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Copyright of Menotyra is the property of Lithuanian Academy of Sciences Publishers and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

Copyright of Logos: A Journal, of Religion, Philosophy Comparative Cultural Studies & Art (08687692) is the property of Logos and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

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Copyright of Revus: Journal for Constitutional Theory & Philosophy of Law is the property of Revus - European Constitutionality Review and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

The sources of the article are the works by two Baltic writers, written in the 1960s and united by the theme of the Holocaust and collaborationism: the story Izaokas (“Isaac”, 1961) by Lithuanian emigration writer Antanas Šķėma (1911–1961) and the story Pusnakts stundā (“At Midnight”, 1968) by Latvian writer Ēvalds Vilks (1923–1976). The author has applied the trauma’s narrative theory and narratology approach, analysing the interpretation of the Holocaust theme, which is considered a taboo in both Baltic emigration literature and Soviet literature. According to Dominic LaCapra’s theory, there are two forms of remembering traumatic events. The author examines ‘acting out’ and ‘working through’ in response to trauma with a particular focus on the narratives adopted in order to make sense of traumatic experiences. The style of writers and the possibilities of creative freedom are very different, yet they share a quest for new forms of expression and both belong to the paradigm of late modernism and postmodernism. The story by Šķėma is rooted in the literary space of late modernism (surrealism, existentialism, absurdism) in Western Europe; however, due to its radical and provocative nature, it is located in the literary environment of both emigration and post-Soviet Lithuania. In turn, the story of Ēvalds Vilks shows overcoming the bounda)ries of socialist realism. It retains its connection with realism but there is a search for a form typical of modernism and the revelation of several perspectives. [ABSTRACT FROM AUTHOR]

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Copyright of Glasnik Slovenskega Etnološkega Društva is the property of Slovene Ethnological Society and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

Copyright of Filozofski Vestnik is the property of Scientific Research Centre of Slovenian Academy of Sciences & Arts and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

Je mogoče s povezavo Malevičeve slike

Copyright of Filozofija i Drustvo is the property of University of Belgrade, Institute for Philosophy & Social Theory and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

Članak se fokusira na odnos kapitalizma i demokracije s posebnim osvrtom na problem reprezentacije u okviru demokratije. U članku se pokušavaju sintetizirati konceptualne dileme i suprotstavljene tendencije, a sastoji se od tri dijela. U prvom dijelu, autor ističe tri različita gledišta o (ne)kompatibilnosti kapitalizma i demokracije, te jedno o irelevantnosti odnosa između kapitalizma i demokracije. U drugom dijelu razmatra se strukturalno-konjunkturalna komplikacija kapitalizma koja proizvodi negativna očekivanja i političke učinke. Povezuju se pomenuta očekivanja o ponavljanju krize iz 2007. s mogućnostima i kontinuitetima različitih protestnih pokreta koji su manifestacija potencijala demokratskog otproa. Konačno, u zadnjem dijelu, autor raspravlja o pitanju reprezentacije iz demokratske perspektive i ističe da su protestni pokreti nastali u vremenu krize, stvarali različite kontra-reprezentativne prakse koje nanovo problematizuju odnos kapitalizma i demokracije. Demokraciju se ne može „očistiti“ od svih heterogenih značenja, ali nas praksa kontra-reprezentacije podsjeća da demokracija još uvijek sadrži potencijal za otpor.

Straipsnyje pateikiama Hirsi Ali ir Van Gogho prieštaringai vertinamo trumpametražio filmo „Nuolankumas“ (2004) ir Marco Forsterio filmo „Bėgantis paskui aitvarą“ (2007) tekstinė ir vaizdinė analizė. Akcentuojamos retorinės ir siužetinės strategijos, kuriomis siekiama sustiprinti neproduktyvius orientalistinius islamo ir musulmonų stereotipus. Šios analizės tikslas – išsiaiškinti, kaip pristatomi musulmonai ir islamas filmuose „Bėgantis paskui aitvarą“ (angl. The Kite Runner) ir „Nuolankumas“ (angl. Submission) remiantis E. Said (1978) „Orientalizmu“, ir nustatyti kinematografijos vaidmenį kuriant stereotipus skirtingose kultūrinėse terpėse. Tikslui atskleisti pasitelkiami uždaviniai: išanalizuoti orientalizmo ir stereotipų koncepciją, sąsajas su žiniasklaida ir populiariosios kultūros daromą įtaką jų raiškai; išsiaiškinti musulmonų mažumos vaidmenį socialinės realybės (stereotipų) konstravimo procese; išanalizuoti, kaip pristatomi musulmonai ir islamas filmuose „Nuolankumas“ ir „Bėgantis paskui aitvarą“. Apibendrinant filmo „Nuolankumas“ analizę atkreiptinas dėmesys, kad pagrindinė veikėja (pasakojanti 4 moterų istorijas) vaizduojama kaip slegiama islamo kultūros, kur gyvenama visiškoje izoliacijoje, taip sustiprinant visuomenėje egzistuojantį neigiamą požiūrį musulmonų, ypač moterų, atžvilgiu. Vis dėlto pagrindiniu diskusijų objektu niekada netapo filmas „Nuolankumas“, feminizmas ar moterų priespauda, priešingai, tai buvo islamiškasis radikalizmas, ekstremizmas ir terorizmas. O išanalizavus filmą „Bėgantis paskui aitvarą“ pažymėtina, kad vaizduojamas „civilizacijų susidūrimas“ atskleidžia stereotipus islamo ir musulmonų atžvilgiu, egzistuojančius tiek Vakarų, tiek Rytų visuomenėse. Didžioji dalis Oriento veikėjų filme vaizduojami kaip priešiški Vakarams, pavyzdžiui, žemesnės moralės ar vertybių nei Vakarų atstovai. Filmo epizoduose akcentuojamas fanatizmo aspektas, susijęs tiek su terorizmu, tiek su islamizmu, o santykiai tarp pagrindinių veikėjų atspindi orientalistinę Afganistano kultūrą.

The article shows how the perception and representation of the art of Mikalojus Konstantinas Čiurlionis (1875-1911) was changing in the perspective of commemorations of his anniversaries. Already in the prewar period, two views of Čiurlionis were formed in Lithuania. Some people thought that he channelled the nation's spirit, while others considered him a symbolist and a cosmopolitan. In Stalin's era, the artist was condemned as a formalist. Later, the Soviet authorities cunningly used his creative heritage for propaganda purposes, and used his example to demonstrate their concern for national culture. Having created good conditions for exhibiting the artist's works by funding the construction of an annex of the Čiurlionis Gallery at the Kaunas Museum (1965-1969), the Soviet authorities appropriated the representation of this artist, his image formation, and the organising of exhibitions of his works. The opinion of the museum's employees about the protection of the paintings was disregarded. In 1975, an exhibition dedicated to Čiurlionis's centenary was held in the Tretyakov Gallery in Moscow. 60 paintings were displayed, and the exhibition attracted circa 240 thousand visitors. It was accompanied by commemorative events and scientific conferences in Moscow and Vilnius. The speakers were carefully selected in Moscow, and the presentations were censored and redacted. In general, the exhibition in the Tretyakov Gallery had a positive effect. It was visited by foreign diplomats based in Moscow and tourists, and thus, information about the Lithuanian symbolist hardly known in the West spread more widely. Popularised and actualised, Čiurlionis's art made an impact on the socio-cultural medium of Soviet Lithuania: it raised Lithuanian self-esteem, and helped to build a new layer of Lithuanian intellectuals who were hostile to the regime. Once again, the ideas of Čiurlionis's painting became an important part of Lithuanian historical self-consciousness. However, increasing overtourism, annual commemorations, artists' and poets' dedications to Čiurlionis, numerous superficial writings in the popular press, as well as the scale of cultural industry had some features of a new cult, which was cultural rather than religious. In the Soviet period, Čiurlionis was presented to society as a genius artist and a herald of the bright future, while the philosophical basis of his work and such aspects as mysticism or creating a new artistic language were overlooked. The one-sidedness of analysis and research, and the aim to assess his work exclusively from the Marxist position did not allow placing this artist in an argumentative normative narrative of art history, which became a serious obstacle for his international fame. [ABSTRACT FROM AUTHOR]

Copyright of ANAFORA is the property of Anafora and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

Copyright of Genero is the property of Genero and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

Copyright of Crimen: Journal for Criminal Justice is the property of University of Belgrade, Faculty of Law and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

Zbornik tekstova SLIKA I ANTISLIKA – JULIJE KNIFER I PROBLEM REPREZENTACIJE refleksije su proizašle iz multi- i transdisciplinarnog višemjesečnog istraživanja hrvatskih i inozemnih kritičara i teoretičara posvećenih suvremenoj osjetljivosti za pitanja slike i slikovnosti koji se referiraju na zajedničko polazište: opus jednog od najznačajnijih hrvatskih umjetnika Julija Knifera koji je slikajući preko četiri i pol desetljeća jedan te isti motiv, meandar, svojim dosljednim konceptom u svijetu umjetnosti izgradio jednu od najintrigantnijih pozicija u vremenu od početka 1960ih do danas. Publikacija se stoga ističe već i poradi ovog, u domaćoj izdavačkoj produkciji doista rijetko ostvarenog spoja između monografijskih podataka i niza znanstveno-teorijskih diskursa iz čega je proizišao doista vrijedan komparativni preglednik, doprinos kako aktualizaciji i novopozicioniranju Kniferove umjetnosti tako i analitičkim i interpretativnim postupcima vezanima za suvremeno stanje teorije umjetnosti u kojoj slika, slikovnost i vizualnost zauzimaju osobito mjesto.

U radu se istražuje reprezentacija jugoslovenskog novog talasa na osnovu analize dokumentarnog filma “Novi talas u SFRJ kao društveni pokret”. Iako je novi talas obuhvatan pojam koji se odnosi na različite sfere umetnosti, u ovoj analizi se razmatra kao muzički i kulturni fenomen. Teorijski okvir unutar kojeg se odvija istraživanje zasniva se na ideji da dokumentarni film može da nam pomogne da razumemo određeni period, da ga preispitamo i iznova (re)konstruišemo. Rezultati analize bi trebalo da pokažu na koji način narativ o novom talasu nastavlja da živi i trideset, četrdeset godina kasnije, te kako se (re)kreira i utvrđuje svakim novim snimljenim filmom.

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Copyright of Issues in Ethnology Anthropology is the property of Issues in Ethnology Anthropology and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

Copyright of Athena: Filosofijos studijos is the property of Lithuanian Culture Research Institute and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

My starting hypothesis in the theory of pictorial appearing is that Gottfried Boehm’s notion of iconic difference can serve as a sufficiently comprehensive concept for differentiating between image and non-image in all visual artefacts that have been created during the several millennia of visual representation. This era started with the first paleolithic drawings and includes the entire visual production from the period “before art”, as well as all those visual representations that emerged in the early modern period beyond the needs of religious worship, only to be substituted through the technosphere. However, since the technosphere is characterized by increasingly evolved systems of visual immersion, from the all-accessible OLED screen and IMAX cinema theatres to Oculus Rift glasses and further to the experience of total immersion, which recreates synesthetic visual-haptic impressions, ontological differentiation between the visual surface as such and the extra-iconic reality can no longer be established with the idea of difference alone. Namely, the notion of difference can serve as a qualifier for defining the relationship between the separate categories in an object – in our case, the pictorial and non-pictorial ones – only insofar as the reality in which they are situated is identical or equivalent. Thus, nobody questions the clear ontological separation between the two-dimensional represented reality such as established in cinematic fiction and the non-represented, that is actual reality existing outside of that fiction. Many films and artworks count on that implied separation and can therefore afford to question the borderline between the two, primarily within a strictly artistic discourse. Boehm’s theory of iconic difference and Jean-Luc Nancy’s understanding of the cut have helped establish the semiotic-phenomenological criteria for a theoretical differentiation between various experiences that are innate to man’s picture of the world. In other words, the difference or ontological cut between image and non-image can exist only because even a modestly capable individual can empirically grasp these two categories. However, my hypothesis is that iconic difference reveals itself as an inadequate concept for that ontological cut, not only because the status and the possibilities of human experience are radically altered in the time and space of the technosphere, but also because this new type of experience has not yet been “normalized” within the process that Flint Schier has termed “natural generativity”. The space and time of the technosphere require that one should no longer approach the image merely as the ancient Greek eikon, i.e. mirroring or representation, but rather as an experience, event, and a specific type of phenomenon. The modalities of pictorial appearing in the technosphere can be recognized as symptoms of the most recent visual turn, in any case the first in the 21st century, which no longer occurs in an encounter between image and language, as lucidly described by Mitchell and Boehm, but in an encounter between analogue and digital images, between representation and post-representation, reality and virtuality, semiotics and phenomenology. In order to understand this epochally new reality, one can use concepts such as Bolter’s and Grusin’s remediation, or Žarko Paić’s idea of the technosphere, as well as some other approaches, such as Paul Crowther’s categorization of “transhistorical images” or the phenomenologically based interpretation of art and images that Martin Seel has termed “the aesthetics of appearing”.

Rad ispituje promenu predstave Istoka i Zapada u jugoslovenskim dnevnim novinama Politici i Borbi u vreme sukoba Komunističke partije Jugoslavije sa Kominformom 1948–1949. godine. Istražena je politička funkcionalnost radikalne promene slike sveta i analizirani su koreni jugoslovenske samopercepcije o posebnosti sopstvenog puta u socijalizam.

The article attempts to approach texts (creative concepts) written by artists as a specific, unique field of theorising. The objects of reflections include exhibition descriptions/ artist statements as well as academic and free studies. In the context of contemporary artistic research, a theoretical framework for creative work is obviously overrated; however, paradoxically, the function of texts has acquired new meanings. Scientification of artistic ideas prevails while the fields of art and science are unnaturally drawn together. Text is treated as part of a visual work, which turns theorising into playful methodology strategies. Proliferation of psychologised narratives and autobiographical investigations leads to formal legitimisation of creativity. While discussing these tendencies, the article is concerned with what texts mean from the semantic point of view, why conscious efforts to develop artistic theories are diminishing and what could spur them on. What can we actually define as an artistic concept with a philosophical dimension? [ABSTRACT FROM AUTHOR]

Copyright of Družboslovne Razprave is the property of Druzboslovne Razprave and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

To artists, border is not just a physical reality imposed on the landscape by political forces, but also a subject for imagination and creativity, representation and visualization. Presentation of migration, refugees and growing new ethnic and religious communities is important for visual arts. Our task is to discuss the correlativeness between the new form of city bordering and reterritorialization and their materialized visual image, to reflect the balance between claims of difference and sameness and the dynamics between dominant perceptions and refugees’ self-representations. Nowadays in the media, we deal with the Debordian spectacle which reduces reality to an endless fragmentation, while encouraging us to focus on appearances. Thomas Neil notes that the migrant has become the political figure of our time, and migrant phenomena invite us to rethink the fundamental political, cultural and art philosophy. It is important to reveal the interconnections between new discourses and art practices, reflecting on the local Lithuanian image of the migration process. Thus, the case study of the research represents an analysis of Sigita Maslauskaitė-Mažylienė (Lithuania) artworks and artistic practices as important discursive processes and cultural meanings. [ABSTRACT FROM AUTHOR]

Copyright of Tanulmanyok is the property of Faculty of Philosophy, University of Novi Sad and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

Copyright of CEPS Journal is the property of University of Ljubljana, Faculty of Education and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

Representative squares are sites where ideological monuments or monuments are built, or squares to important state or municipal buildings. Representation square is a mark or sign system that is intended to provide some relevant information. This information may include events or actors that are important and desirable to commemorate, ideological - political motives that want to be given exclusive importance. In determining the structure of the area’s representative area, causal relationships with the represented object are identified. The original key information is the name. Subsequently, the type of object represented - an event or personality, a connection to the square, the importance of the mark on the square (dominant, noticeable or invisible), and the interaction between the label and the environment are determined. After examining the structure of the square of the square and writing the values in the matrix, we can determine the representation level of the square. In the representation square we can name the square, for which the context of the environment and the level of representational marks for the purpose of the square have a decisive or significant influence. [ABSTRACT FROM AUTHOR]

Copyright of Athena: Filosofijos studijos is the property of Lithuanian Culture Research Institute and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

Copyright of Socialinių Mokslų Studijos is the property of Mykolas Romeris University and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

Copyright of Soter: Journal of Religious Science / Religijos Mokslo Žurnalas is the property of Vytautas Magnus University, Faculty of Theology-Philosophy and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

Keeping in mind the complexity of Charles Taylor's thought, we consider briefly the twofold understanding of language, the representational-procedural approach and the constitutive-expressive approach, beginning with the moral ontology of self or agent. In the introduction, we briefly recapitulate some of the main ideas of Taylor's philosophy. After this, we introduce the manner in which, for Taylor, language predicates an understanding of reality, from which he refers to the twofold understanding of language. [ABSTRACT FROM AUTHOR]

Straipsnyje, kuris tęsia ankstesnius autorės tyrinėjimus Akviniečio kalbos filosofijos ir ontologijos srityse, aptariamos tomistinės epistemologijos problemos, akcentuojant pažinimo objekto klausimą. Akviniečio ontologijos principai lemia reprezentacinį pažinimo traktavimą, o tai, kas reprezentuojama, yra daikto forma. Dvi pažinimo galios – juslinė ir intelektinė – reikalauja dvejų „reprezentacijų“. Tokios reprezentacijos yra fantazmas – juslinis daikto vaizdinys, sudaromas vaizduotės, ir suprantamumo rūšis – intelektinis vaizdinys, abstrahuojamas iš juslinio. Ši dvejopa reprezentacija Akviniečiui yra būtina pažinimo priemonė, užtikrinanti konceptualizacijos galimybę, nuo kurios priklauso kalbos reikšmingumas.

SStraipsnyje detaliai analizuojama tikrovės sąvoka, kuri interpretuojama kaip teorinis įrankis, leidžiantis pasiprie šinti postmodernioms diskurso teorijoms. Slovėnų filosofas Slavojus Žižekas tikrovės sąvoką pasiskolina iš Jacques'o Lacano psichoanalizės; Žižeko teigimu, tikrovė yra nereprezentuojamas, trauminis branduolys, plytintis "kažkur anapus" simbolinės tvarkos. Remdamasis šia tikrovės samprata, Žižekas kritikuoja postmodernias diskurso teorijas, negalinčias paaiškinti, kas yra anapus diskurso ir kaip įmanoma apibrėžti paties diskurso ribas. Judith'os Butler ir Charles'o Shepherdsono kritika atskleidė Žižeko pozicijos prieštaringumą: net jei teigiame, jog tikrovė sukuria diskurso ribas, šias ribas galime aptikti tik remdamiesi diskursyviomis praktikomis. Atsižvelgdamas į kritiką, Žižekas patikslino savo koncepciją: dabar tikrovė yra ne transcendentinis anapus, kurį veltui bando įvardyti simbolinė reikšmės struktūra, bet tai, kas priklauso simbolinei tvarkai. Kitaip tariant, tikrovė negali būti įvardijama ne dėl to, kad ji yra išoriška simbolinei tvarkai, bet dėl to, kad ji šiai tvarkai priklauso, yra jos vidinė riba. Tačiau ši tikrovės aiškinimo versija, interpretuojanti tikrovę kaip vidinę simbolinės reikšmės struktūros ribą, darosi paradoksaliai artima postmodernioms diskurso teorijoms. Taigi tikrovės sąvokos apibrėžimai reflektuoja "postmodernaus proto antinomiją": tiesioginė nuoroda į tikrovę rodosi per daug naivi, jog būtų laikoma filosofiniu problemos sprendimu, o postmoderni diskurso ideologija yra autoreferentiška ir nepajėgi nurodyti nieko anapus savęs. Straipsnyje analizuojamos tikrovės sąvokos implikacijos seksualinio, etinio ir politinio diskurso plotmėje, be to, keliamas klausimas, kokias "realias" reikšmes slepia filosofinio "tikrovės sugrįžimo" simptomai.

Copyright of Art + Media: Journal of Art & Media Studies is the property of Singidunum University, Faculty of Media & Communications and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

Copyright of Comparative Literature / Primerjalna Književnost is the property of Slovenian Comparative Literature Association and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

Copyright of Comparative Literature / Primerjalna Književnost is the property of Slovenian Comparative Literature Association and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

Copyright of Zivot Umjetnosti is the property of Zivot Umjetnosti and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

Copyright of Filosofija, Sociologija is the property of Lithuanian Academy of Sciences Publishers and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

Copyright of Colloquia is the property of Institute of Lithuanian Literature & Folklore and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

Copyright of Menotyra is the property of Lithuanian Academy of Sciences Publishers and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

Copyright of Comparative Literature / Primerjalna Književnost is the property of Slovenian Comparative Literature Association and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

Copyright of Problems / Problemos is the property of Vilnius University and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

Copyright of Phainomena is the property of Phenomenological Society of Ljubljana and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

Since the theory of situated cognition is mostly positioned as a critique of the standard cognitive model, the critiques of the situationist thesis mostly deal with issues of contention between situationism and the standard model. A critical review of situationism can be expanded if attention is drawn to issues that are normally not the subject of these discussion, such as the issue of the nature of perception. Reinterpretation of the situatedness thesis in the light of the theory of indirect perception provides important insights that can form the basis for the modification of the basic tenets of situationism. The most important of these conclusions is that the indirect nature of perception, the fact that the observer is never directly aware of the observed object but only of the sense-data related to that object, undermines the possibility of situating the cognition in the external situation. Other than providing specific guidelines for the redefinition of situationism, these insights underline the importance of analyzing the role of perception in future research on situated cognition. [ABSTRACT FROM AUTHOR]

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Copyright of Migration & Ethnic Themes: MET / Migracijske i Etničke Teme is the property of Institut za istrazivanje migracija / Institute for Migration Research (IMIN) and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)