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Thoughts 365
No full textU diplomskom radu Misli 365 tema umjetničkog istraživanja je proces iscjeljenja kroz umjetničko djelovanje te žalovanje kao osnovni pojam proživljen kroz osobno iskustvo i njihovo verbaliziranje. Žalovanje je prema vlastitom iskustvu svojevrsna blokada obavijena tišinom i manjkom verbalizacije osjećaja. To pojedinca, koji to proživljava, dovodi u stanje s osjećajem nemo(ći)gućnosti i izoliranosti u odnosu na društvena očekivanja i osobnoj borbi za iskazivanje i rješavanje problema žalovanja. U mnogim kulturama, kad je riječ o žalovanju, postoji prešutno shvaćanje da tugu treba podnijeti tiho, uz stoicizam kao vrlinu, a verbalno izražavanje tuge često je nepremostiv društveno i emocionalno uvjetovan zadatak, osobito kada se riječi čine nedostatnima da okarakteriziraju dubinu gubitka. Osobno, upravo kroz umjetnost vidim mogućnost i sposobnost za utjehu i nadilaženje emocionalne i socijalne barijere. Smatram, što sam potvrdila kroz svoje iskustvo, umjetničku praksu i diplomski rad, da je kroz slikarstvo, skulpturu, glazbu i poeziju, moguće pronaći utočište u kojem emocije mogu slobodno teći, neopterećene ograničenjima sintakse i olakšati stanje žalovanja i proces iscjeljenja, te mu dati novu dodanu vrijednost. Drugim riječima, površina platna u slikarstvu postaje prostor za ono neizrecivo, prostor u kojem se suze mogu pretvoriti u kreativno iskustvo nataloženog u dubokom nesvjesnom, počast onima koji su otišli i svjetionik nade za one koji su ostali. Umjetničko djelovanje je put kojim nesvjesno i duboko potisnute emocije pronalaze način da se oslobode i vode ka iscjeljenju. Stvaralački čin je potencijalni oblik terapije koji omogućuje i kanalizira emocije u opipljivu kreaciju tijekom vremena žalosti i može ponuditi put prema izlječenju. Čin stvaranja postaje oblik terapije, dopuštajući pojedincima da kanaliziraju svoje emocije u nešto opipljivo, nešto lijepo. U procesu stvaranja umjetnosti, oni pronalaze smisao usred kaosa, način da graciozno i otporno plove kroz mutne vode tuge. U biti, umjetnost služi kao most između unutarnjeg potisnutog svijeta emocija i vanjskog svijeta kao područja izražavanja. Kroz njegovu transformativnu moć, moguće je pronaći iscjeljujući put i osvijetliti najdublje potisnuta mjesta ljudske podsvijesti. Instalacija Misli 365 vizualni je rezultat upravo takvog iskustva.In the thesis Misli 365, the theme of artistic research is the process of healing through artistic activity and mourning as a basic concept lived through personal experience and their verbalization. According to my own experience, mourning is a kind of blockage shrouded in silence and lack of verbalization of feelings. This brings the individual, who experiences it, to a state with a feeling of powerlessness and isolation in relation to social expectations and a personal struggle to express and solve the problem of mourning. In many cultures, when it comes to grieving, there is a tacit understanding that grief should be endured quietly, with stoicism as a virtue, and verbal expression of grief is often an insurmountable socially and emotionally conditioned task, especially when words seem inadequate to characterize the depth of the loss. Personally, it is through art that I see the possibility and ability to comfort and overcome emotional and social barriers. I believe, which I have confirmed through my experience, artistic practice and graduation thesis, that through painting, sculpture, music and poetry, it is possible to find a refuge where emotions can flow freely, unencumbered by the limitations of syntax and facilitate the state of mourning and the healing process, and give it new added value. In other words, the surface of the canvas in painting becomes a space for the unspeakable, a space where tears can be transformed into a creative experience deposited in the deep unconscious, a tribute to those who have left and a beacon of hope for those who remain. Artistic activity is a path through which unconscious and deeply suppressed emotions find a way to be freed and lead to healing. The creative act is a potential form of therapy that enables and channels emotions into tangible creation during times of grief and can offer a path toward healing. The act of creation becomes a form of therapy, allowing individuals to channel their emotions into something tangible, something beautiful. In the process of creating art, they find meaning in the midst of chaos, a way to gracefully and resiliently navigate through the murky waters of grief. In essence, art serves as a bridge between the inner repressed world of emotions and the outer world as a realm of expression. Through its transformative power, it is possible to find a healing path and illuminate the most deeply repressed places of the human subconscious. The Misli 365 installation is the visual result of just such an experience
Communicating one's own and understanding other peoples emotions through artistic expression
No full textSvrha ovog diplomskog rada je istražiti kako potaknuti komunikaciju i izražavanje osjećaja kod osoba kroz likovno izražavanje te kako se navedeno mijenja kroz godine. Polazi od važnosti poticanja prikazivanja osjećaja kroz likovni izražaj zbog sve većeg zatvaranja u sebe kod djece i odraslih. Osobama koje nemaju dobar odnos sa svojim osjećajima, zanemaruju ih te neki osjećaji ostaju neriješeni što kasnije može zadavati emocionalne probleme. Komuniciranje osjećaja samima sebi ili drugima pomaže nam da si razjasnimo što se točno događa u našem tijelu i umu. Likovnim radom osobe mogu pospješiti kvalitetu komuniciranja emocija. Ovim radom istražuju se odgovori na pitanja: Kako možemo lakše komunicirati osjećaje kroz likovno izražavanje? Kako se simbolički jezik koristi za lakše komuniciranje osjećaja? Koliko je opširan prikaz osjećaja kroz likovno izražavanje crtežom? Istraživanje je provedeno kroz tri susreta s tri različite dobne skupine, osnovnoškolci iz 6. razreda, srednjoškolci iz 2. razreda i studenti od 22-27 godina. Na susretima se prvo poticalo razmišljanje o osjećajima vođenim putovanjem kroz maštu, gdje se pričalo pet priča povezanih s osjećajima. Cilj putovanja kroz maštu je bio imenovanje osjećaja. Nakon toga su osobe igrale igru pantomime u parovima, gdje je cilj bio da pokušaju osjetiti osjećaj u tijelu, te ga pokušaju iskomunicirati sa svojim parom. Kroz razgovor se povezivao pokret tijela s različitim vrstama linija kako bi potakli polaznike da kroz rad prikažu osjećaje na apstraktni način. Za završetak sudionici međusobno analiziraju i izlažu svoje radove odnosno osjećaje s ciljem prepoznavanja i imenovanja osjećaja. Priprema za radionice i sate s učenicima iz osnovne, srednje škole i sa studentima je prilagođena njihovim uzrastima. Za radionice za srednju školu i studente izmjene nastaju u samoj uvodnoj vježbi i pristupu analizi, a za studente i srednjoškolce u pripremi nema uvođenja termina linije.The purpose of this thesis is to investigate how to encourage communication and expression of emotion in people through artistic expression and how this changes over the years. It starts from the importance of encouraging the display of emotion through artistic expression due to the growing introversion of children and adults. People who do not have a good relationship with their own emotions, who ignore their feelings, are left with some feelings unresolved which can cause emotional problems later on. Communicating emotions to ourselves or to others helps us clarify what exactly is going on in our bodies and minds. Art can improve the quality of communicating emotions for people. This thesis explores the answers to the following questions: How can we communicate emotions more easily through artistic expression? How is symbolic language used to communicate emotions more easily? How comprehensive is the representation of emotions through artistic expression in a drawing? The research was conducted through three meetings with three different age groups, 6th grade elementary school students, 2nd grade high school students and university students (aged 22-27). At the meetings, we first encouraged thinking about emotions, guided by a journey through 3 imagination, where five stories related to emotions were told. The goal of the journey through the imagination was to name the emotions. After that, the students played a pantomime game in pairs, in which the goal was to try to feel an emotion in the body, and to try to communicate it to their partner. Conversation was used to connect body movements with different types of lines in order to encourage participants to show emotions in an abstract way through artwork. At the end, the participants analyze and present their works, i.e. emotions, with the aim of recognizing and naming them. The workshop and classes preparation was adapted to the age of the students (elementary, secondary school and university levels). For secondary school and university students' workshops, changes were made in the introductory exercise itself and in the approach to analysis, while in the elementary and secondary school students' workshops there was no introduction of the term „line“
Thoughts 365
No full textU diplomskom radu Misli 365 tema umjetničkog istraživanja je proces iscjeljenja kroz umjetničko djelovanje te žalovanje kao osnovni pojam proživljen kroz osobno iskustvo i njihovo verbaliziranje. Žalovanje je prema vlastitom iskustvu svojevrsna blokada obavijena tišinom i manjkom verbalizacije osjećaja. To pojedinca, koji to proživljava, dovodi u stanje s osjećajem nemo(ći)gućnosti i izoliranosti u odnosu na društvena očekivanja i osobnoj borbi za iskazivanje i rješavanje problema žalovanja. U mnogim kulturama, kad je riječ o žalovanju, postoji prešutno shvaćanje da tugu treba podnijeti tiho, uz stoicizam kao vrlinu, a verbalno izražavanje tuge često je nepremostiv društveno i emocionalno uvjetovan zadatak, osobito kada se riječi čine nedostatnima da okarakteriziraju dubinu gubitka. Osobno, upravo kroz umjetnost vidim mogućnost i sposobnost za utjehu i nadilaženje emocionalne i socijalne barijere. Smatram, što sam potvrdila kroz svoje iskustvo, umjetničku praksu i diplomski rad, da je kroz slikarstvo, skulpturu, glazbu i poeziju, moguće pronaći utočište u kojem emocije mogu slobodno teći, neopterećene ograničenjima sintakse i olakšati stanje žalovanja i proces iscjeljenja, te mu dati novu dodanu vrijednost. Drugim riječima, površina platna u slikarstvu postaje prostor za ono neizrecivo, prostor u kojem se suze mogu pretvoriti u kreativno iskustvo nataloženog u dubokom nesvjesnom, počast onima koji su otišli i svjetionik nade za one koji su ostali. Umjetničko djelovanje je put kojim nesvjesno i duboko potisnute emocije pronalaze način da se oslobode i vode ka iscjeljenju. Stvaralački čin je potencijalni oblik terapije koji omogućuje i kanalizira emocije u opipljivu kreaciju tijekom vremena žalosti i može ponuditi put prema izlječenju. Čin stvaranja postaje oblik terapije, dopuštajući pojedincima da kanaliziraju svoje emocije u nešto opipljivo, nešto lijepo. U procesu stvaranja umjetnosti, oni pronalaze smisao usred kaosa, način da graciozno i otporno plove kroz mutne vode tuge. U biti, umjetnost služi kao most između unutarnjeg potisnutog svijeta emocija i vanjskog svijeta kao područja izražavanja. Kroz njegovu transformativnu moć, moguće je pronaći iscjeljujući put i osvijetliti najdublje potisnuta mjesta ljudske podsvijesti. Instalacija Misli 365 vizualni je rezultat upravo takvog iskustva.In the thesis Misli 365, the theme of artistic research is the process of healing through artistic activity and mourning as a basic concept lived through personal experience and their verbalization. According to my own experience, mourning is a kind of blockage shrouded in silence and lack of verbalization of feelings. This brings the individual, who experiences it, to a state with a feeling of powerlessness and isolation in relation to social expectations and a personal struggle to express and solve the problem of mourning. In many cultures, when it comes to grieving, there is a tacit understanding that grief should be endured quietly, with stoicism as a virtue, and verbal expression of grief is often an insurmountable socially and emotionally conditioned task, especially when words seem inadequate to characterize the depth of the loss. Personally, it is through art that I see the possibility and ability to comfort and overcome emotional and social barriers. I believe, which I have confirmed through my experience, artistic practice and graduation thesis, that through painting, sculpture, music and poetry, it is possible to find a refuge where emotions can flow freely, unencumbered by the limitations of syntax and facilitate the state of mourning and the healing process, and give it new added value. In other words, the surface of the canvas in painting becomes a space for the unspeakable, a space where tears can be transformed into a creative experience deposited in the deep unconscious, a tribute to those who have left and a beacon of hope for those who remain. Artistic activity is a path through which unconscious and deeply suppressed emotions find a way to be freed and lead to healing. The creative act is a potential form of therapy that enables and channels emotions into tangible creation during times of grief and can offer a path toward healing. The act of creation becomes a form of therapy, allowing individuals to channel their emotions into something tangible, something beautiful. In the process of creating art, they find meaning in the midst of chaos, a way to gracefully and resiliently navigate through the murky waters of grief. In essence, art serves as a bridge between the inner repressed world of emotions and the outer world as a realm of expression. Through its transformative power, it is possible to find a healing path and illuminate the most deeply repressed places of the human subconscious. The Misli 365 installation is the visual result of just such an experience
Školski dani / Sjećanja / NGC 147
No full textSvi ljudi imaju svoju priču, koja se može ispričati na različite načine. U ovom radu sam htjela spojiti portret s naracijom. Oblik crtančice je došao iz razmišljanja kako ukomponirati sliku i tekst da najbolje prikažu taj spoj. Nostalgično sjećanje na školske dana, učenje pisanja i stvaranje novih prijateljstva je služilo kao inspiracija za ovu seriju radova. Pogreške nastale tijekom rada su doprinijele karakteru, pojačavajući osjećaj davnih „Školskih dana“.
Sjećanja koja su pred iščezavanjem. Uvijek sam se pitala koliko su točna moja sjećanja i koliko fotografije prikazuju istinu. U radu sam spajala fotografije iz djetinjstva s pejzažima i tekstom. Tekst je došao prirodno, kao misli ili pjesme tijekom samog procesa izrade rada. Htjela sam uhvatiti nostalgični, nestajući osjećaj te sam to postigla lazurnim premazima i skidanjem boje. Skicoznost i plošnost rada je namjerna, kako su naša sjećanja nejasna tako su i motivi u mojem radu.
U kiparskom radu se bavim pitanjem samog materijala. Koliko je izdržljiv, koliko ga dugo mogu koristiti dok mi ne izmaknu sve ideje. Ideja svemira je došla iz same ideje nečeg čudnovatog i novog. Mjesto u kojem se rade eksperimenti i istraživanja. Nakon pomnog razmišljanja uvidjela sam da spajajući više naizgled nepovezanih radova mogu realizirati taj koncept u cijelost
Thoughts 365
No full textU diplomskom radu Misli 365 tema umjetničkog istraživanja je proces iscjeljenja kroz umjetničko djelovanje te žalovanje kao osnovni pojam proživljen kroz osobno iskustvo i njihovo verbaliziranje. Žalovanje je prema vlastitom iskustvu svojevrsna blokada obavijena tišinom i manjkom verbalizacije osjećaja. To pojedinca, koji to proživljava, dovodi u stanje s osjećajem nemo(ći)gućnosti i izoliranosti u odnosu na društvena očekivanja i osobnoj borbi za iskazivanje i rješavanje problema žalovanja. U mnogim kulturama, kad je riječ o žalovanju, postoji prešutno shvaćanje da tugu treba podnijeti tiho, uz stoicizam kao vrlinu, a verbalno izražavanje tuge često je nepremostiv društveno i emocionalno uvjetovan zadatak, osobito kada se riječi čine nedostatnima da okarakteriziraju dubinu gubitka. Osobno, upravo kroz umjetnost vidim mogućnost i sposobnost za utjehu i nadilaženje emocionalne i socijalne barijere. Smatram, što sam potvrdila kroz svoje iskustvo, umjetničku praksu i diplomski rad, da je kroz slikarstvo, skulpturu, glazbu i poeziju, moguće pronaći utočište u kojem emocije mogu slobodno teći, neopterećene ograničenjima sintakse i olakšati stanje žalovanja i proces iscjeljenja, te mu dati novu dodanu vrijednost. Drugim riječima, površina platna u slikarstvu postaje prostor za ono neizrecivo, prostor u kojem se suze mogu pretvoriti u kreativno iskustvo nataloženog u dubokom nesvjesnom, počast onima koji su otišli i svjetionik nade za one koji su ostali. Umjetničko djelovanje je put kojim nesvjesno i duboko potisnute emocije pronalaze način da se oslobode i vode ka iscjeljenju. Stvaralački čin je potencijalni oblik terapije koji omogućuje i kanalizira emocije u opipljivu kreaciju tijekom vremena žalosti i može ponuditi put prema izlječenju. Čin stvaranja postaje oblik terapije, dopuštajući pojedincima da kanaliziraju svoje emocije u nešto opipljivo, nešto lijepo. U procesu stvaranja umjetnosti, oni pronalaze smisao usred kaosa, način da graciozno i otporno plove kroz mutne vode tuge. U biti, umjetnost služi kao most između unutarnjeg potisnutog svijeta emocija i vanjskog svijeta kao područja izražavanja. Kroz njegovu transformativnu moć, moguće je pronaći iscjeljujući put i osvijetliti najdublje potisnuta mjesta ljudske podsvijesti. Instalacija Misli 365 vizualni je rezultat upravo takvog iskustva.In the thesis Misli 365, the theme of artistic research is the process of healing through artistic activity and mourning as a basic concept lived through personal experience and their verbalization. According to my own experience, mourning is a kind of blockage shrouded in silence and lack of verbalization of feelings. This brings the individual, who experiences it, to a state with a feeling of powerlessness and isolation in relation to social expectations and a personal struggle to express and solve the problem of mourning. In many cultures, when it comes to grieving, there is a tacit understanding that grief should be endured quietly, with stoicism as a virtue, and verbal expression of grief is often an insurmountable socially and emotionally conditioned task, especially when words seem inadequate to characterize the depth of the loss. Personally, it is through art that I see the possibility and ability to comfort and overcome emotional and social barriers. I believe, which I have confirmed through my experience, artistic practice and graduation thesis, that through painting, sculpture, music and poetry, it is possible to find a refuge where emotions can flow freely, unencumbered by the limitations of syntax and facilitate the state of mourning and the healing process, and give it new added value. In other words, the surface of the canvas in painting becomes a space for the unspeakable, a space where tears can be transformed into a creative experience deposited in the deep unconscious, a tribute to those who have left and a beacon of hope for those who remain. Artistic activity is a path through which unconscious and deeply suppressed emotions find a way to be freed and lead to healing. The creative act is a potential form of therapy that enables and channels emotions into tangible creation during times of grief and can offer a path toward healing. The act of creation becomes a form of therapy, allowing individuals to channel their emotions into something tangible, something beautiful. In the process of creating art, they find meaning in the midst of chaos, a way to gracefully and resiliently navigate through the murky waters of grief. In essence, art serves as a bridge between the inner repressed world of emotions and the outer world as a realm of expression. Through its transformative power, it is possible to find a healing path and illuminate the most deeply repressed places of the human subconscious. The Misli 365 installation is the visual result of just such an experience
Communicating one's own and understanding other peoples emotions through artistic expression
No full textSvrha ovog diplomskog rada je istražiti kako potaknuti komunikaciju i izražavanje osjećaja kod osoba kroz likovno izražavanje te kako se navedeno mijenja kroz godine. Polazi od važnosti poticanja prikazivanja osjećaja kroz likovni izražaj zbog sve većeg zatvaranja u sebe kod djece i odraslih. Osobama koje nemaju dobar odnos sa svojim osjećajima, zanemaruju ih te neki osjećaji ostaju neriješeni što kasnije može zadavati emocionalne probleme. Komuniciranje osjećaja samima sebi ili drugima pomaže nam da si razjasnimo što se točno događa u našem tijelu i umu. Likovnim radom osobe mogu pospješiti kvalitetu komuniciranja emocija. Ovim radom istražuju se odgovori na pitanja: Kako možemo lakše komunicirati osjećaje kroz likovno izražavanje? Kako se simbolički jezik koristi za lakše komuniciranje osjećaja? Koliko je opširan prikaz osjećaja kroz likovno izražavanje crtežom? Istraživanje je provedeno kroz tri susreta s tri različite dobne skupine, osnovnoškolci iz 6. razreda, srednjoškolci iz 2. razreda i studenti od 22-27 godina. Na susretima se prvo poticalo razmišljanje o osjećajima vođenim putovanjem kroz maštu, gdje se pričalo pet priča povezanih s osjećajima. Cilj putovanja kroz maštu je bio imenovanje osjećaja. Nakon toga su osobe igrale igru pantomime u parovima, gdje je cilj bio da pokušaju osjetiti osjećaj u tijelu, te ga pokušaju iskomunicirati sa svojim parom. Kroz razgovor se povezivao pokret tijela s različitim vrstama linija kako bi potakli polaznike da kroz rad prikažu osjećaje na apstraktni način. Za završetak sudionici međusobno analiziraju i izlažu svoje radove odnosno osjećaje s ciljem prepoznavanja i imenovanja osjećaja. Priprema za radionice i sate s učenicima iz osnovne, srednje škole i sa studentima je prilagođena njihovim uzrastima. Za radionice za srednju školu i studente izmjene nastaju u samoj uvodnoj vježbi i pristupu analizi, a za studente i srednjoškolce u pripremi nema uvođenja termina linije.The purpose of this thesis is to investigate how to encourage communication and expression of emotion in people through artistic expression and how this changes over the years. It starts from the importance of encouraging the display of emotion through artistic expression due to the growing introversion of children and adults. People who do not have a good relationship with their own emotions, who ignore their feelings, are left with some feelings unresolved which can cause emotional problems later on. Communicating emotions to ourselves or to others helps us clarify what exactly is going on in our bodies and minds. Art can improve the quality of communicating emotions for people. This thesis explores the answers to the following questions: How can we communicate emotions more easily through artistic expression? How is symbolic language used to communicate emotions more easily? How comprehensive is the representation of emotions through artistic expression in a drawing? The research was conducted through three meetings with three different age groups, 6th grade elementary school students, 2nd grade high school students and university students (aged 22-27). At the meetings, we first encouraged thinking about emotions, guided by a journey through 3 imagination, where five stories related to emotions were told. The goal of the journey through the imagination was to name the emotions. After that, the students played a pantomime game in pairs, in which the goal was to try to feel an emotion in the body, and to try to communicate it to their partner. Conversation was used to connect body movements with different types of lines in order to encourage participants to show emotions in an abstract way through artwork. At the end, the participants analyze and present their works, i.e. emotions, with the aim of recognizing and naming them. The workshop and classes preparation was adapted to the age of the students (elementary, secondary school and university levels). For secondary school and university students' workshops, changes were made in the introductory exercise itself and in the approach to analysis, while in the elementary and secondary school students' workshops there was no introduction of the term „line“
Communicating one's own and understanding other peoples emotions through artistic expression
No full textSvrha ovog diplomskog rada je istražiti kako potaknuti komunikaciju i izražavanje osjećaja kod osoba kroz likovno izražavanje te kako se navedeno mijenja kroz godine. Polazi od važnosti poticanja prikazivanja osjećaja kroz likovni izražaj zbog sve većeg zatvaranja u sebe kod djece i odraslih. Osobama koje nemaju dobar odnos sa svojim osjećajima, zanemaruju ih te neki osjećaji ostaju neriješeni što kasnije može zadavati emocionalne probleme. Komuniciranje osjećaja samima sebi ili drugima pomaže nam da si razjasnimo što se točno događa u našem tijelu i umu. Likovnim radom osobe mogu pospješiti kvalitetu komuniciranja emocija. Ovim radom istražuju se odgovori na pitanja: Kako možemo lakše komunicirati osjećaje kroz likovno izražavanje? Kako se simbolički jezik koristi za lakše komuniciranje osjećaja? Koliko je opširan prikaz osjećaja kroz likovno izražavanje crtežom? Istraživanje je provedeno kroz tri susreta s tri različite dobne skupine, osnovnoškolci iz 6. razreda, srednjoškolci iz 2. razreda i studenti od 22-27 godina. Na susretima se prvo poticalo razmišljanje o osjećajima vođenim putovanjem kroz maštu, gdje se pričalo pet priča povezanih s osjećajima. Cilj putovanja kroz maštu je bio imenovanje osjećaja. Nakon toga su osobe igrale igru pantomime u parovima, gdje je cilj bio da pokušaju osjetiti osjećaj u tijelu, te ga pokušaju iskomunicirati sa svojim parom. Kroz razgovor se povezivao pokret tijela s različitim vrstama linija kako bi potakli polaznike da kroz rad prikažu osjećaje na apstraktni način. Za završetak sudionici međusobno analiziraju i izlažu svoje radove odnosno osjećaje s ciljem prepoznavanja i imenovanja osjećaja. Priprema za radionice i sate s učenicima iz osnovne, srednje škole i sa studentima je prilagođena njihovim uzrastima. Za radionice za srednju školu i studente izmjene nastaju u samoj uvodnoj vježbi i pristupu analizi, a za studente i srednjoškolce u pripremi nema uvođenja termina linije.The purpose of this thesis is to investigate how to encourage communication and expression of emotion in people through artistic expression and how this changes over the years. It starts from the importance of encouraging the display of emotion through artistic expression due to the growing introversion of children and adults. People who do not have a good relationship with their own emotions, who ignore their feelings, are left with some feelings unresolved which can cause emotional problems later on. Communicating emotions to ourselves or to others helps us clarify what exactly is going on in our bodies and minds. Art can improve the quality of communicating emotions for people. This thesis explores the answers to the following questions: How can we communicate emotions more easily through artistic expression? How is symbolic language used to communicate emotions more easily? How comprehensive is the representation of emotions through artistic expression in a drawing? The research was conducted through three meetings with three different age groups, 6th grade elementary school students, 2nd grade high school students and university students (aged 22-27). At the meetings, we first encouraged thinking about emotions, guided by a journey through 3 imagination, where five stories related to emotions were told. The goal of the journey through the imagination was to name the emotions. After that, the students played a pantomime game in pairs, in which the goal was to try to feel an emotion in the body, and to try to communicate it to their partner. Conversation was used to connect body movements with different types of lines in order to encourage participants to show emotions in an abstract way through artwork. At the end, the participants analyze and present their works, i.e. emotions, with the aim of recognizing and naming them. The workshop and classes preparation was adapted to the age of the students (elementary, secondary school and university levels). For secondary school and university students' workshops, changes were made in the introductory exercise itself and in the approach to analysis, while in the elementary and secondary school students' workshops there was no introduction of the term „line“
Going Beyond Counting First Authors in Author Co-citation Analysis
Full text linkThe present study examines one of the fundamental aspects of author co-citation analysis (ACA) - the way co-citation
counts are defined. Co-citation counting provides the data on which all subsequent statistical analyses and mappings
are based, and we compare ACA results based on two different types of co-citation counting - the traditional type that
only counts the first one among a cited work's authors on the one hand and a non-traditional type that takes into
account the first 5 authors of a cited work on the other hand. Results indicate that the picture produced through this non-traditional author co-citation counting contains more coherent author groups and is therefore considerably clearer. However, this picture represents fewer specialties in the research field being studied than that produced through the traditional first-author co-citation counting when the same number of top-ranked authors is selected and analyzed. Reasons for these effects are discussed
Variations on the Author
Full text link“Variations on the Author” discusses two of Eduardo Coutinho’s recent films (Um Dia na Vida, from 2010, and Últimas Conversas, posthumously released in 2015) and their contribution to the general question of documentary authorship. The director’s filmography is characterized by a consistent yet self-effacing form of authorial self-inscription: Coutinho often features as an interviewer that rather than express opinions propels discourses; an interviewer that is good at listening. This mode of self-inscription characterizes him as an author who is not expressive but who is nonetheless markedly present on the screen. In Um Dia na Vida, however, Coutinho is completely absent form the image, while Últimas Conversas, on the contrary, includes a confessional prologue that moves the director from the margins to the center of his films. This article examines the ways in which these works stand out in the filmography of a director who offers new insights into the notion of cinematic authorship
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