<p> Play is a manifestation of overflowing excess. When applied to the study of discourse, this bounty can be understood in terms of figurativeness and depth. If &ldquo;degree-zero&rdquo; discourse is the almost entirely unfigured language of an instruction manual, then verse lies near the other extreme: highly figured and elaborate language open to rich interpretive possibilities. I posit a further pole yet on this continuum: the hyperabundant texts of the Renaissance, when ludics were at a height partially quashed by the Enlightenment preference for the plain style. These ludic texts are not merely decorative but rather reflect the incarnational impulse of Renaissance Christian thought; they attempt to praise and to imitate the power of Divine language, in which Word is made Flesh in the West&rsquo;s master model of superabundance, grace through Christ&rsquo;s Incarnation and Sacrifice.</p><p> This project conducts three case studies of playfully incarnational discourses during the Renaissance: in speech, in imagery, and in verse. First, it analyzes sermons by John Donne that reflect candidly on the power of Donne&rsquo;s own ludic speech, concluding that his transgressive, gamelike rhetoric was oriented toward stimulating responsive action. Next, it examines period images through the lens of contemporary popular works that conceive of images as puzzles to be decoded, solved, and read, concluding that period anamorphoses and similar works were efforts to infuse images with lively presence in a way that helps to account for iconophobic and iconophilic strains in English Reformation thought. Finally, it reads George Herbert&rsquo;s deceptively simple poem, &ldquo;The Altar,&rdquo; examining how the piece may be understood as an intervention into the shaped-verse tradition and how it reflects on period debates about Church fabric, concluding that the toylike or tricklike construction evokes the Eucharistic presence of the Divine in Herbert&rsquo;s worshipful meditation.</p><p> At stake are a greater appreciation for Renaissance artistry, a fuller understanding of the complexityof the English Reformation, and a richer vocabularyfor play theorists working with ludic discourses. A conclusion considers these implications and explains whyRenaissance thinkers might have chosen a ludic mode of imitative worship&mdash;God&rsquo;s grace and creation are themselves forms of play.</p>

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Travel – what is it? Travels are our lives, peculiarities of our families and our solitudes, points of our death, crises and their disclosures, sometimes turning into our inner wanderings. We travel, go, rush, run, take various vehicles often without having an idea that our travels are merry, full of brightness as well as monotonous, dreary even sad. Our entire life is a travel where we are just fellow-travellers. In the 21st century we often hear a word “travel, traveling” as well as other synonyms, but show me the person who has tried to understand what does this word mean to us, our mind and spiritual world. In the work I analyse the travel urgency, understanding and imaging problem. Interestingly, most of the people use the word “travel” to define the most common concept – going to another town or country etc., almost nobody thinks that a jump in our mind, a look suddenly stuck upon reflections, even an eye-blink can be called a travel. Every kind of motion is a trip, but not everybody thinks about it, even at day dreaming we travel around our own world. All the time we are expressing our ideas, opinions, listen to each other – this is also the aim of our travel to each other, to each others’ subconscious level. The work is primarily aimed to prove the majority that all the mentioned can be called a travel. I chose painting in oil-colours to render the main idea. I think this is the technique for me to depict the main colours, tints, shadows of travel; painting is the... [to full text]

When I inspect phenomenon conception, different notional stress, I fix that it – slowdown, stand, psychological fence, which block our thinking and creative, incapacity, despair. It relate with varying circumstances. I analyse the stagnation phenomenon interpretation in artistic oeuvre. Frequent phenomenon in nature and in human work range. In master work I looked the stagnation in philosophy and in psychology dimension, but lot so this phenomenon meeting in artistic range (in verbal and in visual oeuvre). This is the person state of wind, which is different in different people life. Of ten we try interconnect state of mind with variation in nature. In nature when change seasons we feel slowdown, despair and this process also are in people life… Work purport – traverse the stagnation phenomenon meaningful and them read if for creative textile work. Master creative idea – textiles creative work ,, Stagnation’’ treat like the stagnation in natural and in culture atmosphere. To do the creative work pick the felt, because it fit the best to put for my idea, since the felt are stiff and keep his set good. My work consist of three parts. In my work I try constrain the people to pore about us outward problems.In contemporary vestige the unique people life tunes are pine, the people in the new age commonplaceing,greying because process life urbanize and increment,people make be not necessary.Technical type cultural advance bearing human... [to full text]

The creative project by the means of formed symbols and codes conveys the consumer the information about the past, history and traditions at the contemporary qualitative level of designed creative works. The project consists of four calendars which suit the tastes of different consumers.

Architecture is living surrounding a human, a part of his life, it doesn’t matter if it’s a primitive cave, or a contemporary building with a leading-edge multiplex constructions. A settled architecture is filled of soul, it gets it’s aura that affects a human living in that environment with it’s reversible connection. In this case we felt like these settlers, that have to accost a cold plane surface of walls, that could give them new colors, compositions, moods. We felt large responsibility of a formation of an upcoming environment. We show a new surrounding model that existed only in our dreams yet. A large plane surface we planned to decorate with a mural painting while modern technologies. We endeavored to convey an impression of space. Final goal of our mural painting is tightly coherence with interior, it makes accommodation optically augmentative by pastel colors and flat planes, it must impress audience with positive aesthetical sense. This job: suppress inside aggression, gives comfort, makes this hoosegow accommodation wide space illusion. We hope, that people tired of reading, lectures or working with computer will look up and overlook behind our fantastic town’s, flooded by sunset, distance. They will take good emotions. Our goal is going to be succeed, if visitor’s dreams could fly to full of reflections our future town. Painting archaism is usually accent in context of modern expression devices. Our exploration in fresco creation technologies is good... [to full text]

SUMMARY Lithuania publishes increasingly more topical cartographical production (cartography – science of essence of maps and globes, their features, compiling, printing and usage). The majority of topical maps is various tourist material. Although its demand is large, the quality of conveying information seldom is irreproachable. When creating systems of signs little is thought about the future user of the map and conveying information in a way that map signs would be informative, quickly and correctly perceivable visually and well remembered. In Lithuania until now there were no researches to solve the problems of perceiving map signs (Geodezija ir kartografija. 2004 XXX T. No. 1. Giedre Beconyte, Jurga Spuraite. Vilnius University – Institute of Geodesy and Cartography). Therefore this project of conveying visual information focuses on the sign – representative (sign's medium). The symbol chosen for the pictogram (Lat. pictus – drawn, painted in paint + Gr. gramma – written sign, hyphen) is a cleat – horseshoe, which has an important meaning to travelers and tourists. This symbol was not chosen randomly but logically adapted to these pictograms as the horseshoe in society symbolizes success, happiness as well as travels and tours. (Today Utena is titled the capital of Eastern Higher Lithuania and has a golden coat of arms with a horseshoe – symbol of happiness http://eic.euro.lt/index.php?-704567929). The form of the symbol is laconic (Gr. lakonikos – clear... [to full text]

The length of human life is compared with a book. The closed book shows the end of life. To me a book is the source of inspiration, imagination and intention. Some time after reading a book I get a lot of impulses for my new creations. My book of illustrations ”The Tale of Time” is a book about the everlasting circle of life. My book has no reading function as a normal book. The meaning of my book “The Tale of Time” is expressed visually through my emotions about the temporality of human life. The book also contains poems about various periods of life, my thoughts and a part of me.

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The dissection of sexuality (Lat. dissectio – dissection) – the collection of twelve graphics works, in which are depicted two different plastic interpretations of destructivized people‘s bodies on sheet graphics. The attention is focused towards the man‘s inner, spiritual, sexual spaces, which in the contemporary world are killed, the first place is taken by the factor of outer sexuality. The inner person’s sexuality – the desire to belong to somebody, to merge with somebody, to experience the relationship. This is the desire to create and to be seminiferous. The longing for intimacy and tenderness, sensitivity and sympathy, perfection – everything is depicted in the collection of serigraphy works. The main aim is to make the boundary by means of art works between the moral and pornographic sexuality, as we live in the society which encourages the sexual function. The theoretical works on person’s loves by Antanas Poškus, Kama Sutra compiled by Lans Dein, in which the erotic love is investigated, the works by Zdzislaw Bekinski are the basics of the present work. The graphical collection is created by traditional stencil technique – serigraphy. For the sketching not only the pencil is used, but also two graphical editors – CorelDROW and Adobe Photoshop are used. In the present Master’s work the sexuality is investigated not only by historical and psychological aspect, but also by the plastic expression. The image of visual sexuality and inner sexuality is shaped.