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The article proposes a philosophic-aesthetic schematization of the correlation between the notions of “the aesthetic in experience” and “aesthetic experience”; this serves as a starting point for the conceptual differentiation of the aesthetic in emotions, and hence, of the types of aestheticization of emotions in art: those of the creators, of the performers and of the recipients of art.
More...Нормативност на зрението и духовност на възприятието
This text researches Riegl’s and Dvořák’s concepts of artistic will and spirit of art as theoretical foundations for structural transformation in the history of art. The focus is on the common points as well as the differences; the article develops the thesis that, while Riegl still adheres to strict normativity in the theory of art, Dvořák manages to adapt his theory to the on-going processes in modern art, and particularly to expressionism.
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The article considers how the non-Еuclidian features make sense of the visual space and daily perceptions. The profiles we face in daily experience and art are explained in terms of a visual illusion which origins from the form of visual space. When a profile is not responding to a unified spatial syntax it turns out to be an anomalous phenomenon. In fact, art and philosophy share the same area revealing unexpected profiles of the things.
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The study examines some aspects of the History of Plastic Arts by Nikolay Raynov and, more specifically, the concept of plasticity, which is of great importance for the 20th-century Bulgarian art. Raynov introduces it in a different sense from that of its later understanding. Important for Rainov’s theory of art is his attitude to the applied arts, and this issue needs a much more detailed consideration. The same applies to the ‘unconditional’, which is also present in many of Raynov’s articles on art. There is a need to trace these categories in the voluminous work of Nikolay Raynov and this article only marks issues that need to be developed in the future.
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The article analyzes the art of French ‘new realists’.
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Purpose of Article. The purpose of the article is to analyze the culture-creating aspects of the civilization development of the Ukrainian people. The methodology of the study is to use methods of analysis, synthesis, comparison, generalization, as well as integrative approach and cultural-historical modelling. Scientific novelty. The authors of the article, on the basis of the integrative approach, have first suggested the definition of civilization as a macrocultural socio-historical community that encompasses different subjects (countries, peoples, nations, states), which have common socio-normative principles of the transatlantic level, such ethical-religious systems, the fundamental foundations of mentality, fundamental ideals and basic values, stable special features of the economic, political and legal and socio-cultural organizations, expressed in the appropriate way of life. Conclusions. Now Ukraine is in the stage of transition to the post-industrial (informational) stage of civilization progress. At this stage, the development of Ukrainian art is characterized by rapid development of innovativeness, pluralism, considerable creativity, virtuality, displacement of traditional forms of culture, creation of essentially new kinds of art, connected with modern technologies and aimed at producing attractive standardized and unified production. In these circumstances, the role of art, as the most universal way of human communication, is greatly enhanced. Civilization represents the highest degree of self-organization and development of human society, culture-creating is a system-forming factor of its development. Culture-creating and the Civilizational development of the Ukrainian people takes place in line with the main tendencies of the evolution of European civilization.
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The purpose of the article is to identify relationships between different periods based on the functioning of various types of ancient arts and aesthetic senses that are defined by the laws of neuroesthetics. Methodology. The choice of research strategies in the study of the dynamics of changes in the socio-cultural structure determined the use of systematic and integrated approaches, as well as a comparative method of research. We also use the prognostic aspect of the study, which involves building new value models and symbols that reflect the mechanisms of cultural and artistic development of humankind. The use of these research methods contributed to obtaining their theoretical results. The scientific novelty of the research lies in the formulation and development of an actual topic, which in the scientific dimension has not received comprehensive and objective coverage and is being studied for the first time. The idea is justified, which is the understanding of the relationship of the laws of neuro art and ancient mythology to serve a more profound knowledge of the nature of aesthetic sensations. Conclusions. This type of creativity is characterized by the metaphors of language, as well as other arts that are related to the text. This form of creativity excites the imagination that in the most delicate strokes reflects a wide range of emotions, feelings, or events that brings pleasure at the time of perception of the subtleties of expression. Parallel rows of neuroesthetic laws and mythological Muses allow us to learn the relationship of the underlying mechanisms of aesthetic perception, which open up new meanings of human evolution. Such Parallels define the critical role of art in mastering its potential and identify the aesthetic experience as an essential factor of self-knowledge and human development.
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Review of: MARTIN ZAJIČEK, ANDREA KALINOVÁ, PETRA HLAVÁČKOVÁ (EDS.) ARCHITEKTÚRA STAROSTLIVOSTISLOVENSKÉ KÚPELE V DRUHEJPOLOVICI 20. STOROČIA, 2019, Bratislava: Archimera. 344 p. ISBN: 978-80-972341-5-7
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In the last thirty years, a vast literature has been compiled on the legacy of socialist architectural heritage and its evaluation after the fall of the regimes. The researchers of post-socialist urban transformation often select for their analysis clear cases like a whole town built or re-built under socialism, or focus on full-scale cultural and administration districts created on the site of earlier ones or placed near to the old, historic core as an alternative, representing a new era.1 Such examples of new socialist cities or new city centres have been described and analysed in the case of Hungary as well.2 However, Budapest, the Hungarian capitol, was spared radical interventions, at least in its city centre. Right after the war, the participants of an architectural competition intended, in the spirit of a new beginning, to remove all the buildings left standing after bombardment along the banks of the Danube and replace them with free-standing modern blocks. This plan was never realised, because of the lack of money.3 The few new buildings erected in the inner city between 1945 and 1960 – functioning mainly as offices – were built on infill plots, meaning that they were usually not visually striking but were surely expensive.4 A deliberate and programmatic development of the inner city started only after 1960 when the master plan of Budapest was finally accepted, in parallel with the political consolidation following the failed 1956 revolution.
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Review of: ŁUKASZ STANEK, ARCHITECTURE IN GLOBAL SOCIALISM EASTERN EUROPE, WEST AFRICA, AND THE MIDDLE EAST IN THE COLD WAR 2020, Princeton and Oxford: Princeton University Press, 368 p. ISBN 978-0691168708
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This paper presents a study concerning the status of film titles as short texts. First, the definitions of film titles and texts are presented, and comments are made. In the next step, the status of film titles as short texts is discussed regarding the textuality criteria whereby selected German-language titles of series are presented and commented on. The aim of this paper is to find out whether and to what extent the selected titles fulfil the criteria, and thus if they can be regarded as short texts.
More...The Different Representations of the US Military and Intelligence Agencies in Post-9/11 American War Films
The horrifying images of the terrorist attacks on New York’s World Trade Center on 11 September 2001, in which three thousand civilians were killed, have become some of the most famous images ever committed to film or television. In the decade following the attacks, a wealth of war films were released, including Redacted (Brian De Palma, 2007), The Hurt Locker (Kathryn Bigelow, 2009) and Zero Dark Thirty (Kathryn Bigelow, 2012) amongst many others. Many films from this period of US cinema addressed both the 9/11 attacks as well as the US military’s conflicts in various countries suspected of harboring terrorist groups. When analyzing the ways the military and intelligence agencies (such as the CIA) are represented in some US films from this period, it becomes clear that such representations changed over just a few years: Redacted showed the military to be polarized–a place for pacifists, rapists and murderers. The Hurt Locker later depicted successful soldiers as having a “gung ho” attitude, and the military as a permanent fixture in Iraq. Finally, Zero Dark Thirty included scenes of CIA torture, which is suggested as being necessary and justified. Surprisingly, however, the ways the military and intelligence agencies are represented in these films did not necessarily mirror the political change that was occurring.
More...Pagan Revival in Extreme Metal Music
Neopaganism, briefly defined as the attempt to reconstruct and reinterpret pre-Christian heritage, is not confined to purely religious movements. A romanticized view of ancestral religion particularly expressed through an extensive use of mythological elements adapted to a contemporary context now represents a fundamental part of certain scenes that utilize them to construct a primordialist view of the past. Pagan metal makes use of religion and mythology as a form of cultural capital to suggest cultural distinctiveness in order to create an alternative antimodern, conservative discourse to mainstream culture. Artists attempt to forge and empower a new identity shaped by language, music, style, behavior and values when they, for instance, dwell on old myths which they recontextualize according to their own agenda. Starting from an exploration of American and European pagan revivalist movements, this paper pinpoints the main characteristics of the relationship between Neopaganism and musical expression by evoking and commenting on textual and non-textual evidence in an attempt to offer a paradigm for understanding the intersections between spirituality and popular culture.
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This is a review article of Bob Dylan’s 1966/71 prose work Tarantula in the broader context of his ongoing socially and politically critical contributions to music, literature and visual culture.
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As every given present moment becomes past, each time span has its ownresults. The feeling of heritage, cultivated as early as childhood, develops in time, bypositive examples, as a closer connection to history comes with the realization of itsimportance.Two years after the Centenary of Romania’s Unification of 1918, recollection givesa better understanding of the need to continue the work of conservation of culture, ideasand materials, while introducing a reconsideration the past as a living resource.While informing the constant need for new things, the overabundant stream ofimages brings in the certainty formulated as ’nothing new under the sun’.( Eminescu1884). Both images and the Word, which one grows to understand progressively, stay asthe main communicatio in a stronger or less explicit manner. Writing focused onrecollection and reconsideration brings in inspiritng passages. Excerpts chosen in thispaper prove to act as agents in the preservation and conservation of cultural heritage, ofthe Christian Orthodox faith and love for one’s country and people and stand as Romanianideas and forms of artistic expression in sacred artThe idea of a small collection of artworks and images made by students in CulturalHeritage Studies at the specialized section of the Faculty of Orthodox Theology at theauthors’ home University proves this very need to preserve the heritage of 25 years ofexperiece in art education, which needs to be a collective, urgent effort of preservationand conservation.
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The article under studies deals with theoretical and practical discourse of the issue of cinema metaphor. It emphasizes that certain investigations of the issue are carried out in terms of theory, in the aspect of typology of cinema metaphors. The article also analyzes the ways of their creation and their impact on the recipient; in the cases of moving to the practical plane, particular attention is drawn to the analysis of either individual cinema metaphors or to the peculiarities of cinema metaphors of individual authors. The film “Sayat Nova” (“The Color of Pomegranates”) has been considered in the above aspect. The author of the article distinguishes a few detailed cinema metaphors that most clearly demonstrate the deep receptive potential of visual reading of this movie text. The key metaphorical codes in this case are wine, pomegranate, water, book, ladder, ritual, sheep, dream, vision, thread, lace, and poet. Particular emphasis has been laid on the fact that the he author's methods of creating cinema metaphors are polymorphic in their nature. Some of them contain a deeply conceptual, symbolic meaning, which is formed due to the context and can be expanded because of additional connotations arising during the perception of “cinema metaphors”. Others are formed as a result of a montage combination of two or more frames, through the use of purely cinematic means (for instance, shooting angle, close-up, sound, color) or involvement of viewer’s receptive experience in the course of perception.
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In late 2019, an altar column and table were entirely uncovered with a Greek inscription on it at the catholicon of the Monastery of Bachkovo while mounting the restored 17th-century ciborium. The first part of the inscription was copied from an authentic source, an antimension or a book/codex, while the second was added containing typical of the period errors revealing the literacy skills of the scribe. The inscription is published here for the first time, but has been known since the first half of the 20th century. The donor’s inscription on the Holy Table in Bachkovo, containing the name of Metropolitan Christophorus, logically raises the question about its connection with the other donor’s inscription, used to date the construction of the Church of the Most Holy Mother of God Petritsonitissa, above the west door to the narthex: were they inscribed by the same hand, were the murals at the naos and those at the narthex painted at the same time?
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The report is an attempt at examining the term “road” not according to its functional content, which includes passing through something from one point in time or space (cultural, geographic, etc.) to another, but according to the idea that brought it to life – the idea of movement, direction, coming near, and connecting. Conceived in this way, the road is embedded in the very essence of music. To describe this essence, the Pythagorean tradition has adopted the word “harmony” – a word that expresses not only some kind of connection, but also the process of connecting, not only the concordance, but also the way of concordance, not only the proportion, but alsothe movement of harmonization. It is generally accepted that the role of music in liturgical services is limited to doubling and enhancing the meaning of words by translating them into the language of tones. Starting from this position, the present exposition moves to the thesis that music has its own musical meaning and its own musical ability to guide man himself in the way of his own involvement in the liturgy – a thesis developed on the basis of two texts from the time of early Christianity.
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This paper has started from the fact that contextual analysis of song lyrics underlines that the meaning in lyrics is never completely clear, and its functional value and peculiarities are emphasized. This fact is based on insight into the relevant scientific and theoretical sources. The aim of this research was to establish the peculiarities and differences between sevdalinka and turbo-folk genres through a comparative analysis of sevdalinka lyrics and songs written in the spirit of sevdalinka, and turbo-folk songs lyrics. The research started from the assumption that the features of sevdalinka and turbo-folk music as musical genres are very different. The research methods used were the method of theoretical analysis and the method of content analysis, and the dataset consisted of 8 representative sevdalinka songs and songs based on the model of sevdalinka, and 8 turbo-folk songs, which were analyzed for conclusions. The results of the research showed how sevdalinka and turbo-folk songs promote different values. It was concluded that the positive values promoted by sevdalinka songs should be used to a greater extent for educational purposes.
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