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Fotografija kao sredstvo vizuelne komunikacije

Fotografija kao sredstvo vizuelne komunikacije

Author(s): Danka Ninković Slavnić / Language(s): Serbian Issue: 1/2006

In modern world media images are everywhere: we look at them at billboards, newspapers, on TV, Internet... But how do we understand what we have seen? This article tried to explain photography - as a medium and a message by analyzing the relation between photography and presented reality. Barthes’ thoughts about photography are used here to show the creation of meaning in a photographic message. Although perception is usually very brief, message is not simple and literal one but it has two levels of meaning – denotative and connotative. It is a common expression that ‘pictures don’t lie’. Belief in trustworthiness of photographic record (photography as a witness) was supported by state use of photography (for ID, in police and juridical practice). In this text some answers on questions why do we trust photography and what are the changes in period of digitization are given. Light motif in this paper is the idea that the photographic expression is caused by reality, technical possibilities and culture. Its single-meaning and superficial look makes a picture powerful. Covered with the reflection of reality, there is a picture determined by culture. It’s no longer that only art historians, curators or media experts are dealing with pictures. They are part of everyday life and that is why there is a need for common people to understand their meanings, or, to use a term well known in western literature, to gain ‘visual literacy’.

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Zaproszenie do działania. Kulturoznawcza współpraca (z obrazami)

Zaproszenie do działania. Kulturoznawcza współpraca (z obrazami)

Author(s): Agata Skórzyńska / Language(s): Polish Issue: 3/2016

Essay

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Dionizos wyzwolony. Ingmar Bergman inscenizuje Bachantki Daniela Börtza

Dionizos wyzwolony. Ingmar Bergman inscenizuje Bachantki Daniela Börtza

Author(s): Jan Balbierz / Language(s): Polish Issue: 3/2016

The paper deals with the opera The Bacchae from 1991, a collaboration between Swedish composer Daniel Börtz and Ingmar Bergman. It was one of the three operas Bergman ever directed. The paper examines The Bacchae in a broad context of modernist reception of Greek tragedy and mythology – an especially important frame of reference is the Dionysian, post-Wagnerian opera – and against the backdrop of Bergman’s other film and theatre productions that deal with his highly ambiguous relation to religion. Bergman incorporated some major themes of European Modernism in his staging. The Bacchae can be read as a part of the “invented tradition” of the black, antilogocentric, violent, obscene antiquity, created around 1900 as an opposition to the bright Winckelmann – inspired version of the past. This dark vision of the archaic roots of human culture corresponds with other modernist topics such as the crisis of language and the attempt to create alternative, body- based modes of expression, the blurring of gender identities, the transgressive nature of art and religion and the conception of music as a representation of the “oceanic” unconscious.

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Na progu: Wojna zwykłych ludzi
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Na progu: Wojna zwykłych ludzi

Author(s): Jerzy Sosnowski / Language(s): Polish Issue: 668/2017

Jak my, którzy lata 1939-1945 znamy wyłącznie z przekazów rodzinnych, książek oraz filmów, wyobrażamy sobie wojnę? Sądzę, że w naturalnym odruchu obsadzamy siebie w roli czynnych uczestników walk: żołnierzy i żołnierek, członkiń i członków ruchu oporu, powstańców. Głośna książka, która próbowała przeciwstawić temu wszystkiemu los cywila, czyli Pamiętnik z powstania warszawskiego Mirona Białoszewskiego, do dziś chyba wywołuje kontrowersje z tego właśnie powodu (wiele osób nie pamięta, że w recenzjach atakowali ją jako „defetystyczną” entuzjaści Mieczysława Moczara). No więc wystawa gdańskiego Muzeum II Wojny Światowej w podobny, co Białoszewski, sposób, przeciwdziała naszej skłonności. To nie muzeum wojska, lecz wojny. Skupia się więc przede wszystkim na doświadczeniu... większości. To znaczy na walce z poczuciem bezradności, na destrukcji bezpiecznego świata, na klęsce głodu, śmierci od ostrzału czy bomb, na grozie eksterminacji.

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Uloga Varaždinskih baroknih večeri u promociji graditeljske i likovne baštine u Hrvatskoj i šire te njezinoj obnovi

Uloga Varaždinskih baroknih večeri u promociji graditeljske i likovne baštine u Hrvatskoj i šire te njezinoj obnovi

Author(s): Ana Kaniški / Language(s): Croatian Issue: 27/2016

The forty five years of continuous tradition of the Varaždin Baroque Evenings music and performance festival is an expression of the desire of its founders to support and promote music to the audiences in Varaždin, its immediate surroundings and the north of Croatia, as well as in Europe and the world. Musical performances and the accompanying programmes introduced the audience to the history of Varaždin, its musical, architectural and artistic heritage, as well as the beauty of its nature and tourist destinations. When the festival, with its beautiful performance spaces, countless associates and an excellent reputation, started growing out of its local framework and gaining international recognition, it started to contribute to the promotion of art not only in the north of Croatia, but also on a wider European level as well. This was achieved by using the urban locations and the magnificent architectural heritage of the region as concert venues. Even more importantly, the artwork on the posters, invitations and records published by the festival also featured the cultural heritage of the region, which was the subject of research of the many participants of conferences and symposiums that were part of the festival’s accompanying programme. Also part of the accompanying programme were the numerous exhibitions which, just like the performances that took place in the castles of Hrvatsko zagorje, testified to the organizers’ attitude towards the preservation and renovation of national heritage sites. More recently, in addition to promoting the arts in Croatia, the festival has also been promoting the heritage of partner countries. This dedication to the promotion of artistic heritage is an expression of the sensibilities of those who have been the moving force behind the Varaždin Baroque Evenings in the past forty five years.

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ІДЕАЛ У ПРОСТОРІ КУЛЬТУРИ: КАТЕГОРІАЛЬНИЙ СТАТУС ПОНЯТТЯ

Author(s): Olha Ovcharuk / Language(s): Ukrainian Issue: 1/2014

The article from the analysis of categorical position ideal categories, based on a synthesis of scientific expertise in the context of his understanding of the cultural sciences as philosophy, philosophy of culture, art theory, the expediency of incorporating the concept of "ideal" in the categories of cultural studies.It is proved that the formation of new areas of human knowledge, including cultural studies needs to develop as a specific scientific methodology that would be served as effective tools for understanding cultural phenomena and meanings, and design appropriate categorical apparatus to reflect the intrinsic properties of the culture on which carried systematization of cultural phenomena.In the cultural sciences is the problem of systematization of an integrated system of categorical apparatus. Traditionally, its formation was carried out by loan categories and concepts in philosophy, political science, sociology, psychology, linguistics and other disciplines, and adapt them to meet the needs of cultural studies, some categories do not have direct analogues in other sciences and in need of development and self-justification, others – with regard to research updates tools can be reinterpreted from the standpoint of modern ideological context of values and meanings of classic categories and concepts borrowed from other fields of humanities. Calling into question the need for the solution of similar problems caused by the whole process of cultural knowledge, which made specific methods of analysis of culture and establish relevant cognitive model. In an ideal situation, we need to rebels understanding of this cultural phenomenon in modern cultural dimensions paradigm, which may create the conditions taking into account the best achievements of domestic and foreign philosophical reflection of the past.Despite the fact that in the modern scientific literature accumulated a large amount of research devoted to understanding how the ideal of philosophical and aesthetic (G. Gadamer, E. Kasyre, G. Cohen, G. Shpet, J. Boryev, O. Voevodin, L. Levchuk, V. Lychkovah, N. Vernygora, V/ Panchenko, L. Stolovych, V. Khmara, O. Ukhov, E. Yakovlev et al.), ethical (M. Brovko, Y. Afanasyev, V. Bitayev, A. Onishchenko, S. Ulanova, A. Fed, I. Fed et al.), teacher (G. Vashchenko A. Wisniewski, W. Kremen, A. Konovets, N. Kalita, N. Opanasenko, V. Sukhomlinsky, A. Skrynska), sociopolitical (B. Barkov, G. Dashutin, O. Kornienko, V. Lectorskyy, V. Makarenko, N. Mudrahey, A. Novikov, etc.). categories as cultural concept of science is not considered ideal.Methodological approaches to the study of the concept of the ideal articles selected categorical way of under-standing culture, serving as a mechanism of cultural studies. The proposed approach is, in turn, provides an analysis of the concept of the ideal as a category of philosophy and culture category from the standpoint of historicism. In this regard, noted that the problem categories occupied an important place in most philosophical systems of the past. Yes, overarching categorization of individual things classically represented in the teaching of Aristotle on the category. In modern times, the doctrine of the categories developed by representatives of German classical philosophy. For Kant's categories serve as a universal form, in which there is understanding of all things, a priori forms of mind, a way of summarizing lessons learned. The writings of Hegel’s theory of categories were developed in three plans – purely logical, historically, in the context of the whole of culture.In keeping with the Marxist tradition of scientific research conducted categorical framework of philosophy in general and the ideal, particularly national scientist’s 60-80-ies of XX century.The methodology of Cultural important place belongs to the categories as the most fundamental and substantial notion of cultural patterns, events, processes and relations, the essential characteristics of the culture, based on which the systematization of cultural phenomena studied and developed the methodology of knowledge. Based on the relevance of contemporary cultural studies methodological search as an interdisciplinary field of knowledge, universal knowledge which is the subject of culture, the problem of the theoretical ideal status category within cultural studies involves an appeal to the scientific understanding of the experience of this category in the space of the cultural sciences as philosophy of culture and art history.It is shown that a fruitful approach to understanding the categories and their role in the study of cultures of different ages invited prominent Soviet scientist A. Gurevich. S. Rubinstein in the "Man and the World" offers his approach to the categories of culture that takes into account the dependence of the definition of input from people in the circle of life. VP Bran proposed concept classification values that are inextricably linked with the appropriate classification of ideals. In connection ideals, norms and values indicate B. Hubman. Describing the process of designing social systems of the human being, as regards the ideal of a certain type of project that embodies the idea of the perfect man and the perfect organization of human life, the modern scientist M. Kagan. Based on the analysis in the article argues that it is the nature of the ideal values, specifying vectors for further development of culture and its focus on the future and ensure its projective character heuristic categorical potential dimensions of cultural knowledge with the ability to attract and humanitarian methods of social analysis. As a cultural category may be the ideal for the detection and understanding of the value and meaning of the cultural dimension in which the accumulated social experience any human communities.Thus, the validity of the concept of separation as an ideal cultural concept due to the fact that it integrates ideological, normative values and projective aspect of the intrinsic properties of the culture, it fixed axiological, epistemologi-cal and aesthetic features of the development of culture and its modifications reflect the dynamics of cultural transformations in certain historical stages. This creates conditions for further conceptualization of the notion of cultural ideals within the theory and history of culture through bringing modern methodological strategies.

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Selfie – narcystyczne kreowanie wizerunku w Internecie czy nowoczesne pojęcie
estetyki w fotografii?

Selfie – narcystyczne kreowanie wizerunku w Internecie czy nowoczesne pojęcie estetyki w fotografii?

Author(s): Marta Demartin / Language(s): Polish Issue: 3/2017

The subject of this thesis is the issue of a selfie in a photographic and sociological-cultural concept. Authoress is searching to find the answer for two main questions: to what degree does the selfie follow the rules of good photography and the correct photographic portrait. What is the phenomenon of a selfie – a new trend in photography or a substitute to culture. The article deals with the following important matters, such as: creating an image, media culture, the Internet and aesthetics in photography. Theoretical contemplations are complemented by an analysis of fourteen selfies grouped into seven categories of public services (the article presents seven photos only), which leads to a critical conclusion that selfie can’t be considered a new trend in the framework of aesthetics in photography.

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Концепт традицій та інновацій у тренді сучасної культурно-мистецької освіти

Author(s): Olga Rafayilivna Kopiyevska / Language(s): Ukrainian Issue: 2/2012

The article examines traditions and innovations of the functioning educational field of Ukraine. It analyzes European educational trends, identifies determinants of development and quality ensuring of cultural and artistic education in Ukrainian higher schools.

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Фестивальні заходи на Донеччині 60–70-х років ХХ століття у контексті офіційної радянської ідеології

Author(s): Olena M. Ushchipivska / Language(s): Ukrainian Issue: 2/2011

Based on the documents contained in the State Archives in Donetsk region, and publications in periodicals in Article history played festivals in the Donbas in the 60 to 70 years of the twentieth century in its relations with the Soviet party ideology and principles of the new mythology.

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SANAT EĞİTİMİ TARİHİNE UZAK DOĞU’DAN BİR ÖRNEK: JAPON KANO OKULU

SANAT EĞİTİMİ TARİHİNE UZAK DOĞU’DAN BİR ÖRNEK: JAPON KANO OKULU

Author(s): Sinem Alpaslan Asıltürk / Language(s): Turkish Issue: 16/2017

The purpose of this research; systematic art education is taught in a school for a long time, introducing the Japanese Kano School, which should study the historical process of art education, on the basis of teaching and learning methods and artistic production methods. Thus, in the historical researches on the field, it is aimed to shed some light on not only the West but also the Far East culture. The study is a historical research carried out by literature search of qualitative research methods. This type of geography has been heavily influenced by electronic sources because their printed artifacts are quite insufficient. With this research, it is thought that the Japanese style will contribute to the unique style and reflection of its art.

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Korak do dokolice

Korak do dokolice

Author(s): Dina Puhovski / Language(s): Croatian Issue: 61.7/2001

Ožujak, 2000. O nedavnim koncertima Ramba Amadeusa u Hrvatskoj možda ne bi trebalo pisati. Ne zato što koncerti to ne zaslužuju jer, riječ je, barem što se tiče zagrebačkih nastupa, o odličnim koncertima, već zato što su ipak neke druge stvari zasjenile koncerte te zato da se, nakon što je prvi jugoslavenski izvođač odradio gostovanje u Hrvatskoj, cijela priča pospremi u ladicu s natpisom normalna stvar. [...]

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Pomiędzy Projektem A Strategią – Zarządzanie Wydarzeniami Muzycznymi W Instytucji Artystycznej

Pomiędzy Projektem A Strategią – Zarządzanie Wydarzeniami Muzycznymi W Instytucji Artystycznej

Author(s): Alicja Kędziora,Anna Kościelna / Language(s): Polish Issue: 3/2017

The Polish Sinfonia Iuventus Orchestra (POSI) is a unique artistic music institution with an educational profile. Its main goal is to prepare young musicians – graduates of master studies – to enter the labour market well-geared both artistically and organizationally. This paper describes the specific nature of working at POSI, highlights its main objectives and tasks, illustrates difficulties that arise in fulfilling the facility’s mission with the project-based work style (prevailing in such institutions), and portrays a profile of an artist/musician educated at POSI, based on the conducted quantitative and qualitative research. The purpose of this paper is to present a musical institution in which the organization of artistic work should be carried out at the highest possible level, being a source of great satisfaction to all external and internal stakeholders. Unfortunately, as it turns out, concentrating solely on projects and forgetting about the reasons why the institution was established in the first place can be a major threat. Constant care for the implementation of the adopted strategies with the focus only on individual projects and their goals is the challenge the musical institutions of culture are facing now. As indicated by Heraclitus of Ephesus, the only constant thing in life is change.

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Creativitatea şi omul artist

Creativitatea şi omul artist

Author(s): Otilia Huzum / Language(s): Romanian Issue: 2/2013

Each man appears in life with a dose of novelty, singularity, originality that makes him unique and defines his distinct individuality. His actions start from a creative impulse, formed by two fundamental components: rational intelligence and emotional intelligence. The creative man of the art, through thought and emotion, through imagination and intuition, through memory and spontaneous reaction builds new forms of communication, superimposing his interpretation and vision upon the world, remodelling and inventing through his affective motivations or his logical thoughts. The unique creation depends on "n" factors involved or participating in this process and the presence of the innate unconscious and the learned unconscious demonstrates the depth and exceptional qualities possessed by the artist

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Kakva muzika, takva država – Platon

Author(s): Olivera Ševo / Language(s): Serbian Issue: 3-4/2016

Počev od 2009. godine u Ivanjici se svake godine krajem avgusta održava Nušićijada. Reč je o kolaž festivalu satkanom od muzičkih koncerata, pozorišnih predstava, sportskih događaja, performanasa, izložbi i filmskih projekcija, začinjen ceremonijama i paradom kostimiranih građana kao svojim zaštitnim znakom. Ona predstavlja spoj kulture i zabave, tradicionalnog i modernog, mladosti i iskustva, individualnog i kolektivnog. Poznato je da je Branislav Nušić bio odličan besednik i da je napisao jedan od najboljih priručnika za retoriku na srpskom jeziku Retorika – nauku o besedništvu. Imajući to u vidu u okviru Nušićijade u Ivanjici počev od 2012. godine organizuje se Besedničko veče: „NUŠIĆ I REČ“. Ono se sastoji iz dva dela. U prvom delu ugledna ličnost iz javnog života po pozivu govori „Besedu o Nušiću“ na temu o Branislavu Nušiću kao besedniku i teoretičaru retorike. U drugom delu „U slavu reči“, nastupaju revijalno najuspešniji takmičari u besedništvu u Srbiji u tekućoj godini. U ovoj rubrici Hereticusa objavljujemo besede dr Slaviše Orlovića, redovnog profesora Fakulteta političkih nauka Univerziteta u Beogradu i studenata Olivere Ševo, Stefana Dragićevića i Bojane Petrović, koje su održane 27. avgusta 2016. u Ivanjici. Na kraju je beseda dr Đorđa Sibinovića notarima Srbije. [...]

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REPREZENTĂRI ICONOGRAFICE ALE MORȚII ȘI ECOURILE LOR ÎN IMAGINARUL CULTURII TRADIȚIONALE ROMÂNEȘTI

REPREZENTĂRI ICONOGRAFICE ALE MORȚII ȘI ECOURILE LOR ÎN IMAGINARUL CULTURII TRADIȚIONALE ROMÂNEȘTI

Author(s): Cosmina-Maria Berindei / Language(s): Romanian Issue: 1/2018

Iconographic Representations of Death and Their Echo in the Romanian Traditional Culture Imaginary. The present research focuses on a few elements that define the unrepresentable figure of Death, introduced in the Romanian cultural space by the traditional books and taken over by iconography; later, these elements had an echo in folklore adaptations or popular beliefs. We started from the conclusions of our research on the Romanian eschatological imaginary built on the idea of posthumous salvation. The travelling soul makes the posthumous journey – difficult and full of tests – successfully, almost without exception. It reaches a wealthy rest place, God’s Kingdom, due to the multiple salvation opportunities. We observed a few motifs present in the eschatological iconography, which are part of the images’ inventory of Death: the righteous’ death and the sinner’s death, the old man’s Aesopic dialogue with Death, Death’s arsenal, the deadly glass, the motif of Dance Macabre. Our research conclusion is that the iconography of Death was a privileged support of knowledge transmission toward the village world and the transmitted knowledge was interesting and available to anyone, without exception. That’s why, as an answer to a European cultural current, the representation of Death entered the iconography of the Romanian area from where it lent motifs to folklore (death’s glass, good death and bad death, scythe and the other instruments); at the same time, it left an equally strong belief in posthumous salvation or maybe it increased – through its unwanted and horrific presence – the more involved participation in the rituals of the deceased soul’s salvation.

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VIS Jukić u akademskoj godini 2017/18.

VIS Jukić u akademskoj godini 2017/18.

Author(s): Josip Ivić / Language(s): Croatian Issue: 1+2/2018

Proteklu akademsku godinu VIS Jukić započeo je nastupom u Bučićima 2. listopada 2017. gdje su framaši proslavljali primanja i obećanja, a istog dana Jukići su nastupili i u Gučoj Gori na slavljenju svete mise. Nekoliko dana nakon toga obilježen je najznačajniji dan naše visokoobrazovne ustanove, a to je spomendan blaženog Ivana Duns Skota, na kojem je bogoslovski bend odsvirao poznatu pjesmu „Uhapšen u svojoj magli‟.

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Graffiti Writing in Sofia: Identity Construction and Urban Space.

Graffiti Writing in Sofia: Identity Construction and Urban Space.

Author(s): Miglena Ivanova / Language(s): English Issue: 1/2019

The article is based on the analysis of fieldwork studies of the local graffiti and street art production in Sofia, Bulgaria. The author argues that at present the majority of the graffiti writers there tend to produce TTP graffiti following the global graffiti tradition and taking into consideration its conventions and heritage. As a result of that the meaning of the local TTPs and street art is quite clear and understandable to the foreign TTP writers, to the majority of the young people in the city as well as to a growing group of connoisseurs. The rest usually see in the same writings either strange art or nothing but scribbles, oddly deformed letters and unclear symbolic images. The article interprets the processes of mutual understanding or misunderstanding which contribute to the creation of new types of coherences and differentiation in the local urban milieu.

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Idamaine mustlane Euroopa lavadel.Konrad Mägi elulooromaan postkolonialismi liistudel
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Idamaine mustlane Euroopa lavadel.Konrad Mägi elulooromaan postkolonialismi liistudel

Author(s): Johannes Saar / Language(s): Estonian Issue: 01+02/2019

In this paper, I have implemented a critical discourse analysis in order to re-read a biofictional novel based on Konrad Magi’s life from the postcolonial research perspective. Two interrelated pairs of research questions were posed. In the first, the imagery of both the protagonist Konrad Magi and the first-person narrator (presumably Eero Epner, the author of the novel) are examined against the theoretical descriptions of a colonial subject. In the second, the chronotope of the novel is analysed and compared to the spatial sentiment prevalent in ‘peripheral receptive cultures’, which tend to depict themselves in the cognitive light emanating from a distant superior culture, or what is perceived as such. This paper adopts a postcolonial research perspective in an effort to analyse a brand new biography of Konrad Magi, indisputably the most acclaimed Estonian modernist artist of the interwar period. The author of the book, Eero Epner, is an art historian by education and theatre dramaturge by vocation, who in his earlier writings walked the line between art history and belles lettres. In his new ponderous book, he has done it again and on quite a monumental scale. The publication in question is rather straightforward in its textual composition. Belletrist fiction and solid historical evidence blend, as do the historical era of Konrad Magi and the first-person narrator in the book, apparently living in the twenty-first century. The artist’s life is thereby illuminated alternately both from a retrospective distance and as if through the eyes of the protagonist himself. Likewise, first-person historical meditations intermingle with recurrent excerpts from the protagonist’s private correspondence, yet both vantage points in this fickle vista are framed for the reader with unmistakably belletrist literary insignias. It is history converted to invention, evidence to clues. The book, a biofictional novel, if I may call it that, tells the story of a man who ‘suffered for us once upon a time’ and whose artistic legacy is still providing us ‘here on the brink of the civilised world’ with the holy sacrament of European culture. When interviewed, the author admitted that it was a challenge to narrate Konrad Magi’s life without any references to Christian martyrdom. Apparently, the biographical facts are stubbornly similar to the well-known plot usually applied when depicting the ‘cursed artist’, also referred to by Nathalie Heinich as the Van Gogh paradigm: ‘his work was made into an enigma, his life into a legend, his fate into a scandal, his paintings were put up for sale and exhibited, and the places he went, as well as the objects he touched, were made into relics.’1 Yet both in the book and in the interview, the author was reluctant to accept the suggestion of reading this cluster of narrative as a form of discursive selfcolonisation, in which cultural selfdescription is subjected to the tendency to look at oneself as if through the eyes of some higher imagined authority. This paper presents a plea against this reluctance and implements a critical discourse analysis in order to re-read the novel from the postcolonial research perspective and to question particular figures of speech in which Konrad Magi’s artistic legacy is legitimised. Two interrelated pairs of research questions are posed. In the first, the imagery of both the protagonist Konrad Magi and the first-person narrator (presumably Eero Epner) are examined against the theoretical descriptions of a colonial subject. In the second, the chronotope of the novel is analysed and compared to the spatial sentiment prevalent in peripheral receptive cultures that tend to depict themselves in the cognitive light emanating from a distant superior culture, or what is perceived as such.

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Temesvár 300

Temesvár 300

Author(s): Gabriella-Nóra Tar / Language(s): Hungarian Issue: V/2018

The present study is based on the non-autographed manuscript of Franz Xaver Girzik‘s drama Die Erstürmung des Prinzen Eugenio Thores oder Temeswars Befreyung (1813) to be found in the theatrical collection of the Széchényi National Library and tackles, after a comprehensive drama analysis, the text deletions from the prompt book from the year 1825. The author investigates the cultural environment in which the Czech actor, active in the Kingdom of Hungary, presented his play, why he chose this particular historical material and why the drama only came to the German stage in Buda for the first time in 1826. Girzik‘s Temeswar-Drama constitutes an exciting example for the Prince Eugen-cult in the 19th century.

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Nietzscheov nadčovjek kao posthumano zvjezdano dijete u 2001: Odiseja u svemiru
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Nietzscheov nadčovjek kao posthumano zvjezdano dijete u 2001: Odiseja u svemiru

Author(s): Jerold J. Abrams / Language(s): Croatian Issue: 1-2/2019

2001. Odiseja u svemiru Stanleya Kubricka (1968) možda je najveći znanstvenofantastični film svih vremena, a zacijelo je jedan od najfilozofičnijih. Kubrick je s pokretnim slikama - i praktički bez dijaloga - opisao čitav evolucijski ep u najvažnijem djelu Fried richa Nietzschea, Tako je govorio Zaratustra. Od crva do majmuna i čovjeka, Nietzsche prati kretanje života kao volju za moč i naposljetku kaže da još uvijek nije dovršen. Preostala nam je završna faza, nadčovjek, biće koje će na čovječanstvo gledati kao što čovječanstvo sada gleda majmune. Dobro je poznato da nam Nietzsche gotovo ništa nije rekao o izgledu tog nadčovjeka, osim da će se on ili ona pojaviti kao nova vrsta »djeteta«. Stoga su mnogi znanstvenici, naravno, odbacili ovo predviđanje kao suludu spekulaciju. Međutim, Kubrick je u Zaratustri prepoznao viziju istinskog proroka te je za njega tehnologija budućnosti kulminacija ove vizije.j U 2007-0/' on kao i Nietzsche opisuje predhumane i posthumane faze, započevši s čovjekolikim majmunima, preko čovječanstva, a na kraju vrhunac je jedan novi (izvan čovjeka) oblik, »zvjezdano dijete«, super inteligentan fetus veličine planeta. I nakon četrdesetak godina, ova upečatljiva slika zadivljuje publiku kao jedna od najuzvišenijih vizija u čitavoj kinematografiji. [...]

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