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One of the most controversial topics of cinematography is undoubtedly the special relationship that forms between the audience and characters. Many studies and approaches have been undertaken to understand this special bond. Many different views were raised through the concepts of identification, assimilation, empathy and sympathy. Especially, the cognitive approaches of the 80’s argued that the concept of identification would not be enough to define this relationship and that different concepts would be better suited to find a broader understanding. However, it is quite difficult to even reach a consensus on this issue. It has been suggested that the audience identifies with the characters or approaches the characters with sympathy and sometimes establishes a relationship at the level of empathy. The aim of this study is to discuss the ambiguity of the conceptual boundaries that describe the relationships a viewer can build with the characters within a film. Because in a film, the relationship between the audience and the characters can occur in different planes, these planes may interfere with each other and even appear at the same time. This is due to the possibility that each film may have its own structure.
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Video Art; in the beginning of 1960’s, was born when a group of artists (Neo-Realists, Fluxus Participants) started to use “video-image” as tool of objection – opposition- rebellion against Television which is the hegemonic face and sound of power. It is possible to define video as the ‘Crossbreed Child’ of photography, cinema and television. In Video Art, the artist invites the viewer (experiencer) into the art process as a principal actor. Most of the time, the experiencer is aware that s/he is taking an active role in this process. Video Art is only completed when the experiencer is in the perpetrator position. In video art, the experiencer abandons the action of viewing (passive and dreamy voyeuristic experience) and becomes the creative partner with his/her thoughts, interpretation and body. Intellectual Cinema also takes an opposing stance against the mainstream (commercial) cinema which presents this magical-dreamy viewing experience and degrades its viewers into passive consumers. The movies which are identified in this Intellectual Cinema cluster also demand a similar pedagogy as in Video Art. The intention of these movies is to have the viewers actively think and question during (and after) the viewing experience.
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Interview with Ercan Kesal, Tayfun Pirselimoğlu, Ceylan Özgün Özçelik by Serdar Öztürk and Sarper Bütev
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Interview with Emre Yeksan, Belmin Söylemez, Ümit Ünal by Lale Kabadayı, Aydan Özsoy
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The Third Cinema Movement came to light in the late 1960s. In this period, socialist movements all around Europe and Latin America were gaining power. The oppositional forces were struggling against capitalism in every field possible and cinema was among these fields. As a part of the struggle, the activists were trying to find new forms in cinema to affect people and to make them act against capitalism. In this context, the Third Cinema Movement presents itself as a part of this struggle. The initiators of this movement (Fernando Ezequiel Solanas and Octavio Gettino) tried to posit cinema as a tool that would function in the ideological field.
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According to the conception of the intellectual climate of this work, the image can be defined as the projection of an abstract or concrete entity in the mind. In this context, the question of where a projected image and bu real life ‘imagery differs in mind in a written text constitutes the main axis of this study. Mihail Bakhtin says that the relation between literature and actual reality can be established with timespace. At this point, the time-space, the chronotopia of a work appears within the framework of the centripetal and centrifugal relations that images establish with each other. In this study, through the relationship networks revealed by the dialogue between images; In the transformation of the literary images into the imaginary images and their adaptation, the paths followed by the intersection process will be followed. This view brings about adaptation studies and discusses the theory and basic practices. In this study, a different and creative adaptation is possible through a film text adapted from a literary text, at which point the images will be discussed in the context of time-space, how they communicate with each other and how they are transformed into each other.
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Traditional “girth” (kolan) and “card or tablet weaving” (çarpana) have begun to lose their old purpose of usage and importance as well. Therefore, they need to be adapted and improved so as to meet current conditions of life and expectation of people. The most important element of handicrafts is that it has motifs that expresses emotions, wishes and thoughts without words. Motifs are the concrete object of a nation that has a certain meaning to the national culture. The aim of the study was to investigate girth and card weaving that have been vanishing, and find a way to apply motifs used in Kazakh’s weaving into girth and card weaving, and transform them into new design by combining with different motifs. Therefore, in this study, weaving motifs used in Kazakhs culture were examined and then tablet weaving patterns were prepared. Based on the weaving pattern, tablet weavings was combined with felt and tulle and a collection consisting of four pieces was prepared.
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The paper deals with the concept of masculinity in selected 13th-century Icelandic family sagas (Íslendingasögur). The author argues that the then ethos of aggressive masculinity, based on such values as honor, vengeance, subordination of women, and supremacy over other masculinities, oppressively infl uenced men who wanted to meet the exorbitant demands of medieval Icelandic society in order to avoid social stigmatization and accusations of eff eminacy. The author refers to the notion of “hegemonic masculinity”, a concept proposed by Raewyn Connell in her influential book Masculinities. In the paper, the model of hegemonic masculinity, characterized by the desire to sanction patriarchy and male domination, is confronted with other types of masculinities (subordinate and marginalized masculinities). Therefore, the following issues are also discussed: male initiation and code of honor, violence against women, emotions of the saga protagonists. The author concludes that unwritten orders and prohibitions that were supposed to protect men from dishonor and loss of social position contributed to a repressive system based on heroism and violence.
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Pera—a Genoese colony located on the north shore of the Golden Horn was seized by the Ottoman Turks in 1453, that is at the same time when Constantinople fell. There were numerous Latin churches there at that time, 18 of which we can list by names. Significant parts of two of them have survived, namely of the Dominican church of St. Paul and a Benedictine one. The Genoese almost immediately began to evacuate the elements of the decorations of the Latin churches. This took place usually at the initiative of the families of the original donors and the maintainers of Pera monastic churches. At least partially, it was the result of the papal bull issued by Nicholas V on 8 October 1453, in which the Pope called the clergy and laity, under penalty of excommunication, to save objects and liturgical books from Turkish hands. However, it pointed out that they should return to Pera if the Christians regain control over the colony. One example of such activity was the transfer of items from the church of Santa Chiara in Pera to St. Dominic’s church in Genoa that was carried out in early 1456 by Marietta di Pagana, who came directly from Pera. Another one took place at the same time when descendants of Tommaso Spinola, a wealthy Genoese merchant, donated liturgical vestments to the same church that Tommaso originally founded for the Dominicans in Pera. Dominicans themselves evacuated relics and the most valuable elements of the church equipment to Chios and later to Genoa, while a similar attempt made by the Benedictines failed. In unknown circumstances, however, a much larger number of items from the churches of Pera arrived on the Genoese island of Chios and from there, in early 1461, were transported to Genoa. On 23 January 1461, the Genoese Signoria authorized six officiales from the finest families to carry out a large-scale operation to transfer the items, including many relics and books, to the churches of the metropolis. Th e authorities of Genoa asked Pope Pius II for help in conducting this project. Consequently, more than 20 churches of Genoa received valuable fi ttings. What is particularly important, donations to individual churches needed to be documented in an appropriate detailed inventory, including the estimated value of individual objects. Unfortunately, these documents did not record any information about specific churches from which the items originally came. They enable us to reconstruct the course of this action, and partly characterize the works of art that were brought to Genoa. They thus provide us with partial knowledge about the character of the equipment of the Pera churches. A few of them are still in Genoa. It is worth noting that this transport was preceded by a number of other works of art from the East that reached the Ligurian metropolis even as early as in the 13th century. This action was also one of the major shipments of works of art into the Latin West, which occurred immediately after the fall of the capital of the Eastern Empire in 1453.
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In the 16th and 17th centuries, religious disputations became one of the means of conducting religious agitation. Texts providing an account of the course of such events confirm the application of the formal rules of school-type disputatio in public disputes using vernacular language. This undoubtedly resulted in the expansion of the audience at such spectacles beyond scholars conversant in Latin and influenced the change of the objectives of such debates, from a collective search for the truth to the defence of one’s own doctrine using all available methods, that is, dialectics and rhetoric. Unlike mediaeval scholastic disputations, public disputes no longer engaged an arbiter to settle them. The victory was decided by the very course of the dialectic confrontation. As a matter of fact. The lack of an authoritative arbiter encouraged each of the parties involved to assure the public that they had won and therefore that their religious statements were true. After such a confrontation, ostensibly impartial and true accounts of the course of the dispute were published in print. This paper presents an analysis of eight prints providing detailed descriptions of six religious debates conducted in Polish between 1581—1599. These texts reaffirm the conviction (inherited from the Middle Ages) that the truth may be learnt through disputatio. They explicitly express the belief in the readers’ ability to individually assess the correctness of the arguments formulated and the counterarguments, and consequently to understand who is right. At the same time, noticeable techniques employed to authenticate the accounts as impartial and true dispiteously undermine the objectivity of the accounts that profess to be true. The discursive means employed to direct the reader in his reception of the conveyed message include a declaration of an ethical urge to proclaim the truth about the course of the debate and its winners, and concealment of the true authorship of the text with the aim of avoiding a charge of partiality, assuring that the account follows the pattern of the so-called autentyki (or originals), that is notes written down during the dispute.
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Iranian films that form alternative approaches in the face of mainstream Hollywood films have started to be known in international platforms, especially by film festivals, since approximately 1990s. The existence of the East in the face of the West undoubtedly brings with it certain concepts such as “orientalism and otherness “ in the meaning of the East about representation. In this study, firstly, the history of Iranian cinema is mentioned in order to understand how the narrative of alternative Iranian films were based on. The general narrative structure in the Iranian films attracting the attention of the West in the 1990’s international film festivals are evaluated with examples of Where is My Friend’s House (1987), Children of Paradise (1997), Time of Drunken Horses (2000). The aim of the study is determining of transformation of narrative in the alternative Iranian films in approximately twenty years. At this point, award-winning film in international film festivals The Two-Legged Horse (2008), by Iranian director Samira Makhmalbaf is analyzed according to Edward Said’s views on orientialism, and evaluated in the context of “self-othering” of the East in front of the West.
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The aim of the paper is to present and analyze emblematic icons in the Polish-language works of Stefan Jaworski (1658—1722) with regard to the reception of rhetoric and emblematics in the Kiev-Mohyla Academy milieu. The considerations are divided into four parts. 1. Biography and studies. Jaworski received his education first in the trilingual Kiev-Mohyla Collegium (where he became familiar with the rhetorical system of writing verse), and then at universities in Lublin, Poznań and Vilnius. His learning was based on the Jesuit school model of Ratio studiorum. In these schools, Jaworski perfected his proficiency in Polish and Latin, broadening his knowledge in rhetoric, poetics, philosophy, theology, homiletics and emblematics. 2. The analysis of emblematic works and practices. In the years 1684—1691, four panegyric works were created by Jaworski. The first one (Hercules post Atlantem infracto virtutum robore honorarium pondus sustinens…, Czernihów c. 1684) contains no emblems and is only briefly described in the paper. Emblems and coats of arms appear in Jaworski’s subsequent panegyrics: Echo głosu wołającego na puszczy od serdecznej refleksyi pochodzące a przy solennym powinszowaniu … Janowi Mazepie hetmanowi wojsk… (The Echo of a Voice of One Calling in the Wilderness, Coming From Heartfelt Refl ection and Accompanied by Solemn Felicitation … to Ivan Mazepa…, Hetman), Kiev 1689; Arctos et antarctos caeli Rossiaci in gentilibus syderibus…, Kiev 1690; Pełnia nieubywającej chwały w herbowym księżycu z trzech primae magnitudinis luminarzow, Barłaama świętego pustelnika, Barłaama świętego męczennika, Barłaama świętego pieczarskiego… (The Plenitude of Inexhaustible Glory in the Heraldic Moon From Three Luminaries Primae Magnitudinis, Barlaam the Saint Hermit, Barlaam the Saint Martyr, Barlaam the Saint of Pechersk), Kiev 1691. In 2018, these works were made available by the website http://polishemblems.uw.edu.pl/index.php/pl/news/69-stefan-jaworski-i-emblematyka. In Jaworski’s panegyrics, two innovative models of emblematic practice can be distinguished: (a) creating new emblems through the projection of iconographic signs from the Mazepa coat of arms onto emblems from Saavedra’s collection in Echo głosu…, and through the transfiguration of Jasiński’s coat of arms in Arctos et antarctos…; (b) the construction of emblematic combinations out of motifs from Western European emblem books (Pietrosancta) in the panegyric Pełnia nieubywającej chwały… 3. Emblematic practice versus the theory of the emblem. This part is devoted to the question of how Jaworski’s emblematic practice can be understood in relation to late-Baroque emblematic theory. Although terms such as emblema, hieroglyphicum and symbolum can be found in Jaworski’s rhetoric Риторическая рука, they lack appropriate definition. They are named interchangeably in the part of inventio, and used as visual tropes in speech or verse writing as well as devices of the art of memory (ars memorativa). After an analysis of his emblematic practice, one can conclude that Jaworski—like Pontanus—preferred a tripartite construction of his pictorial-verbal combinations (emblema triplex: inscriptio, pictura, subscriptio). However, he would introduce not one but several inscriptions to his emblems (see Echo głosu…) and extend the subscription to epic proportions in all of his panegyrics. An overview of the definition of the emblem in Ukrainian rhetoric books confirms that Jaworski relied on a definition by the Jesuit Jacob Masen (Speculum imaginum veritatis occultae), for whom emblema, symbolum, hieroglyphicum et aenigma were subordinate to the term imagines figuratae. 4. Concluding remarks. Jaworski’s last two (Latin) texts: the elegy of the library, and the epigram in his last will (1721) can be treated as a summary of his emblematic thought and his explanation of intradiegetic signs.
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Johann Mochinger (1603—1652), professor of rhetoric at the Academic Gymnasium in Gdańsk (1630—1652), was one of the most interesting teachers and theorists of rhetoric in the Polish-Lithuanian Commonwealth in the fi rst half of the seventeenth century. While during the Thirty Years’ War the Protestant teaching of rhetoric was often involved in religious disputations and controversies, Mochinger, though he was at the same time a preacher at the Lutheran Church of St. Catherine, plainly quoted many Jesuit treatises appreciating them as valuable sources of rhetoric theory both in his printed treatise, Floridorum e dissertationibus rhetoricis super Cicerone sylva (Gdańsk 1640) and Orator atque rhetorista (Gdańsk 1641), and in his manuscript lectures. The aim of the paper is to present three chapters of Orator atque rhetorista by the Mochinger, the most important of his rhetoric works, in the Latin original and my Polish translation. All these chapters, dedicated to the terms related to orator (public speaker), rhetor (theorist/teacher of rhetoric) and rhetorista (advanced student and critic of the art of eloquence), well exemplify Mochinger’s sources: Cicero’s De oratore, Noctes Atticae by Aulus Gellius, Dialogus de oratoribus by Tacitus, Plutarch’s De garrulitate and Vitae decem oratorum attributed to him, as well as commentaries by Petrus Mosellanus, the oration Ad studiosos eloquentiae in Academia Wittebergensi by the Lutheran Adam Theodor Siber, and Theatrum veterum rhetorum by the Jesuit Louis de Cressolles, De eloquentia sacra et humana by another Jesuit, Nicolas Caussin, and Prolusiones academicae by Famiano Strada. However, the new meaning of the word rhetorista and the broad application of it in his work are Mochinger’s original invention. Not only did he devote a significant part of his treatise to define the term and to describe the duties of a rhetorista, but he also willingly used it in his later works, e.g. in Eloquentiae cupidissimos rhetoristas ad acroases oratorias frequenter iterum obeundas, quae (quod optimum maximum Numen iubeat!) auspicato rursus inchoabuntur, posteaquam quidem, solito in Acroaterio Minori Lycei nostri, die Martii I. hora sueta IXa, de librorum Tullianorum quam maxime utiliter evolvendorum ratione multo commodissima, quasi in antecessum … vocoque invitoque… (Gdańsk 1646).
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This paper presents the reception of the medieval didactic poem known as Pseudo-Ars Amatoria in the environment of Cracow University. The poem, attributed to Ovid, was most probably written in the 12th century. Three of the codices that include the text are stored in the Jagiellonian Library (BJ 2035, 2115, 2233). Due to the unquestionable fact that the manuscripts were used in the academia, the purpose of the study is to determine the role that Pseudo-Ars Amatoria had in the teaching process at Cracow University. Previous research was devoted to preparing the text’s critical edition and pointing out the relationship with amour courtois and the oeuvre of Ovid. Considering the assumptions of Jaussian reception theory, the paper reconstructs the spectrum of reading experiences based on manuscript testimonials that refer to the two above mentioned hypotexts. The main part of the study therefore consists of three chapters. The first one discusses the courtly love motifs present in the work. Based the concept of Peter Allen (The Art of Love: Amatory Fiction from Ovid to the ‘Romance of the Rose’), which emphasizes the primary literary dimension of amour courtois, the author stresses the didactic potential of medieval love textbooks. The second chapter is devoted to the medieval reception of Ovid’s Ars Amatoria, which is imitated in the anonymous work in question, and the intertextual connections noticeable at the level of structure and subject matter, due to which Pseudo-Ars Amatoria was recognized as the work of the ancient poet, and so endowed with auctoritas, characteristic of school texts. In the third chapter, the author supplements the observations concerning the literary context with an analysis of messages found in Cracow manuscripts. He discusses the contents of the codices and their origin in the context of curriculum reforms related to the growing interest of ars dictaminis, proving the usefulness of the medieval poem in the art of writing. He supports his conclusions with comments regarding other codices. The Boncompagno da Signa’s Rota Veneris treaty (BJ 2458) serves as a starting point for the approximation of the basic themes of ars dictaminis, which are then distinguished as the compositional axis of the central part of the poem. In order to document the didactic potential of Pseudo-Ars Amatoria, the author refers to information about the ‘lost witnesses’ of the transmission, Jan of Słupca’s codexdescribed by A. Brückner in Medieval Latin Poetry in Poland and the codex of Stanisław Ciołek's chancellery, presented by B. Ulanowski in Liber formularum ad ius Polonicum necnon canonicum spectantium in codice Regiomontano asservatarum, as well as unpublished marginal notes from BJ 2115. In summary, there are two primary teaching objectives resulting from reading the work in the Cracow University milieu, which correspond to P. Allen’s conclusions regarding the exact meaning of the textbooks of courtly love and the main directions of the reception of Ovid’s teaching poems. Pseudo-Ars Amatoria was considered a school text, adequate for transmitting the basics of Latin grammar, similar to its ancient model, and, due to the suitable subject matter and applied rhetorical figures, especially useful in explaining the rules of ars dictaminis.
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The aim of this study is to establish the place of Jan Kochanowski’s Lyricorum libellus (1580) in the history of Polish Renaissance NeoLatin ode presented against a wider European background. The development of this genre in this historicoliterary period in Poland has received only fragmentary reporting, e.g. in relation to Horatianism in literature or as a background for the vernacular ode. Yet, as Carol Maddison argues in her Apollo and the Nine, the Neo-Latin ode is, in a sense, a new genre revived and newly “devised” by Renaissance humanists. In her fundamental work, Maddison also presents the development of the ode and its variations in Italy and France. According to ancient patterns used by poets, Horatian odes (including Kochanowski’s odes) can be divided into the “pindaric” and the “anacreontic-sapphic.” To some extent this division coincides with the classification of odes as “political” or “private.” Similar categorisation criteria adopted by various researchers (Zofia Głombiowska, Jacqueline Glomski, Józef Budzyński) may result in individual odes being assigned to several different categories. The first part of the paper, therefore, emphasises the identity of the NeoLatin ode and its status as a new genre strongly related to Renaissance Humanism. In the second part, the author attempts to assign particular poems from Lyricorum libellus to patterns indicated by Maddison, and deals with previous attempts at classification based on differentiating between political and private odes. She also underlines that Kochanowski frequently imitated both pindaric and anacreontic patterns through Horace. In the third part, the author analyses the strophic organisation of individual odes and their metre as well as their logicalrhetorical structure. The odes are here classified with regard to these criteria and interpreted in accordance with their historical context. The author pays close attention to the genre’s borderline between ode and hymn, stylistic “nobilitation” of lyrical poems and the outright Horationism of the collection. Lastly, she presents conclusions concerning the role of Lyricorum libellus in the development of the ode. Before Kochanowski, a significant role in the evolution of the genre was played by the socalled “university ode,” which was popular in Silesian and German poetic circles, as well as in odes by Paweł z Krosna. Kochanowski’s odes, however, bear little resemblance to this stage of the development of the genre in Poland. Imitating Horace in the spirit of such poets as Michal Marullus or Giovanni Pontano, Kochanowski demonstrates a mature awareness of the NeoLatin ode, formed at the meetingpoint of ode and hymn and constituting an element of a cycle organised in accordance with a certain idea.
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It is seen that every profession has its own specific rules as well as narratives, jargon, beliefs and practices in Folklore, especially in the context of professional folklore. In other words, the relationship between the individual and the profession is not only material but also spiritual. Mining is a profession where employees experience anxiety and fear intensively due to it is a profession under the ground. Being under meters of the ground damages the individual's sense of trust. The underground is not a place of human in the collective subconscious. It is believed that mine which does not belong to human, has an “owner”. This means that a human being with a Earth's presence enters the dominance with full of danger of a supernatural being. This weird and dangerous space made human has to believe in beliefs and to practice (rituals), especially taboo and avoidance.
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Hunting, which has existed since the first periods of human history, has been carried out with different purposes and methods from the past to the present. Like nutrition, hobby, show of strength, preparation for war and protection, hunting is a field of interest which varies from society to society and according to time conditions with different purposes and their specific methods. It is learned from different sources such as historical texts, miniatures and inscriptions in which hunting has a very important place for Turks. One of the places where hunting is actively done in different regions of Turkey is Manisa. This article is based on the information obtained as a result of field study and literature review conducted between 10.01.2018-20.04.2019 on the hunting tradition in Manisa (excluding fish and its derivatives). In the introduction of the article, general information about hunting is given from the written sources.
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In many cultures from the most archaic to modern society, the concept of time has always been attributed to power and holiness in different ways. In other words, as it had the power to destroy everything except itself, it was also the concept of time which enabled everything to exist. It is understood that in the earliest periods, where God thought was not developed, time took over the task of God. In fact, even today, the public is responsible for everything in the world "cyclic time" as the symbol of the "felek" is. Therefore, the conception of nature-like time of cyclical time has always led to the emergence of folk beliefs acting with the laws of nature.
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Tales, as part of the oral narrative tradition, are the oldest products that have reached the present day as a cultural heritage. The basic expectation of people on the tale type is based on extraordinary events. One of the most interesting ones of these extraordinary events seen in tales is that any tale heroes are transformed into other beings by shifting their shapes for various reasons. This transformation takes place sometimes with and sometimes without the will of the hero. In this type, shapeshifting is indeed used to rescue the hero who is in trouble and with reward and punishment functions, and it is seen that the shapeshifting is reversed except for punishment when these functions are completed.
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