Recenzija: Od Narodnega doma do Narodne galerije : ob 90-letnici Narodne galerije
The review of: Od Narodnega doma do Narodne galerije: ob 90-letnici Narodne galerije. Narodna galerija, Ljubljana 2009, 91 str., ilustrirano
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The review of: Od Narodnega doma do Narodne galerije: ob 90-letnici Narodne galerije. Narodna galerija, Ljubljana 2009, 91 str., ilustrirano
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The purpose of this paper is to compose an interdisciplinary questioning by going through the methodological studies at the field of translation criticism with reference to discussions about the invisibility of the. Cause to the question the basic problematic is the simple comparisons which are formed by ignoring the subjectivity of the nature of translation. At this paper, by using John Berger's The Ways of Seeing (2018), like reproducing a picture, how indeed every translation is the reproduction of the original will be handled. Also from the argument of that; uniqueness of the original work is not the reason of what it says as a unique but derives from being a unique and how it is evaluated, how the translator is evaluated at translation criticism will be defined. Today many people who make translation critiques are literature critics, translators or scholars of social sciences in the field of translation studies. Sometimes critiques formed with statistical comparisons, which reject the subjectivity of the translation nature, ignore the position of the translator. As Berger says; while the painter's way of seeing is reconstituted by the marks he makes on the canvas or paper, every image embodies a way of seeing, our perception or appreciation of an image depends also upon our own way of seeing (Berger: 21). Thus, our way of seeing is the most important point that forms a translation critique. At the end of this paper, at translation criticism, the possible contributions to the field of translation studies by questioning and interpreting how the information, which are continually moved in, against the original, which always holds its own place, is translated as in the reproduced paintings and the adventure of the translator will be described.
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In this article, it’s aimed to examine the effects of companies on art. Sub-objectives; how the effects of the companies in the interest and orientation to art in our country, how they affect the ways of thinking in the process of artistic creation, why companies create cultural capital, whether or not the culture of consumption can be steered by the art education, if could how this steering might be. The qualitative data collection technique and the semi-structured interview were used in the study. Four open-ended questions were directed to ten artists - academicians and the answers were evaluated via using the theme analysis method. According to the opinions of the participants; creating cultural capital by companies in the era of globalization is for gaining prestige, tax immunity, institutionalization, advertising and material profit. The huge majority of artists - academicians (9/10) consider it suitable - necessary to take advantage of tax immunity or reduction for the companies. In addition, the participants thought that consumption culture might be directed via art education. While the companies support the art - artist through their curators, they act selectively in line with their own preferences and try to direct the artist and the participants who do not approve such policy. The views of the participants vary in the context of how the companies influence the way that artists think in the process of artistic creation. While the relationship and support to be carried out without mandating the thinking styles of the artists is approved, the opinions of the companies should be coincided with the art needs of the society. According to the results of the responses, companies are expected to act with the responsibility of being open, transparent and accountable in democratic societies.
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Embroidery art has been an influential symbol for the function and place of woman in the community. Though being neglected through the pragmatism and creativity axis by man, sewing and embroidering has become a way of silent way of testimony for women from the sixteenth century. The concepts of high art and low art emerging through the differentiation of art from crafts have resulted in disclaiming of embroidery as art and expressing embroidery as woman’s occupation. Embroidery, which was left inside the social domain of femininity, has proved to go far beyond than pertaining aesthetics while fulfilling the needs or embellishing the house or commodity. Woman has used embroidery as a way expressing herself or as a way of a protest in many historical processes where she was imprisoned inside the house with many imposed restrictions in education and social life. Thus, this research aims to explain the situations where this tacit expression means have been used to explain the emotional wellbeing of women or to express the cruelties in her everyday life other than the aesthetic usage of embroidery that all of us happen to know.
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Clothing; Starting from the first period of history, it was shaped by the concern of protection of human from natural conditions and the effect of socio-cultural characteristics. In different regions in the world, raw materials, shapes, colors, similar or different dresses were worn. Aba; After passing through various stages of lamb or camel wool, it is a kind of jacket that is obtained by using the specific motifs. Aba fabric in Kahramanmaras, men’s clothing, half-sleeve, cardigan and waistcoat looks. It is divided into various types such as Syria (Aba of Humus ), Aba of Sirma, clay aba, Aba of Maraş, Aba of Çuha, Aba of Urfa. In the past, the people dressed according to their social status in Kahramanmaraş, the oblivion nowadays kept “Aba of Maraş” taken up fabric and decorative features are emphasized lean over the position in Turkey folklore.
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Neoliberalization that has swept across the world like a vast tidal wave since the early nineties affected the cultural production methods as well. Pioneered by western countries and spread through non-western countries as well Liberalization tendencies could only begin to take effect in Turkey by the demilitarization period after the military coup in September 1980. Formations of new art institutions particularly in İstanbul and the artists’ questioning of displaying spaces and status of an independent piece of art paved the way of art to pour into streets. The concept of relational aesthetics that was coined by French curator Bourriaud in the nineties stimulated the questionings about the audience’s passive state and led the growth of a new artistic approach focusing on relations between individuals in a world changing. This essay intends to examine artistic attempts in Istanbul to open out to the public space and the flux of these experiments in light of criticisms throughout the years, using various examples.
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The article deals with some considerations upon the iconographic, artistic and technical issues that have been identified in the early 18th century hagiographical icon of Saint Nicholas from Transylvania. A description with references to the actual situation of the icon pictures the framework in which not only this object, but also a group of other five other icons that it is part of, is now the focus of attention and conservation-restoration interventions, after they left the original site. After some regards concerning style, author, and technical aspects, as well as the present conservation state of the icon, it has been pointed out the necessity to study these artifacts more thoroughly and investigate them in a scientific way. In this respect, in order to offer a helping hand to the people in charge who started to decipher the inscriptions that give us important information about this icon and also at least another one from the group, the restorer had the role to professionally unveil the texts without any danger to the object. There are presented some intervention made with this aim, and the results that were achieved with some professional aid in the deciphering and translating the writings. Once this information came into light in a more detailed way, the need to identify some chemical features of the materials in the composition of the ensemble, but also some morphological and structural aspects of it became a priority, not only from the perspective of the restoration process had in view, but also for the better knowledge of other research horizons. Thus, the type of investigations that were made are presented, together with their results. The achieved data throws a new light not only upon the Transylvanian icons of the time, but also on future research in a comparative way.
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Self-portrait has always been a complex artistic genre since its appearance until gaining its autonomy, because it reflects the artist’s mental and artistic development level to a great extent. If in Ancient times, self-portrait was considered just a simple documentary evidence, later it became a real symbol of the painterʾs identity and also an essential way of expressing one’s deepest feelings which seemed to be forgotten, but they were actually stored in one’s subconscious level. The article highlights specific ways of self-representations both in universal and in Romanian medieval art, which mark the beginning of self-consciousness, from a psychological point of view, and the beginning of a three dimensional representation, from a technical point of view, which indicates the beginning of profane painting that is different from the Byzatine style characterized by specific representation canons.
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The present article aims at presenting the mysticism and beauty of Maghreb mirrored in the art and traditions of the Berbers, Kabylie and Tuareg people, who brought a generous contribution to the development and maintenance of their artistic and traditional values from the North African land.
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The present considerations on the human body tried to place the exploration of the topic in its radically cultural dimension, hence the references to the body being already addressed to the anthropomorphic, descriptive, symbolic sign completely emerged in artistic exercise. We outlined artistic findings from old times to contemporaneity wherever the motive of the human body was central in this selection; furthermore, the nude has made and still makes the subject of convergent discourses on its representation, intensity or weakening of its capacity for signifying. Land of inexhaustible negotiation between nature and culture, available to primitivism, always found again as more sophisticated, transformed by the demands imposed throughout history, ideals and illusions, the body imposes itself on cultural conscience as an irreducible challenge. This paper is consecrated to the nude and aims at overviewing a large series of investigations from European art on the topic. I believe that from more ancient times to contemporaneity, the human body proved to be an excellent landmark in the approach of any artist; moreover, this seduction will continue to exert itself on the upcoming artists, irrespective of the future’s artistic tendencies. The fact that, in time, the human figure has been an extremely important motive for the artistic laboratory determined me to choose this topic; in addition, throughout the article, I have attempted to prove the interest in the nude, recalling the most important tendencies and manifestation from old times to contemporaneity. In this approach, we started from the finding, which has actually marked many years of my creation, that the human body may show itself in a sacred and profane hypostasis; as a result, this study was structured to account for the two dimensions. Along the documentation and drafting, I realized that, in fact, the human body can only be sacred even in its nude hypostasis. The purpose of the present paper is far from exhausting the problematic of the human body; its aim is to draw attention to the importance of the topic. The concerns on this topic have taken various forms throughout art history. We brought into play the significance of the human body in Old Greeks quoting Thucydides who argued that the difference between Greeks and barbarians was marked in a civilising way since nudity had become the rule in the Olympic Games; I wrote on Christian art during the first centuries AD, then about the art of the Middle Ages which brought profound changes to the representation of the human body; nudity would almost disappear from the artistic themes and the concerns of the artists during the respective period and left to the depiction of Adam and Eve couple, as symbol of the original sin or the Judgement Day scene when resurrected humanity awaits its verdict in the divine trial of the divorce of good from evil. We accounted for the Renaissance which meant man’s spiritual rediscovery, it reintroduced nude representation in plastic arts as essential entity of the universe and not as element of sin. The Italian ideal also marked the thought of the Nordic artists who created original models of the nude. Masters such as Albrecht Dürer in Germany, Peter Paul Rubens in Flanders or Rembrandt van Rijn in Holland personally left an imprint on this field. Court art of the 17th century created a new nude model, of the frivolous woman, exponent of an equally daring and refined eroticism. Neoclassicism from the beginning of the 19th century preferred heroic nude, bearer of high moral virtues. The French Jean Louis David and Jean Auguste Dominique Ingres were the creators of the classical nude that idealized anatomical data to render perfect human prototypes. Towards the end of the century, another French artist, Edouard Manet, breached this consecrated model, imposing, in its compositions, nudes without any mythological connotation simply inspired from real life with anatomical effects and disproportions inherent to a live model. Considered by some to be bearer of profound expressive emotions and means to convey an exacerbated eroticism, by others, either approved or contested, the representation of the human body is an omnipresent motive in all its forms of visual expression for the modern and contemporary periods. Far from this image – fetish of image civilisation, nude in fine arts further remains the sensitive seeking of the human ego. In our analysis today, we may note that through its historical contributions and artistic elaborations, the human body becomes one of the most important syntheses of our artistic culture.
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Together with the depression of modernism, the end of its great narrations gave a start to the postmodern process. With this process, the problem of identity examined the current structures in areas of language, discourse and culture and tended to reconstruct them after 1970. Even though Battali used the notion of abject for the first time, it is Kristeva who discussed it in the Postmodern process, together with the identities. According to Kristeva, abject is the feeling that is felt during the period in which mother-child bodies separate from each other. This feeling is also felt during the period in which the body is separated from its own wastes. Kristeva has defined the notion of abject over biological relations. Defining the female body and its sexual wastes as abject compared to the separated male child and re-objectifying the outer body with the notion of beauty has been a subject discussed by the second-wave feminists and artists in a criticizing way. It is discussed that the female body becomes performative and gets ahead of being vital and the person is alienated from her body, together with the sexual wastes’ abject position that is obtained through separating the female body’s only outer surface from the inner surface. As the focus of the feminist body theory, the development of the “talking being” by Kristeva and preference of the artists to make abject art as a performance art is of importance in terms of facing the abject. In this study, the Carolee Scheemann’s performance called Interior Scroll will be examined and researched into as an example of seductiveness of female body as an abject art, in performance art.
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In today’s world, with the quick development of the technology and mass media’s becoming more widespread day by day, a monotonic lifestyle, in which the cultural effects decrease, is becoming more dominant in human life. Also in the fashion area, the social differences are disappearing and instead, clothing styles ,which can be seen all over the world, are supplanting them. Traditional weavings –with their production styles, techniques, materials, colors and the patterns- are among the cultural values that brings the past into the present. To protect these values which reflect our culture, to sustain them and to transfer them to the next generations will be an important source for shaping the future. In this study, it is aimed to contribute the revival of our cultural values by interpreting these regional weavings ,which fade into oblivion under the dominance of fashion, on the costume design in line with today’s trends. The features of ‘Kutnu Fabric’ ,which is weaved on the handlooms in the province of Gaziantep and its surroundings, has been searched, A costume has been designed using ‘Kutnu Fabric’ ; by doing so, it has been tried to indicate -in a symbolical and functional way that the use of cultural elements may provide authenticity to the designs.
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The aim of this research is to determine the metaphors used by the teacher candidates on artworks produced in the field of painting and to examine the metaphorical perceptions of the teacher candidates. This research was conducted with 159 teacher candidates studying at the departments of Turkish Language Education, Science Teacher Education, Elementary Mathematics Education, English Education, Pre-school Education, Psychological Counseling and Guidance, Music Education, Mental Disability Education, Class Education, Social Studies Education, Computer and Instructional Technology Education and Art Education at the Faculty of Education, Dokuz Eylul University. In the research, in order to reveal the metaphors that the candidates used related to the artworks, an open-ended interview form was prepared for the works by Van Gogh, Kandinsky, Klimt and Picasso. In the interview form, teacher candidates were required to complete the sentence that “This painting is like… ;because ... “ for four art works. Teacher candidates’ views regarding artworks have been analyzed through the content analysis technique. At the end of the research, it was seen that art teacher candidates created 141 and the other teacher candidates created 345 valid metaphors in total; teacher candidates’ perceptions of Kandinsky’s work are negative and abstract and their perceptions of Van Gogh and Klimt’s works are positive.
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This article proposes a synthetic analysis of the cultural management practices in Romanian theaters, as mentioned in interviews by managers of state or independent theaters. The focus is on main topics of interviews and on the managers’ acknowledged concerns: space management, management of human resources and “success” management. The managers’ discourse analysis points to important aspects of the cultural management practices in Romania and it supports a better understanding of the Romanian theater landscape.
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From mentions of dance in treatises as old as 2nd century to regional variations around 13th century to the 20th century - dance has travelled, traversed and evolved. When the agenda of Nationalism was in vogue during pre and post-independence periods, there was a necessity to produce something unique to the nation and make a point about its rich heritage. Dance was one effective medium that served as a cultural symbol. This very notion modified the course of dance, its form and structure. The ancient practices were modified and tailor-made to suit agendas of the time and popular choices. This paper attempts to understand this phenomenon of how the socio-political ideologies have affected the Indian classical dances. The focus would be on the political affiliations specific to the Kūcipūḍi form of dance.
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: Starting from the article by Leslie Forster Stevenson, professor at the Department of Philosophy and Anthropology at the University of St Andrews in the UK, entitled Twelve Conception of Imagination , which lists (without pretending to be exhaustive) twelve of the most used and influential conceptions on imagination, we have succeeded in identifying some of the most important characteristics of scenic talent. The actor or theatre pedagogue can thus use and work with the concept of talent, create creative strategies, develop different stratagems of practice and development, depending on the skills that will be trained.
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The following article treats the subject of a dance theatre performance, by giving an inside and an outside perspective of the creative process. It also attempts to define the concept of dance dramaturgy and to explain the dramaturg’s function in the rehearsal room. On a level of perception, the audience’s function is a very important one, because the spectator becomes a co-author of the performer’s message. Therefore, the relationship between the stage and hall is a communication on different levels.
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The aim of this article is to study the relationship between author and camera, the different aspects of this subtle relationship with technology. From the whole cinema history, many artists and film directors played different roles in front of the camera. Whether they interpret a scenario character, in case of fiction films, or use their body in search of cinematic effects, for video art, they choose to be in both parts of the camcorder at the same time. Why does this “video eye” sometimes turns towards the artist? Is it only meant to explore the outside world of the artist? Or is it a mirror which is sometimes inviting you to take a glance at yourself? The term used was first introduced by Gene Youngblood “The video eye” as it is a subtle metaphor for the main function of the camera. Why do so many artists use the camera with the purpose of showing themselves or their bodies into video experiments? Is it an expression of narcissism or is it a self-exploring tool? To find the answers for all these questions, the research looks into the playful role that the “video eye” has in experimental films and videos. This role was revealed by examining different kinds of esthetic results in comparison with the artist’s intention. For example, the body mirrored or reflected, seen in its choreography or as a performer in non-narrative films, are aspects which could draw a conclusion about the self-representation aesthetics.
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Digital technology research and artistic practice influence each other regarding user sensory experience. On the one hand, research on new technology brings a different dimension to performing and cinematic arts offering the user the possibility of exploring the past through enhanced senses. On the other, in the field of human-computer interaction, there is an increased interest in the aestheticization of experience, a special attention being given to performance and theatricality, considered to be the basis for new paradigms in design and operating systems. I refer to the cross-disciplinary encounters as being “experiential turns”, a series of innovations that could be the basis of new paradigms of design and operating systems, with applicability in both technology and creative industry. The paper will explore some art works that are representative for the experiential dimension of technologically mediated performance art.
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In this article, award-winning stage and film actor András Hatházi challenges, from the viewpoint of his prestigious career as an artist and pedagogue, the relationship between actor, role, reality, and fiction. Can the actor create reality through fiction? In order to answer this question, the author turns towards the way children are playing, finding therein both truth, and inspiration.
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