1914 И КРАЯТ НА БЪЛГАРСКОТО ВЪЗРАЖДАНЕ:

ЯВОРОВ КАТО КОЛЕКТИВНА МЕТАФОРА

Author(s): Plamen Antov / Language(s): English,Bulgarian / Issue: 1/2016

This article, which may conventionally be classified under the genre philosophy of history, develops two metaphors of high symbolic value. The first is the year 1914, as the start of World War I, the third and last in a se-ries of wars at the start of the 20th century in which Bulgaria was involved. It led teleologically to the year 1919 (Neuilly) which marked the symbolic – therefore absolute – end of the Bulgarian National Revival. The second metaphor is the figure of Yavorov in its his mytho-biographical projection – the poet’s suicide in October 1914 can be seen as a collective metaphor, as a metaphor of a collective ontological loss; but also as an attainment of a qualitatively new state; as the loss of the Revival’s monolithic national aspect and the acquiring of the tragic experience of Modernity and its social fragmentariness.

1960 SONRASI KAVRAMSAL SANATININ GÜNÜMÜZ RESİM SANATINA ETKİLERİ

Author(s): Bahar Artan Oskay / Language(s): Turkish / Issue: 47/2018

In this study, the formation of Conceptual Art after 1960 and the historical process of the studies produced by the conceptual artists have been studied and what kind of awareness and evolution has been caused by these factors in contemporary art. 20th century was a period in which painting art developed and changed rapidly. In this period, when avant-garde artistic concepts have follow each other in quick succession, the questioning of aesthetic values and object has become inevitable. The breakaway of the Conceptual Art from understanding, aesthetics, and style of the traditional art has caused the process of change on the meaning and concept of the traditional art. Examples of post-1960 artists’ works have been given while the present-day reflections of the transformation of post-1960 painting art into an object by means of Conceptual Art in an intellectual sense, has been researched.

1990’lardan 2020’lere Genç Etkinlik Sergileri

Author(s): Hülya Küpçüoğlu / Language(s): Turkish / Issue: 66/2020

Opening of contemporary art venues such as Aksanat, Borusan Sanat, Karşı Sanat in the 1990s supported the development of the Turkish contemporary art field. The biggest organization of the art environment in these years is undoubtedly Young Events. In 1995, President of the International Plastic Arts Association, Hüsamettin Koçan brings up a new project for the young artists of the period. This project will be open to all young artists and they will be able to exhibit their work as desired. The period is also the years in which subjects such as identity or ethnic identity, borders are examined. In this framework, the Association organized “Borders and Beyond” as the concept of Young Event 1, “Deterritorialization” in Young Event 2, “Chaos” in Young Event 3 and Young Event 4 without concepts. After a quiet break from 1998 to 2011, Young Events started again in 2011. However, this time it is not open to the participation of every artist. The artists will be determined by a jury. Young Event 8 was last done in 2019 under the name “Homo Historicus-Homo Projectus”. Young Events in the 1990s were made to provide an environment for the young artists of the period, who had difficulties in finding a gallery to open an exhibition, to encourage production freely because it was unselected, and to make them visible. As a result, many artists who opened exhibitions at the Young Events in the 1990s became visible. It has been observed that the artists participating in the Young Events in 2010 in terms of changing socio-cultural conditions and technology did not activate a mechanism of influence as in the 1990s. In this article, Young Events held in different years will be examined and their dynamics over the years will be given comparatively.

2. Sayımız Çıkarken: Gölgenin SineFilozofisi

Author(s): Serdar Öztürk / Language(s): Turkish / Issue: 2/2016

Platon’un meşhur mağara alegorisinde ihmal edilen en önemli unsurlardan birisi, “gölge”nin bir insanlık durumu olarak her daim güncelliğini korumasıdır. Bu gölge, bazen gölge tiyatrosu örneğinde olduğu gibi Karagöz olarak kendisini gösterir, bazen “demon” örneğinde olduğu gibi insanın içindeki karanlık yönlere, şer öğelere gönderme yapan unsurlara dikkat çeker. Keza, Freud ve Jung da değişik bağlamlarla da olsa gölge durumlarıyla uğraştı. Freud, benliği üçe böldüğünde en alta, aslında bilinçaltı denilen “gölge”yi, karanlık tarafı koymuştu. Jung ise her insanın sevmediği ve gizleme yoluna girdikleri yolları gölge olarak niteledi. İnsan eylemlerindeki çelişkiler aynı zamanda insanın gizlemek, örtmek, maskelemek zorunda kaldığı bu gölge yön ile aşikâr görünen eylemleri ve düşünceleri arasındaki çelişkiden kaynaklanır. Gelgelelim Jung, insanın bu gölgeyi bastırmak, yok saymak yerine onunla el sıkışmasının gerekli olduğunu savundu. Çünkü gölge, tıpkı persona yani maske yanımız gibi kişiliği oluşturan bir unsurdur.

2. Проблема сходства искусства и жизни в свете структурального подхода

Author(s): Yuri M. Lotman / Language(s): Russian / Issue: 1/1964

Искусство - средство познания жизни. Однако, средство специфическое. Искусство познает жизнь, воссоздавая ее. Из некоего материала художник воссоздает образ жизни в соответствии со структурой, по его мнению, свойственной данному явлению действительности. Окружающие художника явления - не бесформенная масса, они представляют собой определенную материальную структуру, систему отношений, которую художник воспроизводит конструкцией своего произведения. Создание художника выполняет свою познавательную роль, если его структура адэкватно раскрывает структуру действительности в меру возможностей наиболее передового сознания данной эпохи. Таким образом, в само понятие искусства входит проблема адэкватности, сопоставления изображаемого и изображения, - то, что в обычном словоупотреблении определяется как сходство : сходство человека и его портрета, события и его описания или изображения и т. д.

20. YÜZYIL BAŞLARINDA BATI RESMİNDE DOĞA

Author(s): Umut Germeç / Language(s): Turkish / Issue: 32/2019

Artistic and aesthetical determination of nature have been closely related and conditioned by the living conditions (in the advantage of the dominant class/societal group in the art of the advanced societies) in every society. The relationship between the ideal and the real in the beauty of nature presents a significance in this context through the cultural history. Apart from the autonomous landscapes by Ruysdael, Hobbema, and Van Goyen in Holland in the 17th century, paintings that feature nature – from Turner to Constable - have been supported with the property indulgence of the British and French land owners. The aesthetic context of Poussin and Lorrain’s landscapes has been determined by the property indulgence of the feudal nobles. Turner’s attempt to narrate his inner by painting the conditions in nature served as a foundation for the Western art movements that occurred in the 20th century. The fact that Naturalists presented an ideological stand against industrial cities and Impressionists’ technique that fed subjectivity on plastic terms made the identity of the artist significant. Integration of the nature and human, which is a stand against the slaughter and exploitation brought about by industrialization, has been determinant on every art movement. This ideology was significant for Gauguin to escape to nature. European art entered 20th century with two approaches; one being Romantic and Expressionist, the other Classicist and coherent. Fauvs in France and Die Brücke members in Germany found their foundation in the expressionist and emotional forms of the sense of art that was influential during the fin de siècle.

20. YÜZYIL RESİM VE HEYKELLERİNİN YUNAN MİTOLOJİSİ VE İKİCİLİK KAVRAMI AÇISINDAN DEĞERLENDİRİLMESİNE YÖNELİK BİR ARAŞTIRMA

Author(s): Ecem KÜÇÜKGÜNEY,Gül Erbay Aslıtürk / Language(s): Turkish / Issue: 8/2016

When considering mythology, Greek mythology is the first that comes into mind. The history of Greek mythology is written on sculptures and canvas for hundreds of years. A literature review on paintings and sculptures of Greek mythology reveals absence of mind dualism, a sub-branch of Greek phylosophy. This study concentrates on the dualism aspect of the 20th century paintings and sculptures about Greek mythology. Specifically, works of art which include heroes of Greek mythology were examined in respect to dualism. As working method; document analysis and review of the literature were conducted about dualism, mythology and Greek mythology. Greek mythology paintings and sculptures from museum and private collections were investigated and their description were gathered. An inventory of the works were made in which they were listed chronologically. As a result of this study, seventeen art works were examined: six sculptures, ten paintings and a wall fresco. These works were analyzed for the presence of dualism. This study concluded with emphasis that dualism as described in paintings and sculptures are part of human life.

21. Yüzyılda Biyosanat

Author(s): Ayşe Azamet,Çağatay İnam Karahan / Language(s): Turkish / Issue: 63/2019

In this study, the paradigm of art, which changes according to the scientific structure, is examined within the scope of bioart; In the 21st century, the examples of bioart applications in the arts have been discussed and explained. Nowadays, it is necessary to accept the current facts as to where art is on, what processes and parameters it is going on, and which reflections it will present on its journey. At the point where these human-centered changes in the biosphere have reached an unstoppable pace, art also needs to bring up the current scenarios, including interventions. In the paradigm of art, the depiction of extinction or re-existence in the anthropocene age we are in is depicted as the beginning of its most primitive form, and the ability to represent will continue to be reflected to humanity with the services of the artist in the context of the existing systems. Despite the developments in art in the global context, it is seen that interdisciplinary practices are not widespread in art education in our country today. Based on the necessity of updating the content of art education and integrating it with the data of the age; It was concluded with the opinion that the lack of bioart applications and the beginning of the researches will be started. In the documentary research, the biotechnological applications included in the field of bioart were explained with the artist and his creation. In the light of the data obtained, it was concluded that interdisciplinary studies in this field of design contribute to art.

28 Šventųjų Pranciškonų Observantų Atvaizdai Šv. Jurgio Kankinio Konvento Bažnyčioje

Author(s): Laima Šinkūnaitė / Language(s): Lithuanian / Issue: 90/2017

There is unique artifact of baroque art in the St. George the Martyr church of the Franciscan minor convent in Kaunas. There are 28 images of saint martyrs and confessors. In the archive of this convent we can find the earliest information about these images. There is a record of 1741 in which they are mentioned. Today they are in quite poor condition, but there is no equivalent to this gallery, even if in its unrestored condition. Every image reveals an individual way to holiness. In every painting there is a poetic inscription whose purpose is to describe a painted friar. This research is another opportunity to look at the way to holiness and the way to art.

4’ 33’’: MUZYCZNA UTOPIA JOHNA CAGE’A

Author(s): Michał Palmowski / Language(s): English / Issue: 2/2016

The present article examines the connection between Cage’s politics and aesthetics, demonstrating how his formal experiments are informed by his political and social views. In 4’33’’, which is probably the best illustration of Cage’s radical aesthetics, Cage wanted his listeners to appreciate the beauty of accidental noises, which, as he claims elsewhere, “had been discriminated against” (Cage 1961d: 109). His egalitarian stance is also reflected in his views on the function of the listener. He wants to empower his listeners, thus blurring the distinction between the performer and the audience. In 4’33’’ the composer forbidding the performer to impose any sounds on the audience gives the audience the freedom to rediscover the natural music of the world. I am arguing that in his experiments Cage was motivated not by the desire for formal novelty but by the utopian desire to make the world a better place to live. He described his music as “an affirmation of life – not an attempt to bring order out of chaos nor to suggest improvements in creation, but simply a way of waking up to the very life we’re living, which is so excellent once one gets one’s mind and desires out of its way and lets it act of its own accord” (Cage 1961b: 12).

5-6 YAŞ SANAT ETKİNLİKLERİNDE ÇASEY’NİN UYGULANMASINA DAYALI DURUM ÇALIŞMASI

Author(s): Kübra Özalp / Language(s): Turkish / Issue: 05/2012

Pre-school period is the first step of improving the imagination and creativity which are existed within the child by means of art education. Systematic progress of this education is also as important as giving plastic art education which effects the mental and spiritual development of the child with 5-6 aged group-that is pre-school period. In this sense, interdisciplinary in other words multi-field art education (Discipline Based Art Education) method included art criticism, art history, aesthetic except than the practice takes part in art education is necessary and vital. This study is a case study based on the determination of the changes on children caused by interdisciplinary art education method in the period of pre-school art education.

60 bananów i 127 trumien Titusa-Carmela

Author(s): Krzysztof Siatka / Language(s): Polish / Issue: 217/2016

The works of French artist Gerard Titus-Carmel in the late 1960s and 70s met with great interest in critical and philosophical thinking. Jacques Derrida devoted one of his most important essays, entitled Carthage, to one of Carmel’s works. The cycle of 127 drawings, entitled The Pocket Size Tlingit Coffin, is the documentation of an enigmatic and symbolic box which purpose is not entirely known. The artist used a variety of techniques and drawing manners to create a variation on the image of a strange object every day. In the course of the accumulation of representations, the source of the inspirational cycle has moved away. The series, conceived as a research process aimed at learning nature, could be the destination of a Pocket Coffin, resulting in narrative thickening and, in fact, budding ignorance of the paradigm that was to be resolved, clarified, and explored at the beginning. The Titus-Carmel project, located in the Parisian Pompidou Center collection, is a forgotten example of conceptual flow in visual arts and a very important model of the work that highlights the process of creation over the final physicality of the object. It is a great reflection on the meaning of gestures of repetition, multiplication or reproduction, so important for the philosophy of contemporary art. The Pocket Size Tlingit Coffin inspired Jacques Derrida to create an analogue textbook-diary that in subsequent chapters, written daily with reference to subsequent drawings, deconstructs concepts such as original and copy, the beginning and the end, or imagines possible paradoxes, such as the existence of copies without original, or secondary of the original with respect to the copy. The dialogue of the artist and philosopher is one of the most interesting interdisciplinary speculations in the art of the second half of the 20th century. Both creators have expanded the genre of dialogue and journal to deconstructive method of cognition.

A Dialectical Approach to Berleant’s Concept of Engagement

Author(s): Thomas Leddy / Language(s): English / Issue: 2/2017

Arnold Berleant shares much in common with John Dewey. His notion of aesthetic engagement, which is central to his philosophy of art, is, like Dewey’s concept of “an experience,” an attack on dualistic notions of aesthetic experience. To the extent that Berleant and I are both Deweyans, we agree that we need to turn from the art object to art experience. Art is what it does in experience. Yet appreciative experience of art cannot happen without, at some point, focusing on the art object as such, and this means bracketing context. Engagement is important, but so too are contemplation, disinterestedness and distance. Contemplation, for example, is a moment both in the creative process and in the process of appreciation. Moreover, following Brand and Gracyk, it will be argued in the present paper that only through toggling between contemplation and engagement can we obtain a full experience of art, nature, or of the everyday.

A Family Meal as Fiction

Author(s): Josep E. Corbí / Language(s): English / Issue: 1/2020

Stacie Friend’s theory of fiction departs from those approaches that seek to identify the necessary and sufficient conditions for a work to count as fiction. She argues that this goal cannot really be achieved; instead, she appeals to the notion of genre to distinguish between fiction and nonfiction. This notion is significantly more flexible, since it invites us to identify standard—but not necessary—and counter-standard features of works of fiction in light of our classificatory practices. More specifically, Friend argues that the genre of fiction has the genre of nonfiction—and only that genre—as its contrast class. I will refer to the particular way in which Friend elaborates this claim as the contrast view. I have, nevertheless, the impression that this view unnecessarily narrows down the array of perspectives and attitudes from which we can approach works of fiction. I will thus develop a line of reasoning to the effect that the contrast view should rather be construed as picking out a particular way of relating to works of fiction that lies at the end of a continuum defined by different degrees of reflectivity and estrangement. This implies that the contrast view is false as a general claim about how we experience works of fiction, even though this view may appropriately depict a specific way of approaching such works.

A folytatás TESZT-je

Beszámoló a 11. TESZT fesztiválról

Author(s): Nóra Ugron / Language(s): Hungarian / Issue: 2/2018

Zoltán Gálovits, whose long curatorial activity has defined the perspective of the event, resigned this year from his position as the artistic director of the TESZT Festival in Timișoara. Nóra Ugron writes about the fact that this edition continues the perspective of the festival with a more heterogeneous focus and selection of performances, devoting attention to the relation between theatre and society, as well as to experimental theatrical endeavours. In her report Ugron discusses in detail performances Our Class, Queendom, as well as Jami District and A Cloud in Trousers directed by Kokan Mladenovic.

A Forgotten Detail in the Cultural Landscape: a Ukrainian Version of Russian Formalism? National Identity, Avant-garde and Ideology in Literary Discussions in Soviet Ukraine (1920s–1930s)

Author(s): Galina Babak / Language(s): English / Issue: 32 (37)/2017

The 1920s in the Soviet Ukraine are characterised by significant variability of views on the meaning, social significance and mechanism of art and literature, however, all this theoretical and practical variety was limited by political restriction imposed by official communist ideology. Avant-garde groups and movements enriched modernist discussions by drawing attention to the fact that the revolution in arts and literature was of the same nature as political and social revolution. Numerous Soviet writers, poets, artists, philologists, etc. (including Ukrainian writers with their own national agenda) took part in these discussions; many of them were members of different literary movements, groups and organisations – and of course they had a different aesthetic orientation. One of the most important topics of Soviet theoretical discussions in the 1920s was the dualism of “form” and “content” in literature and art. Such discussions were held in Soviet Ukraine as well. Even though we cannot speak about “Ukrainian formalism” as an organised and disciplined aesthetic school, it is important to determine the “Ukrainian version” of correlation between universalist ideas of Russian formalism, internationalist Soviet ideology (in relation to the culture), and forming Ukrainian cultural identity.

A kép „nyelve”

Author(s): Mónika Jáger-Péter / Language(s): Hungarian / Issue: 4/2019

In my paper I wish to prove that the truth of the pictures does not stand in correlation with reality. The picture is not the reflection of everyday things, but a different, truer representation of things. The privilege of pictures stands in their being able to always go beyond themselves. The picture possesses a particular kind of logic, as its delotic logos, that is, its nature of showing the thing itself but from a different perspective as well in the same time, cannot be grasped conceptually or by language translation.

A képfogalom új megközelítési irányainak megjeleníthetősége a médiaelméleti kutatásokban

Author(s): Virág Pusztai / Language(s): Hungarian / Issue: 3/2019

The fact that people today live in the fl ow of visual images receiving more and more information from and through them,inspires researchers to redefi ne the concept of image putting more emphasis on its social and communicative functions. As faras either the author’s intention or the outcome is concerned, there are more and more pictures which can not be consideredworks of art, it is obvious that traditional art history can not be the only fi eld of studying images. Modern people’s relation tovisual images, which is mainly infl uenced by the media, alters their state of mind, and numerous issues are to be exposed inconnection with this alteration. This study is aimed at fi nding out what communication and media studies are obliged to doconcerning this so called pictural turn.

A kollektív és a kulturális emlékezet szerepe az önéletrajzi emlékezésben

Author(s): Ágnes Heller / Language(s): Hungarian / Issue: 3-4/2019

Előadás az Emlékezet, Identitás, Kultúra. Kulturális örökség, emlékezethelyek, emlékezettörténet című, az MTA Nyelv- és Irodalomtudományok Osztálya, a Filozófiai és Történettudományok Osztálya, valamint a Gazdaság- és Jogtudományok Osztálya által közösen rendezett konferencián. Budapest, 2016. november 9.

A könnyűség súlya, avagy Philétas cipői

Author(s): Elvira Pataki / Language(s): Hungarian / Issue: 2/2009

Present-day knowledge about Philetas, the first poietes-grammatikos is extremely scant. According to the only information, which seems rather irrelevant, and which was transmitted by late authors, the poet was extremely thin as a result of his laborious poetical activity. In certain sources (Aelian, Athenaeus) the motif of thinness is completed by a bizarre note: the artist, a leptoteros, had to wear lead weights on his feet against the force of winds. The adjective describing his figure cannot be separated of the primordial aesthetical notion of lepton, and it may suggest a poetological interpretation. In order to support this possibility, the article sheds light on a zoological paradox of Aelien which mentions the peculiar habit of bees, light and musical animals and strenuous gleaners of flowers, who carry stones as counterweight against the winds. The implicit image of a poet as a bee is a traditional metaphor with sacral connotations in the Greek literature, which reappears in the Hellenism. The association of the Coan poet with the bees would fit well into the tradition about the poetry and the creative style of Philetas. He was known to have an ardent interest in the natural sciences (periergos), therefore among his poetical and glossographical fragments more than one item concerning hive, bougony, honey can be found. According to reconstructions, the melissa could have had an important role in his Demeter. On the other hand, the critical announcements of Callimachus and Theocritus on Philetas’ poetry employ the same metapoetical imagery of nature (see the rivalry of the locust and the frog in the 7 Idyll, the opposition of the ear and the oak in the Prologue of the Aitia). The best known work of Philetas, the poem of the alder which is considered as a selfportrait, is based on this as well. Accordingly, the representation of the poet in the anecdote has poetological allusions through the motifs of the slenderness and the counterweights.