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Hermeneutyka spojrzenia we współczesnej sztuce wizualnej. Idea widzeniai poetyckie „wypatrywanie”

Hermeneutyka spojrzenia we współczesnej sztuce wizualnej. Idea widzeniai poetyckie „wypatrywanie”

Author(s): Rafał Solewski / Language(s): Polish Issue: 217/2016

The article at the beginning recalls the various reflections on looking, seeing, vision and im - age discussed within the so-called visual turn. Next we conduct analyzes and interpretations of works of David Hockney, Marina Abramovic and Robert Cahen, which deal with different aspects of looking, seeing, vision, and perception of another. The presence of poetic opera - tions in works, discovered in hermeneutical interpretation, is indicated. Such an interpre - tation allows to reveal the intuitions and traces of metaphysical ideas in works of art and through works of art, to which the research discourses dominating within the so-called visual turn did not sufficiently served. In conclusion, I propose to use the term “to actively seek” for the intuition of metaphysics, based on the analogy with the Hans-Georg Gadamer concept.

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LA TRASMISSIONE DELLA FEDE IN UNA SOCIETÀ SECOLARIZZATA SULLA BASE DELLE PRINCIPALI PUBBLICAZIONI DI DON LUIGI GIUSSANI

LA TRASMISSIONE DELLA FEDE IN UNA SOCIETÀ SECOLARIZZATA SULLA BASE DELLE PRINCIPALI PUBBLICAZIONI DI DON LUIGI GIUSSANI

Author(s): Matteo Campagnaro / Language(s): Italian Issue: 1/2023

The article explores the theological-pastoral thought of Luigi Giussani, a priest of the diocese of Milan and founder of the Communion and Liberation movement. We want to examine in particular the method proposed by Giussani for transmitting the Christian faith in a pluralistic and secularized society. Giussani’s theological-pastoral thought is characterized by his passion for rationality, by a paresia in wanting to transmit to young people a Christianity that is not dutiful, reduced to an ethical imposition, but as a ‘Fact’ that has happened, which can be experienced today in the reality of the ecclesial community. According to Giussani, in order to transmit faith to modern man it is necessary to offer a pastoral that proposes faith in Christ as an aesthetic encounter that responds, that is, to man's needs for beauty, truth and goodness and to which it is reasonable to adhere. Faced with the anthropological problem of modernity, an adequate response for Giussani can come from a faith that attracts man for his beauty, that is, for his rational correctness.

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PRZEKAZ WIARY W ZSEKULARYZOWANYM SPOŁECZEŃSTWIE NA PODSTAWIE GŁÓWNYCH PUBLIKACJI KS. LUIGIEGO GIUSSANIEGO

PRZEKAZ WIARY W ZSEKULARYZOWANYM SPOŁECZEŃSTWIE NA PODSTAWIE GŁÓWNYCH PUBLIKACJI KS. LUIGIEGO GIUSSANIEGO

Author(s): Matteo Campagnaro / Language(s): Polish Issue: 1/2023

The article explores the theological-pastoral thought of Luigi Giussani, a priest of the diocese of Milan and founder of the Communion and Liberation movement. We want to examine in particular the method proposed by Giussani for transmitting the Christian faith in a pluralistic and secularized society. Giussani’s theological-pastoral thought is characterized by his passion for rationality, by a paresia in wanting to transmit to young people a Christianity that is not dutiful, reduced to an ethical imposition, but as a ‘Fact’ that has happened, which can be experienced today in the reality of the ecclesial community. According to Giussani, in order to transmit faith to modern man it is necessary to offer a pastoral that proposes faith in Christ as an aesthetic encounter that responds, that is, to man's needs for beauty, truth and goodness and to which it is reasonable to adhere. Faced with the anthropological problem of modernity, an adequate response for Giussani can come from a faith that attracts man for his beauty, that is, for his rational correctness.

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Epilog. Living with the perplexities of our being-in-the-world with others: the paradox of Bildung

Epilog. Living with the perplexities of our being-in-the-world with others: the paradox of Bildung

Author(s): Andrzej Wierciński / Language(s): English Issue: 2 (43)/2023

One of the most powerful challenges of being in the world with Others is learning when to be affected by power beyond our wanting and doing. The hermeneutic experience of art highlights the power of letting things show themselves to us and provoke cathartic transformation. The message of the Gospel teaches us the need for sensitivity to divine inspiration and radical openness to Revelation. The power of philosophical thinking can humble us to wonder at the paradoxes and finitude of human wisdom. A close reading of Heraclitus in conversation with Aristotle, Heidegger, and Gadamer faces us with the power of the contradictions and “unstable equilibrium” of the cosmos in which we must ever learn to play with fire. The hermeneutics of power between art, poetry, theology, and philosophy brings into relief the transformation that is called for in the formation (Bildung) of human beings and which exposes the indivisibility and unpredictability of education and life. The groundbreaking insight of the hermeneutic dialectic of power is rediscovering the capacity to let oneself be led, let oneself learn, and let oneself be overpowered and empowered in the inspired and inspiring sway of being between other humans and the divine.

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Dlaczego Śnieżka łaknie krwi? Popkulturowe wariacje wampiryczne na temat Grimmowskiej baśni

Dlaczego Śnieżka łaknie krwi? Popkulturowe wariacje wampiryczne na temat Grimmowskiej baśni

Author(s): Weronika Kostecka,Maciej Skowera / Language(s): Polish Issue: 33/2023

As a meme-a cultural replicator-the fairy tale about Snow White has high viral potential in Jack Zipes’s understanding. Research conducted on this cultural text has revealed the presence of its several hundred versions on several continents, with the best-known literary variant being the Grimms’ one. In this paper, we focus on the comparative analysis of the vampiric incarnations of Snow White in three literary works: the short stories Snow, Glass, Apples by Neil Gaiman (1994) and Red as Blood by Tanith Lee (1983), and Rashelle Workman’s novel Blood and Snow (2013). They show clear affinities with the Grimms’ variant: whether at the implicit level, using plot, aesthetic, and components canonized by this version, or at the explicit level, through direct paratextual and metafictional clues. Thus, we make an attempt to add to the state of research on popular culture images of the vampire, and at the same time to join the current of Grimmological studies developing in our country.

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Новозаветные метафоры моря и огня в «Пирамиде» Л. М. Леонова

Новозаветные метафоры моря и огня в «Пирамиде» Л. М. Леонова

Author(s): Alexander A. Dyrdin / Language(s): Russian Issue: 4/2023

The article is devoted to the study of the Gospel metaphor in L. M. Leonov’s novel “The Pyramid” (1940–1994). The theme of associative and symbolic nature, religious, mysterial, and metaphorical context of the writer’s works is at the initial stage of research. The study material comprised the sea and fire metaphors, as well as other metaphorical images taken from the three synoptic Gospels of the Russian Synodal Bible, as well as the Revelation of John the Theologian with their abundance, miracles, visions and prophecies. Certain features of metaphorization in the “Pyramid” related to the philosophical and artistic essence of Leonov’s creative persona, ontologically sharpened vision of man and the world are studied. The proposed observations are of a preliminary and fragmentary nature. The task of the work is to reveal the metaphors that have become the most important element of Leonov’s artistic thinking and style. The methodology of the article is integrated with the Christian tradition of interpretation of the Old and New Testaments, patristic hermeneutics, and modern ideas about metaphor. The author uses cognitive and linguistic tools, as well as the modern studies of metaphor, to comment on the metaphorical images of the Gospel. The unity of the writer’s spiritual and aesthetic experience is revealed in the suprastructural figurative system generated by the craving for symbolization of events and characters. The metaphoric images of the novel serves as a bridge between the content of the Gospel canon and the author’s artistic logic, materialized in a chain of transformed biblical allegories, parables, and prophecies. In the text of the novel, they are replaced by metaphorical idioms that have a syncretical synthesized integrity. Leonov’s accretion metaphors form a new metaphorical field. Without losing their original spiritual and moral semantics, they become self-sufficient. Leonov’s philosophical and aesthetic intuition, which integrates different levels of reality and generates additional meanings . We can talk about the combination of metaphors , the double metaphor, the mixed, non-contradictory metaphor that unfolds in the novel and forms the basis of the narrative system. The result of the semantic explication of the direct Gospel metaphor was the assimilation of the meanings given by the Gospel text. With the help of extended metaphors and paraphrases, Leonov signifies the key ideas of the Pyramid. The main one is the tragic shifts in national destiny caused by the apostasy from Orthodoxy, from the foundations of Russian cultural identity. The metaphors considered in the article are graphically highlighted in the text of the “Pyramid.” Graphic accents in phrase metaphors are essential for the reader’s perception of the work. Metamorphic image archetypes of the Way, the Ship, and the Truth highlight the ideological and philosophical depths of Leonov’s last work.

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Nietzsche and Cinema: Cinematography as an Expression of Unity between Apollonian and Dionysian Impulses

Nietzsche and Cinema: Cinematography as an Expression of Unity between Apollonian and Dionysian Impulses

Author(s): Cristina Radu / Language(s): English Issue: 2/2023

The following article analyzes the process of filmmaking through the framework of Friedrich Nietzsche’s Apollonian-Dionysian dichotomy. Specifically, it centers on cinema as an example of the interplay of both Apollonian and Dionysian impulses. The first half of the article provides a definition of Nietzsche’s dichotomy and two descriptions of Apollonian-Dionysian unities as cultural tendencies and artistic elements. The second half of the article examines how key aspects of the movie production process embody either Apollonian or Dionysian elements. Additionally, a case study of the film Pan’s Labyrinth is employed to exemplify these concepts in a movie experience.

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Tarihin Estetik Dönüşümü: Edebi Ükronya Örneği Olarak Stefan Köhler’in Deutschlands Rückkehr İsimli Romanı

Tarihin Estetik Dönüşümü: Edebi Ükronya Örneği Olarak Stefan Köhler’in Deutschlands Rückkehr İsimli Romanı

Author(s): Müge Arslan Karabulut / Language(s): Turkish Issue: 22/2023

When historical events are re-evaluated from the point of view of the current period, it can make the individual think of different possible causes and consequences. With such an approach, the history is constructed with its alternatives. Thus, the uchronia/alternate history, which is essentially a subgenre of the science fiction in literature, emerges. Ucronia, in the most general sense, suggests a possible history by presenting different perspectives on events that took place in world history. Stefan Köhler's novel Deutschlands Rückkehr, published in 2021, reconstructs the Second World War as Uchronia, drags Adolf Hitler on a different adventure. In this study, first of all, general informations about the uchronia will be given, then Köhler's novel will be examined as an example of this genre. Thus, the traces of the transformed history in the novel will be revealed. It is aimed to contribute to field studies by examining with a text-based method the coming together of fiction and history and the literarization of history.

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HAYVAN İSKELETİNİN SANAT VE MİMARİDEKİ YANSIMALARI

HAYVAN İSKELETİNİN SANAT VE MİMARİDEKİ YANSIMALARI

Author(s): Özlem Geylani / Language(s): Turkish Issue: 108/2023

The journey of human existence in nature is a comprehensive and complex process that ranges from the theory of evolution to cultural activities such as art and architecture. This experimental journey, which began with hunting, food gathering, and shelter construction activities for survival in the Paleolithic era, also ensured the development of primitive tool designs as a result of the problems encountered. Especially from the Holocene era and Upper Paleolithic period onwards, the design evolution that started with the use of materials such as stone, bone, clay, and others also reflected on productions such as painting and sculpture. The reason why humans imitate nature is the desire to transform what they understand about natural colors, geometry, and motion into functional and aesthetically beautiful designs. In this context, the connection established by humans with the form and function of animal skeletons, which are closest to themselves in terms of species other than themselves, still meets current design needs at the intersection of observation, curiosity, and experimentation. Thanks to all the productions made to discover the secrets of nature and the universe, develop technology and shape the future of the world, people today can live together in the modern world with different cultures, languages, and traditions. To understand human's need and ability to take inspiration from nature, examining the products of primitive civilizations and cultures considered civilized, which show similarities with animal form and skeleton in the fields of medicine, art, and architecture, can be guiding in the historical process. In the projects of modern architects today, how they transform the geometry and function of the structure and design of the building through the animal skeleton with the biomimetic philosophy is therefore among the main topics evaluated in this study.

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ЕСТЕТИКА НОНКОНФОРМІЗМУ В ДИЗАЙНІ СЦЕНІЧНОГО ПРОСТОРУ ДАНИЛА ЛІДЕРА (1965–1975 рр.)

ЕСТЕТИКА НОНКОНФОРМІЗМУ В ДИЗАЙНІ СЦЕНІЧНОГО ПРОСТОРУ ДАНИЛА ЛІДЕРА (1965–1975 рр.)

Author(s): Anastasiia Yermukanova / Language(s): Ukrainian Issue: 1/2023

The purpose of the article is to identify the specifics of the manifestation of non-conformism tendencies in the work of Danylo Lider, People's Artist of Ukraine, chief artist of the Ivan Franko National Academic Drama Theatre in Kyiv in 1965–1975. Research methodology. The article uses a typological method (to identify the peculiarities of non-conformism in accordance with the specifics of stage design); a functional and typological method, which helped to identify the specifics of non-conformism in D. Lider's plastic solutions; a method of art historical, figurative and stylistic, formal and stylistic analysis of the design of the stage space of performances developed by D. Lider in 1965-1975. Scientific novelty. Non-conformism as a method of artistic thinking in the context of the specifics of the design of theatrical art of Ukraine in the 1960s-1990s is studied. The specificity of the manifestation of non-conformist tendencies in the work of one of the leading Ukrainian theatre artists D. Lider is revealed. Based on the analysis of architectonic elements and features of the visual image of the stage space of the plays "Diary Page" by O. Korniichuk (directed by V. Lyzogub, 1965), "Yaroslav the Wise" by I. Kocherha (directed by B. Meshkis, 1970), "The Time of Yellow Leaves" by O. Kolomiiets (1973), "Hello, Pripiat!" by O. Levada (directed by S. Smiian, 1974) revealed the characteristic features of Danylo Lider's non-conformism. Conclusions. The non-conformism of national theatre artists, in particular D. Lider, has a number of specific features that distinguish it from non-conformism in literature and the visual arts. The artist expresses a huge ideological, spiritual and artistic protest by means of multidimentional metaphorisation. Using myths and the tendency of his own consciousness to deep philosophical mystification of reality, he creates amazing, fantastic worlds within a given stage space. A peculiar reaction to the limitations of positivist aesthetics and naturalistic tendencies of socialist realism in D. Lider's work was the play of metaphors and associations. Non-conformism in the design of D. Lider's stage art is manifested in a complex synthesis of the master's philosophical, ideologicall and aesthetic concepts with the actual searches for new artistic forms. Its characteristic features are: a tendency to an highly complex, symbolic portrayal of one's own ideas and impressions, to a sophisticated coding of artistic means; immersion in the spiritual world and unusual forms of expression of new psychological material obtained as a result of comprehending the literary source of the stage production; creation of a figurative and plastic structure of the performance that goes far beyond the dramatic material; destruction of the canons of traditional artistic design in the style of socialist realism in search of a new reality; emphasis on the nuances of the deep shades of human feelings.

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Anna Snaith, ed.: Sound and Literature

Anna Snaith, ed.: Sound and Literature

Author(s): Mahesh Sharma / Language(s): English Issue: 1/2022

Review of: Anna Snaith, ed.: Sound and Literature, Cambridge University Press, 2020.

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KURGUSAL GERÇEKLİKTE OTOPORTRE KULLANAN İKİ FEMİNİST SANATÇININ ESERLERİNİN SANAT ONTOLOJİSİYLE ANALİZİ

KURGUSAL GERÇEKLİKTE OTOPORTRE KULLANAN İKİ FEMİNİST SANATÇININ ESERLERİNİN SANAT ONTOLOJİSİYLE ANALİZİ

Author(s): Aşkın Bahadır / Language(s): Turkish Issue: 84/2023

The concept of ontology, which means "science of being", is a field of philosophy that investigates what really exists, what types of things exist and how they are used. The most fundamental question of ontology is “what is being?” and “what are the things that are totally fundamental?” is the question. According to the ontological approach, there are two types of existence as Real (real) Entities and Irreal (Ideal) Entities. Real beings are those that are perceived by the senses and examined by science. Ideal, that is, irreal entities, are entities that cannot be perceived by the senses, but are grasped by mental thought process and intuition. The main purpose of ontology is to reach these irreal entities. How the work of art exists is questioned by the ontology of art. In the ontological analysis of the work of art, there is an order of real and irreal layers, and the work has seven layers of existence. In the real layer, which is the first layer of existence, materially what the work is is explained. In the second layer, the entity layer, the sense of depth in the work, the determination of light and shadow, figures, objects and objects are defined and the compositional setup is explained. In the third layer of existence, the element of movement in the work and how it emerged is revealed. The fourth entity layer, on the other hand, includes revealing the color element and revealing the character and harmony of the color. The fifth entity layer includes the spiritual reading of the figures' mood and body facial expressions. In the sixth layer of existence, the psychology that appears in the portraits should be tried to be determined. The seventh and last layer of existence is defined as the ideality layer, and the background of the work as the universal idea is revealed. In this layer, the basic idea of the work, its philosophy and the concepts that shape the work should be revealed. This method, which is applied in the ontological analysis of the artistic work, can also be used in contemporary artistic applications. In this context, selected self-portraits of Cindy Sherman and Shirin Neshat, which were sampled in the research, were analyzed using the ontological analysis method. In the layers of ontological analysis, it has been determined that both artists create self-portraits in the field of photography, they present fictional reality to the viewer while revealing these self-portraits, and they create a set of feminist meanings by creating ideality in the deepest ontic layer.

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«ДВІ ЛЕГЕНДИ» ДЛЯ ФОРТЕПІАНО ПІЗНЬОГО ПЕРІОДУ ТВОРЧОСТІ Ф. ЛІСТА В РІЧИЩІ ДУХОВНО-ЕСТЕТИЧНИХ ПОГЛЯДІВ КОМПОЗИТОРА

«ДВІ ЛЕГЕНДИ» ДЛЯ ФОРТЕПІАНО ПІЗНЬОГО ПЕРІОДУ ТВОРЧОСТІ Ф. ЛІСТА В РІЧИЩІ ДУХОВНО-ЕСТЕТИЧНИХ ПОГЛЯДІВ КОМПОЗИТОРА

Author(s): Yevheniia Beinyk / Language(s): Ukrainian Issue: 3/2023

The purpose of the study is to investigate the poetic and intonation features of “Two Legends” for the piano in the context of spiritual search and to reveal the compositional guidelines of F. Liszt, aimed at embodying the poetry of non-antithetical content. The research methodology is determined by the use of historical-logical, analytical, cultural, hermeneutic, comparative methods, as presented in the works of representatives of the intonation approach of B. Asafiev in Ukraine – in the works of D. Androsova, O. Markova, O. Muravska, O. Roschenko, and O. Socol. Scientific novelty. For the first time in domestic cultural studies, the specifics of F. Liszt's spiritual ideas are highlighted according to their presentation in the named piano spiritual works of the late period of the composer's work, marked by his approach to the symbolic principles of thinking. Сonclusions. The analysis of the symbolic meaning of the music of F. Liszt's “Two Legends” for piano showed that these are works based on the choice of the program plot – life descriptions of the images of the Saints – Francis of Assisi (XIII century) and the follower of the first Francis of Paoli (XV century), who represented the closely related to Byzantine Orthodoxy, the discovery of mysticism and aestheticism in Catholicism. In the compositional solution, monophonic recitatives (the theme-image of Francis of Assisi in the First Legend), the motif of the Cross, which in the context of the program acquires an interpretation in the aspects of the Old Christian confession, are essential. The tonus peregrinus in the leitmotif of St. Francis in “Second Legend” also stands out, testifying to the imitation of the old liturgy of Byzantine origin. Compositionally, this poetry affirms the Divine unity of the world, in this case it is a presentation of a form devoid of thematic antitheticity. In his spiritual works, Liszt turns to the two-part nature of non-contrasting juxtapositions, which model compositional primary liturgical features.

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INTERVIEW: DE MOLIÈRE À NOS JOURS : L’ENSEIGNEMENT DU THÉÂTRE PAR LA MÉLODIE, LE RYTHME ET L’HARMONIE

INTERVIEW: DE MOLIÈRE À NOS JOURS : L’ENSEIGNEMENT DU THÉÂTRE PAR LA MÉLODIE, LE RYTHME ET L’HARMONIE

Author(s): Ștefana Pop-Curșeu,Jean-Jacques Lemêtre / Language(s): French Issue: 2/2023

Interview with Jean-Jacques Lemêtre by Ștefana Pop-Curșeu

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Predrag Finci – najraskošniji filozof estetičar u BiH i regionu

Predrag Finci – najraskošniji filozof estetičar u BiH i regionu

Author(s): Nevad Kahteran / Language(s): Bosnian Issue: 01+02/2023

Predrag Finci je bosanskohercegovački i britanski filozof, pisac i esejist, koji potiče iz ugledne sarajevske sefardske porodice. Međutim, od 1993. godine živi u Londonu, gdje do odlaska u mirovinu radi kao slobodni pisac i gostujući istraživač. Autor je tridesetak knjiga i velikog broja eseja. Predstavlja glas apologije umjetnosti, usprkos svim nedoumicama i nevoljama koje su umjetnost snašle u našem dobu, i nedvojbeno je najproduktivniji i jedan od najznačajnijih autora porijeklom iz BiH. Ovaj naš “bosanskohercegovački Ben-Ami Scharfstein”, filozof-estetičar-komparativista, i dalje piše i vrlo je aktivan i skrajnje plodan filozofski pisac, te je autor u ovom nizu Fincijevih sažetaka (a sažetci su uvijek riskantno pojednostavljenje djela) napravio kronološki pregled njegovih knjiga. S radošću i izglednim nadanjima autor želi skrenuti pozornost široj akademskoj zajednici na njegov golemi oeuvre na intersekcijama.

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РЕЦЕПЦИЯ «ПОЭТИКИ» АРИСТОТЕЛЯ В РАБОТАХ ЛИЦЕЙСКИХ УЧИТЕЛЕЙ А. С. ПУШКИНА

РЕЦЕПЦИЯ «ПОЭТИКИ» АРИСТОТЕЛЯ В РАБОТАХ ЛИЦЕЙСКИХ УЧИТЕЛЕЙ А. С. ПУШКИНА

Author(s): Anna Yurievna Nilova / Language(s): Russian Issue: 1/2024

The first half of the XIX century is the period of formation of Russian literary criticism. However, the works of theorists from this significant period have practically not been studied. This gap is especially significant when it is associated with teachers who had a significant impact on the formation of literary concepts of several generations of philologists. All of this substantiates the relevance and novelty of the research topic. The article describes the reception of the main provisions of Aristotle’s Poetics, which formed the basis for the European literary theory of literature, in the works of the Imperial Lyceum’s teachers N. F. Koshansky and A. I. Galich. It is noted that Aristotle was an absolute authority for these two authors, however, the assimilation of this Greek philosopher’s conceptual system took place in the context of its interpretation by European aesthetic theories. Thus, Koshansky agrees with Aristotle in that art brings us pleasure, and this idea supports the hedonistic theory of catharsis reflected in Koshansky’s works. Galich, being a Schellingist, develops the idea of German romanticism about fate as the primary force opposing the hero of tragedy, and at the same time defends the classic rule of three unities absent from Aristotle’s works.

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PETALS: The Aestheticisation of Death in Sylvia Plath’s “Edge” and in the Illustrations of Adriaan van de Spiegel’s Frucht in Mutter Leibe
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PETALS: The Aestheticisation of Death in Sylvia Plath’s “Edge” and in the Illustrations of Adriaan van de Spiegel’s Frucht in Mutter Leibe

Author(s): Estella Ciobanu / Language(s): English Issue: 40/2023

This article investigates the aestheticisation of death in Sylvia Plath’s poem “Edge” in relation to other poems by her and marginally by Seamus Heaney and Charles Baudelaire, and to the short story “The Oval Portrait” by Edgar Allan Poe. Such aestheticisation, I contend, partakes of the spirit of the anatomical illustration of early modern tracts such as the joint volume by Giulio Casserio and Adriaan van de Spiegel, and of western culture’s necrophilia.

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Representations of Non-Being in David Lynch’s Eraserhead, Edmund Elias Merhige’s Begotten, and Darren Aronofsky’s Pi: A Comparative Analysis from Indian Philosophy Perspectives
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Representations of Non-Being in David Lynch’s Eraserhead, Edmund Elias Merhige’s Begotten, and Darren Aronofsky’s Pi: A Comparative Analysis from Indian Philosophy Perspectives

Author(s): Cristian Pașcalău / Language(s): English Issue: 41/2023

Cinema, as an artistic medium, has often explored profound existential questions and deeply inquired themes such as the relationship between Being and Non-Being. This study centers on three enigmatic films: Eraserhead, Begotten, and Pi, known for their surreal and contemplative nature. I investigate how these films convey representations of Non-Being and examine their potential ties to Indian philosophical perspectives on existence. The discussion will encompass various elements such as narrative, cinematography, symbolism, and motifs which contribute to the exploration of Non-Being. I explore common threads and distinct approaches to the theme, providing a broader understanding of how filmmakers use their art to grapple with existential questions. The analysis deals with the notions of reality, illusion, emptiness, and the interconnectedness of all existence. Exploring how these films offer unique insights into ontological themes and the nature of existence through a comparative approach, I aim to elucidate the filmmakers’ creative depictions of Non-Being and their potential connections to Eastern philosophical thought, either aligning with or challenging Indian philosophical perspectives (such as Advaita Vedanta, Buddhism, and Jainism) on the human experience and the nature of reality.

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Evolving to Science Poetry: Three Poems by Ernesto Cardenal
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Evolving to Science Poetry: Three Poems by Ernesto Cardenal

Author(s): Jonathan Cohen / Language(s): English Issue: 41/2023

Nicaraguan poet-priest Ernesto Cardenal (1925–2020) is one of the most important Latin American poets. He developed his “exteriorist” poetics in the 1950s, much influenced by Anglo-American poets, in particular Ezra Pound, to differentiate his poetry from the prevailing subjectivist verse in Latin America. The impact of Pound’s canto technique on his work is clear, as well. Cardenal’s epic poem Cántico cósmico (Cosmic Canticle), published in 1989, is his magnum opus. This work is distinguished by his avant-garde use of science and its language, as he contemplates the entire cosmos and issues of being and non-being. Revolution is another major aspect of the poem, reflecting Cardenal’s commitment as a ChristianMarxist revolutionary. My translations of three fragments of his Cosmic Canticle selected by him are published here for the first time. They represent his focus on the origin of our planet and life on Earth.

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Dezvoltarea arhitecturală a localităţilor, cultura mediului construit şi constrângerile legislative

Dezvoltarea arhitecturală a localităţilor, cultura mediului construit şi constrângerile legislative

Author(s): Anne Marie Gacichevici / Language(s): Romanian Issue: 1/2023

The study analyzes the architectural development of localities through the prism of the civil servant, the chief architect who witnesses both the witness of the appearance of architectural productions on the site and actively the realization of works financed from non-reimbursable external funds or fully financed from public administrations from the incipient phase of strategy and urbanism to the stage of implementation and interior design. Analyzing the multitude of laws and related technical norms that regulate the architectural space, a series of inconsistencies were identified that generated a legislative vacuum that most designers resorted to in an abusive way. The research theme was born precisely from this issue that determined that the result of the architectural development of many localities, in different stages of historical and cultural evolution, to be a dubious one, uncertain in terms of quality, a product that does not bring added value. The space in which it is inserted. Although the projects are technically correct, respecting the framework content present in Annex 1 of Law 50/1991, updated, which lists the mandatory parts that the chief architect must take into account in the construction authorization procedure, the lack of framework legally, through which the quality can be obligatorily requested at the level of aesthetics, determines him to helplessly witness the appearance of some projects whose architecture is derisory.

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