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В статье анализируется философско-мировоззренческое понятие «дух времени» в контексте научного диспута французского постструктуралиста Лиотара и немецких ученых — Юргена Хабермаса, Тильмана Борше, Манфреда Франка. Повествование включило обзор отдельных философских работ, которые имеют большое значение для развития художественной теории постмодерна. На примере кураторского замысла интернациональной выставки «Дух времени» («Zeitgeist», 1982, ФРГ, Берлин) выявлена идейная и образная основа «духа времени», связанного с принципами восприятия классического наследия в искусстве постмодерна. Сделана характеристика крупных произведений художников Йозефа Бойса, Зигмара Польке, Георга Базелица и др. Обоснован вывод о реконтекстуализации самого понятия «дух времени» в эпоху постмодерна. Данная работа выполнена с использованием иконографического и семиотического методов искусствоведческого анализа.

This paper presents a novel method based on the logic of the criminal approach, which we have called 'guest book investigation.' The aim is to uncover a unique, immersive story that can be used in people-centered heritage communication. We provide eight research steps (recording of clues, gathering of physical evidence, focused questioning, making enquiries of key informants, finding new evidence trails, data analysis, theoretical reconstruction, scene and incident reconstruction), with recommendations, to arm researchers for the investigation. The novelty of this method is its immersion in a rich pool of evidence and consequent potential to reveal unique, evocative cues which can be leveraged in brand architecture. While the contribution of this paper is mostly methodological, it also has practical value as a means to evoke the past and draw visitors into the atmosphere of a heritage attraction and – literally – to make its spirit of place tangible. We applied the guest book investigation method to the 1948–1956 entries in the guest book of the historic four-star Continental Hotel in Budapest, Hungary. An example of an entry-specific 'cold case' reconstruction is provided and the managerial implications of using guest book entries are discussed. [ABSTRACT FROM AUTHOR]

Copyright of Arquitectura + is the property of Revista Arquitectura + 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.)

El Art Déco, es un estilo complejo porque tiene muchas manifestaciones y variaciones en el mundo, y que, por ser poco descrito al hacer referencia a este, se propicia una generalidad sobre el estilo, y al final este hecho implica confusión. En consecuencia, resulta importante estudiarlo desde su manifestación y las variaciones en relación de su aspecto. El estilo Art Déco ha tenido una influencia importante dentro de la arquitectura mundial, no solamente por las características visuales que esta muestra o por el momento histórico donde apareció, sino, por su posibilidad de adaptarse al espacio donde se hubiese manifestado, pudiendo absorber distintas culturas o formas de decoración mostrando una riqueza particular del estilo. Por lo cual, se ha elegido hacer el análisis de construcciones que cuentan con una categorización de bien patrimonial dentro del territorio de la ciudad de La Paz-Bolivia, lo cual, sitúa a este artículo en un enfoque cualitativo, para luego, metodológicamente hablando; buscar la suficiente información bibliográfica general en cuanto al estilo, sus características y después cómo han sido catalogadas las arquitecturas por distintos autores de renombre del territorio boliviano. Posteriormente estos conocimientos permiten determinar las particularidades en cotejo con entrevistas desarrolladas a especialistas, lo cual acentuó la elección de los 3 edificios más representativos del territorio de La Paz para análisis por las diferencias en acabado de fachada que estas obras presentan, donde una de estas obras arquitectónicas es elegida para generar un análisis compositivo, espacial-funcional y de acabado ornamental, esta elección específica del último edificio es particular respecto de su tipología de edificio y el acabado mismo de la arquitectura que muestra una forma diferente de Art Déco, que incluso puede generar una nueva variante de manifestación de estilo.

This essay investigates the way in which architecture is communicated in the postdigital era. Digital collages, created from photographs taken by so-called cyberflâneurs with their smartphones and reinterpreted through current smartphone applications, were the architectural representations under the spotlight. Generation Z architecture students were assigned the role of the cyberflâneur; a flâneur being defined as someone experiencing urban space on their own terms, 'cyber' referring to the flâneur’s instrument, the smartphone. Drawing and design are explored through the triad of hand, mind and smartphone. The visual artefacts being communicated are buildings in central Pretoria and Johannesburg, South Africa and in Maputo, Mozambique, from a list based on a compact urban typology built either 50- or 100-year-ago. The imagery on the screen of the smartphone becomes the lens through which we experience reality. The quality and complexity of the digital collages are telling of our zeitgeist; patterns and algorithms can be traced. Technology provide us with the tools to connect us to a synchrony that is the pulse of global culture. The graphic analysis of the visual material produced by the cyberflâneurs propagates zeitgeist as a major contributor to architectural expression by tracing a universal synchronicity.

Objectives In this text, we are interested in two opposing processes inherent in functioning in the technological reality. The first of them is the anthropomorphization of machines, hence we problematize its causes and social consequences, on the other hand, the subject of our interest is the opposite phenomenon - actually absent in theoretical reflection, which is the technomorphization of man. Material and methods The article is of a meta-theoretical nature, and its aim is to systematize knowledge about the anthropomorphization of machines, its causes and effects, as well as to define the concept of human technomorphization, to show the manifestations of technomorphic thinking, as well as the resulting consequences. Results We anthropomorphize machines to minimize fears towards them, tame the unknown and incomprehensible. More and more often we feel Promethean shame towards them, which alienates us from the products of our own work. Although we are delighted with the possibilities of technology, the potential for self-improvement, we forget how inhumanly imperfect it makes us at the same time, how much it takes away our agency, decision-making, reflectiveness and criticism. Conclusions Technomorphic man, although effective, is at the same time less and less human, less and less human. Through preoccupation with his own effectiveness and reliability, he becomes an emotional zombie. In focusing attention on efficiency, we forget that we are not machines and to survive we need to be people, to be with people, to allow our own fragility and imperfection.

The study explores the semiotic significance of late 19th to early 20th-century Romanian banquet menus, transcending culinary functions to convey broader societal messages. By examining thirty menus from Romania and Austro-Hungarian Romanian-speaking Transylvania, predominantly sourced from newspapers, it reveals banquets as platforms for political and social expression. Written in Romanian or French, these menus serve as conduits for political opinions, declarations of friendship or enmity, and expressions of pride or despair. Intentionally published in newspapers, they reflect a society valuing freedom of speech and exhibit a discernible discursive character, treating food as intellectual nourishment. The coverage of banquets in newspapers offers glimpses into contemporaneous events and personalities, serving as historical documents shedding light on overlooked events and individuals. Through the examination of these menus’ meanings, researchers gain insights into forgotten personalities and societal dynamics, illustrating the enduring cultural significance of food beyond mere sustenance. [ABSTRACT FROM AUTHOR]

The article considers the concepts of Genius Loci and Zeitgeist and shows the contradictions between these two aspects and their influence on the development of architecture. It is concluded that the predominance of the Genius of Place forms a gravitation towards sedentarisation and diversity of local architectural forms. The predominance of the Spirit of the Time stimulates the development of uniform international architectural styles that ignore the peculiarities of landscape and scenery. During the twentieth century, the development of architecture was mainly shaped by the Spirit of Time, which gave rise to a multitude of “small styles”, each of which aggressively claims a dominant, monopolistic role on a global scale, but actually exists for a very short time and is quickly replaced by the next fashionable style, equally short-lived. The last “big” style built on a deep philosophical and attitudinal basis is the style of “brutalism – deconstructivism”, which was able to achieve a balance between the Genius of Place and the Spirit of the Time.

Copyright of Journal of Modern Science is the property of Alcide De Gasperi University of Euroregional Economy 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.)

In recent years, the slogan 'no future' has been used to illustrate punk ideology, focusing on notions of nihilism, pessimism and anxiety against the backdrop of various crises. It has also been interpreted as emblematic of a certain temporality typical of the years after the post-war boom. However, the meaning of 'no future' in and for punk cultures is rarely explored in detail – a gap this article seeks to address. It conceptualizes 'no future' as a central chronotype of punk, manifesting in various forms. Providing close readings of the exemplary punk songs 'Now I Wanna Sniff Some Glue' by the Ramones, 'London Calling' by the Clash, and 'Deutschland' by Slime, the article explores three such forms: presentism, choosing the present over the future; dystopia, detailing a negative future; and negative solution, calling for the negation of a certain aspect of the present. In doing so, the article shows the plurality of meanings of 'no future' in punk and points to further research to be conducted on the time culture of punk. [ABSTRACT FROM AUTHOR]

Since the start of the new millennium, there has been a marked turn in nutrition-related ethnographic research in Hungary. Following the reconstruction of the historical and regional processes of change in Hungarian dietary traditions, professional attention has increasingly shifted towards the present day. In this study, I first summarize the most important aspects of contemporary gastronomy and the respective research opportunities, before exploring the question of the relationship between contemporary food culture and public catering for children. The conclusion reached is that public catering for children and the food on offer in school canteens cannot be discussed without an understanding of the changes taking place in contemporary food culture, which in turn cannot be understood without taking into account contemporary social and cultural developments. Until the slowly changing culture of public catering becomes more closely aligned with the rapid changes in eating at home and in restaurants, fewer and fewer children will make use of school canteens, and where they do, they will barely touch the food but prefer to go hungry. [ABSTRACT FROM AUTHOR]

El zeitgeist de nuestro tiempo se identifica por su carácter mediatizado, anteponiendo y construyendo realidades virtuales que conforman nuevos modos de relacionarnos con los objetos; antes inertes y ahora inteligentes e interconectados. ¿Es posible concebir la arquitectura como un vector que incide y pone en crisis el zeitgeist? La ontología orientada a objetos propone romper con la idea de correlación sujeto-objeto para pensar los objetos como un actante más dentro de un mundo de actantes humanos y no humanos. De aquí surge también el concepto de Hiperobjeto, acuñado por Timothy Morton, y el llamado a activar un ciclo de recuperación de nuestro planeta a través de esta nueva ontología. El trabajo propone la categoría de Hiperproyecto, como propuesta reparadora en el Antropoceno, buscando evitar la abyección de la solidez perturbadora y consecuente del desdoblamiento de la realidad en la virtualidad.

In this text we analyze the songs "Círio no exílio", by Nilson Chaves and Jamil Damous and "Vela", by the band Madame Saatan. They share a common theme, that is, Círio de Nazaré, the biggest religious event of the Amazon and Brazil, which happens in Belém-PA. Understanding such compositions as discourses that communicate different modes of understanding and experience made possible by the Nazarene festivity, the main methodology used for the construction of this work is the interpretive anthropology of Clifford Geertz. Analyzing, therefore, not only "from" these works, but, mainly, "with" them, we interpret the experiences, images, imaginaries and zeitgeists that such songs communicate. [ABSTRACT FROM AUTHOR]

Leading culturologist Vladimir Paperny, author of the book Culture Two, and Maya Turovskaya, a well-known film critic and co-author of the documentary film Ordinary Fascism, created a joint project in 2008 dedicated to a comparative analysis of Soviet and American cinema of the 1930s-1940s of the XX century. After the death of Turovskaya in 2019, Paperny continued his research, expanding its chronological framework to the thaw era. A comparison of the two film traditions revealed amazing overlaps in plots, cultural mythologies, and even frame construction. Comparing The Wizard of Oz with Cinderella, the author comes to important observations about how the similarity of social processes taking place in both countries gave rise to sometimes opposite ideological messages embedded in the compared pictures. Serious culturological analysis of the films of the USA and the USSR in the context of the dramatic era is combined in the book with memories of the fascinating collaboration between Vladimir Paperny and Maya Turovskaya.

The body of American literature is rooted into the demographics of its geographical location and thus serves as a documentation of its cultural, societal and political evolution throughout the course of its history. The notion that everyday work of literature is influenced by or does influence the spirit of the era it has been produced is the point of research in the current research paper. For the purpose of literary mapping of the period-specific cultural zeitgeist in American literature of the twentieth century, the analytical tool of Zeitgeist developed by Krause (2019) alongside the literary research paradigm of "New Historicism" is employed. The research proceeds in the domain of the scholastic mapping of war, illness, drug intoxication and religion and sexuality in American literature. The research is carried out through the content analysis of fictional narratives published in every decade of the twentieth century that hail from a diverse range of authors. The current research endeavors to provide a comprehensive account of the evolution of cultural zeitgeist in the American society from the Jazz Age to the Zeitgeist of Change to the postmodernist extravaganza and the disillusionment until the end of twentieth century. [ABSTRACT FROM AUTHOR]

This article attempts to figure out the intellectual relation between Freud and Foucault. A review of Foucault's critique on Freudian psychoanalysis at the different stages of his life shows that Foucault's attitude toward Freud was not simply one of rejection, but one that went through a dynamic process "from attachment to rebellion and, eventually, reconciliation." In his early years, Foucault supported Freud's theory on the interpretation of dreams, while his critiques of Freud focused on the class nature of psychoanalysis and its influence on modern family structures. Later on, however, Foucault's examination of the technologies of the self went back to Freud's diagnosis of modern civilization. By focusing on their respective social milieu, the article also intends to argue that the practical probe into the issue of "man's development," conducted in France during Foucault's time, the 1960s, was a reincarnation of that fin-de-siècle Zeitgeist, so as to further cultivate the relation between Foucault and Freud. [ABSTRACT FROM AUTHOR]

Copyright of Sanat ve Tasarim Dergisi is the property of Ankara Haci Bayram Veli University 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.)

Die österreichische Autorin Judith Nika Pfeifer rezensiert für die MEDIENIMPULSE den Katalog Miranda July, der einen Überblick über das facettenreiche Schaffen der gleichnamigen Künstlerin gibt. Medienübergreifend und in den verschiedensten Künsten aktiv wird July darin nicht nur in der Vielfältigkeit ihres Schaffens erfahrbar, sondern auch als Vertreterin einer neuen Generation, die Eigenwilligkeit offen zelebriert. Pfeifer führt anhand der Publikation anschaulich durch das Werk von Miranda July und sensibilisiert auf literarische Weise für die Kontexte, Brüche und Kontinuitäten ihrer bislang vorliegenden Arbeiten.

Copyright of Ethos (0860-8024) is the property of John Paul II Institute, Faculty of Philosophy, John Paul II Catholic University of Lublin 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.)

This world of ours has been passing through such a time, where owing to Covid- 19, there are great anxieties, agonies, pains and pangs in the heart and soul of everybody. There is chaos everywhere. None and nothing is certain. Directly or indirectly, people throughout the world have been so badly affected by it that they are crying for their existence. Here, through this paper, is to see whether a literati like K. V. Dominic can remain aloof from reflecting the trauma of Covid- 19 in his creation, and how his poetry collection Musings on Covid Pandemic and Beyond (2021) presents the zeitgeist of Covid-times. What covid is to him--good or bad is a matter of consideration too. Generally, a Litterateur is also the part of this world so s/he could not remain untouched from his/her society and his/her literature mirrors the society. Theory of ‘butterfly effect’ is common to all. Such is with literature too. Even though a small incident shakes the hearts and souls of the each and every writer so greatly that it becomes the core of his/her creations. As a result during this Covid times, hundreds of books dealing with banes and boons of Covid-19 were written in various genres in various languages not only in India but also in distant countries. Hence, an attempt has been taken to trace out trauma as touchstone in Dominic’s poetry collection Musings on Covid Pandemic and Beyond (2021). [ABSTRACT FROM AUTHOR]

Neste artigo faz-se uma análise comparativa entre «Uma casa», do escritor brasileiro Moacyr Scliar (2000) e os contos dos autores espanhóis: «La casa vacía», de Juan José Millás (2008) e «A casa cega», de David Roas (2017). O objetivo é revelar a vigência de um aspecto universal da narrativa fantástica quanto ao trabalho que tais escritores fazem com recursos estruturais e temáticos, movidos pelo mesmo zeitgeist, a despeito das singularidades estilísticas. O embasamento teórico reside tanto em estudos fundadores do fantástico literário conforme Todorov (1970), Bessière (1974), Furtado (1980), Rodrigues (1988), como em significativos conceitos atuais de García (2013), Roas (2014), Bellini (2017), ademais de considerações fenomenológicas de Bachelard (1988), verbetes de símbolos de Chevalier e Gheerbrant (1990), pressupostos de Bauman (2001), Candido (2004), Carvalhal (2006). En este artículo se hace un análisis comparativo entre «Uma casa», del escritor brasileño Moacyr Scliar (1937-2011) y los relatos de los autores españoles: «La casa vacía», de Juan José Millás (1946) y «A casa cega». , de David Roas (1965). El objetivo es revelar la vigencia de un aspecto universal de la narrativa fantástica sobre el trabajo que estos escritores realizan con recursos estructurales y temáticos, impulsados ??por el mismo zeitgeist, a pesar de las singularidades estilísticas. La base teórica reside tanto en los estudios fundacionales del fantástico literario según Todorov (1970), Bessière (1974), Furtado (1980), Rodrigues (1988), como en importantes conceptos actuales de García (2013), Roas (2014), Bellini (2017), además de consideraciones fenomenológicas de Bachelard (1988), entradas de Chevalier y Gheerbrant (1990), supuestos de Bauman (2001), Candido (2004), Carvalhal (2006).

Copyright of Porównania / Comparisons. A Journal on Comparative Literature & Interdisciplinary Studies is the property of Adam Mickiewicz University Poznao, Press of "Poznanskie Studia Polonistyczne" 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.)

I ovaj ćemo Bijenale, kao i nekoliko prethodnih, pamtiti po, kako je naveo jedan kritičar, „raskoraku između filozofske i teorijske dimenzije i banalnosti samog rezultata...” koji je „... toliko velik da se djelo čini apsurdnim.” I doista, između retorike umjetnika, ovogodišnjeg izbornika i samih djela na izložbi, zjapi praznina neusklađenosti. O izložbi ćete malo i ništa doznati iz tumačenja izbornika Ralpha Rugoffa, tek njegove motive koji su ga opredijelili za zanimljiva vremena i pripadnu umjetnost. Uopće ne morate znati za temu i pratiti teorijske sofisterije izbornika da biste pristupili djelima, ali to još i nije najveći problem izložbe. Mala količina doista upečatljivih djela ono je što zabrinjava u mnoštvu izlože- noga. S druge strane, izgubivši centar, baš kao i periferiju (ili možemo obrnuti: sve je danas centar i sve je periferija), suvremena je umjetnost, svjedoči to i Bijenale, izgubila i žarišnost koja je nekada emanirala iz središta događanja, iz jezgre pojave. Potiranje središta i periferije prouzročilo je situaciju u kojoj danas doista nijedna umjetnička pojava, grupa ili pojedinac nisu gravitacijska sila koja privlači ili emanira, a „duh vremena” tek je podsjetnik na prošlo svršeno vrijeme koje se ne vraća, čak ni periodično.

This article analyzes Britain's theatrical contribution to the First World Festival of Black and African Culture, held in Dakar, Senegal, in 1966. Involving key structures of the liberal cultural establishment, such as the British Museum, the BBC, and the nascent Arts Council, Britain's contribution to Dakar '66 was symptomatic of a post-war zeitgeist shaped by decolonization, race relations legislation, and the ongoing sociocultural dynamics of Empire. The article draws on the previously unseen archives of the Negro Theatre Workshop (founded by Trinidadian-born cultural activist Pearl Connor-Mogotsi in 1961) held at the George Padmore Institute in London. The workshop's jazz adaptation of St Luke's Passion connects the pan-African ethos of this major cultural event on the African continent to local political and cultural debates concerning race relations and the Windrush generation in London. Such North-South encounters are less documented than the transatlantic and inter-African cultural exchanges that dominate existing scholarship on pan-African festivals and black internationalism. As such, the article contributes a fresh transnational and translingual dimension to the current understanding of early black British cultural production, its lived, pan-African dimensions, and its institutional contexts in the mid-twentieth century., Pan-African festivals on the African continent have become a critical focal point for scholars from a range of disciplines in recent years. These events and their multimedia archives reveal the [...]

Vladimir Paperny's two chapters from a future book include memoirs of his collaboration with the late film critic, cultural historian and the coauthor of the internationally acclaimed documentary "Ordinary Fascism" (1965) Maya Turovskaya (1924-2019). It also includes a transcript of his dialog with Turovskaya on the similarities between Soviet and American films of 1930s-1940s.