Aphrodite and Eros

Uusklassikaline luuletraditsioon varauusaja Tallinnas ja Tartus / Humanist Greek and Neo-Latin poetry in Early Modern Tallinn and Tartu

This study investigates the influence of modern packaging design on consumer behavior by integrating artistic innovation, sustainability, and cultural adaptability. The purpose is to explore how specific packaging attributes—such as material, shape, color, and typography—affect consumer perceptions, purchase intention, and brand trust across diverse markets. The research applies a quantitative approach based entirely on secondary data derived from peer-reviewed literature, market reports, and global consumer databases. Statistical methods including regression analysis, factor analysis, and chi-square testing were employed to identify key predictors of consumer response. Findings indicate that eco-friendly materials, particularly paper and glass, significantly enhance purchase intention and brand perception. Regional variations were observed, with minimalist packaging preferred in Western markets and vibrant, expressive designs favored in Asian and South American contexts. Functional features such as resealable closures and clear labeling were consistently valued across all regions. Sustainability-related labeling was found to increase consumer trust, and over 70 percent of consumers expressed a willingness to pay more for environmentally responsible packaging. The study provides data-driven insights that inform the development of culturally responsive, sustainable packaging strategies. It contributes to the academic discourse by bridging artistic thinking with empirical consumer behavior analysis, offering actionable guidance for designers, marketers, and policymakers in global packaging design innovation.

Reviewed by: Les personnages mythiques dans la littérature de jeunesse (Mythical Characters in Children's Literature) ed. by Nathalie Prince and Sylvie Servoise Anne Cirella-Urrutia (bio) Les personnages mythiques dans la littérature de jeunesse (Mythical Characters in Children's Literature). Edited by Nathalie Prince and Sylvie Servoise. Rennes, Fr.: Presses Universitaires de Rennes, 2015. In this collection of seventeen essays gathered from a symposium on children's literature held at the University of Maine in Le Mans, France (12–14 June 2013), Prince and Servoise fuse two problematic categories of literary theory: the concept study of characterization on the one hand, and the concept study of mythology on the other. How does children's literature "mythify" itself and create myths? How does it recycle mythical figures drawn from the Bible, from Greek and Roman literature, or from comic or literary fictions originally intended for adults? May characters for children be mythical, and, if so, what characteristics differentiate them from classical mythical figures? How does children's literature (including comics) recapture mythical heroes and heroines aesthetically? Do these works simply entertain, or do they reinforce the characters' unchanging archetypical nature? In constructing such a type of children's literature, how do we measure the evolution of mythology in various media for children and young adults? Finally, as part of this generic reconfiguration, how do children benefit from becoming acquainted with such mythical figures and stories, and what are the writers' intentions in rewriting them? Véronique Gély, a specialist in mythology, welcomes this continuation of a debate that she initially launched in 2011 in a symposium held in Paris titled "La Mythologie à l'usage des enfants" (Mythology for use by children), and contends that this book expands the concept study of mythology in literature. She praises the project, examining how contributors refashion familiar and less familiar myths and mythical characters in the light of many pressing issues (political, editorial, and aesthetic) within the genre. Part 1 addresses the problem of characterization with the renewal of characters drawn from Greek mythology into modern narratives. Which elements do children's authors retain, discard, or alter from original myths, and for what effects? The four essays in this section examine the role that authors play in transmitting these mythical heroes and heroines to young people as cultural patrimony. They also assess the significance of the use of mythology as one source of fictional and artistic innovation. Nadège Coutaz compares two best sellers that revive Sophocles's tragic heroine Antigone in Jacques Cassabois's fantasy novel for adolescents Antigone 256 (2007) and Martine Delerm's picture book Antigone peut-être (2007). Antigone is refashioned into multiple images of the child/adolescent figure. The "miniaturization" of Antigone from an adult figure into many images of a rebellious teen who rejects her [End Page 262] prospective marriage attests to these works' editorial success and to the changing status of both girls and adolescents. Sylvie Dardaillon examines Yvan Pommaux's graphic novels and the figure of Ulysses in Œdipe: l'enfant trouvé (2010), Ulysse aux mille ruses (2011), and Troie: la guerre toujours recommencée (2012), in which a father takes on the roles of both narrator and storyteller. Analyzing Pommaux's detailed research and illustration style, she highlights his unique "mytho-graphic" approach, his editorial success, and his pedagogical intentions. Hélène Cassereau-Stoyanov studies Ulysses and other Homeric characters from The Odyssey in Sylvaine Jaoui's adolescent novel Fort comme Ulysse (2011). The poem's ethic reflects onto the life of young Eliott, who gradually becomes blind yet strives to gain independence from his parents and from the students who bully him. The section closes with Agathe Salha's reading of Nathaniel Hawthorne's A Wonder Book for Girls and Boys (1851), in which myths are refashioned as new sources of fantasy and wonder for children and embedded within national American landscapes as part of their "naturalization" (65). Part 2 explores the ways in which children's authors revisit biblical myths for the edification of plots and characterization. The actualizations of such mythical characters reveal the values of the time in which they were born. Carlo Collodi's Le avventure...

This editorial introduces a special issue exploring silence not just as absence, but as a vibrant and multifaceted phenomenon across educational, artistic, and therapeutic contexts. The eight articles examine how different forms of silence—physical, reflective, and creative—can serve as transformative tools in various fields. The contributors investigate silence's capacity to foster deep learning, artistic innovation, and personal growth, while acknowledging its complexity and potential in contemporary settings. The collection demonstrates how intentional silence creates spaces for authentic engagement and meaning-making, particularly valuable as a counterbalance to our increasingly noise-filled world. Through diverse theoretical perspectives and methodological approaches, the articles reveal silence's capacity to enhance learning environments and creative practices. While identifying critical areas for future research, this special issue positions silence as an active, dynamic force, opening new possibilities for education, artistic expression, and therapeutic practice.

Shelley s poetry is rich and varied, harmonious in tone, delicate in feeling and expansive in artistic conception, which pushed the British romantic poetry to the peak. Shelley had a very high talent, received a good education since childhood, coupled with diligent thinking, and has twists and turns of life experience, so his works all reflect the pursuit of the truth of the strong philosophical mood. This article mainly focuses on two of Shelley s poems to analyze the romantic style of his poems from the image and theme. Shelley, as a political poet and lyric poet, expressed his poetic aesthetics very clearly. He endowed poets with a lofty mission, believing that they shoulder the dual mission of social revolution and artistic innovation. Of course, Shelley believes that this dual mission is realized in the poet s creative artistic imagination. Therefore, in Shelley s view, the real imaginary expression of poetry should have a spiritual inspiration and aesthetic influence. It can be said that Shelley s poetry aesthetics not only clearly reflects the characteristics of his changing era, but also illustrates his romantic aesthetic stance. Shelley s aesthetic thoughts of poetry are enlightening for people to better appreciate and understand his poems.

That human beings do not only live their lives as if running the distance between birth and death, but also search for meaning during their stay in this world, is almost a commonplace differentia in the definition of the human species. In this search, human beings undertake a task similar to that of a fairytale character: ‘Go I know not where, bring I know not what.’ Human beings go, without knowing where, making their way in life through the semantic field of unpredictable possibilities. The questions forming the rhythmic pattern of going this way or that also seem to derive from a fairytale: ‘Who are we? - Where have we come from in this world? - Where are we going?’ These questions are variations on the classic questions of gnosis: ‘Whither do we strive? To escape from what? What is birth? What is rebirth?’ (Valentine, II, Clem. Exc. Theod. 68.2). This echoes the Christian Gnostic calling to know ‘What you are born for; to whose image? What is your essence? Who governs you? What is your relation to God?’ (Clement of Alexandria, II Strom. v. 23, 1).

“The recognition that every form is a form-in-a-medium dates back to romanticism.” Niklas Luhmann, Art as a Social System Preliminaries Among the questions confronting students of literature in the twenty-first century is the place of the word - and of “letters” - in the era of electronic media. Should university departments of “English” be subsumed into the more general category of “Media Studies”? Are authors mere “content providers” for owners of iPods and computers? Should poetry be shelved next to other forms of audio entertainment in media megastores? In the context of the Age of Information, the so-called “Age of Wordsworth” seems to retreat into the distant past, and to make the concept of a Romantic revolution in poetic language and form seem remarkably quaint. This chapter begins from the quite different premise that Romantic poetry is both strikingly illuminated by, and capable of illuminating, our multi-mediated situation. We suggest, in fact, that the study of Romantic poiesis - poetic making in its broadest sense - belongs as much to media history as to literary scholarship. Defined by its relation to print culture even when it existed in and insisted on oral and manuscript forms, Romantic poetry might even serve as a synonym for what we mean by multimedia. For decades, media theorists and historians have grappled with the impact of new media on our bodies, imaginations, and sensoria; inasmuch as man is the “learning, creating, and communicating being,” new technologies for communication have put pressure on our ideas of “Man” and his or her imaginative ventures, not least poems.

Studies in 1982 and 2006 conducted by the Canadian government and Canadian professional theatre organizations, respectively, revealed that Canadian women directors have been and continue to be underrepresented in relation to their male counterparts. Despite this disparity, however, Canadian women stage directors are creating innovative theatre and re-visioning traditional works. Whether directing work by and about women, re-staging canonical works, developing new multi-media work, or experimenting with new rehearsal methods, these women directors are ostensibly destabilizing conventional aesthetic forms and providing social critique through artistic innovation. Outside Canada, however, these women are largely unrecognized, and English language scholarship that investigates “American” or “North American” theatre often focuses exclusively on the US. Utilizing feminist historiography and qualitative case study methods, this study addresses that omission and investigates the work and directorial methods of four prominent Canadian women directors: Nina Lee Aquino, Kim Collier, Jillian Keiley, and Kelly Thornton. Through one-on-one interviews with each director, rehearsal and performance observations, and available critical reviews and archival documents, this project considers these directors’ artistic contributions, directorial methods, and the ways that gender, nationality, and other intersecting identities such as race, class, sexuality, and regionality impact their work. Ultimately, this project intends to contribute to the current and ongoing conversation about the status of Canadian women in theatre as well as to larger global discourses surrounding issues of gender, nationality and the arts.

In the 18th and 19th century of English literature, there were two generations of English Romantic poetry in Britain, who have produced great influences on the literature world. Those romantic poets were inspired more or less by the French Revolution, and advocated to the people to pursue beauty and inner freedom in nature or art. The most extraordinary features found in their poems are the abundant Greek and Roman mythological figures. But two generations of romantic poetry have shown different purposes in employing the Greek and Roman mythology, which needs further reading and exploration. The present study centers on the comparison of characters preference in poems between the two generations and shed light on the critical difference in their purposes and impacts.

From the 10th to the 13th century AD, China entered a historical period of coexistence of multiple regimes such as the Song, Liao, and Jin dynasties, showing rich diversity in culture and art. The design of bronze mirror decorative patterns during this period showed a high degree of cultural integration and artistic innovation, and its cultural value and design value were fully reflected, which was highly favored in the modern collection market. The purpose of this study is to analyze the market value, cultural value and design value of bronze mirror decorative patterns in China during the Song, Liao, and Jin dynasties from the social background to the artistic expression level. This study uses the research methods of literature research, expert interviews and questionnaire surveys to collect data on the value of bronze mirror decorative patterns during the Song, Liao, and Jin dynasties, and analyzes the collected data. The research results show that the bronze mirror decorations of the Song, Liao, and Jin dynasties reflect unique local culture, art, social customs, and religious beliefs, holding significant cultural, design, and market value, contributing to China’s national cultural confidence. Suggestions and limitations of this research: In modern society, characterized by information and diversity, the bronze mirror decorations of these dynasties can align with contemporary trends and inspire designers with their formal beauty and cultural depth. Future research should strengthen interdisciplinary studies, explore the multiple meanings of patterns, enhance aesthetic analysis, and innovate design elements; future focus should be on the contemporary design application of Song, Liao, and Jin dynasty bronze mirror patterns.

Based on the work of Martindale, R. J., Collins, D., and Daubney, J. (2005, Talent development: A guide for practice and research within sport. Quest (Grand Rapids, Mich ), 57(4), 353–375. https://doi.org/10.1080/00336297.2005.10491862) and Henriksen, K., Stambulova, N., and Roessler, K. K. (2010a, Holistic approach to athletic talent development environments: A successful sailing milieu. Psychology of Sport and Exercise, 11(3), 212–222. https://doi.org/10.1016/j.psychsport.2009.10.005), researchers have increasingly focused on environmental features influencing talent development in sport from an integrated, holistic perspective. These contributions led to a quickly evolving body of literature and a proliferation of findings related to facilitative and debilitative environmental features. With a timely appraisal of this work warranted, this review aims to coalesce salient results from talent development environment research. For this purpose, a holistic perspective is employed on (a) the environmental level, by considering the sport and non-sport domain and by identifying functional and dysfunctional features, as well as on (b) the outcome level, by considering wellbeing and personal development, alongside athletic development, as important athlete-related outcomes. Following a systematic search, 44 articles were identified and findings summarised by conducting a directed content analysis (Hsieh, H. F., & Shannon, S. E. (2005). Three approaches to qualitative content analysis. Qualitative Health Research, 15(9), 1277–1288. https://doi.org/10.1177/1049732305276687). Several functional and dysfunctional features were derived from the literature and grouped into the following main categories within a preliminary conceptual framework: Preconditions of the Sport Environment, Organisational Culture, Integration of Efforts, and Holistic Quality Preparation. The framework’s contribution to a more systemic and holistic approach to talent development is discussed and critical future research directions are proposed.

An in-depth look at the fascinating sculptural works of one of the twentieth century's most innovative artists. Joseph Beuys (1921-86), - the German sculptor, teacher, activist and performance artist, became one of the most influential figures in modern and contemporary art. His charismatic presence, extraordinary life, and unconventional artistic style gained him international fame and notoriety during the 1960s, '70s, and '80s. Beuys's innovative influence is particularly felt in the field of sculpture, whose definition he expanded to encompass performance art, activism and site-specific environments. His use of unconventional materials including fat, felt, honey, blood and living trees reflected both the mythologising of his personal history and his growing political commitment. This beautifully illustrated book investigates Beuys's sculpture, arguably the most fundamental aspect of his artistic work, as well as his extraordinary influence. Featured objects include a selection of Beuys's remarkable vitrines, cousins of standard museum presentations, featuring both hand-made and found objects blackboards on which he jused in delivering lectures and performances; room-sized environments; and many other objects that served as physical documentation of Beuys's performances. With a comprehensive chronology of Beuys's activities both as an artist and activist, this book is essential for those interested in the life, work, and legacy of one of twentieth century art's most intriguing figures.

The study of national coloristics in modern poetry has emerged as a crucial area of research within literary studies, especially in post-Soviet cultural contexts where national identity is being redefined and reimagined through creative expression. This article introduces a methodological framework for analyzing national coloristics in contemporary Kazakh poetry, focusing on artistic representation, symbolism, and linguistic markers that convey cultural uniqueness. National coloristics, understood as a set of culturally encoded images, colors, metaphors, and stylistic patterns that reflect the worldview of a nation, serves as an interpretive tool to explore how modern poets express ethnic memory, tradition, and modernity. The research applies qualitative discourse analysis, semantic mapping, and comparative stylistics to examine a selection of poetic works by leading Kazakh poets of the 21st century. The methodology integrates interdisciplinary approaches from cultural linguistics, semiotics, and literary hermeneutics, allowing for an in-depth interpretation of poetic language and cultural meanings. The article emphasizes the importance of analyzing color vocabulary, ethnocultural symbols, references to national historical narratives, and traditional images such as tengrism, steppe landscapes, and nomadic ethos. These components construct a distinct aesthetic system, where color terms (e.g., kök meaning both blue and sky, symbolizing eternity), traditional ornaments, and myths are woven into poetic discourse. Through textual sampling, metaphorical mapping, and contextual observation, the methodology traces how poets encode cultural memory and how readers decode emotional and symbolic layers of national color. The research also highlights the transformation of coloristics under globalization and digital culture, illustrating how contemporary Kazakh poetry balances national identity with modern themes such as urbanization, gender dynamics, and ecological concern. Attention is given to the challenges of translating national coloristics into other languages, as cultural semantics often lose nuance in non-native settings. The methodological framework therefore incorporates translation analysis to assess preservation of meaning and connotative depth. Data interpretation is based on close reading, thematic coding, and cross-text comparative analysis, enabling a structured mechanism for classification of color-symbol patterns. The article argues that national coloristics is not a static phenomenon but a dynamic element of literary evolution, reflecting collective values, emotional heritage, and ideological changes within society. By providing clear analytical procedures and evaluation criteria, this research contributes to the theoretical foundations of national poetics and offers practical tools for future studies in Central Asian literature. The proposed methodology may support scholars, educators, and translators in examining how contemporary Kazakh poets negotiate identity through symbolic imagery. It suggests that national coloristics is a key indicator of cultural continuity and artistic innovation. Understanding this dimension allows for more profound interpretations of poetic texts and expands academic discourse on global literary diversity. Ultimately, this article serves as a foundation for ongoing research into national coloristics, demonstrating its relevance for literary criticism, cultural studies, and language-based identity research.

This paper surveys 31 new genres of art that were invented during the twentieth century, chronologically from collage, papier collé, and readymades through installation, performance, and earthworks.This unprecedented proliferation in art forms was a direct consequence of the dominant role of conceptual innovation in the century s art, as a series of young iconoclasts deliberately broke the conventions and rules of existing artistic practice in the process of devising new ways to express their ideas and emotions.This overview affords a more precise understanding of one conspicuous and important way in which twentieth-century art differed from that of all earlier eras.The proliferation of genres has fragmented the advanced art world.A century ago, a great painter could influence nearly all advanced artists, but today it is virtually impossible for any one artist to influence practitioners of genres as diverse as painting, video, and installation.This survey also underscores the central role of Picasso in the advanced art of the past century, as he not only created the first, and one of the most important, of the new genres, but in doing so he also provided a new model of artistic behavior that became an inspiration for many other young conceptual artists.

Recreation, the process of restaging or reenacting existing narratives, is employed in literature to portray historical and mythical figures, including Yorùbá gods and goddesses. While existing scholarship on these deities has largely concentrated on their origins, characteristics, and worship practices, it often overlooks how they are reimagined and recreated in various literary works. This paper investigates the recreation of O̩ya in Akinwumi Isola’s Belly Bellows to examine the theogonic myths surrounding this goddess and analyze how she is depicted in the text. Our findings indicate that traditional theogonic myths present O̩ya as a beautiful woman married to O̩gún before leaving him for S̩àngó, without explaining the reasons for her decision. In contrast, Isola’s recreated text elucidates the motivations behind her actions, establishing connections with contemporary societal issues. Furthermore, both the theogonic myths and Isola’s text portray O̩ya as a primordial deity, though certain recreated narratives depict her as a human before her deification. This study adopts intertextuality theory as its theoretical framework to explore the relationship between traditional myths and their literary reinterpretation.