‘Flying Shirts’ Creative Project: Vernissage

2021 ◽  
Vol 5 (1) ◽  
Author(s):  
Galina Tsvetkova ◽  
◽  
◽  
Keyword(s):  
Everyday Life ◽  
Visual Language ◽  
Central Point ◽  
Essential Characteristic ◽  
Pictorial Space ◽  
Creative Project ◽  
Works Of Art ◽  
Special Meaning ◽  
Point Of Reference

This analysis aims to present to a specialized public the artist’s conception and the process of creation of the ‘Flying Shirts’ project. Its creative interest is focused on the artistic intervention in everyday life objects, thus making them stand out and acquire the special meaning and status projection of ‘works of art’. An essential characteristic of this project’s different viewpoint is recognizing the authenticity of the Shirts as artefacts by embracing their unique attribute of personal belonging. This is the central point of reference in the creative programme, in which the original determines the character and state of phantasmal image. The paper considers some problems of composition, pictorial space, colour scheme and the means of expression in the construction of the visual language. The project was inspired by the intellectual and creative profile of the artist Tsanko Petrov (1942–2019), and was carried out in the belief that in its innermost essence every person’s being is linked with the whole Universe.

scholarly journals Conceptualising the home in law and gender

De Jure ◽  
2020 ◽  
Vol 53 ◽  
Author(s):  
Gadiël Robbertze ◽  
Gustav Muller
Keyword(s):  
Everyday Life ◽  
Central Point ◽  
The Law ◽  
And Gender ◽  
Point Of Reference ◽  
The Way ◽  
Legal Writers

The "home" forms a central part of life and it finds relevance in various other legal spheres. However, for such a central point of reference in law and everyday life, it still remains a somewhat vague notion without any discernible meaning in law. Due to the centrality of the home in law and everyday life, it seems necessary to have a coherent understanding of it. Various legal writers and judgments have acknowledged the underdeveloped nature of home in law and have broadly attempted to give home a space in law. Unfortunately, these interpretations of the home fall short and do not encompass all the positive values of home. This article, therefore, considers how gender factors affect the understanding of home and how the law holds some power to structure and restructure gendered relations which stand in the way of achieving a positive interpretation of the home.

scholarly journals Animals in Human Situations in Ancient Egyptian Ostraca and Papyri

Arts ◽  
2021 ◽  
Vol 10 (3) ◽  
pp. 40
Author(s):  
Azza Ezzat
Keyword(s):  
Everyday Life ◽  
Social Aspects ◽  
Ancient Egyptian ◽  
Works Of Art ◽  
Human Gestures ◽  
Freedom Of Thought ◽  
Political Economic ◽  
Selection Of

It has been said that the ancient Egyptians were raised to tolerate all kinds of toil and hardship; they nevertheless also liked to amuse themselves with comic relief in their everyday life. For example, ancient Egyptian drawing can be quite accurate and at times even spirited. What scholars have described as caricatures are as informative and artistic as supposed serious works of art. Ancient Egyptians have left countless images representing religious, political, economic, and/or social aspects of their life. Scenes in Egyptian tombs could be imitated on ostraca (potsherds) that portray animals as characters performing what would normally be human roles, behaviors, or occupations. These scenes reveal the artists’ sense of comedy and humor and demonstrate their freedom of thought and expression to reproduce such lighthearted imitations of religious or funeral scenes. This paper will focus on a selection of drawings on ostraca as well as three papyri that show animals—often dressed in human garb and posing with human gestures—performing parodies of human pursuits (such as scribes, servants, musicians, dancers, leaders, and herdsmen).

scholarly journals The Apocalyptic Interlude: Revealing Death in Kinshasa

2005 ◽  
Vol 48 (2) ◽  
pp. 11-32 ◽  
Author(s):  
Filip De Boeck
Keyword(s):  
Everyday Life ◽  
Book Of Revelation ◽  
The Bible ◽  
Collective Imagination ◽  
The Impact ◽  
Point Of Departure ◽  
Point Of Reference

Abstract:Temporality in contemporary Kinshasa is of a very specific eschatological kind and takes its point of departure in the Bible, and more particularly in the Book of Revelation, which has become an omnipresent point of reference in Kinshasa's collective imagination. The lived-in time of everyday life in Kinshasa is projected against the canvas of the completion of everything, a completion which will be brought about by God. As such, the Book of Revelation is not only about doom and destruction, it is essentially also a book of hope. Yet the popular understanding of the Apocalypse very much centers on the omnipotent presence of evil. This article focuses on the impact of millennialism on the Congolese experience, in which daily reality is constantly translated into mythical and prophetic terms as apocalyptic interlude.

Going Beyond the Bibliographic Catalog

2013 ◽  
pp. 1-38
Author(s):  
Filipe Manuel dos Santos Bento ◽  
Lídia de Jesus Oliveira L. da Silva
Keyword(s):  
Information Search ◽  
Central Point ◽  
System Model ◽  
Search System ◽  
Bibliographic Information ◽  
Core Concepts ◽  
Bibliographic Collection ◽  
Point Of Reference

This chapter exposes some core concepts for an innovative bibliographic information search system model, where not only the document is the point of reference, but to a new extent, the user himself and all his surroundings. Taken as central point is the bibliographic collection of the Library and the “ecosystem” of users and their use of the same, added with, to the extent where it is feasible, information from other sources.

Semiotics of Human Body and Character

1998 ◽  
pp. 298-301
Author(s):  
Sabine Vogt
Keyword(s):  
Everyday Life ◽  
Human Body ◽  
Central Point ◽  
Logical Analysis ◽  
Central Problem ◽  
External Appearance ◽  
Logical Basis ◽  
The Subject ◽  
Triadic Relation ◽  
Proper Science

Whenever we meet an unknown person, our first judgment, even unwillingly and often subconsciously, starts from his or her external appearance. Since character can be properly recognized only from words and deeds observed over some time, at first sight we have to rely on what we immediately can see. This physiognomical first approach to each other is as old as humankind, and, though it has never been able to be proved a proper science, in everyday life we all believe in and use physioculture. The earliest extant written work on the subject is the pseudo-Aristotelian treatise Physiognomonica. The author of its first part, in discussing the methodology of the art, refers to Aristotle, who develops the logical foundation of physiognomical inference: as an enthymeme, a syllogism from signs. Yet, concentrating solely on the formal logical analysis, Aristotle does not touch the central point of physiognomics; it C. S. Peirce’s discovery of the triadic relation of the sign that was able to shed new light on this central problem and to see physiognomics as a process of semiosis. Thus, Aristotle founded the formal logical basis, from which modern semiotics developed new approaches to physiognomics, taking them in account in several strands of their research.

Fight Club

2021 ◽  
pp. 191-218
Author(s):  
J. M. Bernstein
Keyword(s):  
Everyday Life ◽  
Consumer Society ◽  
Donald Trump ◽  
Freudian Theory ◽  
Works Of Art ◽  
Fight Club ◽  
The World

At the very beginning of Fight Club, the Platonic critique of art and everyday life is echoed when the nameless protagonist, the Edward Norton character, says that with insomnia “nothing’s real. Everything’s far away. Everything’s a copy of a copy of a copy.” With that clear invitation, this chapter argues that Fincher intends a conversation with the Platonic critique of appearances. Fight clubs—in their retreat from the world and providing for meaningless but intense feeling—are to be understood as allegories of works of art in a consumer society that enable temporary release from it through pain induced enlivenment. Fight Club goes on to track how a political aesthetic can topple into fascist aestheticized politics. Finally, enlisting T. W. Adorno’s “Freudian Theory and the Pattern of Fascist Propaganda,” the chapter argues that the bond between the charismatic Tyler Durden / Brad Pitt character and his fascist followers is deeply akin to that between Donald Trump and his followers.

Scale and Scope: A Review Colloquium - Scale and Scope: The Dynamics of Industrial Capitalism. By Alfred D. ChandlerJr., with Takashi Hikino · Cambridge, Mass.: Harvard University Press, 1990. xix + 860 pp. Charts, figures, tables, appendixes, notes, and index. $35.00.

1990 ◽  
Vol 64 (4) ◽  
pp. 690-735 ◽  
Author(s):  
Alfred D. Chandler
Keyword(s):  
United States ◽  
Great Britain ◽  
The United States ◽  
Harvard University ◽  
Central Point ◽  
Industrial Capitalism ◽  
Long Time ◽  
To Come ◽  
Point Of Reference

In Scale and Scope, Alfred D. Chandler, Jr., sets out a complex and sustained interpretation of “the dynamics of industrial capitalism.” His work, the culmination of decades of study, spanning three major economies (the United States, Great Britain, and Germany) from the 1880s to the 1940s, will undoubtedly be a central point of reference for all business historians for a very long time to come. More than that, it also makes contributions to, and has wide implications for, a great variety of fields of scholarship, research, and debate. It is hard to imagine any single book review that could do justice to the scale and the scope of Chandler's work.

scholarly journals TIPOGRAFI ARAB PEGON DALAM PRAKTIK BERBAHASA MADURA DI TENGAH DINAMIKA KEBUDAYAAN YANG DIUSUNG HURUF LATIN

DeKaVe ◽  
2017 ◽  
Vol 9 (2) ◽  
pp. 26
Author(s):  
Naufan Noordyanto
Keyword(s):  
Everyday Life ◽  
Visual Language ◽  
Islamic Education ◽  
Return To Play ◽  
Cultural Environment ◽  
Vernacular Language ◽  
Java Language ◽  
The World ◽  
Latin Script ◽  
Global Arena

Arabic pegon script or pegon script is the term of a few Hijaiyah/Arabic letters that is generally modified and used to write in Malay and Javanese. In Madura, East Java, Pegon script is used for the writing in the language of Madura and other languages, such as Java language. Unfortunately, practices of writing with Arabic typography Pegon in everyday life today, especially in the area of Madura, still as though vague, because the practice of typography around the world still dominated by "regimes" in Latin script. Pegon script as the focus of typography, is seen as an instrument to realize the visual language. Visuality of language in the form of Pegon script involving practices of language (Madura language). Pegon script actually is the result of "hard work" of efforts to "reconcile" the letter of the culture that was at first considered foreign (Arab-Islamic) with the local culture, especially the language of the local/indigenous (vernacular language). Now, practices of Pegon script can be said of a shift in usage habits. The practice Pegon script initially suspected rolling as a means of spread and transmission of Islamic knowledge, then it took place as an instrument of islamic education (literacy) in islamic students (santri) society, then it also turned increasingly popular and wider scope in the practice for the daily communications. However, in this era of Latin script, pegon script can be said to be marginalized in the corner of the specific socio-cultural environment, and has failed to return “to play” in the global arena, and tend to be replaced with Latin letters that dominate the world of typography practices.

scholarly journals Dialects in Norway – between tolerance and standardization

2014 ◽  
Vol 6 (1) ◽  
pp. 107-121
Author(s):  
Crina Leon
Keyword(s):  
Everyday Life ◽  
Standard Form ◽  
Spoken Language ◽  
Written Language ◽  
Children's Television ◽  
Television Series ◽  
Daily Newspaper ◽  
Regional Dialect ◽  
News Programs ◽  
Point Of Reference

Norwegian is peculiar not only with a view to the written language, which has two official standards, but also regarding the spoken language, which lacks a standardized form. In fact, Norway is one of the most dialect-speaking countries in Europe. The use of a regional dialect in all fields of one’s life is rather perceived as part of one’s identity, and a sign of democracy and decentralization. Although theoretically there are four main dialects, in practice the variety of dialects differing in grammar, vocabulary or pronunciation is much wider, and depends on the part of the country or even on a specific town. The present paper is mainly focused on analyzing how the issue of diatopic variation in the Norwegian spoken language has been depicted in recent years (2008-2012) in Norway’s largest daily newspaper, Aftenposten. Even if dialects are accepted in everyday life, one of the recurrent debates in the newspaper is however related to using a standard form at least in the news programs from the largest Norwegian television and radio company, NRK, where the language ought to be considered a point of reference. Another topic of interest is related to the dialects used in dubbing in children’s television series.

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