Vizuelna komunikacija: televizijska slika

Author(s): Tatjana T. Ćitić / Language(s): Serbian Issue: 9/2008

Semiology of television (comprehension of TV messages, signs and codes, television denotes and denoted content) should be understood as TV message. It is precisely such encoding and decoding that makes it possible to understand the television language. In a TV message words have an expressive function, whilst the images take the role of presentation. The decoding of such messages is always different and depends on the experience of the recipient. The text defines the notion of television image, analyses its structure, and in particular the visual elements. Particular attention has been dedicated to the semiological aspects of TV communication, to the factographic and value level of TV information, and to the intention of the TV message - its truthfulness and objectivity, but also to the TV image aesthetics and the influence of digital technology on the quality of visual communication.

Medij je poruka

Author(s): Ana Milojević / Language(s): Serbian Issue: 2/2007

This Paper aims at answering to what did McLuhan want to say with his famous paradox, “The medium is the message”, i.e. to clarify his concept of media and their role in shaping the modern society.

Derrida a buddyzm

Author(s): Jacek Sieradzan / Language(s): Polish Issue: XXIII/2011

The paper analyze possible analogies between philosophies of Jacques Derrida and Buddhism, especially that of Nagarjuna’s Madhyamaka. Buddhism and Derrida are similar for their radical criticism of main currents of existing philosophies. Derrida’s conception of writing is akin to Mahayana Buddhism idea of mind as source of everything. In conclusion author shows that both Mahayana Buddhists describing emptiness and its synonyms, and Derrida writing about chora, differance and trace have used words of very similar and sometimes identical meaning. The difference is that main aim of Buddhist authors, including Nagarjuna’s deconstruction of Buddhism, is realizing enlightenment, and Derrida’s philosophy is showing philosophizing as pure play of endless meanings.

A Heritage for the Future: Hawthornesque Unfettering of the „Iron Men“

Author(s): Tihomir Živić / Language(s): English Issue: 1-2/2014

With his Scarlet Letter, Nathaniel Hawthorne really wanted to unfetter the New English Puritan scions, or at least make them think what has morally degraded the “Iron Men” and destroyed a steadfast faith of the primogenitors. Hawthorne’s answer is that they have forgotten to express emotions. The Scarlet Letter thus responds to the hypothetical questions raised by the Puritan Community of the seventeenth-century New England; however, the novel is not directed against the positive traits of the Puritan New Englandism, e.g., discipline, home life, education, etc. Moreover, Hawthorne’s opus has a universal philosophical and moral sense, although its tone is usually mildened by his humanity and subtle humor. All of that enabled Hawthorne’s voice to be keenly heard in the twenty-first century as well.

Metaforiška Aleksandro Vozbino Tapybos Poetika

Author(s): Antanas Andrijauskas / Language(s): Lithuanian Issue: 91/2017

The article analyzes the creative works of prominent contemporary Lithuanian artist Aleksandras Vozbinas. It focuses on the main twists and turns of his creative evolution, on his relations with his teachers and various painting schools. It briefly considers the main trends in the development of his expressionistic, surrealistic, abstract, decorative, and lyrical individual painting style. The article also discusses Vozbinas’s painting relationship with the architectural physiognomy and nature of Vilnius city; as well as his personal relations with his contemporaries and his impressions from his trips abroad. It also analyzes the main genres of painter’s works: historical, landscape, still life, and act. Vozbinas is regarded as a master of delicate emotional expression by means of colors whose mastery emanates through expressive stroke, playful lines and coloring.

Medos Norbutaitės Kuriama Kūno Topologija Ir Erotinių Aistrų Pasaulis

Author(s): Antanas Andrijauskas / Language(s): Lithuanian Issue: 89/2016

The article analyzes creative development, the system of artistic images, the main topics, plots, and motives of a famous Lithuanian painter Meda Norbutaitė. It discusses the painter’s creative sources, relations to other painters and their art as well as their influence on her own paintings. It focuses attention on the reflections of love and erotic passions in her body typology; spotlights the peculiarities of her still lifes, interiors, and landscapes; discusses the main fields, aspects, and subjects of her creative activity. Special attention is paid to the analysis of the peculiarities of painter’s artistic style traits, system construction, coloring, and other formal aspects of artistic expression.

Šta je danas vukodlak? Semiološka analiza tekstova o "tamnavskom vukodlaku"

Author(s): Sonja Žakula / Language(s): Serbian Issue: 4/2012

The paper offers a semiological analysis of narratives about the "werewolf of Tamnava County" which were published in Serbian daily newspapers in June 2005. I will attempt to show the ways in which the folk appropriation of terms from scientific discourse is used to lend legitimacy to stories about the mysterious pest, and how this kind of speech about werewolves is nothing new. Narratives about the "werewolf of Tamnava County" will be broken down to their constitutive elements which will be interpreted singularly. Finally, the paper will offer a number of possible interpretations of the function these narratives hold within the specific context of human-animal relations in which they are created.

Medos Norbutaitės Kuriama Kūno Topologija Ir Erotinių Aistrų Pasaulis

Author(s): Antanas Andrijauskas / Language(s): Lithuanian Issue: 88/2016

The article analyzes creative development, the system of artistic images, the main topics, plots, and motives of a famous Lithuanian painter Meda Norbutaitė. It discusses the painter’s creative sources, relations to other painters and their art as well as their influence on her own paintings. It focuses attention on the reflections of love and erotic passions in her body typology; spotlights the peculiarities of her still lifes, interiors, and landscapes; discusses the main fields, aspects, and subjects of her creative activity. Special attention is paid to the analysis of the peculiarities of painter’s artistic style traits, system construction, coloring, and other formal aspects of artistic expression.

Evro-integracije Republike Srbije: semiotička analiza

Author(s): Marija Krstić / Language(s): Serbian Issue: 1/2012

The paper focuses on the current process of euro-integrations of Serbia, from a semiotic perspective. Accordingly, based on data gathered from the media, euro-integrations are shaped into a narrative, which is subsequently analyzed from a semiotic point of view, primarily utilizing the methods of Algirdas Julien Greimas. Two levels of meaning will be analyzed in the paper: the semio-narrative (surface, syntagmatic, specific) level will be explored using the transformational and actantial model, while the deep, abstract, paradigmatic and atemporal level will be analyzed using the semiotic square. The aim of the paper is to understand how knowledge and meaning are produced within the discourse of euro-integrations.

Žanr van stega: fluidnost jednog analitičkog pojma

Author(s): Zlatko Knežević / Language(s): Serbian Issue: 1/2008

In this article we have shown the changes that happen with genre and it's forms when it is externalized in reality. In order to better explain and illustrate that process, we have used the theories about genre as a point of fixation of reality that were crafted by Mikhail Bakhtin, a Russian formalist. Through a very special process of classification on a hybrid body of narratives, we have seen how rigid and one-sided process of classification, which treats genre as a category fixed in time and space, ultimately damages our analysis of folklore materials.

Teatro Semiotika: Kūno Semiotizavimo Raiška Šiuolaikiniame Lietuvos Teatre

Author(s): Gintarė Narauskaitė / Language(s): Lithuanian Issue: 81/2014

A thoroughly developed and explicated phenomenon of body somatization in Western European theatre is visualized less expressively in contemporary Lithuanian theatre. Although Lithuanian directors seeked to implement the autonomy of an actor’s body, the authority of a literary text remained important. Notably, the autonomous discourse of bodies and items emerged only in the late 70’s and early 80’s. Nonetheless, the majority of the directors of the 20th and the 21st century emphasized the symbolic meaning of an actor’s body. This article analyzes Lithuanian performances in which the most significant aspects of bodies and props are represented. The Lithuanian directors, such as J. Jurašas, M. Tenisonas, E. Nekrošius, J. Vaitkus, G. Varnas, O. Koršunovas, who presented the autonomic symbolic of bodies and props are introduced chronologically. Though a solid postmodern expression is absent in Lithuanian theatre, the desemiotization tendencies typical to postmodernism are revealed and discussed in the works of B. Šarka.

Teatro Semiotika: Kūno Semiotizavimo Raiška Šiuolaikiniame Lietuvos Teatre

Author(s): Gintarė Narauskaitė / Language(s): Lithuanian Issue: 80/2014

A thoroughly developed and explicated phenomenon of body somatization in Western European theatre is visualized less expressively in contemporary Lithuanian theatre. Although Lithuanian directors seeked to implement the autonomy of an actor’s body, the authority of a literary text remained important. Notably, the autonomous discourse of bodies and items emerged only in the late 70’s and early 80’s. Nonetheless, the majority of the directors of the 20th and the 21st century emphasized the symbolic meaning of an actor’s body. This article analyzes Lithuanian performances in which the most significant aspects of bodies and props are represented. The Lithuanian directors, such as J. Jurašas, M. Tenisonas, E. Nekrošius, J. Vaitkus, G. Varnas, O. Koršunovas, who presented the autonomic symbolic of bodies and props are introduced chronologically. Though a solid postmodern expression is absent in Lithuanian theatre, the desemiotization tendencies typical to postmodernism are revealed and discussed in the works of B. Šarka.

Teatro Semiotika : Kūno Semiotizacijos Perspektyvos Modernaus Teatro Kontekste

Author(s): Gintarė Narauskaitė / Language(s): Lithuanian Issue: 79/2014

The article highlights the discourse of body semiotics, whose origins are associated with the experimentation of modern and avant-garde theatre, as well as, a new approach towards the function of actors and a literary text in theatre performances. Body somatization is seen in the direction of E. G. Craig, V. Mejerhold, A. Artaud, J. Louis-Barrault and B. Brecht. Although the interpretation of body function in theatre differed among artists, all directors pointed out the importance of the autonomy of actor’s body. In a modern theatre, the actor’s body has turned into an independent element of a theatrical process instead of being merely an illustrator of the meaning presented in the text. This had an influence on E. G. Craig, who created the concept of actor as an “Über-Marionette”. In V. Mejerhold‘s works, the physical factor gained more importance, since, in the light of the performance, the actor’s body had to become a mechanized and geometrized instrument. Furthermore, A. Artaud saw an actor’s body as a hieroglyph dissociated from its clear and articulated meaning. J. Louis-Barrault developed the idea of a total theatre. B. Brecht wanted to create a politically engaged theatre and used an actor’s body to express and embody political and ideological arguments.

Teatro Semiotika: Kūno Semiotizavimo Teorinės Perspektyvos

Author(s): Gintarė Narauskaitė / Language(s): Lithuanian Issue: 78/2014

This article discusses the tendencies of theoretical and historical semiotization in the theatre. The analysis of the theoretical aspects notes that semiotics defines each object of a fictional world as a sign of a meaning for decoding. However, that autonomy necessary for the implementation of the body semiotization is created by the authority of a literary text, whose meanings are embodied by an actor, who becomes their visual illustrator. The text emphasizes the directorial text, which implements the autonomy and symbolism of the props and bodies in a fictional reality. Furthermore, the article stresses the principle of desemiotization which differentiates a postmodern theatre from a modern theatre. Unlike semiotization, desemiotization disrupts the symbolic system of meaning. As a result the props and bodies lose their status as symbols and become visual items without a code system.

Romantizmo Transformacijos Postmodernioje Estetikoje: Tapatumo Požymiai Ir Ribos

Author(s): Agnė Kulbytė / Language(s): Lithuanian Issue: 78/2014

The article is analyses the concept of romanticism in postmodernism. The article discusses the contradictory views of romanticism in the sphere of visual representation. Transformations of the idea of romantic aesthetics are analyzed by comparing different insights (Charles Taylor, Philippe Lacoue-Labarthe, Jerome McGann, Northrop Frye’s, Ira Livingston, Claudia’s Moscovici). These theoretical debates induce one to take a fresh look at the artistic creation process. It is possible to define the tendencies of romanticism, envisioned in contemporary artworks, as the inclination to emphasize visuality, fiction and perceptibility, which is typical of the whole postmodern aesthetics (of the „image culture“). In certain cases, romantic ideas function as a reaction to radical postmodern anti-subjectivity, fragmentation and non-representational attitudes. Though the ideas of romanticists are revived in the shape of postromanticism (especially as reliance upon fictions and images), the inertia of their manifestation is also evident. I.e. the images do not overstep the dictates of institutions and markets, which control the sphere of artistic creativity. The images are transmitted in technically shaped forms; they do not express more versatile meanings. The claim that the non-observation of these limits narrows the understanding of romanticism is expressed in the present article. The meaning of romanticism turns into the declaratively applied label and in its primary provisions forms the deceptive illusion of sameness.

Simbolizmo Estetikos Ir Meno Kritikos Poveikis Sinestezijos Teorijai

Author(s): Salomėja Jastrumskytė / Language(s): Lithuanian Issue: 73/2012

Relying on the texts of Baudelaire, Rimbaud, and Aurier, the author of the article unravels the connections of symbolism aesthetics and the previously dominant aesthetics of romanticism. This project allows the author to highlight the peculiarity of the synesthesia solution. She claims that the intercourses of symbolism aesthetics and art practice with the romantic emotional attitude are achieved by symbolism’s double orientation to synesthesia as an auxiliary means or as an independent value. In the art and aesthetics of symbolism, both attitudes are found but the second is regarded as if it were inferior. The absolutization of synesthesia is relative in the miscellaneous movement of symbolism. Therefore synesthesia is seen not as reality itself but as the mediator in relations with reality. Instrumentality is the essence of symbolism synesthesia.

Sinestezinės Estetikos Formalistinės Prielaidos Simbolizmo Mene

Author(s): Salomėja Jastrumskytė / Language(s): Lithuanian Issue: 71/2012

The article analyses new formalistic aspects of synesthesia interpretation which gradually emerge in art practices and symbolism aesthetics. Formalistic tendencies of symbolism aesthetics are directly related to the development of musicality concept. The philosophy of romantic art questions the subjective expression of aesthetic experience, whereas the new interpretation of synesthesia plumbs into the problems of art forms cognition. The abstractedness and formalism of symbolism opens the modern art perspectives. Contemporary theoreticians of synesthesia postulates synesthesia as an idiosyncratic way of representation. They base their theories on various scientific and aesthetic paradigms.

Communication, Language and Power: Reproduction of Christianity as an Imagined Community

Author(s): Maruša Pušnik / Language(s): English Issue: 15/2017

Šiluvos Bazilikos Interjero Dailé: Idéjinés Programos Metmenys

Author(s): Laima Šinkūnaitė / Language(s): Lithuanian Issue: 59/2009

In the iconographical program of the Basilica of The Blessed Virgin Mary’s Birth of Šiluva the main three interlacing themes are developed: Mother of God who gave the birth to the Saviour, Jesus Christ who established the Church and the Church. These three themes are also supplemented by other subjects from Old and New Testaments whish are important for whole iconographical program. The essence of the church interior decoration consists of three altars ensemble, which is located in the space of presbytery and side naves, four altars by pillars, pulpit and baptistery and also loft stand in the space of central nave. The iconographical program of this church is realized of the sculptor Tomas Podgaiskis. The iconographical program contains dramatization, beautiful visual effects, baroque dash which matches with seriousness of Classicism.

Kryžiaus Teologija: J. Moltmannas, H. U. Von Balthasaras

Author(s): Arvydas Ramonas / Language(s): Lithuanian Issue: 55/2008

The article researches theology of the cross by two prominent Christian theologians. Jürgen Moltmann – a representative of the reformed Church - and Hans Urs von Balthasar - a thinker of the Catholic Church - analyse the issue of pain and suffering as a frequent meeting “point” with God. According to the authors, life experiences inevitably raise the question of the meaning of life and death, love and suffering. The search for the meaning leads us towards Christ’s cross, which in turn becomes hermeneutics of The Holy Trinity. Christianity and faith in God in general relieve the suffering. God is not the author of death but of life. Jesus Christ did not remove suffering from human existence, but transformed it into an active force. Jesus Christ’s posture while suffering, meaningful silence and the words pronounced upon acceptance of the cross, painful shame together with a great glory, holy consciousness and denial, unconditional obedience, voluntary selfdenial, conscious acceptance of the suffering comfort and strengthen the humanity.