{"id":656,"date":"2019-12-10T09:27:54","date_gmt":"2019-12-10T08:27:54","guid":{"rendered":"https:\/\/www.slogi.si\/publikacija\/amfiteater-7-1\/"},"modified":"2024-01-20T14:07:49","modified_gmt":"2024-01-20T13:07:49","slug":"amphitheater-7-1","status":"publish","type":"publikacija","link":"https:\/\/www.slogi.si\/en\/publikacije\/amfiteater-7-1\/","title":{"rendered":"Amphitheatre, Journal of Performing Arts Theory, Volume 7, Issue 1"},"content":{"rendered":"<p align=\"justify\">The first issue of the seventh volume draws from a three-day international symposium <a href=\"\/en\/?p=3055\" target=\"_blank\" rel=\"noopener noreferrer\"><em>The Art of Kamishibai: The Word of the Image and the Image of the Word<\/em><\/a>, which took place at the Slovenian Theatre Institute in May 2018. The thematic section begins with an essay by Igor Cvetko, which broadly contextualizes Slovenian kamishibai. This is followed by a discussion by Tara McGowan, which places kamishibai in world audiovisual history. Julia Gerster analyzes the ways in which kamishibai has been used since the nuclear accident on March 3, 2011 in Japan. Another practical use of kamishibai, i.e. for preserving an endangered dialect, is described by Yosuke Miki. The dedication to kamishibai concludes with a book review of the first manual for creating kamishibai by Jelena Sitar.<\/p>\n<p align=\"justify\">In addition to the international thematic block on kamishibai, the first issue of the seventh year also brings three discussions by Nika Leskov\u0161ek, Tosos Angelopoulos and Miha Marek, and three book reviews by Lana Zdravkovi\u0107, Eva Pori and Eva Ku\u010der \u0160mon. asd<\/p>\n<p>&nbsp;<\/p>\n<p><a href=\"https:\/\/www.slogi.si\/wp-content\/uploads\/2019\/12\/Amfiteater-7_1_kolofon.pdf\" target=\"_blank\" rel=\"noopener noreferrer\">Colophon<\/a><\/p>\n<p><a href=\"https:\/\/www.slogi.si\/wp-content\/uploads\/2019\/12\/Amfiteater-7_1_kazalo.pdf\" target=\"_blank\" rel=\"noopener noreferrer\">Index<\/a><\/p>\n<p><a href=\"https:\/\/www.slogi.si\/wp-content\/uploads\/2019\/12\/Amfiteater-7_1_uvodnik_SI.pdf\" target=\"_blank\" rel=\"noopener noreferrer\">Editorial<\/a><\/p>\n<p><a href=\"https:\/\/www.slogi.si\/wp-content\/uploads\/2019\/12\/Amfiteater-7_1_web.pdf\"><button class=\"btn btn-danger btn-lg\" type=\"button\"><small>Amphitheater 7\/1<\/small><\/button><\/a><\/p>\n<p>&nbsp;<\/p>\n<h4 align=\"justify\">Thematic block<\/h4>\n<h5 align=\"justify\">Igor Cvetko:<\/h5>\n<p align=\"justify\"><a href=\"https:\/\/www.slogi.si\/wp-content\/uploads\/2019\/12\/Amfiteater-7_1_TB_Cvetko_SI.pdf\" target=\"_blank\" rel=\"noopener noreferrer\"><em>Slovenian Kamishibai in the light of cultural anthropology <\/em><\/a><\/p>\n<p align=\"justify\"><a href=\"https:\/\/www.slogi.si\/wp-content\/uploads\/2019\/12\/Amfiteater-7_1_TB_Cvetko_AN.pdf\" target=\"_blank\" rel=\"noopener noreferrer\"><em>Slovenian Kamishibai in the Light of Cultural Anthropology<\/em><\/a><\/p>\n<h5 align=\"justify\">Tara McGowan:<\/h5>\n<p align=\"justify\"><a href=\"https:\/\/www.slogi.si\/wp-content\/uploads\/2019\/12\/Amfiteater-7_1_TB_McGowan_AN.pdf\" target=\"_blank\" rel=\"noopener noreferrer\"><em>Time Travels with Kamishibai: The Ongoing Adventures of a Magical Moving Medium <\/em><\/a><\/p>\n<p align=\"justify\"><a href=\"https:\/\/www.slogi.si\/wp-content\/uploads\/2019\/12\/Amfiteater-7_1_TB_McGowan_SI.pdf\" target=\"_blank\" rel=\"noopener noreferrer\"><em>Time Travel with Kamishibai: The Unexpected Adventures of a Magical Moving Medium<\/em><\/a><\/p>\n<h5 align=\"justify\">Julia Gerster:<\/h5>\n<p align=\"justify\"><a href=\"https:\/\/www.slogi.si\/wp-content\/uploads\/2019\/12\/Amfiteater-7_1_TB_Gerster_AN.pdf\" target=\"_blank\" rel=\"noopener noreferrer\"><em>Beneath the invisible Cloud: Kamishibai After 11 March, Between Disaster Risk Education and Memorialisation <\/em><\/a><\/p>\n<p align=\"justify\"><a href=\"https:\/\/www.slogi.si\/wp-content\/uploads\/2019\/12\/Amfiteater-7_1_TB_Gerster_SI.pdf\" target=\"_blank\" rel=\"noopener noreferrer\"><em>Under the Invisible Cloud: Kamishibai after March 11: Between Disaster Risk Education and Memorial<\/em><\/a><\/p>\n<h5 align=\"justify\">Yosuke Miki:<\/h5>\n<p align=\"justify\"><a href=\"https:\/\/www.slogi.si\/wp-content\/uploads\/2019\/12\/Amfiteater-7_1_TB_Miki_AN.pdf\" target=\"_blank\" rel=\"noopener noreferrer\"><em>Kamishibai in Dialect: Aiming to Inherit the Endangered Hachijo-jima Dialect <\/em><\/a><\/p>\n<p align=\"justify\"><a href=\"https:\/\/www.slogi.si\/wp-content\/uploads\/2019\/12\/Amfiteater-7_1_TB_Miki_SI.pdf\" target=\"_blank\" rel=\"noopener noreferrer\"><em>Kamishibai Languages: An Attempt to Revive an Endangered Language from Hachijo Island<\/em><\/a><\/p>\n<h5 align=\"justify\">Sandra Jenko:<\/h5>\n<p align=\"justify\"><a href=\"https:\/\/www.slogi.si\/wp-content\/uploads\/2019\/12\/Amfiteater-7_1_TB_Jenko_Sitar_SI.pdf\" target=\"_blank\" rel=\"noopener noreferrer\"><em>Kamishibai in the name of quality and art<\/em> (Jelena Sitar: <em>The Art of Kamishibai: A Guide to Creation<\/em>)<\/a><\/p>\n<h4 align=\"justify\">Discussions<\/h4>\n<h5 align=\"justify\">Nika Leskovsek:<\/h5>\n<p align=\"justify\"><a href=\"https:\/\/www.slogi.si\/wp-content\/uploads\/2019\/12\/Amfiteater-7_1_RAZ_Leskovsek_AN.pdf\" target=\"_blank\" rel=\"noopener noreferrer\">T<em>he Socio-Political Function of Performing Arts and the Democratization of the Republic of Slovenia: The Example of <\/em>Drama Observatory Capital<em> (1991) <\/em><\/a><\/p>\n<p align=\"justify\"><a href=\"https:\/\/www.slogi.si\/wp-content\/uploads\/2019\/12\/Amfiteater-7_1_RAZ_Leskovsek_SI.pdf\" target=\"_blank\" rel=\"noopener noreferrer\"><em>The socio-political role of the performing arts and the democratization of the Republic of Slovenia: A case study <\/em>Drama Observatory Capital<em> (1991) <\/em><\/a><\/p>\n<h5 align=\"justify\">Tasos Angelopoulos:<\/h5>\n<p align=\"justify\"><a href=\"https:\/\/www.slogi.si\/wp-content\/uploads\/2019\/12\/Amfiteater-7_1_RAZ_Angelopoulos_AN.pdf\" target=\"_blank\" rel=\"noopener noreferrer\"><em>Theater Reception in Greece and the Ideology of Greekness: From Karolos Koun&#039;s (1959) to Nikos Karathanos&#039;s (2016): Performance of Aristophanes&#039;s <\/em>The Birds<\/a><\/p>\n<p align=\"justify\"><a href=\"https:\/\/www.slogi.si\/wp-content\/uploads\/2019\/12\/Amfiteater-7_1_RAZ_Angelopoulos_SI.pdf\" target=\"_blank\" rel=\"noopener noreferrer\"><em>Theatrical Reception in Greece and the Ideology of Greekness: On the Performances of Aristophanes <\/em>Bird<em> directed by Karolos Koun in 1959 and Nikos Karathanos in 2016<\/em><\/a><\/p>\n<h5 align=\"justify\">Miha Marek:<\/h5>\n<p align=\"justify\"><a href=\"https:\/\/www.slogi.si\/wp-content\/uploads\/2019\/12\/Amfiteater-7_1_RAZ_Marek_SI.pdf\" target=\"_blank\" rel=\"noopener noreferrer\"><em>Murder or Therapy: Failed Catharsis and Psychoanalytic Principles in Slavko Grum&#039;s Drama <\/em><\/a><\/p>\n<p align=\"justify\"><a href=\"https:\/\/www.slogi.si\/wp-content\/uploads\/2019\/12\/Amfiteater-7_1_RAZ_Marek_AN.pdf\" target=\"_blank\" rel=\"noopener noreferrer\"><em>Murder or Therapy: Failed Catharsis and Psychoanalytic Principles in Slavko Grum&#039;s Dramatic Work <\/em><\/a><\/p>\n<h4 align=\"justify\">Reviews<\/h4>\n<h5 align=\"justify\">Lana Zdravkovic:<\/h5>\n<p align=\"justify\"><a href=\"https:\/\/www.slogi.si\/wp-content\/uploads\/2019\/12\/Amfiteater-7_1_REC_Zdravkovic.pdf\" target=\"_blank\" rel=\"noopener noreferrer\"><em>Skin as a boundary between the ontologically and civilizationally constructed Self<\/em> (Tina Kolenik: <em>Skin as Costume: Dressing and Undressing in Everyday Life and Artistic Creation<\/em>)<\/a><\/p>\n<h5 align=\"justify\">Eva Pori:<\/h5>\n<p align=\"justify\"><a href=\"https:\/\/www.slogi.si\/wp-content\/uploads\/2019\/12\/Amfiteater-7_1_REC_Pori.pdf\" target=\"_blank\" rel=\"noopener noreferrer\"><em>Scenic nomadism as a layering of perspective, diverse artistic creations and energies<\/em> (Toma\u017e Topori\u0161i\u010d: <em>Intermedia and Intercultural Nomadism: On the Connectivity of Media and Cultures in Contemporary Performance Practices<\/em>)<\/a><\/p>\n<h5 align=\"justify\">Eva Ku\u010dera \u0160mon:<\/h5>\n<p align=\"justify\"><a href=\"https:\/\/www.slogi.si\/wp-content\/uploads\/2019\/12\/Amfiteater-7_1_REC_Kucera-Smon.pdf\" target=\"_blank\" rel=\"noopener noreferrer\"><em>Displacing pleasure for the sake of enjoyment<\/em> (Robert Pfaller: <em>Interpassivity: The Joys of Delegated Enjoyment<\/em>)<\/a><\/p>\n<p>&nbsp;<\/p>\n<p align=\"justify\"><a href=\"https:\/\/www.slogi.si\/wp-content\/uploads\/2019\/12\/Amfiteater-7_1_navodila_SI.pdf\" target=\"_blank\" rel=\"noopener noreferrer\">Instructions for authors<\/a><\/p>\n<p align=\"justify\"><a href=\"https:\/\/www.slogi.si\/wp-content\/uploads\/2019\/12\/Amfiteater-7_1_vabilo_call.pdf\" target=\"_blank\" rel=\"noopener noreferrer\">Call for Papers<\/a><\/p>\n<p>&nbsp;<\/p>\n<p>&nbsp;<\/p>\n<p><strong>Editor-in-Chief:<\/strong> Maja \u0160orli<\/p>\n<p><strong>Editorial Board:<\/strong> Bojana Kunst, Barbara Orel, Primo\u017e Jesenko, Bla\u017e Lukan, Aldo Milohni\u0107, Toma\u017e Topori\u0161i\u010d, Ga\u0161per Troha<\/p>\n<p align=\"justify\"><strong>International Editorial Board:<\/strong> Mark Amerika (University of Colorado, US), Marin Bla\u017eevi\u0107 (University of Zagreb, HR), Ramsay Burt (De Montfort University, GB), Joshua Edelman (Manchester Metropolitan University, GB), Jure Gantar (Dalhousie University, CA), Janelle Reinelt (The University of Warwick, GB), Anneli Saro (Tartu \u0170likool, EE), Mi\u0161ko \u0160uvakovi\u0107 (Singidunum University, RS), SE Wilmer (Trinity College Dublin, IE)<\/p>\n<p align=\"justify\"><strong>Co-Publisher:<\/strong> Slovenian Theatre Institute, (Mojca Jan Zoran, director) and University of Ljubljana, Academy of Theatre, Radio, Film and Television (Toma\u017e Guben\u0161ek, dean)<\/p>\n<p>&nbsp;<\/p>\n<p align=\"justify\">The journal Amfiteater was founded by the University of Ljubljana AGRFT. In 2015, the journal began publishing in co-publishing with SLOGI. It remains a university scientific journal, with two issues per year.<\/p>","protected":false},"excerpt":{"rendered":"<p>Prva \u0161tevilka sedmega letnika \u010drpa iz tridnevnega mednarodnega simpozija Umetnost kami\u0161ibaja: Beseda podobe in podoba besede, ki je potekal v Slovenskem gledali\u0161kem in\u0161titutu maja 2018. Tematski sklop za\u010dnemo z esejem Igorja Cvetka, ki \u0161iroko kontekstualizira slovenski kami\u0161ibaj. Temu sledi razprava Tare McGowan, ki umesti kami\u0161ibaj v svetovno avdiovizualno zgodovino. Julia Gerster analizira na\u010dine uporabe kami\u0161ibaja &#8230;<\/p>","protected":false},"author":1,"featured_media":3552,"template":"","categories":[7],"tags":[],"avtor":[],"izpostavljamo":[],"letnik":[325],"naslov":[],"prevajalec":[],"zbirka":[242],"class_list":["post-656","publikacija","type-publikacija","status-publish","has-post-thumbnail","hentry","category-publikacije","letnik-325","zbirka-amfiteater"],"acf":[],"yoast_head":"<!-- This site is optimized with the Yoast SEO plugin v28.3 - https:\/\/yoast.com\/product\/yoast-seo-wordpress\/ -->\n<title>Amfiteater, Revija za teorijo scenskih umetnosti, Letnik 7, \u0160tevilka 1<\/title>\n<meta name=\"description\" content=\"Prva \u0161tevilka sedmega letnika \u010drpa iz tridnevnega mednarodnega simpozija Umetnost kami\u0161ibaja: Beseda podobe in podoba besede, ki je potekal v Slovenskem gledali\u0161kem in\u0161titutu maja 2018 in prina\u0161a \u0161e tri razprave ter tri knji\u017ene recenzije.\" \/>\n<meta name=\"robots\" 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