292 research outputs found
I am that I am
No full textRad I AM THAT I AM je jedan rad na velikom platnu dimenzija 150 x 200 cm. Rad je napravljen u maniri apstraktnog ekspresionizma. Autorica je željela pronaći vlastiti rukopis i napraviti rad u kojem se vidi energija. Rad je bio performativni akt gdje je umjetnici bilo važnije kako se osjeća tijekom izvedbe rada nego završni produkt. Želja umjetnice je bilo istražiti vlastitu svijest i napraviti rad koji umjetna inteligencija nikad ne bi mogla napraviti. Rad se zove I AM THAT I AM iz dva razloga. Prvi je onaj očiti a to je ono sam što jesam, a drugi je biram ONO što jesam. Autorici je ovo prva apstraktno ekspresionistička slika na velikom platnu. Rad je rađen u akrilu bež i crne boje. Rad je bio propitivanje autentičnosti i vlastite svijesti i jedna vrsta oslobađanja.The work I AM THAT I AM is one work on a large canvas measuring 150x200 cm. The work is made in the manner of abstract expressionism. The author wanted to find her own handwriting and make a work that shows energy. The work was a performative act where it was more important for the artist how she felt during the performance of the work than the final product. The artist's desire was to explore her own consciousness and create work that artificial intelligence could never create. The work is called I AM THAT I AM for two reasons. The first one is the obvious one, which is what I am, and the second one is I choose WHAT I am. This is the author's first abstract expressionist painting on a large canvas. The work is made in beige and black acrylic. The work was a questioning of authenticity and self-awareness and a kind of release
Selected picture books by Neli Kodrič Filipić
Full text linkNamen diplomskega dela je bil predstaviti avtorico številnih del za otroke in mladino – Neli Kodrič Filipić. V svojem diplomskem delu sem analizirala štiri njene slikanice: Punčka in velikan (2009), Ali te lahko objamem močno? (2011), Sreča je (2008) in Požar (2016). Ker avtorice prej nisem poznala, sem se z različnimi metodami lotila raziskovanja in podrobnega analiziranja njenih del. Deskriptivno metodo dela sem uporabila pri predstavitvi avtorice Neli Kodrič Filipić in ilustratorjev, metodo analize in sinteze pri podrobnem analiziranju izbranih del, metodo načrtovanja pri načrtovanju praktičnih dejavnosti v skupini predšolskih otrok. Pri izvedbi dejavnosti sem uporabila metodo praktičnega izvajanja dejavnosti. Nad pestro paleto tem, ki jih avtorica opisuje v svojih delih, sem bila zelo očarana, saj se pisateljica loteva nasilja v družini, nestrpnosti med ljudmi, istospolne usmerjenosti, begunske krize itd. Ker so izbrana dela slikanice, sem nekaj besed namenila karakteristiki slikanice ter opisala književni vrsti kratko realistično zgodbo in klasično umetno pravljico. Predstavila sem ilustratorje, ki so izbrane slikanice opremili z ilustracijami: Tomislava Torjanca, Damijana Stepančiča, Elviro Lušo Džumhur in Bojano Dimitrovski. Osredotočila sem se na prej omenjene slikanice, ki so se mi kljub zahtevnim temam zdele primerne tudi za predšolske otroke. Poiskala sem način, kako otrokom prek dejavnosti približati problemske teme, ki se jih v izbranih delih loteva Neli Kodrič Filipić. S tem sem poskušala potrditi ali ovreči tri raziskovalne predpostavke: da bo katera izmed knjig za to starost otrok prezahtevna, da bom s knjigo lažje vzbudila globoka čustva pri otrocih in jih s tem spodbudila k razmišljanju ter da imajo slikanice pozitiven vpliv na otroka. Ugotovitve sem predstavila v sklepnem delu diplomske naloge.The purpose of this diploma work is to present Neli Kodrič Filipić, an author of numerous works for children and youth. In my diploma work I analysed four of her picture books: Punčka in velikan (2009), Ali te lahko objamem močno? (2011), Sreča je (2008) and Požar (2016). As I had no prior knowledge of this author, I dealt with researching and detailed analysing with different methods. The descriptive method was used to present the author and illustrators, method of analysis and synthesis was used with detailed analysing of the chosen works and method of planning was used with planning practical activities in a group of preschool children. When executing the activities I used the method of practical activity execution. I was very impressed with the wide range of topics the author deals with in her works, for instance domestic violence, intolerance among people, homosexuality, refugee crisis etc. Since the chosen works are picture books I dedicated a few words to the characteristics of picture books and described the literary genres of realistic story and modern artificial fairy tale. Furthermore I introduced the illustrators that enriched the picture books with illustrations, namely Tomislav Torjanc, Damijan Stepančič, Elvira Luša Džumhur and Bojana Dimitrovski. Firstly, I focused on the aforementioned picture books, which I find appropriate for preschool children despite the demanding topics. I found a way in which to draw the problem topics, which Neli Kodrič Filipić deals with in the chosen works, closer to children through activities. In this way I tried to confirm or discard the research assumptions. I assume that some of the books will prove to be too demanding for children of this age, that through a book it will be easier to awake deep feelings in children and thus encourage them to think about the topics. The findings are presented in the conclusion of the diploma paper
I am that I am
No full textRad I AM THAT I AM je jedan rad na velikom platnu dimenzija 150 x 200 cm. Rad je napravljen u maniri apstraktnog ekspresionizma. Autorica je željela pronaći vlastiti rukopis i napraviti rad u kojem se vidi energija. Rad je bio performativni akt gdje je umjetnici bilo važnije kako se osjeća tijekom izvedbe rada nego završni produkt. Želja umjetnice je bilo istražiti vlastitu svijest i napraviti rad koji umjetna inteligencija nikad ne bi mogla napraviti. Rad se zove I AM THAT I AM iz dva razloga. Prvi je onaj očiti a to je ono sam što jesam, a drugi je biram ONO što jesam. Autorici je ovo prva apstraktno ekspresionistička slika na velikom platnu. Rad je rađen u akrilu bež i crne boje. Rad je bio propitivanje autentičnosti i vlastite svijesti i jedna vrsta oslobađanja.The work I AM THAT I AM is one work on a large canvas measuring 150x200 cm. The work is made in the manner of abstract expressionism. The author wanted to find her own handwriting and make a work that shows energy. The work was a performative act where it was more important for the artist how she felt during the performance of the work than the final product. The artist's desire was to explore her own consciousness and create work that artificial intelligence could never create. The work is called I AM THAT I AM for two reasons. The first one is the obvious one, which is what I am, and the second one is I choose WHAT I am. This is the author's first abstract expressionist painting on a large canvas. The work is made in beige and black acrylic. The work was a questioning of authenticity and self-awareness and a kind of release
I am that I am
No full textRad I AM THAT I AM je jedan rad na velikom platnu dimenzija 150 x 200 cm. Rad je napravljen u maniri apstraktnog ekspresionizma. Autorica je željela pronaći vlastiti rukopis i napraviti rad u kojem se vidi energija. Rad je bio performativni akt gdje je umjetnici bilo važnije kako se osjeća tijekom izvedbe rada nego završni produkt. Želja umjetnice je bilo istražiti vlastitu svijest i napraviti rad koji umjetna inteligencija nikad ne bi mogla napraviti. Rad se zove I AM THAT I AM iz dva razloga. Prvi je onaj očiti a to je ono sam što jesam, a drugi je biram ONO što jesam. Autorici je ovo prva apstraktno ekspresionistička slika na velikom platnu. Rad je rađen u akrilu bež i crne boje. Rad je bio propitivanje autentičnosti i vlastite svijesti i jedna vrsta oslobađanja.The work I AM THAT I AM is one work on a large canvas measuring 150x200 cm. The work is made in the manner of abstract expressionism. The author wanted to find her own handwriting and make a work that shows energy. The work was a performative act where it was more important for the artist how she felt during the performance of the work than the final product. The artist's desire was to explore her own consciousness and create work that artificial intelligence could never create. The work is called I AM THAT I AM for two reasons. The first one is the obvious one, which is what I am, and the second one is I choose WHAT I am. This is the author's first abstract expressionist painting on a large canvas. The work is made in beige and black acrylic. The work was a questioning of authenticity and self-awareness and a kind of release
THE THEME OF VIOLENCE IN SELECTED PROSE OF NELI KODRIČ FILIPIĆ
Full text linkDiplomsko delo z naslovom Tematika nasilja v izbranih delih Neli Kodrič Filipić je nastalo na osnovi natančne analize izbranih književnih del. Diplomsko delo je teoretično. Najprej smo definirali nasilje in njegove oblike ter proučili tematiko nasilja v sodobni mladinski prozi. Predstavili smo bibliografijo mladinske pisateljice Neli Kodrič Filipić ter nagrade in nominacije, ki jih je prejela za svoja književna dela. Na podlagi literarne teorije smo analizirali štiri mladinska dela, ki ustrezajo skupnemu tematskemu sklopu. Opredelili smo pojem kratke realistične zgodbe ter značilnosti slikanice. Analizirali smo kratki realistični zgodbi v slikanici Punčka in velikan (2009) ter Ali te lahko objamem močno? (2011) in dva mladinska romana: fantastični roman Na drugi strani (2004) in realistični roman Solze so za luzerje (2013). Opredelili smo pojem mladinski roman in realistični mladinski roman s temeljnimi žanri, pri čemer smo izhajali iz teoretičnih izhodišč Dragice Haramija. Utemeljili smo problemski roman, ki ga v svoji doktorski disertaciji vpelje Gaja Kos, ter ugotovili, zakaj spadata izbrana romana v to skupino. V izbranih delih smo predstavili prevladujočo tematiko nasilja. Opozorili smo na problematiko medvrstniškega in družinskega nasilja, na posledice nasilja ter izpostavili družbeno kritično noto mladinske pisateljice Neli Kodrič Filipić.The diploma paper with the title The theme of violence in selected prose of Neli Kodrič Filipić was formed on the basis of a detailed analysis of selected literary works. The paper is theoretical. First, we defined violence and its forms and examined the topic of violence in contemporary youth prose. Further on we presented the bibliography of the youth author Neli Kodrič Filipić and awards and nominations received for her literary works. On the basis of literary theory we analyzed four youth literary works, corresponding to the common thematic context. We defined the concept of a realistic short story and the features of a picture book.
We analyzed the realistic short stories in the picture book Punčka in velikan (The little girl and the giant) (2009) and Ali te lahko objamem močno? (Can I hold you tight?) (2011) and two youth novels: the fantastic novel Na drugi strani (On the other side) (2004) and the realistic novel Solze so za luzerje (Tears are for losers) (2013). We defined the concept of a youth novel and a realistic novel with the basic genres, where we originated from the theoretical basis of Dragica Haramija. We explained the concept of the problem novel, which is introduced by Gaja Kos in her doctoral dissertation and established why the selected novels belong to this group. In the selected works we presented the prevailing theme of violence. We pointed out the issue of peer and domestic violence, the consequences of violence and highlighted the socially critical note of the youth author Neli Kodrič Filipić
Gesture and trace
No full textTema Gesta i trag je proizašla iz mentorstva s profesoricom Neli Ružić. Autorica završnog rada je odabrala jednu od tri glavne ponuđene teme za svoj rad. Radi se o apstrakcijama bez određenih figurativnih motiva. Sve je započelo time da se iz niza malih radova u bloku počela razvijati ideja o gestualnosti uz korištenje crteža kao motiva na slikarskoj podlozi. Razni su se mediji koristili, ali uglavnom su akril, jupol i crtačke tehnike poput markera, bojica, rapidografa i tuša bile upotrijebljene u nastanku ovog rada. Odabrani nositelj/podloga je papir koji je u zadnjoj fazi rada bio napet na okviru dimenzije 120 × 196 cm čime se autorica odlučila za veći format na kojemu je angažiran pokret skoro cijelog tijela. Autorica je kroz rad eksperimentirala s medijima. Zanimljiv joj je proces rada i taj proces ona predstavlja kao okosnicu samog rada jer smatra da je to ono što određuje njezine slike. U svojim slikama želi prikazati nevidljive odnosno transpercepcijske prostore vidljive u okviru individualnog pogleda i unutarnjeg svijeta.The theme and the title of this thesis Trace and Gesture emerged from professor Neli Ružić's mentorship. The author chose one of the three main topics offered during classes for her work. It is a collection of abstractions without specific figurative motifs. It all began with a series of small works in a sketchbook. The idea of gesturality started to develop, with drawings used as motifs on a painting surface. Various media were employed in creating the works, mainly acrylic, wall paint and drawing techniques such as markers, crayons, rapidograph and ink. The base surface is paper, which was mounted on a frame in the last stage of the work, sized at 120 × 196 cm . This allowed the author to move to a larger format, engaging her whole body in the process. The author experimented with various media. She finds the work process interesting and presents it as the backbone of the work itself, as she believes that this is what determines the identity of her paintings. In her paintings, she wants to show invisible or transperceptual space visible within the inner world
Gesture and trace
No full textTema Gesta i trag je proizašla iz mentorstva s profesoricom Neli Ružić. Autorica završnog rada je odabrala jednu od tri glavne ponuđene teme za svoj rad. Radi se o apstrakcijama bez određenih figurativnih motiva. Sve je započelo time da se iz niza malih radova u bloku počela razvijati ideja o gestualnosti uz korištenje crteža kao motiva na slikarskoj podlozi. Razni su se mediji koristili, ali uglavnom su akril, jupol i crtačke tehnike poput markera, bojica, rapidografa i tuša bile upotrijebljene u nastanku ovog rada. Odabrani nositelj/podloga je papir koji je u zadnjoj fazi rada bio napet na okviru dimenzije 120 × 196 cm čime se autorica odlučila za veći format na kojemu je angažiran pokret skoro cijelog tijela. Autorica je kroz rad eksperimentirala s medijima. Zanimljiv joj je proces rada i taj proces ona predstavlja kao okosnicu samog rada jer smatra da je to ono što određuje njezine slike. U svojim slikama želi prikazati nevidljive odnosno transpercepcijske prostore vidljive u okviru individualnog pogleda i unutarnjeg svijeta.The theme and the title of this thesis Trace and Gesture emerged from professor Neli Ružić's mentorship. The author chose one of the three main topics offered during classes for her work. It is a collection of abstractions without specific figurative motifs. It all began with a series of small works in a sketchbook. The idea of gesturality started to develop, with drawings used as motifs on a painting surface. Various media were employed in creating the works, mainly acrylic, wall paint and drawing techniques such as markers, crayons, rapidograph and ink. The base surface is paper, which was mounted on a frame in the last stage of the work, sized at 120 × 196 cm . This allowed the author to move to a larger format, engaging her whole body in the process. The author experimented with various media. She finds the work process interesting and presents it as the backbone of the work itself, as she believes that this is what determines the identity of her paintings. In her paintings, she wants to show invisible or transperceptual space visible within the inner world
Gesture and trace
No full textTema Gesta i trag je proizašla iz mentorstva s profesoricom Neli Ružić. Autorica završnog rada je odabrala jednu od tri glavne ponuđene teme za svoj rad. Radi se o apstrakcijama bez određenih figurativnih motiva. Sve je započelo time da se iz niza malih radova u bloku počela razvijati ideja o gestualnosti uz korištenje crteža kao motiva na slikarskoj podlozi. Razni su se mediji koristili, ali uglavnom su akril, jupol i crtačke tehnike poput markera, bojica, rapidografa i tuša bile upotrijebljene u nastanku ovog rada. Odabrani nositelj/podloga je papir koji je u zadnjoj fazi rada bio napet na okviru dimenzije 120 × 196 cm čime se autorica odlučila za veći format na kojemu je angažiran pokret skoro cijelog tijela. Autorica je kroz rad eksperimentirala s medijima. Zanimljiv joj je proces rada i taj proces ona predstavlja kao okosnicu samog rada jer smatra da je to ono što određuje njezine slike. U svojim slikama želi prikazati nevidljive odnosno transpercepcijske prostore vidljive u okviru individualnog pogleda i unutarnjeg svijeta.The theme and the title of this thesis Trace and Gesture emerged from professor Neli Ružić's mentorship. The author chose one of the three main topics offered during classes for her work. It is a collection of abstractions without specific figurative motifs. It all began with a series of small works in a sketchbook. The idea of gesturality started to develop, with drawings used as motifs on a painting surface. Various media were employed in creating the works, mainly acrylic, wall paint and drawing techniques such as markers, crayons, rapidograph and ink. The base surface is paper, which was mounted on a frame in the last stage of the work, sized at 120 × 196 cm . This allowed the author to move to a larger format, engaging her whole body in the process. The author experimented with various media. She finds the work process interesting and presents it as the backbone of the work itself, as she believes that this is what determines the identity of her paintings. In her paintings, she wants to show invisible or transperceptual space visible within the inner world
Neli Cornea: o scriitoare necunoscută și jurnalui ei de război
Full text linkThe article considers the work and biography of an unknown Romanian writer, Neli Cornea, totally unknown in the history of Romanian literature. It considers the context of the female autobiographical literature inspired by First World War in Romania, especially the model of the literature written and published by Queen Marie of Romania during the war. The tipology of this literature is double, private and public, sometimes written as a diary but meant to be published in periodicals which encouraged people to resist during the war. In Notes from the War (A Diary), by Neli Cornea, diary writing and memorial writing mix, temporal perspectives and ideological messages change, as the author tries to express herself, but also to offer a model for other women. She puts down her own war experiences, but she also voices a war ideology of resilience. Moral and social themes mix wih authentic emotions like hope, fear, sufferance, enthusiasm or the helplessness of a mother, wife and nurse during the war
As Cinco Estrelas de Neli Aparecida de Mello-Théry
No full textEste texto visa analisar criticamente a obra de Neli Aparecida de Mello-Théry e ao mesmo tempo prestar-lhe uma singela homenagem. São avaliados com maior atenção, quase que em formato de resenha, os cinco trabalhos científicos escolhidos pela autora para comporem o hall de publicações mais significativas de sua carreira. Estes foram marcados com uma estrela de destaque em seu currículo CNPq/Lattes online. Inicialmente é traçada uma retrospectiva profissional da autora para na sequencia abordar-se as seguintes obras destacadas: L\u27État brésilien et l\u27environnement en Amazonie: évolutions, contradictions et conflits (2003); Políticas territoriais na Amazônia (2006); Atlas do trabalho escravo no Brasil (2012); Politiques environnementales brésiliennes: intentions et réalités (2017) e Disparidades e dinâmicas do território (2018). Enquanto características comuns à todas essas publicações estão as preocupações ambientais e o papel das políticas públicas no delineamento dos rumos dados ao desenvolvimento territorial do país, notadamente na Amazônia: temas profundos, abrangentes, prementes e necessários.Este texto pretende analizar críticamente la obra de Neli Aparecida de Mello-Théry y al mismo tiempo rendirla un sencillo homenaje. Son evaluados con mayor atención, casi en formato de reseña, los cinco trabajos científicos escogidos por la autora para componer el hall de publicaciones más significativas de su carrera. Estos fueron marcados con una estrella destacada en su currículum CNPq/Lattes en línea. Inicialmente es trazada una retrospectiva profesional de la autora para en la secuencia abordarse las siguientes obras destacadas: L\u27État brésilien et l\u27environnement en Amazonie: évolutions, contradictions et conflits (2003); Políticas territoriais na Amazônia (2006); Atlas do trabalho escravo no Brasil (2012); Politiques environnementales brésiliennes: intentions et réalités (2017) e Disparidades e dinâmicas do território (2018). Como características comunes a todas estas publicaciones están las preocupaciones ambientales y el papel de las políticas públicas en el delineamiento de los rumbos dados al desarrollo territorial del país, especialmente en la Amazonia: temas profundos, abarcantes, urgentes y necesarios.This text aims to critically analyze the work of Neli Aparecida de Mello-Théry and at the same time pay him a simple tribute. The five scientific works chosen by the author to compose the hall of the most significant publications of her career are evaluated with greater attention, almost in a review format. These were marked with a prominent star on her CNPq/Lattes online curriculum. Initially a professional retrospective of the author is drawn for the following analysis of five highlighted works: L\u27État brésilien et l\u27environnement en Amazonie: évolutions, contradictions et conflits (2003); Políticas territoriais na Amazônia (2006); Atlas do trabalho escravo no Brasil (2012); Politiques environnementales brésiliennes: intentions et réalités (2017) e Disparidades e dinâmicas do território (2018). As common characteristics to all of these publications there are the environmental issue and the role of public policies in the delineation of the directions given to the territorial development of the country, especially in the Amazon: deep, comprehensive, pressing and necessary themes.Ce texte vise à analyser de manière critique l’œuvre de Neli Aparecida de Mello-Théry et en même temps rendre à lui un simple hommage. Les cinq travaux scientifiques choisis par l’auteur pour composer le hall des publications les plus importantes de sa carrière sont évalués avec plus d’attention, presque sous la forme de comptes-rendus. Ceux-ci ont été marqués avec une étoile sur son curriculum CNPq/Lattes en ligne. Dans un premier moment, une rétrospective professionnelle de l’auteur est tracée afin d’aborder dans la suite les suivantes œuvres: L\u27État brésilien et l\u27environnement en Amazonie: évolutions, contradictions et conflits (2003); Políticas territoriais na Amazônia (2006); Atlas do trabalho escravo no Brasil (2012); Politiques environnementales brésiliennes: intentions et réalités (2017) e Disparidades e dinâmicas do território (2018). Parmi les caractéristiques communes à toutes ces publications figurent les préoccupations environnementales et le rôle des politiques publiques dans la définition des orientations données au développement territorial du pays, notamment en Amazonie: thèmes profonds, complets, urgents et nécessaires
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