Words as Events : Cretan Mantinádes in Performance and Composition

Words as Events introduces the tradition of short, communicative rhyming couplets, the mantinádes, which are still sung and recited in a variety of performance situations on the island of Crete. The local focus on communicative economy and artistry is further examined in an in-depth analysis of the processes and ideals of composition. Short genres of oral poetry have been widely neglected in folklore research; however, their demand for structural and semantic coherence as well as their dialogic nature appeals to very different human needs from those of the longer poems. In contemporary Crete, poems also appear in written contexts, they are submitted to modern mass media, and people widely exchange them as text messages. By striving to understand the tradition during a period of change, this study analyzes the larger principles that ground the communication, self-expression and creativity in the genre. The aim of this research is thus twofold: to present this specific register of dialogic oral poetry as well as to create a theoretical approach sensitive to the creativity of such short registers. The study is based on long-term ethnographic fieldwork conducted in Crete between the years 1997 2009. An important aspect of the methodology was to create long-term ties with a number of key-informants who composed mantinádes. The interdisciplinary theoretical and methodological basis for this analysis is in the contemporary Finnish and international research on oral poetry and on anthropological research on communicative speech genres. These theoretical insights are extended by addressing questions of spontaneity and individual agency. Since mantinádes are at the same time a model for composition and a reserve of poems in fixed form, the aesthetics and objectives of performance and composition are also plural. In a traditional singing event, the basic motivation for the singers is to provide a meaningful contribution to a selected theme, which is the shared topic of the poetic dialogue. Consequently, similar topics giving rise to poetic associations can be encountered during various moments of everyday life: the dialogic nature is embodied in the tradition to such degree that it also arises in the performances and composition of single poems and outside of any institutionalized performance arenas. Therefore, as this study discusses in detail, even the apparently non-contextualized poems recited between locals or occurring in the contemporary mass media arenas, are understood and evaluated as utterances that provide an individual perspective within a certain dialogue.

Colours as Non-Verbal Signs on Packages

Colour is an essential aspect of our daily life, and still, it is a neglected issue within marketing research. The main reason for studying colours is to understand the impact of colours on consumer behaviour, and thus, colours should be studied when it comes to branding, advertising, packages, interiors, and the clothes of the employees, for example. This was an exploratory study about the impact of colours on packages. The focus was on low-involvement purchasing, where the consumer puts limited effort into the decision-making. The basis was a scenario in which the consumer faces an unpredictable problem needing immediate action. The consumer may be in hurry, which indicate time pressure. The consumer may lack brand preferences, or the preferred brand may be out of stock. The issue is that the choice is to be made at the point of purchase. Further, the purchasing involves product classes where the core products behind the brands are indistinguishable from each other. Three research questions were posed. Two questions were answered by conjoint analysis, i.e. if colours have an impact on decision-making and if a possible impact is related to the product class. 16 hypothetical packages were designed in two product classes within the healthcare, i.e. painkillers and medicine against sore throats. The last research question aimed at detecting how an analysis could be carried out in order to understand the impact of colours. This question was answered by conducting interviews that were analysed by applying laddering method and a semiotics approach. The study found that colours do indeed have an impact on consumer behaviour, this being related to the context, such as product class. The role of colours on packages was found to be threefold: attention, aesthetics, and communication. The study focused on colours as a means of communication, and it proposes that colours convey product, brand, and product class meanings, these meanings having an impact on consumers’ decision-making at the point of purchase. In addition, the study demonstrates how design elements such as colours can be understood by regarding them as non-verbal signs. The study also presents an empirical design, involving quantitative and qualitative techniques that can be used to gain in depth understanding of the impact of design elements on consumer behaviour. Hannele Kauppinen is associated with CERS, the Centre for Relationship Marketing and Service Management of the Swedish School of Economics and Business Administration

The Innocent Pleasure : A Study on Luther's theology of music

The aim of the study is to examine Luther s theology of music from the standpoint of pleasure. The theological assessment of musical pleasure is related to two further questions: the role of emotions in Christianity and the apprehension of beauty. The medieval discussion of these themes is portrayed in the background chapter. Significant traits were: the suspicion felt towards sensuous gratification in music, music as a mathematical discipline, the medieval theory of emotions informed by Stoic apatheia and Platonic-Aristotelian metriopatheia, the notion of beauty as an attribute of God, medieval aesthetics as the aesthetic of proportion and the aesthetic of light and the emergence of the Aristotelian view of science that is based on experience rather than speculation. The treatment of Luther s theology of music is initiated with the notion of gift. Luther says that music is the excellent (or even the best) gift of God. This has sometimes been understood as a mere music-lover s enthusiasm. Luther is, however, not likely to use the word gift loosely. His theology can be depicted as a theology of gift. The Triune God is categorically giving. The notion of gift also includes reciprocity. When we receive the gifts of God, it evokes praise in us. Praising God is predominantly a musical phenomenon. The particular benefit of music in Luther s thought is that it can move human emotions. This emphasis is connected to the overall affectivity of Luther s theology. In contrast to the medieval discussion, Luther ascribes to saints not just emotions but particularly warm and tender affections. The power of music is related to the auditory and vocal character of the Word. Faith comes through hearing the Word that is at once musical and affective perception. Faith is not a mere opinion but the affective trust of the heart. Music can touch the human heart and persuade with its sweetness, like the good news of the Gospel. Music allows us to perceive Luther s theology as a theology of joy and pleasure. Joy is for Luther a gift of the Holy Spirit that fills the heart and bursts out in voice and gestures. Pleasure appears to be a central aspect to Luther s theology. The problem of the Bondage of the Will is precisely the human inability to feel pleasure in God s will. To be pleased in the visible and tangible creation is not something a Christian should avoid. On the contrary, if one is not pleased with the world that God has created, it is a sign of unbelief and ingratitude. The pleasure of music is aesthetic perception. This in turn necessitates the investigation of Luther s aesthetics. Aesthetic evaluation is not just a part of Luther s thought. Eventually his theology as a whole could be portrayed in aesthetic terms. Luther s extremely positive appreciation of music illutrates his theology as an affective acknowledgement of the goodness of the Creation and faith as an aesthetic contentment.

Kestävästi vaihtuva muoti : Kestävän muodin mahdollisuudet ja haasteet vaatesuunnittelijan näkökulmasta

The concept of sustainable fashion covers not only the ecological and ethical matters in fashion and textile industries but also the cultural and social affairs, which are equally intertwined in this complex network. Sustainable fashion does not have one explicit or well-established definition; however, many researchers have discussed it from different perspectives. This study provides an overview of the principals, practices, possibilities, and challenges concerning sustainable fashion. It focuses particularly on the practical questions a designer faces. The aim of this study was to answer the following questions: What kind of outlooks and practices are included in sustainable fashion? How could the principles of sustainable fashion be integrated into designing and making clothes? The qualitative study was carried out by using the Grounded Theory method. Data consisted mainly of academic literature and communication with designers who practice sustainable fashion. In addition to these, several websites and journalistic articles were used. The data was analyzed by identifying and categorizing relevant concepts using the constant comparative method, i.e. examining the internal consistency of each category. The study established a core category, around which all other categories are integrated. The emerged concepts were organized into a model that pieces together different ideas about sustainable fashion, namely, when the principles of sustainable development are applied to fashion practices. The category named Considered Take and Return is the core of the model. It consists of various design philosophies that form the basis of design practice, and thus it relates to all other categories. It is framed by the category of Attachment and Appreciation, which reflects the importance of sentiment in design practice, for example the significance of aesthetics. The categories especially linked to fashion are Materials, Treatments of Fabrics and Production Methods. The categories closely connected with sustainable development are Saving Resources, Societal Implications, and Information Transparency. While the model depicts separate categories, the different segments are in close interaction. The objective of sustainable fashion is holistic and requires all of its sections to be taken into account.

Poetics of the Nameless Middle : Japan and the West in Philosophy and Music of the Twentieth Century

This study investigates the affinities between philosophy, aesthetics, and music of Japan and the West. The research is based on the structuralist notion (specifically, on that found in the narratology of Algirdas Julius Greimas), that the universal grammar functions as an abstract principle, underlying all kinds of discourse. The study thus aims to demonstrate how this grammar is manifested in philosophical, aesthetic, and musical texts and how the semiotic homogeneity of these texts can be explained on this basis. Totality and belongingness are the key philosophical concepts presented herein. As distinct from logocentrism manifested as substantializations of the world of ideas , god or mind, which was characteristic of previous Western paradigms, totality was defined as the coexistence of opposites. Thus Heidegger, Merleau-Ponty, Dōgen, and Nishida often illustrated it by identifying fundamental polarities, such as being and nothing, seer and seen, truth and illusion, etc. Accordingly, totality was schematically presented as an all-encompassing middle of the semiotic square. Similar values can be found in aesthetics and arts. Instead of dialectic syntagms, differentiated unity is considered as paradigmatic and the study demonstrates how this is manifested in traditional Japanese and Heideggerian aesthetics, as well as in the aspects of music of Claude Debussy and Tōru Takemitsu.

Current State of Domestic Concealed Wiring Practices in Bangalore, India

In a modernising world, building and construction trends in recent urban centres such as Bangalore, set precedence for developments in other urban centres of the country. Under such conditions, evaluating the current state of building practices could prove useful for identifying the likely nature of nationwide building trends. This paper comprises a study to evaluate the current state of domestic concealed wiring practices in the context of a modern urban centre area in India. Presently, concealed wiring is the predominant wiring method adopted for residences, both bungalows and apartments. A modern residential block in the city of Bangalore (India) was chosen as the study area. The study included extensive interaction and surveys amongst residents, professionals (architects and engineers) and site personnel (contractors and electricians). In addition, the study also included site verification on the state of wiring practices in the residential block. The study indicates that while aesthetics was the prime reason that dictated the choice of concealed wiring, its effectiveness as an appropriate and safe wiring method is severely compromised. Details of the study, results and recommendations are presented in this paper.

Divergencies of Perception : The Possibilities of Merleau-Pontian Phenomenology in Analyses of Contemporary Art

Maurice Merleau-Ponty (1908-1961) has been known as the philosopher of painting. His interest in the theory of perception intertwined with the questions concerning the artist s perception, the experience of an artwork and the possible interpretations of the artwork. For him, aesthetics was not a sub-field of philosophy, and art was not simply a subject matter for the aesthetic experience, but a form of thinking. This study proposes an opening for a dialogue between Merleau-Pontian phenomenology and contemporary art. The thesis examines his phenomenology through certain works of contemporary art and presents readings of these artworks through his phenomenology. The thesis both shows the potentiality of a method, but also engages in the critical task of finding the possible limitations of his approach. The first part lays out the methodological and conceptual points of departure of Merleau-Ponty s phenomenological approach to perception as well as the features that determined his discussion on encountering art. Merleau-Ponty referred to the experience of perceiving art using the notion of seeing with (voir selon). He stressed a correlative reciprocity described in Eye and Mind (1961) as the switching of the roles of the visible and the painter. The choice of artworks is motivated by certain restrictions in the phenomenological readings of visual arts. The examined works include paintings by Tiina Mielonen, a photographic work by Christian Mayer, a film by Douglas Gordon and Philippe Parreno, and an installation by Monika Sosnowska. These works resonate with, and challenge, his phenomenological approach. The chapters with case studies take up different themes that are central to Merleau-Ponty s phenomenology: space, movement, time, and touch. All of the themes are interlinked with the examined artworks. There are also topics that reappear in the thesis, such as the notion of écart and the question of encountering the other. As Merleau-Ponty argued, the sphere of art has a particular capability to address our being in the world. The thesis presents an interpretation that emphasises the notion of écart, which refers to an experience of divergence or dispossession. The sudden dissociation, surprise or rupture that is needed in order for a meeting between the spectator and the artwork, or between two persons, to be possible. Further, the thesis suggests that through artworks it is possible to take into consideration the écart, the divergence, that defines our subjectivity.

Water treatment potential in relation to phytoplankton dynamics in tropical sewage-fed urban water bodies

Urban water bodies frequently receive untreated sewage and water levels in such water bodies are maintained by daily inputs of sewage. They function as “variable-zone” anaerobic-aerobic lagoons suffering several macrophyte, biotic and abiotic stresses. We have studied two such lakes in Bangalore (Bellandur-360 ha and Varthur-220 ha) to understand whether such an occurrence could be made beneficial (maintaining water levels as well as treatment). Such hypertrophic water body receives sewage at 180-250mg/L and is discharged at 25-80mg/L COD/BOD in different seasons. In an earlier study we reported macrophyte altering the purification function of the water body. In this paper we studied the impact of phytoplankton dynamics and macrophyte cover on the functions such as organic load removal. Algal community analysis, algal biomass, macrophyte cover, water quality, nutrient status was studied seasonally during 2009-2010. Oxygen deficiency and sometimes anoxia, recorded from surface samples resulted in high quantities of NH4+-N (30-40mg/L) and phosphate (0.5-4mg/L)-characteristics of anoxic hypertrophic urban lakes. The productiveness favoured high phytoplanktonic community characterized by small cells (<10μm; Chlorella sp. - highest numbers). The lake could be clearly demarcated into an initial anaerobic zone (40% area), a facultative zone (20%) and an aerobic zone (40%) based on redox values and GIS/bathymetry. During summer the lake is covered by floating macrophytes converting the lake into an anoxic/anaerobic water pool subduing the water purification function as well as aesthetics. When macrophytes are controlled such sewage fed water bodies can be used for treating urban wastewater while also maintaining water sustainability in these semi-arid ecosystems. This paper reports the community dynamics of phytoplankton, their function and competition with macrophytes.

Hermano de hombre soy : Entrevista al P. Juan Carlos Scannone S.I. sobre la mediación de la filosofía en el diálogo entre literatura y teología

Tres miembros del Seminario Interdisciplinario Permanente de Literatura, Estética y Teología entrevistaron a Juan Carlos Scannone en búsqueda de una conversación que abra nuevas perspectivas. Los temas principales fueron: el inicio de Scannone en el diálogo entre literatura y teología, la formación humanística de los jesuitas, los precursores en la Argentina, la mediación simbólica, los aportes de Paul Ricoeur, el método interdisciplinario y la mediación filosófica, la novela latinoamericana.

Relatos, fragmentos, experiencias : la mirada de un testigo. Entrevista a Monseñor Eugenio Guasta sobre el diálogo entre Literatura y Teología

Resumen: La presente entrevista a Eugenio Guasta pertenece al proyecto de reconstrucción de la historia del diálogo entre literatura y teología en la Argentina, emprendido por el Seminario Interdisciplinario Permanente Literatura, Estética y Teología de la Facultad de Teología (UCA). En la misma línea de las entrevistas ya realizadas a Lucio Gera y Juan Carlos Scannone (cf. Teología 99 y 102), también ésta busca recoger la trama viva del interés de la teología por la literatura. El caso del actual entrevistado se distingue de los casos anteriores en el hecho de que se trata de un sacerdote y formador que proviene del ámbito literario y que mantiene una explícita vinculación con los escritores y académicos argentinos que signaron la cultura literaria de la segunda mitad del siglo XX.

El Matadero de Esteban Echeverría, o la inauguración de los mataderos

Resumen: En el presente texto retomamos y reconocemos el carácter de ‘texto fundante’ que El Matadero de Esteban Echeverría tiene en nuestra cultura argentina. Analizamos lo enraizado del texto conectándolo hacia atrás, con los orígenes de la gauchesca, y hacia adelante, con su culminación y con sus proyecciones, incluso en diversas disciplinas. Luego podemos centrarnos en el tema de la violencia como recurrente no solo literario, y precisar el sentido en que la tomamos. Sostenemos que la violencia de El Matadero ya estaba presente, de manera velada, en otras obras de Echeverría; no tanto por su tematización, sino porque figurativiza, de manera muy acorde con la ideología románticas, razón y corazón, considerado éste no como exclusiva sede de sentimientos, sino como víscera, y de allí sus equivalentes, como el estómago y el matambre. Esta parte visceral no accede a mayor formulación, porque no entra en el programa de la estética en boga. Desde este punto de vista, releo las quejas debidas al sufrimiento del corazón, y entiendo el llanto y el descontento de otro modo. Hay lamento porque nada, al menos en el terreno literario, brinda salida a ese fondo vivo, no esquemático y que le resulta abyecto, porque encierra un modo y un contenido que no puede reconocer como propios. Asociado con esta cara puesta en sombra, inopinadamente, El matadero vuelve a ser texto fundante, pero de otra parte de la literatura argentina: de lo marginal, que no puede sumarse a proyectos, y que muy pocos dicen.

La nupcialidad entre la estética teológica y la ontología trinitaria

Resumen: Este artículo se propone situar la categoría de nupcialidad en la circularidad hermenéutica entre lo antropológico y lo trinitario, a fin de recuperar su poder especulativo y reconfigurador tanto para la teología como para la filosofía y la mística contemporáneas. Para ello se apela a la fuerza de las existencias teologales de Juan de la Cruz, Edith Stein y Christophe Lebreton. A partir de sus testimonios el artículo postula una relación fecunda entre Estética teológica y Ontología trinitaria que redunda en una caracterización actualizada de la nupcialidad compuesta por ocho notas distintivas que el texto desarrolla.

Aproximación a la estética de Penderecki

Resumen: Krzysztof Penderecki (Dębica, 1933) ha sido considerado una ‘verdadera leyenda de la historia de la música’ y ‘el compositor vivo más reconocido por el público en general’. ¿Cuál es la estética de este artista polaco que compone para príncipes, catedrales y ciudades, y ha recibido más de medio centenar de honores y reconocimientos internacionales? A dicha estética, plasmada en la producción musical pendereckiana, nos aproximaremos a través de un enfoque diacrónico-sincrónico y descriptivo-normativo, debido a la naturaleza de ésta. Después de exponer los estímulos musicales de la infancia y juventud de Penderecki, describiremos las distintas fases de su producción, deteniéndonos en sus respectivas obras y particularidades; luego, a modo de síntesis, examinaremos las características inherentes a la totalidad de dicha producción, resumida gráficamente a través de un modelo funcional; por último, abordaremos las concepciones subyacentes en lo más profundo de la creación del artista polaco con quien hemos tenido el privilegio de estudiar.

El imaginario de la luz en la mística cortés de Matilde de Magdeburgo : continuidad y transformación de la herencia hildegardiana en el siglo XIII

El artículo se propone desarrollar la continuidad y proyección de la estética de Hildegarda de Bingen en el siglo XIII a través del estudio del imaginario de la luz en la obra La luz fluyente de la divinidad de Matilde de Magdeburgo. El paso de una estética espacial de lo ígneo hacia una estética temporal de lo líquido se corresponde con la transformación del paradigma sacral feudal en el de la mística cortés, a cuyos tópicos responde la obra de esta última. La figura de Matilde, que se vuelve una con su obra, describe una curva que va desde la cosmología simbólica, por la mística cortés del Amor, hacia la mística del abismo y del desierto que brota del grito inarticulado de la cruz y que proyecta su influencia hacia el siglo XIV. En el dinamismo de la simbólica del agua y de las imágenes nupciales que acompañan a esta luz fluyente del amor, Matilde ha dejado trazadas sendas para pensar, en lenguaje estético, la experiencia de Dios en nuestro siglo XXI.

Belleza de Cristo : hitos para una estética cristológica en la obra de Olegario González de Cardedal

Resumen: El autor presenta los hitos que se encuentran en la obra de Olegario González de Cardedal para configurar lo que llamamos una “estética cristológica” la cual, a partir de las bases fundamentales sentadas en el siglo XX por H. U. von Balthasar, consiste en una reconfiguración del lenguaje teológico con el que nos referimos al misterio de Cristo con una perspectiva estética. No se trata de amoldar la cristología a la estética filosófica (esto sería un esteticismo vacío), sino que la estética queda configurada por la cristología (estética cristológica). Desde esta perspectiva, González de Cardedal propone un nuevo camino, en forma programática, para decir, pensar y oír el siempre nuevo y siempre antiguo misterio de Cristo en el siglo XXI. Camino fascinante y atrayente como lo es el mismo Cristo por el fulgor de su Belleza.