AESTHETICS OF HETEROGENEOUS IMAGE

2021 ◽  
pp. 88-95
Author(s):  
Anna А. Konoplyova ◽  
Keyword(s):  
Contemporary Art ◽  
Wide Audience ◽  
System A ◽  
Common Technique ◽  
Human Thinking ◽  
To Come ◽  
The Aesthetic ◽  
The One ◽  
Definition Of ◽  
Artistic Image

Aesthetic preferences of contemporary art connoisseurs can hardly be called uniform. In view of this, today, heterogeneity, designed for a wide audience, is increasingly becoming a common technique. However, a question arises as to the reasons for the popularity of such eclecticism and ambiguity in the formation of an artistic image. The article is an attempt to scientific understanding of the formation and development of perception of images that differ in containing two or more strongly pronounced equivalent origins, which may exist with each other in contrast or be antagonistic. A specific character of understanding the meaning of heterogeneous images is rooted in the biological characteristics of human thinking and is directly dependent on the process of perception. The complexity of the polymorphic image lies in the impossibility of its unambiguous perception and identification. The aesthetic conflict is caused by the impossibility of correlating the image obtained in the process of perception with the norm, as well as the difficulty of checking the information presented in practice. This is a fair pattern: as perception influenced culture, so did culture affect perception. The nature of heterogeneity is explained by getting deep into the features of a primitive man’s worldview and is expressed in myth-making, which, by virtue of a certain instinct, creates a pure image. The images formed at the early stages develop on the border of the antagonistic categories of the sublime and the base, the beautiful and the ugly, which makes them extremely contradictory. However, they exist in consciousness as long as these discrepancies are noticed by a man, but are perceived naturally. Subsequently, heterogeneity begins to acquire a comic character, is used as an allegory, and through the use of the method of deformation becomes a powerful spokesman for the human essence. Modern perception of heterogeneity can be represented in two manifestations. On the one hand, a tendency has developed to harmoniously merge the heterogeneous into a single system. A clear definition of the boundaries of the elements made it possible later on to come to the collage art, able to synthesize even the most contradictory things. On the other hand, the fragmentation of an already holistic image was used in order to give it heterogeneity. These transformations have found the most vivid embodiment in painting, literature, cinematographic art. The creation of a heterogeneous image in contemporary art allows us to trace the change in the perception by society of the phenomenon of hybridity, its mood to accept such changes and openness to heterogeneity. Indeed, for the modern viewer, the aestheticization of heterogeneity becomes quite expected, is not filled with satire, loses ugliness. It gives hope for the attainment of happiness and power, which forms the basis for the increasing popularity of polymorphic images.

scholarly journals TURGENEV, GOGOL AND “NATURAL SCHOOL”

2019 ◽  
Vol 29 (6) ◽  
pp. 1005-1011
Author(s):  
G.M. Rebel
Keyword(s):  
The Other ◽  
The Aesthetic ◽  
The One ◽  
Definition Of

The article is devoted to the problem of correlation of Turgenev and Gogol's creativity in the context of the aesthetic program of the “natural school”. The issue of the nature of Gogol's influence on Turgenev is still debatable, as well as the issue of the involvement of both writers in the “natural school”. Belinsky's definition of the “natural school”, on the one hand, was based on limited literary material, on the other - was extremely broad and as a result is equally suited to the work of such different authors as Gogol, Turgenev, Tolstoy, Dostoevsky, Goncharov, etc. An analysis of Turgenev's work suggests that, having paid tribute to the principles of “physiological” essay in his early dramatic experiments, already in the “Hunter's notes” Turgenev demonstrates a fundamentally new artistic strategy, which is fully manifested in his novels. Turgenev's creativity developed not within the framework of the “natural school” in the narrow meaning of this concept and not in the mainstream of Gogol's grotesque realism, which in turn does not fit into the canons set by the “physiological essay” of the 40s.

scholarly journals مفهوم الصورة الفنية في ضوء الموروث النقدي العربي القديم: نظرية المحاكاة عند حازم القرطاجني (ت684ه) أنموذجاً (The Understanding of Artistic Image in The Light of Classical Arabic Criticism: An Example of Simulation Theory by Ḥāzim al-Qarṭājanī(684H)

1970 ◽  
Vol 4 (2) ◽  
Author(s):  
محمد ماجد الدّخيل (Mohammad Majid al-Dakhil)
Keyword(s):  
Simulation Theory ◽  
The Other ◽  
Content Structure ◽  
Creative Ability ◽  
To Come ◽  
Definition Of ◽  
Artistic Image ◽  
Classical Arabic

ملخص البحث: عالج النقد العربي القديم مفهوم الصورة تحت مظلة مسألة  اللفظ  والمعنى من جهة، ونظرية المحاكاة والتخييل من جهة أخرى. وقد تعددت الأقاويل البلاغية والنقدية العربية القديمة وكررت نفسها عند بعض البلاغيين والنقاد العرب القدامى محاولة التوصل لمفهوم تام وشامل وواحد للصورة، إلاّ أن مفهومها عانى الهلهلة والاضطراب والتعدد.  والتساؤل هنا: كيف نظر حازم القرطاجني (ت 684 هـ) لمفهوم الصورة الفنية، رغم إيمان الدارس الحالي بأنها منظومة الألفاظ والمعاني (العبارات) الدالة والنابعة من صميم واقع إنساني تصور اتصال المبدع بالآخرين. توصلت الدراسة إلى ما يأتي: أن مفهوم حازم القرطاجني عن الصورة  الفنية ما هو إلا جزءٌ من فهم كلي يتصل باللغة ونظامها الأسلوبي المضموني (المحتوى)  المعنوي، ونظامها الأسلوبي الشكلي بصورة أعمّ وأشمل، إنه فهم يفجرّ القدرات الإبداعية المتنوعة الأُطر، ويقوّي الإيحاءات اللغوية، جاعلاً إياها ضمن أطر تجريدية غير تقليدية جاهزة مستهلكة، يمكنها توظيف طاقات اللغة عبر ارتدادات شاعرية فنية وتشكلات إبداعية كلية جديدة، قادرة على كسر حالة الركود والرتوب وتحطيم السائد البائد والتخلص منه، دون أن تفرض على الأدباء قيداً نمطياً واحداً، وبذلك فالألفاظ والمعاني – برأي ناقدنا- يجب أن تتطور وتتجدد وتتغير بتطور العصر وتجدّده وتغيّره.الكلمات المفتاحية: الصورة الفنية –نقد قديم –حازم القرطاجني-المحاكاة-الألفاظ.Abstract:The Classical Arabic Criticism discusses an image under word and meaning on one side and under the simulation theory by Hazim al-Qartajani on the other. There are many rhetoric and Classical Arabic Literary Critics definitions of an image. Sometimes these definitions are repeated among some of them in their attempt to come up with a standardized and comprehensive definition of an image. But all of these attempts create confusion, chaos and dispute. The question is: How did Hazim al-Qartajani conceptualize the artistic image? Even though the present research sees it as a thread of words and meaning (phrases) that reflect the inner state of an individual expressed brilliantly to others. The study concludes that Hazim al-Qartajani perceived an artistic image as a portion of an overall understanding related to a language, its content structure and style in general. It is indeed an understanding that erupts from a huge creative ability that strengthens linguistic gestures created as a fresh framework. This framework could be transferred in poetic works by preference. Therefore, words and meaning have to be developed and renewed, improved from time to time.Keywords: Artistic Image- Traditional Criticism- Hazim al-Qartajani – Simulation- Words.Abstrak:Kritikan sastera Arab lama telah menyentuh tentang konsep imej dalam perbincangan tentang perkataan dan makna dari satu segi serta simulasi dan ilusi. Terdapat pelbagai pendapat retorik dan kritikan tentang imej dan berulangkali usaha dilakukan oleh pengkritik sastera lama Arab untuk mengadakan sebuah konsep yang menyeluruh tentang imej, namun menemui kegagalan. Penulis berpandangan bahawa imej ialah sebuah sistem yang menggabungkan perkataan dan makna. Ia timbul daripada persepi manusia sendiri apabila seseorang itu cuba berhubungan dengan orang lain. Kajian ini akan melihat pandangan Hazim al-Qartajani dalam masalah ini. Kajian mendapati bahawa fahaman beliau tentang konsep tersebut, secara keseluruhannya, merupakan sebahagian daripada fahaman holistik tentang bahasa antara kandungan dan bentuk formal. Pandangan ini mampu menggalakkan kreativiti di kalangan penulis, menguatkan inspirasi untuk keluar daripada gaya konvensional, bergerak secara inovatif dalam memecahkan tradisi tanpa dikenakan kekangan ke atas penulis. Dengan itu, perkataan dan makna pada padangan beliau hendaklah berkembang sejajar dengan arus perkembangan semasa. Kata kunci: Imej seni– Kritikan Sastera Lama- Hazim al-Qartajani – Simulasi- Perkataan.

scholarly journals ARTISTIC TRANSCRIPTION OF THE EDGAR ALLAN POE'S IMAGERY IN ANTUN GUSTAV MATOŠ'S AND MYKHAILO YATSKIV'S PROSE

2019 ◽  
pp. 181-189
Author(s):  
Anna KOMARYTSIA ◽  
Keyword(s):  
Edgar Allan Poe ◽  
Literary Texts ◽  
Comparative Approach ◽  
Literary Works ◽  
American Writer ◽  
The World ◽  
Creative Style ◽  
The Aesthetic ◽  
The One ◽  
Definition Of

Background: On the one hand, the literary works of A.G. Matoš were studied by Croatian scholars in the context of the philosophy and poetics of modernism. The authors of fundamental studies about A.G. Matoš are Dubravko Jelčić, Dubravka Oraić Tolić, Mladen Dorkin, Zlatko Posavac, Miljenko Majetić and Nada Iveljić. On the other hand, Ukrainian researchers Mykola Ilnytskyi, Solomiya Pavlychko, Oksana Melnyk, and Polish researcher Agnieszka Matusiak analyzed and studied M. Yatskiv's creative style in the context of the aesthetic canons of the modernism. The novelty of this article is in addressing the influence of E. Poe on the literary texts of the Ukrainian and Croatian modernists using the comparative approach. Purpose: This is the first attempt to analyze the influence of E. Poe on A. G. Matoš and M. Yatskiv. This article treats the actual and yet not studied question of a multilayer impact (composition, imagery set) of the American writer on the Croatian and Ukrainian modernist writers. Results: Romanticism writer Edgar Poe undoubtedly influenced Mykhailo Yatskiv and Antun Gustav Matoš, especially with his essay “The Philosophy of Composition”. In this essay the author demonstrates the principle of constructing the plot with the logic and the hidden mechanisms of imagery construction. But in the biography of the American writer we can find facts that poems such as “Nevermore”, “Ligeia” and others weren`t the result of logic, but they were yearning for his wife who passed away being very young. The author of this study found a numerous allusions on the essay “The Philosophy of Composition” by E. Poe, his images of a horror crow and a cat, as well as the images of dead beloved beautyis in many literary works of A.G. Matoš and M. Yatskiv. Croatian and Ukrainian symbolists also used E. Poe`s technique of the total effect. Mystery element is generalized in the literary texts of three authors in the images of the sphinx, which has several meanings. The most common meaning is the abstract definition of something mysterious that needs to be answered. Similarities between Matoš's and Yatskiv's imagery with American writer E. Poe prove, that Ukrainian and Croatian writers were inspired by the world art achievements, creatively transforming ideas that were contemporary both to the romanticism and modernism. Key words: Edgar Allan Poe, Antun Gustav Matoš, Mykhailo Yatskiv, modernism, romanticism, “The Philosophy of Composition”, art scenography.

scholarly journals Skeletal progenitors and the GNAS gene: fibrous dysplasia of bone read through stem cells

2010 ◽  
Vol 45 (6) ◽  
pp. 355-364 ◽  
Author(s):  
Mara Riminucci ◽  
Pamela Gehron Robey ◽  
Isabella Saggio ◽  
Paolo Bianco
Keyword(s):  
Stem Cells ◽  
Fibrous Dysplasia ◽  
Molecular Mechanisms ◽  
Pathological Effect ◽  
Renal Handling ◽  
Bone Marrow Histology ◽  
Fibrous Dysplasia Of Bone ◽  
To Come ◽  
The One ◽  
Definition Of

Activating mutations of the GNAS gene, which causes fibrous dysplasia of bone (FD), lead to remarkable changes in the properties of skeletal progenitors, and it is these changes that mediate the pathological effect of this gene on bone. Mutated skeletal stem cells lose the ability to differentiate into adipocytes, and to maintain in situ, and transfer heterotopically, the hematopoietic microenvironment, leading to abnormal bone marrow histology in FD. They overexpress molecular effectors of osteoclastogenesis, thus promoting inappropriate bone resorption leading to fragility of FD bone. They express the phosphate-regulating hormone FGF-23 at normal levels, whose excess in the serum of FD patients correlates with the mass of osteogenic cells within FD lesions, leading to osteomalacia and deformity of the FD bone, and revealing that bone is an endocrine organ regulating renal handling of phosphate. Mechanisms of allelic selection and stem cell selection occur in mutated skeletal stem cells and contribute to the inherent diversity and evolution over time in FD. The definition of the etiological role of GNAS mutations marks the watershed between many decades of descriptive observation and the definition of cellular and molecular mechanisms that would explain and hopefully allow for a cure for the disease. Placing stem cells at center stage has permitted substantial advances in one decade, and promises more for the one to come.

scholarly journals Notes toward a Definition of Romantic Nationalism

Romantik ◽  
2013 ◽  
Vol 2 (1) ◽  
pp. 9 ◽  
Author(s):  
Joep Leerssen
Keyword(s):  
The Political ◽  
Cultural Productions ◽  
Cultural Character ◽  
Language History ◽  
The Arts ◽  
Connected Node ◽  
Current Usage ◽  
To Come ◽  
The One ◽  
Definition Of

<p>While the concept ‘Romantic nationalism’ is becoming widespread, its current usage tends to compound the vagueness inherent in its two constituent terms, Romanticism and nationalism. In order to come to a more focused understanding of the concept, this article surveys a wide sample of Romantically inflected nationalist activities and practices, and nationalistically inflected cultural productions and reflections of Romantic vintage, drawn from various media (literature, music, the arts, critical and historical writing) and from different countries. On that basis, it is argued that something which can legitimately be called ‘Romantic nationalism’ indeed took shape Europe-wide between 1800 and 1850. A dense and intricately connected node of concerns and exchanges, it affected different countries, cultural fields, and media, and as such it takes up a distinct position alongside political and post-Enlightenment nationalism on the one hand, and the less politically-charged manifestations<br />of Romanticism on the other. A possible definition is suggested by way of the<br />conclusion: Romantic nationalism is the celebration of the nation (defined by its language, history, and cultural character) as an inspiring ideal for artistic expression; and the instrumentalization of that expression in ways of raising the political consciousness.</p>

Strukturprobleme des Glücksspielrechts

2021 ◽  
Vol 54 (1) ◽  
pp. 37-71
Author(s):  
Julian Krüper
Keyword(s):  
The Public ◽  
German Länder ◽  
Gambling Law ◽  
Executive Competencies ◽  
Sufficient Degree ◽  
Legal Forms ◽  
To Come ◽  
The One ◽  
Definition Of ◽  
Gambling Market

Comprised of a plurality of legal actors and powered by a highly polarised social and legal discourse, German gambling law provides a framework for the ever booming gambling market. It is challenged by digitalization and by the internationalization of gambling. In addition, it faces adverse regulatory impulses, ranging from liberalization to a firm regulatory grasp within a couple of years. On the one hand, it purports to offer a sufficiently attractive supply of gambling products in order to draw the public into legal forms and away from illegal forms of gambling. On the other hand, its regulatory objective seeks to fence in and suppress the gambling urges of the population. On the whole, German gambling law is characterized by three, legally and factually interdependent problems. First, it needs to come up with a practical, inclusive and dynamic legal definition of its subject-matter, i. e.: what counts as legally relevant gambling? Second, it needs to define, maintain and implement larger objectives in regard to a target audience that do not overburden the executive und judicial branch with the need to reconcile contradicting regulatory impulses. Finally, it needs to guarantee a sufficient degree of implementation, which is achieved by combination of rational and high-quality legislation, adequate resources, and the necessary political will. Gambling law in Germany lacks these features to varying degrees. It, therefore, increasingly falls prey to mere legal symbolism that pretends to govern the gambling market much more than it actually does. The constitutional distribution of legislative and executive competencies in favor of the German Länder (“states”) is largely insufficient. Governing gambling in an international and highly digitalized market requires federal legislation and execution. The German federal authorities should consider federalizing gambling law by means of Art. 72 II GG and creating a federal gambling agency on the basis of Art. 87 III GG.

Liszt, lecteur antimoderne de Faust

2014 ◽  
Vol 55 (1-2) ◽  
pp. 65-80
Author(s):  
Bruno Moysan
Keyword(s):  
French Literature ◽  
The Political ◽  
July Monarchy ◽  
The Enlightenment ◽  
The Aesthetic ◽  
The One ◽  
Definition Of ◽  
Ideological Resistance ◽  
Liberal Individualism

The article offers a definition of the concept of anti-modernity, based at first on Antoine Compagnon’s 2005-volume Les antimodernes, de Joseph de Maistre à Roland Barthes. The role of the mundane sociability of the aristocracy, returned from emigration, and of the aesthetic culture of political legitimism is examined in the acclimatization process of German Romanticism in France during the Empire, the Restoration, and the first years of the July Monarchy. A hypothesis is proposed about the connections between Liszt’s interpretation of the Faust myth as it is exposed in the poems of Goethe and Lenau, on the one hand, and the political, aesthetical, and ideological resistance of French artists from the first half of the 19th century, directed against modernity, liberal individualism, the upheavals of the 1789 Revolution, and the rationalist constructivism of the Enlightenment, on the other. A survey of the aesthetics of negativity and its musical implications in Liszt’s compositions inspired by Faust reveals that the composer distanced himself from the “naive modernism” (Compagnon) of many of his contemporaries and came close to the flamboyant aesthetic of Chateaubriand’s Christian Vanity as well as to the scepticism, related in our post-modernist era with the idea of progress and of the completed work. Thus, Liszt’s relationship to the myth and the character of Faust becomes much more complex and ambiguous than it usually appears in the French literature, where Liszt’s view on the Faustian freedom is associated systematically and rather simplistically with the modern and liberal process of the individual’s emancipation.

scholarly journals Mykola Bidenko’s poetry: typology and idiography

2021 ◽  
Vol 27 (1) ◽  
pp. 1-6
Author(s):  
Roman Tkachenko
Keyword(s):  
Contemporary Art ◽  
Future Research ◽  
Problem Statement ◽  
Avant Garde ◽  
First Approximation ◽  
The Future ◽  
The Subject ◽  
The Aesthetic ◽  
Definition Of ◽  
Artistic Heritage

The relevance of the selected inquiry is in the need for urgent understanding of the ways of Ukrainian literature development, in particular, of poetry development, at the turn of the 20–21th centuries. It is no secret that art recreates the spiritual atmosphere of the time, but even more valuable is its ability to respond to subtle changes in the mood of contemporaries and form a spiritual picture of the future. In this sense, the study of contemporary art will be useful not only to literary critics. The subject of research is the typological and idiographic parameters of M. Bidenko’s poetry, its immediate artistic context, unique features of poetics, education and ideological and thematic direction. We understand the problem statement as an attempt to outline the first approximation of the role and place of M. Bidenko’s creative heritage in the context of Ukrainian literature of the late 20 — early 21th centuries. The study used mainly typological method, as well as principles of hermeneutics in the interpretation of key images. The purpose of this article is to outline the aesthetic and typological parameters of the artistic heritage of M. Bidenko, its unique features and features, consistent with the artistic context, based on the analysis of formal means and conceptual principles. As the result of the study Bidenko’s poetry is outlined mainly in the aesthetic coordinates of avant-garde and belongs to the environment of the Kyiv school of poets (verlibre, autotheliality of the word, avoidance of rhetoric, etc.), but in worldview he is more radical, skeptical and paradoxical than “kyivans.” In our view, Bidenko's dominant reception is a paradox. Pain as one of the key images of Bidenko's poetry, is metaphysical. Against such pain, the poet invented a “cure of death.” We see the novelty of this exploration in the definition of the dominant technique and our own interpretation of key images in Bidenko’s poems. Promising for future research are the nature of Bidenko’s verlibrium, features of the author's syntax or the nature of visual flavor.

scholarly journals THE PHILOSOPHICAL, PSYCHOLOGICAL AND PEDAGOGICAL APPROACHES TO THE PROBLEM OF THE WORLD EXPRESSION

2021 ◽  
pp. 28-34
Author(s):  
Krasnova N.M.
Keyword(s):  
Personal Development ◽  
Human Mind ◽  
Psychological Conditions ◽  
Multi Stage ◽  
The World ◽  
The Aesthetic ◽  
Subjective Conception ◽  
Definition Of ◽  
Artistic Image ◽  
Art Pedagogy

The article says about the theoretical analyze of the philosophical, psychological and pedagogical literature according the world expression. It`s been proven that the definition of the word «world expression» changes depending on the direction of the study: the process of the expression in the philosophical conceptions is one of the form of the expression in which the material unity of the world is realized through the representation of objective reality of the human mind in the process of discovering the objects of the outside world. Based on this, information is accumulated. In psychology, from the standpoint of forming mental qualities the world expression is the ability to be actively targeted working with the environmental information which leads to the certain results – psychological conditions, images, feelings, concepts, emotions. In Art Pedagogy from the position of aesthetic and educational activities it is the Art modeling of reality in the human activity to create art images. From the aesthetic education this word means the full realization of the person as an object of art activity, it brings to a valuable attitude to reality and art. It is necessary to form the personal development, the growth of consciousness and personal expression, self-realization and need for spiritual improvement. It has been discovered that the reflection of the world means an active person`s position in the world experience and focuses on the interaction between the surrounding people. It is a fact that the expression of the world exists in each personality – it is the complete system of the rational and emotional world mapping processes expressed both internally (feelings, conditions, human qualities) and externally (activity results). The world expression is placed on the multi-stage presentation. The first one is the perception of the world – sensual images of the world around. The second one is the interpretation – creative subjective conception of the image. The third is the reproduction of the objects and phenomena of the world using artistic ways.Key words: worldview, reflection, world expression, spiritual and practical exploration of the world, art view, artistic image. У статті проведений теоретичний аналіз філософської та психолого-педагогічної літератури із проблеми «світовідображення». Доведено, що зміст поняття «відображення» варіюється залежно від напряму дослідження: у філософських концепціях процес відображення представлено як одну із форм вираження і реалізації матеріальної єдності світу через відтворення об’єктивної реальності у свідомо-сті людини в процесі пізнання об’єктів зовнішнього світу. На його основі відбувається накопичення інформації, ускладнення структури і функцій матеріальних систем; у психології,з позиції сформова-ності психічних якостей особистості – це здатність до активної цілеспрямованої діяльності під час сприйняття, перероблення та відтворення інформації з навколишнього середовища, що породжує певні результати і явища – психічні стани, образи, відчуття, поняття, емоції; у мистецькій педагогіці з пози-ції естетично-пізнавальної діяльності – як мистецьке моделювання дійсності в людській діяльності зі створення художніх образів; з позиції естетичного виховання – становлення особистості як суб’єкта художньої діяльності, що виявляє особистісно-ціннісне ставлення до дійсності і мистецтва, здатність до самореалізації. Результати. Наголошується на необхідності формування особистісно-ціннісного ставлення до дійсності, розвитку свідомості, здатності до самореалізації, потреби в духовному самов-досконаленні. З’ясовано, що світовідображення передбачає активну позицію особистості в пізнанні світу і спрямованість на взаємодію з оточенням. Визначено, що «світовідображення в особистості» – це цілісна система процесів раціонального й емоційного відтворення об’єктів зовнішнього світу, що знаходить вираження у внутрішніх виявах (розвиток почуттів, станів, якостей) і зовнішніх результа-тах (створення продуктів діяльності). Акцентується увага на тому, що світовідображення здійснюється впродовж таких етапів: сприймання– створення цілісних чуттєвих образів безпосередньо у процесі сприйняття навколишнього; інтерпретації – творчого осмислення образу, що містить оцінку сприймаю-чого; відтворення образу, що реалізується зображенням об’єктів і явищ навколишнього світу художні-ми засобами. Надано визначення поняття «світовідображення в особистості».Ключові слова: світогляд, відображення, світовідображення, духовно-практичне освоєння світу, мистецький світогляд, художній образ.

Understanding functional illiteracy from a policy, adult education, and cognition point of view: Towards a joint referent framework

2019 ◽  
Vol 30 (2) ◽  
pp. 109-122
Author(s):  
Aleksandar Bulajić ◽  
Miomir Despotović ◽  
Thomas Lachmann
Keyword(s):  
Adult Education ◽  
Operational Definition ◽  
Literacy Skills ◽  
Point Of View ◽  
Industrialized Countries ◽  
Functional Illiteracy ◽  
Scale Levels ◽  
Components Of Reading ◽  
The One ◽  
Definition Of

Abstract. The article discusses the emergence of a functional literacy construct and the rediscovery of illiteracy in industrialized countries during the second half of the 20th century. It offers a short explanation of how the construct evolved over time. In addition, it explores how functional (il)literacy is conceived differently by research discourses of cognitive and neural studies, on the one hand, and by prescriptive and normative international policy documents and adult education, on the other hand. Furthermore, it analyses how literacy skills surveys such as the Level One Study (leo.) or the PIAAC may help to bridge the gap between cognitive and more practical and educational approaches to literacy, the goal being to place the functional illiteracy (FI) construct within its existing scale levels. It also sheds more light on the way in which FI can be perceived in terms of different cognitive processes and underlying components of reading. By building on the previous work of other authors and previous definitions, the article brings together different views of FI and offers a perspective for a needed operational definition of the concept, which would be an appropriate reference point for future educational, political, and scientific utilization.

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