‘... and therefore the Lord increased this her beauty ...’ (Judith 10:4) – the beauty of Judith in Italian oratorios of the Baroque

Author(s): Anna Ryszka-Komarnicka / Language(s): English Issue: 3/2017

Baroque oratorios about biblical Judith are usually regarded as oratori erotici. However, our research, covering the whole of the Italian Baroque oratorio repertoire on this subject, has revealed that such works did not dominated that repertoire to such a significant degree. For around one-third of the librettists, Judith’s similarity to the donne forti of 17th-century Venetian operas was a true religious-moral and artistic challenge, accompanied by the conviction that thanks to music one could see with the ears what the lack of scenic action rendered invisible. The article cites several solutions for ‘mirror scenes’ in oratorios about Judith: both the openly secular (e.g. by A. Ottoboni and Vajani de Borgi) and those whose librettists endeavoured to include a commentary accentuating Judith’s spiritual virtues or divine inspiration (Gigli, Silvani). Others (including Metastasio) eschewed that which was sensual in Judith. That strategy may be compared to dissimulazione onesta, the honest concealment of the facts, which was popular in those times, particularly in Italy..

‘Britain is different’: Farage’s rhetoric in the Brexit referendum debate

Author(s): Marina Aroshidze / Language(s): English Issue: 8/2018

This paper explores the influence of the immigration issue – involving political and war refugees as well as economic migrants – on the outcome of Britain’s 2016 referendum on EU membership. I argue that the ‘leave’ result of the referendum can be attributed, to a great extent, to the consistent anti-immigration campaign led by the United Kingdom Independence Party (UKIP) before the referendum. Working with a corpus of 2013-2016 addresses by the UKIP leader Nigel Farage, I identify discursive strategies whereby the influx of Middle East and North African refugees, as well as economic migrants from new EU member states, is construed as a growing threat to well-being, security and identity of the British people and Britain as a nation. This construal subsumes the essentially adversarial position of Brussels as the warrant of free economic movement of all EU citizens, and the supporter/promoter of the movement of non-EU migrants between EU countries. Defining the EU as an antagonistic entity helps the UKIP strengthen their Brexit rationale. The main cognitive, discursive and linguistic pragmatic strategies used to realize this goal are deictic othering, conceptual metaphor, and proximization, which I investigate within the interdisciplinary paradigm of contemporary Critical Discourse Studies.

‘It’s over 9000.” Apeiron narrative configurations in contemporary mediascape

Author(s): Vincenzo Idone Cassone / Language(s): English Issue: 1/2018

Recently, a peculiar narrative configuration has developed and is spreading through the internet culture and new media. Characterised by a specific representation of the individual growth process, Apeiron narratives find their origin in pen & paper role-playing games, but it is only after the development of digital games and the diffusion of the Japanese cultural codex through the contemporary mediascape that they have become a coherent, autonomous and viral phenomenon. In the following pages, this narrative configuration will be described through a series of paradigmatic examples; its roots will be traced back to the peculiar traits of role-playing games, and the importance of recent digital adaptation will be highlighted. Finally, I will describe its diffusion beyond the domain of fictional text, hinting at possible environments for its diffusion.

‘The most exciting thing is not‑doing‑it’, or Andy Warhol’s ‘Philosophy of Love’ on the basis of Blow Job and My Hustler

Author(s): Joanna Łapińska / Language(s): English Issue: 2/2015

the aim of this article is to identify characteristics of a ndy Warhol’s ‘philosophy of love’, the elements of which were described in the Philosophy of Andy warhol (From A to B and Back Again), and an analysis in this context of Warhol’s films Blow Job (1963) and My Hustler (1965). Warhol’s films are treated as an opportunity to discuss his attitude to love and sex, as they contain the key elements of his unusual ‘philosophy of love’. The artist’s biography is referenced, as are the concept of ‘impersonal narcissism’, put forth by Leo Bersani and Adam Phillips, Slavoj Žižek’s theories on the role of fantasy in a relationship, and some reflections of Susan Sontag and Esther Perel.

’I am the True Vine.’ Allegorical Motif on a Fifteenth-Century Ceramic Mould from the Pirita Convent

Author(s): Helen Bome / Language(s): English Issue: 04/2007

This article examines fragments of two miniature relief moulds found in the Pirita convent near Tallinn. They were made in the central Rhineland and are the only surviving examples of late medieval ceramic matrices in Estonia. One of them bears the motif of Christ the True Vine (John 15). The iconography and meaning of the motif are analysed in the context of the Brigittine spirituality of the convent and the devotional life of the time. The topic on the other mould is also revealed. The choice of imagery on the ceramic moulds and their possible function are discussed.

“A PINING LILY OF THE CLIFF”

Author(s): Katalin Keserü / Language(s): English Issue: 02/2011

The Furniture Designers of Hungarian Art Nouveau

“ALTHOUGH A PRESENT EXISTENCE OF CRICOT 2 IS IMPOSSIBLE, THE MISSION IS STILL ON: TO TRANSMIT AS MUCH AS POSSIBLE TO AS MANY PEOPLE AS POSSIBLE”

Author(s): Eugen Wohl / Language(s): English Issue: 2/2016

The following interview with Andrzej Kowalczyk, actor of the Cricot 2 Theatre and a prolific visual artist on the contemporary Polish cultural stage, has been conducted via e-mail, as a result of my professional visit to Cracow, June-July 2015, when I had the opportunity to meet and talk to Mr. Kowalczyk, attend one of his performances at Cricoteka and see some of his artistic works. Later that year, in December 2015, I was back in Cracow and I again had the chance to see his theatre production 52 Hz and set the basis for this conversation. Mr. Kowalczyk has chosen to answer my questions in Polish and the result is candid and highly informative discussion about Tadeusz Kantor and his legacy, about Andrzej Kowalczyk’s perspective on the contemporary artistic world and his personal approach to art and theatre.

“Animating” the Stage - Stage Elements

Author(s): Beatrice Volbea / Language(s): English Issue: 23/2017

In modern days, new acting spaces have become popular through the artistic expression and diversity of means they offer to the actors so that they get closer to their audience, sometimes ignoring the dramatic text and using it more like a pretext in a given context. The act of creation is now motivated by the possibility it offers its creator to artistically acquire new knowledge and discover new forms of expression to render aspects of contemporary life. Art is not a product, it is a perpetually changing process in time and space. All the artistic research arises from unanswered questions, from an unrefrainable need to express oneself in the new context: cinema, artistic films, documentary films, modern and contemporary performances, visual culture and associated culture, body and space, public space, video editing/processing

“Bach for all times” de Gheorghe Neaga pentru duetul de piane – particularităţi componistice şi de gen

Author(s): Hristina Barbanoi,Cristina Paraschiv-Znatokova / Language(s): Romanian Issue: 2/2013

Gheorghe Neaga is a remarkable Moldovan composer of the second half of the 20th century. His creation is marked by a free use of musical language, various composi-tional techniques used not as an end in itself, but as one of essential terms for creation of original artistic concepts. „Bach for all times” is one of his composition for two pianos written in 2003 during the last years of his life that he lived in America. This creation has never been elucidated in any musicological study, so we are the first who tried to analyze it. In a previous article, we have already elucidated the neoclassical and polystylistical trends that we find in this creation, and in the article below we report what are the composition and genre peculiarities of this musical work

“But if today someone would tell me to stop, turn back time and choose a path, I would choose theatre again”

An Interview with Actress Doina Deleanu

Author(s): Ioana Petcu,Doina Deleanu / Language(s): English Issue: 20/2015

This year we celebrate 155 years of artistic education at the University of Arts in Iaşi and, on this occasion, my thoughts went up to our former graduates. After being disbanded in the years of communism, the Theatre Faculty was reopened in 1990, and the first class graduated from the academic desks in 1994.

“Cézanne did not make mistakes” – Notes on the Cézanne Exhibition in Budapest

Author(s): Eszter Földi / Language(s): English Issue: 03/2013

On 17 February 2013, the Museum of Fine Arts in Budapest closed the doors on its exhibition entitled Cézanne and the Past: Tradition and Creativity. With some 180,000 visitors, a 527-page catalogue of scholarly merit featuring articles by the big shots of Cézanne study, and a conference marshalling a bevy of additional invited specialists, the exhibition produced fresh results worthy of further consideration by international Cézanne research. The Burlington Magazine devotes space to the exhibition in Budapest, by John-Paul Stonard in the March issue.2 The professional know-how and well-established connections of the Curator, Judit Geskó resulted in a mature exhibition concept that went beyond a recapitulation or summation of the latest research findings and thought them over in new, creative ways. As such, the exhibition in Budapest fit in comfortably with the string of great Cézanne exhibitions since the second half of the 1970s, both monographic and thematic, that had offered a complex look at the influential oeuvre of the Aix Master.

“Cleverly Devised, Postmodern Toy”: Paweł Mykietyn’s Music in the Category of Postmodernism and Constructivism on the Example of III Symphony for Alto and Orchestra

Author(s): Zuzanna Daniec / Language(s): English Issue: 04 (39)/2018

Works of Paweł Mykietyn belong to the most characteristic trends of Polish contemporary music. His compositional attitude was individualised in the first decade of the 21st century, and today he is recognised as one of the most original Polish composers of the 20th and 21st centuries. Andrzej Chłopecki, when characterising Mykietyn’s music after the premiere of the composer’s II Symphony, compared this work to a “cleverly devised, postmodern toy”. Also Mykietyn’s next, III Symphony (2011), can be considered in the context of the categories of postmodernism and constructivism. This work manifests the postmodern attitude, but it is also marked by strict, “cleverly devised”, constructivist thinking. Its musical language contains intertextual references to hip-hop and rap music; on the other hand, it includes such typical for Mykietyn measures as “(de)gradation form”, “accelerando form”, “permanent accelerando” and dodecaphony, which can be found while analysing the work. III Symphony can be also interpreted in relation to techniques of deconstruction, including both concept and structure of the composition.

“Concerto No.1 for Cello and Orchestra, Op.107 in E flat Major” by Dmitri Sostakovici

Author(s): Maria Cristina Bostan / Language(s): English Issue: 2-Suppl/2016

In the „Concerto no. 1 for cello and orchestra, op.107 in E flat major”, being the most important of Shostakovici’s works, after Symphony no. 11, the solo instrument represents a complex "character" which makes a dialogue or has a confrontation with the orchestral ensemble segments. The orchestra is made up of a piccolo flute, a flute, two oboes, two clarinets (in B flat and A), a bassoon, a contrabassoon, a horn (in F), timpani, celesta and the strings quintet. The instrumental nuances intertwine with the virtuosity of the solo parts. The cantilena feature of the solo episodes, marked by elements of improvisation, is combined with the declamatory "monologue" of the orchestra.

“Das Licht Christi leuchtet allen“ – Form und Funktion von Kreuzen mit Tetragrammen in byzantinischen und postbyzantinischen Handschriften

„Христовата светлина озарява всичко“ – форма и функция на кръстовете с тетраграми във византийските и поствизантийските ръкописи

Author(s): Andreas Rhoby / Language(s): English,Bulgarian Issue: 1/2017

Crosses with so-called tetragrams (i.e. four letters or four pairs of letters) are not only attached to monuments, icons and portable objects, but are also found inscribed into Byzantine and post-Byzantine manuscripts. Crosses with tetragrams are commonly placed at the beginning of manuscripts and texts respectively as well in other positions. They have multiple roles: crosses with tetragrams protect the object against evil, they safeguard its existence, and, in addition, they occasionally function as a decorative device. This paper presents an overview of crosses with tetragrams in Byzantine and post-Byzantine manuscripts, and it aims to discuss this cultural phenomenon as a whole.

“DID YOU BRING NEW SONGS?” THE ROLE OF CONTEMPORARY CATHOLIC MUSIC IN HUNGARY

Author(s): Kinga Povedák / Language(s): English Issue: 1/2011

Contemporary Christian music appeared in Hungary in the 1960s. In a unique period of Hungary when religion was suppressed and rock and roll was denounced, the merging of the two, Christian rock music was even more disapproved during the communist regime. For many, contemporary Christian music was more than simply music; it indicated opposition against the political system. Therefore contemporary Christian music was an alternative music not only from a clerical but also from a political point of view. This article tries to analyze the function of contemporary Christian music in listeners’ religious folklife, their experience during listening to contemporary Christian music.

“ELOGIUL SIMETRIEI”. O VIZIUNE A COMPOZITORULUI REMUS GEORGESCU

Author(s): Gheorghe Duţică / Language(s): English Issue: 1/2012

Oftentimes, musical composition follows a predeterminate generative mechanismthat takes the shape of an algorithm or matrix having the potential of strategic, macrotemporalcoverage. In the Concerto for String Orchestra (Concertul pentru orchestră de coarde), the composerRemus Georgescu achieves a remarkable feat of composition, generating the entire musical discoursebased on the exclusive input of a structure mode whose “placement in time” accurately reflects aseries of laborious and refined palindromic symmetries

“Gdy ręka gmatwała linie w kształt Trynitarskiej Bramy”, czyli o rysunkach Józefa Czechowicza

Author(s): Maria Kowalczyk / Language(s): Polish Issue: 04/2005

Among Józef Czechowicz’s works besides manuscripts and personal belongings we also find the poet’s drawings. Twenty-five ones dating from 1925-1929 have been preserved. Kept in a few different places they have not raised any interest and have not been studied yet. Most often made with pen and ink, they appear in the manuscripts of his literary works, they accompany his correspondence, they are examination theses, or they appear independently of any other works.Illustrations of poems constitute the most numerous group. A close, and at the same time simple connection between the text and the graphic element occurs in them that refers to the content or the style of the poem. Either the whole poem or particular stanzas are illustrated. Another interesting group is made up by the poet’s drawings included in his correspondence.Especially postcards made by Czechowicz himself deserve attention. Also sketches connected with the poet’s pedagogic work are interesting. The poet’s drawings are characterized by good visual taste, ease of the line, good proportions and compositions, a certain fineness and humor. They tell a lot about Czechowicz as a poet and as a man. They may be an interesting starting point for studies on self-illustration in literature.

“GM” – Galerija “Mandžić” u Tuzli –  novitet vrijedan pažnje

Author(s): Atif Kujundžić / Language(s): Issue: 34/2012

Autor daje osvrt na otvorenje Galerije "Mandžić" privatnog kolekcionara akademika Envera Mandžića, kao jedinstven primjer i vrijedan doprinos afirmiranju likovne umjetnosti, kolekcionarstva i kulture uopće u Tuzli.

“HARVARD ÜNİVERSİTESİ SANAT MÜZESİ”NDEKİ EĞİTİM ETKİNLİKLERİNİN ÇAĞDAŞ MÜZECİLİK ANLAYIŞI BAKIMINDAN İNCELENMESİ

Author(s): Osman Altıntaş,Feride Demircan / Language(s): Turkish Issue: 20/2016

Today, rapidly spreading campus art museums have benefits to teachers, students and public. Campus art museums are established to contribute to academic development, preserve collections, lead to scientific, educational and art research, manage the public relationships. These are the expected behaviors and roles for campus art museums. Institutes or universities realize that they are important components of organization to utilize for many benefits. The aim of this research is to examine a campus art museum on context teacher-student, museum collections, curriculum in practice and classes or courses in Harvard Cam-pus Art Museums as a case study and to present expected and responsible behaviors for inside and outside campus. In this research, it is studied 2014– 2015 years education art activities in Harvard Campus Art Museum which is the combination of three individual campus art museums. End of the research, it is stated that campus art museums have important functions and missions towards parent institute and public like formal education as an alternate for class-based education.

“Hasanaginica” u Zadru

Author(s): Nikola Šimić Tonin / Language(s): Croatian Issue: 46/2017

Ususret kazališnoj sezoni, u HNK Zadar je u četvrtak, 6. listopada 2016, u 20 sati na programu bila predstava “Hasanaginica”, prema istoimenom djelu Milana Ogrizovića. Predstava je nastala u produkciji Otvorena Scena Obala iz Sarajeva, režirao ju je Admir Glamočak, a u njoj glume studenti Akademije scenskih umjetnosti Sarajevo: Nadine Mičić, Martina Mandek, Deni Mešić, Nedim Džinović, Zoran Dragićević, Fatima Kazazić, Tea Šimić i Maja Mirela Jurić.