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One always searches for some symbolic point from which one can claim that something ended and something else began, even though there are no beginnings and no endings.
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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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»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 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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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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Die traditionelle universalistische Interpretation der Welt in binären Oppositionen, die den Vorrang dem Verstand anstatt dem Körper gab, bewies sich beim Vortreten der Dekonstruktion auf die theoretische Szene als eine Illusion des Logozentrismus. Die feministische Literaturkritik rückt ins Zentrum des literaturkritischen Interesses den Körper als ein komplexes kulturologisches Konstrukt, während aber der französische Philosoph Maurice Merleau - ponty in seinem Werk „Phänomenologie der Perzeption“ den menschlichen Körper in den Fokus unseres Verhältnisses zur Welt rückt. In der Hinsicht verfolgt dieser Beitrag die zweifache Darstellung der Körperlichkeit, mit der Apotheose des weiblichen Körpers im Gedicht „Pilivačica“ und der Sammlung „Koljena za Madonu“ anfangend bis zur existenzialistischen Bestreitung der Körperlichkeit beim Erreichen, mit den Worten der Phänomenologie, des Kerns ihres Daseins im Gedichtzyklus „Kameni spavač“. Der Beitrag untersucht unter anderem die Rolle der Frauenfiguren in der Poesie Mak Dizdars, sowie die Aspekte des Auftretens der weiblichen Stimme in der Rolle des lyrischen Subjekts. In einer Poesie, in der mittelalterliche Schreiber (dijaci), Gefangene (sužnji), Gerechte dominieren, werden Frauenfiguren nur marginalle Rollen, wohingegen Hauptrollen in Gedichten, die von Diesseitswerten sprechen, u.z.: von Liebe und Mutterschaft, verliehen.
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Art history as a discipline is currently undergoing a remarkable period during which the traditional and new theoretical approaches to visual art are discussed. In the first section, the propaedeutic manual of methods in art history discusses the objects of art history, the question of personality of an art historian, and basic techniques in the discipline. Subsequetnly, leading figures of art historians and mainstream currents in art history in the second half of the 20th century are mentioned, focusing on latest trends in the interpretation of art and video works. An important part of the book is a treatise on the fundamental concepts of art history (style, structure, theme- symbol, function, and historic time) and an overview of the major art historical approaches, and also approaches of different disciplines and applied approaches in multidisciplinary fields. The volume is intended primarily for students of art history and follows the earlier part of the previous “Schools of art history.“
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The aim is to offer a comprehensive textbook focused on formal analysis of stylistic, narrative, and thematic arrangement of a film work. The publication should be useful for students of film studies and audio-visual culture, as well as for wide audiences (academics, film reviewers, and film fans). The book structure follows a bottom-up explanation model which starts with searching for a research problem and the thesis formulation and goes on to questions related to the text outline and the structure of argumentation. The final part of the book offers more complex film case analyses rooted in the perspective of the previous chapters.
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Fairies are ambivalent (malignant–benevolent) mythological female creatures connected to nature. Their ambivalent character is connected to men’s ambivalent relationship toward nature, which is closely linked to female archetype. The paper deals with the ideological and aesthetical aspect of fairy–characters in two Pelin’s novels with the same title — Fairy — and their role in his conceptualization of the clash between culture and nature, and also the clash between rural and urban, which is closely connected to it.
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The article addresses the need to form the aesthetic taste of primary school students, as the presence of arts in education is based on the need to create a cultural capital, with all the associated positive effects, but also to pursue the collateral benefits that arts insertion can have on learning, teaching and assessment of certain school subjects. The formation of cultural consumer behaviors and of a cultural capital market are objectives of modern didactics, as it is found in all normative regulations based on the concept of aesthetic taste. Being an objective of aesthetic education, aesthetic taste is required to be achieved through all types of teaching and extracurricular activities in order to form intellectual feelings, moral beliefs and other aspects of the structure of human personality. The cultivation of sensitivity through aesthetic taste ensures favorable premises for the realization of the educational ideal.
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The publication Dynamics of Psychic Processes and Artwork reflects the opinions of four authors who analyze the area of human psychology in their theoretical texts. The combination of the content of the publication is art therapy itself. Hana Stehlíková Babyrádová deals with the role of catharsis in artistic expression or inner cleansing of the soul. The text further reflects the author's experience with arteterapeutical creation. Pavel Šafář focused on the approach of archetypal arteterapeutic approaches. Author Jana Ovčáčková explains the importance of play in certain therapeutic methods. The text of Julie Zorkovská, compared with previous authors, refers to the importance of rituals, which is in close connection with the psychological illness.
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Teaching of Music education was right from the beginning of music development characterized by the different functions in the perception of the music, which has, of course, changed significantly during the evolution of music. Music education is not just singing, the significant part of a comprehensive music education includes also the ability to listen to the music. At the time listening to the music works of art emotionally affected human emotional relationships between people, towards society and nation. The basic set of recommended songs of composers – home and international – has not changed much during almost whole century, as has not the main goal of music education: teaching students to establish diverse contacts with the music, so they would be able to accept and understand music as a special means of understanding the world. Lack of teaching children to “classical music” and our failure to awaken a direct interest in music, must lead to the fact that the current general music education almost does not contribute to the education of future listeners of artificial music.
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The second volume of Jaroslav Střítecký’s Studies and Essays contains a total of 40 texts. Both extensive studies with notes and loose texts are represented. These include, in particular, the author’s forewords and afterwords accompanying his belles-lettres, journal articles and short glosses. Thematically, they cover all the important disciplines in which Střítecký contributed during his life: philosophy, history, sociology, musicology, aesthetics and literary science.
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The publication is focused on late medieval pottery products with higher aesthetical effect. The key group is represented by stove tiles, where the unifying elements of relief decoration helped to define series of motifs for stoves with specific iconographic concept, which were found in various locations. The same approach can be also used with small ceramic sculptures, aquamaniles and relief-decorated floor tiles, even though the achieved information value in these cases is much lower. Micropetrographic, XRF and other analyses helped to identify the production centres and the distribution model of these ceramic groups. 3D documentation enabled a detailed comparison of differences between individual reliefs and specific traces of manufacturing procedures. Individual chapters contain active links to the source database of analysed items and to 3D models of selected specimens from reference collections.
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Entertainment is a particular area of public communication, due to the aesthetic component of the messages. Artistic expression is primarily about emotionality, not rationality, and the originality of creation gives artistic value. Entertainment nowadays tends to contaminate the other functions of communication, namely information and persuasion. In contemporary society, the production of entertainment is industrialized. Contemporary culture is dominated by entertainment industry, especially in the fields of publishing, music, film and games. In this article, we shall summarize the content and specifics of entertainment as premises of the creative industries’ social impact.
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In this book, our title is "The Latest Approaches in Communication Sciences". In the first part, the sociological origins of communication studies are revealed. The second part is a theoretical study: The thoughts of Tocqueville, Putnam and Bourdieu are examined. The third chapter focuses on a fairly new topic, artistic artificial intelligence. The fourth episode reveals the podcast panorama of Turkey. In the fifth section, we turn to cinemas and focus on brand placements. In the sixth chapter, mythology in marketing is discussed. The seventh chapter is devoted to a comprehensive analysis of a film. In the eighth chapter, the topic of hactivism is covered. With the ninth chapter, we move on to studies in English. This section examines the Coca-Cola case study. The topic of chapter 10 is organic markets. Chapter 11 deals with the surveillance society and Chapter 12 covers big data.
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