U svojem prilogu autor razmatra filozofijsko-teologijsko shvaćanje istine hercegovačkog franjevca Vladimira Krune Pandžića (1912. – 1965.), koje on iznosi u svom članku naslovljenom »U duhu ...potpunosti« (Mostar, 1935.), s posebnim osvrtom na Heideggerov rani spis »Što je metafizika« (1931.). U prilogu se pokazuje kako Pandžić filozofiju shvaća ponajprije kao »filozofiju bića« u njegovoj »neskrivenosti«, čime u bitnom ostaje upravo u okviru onoga što Heidegger smatra »sudbinskom« odredbom cjelokupne zapadne metafizike: u okviru »pitanja o biću kao biću«. Iz Heideggerova spomenutog spisa autor pokazuje da Pandžiću nije stalo do pitanja o bitku i njegovu smislu, nego isključivo do »duha potpunosti«, u kojem se promatra »biće kao takvo« – onoga »duha potpunosti« kojeg je po njemu »uvelo« kršćanstvo.
In this article the author reflects on the philosophical-theological understanding of truth of Herzegovinian Friar Vladimir Kruno Pandžić (1912 – 1965), which he elaborates on in his article titled »U duhu potpunosti« (In the Spirit of Completeness) (Mostar, 1935) that deals with Heidegger's early work »What Is Metaphysics?« (1931). The current article shows that Pandžić understands philosophy primarily as »philosophy of being« in its »availability«, which puts him within the frame of what Heidegger considers to be the »destined« determination of the whole Western metaphysics: within the frame of the »issue of being as being«. On the basis of the aforementioned work of Heidegger, the author shows that Pandžić does not pay attention to the issue of being and its meaning, but exclusively to the issue of »spirit of completeness« in which he reflects on »being as such« – to that »spirit of completeness« that was, according to Pandžić, »introduced« by Christianity.
Rad je nastao na osnovu terenskog istraživanja današnje predstave deteta i njegovih karakteristika, kao i stava prema deci u srpskoj kulturi. Zanimalo nas je da utvrdimo koliko su ova shvatanja i ...vrednovanja dece povezana sa polom, stepenom obrazovanja, mestom stanovanja i uzrastom. Istraživanje je obavljeno u proleće 2012. na uzorku od 211 odraslih ispitanika oba pola, sa sela (u Levču) i iz grada (Jagodina), mlađih i starijih, i različite školske spreme. Poređenjem rezultata dobijenih u našem ranijem sličnom istraživanju u istoj oblasti iz 1987., uočavaju se neke promene u slici i vrednovanju deteta, kao i u iščezavanju uticaja mesta boravka i uzrasta ispitanika na shvatanje i vrednovanje deteta. U pogledu vrednovanja muškog i ženskog deteta danas više nema bitne razlike između ispitanika sa sela i iz grada, niti između mlađih i starijih. Savremeni ispitanici u srpskoj kulturi (i u gradu i na selu), imaju izrazito pozitivno mišljenje o prirodi deteta i njegovim osobinama (dobro, bezazleno, anđeosko itd.). Varijabla obrazovanja je još uvek značajno povezana sa određenim shvatanjem deteta i stavom prema njemu. Manje obrazovani ispitanici značajno više vrednuju porod nego obrazovaniji ispitanici.
Body Work Blood, Sylvia K.
2005, 20040301, 2004, 2004-04-01, 2004-03-01
eBook
Are scientific 'facts' about body image enough to define conceptions of normality?
Reassessing Experimental Psychology from a critical perspective, Sylvia Blood demonstrates how its research into ...Body Image can be misused and prone to misuse. Classifying women who experience distress and anxiety with food, eating and body size as suffering 'body image disturbance' or 'body image dissatisfaction', it can reproduce dominant assumptions about language, meaning and subjectivity. Experimental psychology's discourse about body image has recently become more widely influential, becoming popularised through domains such as women’s magazines, in which psychological experts provide 'facts' about women's 'body image problems', and offer advice and psychological treatments.
With acute cross-disciplinary awareness Body Work: The Social Construction of Women's Body Image exposes the assumptions at work in the methods and status of experimental approaches. Penetrating beyond the usual dichotomy between experimental and popular psychology, this book illuminates some of the ways in which women's magazines have embraced experimental psychology's treatment of the issue. Drawing on her experience in Clinical Psychology, Sylvia Blood highlights the damaging effects of uncritically experimental views of body image. She goes on to elaborate not only an alternative model of discursive construction but also the implications of such a theory for clinical practice.
Merging theory and clinical experience, Sylvia Blood exposes the fallacies about women’s bodies that underpin experimental psychology's body image research. She demonstrates the dangerous consequences of these fallacies being accepted as truths in popular texts and in the talk of 'everyday' women.
'Effectively illustrates how the assumptions we make about body image from an individualistic Western research perspective may not actually be helpful to women with body-image problems. Moreover, Blood offers an alternative perspective that does justice to the complexity of women's feelings about their bodies. ... I plan on using this text as the basis for a panel discussion in a university setting on women's body image, and I anticipate it will generate interesting intellectual dialogue across several disciplines and perspectives.' - Christy Barongan, in PsycCRITIQUES, March 2006.
Sylvia Blood is a Clinical Psychologist who has been in private practice for over fifteen years. She has a particular interest in working with women who experience distress with their bodies and eating.
Introduction. Experimental Body Image Research. Critique of Body Image Research. Discursive Constitution of the Body. ‘What Other Women Look Like Naked’: Reading a Popular Women’s Magazine Practices of Subjectification: ‘Body Image’ Discourse in Popular Women’s Magazines. Body Image Talk – One Woman’s Account of Her Experiences. Clinical Implications – from Theory to Clinical Practice.
Provider: - Institution: - Data provided by Europeana Collections- ROOM and ROAD je odprta zgodba, ki ne zatajuje hrepenenja do premika, do daljave, do sprememb.Je zgodba, ki govori sama o sebi, o ...elementarnem, o gibanju.
ROOM and ROAD je lahko tudi zgodba o deklini in potepuhu, ali o nedosegljivi bežeči točki, ki ima vznemirljivo privlačnost, o popotniku, ki se ustavi le kadar je z mislimi že v nekem naslednjem kraju.
ROOM and ROAD sta tudi dva prostora, ki se v različnosti dopolnjujeta, prvi je zaprt in drugi odprt. Sta dva pola, ki se snubita in, ki se lahko hkrati navdihujeta in si nasprotujeta. Sta kot dva značaja, ki ju ni moč razdvojiti saj prežita v vseh nas.
Gregor Podnar
ROOM and ROAD je nadaljevanje načina dela, kot ga je Mateja Bučar zastavila v predhodnem performansu (Koncept Koncepta), v katerem se plesalka sooča s prostorom, ki se s pomočjo računalniskega programa lahko giblje in tako postane njen "živ" partner. V performansu ROOM and ROAD sta dva gibajoča prostora, prvi je zaprt- notranji prostor (Room), ki je skozi svoje lastno lastno gibanje v dialogu z zunanjim prostorom (Road), hkrati pa sta oba »gibajoča prostora« tudi v dialogu z dvemi ali tremi plesalci, ki "potujejo",se gibljejo in plešejo z njima in med med njima.- Video documentation of the performance Room and Road. ROOM and ROAD is an open story, speaking about the desire to make a move, to long for distance and for change. It is a story speaking about the elemental, about the motion, about itself.
ROOM and ROAD is a story about a girl and a tramp, about unreachable point t that has un exciting charm and about a traveler who stops in one place but his mind is already in another
ROOM and ROAD, is also two different spaces completing each other, one closed and the other open are at the same time the two human poles endlessly opposing, inspiring and seducing each other.
Gregor Podnar
Room and Road explores and presents innovative way to use a computer generated projection as a base for the light and space solution in the performance.
The computer program that enables spaces to move and change also enables certain space to be in a relation with a dancer. The person behind the keyboard manipulates and creates the »moving« space, its walls to move, floor to disappear, reappear, jump or turn; It all happens in real time - he or she on the keyboard becomes, next to the dancers, an active performer.
The importance lies in the idea, to let the space that is generally perceived as motionless, static or dead, to present itself as moving and alive - to indicate the possibility for yet untaught or unimagined to become real.- All metadata published by Europeana are available free of restriction under the Creative Commons CC0 1.0 Universal Public Domain Dedication. However, Europeana requests that you actively acknowledge and give attribution to all metadata sources including Europeana
Provider: - Institution: - Data provided by Europeana Collections- ROOM and ROAD je odprta zgodba, ki ne zatajuje hrepenenja do premika, do daljave, do sprememb.Je zgodba, ki govori sama o sebi, o ...elementarnem, o gibanju.
ROOM and ROAD je lahko tudi zgodba o deklini in potepuhu, ali o nedosegljivi bežeči točki, ki ima vznemirljivo privlačnost, o popotniku, ki se ustavi le kadar je z mislimi že v nekem naslednjem kraju.
ROOM and ROAD sta tudi dva prostora, ki se v različnosti dopolnjujeta, prvi je zaprt in drugi odprt. Sta dva pola, ki se snubita in, ki se lahko hkrati navdihujeta in si nasprotujeta. Sta kot dva značaja, ki ju ni moč razdvojiti saj prežita v vseh nas.
Gregor Podnar
ROOM and ROAD je nadaljevanje načina dela, kot ga je Mateja Bučar zastavila v predhodnem performansu (Koncept Koncepta), v katerem se plesalka sooča s prostorom, ki se s pomočjo računalniskega programa lahko giblje in tako postane njen "živ" partner. V performansu ROOM and ROAD sta dva gibajoča prostora, prvi je zaprt- notranji prostor (Room), ki je skozi svoje lastno lastno gibanje v dialogu z zunanjim prostorom (Road), hkrati pa sta oba »gibajoča prostora« tudi v dialogu z dvemi ali tremi plesalci, ki "potujejo",se gibljejo in plešejo z njima in med med njima.- Video documentation of the performance Room and Road. ROOM and ROAD is an open story, speaking about the desire to make a move, to long for distance and for change. It is a story speaking about the elemental, about the motion, about itself.
ROOM and ROAD is a story about a girl and a tramp, about unreachable point t that has un exciting charm and about a traveler who stops in one place but his mind is already in another
ROOM and ROAD, is also two different spaces completing each other, one closed and the other open are at the same time the two human poles endlessly opposing, inspiring and seducing each other.
Gregor Podnar
Room and Road explores and presents innovative way to use a computer generated projection as a base for the light and space solution in the performance.
The computer program that enables spaces to move and change also enables certain space to be in a relation with a dancer. The person behind the keyboard manipulates and creates the »moving« space, its walls to move, floor to disappear, reappear, jump or turn; It all happens in real time - he or she on the keyboard becomes, next to the dancers, an active performer.
The importance lies in the idea, to let the space that is generally perceived as motionless, static or dead, to present itself as moving and alive - to indicate the possibility for yet untaught or unimagined to become real.- All metadata published by Europeana are available free of restriction under the Creative Commons CC0 1.0 Universal Public Domain Dedication. However, Europeana requests that you actively acknowledge and give attribution to all metadata sources including Europeana
Provider: - Institution: - Data provided by Europeana Collections- Koncept Koncepta je zgodba o neenakem paru in univerzalna formula dojemanja sveta
- Koncepta je zaljubljena v prostor, ki jo obdaja ...in ki se ji nenehno izmika.
- Koncepta je zaljubljena v samo sebe.
- Koncept in Koncepta ni zgodba o ljubezni.
Plesna predstava se spopada z vprašanji, kakšno oporo nam daje simbolni prostor, v katerem se gibljemo; kako ponotranjamo prostor oz. kako se proti njemu borimo.
Plesalka se znajde v neobičajni sobi, kjer stene delujejo, kot da so žive in kot da se premikajo po neki svoji zakonitosti. Čeprav se stene premikajo po svoji lastni logiki, pa se struktura prostora, v kateri se giblje plesalka, nenehno vrača v prvotno stanje, kot bi imela svoje življenje. In kako se plesalka odziva na to življenje prostora?
Najprej izgleda, da plesalka s svojim gibanjem preprosto prevzema gibanje prostora in da je njeno telo navidezno skladno z njim. Vez med plesalko in prostorom pa se izkaže za veliko bolj kompleksno, ko plesalka pade v nekakšen trans in ko se njeno gibanje prične radikalno razlikovati od gibanja prostora, ki jo obdaja. Izgleda, kot da si plesalka oblikuje nekakšen lasten psihotičen prostor, ki se vse manj meni za simbolne okvire, v katere je postavljena.
Njeno telo prične delovati kot svoj svet, zamejen z lastnimi gibi, nenadzorovan od okolice in skoraj nepredušno zaprt do zunanjih vzgibov. Čeprav plesalka na koncu oblikuje svoj lasten svet, pa se njena komunikacija z zunanjim simbolnim okvirjem nikoli popolnoma ne prekine. Simbolni prostor in plesalka sicer pričneta delovati kot dva ločena svetova, za katera se zdi, da delujeta po svoji lastni, nori logiki, ki se ne meni za drugega. Toda ne glede na to, kako se svetova poskušata ločiti, eden ne more obstajati brez drugega.- Video documentation of the performance Concept of concept. Koncept Koncepta (concept of concept) is a story about the unequal couple, and is a universal formula for comprehending the world
- Koncepta is in love with the space that surrounds her and which keeps evading her in just about everything she does and in everything she loves
- Koncepta is in love with herself.
- Koncept Koncepta (concept of concept) is not a story of love
Dance performance deals with questions like what kind of support one gets from the symbolic space in which one moves; how does one internalise this space; or better, how one “touches” the space in reality.
The dancer finds herself in an unusual room where the walls appear like being alive and like moving in accordance to its own law. The structure in which the dancer moves has its life. However, the walls which seem to be following its own moving logic constantly fall back into its original state. And how does the dancer react to this life of the space? At times it looks as if the dancer simply copies the movement of the space. The dancer's body is in apparent synchrony with the space. And at other moment when the dancer falls into her own moving, we can observe the much more complex nature of the connection between the dancer and the space. It looks as if the dancer formed her own rather psychotic space which cares less and less for the symbolic framework in which she is placed.
The dancer starts functioning as her own world, which is limited by her own movements, uncontrolled from the surrounding and almost hermetically enclosed from the external forces. But although, at the end, the dancer forms her own world, her communication with the outside symbolic space never fully ends. Symbolic space and the dancer start functioning like two different worlds which seem to be following their own crazy logic and do not care about each other. However, no matter how much it looks that that each of them would wont to keep apart, one cant, and doesn’t wish too keep moving without another, as only like this they truly find the pleasure.- All metadata published by Europeana are available free of restriction under the Creative Commons CC0 1.0 Universal Public Domain Dedication. However, Europeana requests that you actively acknowledge and give attribution to all metadata sources including Europeana
Kazališna pozornica mistični je prostor OŠ Prule, koji svoj djeci pruža utočište i mogućnost transformacije. Kazališni odgoj je aktivnost, koja pomaže djeci u odrastanju i priprema ih za odrasli ...život. Kroz kazališnu igru učenici se osposobljavaju za komunikaciju, upoznavanje svojih tjelesnih i duhovnih sposobnosti. U svakoj predstavi koju postavljaju s razredom ili kazališnom grupom, učenici uče dijeliti, pobjeđivati, gubiti, sudjelovati. Između učitelja i učenika postoji nevjerojatna veza, veza koja povezuje, okuplja i poštuje. Učenici su rasli na sceni, afirmirali se, gradili samopouzdanje i gradili pozitivnu sliku o sebi. Uz pomoć kreativnog izražavanja proširili su granice imaginarnog svijeta i ovladali prostorom oko sebe.
Provider: - Institution: - Data provided by Europeana Collections- Ali sta si Eva in Ana tako zelo različni v tem, kar delata s svojim telesom in kako poskušata sublimirati svojo materialnost? ...Psihoanaliza jemlje sublimacijo kot zadovoljitev gonov, ki ni vezana na potlačitev. Sublimacija povzdigne prazen objekt, okoli katerega kroži gon, na raven sublimne Stvari. S sublimacijo lahko subjekt ustvari umetniško kreacijo in tako pridobi občudovanje drugih. Toda v jedru sublimacija ne kliče po občudovanju: je namreč zadovoljitev, ki ne vprašuje po ničemer več. Zato je samotno kroženje, v katerem se subjekta ne bosta srečala in oblikovala enote.- Video documentation of the performance O quadrate. Bodybuilder and dancer both master their own bodies with incredible discipline and dedication. But why do they submit their bodies to rigorous training? And do they have similar ideals in regard to what they want to achieve when transforming their bodies?
In the performance, Eva, the bodybuilder, proudly flexes her muscles and in different postures radically transforms the shape of her body. At some moments, her body appears like a superhuman, immensely powerful and almost horrifying figure, while at other moments she seems to be expressing a sublime beauty of a perfectly sculptured body. However, in this process of flexing her muscles, Eva is constantly wrapped in the skirt that, attached to the wall, does not allow Eva to move in the space. Is this skirt a feminine constraint that Eva cannot escape even though she has developed a masculine body? Or, does the fact that Eva cannot escape her skirt show that her body art does not allow her to go beyond the material constraints?
The dancer, Ana, is also caught into the constraints of her own materiality – the elastic square that she seems to be trying to escape. When Ana through her dance flexes her muscles, she tears apart the elastic square, slowly changing its shape and undermining its structure. But would Ana be able to obtain some kind of freedom were she finally to escape from the constrains of the square? When Ana looses the shelter of the square, she circulates in the space like an object that constantly moves around an empty space. Even without being tied with elastic, Ana seems to be tied by an inner constraint that drives her circulation.
Are Eva and Ana so different in the way they work with their bodies and try to sublimate its materiality? Psychoanalysis takes sublimation as a satisfaction of drives which does not involve repression. Sublimation elevates the empty object around which drive circulates to the level of the sublime Thing. With the help of sublimation, the subject might excel in an artistic creation and thus win the admiration of the others. However, in essence, sublimation does not call for admiration, since it is satisfaction that does not ask anything of anyone. This is why sublimation is a solitary circulation in which two subjects will not meet and form a unity.
Eva and Ana are both caught in their own circle of drive and thus seem to be ignorant of each other. But why do both remain tied to a materiality outside of the body, Eva by not being able to escape her skirt and Ana by being essentially determined by her square? Psychoanalysis rejects the fact that body might be governed by some natural instincts. With humans, instincts become drives which are always already marked by language. There is for the humans no way out of the constrains of the materiality of language, which is why complete sublimation of drives is never possible for the subject. At the end, Eva and Ana can only admire each other’s act from afar, never being able to fully detach each other from their own constrains or imitate each other’s art.- All metadata published by Europeana are available free of restriction under the Creative Commons CC0 1.0 Universal Public Domain Dedication. However, Europeana requests that you actively acknowledge and give attribution to all metadata sources including Europeana
Provider: - Institution: - Data provided by Europeana Collections- Video documentation of the performance Telborg. "We no longer believe in a primordial totality that once existed, or in a final ...totality that awaits us at some future date. We no longer believe in the dull grey outlines of a dreary, colourless dialectic of evolution, aimed at forming a harmonious whole out of heterogeneous bits by rounding off their rough edges. We believe only in totalities that are peripheral." *
Telborg is an abbreviation. It derives from "Body without Organs". The expression was forged by Antonin Artaud to mark in flesh his rebellious outcry against Western theatre; Gilles Deleuze and Felix Guattari built a theory around it, giving it an aura of extremity, very appropriate and trendy for the epoque we live in. Many followed.
Telborg is, however, removed from particularities. It is not a space, nor is it in space. It is "a special state of matter-energy information; a flowing reality animated from within by self-organising processes constituting a veritable non-organic life." ** It renounces organisation and systematisation, but doesn't relapse into chaos. It takes away role and function but it obeys the inner logic of the elements that constitute it. It abolishes the linearity of time-space dimension: every moment of its existence is at once.
The figure that connects us most directly to the notion of non-linearity is the spiral. Spiral grows continuously without ever changing its shape: it is a never-ending polygon for exploring all forms and principles of accelerated organic growth. The performance Telborg is examining three of such principles. They are separate entities, yet each represents one aspect of exploration which, at the stage of symbiosis with spirals, is stratified.
The existence is stable and predictable. Time and space are measured from an outside point: symbiosis and its confirmation depend on the endurance of form. The point of exhaustion of the form lies in its core. When exhaustion announces itself, symbiosis is dismembered: the state of stratification is over. Or is beginning.
Entities are in the stage of vacuum. Space and time are in their negation. All possibilities and impossibilities are condensed. To overcome that state, severe discipline is needed. Limitation and reduction are the key to the new level of exploration - or stratification. The zero stage is inhabited by the quintessence of the three entities. The form of existence is unknown. Time and space are to be determined. The influence of the spiral form is strong and reappears as an echo (or anticipation). Yet, there are so many new possibilities to be explored: limbs, spines, heads, torsos - separately and together, they serve as tools and guidances in looking for the new balance. The awareness on inter-dependence simultaneously arises. The form of existence calls for another kind of symbiosis. In the process of looking for the form, there are natural relapses into the stratification mode. The desire for order is a powerful impulse. But, it cannot provide a stable form. What is sought is the stability of the unstable, a flow of intensities that doesn't necessarily need to get into any kind of shape. The entities are heading towards the acceptance of the undefined state in which they will be able to live their integrity in a different way, constantly swinging between the stratifying impulse and the catalyst for freeing it. Thus they create Telborg. Or dismantle it.
Embarking on this journey which is the search for Telborg, what seems essential is to adopt non- linearity as the principle of perceiving and understanding. Cause and consequence evolve both ways. The beginning contains the conclusion. The end encompasses the introduction. The flow between them is constant and articulated at every stage and every stage comprises all the other stages.
This is not an easy task for our perception, still determined by the three-dimensional limit. In fact, it is impossible to fulfil it without falling into the classical trap of spectatorship: pretending, projecting, imagining. There is, however, another option, perhaps more abstract, but also more true to what non- linear perception might be. Remember the Sphinx's riddle; forget about the time component and take yourself as the human being described in it. Then merge the child, the (wo)man and the old (wo)man. Do not imagine it. Be it. And if that is not possible, try to realise its mere possibility.
Katarina Pejovic- All metadata published by Europeana are available free of restriction under the Creative Commons CC0 1.0 Universal Public Domain Dedication. However, Europeana requests that you actively acknowledge and give attribution to all metadata sources including Europeana
Provider: - Institution: - Data provided by Europeana Collections- Video documentation of the performance Dependance. The performance Dependance is dedicated to A.L. Chizhevsky, Russian scientist and ...thinker, born 7th February 1897 and today known as founder of Geleobyology, the scientist that first started of to elaborate the dependence of all living processes on Earth, biological and social, from the activity of the Sun.
The strive of defining what the life on our planet and universe depends on, inspired us into creating a situation where we gain freedom by understanding what our own existence depends on.
As the effort of each single performance of this world is in constructing its own individual "communicational system "this effort alone is what makes all performances of the world depending of each other.
Synthesizing our tribute to A.L. Chizhevsky and this statement, we created a dance piece for which the intensity of light was conditioned by the activity of the Sun on 7th February 1997 (the 100th birthday of A.L. Chizhevsky), and the rhythm of light was determined by the heartbeat of dancers dancing in performance of Paula Massano happening simultaneously in Centro Cultural de Belem in Lisbon, Portugal. The heartbeat of the dancer in our performance was in the same time transmitted and incorporated (as light) into the performance of Paula Massano.
"And once we experienced the exchange of our heartbeats, this performance is free to depend on itself and so use the heartbeat of its own dancer to guide the rhythm of light."- All metadata published by Europeana are available free of restriction under the Creative Commons CC0 1.0 Universal Public Domain Dedication. However, Europeana requests that you actively acknowledge and give attribution to all metadata sources including Europeana
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