Artykuły w czasopismach: „Art of saying no”

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Anderson, Amanda. "The Art of Saying Yes". AJN, American Journal of Nursing 116, nr 11 (listopad 2016): 63–66. http://dx.doi.org/10.1097/01.naj.0000505596.08697.dc.

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Morello, Ruth. "Pliny and the Art of Saying Nothing". Arethusa 36, nr 2 (2003): 187–209. http://dx.doi.org/10.1353/are.2003.0016.

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von Philipsborn, Anne C. "Neuroscience: The Female Art of Saying No". Current Biology 30, nr 19 (październik 2020): R1080—R1083. http://dx.doi.org/10.1016/j.cub.2020.08.023.

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Sherry, Patrick J. "Saying and Showing: Art, Literature and Religious Understanding". Modern Theology 18, nr 1 (styczeń 2002): 37–48. http://dx.doi.org/10.1111/1468-0025.00175.

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Schroeder, Peter R. "Saying but Little: Malory and the Suggestion of Emotion". Arthuriana 11, nr 2 (2001): 43–51. http://dx.doi.org/10.1353/art.2001.0031.

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Horne, Andrew J. "Hypothêkai: On Wisdom Sayings and Wisdom Poems". Classical Antiquity 37, nr 1 (1.04.2018): 31–62. http://dx.doi.org/10.1525/ca.2018.37.1.31.

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Scholars have long recognized that hypothêkai, or instructional wisdom sayings, served as building blocks for larger structures of Greek wisdom poetry. Yet the mechanism that gets from saying to poem has never been traced in detail. If the transition involves more than piling sayings on top of each other, what intervenes? Focusing on the archaic hexametrical tradition of Homer and Hesiod, the paper develops a repertory of variations and expansions by which the primary genre, the hypothêkê speech-act, is transformed into a secondary genre—the larger-scale wisdom constructions we find in various Homeric speeches and much if not all of the Works and Days. The paper first argues for a precise formal description of the hypothêkê saying in the archaic hexameter; it then develops a toolbox of variations on the saying's basic form. Finally, the toolbox is put to work in order to read a forty-verse excerpt of Hesiod's Almanac.

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Cotner, Teresa L. "Speaking of Art, Listening to What Teachers are Saying". Art Education 64, nr 2 (marzec 2011): 12–17. http://dx.doi.org/10.1080/00043125.2011.11519115.

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Izraeli, Dafna M., i Todd D. Jick. "The Art of Saying No: Linking Power to Culture". Organization Studies 7, nr 2 (kwiecień 1986): 171–92. http://dx.doi.org/10.1177/017084068600700206.

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Dr. Hamoud bin Hammad Al-Rubei, Dr Hamoud bin Hammad Al-Rubei. "A message in the realization of the Almighty's saying". journal of King Abdulaziz University Arts And Humanities 30, nr 4 (1.01.2022): 211–27. http://dx.doi.org/10.4197/art.30-4.9.

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Rowden-Racette, Kellie. "Just Don’t Do It". ASHA Leader 18, nr 5 (maj 2013): 14–15. http://dx.doi.org/10.1044/leader.lml.18052013.14.

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Cunliffe, Leslie. "Connectivity for Showing and Saying Across Differences in Art Education". International Journal of Art Design Education 22, nr 3 (październik 2003): 305–15. http://dx.doi.org/10.1111/1468-5949.00368.

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Vogl, Mary. "Art journals in Morocco: new ways of seeing and saying". Journal of North African Studies 21, nr 2 (23.02.2016): 235–57. http://dx.doi.org/10.1080/13629387.2016.1130936.

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Fahd Mohammed Rajian Al-Saadi, Fahd Mohammed Rajian Al-Saadi. "Examples of the Shi'a Imami’s Distortions of the Meanings of the Qur’anic". journal of King Abdulaziz University Arts And Humanities 29, nr 7 (1.01.2021): 203–32. http://dx.doi.org/10.4197/art.29-7.8.

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Abstract. the research talks about the definition of the Shiites, the meaning of distortion, and the reason for saying it among the Imamate, then it mentions the evidence for the existence of distortion from their original sources,

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Reilly, Mary Ann. "Saying What You See in the Dark: Engaging Children Through Art". LEARNing Landscapes 3, nr 1 (1.03.2009): 69–87. http://dx.doi.org/10.36510/learnland.v3i1.318.

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In this article, I explore the process of transmediation by examining selected art conversations—nonverbal communication made through painting—and poetry that urban fifth graders composed in response to a query about how they learn. Specifically, I examine three students’ works, noting how the use of multiple symbol systems helped each to compose strong visual and written texts. In studying the work the students composed, I conclude that visual art and poetry make fine partners in intellectual endeavors aimed at educating the imagination.

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Matherne, Samantha. "Kant and the Art of Schematism". Kantian Review 19, nr 2 (29.05.2014): 181–205. http://dx.doi.org/10.1017/s1369415414000016.

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AbstractIn theCritique of Pure Reason, Kant describes schematism as a ‘hidden art in the depths of the human soul’ (A141/B180–1). While most commentators treat this as Kant's metaphorical way of saying schematism is something too obscure to explain, I argue that we should follow up Kant's clue and treat schematism literally asKunst. By letting our interpretation of schematism be guided by Kant's theoretically exact ways of using the termKunstin theCritique of Judgmentwe gain valuable insight into the nature of schematism, as well as its connection to Kant's concerns in the thirdCritique.

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Gámbaro, Griselda, i Joanne Pottlitzer. "Saying Yes". PAJ: A Journal of Performance and Art 26, nr 1 (styczeń 2004): 106–12. http://dx.doi.org/10.1162/152028104772625017.

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Unuabonah, Foluke Olayinka. "“Are you saying …?”". Pragmatics. Quarterly Publication of the International Pragmatics Association (IPrA) 27, nr 1 (6.02.2017): 115–43. http://dx.doi.org/10.1075/prag.27.1.05unu.

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This study explores metapragmatic comments in Nigerian quasi-judicial public hearings, involving interactions between complainants, defendants and a hearing panel, with a view to investigating their forms, features, distribution and functions. The data are analysed quantitatively and qualitatively from a discourse-pragmatic framework that incorporates Verschueren’s theory of metapragmatics, Mey’s pragmatic act theory, Grice’s Cooperative Principle and conversation analysis. Four types of metapragmatic comments are used: speech act descriptions, talk regulation comments, maxim adherence/violation related comments and metalinguistic comments. Their distribution and functioning are shown to be partly predictable from properties of the speech event, while they also co-determine the nature and development of the analysed hearings.

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Haase, Fee Alexandra. "Saying and Speaking. A Voice-Centered Theoretical Approach to Communication and Media in the Aristotelian Tradition". Eon 5, nr 2 (2024): 64–78. http://dx.doi.org/10.56177/eon.5.2.2024.art.1.

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This article presents a theory of communication for media and a related model that aim at explaining how communication is a process comprising various areas of human existence, while its manifestation in the voice is a concrete performance with a pertaining power. In Aristotle we find a scholar who described with the logos a faculty present in the human mind and speech, but his writings allow to reconstruct a more comprehensive perspective on the voice with the distinction between the modes of speaking and saying. In order to show this communication process we employ the concepts of mediation, enmediation, and remediation and the modes of speaking and saying in the Aristotelian tradition, we develop our model of a voice-centered theory of communication for media that comprises the for the voice permeable intrapersonal, interpersonal, and extrapersonal areas of communication.

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Mumford, Debra J., i Africa S. Hands. "Preaching Justice through Art". Homiletic 45, nr 2 (2.12.2020): 14–24. http://dx.doi.org/10.15695/hmltc.v45i2.4997.

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As the saying goes, “A picture is worth a thousand words.” However, the printed word—more specifically, scripture—has been the traditional base of the sermon. Through a personal experience reflection, this paper advocates using artwork as the foundational text for sermons, and presents an approach to art exegesis based on the practical method of art criticism. Employing art historian and educator Edmund Burke Feldman’s approach to art criticism, the authors present a step-by-step exegesis of an artwork that mirrors the exegesis of biblical texts, including selecting an artwork, exegeting the art, choosing a theme and sermon form, and developing an introduction and conclusion. The authors further illustrate that preachers can create sermons that are faithful to their personal theologies and faith traditions even when using art, rather than the Bible, as foundational texts.

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Maclean, Hope. "Huichol yarn paintings, shamanic art and the global marketplace". Studies in Religion/Sciences Religieuses 32, nr 3 (wrzesień 2003): 311–35. http://dx.doi.org/10.1177/000842980303200305.

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The Huichol Indians of west Mexico practice an indigenous form of shamanism in the Sierra Madre, but their shamanic art is now sold in the global marketplace. Through the visual medium of yarn paintings—a religious offering transformed into commercial art—Hui— chol artists describe their gods, shamanic curing and ceremony. Shamanic art may be seen as a mode of discourse about shamanic knowledge, but buyers do not always understand what the Huichol artists may be saying about their tradition. The term "shamanic art" itself is debated, and the author distinguishes between art on shamanic subjects, visionary art and shamanic ritual art. The article is based on ongoing anthropological research and interviews with Huichol artists since 1988.

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Woodruff, Paul. "Theatre as Sacrament". Ramus 42, nr 1-2 (2013): 5–22. http://dx.doi.org/10.1017/s0048671x00000047.

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All theatre is sacramental. A theatrical event establishes itself as theatre by setting aside a measured space as inviolable for a measured time. This framing effect of theatre is sacramental. Within the frame of theatre, other sacraments can be represented or performed. Part I of this paper develops conceptual distinctions necessary to understanding the sacramental in theatre, using an ethics-based theory of sacrament. Part II sets out to use the theory, applying it to open up new questions for the interpretation of ancient Greek tragedy, and using the theory to explain certain plot elements in Sophocles' Philoctetes and other plays.Any act of theatre has a sacramental effect. The art of theatre makes ceremonies possible, and by ceremonies we are able to make things sacred. In saying that theatre is sacramental, I am not saying that it is religious. Religious ceremonies employ the art of theatre and depend on that art, but theatre does not depend on religion. I understand sacrament as an ethical concept. A sacrament sets up an ethical hedge around something—makes it wrong to touch, to tread on, or to alter the thing in question.By ‘theatre’ I mean the art that makes action worth watching for a measured time in a measured space. This art must of necessity draw a line between watching and being watched. Drawing that line is a minor, though fundamental, sacrament. Other sacraments may take place within the frame of theatre. My theory of the sacramental in theatre stands on its usefulness for understanding and interpreting the elements of theatre—the experiences of both the watchers and the watched in actual productions, on the one hand, and, on the other, the texts that survive to represent productions of the past. If the theory is coherent and useful, then we should use it. Otherwise, not.

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Wang, Zhongheng. "Composition Color Space: Three Key Words in Art Design". Transactions on Social Science, Education and Humanities Research 6 (22.03.2024): 56–62. http://dx.doi.org/10.62051/jvnz5g57.

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As found in the practice of arts, which is the same as of sciences, a design without imagination is like the water running from nowhere and trees without roots, deprived of vitality and artistic appeal. As illustrated in the old saying that a thousand li journey is started by taking the first step, the three compositions work as both the foundation of art design and provider of unlimited imagination and creativity for urban design and city planning.

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Sparshott, Francis. "Showing and Saying, Looking and Learning: An Outsider's View of Art Museums". Journal of Aesthetic Education 19, nr 2 (1985): 63. http://dx.doi.org/10.2307/3332465.

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Harjo, Joy, i Mary Leen. "An Art of Saying: Joy Harjo's Poetry and the Survival of Storytelling". American Indian Quarterly 19, nr 1 (1995): 1. http://dx.doi.org/10.2307/1185349.

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Z.S.Safarova. "Art by tamara khanum and roza karimova". Middle European Scientific Bulletin 1, nr 7 (21.12.2020): 34–39. http://dx.doi.org/10.47494/mesb.2020.1.137.

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We all know how many heartfelt words were said by our outstanding thinkers and poets about a woman, her beauty and tenderness, that she is a symbol of kindness and selflessness, the Keeper of the home. First of all, we once again remember the wise saying of our great ancestor Alisher Navoi "Paradise is at the feet of mothers" and bow down to the sacred image of the Mother with a sense of unpaid duty. A nation that highly values and takes full care of women, creating decent conditions for them, and thus manifests its high culture and spirituality, its unshakable values, certainly deserves the greatest respect.

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Belleflamme, Valérie-Anne. "Saying the unsayable". English Text Construction 8, nr 2 (20.11.2015): 159–76. http://dx.doi.org/10.1075/etc.8.2.01bel.

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In her novel Sorry (2007), Australian novelist and essayist Gail Jones engages in a reflection on the ethics of reconciliation. Written in response to her wish to acknowledge the debt to the Stolen Generations, Sorry offers new possibilities of ethical mourning, allowing the dead to return and the voiceless to speak. This article explores the ways in which Jones not only fashions a narrative that bypasses the unsayable dimension of Australia’s history and the representational difficulties inherent in trauma but also fosters the empathetic imagination through a metadiscursive discussion of the act of reading. Self-referentiality and self-reflexivity are also examined, as they allow Jones to draw attention to her novel’s writerly elaborations and offer an alternative to standard reconciliation practices.

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Bade, David. "Prologue: saying something - an interview with David Bade". Fórum Linguístico 19, Special issue (15.02.2022): 7160–66. http://dx.doi.org/10.5007/1984-8412.2022.e84051.

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The central revelation in Harris’s work is that language is a product of language makers. I deliberately refer to this as a revelation because this is not something that one can discover by analyzing sound or text, nor by counting speech events, etc. Writers on language have for centuries taken language to be an object that one finds ‘out there’ and that one may examine as one examines rocks, trees, etc. What Harris realized was that language is natural in exactly the same way as are marriages, laws, art, savings banks, trade unions, road kill and watches; language is NOT natural in the same way as sunshine, rain, tornadoes, volcanic eruptions, redwood trees and baby sharks. That is to say that language is a product of human activity and can only be understood from that perspective, while granting that human beings are but one among the many creatures that together make up what we call nature.

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Mandakar, Mohammed Falah Ismail. "القول في أركان القراءة والرد على من طعن فيها Opinion on The Pillars of al-Qira’ah and Arguing Those Who Disagree". Online Journal of Research in Islamic Studies 8, nr 3 (29.12.2021): 15–35. http://dx.doi.org/10.22452/ris.vol8no3.2.

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This research sheds light on the pillars of the proper accurate reading, its concept and the sayings of the people of art thereon, in order to prove the frequency of the ten readings fundamentality and that the difference in the multiplicity of readings is only a significant diversity related to all seven letters. This included presenting what was said regarding the reality of the readings, by an orientalist named (Ignác Goldziher) who was one of the most famous enemies of the Qur’an and its readings by presenting his slander and claims and refuting his saying and suspicion by using a brief scientific style and by depending upon what was said by the specialists in the folds of the books and researches written by them in addition to responding to whatever comes to mind regarding this important matter.

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Malt, Johanna. "On Not Saying, Not Knowing and Thinking about Nothing: Adorno, Dionysius, Derrida and the Negation of Art". Paragraph 41, nr 2 (lipiec 2018): 196–217. http://dx.doi.org/10.3366/para.2018.0263.

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This article examines accounts of negation or the apophatic in Pseudo-Dionysius, Theodor Adorno and Jacques Derrida alongside a contemporary work of art by London Fieldworks, Null Object: Gustav Metzger Thinks about Nothing (2011). By exploring models of negative knowledge offered in these works, it asks what happens to the work of art when it becomes preoccupied with negation and how a work of art might embody or manifest — without reproducing — philosophical discourses about negation.

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Kovalchuk, Ostap, i Amalia Bratus. "THE VALUE OF CRITICAL CLASSES IN ART EDUCATION IN BORYS GRINCHENKO KYIV UNIVERSITY, NATIONAL ACADEMY OF FINE ARTS AND ARCHITECTURE & ROYAL DANISH ACADEMY OF FINE ARTS". Grail of Science, nr 30 (17.08.2023): 411–13. http://dx.doi.org/10.36074/grail-of-science.04.08.2023.069.

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For an artist, the most important today is often focusing on finding new, fresh ideas. Modern educational centers try to form a new view of art in everyone, which is a significant part of the educational process. It goes without saying that classical art education does not always have time to respond to cultural and historical changes. Therefore, critical classes are a necessary platform for rethinking artistic reality. In this article, we will look at some of the main advantages of holding critical classes.

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Almanzar, Victor. "Art Means a Lot". Harvard Educational Review 83, nr 1 (26.03.2013): 43–46. http://dx.doi.org/10.17763/haer.83.1.6j324201p24w54j0.

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Art means a lot to me. Growing up in New York as a young teenager who came from another country, I felt as if I was an outcast from society due to the language barrier and numerous ethnic groups different than mine. Coming to New York from the Dominican Republic, I was placed in an ESL (English as a Second Language) class at Leonardo da Vinci IS 61 in Queens. I remember trying to speak to a girl who was not an ESL student. She was playing with her friends, tossing an orange back and forth, when she failed to catch it and the orange landed by my feet. She did not notice where it had gone, so I picked it up and tried to toss it back to her, at the same time telling her in Spanish, “Here it is.” The girl jumped back surprised and thought that I tried to hit her with the orange, so she began to curse me out. I didn't know what she was saying, but it was clear that it wasn't nice. I tried to explain myself, but she was not trying to hear me. This experience made me feel terrible.

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Franits, Wayne. "The Family Saying Grace: A Theme in Dutch Art of the Seventeenth Century". Simiolus: Netherlands Quarterly for the History of Art 16, nr 1 (1986): 36. http://dx.doi.org/10.2307/3780613.

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Hynes, Maria, i Scott Sharpe. "Yea-Saying Laughter". Parallax 16, nr 3 (sierpień 2010): 44–54. http://dx.doi.org/10.1080/13534645.2010.486666.

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B.K., Jyoti Prakash. "Nepali Painting: Traditional Motifs in Modern Art". Journal of Advanced Academic Research 3, nr 1 (11.02.2017): 173–76. http://dx.doi.org/10.3126/jaar.v3i1.16626.

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Art is mirror of society. Human Civilization developed through art. Philosopher Langinus said that the power of the art is to create sublime to viewers. There is lot of philosophy in art history but still no any conclusion or scientific answer about the art but art is more contemporary due to the globalization and individual expression. In the case of Nepali art, before the "Kirat" and "Lichhabi" period had also some paintings and sculpture. Because of the weak surface we didn't have any paintings but can know from the petrography of Lichhabi period. In the world the ancient time had been found to be developing from religious and cultural development. It is absolutely relevant to be saying that the Nepali paintings were also the cause of the religious development. The history of the Nepali painting had been developed on religious base from the history to contemporary situation. So the main objective of the research is to find the core relation between traditional and modern painting.

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Carr, David. "Narrative, Knowledge, and Moral Character in Art and Literature". Journal of Aesthetic Education 55, nr 3 (1.10.2021): 1–14. http://dx.doi.org/10.5406/jaesteduc.55.3.0001.

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Abstract Although the term “narrative” has been subject to very loose usage, it should be clear that scientific theories cannot be considered as such in the same sense as literary and artistic works. But this clearly calls the latter into serious epistemic question. On the one hand, we are often drawn to saying that agents have learned or come to know (morally or otherwise) something from literary or other artistic fictions; on the other hand, their fictional status seems to preclude regarding this as knowledge. Drawing on insights from Plato’s Socratic and other dialogues, this paper argues that such learning from art and literature should be deemed genuine knowledge of an epistemically uncontroversial kind.

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Spiegel, Libba Jetter. "Mommy, Daddy, Look What I'm Saying: What Children are Telling You through Their Art". Art Therapy 3, nr 3 (listopad 1986): 133. http://dx.doi.org/10.1080/07421656.1986.10758686.

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John, Patricia St. "Mommy, Daddy, Look What I'm Saying: What Children are Telling You through Their Art". Art Therapy 9, nr 3 (lipiec 1992): 150–51. http://dx.doi.org/10.1080/07421656.1992.10758954.

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De Paiva, Wilson Alves. "The art of saying what is not: lies, disguise and performance on Rousseau's pedagogy". Educativa 20, nr 1 (29.09.2017): 166. http://dx.doi.org/10.18224/educ.v20i1.5871.

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A ARTE DE DIZER O QUE NÃO É: MENTIRA, DISFARCE E ENCENAÇÃO NA PEDAGOGIA ROUSSEAUNIANA Resumo: embora Rousseau tenha defendido a frase Vitam impedero vero com tanto fervor, sua obra é marcada por algumas afirmações que sugerem o contrário. Porém, bem entendidas, tais afirmações conduzem à ideia de que, como antídoto, a arte e a ciência podem ser utilizadas contra seu mau e, nesse sentido, mentir e disfarçar podem virar instrumentos pedagógicos eficientes, sobretudo no processo pedagógico de formação do homem e do cidadão. Palavras-chave: Rousseau. Emílio. Pedagogia rousseauniana. Arte e educação. Formação humana. Abstract: although Rousseau has defended the Latim phrase Vitam impendere vero so fervently, his work is marked by some statements that suggest otherwise. However, well understood, such statements lead to the idea that, as an antidote, the art and science can be used against their evil, so that lying and disguising itself can become effective teaching tools, especially in the educational process of the formation of man and the citizen. Keywords: Rousseau. Emile. Pedagogy. Art and education. Human formation.

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Abrams, Jules C. "Mommy, daddy, look what I'm saying. What children are telling you through their art". Arts in Psychotherapy 14, nr 1 (marzec 1987): 93. http://dx.doi.org/10.1016/0197-4556(87)90039-6.

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Dorji, Kuenzang, Lori K. Sheeran, Kathleen Barlow, Namgay Pem Dorji, Tshering Dorji i Wangchuk Dorji. "Oleps’ Traditional Beliefs of the Clouded Leopard the Top Predator of Bhutan". Asian Social Science 18, nr 12 (9.12.2022): 8. http://dx.doi.org/10.5539/ass.v18n12p8.

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The Oleps are the first human inhabitants of Bhutan and the country’s last remaining hunter-gatherers. We conducted a preliminary study into the meaning of the traditional Bhutanese saying tog-ge-teng-nang-gong; gong-ge-teng-nang-thee (Ole) and tag-ge-ta-lay-gung; gung ge-ta-lay-theb (Dzongkha). Tag in Dzongkha refers to Bengal tiger (Panthera tigris) and gung refers to clouded leopard (Neofelis nebulosa). The saying describes the existence of a species, which Oleps people believe is the clouded leopard, that is superior to the apex predator the tiger. The saying is further elaborated as gung-gi-ta-lay-theb (Dzongkha), which means that a skilled human hunter is superior to the clouded leopard. We used semi-structured interviews to ask 19 Oleps people to explain this traditional saying and narrate the beliefs embedded in it. Participants related the saying to their views of the clouded leopard, and we explored how these views might influence the current conservation status of clouded leopards living in the Oleps’ locality. Our interviews showed that Oleps revered and respected clouded leopards, but they also viewed them and other wild cats as harmful to livestock, and some expressed a desire to acquire clouded leopard pelts or to keep them as pets. Indigenous knowledge and beliefs are important to consider in the development of a conservation plan for clouded leopards. We recommend that Oleps’ sayings and stories be documented for posterity and that conservationists continue to engage in dialog with Oleps people to better understand the effects clouded leopards and other wild cats have on their livelihoods.

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Langille, Brian, i Arthur Ripstein. "“Strictly Speaking—It Went Without Saying”". Legal Theory 2, nr 1 (marzec 1996): 63–81. http://dx.doi.org/10.1017/s1352325200000367.

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Herbert Simon once observed that watching an ant make its way across the uneven surface of a beach, one can easily be impressed—too impressed—with the foresight and complexity of the ant's internal map of the beach. Simon went on to point out that such an attribution of complexity to the ant makes a serious mistake. Most of the complexity is not in the ant but in the beach. The ant is just complex enough to use the features of the beach to find its way.

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Elsner, Jaś. "Archaeologies and Agendas: Reflections on Late Ancient Jewish Art and Early Christian Art". Journal of Roman Studies 93 (listopad 2003): 114–28. http://dx.doi.org/10.2307/3184641.

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There are (at least) two ways to approach the history of religious art in Antiquity. One is to study what was going on in the ancient world, to tell the story as they (the subjects of our inquiry) saw it and as they did it. Another is to ask how we know how they saw it and did it. The first might be called ‘history’, the second ‘critical historiography’. Both are crucial to the historical enterprise, and I in no way intend to demean the first by saying that this paper is largely of the second kind. My project is to examine what are the grounds for our assumptions in creating the generalizations of ‘Late Ancient Jewish Art’ and ‘Early Christian Art’ as real categories of visual production in Late Antiquity with specific and discrete audiences and constituencies of patrons and producers. Both fields are venerable, with long historiographies and complex guiding-agendas of the sort that are perhaps inevitable given the kinds of ancestral investments made by scholars and indeed members of the general public (which is to say, also adherents of the two faiths) in both fields. In addition to prising apart the history of some of these investments, I want to question the methodological basis for many of the assumptions about what can rightly be classified under either the heading of ‘Jewish’ art or of ‘early Christian’ art.

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McNeill, William. "Saying the Unsayable: Heidegger on the Being-in-Itself of Beings". Gatherings: The Heidegger Circle Annual 13 (2023): 146–72. http://dx.doi.org/10.5840/gatherings2023137.

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This essay examines the way in which the being-in-itself of beings is articulated as an open-ended problem in Heidegger’s remarks in “The Argument against Need.” It then considers how this problem is addressed in Heidegger’s early phenomenological accounts of the being-in-itself of beings from 1927 to 1929, followed by some brief remarks on Introduction to Metaphysics (1935) and “The Origin of the Work of Art” (1936). The essay argues that Heidegger provides a positive interpretation of the being-in-itself of beings that remains fundamentally consistent across his corpus, while undergoing certain shifts of emphasis and articulation. As Heidegger’s phenomenological account develops, the being-in-itself of beings is increasingly thought as the letting be (Seinlassen) of beings, in which beings are released to themselves in the event of unconcealment.

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Kremnitzer, Mordechai. "Sentencing as Art — A Response: Sentencing as a Just System". Israel Law Review 25, nr 3-4 (1991): 662–80. http://dx.doi.org/10.1017/s0021223700010682.

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The approach of my good friend Shachar illustrates the saying that uncompromising aspiration to perfection is a hindrance to progress. To me, his approach, whereby “we will only have our personal intuitions to tell us who was judged correctly, but our personal intuitions may be wrong”, is unacceptable, both in itself, and from the point of view of the conclusions to be drawn therefrom under Shachar's central thesis.A. Ambiguity in Shachar's ThesisBut first, the thesis is not entirely clear. On page 648, he writes as follows: “… I believe that intuitive answers to complex moral questions are not necessarily arbitrary. One choice is probably better or worse than the others, yet it often cannot be rationally and conclusively demonstrated to be so”.

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Wijaya, Linda, i Nena Syahrani Syahaf Nasution. "LANGUAGE AS ART AND COMMUNICATION TOOL". AICLL: ANNUAL INTERNATIONAL CONFERENCE ON LANGUAGE AND LITERATURE 1, nr 1 (17.04.2018): 69–74. http://dx.doi.org/10.30743/aicll.v1i1.10.

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Language acquisition is essentially needed to sustain human socialization through communication towards one another. The purpose of this paper is to show that the language functioned as a universal language can literally support the continuity of human life in the work, business, and education. Society often neglects the importance of language and only regards language as a superficial subject to be studied. As the saying goes “Language is art”, needless to say, it truly proves that language is also related to literature which produces many contribution to literary works. Strong language literature is also an excellent phenomenon in human communication such as drama, poetry, and novel. Novel, a literary work that until now still in demand by literary fans, is a media that indirectly bring together the author with the reader. The author conveys his message to the reader through the novel. The findings of this research found that language plays an important role in maintaining and preserving human existence in communication. Language is a crucial element in implementing human body language. The expertise of the person in the language shows his skills and qualities.

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Mowitt, John. "Saying Yes, to No". Parallax 16, nr 3 (sierpień 2010): 32–43. http://dx.doi.org/10.1080/13534645.2010.486665.

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Dastooreh, Kaveh. "Affirmation—Another Name for the Art of Life". Dialogue and Universalism 33, nr 3 (2023): 65–79. http://dx.doi.org/10.5840/du202333335.

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Our purpose in this paper is to argue how the idea of affirmation of life embodies the practice of the art of life. The yes-saying attitude towards life can provide an enormous support for the self-formation practices. Our attempt, then, consists of demonstrating the subjective character of the aesthetic marked by pleasure, and especially a new approach to the relationship between “I” and the other. We comprehend that this sort of life is individually relative or subjective. Meanwhile, there is a political reconfiguration of “I” and the other which ends in freedom. Politics becomes possible in a simultaneous caring for I and the other through the practices of self-constitution. In order to clarify our discussion further, this challenge is accompanied by a presentation of three real lives that are exemplary for us in the art of life; a way of being that stands for a political affirmation of life.

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Rankin, Thomas. "Art as a catalyst to activate public space: the experience of ‘Triumphs and Laments’ in Rome". Journal of Public Space, Vol. 3 n. 3 | 2018 | FULL ISSUE (31.12.2018): 139–48. http://dx.doi.org/10.32891/jps.v3i3.1137.

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Many cities have rediscovered and reinvented their river fronts as public spaces in recent years. From New York to Seoul, urban waterways which were forgotten, marginalized, or outright abandoned are now filled with life. In each case the transformation was spurred by a combination of grass roots, bottom-up initiative and savvy government recognition of the projects’ potentials. Once the city leaders embraced the projects - and not a moment sooner - public and private funding materialized and bureaucratic barriers disappeared. In Rome, whether due to the complexity of the chain of responsibility for the river front, or simply an ingrained aversion to progressive planning - saying no or saying nothing is much easier than taking responsibility for positive change - initiatives to renew the urban riverfront have been small and disconnected. Diverse interests ranging from green space to water transit, from river front commerce to ecological restoration, have all vied for a role in the river’s regeneration. But one particular discipline, that of art, has succeeded more than others in attracting international attention and changing the way people in Rome and throughout the (art) world see the Tiber. Artist William Kentridge, with his project ‘Triumphs and Laments’, using the simple technique of selective cleaning of the Tiber embankment walls, revealed to the world a procession of figures which populate the riverfront with a life that it hasn’t seen in centuries.

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Strzegowski, L. M., i T. P. Russell. "Project Visual: Facilitating the Connection Between Art and Science". Microscopy Today 12, nr 3 (maj 2004): 38–39. http://dx.doi.org/10.1017/s1551929500052159.

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Nearly five years ago, Representative Vernon Ehlers, in his report to Congress on a House of Representatives study entitled “Unlocking Our Future: Toward a New National Science Policy,” noted that the American public does not understand science and its practice. A major recommendation that emerged trom this study was the need to “make scientists socially responsible.“ This sentiment was echoed in a National Research Council's report, “Materials in a New Era,”, where Neal Lane, former Director of the National Science Foundation, was quoted as saying, “It is necessary to involve material scientists in a new role, undoubtedly an awkward one for many, that might be called the ‘civic scientist’.” Why the concern? The answer is clear. “Our prosperity, security, and health depend directly on the educational achievement of all students, not only those who will become scientists and engineers, but all workers, voters, parents, and consumers.”

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Opran, Elena Rodica, Dan Valeriu Voinea i Mirela Teodorescu. "Art and Being in Neutrosophic Communication". International Letters of Social and Humanistic Sciences 47 (luty 2015): 16–27. http://dx.doi.org/10.18052/www.scipress.com/ilshs.47.16.

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What seems to suggest various avant-garde and artistic experimentalism movements from futurism to cubism, from expressionism to surrealism, from Picasso to the great masters of informal art is a Beauty of challenge. The avant-garde art does not arise the issue of Beauty. It is understood without saying that the new images are "beautiful" in terms of art and that should produce the same pleasure that feel the contemporaries of Rafael and Giotto in front of their works” asserts Umberto Eco (Eco, 2005). The phenomenon is due to the fact that the challenge of avant-garde tear down all aesthetic canons, observed at the moment. Art no longer aims to offer images of natural beauty, no longer occasion for calm pleasure of contemplation the harmonious forms. Instead, it wants to lead to an interpretation of the world from a different optic, wants to return to archaic or exotic models: the universe of dreams or ill mentally fantasies, visions experienced under the drugs influence, rediscovering matter, chaotic household objects current location in contexts unlikely (new object, Dadaist movement etc.), unconscious impulses, of uncertainties, of confusion, of neutrality. The study aims to explore Beauty and ugly in terms of neutrosophic concept.

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