Hibridna pitanja o dekonstrukciji i umetnosti

Author(s): Miško Šuvaković / Language(s): Serbian Publication Year: 0

Yet, it has been one priviledged moment for deconstruction when she became a feshion, which means uncertain, open interpolation and tends towards displacements of atmosphers of intervent performance within different hybrid social contexts, first of all, within culture, which means within art. Deconstruction has been a kind of a feshion, or set of feshions between theoretical postistoricism and political globalism. Text which follows is a try to trace these uncertain and worryng paths from philosopfy towards art by the way of theoretical intervent instruments. Within the art theory deconstructive searching of textual differences (or analoguosly, visual, spatial, time) aspects and characterizatcons of paniting besomes discursive production of meaning, that is, production of ‘differences’ and ‘differAnces’ that are result of confrontation of complex and arbitrare culturally driven discourses of Western painting (metaphisics of painting as constituent of painting). Production of meaning, based on deconstructive theory or its specific applications (in literature theory, theory of painting, architecture theory, musicology, theatrology or film theory),could be conveyed into the domain of art production as matherial sygnifying practice and become poetic productive model for texts (literally: weaving /lat. textus/) of painting, architecture, music, theater, film, etc. Painters on the margins of modern or after the modern don’t perform the painting as coherent system of the very sensual-i.e.,-visual representations. They construct it as heterogenious and hyberid field of different/defer of painterly modes of multiple referential contexts and historical realizing eclectic model based on procedures of montage and collage.

Forma plastyczna a forma muzyczna — z doświadczeń kształcenia plastycznego studentów wychowania muzycznego Instytutu Muzyki

Author(s): Urszula Szuścik / Language(s): Polish Publication Year: 0

In her considerations, the author of the article proved both in theory and practice (through the students’ plastic works) that the languages of the music and plastic art have a lot in common making the performer closer to a better understanding of art. This skill should be taught to the future pedagogues of the art subjects during their studies. The stydents’ plastic works presented in the article confirmed the hypothesis that beauty and values can be expressed by means of different art languages.

Intermedijalnost u arhitekturi Makovog Spavača

Author(s): Elbisa Ustamujić / Language(s): Bosnian Publication Year: 0

The paper tries to depict how Mak’s Stone sleeper establishes within an intermedial communication an imitative connection between poems in the traditional connected verse with visuality of medieval tombstones (bos. Stećak). One can recognize poems/stećaks in the form of a coffin, a coffin with a tombstone, a pole, a slab with or without a base and in various sizes. Relief figures from the stećaks take turns, bypass each other and plug into a compressed imagery of metaphorical-metonimical-symbolic connections and meanings. Visual monolithic property of the stećak and expession of relief signs is suggested through the medium of the language via omnipresence of euphony/eurythmy. By the means of assonance - alliteration, rhyme, anaphora, polysyndeton and parallelisms and other, they gave dimensions to the whetted reduction of the edges and polished stone form.

„Kамени спавач“ на Мак Диздар или довикување меѓу вековите

Author(s): Naume Radichevski / Language(s): Macedonian Publication Year: 0

With the Stone Sleeper, his unique poetic achievement, Mak Dizdar has established himself not only as a dreamer and a remarkable thinker, but as a rare, unattainable, and never fully graspable prophet and visionary. Most impressive is the fact that he achieves this through an imaginary, and a dominantly poetic dialogue with the ancestors from the order of the Bogomils, that is, Bosnian Christians. Through the inscriptions on their tombstones in that already deepened poetic venture and project, he appears as both their reader and interlocutor. On account of this very analytical ungraspability, this contribution insists on detecting at least some of the connections between the 20th-century poet and prophet, on the one hand, and, on the other, his impossibly possible, if not doubles, then at least fellow travellers sharing his sentiments and ideas, but above all his fate in the triviality and transience of space and time. In this reading of Dizdar’s Stone Sleeper as an attempt to find the connections between the identicalities divided by temporal infinity, or as an attempt to transcend time, that is, to enter time eternal, to reach timelessness, one nevertheless humbly concludes by interpreting this poetic endeavour as an incredibly profound and endlessly existentialist and philosophical poetogram that is an expression of man’s defiance of infinity.

Светачки лик у контексту: један нерасветљени пример из ексонартекса цркве у манастиру Трескавац

Author(s): Vesna Milanović / Language(s): Serbian Publication Year: 0

The images which are the focus of the paper belong to the oldest of several existing fresco ensembles in the sacral complex of Treskavac resulting from different and chronologically clearly separated ktetorial undertakings and renewals between the 14th and 19th centuries. Dating from the times of King Du{an, these images apparently form part of the original painted decoration of the space whose lateral ends are surmounted by domes, and whose emphasized tripartite shape is a result of 19th century alterations. Massive separating wall areas were introduced into the previously undivided and much more integrated internal composition of the exonarthex, thus not only partitioning the area and making it significantly narrower, but at the same time, unfortunately, hiding part of the authentic medieval frescoes on the east and west walls near the entrances. This paper is based on the findings related to recognising the previously unidentified remaining part of a holy monk figure, presented with an interesting and unusual iconographic symbol in his hand — a branch with leaves and fruit. The author of the text points out that it is the branch of a Paradise apple tree, and that the image is that of an otherwise quite seldom depicted figure of Euphrosynus the Cook. The surviving examples of the monk’s vitae story present him as a meek and humble member of the brotherhood in a desert monastery by the River Jordan, despised and even taunted by the other brothers — but at the same time, in the central episode of the story, provide the image of a special person, chosen by God, blessed with dwelling in the Garden of Eden and enjoying the fruit of heavenly trees. It is interesting and worthy of attention that the Treskavac image of St. Euphrosynus stands apart from the incompletely preserved but relatively numerous and homogenous row of holy monks in the zone of standing figures on the west wall, and that his solitary bust portrait is joined to a particular, “unrelated” group of images, i.e. to a quite different category of iconographic content, on the opposite wall surfaces in the southern part of the exonarthex. Part of the findings presented in the paper resulted from reflections on the saint’s unusual and highly specific iconographic attribute, and revealing a layer of meaning that bestowed on this attribute the dimension of a particular biblical and Christian topos. The other part of the findings relate to recognising and interpreting the specific function of the very position given to the saint’s figure among the mentioned group of only seemingly unrelated or not specially related images in the southern part of the Treskavac exonarthex. Among the most prominent ones is the composition of the Baptism of the Lord, also excluded from the category of contents it otherwise usually belongs to (the Great Feasts cycle), and, in contrast to the usual topography, placed in the lowest fresco zone, in the spot immediately below St. Euphrosynus’ image. In all probability, the relevant group of scenes was to include also the bordering representative depiction of a Serbian ruler with the divine investiture motif, in the southern portion of the eastern wall of the central part of the exonarthex area, as well as the nearby contents belonging to the wide-ranging and complex Menologion cycle from the upper zones of the building. Formally the most prominent and most noticeable illustrations are for the March days of the Cycle — the Annunciation to the Blessed Virgin Mary (with a pictorial allusion to the Holy Spirit’s power coming down from Heaven) and the Martyrdom of the Forty on a frozen lake (with the detail of placing crowns of heavenly glory on the naked bodies of the martyrs) — situated in the calotte above the southern part of the exonarthex that bears a monumental image of Christ Emmanuel at the centre. Although at the same time also part of a special whole in the central part of the exonarthex, south of the main entrance to the church, the content of the fresco depicting King Du{an’s investiture with a crown from an angel’s hand and the motif of receiving his power Dei Gratia, it was with good reason that its south, now hidden end, abutted on the depiction of Christ’s Theophany at the Jordan in the adjacent area of the wall, whose contents form part of the structure of the frescoes in the mentioned bay under the calotte. All the findings and observations on the selection and relations of the images given here and supported by arguments serve to confirm and shed more light on the special segment in the content of the painted programme from King Du{an’s times — thematically cohesive and integrated through a unique symbolism, and not lacking in specific and indicative analogies in the monuments from this epoch. The concept of the programme, stressing different aspects of the soteriological and eschatological implications of the baptismal theme and the Christian notion of the era of “the grace of God” — where the sacrament of baptism is seen as the “gates of the New Heaven” — at the same time also justifies the identification of the said part of the space with the original position of the existing, and at a later time dislocated, authentic medieval stone agiasma of Treskavac.

Плашт српских деспота у 15. веку. Прилог проучавању

Author(s): Branislav Cvetković / Language(s): Serbian Publication Year: 0

The royal portrait in the Middle Ages, as a distinctive form of imagery, the purpose of which was to emphasize the celestial origin of the sovereign's power, has been the subject of continuous research. But special attention is paid to the study of varieties when the most common form of the hieratic frontal portrait of a ruler as an "image of God" is supplemented with factors highlighting ideological messages such as success in wartime exploits, the ruler’s special position, or his humility and piety. In the Byzantine sphere of influence, the ruler is usually represented clad in a standard manner that was repeated with slight variations for centuries, the symbolism of which is very well known. The official ruler’s likeness almost always had no mantle. Since one encounters this on a number of examples of portraits of the Serbian rulers in the 15th century, one may ask why it occurred only in some cases, if it was due to the Byzantine influence, or an insignia of Western origin, or another way of displaying a ruler, bearing in mind the well known semantic potential of mantle-robes in all cultures. Recent investigations of the symbolism in medieval costume opens up new possibilities in the research of this question. The mantle on the portraits of Serbian despots is not incompatible with the manner of representing Byzantine emperors and is one of many ways of representing royal figures in the Middle Ages, the meaning of which was to stress the virtue of a pious ruler adorned with the chlamys of meekness. Costume was a ceremonial means of discourse and almost always, whether a real garment or its representation, had a semantic potential. Portraits in a sacred context should not be referred to as the secular part of a painted programme in a church, since the rulers, the clergy and the patrons were also painted for eternity, with the idea of expressing a higher truth and hope that they were already counted among the righteous. Accordingly, the mantle occurs in those royal portraits when its commissioner wanted to stress a specific relationship between the representatives of the earthly and heavenly court, not just the idea of the heavenly origin of the sovereign’s power.

100 godina Franjevačke teologije u Sarajevu 1909.-2009.

Author(s): / Language(s): Bosnian,Croatian

Franjevačka teologija je u povodu stotinu godina svoga postojanja i djelovanja u Sarajevu (1909-2009) organizirala znanstveni skup i proslavu pod naslovom 100 godina Franjevačke teologije u Sarajevu: 1909.-2009. Znanstveni skup je održan 6. i 7. studenog 2009. u amfiteatru Franjevačke teologije, a 8. studenog – na dan blaženog Ivana Duns Škota, zaštitnika naše Teologije – održana je proslava tako što je svećeničkom euharistijskom slavlju predsjedao provincijal Bosne Srebrene fra Lovro Gavran. Za vrijeme euharistijskog slavlja izvedena je Missa Bosniensis Andrije Pavliča: Bosanska misa posvećena sv. Franji Asiškom, svim nesretnima, ispaćenima i izgubljenima ovoga svijeta, te bosanskim franjevcima i zboru Pontanima, koji je izveo misu. Zbor Pontanima je osnovao profesor naše Teologije fra Ivo Marković. Dirigirao je skladatelj Bosanske mise Andrija Pavlič (inače je dirigent zbora Pontanima Josip Katavić). Sudjelovali su Amila Bakšić, sopran; Zana Staniškovska, alt; Jasmin Bašić, tenor; Ivica Šarić, bas; i Dario Vučić, orgulje. Pokrovitelj Znanstvenog skupa i proslave je bio Željko Komšić, predsjedavajući Predsjedništva BiH. Koji je smisao Franjevačke teologije i uopće koji je smisao franjevačke škole mišljenja od srednjeg vijeka pa do danas? Evo kratkog odgovora. Franjevci, koji su bili nadareni za filozofsko i teološko mišljenje, nastojali su veličanstvenu viziju Franje Asiškog filozofski i teološko razraditi. Vizija Franje Asiškog, koja se temelji na Isusovu evanđelju, naglašava bratstvo i sestrinstvo svih ljudi, ne samo svih ljudi, nego i svih bića, to jest svih Božjih stvorenja u svemiru. Sva bića u svemiru su braća i sestre po stvorenosti. Jednakost među bićima uključuje i razliku među bićima, jer je svako biće originalno. I samo različita bića mogu biti u jedinstvu. Tom vizijom i njezinim prakticiranjem u svom životu Franjo Asiški je ponudio alternativu svijetu mržnje i nasilja, u kojem i danas živimo. To je on rekao svojom poznatom rečenicom koja glasi: “Exivi de saeculo” - “Izašao sam iz svijeta nasilja.” Izašao je iz svijeta nasilja i počeo osnivati svijet mira. Zadaća svih odgovornih bića jest izlazak iz svijeta nasilja i uspostavljanje svijeta mira, slobode i ljubavi. Zamislimo svijet bez nasilja i zamislimo svijet u kojem nasilje više neće biti moguće. Koliko su veliki franjevački mislioci tu viziju uspješno razradili i koliko su franjevci Bosne Srebrene, koji su živjeli i djelovali na Franjevačkoj teologiji, to mišlju i djelom svjedočili, to jest otjelotvorili, neka prosude drugi. U radovima sa znanstvenog skupa, koji se ovdje objavljuju, autori su obrađivali važne teme iz različitih perspektiva, pri čemu se moglo uvidjeti da je do Istine moguće doći samo dijalogom različitih perspektiva. Dijalogom uviđamo da je Istina jedna i da nas Istina sve nadilazi i povezuje u jednu zajednicu, ne samo nas, nego i cijelo čovječanstvo. Karl Jaspers je rekao: Istina je ono što nas povezuje (Wahrheit ist, was uns verbindet).

Obrazy Žida a Róma v humoristicko-satirickom časopise Kocúr

Author(s): Zuzana Panczová / Language(s): Slovak Publication Year: 0

Obrazu Róma a Žida vo folklórnom materiáli sa slovenská folkloristika venuje už niekoľko rokov predovšetkým prostredníctvom prác Evy Krekovičovej (1998a, 2006 a i.). Zaujímavým historickým i žánrovým premostením a doplnením je ďalší typ prameňa – humoristické časopisy objavujúce sa v slovenskom jazykovom prostredí od 2. polovice 19. storočia. Tento materiál predstavuje rôzne typy textov, tlač totiž reprodukovala nielen verejnosťou spontánne šírené látky, ale prinášala i aktuálne komentovanie spoločenských udalostí prostredníctvom textových i obrazových prostriedkov rodiacej sa profesionálnej či poloprofesionálnej žurnalistiky. Spolu s E. Krekovičovou sme pripravili štúdiu, ktorá mapovala obraz „zradcu“ a „nepriateľa“ v prvom humoristickom časopise Černokňažník, kde v kontexte spoločenských a politických pomerov rakúsko-uhorskej monarchie dominovali najmä postavy „maďaróna“, Maďara a Žida (Krekovičová, Panczová, 2013a).

Creating Utopian or Dystopian Worlds in Digital Games

Author(s): Miłosz Markocki / Language(s): English Publication Year: 0

The Unusual Dystopia of “Never Let Me Go” (2010)

Author(s): Eleni Varmazi / Language(s): English Publication Year: 0

Efektywność wykorzystania narzędzi komunikowania politycznego w Internecie przez prezydentów miast na prawach powiatu województwa śląskiego

Author(s): Agata Olszanecka-Marmola / Language(s): Polish Publication Year: 0

The Internet is at present one of the most important tools of political communication. From the point of view of politicians, it is a perfect tool, not only for economic reasons, but also because the fact that it offers the possibility of permanent communication, which is especially important in the period in-between campaigns. The present article aims to discuss the use of internet sites and social media (Facebook, Twitter, YouTube) by the presidents of cities with county rights from the Silesian Voivodeship. The research conducted indicates the insufficient and inefficient use of the Internet by the politicians subjected to the study. It also demonstrates the intensification of communicative activities on the Internet during election campaigns, and its gradual suppression in the period in-between campaigns.

Popularność utworów muzycznych i ich coverów na YouTube

Author(s): Olaf Flak,Adrian Robak / Language(s): Polish Publication Year: 0

The aim of the article is to present a reply to a research problem concerning the reasons why a demand for song covers on YouTube measured by the number of hits is higher than the demand for their original versions. The problem has been exemplified by the music piece ‘I will always love you’. The article contains the description of the functioning of YouTube as a music market, its basic subjects, the model of the market, as well as the market mechanism in which a song and its cover are goods. An attempt at solving the research problem is the musical analysis of the original song and its cover, as well as the specification of basic determinants that cause greater demand for song covers than for their original versions.

Göç Üzerine Yazın ve Kültür İncelemeleri

Author(s): / Language(s): Turkish

Ali Tilbe and Sonel Bosnian breathe new life into Turkish migration studies and generally related writing. 13 articles examining immigration, immigration, immigration and related themes in summer and cultural areas offer important and interesting contributions to the field. Migration can be considered voluntary migration in a way, as it is carried out by the individual or the community's own decision. In some cases, however, the necessity of leaving the individual or the community and living elsewhere can be imposed as a political sanction. The first of these cases, called mandatory migration, is the one described as "exile" and "sat outside a certain place or in a certain place as punishment". It is very important for us to better understand the phenomenon of migration, and to examine this important phenomenon, which is synonymous with such people and concerning all aspects of human life, culturally and especially in writing. In this review, we bring together a series of summer review studies with readers on the axis of migration phenomenon. Early versions of the studies in this review cover the papers presented at the Turkish Migration Conference at the University of Vienna. The Migration Conference in Vienna in 2016 was on the campus of Harokopio University in Athens in 2017.

Çağdaş Türk Resim Sanatında Göç Teması: Ramiz Aydın Örneği

Author(s): Ferhunde Küçükşen Öner / Language(s): Turkish Publication Year: 0

Göç, farklı bileşenlerin bir araya gelmesiyle oluşan nedensellikler ve bu nedenselliklerin doğurduğu farklı sonuçlar üzerinden yaşanan sosyolojik bir olgudur. Bu bakımdan savaş, nüfus politikaları, daha iyi yaşam koşulları arayışı gibi bileşenler göç söz konusu olduğunda hem neden hem sonuç olabilir. Göç, tarih boyunca insanların 'arayış arzusunu' ve 'zorunluluklardaki edilgenliğini' bireysel ve toplumsal yönleri ile tecrübe etmesini sağladığı için pratiğe dönük olduğu kadar kavramsal boyutuyla da yaşar. Bu nedenle göç, sebep sonuçları tarihsel süreç içerisinde değişiklik arz etse de sürekli devam eder. 'Önce-şimdi-sonra döngüselliğini sürekli devam ettiren önemli bir eylemdir ve bireysel/toplumsal anlamda belleğin altını çizdiği kayıtların başında gelir.

Tracing Deep Scars of 1915 in Art and Literature

Author(s): Esin Gülsen,Erdem Çolak,Selen Yamak / Language(s): English Publication Year: 0

Regardless of whether we call it genocide, massacre, exile or deportation, events experienced in Ottoman lands in 1915 cost countless lives, forced millions of Armenian people to leave their lands and left deep marks on next generations. In the 100th anniversary of 1915 events, it is impossible to say that Turkey has made a considerable way in terms of coming to terms with 1915 events.

Архангелският култ в стенописите на храм-паметника "Св. Александър Невски" - традиции и нововъведения

Author(s): Totka Grigorova / Language(s): Bulgarian Publication Year: 0

In the pictorial language of the church fresco there are many changes in the various historical periods. The changes in the conceptual content and in the iconographic program of the late 19th and early 20th century show a change in the attitude towards ecclesiastical art. In essence, this involves the extending of range of the themes and stories that are no longer so closely bound up with liturgical action. In the multiple depictions of angels and archangels, an attempt can be found for compensating the stray of art from its main purpose. Most of the portrayed archangels images are representatives of the modern compositions of those times brought by the Russian artists who worked in the monument temple.

L’ironie littéraire et artistique

Author(s): Maria Tronea / Language(s): French Publication Year: 0

The paper explores the evolution of irony in literature and its relationship to humour, the comical, parody, satire and sarcasm. In the latter part of the paper I expand my area of investigation to the fine arts and seek a common denominator of irony and satire in the works of such painters as Jérôme Bosch, Pieter Bruegel the old, Goya and others.

Přístupy k práci s archetypem v terapii uměním

Author(s): Pavel Šafář / Language(s): Czech Publication Year: 0

Objev nevědomí na počátku 20. století je připisován psychoanalýze a především jejímu zakladateli S. Freudovi, který zásadně pozměnil pohled na člověka a na jeho biologické, kulturní a společenské podmínky. Již před Freudem mnozí myslitelé pracovali s fenoménem, který měl podobné charakteristiky jako nevědomí. A. Schopenhauer mluvil o nevědomé vůli k životu, která prý v našem tajuplném nitru pohání svého služebníka – intelekt: „Vůle je jako statný slepec, který nese na svých ramenou vidoucího, ale chromého člověka. Pouze zdánlivě jsou lidé přitahováni něčím, co je před nimi, ve skutečnosti jsou poháněni zezadu. Žene je nevědomá vůle k životu.“ (Schopenhauer, 1998, cit. dle Störig, 2000, s. 387) Na tyto myšlenky navázal Friedrich Nietzsche, který rozpoznal dva estetické principy – apollinský princip dobra, krásy a řádu a princip dionýský, noční, chaotický a dynamický, ve kterém lze spatřovat jakýsi předstupeň psychologického pojmu nevědomí.

Sosyal Bilimler Üzerine Araştırmalar III

Author(s): / Language(s): Turkish,English

Hukuki metinler toplumun huzur içerisinde yaşamalarını sağlamayı amaçlayan belgelerdir. Bu belgelerde sosyal konular yer almasının yanında oldukça fazla sayıda ekonomik konulara yönelik düzenlemelerin olduğu da bilinmektedir. Özellikle tarih boyunca ilk yazılı kanunlara rastlanan Mezopotamya’daki kanun metinlerinde iktisadi yaşama ait kanun maddelerine rastlanmıştır. Bu noktadan hareketle tespit edilen kanunnameler incelenmiştir. İncelemeler sonucunda Assur kanunları bu çalışmanın konusu olmuştur. Bu kanunun maddelerinde yer alan ekonomik maddeler ve bu ekonomik maddelerden muhasebe tarihi ile ilgili bulguların ortaya çıkarılması ve bu bulguların muhasebe tarihi çalışmaları kapsamında literatüre kazandırılması ve kanunnameleri muhasebe alanı bakışı ile yaklaşılmasına katkı sağlanmak amaçlanmıştır. Çalışmanın konu ve kapsamı doğrultusunda öncelikle Orta Assur Kanunları hakkında kısa verilecek, devam eden kısımda önce kanun metninin Prof. Dr. Mebrure TOSUN ve Doç.Dr. Kadriye YALVAÇ’ın “Sümer, Babil, Assur Kanunları ve Ammi-Şaduga Fermanı” adlı eserden alınan maddeler doğrudan verilmiş ve bu maddelerin içeriğinde muhasebeyi doğrudan ya da dolaylı yoldan doğuran bulgulara dikkat çekilecektir...

Language, Society, History, Economy and Politics in Social Sciences - 4

Author(s): / Language(s): Turkish,English,Azerbaijani

The book is interdisciplinary and it comprises of different chapters written by different scholars. The chapters have been written on applied linguistics, sociology, history, economy and political science.