The use of language is not accidental outer layer of the individual sciences. Language of the humanities is not jargon. No rigid tool. The use of language is practice in the fullest sense of this philosophical category. Concepts of humanities intervene in all spheres of social life. Rough relocation of expressions from other languages, especially English, makes conceptual confusion in the Slovenian language.
COBISS.SI-ID: 281800960
How fine art depicts female body and how to cope with pleasure and unease of gaze in an object? In the 20th century there appeared two fundamental cuts: modernistic break with a closed, idealized, normatively framed body, and postmodernist transformation, which united female body into one image of an artist and artistic material. Based on the works of art by Marcel Duchamp, Carolee Schneemann, Egon Schiele, Rudolf Schwarzkoglerja and Tanja Ostojic the author marks, how the depiction of the female body gets complicated into cultural, political and psychoanalytic contexts. With explicit scenes of the body fine art sharpens its attitude to pornography, and in such a manner raises the question of truth and the limits of sight, visible and unrepresentative. The author has undertaken a challenging and provocative theme, which on the one hand affects the fundamental dimensions of the visual, in the history of art, its codes and taboos, which intersect with the representation of the genitals, into modernistic turn, which is connected with the new regime of visibility and sight.
COBISS.SI-ID: 281702656
In the article the author discusses the actual phenomenon of creative economy with the subfield creative industries and the related concept cultural industries. In the 1940s of the 20th century the authors of Frankfurt school critically analyzed the swing of cultural industry and comprehended it as a means for making people apathetic in critical thinking. In this paper the author acknowledges that today the field of creative economy, which is being stimulated by the governing policies, functions in a similar fashion. To compare creative industries with art the author unfolds the comprehension of art throughout the history and discusses the premises such as the handicraft, creativity, profitability, commodification of products and services and the ideological positioning. The latter in particular has a crucial role in art, which inherits the romantic revolutionarity and is to be understood as the agent of critical thinking. The creative economy on the contrary presents what it inherited from art as a cultural good that is offered for consumer purposes. Into its system the creative economy eagerly absorbs everything that could be possibly explained in reference to creativity. By doing that it promises a dream of prosperity and success for everyone.
COBISS.SI-ID: 21903112
In 1949-1951 Marij Pregelj, one of the most interesting Slovenian modernist painters, illustrated his version of Homer's Iliad and Odsssey. His illustrations were presented in the time of socialist realist aesthetics announce a reintegration of Slovenian art into the global (Western) context. Among the illustrations is the figure of Cyclops devouring Odysseus' comrades. The image of the one-eyed giant Polyphemus is one which concerned Pregelj all his life: the painter, whose vocation is most dependent on the gaze, can show one eye in profile. And the profiles of others' faces and of his own face interested Pregelj his whole life through. Not only people but also objects were one-eyed: the rosette of a cathedral, which changes into a human figure, a washing machine door, a meat grinder's orifice, a blind %windeye% or window, and so on. The themes of his final two paintings, which he, already more than a year before his boding senseless death at the age of 54, executed but did not complete, are Polyphemus and the Portrait of His Son Vasko. In the first, blood flows from the pricked-out eye towards a stylized camera, in the second, the gaze of the son, an enthusiastic filmmaker, extends to the camera that will displace the father's brush.
COBISS.SI-ID: 57333346
The 1970s expansion of free radio stations throughout Europe and the experiences of that movement over the following years encouraged diverse reflections on, and experiments with, the ways of using media and new technologies. Of course the experience of Radio Alice and other free radio stations in Italy and elsewhere of the late 1970s only became possible when the radio as a communication tool became affordable and technically accessible to a new social subject – the student movement and social movements predominantly consisting of young people. What left the deepest mark on the period, however, was a fundamental change in the attitude of social and political movements to the media.
COBISS.SI-ID: 1555853