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Gadamska-Serafin, Renata. „Norwid’s Roma antiqua in its full version“. Studia Norwidiana 37 English Version (2020): 227–47. http://dx.doi.org/10.18290/sn.2019.37-13en.
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Magdalena Karamucka’s book Antyczny Rzym Norwida [Norwid’s Ancient Rome] is the first monographic study of the problem addressed in the title. Ancient Rome is presented in this valuable study from different perspectives: as a geographical, historical and cultural reality and as a literary topos. The starting point for the discussion is a chapter devoted to a Roman episode of Norwid’s biography and his Roman readings. Another subject of analysis are the poet’s political, religious and historiosophical reflections about Rome and his remarks on literature, art and Roman theatre. The main, comparative part is devoted to a meticulous analysis of reminiscences, quotations (paraphrases), titles, etc. taken from works of Roman authors (including Catullus, Horace, Juvenal, Ovid, Virgil), Norwid’s translational work and his Roman correspondence. However, Norwid’s Roma antiqua presented in the monograph is not frozen in a dead form. The author shows in an interesting and convincing way how this romanitas becomes a starting (or reference) point for the author of Quidam in his reflections on almost all aspects of his contemporary times.
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Stevenson, Tom. „The ‘Problem’ With Nude Honorific Statuary and Portraits in Late Republican and Augustan Rome“. Greece and Rome 45, Nr. 1 (April 1998): 45–69. http://dx.doi.org/10.1093/gr/45.1.45.
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In his seminal work, The Power of Images in the Age of Augustus, Paul Zanker wrote of a problem with nude honorific statuary in Late Republican Rome and of ‘conflict and contradiction’ in the style of Roman portraits during the same period. The ‘problem’ was a matter of nudity and style; it also had a moral dimension. Under political or social pressure, there was a tendency at Rome to express the effects of cultural change in moral terms: viz., literary works concerned with political or social attitudes of the Romans tended to describe elements like luxuria and adulatio(‘luxury’ and ‘sycophancy’) as ‘Greek and decadent in contrast to good, honest, ‘Roman’ values and traditions, such as virtus (‘courage’), fides (‘good faith’), and pietas (‘devotion’). Taking his cue from such attacks on aspects of the hellenization of Rome, Zanker gave a moral dimension to the ‘conflict and contradiction’ he discerned in the style of Roman honorific statues and portraits of the second and first centuries B.C. This idea that art can express moral values, even moral conflict, is of great interest and fundamental significance. The present paper focuses upon the way Zanker applies it to Late Republican statues and portraits in the light of recent scholarship. In particular, it will be argued, firstly, that the form of the art does not really make sense if there was as much conflict with Greek ideas and styles as generalizations from the literary sources might imply; secondly, that a nude or partially nude portrait statue of a living noble or emperor was not as problematic at Rome as is commonly believed; and thirdly, as a consequence, that Zanker's views about moral conflict in the style of Late Republican statues and portraits, and about the stylistic resolution of this ‘conflict’ under Augustus, should be substantially modified.
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Kamykowska, Zuzanna. „Auctioning institutions in China: economic and legal aspects“. Ekonomia i Prawo 22, Nr. 2 (30.06.2023): 227–35. http://dx.doi.org/10.12775/eip.2023.013.
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Motivation: China is now the third largest art market in the world, and thanks to its long history, the country is able to offer a great artistic heritage. Chinese auctioning institutions have become one of the most significant in the world, having a massive global impact on art pricing. By establishing their sales infrastructure in new locales ahead of the traditional mechanisms of primary market commercial galleries, the Chinese auction houses have played a foundational role in the notional construction of new genres of art.Aim: The main purpose of this article is to present a detailed analysis of Chinese auction houses and other auction institutions, with regards to the economic and legal aspects of their operation. The article is cross-sectional, showing how China has become the fastest growing art market in the world. The analysis provides evidence for the existence of various factors that determine the dynamic development of the Chinese art auctions market and determines the differences in the functioning of Chinese and Western auction houses.Results: These results illustrate that exceptional economic and political factors made it possible to significantly develop the Chinese auction market in a very short time.
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Lin, Yubing, Yi You und Zitong Zhou. „Application Of VR In the Field of Education“. Highlights in Science, Engineering and Technology 68 (09.10.2023): 11–20. http://dx.doi.org/10.54097/hset.v68i.11925.
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VR in virtual reality and augmented reality technology is a new technology applied in the field of education in recent years. This paper combs and analyses the educational application research from three aspects: educational games, art education and political education. First, starting from education, the author expounds that virtual reality education is based on the teaching concept of "interesting" games and takes education and teaching objectives as the design concept. Then, it introduces the performance of virtual reality technology in the field of art. This part explains the important role of virtual reality technology in the field of art education. It mainly expounds the practical exploration of VR in teaching, the value of VR in art design teaching, the content of VR in the new path of art design curriculum reform, and the innovation of VR teaching. Finally, the application of virtual reality technology in ideological and political education is proposed. At the end of this paper, the application of VR in these three aspects is summarized and prospected.
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Millner, Jacqueline. „Caring through art: Reimagining value as political practice“. Art & the Public Sphere 8, Nr. 2 (01.12.2019): 163–74. http://dx.doi.org/10.1386/aps_00014_1.
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Recent feminist critiques of neo-liberalism have argued for care as an alternative structuring principle for political systems in crisis and have proposed that the transformation of the existing capitalist order demands the abolition of the (gendered) hierarchy between ‘care’ ‐ the activities of social reproduction that nurture individuals and sustain social bonds ‐ and economic production. Key to answering what it might mean for care to become the central concern or core process of politics is imagining alternatives outside deeply ingrained and guarded conventions. It is in this imagining that artists have much to contribute, more so still because for many artists, maintaining a practice in neo-liberal contexts demands nurturing collectivities, sensitivities and resourcefulness ‐ essential aspects of care. By focusing on recent Australian examples, this article examines what role artists can play in engaging with, interpreting or enacting care in practices ‐ such as works of self-care, care for country and the environment, care for material culture and heritage, care for institutions and processes, and care for others ‐ which might help forge an alternative ethics in the age of neo-liberalism. This exploration is driven by the need for a contemporary values revolution as we ‐ as a species, as a planet ‐ face existential threats including climate emergency and terminal inequality. Can art be a generative site to work towards alternative ethics that privilege trans-subjective relations predicated on attentiveness and tending, on spending time, on holding space?
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Kholmuradova Leyla Eshkuvatovna, Makhmudova Maftuna Ilkhomovna und Djuraeva Donokhon Anvarovna. „Cultural Aspects of Multilingual Communication“. International Journal of Language Learning and Applied Linguistics 3, Nr. 1 (11.01.2024): 41–46. http://dx.doi.org/10.51699/ijllal.v3i1.3301.
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Today multilingual communication is increasing as the context of globalization and therefore, contact between different cultures is being practiced in non-western communities in political, business and art meetings. Culture as a critical part of multilingual communication performs several functions in community, has several categories according to different culturologists. The students of translation studies faculty must be aware of constituent parts of multilingual communication, its theoretical basis, basic terms and the role of intercultural competency in translation process. In this paper, cultural aspects of multilingual communication, its concepts and terms, types of culture are discussed. We also provide the definition of the terms of culturology that each Bachelor student of translation studies department must know.
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Kovalenko, Timofey V. „Theatrical Life and Socially-Political Climate of Russian Society: Measurement of Evolution Intensity“. Key Engineering Materials 437 (Mai 2010): 560–62. http://dx.doi.org/10.4028/www.scientific.net/kem.437.560.
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Theatrical Life and Socially-Political Climate of Russian Society: Measurement of Evolution Intensity In limits of theoretically-informational approach to the occurrence of culture and art, the intensity of theatrical life is scrutinizing as degree of tension of its dynamics, which flows from quantitative estimation of the cultural public mean’s role, their investment in formation and development of art of its aspects and genres and importance of events in different periods of time. Appearance of various creative innovations in theatrical life is conditioning by the level of its intensity.
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Saad, Reem Lotfy Mahmoud. „Art and Cultural Identity“. Academic Research Community publication 1, Nr. 1 (18.09.2017): 10. http://dx.doi.org/10.21625/archive.v1i1.104.
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This paper analyzes aspects of Egyptian history, including unique qualities that influenced the Egyptian culture and gave it its identity that has developed throughout the years until today. It will also discuss Egyptian visual arts and its critical role throughout history, including how arts have appeared and developed over Egypt’s lifetime and influenced the Egyptian citizen. Furthermore, this research sheds light on the effects of every political change that took place in Egypt, and how that could be a mirror of the Egyptian civilization, its development and its decline while considering the role of visual arts throughout and after the revolution of 2011. Analyzing Egyptian culture, education, technology, internet and multimedia after the revolution can be imperative to understand the cultural identity and the role of visual arts in Egypt. Thus the mutual relationship between arts and the Egyptian cultural identity will be questioned, along with the way that they impact each other, and finally, how both of them could play a key role in developing Egypt after the 25th of January, 2011 revolution.
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Chirico, Robert. „From Cave to Caféé: Artists' Gatherings“. Gastronomica 2, Nr. 4 (2002): 33–41. http://dx.doi.org/10.1525/gfc.2002.2.4.33.
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Historical documentation regarding public festivals and banquets continually acknowledges the alliance of painting, poetry, music, and design, but in contrast to these records, accounts of artists personal revelries remain scarce. This article discusses the festive, social, political, and artistic aspects of notable gatherings that took place over the past five centuries. Among the examples mentioned are the serious gatherings of Baccio Bandinelli's Academy and the meetings of the Dutch Rhetoricians (Rederijkers); the lavish parties of the 16th century artist Rustici and the modern-day Art Students League;the scandalous doings of the Dutch painters guild (Bentvueghels) in Rome and the antics of the Swedish sculptor Sergel. It also touches upon pre- and postwar banquets in Paris,Futurist and Dadaist gatherings, and the socializing of the New York School.
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FUNDIC, Leonela. „Art and Political Ideology in the State of Epiros during the Reign of Theodore Doukas (r. 1215-1230)“. BYZANTINA SYMMEIKTA 23 (21.02.2014): 217. http://dx.doi.org/10.12681/byzsym.1100.
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<span style="color: black; line-height: 115%; font-family: 'Times New Roman'; font-size: 11pt">The paper sets out</span><span style="color: black; line-height: 115%; font-family: 'Times New Roman'; font-size: 11pt"> to <span>reconstruct the political context of art-making in the State of Epiros under its second ruler </span>Theodore Komnenos Doukas (r. 1215-1230)<span>, paying particular attention to two aspects: first, the ways in which art reflected and articulated political ideology; and second, the role played by works of art in the formation of a Byzantine imperial identity in exile.</span></span>
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Kennedy, Rebecca Futo. „A Tale of Two Kings: Competing Aspects of Power in Aeschylus' Persians“. Ramus 42, Nr. 1-2 (2013): 64–88. http://dx.doi.org/10.1017/s0048671x00000072.
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The frequent assumption that they [the Persians] were as greatly concerned on these levels [historically, culturally, strategically] with Greece [as they were with the east] is a misconception which stems from our own western view of the world and from the unfortunate fact that Greece has given us our main literary sources of information on the Achaemenids. It was the Greeks who were fascinated by Persia, by Persian mores, and, yes, by Persian court art and luxury goods—not the reverse. If only the Persians had spawned the likes of Aeschylus and Herodotus, our perceptions of their preoccupations would be quite different.Athenians were indeed fascinated by Persia as their art and literature attest. The fascination was both cultural and political, but not without tensions. Part of that fascination manifested itself in the allure of Persian kings and what they represented. The kings ruled over a vast empire, larger than any the Mediterranean world had yet seen. They sought in their iconography and building programmes to exert a particular identity for themselves and the Achaemenid dynasty. Although the Athenians were not imperialists of the type we see in Persia, Rome or the figure of Alexander, they did build for themselves a small, Hellenic empire (archē) and they adopted a number of Persian mechanisms of power and some aspects of Achaemenid iconography for representing their power. Aeschylus' Persians, produced in 472 BCE, helps us understand the Athenians' developing archē, specifically how the representations of the two Persian Kings in the play helped the Athenians differentiate and define their power vis-à-vis the Great Persian Menace and, more importantly, the rest of the Greeks. By understanding better the engagement by the Athenians with Persian culture, we can better understand how the Athenians conceptualised their own power and position in the Aegean in the early 5th century BCE.
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Bon, Oleksandr. „Social and Political Conditions for Intellectual’s Literary-Art Activities in 1920s“. Kyiv Historical Studies 16, Nr. 1 (2023): 84–90. http://dx.doi.org/10.28925/2524-0757.2023.19.
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This paper analyses the most important processes of Ukrainian culture development in early totalitarian period of 1920s. The fundamental approach for assessing this period was the fact that the formation of the totalitarian regime had the primary influence on the cultural in general and literary-art activities in particular and was transforming it in the way the regime saw the “cultural revolution”. The 1920s were marked as the period of the soviet policy against intellectuals. Same concerns the policy of “ukrainisation”, despite it caused the acceleration of the Ukrainian culture development, in its essence has not created a freedom of development and was a controlled by bolsheviks’ party process of the regime adaptation to the reality of national republics. Thus the analysis of a change in approaches to intellectuals and their role in society, which was living through the heavy transformations of forced character, is important aspect of totalitarian USRR regime development. The subject matter of this paper is the analysis of social and political conditions for the literary and artistic intellectuals in 1920s in motion and analysis of the connections with the political processes in USSR. Mass social oppression and social engineering are the aspects specific for the soviet regime. The issue of literary-art activities are analysed in three aspects: intellectuals in soviet ideology; state politics innovations against literary and artistic intellectuals in 1920s; general soviet approaches to conquering and controlling the Ukrainian literature and art representatives in the USSR. We have identified that social and political conditions had significant differences with the Russia and USSR in general. This was due to the fact that the national character of intellectuals was creating a tension between the center and republics. We explored the fact that the soviet policy against literary and artistic intellectuals had a non-linear character and had the peculiarities different to the general political processes.
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Furnal, Sara. „Rousseau's Rome: Book IV of The Social Contract and the Specter of Montesquieu“. Eighteenth-Century Studies 57, Nr. 1 (September 2023): 65–86. http://dx.doi.org/10.1353/ecs.2023.a909454.
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Abstract: Scholars of Rousseau's Social Contract have focused primarily on the text's abstract principles of political right. This theoretical focus has come at the cost of serious consideration of practical aspects of Rousseau's thought, such as his views on bringing the political association into being and what Rousseau calls maxims of politics . One of his extended discussions about political practice occurs in Book IV of The Social Contract , yet this portion of the text largely has been ignored. My central claim is that Book IV merits serious attention since it changes Rousseau's project from one that uses political right merely to condemn institutions to a theory that uses right to identify latent possibilities for changing institutions. Further, this practical theory comes to light most clearly when one understands that he is in conversation with Montesquieu in Book IV on the topic of the Roman Republic.
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Di Summa-Knoop, Laura T. „Art Today and Philosophical Aesthetics“. Culture and Dialogue 4, Nr. 2 (26.10.2016): 246–62. http://dx.doi.org/10.1163/24683949-12340014.
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The demise of grand narratives of art, and the emergence of “post-historical art,” have produced a chasm between the tradition of philosophical aesthetics and the production and reception of contemporary art, a divide that has deprived philosophy of the fundamental role it had played, arguably, until the end of the Modern period. The goal of this paper, which focuses primarily on art after 2000, is to investigate possible venues and directions in the current production and reception of art that might lead to a reconciliation of these two poles and to the advancement of new philosophical strategies for the analysis of art. Specifically, I will concentrate on three aspects of the experience of art today: first, the emphasis, in the production and reception of artworks, on enactive accounts of artistic experience; secondly, the importance given to the ethical content of artworks and to their ability to trigger ethical, social, and political reflection; and, lastly, the growing role of the art market and its structures in the overall appreciation of the arts.
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Pirozhkova, Sophia. „PHILOSOPHY AS ELEMENT OF RUSSIAN SCIENTIFIC SYSTEM: HISTORICAL ASPECTS OF PROBLEM“. Studia Humanitatis 17, Nr. 4 (Dezember 2020): 4–14. http://dx.doi.org/10.15393/j12.art.2020.3661.
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The article offers a rational reconstruction of the history of the development of Russian philosophy as a scientific discipline. The relevance of this reconstruction is due to the need for a new self-determination of philosophy in the structure of scientific knowledge. This need is caused, on the one hand, by the world-wide transformations of science as a cognitive, social and cultural phenomenon, on the other hand, by the fact that Russian science is undergoing a period of reforms that pose urgent questions for Russian philosophy to fix its features, functions and tasks as a scientific discipline in new conditions. The article shows that philosophy appears in Russia as part of an integral system of rational knowledge, or rather as part of a kind of socio-cultural project of such system. This system inherits the Ch. Wolff’ project. It is characterized by the absence not only of the modern differentiation of sciences, but also of the later opposition between philosophy and science. In a short time by historical standards, the emancipation of natural science disciplines begins, seeking to privatize the status of scientific knowledge. However, since the beginning of the XIX century, it is not self-determination in opposition of science acquiring its modern face, but the socio-political context that determines the fate of Russian philosophy, setting various forms of its institutionalization. This dependence persists in the twentieth century, when the role in the Soviet socialist project returns philosophy to the central place in the structure of scientific knowledge, as it was in the Wolff’ system, while discrediting it as a scientific activity. It is proved that since the end of the 1950s, Russian philosophy has begun to partially rebuild itself as a scientific discipline, creating prerequisites for the retention of academic and university philosophy after the collapse of soviet ideology.
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Skov, Marie Arleth. „The 1979 American Punk Art dispute: Visions of punk art between sensationalism, street art and social practice“. Punk & Post-Punk 9, Nr. 3 (01.11.2020): 443–66. http://dx.doi.org/10.1386/punk_00061_1.
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In May 1979, a conflict arose in Amsterdam: the makers of the exhibition American Punk Art clashed with local artists, who disagreed with how the curators portrayed the punk movement in their promotion of the show. The conflict lays open many of the inherent (self-) contradictory aspects of punk art. It was not merely the ubiquitous ‘hard school vs. art school’ punk dispute, but that the Amsterdam punk group responsible for the letter and the Americans preparing the exhibition had different visions of what punk art was or should be in respect to content and agency. Drawing on interviews with the protagonists themselves and research in their private archives, this article compares those visions, considering topics like institutionalism vs. street art, avantgarde history vs. tabloid contemporality and political vs. apolitical stances. The article shows how the involved protagonists from New York and Amsterdam drew on different art historical backgrounds, each rooted in the 1960s: Pop Art, especially Andy Warhol, played a significant role in New York, whereas the signature poetic-social art of CoBrA and the anarchistic activity of the Provos were influential in Amsterdam. The analysis reflects how punk manifested differently in different cultural spheres, but it also points to a common ground, which might be easier to see from today’s distance of more than forty years.
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Setter, Jane, und Jennifer Jenkins. „State-of-the-Art Review Article“. Language Teaching 38, Nr. 1 (Januar 2005): 1–17. http://dx.doi.org/10.1017/s026144480500251x.
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This article is organised in five main sections. It begins by outlining the scope of pronunciation teaching and the role of pronunciation in our personal and social lives. The second section surveys the background to pronunciation teaching from its origins in the early twentieth century to the present day, and includes a discussion of pronunciation models and of the role of the first language (L1) in the acquisition of second language (L2) pronunciation. Then a third section explores recent research into a range of aspects involved in the process: the effects of L1 and L2 similarities and differences; the role of intelligibility, accent attitudes, identity and motivation; the part played by listening; and the place of pronunciation within discourse. This section concludes with a discussion of a number of controversies that have arisen from recent pronunciation research and of research into the potential for using computer-based technology in pronunciation teaching. The fourth section explores a range of socio-political issues that affect pronunciation teaching when the L2 is learnt as an international rather than a foreign language, and the fifth section moves on to consider the implications of all this for teaching.
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Bogomyakov, Vladimir G. „Science Art through the Prism of Boundary-work“. Koinon 3, Nr. 2 (2022): 191–203. http://dx.doi.org/10.15826/koinon.2022.03.2.023.
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This article analyzes the relationship between scientific and artistic aspects in such a field of contemporary art as science art. Representatives of presentday art often postulate the harmony of rational-scientific and artistic-aesthetic fields in the art of science art. The criteria for such harmony and the criteria for equality of scientific and artistic elements are not very clear. Viewers often tend to see in the works of science art to a greater extent either a product of scientific activity, or, conversely, an artistic object. The ideas of the so-called “pure science”, which is absolutely impartial and strives only for the knowledge of the truth, are becoming a thing of the past. The main incentive for the development of science is the satisfaction of various social needs, which can be articulated to varying degrees. The approach called boundary-work makes it possible to understand that the boundaries between these aspects, on the one hand, are very mobile and flexible, on the other hand, they act as social structures built with certain goals. Thomas F. Gerin also used the term boundary-work to distinguish between scientific, unscientific, in a different sense scientific, and so on. Such a distinction is necessary when, for one reason or another, borders are rejected or, conversely, arbitrarily imposed and propagandized. Each time the boundaries of science are established anew, depending on the political and cultural context that defines the essentialist or constructivist understanding of scientific activity. Science art Science art clearly goes beyond both science and art, forming a kind of third field. The existence on the border creates openness not only for science and art, but also for other forms of consciousness. The analyzed field of art makes it possible to reveal the hidden connections between science and art and to assert that, apparently, we are now witnessing the emergence of a certain new type of activity that carries the features of both science and art. In addition, there is hope that science art will help deepen our understanding of both science and art, their essence and their role in human life and social reality, in human creativity and personal development.
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Saha, Birbal. „Feminism in Society, Art and Literature: An Introspection“. Galore International Journal of Applied Sciences and Humanities 7, Nr. 1 (30.01.2023): 1–5. http://dx.doi.org/10.52403/gijash.20230101.
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A society is a group where both men and women co-exist, keeping the ride rolling. The best way for a woman to define her presence is to have equal access to high-quality education, political participation and empowerment. She enters politics to broaden the scope of her social engagement, takes care of her household, practices a professional career, takes care of her children etc. Feminists have engaged themselves into a large spectrum defining the role of women in various aspects, her status and the barriers faced. The present paper is an attempt to study the depiction of woman in society, art and literature, looking into the roles she takes part into and the problems she encounters. Keywords: Women in Literature, Social Study, Portrayal of Indian Women, Women in Art, Women in Politics
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Häßler, Miriam. „Moscow Merz and Russian Rhythm“. Experiment 23, Nr. 1 (11.10.2017): 117–26. http://dx.doi.org/10.1163/2211730x-12341305.
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Abstract The Erste Russische Kunstausstellung [First Russian Art Exhibition] of 1922 was a remarkable event not only for Berlin’s art lovers at that time, but also for the history of twentieth century art. Held at Galerie van Diemen, the show gave a comprehensive overview of Russia’s artistic achievements from late Tsardom to the Russian Civil War. Of all styles in the exhibition, the non-objective art movements of suprematism and constructivism provoked the greatest sensation among the visitors, many of whom were Western artists. Relating Russia’s variations of non-objectivity with their—assumed—political notions, Western modernists reacted in various ways. This article aims at tracking the long-lasting vestiges of the Erste Russische Kunstausstellung in the personal and artistic developments of two key-figures of Germany’s modern art scene: Kurt Schwitters and Hans Richter. While the role of El Lissitzky, who designed the catalogue’s cover, has already been canonized, this article wants to highlight lesser-regarded aspects.
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Reznik, Alexander. „Leon Trotsky, the Cultural Debates, and the Political Struggle in 1923“. Historical Materialism 28, Nr. 2 (13.05.2020): 140–69. http://dx.doi.org/10.1163/1569206x-00001823.
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Abstract This article examines interconnections between politics and culture in the early Soviet era, using Leon Trotsky’s activities in the campaign for a new everyday life (novyi byt) in 1923 as a case-study. Traditionally, scholars pay attention primarily to Trotsky’s writings on literature and art. In contrast, this article shows the important role of Trotsky’s brochure ‘Problems of Everyday Life’ in the development of a new field of political communication that became the space for criticism of different political and cultural aspects of Soviet power and Bolshevik rule. Using archival and press sources, it shows how the campaign was spread both from below and above, and what were the reasons for its failure to become an alternative cultural revolution.
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Boskholov, Sergey. „Challenges and Threats to the Foundations of the Constitutional Order and the Russian Statehood: Political-Legal and Criminological Aspects“. Russian Journal of Criminology 17, Nr. 2 (26.05.2023): 109–21. http://dx.doi.org/10.17150/2500-4255.2023.17(2).109-121.
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The author examines the contradictions, challenges and threats to Russia’s national security that can be found in the Constitution of the Russian Federation (the RF Constitution), specifically in Art. 9, 13 and 15 of Chapter 1 and Art. 17 and 20 of the RF Constitution, as well as other normative legal acts. The author’s understanding of the causes for their emergence at the stage of developing the RF Constitution’s draft is presented. It is proven that unless eliminated, these threats could only further escalate and turn into a serious factor that counteracts the future development of Russia as an autonomous, sovereign and independent state. The author presents a political-legal and criminological analysis of these challenges and threats from the standpoint of contemporary geopolitical situation and the tasks of ensuring national security. The criminal nature of American-style globalization is uncovered, which consists in preserving the US dominance in the global processes and transition from the strategy of containing Russia to the strategy of its total destruction. The idea of the necessity to balance the interests of the person, the society and the state is put forward. According to the author, the unlimited freedom of a person in its Western interpretation contradicts the civilization code of the multinational Russian people, and leads not only to the personal social degradation of an individual, but also the degradation of the society and the state, the loss of the social role of state and law. Based on the results of the conducted research, the author concludes that it is necessary to reconsider a number of established erroneous views and ideas concerning the issues under consideration, and to exclude the norms which contain challenges and threats to Russia’s national security from the RF Constitution by adopting a new RF Constitution, as it is the only possible way to eliminate them. To ensure social justice, it is suggested that the moratorium on the death penalty should be abolished, and changes be introduced in Part 2, Art. 20 of the RF Constitution. The author presents criminal law and criminological measures aimed at counteracting the threat to national security and statehood of the Russian Federation.
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Bilski, Emily D. „The Lives of Objects beyond Ownership“. Internationales Archiv für Sozialgeschichte der deutschen Literatur 46, Nr. 1 (01.06.2021): 300–322. http://dx.doi.org/10.1515/iasl-2021-0018.
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Abstract Provenance history sheds light on the relationship between works of art and the social, political, and economic conditions of their biographies. Engaging with the provenance of objects establishes a cultural conversation across time and space with previous owners. For artworks in museums, the public has now entered into that conversation. Museums, as custodians of art and educators of the public, can play a significant role in going beyond the question of ownership to get to the heart of what provenance reveals about the meanings of art: the ways people bring art into their lives, and the ways that objects are loved and studied. This essay delves into these human aspects of provenance, which are too often absent from museum displays, and argues in favor of making this information more visible to the public. Finally, works by contemporary artists Hans Haacke and Maria Eichhorn are discussed as examples of projects that successfully expose complicated object histories and provenance within museum installations.
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Clammer, John. „Can Art Embody Truth? Ethics, Aesthetics and Gandhi“. Social Change 51, Nr. 1 (März 2021): 92–103. http://dx.doi.org/10.1177/0049085721996859.
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The philosophical question of whether moral standards apply in art and the practical one of whether the arts can be vehicles of positive social transformation run through a great deal of social theory. In this article, these issues are discussed through an examination of Mahatma Gandhi’s approach to art and in particular his views on music and visual arts as they formed part of his personal world view and his socio-political programme. The article contextualises this in relation to Gandhi’s over-arching concern with the pursuit of truth and its theistic basis, his relationship to certain aspects of classical Indian philosophy and in particular the status of rasa among the four traditional purusharthas, and his relationship with Rabindranath Tagore and the artists at Kala Bhavan in Santiniketan, in particular Nandalal Bose. The article suggests that Gandhi was far from uninterested in aesthetic matters, but that the key to his thought lies in his holistic approach to both philosophy and lifestyle where the arts play an important role when integrated with ethical and religious demands.
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Rykov, Anatoly V. „The Pragmatics of Romanticism. Edmund Burke as Art Theorist“. Vestnik of Saint Petersburg University. Arts 13, Nr. 1 (2023): 207–17. http://dx.doi.org/10.21638/spbu15.2023.110.
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The article is devoted to the pragmatic aspects of Edmund Burke’s theory of art. The author identifies pragmatic components in the works of the British philosopher of various genres. The emphasis is on the interdisciplinary nature of Burke’s theory of art, which included artistic, psychological and political dimensions. The pragmatic dimension of Burke’s thought opens up a new field of research in the field of romantic aesthetics and art theory. The pragmatic romanticism of the British thinker complements our ideas about classical and modern art. His ideas shed new light on the development of Western European art from Baroque and classicism to avant-garde and postmodernism. At the same time, the problems of aesthetics, as well as the problems of power, are considered by Burke in a “psychoanalytic” and semiotic way, that is, without evaluation, and romantic special effects are subjected to objective analysis both in literature and art, and in politics. The pragmatic dimension allows us to redefine the role of Burke as the true founder of scientific art studies, who anticipated the most modern methods of analyzing artistic processes. The physiological, natural-scientific connotations of Burke’s work are also studied in the context of pragmatic strategies, as opposed to idealistic interpretations of the romantic theory of art.
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Kharitonova, Mаria Alekseevna. „Myth and the aspects of mythological thinking in the history of European culture“. Vestnik of Saint Petersburg State University of Culture, Nr. 3 (52) (2022): 128–34. http://dx.doi.org/10.30725/2619-0303-2022-3-128-134.
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Myth plays a significant role in the history of European culture, influencing its forming and developing. Notably, the myth appears not only as a cluster of literary subjects, but also as a particular way of world reception and thinking. Thus, often mythological subjects and archetypes constitute the basis for several types of creative works, enter psychological and philosophical theories, become parts of political and ideological discourses, mass media, commercial. However, the inner codes of the myth which constitute it as a phenomenon of consciousness, seem to be inherent to all these cultural fields as well. In this paper, several aspects of a mythological consciousness are examined, using the examples of diverse cultural phenomena within religion, philosophy, literature, and art. The investigation is based on the time from Renaissance to 2010s.
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Krstulović, Nataša Cigoj. „Ljubljana’s Concert Life and the Perception of Music During the First World War: Between Art and Patriotism“. Musicological Annual 53, Nr. 2 (27.11.2017): 51–80. http://dx.doi.org/10.4312/mz.53.2.51-80.
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The article deals with the organisational, repertoire and reception aspects of Ljubljana’s concert life during World War I. The relationship between the artistic and propagandistic functions of music is reflected in the share of first performances, as well as in the impact that new occasional compositions had on the audiences. In the last wartime concert season of 1917/18, during the time of fateful political changes both the nationality of visiting artists and the repertoire also symptomatically reveal a stronger cultural-propaganda role of music.
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Nowak-Kluczyński, Konrad. „Od znaku „Polski Walczącej” po hasło „FaceBóg” – rola polskiego graffiti w latach 1942–2011“. Biuletyn Historii Wychowania, Nr. 27 (01.01.2019): 127–40. http://dx.doi.org/10.14746/bhw.2011.27.9.
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Against the general opinion the history of graffiti goes back to the beginnings of civilization. There are numerous examples of graffiti, for instance the inscriptions hollowed with a chisel found on the ancient household artifacts or on the walls. The inscriptions had an informative function but they were also magical. The phenomenon of spray art was widespread in the 1960s and the beginning of the Polish taggers subculture was in the 1980s, although one can find street art during the Second World War. But it is usually neglected or disregarded in the Polish literature. The Anchor – the sign of “Fighting Poland”, was placed on pavements, walls, notice boards or train stops of the occupied country. It was the sign of the fight for freedom and independence. As the years passed, the Polish reality was changing and the role of graffiti also changed. Now, it expresses itself in slogans, appeals, messages, drawings, portraits or murals. The aim of the work is to show the role of the Polish graffiti between 1942 and 2011. The author analyses graffiti in a number of aspects and throughout many years. The author identifies Polish spray art with teenage rebellion, sense of humor, political engagement, commentary or the negation of reality. Moreover, the article focuses on social, psychological or urban aspects of the examined phenomenon and identifies it with widespread modern hip-hop culture.
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Edwards, Gareth. „From the Black Square to the Red Square: Rebel leadership constructed as process through a narrative on art“. Leadership 13, Nr. 1 (31.07.2016): 100–119. http://dx.doi.org/10.1177/1742715015626242.
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The contribution this paper makes to leadership studies is to advance leadership theory towards a process based perspective based on an appreciation of art. The article does this by using a narrative on art in Russia. The narrative forms the basis for discussing the role that symbolism and aesthetics play in (re)interpreting rebel leadership. The article also explores James Downton’s work alongside the narration to develop a socially constructed process based interpretation of rebel leadership. Building on this interpretation fundamental aspects of process-based leadership so far missing from the literature are highlighted. One such aspect is the ridicule (in this case through caricature) of existing leaders and leadership by the incumbent leader and/or leadership process – a pre-stage to the emergence of rebel leadership. Other aspects include stages of social and organizational liminality and introspection. From here suggestions are made for further theoretical and empirical enquiry and practical implications are highlighted.
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Easterbrook, Rhiannon. „Reception“. Greece and Rome 70, Nr. 2 (12.09.2023): 357–66. http://dx.doi.org/10.1017/s0017383523000153.
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Over the last few years, much of public discourse has been concerned with the rise of populist movements across the world. Hindu nationalism, Brexit, and the rise of Le Pen are just some of the phenomena that have garnered attention and concern. Although, in Rome and America, classicist and political scientist Dean Hammer does not start with this topic, contemporary populism is his destination, specifically in the shape of Donald Trump and the conditions in which his presidency arose. As Hammer investigates several aspects of both the creation and undoing of self-identity and political norms in the United States, he cites templates, points of comparison, and, finally, warnings in both Rome's founding myths and the history of its transition from republic to principate.
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Shogimen, Takashi. „Treating the Body Politic: The Medical Metaphor of Political Rule in Late Medieval Europe and Tokugawa Japan“. Review of Politics 70, Nr. 1 (2008): 77–104. http://dx.doi.org/10.1017/s0034670508000181.
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AbstractThe essay examines medical metaphors in the discourse on government from a cross-cultural perspective. Drawing on George Lakoff and Mark Johnson's theory of metaphor, a comparison of medical metaphors in the political writings in late medieval Europe (c. 1250–c. 1450) and Tokugawa Japan (1602–1867) demonstrates that the European notion of medical treatment as the eradication of the causes of diseases magnified the coercive and punitive aspects of government, while the Japanese notion of medical treatment as the art of daily healthcare served to accentuate the government's role of preventing conflicts and maintaining stability. These differing images of medical treatment metaphorically structured contrasting conceptions of government in the two historical worlds.
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Martini, Pauline, Joe Holt und Maud Sarliève. „MASS DEFORESTATION AS A CRIME AGAINST HUMANITY?“ International and Comparative Law Quarterly 72, Nr. 4 (Oktober 2023): 1013–46. http://dx.doi.org/10.1017/s0020589323000404.
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AbstractThis article examines whether mass deforestation could be prosecuted as a crime against humanity under Article 7 of the Rome Statute. It does so in respect of the situation in the Brazilian Legal Amazon in 2019–2021, where the unbridled exploitation and destruction of the rainforest had a disastrous impact at local, regional and global levels. The article covers three main aspects. First, it explores the existing limits of international criminal law for prosecuting mass deforestation as a crime against humanity, and the contours within which criminalization would be possible. Secondly, it discusses the challenges inherent in the anthropocentric nature of the chapeau requirement of Article 7 for the criminalization of mass deforestation under that provision. Thirdly, it analyses the extent to which mass deforestation could qualify as persecution and/or an ‘other inhumane act’ under Articles 7(1)(h) and (k) of the Rome Statute.
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Sydor, Mykhailo, Hanna Pankiv, Valentyna Drotenko, Janna Yasenitska und Halyna Savchyn. „Analysis of modern approaches to interdisciplinary art education: combining art with other fields of knowledge“. Eduweb 18, Nr. 2 (30.06.2024): 77–87. http://dx.doi.org/10.46502/issn.1856-7576/2024.18.02.5.
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This article examines the relationship between three different approaches to art: aesthetic, sociological and historical. The aim is to confirm the interdisciplinary connection between art education, on the one hand, and the status and role of discourse in contemporary art, cultural policy, educational reforms and institutional transformations that affect creative activity. The contemporary merger of art and theoretical discourse can be viewed from two interrelated perspectives. On the one hand, the “educational turn” in contemporary art shows a special interest in the production and dissemination of knowledge, which is marked by a focus on the educational aspects of artistic activity and its potential for mediation and intercultural communication. Using the method of literary analysis and processing of such databases as SCOPUS, Google scholar and Research Gate, the paper analyses the growing importance of the practice and spread of interdisciplinarity in contemporary art, its disadvantages and advantages. The results of the presented research indicate that in the contemporary context, the concept of “artistic research” is becoming the subject of increasingly complex discussions. Its use is becoming official and gaining scientific status, which makes it even more problematic. The relationship between the “educational turn” and “artistic research” can be seen in the context of the political economy of knowledge, as it determines the cognitive value of contemporary art. The conclusion is that the educational turn in art opens up new opportunities and challenges for artists in terms of combining professional activity and the creative process. Although there are problems of disproportionality between teaching and creativity, the analysis shows that openness to interdisciplinary discourse can contribute to the development of shared knowledge and communication between artists and the academic community.
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Keshmirshekan, Hamid. „Modern Art in the Arab World, Primary Documents: A Review Essay“. Review of Middle East Studies 54, Nr. 2 (Dezember 2020): 342–51. http://dx.doi.org/10.1017/rms.2021.4.
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The study of modern and contemporary art from Islamic lands, and particularly the Arab world, is a developing field. Over the past few decades, a variety of publications on modern and contemporary art from the Arab world and its diasporas has appeared in art magazines, journals, and exhibition and auction catalogues. There is, however, still a lack of scholarly literature and reliable resources on the subject. Many such existing sources have focused on productions that are largely in line with certain interests or agendas pursued by the particular magazine/journal, exhibition, or art market in question. Therefore, although recent scholarly output has played a crucial role in introducing modern art in the Arab countries in the Middle East and North Africa, these publications have not sufficiently filled the gap of discussion regarding certain aspects of the subject. Modern Art in the Arab World, a collection of critical writings by Arab intellectuals and artists, offers an unparalleled source for the study of modernism in the Arab world. Mapping the primary documents with additional entries written by the editors and other scholars, this book addresses the major historical, conceptual, theoretical, and aesthetic issues that inform the modern art paradigm in the Arab world. Arranged largely in a chronological order, it explores the art of the Arab world by tracing the main discourses that have shaped artistic practices and transformations in the region from the mid-nineteenth century until the late 1980s.
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Sporton, Gregory. „Power as Nostalgia: the Bolshoi Ballet in the New Russia“. New Theatre Quarterly 22, Nr. 4 (20.10.2006): 379–86. http://dx.doi.org/10.1017/s0266464x0600056x.
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The economic and political transition of the old Soviet Union into Putin's Russia has been given plenty of attention over the past few years, with emphasis on free markets and democratic choice much in evidence. In this essay Gregory Sporton discusses the less often considered difficulties of the social transition towards a New Russia. The role of ballet in the culture of the Soviet Union occasionally leads to some embarrassment for those who think the arts represent freedom; and here the symbolic power of the nation's most political theatre, the Bolshoi, is examined at the point of its renovation. How the company has adapted to the new political realities, to the challenge of attracting audiences, and to its own complicity with the old regime is observed against the backdrop of May Day celebrations in 2004. Gregory Sporton is Director of the Visualisation Research Unit in the Department of Art at the Birmingham Institute of Art and Design. Since 2004 he has been a frequent visitor to Russia, studying a range of aspects of Russian culture under the Soviets from ballet to architecture, education and the visual arts. His study trip in 2004 was funded by the Elisabeth Barker Fund from the British Academy.
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Chepelyk, Oksana. „The Ukrainian projects at the Manifesta 14 and Ars Electronica: the problem of subjectivity in the cultural and political context of the war“. CONTEMPORARY ART, Nr. 18 (29.11.2022): 65–84. http://dx.doi.org/10.31500/2309-8813.18.2022.269711.
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The article raises issues of the subjectivity of Ukrainian art and culture, in particular in its theoretical and practical aspects, which was developed by the artistic projects of Ukrainian authors, implemented abroad during the war within the framework of representative art forums and exhibitions of Manifesta 14, Ars Electronica, EDAF and others. The purpose of the article is the formation of professional awareness of the practices of Ukrainian contemporary art regarding the problem of the subjectivity of Ukraine on the international arena, through the prism of critical thinking and sensitivity in the cultural and political context of the war, for the sake of modern cultural creation, as well as to facilitate further research studies, of the Ukrainian art projects, implemented abroad during the war within the framework of representative art forums and exhibitions, for their full involvement in the national art discourse. The process of struggle for the subjectivity of Ukraine both within the country and on the international arena is explored. The methodology of the study consists in theoretical and field research on the topic of the subjectivity of Ukrainian art and in the author’s experiments development. The main method is a comprehensive and systematic approach to highlighting issues of subjectivity in culture and art, visual and photometric methods, analysis of concepts, of the artistic realizations, of the relationship between content and form, contexts and discourses. The concept of sensitivity was involved, which includes feelings of empathy and solidarity. The peculiarities of the Ukrainian projects’ presentations within the framework of the top forums of contemporary art were explored, including Manifesta Biennale 14 with the theme «It matters what worlds world worlds: how to tell stories otherwise», Festival for Art, Technology and Society Ars Electronica with the theme «Welcome to Planet B: A different life is possible. But how?» and EDAF, which served as a training ground for the formation of the subjectivity of Ukrainian contemporary art. The case studies were researched of projects by such Ukrainian artists: Stanislava Pinchuk, Alevtina Kakhidze, Oksana Chepelyk, Daria Pugacheva, Danyil Revkovskyi, Andriy Rachinskyi, the art group Sviter and Ivan Svitlychnyi, fantastic little splash, Oleksandr Burlaka and DE NE DE, shown within the framework of representative art exhibitions. The role of the curator and the artist as an agent of the subjectivity of Ukrainian contemporary art in the cultural and political context of the war have been analyzed. Given the fact that the basis of the interaction between contemporary art and the audience is discursive, the signs of the blurred subjectivity of Ukraine are revealed and the prospects for the establishment of Ukraine as an independent subject of culture in the system of global forces are outlined.
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Oczko, Patryk. „Between Art and Propaganda: The Rise of Polish Animation 1946–1956“. Animation 18, Nr. 2 (Juli 2023): 167–87. http://dx.doi.org/10.1177/17468477231182911.
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Whilst the origins of Polish animation go back to the inter-war years, its rapid and consistent development did not occur until after World War II, and was therefore influenced by and directly dependent on the socialist system. The aim of this article is to identify the nature of the links between the then prevailing ideology and the content and form of animated films that created it, and to further discuss the main trends in this respect. The late 1940s were a time of a kind of creative freedom, which came to an end with the imposition of socialist realism. Transferred from the USSR to Poland, the doctrine began to lose its momentum as early as 1953, gradually embracing modern visual solutions. The complete rejection of socialist realism came in the wake of the political thaw of 1956. These contexts meant that the role of animation evolved and so, too, did its character. Examples used in this article include selected cartoons, puppet and cut-out films made in all the production centres active at that time. They are presented according to content and form, which has made it possible to further discuss the various aspects of the subject under discussion, and to indicate its development milestones. It seems a safe assumption that animation in its modern form was born twice in Poland. Initially, as a part of intuitive pioneering experiments and, later, having gained a wealth of practical and ideological experience following the political thaw of 1956.
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Berkutbayeva, Kamshat, und Aliya Mombek. „Synthesis of arts: theater curtain as an aesthetic category“. Pedagogy and Psychology 42, Nr. 1 (30.03.2020): 236–42. http://dx.doi.org/10.51889/2020-1.2077-6861.30.
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In training a specialist of creativity higher education institutions, knowledge of special aspects of theatrical art is importance. The subject of this article is the theater curtain, aspects of its application in various historical eras of the development of the theater as a cultural phenomenon. The author’s systematization of information about the theater curtain as an integral element of any theatrical production is based on a deep understanding of its role not only as a technical tool, but also as a spatial composition of the theater performance and the auditorium as a whole. The mentioned features may have a substantial, geographical, historical, political and functional character. Certainly, the theater curtain as an object of research is one of the most interesting phenomena of such a scientific field as art criticism. From her point of view, the theater curtain has come a long way in development in search of better stage and artistic expression, thereby representing a specific sign system. The study of the phenomenon of the theater curtain on examples of venues at the international level allows to take a fresh look at the genesis and current state of issues of the artwork of the productions of Kazakhstan theaters.
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Scheid, Kirsten. „NECESSARY NUDES: ḤADĀTHA AND MUʿĀṢIRA IN THE LIVES OF MODERN LEBANESE“. International Journal of Middle East Studies 42, Nr. 2 (13.04.2010): 230a. http://dx.doi.org/10.1017/s0020743810000334.
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In Beirut between 1920 and 1940, the fine-art nude was a necessary genre. Exhibitions of these pictures put audiences on display as much as nudes. Thus, these events enable probing the role of art at intercultural junctures and understanding the experience of self-modernizing subjects outside metropolitan locales. Al-ḥadātha and al-muʿāṣira are analyzed as complementary but noninterchangeable aspects of the modernizing project, to argue that viewing art and appreciating nudes were necessary components of an urban, modern identity for Mandate-era Beirutis. The concept of dislocation is introduced to explore why artists such as Moustapha Farroukh employed academic art formulae to intervene in representational conventions and, in doing so, dislocated common ways of seeing and relating to “Easterners.” Nude paintings evince the importance of intellectuals’ physical and aesthetic experiences in the production of modernity. Moreover, they complicate the common idea that “authenticity” opposed “modernity” in Arab and colonial settings.
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Priscilla, C. Victoria, und V. Hema Malini. „Steganalysis Techniques: A Systematic Review“. Remittances Review 7, Nr. 1 (19.11.2022): 171–94. http://dx.doi.org/10.47059/rr.v7i1.2405.
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World at present is full of data. Data plays a major role in all aspects in development in any field, future predictions, decision making etc. Securing data is very important not only to avoid breaches but also to shield the confidential messages. There comes the concept of Steganography. Steganography is the art of covering data up under an ordinary text or image or video. When steganography is misused by hiding malware in safe files, there comes the art of detecting steganography called Steganalysis. Some known methods in Steganalysis are Stego-only, Known cover, Known message, Chosen stego and lastly Chosen message attacks. This work presents a survey on recent trends in steganography and use of machine learning algorithms in steganalysis.
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Ngalung, Masotwung. „India's Act East Policy: Engagement with ASEAN“. Electronic Journal of Social and Strategic Studies 03, Nr. 02 (2022): 176–98. http://dx.doi.org/10.47362/ejsss.2022.3204.
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Over the years, India has interacted extensively with Southeast Asia nations. This contact began with trade but rapidly extended to other areas. Indian art, culture, and religion have significantly impacted many countries. The changes in the global political and economic environment in the early 1990s and India's march toward economic liberalisation have strengthened the multifaceted partnership between India and ASEAN. Since 1991, the ‘Look East’ policy (LEP) has played a significant role in India's foreign policy. Though LEP was initially intended only as an economic policy, it has broadened to include political, strategic, and cultural dimensions, developing into an active, result-driven ‘Act East’ policy. The India-ASEAN partnership has upgraded to Strategic Partnership in 2012, which was previously ASEAN Sectoral Partner since 1992, a Dialogue Partner since 1996, and a Summit Level Partner since 2002. There are 30 dialogue mechanisms between India and ASEAN, encompassing various aspects. India will remain critical to engaging with ASEAN for ‘Act East’ and the ambition for the ‘Indo-Pacific’ geopolitical construct. This paper analyses the Act East policy's objective and highlights India-ASEAN relations during the Look East period and how it has transcended into Act East policy. The methodology employed in this paper is qualitative, using a descriptive and analytical method that draws on secondary data and publicly available government documents.
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Volgusheva, Alla O., und Svetlana A. Vorobyova. „Proletarian Culture and Leftist Trends in Russia at the Beginning of the 20th Century“. Observatory of Culture 20, Nr. 2 (31.05.2023): 212–22. http://dx.doi.org/10.25281/2072-3156-2023-20-2-212-222.
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The low level of development of this topic in Russian historiography can be explained by the fact that, most often, this problematics is considered through the prism of general issues of culture of the Soviet period, party and state cultural policy, aspects of intelligentsia studies.This study aims at identifying the artistic concept of the leftist direction in the visual arts of the early 20th century, considering its variability, showing its origins, relations with the Soviet government and within the artistic environment, analyzing the reasons for its prohibition and exodus for many decades.The article pays special attention to the genesis of the very concept of “leftist art”, which was applied both in relation to new radical trends and in relation to the work of artists who considered themselves among the proletarian culture. The article attempts to separate the concepts of “avant-garde”, “modernism”, “futurism”. The authors focus on the art of the avant-garde, whose representatives, at the time of the Bolsheviks’ coming to power, took all the key positions and began to actively promote their creativity. The article pays attention to the reform of art education, as a result of which the Academy of Arts and the Higher Art School were abolished, and the Petrograd Art Training Workshops were created instead, where previous teaching methods were cancelled, talented masters were dismissed, and disciplines based on the principles of the avant-garde were introduced into education in the majority. The authors outline the changes in the traditions of museology, when, by the decision of the avant-gardists, museums began to be headed not by art historians, but by artists themselves, who became responsible for opening exhibitions and acquiring new works of art — at public expense and mainly of an avant-garde orientation.Based on archival materials and periodicals of the 1920s, the article analyzes the tasks of Soviet cultural policy, the art views of Soviet political leaders and art historians who were on the new government’s side. The authors consider the political views of representatives of proletarian culture (Proletkult) and the reasons for their disagreements with party leaders. The article substantiates the conclusion about the discrepancy in the understanding of the role of fine art among the government, avant-garde artists, and Proletkult representatives.
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Yefremova, Kateryna, und Maryna Lobko. „The art of diplomatic protocol as tool of business communication“. Law and innovative society, Nr. 2 (15) (04.01.2020): 35–39. http://dx.doi.org/10.37772/2309-9275-2020-2(15)-6.
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Problem setting. At the present stage of development of international relations, more and more diplomatic negotiations are taking place and a large number of international agreements are being concluded, so for the successful and effective functioning of the state foreign policy mechanism many tools are needed, each of which sets the mechanism in motion. However, the issues of gift literacy and their conceptualization of the role as a tool of diplomatic protocol in the implementation of international contacts of bilateral and multilateral nature remain unexplored. Analysis of resent researches and publications. The following scientists were engaged in research of the specified question: Ukrainian scientists – O. Sagaidak, G. Rudenko, Polish – L. Ikanovich, J. Picarsky, T. Orlovsky, English – John Wood, Jean Serre and others. The target of research is to study the essence of diplomatic protocol and etiquette on the example of gift literacy as a special tool for establishing relations in international cooperation, as well as outlining the realities of regulating this procedure and determining the practical side of the gift process in the context of diplomatic relations. Article’s main body. In the article investigated the essence and genesis of the practice of applying the diplomatic protocol in multilateral diplomacy for political purposes. It is argued that some protocol aspects of a multilateral meeting may be subject to political manipulation, and their behavioral influence on decision-makers is used. The importance of using gifts at the present stage of diplomacy development as one of the political tools that is subordinated to foreign policy goals is determined. The gifts received during the working trips of the presidents of the countries reflect the current state of development of the states, cover meetings and communication with the population, outline the professional and political interests and priorities of the states. The exchange of memorable gifts and souvenirs is carried out in the protocol order or by agreement of the parties in a solemn atmosphere as a separate protocol event within the framework of the state visit of the head of a foreign state. Examining the gifts, you can determine the geography of official visits of high-ranking officials, the current state of development of states, assess the outcome of meetings and communication with the population, learn about professional and political interests and priorities of states. In the protocol practice of most countries, strict cost limits have been introduced for gifts given or received by senior officials. Conclusions and prospects for the development. Gift literacy is one of the modern tools of diplomatic protocol, and the rules for choosing diplomatic gifts are a science, the basic principles of which have changed and improved over the centuries and to this day. Gifts from foreign heads of state, representatives of international organizations and business circles represent the donor country, reflecting customs, culture, government.
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Khoirunisa, Hafara, Sefriani Sefriani, Jawahir Thontowi, Jaya Indra Santosa, Yashifa Febriani und Ahmed Zeiad Masoud. „Judaization in Palestine: Is It Genocide According to the 1998 Rome Statute?“ Sriwijaya Law Review 8, Nr. 1 (31.01.2024): 79. http://dx.doi.org/10.28946/slrev.vol8.iss1.3144.pp79-98.
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The purpose of this study is to analyse the act of genocide in the attempt at Judaization in Palestine based on the 1998 Rome Statute and examine the possibility of categorizing the Judaization of Palestine as cultural genocide because Judaization has changed various aspects of Palestinian life and the Palestinian territories themselves. In addition, cultural genocide has been eliminated from its history, but there are still actions that are assumed to lead to it. This research is a type of normative legal research using a conceptual, statutory, case, and historical approach. The results of this study indicate that the Judaization of land and people in Palestine is a crime of genocide, as stated in Article 6 (c) of the 1998 Rome Statute. At the same time, the Judaization of identity and holy places can be categorized as cultural genocide, according to experts. However, the opinions of experts contained in legal works are subsidiary legal sources and, until now, have not been recognized as customary international law. In addition, the Judaization of identity and holy places within the framework of international law can only be viewed as genocidal intent, not cultural genocide.
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Kovač, Srećko. „The Identity and Continuity of Croatian Philosophy“. Prilozi za istraživanje hrvatske filozofske baštine 48, Nr. 2 (96) (22.12.2022): 287–304. http://dx.doi.org/10.52685/pihfb.48.2(96).1.
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After delineating the corpus of Croatian philosophy, the historical and conceptual identity and continuity of Croatian philosophy are analysed with respect to several aspects: (1) the historical space and time of Croatian philosophy; (2) its socio-cultural role and character (educational, linguistic and national-political); (3) its traditions and interconnections; and (4) the idea of Croatian philosophy. Special attention is paid to the difference between Franjo pl. Marković’s views on Croatian philosophy and the present state-of-the-art. Finally, the roots of Croatian philosophy are considered at the moment of transition from myth to Christianity and in the introductory reflections of the Charter of Duke Trpimir.
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Lee, Louisa. „‘A sculpture that has never been seen before’: the Advanced Sculpture Course, group crit and Silâns magazine at St Martin’s College of Art1“. Sculpture Journal 30, Nr. 1 (01.01.2021): 71–85. http://dx.doi.org/10.3828/sj.2021.30.1.5.
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Focusing on the magazine Silâns, produced by students and tutors Barry Flanagan, Rudy Leenders and Alistair Jackson on the Advanced Sculpture Course at St Martin’s College of Art between 1964 and 1965, this article explores the magazine as a collaborative space for students and tutors alike. Arguing that while the ‘group crit’ or discussion forum at St Martin’s offered students a verbal platform to describe, defend or critique their work (which increasingly relied on concepts and ideas over formal properties), it was the format of the art school magazine that offered a space for discourse and collaboration. By questioning the purpose of art and the role of the artist more generally, Silâns offered a site for critique of a rapidly changing art education system. In doing so, it prefigured later conceptual magazines that encompassed similar territory and preoccupations. I argue that although the content and form of Silâns are now identified in relation to concrete poetry, it is better situated in the context of early text-based conceptual art practice. The emphasis on the magazine as a means to disseminate concrete poetry tacitly avoids any of its political implications, in favour of its formal aspects. In concluding that the importance of Silâns, as an alternative platform for student collaboration and a precursor to later text-based conceptual art practice, has so far been overlooked and confined instead to a footnote in the sculptor Barry Flanagan’s biography, I argue that, more than group crit, this magazine is a manifestation of the verbal impulse in art colleges.
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Bozdemir, Oğuz. „The History and Future of Ceramic Sculpture: From Ancient Clay Figures to Modern 3D Printing“. Gaziantep University Journal of Social Sciences 23, Nr. 2 (26.04.2024): 420–36. http://dx.doi.org/10.21547/jss.1383449.
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This research aims to examine the history and future of ceramic sculpture, evaluating the development of this significant art form. It observes the role and evolving face of ceramic sculpture art from ancient times to the present, discussing its potential in the future. In ancient times, people used ceramic sculptures to express their religious and mythological beliefs. Civilizations such as Ancient Egypt, Ancient Greece, and the Roman Empire reflected their beliefs and cultures through ceramic sculptures. During the Middle Ages and Renaissance periods, artisans produced ceramic sculptures to enhance the aesthetic and religious aspects of churches' interior decoration. The sculptures from these periods stood out for their traditional craftsmanship and handmade techniques. With the onset of the modern era, technological advancements have fundamentally transformed ceramic sculpture art. Artists have observed diversity and change in the artistic expressions of ceramic sculptures as they address societal, political, and environmental issues, creating new and contemporary works. The relationship between ceramic art and technology has continued to grow, especially with the recent advancements in 3D printing technology, which provide artists with greater creative freedom and allow for the creation of more complex forms and details in sculptures. While ceramic sculpture art remains an essential part of our cultural heritage, artists will continue to shape the thoughts and societal consciousness of people through ceramic sculptures in the future. As a form of art that has evolved throughout history, ceramic sculpture art will persist in representing the creativity and freedom of expression of artists, enhancing the artistic experiences of individuals with the conveniences brought about by technology.
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Gorazdowski, Krzysztof. „Between freedom and hate/ selected aspects of criminal law regulation of hate speech crimes /“. Studia Administracji i Bezpieczeństwa 14, Nr. 14 (28.08.2023): 61–87. http://dx.doi.org/10.5604/01.3001.0053.7817.
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The publication presents the phenomenon of hate speech in the context of the regulations of Polish criminal law, which mainly refers to hate crime, in particular art. 119, 256, 257 of the Criminal Code (hereinafter the CC). It was preceded by a short description of the evolution of hate speech in Poland, which leads to an analysis of the contemporary socio-political situation in Poland and an assessment of the legal status. around the ongoing public discussion on this issue, including the constant presence of hate speech in the public space. The conducted historical and social arguments lead to the discussion of hate speech crimes identified by the Polish legislator in Art. 119, 256 and 257 of the Penal Code In order to bring closer the contemporary penalisation of hate crimes, the author uses the historical regulations in force in Poland, which are, in a way, the sources of contemporary legislation in this matter. On the basis of the doctrine and jurisprudence, the contemporary validity of the provisions on hate speech crimes was discussed. The reader's attention was also focused on the evolution of the contemporary regulation of the discussed criminal offenses in the context of the planned amendments to the penal code and the parliamentary and civic bills reported on this matter. The analysis of the criminal law aspects of hate speech crimes leads to conclusions regarding the presence in public debate of various forms of expression involving hate speech, the conflict between the freedom of speech (freedom of expression) and hate speech used in communication by politicians and ordinary people in the democratic structure of the rule of law, and the role of and the obligations of the legislator who, with some inconsistency, intervenes in this space, trying to assure the society of the need for changes in this respect or the lack of it. Hence, there are also various ideas and draft changes to the law in this area, incl. by extending the scope of penalizing the behaviors indicated in art. 119 of the Penal Code motivated by the need to increase the protection of victims.
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Mallart, Lucila. „Archaeology, Archival Practices and National Identities in the Iconographic Repertoire of Spain (1915–1929)“. Nuncius 37, Nr. 3 (14.12.2022): 590–614. http://dx.doi.org/10.1163/18253911-bja10041.
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Abstract Archaeology was central to the research and public policies of the Mancomunitat de Catalunya, an administrative commonwealth that led Catalonia between 1914 and 1923. While some aspects of this connection, such as the interplay between archaeology and Catalan nationalism and the contribution of the archaeologist Pere Bosch Gimpera are well known, other key developments of the period remain largely unstudied. This is the case of the Iconographic Repertoire of Spain, an archive set up in 1915 by the architects and art historians Josep Puig i Cadafalch and Jeroni Martorell with the purpose of visually documenting Spain’s art history. This article fills this gap by exploring the political and epistemological significance of archaeological research and of archaeological “photo-objects” in the making of the Repertoire. In particular, it discusses the role of Iberian culture within the Repertoire; the setting up of a nation-wide archive from a peripheral location such as Barcelona; and the connection of the Repertoire to the utopia of the “total photo archive”.
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Alexa, Visarion. „Les Inquiétudes du destin dans le monde de Caragiale : pour une poétique de la mise en scène“. Studia Universitatis Babeş-Bolyai Dramatica 67, Nr. 2 (13.12.2022): 47–60. http://dx.doi.org/10.24193/subbdrama.2022.2.03.
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"This paper approaches the work of the great Romanian playwright and prose writer I. L. Caragiale from a personal perspective. The author focuses on the concept of destiny and the ambiguities of this concept in Caragiale’s thought. The ambiguity of destiny, always defined between the comic and the tragic, between the sublime and the grotesque, is investigated here, showing that Caragiale had an extraordinary philosophical openness, which he translated into situations and characters. Some emblematic human figures, situations and lines from Caragiale’s work are briefly analysed and the modernity and prophetic nature of his political thought are also treated. All these aspects were elements that stimulated the author’s practical interest in staging or making films inspired by Caragiale’s work. Caragiale profoundly shaped the author’s conception of the actor’s art and the role of theatre direction: this is the conclusion of the present paper. Keywords: Caragiale, destiny, characters, philosophy, politics, actor’s art, stage and film directing."