scholarly journals Cinema and architecture: Modern perception

2019 ◽  
Vol 11 (3) ◽  
pp. 511-518
Author(s):  
Miguel Campaner
Keyword(s):  
Work Of Art ◽  
The World ◽  
Aesthetic Modernity ◽  
Mode Of Production ◽  
The Way

Walter Benjamin's essay on cinema expounds his prognostic values. By the time he wrote this article his critique of the capitalistic mode of production showed the direction in which capitalism was progressing: towards an increasing intensity in exploitation of the proletariat, but also its own decline. We are interested in these prognoses that affirm the transformation of art and its function, and which call our attention to the loss of transcendence and the decline of the aura of the work of art. At the same time, they show possibilities that affirm the continuity of art with a different role and the dislocation of the aura. The form of art that is suitable to this reflection is cinema and the parallel drawn by the philosopher between cinema and architecture. Our intention is to reflect on this parallel and the urban interventions as artistic forms of aesthetic modernity: that is, as products of this modernity that at the same time indicate the way the world is given to us and understood by us. We will also reflection cinema and theatre indications as a way to surpass corporal determinations that are imposed on us.

scholarly journals Deus ex machina, czyli o doświadczeniu fonografii w poezji Stanisława Barańczaka / DEUS EX MACHINA, OR THE EXPERIENCE OF PHONOGRAPHY IN THE POETRY OF STANISŁAW BARAŃCZAK

2013 ◽  
Vol 54 (4-5) ◽  
pp. 477-494
Author(s):  
Iwona Puchalska
Keyword(s):  
20Th Century ◽  
Musical Work ◽  
Work Of Art ◽  
New Techniques ◽  
New Approaches ◽  
The World ◽  
The Way

Summary This article deals with a new range of musical topoi that entered the literature of the 20th century following the invention of new techniques of recording and copying of sound. The phonographic revolution led to a wide-ranging revision of traditional musical terms and opened the way for new approaches to the problem of ontology of the musical work of art. Its ripples also reached the realm of poetry, giving rise to new motifs and themes of ‘poetic musicology’. Stanisław Barańczak is without doubt a typical phonographic poet, and his work both reflects the general developments in the world of music and shows a uniquely personal literary-musical profile.

Heidegger’s Ontology of Art (2005)

2017 ◽  
Keyword(s):  
Work Of Art ◽  
Cultural Paradigm ◽  
The World ◽  
Ontology Of Art ◽  
Insight Into ◽  
The Way

Dreyfus explains Heidegger’s account of art in terms of performing three ontological functions: manifesting, articulating, or reconfiguring the style of a culture from within the world of the culture. The work of art, on this view, functions as a cultural paradigm that can attract its receivers to a new way of being in the world. The work of art, when viewed in this way, gives us insight into the way background practices work by embodying a style that opens up a disclosive space. The work of art allows us to notice and take a stand on our world by illuminating and glamorizing the world’s style.

scholarly journals The Dialogue of Arts in Romanian Contemporary Drama

2017 ◽  
Vol 7 (1) ◽  
pp. 207-213
Author(s):  
Laura Bilic
Keyword(s):  
Visual Arts ◽  
21St Century ◽  
Modern Society ◽  
Music Technology ◽  
Dance Music ◽  
Work Of Art ◽  
The World ◽  
Continuous Work ◽  
New Generation ◽  
The Way

Abstract The beginning of the 21st century is characterized in Romania by the emerging of a new generation of playwrights. Numerous actors or people coming “off the stage” begin to write drama, so that the playwrights become authors of the texts played on the stage. Thus, the playwrights join a trend that is common in Europe, being part of a category named by Bruno Tackels “les écrivains de plateau” - the writers of the stage. Nowadays, we witness a change in the way the young artists view drama - they do not only want to change the way of writing and performing drama, but they also want to change the world they live in. The contemporary performance has gradually lost its specificity by blending itself with visual arts, dance, music, technology, becoming a project. In our modern society the artists do not look for something meant to last forever, so the work of art becomes a continuous work in progress. Therefore, a bridge is being shattered - the bridge between nowadays and posterity.

scholarly journals Die vreemdelíngskaptema in enkele romans van Karel Schoeman, ’n Bespreking van die tussenskap

Literator ◽  
1995 ◽  
Vol 16 (1) ◽  
pp. 139-150
Author(s):  
G. A. Jooste
Keyword(s):  
Work Of Art ◽  
The World ◽  
The Way

The theme of alienation in the novels of Karel SchoemanThe state of alienation is one of the overriding themes in Karel Schoeman's oeuvre. This article, “The theme of alienation in the novels of Karel Schoeman”, deals with one of the manifestations of this theme, namely the dilemma of alienation. The world presented in Karel Schoeman's oeuvre is characterized by dichotomy, e.g. the known as opposed to the unknown - a phenomenon which causes uncertainty. This article examines the way in which an epistemological dichotomy is expressed as a kind of dilemma in the novels of Karel Schoeman. The dilemma is presented to discourage a simple escape by means of choice. In this position between alternative worlds or views, the Schoeman character faces limited options: to make a choice of sorts and win or risk sacrificing something of value; to accept this precarious position and confirm his life as one of passive silence; to conquer the impasse, e.g. by sidestepping the choice and creating an alternative world as in a dream or a work of art.

scholarly journals LA CRAVATE ET LA MONTRE SEBUAH KALIGRAM KARYA APOLLINAIRE : ANALISIS SEMIOTIK

Diksi ◽  
2015 ◽  
Vol 13 (1) ◽  
Author(s):  
Alice Armini
Keyword(s):  
Life Time ◽  
Visual Poetry ◽  
Work Of Art ◽  
Use Of Time ◽  
Important Message ◽  
The World ◽  
Poetical Work ◽  
Happy Person ◽  
The Subject ◽  
The Way

rpieces remain timeless and his influence on the world of literature and artare greatly felt. The way typographical poetry, which is a kind of visual poetry orcalligram, is presented is extremely interesting and this article intends to describethe relation between the meaning of the words in the calligram and its pictorialform in one of Apollinaire's poems in the form of a calligram titled “La Cravate etLa Montre.”The term calligram means “Belle Ecriture”, that is, “beautiful writing”,coming from the Greek words kallos, meaning “beautiful”, and gramma, meaning“writing'. So a calligram work of art, also called visual poetry and typographicalpoetry, is a poem or poetic lines or lines of poetic words arranged in such a way thata picture is formed. To comprehend, enjoy, and appreciate well a poetical work,one needs to examine its various aspects. A poem in the form of a calligram needsto be structurally and semiotically analyzed. By means of such analysis, its fullmeaning could be obtained and it can be comprehended as a work of art with poeticvalues.The poem concerned here is a monologue coming from “I” to “you”. Thisis strengthened by the presence of the subject on, meaning “we”, the phrase monCoeur, meaning “my heart”, and the phrase ton corps, meaning “your body”. “I”intends to deliver an important message to mankind about life as a journey towardsdeath. One's life time in this world is extremely short so that one should spend thetime doing useful things. So a happy person is someone who makes use of time toenjoy life with freedom from strict rules. Life should not be burdened with manyrules that bind freedom. In Latin such a view is expressed in the phrase CarpeDiem, which corresponds to the French Mets à profit le jour présent. This isreflected in the tie and clock shapes of the poem. A tie worn on the neck causes aconstricted feeling making one feels unable to breathe freely so that it must betaken off. The clock shape is used to refer to the passing of time illustrating life as ajourney towards God and death.Keywords: calligram, typographical poetry, iconicity

Becoming Politicized

2017 ◽  
Vol 225 (4) ◽  
pp. 324-335 ◽  
Author(s):  
Dimitrios Barkas ◽  
Xenia Chryssochoou
Keyword(s):  
Collective Identity ◽  
Political Socialization ◽  
Greek Society ◽  
Economic Vulnerability ◽  
The World ◽  
The Future ◽  
Identity Model ◽  
Beliefs About The Future ◽  
Of Greece ◽  
The Way

Abstract. This research took place just after the end of the protests following the killing of a 16-year-old boy by a policeman in Greece in December 2008. Participants (N = 224) were 16-year-olds in different schools in Attiki. Informed by the Politicized Collective Identity Model ( Simon & Klandermans, 2001 ), a questionnaire measuring grievances, adversarial attributions, emotions, vulnerability, identifications with students and activists, and questions about justice and Greek society in the future, as well as about youngsters’ participation in different actions, was completed. Four profiles of the participants emerged from a cluster analysis using representations of the conflict, emotions, and identifications with activists and students. These profiles differed on beliefs about the future of Greece, participants’ economic vulnerability, and forms of participation. Importantly, the clusters corresponded to students from schools of different socioeconomic areas. The results indicate that the way young people interpret the events and the context, their levels of identification, and the way they represent society are important factors of their political socialization that impacts on their forms of participation. Political socialization seems to be related to youngsters’ position in society which probably constitutes an important anchoring point of their interpretation of the world.

Restrained Airs: The Diegetic Surface and Nondiegetic Depth of British Film Music

2019 ◽  
Vol 16 (4) ◽  
pp. 429-443
Author(s):  
Paul Mazey
Keyword(s):  
Film Music ◽  
The World ◽  
British Cinema ◽  
Film Making ◽  
The Way

This article considers how pre-existing music has been employed in British cinema, paying particular attention to the diegetic/nondiegetic boundary and notions of restraint. It explores the significance of the distinction between diegetic music, which exists in the world of the narrative, and nondiegetic music, which does not. It analyses the use of pre-existing operatic music in two British films of the same era and genre: Kind Hearts and Coronets (1949) and The Importance of Being Earnest (1952), and demonstrates how seemingly subtle variations in the way music is used in these films produce markedly different effects. Specifically, it investigates the meaning of the music in its original context and finds that only when this bears a narrative relevance to the film does it cross from the diegetic to the nondiegetic plane. This reveals that whereas music restricted to the diegetic plane may express the outward projection of the characters' emotions, music also heard on the nondiegetic track may reveal a deeper truth about their feelings. In this way, the meaning of the music varies depending upon how it is used. While these two films may differ in whether or not their pre-existing music occupies a nondiegetic or diegetic position in relation to the narrative, both are characteristic of this era of British film-making in using music in an understated manner which expresses a sense of emotional restraint and which marks the films with a particularly British inflection.

Profilometry. Using Corneo-scleral topography for scleral lens fitting

The Eye ◽  
2019 ◽  
Vol 21 (128) ◽  
pp. 19-22
Author(s):  
Gregory DeNaeyer
Keyword(s):  
Ocular Surface ◽  
World Wide ◽  
Contact Lenses ◽  
The Past ◽  
The World ◽  
The Future ◽  
The Way

The world-wide use of scleral contact lenses has dramatically increased over the past 10 year and has changed the way that we manage patients with corneal irregularity. Successfully fitting them can be challenging especially for eyes that have significant asymmetries of the cornea or sclera. The future of scleral lens fitting is utilizing corneo-scleral topography to accurately measure the anterior ocular surface and then using software to design lenses that identically match the scleral surface and evenly vault the cornea. This process allows the practitioner to efficiently fit a customized scleral lens that successfully provides the patient with comfortable wear and improved vision.

Los criterios de textualidad en la hermenéutica de Paul Ricoeur. Un análisis crítico

2008 ◽  
Vol 14 ◽  
Author(s):  
Adrián Bertorello
Keyword(s):  
Structural Analysis ◽  
Reading Strategies ◽  
Paul Ricoeur ◽  
Material Base ◽  
The World ◽  
Paul Ricœur ◽  
Text Writing ◽  
The Way

RESUMENEl trabajo examina críticamente la afirmación central de la hermenéutica de Paul Ricoeur, a saber, que el soporte material de la escritura es el rasgo determinante para que una secuencia discursiva sea considerada como un texto. La escritura cancela las condiciones fácticas de la enunciación y crea, de este modo, un ámbito de sentido estable en el que se puede validar una concepción de la subjetividad que está implicada en las dos estrategias de lecturas (el análisis estructural y la apropiación), esto es, un sujeto pasivo que se constituye por la idealidad del significado. Asimismo, el trabajo intentará precisar una serie de ambigüedades en el uso que Ricoeur hace del «ser en el mundo» para sostener la referencialidad del discurso.PALABRAS CLAVETEXTO, ESCRITURA, REFERENCIA, SUBJETIVIDAD, MUNDOABSTRACTThis paper critically examines the main assertion of Paul Ricoeur´s hermeneutics, i.e., that the material base of writing is the determining feature to consider a discursive sequence as a text. Writing cancels the factual conditions of enunciation and creates, in this way, a background of stable meaning where it is possible to validate a conception of subjectivity implicated in the two reading strategies (the structural analysis and the appropriation), i.e., a passive subject constituted by the ideality of meaning. Likewise, this paper aims to clarify some ambiguities in the way Ricoeur uses the «beings in the world» to support the discourse referentiality.KEY WORDSTEXT, WRITING, REFERENCE, SUBJECTIVITY, WORLD

Erfahrung ohne Erfahrenden

2009 ◽  
Vol 2009 (1) ◽  
pp. 61-78
Author(s):  
Petr Kouba
Keyword(s):  
Phenomenological Approach ◽  
Work Of Art ◽  
New Beginning ◽  
Individual Structure ◽  
The World ◽  
Il Y A ◽  
Individual Existence ◽  
The Moment ◽  
The Individual ◽  
Intentional Structure

This article examines the limits of Heidegger’s ontological description of emotionality from the period of Sein und Zeit and Die Grundbegriffe der Metaphysik along the lines outlined by Lévinas in his early work De l’existence à l’existant. On the basis of the Lévinassian concept of “il y a”, we attempt to map the sphere of the impersonal existence situated out of the structured context of the world. However the worldless facticity without individuality marks the limits of the phenomenological approach to human existence and its emotionality, it also opens a new view on the beginning and ending of the individual existence. The whole structure of the individual existence in its contingency and finitude appears here in a new light, which applies also to the temporal conditions of existence. Yet, this is not to say that Heidegger should be simply replaced by Lévinas. As shows an examination of the work of art, to which brings us our reading of Moravia’s literary exposition of boredom (the phenomenon closely examined in Die Grundbegriffe der Metaphysik), the view on the work of art that is entirely based on the anonymous and worldless facticity of il y a must be extended and complemented by the moment in which a new world and a new individual structure of experience are being born. To comprehend the dynamism of the work of art in its fullness, it is necessary to see it not only as an ending of the world and the correlative intentional structure of the individual existence, but also as their new beginning.

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