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Conceptul şi practica predării cunoştinţelor muzicale în baza experimentului de constatare

Author(s): Viorica Crişciuc / Language(s): Romanian Issue: 1/2014

The present article reflects the results of the experiment. The practice of teaching music was investigated within the discipline of music education. The aim of the experiment is to test the quality of teaching music in terms of non-application/partial application of strategies specific to artistic education/music education. For statistical evaluation of samples were applied efficiency indicators of teaching music as perception, cognition-com-prehension-synthesis, application-valorization, deep living of musical message, contextualized in the musical-didactic activities of the lesson

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МЕЂУЕТНИЧКИ ФЕСТИВАЛИ: ПРАЗНИЦИ МУЛТИКУЛТУРАЛИЗМА И/ИЛИ ЧУВАРИ ЕТНИЧНОСТИ

Author(s): Mirjana Pavlović / Language(s): Serbian Issue: 139/2012

Apart from a short history of Banat Zrenjanin, as well as descriptions of inter-ethnic events that take place in the city, the paper analyzes the function of inter-ethnic events in the city, based on evidence collected from the literature and the media. The analysis showed that inter-ethnic events in Zrenjanin primarily reflect the multicultural city policy to promote ethnic diversity and tolerance, as well as contribute to the development of the regional identity of Banat. Despite that fact they are often used for the revival of ethnicity, which contributes to the division in the local community.

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ПОЛИТИЗАЦИЈА УМЕТНОСТИ У ПОСЛЕРАТНОЈ ЈУГОСЛАВИЈИ

Author(s): Dragan Ćalović / Language(s): Serbian Issue: 137/2011

In this paper, we are focusing on the process of art politicking in Yugoslav art theory in the period from 1945 to 1952. The work time span is determined by the existence of the Apparatus for agitation and propaganda, by means of which the development of art theory and practice was greatly determined in the postwar Yugoslavia. The set problem is to be approached through consideration of demands which official art theory was set to Yugoslav artist of this period, as well as through consideration of artistic and theoretic frames by which perspective of art politicking was determined. In this paper, art politicking is seen like specific manifestation of ideological position by which official political platform in the period from 1945 to 1952 was built. According to this, interpretation of art politicking not only as act of propaganda, but as well as symbol of fight for accomplishment of vision of new Yugoslav society is proposed.

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Mythos Prinz Eugen von Savoyen und seine Inszenierung

Author(s): Eleonora Ringler-Pascu / Language(s): German Issue: 5/2016

The review presents the complex personality of the Austrian Prince Eugene of Savoy present in the cultural collective memory as seen by the author of the book, Elisabeth Großegger.

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PRIKAZ POPULARIZACIJSKOGA SIMPOZIJA: KREATIVNA RIZNICA 2017. – KEMIJA KREATIVNE INDUSTRIJE

Author(s): Sofija Turjak / Language(s): Croatian Issue: 2/2017

Kreativna riznica popularizacijski je simpozij kulturne i kreativne industrije Ekonomskoga fakulteta u Osijeku koji se održava već treću godinu. Popularizacijski simpozij Kreativna riznica primjer je velikog događanja koje posjeduje potencijal inovativne znanstveno-istraživačke, obrazovne, kulturne i kreativne prakse, a time i održivosti u budućim razdobljima.

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Клазоменский чернофигурный кратер из Борисфена

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Клазоменский чернофигурный кратер из Борисфена

Author(s): Alla Bujskikh / Language(s): Russian Issue: 3/2017

Paper is devoted to publication of black figured Clazomenian crater found in 1974 in Borysthenes by V. V. Lapin. Multi-frieze painting is made on white slipping with incised lines and added colours; main subject is a religious fest or agon. Rim is decorated with triple cable, its outer part — with hunting and animal struggle; under the rim — lotus garland, beneath — dancing comasts, riders, charioteers, an apobat. Central frieze contains the depiction of two women playing kitharas and six women holding the hands and dancing. Pair of riders and a cavalcade is visible at lower frieze. Stylistic analysis shows the closest iconographic connection with Middle Corinthian tradition. Besides of them the influences of Attica, Chios and Aeolia are present, but in lesser number. The peculiarities of painting permitted to abandon its former interpretation like a precursor of Clazomenian style and to propose it in a company with samples from Borysthenes, Olbia and Panticapaion — to create a new Borysthenes group. This group is considered to be the earliest in Clazomenian vase painting, it opens formation of Clazomenian black figured style. Tübingen Group (by R. Cook) followed this group. A starting point of Borysthenes group must by synchronous to the top of the Middle Corinthian, after 580s BC; indeed, it existed during 15—20 years. The Tübingen Group, the successor, had to appear after 560s BC, without chronological lacunae.

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КИРАЈЏИЈЕ ИЗ ЏЕХАНИНЕ КУЋЕ: СЛУЧАЈ ПРИРОДЊАЧКОГ МУЗЕЈА ИЛИ О НАЦИОНАЛНОМ НЕХАТУ

Author(s): Trivo Inđić / Language(s): Serbian Issue: 127/2009

For every serious cultural policy, museums are the creators and guardians of cultural and national identity and the foundations of knowledge. The Museum of Natural History of Serbia, since its foundation in 1895 (as The Museum of the Serbian Country) has not received the elementary, adequate conditions for work (building, budget, staff). History of this particularly significant cultural and scientific institution is a sad example of misunderstanding and arrogance of the authorities towards national culture, science and education lasting till today.

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A Short Presentation on Human Cognition

Author(s): Onutz Sanda / Language(s): English Issue: 1/2017

This article proposes to explain the human cognition in a concise manner for those who are not pundits in the field. Our mind is a very complex mechanism, capable of processing acquired information rapidly and on multiple levels. A good understanding of the details of these processes has been the subject matter of many disciplines. Despite the fact that remarkable results have been obtained by inter-disciplinary studies, cognition is only partially understood. However, the cognitive mechanisms are essentially the same in any domain of knowledge be it mathematics, music, linguistics and so on.

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Lietuvių kalviškųjų „saulučių“ simboliai skirtybių ir bendrybių priešpriešos lauk

Author(s): Vytautas Tumėnas / Language(s): Lithuanian Issue: 93/2017

The article analyzes the tradition of Lithuanian iron minted sun-like crosses, as the visual sign and instrument of socio-cultural power. It examines how communities and state authorities could have seen the unifying and dividing codes at the same time in the same signs. The personal stories of blacksmiths reveals how the iron sun-like crosses were used in various ways: The construction of national identity, the preservation of cultural peculiarity or initiating the conflicting intercultural communication, and the isolation and resistance to soviet cultural colonisation. The investigation uncovers how another non-conflicting and more acceptable interpretation for the soviet ideology was attributed to the smithed sun-like crosses. This interpretation came about through communication with the government institutions. Through a precise semiotic, historical and comparative analysis, the complicated and international aspects of their meaning, origin and migration are disclosed. the origins of the serpent-like rays may be traced not only from pre-Christian imaginary, they are found in the Gothic/Renaissance art motifs of northern Italy. by the preservation of sun-like crosses the folk art tradition during the soviet period made their Christian semantics viable at the same time.

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ТЕОРЕТИЧНІ ЗАСАДИ ДОСЛІДЖЕННЯ ТАНЦЮ ТА БАЛЕТУ XVII−XIX CТОЛІТЬ

Author(s): Denys Sharikov / Language(s): Ukrainian Issue: 2/2013

In the article for the first time in national study of art considered by the academic theory of dance and ballet renowned choreographers of the XVII−XIX century. Analyzed and translated into the state language of the unique theoretical foundations of the masters of dance and ballet Raoul-Auger Feuillet Jean George Noverr Carlo Pasquale Francesco Raffaele Baldassare de Blasis Leopold Adis August Bournonville.

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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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From “Crash!” to Crash: Adapting the Adaptation

Author(s): Ljubica Matek,Jelena Pataki / Language(s): English Issue: 2/2017

The paper focuses on J.G. Ballard’s various adaptations of his own material related to the issue of the sexual and sensual nature of an automobile crash, and suggests that adaptation is one of the key methods in art and literature which can be used as a means of contemplating and developing various aesthetic and political ideas. Ballard’s short story “Crash!” was first published in the ICA’s (Institute of Contemporary Arts) Eventsheet in February 1969, and later became a chapter of his experimental novel The Atrocity Exhibition (1970). At the same time, Ballard adapts the idea into the “Crashed Cars” exhibition (1970) in London. The short story was then adapted into a short film, Crash!, directed by Harley Cokeliss (1971) and starring Ballard himself, to be finally adapted into the novel Crash (1973). Ballard’s adaptation of his initial ideas across literary forms and media testifies to the importance of adaptation as a process and method of creating art. Thus, rather than suggesting that adaptations merely “breathe life” into the written word, the paper points to the conclusion that the form and content are mutually influential and that, in this case, the novel itself is an adaptation, rather than a hypotext (which it becomes in 1996 to David Cronenberg as he adapts it to film). The complexity of the relationship between the source text and its many adaptations has already contributed to the deconstruction, in Derrida’s terms, of the hierarchy (opposition) between the original and the copy. Rather, Ballard’s crossmedial and transmedial adaptations of his own ideas show how, as Ray would suggest, an adaptation cites the source and grafts it into a new context, giving it a new function, both aesthetic and political.

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Adapting the Adapted: The Black Rapist Myth in E.R. Burroughs’ Tarzan of the Apes and Its Film Adaptations

Author(s): Biljana Oklopčić / Language(s): English Issue: 2/2017

Whether in art or science, adaptation does not refer to something original but to a mutated and permutated version of a pre-existing original. In literature, adaptation occurs first when real-life stories are adapted into fiction; these fictions then often undergo a second technological adaptation as literary works are adapted into theatrical productions for stage or film. This paper explores one such doubled adaptation; it examines how the black rapist myth, which grew out of the social and cultural realities of the Jim Crow South, was transformed in E.R. Burroughs’ portrayal of Terkoz in the popular adventure novel, Tarzan of the Apes (1914), and then how this fiction was adapted into multiple and varied films between 1918 and 2016.

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Етнокультурні мотиви у творчості Yкраїнських «шістдесятників»

Author(s): Hanna Faizullina / Language(s): Ukrainian Issue: 37/2016

The purpose of the paper is to show artistic and ethno-cultural value of works of «Sixties». The art program of the «Sixties», based on the revival of national and universal values is investigated. Methodology. The study is based on the interdisciplinary integration of the leading methods of modern Cultural studies, Philosophy, Literature, Art studies and Aesthetics. In the context of methodology, the author used such methods of Cultural studies as historical and cultural, textual, hermeneutic, comparative ones, which contributed to the identification of ethnic and cultural motifs in the works of Ukrainian «Sixties». Scientific novelty. Scientific novelty is determined by ethno-cultural and aesthetic impact of «the sixties» phenomenon in the development of a new ethno-cultural concept of the creative world of the young generation of Ukrainian artists and the modern Ukrainian literary process. Conclusions. The demonstration of basic archetypal principles of Ukrainian cultural mentality in the works of writers of the sixties with the position of ethnic culture philosophy such as anteizm, sophianic, strangeness, cordocentrism, «sunshine», pretentiousness are highlighted.

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Vizualumas Radvilų laidotuvių iškilmėse XVIII amžiuje

Author(s): Aistė Paliušytė / Language(s): Lithuanian Issue: 4/2017

The research is focused on the funeral solemnities of the Radvila (Radziwiłł) family, including those to which no proper attention has been paid so far in historiography. Attempts are made to reconstruct and evaluate the visuality of the Radvila’s funeral and compare it to the tradition of other nobility solemnities in the Grand Duchy of Lithuania. The scenery of the Radvila solemnities changed according to the course and spatial context of the rituals. The most of attention was paid to arrangement of a solemn view in Nesvizh and its approaches. Emblems and other images were applied mostly in church interiors and catafalques. Heraldic motives, insignia were extensively applied, metaphoric and metonymic motives were integrated. Catafalque compositions resounded the virtues of the deceased, expressed their eminent background and status. After studying the cases of funeral solemnities of the Radvila family, it can be stated that elements of military visualization were more important than it had been witnessed by earlier research. Such often applied military requisites expressed a connection to the nobility ethos of the Grand Duchy of Lithuania, a cultural image of a nobleman-warrior. The importance of the family memory motives in the funeral décor was also noticed. Although images related to a deceased person were used in the décor of solemnity, the general scope of the motives and their application principles reiterated and were in line with the visual rhetoric tradition of funerals in the Grand Duchy of Lithuania. Although a lot of attention was paid to listing of the décor motives in funeral descriptions, not only their recognisability was considered important. The funeral rhetoric foresaw some visual experience for the viewer, which changed continuously while conducting funeral rituals. The authors of solemnity descriptions noticed and sometimes commented on effects of illumination, shapes and their spatial relations. Dynamic observation, change of a viewer’s position, focused viewing of separate details and the so-called saccadic viewing were foreseen for solemn events. In summary, it can be stated that the research of the Radvila family solemnities revealed the suggestibility of the Baroque culture that was based on a viewer’s visual experience.

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„Laimingos revoliucijos“ šventės: apie Gegužės 3-iosios konstitucijos metines Lietuvos Didžiojoje Kunigaikštystėje

Author(s): Lina Balaišytė / Language(s): Lithuanian Issue: 4/2017

The article discusses how the ratification of the 3rd of May 1791 Constitution was celebrated in the Grand Duchy of Lithuania. This event, understood by the contemporaries as the beginning of the new epoch, inspired organization of both official and spontaneous celebrations all over the country. While analysing the content and visual expression of these events, it is sought to disclose how these festivals of “the new epoch” were formed and what they looked like, what transformations of the society had inspired them. These celebrations were a tool and product of “the Joyful Revolution”: they were used for patriotic upbringing and unification of the society in the presence of outward threats, though, at the same time, the high spirits of the “revolutionary” time inspired spontaneous festive events. The organizers of such celebrations were mostly the representatives of middle nobility and townspeople, as they had become the most active supporters of the ruler and implemented the reform programme. There were especially many initiatives by townspeople, who due to the new law felt the full-fledged citizens of the state. Similar to earlier celebrations of state significance, almost all festivities were dedicated to the ruler, who was pictured as the father of the nation and creator of the Constitution. A new image of the ruler was started to propagate: the portrait of a king-patriot working for the wellbeing of the homeland and its citizens. The ideas of the “citizens’ nation” encompassing all social strata of the Republic were actively manifested. Acts of the nobility oath to the town law were very important for unification of the society in a symbolic sense; they demonstrated the fraternity of all estates. It is worth mentioning here the demonstration of military attributes and military capacities in order to strengthen the morale of population in troublous times. The article covers in more detail the decorations created for the Constitution anniversary by a nobleman Vincentas Ignacas Marevičius (Wincenty Ignacy Marewicz) in his homestead near Lukiškės, which most visually demonstrated the new structure of the society entrenched by the Constitution. These celebrations of the “3rd of May epoch” could be held for quite a short time and thus failed to create new rituals and symbols. Maybe this was the reason why texts were so important in their décor and explained anew the meanings of symbols applied in earlier celebrations.

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Videofelsefe - Maurizio Lazzarato: Kaybedilen Zaman'da Yeni Barbarlığa Doğru

Author(s): Bekir Avcı / Language(s): Turkish Issue: 4/2017

Şilan ‘akıllı’ telefonumdaki ekranda. İşte karşımda. Konuşuyoruz. Göz kırpışını, dudak hareketini, bedeninin salınışını görüyorum. Onu garip bir dikkatsizlikle izliyorum. Ekrandaki görüntüsünü alımlıyorum, hareketlerini algılıyorum. Ancak onun bu videodaki hal’i bana bir görüntüden fazlasını takdim ediyor. Tıpkı bir televizyon kanalının ‘canlı yayını’ gibi burada da ‘gerçek zaman’ işliyor. Eşzamanlıyız, şimdi’deyiz. Görüntü aracılığıyla mümkün hale gelen onun oradalığı ile benim buradalığımın biraradalığı, mekânsallığın ötesinde bir şeye işaret ediyor: bu videoda zaman var, mekânsallığı aşan, onun çok üstünde işleyen bir zaman.

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Ben O Değilim Filminde Başkası’nın Varoluşçu Görüntüsü

Author(s): Sarper Bütev / Language(s): Turkish Issue: 3/2017

Tayfun Pirselimoğlu discussed the issue of the other or another, one of the favorite themes of philosophy of existentialism, in his film I'm not Him (2014) through an unrealistic experience of a man who superseded another man and by transforming some themes of film noir in line with his intentions, as well. According to the philosopher Emmanuel Mounier, theme of the other has freakily become the most important conquest of the philosophy of existentialism where and when the classical philosophy kept the lid on it (1986: 138). Pirselimoğlu also said that the theme of "being another" was one of his greatest obsessions. Therefore, this paper studies what kind of a connection can be established between image of and theme of the other reflected in the I'm not Him.

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Upon the System and Human Comprehension in "The Matrix Trilogy"

Author(s): Devrim Özkan / Language(s): English Issue: 3/2017

“The Matrix Trilogy”, which was scripted and directed by Lana Wachowski and Lilly Wachowski, is one of the most important science fiction films. “The problem of reality”, which has been present, in various forms, ever since Plato’s “allegory of the cave”, is once again being evaluated in “The Matrix Trilogy” through the medium of cinema. Moreover, there are various opinions regarding exactly what the main natures of human are in “The Matrix Trilogy”. Furthermore, “The Matrix Trilogy” provides a striking view on the relationship between the “basic natures of human” and the “system” in which humans live. The system explored, and the human insights examined in “The Matrix Trilogy” have a distinctly philosophical feel. As such, this article analyses “The Matrix Trilogy”, viewing it as a work of art which presents philosophical problems. Therefore, the dialogues in “The Matrix Trilogy” and the context of the dialogues shall be taken as the basic reference resource for the analysis. This article studies the nature of the understanding of system and human in the “The Matrix Trilogy”, with particular emphasis on analysing the content of dialogues. The article concludes that the basic human characteristics which distinguish “Neo” from other living beings in “The Matrix Trilogy” are “the ability to know” and “the will of change.”

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Bilinçaltı Direksiyona Geçtiğinde - Gerilim Sinemasında Psikanalitik Alt Metinler: Duel Örneği

Author(s): Volkan Erol / Language(s): Turkish Issue: 3/2017

Fear, an inseparable part of humanity, manifests itself in art and literature as a reflection of subconscious, also occupies cinema since its beginning. Images that reflected from gigantic screens in the darkness of movie theaters, manage to revive collective fears simultaneously unlike any other medium. Horror, thriller and suspense films, which use subconscious fears as a source and more often than not, prefer to use metaphors while narrate them, prepare the ground for psychoanalytic film analysis, also in time, more and more directors tend to use psychoanalysis in their films. Especially Alfred Hitchcock, master of suspense, known for his use of Freudian subtexts. Steven Spielberg is one of the most important directors who is influenced by Hitchcock.In this paper, Duel, directed by Steven Spielberg in 1971, will be studied; conventions and codes of thriller movies will be analyzed along with a psychoanalytic reading. Correlation between its narration and subtext and their consistency will be examined.

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