A tendency to domesticate, sanitize or detonate can be discerned in such bridging strategies. Yet they have sometimes resulted in exhilarating, but bewildering juxtapositions of disparate objects. This paper focuses on a specific theme: that of wildness, and more specifically on the motif of marginalized human beings represented as wild or hysteric "others" in past, foreign, as well as contemporary Western and South African visual cultures.
Through its delimited focus on a particular pathos formula within the broader theme of wildness, it investigates the diverse ways in which forms of wildness have constantly been accommodated in Western "museums without walls" over many centuries. With recourse to collective cultural memory contemporary white South African museum visitors are able to generate meanings - even though sometimes disturbing meanings - from cultural disparities.
Various typical frameworks of ideas through which Europeans have understood "wildness", have accommodated phenomena of "wildness" in their cultures, and have attributed the label of "wildness" to other cultures, are scrutinized and exposed. The picaresque tradition with its carnivalesque possibilities is one such framework in which the horror and fear, as well as the comic and ridiculous aspects of wildness have been ambiguously tolerated and expressed in Western culture. Prominent hermeneutic methodologies aimed at bridging historical or cultural distances between contemporary spectators and past and foreign objects are profited by, in order to suggest a new ideology critical model that may disclose unexpected and obscured relationships between disparate cultures.
In his Why are pictures puzzles? James Elkins concedes that: "There are many signs that our sense of pictures is troubled. Our unease, our sometimes intense anxiety, our compulsion to puzzle about pictures, our neurotic symptoms, our phobias, our habit of rushing to "frame", identify, attribute, and "appropriate" pictures, are all a bit wild" In this context, the ideology critical virtual exhibition of images of "wildness" conjured up here - in which disparate images are mischievously juxtaposed and enlivened, and by means of which unexpected similarities are teased out -in itself displays aspects of picaresque wildness.
A literary prize can be seen as a case of how the dynamics of a literary field work and as a visible way of producing literary value. This is a sociological study intended to show how the production of value works in a literary sub-field, that of non-fiction books.
More specifically, this paper looks at the most important prize for non-fiction in Finland between and , concentrating on the structure of the juries and the process through which the winner is chosen. The choices made are also commented on. Thematic interviews and documents about choices are used as research data.
Enchanted Objects: Visual Art in Contemporary Fiction
In addition, two surveys among the potential reading public were conducted to evaluate general awareness of this prize. In the Bourdieuan sense, a social field is constituted of people who gather around a subject matter which they value. From the publishers' point of view, non-fiction is clearly its own segment of literature. From the writers' point of view however, the definition of a field they might represent is much less clear.
A prize for non-fiction thus exists at the intersection between the literary and academic fields.
In the case of fiction usually only the agents of the literary field have the interest and power to criticize literary works. This difference is considerable and has to be taken into account in analysing the work of the juries. Hence, it does not appeal to the public in general and, in particular, it holds little appeal to the yonger generation, if not as a kind of generic social aggregation. Nowadays, we can draw some analogies between the kind of relationship that the public has with art and its relationship with another field of cultural phenomenology, namely the new technologies.
The author focuses on the ways in which art appeals to the public, rather than the degree to which it appeals to the public. Thus it is possible to find an anthropological tendency according to which knowledge is certainly of primary importance to man, but only on the condition that it can be pursued without using those models typical of critical thought. In short, art as well is unable to avoid the replacement of knowledge and critical thought with information. During the communicational process, human body provides an individual with mechanism called an event on the surface of the body, through which people are able to communicate to each other.
But in fact, people only rarely establish contact directly by using only their bodies. More often they practice conversation with an assistance of at least some cultural objects. Although a cloth has many other functions too, it certainly can be such a mediator. The aesthetic relationship between the individual's body and the clothes goes in both ways. Many times individuals rearrange their bodies on purpose, for example when they subdue themselves to plastic surgery, with intention to fit in the clothes they find aesthetically adequate.
Many times the body of individual changes unintentionally due to individual practising a particular kind of fashions. During the aesthetic relationship with the clothes, the body can react against their influence too.
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Of course, in reality, the aesthetic relationship is rarely as simple as it is described above. Nevertheless, what is important to emphasise, is this: If the aesthetic relationship is really socially constructed, thanevery unique configuration of the aesthetic relationship, up to some degree, reflects and affects structure and dynamic of a particular society in general. Key words: aesthetic relationship, human body, cultural object, fashion, everyday life. Excessive speed and volume of its presenting suppress the ability for emotional reaction and lead to the anesthesia of society.
The perception of the modern man is being formed as unconcerned to his own bodily experience. Even real wars, disasters and terrorist acts are perceived as body-deprived images and words. The lack of receptivity to the pain of the other, inability to sympathize with others increase the distance and emotional alienation among people. The elementary skills of the communal form of social life are quite often getting lost, which reveals the strong requirement for the collective forms of being, for the social bodies of archaic kind.
What can affect the satiated observer of today? According to the performancists, it is the renunciation of the information consumption ideology, expressing itself in the "bodily revolt". Performance in the end of XX century establishes itself as one of the forms of fine arts, which neutralizes the pressure of visual environment by demonstration of pain and absurd gesture and similarity to an archaic ritual.
If the painting, cinema, photography, television and computer were fully developed through the visual-cultivating epoch, the performance art appears to be the shift towards the tactility, the bodily experience and trial. As the "point of experience", performance appeals to the nature of collective social body, while the "point of view" is an expression of the individual body truth.
However, in this paper we address the variations of strength of this correlation among the fifteen countries of European Community. Our statement is based on the Eurobarometer survey on Europeans' participation in cultural activities First, we try to assess the net effect of diploma on cultural participation, controlling for such sociological criteria as sex, age, social background, household compositions, etc.
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Then we attempt to understand the variations of this net effect from one to another country, assuming the influence of the variety of academic traditions regarding the situation of Arts at school. Finally, we consider the structural effect of the democratisation of education. On the first hand, if we validate the hypothesis of a net effect of diploma, the growth of the number of graduates among new generations should have increased participation.
On the other hand, if we consider this correlation as spurious, we may not attend such an increase, while the democratisation of education is associated with an increasing social diversity of graduates, and then, an increasing proportion of pupils unfamiliar to High Arts.
Again, the data shows a great variety among European countries in the degree of "spuriousness" of the correlation. Autor s : Paul Balahur Nietzsche was one of the most radical critics of the modern culture, talking about the decadence of arts as a symptom of life's denial, due to the negative influence of the metaphysics - in which Nietzsche sees the great enemy of the individual's emancipation from the "idols".
His genealogical method applied in arts analysis as well has influenced sociology Max Weber, G. Simmel and could be used for the postmodern culture comprehension. In this order of ideas the paper proposes a sociological interpretation of Nietzsche's famous formula "we have the art in order to defend us against the reality" and also of the meanings of his idea that art is "a vital lay". Theatrical drama is based on the social structure of contemporary society and therefore it can be defined as its social metacommentary.
It proves and analyses the laws of the society and the suppositions, on which its structure is based. The origins of theatre are rooted in ritual, the first form of spectacular representation and the attempt to influence natural and supernatural forces. Contrary to theatre, whose existence implies a highly developed performance, rite is a global form of symbolic representation and transformation of reality, which does not imply any differentiation between the actors and the public.
It allows no calm spectator but only active participants. European theatre is supposed to have descended from the ancient Greek theatre, which is often interpreted as its peak, and is closely connected with the figure of Dionysus, the powerful god of wine, fertility, and ecstatic joy. In ancient Greece the spectacular representations of actions in theatre implied the particularities of the poetic language, the solemnity of place, and the separation between the profane public and the actors, whose existence was supposed to be fixed in the sacred universe.www.medinaconstruye.com/img/como/espiar-whatsapp-en-linea.html
Enchanted Objects: The next wave of the web
These characteristics could be recognised even in some contemporary theatrical representations. Martin Buber for example claimed that the thing about jewish identity is that you can not define it. Ironically, exactly this indeterminacy was specific for the jewish identity. Although this was often understood as negative, many jewish authors valued it, for it could function as a media between different cultures.
Many authors found this especially in the history of sephardic Judaism in Spain. Sephardic jews were mediating, between languages as well as between people.