Thematische Bibliographien / Art Sacrée

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Auswahl der wissenschaftlichen Literatur zum Thema „Art Sacrée“

Autor: Grafiati

Veröffentlicht am 8. Februar 2025

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Zeitschriftenartikel zum Thema "Art Sacrée"

Jégou, Anne. „Natures sacrées et territoires des sorcières écoféministes : l’exemple de l’investissement magique et politique de Starhawk“. Annales de géographie N° 756-757, Nr. 2 (28.05.2024): 150–74. http://dx.doi.org/10.3917/ag.756.0150.

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Nos années 2010-2020 nous ramènent aux années 1970-1980 des écoféministes, des sorcières et du sacré : Starhawk, sorcière écoféministe californienne, incarne cette traversée transatlantique des époques. Au-delà des critiques, comment situer et lire sa pensée en géographie, l’analyser au regard des natures sacrées et de leurs implications territoriales, pour nourrir une réflexion paradigmatique en géographie culturelle de l’environnement ? Starhawk articule dans une pensée originale nature sacrée, magie et empowerment horizontal. Créatrice d’une earth-based spirituality , elle honore une Déesse immanente en chaque être vivant. En tant qu’activiste, son sacré est ce pour quoi nous sommes prêts à faire des sacrifices, devenant politique. Permacultrice, elle observe son « territoire-milieu de vie » et le ritualise plutôt qu’elle n’y laisse son empreinte anthropique, dessinant une territorialité alternative. Les sorcières écoféministes se situent géographiquement, au travers d’une éthique écocentrée, dans leurs territoires-milieux de vie pour défendre ce qui leur est sacré : la perpétuation de la vie sur la planète. Ce Reclaim écoféministe cherche donc à retisser les liens du vivant (humain.es inclus) qui avaient été séparé.es, dans une médiation sacrale – représentée par le territoire lui-même – et une ontologie relationnelle pour un autre art d’habiter.

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Laplante, Julie. „« Art de dire » Rastafari : créativité musicale et dagga dans les townships sud-africains“. Drogues, santé et société 11, Nr. 1 (07.02.2013): 90–106. http://dx.doi.org/10.7202/1013889ar.

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Le mouvement rastafari, et son expansion à l’échelle mondiale, est un témoignage du succès d’un « art de dire » par l’expression musicale. Technique du corps et des sens, la création de la musique peut se lier à l’éthos d’un peuple. Il s’agit dans cet article de comprendre les conditions de créativité musicale au sein du quotidien rastafari des townships du Cap en Afrique du Sud. Ainsi, comment la création musicale s’insère-t-elle au coeur du mouvement rastafari sud-africain, en quoi ce processus est-il porteur de signification, voire gage de survie au quotidien ? Et plus particulièrement, quelle est la place de la plante sacrée dagga (cannabis, marijuana) dans ce processus, dont l’usage hors du mouvement est légiféré comme criminel, et dont l’usage en son sein apparaît libérateur, voire thérapeutique ? Voilà le défi de cet article qui pourra être relevé grâce à une famille musicienne/herboriste rastafari sud-africaine et à une anthropologie des sens. Dans le mouvement rastafari qui s’est érigé explicitement contre l’oppression d’un monde colonial en Jamaïque dans les années 1930, le processus de créativité musicale apparaît comme un mode de « mieux-être dans le monde », mode où les mots et les sons sont nettement privilégiés comme médium de changement social. En ce qui concerne son Herbe, la dagga, ses fonctions y sont multiples, tant sur le plan culturel que biologique, s’entrelaçant à la créativité musicale selon les ancrages positionnels particuliers des acteurs.

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McCombie, Duncan. „Philostratus, Histoi, Imagines 2.28: Ekphrasis and the Web of Illusion“. Ramus 31, Nr. 1-2 (2002): 146–57. http://dx.doi.org/10.1017/s0048671x00001429.

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J'ai voulu te dire simplement que je venais de jeter le plan de mon œuvre entier, après avoir trouvé la clef de moi-même, clef de voûte, ou centre de moi-même, où je me tiens comme une araignée sacrée, sur les principaux fils déjà sortis de mon esprit, et à l'aide desquels je tisserai aux points de rencontre de merveilleuses dentelles, que je devine, et qui existent déjà dans le sein de la Beauté.This paper will examine the central image of Ἱστοί (‘Looms’ or ‘Webs’), that of the web woven by the spider, as a Callimachean expression, or objectification, of the highly self-conscious treatment of art and play with illusion in the Imagines, that is, its play with the interaction of vision and text. In so doing, it will attempt to show in what ways Ἱστοί might be said to describe the artistic process of the work of which it forms a part, and to illuminate, from its context of painting and its ekphrastic oratory, something of the function and structure of ekphrasis itself. It will not be long enough to deal with the wider questions, about mimesis and the definition of ekphrasis, that it will perhaps have invited.

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Datsiuk, Natalia. „TRADITION AND MODERNISM IN THE SACRED ART OF IGOR ZILINKO“. Scientific Issues of Ternopil National Pedagogical Volodymyr Hnatiuk University. Specialization: Art Studies, Nr. 2 (23.05.2023): 140–48. http://dx.doi.org/10.25128/2411-3271.19.2.19.

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The article explores the directions of contemporary Ukrainian sacral art in the work of the painter I. Zilinkо, his contribution to the development of sacred art of the temples of Ternopil region. The main directions of stylistic orientation in the formation of modern sacral art, the evolution of paintings from realistic tendencies of Ukrainian sacral painting of the seventeenth century to experiments with stylization of iconic figures in search of greater spirituality of the face, the introduction of our own modern iconography, based on tradition. The article explores the directions of contemporary Ukrainian sacral art in the work of the painter I. Zilinkо, his contribution to the development of sacred art of the temples of Ternopil region. Sacred art is the object of study of many scientists, historians, archivists, art historians, local historians, journalists. Among them, in particular, D. Stepovyk, M. Golubets, K. Moskalets, V. Sventsitska. However, the issue of the development of the modern sacred art of Ternopil region (1990–2018) requires additional study. The purpose of the article is to highlight the main directions in the work of Igor Zilinka, to specify the formation of the sacral and artistic environment of the churches of the city of Ternopil, to study the temples with modern interiors, to analyze the observance of traditions in icon painting and the search for modern aesthetic forms. After the revival of the Ukrainian Church, the construction of new temples began. The construction of churches led to the search for masters who could carry out their interior decoration. Famous Ternopil painter Igor Zilinko has become a “sacred” artist who has been successfully working in this field for many years. One of the first works of Igor Ivanovich was the decoration of the church of the Sacred Heart of Christ in the village of Veluky Gai, Ternopil district (1920). The murals of the church are classic paintings that date back to the works of the famous master of Ukrainian icon painting of the seventeenth century Ivan Rutkovych. It is the only church that reflects the realistic trends of Ukrainian sacral painting of the seventeenth century. Here the traditions of folk art are combined with creative bold search for new content and form. Next was the work on painting the temples in the villages of Petrykiv, Pronyatin, Kupchintsy, in the Ternopil region. On the initiative of Fr. Pavel Repely, the parish priest of the church of the village of Petrykiv, the painter was oriented to the heritage of Byzantine-Ukrainian icon painting. It is the first church in the Ternopil region that depicts the Eastern traditions of icon painting. Igor Zilіnko later managed to form his own style in the contemporary Ukrainian icon, following the Byzantine iconographic tradition. Particularly noteworthy is the iconostasis created by Igor Ivanovich for the Cathedral of the Archangel Michael in Ternopil in 2007. The artist very responsibly approached the choice of plots, taking as a basis the traditional composition of Ukrainian iconostases. The author has preserved the foundations of Ukrainian church traditions and has reflected the saints of the Ukrainian Church. An interesting development in the decoration of the spatial environment of the temple is the Church of St. Sophia of the Wisdom of God in Ternopil. For the decoration of the church, the parish priest Fr. dr. Vitaliy Kozak invited the already known master of sacral painting Igor Ivanovich Zilinko, who at that time developed his own iconographic style. The figures of the saints are exaggerated, unnatural in height, reflecting the idea of an invisible celestial world, without a realistic image. Creativity of Igor Zilinko is one of the most striking pages of contemporary Ukrainian art culture, evokes joyful aesthetic experiences, encourages contemporaries to creative pursuits to create monumental images that combine tradition with the actual spiritual needs of modern society.

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Danielson, Janet. „Harmony, Sacrifice, and Agamben’s Messianic Time“. Musicological Annual 50, Nr. 2 (03.04.2015): 17–30. http://dx.doi.org/10.4312/mz.50.2.17-30.

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In the early twentieth century, harmony, the sacred, and even time were seen as impediments to artistic freedom, though for the ancients, harmony was the integrating force of the cosmos. Giorgio Agamben’s recent writings on the sacred and on messianic time shed new light on the emergence of polyphony. He warns that capitalism, subsuming sacral power, reduces art either to spectacle or to object for consumption.

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ЛЕВИЦЬКА, Мар’яна. „Сучасне сакральне мистецтво: переосмислення традиції. Огляд міжнародної наукової конференції "Współczesna sztuka sakralna. Historia i recepcja tradycji" / "Сучасне сакральне мистецтво. Історії та рецепція традиції"“. Studia Ucrainica Varsoviensia, Nr. 11 (04.12.2023): 221–25. http://dx.doi.org/10.31338/2299-7237suv.11.15.

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The review highlights the topics and issues of the International scientific conference held on December 6, 2021 in the online format between Warsaw and Lviv. The initiators of the conference were researchers of icon painting and practicing artists, participants of the plein airs in Nowy Sącz (Poland), interested in analytical rethinking of the modern religious art. The speakers focused on the history and prospects of the development of sacred art in Ukraine and Poland at the present stage. The conference demonstrated the importance of studying the historical sources of religious art and rethinking the mediums of ancient sacred art in order to actualize them.

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Housset, Emmanuel. „L’art sacre, un art impossible“. Revue des sciences philosophiques et théologiques 100, Nr. 2 (2016): 249. http://dx.doi.org/10.3917/rspt.1002.0249.

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Karbayeva, G. K. „https://bulhistphaa.enu.kz/article/archive/view?id=study-of-the-turkic-speaking-population-in-the-south-of-western-siberia-by-employees-of-the-research-institute-of-the-art-industry-niihp-in-the-1950s-and-1970s“. BULLETIN of the L.N. Gumilyov Eurasian National University. Historical sciences. Philosophy. Religion Series 137, Nr. 4 (2021): 141–54. http://dx.doi.org/10.32523/2616-7255-2021-137-4-141-154.

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. In 2016, the patriotic act «Mangilik El» was implemented, and also in 2017, for the specification of this ideological message by profile nationwide programs, which include the creation of a specialized research center «Sacral Kazakhstan», research and analytical activity began to understand and the definition of objects that could meet the requirements in the nomination - to be sacred objects. The research center «Sacral Kazakhstan», which belongs to state research institutions, has developed lists of sacred objects, which include cultural and historical places of Kazakhstan sanctuary of national and regional significance. In January 2018, SRC «Sacral Kazakhstan» published the first series of books, where the objects were divided into two categories: «The Kazakhstan sacred objects of whole national importance» and «The Kazakhstan sacred objects of regional importance». In the first edition, the nationwide list included 185 objects, using the principle of equal representation from each region; 500 objects that did not pass this selection, but which were also nominated for the nationwide, were added to the regional list. These books are an invaluable information guide to the natural and historical monuments of the native land. In this article, using the example of a nationwide sacred capital object, real practices of pilgrimage to the Muslim cemetery «Karaotkel» will be recorded, as well as schemes of analysis will be studied who is the memory actor of this cemetery, which is included in the list of sacred objects of the city of Astana / Nur- Sultan. This concept of analysis in the future can be approved in research on the dissertation work «The peculiarities of memory transnational routes: cultural geography of Northern Kazakhstan».

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Boranbay, B. E., G. A. Kamisheva, G. S. Oralova und A. T. Tulebayeva. „THE SACRAL CONCEPT AND ITS INTERPRETATION“. Tiltanym 89, Nr. 1 (03.03.2023): 73–79. http://dx.doi.org/10.55491/2411-6076-2023-1-73-79.

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The interest in the concept of sacral has been growing rapidly in science in recent years. The first definitions of this concept began to appear in the 80s of the 20th century. There is a lot of polemic in the definitions given to the concept of sacral. The term ―sacred‖ was described in various ways by the English philosopher D. Hume, and German thinkers F. Schleiermacher, M. Scheler, E. Cassirer, and M. Heidegger. Representatives of the French school of sociology as M. Moss, L. Lévy-Bruhl, J. Bataille, and M. Leiris interpreted the term diversely. Therefore, to reveal the meaning of the notion of ―sacral‖ thoroughly it is of paramount importance to explain the concept in the integration of religious studies, philosophy, cultural studies, art studies, archeology, ethnology, folkloristic, and philology.This research paper clarifies the concept of ―sacral‖, and shows both well-known and unfamiliar aspects of the sacred as well as its typology that is made from the point of view of the aesthetic category. We also conducted a comparative analysis of definitions in different languages. Considering that the Latin word ―sacer‖ cannot be translated like many international terms, it was suggested to use it as sacral in the Kazakh language as well.The relevance of the topic was determined and a conclusion was made through comprehensive research, differentiation, and systematization of the concept of sacral.

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Sackler, EA. „The ethics of collecting“. International Journal of Cultural Property 7, Nr. 1 (Januar 1998): 132–40. http://dx.doi.org/10.1017/s0940739198770122.

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The author questions the concepts underlying ethnological collections of art and artifacts in the context of the Native American Graves Protection and Repatriation Act (NAGPRA). Alternatives to traditional Western anthropological and art historical methods of collection and display of sacred Native American material are found in traditional Native American philosophy and practice. The contemporary fashion among curators for contextualization of displayed objects from Indigenous cultures is critiqued in the light of broader ethical concerns regarding the appropriateness of collecting sacred objects from living Indigenous Peoples.

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Dissertationen zum Thema "Art Sacrée"

Simon, Laurent. „L’œuvre vocale sacrée de Henry Purcell : à la recherche d’un équilibre“. Thesis, Paris 4, 2009. http://www.theses.fr/2009PA040238.

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Le développement de la musique religieuse de Henry Purcell pendant la seconde moitié du dix-septième siècle est le fruit d’un compromis fructueux entre les contraintes politiques et religieuses de l’Angleterre de la Restauration et l’influence du baroque continental. L’évolution stylistique de ses compositions reflète la politique menée par les souverains successifs : Charles II, Jacques II et Guillaume d’Orange. Musicien baroque en pays anti-papiste, Purcell se montre particulièrement habile dans la manière de mettre les mots en musique et parvient à un équilibre entre l’exigence des réformateurs en matière d’intelligibilité du texte et l’esthétique de la contre-réforme
The development of Henry Purcell’s sacred music in the second half of the seventeenth century originates in a fruitful compromise between the political and religious constraints of Restoration England and the contribution of the continental baroque. The stylistic evolution of his religious compositions reflects the political and religious developments which took place during the successive reigns of Charles II, James II and William of Orange. As a baroque musician and a native of an anti-papist country, Purcell showed considerable skill in the art of setting words to music and managed to blend in the Reformers’ emphasis on the intelligibility of the text and Counter-Reformation aesthetics

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Benzi, Utzima. „Francesco Panigarola : théorie et pratique de l'éloquence sacrée à l'âge de la Contre-Réforme“. Thesis, Aix-Marseille 1, 2011. http://www.theses.fr/2011AIX10020.

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Cette thèse porte sur l’éloquence sacrée telle que le prédicateur franciscain Francesco Panigarola, l’une des figures majeures de l’art oratoire post-tridentin, la conçut en tant que rhéteur et la pratiqua du haut de la chaire. De son œuvre nous avons retenu les textes en italien : d’une part les écrits polémiques, les traités rhétoriques et pédagogiques, où s’exprime la réflexion de Panigarola sur le statut et les finalités de l’éloquence sacrée, d’autre part ceux qui attestent des procédés oratoires mis en œuvre dans l’exercice de la prédication. L’étude associe à la fois une approche chronologique, centrée sur le profil biographique, et une approche systématique concernant quelques grandes questions rhétoriques et stylistiques. L’objectif est de restituer l’orateur franciscain à la culture de son temps et de mettre en lumière certaines constantes de son style oratoire asian, notamment le statut privilégié accordé aux ressources de l’imagination visuelle. La première partie suit les étapes de la formation humaniste et religieuse de Panigarola ; la présentation de quelques documents inédits permet de jeter une lumière nouvelle sur ses activités de controversiste et de diplomate. La seconde partie analyse la théorie du discours oratoire sacré qu’il développe dans ses traités rhétoriques à l’usage des prédicateurs : Il Predicatore, les Regole per far la memoria locale et le Modo di comporre una predica. L’étude vise à mettre en évidence l’originalité des initiatives stylistiques et des procédés rythmiques, lexicaux et morphosyntaxiques de Panigarola, qui marquèrent l’entrée de la prédication dans le domaine de la littérature italienne. La dernière partie est consacrée à la définition de la doctrine panigarolienne de l’image ainsi qu’à la description des stratégies visuelles et auditives déployées dans ses sermons. Comment le franciscain réussissait-il à « faire voir », par les mots et à travers eux, les concepts qu’il voulait transmettre ? Quelles étaient les ressources du style qu’il déployait pour rendre son discours « visualisable » ? Ces questions ont été examinées du point de vue de l’enargeia « visuelle » et « sonore », et des procédés techniques dont elles sont le fruit
Our theme in this thesis is sacred eloquence, such as that of the Franciscan preacher Francesco Panigarola, a major figure of post tridentine oratory art, envisaged it as a rhetor and practised it from his pulpit. We have selected texts in Italian from his works: on the one hand, controversial writings, rhetorical and pedagogical treatises, where Panigarola reflects upon the status and finalities of sacred eloquence, and on the other hand, those which bear witness of the oratorical procedures utilized for sermons. Our study links, at one and the same time, a chronological approach, focussing on the biographical profile and a systematic approach to a few major rhetorical and stylistic questions. Our objective is to replace the Franciscan orator within the culture of his times and throw light on certain recurrent themes in his asianic style, particularly the pre-eminent status granted to the resources of visual imagination. Our first part takes us through the stages of Panigarola’s humanistic and religious formation; the presentation of a few previously unpublished documents sheds new light on his activities as a controversialist and diplomat. The second part analyses the theory of sacred oratory art, which he developed in his rhetorical treatises for the use of preachers: Il Predicatore, the Regole per far la memoria locale and the Modo di comporre una predica. The aim of our study is to show the originality of his stylistic initiatives and the rhythmic lexical and morpho-syntaxic methods of Panigarola, which marked the arrival of preaching in the world of Italian literature. The last section is devoted to the definition of Panigarola’s doctrine of the image, together with the description of the visual and auditory strategies employed in his sermons. How did the Franciscan succeed in “bringing to sight”, by his words, and through them, the concepts he wished to transmit? What were the stylistic resources he used to make his speech “seeable”? These questions have been examined from the point of view of “visual” and “resounding” enargeia, and the technical procedures which gave it birth

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Khany, Minoo. „Les représentations de la guerre dans la peinture iranienne après 1981“. Thesis, Paris, INALCO, 2014. http://www.theses.fr/2014INAL0006.

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La problématique de ce travail consiste à s’interroger sur la définition de la peinture de guerre et sur son devenir après la guerre, sur l’histoire de la peinture de guerre en Iran, sur l’interprétation de la guerre par les artistes, sur les éventuelles commandes. Comment cette peinture a-t-elle commencé en Iran ? Quel est le point de vue des peintres iraniens sur la guerre et sur les peintures de guerre ? Ont-ils critiqué la guerre dans leurs peintures ? Y a-t-il des foyers pour la création de ce type d'œuvres en Iran qui ont commandé aux peintres et si oui à quel but ? Ce travail comporte quatre parties, sans compter l’introduction et la conclusion. La première partie est un regard sociologique sur la révolution islamique et sur la guerre Iran-Irak. Les raisons pour las quelles cette guerre est devenue un phénomène social, ainsi que les raisons par lesquelles les artistes iraniens ont employés cette guerre dans leurs œuvres. Ayant un regard sur la peinture contemporaine de l’Iran, l’axe principal de cette présente thèse est la présentation des onze peintres connus comme les peintres de la guerre, et l’analyse 112 œuvres représentant la guerre et ses significations. Enfin, la troisième partie concerne l’analyser les peintures par l’aspect esthétique et sociologique
The definition of war painting and its future after the war, the history of war painting in Iran, the interpretation of the war by the artists are considered the complications of this work. How did war painting start in Iran ? What is the point of view of Iranian painters on the war and war painting? Have they criticized the war in their paintings ? When it comes to creation of such works in Iran, who ordered the painters and if so to what purpose? Are these works exhibited in museums, galleries, foreign countries or elsewhere yet ? This work consists of three parts, besides introduction and conclusion. The first part is a sociological perspective on the war in Iran. The main focus of the present thesis is the presentation of painters known as the war / Sacred Defense painters, and analysis of their work by the war and its meanings. In this section, we presented eleven painters and analyzed 112 paintings, from which some works are from four women painters. Finally, we presented the artistic centers producing the art of sacred defense. And we studied the topics in the works, the symbols used, and the styles discussed. we studied the sociological works representing the sacred defense and its support for artists with the social and political movements, the influence of the painting of the sacred defense and social issues, sacred defense painting "art for art" or "art for the people", etc

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Rincon, Caires Daniel. „Maleáveis mensageiros : das Igrejas aos Museus, de santeiros a artistas, de santos a obras de arte – o caso Veiga Valle“. Electronic Thesis or Diss., Paris, EHESS, 2024. http://www.theses.fr/2024EHES0105.

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L'objectif de cette recherche est de comprendre le processus d'incorporation de l'artisan de Goiás, José Joaquim da Veiga Valle (1806-1874), ainsi que la production qui lui est attribuée, dans l'histoire de l'art, du patrimoine et des dispositifs muséaux et l’univers de collection. Ce processus s'observe dans ses aspects conceptuels – la cartographie et l'analyse de la proposition de nouvelles significations sur le personnage et la production qui lui est attribuée – et dans ses développements concrets – le changement du statut initial des objets et la création de nouvelles formes de relations avec eux, qui se traduisent souvent par des expropriations et des déplacements, modifiant leurs trajectoires et créant des détours vers leurs origines. On suppose que les objets attribués à Veiga Valle – images de saints catholiques sculptés dans le bois et incarnés avec des pigments – ancrent des significations socialement construites. Cette construction de sens a une histoire et c’est ce que nous voulons observer, comprendre, interpréter et raconter. Dans cette tâche, des moments spécifiques ont été choisis dans lesquels de nouvelles propositions d'attribution de significations aux objets sont perçues, des moments où des conflits surgissent entre des individus ou des groupes sociaux qui entendent voir en eux des choses différentes et souvent antagonistes
The objective of this research is to understand the process of incorporation of the artisan from Goiás, José Joaquim da Veiga Valle (1806-1874), as well as the production attributed to him, into the history of art, heritage and museum devices and the universe of collecting. This process is observed in its conceptual aspects – the mapping and analysis of the proposition of new meanings about the character and the production attributed to it – and in its concrete developments – the change in the initial status of objects and the creation of new forms of relationships with them, which often results in expropriations and displacements, altering their trajectories and creating detours in their origins. It is assumed that the objects attributed to Veiga Valle – images of Catholic saints carved in wood and covered with pigments – anchor meanings that are socially constructed. This construction of meanings has a history and that is what we want to observe, understand, interpret and narrate. In this task, specific moments were chosen in which new proposals for attributing meanings to objects are perceived, moments in which disputes arise between individuals or social groups who intend to see different and often antagonistic things in them
O objetivo dessa pesquisa é compreender o processo de incorporação do artífice goiano José Joaquim da Veiga Valle (1806-1874), bem como da produção atribuída a ele, à história da arte, aos dispositivos patrimoniais e museológicos e ao universo do colecionismo. Esse processo é observado em seus aspectos conceituais – o mapeamento e análise da proposição de novos significados sobre a personagem e sobre a produção atribuída a ela – e em seus desdobramentos concretos – a alteração do estatuto inicial dos objetos e a criação de novas formas de relacionamento com eles, o que resulta muitas vezes em desapropriações e deslocamentos, alterando suas trajetórias e imprimindo desvios de rota em suas proveniências. Parte-se do pressuposto de que os objetos atribuídos a Veiga Valle – imagens de santos católicos esculpidas em madeira e encarnadas com pigmentos – ancoram significados que são socialmente construídos. Essa construção de significados tem uma história e é ela se deseja observar, compreender, interpretar e narrar. Nessa tarefa, foram eleitos momentos específicos em que se percebem novas propostas de atribuição de significados aos objetos, momentos em que surgem disputas entre indivíduos ou grupos sociais que pretendem enxergar neles coisas diferentes e muitas vezes antagônicas

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Caussé, Françoise. „Les artistes, l'art et la religion en France : les débats suscités par la revue "L' art sacré" entre 1945 et 1954“. Bordeaux 3, 1999. http://www.theses.fr/1999BOR30037.

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La these retrace a propos de l'eglise catholique de france une etape importante de la reflexion sur les liens entre l'art d'une epoque et l'expression de la foi religieuse, cette reflexion nee au xixe siecle et qui avait recu de premieres reponses durant l'entre-deuxguerres. Trouva apres la seconde guerre une veritable audience mediatique. Puisant a de nombreuses sources inedites la these retracel'histoire de la revue l'art sacre et de ses deux directeurs, les peres m-a. Couturier et p-r. Regamey, o. P. Elle precise les donnees relatives aux edifices qui provoquerent les debats, principalement: l'eglise d'assy (hte savoie), decoree par des artistes celebres (rouault, leger, bonnard. . . ), la chapelle de vence, concue et decoree par matisse, l'eglise du sacre-coeur a audincourt, decoree par bazaine et leger. Elle presente la biographie de nombreuses personnes et decrit les actions menees dans le diocese de besancon. La these met dans une perspective historique correcte les positions theoriques de la revue. Le parti fondamental des directeurs de l'art sacre etait que l'art religieux revelait l'etat de la spiritualite de son eglise. Aussi s'opposant a l'esprit de "saint-sulpice" la revue, prenant en compte tous les aspects de l'eglise (programme architectural, decor mais aussi culte) defendit le principe de constructions modestes mais dignes, portant temoignage par leur qualite artistique et leur modernite. Pour etre veritablement religieux en effet, l'art devait etre "vivant", plonger dans la vie artistique de son temps. La these analyse les debats majeurs et leur posterite, les principaux themes etant les relations entre l'eglise institutionnelle et la creation contemporaine; le role du decor et la place de l'art non-figuratif dans l'eglise; la fonction sociale de l'art. La question traitee recoupe d'autres champs d'etudes, notamment l'histoire religieuse de la societe francaise. Nombreuses annexes, documentation, chronologies, index.

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Johnson, Brian Todd. „Sacred conversations viewing liturgy through art /“. Theological Research Exchange Network (TREN) Access this title online. Theological Research Exchange Network (TREN) Access this title online, 2005. http://www.tren.com.

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Bernasconi, Gina. „Art and religious education: Seeking meaning in the sacred seriousness of art“. Thesis, Australian Catholic University, 2006. https://acuresearchbank.acu.edu.au/download/4866d8aeffa87aa911cd9ec0550330f1da5a5413861095d66dc5812ac891d9b1/3609586/Bernasconi_2006_Art_and_religious_education_seeking_meaning_in.pdf.

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In relation to the post-compulsory religious education program of a Catholic secondary college for boys, this research study set out to ascertain the role of art as a medium for the self-revelation of God in the linking of aesthetic and religious experience. In other words, this research study proposed to provide a group of students with a space and opportunity for a ‘calling to attend’ experience of God; that is, an experience that was compelling. The theoretical framework called on two types of concepts: first, those related to the theological investigation of revelation and its connection with the aesthetic and religious experience; and secondly, those developed from current educational research and research into Religious Education paradigms. The development of this research study therefore: established the context within which the study was situated; discussed a theological framework from Hans Urs von Balthasar and its links with this research study; examined the theory of Bernard Lonergan that art was a carrier of meaning for religious experience; discussed the role of revelation, aesthetic and religious experience and the religious imagination located within the ‘graced nature’ concept of Catholic theology; and sought to determine the contribution such a learning experience could make to the religious development of post-compulsory students in a boys’ senior secondary college. This study operated within a constructivist paradigm using case study and qualitative research methods. A focus group provided the research instrument for data gathering and included: participant observation; field notes; focus group discussions; and transcript analysis of the taped conversations of participants. The findings of this research study provided direction for further research and practice in post-compulsory religious education classroom program.

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Kiefer, John. „Sacred containers/sacred cups“. Virtual Press, 1999. http://liblink.bsu.edu/uhtbin/catkey/1129631.

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Since the 1960s, following the dramatic changes in the Roman Catholic Church, the design of the chalices used at the communion service became simplified; many of them becoming so plain that they are only wine goblets devoid of any decoration. As Catholics implement the changes of the Second Vatican Council, we have a growing desire for sacred vessels that better reflect a sense of awe.The purpose of this creative project is to explore symbolism used in chalice design. Traditional and newer symbols are incorporated into the chalices produced in this project.My creative process involves a community of people. Teachers, fellow students, friends and members of my church shared their knowledge, ideas and insights to enrich the final products.The sense of the sacred is not limited to God because God is present within each person. To be aware of the sacred in my own designs I need to be in touch with the sacred within me.
Department of Art

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Kaha, Myra. „The vessel and the sacred“. Morgantown, W. Va. : [West Virginia University Libraries], 2006. https://eidr.wvu.edu/etd/documentdata.eTD?documentid=4791.

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Thesis (M.F.A.)--West Virginia University, 2006.
Title from document title page. Document formatted into pages; contains v, 15 p. : col. ill. Vita. Includes abstract. Includes bibliographical references (p. 13).

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Benoist, Jacques. „"Le Sacré Cœur de Montmartre" : spiritualité, art et politique (1870-1923)“. Paris 4, 1991. http://www.theses.fr/1990PA040155.

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La basilique du Sacré-Cœur a toujours été l'objet de nombreuses contestations. Pour les comprendre, il faut demander à ses promoteurs quelles étaient leurs intentions. Traumatisés par les évènements de 1870 tant en France qu'à Rome, ils promettent en décembre 1870-janvier 1871 de construire une église en l'honneur du cœur du christ par souscription nationale pour obtenir de dieu le salut de la France et la délivrance du souverain pontife. Leur initiative est déclarée d'utilité publique par l'assemblée nationale. Paul Abadie devient leur architecte. La lente édification du monument s'accompagne de la création d'un pèlerinage ou une adoration perpétuelle s'établit rapidement. La décoration récapitule dans la pierre la vision du monde des constructeurs. Les contestations et les contestataires de l'entreprise, d'hier et d'aujourd'hui, retiennent longuement l'attention, mais sont contestés à leur tour
The basilica of the sacred heart has always been the target of numerous criticisms. These cannot be understood without investigating the promoters' intentions. Under the shock of the event of 1870 in Rome as well as in France, they pledged in December 1870-January 1871 to build a church dedicated to the heart of Christ thanks to a national subscription, so as to obtain from god both salvation for France and liberation for the Holy Father. The national assembly granted their initiative the public interest status. Paul Abadie became their architect. During the slow building of the monument, pilgrimages and perpetual adoration began rapidly. The decoration expressed in the stone the builders' vision of the world. The critics and the criticisms of times past and present have long held general attention but are now being criticized themselves

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Bücher zum Thema "Art Sacrée"

Demouy, Patrick. Notre-Dame de Reims: Sanctuaire de la royauté sacrée. Paris: CNRS, 2008.

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Lora, Marianna. Nudité sacrée: Le nu dans l'art religieux de la Renaissance, entre érotisme, dévotion et censure : actes du colloque organisé par l'INHA à Paris, par le Centre d'histoire de l'art de la Renaissance, les 13 et 14 juin 2008. Paris: Publications de la Sorbonne, 2011.

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Davy-Rigaux, Cécile. Guillaume-Gabriel Nivers: Un art du chant grégorien sous le règne de Louis XIV. Paris: CNRS Editions, 2004.

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Davy-Rigaux, Cécile. Guillaume-Gabriel Nivers: Un art du chant grégorien sous le règne de Louis XIV. Paris: CNRS Editions, 2004.

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Corbeil, Wilfrid. Polémiques, art et sacré. [Joliette]: Musée d'art de Joliette, 1990.

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1868-1969, David-Neel Alexandra, und Valenciennes (France). Musée des beaux-arts., Hrsg. Art sacré du Tibet. Valenciennes: Musée des beaux-arts de Valenciennes, 2005.

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Alfred, Pacquement, Loisy Jean de, Lampe Angela, Centre Georges Pompidou und Haus der Kunst München, Hrsg. Traces du sacré. Paris: Centre Pompidou, 2008.

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Maurice, Arama, Hrsg. L'art, un miroir du sacré? Paris: Albin Michel, 2009.

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Lavergne, Sabine de. Art sacré et modernité: Les grandes années de la revue l'Art sacré. Namur: Culture et vérité, 1992.

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Alfred, Pacquement, Loisy Jean de, Lampe Angela und Centre Georges Pompidou, Hrsg. Traces du sacré: Visitations. Paris: Centre Pompidou, 2008.

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Buchteile zum Thema "Art Sacrée"

Vikan, Gary. „Byzantine Pilgrims' Art“. In Sacred Images and Sacred Power in Byzantium, V_229—V_266. London: Routledge, 2024. http://dx.doi.org/10.4324/9781003557234-5.

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Vikan, Gary. „Art and Marriage in Early Byzantium“. In Sacred Images and Sacred Power in Byzantium, X_145—X_172. London: Routledge, 2024. http://dx.doi.org/10.4324/9781003557234-10.

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Kaborycha, Lisa. „Art, both sacral and sensuous“. In Voices from the Italian Renaissance, 136–42. London: Routledge, 2024. http://dx.doi.org/10.4324/9781003284284-31.

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Okediji, Moyo. „Sacred Spaces“. In Methodology, Ideology and Pedagogy of African Art, 193–201. New York: Routledge, 2023. http://dx.doi.org/10.4324/9781003389088-15.

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Vikan, Gary. „Art, Medicine, and Magic in Early Byzantium*“. In Sacred Images and Sacred Power in Byzantium, IX_65—IX_92. London: Routledge, 2024. http://dx.doi.org/10.4324/9781003557234-9.

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Praz. „Are Processes Sacred?“ In Link Technology to Your Long-Term Business Goals, 193–99. Berkeley, CA: Apress, 2022. http://dx.doi.org/10.1007/978-1-4842-8208-3_24.

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Murray, William Breen. „Deer: Sacred and Profane“. In Rock Art and Sacred Landscapes, 195–206. New York, NY: Springer New York, 2013. http://dx.doi.org/10.1007/978-1-4614-8406-6_12.

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Zhang, Yasha. „Spirituality and Chinese Rock Art“. In Rock Art and Sacred Landscapes, 85–102. New York, NY: Springer New York, 2013. http://dx.doi.org/10.1007/978-1-4614-8406-6_6.

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Schalow, Frank. „Mimesis, Art, and Truth“. In Heidegger and the Quest for the Sacred, 79–104. Dordrecht: Springer Netherlands, 2001. http://dx.doi.org/10.1007/978-94-015-9773-9_4.

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Bickel, Barbara A. „Trance, Sacred Place and Collaboration“. In Art, Ritual, and Trance Inquiry, 49–72. Cham: Springer International Publishing, 2020. http://dx.doi.org/10.1007/978-3-030-45745-7_3.

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Konferenzberichte zum Thema "Art Sacrée"

Gherman, Oxana. „The Sacral Dimensions of Po(i)etic Experience“. In Conferinta stiintifica nationala "Lecturi în memoriam acad. Silviu Berejan", Ediția 6. “Bogdan Petriceicu-Hasdeu” Institute of Romanian Philology, Republic of Moldova, 2023. http://dx.doi.org/10.52505/lecturi.2023.06.20.

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The article elucidates, through the hermeneutic triptych Man-World-God, conceptualized in the reference studies signed by philosophers and theologians as R. Otto, A. LaCoque, P. Ricoeur, M. Eliade, L. Blaga, M. Popa, the sacred dimensions of creative experience. The author identifies a series of affinities between the sacral feeling and the act of poetic creation, at the levels of aesthetic emotion and of metaphorization practices, of the artistic forms of the „existence in mystery” (L. Blaga) transposition, of re-creating the private universe through the symbolic imitation of the cosmogony. The sacral imaginary finds expression in all fields of art, and, par excellence, in poetry, which is involved in the revelation of the sublime that awakens in the human soul the feeling of greatness, of magic, of unspeakable charm, of impenetrable mystery from sequences of reality in which it feels the presence of God. The conclusions converge towards the idea that the sacre has a shaping influence on consciousness, in the dynamic field of which the image of the world is articulated, and the po(i)etic experience validates the divine character of the human being origin.

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Ryzhkova, Irina. „Sacral Art as Sociocultural Model“. In 2015 International Conference on Arts, Design and Contemporary Education. Paris, France: Atlantis Press, 2015. http://dx.doi.org/10.2991/icadce-15.2015.46.

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Berto, João Paulo. „A arte a serviço do sagrado: a arte sacra de Cláudio Pastro (1948-) e o santuário nacional de nossa senhora da conceição aparecida“. In Encontro de História da Arte. Universidade Estadual de Campinas, 2012. http://dx.doi.org/10.20396/eha.8.2012.4220.

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No campo contemporâneo das artes plásticas ditas sacras, percebe-se certa uniformização de traços, cores e imagens. Esta nova concepção do pensar artístico, contudo, é reflexo de uma série de discussões que foram travadas no seio da Igreja Católica desde o final do século XIX, aliando arte, teologia e liturgia. Esta apresentação, assim, busca tratar sobre estes discursos da arte sacra, tomando a obra do brasileiro Cláudio Pastro (1948-) como estudo exemplar nestes apontamentos.

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Uscinowicz, Jerzy. „INTRODUCTION INTO THEOSOPHY OF THE SACRED ART“. In 5th SGEM International Multidisciplinary Scientific Conferences on SOCIAL SCIENCES and ARTS SGEM2018. STEF92 Technology, 2018. http://dx.doi.org/10.5593/sgemsocial2018h/61/s14.042.

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Dominte, Georgeta Merişor. „Some Educational Landmarks Of Sacred Art In A Humanistic Perspective“. In 2nd Central and Eastern European LUMEN International Conference - Multidimensional Education and Professional Development. Ethical Values. Cognitive-crcs, 2017. http://dx.doi.org/10.15405/epsbs.2017.07.03.48.

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Aguay, Alex. „The Sacred and The Profane Aspects in the Traditional Art“. In International Conference on Aesthetics and the Sciences of Art. Bandung, Indonesia: Bandung Institute of Technology, 2020. http://dx.doi.org/10.51555/338650.

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Uscinowicz, Jerzy. „PRACTICAL ECUMENISM IN SACRED ART AND ARCHITECTURE � INCORPORATION AND SYNTHESIS“. In 5th SGEM International Multidisciplinary Scientific Conferences on SOCIAL SCIENCES and ARTS SGEM2018. STEF92 Technology, 2018. http://dx.doi.org/10.5593/sgemsocial2018/5.3/s21.057.

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Datsiuk, N. M. „SACRED ART OF THE TERNOPIL REGION OF THE 21ST CENTURY“. In АКТУАЛЬНІ ПРОБЛЕМИ РОЗВИТКУ УКРАЇНСЬКОГО ТА ЗАРУБІЖНОГО МИСТЕЦТВ: КУЛЬТУРОЛОГІЧНИЙ, МИСТЕЦТВОЗНАВЧИЙ, ПЕДАГОГІЧНИЙ АСПЕКТИ. Liha-Pres, 2023. http://dx.doi.org/10.36059/978-966-397-317-3-42.

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Uscinowicz, Jerzy. „PROFANUM VS. SACRUM“. In 4th International Multidisciplinary Scientific Conference on Social Sciences and Arts SGEM2017. Stef92 Technology, 2017. http://dx.doi.org/10.5593/sgemsocial2017/hb51/s17.028.

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Szymanska-Stulka, Katarzyna. „SPACE PERFORMS FOR SACRED AMONG MUSIC AND ARCHITECTURE. THE CASE OF STABAT MATER??S MOTIF IN POLISH CONTEMPORARY MUSICAL WORKS BY PAWEL LUKASZEWSKI AND IGNACY ZALEWSKI“. In 10th SWS International Scientific Conferences on ART and HUMANITIES - ISCAH 2023. SGEM WORLD SCIENCE, 2023. http://dx.doi.org/10.35603/sws.iscah.2023/vs08.09.

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In sacred musical works we find structures and composing solutions that introduce a specific action, similar to visual elements. What are the means for the architectural and sound space that create a sacred space? Are there playing in common? I answer this question on the basis of contemporary architecture (e.g. Church of Light by Tadao Ando in Ibaraki/Japan, Fritz Hoger�s Kirke in Berlin/Germany, Basilica Sanctuary of Our Lady of Tears by Stephane Aboudaram in Syracuse/Italy) confronted with music dedicated to the sacred sphere. In accordance with the currently developed cognitive interpretation, I will guide towards the sphere of experience and define a sacred place as an area where you can feel safe, surrounded by somewhat mysterious; calm down, focused on, forget about reality. At this place you can also be moved, sublimed and touched by presence of eternity, and share or express the fullness of life emotions. I present a musical analysis of sacred elements on the examples of works by contemporary Polish composers focused on the image of the suffering Mother of God under the cross of her son: Luctus Mariae by Pawel Lukaszewski from 2010 based on the Latin version of the Stabat Mater sequence, referring to the convention of the Italian madrigal theater from the 18th century and representing a severe beauty of the contemporary vision of meditation, and Stabat Mater by Ignacy Zalewski from 2018 making the suffering of the Mother of God more �real� basing on the contemporary version of a medieval sequence in a current experience of symbolic performative and vivid image that can be shared by the recipient.

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Berichte der Organisationen zum Thema "Art Sacrée"

Editors, Intersections. The Sacred Himalaya Initiative. Intersections, Social Science Research Council, Februar 2024. http://dx.doi.org/10.35650/int.4047.d.2024.

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Editors, Intersections. The Threat to Sacred Lives, Knowledge, and Landscapes. Intersections, Social Science Research Council, Januar 2024. http://dx.doi.org/10.35650/int.4032.d.2024.

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This article describes the research and workshops of "Religion and Climate Change in Cross-Cultural Perspective" project organized by the Center for Latin American and Latino Studies at American University.

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Yu, Zifu, und Xihua Liu. Efficacy of Sacral Magnetic Stimulation on Neurogenic Bladder after Spinal Cord Injury: A Meta-analysis. INPLASY - International Platform of Registered Systematic Review and Meta-analysis Protocols, Juni 2022. http://dx.doi.org/10.37766/inplasy2022.6.0009.

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Review question / Objective: P (Population): patients with neurogenic bladder (NB) after spinal cord injury; I (Intervention): sacral magnetic stimulation and routine rehabilitation training; C (Comparison): routine rehabilitation training and/or sham-sacral magnetic stimulation; O (Outcome): urinary frequency, voided volume, maximum urination volume，first sensation capacity, maximum bladder volume, maximum bladder pressure, QOL (Quality of Life Score), VAS(Visual Analogue Scale), LUTS (Lower Urinary Tract Symptoms); S (Study): Randomized controlled trial, RCT. Condition being studied: Spinal cord injury (SCI) leads to long-term disabilities with significant social and economic consequences. After SCI, bladder dysfunction is common and improved bladder function consistently ranks as the top quality of life priority in individuals with SCI. Patients with a neurogenic bladder following SCI often catheterize themselves to empty the bladder, and urinary tract infections and obstructive uropathies are common.

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Chitale, Vishwas, und Janita Gurung. Harmonizing the vegetation classification of Kailash Sacred Landscape - Working paper. International Centre for Integrated Mountain Development (ICIMOD), April 2022. http://dx.doi.org/10.53055/icimod.1004.

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This paper is the collective effort of ICIMOD and partners to harmonize the vegetation classification of the Kailash Sacred Landscape. The vegetation map was prepared using field data, satellite data, and inputs from experts and partner institutions in China, India, and Nepal. The map provides information on the geographic extent, area coverage, and species composition of 14 vegetation and six land use-land cover types. The information can be used to enhance decision making for ecosystem management in the landscape. Additionally, the methods used in this study are dynamic and could be easily applied to other landscapes in the Hindu Kush Himalaya.

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Abdulkhaliq, Zubeida S. Kakai Religion and the Place of Music and the Tanbur. Institute of Development Studies, Januar 2023. http://dx.doi.org/10.19088/creid.2023.001.

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This paper discusses the historical context and mythic framework of the Kakai religion. While some information regarding Kakai theological views and beliefs may be known to outsiders, many facets of their religious life, customs and traditions remain undisclosed. Much secrecy surrounds this religion, and non-believers are not encouraged to engage in or witness most Kakai rites. Geopolitical instability in the Kurdistan region also makes access difficult. Throughout this paper we will look at the relationship between Kakai beliefs and music (tanburo), and how the tanbur (a sacred lute) is not merely a musical instrument but is seen as a symbol of Kakai identity, with the music preserving language and legend.

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Khomenko, Tetiana, und Yuriy Kolisnyk. Втрати української культури у російсько-українській війні: культурно-інформаційний спротив. Ivan Franko National University of Lviv, März 2023. http://dx.doi.org/10.30970/vjo.2023.52-53.11749.

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The authors explored the activity of mass media and cultural organizations aimed at clarification of the current problematic issue – preservation of Ukrainian cultural heritage under the conditions of the full-scale invasion of Russia into Ukraine. The authors emphasize that occupants not only destroy historic buildings, i.e. material objects, but also steal art values, destroy library and archive funds; their actions are aimed at destruction of our spirituality, identity and history. It is pointed out that there are the main streams in the work of journalists, experts, and culture figures, namely: fixation of losses, propaganda of the Ukrainian culture in the world, expert evaluation of the restitution possibilities, and filling of the culture material with patriotic sense. The full-scale invasion of Russia into Ukraine on the 24th of February 2022 led to the numerous loss of life, ruination of the military, civil and infrastructure objects. But the state-aggressor destroys and robs our culture in this war. Since the beginning of the war mass media have been actively informing about the situation in the regions, which happened to be at the line of the Russian troops attack. The information was in particular about the fact that different educational establishments, libraries and their funds, museums with valuable collections, theatres, religious buildings and historic buildings had been ruined. To tell the truth the information was incomplete due to the limited opportunities to monitor the situation. However, later it has been systematized. The work of journalists and experts contributed to this since they stated the criminal acts of Russia, informing about the ruination facts of historic, sacral, cultural monuments, devastation of many museum collections, destruction of library and archive funds. Digitalization of the Russian war crimes against Ukrainian culture became one more important work aimed at preservation of the Ukrainian cultural heritage. It was done by means of interactive maps of the Ukrainian cultural losses and it enables documenting crimes of the occupant army and spreading this information at the international level. Key words: culture, cultural front, cultural losses, cultural values, cultural heritage, war, media.

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Siebert, Rudolf J., und Michael R. Ott. Catholicism and the Frankfurt School. Association Inter-University Centre Dubrovnik, Dezember 2020. http://dx.doi.org/10.53099/ntkd4301.

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The paper traces the development from the medieval, traditional union, through the modern disunion, toward a possible post-modern reunion of the sacred and the profane. It concentrates on the modern disunion and conflict between the religious and the secular, revelation and enlightenment, faith and autonomous reason in the Western world and beyond. It deals specifically with Christianity and the modern age, particularly liberalism, socialism and fascism of the 2Oth and the 21st centuries. The problematic inclination of Western Catholicism toward fascism, motivated by the fear of and hate against socialism and communism in the 20th century, and toward exclusive, authoritarian, and totalitarian populism and identitarianism in the 21st. century, is analyzed, compared and critiqued. Solutions to the problem are suggested on the basis of the Critical Theory of Religion and Society, derived from the Critical Theory of Society of the Frankfurt School. The critical theory and praxis should help to reconcile the culture wars which are continually produced by the modern antagonism between the religious and the secular, and to prepare the way toward post-modern, alternative Future III - the freedom of All on the basis of the collective appropriation of collective surplus value. Distribution and recognition problems are equally taken seriously.

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Zhytaryuk, Marian. Агресія росії проти України і світу. Рефлексії в контексті виправдання війни д. мєдвєдєвим та в. путіним 4 листопада 2022 р. Ivan Franko National University of Lviv, März 2023. http://dx.doi.org/10.30970/vjo.2023.52-53.11744.

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In this article the author analyzes in detail the “holiday” speeches by the former president of the russian federation dmitry medvedev and the current president vladimir putin devoted to the day of national unity of russia on November 4, 2022, in which politicians justify the war, call it sacred, a struggle between Good and Evil and predict their own victory. With the help of methods of critical analysis, the refutation of historical myths, the denial, an exposure and the generalization, the falsity and cynicism of the statements made regarding the expediency and possibility of geopolitical changes are demonstrated. The civilizational war of the russian federation against the Western democratic world, which began with aggression against the disobedience of neighboring Ukraine, which chose the Western vector of development, is gaining momentum. It would seem that in the 21st century global conflicts over territories are almost impossible, it is the time for the fourth-generation of war, but we can see that russia has various means in its arsenal, including weapons of mass destruction: aerial bombs, artillery, aviation, missile attacks, nuclear blackmail, rewriting history and ordinary lies. An analysis of the kremlin leaders’ military-strategic narratives about Ukraine and the West, shows the inadequacy and detachment of moscow politicians at the highest echelon of power from reality. Their aggressive and false rhetoric based on historical manipulations and maniacal efforts to transform the world order suggests that the kremlin will not stop on its own. Someone must stop him just decisively: either Ukraine or Ukraine’s allies. Sanction policy against the russian federation, political statements and words of support for Ukraine, even assistance with military equipment and finances may not be enough, because all these are certain procedures, a waste of time, and time today is the greatest value. Key words: Ukraine, russian federation, russian aggression, dmitry medvedev, vladimir putin, geopolitics.

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Conrad, Cyler. A Standard Operating Procedure for the Inadvertent Discovery of Native American Human Remains and Associated Funerary Objects, Sacred Objects, or Objects of Cultural Patrimony at Los Alamos National Laboratory In Compliance with the Native American Graves Protection and Repatriation Act [25 U.S.C. 3002(d), 43 C.F.R. 10.4]. Office of Scientific and Technical Information (OSTI), September 2020. http://dx.doi.org/10.2172/1660569.

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Lylo, Taras. Ideologemes of modern Russian propaganda in Mikhail Epstein’s essayistic interpretations. Ivan Franko National University of Lviv, Februar 2022. http://dx.doi.org/10.30970/vjo.2022.51.11404.

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The article analyzes the main anti-propaganda accents in Mikhail Epstein’s essayistic argumentation about such messages of modern Russian propaganda as “Russia is threatened by an external enemy”, “Russia is a significant, powerful country”, “The collapse of the USSR was a tragedy”, “Russia is a special spiritual civilization”, “Our cause in Donbass is sacred”, “The enemy uses, or may use of illegal weapons”... A special emphasis is placed on the fact that the basis of these concepts is primarily ontological rather than ideological. Ideology is rather a cover for problematic Russian existence as a consequence of Russia’s problematic identity and for its inability to find itself in history. As a result, Russia is trying to resolve its historical issues geographically, through spatial expansion, trying to implement ideologemes such as “The Great Victory. We can repeat” or “Novorossia”. That is why M. Epstein clearly identifies the national and psychological basis of the Kremlin’s behavior in 2014-2021. М. Epstein easily refutes the main ideologemes of Russian propaganda. This gives grounds to claim that Russian political technologists use the classical principles of propaganda: ignore people who think; if the addressee is the masses, focus on a few simple points; reduce each problem to the lowest common denominator that the least educated person can repeat and remember; be guided by historical realities that appeal to well-known events and symbols and appeal to emotions, not to the mind. М. Epstein’s argumentation clearly points to another feature of modern Russian propaganda: if Soviet propaganda was concerned with the plausibility of its lies, then Kremlin propaganda does not care at all. It totally spreads lies, often ignoring even attempts to offer half-truth.

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