifts were pragmatic ambiguities, however, in certain instances there was a loss of semantic emphasis or narrative production. Comics translators and publishers are thus urged to fully comprehend the very dynamic and complex nature of multimodal texts and make every effort to ensure that translation would not result in any multimodal disruptions, if such preservation is technologically available.
More...
In the article the painting Card Player Showing His Hand by T. Rombouts (17th c. Netherlands) is being interpreted. It is noticed that two existential manifestations may interact in this composition: the gambler’s and Vanitas. In the first part of this article, an analysis is made how Rombouts presents card play as a way of being and how he integrates it into the genre of Vanitas. In the second part the hypothesis, is it proven that the composition of the painting continues the theme of Vanitas and questions it at the same time.
More...
In this study, the phenomenon of heroism seen in the works of Jacques Louis David, one of the important representatives of French painting and Neoclassicism in the history of Western art, has been examined. The foundations of the neoclassical understanding began to be laid before the middle of the eighteenth century, and the reason for the reactivity was the excessive ornamentation and artificiality of the Baroque and Rococo before it. In the century it emerged, important developments in various fields laid the groundwork for Neoclassicism, and especially the effects of ancient cities unearthed in the archaeological area on artists formed the mainstay of the style. In this way, the artistic qualities of antiquity were brought to the fore. Ancient Greek and Roman works have shown their existence as a version of the updated worldview and a new aesthetic understanding. Its effects are seen in many branches of art, including the field of painting. By praising the noble simplicity and quiet splendor created by antiquity, pure and clear works, technically isolated from the effects of light, in which linearity comes to the fore, were produced. In the works of David, who is the most prominent artist of this style, which adopts order and limitations as its rules, dignified examples of a rational, moral and noble spirit are selected. In the artist's productions, symbolic images have served as elements that contribute to the semantic dimension of the expression. With the stable stance of Jacques Louis David, who was the official artist of the French Revolution as an extension of the Age of Enlightenment, the patriotism, self-sacrifice, and heroism ideals of the new classicism were articulated with the identity of the Romans formed with the ideas of virtue and pro-republic freedom in an original and updated aestheticized form. The transfer of heroic stories, which is an important feature of the movement, has taken its place in David's hands at a high level of maturity.
More...
This research aims to evaluate Arnold Böcklin's fantastical and mythological narrative through the concept of melancholy. Concept of melancholy continued to exist within the reality of each period. The concept is presented to the audience with different narratives and artistic works of the artists. The research found that the inspiration or sources of Arnold Böcklin's works in the creation process how and to what extent if reflects melancholy in its works. İn this context the emotional states of the artist's melancholy works produced through the theme of death will be interpreted.
More...
Generative art is the process that is revealed through an autonomous system that works based on a set of rules created by the artist's algorithmic thinking technique. The criteria that define generative art are that the process has an algorithm and then an autonomous system in which the artist voluntarily delegates the authority partially or completely. Autonomous systems are systems that can make their own decisions, and their use in the generative art essentially stems from the artist's desire to objectify the process. Although generative art is used synonymously with algorithmic art or computer art in the literature, its history goes back much before the invention of computers. Undoubtedly, with the invention of the computer and the increase in its use in the artistic context, the reflection of technology in the field of generative art has become inevitable. So much so that today generative art has become unthinkable independently of coding and artificial intelligence. However, it is quite wrong to think of autonomous systems only as environments dependent on digital technologies. There are many autonomous systems based on the cooperation of individuals which take their power from nature, use more primitive machines or simply work by sticking to the written rule set. The aim of this research is to define and introduce the autonomous systems that make up the generative art more clearly with both their digital and non-digital aspects.
More...
Shepherding, with a rooted past as the human history, has become an occupation, learned and practiced based upon master-apprentice relationship by people growing up in countryside, which is seen and heard from childhood, providing more or less knowledge about it. Pasturing, watering, herding and selecting the place of pasture and sheltering for the animal herds are related with the knowledge, will and experience of the shepherd and therefore seen as an important occupation in Turkish culture. Cultural riches, customs and traditions are important elements, which create the existence and memory of the community and forge a link between people. One of these elements which create cultural riches is traditional occupations. When Turkish painting art is examined, it is seen that cultural riches, customs and traditions and traditional occupations are often referred. Shepherd occupation, which carries a significant role among traditional occupations, is addressed in many art branches such as paintings, novels and poetry and interpreted in various styles by artists, in every era of Turkish painting art. The aim of this study is to explain the importance of shepherd occupation which carry a significant role in Turkish culture and social life; to analyze the Works of Turkish painters from an aesthetic point and to show how it is reflected to the Turkish painting art. Literature review and work examination was conducted within qualitative research method. The works of artists who lived in various eras of Turkish painting art were examined and analyzed in order to reach a conclusion.
More...
Due to the similarity of the hairdressing fashion on female head with the portraits of Domitia Longina written by J. Inan and E. A. Rosenbaum who have important studies about Roman imperial portrait art, Flavian Dynasty period was proposed directly. In the study in 1979, no typological distinction was made among the portraits of Domitia Longina and Domitia Longina portraits were limited to the Flavian Dynasty. Hairdressing fashion in the form of a spongy mass of hair, which is very important in identifying and dating this period, also looks like a wreath-like hair mass in Istanbul piece. This hair style is not similar to the hairdressing fashion of the portraits of Iulia Titi and Domitia Longina during the Flavian Dynasty. It is similar to the portraits of Domitia Longina in IIIrd type who was honoured after the Flavian Dynasty and of whom portraits were made with new hair fashion. Although this new hair fashion, which is dated to Nerva - Early Traianus period, is reminiscent of the Flavian Dynasty in essence, this hairdressing fashion in which the hair tresses are portraited more exaggerated should be dated after the Flavian Dynasty.
More...
The lands of Anatolia we have been embracing as our homeland with the history of thousands of years hosted many cultures throughout the centuries. Art of ceramics inherited by us from these cultures has been revealed as various materials in every period of our lives. Archaeological excavations show that our history of ceramics dated to the Neolithic period. In Anatolia, embracing such a rich cultural history, many manufacturing centers in the field of traditional pottery still do exist. Avanos, among those centers, is a district of the province of Nevşehir located in the Central Anatolia region. Established on both shores of Kızılırmak, the district is one of the substantial settlements of the region known as Cappadocia. Due to the red soil of Kızılırmak, it contributed to the birth and development to the greatest extent of pottery within the region. The red soil of Avanos region provides opportunities for various research within the field of ceramics technology. In the study “paperclay”, which is also the subject matter of this study, the clay of Avanos region has been used. The paper containing clay is named as “paperclay” in English and takes part in the ceramic terminology with the same nomenclature. It is obtained by adding certain ratios of paper into the ceramic clay upon processing through various stages. In comparison of the paper containing clay with the traditional clay, it reveals numerous superior features. Based on the fact that cellulose, the raw material of the paper, forms a reticular structure in the clay, it eliminates the adverse effects such as fissures and cracking that may occur during drying. Paper containing clays are preferred by ceramic artists due to their positive features such as the large-sized ceramic form work facilitating the works and lightweight after kilned. The natural clay used in the Avanos pottery does not allow largesized works as it results in fissures and cracking particularly as a result of rapid kilning during the artistic practices. Therefore, various tests have been conducted by adding paper in different ratios into the red clay used in Avanos pottery. Artistic practices have been performed based on the outcomes of the tests.
More...
This research was conducted to examine the current status of style counseling education and expert opinions on the development of style counseling education. Descriptive research method was used in the research. With the descriptive research method, it was aimed to evaluate the data obtained from the questionnaire applied to the experts who provide style counseling training, and to determine the current status of style counseling education, and to create solution suggestions for improving style counseling education. For this purpose, research data were collected through a questionnaire created by the researcher. The sample of the research; style consultancy and related fields, which can be reached from style consultants working in the sector in Istanbul (12 participants) and who have received education abroad/in related fields, and academicians (4 participants) who provide style consultancy training at universities with fashion design departments in Ankara. Within the framework of the general purpose of the research, the data obtained from the questionnaire, which included the opinions of the style consultants and academicians, were transferred to the computer environment and the necessary statistical analyzes were made using the SPSS package program. In order to determine the opinions of the sample group, descriptive statistics were applied to each item, presented in tables and interpreted. In the research, the suggestions developed by examining the expert opinions about style counseling education; raising awareness about style counseling education, increasing the number of institutions providing style counseling education, making style counseling course compulsory in fashion design faculties and increasing the number of documents related to the field.
More...
Science and art are generally compared with each other in terms of their similarities and differences. Syntheses of science and art can be expressed with regards to terms art's contributions through imagination and scientific data's reflections on artistic applications. Research processes that begin with the sense of wonder also show similarity within the comparison between science and art. Also, evaluations are made in different perspectives with views concerning the differences between science and art. Nowadays, the applications that include interdisciplinary work with the convergence of fields of science and art have gained acceptance by a wide variety of research methods. Technology also plays a role in these applications through digitalization in obtaining scientific data and methods of visualization. Contribution to art and education fields is envisaged through application examples produced within the context of science-art synthesis and application-research methods guiding interdisciplinary education. The goal of this study is to reveal how the research methods of visual art works that contain scientific data created by scientist-artists become. The study has been carried out with the literature review. In the research, artistic applications that include scientific information were discussed under themes according to their different prominent characteristics. In the research, various viewpoints concerning application methods that artists who make use of scientific information and materials, that artists who are educated in science and art serve in these two areas, that are cooperative ones conducted through community participation and dual group or multiple groups having proficiency in various areas, and that are the multi-dimensional digital ones through the synthesis of science, art, and technology were revealed. In these practices, artists/scientists have demonstrated the holistic perspective of both fields by experiencing both the process of inquiry for scientific knowledge and aesthetic inquiry in their research paths.
More...
With the change in the industrial world from the Neolithic world to the present, and the increase in the diversity in application methods; the subjects covered by the ceramics have increased in parallel with the conditions . It is possible to divide into three main groups as those that qualify as historical findings and indicators, plastic arts and industrial ceramics. Although they are considered as different fields, architecture and ceramics are in close dialogue. The use, which started with mud brick for the first time as a building material in ceramics, continues today by being present in many components of architecture. It is a rare and precious situation in terms of architecture that the preferred ceramic, thanks to its high utility/performance ratio, is not only a building element, but also adds a pure creation and artistic value. Influence of human is important in the organization of contemporary space in architecture. When the user requirements are included in the design problem as concrete and abstract, the concepts of modularity and aesthetics appear. The modular design of the reinforcement elements enables flexible design by making it possible to change the number of units according to the place to be practiced, which is compatible with the separation works. For space dividers made of ceramic units, the primary consideration is to add aesthetic value to the space of which it is a part, while meeting the requirements as a function. In this article study; The relationship between ceramics, which is a competent material in the fields of industry and art, and architecture is examined through the building envelope and space-dividing examples, and it is aimed to emphasize that qualified and original building and space arrangements are possible as a result of the joint work of different disciplines.
More...
In the introductory part of the paper the author formulates a tentative definition of love and points to the relationship obtaining between love and beauty, as described by Władysław Stróżewski and Joseph Ratzinger—Benedict XVI. What follows is an analysis of art works by Adrian Gottlieb, Bernhard Prinz, Olafur Eliasson, James Turell, Stan Brakhage, and Joanie Landau based on insights from the mentioned thinkers. The ‘love’ present in art is firstly interpreted as desire, also as desire for the good, then as all-enveloping and permeating power, a gift and the act of its acceptance, and finally as the descending Word. The description of the language used by the artists in question involves a reference to the underlying poetic quality of their work which manifests an aesthetically relevant value. The author observes that artists tend to make recourse to direct language and postulates that the aesthetic categories and poetic devices used in the interpretation of art works be considered as flexible language rules which ultimately serve conveyance of beauty in art, the latter ultimately deriving from love.
More...
The purpose of the article is to identify the features of adaptation of oriental theatrical, physical, and spiritual practices by representatives of the European theater in the process of developing methods of actor training based on the analysis of acting training of leading directors of the twentieth century. - K. Stanislavsky, E. Grotovsky, E. Barba. Methodology. A typological method was used (to determine the specifics of acting training methods by K. Stanislavsky, E. Grotovsky, and E. Barba; interpretive method and method of comparative analysis (to identify common and different aspects of interpretation of Eastern practices by European directors); phenomenological method (to identify features of Eastern and spiritual practices and their adaptation to acting training), etc. Scientific novelty The specifics of borrowing and interpretation of traditional in East, Southeast, and Central Asia elements of actor training by Russian and European theater directors of the twentieth century are considered. K. Stanislavsky, E. Grotovsky, and E. Barba and revealed the peculiarities of adaptation by theater directors and teachers of elements of hatha yoga and Raja Yoga in accordance with their own understanding of the purpose of training in the art of acting. Conclusions. Various elements of traditional Western and Eastern cultural practices have been the focus of twentieth-century theater directors. in the process of developing innovative methods and techniques of educating the actor. Their research of local theatrical cultures contributed to the search for universal laws of stage conventionality, new acting methods of self-knowledge, and the disclosure of their own creative potential. In their own search for methods of educating the actor theater directors of the twentieth century. turn to the Eastern worldview, because the extraordinary method and a special view of the nature of consciousness and its functioning in the world contributes to the creation of training to solve a number of applied problems in the context of the specifics of acting. Translating material (Eastern practices) into a Western conceptual structure or any kind of synthesis of Eastern and Western concepts, simplifying, does not reveal the full depth of Eastern practices and religious orientations, but contributes to the actor's mastery of innovative methodological approaches, including intuitive insights, contemplation, contemplation. etc.
More...
The terminology related to the visual arts includes within it many terms that are used in both specialized and common language. However, only a part of the terminology of this field can be characterized by univocity and monoreferentiality, given that some lexemes have multiple meanings, which constitutes, in principle, a factor of ambiguity. In fact, in these cases, through a terminological metaphor, the transfer of the name of one object to another is carried out, based on a similarity between them. The phenomenon can be considered a fundamental process in the formation of the metaphorical terminological lexicon. The transfer mechanism combines two notions by virtue of their common elements, neglecting the differences. Specialty studies believe that each metaphor will therefore contain three elements: the entity to be named, the one that gives it its name, and the comparable characteristic, which makes the analogy between the two possible. The analogies on the basis of which the semantic transfer is made in the visual arts are of a referential type and refer, in general, to the shape, that is to the appearance of an object, sufficient to characterize it externally. In the sector we want to analyze, the most frequent lexicalized translations concern the human body (colo, rib, rib, foot, shoulder, head, nail), plants and trees (almond, leaf, stem), animals (goat, truss , mare, stork, bull, dovetail, bear), the geometric shape (band, ovolo, pillow, cube, strip). All these terms are created on the basis of a replacement procedure, possible thanks to an analogy between one word present and the other absent, but necessary in the specialized lexicon to name a new object. Practically, through the attribution of a new meaning to an existing lexical element, resemantize (or semantic redetermination) occurs.
More...