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Українська народна художня культура в контексте наукового знання: культурологічні аспекти концептуалізації

Author(s): Tetyana Mykolayivna Kolos / Language(s): Ukrainian Issue: 41/2018

The purpose of the article is to identify and substantiate the concept of "primary arts education" in culture studies. The methodology of the research based on the integrated use of the methods of comparison, systematization, consolidation, as well as the method of terminological analysis of the concept of "primary artistic education." The scientific novelty is to substantiating the cultural essence of the concept of "primary artistic education." The author's definition of the concept, based on the synthesis of a wide range of interpretations existing in various spheres of the humanities, is proposed. Conclusions. It is shown that elementary arts education is an integral part of the national cultural space. It provides conditions not only for the development of the individuals but also for the cultural development of society as a whole by involving representatives of different sectors of the population, without age and other limitations, in the study of art through a variety of artistic practices.

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Українська народна художня культура в контексті наукового знання: культурологічні аспекти концептуалізації (Частина перша)

Author(s): Svetlana Sadovenko / Language(s): Ukrainian Issue: 28/2012

The article describes the cultural aspects of the conceptualization of the term «Ukrainian folk art culture» is social and spiritual essence of the last operation in the context of scientific knowledge about the culture at large. The essence of culture seen through the prism of social life that occurs in a specific environment of interconnected components of natural, technological and social origin.

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УКРАЇНСЬКА ОПЕРНА РЕЖИСУРА В КОНТЕКСТІ ОДЕСЬКИХ МУЗИЧНО-ТЕАТРАЛЬНИХ ТРАДИЦІЙ

Author(s): Anatoliy Solovʺyanenko / Language(s): Ukrainian Issue: 1/2013

The article examines the experience of Ukrainian opera direction XXth century at the Odessa Opera and Ballet Theater. The author comes to the conclusion that the historical tradition of opera direction at the Odessa Opera, as laid down in the first days of its existence, constantly enriched with new forms, it should be recognized that sometimes experimental, and more or less developed according to the layers of time, which were due to variations in the ideological context of the era.

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Українська скульптура у вимірах часу

Author(s): Olena Solodilova / Language(s): Ukrainian Issue: 34/2015

The article discloses the historical path of formation and development of Ukrainian sculptures from the point of view on the stylistic features due to the evolutionary process of becoming Ukrainian independence. The basis of the article is a historical and archaeological research Krvavicha D. etc. The process of forming the foundations of Ukrainian sculpture begins with the appearance on the territory of modern Ukraine the earliest human settlements. The transition from modeling to further approximation to rough modeling of the animal indicates qualitative changes in the actual occurrence of the plastic art. To the ancient image of a man in the round sculpture include images of the female body. The characteristic features of these images is the high artistic level, the strength of the plastic image, a sense of proportion and symmetry. By ancient sculptural achievements certainly are anthropomorphic stele. Among small ceramic sculpture should be noted anthropomorphic figurines. Sometimes they come across zoomorphic image. The traditional form of monumental sculpture presented Cimmerian stelae, obelisks. They are purely geometric shape, headless and abstract symbols represent the human figure. Sculpture Scythians diverse and has several types. Common type of steel burial stone monuments that look like squat-headed human figures with hairstyles, beards, mustaches, armed with bows and battle-axes, etc. A characteristic feature of the Scythian animal style is a sculpture. A continuation of the animal style can be seen in the art of Sarmatian. Sarmatian art is characterized by a greater extent the absence of signs of harmony, balance, measure and beauty. Continuing its tradition of Ukrainian sculpture early Christian period is evident in the sculptures Tauride Peninsula. Sacred buildings are decorated with highly artistic capitals of gigantic columns. One of the varieties of early Christian art portraits. Most of the portraits were represented in the art of metal sculpture. With the invasion of Turkic nomadic tribes has grown in the development of monumental sculpture. This is the so-called stone broads. They are characterized by large heads, medium-sized hands and very small feet. Along with stone sculpture at the Slavic tribes evolved and metal plastic. In the days of Kievan Rus to decorate Christian churches have used only the art of flat terrain. It has received a great development and it was the only kind of sculptures in temples for a few centuries. Later appear narrative images of figures of people and animals. A special place is small metal and stone plastic. By the XV century. Orthodox churches sacred sculpture appears. One such example is the salary of the Gospel of Galich. During the Renaissance the development of Ukrainian sculpture is mainly in Western Ukraine. Develops ornamental-plant and exterior plastic, architectural and decorative moldings. It occupies a special place carved iconostasis. A separate group consists of grave monuments of art. However, in the middle of XVII century sculpture in Ukraine Yak art form it is in decline. But the next century gives a new turn in the development of Ukrainian sculpture. Develop techniques of relief, high relief and bas-relief. Manifestation of classical sculpture becomes an image of ancient stories in stone. Another big theme of sculptors were gravestones monuments. Sculpture of the second half of the nineteenth and twentieth centuries in the Ukrainian lands under the influence of stylistic changes, while there are two art direction – academic and realism. Leading value acquired monumental sculpture and the monument becomes extremely sculptural and architectural construction, which took a dominant place in the urban environment of the city. Ukrainian sculpture of the twentieth century art reflects several trends: neo-academism, traditionalism, avantgarde, socialist realism. In general, the independent Ukraine next creative work by representatives of different generations, embodying the art of sculpture in the national identity of the people.

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УКРАЇНСЬКЕ НАЦІОНАЛЬНЕ ВІДРОДЖЕННЯ ТА РОЗВИТОК МИСТЕЦТВА РІЗЬБЛЕННЯ В ГАЛИЧИНІ: кінець ХІХ – початок ХХ ст.

Author(s): Roman Odrekhivskyi / Language(s): Ukrainian Issue: 2/2018

Purpose of the article is to show the interconnection between national revival in Galicia (the end of 19 – the beginning of 20 century) and development of the art of carving. The methodology of the research is based on the general principles of scientific work: authenticity, historicism, and logic. Dominant for the analysis of socio-cultural processes and the development of the carving in Galicia (the end of 19 – the beginning of 20 century)are comparative- historical and cultural sciencw methods. Scientific Novelty. The essence of scientific research is the illumination of the artistic features of carving in the western Ukrainian region (using materials of the historical and ethnographic area of Galicia) as a component of national and regional spiritual and material culture. Conclusions. The scientific research is done, the theoretical generalizations on the scientific problem of the conceptual solution of the theme of the national revival in the development of the art of carving in Galicia(the end of 19 – the beginning of 20 century)are made.

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УКРАЇНСЬКИЙ КАНТ ЯК ЖАНР "ТРЕТЬОГО ПЛАСТА": ЄВРОПЕЙСЬКИЙ ІСТОРИЧНИЙ КОНТЕКСТ

Author(s): Larysa Leonidivna Vasylieva / Language(s): Ukrainian Issue: 1/2018

Purpose of Article. The aim of the article is a description of features of the Ukrainian kant in European historical context of the "third layer" musical genres development. Methodology. Research methodology consists of cultural with using historical-logical and comparative methods. It allows to reveal the features of the Ukrainian kant on a background the different genres of the "third layer," spread simultaneously with him in Western Europe. Scientific novelty. A scientific novelty consists in the comparison of the genre and musically-stylistic features of song genres of the Western Europe "third layer" and Ukrainian kant, research of direction of development of separate genres of the third layer in Western Europe and kant in Ukraine 16-18 century. Conclusions. The Ukrainian kant is part of the process of secularizing of European culture, which became the reason of musical genre’s existence of the "third layer." Spreading of secular song creativity from west to east became one of secularizing manifestation from Spain to Russia during ХІІІ – XVIII centuries. Ukrainian kаnt has a significant number of common features in content, structure, means of expressiveness, the composition of performers with the different song genres of the "third layer." A difference consists in descending direction of his spread in the Еastern European musical culture unlike ascending in Western European.Key words: Ukrainian kant; genre; the "third layer."

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Український незалежний культурологічний журнал «Ї» — № 90/2018
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Український незалежний культурологічний журнал «Ї» — № 90/2018

Author(s): Alim Aliyev,Gulnara Bekirov,Tatiana Bykova,Taras Wozniak,Mustafa Dzhemilev,Andriy Ivanets,Bogdan Korolenko,Yulia Tyshchenko,Adas Jakubauskas,Henryk Jankowski / Language(s): English,Ukrainian

In order to make the thorough mendacity of Putin's rethorics about Ukraine as a State of "Neo-Nazis" fully evident, CEEOL is offering the Ukrainian Jewish journal ”Ї“ as the strongerst possible proof of a habit of "modern Ukrainian and world intellectual thought". The NGO "Ї", an independent cultural organization founded in the late 1980's in L'viv, focuses on modern Ukrainian and world intellectual thought. It offers periodic forums for discussion of issues concerning Ukraine and, among others, Europe, Russia, post-Byzantium, the Muslim Renaissance. It analyzes the current situation in order to develop future socio-political strategies. The organization also publishes "Ї", a quarterly journal dealing with European and Ukrainian issues in politics, philosophy, and culture. It also examines the relationship of Ukrainians with Russians, Poles, Austrians, and Jews and places Ukraine in a modern geopolitical sphere that can further Ukraine's identity as a modern state.

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Український незалежний культурологічний журнал «Ї» — № 91/2018
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Український незалежний культурологічний журнал «Ї» — № 91/2018

Author(s): Oksaiia Zayachkivska,Lesya Mateshuk-Vatceba,Volodymyr Semeniv,Lubov Gotsko-Ney,Zenovij Masnyj,Oksana Stadnyk / Language(s): English,Ukrainian

In order to make the thorough mendacity of Putin's rhetoric about "Ukraine as a State of Neo-Nazis" fully evident, CEEOL is offering the Ukrainian Jewish journal ”Ї“ as the strongest possible proof of a habit of "modern Ukrainian and world intellectual thought". The NGO "Ї", an independent cultural organization founded in the late 1980's in L'viv, focuses on modern Ukrainian and world intellectual thought. It offers periodic forums for discussion of issues concerning Ukraine and, among others, Europe, Russia, post-Byzantium, the Muslim Renaissance. It analyzes the current situation in order to develop future socio-political strategies. The organization also publishes "Ї", a quarterly journal dealing with European and Ukrainian issues in politics, philosophy, and culture. It also examines the relationship of Ukrainians with Russians, Poles, Austrians, and Jews and places Ukraine in a modern geopolitical sphere that can further Ukraine's identity as a modern state.

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Український фарфор: загальноєвропейський вимір та національна специфіка

Author(s): Lyudmila Viktorovna Bekh / Language(s): Ukrainian Issue: 29/2012

The article is devoted to Ukrainian porcelain late 18th – 19th century. Ukrainian porcelain regarded as a phenomenon of culture in the context of Western European tradition of porcelain art, that allows to evaluate Ukrainian porcelain in a new light, reveal its national identity.

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УКРАЇНСЬКІ СМІХОВІ ТРАДИЦІЇ У СУЧАСНОМУ РІЗДВЯНОМУ СВЯТІ

Author(s): Roman Nabokov / Language(s): Ukrainian Issue: 2/2014

The relevance of studies Ukrainian comic tradition is to determine the characteristic patterns of mass celebrations and spectacles as a means of ethnic and cultural identity and expressions of consciousness of the people. Laughter – is an indispensable part of people's mass performances, is not limited to the medieval carnival. Modern culture has some humorous features. Expanding the range of phenomena that ridiculed compared with previous periods: together with surface derision of all inexplicable rise to new forms of highly targeted to an audience at the discerning viewer.Christmas – one of the brightest and most beautiful Christian holidays that comes in the light of the stars and candles and accompanied by heartfelt Christmas carols.In January Doughnut Feast traditionally invites all citizens and visitors to experience the true spirit of Christmas in the heart of the Lion. The celebration begins with a large Christmas parade (over a thousand participants). In the parade there is an echo of the ancient carnival performances "Goat" and "Malanka". Traditional Ukrainian Christmas is part of nativity scene at the same time; this puppet show is an inexhaustible source of Ukrainian festive and fun culture. Now at the Doughnut Feast over 20 dens participate in the carnival procession, and then – in a creative competition to be the best. Den – original art, exclusively national. It accepted the dual form, which adapted the school drama: the venerable text or cheerful interlude.According to L. Sofronova, den maximize learned forms of folk art; word, music, dance, characters den inextricably linked with folklore elements. Thus, the category of laughter in the Ukrainian high culture was not isolated from the sacred meanings arise between mandatory fluctuations, as evidenced desecration mystery motifs in a cave, the absorption of these motifs popular culture, and of course, the intensive development of parody. At the time, M. Bakhtin has shown that there is a unique humorous culture where laughter has the World contemplative character reveals another truth about the world, makes our perception of it more versatile. Thanks to laughter as a meaning of eternal rebirth of living nativity scene in ages. Comic represented in compressed, condensed form, enhances its effects many times. Den, as evidenced by a long history, designed to embody the world through laughter. On the example of Doughnut Festival we see that den is actively revived, particularly in the western regions of Ukraine, bringing its vastness and urgency. This mass form of theatrical art collects on its stage the best dens of Lviv that demonstrate their performances and carol singing, glorifying Christ.Doughnut Festival impossible without donuts (in fact, the very name of the holiday comes from this dish). Sweet symbol of Christmas is one of twelve dishes of Christmas table, which readily sweetly feed adults and children. For the first time in 2013 at the festival opened "Doughnut house." The festive atmosphere created by artistic means of expression, an important place among them belongs to the suit. Lviv is still happy to wear the national Ukrainian costume elements that provide to a Doughnut Festival colorful flowers and yet sophistication. It should be noted that the basis of artistic style of Ukrainian national dress is the Baroque style, which turns into ostentation, brightness and picturesque fabrics, intricate pattern ornament with a great report, exaggerating the basic forms of clothing and decorative ornaments.One of the most important scenography elements of Doughnut Festival is the "Star of Bethlehem" which heralds the birth of Christ. Stars come in many forms and are always decorated in a special way, because every detail is important. Not surprisingly, the Market Square during the Doughnut Festival is decorated with big stars that create the festive atmosphere at the festival.The sources of joyful laughter at the doughnut festival are annual competitions for the best hostess, best doughnut eater, cute angel and devil. During the holidays have passed various doughnuts fun. The culmination of the celebration was a grand performance called "Christmas Extravaganza" – a theatrical performance in the open, played by actors of Lviv Academic spiritual theater "Resurrection."Thus, people's traditions and customs are one of the main factors revival and preservation of the nation. We believe that each of us is the successor of the great treasury of festive and fun culture, the successor of its traditions and customs. Doughnut Festival reproduces national and regional flavor of Ukraine, promotes national identity, national laughter embodies the Christmas traditions through performances, song and plastic art and images of the mask.

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УКРАЇНСЬКІ ТА ПОЛЬСЬКІ ЛІРИЧНІ МОНОСТРОФИ: ОСОБЛИВОСТІ ФОРМОТВОРЕННЯ ТА ВЗАЄМОВПЛИВИ

Author(s): Svitlana Leshchynsʹka / Language(s): Ukrainian Issue: 2/2013

The article deals features forming some monostrofic genres of Ukrainian and Polish folklore and their mutual influence. Review of the problem is due to the historical perspective study of its Ukrainian and Polish folklorists and musicologists.

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Украсата на металните предмети с църковно предназначение и османската естетика
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Украсата на металните предмети с църковно предназначение и османската естетика

Author(s): Liliana Stankova / Language(s): English,Bulgarian Issue: 4/2019

The article seeks, first and foremost, to identify and present the motifs coming mainly from the Islamic art developed within the Ottoman Empire, which occur in the decorative metalwork of church objects such as the metal overlay of communion-table gospels and crosses, ciboria, communion cups and censers, made in cultural hubs within what is now Bulgaria. The reason is in that there is a lack of clarity as to the definitions and provenance of these motifs in Bulgarian scholarly literature. The first part of the paper deals with the characteristics of two groups of silver church plate: hemispherical chalices and cruets decorated with a combination of Christological iconographic elements and motifs of the earliest stylistic royal trend of the Ottoman decorative style. Used in a Christian and a Islamic contexts, these testify to the mutual exchange of goldsmith practices in the Balkans and have probably brought about the spread of Ottoman motifs in the decoration of church objects. A centre of the manufacture of hemispherical chalices was Chiprovtsi. The second part of the text describes the characteristics of the three main groups of motifs (Rumi-Khatai patterns, palmettes and saz leaves, floral patterns), illustrating by examples of their occurrence on Bulgarian monuments. Using a comparative analysis, an attempt is made to compare this phenomenon with the production of other Orthodox ethnic communities, mostly Serbs and Greeks. At the end, attention is drawn to cloisonné enamelwork technique, a singularity of a group of monuments associated with a workshop in the region of Plovdiv and the Monastery of Bachkovo. In conclusion, Ottoman motifs are found in the ornamental repertoire of the metal church objects of the seventeenth through the mid-eighteenth centuries, reflecting a trend typical of all forms of Christian art of the age.

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Украсата на старобългарските ръкописи до края на XI век (= Кирило-Методиевски студии. Кн. 12)
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Украсата на старобългарските ръкописи до края на XI век (= Кирило-Методиевски студии. Кн. 12)

Author(s): Vera Ivanova-Mavrodinova,Lilyana Mavrodinova / Language(s): Bulgarian

The study deals with the ornamentation – initials, head-pieces, tail-pieces and miniatures – in the Old Bulgarian manuscripts of the First Bulgarian Kingdom and the continuation of the same tradition in the manuscripts of the 11th century. This is the first specific study of the decoration of each of the preserved Bulgarian written monuments of the Early Middle Ages. For outlining the circle of models from which the Old Bulgarian copyists and miniaturists had drawn inspiration were used stylistic and iconographic parallels testifying to links above all with pre-iconoclastic art and the art of the eastern provinces of the Byzantine Empire. As a result of this are predated some manuscripts such as the "Savina Book", the Codex Suprasliensis and Dobromir's Gospel. For amplifying the picture were studied also the more recent Russian copies, which copied not only the text but also the ornamentation of the Old Bulgarian protographs, translated and decorated in the palace scriptorium of the Bulgarian King Simeon in Preslav in the 10th c. Moreover the subject has been specified of the four miniatures on a whole leaf before the two parts of the so-called Svetoslav's Florilegium, as depictions of the first four Ecumenical Councils. The study was the last scholarly work of Vera Mavrodinova, the chief director for many years of the excavtions in the first Christian Bulgarian capital of Preslav. It was completed in 1979 with the assistance of senior research associate Liliana Mavrodinova who tried to bring up to date to a certain degree some formulations.

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Украшения из разрозненных древнерусских кладов в собрании Русского музея
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Украшения из разрозненных древнерусских кладов в собрании Русского музея

Author(s): Svetlana M. Novakovskaja-Buchman / Language(s): Russian Issue: 5/2016

Besides the treasure hoards dating to the Pre-Mongol period, the Department of Early Russian Art of the State Russian Museum has in its collection over one hundred artefacts from treasure hoards of unknown provenance. These jewelry articles were parts of collections gathered by M. P. Botkin, V. A. Kvashonkin, A. A. Bobrinsky, V. V. Vereshchagin, F. M. Pliushkin and N. F. Romanchenko. Among them, there is the earlier unknown “Chernigov Treasure Hoard” consisting of the 10th—12th century silver jewelry. It contains 2 Scandinavian chains of the 10th century with tips shaped as dragon and raven heads, and six twisted Russian bracelets of the 11th—12th century. M. P. Botkin’s collection contains a part of the treasure hoard of 1900 found near the Sakhnovka village (Kiev), gold ceremonial cloisonne chains of the 12th century and two pairs of three-bead temple rings. Among other jewelry from the unknown treasure hoards, there is a large collection of 3 bead temple rings of the 12th century, twisted bracelets, kolts and ryasna to hang them to a headdress, a forehead band and several torcs. Among the masterpieces in these treasure hoards, we can mention a Byzantine pectoral cross in gold frame (12th century), 3 seal-rings (end of the 12th — the beginning of the 13th century) and a couple of rare narrow hinged bracelets with lion head on the ends (2nd half of the 12th century).

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Улицата като място на превращение при немските експресионисти, Гео Милев и Асен Разцветников
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Улицата като място на превращение при немските експресионисти, Гео Милев и Асен Разцветников

Author(s): Vasil Vasilev / Language(s): English,Bulgarian Issue: 1/2020

This text deals with the dynamics and dialectics of the street as a special space of multifaceted impacts and transformations, which are in many cases of a borderline and ecstatic kind. From the viewpoint of the authors under consideration, the street is seen and experienced as a topos of crisis, of revelations, but also of secrets, of apocalyptic visions revealed primarily in the depths of affect, but also through morbid expressionistic reflection; visions that seem to come together and unite within hypnotic prophecies...

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УЛОГА АКОРДСКИХ ДОПУЊАЛКИ У ПРОЦЕСУ ЗАПИСИВАЊА ХАРМОНСКИХ ВЕЗА НА НАСТАВИ СОЛФЕЂА НА СТУДИЈАМА МУЗИЧКЕ УМЕТНОСТИ

УЛОГА АКОРДСКИХ ДОПУЊАЛКИ У ПРОЦЕСУ ЗАПИСИВАЊА ХАРМОНСКИХ ВЕЗА НА НАСТАВИ СОЛФЕЂА НА СТУДИЈАМА МУЗИЧКЕ УМЕТНОСТИ

Author(s): Aleksandar Č. Vulović / Language(s): Serbian Issue: 71/2020

The paper describes the role of chord fill-in exercises in the process of scribing chords in harmonic series of chords which are part of the teaching program of Solfeggio in the basic academic (musical) studies. In a pilot experimental research, exact results have shown the extent to which the experimental factor (chord fill-in exercises) participate in achievement a better students accuracy when listening and scribing chords in harmonic series of chords.Pedagogical research was carried out in the academic year 2017/18 in which the main method was an experiment with one group of respondents consisting of six students of the first year of the study program Music Theory and Pedagogy of the Faculty of Philology and Arts at the University of Kragujevac.The results of the conducted experimental program confirmed the research hypothesis. They proved that chord fillers help students to identify and scribe chords in harmonic series of chords more effectively / accurately, which also indicates the necessity of a more frequent use of chord fill-in exercises in teaching practice, specifically in the work on the writing of chords in harmonic series of chords in teaching Solfeggio.

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УЛОГА АНТИЧКОГ ХОРА У СТВАРАЛАЧКОМ ИСКУСТВУ БЕНЏАМИНА БРИТНА

УЛОГА АНТИЧКОГ ХОРА У СТВАРАЛАЧКОМ ИСКУСТВУ БЕНЏАМИНА БРИТНА

Author(s): Radmila Paunović Štajn / Language(s): Serbian Issue: 49/1/2012

In his artistic approach, Benjamin Britten (1913-1974), the greatest 20th century opera composer, kept to Hellenistic tradition and the role of a choir as an important segment of the drama, specifically opera as a complex scenic form. The paper included the analysis of treatment of choir either when employed explicitly or symbolically as well as the circumstances where the choir actively participated in the plot or only borne witness to its mainstream. With great respect for his famous predecessor, Henry Purcell (XVII century), Brittan always returned to the myth. His heroes were Oedipus or Prometheus now in new robes, named Peter, Owen, or Billy, but behind the outer shell, we find the human nature, the fight between the good and the evil, Eros and Thanatos, the destiny and the action. When treating the choir as a representative of masses, Britten assigned it the positive (Peter Grimes) or the traditional role (Owen Wingrave), following the mythical pattern of binary oppositions. Either assigning it main or ‘ambient’ role, Britten masterly employed choir in his operas, using versatile musical means with delicate sense of script and form.

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УЛОГАТА НА МАКЕДОНСКИОТ КОМПОЗИТОР И ЕТНОМУЗИКОГ ЖИВКО ФИРФОВ ВО СОВРЕМЕНАТА МАКЕДОНСКА МУЗИЧКА КУЛТУРА

Author(s): Nataša Didenko / Language(s): Macedonian Issue: 2/2020

This paper presents the life and activities of Živko Firfov, who is observed as one of the important artists of Contemporary Music Culture in the History of Macedonian music. Firfov is significant in Macedonian music because he has made a great contribution to discovering, writing, acquainting and affirming Macedonian folk music both domestically and abroad.

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Уметници и уметност Србије ван српских граница

Уметници и уметност Србије ван српских граница

Author(s): Petrija Jovičić / Language(s): Serbian Issue: 3/2018

Research interest in this work is aimed at voluntary movement of artists from Serbia to Western Europe, from the 1960s till present day. Artists provoked by the "the limitations imposed by the state", and later also by “the break-up of Yugoslavia”, sought a better destination for the development and improvement of their own creative expression, unable to sufficiently do that in their own country. With migrant and indigenous artists living together, along with interweaving of their cultures, thoughts, and artistic handwriting, new artistic identities emerged. Integration of artists and their families in different cultural, social, and religious communities, along with the transformation of their artistic creativity, open up new topics in the comprehension of the migration process. Visual narratives of migrant artists nostalgically record ethnographic vignettes, medieval motifs, and poetic intimacy of Serbia, which attests that no matter where they were creating or living, in their hearts they were still in their own country. Their activities represented international artistic contributions, which is proven by numerous awards and public expositions of their works in Serbia and abroad. This paper aims to encourage institutions and individuals to establish policies that would deal with sustaining links with the artistic diaspora in order to build bridges of cooperation and exchange of experiences between the artists who create in our country and those living abroad, so as to achieve concentric cooperative ties. Artistic creativity of migrant artists, whether it is transposed, realistic or abstract, is illuminated with elements of our national culture, thus the artists, by creating their works, have become cultural ambassadors of their original country.

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Уметничката критика и авто-референтноста

Уметничката критика и авто-референтноста

Author(s): Suzana Milevska / Language(s): Macedonian Issue: 07/1999

Текстот кој го читате во овој момент е авто-референтен во двојна смисла: тој се однесува на проблемот на авто-референтноста и критиката на теориско рамниште, и истовремено, со оглед на тоа што и самата сум критичар на уметноста, се занимава и со праксата на критиката. Тој претставува вид критика на критиката.

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About

CEEOL is a leading provider of academic e-journals and e-books in the Humanities and Social Sciences from and about Central and Eastern Europe. In the rapidly changing digital sphere CEEOL is a reliable source of adjusting expertise trusted by scholars, publishers and librarians. Currently, over 1000 publishers entrust CEEOL with their high-quality journals and e-books. CEEOL provides scholars, researchers and students with access to a wide range of academic content in a constantly growing, dynamic repository. Currently, CEEOL covers more than 2000 journals and 690.000 articles, over 4500 ebooks and 6000 grey literature document. CEEOL offers various services to subscribing institutions and their patrons to make access to its content as easy as possible. Furthermore, CEEOL allows publishers to reach new audiences and promote the scientific achievements of the Eastern European scientific community to a broader readership. Un-affiliated scholars have the possibility to access the repository by creating their personal user account

Contact Us

Central and Eastern European Online Library GmbH
Basaltstrasse 9
60487 Frankfurt am Main
Germany
Amtsgericht Frankfurt am Main HRB 53679
VAT number: DE300273105
Phone: +49 (0)69-20026820
Fax: +49 (0)69-20026819
Email: info@ceeol.com

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