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Journal articles on the topic 'Image contemplative'
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Scott, Charles F. "What is Contemplation?" SFU Educational Review 12, no. 2 (July 31, 2019): 121–36. http://dx.doi.org/10.21810/sfuer.v12i2.936.
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Richardson, Pamela, and Susan Walsh. "Endless Open Heart: Collaborative Poetry and Image as Contemplative and Restorative Practice / Du fond du cœur : poésie concertée et imagerie pour une pratique contemplative et restauratrice." Canadian Review of Art Education / Revue canadienne d’éducation artistique 45, no. 1 (December 22, 2018): 153–64. http://dx.doi.org/10.26443/crae.v45i1.59.
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Abstract: In this article, we share how during a time of retreat from our academic careers we engaged in a shared contemplative arts process that included two practices, the first being renga, or linked verse poetry, and the second being Miksang, or contemplative photography. Through our particular collaboration, we sought to co-create a space where healthy habits of mind and open-hearted awareness were nurtured through practices of spaciousness, restfulness, curiosity, and compassion. In this way, we manifested a process that has been restorative for ourselves and that is potentially helpful for other artists, teachers and researchers.Keywords: poetry; photography; contemplative arts; collaboration; healing.Résumé : Nous racontons dans cet article comment nous nous sommes, en retrait temporaire de nos activités professionnelles, impliqués dans un processus concerté d’art contemplatif impliquant deux pratiques, à savoir le renga, sorte de poésie collaborative, et le Miksang, ou photographie contemplative. Nous avons voulu, dans le cadre de cette collaboration spéciale, co-créer un environnement favorisant de saines habitudes intellectuelles et la bienveillance en y intégrant grandeur, détente, curiosité et compassion. Nous avons ainsi amorcé un processus restauratif pour nous et potentiellement utile à d’autres artistes, enseignants et chercheurs.Mots-clés : poésie, photographie, arts contemplatifs, photographie, collaboration, guérison.
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Dorofeev, Daniil. "Visual Communications of Love in Athens and Venice: Plato and Tomas Mann." ΣΧΟΛΗ. Ancient Philosophy and the Classical Tradition 14, no. 2 (2020): 637–64. http://dx.doi.org/10.25205/1995-4328-2020-14-2-637-664.
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The article is devoted to the study of ontological, aesthetical and anthropological features of visual communication in Plato and Thomas Mann. I compare T. Mann’s Death in Venice artistic conception with the philosophical understanding of the image, contemplation, beauty and Eros of Plato, primarily in the dialogues Phaedrus and Symposium (with some reference to F. Nietzsche and the film by L. Visconti). The author explores the specifics of the visual-plastic worldview and the contemplative cognition of being, determined by the erotic foundation of the aesthetic contemplation of the human image as phenomenal manifestation of truth, fundamentally different from the one revealed in speech communication, and even capable of being autonomous from it, and represents the philosophical and artistic phenomenology of the development, transformation and implementation of such consciousness. The role of Athens and Venice as particularly significant historical-cultural topoi of visual communication is specially emphasized.
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Salom, Andrée. "Art Therapy and Its Contemplative Nature: Unifying Aspects of Image Making." Art Therapy 30, no. 4 (October 2, 2013): 142–50. http://dx.doi.org/10.1080/07421656.2014.846203.
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REPINA, E. A., and D. S. KAMYShEVA. "QUALITIES OF POSTINDUSTRIAL RUSSIAN ENVIROMENT: GRAPHIC EXPERIMENT." Urban construction and architecture 2, no. 2 (June 15, 2012): 24–26. http://dx.doi.org/10.17673/vestnik.2012.02.5.
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This article is devoted to specificity of environmental design of contemporary postindustrial Russian city. As an example of possible methods discussed including seeing, useless contemplative walk, naming of qualities, their graphic interpretation and returning them back in the starting image by means of photo-collage.
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Flores Barboza, José Clemente, and Franks Paredes Rosales. "La contemplación: estado superior del espíritu." Tradición, segunda época, no. 18 (January 9, 2020): 154–59. http://dx.doi.org/10.31381/tradicion.v0i18.2670.
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ResumenEl presente artículo está dividido en tres partes: En la primera se hace un esclarecimiento del concepto “Contemplación” refiriéndolo a los primeros filósofos griegos Platón y Aristóteles, quienes lo definieron como el asombro ante un hecho, objeto, paisaje, personaje que despierta vivencias fuertemente arraigadas en el espíritu. Se destaca el aporte de Platón a la contemplación de las ideas, particularmente el Bien como base de todo lo bueno y recto que existe. También meditaciones de Aristóteles y Plotino. En la segunda parte, se ocupa de los ámbitos de la contemplación estética, filosófica y mística, y finalmente, se vincula la educación al enriquecimiento del espíritu para contemplar lo bueno y lo bello. En cada ámbito se destaca un ejemplo: Neruda revive a Vallejo, Watanabe contempla la naturaleza y finalmente la imagen de Macchu Picchu vista desde la Casa del Guardián.Palabras clave: Contemplación estética, contemplación filosófica, contemplación mística, vida contemplativa, contemplación y educación, razón y pasión
AbstractThis article is divided into three parts. In the first part the concept “Contemplation” is clarified associating it with Greek philosophers Plato and Aristotle, who defined it as the amazement one holds at an event, object, landscape, or character that evokes experiences closely related to one’s spirit. Plato’s contribution towards the contemplation of ideas is highlighted, especially, righteousness as the foundation of everything that is good and correct. Meditations by Aristotle and Plotinus are also discussed. In the second part, it deals with the fields of aesthetic,philosophical and mystical contemplation and, finally, educationis linked to the enrichment of the spirit to contemplate the good and the beautiful. In each scenario, an example is analyzed,Neruda brings Vallejo back, Watanabe contemplates nature, and finally the citadel of Macchu Picchu as seen from Casa del Guardian.Keywords: Aesthetic Contemplation - Philosophical, cobtemplation - Mystical Contemplation - Contemplative Life - Contemplation and Education - Reasoning and Passion
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Newman, Barbara. "The Fool's Dance: Finding the Still Point in The Greater Trumps." Journal of Inklings Studies 9, no. 2 (October 2019): 154–71. http://dx.doi.org/10.3366/ink.2019.0043.
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Charles Williams and his characters need no spaceship or enchanted wardrobe to enter the otherworld, for it is simply the hidden heart of this one. Its portal is awakened vision. As both a fervent Christian and a practicing ritual magician, Williams used magic to open the supernatural dimension that features so prominently in his novels. Once a potent magical object has been loosed into the world, where it unleashes havoc, the damage must be contained by a saintly character who surrenders to the Divine, restoring the cosmic balance. Williams establishes striking parallels between magical sight and contemplative vision, as also between the performance of magic and the act of prayer. Focusing on The Greater Trumps, this essay considers the Fool (the figure numbered “zero” in the tarot deck) as an image of Christ who stands at the center of the magical dance enacted by the cards. Two maiden aunts, seemingly with little in common, turn out to be parallel seers of the divine: Nancy's aunt Sybil, a saintly contemplative, and her fiancé’s aunt Joanna, a gypsy madwoman obsessed with the goddess Isis.
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Carrabine, Eamonn. "Traces of violence: Representing the atrocities of war." Criminology & Criminal Justice 18, no. 5 (July 25, 2018): 631–46. http://dx.doi.org/10.1177/1748895818789448.
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This article explores the relationships between war and representation through the use of visual images, and takes a cue from the French cultural theorist Paul Virilio, who has written extensively on the militarization of vision in ways that have yet to be fully recognized in criminology. It then outlines some of the disputes surrounding documentary photography, not least since one of the main factors driving the development of the medium was the desire to record warfare, before turning to recent efforts to reconfigure the violence of representation by focusing on what has been termed ‘aftermath photography’, where practitioners deliberately adopt an anti-reportage position, slowing down the image-making process and arriving well after the decisive moment. This more contemplative strategy challenges the oversimplification of much photojournalism and the article concludes by reflecting on how military-turned-consumer technologies are structuring our everyday lives in more and more pervasive ways.
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Crimmins, Gail, Alison L. Black, Janice K. Jones, Sarah Loch, and Julianne Impiccini. "Rupturing the limitations and masculinities of traditional academic discourse through collective memoir." Qualitative Research Journal 19, no. 4 (November 11, 2019): 380–90. http://dx.doi.org/10.1108/qrj-03-2019-0025.
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Purpose The authors, seven women–writers–performers–artists–academics, have been working collectively for a year, storying, de-storying and re-storying the experience of our lives. The authors write to “taste life twice, in the moment and in retrospect” (Nin, 1976), to uncover and learn ourselves through writing (Richardson, 1997), to take the “risky” steps of talking to each other about our inner lives (Palmer, 1998). Cognisant of the limitations and masculinities of traditional academic discourses, in form and content, and heavily confined by neoliberal expectations to count and be counted, we write and express the stories of lives the authors did not choose or imagine – lives we are given and live through. Our expression inhabits aesthetic, contemplative and sensory ways of knowing and employs poetry, image, song and story to create a polyvocal account of women’s lives, voices, struggles and learning. The authors share here part of our collective memoir and its development. The paper aims to discuss these issues. Design/methodology/approach This paper is designed as a collective memoir. Findings The authors write and express the stories of lives we did not choose or imagine – lives we are given and live through. The expression inhabits aesthetic, contemplative and sensory ways of knowing and employs poetry, image, song and story to create a polyvocal account of women’s lives, voices, struggles and learning. The authors share here part of our collective memoir and its development. Research limitations/implications The research focuses on autoethnography and lived experience. Originality/value Auto-ethnography/lived experience offers rich insights into the personal and political actions and actors within higher education.
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Sosnowska, Monika. "Shakespeare’s Hamlet/Hamlet, Shakespeare 3.0, and Tugged Hamlet, The Comic Prince of The Polish Cabaret POTEM." Multicultural Shakespeare: Translation, Appropriation and Performance 17, no. 32 (June 30, 2018): 81–93. http://dx.doi.org/10.18778/2083-8530.17.08.
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Shakespeare’s dramas are potentialities. Any Hamlet may be understood as the space in which Shakespeare’s thoughts are remembered, as a reproduced copy of the unspecified, unidentified source, the so called original. Simultaneously, it may be conceived of as the space where Shakespeare’s legacy and authority is tested, trifled and transgressed. Nowadays Shakespeare’s dramas are disseminated in multifarious forms such as: printed materials, audio and video recordings, compact audio discs, digital videos and disc recordings. Since I am fond of the cultural phenomenon called Hamlet, not a singe text or performance, but a continuum of human interaction with intermediated and transcoded versions of the drama, in this article I focus on the abovementioned single play. I accentuate the title character’s profound meaning in Shakespeare studies and his iconic status in Western culture in different media. I exploit W.B. Worthen’s concept of “Shakespeare 3.0.” to demonstrate Shakespeare’s presence in digital reality on the example of a comic rendering of Hamlet (Tugged Hamlet, 1992) by the Polish cabaret POTEM. Their cabaret sketch, although it was not created for the Internet audience, is available on-line via YouTube, consituting “Shakespeare 3.0.” Furthermore, I pose several questions and attempt to answer them in the course of my analysis: to what extent does the image of a mournful and contemplative Hamlet pervade different dimensions of culture, especially our collective imagination?; what chances of realization has a cultural fantasy of challenging the myth of a witty and contemplative Hamlet when re-written and presented as a pastiche or satire?; was the Polish cabaret POTEM succesful in their comic performance?
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Atkinson, Tyler. "Contemplation as an alternative to curiosity: St Bonaventure on Ecclesiastes 1:3–11." Scottish Journal of Theology 68, no. 1 (January 9, 2015): 16–33. http://dx.doi.org/10.1017/s0036930614000878.
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AbstractThis article seeks to offer a christological interpretation of the opening poem in Ecclesiastes (1:3–11) through engagement with St Bonaventure's exegesis of the passage. It begins with a brief survey of contemporary treatments of the passage, which are characterised by an emphasis on cosmic monotony as an illustration of the futility of human labour. Then, it examines the Seraphic Doctor's version of the contemptus mundi interpretation of the book, relating it to his metaphysics of emanation, exemplarity and consummation. It will be suggested that Bonaventure's version of contemptus mundi informs an alternative interpretation to the critical status quo.In his exegesis of the opening poem, Bonaventure begins by describing three kinds of existence: existence in the eternal and unchanging Word, material existence in the cosmos, and abstract existence in the mind. While Bonaventure does not consider existence in the Word in relation to Ecclesiastes 1:3–11, because such existence is not subject to the vanity of mutability, the conclusion of the article will propose that such existence is in view in the text. When Bonaventure considers material existence, his metaphysics will not allow him to read the cosmological motion in Ecclesiastes 1:5–7 as monotonous, but rather as creaturely movement which invites contemplation. When he considers abstract existence, he contrasts the movement of heavenly and elemental creatures with the dissatisfaction of human perception, constrained by curiosity, the vice which characterises the protagonist's pursuits in Ecclesiastes 1:12–2:26. Thus, it will be suggested from Bonaventure's exegesis that the problem in Ecclesiastes 1:3–11 is not an oppressively monotonous universe which shows humans how pointless their own movement is, but rather humanity's failing to treat the cosmos as a book which speaks of God.In the article's final section, a relationship between the contemplative reading of Ecclesiastes 1:3–11 and Bonaventure's Itinerarium will be outlined. The consideration of material existence in Ecclesiastes 1:4–7 will be related to contemplation through vestiges. Then a contrast between the perceptual rupture of Ecclesiastes 1:8–11 and contemplation through the divine image in humanity will be shown. Finally, a christological reading of Ecclesiastes 1:10a will be offered, suggesting that this verse gestures towards the incarnate Word, who reforms the divine image in humanity and thus places humanity back on course towards similitude. It will be suggested in closing that, in signalling this hope, Ecclesiastes 1:10a prepares one for the union with Christ which Song of Songs depicts.
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Grigorieva, Natalya G. "Psychological Insight in Asgar Farhadi’s Early Films." Journal of Flm Arts and Film Studies 10, no. 2 (June 15, 2018): 95–106. http://dx.doi.org/10.17816/vgik10295-106.
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The article dwells on the work of Asghar Farhadi, one of the leading Iranian film directors, a proud winner of a number of prestigious international awards. The author proves that modern Iranian filmmakers show preferences to other genres as opposed to those favored in the 1990s; metaphorical ellipses have replaced the obvious conclusions and contemplative moralizing has given way to focusing on characters inner world. The article emphasizes that A. Farhadi was among the first in Iranian cinema to have fully mastered the achievements of European psychological drama. The logic of characters behavior and cause- and-effect relationship appeared to have been the most vulnerable point in the films of Iranian New Wave. The first films by A. Farhadi (Dancing in the Dust, 2003; The Beautiful City, 2004; Fireworks Wednesday, 2006) manifested a significant step forward in this respect. Though these pictures are less known to the audience and not so generously acclaimed and rewarded by international film festivals as his famous Salesman, they show Farhadis skills of a talented psychologist more apparently. The author notes that by turning to psychoanalysis, Farhadi does not reject social aspects, but merely shifts the highlights. His social criticism does not have the acuteness of an open confrontation, but is subtly interwoven into his contemplating narratives, characters reflections and motivations. The article also touches the image of women, which has considerably changed since the late 1990s. The director is less interested in social contradictions and tension caused by the oppressed status of women in an Islamic society. Instead, he is more concerned with their inner world and how they deal with complicated issues.
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Williams, Linda. "Motion and e-motion: lust and the ‘frenzy of the visible’." Journal of Visual Culture 18, no. 1 (April 2019): 97–129. http://dx.doi.org/10.1177/1470412918811661.
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How and why did pornography become the lust-inducing genre we are familiar with today? Why did it narrow its once wide purpose of social critique to only producing sexual arousal and satisfaction? While many scholars have assumed that an encroaching realism of both media and subject matter have brought about this familiarity, this article follows the work of Jonathan Crary to suggest that one overlooked factor might be an important change that took place in the very regime of the visible over the course of the 19th century. During this period a distanced, centered and contemplative geometrical perspective gave way to a bewildering array of subjective, physiological bodily effects and sensations produced within the bodies of observers. In approaching this question from the perspective of the early 21st century and taking account of models of both rupture and continuity, it becomes possible to understand moving-image pornography as a genre whose primary emotion was lust.
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Bylaardt, Cid Ottoni. "Drummond: a metamorfose em direção à poesia pura." Revista do Centro de Estudos Portugueses 20, no. 27 (December 31, 2000): 65. http://dx.doi.org/10.17851/2359-0076.20.27.65-92.
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<p>A obra poética de Carlos Drummond de Andrade apresenta um momento que se afigura diferente dos demais - anteriores e posteriores. É o livro <em>Claro enigma</em>, que contém poemas compostos entre 1948 e 1951. A primeira parte do livro, “Entre lobo e cão”, vai constituir o objeto principal de investigação da poesia pura drummondiana neste artigo. Chamamos essa poesia de pura no sentido de que ela não pretende ensinar, nem emocionar, nem informar nada. É pura no sentido de produzir um certo hermetismo essencial, provocado inicialmente pela própria negação da imagem habitual do mundo e do desejo de depuração verbal. Tende, enfim, à pureza essa poesia que constitui outro mundo, independente, completo, autônomo. Ser outra forma de vida não pressupõe que a poesia exija, para que compartilhemos de seu mundo, uma ruptura total e irreversível com o mundo real, embora demande um tipo diferente de experiência, provocado pela imaginação contemplativa.</p><p><strong> </strong></p> <p><strong> </strong></p> Carlos Drummond de Andrade’s poetic work presents a moment that appears different from the others - earlier or later ones. It is the book <em>Claro enigma</em>, which includes poems composed between 1948 and 1951. The first part of the work, ”Entre lobo e cão”, is the main object of investigation about Drummond’s pure poetry in this essay. We call this poetry pure in the sense that it doesn’t intend neither to teach, nor to make emotions rise, nor to report facts. It is pure in the sense that it shows a kind of essential hermetical nature, caused initially by the very denying of the habitual image of the exterior world and by the desire of language depuration. In short, this poetry that creates an independent, complete and autonomous world tends towards purity. To be another kind of life doesn’t mean that this poetry requires, for us to share its world, a total and irreversible breaking with the real world, although it demands a different kind of experience, brought about by contemplative imagination.
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Rohozha, M. М. "PHILOSOPHER IN SPACE AND TIME OF CULTURE (CHRONOTOPE OF MAÎTRE À PENSER) PART I." UKRAINIAN CULTURAL STUDIES, no. 1 (2017): 47–51. http://dx.doi.org/10.17721/ucs.2017.1.10.
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The paper deals with the research of philosophic way of life as an invariant of the Western culture. The author tries to revealthe answers to the questions: What is the influence of the time and place of life on a thinking person? Is it possible to put a question in such away? The first part of the paper gives methodological explanation for such putting the questions. Two conceptual strategies of thinking in the contemporary history of philosophy are mentioned – compartmentalismand biographical method. The latter one allows to understand philosophizing through research of maître à penser. Such approach makes possible cultural studies prospect for the life of a philosopher in the context of unique time and space. To designate the uniqueness of time and space, the category of chronotope (M. Bakhtin) is introduced in the paper. Chronotope sets condensed signs in a definite period at the result of which a unique image of a thinker is born in a definite cultural space. The Antiquity image of philosopher is Socrates. Not a biographical person but a mythologized image, Socrates entered the great time of culture and influenced on the Western civilization. Since Socrates, the philosophizing of Antiquity is considered as the spiritual exercises (P.Hadot), in which the spirit of publicity is combined with the inner dialoguewith oneself. Late Antiquity changed practical orientation ofphilosophy by contemplative one. Plotinus is considered as the example of such life style. Medieval culture transmits philosophizing from agora to the monastery, and since the 13thcentury, philosophizing came back to the city space again – tomedieval university. Two opposite images of medieval philosophers are considered, Thomas Aquinas and Siger de Brabant, who were didactic examples, full of moral content. Stories about Siger’s life were spread at once after his death as the warning from inheritance; later on hewas forgotten. Thomas Aquinas’ life is known as hagiography, didactic story free from details of private life.
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Dewa Ayu Ketut Septika. "Image-making and Architecture: A Digital Medium for Qualitative Design Representative." Built Environment Studies 1, no. 1 (October 22, 2020): 29–36. http://dx.doi.org/10.22146/best.v1i1.504.
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Architecture is inseparable from visual aspects in the form of representation as a way to establish communication. Due to digitalization and the rapid development of technology, there has been a shift in the paradigm of image representation. Manual images become digital images, from sketching and drawing to image-making and rendering. Digital rendering is considered to be object-oriented and quantitative. It has the characteristics of being precise, fast, reflecting form and materiality, with a photorealistic image as a result. There is no visible involvement of subjects such as architects, image-maker, and observers in the process because the image represents the final outcome. Here, the role of representation to evoke imagination and deeper interpretation is lost, because it does not leave room for intervention and contemplation of the design. That is why another kind of digital method emerged in the world of representation, instead of “rendering” the design as an image, it is relevant to the act of “making” an image as design representation. Its characteristic as a representation method makes the produced images have the ability to be evocative, in order to make its viewers contemplate and interpret the design, which makes it a qualitative representation. The aim of this paper is to understand the act of image-making through digital collage as a medium for qualitative representation in architectural design. By comparing digital rendering and collage images obtained through literature studies, this paper wants to offer the author’s viewpoint on the qualities and experiences brought by architectural representation.
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Kamenieva, A. "Meditativity in the structure of art consciousness (on the material of the mass «And i said in my heart» by M. Shukh)." Problems of Interaction Between Arts, Pedagogy and the Theory and Practice of Education 49, no. 49 (September 15, 2018): 128–40. http://dx.doi.org/10.34064/khnum2-49.09.
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Background. Mikhail Shukh is a Ukrainian composer, who paid much attention to spiritual music in his creative work. In general, the spiritual sphere of his works belonged to choral genres. Mikhail Shukh’s choral music is very diverse: it varies from large genres to choral cycles and miniatures. Mikhail Shukh was one of the first composers who revived spiritual music in the 90s of the 20th century after a long stagnation. As a composer of the "new time", who belonged to the "nova musica sacra" direction, Mikhail Shukh interprets spiritual genres in a new way. His works are written from the modern perspective, begotten by the artist’s vision of the late twentieth and early twenty-first centuries. Mikhail Shukh composed his works at the historical and political turn of the centuries reflecting and developing the choral art of our times in many ways. The composer’s musical thinking is remarkable for philosophical and religious ideas that underlie many of his works. In his world view, Mikhail Shukh always shrinks into himself, trying to gain inner freedom, to comprehend the secrets of the world order. Hence the desire of the composer for the meditative direction in music – contemplation, reflection – is noticeable Objectives. The purpose of the paper is to reveal meditativity in the structure of M. Shukh’s Mass "And I said in my heart" in order to comprehend the specifics of the artistic consciousness of the composer Methods. The study is based on the stylistic, semantic and genre methods. Results. The results of the research detected that Mikhail Shukh’s Mass "And I said in my heart", written with canonical Latin texts (for soprano, female vocal trio, organ and synthesizer), belongs to the spiritual genre and is distinguished by the weighty role of meditativity in the birth of the artistic concept of the composition. However, speaking of the canonical genre of the Mass, it is clear that the most important thing in the sound of church songs is their prayerful character. Prayer state is the state of inner feeling, that is why the concept of "meditativity" can be equated with the concept of "prayerfulness". But the pray can be different – it can contain requests to God, thanks or praise of His greatness. Such a deep immersion of the composer in the image and philosophical thinking stems from the fact that the Mass "And I said in my heart" is a dedication to the memory of his mother, which changes the content and genre of the work, bringing it closer to the funeral mass – requiem. This is evidenced by the structure of the Mass: the work is made up of 9 parts, 8 of which belong to the classical requiem, with the exception of one – "Victimae paschali", which is a Gregorian sequence. The mass has many intonations of light sadness; the transparent architectonics of the parts makes the mass sound imponderable and sublime. From the emotional viewpoint the parts are contemplative, prayerful, peaceful, devoid of vivid variety. A bright example of the nontraditional interpretation of the requiem genre made by the composer is his treatment of the part "Dies irae". As you know, this part has always been one of the dramatic centers in the classical samples of the genre (for example, in the works of W. Mozart, G. Verdi, A. Schnittke). However, from the viewpoint of imaginative state the second part of Shukh’s Mass "And I said in my heart" is meditative-contemplative, essentially it does not express the main idea of the Requiem text about the "Day of Wrath". The composer decided to use the meditative figurative sphere in this part, wishing to rise and soar over everything negative and let all the earthly sufferings go. The analysis of the mass showed that in most parts (except VII and VIII) the composer uses slow or moderate tempo, a quiet nuance, there are no climaxes. Analyzing the peculiarities of the thematism in the mass, we can say that the author often comes close to the genre of the Gregorian chant in its pure form (in unison, in a quart), the themes are quite ascetic, restrained and do not have much development. The semantics of the work synthesizes various states of the penitential soul and embodies such modes of meditative lyricism as penitential, sorrowful, contemplative, prayerful, and peaceful ones. One of the stylistic features of M. Shukh’s musical language is the use of sustained chords in the cadence at the end of phrases or at the end of the parts themselves, which is also observed in this work and is also a manifestation of the meditative semantics. The parts of the mass can be conditionally divided into figuratively bright parts (e.g. "Kyrie eleison", "Victimae paschali", "Domine Jesu Christe", "Agnus Dei"), which mostly sound in major keys where enlightened, ascending intonations, consonances prevail, and mournful ones (e.g. "Dies irae", "Dies illa", "Lacrimosa"). As the name of the work "And I said in my heart" suggests, the Mass has many inner emotions of the author; it reveals the composer’s own self. This is evidenced by the fact that the composer wrote his piece not for the full choir, but for a vocal trio in order to make the texture of the work more transparent and its sound more gentle, intimate, as well as to affirm the dominant female image in the piece – the image of Mother. Soft voices and the "angel-like" solo of the high soprano help to create the image of the human soul "departing", "flying away" to God. An important role in the embodiment of the meditative concept of the mass is assigned to the accompanying instruments – the organ and synthesizer. From the first seconds soft organ chords resemble the sound of the choir, and the slight rustle of the synthesizer’s sound dip listeners into the prayerful sphere, way of thinking. And then throughout the composition they help to create an elevated, prayerful image. Conclusions. When analyzing various genres of choral works by M. Shukh, one can note that the composer resorts to meditativity both in spiritual choral works (for the embodiment of the Divine being through music) and in secular genres. So, this quality of the composer’s choral thinking can be seen in the Mass "And I said in my heart," which is a vivid embodiment of the liturgical interpretation
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Рябкова, Т. В. "Cultural and Geographical Markers of the City as Objects of Artists’ Attention (On the Example of Vladivostok)." Nasledie Vekov, no. 2(26) (June 30, 2021): 91–99. http://dx.doi.org/10.36343/sb.2021.26.2.007.
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Исследование призвано выявить характерные особенности образов объектов (маркеров), выражающих сущность городского пространства Владивостока. Источниками послужили картины местных художников с изображениями городских пейзажей, а также результаты научных изысканий культурологов, историков искусства, архитекторов и экспертов в области разработки концепций брендирования. Рассмотрены три маркера городского пространства Владивостока, (район Миллионка, Владивостокский фуникулер и Золотой мост). Проанализированы работы художников, в которых эти маркеры получили подтверждение своей значимости, раскрыты художественные нюансы, свойственные их изображению. Установлены общие характеристики образов, в совокупности отражающие позитивный образ города. Определено, что при создании концепции локального или регионального брендирования творчество местных художников может служить важным источником и средством определения узнаваемых образов. The study aims to reveal the characteristic features inherent in the images of objects–markers of Vladivostok’s urban environment depicted in the paintings of local painting masters. The sources were the objects–markers of Vladivostok’s urban environment, a number of paintings depicting them, as well as the results of research on the problems of cultural geography and geocultural branding by Russian culturologists, architects, art historians. The author considers urban space as a visual text, which corresponds to the methodology of a semiotic approach. The latter presupposes the substantiation of communication between various subjects as a process in which various sign systems play a huge role. In this case, not only familiar symbols can act as signs, but also various images, material objects that have a certain meaning. In this study, objects (markers), expressing the essence of urban space, act as signs, and paintings with their images are understood as “mediators” between the sign itself and the recipient (the subject who perceives it). This study helps to find out how much the demand for an urban object as a pictorial image contributes to its definition as a spatial marker. The spatial markers of Vladivostok, which also are often touristically significant places and form the brand of the city (Millionka District, Vladivostok Funicular, and the Golden Bridge), have been studied. The works of artists, in which the significance of these markers is confirmed, have been analyzed; the artistic nuances inherent in the image of a particular object have been revealed; the symbolism and the inner content of artistic images have been determined. Their characteristic features are the focus on creating a certain associative array that appears in the minds of people who perceive a work of art; organic inclusion of objects in the surrounding space; symbolism, often turning into metaphor; and a calm contemplative manner of depiction full of lyrical shades. All these characteristics in their totality reflect the positive image of the city, which has a long and interesting history, and at the same time is forward-looking. The artists’ creative approaches to depicting the objects are different; however, the very choice of these markers indicates a certain commonality in the perception of the cultural code of the city. Based on the results of the study, it can also be concluded that the works of local artists can undoubtedly serve as an important source and means of identifying recognizable images when creating the concept of local or regional branding that is geocultural in nature.
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Wholden, Rosalind G. "Image in Contemplation." Psychological Perspectives 25, no. 1 (September 1991): 78–81. http://dx.doi.org/10.1080/00332929108405639.
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Hibberd, Sarah. "Le Naufrage de la Méduse and Operatic Spectacle in 1830s Paris." 19th-Century Music 36, no. 3 (2013): 248–63. http://dx.doi.org/10.1525/ncm.2013.36.3.248.
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Abstract Grand opera's love of all-consuming spectacle is evident in its cataclysmic eruptions, explosions, and shipwrecks, its magnificent processions and ceremonies, and its breathtaking reconstructions of sublime landscapes, from Auber's La Muette de Portici (1828), through Halévy's La Juive (1835), to Meyerbeer's Le Prophète (1849), and beyond. An understanding of the Parisian public's visual experiences and expectations outside the opera house can help in theorizing grand opera's distinctive aesthetic. Contemporary spectacles d'optique, including the tableau vivant, panorama, diorama, and nocturnorama, attest to the higher powers of sensory attentiveness demanded of audiences. Some offered a sensory overload that encouraged complete absorption in the spectacle; others encouraged critical reflection as music and image drew attention to themselves through a disjunction of narrative or mood. Auguste Pilati and Friedrich von Flotow's opera Le Naufrage de la Méduse (Théâtre de la Renaissance, 1839) incorporated an ambitious animated representation of Théodore Géricault's celebrated painting on the subject and generated critical discussion about the relationship between sound and vision. Le Naufrage and the spectacles d'optique of the period offer a prism through which to view opera's evolution from a contemplative to a more involving form of drama in the second quarter of the nineteenth century, and to contextualize French grand opera's distinctive fascination with the interplay of music and spectacle, narrative and display, and the engagement of audiences in constructing meanings.
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Robertson, Sean P. "From Glory to Glory." Augustinian Studies 50, no. 2 (2019): 151–69. http://dx.doi.org/10.5840/augstudies20195853.
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This article argues that, in De Trinitate, Augustine’s ascent to God via a search for the Trinity is successful precisely because of the emphasis he places on the role of Christ in such an ascent. Unlike scholarship which reads this ascent as an exercise in Neoplatonism—whether as a success or as an intentional failure—this article asserts that Augustine successfully discovers an imago trinitatis in human beings by identifying the essential mediation of the temporal and eternal in the person of the Incarnate Word. Of the work’s fifteen books, Books 4 and 13 focus extensively on the soteriological and epistemological role of Christ, who, in his humility, conquered the pride of the devil and reopened humanity’s way to eternity. The Christology in these books plays an important role in Augustine’s argument by allowing his ascent to move from self-knowledge to contemplation of God. Indeed, it is his understanding of the Christological perfection of the imago dei which allows Augustine to discover a genuine imago trinitatis in human beings. For Augustine, the imago is observable in humanity to the extent that an individual is conformed to Christ, the perfect image of the invisible God. Thus, it is only through Christ that a human being can successfully contemplate the Trinity in this imago.
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Kamenieva, Anna. "Stylistic features of the choral concerto “Witchery songs” by M. Shukh." Problems of Interaction Between Arts, Pedagogy and the Theory and Practice of Education 55, no. 55 (November 20, 2019): 122–35. http://dx.doi.org/10.34064/khnum1-55.09.
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Background. The current paper provides an intonation and dramaturgical analysis of the choral concerto “Witchery Songs” by a contemporary Ukrainian composer M. Shukh (1952–2018). It reveals stylistic features of the late composition, presents an argument for its affiliation to the meditative sphere enriched with new stylistics, which can be seen in the semantics of contemplation, philosophical and psychological focus (the first movement), the concept of “Light” (the second miniature) as well as composure and blissful sleep (final). Objectives. To reveal stylistic features of the choral concert “Witchery songs” in order to understand the multidimensionality of the late style of M. Shukh (2010). Methods. The methodology of the research is based on the genre, stylistic, structurally functional, intonation-dramaturgicaland semantic scientific approaches. Results. The structure of the cycle includes three miniatures created in different years (1993, 2006 and 2009). The composer combined them into a new author’s concept: the unifier was the image of the author’s contemplation, meditation on various images of O. Kryvoruchko’s poetry, which was related to his spiritual universe. The program title of the cycle “Witchery Songs” chosen by the author is general, borrowed from the dramatic imaginary sphere of the first movement. The first movement “Practising witchery on a Gray Seagull” embodies the image of a seagull appearing in different forms: as a white bird, a symbol of purity, and the grey one, which had been grief-stricken and died, leaving behind baby seagulls. The poetic text is abundant with symbols of death (“black water”, “bitter mountain”), and vice versa, with signs that symbolize hope: “clear field”, “pure wonder”, “white grasses”. At the same time, the name of the movement, its folklore bias and content also point to the image of witchery, which is embodied by M. Schukh in thematism through meditation (means of tempo and timbre dramaturgy, “dark” modal and tonal focus). The metrical organization of the movement attracts attention. If the beginning of the introduction is presented in the 4/4 time, then in the enunciation of the main theme (bar 7) the composer uses an odd meter of 11/8 with the subsequent change to 10/8, 5/8, then 3/4. The frequent change of the metric rhythm indicates the relation of the musical stylistics of this theme to the Ukrainian folk-song tradition. The second movement “Night” contains no specific symbolism of practising witchery: the semantics of the night includes rather a genre model of a nocturne with its onomatopoeia (breeze, bells, stars, moon). A beautiful pattern is perceived as an intermezzo between the dramatic text of the cycle exposition and the celestial lullaby, which elevates the earth’s feelings to the Light. The movement reveals a magical picture of nightlife. The composer embodied this contemplative image by creating light meditation. Major colour, quiet dynamics, slow tempo, and chamber-like use of musical expressiveness all contribute to the basic essence of a meditative state – calmness and relaxation. Meditative onomatopoeia interfuses the whole movement – a light breeze, lighting up the stars. The image of the bell is found in all parts: the first soprano part has a poetic text – “the wind tinkles “, the alto one has mormorando, a singing technique, the second sopranos – syllables “din, don” with sonorous singing of the last “n”. In this part the composer often applies the techniques of free development – glissando, tenuto, rhythmic variety – triples, long delays. In such a way the artist sought to “let the performers go”, creating a meditative image of night silence. In the third movement, “Angelic lullaby,” meditative semantics is multiplied, since the genre of lullaby, like meditation, has a calming effect. Thanks to its name the composer gave the song a higher, deeper meaning. Musically, the composer filled the imagery of the movement with an incredibly expressive theme, onomatopoeic techniques similar to the previous movements: imitation of a breeze, hum of birds, stream overflows. Basically, the theme of the movement unfolds with the help of a spiral-like motion technique, the sound of which contributes to the lulling of a baby to sleep. The rhythmic basis of the theme is coloured by the intonational ostinato. The metro-rhythmic structure plays a special role in the dramaturgy of the movement: the composer often changes time signature, a large number of syncopescolour the musical texture, adding depth and at the same time lightness to the texture, and making the choir sound elusively charming. Conclusions. The semantics of the work is formed by stylistic synthesis (folk elements of the musical language embedded in the poetic text of O. Kryvoruchko; sacral signs – bells, angelic lullabies and onomatopoeia), emphasized at the soundintonational level. Taking into account the program subtitle (Practising witchery), the work, at first glance, seems to be a “cognitive dissonance” in the context of spiritual themes predominance in M. Schukh’s music. However, in the original concept of the composition, the composer clarifies for the thoughtful listener his idea – “modulation” way from mythopoetic (earthy) magic to the sacredness of the spiritual type (blissful sleep). The use of folklore stylistics shows that the artist continued the national tradition of O. Koshits, L. Dychko, Ye. Stankovich and others in the choral genre. Such a genre-stylistic decision is today perceived as an actualization of the appeal to traditional folk art, through the lens of philosophicalreligious poetics of author’s thinking.
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Ilina, Halyna. "The visual meaning of intellectual contemplation in the philosophy of J. G. Fichte." Osvitolohiya, no. 6 (2017): 70–75. http://dx.doi.org/10.28925/2226-3012.2017.6.7075.
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The article examines the visual perspective of the J. G. Fichte’s philosophy of transcendental idealism. He paid most attention to visual paradigm compared to other representatives of the German classical philosophy. The author notes that J. G. Fichte developed the original concept of a transcendental-phenomenological vision, in which the subject does not contemplate actually existing objects, but their reflection in subject’s consciousness. He does not see things, but the result of his own process of vision, the effects of his acts of contemplation. Because what is seeing, and the subject of the vision are identical, the contemplation of an object by a subject can give rise to adequate images of reality. Self- consciousness of the subject doesn’t dependent on reality,it is a pure activity that lays itself, and laying is simultaneously contemplation of itself. This contemplation, as is shown in the article, is the intellectual contemplation that forms the basis of every knowledge, and is also the main point of view for each philosophy. Intelligent contemplation as a reflection of one's consciousness combines creation and knowledge of oneself. Reliability of the results of intellectual contemplation is based on the authenticity of self-consciousness. The law of the development of the spirit is the self-limitation of the process of self-consciousness, which became the basis for the formation of the idea of historicism, which is a prerequisite for overcoming dogmatism and creating a new vision of the world.
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von Balthasar, Hans Urs. "Image-Filled and Imageless Contemplation." Logos: A Journal of Catholic Thought and Culture 1, no. 1 (1997): 111–13. http://dx.doi.org/10.1353/log.1997.0008.
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Пронин, E. Pronin, Костючков, S. Kostyuchkov, Лепницкий, and I. Lepnitskiy. "Formation of Human Adaptation Mechanism as Bio-social System: Educational and Philosophical Interpretation." Socio-Humanitarian Research and Technology 3, no. 3 (September 10, 2014): 12–18. http://dx.doi.org/10.12737/6223.
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This paper discusses problems affecting philosophical and
educational aspects of the formation of adaptation mechanism of
a human considered as a biosocial system. In the core of
authors’reflections lies a belief that education and training is a
process of continuous improvementof a human. Authors substantiate
the idea according to which the continued growth and development
of the individual are attributive characteristics of the adaptation
process as a set of components of a productive in teraction
between the individual and the environment, self-actualization,
self-development and self-organization of people in a particular
social setting. From the standpoint of Philosophy authors treat
adaptation as a social phenomenon, a form of interaction between
the individual and the social group with the environment in which
the coordinated and consistent requirements and expectations of
its members. Authors emphasize that the system of education and
training, inparticular in philosophical aspect, is intended to form
a new identity as well as another, different from the present, image
of worldorder. Emphasis is put that a modern man, especially an
individual of the new generation, is not a passive contemplative,
but an activeactor of political change, a form of expression which
is a course on the development of a progressive institution of social
life, which is an association of free and equal individuals, the rate
of development of civil society. Authors conclude that education
and training are closely interrelated processes of continuous improvement
of man, in other words – improvement of bio-social
skills of an individual, and, respectively, of human populations.
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Amaral, Augusto Jobim, and Rosália Mourão. "A jurist contemplating images." ANAMORPHOSIS - Revista Internacional de Direito e Literatura 5, no. 2 (December 17, 2019): 665–70. http://dx.doi.org/10.21119/anamps.52.665-670.
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Fidyk, Alexandra, Mandy Krahn, Vessela Balinska-Ourdeva, Karen Jacobsen, and Alison Brooks-Starks. "TRAUMA-SENSITIVE PEDAGOGY & PRACTICE NEWSLETTER 1 (OF 2)." Art/Research International: A Transdisciplinary Journal 5, no. 2 (October 1, 2020): 452–60. http://dx.doi.org/10.18432/ari29582.
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This publication includes the first of two newsletters published in this issue of Art/Research International. This second newsletter is followed by a commentary and references for both newsletters.
Attentive to local and global mental health realities and the emergent need to provide intercultural mental health perspectives, resources, and methods that work across cultures in school contexts, I (the first author) conducted a participatory poetic inquiry, “Image, Body, and Voice: Supporting Girls’ Sense of Wellbeing,” with grade-6 girls in an inner-city school in Alberta. It sought to: (i) meet new Teacher Quality Standards (TQS) “to build positive and productive relationships with students [and] peers” (AB Education, 2018, p. 4); and (ii) be “aware of and facilitate responses to the emotional and mental health needs of students” (p. 6). I was guided by the following research question: In what ways might girls’ experiences with art-integrated activities and body-centred methods inform educators about pedagogical practice and mental health interventions?
Findings indicated the transdisciplinary praxis that emerged—arts-based, contemplative and somatic methods—enhanced the girls’ sense of self and wellbeing. The youth reported that these activities had explicit value: sharing circles used for check-ins and - outs, ceremony—which welcomed witnessing—relational and body-centred practices, and one-on-one time with the PI. The life-size body maps as research creation illustrated that the participants learned to externalize sensations and emotions in a safe way, aiding them in the development of skills needed for emotional self-regulation. Body maps broadly defined are life-size body images, while body mapping is the process of creating body maps using collage, photography, painting, or other arts-integrated methods to visually symbolize aspects of people’s lives, their bodies, and their worlds.
Funding from Research Impact Canada, VP Research & Innovation University of Alberta and the Kule Institute for Advanced Study aided to mobilize evidence-informed knowledge from this research through professional community engagement with pre- service teachers at a full-day workshop. Presenters at the workshop were members of a Community of Professional Practice (COPP) where the activities of educational research and trauma-sensitive practices were shared, including culturally aware methods for diverse populations. This newsletter reflects one of two events and two research creation artifacts provided as follow up to the attendees.
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Setijawan, Wawan, and Andik Yulianto. "WAJAH “RYONEN” DALAM PUISI “BIARA” KARYA A. MUTTAQIN." Jurnal Pena Indonesia 3, no. 1 (May 19, 2017): 84. http://dx.doi.org/10.26740/jpi.v3n1.p84-99.
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Poetry literature is a form of work that brings the imaginative and contemplative minds and feelings of the poet. Poetry represents the writer's thoughts and feelings expressed through the power of language language formed the physical structure and inner writers through a particular language. It is the power of language that mediates communication between poets as writers and poetry readers. Again, the nature of the poetry language does tend to be symbolic with certain symbols so that it makes the poetry have different sensations and sensations from other literary works such as short stories and novels. Often even a poet uses a game of symbolism not with words but also with numbers and other forms such as certain images or graphics to attract readers. One of the interesting poems for the branches of meaning related to other stories in the rest of the world is the poem A. Muttaqin. This poet is mengulik Ryonen's face in a particular image that will be revealed in this short article. Apparently, there is an acknowledgment on Ryonen's statement, which was later also acquired by A. Muttaqin. The behavior of a disciple with his teacher travels on an interesting journey to be understood by A. Muttaqin's poem. There are layers of pain experienced by Ryonen from the first visit, second, third, to sixth. On the seventh visit, there is a symbolization that indicates that Ryonen has reached the seventh hell, to finally arrive at the first tier of heaven. It means that "happiness" (even if he wants to accept it) has and will always smother her. The 7th and 14th stanzas can tell the story above. The meaning is strong enough implied is a kind of obsession that has always been a marker that humans are always haunted by a variety of pleasures both physical and spiritual even up in the world there. The pleasures, ranging from the rough to the subtle, the low to the high, have been depicted in the seventh and seventh-grade layers of heaven representing the seven levels of pleasure. It can be said that the world of the monastery is a heavenly world, because its atmospheric vibrations are very subtle. When a person enters a region of the sanctuary there is a certain happiness when someone is in a shopping place.
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Wunenburger, Jean-Jacques. "Extase scopique, sédimentation langagičre et inscription corporelle. Les images dans la civilisation contemporaine." PARADIGMI, no. 3 (November 2009): 71–83. http://dx.doi.org/10.3280/para2009-003006.
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- Linguistic Sedimentation, and Bodily Inscription At present, we are exposed to an excessive offer of images, which raises a problem of assimilation. Subjects are increasingly passive, in ways that can border on pathological conditions. Yet, it is not so much a question of condemning this situation as of finding a way of re-symbolizing images, saving them from mere contemplation and inserting them in a process of contextualisation. Such a process requires an understanding of the role of the body and of the incorporation of images along the lines of Bachelard's intuition of the "resisting" nature of images. This raises the possibility of an education to images suited to the present age.Key words: Alienation, Education, Embodiment, Image, Informatics, Symbolisation.Parole chiave: Alienazione, Educazione, Immagine, Incorporazione, Informatica, Simbolizzazione.
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Mohr, Michel. "Advanced Contemplation of the Impure: Reflections on a Capstone Event in the Meditation Sutra." Religions 11, no. 8 (July 28, 2020): 386. http://dx.doi.org/10.3390/rel11080386.
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The present article explores the form of meditation called contemplation of the impure (Skt aśubha-bhāvanā; Ch. bújìng guān 不淨觀) and its meticulous description in a Chinese text produced in the early fifth century CE. It illustrates the problematic nature of the pure-impure polarity and suggests that, ultimately, “purity” refers to two different things. As a generic category, it can be understood as a mental construct resulting from the mind’s discursive functioning, which tends to be further complicated by cultural factors. The other avenue for interpreting “purity” is provided in this meditation manual, which describes how meditation on impurity leads to the direct perception of purity, and to the vision of a “pure land.” This stage is identified as a “sign” marking the completion of this contemplative practice. Examining the specific nature of this capstone event and some of its implications lies at the core of the research whose initial results are presented here. Although this particular Buddhist contemplation of the impure begins with mental images of decaying corpses, it culminates with the manifestation of a vision filling the practitioner with a sense of light and purity. This high point indicates when the practice has been successful, an event that coincides for practitioners with a time when they catch a glimpse of their true nature. The last section of this article further discusses the extent to which positing an intrinsically pure nature—one of the major innovations introduced by Buddhism in fifth-century China—could inform ethical views.
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Torre, Ramón Ramos. "Time's Social Discourses." KronoScope 6, no. 2 (2006): 231–47. http://dx.doi.org/10.1163/156852406779751971.
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AbstractThis essay adresses the analysis of social discourses on time, i.e., the ways social agents suppose time is. Using the data furnished by a sociological research made in Spain on the meaning of working time and its compatibility with personal and family life, I propose to focus on some important and recurrent ambivalences and images of time in social life. Time shows itself as ambivalent because it both unifies and separates two different orders of experience. The paper analyses three ambivalences: to be time and to be in time; temporal presence and absence; temporal repetition and innovation. Time also shows itself in images. Three are specially widespread: the image of time as a resource to be used in action; the image of time as an environment we must adapt to; the image of time as a horizon where we can contemplate in the present what is past and what has nos yet occurred.
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Asharudeen, Mohamed, and Hema P. Menon. "Edge detection Using Histogram Localization." Indonesian Journal of Electrical Engineering and Computer Science 11, no. 1 (July 1, 2018): 341. http://dx.doi.org/10.11591/ijeecs.v11.i1.pp341-355.
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Detection of edges under noisy environments has been gaining lot of prominence in the recent past in most of the image and video processing applications. In this work a novel approach based on the distribution of intensity values and their corresponding positions has been proposed for distinguishing the edge pixels from the grey scale images. Separate histogram has been maintained for X and Y coordinates. The first order derivative is applied over these histograms to distinguish the edge pixels. The pixel with gradient distribution below a specific threshold value is selected as an edge pixel. This method is found to work well in case of both noiseless and noisy images. Hence this method is able to perceive the underlying information in case of noisy images also. The proposed algorithm can be used for both low and high resolution images. However, the performance of the algorithm is more evident in high resolution image. A general analysis of the proposed method has been conducted for arbitrary images. The major application of the proposed work can be used for the applications that doesn’t need any preprocessing or to avoid any loss of information like in medical image analysis as it contemplate towards every intensity bin to trace the edges present in the histogram of the image rather than the overall image concerning for direct edge tracing. The results have been compared with canny algorithm which is most commonly used for edge detection.
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Riepina, Inna Mykolayivna, and Vita Petrivna Kovtun. "Identification of the theoretical aspects of enterprise reputation." European Journal of Management Issues 26, no. 3-4 (December 25, 2018): 114–25. http://dx.doi.org/10.15421/191812.
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Purpose – to identify the theoretical aspects of enterprise reputation.
Design/Method/Research approach. Authors applied a structural-functional method in the course of systemic investigation and substantiation of the methodological toolset of enterprise reputation assessment and the method of logical generalization when analyzing the evolution of scientific views on the nature of the notion "reputation". The information base of this research is the monographic works and scientific publications on relevant subjects.
Findings. Authors have substantiated the theoretical aspects of enterprise reputation, according to which the reputation of an enterprise is formed under the influence of both intangible and tangible factors. Approaches to defining reputation of an enterprise were systemized, with their new classification proposed, which distinguishes the immanent-functional, value, emotional (image), monitoring, market, and integrated approaches. Current methodological toolset of enterprise reputation assessment has been analyzed, and the scope of its application has been determined, as well as the main advantages and disadvantages. An algorithm for evaluating an enterprise reputation has been developed, in accordance with the proposed theoretical approach, a market share, and the totality of consumers values.
Practical implications. Results of this study could form the basis for forming a policy of an enterprise concerning the activation of reputation management processes with the purpose of strategic development of the enterprise and in order to faster meet the expectations of its stakeholders, which would provide a synergistic effect.
Originality/Value.Authors proposed to define the essence of the notion of an enterprise "reputation", which, in contrast to existing interpretations, focuses on the cognitive-contemplative characteristic of an enterprise, which is formed based on the results of comparing the totality of tangible, intangible, personal, and social values, inherent to its external and internal stakeholders; changing them in time and space indirectly affects positioning of the enterprise in the market as a result of change in the way its stakeholders perceive it.
Research limitations/Future research. Results of this study should be laid at the basis of the implementation of the proposed algorithm for assessing reputation in the process of enterprise management.
Paper type ‒ theoretical.
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Dewi, Novita. "Menemukan Tuhan dalam Segalanya: Analisis Spiritualitas Kristiani dalam Puisi." Kurios 6, no. 2 (November 2, 2020): 227. http://dx.doi.org/10.30995/kur.v6i2.189.
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As a language of devotion, poetry can help people gain peace and understanding about themselves, each other, and the world around them. This article explores a number of world poetry that tells about the presence of God. Based on the contemplative relationship between poetry and spirituality, the aim of this study is to examine how God the Creator is present and represented in poetry. Using the hermeneutic-interpretative method of analysis, the research data which include six poems from various countries were analyzed with the conceptual framework being (1) poetry as a prayer and (2) Ignatian Spirituality, i.e., a spiritual practice to affirm that God is present in our world and active in our lives. The reading of the selected poems shows that God can indeed be found in everything. First, God is present in the universe and everything living in it. Second, having gone through various struggles, the characters or speakers in the poems find God within themselves. Third, the face of God is visible in others because humans are created in His image. The conclusion is that studying God's presence in poetry can contribute to the narratives of one's spiritual journey.
Abstrak
Sebagai bahasa pengabdian, puisi dapat membantu orang memperoleh kedamaian dan pengertian tentang diri sendiri, sesamanya, dan dunia di sekitarnya. Artikel ini membahas sejumlah puisi lintas negara yang mengkisahkan kehadiran Tuhan. Bertumpu pada relasi yang berpatutan antara puisi dan spiritualitas, tujuan studi ini adalah meneliti bagaimana Sang Pencipta hadir dan direpresentasikan dalam puisi. Metode interpretasi hermeneutik dipakai untuk menganalisis data yang berupa enam puisi dari berbagai negara dengan kerangka pikir (1) puisi sebagai doa dan (2) Spiritualitas Ignasian, yaitu latihan rohani yang menegaskan bahwa Tuhan hadir di dunia dan aktif dalam kehidupan kita. Hasil pembacaan sejumlah puisi tersebut menunjukkan bahwa Tuhan sungguh dapat ditemukan dalam segalanya. Pertama, di alam raya dan segala isinya Tuhan hadir. Kedua, setelah melalui pelbagai pergumulan, tokoh atau pembicara dalam puisi menemukan Tuhan dalam dirinya sendiri. Ketiga, wajah Tuhan terlihat dalam diri sesama karena manusia diciptakan sesuai citraNya. Sebagai simpulan, kajian puisi tentang kehadiran Tuhan dapat menambah alur kisah perjalanan spiritual seseorang
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Ennis, Juan Antonio, and Néstor Bórquez. "El escritor, la Historia y la imagen: en torno a "Anatomía de un instante", de Javier Cercas." Aletria: Revista de Estudos de Literatura 20, no. 2 (August 30, 2010): 37–55. http://dx.doi.org/10.17851/2317-2096.20.2.37-55.
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Resumen: La portada del último libro de Javier Cercas, Anatomía de um instante (2009), invita al lector a detenerse sobre la imagen borrosa de un fotograma, un cuadro extraído la grabación televisiva de la toma del Congreso por parte del teniente coronel Tejero y un grupo de guardias civiles el 23 de febrero de 1981. El libro, a partir de esa imagen congelada, intenta releer la transición y su significado en la escena del presente, deteniéndose en los gestos, implicancias y suposiciones, a partir de una serie de operaciones sobre el propio estatuto de su escritura y su imagen de escritor, superponiendo en su cierre los espectros de la memoria pública a aquellos de la memória individual.Palabras-clave: Javier Cercas, imagen de escritor, montaje, memória.Abstract: The cover of the latest book by Javier Cercas, Anatomía de un instante (2009) invites the reader to contemplate the blurred image of a photogram, a picture taken from the television recording of the occupation of the Spanish Congress by Lieutenant-Colonel Tejero and a group civil guards on 23 February 1981.The book, from this frozen image, tries to revisit the transición and its significance today, dwelling on the gestures, implications, and assumptions thereabout, based on a series of operations on the status of his own writing and his image as a writer, superimposing at the very end of the text the spectra of public memory to those of his individual memory.Keywords: Javier Cercas, writer’s image, montage, memory.
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Silva, Ewerton, Ricardo da S. Torres, Allan Pinto, Lin Tzy Li, José Eduardo S. Vianna, Rodolfo Azevedo, and Siome Goldenstein. "Application-Oriented Retinal Image Models for Computer Vision." Sensors 20, no. 13 (July 4, 2020): 3746. http://dx.doi.org/10.3390/s20133746.
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Energy and storage restrictions are relevant variables that software applications should be concerned about when running in low-power environments. In particular, computer vision (CV) applications exemplify well that concern, since conventional uniform image sensors typically capture large amounts of data to be further handled by the appropriate CV algorithms. Moreover, much of the acquired data are often redundant and outside of the application’s interest, which leads to unnecessary processing and energy spending. In the literature, techniques for sensing and re-sampling images in non-uniform fashions have emerged to cope with these problems. In this study, we propose Application-Oriented Retinal Image Models that define a space-variant configuration of uniform images and contemplate requirements of energy consumption and storage footprints for CV applications. We hypothesize that our models might decrease energy consumption in CV tasks. Moreover, we show how to create the models and validate their use in a face detection/recognition application, evidencing the compromise between storage, energy, and accuracy.
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Martins, Carlos Pereira. "Memórias em movimento: a tela como ferramenta no ensino de História." Txt: Leituras Transdisciplinares de Telas e Textos 4, no. 8 (December 31, 2008): 59. http://dx.doi.org/10.17851/1809-8150.4.8.59-67.
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<p><strong>Resumo</strong>: Este artigo aborda a imagem na tela refletindo sobre a tradição de não-leitores na sociedade brasileira, a qual favorece uma cultura cinematográfica, tratando da análise do discurso e da memória num momento em que a difusão do conhecimento através do audiovisual é mais presente. Sem esgotar o tema, este texto entende a imagem como instrumento de ensino na sala de aula, possibilitando o trânsito do aluno da tela ao texto e vice-versa.</p><p><strong>Abstract</strong>: This article approaches the image in the screen contemplating about the "no-readers" tradition in the Brazilian society favoring a cinematographic culture, treating of the analysis of the speech and memory in one moment in that the diffusion of the knowledge through the audio-visual is more present. Without draining the theme, understands the image as teaching instrument in the class room, making possible the student's traffic of the screen to the text and vice-versa.</p><p><strong>Keywords</strong>: image; Reading; memory.</p>
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Kopeliuk, Oleh. "THE “24 PRELUDES” FOR THE PIANO BY IVAN KARABYTS AS AN ENCYCLOPAEDIA OF THE UKRAINIAN RENAISSANCE OF THE 1970S." Problems of Interaction Between Arts, Pedagogy and the Theory and Practice of Education 58, no. 58 (March 10, 2021): 65–95. http://dx.doi.org/10.34064/khnum1-58.05.
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Background. The research is devoted to revealing the semantic analysis of the dramaturgy of one of the large-scale compositions in the creative work of IvanKarabyts – the cycle “24 Preludes” for the piano. The composition was written by Ivan Karabyts in 1976 and today it is of great interest to concert performers and fans of modern piano music. The attention of pianists to the cycle “24 Preludes” by I. Karabyts is attracted, firstly, by the distinctive, original musical language, secondly – by a wide range of performing capabilities and means of expression, and thirdly – by vivid images that inspire pianists to reproduce artistic ideas, hidden philosophical implications. The object of research is the cycle “24 preludes” for the piano as a musical encyclopaedia, reflecting the artistic era in the context of the Ukrainian renaissance of tthe 1970s, and the aim is to identify stylistic patterns by means of the semantic analysis of the dramaturgy of the cycle, finding the intersection in a kind of dialogue with a diverse, significant fund of the music of the 20th century. The methodology of research is focused on the relationship of special methods of analysis: functional-structural, intonation, genre, style, semantic and interpretative one. Results. Ivan Karabyts chooses for his cycle a model of tonal dramaturgy of the cycle “24 Preludes”, introduced by F. Chopin and later by D. Shostakovich, namely – the movement along the circle of fifths in the ratio of major-minor. From the point of view of musical semantics of the preludes of the cycle they can be divided into 5 thematic groups (contemplative and introspective lyrics; grotesque and dance; sound imitation and spatial-visual; stylistic allusions; and tragedy ones), varied in genre-stylistic sense (according to the criteria of modelling the awareness of the lyrical hero (I – the world around me.) The dramaturgy of the cycle is built through their correlation, while forming a certain plot, which begins with the image of the lyrical hero, and ends with a demonstration of the society which is ambiguous and problematic for a human. The composer chooses the prelude as a genre with a historical memory of culture, which allows performers and listeners to experience the range of psychological moments of the human spirit in the turbulent world of events of the last third of the 20th century. The composer is fascinated by this genre not by chance, because the prelude allows reflecting in miniature numerous states of “fixed” moments of existence, the inner balance of the artist and the world. Each prelude in the cycle is a kind of creative laboratory, a field of creative experiments. It reflected both already developed and new methods and principles of the composer’s thinking. While performing one prelude after another as a whole composition, one realizes that this genre expresses the freedom of creativity, the element of existence: it is a fantasy, and a story of the heart, and the revelation of the spirit, and at the same time – bright genre sketches. Conclusions. The analysis of the musical semantics of I. Karabyts’s piano cycle “24 Preludes” testified to the presence of 5 genre-stylistic groups in the cycle (according to the criterion of the dual world notion “psychology I – the world around”). Thus, the genre-semantic analysis of the piano cycle “24 Preludes” has shown that I. Karabyts does not lose touch with history and time, by paying tribute to the masters of the 18th–20th centuries, continuing to develop the type of tonal dramaturgy, laid down by J. S. Bach. In the cycle there is a special “counterpoint” of the “blues” stylistic. The dramaturgy of the cycle has a detailed plot, which begins with the image of the lyrical hero, and ends with a demonstration of the society ambiguous and problematic for a human (“I – World”). The dramaturgy of the romantic dual world turns into a harmony of the modern world with multiple images, echoes of time and inner drama. The genre semantics and its analysis allow the performer to comprehend the large-scale cycle as an artistic picture of the world, and its stylistic unity – as a spiritual universe which belongs to the Ukrainian art of the 21st century.
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Tuncer, Asli Özgen. "Women on the Move: The Politics of Walking in Agnès Varda." Deleuze Studies 6, no. 1 (February 2012): 103–16. http://dx.doi.org/10.3366/dls.2012.0049.
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This article focuses on images of walking in Agnès Varda's films – Cléo de 5 à 7 (1962), Sans toit ni loi (1985), and Les Plages d’Agnès ( 2008 ). The activity of walking (as urban flânerie, circular travelling or walking backwards) is central to these films, and can be seen as a corporeal practice that not only interweaves striated and smooth spaces but also offer a gender-sensitive, political contemplation on the forces of striation and smoothing as well as a re-invention of space. The women in movement in Varda's films embody a transgression of stratified territories such as the image-oriented society of the spectacle in Cléo, myths of adolescence and settled living in Sans toit ni loi, or the boundaries of aging in Les Plages d'Agnès.
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Dryzek, John S. "The Forum, the System, and the Polity: Three Varieties of Democratic Theory." Political Theory 45, no. 5 (July 22, 2016): 610–36. http://dx.doi.org/10.1177/0090591716659114.
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The theory of deliberative democracy is here furthered in terms of three images that locate its essence in respectively a single forum, a deliberative system, and an encompassing polity featuring particular integrative norms. The first two are ubiquitous, though contested, the third is stated here. Deliberative theorists need to contemplate how practices that make sense in each image connect to the other two. Forums only make sense when linked in a system that can synthesize very different deliberative virtues (notably, justification, reflection, and inclusion). Any system’s democratic qualities can only be evaluated in terms of the polity. While judgment in terms of the conditions of normative integration in the polity is therefore primary, particular forums can promote deliberative authenticity in a system, and systems enable inclusive application of deliberative ideals. Deployed in this way, the three images help solve internal disputes and respond to critics.
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Wells, Gary. "The Moon in the Landscape: Interpreting a Theme of Nineteenth Century Art." Culture and Cosmos 16, no. 1 and 2 (October 2012): 373–84. http://dx.doi.org/10.46472/cc.01216.0259.
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The image of the moon in the rural landscape is such a familiar and common theme in nineteenth century art that we should ask what made this theme so popular, widespread, and persistent. The similarity among these depictions borders on formula: a field or rustic farm, a broad horizon, a full moon rising or a thin crescent moon setting, perhaps a shepherd or field worker silhouetted against the twilight sky. But what made this image so appealing to nineteenth century artists and their audiences? This paper will examine the theme of the moon in the landscape, and will suggest that the persistence of the motif masks an evolving set of ideas about time, nature and change. From the personal visions of Samuel Palmer and Vincent van Gogh, to the contemplation of nature’s sublimity in Caspar David Friedrich and Thomas Moran, the expressive range of the subject is significant. But a common thread emerges when these images are seen within the context of the nineteenth century’s rapid industrialization, urbanization, and materialism. Rather than romantic invention or picturesque scenery, images of the moon in nineteenth century landscape art were used to explore a broad range of ideas about modernity, nature and humanity in an age of science and industry.
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Marty, Nicolas. "Deleuze, Cinema and Acousmatic Music (or What If Music Weren’t an Art of Time?)." Organised Sound 21, no. 2 (June 30, 2016): 166–75. http://dx.doi.org/10.1017/s1355771816000091.
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Drawing on Deleuze’s work about cinema (the ‘movement-image’ and the ‘time-image’), this article explores formal and aesthetic resonances with sound-based music, distinguishing between aesthetics of energy, articulation and montage, and aesthetics of contemplation, space and virtual relations. A second perspective is given, focusing on how listening behaviours may impose a ‘movement-image’ or a ‘time-image’ lens through which we could experience and remember a work’s form. This is exemplified with a short analysis of the first section ofChat Noir(1998–2000) by Elizabeth Anderson.
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Ergas, Oren. "Reclaiming “self” in teachers' images of “education” through mindfulness as contemplative inquiry." Journal of Curriculum and Pedagogy 14, no. 3 (September 2, 2017): 218–35. http://dx.doi.org/10.1080/15505170.2017.1398698.
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Aliyari, Farshad, Qorban Elmi, and Amirabbas Alizamani. "Bonaventura's Anthropology." Journal of Politics and Law 9, no. 2 (March 31, 2016): 9. http://dx.doi.org/10.5539/jpl.v9n2p9.
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The aim of this study is to explain Bonaventura's anthropology theory as one of the main issues in the philosophy of religion. This article examines this issue by referring to the works of Bonaventura as well as descriptions and interpretations written on this field using descriptive-analytic methods. Bonaventura knows human as God's image and unlike some of the Christian philosophers considers'matter'in addition to 'soul'anddoes not separate soul from body.Following Augustine, Bonaventura knows human soul as body image so that soul can affect and be affected. He properly accepted two types of self-knowledge, first, he believed that an inner queen exists in human existence possessing the ability to thinkand contemplate on its own and Second, alternate activities of thought about itself, which is due to resorting to internal contemplation. Bonaventura knowsthe fact of human as something through which he/she can communicate with God and accordingly believes that human as the image ofGod has the power of thoughts and authority; He has a standpoint of "from Him" and "to Him". The superior position which Bonaventura intended for human in the universe is that human is a microcosm. Because he/shewill reflect its creatormore than any other creature in the material world.Nevertheless, Buenaventura believes that human has collapsed and original sinhas disrupted the realm of the intellect, emotions and human actions; He also explores the realms of human existence such as soul, spirit and heart so about heart he suggests that if human heart becomes clean and pure existence, his/her existence and nature is God's Wisdom Book. He believes that human can reach the highest level of wisdombecause he/she is the God's word (promise). Bonaventura believes that the foundation of human relationship with God is romantic; He knows the truth of human in relation to absolute (God); and part of his thoughts in relation to the human is focused on perfect human and perfect man knows Jesus Christ and introduces him as the inner teacher all mankind.
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Maiste, Juhan. "Miks kõneleb Laokoon kirjasõnas ja ei kõnele marmoris?" Baltic Journal of Art History 11 (November 30, 2016): 9. http://dx.doi.org/10.12697/bjah.2016.11.02.
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In this article, the author focuses on the work called Laocoön, which was one of the most popular subjects for 18th century art writers. The first description of the work was provided by Pliny the Elder who, in the 36th volume of his Naturalis historia, calls it the best work of the art in the world – be it painting or sculpture. Pliny identifies three artists from Rhodes – Hagesandros, Polydoros and Athenedorus – as the authors of the Laocoön Group. After the sculpture was found in the vicinity of the Basilica of Santa Maria Maggiore, the Laocoön has repeatedly aroused the interest of art historians. Johann Joachim Winckelmann raised the sculptural group into focus during the Age of Enlightenment. And his positions, and sometimes opposition to them, form the basis of Gotthold Ephraim Lessing’s, Johann Gottfried Herder’s and Johann Wolfgang Goethe’s writings on the Laocoön. I am sure that their thoughts deserve also attention today, when we speak about the fundamental change in philosophy, philology, and partially also in art history. In seeking an answer to Lessing’s question, “Why does Laocoön not cry in marble but in poetry?” Can art speak? And if it can, how? The first stage of the article explores the contradictory nature of word and picture, in which regard both Lessing and Herder preferred the former. The second question that arises in the article is: What are the framework and boundaries of art writing as a method of art history for ascertaining and describing the internal nature of a work of art? And further, do words enable one to arrive at the deeper layers of a work and the reason for the act of creation? And if so, to what extent? The third and most important issue examined in the article is the two possible approaches to a work of art, and visual images more generally – the analytical and phenomenological. By relying on history, and the broadly accepted methods of the narrative, sociological, biographical, and other sciences contingent on it, the epistemological nature of art has remained outside the conceivable limits of scientific language. And as such, it has reduced the possibility of understanding pictures and finding them a place in today’s scale of assessments; of speaking not only about the external and measurable parameters, but also about works of art as unique phenomena, in which an invisible and metaphysical content exists in addition to that which is inherent to the visible and the describable. Just as much as our rudiments of rationality and logical analysis help us to understand works of art, their impact relies on a subjective readiness to receive artistic experiences, which according to Goethe, transform the Laocoön into something affectively animated in the torchlight. Art is usually revealed by in-depth sources via the contemplative reflection that follows sensory experiences. Since Longinus’s time, this has been described as sublimity, and it garnered supporters in the form of the Neo-Platonic authors of the Renaissance, whose role in 18th century aesthetics is just as significant as the art history tradition based on classical archaeological research. In the writings of Winckelmann, and those who followed him, the two poles of this approach to art are tightly merged. The author’s goal is to draw attention to ways of understanding and writing about art, besides the descriptive methods and those related to history; to those that focus on the processes related to the gnoseological side and to subconscious creation, and provide a place for words and their power to create ever newer and more expressive metaphors. One possibility for translating visual images into verbal form is to adopt the breadth of poetry and its language, which truthfully, being just as ambiguous and inexplicable as art, enables us to make the indescribable describable; via a work of art as the initial idea, and the work that informs us of this idea as a series of formed images that can be assessed as pictures that describe the spiritual image (or eidolon in Greek).
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Slipchenko, K. D. "Domra’s sonorous possibilities in the pieces by O. Oliinyk." Problems of Interaction Between Arts, Pedagogy and the Theory and Practice of Education 56, no. 56 (July 10, 2020): 57–73. http://dx.doi.org/10.34064/khnum1-56.04.
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Background. Domra expressive means today are meager than many other instruments. This is due to the fact that domra is a relatively young instrument in the academic environment, which is why it is limited by the variety of performing techniques. However, modern domra composers and performers are constantly looking for new ways to expand the capabilities of the instrument. In domra music, sonorics is presented in the works of O. Oliinyk, L. Matviichuk, V. Matriashin, M. T. Lysenko. Special attention should be paid to the pieces for domra solo by O. Oliinyk, which trace the features of sonority, in particular “Shimmering sound” (1996) and “Chimes” (1984) for domra solo. Despite the fact that O. Oliinyk is a bright domra player, well-versed in the capabilities of the instrument, and actively fills the coffers of domra repertoire with own pieces and arrangements, researchers of domra modern art almost do not pay attention to him in their writings. The only exception is article of I. Formaniuk (2017), which researches the features of the domra sound image in “Chimes” by O. Oliinyk, while the author does not bring to light the effect of sonorics on the specifics of interpretation of the instrument. Objectives. Determine the means of implementing the sonoristic capabilities of the instrument in the pieces of O. Oliinyk for domra solo “Shimmering sound” and “Chimes”. Methods. The research methodology is based on the unity of genre-style, organological and historiographical analysis, which helps to identify the means of realizing the sonorous potential of domra. Results. Coloristic techniques in the pieces “Shimmering sound” (1996) and “Chimes” (1984) are systematized depending on the method (trills, glissando, beats) and the place of sound extraction (behind the stand, on the bow, not on the instrument), and also considered their expressive potential. In addition to the various techniques of playing in the “Shimmering sound” by O. Oliinyk, attractive is the actual compositional side and internal image contrast, which demonstrates various sound ways of implementing the program idea of “shimmering”. The composer freely uses a twelve-tonality with a noticeable attraction in G. The composition of the work is a complex three-part form. In the first part, the gradation of the figurative state ranges from light sound shimmering to expressive disconcertingly sonorous sounds in a dense texture. The effect of “shimmer” is created through the use of half-tone trills. The second part contrasts with the first transparent texture, large rhythmics and sustained pedals, which are aimed at embodying a meditative-contemplative image. The reprise (third part) consists of three phases. The first phase begins with the key intonation of the first part, and the “flashing” light effect reappears. In accordance with the chosen range of means, the ownership of the pieces of O. Oliinyk to a specific sonorics type is defined. Thus, in “Shimmering sound” the idea of shimmering is realized by O. Oliinyk with the help of special techniques of sound extraction, beyond temperation (non-tremolo glissando by pulling and lowering the strings, glissando with pulling the strings with the finger of the left hand), sound effects (“slap”, beat the strings behind the stand, with the mediator on the bow, with the mediator on the stand and beat with foot or heel on the floor) that allows us to consider the play in the context of sonoristic. In contrast to the “Shimmering sound”, in the “Chimes” the sound image of “ringing” is embodied, primarily, by rhythmic complex and non-standard sound production methods only give coloristic shading and complement sound representing palette. Specific author’s techniques that have enriched the genre palette of sound extraction tools are revealed. The main motif of the bells is the quarto-quint moves in the melody and the “ringning” rhythm formules against which the harmonious plan of the O. Oliinyk’s piece looks quite traditional and as simple as possible. Here dominate the tonic-dominant constructions. The main tonality of the work is D Major with a constant gravitation to the fifth degree. The stability of the harmonic plan is also facilitated by the form of strict variations, in which the piece is written. Domra in the works by O. Oliinyk is presented as an instrument that is capable not only of displaying physical phenomena (sound and light), but also of imitating other instruments, in particular guitars and bells, and borrowing techniques from their armory (“slap”, beats on the instrument bow, imitation of bells with flageolets). After analyzing the “Chimes” for domra solo by O. Oliinyk, it should be noted that he manages not only to adapt the idea of ringing for a plucked instrument, but also to show the diversity of domra’s expressive potential. Non-standard methods of sound extraction are aimed at reflecting different types of bells. Conclusions. In comparison with the “Shimmering sound”, “Chimes” are inferior in the variety of ways of playing the domra, but the work is interesting in the idea of representing “ringing” in the domra version, which brings the work closer to coloristics. Thus, in the works of O. Oliinyk, domra is presented as an instrument that is able to imitate other instruments, sound images of objects, natural phenomena and physical phenomena (sound and light). All these ideas are realized and revealed through a range of sonoristic means, which encourages composers to expand the performing armory of domra at the turn of the XX–XXI centuries and constantly enrich its visual palette, the diversity of which confirms the growing potential of domra in the field of modern academic performance.
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Kanagala, Vijay, and Laura I. Rendón. "Birthing Internal Images: Employing theCajitaProject as a Contemplative Activity in a College Classroom." New Directions for Teaching and Learning 2013, no. 134 (June 2013): 41–51. http://dx.doi.org/10.1002/tl.20053.
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Shin, WoonJae. "Contemplation on Usefulness of Plane Cone for Taking Image of Intercondyloid Fossa." Journal of the Korean Society of Radiology 9, no. 7 (December 31, 2015): 501–8. http://dx.doi.org/10.7742/jksr.2015.9.7.501.
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Newman, Barbara. "Contemplating the Trinity: Text, Image, and the Origins of the Rothschild Canticles." Gesta 52, no. 2 (September 2013): 133–59. http://dx.doi.org/10.1086/672087.
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Gautier, Francis. "Grégoire de Nazianze. Le miroir de l’Intelligence ou le dialogue avec la Lumière." Thème 16, no. 2 (May 20, 2009): 31–47. http://dx.doi.org/10.7202/001633ar.
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RésuméGrégoire de Nazianze, le plus affirmatif des Cappadociens quant à la divinisation de l’homme dès cette vie, semble logiquement minorer le fossé entre la vision de Dieu « comme en un miroir » ici-bas et le « face à face » promis (1 Co 13,12). Cet article examine ce fait par l’analyse des métaphores optiques utilisées par Grégoire pour les relations entre la « Lumière » ou l’Intellect divin et son « image », l’homme, aux différentes étapes de l’économie du salut. Le Nazianzène situe la relation de l’individu à Dieu, dynamique et assimilative, entre la « Lumière »/Intelligence divine et son reflet émané en nous. Leur union en Christ rétablit à travers l’illumination baptismale la translucidité adamique perdue, rouvrant à l’individu le passage de la vision « en miroir » d’ici-bas de sa source, l’essence divine, à l’illumination plénière du « face à face » divinisateur. L’imagerie nazianzène du « dialogue » contemplatif entre lenousou « lumière » humain(e) et Dieu, quelle que soit l’insistance sur la transcendance du second à l’égard du visible et sur les attaches du premier au sensible, implique réellement pour lenouscontemplatif une communication avec, et une assimilation à la source dont il émana. L’intellect-miroir du contemplatif, à condition d’un « nettoyage » portant à la perfection noétique les images reflétant Dieu, peut déjà en former un aperçu grâce à la lumière de l’Esprit, en recevoir les « énergies », et servir de médiateur sacerdotal entre la Lumière et les autres individus.