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This article presents the history of Catholic and Lutheran churches during Swedish wars in the south part of Baltic sea the 17th Century. The Swedish rulers Gustav II Adolf and Carl X Gustav when they were fighting with Polish Republic during the first and second Swedish-Polish wars (commonly called the war at the mouth of the Vistula river and Swedish deluge) led to the strengthening of the religious conflict between Protestants and Catholics. The result in the Royal Prussia was, depending on the support of the authorities’ power, not only destruction or the mutual receipt of church buildings but also numerous robberies and exports of church cultural goods and liturgical equipment to Scandinavia. In this article the author discusses the fate of the individual buildings, their pastors and gives examples of church war losses. In the second part of the article the author presents the war expedition of the Polish-Lithuanian-Tatar troops to Ducal Prussia to break the alliance of Frederic William, Elector of Brandenburg with Charles X Gustav of Sveden. The soldiers destroyed dozens of Lutheran churches, burned down many cities and towns, and contributed to the death of thousands of people. Finally, the author mentioned grave monuments commemorating soldiers taking part in the both wars. The result of those events in the mid-17th century was the final imbalance of confessional balance and the growing, increasingly hostile attitude toward Polish Protestantim.
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This article presents an outline of the history of shaping communio chants (one of the Proprium Missae chants for Communion): from Christian antiquity (Cyril of Jerusalem, John Chrysostom, Apostolic Constitutions), through the Middle Ages (Ordo Romanus Primus), the post-Tridentine period (Communiones totius anni by Mikołaj Zieleński), to the reform of the Second Vatican Council, to which we owe the collection of antiphonae ad communionem (Graduale romanum, Graduale Simplex, Missale romanum, Ordo Cantus Missae) in liturgical books, and indirectly also contemporary chants and songs intended for the communionprocession.
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Colonial art of India highlights a remarkable blend of east and west – converging on grounds of matter and manner of expression. An important intervention of colonial experience on the cultural life of India was the establishment of art colleges in Calcutta, Madras and Bombay with an intent to ‘elevate’ the status of Indian art by teaching them western theories and finer taste. This paper examines the politics behind establishment of art institutions and how company paintings, portraits and representation of the picturesque became perfect examples of the amalgamation of east and west on canvasses. The paper also explores how this cross-cultural exchange revolutionized modern Indian art in the process.
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Kamil Varga is a significant Czechoslovak photographer based in Prague, Czech Republic and one of the key figures of the photographic group Slovak New Wave. The author’s work has changed over the years. This portfolio attempts to show his key moments. He created his first works at FAMU in Prague, in the company of his generation called the Slovak New Wave. They are created in the spirit of figurative staged photography. However, from the very beginning of his studies he was fascinated by painting with light, which became his dominant creative approach for a long time. In the second half of the 1980s he began to work in large-scale photographic cycles exploring the mysterious magic of the artist’s specific perception of the world as a whole universe, in which the energy of his own subconscious, mysticism and the teachings of Eastern philosophies play an important role. He himself calls his work “spiritual expressionism”, when the contrast of these two words contains the tension that is a prerequisite for any creative work. For the most intense materialization of this intention, he uses the photographic method of luminography (drawing with light), which is best able to capture the tension of flowing physical and spiritual energy, concentrated in dynamic, rhythmic and sometimes almost ritualistic transformations. He thus creates his own, quite unique world of mysticism, mysterious patterns and symbols, concentrated in a liberating rhythm of ever new and new photographic fantasy images. Through black and white and colour magic rituals, mysterious symbols that intertwine with each other beyond space and time, he records the extrasensory flowing cosmic energies, but also the stories of man, mankind, civilisation and landscape anchored in darkness, through which he visualises the world of his own subconscious, consciousness, fantasy and faith into original photographic images.His photographs are at one time the result of his own purifying spiritual psychoanalysis, resembling stirring ritual dances, at other times they become intangible archetypal symbols of eternally flowing life-giving energies. Throughout the work, the artist’s primary concern is the exploration of the universe, which takes many forms in the artist’s art world.
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The portfolio of the visual artist and photographer Robo Kočan, who is based in Poprad, Slovakia, presents a selection of his artwork. He belongs to the prominent representatives of the second new wave of Slovak photographers, who in the 1990s intervened strongly not only in the Slovak but also in the Central European art space, especially through their multimedia approach to photography and new techniques in staged photography. His body of work is focused on mixed-media (issues of identity, family history and racial unity) and staged photography (luminography, scenography, additional painting into the image). Topics of night, fairy-tale fantasies, pre-staged compositions, large scale images and limited editions of prints brought this artist international recognition with many opportunities for artists-in-residence and other creative programs. In his work Robo Kočan combines a variety of aesthetic approaches in a rare ratio; the systematic method with an unceasing need to discover the novel, technical excellence with poetry, and an entertaining playfulness in combination with dark journeys into our unconscious. His photographic series reflect both his need and ability to employ reality as a backdrop for the creation of his fantasies. Through his art Kočan doesn’t aim to escape from reality but to broaden the perception and deepen the awareness of elements hidden beneath the surface of everyday life. His artistic work is characterised by a systematic review of photography as a medium and an exploration of the possibilities of its extension. Robo Kočan has the ability to “see the anticipated”. The anticipated and wanted, buried deeply in the subconsciousness, which transports us through the “lines of light”" of his photographs by means of an inconsiderate – ironic, but also poetic, to a childish playful view of the world. Robo Kočan connects parallel worlds. He balances the noise of the city with the silence of nature, he casts doubt on reality through fiction, and draws light into darkness. He often travels, travelling around for meditation and the diversity of other countries and cultures, in order to add perceptions and emotions into his photographic images. For him, photography has never been an authoritative documentary tool, but a storyteller, a medium that can reveal the imperceptible layers of everyday life, his reality, which, for a moment, can also be ours.
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The article presents the results of study stylistics and visual imagery of new communications – digital media. The relevance of the topic lies in the growing use of computer technologies in visual communications: media design, web design and advertising. Multimedia as a fundamentally new type of communication has acquired its own senses, meanings and images. Therefore, the value of the study lies in the theoretical generalization of web graphics development outlook from visual aesthetics perspectives. A number of scientific methods, such as system-structural, sociocultural, axiological and comparative were used to achieve this goal. The authors emphasize that advertising information must have metaphorical language, attractiveness, concise and clear declarations of product or service characteristics, authentic composition, non-standard perspective, contrast and a harmonious colour scheme to ensure the functionality of each message promoting a particular idea. It is emphasized that any electronic product (website, animation project, commercial, Internet banner, presentation) is the result of the implementation of creative, technological and organizational components of design activities to meet public information needs. The obtained scientific results deepen the idea of graphics, generalize its communicative and artistic-aesthetic aspects and enable defining new ways of visual art at the conceptual and prognostic levels.
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The podcast has discovered its own listeners over the past few years and has naturally integrated itself into their daily lives. Its remarkable growth is also resonating in professional and scholarly circles, where attempts are being made to define it and integrate it into mass media theories. The diverse range of genres and means of expression offered by the podcast as a medium has (in terms of the means of communication used) overlaps (in terms of the medium) mainly with radio, but also with television production, and in terms of the broader division of genres mainly with journalism and also with news and fiction genres. The common denominator of all the forms of content presentation mentioned above is the frequent presence of a narrative, which makes the media work attractive and, as we will point out in the article, comprehensible. The principle of narrative as a means of communicating their content has been adopted by podcast creators from other media forms, which may result in the fact that on some podcast platforms a separate category of content division - Stories - is emerging. In the present study, we will highlight how a story can be built in podcast production, and what are the means of building a story in a podcast.
More...Picture – Flow of Realities – 10 Years of the Ľudovít Hlaváč Gallery
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Spent in Elbląg and its neighbourhood from 1711 to 1725 was important and relatively inexperienced in the current literature period for the activity of the Gdańsk organist AndreasHildebrandt workshop. The instruments created in and around Elbląg in this period offered Hildebrandt not only the opportunity to experiment on new tonal and technical concepts but also constituted an important reference, which seems to have contributed to the reputation of the workshop and opened the way for subsequent large orders in Gdańsk. The article contains information about newly built, rebuilt or attributed to Hildebrandt instruments in Elbląg (churches of St. Nicholas’, St. Mary’s and Corpus Christi), Przezmark (church of the Exaltation of the Holy Cross), Pasłęk (St. Barthelemew), Skowrony (church of the Assumption of Mary), Jelonki (church of the Sacred Heart).
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The text deals with the principles that are key to the musical education of preschool and early school children. In defining the principles, the author is based on the laws of folk art in Slovak folk music culture and on the music-pedagogical principles of Carl Orff based on the musical manifestations of natural cultures.
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The paper presents a research probe of a broader conceived research plan, which is constituted in the topic of children's pre-concepts about the concepts of museum and gallery. The aim of the research probe is to convey the results of the analysis of children's naive theories in connection with the above concepts.
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The Gothic collegiate church in Wiślica, founded by king Kazimir the Great in 1350, replaced older structure, What were preserved from that Romanesque church, was a twotower façade included to a new building and 13th century sculpture of Madonna. It seems that the point of this action was commemoration of the both distant and close past of the town, including the time when when citizens of Wiślica supported Władysław’s the Short struggleof power. Moreover, on the Romanesque façade a statue representing Kazimir himself was placed. Similar solutions were introduced also in other Kazimir’s foundations. Another significant point of reference is collegiate church in Vienna where at the same time older façade was preserved decorated with the founder’s statue. Yet in Wiślica such historical programme was connected with the arms of the lands ruled by Kazimir. All these elements make an image of reunited Kingdom ruled by the rightful dynasty.
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The subject of the article are church choirs and confessional choir societies that were active in Elbląg between 1871–1945. The timeframes set in the article are founding of the choir of St. Mary’s Church that was the first church choir in Elbląg and end of the second world war, as consequence of which Elbląg became a Polish city. As in the period of time considered in the article, most Elbląg inhabitants were Protestant and so was the majorityof Elbląg churches except for St. Nicholas Church and – not consecrated till 1905 though – St. Adalbert’s Church, the only catholic choir society was Cecilien-Society. The article presents history, activity and repertoire of all choirs. There are also Elbląg trombone choirs as a phenomenon typical for the Protestant Church mentioned.
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Church doors are one of many symbolic elements of the church body. In the Old Testament it developed eschatological significance that have taken the gate, understood as the gates of hell. In this sense the church gate appear in the iconography of the Court of God. This symbolism was taken over by Christianity. Allegorical and symbolic significance of the church doors was lined in the writings of the apologists of the faith and the Church Fathers.
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The essential aim of this paper is to conduct a brief exploration of Prof. Dobroslav Orel’ssystem of musicological work, in connection with researching medieval musical culture fromthe territory of Slovakia. Slovak musicology, its foundations, goals, and methods of treatmentof sources, are closely connected with this outstanding figure in Czechoslovak musicalculture. The consideration of Orel’s activity in Slovakia includes an analysis of research,treatment and publication of our oldest music sources.
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The presented description of the available sources for the research on the small sacral architecture focuses on three types of them: archives, cartographic data and memoirs. Each of them provided important information and prompted to undergo a further field research. The latter not only confirmed data already found in the sources under examination, but led to a discovery of some new valuable material sources. The analysed example can serve as a support for the thesis that employing a combination of different cognitive, empirical methods in research is justifiable.
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This paper is an attempt to show the main forms of the Eucharistic piety in the Prussian countryside in the Middle Ages on the basis of analysis of the sacrament house in Saint Peter and Paul church in Mątowy Wielkie (Groß Montau). This work will be compared with other objects from the area of the former Teutonic Order State. The iconographic program of the sacrament house door is known today from the historical description, archival photos and the copy of the door, which is kept in the church in Mątowy Wielkie. Originally it consisted of the picture of the Man of Sorrow, placed on the obverse, and the presentation of the priest with the monstrance on the back of the door. The analysis of the iconography of this object in the context of its function allows to draw some conclusions about forms of worship of the Blessed Sacrament widespread in the Prussian countryside: individual adoration of the Eucharistic Christ in the consecrated Host or in His images, as well as Theophoric processions, mostly related to the celebration of Corpus Christi. This work seems to be a testimony to the religious climate in the Prussian Church in the first half of the 15th century and to the role of the clergy in the transformations of the religiosity of the laity, taking place in this time.
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The Christian symbolism of musical instruments presented in this article belongs to one of the most beautiful and the deepest layers of theology of church writers and it is based primarily on the so-called evolution of the divisions of music: musica mundana, musica humana and musica instrumentalis (Boecius; cf. Casiodoro). They directed their attention and allegorical theology primarily to the string instruments already known in the Bible (harp, lyre, zither, psalterium). And so, the harp was to signify the spiritual, whereas the zither – the corporal; sometimes also the two natures of Christ (harp – Divine nature; zither – the human nature). In many authors we encounter a comparison of zither to a suffering body of Christ and His passion, during which the tendons were strained to its limits, and the bones were numbered, and He himself sounded as a spiritual song of virtues due to his patience(Tertullian, Casiodoro, Venantius Fortunatus). Hence, there was born in the theology of the patristic period and the Middle Ages an allegory of the so-called „harp of the Cross” on which theSon of God hanged (Paulinus of Nola, Nicetas of Remesiana, Honorius of Autun, Bernard of Clairvaux, Bonaventura), who is a Logos Singing and playing a new song on this instrument. The Father God was compared to the Ultimate Violin-Maker who built Universum in a shape of a giant zither where the spirit and the matter, celestial choruses, heaven and hell, elements and all that the senses experience were the strings (Honorius of Autun, Clemens of Alexandria, Athanasius of Alexandria, Rupert of Deutz).
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Jane Campion’s The Piano (1993) and Catherine Breillat’s Barbe Bleue (2009) are film adaptations of the tale Bluebeard, both of which have a seemingly bright closure — “and they all lived happily ever after”. “They”, as the female, are in the becoming process since “one is not born, but rather becomes, a woman” (de Beauvoir 1956: 273), which changes the nature of the film denouement. By looking at the female protagonists Ada McGrath in The Piano and Marie-Catherine in Barbe Bleue, this research aims to deal with how female “decisions” in attempting to accomplish themselves in the face of a crisis affect the understanding of the film’s ending. First, female characterisation and plot development are investigated with the construction of women’s feelings and perceptions at a given moment, influencing the subsequent outcomes. Second, the significance of narrative techniques is expounded with audience’s affective interaction with characters. The conclusion reached is that in both films, repressed female temperament allows women to make judgements and choices that predetermine the tragic core of the happy ending. The significance of this study is to draw attention to the plight of women in the undercurrent, to make it possible for the silent cries behind the beautiful fantasies to be heard.
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