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The defining of colors is a very subjective topic and results in many misunderstandings, especially in translation from one language to another. The number and significance of color adjectives vary from culture to culture. The goal of this article is to explain the origins of such variations and to discuss examples of common translation errors and difficulties. (AP)

Examines the recent emphasis on aesthetics, which goes beyond the scope of a didactics of art education, stating that it is a symptom of the German cultural-historical situation. Sketches tentative approaches to research questions on aesthetic education. Questions whether aesthetic education must be conceived in the form of reflections on aesthetic sensations and activities. (GEA)

The use of situational sketches, drawn on the blackboard or shown by an overhead projector, is seen as more effective than ordinary illustrations. The procedure is particularly useful in the intermediate grades (8-10), being suited to the content of textbooks at that level. (IFS/WGA)

Intentionality in human consciousness and activity necessitates the creation of messages for one- self and others, forming and transforming meanings that drive a unique dynamic in world understanding through associated symbols. The aim of this study is to identify the peculiarities of interpreting the mean- ings of symbols as represented in artistic thought through works of art and literature. To achieve this goal, hermeneutic and philosophical-aesthetic research methods were employed. The article examines the historical dynamics of meanings and symbols within various domains of ar- tistic culture. To this end, the nature of understanding the world through symbols and their meanings is de- fined, based on a generalized paradigm of approaches to the issue. In particular, the classification of mean- ings and symbols proposed by G. Frege and Y. Lotman is utilized, along with the characterization of the process of evaluating meanings through the content of objects and phenomena, their evaluation as sym- bols by E. Husserl and F. de Saussure, and the methodology for forming meanings based on the ideas of N. Chomsky and others, grounded in the identification of the characteristic features of the development of art through artistic thought. The potential for the self-realization of beauty through symbols in applied aspects of art, including painting and literature, is also considered. Additionally, the relationship between meaning and symbol in the concept of the beloved’s beauty in Eastern literature is analyzed. Conclusions are drawn that the dynamics of the evolution of art forms, genres, and directions are re- flected in the symbolic representation of meanings. For example, in painting, this is reflected in changes in the nature of the material used, its application, and the development from depicting the human figure to nature (together or separately), followed by the abstraction of images while preserving content in a sym- bolic form. The symbolic systems of each direction in painting differ from one another precisely in the na- ture of abstraction and the artistic embodiment of meaning. In terms of the potential for symbolization and the embodiment of meanings, the conventionality of signs in painting and literature rivals the symbolic sys- tem of language. The analysis of a specific concept, particularly the beauty of the beloved in Eastern litera- ture, revealed a close connection between the choice of symbol and the social environment, as well as the poet’s perception, meaning the aesthetic significance of this concept is supplemented by certain values re- flecting the social norms of a specific period. Furthermore, as we approach modern times, the influence of “icons” expressing many aspects of life becomes more pronounced, which also affects the nature of the de- piction of the qualities of the concept under consideration.

Dans la lignée de nos travaux précédents, nous souhaitons aborder le sujet d’une pédagogie de la réceptivité des arts visuels. Aujourd’hui cette pédagogie se doit de prendre en compte la risquée rouée vers l’utilisation, très souvent dépourvue de sens critique, de l’intelligence artificielle (IA). A chaque instant nous regardons autour de nous. Ce regard est orienté en fonction de ce que la société dans laquelle nous vivons nous propose comme étant digne d’être regardé. Souvent nous regardons sans vouloir, nous voyons ce dont nous n’avons pas besoin. Plus que jamais nous sommes envahis par l’image. Qu’elle soit artistique (des belles photos, des tableaux) ou simple fragment de réalité, sans oublier l’image de synthèse produite avec l’aide de l’intelligence artificielle, celle-ci requiert un certain degré de compréhension et de transformation à travers l’acte pédagogique. Le cerveau saturé d’images perd progressivement sa faculté d’imagination or cela risque de poser des sérieux problèmes au monde de l’éducation et à nous, dont la mission consiste à pratiquer et à enseigner la communication. Ces aspects nous renvoient à la notion de perception et plus particulièrement à la perception sensible affective, intellectuelle et émotionnelle. Notre but étant de souligner la nécessité d’une appétence pour l’art, nous allons dans un premier temps donner un aperçu de communication visuelle grâce à des images artistiques « réelles » et générées par l’IA, et ensuite proposer une approche simple afin de tenter de comprendre comment ce besoin de regarder le beau se construit, avec quels moyens, et par quelles voies. Aujourd’hui nous savons que ce goût pour l’art, loin d’être systématiquement cultivé dans les milieux scolaires et universitaires, reste néanmoins gage d’une bonne santé émotionnelle. Enfin, nous concluons sur le besoin vital de cultiver l’art et d’encourager sa pratique dans les milieux académiques.

T he study interprets Alain Badiou’s philosophy using Vincent Descombes’ Le même et l’autre (The Same and the Other). We believe that placing Badiou in the context of French philosophy of the 20th century can show him in a new light. Descombes’ book forms an interpretive framework from which the philosophies of Friedrich Nietzsche and G. W. F. Hegel emerge. We perceive Badiou as an author who connects two phases of French philosophy (postulated by Descombes): the period of the three H’s (Hegel, Husserl, Heidegger) and the period of (post)structuralism (Nietzsche, Freud, Marx). T he study will try to show connections, but also differences, between these concrete philosophies. The goal, in the meantime, is to shed light on Badiou, who can still be described as an (sufficiently) author who isn’t reflected, through the philosophy of authors who have already been reflected. We will move into the center of Badiou’s thinking through his inaesthetics.

This paper is an overview of many researchers’ opinions on the presence of a religious element in La Plata’s literature. The perspective of the article is definitely diachronic, critical and analytical. According to the conclusions of the literature researchers, there is a strict relationship between theological thinking and the current social and cultural issues and the ideological layer of particular literary works. A novelty in our study is that what is seemingly absent from the religious subject area can function as a visible sign of theological thinking in La Plata’s work. Even anticlerical attitudes may be indicating a religious background of their authors. Almost no literary work of La Plata may be considered as devoid of theological motifs or inspiration.

Dreams and art are psychological structures that seem to contribute little to coping with everyday life. For Sigmund Freud, that is especially why they provide valuable information about how the unconscious affects the human mind. In his reconstruction work, Freud was guided by the thesis of the complete determination of the meaning of all mental phenomena and related dreams and artefacts to motifs from the life stories of the dreamers and artists. Through his involvement with poetry and visual art, particularly the Gradiva novel byWilhelmJensen andMichelangelo'sMoses sculpture, he came across the question of impact, which he did not pursue further. The possibility of systematic research on the impact of works of art on the basis of a depth psychological approach is presented by taking into account a project currently being implemented inMilan including Anselm Kiefer's Seven Heavenly Palaces. [ABSTRACT FROM AUTHOR]

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Copyright of Historische Zeitschrift is the property of De Gruyter and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

RESEARCH OBJECTIVE: This article aims to present the anthropological, aesthetic, and pedagogical foundations of Jerzy Vetulani’s postulate of artistic education and compare it with Irena Wojnar’s concept of aesthetic education. THE RESEARCH PROBLEM AND METHODS: The research questions are: What are the anthropological, aesthetic, and pedagogical foundations of Vetulani’s postulate of artistic education? Is there a similarity between Vetulani’s postulate and Wojnar’s proposal of education through art? To achieve these objectives, the content analysis method based on Karolina Szczepaniak’s model was used. THE PROCESS OF ARGUMENTATION: Starting with Vetulani’s neurobiological views, the article first presents art as a defining characteristic of homo sapiens and a key activator of the human brain, especially its cognitive functions. It then discusses the pedagogical assumptions of Vetulani’s postulate. The comparison between Vetulani’s and Wojnar’s concepts is made by examining their anthropological assumptions and the role of art in human development. RESEARCH RESULTS: According to Vetulani, the relationship between humans and art is bio- logically determined, with art being essential for achieving full humanity. Both Vetulani and Wojnar view humans as inherently open to art, which plays a significant role in the upbringing process. CONCLUSIONS, RECOMMENDATIONS, AND APPLICABLE VALUE OF RESEARCH: Vetulani and Wojnar both emphasize the importance of art in human education. Brain imaging technology can enhance traditional aesthetic education. Activating the brain’s cognitive functions through art, particularly cognitive attention as highlighted by Vetulani, can be beneficial in treating common concentration disorders in children and adolescents.

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Copyright of Arbitrium is the property of De Gruyter and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

Copyright of Arbitrium is the property of De Gruyter and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

Although neglected for decades, American poet, journalist, and painter Nicholas Vachel Lindsay (1879-1931) made a significant contribution to the rising film theory with his book The Art of The Moving Picture, the first American study of a kind, published in 1915. Having noticed the widespread popularity of silent movies among the millions of film lovers in the USA, Lindsay proposed that this new visual art form, which, according to him, represented a combination of a traditional theatre play and diverse elements of painting, sculpture, architecture and other forms of visual expression that he called photoplay, could, in due time, become a truly American art brand. For that reason, he advocated the establishment of film schools, film libraries and archives, as well as the use of film for educational purposes in schools. This paper analyzes Lindsay’s key theoretical tenets of film as an important fine art as presented in his book The Art of The Moving Picture, as well as his visionary predictions regarding the later development of film (and later television) as not just lucrative, commercial products, but also an interesting field of academic study.

The latest book by Piotr Oczko, Pocztówka z Mokum. 21 opowieści o Holandii (Postcard from Mokum, 21 stories about Holland) is a very intriguing and very personal view of the Netherlands. This view, presented in 21 essays, shows a wealth of cultural layers in the past and in modern society: from art and poetry of the Golden Age, through architecture to homosexuality. In his book, Oczko also presents his personal view of the Polish society A.D. 2021, and expresses his ‘discomfort’ about it (to use the words of Marieke Lucas Rijneveld). Oczko’s Pocztówka... is not an ‘everyday’ book. Still, it is definitely worth reading.

Bu yazıda Ahmet Murat Özel'in "Taşı Taşırmak" adlı eseri değerlendirilmiştir.

This study attempts to identify the theme of light in the imagery of ancient Greco-Roman and Christian art through a comparative analysis of the context and evolution of artistic language before and after the Christianization of the Roman Empire. An essential criterion in understanding the new aesthetic paradigm and highlighting the means of artistic expression characteristic to the two periods temporally delimited by the event of the Incarnation, is the way in which artistic consciousness relates to divinity. The acceptance or not of the Revelation, the reflection in religious art of the fact that God became Man and He has a Face, as opposed to other philosophical quests and religious systems that dress up the idea of divinity and its attributes in the face of the gods, personifying it or imagining it symbolically, – makes the difference. God communicates Himself to man through light, light being the common denominator of any epistemology, without placing in competition or in opposition the knowledge that comes to us through Revelation with that acquired by man through scientific experiments. Paradox is a mark of light. Science has proven it with the wave-particle dualism of quantum mechanics and theology fully confirms it. Light is a Person who says of Himself that He is: ‘The Light of the World’. (John 8, 12). The theme of light has multiple meanings in biblical exegesis; from the metaphorical image that runs through the Book of Revelation to that of the incorporated Light (Lux incorporata), an interpretation that refers to the Mystery of the Incarnation, to the world transfigured by grace, to the uncreated light communicated to people by the heavenly hierarchies through the Church in the form of the Holy Mysteries. In the world of late Roman antiquity, and later in the Byzantine world, there was a belief that the veining or luminous veins of colored marble, gemstones or translucent stones were embedded rays of light, an intervention of divine light in the rock. The uniqueness of these ‘graphic accidents’ was interpreted as signs of God in the creation that suggests the unseen, the unusual, the ineffable, in short, the paradox of the Christian world summed up in this confession: that God is both One and Three, that Christ is both Man and God, and that Mary is both the Mother of God and the Virgin. The art of mosaics and stained glass, as well as the entire decorative complex of precious stones, gems and polychrome marbles adorning objects of worship and liturgical furnishings, is built on a long tradition that aesthetically and theologically values the motif of light. Dogmatic notions such as hypostatic union and perichoresis are symbolically translated into visually striking plastic expressions – provided by the natural textures of the cut and polished rocks – with the sole purpose of suggesting the dogmatic ‘contradictions’ of the Kingdom of Light which, as they say, ‘already exists, but not yet’.

The models of our imaginary belong exclusively, at least we think so, to archetypes, to which we attribute or, on the contrary, we erase from the ancestral pattern unique elements of a personal character. For example, how many times have we heard the phrase: "I've been through hell"? Then I listened to personal representations of Hell, which were loss of a loved one, illness, helplessness, poverty, defamation, loneliness, anxiety, pain. On the other hand, "we have found the perfect being" and its description does not correspond to our expectations either physically or morally, because we have become familiar with some patterns, with the conventional, the usual, and if we move the border a millimeter away, we are guilty of ideological abuse. Parallel to these individual images of a personal character, we find those established in art, no matter in which of its branches. Just as we relate to the episodes in the spatial-temporal coordinates that we witness with or without our will, we have the freedom to identify the worldly ill or to restore the good, through catharsis, by appealing to the imagination and the imaginary. The most important way we can be rescued, at least if we refer to the soul, is through art.

There are no definite judgments or rules in the art of painting. However, in general, it is seen that there is a linguistic integrity in the works created by the artists in line with their styles and approaches. When the art is examined in terms of movements, the art of painting can show a certain stylistic affinity in every period. It can be easily said that the stylistic concerns of the artists are reflected in their works. It is possible to reflect these stylistic tendencies of the artists and their approaches to art movements as a unit repetition. People attribute certain habits and movements to the work they do. This approach shows an instinct for repetition, whether through a movement or an object. Behaviors or objects such as writing, walking, a familiar image appear as a signature at certain times in a person's life. Having similar concerns in the formation of the artwork, the artists include images that will support the period and style they belong to. It is possible to express these images as unit repetitions. Unit repetitions sometimes manifest themselves in the artist's work, while in others they take place lately. In this direction, it is seen that the artists reflect the development processes of the works they produce to the paintings by making use of the unit repetitions. The study aims to emphasize the artistic expression arising from the unity of painting and unit repetition within the framework of Neo-Impressionism (Poantalism), Op-Art, and Avant-garde Art.

Despite their increasing visibility on highways and in prominent spaces in cities and villages across Nagaland and Naga-inhabited regions in northeast India since the early 1990s, monuments to the history of Naga nationalism have failed to garner significant scholarly attention. On the one hand, they are dismissed by urban Nagas as passive illustrations of the ideologically motivated “agendas” of Naga nationalist organizations. On the other, their continuities with the Naga stone monolith form remain unaddressed, rooted in the longstanding assumption that the influx of Christianity and literacy has meant that “tribal culture” is ruptured from the present. If the former approach suffers from a limiting historicism that imprisons the monument within a preconceived sense of historical and chronological time, the latter reproduces the problem of essentialism, which denies the Naga stone monolith any time. In this article, I challenge the dismissal of these monuments on both historicist and essentialist grounds. I demonstrate that theirformal, scalar, and spatial particularities materialize a monumental form that constantly slips across the border between the secular domain of the war monument and the ritual domain of the Naga stone monolith. This movement across these supposedly separate and opposed domains of practice enacts a plural and layered temporality, which foregrounds monumentality as the ground to engage the lived realities and histories of a borderland region. It also illuminates the political significance of the aesthetic in the Indigenously inhabited and politically contested region amidst its marginalization by the state in postcolonial South Asia.

Background: In 1945 the artist and art collector J. Dubuffet coined the term Art brut for original works by psychiatric inmates that had been created outside of traditions and art movements. In the following decades these works were at the center of negotiation processes in which not only psychiatrists but also exhibition organizers, gallery owners etc. increasingly became involved. Objective: Based on the evaluation of four exemplary pairs of psychiatrists and artist patients (H. Müller-Suur—P. Goesch; M. in der Beeck—E. Spießbach; J. Porret-Forel—A. Corbaz; L. Navratil—R. Limberger), this study explores the field of tension between art and psychiatry after 1945. Material and methods: The results of the subproject "Normal#Crazy Art. Works from a Psychiatric Context between Diagnostics and Aesthetics after 1945" of the German Research Foundation (DFG) research group "Normal#Crazy" (FOR 3031) are based on the evaluation of archival material, estates, interviews with contemporary witnesses and contemporary media. Results: It is shown that different attitudes of the psychiatrists towards "their" artist patients strongly influenced their entry into the art world. In this context, impulses from beyond psychiatry were important in order to expand purely diagnostic views of the works with other approaches. Discussion: The renewed interest in the individual creativity of patients after 1945 can be understood as a reaction to their dehumanization under fascism and National Socialism; however, the focus on the pathologized personality of artist patients could obscure alternative perspectives on their art, just as the disposal of their works by psychiatrists could hinder their dissemination. [ABSTRACT FROM AUTHOR]

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Whiteness as a construct of ideal skin colour was created at the intersection of the visual arts, literature, natural history and medicine (among others). This paper traces the construction of whiteness through four case studies in sixteenth-century Venice and Rome, examining the works of Agnolo Firenzuola, Lodovico Dolce, Girolamo Mercuriale, and Giulio Mancini. It shows that this construct of whiteness was rooted in ancient medical theories of internal equilibrium and by the seventeenth century had been gradually transferred to the external surface. Notions of beauty, gender dynamics and the emergence of colonial and racial ideologies were closely linked to this ideal. In close interaction with medicine, sixteenth-century art played a crucial role in making complexion a central theme in both visual art and art theory, and in establishing a hierarchy through the ostentatious absence of non-whiteness. Depictions of darker skin tones did not appear until the seventeenth century when attention shifted from a colour mixture of red, white and black to a polarity of light and dark. [ABSTRACT FROM AUTHOR]

The article explores the role of conquerors in cultural history, focusing on figures like Alexander the Great and Napoleon Bonaparte. It delves into their impact on art, architecture, and societal structures, tracing the evolution of cultural landscapes from ancient Greece to modern Europe. It reflects on the interplay between power, art, and societal change, highlighting pivotal moments such as the destruction and reconstruction of the Acropolis in Athens.

This is a short review on a subject shared by dermatology and visual art - the centrofacial dermatosis rosacea. From the early renaissance paintings to the New Sobriety of the early 20th century, rosacea has been part of portraits and other types of paintings. This reflects the tight connections of dermatology and visual arts. Furthermore, training in arts can improve dermatological skills. [ABSTRACT FROM AUTHOR]

This article updates the problem of cultural studies as a specific field of humanitarian knowledge. It has been stated that, with a certain similarity in the understanding of the ontology of culture (and in relation to the general boundaries of the problem field of humanitarian knowledge), the knowledge about various aspects of the cultural life of man and society is separated by the existing boundaries of the scientific competence of various social and human sciences, which contradicts the process of understanding the integrity of the cultural phenomenon itself. Cultural studies, learning culture as a whole, already by virtue of this circumstance cannot be a humanitarian science „among others”. This circumstance complicates the process of self-determination of cultural studies as an independent science (including the reflection of its method). Despite the fact that the emphasis on cultural studies as a specific area of theoretical knowledge is recognized by the Humanities, however, the problem of identifying the scientific method, which is associated with the final legitimization of this field of knowledge of culture, has not been sufficiently convincing yet. It is concluded that the Humanities are in dire need of rigor and improvement of their scientific status. With the exception of the descriptive part in these sciences, everything else remains the opinion of individual authors.

The beginning of the 20th century was covered by a new wave of thought, through which women became aware of their rights in society, they became demanding towards everything that was forbidden to them until then, as a manifestation of their personality, as a recognition of their rights to education and a profession. This truth has also become valid for the world of arts, a field in which women, for centuries, have suffered frustration and overt discrimination. The present work aims to particularize some of the basic feminist ideas that have revolutionized contemporary art. Modern artistic currents now learn the unmistakable imprint of the affirmation of feminine creation, despite the discriminations that still persist, despite the prejudices rooted in the consciousness of educators, creators and male art curators. This struggle for affirmation and recognition continued, registering unexpected successes. Well-known creators managed to convey their artistic message to the world and their value to be fully recognized. We can say that feminist ideas in art have managed to change the profile of contemporary artistic creation.

In the carried out research is highlighted the role and contribution of lithography as an original technique of multiplication, which contributed to the development of graphic art. Focusing on the presentation of the technical characteristics, the author pleads for bringing back the interest of plastic artists and graphic design students towards this technique, which offers various possibilities for creative expression. The evolution of lithography in historical circumstances is being traced, as well as its impact in artistic creation, highlighting both the advantages of lithography and its utilitarian and aesthetic role. At the same time, are mentioned the most representative plastic artists who have approached the lithographic technique in their works, which influences and helps the contemporary artist in his own work, marked by the active interaction of technology, science and art. Only by mastering the various techniques professionals will be educated with a developed visual perception and a high creative potential.

slam medeniyetinde erken dönemlerden itibaren Müslümanların siyasi, iktisadi ve sosyal alanlardaki gelişimi ile güzel sanatlara ve özellikle musiki sanatına artan ilgisi arasında bir paralellik olduğu söylenebilir. Musiki ile profesyonel anlamda ilgilenen kişilerin sayısının arttığı ve meşhur musikişinasların yetişmeye başladığı Emevīler (hs. 41-132/661-750) döneminden sonra özellikle ʿAbbāsīler (hs. 132-656/750-1258) döneminde musiki ilminin nazari ve ameli yönüne ilişkin telif edilen eserlerde belirgin bir artış yaşanmıştır. Fāṭımīler döneminde (hs. 297-567/909-1171) de musiki konusundaki bu gelişmeler devam etmiştir. Ancak birçok meşhur musikişinasın yetiştiği ve musiki sanatı açısından önemli gelişmelerin yaşandığı ʿAbbāsīler ile aynı dönemde tarih sahnesinde bulunan Fāṭımīlerin musikisinin ʿAbbāsīlerin gölgesinde kaldığı düşünülebilir. İslam medeniyetinde musikinin tarihsel gelişimine dair yazılmış eserlere genel olarak baktığımızda, kronolojik bir tasnifle Cahiliye döneminden başlayarak her dönemin musiki kültürü ve meşhur musikişinaslarına dair bilgilere yer verildiği görülmektedir. Ancak ʿAbbāsī Devleti’nin zayıflamaya başladığı 10. asırda Kuzey Afrika merkezli kurulup kısa sürede Mısır’ı ele geçirmesiyle İslam dünyasında büyük ses getiren ve tarih sahnesinde kaldıkları üç asırlık süreçte siyasi, dini kültürel ve sosyal hayatta derin izler bırakan Fāṭımīler Devleti dönemindeki musiki kültüründen musiki tarihine dair eserlerde yeterince söz edilmediği anlaşılmaktadır. Yaptığımız literatür taramasında Fāṭımīlerin musiki kültürüne dair kapsamlı bir çalışma tespit edilememiştir. Kanaatimizce bunun en temel gerekçesi ʿAbbāsīlerin halen İslam dünyasının en kudretli devleti olarak varlığını sürdürdüğü bir dönemde ortaya çıktıkları için Fāṭımīlerin arka planda kalması ve Fāṭımīler dönemi musikisine dair kaynakların yetersizliği yahut sınırlı bilgilerin dağınık şekilde farklı kaynaklarda bulunmasıdır. Bu çalışmada öncelikle Fāṭımīler döneminin mimari, güzel sanatlar ve edebiyat gibi alanlardaki durumu kısaca ele alınacaktır. Daha sonra dönemin musiki kültürüne ışık tutmak gayesi ile Fatımi sarayında musikinin yeri ve musikişinasların himayesi, dini merasimlerde musikinin kullanımı, sosyal hayatta musikinin durumu, Fāṭımīler döneminde musiki konusunda yapılan ilmi çalışmalar ve o dönem musikişinaslar tarafından kullanılan çalgılar hakkında tespit edebildiğimiz bilgiler ışığında değerlendirmeler yapılacaktır. Bu çalışmanın temel amacı, İslam medeniyeti tarihinde Fāṭımīlerin musiki sanatı ile olan ilişkisini ortaya koymaya çalışmak ve böylece musiki tarihi açısından Fāṭımīler dönemi hakkındaki boşluğu gidermek noktasında bir katkı sunarak yapılabilecek diğer akademik çalışmalar için bir farkındalık oluşturmaktır.

Building on the extensive production of provenance data recently, this article explains how we can expand the purview of computational analysis in humanistic and social sciences by exploring how digital methods can be applied to provenances. Provenances document chains of events of ownership and socio-economic custody changes of artworks. They promise statistical and comparative insights into social and economic trends and networks. Such analyses, however, necessitate the transformation of provenances from their textual form into structured data. This article first explores some of the analytical avenues aggregate provenance data can offer for transdisciplinary historical research. It then explains in detail the use of deep learning to address natural language processing tasks for transforming provenance text into structured data, such as Sentence Boundary Detection and Span Categorization. To illustrate the potential of this pioneering approach, this article ends with two examples of preliminary analysis of structured provenance data.

This article discusses the third instalment of Ali Smith’s Seasonal Quartet, a work whose complex multi-voiced narrative addresses various important issues including the role of art in the contemporary world. The authors of the article employ two theoretical frameworks, Bakhtin’s theory of dialogism and Vermeulen and van den Akker’s studies on metamodernism, to argue that Smith adopts a dialogical approach to the theme of art. With the help of close reading the authors map the dialogical clashes between the main voices and the semantic positions which are taken in order to demonstrate that the central dialogue presented within the novel is that between postmodern and metamodern sensibilities. Special attention is paid to the character Richard who represents the clear replacement of the postmodern sensibility with a metamodern approach through his semantic position, as is informed by his search for universality in art, his neo-romantic turn to the appreciation of the beauty of nature and his rejection of the postmodern trends that produce superficial and inauthentic forms of art.

This article investigates how DeLillo depicts the impact of 9/11 in Cosmopolis and Falling Man through the antagonistic (intratextual) and oppositional (intertextual) connections between their characters, and then proves the importance of counter-narrative as a means to survive the encounter with communal and private tragedies. To this end, the articles provides a complementary analysis of DeLillo’s characterizations and stylistic choices in Cosmopolis and Falling Man, reading the novels through the lens of DeLillo’s essay “In the Ruins of the Future” (2001), Jean Baudrillard’s Simulacra and Simulation (1981) and “The Spirit of Terrorism” (2002), Jacques Derrida’s Writing and Difference (1967), Slavoj Žižek’s Welcome to the Desert of the Real (2002), and Søren Kierkegaard’s Either/Or (1843). While the two novels offer a Postmodern sublimation of the defining features and challenges of the post-9/11 lost sense of reality, I argue that Kierkegaard’s Modern philosophy is the key to a comprehensive reading of them, as it offers the theoretical ground for a metaphorical leap of faith that grants access to “a higher realm” of acceptance, overcoming the feeling of bewilderment and alienation in the aftermath of the late modern age.

Dans cet entretien, Eugénie Péron-Douté évoque le parcours remarquable de l’artiste iranien Omid Dashti, installé à Bruxelles, qui se dit « réfugié » plutôt qu’exilé, évitant ainsi toute stigmatisation liée à la migration.

Everyday aesthetics, at its core, is based on the supposed dichotomy between art and life, considering life as something routine-like, and art as the breaking of the routine, something charismatic. Different authors of everyday aesthetics use different words to describe this dichotomy. For example, in his article “What is ‘Everyday’ in Everyday Aesthetics?”, Ossi Naukkarinen simply uses everydayness and non-everyday-like, while Arto Haapala, in his “On the Aesthetics of the Everyday: Familiarity, Strangeness, and the Meaning of Place” uses the terms familiarity and strangeness. The authors also propose different ways of bridging this dichotomy. However, as the paper shows, the real question is not how to bridge the dichotomy itself but rather whether the dichotomy exists in the first place. Moreover, the paper suggests a change of direction in future investigations of everyday aesthetics, and focusing on the nuances that exist on the routine-charisma and charismatic-routine spectrum, supported by academic research and the personal account of the paper’s author art project. Moreover, the implications of this shift extend beyond the boundaries of everyday aesthetics.

ABSTRACT: The objective of this article is to question all the artistic representations of the Harraga phenomenon through the issue of otherness, a phenomenon that is accompanied by representations and discourses accentuating the sense of commitment of gratitude towards these young victims of drifting societies and highlighting the magnitude of the subject. Besides these aspects, the desire for exodus can be read from a double anthropological and psychological perspective: if the young Harraga flees his country for a better future, if the refugee aspires to peace by moving, the artist expresses his exodus by leaving the real world for the virtual in search of truths and possible meanings through indirect and rhetorical means, romantic, allegorical and pictorial dimensions that incite reflection. RÉSUMÉ : L’objectif de cet article est celui d’interroger l’ensemble des représentations artistiques du phénomène des Harraga au travers de la problématique de l’altérité, phénomène qui s’accompagne de représentations et de discours accentuant le sens de l’engagement faisant œuvre de reconnaissance envers ces jeunes victimes de sociétés en dérive et mettant en exergue l’ampleur du sujet. Outres ces aspects, le désir de l’exode se lit selon une double perspective anthropologique et psychologique: si le jeune Harraga fuit son pays pour un avenir meilleur, si le réfugié aspire à la paix en se déplaçant, l’artiste exprime son exode en quittant le monde réel pour le virtuel à la recherche de vérités et de sens possibles par des moyens indirects et rhétoriques, des dimensions romanesques, allégoriques et imagées qui incitent à la réflexion.