A rajzfilmek, mint a nyelvtanulást segítő eszközök

Author(s): Éva Hilda Székely / Language(s): Hungarian Issue: 28/2015

Cartoons, being a genuine resource of the audiovisual language usage largely influence the moti-vational skills of a beginner language learner. Built with a pedagogical purpose into the language learning process, through sound recording, they can supply support in intonation, explaining meaning, vocabulary expansion, gesture, easy question and statements conceiving. Moreover, they help improvement of concentration skills. The study presents how the illustration and sound material offered by this media loved by all age groups can be efficiently used for language learning purposes. It also presents the aggression-free interactive cartoons that— according to spe-cialists—can help the language improvement of children and students who undertake to study English as a foreign language.

Kapitalocinema

Author(s): Annamária Hódosy / Language(s): Hungarian Issue: 25/2019

The analysis of the interrelationship of ecological problems and the dominant economical system of the North is nothing new and is beginning to seep into films, even into Hollywood blockbusters. However, in movies that seem to be the most open and indignant about the destruction of nature, there is a certain conservative „latent content” underlying the „manifest content” of straightforward criticism. Two films of the three that are examined in this paper – Big Miracle (2012) and the Danish Skytten (2013) – seem to make an equation between ecological degradation and the capitalist exploitation of „free nature”. Excessive radicalism is nevertheless avoided, when the antagonism between the environmental activists and the executives of profit-oriented corporations/governments in the films is reconciled through the representation of the personal motives and life-stories of the protagonists. The third film, Downsizing (2017) chooses a more complicated strategy to maintain the status quo. Although both the ecological problems and the social inequities entailed by the current phase of global capitalism are highlighted, the grotesque representation of the practical implementation of what may be thought of as the theory of no-growth or de-growth economy becomes an exculpation of the present economical system instead of making an attack on it.

La ţigănci de Mircea Eliade. Scurt istoric al receptării unui text literar în limbaje artistice complementare

Author(s): Cristina Scarlat / Language(s): Romanian Issue: 32/2014

La ţigănci [With the Gypsy Girls] by Mircea Eliade is one of the texts that enjoyed several versions in different artistic languages – theatrical, musical ones, cartoons, film projects, audiobooks –, although its thematic universe is far from the entertainment area. This fact confirms the richness of the literary text and the possibility of its transposition/translation into different semiotic codes, preserving at the same time its ideational content.

Fremd bin ich eingezogen, Fremd zieh’ ich wieder aus : The Common yet not Shared Crises of Opera Singers

Author(s): Michael Smallwood / Language(s): English Issue: 1/2021

There is almost no empirical research into the later stages of classical singers’ careers and the difficulties faced. A quantitative study of operatic soloists was conducted via online questionnaire to ascertain when and how these difficulties manifest themselves. The survey divided the singers into 2 groups: those who stopped their solo careers as a result of the difficulties and those whose careers continued, in order to explore the differences between the responses of the 2 groups to the career downturn. This article posits that the singer’s crisis is a common experience, though one which singers seldom discuss amongst themselves. To illustrate this, it focuses on the 2 causes for career difficulties most often cited by the respondents: mental health issues and technical vocal problems. The study demonstrates a reluctance by singers to deal with anxiety, stress and self-doubt, even at the cost of their careers.

İnsanın Kimlik İnşasında Maddi Bir Varlık Olarak Boncuk

Author(s): Fatih Mehmet Berk / Language(s): Turkish Issue: 106/2021

Human beings have created culture and civilization through the items produced by themselves in virtue of art and craft notion as well as the pre-existing substances on the earth. Bead is a small but highly active object that sheds light on the relationship between humans and matters in the prehistoric period. The earliest beads are dated to about 100.000 BCE & 75.000 BCE. It generally helps to analyze the perception of human history particularly in the interpreting of cultural development, socialization, economy and mental fields. The aim of the study is to interpret the role of materials in the construction of human identity through the beads. In our study, at first, the role of the bead in the fields of religion, language, tradition, status, gender, economy, trade, art, technology and socialization in the prehistoric period was explained, then, the contribution of the bead in the process of identity-building of the human being has been expressed. Bead is one of the oldest objects that have an influence on human identity. Beads are thought to be one of the earliest examples of jewelry. However, in addition to being a jewelry item, it has turned into an object that reveals the individual and social identities of people by carrying many abstract meanings. In this study, the literature review on the beads is examined by using a qualitative / historical approach. In addition to the literature review, the findings obtained from archaeological excavations and the different results received by the anthropologists and the archaeologists on the beads are scanned.

GEÇ ANTİK ÇAĞ-ERKEN HIRİSTİYAN SANATINDA FİLOZOF İSA FİGÜRLERİ

Author(s): Ferda Barut Kemirtlek / Language(s): Turkish Issue: 77/2021

Late Antique and Early Christian Art designates the idiosyncratic content and style of the art which was produced during the Christianity transition process of the Roman society which was nourished mostly by the ancient Greek culture. In this transition process in which the border lines were blurred and the Christian iconography was not standardized yet, the pagan elements were included to the Christian narration or the visual images which were needed by the Christians were articulated into the pagan narration. This process which was lasted between the third to sixth centuries ended by the dissolving of pagan culture into Christianity. After Christianity constructed its own content and image discourse, pagan elements disappeared except rare personifications and mythological premises of some Christian scenes of which their geneological roots cannot be settled down easily. In this period, the philosopher image, one of the prestige indications of the ancient culture, was used for Jesus depictions frequently. In ancient society the notions of morality, culture, education and philosophy were perceived as honourable and closely interrelated with each other. The philosopher figure who possesses these virtues is an educated and restained person, a wise teacher who guides the people around him by the way of his attitudes, his own life and his lectures. In relation to this perception, in Late Antique and Early Christian Art, especially on sarcophagi, Christ is depicted in the image of philosopher/teacher who leads the person to the true knowledge both in life and after-life. Christian theology has created its own sphere and conceptual framework, consequently the identity between the virtuous life and philosophy is abandoned at the end of Late Antiquity. In this milieu philosophy losts its importance, even starts to define an antitheological sphere for Christians. The philosopher image is no longer appropriate for the ones who identify it with the pagan and hence religionless Greeks of the ancient times. By losing the previous value of the philosopher’s image in ancient society, Christ the Philosopher figures have disappeared from the representations.

ULUSLARARASI BAKALORYA ORGANİZASYONU: İLK YILLAR PROGRAMI’NIN GÖRSEL SANATLAR DERSİ BAĞLAMINDA İNCELENMESİ

Author(s): Meliha Yılmaz,Tuğçe Gök Kalfa / Language(s): Turkish Issue: 80/2021

In this study, First Years Program of the International Baccalaureate Organization, which was established in 1968 in Geneva, Switzerland to implement an intercultural and universally valid curriculum has been studied. This programme has not been studied before and it is aimed to examine the program structure in question, with the obtained data, information, and analysis, to reveal and understand its features. Qualitative data analysis method was used in the study. Data collection tools are text-based documents and literature reviews. Although, the photographs are for illustrative purposes only. As a result of the research, the following findings of the programme structure were reached: International Baccalaureate Organization, which has universal validity, the students of the profile features; investigating, questioning, knowledgeable, thinkers, communicators, principled, open-minded, sensitive, risk-takers, balanced, and alternately-minded consideration of characteristics such as being an individual in preparing and learning environments where students are active are seen as the full realization of the target. It was understood that the Primary Years Programme consisted of six courses (language, social studies, mathematics, art, science, personal, social education, and physical education), students chose these courses according to their wishes and these courses were given in English. If they choose all of them, they receive 15-18 more lesson hours in addition to their course schedule. In addition, in the scoring system of the IB Programme, the lowest score that can be obtained from a course is 1, the highest score is 7, and to be deemed to have successfully completed the programme, it is necessary to have at least 24 points from the total of 6 courses. In addition to 42, which is the highest score that can be obtained from the courses, the highest IB Diploma grade of 45 can be reached with additional points to be obtained from internal evaluation, projects, and dissertation. It is seen that transdisciplinary themes are used in the programme, which is a thematic programme and it is understood that these themes are not limited to the visual arts course. According to the results, IB Programme has completely different characteristics from MEB curriculums in terms of classification of acquisitions, thematic structure, supra disciplinary approach, and measurement system, it is recommended that comparative research should be carried out as a separate research topic, and this research will contribute to the researches to be carried out is considered.

ÇAĞDAŞ SANATIN TARTIŞMALI ETİKETİ KİTSCH VE BİR KİTSCH TEMSİLİ OLARAK JEFF KOONS SANATI

Author(s): Yudum Akkuş Gündüz / Language(s): Turkish Issue: 81/2021

In the second half of the 1900s, postmodern systems aimed at removing the difference between high art and low art and stood against the various criteria and virtues of Modernism. During this period, Postmodernism has provided an important opportunity to the production of Kitsch, which owes its very foundation to the the mass culture and the industrial revolution with the production changes occurring in the post-modern period, and thereupon, by taking the popular culture as a basis, it also allocated the necessary infrastructure for its social acceptance. As a result of all these, the anonymous Kitsch creations, which were seen as worthless and vulgar at the time, have been reevaluated in the contemporary art community, and this has led to various arguments and disagreements upon their acceptance as superior art. In this study, the adventure of its gaining prestige and acceptance by becoming the center of attention of the art industry, and as a result of bringing many controversies with it, the amazingly rapid introduction of the "Kitsch" into the art industry is being discussed. Also; an important art figure Jeff Koons, an American Kitsch artist with a global economic success and a controversial reputation in today's art, and his artworks are also being analyzed in order to understand the reinterpretation of the “Kitsch” concept.

CALOUSTE GULBENKIAN MÜZESİNDEKİ 16. - 17. YÜZYIL TÜRK KUMAŞLARININ TASARIM ÖZELLİKLERİ

Author(s): Pınar Arslan / Language(s): Turkish Issue: 81/2021

During the Ottoman period, progress was made in many areas including commercial, social, cultural, art and design. In this period, parallel to the development of Turkish art, the development of fabric art was also positively affected. It has been taken care to manufacture fabric weaving, which is under state control, and has been paid attention to the preservation of originality in pattern designs. The palace fabrics, which experienced its most productive period in the 16th century, reached the highest level in terms of raw materials, patterns and design features. In the 17th century, the variety of motifs in fabric designs continued to increase. The magnificent fabrics reflecting the unique features of Turkish culture and art have gained an international reputation by crossed the borders of the empire and have took their place in various museums and art galleries. Today, many works on Ottoman textile art continue to be exhibited in museums abroad. One of these museums is the Calouste Gulbenkian Museum located in Lisbon, the capital of Portugal. The fabric samples that have reached to the present day reflect the rich cultural accumulation. The aim of this study is to examine and document the design features of the fabrics exhibited in the Calouste Gulbenkian Museum, such as motif, composition and color, and transfer them to future generations. Screening method was used in this study. While the universe of the research is composed of textile products in the Calouste Gulbenkian Museum, the sample of the research is 14 fabric samples belonging to the 16th and 17th century Ottoman period, which are exhibited in the exhibition section of the museum. Fieldwork was carried out in the Calouste Gulbenkian Museum. The motif, composition and color features of the fabrics examined within the scope of the research were explained in detail and drawn in digital environment.

Book review

Author(s): Vicky Manteli / Language(s): English Issue: 2/2021

Book review

Author(s): Vicky Manteli / Language(s): English Issue: 2/2017

Zakamarki (nie)widzialnych miast. Techniki obrazowania 3D na przecięciu archeologii, architektury i filmu

Author(s): Maciej Stasiowski / Language(s): English Issue: 113/2021

With the success of the BBC and PBS series such as "Italy’s Invisible Cities" (2017), "Ancient Invisible Cities" (2018), and "Pompeii: New Secrets Revealed" (2016), made in collaboration with ScanLab and employing LiDAR scanning and 3D imaging techniques extensively, popular television programmes grasped the aesthetics of spectral 3D mapping. Visualizing urban topographies previously hidden away from view, these shows put on display technological prowess as means to explore veritably ancient vistas. This article sets out to investigate cinematographic devices and strategies – oscillating between perspectives on built heritage championed by two figures central to the 19th-century discourse on architecture: Eugène Emmanuel Viollet-le-Duc and John Ruskin – manipulating the image in a rivalry for the fullest immersion into a traversable facsimile of past spatialities.

Okolice Zegadłowicza – od miejsca autobiograficznego do miejsca pamięci.

Author(s): Joanna Kulczyńska-Kruk / Language(s): Polish Issue: 23/2020

An extensive review of the monograph, the protagonist of which is Emil Zegadłowicz and the theme of his work. The Author thoroughly analyzes the individual parts of the publication and the articles published in them, paying attention to the high substantive level of the book, complemented by an excellent graphic design.

Bewegte Körper, starre Körper. Ver-körperungen auf dem Theater am Beispiel einiger Inszenierungen

Author(s): Carmen Elisabeth Puchianu / Language(s): German Issue: 21/2021

Theater ist undenkbar ohne Körper, ganz gleich, ob es sich um die lebendigen Körper der agierenden Schauspieler, um jene der Zuschauer im Theatersaal oder um leblose Dinge auf und außerhalb der Bühne handelt. Körper müssen im Theater immer miteinander interagieren, sie müssen in Bewegung und in Stillstand versetzt werden, sie müssen sich bewegen, sie müssen bewegt werden und sie müssen am Ende bewegen. Die folgenden Aufführungsanalysen veranschaulichen diesen theaterspezifischen Vorgang aus theaterwissenschaftlicher und -praktischer Perspektive anhand einiger Beispiele und sie fokussieren auf Körper in Behältnissen, auf Körper als regungslose Blöcke und als Marionetten, auf Text-Körper.

Book review

Author(s): Villy Tsakona / Language(s): English Issue: 1/2016

Burning effigies with Bakhtinian laughter

Author(s): Florian Göttke / Language(s): English Issue: 2/3/2015

The hanging or burning of effigies as an expression of dissent is a well-established genre of playful political protest. It is enacted in a variety of ways, accessing the conventions of various traditional rituals and social practices, and can function either as a progressive force demanding change, or repressively in seeking to enforce the existing order. Building on a close reading of media images of effigy protests from over the world, I relate the employed strategies of reversal and debasement and the grotesque aesthetics of these dummies to Bakhtin’s concept of the carnivalesque. I trace the different kinds of laughter that emerge during the effigy protests and explore the complicated relationship between laughter and violence inherent in these performed images of violent death.

Book review

Author(s): J. David González-Iglesias González,Antonio J. Martínez Pleguezuelos / Language(s): English Issue: 2/3/2015

Humorous Poetry in Late Medieval Scots and Latin (c. 1450-1550):

Author(s): Janet Hadley Williams / Language(s): English Issue: 1/2013

The humorous poetry of late medieval Scotland is diverse in genre, including among its forms the drinking song, farce, parody, burlesque, elrich fantasy, and satiric invective. Some examples, closely related to other popular entertainments of the time, lack technical subtlety, making use of stereotypes and crude plots. Others however are works of imaginative and technical skill, with jesting allusion to classical precedents. Although many forms, especially parody, draw upon Continental examples, the Scottish examples across all genres are also enriched and made distinctive by their great verbal and situational invention.

Translating Aristophanes’ humour for the Modern Greek stage:

Author(s): Vicky Manteli / Language(s): English Issue: 1/2013

The paper explores the reception of Aristophanes’ first extant comedy 'The Acharnians' (425 BC) in post-war Greek modern theatre by the two government-sponsored theatre institutions of Greece, namely the National Theatre of Greece (NTG) and the National Theatre of Northern Greece (NTNG). It discusses translation trends of Aristophanes’ text and focuses on the transference of source text humour in five playscripts, which were all performed from 1961 to 2010. Consequently, it will hopefully address issues of humour translation from a theatrical perspective. The paper applies linguistic tools and humour translation methodology in order to examine source text humour transference in a self-compiled corpus of target texts. I will focus on the paratragedy scene of the comic hero’s (Dikaiopolis’) visit to the house of Euripides (lines 394–488) in order to show that translators systematically mix verbal and referential humour in their texts, even when source text humour is clearly referential. I will also argue that translators extensively employ play with register, colloquialisms and anachronisms. When viewed historically, recent target texts tend to be ‘free adaptations’ of Aristophanes’ text rather than ‘translations’. Following this major conclusion the paper argues that Aristophanes’ comedy is culturally relocated by the two government-sponsored Greek stages. This strategy is probably necessitated by the function and the aims of the source text translation and its intended audiences, that is, theatrical performances in open theatres at popular summer festivals viewed by varied audiences of an equally varied assumed level of theatrical and classical sophistication.

Investigating facial features of four types of laughter in historic illustrations

Author(s): Willibald Ruch,Jennifer Hofmann,Tracey Platt / Language(s): English Issue: 1/2013

This study investigates the facial features of different laughter types in historic illustrations. Several conceptually different types of laughter were proposed in the historic literature, but only four types were represented in visual and verbal illustrations by four or more historic illustrators (joyful, intense, schadenfreude laughter, grinning). Study 1 examined the encoding of facial features in 18 illustrations by the Facial Action Coding System and study 2 investigated the decoding by laypeople. Illustrations of laughter involving a Duchenne Display (DD) were perceived as joyful irrespective of their initial classification. In intense laughter, the intensity of the zygomatic major muscle predicted the perception of intensity, but not the proposed changes in the upper face. In fact, "frowning" seemed to be antagonistic to the perception of joy. Schadenfreude and grinning did not have high recognition rates. Going along with the idea that schadenfreude is either a blend of a positive and negative emotion, or solely joy with attempts of masking it, it may entail additional features beyond the DD. Grinning was best represented by low intensity laughter, narrowed eye aperture and mouth prolonging actions. So far, only the DD could be reliably morphologically differentiated and recognized, supporting Darwin’s proposal of joyful laughter being the laughter prototype.