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1
Depta, Henryk. "Wychowanie w blasku sztuki." Kwartalnik Pedagogiczny 62, no. 4 (246) (February 7, 2018): 61–72. http://dx.doi.org/10.5604/01.3001.0010.8405.
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The article is an attempt to define the role that art plays – may/should play – in the education of modern man. The scope of this “great role of art in the life of modern man” was presented in the works of Irena Wojnar and Bogdan Suchodolski – the authors of the Polish theory of aesthetic education. For the author of the article, the important role of art lies in the fact that it breaks the inertia of our sensitivity, our perceptual patterns, the coldness of the heart. In our times it is art – or maybe only art! – that allows modern man, at least partially, to satisfy the hunger for meaning. Art is an attempt to overcome the insufficiency of our human existence. To overcome and enrich! By showing man not just what he is but what he would like to be, what he should be, art creates a truly human vision of the art of life. That art is great entertainment is another happy circumstance for aesthetic education. We love and choose art because it is simply amusing. Studies show that art is educationally attractive – especially for children and adolescents – because it is also an attractive entertainment. The power and the beauty of aesthetic education lie in the fact that it is an education which is also a noble entertainment.
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Bolognini, Maurizio. "Globalization, art and the art system." Ekistics and The New Habitat 73, no. 436-441 (December 1, 2006): 191–95. http://dx.doi.org/10.53910/26531313-e200673436-441115.
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The author's research interests are: art, technology and democracy. On this latter subject he has published several essays and a book entitled Democrazia elettronica (Carocci, Rome, 2001). As an artist he has worked with digital technologies since the 1980s. One of his best-known works is Computer sigillati (Sealed Computers, 1992): more than 200 machines which are programmed to produce flows of random images and then left to work indefinitely, usually without monitors. His works have been exhibited widely in Europe and the USA. He has put on shows, presentations and performances in Paris, New York , Los Angeles, San Francisco, Sydney. His latest one-man shows include: Museo Laboratorio di Arte Contemporanea (Rome, 2003), WilliamsburgArt& Historical Center (New York, 2003), Museo di Arte ContemporaneaVilla Croce (Genoa, 2005). Latest books on his work: D. Scudero (ed.),Maurizio Bolognini: Installazioni, disegni, azioni (on/off line), (Lithos,2003); and S. Solimano (ed.), Maurizio Bolognini: Infinity out of Control(Neos, 2005). The text that follows was made available to the participants of the international symposion on "Globalization and Local Identity, " organized jointly by the World Society for Ekistics and the University of Shiga Prefecture in Hikone, Japan, 19-24 September, 2005, which the author was finally unable to attend.
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Cooper, Neil. "The Art of Philosophy." Philosophy 66, no. 256 (April 1991): 169–75. http://dx.doi.org/10.1017/s0031819100053043.
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Any account of knowledge has to take account both of the contribution of the world and the contribution of man. Every human endeavour, every activity, every art, every science is a product of a unique interaction between man and the world. Where man is most passive, he merely reflects and reports the world; this is pure discovery, if it ever exists. Where man is most active, the world's contribution lies merely in the provision of the raw material; this is pure invention, if it ever exists. All the arts, all the sciences can be ordered in a continuous array or spectrum ranging from pure discovery to pure invention. That they are all at some point on this continuum gives them a common but fragile thread, justifying our thinking and talking of the unity of the arts and sciences. Philosophy is neither pure discovery nor pure invention; it bears resemblances to both a science and an art. In this paper I propose to try to give reasons why we should regard the philosopher as an artist and philosophy as an art; or, at any rate, I shall try to show that there is an Art of Philosophy.
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Smelser, Neil J. "Sociology as Science, Humanism, and Art." Tocqueville Review 15, no. 1 (January 1994): 5–18. http://dx.doi.org/10.3138/ttr.15.1.5.
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II was about 150 years ago that William Graham Sumner was born, the son of an English machinist who endowed his son with a work ethic, a sense of personal integrity, and a stubborn independence from the world – qualities that were cloned on to the son in such a way that they were never shaken. Later in his life Sumner developed a love for what he called the Forgotten Man" – the independent citizen who worked hard, paid his debts and taxes, dutifully raised his family, and perpetuated community values. One senses that, in lamenting that this man was forgotten. Sumner might have been reviving the ghost of his father.
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Black, Sam. "Science and Moral Skepticism in Hobbes." Canadian Journal of Philosophy 27, no. 2 (June 1997): 173–207. http://dx.doi.org/10.1080/00455091.1997.10717477.
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Here lyes that mighty Man of SenseWho, full of years, departed hence,To teach the other world Intelligence,This was the prodigious Man,who vanquish’ d Pope and Puritan,By the Magic of Leviathan.Had he not Controversy wanted,His deeper Thoughts had not been scanted;Therefore good Spirits him transplant:Wise as he was, he could not tellWhether he went to Heaven or Hell.Beyond the Tenth Sphere, if there be a wide place,He'll prove by his Art there's no infinite space:And all good Angels may thank him, for thatHe has prov’ d they are something, tho men know not what.Hobbes's Epitaph (Anon 1680)
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Mendus, Susan. "The Serpent and the Dove." Philosophy 63, no. 245 (July 1988): 331–43. http://dx.doi.org/10.1017/s0031819100043588.
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In his essay ‘The Simple Art of Murder’, Raymond Chandler describes the world of the American detective story as ‘a world in which gangsters can rule nations and almost rule cities, in which hotels and apartment houses and celebrated restaurants are owned by men who made their money out of brothels, in which a screen star can be the fingerman for a mob, and the nice man down the hall is a boss of the numbers racket; a world where a judge with a cellar full of bootleg liquor can send a man to jail for having a pint in his pocket, where the mayor of your town may have condoned murder as an instrument of money making, where no man can walk down a dark street in safety’. Nevertheless, ‘down these mean streets a man must go who is not himself mean, who is neither tarnished nor afraid. The detective in this kind of story must be such a man. He is the hero, he is everything. He must be a complete man and a common man and yet an unusual man. He must be, to use a rather weathered phrase, a man of honour, by instinct, by inevitability, without thought of it, and certainly without saying it. He must be the best man in his world and a good enough man for any world.’ What are the possibilities of being such a man (or woman) in the world as we know it? The hero of the American detective story (of the Hammett-Chandler genre) is not only a good man, and a man of honour, but also a man who must get things done. In Dashiel Hammett's Red Harvest he is the man who is sent in to clean up the pig-sty that is Poisonville, and in so doing he becomes poisoned himself. He has a choice between being effective and being good, but he cannot be both together. ‘Poisonville is right’, he says despairingly. ‘It's poisoned me.’
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Morrow, Avrum. "Curiosity, Passion and Learning." LEARNing Landscapes 3, no. 2 (March 2, 2010): 97–100. http://dx.doi.org/10.36510/learnland.v3i2.342.
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In this commentary, business man and philanthropist Avrum Morrow maintains that learning need not be dull. He recalls some of the passionate teachers, from primary school to university, who had a profound influence on him. Through innovative art projects and singing arias in class to attention-grabbing science demonstrations, these teachers sparked his interest in art, music and science. He believes that curiosity and a receptive mind are the keys to lifelong learning.
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Glenn, Paul F. "Nietzsche's Napoleon: The Higher Man as Political Actor." Review of Politics 63, no. 1 (2001): 129–58. http://dx.doi.org/10.1017/s0034670500030540.
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Nietzsche's concept of the higher man is often seen as vague. The article adds concreteness to the concept by studying an example of a higher man, Napoleon. Napoleon embodied power and spiritual health, and was therefore an admirable person. By looking at Nietzsche's description of Napoleon as an artist, we also gain insight into the higher man as a political actor: he uses the public arena as the medium on which he practices his art. In doing so, he presents himself as a exemplar of humanity, inspiring others to seek their own path to excellence. By studying this, we gain important insight into Nietzsche's political teaching. But Nietzsche's account of Napoleon is not one-sided: he also describes Napoleon's corruption. The fall of a higher man is both a warning of the dangers of the political realm, and a reminder that sickness and health are closely connected. Even the mightiest individual is fragile.
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Mahmood, Anser. "Human Benevolence is Innate to Man as Man Shakespeare’s Art of Characterization with reference to Macbeth." Journal of English Language and Literature 11, no. 2 (April 30, 2019): 1115–19. http://dx.doi.org/10.17722/jell.v11i2.412.
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Shakespearean tragedies stand out in the history of world’s literature for their influential language, insight into character and dramatic ingenuity. It can be safely established that all of the Shakespearean tragedies are based upon the notion that human benevolence is innate to man as man. The current study focuses upon the notion that the Shakespearean heroes are basically good and noble men whose tragic flaw leads to their obliteration. For instance in Macbeth, Lady Macbeth describes Macbeth as “too full o’ milk of human kindness”. The character of Macbeth gives the picture of dissolution within the individual. The character of Macbeth has been analyzed to assert that he seems to suffer from a variance between his head and heart, his duty and his desire, his reckoning and his emotions. A psychological insight to his character reveals that he knows from the first that he is engaged in a ridiculous act: a distressed and paradoxical struggle. With the aid of research methods including Case Study and Close Reading this Qualitative research highlights Macbeth’s lethal proceedings which not only obliterate his peace of mind but also bring turmoil to the macrocosm of the universe, and shows that along with the king he murders his sense of reasoning as well. Hence this study asserts the idea that Shakespearean heroes possess an inherent goodness corroded by the actions of fate or destiny thus resulting in their tragic downfall.
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Nazim qızı Quluzadə, Aysel. "Features of Arif Aziz's creativity in modern Azerbaijani art." SCIENTIFIC WORK 66, no. 05 (May 20, 2021): 177–80. http://dx.doi.org/10.36719/2663-4619/66/177-180.
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Arif Aziz is one of the invaluable artists of Azerbaijan.Talented master of pencil, full member of the UNESCO’s International Art Academy, goodwill ambassador, prominent man of art, professor Arif Aziz is one of the most famous, well-known persons of the modern Azerbaijan art. He travelled a rich and interesting creative career. Arif Aziz's work is rich and diverse. Decorative is typical for his works. The theme of Absheron occupies a special place in his work. He is engaged in graphics, painting and stage design. The famous artist has had solo exhibitions in many countries around the world. Key words: Absheron, graphic, art, exhibition, national traditions
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CARNEIRO, Cláudia, and Stella ABRITTA. "Formas de existir: a busca de sentido para a vida." PHENOMENOLOGICAL STUDIES - Revista da Abordagem Gestáltica 14, no. 2 (2008): 190–94. http://dx.doi.org/10.18065/rag.2008v14n2.5.
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The authors reflect about the search for life’s meaning based upon the creations and forms of being, with which man represents his need to guarantee survival and transcendence. If, in the beginning, man seemed to deal with the question of survival with simpler instruments, such as food, shelter and brood, today, despite having all the resources at his disposal, he comes up against a crisis of values in his pursuit for meanings which with he could provide to life and existence. The human journey in the construction of this meaning goes through the invention of beauty, art, that which is sacred and daydreaming.Calling upon anthropological facts and creations in literature and art, the authors discuss about contemporarity, existential void and the human expression forms to resignify existence.
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Subedi, Abhi. "My Understanding of Manuj Babu and his Art." SIRJANĀ – A Journal on Arts and Art Education 5, no. 1 (December 1, 2018): 6–15. http://dx.doi.org/10.3126/sirjana.v5i1.39737.
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Manuj Babu Mishra (1936-2018) was a modern artist who is mainly known for his paintings and his drawings. Nepali art critic Narayan Bahadur Singh as early as 1976 mentioned about his multiple skills in art. But Mishra was also one of those painters who ushered in an era of modern consciousness shared equally by painters and poets. His contemporaries some of whom are still painting though on a smaller scale, made experiments with their arts in modernist style. An era of distorting forms, breaking the fine figurality and using flatness by shunning the illusion of three dimensional shapes rather than representative forms was seen in Nepali modernist paintings too. Manuj Babu Mishra adopted a method of using figurality in paintings that used semi surrealistic and abstract paintings. Mishra was trained in Dhaka of the then East Pakistan in the late sixties of the last century. Despite his political statements occasionally, he was basically an artist. He was a peaceful man behind the hurricanes of hard times he created. He was also a portraitist who believed that the portrait of a person is also the portrait of the world outside him or her. He had said that to me when he was drawing my portrait.
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Blank, David L. "The Arousal of Emotion in Plato's Dialogues." Classical Quarterly 43, no. 2 (December 1993): 428–39. http://dx.doi.org/10.1017/s000983880003994x.
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In Aeschines' dialogue Alcibiades, Socrates sees his brilliant young partner's haughty attitude towards the great Themistocles. Thereupon he gives an encomium of Themistocles, a man whose wisdom and arete, great as they were, could not save him from ostracism by his own people. This encomium has an extraordinary effect on Alcibiades: he cries and in his despair places his head upon Socrates' knee, realizing that he is nowhere near as good a man as Themistocles (Aesch., Ale. fr. 9 Dittm. = Ael. Aristid. 286.2). Aeschines later has Socrates say that he would have been foolish to think he could have helped Alcibiades by virtue of any art or knowledge, but nonetheless by some divine dispensation he has, in virtue of the eros he felt for the youth, been allowed to make him better (fr. lla, c Dittm. = Ael. Aristid., Rhet. 17).
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Baer, Kurt. "Spanish Colonial Art in the California Missions." Americas 18, no. 1 (July 1989): 33–54. http://dx.doi.org/10.2307/979751.
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Art work throughout almost the entire history of the Church has been primarily didactic. Man was taught through the arts of sculpture, painting, mosaic, and stained glass, all that he should know of the creation of the world, the dogmas of religion, the virtues, the hero-saints, and during the middle ages especially, the range of the sciences, the arts and crafts. Thus, in the latter half of the eighteenth century when the Franciscans came to the remote outposts in California, they brought with them the pictures and statues by which the simple and ignorant Indian might learn, through his eyes, much of what he was to know of his new faith. “Through the medium of art the highest conceptions of theologian and scholar penetrated to some extent the minds of even the humblest of the people.”
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Pawson, Mark. "Never throw anything away, EVER." Art Libraries Journal 41, no. 2 (April 2016): 127–31. http://dx.doi.org/10.1017/alj.2016.13.
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Mark Pawson is an artist, self-publisher and bookseller. He grew up in Cheshire, lives in London and never went to Art School. He's a one-man production line creating and selling a constant stream of artists books, postcards, badges, multiples, T-shirts and other essential ephemera. He has collaborated with jewellery makers Tatty Devine and worked with Levis Vintage Clothing.
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Галина Мінчак. "Tandem of science and art." MESSENGER of Kyiv National Linguistic University. Series Philology 19, no. 2 (October 28, 2016): 12–15. http://dx.doi.org/10.32589/2311-0821.2.2016.113733.
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This autumn, Doctor of Philology, Honored Professor of Education of Ukraine, Honored Professorof Kyiv National Linguistic University, Honored Worker of Public Educationof Ukraine Mykhailo Petrovych Kochergan celebrates his venerable eightieth anniversary. This is the time when youth is replaced by wisdom, when the Great Man takes a breath, gives himself a short rest to take up the exhausting, but such an expensive, because beloved, work again tomorrow. We took advantage of this short pause in the life of the respected Mykhailo Petrovych to talk to the famous linguist, skilled teacher, talentedartist, and finally - an intellectual, carrier and generator of the national idea, who, at the call of his own conscience, ennobles the environment in which he lives and acts.
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Kade, Richard. "De Profundus: Adumbrative Reflections?" Leonardo 33, no. 3 (June 2000): 237–38. http://dx.doi.org/10.1162/002409400552432.
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Leonardo was a man who designed war engines. He also anatomized, stripped The flesh from the body And saw the soul; made perspective From a flat sheet flex Round as a moving limb. Transmuted the past to the future In a credible flying device. He inspired a journal's creation over four centuries later; A journal of fine art that grips The same universe as Leonardo And fills it with vigor. That covers the whole field of inquiry made possible with Modern scientific techniques. The art is new. The journal is Leonardo. Subscription is a solid chunk of man's future.
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Gorlée, Dinda L. "Linguïculture: Thomas A. Sebeok as a revolutionary ethnographer." Chinese Semiotic Studies 17, no. 4 (November 1, 2021): 525–50. http://dx.doi.org/10.1515/css-2021-2034.
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Abstract Sebeok started his career as an ethnographer, focusing on the verbal art of anthropology to describe the cultures associated with then-called “primitive” languages. He followed Bloomfield’s linguistics to study Boas’ anthropology of primitive art to investigate man as a civilized member of a native indigenous community with art-like speech habits. Sebeok’s earliest articles were ethnographic descriptions of non-Western folktales from the Cheremis people, which he reformulated into Saussure’s phonetic system to involve literal but culturally free translations. Later, Sebeok developed Peirce’s ethnosemiotics by explaining Sapir-Whorf’s two-way differentiation of linguistic-and-cultural texts. The coded interplay of anthroposemiotics moved Sebeok from language-and-culture to language-with-culture, thence to build up the merged compound of linguïculture.
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Veen, Louis. "PIET MONDRIAAN OVER NEOPLASTISCH KUNSTONDERWIJS." De Moderne Tijd 2, no. 2 (January 1, 2018): 135–60. http://dx.doi.org/10.5117/dmt2018.2.003.veen.
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PIET MONDRIAN ON NEOPLASTIC ART EDUCATION Piet Mondrian (1872-1944) was not only a painter, but also a prolific writer. He wrote more than a hundred essays in Dutch, French, and English on the subject of art and society. In three unfinished essays, Mondrian sketches a different art education than was customary at the fine art academies during the interwar period. He describes an education that does not focus on creating discrete art objects, but on designing the entire daily environment. Mondrian’s intention was that graduates who had finished the training would give the society a harmoniously balanced structure, which would ultimately lead to more harmony and peace in man. He believed that a ‘Paradise on Earth’ would be no longer be a dream when all aspects of life were designed according to the neoplastic principles. In order to achieve this, students of Mondrian’s art education had to study the fundamental principles on which Mondrian based his neoplastic paintings. The present article investigates the principles of neoplastic composition as laid out in these three texts, which can help our understanding of the thought and method behind Mondrian’s Neo-Plasticism.
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Szymik, Jerzy. "Chrystocentryzm. Dialog Kościoła i świata." Verbum Vitae 6 (December 14, 2004): 227–39. http://dx.doi.org/10.31743/vv.1374.
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The most profound Catholic – (from kat’holon „concerning the whole”) – understanding of Christocentrism is not (and cannot be) an impediment to the Church’s dialogue with the world, faith and culture, theology and art. It is not a problem in interreligious dialogue either. If there are barriers, this means that we are just starting on our way, that all sides undertaking dialogue need to be cleansed. Jesus Christ is on everyone’s side, he is not against anyone. The fact that God has loved man so much that He became a man is the most fundamental basis for the framework of understanding and unity. And it is our future.
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Zakaryan, Anushavan. "Osip Mandelstam. The Poet And The Time.His Life And Armenia." Fundamental Armenology 1 (July 14, 2022): 73–106. http://dx.doi.org/10.54503/1829-4618-2022.1(15)-73.
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Osip Mandelstam (1891–1938) – a prominent Russian poet, art theorist, translator – takes a special place in the history of Soviet literature. In the 1920–1930s, Mandelstam, being non-party man and not constantly being member of any literary association, tasted all the misfortunes that befell the intellectual class of his generation and a great many ordinary Soviet citizens; he faced repressions, he was arrested twice, was sent into exile where he died. Mandelstam’s name is closely related to Armenia and Armenian culture. His visit to Armenia (from May to early October, 1930) was life-changing for him. Under the indelible impressions of the biblical country, he wrote a collection of poems “Armenia” (1931) and an essay “Journey to Armenia” (1933). These pieces of art are among the best works in the Russian literature dedicated to Armenia. There is rich literature on Mandelstam’s life and art: memoirs of contemporaries, a great number of monographs, articles and publications. Nevertheless, there are almost no studies about Mandelstam in the Armenian language: the present article partially fills this gap.
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Kosilova, Elena. "Genuine Reactionary: The Works of Nicholás Gómez Dávila." Sotsiologicheskoe Obozrenie / Russian Sociological Review 20, no. 1 (2021): 229–43. http://dx.doi.org/10.17323/1728-192x-2021-1-229-243.
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The article deals with the work of the Colombian philosopher and writer Nicholás Gómez Dávila, and primarily his five-volume work Scholia to an Implicit Text (Escolios a un texto implícito). This work is a collection of over 10,000 brilliant aphorisms. Gómez Dávila called himself a reactionary thinker. His aphorisms express a critical attitude towards the modern world. He criticized the shortcomings of democracies, and was strongly opposed to revolutions and the idea of progress. He saw progress as a gradual slide down an inclined plane. His ideal is a traditional society that is organized hierarchically. He also sharply criticized contemporary art, in which he believed little skill was left with very large pretensions for originality. He is a religious thinker who did not accept the ecclesiastical relief of the Second Vatican Council. An unattractive portrait of a man of our day looms in his aphorisms. He writes about fools and vulgar people who pursue fashion that attracts them by its superficial brilliance, while the “genuine reactionary” is always opposed to fashion. The reactionary is a loner by nature, does not tolerate crowds, lives an inner life, and communicates with philosophy and art. In the modern world, Gómez Dávila finds expressions of Gnostic tendencies from which comes the idea of the deification of man and the oblivion of God. He contrasts the intellect as something dry and abstract to intelligence which must live through existential conflicts. Some have compared Gómez Dávila with Nietzsche, but this comparison does not seem relevant.
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Fenstad, Jens Erik. "The Miraculous Left Hand – On Leonardo da Vinci and the Search for a Common Understanding of Man and Nature." European Review 21, no. 1 (January 31, 2013): 10–20. http://dx.doi.org/10.1017/s1062798712000282.
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Is a common approach to knowledge about man and nature possible? With Leonardo da Vinci as our starting point we will explore this question. Leonardo was much more than a painter; he was a sharp observer of man and nature. What he saw (structures) and what he did (using his miraculous left hand as syntax) was translated into insights and methods of constructions as recorded in his notebooks. His view was holistic, as witnessed by his study of the eye; from the anatomy of the eye he proceeded outwards to a theory of perspective, and inwards to an understanding how perception and the mind are grounded in the brain. In this we see similarities to current studies of language, mind and brain. It is possible to see a kind of proto-version of the art and science of mathematical modelling in Leonardo. This is a methodology of wide scope, extending far beyond physics and engineering. With a sufficiently broad understanding of the key concepts of structure, syntax and algorithms we have a method strong enough to allow for a common approach to knowledge of man and nature, to what there is and how we know.
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Musabegović, Senadin. "The Power of Technique and the Absence of Man in a Photographic Picture." Društvene i humanističke studije (Online) 6, no. 4(17) (December 22, 2021): 141–68. http://dx.doi.org/10.51558/2490-3647.2021.6.4.141.
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The text problematizes the connection between art and the power of technology. The question arises: how can photography as an art, created as a technical invention, respond to the challenges of technical power, which manifests itself as an unconditional desire for domination that knows no limits? The esthetician from Sarajevo, Sadudin Musabegović, understood the very power of photographic representation precisely through the figures of division: mimesis - poiesis - techne. Martin Heidegger's opinion on technique is connected with the figure offered by Musabegović. Sadudin Musabegović's aesthetic thought provides possible answers to the question: how is a man present in photography itself when the famous film critic Andre Bazin said that photography is the only art we enjoy because of an absence of a human? And what role does art play in overcoming the crisis established by technology in the modern world? In the 'age of mass reproduction', art itself has lost its aura, as Walter Benjamin states, and Musabegović adds that even the photographed being has lost its aura. The problem of losing the aura can also be understood as a new beginning, as a ‘new source’ for art itself. But for the source itself, Musabegović says that he finds himself in the flow, that he is always outside himself, he is in the intertwining, permeation that manifests itself in a dynamic, reversible, and moving figure: mimetic activity – making techne – productive poiesis. This text aims not only to explain the meaning of this figure, which Musabegović established originally within aesthetics, and especially in the field of photography and film, but also to analyze its meaning in the context of unmasking the logic of modern technical control, which marked a modern way of living, thinking, and perceiving the world.
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Ittu, Gudrun-Liane. "300 de ani de la nașterea baronului Samuel von Brukenthal (26 iulie 1721 - 9 aprilie 1803)." Studia Universitatis Babeș-Bolyai Historia Artium 66, no. 1 (December 30, 2021): 5–26. http://dx.doi.org/10.24193/subbhistart.2021.01.
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"Three Centuries Since Baron Samuel von Brukenthal was Born (26th of July 1721 - 9th of April 1803). Baron Samuel von Brukenthal was an outstanding personality, a man of great erudition and refined taste, whose political career culminated with the dignity of Governor of Transylvania, a dignity he held between 1777 and 1787. Brukenthal was the only Transylvanian Saxon who enjoyed this great honor. Living for many years abroad, he got acquainted with Viennese cultural patterns he tried to implement in his own country. As a Transylvanian representative of the Enlightenment, Brukenthal became famous through his major creation, the first museum in the South Eastern part of Europe opened in 1790 to connoisseurs and foreign travelers and in 1817 to the large public. His fine art collection comprised about 1100 paintings belonging to the major European art schools. Besides paintings he also had a rich collection of etchings in copper, a library consisting of about 16000 volumes, rare archeological objects, as well as a numismatic collection and one of minerals. But his sphere of interest was much wider, including a large scale of sciences, the educational system, the musical life of Sibiu, the art of gardening. Keywords: Brukenthal, baron, politician, governor of Transylvania, Enlightenment, museum, paintings, major European art schools, library, archeological objects, numismatics, minerals. "
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Gascoigne, S. C. B. "Robert L. J. Ellery, his Life and Times." Publications of the Astronomical Society of Australia 10, no. 2 (1992): 170–76. http://dx.doi.org/10.1017/s1323358000019524.
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To present-day astronomers the name of Robert Ellery, by which our newly established lectureship is to be known, means little. A century ago it was a different story. Ellery was then one of the most respected scientists in the country, a leading astronomer who had been director of the Melbourne Observatory since it was founded in 1853, and who had taken it to a prominent position in international astronomy. Besides this he was a man of parts who spread his talents widely. He was a founder and long-term president of the Royal Society of Victoria, treasurer of the University Council, chairman of the committee of the Alfred Hospital, Trustee of the Public Library, the Art Gallery and the Museum, and he was an active member, latterly commander, of the local Torpedo and Signal Corps, a coastal defence unit manned by citizen soldiers. Late in life he became the first president of the Beekeepers’ Club. He was elected to the Royal Society and awarded a CMG: all in all, a man of character and achievement.
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Goulder, Michael. "Nicodemus." Scottish Journal of Theology 44, no. 2 (May 1991): 153–68. http://dx.doi.org/10.1017/s0036930600039090.
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Nicodemus is the hero of many a Trinity Sunday sermon.2 The leader of the Jews, the master of Israel, comes humbly to Jesus, by night to the Light of the World. He does not believe much (like the preacher perhaps), but he has the heart of the matter, ‘We know that thou art a teacher come from God’. Jesus teaches him the profound truth of man's need for rebirth, and he is converted. He stands up for his faith pluckily against the hostility of his peers — ‘Does our Lawjudge a man…?’; and in the end it is he who buries Jesus, with a royal anointment of a hundred litres of myrrh.
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Sajedi, Akbar, and Mehdi Ghahraman. "An Ontological Analysis of the Relationship between Qur'ān and Art." International Journal of Multicultural and Multireligious Understanding 8, no. 4 (April 3, 2021): 312. http://dx.doi.org/10.18415/ijmmu.v8i4.2449.
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Qur'ān as the most important Islamic document is the eternal miracle of the Prophet of Islam. Being the word of the all-Wise God, this Heavenly book was revealed in the most beautiful form, just as the world has been created in the best possible way. On the other hand, the man who is the addressee of Qur'ān loves it because he innately loves beauty. He, therefore, dedicates his best arts to Qur'ān. The present analytical study aimed to introduce the arts created and developed for Qur'ān and to investigate the reason for their development from ontological point of view. Recitation, inscription, and illumination are considered the most important arts of Qur'ān, which have been developed due to the beauty of Qur'ān. The results indicated that both religious information has encouraged the artistic behavior of the human towards Qur'ān and his rational perceptions have emphasized it.
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Dolphijn, Rick. "‘Man Is Ill Because He Is Badly Constructed’: Artaud, Klossowski and Deleuze in Search for the Earth Inside." Deleuze Studies 5, no. 1 (March 2011): 18–34. http://dx.doi.org/10.3366/dls.2011.0003.
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Starting with Antonin Artaud's radio play To Have Done With The Judgement Of God, this article analyses the ways in which Artaud's idea of the body without organs links up with various of his writings on the body and bodily theatre and with Deleuze and Guattari's later development of his ideas. Using Klossowski (or Klossowski's Nietzsche) to explain how the dominance of dialogue equals the dominance of God, I go on to examine how the Son (the facialised body), the Father (Language) and the Holy Spirit (Subjectification), need to be warded off in order to revitalize the body, reuniting it with ‘the earth’ it has been separated from. Artaud's writings on Balinese dancing and the Tarahumaran people pave the way for the new body to appear. Reconstructing the body through bodily practices, through religion and above all through art, as Deleuze and Guattari suggest, we are introduced not only to new ways of thinking theatre and performance art, but to life itself.
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Gamba, Ezio. "Du sollst dir kein Bildnis machen: Das Problem der künstlerischen Darstellung des Göttlichen in Hermann Cohens Ästhetik." Zeitschrift für Religions- und Geistesgeschichte 62, no. 4 (2010): 356–66. http://dx.doi.org/10.1163/157007310793352197.
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AbstractJewish monotheism forbids every representation of God. In ancient Greece, on the contrary, great sculptural art was mainly representation of several gods. I wonder whether, according to Hermann Cohen, sculpture and paganism are necessarily bound together. What, then, is the meaning of artistic representation of Jesus Christ? Is he the ideal of an unification of God and Man?
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Eliopoulos, Panos. "Mass culture, education and the perspective of individuality." Filosofiya osvity. Philosophy of Education 18, no. 1 (June 24, 2016): 36–46. http://dx.doi.org/10.31874/2309-1606-2016-18-1-36-46.
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For Adorno and Horkheimer, rationalism – in fact, a technical rationalism which becomes a rationalism of domination– failed to provide the path to the liberation of man and society. The aftermath, half education of the masses, is not an incomplete education or lack of education, but substantially hostility towards culture and genuine education, decay and involvement of education in individual considerations and benefits, with the contribution of mass dissemination of culture and art. Half education is the spread of culture and art without a living relationship with the consciousness of people, without consequences for their lives. Adorno clarifies that in this context, the relationship between life and production reduces the former into the transitory epiphenomenon of the latter, as life and individual existence are not known in their immediacy, they do not connect directly, but they rather become part of the teaching for of material production. For Ortega y Gasset, a new type of human being has been born, the massman, who becomes isolated, trapped in the irrational feeling that nothing else, apart from his own private welfare, matters, but he also continues to demand as if it were his natural right to do so. Nonetheless, and although he remains an individualist, he does not have real access to the gifts of individuality. Marcuse understands that, ultimately, there is a conflict between production and profit on the one hand and self-determination on the other. As technology spreads its dominance over nature, man conquers man through mass control, diffused through work and culture. In this way, technological rationalism becomes ultimately political rationalism.
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De Duve, Thierry. "THE STORY OF FOUNTAIN: HARD FACTS AND SOFT SPECULATION." Nordic Journal of Aesthetics 28, no. 57-58 (June 21, 2019): 10–47. http://dx.doi.org/10.7146/nja.v28i57-58.114857.
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Thierry de Duve’s essay is anchored to the one and perhaps only hard fact that we possess regarding the story of Fountain: its photo in The Blind Man No. 2, triply captioned “Fountain by R. Mutt,” “Photograph by Alfred Stieglitz,” and “THE EXHIBIT REFUSED BY THE INDEPENDENTS,” and the editorial on the facing page, titled “The Richard Mutt Case.” He examines what kind of agency is involved in that triple “by,” and revisits Duchamp’s intentions and motivations when he created the fictitious R. Mutt, manipulated Stieglitz, and set a trap to the Independents. De Duve concludes with an invitation to art historians to abandon the “by” questions (attribution, etc.) and to focus on the “from” questions that arise when Fountain is not seen as a work of art so much as the bearer of the news that the art world has radically changed.
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Rustam, Aneed Thanwan. "Albert Camus' Idea of Rebellion In The Outsider." ALUSTATH JOURNAL FOR HUMAN AND SOCIAL SCIENCES 214, no. 2 (November 11, 2018): 9–24. http://dx.doi.org/10.36473/ujhss.v214i2.629.
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In novel The Outsider, Camus depicts the reality of the French colonialism in Algeria. The novel presents Camus' condemnation of Meursault's indifference to the brutality of the colonial society he belongs to. Meursault kills an Arab and he is judged not for this crime but because he doesn't behave according to the codes of his society during his mother's death. This shows that the Europeans treat the 'others' as 'things' ,and for the European judges, the murder of an Arab is not different from breaking a stone or cutting a tree. Meurault is a stranger in a strange world and the revelation he experiences at the moment of facing this world splits him from the values of his society. He retreats into the world of sensations, he trusts only the things he can see and find meaning in, refusing the abstract values of his society which are devoid of meaning. This substantiates Camus's message of art as a rebellion against the rigid system imposed on man and his attempt to transcend the limits of his society and create his own world of ideas in which he feels free to enjoy what he never experiences before, art as a transformation of human existence and an everlasting struggle for giving it meaning.
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Braterska-Dron, Maryna. "The sience and art of moral responsibility for the future." Bulletin of Mariupol State University. Series: Philosophy, culture studies, sociology 10, no. 19 (2020): 22–30. http://dx.doi.org/10.34079/2226-2830-2020-10-19-22-30.
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The article is devoted to the actual problem of the probable future of our civilization and the moral responsibility of mankind for it. In the twentieth century, humanity was actually faced with the threat of man-made destruction of life on the planet. The tragedy of Hiroshima and Nagasaki with great severity raised the question not only about the morality of science, but also the personal responsibility of the scientist for his discoveries. In particular, in 1955, the Einstein-Russell Manifesto was signed, which initiated the widely known Pahous Movement for Peace and Disarmament. Art has responded to the nuclear threat. In 1950, R. Bradbury's story "There Will Be a Graceful Rain" was published. One of the first to address the subject of doomsday was American filmmakers: R. Weiss («The Day the Earth Stalle», 1951), S. Kramer («On the Shore», 1959), S. Kubrick («Doctor Stranzhla», 1964), S. Lumet («Security System», 1964). The idea of moral responsibility of each person for his future was raised on the Soviet screen in the films: «The Escape of Mr. McKinley» (1975, M. Schweitzer), «Sacrifice» (1986, A. Tarkovsky), «Letters of the Dead Man» (1986, K. Lopushansky), «Visitor to the Museum» (1989, K. Lopushansky). It was in the 1970s and 1980s that they became a painful awareness of the insecurity and fragility of human life. It has become clear that nuclear energy can be not only a policy or an economy, but above all a tool of self-destruction. It has been scientifically justified that the greatest threat to humanity lies not where it was not expected. Nuclear war is not only the mass destruction of people, total destruction, radiation, infectious diseases, etc. The main danger is the climate change of the planet, changes in the biosphere (the effect of nuclear winter), which humanity will not be able to survive. marked by a painful awareness of the insecurity and fragility of human life. But today, the biosphere is threatened not only by human waste, environmental pollution, but also by the gradual destruction of the natural environment, the frantic depletion of natural resources, etc. The main thing that threatens our civilization is moral irresponsibility to posterity. What has to happen for humanity to realize the danger of indifference? Personal responsibility for the future of everyone and everyone for the future of everyone is the main principle of survival. The eminent philosopher M. Berdyaev wrote: «The end of the world depends on man, and he will be one way or another, depending on the actions of man... The greatest religious and moral truth to which a man must grow is that he cannot be saved alone. My salvation also involves the salvation of others, my loved ones, the salvation of the whole world, the transformation of the world».
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Pavlovic Stojkovic, J., M. Milosavljevic, M. Vukovic, L. Vidic, and D. Lecic Tosevski. "The importance of art therapy in the integrative treatment of recurrent depressive disorder – case study." European Psychiatry 33, S1 (March 2016): S418. http://dx.doi.org/10.1016/j.eurpsy.2016.01.1510.
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An integrative treatment of patients with affective disorders during hospitalisation also includes art therapy. Art therapy, as a form of expressive therapy, uses the creative process to encourage communication, expression of feelings and offers the space for mutual mirroring. This paper presents a patient who has been treated for approximately five years under the diagnosis of a recurrent depressive disorder (F33) and mixed personality disorder (F61). The patient has been experiencing unrecognised and untreated problems of the depression spectrum since 1993, when he took part in the Yugoslav war. The main issue was the somatic symptoms (headaches, nausea etc). Another major problem during his psychiatric treatment and an additional cause of unsatisfactory therapeutic effect was his inability to verbalise his feelings. In the course of art therapy, when the patient was given a topic “How I see myself in five years”, he drew a man who appeared to be sleeping and explained that he could not see himself in five years’ time, since he would not be alive at the time and that he could not see a way out of the current situation. With the help of a supportive group, for the first time since the beginning of his treatment, he spoke about his thoughts and feelings of hopelessness, sorrow, alienation and loneliness. This enabled new insight into the patient's depression. This clinical example shows how art therapy and reaction of the group, which was supportive and highly associative, can turn the non-verbal into verbal and non-communication into communication.Disclosure of interestThe authors have not supplied their declaration of competing interest.
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Land, Michael F., and Priscilla Heard. "Richard Langton Gregory. 24 July 1923—17 May 2010." Biographical Memoirs of Fellows of the Royal Society 64 (March 28, 2018): 163–82. http://dx.doi.org/10.1098/rsbm.2017.0034.
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Richard Gregory was a pioneer of cognitive psychology. Much of his scientific work involved the development and interpretation of visual illusions, which he used as a tool to work out the perceptual mechanisms involved in the way that the visual world is normally perceived. He was also an inventor, developing a technique for viewing microscopic objects in three dimensions, and a method for taking sharp telescope images through an unstable atmosphere. He was a man of great charm, enthusiasm and wit, who listed his hobbies as punning and pondering. He was to become an outstanding public communicator of scientific ideas. He gave the Royal Institution Christmas Lectures (‘The intelligent eye’) in 1967, was a founder member of the Experimental Psychology Society, set up his own journal, Perception , in 1972, and in 1978 founded the Exploratory, a hands-on science centre in Bristol. His work on illusions and his interest in painting led to a collaboration with the art historian Sir Ernst Gombrich, resulting in the book Illusion in nature and art (1973) and an exhibition at the Institute of Contemporary Art. Other books included Mind in science (1981) and The Oxford companion to the mind (1987), for which he was both editor and a major contributor. The book for which he is best known is the wonderfully accessible Eye and brain , whose five editions (1966–1997) and many translations have inspired students of all ages.
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Blaisdell, Bob. "The jockey and his horse." English Today 19, no. 3 (July 2003): 26–30. http://dx.doi.org/10.1017/s0266078403003055.
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It is told, that in the art of education he performed wonders; and a formidable list is given of the authors, Greek and Latin, that were read in Aldersgate-street, by youth between ten and fifteen or sixteen years of age. Those who tell or receive these stories should consider that nobody can be taught faster than he can learn. The speed of the horseman must be limited by the power of his horse. Every man that has ever undertaken to instruct others, can tell what slow advances he has been able to make, and how much patience it requires to recall vagrant inattention, to stimulate sluggish indifference, and to rectify absurd misapprehension.Samuel Johnson, “John Milton”The greatest man of letters in English continually reminds us in his essays and in Boswell's Life that we need to expect an awful lot of resistance to learning, and that he himself, Dr. Samuel Johnson (who had single-handedly composed a dictionary in seven years) lived full of “vagrant inattention” and “sluggish indifference” – though not of “absurd misapprehension”.
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Cheng, An-Che, Te-Yu Lin, and Ning-Chi Wang. "Immune Reconstitution Inflammatory Syndrome Induced by Mycobacterium avium Complex Infection Presenting as Chronic Inflammatory Demyelinating Polyneuropathy in a Young AIDS Patient." Medicina 58, no. 1 (January 11, 2022): 110. http://dx.doi.org/10.3390/medicina58010110.
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Antiretroviral therapy (ART) can restore protective immune responses against opportunistic infections (OIs) and reduce mortality in patients with human immunodeficiency virus (HIV) infections. Some patients treated with ART may develop immune reconstitution inflammatory syndrome (IRIS). Mycobacterium avium complex (MAC)-related IRIS most commonly presents as lymphadenitis, soft-tissue abscesses, and deteriorating lung infiltrates. However, neurological presentations of IRIS induced by MAC have been rarely described. We report the case of a 31-year-old man with an HIV infection. He developed productive cough and chronic inflammatory demyelinating polyneuropathy (CIDP) three months after the initiation of ART. He experienced an excellent virological and immunological response. Sputum culture grew MAC. The patient was diagnosed with MAC-related IRIS presenting as CIDP, based on his history and laboratory, radiologic, and electrophysiological findings. Results: Neurological symptoms improved after plasmapheresis and intravenous immunoglobulin (IVIG) treatment. To our knowledge, this is the first reported case of CIDP due to MAC-related IRIS. Clinicians should consider MAC-related IRIS in the differential diagnosis of CIDP in patients with HIV infections following the initiation of ART.
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Gudimova, Svetlana. "MUSICAL AND AESTHETIC VIEWS OF V.F. ODOEVSKY." Filosofiya Referativnyi Zhurnal, no. 4 (2021): 166–85. http://dx.doi.org/10.31249/rphil/2021.04.10.
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Vladimir Fedorovich Odoevsky (1804-1869) was a man of truly encyclopedic knowledge and interests: writer (author of the first philosophical story in Russia and SF), philosopher, scientist, educator, popularizer of science, inventor, music theorist, researcher of Old Russian song art, founder of professional musicology in Russia, pianist, composer. This article deals only with his musical and aesthetic activities. Odoevsky was a Schellingian philosopher and fully shared the concept of art of the early German romanticists, in unison with whom he opposed the dogmas of rationalist classicist aesthetics. He is characterized by the romantic affirmation of music as the highest science and highest art. Odoevsky made a huge contribution to the formation of the Russian musical school. Paying special attention to specific forms of nationality in a musical composition, he constantly emphasizes that the composer's borrowing of folklore material without vivid melodic images only leads to a handicraft «cobble together» the rented material. The music critic does not miss a single attack by semi-literate scribblers directed against Glinka, Dargomyzhsky and other representatives of the Russian music school; he is engaged in musical enlightenment of the public. At the end of his life, Odoevsky wrote with hope: «The thought that I have sown today will rise tomorrow, in a year, in a thousand years…».
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KING, RICHARD H. "The Uncreated Conscience of My Race/The Uncreated Features of His Face: The Strange Career of Ralph Ellison." Journal of American Studies 34, no. 2 (August 2000): 303–10. http://dx.doi.org/10.1017/s0021875899006404.
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Ralph Ellison's career will undoubtedly provide students of American literature and biographers much to puzzle over in the coming years. He published his first novel, Invisible Man, in 1952 when he was 38, an age when Faulkner was in the midst of his great period and just poised to publish Absalom, Absalom! After the early 1950s, Ellison published two books of essays, Shadow and Act (1964) and Going to the Territory (1986), and a few excerpts from an ever more mythical work-in-progress. That work-in-progress, or some truncated version of it, has now appeared with the intriguing title, Juneteenth, which refers to the day, 19 June 1865, when the slaves in Texas learned they were free, some two months after the end of the Civil War.Without a doubt, Ralph Ellison considered himself, above all, an American writer of the modernist persuasion; indeed, he was one of the most patriotic of writer-citizens in the republic of letters. In the late 1960s and early 1970s, he was attacked by anti-war forces for his qualified support for the Johnson administration's prosecution of the Vietnam War, and black radicals for insufficient militance about his “blackness.” Through it all, Ellison resolutely resisted the obligation to make his art explicitly political. It was precisely that which was at issue in his famous polemical exchanges with Irving Howe.Yet, Ellison's writing always was political in at least two senses. First, as he asserted in 1964 before the civil rights movement gave way to Black Power and its cultural wing, the Black Arts movement: “protest is an element of all art, though it does not necessarily take the form of speaking for a political or social program.” In other words: art was political but not in the programmatic way demanded by others, whoever they might be.
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Lea, Eli, and Oddgeir Synnes. "‘I still want to be part of the world...where I belong’. A case study of the experiences of a man with Alzheimer’s of dementia-friendly guided tours at an art museum." International Journal of Ageing and Later Life 15, no. 1 (September 28, 2021): 163–91. http://dx.doi.org/10.3384/ijal.1652-8670.3282.
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There is a growing interest in the role art museums might play in enriching the lives of persons with dementia. The literature has started incorporating the views of persons with dementia in the knowledge production, but in-depth explorations of their art experiences are still rare in the literature. This article adds to the research with a case study of a man with Alzheimer’s who regularly takes part in dementia-friendly guided tours at his local art museum. The article examines through a narrative analysis the role his visits to the art museum might play in the way he navigates life with Alzheimer’s. The authors argue that the art experiences are important cultural resources in the man’s effort to ‘hold his own’ faced with Alzheimer’s. The study is bound to a Norwegian context, but the art programme has similarities with related programmes at art museums in other countries.
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King, Lesley. "Editorial." Ata: Journal of Psychotherapy Aotearoa New Zealand 8, no. 1 (November 1, 2022): 3–4. http://dx.doi.org/10.9791/ajpanz.2002.01.
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In his book The Songlines (1988), Bruce Chatwin describes how as a young man he awoke one morning to find himself blind. Understandably he smartly sought a medical consultation. His consultant suggested that he had been en-grossed in examining paintings in fine detail for too long (he was an art expert at Sotheby's), and should take time to explore long horizons. His sight had returned by the time he reached the airport.
I read about this in Australia's Northern Territory, a place of long and broad horizons. I was clearing my head, perhaps my vision, after a period of intense focus both within my practice and in our Association as a whole. Professions call for such a focus, and psychotherapy is no exception.
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Gilley, Sheridan. "Victorian Feminism and Catholic Art: the Case of Mrs Jameson." Studies in Church History 28 (1992): 381–91. http://dx.doi.org/10.1017/s0424208400012572.
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Now Church History’, wrote John Henry Newman in 1843, ‘is made up of these three elements—miracles, monkery, Popery’, so that anyone sympathetic to the subject must sympathize with these. Much the same, however, could be said of Christian art. The young Southey on a visit to Madrid stood incredulous before a series of paintings depicting the life of St Francis. ‘I do not remember ever to have been so gready astonished’, he recalled. ‘“Do they really believe all this, Sir?” said I to my companion. “Yes, and a great deal more of the same kind”, was. the reply.’ The paradox was that works of genius served the ends of a drivelling superstition, a dilemma resolved in the 1830s by the young Augustus Pugin, who decided that the creation of decent Christian architecture presupposed the profession of Catholic Christianity. The old Protestant hostility to graven images was in part a revulsion from that idolatrous popish veneration of the Virgin and saints which had inspired frescos, statues, and altar-pieces in churches and monasteries throughout Catholic Europe; but what on earth did a modern educated Protestant make of the endless Madonnas, monks, and miracles adorning the buildings which he was expected as a man of cultivation to admire? At the very least, he required a sympathetic instruction in the meaning of the iconography before his eyes, and some guidance about its relation to the rest of what he believed. The great intermediary in this process was Ruskin; but there was at least one odier interpreter of Catholic art celebrated in her day, Mrs Anna Brownell Jameson, whose most popular works, Sacred and Legendary Art, Legends of the Monastic Orders, and Legends of the Madonna, told the Englishman what he could safely think and feel amid the alien aesthetic allurements of Catholicism.
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Botezatu, Liuba Constantin. "The Adverb - Miss Grace of the elegance of our identity." JOURNAL OF ADVANCES IN LINGUISTICS 5, no. 2 (February 7, 2015): 718–22. http://dx.doi.org/10.24297/jal.v5i2.2846.
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A human being transcends into the world of continuous existence from the moment when he enters and is correctly oriented to engage himself to the work of self-awareness like a plenary-potential value creating of new values. He (human being) continuously feels the need of awareness/ self-exteriorization, especially the necessity of expression of his congenital- divinatory abilities. Otherwise, the externalization of oneself, as a formative purpose to the scale of divination, marks from the beginning the perspective of his optimal performances. And, if we are saying that the being is language, then we have to recognize the unanimity of the interpretative functions. The functions of interpretative art of the Moldovan Romanian peoples genius were always Messianic ones - of formatting an ideal Temple between the two enigmas: L. Blagas format - MAN, Horizon of Mysteries and ours MAN, Horizon of Great Virtues.
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Jolles, André, and Peter J. Schwartz. "Legend: From Einfache Formen (“Simple Forms”)." PMLA/Publications of the Modern Language Association of America 128, no. 3 (May 2013): 728–43. http://dx.doi.org/10.1632/pmla.2013.128.3.728.
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Who was andré Jolles? born in den helder in 1874; raised in amsterdam; in his youth a significant player in the literary Movement of the Nineties (Beweging van Negentig), whose organ was the Dutch cultural weekly De Kroniek; a close friend of Aby M. Warburg's and Johan Huizinga's—Jolles studied art history at Freiburg beginning in 1902 and then taught art history in Berlin, archaeology and cultural history in occupied Ghent during World War I, and Netherlandic and comparative literature at Leipzig from 1919 until shortly before his death, in 1946. A man of extraordinary intellectual range—his publications include essays on early Florentine painting, a dissertation on the aesthetics of Vitruvius, a habilitation thesis on Egyptian-Mycenaean ceremonial vessels, literary letters on ancient Greek art, and essays in German and Dutch on folklore, theater, dance, Boccaccio, Dante, Goethe, Zola, Ibsen, Strindberg, and Provençal and Renaissance Italian poetry—he was also an amateur playwright and an outspoken champion of modern trends in dramatic art and stage design. To his friends, he could be something of an intellectual midwife, helping Warburg to formulate what would become a signature notion, the “pathos formula,” and Huizinga to conceive The Waning of the Middle Ages (1919). Jolles's chief work, the one for which he is best known, is Einfache Formen (1930; “Simple Forms”), a collection of lectures he had delivered in German at Leipzig in 1927-28 and revised.
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Jassim Dakhil Al-Ghizzy, Lect Mohanned, and Dr Abdul-Haq Abdul-Kareem Al-Sahlani. "EXAMINING INSURGENCY IN CHRISTOPHER ISHERWOOD'S NOVEL 'A SINGLE MAN'." International Journal of Education and Social Science Research 05, no. 04 (2022): 198–216. http://dx.doi.org/10.37500/ijessr.2022.5415.
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The present study deals with Christopher Isherwood’s manipulation of the concept of insurgency in his most prominent novel: A Single Man (1964). The Isherwoodian novel depicts various stages of insurgency against the chaos of values, the middle-class conventions and against the authoritative moral standards that make certain forms of conduct appear right. There is a quest for spiritual growth and self-development in Isherwood’s novel; therefore, the spirit of insurgency becomes milder as the novelist becomes older and more mature. The aim of this research is to trace Isherwood’s experimentation with the concept of insurgency. As the hypothesis of this research goes by the forms he introduces into it change the conventional understanding of insurgency from a punishable law-breaking act into an instrument to deal with the difficult problems then to raise man to the occasion. Isherwood proves that insurgency is a constructive, not destructive, act whose role necessitates the improvement of the state and the individual. A Single Man, presents a single day in the life of a lonely aged man who refuses life and locks himself in a small room thinking that the smallness of the room may protect him from the outside world. The conclusions end the study with Isherwood’s success in creating art works that suggest the possibility to change insurgency from a retributive act of disobedience into a positive act against tyranny, calling for the renovation of the modern society through a return to the way of God.
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Shalina, Marina. "ANTHROPOLOGICAL PROBLEMS OF F. M. DOSTOEVSKY’S CREATIVITY." Проблемы исторической поэтики 19, no. 1 (February 2021): 209–20. http://dx.doi.org/10.15393/j9.art.2021.9044.
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The article deals with the anthropological aspects of Dostoevsky’s creative work. Its study requires researchers to take into account the classic’s pronounced Christian orientation of the artistic system. In the center of this system is the ideal of Christ, in whose light Dostoevsky’s concept of man is formed and the typology of characters is determined. The dominant type is the hero-ideologist, however, in addition to the underground type, he is also represented by the heroes of the “positive idea”. The latter preach the idea of salvation through the transformation of the person in Christ, rather than the idea of forcibly changing the world to achieve universal happiness. However, Dostoevsky’s anthropological discovery was not only the idea of compassion for a person fallen in sin, but also the concept of human transience in earthly existence, and hence the assertion of the idea of immortality, in which man will achieve his fullness and harmony. The quintessence of Dostoevsky’s anthropological concept is the idea of “all-humanity” (“vsechelovechnost”) and “universal responsiveness”, capable of uniting people on the basis of spiritual brotherhood and acceptance of the alien as one’s own.
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Demshina, A. Yu. "Games with archetypes in contemporary art: interpretation of Harlequin image in works of Tim Burton." Vestnik of Saint Petersburg State University of Culture, no. 1 (30) (March 2017): 66–70. http://dx.doi.org/10.30725/2619-0303-2020-3-66-70.
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Second half of the 20th century cinematography has repeatedly drawn to the image of Harlequin, as the embodiment of the spirit of creativity, as a bohemian art misunderstood image of the creator, a liar and mocker. Tim Burton masterfully plays with existing interpretations of the image creates its development archetype. The method of Tim Burton is double coding. He consistently tries to make sense of creativity and the creative role of man in society.
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Ramadan, Nabih M. "Migrainous Infarction: The Charcot-Féré Syndrome?" Cephalalgia 13, no. 4 (August 1993): 249–52. http://dx.doi.org/10.1046/j.1468-2982.1993.1304249.x.
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The writings of Charcot and Féré on migraine and its permanent complications are translated. They emphasize how the art of observation was considered of paramount importance in clinical neurology, as stated by Charcot on 28 February 1888: “Let someone say of a doctor that he really knows his physiology and anatomy, that he is dynamic-these are not the real compliments; but if you say he is an observer, a man who knows how to see, this is perhaps the greatest compliment one can make.” These writings also reveal that arteriolar vasoconstriction in migrainous infarction and the vascular theory of migraine are hypotheses generated over 100 years ago and still being tested by contemporary neurologists.
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Vellodi, Kamini. "Tintoretto: Cosmic Artisan." Deleuze and Guattari Studies 13, no. 2 (May 2019): 207–39. http://dx.doi.org/10.3366/dlgs.2019.0353.
Full textAbstract:
The works of the sixteenth-century Venetian painter Jacopo Tintoretto (1518–94) present us with a radicalised idea of the cosmos that challenges both the humanist centring of the world on man and the hierarchy of divine authority that dominate the artistic traditions to which he is heir. In their place, Tintoretto confronts us with a ‘machinic’ staging of forces in which man, nature, religious figure and artificial element are integrated within an extended material plane. With this pictorial immanence, Tintoretto presents a ‘cosmic materialism’ unprecedented in Venetian painting. In this, his work gives provocative expression to Deleuze and Guattari's ontology of the artwork as ‘cosmic’ construction, and to their conception of the artist as ‘cosmic artisan’. Via readings of the art historical reception of Tintoretto's work by the art historian Arnold Hauser (1892–1978), and the artistic reception of Tintoretto's work by Paul Cézanne, I explore this expression, and attend to questions of modernity, temporality and art history as they are inflected in Deleuze and Guattari's thought.