scholarly journals Landscape as an expression of cultural identity and its interpretation as an art form

2012 ◽  
Vol 60 (8) ◽  
pp. 127-132
Author(s):  
Pavel Kostrhun
Keyword(s):  
Cultural Identity ◽  
Scientific Knowledge ◽  
Cognitive Process ◽  
Work Of Art ◽  
Scientific Methods ◽  
Art Form ◽  
Human Intention

The essay elaborates the thesis that reality, in its universality, cannot be captured by descriptive scientific methods. Whatever we see as reality is conditioned by human intention and subject to historical and temporal circumstances. The text suggests the possibility that our landscape awareness could be extended to include the artistic reflection, focusing on objects whose structure is seemingly less clear and graspable, and preferring thinking more abstract than contextual. Despite the progress in, and the extent of, scientific knowledge – or because of it – we realize that such knowledge has its limits, presupposed and insurmountable. One of the meanings of a valuable work of art – a result of the cognitive process of its own kind – is that it gives us an information more or less accurate on something that is beyond our practical and theoretical experience, something elusive and yet existing. A possibility is also suggested that through artistic exploration and understanding of the landscape, a nation’s cultural identity can manifest itself.

scholarly journals KAJIAN FILOSOFIS LONTAR CALONARANG

2018 ◽  
Vol 2 (1) ◽  
pp. 274
Author(s):  
I Gusti Ayu Widayanti ◽  
I Made Surada ◽  
I Made Adi Brahman
Keyword(s):  
Literary Work ◽  
Social Function ◽  
Cultural Preservation ◽  
Work Of Art ◽  
Literary Works ◽  
Art Form ◽  
The People ◽  
The Social ◽  
Black Magic ◽  
The Village

<p><em>Lontar Calonarang's literary works is a work of art. Calonarang term other than as one of the works of literature, Calonarang also means characterization</em><em> </em><em>or the name of a man in the play known as Rangda ing Girah. Calonarang is also known as art form such as wayang pacalonarangan and in staging pacalonarangan dance drama. Lontar Calonarang is a lontar manuscript that specifically tells about Calonarang revenge using black magic against the people in Girah village. This is because the people in the village of Girah no one wants to marry Calonarang child is Ratna Manggali. Lontar Calonarang literary work is interesting to read and researched because this literary work has a philosophical meaning of construct so easy to be understood in depth. </em></p><p><em>The results that can be obtained from this literary work are Teachings contained in lontar Calonarang include Rwa Bhineda, Catur Asrama, and Tantra. The function of the teachings contained in the Calonarang lontar is the religious function, the social function, and the function of cultural preservation. While the philosophical meaning derived from this literary work is the meaning of balance, meaning of education, and the meaning of divinity.</em><strong><em></em></strong></p>

Landart plein air “Between Sand and Foam” – Between the Everyday and the Ephemera

2021 ◽  
Vol 5 (2) ◽  
Author(s):  
Bissera Valeva ◽  
Keyword(s):  
Financial Support ◽  
High Tide ◽  
Research Fund ◽  
Work Of Art ◽  
Art Form ◽  
The Everyday ◽  
Traditional Artists

The text focuses on the realization of the plein air as a part of a larger project (ARTguments) implemented with the financial support of the Research Fund of Sofia University. The art form “landart” was chosen not by chance. It is characteristic for artists to “argue”, to transform their ephemeral visual sensations into art installations – materialized in nature, digitally stored emotional provocations, which also rely on the “co-authorship” of the elements. The pictorial focus is on “unnecessary”, discarded, marginalized objects, without utilitarian application, but discovered and recognized as necessary in the process of creating a work of art. This is the so called by Juri Lotman process of renaming “external” to the artistic installation elements in which they “invade” from the outside world implanting themselves in the imaginary space of the visual work. The art event aims to unite different artists as a way of expression, to gather and impose diverse, even dissimilar concepts.The forum realizes conceptual works by traditional artists, materializes the artistic reaction viewed from different angles, meets a random audience with non-randomly created installations, and last but not least, embodies different works as different visual emotion. The concept of the plein air is subordinated to the philosophy of Khalil Gibran and in particular to his sentences from the eponymous edition „Sand and Foam“:“I am forever walking upon these shores, Between the sand and the foam, The high tide will erase my foot prints,And the wind will blow away the foam...”

Art and Republicanism

1998 ◽  
pp. 62-66
Author(s):  
Fernando Inciarte
Keyword(s):  
Special Reference ◽  
General Introduction ◽  
Work Of Art ◽  
Western Art ◽  
Art Form ◽  
End Of Art ◽  
Aristotelian Tradition ◽  
Platonic Tradition

Republicanism is contrasted with liberalism with special reference to the notions of presence, absence and representation. The contrast is more conspicuous in the Platonic tradition of republicanism than it is in the Aristotelian tradition, the former being more likely to degenerate into some form of totalitarianism. Examples thereof are given in accordance with the distinction between a strong and a soft iconoclasm, as it is found both in Antiquity and in Eastern and Western Europe’s quest for absolute presence or—as in avantgarde art of modernity—for absolute self-presence of the work of art. Having left such political and artistic utopias behind it, the pendulum is now swinging back in the direction of representation, but no longer in the illusionist sense which has dominated Western art form the Renaissance to the beginning of our century. Tied to the question of iconoclasm is the debate about the end of art inaugurated by Hegel in the general introduction to his Aesthetics and resumed in our days.

scholarly journals Literary canon in Maksim Bogdanovich’s poetic heritage: genealogy, reception, semiosis

2020 ◽  
Vol 65 (4) ◽  
pp. 476-485
Author(s):  
V. A. Maksimovich
Keyword(s):  
Cultural Identity ◽  
Cultural Values ◽  
Social Relations ◽  
Cultural Integration ◽  
Literary Canon ◽  
Important Condition ◽  
Spiritual Integration ◽  
Art Form ◽  
Symbolic World

On the example of works of the classic of Belarusian literature Maksim Bogdanovich, there is studied the role of literary canon in aesthetic self­identification of national literature. It is noted that the literary canon acts as a strategy of cultural identity, one of the effective forms, and important condition of formation of the cultural symbolic world of meanings funded by the general cultural values of humankind. It is stated that historical, cultural, artistic, ontological, existential values and meanings explicated in the poetic canon of Maksim Bogdanovich became an important part of spiritual dimension, cultural integration, harmonization of social relations. A distinctive feature of the poet’s appeal to the canonical art form is securing for it the role of a symbolic consolidating referential sign designed to form a “cultural consciousness”, to instill the sense of general aesthetized ethnocultural unity, to serve as a means of spiritual integration and national consolidation of society.

scholarly journals Cultural Identity in Film Posters

2021 ◽  
Author(s):  
◽  
Jessica Freire
Keyword(s):  
Cultural Identity ◽  
Latin American ◽  
Visual Analysis ◽  
Film Industry ◽  
Cultural Representation ◽  
American Identity ◽  
Mainstream Media ◽  
Art Form ◽  
Present Complex ◽  
Technological Developments

<p>This thesis investigates the current representation of the Latin American identity in mainstream media cinematic posters. While in recent years, the film industry has begun to acknowledge issues in cultural representation, current Latin American portrayals continue to lack depth and rely on ill-informed historical stereotypes.  Cinematic promotional posters were once considered an art form, but recent technological developments and the Hollywood culture has led them to become formulaic, unoriginal, and lifeless. In an attempt to enrich the conversation around diversity, and reinterpret the power of the film poster, the visual portrayal of the Latin American identity in film posters will be analysed and redressed to present complex, multidimensional characters and narratives that embrace and emphasise their current cultural identity. This research portfolio presents a visual analysis of 120 film posters, identifying and categorising key themes, tropes, and elements that form stereotypical representations. This analysis informs an iterative design process. It utilises Latin American visual design language to reinterpret the possibilities that film posters have in creating elaborate narratives that treat audiences with respect and complexity. The resulting designs were used as prompts for discussion and critique with relevant stakeholders, to further inform conversations about cultural representation through design and inform further iterations.  This process ultimately suggests a method of culturally embedded film promotion design. By re-imaging film posters through Latin American design traditions, I will offer an alternative perspective on Latin American characters that challenge dominant stereotypes.</p>

scholarly journals Photography magazines and cross-cultural encounters in postwar Japan, 1945-1955

2020 ◽  
pp. 21-46
Author(s):  
Emily Cole
Keyword(s):  
Cultural Identity ◽  
Round Table ◽  
Cross Cultural ◽  
Domestic Space ◽  
Japanese Culture ◽  
Cultural Encounters ◽  
Postwar Japan ◽  
Art Form ◽  
Foreign Occupation ◽  
American Cities

This article examines cross-cultural encounters between Japanese and western (European and American) photographers in the immediate postwar period (1945-1955), asking how these encounters influenced Japanese photographic trends. In addition, this article considers what photographic representations of western cultures reveal about postwar constructions of Japanese cultural identity. Building upon recent research framed by conceptions of photography as sites of cross-cultural encounter (see Melissa Miles & Kate Warren), this article argues that photography magazines provided space for consistent exchange between western and Japanese photographers through multiple platforms: interviews and round table discussions of photographic trends; articles on and photo series by western photographers; and images by both western and Japanese photographers depicting western cultural material and landscapes, such as photographs of western-style fashions, domestic space, and daily life in European and American cities. Such encounters directly influenced photographic trends in Japan. Features on European nude photographers popularised nude photography as an art form among Japanese photographers, and works contributed by the likes of Henri Cartier-Bresson, Robert Capa, and Robert Doisneau contributed to a rising interest in photographic humanism. Further, these encounters provided a conduit through which photographers and readers encountered western cultural material at a time when Japan underwent a cultural identity crisis brought on by the devastation of defeat and foreign Occupation. In this way, photography magazines simultaneously functioned as spaces that negotiated what exactly “Japanese culture” meant in Japan’s new postwar world.

Goals of Science Education in the Tertiary Level: Assessment of the College of Science Faculty, University of Eastern Philippines

2013 ◽  
Vol 63 (2) ◽  
Author(s):  
Marliza E. Rubenecia
Keyword(s):  
Science Education ◽  
Scientific Knowledge ◽  
Negative Attitude ◽  
Instructional Materials ◽  
Science Faculty ◽  
Scientific Methods ◽  
Societal Issues ◽  
Level Of Knowledge ◽  
Teaching Learning ◽  
Goals And Objectives

The study determined the knowledge of the College of Science faculty on the goals of science education, the importance of each goal as perceived by the faculty, how often each goal is used and operationalized for teaching/learning purposes. The results revealed that teachers’ level of knowledge on the science goals and objectives was minimal. The faculty perceived scientific knowledge and methods very important and used it frequently in teaching. They used lecture for students to acquire scientific knowledge and laboratory activities to develop scientific methods. They did not know how to operationalize societal issues, personal needs, and career awareness when teaching their subject matter. The problems that prevent them from pursuing the goals were lack of instructional materials, lack of interest and negative attitude of students, lack of facilities, and knowledge in handling laboratory apparatus. Teachers do not utilize strategies that can facilitate the students’ construction of meaning and ideas.

Scientific method

2018 ◽  
Author(s):  
Gary Hatfield
Keyword(s):  
Nineteenth Century ◽  
Seventeenth Century ◽  
Early Modern ◽  
Communication Technology ◽  
Scientific Knowledge ◽  
Scientific Method ◽  
Instrument Making ◽  
Scientific Methods ◽  
Careful Observation ◽  
Body Of Knowledge

Procedures for attaining scientific knowledge are known as scientific methods. These methods include formulating theories and testing them against observation or experiment. Ancient and medieval thinkers called any systematic body of knowledge a ‘science’, and their methods were aimed at knowledge in general. According to the most common model for scientific knowledge, formulated by Aristotle, induction yields universal propositions from which all knowledge in a field can be deduced. This model was refined by medieval and early modern thinkers, and further developed in the nineteenth century by Whewell and Mill. As Kuhn observed, idealized accounts of scientific method must be distinguished from descriptions of what scientists actually do. The methods of careful observation and experiment have been in use from antiquity, but became more widespread after the seventeenth century. Developments in instrument making, in mathematics and statistics, in terminology, and in communication technology have altered the methods and the results of science.

‘Por una gentil floresta’: Invention, Discovery and Desire in a Fifteenth-Century Villancico

2021 ◽  
Vol 98 (5) ◽  
pp. 453-469
Author(s):  
E. MICHAEL GERLI
Keyword(s):  
Fifteenth Century ◽  
Textual Criticism ◽  
Rich Source ◽  
Close Reading ◽  
Social Significance ◽  
Work Of Art ◽  
Art Form ◽  
Human Understanding

We persistently fail to appreciate the very status of cancionero poetry as an innovative art form, as literature worthy of serious analysis, and as an intellectual and humanistic pursuit. The villancico ‘Por una gentil floresta’, attributed to both the Marqués de Santillana and Suero de Ribera, is a case in point, a composition that is very well known but grossly underappreciated as a work of art, a cultural commentary, or for its social significance. It exists in multiple incarnations, in both the manuscript and early printed traditions of the cancioneros, attesting to its ample circulation and popularity. While the object of intense philological enquiry regarding issues of authorship, transmission, and possible influence, the numerous studies dedicated to this villancico do not foreclose further discussion of it to achieve greater appreciation of its artistic and human complexity. Close reading illustrates the abundant literary, thematic and cultural possibilities it offers, and allows us to articulate the wealth, intricacy, human understanding and artistic significance of fifteenth-century Castilian courtly verse; possibilities that reach well beyond philology and textual criticism and prove it a rich source for fruitful interpretation that exemplifies the kind of poetry and hermeneutical potential that can be found in the cancioneros.

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