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Possibilities. On Lukács’ Theory of Genres

Author(s): Jiayang Qin / Language(s): English Issue: 29/2020

›Possibility‹ is the prerequisite for the existence of an object. The study of ›possibility‹ is a consideration of its historical-philosophical background, cultural context and subjective issues. In his studies (especially in his works prior to 1918), Lukács discussed the ›possibility‹ of aesthetics and different genres of art, concerning the relationship between people, society, artworks and the lost totality. This article starts from ›possibility‹ in the works of Lukács, concentrates on the context of the development of different genres, and primarily draws on the example of drama in order to interpret and explain the role genres played in offering the solution to the break-up of the totality.

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Teológus – teológia nélkül. Ravasz László kolozsvári egyetemi évei

Author(s): Árpád Kulcsár / Language(s): Hungarian Issue: 5/2020

In this paper I present a thorough examination of Laszló Ravasz’s publications from the period 1901–1903, when he was a student of the Protestant Theological Seminary and the State University of Cluj/Kolozsvár. In this period, he shows signs of uncertainty whether to become a Reformed minister or a journalist, novelist, or critic. This period of life of a student is typically characterised by an interest in almost everything. He writes more than forty poems, short novels, theatrical critics, but most often he relates about the student life in the magazine Kolozsvári Egyetemi Lapok. He attempts to follow well-known journalist of his time. His descriptive writings demonstrate how good a writer he was already in the early years of his career.

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Genialumo ir psichikos sutrikimų santykių problema psichopatologinėse Moreau de Tours, Lambroso ir Nordau koncepcijo

Author(s): Antanas Andrijauskas / Language(s): Lithuanian Issue: 103/2020

The article examines the various conceptions dealing with the interrelationship between genius and psychical disorder. These conceptions were developed by three most influential representatives of psychopathology: Moreau de Tours, Lambroso and Nordau. The article highlights the peculiarities of these authors’ theoretical and methodological approaches, their views on the problems of artists’ creative potential and the process of artistic creativity. The focus of the article is on: the connections between these authors and the earlier non-classical tradition of the philosophy of art, the critical discussion of principal ideas and theoretical and methodological attitudes, and the relations with other influential theories that deal with psychopathological problems.

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Spalvingas Jono Daniliausko tapybinių vizijų pasaul

Author(s): Antanas Andrijauskas / Language(s): Lithuanian Issue: 104/2020

The article analyzes the artistic style, poetics, and main creative tendencies of Jonas Daniliauskas, one of the most prominent representatives of the current Lithuanian National School of Painting. The peculiarities of his creative method are focused on the patriarchal traditions of rural Lithuanian folk culture. His favorite themes of painting – man and nature, the change of seasons, wildlife, female bodily beauty, love – are discussed in detail. The text focuses on the role of the world of memory and memories in the development of his style of artistic creation and the uniqueness of the means of artistic expression. Based on the analysis of specific works of art and the predominant plastic properties of artistic expression in them, the article shows that the subconscious sublimation of childhood memories and spontaneous images, and the emotional intensity of survival of the color phenomenon are of exceptional importance in the paintings of our unique master. In the article, Daniliauskas is treated as one of the most flamboyant of the Lithuanian painters, capable of expressing his emotional relationships with the world by the vivid play of colors.

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„Записки от подземието“: съзнанието като болест

Author(s): Emil Dimitrov / Language(s): Bulgarian Issue: 2/2021

The article presents a philosophical reconstruction of the views regarding consciousness expressed by the main character of Dostoyevsky’s Notes from the Underground. The man from the underground is found to be an innovative creation when compared with Julien Sorel, the main character in Stendhal’s The Red and the Black. The original idea that consciousness is an illness is theoretically elaborated through a close analysis of the text; the article also draws on philosophical fragments found in Dostoyevsky’s manuscript. The article stresses that this concept is in contradiction with the spirit and letter of the Cartesian tradition; the hypothesis is advanced that this is due to the radically different principle of philosophizing applied here: Cogito ergo sum is replaced by Credo, ergo est. The article present a number of oppositions: consciousness vs. human nature; consciousness vs. image; consciousness vs. living life; the thesis put forward is that the image is a basic instrument of consciousness in Dostoyevsky’s world. Finally, the article raises the problem as to the novel as a philosophical genre and highlights the role of the writer as the founder of this genre.

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Двете хроматични двойки от първичната триада през архаиката по Виктор Търнър

Author(s): Vyara Popova / Language(s): Bulgarian Issue: 2/2021

In his book Symbol and Ritual (1967), Victor Turner demonstrates how archaism, and particularly the rituals of tribal society, are able to explain some aspects of social processes in modern Western societies. With regard to the discussion on colors in the book, of specific interest is the derived primary chromatic triad (white-black-red), presented as pairs of dyads combined with an invisible third member. In Vedantic Hinduism, Turner finds a similar symbolic functioning in the color-guni relation. He thus expands the temporal continuum (from the Archaic period to the Middle Ages), supplementing it with a spatial continuum, that of ancient Eastern culture, which corresponds geographically to the Far and Middle East. The three most ancient colors (white, black and red) are thus analytically deduced and harnessed in the two dimensions.

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Играта и изкуството

Author(s): Marina Aleksandrova / Language(s): Bulgarian Issue: 2/2021

The article presents a short study on the theoretical, historical, philosophical, aesthetic and essential connection between play and visual art. The connections established between them are based on some fundamental trends in the field of gamification. The article gives examples of successful gamification in the field of art as well as systematized information on some functions, factors, tools and materials that teach effective gamification on the field of visual arts in the context of modernity.

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Remembering Mark Verlan. The artist who bridged poetry and apocalyptic jest

Author(s): Giovanna Di Mauro / Language(s): English Issue: 03 (46)/2021

Talk to anyone who met Mark Verlan and they will have a story to tell. Like that time when the famous Swiss curator, Harald Szeemann, travelled to Chișinău just to meet him and offer him the opportunity to exhibit his work in BLUT & HONIG (Blood and Honey), a retrospective hosted by the Vienna Essl Collection. During the time that Szeemann spent in Chișinău, Verlan was nowhere to be found, but 25 of his paintings (more than any artist’s present at the exhibition) made it to the retrospective. His friend and fellow artist Pavel Brăila recalls that, at the same exhibition, someone asked Verlan why he did not speak English and the artist sarcastically replied: “It was already difficult for me to learn Russian.”

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Archaism and Hegel in the Supply Reel. A Philosophical Look at André Bazin’s Realism

Author(s): Victor Bruno / Language(s): English Issue: 18/2021

André Bazin’s notion of cinematic realism has been either denigrated as “naïve” or been deformed to fit lines of thought in film studies that are at variance with the nature of his thought. However, as this article shows, there are strong influences of what one might call “archaic thought” in Bazin’s conception of realism. However, there is another influence on his thought: a substratum of Hegelianism, which often ignored in the reception of his work, contributing to its misrepresentation. At the end, we conclude if we forfeit this residual Hegelianism, not only we can have a better grasp of what realism truly is, but we also can have a more synchronous relationship between cinema and other art forms.

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Xhubleta dans l’aspect esthetique

Author(s): Agim Bido / Language(s): French Issue: 03fr/1987

De la vivacité et de la lumière contemporaine donne aux habits traditionnels leur «magie» artistique. Le progrès matériel et technique enlève en effet certaines fonctions pratiques aux habits populaires, mais ils sont appréciés et conservés aujourd’hui en tant que valeurs remarquables de la tradition culturelle artistique du peuple. Dans cet aspect, l’étude de la fonction esthétique des habits revêt une importance particulière.

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Valeur culturelle et artistique de l’exposition «la culture populaire albanaise»

Author(s): Afërdita Onuzi / Language(s): French Issue: 02fr/1983

Un patrimoine aussi riche et varié qu’est la culture populaire albanaise, possède en soi des valeurs inappréciables qu’on doit connaître et valoriser. Dans cet ordre rentre aussi l’exposition «La culture populaire albanaise» ouverte à Shkodër en octobre dernier, dans le cadre des activités en honneur du 40e anniversaire de la fondation du PTA et du VIIIe Congrès du Parti. L’ensemble de cette exposition occupe une partie de la rue qui porte le nom de notre dirigeant, Enver Hoxha. Y font partie aussi les magasins de vente des objets artistiques, des objets d’usage domestique, ainsi que le café-restaurant «Shkodra» adapté dans un style populaire. Le visiteur est immédiatement saisi, une fois dans cette rue, par l’atmosphère de cette exposition. Les façades des bâtiments, les portes et les fenêtres restaurées, ainsi que les lanternes et réverbères illuminant la rue, portent à 60-70 années plus tôt dans la ville de Shkodër. Et les impressions ne cessent quand on commence à connaître les objets exposés, qui représentent plusieurs genres de création artistique du peuple albanais.

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GÜNÜMÜZ ESTETİK ALGISI VE DIŞLANMIŞA DÖNMEK: DÖVME SANATI ÖRNEĞİ

Author(s): Itır Tokdemir Özüdoğru,Turgut Efe Varol / Language(s): Turkish Issue: 75/2020

With the developing technology, it can be seen that today's tattoo art is applied at a much more advanced level. With the increase in the level of technical competence, different tattoo styles have emerged and these styles have increased in number in mainstream practice. In addition to the proliferation of tattoos reaching a photo-realistic level and the use of famous actors, musicians and movie characters in designs, it is also seen that old styles are applied with a new style, as in the New-traditional tattoo trend. Looking at the history of modern art, it has been observed that each movement has developed new works by developing attitudes towards the styles before it. Similar to this situation, traditional tattoo styles have also developed. For this research, it was found important that the preference of ugly in tattoo art and its transformation into mainstream. Therefore, the semantic changes of the tattoo have been explained from the past to the present, and today it is seen that it is not only a way of expressing oneself, but also a cultural indicator such as thought, taste, music or book preferences. It can be thought that the human skin has also turned into a social media interface in today's world, where the Internet age and social media applications almost override physical coexistence. At this point, the preference of ugly aesthetics and the frequent application of visual diversity from medieval illustrations to occult symbols in tattoo art with new designs and original compositions are very important to understand today's tattoo art.

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AKSARAY IHLARA VADİSİNDEKİ YILANLI KİLİSE’DE BULUNAN YILANLI FRESKO VE FRESKO’NUN ESTETİK ANALİZİ

Author(s): Banu DAVUN,Yusuf Albayrak / Language(s): Turkish Issue: 50/2021

From the 4th AD, some Christian clergymen started to come to Göreme, Güzelyurt and Belisırma in Aksaray and Cappadocia regions and made these places a religiously important area. They needed a place where they could realized their religious ceremonies in the Ihlara Valley, share the bread and wine symbolizing the flesh and blood of Christ and be baptized, and they continued their lives in these places by building churches for this purpose. Dictionary meaning of the word church is the place of worship. Church architecture has developed in different forms and plan types. Churches, which are generally built with domes and cross plans, have appeared in different plan types since the early periods when Christianity started to develop. They made frescos mostly containing religious scenes on the walls of churches. Fresco is a wall painting technique using water-soluble paint pigments on wet plaster. It is a painting technique made directly on the rock with red ocher. With this technique, bedrock is used as a background. One of the churches where wall paintings are made is the Serpentine Church located in the Ihlara valley. In the wall paintings in the church. There are ascension to Sky, Child Jesus with Mariam and Bishop Chrysostomos, the Roman Emperor Constantine and his mother Helene, the death of Mary, be buried of the Egyptian Mariam, Daniel is Between the Arslans, The Last Dinner, and the Crucifixion, Jesus who seat cross-legged between Cebrail and Mikhail, the last judgment scenes and four women who have been attacked by snakes.

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BİR ESİN KAYNAĞI OLARAK GİYİM MODASINDA MOZAİK TEKNİĞİ

Author(s): Meltem Ok / Language(s): Turkish Issue: 32/2020

It’s possible to describe mosaic technique as the art of decorating a surface by small fragments of the materials such as gem, porcelain enamel, glass, wood and ceramic. Beginning from the ancient ages the mosaic technique, which has been used in the decorations, wall tiles and ceiling paneling of many temples, chapels and shelters, has reflected the culture, belief and the life style of the era it was used in. With a history that dates back to ancient ages, it has been one of the art sources of many civilisations and nations, it has passed on the characteristics of the era it was in to the next generations and become the inspiration for many contemporary designers and artists with its aesthetic look and texture. In this study, by supporting with the collection samples from worldwide known designers, it was tried to analyse the effects of the mosaic technique, which can be seen in many art and design products and requires a lot of effort, on today’s fashion, and the techniques used by the designers in order to achieve the mosaic effects. In order to achieve a better analyse, the history of the mosaic technique, production techniques and the materials were also mentioned briefly. Besides, authentic designs that were created by inspiring from the mosaic technique, which has a rich cultural heritage, were also included.

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II. DÜNYA SAVAŞI DÖNEMİ VOGUE DERGİ KAPAKLARINDAKİ KADIN İMGESİ VE GİYİM ANLAYIŞI ÜZERİNE GÖSTERGEBİLİMSEL BİR ÇÖZÜMLEME

Author(s): Semay Tanyer,Kafiye Özlem Alp / Language(s): Turkish Issue: 32/2020

Fashion is not only a form of aesthetic understanding, but also a socio-cultural phenomenon that contains strong connotations, takes shape by being influenced by many areas and is constantly changing. Particularly, the effects of world war period, during which great crises were experienced, on fashion and clothing brought along a formal and aesthetic transformation in women's clothing, as well as a number of obligatory sociological effects. The main purpose of this study is to investigate the reflection of war on women's image, fashion and clothing by examining the covers of World War II period semiotically. At the same time, it was tried to determine how fashion was shaped by the effect of the period, together with its symbols and connotations. The population of the study consists of 143 Vogue magazine covers published during the Second World War. The sample was determined by the purposeful sampling method, with a total of three magazine covers, one from 1942, 1943 and 1944, when the United States was active in the war. In the study, Vogue magazine covers were examined semiotically through Roland Barthes' semiological scheme, the connotations of the women's photographs on the cover were interpreted through cultural codes, and the written signs were, on the other hand, interpreted by examining the slogans on the cover. The effect of the period on the fashion and dressing sense were studied through the interweaving theory that had been adapted from the intertextuality theory to fashion and created by T. F. Broden. As a result, it has been observed that the image of women on Vogue magazine covers reflects a patriotic, benevolent, peaceful, self-sacrificing woman, who is at least as active as men during the war and has a voice, ready for duty, and a strong woman.

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PHENOMENOLOGY AND THE ‘LEVITATION-FLOATING’ FEELING IN MUSIC’S NOSTALGIA. AN ENDLESS {‘INTO’}-FALLING

Author(s): Maria-Roxana Bischin / Language(s): English Issue: 2/2021

The essay focuses on completing one of Husserl’s signitive theory with a new perspective. The discussion of the signitive theory is based more on the apperception’s function than to the perceptive one. We have observed that music produces for the ʻSelfʼ different feelings. But one of the most seductive feelings we want to discuss related to music is the perpetual floating-feeling, which is quite similar to the levitation process and it has connections with the idea of the lightness of the Being in some circumstances. Despite these, stays nostalgia. We are introducing a model based on two terms, as permanent {ʻintoʼ}-falling Self’s condition into the sounds and the signitive-apperceptive-intuition. The basic assumption is that music is a continuously phenomenological-fall which extenses the Husserlian theory more, completing it day by day. We hope that our concepts proposed here, signitive-apperceptive-intuition and the {ʻintoʼ}-falling will bring a new light in modelling the sound in a phenomenological manner.

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DOĞA VE İNSAN İLİŞKİSİ BAĞLAMINDA CASPAR DAVİD FRİEDRİCH’İN MANZARA RESİMLERİ

Author(s): Neslihan Özgenç Erdoğdu,Sümeyye ERTOP,Uğur Özdemir / Language(s): Turkish Issue: 45/2020

Human's relationship with nature starts from the first moment of human existence. This relationship has a vital importance, considering the power of nature toward human beings and what it offer to the human beings. The implications of this organic connection between man and nature have also made people feel incapable of the unknownness of natural phenomena. Therefore, human beings wanted to comprehend the sense of nature and solve its secret. Religion, science, philosophy and art have also been the determinants of the historical process of this relationship as ways of understanding and defining nature. As a result of the advancement of science, every change in social structure has shaped the intellectual and artistic attitude of the period and the idea of dominating nature, especially during the Enlightenment period, encouraged the man. This thought, which remained in theory at the time, found its application in practice with the industrial revolution. Romanticism, which opposes the mechanical worldview of Enlightenment period starting from Descartes, has drawn attention to the negative effects of alienation from nature and brought intuition to the forefront of the rationality of Enlightenment. In particular, Romantic artists, who cannot be considered apart from the German Idealism, have frequently referred to the greatness and divinity of nature and the longing for nature in their works. The aim of this study is to examine the factors that shape the relationship of human beings with nature and to analyze through the perception of the period, the ways in which German Romantic artist Caspar David Friedrich handles nature in his landscape paintings.

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BİR SANAT HAREKETİ OLAN MİNİMALİZMDE İZLEYİCİ-ESER ETKİLEŞİMİNİN ALGISAL BOYUTLARI

Author(s): Mehmet Susuz,Ahmet Türe,Ömer Tayfur Öztürk / Language(s): Turkish Issue: 50/2020

One of the breaking points of the change that art has undergone in terms of both form and content is Minimalism. There are processes that affect the existence of every art movement. The sociocultural structure that emerged after the World Wars has had influence in the field of art, as in many other fields. The Abstract Expressionism movement that emerged in this period, aimed at rejecting the familiar structure of painting, detached objects from their real-world forms / characteristic structures and included unusual artistic forms in the process. Despite this hard-to-perceive automatism-based complex structuring put forward by the Abstract Expressionism movement in art, it is a common belief that Minimalism, which aims at plain and simple forms based on logic in painting and sculpture, is "a reaction against Abstract Expressionism". Despite the "subjective" based complex formalism that Abstract Expressionists have created with the intensity of emotion, Minimalists have revealed their understanding of art with the "objective" based forms they have created as a result of a planned effort. However, the simplicity of the forms in Minimalism should not bring to mind the idea that the intellectual dimension in the essence of the works can be easily perceived. The existence of conceptual values should be taken into consideration in the formation of minimal forms. Although minimal art is shaped with an "objective" approach, it is important to reveal the sociocultural motivations that affect the formation of the works in the essence of the audience's ability to perceive the works. Minimalism, which centers the interaction of "industry, object and art", opens a critical space for the audience, who are the receptors of art, regarding the state of art. On the basis of this criticism, beyond its plain style, Minimal art's complex conceptual (intellectual) structure can be manifested. Purpose of this research, To reveal the intellectual foundations that affect the formation of Minimal art and to touch on the perceptual dimensions of the minimal artworks and audience interaction. In this research conducted within the framework of the title of "Perceptual Dimensions of Audience-Work Interaction in Minimalism Art Movement", scanning method has been used to obtain information and documents. The obtained information and documents have been used in a way that provides integrity for the purpose of the research.

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PİCASSO’NUN KÜBİK RESİMLERİNDEKİ KADIN İMGELERİ

Author(s): Özlem Kireçoğlu Yavuz,Emre Şen / Language(s): Turkish Issue: 51/2020

Since the history of humanity, the image of women has always been attractive; poetry, as well as painting and sculpture, novels, stories and many other subjects have been the subject. The beauty of the woman, sometimes her ugliness, sometimes her sorrows, sorrows, tears, joys and excitement sometimes inspired a poet or a painter, sculptor, writer, composer. A woman's portrait, her naked body, her nobility, and even her identity have led to wars between very powerful civilizations. In the works of Picasso, one of the most important, different and even the most critically acclaimed artists of the 20th century, the image of woman is frequently encountered. Picasso, who has received many criticisms from some circles, has been approved and regarded as a genius by some circles, especially in his Cubic paintings, depicting women's portraits and women's bodies in different geometric shapes. Picasso stated that he was influenced by many artists and works by saying I get what I need from other artists ve and that he used what they found appropriate in his own works without hesitation. The aim of this study is to examine Picasso's works with a female image in her cubic paintings and to evaluate her perspective towards women. For his reason, this study is a qualitative research method which is a due diligence model and the data is analyzed with document analysis method. The results of the study are important in terms of analyzing the image of women in Picasso’s Works and being a source for other scientific researches.

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Muzyka jako teofania? Pytania do George’a Steinera

Author(s): Marcin Trzęsiok / Language(s): Polish Issue: 66/2019

Music occupies a special place in George Steiner’s thinking: “Three areas: the essence and name of God, higher mathematics and music (what is the connection between them?) are located at the limits of language” (Steiner, Errata). The seemingly rhetorical question in parentheses turns out to be a source of deep controversy, the essence of which is revealed in historical-genealogical reflection. Steiner attempts to incorporate Romantic metaphysics within the traditional scholastic symbiosis of Biblical creationism and Pythagoreanism, which reveals his philosophy of music to be entangled in a range of contradictions. On the one hand, a critical reading of Steiner's works uncovers the difficulties posed by the attempt to reconcile pre- and post-Enlightenment culture; on the other hand, the still unused opportunities offered by Romanticism and its modernist continuations are clearly visible. Musical aesthetics, rooted in the idea of infinity, plays a crucial role in these divagations.

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