This article interrogates the destructive socio-ecological nexus in Véronique Tadjo’s In the Company of Men (2021) through a synthesis of Cajetan Iheka’s framework of ‘proximity’ and Rob Nixon’s concept of ‘slow violence’. While existing scholarship primarily addresses pandemic memorialization, this study identifies a critical gap by analysing how Tadjo’s visceral and multi-sensory imagery functions as a diagnostic of the colonial and socio-economic forces driving ecological collapse. The central argument posits that Tadjo utilizes imagery to manifest the catastrophic outcomes of ‘vulnerable proximity’, where the material enmeshment of species under extractive capitalism facilitates a lethal bridge for pathogens. By applying Nixon’s theory, the analysis demonstrates how the ‘slow violence’ of habitat destruction and unregulated mining, often invisible and attritional, is accelerated into the ‘fast violence’ of zoonotic spillover. The findings reveal that when human-non-human proximity is mediated through post-colonial structural weaknesses and global market demands, it results in a terminal breakdown of species boundaries. This research contributes to the African environmental humanities by illustrating how Tadjo’s aesthetic strategies map the negative externalities of the human–non-human nexus, specifically identifying how habitat loss, pollution, pandemic eruptions and deaths of living beings emerge as inevitable consequences of fractured proximity. Ultimately, the study concludes that the pandemic is the visceral manifestation of long-term, attritional environmental degradation inherent in modern extractive regimes.
Résumé : S’intéresser à l’agir de l’apprenant en pédagogie, c’est s’intéresser aux capacités des apprenants à construire eux-mêmes leurs savoirs et à agir sur leur apprentissage tout en interagissant avec les autres acteurs dans une perspective vygotskienne. A cet égard, nous pensons que toute démarche d’enseignement /apprentissage d’une compétence verbale et non verbale doit se fonder sur « l’état de développement psychologique des élèves » et qu’elle doit notamment s’articuler avec les compétences intellectuelles, les capacités d’action et les capacités verbale des apprenants.
Mots-clés : Agir de l’apprenant- savoir agir- compétence verbale- compétences comportementales- métacognition - interaction- motivation- pouvoir agir-
Arts in general, Computational linguistics. Natural language processing
Europos šiaurėje Viduramžiai žymi pradžią nacionalinių istorijų, kuriose pirmą kartą paminėti etnonimai, vietovardžiai, asmenvardžiai, aprašyti įvykiai ir suformuoti pasakojimai, susiję su gamtiniu ir kultūriniu kraštovaizdžiu, moderniais laikais klojo pamatus valstybių istorijoms. Šių procesų išdava yra ir vadinamoji „kunigaikščių Lietuva“, pastaraisiais šimtmečiais maitinusi istorinę vaizduotę, didaktiką, iš dalies ir istorijos politiką. Tik XX a. pabaigoje šiuos prieštaravimų nepripažįstančius ir veikiausiai nepažįstančius didžiuosius pasakojimus imta skaidyti, į mokslo apyvartą įtraukiant kasdienį gyvenimą fiksavusius šaltinius, medžiaginės kultūros tyrimų duomenis, bet visų pirma keliant klausimus ir pasitelkiant tarpdalykines tyrimų prieigas. Taip dabartinė medievistika Viduramžių Europoje atrado miestietišką gyvenseną, moteriškąjį maldingumą, nuolatinį nepriteklių ir proginį perteklių, inžinerinę mintį, kenčiantį kūną ir kultūriškai ugdomą žvilgsnį. Permąstoma Lietuvos Didžiosios Kunigaikštystės (toliau – LDK) praeitis tapo paskata peržiūrėti dailės istorijos pasakojimą, visų pirma jį praplečiant ir papildant pastarųjų dešimtmečių tyrimais. Prieš dešimtmetį VDA Dailėtyros institute, aptariant LDK dailės ir architektūros tyrimų būklę, buvo sumanyta parengti naują Lietuvos dailės istoriją, kuri turėjo prasidėti nuo tomo, skirto krikščioniškiems LDK Viduramžiams. Optimistinį sumanymą skatino palyginti trumpas, XIV a. pabaiga – XVI a. pradžia apribotas laikotarpis, negausiai išlikę objektai, gausėjantys archeologinių ir natūros tyrimų duomenys. Tuokart apsispręsta aptarti medžiaginės kultūros šakas ir taip padėti pamatus tyrimų sintezei. Dešimtmetį brandintas sumanymas ne tik pateikė naujas tyrimų apžvalgas, bet ir išryškino spragas, netolygumus ir tyrėjų stoką probleminę dailės istorijos sintezę paversdamas ne konkrečiu planu, o ateities lūkesčiu.
Despite the numerous uncertainties, Korean universities are prioritizing early specialization in education rather than focusing on the aim of the college education. The purpose of the study is to demonstrate that the return to education rises in an unstable environment, and that this education premium is closely related to the liberal arts education. Additionally, it provides a brief overview of the history of liberal arts education in Korea and assesses the current status and challenges. Finally, it proposes measures for improvement. Although the aim of liberal education extends beyond merely improving labor market outcomes, the liberal education indeed contributes to better performance in the labor market. The return to college education is high worldwide and it tends to increase as environments, including technology, change rapidly. This is because individuals with more schooling are better equipped to quickly capture the economic rents that arise from the disequilibria. This ability is cultivated more effectively through the liberal education than through the specialized training. The rise of the United States as a global superpower by focusing on the general education and numerous other empirical studies supports this perspective. The “5.31 Education Reform” in Korea, however, led to a contraction of basic academic disciplines, a decline in the academic quality of liberal arts education, and the erosion of the curriculum's universality. These issues stem primarily from the inherent characteristics of the education market, which has the characteristics of public good as well as the externality. In addition, misperception on the value of liberal arts education have exacerbated the situation. To address the market failure, it is crucial to rectify the perception of liberal arts education among educators. Moreover, high academic quality of liberal education must be preserved, and the universality of the liberal education curriculum should be maintained.
Ilhamsyah Ilhamsyah, Rahmiati Aulia, Sri Maharani Budi Haswati
et al.
<p class="5Abstract"><span lang="IN">Fenomena baru <em>virtual influencer </em>pada iklan digital, eksis di sosial media dan kehadirannya direspon secara luas oleh </span><span lang="EN-US">netizen</span><span lang="IN">. </span><em>Virtual influencer</em> merupakan bentuk lain dari <em>influencer</em> yang peran utamanya yaitu merekomendasikan suatu <em>brand</em> kepada pengikutnya (<em>followers</em>). <em>Virtual influencer</em> adalah sosok rekayasa menggunakan <em>Computer Generated Imaginary</em> (CGI) yang menyerupai sosok manusia biasa, aktifitasnya, maupun komentarnya seperti layaknya sosok <em>influencer</em> manusia nyata. Secara khusus tulisan ini akan membahas keberadaan sosok <em>virtual influencer</em> Mayaaa.gram dalam spektrum tanda terutama tanda yang melampaui sesuatu yang nyata (<em>hyper</em>). Mayaaa.gram diketahui adalah sosok <em>virtual influencer</em> yang dirancang khusus untuk merekomendasikan produk-produk fashion untuk pasar Kawasan Asia Tenggara. Metode penelitian ini bersifat kualitatif dengan metode analisis deskriptif interpretatif, yang dipengaruhi paradigma filsafat Postmodernisme. Hasilnya analisis sosok virtual Mayaaa.gram berbaur dan seolah melakukan kegiatan manusia nyata pada umumnya, sehingga keberadaan tanda yang hadir bercampur antara realiti dan virtual. Tanda yang hadir adalah tanda persilangan (<em>hybrid</em>) antara <em>false sign</em> dan <em>artificial sign</em>, karena bercampurbaurnya tanda alamiah, tanda menipu, tanda palsu dan tanda artifisial.</p>
This article examines the use of the Hangul image in the works of contemporary South Korean artists as a key element of South Korea’s cultural identity and self-definition. Created in the fifteenth century by King Sejong, Hangul has become an important symbol of the independence of Korean culture from Japanese culture and an element of Korean writing to facilitate literacy. In this way, Hangul played a key role in mass enlightenment by making knowledge accessible, connecting different segments of society, and serving as an important tool in the dissemination of culture and education. In today’s context of globalization and digitalization, artists are increasingly turning to the Korean alphabet, using it in their installations using digital technology and multimedia formats, allowing them not only to preserve cultural heritage but also to reinterpret it through the lens of the digital age. Through such works, Hangul acquires new forms of expression, becoming not just a writing, but also a significant visual and philosophical symbol. Examples of exhibitions and installations, such as those at the National Hangul Museum and the Gangseong Museum, demonstrate not only the significance of Hangul in preserving cultural heritage, but also its role as a bridge between tradition and innovation, confirming its relevance in contemporary society and its significance to Korean national identity. For example, an exhibition at the National Museum of Hangul (Seoul, 2017) focused on Hongminjonim, a treatise explaining the principles of the creation and use of the alphabet. Visual and sound elements created a unique space where the traditional Korean alphabet was perceived through a contemporary lens. Kang Ik Joon’s installation Gwanghwamun Ariran (2020), incorporating elements of digital technology, expresses political and cultural ideas, the pursuit of unity, and the preservation of memory. Kang Ik Joon through his installation “Hangul Wall” (2024) interprets the Korean alphabet into contemporary art without losing its meaning. Through the image of Hangul, the artists lay down a powerful visual image that does not leave their compatriot indifferent. In the context of globalization and technological change, Hangul retains its uniqueness as an important tool for expressing Korean identity and cultural memory. As a stimulus for creative processes, Hangul continues to inspire artists, creating a new space for self-expression.
Sociology (General), Urban groups. The city. Urban sociology
The goal of this study is to suggest the potential and significance of quantitative reasoning education as a college liberal arts program and to come up with methods to improve it. To do so, this study analyzed the case of <Quantitative Reasoning and Computational Thinking> at S National University, presenting its achievements, weaknesses, and improvement plans. From the first semester in 2020, <Quantitative Reasoning and Computational Thinking> at S National University has been offered as a semi-compulsory subject with the purpose of cultivating quantitative reasoning based on quantitative relationships and computational thinking for everyday algorithms. In the class, instructors refrain from using mere problem solving using mathematical and/or scientific formulas, and instead an activity-oriented learning approach is emphasized. This allows for the students to interpret quantitative data based on logical algorithms. According to a survey about this subject, most students were satisfied with its contents and reported that it had helped them solve problems creatively based on quantitative and computational thinking. Nevertheless, various problematic issues such as the low enrollment of students in the humanities and social sciences, the dualization of subject operation between classes, and the difficulty in securing lecturers, were raised. To address these issues, it is necessary for us to expand awareness among students that <Quantitative Reasoning and Computational Thinking> aims to promote thinking ability through the understanding and interpretation of quantitative data. Also, it is important that we have faculties that operate on a consistent basis, so that the courses offered are able to meet the goals of the subject. By applying these improvements, the effort to develop liberal arts subjects that enhance students’ data-driven scientific thinking should be continued.
Peter of Limoges (1240–1306), a French theologian based at the University of Paris, composed the Tractatus Moralis de Oculo as a preaching manual that encouraged the use of optical theory to facilitate devotion. He combined contemporary scientific optical theories and new understandings of visual cognition within a religious framework to aid clerics in their moral teaching to the laity. This article examines the relationship between text and image in an early fourteenth-century French manuscript that contains the Tractatus. This manuscript is the only surviving example with an extensive decorative programme of figures shown in the act of “looking” at the text they accompany. This article will investigate the role of these images within the visual strategies employed in picturing sensory experiences as discussed in the Tractatus and how they may have shaped the viewer’s own sensory experiences.
This article demonstrates that ecological art is a very specific art form that follows its own methods of creation and, consequently, of dealing with material and its definitions. This view of ecological art is directed by art theory factors and fundamental questions of art history. Therefore, the main question in discussions on material and the functions of art is that of what contemporary ecological art produces in terms of the concepts ‘natural’ and ‘nature-fair.’ By analysing the artists Thomas Dambo, Aviva Rahmani and Tomás Saraceno, this article finds that, compared to various artistic forms that deal with ecology and the environment, ecological art acts more in the physical reality of the environment and ecosystems. Subsequently, what ecological art is actually producing is ‘a nature thing’, meaning a concrete effect on or intervention in the environment with gestures of appropriation, regeneration and coexistence, being above all ‘art for nature.’ The article shows that, in ecological art, the linear relationship between material and artwork, in that the artist transforms the material to its final form, namely the artwork, is absent. In ecological art, the aim is an ongoing process in which material can have different facets: the material can be a mere auxiliary instrument, the art object itself can become material for something else and the material in general can be understood as an overarching aim and motive: nature.
Starring Kirk Douglas as Vincent Van Gogh, Lust for Life (directed by Vincente Minnelli, 1956) is one of the most celebrated Hollywood biopics focusing on the life of a visual artist. This essay aims to offer further food for thought thanks to a detailed and systematic scrutiny of the film, that nevertheless takes into consideration the most significant critical reviews and analyses from the previous decades. Among the main topics here dealt with, we can mention the relationship between Lust for Life and Irving Stone’s novel from which the script was adapted, and the complex system elaborated by Minnelli to include Van Gogh’s paintings in his film.
This paper examined the history of liberal education in ancient and medieval Europe, focusing on the formation and evolution of liberal arts using materials concerning the history of education, history of university, history of philosophy, and history of science. The elementary form of liberal education emerged at Greece in the fourth century BC. The philosophers’ tradition and the orators’ tradition made two approaches to liberal education. Greek scholarship was accepted in the form of encyclopedic publications in the Roman era, and <i>Disciplinarium libri novem</i>, the first work which contained the idea of liberal arts, was written in the first century BC. In the early medieval ages, so called dark ages, secular scholarship maintained its existence through the medium of liberal arts. In the fifth century, liberal arts became actualized into the seven liberal arts through <i>De nuptiis Philologiae et Mercurii</i>. Since the sixth century, the seven liberal arts were divided into trivium and quadrivium. In the Renaissance of the twelfth century, ancient writings were extensively translated including Aristotelian works, and the attempt to relate Greek philosophies and the seven liberal arts was tried. Circa 1250, some universities were set up in the major cities of Europe, and medieval universities were mostly organized with the faculties of arts, theology, law, and medicine. Since the late thirteenth century, the arts faculty extended the scope of liberal arts by adding three philosophies to the existing seven liberal arts: natural philosophy, metaphysics and ethics. Based on the above examination, this paper showed that the scope of liberal arts was not fixed but continuously changed, and that humanities and science were not separated in ancient and medieval Europe.
The purpose of this study is to look for a possibility of Christian liberal arts courses at a Christian University that would function as interreligious education in a multireligious society. This paper is composed as follows: first, the necessity of education about religions will be discussed by examining and interpreting the implications of a multireligious society and the current religious landscape in Korea. Second, religious literacy education and interreligious education for cultivating multireligious sensitivity and interreligious sensitivity are discussed. Third, the possibility of Christian liberal arts courses functioning as interreligious education is proposed by evaluating the case of operating Christian liberal arts courses at K University in terms of religious literacy education and interreligious education.<br/>In conclusion, the Christian liberal arts courses at K University shows a possibility of interreligious education by allowing professors, students, and people of neighboring religions from various religious backgrounds to reveal their religious identity and interact with each other through humanistic approaches in the classroom and <Interview with people of neighboring religions>.
Petar Puhmajer, Ratko Vučetić, Ivana Haničar Buljan
U članku se razmatraju prostorne i oblikovne značajke stambene arhitekture Osijeka u 18. stoljeću. To su većinom građanske kuće obrtnika, trgovaca, gradskih i vojnih činovnika, koje nastaju na parcelama unutar planski izgrađenoga grada-tvrđave. Kuće imaju karakteristična tlocrtna obilježja koja čine nizovi i grupe prostorija, kod kvalitetnijih u prizemlju redovito s vežom, koja može biti centrirana ili decentrirana u odnosu na središnju os, a na katu reprezentativni salon. Identificiraju se pojedinačni primjeri kuća, s obzirom na vrijeme nastanka i naručitelje, kao i arhitektonska rješenja, uz bitnu odrednicu da je riječ mahom o reprezentativnim katnicama višeg standarda koje su se isticale u vizuri grada. One u izvjesnoj mjeri preuzimaju elemente s javnih i vojnih zgrada što se tumači djelovanjem istih graditelja i projektanata – vojnih inženjera koji su bili angažirani na gradnji tvrđave, a koji dokumentirano projektiraju i građanske kuće.
The question of time has been at the forefront of art historical investigation for several years. The value of Time in the history of Art is in bringing together a conceptually, methodologically and thematically diverse range of viewpoints to present the range of problematics at stake in the questioning. The collection is, however, symptomatic of the challenges and pitfalls of art historical attention to time. First, sustained and analytical attention to philosophies of time are obscured in favour of descriptions of the temporal complexity of artefacts/images/artworks. Thus, despite claims to the contrary, the underlying conceptual frameworks and models of time (including the much-maligned model of chronology) persist. Second, the questioning of time is detached from the questioning of other fundamental presuppositions of art historical study – such as knowledge, representation and fact – and as such only partially enacts the critique of art historical thinking that it claims to stage.
The bow jewel in the Rijksmuseum collection is one of the finest examples of its kind. The provenance of this piece of jewellery is unclear, as is generally also true of the other extant bow jewels. The strong resemblance to a number of ornament prints has often led to the suggestion that the Rijksmuseum’s bow brooch, and bow jewellery in general, was a French concept that came about in the late sixteen-fifties or early sixties, but seventeenth-century Dutch portraits and inventories indicate that in the Netherlands it was already a popular jewel by then. Bow jewels could be acquired from jewellers in the Low Countries in the early sixteen-thirties and at the end of the decade they were worn at court in The Hague. Princess Amalia of Solms-Braunfels owned several diamond bow jewels in 1640, and in a portrait made a few years earlier she wears a pearl bow on her dress. The aristocracy and the wealthy citizens in the Republic started following this example and the bows set with diamonds and pearls stayed in fashion throughout the rest of the century. The bow jewel was already in fashion in the Low Countries thirty years before it became in vogue in France.
Fatemeh Ahani, Iraj Etessam, Seyed Gholamreza Islami
This paper addresses the status of ornamental practices in contemporary Iranian architecture, specifically after the Islamic revolution, using a descriptive–analytical method. In this regard, the external appearances of 92 prominent buildings constructed in Tehran between 1979–2013, were examined, and their means of visual expression were analyzed. The results indicate that half of the samples lack ornament; in the others, a noticeable increase in the ornamental element size and visual complexity, as well as a significant decrease in their semantic contents (as compared with traditional ornament) were observed. These are changes that mostly resulted from modernization and subsequent processes such as industrialization and rationalization, as well as the long-lasting influence of modernists’ arguments against such practices. The presence of ornament in architecture, however, is necessary due to its crucial role in increasing the visual coherence of the environment and fulfilling the human desire for order and beauty. Therefore, this paper suggests the replacement of the current dualistic model of thought, which is dominant in the profession and schools of architecture in Iran, with one that provides an opportunity for the coexistence of concepts such as ornament and structure, form and function, and the sensuous and the rational, hence providing a revitalization of ornament in contemporary architecture.