Clothing presents an inseparable part of the human body. Linking art with clothing synthesizes the spiritual and social nature of human conduct, and it also creates metaphors and symbolic relationships in the anthropogenic environment. The aim of this synthetic view is to help us understand our internal worlds. The body represents the only support or shelter that a person (or humankind) can rely on. Through clothing, a person can make their fi rst step in non-verbal communication towards the world. Clothing not only shows our appearance, but also represents our interior world. We attract attention with the help of our clothing. With apparel, we communicate with others, express acceptance or rejection, or collective attitudes in relation to understanding something that is likeable, sociable, moral etc. Clothing can be interpreted as a transmission of information between a carrier and recipient through symbolic messages in the general or specifi c scope of the clothing culture. In such open communication, a person creates their individuality through appearance. Messages and information about ourselves are visually sent and received.
The aim of the study was to show the principles of nonverbal communication achieved with clothing by using Roman Jakobson’s linguistic method. As demonstrated and established here, clothes and their functions can be translated into verbal and written language. The language of fashion, costume and stage design can be analysed in terms of their function and symbolism. Based on the language function scheme, clothing can be interpreted as the language of communication and as a system. Using purely linguistic methods, examples of various clothing analyses demonstrate the clothing function as a visual sign system, which is equal to the linguistic sign system, language and communication. Different kinds of communication can be achieved through garments, as explained by the examples and discussion selected and described.
Prispevek se ukvarja s posebnimi procedurami spomina v sodobni dramatiki, ki kljub navidezni absolutnosti sedanjosti, ki jo vedno znova reprezentira, velikokrat uporablja spomin, a ne več kot kontinuiteto spomina v smislu svetega Avguština in njegovih Izpovedi, ampak diskontinuiteto spomina v smislu beckettovskih junakov, pri katerih spomin dekonstruira veljavnost samega sebe. Na podlagi primerov (ne več)dramskih taktik od poznega modernizma do (ne več)postdramskega bomo prikazali transformacije drame spomina in spominjanja od negotovosti in izbrisa spomina poznega Samuella Becketta, preko raziskav spomina in osebne ter skupne identitete Dušana Jovanovića do postdramskih sopostavitev kolektivnega spomina novejše zgodovine in sedanjosti v dramski pisavi Simone Semenič. Teza, ki jo preverjamo, je, da sintetični model dramske gradnje ni brez alternative, ampak ga je v sodobni drami zamenjal analitični in »pripovedni« model gradnje ne več dramske pisave, v katerem se spomin emancipira od primata sedanjosti dramskega dejanja. V nasprotju z avguštinovsko pripovedjo, ki prikaže preteklost skozi spominjanja junakov v sedanjosti, s tem pa jim zagotovi tudi identiteto, je v sodobni dramatiki ravno obratno. Junaki so oropani tradicionalnih oblik spomina in pripovedi, saj bi njihova sposobnost povedati zgodbe, ki so del spomina, izključevala »kaos«, ki se zdi Beckettu bistven za formo, ki bo »dopuščala kaos« in »oskrbela zmešnjavo« ter zamenjala klasično dramsko obliko.
Razprava se ukvarja z eno temeljnih dilem, ki jih vedno znova sproža dramatika Slavka Gruma, še posebej Dogodek v mestu Gogi, in je povezana z njeno večplastnostjo, skorajda že parataktičnostjo. Prav zaradi te lastnosti tako literarna kot gledališka zgodovina vedno znova nihata med označitvami, kot so ekspresionizem, dekadenca, simbolizem, moderna ... Pokazati poskuša, kako se specifika te nove drame in novega koncepta gledališča ter umetnosti nasploh razkrijejo prav skozi sopostavitev Dogodka v mestu Gogi s pretežno sočasnimi, delno pa tudi predčasnimi ali kasnejšimi estetskimi revolucijami zgodovinskih in delno tudi neoavantgard ter modernizma in neomodernizma dvajsetega stoletja. Na ta način se ob prebiranju in primerjavi s sodobniki in nasledniki izriše (med)mrežni zemljevid tega nadvse zanimivega literarnega dela, ki je podobno kot futuristične, dadaistične, absurdistične, nadrealistične in ekspresionistične sinteze, igre in včasih že antiigre problematiziralo temeljno tematsko preokupacijo dvajsetega stoletja: krizo novodobnega subjekta v z Nietzschejem proklamiranem svetu kot odsotnosti boga. Grumov opus je bil tako, podobno kot tisti ekspresionistov, ob tem pa Kosovelovih dramskih fragmentov in Mrakove Obločnice ter Delakove Kače na nebesnem svodu heterogen. Različne avantgardne taktike, ki so se predčasno, sočasno ali kasneje razvile v evropski in ameriški modernistični dramatiki in prozi prve polovice dvajsetega stoletja, so med seboj stopale v dialog in zanimiva razmerja. Pri tem se znotraj Grumovega opusa najbolj približa nekaterim modernističnim ali avantgardnim postopkom prav Dogodek v mestu Gogi.
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