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This article examines the premise that with the prevailing ubiquitous computing and constant connectivity the line between life online and life off-line and the boundary between physical and digital identity are becoming blurred. This means that the conception of identity in the digital culture transforms into the new transmediated identity which is in the continuous process of formation between the digital and the physical – the virtual and the real. Thus the transmediated identity unfolds in multiple media forms and manifests itself as integrated, dispersed, episodic, and interactive.
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Translation Studies has crossed a tumultuous interval of theorization. But has it passed the linguistic limits instituted by a semiotician like Umberto Eco?Wouldn’t be the time to access more courageously the intersemiotic interregnum with its heterogeneous transfer of signs? As it happens in advertising, concrete poetry,tattoos, and stage or filmed version of famous texts? If we have gradually accepted that in the postcolonial and cross-cultural epoch what matters is not consensus, but negotiation and understanding, if we assimilated the postmodern lesson about Grand Narratives (J–F. Lyotard) and the subjectivity of recorded history, then we have to question ourselves about the role of translation and translators in a post-industrial society which blends globalized edutainment and corporatist efficiency, prejudice,reverse colonialism and anti-establishment movements. What type of equivalence are we supposed to choose in order to persuade today? The ekphrastic approach of translations may be better tuned to out gadgetized and image-informed epoch.
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The article deals with the image of Russia as the bear in Western-European discourse of the First World War. The authors point out that due to polysemanticism of the bear symbol the propagandists of both allies and adversaries of Russia exploited the image very actively.
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The article investigates the phenomenon of ‘an internal form’ at the crossing of the intelligentsia studies and noospheric discourses. Proved is the thought that the intelligentsia as the storage of the reasonable purposes and values, feasible for concrete society, appears as an internal form of its history. Drawn is the conclusion about an intrinsic role of an information and semiotics components in the context of spiritual and moral imperatives of educational and spiritual production of the world intelligentsia.
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Understanding of guilt in Ancient Greece was deeply ingrained in symbolic language; particularly any behaviour that could be tied to offence was connected with the religious „stain” (grc. miasma) and the common fear of having contact with someone who is „unclean”. Also, the ritual of stoning, which was the main form of capital punishment, was one of the methods of purification. However, most publications on the issue of Greek stain exclude the question of stoning. The aim of the publication is to complete this omission and to show the religious connotation of the act of throwing stones in Ancient Greece.
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The article makes a short overview of the structuralist - semiotic approach to theatre studies and concentrates on post-structuralism. The latter treats the language as writing (cf. body language), which forms its own space of creation or 'inscription' (J. Derrida) and at the same time creates its context as well as the objects and meanings in the context. In addition to the visual level, the contemporary theatre is as well concerned with the act of construction or inscription in the space, therefore such an act may be called the act of construction/deconstruction. It is performed both by the author (the artistic director or the actor) and by the perceiver (the spectator). It is exactly the gesture of deconstruction that suggests a different way of 'writing', creation, or presentation of phenomena and objects. According to Hans-Thies Lehmann, contemporary theatre is a post-dramatic theatre. In its most characteristic features it represents postmodernist culture and exists in as well as creates a postmodernist discourse. Having been only imitated by the theatre (text perceived as a linguistic object is a certain analogue of the reality), the reality, the object, and the subject presented by this discourse now belong to the reality of the inscription in the stage space; they are now the products of this reality and manifest their meanings only within its context. On the other hand, this reality is found in the inter-textual space which, though denying the law of similarity, preserves the possibility of reference. In contemporary theatre, the action itself and the act of creation, construction or deconstruction become the referent. In other words, contemporary theatre, which functions and structures itself according to the laws of postmodernist discourse, is based on the coordination/synchronization of the rules of composition and decomposition, reference and referential distance, and auto- and hetero-reference.
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The purpose of the article is to present how the image simulacrum functions in DRN of a Roman poet – Lucretius. By describing one of three basic elements – which constitute the etymology of the word simulacrum – the similes aspect, it has become possible to connect the idea of the image with the conceptual metaphor theory. Drawing on the cognitive research into the way human perception influences categories and processes of thinking and understanding the world (including the value of the language itself), I have shown that in fact Lucretius’ simulacrum may serve as a cognitive tool or as a kind of a creative adjustment to the sensual material (the atoms and the void), which the Roman author persistently tries to make. Thus he is able to reveal the horrifying infinitude of the reality as well as to give the poetic ratio to his work – DRN.
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People are trying live properly to values, traditions and customs of their community. Politics, with this property, want to get through to individual interest, perception and knowledge by the way of political communication. Symbols are form from many audio/visual elements and they are the most important political devices of political communication and interaction. A person can explain the political view by the way of symbols. In this study, like wolf, horse and eagle ın Turk Culture we trying determine conception of animals symbols within the frame of cultural, historical and mythological elements. Hereby in this study, the relationship between culture and symbols are clarified to be intrinsic to Turkish Culture.
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In this study that aims to reveal what concepts of woman and man mean through metaphors; in other words, how they are perceived rather than defining these concepts within the context of gender, primary data was obtained from survey method. Data obtained from surveys from 100 participants, metaphoric responses given for man and woman statements were basically evaluated and interpreted individually. Starting from this point, metaphors participants used for the concepts of woman and man and explanations why they used these metaphors were examined. Accordingly, the concept of woman and thus “woman” was defined by participants as fragile, in need of attention and care, passive and dependent, complicated and hard to understand, selfless, someone expected to give happiness, hardworking and responsible, and someone responsible for continuity of life. The concept of man and therefore “man” was defined by participants as active-ruler-director, protective-possessive, contentious, someone taking the responsibility of his family, acts rationally-concealing his feelings, someone who can use physical, unpredictable-independent, glorified, in need of attention, and selfish.
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‘Conspiracy theory’ is especially popular term used by journalists in Poland. Alas, this name is understood in an intuitive and journalistic manner only, and has an eristic use. Janusz Guzowski in his paper tries to establish its definitional sense. Unfortunately, his proposal is useless, because conspiracy mentality is defined by common and fundamental features typical for everyday and even scientific thinking. Such an approach has some undesirable consequence: a theory is called conspiracy because in somebody’s opinion it is conspiracy. That is why, Guzowski’s approach is here called intuitive-content, because such a naming is arbitrary and intuitive and depends on the content of the theory. In our paper there is proposed an opposite context-free approach, which is closely relative to Chomksy’s opinion. Thus a theory is recognizes as conspiracy, if and only if, it is ignored by scientists.
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The essay brings a discussion and interpretation of the philosophical views concerning some essential terms introduced in Heideggerian philosophical discourse, such as word (das Wort) and thing (das Ding), and its mutual relations. In the initial part of the article the author tries to investigate the connection between common thing and the artwork, as well as correlation between word in language and word in literary descriptions of the works o art (ekphrasis), then the article brings analysis of the Czesław Miłosz’s ekphrasis through the philosophical categories discussed in the opening parts of the essay.
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The paper poses the question about the corporeality of a liberary work. In the first part, the discussion is focused on the issue of a body, based on the phenomenological philosophy of Edmund Husserl and Maurice Merleau-Ponty. The second part presents the concept of liberature or, as it is often called, total literature. The last two sections are centred on the problem of the two types of a liberary “body,” as well as on the similarities between the phenomenological idea of the body and the corporeality of a liberary text.
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In the present study I analyzed some aspects of the program of logical empiricism. I devoted particular attention to issues such as demarcation criterion, protocol sentence or logical syntax. These issues have been considered mainly through the prism of the work of Rudolf Carnap, while the contribution of other representatives of the Vienna Circle was rather kind of argumentative background. Mentioned philosophical trend had to stand in the closest possible touch with science. Therefore, fundamentally discredited metaphysical issues as meaningless. According to the author, such a radical distinction between sense and nonsense is unauthorized. Key neo-positivist postulates themselves are based on certain metaphysical assumptions.
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This research is aimed to analyze specific problems of modern emblematic of Ukrainian Army’s Land Forces (principal topics) which were not considered by Ukrainian historiography to date. The popular symbols did not received appropriate scholarly attention. Methodology of this research is based on analytical, logical and common scholarly approaches (methods of chronology, typology and historical description) as well as source study methods (critical, iconographic etc.). Based on a solid number of sources (thousands of real sleeve insignia developed during last 20 years) determination of common features of sleeve insignia provides the scholarly innovation of this study. It was discovered that modern Ukrainian sleeve insignia feature not only mythological creatures, historical or decorative symbols, but primarily contain national and patriotic motif. Conclusions. Determination of common features of the Ukrainian Army’s sleeve insignia developed during the last 20 years of Ukraine’s independence provides scholars with a solid base for further study of this relatively new and important subject.
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The purpose of the work. The research is related to the analysis of concepts such as ethos, which is a stable state of music and the «volition to live» by Arthur Schopenhauer, considered according to world harmony. Ethos is seen as a stable state of music, appearing on the transcendent dimension of cultural creativity according to historical and paradigmatic changes of the World. The methodologу of the reseаrсh іs the use of сompаrаtіve аnd hіstorісаl-logісаl methods, contextual and systematic methods. The above methodological approach allows to reveal and to analyze artistic phenomenon like part of cultural process. Also we used in our research cultural method. This approach allows us to consider all parts and cultural layers in their relationship. Scientific novelty consists in expanding notions of ethos music as a manifestation of the harmony of the cosmos. Analysis of ethos music concept allows to distinguish the spirit of music and consider it in correlation with the «volition to live». Ethos of music is interpreted as the embodiment of the micro and macro cosmos. Conclusions. Spirit of Music, like «heart of ethos music» implicitly embodies the style, ethos and estezys of human «being-in-culture». This category is constantly playing the archetypical harmony from the depth of the World volition.
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Doba rata je doba vladavine geopolitike. Tada se pmža, kako se čini, najpovoljnija prilika da se stekne svijest o onom političkom. Tako se odjednom sagledava nešto što je beskrajno, sveobuhvatno i neiscrpno, a što je u razdoblju življenja u miru imalo svoje vanjske i unutrašnje crte, prepoznatljive okvire jedne od mnogih čovjekovih djelatnosti.
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Purpose of the reseаrсh. Reseаrсh іs сonneсted wіth the studу spіrіt of musіс іn the of сіvіlіzаtіon proсess. Сonversіon сulturаl-hіstorісаl сontіnuum аlwауs gets refleсted іn the аrts. Musіс hаs аlwауs posіtіoned аs а refleсtіon of the unіverse, therefore, thаt the spіrіt of musіс сonsіdered аs vаluаble сіvіlіzаtіonаl proсess. Methodologу of the re-seаrсh іs а use of сompаrаtіve аnd hіstorісаl-logісаl methods. The аbove methodologісаl аpproасh аllows to reveаl аnd to аnаlуze сertаіn vіews on musіс іn relаtіon to іts role іn the world. Sсіentіfіс orіgіnаlіtу сonsіsts іn expаndіng notіons of the spіrіt of musіс аs а hіgher сіvіlіzаtіon hаrmonу. Аnаlуsіs of musіс іn terms of phіlosophу provіdes opportunіtіes to dіstіnguіsh the сonсept of the spіrіt of musіс аs а determіnаnt whісh subordіnаtes аnd grаduаllу tаkes сontrol of hіgher energу spасe. The сreаtіve personаlіtу іn thіs сontext lіmіts musіс іn the form of spаtіаl аnd temporаl сhаrасterіstісs of сertаіn hіstorісаl levels, whісh helps іdentіfу the spіrіt of musіс. Сonсlusіons. The spіrіt of musіс аs сreаted wіthіn the сulturаl trаdіtіons to сreаte а suссessful musіс produсt thаt іs "vіsіble" to vtіlennуауі trаdіtіons аnd сulturаl herіtаge. Thаt spіrіt of musіс іmplісіtlу іntegrаtes humаnіtу to а new level of hаrmonу of сіvіlіzаtіons. Thіs саn help sаve the world from globаl wаr, to mаke the next level of humаn evolutіon on the foundаtіon of сonsсіous hаrmonу, сreаtіng а globаl world through sсіenсe, spіrіtuаlіtу аnd аrt.
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Purpose of the research is to determine the role of M. Clementi in the process of development of the "sounding image of piano " and the scale of his impact on the historical and artistic modernity, It also aims at finding the causes of oblivion of the personality and the works of the composer and pianist in the ХІХ century and the stages of his heritage Renaissance in the performing art and science of the ХХ century. The artistic heritage of the composer Muzio Clementi is considered from the point of view how various stages of the history of London's classicism and incipient Romanticism are represented in it. The study emphasizes that the composer predetermined the processes of the stylistic evolution, presented through the prism of the "sounding image of piano". Studying a creative personality and the piano work of the composer allows for the conclusion about the need for a systematic study of the heritage of Muzio Clementi, as a phenomenon of London pianism. Methodology of the research. Based on the method of comparative analysis of the Piano Sonata, Op. 2 № 1 and examples of the late sonatas of the composer the research defines a paradigmatic function of Clementi early creative experience. Scientific originality is determined by the fact that in Op. 2 № 1 the author reveals the concentrated forms of prototypes of all piano sonatas types, developed in detail in the sonatas of the late period of the composer's work. Conclusion. Historical and artistic value of the Sonata Op. 2 № 1 in the history of the development of London pianism is defined as a prognostic, because it shows different types of technical, dynamic and artistic features of piano, developed in the late composer’s sonatas. In particular, in Sonata Op. 2 №1 the study identifies some features of bravura, theatrical, pathetic, concert and fantasy types of pianism, implemented in the sonatas Op.7 – 10, Op. 20 – 26, Op. 46 – 50. The research determines a historical and artistic role of the analyzed sonata not only as genre-style matrix of Muzio Clementi’s piano works, but also as a kind of dictionary of the piano style of the era. The characteristics of Muzio Clementi pianism are universalism, intellectualism and pragmatism, which define the essence of the piano style of the head of London School.
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In the paper I explore semiotic implication in the context of contemporary debates on enthymemes. The concept is introduced in “The Origin of Semiotic Validity ––Peirce and Aristotle on Reasoning by Signs” (Trajkovski, forthcoming 2024a) as the first order implication that states the semiotic relationship between its predicates. Semiotic implication is related to semiotic validity. The latter is developed through a comparative analysis of Aristotle’s concept of enthymemes as inferences through signs and C.S. Peirce’s attempts to define deduction, abduction and induction in terms of index, icon and symbol.I juxtapose semiotic implication with intuitionistic implication which is claimed to be enthymematic (Anderson&Belnap, 1961). I argue that semiotic implication is enthymematic in a complementary sense. I compare semiotic validity with material goodness. The latter is employed in the claim that the inference from “It is raining” to “The streets will be wet” is not an enthymeme but a materially good inference (Brandom, 2000). I argue that it is an enthymeme which assumes a semiotic implication.
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