Traditional and Modern Art

In visual arts both the subject matter and the techniques form traditions extending sometimes through millennia, recording the human evolution and humanity in far more direct ways than, for instance, textual traditions can ever do. In short, visual arts open a rare window to the essence of humanity itself. Visual art is testing in a comprehensive manner the human capabilities to experience the world. Modern art has further opened up the whole definition of visual arts and freed even greater number of possibilities. Anything can be presented as visual art, if the audience is ready to accept it as art and “sees” it as art. I also discuss the basis of art as we inderstand it. Life imitates art and art imitates life. Which one is the copy then? The concept of mimêsis is one of the most frequently misunderstood concepts of classical Greek philosophy. In spite of breaks in tradition and misunderstandings, what is most important, is that in European art traditions the idea of liberal art as a means of expressing and shaping in a creative way ideas has kept alive and strives.

2021 ◽  
pp. 105-118
Author(s):  
Nataliia BULAVINA

The article analyses the educational space of Ukrainian visual arts. The educational component of the modern art system is insufficiently studied and requires the definition of its boundaries, a description of the main characteristics, the delineation of development vectors. Therefore, the article gives a meticulous view of the preconditions and history of building the basic principles of the educational order of local visual arts. The rest of the research examines the current learning process, its structure, components and communication links. The author determines the place of education in the system of institutional structure of modern visual art of Ukraine, emphasizes its features in relation to the global educational art paradigm.


Author(s):  
Nishi Arora ◽  
Praveen Kumar

The definition of disease provided in the ancient Indian text Sushrut Samhita is found to be quite similar to the one provided in the contemporary times, both meaning dis-ease. Disease has been explained clearly and succinctly in this ancient text written by Aacharya Sushrut. Aacharya Sushrut is known as ‘God of Surgery’, not only in India but all throughout the world. Sushrut Samhita was chosen to illustrate the principle of Hoslistic approach to the origins and cures of diseases. The method selected was, explaining the relevant original verses in light of their most popular commentary ‘Nirantarpad Vyakhya’ by Aacharya Danhan. Aacharya Sushrut has defined ‘disease’ in the most simplified manner along with expressing a holistic approach to the origins and cures of these diseases. In this paper, this kind of holistic approach will be discussed in detail. Though the subject of origin of diseases and their cures is very wide, Aacharaya Sushrut has compiled the answers of such questions in a very concise and comprehensive manner.


2019 ◽  
Vol 29 (5) ◽  
pp. 135-150

The springboard for this essay is the author’s encounter with the feeling of horror and her attempts to understand what place horror has in philosophy. The inquiry relies upon Leonid Lipavsky’s “Investigation of Horror” and on various textual plunges into the fanged and clawed (and possibly noumenal) abyss of Nick Land’s work. Various experiences of horror are examined in order to build something of a typology, while also distilling the elements characteristic of the experience of horror in general. The essay’s overall hypothesis is that horror arises from a disruption of the usual ways of determining the boundaries between external things and the self, and this leads to a distinction between three subtypes of horror. In the first subtype, horror begins with the indeterminacy at the boundaries of things, a confrontation with something that defeats attempts to define it and thereby calls into question the definition of the self. In the second subtype, horror springs from the inability to determine one’s own boundaries, a process opposed by the crushing determinacy of the world. In the third subtype, horror unfolds by means of a substitution of one determinacy by another which is unexpected and ungrounded. In all three subtypes of horror, the disturbance of determinacy deprives the subject, the thinking entity, of its customary foundation for thought, and even of an explanation of how that foundation was lost; at times this can lead to impairment of the perception of time and space. Understood this way, horror comes within a hair’s breadth of madness - and may well cross over into it.


2021 ◽  
Vol 5 (2) ◽  
pp. 59-68
Author(s):  
Mohamad Kamal Abd Aziz ◽  

This paperwork discusses some theories between modernist and post-modernist thinking that have been evolved in society. The presence of post-modernist thought is said to be anti-modernist. Thus, the question is whether it emerges as anticipation or the occurrence of a transformation shift at its pace in driving the development of art and culture. The objective of this study is to discuss the changing trends of art practitioners in the context of visual art and culture phenomenon today since the era of modernism. However. to what extent is the presence of post-modernist thinking that is said to be anti-modernism put into practice or is modernist thinking dead? The statement also dissects various notions or is it true that there is no precise and clear interpretation or understanding between "modern art" and "postmodern art"? This is also marked by the emergence of various interpretations and the existence of polemics or discussions among scholars, especially in the discourse of art and culture. This study is using secondary research based on various theories of disciplines and conducting an interview with art critics and art historians in resolving this question. Although there are various doubts in the separation between "modernism" and "postmodernism" but it provides an interesting input that is often associated with the emergence of some characteristics of the postmodern era thought and style that differs in terms of ideas, concepts, approaches, materials, appearance, presentation, ideas, interpretation and it is meaning that leads to the transformation of visual arts in the current socio-cultural context.


Author(s):  
Claudia Leeb

“Who Changes the World: The Political Subject-in-Outline” introduces the idea of the political subject-in-outline to creatively engage with the tension between the exclusionary character of the political subject and its necessity for agency. It explains why giving up on the subject altogether or theorizing it as a constantly shifting entity is implicated in the project of capitalism, and acknowledges the necessity of defining a political subject to critique and transform capitalism. Yet its outline reminds people that any definition of the political subject must remain permanently open for contestation to avoid its exclusionary character. This chapter also explains that the subject-in-outline aims to establish a mediated relation between the universal and particular, as well as mind and body. Furthermore, it shows that the idea of a political subject-in-outline can help people avoid alienation, instrumental relations, and the coldness of love in capitalism.


MANUSYA ◽  
2001 ◽  
Vol 4 (3) ◽  
pp. 80-96
Author(s):  
Stephen Evans

A review of recent literature advocating critical thinking as a necessary response to ‘globalizationʼ, gives no clear picture of what critical thinking is. Drawing on Kant and Hermeneutics, this paper proposes a critical definition of critical thinking as an understanding of its subject-matter which questions itself, and a characterization of critical thinking as the tension of standing within the subject-matter while holding it at a distance. Considered against a backdrop of concerns about ‘globalizationʼ, critical thinking is seen, not only as an intellectual method, but also as an existential engagement of the world.


1928 ◽  
Vol 21 (6) ◽  
pp. 350-352
Author(s):  
Harry C. Barber

Present day demands that each subject justify its existence in the school curriculum are so well known as to need no review in this paper. The bearing of these demands on mathematics, however, presents an interesting situation when considered in relation to the increasing importance of mathematics in modern civilization. It is a curious phenomenon that mathematics should be challenged just at this time when its value in the world is greater and more apparent than ever before. This challenge docs not so much question the value of mathematics itself as the objl?ctives of ntathematics teaching, the content of mathematics courses, and the methods of presentation. The mathematics of the secondary school may well be criticized as being too mechanical, too much concerned with technique, too little concerned with the true kernel of the subject. The leaders within the field of mathematics teaching are in hearty accord with these criticisms, and they are making a constant battle against (1) too meagre a definition of mathematics and too narrow a concept of its possibilities, (2) the use of obsolescent material, (3) the rote method of presentation.


2016 ◽  
Vol 8 (4) ◽  
pp. 7-17 ◽  
Author(s):  
Virginija Grybaitė ◽  
Jelena Stankevičienė

Abstract Information and communication technologies enable the emergence of a new phenomenon called the “sharing economy”. An increasing number of articles in the media as well as debates about the positive and negative aspects of the sharing economy show a growing interest in the subject. The paper aims to review the different approaches to the definition of the sharing economy and to present the authors’ views on the concept. The reviewed literature reveals the main drivers for participating in the sharing economy. A survey was conducted to learn more about the motives of Lithuanian people participating in this concept. The survey reveals the following leading factors of using the sharing economy platforms: an easy way to make extra money; supporting individuals and/or small/independent companies; meeting new people and having an interesting experience/doing something most people haven’t tried yet. The survey also reveals that most of the respondents prefer to own things rather than share them. Despite the widespread popularity of the sharing economy platforms in the world, this phenomenon is in its infancy in Lithuania.


2014 ◽  
pp. 91-102
Author(s):  
Ewa Łukaszyk

Travelling away from the “artsy post-modern lefty-pinko university”. Noor's transcultural experience and the duties of the intellectualThe volume Qur'an and cricket consists of several travelogues produced by a Malay intellectual, Farish A. Noor, during his trips to the most problematic places of the world, marked by the contemporary “battles of God”. This book is interpreted in terms of a quest for transcultural condition understood as a dimension of experience transcending the multiplicity of cultural orders in dissent. Noor sketches his own definition of the intellectual, contrasted in this article with the visions given by Gramsci, Adorno and Said. The subject of the transcultural condition is defined as “itinerant scholar” transgressing the limitations of the academia by his nomadic immersion in the world. The attitude of the traveller is marked by openness and readiness to listen, even if he is confronted to irrational mumbling. Precisely the mumbling of anger and hate becomes the most difficult challenge to the intellectual unable to deal with it rationally. The only remaining answer is a sheer presence and love, emotional attachment to the world, as the scholar rejects the temptation of the ivory tower that would isolate him from the otherness. The modality of speech that opposes the hateful mumbling isn't based on clear, persuasive argumentation, but on ironic ambivalence conjugated with directness and the rejection of euphemism. Most importantly, the “itinerant scholar” is not a preacher. In opposition to the leftist tradition of defining the intellectual as a secular figure, the “itinerant scholar” remains deeply immersed in religion. The challenge of building up the transcultural dimension is connected to the necessity of finding a place for the authentic religious experience in times of “battles of God”.Z dala od “nowinkarskiego, postmodernistycznego, lewicująco-różowego uniwersytetu”. O doświadczeniach transkulturowych Farisha Noora i powinnościach intelektualistyKsiążka Qur'an and cricket stanowi zbiór notatek z podróży malajskiego intelektualisty Farisha A. Noora do najbardziej problematycznych miejsc świata, gdzie toczone są „bitwy o Boga”. W niniejszym artykule jest ona interpretowana jako zapis poszukiwania kondycji transkulturowej, polegającej nie na zajmowaniu pozycji pomiędzy stronami konfliktu lub też poza nim, ale na poszukiwaniu przestrzeni doświadczenia mieszczącej się ponad porządkami kulturowymi. Noor szkicuje własną koncepcję intelektualisty, która w artykule zostaje skontrastowana z zapatrywaniami Gramsciego, Adorno i Saida. Podmiotem kondycji transkulturowej ma być „wędrowny uczony”, przełamujący ograniczenia akademickich zapatrywań dzięki nomadycznemu doświadczaniu świata w podróży. Stanowi ona sposób wyjścia ku innemu z gotowością do wysłuchania, nawet jeśli jedynym, co się pojawia, jest bełkot. Właśnie bełkotliwość gniewu i nienawiści stanowi wszakże największe wyzwanie dla intelektualisty, który nie może jej sprostać racjonalną argumentacją, w jakiej jest biegły. Jedyną możliwą odpowiedzią jest więc obecność i miłość, emocjonalne przywiązanie do świata, odmowa porzucenia, opuszczenia, zdystansowania się wobec niego. Natomiast sposobem mówienia, jaki przeciwstawia się bełkotowi nie jest jasność i jednoznaczność dyskursu perswazyjnego, lecz przeciwnie, niejednoznaczność i ambiwalencja wypowiedzi ironicznej. „Wędrowny uczony” nie jest więc kaznodzieją, lecz ironistą. W przeciwieństwie do lewicowej tradycji definiowania sylwetki i powinności intelektualisty, „wędrowny uczony” zostaje scharakteryzowany, choć w bardzo dyskretny sposób, jako postać zakorzeniona w wymiarze religijnym. Wyzwanie zbudowania przestrzeni transkulturowej powiązane jest więc z potrzebą ocalenia i pomieszczenia w niej autentycznego doświadczenia religijnego w dobie „bitew o Boga”.


2020 ◽  
Vol 44 (2) ◽  
pp. 15
Author(s):  
Jarosław Hetman

<p>The article explores the ancient notion of ekphrasis in an attempt to redefine it and to adjust it to the requirements of the contemporary literary and artistic landscape. An overview of the transformations in the world of art in the 20<sup>th</sup> century allows us to adjust our understanding of what art is today and to examine its existence within the literary context. In light of the above, I postulate a broadening of the definition of ekphrasis so as to include not only painting and sculpture on the one side, and poetry on the other, but also to open it up to less conventional forms of artistic expression, and allow for its use in reference to prose. In order to illustrate its relevance to the novel, I have conducted a study of three contemporary novels – John Banville’s <em>Athena</em>, Kurt Vonnegut’s <em>Bluebeard</em> and Don DeLillo’s <em>Mao II </em>– in order to uncover the innovative ways in which novelists nowadays use ekphrasis to reinvigorate long prose.</p>


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