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Bosna kao granica Evrope: Andrić i Angelopulos

Author(s): Dragan Kujundžić / Language(s): Serbian Publication Year: 0

Bosna, kakav primer. Bosna, kakav primer? Poslušajmo u ovom ponavljanju dve mogućnosti definisanja prostora: jedan, koji će spominjati prošlost, katastrofičku ruinu poznatu kao «istorija», suviše poznatu u svojoj pretskazivosti, gramofoniju prostora znanog kao «Evropa» – Bosna, kakav primer – i drugu, pitanje, mogućnost mesta/prizora (site/sight) ili graničnosti radikalno osobite u svojoj singularnosti, u svojoj još neoblikovanoj, raščinjenoj egzemplarnosti, do koje tek treba da dođe, jedno nečuveno pitanje – Bosna, zaista, kakav primer?

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Karl Kraus i modernizam: Preispitivanje

Author(s): António Sousa Ribeiro / Language(s): Serbian Publication Year: 0

»Modernizam« je po mnogo čemu problematičan pojam, često je predmet neadekvatnih tumačenja ili tumačenja koja vode na pogrešan put – a naročito kada se koristi na način koji teži tome da ga svede na poseban stil ili pokret koji je navodno razumljiv unutar ograničenog referentnog okvira. Iako je uvek bilo očigledno da ovaj pojam ima više lica u različitim zemljama, zapravo je sve do nedavno preovladavalo shvatanje kako je glavni tok modernizma u suštini anglo-američki fenomen čiji su koreni u estetskim inovacijama francuskog simbolizma.

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Kako je Karl Kraus čitao Ofenbaha

Author(s): Georg Knepler / Language(s): Serbian Publication Year: 0

Kako je Karl Kraus mogao čitati Ofenbaha? Kako se uopšte mogu čitati operete? To nije izvodljivo. To, da je to bilo moguće Karlu Krausu imalo je niz pretpostavki koje teško mogu da se ponove, ali je ipak postojala želja da se pokuša. Najpre, javna čitanja pozorišnih komada Kraus je priređivao već od svoje mladosti. Godine 1893, on je čitao Hauptmanovo delo Weber (Tkač), koje je tek godinu dana ranije bilo izašlo iz štampe, a pola godine ranije bilo prvi put izvedeno u Berlinu. U literaturi o Karlu Krausu stalno se ponavlja tvrdnja da je neuspeh koji je Kraus doživeo iste godine, sa nepunih 19 godina, igrajući Franza Moora u jednoj izvedbi Razbojnika u jednom bečkom periferijskom teatru, bio povod za napuštanje glumačke profesije.

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Čitanje nečitljivog. Derida bi da svedoči za Celana

Author(s): Jovica Aćin / Language(s): Serbian Publication Year: 0

In his three analyses, Shibboleth pour Paul Celan, A Self-Unsealing Poetic Text and Béliers, Jacques Derrida proposed an expanding interpretation of Paul Celan’s poems. He raises the questions of translation, responsability, witnessing. These are the questions we find without doubt as essentially important to us. According to Derrida, on the other hand, the poetic text is a coded, encrypted text. For that reason, the French philosopher tries to make a deconstructive deciphering. However, Aćin suggests and shows in short that Celan’s poetry is not an encrypted text at all, but a text where every word, every phrase, and every caesura is already a deciphering which transfers itself onto the reader. Although below the surface, the living sense is clearly inscribed in the poems. It seems the reader also can only approach the unreadable elliptically, through poetic language and beyond language, invoking all possible referential contexts. When we are at the edge of the readable, mixing together the real and the imaginary, we do read and understand. Welcoming that and allowing that into our minds is like receiving a gift.

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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.

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Dekonstruktivistièka arhitektura n'existe pas

Author(s): Ljiljana Blagojević / Language(s): Serbian Publication Year: 0

During the 1980s and 1990s, an intensive discourse has developed around the question of deconstruction and architecture, spurred by the work of Jacques Derrida andhis subsequent collaborations with architects. Although it is not possible to elaborate on the complex issues of this question in the narrow constraints of this paper, the discussion follows some of the main points in the work of architects who participated in the exhibition Deconstructivist Architecture, held in the Museum of Modern Art, New York, in 1988, namely Zaha Hadid, Bernard Tschumi, and Peter Eisenman. Rather than asking the question “What is deconstructivist architecture?”, and understanding architecture not as a representation or illustration of philosophical concepts, but as, inter alia, thinking philosophical problems through architecture, the main point of departure is the question of what is it in architectural discourse that enables us to see the problem of deconstruction. In that, the paper focuses on the probing and analysis of the conceptual pair modernity/ deconstruction, with regard to the projects discussed. Consequently, if this architecture is seen as a major shift in the thinking of the condition of modernity and an anticipation of, as Hadid calls it, new modernity, could it be argued that, in fact, what is, generally easily gathered under the term “deconstructivist architecture” is but an empty set with a name?

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Muzika i dekonstrukcija – mogući pristupi

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

Considering the fact that there are few studies (in Serbian, as well as in Serbian translation) that deal with Derrida’s deconstruction and music, this paper’s goal is to offer the possible angles of thinking deconstruction and music relations. This is achieved through four sketches “entitled”: deconstruction in music; deconstruction of music; deconstruction by music and, finally, deconstruction and music, showing that music has everything to with deconstruction, almost asserting that music is and has always been deconstructive art par excellence.

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VARIJACIJE NA FRAGMENT ARISTOTELOVE „POETIKE“

Author(s): Aras Borić / Language(s): Bosnian Publication Year: 0

The paper discusses Plato’s and Aristotle’s conception of beauty and their relation to art, and especially Aristotle anticipation of modernist art and avantgarde poetics of the twentieth century, which is reflected in two fragments of „Poetics“ and „Physics“. Related to abstract art (which old Greeks did not know) citizen of Stagira and Athenian paradoxically replaced their usual positions of idealism and „realism“. In other words Aristotle can be linked with a certain idealistic tendencies, while in Plato, who argued for ideological art, we can discern radically „realistic“ tendencies.

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National And Skin Colour Identity In Art Evaluation

Author(s): Giovanni Perillo,Stefano Mastandrea / Language(s): English Publication Year: 0

Social identity contributes to build the self-image, generated by the awareness of belonging to a social group, reinforced by the value and the emotional meaning that the individual attributes to his/her belongingness.We present the results of two studies to understand how belonging to a social group can influence the aesthetic evaluations of artworks.These studies suggest how artworks and associated places, such as museums and art galleries, can generate social identity dynamics that influence the way people evaluate and feel about specific works of art and art contexts.

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Edebiyat ve Posthümanizm

Author(s): Sümeyra Buran / Language(s): Turkish Publication Year: 0

Çevre ve teknolojideki değişimler, insanlık ve doğa tarihini her dönemde etkilemiştir. Günümüzde ise bu değişimler giderek hızlanmakta ve doğa, insan ve teknolojinin farklı seviyelerde iç içe geçtiği bir kırılma dönemi yaşanmaktadır. Teknobilimsel kültürlerin çoğalması, küresel ekonomik zorluklar, çevresel tahribatın ve doğal felaketlerin artması, dijitalleşmenin yayılması, insan ve insan olmayan varlıklar arasındaki geleneksel sınırların teknolojik, biyolojik ve çevresel düzeylerde aşınması ve bulanıklaşması, insanlık ve insanlığın içinde yaşadığı çevre için alternatif fikirler ve düşünceler arayışına yol açmaktadır. Dijital yaşam tarzları, sanal gerçeklik teknolojileri, sanallaşma gibi teknobilimsel, kültürel ve sosyal eksenlerdeki hızlı gelişmeler insanlığın yaşam serüvenini yeniden şekillendirmektedir. Posthümanizm, tam da bu çoklu gelişmeler sonucunda doğan, insanlığın yaşam biçimlerini, çevre ve doğa ile ilişkilerini yeniden düzenlemesi gerektiğini öngören bir paradigma değişikliğidir. Posthümanizm, tüm bu dönüşümlerin bir yansıması olarak geçmiş, bugün ve gelecek arasındaki bağları irdeler; bu bağlamda insan, insandışı, insanötesi ve insanüstü alternatif senaryolara dayanan araştırmalara odaklanır.

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Posthümanizm, Transhümanizm, Antihümanizm, Metahümanizm ve Yeni Materyalizmler: Farklar ve İlişkiler

Author(s): Francesca Ferrando / Language(s): Turkish Publication Year: 0

Çağdaş akademik tartışmada “posthüman” kavramı, yirminci ve yirmi birinci yüzyılın hem onto-epistemolojik hem de bilimsel ve biyo-teknolojik gelişmelerin akabinde, insan kavramının bütünsel olarak yeniden tanımlanması yönündeki aciliyetin üstesinden gelmek için anahtar bir terim haline gelmiştir. Geliştiği dönem itibariyle bu felsefi görünüm, çeşitli akımlar ve düşünce okullarını içermektedir. “Posthüman” etiketi, bu farklı bakış açılarından birini belirtmek için uzmanlar ve uzman olmayanlar arasında metodolojik ve teorik kafa karışıklığı yaratarak çoğunlukla genel ve geniş kapsamlı bir çağrışım yapmaktadır. “Posthüman” terimi, (felsefi, kültürel ve eleştirel) posthümanizm, transhümanizm (diğer akımlar arasındaki değişkenleriyle ekstropyanizm, liberal ve demokrat transhümanizm), yeni materyalizm (posthüman çerçeve dahilinde özel bir feminist oluşum) ve antihümanizm, postbeşerî bilimler ve metabeşerî bilimlerin heterojen bir görünümünü içeren şemsiye bir terim olmuştur. En çok kafa karıştıran anlam alanları ise posthümanizm ve transhümanizm tarafından paylaşılanlardır. Bu tarz karışıklığın farklı sebepleri vardır. Her iki akım da benzer konulara olan ilgileriyle bilhassa 80’lerin sonu ve 90’ların2 başlarında ortaya çıkmıştır. Her ikisi de sabit olmayan ve değişken ortak insan algısına sahiptir, ancak genel olarak aynı köken ve bakış açısını paylaşmazlar. Buna ek olarak, transhümanist tartışmada, posthümanizm transhümanist bir yol üzerinden yorumlanır, ki bu da genel posthüman anlayışı hususunda daha fazla kafa karışıklığı yaratmaktadır: bazı transhümanistlere göre insanlık, nihayetinde mevcut transhüman çağın ardından beklenen bir durum olarak, posthüman olabilmek için kendini radikal bir şekilde dönüştürebilir. Posthüman üzerine böyle bir görüş, (felsefi, kültürel ve eleştirel) posthümanizmin postantroposantrik ve post-dualistik yaklaşımlarıyla karıştırılmamalıdır. Bu makale, bu iki bağımsız, fakat birbiriyle ilişkili akım arasındaki bazı farklılıkları açığa kavuşturur ve posthümanizmin insan kavramının radikal ontovaroluşsal yeniden önem kazanması hususunda, daha kapsamlı bir yaklaşımı sunabileceğini öne sürer.

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Aesthetics and Creativity. Identity Configurations

Author(s): Livia Durac / Language(s): English Publication Year: 0

Reflecting on human attitude towards reality, together with deciphering the emotional code that accompanies it, has configured - in time – the aesthetic universe, open to human reflection, creation, and evaluation. Aesthetics appears through the way in which consciousness reacts and capitalises upon things in nature and society, or which belong to human subjectivity, including on artistic work, which have an effect on sensitiveness due to their harmony, balance and grandeur. As a fundamental attribute of the human being, creativity is the engine of cultural evolution, meaning the degree of novelty that man brings in his ideas, actions, and creations. Aesthetical values, together with the other types of values, contribute to what society represents and to what it can become, hence motivating human action and creation. Their role is to create a state of mind that encourages the cohesion, cooperation, and mutual understanding of the society. Integrating a chronological succession of the evolution of the concepts that objectify its structure, its aesthetics and creativity, this article stresses the synergetic nature of the two dimensions of human personality, paving the way to beauty, as a form of enchantment of the human spirit.

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RROMII - CASTĂ, RASĂ, CLASĂ

Author(s): Vasile Ionescu / Language(s): Romanian Publication Year: 0

Considering human definitions as mere speculations without content, Ernst Cassirer considers superfluous the assertion so old that man would be a political zoon, a sociable and rational animal. Beyond his physical or metaphysical dimension, man is a "symbolic animal", through his work, identifiable in the ethics and aesthetics of his Freedom, through cultural creation and production (languages, myths, religions, arts and sciences, etc.), considers Cassirer. As Freedom is itself a difficult concept to define, closer to the continuous action dimension of Freedom is Liberation, as a continuous evolution towards human progress, within human societies / civilizations / cultures.

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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.

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Undulační válce (inovace versus reprodukce)

Author(s): Jindřich Lukavský / Language(s): Czech Publication Year: 0

Ve výtvarné výchově nalezneme specifickou třídu učebních úloh, které jsou založeny na konfrontaci žáků s reprodukcemi nebo originály expertních uměleckých děl. S tímto modelem se velmi často setkáváme v artcentrickém pojetí výtvarné výchovy (koncepce DBAE - Discipline Based Art Education). To se zaměřuje na své „mateřské“ obory, ale i na obory směřující k poznávání výtvarného umění a esteticko-vědních pojmů (Slavík, 1997). V praxi se toto pojetí nejčastěji objevuje na základních uměleckých školách, ve středním umělecko-řemeslném vzdělávání nebo v galerijních animačních programech. Nezřídka je však výše uvedený typ úloh zařazován učiteli do výuky ve všeobecném vzdělávacím prostoru.

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Multidisipliner Yaklaşımla Seramik-Mekân İlişkisi

Author(s): Nur Uyanık Çirkin / Language(s): Turkish Publication Year: 0

The search for a place to which human beings are directed in line with various motivations such as shelter, heating, protection and privacy dates back to the Paleolithic Ages. Mankind's first space production practices have diversified over time from the caves found in nature as a restricted area used in the early stages of history in line with their needs. The main problematic of the architecture perceived through the senses is the space, today the user needs, ergonomics, functionality and aesthetics. In the historical process, various materials have been preferred as building materials. Material knowledge in interior design requires the physical, chemical, mechanical properties of the components used and at the same time aesthetically compatible preferences. Due to its strength and plastic properties, ceramic clay has taken place in the building tradition in the historical process. Clay, which has been used as a building material for ages, has been expanded over time thanks to the developing industry power and modern technology. In addition to its use as a building material, it appears as aesthetic-functional complements. At the same time, it is used in interior design in terms of providing functional solutions in accordance with the flexible design concept. In this study, the place and contribution of ceramic art and terracotta materials in the discipline of interior architecture in the historical process are discussed. For this purpose, the Art Nouveau Bauhaus school understanding of education, which radically changed the role and function of ceramic-design in interior design, the concept of modernism and the mutual dialogues of the ceramic-space disciplines experienced in the changing production understanding afterwards were emphasized. In this context, the changing periodic conditions in the ceramic-space relationship, the creativity provided by the material in interior design, functional alternative designs were evaluated. The relationship between ceramics and architecture in today's interior design has been demonstrated through examples.

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Yol Kenarı: Kafkaesk Bir Sinema

Author(s): Yavuz Akyıldız / Language(s): Turkish Publication Year: 0

Tayfun Pirselimoğlu is considered one of the important auteurs of Turkish Cinema. Representing our cinema successfully in the international arena, the director has won many awards at prestigious international and national festivals, including the best film, the best director, and the best cinematographer. Our director, who produces story books, novels and painting works along with movies, establishes a strong structure between the arts he performs as an integrated artist, and philosophy and literature. This artistic structuring, which started especially with the movie Rıza (2006), reached a very competent and strong mastery stage in terms of cinematic art with the films Haze (2009), Hair (2010), I am not Him (2013), Sideways (2017) and Kerr (2022). Although Pirselimoğlu's cinema undergoes periodic changes in terms of aesthetics and thought, it has important common codes. He depicts themes such as isolation, oppression, the dark sides of human nature, ideological elements, bureaucracy, murder, obsession, existential anxiety, the absurd situation of human beings, alienation, crime, and human being as a mortal creature, through images in almost all of his films. These themes in Pirselimoğlu's cinema are the themes fed by the philosophy of existentialism. Kafkaesque aesthetics, which is an important component of the philosophy of existentialism, stands out as the basic aesthetic element that determines the atmosphere and thus the cinematography in the cinema of the director. In this study, after discussing existential philosophy and Kafkaesque aesthetics, the effects of these structures on Tayfun Pirselimoğlu's cinema will be examined through his last two films, Yol Side and Kerr. The philosophical background, dialogue, plot, cinematography that emerges in the films will be analyzed by establishing the links between the philosophy of existentialism and Kafkaesque aesthetics.

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Rodne norme i poremećaji ishrane: feministički uvid u psihopatologije u vezi sa izgledom ženskog tijela

Author(s): Maida Husičić,Jasmina Husanović Pehar / Language(s): Bosnian Publication Year: 0

U ovom radu bavimo se rasprostranjenošću poremećaja u ishrani, posebno među ženama, i njihovim odnosom prema društveno konstruiranim rodnim ulogama. Koristimo feminističku perspektivu kako bismo ispitali socio-kulturne faktore koji doprinose poremećajima u ishrani, uključujući i pritisak da se prilagodi idealiziranim tipovima tijela, i ulogu medija u oblikovanju ovih ideala. Fokusiramo se i na sociokulturni kontekst poremećaja u ishrani, raspravljajući o povećanoj prevalenci ovih poremećaja, porastu popularnosti estetske hirurgije, te kulturnom pritisku da se prilagodi idealima mršavog tijela. Istražuje se i povijest, a i uzrok anoreksije nervoze i bulimije, te njihova povezanost s društvenim utjecajima i kulturnim idealima koji su uvijek orođenog karaktera. Cilj ovog rada jeste dati pregled kritičkih teorijskih stavova u polju rodnih studija o učestalim poremećajima ishrane i njihovom odnosu sa društveno postavljenim pravilima i rodnim normama, te pružiti uvide u nekoliko važnih feminističkih perspektiva oko pojave, uzroka i posljedica poremećaja ishrane. Također, cilj rada jeste pojasniti utjecaj okolnih čimbenika u nastanku poremećaja ishrane među ženskom populacijom, te tako sagledati poremećaje ishrane kroz sociološku i kulturološku prizmu konstrukcije roda.

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La lenteur chez Henri Bosco. La pratique de la répétition

Author(s): Farah ZAÏEM / Language(s): French Publication Year: 0

The work of Henri BOSCO (1888-1976) is – today – the example of a Provencal meditative, sensory and spiritual literature as it offers an enchanted parenthesis in the 20th century literary landscape, far from the din of the great technological advances or the military-sociopolitical turmoil that occupied his contemporaries. The writer from the Luberon achieved this thanks to a scriptural practice, gradually put in place, which inscribes the processes of slowness in all the strata of the text. An aesthetic of hollowing out and digging is achieved through figures of construction and meaning. This work offers an overview of the evolution of Bosco's writing, of his choice of the figure of repetition as a means of accelerating and then declaring the rhythm of these stories.

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Littérature et écologie chez Romain Gary ou l’urgence d’écrire pour le temps long

Author(s): Larisa Botnari / Language(s): French Publication Year: 0

Through its plot articulated around the hero Morel – defender of elephants threatened with extinction – Romain Gary's The Roots of Heaven could be read as a critique of modern society and its relentless race towards economic expansion. Prix Goncourt 1956, this "first ecological novel" would thus join the current discourses of the movement for degrowth, by promoting a different rhythm (slow and peaceful like that of elephants) and more generally by praising spiritual and cultural values considered outdated and cumbersome, as likely to slow down the acceleration of progress. Among the latter, literature and the writer – another “monstrous survivor of a bygone geological era” – whose role and usefulness should be considered by placing them in the long time of the evolution of the human species, as a horizon still rich in possibilities, in which Gary's work invites us all to continue to believe.

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