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This paper reflects the relationship between contemporary media and games in the context of aesthetic research and the existing practice of digitalization of culture. The essay aims to explore and re-examine how the traditionally conceived notion of game can be considered and applied in theoretical terms in our time, taking into account the prevailing digital media culture and the presence of artificial intelligence in it. Furthermore, the essay deliberately addresses a possible critique of digital culture from the perspective of freedom and the general humanistic worldview.
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Folk songs are important cultural elements that express and reflect people's feelings and thoughts. People, their pain, joy, longing, love, expatriate etc. they express through folk songs. Folk songs are considered an important heritage of folk culture not only with their melodies but also with their lyrics. Because, whether the owner is known or not, the lyrics of folk songs contain topics that tell the realities of life, that the listeners find something from themselves, and that translate their own thoughts. When the lyrics of folk songs are examined, it is seen that the subjects they contain are conveyed from time to time with different expression styles. It is thought that the narrations made in this way are effective in creating more intense emotions of the narrated phenomenon. One of these forms of expression is metaphor. In this study, the metaphorical expressions (metaphor) in the lyrics of 15 folk songs belonging to the Muğla region have been determined and it has been tried to explain how and in what manner they are used.
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Body, which is a concrete appearance of artistic existence, became a target of the artistic creation in the 20th century, predominantly symbolized the representation of identity within the art practices of female artists and as a result of the action of the artist turned into a performance. In the post-modern age where art experienced a metamorphosis, the new art has now been based on thought, while the artist has begun to use his/her body as an object of art so as to pass the thought onto the receiver and to make enquiries on political, psychological, economic, sexual and social identity. Within this context, the leading names such as Shigeko Kubota, Marina Abramoviç Carolee Schneemann, Ana Mendieta, Gina Pane, Hannah Wilke, Chris Burden, Yoko Ono, Yves Klein, Orlan, Stelarc, Claude Cahun, Yasumasa Morimura, Barbara Kruger and David Nebreda have transformed their artistic discourses into a performance within the framework of subject-society. According to Pierre Bourdieu’s conceptual development habitus, body which is molded together with the society in which the individual resides cannot be dissociated from the society. Therefore, the individual forms the societal habitus along with the objective existence assimilated within his/her body. This research in this respect aims to analyze within the scope of Bordieu’s habitus concept the indication of the process aimed at the art and the artist, whose subject has been the human body throughout the history. The research sample has been chosen in accordance with the purposive sampling from among the avant-garde representatives of body and performance art in the world and evaluated in line with the bodily actions of these artists, society-body relationship and the manifesting indications.
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The starting point of this article is to discuss the orientation to a ‘new’ form for Westerners, which held the heritage of a different geography and culture – ‘miniature’, in the contemporary art scene focused on West and based upon Western values. 'Miniature' is a branch of book arts, one of the important branches of 'Islamic art', which is a problematic concept that Western art historiography classifies with its orientalist and reductive attitude. Today, 'miniature' is accepted as a term used and even featured in contemporary practices. It cannot be said that the tradition of miniature art and its production continue uninterruptedly in most of the Islamic countries. However, even though they were separated as different states since 1971, the strong cultural ties and traditional art production of South Asian countries have continued. In 1990s, Pakistani artist Shahzia Sikander, who completed traditional miniature education and used the language of contemporary art in her works, reunited the Western/'contemporary' with the traditional and Islamic 'miniature'. Within the scope of this paper, the meeting of 'contemporary' and 'miniature' was examined through Sikander's first miniature work and her selected subsequent artworks.
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The word Kut; although it also has the meanings of abundance, luck, good chance and fortune it essentially expresses the administrative power and the power bestowed on Hakan from God. Kut, which is given to Hakan from God, is a concept that is believed to be always possible to be taken back by God if Hakan or the people do not fulfill their responsibilities. This abstract concept, which has many layers of philosophical meaning, has been made visible with some symbols and objects. Traces of old Turkish beliefs should be sought in these symbols. One of the blessed symbols is the tradition of Nevbet, which is practiced by drumming at certain times of the day in front of the Hakan. The tradition of playing these drums has become one of the oldest Turkish state traditions, and although this tradition has evolved in the form of mehter and band, its practice has never been abandoned. In this study, the philosophical meaning and importance that given to drums and nevbet will be emphasized.
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Ludwig van Beethoven, the famous German pianist and composer of the Classical Period, who lived in Vienna between the years of 1770 and 1827, composed works for piano, chamber music, and orchestra during his 56 years of life and is considered one of the most important composers in music history. There are distinctly three main periods in Beethoven's creative career, the early, middle, and late periods. Beethoven, in the first period of his composing career, had the opportunity to work with his contemporaries, J. Haydn and W.A. Mozart, and was influenced by their creativity. The middle period which covers the years 1802-1813 is when Beethoven achieved his own composing style. Among the important works of this period are the Waldstein (Sonata in C major No. 21 Op. 53), the Appassionata (Sonata No. 23 in F Minor, Op. 57), Egmont and Corolian Overtures, his 5th, 6th, 7th, and 8th symphonies and the one which will be the focus of this study: The Cello Sonata No. 3 in A major, Op. 69. This study aims to analyze Beethoven’s Sonata No. 3 in A Major, Op. 69 (Grande Sonate) with respect to its structural form, performance techniques and examine the manuscript and the examples of the first edition. The study also aims to be a source for performers and researchers who want to carry out a project related to the work.
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My study is an attempt to philosophically account for the competing influence in the 20th century musical understanding and practice of two radical and opposed aesthetics: the ideal of transgressive art (defined by Anthony Julius) associated with the avant-garde and the ideal of recovering the original and authentic art associated with extreme nationalism. My thesis is that these perspectives, under their extreme formulations, are, in fact, kindred sides of the broader philosophy of Modernity as developed since the Enlightenment. Also, as a consequence, by deconstructing the historical meaning and justification of these aesthetic forms of radicalism, one can reinterpret the artistic profiles of personalities such as Arnold Schönberg, thought of either as a revolutionary who totally rebelled against the musical past (as Theodor W. Adorno considered), or as not revolutionary enough (as Pierre Boulez thought). My historical methodology is based on using the two key-terms, “originality” and “transgression”, as regulative concepts within the constellation (a concept proposed by Theodor Adorno in Negative Dialectics) of musical modernism. Thereby, I will show how these key-terms are connected to a network of other romantic concepts: organism, authenticity, aura (Walter Benjamin’s sense), integrity, folklore, and contemplation, in order to reveal how the structural and social meaning ascribed to this set of concepts greatly influenced the process of redefining musical thinking and musical reception. The main philosophies I will use as conceptual landmarks to clarify these interconnections are Martin Heidegger’s remarks about the work of art and Theodor Adorno’s critique of Heideggerian terminology and presuppositions. My overall conclusion will point towards the necessity of going beyond such radical modern oppositions with the aim of finding new types of theoretical principles and perspectives, more adequate as conceptual tools for dealing with contemporary artistic realities.
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This paper aims to investigate the theatrical practices that define the work of one of the most influential voices in 20th century theatre. The practices and methods developed by Joan Littlewood over four decades of work outline a highly personal, inventive and dynamic aesthetic in which the emphasis is on creating cohesion within the team. The team is seen as a ”composite mind”, an ensemble that through rigorous physical and vocal training, complex theme documentation and improvisation, comes to function organically and is able to explore more freely and intensely. The use of a wide variety of means and formulas - music hall, commedia dell'arte, clowning, mime, but also elaborate lighting, cinematic projections, sound effects - and the involvement of the audience in the scenic approach are also defining elements of the theatre promoted by Joan Littlewood.
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The title of Andrić’s short story Panorama refers to an old-fashioned image sequence which represented countries and cities of the world. The already worn out form of entertainment was liked by a naive and poor boy. His complex experience of panorama causes the composition of the short story, in which several semiotic layers can be discerned. The pictures as kitschy, false representamen represent objects – landscapes, buildings, and people from different parts of the world, and the boy connects them with personal experience or images. The picture in his consciuosness (interpretant) raises the subconscious superstructure (new representamen) of still images, which become alive in the boy’s dream, but also lead into anxious outcomes caused by his poverty or fears present in children’s dreams. In the nostalgic imagination of an adult man the life course of former panorama characters is thought out by further semiosis. This last layer acts as an epilogue with several stories made up besides the remembered images. The AustroHungarian advertising trick, which even in provincial cities has no echo, realized its aim in the reception of the Sarajevo boy since he experinced the still images as potency – filling them with his own meanings. The reverse of the panorama in the moment of its departure is the boy’s realization that money, unfortunately, essentially determines the fate of people and their creations. However, an adult man does not give up on imagination as the best part of himself.
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In this paper particular attention is paid to the narrative techniques of Ivo Andrić, the author who through his writing created a literary encyclopaedia of life in the Balkans. The multiplicity of his narrative art is also recognised in the interfusion of the present and the past, of the oneiric and the real, the referential and the poetic, whereat the most recognisable characteristic of the author’s creative process is the conciseness of telling. Through an analytical overview of certain works, particular attention is paid to the function of telling stories which, according to Andrić’s words, contain the real history of humanity.
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Significant motifs in Šimić’s poetry pertain to the interpretation of soul and body, that is to comprehension of spirituality and materiality. In all his phases, from late impressionism, through expressionism to social phase, the author was, to a certain degree, preoccupied with dichotomy of those concepts by means of which he (re)presented existential, metaphysical, spiritual and social topics. This paper will show associative sequence of motifs composing basic terms of spirituality and materiality and projecting binary oppositions, such as god/woman, bliss/suffering, dance/illness, peace/struggle, life/death, etc. Through specified motif suggestions the paper will examine author’s attempts in revealing identity marks and situating subject within metatextual and contextual worlds of poetic text.
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While the idea that Aphrodite was specifically "caught" naked while bathing is sufficient to justify her nudity in the making of the statue, it shows us that the Greeks particularly disliked female nudity. In Cnidos, Medici and Capitoline Aphrodites, it shows that the goddess was caught while taking a bath due to the presence of the hydria vessel, and her slouched posture and her trying to cover her most private parts in addition to her draped outfits showed that she had a certain shyness. While the apparent nakedness of the strong male body was admirable, it was not easy to break a woman's nudity and with it a social taboo; therefore, it was considered inappropriate for women to appear naked. From this need for justification for nudity, we can deduce that the role of women in society was to present a clothed, modest appearance to reinforce her chastity. The Aphrodite of Cnidos was one of the important steps that started to destroy the determined female role. Despite the general nakedness of the Cnidos statue, there is no sign of the vulva. This fit with the idea that women were not sexually aggressive, even divine. Aphrodite, as the goddess of sexuality and love, represented the goddess who preserves her strength instead of covering her groin, and therefore a female audience began to appear to protect her own sexual power. In Aphrodite's case, she personifies love and sexuality; so she was responsible for representing what love and sexuality should look like, and her influence on women became more acutely felt and imitated. Apart from the message that Aphrodite gave to women during the Hellenistic Period, she also had a different appeal to the male world: naked and sensual. The fact that Aphrodite began to appear naked in public has turned gender roles upside down.
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Within the social order where masculine oppression is prevalent, the systematic foundations of feminism phenomenon which emerges as a field of struggle based on the goal of women to achieve equal rights and freedom and which also aims to improve the position and rights of women in the society began to manifest themselves in the 18th century. Feminism which helps preclude the oppression felt by women whether it is in private or public spheres became the focal point of artistic creation as well in the second half of the 20th century. Feminist moves which surfaced during the modernization phase of the Turkish art rendered the existence of women as an identity in art visible. From the second half of the 20th century onwards the identity phenomenon which distinctively revealed itself was scrutinized particularly by female artists and approached with a feminist vantage point. Prominent artists such as Gülsün Karamustafa, Nur Koçak, İpek Duben, Şükran Moral, Nil Yalter, Canan Şenol and Nezaket Ekici have discussed within their artistic creations the dominance of masculine mentality with regard to female identity and body, producing a substantial number of performances on social gender. The Turkish feminist artists laying bare the alienation from the female body are seen to have concentrated on opposing subjects such as social gender, identity, body, culture, politics and religion. The aim of this study which has been carried out is to fulfill a reading of social gender from the eyes of the artists who made their presence felt within the context of feminist theory. The art practices of the artists within the extent of this study have been discussed with a method of hermeneutic analysis and evaluated in terms of social gender.
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This article is intended as an essay about love. I regard love as one of the wonders of the world, as the most beautiful and great human feeling – an expression of the innermost experiences of the human heart and human soul.
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The purpose of the article is to reveal the peculiarities of the concept of stage design of E. Prampolini, one of the Italian futurism theoreticians and practitioners, and to find out the influence of the master on the further development of scenography. Research methodology. The analytical and historical method have been applied to study the treatises of Italian futurists and the historical period of the futuristic scenography formation. The method of comparative analysis enabled comparing E. Prampolini’s concept with the theoretical and practical achievements of other representatives of Italian futurism and the trends of stage design of post-dramatic theatre. The theoretical method has been used to highlight the main trends of futuristic scenography according to E. Prampolini. Scientific novelty. The concept of E. Prampolini’s stage design has been studied in the context of the specifics of Italian futurism. The originality of the artist's creative method has been revealed. The main principles of the interrelationship of dramaturgy, directing, and stage design of the futurists, the relationship between stage design and the actor, dramaturgy, and audience perception have been considered. E. Prampolini’s theoretical works, in particular «Chromaphony» (1913), «Futuristic scenography and choreography» (1915), the manifesto «Futuristic stage atmosphere» (1924), little known in the domestic scientific dimension, have been analysed. Finally, common features of futuristic and modern stage design have been revealed. Conclusions. The history of stage design proves that innovative and intriguing artistic achievements usually arise due to the reaction of artists and dynamic changes in the surrounding reality. Revolutionary artists being inspired by the stormy atmosphere, bring changes to traditional approaches and methods of scenographic solution of the performance. At the beginning of the 20th century, thanks to the work of futurists, the artistic design of a theatrical performance not only underwent huge changes, but also changed its definition in stage art. E. Prampolini, as one of the founders of Italian futurism of the «second wave», approved his own specific approaches, based on the artistic concept and understanding of form, light, colour, and movement as the most important tools in the ensemble art of stage design. The concept of stage design proposed by E. Prampolini, according to which only the scenographer with his perceptive means and understanding can create an equivalent world, is as important as the play itself. It led to the appearance of numerous followers and epigones among the futurists of the «second wave», and thanks to the support of the master's close contacts with various European art and theatre schools, was integrated into the pan-European avant-garde context. According to the main revolutionary idea of the master, the stage design of the futurists, the so-called «subjective stage design», is distinguished from the traditional («objective») stage design of the time. According to E. Prampolini, «subjective stage design» is created by synthesising all means of expression, which together turn a futuristic scene into an abstract whole, and it subconsciously affects the viewer, creates a unique «state of mind» for each production, using shapes, colours, movement, and light. The research has revealed that E. Prampolini's futuristic experiments in the field of stage design directly echo the current trends of postmodern theatre.
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Review of: Alexandra Köhring u. Monika Rüthers (Hrsg.). 2018. Ästhetiken des Sozialismus/ Socialist Aesthetics. Populäre Bildmedien im späten Sozialismus/Visual Cultures of Late Socialisms. Wien-Köln-Weimar: Böhlau. 332 Seiten. ISBN: 978-3-412-50574-5.
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Evolutionary aesthetics (EA) is often associated with the rise of evolutionary psychology, from roughly the 1980s until the 2010s. Yet that was neither the beginning nor the end of the field but rather a middle wave after the first and before the third. How has the field evolved? What are the epistemic and methodological problems it has addressed, and how? What is the field heading towards in the current scholarly environment? A self-reflexive conception of the history of EA is still lacking, although EA research is acquiring more and more perspectives from different disciplinary viewpoints. I will present a bird’s-eye view of EA by identifying and positioning three of its major currents in relation to each other. This state-of-the-art article also serves as an up-to-date introduction to the field for the non-initiated.
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The aim of this article is to provide a preliminary overview of the relationship between aesthetics and semiotics. One of the specific places where they intersected was the cultural space of the late Soviets. Thus, in order to provide background information, the article first examines the historical contacts between these two fields in the works of Alexander G. Baumgarten and Charles S. Peirce, and then looks at the more systematic theories of semiotic aesthetics developed in the 1930s by Charles Morris and Jan Mukařovský. The aim of the second part of the article is to analyse in more detail the interrelations between aesthetics and semiotics in the late Soviet period, focusing primarily on the 1960s and 1970s, as well as the conditions that shaped these relationships.
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The increased momentum of feminist discourse revolving around female normativity was accompanied by a new perspective on masculinity and the ideals by which it is constructed. The thesis of the article is that this new orientation has been taken up in recent years, especially by so called quality TV series. Taking the series Babylon Berlin as an example, it is shown that televisual seriality approaches this social discourse with particular sensitivity and thereby allows the deconstruction of myths surrounding ideal masculinity. The interference between formal narrative structure and the transformation of gendered common knowledge – that is clearly pointed out in the analysis – qualifies the television series as an educational object for teaching German. Therefore, the essay ends with explicit suggestions for the use in the classroom with the purpose of negotiating social discourses through literary-aesthetic education and to enable a critical-operational reception.
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