scholarly journals MONTAŽO ONTOLOGIJA IR ANAPUS JOS

2012 ◽  
Vol 11 ◽  
pp. 30-42
Author(s):  
Nerijus Milerius
Keyword(s):  
Universal Principle ◽  
Madame Bovary ◽  
Technical Procedure ◽  
Peculiar Form ◽  
Literary Description ◽  
Contemporary Cinema ◽  
The Way ◽  
The Invisible

Straipsnyje nagrinėjama vadinamoji panmontažinė kino nuostata, kuri montažą traktuoja ne kaip paprastą techninį kino elementą, o kaip būdą montuoti kinematografinius vaizdus, mąstymą, pasaulėžiūrą, istoriją ir kt. Straipsnyje argumentuojama, kad tokios panmontažinės nuostatos ištakos glūdi ne kine. Kaip tokios ikikinematografinės panmontažinės nuostatos pavyzdys analizuojamas literatūrinis prancūzų rašytojo Gustave’o Flaubert’o romano Ponia Bovari fragmentas. Jau šiame fragmente yra akivaizdi literatūrinio montažo strategija atverti daugiau, nei tai pajėgtų realizuoti tiesioginis aprašymas. Kinematografinis montažas pasiskolina šią strategiją ir nuolat deklaruoja ambiciją pasiekti to, kas nematoma, to, ko negalima pavaizduoti, ribas. Tai, ko negalima pavaizduoti, – intervalas – tampa priemone žengti anapus siaurai suvokiamo vaizdo ir paversti montažą specifine mąstymo ar eksponavimo forma.Straipsnyje argumentuojama, kad tokia panmontažinė strategija yra esmiškas modernybės elementas. Pasiremiant ankstyvųjų montažo klasikų Griffitho ir Eizenšteino pavyzdžiais, parodoma, kaip montažo procedūrose intervalas („nematoma“) panaudojamas konstruojant tai, kas matoma. Atskleidžiama, kad intervalas („nematoma“) tampa vienu esminių kriterijų, pagal kurį galima klasifikuoti skirtingas montažo mokyklas ir skirtingus montažo tipus.Konstatuojama, kad su laiku kinas atsisakė panmontažinės ambicijos paversti montažą universaliu prasmingos visumos konstravimo principu. Vis dėlto ir dabar kino teorijoje ir praktikoje gausu tokių interpretacijų, kurios traktuoja montažą kaip matymo („parodymo“) būdą, pranokstantį techniškai ir siaurai suvokiamo montažo ribas.Pagrindiniai žodžiai: montažas, intervalas, matoma-nematoma, modernybė. THE ONTOLOGY OF MONTAGE AND BEYOND ITNerijus MileriusSummaryThe article deals with the so-called pan-aesthetical ambition of montage (editing) according to which montage is not a merely technical element of a film, but the way to edit cinematic images, thinking, worldview, history, etc. It is argued that the origins of such pan-aesthetics of montage could be found primarily not in cinema itself. As an example of such pre-cinematographic notion of montage pan-aesthetics, a fragment of Gustave Flaubert’s Madame Bovary could be analyzed. It’s already in this fragment where the ambition of the literary montage to disclose much more than a simple literary description could manage is evident. Cinematic montage borrows this strategy 42 Religija ir kultūra Nerijus Milerius and always declares the ambition to reach the limits of the visible and the presentable. Something that could not be depicted, the interval, becomes the means to go beyond the technical understanding of montage and to transform it into a peculiar form of thinking or exposition. It is argued in the article that such panaesthetic strategy is the very element of modernity. Referring to the excerpts from the films of Griffith and Eisenstein, it is demonstrated how the invisible (the interval) is used in the construction of the visible. The invisible (theinterval) becomes the most essential criterion to classify the schools or types of montage. It is concluded that cinema abandons its ambition to transform the montage into the universal principle of constructing the whole. Nevertheless, also in the contemporary cinema, one could find the interpretations of montage according to which the montage is something more, something that surpasses the technical procedure of a mere editing.Keywords: montage, interval, visible–invisible, modernity.

scholarly journals Merleau-Ponty: Language, sense, being

2018 ◽  
Vol 61 (4) ◽  
pp. 171-185
Author(s):  
Milomir Eric
Keyword(s):  
Linguistic Meaning ◽  
Phenomenological Philosophy ◽  
Ferdinand De Saussure ◽  
The Way ◽  
The Invisible

In this study, the author deals with the analysis of the way in which the problem of the sense of language is set and solved in the phenomenological philosophy of M. Merleau-Ponty. At the beginning of the text, there is a link between the linguistics of Ferdinand de Saussure?s and Merleau-Ponty?s understanding of language. Then the attention is drawn to the understanding of language within the philosophy of existence, the problem of the relation between a mark and the marked, language and a painting, literature and painting. The final considerations are devoted to Merleau-Ponty?s attempt to establish an indirect ontology in the unfinished work The Visible and the Invisible, a new understanding of the relation between flesh and language, the problem of logos, the problem of the relation of the perceptual and linguistic meaning.

scholarly journals The Phenomenal Side of the Operatic Performance: Implications of Promotion Strategies on Cinematic Representations of the Twenty-First Century

2021 ◽  
Author(s):  
Johanna Ethnersson Pontara
Keyword(s):  
Classical Music ◽  
Music Industry ◽  
First Century ◽  
Promotion Strategies ◽  
Contemporary Cinema ◽  
Twenty First Century ◽  
Aesthetic Values ◽  
Modernist Discourse ◽  
The Way

During the last decades, scholars have paid increasing attention to how cinema deals with traditional aesthetic values in its representation of opera. This research shows that contemporary cinema both manifests and challenges conceptions of opera anchored in romantic-modernist ideals. Recent film, however, also reveals an intriguing complexity surrounding conceptions of opera through the way in which it reflects promotion strategies of the classical music industry. This article draws attention to promotions of singers and opera music found in recent cinema that contribute to juxtapositions of different conceptions of opera. By letting operatic performances have a particular impact on fictional listeners and their ensuing actions, films associate opera with ideals belonging to a romantic-modernist discourse. However, they let this impact emanate from a way of performing opera that stands in contradiction to these same ideals. Discussing some central scenes from three recent films, I argue that the films’ displays of singers and opera music in this way remodels romantic-modernist discourses.

Tourism, tourists, humility and the humble in E. M. Forster’s ‘The Story of the Siren’ (1920)

2020 ◽  
Vol 10 (2) ◽  
pp. 173-190 ◽  
Author(s):  
Emmanuel Vernadakis
Keyword(s):  
Short Story ◽  
Evolutionary Theory ◽  
Theory Of Ideas ◽  
The Relationship ◽  
The Way ◽  
The Invisible

In E. M. Forster’s ‘The Story of the Siren’ (1920), humility and the humble are highlighted by the empowering status bestowed on an embedded story told by an illiterate Sicilian boatman to a sophisticated English tourist and prospective Cambridge Fellow. The latter, who is also the narrator of the embedding narrative, proves to be transformed by the qualities (philosophic, ethical and literary) promoted by the humble status of the embedded one. As the existence of the Siren of the title is problematic – she never shows up – and the story offers a case of structuring a full intrigue on the invisible, there may be a connection between the humble and the invisible. In order to investigate this assumption, I propose to explore the way in which the myth of the siren, a myth that relates to desire, is brought into dialogue with Frazer’s evolutionary theory and Plato’s theory of ideas. The interplay between philosophy, anthropology and desire provides a critique of Edwardian society and a self-criticism based on Socratic irony, itself an irony of humility. I shall eventually suggest that the humble but desirable Sicilian storyteller functions like an avatar of the Siren. Instead of writing a dissertation on the Deist Controversy and becoming an academic, the homodiegetic narrator allows himself to be seduced by the ‘Siren’s song’ – the young Sicilian’s story – and (ironically) become a writer. For, as I will attempt to demonstrate, the relationship between this short story and the life of E. M. Forster is highlighted by the figure of metalepsis, a device that reveals the author, rather than the narrator, at work.

scholarly journals Curators Serving the Public Good

Philosophies ◽  
2021 ◽  
Vol 6 (2) ◽  
pp. 28
Author(s):  
Jean-Paul Martinon
Keyword(s):  
Public Good ◽  
Codes Of Ethics ◽  
Private Good ◽  
Universal Principle ◽  
The Public ◽  
Widespread Acceptance ◽  
History Of ◽  
Circle Of Friends ◽  
The Way

This article investigates a principle inscribed at the top of most codes of ethics for curators: they should always “serve the public good.” No self-respecting curator would ever admit to serve “the private good,” that is, the good of the few, whether that of an elite in power or of a circle of friends or allies. The principle of “serving the public good” is inalienable and unquestionable even in situations where it is most open to doubt. However, what exactly is the meaning of this seemingly “true” and on all accounts “universal” principle: “to serve the public good”? To address this question, I look at this principle for the way it is perceived as being both majestic in its impressive widespread acceptance and cloaked in ridicule for being so often disregarded. I will argue—with an example taken from the history of curating—that it is not the meaning attached to the principle that counts, but the respect that it enjoins. I conclude by drawing a few remarks on how the value of the “good” remains, after the principle has been cast aside and the priority of respect is acknowledged, a ghost on the horizon of all curators’ work.

scholarly journals Touching the Unknown: On Marte Johnslien’s Ceramic Presences

Ung Uro ◽  
2021 ◽  
pp. 99-106
Author(s):  
Martine Hoff Jensen
Keyword(s):  
Art Museum ◽  
Relativity Theory ◽  
New Technique ◽  
Fourth Dimension ◽  
Eastern Philosophy ◽  
The World ◽  
Glass Plates ◽  
A New Technique ◽  
The Way ◽  
The Invisible

Touching is never a unidirectional event; what you touch will always touch you back. ‘How can the way we relate to the world around us take shape as sculpture?’ Norwegian artist Marte Johnslien asks. In the 2018 exhibition A Square on a Sphere at Lillehammer Kunstmuseum (Art Museum), Johnslien showed, amongst other works, a sculpture consisting of ceramic shapes stacked on top of each other with glass plates between. In this work, Johnslien explored a new technique of reinforcing ceramics in which she put steel mesh underneath the clay. By strengthening the thin ceramic shapes with iron, Johnslien changed the material and thus changed the texture. This chapter elaborates on how artistic presence can provide a way to access the glitch between the visible and the invisible, by exploring the ceramic works by Johnslien in light of Barad’s essay on touching, esotericist Pyotr Demianovich Ouspensky’s view on the fourth dimension, Eastern philosophy, and relativity theory.

“Nothing Spreads Like Fear”

2021 ◽  
pp. 258-273
Author(s):  
Lorena Clara Mihăeş ◽  
Anda Dimitriu
Keyword(s):  
Main Character ◽  
Mass Hysteria ◽  
The Way ◽  
The Invisible

The present chapter looks at the way fear is depicted in Soderbergh's 2011 thriller Contagion and how the onlooker is dragged along into feeling the fear. Without using a studio to shoot the scenes, without insisting much on characters, employing hyperlink narrative (scenes change quickly, playing with geographical distant places and interweaving storylines between multiple characters) and using few words, the movie's main character is not the invisible virus but the fear it spreads into the characters, growing and turning into mass hysteria. The aim of this chapter is to analyse how narrative immersion works in Contagion through visual, auditory, and emotional elements, which are used by the director as vehicles for instilling fear in the audience.

Cybercrime

2020 ◽  
pp. 1-22
Author(s):  
Poongodi Thangamuthu ◽  
Anu Rathee ◽  
Suresh Palanimuthu ◽  
Balamurugan Balusamy
Keyword(s):  
Financial Support ◽  
Child Pornography ◽  
Identity Theft ◽  
Deep Web ◽  
Technical Knowledge ◽  
Financial Health ◽  
Confidential Information ◽  
Individual Person ◽  
The Way ◽  
The Invisible

Cybercrime is a computer-oriented crime where offences are committed against an individual person or group of persons with a criminal intention to harm the victim either physically or psychologically, directly or indirectly, using IT devices via internet. It may threaten an individual or a financial health and even a nation's security by intercepting or disclosing the confidential information. The various forms of cybercrime are phishing, identity theft, hacking websites, spreading terrorism, distributing child pornography, etc. Cybercrime does not require any higher-level technical knowledge but only sufficient financial support to perform the unethical process. The current demand for malware creation exceeds three times the supply, and now, new tools are arriving with the concept of “malware as a service.” The deep web is the invisible web that paves the way for various criminal activities like weapon trading, cybercrime, and drugs.

The ontology of person-centered healthcare: Theoretical essentials to reground medicine within its humanistic framework - Part III - The logic of subjectivity: wrapped in one‘s individual history

2018 ◽  
Vol 6 (1) ◽  
pp. 172
Author(s):  
Thomas Frölich ◽  
F F Bevier ◽  
Alicja Babakhani ◽  
Hannah H Chisholm ◽  
Peter Henningsen ◽  
...  
Keyword(s):  
Personal History ◽  
Logical Basis ◽  
Orientation Matrix ◽  
The One ◽  
The Individual ◽  
Previous Series ◽  
The Way ◽  
The Invisible

To ‘embrace’ focused parts of an addressed environment is the way enclosure of outside foci may be described. Here, the opening of the transfer institution called logical lock (LL) in the previous series of articles points, toward the outside of the individual, selects finite parts of it and either rejects them or utilizes them to achieve the corresponding embodiment. The different layers of the intermediating zone that have in total been described as an individual’s orientation matrix (OM) are described. They consist of mostly invisible, but emotionally perceptible and later intellectually discernible layers, such as the one formed by the personal history, present mood and present feelings, anticipations and expectations. To address a person not as an assembly of discernible organs, but as a person, is hence more demanding than addressing the person only as performing a role, a function. In establishing a logical basis for person-centered healthcare approaches, we introduce further logical and descriptive tools to take the invisible layers into account. This clearly hermeneutical approach is opposed to a method that would hypostasise what in this article are termed ‘naked objects’, abbreviated as NOs. We argue that such NOs exist only as mathematical extrapolations. As abstract extrapolations and, as far as individuality is concerned, they cannot be applied in a meaningful way.

scholarly journals Myth, Allegory and Inspired Symbolism in Early and Late Antique Platonism

2020 ◽  
Vol 14 (2) ◽  
pp. 128-152
Author(s):  
Emilie Kutash
Keyword(s):  
Strong Influence ◽  
First Century ◽  
Late Antique ◽  
Dialectical Thinking ◽  
Philosophical Discourse ◽  
Homeric Hymns ◽  
The Way ◽  
The Invisible

Abstract The idea that mythos and logos are incompatible, and that truth is a product of scientific and dialectical thinking, was certainly disproven by later Platonic philosophers. Deploying the works of Hesiod and Homer, Homeric Hymns and other such literature, they considered myth a valuable and significant augment to philosophical discourse. Plato’s denigration of myth gave his followers an incentive to read myth as allegory. The Stoics and first-century philosophers such as Philo, treated allegory as a legitimate interpretive strategy. The Middle Platonists incorporated myth, for example, deifying the Monad and Dyad, as did 2nd century Platonists. Plutarch’s Isis and Osiris (2nd century CE), for example, equates Isis and Osiris with form and matter: the god (Osiris) sows in matter (Isis) logoi (forms or ideas) from himself (De Iside. 372F). Porphyry’s allegorizing of Plato’s Cave of the Nymphs is another example. Plotinus is a strong influence on how the late Neoplatonists regarded myth. This paper argues that these philosophers’ use of allegory prepared the way for the Neoplatonists treatment of myth as inspired symbolism. Proclus and Syrianus, as reported by Hermias, did something more extreme by using mythology to construct inspired symbolic argument. Mythos becomes another type of logos, a vehicle for representing the invisible world of being, another kind of truth that can even serve a function in anagogic ascent.

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