scholarly journals LIFE - DEATH CONTRAST IN FICTIONAL "BODY-SUBJECT APPROACH" AND OTHER VIRTUAL REALITY

2019 ◽  
Vol 7 (35) ◽  

This study explains the life-death contrast and other virtual reality concepts through art works in two fundamental problems. In the first stage, a descriptive analysis of the arts of Baroque, Performance and Media, expression of the works included in the study, as well as the life – death contrast was made and interpreted. In the second stage, the other virtual reality approach has been described as an artistic expression of the feminist art, place of women in the history of art and women artists who want to bring down the male-dominant sense of art. Within the context of this description, the subject-body relationship has been interpreted with tendencies that build the reality on illusions with the feminist approach of virtual reality. In the limited sample, Pierre Le Gros’ “the Younger, Stanislas Kostka on His Deathbed”, Marina Abramovic’s “Balkan Baroque” Performance, and Bill Viola’s “Nantes Triptych” video work have been analyzed in terms of life-death contrast in fictional body-subject approach, and Tracey Emin’s “My Bed” installation were analyzed in terms of other virtual reality subject dependent conscious and fictional body. Keywords: Baroque, performance, New Media, installation, simulation, fictional body

Archaeologia ◽  
1916 ◽  
Vol 67 ◽  
pp. 145-162
Author(s):  
C. Hercules Read ◽  
Reginald A. Smith

The important series of antiquities that forms the subject of this communication was discovered at Hallstatt in the Salzkammergut, Austria, about the year 1869. The exploration was undertaken at the instance of Sir John Lubbock (afterwards Lord Avebury), and it is believed that a journal was kept of the daily results, as appears to have been the case in all instances where authorized digging took place on the site. Unluckily in the interval between 1869 and the present time the journal referring to Lord Avebury's exploration has disappeared, and we thus lack an important part of the information that it should have furnished, viz. the indications as to what objects were associated together, and whether the interments to which they belonged were by cremation or by inhumation. While this loss is much to be regretted, yet the absolute value and importance of the series is still very great, both as typical of the period which stands prominent as the classical example of a cultural turning-point in the history of the arts, and as filling a very serious gap in the evolutionary series in the national collection.


2020 ◽  
pp. 114-128
Author(s):  
S.N. Savin

The paper presents historical facts about the building and development of cosmonaut preflight training complex at the Baikonur Cosmodrome in the sixties of the last century. The role of some leaders of the space industry and the Ministry of Defense in substantiating and decision-making on the subject of creation and development of the training facilities is shown. The need to develop the training complex in order to tackle growing tasks of the Russian manned space program is briefly substantiated. The second stage of building individual elements of the complex, their role in providing cosmonaut preflight training is described.


2016 ◽  
Vol 2 (2) ◽  
pp. 213
Author(s):  
Nasrul Hasan

Transformation is any displacement of science, the intellectual activity, from teacher to student and so in the context of the growth and development of education in the early history of Islam. The purpose of this discussion to determine the form peralihanilmu and development of Islamic education in the early history of Islam. This writing method descriptive analysis. Discussion regarding the form of change and transition of science in the early history of Islam. Makkah period, the process of transition of knowledge from the companions of the Prophet to be done with the system dealing directly with the Prophet (musyafahah) .After the system says, memorizing and teaching returned as received from the teacher (talaqqi). Both systems are considered to be very tested and most noble among sistempendidikan that ever existed in the world of education. Medina period, is aimed more at political and social education and citizenship. The subject matter of this education is basic thoughts contained in the Charter of Medina and also the teaching of the Koran remains a priority


2021 ◽  
pp. 184-197
Author(s):  
L.V. Frolova ◽  

The cult of Raphael is an important part of German romantic culture of the beginning of the 19th century. There were the Nazarenes who developed the cult of the Renaissance genius, and Raphael’s modern reputation is based on these romantic tradition. The article reveals special features of late romantic cult of Raphael, which caused the critique of the Italian master in the second half of the 19th — 20th centuries. The article discusses the art works of the Nazarenes (Franz Pforr, Peter von Cornelius, Franz and Johann Christian Riepenhausen). Special attention was paid to the art works and texts of the founder of Nazarene movement J.F. Overbeck of the 1830–1840s. This material was compared with the German art criticism of the same years, dedicated to the Düsseldorf Academy, an art school considerably influenced by the Nazarenes (A. Fahne, H. Püttmann). Typical for the Nazarene movement is the cult of Raphael as the main Christian painter, whose art is characterized as pure and harmonious. Other features of Raphael’s works, such as dynamic and emotional expressiveness of the form, were ignored or criticized. Such approach was firstly used in the J.F. Overbeck’s comment to the program painting The Triumph of Religion in the Arts (1829–1840) and developed in his later works (The Marriage of the Virgin, 1834–1836; The Lamentation, 1840–1845). This simplified image of Raphael became the subject of criticism for the next authors’ generation who supported the realistic searches of the masters of the mid-19th century. Nevertheless, Raphael’s works continued to be used as a standard for discussing of modern religious paintings.


2020 ◽  
Vol 1 (2) ◽  
pp. 64-71
Author(s):  
R. Smith

Commentary on the COVID-19 pandemic must necessarily consider the medical issues in social and political context. This paper discusses one important dimension of the context, the long-term history of human activity as intrinsically technological in its nature. The pandemic has accelerated the use of technology to mediate relations between people “at a distance”. This involves not only a change in the skills people have (though acquiring these skills has become the central project of work for many people), but changes the sort of person they are. Our notions of “closeness” and “distance”, or of “touching” and “being touched”, and so on, refer simultaneously to states that are spatial and emotional, factual and evaluative. Inquiry into the differences in human relations where there is physical presence and where there is not raises very significant questions. What are the differences and why are they thought, and felt, to matter? What are the differences when the relationship is supposed to be a therapeutic one? What are the financial and political interests at work in enforcing relations at a distance by new media, i.e., “mediated” relations? How is a person’s agency affected by a lack of freedom to move or a lack of face-to-face contact? What happens to all those human relations for which physical presence was previously the norm, relations such as those performed in the rituals of birth, marriage and death, or in activities like sport and the arts? Can it be said that new technologies involve a “loss of soul”? The present paper seeks to provide a reflective and open-ended framework for asking such questions.


Author(s):  
Horace Hayman Wilson
Keyword(s):  
The Arts ◽  

What the profound observer, quoted above, pronounced generally of fiction, is peculiarly pertinent, when applied to the Hindus. The history of their progress, in the arts of civilized life, is so clouded with mythology, and overcast by time, that our efforts to penetrate the obscurity, have been hitherto of little avail. As the mind, therefore, has little substantial gratification to expect, from this branch of intellectual enjoyment, it may be permitted to indulge in the shadows, that are abundantly presented, and dwell with more interest, than the subject would otherwise excite, on the copious materials afforded by the mass of Hindu fable, within its reach.


2008 ◽  
Vol 61 (3) ◽  
pp. 189
Author(s):  
Przemysław Nowakowski

The main aim of this article is the general presentation and description of the eastern liturgy by emphasizing some of its characteristics different from the Latin one. The subject of the analysis was the Slavonic version of Byzantine rite which is better known in Poland and neighboring countries. The worship plays the leading role in the life of Eastern Churches. The liturgy is closely connected with teaching of the Church and it is also the source of theology. The East has never known the separation of spirituality, theology and ecclesiology from liturgy. The article presents some essential information about the Eucharist (called in the east the Divine Liturgy), the liturgy of the hours (the Divine Office), liturgical year and shows some differences in the celebration of the sacraments in comparison with the Latin practice. More important features of the eastern worship are the epiphanic, doxological, dynamic, anamnetical and eschatological ones. What strikes you about Eastern worship from the sociological point of view is its intimate union with culture and history of the lo- cal, national Church. From an external point of view the eastern liturgy is a synthesis of the arts and demonstrates a particular beauty. The liturgical action is not just a ceremony.  It   is an object of contemplation, an awesome vision, full of mystery. It is our participation in the liturgy of heaven, the implementation of the Kingdom of God on Earth. Therefore, the actual purpose of the liturgy is our communing with God.


2021 ◽  
pp. 339-336
Author(s):  
Zeynep Atbaş

"Ottoman sultans showed a great interest in books; on the one hand, they had their palace workshops prepare manuscripts ornamented with unique illustrations and illuminations; on the other hand, they collected books created in other locations of the Islamic world through various means, such as, gifting, looting, and purchasing. The subject of this article involves the artistic manuscripts from the Ilkhanid era that entered the Topkapı Palace Treasury. Most manuscripts in the Topkapı Palace Library consist of copies and sections (juz’) of the Koran. With their illumination and binding, these large-format books designed by the skillful illuminators and bookbinders of the Ilkhanid era are early fourteenth-century masterpieces of Islamic art of the book. Among these are Koran sections prepared for the famous Ilkhanid ruler, Sultan Uljaytu Khodabanda, and the renowned vizier, Rashid al-Din. Some examples were written by the most illustrious Islamic calligraphers, Yaqut al-Musta’simi and Arghun Kamili, illuminated by the famous artist of the era who worked in Baghdad, Muhammad b. Aybak b. Abdallah, and bound by bookbinder Abd al-Rahman. The Ilkhanid era was also a time when fascinating and important manuscripts were prepared in terms of book illustration. Two of the three Mongol-era manuscripts in the Topkapı Palace collection are copies of the Jami’at-Tawarikh—a general history of the world prepared by a commission led by the vizier Rashid al-Din under the order of the Ilkhanid ruler Ghazan Khan— while the third is a copy of the Garshaspnama. In addition, some paintings that appear in one of the palace albums belong to a volume of the Jami’at-Tawarikh on the history of Mongol khans, which has not survived. The significant and unique paintings of the Ilkhanid era are the Miʿrajnama paintings made by Ahmed Musa featured in the album prepared for Bahram Mirza, the brother of the Safavid sultan, Shah Tahmasp. The preface of the album written by Dust Muhammad refers to the famous painter Ahmed Musa, who lived in the era of the Ilkhanid ruler Abu Said, to have “removed the veil from the face of painting and invented the painting that was popular in that era.” In addition, the author states that he illustrated a Miʿrajnama. However, only the eight album pages with miʿraj images have survived this work. Through their bindings, illuminations, calligraphy, and illustrations, Ilkhanid era manuscripts from the Topkapı Palace constitute a vital collection that demonstrates the advanced level reached by the arts of the book during this era. "


1881 ◽  
Vol 2 ◽  
pp. 271-308
Author(s):  
W. M. Ramsay

Asia Minor, interposed like a bridge between Europe and Asia, has been from time immemorial a battlefield between the Eastern and Western races. Across this bridge the arts, civilisation, and religion of the East had passed into Greece; and back over the same bridge they strove to pass beautified and elevated from Greece into Asia. The progress of the world has had its centre and motive power in the never-ceasing collision of Eastern and Western thought, which was thus produced in Asia Minor. One episode in the long conflict has been chosen by Herodotus as the subject of his prose epic: but the struggle did not stop at the point he thought. It has not yet ended, though it has long ceased to be of central importance in the world's history. For centuries after he wrote Greek influence continued to spread, unhindered, further and further into Asia: but as the Roman empire decayed, the East again became the stronger, and Asia Minor has continued under its undisputed influence almost up to the present day. Now the tide has again turned, and one can trace along the western coast the gradual extinction of the Oriental element. It does not retreat, it is not driven back by war: it simply dies out by a slow yet sure decay. It is the aim of this set of papers to throw some light on one stage in this contest, a stage probably the least known of all, the first attempts of the Greek element to establish itself in the country round the Hermus. Tradition has preserved to us little information about the first Greek settlements. The customary division into Aeolic, Ionic, and Doric colonists is not a sufficient one. Strabo clearly implies that there was a double Aeolic immigration when he says (p. 622) that Cyme founded thirty cities, and that it was not the first Aeolic settlement; in another passage (p. 582) he makes the northern colonists proceed by land through Thrace, the southern direct by sea to Cyme. I hope by an examination of the country and the situations, never as yet determined, of the minor towns, to add a little to the history of this Southern Aeolic immigration, in its first burst of prosperity, through the time when it was almost overwhelmed in the Lydian and Persian empires and was barely maintained by the strength of the Athenian confederacy, till it was finally merged in the stronger tide of Greek influence that set in with the victory of Alexander. More is known of Myrina, and still more of Cyme, than of any of the other towns: but both are omitted here, because it may be expected that considerable light will be thrown on the history of both by the excavations conducted on their sites by the French School of Athens. Till their results are published, it would be a waste of time to write of either city.


2021 ◽  
pp. 147-161
Author(s):  
N. V. Khalikova ◽  
O. V. Nikitin

Imagery is viewed as a hidden linguistic-stylistic category of a scientific text, the explication of which depends on the characteristics of the individual speech culture and the time of understanding the problem. The connection between scientific thinking and the figurativeness of the text is shown. It was determined that the imagery of a scientific text, in contrast to an artistic one, is not associated with the reproductive register of speech, it is formed by two linguistic and stylistic categories: the image of the subject of knowledge and, according to Yu. V. Rozhdestvensky, “the image of a scientific subject”. It is noted that scientific phraseology is formed in the same ways as poetic, but functionally different from it. The method of descriptive analysis revealed the associative and metaphorical fields of the key terms for linguistics. It has been established that scientific thinking is based on images of language-movement, language-space and language-social phenomenon. The authors believe that an appeal to related disciplines (linguistic personalology and the history of philology) makes it possible to develop fragments of a common scientific picture of the world at a certain historical stage, and to see the nature of their changes during the period of scientific paradigms change. The idea of the reproducibility of an image not as a “decoration” of speech, but a means of “figurative cohesion” (I. R. Galperin), a way of storing and transmitting information is fundamentally important in the article. The conclusion that the figurative paradigmatics influences the formation of the linguistic personality of the scientist-philologist is made.


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