Muzyczne marzenia senne jako źródło inspiracji dla kompozytorów: wprowadzenie

Author(s): Marek Dolewka / Language(s): Polish Issue: 3/2015

The goal of this paper is to present musical threads in dreams of selected 20th century leading classical music composers. Musical dreams may come during the period of writing the piece, affecting its shape (Edgar Varèse, Igor Stravinsky), or appear totally unexpectedly, giving an impetus to compose a new work (Karlheinz Stockhausen, Mauricio Kagel). Dreams are a potential answer to the concerns of composer (Threni) or a source of inspiration for a short fragment of musical material (Arcana, Histoire du soldat), instrumentation (Octet), some specific features of the piece (The Rite of Spring, Musik im Bauch, Tierkreis, Helikopter-Streichquartett, Himmels-Tür), or even a course of the whole composition (Trans, Match). It is also interesting to observe the occurrence of musical dreams featuring intensive colours. The examples are referred to the current state of research on links between music and dreams. The studies of a group of scholars from the University of Florence, working under Valeria Uga, or Irving Massey, American working in neuroaesthetics, present the statements of composers concerning the pieces inspired by the music heard in a dream in new light. These results provide further evidence that making use of this alternative source of work is possible.

Marks of Music Reception through Moral Dimension

Author(s): Ruxandra Mirea / Language(s): English Issue: 1/2016

Ethics is the science that comprises the complete rules of moral conduct. Ethics is the science, while moral is the instrument. Moral, whose etymology comes from the Latin word mores-moralis, meaning “custom,” represents a number of beliefs and attitudes reflected in principles and laws, historically and socially determined, that establishes human relationships and their social inclusion, being based on conscience. It is not law,but mass conscience what prevails in approaching the conflict between good and bad. The present study begins by presenting the psalmodic genre that belongs to the religious music and which is an initium of forms and genres, as its component, the Christian worship chant, did not receive social censure. It is a model of musical perfection through its peacefulness brought by the sacred verses.

СОВЕТСКОЕ ДЕТСКОЕ ИГРОВОЕ КИНО 20-Х ГОДОВ XX ВЕКА И ЕГО ЮНЫЕ ЗРИТЕЛИ

Author(s): Alla Arkadevna Salnikova,Anton Pavlovich Burmistrov / Language(s): Russian Issue: 3/2014

The article deals with the Soviet children’s cinematography of the 1920s, the first steps of its establishment as a “target” genre in Soviet film production, and the peculiarities of the first Soviet children’s films and their perception by children. The research is based on special cinematology journals as well as on educational periodicals of the period under examination. The analysis of children’s answers to questionnaires organized at that time made it possible to determine a Soviet child’s attitude to the cinema, the influence of cinematography on children’s audience, and its role as a specific instrument of new Soviet upbringing practices.

ПЕРВЫЕ ЭКСПЕРИМЕНТЫ В СФЕРЕ ИСКУССТВОВЕДЧЕСКОГО ОБРАЗОВАНИЯ: НЕЗАПОЛНЕННЫЙ ПРОБЕЛ В ИСТОРИИ НАУКИ ОБ ИСКУССТВЕ

Author(s): Lidiya Alekseyevna Sychenkova / Language(s): Russian Issue: 3/2014

In this article, we examine forgotten experiments in the field of art education in Russia and the USSR in the first half of the 20th century. The experiments were carried out independently by academic leaders V.P. Zubov, F.I. Schmitt and I.I. Ioffe in two centers: State Institute of Art History from 1912 to 1929 and Leningrad University from 1938 to 1947. We estimate the first experience in our country in training different art specialists (art historians, theatre historians, literary critics, musicologists, and film experts) under one roof. We analyze not only a theoretical platform for original educational projects, but also a set of reasons that prevented implementation of successful experiments in the Soviet system of higher education.

Spojrzenie zwrócone ku wnętrzu

Author(s): Arne Melberg / Language(s): Polish Issue: 18/2011

This article presents an analysis of the transformations in the poetics of Rainer M. Rilke. According to the author, the essential impulse for the inception of this evolution had been provided by the encounter of the poet with a series of paintings by French artist Paul Cézanne. The author outlines particular traits in Rilkean poetic variants of modernism: the poet, drawing inspiration from the very same sources as many of his contemporaries (such as, for example, cubists), proposed his own conception of a poetic language. The most important element that constitutes a poem and a poetic image is the rhythm, the fundamental component in the organization of the text. Painterly “overlapping” of planes in a poem becomes thus a kind of a “breath” to take, that opens up a poem to the infinity underlined in the subject. From the experience gained in the visual arts concerning the “attitude and insight”, in turn, a poem attempts to organize a new arrangement for the presented space — ambiguous and in a constant movement.

Zrozumieć złoty wiek

Author(s): Elżbieta Nowicka / Language(s): Polish Issue: 17/2010

The body of the discussion is devoted to two books, critical editions of Polish translations of the works of Spanish Baroque period, that are related to theatre. The first title in question is the annotated bi-lingual edition of El principe contante by Calderon de la Barca, the drama piece known in Poland as Książe niezłomny [The Constant Prince] and brilliantly translated by Juliusz Słowacki. The other book is the annotated translation of Arte nuevo de hacer comedias en este tiempo [New art of writing plays] by Lope de Vega. Both publications not only evaluate the complex and fascinating picture of Spanish theatrical culture of the Golden Age to the Polish reader, but also substantially widen our understanding of the dependence between the type of the stage and the vision of the world constructed by a playwright and the theatre. They may also provide substantial support, and important inspiration, to theoreticians of theatre and drama, comparatists, historians of ideas, historians of mentality, etc.

Makbet Giuseppe Verdiego wobec romantycznej recepcji

Author(s): Alina Borkowska-Rychlewska / Language(s): Polish Issue: 17/2010

Romantic approach to William Shakespeare’s dramatic works, as well as the notions and questions so vital for the consciousness of the epoch concerning the capacity and function of destiny, unrecognizability of existence, interference of supernatural powers in the world that can be grasped with human mind and common sense, are all intriguingly transparent in Giuseppe Verdi’s Macbeth. The Italian composer, who knew the Romantic reception of Shakespeare’s dramatic plays well (e.g. the Italian translations of the lectures given by August W. Schlegel), embarked upon the issue of the ambiguity of the scene with the witches that appear to Macbeth, posed a question on the cognitive value in the dreamy apparition (in the brilliantly constructed Lady Macbeth’s sleepwalking scene), and, finally, emphasized the aspect of hybridity of the world that inseparably combines the grandeur and the grotesque (the point highlighted in Victor Hugo’s considerations on Shakespeare). The two versions of the operatic Macbeth — the one produced in Florence in 1847, the other, 1865 revised version produced for Paris — relate well with the long sequence of changeable conventions in the nineteenth century theatre, taking into consideration its requirements (the need for a spectacular character of staging, the introduction of multiple Ake a Romantic implant in the operetta world of farcical braggadocio dominant on the Parisian stage at the time of the Second Empire, testifies to the enormous influence of the Romantic reception of Shakespeare exerted at the time and defining for a considerable period of time the concept of adaptation of the works of the Stradford master to meet the needs of the operatic stage.

POLITYKA GLOBALNEGO ŚWIATA SZTUK

Author(s): Grzegorz Dziamski / Language(s): Polish Issue: 2 (21)/2016

POLITICS OF GLOBAL ARTWORLDThe term ‘art world’ (Artworld) was not used before the 1960’, and if – rather rarely and without consequences. It was only in 1964 that Arthur Danto has made the term one of the key concepts of contemporary reflection on art. The artworld has come to mean the discourse accompanying art. The world of art should not be equated with art market, although today theWestern artworld is increasingly subordinated to the market. Can marketreplace politics? Can it become policy? Is this the way of post-political policy?Is the market always connected with some policies and always requires some assistance from politics? Today’s global art world wants to combine what is global with what is local; it combines global discourses and local practices. It contributes to global circulation of what is local. Very often,what is local, turn to subaltern art, younger art, lower, worse.

WIERSZE

Author(s): Krzysztof Śliwka / Language(s): Polish Issue: 2 (21)/2016

WŁADZA VS. SZTUKA W PRL-U I DZIŚ

Author(s): Łukasz Guzek / Language(s): Polish Issue: 2 (21)/2016

POWER VERSUS ART IN POLISH PEOPLE’S REPUBLIC AND TODAYThe basis of this study is Mark Wlodarczyk’s paper on research methodology of art history in Polish People’s Republic, especially in the 1950’s. Włodarczyk put the thesis that power in that decade. The basis of this study is Mark Wlodarczyk’s paper on research methodology of art history in Polish People’s Republic, especially in the 1950’s. Włodarczyk put the thesis that power in that decade, standing under the banner of Stalinism, introduced elements of a thaw in the art, but at the same time they continued the policy of repression. Meltdown was an immanent part of policy. However, policy enforcement can be seen in the pragmatics of government throughout the entire period of communism.Hence the thesis of this article on the dialectics of thaw and repression as the dominant instrument of power used in art, as this area of power relations is discussed here. Among the examples, there are mainly those from the seventies, for a period of domination of conceptual art is considered a period when artists concentrated on the autonomy of art, and abandoned their social engagement in order to avoid repression. That consensus with the government, however, was apparent. Artists still challenged the tolerance of power and thus triggered a dialectic of thaw and repression,and the government showed its totalitarian face. After 1989, the power in a democratic system is distributed, therefore the dialectic of thaw and repression loses its functionality. Also, Włodarczyk described the situation inPoland after the elections of 2015. He believes that political and totalitarian method of governance brings back functionality of dialectic thaw and repression against contemporary art.

Recenzie

Author(s): Maroš Melichárek,Oliver Zajac,Jozef Kušnír,Dagmar Kusá / Language(s): Slovak,English Issue: 1/2014

GAYER, VERONIKA – OTČENÁŠOVÁ, SLÁVKA – ZÁHORÁN, CSABA (EDS.). REMEMBERING THE CITY: A GUIDE THROUGH THE PAST OF KOŠICE. SZEKRÉNYESSY, ATTILA. HISTÓRIA PREŠOVA V OBRÁZKOCH. KOVAŘÍK, JIŘÍ. SLAVKOV 1805: NAPOLEONŮV NEJVĚTŠÍ TRIUMF.

Sztuka relacji: teatr – praca socjalna. Współtworzenie grupy teatralnej przez osoby chorujące psychicznie jako kreatywna forma upodmiotowiania.

Author(s): Maria Kozakowska / Language(s): Polish Issue: 2/2015

This article aims to recognize the potential of theatre in the process of social work in Poland, taking into account the perspective of globally-used solutions as well as local conditions that mentally ill persons find themselves in. The results presented here originate from a qualitative study based on the method of participatory observation as well as interviews with members and creators of four polish theatres aim to show the role that belonging to a theatrical group plays in the process of empowerment. The research findings suggest that it is possible to treat the co-creation of theatrical groups by persons suffering from mental illnesses as a form of a social rehabilitation, underlining the meaning of self-determination, the sensation of having influence, the development of relationships as well as the possibility of identification with the status of an actor despite the increasing symptoms of illnesses. The experience of theatre, which helps to create the reality of human condition, carries with itself not just the reflection on a certain intangiblity of the contact between a social worker and a client, the deeply human imperative of help, but foremost the revelation of an inner covenant between social work and art, being fulfilled in unceasing improvement and the search for better ways to communicate.

Die Verehrung der Athos-Heiligen und der Neomärtyrer auf dem Berg Athos (17. – 19. JH.)

Author(s): Georgios Tsigaras / Language(s): Bulgarian,German Issue: 1/2015

Notes on the Depictions of St Dionysius of Olympus

Author(s): Aneta Serafimova / Language(s): English,Bulgarian Issue: 1/2015

Dénomination des couleurs artistiques et décoratives en polonais

Author(s): Anetta Kopecka,Katarzyna Janic / Language(s): French Issue: 28/2016

The present paper deals with the denomination of colors in Polish, and investigates the ways colors are conceptualized in two types of practices, artistic and decorative. Contrary to the universal approach advocated by Berlin and Kay (1969) which focuses on basic colors terms and which has been largely followed by scholars in linguistics and cognitive science, the present study shows how colors are expressed by a variety of lexical structures revealing the diversity of semantic domains from which they are drawn. Following Dubois and Grinevald (1999, 2003) and Dubois (2006, 2008, inter alia), the study points out to different modes of conceptualizing colors in artistic and decorative domains in order to show that color denomination is closely associated with specific cultural practices.

GAME MECHANISMS IN MARKETING ACTIVITIES OF THEATRES

Author(s): Katarzyna Walotek-Ściańska / Language(s): English Issue: 1/1/2015

The author discusses game structures on the atres profiles as well as players spectators awarding and incentive schemes. She also describes experiments in presenting theatres live on Facebook and playing “advise, comment, vote” game with the audience. Gamification causes the changes in the behaviours of consumers of theatre offer. The paper presents the new way theatres communicate with their audience in the area of social media.

Изображения на Страшния съд в търновските села Самоводене и Хотница

Author(s): Elena Popova / Language(s): Bulgarian Issue: 4/2016

The Last Judgment has been painted in the second half of the nineteenth century (after 1849) by unknown icon-painters at the parish churches of the villages of Samovodene and Hotnitsa nearby Veliko Tyrnovo, both dedicated to St Irene. The mural in Samovodene has not been explored for the time being. On the basis of a comparison between texts in scrolls painted at the church in Samovodene and the murals by Zachary The Icon-painter at the Monastery of the Transfiguration (1849), direct borrowings were established from a number of Zachary's paintings. Examples of The Last Judgments painted by Zachary in 1847/48 at the Monastery of Trojan are also provided for comparison. The images and the scrolls of the archangels at the entrance prove identical; the prophetic texts from Exodus 18:15, Daniel 7:9 and Malachi 4:1 are also identically inscribed. The manner in which Zachary represented the Hetoimasia with the Tablets of Moses and quotes from the Revelation 20:15; 20:12 onto an open gospel is especially striking, following strictly the guidelines set out in the Painter's Manual of Dionysius of Fourna, whose Hermeneia in Greek the painter meticulously adhered to in his murals at a time, when most of the painters opted to use Athonite prints of The Last Judgments as models. Zachary The Icon-painter though did not copy the prints and the painter from Samovodene copied solely Zachary's murals. The Last Judgments in Hotnitsa, in its turn, has overpainted an earlier layer of painting of 1837; now the murals are removed and kept at the Church of the Holy Archangels Michael and Gabriel, Arbanassi. Asen Vasiliev spotted The Last Judgments in Hotnitsa, in 1943 and erroneously dated it 1836, i.e. when the church was consecrated, finding a striking resemblance to the wall paintings by Zachary at the Monastery of the Transfiguration, defining the latter as influenced by those in Hotnitsa but in fact the reverse is true. The compositions of both monuments were influenced by The Last Judgmems painted by Zachary at the Monastery of the Transfiguration.

Performatywność ciszy – strategia uciszania w działaniach artystycznych

Author(s): Justyna Stasiowska / Language(s): Polish Issue: 33/2016

Treating silence as an effect created in a frame of work with manipulation of audience perception helps to overcome the dichotomized opposition of silence and sound. The way audience’s perception is manipulated helps to create a sphere of silence as in the series of “Blackout” performances by artist Tres, where all the devices in the building are gradually shut down. The point of departure of the panel comes from treating this category as performative. This perspective becomes the foundation for reflection on the active role of audience in a work of art and further departure in power relations in sphere framed as silenced.

Audiosfera opowieści mitycznej. Przypadek komunizmu

Author(s): Monika Widzicka / Language(s): Polish Issue: 33/2016

The aim of this article is to examine the role and meaning of soundscape in the communist myth. Three main issues are pointed out: acts of collective singing and mass songs lyrics; the tension between sounds of nature and industrial sounds; the dichotomy between noise and silence. The soundscape presented in socialist realist creative writing is dominated by loud sonic phenomena. Noisy sounds are recognised as a sign of creating the brand new society and industrial world, while silence and muffled sounds are considered threatening to the new order.

Przekłady: Przedmioty dźwiękowe i produkty dźwiękowe: standardy nowej kultury słuchania w pierwszej połowie XX wieku

Author(s): Alexandra Hui / Language(s): Polish Issue: 33/2016

I develop the psychological underpinnings of environmental music towards an understanding of how the goals of cognitive and behavioural psychologists contributed to a new kind of listening at the beginning of the twentieth century. I begin with an examination of nineteenth-century concerns about both the physical and psychological effects of music and fraught debate among experimental psychologists of the role of musical expertise in the laboratory. These concerns were, I argue, rooted in the assumption of a direct, corporeal connection between the generation and reception of music, usually bound within a single, individual body. In the twentieth century, new technology liberated the listener from a temporallyand geographically-bound experience of music. The Tone Tests, Re-Creation Recitals, and Mood Change “parties” of Thomas Edison and the psychologist Walter Bingham show that recording technology allowed for a normalisation and standardisation of listening not previously possible in the music halls and laboratories of the nineteenth century. Rather paradoxically, since it also made music more accessible to the individual listener, recorded music, mobilised by industrial psychologists and record companies alike, created a new sound experience actively designed for the lowest common denominator of mass listening. It also contributed to the cultivation of a new practice of mass listening. The new mass listening practice presents broader questions about the definition of music and its functional role – If the function of music is to be ignored, is it still music?