This paper examines and compares the concept of the symbol in the work of Ernst Cassirer and Aby Warburg, two thinkers who collaborated and influenced one another through their association at the Warburg Institute. Cassirer's theory of the symbol had a profound impact on members of the Warburg circle, especially Erwin Panofsky. However, scholarly discussions that contrast their views often emphasise the differences - portraying Cassirer's symbol as discursive and Warburg's visual forms in the Mnemosyne Atlas as emotionally expressive. In doing so, such accounts frequently overlook Cassirer's conception of art as a symbolic form. Adopting an interpretive approach, this paper seeks to clarify the complex, ambivalent, and distinct nature of the symbol in the works of both authors. It places particular focus on Cassirer's understanding of the principles underlying art as a symbolic form, alongside Warburg's notion of visual memory in the Mnemosyne Atlas, named after the Greek goddess of memory and mother of the Muses. Despite their differences, the comparison of the authors' perspectives highlights a common ground between Cassirer's understanding of art as a symbolic form and Warburg's pathos formulas in the Mnemosyne Atlas. The central thesis of the paper is that Cassirer's conception of art as an aesthetic form aligns with Warburg's pathos formulas in the Atlas, particularly in the sense of spiritually shaped sensuousness. In comparing their positions, the paper takes into account both Cassirer's philosophy of art and the rational, discursive dimensions of Warburg's emotionally charged visual language.

The film narratives Joker and Joker: Folie à Deux depict a schism between modernist and postmodernist approaches to storytelling. This form of fragmentation is examined in both the narrative identity of the films and the personal identity of the character, Arthur Fleck, as he transitions into the persona of Joker. The multilayered narrative structure is complemented by semantic and semiotic dimensions, which converge within the thematic trajectory detailing Fleck's metamorphosis into his Joker identity. The concept of dual artistic expression embodied in the "Joker" character across both cinematic narratives is analysed on several levels: the narrative "fracture," the split in personal identity between soul and body, and the dialectical relationship between the ostensibly "unified" self and the individual's positioning vis-à-vis society. This exploration is underpinned by the theoretical contributions of P. Janet, A. Fouillée, S. Freud, J. Lacan, H. Bergson, F. Nietzsche, M. Heidegger, M. Foucault, R. Barthes, J.-F. Lyotard, J. Derrida, U. Eco, and others, with the objective of demonstrating the pervasive fragmentation and "division" within the individual, contextualised within the broader social milieu, while also addressing the systemic violence perpetrated by society against individuals who deviate from its normative frameworks. Fragmentation is evident on every level: within the cinematic units themselves, which reflect temporal and causal divisions; within the individual, where the ostensibly unified synthesis of body and spirit is subverted; and within the dual societal perspective on individuality, wherein conformity to societal norms predicates the degree of societal acceptance. Furthermore, the paper interrogates the representation of the "comic" within the trope of the clown's entourage, which serves as an exaggerated reflection of the interplay between self and society. This complex narrative addresses the status of memory in relation to the physical and spiritual forms of the self, as well as the broader role of memory in shaping personal and societal identity. Identity is traced across these interconnected layers, illustrating how contemporary society is reflected in the dual narratives of Joker and Joker: Folie à Deux.

Can there be a "universal core" of aesthetic appreciation of musical pieces, beyond cultural, age-related, and personal differences? We explore this question by defining two audio quantifiers, encoding the information of different audio parameters, retrieved from recordings of musical pieces, as a weighted sum of features. In particular, the second quantifier considers the weighted sum of the Kullback-Leibler divergences of these features between pairs of consecutive windows. We compute the quantifiers on three orchestral compositions: the Ouverture from La forza del destino by G. Verdi, the Prelude from Tristan und Isolde by R. Wagner, and Santa Rosalia by M. Mannone. The obtained string values are then compared with the responses of listeners from different countries, and different ages and musical education levels. The participants in our experiment were asked to listen to the three pieces, clicking a button each time they heard an "intense" musical passage. Our findings confirm independence from the listeners' characteristics, supporting a perspective of "universality" of the core content of music, and a dependence between responses and audio features varying according to the weight given to the pitch. Further studies will aim to deepen the reasons for shared emotional responses.

Theories of preschool art education and pedagogy, since the late 20th century, have been reexamining their foundations in the knowledge of developmental theories and child-centered pedagogies, finding new methodological and critical tools in postmodern theories. Sociocultural theory and the sociology of childhood have contributed to the reconceptualization of modernist universalism in art pedagogy, reflected in concepts such as "stages of artistic development", "children's art" and "artistic expression as self-expression". The most significant shift in the theory of art education occurred with the recognition of social factors as relevant for the development of children's artistic expression, changing the understanding of the nature of children's artistic creation from the idea of biological determinism and universality to the understanding of it as a social phenomenon dependent on the socio-cultural context. Changes in theoretical assumptions have also led to a reexamination of pedagogical practices applied in the field of art education for preschool children, which were predominantly based on child-centered pedagogy concepts. The new understanding of pedagogy proposes equal relationships between children and adults, with social interactions identified as key factors in children's learning processes. The aim of this paper is to briefly present the theoretical framework that laid the foundation for defining co-production as a new pedagogical approach desirable in the practice of preschool art education.

Although space has been extensively studied in the context of design and architecture, and there is a growing interest in cohousing, the lack of specific research connecting the colour of space with the social and emotional aspects of this housing model creates a gap in the existing body of literature. Through the analysis of examples from around the world and colour theory, this research explores how the colour of space can impact the sense of belonging, community, and comfort in cohousing communities. This paper aims to contribute to the development of a theoretical and practical understanding of the relationship between the colour of space and the concept of communal living, particularly through the application of Johannes Itten's colour theory. The presented research is based on the assumption that the visual identity of architectural environments builds a strong community identity. The research focuses on practical recommendations for cohousing communities to select colours that align with their visions and goals.

This paper analyses the first movements of Ludwig van Beethoven's piano sonatas to examine approaches to the recapitulation, with particular focus on certain specific and innovative solutions. The analysis reveals that while some recapitulations rely on a straightforward restatement of the exposition's material, accompanied by necessary tonal adjustments, others feature subtle modifications typical of this sonata-form section, as well as instances that radically transform the traditional concept. A notable form of transformation is the dynamisation of the recapitulation, where, in some cases, a reconsideration of the recapitulation's customary function can be observed, significantly impacting the overall dramaturgy of the sonata form. Different concepts of the recapitulation are presented according to the degree of alteration, ranging from simpler, conventional changes to new, original approaches (notably in Op. 31 No. 2, Op. 53, and Op. 106). The most basic forms of dynamisation involve increased acoustic dynamics, rhythmic revitalisation, and particularly the introduction of accompanying voices through so-called rhythmic acceleration. Structurally, frequent fusions of adjacent sections are observed, especially between the first theme and the bridge, though expansions of the second theme also occur. Tonal interventions also serve as important means of dynamising the recapitulation's musical flow, including excursions into the subdominant area, mediant relations, unconventional treatments of the first theme and bridge within the recapitulation, and highly developed harmonic schemes in the second theme. To achieve dynamisation, Beethoven sometimes radically disrupts the tonal 'reconciliation of themes' - as notably exemplified in the recapitulation of Sonata Op. 78, where clear new developmental processes emerge. These techniques demonstrate a profound engagement with the sonata form's core and anticipate future compositional directions.

The C-sharp minor Sonata, composed in 1887, is an unfinished early work by Alexander Nikolayevich Scriabin. The manuscript, preserved at the Scriabin Museum in Moscow, contains 86 measures of the first movement. This fragment was published for the first time in 1997, more than 110 years after its composition. Given that Scriabin composed this C-sharp minor Sonata between two other, better-known early sonatas (the G-sharp minor Sonata of 1886 and the E-flat minor Sonata of 1889), analysing this fragment is an essential step in defining the composer's early style. Following an overview of the historical context and previous research on the Sonata's creation, this article focuses on a harmonic analysis of the fragment, as one of the key musical elements through which the composer's style can be better understood. The analysis is based on the 2011 edition published by Bärenreiter and edited by Christoph Flamm. The methodology applied is a distinctive combination of traditional style analysis by American musicologist Jan LaRue and conventional approaches to harmonic analysis. The author previously employed this methodology in his master's thesis on Scriabin's early sonatas. Guided by LaRue's approach, the harmonic elements - including programmatic influence, polyphonic components, chord vocabulary, harmonic rhythm, internal tonal relationships, inter-movement and sectional relations, tonal phases, and principal harmonic functions - are analysed on three structural levels of form.

This paper investigates the semiotic dimensions of the body in the performance Luvos vol. 2 by the Editta Braun Company, drawing on theoretical frameworks from Maurice Merleau-Ponty, Erika Fischer-Lichte, Judith Butler, and Elizabeth Grosz. The analysis centres on the phenomena of embodiment, bodily amorphousness, and performer-audience interaction. Particular emphasis is placed on the duality of the phenomenal and the semiotic body, and their roles in the construction of meaning during performance. Merleau-Ponty conceptualises the body as a medium of experience and meaning-making, while Butler introduces the notion of performative identity, underscoring the body's fluidity within the context of cultural norms. Fischer-Lichte contributes the concept of autopoietic feedback, highlighting the generative role of the performer-audience relationship. Grosz offers a view of the body as a plastic, transformative mass, shaped by social and artistic practices. In Luvos vol. 2, a minimalist stage space and choreography create the illusion of amorphous bodies that transform their identity and meaning through the audience's perception. Costuming and lighting eliminate individual features of the performers, enabling the audience to project their own associations onto the onstage bodies. The performance navigates the boundaries between human and non-human, real and illusory, pointing to the complexity of the body as a semiotic entity. The paper concludes that Luvos vol. 2 embodies critical dance through the transformation of the body into multivalent symbols, encouraging a reconsideration of cultural norms and identity. Viewed through the lenses of postcolonial critique and phenomenology, the semiotic body becomes a medium for exploring the limits of corporeal expression and artistic communication.

This paper will delve into the rich and diverse traditions of Islamic performative arts, exploring their historical, cultural, and societal dimensions. It will examine how poetry, deeply embedded in Arab life before and after Islam, served as a powerful medium of artistic expression, influencing public opinion and cultural norms. The paper will also explore how poetry evolved during the Abbasid era to become central to diplomacy and courtly etiquette. Additionally, it will analyze performative elements present in early Islamic practices, such as the spear play performed in the Prophet Muhammad's mosque, which highlights the integration of entertainment and communal traditions within Islamic contexts. The study will further examine notable forms of Islamic performative arts, including the Ta'ziyeh, a Persian passion play which blends theatrical storytelling with religious devotion. It will investigate the Karagöz shadow theatre, developed in the Ottoman Empire, which adapted to Islamic artistic sensibilities while maintaining its humor and vibrancy. Similarly, it will explore the Ortaoyunu, a "play in the middle," offering a dynamic and interactive theatrical experience, and Meddah, a one-person storytelling act that preserved oral traditions through clever impersonations and moral tales. The paper will also discuss Morocco's Halqa, a cornerstone of its cultural heritage, which combines storytelling, music, and communal interaction in iconic public spaces. The study will address views in opposition to theatre and the arts within Islamic traditions. Critics have often argued that art imitates God's creative act, which is considered a divine prerogative, and that humankind should not attempt to replicate creation. Theatre, in particular, will be explored as a form often criticized for deception and lying, which conflicts with the Islamic emphasis on truthfulness. However, the paper will highlight examples from the Quran and early Islamic practices that challenge these later developed norms, revealing a more nuanced relationship between Islamic teachings and artistic expression. Ultimately, this paper will investigate the norms and frameworks governing art and theatre within Islamic traditions, demonstrating how these have evolved over time. While acknowledging some restrictions, the study will reveal how Islamic performative arts have flourished, blending creativity with adherence to religious principles. It will also explore how specific examples, forms, and practices of Islamic theatrical traditions, have pioneered or directly influenced the works of European theatre figures like Bertolt Brecht and Peter Brook. By doing so, the paper will underscore the adaptability and richness of Islamic contributions to global cultural heritage, offering timeless lessons on the power of storytelling, communal engagement, and cultural preservation.

Theorists and analysts have approached the tonal repertoire using various methodologies, from "traditional" harmonic analysis through Schenkerian reductionism to NEO-Riemannian transformational notions. They did so to confirm earlier established hypotheses or discover some underlying logic within the music composition that is not immediately apparent. Among the methodological approaches that have emerged in the past two decades, Theorie der Tonfelder (Pitch field theory) stands out. This innovative approach was proposed by the Hungarian-German conductor Albert Simon (1926-2000) and further developed in the book Die Neue Tonalität von Schubert Bis Webern. Hören Und Analysieren Nach Albert Simon of his pupil, Bernhard Haas (b. 1964). Tonfeldtheorie, while drawing on Schenkerian notions, simplifies highly chromatic tonal works into three pitch fields (Ger.): Funktion, Konstrukt, and Quintreihe. This unique approach includes only three scalar systems: octatonicism, hexatonic scale, and the row of fifths in the pitch organization of these fields. Theorie der Tonfelder was partially widespread in the previous decades, resulting in new analytical insights. However, it is essential to note that the practice exhibited some limitations, primarily due to technical and methodological aspects. Acknowledging limitations is crucial for a comprehensive understanding of Theorie der Tonfelder. With this in mind, the primary objective of this paper is to demonstrate the practical analytical advantages and limitations of the theory. This will be achieved by applying a carefully selected repertoire, showcasing its effectiveness and potential shortcomings in a real-world context. By doing so, we aim to provide a tangible understanding of how Theorie der Tonfelder can be applied in analyzing highly chromatic segments of 19th-century repertoire.