scholarly journals A Poem as a Communiqué: the Communicativeness of Poetry of Onė Baliukonė

2020 ◽  
pp. 163-175
Author(s):  
Skaistė Barkutė
Keyword(s):  
Creative Process ◽  
The Other ◽  
Communication Studies ◽  
Communication Models ◽  
The Creation

This article presents the creation of art – a poesy – in the context of the theory of communication. Multimeaning of the concept of communication supposes plenty of attitudes and considerations and complexity of definition. There exist two different schools of communication studies, one being the process school and the other being the semiotic school. The process school is cantered on the transmission of messages and understanding the effects of it. The semiotic school focuses on communication being a production and exchanging of meanings. It researches how messages and texts interact with people. Since the creation of art is considered as communiqué, so its conveying content relates with, a spiritual link a creator and a perceiver. The article discusses a poem as a communiqué, its place in the structure of the process and semiotic communication models. The article also discusses poesy as a message and its communicativeness, informativeness, and importance. O. Baliukonė’s poetry was taken to implement this aim. The fulfilled research demonstrated that O. Baliukonė actively communicates with a reader through her poems. Decoding is the same creative process as encoding; thus, in this article, attention is paid to the poet’s and also to a reader’s creation of the meaning of a message.

scholarly journals TOWARDS EXPERIENTIAL REPRESENTATION IN ARCHITECTURE

2016 ◽  
Vol 40 (1) ◽  
pp. 47-58 ◽  
Author(s):  
Luis Alfonso de la Fuente Suárez
Keyword(s):  
Creative Process ◽  
Architectural Design ◽  
The Other ◽  
Direct Experience ◽  
Other Hand ◽  
Representation Of Architecture ◽  
The Creation ◽  
The One ◽  
Visual Realism ◽  
Interpretive Process

Planning and predicting the experiences that buildings will produce is an essential part of architectural design. The importance of representation lies in its ability to communicate experiences before a building is materialized. This article will treat the topic of representation of architecture works without putting aside our direct experience with edifices. By understanding the perceptual, associative and interactive phenomena that arise from the human encounter with buildings, it becomes possible to comprehend the representation of these phenomena through pictorial means. The first objective of this theoretical article is to define the inherent and unavoidable factors that are present in the creation and interpretation of all architectural representations, regardless of the technical means used. Any representation conveys two processes: the representation of experience (a creative process), and the experience of representation (an interpretive process). Furthermore, there exist two layers in any representation: the what (the architectural object) and the how (the representational medium). The second objective is to suggest alternatives to visual realism, in order to create representations that embody the particular phenomena that an architectural work will be able to produce. On the one hand, representations that pretend to copy reality produce in the observers detailed visual experiences; on the other hand, certain representations reflect the experiences themselves after they have been produced; they represent buildings as they are transformed by experience. This article focuses on those representations that are not only the reflection of an object, but also the reflection of our way of experiencing it.

scholarly journals The Artist Libraries Project in the Labex Les passés dans le présent

2019 ◽  
Vol Atelier Digit_Hum (Digital libraries and virtual...) ◽  
Author(s):  
Félicie Faizand de Maupeou ◽  
Ségolène Le Men
Keyword(s):  
Creative Process ◽  
Art History ◽  
The Other ◽  
Online Database ◽  
Valuable Source ◽  
Art Historians ◽  
Central Database ◽  
The Creation ◽  
The One ◽  
The Way

The creation of the Artist Libraries Project was sparked by the observation that artist libraries are still not well known, yet many art historians are interested in this archive for the value it adds to understanding the person behind the artist and his or her creative process. The problem is that these libraries are rarely physically preserved. To remedy this dispersion, we built an online database and a website www.lesbibliothequesdartistes.org that house this valuable source in the form of lists of books and their electronic versions. First data on Monet's library have been made available, and several additional artist libraries from the 19 th and 20 th centuries are on the way for 2019. By gathering all these bibliographical data in a central database, it's possible to explore one library and to compare several. This article explains how we built the database and the website and how the implementation of those IT tools has raised questions about the use of this resource as an archive on the one hand, as well as its value for art history on the other.

CONCEPTUAL MODEL OF THE SYSTEM OF SPECIAL TYPES OF TECHNICAL SUPPORT

2018 ◽  
pp. 135-139
Author(s):  
A. N. Mironov ◽  
V. V. Lisitskiy
Keyword(s):  
Conceptual Model ◽  
System Approach ◽  
Warning System ◽  
Theoretical Explanation ◽  
Technical Support ◽  
Technical System ◽  
The Other ◽  
Alert System ◽  
Empirical Basis ◽  
The Creation

In the article on set-theoretic level, developed a conceptual model of the system of special types of technical support for difficult organizational-technical system. The purpose of conceptualizing the creation of a system of interrelated and stemming from one of the other views on certain objects, phenomena, processes associated with the system of special types of technical support. In the development of applied concepts and principles of the methodology of system approach. The empirical basis for the development of the conceptual model has served many fixed factors obtained in the warning system and require formalization and theoretical explanation. The novelty of the model lies in the account of the effect of environment directly on the alert system. Therefore, in the conceptual model of the system of special types of technical support included directly in the conceptual model of the system of special types and conceptual model of the environment. Part of the conceptual model of the environment is included in the conceptual model of the enemy of nature and co-systems.

The Image of the Hasmoneans: A New Perspective

2018 ◽  
Author(s):  
Vered Noam
Keyword(s):  
First Generation ◽  
Second Temple ◽  
The Other ◽  
Three Generations ◽  
The Creation ◽  
New Perspective ◽  
The One

In attempting to characterize Second Temple legends of the Hasmoneans, the concluding chapter identifies several distinct genres: fragments from Aramaic chronicles, priestly temple legends, Pharisaic legends, and theodicean legends explaining the fall of the Hasmonean dynasty. The chapter then examines, by generation, how Josephus on the one hand, and the rabbis on the other, reworked these embedded stories. The Josephan treatment aimed to reduce the hostility of the early traditions toward the Hasmoneans by imposing a contrasting accusatory framework that blames the Pharisees and justifies the Hasmonean ruler. The rabbinic treatment of the last three generations exemplifies the processes of rabbinization and the creation of archetypal figures. With respect to the first generation, the deliberate erasure of Judas Maccabeus’s name from the tradition of Nicanor’s defeat indicates that they chose to celebrate the Hasmonean victory but concealed its protagonists, the Maccabees, simply because no way was found to bring them into the rabbinic camp.

scholarly journals Embodying the Site: the Here and Now in Site-Specific Dance Performance

2005 ◽  
Vol 21 (4) ◽  
pp. 367-381 ◽  
Author(s):  
Victoria Hunter
Keyword(s):  
Creative Process ◽  
Dance Performance ◽  
Site Specific ◽  
The Creation ◽  
Spirit Of Place ◽  
The Moment ◽  
The University ◽  
The Relationship

In this article, Victoria Hunter explores the concept of the ‘here and now’ in the creation of site-specific dance performance, in response to Doreen Massey's questioning of the fixity of the concept of the ‘here and now’ during the recent RESCEN seminar on ‘Making Space’, in which she challenged the concept of a singular fixed ‘present’, suggesting instead that we exist in a constant production of ‘here and nows’ akin to ‘being in the moment’. Here the concept is applied to an analysis of the author's recent performance work created as part of a PhD investigation into the relationship between the site and the creative process in site-specific dance performance. In this context the notion of the ‘here and now’ is discussed in relation to the concept of dance embodiment informed by the site and the genius loci, or ‘spirit of place’. Victoria Hunter is a Lecturer in Dance at the University of Leeds, who is currently researching a PhD in site-specific dance performance.

Borges, Pierre Menard, rhizomaticity, and the simulation of palimpsestic writing

Semiotica ◽  
2018 ◽  
Vol 2018 (222) ◽  
pp. 313-320
Author(s):  
Fernando De Toro
Keyword(s):  
Don Quixote ◽  
The Other ◽  
The Creation

AbstractPierre Menard, Author of Don Quixote shares with Tlön, Uqbar, Orbis Tertius several central aspects in the construction of the text, fundamentally the doubling of writing: that of Borges and Pierre Menard, where both simulate to tell story that it never gets told; and the creation of a world that is generated from pure discursivity.The text is divided in two sections, as indicated by Borges himself: one is the visible work of Pierre Menard, and the other is inconclusive work (1962 [1956]: 48–55). The first part is a catalogue of Menard’s library and the second letters by Menard addressed to Borges. In what follows we will analyze the gesture of inscribing writing.

Scribes, Cooks, and Artisans: Breaking Zhou Tradition

Early China ◽  
1995 ◽  
Vol 20 ◽  
pp. 241-277 ◽  
Author(s):  
Constance A. Cook
Keyword(s):  
The State ◽  
The Other ◽  
Political Control ◽  
Other Hand ◽  
Bronze Vessels ◽  
Western Zhou ◽  
The Creation ◽  
Bronze Inscriptions ◽  
Eastern Zhou

Bronze Inscriptions of the Western Zhou period show how ritualists were once dedicated to maintaining the ritual apparatus supporting the divine authority of the royal Zhou lineage. Bronze and bamboo texts of the Eastern Zhou period reveal, on the other hand, that ritualists able to manipulate local rulers reliant on their knowledge subsequently subverted power into their own hands. Ritualists such as scribes, cooks, and artisans were involved in the transmission of Zhou “power” through the creation and use of inscribed bronze vessels during feasts. The expansion and bureaucratization of their roles in the Chu state provided economic and ultimately political control of the state. This was particularly the case as the Chu, like the Zhou before them, fled east to escape western invaders.

Homosexualité, Islam et désacralisation du pouvoir royal dans Le jour du Roi d'Abdellah Taïa

2021 ◽  
pp. 127-143
Author(s):  
Taïeb Berrada
Keyword(s):  
The Other ◽  
The Novel ◽  
Identification Process ◽  
Male Characters ◽  
Oedipal Complex ◽  
The Creation

In his novel Le jour du Roi Abdellah Taïa explores the theme of alterity in its relation to two political and symbolic forces: expressing one’s self in the language of the Other and narrating homo-erotic and homosexual relationships in Morocco under the dictatorship of Hassan II. It is the translation of these two aspects that leads to the creation of a new narrative about homosexual Franco-Moroccan identity. This narrative, in turn, reveals the instability of a model of identification subjected to a normalizing sexual apparatus controlling bodies and minds in a place where homosexuality is still punishable by law. This renders the identification process for the two main characters of the novel particularly problematic as they can no longer sustain it without going back to the sources of foundational myths and more particularly to the original murder in Islam. This article argues that the killing of one character by the other goes back to the original murder of Abel by Cain, a model which becomes emancipated from the Western Oedipal complex, translating a new conception of a love relation between two male characters. By so doing, it calls for a reevaluation of the normativity imposed by the king who is using his power based on a patriarchal interpretation of religious legitimacy in view of political gain.

«Lenataur» in the museum

2019 ◽  
Author(s):  
Оксана Александровна Абальмасова
Keyword(s):  
Creative Process ◽  
Modern Society ◽  
Art Museum ◽  
Arts And Crafts ◽  
Main Task ◽  
Joint Work ◽  
Creative Processes ◽  
Creative Project ◽  
The Creation

В статье представлен обзор выставки современного декоративноприкладного искусства Ленатавр, проходившей в Красноярском художественном музее имени В.И.Сурикова. Описание совместного творческого проекта музея и художников керамиста Елены Красновой и живописца Елены Лихацкой наглядно иллюстрирует технические трудности и творческие процессы, возникающие в совместной работе авторов произведений и куратора выставки. Автором с позиции куратора рассматривается подготовка выставки как творческий процесс и экспозиция выставки как самостоятельный художественный объект, при создании которого необходимо учесть множество взаимодополняющих факторов, соблюсти определенные условия экспонирования на музейной площади, совместить творчество разных художников, избежав диссонанса. Главная задача куратора состоит в том, чтобы представить произведения художников с такой позиции, при которой у посетителей возникает необходимость изучения творчества представленных авторов, которая вызывает побуждение к размышлению, привлекает внимание к животрепещущим вопросам современного общества, рассматриваемым в работах Елены Красновой. The article presents an overview of the Lenataur exhibition of contemporary arts and crafts, which took place in the Krasnoyarsk Art Museum named after V.I. Surikov. A description of the joint creative project of the museum and artists (ceramist Elena Krasnova and painter Elena Lihacka) vividly illustrates the technical difficulties and creative processes that arise in the joint work of the authors of the works and the curator of the exhibition. From the position of the curator, the author considers the preparation of the exhibition as a creative process and the exhibition as an independent artistic object, the creation of which requires taking into account many complementary factors, meeting certain conditions of display on the museum square, combining the work of various artists, avoiding dissonance. The main task of the curator is to present works of artists from such a position, in which the visitors need to study the works of the submitted authors, which causes an incentive to reflect, draws attention to the burning issues of modern society, considered in the works of Elena Krasnova.

Regspraak: Novasie en delegasie van skuld – hoe raak dit die versekering van die tersake skuld?

2021 ◽  
Vol 2021 (2) ◽  
pp. 356-378
Author(s):  
JC Sonnekus ◽  
EC Schlemmer
Keyword(s):  
Supreme Court ◽  
The Other ◽  
Secured Debt ◽  
Personal Rights ◽  
The Supreme Court ◽  
Preferential Position ◽  
The Creation ◽  
D 20 ◽  
Court Of Appeal ◽  
Secured Creditors

Personal rights may be transferred by means of cession, and, in such an instance, the cedent (creditor) does not need the debtor’s permission, but once the debtor has been informed, the debt is redeemed only if he performs against the cessionary. If however, someone owes a debt, he (the debtor) can free himself of the obligation only if he redeems the debt, if he is released, or through the running of prescription. But sometimes it might be necessary that a restructuring of someone’s debts takes place or the debtor may want to be replaced with someone else who is willing to take over his obligation. This can be done only with the cooperation and agreement of the creditor. In such a case the debtor delegates his obligation to another person, who then becomes the new debtor of a new debt – the creditor relinquishes his right against the old debtor and accepts the new debtor and the new debt. The old debt no longer exists. It is also possible to rearrange the debt and create a new obligation which extinguishes the old debt – a novation takes place. This contribution starts with a discussion of these general principles and particularly the role that they (should) play when one is dealing with a secured debt which the debtor wants to delegate or when novation comes into play. This leads into a discussion of Wilke NO v Griekwaland Wes Korporatief Ltd (1327/2019) 2020 ZASCA 182 (23 Dec 2020) and the judgments in the earlier courts in which the supreme court of appeal and the other courts did not consider the implications of delegation and novation on an underlying debt when that debt was secured. Delegation and novation extinguish the underlying debt and any security right fortifying that debt is thereby also extinguished because of the principle of accessority. If the creditor requires the new debt to be secured, a new security right needs to be established by meeting all the requirements for the establishment of such security whether it is a right of suretyship or a real security right. A creditor must carefully consider agreeing to a delegation or novation of a secured debt since the implication is that he loses his secured and preferential position, and, even with the creation of a new security right, he loses the ranking he initially held in the line of secured creditors when a right of mortgage, for example, is at stake – qui prior est tempore potior est iure (D 20 4 11pr).

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