scholarly journals Me gustan tus ojos miopes (o del diálogo con Hélène Cixous para llevar al cuerpo, a la literatura, a la vida)

La Palabra ◽  
2014 ◽  
pp. 143
Author(s):  
Andrea Paola Vargas Quiroz
Keyword(s):  
Key Words ◽  
Comparative Method ◽  
Maurice Blanchot ◽  
Helene Cixous ◽  
Work Of Art ◽  
The Unconscious ◽  
Artistic Creation ◽  
Embodiment Theory

El objetivo de este artículo es mostrar que la postura escritural de Hélène Cixous como práctica de la miopía, constituye el fundamento para la postura estética de la escritura del ver no viendo, cuyo efecto refractario fecunda la creación artística. El método comparativo pone en contacto el nacimiento de laescritura por la miopía, la epistemología desde el cuerpo de Ellie Epp (2005) y la naturaleza de la obra de arte de Maurice Blanchot (2012). Se concluye que para anclar la postura del ver no viendo de los artistas, es necesario mantener un equilibrio miope entre lo inconsciente y lo consciente en su relación con el lenguaje, el sujeto y la vida.Palabras clave: escritura, creación ar tística, miopía, epistemología desde el cuerpo.AbstractThe objective of this article is to demonstrate the writing position of Hélène Cixous as a myopic practice, which constitutes the foundation for an aesthetic of writing as seeing without seeing. The comparative method puts into contact the birth of writing through myopia, embodiment theory byEllie Epp (2005) and the nature of the work of art by Maurice Blanchot (2012). It is concluded that in order to root the position of seeing without seeing of artists, it is necessary to maintain a myopic equilibrium between the conscious and the unconscious, in its relation to language, subjectivity andlife. Key Words: Writing, artistic creation, myopia, embodiment.

The problem of the unconscions mental in artistic creation

2021 ◽  
Vol 71 (10) ◽  
pp. 52-58
Author(s):  
Aygün Paşa qızı Əliyeva ◽  
Keyword(s):  
Key Words ◽  
Point Of View ◽  
The Unconscious ◽  
Artistic Creation ◽  
Psychological Analysis

The article "The problem of the unconscious mental in artistic creation" is devoted to the analysis of the unconscious in artistic creation. The study of artistic creation is scientifically necessary both from the point of view of consciousness and from the point of view of the unconscious. The unconscious is one of the urgent, but insufficiently studied problems. The article describes the elements of the unconscious, with the help of which the author conducts a psychological analysis. Key words: instincts, conflicting feelings, inclinations, love, unconscious motives

scholarly journals Recapturing the Meaning of Akhlāq Islāmiyyah: An Analysis of the Article “Akhlak” in the Encyclopedia of Islam

2018 ◽  
pp. 21-39
Author(s):  
Amilah binti Awang Abd Rahman
Keyword(s):  
Key Words ◽  
Qualitative Methodology ◽  
Textual Analysis ◽  
Comparative Method ◽  
Ethical Thought ◽  
Practical Ethics ◽  
Key Words Ethics ◽  
Islamic Thought ◽  
History Of

Abstract This paper will analytically study the Islamic meaning of akhlaq as portrayed by two Western writers in the article entitled “Akhlak” published in the Encyclopedia of Islam. The author highlights the contribution of Western scholars especially Walzer and Gibb to the understanding of history of the development of Islamic thought and disciplines. By employing the qualitative methodology, the author uses textual analysis and comparative method on the writings of both thinkers and others.  Findings indicate that there are several weaknesses in the writing that include limiting the scope of akhlaq to practical ethics of selected virtues, the lacking of clear detachment between akhlaq and ethical thought, and others.  Key words: Ethics, Akhlaq, Philosophy, Islam, Encyclopedia of Islam.

My Dad. Life and Art of Teacher and Artist Sergiy Solodovnyk

2021 ◽  
Vol 2021 (02) ◽  
pp. 329-344
Author(s):  
S. Solodovnyk ◽  
Keyword(s):  
Personality Traits ◽  
Subject Matter ◽  
Fine Arts ◽  
Work Of Art ◽  
Artistic Creation ◽  
Talented People ◽  
The World ◽  
The Subject ◽  
Life Path

This article dwells upon the life path and the art of an artist and teacher, professor of Kharkiv Art and Industrial Institute (now Kharkiv State Academy of Design and Fine Arts) – Sergiy Solodovnyk (1915–1991) – my Dad. It is described in what way important events or important meetings with talented people can influence the development of personality, the formation of the artist’s and teacher’s views upon the methods of teaching and drawing and imagery in Arts, also the choice of the subject matter and genre. In artistic creation, both innate personality traits and those acquired in the process of studying the world, through which the artist passes in the process of creating a work of art and his formation as a person, as a lecturer or Teacher, are of great importance. The influence of his personality upon the students of several generations. His great importance in my life as a wise, delicate and caring dad. It is underlined in this article that good, honest deeds, love to people, homeland and to his direction in Art, sensitive attitude to the youth will always find reflection in human souls.

Collingwood’s Opposition to Biography

2012 ◽  
Vol 6 (1) ◽  
pp. 44-59 ◽  
Author(s):  
Vasso Kindi
Keyword(s):  
Subject Matter ◽  
Main Concern ◽  
Work Of Art ◽  
Artistic Creation ◽  
Positive View ◽  
History Of Art ◽  
History Of ◽  
The Subject ◽  
Portrait Painting ◽  
Entertainment Value

Abstract Biography is usually distinguished from history and, in comparison, looked down upon. R. G. Collingwood’s view of biography seems to fit this statement considering that he says it has only gossip-value and that “history it can never be”. His main concern is that biography exploits and arouses emotions which he excludes from the domain of history. In the paper I will try to show that one can salvage a more positive view of biography from within Collingwood’s work and claim that his explicit attacks against biography target specifically the sensationalist kind. First, I will show that Collingwood, in his later writings, allowed that, not only thought, but also relevant emotions can be the subject matter of history, which means that even if one takes biography to deal with emotions, it can still qualify as history. Second, I will argue, based mainly on Collingwood’s Principles of Art, that biography can be compared to portrait painting, in which case, it can be redeemed as a work of art and not just craft and, thus, have more than entertainment value. It can also be part of history, and more specifically part of the history of art which Collingwood endorses, if one takes the life of an individual, recounted by a biographer, to be an artistic creation, as Collingwood seems to suggest.

scholarly journals Dignity in perioperative practice

2020 ◽  
Vol 24 (5) ◽  
Author(s):  
Carlos R. Degrandi Oliveira
Keyword(s):  
Intensive Care ◽  
Key Words ◽  
Intensive Care Units ◽  
Human Dignity ◽  
Health Professionals ◽  
Operating Rooms ◽  
Loss Of Consciousness ◽  
The Unconscious ◽  
Important Principle ◽  
Conscious Patient

Any human, healthy, sick, fully conscious or unconscious must be treated with dignity. This is a lesson to be taught to all health professionals, especially those who work in operating rooms and intensive care units. The recognition of human dignity is an important principle in the whole of society, but it is particularly relevant in health, where patients are very vulnerable. Although it may seem easy and natural to behave properly in the presence of a conscious patient, the unconscious or anaesthetized patient should not be expected to give up their rights, beliefs and choices along with their loss of consciousness. Key words: Dignity, human; Respect; Personhood; Privacy; Perioperative practice. Citation: Oliveira CRD. Dignity in perioperative practice. Anaesth. pain intensive care 2020;24(5): Received: 8 September 2020, Reviewed: - September 2020, Accepted: _ September 2020

scholarly journals DEFORMASI BENTUK DAN TEKSTUR RADIOLARIA DALAM KERAMIK INSTALASI

CORAK ◽  
2017 ◽  
Vol 6 (2) ◽  
Author(s):  
Dyah Retno Fitriani
Keyword(s):  
Key Words ◽  
Aesthetic Theory ◽  
Work Of Art ◽  
The Real ◽  
Good Communication ◽  
Applied Art ◽  
The Creation ◽  
And Function

Passion, love, and interest can be an inspiration to an artist. That thing can be a stimulation in creating a work of art. Some scene of film Life of Pi shows an ocean view which glows at night became such an admiration to the writer. The astonishment then stimulated curiousities of the writer about that phenomenon. Finally, there came out the word Radiolaria. Radiolaria are tiny sized planktons which have holes and spikes in their bodies. The shape and texture of Radiolaria became an inspiration that later will be deformed and shaped into a ceramic instalation. Innovation and creation that arise in this work were also displayed using phospor as a medium to show the phenomenon of Bioluminesensi. The intention to introduce the shape and function of Radiolaria gives an enormous stimulation to the writer, so that this artwork was made to give an education through this work of art. The creation of this artwork began with making skecth planning, material choosing, up to the stage of creating which was done by some techniques, which are a cire perdue, pinch, slab, and decorating stage with the technique of piercing and twisting. After that, there was a drying stage, biscuit burning, glacing, glacing burning, phospor finishing, and displaying. Furthermore, the artwork was strenghten by some supporting theories, such as: ceramic theory, deformation, instalation, semiotic, and aesthetic theory. This work is a ceramic applied art which was displayed in the varied colors and shapes instalation. Semiotic contains were slipped in this artwork and were hoped to create a good communication with the society and art lovers. This Radiolaria themed work of art was made to introduce Radiolaria to people in general with applying the touch of personal expression touch so that originality of this work would remains the same without fading the impression of the real Radiolaria. Key Words: Deformation, Radiolaria, Ceramic Instalation.   Kesukaan, kecintaan, ketertaikan akan suatu hal dapat menjadi sebuah inspirasi bagi seorang seniman, tentunya hal tersebut dapat menjadi sebuah rangsangan dalam menciptakan sebuah karya seni. Film Life of Pi yang dibeberapa scene nya memperlihatkan pemandangan laut yang dapat berpijar dimalam hari memberikan rasa takjub sehingga merangsang rasa ingin tahu tentang apa yang menyebabkan adanya fenomena tersebut, yang kemudian didapatlah kata Radiolaria. Radiolaria merupakan plankton yang berukuran sangat kecil dengan ciri khas memiliki lubang-lubang dan duri-duri pada tubuhnya. Bentuk dan tekstur Radiolaria ini dijadikan sumber ide yang kemudian akan dideformasi dan dijadikan keramik instalasi. Inovasi dan kreasi yang muncul dalam karya ini juga ditampilkan dengan menggunakan fosfor sebagai media untuk menunjukkan peristiwa Bioluminesensi. Rasa ingin memperkenalkan akan bentuk dan manfaatRadiolaria memberikan dorongan yang begitu besar, sehingga diciptakanlah karya ini agar dapat memberikan edukasi baru melalui karya keramik instalasi.Penciptaan karya ini diawali dengan membuat sketsa perancangan, pemilihan bahan, hingga tahap perwujudan yang dilakukan dengan beberapa teknik yaitu cetak tuang, pinch, dan slab dan tahap pendekorasian dengan teknik krawang, dan pilin. Kemudian tahapan pengeringan, pembakaran biskuit, pengglasiran, pembakaran glasir, finishing dengan fosfor, dan pendisplayan. Lalu diperkuat dengan beberapa teori pendukung seperti : teori keramik, deformasi, instalasi, semiotika, dan estetika.Hasil karya ini merupakan seni kriya keramik yang didisplay secara instalasi yang memiliki variasi bentuk dan warna, dan kandungan semiotika yang disisipkan pada setiap karyanya sehingga diharapkan karya ini dapat berkomunikasi dengan masyarakat, dan penikmat seni dengan baik. Karya keramik dengan tema Radiolaria ini dimakudkan untuk memperkenalkan Radiolaria dikalangan awam dengan menerapkan sentuhan ekspresi pribadi sehingga orisinalitas karya tetap terjaga tanpa mengurangi kesan dari Radiolaria yang aslinya. Kata Kunci : Deformasi, Radiolaria, Keramik Instalasi.

scholarly journals If Looks Could Kill: Looking through the Artist’s Lenses in Oscar Wilde’s The Picture of Dorian Gray (1891)

2019 ◽  
Author(s):  
Abdelfattah Ali Ghazel
Keyword(s):  
Victorian Literature ◽  
Moral Values ◽  
Normative Values ◽  
The Novel ◽  
Work Of Art ◽  
Artistic Creation ◽  
Aesthetic Autonomy ◽  
Picture Of Dorian Gray ◽  
Dorian Gray ◽  
The Relationship

This paper investigates aestheticism and authorship in the Oscar Wilde’s only novel The Picture of Dorian Gray (1891). Victorian literature is usually read against the relationship between art and reality. The literary merit of a book is determined by the degree of its conformity with the moral values of the time. This paper offers a detached reading of the novel where the value of the book is found in its ability to initiate the reader into an aesthetic world. The research argues that Wilde fragments the act of artistic creation among the artist (the painter Basil), the sitter (Dorian Gray) and the audience (Lord Henry Wotton). This fragmentation renders the novel aesthetically autonomous from its reality. Aesthetic autonomy contributes to the debate of morality in Victorian literature by placing the work of art in an alternative sphere where normative values cease to apply.

scholarly journals STYLISTIC DEVICES IN REVEALING CHARACTERS’ EMOTIONS AND WAYS OF THEIR TRANSLATION

2021 ◽  
pp. 12-18
Author(s):  
Anastasiia Bodnarchuk
Keyword(s):  
Key Words ◽  
Comparative Method ◽  
Original Text ◽  
Source Text ◽  
Communicative Intention ◽  
Literal Translation ◽  
Emotional Component ◽  
American Author ◽  
Stylistic Device

The present research focuses on the analysis of the most common stylistic devices that are used to depict characters’ emotions in two novels “Flowers for Algernon” (2006) and “The Minds of Billy Milligan” (1995) written by the American author Daniel Keyes. The patterns of translation of emotionally coloured extracts of the text where these stylistic devices have been used are analysed in this research. As stylistic devices are considered to be an integral part of the composition of works of fiction and they add emotional colouring and exert pragmatic influence on the readers, translators Viktor Shovkun and Olena Stusenko faced onerous work as their task was to find accurate equivalents and use translation transformations in order to avoid literal translation, achieve adequacy on all levels and preserve the stylistic colouring. Furthermore, it is worth mentioning that the translation should fully replace the original text and recipients should perceive the translated text as identical to the original even though stylistic devices and the emotional component of linguistic semantics are arduous to convey in translation. This research also concludes that translators most often resorted to lexical (concretization, generalization and modulation), lexico-grammatical (omission and addition) and grammatical (verbalization and nominalization) translation transformations to avoid literal translation. It has also been established and verified by a comparative method that more stylistic devices are used in the Ukrainian translation than in the original text. The most widely used stylistic devices are metaphors, epithets, comparisons and idioms. Key words: stylistic device, translation transformation, source text, target text, pragmatics, communicative intention, emotions.

Blanchot, Maurice (1907–2003)

2018 ◽  
Author(s):  
John Caruana
Keyword(s):  
Jacques Derrida ◽  
Maurice Blanchot ◽  
Work Of Art ◽  
Experimental Fiction ◽  
Fiction Writers ◽  
Universal Category ◽  
Indeterminate Form ◽  
The Subject ◽  
To Come ◽  
De Man

Maurice Blanchot was one of Europe’s most influential essayists, theorists and experimental fiction writers. Roland Barthes, Michel Foucault, Paul de Man, Jacques Derrida and Emmanuel Levinas, notably, represent the major theorists of the second half of the last century who are indebted to Blanchot’s highly original – if not enigmatic – oeuvre. Throughout his life, Blanchot sought to minimize his status as a public figure and at times isolated himself from friends and colleagues. Blanchot’s modernism emphasizes the radical singularity of the artist’s production: the work of art completely thwarts all attempts to subsume it according to some pre-established universal category or identity. For Blanchot, écriture – art in its most indeterminate form – is an expression not of an author who actively and deliberately conceives and creates; rather, it is a reflection of an experience of radical passivity, the futile and always incomplete struggle with mortal existence. The work of art abandons the artist, the poet, the writer, to a state of permanent dislocation and exile. The nomadic nature of the artist’s experience testifies – in accentuated form – to the subject in general. Blanchot speaks famously of la communauté inavouable – the unavow-able or unworkable character of the community that is to come. Though this idea might suggest paralysis, it also speaks to the futility of all totalitarian aspirations. The radical heterogeneity of existence entails the inexhaustibility of humanity’s personal, social and political endeavours.

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