"Collaboration, at its Heart, isn't about Control". Interview with Sougwen Chung
Interview with Sougwen Chung by Bojana Radovanović
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Interview with Sougwen Chung by Bojana Radovanović
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Važno je odmah na početku istaći da ovde nije reč o političnosti u pozorištu u smislu bavljenja političkim temama: fokusiraćemo se na strukture stvaranja i aspekte umetničkog dela koje u sebi imanentno nose političnost. Ovu temu ćemo elaborirati na primerima iz predstava Andraša Urbana nastalim u pozorištu Deže Kostolanji u Subotici, koje se mogu okarakterisati kao postdramske. Postdramsko pozorište ne biva političko zbog onog o čemu govori nego, pre svega, zbog toga kako to čini i kakav je njegov uticaj na društvo u kome deluje. Treba imati u vidu i nedostatke pozorišta kao društvene institucije, kao mesta okupljanja i formiranja relevantnog mišljenja. U prostoru neprestanog protoka informacija u medijima, u prostoru slika i nadražaja, slabi moć sopstvenog prosuđivanja i čovek se sve više usredsređuje na veći broj informacija.
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This article is an attempt to understand a new tendency of postmodern art. It is called " New Realism", which differs entirely from classical realism.The artisctic experience of today shows that art puts a special emphasis on the things when things are presented only as they are. This open belief in the world has been born as the opposite of a simulation and a game. And it requires for a special intensity of reception.
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Purpose of Article. The purposes of the article are to determinate the contents and limits of the notions "Sacral art", "Ecclesiastical art", "Christian" art", to trace the reasons and causes of the changes in the domestic usage of those notions within 20th century in the Art’ history, as well as in the Artists’ practice. Methodology. On the background of his own professional experience and analysis of the special literature the author has prepared an essay on the border of Art History and Cultural Anthropology with applying of historical and historiographical approaches. Scientific Novelty. The provenance of the abovementioned relative but not synonymic notions is traced; their contents and limits are précised; adequacy of using in contemporary Ukrainian and possibility to translate on other languages are checked. Conclusions. The domestic phenomena of our days, known as a "sacral art", do not fully combine an artistic and ecclesiastical fetchers, as it usually coincided in the past. That is why in such a cases applying of a modern conventional notion "sacral art" is more appropriate, than of traditional for our country during 19th – beginning of 20th ct. term "ecclesiastical art". It especially concerns the decorative arrangement of the Church’ services, which is much more close to the art craft or art industry, than to the art itself.
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The beauty that has been tried to be addressed with such fields as mathematics, architecture, geometry has been among the subjects of philosophers since antiquity. Although the concept of beauty varies according to the periods, beauty is in fact related to the conception of the people. According to Aristotle, the values we can grasp will be beautiful, otherwise considered as non-aesthetic. Although 144 there is not a formula of the ideal beauty, the concept of beauty changes in an abstract and concrete way, according to the persons who monitoring. Throughout the ages, we can see that the Anatolian coasts have been governed by different civilizations and are a source of rich cultural composition. With its strategic and geopolitical importance, Çanakkale shores also witnessed a significant part of this process. Foreign powers always want to possess these lands and the beauty of the richness of these lands. The word "Hellespont" is one of the names used throughout the history of the Dardanelles. Hellespont is a local value for Çanakkale as geographical environment, cultural wealth and sense of meaning. A series of thematic works on using Hellespont as inspiration in designs will be addressed in this notice.
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Interview with Hanan Hadžajlić by Aida Hadžović
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Sztravinszkij. Tavaszi áldozat
The study analyses from the viewpoint of Gefühlsästhetik the ballet’s creation, premiere and reception. It is well known that the premiere, which took place exactly one hundred years ago, has been the greatest musical scandal of our times. The accentuated dynamics of the conflicts of feelings, which generated the scandal, lead to an almost traumatic shock experience during the creation, interpretation and reception of this work. Just like the Allegro Barbaro by Béla Bartók, among other notable works, the music of the Sacre du Printemps is strong and shocking. The study discovers the object of its aesthetical message in the general circular usage of shocking effects. The author explains that this shock experience includes an awakening. That is, he urges us to wake up to the reality of the self, and to discontinue merely staring at ourselves and our entourage. According to Stravinsky, we should change ourselves and the world which surrounds us in the name of our right to awareness. Maybe we should take up again the Sacre de Printemps’s opportunity in this awakening to the consciousness of reality.
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Art of the end of the XX – the beginning of the XXI centuries, art of postmodernism and post-postmodernism is characterized by a specific system of world perception. The content and form of the art work in contemporary art is deliberately ambiguous. It has led to the situation when the text of the modern work contains a large number of potential meanings. None of these meanings can be dominant. So the text in contemporary art represents only a field of possibilities. The actualisation of the interpretations of the text depends on the recipient (the interpreter).U. Eco, a famous Italian philosopher, writer and social activist was the first who paid his attention to the issue of "the open literary work". Nowadays there is an insufficient number of investigations in which the specificity of "open interpretation" of modern art works, including Ukrainian, is thoroughly analyzed. That’s the reason of this research relevance.In this research, it is proved that the "open interpretation" is based on "the projects of postmodernism."The analysis of scientific literature on the problem of interpretation gives the right to ascertain that the term "interpretation" is formed as a result of a long and complex process of the formation of logical methods that have evolved toward to a consistent increase of the degree of their complexity from a simple description, explanation and interpretation to the clear cut logical operation. However, the use of "clear cut logical operation" with regard to the works of art created during the period of postmodernism and post-postmodernism (or postculture) is not possible for objective reasons, because it's a culture of "rhizomes" , which is characterized by the non-linearity, the absence of structure, multiplicity and discontinuity.The nature of "open interpretation" is a brief description of the most representative projects of postmodernism such as "textual", "nomadologic" and "schizoanalytic".The "textual project" involves (or includes) deconstruction, intertextuality, "pastiche". In this project the text is reconstructed into a structure so that its restoration in the original form is impossible, not important, unnecessary, because the recipient is given an opportunity to "construct" and reconstruct the text according to his own understanding.In the "nomadologic project" postmodernism refuses to consider history as a regular linear process and stresses the random, credible, subjective character of the interpretation of historic events. Therefore, it appears natural for postmodernism to reject the principle of the universality of the historical development of the progress idea.The "schizoanalytic project" is based on the tradition of psychoanalysis. Postmodern art explores and creates a picture of the world that is not "tied" to the rigid models, which means that the work of art becomes "open". "Open" works of art as if invite the recipient to create a work together with its author. A "modern text" contains a large number of potential meaning, none of which can be dominant. In this situation there is a need for an "open interpretation" that allows to expand the limits of the interpreter.
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The problem of the genesis of an art museum as one of the institutionalized forms of modern museums is little research in domestic culturological discourse. The proposed paper aims to somehow fill this gap theoretical analysis of the museum as a social and cultural phenomenon, using as a base of source ancient literary reflection, in particular the work of historians, geographers and art of ancient Greece and Rome.Unlike domestic to foreign museology art museums have become quite the object of intense discussion in interdisciplinary discourse: philosophy, history, art, and cultural. Thus, over the past decade and a half there was a series of works (from articles to doctoral theses), the authors have devoted their research – completely or partially – that is what museums.By example is the article O. Sapanzha "Modern art Museum: In the Service of Humanity or man?", in which he emphasizes that art museum is a separate and independent form of museum culture phenomenon, while stressing the art museum and gallery type memorial Museum of art [1, 8]. On the genesis Art Museum, the O. Sapanzha even the Renaissance period considers "before museum gathering" that existed in the form of Antiquaries. To them it does and collection of the Medici in Florence, and the collection of Wittelsbach in Munich.This view of the process of institutionalization of art museum is somewhat contrary to the position of Western museologists. Italian scientist Raffaello Monti argues that the conversion art collection of the Florentine Medici dukes on municipal property is that the date on which we can talk about the emergence of an art museum, and suggests it is the first gallery Uffizi art museum in Europe. Therefore, the emergence of museums in the modern sense is in the first half of the eighteenth century [2, 28].T. Yurenyeva in a doctoral thesis on the museum as a social and cultural institution, pays attention to the question of the genesis of art museums. She believes the process of becoming not only an art museum, and the museum in general quite lengthy. "The genesis of the museum as a social and cultural institute – notes the author – starts on the Renaissance, when there is formation of its structural elements that are related to collecting, studying, exhibiting things as bearers of social and cultural meanings and functionally oriented preserve and updating cultural values. "The final stage of this process, in its opinion, is in the XVIII-XIX centuries [3, 34-36].Studied in detail the process of becoming an art museum T. Kalugina. Scientist pushes the beginning of this process to antiquity, however, in our opinion, rightly warns against in order to begin the process of counting of such institutions as Museyon, which usually normally written in various dictionaries and encyclopedias. She rightly argues that art museums have a short history but a long history ... Usually researchers, without going into the subtleties of philological called Greek Museyon ... first museum however they differed significantly from modern museums. However, analysis of semantics words are "Museyon" (a place dedicated to the Muses, a temple of the Muses) indicates, according to the researcher that these entities prior to the actual museum, but by no means can be considered the first museum in our sense [4, 41]. Thus, according to T. Kalugina, a social institution, which in the Renaissance called "museum" or "Museyon" could hardly be considered the beginning of what is embedded in the concept of "museum" us [4, 42].Sharing this view, however, we note that researchers leave aside another spatial form of the existence of ancient cultures in which architecture has become a "safe haven" for collection if not, the placement of works of art, and was the bearer of the spiritual culture of objectification in paintings – art stoya (gallery) ancient Greece.None of the authors do not deny the fact that if not a collection, the focus in a particular area of art – sculpture and painting – began in the days of ancient Greece. Along with the sacred or randomly-memorial places – temples and sculptures of athletes at Agora – artwork decorated stand – covered galleries, sometimes several tiers where philosophers met or walking, talking, vacation dwellers. These galleries, one side of which was a wall, and on the other floors supported by columns, often decorated with painting and sculpture.Information on the subject that interests us beginning with a common in the literature of ancient Greece genre ekfrazis – description of monuments of art. The earliest of these descriptions can be attributed to V century BC, because they already found the "father of history" – Herodotus. In the third century BC tradition continued, particularly Duris Samos, from whose works – "about the artist" and "On sculptors" – survived only three fragments. Polemon Ilionskiy (the end of the III century – first half of II century BC.). Left a first catalog of the so-called Athenian Pinakothek (stoya), which were stored, along with other artifacts and works of art: paintings, sculptures, objects of applied art.Among this information anywhere else "scattered" information about places that could be considered a prototype for art museums. That interior walls of homes are often painted or even covered with monumental painting, architectural theorist Vitruvius pointed out (I century BC). However, he mentioned only private homes [5, 138-139]. Pliny the Elder (23 – '79) in his "Naturalis History" ('77 BC. E.) Most attention to the realities of Rome, which is quite logical, because he wrote this encyclopedia for the Roman Emperor Titus. However, historian and suggests a number of important information about the Greek artists and their works. He writes about Athens Pinakothek, which was published works of Greek artists.About the Greeks Pliny writes that "they decorate their picture gallery old picture", "decorate their palestra and keromats images of athletes" and "portraits of Epicurus they are in bedrooms everywhere carry with them" [6, 79]. The text of Pliny follows that Pinakothek were common [6, 108]. As for the Greeks ("old") Pliny notes that "the art of the cities served and the artist was the common property of the world" [6, 102].Another valuable resource is informative ten-work "Description of Greece" Greek geographer and historian Pausanias. Pausanias (second century AD.), who is considered traditionally geographer, in his "Narrative ..." acted as a historian and art critic. At least half of the text of the book is devoted to a careful description of the works of ancient Greek art sculptures and paintings. Pausanias carefully enumerates and describes the monuments of art, which he saw clearly. Because his work is not only geographical in nature, but as for us, much more historical and historical in art. In the latter sense, it can be as genre of ekfrazis [7, I, XV, XXIII].Describing Points of Epidaurus, Pausanias notes Tholos, where the picture painted Pavsiy on which was depicted the goddess of intoxication and Matt god of love Eros. Given the geometry of Tolos (round building) can be in the affirmative to believe that it was a wall painting, easel and not [7, II, XXVIII]. Also Pausanias mentions stoya in Trezene (Korynfika) [7, II, XXXI] gallery Sparta [7, III, XIII, XVI], a place to talk – Leskha in Delphi [7, X XXVI].The fact that the galleries, which were works of art, were quite common and at the end of the second century AD shows ekfrazis Philostratus the Elder "paintings." Action "picture" is in one of the galleries of the suburbs of Naples, which at that time, like Greece in general was part of the Roman Empire. Ekfrazis constructed in the form of lectures for young people, as a retrospective record conversations instructive-educational nature at the request of the son of his friend, who's stopped by [9, 32]. The text can be understood that the gallery was filled with paintings, whose number, according to the text ekfrazis, reached 65 units. They were written on mythological subjects drawn from Greek literature (Homer, Hesiod, Aesop, Aeschylus, Euripides, Pindar), and the events of Greek history (gallery seems to have been public, works that adorn the gallery represented easel painting, according to architectural features, this gallery was stoya, though unusual, "four or five beams", gallery was not the old building, and the main thing: the picture was "collected and put"). This clearly says the author, and this means that we have at least two of the main functions of museums: collecting and exhibiting. (Note that most historians believe Philostratus described the gallery so that there is realistic, as well as the paintings referred to in ekfrazis [10, 23-26]).Thus, the museum features the de facto performed not those institutions that ancient Greeks called museyons. It is worth recalling that in Alexandria Museyon artwork is also not met. A way to meet one another – social and cultural phenomenon and its linguistic labels – is still very long. It should be noted that the term "Pinakothek" is also preserved and is now used to denote the subclass art museums, which contains only the collection of paintings.However, only conditionally possible to talk about the implementation galleries with custody. Survival from adverse weather conditions ensured of the building, as well as some techniques technology if they resorted artist himself, as testified Vitruvius. Any purposeful work on the conservation of the artwork has been conducted, but on some attempts such a restoration of ancient some authors have reported as generally unsuccessful, which often ended in damage or even destruction of the original.Only in ancient Rome will appear capture collecting (Greek) art, and so will be grounds to speak about the systematic collection as one of the museum invariant functions. This will happen as a transition to private ownership of the collection of works of art, which was not the Greeks, because all space art of ancient Greece was public.Given that the art museum can not be considered, ignoring the history of art, there is reason to believe "art" stoya and tolos ancient Greece in nature art proto museums, because they served as preservation and broadcast through art social and humanitarian experience of ancient society.
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Environmental aesthetics was developed in the second half of the twentieth century. It analyzes the forms of symbolic sense and value of the environment as an aesthetic object, determines methods of aesthetic perception of nature and promotes forming of aesthetic consciousness. Environmental aesthetics belongs to the intellectual and cultural evolution of the modern times.This article examines environmental aesthetics as a sphere of aesthetic appreciation of objects of environments. It opens new dimensions of understanding of the unity of the human being and the environment in the aesthetic scope. Besides it fits perfectly into the perception of aesthetics as formation of sensuous human culture. "Environment" is presented as a basic term of the environmental aesthetics as a science. The semantic meaning of the "environment" concept connotational connection with the "nature" concept is analyzed.The "nature" concept is complicated and controversial indeed. The basis for its understanding are "physis" Greek and "natura" Latin terms. In the most general sense "physis" means the process of formation or origin, the phenomenal, clear process of growth and development, the genesis. In the purely philosophical sense, the "nature" concept means a creative force, a principle of every growth, an elementary substance and the creation in general. The "natura" term in Latin means everything that tells about some subject formation according to the birth and development law. The "nature" concept replacing by the "environment" concept is something more than just linguistic and terminological shift: it was a new stage in the transformation of human understanding occured in the twentieth century, when new fields of the Universe study in its diversity appeared.The "environment" word has acquired many meanings. It defines the area that surrounds something in the etymological sense. However, the US philosopher A. Berleant that most of the "environment" meanings retain to some degree the assumption of an object and its surroundings or a self and its setting, bound together in varying degrees of intimacy but ultimately distinct and separate. That dualistic presumption has been challenged increasingly by scientific and philosophical developments in the twentieth century. This formed the basis of environmental aesthetics. The Finnish eco-philosopher Y. Sepanmaa characterized the environment: "the environment is that which surrounds us (in the centre of which we are as observers) which we perceive with our various senses, in the sphere of which we move and have our being". The field of environmental aesthetics initially covered the research of the natural environment, but it has grown, it expanded its purview to the mixed environments: 1) human-influenced environment (e.g., gardens); 2) human-created environment (human-constructed environment) or human environment of everyday life (e.g., yards and houses).Human life is directly connected with the space in which it exists, because there are no clear boundaries separating human society and the environment. From the philosophy point of view an individual’s existence outside the environment considering is unscientific and groundlessly and leads to disastrous practical consequences. The subject doesn’t perceive the environment purely passively and visually only, but he experience it with all his body plunged in this space at this time. A person "engaged" with everything in the surroundings. This engagement is getting of aesthetic experience of environment. "The experience of environment as an inclusive perceptual system includes such factors as space, mass, volume, time, movement, color, light, smell, sound, tactility, kinesthesia, pattern, order, and meaning".The "aesthetic value" term, according to the US philosopher E. Brady, is often used in environmental aesthetics to describe the quality of landscape scenery, sea views and other factors of the environment. Making the environment an aesthetic object, determination its aesthetic value is normally based on a decision of the recipient. He chooses themanner of examination and the object to be examined, delimits it, in place and in time. "Environment" aesthetic value criteria, according to the US philosopher M. Beardsley, are "dependent" or "independent". The US philosopher F. Coleman distributed the environment in the context of its understanding into "easy" and "difficult" from the aesthetics point of view. According to Y. Sepanmaa, the criteria of aesthetic value should consider how it satisfies the needs of the individual.In conclusion it should be admitted that the environment is the source of human aesthetic experience in general and the object of aesthetic appreciation in the environmental aesthetics framework in particular. Environmental aesthetics is a discipline with its own concepts, its own object, and problems, and, what is the most important – with its own contributions in the field of the aesthetic science. The environmental aesthetics main goal is to educate a fully developed community that will exist in harmony with the natural world.
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The article investigates the activities of the New Viennese School. Here you can find analysis of the achievements of its members: A. Schoenberg, A. Webern, A. Berg. Attention is paid to the historical, aesthetic, cultural, philosophical discourse, in which it was formed, its impact on the musical avant-garde.
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Presented ideas are based on the integration of neo-mythological and xenological tendencies in modern culture. The "else’s" text as a name in modern music is interpreted in mythological (neo-mythological) context. This article are focused on the play "Winterserenade" (1997) for flute, violin and viola by modern Lithuanian composer Onute Narbutaite. The opus was considered in the context of neo-mythological tendency as an axample of music work, which was based on use of "else’s" text (by F. Schubert) as a mythologized name. Was performed analisys of specific composition’s features and dramatic art of play. One of the major gnosiological categories today is a dialogue, which immanently includes an intention to the "else’s mind" and "else’s word" in the process of cognition. On the other hand, the most important aspect of cultural mentality of the twentieth and twenty-first centuries are neo-mythological thinking intentions (by definition V. Rudnev [10, 184]). As a consequence, modern researchers consider mythologeme as version of "else’s" text (as version of citation). In this article proposed opinion in the opposite direction – to interpret "else’s" text as mythologeme. A proper name is mythological in its essence. It has sense (internal form, etymology), but has no value because it does not refer to a class of objects. So the logic of name is the logic of mythological thinking, since the name "<…> is building around the world with mythopoetical laws dominated the association and the identity of all with all" [9, 206]. V. Medushevsky known modern researcher says that "<…> the name contains a vast semantic field that <…> invisibly control the direction of thought" [6, 18]. Thus, through citation artistic thinking can go to neo-mythological intentions, memory of culture, spiritual and aesthetic basics. In a musical composition can be built line associations and identities: citation – name of the composer – a symbol; sound quality and structure of citation – a symbol (a sign) of the composer in the history of music. The instrumental chamber play "Winterserenade" by modern Lithuanian composer Onute Narbutaite is an example of a composition in which the author applied to the song by F. Schubert, identified the musical citations and allusions to his name and created a musical portrait of the composer of the 19th century through the techniques of composition late 20th century. O. Narbutaitė composed "Winterserenade" when her personal style has been formed. The major part of the composer’s works has been instrumental chamber music with a clear trace of the autor’s individuality. In her creation, the composer manages to perfectly combine constructive thinking with a suggestive, emotional manner of speaking. The majority of the works by O. Narbutaite can be characterized by the words of the Latvian composer Imants Zemzaris: "Finished work with the charm of a sketch" [14]. The Polish musicologist Danuta Mirka has aptly noted that the composer's music is "radiating with subtle lyricism and testifying to an extraordinary sensitivity of the author, as well as to the discipline directing the repetitive-permutational flow of masterful sound constructions" [14]. The composer gets in contact with a cultural context of various epochs in her own way. "Winterserenade" is a tiny Hommage a Schubert. The piece is woven from the motives of "Gute Nacht", the first song in the cycle "Winterreise". However, as noted by the composer, "the rhythmic sing from other works by the same composer can be easily recognized, including, I hope, Schubert’s anxiety freezing on a winter road" [15]. Scheme of musical structure of "Winterserenade" is А В А´ В´ А´´. Sections А, А´, А´´ used fragments of the song's melody of "Gute Nacht"; in sections В, В´ used rhythmic pulsation of ballad "Erlkönig" by F. Schubert. In "Winterserenade" O. Narbutaite balances between own and other language. In the presentation of the musical material in the sections А, А´, А´´ the composer uses the technique of aleatorics. Score consists of intonations of Schubert’s songs, but they are difficult to detect, as they sound in reverse motion. O. Narbutaitė further changes intonation and they become as they were created by F. Schubert. First used motifs from the cadence of the song, then used motifs from the first part of the couplet, at culmination the first sentence of the song sounds. Thus "Winterserenade" consistently implementing the principle of reverse movement. This compositional logic demonstrates the process memories of familiar music and symbolizes immersion in depth of history. "Winterserenade" O. Narbutaite is a neo-mythological journey into the romantic aesthetics through "else's" text as a name.
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By considering the film (500) Days of Summer a postmodern romantic comedy, we can see the film as offering philosophical insights about the nature of love and its implications for the changing social institution of marriage The overarching idea is that this film is different from many other romantic comedies, and the ways in which it differs are indicative of a change in the genre and are relevant to changes in the concepts of love and marriage. We first consider more specifically the relationship between modern and postmodern aesthetics as well as a brief history of the genre of romantic comedy. Next, we will explore how the film might be read as a postmodern film, considering the plot, dialogue, sound, and look of the film. I contend that the cinematic properties are integral to the emergence of a new romantic comedy genre and to how this change reflects broader cultural changes. All told, this analysis will provide insights into how the currency of the conception of love has changed, which has likewise changed the marriage plot as experienced by new audiences in this new millennium.
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Focusing on Michael Haneke’s Amour, Porzuczek examines the mechanisms of visual (non-linguistic) representations of pain and illness in the realm of the film medium. In the Austrian film director’s work the problem of suffering is inscribed in the order of emotional tensions in family relationships. It is against this backdrop that the question of social (cultural) exclusion emerges. Porzuczek draws on notions such as Roland Barthes’s punctum and Gilles Deleuze’s time-image. Relevant issues are: a) the process of the materialization of time (through slowness) in the representation of daily struggles with illness and b) the specificity of the violent, punctual appearance of a paroxysm – analysed in terms of Porzuczek’s concept of the pain-image, which initiates an ethical (affective) encounter with the image experienced by the viewer.
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The impulse to write this article came with the recognition that among the various ways to define and characterize advertising the ones which emphasize – either intentionally or unintentionally – the variously understood (para)literary nature of the phenomenon occupy a prominent position. The belief that advertising can be regarded as a variety or specific manifestations of literature reveals itself on various occasions and in a wide variety of sources (not necessarily oriented towards literary studies): in academic research, literary criticism, essay and column writing, journalism and popular publications. The author does not seek to determine whether and under what conditions advertising complies with the requirements of a literary work, but rather adopts a reconstructive attitude and looks for an answer to the question, due to what properties and factors advertising is sometimes viewed in literary (or, more broadly, artistic) terms, and what arguments are used in support of this thesis, as well as what results from this type of beliefs for literary art itself, its condition, cultural rank and status quo.
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Hostility towards transsexualism has not only persisted in nonacademic communities, but also in academic scholarships, based not only on identifications of gender with sexuality and sexual identity, but also on the linguistic conventions of dichotomies of matter and ideas. Nietzsche’s aesthetics not only challenges this tradition of linguistically constructed dichotomies, but also the exclusive separation between genders and sexual identities. Referring to The Birth of Tragedy and Thus Spoke Zarathustra, the article examines how Nietzsche’s ideas of language as a system of metaphors contributes to an understanding of transgender respectively transsexual issues as non-regressive expressions of selfhood, challenging rather than confirming gender dichotomies.
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This paper is about the connection of the divine whit some human work such poetry, painting andpolitics. The main concept for us is icon because it shows this connection. It is exhibited in thisshort essay the sense of art in clearing the inside of those who are creating it. “The products” of artare named the icons because they constitute the proof of man’s link with the divine.
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During recent decades there have been attempts in urban theory and urban discourse at large to revisit and reconsider a number of concepts that have been marginalized or even suspended because of the rise of scientist ideology in academic research. The concept of spirit of place, known since Roman era as genius loci, is one of the key catogories that had been lost and regained in the history of urban planning and its theoretical reflections. Architectural historian and theorist Christian Norberg-Schulz has made the most significant contribution to the revival of this old Latin idea of spirit of place in urban and environmental studies. The article focuses on the impact of Norberg-Schulz in developing the interest in the spirit of place as an intellectual endeavor of his phenomenology of architecture and place. The author of the article notes that the concept of genius loci or „spirit of place“ remains a useful analytical tool in advancing the discourse on contemporary urbanism so that material and non-material elements that make the true character of urban place in contemporary urbanity can be adequately evaluated in urban research. Norberg-Schulz later reconsidered his attitude about modernist dogmas (as professed by Le Corbusier, Sigfried Giedion et al.) of the limitless capacity to transform spaces. He became a spokesman for the symbiotic relationship between the human being and the natural/urban space humans and reconsidered the archaic idea of genius loci as imperative for contemporary city-building. His theoretical insights might be of use in developing theoretical study of the development of urban structures in contemporary Lithuania.
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Masnavis in Turkish literature has an important role in enabling independent rhyme and long narrating articles. Masnavis writers have not only written concerns of aesthetics but also on behalf of the community development process some messages are also in the works. Given the conditions of in the 14th century period it can be seen in many of the masnavis contain “scientific” and “moral” values. Masnavi, is the verse form in the literature of each couplet rhyming each other and it ranges two couplets to thousands of couplets. Being the rhyming couplets of Masnavi are independent it is suitable for writing a verse form long stories.
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