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La littérature et les sources littéraires dans l’écriture du chercheur
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The works of Frane Petrić have been studied intensively in Croatia and abroad in the last decades. Petrić does not stop to amaze us with his great erudition. Ali the themes he wrote about - beginning with his juvenile works and taking its mature shape in Nova de Universis Philosophia - were studied systematically and in opposition to authorities and contemporanities. This also applies to his Poetics. That huge work is not fully presented in this article, but, instead, it’s one aspect have been investigated. This work is considered to be a specific defense of poetry, which has been taken by Petrić’s unbreakable connection and joining together poetic and divine, which has the miracle as their common. In reading this work, we could not help but to be amazed over the quantity of issues it elaborates. Even more amazing is the clarity of Petrić’s language in most complicated themes, as vvell as the impression that in front of us we have a book which can say a lot to contemporary scholars of poetics and aesthetics.
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This volume is dedicated to Georg Lukács’ concept of form. The concept itself is understood in the broadest sense as the result of drawing boundaries, which open a framework for communication and social mediation. Form, as Judith Butler aptly remarked with regard to the scope of the term in the work of the early Lukács, is nothing that is added to the expression, but rather it becomes a condition, a sign and the possibility of its subjective and objective truth (Butler 2011). Even more: As Form, according to Lukács, can never be understood outside of its own genesis, the concept becomes the presupposition of a practice of literary and cultural studies which sees itself as the critical reading of the genealogy of forms (Menke 2018). To such a reading, the volume shows, Lukács not only subjected the forms of literature, life and the social, but did so with a degree of lucidity unmatched in literary and cultural studies to this day. If the possibilities of the form-genealogical approach remained largely unfollowed, it was because the problem of form highlighted by Lukács was overshadowed by the dogmatism with which he later tried to solve it.
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Ryba examines the notion of hüzün in Orhan Pamuk’s fiction with a focus on the historical and linguistic context. He draws on theories of affect as well as memory and postcolonial studies. His aim is to highlight the multidimensionality and functionality of the notionof hüzün, and to make its complexity accessible to Polish readers.
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Topolski proposes to set up the research field of tactile anthropology to explore the broadly understood sense of touch. First he outlines the biological functions of touch, the meanings attributed to it in Western culture, and the definitional complexity of this sense.In the following sections, he describes the goals and guidelines of tactile anthropology,locating this research field in anthropology of the senses. Then he discusses the following issues: closeness in the socio-cultural and academic context, the politics of the senseof touch combined with the concept of tact and skinship, which allows to think aboutnon-human dimension of skin.
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Cyzman examines the network of relations created by the mirabelle as a thing (a tree inMuranów) and the mirabelle as a literary construct in Cezary Harasimowicz’s children’s book Mirabelle. Both are approached from the perspective of the turn towards things and, drawing on Bruno Latour, as non-human actors in the network of reality. By acting with human actors, the thing plays an active role in the historical persistence, social identity and integration of interpretive communities. Cyzman discusses the possibility,key to posthumanist anthropology, of an extra-discursive grasp of things in opposition to poststructuralist approaches that have textualised things, projecting their receptionin a symbolic mode mediated by a human actor. She also indicates the possibility of a relational approach to literary objects, the meaning of which emerges within the perpetually mobile network of reality, within various dimensions relating to society, the media, culture and text.
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The topic of the author’s reflections is the connection between the Swiss theologian Karl Barth, one of the greatest religious thinkers of the twentieth century, and Nikolai Berdyaev, one of the greatest Russian philosophers. The common denominator between Barth, author of the multi-volume Church Dogmatics, and Berdyaev, the philosopher hostile to dogmas and systems, i.e., between two thinkers coming from vastly different intellectual traditions, is sought in a narrow theme in the philosophy of religion/theology, namely, the question of the religious significance of genius. The theme is reflected in their respective interpretations of Mozart and Pushkin. The author demonstrates the general belief that the question of human genius goes beyond the sphere of philosophy/theology of culture: genius transcends the boundaries of this world. It touches on the hereafter and reveals it to us: in this lies its religious meaning
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The article examines the specific projections that the feminist ideas receive in architecture. Irigaray's concept of the "shared world", Braidotti's materialist theory of becoming, political readings of the ethics of care are creatively developed in the ideas of A. Wheeler, P. Rawes, I. Toscano, S. Torre and others. The conclusion is that these feminist readings are successfully projected into an architectural environment. There are several reasons for this: first, regardless of their heterogeneity, they take as a starting point the difference freed from its negative burden, turn it into a difference-in-itself and make a significant contribution to its theoretical understanding; second, in them the feminine becomes a way to substantiate innovative reflections, the impact of which transcends the boundaries of feminist knowledge and has its projections in various fields, among which architecture has its reserved place. It is in their capacity as philosophies of togetherness that feminist readings of the architecture, in which being-with-the-other plays a leading role, build a new type of connection and become legitimate approaches to the architecture.
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The article is devoted to a phenomenological clarification of the principles of architecture. The author generally follows the logic of the presentation in Vitruvius’s treatise Ten Books on Architecture, but also uses elements of the speculative deduction of architectural elements in Hegel’s Aesthetics. Heidegger’s ontological designation of man as Dasein is interpreted as inhabiting; thus, the author attempts to establish a link between the ontological and the architectonic aspects of human existence.
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This paper argues that Chinese- Kung-fu films are unique presentations of human movement as a system of bodily aesthetics. By adopting a Daoist aesthetics of yin-yang cosmology, martial artists perform the dictum by Zhuanzi’s “The myriad things come out of ji and go into ji”, with the character ji as some kind of the Deleuzian “desiring machine”. There we see a human-technicality convergence as characterized by a posthuman merger within the process of complex visuality, particularly presented through the cinematic form. Kung-fu performance on screen, therefore, affords a kind of natural cyborg intersectionality within what can be called a posthuman Daoism, a kind of commingling of the ancient and posthuman technics.
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The aim of the study is to identify such strategies that reveal the theatrical quality of film language in the movies of Australian director, screen writer, and producer Baz Luhrmann, and to examine how they reflect the development of his poetics as an auteur. Theatricality defines his first three film projects Strictly Ballroom (1992), Romeo + Juliet (1996) and Moulin Rouge! (2001), therefore they are together referred to as the so called Red Curtain Trilogy. The explication of ties to theatre that characterizes Luhrmann’s oeuvre reveals the connection between various types of stage, and staging, as well as the specific qualities and development of Luhrmann’s directorial style, and his understanding of film, and its language. Luhrmann’s film image is complex in the semiotic reading, each detail has an aesthetic, and semantic value often due to the disposition of film language. Luhrmann’s artworks remain in a number of cases saturated by his performative vision of the world. The degree and specific quality of film language such as ostension (manifested as illusionism, meticulously arranged mise-en-scène, and aestheticized sets, and costumes or pompous carnivalesque musical and dancing show), camp, and citations are closely examined in feature films such as Australia (2008) and The Great Gatsby (2013), in the series of short staged interviews between two icons of fashion world Schiaparelli and Prada: Impossible Conversations (2012) and in the TV series The Get Down (2016 – 2017). These cultural products also confirm their connection to theatre and their author’s interest in various stage forms reflecting on culture based on a play principle.
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The arabesque is a visual abstract form of Islamic culture which, together with calligraphy, most vividly affirms the central idea of Islam – Tawhid, expressing thus the desire of a Muslim for the Infinite. It has, through its surface or plastic geometric, plant-like and calligraphic ornamentation, become one of the most characteristic features of Islamic art. The first part of the paper discusses arabesque as a form of Islamic art which, with its stylized and abstract forms, continuity of rhythm and aspirations to return to the primordial order of things, becomes a visual confirmation of Tawhid, a sign of God’s oneness, transcendence and un-representability. Questions about the origin of arabesque, its name and concept, types and forms of its aesthetic and artistic realization are also considered. Further, the paper discusses the relationship between arabesque and calligraphy, through which the pinnacle of decorative perfection in Islamic art was reached. In the last part of the paper, a discourse on the influence of arabesque on the shaping of consciousness about the timeless, infinite and supra-formed, as opposed to temporal, finite and formed, is developed.
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The article examines the definition and basic principles underlying the traditional Islamic art in order to once again draw attention to the necessity of their knowledge and revival. The basic principle from which they originated today known forms of traditional Islamic art is the principle of tawhid, which is the foundation and backbone of origin and leans on all the other principles: beauty, abstractiveness, intellectual nature, mathematical nature, geometry and rhythm, processing materials in accordance with their nature, usability and symbolic expression.
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The paper presents, from the perspective of spiritual, aesthetic, artistic and historical significance, some of the most relevant works of Islamic art in Spain from the blooming period of Muslim culture in it. The paper is divided into two parts. In the first part we develop discourse about the Great Mosque in Cordoba, one of the most famous monuments of religious art of Islam.
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Art, which has survived from the earliest times to the present, With the new horizons opened as a result of the developments in science and technology, on the one hand, it pushed the limits of the imagination of human beings, on the other hand, it also caused a change in the methods used in the works of art produced. In the 1960s, the concept of modern art, which emerged at the end of the 19th century, started to leave its place to contemporary art, especially in the visual arts, rejections of aesthetic concerns emerged, and electronic music, which was on the rise in the auditory arts in the same period, has completely changed the game. The main point of this article, which will deal with issues such as the concept of Raw Art and the emergence of electronic music, is the show called Coucou Bazar, in which Jean Dubuffet and İlhan Mimaroğlu use painting, movement and music together. This show, which was quite extraordinary and resounding as of the period it was held, will be evaluated in terms of the visuality that our world-famous composer, who has worked far beyond his time, prefers to use in his different works, as well as being an inspiration to today's artists.
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