Suchergebnisse

Un ensemble éclectique de textes théoriques, de chapitres monographiques, d'entretiens, mais dont la lecture constitue sans doute la meilleure introduction à la société politique sud-africaine, bien au-delà de la restitution des nouvelles formes de la production culturelle populaire dont il traite (.).

Un ensemble éclectique de textes théoriques, de chapitres monographiques, d'entretiens, mais dont la lecture constitue sans doute la meilleure introduction à la société politique sud-africaine, bien au-delà de la restitution des nouvelles formes de la production culturelle populaire dont il traite (.).

Since the late 1980s visibility has become a currency of social recognition, and a political issue. It also brought forth a new discipline, visual culture studies, and a hotly contested debate unfolded between art history and visual culture studies over the interpretation of visual culture, whose impact can still be felt today. In this first comparative study Susanne von Falkenhausen reveals the concepts of seeing as scholarly act that underwrite these competing approaches to visuality and society, along with the agendas of identity politics that motivate them. In close readings of key texts spanning from the early 20th century to the present the author crosses expertly between American, German, and British versions of art history, cultural studies, aesthetics, and film studies.

Special Issue | Volume 7 | Issue 7 Art Style | Art & Culture International Magazine Editor-in-Chief and Creative Director: Christiane Wagner Co-Editor for this Special Issue: Elisabeth Günther Senior Editor: Martina Sauer For more information about the board, please click on Editorial Team and Art Style Magazine's Scientific Committee Art Style | Art & Culture International Magazine is an open access, biannual, and peer-reviewed online magazine that aims to bundle cultural diversity. All values of cultures are shown in their varieties of art. Beyond the importance of the medium, form, and context in which art takes its characteristics, we also consider the significance of socio-cultural, historical, and market influence. Thus, there are different forms of visual expression and perception through the media and environment. The images relate to the cultural changes and their time-space significance—the spirit of the time. Hence, it is not only about the image itself and its description but rather its effects on culture, in which reciprocity is involved. For example, a variety of visual narratives—like movies, TV shows, videos, performances, media, digital arts, visual technologies and video game as part of the video's story, communications design, and also, drawing, painting, photography, dance, theater, literature, sculpture, architecture and design—are discussed in their visual significance as well as in synchronization with music in daily interactions. Moreover, this magazine handles images and sounds concerning the meaning in culture due to the influence of ideologies, trends, or functions for informational purposes as forms of communication beyond the significance of art and its issues related to the socio-cultural and political context. However, the significance of art and all kinds of aesthetic experiences represent a transformation for our nature as human beings. In general, questions concerning the meaning of art are frequently linked to the process of perception and imagination. This process can ...

Special Issue | Volume 7 | Issue 7 Art Style | Art & Culture International Magazine Editor-in-Chief and Creative Director: Christiane Wagner Co-Editor for this Special Issue: Elisabeth Günther Senior Editor: Martina Sauer For more information about the board, please click on Editorial Team and Art Style Magazine's Scientific Committee Art Style | Art & Culture International Magazine is an open access, biannual, and peer-reviewed online magazine that aims to bundle cultural diversity. All values of cultures are shown in their varieties of art. Beyond the importance of the medium, form, and context in which art takes its characteristics, we also consider the significance of socio-cultural, historical, and market influence. Thus, there are different forms of visual expression and perception through the media and environment. The images relate to the cultural changes and their time-space significance—the spirit of the time. Hence, it is not only about the image itself and its description but rather its effects on culture, in which reciprocity is involved. For example, a variety of visual narratives—like movies, TV shows, videos, performances, media, digital arts, visual technologies and video game as part of the video's story, communications design, and also, drawing, painting, photography, dance, theater, literature, sculpture, architecture and design—are discussed in their visual significance as well as in synchronization with music in daily interactions. Moreover, this magazine handles images and sounds concerning the meaning in culture due to the influence of ideologies, trends, or functions for informational purposes as forms of communication beyond the significance of art and its issues related to the socio-cultural and political context. However, the significance of art and all kinds of aesthetic experiences represent a transformation for our nature as human beings. In general, questions concerning the meaning of art are frequently linked to the process of perception and imagination. This process can ...

Special Issue | Volume 7 | Issue 7 Art Style | Art & Culture International Magazine Editor-in-Chief and Creative Director: Christiane Wagner Co-Editor for this Special Issue: Elisabeth Günther Senior Editor: Martina Sauer For more information about the board, please click on Editorial Team and Art Style Magazine's Scientific Committee Art Style | Art & Culture International Magazine is an open access, biannual, and peer-reviewed online magazine that aims to bundle cultural diversity. All values of cultures are shown in their varieties of art. Beyond the importance of the medium, form, and context in which art takes its characteristics, we also consider the significance of socio-cultural, historical, and market influence. Thus, there are different forms of visual expression and perception through the media and environment. The images relate to the cultural changes and their time-space significance—the spirit of the time. Hence, it is not only about the image itself and its description but rather its effects on culture, in which reciprocity is involved. For example, a variety of visual narratives—like movies, TV shows, videos, performances, media, digital arts, visual technologies and video game as part of the video's story, communications design, and also, drawing, painting, photography, dance, theater, literature, sculpture, architecture and design—are discussed in their visual significance as well as in synchronization with music in daily interactions. Moreover, this magazine handles images and sounds concerning the meaning in culture due to the influence of ideologies, trends, or functions for informational purposes as forms of communication beyond the significance of art and its issues related to the socio-cultural and political context. However, the significance of art and all kinds of aesthetic experiences represent a transformation for our nature as human beings. In general, questions concerning the meaning of art are frequently linked to the process of perception and imagination. This process can ...

Primary human breast cancers invade surrounding fat and contact adipocytes, inflammatory infiltrates, and fibrous stroma. This tissue niche influences breast tumor progression. Here, we present a protocol to enable the in vitro study of the complex interactions that occur between breast cancer cells and adipose cells. We describe how to obtain different adipose cell populations, including adipose-derived stem cells, immature adipocytes, and mature adipocytes, from human breast fat tissue and detail the application for co-culture assays with breast cancer cells. For complete details on the use and execution of this protocol, please refer to Picon-Ruiz et al. (2016) and Qureshi et al. (2020). ; This project has received funding from the European Union's Horizon 2020 research and innovation programme under the Marie Skłodowska-Curie grant agreement No 845104

This article explores the early history (and even some prehistory) of game studies from a perspective that is informed by an analysis of claimed opposition between "objective" and "politically committed" research. There is a well-documented and long intellectual history of fundamental disagreements that have set apart the various idealist, rationalist, positivist, empiricist, and constructivist orientations in academia, for example. However, the contemporary climate of "culture wars" has surrounded such disputes with a novel, often toxic framing that aggravates confrontations and erodes possibilities for reaching agreement. This article tracks the charged prehistory of contemporary game studies on one hand into the rise of poststructuralism and the "theory wars" of 1970s and 1980s, and then moves to discuss the heritage of literary studies for game studies. The special emphasis is put on formalism as a strategy of manufacturing authority and objectivity for arts and humanities-based disciplines. The key argument in the article is that this history of intellectual warfare hides from us an alternative history – a dialectical one, which has quietly grown to become arguably the mainstream of (cultural) game studies today. Rather than isolating the formal and cultural, or aesthetic and political dimensions of game cultural agency and meaning making, the examples discussed at the end of article point towards the strategic value produced by such a dialectic approach for game studies. ; publishedVersion ; Peer reviewed

I was interested to find that, although "Constitutional Convention," "constitutional monarchy," and "Constitution of the United States" were three items listed under "What literate Americans know" in Professor E. D. Hirsch's provocative book Cultural Literacy, the Constitution was not an index entry. In other words, constitutional matters did not form part of Hirsch's own thinking in the making of his argument. There is nothing in his index between "Conservatism" and "Constructive Hypothesis." It is my opinion that, if one is going to speak for or plan for that complicated thing called an "American," one must think of his or her relationship to the Constitution. In this part of my paper, I consider the argument of the brilliant reinterpretation of the Constitution in Professor Bruce Ackerman's forthcoming book Discover the Constitution. Ackerman's understanding of the Constitution is dualist and exceptionalist. The dualism is between normal everyday politics where We the People are not much involved, and the great exceptional moments in political practice--constitutional politics -where We the People are mobilized and involved in the process of change through higher lawmaking.

The article discusses the concept of historical culture of German historian and philosopher Jörn Rüsen (b. 1938). This discussion includes the analysis of the idea of the historical culture studies that evolved from theory of historiography or metahistory (Historik). Rüsen considered as the object of Historik paradigms of historical studies conceived as hermeneutical- circle-like structures including interests, viewpoints upon the past, methods of research, forms of representation, and functions of the practical orientation of life. Historical culture includes all phenomena of the social representation of the past, public collective memory considered as expression of the historical consciousness of society or some particular social group. The structure of historical culture is defined by the interrelated cognitive, political, and aesthetic dimensions. However, neither in his earlier concept of Historik nor in the later project of the historical culture studies Rüsen provides satisfactory solution of the problems concerning epistemological status of his universal statements about the history and its representations. Are they descriptive or normative statements? A priori or empirical statements? His idea of the historical culture studies is onesidedly oriented towards the elite historical culture at the cost of neglecting the issues related to the production, consumption, commercialization of popular historical culture and its ideological functions. The ideas of the ethics of history and that of religion of history are considered as the original and bold proposals how to extend the field of the historical culture studies.

The article discusses the concept of historical culture of German historian and philosopher Jörn Rüsen (b. 1938). This discussion includes the analysis of the idea of the historical culture studies that evolved from theory of historiography or metahistory (Historik). Rüsen considered as the object of Historik paradigms of historical studies conceived as hermeneutical- circle-like structures including interests, viewpoints upon the past, methods of research, forms of representation, and functions of the practical orientation of life. Historical culture includes all phenomena of the social representation of the past, public collective memory considered as expression of the historical consciousness of society or some particular social group. The structure of historical culture is defined by the interrelated cognitive, political, and aesthetic dimensions. However, neither in his earlier concept of Historik nor in the later project of the historical culture studies Rüsen provides satisfactory solution of the problems concerning epistemological status of his universal statements about the history and its representations. Are they descriptive or normative statements? A priori or empirical statements? His idea of the historical culture studies is onesidedly oriented towards the elite historical culture at the cost of neglecting the issues related to the production, consumption, commercialization of popular historical culture and its ideological functions. The ideas of the ethics of history and that of religion of history are considered as the original and bold proposals how to extend the field of the historical culture studies.

The article discusses the concept of historical culture of German historian and philosopher Jörn Rüsen (b. 1938). This discussion includes the analysis of the idea of the historical culture studies that evolved from theory of historiography or metahistory (Historik). Rüsen considered as the object of Historik paradigms of historical studies conceived as hermeneutical- circle-like structures including interests, viewpoints upon the past, methods of research, forms of representation, and functions of the practical orientation of life. Historical culture includes all phenomena of the social representation of the past, public collective memory considered as expression of the historical consciousness of society or some particular social group. The structure of historical culture is defined by the interrelated cognitive, political, and aesthetic dimensions. However, neither in his earlier concept of Historik nor in the later project of the historical culture studies Rüsen provides satisfactory solution of the problems concerning epistemological status of his universal statements about the history and its representations. Are they descriptive or normative statements? A priori or empirical statements? His idea of the historical culture studies is onesidedly oriented towards the elite historical culture at the cost of neglecting the issues related to the production, consumption, commercialization of popular historical culture and its ideological functions. The ideas of the ethics of history and that of religion of history are considered as the original and bold proposals how to extend the field of the historical culture studies.

The article discusses the concept of historical culture of German historian and philosopher Jörn Rüsen (b. 1938). This discussion includes the analysis of the idea of the historical culture studies that evolved from theory of historiography or metahistory (Historik). Rüsen considered as the object of Historik paradigms of historical studies conceived as hermeneutical- circle-like structures including interests, viewpoints upon the past, methods of research, forms of representation, and functions of the practical orientation of life. Historical culture includes all phenomena of the social representation of the past, public collective memory considered as expression of the historical consciousness of society or some particular social group. The structure of historical culture is defined by the interrelated cognitive, political, and aesthetic dimensions. However, neither in his earlier concept of Historik nor in the later project of the historical culture studies Rüsen provides satisfactory solution of the problems concerning epistemological status of his universal statements about the history and its representations. Are they descriptive or normative statements? A priori or empirical statements? His idea of the historical culture studies is onesidedly oriented towards the elite historical culture at the cost of neglecting the issues related to the production, consumption, commercialization of popular historical culture and its ideological functions. The ideas of the ethics of history and that of religion of history are considered as the original and bold proposals how to extend the field of the historical culture studies.

The paper presents analysis of some cases of typically culture studies' notion "renaissance/revival" applying to political science.It is accentuated, that broad applying of the mentioned concept to humanities and social studies began in the last half of the 19th century and since that time its geographical and disciplinary areal had extended exceptionally and now it could be seen as a usual element of its "native" historic and art studies, but economic, political, social researches and state-building activity as well.Worldview, political and historiosophy are considered as the main factors that contributed to the process of the concept gaining such a popularity.Cases of concept applying as purely instrumental means are considered using the examples of slogans proposed by political leaders in USA and Russia during the pre-election period in the end of the 20thbeginning 21st centuries (R.Reagan, B.Clinton, D.Trump, B.Yeltsyn, V.Putin).Examples of B.Mussolini' epoch and state activity of count S.Uvarov in Russia of the first half of the 19th century, as non-programme revival − Ukrainian national one (19th century), are proposed as the cases of renaissance/revival conceptual applying.The concept as well as the idea derived from it are impressive and attractive for profane society members that made possible for different political forces to use it to achieve their goals. Both concept and idea are indefinite, have no strict borders and possibilities to serve as a model and don't presuppose conscious goal-setting. It means that an attempt of its realization provokes to latent violation of causal relationship that has to provide sustainable historic development. So it looks much more constructive for modern society and political leaders to strive to build future, and do not pay attention to call back to past even if the past looks very charming. ; Стаття присвячена аналізу досвіду застосування культурологічного поняття «ренесанс/відродження» у політологічній сфері.Наголошується, що історія широкого застосування концепта відродження у гуманітарному та суспільному знанні розпочалася у другій половині ХІХ ст. Застосування згаданого концепту по тому набуло вкрай широкого як географічного, так і галузевого ареалу, і тепер він є звичним елементом не тільки мистецтвознавчих та історичних, а й економічних, політологічних, соціальних студій та державотворчої діяльності.Виокремлено світоглядний, політологічний та історіософський чинники набуття концептом відродження такої значної популярності.Випадки суто інструментального застосування концепту розглядаються на прикладах гасел, що їх політичні діячі використовували у передвиборчих перегонах, які мали місце у США та Росії наприкінці ХХ − на початку ХХІ ст. (Р.Рейган, Б.Клінтон, Д.Трамп, Б.Єльцин, В.Путін).Як досвід концептуального застосування ідеї відродження наведено приклади, пов'язані з добою Б.Муссоліні, діяльністю графа С.Уварова у Росії (І половина ХІХ ст.), як приклад непрограмного відродження − українське національне відродження ХІХ ст.Як концепт, так і похідна від нього ідея відродження наділені певною ефектністю, привабливістю для профанних кіл суспільства, що істотно полегшує їхнє використання різноманітними політичними силами. Концепт та ідея постають як украй невизначені, позбавлені як чітких меж, так і можливостей до моделювання, такі, що важко надаються до свідомого цілепокладання, отже, спроба їхньої реалізації провокує до більш-менш очевидного порушення причинно-наслідкових зв'язків, що визначають поступальний характер історичного процесу. Тому суттєво конструктивнішим видається прагнення до руху у майбутнє, без закликів до повернення у минуле, яким би яскравим воно не здавалося.

The paper presents analysis of some cases of typically culture studies' notion "renaissance/revival" applying to political science.It is accentuated, that broad applying of the mentioned concept to humanities and social studies began in the last half of the 19th century and since that time its geographical and disciplinary areal had extended exceptionally and now it could be seen as a usual element of its "native" historic and art studies, but economic, political, social researches and state-building activity as well.Worldview, political and historiosophy are considered as the main factors that contributed to the process of the concept gaining such a popularity.Cases of concept applying as purely instrumental means are considered using the examples of slogans proposed by political leaders in USA and Russia during the pre-election period in the end of the 20thbeginning 21st centuries (R.Reagan, B.Clinton, D.Trump, B.Yeltsyn, V.Putin).Examples of B.Mussolini' epoch and state activity of count S.Uvarov in Russia of the first half of the 19th century, as non-programme revival − Ukrainian national one (19th century), are proposed as the cases of renaissance/revival conceptual applying.The concept as well as the idea derived from it are impressive and attractive for profane society members that made possible for different political forces to use it to achieve their goals. Both concept and idea are indefinite, have no strict borders and possibilities to serve as a model and don't presuppose conscious goal-setting. It means that an attempt of its realization provokes to latent violation of causal relationship that has to provide sustainable historic development. So it looks much more constructive for modern society and political leaders to strive to build future, and do not pay attention to call back to past even if the past looks very charming. ; Стаття присвячена аналізу досвіду застосування культурологічного поняття «ренесанс/відродження» у політологічній сфері.Наголошується, що історія широкого застосування концепта відродження у гуманітарному та суспільному знанні розпочалася у другій половині ХІХ ст. Застосування згаданого концепту по тому набуло вкрай широкого як географічного, так і галузевого ареалу, і тепер він є звичним елементом не тільки мистецтвознавчих та історичних, а й економічних, політологічних, соціальних студій та державотворчої діяльності.Виокремлено світоглядний, політологічний та історіософський чинники набуття концептом відродження такої значної популярності.Випадки суто інструментального застосування концепту розглядаються на прикладах гасел, що їх політичні діячі використовували у передвиборчих перегонах, які мали місце у США та Росії наприкінці ХХ − на початку ХХІ ст. (Р.Рейган, Б.Клінтон, Д.Трамп, Б.Єльцин, В.Путін).Як досвід концептуального застосування ідеї відродження наведено приклади, пов'язані з добою Б.Муссоліні, діяльністю графа С.Уварова у Росії (І половина ХІХ ст.), як приклад непрограмного відродження − українське національне відродження ХІХ ст.Як концепт, так і похідна від нього ідея відродження наділені певною ефектністю, привабливістю для профанних кіл суспільства, що істотно полегшує їхнє використання різноманітними політичними силами. Концепт та ідея постають як украй невизначені, позбавлені як чітких меж, так і можливостей до моделювання, такі, що важко надаються до свідомого цілепокладання, отже, спроба їхньої реалізації провокує до більш-менш очевидного порушення причинно-наслідкових зв'язків, що визначають поступальний характер історичного процесу. Тому суттєво конструктивнішим видається прагнення до руху у майбутнє, без закликів до повернення у минуле, яким би яскравим воно не здавалося.