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The abundant literature on the Ghent Altarpiece, one of the most important artworks of the Northern Renaissance, completed in 1432 by Van Eyck, often claims that the Annunciation scene on that altarpiece is simply an illustration of the text Lk 1:26–38, followed faithfully by Van Eyck. Although it is beyond doubt that Van Eyck drew inspiration from that text, this paper attempts to establish and explore a different hypothesis, namely that Van Eyck intentionally moved away from Luke’s text of the Annunciation, and for a very good reason, which is related to the composition and the message of the Ghent Altarpiece as a whole. The paper approaches this ‘unconventional’ hypothesis primarily by analyzing two possible approaches to the text of the Annunciation; the idyllic and the kenotic one. In this context, Van Eyck’s way of presenting the Annunciation is observed from the perspective of the theoretical contributions to the hermeneutics of Luke’s text, primarily in the work of Søren Kierkegaard and Joseph Ratzinger, in line with the kenotic (or existential) interpretation.
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In the West, theater has always been strongly associated with city culture and urbanization processes. By combining the methods and insights of the arts and psychology, the article aims to explore the impact of the city and non-city environments on the work of theater artists, to find out what happens when a creator withdraws from a usual city environment. Qualitative approach – case study analysis – is applied in this research by interviewing two theater artists. The research identified four meta-themes: move back and forth, together and separately, change of perspective, create a new universe. Analysis of the aforementioned themes revealed that withdrawal from the city, as from the usual creative space, is useful and productive for the theater artists, but becomes meaningful only when the latter come back to the city. The metaphor of the spring is suitable for describing this process: creativity is most stimulated by dynamics of withdrawals and returns, which determines the change of perspectives and, at the same time, creative states, rather than withdrawal from the city itself. Withdrawal provides impulses for new universes to emerge: both in the aesthetic plane of creation and in the psychological plane.
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L’émerveillement devant la beauté et la parole poétique. Une perspective esthétique et théologique. L’objectif de cet article est de montrer que Hans Urs von Balthasar et Karl Rahner ont présenté une esthétique théologique centrée sur l’émerveillement : tous deux le considèrent comme une réponse du sujet à la révélation divine, qui révèle une belle figure à voir et une parole poétique à entendre. La paire esthétique émerveillement / réponse correspond à la paire anthropologique amour / liberté, de sorte que le mouvement de l’émerveillement s’enracine dans la disposition amoureuse et la réponse dans la liberté. Dans l’horizon épistémologique du dialogue interdisciplinaire entre Littérature, Esthétique et Théologie de notre propre recherche, nous appliquerons ces médiations aux Quatre Quatuors de T.S. Eliot, en le trouvant comme représentatif de l’émerveillement esthétique théologique décrit en son sein.
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When we question the humanism of Gary or Malraux, we see the question of art arise on all sides. Aesthetics and ethics indeed seem intrinsically linked, firstly because, for them, art is a way of denying the inhuman, whether it be the absurdity of our condition or the crushing weight of History. At a time when the Second World War brought human barbarism to the forefront, what the artist gave us in his works was a finally acceptable image of humankind. Art, according to them, is, at the same time, a consolation and a shelter for humanist ideals, and an ethical gesture in itself. We will try here to confront in Gary’s and Malraux’s books the connections between art and humanism, and to question the existence in these two authors - while preserving the specificities of each - of what one could call an aesthetic humanism.
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The article examines the works of Arūnas Vaitkūnas, in which the contours of the ontology of painting emerge. In Vaitkūnas' art works, two ines are interconnected - being in painting and being of painting. Deepening the tradition of expressionism, the painter delves into the reflection of human existence and the reality proper to paintings. The sense of being and the awareness of its disappearance, a direct experience of specific place and time have become the main subjects of his paintings. He considers the ontological characteristics of painting and reflects on how painting opens being in the surface of the canvas, in the structure itself of the picture through the means of pictorial expression. Besides in his paintings, found objects and installations he questions of the identity of painting to gain a deeper understanding of the peculiarity of the media, the relationship with reality, as well as the limits, liminality and the possibilities of its expansion. The article hermeneutically interprets Vaitkūnas' works, which connect with philosophical insights of Jacques Derrida, Arvydas Šliogeris, Justinas Mikutis, and the paintings of Francis Bacon and Gerhard Richter, revealing attempts to ontologize painting and the searches for its extensiveness, leading to the primeval geoglyphs.
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In this article the author analyzes the search for Being in art according to Arvydas Šliogeris. Although Šliogeris selected the picture of The Great Pine tree painted by Paul Cézanne for his art philosophy - we see that in the book The Thing and Art - the philosopher himself is very Lithuanian, his thinking and his theoretical worldview is permeated with Lithuanian spirit. It is especially clear when he interprets Čiurlionis‘ paintings titled Sonata of the Grass Snake, the vision of the Grass Snake. A Grass Snake, who is sacred in the pagan tradition in Southern part of Lithuania called Dzūkija, is interconnected with Šliogeris‘ philotopia in Dzūkija region. From the cultural point of view, it is far away from French region of Provence, which was the inspiration for Cézanne. The article also analyzes why Šliogeris did not choose the sea theme in painting. After all, the openings of Being could be found in the painting of dramatically stormy sea with a sail ship tipping over the waves. By refusing to search for Being in sea paintings, and instead opting for the region of Southern Lithuania, he evidently makes a subjective selection, looking at the world through the prism of the self “I“. It is, owever, impossible otherwise. After all, philotopia as such, inevitably presuposes subjectivity.
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This paper raises the hypothesis that M. Bakhtin’s creative category of chronotope is within the dynamic of epistemology and socio-constructivism. To this end, two philosophical conceptions are analyzed: Bakhtin’s theory of chronotope as a formally constitutive category of literature and Kant’s transcendental aesthetics and transcendental schematism. This comparative analysis shows that chronotope surpasses its primary field of literary analysis and is interpretable not only as an epistemological category which determines the sense experience of the observer, but also as socio-constructivist category which provides reality with an image of a totality of symbolic social institutes. In this way, it is proposed to understand the concept of reality as the multidimensional image.
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In allusion to the famous Johannine dictum, this paper seeks to explore the relationship between beauty and liberation. Liberation is here understood in terms of a movement toward transforming all reality in accordance with the principles of the coming reign of God, ‘so that God may be all in all’ (1 Cor 15:28). Complementarily, beauty is not interpreted merely as a matter of taste and preference but as something that permeates all dimensions of being human. The paper, therefore, argues that beauty not only gives expression to the human yearning for transformation but that both beauty and liberation represent the constitutive elements of Christian praxis. Thus, beauty provides a framework through which the current reality can not only be seen but also discerned, experienced, and performed in a new way, thus effectively opening up possibilities for transformation as God’s project of inaugurating a new heaven and a new earth. Therefore, it will be proposed that beauty represents a key theme for theological reflection (locus theologicus), having aesthetic, ethical, and ontological implications for Christian theology. This point will not only be discussed in conversation with various theological voices but also illustrated through engagement with cinema, namely, Jane Campion’s The Power of the Dog.
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Review of: Camelia Dinu (coord.), Simbolismul în literaturile slave, București: Pro Universitaria, 2020, 263p., ISBN 978-606-26-1233-7.
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Folk songs are important cultural elements that express and reflect people's feelings and thoughts. People, their pain, joy, longing, love, expatriate etc. they express through folk songs. Folk songs are considered an important heritage of folk culture not only with their melodies but also with their lyrics. Because, whether the owner is known or not, the lyrics of folk songs contain topics that tell the realities of life, that the listeners find something from themselves, and that translate their own thoughts. When the lyrics of folk songs are examined, it is seen that the subjects they contain are conveyed from time to time with different expression styles. It is thought that the narrations made in this way are effective in creating more intense emotions of the narrated phenomenon. One of these forms of expression is metaphor. In this study, the metaphorical expressions (metaphor) in the lyrics of 15 folk songs belonging to the Muğla region have been determined and it has been tried to explain how and in what manner they are used.
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Body, which is a concrete appearance of artistic existence, became a target of the artistic creation in the 20th century, predominantly symbolized the representation of identity within the art practices of female artists and as a result of the action of the artist turned into a performance. In the post-modern age where art experienced a metamorphosis, the new art has now been based on thought, while the artist has begun to use his/her body as an object of art so as to pass the thought onto the receiver and to make enquiries on political, psychological, economic, sexual and social identity. Within this context, the leading names such as Shigeko Kubota, Marina Abramoviç Carolee Schneemann, Ana Mendieta, Gina Pane, Hannah Wilke, Chris Burden, Yoko Ono, Yves Klein, Orlan, Stelarc, Claude Cahun, Yasumasa Morimura, Barbara Kruger and David Nebreda have transformed their artistic discourses into a performance within the framework of subject-society. According to Pierre Bourdieu’s conceptual development habitus, body which is molded together with the society in which the individual resides cannot be dissociated from the society. Therefore, the individual forms the societal habitus along with the objective existence assimilated within his/her body. This research in this respect aims to analyze within the scope of Bordieu’s habitus concept the indication of the process aimed at the art and the artist, whose subject has been the human body throughout the history. The research sample has been chosen in accordance with the purposive sampling from among the avant-garde representatives of body and performance art in the world and evaluated in line with the bodily actions of these artists, society-body relationship and the manifesting indications.
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The starting point of this article is to discuss the orientation to a ‘new’ form for Westerners, which held the heritage of a different geography and culture – ‘miniature’, in the contemporary art scene focused on West and based upon Western values. 'Miniature' is a branch of book arts, one of the important branches of 'Islamic art', which is a problematic concept that Western art historiography classifies with its orientalist and reductive attitude. Today, 'miniature' is accepted as a term used and even featured in contemporary practices. It cannot be said that the tradition of miniature art and its production continue uninterruptedly in most of the Islamic countries. However, even though they were separated as different states since 1971, the strong cultural ties and traditional art production of South Asian countries have continued. In 1990s, Pakistani artist Shahzia Sikander, who completed traditional miniature education and used the language of contemporary art in her works, reunited the Western/'contemporary' with the traditional and Islamic 'miniature'. Within the scope of this paper, the meeting of 'contemporary' and 'miniature' was examined through Sikander's first miniature work and her selected subsequent artworks.
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The word Kut; although it also has the meanings of abundance, luck, good chance and fortune it essentially expresses the administrative power and the power bestowed on Hakan from God. Kut, which is given to Hakan from God, is a concept that is believed to be always possible to be taken back by God if Hakan or the people do not fulfill their responsibilities. This abstract concept, which has many layers of philosophical meaning, has been made visible with some symbols and objects. Traces of old Turkish beliefs should be sought in these symbols. One of the blessed symbols is the tradition of Nevbet, which is practiced by drumming at certain times of the day in front of the Hakan. The tradition of playing these drums has become one of the oldest Turkish state traditions, and although this tradition has evolved in the form of mehter and band, its practice has never been abandoned. In this study, the philosophical meaning and importance that given to drums and nevbet will be emphasized.
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Ludwig van Beethoven, the famous German pianist and composer of the Classical Period, who lived in Vienna between the years of 1770 and 1827, composed works for piano, chamber music, and orchestra during his 56 years of life and is considered one of the most important composers in music history. There are distinctly three main periods in Beethoven's creative career, the early, middle, and late periods. Beethoven, in the first period of his composing career, had the opportunity to work with his contemporaries, J. Haydn and W.A. Mozart, and was influenced by their creativity. The middle period which covers the years 1802-1813 is when Beethoven achieved his own composing style. Among the important works of this period are the Waldstein (Sonata in C major No. 21 Op. 53), the Appassionata (Sonata No. 23 in F Minor, Op. 57), Egmont and Corolian Overtures, his 5th, 6th, 7th, and 8th symphonies and the one which will be the focus of this study: The Cello Sonata No. 3 in A major, Op. 69. This study aims to analyze Beethoven’s Sonata No. 3 in A Major, Op. 69 (Grande Sonate) with respect to its structural form, performance techniques and examine the manuscript and the examples of the first edition. The study also aims to be a source for performers and researchers who want to carry out a project related to the work.
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My study is an attempt to philosophically account for the competing influence in the 20th century musical understanding and practice of two radical and opposed aesthetics: the ideal of transgressive art (defined by Anthony Julius) associated with the avant-garde and the ideal of recovering the original and authentic art associated with extreme nationalism. My thesis is that these perspectives, under their extreme formulations, are, in fact, kindred sides of the broader philosophy of Modernity as developed since the Enlightenment. Also, as a consequence, by deconstructing the historical meaning and justification of these aesthetic forms of radicalism, one can reinterpret the artistic profiles of personalities such as Arnold Schönberg, thought of either as a revolutionary who totally rebelled against the musical past (as Theodor W. Adorno considered), or as not revolutionary enough (as Pierre Boulez thought). My historical methodology is based on using the two key-terms, “originality” and “transgression”, as regulative concepts within the constellation (a concept proposed by Theodor Adorno in Negative Dialectics) of musical modernism. Thereby, I will show how these key-terms are connected to a network of other romantic concepts: organism, authenticity, aura (Walter Benjamin’s sense), integrity, folklore, and contemplation, in order to reveal how the structural and social meaning ascribed to this set of concepts greatly influenced the process of redefining musical thinking and musical reception. The main philosophies I will use as conceptual landmarks to clarify these interconnections are Martin Heidegger’s remarks about the work of art and Theodor Adorno’s critique of Heideggerian terminology and presuppositions. My overall conclusion will point towards the necessity of going beyond such radical modern oppositions with the aim of finding new types of theoretical principles and perspectives, more adequate as conceptual tools for dealing with contemporary artistic realities.
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This paper aims to investigate the theatrical practices that define the work of one of the most influential voices in 20th century theatre. The practices and methods developed by Joan Littlewood over four decades of work outline a highly personal, inventive and dynamic aesthetic in which the emphasis is on creating cohesion within the team. The team is seen as a ”composite mind”, an ensemble that through rigorous physical and vocal training, complex theme documentation and improvisation, comes to function organically and is able to explore more freely and intensely. The use of a wide variety of means and formulas - music hall, commedia dell'arte, clowning, mime, but also elaborate lighting, cinematic projections, sound effects - and the involvement of the audience in the scenic approach are also defining elements of the theatre promoted by Joan Littlewood.
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The title of Andrić’s short story Panorama refers to an old-fashioned image sequence which represented countries and cities of the world. The already worn out form of entertainment was liked by a naive and poor boy. His complex experience of panorama causes the composition of the short story, in which several semiotic layers can be discerned. The pictures as kitschy, false representamen represent objects – landscapes, buildings, and people from different parts of the world, and the boy connects them with personal experience or images. The picture in his consciuosness (interpretant) raises the subconscious superstructure (new representamen) of still images, which become alive in the boy’s dream, but also lead into anxious outcomes caused by his poverty or fears present in children’s dreams. In the nostalgic imagination of an adult man the life course of former panorama characters is thought out by further semiosis. This last layer acts as an epilogue with several stories made up besides the remembered images. The AustroHungarian advertising trick, which even in provincial cities has no echo, realized its aim in the reception of the Sarajevo boy since he experinced the still images as potency – filling them with his own meanings. The reverse of the panorama in the moment of its departure is the boy’s realization that money, unfortunately, essentially determines the fate of people and their creations. However, an adult man does not give up on imagination as the best part of himself.
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In this paper particular attention is paid to the narrative techniques of Ivo Andrić, the author who through his writing created a literary encyclopaedia of life in the Balkans. The multiplicity of his narrative art is also recognised in the interfusion of the present and the past, of the oneiric and the real, the referential and the poetic, whereat the most recognisable characteristic of the author’s creative process is the conciseness of telling. Through an analytical overview of certain works, particular attention is paid to the function of telling stories which, according to Andrić’s words, contain the real history of humanity.
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Significant motifs in Šimić’s poetry pertain to the interpretation of soul and body, that is to comprehension of spirituality and materiality. In all his phases, from late impressionism, through expressionism to social phase, the author was, to a certain degree, preoccupied with dichotomy of those concepts by means of which he (re)presented existential, metaphysical, spiritual and social topics. This paper will show associative sequence of motifs composing basic terms of spirituality and materiality and projecting binary oppositions, such as god/woman, bliss/suffering, dance/illness, peace/struggle, life/death, etc. Through specified motif suggestions the paper will examine author’s attempts in revealing identity marks and situating subject within metatextual and contextual worlds of poetic text.
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