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Comics sind politisch - oft in unerwarteter Weise. Neben der Thematisierung der Politik in Comics und der Behandlung der Comics durch Politik, arbeitet eine genuin politische Ästhetik im Comic. (APuZ)

Bildkompetenz im Kontext des schulischen Sachunterrichts ist bisher wenig theoretisch modelliert und kaum empirisch untersucht worden. Die qualitativ-explorative Studie, die hier vorgestellt wird, versucht eine erste Erschließung dieses Forschungsfeldes. Sie beschränkt sich dabei auf die rezeptive Seite von Bildkompetenz.
Im Anschluss an Ansätze aus der Semiotik wird ein Kompetenzmodell entworfen, welches ästhetische, erkenntnistheoretische, technische und pragmatische Dimensionen umschließt. Die empirische Überprüfung dieses Modells anhand 35 fokussierter Leitfadeninterviews mit Maturandinnen und Maturanden hat v.a. zwei Problemfelder im Zusammenhang mit dem Bildleseprozess sichtbar gemacht: Bezüglich der sprachlichen Explizierbarkeit ästhetischer Bilddimensionen zeigen die Jugendlichen große Schwierigkeiten; gerade das Bildspezifische bleibt in ihren Beschreibungen mehrheitlich stumm. Der Transfer vom Sehen zum Sagen und die Versprachlichung von Wahrnehmungserlebnissen müsste daher ins Zentrum ästhetischer Wirkungsforschung gestellt werden. In Bezug auf die erkenntnistheoretischen Rahmentheorien, die die Bildlektüre grundieren, fällt der Abbildrealismus auf, auf dem die Rezeption größtenteils aufbaut; das Vertrauen in das (naturwissenschaftliche) Bild ist ungebrochen auch dort, wo die Rezipientinnen und Rezipienten über detaillierteres Wissen bezüglich technischer Bildherstellungsprozesse verfügen. Es müsste deshalb gezielt untersucht werden, welche Rolle technisches Wissen für den Erwerb von Bildkompetenz tatsächlich darstellt.
Die methodische Reflexion des in der Studie angewandten Designs und des Auswertungsverfahrens kommt zum Schluss, dass sich das Untersuchungsfeld überraschend homogen abgebildet hat. Sie führt dies zum einen auf die inhaltsanalytische Datenauswertung, zum andern auf das monoperspektivische Design zurück; zukünftige ästhetische Wirkungsforschung müsste deshalb vermehrt das Prinzip der perspektivischen Variation berücksichtigen.

The purpose of the article is to analyse the phenomenon of fear from the standpoint of phenomenology and existentialism, to examine the reflection of fear in European and Ukrainian art of the 20th and early 21st centuries. The research methodology includes the general scientific principles of systematisation and generalisation of the problem under study, which made it possible to identify and scientifically substantiate existing theories, conceptual approaches to understanding the phenomenon of fear, such as "metaphysical fear", "existential fear", "ontic fear", "spiritual fear", and "moral fear". The phenomenological method allowed us to study the internal nature of fear, in particular, different states of fear: anxiety, fear, horror. The historical and cultural approach has been used to examine the evolution of fear theories from ancient times to the present. A significant role in understanding the phenomenon of fear is played by an interdisciplinary approach, which allowed us to analyse this phenomenon with the wide involvement of the scientific achievements of a number of humanities, including cultural studies, philosophy, aesthetics, art history, and psychology. The scientific novelty lies in the cultural analysis of reflections in the fine arts of the 20th and early 21st centuries on the phenomenon of fear. Conclusions. The tragedy of human destiny is expressed in such philosophical terms as fear (Kierkegaard, Jaspers, Heidegger), nausea, anxiety (Sartre), longing, boredom (Camus). The ontological significance of such mental states lies in the collision of consciousness with nothingness, with the abyss of existence. Metaphysical fear is related to time. Temporality is the main characteristic of human existence. Fear always appears to us in two guises: as a useful warning and at the same time as an obstacle. In a state of fear, a person faces the abyss of Nothingness. Those who experience existential fear feel the emptiness between themselves and the world of everyday relationships. However, it is only by experiencing fear and a sense of abandonment in the world that one finds true freedom. The theme of fear has inspired and continues to inspire many artists of the 20th and early 21st centuries. Unlike artists of previous generations, they try to show fear in their works. The fine arts of this period can be called an encyclopaedia of symptoms of fear, pain, and horror. Fear motivates us to act, to create. Therefore, the role that fear plays in our lives depends on the role we allow it to play. We can try to resist the impulses that cause fear to manifest, and we can try to replace fear with hope. Hope is stronger than fear because it is active and free from any bondage. The charge of hope expands a person's capabilities, not limits them. The more opportunities and creative potential a person has, the less fear they experience.

The purpose of the article is to study the artistic properties of natural materials in modern object design. The focus is on the problems of using the artistic properties of natural materials, as well as their interpretation in morphology and aesthetics.
An important element of this interaction is the use of natural materials in design, which today is a current trend not only in the artistic, but also in the commercial context. Thus, natural materials often become the main goal of design practices. They are systematically used by artists to express their symbolic ideas, which explore the properties and content of materials.
My personal experience in both design and fine arts allows us to speak about the important role of the analysis of the artistic properties of natural materials. From my point of view, this area of design requires a separate, deeper reflection. It is necessary to study and generalize the system of artistic representation of materials, which is often considered by researchers as a secondary task.
As my research showed, an important component in the analysis of the expressive means of natural materials is the subject environment. It is for this reason that natural materials are equally interesting for both designers and artists. Orientation to the subject environment raises the question of the nature of the use of natural and artificial materials, their combination in artworks.
The methodology. The purpose and objectives of the study determined the methodology. As the main ones, I used the methods of typology and structural generalization.
The results. The study of the artistic experience of European designers, as well as the study of special scientific literature, allows me to mark out two main groups of formal means of expression. They are formed on the basis of the criterion of interaction with the natural properties of natural materials:
1) means of expression that transform the original features of natural materials; this group considers those artistic practices that change the original features of the material under the influence of a general design decision;
2) means of expression, which are the most natural properties and characteristics of the material; this group considers such artistic practices that do not significantly change the basic qualities of natural materials.
Each group has its own morphological features, which to some extent affect the artistic integrity of the work. Natural materials are natural carriers of textural and textural qualities, the identification and use of which greatly contributes to the quality of the aesthetic solution. The natural aesthetic properties of, for example, stone or wood have a significant impact on the compositional-plastic and figurative-stylistic features of the work. These features form a more expressive artistic language.
The scientific novelty. The article proposes the author's typology of the use of natural materials in the design of objects.

The scientific topicality. The opera "Carmen" by French composer J. Bizet is a part of the repertoire of leading opera theatres and has recently undergone many impressive interpretations, more aimed at something shocking than the disclosure of musical material. Nowadays when directors that are not musicians are involved in opera production, it is extre-mely important to return to the in-depth study of musical material in order to reveal the compositional direction of G. Bizet, hidden in the score.
The purpose of the study is to reveal the compositional intentions of the musical direction of the final duet and choir from Bizet's opera "Carmen" by deciphering the author's text, in particular the constructive, psychological and visual-plastic components of the stage action encoded in it.
The methodology. The research was carried out by using an integrated approach involving effective analysis of literary text, structural analysis of musical form, identification of patterns of tonal plan, analysis of psychological and visual-plastic components of the selected fragment of the opera, as well as using comparative analysis of its various productions.
The results. The article identifies the main components of the author's musical text that affect the quality of director's and performer's interpretation. A detailed description of the author's work on the formation and tonal plan of the final of the opera "Carmen" was made, which determine its psychological and visual-plastic essence.
The scientific novelty. For the first time in the study of the final of the opera "Carmen" music-theoretical analysis was combined with visual-plastic and effective one, which directly opens new perspectives for effective deciphering by performers of the author's intentions laid down in the musical text.
The practical significance. The materials of the article can be used in the practical activities of opera directors and performers, as well as in the educational process of training of vocal and conducting art masters.
Conclusions. It was determined that Georges Bizet's compositional skills are based on three main components — a deep psychological sense of the material, specific shaping and innovative tonal plan for the music art of his time.
The psychological completeness of the images of the heroes of the final of the opera "Carmen" is ensured not only by the use of leitmotifs, but also by the parallel presentation of images in the stage and off-stage (behind-the-scenes) space of the play.
The main shaping principle the final is the destruction, which coincides with the psychological state of the heroes who suffer from internal disorders.
G.Bizet's specific approach to the tonal plan together with extremely sharpened intonation brings the vocal parts of recitatives closer to expressionist aesthetics, the development of which will take place in French music of the XIX–XX centuries, in particular in the works of F. Poulenc.

The relevance of the article is due to the issue of formation in a modern multicultural space of the new image of the executor — the carrier of new senses and cultural memory, as well as need for creative comprehension of the world treasury of musical art in the artistic realities of modernity and research on the specifics of its modern performing versions.
The purpose of the article is to outline the determinants and the specifics of the semantic space of "Well-Tempered Clavier" of J. S. Bach as conceptual basis of the performing concept.
The methodology of the article is based on the principles of a comparative approach, which enables the use of research tools for cultural studies and musicology, in particular historical, historical-contextual, genre, hermeneutical and semiological methods and approaches.
The results. The article outlines the following factors of conceptual polyphony of "Well-Tempered Clavier" as accumulation and artist experience of reflection and protecting the world in symbolic forms, the significance of the synthesis of arts and the unity of emotion, image and symbol on the parameters of baroque aesthetics, the connection of "Well-Tempered Clavier" with the creativity of the artist, resonance of symbolic forms with axiological structures of historical and cultural epochs. The article substantiates the significance in pluralistic symbolic field of the works: semantics of tonality and tempo, which acts as a construction of performing chronotope; sacred melos with perceptually fixed semantics, means of embodiment of which is citing, representation as complementary unity, allusion-variable reproduction; numeric symbolism; rhetorical figures, sound treatment — visualization of the musical process; fixed in the context of European art semantics — in particular "mirror in the mirror" (on micro — and macro levels of the of the music text organization); the genre "ambivalence", which determines the superposition of different variants of "genre's memory" and enables the creation of an artistic-reflective arch between the era of Baroque and postmodernism, designated be the leveling of the genre.
The scientific topicality of the article is due to the clarification and systematization of representations regarding the specifics of the semantic field of "Well-Tempered Clavier" of J. S. Bach and the positioning of conceptual polyphony of the work as the basis of performing concepts and text.
The practical significance of article is determined by a direct possibility of applying research results in the performing practice.
Conclusion. Performance of "Well-Tempered Clavier" of J. S. Bach on the basis of the interiorization of symbolic forms is a guarantee of its performing "reading" as an embodiment of the process of being human in a cross-cultural dialogue, deploying self-reflection in the space of a representation of postmodernism paradigm as a multidimensional cultural message, in which the axiological experience of humanity is concentrated and the eternal problems of its spiritual being are actualized.

Keberadaan berbagai perangkat barungan gamelan di kabupaten Bangli belum diimbangi tersedianya tenaga instruktur/pembina atau pelatih seni karawitan saat ini yang memadai. Kebutuhan tersebut sangat mendesak bagi aktivitas sosial masyarakat beragama Hindu harus didukung oleh suara gamelan. Masyarakat terpencil mengeluhkan sulitnya mendapatkan pembinaan seni. Sebuah komposisi gending kendang memiliki fungsi sebagai pemurba irama, perannya sangat dominan, seorang pembina dituntut mutlak untuk menguasai instrumen perkusif yang terbuat dari kulit tersebut. Terbatasnya penguasaan instrumen membutuhkan adanya pelatihan professional melalui peningkatan kemampuan instrumen kendang untuk gupekan dan kendang pepanggulan. Hasil terlihat jelas Eksistensi para pangendang (tukang kendang) di Kabupaten Bangli bisa dipertahankan dengan cara melakukan pembinaan atau pelatihan bekerjasama dengan mitra yang dianggap relevan. Mitra yang tepat adalah sebuah sanggar seni Bajra Suara Murti berlokasi di Banjar Tegal Bebalang Bangli. Rancangan realisasi pelatihan mengunakan metode eksperimen yang mengedepankan prinsip-prinsip keterbukaan, solidaritas, kebersamaan, saling menjaga, dengan menjunjung tinggi etika, logika dan estetika. Situasi Pandemi COVID-19 dalam praktek para peserta diberikan pemahaman dan pengetahuan secara teoritis tentang cara-cara memainkan kendang gupekan dan kendang pepanggulan yang baik. Peragaan teknik memaikan kendang dipilih model pangendang yang telah memiliki kemampuan memainkan kendang gupekan dan kendang pepanggulan terlebih dahulu. Hasilnya telah mampu memainkan dengan kendang untuk gupekan dan kendang pepanggulan secara bersama-sama berkualitas. The existence of various instruments of gamelan barungan in Bangli district has not been matched by the current availability of adequate instructors/coachers or trainers of musical arts. The need is very urgent for the social activities of the Hindu community to be supported by the sound of the gamelan. Remote communities complain about the difficulty of getting art coaching. A drum composition has a function as a rhythm maker, its role is very dominant, a builder is absolutely required to master the percussive instrument made of leather. The limited mastery of instruments requires professional training through increasing the ability of drum instruments for gupekan and pepanggulan drums. The results are clear. The existence of the pangendang (drummers) in Bangli Regency can be maintained by conducting coaching or training in collaboration with partners deemed relevant. The right partner is the Bajra Suara Murti art studio located in Banjar Tegal Bebalang Bangli. The design of the training realization uses an experimental method that puts forward the principles of openness, solidarity, togetherness, mutual care, by upholding ethics, logic and aesthetics. In the practice of the COVID-19 Pandemic, participants were given theoretical understanding and knowledge about how to play the gupekan and pepanggulan drums well. In the demonstration of the technique of playing the drum, the pangendang model was chosen which already had the ability to play the gupekan and pepanggulan drums first. The result has been able to play with drums for gupekan and pelvic drums together with quality

The purpose of the article is to study the problem of Chinese opera culture on the example of the genre palette. The methodology is to use the historical method in the study of this topic. It is thanks to this method that genre genres of Chinese opera are revealed in the work. Information on roles and make-up is provided, based on the historical method. The scientific novelty of the article is to study the feasibility of the issue of Chinese opera culture, drawing on the country's musical traditions. The historical names of the philosophers who influenced the development of the musical arts and education system, which affected the cultural traditions of China, were highlighted. The scientific novelty of the article is the study and study of Chinese opera culture on the example of the genre palette. Based on the country's musical traditions, we single out important factors of opera genres, including Tibetan opera, Shaoxing, Sichuan, Henan, Guangdong, etc. Conclusions are based on the study of the problem of Chinese opera culture on the example of the genre palette, revealed the original culture of the country, its worldview system. The problem of the genre palette of Chinese opera culture has interested many scholars, among which we single out scientific works: L.S. Vasiliev, Hou Jiang, U Gen-Ir, and others. This question highlighted the philosophical trends that underpin China's traditions. The problem of studying the worldview system of ancient China as the basis for the emergence of the musical tradition has interested many scholars because it influenced the cultural life of the countries of the East. Based on the study of the problem of opera culture, they discovered the original art of China. Philosophical views influenced both theatrical life and the country's musical art. Special attention was paid to the issue of education, in particular aesthetics, in China. Music education has played an important role in China's culture. Confucius emphasizes the comprehensive development of humans while emphasizing the morality of the individual. The opera culture of the country is peculiar. Musical load played a big role. The Chinese worldview is based on a vision of nature as a living organism. The first sprouts of musical and theatrical art emerge. XII-XIII centuries marked the birth of Chinese opera. The Chinese theater was in full understanding of the people. The article highlights the types of opera genres. The musical side of classical theater is characterized by an unbroken unity of sound, words, and dance. The circle of images, moods, techniques of acting is characterized by a certain type of melody, rhythm, composition of the orchestra. The study of this issue regarding the opera culture of China is interesting and not fully understood, which necessitates further development in the study of this issue.

The Vow to Testify: On the Gulag and Intertextual Economy of Literature (Karlo Štajner, Varlam Shalamov, Danilo Kiš)Departing from the "aesthetics of unrepresentability" of testimonial literature and implied "belatedness and collapse of witnessing" (G. Agamben, Sh. Felman, D. Laub), the paper engages in the economic foundations of literature through analysis of symbolic meanings of economic metaphors in Štajner's memoirs Seven Thousand Days in Siberia and Shalamov's story Lend-Lease, and through illuminating different aspects of intertextual and intercultural exchange between Štajner's memoirs and Kiš's "pseudo-factual" fiction A Tomb for Boris Davidovich. What is testimony and can it be – considering the nature of the one who testifies and the language in which he testifies – "valid," "valuable," "useful," to use the language of economy? Can we think about Kiš's literary appropriation of Štajner's memoirs as an outlet for reclaiming the voice not only of Štajner, but also of Kiš's father, who perished in Auschwitz? What are the uses of economic hypothesis in literary studies? Zavjet svjedočenja: o Gulagu i intertekstualnoj ekonomiji književnosti (Karlo Štajner, Varlam Šalamov, Danilo Kiš)Polazeći od "estetike neizrecivosti" književnosti svjedočenja te implicirane "zakašnjelosti i kolapsa svjedočenja" (G. Agamben, Sh. Felman, D. Laub), rad prilazi složenoj problematici ekonomskih temelja književnosti kroz analizu simboličkog značenja ekonomskih metafora u Štajnerovim memoarima 7000 dana u Sibiru i Šalamovljevoj znamenitoj priči Po Lend-Leasu te kroz intertekstualni i interkulturni upis Štajnerovih memoara u Kiševu "pseudočinjeničnu" fikciju u djelu Grobnica za Borisa Davidoviča. Što je svjedočenje i može li ono biti – s obzirom na status svjedoka kao subjekta izricanja i jezik na kojem svjedoči – "valjano" i "korisno" (iskoristimo li jezik ekonomije)? Može li se o Kiševoj aproprijaciji Štajnerovih memoara razmišljati kao o jednom od načina vraćanja prava glasa ne samo Štajneru, nego i Kiševom preminulom ocu, stradalom u Auschwitzu? U čemu je epistemološka korist ekonomskih analiza u proučavanju književnosti? Przysięga świadectwa: O gułagu i intertekstualnej ekonomii literatury (Karlo Štajner, Warlam Szałamow, Danilo Kiš)Wychodząc naprzeciw koncepcjom mówiącym o "poetyce niewyrażalności" literackich świadectw oraz założeniu o "spóźnieniu i upadku świadectwa" (G. Agamben, Sh. Felman, D. Laub), artykuł podejmuje problematykę ekonomicznych podstaw literatury poprzez analizę znaczeń (symboli) metafor ekonomicznych w pamiętniku Siedem tysięcy dni na Syberii Karlo Štajnera oraz opowiadaniu Z lend lease'u Warłama Szałamowa, a także poprzez wskazanie na różne aspekty intertekstualnej i międzykulturowej wymiany pomiędzy wspomnieniami Štajnera a fikcyjną literaturą "pseudo-faktu" Danilo Kiša w książce Grobowiec dla Borysa Dawidowicza. Czym jest świadectwo i czy może być – biorąc pod uwagę to, kim jest świadek i język, w którym daje świadectwo – "ważne", "wartościowe", "użyteczne", używając języka ekonomii? Czy możemy zinterpretować literackie przywłaszczenie wspomnień Štajnera dokonane przez Kiša jako jeden ze sposobów przywracania prawa głosu nie tylko Štajnerowi, ale także ojcu Kiša, który zginął w Auschwitz? Jakie są zastosowania hipotezy ekonomicznej w literaturoznawstwie?

The following was presented at the Fourth Collegium in the Humanities held at Thammasat University on January 4 and 5, 2001. The paper is intended as an introduction to Heidegger's important essay, "The Origin of the Work of Art". In the course of the paper, I discuss the following themes:Heidegger's questioning of the concept of truth in terms of Aletheia, the self disclosing and concealing of Being, as the setting for a radical revaluation of techne, (the Greek word for art, as a practical, productive knowledge (Wissen)), in which techne will now be conceived as not only a way of kno wing that stands alongside theoria, but even more, as a decisive site for the disclosure of Being. The actuality of art, its "thingly" character, will not be seen as a static object, therefore, but as energeia, activity or "being-at-work". Techne will be thought as event, an event of Being, the site for the happening of Truth (Aletheia) This culminates in Heidegger's delimitation, or definition, of art as the site or place (topos, Orter; in the German word Heidegger uses) of truth's setting-itself-to- work. This is art's "activity", its "actuality". Finally, the significance of this is.in the way it opens a new questioning of the European experience of nihilism as the "death of God", or withdrawal of gods, and the related triumph of knowledge in the form of scientific technicity, the calculative thinking of a techne that demands, challenges, provokes, and sets up Being as an object and conceives of earth , for example, as a "natural resource" to be exploited. The work of art, as the techne in which "truth (Aletheia) sets itself to work", what Heidegger might call "great art", is then to be seen as a possible way of overcoming (Verwindung) of nihilism and of questioning the essence of technology and calculative thinking. Through a questioning of the origin of the work of art, philosophical thinking will go beyond a mere "aesthetics" toward the more fundamental questioning of the "end of metaphysics". Through a return to an archaic Greek world opened in and by the temple, and through a thinking of all that is still yet to be thought, or that is still held in reserve in that experience, Heidegger seeks the possibility of a new beginning for the European, especially the Germanic, historical destiny. No doubt the revaluation of techne, not only in terms of the work of art, but in terms of the political and the founding of a nation and the opening of the destiny of a people, which is Heidegger's way of thinking the actuality of the work of techne, are all crucial and deeply related themes. But, due to limitations of time and space in this paper, both the links of thi s with Heidegger's meditations on the poetry of Holderlin, and the political dimensions of this work and Heidegger's relation to National socialism during the 1930s, are not considered.

Kulturelle Bildung stellt sich heute die Aufgabe, ästhetische Erfahrungen bei ihrer jeweiligen Zielgruppe anzuregen. Wie aber können solche Erfahrungen zum Gegenstand empirischer Forschung gemacht werden? In diesem Beitrag werden zunächst einige grundlegende Theoriemomente ästhetischer Erfahrungen beschrieben und in ihrer Bedeutung für die empirischen Erforschung beleuchtet. Anschließend wird die Angemessenheit qualitativer Verfahren auf dem Forschungsgebiet herausgearbeitet. Bisherige qualitative Forschungsarbeiten bieten hinsichtlich des methodischen Zugangs zu ästhetischen Erfahrungen wertvolle Orientierung. So dienen einerseits sprachliche Äußerungen und andererseits künstlerische Gestaltungsprodukte als Dokumente. Anhand einer Grounded-Theory-Studie wird schließlich gezeigt, wie beide Zugänge im Rahmen eines musikpädagogischen Forschungsprojekts kombiniert wurden. Die Darstellung wesentlicher Ergebnisse gibt einen Überblick über die Facetten ästhetischer Erfahrungen in konkreten Bildungsangeboten, hier: verschiedenen Kompositionsprojekten mit Schülerinnen und Schülern. Am Schluss des Beitrags werden Aufgaben zukünftiger Forschungsvorhaben skizziert. (Autorenreferat)

Wie steht es um die kulturelle Bildung in Deutschland? Diese Frage will der diesjährige nationale Bildungsbericht "Bildung in Deutschland 2012" beantworten. Dieses Thema steht im leistungs- und kompetenzorientierten öffentlichen Bildungsdiskurs eher zurück.

"Die politische Emanzipationskraft der in den
1960er und 1970er Jahren entwickelten femi
nis tischen Kunst ist heute teilweise der
Genderdebatte zum Opfer gefallen. Weiterhin
notwendige feministische Arbeit wird
vernachlässigt, feministische Kunst musealisiert
und entpolitisiert. Außerdem führt die
populäre Beschäftigung mit Genderfragen
mit unter zur Vernachlässigung künstlerischer
Fragen. Dabei bietet das "Neogeschlecht"
spannenden Stoff für künstlerische Selbstrepräsentation.
Die Grenzen zwischen den
Genres werden aufgelöst, auch die Grenzen
zwischen realem Abbild und Wunschprojektion,
klassischem Selbstporträt und gendersensitiver
Selbstinterpretation verfl ießen." (Autorenreferat)