Die Welt im Bild

Transgressive Women, Transworld Women

In our research we formulated the hypothesis that children create different meanings at their drawings through pictures of art and that these meanings are more original when the stimulus is a picture of art that belongs to the abstract art. The research was conducted with 28 children aged 4.5 to 6.5 attending two early childhood classes in Volos, Greece. Our study involved asking children to study paintings and create opportunities for them to express their ideas through drawings. In their drawings, children in a way try to imitate the way that the picture of art is designed, but at the same time they are creative by thinking of new ideas and ways of doing things. The tools used were three pictures of art. The purpose of the study was to use these particular works of art as an opportunity for each young child to express his creativity within the school setting.

Sharing a social identity is a key component of interdependence in romantic relationships. In particular, sharing a social network of friends and family members with a romantic partner enhances relationship quality, but maintaining an integrated social network is not always possible. When people lack a shared circle of friends with their partners, sharing media like TV shows, books, and movies with partners may compensate for this deficit and restore closeness. Two studies examined the influence of sharing real and fictional social worlds on relationship outcomes. Our findings showed that when people lack shared friends with their romantic partners, sharing media predicts greater relationship quality and people become motivated to share media with their partners. These studies show that shared media can enhance interdependence and allow people to compensate for lacking a shared social network in the real-world.

The values of employing the mediator in the space of the painting varied, exploring the role of technology and experimentation in the dimensional and physical systems, and the relationship between form and function continued to accompany the artwork for material purposes, the mediator has played the role of the material carrier at some times, while in this research it is intended the aesthetic role and being a subject on which the idea of the artistic work itself depends that it is a re-exploration and interpretation of the medium in its ability to multiply and cross the limits of techniques and trends pertaining to artistic work to form a kind of mixing with digital technology and contemporary quality concept and to become a source of aesthetic construction among the specific interactions of the performances accompanying the artistic work space. The medium represents a material that can be added and treated for a purpose that goes beyond the construction of the visual plastic concept. Rather, it reached through the experiments of painting space and artistic work to the point of theorizing for modernist projects and trends that exceeded the limits of classification and different visual styles from the means of expression with materials and technical means, as it became crossing the limits of science and aesthetic and expressive formulas overcoming the temporal and spatial determinants of the space of the artistic work. The necessity of selective visual media with artwork and painting is not in its being to reproduce images of visible reality, but in its ability to make what is beyond the visible world a visible world. The visual medium is a diacritical language loaded with the artist's own experience in terms of expression, imaginative flexibility, a tendency towards experimentation, the ability to analyze, visual and formal composition, possessing an independent language, and the possibility of aesthetically linking the technological and technical dream world with the real world and by selecting the medium the surface turns into a visual passion. So it takes us directly to the world of art and calls for the relationships of things and their multiple phenomena to reach modernist stages of creative perception of artistic work.

Valéry’s Meta-formalism Steven Winspur T HERE IS a WIDESPREAD BELIEF that Paul Valéry’s poems and essays epitomize formalism’s major weakness—to remain cut off from what we sometimes call “ the real world.” 1 “ La vraie malédiction en ce monde,” declares Yves Bonnefoy in an essay on Valéry’s poetry, “ est d’y être réduit au jeu.” 2Valéry, it would seem, is one of the main players in this game. To show just how wrong such a view is—not only for an understanding of Valéry but of formalists in general—I shall discuss in turn three propositions that underpin the stan­ dard interpretation of Valéry’s formalism. The first of these contends that poetic language, unlike everyday speech, does not have the function of telling bits of information. It is “ intransitive,” as Valéry called it—which is why the standard form of the novel, modelled on such openings as “ La marquise sortit à cinq heures. . . seemed so worthless to him. Literary language becomes effective only when it gives up any transitive or representational role. Or, as he wrote in his volume Tel Quel, “ Tandis que l’intérêt des écrits en prose est comme hors d’eux-mêmes et naît de la consommation du texte —l’intérêt des poèmes ne les quitte pas ni ne peut s’en éloigner.” 3 The second commonplace culled from Valéry maintains that the necessity of a poem is purely internal to the poem itself, with the result that the poem seems to be cut off from any “ world” beyond its confines. To support this point one might quote Valéry’s dictum that “ Un beau vers renaît indéfiniment de ses cendres, il redevient—comme l’effet de son effet—cause harmonique de soi-même” (O I, 1510), or else his com­ ment on Mallarmé’s poetry that “ le ‘fond’ n’est plus cause de la forme: il en est l’un des effets” (O I, 710). The third, and final, commonplace is this: whereas Valéry does believe in such a thing as poetic necessity, it is in fact very limited in scope, since poetry is essentially an exercise built upon arbitrary rules: “ Les trois meilleurs exercices,” wrote the poet in his Cahiers, “—les seuls peut-être pour une intelligence sont: de faire des vers; de cultiver les mathématiques; le dessin. Ces trois activités,” he continued, “ sont par excellence exercices—c’est-à-dire des actes non nécessaires à conditions imposées, arbitraires, et rigoureuses.” 4 Vol. XXXI, No. 2 39 L ’E spr it C réa te u r I. If we start with the first of these propositions, namely that there is a fundamental opposition between poetic and prosaic language, we find that on closer inspection Valéry is establishing a much more subtle dis­ tinction. While it may be true that prose exhausts itself in its pragmatic goal (i.e., the transitive communication of its message: e.g., “ Pass me the salt!” ), it is not the case that poetry is cut off from pragmatic goals. For as most readers of Valéry have pointed out, the term “ Charmes,” which the poet used as a title for his second volume of poems, designates precisely this sort of pragmatic effect on the reader—it is the enchant­ ment produced by poetry itself. Indeed his 1942 re-edition of the volume made the necessary connection between poetry and its goal quite explicit —“ Charmes: c’est-à-dire Poèmes.” The enchantment cannot be sepa­ rated from the poem that produces it; the goal of the text cannot be cut off from the text itself, and vice versa, so that poetry becomes defined by its effects. Here we find the true difference between prose and poetry, since as Valéry wrote in Tel Quel, “ Est prose l’écrit qui a un but exprima­ ble par un autre écrit” (O II, 555), whereas the goal of a poem cannot be separated from the poem itself and translated into another form. I repeat the quotation I gave earlier: “ Tandis que l’intérêt...

This chapter describes how technology, progressing rapidly, and especially computer technology has become an indispensable detail in daily life. The act of playing games starting to become virtual has emerged as a progress. In these early years, when the line between place and space has started to become thinner and people began to recognize the lines of flight between the real world and the virtual world, the movie “Tron” made an attempt to explain this possibility of transitivity. 28 years after the first movie, the sequel “Tron Legacy” emphasizes that this possibility still exists. The individual, in this sea of possibilities, comes and goes between place and space and becomes distant to their temporal context, digitalized and goes through deterritorialization. The narrative of the fictional world, the game world in this fictional world, the real world and the game field in the real world will be discussed in terms of transmedia, and some assumptions will be put forward through people and therefore, the deterritorialization of the media.

Off- and Off-Off- Jack L. B. Gohn (bio) New York is the hub of America's theatrical creativity, the preeminent place for new playwrights giving us new shows. But the innovation does not primarily come from Broadway. As I pointed out last time, Broadway is seldom in the originality business. Almost everything found on the Great White Way is recycled somehow from works of art that have gone before. Completely original projects abound in New York, but not in the forty houses that give us the really big shows. Instead the thrill of the truly new must be pursued in Off-Broadway and Off-Off-Broadway houses. The label of Off-Broadway is technically restricted to New York houses from 100 to 499 seats that honor certain Actors' Equity rules. Many are found in the Theater District, so Off-Broadway does not necessarily mean literally off Broadway. Off-Off-Broadway denotes houses that are smaller than that and (though here the nomenclature gets tricky and inconsistent) follow so-called Showcase rules when employing Equity personnel. Some use the label Independent for small houses that don't follow the rules, though I cannot see why a larger house that failed to do so would not also qualify as Independent. As I'm here neither as lawyer, lexicographer, nor land surveyor, I shall leave the exact boundaries to those who care. My point, instead, is simply that the truly new is almost always found in the truly small. On a recent November weekend devoted to these smaller venues I was able to supply experimental validation of this thesis. The new works were here, and they were excellent. I was not looking for a particular theme, but of course one emerged. Each play waded into some big issues, in the popular modern mode of mixing a lot of humor in with the seriousness. I'll acknowledge that not everyone would agree that the issues in The Atmosphere of Memory, by David Bar Katz, which played at the Bank Street Theater for a "showcase" limited run, are big ones. Bar Katz's play examines the role of the artist mining family memories. Jon, the protagonist, a playwright, has crafted a "memory play" a la Tennessee Williams (except that the characters frequently speak like refugees from Woody Allen). The play-within-the-play is in rehearsal as the play-without-the-play begins. Jon has arranged to cast his real mother (Ellen Burstyn) as the character based on his mother, his girlfriend in the role based on his sister, and ringers for himself and his father for the roles based on himself and his father. This highly inopportune mingling of real and fictional worlds goes off the hook completely when Murray, his estranged father (the uproarious John Glover), crashes the rehearsals and then the family circle. Murray holds to the thesis that Jon has got the critical facts wrong, and that Jon's dramatized whining about his childhood is completely off-base. A pile of notebooks and tapes then emerge to referee the clash of Jon's memories and Murray's debunking. This setup gives us a jumping-off point for explorations of the unreliability of memory, as well as the moral responsibility (if any) of the memoirist [End Page 278] or the fictionalizer of memoirs to the real people depicted in his/her writing. Despite a somewhat comic treatment, Bar Katz is trying to make a serious point. Jon is convinced that his mom loved him and his dad rejected him, and that there was some hideous dark secret in his family which led him to cut the somewhat nebbishy figure he does. Eventually we get to the bottom of it, which is essentially that there's no bottom there. We find out, in fact, that his family suffered from no more than the ordinary amount of disharmony, and it was his mom who didn't love him all that much, not his dad. But even his mom made a reasonable effort to get on with the business of parenting. Jon's angst, it is suggested, is a predictable outcome of his need as an artist to have some raw material, little more...

In fantasy literature for children and youth, there function descriptions of space that may be categorized as part of the concept of “fantasy geography” (cf.: U. Eco). These regions are images of Arcadias, utopias, illusions, or simply “lands of fantasy” that exist without geographical or metaphysical limits (see: M. Ende – Fantastica). Imaginary worlds – which in a sense are representations of the real world – create poetics of place and space that is marked historically, socio-culturally, morally, and ethically. In such works, mountains are a significant aspect of literary backgrounds for protagonists’ journeys. They lack such elements as: aesthetic and contemplative experiences, hierophany, or psychological effects that are associated with the element of aesthetic surprise – in other words, they lack spiritual emotions that come directly from observing and experiencing the world. Instead, they invoke emotions connected with fascination by otherness, childlike curiosity of the world, dream of adventure, activity, and humour. The beauty of mountains is in this case overshadowed by their dangerous nature, the will to overcome obstacles, and the resolve to accept the challenge

The concept of contemporary art does not emphasize the boundary between art and non-art. It will constantly include non-art objects into the category of art. Contemporary art has thoughts and souls. It focuses on human psychology, society, history and other broad fields. Contemporary artists are often people who are rich in philosophical thinking. They should learn to observe the world in depth and express their thoughts on the world with their works. Since the 20th century, with the awakening of People’s self-consciousness and political consciousness, artists’ exploration and application of body symbols constantly express their reflection and introspection on society, there is also a change in the way of understanding and constructing one’s own identity. The identity issues such as feminism and ethnic minorities have triggered a series of social movements. This article will take the body expression in modern and contemporary art as the incision, and will carry on the research from the following two aspects: 1) taking the body’s plasticity, empathy and sociality as the representatives, the paper analyzes the language characteristics behind the body’s expression; 2) This paper discusses the body as a critical weapon from the perspective of its discourse power, attitude, power and as a tool of identity construction. And through a number of body-related works of art research, analysis of its expression in the context of modern and contemporary art direction. Is a work of art an “organism”? In order to answer this question, we must first clarify the concept of “organism”, which usually refers to living individuals. The Modern Chinese Dictionary simplifies it to “human beings and animals”. The more popular definition in psychology is “the organic matter with the ability to adapt to changes in the environment”. An interpretation closer to the artistic dimension comes from Aristotle, who believed that “poetry is an organism”. Later, Coleridge, an English poet, developed his idea, believing that “the life of a poem originates from the seed of the poet’s inspiration, which unconsciously absorbs the components of external substances acting on the human brain, thereby forming an organic entity that unites content and form, thought and emotion, concept and imagery” (Whistler, 2013). From Coleridge’s point of view, it is obvious that the work of art is an “organism”, which is born from the artist’s inspiration. It is in turn influenced by different kinds of artistic priors and the real world, and is then shaped in the entity. Contemporary art, which we are discussing today, is more “organic” in its “body language”.

The purpose of this article is to discuss the concept of narration in the “electracy” (cultural phase following the orality and literacy). The article draws inspiration primarily from media theory (McLuhan, Ulmer) and comparative mythology (Campbell). The text analyzes the short film Get Lost in Great Stories (Jason Scott, 2020) which celebrates the power of big screen entertainment whilst shining a light on the overwhelming distractions in all of our everyday lives. The imaginations of cinema and media experiences included in the spot are analyzed in terms of time, space, attention, and engagement of communication participants. The text analyzed the indicated differences as manifestations of two culture models: the scene model and the interface model. The scene model assumes a separation between the work of art and the real world, as well as between the creator and the recipient. In contrast, the interface model combines reality and virtuality, influencers and followers, and describes the world of actions, rather than works of art. The essay argues that narratology is no longer useful when the „electracy” comes, but the concept of myth is more appropriate, because this term is not so much about telling a story as it is about creating a sense of intense life (Campbell). Nowadays, “comp-unication” on social media and co-creation of augmented reality are a new form of myth.

OncotypeDx testing is now routinely used to help decide management of hormone positive HER2 negative breast cancer. We have reviewed adjuvant treatment and long-term outcomes of breast cancer patients in those who had a genomic OncotypeDx study performed by the oncology team based at the Northern Centre for Cancer Care (NCCC) in Newcastle Upon Tyne over a 10 year period between 2011-2021. Guidance on the use of chemotherapy according to age and recurrence score changed from July 2018, which has been factored in to our review. We also reviewed the other clinicopathological features that could affect outcomes, including tumour size, grade, nodal status , Nottingham Prognostic index and the presence or absence of in situ disease and lymphovascular invasion. The notes of 908 patients who underwent a total of 974 oncotype Dx scores were reviewed to assess:1.Were the management decisions in line with the guidance on recurrence scores in use at that time?2.What were the outcomes for these patients (we have assessed disease free and overall survival for those who have completed 3 years or more of follow up)?3.For patients who relapsed, would a different decision have been made if current guidelines are applied?. 508 tumours had a low recurrence score (18 or less) and would typically be advised that chemotherapy would not be of benefit. 198 tumours scored in the intermediate group and a decision about chemotherapy currently would be made on the basis of their age. 268 tumours had a high recurrence score of 25 or greater and current advice would advocate chemotherapy in this group. The cut off figures for oncotype score groups have changed with previous ‘intermediate’ recurrence score figures from 18-30, and the ‘high’ score category above 30. 232 tumours of the 974 were node positive (80 with micrometastases, 148 with 1-3 nodes, and 4 had more than 4 involved nodes). In the 255 records evaluated thus far for patient outcome, only 22 relapses have occurred, with 9 local recurrences and 13 distant recurrences. Only two patients in the low recurrence score group evaluated so far (n=147) received chemotherapy and there were 6 patients with recurrences in this group; 4 were local and 3 distant. In the high recurrence score group (n=99 )85 patients received chemotherapy and 14 patients did not, of whom 5 were due to patient choice. Seven patients have so far relapsed (2 local & 5 distant recurrences). In the intermediate group 15 patients received chemotherapy of the total group evaluated to date(n=73). Six patients in the intermediate group have relapsed (2 local & 4 distant recurrences). Under modern guidelines, only two further patients in this group would have been offered chemotherapy. 25 of the patients in the intermediate group were 55 years or above and 4 of these received chemotherapy - under current UK guidance these patients would avoid chemotherapy. Whilst the aim is to share results from the complete dataset in our poster, early results from this study confirm the benefit of OncotypeDx testing in the real world management of patients with breast cancer. AcknowledgementsMark Verrill, NicCresti, Daniella Lee, Radha Todd, Helen Turnbull, Kathryn Wright, NajibahMahtab, Ed Hallam, Sarah Reynia Citation Format: Abigail Gault, Jayshree Veeratterapillay, Wendy Taylor. Real world use of OncotypeDx testing in the management of breast cancer. The North East England experience [abstract]. In: Proceedings of the 2021 San Antonio Breast Cancer Symposium; 2021 Dec 7-10; San Antonio, TX. Philadelphia (PA): AACR; Cancer Res 2022;82(4 Suppl):Abstract nr P1-08-28.

This text analyses the relation between the world of reality and the world of illusion in the frame of global dominance of cyber culture through transformation of one of the forms of performing arts praxis into a new media art praxis. Classical theatre has gone a long way from breaking traditional forms through introductions of new technologies into live performances to a total transformation on the Internet. This opened up the problem of the theatrical performance happening here and now and the performace using only the human body i.e. the live image (separating this praxis from all other art forms). After the key intervention has been made with essencial determination of the theatre by transfering the theatre as a means of communication into a cyber space, this theory has found itself in a slippery field of interpretation and critical approach to its new onthology. This text just opens some of the questions without offering explicit convictions, and it does not give a rounded opinion on the topic since the modern art problematics, whose specific sphere enables introduction of polemics about the new media, develops like an IT network without a possibility for a reliable foundation or casting full light onto its functioning.

The movie — The Matrix (1999) — boosted our imagination about how further we can be immersed within the cyber world, i.e., how further the cyber world can be indistinguishable from the real world. Nobody, including the creators, had expected that the aspirational fictional virtual worlds such as “ActiveWorlds (1995)” and “Second Life (2003)” would impact the way of experiencing our real urban environments with many urban experiences embedded into a rich featured 3D environment. Are we going to stay as ourselves while existing in a mirror world? Are the fabricated, created imaginary worlds becoming a part of real worlds or vice versa? The recent once-in-a-lifetime pandemic has confirmed the importance of location and time-independent Digital Twins (DTs) (i.e., virtual scale models) of cities and their automated services which can provide everybody with equity and accessibility. This study analyses how the metaverse (3D elevation of linear Internet), that aims to build high-fidelity virtual worlds with which to interact with, can be engaged within the Smart City (SC) ecosystem with high immersive Quality of Experiences (QoE) leading to increased Quality of Life (QoL). An urban metaverse ecosystem framework — MetaOmniCity — is designed to demonstrate a variety of insights and orchestrational directions for policymakers, city planners and all other stakeholders about how to transform data-driven SCs with DTs into virtually inhabitable cities with a network of shared urban experiences from a metaverse point of view. MetaOmniCity, allowing the metaversification of cities with granular virtual societies, i.e., MetaSocieties, and eliminating the boundaries between the real world and their virtual counterparts can be shaped to the particular requirements and features of cities. Urban metaverse shared worlds, an extension of residents and urban society, where the virtual and the physically real blend and are more organically integrated, would impact urban ways of living significantly with many practical implementations. This would open doors for potential businesses with tremendous global economic value by democratising skills/assets within an urban environment, paving the way for immersive globalisation with the bigger and richer metaverse of Country (MoC) and metaverse of World (MoW) being an immersive DT of the broader universe with tangibly connected cities. MetaOmniCity is expected to accelerate the building, deployment, and adoption of immersive urban metaverse networks for citizens to interface with as an extension of real social and individual experiences.

In the late 20th Century filled with fin-de-siecle mood, the new theatre centered around the UK has emerged. It was coined In-Yer-Face Theatre which breaks with conventional theatrical codes to confront the vulgar and the shocking. Up to the present, researches on art have generally been carried out through sociology, psychology and the history of art. Especially, the research on the social and cultural relations between the artists and their art works and the interrelation between the art works and other systems focuses on sociological approach. Therefore, the results are concentrated on the social meaning and significance of the new art form. However, it is a different matter that a work has the social and political implication and has the artistic value. Thus, this research will examine the characteristics of In-Yer-Face Theatre through the aesthetic categories. In-Yer-Face Theatre is in accord with as a main aesthetic subject. As the properties of ugliness, unsuitability, imperfection, and flaw are revealed through characters dialogues and behaviors on stage. In addition, unpleasure, another characteristic of ugliness, appears in the reaction of the audience to real violences and sexual behaviors during the performance. Furthermore, disorder which is the most important attribution of ugliness is related to the formal characteristic of in-yer-face theatre: its dramaturgy which rejects the well-made-play. As a result, the playwrights of in-yer-face theatre use intentionally ugliness as a new tool in order to reveal and criticize the ugliness in real world. They insult the reality which dehumanizes people, human beings which have not changed in the situation, and such circumstances by using unmentionable and frank expressions. That is, in-yer-face theatre is the product of strong consciousness leading to a change.

The purpose of this cross-disciplinary dissertation is to explore how magic(al) realist techniques are applied in Toni Morrison’s Beloved and Love and Frida Kahlo’s selected paintings to dramatize the traumas experienced in post-colonial period, and how the artists resist the cultural hegemony through their art works. From the magic(al) realist and Gramscian point of view, the dissertation focuses on 1) the similar situations and cultural hegemony of African Americans and Frida Kahlo had experienced; 2) why and how Toni Morrison and Frida Kahlo chose and used magic(al) realist techniques in their art works to dramatize the traumas; and 3) how Toni Morrison and Frida Kahlo resist the cultural hegemony by applying magic(al) realist techniques in their art works. The results show that in the post-colonial period, African Americans and Frida Kahlo were influenced by the hegemonic culture and the traumas they experienced were caused by colonization and cultural hegemony. Toni Morrison and Frida Kahlo aimed at arousing the awareness of the marginalized people in such situation. Therefore, both of the outstanding artists applied magic(al) realist techniques in Toni Morrison’s novels Beloved and Love and Frida Kahlo’s selected paintings to exaggerate the physical and psychological traumas that African Americans and Frida Kahlo had gone through. In Beloved and Love, Toni Morrison dealt with traumas took place on African American women caused by colonialism and Euro-American hegemonic culture. In order to depict the pain to the most, Toni Morrison blended the boundary between the practical world and magical world, to make it possible to the readers to share the sufferings that African American women went through in the colonial and post-colonial period. Toni Morrison did not stop at depicting the traumas, she in fact used magic(al) techniques to bring the dead back to the world to dramatize the traumas and focused on the causes for these traumas, that was, the hegemonic culture in colonialism and pot-colonialism. By writing the novels with these techniques, Toni Morrison resisted the post-colonial hegemonic culture. Not like Toni Morrison, who described collective traumas of African Americans; Frida Kahlo portrayed her own physical and psychological traumas by applying magic(al) realist techniques in her selected paintings. She integrated Mexican indigenous cultural heritage and pre-Columbian images in her paintings to resist the influence from the hegemonic culture. She rejected standard western concept of beauty in paintings by combining magical objects with objects in real world.