Obrazy o treściach mariologicznych w kaplicy Grobu Matki Boskiej w zespole Kalwarii Zebrzydowskiej. Z badań nad recepcją grafiki w malarstwie polskim XVII w.

Author(s): Janina Dzik / Language(s): Polish Issue: 1/2008

The Chapel of Our Lady's Tomb in Brody, complete with valuable interior furnishing, in terms of history and territory belongs to the architectural landscape concept of the Marian- and Passion-themed compound in Kalwaria Zebrzydowska. In the fields of the late-Renaissance choir parapet and the galleries of the chapel there are a series of paintings showing hitherto unspecified Marian themes. The items have never been referred to in literature on Kalwaria or mentioned in guidebooks or maintenance records. The article analyses, in a broad context, the symbolism of 37 Marian scenes presenting Mary and symbolic objects (e.g. a heart, a building, a garden). Kaplica Grobu Matki Boskiej w Brodach z cennym wyposażeniem wnętrzanależy historycznie i terytorialnie do założenia architektoniczno-krajobrazowego zespołu pasyjno-maryjnego Kalwarii Zebrzydowskiej. W kwaterach późnorenesansowego parapetu chóru muzycznego i ganków przyściennych tej kaplicy znajduje się cykl obrazów o dotychczas bliżej nieokreślonej tematyce maryjnej. Obiekty te nie były nigdy wymieniane w literaturze związanej z Kalwarią ani wzmiankowane w publikacjach przewodnikowych czy ewidencji konserwatorskiej. Artykuł w szerokim kontekście analizuje symbolikę 37 scen maryjnych, eksponujących postać Maryi oraz przedmioty o znaczeniu symbolicznym (serce, budowla, ogród).

Las Meninas w lustrze polityki i emblematyki

Author(s): Andrzej Witko / Language(s): Spanish Issue: 1/2008

Artykuł omawia obraz hiszpańskiego malarza okresu baroku Diego Velázqueza, Panny dworskie (Las Meninas). Namalowany w roku 1654 obraz znajduje się w zbiorach muzeum Prado w Madrycie. The article discusses Las Meninas, a painting by Spanish artist Diego Velázquez. Painted in 1654, the work is kept in the Prado Museum in Madrid.

Scena Zwiastowania na poliptyku z Olkusza

Author(s): Zdzisław Kliś / Language(s): English Issue: 1/2007

Among many Annunciation scenes represented in panel painting in Little Poland - which is especially abundant in iconographie motifs “describing” the mystery of the Incarnation - is a panel of the polyptych (1485) in St. Andrew’s Church in Olkusz. The polyptych was painted in fulfilment of a request by Anna Sperhozowa of Olkusz, before her death. It is the work of Jan Wielki, a nephew of the late founder of the church. When Jan was battered by Jan Waligóra, and it seemed he would not survive, the work was completed by Jan Stary. A brother of Jan Wielki’s wife Katarzyna - Jan Wolny, bachelor of arts, subsequently St. Panthaleo’s altarist in Our Lady’s Church in Krakow and altarist of the Most Holy Virgin Mary in Olkusz - arranged all the legal formalities for the recognition of the altarpiece as the Family Worship Altar in St. Andrew’s Church1. It is therefore rather certain that the ideological aspect of the altarpiece was provided by a theologian with a personal interest in this particular work of art. /Wśród wielu przedstawień Zwiastowania reprezentowanych w tablicowym malarstwie w Małopolsce uwagę zwraca scena z poliptyku z kościoła św. Andrzeja w Olkuszu. Został on ufundowany przez bogatą mieszczkę Annę Sperhozową i jej siostrzeńca, ks. Jana Wolnego, który, jako wykonawca testamentu ciotki, zamówił nastawę ołtarzową u swojego szwagra, malarza krakowskiego Jana Wielkiego. Poliptyk został ukończony w 1485 r. Początkowo znajdował się on na ołtarzu Bożego Ciała i Wniebowzięcia NMP, przy sakramentarium, obok ściany tęczowej (pomiędzy prezbiterium a nawami). Na początku XVII w. poliptyk został przeniesiony do kaplicy św. Anny przy prezbiterium. Najprawdopodobniej wówczas w części środkowej nastawy, na tle renesansowej niszy, umieszczono późnogotycką figurę Matki Boskiej z Dzieciątkiem.

Początki polskiej pieśni kościelnej i jej tematyka

Author(s): Stanisław Garnczarski / Language(s): Polish Issue: 1/2016

Polska pieśń kościelna, jednogłosowa i przeznaczona dla ludu, stanowi ważny element wielkiego dziedzictwa kultury religijnej Kościoła w Polsce. Jej pojawienie się było w badaniach naukowców wyjaśniane przez wiele teorii. Powszechnie przyjmuje się, że powstała najprawdopodobniej w XIII wieku. Pierwsza badana teoria wywodzi ją z tzw. kierleszu, fonetycznie przekształconej krótkiej formuły Kyrie eleison, śpiewanej przy różnych okazjach. Jednakże, poza kilkoma przypadkami, nie słyszy się w Polsce nic o „kierleszu”. Preferowanym przez Feichta, przeciwnika teorii kierleszowej, źródłem polskiej pieśni jest wprowadzenie odmawiania w języku polskim pacierza w każdą niedzielę i święto, zaraz po odczytaniu Ewangelii. Jednakże można uznać te praktyki jako wstępny etap torujący drogę dla polskiej pieśni. Dominującą teorią jest ta, mówiąca, że źródłem pieśni w Polsce jest łacińska hymnodia, tłumaczona mniej lub bardziej wiernie na język polski. Powstanie polskiej pieśni religijnej wynikało przede wszystkim z zapotrzebowania wiernych na nie w obrzędach religijnych, zarówno pozaliturgicznych, jak i w samej liturgii. Pierwsze pieśni w języku polskim reprezentowały pieśni wielkanocne, pasyjne oraz maryjne. Polish church chant, monodic and designed for people is an important part of the great heritage of religious culture of the Polish Church. Its appearance was in the scientists research explained by many theories. It is commonly assumed that the most likely formed in the thirteenth century. The first analyzed theory derives it from so called kierlesz, phonetically transformed into a short formula Kyrie eleison, sung on various occasions. However, except for a few cases, you do not hear anything in Poland about kierlesz. Feicht – the opponent of kierlesz theory – preferred source of Polish song is the introduction of recitation in Polish prayers on Sundays and holiday, right after the reading of the gospel. However, these practices can be regarded as a preliminary stage that paves the way for Polish chants. The dominant theory is saying that the source of the song in Poland is Latin hymnodia, translated more or less accurately into Polish. The creation of Polish religious chant was primarily due to the demand of the faithful for religious rites, both beyond the liturgical, and in the liturgy itself. The first chants in Polish represented Easter chants, Passion chants and Marian chants.

Historyczne i artystyczne aspekty kościoła pod wezwaniem Świętego Mikołaja w Czulicach

Author(s): Lucyna Rotter / Language(s): Polish Issue: 1/1999

Czulice is a village in the Małopolskie voivodeship; the village which belongs to the Kocmyrzów/Luborzyca municipality. The parish church is the place which offers the faithful an opportunity­ to deepen their religious life; it also becomes a reflection of their care and involvement. Understandably, priests, landowners and parishioners strove to adorn the temple in the most distinguished manner. The church in Czulice is a treasure trove of priceless heritage dating back from medieval to contemporary times.

Border-crossings: Representations of ‘Home’, the ‘West’ and the ‘Migrant’ in Romanian Film

Author(s): Ioana Mohor-Ivan / Language(s): English Issue: 3/2010

Cultural texts (films included) are embedded in a social matrix, have consequences in the world, playing an important role in building imaginative geographies. The kind of kaleidoscopic cartography that film contributes to leaves invisible but permanent traces which, in turn, determine the way we perceive others and are perceived as others. The paper addresses the issue of migration, as one of the most visible societal changes impinging upon the post-communist Romanian experience by examining the textual and visual strategies through which several recently produced Romanian films – Asfalt Tango (1996), Occident (2002) and Italiencele (2004) – construct the images of “home” and the “west” in order to probe the migrant’s “stay-or-leave” dilemma. Moreover, bearing witness to the increased feminisation of post-communist Romanian migratory trends, the films focus on the differential experience of migrant women and men in the context of a gendered world. Nevertheless, their representational strategies tend to comply with traditional encodings of masculinity and femininity which conform to societal expectations fostered by their respective cultural and historical location, by constructing the woman migrant within traditional encodings of femininity which equates it with the passive object, victimhood and sexuality.

Culture, Ideology, Subtitling – A Challenging Mix

Author(s): Alexandru Praisler / Language(s): English Issue: 3/2010

The requirements of subtitling filmic texts are primarily technical in nature. Nonetheless, the choices a translator makes are rooted deep into the cultural cores supporting both the source language and the target language. To manage an adequate cultural representation and to decode its ideological substratum for the benefit of the outsider viewer, the translator is faced with a challenging task, which the paper aims at focusing on by resorting to the case of the 2002 Romanian film “Occident” directed by Cristian Mungiu.

Rhinocéros entre absurde et optimisme

Author(s): Amraoui Abdelaziz / Language(s): French Issue: 1/2011

The theater of the absurd is the antithesis of drama created and institutionalized by the Aristotelian poetics. If before the action is centered around a story, by the diegesis mimetic turns idle not focusing on the mechanisms that will make the speech a weapon against the person who utters it. It is a sterile word, wave surfing on the absence and emptiness. Rhinocéros belongs to this movement.The twentieth century is said to be the century of all changes: philosophical, ideological, political, literary. The universal equilibrium is lost. It is a world falling apart, and the foundations that have ordered are violated. A new world where he set up his foundation is no question of opposing a system that wants to globalizing and "rhinocérique" calling the massive and without equivocation.

La condition humaine entre les miroirs symboliques de la féminité et l’autospécularité – Eugène Ionesco, Le Roi se meurt

Author(s): Simona Antofi / Language(s): French Issue: 1/2011

The human dimension of death, focused on as a radical form of rebellion from the absurd theatre perspective or an acute protest of man subjected to the macrocosmic laws, as both a weapon fighting against destiny and specific type of writing exorcising the anguish of immanent disappearance, turns into a fundamental theme of Eugen Ionescu’s drama. Covertly doubled by the creator-creation theme, the death obsession is the key-word of Ionescu’s writing, being enhanced especially by the texts coined around the character named Bérenger who displays obvious autobiographic features. In The King dies (Regele moare), Bérenger I together with other two important feminine characters – queen Marguerite and queen Marie - travels within the great life-death labyrinth, while the whole world is inexorably slipping down to death. Unable to adapt to death, Bérenger I’s failure actually displays a tragic experience – in its tormenting agony, the frail human nature fights time down by the power of its own thoughts.

Судьба «Черного человека». Между красными и белыми (К истории раннего киносюжета Андрея Платонова)

Author(s): Alexander Grishin / Language(s): Russian Issue: 4/2017

The present article is focussed on Andrei Platonov’s relations with a Soviet film company “Sovkino” in the period from 1927 to 1928, and reconstructs a likely impetus leading to Platonov’s work on the synopsis of a film about a black soldier fighting on the side of the Red Army during the Russian Civil War. It also reveals some parallels between this film plot and Platonov’s prose fictions addressing the theme of the Civil War.

«Музей» С. М. Даниэля: Текст и структура аудитории

Author(s): Alexander Danilevsky / Language(s): Russian Issue: 4/2017

This article applies the method of Yuri Lotman’s article “The Text and the Structure of Its Audience” to the study of Sergei Daniel’s autobiographical novel Muzei (2012). It shows that the ideal reader of Muzei should be competent in a) the topography of Leningrad (St. Petersburg), b) Russian history, c) Greek mythology, d) history of philosophy, e) technicalities of the profession of a painter, f) history of thr arts, g) theories of art, h) history of Russian literature, and many other fields.

Codices and Codex Fragments

Author(s): Ágnes Korondi / Language(s): English Issue: 1/2017

Echoes

Author(s): Author Not Specified / Language(s): English,French,Italian Issue: 1/2017

Одесса: археология замысла

Author(s): Andrei O. Dobrolyubskii / Language(s): Russian Issue: 5/2002

The article tells about the evolution and initial development of the set-up of Odessa. In VII-V cc. in place of Odessa there was a large Ancient town of Boristhenes, set up by the Greek colonizers in the Black Sea coast. In 1765 the Turks built a castle (fortress) here called Hadjibei, which later, during a Russian-Turkish war captured by the detachment led by J. De-Ribas in 1789. Having noticed the important geographic and strategic position of Hadjibei, the admiral De-Ribas and the military engineer France de-Wollant decided to build a town on this place, which would serve as a main port of the Russian Empire on the Black Sea.The talented and well-educated architect and engineer de-Wollant, impressed by the Ancient culture, designed a set-up of a new town in complete correspondence with the Ancient models and recommendations of the Ancient Roman architect Vitruvius. Owing to the craft and professional mastery of de-Wollant, the placement and the set-up of the town of Odessa make it an ideal town and an ideal port.

Бронзовая статуэтка Гермеса-Меркурия из частной одесской коллекции

Author(s): Igor V. Bruyako,Anatoly S. Ostroverkhov / Language(s): Russian Issue: 4/2002

The article describes an ancient bronze statuette of a rather rare type - «Hermes-Mercurius with Patera» from a private collection in Odessa and probably originating from the North Black Sea area. By a number of stylistic and technological features, the artefact can be dated by 1 c. BC – 1 c. AD and attested as a work of Italic workshops.

Връзки на костурския художествен кръг и молдавската църковна живопис от края на XV и първите десетилетия на XVI век

Author(s): Tsveta Kuneva / Language(s): Bulgarian Issue: 3/2017

The paper sums up researchers’ varying opinions about the relations between the Kastorian artistic output of the late fifteenth and the early sixteenth centuries and some monuments of the Moldаvian church painting of the age. The Moldavian churches in Pătrauţi; Bălineşti; Popauţi, Botoşani; Dorohoi and Hârlău are most commonly associated with Kastoria as an art hub. In the churchyard in Hârlău, a headstone was found featuring in Cyrillic letters the name of icon-painter George from Trikala (Thessaly). It is the sole, but unverified evidence associating the Moldavian with the Kastorian monumental painting of the age. Though evincing iconographic specifics, culture-specific elements and certain assumed poses and figures in the compositions typical of the Kastorian artistic output, Moldavian paintings of the late fifteenth and the early sixteenth centuries had specifics in their own right. They represented not a main feature of the Kastorian artistic output, i.e. the Deisis, the traditional central depiction of Christ Pantocrator and the Most Holy Mother of God as the Queen of Heaven and Earth. Apparent are also considerable stylistic differences. From these examples of the similarities and differences in the iconography and styles we infer that Moldavian painting was not directly related to the Kastorian art circle, but was a result of combining various influences, where the Kastorian was the main one as Kastoria was a leading art centre at the time that has spread certain iconographic schemes across the Balkans.

The Social Potential of the Polish Art in the Transformation Period

Author(s): Artur Pstuszek / Language(s): English Issue: 9/2018

The transformation of the political system, which took place in Poland at the turn of the 1980s and1990s, was accompanied with profound changes not only in economic and political rules, but also in social life.The author assumes that the transformational potential of the artistic practice — in particular that of the Polish socially engaged art of the time, i.e. artists of the critical art movement — could be used to profile social and economic changes, especially in light of the fact that art provided a reflection of the then dominating feeling of atomisation of the political space.The present analysis refers to a specific parallel between the mechanisms of power and artistic strategies. What is also emphasised is the political power assumed by artistic practices — manipulative skills, operational efficiency and techniques used by artists to influence the audience.The question is why the transformational potential of the Polish art has not been fully exploited in the last decades.

Динаміка пріоритетів європейської культурної політики: друга половина ХХ – початок ХХІ ст.

Author(s): Oleksandr Kravchenko / Language(s): Ukrainian Issue: 4/2012

The article highlights the methodological problems of formation modernization strategy in modern European cultural policy.

Роль народного мистецтва у втіленні й формуванні етнічної ідентичності в умовах глобалізації

Author(s): Tetyana M. Knyazeva / Language(s): Ukrainian Issue: 4/2012

The article deals with the role of folk art in the formation of ethnic identity in the modern world. Art as part of the ethnic and human culture are inextricably linked to the processes taking place in society and serves as one of the manifestations of ethnic and cultural consciousness personality factor that defines the range of values.

Mediji kao umjetnost

Author(s): Divna Vuksanović / Language(s): Croatian Issue: 3/2013

The text explores the status of mass and new media in contemporary time, and in relation to the realm of action and relation with the so-called. world of art. The theoretical focus of the review are, first of all, the dominant media today – television, radio and the Internet, e.i. social media. The view that the problem treated here is: can television, radio and the internet be, and how, in a sense of modern communication technologies, identified with the medium of art. In this context the study, the article will be cited pro and contra arguments which may prove or critically examine and refute the assumption that these media can be linked with the world, and partly to take his current position.