scholarly journals Szorstki i chropowaty dotyk – o dramaturgii zmysłów

2021 ◽  
pp. 227-253
Author(s):  
Monika Błaszczak
Keyword(s):  
Visual Arts ◽  
Scientific Discourse ◽  
Literary Studies ◽  
Physical Origin ◽  
The Subject ◽  
The Senses ◽  
Action Process ◽  
The Aesthetic ◽  
And Function ◽  
Sense Of Touch

Today, the concept of dramaturgy refers primarily to the space of theater or, more broadly, to performative arts. But as the concept of drama has passed into the scientific discourse of sociology, anthropology or literary studies, so is it with dramaturgy. The understanding that appears here refers to its meaning as a special tension on the level of sensually experienced and perceived artistic events. The subject of interest here is the dramatic aesthetics of experience in the field of performing and visual arts. The aesthetic categories related to the senses are often of a physical origin and amorphous in nature. The roughness and harshness of the title in their origin are physical categories that can be experienced primarily through the sense of touch. In this intertwining of senses, we are talking about their dramaturgy, because they cannot usually be separated from each other and various works appeal to touch and other senses at the same time. The process of creating a work and its reception is an action, process, meeting, the playwright of which is both the creator / creator and the recipient. The considerations concern changes in the perception of the senses, from the glorification of the sense of sight to the ennoblement of the “lower” senses, the place and function of the classical and interactive museum and haptic art, as well as the polysensory and immersive reception designed in performance and theater.

A Novel Use of 3D Motion Capture: Creating Conceptual Links between Technology and Representation of Human Gesture in the Visual Arts

Leonardo ◽  
2010 ◽  
Vol 43 (1) ◽  
pp. 34-42 ◽  
Author(s):  
Gongbing Shan ◽  
Peter Visentin ◽  
Tanya Harnett
Keyword(s):  
Visual Culture ◽  
Motion Capture ◽  
Visual Arts ◽  
Aesthetic Experience ◽  
Three Dimensional ◽  
Human Movement ◽  
Human Form ◽  
The Aesthetic ◽  
And Function ◽  
3D Motion Capture

As an unfolding of time-based events, gesture is intrinsically integrated with the aesthetic experience and function of the human form. In historical and contemporary visual culture, various approaches have been used to communicate the substance of human movement, including use of science and technology. This paper links the understanding of human gesture with technologies influencing its representation. Three-dimensional motion capture permits the accurate recording of movement in 3D computer space and provides a new means of analyzing movement qualities and characteristics. Movement signatures can be related to the human form by virtue of trajectory qualities and experientially and/or culturally dependent interactions.

scholarly journals Emancipation, duty and the artistic subject

2016 ◽  
Vol 59 (3) ◽  
pp. 105-112
Author(s):  
Bojana Matejic
Keyword(s):  
The Third ◽  
Epistemological Status ◽  
The Subject ◽  
The Senses ◽  
Lacanian Theory ◽  
The Aesthetic

In the ?Third Sketch for a Manifesto of Affirmationist Art? (?Troisi?me esquisse d?une manifeste de l? affirmationnisme?), Badiou brings together the concepts of Universality, the Senses and Duty in Art. The author will try to reassess the concept of Duty in Badiou?s conception of Affirmationist Art, examining the problems of, 1. How is an Emancipatory Art possible in the context of the anti-humanist condition? and 2. What is the ontological and epistemological status of an in-humanity as a fundamental presupposition of human emancipation in Art? It will be argued that the artistic formalization of the Subject(s) - which is ?impersonal and singular?, as Badiou asserts - would not be possible without any human participation in the process of subjectification towards human emancipation. The author will demonstrate how it is possible to think the concept of Duty in the aesthetic realm, on the basis of Badiou?s presupposition of the Subjective Universality of Art and Zupancic?s reading of Lacanian theory.

scholarly journals Kwestia pierwotności funkcji estetycznej muzyki w świetle znalezisk archeologicznych

2019 ◽  
Vol 24 ◽  
pp. 191-206
Author(s):  
Piotr Podlipniak
Keyword(s):  
Visual Arts ◽  
Homo Sapiens ◽  
Musical Instruments ◽  
Middle Paleolithic ◽  
Homo Neanderthalensis ◽  
Musical Activity ◽  
The Subject ◽  
The Aesthetic ◽  
Species Specific ◽  
Archeological Artifacts

Bony flutes dated back to around 43,000 years old are the clearest examples of musical instruments ever found. There are also other archeological artifacts related to the possible musical activity of Homo sapiens and Homo neanderthalensis, which are the subject of numerous controversies. Bearing in mind that singing is the simplest form of musical activity that does not need any tools, the beginning of music must have been much older than the first musical instruments. Due to the fact that the sonic results of prehistorical hominins’ musical activity have not been preserved, the question of the artistic nature of hominins’ music requires the ethological knowledge as well as archeological findings. One of the widely discussed ethological hypotheses concerning human proclivity to behave artistically is the idea of artification, which has been proposed by Ellen Dissanayake. This idea suggests that the source of the human proclivity for art is the species-specific predisposition of Homo sapiens to transform the mundane non-artistic phenomena into art. However, while in the case of visual arts, the archeological discoveries of prehistorical paintings are by themselves the proof of such transformation in order to recognize the aesthetic function of our ancestors’ sound expressions the interpretation of the archeological discoveries of musical instruments in a broader context seems to be indispensable. The main aim of this article is to indicate that communication that has led to social consolidation has been the primordial function of music. Only together with the accelerating cultural evolution that occurred at the end of the middle Paleolithic period, musical activity was transformed from a simple communicative tool into an aesthetic phenomenon. It is proposed that this transformation could have been possible thanks to the appearance of the proclivityto artification.

scholarly journals Artistic comprehension of life and creative path of Abusufyan Akayev in the works of Kumyk writers (based on the analysis of the poem “Flame” by Badrutdin Magomedov)

2021 ◽  
pp. 39-49
Author(s):  
Agaragim Magomedovich Sultanmuradov ◽  
Kamilla Bairamalievna Isaeva
Keyword(s):  
Scientific Discourse ◽  
Spiritual Life ◽  
Literary Studies ◽  
Soviet Period ◽  
Special Place ◽  
The People ◽  
History Of ◽  
The Subject ◽  
Post Soviet Period

The subject of this research is the artistic comprehension of life and creative path of A. Akayev in the works of Kumyk writers. The object of this research is the poem “Flame” by the prominent Kumyk poet B. Magomedov. The author explores the place and role of A. Akayev in the history of spiritual culture of the Kumyk people and other peoples of Dagestan; evolution of the traditions of artistic comprehension of life and creative path of the outstanding Kumyk writers (including Abusufyan) in the history of Kumyk literature; and the deleterious influence of the consequences of Stalin's repressions on the spiritual life of the people later on. Particular attention is given to the analysis of the problematic and literary peculiarities of the poem. The main conclusions are as follows: 1) the history of Kumyk literature features such figures, whose life and creative path have become the object of not only literary studies, but also the object of their artistic comprehension; 2) over a dozen Kumyk authors dedicated their works to the artistic comprehension life and creative path of A. Akayev, among which B. Magomedov’s poem “Flame” holds a special place.. The author’s contribution to this research consists in introduction into the scientific discourse of one of the best in ideological and artistic aspect compositions of Kumyk literature of the post-Soviet period. The novelty is defined by the fact that this problem has not previously become the subject of special research.

scholarly journals Reconstructing the meaning and function of the concepts of force and form in Johann Gottfried Herder’s “Myśli o filozofii dziejów”

2021 ◽  
Vol 25 (1) ◽  
pp. 91-103
Author(s):  
Konrad Kopel
Keyword(s):  
Scientific Discourse ◽  
Johann Gottfried Herder ◽  
Instrumental Background ◽  
History Of ◽  
The Subject ◽  
And Function ◽  
Meaning And Function

The work Myśli o filozofii dziejów written by Johann Gottfried Herder contains a reconstruction of the history of mankind as well as theoretical elements. The author focuses on the first two parts of the work due to their analytical character. Theoretical solutions are treated as Herder’s instrumental background. The article is focused on the reconstruction of two concepts identified as key to the subject: “force” and “form”. The author’s thesis is that within Myśli… those terms allow the transition between superordinate, subordinate, and equivalent wholes, as well as the establishment of a conditional status of stability. The article makes it possible to identify the philosopher’s key problems, which the author considers important also in the contemporary scientific discourse.

Diaghilev and British Writing

2009 ◽  
Vol 27 (1) ◽  
pp. 65-92
Author(s):  
Susan Jones
Keyword(s):  
Visual Arts ◽  
The Body ◽  
The Novel ◽  
Literary Responses ◽  
Literary Aesthetics ◽  
Ballets Russes ◽  
The Arts ◽  
The Subject ◽  
And Gender ◽  
Opening Up

This article explores the diversity of British literary responses to Diaghilev's project, emphasising the way in which the subject matter and methodologies of Diaghilev's modernism were sometimes unexpectedly echoed in expressions of contemporary British writing. These discussions emerge both in writing about Diaghilev's work, and, more discretely, when references to the Russian Ballet find their way into the creative writing of the period, serving to anchor the texts in a particular cultural milieu or to suggest contemporary aesthetic problems in the domain of literary aesthetics developing in the period. Figures from disparate fields, including literature, music and the visual arts, brought to their criticism of the Ballets Russes their individual perspectives on its aesthetics, helping to consolidate the sense of its importance in contributing to the inter-disciplinary flavour of modernism across the arts. In the field of literature, not only did British writers evaluate the Ballets Russes in terms of their own poetics, their relationship to experimentation in the novel and in drama, they developed an increasing sense of the company's place in dance history, its choreographic innovations offering material for wider discussions, opening up the potential for literary modernism's interest in impersonality and in the ‘unsayable’, discussions of the body, primitivism and gender.

Gilles Deleuze's Luminous Philosophy

2020 ◽  
Author(s):  
Hanjo Berressem
Keyword(s):  
Projective Plane ◽  
Visual Arts ◽  
Whole Body ◽  
Literary Studies ◽  
Chronological Order ◽  
Real Projective Plane ◽  
Cinema Studies ◽  
The Real

Providing a comprehensive reading of Deleuzian philosophy, Gilles Deleuze’s Luminous Philosophy argues that this philosophy’s most consistent conceptual spine and figure of thought is its inherent luminism. When Deleuze notes in Cinema 1 that ‘the plane of immanence is entirely made up of light’, he ties this philosophical luminism directly to the notion of the complementarity of the photon in its aspects of both particle and wave. Engaging, in chronological order, the whole body and range of Deleuze’s and Deleuze and Guattari’s writing, the book traces the ‘line of light’ that runs through Deleuze’s work, and it considers the implications of Deleuze’s luminism for the fields of literary studies, historical studies, the visual arts and cinema studies. It contours Deleuze’s luminism both against recent studies that promote a ‘dark Deleuze’ and against the prevalent view that Deleuzian philosophy is a philosophy of difference. Instead, it argues, it is a philosophy of the complementarity of difference and diversity, considered as two reciprocally determining fields that are, in Deleuze’s view, formally distinct but ontologically one. The book, which is the companion volume toFélix Guattari’s Schizoanalytic Ecology, argues that the ‘real projective plane’ is the ‘surface of thought’ of Deleuze’s philosophical luminism.

The problem of woman’s emansipation in the feuilleton “Amazonia: a very inept story” by Mykola Chirsky

2020 ◽  
pp. 71-76
Author(s):  
Iryna Rusnak
Keyword(s):  
Scientific Understanding ◽  
The Other ◽  
Literary Studies ◽  
Ethical Guidelines ◽  
Compositional Structure ◽  
Urgent Task ◽  
The Subject ◽  
The One ◽  
Artistic Heritage

The author of the article analyses the problem of the female emancipation in the little-known feuilleton “Amazonia: A Very Inept Story” (1924) by Mykola Chirsky. The author determines the genre affiliation of the work and examines its compositional structure. Three parts are distinguished in the architectonics of associative feuilleton: associative conception; deployment of a “small” topic; conclusion. The author of the article clarifies the role of intertextual elements and the method of constantly switching the tone from serious to comic to reveal the thematic direction of the work. Mykola Chirsky’s interest in the problem of female emancipation is corresponded to the general mood of the era. The subject of ridicule in provocative feuilleton is the woman’s radical metamorphoses, since repulsive manifestations of emancipation becomes commonplace. At the same time, the writer shows respect for the woman, appreciates her femininity, internal and external beauty, personality. He associates the positive in women with the functions of a faithful wife, a caring mother, and a skilled housewife. In feuilleton, the writer does not bypass the problem of the modern man role in a family, but analyses the value and moral and ethical guidelines of his character. The husband’s bad habits receive a caricatured interpretation in the strange behaviour of relatives. On the one hand, the writer does not perceive the extremes brought by female emancipation, and on the other, he mercilessly criticises the male “virtues” of contemporaries far from the standard. The artistic heritage of Mykola Chirsky remains little studied. The urgent task of modern literary studies is the introduction of Mykola Chirsky’s unknown works into the scientific circulation and their thorough scientific understanding.

The Changing Perception of the Five Senses

2020 ◽  
pp. 103-122
Author(s):  
Sara Benninga
Keyword(s):  
Material Culture ◽  
Lived Experience ◽  
17Th Century ◽  
Scientific Instruments ◽  
Peter Paul Rubens ◽  
Courtly Culture ◽  
Southern Netherlands ◽  
The Subject ◽  
Five Senses ◽  
The Senses

This article examines the changing approach towards the representation of the senses in 17th-century Flemish painting. These changes are related to the cultural politics and courtly culture of the Spanish sovereigns of the Southern Netherlands, the Archdukes Albert and Isabella. The 1617–18 painting-series of the Five Senses by Jan Brueghel the Elder and Peter Paul Rubens as well as the pendant paintings on the subject are analyzed in relation to the iconography of the five senses, and in regard to Flemish genre themes. In this context, the excess of objects, paintings, scientific instruments, animals, and plants in the Five Senses are read as an expansion of the iconography of the senses as well as a reference to the courtly material culture of the Archdukes. Framing the senses as part of a cultural web of artifacts, Brueghel and Rubens refer both to elite lived experience and traditional iconography. The article examines the continuity between the iconography of the senses from 1600 onwards, as developed by Georg Pencz, Frans Floris, and Maerten de Vos, and the representation of the senses in the series. In addition, the article shows how certain elements in the paintings are influenced by genre paintings of the courtly company and collector’s cabinet, by Frans Francken, Lucas van Valckenborch and Louis de Caullery. Through the synthesis of these two traditions the subject of the five senses is reinvented in a courtly context

Physicianship and the Rebirth of Medical Education

2018 ◽  
Author(s):  
J. Donald Boudreau ◽  
Eric Cassell ◽  
Abraham Fuks
Keyword(s):  
Medical Education ◽  
Educational Process ◽  
Medical Attention ◽  
Patient Centeredness ◽  
Goals Of Medicine ◽  
The Subject ◽  
Definition Of ◽  
And Function ◽  
William Osler ◽  
The Relationship

This book reimagines medical education and reconstructs its design. It originates from a reappraisal of the goals of medicine and the nature of the relationship between doctor and patient. The educational blueprint outlined is called the “Physicianship Curriculum” and rests on two linchpins. First is a new definition of sickness: Patients know themselves to be ill when they cannot pursue their purposes and goals in life because of impairments in functioning. This perspective represents a bulwark against medical attention shifting from patients to diseases. The curriculum teaches about patients as functional persons, from their anatomy to their social selves, starting in the first days of the educational program and continuing throughout. Their teaching also rests on the rock-solid grounding of medicine in the sciences and scientific understandings of disease and function. The illness definition and knowledge base together create a foundation for authentic patient-centeredness. Second, the training of physicians depends on and culminates in development of a unique professional identity. This is grounded in the historical evolution of the profession, reaching back to Hippocrates. It leads to reformulation of the educational process as clinical apprenticeships and moral mentorships. “Rebirth” in the title suggests that critical ingredients of medical education have previously been articulated. The book argues that the apprenticeship model, as experienced, enriched, taught, and exemplified by William Osler, constitutes a time-honored foundation. Osler’s “natural method of teaching the subject of medicine” is a precursor to the Physicianship Curriculum.

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