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Muzułmanki z Instagrama – modowe trendy kulturowe  współczesnych kobiet z kręgu kultury arabsko-muzułmańskiej

Muzułmanki z Instagrama – modowe trendy kulturowe współczesnych kobiet z kręgu kultury arabsko-muzułmańskiej

Author(s): Magdalena El Ghamari / Language(s): Polish Issue: 2/2017

The contemporary situation of Muslim women is different in different parts of the Islamic world – it cannot be clearly defined as good or bad. It is not only the result of the division of societies into rich and poor, because in the rich countries of the Gulf, women enjoy less freedom than in many poor villages in Syria. The position of Muslim women in the world raises a lot of controversy as a result of cultural prejudices or ignorance. General trends in the fashion world do not omit men and women in Muslim countries. Like other young people all over the world they are directly exposed to changing trends, including those known as "Western wear". It can be said that the modern activities of Muslim women that fit their – interests give them a new type of professional experience and consequently lead to their economic independence. These activities and interests don’t conflict with traditional roles a Muslim woman plays in the family. Online shopping, for example, can be done without leaving the office or while keeping an eye on the house and children.

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Fotografija Ir Bendruomenė: Komunikacijos Link

Fotografija Ir Bendruomenė: Komunikacijos Link

Author(s): Tomas Pabedinskas / Language(s): Lithuanian Issue: 83/2015

The article analyzes community-related creative projects by Lithuanian authors, in which photography performs not the usual representative function but a communicative function. These projects are discussed using the theoretical insights of French philosopher Jean-Luc Nancy. Nancy’s insights deny the possibility of the immanent community uniting already existing subjects. Rather, in Nancy’s model. The community is established by communication and the “being-in-common” itself. This theoretical perspective reveals the significance of community-related projects and the use of photography in them for initiating (mediated) communication between different social groups and for creating preconditions for “being-in-common” and herewith – for social change. Further questions about the long-term effects on communities and society made by the socially engaged projects and the character of established social relations are also raised in the article, which can become the guidelines for further research.

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Polska eseistyka o malarstwie i fotografii od 2. połowy XX wieku w świetle rozważań nad esejem jako formą (pisarstwa, poznania, doświadczania…)

Polska eseistyka o malarstwie i fotografii od 2. połowy XX wieku w świetle rozważań nad esejem jako formą (pisarstwa, poznania, doświadczania…)

Author(s): Dobrawa Lisak-Gębala / Language(s): Polish Issue: 22/2014

Contemporary Polish essays on paintings and photographs (by, e.g. Z. Herbert, G. Herling-Grudziński, W. Karpiński, J. Pollakówna, E. Bieńkowska, A. Olędzka-Frybesowa, and W. Nowicki) are juxtaposed with the personal essay which was invented by Montaigne. A wide range of commentaries, including ideas about this genre which were expressed by Th. W. Adorno, G. Lukács, and G. Douglas Atkins, provide a theoretical background for the analysis. Selected Polish texts are presented as artistic constructions that recreate the process of experiencing pictures and the movement of thoughts of the essayistic “self” which uses many disguises (e.g. a traveler, amateur, scholar and critic). A particular painting or photo, which is often artfully described by means of ekphrasis, is treated by essayists as a starting point for analyzing many broader issues as well as for indirect self-presentation.

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O marginaliach (i nie tylko) Tadeusza Różewicza

O marginaliach (i nie tylko) Tadeusza Różewicza

Author(s): Janusz Degler / Language(s): Polish Issue: 21/2014

Tadeusz Różewicz moved from Gliwice to Wrocław in 1968. He lived near South Park for many years and he regularly met there with the author of this article. They talked about many different things and current events, and especially about Stanisław Ignacy Witkiewicz, i.e. more specifically about his service in the tsarist army, the battle that took place near the Stokhid in June 1916 in which he was severely wounded as well as about the causes of his suicide in September 1939. In 2003 Różewicz moved to a house on Promień Street, which is located in a remote area of the city. When he was moving to the new place he came across Witkacy’s 1919 treatise titled Nowe formy w malarstwie i wynikające stad nieporozumienia [New Forms in Painting and the Misunderstandings Arising Therefrom], which he had bought in October 1945 at a street stall in Warsaw. After a careful reading of the treatise (as evidenced by numerous underlines in the text), he decided to enroll in the Academy of Fine Arts in Cracow. The quotes that are presented in the article show that Różewicz paid particular attention to Witkacy’s main philosophical concepts (“metaphysical anxiety”) and statements about the end of metaphysics in the 20th century. Many notes and annotations in the margins, some of which are cited in the present article, are evidence of Witkacy’s critical reading of Leon Chwistek’s “Wielość rzeczywistości w sztuce” i inne szkice literackie [The Multiplicity of Realities in Art and Other Literary Sketches]. In 1975 Anna Micińska published, based on a manuscript that had been discovered, the sociocultural study Niemyte dusze [Unwashed Souls] which Witkacy wrote in 1936 but which he did not manage to publish. Różewicz regarded this study as one of Witkacy’s most interesting works because it showed a whole different side of the artist – a citizen who was concerned about the condition of Polish society and the Polish state.

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Próba rekonstrukcji pierwotnej kolorystyki papierowego podłoża portretów Witkacego

Próba rekonstrukcji pierwotnej kolorystyki papierowego podłoża portretów Witkacego

Author(s): Beata Zgodzińska / Language(s): Polish Issue: 14/2010

In the years 2005–2006 at a Restoration Workshop of Muzeum Pomorza Środkowego [Museum of Central Pomerania] in Słupsk, Witkacy’s portraits were framed in a new passe partout and glass pane. Based on the photographs taken then of fragments on which the colour of the paper ground was preserved, a computer reconstruction of the original colour of the paper was made. Comparison of the portraits with their probable original versions allows to risk a claim that nowadays we have to do with totally different pictures. The colour of the paper has changed considerably, e.g. from its initial violet it has turned into grey-beige. Equally big changes can be observed between the reverse and the face. When framing the portrait, restorers found an unfinished portrait on the reverse. The examples presented in this work show how important for the knowledge of the artist and his work is drawing attention to a single work of art, which is best to study directly and not through its reproductions or studies on it.

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„Muszę mieć maskę, wściekłą maskę”. Polemika z Marią Anną Potocką

„Muszę mieć maskę, wściekłą maskę”. Polemika z Marią Anną Potocką

Author(s): Stefan Okołowicz / Language(s): Polish Issue: 14/2010

Polemicising with Maria A. Potocka’s view, the author reflects on the problem of mask and facial expression in the life and work of S.I. Witkiewicz. They appear here as an expression of philosophy of man, a specific feature of the personality of the author of Szewcy [The Shoemakers] whose whole life, artistic and philosophical activity was marked by “facial expression”. The article also reminds the unusually important texts of Stefan Szuman, Witkacy’s friend, who points to the essence of Witkacy’s portraits. The last question discussed in this article is the problem of ascribing to Witkacy of the authorship of most of the photographs in which he is presented (since they are a documentation of his artistic creations) while actually the authors of these photographs are a dozen or so photographer friends of Witkacy.

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Montaj ve kolaj kavramlari bağlaminda 20.yüzyil’da sinema ve resim sanatinda gelişen yeni biçim arayişlari

Montaj ve kolaj kavramlari bağlaminda 20.yüzyil’da sinema ve resim sanatinda gelişen yeni biçim arayişlari

Author(s): Hüsnü Çağlar Doğru / Language(s): Turkish Issue: Special/2017

With the invention of photography in 1895 and the development of cinematography in 1939, especially the art of painting, have begun to change. Thus, painting escaped from the addictive idea of imitating nature (mimesis) and aimed to find a new way for itself through transferring this task to the photograph. Painters, has revised the methods of expression and production and have produced new ideas on the aesthetics of the painting. D. W. Griffith and George Melies have done many experiments on cinematography and played an important role in the development of the cinema. The cuts, Griffith made in his films to reinforce the narrative form, would have become the basis of the method, which would have been described as "montage" by Soviet cinematographers later on. During the same period, Pablo Picasso and Georges Braque were breaking new grounds in painting. Picasso and other representatives of Cubism have not worry about, describing objects as they see. Their purpose is not to copy the object but to rearrange it from scratch. The "collage" technique, which they linked the illustrated object to the different concepts via external items they placed on canvas,, creates a new sense of time and space in the painting. These two concepts, which are emerged in the same period chronologically, produce similar solutions for the method to be followed in the integration for the painting and the cinema. In this study, effects of the concepts of "montage" and "collage" on the art of the cinema and the painting of their time will be contextualised with both the similarities and the differences via literature and visual screening methods.

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Задният двор на социализма  в  работите  на  четирима български фотографи от 80-те години на XX век

Задният двор на социализма в работите на четирима български фотографи от 80-те години на XX век

Author(s): Antoan Bojinov / Language(s): Bulgarian Issue: 1/2017

During the 1980’s there are clearly outlined thematic restrictions on images and texts in the media, literature and the arts due to the censorship imposed by the socialist regime back in the 1950’s. In contrast to the shallow, propagandist style in the ideologized press, in art there is more freedom and even an opportunity for social commentary. One of the topics which remains a taboo, however, is that of communities marginalized for various reasons – ethnic, health-related (one of which are people with disabilities) – all of them characterized by the metaphor „the backyard of society.“ The works of four artists who focused their attention on this topic – Yordan (Yuri) Yordanov, Zheko Vassilev, Antoan Bozhinov and Rosen Kolarov – are the subject of study in this article.

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Mythos Prinz Eugen von Savoyen und seine Inszenierung

Mythos Prinz Eugen von Savoyen und seine Inszenierung

Author(s): Eleonora Ringler-Pascu / Language(s): German Issue: 5/2016

The review presents the complex personality of the Austrian Prince Eugene of Savoy present in the cultural collective memory as seen by the author of the book, Elisabeth Großegger.

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ФОТОГРАФИЈА И ПРОПАГАНДА

ФОТОГРАФИЈА И ПРОПАГАНДА

Author(s): Dragan Ćalović / Language(s): Serbian Issue: 122/2006

Review of: Milanka Todić (2005) "Fotografija i propaganda: 1945–1958"; Banja Luka: JU Književna zadruga, Pančevo: Helicon by: Dragan Ćalović

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Жінки-фотографи та їх внесок у розвиток фотомистецтва ХІХ – початку ХХ століть

Жінки-фотографи та їх внесок у розвиток фотомистецтва ХІХ – початку ХХ століть

Author(s): Elena Dzyshyashvili / Language(s): Ukrainian Issue: 29/2016

The article analyzes the role of women photographers at the stage of the origination and formation of the photo being a display mean for the reality of XIX century. Their artistic and technical contribution to the art of photography in the early stage of development are defined. The personal achievements of the first women who have achieved success in this field, are reviewed. The prerequisites for their success in the photos are analyzed.

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Три кінорежисерські майстерні професора Ю. Г. Іллєнка

Author(s): Oleksandr Viktorovich Bezruchko / Language(s): Ukrainian Issue: 1/2011

The article is devoted to research of pedagogical activity of the prominent Ukrainian film director, director of photography, teacher Yuri G. Illenko (09.05.1936, Cherkassy – 15.06.2010, v. Prokhorivka of Cherkassy reg.). The author reconstructs the process of Yuri G. Illenko’s formation as a pedagogue and an artist. The researcher has defined the factors that had influenced formation of Illenko’s pedagogical and creative views, the list of students of the first operator’s, the first film director-screen player’s and two film director’s workshops.

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Видовище екранних видів мистецтв

Author(s): Maryna Malych / Language(s): Ukrainian Issue: 1/2009

A spectacle is determined in the context of the visual types of arts : photo, cinema, TV, virtual reality. Descriptions of visual installations of appearance are given in the culture of XX century. Determine the specific of reflection of reality in the context of mass-media.

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HUNGARIAN ART AND MUSIC IN CANADA

Author(s): John Miska / Language(s): English Issue: 2/2005

Hungarian-Canadian artists and musicians have shown distinguished accomplishments in the various disciplines. In the arts they have been honored amongst the nation’s very best in painting, sculpting, engraving, printmaking, etching, as well as in industrial graphics, photography, drawing and, above all, coin design. My bibliography, Canadian Studies on Hungarians (2nd vol., 1995) includes 87 citations and biographical summaries pertaining to 23 artists practicing in Canada on a professional basis. The reference book entitled Professional Hungarian Artists Outside Hungary, by Ernõ Gyimesy Kásás and László Könnyû (1977), introduces information on 48 Hungarian-Canadian artists. My own selection was based on the availability of literature on each individual artist published in the English and French languages, including the monumental Arts in Canada: A Union List of Artists’ Files / Artists au Canada…(1988), the two-volume Art and Architecture in Canada (1991), and the seven-volume A Dictionary of Canadian Artists.

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Domaće i strano kao konstrukti imaginacije u svetu virtuelnog komuniciranja

Domaće i strano kao konstrukti imaginacije u svetu virtuelnog komuniciranja

Author(s): Dejana Nešić / Language(s): Croatian Issue: 11/2017

This paper deals with the relationship of domestic and foreign, which is structured by new social power of imagination in a deterritorialized, globally networked world. It is grounded in the theory of disjuncture by Arjun Appadurai which deals with media and migration as the main elements and which examines their united action in the work of imagination as a constitutive feature of the postmodern subjectivity. Mass migration and means of communication mark the post-electronic world in that way that they evoke imagination, since they contextualize and structure our notions, offering new sources of imagining oneself and imaginary worlds. With the relocation of the population, a large and complex repertoire of images and narratives offers elements for experiments of the layout to viewers around the world which are based on fictional scenarios of lives of people living in other places. The media are a phantasmal place of crossing domestic and foreign, and they help build narratives about the Other and the proto-narrative of possible lives through enhanced social power of imagination.

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Imaginacija i moderna audiovizualna forma

Imaginacija i moderna audiovizualna forma

Author(s): Ana Đurković,Sunčica Jergović / Language(s): Croatian Issue: 11/2017

Through three episodes Archetype of modern fairy tales, the mysterious world of fantasy and reality,tell as a serious story about archetypes, symbols, knowledge of good and evil.Rts editor: Natasa NeskovicWritten and directed by: Suncica JergovicEditing: Ana DjurkovicHow to illuminate concept of phantasy and affective factors in our imagination a priori something so imaginary, by their genetic provenance, such as a movie scene, or digital picture and sound.You can not always avoid the association to a valid phrase of arnhajm’s truth: mass age -massage: the medium is the message.In elementary and tersely definition of „the shot“ from Plaževsky film language there is term for „le cadre“, however these are selected bits of reality, immanent frame that contains the individual act of images divided of the continent’s view of reality, handling the specific code of semantic value, when its’s imaginative, of course, by aesthetic categories and evaluations.In this type of positive simulacrum, it can not be better segment for the current thinking about the limits of imagination and truth in contemporary media, and contemporary global environment, than the original audio-visual forms through whose prism we search throught a fairy tale in a same time myth and imagination as well as exploring its overall impact on the personality.Everything can be a fairy tale, even false, amoral platitudes politicized by political lobbies in a contemporary existing power sistems, but this is no fairy tale authenticity in it, or creative act, nor humanity and artificial and historical entity of a man that is always present in the ethical effort of a true artist.So, we are investigating the conditions of creative images, modalities of audiovisual media in film language,and it is the archetype of the fairy tale, which, with its psychodynamics still exists and which is removed when the modern man is tired of lies and simulations during his global existence. Effort of an artistic activity changes the boundaries of true and open portals between the different dimensions and shapes reality.The archetype of the modern fairy tale is perhaps the look on new forms of imagination, which can be present in a range of digital media world of modern man, and it can run it’s positive, imaginative, archetypal, creative psyche energy and preserve it from falsehood, consecrated the process of consumption of media content.Such an authentic experiment, we wanted to present in this form, hopefully clarify this concept and operation of the same in the collective unconscious of us all, and consumers - viewers as and creative team that has implemented this project.The archetype of the modern fairy tale performances media is sublime and modern, although archaic particles lifted our affective tone.

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Imaginacija – bitan činilac u radu televizijskog reportera

Imaginacija – bitan činilac u radu televizijskog reportera

Author(s): Mirko Jakovljević / Language(s): Croatian Issue: 11/2017

Work of the television reporter is quit different from the activity of other reporters.i.e mostly diferent how to „thinks” in the manner of picture. His feel for the topic engaged (or not) one reporter against the viewers to stay at the TV screen and to watch the dish or show. Imagination is just one aspect of visual thinking. It is concentrated on the creation and formation of public opinion. Imagination is the creation of human mind as in the case of televisions reporter. The paper analyzes how imagination can be positive and negative. We are looking for answer at the question where is the point of contact between the real and imaginary in the work of TV reporters and how the critical opinion of the author may have influence at the televisions contributions which is opposite of imagination and as such may affect at the operation of a television reporter? What may be of which depends on the artistic experience taking into account the ratio of the imaginary and the real? Where is in all „imaginary television horizons” the place of critical thinking which is the opposite of the imagination? We live in a time when the price of a little ability is to think properly because it is rooted opinion and it may be dangerous for everyone for those in power, for employers, for journalists. Therefore the aim is not that the imagination has to be devise at something by itself. The aim is that each person produces a certain grade of own experience to begin to think correctly.

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Djeca u društvenim medijima na primjeru Twitter i Facebook profila Beyonce i Kim Kardashian

Djeca u društvenim medijima na primjeru Twitter i Facebook profila Beyonce i Kim Kardashian

Author(s): Anamarija Bilan / Language(s): Croatian Issue: 11/2017

Publishing children’s photos in the media violates their privacy right, which is protected, guaranteed and regulated by numerous international and Croatian laws and regulations. Likewise, publishing photos of children on social network profiles, such as Facebook or Twitter, violates the right to privacy. In this paper it will be researched the extent to which children’s photos are being disclosed and their privacy is being undermined in case of two Facebook and two Twitter profiles - Beyonce Knowles and Kim Kardashian. It will also research whether children are used for business purposes, whether they are advertising some of their products or shows, and so on, with the photographs of children.The content analysis methodology analyzed the Facebook and Twitter profiles of two respondents in the period from January 1 to February 22, 2016, during which they published a total of 459 posts on profiles of both networks. The analysis found that the total number of “posts” shows a small number of photographs of children but also that those published by Kim Kardashian are often used to promote or promote some of the products or programs, which violates the privacy of children and increases the number “like”.

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Analiza umjetničke upotrebe medijskog diskursa na primjeru fotografskog ciklusa Women of Allah

Analiza umjetničke upotrebe medijskog diskursa na primjeru fotografskog ciklusa Women of Allah

Author(s): Dragan Ćalović / Language(s): Croatian Issue: 9/2016

In this text, author analyzes artistic use of media discourse in Shirin Neshat’s work Women of Allah. Analysis is conducted through examination of elements that are related with meaning production. The elements that are taken in consideration are chador, weapon and farsi text. Text shows that author, by applying specific artistic approach, destabilizes interpretation of photographs, by which she attract viewer to examine his/her own approaches to reading.

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Ivan Ladislav Galeta – istraživač medijskog prostora i medijskoga vremena

Ivan Ladislav Galeta – istraživač medijskog prostora i medijskoga vremena

Author(s): Sead Alić / Language(s): Croatian Issue: 7/2015

Ivan Ladislav Galeta was a multimedia artist who has expanded the art but also multimedia. His lectures were similar performances. He was a researcher connection between art-life-spirituality-passing. It can also be defined as a researcher of new media opportunities. He explored the paradoxical elements and manipulation elements in the medium of television. What is an artistic act, and what his attitude towards life? Some of his questions were included: the real reality, the movement, the issue of recycling art products, permaculture, bio-energy, human perception, holiness and / or signature works of art ... The paper wants to emphasize the point of artistic work of Ivan Ladislav Galeta that suggest a different future of the media, or at least a part of it.

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