SWS International Scientific Conferences on ART and HUMANITIES - ISCAH最新文献

{"title":"WILLIAM BLAKE�S AESTHETICS IN THE MYTH OF THE ANCIENT BRITONS","authors":"G. Dimitrakopoulou","doi":"10.35603/sws.iscah.2022/s10.16","DOIUrl":"https://doi.org/10.35603/sws.iscah.2022/s10.16","url":null,"abstract":"William Blake�s aesthetic vision of the secular world is based on divine inspiration. In the myth of The Ancient Britons, he discusses the three aesthetic categories of the sublime, the beautiful and the ugly. These establish his theory of art, which is based on Jesus the Imagination. The sublime, the beautiful and the ugly are forms indicative of gradations of divine influx in every individual. In this sense, the myth explicitly describes and distinguishes the three aesthetic categories that shape the secular and eternal human existence. It also concerns art and the role of the artist. Art is imagination and communication, and the artist is the inhabitant of that happy country of Eden. [1]. The artist is motivated by creative imagination, whose aesthetic quest starts from divine inspiration and ends in eternity. The true artist is the man of imagination, the poetic genius and the visionary aesthete. For Blake, imagination is a sublime force, the major aesthetic category of his vision and relates to the Strong man of The Ancient Britons. In addition, beauty is a distinct aesthetic category essential and supplementary to the formation of the Sublime of Imagination, Jesus incarnated, the archetype of Blake�s Strong man. He [Blake] distinguishes the three aesthetic categories of the sublime, the beautiful and the ugly by their actions, which define man. As he claims: �The Beautiful man acts from duty, whereas The Strong man acts from conscious superiority, and The Ugly man acts from love of carnage.� [2]. \u0000Starting from the conviction that antiquity and classical art provided obsolete models for emulation, Blake concluded that since the mathematic form is not art, it should not be the rule of the English eighteenth century art. Gothic, which is the living form, represents the union of the secular and divine worlds. The gothic artistic style is the incarnated Jesus, the Sublime of Imagination, Blake�s aesthetic apex, that is the supreme aesthetic category of his vision. The sublime and the beautiful are not contraries. They are supplementary aesthetic forms which contribute to the understanding of art. Beauty and intellectuality identify. Moreover, beauty is the power, the energizer of the true artist. Who is the human sublime? He is �The Strong man� who acts from conscious superiority, according to the divine decrees and the inspired, prophetic mind. Who is �The Beautiful man�? He is the man who acts from duty. Lastly, �The Ugly Man� is the man of war, aggressive, he/she acts from love of carnage, approaching to the beast in features and form, with a unique characteristic, that is the incapability of intellect. [3]. \u0000Undoubtedly, Blake�s aesthetic vision presents many difficulties in interpretation. In my opinion, the sublime is not an aesthetic category and/or a mere value that Blake uses randomly without artistic reference. His aestheticism is secular and aspiring to perfection. The secular sublime, which describes the fallen human state, suggests","PeriodicalId":187162,"journal":{"name":"SWS International Scientific Conferences on ART and HUMANITIES - ISCAH","volume":"81 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2022-12-20","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"126932422","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}

{"title":"ECO-SCIENCE RELATED TOPICS IN THE LITERARY OPUS OF CRISTINA CAMPO","authors":"Višnja Bandalo","doi":"10.35603/sws.iscah.2022/s10.18","DOIUrl":"https://doi.org/10.35603/sws.iscah.2022/s10.18","url":null,"abstract":"This paper innovatively analyzes cultural intersections between the literary oeuvres of modern Italian writer Cristina Campo and the topics pertaining to ecocriticism, together with concomitant digital aspects thereof. The paper explores transversally across her work the elements of eco-literature, as well as interdisciplinary convergences in the light of environmental science with a particular focus on the envisionment of diachronic examples and other external intertextual elements in the contemporary era. The interest of this paper is in theoretical exegesis and correlated eco-poetical descriptions of Campo's writings, but also in analogous articulation concerning the global sphere of comparative literature. Likewise, the paper thematizes such compositional and expressive literary characteristics of Campo's opus highlighting idoneous ecopoiesis in the same epoch present in the philosophical domain, as well as in social disciplines and natural sciences, thereby creating a multicultural plurality of perspectives. Furthermore, it induces conceptual and compositional branching regarding literary genres by focusing from an ecopoietic standpoint on Campo's environmentally themed essayism and all other narratives, including the protoliterary nature of eco-related epistolary notes. The lyricism is envisaged too, by taking into consideration literary implications of ecopoetry, also in relation to actual and potential cultural models (Emily Dickinson, William Carlos Williams, Thomas Stearns Eliot, Marianne Moore etc).","PeriodicalId":187162,"journal":{"name":"SWS International Scientific Conferences on ART and HUMANITIES - ISCAH","volume":"14 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2022-12-20","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"124240790","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}

{"title":"ERWIN PANOFSKY�S ICONOLOGY AND THE ANALYSIS OF MUSICAL COMPOSITION: ON SEARCHING NEW SEMANTIC STRATEGIES","authors":"Elena Rovenko","doi":"10.35603/sws.iscah.2022/s08.08","DOIUrl":"https://doi.org/10.35603/sws.iscah.2022/s08.08","url":null,"abstract":"The paper offers a renewed interest for Erwin Panofsky�s iconology, which consists of the applying of this concept and analytical method to musical art per se. Although Panofsky himself did not intend to introduce his methodology into the sphere of music, he establishes correlations between some musical compositions and painting. Thus, Panofsky felt the presence of certain general laws of the formation of structure of the artistic whole in painting and music. In terms of iconology, music, like painting, presupposes the original hermeneutic algorithm, which consists of three steps. Firstly, the �purely formal perception� generates the factual meaning and consists of primary ordering of expressive means and unconscious establishing of their relations; and the �emphatic� perception produces the expressional meaning that is induced by the modality of an artwork and properties of expressive means. Secondly, the intelligible signification depends on conventional meanings assigned to expressive means. Thirdly, the aesthetic synthesis depends on an author�s intention, causes the content and consists of considering each of constructive and expressive means (strokes, color areas, lines, sounds, chords, modes) as a sense-generating unit. In the same epoch and in the same style these units have the equal intentional characteristics within the boundaries of a concrete art because of transmitting the same symbolic values (Ernst Cassirer) relating to space, time, mentality and world perception. This paper presents the applying of this three-step algorithm to musical artworks in total.","PeriodicalId":187162,"journal":{"name":"SWS International Scientific Conferences on ART and HUMANITIES - ISCAH","volume":"64 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2022-12-20","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"117001752","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}

{"title":"ARTIFICIAL INTELLIGENCE APPLICATIONS IN VISUAL ART � CAPABILITIES, PERSPECTIVES AND LIMITATIONS","authors":"Janusz Morajda","doi":"10.35603/sws.iscah.2022/s08.07","DOIUrl":"https://doi.org/10.35603/sws.iscah.2022/s08.07","url":null,"abstract":"Nowadays artificial intelligence (AI) enters almost all aspects of human life. AI, undergoing dynamic development thanks to a rapid progress in computer and information technology, delivers powerful algorithms that more and more replace humans and their natural intelligence in a great many tasks, like natural language processing and understanding (NLP), forecasting, speech recognition, pattern identification and classification, image understanding, work automation, and many more. But what about art? Can AI replace natural human creativity, can it design and make outstanding artworks? \u0000The paper, generally answering �yes� to above mentioned questions, shows also both perspectives and limitations of AI possibilities in this domain. It presents the selected, important aspects of AI application in visual art, concentrating on: introducing AI tools (especially Generative Adversarial Neural Networks) used in AI-supported image creation, analysis of development of AI-based art perceived as a new direction in contemporary art, and presenting examples of AI artworks. Author�s propositions and considerations concerning future AI-based art tools development, together with analysis of their limitations (with reference to some currently considered philosophical aspects concerning AI) are presented. Finally, author proposes a kind of Turing test dedicated for AI-based visual art.","PeriodicalId":187162,"journal":{"name":"SWS International Scientific Conferences on ART and HUMANITIES - ISCAH","volume":"21 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2022-12-20","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"120930251","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}

{"title":"HIDDEN FINE ART WITH IR COLORANTS","authors":"Jana Žiljak Gršić, Lidija Tepes Golubic, Sanda Stanacev Bajzek","doi":"10.35603/sws.iscah.2022/s08.10","DOIUrl":"https://doi.org/10.35603/sws.iscah.2022/s08.10","url":null,"abstract":"We are surrounded by video surveillance cameras that register separately in two light areas: visible to our naked eye - Red, Green Blue record and near infrared record (NIR � Z). In this article, we present quantitative data on the measurement of light absorption for fine art colorants. We expand the theory and practice of Infrared Art by giving examples of artists who paint so-called \"infrared pictures\" as a new, different creation of a work of art, a new expressive possibility that the artist adapts to his artistic nature, that is, to his expression, and by no means as a new technological possibility to which he will subordinate himself and his art. Infrared Art is a completely new method of creating works of art with regard to the infrared area, that is, it is a discovery and a technology that allows us to create and reproduce works of art with full control over the management of dual images and messages that can be communicated through images, via information that is visible and invisible to the eye. The increasing interest in the question of colors and colorants and their physical properties encourages us not to keep Infrared Art, that is, infrared technology, in the sphere of experiments, but to make maximum use of its applicability in all aspects of visual communication and information communication.","PeriodicalId":187162,"journal":{"name":"SWS International Scientific Conferences on ART and HUMANITIES - ISCAH","volume":"18 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2022-12-20","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"129391338","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}

{"title":"THE SEARCH FOR AN APPROACH TO CZECH LITERARY HISTORY IN IGOR HAJEK�S CONCEPT","authors":"K. Slamová","doi":"10.35603/sws.iscah.2022/s10.22","DOIUrl":"https://doi.org/10.35603/sws.iscah.2022/s10.22","url":null,"abstract":"This paper focuses on the field of literary history in order to show what approach to the historiography of Czech literature was taken by the representative of Czech exile literary criticism, Igor Hajek. The context which Hajek entered during his study stays in the USA and Great Britain, and later in exile, was the reception horizon of the late 1960s, when the events of the �Prague Spring� attracted the attention of the West and turned attention to the Czech liberalisation movement, in which literature played a significant role. Hajek assumed the role of a mediator of the fundamental values of Czech literary production to the Western audience from the position of an expert in the Anglo-American cultural environment and Czech and foreign literary approaches. \u0000The specificity of his perspective is due to the fact that he tried to present the image of Czech national literature with respect to a non-Czech reader and that he aimed to clarify the main features of the development of Czech literature to international students and readers. The paper presents the conclusions of the analysis of Hajek�s literary-historical essays, which show that Igor Hajek relied mainly on the views of Arne Novak, a Czech literary historian and critic. The paper further assumes that Igor Hajek, due to his background in English studies, methodologically drew on some of the approaches that were being promoted in the West in his time and notes the connections between Hajek�s methods and the methodologies these approaches are based on.","PeriodicalId":187162,"journal":{"name":"SWS International Scientific Conferences on ART and HUMANITIES - ISCAH","volume":"48 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2022-12-20","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"124301870","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}

{"title":"COLLOCATION IDIOMS WITH A COLOUR COMPONENT IN TEACHING STUDENTS OF CZECH LANGUAGE FOR FOREIGNERS ON THE LEVEL OF THE INDEPENDENT USER","authors":"Renee Grenarova","doi":"10.35603/sws.iscah.2022/s11.25","DOIUrl":"https://doi.org/10.35603/sws.iscah.2022/s11.25","url":null,"abstract":"Background: Phraseology is a result of the life knowledge, folk wisdom of entire generations. It is a part of the spirit and material culture of each nation. As scientific discipline research idioms, which represents specific type of established vocabulary characterized by expressiveness, imagery and stability. Idioms have an irreplaceable place during adoption of communicative language competence, especially within its sociocultural and semantic field. Ignorance of idioms could lead to misunderstandings or incomprehension of certain communication situation among native speakers. The colors are all around us and they attract human attention for several thousand years. It is therefore logical, that color symbolism is projected in speech practice. Methods: Correct and fluent understanding is completely impossible without mastering a sufficient number of idioms, especially those, which belong to the phraseological core of the given language. First of all, we define the term collocation phrase and color, we conduct characteristics of color symbolism on example of chosen essential colors, and lastly we perform semantic analysis of selected collocation phrases with the color component in the Czech language. In the next part we focus on options of teaching the symbolism of colors in idioms as part of regular Czech language courses for foreigners according to the CEFR at the language level for an independent user. We present suggestion for possible didactic procedure � so-called phraseological five-minute plays. Results: Collocation idioms have positive influence on speech culture, emotionality and imagery of expression in both mother tongue and foreign language. Via these idioms is implemented during foreign language lessons dialogue of cultures. It is presented possibility of idioms usage with color components, such as white horse, black sheep, blue blood and others, within the process of learning the Czech language as a foreign language. Conclusions: Presentation of chosen results of the questionnaire named Colours around us, which was conducted in the April 2022. The respondents were students of the intensive Czech language course for foreigners on the Masaryk institute of advanced studies in Czech Technical University in Prague.","PeriodicalId":187162,"journal":{"name":"SWS International Scientific Conferences on ART and HUMANITIES - ISCAH","volume":"47 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2022-12-20","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"123609015","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}

{"title":"PAVEL SRUT AND HIS MR NOVAK AS A SAMPLE OF CENTRAL EUROPEAN CHARACTER","authors":"M. Pilař","doi":"10.35603/sws.iscah.2022/s10.21","DOIUrl":"https://doi.org/10.35603/sws.iscah.2022/s10.21","url":null,"abstract":"Pavel Srut (1940-2018) was a representative of a young generation of poets in the golden 1960s. After the invasion of the Warsaw Pact troops (1968), he stayed in Czechoslovakia but could only publish in samizdat and exile. During the period of strict neo-Stalinist censorship (1969-1989), Srut continued to write, more for himself and for a vaguely anticipated future readership. He followed the tradition of the Central European absurdity, which we know from the work of Franz Kafka. One of the highlights of Srut�s poetic work is considered to be his last published collection, Paper Shoes (2001). The character of Mr N. is called Mr Novak for a while. Even his resemblance to Newton and Noah is mentioned. Sometimes he is a kind of Mr Nobody (or Mr No Name), a strange being without a surname or identity who manages to survive the absurdity of Central European history by existing but, at the same time, living in a way that is not worth mentioning. Translations of Pavel Srut�s poems appeared individually in several European journals. A selection of his late poetry was published in the US in 2009 (including the collection Paper Shoes). It seems to be an example of regionally and historically grounded Central European poetry that has a chance of reaching a broad global audience.","PeriodicalId":187162,"journal":{"name":"SWS International Scientific Conferences on ART and HUMANITIES - ISCAH","volume":"4 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2022-12-20","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"115094439","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}

{"title":"WILLIAM BLAKE�S: THE BOOK OF THEL. THE AESTHETIC VERSUS THE USEFUL?","authors":"G. Dimitrakopoulou","doi":"10.35603/sws.iscah.2022/s10.23","DOIUrl":"https://doi.org/10.35603/sws.iscah.2022/s10.23","url":null,"abstract":"In The Book of Thel (The Book of ????, that is The Book of the Female), Blake�s main preoccupation, in my opinion focuses on the juxtaposition between the aesthetic and the useful, their antithesis and their synthesis to produce and explain the female identity. Knowing that Blake�s thought always moves in oppositional and synthetical structures, the useful versus the aesthetic is nothing more than the restless and perpetual fight of the dualisms of innocence and experience, energy and Urizen, imagination and reason. Taking into consideration that Blake�s dualisms are constructive rather than destructive, in The Book of Thel, he wonders and oscillates between the aesthetic and the useful. He attributes an indefinite, unclear kind of beauty to Thel, which is a progression of his thought since The Marriage of Heaven and Hell, where he associated the organs of reproduction with beauty, �the genitals Beauty�, the sublime and the beautiful together, that is the head and the genitals, a confirmation that �Man has no Body distinct from his Soul ��. This progression of his thought relates to the formation of what is commonly called beauty (aesthetic value), an ethical feminine development in contradistinction to use value the necessity of survival: �� without a use this shining woman liv�d, / Or did she live. to be at death the food of worms.� Nevertheless, the issue seems problematic. Thel, �the daughter of beauty,� finally is the �� beauty of the vales of Har.� (Har in Greek mythology, that is ????? is the ferryman who carried the dead to the underworld and the etymology of the word Har (X??-??) is an euphemism of the verb ?????, meaning enjoy, take pleasure in), thus signifying quite the opposite; that is the death of the aesthetic possibly in favour of the useful. Thel lives in a world of uselessness, depression, and oblivion. Thus, Blake�s Har and the Greek Har introduce death as Thel�s ultimate refuge. The question is: is Thel after having rejected the (her) use value, a mere aesthetic value belonging to Har? Or her aesthetic value in the real world, the world of experience equals death?","PeriodicalId":187162,"journal":{"name":"SWS International Scientific Conferences on ART and HUMANITIES - ISCAH","volume":"1 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2022-12-20","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"132836052","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}

{"title":"FEATURES OF THE VISUAL LANGUAGE OF DOCUMENTARY PHOTOGRAPHY IN UKRAINIAN PHOTO BOOKS DEDICATED TO REVOLUTIONARY EVENTS IN UKRAINE","authors":"A. Safronova","doi":"10.35603/sws.iscah.2022/s08.09","DOIUrl":"https://doi.org/10.35603/sws.iscah.2022/s08.09","url":null,"abstract":"The purpose of the article is to analyze the features of the visual language of documentary photography and the actual ways of its presentation in the media space on the example of Ukrainian photo books dedicated to revolutionary events in Ukraine. The main problems of modern photojournalism connected with the development of digital technologies are presented, the value of a photo book as an independent project of a photographer is argued, since commercial photojournalism is largely determined by the narratives of its customer. The issues of the transformation of the language of photography both in modern journalism and in the photo project are considered, the main methods of creating the content of a photo story or photo series in photo books are substantiated. Traditional reportage documentary photography, intended for use primarily for commercial purposes in illustrated magazines, is also an important means of creating independent documentary projects or photo books. Such an approach is especially valuable if it reproduces important historical events, as in the Ukrainian photo books under consideration. Ukrainian photo books are distinguished by a variety of techniques for creating content and post-processing methods that appeal to the aesthetics of postmodernism. The use of filmy contrast black and white photography, grainy or blurry images, disruption of the composition, introduce a unique and original form of expressiveness into the photo book. Due to the documentary photography, direct nature of non-staged shootings and the original style of representation, Ukrainian photo books, which are both a document of history and a reflection of the subjective vision of the author, continue to arouse interest and resonate with the viewer.","PeriodicalId":187162,"journal":{"name":"SWS International Scientific Conferences on ART and HUMANITIES - ISCAH","volume":"84 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2022-12-20","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"116356080","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}