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With the aesthetical project in mind of composing a theatre à lawell-tempered clavichord (Clavecin bien tempéré du théâtre), Jean Tardieumanages to achieve it due to a couple of oxymoronic gestures, that isdiairesis and sunagôgè. If the former suggests an irreverent theatre (theresult of the re-writing of a series of transformational operations and ofdemystification of the collective imaginary) with a major focus on obsoleteparadigms (vaudeville, bourgeois drama, boulevard drama), the latter israther a matter of revisiting or transvaluating these hypotexts in the mannerof, say, Matéï Visniec’s theatre. Space, time, language and charactersundergo some distortion in order to highlight an outworn scenic chronotope,an old world, and to refer to theatre itself in a self-referential gesture. Whileshowing us to the lounge, certain rough sketches would make the spectatorconsider a dynamic interpretation performed in Diderot’s, Labiche’s or inFeydeau’s time, but this topos has nothing to do with the function mimingoffstage workings, since it merely provides a theatrical convention. Thespectator, receiver of a didascalic paratext with a metatextual scent,becomes an accomplice in this act of théâtromageiros.
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No images of the seal owners are known so far. In this regard it is very interesting to study the seals of prince of Tmurakan’ Oleg – Michael and the monk of the st. Tarasios monastery in Constantinople – Zosima. Their moulds were made in Constantinople at the end of 11th century. On the first seal the prince is presented in proskynesis before his holy protector, archangel Michael, as a warrior standing frontally. On the second seal the monk kneels before the holy patriarch Tarasios as adorant. Both compositions have many analogues in the Byzantine painting and applied art. But there is no explanation about the absence of this composition in Byzantine sphragistics.
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The proposed article deals with the semantics of the motive of the sunflower and its seeds in several sculptural representations, such as Seeds Market Woman in Minsk (Belarus), Sunflowers in the town of Havsa (Turkey), Seed shell in Bucharest (Romania), installation porcelain Sunflower seeds in the London gallery Tate Modern (Great Britain), made up of sunflowers seeds Portrait of Ai Weiwei (Shanghai, China) and rural culture (including culinary) conceptualization of sunflower in Bulgaria. In the course of the discussion, various accompanying contexts such as the the habit of gnawing seeds, Chinese posters and the features of linguistic identifications are taken into account.
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The second Bulgarian capital Veliki Preslav is related with some of the most significant moments in the Bulgarian national fate during 9th century AD. It is the starting point of the Conversion to Orthodoxy, the Enlightenment of the Slavs, the creation and distribution of the Cyrillic alphabet, the Golden Age of Tsar Simeon I, etc. Event after the end of the First and the Second Bulgarian states the regal aura of the second Bulgarian capital Preslav as a symbol of our glorious past did not fade away. Perhaps for this reason, in the midst of the 19th century its majesty has become a part of the artistic toolkit of the Bulgarian National Revival Period art. Since 1864, Preslav has found its place in the iconography scheme of SS. Cyril and Methodius, but an image of it can be seen also at an unusual place - as a part of the landscape between SS. Apostles Peter and Paul in an icon painted in 1885 by the iconographer Nikola Vassilev from Shumen. Vasilev is the Revival Period painter who most actively portrays the Old Bulgarian capital in his icons of the Holy Brothers, adding curious elements to the city’s landscapes, so much of this study is dedicated to the analysis of his works. Originally presented as a fantastic 9th century landscape the image of Preslav in the Bulgarian iconography gradually changes to an image of a modern 19th century town. The main contribution to this process is the work of Nikola Vasilev from Shumen who painted the old capital ten times between 1869 and 1896. In 1885, he represented it for the first time as a realistic 19th century urban landscape combined with historical elements that remind of the glorious past of Preslav ten centuries ago. We have to say that in 1885 Vasilev included the landscape of Preslav in two of his icons - one of SS. Cyril and Methodius and another one of SS. Apostles Peter and Paul – something that cannot be seen in the works of any other Bulgarian iconographer. However, his innovation did not end there, because in each of his subsequent icons of the Holy Brothers he elaborated his ideas about Preslav and interpreted its image according to the current historical circumstances. Thus, his last icon created in 1896 represents a realistic interpretation of a modern city with European outlook without ignoring of the elements of its historical background. It convinces the viewer that there is no difference between the grandeur of the old town from the 9th century and from the 19th century AD.
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One of the most popular photographic practices is that of street photography. It has an impressive history, representatives whose names have become legends and millions of fans around the world. This text is an attempt to create a summary of the photographic activities associated with the street. The aim is to systematize this observation throughout the past 180 years (the time of existence of the phenomenon of photography)with the help of diachronic analysis and to reach the first stage in its typology.
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In this article the art criticism theory of the influential German art historian Wilhelm Worringer (1881-1965) is considered. The main attention is focussed on the origin of the concepts of abstraction and empathy and on the methodology of their application. The anti-classical attitudes and rejection of Eurocenristic stereotypes in the analysis and assessment of pieces of art are concisely presented. The relatedness of Worringer’s theory to psychological aesthetics and to A. Riegl’s and K. Fiedler’s ideas is shown. Special attention is paid to the historical classification of art into primitive, classical and Eastern.
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The review of: Antanas Andrijauskas, Tradicinė Japonų estetika ir menas; Vilnius, Vaga, 2002, 670 p.
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This research approaches the figures that Patricia Piccinini defines as creatures on the subject of monstre phenomenon In western languages, the word “monstre” refers to multiple meanings. Therefore in this research words such as creature, freak, monstrosity included in phenomenon of monstre are studied with variable meanings that’ve been altered through history. In this concept, the research contains comprehensive period of time dates back to human menageries of the freaks in the circle of teratology, presented to science and voyeur glance of the community; to human freaks that was turned into exotic objects in the age of discovery; and to mythological archetype of monstre phenomenon formed in ancient Greece. After addressing these historical process, it strikes as three monsters included in the phenomenon of monstre. The first one is the freaks with congenital deformity, the second is the societies dehumanized based on racial differences and the third one is the fancy of “monster” fictionalized as some sort of human-animal mixture. It’s been discussed about how the monsters in this concept reflect on the creatures of Patricia Piccinini. With the selected examples of the artist, the concept of monstre takes place in terms of semiotics with a critical approach. These creatures has been presented to the attention as fictionalized legendary characters which were created in a mythical context belonging to the own era of the artist. Even though these creatures aren’t representatives of a freak in the field of teratology in real terms, referring from freaky bodies in fiction and constructing phase has been clearly noticed. Being referred in the context of monstre with their artistic aspects, these creatures correspond to fictitious monsters mixed with human-animal peculiarities. These creatures have been made in the concept of spokes model in behalf of animals, by extension they personify and stand for animals.
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Education and training activities for students consist of many sub-target elements. In this context, Visual Arts course is used for the purpose of “gaining certain target behaviors” to the students because of its advantages. With this study, it was aimed to determine the opinions of teachers about the effect of certain days and weeks activities on learning areas in the secondary school visual arts curriculum. Descriptive research method was used in the study. In this respect, a pre-prepared questionnaire was administered to the sample group of secondary school visual arts teachers and the data obtained from the survey were analyzed and the findings obtained were evaluated. According to the findings of the study; students are willing to participate in certain days and weeks activities however, they think that they usually participate in these activities for note purposes, it was also determined that the students stated that they could not discuss the aesthetic values of the works related to art in the activities. According to another result of the participants; that certain days and weeks activities in the visual arts course are not reinforcing the interpretation of the meaning and importance of the subject, and that certain days and weeks of studies are not encouraging to work by combining different materials. It was found that the teachers 'views on the students learning areas in the Middle School Visual Arts Program were positive.
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From the historical ages to the present day, people have separated from other living beings with the power of designing, and thanks to research and knowledge development, they have brought historical and cultural forms to the geographical structure they live. From the moment people come into the world, they present their inner worlds in different ways, reflecting their feelings and thoughts. They are not content with what they see in nature and in life, they load their feelings and thoughts into natural forms. All events in nature and life take place in the course of time with concepts. The features of the beings in nature and life based on appearance and concepts can be designed with square, triangular and circle forms. Because in composition design, nature is the most powerful resource with rich color and events in life. The most effective method of success in surface designs is to use the concepts of nature containing quantities. Professional artists form their language of personal expression by shaping the sources they use from nature in their own inner world, where nature loads different emotions and thoughts from its space. Feelings and events such as passion, love, separation, sadness, happiness, energy, activity, stasis, movement, seasons, views and effects from nature can be designed. But what they all have in common is that they start and end in time.Therefore, although all the concepts in nature and life are different with their methods, effects and appearances, the characteristics of a music playing with different instruments and rhythm, or meaning with the same characteristics starting and ending in time; words are like different discourses.
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Watcher/follower is an replaceable part of artwork. Beginning from its existence, art includes a factor that watches and follows itself. It has existed in the triangle of artist, artwork, and watcher/follower. This watcher/follower has changed just like the artist in art’s historical continuum. At the moment of encounter, interaction has evolved in time. The encounter moments in which it includes watcher/follower and certainly must include in watcher/follower, has converted art and follower interaction into relationality beginning from 1960’s. Watcher/follower has become subjects who experiencing the production process as going beyond watching and realizing the production process. Any more the artist can go into replacement with the audiences while fictionalizing the production and creating fictions that contains audiences too. In contemporary art practices watcher/follower can steal role of the artist’s from time to time and this forms the production process itself within artist's wish. In artworks as of watcher/follower to get out of the passive watching position, in the manner based on togetherness and relationality, a new aesthetic understanding appears of which its interaction is provided with the artwork’s all levels. It is an understanding that cannot be measured up within a manner of classical aesthetic acclaim of criteria and bench marks. In these productions the encounter moments of watcher/follower realizes with interactions full of surprises by being pulled of from its traditional contexts.
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The aim of this study is to reveal the cognitive structures of visual arts preservice teachers related to aesthetics. The study group consists of 110 visual arts preservice teachers who have taken the aesthetic course at Ağrı İbrahim Çeçen University. The data of the study, in which qualitative research approach was used, was obtained through word association test. The data were analyzed by content analysis, and conceptual categories were formed. In this context, preservice teachers participating in the study derived 758 words related to aesthetic concept. The words that were reported commonly by at least two participants were included in the study. Words that repeated only once, the irrelevant and meaningless words were not included in the study. Within the scope of the study, 709 of 758 words derived by the preservice teachers were used. This constitutes 93.5% of the total words. 91 different words included within 709 words were collected under 9 conceptual categories through content analysis. These are: 1. The Topics of Aesthetics, 2. Definitions of Aesthetics, 3. Aesthetics Experience, 4. The Source of Aesthetics, 5. Characteristics of Aesthetics, 6. Aesthetics Theories, 7. Aesthetics Attitudes/Behaviors, 8. Aesthetics Judgment, 9. The relationship of aesthetics with other sciences. Accordingly, the topics of aesthetics and definitions of aesthetic constitute a large part of the cognitive structures of preservice teachers regarding the concept of aesthetics. It was found that the preservice teachers do not have sufficient cognitive structure for important subjects such as aesthetic attitude and aesthetic judgment.
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This paper provides some information about the methods for scientific researches in the discipline of art history. A general framework has been drawn only based on the basic logic of research methods, since the formal characteristics of theses and research texts are mostly determined by the institutes and editorial boards. The term of research methods accounts for all the steps taken within a process beginning from deciding to make a research on a given topic to accomplishing the work. First of all, it should be known that this process is made up of some certain levels and requires great much of patience. The process generally consists of such stages as determining and limiting the topic, detecting a heading compatible with the topic, making a study schedule, scanning the related literature, field-survey and typing. All of the texts on art history are constructed through these stages. However, it should not be understood that this is the rule and this sequence not to be revised. For instance, scanning literature bears continuity from the very beginning to the accomplishment of the work. It is considered that the data to be provided with this study will guide the students of art history in their scientific studies. The methodological knowledge and study discipline that any person adopts in undergraduate level are the most basic occupational qualifications from which he/she benefits during his/her professional life.
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Weaving art is seen as one of the oldest branch of art that mankind has introduced during historical periods. Weaving art has played an important role on the formation of the culture in the regions where people has lived and dominated. From prehistorical periods, people have made use of various kinds of animal and plant sources as material of weaving. Plant fibers such as linen, hemp and cotton have been natural textile materials used in weaving. Such types of plant fibers are mostly used in hand weaving as well. Hand Weaving is an ancestor art that has continued for many centuries in various regions of Anatolia. One of the regions where hand weaving has settled starting from ancient times is the Province of Sinop and its surroundings. One of the two different regions where hand weaving has grown is the Districtof Ayancık and the other one being the District of Durağan. Especially in the District of Ayancık, textile products that reflects the culture of region, are produced in regional bench with use of linen fibers. That this region be convenient for linen planting is the leading factor for use of such fibers. Peskir (regional towel) is one of textile products produced from linen fiber. On the other hand, in the District of Durağan, mahrama (again a regional towel) made from cotton fiber is another traditional product of hand weaving in the region. In this work, properties of hand weaving art that has continued in the Districts of Ayancık and Durağan dating from old times, are investigated. Especially by making field research in related regions, materials and techniques used in weaving art as well as pattern features are presented. In the related research, it has been determined that regional peşkir weaving resembles mahrama. It has been detected that peşkir, that was produced for the use of hand and face towel in old times, has been woven by similar technique as for mahrama but peşkir has been woven thinner and longer compared to mahrama (mahrama has been woven denser) . In addition, it has been observed that traditional geometric patterns with colored yarns has been used along shorter edges.It has been further presented that while linen is involved in the main fabric of peşkir weaving while the cotton is used in main fabric of mahrama weaving.
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Cinema, which is an art and visual communication tool, provides an experience documenting the spaces and the change in space over the time. The common meeting point of cinema and architecture is the city. The usage of the city and architecture icon in the cinema are quite common. Sometimes the city itself was used as a film set, and sometimes the city was used as a film set by creating a similar place. The use of the city in cinema has sometimes played a role in promoting the city. In this application made with icons, the architectural symbol of that city also gives clues about where and when the film took place. The most prominent features of the city used in this description, also known as cinematic cities, are emphasized in the first scenes of the film. In addition to the known cities, the use of lesser known small settlements in the cinema has played an important role in the development of that city. In addition to adding value to the city in terms of the development of the economy of the city, cinema may have negative effects such as removing the settlement from the calmness of the city. In creating the image of the city, it is seen that cinema connects the audience emotionally by using architectural symbols and increases the recognition of that city. For cinema and architectural arts, movement has become a common concept. In cinema, the negative effect of life in big cities is reflected to the audience, but the comfort of the audience in small and historic towns is reflected. Symbolically London in UK, New York in USA, Paris in France and Istanbul in Turkey, cinema is the most widely used town. Domestic and foreign filmmakers often feature the historical sites of Istanbul in their films. In this study, the Doganbey Village, where the effects of cinema are examined, is a village that contains the buildings built by the Greeks and preserves its old texture and stone streets.
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As a means to provide carriers like bags, chests, boxes, and trunks with museum artifacts and various educational materials for institutions, organizations and individuals who do not have the chance to visit museums for various reasons such as distance, transportation difficulties, financial problems, lack of time, affliction and disability, museum loan boxes contribute to further accessibility of museums. They are among the important agents in the integration process of museums and people thanks to their function of museum publicity. Provided as part of the social service activities by art museums via loaning, museum loan boxes are practices designed in a way that people could discover by touching, trying, implementing and questioning when they would like to acquire more knowledge on art and culture. They are effectively used in developed countries during ”rehabilitation” and “education” periods of people who do not have the chance to engage in museums as they reside in industrial zones or they are in prisons, schools, daycare centers, nurseries, hospitals, various rehabilitation centers, and other places where transportation does not suffice. On the other hand, museum loan boxes are not practiced by art museums, and therefore, this research is thought to set an example for the art museums in Turkey and to contribute to the body of literature. The research aims to portray the application discussing in detail the content and the process of museum loan boxes with examples as part of art museums including “the Seattle Art Museum, the James A. Michener Art Museum, the Grace Museum, the Joslyn Art Museum and the Orlando Museum of Art” in the United States. This research has been conducted through descriptive survey model, and the data have been collected by document review technique.
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Expressionism is a movement that arose in the late twentieth century against positivism and naturalism, especially Impressionism, which was caused by the political instability and economic collapse of the period. Expressionism, represented mainly by artists such as Edward Munch, Ernst Ludwig Kirchner, James Ensor, was intended to reveal the emotions that existed in the inner world of the artist. The current, which stands on the artist's unique interpretation rather than the actual appearance of nature, has been heavily mirrored in colors and forms and, although at first times, it has been widely adopted and disseminated over time. Chaim Soutine, one of the expressionist artists; nature, object and figure issues in the modern style of his paintings have come to the fore, intense paint layers and strong expression of his dark inner world in the cold places that reveal figures, landscapes and meat carcasses and his own anger and melancholy reflecting works produced. The paintings of the famous artist, who lived between 1893 and 1943, with depressing narratives in their symbolic expressions, often leave tense emotional impressions in the audience.
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