This paper explores the core characteristics of Vratislav Effenberger’s theoretical system, highlighting his perspective on the significance of imagination in ideological thinking. It provides background and an overview of Effenberger’s concept of ideology, outlines the Surrealist notion of imagination, and presents the author’s methodological connection of Surrealism, psychoanalysis, and Prague Structuralism. Effenberger emerges as a thinker dedicated to bridging the gap between the modernist (primarily avant-garde) interpretation of the world and the postmodern tendencies evident from the (...) mid-20th century onwards. In Effenberger’s terms, ideology is an approach to reality that aims to grasp it as at least a potentially meaningful totality and engages in the actualization of this meaning or totality in social and psychological practice. He argues that such an approach is closely linked with avant-garde thought, which, for various reasons, has diminished in significance since the Second World War. In place of prior unifying perspectives, relativism and skepticism have become more dominant. However, Effenberger contends that integrative inclinations remain alive in human thought in the form of “idea models” found in the field of “psychoideology”—the realm of preconscious thought formation. These idea models play a pivotal role in psychoideology, nurturing the dialectics of imaginative and conceptual reasoning, which are vital for fostering innovation and creative endeavors. (shrink)

This article is written from the perspective of Josef Šmajs’ evolutionary ontology and considers physical activity in humans. It focuses in detail on a particular form—physical exercise. In the author’s opinion, current physical exercise (sport activity) and any other human form of activity is part of the internal autopoietic processes of the sociocultural system, which displays an ever-increasingly destructive tendency towards its natural environment—towards the host system of the biosphere. The author attempts to establish the degree and manner to which (...) the anti-nature activity of physical exercise varies, but also seeks to point out how they contribute to a potential biophilic transformation of culture. (shrink)

English Summary The main focus of this article is a church, the picture of which is shown on a gravure by Gugas İnciciyan and called Arslanhane (Menagerie)/Nakkaşhane (House of painters). The church has a central dome, an apsis and a semi dome at the west side and looks like a little model of the Hagia Sophia. It was erected above an other building with a central arch. This resembles descriptions of the Chalke gate and the Chalke church in several written (...) sources. Some chraracteristic marks of İnciciyan's church can also be discovered on some other drawings from various artists (Matrakçi Nasuh 1537; Melchior Lorichs, 1559; Cornelius Loos, 1710). A comparison with them helps us to localise it on the southern side of the former university building of Gaspare Fossati. Written sources inform us that the so called Arslanhane/Nakkaşhane of Inciciyan was not the only the building, which was converted to a menagerie. The church of Johannes in the Diippion and an other building, near the southwest corner of the Hagia Sophia were also used as menagerie during the Ottoman period. Especially the second one can be seen on various drawings. In our opinion Mango's identification of a church drawn by Willey Reveley (1786) with the Chalke, must be reviewed, since it was probably that of Theotokos Varaniotissa, which was renewed in the late Byzantine era. (shrink)

Even though talent identification in sport is considered by many to be a positive phenomenon, there are several controversies associated with the issue. This article deals with these disputations f...

Name der Zeitschrift: Millennium Jahrgang: 14 Heft: 1 Seiten: 191-226.

Name der Zeitschrift: Millennium Jahrgang: 13 Heft: 1 Seiten: 275-326.

This paper examines reports of Eremya Çelebi Kömürcüyan (1637 – 1695) and Luigi Fernando Marsili (1679/80 in İstanbul) on three churches still existing in the late seventeenth century. Their topographical informations are compared with early pictorial representations of Constantinople/İstanbul (Hartmann Schedel, 1493; Giovanni Andrea Vavassore, c. 1530/50; Onufrio Panvinio, 1600; Pîrî Reis, 16th century; Franceso Scarella, c. 1686) in order to check whether the churches can be identified with those depicted here. The church of Aya Yani (St John) mentioned by (...) Eremya Çelebi must have been located south of the Stable Gate (Ahırkapı). Marsili describes a church near the Sultan’s stables and a further one inside the Seraglio Garden. The location of the stables can be determined using the İstanbul-view from Matrakçı Nasuh (1537). The church of Aya Yani and „the church near the stables“ must therefore be identical. In Schedel’s illustration, the church in the Seraglio is erroneously designated as S. Grovus, whereas on the Düsseldorf copy after Buondelmonti’s Liber insularum Archipelagi (1485/90) it is labelled s. Maria. The building can be identified with the church of the Theotokos of the Hodegoi Monastery. Regarding the church depicted on the vedute of Vavassore and Panvinio in the former area of the imperial palace, the thesis already established by Cyril Mango is maintained, according to which the remains of the Nea Ekklesia can be seen here. Little is known about the original form of the Nea Ekklesia, but there is evidence from written sources that it was erected above substructures with underground spaces that were open to the public. If the church that Eremya Çelebi saw south of the Stable Gate, while Marsili located it near the Sultan’s stables, can be identified with the Nea Ekklesia, as suggested in this essay, then considerable remains of the building must have been still present at the end of the seventeenth century. (shrink)

Im sogenannten Necrologium imperatorum des Chronikon Altinate findet sich folgende Notiz: Mense iunii, primo die, Arthemius, qui et Anastasius dictus est, ex imperio a Theodosio Adramitinum exilatus est in Saloniky, et ipse Theodosius a Leo sabro capite truncatus est, et post tempus modicum allatum est corpus eius ab Chirini Augusta et sepultum est imperaliter in templo Sanctorum Apostolorum, in sacrario Magni Iustiniani, in pila prassino. regnavit ann..II. - Der Einschub, wonach jener Theodosios, der Anastasios II. Artemios 715 abgesetzt und zur (...) Flucht nach Thessaloniki veranlaßt hatte, durch Leon III. Isauros geköpft worden sei, ist falsch: Hingerichtet wurde, wie wir von Nikephoros wissen, Anastasios zusammen mit dem Erzbischof von Thessaloniki, und zwar am 1. Juni 717 im Kynegion. Hingegen hatte Theodosios III. 717 die Kaiserwürde abgelegt und war Kleriker in Ephesos geworden (s.u.); das Necrologium imperatorum widmet ihm gleichwohl einen eigenen Abschnitt. P. Speck hat zu Recht vermutet, daß die oben zitierte Stelle korrupt ist und hier ein Abschreibfehler vorliegt. (shrink)

Name der Zeitschrift: Millennium Jahrgang: 12 Heft: 1 Seiten: 265-328.

Name der Zeitschrift: Millennium Jahrgang: 10 Heft: 1 Seiten: 215-274.

The paper is a partial result of an iconographic research of the iconographies of an artist and an architect, motivated by the miniature The God Creator in the Bible Moraliseé manuscript. In ancient and biblical sources the authors examined the legibility of these terms in order to give evidence that deus architectus and sapiens architectus have been invented and used before the manuscript was compiled. The textual researches show, that in the term deus architectus the meanings of the words architectand (...) architecture, indicating the whole of building practice, intertwined probably with the meanings related to the God Creator. The practice of an architect could therefore represent the act of Creation, and vice versa, the act of Creation could uplift the practice of architecture. (shrink)

The so-called Artukid bowl is the only enameled object which includes both an Arabic and a Persian inscription. According to the Arabic inscription the Artukid ruler Rukn ed Devle Davud was the owner of this object. Although its provenance is still unclear, the technique and material show similarities to several Byzantine examples. For this reason the bowl has been interpreted as a royal gift from Constantinople to the Artukid ruler. It has also been attributed to Georgia or to Mesopotamia. The (...) Arabic inscription includes a long list of titles of Rukn ed Devle Davud, like "Katl al Kafara" or "Samsam al Milla" . I, however, cannot imagine that a Christian emperor would address an Islamic ruler with such terms. The sender of the bowl was most likely another Islamic monarch. In addition, the Persian inscription leads to suspect that the sender had a close relationship with the Persian language and culture. Most probably he was a member of the royal Seljuk family in Anatolia. What was the reason for sending such a gift to a minor local ruler ? The written sources inform us that the daughter of the Seljuk Sultan Kiliç Aslan I. , Sacide Hatun , was married with Rukn ed Devle Davud, owner of our bowl. Furthermore the sources tell us that bowls were sometimes a part of the dowries. All these factors lead me to suggest that the so-called Artukid bowl was produced as a wedding gift in a Greek atelier of Seljuk Anatolia. (shrink)

Mit dem «Catalogue raisonné» von Oskar Wulff: „Altchristliche und mittelalterliche Bildwerke“ (1909 bzw. 1911) war die Erforschung und Präsentation der in den Staatlichen Museen zu Berlin gesammelten einschlägigen Kunst seinerzeit mit einem Schlage in die vorderste Reihe wissenschaftlicher Kataloge in Europa gerückt worden. Abgesehen von einer Neubearbeitung durch Wolfgang Fritz Volbach (1950) ist entsprechend Umfassendes für die ehemalige „Frühchristlich-Byzantinische Sammlung“ der Berliner Museen seither nicht wieder geleistet worden. Mit dem beträchtlichen zeitlichen Abstand zu den älteren Katalogen erscheint es verständlich und (...) begrüßenswert, wenn – nach der Zusammenführung der seit 1945 zwischen Ost und West geteilten musealen Bestände – eine neue Bestandsaufnahme unternommen wird. Das anspruchsvolle, dem Geleitwort von Arne Effenberger zufolge auf 10 Bände (mit Unterteilungen) angelegte Vorhaben verspricht noch umfassender und auf seine Art vorbildlich zu werden, wie es die Kataloge von Wulff waren. Inzwischen ist ein erster Teil von Band 1 über die Textiliensammlung erschienen. Wie dieser ist auch der 2. Band über „Werke der Alltagskultur“ auf mehrere Teilbände angelegt, deren eben erschienener erster Part ausschließlich den sog. Menasampullen gewidmet ist. Es handelt sich dabei um die bekannten Pilgerandenken aus dem unweit Alexandria in der Mariotis gelegenen Wüstenheiligtum des hl. Menas. Es geht freilich nicht um die erste Bearbeitung dieser kleinformatigen, auch von Privatsammlern hochgeschätzten Objekte: es sei verwiesen auf ältere Arbeiten von C.M. Kaufmann, dem Ausgräber von Abu Mina, sowie aus jüngster Zeit auf die Veröffentlichungen von C. Metzger zu den Sammlungen des Louvre (1981) und G. Kaminski-Menssen zu den Beständen des Liebieg-Hauses in Frankfurt (1997). Berlin nimmt mit 63 Menas-Ampullen immerhin einen bedeutenden Platz ein. (shrink)