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The subject of this article is an analysis of the representation of the nineteenth century in Václav Vokolek’s multithreaded prose work Dominový efekt. The work can be regarded as a specific continuation of the work Cesta do pekel, especially if the pictorial perspective and the conviction that humanity is in a network of secret organisations, conspiracies and, nowadays, various systems are regarded as common points. In this text, the focus is mainly on the reconstruction of the figure of Ernst Gustav Doerell, a 19th- century landscape painter of Northern Bohemia, whose paintings reflected the changes taking place in the natural landscape of the region. Using the historical prototype in part, Vokolek offers the reader a post modern game through which he can take the conviction of the omnipotence of the secret systems that rule the world to our present day and even look into the near future.

Kim są „nasi umarli”? To przedstawiciele zapomnianych dyscyplin, twórcy modeli myślenia uznanych za przestarzałe, porzuconych na ołtarzu teoretycznej i metodologicznej nowości, anachronicznych. Semiologia (nie tyle pikturalna, ile semiologia w ogóle, jako fragment przedsięwzięcia strukturalistycznego) jest obecnie – myślę tu o drugiej dekadzie xxi wieku, choć ta diagnoza dotyczy co najmniej kilkudziesięciu ostatnich lat – postrzegana jako projekt wyczerpany, a nawet niebezpieczny. Metoda, któ...

Żeby zrozumieć współczesny status dyskursów, których przedmiotem jest obraz, w szczególności studiów nad obrazami powstających we współczesnej humanistyce francuskiej, należy wziąć pod uwagę konsekwencje ewolucji historii sztuki: nie tylko jej wewnętrzne przemiany, ale też zewnętrzne wobec niej efekty redefiniujące pole humanistyki. Niezależnie od tego, co twierdzi się na temat współczesnego stanu tej dyscypliny, logika dokonujących się w jej ramach przekształceń była kluczowa dla używanych d...

Krytyczne rozszczepienie w łonie strukturalizmu, wykryte, a częściowo stworzone przez autora Études sémiologiques, nie sprawiło, że zerwał on z kierunkiem, którego esencję stanowiło wprowadzenie modelu językoznawczego do humanistyki jako całości. Mimo problemów, które ujawniła praktyka badawcza, Marin pozostał strukturalistą. Rzecz jasna, kryzys całego paradygmatu nie pozostał bez wpływu na to, co pisał autor Opacité de la peinture. Na skutek wewnętrznego napięcia między wymogami praktyki nau...

Wydana w 1993 roku książka Pouvoirs de l’image jest świadectwem ostatecznego przekształcenia francuskiej myśli o obrazie. Louis Marin nie tylko dystansuje się w niej wobec pytań zadawanych w ramach historii sztuki rozumianej jako naukowy projekt będący efektem adaptacji teorii de Saussure’a, lecz także wyciąga ostateczne konsekwencje z badań nad reprezentacją. Zadaje pytanie o obraz, przy czym odżegnuje się od rozpowszechnionego w myśli zachodniej przekonania o metafizycznej pośledniości tego...

Teoretyczna słabość historii sztuki i poznawcza nieefektywność studiów nad kulturą wizualną sprawiają, że obrazy pozostają dla nas wyzwaniem. Ikonofilia jest alternatywną perspektywą, w ramach której są one - w końcu - traktowane poważnie. Historia ikonofilii we francuskiej humanistyce (przede wszystkim w semiologii pikturalnej), służy do nakreślenia postulowanej przyszłości myśli o obrazie. Nie chodzi tu o tradycyjną prezentację dziejów pojęcia obrazu, ale o namysł nad różnymi strategiami rozumienia obrazu w humanistyce, których efektem jest teoria. A więc praca dotyczy problematyki obrazu jako fenomenu, który tworzy historię i teorię. (fragm. recenzji prof. Marty Leśniakowskiej) The theoretical weakness of history of art and the cognitive inefficiency of studies on visual culture cause images to remain a challenge for us. Iconophilia is an alternative perspective, within which they are (finally) taken seriously. The history of iconophilia in French humanities (in pictorial semiology in particular) serves the purpose of drafting the proposed future of the thought on images. It is not about a traditional presentation of the history of the notion of an image, but about reflecting on the various strategies of understanding images in the humanities, the effect of which is theory. This study, therefore, relates to the issue of image as a phenomenon, which writes history and theory. (excerpt from a review by Prof. Marta Leśniakowska)

The purpose of the proposed work is to analyze the status of the collection Nea-lit (1993–1994) in Belarusian literary process of the 1990s. The research material is the layout of this book from the private archive of the poet Viktar Zhybul. Such literary record has not yet been made public or put into scientific circulation.The peculiarities of Nea-lit are illuminated in the general conceptual, textual and genre-stylistic aspects.Among other things, the anthology manifested the crystallization of new literature. In addition, the collection included versions of poems by Sierzh Minskievich, Illia Sin, Alies Turovich, different from later publications. In the end, Nea-lit became a platform for searching for actual imaginative language. Within the project of the book radical translogical experiments and unusual genre of ‘panphile’ were outlined, images of urban space with accentuated motifs of corporeality prevailed. Celem proponowanej pracy jest analiza statusu zbioru Nea-lit (1993–1994) w białoruskim procesie literackim lat dziewięćdziesiątych. Materiałem badawczym jest makieta tej książki z prywatnego archiwum poety Wiktara Żybula. Taki dokument literacki nie został jeszcze upubliczniony ani wprowadzony do obiegu naukowego.Właściwości Nea-litu są wyjaśnione w aspektach ogólnokonceptualnym, tekstologicznym i gatunkowo-stylistycznym.Między innymi rzeczami antologia manifestowała krystalizację nowej literatury. Ponadto w zbiorze znalazły się odmienne od późniejszych publikacji warianty wierszy Sierża Minskiewicza, Illi Sina, Aliesia Turowicza. W końcu Nea-lit został platformą do poszukiwania aktualnego języka artystycznego. W ramach projektu książki zarysowano radykalne eksperymenty translogiczne i niezwykły gatunek „panfilu”, zaprezentowano dominowanie obrazów przestrzeni miejskiej z zaakcentowanymi motywami cielesności. Цель предлагаемой работы – проанализировать статус сборника Неалит (1993–1994) в белорусском литературном процессе 1990-х гг. Материал исследования составляет макет этой книги из личного архива поэта Виктора Жибуля. Ранее соответствующий документ не был обнародован и введен в научный оборот.Особенности Нэа-літа освещаются в обще концептуальном, текстологическом и жанрово-стилистическом аспектах.Среди прочего, мини-антология продемонстрировала кристаллизацию новой литературы. Кроме того, в сборник вошли варианты стихотворений Сержа Минскевича, Ильи Сина, Алеся Туровича, отличные от более поздних публикаций. В итоге Нэа-літ стал площадкой для поиска актуального художественного языка. В рамках макета издания наметились радикальные транслогические эксперименты, сформировался нестандартный жанр «панфиль», проявилось преобладание образов городского пространства с подчеркнутыми мотивами телесности.

Mazkur maqolada O’zbekiston tasviriy san’atida ayol milliy va zamonaviy obrazini yaratish to’g’risida fikr-mulohazalar yurutilingan. Shuningdek, kompozitsiya ishlash jarayonida talabalarni Vatanparvarlik ruxida tarbiyalash, ularni vatanga bo’lgan muhabbatlarini orttirishda tasviriy san’atning naqadar ahamiyatli ekanligi yoritib berilgan.

The subject of this master thesis is the phenomenon of light as a specific artistic medium. The main focus will be put on issues of non-narrative light installations, the dichotomy of picture/image and light (projected light, projected picture/image), light and space (changes in perception due to light intervention) and their synthesis, the symbolism of light and its transformations. The aim is to describe the context of the inclinations towards light as an artistic medium in the work of selected artists and to explain the links of this shift towards new forms of fine art especially after 1989. The argumentations will be based on the works of key personalities of the Czech and foreign art scene, namely the work of Zdeněk Pešánek (1896-1965), Dan Flavin (1933-1996), James Turrell (*1943) and others. The text will map related manifestations and tendencies in contemporary Czech art through a critical naming of the methods and procedures of light creation by these artists.

This article undertakes to analyze strategies of machine vision in selected artistic projects based on facial recognition and analysis techniques. The specific nature of AI activity regarding image recognition, analysis, processing and creation is presented with regard to thoughts on the characteristics of non-human (machine) perception. The author considers to what extent machine learning techniques – ascribed algorithmic reductionism in representing reality due to data operationalization – can constitute strategies of generating exclusion (i.e. in terms of identity or species), and to what extent they can have emancipatory character and condition the restoration of visibility of individuals or groups, both human and non-human, especially in the context of a socio-political regime. Moreover, the article defines various socio-political factors in the creation of images of the excluded, including the context of speculative anthropometry. The presented theoretical approach analyses art & science projects by Shinseungback Kimyonghun, Thomas Guggenberger, Trevor Paglen, Hleb Burnashev, as well as the This Person Doesn’t Exist initiative and the discussion surrounding it.

The master thesis entitled Literary and visual component of books in pre-primary education - with a focus on the work of Daisy Mrázková, is aimed at exploring the possibilities of books as a potential resource for the development of fading pre-literacy and visual literacy in preschool children. The theoretical part first considers the relationship between preschool education and pre-literacy and visual literacy. It reflects on the need to address these concepts already in preschool education. Next, the theoretical part focuses on the definition of fading pre-literacy and visual literacy, presents the possibilities of developing these literacies in children and finally relates these phenomena to the binding curriculum for preschool education. Other chapters of the theoretical part deal with the work of Daisy Mrázková - painter, illustrator and writer of children's books. First, a brief biography of Daisy Mrázková is presented, and the subsequent chapters focus on her artistic and literary work. At the end of the theoretical part, selected books by the author that were used in the research investigation are presented. The practical part focuses on the design and verification of a possible model of working with the literary and visual components of a book. This model is elaborated into individual...

Tekst stanowi refleksję na temat wzajemnych relacji Hitchcocka, Markera i Godarda. Główną ideą artykułu jest dostrzeżenie istotnego wpływu tego pierwszego na obu francuskich artystów, który w proponowanym ujęciu przejawia się w oddziaływaniu Zawrotu głowy (1958) na Pomost (1962), Bez słońca (1983) oraz Immemory (1997) Markera, a także na Nową falę (1990) i Historie kina (1988-1998) Godarda. Autorka zauważa, że francuscy reżyserzy wykorzystali ten sam film Hitchcocka, ale w nieco odmienny sposób. Obaj zaakcentowali uniwersalność opowieści o pamięci/zapominaniu oraz docenili kunszt twórcy thrillera, który był doskonałym, czułym na obraz stylistą. Jednak każdy z nich na swój sposób kreował postać Hitchcocka w swych dziełach. Marker podkreślał umiejętność manipulowania czasem i przestrzenią, doskonałość niemal ascetycznej formy zawartej w Hitchcockowskich prostych obrazach. Godard polegał zaś na Hitchcocku jako na mistrzu kina, następcy wielkich malarzy, który wywierał na publiczność ogromny wpływ dzięki umiejętności opowiadania filmowych historii obrazami.

Maqolada tasviriy san’atning rivojlanish tarixi hamda rivojlanishiga turtki bo’lgan omillar xaqida ma’lumotlar keltirilgan.

Women are amongst the main protagonists of the book of Revelation. Their images, functions, and significance in the text of the visionary seer from Patmos are the subject of this synchronic study. The author points to the fact that the horizon of exegetical inquiries used in the book of Revelation, apart from the nouns γυνή (woman, wife) and νύμφη (bride), is broadened by the use of juxtaposed elements of feminine symbolism and nuptial imagery. John has endowed popular themes from the intersection of Judaism and the Greco-Roman world with new meanings. They contribute to the image of the personified Church, which fights against personified evil and triumphs as the Bride of the Lamb.

Uspješna je komunikacija temelj za ugodan suživot, a omogućuje nam razmjenu mišljenja i ideja, sklapanje dogovora i ostalo. Da bi komunikacija bila uspješna, učinkovita i djelotvorna, sudionici komunikacije moraju biti uljudni, a teoriju uljudnosti razvili su Penelope Brown i Stephen C. Levinson. Toj su teoriji prišli preko pojma obraza koji može biti pozitivan i negativan; pozitivni obraz zadovoljava potrebe sugovornika, a negativan obraz izražava želju da se bude neometan u svom djelovanju i svojoj slobodi. Preko pojma obraza dolazi se i do strategija izražavanja pozitivne uljudnosti (usmjerena pozitivnom obrazu), strategija izražavanja negativne uljudnosti (usmjerena negativnom obrazu) i strategija narušavanja uljudnosti (dolazi do kršenja pravila uljudnosti), a navedene su strategije tema ovog preglednog diplomskog rada. Cilj je ovog rada dati prikaz strategija koje se koriste u razgovornom diskursu turskog jezika. Nakon provedene analize, možemo reći kako se strategije, koje su definirali Brown i Levinson, pojavljuju i u turskome jeziku, što i nije iznenađujuće s obzirom na kolektivizam koji je jedna od njegovih najvažnijih karakteristika. Successful communication is the key to pleasant coexistence, and it enables exchange of opinions and ideas, making agreements and similar. In order for communication to be successful, efficient and effective, communication participants must be polite. Politeness theory was developed by Penelope Brown and Stephen C. Levinson, and they developed it through the concept of face that can be positive or negative; the positive face satisfies interlocutor's needs, and the negative face expresses the desire to be unhindered in one's actions and one's freedom. Through the concept of face, we come to the strategy of expressing positive politeness (directed to the positive face), the strategy of expressing negative politeness (directed to the negative face) and the strategy of violating politeness (violation of the rules of politeness) and the mentioned strategies are the subject of this paper. The purpose of this paper is to present the strategies used in conversational discourse of the Turkish language. After the analysis, we can say the strategies defined by Brown and Levinson also appear in the Turkish language, which is not surprising because the collectivism is one of its most important characteristics.

Obraz je sredstvo komunikacije, izražanja in upodabljanja. Od nekdaj ga uporabljamo za lastno reprezentacijo, saj verjamemo, da osebo najboljše opiše. Vendar to ni res. Reprezentacija ni vseobsegajoča in ima slepe točke, zato ne more predstavljati in upodobiti celotne osebe. Danes so se spremenili načini reprezentacije in razlogi za upodabljanje. (Avto)portretne upodobitve, ki so jih nekoč uporabljali za konzervacijo osebe v fizičnem objektu, so danes nadomestili selfiji, ki jih primarno uporabljamo kot dokaz življenja in sredstvo komunikacije. Vloga obrazne upodobitve je bila nekoč vezana na obraz, danes pa se je upodobitev osvobodila odvisnosti od obraza, kar pa ne pomeni, da je svobodna. Ujeta je v nenehni cikel lastnega izumljanja, ki sledi mikro-trendom obrazne reprezentacije, samo, da ostane relevantna in vredna pogleda drugega. The face is a means of communication, expression and depiction. It has always been used for our own representation, as we believe that it can describe a person best. However, this is not true. Representation is not all-encompassing and it has blind spots, so it cannot represent and depict a person wholly. Today, methods of representation and reasons for (self)depiction have changed. (Self)portraits, once used to conserve a person in a physical object, are now replaced with selfies, primarily used as evidence of life and a means of communication. The role of facial depiction was once dependent upon the face, while facial depiction today is free from this dependency, which does not, however, mean it is free from all (such dependencies). It is caught in a continuous cycle of self-inventing, following micro-trends of facial representation, just so it stays relevant and worthy of the gaze of the Other.

Maqola jahon tasviriy san’atida yorqin iz qoldirgan Leonardo da Vinchining tasviriy san’at sohasidagi erishgan ulkan yutuqlari haqida boradi. Shuningdek, Leonardo da Vinchining mashhur asarlari borasida oz bo‘lsada o‘quvchiga ma’lumot beriladi.

Ushbu «San`at-mo`jizadir» nomli maqola san`at haqida bo`lib, unda san`atning kelib chiqishi, turlari, san`atning qadimiy turlaridan bo`lgan musiqaning kelib chiqish tarixi, uning inson ongiga ta`siri va inson hayotida qanchalar ahamiyatga ega ekanligi bayon etilgan. Shuningdek, maqolada musiqa haqida allomalarning fikrlari keltirib o`tilgan. Ushbu maqolani o`qigan inson san`at va musiqa to`g`risida bilimlarga ega bo`ladi.

ushbu maqolada do‘stlik konseptining ingliz va o‘zbek maqollari ifodalanishining o‘ziga xos jihatalri tavsif qilinadi.

Ушбу маколада, maktabgacha ta’lim tarbiyalanuvchilari “rol oynash”, “qo'shiq aytish” va “raqsga” tushishlarga tabiiy moslashishlari, teatrlashtirilgan va musiqiy sahna ko'rinishlarini qabul qilish orqali bolada katta qiziqish uyg'otib, unda ishtirok etishlari xohish-istagini bildiradi. Teatr va musiqa ijodiyoti bolalar ehtiyojlarni qondirish bilan muammolardan ozod qiladi, u quvonchli daqiqalar va katta zavqni his qiladi. Rol ijrosidagi matn va musiqiy qo'shiq so'zlari hissiy tizimlar bilan bog'langanligi tufayli,bola matnlar mazmunini tushuna boshlaydi va ijro jarayonida qo'shilishi, sahnaga qarashi, xatto "o'zi" ga ham qarash tajribasini egallashga, uni tuzatishga va uni baholashga o’rganib boradi.

Teoria artefaktu jest rozwinięciem projektu krytyki ikoniczności autora zaprezentowanej w książce Reliefy rozmazane. Rzeczy i obrazy w kulturze dawnej Grecji (2020). Jej celem jest przemodelowanie zastanego myślenia o wytworach kultury greckiej okresu archaicznego i klasycznego w perspektywie kategorii obrazu uwikłanej w dyskurs filozoficzny, mającej tym samym niejasny i zmienny historycznie status. Proponowana w miejsce obrazu kategoria artefaktu obejmuje wszelkie wytwory plastyczne oraz zespolone z nimi działania, praktyki i gry społeczneoraz ich światopoglądowe motywacje. Artefakt jest więc rodzajem osadzonego społeczniedynamicznego bytu ikonicznego. Zapis z częściową kursywą ma pojęcie to odróżniać od artefaktu archeologicznego, rzeczy w jej czysto materialnym, fizycznym wymiarze. Kategoria arte faktu podkreśla również procesualny charakter percepcji rzeczy w kulturach dawnych np. stawanie zamiast bycia. W myśl prezentowanej teorii naczynie, posąg czy malowidło ma nie tyle wymiar wizualny, ile performatywny i sprawczy; jest formą ingerencji w świat. Dynamika oglądu rzeczy była także uzależniona od otoczenia, co ujawnia się m.in. w odmiennym sposobie postrzegania artefaktów przez Homerowego Telemacha w pałacu Menelaosa i w pałacu Nestora.Różnice tę autor ujmuje w ramach dwu wyróżnionych typów kultury chōros (χῶρος) oraz diakrisis (διάκρισις).W drugiej części artykułu w ramach nastawienia krytycznego, poddany zostaje redefinicji status ikoniczności w kulturze archaicznej. Jest to strategia poznawcza mająca na celu ujawnienie oraz charakterystykę gier i praktyk społecznych stojących za właściwymi kulturze greckiej for-mami plastycznego zadysponowania. Ikoniczność w perspektywie krytycznej jest nie tyle efektem końcowym, rezultatem czegoś służącym celom estetycznym, ile jednym z działań składających się na to, czym jest dany posąg czy malowidło jako stan rzeczy (niem. Sachverhalt ). The artifact theory is part of the author’s project of iconicity criticism presented in his book Reliefy rozmazane. Rzeczy i obrazy w kulturze dawnej Grecji [Smeared Reliefs: Things and Images in Ancient Greek Culture] (2020). It aims to remodel foxed thinking about products of Greek culture from the archaic and classical periods in the perspective from the category of the image entangled in philosophical discourse, and thus having an unclear and historically variable status. The category of artifact, proposed in place of the image encompasses all artistic products and social activities, practices, and the games associated with them, as well as their worldview motivations. The artifact is thus a kind of socially embedded dynamic iconic entity. The notation in partial italics is meant to distinguish this concept from the archaeological artifact, the thing in its purely material physical dimension. The artifact category also emphasises the processual character of the perception of things in ancient cultures, e.g. the becoming instead of the being. According to the theory presented, a vessel, a statue, or a painting has not as much a visual dimension as a performative and agentive one; it is a form of interference in the world. The dynamics of looking at things was, moreover, dependent on the environment, which is revealed, for example,in the different way in which Homer’s Telemachus looked at artifacts in the palace of Menelaus and in that of Nestor. This difference is presented by the author within the framework of two distinguished types of culture chōros (χῶρος) and diakrisis (διάκρισις). In the second part of the article, the status of iconicity in archaic culture is redefined using a critical approach. It is a cognitive strategy aimed at revealing and characterizing the games and social practices behind the forms of artistic disposition inherent in Greek culture. Iconicity in the critical perspective is not so much the result, or outcome of something serving aesthetic purposes, but rather one of the activities that make up what a given statue or painting is as a stateof affairs (Sachverhalt ).

The work examines the relationship between real space and imaged space, their visual appearance and interrelatedness. It solves the question of the world of subjective and objective, real and imaginary. It places human in the role of actor, creator and viewer who interacts with the space through artistic creation. It briefly describes the development of various artistic tendencies dealing with landscape creation in context of conjunction of around me and looks for examples from selected authorities of the art world from the past and present, which it compares with each other. The artistic part consists of a closed set of acrylic paintings depicting the personal world of the author, while each of them is given an individual meaning with reference to the narrative, time and space component. The paintings are further investigated and subjected to consideration that characterizes their creation and meaning. The didactic part of the work presents a proposal for an art assignment for high school students aged fifteen, describes possible procedures and prerequisites for its appropriate fulfillment, followed by examples of eventual outputs. At the end of the work we find out about the changes in relationship between the author and space and about the changes in general approach in landscape art and...

Stat'ja posvjaščena izučeniju russkich paremij, opisyvajuščich sostojanije sna. V nich otraženy tradicionnyje narodnyje predstavlenija o tom, čto proischodit s čelovekom v ètom sostojanii, kak on vosprinimajet mir. «Sonnye» paremii svidetel'stvujut, javno ili kosvenno, o sžatii i rasširenii vremeni vo sne. Prostranstvo snoreal'nosti vosprinimajetsja kak neznakomoje mesto, v kotoroje možno vernut'sja, čtoby «popravit'». Vo sne čelovek stanovitsja «dumnym», «dumajet ne svoju dumu» ili «ne v svojem ume». Jego mental'noje sostojanije traktujetsja kak «čužoje», vyzyvajuščeje «nesankcionirovannoje» rečeporoždenije. Son v paremijach nadeljajetsja vzaimoisključajuščimi charakteristikami, rassmatrivajetsja to v koordinatach smerti, to v koordinatach žizni.

Les contributions réunies dans le présent volume se proposent d’interroger les modalités de visibilité les plus diverses. Elles reflètent également la variété des directions dans lesquelles sont poursuivies les recherches en littérature, arts visuels (film, peinture) ou en linguistique. Les reportages, la presse aussi bien que le roman et la poésie manipulent l’image, régissent la matière par le regard et, en fonction des résultats, exercent un pouvoir sur le public. Le potentiel performatif de celui ou celle qui regarde et qui témoigne de ce qu’il/elle a vu, observé, scruté – se manifeste dans les textes de culture des pays et des époques divers.

Rozdział poświęcony jest uzasadnieniu tezy, że we wczesnej fazie myśli chrześcijańskiej - w pismach Ojców Kościoła z pierwszych wieków naszej ery - rozum i wola były, co prawda, pojęciowo i funkcjonalnie odróżniane, ale zarazem traktowane jako spójne i komplementarne elementy jednej większej całości, tj. ludzkiego życia umysłowego. Wychodząc od analizy ikonicznej koncepcji człowieka, która w jego rozumnej duszy czy też umyśle upatruje boskiego obrazu i podobieństwa, argumentuje się następnie, że odwołująca się do tej biblijnej koncepcji patrystyczna antropologia w żadnym razie nie przeciwstawia sobie nawzajem rozumu i woli w człowieku, tak iż na jej gruncie można nawet mówić o ich jedności. Analiza tekstów źródłowych potwierdza, że w tej epoce nie można jeszcze mówić o intelektualizmie i woluntaryzmie jako skrystalizowanych i radykalnie przeciwstawnych stanowiskach antropologicznych. This chapter is devoted to the justification of the thesis that in the early stages of Christian thought, especially in the works of Church Fathers, reason and will were, admittedly, conceptually and functionally distinguished, but at the same time they were treated as coherent and complementary elements of one larger whole, i.e. of the human mental or spiritual life. Starting from the analysis of the iconic conception of man, which in his rational soul or mind sees the divine image and likeness, then it is argued that patristic anthropology - related to this biblical concept - in no way opposes reason in will in man, so that on its grounds one can even speak of their unity. The analysis of the source texts confirms that in this epoch one can't speak yet about intellectualism and voluntarism as the crystallized, radically opposed anthropological positions.

Článek se zabývá vnímáním a obrazem města Chebu v kontextu historického dědictví. Od roku 2017 je ve městě realizována prohlídková trasa historickými krovy. Cílem výzkumu bylo zjistit, jaký vliv má tato aktivita na image města, resp. zda historické krovy již tvoří součást image města alespoň pro některé obyvatele a občany ČR. Obraz města dosud nebyl systematicky zkoumán. Byly provedeny dva průzkumy, jeden mezi obyvateli města a druhý mezi občany ČR. Bylo zjištěno, že město Cheb je v povědomí respondentů spojováno s historickým dědictvím. Mimo město Cheb však historické krovy zatím nejsou dostatečně spojovány s jeho vnímáním. V článku je také prezentován sémantický diferenciál s vnímáním města Chebu občany. The paper deals with the perception and image of the town Cheb in the context of historical heritage. Since 2017, the town has been running a tour of historic trusses. The aim of the research was to determine the influence of this activity on the image of the town, or whether the historic roofs already form part of the image of the town at least for some Czech residents and citizens. So far, the image of the city has not been systematically investigated. Two surveys have been carried out, one among the city residents and one among the citizens of the Czech Republic. It was found that the city of Cheb is associated with historical heritage in the minds of the respondents. However, outside the town of Cheb the historical trusses are not yet sufficiently associated with the perception of it. The article also presents a semantic differential with citizens' perception of the town of Cheb.

The dissertation deals with visuality, its perception by pupils of the secondary school. The theoretical part of the work defines the concept of image, visuality, their contextual frameworks. It takes into account the discursivity of these concepts. The aim of the research is to determine students' preferences in the concept of visuality. It seeks theoretical foundation in the areas of: visual sphere - artistic production, new media; art history; spheres of humanities - philosophy, pedagogy, psychology. It also deals with communication and linguistics. It applies knowledge of a semiotic nature. Research design is applied action research of a qualitative nature. It uses the methodology of Grounded Theory and triangulation. The research part of the thesis contains evaluated questionnaire surveys, reflecting selected artifacts. Interpreted student outcomes. These are evaluated using the obtained data to answer research questions. The thesis brings a new perspective on visual information, from the perspective of the pupil. Nowadays, we as educators, are searching for the most appropriate way to offer children and adolescents the necessary competences for to be adapt in the contemporary visual society. KEYWORDS Discourse, Qualitative research, Picture, Visuality, Sign, Pupils artwork

Uspješna je komunikacija temelj za ugodan suživot, a omogućuje nam razmjenu mišljenja i ideja, sklapanje dogovora i ostalo. Da bi komunikacija bila uspješna, učinkovita i djelotvorna, sudionici komunikacije moraju biti uljudni, a teoriju uljudnosti razvili su Penelope Brown i Stephen C. Levinson. Toj su teoriji prišli preko pojma obraza koji može biti pozitivan i negativan ; pozitivni obraz zadovoljava potrebe sugovornika, a negativan obraz izražava želju da se bude neometan u svom djelovanju i svojoj slobodi. Preko pojma obraza dolazi se i do strategija izražavanja pozitivne uljudnosti (usmjerena pozitivnom obrazu), strategija izražavanja negativne uljudnosti (usmjerena negativnom obrazu) i strategija narušavanja uljudnosti (dolazi do kršenja pravila uljudnosti), a navedene su strategije tema ovog preglednog diplomskog rada. Cilj je ovog rada dati prikaz strategija koje se koriste u razgovornom diskursu turskog jezika. Nakon provedene analize, možemo reći kako se strategije, koje su definirali Brown i Levinson, pojavljuju i u turskome jeziku, što i nije iznenađujuće s obzirom na kolektivizam koji je jedna od njegovih najvažnijih karakteristika.

Maqolada eng jasoratli va ayni paytda eng pragmatik o'n yillik sanalmish 80-yillar modasining podiumga qaytib kelishi va so'nggi mavsumlarda uning mashhurligi eng yuqori cho'qqiga yetganligi haqida ayrim mulohazalar yuritilgan. 80-yillarning yoshlarni aqldan ozdiruvchi barcha asosiy tendentsiyalari zamonaviy modada namoyon bo���lishiga misollar keltirilgan., This article provides some reflections on the return to the catwalk of the fashion of the 80s, which is considered the boldest and at the same time the most pragmatic decade, and that its popularity has reached its peak in recent seasons. Examples are given of how all the main trends of the 80s, driving young people crazy, manifest themselves in modern fashion.

Maqolada O���tkir Hoshimovning ���Tushda kechgan umrlar��� romanining syujet, obraz, uslub xususiyatlari, yoritilgan. Asar voqealarining makon va zamon xususiyatlari tahlil qilingan. Yozuvchining obraz yaratish borasidagi badiiy mahorati tadqiq etilgan., The article highlights the features of the plot, image, style of Utkir Hashimov's novel "life in a dream". The spatial and temporal characteristics of the events of the work are analyzed. The artistic skill of the writer in creating an image is investigated

Ushbu maqolada musiqa ta’limida ish boshlayotgan ayrim yosh mutaxassislar yetarli darajada o’rgatish tajribasiga ega emasligi sababli ish faoliyatida qator qiyinchiliklarga duch keladilar, cholg’uda ijro etishni o’rgatishni nimadan boshlash kerak, turli ijro etish usullarini qanday o’rgatish kerak kabilar xaqida so’z boradi., In this article, some young professionals who begin their musical education face a number of difficulties in their work due to the lack of pedagogical experience, how to start learning to play an instrument, how to teach different performance techniques, etc.

Artykuł odnosi się do teorii ekfrazy w pracach Anny Pilch i innych autorów. Przedmiotem zainteresowania autorki jest najpierw obraz Dziwny ogród Józefa Mehoffera oraz inspirowany tym dziełem wiersz Ogród przedziwny Leopolda Staffa. Następnie zostają opisane efekty warsztatów dla młodzieży przeprowadzone metodą found poetry, czyli poezji znalezionej. Uczniowie szukali wierszy w eseju na temat Dziwnego ogrodu i tym samym tworzyli z powodzeniem własne ekfrazy. Ten sposób kontaktu z dziełem malarskim uwrażliwia na ekfrazy wielkich poetów i może ułatwić ich interpretację. The article refers to the theory of ekphrase in the works of Anna Pilch and other authors. First, the author's interest is the painting A Strange Garden by Józef Mehoffer and the poem The Garden of More than Strange by Leopold Staff, inspired by that piece of art. Then, the effects of the workshops for young people carried out with the use of the found poetry method are described. Students were told to search for poems in an essay about A Strange Garden and thus successfully created their own ekphrases. This way of contact with a painting makes young people sensitive to the ekphrases of great poets and may facilitate their interpretation.

Izhodišče magistrske naloge so deformirani družinski portreti. V prvem delu raziskujem obraz in njegovo upodabljanje ter reprodukcijo, za kar sem našla izhodišča v delu Hansa Beltinga: Faces – Zgodovina obraza. Zanima me, kakšen pomen je imel obraz skozi zgodovino. Raziskujem, kaj se zgodi z obrazom, ko se spremeni v portret. Pomembno se mi zdi vprašanje, kakšno moč imajo podobe in kako lahko vplivajo na ljudi med drugim navedem primere iz dela Davida Freedberga: Moč podob – Študije iz zgodovine in teorije odzivanja. Ker pri svojem procesu dela pretvorim analogne fotografije v digitalne, na kratko predstavim tudi témo o fotografiji in njeni zgodovini ter o razlikah med digitalno in analogno fotografijo. Napišem definicijo slikarstva in navedem nekaj primerov, kako se lahko fotografija in slikarstvo med seboj povezujeta. Temu sledijo reprodukcije mojih slikarskih del, kjer predstavim tudi referenčne umetnike, ki ustvarjajo na podoben način. This MA thesis is based on deformed family portraits. In the first part, I study the face and how it is portrayed and reproduced, which is addressed in Hans Belting's Faces: Une histoire du visage. I want to determine the significance of the face through history and study what happens to the face once it is transformed into a portrait. I find it important to address the power of images and their effect on people among others, I list examples from David Freedberg's The Power of Images: Studies in the History and Theory of Response. As my work process entails transforming analogue photographs into digital photographs, I also discuss photography, its history, and the differences between digital and analogue photographs. I then define painting and list some examples, showing how photography and painting can be mutually linked. I go on to portray reproductions of my paintings, presenting also referential artists who adopt a similar approach to art.

The main purpose of the article is to present the role of the image as an important element of the information message. The article is descriptive, based on existing materials and analysis of the content of scientific publications in the field of information visualization. The author agrees with the presented content that the infographic is now one of the main elements of communication. It shows its importance referring to the problems of perception and concepts related to the change of the discourse treating the image.

Celem pracy jest omówienie wybranych prac Billa Violi odznaczających się najbardziej afektywną treścią po to, by na ich podstawie uzyskać wgląd w swoistość sztuki video jako gatunku artystycznego. W pracy zostaje postawiona teza, że tym, co odróżnia video-art od innych form sztuki, jest jego afektywny potencjał. The aim of the thesis is to discuss selected Bill Viola’s pieces characterized by their high affective content in order to get insight into video-art as an artistic genre. The author claims that what distinguishes video art from other forms of art is its affective potential.

Mazkur maqolada Olam milliy lisoniy manzarasi tasvirida til va madaniyat mushtarakligi haqida fikr-mulohazalar keltirildi

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The bachelor thesis analyzes the media image of Edvard Beneš in the Czech media between 1996-2019. The theoretical part of thesis deals with the view of historians Antoin Mar?s, Zbyněk Zeman and Jindřich Dejmek and the view of journalist Sidonie Dědinová to the figure of Edvard Beneš. The next chapter of the theoretical part deals with the most important places of memory associated with Beneš and the controversies that are associated with these places of memory. The last chapter is devoted to the Edvard Beneš Society and the Edvard Beneš Prize, which the Society partially sponsors. The empirical part deals with the analysis of articles published between 1996-2019. More specifically, the empirical part focuses on the changes in the frequency of publishing articles in this period in specific media. The main part of the work consists of an analysis of the view of articles on Beneš in the context of the most important historical events of which Beneš was a part, as well as an analysis of the view of Beneš's personality. The last chapter of the empirical part concerns reviews of books and biographies about Beneš.

Shaxsni tavsiflovchi so„z birikmalari tilning lisoniy-sintaktik imkoniyatlarini turli uslubiy qo„llanishlarda atash, nomlash vazifasi orqali yuzaga chiqaradi. O„zbek tilining vazifaviy uslublari orasida badiiy uslub obrazliligi, estetik zavq bag„ishlashi, til vositalaridan ijodiy foydalanishi va barcha uslublarga xos elementlarni qamrab olishi bilan ajralib turadi. Shunga ko„ra, tilning go„zallik javhari sifatida yetukligi badiiy nutqda aks etadi.Ushbu maqolada shaxsni tavsiflovchi so„z birikmalarining uslubiy qo„llanilishini badiiy nutqda so„z zargari Abdulla Qahhor yaratgan “Sarob” romani misolida kuzatish hamda tahlil qilish natijasida bu birikmalar obrazlarni nomlash, asar qahramonlari xarakterini individualllashtirish, shaxsning hayotiy real tasvirini yuzaga keltirishga xizmat qilishi, shunga ko„ra, shaxsni tavsiflovchi so„z birikmalarining badiiy-uslubiy qimmati belgilanganligi va mazkur birikmalar badiiy nutq vositasi ekanligi haqida fikr yuritilgan. Shu bilan birga bu nutqiy hosilalarning lisoniy sintaktik xususiyatlari, umumiy va xususiy qoliplari haqida mulohazalar maqolada akslantirilgan

Maqolada Jorjina Howelning “Sahro malikasi” biografik asarining stilistik tahlili berilgan bo`lib, asardagi bosh qahramonning yorqin obrazi talqin qilingan. Shuningdek, badiiy personajlarning maktublarida Gertruda Bell timsoli yoritilishi tadqiq etilgan.

Məqalədə N.Gəncəvinin yaradıcılığı əsasında qədim dövr Azərbaycan ədəbiyyatında uşaq mütaliəsi nümunələri araşdırılır. Tədqiqatın əsas obyekti şairin “Xəmsə”sidir. Burada “Yaralı bir uşağın dastanı”, “Ağlın gözü işıqlanmış qəlb evinin çırağından”, “Sultan Səncər vəqarı”, “Oğlum Məhəmmədə nəsihət” (“Sirlər xəzinəsi”), “Bəhramın qoca çobanın evinə yetişməsi” (“Yeddi gözəl”), “Qibtli Mariyanın hekayəsi” (“İskəndərnamə”)və s. hekayələr uşaq mütaliəsi nümunələri kimi tədqiq olunur. Ağıl, bacarıq, fərasət, ədalət, əməyə və vətənə məhəbbət, dövlətçilik, xeyirin şər üzərində qələbəsi və s. motivlər elmi təhlilə cəlb edilir. Tədqiq olunan uşaq mütaliəsi nümunələrinin yeniyetmə və gənclərin mənəvi-əxlaqi tərbiyəsində rolu araşdırılır. Elmi polemika aparılır. Müəllifin elmi qənaətləri və mülahizələri ədəbi sitatlar üzərində təhlil edilir., Teaching of azerbaijan language and literature journal, Выпуск 1 (267) 2021, Pages 122-132

Azərbaycan ədəbiyyatında önəmli yerlərdən birini tutan və orta ümumtəhsil məktəblərində tədris olunan bədii örnəklərdən biri də Füzulinin “Leyli və Məcnun” poemasıdır. Obrazlar etibarilə zəngin olan poemanın seçilən, diqqət cəlb edən surətlərindən biri Məcnunun rəfiqi Zeyddir. Poemada bu obraza geniş yer verilməsə də, onun süjet xəttinin inkişafında əhəmiyyətli rol oynadığı inkarolunmazdır. Məcnunun rəfiqi olan Zeyd, onun dərdini hər kəsdən yaxşı başa düşür. Çünki özü də eşq dərdinə mübtəladır. Məqalədə Zeyd obrazının tədris prosesində təhlilə cəlb edilməsi yollarından bəhs olunmuşdur. Dərs prosesində bu obrazın təhlili zamanı onun daxili aləminin açıqlandığı məqamların əhəmiyyət kəsb etdiyi məqalə boyunca diqqət mərkəzində saxlanılmışdır. Burada həmçinin Məcnun ilə Zeyd arasındakı dostluq münasibətinin incəliklərinə də toxunulmuşdur. Təhlil poemadan gətirilən nümunələr əsasında aparılmış və hadisələrin ardıcıllığının qorunmasına diqqət yetirilmişdir., Teaching of azerbaijan language and literature journal, Выпуск 3 (322) 2021, Pages 71-76

The thesis will consider ways of understanding drawing as an endless process, an experience leading to an intensification and understanding of the world, myself and capabilities of mine. Creation of long-term portrait studies, as a constant reiteration and improvement of the drawing. The theoretical part of the work defines the historical use of drawing as a material and tool for daily rituals in the visual arts, with an emphasis on artists of the 19th and 20th centuries. In the practical part, a series of portrait drawings was made in various techniques, which is listed in the theoretical part. In the didactic part, an artistic cycle on the theme "Endless drawing" / drawing as knowledge of the world was realized. KEYWORDS Drawing, portrait , self-portrait, face, graphics, artistic image, collage

Zdeňka Meira da Rocha: Interdisciplinary connection of Art and Media Education. ICT as a support tool in Art Education. Abstract This PhD thesis reflects the requirements for changes in education related to the current needs of digitization of all areas of society. On the structure of newly required skills the emphasis is put on the ability to work with information and digital technologies, the development of critical thinking, creativity and the capability to solve problems. The presented PhD thesis considers above mentioned issue from the position of visual and media studies which penetrate into education through the educational field of Art education and the cross-curricular topic of media education. Its aim is to map the intersections of art and Media education on a theoretical and curricular level and to examine the conditions of their interconnection in educational practice. The main means of fulfilling this goal: (1) study of curricular documents (2) qualitative- quantitative questionnaire survey of the current situation in practice, (3) qualitative method of action research which aimed to map appropriate ways (strategies, forms and methods) Art education at upper secondary schools. The research findings are supplemented by interviews with upper secondary school teachers who connect Art and Media...

Obraz zdominował nasze życie, stał się jego nieodłącznym elementem, wdziera się do niego z ekranów telewizorów, telefonów, komputerów. Użytkownicy internetu korzystają z możliwości, jakie daje im komputer, i chętnie tworzą teksty łączące w sobie elementy werbalne i graficzne. Jednym z najpopularniejszych polikodowych gatunków internetowych są demotywatory. Połączenie w nich dwóch kanałów: werbalnego i ikonicznego powoduje wzmocnienie siły ich oddziaływania. Często w werbalnej części demotywatorów są wykorzystywane frazeologizmy i skrzydlate słowa. Połączenie ich z elementem graficznym powoduje ich defrazeologizację oraz grę językową z wykorzystaniem wieloznaczności i homonimiczności wyrazów., [Phrasemes in verbal-visual internet games]. Image has dominated our life and become its indispensable constituent, invading it from television screens, mobile phones and computers. Internet users benefit from the possibility that computers offer them and willingly create texts joining verbal and visual items. One of the most popular multicode internet genre is demotivator. Demotivators join two channels - verbal and iconic which enhances their impact. Frequently, in the verbal part of demotivators phrasemes and winged words are used. Joining them with a graphical item causes their dephraseologisation and a language game employing word ambiguity and homonymity.

Ekphrases are fairly common in the literature of the Young Poland movement, with descriptions of paintings of women making up a notable portion of such visual representations. This article examines the functioning of the motif of a woman's portrait in the work of writers of the late 19th and early 20th century, including Stanisław Przybyszewski, Kazimierz Przerwa-Tetmajer, Jan August Kisielewski, Karol Irzykowski, Wacław Berent and Stanisław Grudziński. The analyses, guided by feminist literary theory, focus on the implied artist's control over the painted figure (man over woman, but also the woman artist over the male recipient), the ways in which the work of art can becomes a vehicle of subconscious truths, the correspondences between emotions and colours.

Paremiji otražajut miroponimanije i mirovosprijatije naroda. Avtor stat´ji stremitsja pokazat´, čto obraznyje associaciji ljubvi v paremijach sochranjajut otzvuki narodnych tradicijj, religioznych i mifologičeskich predstavlenij – nasledije raznoj stepeni glubiny drevnosti. Ljubov´ v paremijach associjirujetsja s "čistymi" i "nečistymi" životnymi (lebed´, sova, kukuška i dr.) i opisyvajetsja čerez rastitel´nyje obrazy (dub, griby, jagoda, malina i dr.). Ona nadeljajetsja zritel´nymi i vkusovymi "registrami" vosprijatija. "Registra" zapachov dlja osmyslenija ljubvi v paremijach ne suščestvujet. Ljubov´ rassmatrivajetsja v "prizme" različnych ritual´nych dejstvij, naprimer, smotriny nevesty, venčanije i dr.

Kao što naslov govori, ovaj rad bavi se problemima prevođenja uljudnih izraza s japanskog na hrvatski jezik. Nastoji se predstaviti razlike, ali i sličnosti, između hrvatske i japanske uljudnosti te prikazati neke češće probleme u prijevodu uljudnosti između ta dva jezika i primjeri rješenja. Za početak rada se predstavljaju i objašnjavaju osnovne teorije uljudnosti u zapadnjačkom društvu i u Japanu, a zatim se pojedinačno predstavljaju iskazivanja uljudnosti u hrvatskom te japanskom jeziku, da bi se na kraju iz konkretnog primjera japanskog e-maila prevedenog na hrvatski od strane više prevoditelja, na različite načine, prikazalo neke od problema u prijevodu i kako različiti prevoditelji drugačije interpretiraju tekst te kako se u pojedinom prijevodu prevoditelj suočio sa svakim problemom, kako ga je riješio, a što se u prijevodu izgubilo. Za prijevod između ova dva jezika potrebno je dobro poznavanje japanskog jezika, posebice gramatičkih struktura i keiga, ali i dobro poznavanje hrvatskog jezika za uspješno stvaranje ekvivalentnih izraza i za uspješan prijevod koji izgleda prirodno. U japanskom jeziku primjećuje se više jasno određenih razina uljudnosti, što omogućava specifičnost i prikazuje govornikov položaj u odnosu na sugovornika i situaciju, dok u hrvatskom jeziku ne postoje toliko jasne razine uljudnog obraćanja, što omogućava veću slobodu u načinu izražavanja, jer je govornik manje ograničen društvenim i jezičnim normama pri izboru prikladnog uljudnog izraza. Međutim, ova dva različita načina izražavanja uljudnosti predstavljaju problem u prijevodu jer se prevođenjem na hrvatski riskira gubitak specifičnosti koja se vidi u japanskom uljudnom izražavanju, ali s druge strane povećava se specifičnost u nekim drugim elementima poput roda ili broja koji u japanskom izvorniku nisu uvijek eksplicitno izraženi. As the title implies, this thesis observes problems that occur when translating polite expressions from Japanese to Croatian language. The aim is to present the differences, but also similarities, between Croatian and Japanese politeness and to show some common problems when translating politeness between the two languages, along with examples of solutions. In the first part of the thesis, basic politeness theories in the West and Japan are presented and explained, followed by a short explanation of politeness strategies in Croatian and Japanese, respectively. Finally, some common problems in translation were shown on the example of a Japanese e-mail translated into Croatian by several different translators, and the thesis demonstrates how different translators interpret the text differently, how each translator faced the problems in the text, how they solved it and what was lost in the translation. Translation between these two languages requires not only a solid knowledge of the Japanese language, especially grammatical structures and keigo but also a good knowledge of the Croatian language to successfully use equivalent terms for a successful and natural-sounding translation. The Japanese language has more clearly defined levels of politeness, allowing specificity and shows the speaker's position in relation to the hearer and the situation, while Croatian doesn't have as clearly defined politeness levels, allowing greater freedom of expression, less limited by societal and language norms for expressing politeness. Naturally, these two different and in a way conflicting ways of expressing politeness cause problems in translation because translating into Croatian risks losing specificity shown in Japanese polite expression, but on the other hand increases specificity in other situations like gender or number, which are not always explicit in the Japanese original.

Drawing on the considerations of Karlheinz Stierle, who claims that one of the key tasks in thinking about literature is to oppose the technical totality of modernity and its repressive mechanisms with the substantiality of the slow and the already past, this study aims — in the reading of Franz Kafka, for example, by German thinker, literary theorist and critic Walter Benjamin, and that of Karel Čapek by Czech literary historian and critic Jiří Opelík — to present a form of thinking about literature and its studies that would belong in some ways to the ‘slow reading culture’. At a time when the predominant view of the status of the discipline has grown skeptical, when one has come to doubt the meaning of literature, it is useful to return to the sources and principal questions that comprise our basic attitude towards literature and its study. The question of the current state of thought about literature is reflected here by the prism of slowness and the culture of slow reading, together with a study of literature that opens our way to something we might have otherwise abandoned in the ‘rhythm of constantly renewed acceleration’. The first part of the study, dedicated to Benjamin’s reading of Kafka, focuses on several motifs, grouped around the idea of study and the idea of the image. He develops his interpretation of Kafka’s short stories, The New Advocate, and his reading of the photographic portrait of little Kafka, by reflecting on Benjamin’s tendency to introduce the subject in a circular manner, and through a method of interpretation that gradually approaches, interrupts and postpones, the methodological equivalent to slow reading, revolves around the conviction that the center of the thinking about literature is the understanding of literary works, his open movement, which can never reach a culminating understanding. The second part of the study, devoted to Opelík’s reading of Karel Čapek, deals with the philological footprint and philological impulse in the literary-historical works of Jiří Opelík: at the epicenter of literary research he inserts the poetic word, which like the history of his stratification is also a model of the historicity of understanding and the experience of time slowing down. Slowness, in the context of Opelík’s Čapek, receives numerous synonyms, some immediately implied (continuity and stability), others emerging from his Čapek reading spontaneously (service), and still others seeming to suggest themselves: loyalty. Loyalty to the author, a service rendered not only to him but also to the readers, to ongoing research, to the constancy of the contemporary reader’s interest. Opelíkʼs methods remain an element of confidentiality in relation to the studied work, which is both first and last instance of understanding, confidentiality based on the slow experience of reading.

With the real earthquake in Lisboa, 1755, as well as the revolutionary ones in France and the shocks of the Napoleonic wars, the model of a temporally linear development of modernity, with ‘Progress’ as its universal goal, was shaken; and beyond the impact on Enlightenment rationality and philosophy of reason, it affected all assumed meaning of history, knowledge, and apparent certainties. This ‘state of crisis’ induced Heinrich von Kleist first to his novella The Earthquake in Chile (Das Erdbeben in Chili, 1806/1807) and then to suicide, whereas F. D. E. Schleiermacher responded with his theory of modern hermeneutics as a synthesis of the individual and the general. Building on Hana Šmahelová’s V síti dějin literatury národního obrození (2011), the paper focuses on the model of temporalisation of historical processes and in particular the ‘event of national reawakening’ as part of the ‘project of modernization’.