scholarly journals A MEMÓRIA DO CARTÃO E A POTÊNCIA DA TAPEÇARIA

Palíndromo ◽  
2013 ◽  
Vol 5 (9) ◽  
Author(s):  
Elke Hulse
Keyword(s):  
Twentieth Century ◽  
Contemporary Art ◽  
The Other ◽  
New Approaches ◽  
Production Processes ◽  
Other Hand ◽  
The Way

RESUMO Nesse encontro pretende-se apresentar algumas dúvidas que ficaram ao final da dissertação “As Tramas dos Tapeceiros Narradores: Técnica e Criação” e alguns tópicos assinalados pela orientação naquela ocasião. Nos últimos quatro anos, relendo e ampliando o repertório bibliográfico, surgiram novos enfoques para discutir essas interrogações e principalmente nortear uma possível continuação da pesquisa. Esta tem por objetivo analisar um conjunto de imagens de tapeçarias de diferentes períodos da história juntamente, quando possível, com as pinturas ou desenhos e os cartões que lhe deram origem. Implica ainda em perceber essa sequência de atividades e assim poder avaliar se o cartão carrega consigo a memória da pintura, e por outro lado se a tapeçaria tem sua própria potência para que esta obra se torne o acontecimento. Inicialmente o conjunto de imagens que servirão como referência para analisar as demais tapeçarias contemporâneas é uma série produzida entre 1370/80 denominada O Apocalypse. A outra série de tapeçarias, produzida a partir de desenhos do artista francês Jean Lurçat, em meados do século XX, denominadas Le Chant Du Monde também será um importante referencial. No Brasil a pesquisa buscará as tapeçarias feitas a partir de pinturas do paisagista Roberto Burle Marx. Os tapeceiros contemporâneos Archie Brennan, Sarah Swett e Jean Pierre Larochette foram escolhidos pela relevância de seu trabalho, diferentes formações e processos de produção. Como se relacionam com os eventos de arte contemporânea e quais as preocupações com a produção da tapeçaria na contemporaneidade. Palavras ChaveTapeçaria, imagem, cartão, potência/acontecimento.  Abstract In this paper is intended to show some doubts that remained in the end of the dissertation “As Tramas dos Tapeceiros Narradores: Técnica e Criação” and some topics signed by counseling at the time. In the last four years, reading and amplifying my bibliographical repertory, new approaches appeared to discuss these questions and mostly to map a possible research construction. This study aims to analyze a set of tapestries’ images from different periods of history altogether, along to paintings or drawings and the cards that originated them. It implicates still perceiving this sequence of activities and thus be able to analyze if the card brings the painting’s memory, and on the other hand if tapestry has its own potential so this work can become the happening. Initially the set of images that will serve as reference to analyze the other contemporary tapestries is a series produced between 1370/80 named “The Apocalypse”. The other series of tapestries, produced from drawings of the French artist Jean Lurçat, in the mid-twentieth century, named Le Chant Du Monde will also be an important referential. In Brazil the study will serch the tapestries made from the landscaper paintings’ Roberto Burle Marx. The contemporary tapestry weavers Archie Brennan, Sarah Swett and Jean Pierre Larochette were chose by the relevance of their works, different backgrounds and production processes. The way they relate to contemporary art events and which are the worries towards the tapestry’s production in the contemporary. Key wordsTapestry, image, card, potential/ happening.

scholarly journals El Cine y la Villa Malaparte de Capri

2020 ◽  
Author(s):  
Oscar Canalís Hernández
Keyword(s):  
Similar Condition ◽  
The Other ◽  
Intermediate Step ◽  
The Novel ◽  
Singular Element ◽  
New Approaches ◽  
Moving Images ◽  
Other Hand ◽  
Alberto Moravia ◽  
The Way

La Pelle, novel or autobiographical story by Curzio Malaparte and La Pelle, film by Liliana Cavani. Written hypotext and visual hypertext in terminology of literary and interartistic theory. On the other hand there are Il disprezzo, novel by Alberto Moravia and Le Mépris, film by Jean-Luc Godard, in a similar condition. There is always an intermediate step: it is the script, written but already prefiguring moving images. We can consider it both hypotexts of the novel and hypertext of the film. In Liliana Cavani’s film, the Malaparte house is necessarily the same as in the novel, where it appears and is explicitly described. However in the case of Le Mépris it is a choice of Godard, since the reference to the house in the novel only prefigures that the house is in Capri and has nice views to Punta Campanella. As we will see some of the locations, when adapting to the configuration of the Malaparte, extract from the house specific original possibilities of the film and in some way they bring new approaches of greater plasticity to the scenes while, however, the dialogues between the characters remain almost intact. One example is the way in which a singular element such as the upper terrace of the house replaces the beach where Molteni, the screenwriter, finds his wife Emilia. The same terrace appears as well as the set of the Odyssey version that begins to be shoot precisely at the end of Le Mépris.

scholarly journals ON THE HORNS OF A DILEMMA: INTELLECTUALS BETWEEN THE REGIME AND THE PEOPLE AS REFLECTED IN IRAQI COMMUNIST LITERATURE

2012 ◽  
Vol 1 (2) ◽  
pp. 140
Author(s):  
Hilla Peled-Shapira
Keyword(s):  
Twentieth Century ◽  
Social Class ◽  
The Other ◽  
Political Repression ◽  
Other Hand ◽  
The People ◽  
Proposed Model ◽  
The Social ◽  
The One ◽  
The Way

This paper deals with the way in which Communist writers in mid-twentieth-century Iraq used literature in order to, on the one hand express their tense relationship with the regime during times of severe political repression, and on the other hand sharply criticize the Iraqi people themselves for not taking responsibility for or caring about their fate—or, for that matter, for failing to internalize the social class discourse to which the Communists aspired.  The paper’s objective is to examine the connection between the writers’ ideology and the rhetorical and conceptual elements with which they expressed their dissatisfaction with the regime, the way Iraqi society was run, and the desires of both—intellectuals and society at large—to undergo change. In addition, this study will survey the esthetic and stylistic devices, which the writers under consideration chose, and consider both the meanings and motives behind their choices. These aspects will be examined in the framework of a proposed model of “circles of criticism.”  

Ibn-Ul-Arabi's Cultural Environment that Influenced Him

2017 ◽  
Vol 5 (1) ◽  
pp. 165
Author(s):  
Assist. Prof. Dr. Kazım Yıldırım
Keyword(s):  
The Other ◽  
Cultural Environment ◽  
Ibn Rushd ◽  
Other Hand ◽  
The One ◽  
The Way

The cultural environment of Ibn al-Arabi is in Andalusia, Spain today. There, on the one hand, Sufism, on the other hand, thinks like Ibn Bacce (Death.1138), Ibn Tufeyl (Death186), Ibn Rushd (Death.1198) and the knowledge and philosophy inherited by scholars, . Ibn al-Arabi (1165-1240), that was the effect of all this; But more mystic (mystic) circles came out of the way. This work, written by Ibn al-Arabi's works (especially Futuhati Mekkiye), also contains a very small number of other relevant sources.

State of Fashion: Searching for the New Luxury

APRIA Journal ◽  
2020 ◽  
Vol 1 (1) ◽  
pp. 11-16
Author(s):  
José Teunissen
Keyword(s):  
Twentieth Century ◽  
Daily Life ◽  
Life Cycles ◽  
The Other ◽  
Century Model ◽  
Cocktail Party ◽  
The Public ◽  
Other Hand ◽  
The One

In the last few years, it has often been said that the current fashion system is outdated, still operating by a twentieth-century model that celebrates the individualism of the 'star designer'. In I- D, Sarah Mower recently stated that for the last twenty years, fashion has been at a cocktail party and has completely lost any connection with the public and daily life. On the one hand, designers and big brands experience the enormous pressure to produce new collections at an ever higher pace, leaving less room for reflection, contemplation, and innovation. On the other hand, there is the continuous race to produce at even lower costs and implement more rapid life cycles, resulting in disastrous consequences for society and the environment.

Historical Writing in the Balkans

2018 ◽  
Author(s):  
Ulf Brunnbauer
Keyword(s):  
Freedom Of Expression ◽  
The Other ◽  
Former Yugoslavia ◽  
Ethnic Cleansing ◽  
Historical Writing ◽  
The Balkans ◽  
Other Hand ◽  
Balkan Countries ◽  
The One ◽  
The Way

This chapter analyzes historiography in several Balkan countries, paying particular attention to the communist era on the one hand, and the post-1989–91 period on the other. When communists took power in Albania, Bulgaria, Romania, and Yugoslavia in 1944–5, the discipline of history in these countries—with the exception of Albania—had already been institutionalized. The communists initially set about radically changing the way history was written in order to construct a more ideologically suitable past. In 1989–91, communist dictatorships came to an end in Bulgaria, Romania, Yugoslavia, and Albania. Years of war and ethnic cleansing would ensue in the former Yugoslavia. These upheavals impacted on historiography in different ways: on the one hand, the end of communist dictatorship brought freedom of expression; on the other hand, the region faced economic displacement.

Gender and Social Exclusion in European Migration Crisis

2018 ◽  
pp. 658-676
Author(s):  
Marlou Schrover
Keyword(s):  
Twentieth Century ◽  
Social Exclusion ◽  
Historical Perspective ◽  
The Other ◽  
Men And Women ◽  
Refugee Women ◽  
Other Hand ◽  
Migration Crisis ◽  
The One ◽  
European Migration

This chapter discusses social exclusion in European migration from a gendered and historical perspective. It discusses how from this perspective the idea of a crisis in migration was repeatedly constructed. Gender is used in this chapter in a dual way: attention is paid to differences between men and women in (refugee) migration, and to differences between men and women as advocates and claim makers for migrant rights. There is a dilemma—recognized mostly for recent decades—that on the one hand refugee women can be used to generate empathy, and thus support. On the other hand, emphasis on women as victims forces them into a victimhood role and leaves them without agency. This dilemma played itself out throughout the twentieth century. It led to saving the victims, but not to solving the problem. It fortified rather than weakened the idea of a crisis.

Ibsen and the Irish Theatre

1990 ◽  
Vol 15 (1) ◽  
pp. 18-28
Author(s):  
Katharine Worth
Keyword(s):  
The Other ◽  
Psychological Process ◽  
Dramatic Literature ◽  
Social Activities ◽  
Irish Theatre ◽  
Lady Gregory ◽  
Other Hand ◽  
George Moore ◽  
Irish School ◽  
The Way

The Irish Literary Theatre, from which a new Irish theatre was to develop, came to birth at the very point when Ibsen was about to depart from the European theatrical scene. His last play, When We Dead Awaken, appeared in 1899, the year in which Yeats's The Countess Cathleen and Edward Martyn's The Heather Field were produced in Dublin. They were the first fruits of the resolve taken by the two playwrights, with Lady Gregory and George Moore, to ‘build up a Celtic and Irish school of dramatic literature’ and they offered decidedly different foretastes of what that ‘school’ might bring forth. Yeats declared himself an adherent of a poetic theatre that would use fantasy, vision and dream without regard for the limits set by the realistic convention. Martyn, on the other hand, was clearly following Ibsen in his careful observance of day-to-day probability. The central symbol of his play, the heather field, represents an obscure psychological process which might have received more ‘inward’ treatment. But instead it is fitted into a pattern of social activities in something like the way of the prosaically functional but symbolic orphanage in Ghosts.

Marcion’s Gospel and its Use of the Jewish Scriptures

2021 ◽  
Vol 112 (1) ◽  
pp. 105-129
Author(s):  
Phillip Andrew Davis
Keyword(s):  
The Other ◽  
Other Hand ◽  
Jewish Scriptures ◽  
Outright Rejection ◽  
The One ◽  
Theological Thought ◽  
The Way

Abstract Despite the popular notion of Marcion’s outright rejection of the Jewish Scriptures, his gospel draws on those Scriptures not infrequently. While this might appear inconsistent with Marcion’s theological thought, a pattern is evident in the way his gospel uses Scripture: On the one hand, Marcion’s gospel includes few of the direct, marked quotations of Scripture known from canonical Luke, and in none of those cases does Jesus himself fulfill Scripture. On the other hand, Marcion’s gospel includes more frequent indirect allusions to Scripture, several of which imply Jesus’ fulfillment of scriptural prophecy. This pattern suggests a Marcionite redaction of Luke whereby problematic marked quotes were omitted, while allusions were found less troublesome or simply overlooked due to their implicit nature.

Most Often Motivated by Social Media: The Who, the What, and the How Much—Experience from Poland

2021 ◽  
Vol 13 (20) ◽  
pp. 11193
Author(s):  
Karol Król ◽  
Dariusz Zdonek
Keyword(s):  
Social Media ◽  
Intrinsic Motivation ◽  
Statistical Methods ◽  
The Other ◽  
Public Expression ◽  
Other Hand ◽  
The Impact ◽  
The Way

Content published in social media (SM) can be motivating. It can induce action, stimulate demand, and shape opinions. On the other hand, it can demotivate, cause helplessness, or overwhelm with information. Still, the impact of SM is not always the same. The paper aims to analyse the relations between sex, personality, and the way social media is used and motivation to take specific actions. The conclusions are founded on a survey (n = 462). The data were analysed with statistical methods. The study revealed that the use of SM has a significant impact on the motivation to act. Browsing through descriptions and photographs of various achievements posted by others in SM increased the intrinsic motivation of the respondents. Positive comments and emojis had a similar effect. Moreover, women and extraverts noted a significantly greater impact of SM on their intrinsic motivation concerning health and beauty effort, travel, hobby, and public expression of opinions than men and introverts. The results can be useful to recruiters. Extravert women that are open to cooperation, thorough, and well-organised are more likely to be active in SM.

The avant-garde’s visual arts in the context of Santayana’s idea of vital liberty

Human Affairs ◽  
2012 ◽  
Vol 22 (2) ◽  
Author(s):  
Krzysztof Skowroński
Keyword(s):  
Twentieth Century ◽  
Visual Arts ◽  
The Other ◽  
Political Life ◽  
The Political ◽  
Human Beings ◽  
Political Dimension ◽  
Avant Garde ◽  
Other Hand ◽  
The Universe

AbstractIn the present paper, the author looks at the political dimension of some trends in the visual arts within twentieth-century avant-garde groups (cubism, expressionism, fauvism, Dada, abstractionism, surrealism) through George Santayana’s idea of vital liberty. Santayana accused the avant-gardists of social and political escapism, and of becoming unintentionally involved in secondary issues. In his view, the emphasis they placed on the medium (or diverse media) and on treating it as an aim in itself, not, as it should be, as a transmitter through which a stimulating relationship with the environment can be had, was accompanied by a focus on fragments of life and on parts of existence, and, on the other hand, by a de facto rejection of ontology and cosmology as being crucial to understanding life and the place of human beings in the universe. The avant-gardists became involved in political life by responding excessively to the events of the time, instead of to the everlasting problems that are the human lot.

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